Origins of Greek Drama
Ancient Greeks from the 5th century BC onwards were fascinated by the question of the origins of tragedy and comedy. They were unsure of their exact origins, but Aristotle and a number of other writers proposed theories of how tragedy and comedy developed, and told stories about the people thought to be responsible for their development. Here are some excerpts from Aristotle which show what ancient Greek thought about the origins of tragedy and comedy.
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Aristotle on the origins of Tragedy and Comedy
Indeed, some say that dramas are so called, because their authors represent the characters as "doing" them (drôntes). And it is on this basis that the Dorians [= the Spartans, etc.] lay claim to the invention of both tragedy and comedy. For comedy is claimed by the Megarians here in Greece, who say it began among them at the time when they became a democracy [c. 580 BC], and by the Megarians of Sicily on the grounds that the poet Epicharmas came from there and was much earlier than Chionides and Magnes; while tragedy is claimed by certain Dorians of the Peloponnese. They offer the words as evidence, noting that outlying villages, called dêmoi by the Athenians, are called kômai by them, and alleging that kômôdoi (comedians) acquired their name, not from kômazein (to revel), but from the fact that, being expelled in disgrace from the city, they wandered from village to village. The Dorians further point out that their word for "to do" is drân, whereas the Athenians use prattein. (Aristotle: Poetics Chapter 3)
2. And in accordance with their individual types of character, poetry split into two kinds, for the graver spirits tended to imitate noble actions and noble persons performing them, and the more frivolous poets the doings of baser persons, and as the more serious poets began by composing hymns and encomia, so these began with lampoons....Thus among the early poets, some became poets of heroic verse and others again of iambic verse. Homer was not only the master poet of the serious vein, unique in the general excellence of his imitations and especially in the dramatic quality he imparts to them, but was also the first to give a glimpse of the idea of comedy [in the Margites]...And once tragedy and comedy had made their appearance, those who were drawn to one or the other of the branches of poetry, true to their natural bias, became either comic poets instead of iambic poets, or tragic poets instead of epic poets because the new types were more important-- i.e. got more favorable attention, than the earlier ones. Whether tragedy has, then, fully realized its possible forms or has not yet done so is a question the answer to which both in the abstract and in relation to the audience [or the theater] may be left for another discussion. Its beginnings, certainly, were in improvisation [autoschediastikês], as were also those for comedy, tragedy originating in impromptus by the leaders of dithyrambic choruses, and comedy in those of the leaders of the phallic performances which still remain customary in many cities. Little by little tragedy grew greater as the poets developed whatever they perceived of its emergent form, and after passing through many changes, it came to a stop, being now in possession of its specific nature [tên hautês phusin]. It was Aeschylus who first increased the number of the actors from one to two and reduced the role of the chorus, giving first place to the dialogue. Sophocles [added] the third actor and [introduced] painted scenery. Again, [there was a change] in magnitude; from little plots and ludicrous language (since the change was from the satyr play), tragedy came only late in its development to assume an air of dignity, and its meter changes from the trochaic tetrameter to the iambic trimeter. Indeed, the reason why they used the tetrameter at first was that their form of poetry was satyric [i.e. for "satyrs"] and hence more oriented toward dancing; but as the spoken parts developed, natural instinct discovered the appropriate meter, since of all metrical forms the iambic trimeter is best adapted for speaking. (This is evident, since in talking with one another we very often utter iambic trimeters, but seldom dactylic hexameters, or if we do we depart from the tonality of normal speech. Again, [there was a change] in the number of episodes -- but as for this and the way in which reportedly each of the other improvements came about, let us take it all as said, since to go through the several details would no doubt be a considerable task. (Aristotle: Poetics Chapter 4)
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