9. Having now examined the two species of the drama, comedy and tragedy, under different heads, we will next consider them under the general name of _orchestic_ poetry, or poetry accompanied with dancing. For while all poetry which was necessarily attended with music was called _lyric_, that which was sung to accompany dances, frequently of large choruses, has been called the Doric lyric poetry;(1712) to which appellation it appears to be justly entitled, as in its various forms it always partakes more or less of the Doric dialect. Hence the terms Doric and Choral poetry may be used as synonymous, as songs for choral dances were usually composed in the Doric dialect; and whenever the Doric dialect occurred in regular lyric odes, these were generally for choral dances.(1713) Thus, for instance, Pindar, the master of the Dorian lyric poetry, composed scolia; which, unlike the poems sung at feasts, were accompanied with dances and contained more of the Doric dialect.(1714) Thus the dithyramb, so long as it belonged to the Dorian lyric poetry, was always antistrophic, that is, in a choral form, or one adapted to dancing; but after being new-modelled by Crexus, Phrynis, and others, it ceased to be acted by cyclic choruses, and its dialect at the same time underwent a total change. Choruses were sung in the Doric dialect in the midst of the Attic drama; so peculiarly did the choral dances seem to belong to the Dorians.(1715) These facts afford two criterions for ascertaining the character of the lyric poetry of the Dorians. In the first place, it always bore the stamp of publicity; as in the formation of choruses the public was in some manner taken into consideration: secondly, it had some religious reference; as choruses ever formed part of religious worship. The feeling therefore expressed by this kind of lyric poetry, though it might more powerfully affect individuals, should nevertheless be of such a nature as to interest a whole people; and the subject, even if suggested by other circumstances, should have a reference to religious notions, and admit of a mythological treatment.