Social Games and Sports.
Jugglers of both sexes, either single or in gangs, were common all over Greece putting up their booths, as Xenophon says, wherever money and silly people could be found. These frequently amused the guests at drinking feasts with their tricks. The reputation of this class of people was anything but above suspicion, as is proved by the verse of Manetho ("Apotheles," IV., 276), in which they are described as the "birds of the country, the foulest brood of the city." Their tricks were innumerable, and outvied in boldness and ingenuity those of our conjurors, barring, of course such as are founded on the modern discoveries of natural science. Male and female jugglers jumped forwards and backwards over swords or tables; girls threw up and caught again a number of balls or hoops to the accompaniment of a musical instrument; others displayed an astounding skill with their feet and toes while standing on their hands. Rope-dancers performed the most dangerous dances and salti-mortali. In Rome even elephants were trained to mount the rope. Flying-machines of a construction unknown to us are also mentioned, on which bold aeronauts traversed the air. Alkiphron tells a story about a peasant who, on seeing a juggler pulling little bullets from the noses, ears, and heads of the spectators, exclaimed: "Let such a beast never enter my yard, or else everything would soon disappear." Descriptions of these tricks are frequent in ancient writers, particularly in the indignant invectives of the early fathers of the Church. Amongst the pictures of female jugglers in all kinds of impossible postures, can be seen a girl performing the dangerous sword-dance, described by Plato. It consists in her turning somersaults forwards and backwards across the points of three swords stuck in the ground. A similar picture we see on a vase of the Berlin Museum. Another vase shows a female juggler dressed in long drawers standing on her hands, and filling with her feet a kantharos from a krater placed in front of her. She holds the handle of the kantharos with the toes of her left foot, while the toes of her other foot cling round the stem of the kyathos used for drawing the liquor. A woman sitting in front of her performs a game with three balls, in which the other artiste also seems to take a part. In another, a girl in a rather awkward position is shooting an arrow from a bow.
Of social games played by the topers we mention, besides the complicated kottabos, the games played on a board or with dice. Homer already mentions a game of the former class, and names Palamedes as its inventor; of the exact nature of this game we know little or nothing. Neither are we informed of the details of another kind of petteia played with five little stones on a board divided by five lines.
The so-called "game of cities" seems to have resembled our chess or draughts. The board was divided into five parts. Each player tried to checkmate the other by the skillful use of his men. Games of hazard with dice and astragaloi were most likely greater favorites with the topers than the intellectual ones hitherto described. The number of dice was at first three, afterwards two; the figures on the parallel sides being 1 and 6, 2 and 5, 3 and 4. In order to prevent cheating, they were cast from conical beakers, the interior of which was formed into different steps. Each cast had its name, sixty-four of which have been transmitted to us by the grammarians. The luckiest cast, each of the dice showing the figure 6, was called Aphrodite; the unluckiest, the three dice showing the figure 1, had the names of "dog" or "wine" applied to it.
Another game of a similar nature was played with the so-called astragaloi, dice of a lengthy shape made of the knuckles of animals. Two of the surfaces were flat, the third being raised, and the fourth indented slightly. The last-mentioned side was marked 1, and had, amongst many other names, that of "dog;" the opposite surface, marked 6. The Latin names of the two other sides marked 3 and 4 were suppus and planus respectively. The figures 2 and 5 were wanting on the astragaloi, the narrow end-surfaces not being counted. The number of astragaloi used was always four, being the same as in the game of dice. Here also the luckiest cast was called Aphrodite, with which at the same time the honor of king-of-the-feast was connected.
Young girls liked to play at a game with five astragaloi, or little stones, which were thrown into the air and caught on the upper surface of the hand. This game is still in use in many countries. We possess many antique representations of these various games.
Two vase paintings show soldiers playing at draughts. Astragaloi and dice of different sizes, some with the figures as above described on them, others evidently counterfeited, are preserved in several museums. Of larger representations we mention the marble statue of a girl playing with astragaloi in the Berlin Museum, and a Pompeian wall-painting in which the children of Jason play the same game, while Medea threatens their lives with a drawn sword. The celebrated masterpiece of Polykletes, representing two boys playing with astragaloi, formerly in the palace of Titus in Rome, has unfortunately been lost. Another wall-painting shows in the foreground Aglaia and Hileaira, daughters of Niobe, kneeling and playing the same game.
In connection with these social games we mention a few other favorite amusements of the Greeks. The existence of cock-fights is proved by vase-paintings, gems, and written evidence. It was a favorite pastime with both old and young. Themistokles, after his victory over the Persians, is said to have founded an annual entertainment of cock-fights, which made both these and the fights of quails popular among the Greeks. The breeding of fighting-cocks was a matter of great importance, Rhodes, Chalkis, and Media being particularly celebrated for their strong and large cocks. In order to increase their fury, the animals were fed with garlic previous to the fight. Sharp metal spurs were attached to their legs, after which they were placed on a table with a raised border. Very large sums were frequently staked on them by owners and spectators.
Here, again, we see antique customs reproduced by various modern nations. The Italian game of morra (il giuco alla morra or fare alla morra) was also known to the ancients. In it both players open their clenched right hands simultaneously with the speed of lightning, whereat each has to call out the number of fingers extended by the other. It is the same game which figured among Egyptian amusements. Mimetic dances were another favorite amusement at symposia. They mostly represented mythological scenes. A few words about Greek dancing ought to be added.