This inorganic, this centrifugal, tendency, Plato was desirous to cure by maintaining over against it the Dorian influence of a severe simplification everywhere, in society, in culture, in the very physical nature of man. An enemy everywhere, though through acquired principle indeed rather than by instinct, to variegation, to what is cunning, or "myriad-minded" (as we say of Shakespeare, as Plato thinks of Homer) he sets himself in mythology, in literature, in every kind of art, in the art of life, as if with conscious metaphysical opposition to the metaphysic of Heraclitus, to enforce the ideal of a sort of Parmenidean abstractness, and monotony or calm. This, perhaps exaggerated, ideal of Plato is [105] however only the exaggeration of that salutary, strictly European tendency, which, finding human mind, the human reason cool and sane, to be the most absolutely real and precious thing in the world, enforces everywhere the impress of its reasonable sanity; its candid reflexions upon things as they really are; its sense of logical proportion. It is that centripetal tendency, again, which links the individual units together, states to states, one period of organic growth to another, under the reign of a strictly composed, self-conscious order, in the universal light of the understanding. Whether or not this temper, so clearly traceable as a distinct rival influence in the course of Greek development, was indeed the peculiar gift of the Dorian race, certainly that race, as made known to us especially in Lacedaemon, is the best illustration of it, in its love of order, of that severe composition everywhere, of which the Dorian style of architecture is as it were a material symbol, in its constant aspiration after what is dignified and earnest, as exemplified most evidently in the religion of its preference, the religion of Apollo.