play may be well learned from Milton's imitation of an Attic tragedy in the "Samson Agonistes;" and as corresponding in many respects to the choral ode, we might instance Gray's "Bard." In a tragedy whose subject was the death of Edward II., that impassioned and mysterious ode in which the punishment of the royal line is dimly prophesied would form a good opening chorus.
The ode comes to an end, and then, with successive periods of dialogue interspersed with more choric odes, the play goes on, till the catastrophe, generally a mournful one, has been effected. Then follow comments upon it from actor and from chorus, and all ends, it may be, with a grand procession, during which the chorus sums up the moral of the whole. In all this there is not much acting, not much that is really what we call dramatic: we have rather a series of tableaux, majestic, colossal, statuesque; dialogues or soliloquies intentionally stilted, in order that a certain distance and mystery may attach to them; while, giving tone to it all, and relieving the monotony of the long quiet speeches by comments such as a sensible spectator might be supposed to make, we have the stately dance and chant of the chorus.
One play would probably seldom occupy more than an hour and a half; but often three plays were connected together in one grand whole called a trilogy, somewhat as the several parts of Shakespeare's historical plays are connected; and these were followed by a comic piece by the same poet, which might relieve the seriousness of so much tragedy. Each competitor,
