The masks also must be considered--their vast variety and admirable workmanship. Of this we retain proof by the marble masks which represented them; but to this in the real mask we must add the thinness of the substance and the exquisite fitting on to the head of the actor; so that not only were the very eyes painted with a single opening left for the pupil of the actor's eye, but in some instances, even the iris itself was painted, when the colour was a known characteristic of the divine or heroic personage represented.
Finally, I will note down those fundamental characteristics which contradistinguish the ancient literature from the modern generally, but which more especially appear in prominence in the tragic drama. The ancient was allied to statuary, the modern refers to painting. In the first there is a predominance of rhythm and melody, in the second of harmony and counterpoint. The Greeks idolized the finite, and therefore were the masters of all grace, elegance, proportion, fancy, dignity, majesty--of whatever, in short, is capable of being definitely conveyed by defined forms or thoughts: the moderns revere the infinite, and affect the indefinite as a vehicle of the infinite;--hence their passions, their obscure hopes and fears, their wandering through the unknown, their grander moral feelings, their more august conception of man as man, their future rather than their past--in a word, their sublimity.
Let two persons join in the same scheme to ridicule a third, and either take advantage of, or invent, some story for that purpose, and mimicry will have already produced a sort of rude comedy. It becomes an inviting treat to the populace, and gains an additional zest and burlesque by following the already established plan of tragedy; and the first man of genius who seizes the idea, and reduces it into form,--into a work of art,--by metre and music, is the Aristophanes of the country.
How just this account is will appear from the fact that in the first or old comedy of the Athenians, most of the _dramatis personæ_ were living characters introduced under their own names; and no doubt, their ordinary dress, manner, person and voice were closely mimicked. In less favourable states of society, as that of England in the middle ages, the beginnings of comedy would be constantly taking place from the mimics and satirical minstrels; but from want of fixed abode, popular government, and the successive attendance of the same auditors, it would still remain in embryo. I shall, perhaps, have occasion to observe that this remark is not without importance in explaining the essential differences of the modern and ancient theatres.