FIG. 78.—WILHELM’S TRANSCRIPTION AND RESTORATION OF FOUR FRAGMENTS OF THE ATHENIAN VICTORS’-LIST 328 FIG. 79.—WILHELM’S TRANSCRIPTION AND RESTORATION OF FIVE FRAGMENTS OF THE ATHENIAN VICTORS’-LIST 329 FIG. 80.—THE VILLA ALBANI STATUE OF EURIPIDES IN THE LOUVRE WITH THE BEGINNING OF AN ALPHABETICAL LIST OF HIS PLAYS 333 Some day a benefactor of his kind may prove beyond cavil that the problem of the origin of tragedy is as incapable of solution as is that of squaring the circle.—W. S. BURRAGE. INTRODUCTION In undertaking to treat of a subject concerning hardly a detail of which can any statement be made without the possibility of dispute, the unfortunate necessity rests upon me of beginning with three topics which are the most controversial of all—the origin of tragedy, the origin of comedy, and the Greek theater. Instead of trying to conceal our ignorance on these matters by vague generalities, I shall set forth such data as are known, and attempt, clearly and frankly, to erect hypotheses to answer the questions that most naturally arise, even though this very striving for clearness and frankness will expose me to attack. I believe with Bacon that “truth emerges sooner from error than from confusion,” or, as a recent writer has expressed it, that “the definitizing of error is often the beginning of its disappearance.” Limits of space will require, at many points, a dogmatic statement of my views without stopping to examine the evidence from every angle. It must be understood, however, that no account of these subjects, whoever its author or however detailed his treatment, could find universal acceptance or anything approaching it.