OF WHAT THEY TAUGHT.—The Greeks never thought of making foreign languages a matter of study, and contented themselves with learning to read and write their own. In so doing the schoolmasters used as text-books the works of celebrated epic or elegiac poets, above all Homer, and then the proverbial philosophy of Hesiod, Solon, Phocylides, and others, so that the Greek boy read the great classics of his language at an early age. He was required to learn much of them by heart, especially when books were scarce; and his teacher pointed out the moral lessons either professedly or accidentally contained in these poets. Thus they stood in the place of our Bible and hymns in education. All this was _grammatike_, which with music and gymnastics, made up the general education of the Greeks. It excluded the elementary arithmetic of our “three R’s,” and included what they do not, a gentlemanly cultivation in music and field sports. It is very doubtful whether swimming was included, though Herodotus speaks of the Greeks generally as being able to swim. There is, however, evidence that from the fourth century B. C. onwards both elementary geometry and arithmetic, and also drawing, were ordinarily taught.
As regards music every Greek boy (like modern young ladies) either had or was supposed to have a musical ear, and he was accordingly taught either the harp or the flute, and with it singing. Here again the lyric poems of the greatest poets were taught him, and the Greek music always laid the greatest stress on the words. Aristotle and others complain that amateurs were spending too much time on the practising of difficult music, and we know from the musical treatises preserved to us that the Greeks thought and taught a great deal more about musical theory and the laws of sound than we do. The Greek tunes preserved are not pleasing, but we know that they used the strictest and most subtle principles in tuning instruments, and understood harmony and discord as well as we do. Great Athenians, like Cimon, were often able to sing and accompany themselves on the harp, or lyre as we should rather call it. The Greeks laid great stress on the moral effects of music, especially as regards the performer, and were very severe in their censure of certain styles of music. They distinguished their scales as _modes_, and are said to have put far greater stress on keys than we do, calling some manly and warlike (Dorian), others weak and effeminate, or even immoral (Mixo-Lydian). The modern Chinese have the same beliefs about the moral effects of music. The Greeks had their keynote in the middle of the scale, and used chiefly the minor scale of our music. They had different names and signs for the notes of the various octaves which they used, and also different signs for vocal and for instrumental music.
