The Dorian style offers a marked contrast to the Æolian. In the case of the Ionian satirists and elegists, and in that of the Æolian lyrists, the national peculiarities of the art resulted from national qualities in the artists. This is not the case with the so-called Dorian poets. The great lyrists of this school are, with one exception, of extraction foreign to the Dorian tribe. Alcman was a Lydian; Stesichorus acknowledged an Ionian colony for his fatherland; Arion was a Lesbian; Simonides and Bacchylides were Ionian; Pindar was Boeotian; Ibycus of Rhegium alone was a Dorian. Why, then, is the style called Dorian? Because the poets, though not Dorian by birth, wrote for Dorian patrons in the land of Dorians, to add splendor to ceremonies and solemnities in vogue among the Dorians. The distinctive features of this, the most sublime branch of Greek lyrical poetry, have been already hinted at: these elaborate choral hymns, in which strophe answers to antistrophe, and epode to epode, chanted by bands of singers and accompanied at times by dancing, were designed to give expression, no longer to personal emotions, but to the feelings of great congregations of men engaged in the celebration of gods and heroes and illustrious mortals. Why this species of choral poetry received the patronage and name of the Dorian tribe may be seen by glancing at the institutions peculiar to this section of the Hellenic family. The Dorians, more than any other Greeks, lived in common and in public. Their children were educated, not at home, but in companies, beneath the supervision of state-officers. Girls as well as boys submitted to gymnastic training, and were taught to sacrifice domestic and personal to political and social interests. Tutored to merge the individual in the mass, habituated to associate together in large bodies, the Dorians felt no need of venting private feeling. Their personal emotions were stunted: they had no separate wants and wishes, aspirations and regrets, to utter. Yet the sense of melody and harmony which was rooted so profoundly in the Greek temperament needed some outlet even here; while the gymnastic and athletic exercises practised by the Dorians rendered them peculiarly sensitive, not only to the beauties of the human body, but also to the refinements of rhythmical movement. The spiritual enthusiasm for great and glorious actions, which formed the soul of the Greek race, flamed with all the greater brilliancy among Dorians, because it was not narrowed, as among the Æolians, to the selfish passions of the individual, or diverted, as among Ionians, to meditation or satire; but was concentrated on public interests, on religious and heroic traditions, on all the thoughts and feelings which stimulate a large political activity. The Dorians required a poetry which should be public, which should admit of the participation of many individuals, which should give utterance to national enthusiasms, which