If this series of conclusions is accepted, we have an answer to the question under consideration—the occasion of the term τραγῳδοί. We must conclude that honoring Adrastus with choruses either did not involve the giving of a prize or that the prize was other than a goat. With the transfer to Dionysus, a goat (for some reason) was chosen as the object of competition, and was doubtless immediately consumed in a sacrificial feast. We have seen that at Corinth, where the choreutae were satyrs, there was no reason to coin a new term to designate them. But at Sicyon the situation was different. What more natural than that from the new prize should be derived new names (τραγικοὶ χοροί and τραγῳδοί respectively) for the new-old performances and their choreutae.[39] It is not enough to pass this tradition of Sicyonian tragedy by in silence or to brand it as aetiological or as arising from the partisanship of rival cities. It must first be shown to be inconsistent, either with itself or with other established facts. Hitherto we have dealt with the Peloponnesus, which was inhabited by the Dorian branch of the Greek stock; at this point we pass to Attica, which was Ionic. We are indebted to the late Professor Furtwängler (_op. cit._, pp. 22 ff.) for having pointed out that among the Dorians the attendant sprites of Dionysus were caprine satyrs, but that among the Ionians he was attended by sileni, creatures with equine ears, hoofs, and tails. Caprine satyrs do not appear upon Attic vases until about 450 B.C. (see p. 24, below). Although the sort of dances from which tragedy developed had existed in Attica from time immemorial,[40] yet they did not emerge into prominence and literary importance until the age of Thespis and in Icaria. Evidently Thespis’ innovations were partly borrowed from the Peloponnesus and partly his own. Included among the former would be the dropping of improvisation, the use of meter, the goat prize, and such terms as δρᾶμα and τραγῳδός. Most distinctive among the latter was his invention of the first actor. In early choral performances it was customary for the poet himself to serve as coryphaeus, and in Bacchylides’ dithyramb we have seen how the coryphaeus was set apart from the other choreutae, answering the questions which they propounded. It was inevitable that to someone should come the happy thought of developing this rôle still further and of promoting the coryphaeus to a position independent of the chorus. It is significant that the verb which was first used to designate the actor’s function was ἀποκρίνεσθαι (“to answer”), and that until the time of Sophocles all playwrights were actors in their own productions. We are now in a position to realize the true inwardness of Aristotle’s phrase: he does not say merely that tragedy was derived from the dithyramb but from the “leaders” of the dithyramb.