LYRIC POETRY: PINDAR.--The Æolian island of Lesbos was the hearth and home of the earlier lyric poets. Among the earliest of the Lesbian singers was the poetess Sappho, whom the Greeks exalted to a place next to Homer. Plato calls her the Tenth Muse. Although her fame endures, her poetry, except some mere fragments, has perished. Anacreon was a courtier at the time of the Greek tyrannies. He was a native of Ionia, but passed much of his time at the court of Polycrates of Samos. He seems to have enjoyed to the full the gay and easy life of a courtier, and sung so voluptuously of love and wine and festivity that the term "Anacreontic" has come to be used to characterize all poetry over- redolent of these themes. But the greatest of the Greek lyric poets, and perhaps the greatest of all lyric poets of every age and race, was Pindar (about 522-443 B.C.). He was born at Thebes, but spent most of his time in the cities of Magna Græcia. Such was the reverence in which his memory was held that when Alexander, one hundred years after Pindar's time, levelled the city of Thebes to the ground on account of a revolt, the house of the poet was spared, and left standing amid the general ruin (see p. 161). The greater number of Pindar's poems were inspired by the scenes of the national festivals. They describe in lofty strains the splendors of the Olympian chariot-races, or the glory of the victors at the Isthmian, the Nemean, or the Pythian games. Pindar insists strenuously upon virtue and self-culture. With deep meaning he says, "Become that which thou art;" that is, be that which you are made to be. 2. THE DRAMA AND DRAMATISTS. ORIGIN OF THE GREEK DRAMA.--The Greek drama, in both its branches of tragedy and comedy, grew out of the songs and dances instituted in honor of the god of wine--Dionysus (the same as the Roman Bacchus). Tragedy (goat-song, possibly from the accompanying sacrifice of a goat) sprang from the graver songs, and comedy (village-song) from the lighter and more farcical ones. Gradually, recital and dialogue were added, there being at first but a single speaker, then two, and finally three, which last was the classical number. Thespis (about 536 B.C.) is said to have introduced this idea of the dialogue; hence the term "Thespian" applied to the tragic drama. [Illustration: BACCHIC PROCESSION.] Owing to its origin, the Greek drama always retained a religious character, and further, presented two distinct features, the chorus (the songs and dances) and the dialogue. At first, the chorus was the all- important part; but later, the dialogue became the more prominent portion, the chorus, however, always remaining an essential feature of the performance. Finally, in the golden age of the Attic stage, the chorus dancers and singers were carefully trained, at great expense, and the dialogue became the masterpiece of some great poet,--and then the Greek drama, the most splendid creation of human genius, was complete.