range first to embrace the histories of other Heroes or Daemons—the difference is slight—who were essentially like Dionysus: Pentheus, Lycurgus, Hippolytus, Actaeon and especially, I should be inclined to add, Orestes. Then it took in any heroes to whose memory some ritual was attached. For the play is, with the rarest and most doubtful exceptions, essentially the enactment of a ritual, or rather of what the Greeks called an "aition"—that is, a supposed historical event which is the origin or "cause" of the ritual. Thus the death of Hippolytus is the "aition" of the lamentation-rite performed at the grave of Hippolytus; the death of Aias is the "aition" of the festival called Aianteia; the death of Medea's children, the "aition" of a certain ritual at Corinth; the story of Prometheus the "aition" of a certain Fire-festival in Athens. The tragedy, as ritual, enacts its own legendary origin.
There is then a further extension of the theme, to include a very few events in recent history. But we must observe that only those events were chosen which were felt to have about them some heroic grandeur or mystery; I think we may even say, only those events which, like the Battle of Salamis or the Fall
