We must, however, still further direct our attention to harmonies and rhythms, and to education, and consider whether all harmonies are to be employed, and all rhythms, or whether a selection of them is to be made. In the next place we must consider whether we should give the same directions to those who are engaged in music as a part of education, or whether a certain other third thing is necessary. Since, therefore, we see that music subsists through melody and rhythm, we ought not to be ignorant what power each of these possesses in education, and whether the music should be preferred in which melody, or that in which rhythm prevails. As we are of opinion, therefore, that much concerning these things has been well said by some musicians of the present age, and also by those philosophers who were skilled in the discipline of music, we shall refer those who desire an accurate knowledge of each of these, (viz. of melody and rhythm,) to those writers. For at present we shall only discuss this subject generally, without descending to particulars. Since, however, we admit the division of melodies which is adopted by some philosophers, viz. into the ethical, the practical, and the enthusiastic, and agree with them in ascribing to each of these a particular kind of harmony which naturally corresponds therewith; hence we say, that music should be used not for the sake of one advantage only, but many; for it should be used for the sake of instruction and purification. But what we mean by purification we shall not indeed explain at present, but shall clearly show what it is in the Poetic. Music, likewise, should be used, in the third place, as an amusement in leisure, and for the purposes of relaxation, and rest from vigorous energy. It is evident, therefore, that all harmonies are to be used, yet not for all purposes; but the most ethical are to be used for education; and the most effective and enthusiastic to please the ear when others play. For the passion which happens to operate strongly in some souls, is inherent in all; but it differs in the more and the less; such as pity and terror; and besides these, enthusiasm. For some persons are possessed after the manner of inspiration by this motion, [i.e. the motion of enthusiasm]. And yet we see these persons so affected by sacred melodies, when they use those that expiate the soul, that they become as sedate and composed, as if they had employed medicine and purification. It is also necessary that those who are compassionate and fearful should be affected in the very same manner, and, in short, all those who are under the influence of the passions; but that others should be thus affected, so far as things of this kind happen to each of them, and that in all persons a certain purification and alleviation should be produced, in conjunction with pleasure. In a similar manner, also, purifying melodies afford a harmless delight to men. Hence, such harmonies and such melodies should be exhibited by those who contend with each other in theatrical music. Since, however, the audience is composed of two kinds of persons, the one consisting of the free and the erudite, but the other of sordid artificers, hirelings, and others of the like kind; hence contests and spectacles must be exhibited to such as the latter for the purpose of relaxation. For as the souls of these persons are distorted from their natural habit; thus, also, the harmonies with which they are pleased are deviations from true harmony, as likewise are the vehement and perverted melodies which afford them delight. That, however, which is adapted to the nature of any one, is the source of pleasure to him. Hence, those who are to contend in the theatre, should be permitted to use this kind of music. But, as we have before observed, for the purposes of education, ethical melodies, and such-like harmonies, should be used. And of this kind is the Doric, as we have already remarked. But it is necessary that we should also admit any other kind of harmony which is approved of by those who are conversant with philosophy, and the erudition pertaining to music.
Socrates, however, in the Republic [of Plato] does not do well in leaving the Phrygian harmony only in conjunction with the Dorian; and this, though among musical instruments, he rejects the flute. For the Phrygian harmony has the same power among other harmonies, as the flute among other instruments. For both are orgiastic, [or pertaining to the celebration of orgies,] and pathetic, [or calculated to excite the passions]. This poetry evinces. For all Bacchic inspiration, and every motion of this kind, are principally produced by the flute. But the Phrygian harmony is adapted to these purposes. Thus, for instance, the dithyrambic measure is acknowledged to be Phrygian; and many examples that it is so are adduced by those who are conversant with this subject. Among others this instance, also, is adduced, that when Philoxenus endeavoured to compose dithyrambic fables according to the Doric harmony, he was not able to effect his purpose, but fell again, through nature herself, into the Phrygian harmony, which was adapted to his design. With respect, however, to the Doric harmony, all men acknowledge that it is of a most stable nature, and especially expresses courageous manners, [i.e. is particularly calculated to inspire fortitude]. Again, since we praise the medium between things that are excessive, and say that it ought to be pursued; but the Doric possesses this nature with respect to the other harmonies; it is evident that this harmony is more adapted to the education of youth. But there are two things to be considered, the possible and the becoming. For it is necessary that every one should principally attempt what is possible, and what is fit. But these are limited by certain ages. Thus, for instance, it is not easy for those who are advanced in years to sing such pieces of music as have very high notes, but nature points out to such as these harmony which is less intense. Hence, some persons, who are conversant with music, very properly blame Socrates for not admitting gentle harmony in the education of youth, as if such harmony resembled the intoxicating power of wine. It does not, however, cause men to be Bacchanals; but as those that are intoxicated become languid, thus also remitted harmonies produce languor in those that hear them. Hence, such harmonies and melodies as these are adapted to more elderly persons. Further still, if there is any harmony which is proper for the age of boys, in consequence of being able at one and the same time to adorn their manners, and afford them instruction, such as the Lydian harmony appears to be more than any other; [this, though it should decline from the medium, is not entirely to be rejected]. It is evident, therefore, that these three boundaries are to be attended to in education, viz. the medium, the possible, and the becoming.
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