The two rival zeniths of European culture – ancient Hellas and Renaissance Italy – rested upon no larger political organization than the citystate. Geographical conditions presumably contributed to this result in Greece. Everywhere mountains or water intervened; bridges were rare and roads were poor; and though the sea was an open highway, it bound the city with its commercial associates rather than with its geographical neighbors. But geography does not altogether explain the city-state. There was as much separatism between Thebes and Plaraea, on the same Boeotian plain, as between Thebes and Sparta; more between Sybaris and Crotona on the same Italian shore than between Sybaris and Syracuse. Diversity of economic and political interest kept the cities apart; they fought one another for distant markers or grain, or formed rival alliances for control of the sea. Distinctions of origin helped to divide them; the Greeks considered themselves to be all of one race, but their tribal divisions – Aeolian, Ionian, Achaean, Dorian – were keenly felt, and Athens and Sparta disliked each other with an ethnological virulence worthy of our own age. Differences of religion strengthened, as they were strengthened by, political divisions. Out of the unique cults of locality and clan came distinct festivals and calendars, distinct customs and laws, distinct tribunals, even distinct frontiers; for the boundary stones limited the realm of the god as well as of the community; cujus regio, ejus religio. These and many other factors united to produce the Greek city-state.

It was not a new administrative form: we have seen that there were citystates in Sumcria, Babylonia, Phoenicia, and Crete hundreds or thousands of years before Homer or Pericles. Historically the city-state was the village community in a higher stage of fusion or development – a common market, meeting ground, and judgment seat for men tilling the same hinterland, belonging to the same stock, and worshiping the same god. Poetically it was to the Greek the best available compromise between those two hostile and fluctuating components of human society-order and liberty; a smaller community would have been insecure, a larger one tyrannical. Ideally – in the aspirations of philosophers – Greece was to consist of sovereign city-states co-operating in a Pythagorean harmony. Aristotle conceived the state as an association of freemen acknowledging one government and capable of meeting in one assembly; a state with more than ten thousand citizens, he thought, would be impracticable. In the Greek language one word – polis – sufficed for both city and state.

All the world knows that this political atomism brought to Hellas many a tragedy of fraternal strife. Because Ionia was unable to unite for defense it fell subject to Persia; because Greece, despite confederacies and leagues, was unable to stand together, the freedom which it idolized was in the end destroyed. And yet Greece would have been impossible without the city-state. Only through this sense of civic individuality, this exuberant assertion of independence, this diversity of institutions, customs, arts, and gods, was Greece stimulated, by competition and emulation, to live human life with a zest and fullness and creative originality that no other society had ever known. Even in our own times, with all our vitality and variety, our mechanisms and powers, is there any community of like population or extent that pours into the stream of civilization such a profusion of gifts as flowed from the chaotic liberty of the Greeks?

Nevertheless there were common factors in the life of these watchfully separatist states. As far back as the thirteenth century b.c. we find one language throughout the Greek peninsula. It belonged to the "Indo-European" group, like Persian and Sanskrit, Slavonic and Latin, German and English; thousands of words denoting the primary relations or objects of life have common roots in these tongues, and suggest not only the predispersion antiquity of the things denoted, but the kinship or association of the peoples who used them in the dawn of history. [Cf. in addition to numerals and family terms, such words as Sanskrit dam(as) (house), Greek domos. Latin domus, English tim-ber; dvaras, thyra, fores, door; venas, (f)oinos, vinum, wine; naus, naus, navis, nave; akshas, axon, axis, axle; ingam, zygon, iugum, yoke, etc.] It is true that the Greek language was diversified into dialects – Aeolic, Doric, Ionic, Attic; but these were mutually intelligible, and yielded, in the fifth and fourth centuries, to a koine dialektos, or common dialect, which emanated principally from Athens, and was spoken by nearly all the educated classes of the Hellenic world. Attic Greek was a noble tongue, vigorous, supple, melodious; as irregular as any vital speech, but lending itself readily to expressive combinations, delicate gradations and distinctions of meaning, subtle philosophical conceptions, and every variety of literary excellence from the "many-billowed surge" of Homer's verse to the placid flow of Plato's prose. [We do not know how ancient Greek was pronounced.' The accents that trouble us so much were seldom used by the classical Greeks, but were inserted into ancient texts by Aristophanes of Byzantium in the third century b.c. These accents should be ignored in reading Greek poetry.]

Greek tradition attributed the introduction of writing into Greece to Phoenicians in the fourteenth century B.C., and we know nothing to the contrary. The oldest Greek inscriptions, dating from the eighth and seventh centuries, show a close resemblance to the Semitic characters on the ninth-century kloabite stone! These inscriptions were written, in Semitic fashion, from right to left; sixth-century- inscriptions (e.g., at Gortyna) were made alternately from right to left and from left to right; later inscriptions are from left to right throughout, and certain letters are turned around accordingly, as b and E to B and E. The Semitic names for the letters were adopted with minor modifications; [Cf. Greek alpha, Phoenician aleph (bull); beta, Beth (tent); gamma, gimel (camel); delta daleth (door); e-psilon, he (window); zeta, zain (lance); heta, kheth (paling); iota, yod (hand), etc.], but the Greeks made several basic changes. Above all, they added vowels, which the Semites had omitted; certain Semitic characters denoting consonants or breathings were used to represent a, e, i, o, and ü. Later the Ionians added the long vowels eta (long e) and o-mega (long or double o). Ten different Greek alphabets struggled for ascendancy as part of the war of the city-states; in Greece the Ionian form prevailed, and was transmitted to eastern Europe, where it survives today; in Rome the Chalcidian form was adopted from Cumae to become the Latin alphabet, and ours. The Chalcidic alphabet lacked the long e and o, but, unlike the Ionian, retained the Phoenician vau as a consonant (a v with approximately the sound of w); hence the Athenians called wine oinos, the Chalcidians called it winos, the Romans called it vinum, we call it wine. Chalcis kept the Semitic kappa or q, and passed it on to Rome and ourselves; Ionia abandoned it, content with k. Ionia represented L as A, Chalcis as L; Rome straightened up the latter form and gave it to Europe. The Ionians used P for R, but in Greek Italy the P sprouted a tail, and became R.

The earliest uses of writing in Greece were probably commercial or religious; apparently priestly charms and chants are the mother of poetry, and bills of lading are the father of prose. Writing split into two varieties: the formal for literary or epigraphic purposes, the cursive for ordinary use. There were no accents, no spaces bctween words, no punctuation points;' but a change of topic was marked off by a horizontal dividing stroke called the paragraphos – i.e., a sign "written on the side." The materials used to receive writing were various: at first, if we may believe Pliny, leaves or the bark of trees; for inscriptions, stone, bronze, or lead; for ordinary writing, clay tablets as in Mesopotamia [Graphein, which we translate to write, originally meant to engrave.]; then wooden tablets covered with wax, which were popular, in retrospect, with schoolboys; for more permanent purposes papyrus, which the Phoenicians brought from Egypt, and (in the Hellenistic and Roman periods) parchment, made from the skins or membranes of goats or sheep. A metal stylus was used on wax tablets; on papyrus or parchment a reed dipped in ink. Wax writing was erased with the flat butt of the stylus, ink with a sponge; so the poet Martial sent a sponge with his poems to his friend, so that they might be wiped out with a stroke. Many a critic will mourn the passing of this courtesy.

In no field have the old words so regularly come down to us as in that of writing. Paper, of course, is papyrus, and once again, in the cycle of fashion, the substance is a compressed plant. A Line of writing was a stichos or row; the Latins called it a versus or verse – i.e., a turning back. The text was written in columns upon a strip of papyrus or parchment from twenty to thirty feet long, wound about a stick. Such a roll was called a biblos, from the Phoenician city, so named, whence papyrus came to Greece. A smaller roll was called biblion; our Bible was originally ti biblia, the rolls [The Latins called a roll volumen – wound up.]. When a roll formed part of a larger work it was called a tomos, or cutting. The first sheet of a roll was called the protokollon – i.e., the first sheet glued to the stick. The edges [Latin frontes, whence our frontispiece.] of the roll were smoothed with pumice and sometimes colored; if the author could afford the expense, or the roll contained important matter, it might be wrapped in a diphthera (membrane), or, as the Latins called it, a vellum. Since a large roll would be inconvenient for handling or reference, literaryy works were usually divided into several rolls, and the word biblos, or book, was applied not to each work as a whole, but to each roll or part. These divisions were seldom made by the author; later editors divided the Histories of Herodotus into nine books, the Peloponnesian War of Thucydides into eight, Plato's Republic into ten, the Iliad and the Odyssey into twenty-four. Since papyrus was costly, and each copy had to be written by hand, books were very limited in the classic world; it was easier than now to be educated, though as hard as now to be intelligent. Reading was not a universal accomplishment; most knowledge was handed down by oral tradition from one generation or craftsman to the next; most literature was read aloud by trained reciters to persons who learned through the ear. [Though we have been eye-minded since the development of printing, and writing is seldom read aloud, style and punctuation are still formed with a view to easy breathing in the reader, and a rhythmic sound in the words. Probably our descendants will be ear-minded again.] There was no reading public in Greece before the seventh century; there were no Greek libraries till those collected by Polycrates and Peisistratus in the sixth.' In the fifth century we hear of the private libraries of Euripides and the archon Eucleides; in the fourth, of Aristotle's. We know of no public library before Alexandria's, none in Athens till Hadrian.' Perhaps the Greeks of Pericles' day were so great because they did not have to read many books, or any long one.

