The are recognized as an —. They are known in history as the ""

Because of their ATTAINMENTS in LITERATURE, SCULPTURE, ARCHITECTURE, AND PHILOSOPHY, The TERM the — that was Greece is PARTICULARLY APPLICABLE to them

Out of the darkness of — that prevailed in ancient times when ABSOLUTE DESPOTS GOVERNED their people capriciously, cruelly, and ruthlessly, when the governed were wretched and miserable, when superstition and ignorance were rampant, the cities of Greece —.

These cities became centers of —, and their INHABITANTS pursued BEAUTY in ALL its FORMS and DEVELOPED A PASSION for — in its true sense.

Their — did not understand the Greeks and their way of life. —, the great Greek HISTORIAN, was a great TRAVELER.

When he was in Persia, the Persian queen, —, asked him, "Who are the Greeks?" "I am a Greek," Herodotus answered. "When you look at me, you see a Greek" "What master do they obey?" the queen asked again "The Greeks have no master, they are not slaves," was Herodotus bold answer. "Whom do they obey then?" the queen insisted. "They obey the laws? The laws? What are the laws? They have no master. What a strange people!" The queen shook her head.

Of what they ACCOMPLISHED in — little remains, and we are NOT EVEN SURE that —

There is NO SCULPTURE COMPARABLE to theirs: there are NO BUILDINGS MORE BEAUTIFUL and More Admirable Than those they BUILT, there are NO Literary PIECES SUPERIOR to theirs In fact, in literature they are all —

no epic poet to compare with —.

no lyric poet to equal —.

The Greeks cultivated prose rather late, but history has no greater practitioner than —

and there is NO PROSE, aside perhaps from the —, more poetic than that of —.

Of the four great TRAGIC POETS the world has produced, three are GREEK (GIVE IT), the fourth is —

Of their painting little has survived, but we have the statement of a CONTEMPORARY ART CRITIC commenting on a painting of — by Polygnotus: —

EGYPT produced an art that was —, stiff in its FIXITY of —.

The — artists were UNABLE to work with FREEDOM.

—, on the other hand, was ABSOLUTELY FREE, but the results were —.

Consider the famous statue of —, an Indian god, represented as performing an INTRICATE DANCE.

INDIAN GOD The god stands POISED, arrested in movement, the MOVEMENTS OF THE DANCE are REPRESENTED by — curving from the body to DENOTE THE RHYTHM of the dance.

Now consider a Greek statue of —, the MESSENGER OF THE GODS.

The statue of HERMES REPRESENTS a —, recognizably a HUMAN BEING.

Every DETAIL shows an EXACT KNOWLEDGE of the HUMAN BODY. There is NOTHING TO DENOTE that he is a —, no —, but his — is the MARK OF HIS DIVINITY.

To understand the Greeks, we must try to— their EXPERIENCES to ask what these DID for them and what these COST.

Such a search cannot be entirely successful, for to — is extremely difficult.

Another OBSTACLE to a true understanding is that we READ Greek works only THROUGH —.

Translations are indispensable because — is NOW A DEAD LANGUAGE; nobody speaks it any longer. But a translation can only indicate: it CANNOT REPLACE The original.

This is especially lamentable in relation to GREEK LITERATURE because the greater portion of their LITERARY WORKS were WRITTEN in .

We must remember that a poem, especially a typical LYRIC POEM, is —

— CANNOT DUPLICATE the RHYTHM, the TONE, the combination of VOWEL sounds and CONSONANT values which give poetry its INIMITABLE and enduring QUALITY.