should combine the movements of men and women in choric evolutions with the melodies of music and the sublime words of inspired prophecy. In brief, the Dorians needed poets able-- "to inbreed and cherish in a great people the seeds of virtue and public civility, to allay the perturbations of the mind, and set the affections in right tune; to celebrate in glorious and lofty hymns the throne and equipage of God's Almightiness, and what he works, and what he suffers to be wrought with high Providence.... Lastly, whatsoever in religion is holy and sublime, in virtue amiable or grave; whatsoever hath passion or admiration in all the changes of that which is called fortune from without, or the wily subtleties and reflexes of man's thoughts from within; all these things, with a solid and treatable smoothness, to paint out and describe." But here arose a difficulty. With all their need of the highest and most elaborate poetry, with all their sensibility to beauty, the Dorians thought it beneath the dignity of a citizen to practise the arts. Their education, almost exclusively military and gymnastic, unfitted them, at all events in Sparta, for studies indispensable towards gaining proficiency in any science so elaborate as that of choral poetry. Drilled to abstinence, obedience, and silence, dwelling in a camp, without privacy or leisure, how could a Spartan, that automaton of the State, be expected to produce poetry, or excel in any fine art? A Spartan king, on being shown the most distinguished musician of his age, pointed to his cook as the best maker of black broth. Music, if music they must have; poetry, if poetry were required by some divinely implanted instinct; dancing, if dancing were a necessary compliment to the Deity, must be imported by these warriors from foreign lands. Thus the Spartans became the patrons of stranger artists, on whom they imposed their laws of taste. They pressed the flexible Ionian, the passionate Lesbian, the languid Lydian, the acute Athenian, into their service, and made them use the crabbed Dorian speech. They said: We want such and such odes for our choruses; we wish to amuse our youths and maidens, and to honor the gods with pompous harmonies; you, men of art, write for us, sing for us; but be careful to comprehend our character; and remember that, though you are Ionians or Lesbians, your inspiration must be Dorian. They got what they required. The so-called Dorian lyric is a genuine product of the Dorian race, although its greatest masters were foreigners and aliens. Much after the same fashion did England patronize Handel in the last century; in the same way may Handel's oratorios be called English music; for though the English are not musicians, and are diffident in general of the artist class, yet neither Germans nor Italians nor French have seen produced upon their soil such colossal works of art in the service of a highly intellectual religion.