Literature, like religion, divided and united Greece. The poets sang in their local dialects, and often of their native scenes; but all Hellas listened to the more eloquent voices, and stirred them now and then to broader themes. Time and prejudice have destroyed too much of this early poetry to let us feel its wealth and scope, its reputed vigor of utterance and finish of form; but as we move through the isles or cities of sixth-century Greece our wonder rises at the abundance and excellence of Greek literature before the Periclean age. The lyric poetry reflected an aristocratic society in which feeling, thought, and morals were free so long as they observed the amenities of breeding; this style of urbane and polished verse tended to disappear under the democracy. It had a rich variety of structure and meter, but seldom shackled itself with rhyme; poetry meant to the Greeks, feeling imaginatively and rhythmically expressed. [Rhyme was mostly confined to oracles and religious prophecies.]

While the lyric singers tuned their lyres to love and war, the wandering bards, in great men's halls, recited in epic measures the heroic deeds of the race. Guilds of "rhapsodes" [From raptein, to stitch together, and oide, a song.] built up through generations a cycle of lays centering around the sieges of Thebes and Troy and the homing of the warriors. Song was socialized among these minstrels; each stitched his story together from earlier fragrments and none pretended to have composed a whole sequence of these tales. In Chios a clan of such rhapsodes called themselves Homeridae, and claimed descent from a poet Homer who, they said, was the author of the epics that they recited throughout eastern Greece." Perhaps this blind bard was but an eponym, the imaginary ancestor of a tribe or group, like Hellen, Dorus, or Ion. The Greeks of the sixth century attributed to Homer not only the Iliad and the Odyssey but all the other epics then existing. The Homeric poems are the oldest epics known to us; but their very excellence, as well as their many references to earlier bards, suggest that the surviving epics stand at the end of a long line of development from simple lays to lengthy "stitched" songs. In sixth-century Athens – possibly under Solon, probably under Peisistratus – a governmental commission selected or collated the Iliad and the Odyssey from the epic literature of the preceding centuries, assigned them to Homer, and edited – perhaps wove – them into substantially their present shape.

It is one of the miracles of literature that poems so complex in origin achieved in the end so artistic a result. It is quite true that both in language and in structure the Iliad falls considerably this side of perfection: that Aeolian and Ionic forms are mingled as if by some polyglot Smyrnnan, and that the meter requires now one dialect and now the other; that the plot is marred by inconsistencies, changes of plan and emphasis, and contradictions of character; that the same heroes are killed two or three times over in the course of the tale; that the original theme – the wrath of Achilles and its results – is interrupted and obscured by a hundred episodes apparently taken from other lays and sewn into the epic at every seam. Nevertheless, in its larger aspects the story is one, the language is powerful and vivid, the poem is all in all "the greatest that ever sounded on the lips of men." Such an epic could have been begun only in the active and exuberant youth of the Greeks, and could have been completed only in their artistic maturity. Its characters are nearly all warriors or their women; even the philosophers, like Nestor, put up an enviably good fight. These individuals are intimately and sympathetically conceived; and perhaps the finest thing in all Greek literature is the unbiased manner in which we are made to feel now with Hector and now with Achilles. In his tent Achilles is a thoroughly unheroic and unlikable figure, complaining to his mother that his luck does not befit his semidivinity, and that Agamemnon has stolen his plum, the unhappy Briseis; letting the Greeks die by the thousands while he eats and pouts and sleeps in his ship or his tent; sending Patroclus unaided to death, and then rending the air with unmanly lamentations. When finally he goes into battle he is not stirred by patriotism but mad with grief over the loss of his friend. In his rage he loses all decency, and sinks to savage cruelty with both Lycaon and Hector. In truth he is an undeveloped mind, unsettled and uncontrolled, and overshadowed with prophecies of death. "Nay, friend," he says to the fallen Lycaon, who sues for mercy, "die like another! What wouldst thou vainly weeping? Patroclus died, who was far better than thou. Look upon me? Am I not beautiful and tall, and sprung of a good father, and a goddess the mother that bare me? Yet, lo, Death is over me, and the mighty hand of Doom. There cometh a dawn of day, a noon or an evening, and a hand that I know not shall lay me dead." So he stabs the unresisting Lycaon through the neck, flings the body into the river, and makes one of those grandiose speeches that adorn the slaughter in the Iliad, and laid the foundation for oratory among the Greeks. Half of Hellas worshiped Achilles for centuries as a god; we accept him, and forgive him, as a child. At the worst he is one of the supreme creations of the poetic mind.

What carries us along through the Iliad when we do not have to study or translate it is not merely these characterizations, so numerous and diverse, nor merely the flow and turmoil of the tale, but the rushing splendor of the verse. It must be admitted that Homer repeats as well as nods; it is part of his plan to recall as in refrain certain epithets and lines; so he sings with fond repetition, of Emos d'erigeneia phane rhododacrylos Eos – "when appeared the morning's daughter, rosy-fingered Dawn." But if these are flaws they are lost in the brilliance of the language, and the wealth of similes that now and then, amid the shock of war, calm us with the quiet beauty of peaceful fields. "As when flies in swarming myriads haunt the herdsman's stalls in spring time, when new milk has filled the pails – in such vast multitudes mustered the long-haired Greeks upon the plain." Or

As when, among
The deep dells of an arid mountain-side,
A great fire burns its way, and the thick wood
Before it is consumed, and shifting winds
Hither and thither sweep the flames – so ranged
Achilles in his fury through the field
From side to side, and everywhere o'ertook
His victims, and the earth ran dark with blood.

 

The Odyssey is so different from all this that from the outset one suspects its separate authorship. Even some of the Alexandrian scholars suggested this, and all the critical authority of Aristarchus was required to hush the dispute. The Odyssey agrees with the Iliad in certain standard phrases – "owl-eyed Athena," "long-haired Greeks," "wine-dark sea," "rosy-fingered Dawn" – which may have been taken from the same hoard and poetical tradition into which the authors of the Iliad had dipped their pens. But the Odyssey contains an array of words apparently brought into use after the Iliad was composed. In the second epic we hear frequently of iron, where the earlier one spoke of bronze; we hear of writing, of private property in land, of freedmen and emancipation-none of which are mentioned in the Iliad; the very gods and their functions are different. The meter is the same dactylic hexameter, as in all the Greek epics; but the style and spirit and substance are so far from the Iliad that if one author wrote both poems he was a paragon of complexity and a master of all moods. The new poet is more literary and philosophical, less violent and warlike, than the old; more self-conscious and meditative, leisurely and civilized; so gentle, indeed, that Bentley thought the Odyssey had been composed for the special benefit of women.

Whether here too we have poets rather than a poet is harder to say than in the case of the Iliad. There are signs of suture, but the stitching seems more skillful than in the older epic; the plot, though devious, turns out in the end to be remarkably consistent, worthy almost of contemporary fictioneers. From the beginning the conclusion is foreshadowed, every episode advances it, and its coming binds all the books into a whole. Probably the epic was built upon pre-existing lays, as in the case of the Iliad; but the work of unification is far more complete. We may conclude with a high degree of diffidence that the Odyssey is a century younger than the Iliad, and is predominantly the work of one man.

The characters are less vigorously and vividly conceived than in the Iliad. Penelope is shadowy, and never quite emerges from behind her loom except in the end, when a moment of doubt, perhaps of regret, flits through her mind at the return of her master. Helen is clearer, and unique; here the launcher of a thousand ships and the cause of ten thousand deaths is still "a goddess among women," maturely lovely in her middle age, gentler and quieter than before, but as proud as ever, and taking gracefully for granted all the attentions that hedge in a queen.' Nausicaa is a pretty essay in the male understanding of women; we hardly expected so delicate and romantic a picture from a Greek. Telemachus is uncertainly drawn, infected with hesitation as by some Hamlet touch; but Odysseus is the most complete and complex portrait in Greek poetry. All in all, the Odyssey is a fascinating novel in engaging verse, full of tender sentiment and adventurous surprise; more interesting, to an umvarlike and aging soul, than the majestic and bloody Iliad.

