由此，学山羊发出咩咩之声的歌手就被称为山羊歌手。这一奇怪的称呼后来演变为现代名词--"悲剧"（tyagedy）。从戏剧的角度来说，"悲剧"意味着一出结局悲惨的戏，就如同喜剧（原意是歌咏、欢快、幽默之事）以大团圆而收场。

　　But how, you will ask, did this noisy chorus of masqueraders, stamping around like wild goats, ever develop into the noble tragedies which have filled the theatres of the world for almost two thousand years?

　　你肯定会问，这些化装成野山羊的歌手们嘈杂的合唱，究竟是如何发展成在世界各剧院上演2000年而不衰的高贵悲剧的呢？

　　The connecting link between the goat-singer and Hamlet is really very simple as I shall show you in a moment.

　　山羊歌手和哈姆雷特之间的联系，其实非常简单。我马上就向你说明。

　　The singing chorus was very amusing in the beginning and attracted large crowds of spectators who stood along the side of the road and laughed. But soon this business of tree-hawing grew tiresome and the Greeks thought dullness an evil only comparable to ugliness or sickness. They asked for something more entertaining. Then an inventive young poet from the village of Icaria in Attica hit upon a new idea which proved a tremendous success. He made one of the members of the goat-chorus step forward and engage in conversation with the leader of the musicians who marched at the head of the parade playing upon their pipes of Pan.

　　起初，山羊歌手的咩咩合唱很让人着迷，吸引了大批的观众站在街道两旁围观，笑声不断。可没过多久，这种叫声便让人厌烦了。希腊人把沉闷乏味视为与丑陋、疾患同等的罪恶，他们强烈要求合唱队拿出一些更吸引人的东西。后来，一位来自阿提卡地方伊卡里亚村的青年诗人，他想出了一个颇富创意的新点子。