In this ability of his to make innovations and at the same time to adapt himself to his audiences to a certain extent, lies the key of Mei Lan-fang’s success. Even the most hidebound theater devotees and connoisseurs must recognize the skill of his acting and the perfection of his enunciation, and therefore they are willing to accept the foreign elements which he introduces. Mei Lan-fang’s greatness lies in the fact that he is able to introduce bold reforms into the theater without cutting himself off from the tradition. [Illustration] CHAPTER NINE ANALOGIES BETWEEN EAST AND WEST I have often met with people who ask: “Do the Chinese have the division of plays into tragedies and comedies?” and when they learn that there is no such division they feel this to be a great defect in the Chinese theater. But it might be well worth recalling that these Greek terms did not originally have their present-day connotations, and that their original meanings were perhaps not far removed from the divisions which the Chinese make in classifying their plays. Tragedy meant originally a “goat song”, and philologists are divided on the question as to whether the name is derived from the fact that the song was sung by revelers worshiping Dionysus, who, because of their appearance and licentious character were called “goats”, or whether it was sung at the sacrifice of a goat, or whether a goat was the prize which was awarded to the successful poet.[28] At any rate there is no doubt that tragedy was a musical term. The same is true of comedy, which is the song of the _comus_, or band of revelers, who marched along in procession carrying aloft the phallus and chanting songs to Dionysus which were called phallic songs. The scurrilous remarks interlarded in the intervals between songs by the leader of the _comus_ gave rise to the form of light entertainment known as comedy in the theater of to-day. In the Middle Ages it had the meaning of a poetic work with a happy ending, for which reason Dante called his long poem a “comedy”, which later writers made “The Divine Comedy.” Thus we see the two words have deviated altogether from their original meanings. We know very little about Greek music of these earliest days, but we hear also of Doric music and Phrygian music employed in the theater. The Doric music was grave, dignified, and employed the harp as the chief musical instrument, while the Phrygian mode was emotional and was accompanied by the flute.