These poems – sole survivors of a long succession of epics – became the mast precious element in the literary heritage of Greece. "Homer" was the staple of Greek education, the repository of Greek myth, the source of a thousand dramas, the foundation of moral training, and – strangest of all – thee very Bible of orthodox theology. It was Homer and Hesiod, said Herodotus (probably with some hyperbole), who gave definite and human form to the Olympians, and order to the hierarchy of heaven. There is much that is magnificent in Homer's gods, and we come to like them for their failings; but scholars have long since detected in the poets who pictured them a rollicking skepticism hardly befitting a national Bible. These deities quarrel like relatives, fornicate like fleas, and share with mankind what seemed to Alexander the stigmata of mortality – the need for love and sleep; they do everything human but hunger and die. Not one of them could bear comparison with Odysseus in intelligence, with Hector in heroism, with Andromache in tenderness, or with Nestor in dignity. Only a poet of the sixth century, versed in Ionian doubt, could have made such farcelings of the gods. It is one of the humors of history that these epics, in which the Olympians have essentially the function of comic relief, were reverenced throughout Hellas as props of respectable morality and belief. Eventually the anomaly proved explosive – the humor destroyed the belief, and the moral development of men rebelled against the superseded morals of the gods.

Religion failed to unify Greece, but athletics-periodically-succeeded. Men went to Olympia, Delphi, Corinth, and Nemea not so much to honor the gads – for these could be honored anywhere – as to witness the heroic contests of chosen athletes, and the ecumenical assemblage of varied Greeks. Alexander, who could see Greece from without, considered Olympia the capital of the Greek world.

Here under the rubric of athletics we find the real religion of the Greeks – the worship of health, beauty, and strength. "To be in health," said Simonides, "is the best thing for man; the next best, to be of form and nature beautiful; the third, to enjoy wealth gotten without fraud; and the fourth, to be in youth's bloom among friends." "There is no greater glory for a man as long as he lives," said the Odyssey," "than that which he wins by his own hands and feet." Perhaps it was necessary for an aristocratic people, living among slaves more numerous than themselves and frequently called upon to defend their soil against more populous nations, to keep in good condition. Ancient war depended upon physical vigor and skill, and these were the original aim of the contests that filled Hellas with the noise of their fame. We must not think of the average Greek as a student and lover of Aeschylus or Plato; rather, like the typical Briton or American, he was interested in sport, and his favored athletes were his earthly gods.

Greek games were private, local, municipal, and Panhellenic. Even the fragmentary remains of antiquity reveal an interesting range of sports. A relief in the Athens Museum shows on one side a wrestling match, on another a hockey game. Swimming, bareback riding, throwing or dodging missiles while mounted, were not so much sports as general accomplishments of all citizens. Hunting became a sport when it ceased to be a necessity. Ball games were as varied then as now, and as popular; at Sparta the terms ballplayer and youth were synonyms. Special rooms were built in the palaestra for games of ball; these rooms were called sphairisteria, and the teachers were sphasristai. On another relief we see men bouncing a ball against the floor or the wall, and striking it back with the flat of the hand; we do not know whether the players did this in turn as in modern handball. One ball game resembled Canadian lacrosse, being a form of hockey played with racquets. Pollux, writing in the second century of our era, describes it in almost modern terms:

Certain youths, divided into two equal groups, leave in a level place-which they have prepared and measured-a ball made of leather, about the size of an apple. They rush at it, as if it were a prize lying between them, from their fixed starting-points. Each of them has in his right hand a racquet (rhabdon) . . . ending in a sort of flat bend whose center is woven with gut strings . . . plaited like a net. Each side strives to be the first to drive the ball to the opposite end of the ground from that allotted to them.

 

The same author pictures a game in which one team tries to throw a ball over or through an opposed group, "until one side drives the other back over their goal line." Antiphanes, in an imperfect fragment from the fourth century b.c., describes a "star": "When he got the ball he delighted to give it to one player while dodging another; he knocked it away from one and urged on another with noisy cries. Outside, a long pass, beyond him, overhead, a short pass . . . ."

From these private sports came local and incidental games, as after the death of a hero like Patroclus, or the successful issue of some great enterprise, like the march of Xenophon's Ten Thousand to the sea. Then came municipal games, in which the contestants represented various localities and groups within one city-state. Almost but not quite international were the quadrennial Panathenaic games, established by Peisistratus in 566; here the entries were mostly from Attica, but outsiders were welcomed. Besides the usual athletic events there were chariot races, a torch race, a rowing race, musical competitions for voice, harp, lyre, and flute, dances, and recitations, chiefly from Homer. Each of the ten divisions of Attica was represented by twenty-four men chosen for their health, vigor, and good looks; and a prize was awarded to the most impressive twenty-four for "fine manhood."

Since athletics were necessary for war, and yet would die without competitions, the cities of Greece, to provide the highest stimulus, arranged Panhellenic games. The oldest of these were organized as a regular quadrennial event at Olympia in 776 b.c. – the first definite date in Greek history. Originally confined to Eleans, within a century they were drawing entries from all Greece; by 476 the list of victors ranged from Sinope to Marseilles. The feast of Zeus became an international holyday; a truce was proclaimed to all wars in Greece for the month of the festival, and fines were levied by the Eleans upon any Greek state in whose territory a traveler to the games suffered molestation. Philip of Macedon humbly paid a fine because some of his soldiers had robbed an Athenian en route to Olympia.

We picture the pilgrims and athletes starting out from distant cities, a month ahead of time, to come together at the games. It was a fair as well as a festival; the plain was covered not only with the tents that sheltered the visitors from the July heat, but with the booths where a thousand concessionaires exposed for sale everything from wine and fruit to horses and statuary, while acrobats and conjurors performed their tricks for the crowd. Some juggled balls in the air, others performed marvels of agility and skill, others ate fire or swallowed swords: modes of amusement, like forms of superstition, enjoy a reverend antiquity. Famous orators like Gorgias, famous sophists like Hippias, perhaps famous writers like Herodotus, delivered addresses or recitations from the porticoes of the temple of Zeus. It was a special holiday for men, since married women were not allowed to attend the festival; these had their own games at the feast of Hera. Menander summed up such a scene in five words: "crowd, market, acrobats, amusements, thieves."

Only freeborn Greeks were allowed to compete in the Olympic games. The athletes (from athlos, a contest) were selected by local and municipal elimination trials, after which they submitted for ten months to rigorous training under professional paidotribai (literally, youth rubbers) and gynnastai. Arrived at Olympia, they were examined by the officials, and took an oath to observe all the rules. Irregularities were rare; we hear of Eupolis bribing other boxers to lose to him, but the penalty and dishonor attached to such offenses were discouragingly great. When everything was ready the athletes were led into the stadium; as they entered, a herald announced their names and the cities that had entered them. All the contestants, whatever their age or rank, were naked; occasionally a girdle might be worn at the loins. Of the stadium itself nothing remains but the narrow stone slabs toed by the runners at the starting point. The 45,000 spectators kept their places in the stadium all day long, suffering from insects, heat, and thirst; hats were forbidden, the water was bad, and flies and mosquitoes infested the place as they do today. Sacrifices were offered at frequent intervals to Zeus Averter of Flies.

The most important events were grouped together as the pentathlon, or five contests. To promote all-around development in the athlete each entry in any of these events was required to compete in all of them; to secure the victory it was necessary to win three contests out of the five. The first was a broad jump; the athlete held weights like dumbbells in his hands, and leaped from a standing start. Ancient writers assure us that sonic jumpers spanned fifty feet; but it is not necessary to believe everything that we read. The second event was throwing the discus, a circular plate of metal or stone weighing about twelve pounds; the best throws are said to have covered a hundred feet." The third contest was in hurling the javelin or spear, with the aid of a leather thong attached to the center of the shaft. The fourth and principal event of the group was the stadium sprint-i.e., for the length of the stadium, usually some two hundred yards. The fifth contest was wrestling. It was a highly popular form of competition in Greece, for the very name palaistra was taken from it, and many a story was told of its champions.

Boxing was an ancient game, almost visibly handed down from Minoan Crete and Mycenaean Greece. The boxers practiced with punching balls hung on a level with the head and filled with fig seeds, meal, or sand. In the classic age of Greece (i.e., the fifth and fourth centuries), they wore "soft gloves" of oxhide dressed with fat and reaching almost to the elbow. Blows were confined to the head, but there was no rule against hitting a man who was down. There were no rests or rounds; the boxers fought till one surrendered or succumbed. They were not classified by weight; any man of any weight might enter the lists. Hence weight was an asset, and boxing degenerated in Greece from a competition in skill into a contest in brawn.

