aean Theatre, whose
stage machinery would make ours seem like a toy model. Many of its
theatrical exhibitions cost more than the Peloponnesian War.

In Greek life, at the period of its glory, music and the drama were
esteemed elevating factors in culture. The supreme things of human
existence were pictured in them. They expressed the world-view of an
entire people. Under Roman dominion, with its corrupting slavery, they
degenerated into mere sources of diversion, and finally became
associated with evil and degrading practices.

For this reason and because at best they represented pagan ideals,
theatrical representations were discouraged by the fathers of the
primitive Christian Church. The dramatic instinct was not condemned, and
its imperative needs were appealed to in the church service, which early
set forth in symbols all that was too mysterious and awe-inspiring for
words. In order further to reach the mind through the senses, scenes
from the Scriptures were read in the churches, illustrated with living
pictures and music. Gradually the characters personated began to speak
and to move. The drama rose anew at the foot of the altar. Christian
priests were its reformers, its guardians and its actors. Designed for
the amusement as well as the instruction of the gaping multitudes, it
was necessarily a pretty crude affair. Satan was introduced as the
clown, and laughter was provoked at his discomfiture when routed, or at
the destruction of those who wilfully cast themselves into his clutches.
It is not strange that the pious and learned St. Augustine, in the
fourth century, regretted the polished dramatic performances at
Alexandria that in his youth had afforded him so much genuine enjoyment.
Among the people the church play became so popular that in the course of
time it was found necessary to erect more spacious stages in the open
air.

Thus arose the Mystery, Miracle, Morality and Passion Plays, the direct
progenitors of the Opera and the Oratorio. The descent of the Opera may
be traced also to another source, to the secular play which persisted in
the face of ecclesiastical disfavor and the ban that excluded its
players from the church sacraments.

Strolling histriones, jongleurs and minstrels passed from court to
court, appeared in castle yards, market places or village greens,
recited, acted, sang, danced and played on musical instruments. They
afforded a welcome means of communication with the outside world; t