The central position, no. 3 in the diagram, was occupied by the coryphaeus, or leader of the chorus.[902] The post of the leader was an extremely arduous one. While the dialogue was in progress, he had to carry on conversations with the actors upon the stage. During the choral odes he had to give the note to the choreutae, and superintend the dances and manœuvres. At the same time his own dancing and mimetic gestures were supposed to be a conspicuous feature in the performance. Demosthenes, speaking of dithyrambic choruses, says that the loss of the coryphaeus means the ruin of the chorus; and this must have been still more the case in a dramatic performance.[903] On the other hand the possession of a skilful leader would contribute very largely to the success of the chorus and of the drama. The choreutae on each side of the leader, nos. 2 and 4 in the diagram, were called his ‘parastatae’, or ‘assistants’, and were next in importance to the leader himself. The two choreutae on the outside, nos. 1 and 5 in the diagram, were called the ‘third men’.[904] As already remarked, the coryphaeus, together with the other four members of the left file, constituted the pick of the whole chorus. Concerning the formation in which the comic chorus entered the orchestra there is not much information. Like the tragic chorus, it might enter either by ranks or by files; that is to say, it might come in six abreast and four deep, or four abreast and six deep. There can be no doubt that the oblong formation of four abreast and six deep was the one usually adopted. It would be more suitable from every point of view. Both the tragic and the comic choruses were probably preceded into the orchestra by the flute-player.[905] On certain rare occasions the formal entrance in a rectangular body was dispensed with, and an irregular mode of entrance was adopted, in order to produce a dramatic effect. The best example is in the Eumenides of Aeschylus. When the Furies made their second appearance, they came rushing into the orchestra one by one, in hot pursuit of Orestes, and created a profound sensation by their movements and appearance.[906] There is another instance in the Birds of Aristophanes. The birds begin by entering one by one. The flamingo comes first, and its appearance is criticized by the actors upon the stage. The cock follows, and is similarly criticized. Then comes the hoopoe, and after it the glutton-bird. These, as we have seen, were probably musicians. Finally, the chorus of twenty-four birds come fluttering in together, so as to block up the side-entrances.[907] In the Lysistrata the chorus is divided into two halves, one consisting of men, the other of women. The chorus of men enters first; the chorus of women follows after an interval.[908] But instances of this kind were very rare and exceptional. Usually the chorus entered in a rectangular body, with the precision of a troop of soldiers.