In the course of time, as brutality increased, boxing and wrestling were combined into a new contest called the pankration, or game of all powers. In this eventhing but biting and eye-gouging was permitted, even to a kick in the stomach.' Three heroes whose names have come down to us won by breaking the fingers of their opponents; another struck so ferociously with straight extended fingers and strong sharp nails that he pierced the flesh of his adversary and dragged out his bowels. Milo of Crotona was a more anuable pugilist. He had developers his strength, we are told, by carrying a calf every day of its life until it was a full-grown bull. People loved him for his tricks: he would hold a pomegranate so fast in his fist that no one could get it from him, and yet the fruit was uninjured; he would stand on an oiled quoit and resist all efforts to dislodge him; he would tie a cord around his forehead and burst tile cord by holding his breath and so forcing blood to leis head. In the end he was destroyed by leis virtues. "For he chanced," says Pausamas, "on a withered tree, into which some wedges had been driven to separate the wood, and he took it into his head to keep the wood apart with his hands. But the wedges slipped our, he was imprisoned in the tree, and became a prey to the wolves.

In addition to the pentathlon sprint, there were other foot races at the games. One was for four hundred yards, another for twenty-four stadia, or 2 2/3 miles; a third was an armed race, in which each runner carried a heavy shield. We have no knowledge of the records made in these races; the stadium differed in length in different cities, and the Greeks had no instruments for measuring small intervals of time. Stories tell of a Greek runner who could outdistance a hare; of another svho raced a horse from Coronea to Thebes (some twenty miles) and beat it; and of how Phidippides ran from Athens to Sparta – 150 miles – in two days and, at the cost of his life, brought to Athens the news of the victory at Marathon, twenty-four miles away. But there were no "marathon races" in Greece.

In the plain below the stadium Olympia built a special hippodrome for horse races.Women as swell as men might enter their horses, and, as now, the prize went to the owner and not to the jockey, though the horse was sometimes rewarded with a statue. The culminating events of the games were the chariot races, with two or four horses running abreast. Often ten four-horse chariots competed together; and as each had to negotiate twenty-three turns around the posts at the ends of the course; accidents were the chief thrill of the game; in one race with forty starters a single chariot finished. We may imagine the tense excitement of the spectators at these contests, their wordy arguments about their favorites, their emotional abandonment as the survivors rounded the last turn.

When the toils of five days were over the victors received their rewards. Each bound a woolen fillet about his head, and upon this the judges placed a crown of wild olive, while a herald announced the name and city of the winner. This laurel wreath was the only prize given at the Olympic games, and yet it was tile most eagerly contested distinction in Greece. So important were the games that not even the Persian invasion stopped them; and while a handful of Greeks withstood Xerxes' army at Thermopylae the customary thousands watched Theagenes of Thasos, on the very day of the battle, win the pancratiast's crown. "Good heavens!" exclaimed a Persian to his general; "what manner of men are these against whom you have brought us to fight? – men who contend with one another not for money but for honor!" He, or the Greek inventor of the tale, did the Greeks too much credit, and not merely because the Greeks should on that day have been at Thermopylae rather than at Olympia. Though the direct prize at the games was little, the indirect rewards were great. Many cities voted substantial sums to the victors on their return from their triumphs; some cities made them generals; and the crowd idolized them so openly that jealous philosophers complained. Poets like Simonides and Pindar were engaged by the victor or his patrons to write odes in his honor, which were sung by choruses of boys in the procession that welcomed him home; sculptors were paid to perpetuate him in bronze or stone; and sometimes he was given free sustenance in the city hall. We may judge the cost of this item when vye learn, on questionable authority, that Milo ate a four-year-old heifer, and Theagenes an ox, in a day.

The sixth century saw the peak of the splendor and popularity of athletics in Greece. In 582 the Amphictyonic League established the Pythian games in honor of Apollo at Delphi; in the same year the Isthmian games were instituted at Corinth in honor of Poseidon; six years later the Nemean games were inaugurated to celebrate tile Nemean Zeus; and all three occasions became Panhellenic festivals. Together with the Olympic games they formed a periodol, or cycle, and the great ambition of a Greek athlete was to win the crown at all of them. In the Pythian games contests in music and poetry were added to the physical competitions; and indeed such musical tilts had been celebrated at Delphi long before the establishment of the athletic games. The original event was a hymn in honor of Apollo's victory over the Delphic python; in 582 contests were added in singing. and in playina the lyre and the flute. Similar musical contests were held at Corinth, Ncmea, Delos, and elsewhere; for the Greeks believed that by frequent public competitions they could stimulate not only the ability of the performer but the taste of the public as well. The principle was applied to almost every art-to pottery, poetry, sculpture, painting, choral singing, oratory, and drama. In this way and others the games had a profound influence upon art and literature, and even upon the writing of history; for the chief method of reckoning time, in later Greek historiography, was by Olympiads, designated by the name of the victor in the one-stadium foot race. The physical perfection of the all-around athlete in the sixth century generated that ideal of statuary which reached its fullness in Myron and Polycleitus. The nude contests and games in the palaestra and at the festivals gave the sculptor unequaled opportunities to study the human body in every natural form and pose; the nation unwittingly became models to its artists, and Greek athletics united with Greek religion to generate Greek art.

Now that we come at last to the most perfect products of Greek civilization we find ourselves tragically limited in the quantity of the remains. The devastation caused in Greek literature by time and bigotry and mental fashions is negligible compared with the destruction of Greek art. One classic bronze survives – the Charioteer of Delphi; one classic marble statue – the Hermes of Praxiteles; not one temple – not even the Theseum – has come down to us in the form and color that it had for ancient Greece. Greek work in textiles, in wood, in ivory, silver, or gold, is nearly all gone; the material was too perishable or too precious to escape vandalism and time. We must reconstruct the ship from a few planks of the wreckage.

The sources of Greek art were the impulses to representation and decoration, the anthropomorphic quality of Greek religion, and the athletic character and ideal. The early Greek, like other primitives, when he outgrew the custom of sacrificing living beings to accompany and serve the dead, buried carved or painted figures as substitutes. Later he placed images of his ancestors in his home; or he dedicated in the temple likenesses of himself, or of those whom he loved, as votive figurines that might magically win for their models the protection of the god. Minoan religion, Mycenaean religion, even the chthonic cults of Greece, were too vague and impersonal, sometimes too horrible and grotesque, to lend themselves to esthetic form; but the frank humanity of tile Olympian gods, and their need of temple homes for their earthly stays, opened a wide road for sculpture, architecture, and a hundred ancillary arts. No other religion – possibly excepting Catholicism – has so stimulated and influenced literature and art: almost every book or play, statue or building or vase, that has come down to us from ancient Greece touches upon religion in subject, purpose, or inspiration.

But inspiration alone would not have made Greek art great. There was needed a technical excellence rising out of cultural contacts and the transmission and development of crafts; indeed art to the Greek was a form of handicraft, and the artist grew so naturally out of tile artisan that Greece never quite distinguished them. There was needed a knowledge of the human body, as in its healthy development the norm of proportion, symmetry, and beauty; there was needed a sensuous, passionate love of beauty, that would hold no toil too great that might give to the living moment of loveliness a lasting form. The women of Sparta placed in their sleeping chambers figures of Apollo, Narcissus, Hyacinthus, or some other handsome deity, in order that they might bear beautiful children." Cypselus established a beauty contest among women far back in the seventh century; and according to Athenaeus this periodical competition continued down to the Christian era." In some places, says Theophrastus, "there are contests between the women in respect of modesty and good management . . . ; and also there are contests about beauty, as for instance . . , in Tenedos and Lesbos."'

There was a pretty legend in Greece that the first cup was molded upon Helen's breas' If so, the mold was lost in the Dorian invasion, for what pottery has come down to us from early Greece does not remind us of Helen. The invasion must leave profoundly disturbed the arts, impoverishing craftsmen, scattering schools, and ending for a time the transmission of technology; for Greek vases after the invasion begin again with primitive simplicity and crudity, as if Crete had never lifted pottery into an art.

Probably the rough mood of the Dorian conquerors, using -what survived of Minoan-Mycenaean techniques, produced that Geometric style which dominates the oldest Greek pottery after the Homeric age. Flowers, scenery, and plants, so luxuriant in Cretan ornament, were swept away, and the stern spirit that made the glory of the Doric temple contrived the passing ruin of Greek pottery. The gigantic jars that characterize this period made small pretense to beauty; thev were designed to store wine or oil or grain rather than to interest a ceramic connoisseur. The decoration was almost all by repeated triangles, circles, chains, checkers, lozenges, s,,vastikas, or simple parallel horizontal lines; even the human figures that intervened were geometrical-torsos were triangles, thighs and legs were cones. This lazy style of ornament spread through Greece, and determined the form of the Dipylon vases' at Athens; but on these enormous containers (usually- made to receive the human dead) black silhouettes of mourners, chariots, and animals were drawn, however awkwardly, between the pattern's lines. Towards the end of the eighth century more life entered into the painting of Greek pottery; two colors were used for the ground, curves replaced straight lines, palmettes and lotuses, prancing horses and hunted lions took form upon the clay, and the ornate Oriental succeeded the bare Geometric style.

