poets known only to their own age and country, we may form some notion from the circumstance that Pindar, celebrating a native of Ægina, incidentally mentions two minstrels of the same family, Timocritus and Euphanes the Theandridæ.(1733) Besides those already named, the following Doric poets are known to us: Lasus of Hermione, a poet and musician, who had improved the dithyramb after Arion, and the Æolian style of music before Pindar; Ariphron of Sicyon, a composer of pæans; Cleobulus of Rhodes, who was both a philosopher and a lyric poet; and the peculiar genius of Timocreon, who tuned the Doric lyre against Simonides and Themistocles, having been roused against the latter by the unjust conduct of Athens towards the islands.(1734) Later poets we shall pass over. 11. The above statements merely go to establish the _fact_, that the choral lyric poetry, chiefly and originally belonged to the Dorians. In what manner this fact is to be _accounted for_, what were the _causes_ of this phenomenon, can only be explained in a general history of the lyric poetry of the Greeks, a subject at once the most attractive and most difficult which remains for the industry of the present age. In the absence of such an investigation, I may be permitted to offer on that question a few remarks, which the occasion prevents me from supporting with a detailed body of evidence. In the first place then it will, I believe, be safe to give up the notion that the lyric was regularly and gradually developed from epic poetry. The epic poetry, beginning at a period when the Achæans were yet in possession of Peloponnesus,(1735) retaining till the latest times a peculiar dialect, and continued under its ancient form by Greeks of all races,(1736) does not show any tendency to produce an offspring so unlike itself; and what could be more different than the recitation of a single bard and the religious songs of a chorus? From the time that there were Greeks and a Greek language there were doubtless songs at processions, both at festivals and to the temples, as well as during the sacrifice; and these varying according to the mode of worship and attributes of the god. And in none were they so early reduced to rule as in the worship of Apollo; to which, as has been already shown,(1737) the ancient nomes, the pæans, and hyporchemes, and other varieties of lyric poetry, either in part or wholly, owed their origin. Now since this worship was originally Doric, and its chief temples were always in Doric countries, we can see a reason why in the ceremonial, that is the choral, poetry, the Doric dialect should have preponderated. Its form was, on the whole, originally a Doric variety of the epic hexameter; which was the rhythm of the ancient nomes composed by the minstrels Philammon, Olen, and Chrysothemis.(1738) Their ancient strains, which were sung and danced to, must have been very different from the delivery of the Homeric rhapsodists, a sort of