not do all the three was looked upon as uncultured. Nor could he hide his want of culture, since young men were continually called upon, both at home and at more or less public gatherings, to perform their part in the social entertainment. The strictly musical instruction of this period was almost entirely confined to simple, strong Doric airs, sung to an accompaniment which was played on an instrument closely resembling the modern guitar (λύρα, κίθαρις). Complicated and wind instruments were unpopular, and the softer or more thrilling kinds of music, Lydian, Phrygian, etc., had not yet been introduced, at least into schools. Anything like the skill and execution demanded of professional players, who were usually slaves or foreigners, was considered altogether unworthy of a free man and a citizen, and was therefore not aimed at. Fond as the Athenians were of the fine arts, they always held professional skill in any of them, except poetry and musical composition, to be incompatible with that dignity and virtue which they demanded of the free citizen. A respectable Athenian would no more have allowed his son to be a professional musician than he would have allowed him to be a professional acrobat. It is difficult for us to understand the way in which the Greeks regarded music. Inferior as their music was to ours in all technical ways, it exerted an influence upon their lives of which we can form but a faint conception. To them it was a dæmonic power, capable of rousing or assuaging the passions, and hence of being used for infinite good or evil. No wonder, then, that in their education they sought to employ those kinds which tended to "purgation" (κάθαρσις), and to avoid those that were exciting, sentimental, or effeminate! No wonder that they disapproved of divorcing music from the intellectual element contained in the words, and allowing it to degenerate into a mere emotional or sensual luxury! Music the Greeks regarded, not indeed as a moral force (a phrase that to them, who regarded morality as a matter of the will, would have conveyed no meaning), but as a force whose office it was, by purging and harmonizing the human being, to make him a fit subject for moral instruction. Music, they held, brought harmony, first into the human being himself, by putting an end to the conflict between his passions and his intelligent will, and then, as a consequence, into his relations with his fellows. Harmony within was held to be the condition of harmony without.