An age of busy experimentation followed. Afiletus fooded the market with its red vases, Samos with its alabasters, Lesbos with its black wares, Rhodes with its whites, Clazomenae with its grays, and Naucratis exported faience and translucent glass. Erythrae was famous for the thinness of its vases, Chalcis for brilliance of finish, Sicvon and Corinth for their delicate "Proto-Corinthian" scent bottles and elaborately painted jugs like the Chigi Vase in Rome. A kind of ceramic war engaged the potters of the rival cities; one or another of them found purchasers in every port of the Mediterranean, and in the interior of Russia, Italy, and Gaul. In the seventh centurv Corinth seemed to be winning; its wares were in every land and hand, its potters had found new techniques of incision and coloring, and had shown a fresh inventiveness in forms. But about 550 the masters of the Ceranucus – the potters' quarter on the outskirts of Athens – came to the front, threw off Oriental influence, and captured with their Black-Figure ware the markets of the Black Sea, Cyprus, Egypt, Etruria, and Spain. From that time onward the best ceramic craftsmen migrated to Athens or were born there; a great school and tradition formed as through many generations son succeeded father in the art; and the making of fine pottery became one of the great industries, finally one of the conceded monopolies, of Attica.

The vases themselves, now and then, bear pictures of the potter's shop, the master working with his apprentices, or watchfully supervising the various processes: mixing the pigments and the claw, molding the form, painting the ground, engraving the picture, firing the cup, and feeling the happiness of those who see beauty, taking form under their hands. More than a hundred of these Attic potters are known to us; but time has broken up their masterpieces, and they are only names. Here on a drinking cup are the proud words, Nikosthenes me poiesen-" Nicosthenes made me."', A greater than he was Execias, whose majestic amphora is in the Vatican; he was one of many artists encouraged by patronage and peace under the Peisistratids. From the hands of Clitias and Ergotimus came, about 560, the famous François vase, found in Etruria by a Frenchman of that name, and now treasured in the Archeological Museum at Florence -a great mixing bowl covered with row upon row of figures and scenes from Greek mythology." These men were the outstanding masters of the Black Figure style in sixth-century Attica. We need not exaggerate the excellence of their work; it cannot compare, either in conception or in execution, with the best work of the T'ang or Sung Chinese. But the Greek had a different aim from the Oriental: he sought not color but line, not ornament but form. The figures on the Greek vases are conventional, stylized, improbably magnificent in the shoulders and thin in the legs; and as this continued through the classic age, we must assume that the Greek potter never dreamed of realistic accuracy. He was writing poetry, not prose, speaking to the imagination rather than the eye. He limited himself in materials and pigments: he took the fine red clay of the Ceramicus, quieted its color with yellow, carefully engraved the figures, and filled out the silhouettes with brilliant black glaze. He transformed the earth into a profusion of vessels that wedded beauty and use: hydria, amphora, oenochoë, kylix, krater, lekythos – i.e., water jug, two-handled jar, wine bowl, drinking cup, mixing bowl, and unguent flask. He conceived the experiments, created the subjects, and developed the techniques that were taken up by bronzeworkers, sculptors, and painters; he made the first essays in foreshortening, perspective, chiaroscuro, and modeling; he pared the way for statuary by molding terra-cotta figures in a thousand themes and forms. He freed his own art from Dorian geometry and Oriental excess, and made the human figure the source and center of its life.

Towards the last quarter of the sixth century the Athenian potter tired of black figures on a red ground, inverted the formula, and created that Red-Figure style which ruled the markets of the Mediterranean for two hundred years. The figures were still stiff and angular, the body in profile with the eyes in full view; but even within these limits there was a new freedom, a wider scope of conception and execution. He sketched the figures upon the clay with alight paint, drew them in greater detail with a pen, filled in the background with black, and added minor touches with colored glaze. Here, too, some of the masters made lasting names. One amphora is signed, "Painted by Euthymides, son of Pollias, as never Euphronius'' which was to challenge Euphronius to equal it. Nevertheless this Euphronius is still rated as the greatest potter of his age; to him, some think, belongs the great krater on which Heracles wrestles with Antaeus. To his contemporary Sosias is attributed one of the most famous of Greek vases, whereon Achilles binds the wounded arm of Patroclus; every detail is lovingly carried out, and the silent pain of the young warrior has survived the centuries. To these men, and nosy nameless others, we owe such masterpieces as the cup in whose interior sve see Dawn mourning over her dead son, and the hydria, in the Metropolitan Museum of Art at New York, that shows a Greek soldier, perhaps Achilles, plunging his lance into a fair and not breastless Amazon. It was before such a vase as one of these that John Keats stood enthralled one day, until its "wild ecstasy" and "mad pursuit" fired his brain with an ode greater than any Grecian urn.

The Greek settlement of western Asia, and the opening of Egypt to Greek trade towards 660 b.c., allowed Near Eastern and Egyptian forms and methods of statuary, to enter Ionia and European Greece. About 580 two Cretan sculptors, Dipoenus and Scyllis, accepted commissions at Sicyon and Argos, and left behind them there not only statues but pupils; from this period dates a vigorous school of sculpture in the Peloponnese. The art had many purposes: it commemorated the dead first with simple pillars, then with hams whose head alone was carved, then with forms completely chiseled in the round, or with funeral-stelae reliefs, it made statues of victorious athletes, first as types, later as individuals; and it was encouraged by the lively imagination of Greek faith to make countless images of the gods.

Until the sixth century its material was most frequently wood. We hear a great deal of the chest of Cypselus, dictator of Corinth. According to Pausanias, it was made of cedar, inlaid with ivory and gold, and adorned with complicated carvings. As wealth increased, wooden statues might be covered, in whale or part, by precious materials; indeed it was thus that Pheidias made his chryselephantine (i.e., gold and ivory) statues of Athene Parthenos and the Olympian Zeus. Bronze rivaled stone as sculptural material to the end of classical art. Few ancient bronzes have survived the temptation to melt them down, but we may judge from the perhaps too ministerial Charioteer of the Delphi Museum (ca. 490) how near to perfection the art of hollow casting had been carried since Rhoecus and Theodorus of Samos had introduced it into Greece. The most famous group in Athenian statuary, the TyraraTaicides (Harmodius and Aristogeiton), was cast in bronze by Antenor at Athens shortly after the expulsion of Hippias. Many forms of soft stone were used before the sculptors of Greece undertook to mold harder varieties with hammer and chisel; but once they had learned the art they almost denuded Naxos and Paros of marble. In the archaic period (1100-490) the figures were often painted; but towards the end of that age it was found chat a better effect could be secured, in representing the delicate skin of women, by leaving the polished marble without artificial tint.

The Greeks of Ionia were the first to discover the uses of drapery as a sculptural element. Egypt and the Near East had left the clothing rigid – a vast stone apron nullifying the living form; but in sixth-century Greece the sculptors introduced folds into the drapery, and used the garment to reveal that ultimate source and norm of beauty, the healthy human body. Nevertheless the Egypto-Asiatic influence remained so strong that in most archaic Greek sculpture the figure is heavy, graceless, and stiff; the legs are strained even, in repose; the arms hang helpless at the sides; the eyes have the almond form, and occasionally an Oriental slant; the face is stereotyped, immobile, passionless. Greek statuary, in this period, accepted the Egyptian rule of frontality – i.e., the figure was made to be seen only from the front, and so rigidly asymmetrical that a vertical line would pass through the nose, mouth, navel, and genitals with never a right or left deviation, and no flexure of either motion or rest. Perhaps convention was responsible for this dull rigidity: the law of the Greek games forbade a victor to set up a portrait statue of himself unless he had won all contests in the pentathlon; only then, the Greeks argued, would he achieve the harmonious physical development that would merit individual modeling." For this reason, and perhaps because, as in Egypt, religious convention before the fifth century governed the representation of the gods, the Greek sculptor confined himself to a few poses and types, and devoted himself to their mastery.

