We see thus that both at Sparta and in Krête (which approached in respect to publicity of individual life most nearly to Sparta), the choric aptitudes and manifestations occupied a larger space than in any other Grecian city. And as a certain degree of musical and rhythmical variety was essential to meet this want,[163] while music was never taught to Spartan citizens individually,—we farther understand how strangers like Terpander, Polymnêstus, Thalêtas, Tyrtæus, Alkman, etc., were not only received, but acquired great influence at Sparta, in spite of the preponderant spirit of jealous seclusion in the Spartan character. All these masters appear to have been effective in their own special vocation,—the training of the chorus,—to which they imparted new rhythmical action, and for which they composed new music. But Alkman did this, and something more; he possessed the genius of a poet, and his compositions were read afterwards with pleasure by those who could not hear them sung or see them danced. In the little of his poems which remains, we recognize that variety of rhythm and metre for which he was celebrated. In this respect he (together with the Kretan Thalêtas, who is said to have introduced a more vehement style both of music and dance, with the Kretic and Pæonic rhythm, into Sparta[164]) surpassed Archilochus, and prepared the way for the complicated choric movements of Stesichorus and Pindar: some of the fragments, too, manifest that fresh outpouring of individual sentiment and emotion which constitutes so much of the charm of popular poetry. Besides his touching address in old age to the Spartan virgins, over whose song and dance he had been accustomed to preside.—he is not afraid to speak of his hearty appetite, satisfied with simple food and relishing a bowl of warm broth at the winter tropic.[165] And he has attached to the spring an epithet, which comes home to the real feelings of a poor country more than those captivating pictures which abound in verse, ancient as well as modern: he calls it “the season of short fare,”—the crop of the previous year being then nearly consumed, the husbandman is compelled to pinch himself until his new harvest comes in.[166] Those who recollect that in earlier periods of our history, and in all countries where there is little accumulated stock, an exorbitant difference is often experienced in the price of corn before and after the harvest, will feel the justice of Alkman’s description. [163] Aristot. Politic. viii, 4, 6. Οἱ Λάκωνες—~οὐ μανθάνοντες ὅμως~ δύνανται κρίνειν ὀρθῶς, ὥς φασι, τὰ χρηστὰ καὶ τὰ μὴ τῶν μέλων. [164] Homer. Hymn. Apoll. 340. Οἷοί τε Κρητῶν παιήονες, etc.: see Boeckh. De Metris Pindari, ii, 7, p. 143; Ephorus ap. Strabo, x, p. 480: Plutarch, De Musicâ, p. 1142.