First, to elaborate the theory that the peculiarities and conventions of the Greek drama are largely explicable by its environment, in the broadest sense of that term. Some aspects of this fundamental proposition have already been developed by others. But, so far as results have been sought in the field of classical drama, it has been done less comprehensively than is here attempted; and the earlier work has been, for the most part, antiquated by the momentous accession of new information during the last twenty-five years. Secondly, to emphasize the technical aspect of ancient drama. Technique has largely escaped the attention even of our playwrights, some of whom attempt to produce plays that will have none. Most of our classical scholars, also, study and teach and edit the ancient dramatists as if they, too, had been equally slipshod. Our handbooks on scenic antiquities and the classical drama have been written from the same point of view. Of late years the Germans have awakened to the real situation, and many of their recent monographs deal with various phases of the subject. Nevertheless, so lately as 1911 a German dissertation began with these words: As yet not very many investigations into the technique of the Greek tragedians are available. In addition to the incidental hints that are scattered here and there, especially in the commentaries, two works in this field are above all to be mentioned and they are both very recent: Adolf Gross, _Die Stichomythie in der griechischen Tragödie und Komödie_ (1905), and Friedrich Leo, _Der Monolog im Drama_ (1908).[1] In what terms, then, ought the indifference, not to say the unawareness, of American scholars with regard to these matters to be characterized? It is true that quite recently the German publications have caused some attention to be devoted, in this country, to the dramaturgy of the classical playwrights; but as yet such researches have gained only scant recognition from the generality of classical students. Thirdly, to elucidate and freshen ancient practice by modern and mediaeval parallels. This is an old and deeply worked mine, and I am under heavy obligations to my predecessors; but the vein is inexhaustible, and I have striven to keep the point in mind more steadfastly than is sometimes the case. It is of a piece with this to add that I have endeavored to treat the ancient plays as if they were not dead and inert, belonging to a world apart, but as if their authors were men as real as Ibsen or Galsworthy, who had real problems and met them in a real way. The desirability of this point of view surely ought not to be a matter of question; yet in fact it is exemplified with surprising rareness. To many, Sophocles and Euripides seem to possess scarcely more historicity than the heroes of Greek mythology.