perfect fulfilment in the Oresteian trilogy, namely, the final re-establishment of harmony between the contending powers whose collision has formed the main action of the drama.
The Satyric drama, which invariably followed the trilogy, was a relic of the original dithyrambic chorus sung at the festival of Dionysos by groups of Satyrs who followed the chariot of the vintage-god; it was probably intended to relieve the serious impression produced by the tragedy, and to furnish amusement to the populace. It is doubtful whether these Satyric pieces were ever in such organic connection with the three dramas which they followed as to justify calling them a tetralogy; the significance of the "Prometheus," as the concluding member of 'The Persians,' must however be admitted. Welcker has shown that we must distinguish between "Prometheus the fire-bringer," and "Prometheus the fire-kindler;" the latter being the title of the Satyric drama in question, which he maintains had reference to the establishment of the Promethea, the torch-race, at Athens, an artisan festival of which Prometheus was regarded as the founder. The kindling of the sacred fire might well be hailed as the symbol not only of victory, but also of the brighter day which had just dawned for the Hellenic race; while the association of the poorer classes, by the introduction of their favourite festival, would impart to the drama a peculiarly popular character, and render it the appropriate expression of the national enthusiasm.
