word "Tragedy," which means in the theatrical sense a piece with an unhappy ending, just as Comedy (which really means the singing of something "comos" or gay) is the name given to a play which ends happily.
But how, you will ask, did this noisy chorus of masqueraders, stamping around like wild goats, ever develop into the noble tragedies which have filled the theatres of the world for almost two thousand years?
The connecting link between the goat-singer and Hamlet is really very simple as I shall show you in a moment.
The singing chorus was very amusing in the beginning and attracted large crowds of spectators who stood along the side of the road and laughed. But soon this business of hee-hawing grew tiresome and the Greeks thought dullness an evil only comparable to ugliness or sickness. They asked for something more entertaining. Then an inventive young poet from the village of Icaria in Attica hit upon a new idea which proved a tremendous success. He made one of the members of the goat-chorus step forward and engage in conversation with the leader of the musicians who marched at the head of the parade playing upon their pipes of Pan. This individual was allowed to step out of line. He waved his arms and gesticulated while he spoke (that is to say he "acted" while the others merely stood by and sang) and he asked a lot of questions, which the bandmaster answered according to the roll of papyrus upon which the poet had written down these answers before the show began.
This rough and ready conversation — the dialogue — which told the story of Dionysos or one of the other Gods, became at once popular with the crowd. Henceforth every Dionysian procession had an "acted scene" and very soon the "acting" was considered more important than the procession and the meh-mehing.
Æschylus, the most successful of all "tragedians" who wrote no less than eighty plays during his long life (from 526 to 455) made a bold step forward when he introduced two "actors" instead of one. A generation later Sophocles increased the
