‘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 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.’.

In the Niobe of Aeschylus, Niobe, we are told, xs1F15ως τρίτης xs22EFμxs22EFρας xs22EFπικαθημxs22EFνη τxs1FF7 τάφxs1FF3 τxs22EFν παίδων οxs1F50δxs22EFν φθέγγεται xs22EFπικεκαλυμμένη. So in the Ransom of Hector, otherwise known as the Phrygians, ᾽Aχιλλεxs1F7Aς xs22EFμοίως xs22EFγκεκαλυμμέος οxs1F50 φθέγγεται πλxs22EFν xs22EFν xs22EFρχαxs1FD6ς όλίγα πρòς ‘Eρμxs22EFν xs22EFμοιβαxs1FD6α.

In the Niobe of Aeschylus, Niobe, we are told, xs1F15ως τρίτης xs22EFμxs22EFρας xs22EFπικαθημxs22EFνη τxs1FF7 τάφxs1FF3 τxs22EFν παίδων οxs1F50δxs22EFν φθέγγεται xs22EFπικεκαλυμμένη. So in the Ransom of Hector, otherwise known as the Phrygians, ᾽Aχιλλεxs1F7Aς xs22EFμοίως xs22EFγκεκαλυμμέος οxs1F50 φθέγγεται πλxs22EFν xs22EFν xs22EFρχαxs1FD6ς όλίγα πρòς ‘Eρμxs22EFν xs22EFμοιβαxs1FD6α.