Two types above all won his study: the youth, or kouros, nearly nude, slightly advancing the left leg, with arms at the side or partly extended, fists closed, countenance quiet and stern; and the kore, or maiden, carefully coiffured, modestly posed and draped, one hand gathering up the robe, the other offering some gift to the gods. History till lately called the kouroi "Apollos," but they were more probably athletes or funerary monuments. The most famous of the type is the Apollo of Tenea; the largest, the Apollo of Sunium; the most pretentious, the Throne of Apollo at Amyclae, near Sparta. One of the finest is the small Strangford Apollo in the British Museum; finer still is the Choiseul-Gouffier Apollo, a Roman copy of an early fifth-century original. To at least the male eye the korai are more pleasing: their bodies are gracefully slender, their faces are softened with a Mona Lisa smile, their drapery begins to escape the stiffness of convention; same of them, like those in the Athens Museum would be called masterpieces in any other land; one of them, which we may call the Kore of Chios, is a masterpiece even in Greece. In them the sensuous Ionian touch breaks through the Egyptian immobility and Dorian austerity of the "Apollos." Archermus of Chios created another type, or followed lost models, in the Nike, or Victory, of Delos; out of this would come the lovely Nike of Paeonius at Olympia, the Winged Victory of Samothrace, and, to Christian art, the winged figures of cherubim. Near Miletus unknown sculptors carved a series of draped and seated females for the temple of the Branchidae, figures powerful but crude, dignified but ponderous, profound but dead. [Now in the British Museum; there are copies in the Metropolitan Museum in New York. The Branchidae were the hereditary priests of the temple.]

Sculpture in relief was so old that a pretty legend could undertake to describe its origin. A lass of Corinth drew upon a wall the outline of the shadow that the lamplight cast of her lover's head. Her father Butades, a potter, filled in the outline with clay, pressed the form to hardness, took it down, and baked it; so, Pliny assures us, bas-relief was born. The art became even more important than sculpture in the adornment of temples and graves. Already in 520 Aristocles made a funeral relief of Aristion, which is one of the many treasures of the Athens Museum.

Since relief- were nearly always painted, sculpture, relief, and painting were allied arts, usually handmaids to architecture; and mast artists were skilled in all four forms. Temple moldings, friezes, metopes, and pediment backgrounds were usually painted, while the main structure was ordinarily left in tire natural color of the stone. Of painting as a separate art we have only negligible remains from Greece; but we know through passages in the poets that panel painting, with colors mixed in melted wax, was already practiced in the days of Anacreon. Painting was the last great art to develop in Greece, and the last to die.

All in all, the sixth century failed to rise, in any Greek art except architecture, to the boldness of conception or the perfection of form attained in the same age by Greek philosophy and poetry. Perhaps artistic patronage was slow to develop in an aristocracy still rural and poor, or in a business class too young to have graduated from 'wealth to taste. Nevertheless the age of the dictators was a period of stimulation and improvement in every Greek art – above all, under Peisistratus and Hippias in Athens. Towards the end of this period the old rigidity of sculpture began to thaw, the rule of frontality was broken down; legs began to move, arms to leave the side, hands to open up, faces to take on feeling and character, bodies to bend in a variety of poses revealing new studies in anatomy and action. This revolution in sculpture, this animation of stone with life, became a major event in Greek history; the escape from frontality was one of the signal accomplishments of Greece. Egyptian and Oriental influences were set aside, and Greek art became Greek.

The science of building recovered slowly from the Dorian invasion, and redeemed beyond its deserts the DorIian name. Across the Dark Age from Agamemnon to Terpander, the Mycenaean megaton transmitted the essentials of its structure to Greece; the rectangular shape of the building, the use of columns within and without, the circular shaft and simple square capital, the triglyph and metopes of the entablature, were all preserved in the greatest achievement of Greek art, the Doric style. But whereas Mycenaean architecture was apparently secular, devoted to palaces and homes, classical Greek architecture was almost entirely religious. The royal megaton was transformed into a civic temple as monarchy waned and religion and democracy united the affections of Greece in honoring the personified city in its god.

The earliest Greek temples were of wood or brick, as befitted the poverty of the Dark Age. When stone became the orthodox material of temple building the architectural features remained as set by timber construction; the rectangular naos or temple proper, the circular shafts, the "master-beam" architraves, the beam-end triglyphs, the gabled roof, confessed the wooden origin of their form; even the first Ionic spiral was apparently a floral figure painted upon a block of wood. The use of stone increased as Greek wealth and travel grew; the transition was most rapid after the opening of Egypt to Greek trade about 660 b.c. Limestone was the favored material of the new styles before the sixth century; marble came in towards S8o, at first for decorative portions, then for faqades, finally for the entire temple from base to tiles.

Three "orders" of architecture were developed in Greece; the Doric, the Ionic, and, in the fourth century, the Corinthian. Since the interior of the temple was reserved for the god and his ministrants, and worship was held outside, all three orders devoted themselves to malting the exterior impressively beautiful. They began at the ground, usually in some elevated place, with the stereobate – two or three layers of foundation stone in receding steps. From the uppermost laver, or stylobate, rose directly, without individual base, the Doric column – "fluted" with shallow, sharp-edged grooves, and widening perceptibly at the middle in what the Greeks called entasis, or stretching. Furthermore, the Doric column tapered slightly towards the top, thereby emulating the tree, and successfully contradicting the Minoan-Mycenaean style. (An undiminished shaft – worse yet, one that tapers downward – seems top-heavy and graceless to the eye, while the wider base heightens that sense of stability which all architecture should convey. Perhaps, however, the Doric column is too heavy, too thick in proportion to its height, too stolidly engrossed in sturdiness and strength.) Upon the Doric column sat its simple and powerful capital: a "necking" or circular band, a cushion-like echinus, and, topmost, a square abacus to spread the supporting thrust of the pillar beneath the architrave.

While the Dorians were developing this style from the megaton, modified probably by acquaintance with the Egyptian "proto-Doric" colonnades of Derel-Bahri and Beni-Hasan, the Ionian Greeks were altering the same fundamental form under Asiatic influence. In the resultant Ionic order a slender column rose upon an individual base, and began at the bottom, as it ended at the top, with a narrow fillet or band; its height was usually greater, and its diameter smaller, than in the Doric shaft; the upward tapering was scarcely perceptible; the flutings were deep, semicircular grooves separated by flat edges. The Ionic capital was composed of a narrow echinus, a still narrower abacus, and between them – almost concealing them – emerged the twin spirals of a volute, like an infolded scroll – a graceful element adapted from Hittite, Assyrian, and other Oriental forms. These characteristics, together with the elaborate adornment of the entablature, described not only a style but a people; they represented in stone the Ionian expressiveness, suppleness, sentiment, elegance, and love of delicate detail, even as the Doric order conveyed the proud reserve, the massive strength, the severe simplicity of the Dorian; the sculpture, literature, music, manners, and dress of the rival groups differed in harmony with their architectural styles. Dorian architecture is mathematics, Ionian architecture is poetry, both seeking the durability of stone; the one is "Nordic," the other Oriental; together they= constitute the masculine and feminine themes in a basically harmonious form.

Greek architecture distinguished itself by developing the column into an element of beauty as well as a structural support. The essential function of the external colonnade was to uphold the eaves, and to relieve the walls of the naos, or inner temple, from the outward thrust of the gabled roof. Above the columns rose the entablature – i.e., the superstructure of the edifice. Here again, as in the supporting elements, Greek architecture sought a clear differentiation, and yet an articulated connection, of the members. The architrave-the great stone that connected the capitals – was in the Doric order plain, or carried a simple painted molding; in Ionic it was composed of three layers, each projecting below, and was topped with a marble cornice segmented with a confusing variety of ornamental details. Since the sloping beams that made the framework of the roof in the Doric style came down, and were secured, between two horizontal beams at the eaves, the united ends of the three beams formed at first in wood, then imitatively in stone – a triglyph or triply divided surface. Between each triglyph and the next a space was left as an open window when the roof was of wood or of terra-cotta tiles; when translucent marble tiles were used these metopes, or "seeing-between" places, were filled in with marble slabs caned in low relief. In the Ionic style a band or frieze of reliefs might run around the upper outer walls of the naos or cello; in the fifth century both forms of relief – metopes and frieze – were often used in the same building, as in the Parthenon. In the pediments – the triangles formed by the gabled roof in front and rear – the sculptor found his greatest opportunity; the figures here might be drawn out in high relief and enlarged for view from below; and the cramped corners, or tympana, tested the subtlest skill. Finally, the roof itself might be a work of art, with brilliantly colored tilts and decorative rain – disposing acroteria, or pinnacle figures, rising from the angles of the pediments. All in all, there was probably a surplus of sculpture on the Greek temple, between the columns, along the walls, or within the edifice. The painter also was involved: the temple was colored in whole or in part, along with its statues, moldings, and reliefs. Perhaps we do the Greeks too much honor today, when time has morn the paint from their temples and divinities, and ferrous strains have lent to the marble natural and incalculable hues that set off the brilliance of the stone under the clear Greek sky. Some day even contemporary art may become beautiful.

