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Only, that it is necessary with such a desire to be clear WHAT spectacle one will see in any case merely a satyric play, merely an epilogue farce, merely the continued proof that the long, real tragedy IS AT AN END, supposing that every philosophy has been a long tragedy in its origin.
They are never wholly extinguished; for in all ages there are born artists to whom they are the light of life; and in mediaeval carvings one finds here and there a touch of humanism, most often in grotesque or satyric figures. We must never forget that some of the later masterpieces of Greek work, such as the Column of Trajan and the Arch of Beneventum, were always to be seen.
Thespis was succeeded by Choerilus and Phrynichus, the latter of whom gained his first prize in the dramatic contests in 511 B.C. The Dorian Pratinas, a native of Philius, but who exhibited his tragedies at Athens, introduced an improvement in tragedy by separating the Satyric from the tragic drama.
Discarding short stories and a ludicrous diction, through its passing out of its satyric stage, it assumed, though only at a late point in its progress, a tone of dignity; and its metre changed then from trochaic to iambic. The reason for their original use of the trochaic tetrameter was that their poetry was satyric and more connected with dancing than it now is.
Moreover, it was not till late that the short plot was discarded for one of greater compass, and the grotesque diction of the earlier satyric form for the stately manner of Tragedy. The iambic measure then replaced the trochaic tetrameter, which was originally employed when the poetry was of the Satyric order, and had greater affinities with dancing.
It was not until the present period that the Atellan piece was handed over to actors properly so called, and was employed, like the Greek satyric drama, as an afterpiece particularly after tragedies; a change which naturally suggested the extension of literary activity to that field.
Leech, his chief contributor, and some kindred humorists, with pencil and pen have served Mr. Punch admirably. Time was, if we remember Mr. He was of humble beginnings. He is the Satyric genius we spoke of anon: he cracks his jokes still, for satire must live; but he is combed, washed, neatly clothed, and perfectly presentable.
He relieved the monotonous pleasantries of the satyric chorus by introducing, usually in his own person, a histrionic tale-teller, who, from an elevated platform, and with the lively gesticulations common still to the popular narrators of romance on the Mole of Naples, or in the bazars of the East, entertain the audience with some mythological legend.
Beyond these places are the projecting wings which afford entrances to the stage, one from the forum, the other from abroad. There are three kinds of scenes, one called the tragic, second, the comic, third, the satyric. Their decorations are different and unlike each other in scheme.
It was not until the present period that the Atellan piece was handed over to actors properly so called, and was employed, like the Greek satyric drama, as an afterpiece particularly after tragedies; a change which naturally suggested the extension of literary activity to that field.
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