haps, belong rather to women than to men; the spell of incantation
and the chant for the dead pertain pre-eminently to the former,
and not without reason the spirits of song, the Casmenae or Camenae
and the Carmentis of Latium, like the Muses of Hellas, were conceived
as feminine. But the time came in Hellas, when the poet relieved
the songstress and Apollo took his place at the head of the Muses.
In Latium there was no national god of song, and the older Latin
language had no designation for the poet.(15) The power of song
emerging there was out of all proportion weaker, and was rapidly
arrested in its growth. The exercise of the fine arts was there
early restricted, partly to women and children, partly to incorporated
or unincorporated tradesmen. We have already mentioned that funeral
chants were sung by women and banquet-lays by boys; the religious
litanies also were chiefly executed by children. The musicians formed
an incorporated, the dancers and the wailing women (-praeficae-)
unincorporated, trades. While dancing, music, and singing remained
constantly in Greece--as they were originally also in Latium--reputable
employments redounding to the honour of the burgess and of the
community to which he belonged, in Latium the better portion of the
burgesses drew more and more aloof from these vain arts, and that
the more decidedly, in proportion as art came to be more publicly
exhibited and more thoroughly penetrated by the quickening impulses
derived from other lands. The use of the native pipe was sanctioned,
but the lyre remained despised; and while the national amusement of
masks was allowed, the foreign amusements of the -palaestra- were
not only regarded with indifference, but esteemed disgraceful. While
the fine arts in Greece became more and more the common property of
the Hellenes individually and collectively and thereby became the
means of developing a universal culture, they gradually disappeared
in Latium from the thoughts and feelings of the people; and, as
they degenerated into utterly insignificant handicrafts, the idea
of a general national culture to be communicated to youth never
suggested itself at all. The education of youth remained entirely
confined within the limits of the narrowest domesticity. The boy
never left his father's side, and accompanied him not only to the
field with the plough and the sickle, but also to the house of
a friend or to the council-hall, when his father was invi