The history of the chorus in the Greek drama is a history of gradual decay. In the earliest period, when both tragedy and comedy were mainly lyrical, the members of the chorus were the sole performers. After the introduction of actors and dialogue the chorus still continued for a time to play the leading part. But from the beginning of the fifth century it began slowly to dwindle in importance, until at length it either disappeared altogether, or sank to the position of the band in a modern theatre. As far as tragedy is concerned the process of decline can be traced with clearness in the existing dramas. It takes various forms. In the first place there is a gradual diminution in the length of the part assigned to the chorus. In the Supplices, the oldest of existing Greek tragedies, the choral part forms no less than three-fifths of the whole composition. In the other plays of Aeschylus, with the exception of the Prometheus, it amounts on the average to about a half. In the tragedies of Sophocles and Euripides the size is very much reduced. The choral part in Sophocles varies from about a quarter of the whole in the Ajax and the Antigone to about a seventh in the Electra and the Philoctetes. In Euripides it varies from about a quarter in such plays as the Bacchae and Alcestis to about a ninth in the Orestes. It appears therefore that in the fifth century the part of the chorus was gradually but continuously diminished in size. Then again there is a constant tendency throughout the century to reduce the importance of the chorus by severing its connexion with the plot. In the lyrical tragedies of the earliest period the chorus was no doubt on most occasions the principal object of interest, and took the leading part in the play. This is still the case in some of the extant tragedies of Aeschylus. In the Supplices, for instance, the whole subject of the plot is the destiny of the fugitive maidens who form the chorus. It is their adventures which excite the sympathy of the audience; the other characters are of very little significance. In the Eumenides the interest centres chiefly round the conduct and feelings of the Furies. Even in the Septem and the Persae, though the chorus play a less prominent part, their connexion with the plot is still a very close one. Their destiny is involved in that of the principal characters. But in the other plays of Aeschylus the chorus begins to take much the same position as it occupies in Sophocles, and in the earlier plays of Euripides. It was at this period that Attic tragedy reached its highest perfection, and the question as to the proper place of the chorus in the plot was solved in the manner most consistent with the genius of Greek drama. The chorus is now thrown much further into the background, and appears in most plays, not as a participant in the action, but merely as a sympathetic witness. While the dialogue is proceeding, it follows the course of events with the