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Updated: June 8, 2025
The best parts are, as a general rule, allotted to music-hall "stars," whose names will draw the most money. And the followers of Thespis have, until the reign of King Pantomime is over, to take oftentimes second-class places in the Pantomimic form of entertainment of the present day.
It was in joining a set of strolling players that Vivian became acquainted with Peacock; and that worthy, who had many strings to his bow, soon grew aware of Vivian's extraordinary skill with the cue, and saw therein a better mode of making their joint fortunes than the boards of an itinerant Thespis furnished to either.
We have seen how a single actor was added to the chorus by Thespis, who caused him to represent in succession all the persons of the drama. Aeschylus added a second actor in order to obtain the contrast of two acting persons on the stage; even Sophocles did not venture beyond the introduction of a third.
But PHRYNICHUS, the disciple of Thespis, was a poet; he saw, though perhaps dimly and imperfectly, the new career opened to the art, and he may be said to have breathed the immortal spirit into the mere mechanical forms, when he introduced poetry into the bursts of the chorus and the monologue of the actor. Whatever else Phrynichus effected is uncertain.
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.
From the origin of Tragedy and Comedy, and to the days of Thespis, and from this time to that of Aeschylus, all is doubt, conjecture, and obscurity; neither Aristotle, nor any other ancient writer, gives us the least insight into the state and progress of the Greek Drama; the names of a few, and but a few, tragedians, during this dark period, are handed down to us; such were Epigenes, the Sicyonion, and Pratinas, who wrote fifty-two plays, thirty-two of which are said to be satirical.
X. The Athenians received the news of this fatal siege with the deepest sorrow, and Herodotus records an anecdote illustrative of the character of that impassioned people, and interesting to the history of their early letters. Phrynichus, a disciple of Thespis, represented on the stage the capture of Miletus, and the whole audience burst into tears.
It sails on the lotus-leaf down the sacred waters of the Ganges, and the eyes of the Hindoo girl glisten on seeing it. The bird Phoenix! Dost thou not know it? The bird of Paradise, song's sacred swan! It sat on the car of Thespis, like a croaking raven, and flapped its black, dregs-besmeared wings; over Iceland's minstrel-harp glided the swan's red, sounding bill.
Happily, at this time, Athens possessed a man of true genius, whose attention early circumstances had directed to a rude and primitive order of histrionic recitation: Phrynichus, the poet, was a disciple of Thespis, the mime: to him belongs this honour, that out of the elements of the broadest farce he conceived the first grand combinations of the tragic drama.
A crowd soon gathered, and despite the indignant cries of the master-pavior, who declared he was never more sane, this son of Thespis was tied hand and foot, and carried home in triumph with a howling mob for attendants. That ended Mr. Baker's rehearsal for the nonce; and it is to be presumed that, when next he essayed the lusty Sir John, he made sure of an appreciative audience.
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