When the play begins, there will only be three actors on the stage at once. They will wear very elaborate costumes, and a strange-looking wooden sole called a cothurnus or buskin, about six inches high, on their shoes, to make them look taller and more impressive, and over their faces a curious mask with a wide mouth, so that everyone in that vast audience will hear them. There will be no curtain and the play is not divided into different acts. When there is a pause in the action, the Chorus will fill up the time with their song. If it is tragedy, we shall not see the final catastrophe on the stage, but a messenger will appear who will give us an account of what has happened. All this is very different from the way in which a modern play is given, but some of the greatest dramas the world possesses were written by Athenian dramatists and acted on this Athenian stage more than two thousand years ago. On this occasion the play we are to see is "Iphigenia in Tauris," written by Euripides, one of the greatest of the Athenian dramatists. The legends and traditions from which most of the Greek plays took their plots were, of course, well known to the Athenians. They were stories commemorating some great event, or explaining some religious observance, but naturally these legends were differently treated by different dramatists, each of whom brought out a different side of the story to enforce some particular lesson which {237} he wished to bring home to the people, and this is especially true of the legends like that of Iphigenia connected with the Fall of Troy.