310 HISTORY OF THE perspective with a view to the stage; while the scene-painting of Agatharchus gave rise to a peculiar branch of that art,* which, by means of light and shadow, produced more perfect imitations of real bodies than had been heretofore known. Machinery for raising figures from beneath the stage, or bearing them through the air, for the imitation of thunder and lightning, &c. arrived at sufficient perfection in the time of the three great tragedians to accomplish its end. The tragedies of iEschylus, especially Prome- theus, prove that he was not unjustly reproached with a great love for fantastic appearances ; such as winged cars, and strange hippogryphs, on which deities, like Oceanus and his daughters, were borne on the stage. § 11. We believe that we have now brought before our readers the principal features of Greek tragedy, such as it appeared to the spec- tator when represented in the theatre. But it is equally necessary, before we venture upon an estimate of the several tragedians, to offer some remarks on the combination of the several parts or elements of a Greek tragedy; since this also involves much that is not implied in the general notion of a drama, and can only be elucidated by the peculiar historical origin of the tragic art in Greece. Ancient Grecian tragedy consists of a union of lyric poetry and dramatic discourse, which may be analyzed in different ways. The chorus may be distinguished from the actors, song from dialogue, the lyrical element from the strictly dramatic. Rut the most convenient distinction, in the first place, is that suggested by Aristotle, f between the song of many voices and the song or speech of a single person. The first belongs to the chorus only ; the second to the chorus or the actors. The many-voiced songs of the chorus have a peculiar and determinate signification for the whole tragedy. They were called stasimon when they were sung by the chorus in its proper place, in the middle of the orchestra, and parodos when sung by the chorus while advancing through the side entrance of the orchestra, or otherwise moving towards the place where it arranged itself in its usual order. The difference between the parodos and the stasimon consists mainly in this, — that the former more frequently begins with long series of anapaestic systems, which were peculiarly adapted to a procession or march ; or a system of this sort was introduced between the lyrical songs. As to the signi- fication of these songs, the situation of the actors, and the action itself, form the subjects of reflection, and the emotions which they excite in a sympathizing and benevolent mind are expressed. The parodos chiefly explains the entrance of the chorus and its sympathy in the business of the drama, while the stasima develop this sympathy in the various forms
- Called ffxr,wy£xQla or trxixygeupi'oc. f Poet. 12.
