7. GREEK MUSIC AND LYRIC POETRY.--It was not until the minds of the Greeks had been elevated by the productions of the epic muse, that the genius of original poets broke loose from the dominion of the epic style, and invented new forms for expressing the emotions of a mind profoundly agitated by passing events; with few innovations in the elegy, but with greater boldness in the iambic metre. In these two forms, Greek poetry entered the domain of real life. The elegy and iambus contain the germ of the lyric style, though they do not themselves come under that head. The Greek lyric poetry was characterized by the expression of deeper and more impassioned feeling, and a more impetuous tone than the elegy and iambus, and at the same time the effect was heightened by appropriate vocal and instrumental music, and often by the figures of the dance. In this union of the sister arts, poetry was indeed predominant, yet music, in its turn, exercised a reciprocal influence on poetry, so that as it became more cultivated, the choice of the musical measure decided the tone of the whole poem. The history of Greek music begins with Terpander the Lesbian (fl. 670 B.C.), who was many times the victor in the musical contests at the Pythian temple of Delphi. He added three new strings to the cithara, which had consisted only of four, and this heptachord was employed by Pindar, and remained long in high repute; he was also the first who marked the different tones in music. With other musicians, he united the music of Asia Minor with that of the ancient Greeks, and founded on it a system in which each style had its appropriate character. By the efforts of Terpander and one or two other masters, music was brought to a high degree of excellence, and adapted to express any feeling to which the poet could give a more definite character and meaning, and thus they had solved the great problem of their art. It was in Greece the constant endeavor of the great poets, thinkers, and statesmen who interested themselves in the education of youth, to give a good direction to this art; they all dreaded the increasing prevalence of a luxuriant style of instrumental music and an unrestricted flight into the boundless realms of harmony. The lyric poetry of the Greeks was of two kinds, and cultivated by two different schools of poets. One, called the Aeolic, flourished among the Aeolians of Asia Minor, and particularly in the island of Lesbos; the other, the Doric, which, although diffused over the whole of Greece, was at first principally cultivated by the Dorians. These two schools differed essentially in the subjects, as in the form and style of their poems. The Doric was intended to be executed by choruses', and to be sung to choral dances; while the Aeolic was recited by a single person, who accompanied his recitation with a stringed instrument, generally the lyre.