tion of

melodies to be preferred in educa

subject; we shall only speak of it now after the manner VIII. 7. of the legislator, having regard to general principles. 3 We accept the division of melodies proposed by cer- Classificatain philosophers into ethical melodies, melodies of melodies. action, and passionate or inspiring melodies, each having, as they say, a mode or harmony corresponding to it. But we maintain further that music should be studied, not for the sake of one, but of many benefits, that is to say, with a view to (1) education, (2) purification (the word 'purification' we use at present without explanation, but when hereafter we speak of poetry, we will treat the subject with more precision); music may also serve (3) for intellectual enjoyment, for relaxation and 1842 a. for recreation after exertion. It is clear, therefore, that all the harmonies must be employed by us, but not all of them in the same manner. In education ethical Ethical melodies are to be preferred, but we may listen to the melodies of action and passion when they are per4 formed by others. For feelings such as pity and fear, sionate or, again, enthusiasm, exist very strongly in some souls, purify the and have more or less influence over all. Some persons soul. fall into a religious frenzy, whom we see disenthralled by the use of mystic melodies, which bring healing and purification to the soul. Those who are influenced by pity or fear and every emotional nature have a like experience, others in their degree are stirred by something which specially affects them, and all are in a manner purified and their souls lightened and delighted. The melodies of purification likewise give 6 an innocent pleasure to mankind. Such are the harmonies and the melodies in which those who perform music at the theatre should be invited to compete. But since the spectators are of two kinds the one Music for free and educated, and the other a vulgar crowd tude. 7 composed of mechanics, labourers, and the like-there ought to be contests and exhibitions instituted for the

5

■ Cp. Poet. c. 6, though the promise is really unfulfilled.

S

melodies

troubled

the multi

mode

educa

tional.

Plato is wrong in retaining

gian ;

VIII. 7. relaxation of the second class also. And the melodies will correspond to their minds; for as their minds are perverted from the natural state, so there are exaggerated and corrupted harmonies which are in like manner a perversion. A man receives pleasure from what is natural to him, and therefore professional musicians may be allowed to practise this lower sort of The Dorian music before an audience of a lower type. But, for the 8 ethical and purposes of education, as I have already said, those modes and melodies should be employed which are ethical, such as the Dorian; though we may include any others which are approved by philosophers who have had a musical education. The Socrates of the Republic is 9 wrong in retaining only the Phrygian mode along with the Phry- the Dorian, and the more so because he rejects the 1342 b. flute; for the Phrygian is to the modes what the flute is to musical instruments-both of them are exciting and emotional. Poetry proves this, for Bacchic frenzy and 10 all similar emotions are most suitably expressed by the flute, and are better set to the Phrygian than to any other harmony. The dithyramb, for example, is acknowledged to be Phrygian, a fact of which the connois- 11 seurs of music offer many proofs, saying, among other things, that Philoxenus, having attempted to compose his Tales as a dithyramb in the Dorian mode, found it impossible, and fell back into the more appropriate Phrygian. All men agree that the Dorian music is the 12 gravest and manliest. And whereas we say that the extremes should be avoided and the mean followed, and whereas the Dorian is a mean between the other harmonies [the Phrygian and the Lydian], it is evident that our youth should be taught the Dorian music.

Two principles have to be kept in view, what is 13 possible, what is becoming: at these every man ought to aim. But even these are relative to age;' the old,

Plato Rep. iii. 399.

b Retaining the MS. reading púdovs. Cp. Poet. c. 2. § 7.

* Cp. c. 5. § 22.

in alto

relaxed

such as the

who have lost their powers, cannot very well sing the VIII. 7. severe melodies, and nature herself seems to suggest that their songs should be of the more relaxed kind. 14 Wherefore the musicians likewise blame Socrates, and wrong also with justice, for rejecting the relaxed harmonies in educa- gether retion under the idea that they are intoxicating, not in the jecting the ordinary sense of intoxication (for wine rather tends to harmonies, excite men), but because they have no strength in them. Lydian. And so with a view to a time of life when men begin to grow old, they ought to practise the gentler harmonies 15 and melodies as well as the others. And if there be any harmony, such as the Lydian above all others appears to be, which is suited to children of tender age, and possesses the elements both of order and of education, clearly [we ought to use it, for] education should be based upon three principles-the mean, the possible, the becoming, these three.

INDEX.