[Footnote 5: Ar., _Pol_., III., iv., 17, says just the converse, which marks the altered position of woman in modern society.] 5. The "golden mean," as Horace named it (_Od_., ii., 10), obtains principally, if not solely, in living things, and in what appertains to living things, and in objects of art. A lake, as such, has no natural dimensions: it may be ten miles long, it may be a hundred; but an elephant or an oak-tree cannot go beyond a certain growth. There is a vast range between the temperature of a blast-furnace and the temperature of the ice-pack on the Polar Sea, but very limited is the range possible in the blood of a living man. Viewed artistically, a hill may be too low, or a lake want width, for man's eye to rest upon it with perfect satisfaction. The golden mean, then, is an artistic conception, and what I may call an _anthropological_ conception: it suits man, and is required by man, though Nature may spurn and over-ride it. The earthquake, the hurricane, and the angry ocean are not in the golden mean, not at least from a human point of view. If man chooses to personify and body forth the powers of nature, he creates some monstrous uncouth figure, like the Assyrian and Egyptian idols; but if man makes a study of man, and brings genius and patient elaboration to bear on his work, there emerges the symmetry and perfect proportion of the Greek statue. No people ever made so much of the beauty of the human form as the ancient Greeks: they made it the object of a passion that marked their religion, their institutions, their literature, and their art. Their virtues and their vices turned upon it. Hence the golden mean is eminently a Greek conception, a leading idea of the Hellenic race. The Greek hated a thing overdone, a gaudy ornament, a proud title, a fulsome compliment, a high-flown speech, a wordy peroration. _Nothing too much_ was the inscription over the lintel of the national sanctuary at Delphi. It is the surpassing grace of Greek art of the best period, that in it there shines out the highest power, with _nothing too much_ of straining after effect. The study of Greek literary models operates as a corrective to redundancy, and to what ill-conditioned minds take to be fine writing. The Greek artist knew just how far to go, and when to stop. That point he called, in his own unsurpassed tongue, the [Greek: kairos]. "The right measure (_kairos_) is at the head of all," says Pindar. "Booby, not to have understood by how much the half is more than the whole," is the quaint cry of Hesiod. Aeschylus puts these verses in the mouth of his _Furies_; The golden mean is God's delight: Extremes are hateful in His sight. Hold by the mean, and glorify Nor anarchy nor slavery.