making of the entire city. They were the tailors and the carpenters

and the jewelers and the school-teachers and the bookkeepers
and they tended the store and looked after the factory

while the master went to the public meeting to discuss questions
of war and peace or visited the theatre to see the latest

play of AEschylus or hear a discussion of the revolutionary ideas
of Euripides, who had dared to express certain doubts upon

the omnipotence of the great god Zeus.
Indeed, ancient Athens resembled a modem club. All the

freeborn citizens were hereditary members and all the slaves
were hereditary servants, and waited upon the needs of their

masters, and it was very pleasant to be a member of the
organisation.

But when we talk about slaves. we do not mean the sort of
people about whom you have read in the pages of ``Uncle

Tom's Cabin.'' It is true that the position of those slaves who
tilled the fields was a very unpleasant one, but the average

freeman who had come down in the world and who had been
obliged to hire himself out as a farm hand led just as miserable

a life. In the cities, furthermore, many of the slaves were
more prosperous than the poorer classes of the freemen. For

the Greeks, who loved moderation in all things, did not like to
treat their slaves after the fashion which afterward was so

common in Rome, where a slave had as few rights as an engine
in a modern factory and could be thrown to the wild animals

upon the smallest pretext.
The Greeks accepted slavery as a necessary institution,

without which no city could possibly become the home of a truly
civilised people.

The slaves also took care of those tasks which nowadays are
performed by the business men and the professional men. As

for those household duties which take up so much of the time
of your mother and which worry your father when he comes

home from his office, the Greeks, who understood the value of
leisure, had reduced such duties to the smallest possible minimum

by living amidst surroundings of extremesimplicity.
To begin with, their homes were very plain. Even the rich

nobles spent their lives in a sort of adobe barn, which lacked
all the comforts which a modern workman expects as his natural

right. A Greek home consisted of four walls and a roof.
There was a door which led into the street but there were no

windows. The kitchen, the living rooms and the sleeping quarters
were built around an open courtyard in which there was a

small fountain, or a statue and a few plants to make it look
bright. Within this courtyard the family lived when it did not

rain or when it was not too cold. In one corner of the yard the
cook (who was a slave) prepared the meal and in another

corner, the teacher (who was also a slave) taught the children
the alpha beta gamma and the tables of multiplication and in

still another corner the lady of the house, who rarely left her
domain (since it was not considered good form for a married

woman to be seen on the street too often) was repairing her
husband's coat with her seamstresses (who were slaves,) and

in the little office, right off the door, the master was inspecting
the accounts which the overseer of his farm (who was a slave)

had just brought to him.
When dinner was ready the family came together but the

meal was a very simple one and did not take much time. The
Greeks seem to have regarded eating as an unavoidable evil

and not a pastime, which kills many dreary hours and eventually
kills many dreary people. They lived on bread and on

wine, with a little meat and some green vegetables. They
drank water only when nothing else was available because

they did not think it very healthy. They loved to call on each
other for dinner, but our idea of a festive meal, where everybody

is supposed to eat much more than is good for him, would
have disgusted them. They came together at the table for

the purpose of a good talk and a good glass of wine and water,
but as they were moderate people they despised those who

drank too much.
The same simplicity which prevailed in the dining room

also dominated their choice of clothes. They liked to be clean
and well groomed, to have their hair and beards neatly cut,

to feel their bodies strong with the exercise and the swimming
of the gymnasium, but they never followed the Asiatic fashion

which prescribed loud colours and strange patterns. They
wore a long white coat and they managed to look as smart as

a modern Italian officer in his long blue cape.
They loved to see their wives wear ornaments but they

thought it very vulgar to display their wealth (or their wives)
in public and whenever the women left their home they were as

inconspicuous as possible.
In short, the story of Greek life is a story not only of moderation

but also of simplicity. ``Things,'' chairs and tables and
books and houses and carriages, are apt to take up a great

deal of their owner's time. In the end they invariably make
him their slave and his hours are spent looking after their

wants, keeping them polished and brushed and painted. The
Greeks, before everything else, wanted to be ``free,'' both in

mind and in body. That they might maintain their liberty, and
be truly free in spirit, they reduced their daily needs to the

lowest possible point.
THE GREEK THEATRE

THE ORIGINS OF THE THEATRE, THE FIRST
FORM OF PUBLIC AMUSEMENT

AT a very early stage of their history the Greeks had begun
to collect the poems, which had been written in honor of

their brave ancestors who had driven the Pelasgians out of
Hellas and had destroyed the power of Troy. These poems were

recited in public and everybody came to listen to them. But
the theatre, the form of entertainment which has become almost

a necessary part of our own lives, did not grow out of these
recited heroic tales. It had such a curious origin that I must

tell you something about it in a separate chapter
The Greeks had always been fond of parades. Every

year they held solemnprocessions in honor of Dionysos the
God of the wine. As everybody in Greece drank wine (the

Greeks thought water only useful for the purpose of swimming
and sailing) this particular Divinity was as popular as a God

of the Soda-Fountain would be in our own land.
And because the Wine-God was supposed to live in the

vineyards, amidst a merry mob of Satyrs (strange creatures
who were half man and half goat), the crowd that joined the

procession used to wear goat-skins and to hee-haw like real
billy-goats. The Greek word for goat is ``tragos'' and the

Greek word for singer is ``oidos.'' The singer who meh-mehed
like a goat therefore was called a ``tragos-oidos'' or goat singer,

and it is this strange name which developed into the modern
word ``Tragedy,'' which means in the theatrical sense a piece

with an unhappyending, just as Comedy (which really means
the singing of something ``comos'' or gay) is the name given

to a play which ends happily.
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?
The connecting link between the goat-singer and Hamlet is

really very simple as I shall show you in a moment.
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. This individual was allowed

to step out of line. He waved his arms and gesticulated
while he spoke (that is to say he ``acted'' while the others merely

stood by and sang) and he asked a lot of questions, which the
bandmaster answered according to the roll of papyrus upon

which the poet had written down these answers before the
show began.

This rough and ready conversation--the dialogue--which
told the story of Dionysos or one of the other Gods, became

at once popular with the crowd. Henceforth every Dionysian
procession had an ``acted scene'' and very soon the ``acting''

was considered more important than the procession and the
meh-mehing.

AEschylus, the most successful of all ``tragedians'' who wrote
no less than eighty plays during his long life (from 526 to 455)

made a bold step forward when he introduced two ``actors''
instead of one. A generation later Sophocles increased the

number of actors to three. When Euripides began to write
his terrible tragedies in the middle of the fifth century, B.C.,

he was allowed as many actors as he liked and when Aristophanes
wrote those famous comedies in which he poked fun at

everybody and everything, including the Gods of Mount Olympus,
the chorus had been reduced to the role of mere bystanders

who were lined up behind the principal performers
and who sang ``this is a terrible world'' while the hero in the

foreground committed a crime against the will of the Gods.
This new form of dramaticentertainment demanded a

proper setting, and soon every Greek city owned a theatre, cut
out of the rock of a nearby hill. The spectators sat upon