The whole of this book from the first chapter has been employed in considering the manners and physical existence of the Dorians (the δίαιτα Δωρικὴ). We now come to the second great division of education, viz. _music_; in which term the whole mental education of the Doric race was included, if we except writing, which was never generally taught at Sparta.(1491) Nor indeed was it essential in a nation, where, as in Crete, laws, hymns, and the praises of illustrious men, that is the jurisprudence and history of such a people, were taught in the schools of music.(1492) Chapter VI. § 1. Origin of the Doric musical mode. § 2. Character of the Doric mode. § 3. Progress of music in Sparta. § 4. Public musical performances. § 5. Progress of music in other Doric states. § 6. Connexion of dancing and music. Military music of Sparta. § 7. Military dances. § 8. Connexion of gymnastic exercises and dancing. § 9. Imitative dances. § 10. Dances of the Helots. Origin of bucolic poetry among the subject classes. § 11. Comedy connected with the county festivals of Bacchus. 1. We are now about to speak of the history of music in the different Doric states; and before we notice particular facts and circumstances, we must direct our attention to the more general one, namely, that one of the musical _modes_ or ἁρμονίαι (by which term the ancient Greeks denoted the arrangement of intervals, the length of which was fixed by the different kinds of harmony, γένη, according to the strings of the tetrachord, together with the higher or lower scale of the whole system), was anciently called the Doric,(1493) and that this measure, together with the Phrygian and Lydian, was long the only one in use among the musicians of Greece, and consequently the only one which in these early times derived its name from a Greek nation; a sufficient warrant for us to consider it as the genuine Greek mode, in contradistinction to any other introduced at a later period.(1494) A question next arises, wherefore this ancient and genuine Greek strain was called the _Doric_.(1495) The only explanation that can be given is, that it was brought to perfection in Doric countries, viz. in the ancient nurseries of music, Crete, Sparta, Sicyon, and Delphi. There cannot therefore have been any school or succession of musicians among the other Greek nations, of greater celebrity than the Doric, before the time we allude to. Had this been the fact, they must either have adopted the same mode, or had an original one of their own; in the first case, it would have been named rather after them, in preference to the Dorians; in the second, there would have been _two_ Greek musical modes, not merely the Doric. It follows then, that the establishment of the Doric music must have been of greater antiquity than the renowned musicians of Lesbos, who themselves were prior to Archilochus,(1496) and should not be considered as commencing with Terpander(1497) (who