in front of the tents, and golden shields hung from masts, amidst boughs of laurel and wreaths of oak. On the stage all was silence, but a murmur like the humming of bees in a hive rose from the vast hemicycle filled with spectators. All their faces, reddened by the reflection from the purple awning which waved above them, turned with attentive curiosity towards the large, silent stage, with its tomb and tents. The women laughed and ate lemons, and the regular theatre-goers called gaily to one another from their seats.
Paphnutius prayed inwardly, and refrained from uttering any vain words, but his neighbour began to complain of the decline of the drama.
"Formerly," he said, "clever actors used to declaim, under a mask, the verses of Euripides and Menander. Now they no longer recite dramas, they act in dumb show; and of the divine spectacles with which Bacchus was honoured in Athens, we have kept nothing but what a barbarian — a Scythian even — could understand — attitude and gesture. The tragic mask, the mouth of which was provided with metal tongues that increased the sound of the voice; the cothurnus, which raised the actors to the height of gods; the tragic majesty and the splendid verses that used to be sung, have all gone. Pantomimists, and dancing girls with bare faces, have replaced Paulus and Roscius. What would the Athenians of
