ABSTRACT
We have examined in detail the structure and style of certain classical Greek plays. We assumed that Aeschylus and Sophocles were in complete command of their own art, and had very good reasons for shaping their plays as they did; and we have, I think, found nothing to disturb that assumption. From this examination there has emerged the conception of ‘religious’ drama, a form of drama in which the real focus is not the Tragic Hero but the divine background. This conception, if it is a sound one, gives rise to several considerations which it may be worth while to discuss briefly.