The two rival styles achieved grandeur in the sixth century, and perfection in the fifth. Geographically they divided Greece unevenly: Ionic prevailed in Asia and the Aegean, Doric on the mainland and in the west. The salient achievements of sixth-century Ionic were the temples of Artemis at Ephesus, of Hera at Samos, and of the Branchidae near Miletus; but only ruins survive of Ionic architecture before Marathon. The finest extant buildings from the sixth century are the older temples of Paestum and Sicily, all in the Doric style. The ground plan remains of the great temple built at Delphi, between 548 and 512:, from the designs of the Corinthian Spintharus; it was destroyed by earthquake in 373, was rebuilt on the same plan, and in that form still stood when Pausanias made his tour of Greece. Athenian architecture of the period was almost wholly Doric: in this style Peisistratus began, about 530, the gigantic temple of the Olympian Zeus, on the plain at the foot of the Acropolis. After the Persian conquest of Ionia in 546, hundreds of Ionian artists migrated to Attica, and introduced or developed the Ionic style in Athens. By the end of the century Athenian architects were using both orders, and had laid all the technical groundwork for the Periclean age.

The word mousike among the Greeks meant originally any devotion to any Muse. Plato's Academy was called a afuseion or Nluseum-i.e., a place dedicated to the Muses and the many cultural pursuits which they patronized; the Museum at Alexandria was a university of literary and scientific activity, not a collection of museum pieces. In the narrower and modern sense music was at least as popular among the Greeks as it is among ourselves today. In Arcadia all freemen studied music to the age of thirty; everyone knew sonic instrument; and to be unable to sing was accounted a disgrace. Lyric poetry was so named because, in Greece, it was composed to be sung to the accompaniment of the lyre, the harp, or the flute. The poet usually wrote the music as well as the words, and sang his own songs; to be a lyric poet in ancient Greece was far more difficult than to compose, as poets do today, verses for silent and solitary reading. Before the sixth century there was hardly any Greek literature divorced from music. Education and letters, as well as religion and war, were bound up with music: martial airs played an important part in military training, and nearly all instruction of the memory was through verse. By the eighth century Greek music was already old, with hundreds of varieties and forms.

The instruments were simple, and were based, like our vaster armory of sound, upon percussion, wind, or strings. The first class were not popular. The flute was favored at Athens until Alcibiades, laughing at his music master's inflated cheeks, refused to play- so ridiculous an instrument, and set a fashion against it among Athenian youth. (Besides, said the Athenians, the Boeotians surpassed them with the flute, which branded the art as a vulgar one.') The simple flute, or aulos, was a tube of cane or bored wood with a detachable mouthpiece and from two to seven finger holes into which movable stopples might be inserted to modify the pitch. Some players used the double flute-a "masculine" or bass flute in the right hand and a "feminine" or treble flute in the left, both held to the mouth by a strap around the cheeks, and played in simple harmony. By attaching the flute to a distensible bag the Greeks made a bagpipe; by uniting several graduated flutes they made a syrinx, or Pipe of Pan; by extending and opening the end, and closing the finger holes, they made a salpinx, or trumpet. Flute music, says Pausanias, was usually gloomy, and was always used in dirges or elegies; but the auletridai – the flute-playing geisha girls of Greece – do not seem to have purveyed gloom. String music was confined to plucking the strings with finger or plectrum; bowing was unknown. The lyre, phorminx, or kithara were essentially alike – four or more strings of sheep gut stretched over a bridge across a resonant body of metal or tortoise shell. The kithara was a small harp, used for accompanying narrative poetry; the lyre was like a guitar, and was chosen to accompany lyric poetry and songs.

The Greeks told many strange tales of how the gods-Hermes, Apollo, Athena-had invented these instruments; how Apollo had pitted his lyre against the pipes and flutes of Marsyas (a priest of the Phrygian goddess Cybele), had won – unfairly, as Marsyas thought – by adding his voice to the instrument, and had topped the performance by having poor Marsyas flayed alive: so legend personified the conquest of the flute by the lyre. Prettier stories were told of ancient musicians who had established or developed the musical art: of Olympus, Marsyas' pupil, who, towards 730, invented the enharmonic scale [A scale employing quarter tones; e.g., E E' F A B B' C E – where the accent indicates a quarter tone above the preceding note.]; of Linus, Heracles' teacher, who invented Greek musical notation and established some of the "modes"; of Orpheus, Thracian priest of Dionysus; and of his pupil Musaeus, who said that "song is a sweet thing to mortals." These tales reflect the probable fact that Greek music derived its forms from Lydia, Phrygia, and Thrace.

The music of Hellas was played in a variety of scales far more numerous and complex than ours. Our diatonic scale makes no smaller division than the half tone, and twelve half tones constitute our octave; the Greeks used quarter tones, and had forty-five scales of eighteen notes apiece. These scales were in three groups: the diatonic scales, based upon the tetrachord E D C B; the chromatic, upon E C# C B; and the enharmonic, upon E C Cb B. From the Greek scales, by simplification, came those of medieval church music, and, through these, our own.

Within the diatonic tetrachord seven modes (harmoniai) were produced by tuning the strings to alter the position of the semitones in the octave. The most important modes were the Dorian (E F G A B C D E), martial and grave though in a minor key; the Lydian (C D E F G A B C), tender and plaintive though in a major key; and the Phrygian (D E F G A B C D), minor in key, and orgiastically passionate and wild. It is amusing to read of the violent controversies concerning the musical, ethical, and medical effects, restorative or disastrous, which the Greeks – chiefly the philosophers – ascribed to these half-tone variations. Dorian music, we are told, made men brave and dignified, the Lydian made them sentimental and weak, the Phrygian made them excited and headstrong. Plato saw effeminate luxury and gross immorality as the offspring of most music, and wished to banish all instrumental performances from his ideal state. Aristotle would have had all youths trained in the Dorian mode. Theophrastus had a good word to say even for the Phrygian mode; serious diseases, he tells us, can be made painless by playing a Phrygian air near the affected part.

Greek musical notation used not ovals and stems on a staff of lines, but the letters of the alphabet, varied by inversion or transversion, augmented by dots and dashes to make sixtyfour signs, and placed above the words of the song. A few scraps of such notation have come down to console us for the loss of the rest; they indicate melodies akin rather to Oriental than to European strains, and would be more bearable to the Hindus, the Chinese, or the Japanese than to our dull Occidental ears, untrained to quarter tones.

Song entered into almost every phase of Greck life. There were dithyrambs for Dionysus, paeans for Apollo, hymns for any god; there were enkomia, or songs of praise, for rich men, and epinikia, or songs of victory, for athletes; there were symposiaka, skolia, erotika, hymenaioi, elegiai, and threnoi for dining, drinking, loving, marrying, mourning, and burying; herdsmen had their bukolika, reapers their lityerses, vinedressers their epilenia, spinners their iouloi, weavers their elinoi. And then as now, presumably, the man in the market or the club, the lady in the home and the woman of the streets, sang songs not quite as learned as Simonides; vulgar music and polite music have come down distantly together through the centuries.

The highest form of music, in the belief and practice of the Greeks, was choral singing; to this they gave the philosophical depth, the structural complexity, the emotional range, which in modern music tend to find place in the concerto or the symphony. Any festival – a harvest, a victory, a marriage, a holyday – might be celebrated with a chorus; and now and then cities and groups would organize great contests in choral song. The performance was in most cases prepared far in advance: a composer was appointed to write the words and music, a rich man was persuaded to pay the expense, professional singers were engaged, and the chorus was carefully trained. All the singers sang the same note, as in the music of the Greek Church today; there was no "part song" except that in later centuries the accompaniment was played a fifth above or below the voice, or ran counter to it; this is as near as the Greeks seem to have come to harmony and counterpoint.

The dance in its highest development was woven into one art with choral singing, just as many forms and terms of modern music were once associated with the dance [The word foot, as meaning part of a verse, owes its origin to the dance that accompanied the song;" orchestra, to the Greek. meant a dancing platform, usually in front of the stage.]; and dancing rivaled music in age and popularity among the Greeks. Lucian, unable to trace its earthly beginnings, sought the origins of the dance in the regular motions of the stars. Homer tells us not only of the dancing floor made by Daedalus for Ariadne, but of an expert dancer among the Greek warriors at Troy, Meriones, who, dancing while he fought, could never be found by any lance. Plato described orchesis, or dancing, as "the instinctive desire to explain words by gestures of the entire body" – which is rather a description of certain modern languages; Aristotle better defined the dance as "an imitation of actions, characters, and passions by means of postures and rhythmical movements." Socrates himself danced, and praised the art as giving health to every part of the body; he meant, of course, Greek dancing.

