Meanwhile Music and Poetry, though still united, came to have an existence separate from dancing. The aboriginal Greek poems, religious in subject, were not recited but chanted; and though at first the chant of the poet was accompanied by the dance of the chorus, it ultimately grew into independence. Later still, when the poem had been differentiated into epic and lyric—when it became the custom to sing the lyric and recite the epic—poetry proper was born. As during the same period musical instruments were being multiplied, we may presume that music came to have an existence apart from words. And both of them were beginning to assume other forms besides the religious. Facts having like implications might be cited from the histories of later times and peoples; as the practices of our own early minstrels, who sang to the harp heroic narratives versified by themselves to music of their own composition: thus uniting the now separate offices of poet, composer, vocalist, and instrumentalist. But, without further illustration, the common origin and gradual differentiation of Dancing, Poetry, and Music will be sufficiently manifest. The advance from the homogeneous to the heterogeneous is displayed not only in the separation of these arts from each other and from religion, but also in the multiplied differentiations which each of them afterwards undergoes. Not to dwell upon the numberless kinds of dancing that have, in course of time, come into use; and not to occupy space in detailing the progress of poetry, as seen in the development of the various forms of metre, of rhyme, and of general organization; let us confine our attention to music as a type of the group. As argued by Dr. Burney, and as implied by the customs of still extant barbarous races, the first musical instruments were, without doubt, percussive—sticks, calabashes, tom-toms—and were used simply to mark the time of the dance; and in this constant repetition of the same sound, we see music in its most homogeneous form. The Egyptians had a lyre with three strings. The early lyre of the Greeks had four, constituting their tetrachord. In course of some centuries lyres of seven and eight strings were employed. And, by the expiration of a thousand years, they had advanced to their “great system” of the double octave. Through all which changes there of course arose a greater heterogeneity of melody. Simultaneously there came into use the different modes—Dorian, Ionian, Phrygian, Æolian, and Lydian—answering to our keys: and of these there were ultimately fifteen. As yet, however, there was but little heterogeneity in the time of their music. Instrumental music during this period being merely the accompaniment of vocal music, and vocal music being completely subordinated to words,—the singer being also the poet, chanting his own compositions and making the lengths of his notes agree with the feet of his verses; there unavoidably arose a tiresome