By virtue, nevertheless, of this comprehensiveness, the Stoic ideal is more akin to modern tendencies than that of the soldier-citizen in the city-state. To provide for the excellence of a privileged class at the expense of the rest of the community is becoming to us increasingly impossible in fact and intolerable in idea. But while admitting this, we cannot but note that the Greeks, at whatever cost, did actually achieve a development of the individual more high and more complete than has been even approached by any other age. Whether it will ever be possible, under totally different conditions, to realise once more that balance of body and soul, that sanity of ethical intuition, that frank recognition of the whole range of our complex human nature with a view to its harmonious organisation under the control of a lucid reason--whether it will ever be possible again to realise this ideal, and that not only in the members of a privileged class, but in the whole body of the State, is a question too problematical to be raised with advantage in this place. But it is impossible not to perceive that with the decline of the Greek city-state something passed from the world which it can never cease to regret, and the recovery of which, if it might be, in some more perfect form, must be the goal of its highest practical endeavours. Immense, no doubt, is the significance of the centuries that have intervened, but it is a significance of preparation; and when we look beyond the means to the wished-for end, limiting our conceptions to the actual possibilities of life on earth, it is among the Greeks that we seek the record of the highest achievement of the past, and the hope of the highest possibilities of the future. CHAPTER IV THE GREEK VIEW OF ART Section 1. Greek Art an Expression of National Life. In approaching the subject of the Art of the Greeks we come to what, more plausibly than any other, may be regarded as the central point of their scheme of life. We have already noticed, in dealing with other topics, how constantly the aesthetic point of view emerges and predominates in matters with which, in the modern way of looking at things, it appears to have no direct and natural connection. We saw, for example, how inseparable in their religion was the element of ritual and ceremony from that of idea; how in their ethical conceptions the primary notion was that of beauty; how they aimed throughout at a perfect balance of body and soul, and more generally, in every department, at an expression of the inner by the outer so complete and perfect that the conception of a separation of the two became almost as impossible to their thought as it would have been unpleasing and discordant to their feeling. Now such a point of view is, in fact, that of art; and philosophers of history have been amply justified in characterising the whole Greek epoch as pre-eminently that of Beauty.