For the Greek dance was quite different from ours. Though in some of its forms it may have served as a sexual stimulant, it rarely brought men into physical contact with women. It was an artistic exercise rather than a walking embrace, and, like the Oriental dance, it used arms and hands as much as legs and feet' Its forms were as varied as the types of poetry and song; ancient authorities listed two hundred. There were religious dances, as among the Dionysiac devotees; there were athletic dances, like Sparta's Gymnopedia, or Festival of Naked Youth; there were martial dances, like the Pyrrhic, taught to children as part of military drill; there was the stately hyporchema, a choral hymn or play performed by two choirs of which one alternately sane or danced while the other danced or sang; there were folk dances for every major event of life and every season or festival of the year. And as for everything else, there were dance contests, usually involving choral song.

All these arts – lyric poetry, song, instrumental music, and the dance – were closely allied in early Greece, and formed in many wars one art. As time went on, and already in the seventh century, specialization and professionalism set in. The rhapsodes abandoned song for recitation, and separated narrative verse from music. Archilochus sang his lyrics without accompaniment and began that long degeneration which at last reduced poetry to a fallen angel silent and confined. The choral dance broke up into singing without dancing, and dancing without singing; for, as Lucian put it, "The violent exercise caused shortness of breath, and the song suffered for it." In like manner there appeared musicians who played without singing, and won the applause of devotees by their precise and rapid execution of quarter tones. Some famous musicians, then as now, engrossed the receipts; Amoebeus, harpist and singer, received a talent ($6000) each time that he performed. The common player, doubtless, lived from hand to mouth, for the musician, like other artists, belongs to a profession that has had the honor of starving in every generation.

The highest repute went to those who, like Terpander, Arion, Alcman, or Stesichorus, were skilled in all forms, and wove choral song, instrumental music, and the dance into a complex and harmonious whole probably more profoundly beautiful and satisfying than the operas and orchestras of today. The most famous of these masters was Arion. About him the Greeks told the tale how, on a voyage from Taros to Corinth, the sailors stole his money, and then gave him a choice between being stabbed to death or drowned. Having, sung a final song, lie dived into the sea, and was carried on the back of a dolphin (perhaps his harp) to the shore. It was he who, chiefly at Corinth and towards the close of the seventh century, transformed the inebriated singers of impromptu Dionysiac dithyrambs into a sober and trained "cycle" chorus of fifty voices, singing in strophe and antistrophe, with arias and recitatives as in our oratorios. The theme was usually the suffering and death of Dionvsus; and in honor of the god's traditional attendants the chorus was dressed in goat-like satyr guise. Out of this, in fact and name, came the tragic theater of the Greeks.

The sixth century, already distinguished in so many fields and lands, crowned its accomplishments by laying the foundations of the drama. It was one of the creative moments in history; never before, so far as we know, had men passed from pantomime or ritual to the spoken and secular play.

Comedy, says Aristotle, developed "out of those who led the phallic procession." A company of people carrying sacred phalli, and singing dithyrambs to Dionysus, or hymns to some other vegetation god, constituted, in Greek terminology, a komos, or revel. Sex was essential, far the culmination of the ritual was a symbolic marriage aimed at the magic stimulation of the soil; hence in early Greek comedy, as in most modern comedies and novels, marriage and presumptive procreation form the proper ending of the tale. The comic drama of Greece remained till Menander obscene because its origin was frankly phallic; it was in its beginnings a joyous celebration of reproductive powers, and sexual restraints were in some measure removed. It was a day's moratorium on morals; free speech (parrhasia) was then particularly free; and many of the paraders, dressed in Dionysian satyr style, wore a goat's tail and a large artificial phallus of red leather as part of their costume. This garb became traditional on the comic stage; it was a matter of sacred custom, religiously observed in Aristophanes; indeed, the phallus continued to be the inseparable emblem of the clown until the fifth century of our era in the West, and the last century of the Byzantine Empire in the Fast. Along with the phallus, in the Old Comedy, went the licentious kordax dance.

Strange to say, it seas in Sicily that the rustic vegetation revel was first transformed into the comic drama. About 5560 one Susarion of Megara Hyblaea, near Syracuse, developed the processional mirth into brief plays of rough satire and comedy. From Sicily the new art passed into the Peloponnesus and then into Attica; comedies were performed in the villages by traveling players or local amateurs. A century passed before the authorities – to quote Aristotle's phrase – treated the comic drama seriously enough to give it (465 b.c.) a chorus for representation at an official festival.

Tragedy – tragaidia, or the goat song – arose in like manner from the mimic representations, in dancing and singing, of saty-rlike Dionysian revelers dressed in the costume of goats. These satyr plays remained till Euripides an essential part of the Dionysian drama; each composer of a tragic trilogy was expected to make a concession to ancient custom by offering, as the fourth part of his presentation, a satyr play in honor of Dionysus. "Being a development of the satyr play," says Aristotle, "it was quite late before tragedy rose from short plots and comic diction to its full dignity." Doubtless other seeds matured in the birth of tragedy; perhaps it took something from the ritual worship and appeasement of the dead. But essentially its source lay in mimetic religious ceremonies like the representation, in Crete, of the birth of Zeus, or, in Argos and Samos, his symbolic marriage with Hera, or, in Eleusis and elsewhere, the sacred mysteries of Demeter and Persephone, or, above all, in the Peloponnesus and Attica, the mourning and rejoicing over the death and resurrection of Dionysus. Such representations were called dramena – things performed; drama is a kindred word, and means, as it should, an action. At Sicvon tragic choruses, till the days of the dictator Cleisthenes, commemorated, we are told, the "sufferings of Adrastus, the ancient king. At Icaria, where Thespis grew up, a goat was sacrificed to Dionysus; perhaps the "goat song" from which tragedy derived its name was a chant sung over the dismembered symbol or embodiment of the drunken god.' The Greek drama, like ours, grew out of religious ritual.

Hence the Athenian drama, tragic and comic, was performed as part of the festival of Dionysus, under the presidency of his priests, in a theater named after him, by players called "the Dionysian artists." The statue of Dionysus was brought to the theater and so placed before the stage that he might enjoy the spectacle. The performance was preceded by the sacrifice of an animal to the god. The theater was endowed with the sanctity of a temple, and offenses committed there were punished severely as sacrileges rather than as merely crimes. Just as tragedy held the place of honor on the stage at the City Dionysia, so comedy held the foreground at the festival of the Lenaea; but this festival too was Dionysian. Perhaps originally the theme, as in the drama of the Mass, was the passion and death of the god; gradually the poets were allowed to substitute the sufferings and death of a hero in Greek myth. It may even be that in its early forms the drama was a magic ritual, designed to avert the tragedies it portrayed, and to purge the audience of evils, in a more than Aristotelian sense, by representing these as borne and finished with by proxy. In part it was this religious basis that kept Greek tragedy on a higher plane than that of the Elizabethan stage.

The chorus as developed for mimetic action by Arion and others became the foundation of dramatic structure, and remained an essential part of Greek tragedy until the later plays of Euripides. The earlier dramatists were called dancers because they made their plays chiefly a matter of choral dancing, and were actually teachers of dancing. Only one thing was needed to turn these choral representations into dramas, and that was the opposition of an actor, in dialogue and action, to the chorus. This inspiration came to one of these dancing instructors and chorus trainers, Thespis of Icaria – a town close to the Peloponnesian Megara, where the rites of Dionysus were popular, and not far from Eleusis, where the ritual drama of Demeter, Persephone, and Dionysus Zagreus was annually performed. Helped no doubt by the egoism that propels the world, Thespis separated himself from the chorus, gave himself individual recitative lines, developed the notion of opposition and conflict, and offered the drama in its stricter sense to history. He played various roles with such verisimilitude that when his troupe performed at Athens, Solon was shocked at what seemed to him a kind of public deceit, and denounced this newfangled art as immoral – a charge that it has heard in every century. Peisistratus was more imaginative, and encouraged the competitive performance of dramas at the Dionysian festival. In 534 Thespis won the victory in such a contest. The new form developed so rapidly that Choerilus, only a generation later, produced 160 plays. When, fifty years after Thespis, Aeschylus and Athens returned victorious from the battle of Salamis, the stage was set for the great age in the history of the Greek drama.

Looking back upon the multifarious civilization whose peaks have been sketched in the foregoing pages, we begin to understand what the Greeks were fighting for at Marathon. We picture the Aegean as a beehive of busy, quarrelsome, alert, inventive Greeks, establishing themselves obstinately in every port, developing their economy from tillage to industry and trade, and already creating great literature, philosophy, and art. It is amazing how quickly and widely this new culture matured, laying in the sixth century all the foundations for the achievements of the fifth. It was a civilization in certain respects finer than that of the Periclean period – superior in epic and lyric poetry, enlivened and adorned by the greater freedom and mental activity of women, and in some ways better governed than in the later and more democratic age. But even of democracy the bases had beers prepared; by the end of the century the dictatorships had taught Greece enough order to make possible Greek liberty.