e chatter). He was
succeeded by Sopater, Sotades and others; but the dramatic element in
these often obscene, but not perhaps altogether frivolous, travesties is
not always clearly ascertainable. It is certain that Greek comedy
gradually ceased to be productive; and though even in its original form
it long continued to be acted in imperial Rome, these are phases of its
history which may here be passed by.

Results of religious origin of Attic drama.

The religious origin of the Attic drama impresses itself upon all its
most peculiar features. Theatrical performances were held at Athens only
at fixed seasons in the early part of the year--at the Bacchic festivals
of the country Dionysia (vintage), the Lenaea (wine-press), probably at
the Anthesteria, and above all, at the Great Dionysia, or the Dionysia
_par excellence_, at the end of March and beginning of April, when in
her most glorious age Athens was crowded with visitors from the islands
and cities of her federal empire. As a part of religious worship, the
performances took place in a sacred locality--the _Lenaeum_ on the
south-eastern declivity of the Acropolis, where the first wine-press
(_lenos_) was said to have been set up, and where now an altar of
Bacchus (_thymele_) formed the centre of the theatre. For the same
reason the exhibitions claimed the attendance of the whole population,
and room was therefore provided on a grand scale--according to the
Platonic Socrates, for "more than 30,000" spectators (see THEATRE). The
performances lasted all day, or were at least, in accordance with their
festive character, extended to as great a length as possible. To their
religious origin is likewise to be attributed the fact that they were
treated as a matter of state concern. The expenses of the chorus, which
in theory represented the people at large, were defrayed on behalf of
the state by the _liturgies_ (public services) of wealthy citizens,
chosen in turn by the tribes to be _choragi_ (leaders, i.e. providers of
the chorus), the duty of training being, of course, deputed by them to
professional persons (_chorodidascali_). Publicly appointed and sworn
judges decided between the merits of the dramas produced in competition
with one another; the successful poet, performers and choragus were
crowned with ivy, and the last-named was allowed at his own expense to
consecrate a tripod in memory of his victory in the neighbourhood of the
sacred Bacchic enclosure. Such a