The use of appropriate gesture, in the case of Greek acting, was especially important, since facial expression was prevented by the mask, and the actor had to depend solely on the tones of his voice, and the effectiveness of his movements. In comedy, as might be expected, the gesticulation was of a free and unconstrained character, and is exemplified in numerous works of art. In tragedy, on the other hand, a more dignified style was adopted. The nature of the tragic actor’s dress was sufficient in itself to make a realistic type of acting impossible. Of course it is easy to exaggerate the cumbersomeness of the ancient costume. It would be a mistake to suppose that it hampered the actor’s limbs to such an extent as to prevent him moving about like an ordinary human being. Many passages in the ancient dramas prove that this was not the case. Actors could walk rapidly off the stage, or fly for refuge to an altar, or kneel down in supplication, without any difficulty.[819] They could even fall flat on the ground. Philoctetes sinks to the earth in a fainting-fit, overcome by the pain of his wound. Iolaus is knocked down by the Argive herald, while trying to protect the children of Hercules. Ajax throws himself on his sword, and Evadne flings herself from a rock on to the funeral pyre beneath. Hecuba, at the beginning of the Troades, lies stretched upon the earth in an agony of grief; and later on, when she hears the doom of Cassandra, she again falls prostrate.[820] But although, as we see from these examples, the tragic actor was not debarred from the ordinary use of his limbs, still the character of his dress must have made violent and impetuous movements a matter of great difficulty. Even if they had been easy, they would have been inconsistent with the tone of the tragic stage. The world of Greek tragedy was an ideal world of heroes and demigods, whose nature was grander and nobler than that of human beings. The realistic portrayal of ordinary human passions was foreign to the purpose of Greek tragedy. Scenes of physical violence or of abject prostration, such as those which have just been mentioned, are of rare occurrence. To be in harmony with this elevation of tone it was necessary that the acting should be dignified and self-restrained. Violent movements were usually avoided. A certain statuesque simplicity and gracefulness of pose accompanied the gestures of the tragic actor. On the long and narrow stage the figures were arranged in picturesque and striking groups, and the successive scenes in the play presented to the eye of the spectator a series of artistic tableaux. The representations of tragic scenes and personages in ancient works of art are characterized by a dignity and a repose which call to mind the creations of the sculptor. This sober and restrained style of acting was developed under the influence of Aeschylus and Sophocles during the great period of Attic tragedy. In