the melody of the chorus and the solo song either at the same height or one or two octaves higher. Flute playing accompanied most of the choric songs; with the chorus entered a flute player, who always took his place on the thymele. In later tragedy the music, which had formerly been very simple, grew more elaborate and complicated; several flute players played at the same time, and with their shrill music very often drowned the singing; but the solo performances on the stage were accompanied by only a single flute. The choregraphic element in the drama, which belonged especially to the chorus in tragedy, consisted chiefly in marching with various figures, much like our modern polonaise. The dances in comedy were much more lively and often of a lascivious character, and those of a satyric chorus were also of a burlesque nature. But, doubtless, the choric dancing consisted not merely in certain regular movements of the feet adapted to the music, but also in rhythmic motions of the whole body, and especially of the hands and arms, so that their dancing must have somewhat resembled our modern ballet. It is not easy to get any complete conception of it; the later hypotheses are by no means proved, and many strange statements have been made about the recitation of the chorus, the division of verses and words of the song among the semi-chorus, leaders, or individual members. In any case the task of the chorus was no easy one, since the members were not professional artists like the actors, but amateurs, who had to be specially trained for each performance. This was due to the institution of the _Choragia_.