But I say, no: first,
Because the general indistinctiveness from distance is a benefit that
applies equally to the fugitive changes of the features and to their
permanent expression. You need not regret the loss through _absence_,
of an appearance that would equally, though present, have been lost
through _distance_. Secondly, The Greek actor had always the resource,
under such difficulties, of averting his face a resource sanctioned in
similar cases by the greatest of the Greek painters. Thirdly, The
voluminous draperies of the scenic dresses, and generally of the Greek
costume, made it an easy thing to muffle the features altogether by a
gesture most natural to sudden horror. Fourthly, We must consider
that there were no stage lights: but, on the contrary that the general
light of day was specially mitigated for that particular part of the
theatre; just as various architectural devices were employed to swell the
volume of sound. Finally. I repeat my sincere opinion, that the general
indistinctness of the expression was, on principles of taste, an
advantage, as harmonizing with the stately and sullen monotony of the
Greek tragedy. Grandeur in the attitudes, in the gestures, in the groups,
in the processions--all this was indispensable: but, on so vast a scale as
the mighty cartoons of the Greek stage, an Attic artist as little regarded
the details of physiognomy, as a great architect would regard, on the
frontispiece of a temple, the miniature enrichments that might be suitable
in a drawing-room.
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