[679] Xen. _Ag._ x. 2. CHAPTER IX ART, MUSIC, AND POETRY Since poetry, music, singing, and dancing were the chief components of a Hellenic boy’s education, the æsthetic canons by which these were regulated came to be of great importance in the moral history of Hellas, and were the objects of much thought and inquiry on the part of the educational theorists. It is hard for a modern reader to understand the attitude which Plato and Aristotle adopt towards poetry, art, and music, partly owing to the way in which these subjects are neglected in many modern schools, and still more owing to the immense changes which have taken place both in the subjects themselves and in their relations to the State as a whole. In ancient Hellas art, literature, and music were addressed to the whole citizen-body, not to a cultured upper class. The epics were recited to crowds that might number thousands. The choral lyrics were danced and sung by large choruses in the presence of a whole city. Tragedy and Comedy were acted before the whole Athenian populace, swollen by crowds from every part of Hellas. The great orations were spoken either to the national assembly, where every grown man might be present, or to a jury of several hundred citizens. So with Hellenic art. The statues and pictures were not created for private drawing-rooms, but for public temples, colonnades, or gymnasia. Thus it was national, not individual taste which was the standard of Hellenic art and literature: they had to follow the taste of the city, not of a clique. But every city in Hellas, as in the Italy of the Renaissance, had an intense individuality of its own, which dominated its poets, artists, and musicians. The art-schools of the islands, of Argos, of Athens were as distinct from one another as those of Venice, Florence, Perugia. The greater centres had types of music so far distinct that they required different instruments. Language, character, and politics in like manner presented a different aspect in each community. But underneath this ubiquitous local individuality lay the fundamental distinction between the Dorian, on the one hand, and the Ionian, with whom for æsthetic purposes may be classed the Aeolian, on the other. For Hellenism began to run its course in two distinct channels, the Doric and the Ionic.[680] The Doric characteristics were the sacrifice of the detail and the individual to the whole and the community, a love of terseness and simplicity, a strong sense of harmony, order, and proportion, a hatred of complexity, mystery, vagueness, and luxury, and a preference for the perfect body over the developed intellect. The Dorians were essentially one-sided, and lacking in imagination, intellect, and invention; they were strong conservatives, and any innovation was repugnant to them.