In forming our estimate of tragedy, let us first consider its externals—the hideous, appalling spectacle that the actor presents, His high boots raise him up out of all proportion; his head is hidden under an enormous mask; his huge mouth gapes upon the audience as if he would swallow them; to say nothing of the chest-pads and stomach-pads with which he contrives to give himself an artificial corpulence, lest his deficiency in this respect should emphasize his disproportionate height. And in the middle of it all is the actor, shouting away, now high, now low,—chanting his iambics as often as not; could anything be more revolting than this sing-song recitation of tragic woes? The actor is a mouthpiece: that is his sole responsibility;—the poet has seen to the rest, ages since. From an Andromache or a Hecuba, one can endure recitative: but when Heracles himself comes upon the stage, and so far forgets himself, and the respect due to the lion-skin and club that he carries, as to deliver a solo, no reasonable person can deny that such a performance is in execrable taste.
Then again, your objection to dancing—that men act women’s parts—is equally applicable to tragedy and comedy, in which indeed there are more women than men.
