The Greek tragedy may rather be compared to our serious opera than to the tragedies of Shakspeare; nevertheless, the difference is far greater than the likeness. In the opera all is subordinated to the music, the dresses and the scenery;--the poetry is a mere vehicle for articulation, and as little pleasure is lost by ignorance of the Italian language, so is little gained by the knowledge of it. But in the Greek drama all was but as instruments and accessaries to the poetry; and hence we should form a better notion of the choral music from the solemn hymns and psalms of austere church music than from any species of theatrical singing. A single flute or pipe was the ordinary accompaniment; and it is not to be supposed, that any display of musical power was allowed to obscure the distinct hearing of the words. On the contrary, the evident purpose was to render the words more audible, and to secure by the elevations and pauses greater facility of understanding the poetry. For the choral songs are, and ever must have been, the most difficult part of the tragedy; there occur in them the most involved verbal compounds, the newest expressions, the boldest images, the most recondite allusions. Is it credible that the poets would, one and all, have been thus prodigal of the stores of art and genius, if they had known that in the representation the whole must have been lost to the audience,--at a time too, when the means of after publication were so difficult, and expensive, and the copies of their works so slowly and narrowly circulated? The masks also must be considered--their vast variety and admirable workmanship. Of this we retain proof by the marble masks which represented them; but to this in the real mask we must add the thinness of the substance and the exquisite fitting on to the head of the actor; so that not only were the very eyes painted with a single opening left for the pupil of the actor's eye, but in some instances, even the iris itself was painted, when the colour was a known characteristic of the divine or heroic personage represented. Finally, I will note down those fundamental characteristics which contradistinguish the ancient literature from the modern generally, but which more especially appear in prominence in the tragic drama. The ancient was allied to statuary, the modern refers to painting. In the first there is a predominance of rhythm and melody, in the second of harmony and counterpoint. The Greeks idolized the finite, and therefore were the masters of all grace, elegance, proportion, fancy, dignity, majesty--of whatever, in short, is capable of being definitely conveyed by defined forms or thoughts: the moderns revere the infinite, and affect the indefinite as a vehicle of the infinite;--hence their passions, their obscure hopes and fears, their wandering through the unknown, their grander moral feelings, their more august conception of man as man, their future rather than their past--in a word, their sublimity.