The Greek-letter society is found at the heart of these undergraduate social activities. Indeed, fraternities have become in many institutions as much the center of the college itself as of college society. So far as social and moral influences go, the character of the fraternity which a young man joins is quite as important as the college or university he selects. The fraternity students represent the “system” in college: they choose athletic managers, they exert the “pull” which controls editorship upon the college papers, they determine largely the presidents of classes, and in some cases the elections to senior societies. The membership of the thirty-five national Greek-letter fraternities (not to mention a hundred or more local fraternities or the fifty fraternities of the professional schools) now comprises 200,000 undergraduates and graduates. These figures do not include the twenty intercollegiate sororities that claim 250 chapters and 25,000 members. Three hundred and seventy colleges and universities at present contain chapters of national Greek-letter fraternities, and millions are invested in the buildings of these societies. An almanac for 1911 ascribes 1013 fraternity-houses to American colleges. Half a million dollars is invested in chapter-houses at the University of Michigan alone. The property of the eleven fraternities at Amherst had twenty times greater money value than Yale’s available funds in 1830; and the property of the fraternities at Columbia, valued at a million dollars, are as great as the total productive funds of all the colleges at the beginning of the last century. The college fraternity or the college club becomes responsible for a large and representative part of the undergraduate life in America. It is usually responsible for the histrionics in university life, and there is perhaps no literary tendency more pronounced in our colleges to-day than that toward the making of the drama. Several important plays of recent years may be traced to graduates who were members of such clubs as “The Hasty Pudding” of Harvard and “The Mask and Wig” of Pennsylvania. At a time when confessedly there is a crying demand for good, strong plays at the theater, it is agreeable to hear that the classes of professors of dramatic literature are crowded.