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 was to have a harbour, but not too near, so as not to be flooded with strangers; the navy was to be manned by slaves; the city itself was, for salubrity, to slope towards the east and to catch the winds of morning. Lastly, the State itself was to be a perfect Sparta in point of discipline, though aiming at something higher than mere gymnastic and military drill. There was to be a common primary instruction for all the citizens from the age of seven to fourteen, and a common secondary instruction from fourteen to twenty-one. The “branches” were to be gymnastic, letters, drawing, and music. Everything was to be taught with a view to culture, rather than to utility. Thus the object of learning drawing was “to make one observant of beauty.” In regard to gymnastic, Aristotle wisely warns against a premature strain of the powers, and says that it is very rare for the same person to have won a prize, as a boy, and as a man, at the Olympic games. He lays great stress on the moral and educational influence of music, and its efficacy in “purging” the emotions (see above, p. 95). He disparages pipe-playing, which, he says, was adopted by the Athenians in the glorious period of licence succeeding their victories over the Persians; and adds that “pipe-playing not only disfigures the face, but has nothing intellectual in it.” It is difficult for us to enter into many of the feelings of the ancients about music. Aristotle lauds the “Dorian mood;” and here his treatise breaks off, without his having given us his theory as to instruction in literature, or as to the secondary instruction in general of his ideal citizens.

In constructing a Utopia, Aristotle was, of course,