Plato

Then now, my friend, I said, that part of music or literary education which relates to the story or myth may be considered to be finished; for the matter and manner have both been discussed. I think so too, he said. Next in order will follow melody [melos, pl. mele] and song. That is obvious. Every one can see already what we ought to say about them, if we are to be consistent with ourselves. I fear, said Glaucon, laughing, that the words "every one" hardly includes me, for I cannot at the moment say what they should be; though I may guess. At any rate you can tell that a song or ode has three parts ‹ the words, the melody [harmonia], and the rhythm; that degree of knowledge I may presuppose? Yes, he said; so much as that you may.

And as for the words, there surely be no difference words between words which are and which are not sung; both will conform to the same laws, and these have been already determined by us?

Yes.

And the melody and rhythm will depend upon the words?

Certainly.

We were saying, when we spoke of the subject-matter, that we had no need of dirges and lamentations in words?

True.

And what are the dirgelike harmoniai? You are musical, and can tell me.

The harmonies which you mean are the Mixolydian and intense Lydian, and others similar to them.

These then, I said, we must do away with; for they are useless even to women who are to make the best of themselves, let alone to men.

Certainly.

In the next place, drunkenness and softness and indolence are utterly unbecoming the character of our guardians.

Utterly unbecoming.

And which are the soft or drinking harmonies?

There are certain Ionian and Lydian onesthat are called "relaxed."

Well, and are these of any military use?

Quite the reverse, he replied; and if so the Dorian and the Phrygian are the only ones which you have left.

I answered: I don't know the harmoniai, but leave us that harmoniathat would fittingly imitate the utterances and the accents of a brave man who is engaged in warfare or in any enforced business, and who, when he has failed, either meeting wounds or death or having fallen into some other mishap, in all these conditions confronts fortune with steadfast endurance and repels her strokes. And another for such a man engaged in the works of peace, not enforced but voluntary, either trying to persuade somebody or something and imploring him - whether it be a god, through prayer, or a man, by teaching and admonition - or contrariwise yielding himself to another who is petitioning or teaching him or trying to change his opinions, and in consequence faring according to his wish, and not bearing himself arrongantly, but in all this acting modestly and moderately and acquiescing in the outcome. Leave us these two harmoniai - the enforced annd the voluntary - that will most beuatifully imitate the utternaces of men failing or succeeding, the temperate, the brave - leave us these.

And these, he replied, are the Dorian and Phrygian harmonies of which I was just now speaking.

Then, I said, if these and these only are to be used in our songs and melodies, we shall not want multiplicity of notes or a panharmonic scale?

I suppose not.

Then we shall not maintain the artificers of lyres with three corners and complex scales, or the makers of any other many-stringed curiously-harmonised instruments?

Certainly not.

But what do you say to flute-makers and flute-players? Would you admit them into our State when you reflect that in this composite use of harmony the flute is worse than all the stringed instruments put together; even the panharmonic music is only an imitation of the flute?

Clearly not.

There remain then only the lyre and the harp for use in the city, and the shepherds may have a pipe in the country.

That is surely the conclusion to be drawn from the argument.

The preferring of Apollo and his instruments to Marsyas and his instruments is not at all strange, I said.

No, by heave, I think not, he replied.

And so, by the dog of Egypt, we have been unconsciously purging the State, which not long ago we termed luxurious.

And we have done wisely, he replied.

Then let us now finish the purgation, I said. Next in order to harmonies, rhythms will naturally follow, and they should be subject to the same rules, for we ought not to seek out complex systems of metre, or metres of every kind, but rather to discover what rhythms are the expressions of a courageous and harmonious life; and when we have found them, we shall adapt the foot and the melody to words having a like spirit, not the words to the foot and melody. To say what these rhythms are will be your duty ‹ you must teach me them, as you have already taught me the harmonies.

But, indeed, he replied, I cannot tell you. I only know that there are some three principles of rhythm out of which metrical systems are framed, just as in sounds there are four notes out of which all the harmonies are composed; that is an observation which I have made. But of what sort of lives they are severally the imitations I am unable to say.

Then, I said, we must take Damon into our counsels; and he will tell us what rhythms are expressive of meanness, or insolence, or fury, or other unworthiness, and what are to be reserved for the expression of opposite feelings. And I think that I have an indistinct recollection of his mentioning a complex Cretic rhythm; also a dactylic or heroic, and he arranged them in some manner which I do not quite understand, making the rhythms equal in the rise and fall of the foot, long and short alternating; and, unless I am mistaken, he spoke of an iambic as well as of a trochaic rhythm, and assigned to them short and long quantities. Also in some cases he appeared to praise or censure the movement of the foot quite as much as the rhythm; or perhaps a combination of the two; for I am not certain what he meant. These matters, however, as I was saying, had better be referred to Damon himself, for the analysis of the subject would be difficult, you know?

Rather so, I should say.

But there is no difficulty in seeing that grace or the absence of grace is an effect of good or bad rhythm.

None at all.

And also that good and bad rhythm naturally assimilate to a good and bad style; and that harmony and discord in like manner follow style; for our principle is that rhythm and harmony are regulated by the words, and not the words by them.

Just so, he said, they should follow the words.

And will not the words and the character of the style depend on the temper of the soul?

Yes.

And everything else on the style?

Yes.

Then beauty of style and harmony and grace and good rhythm depend on simplicity, ‹ I mean the true simplicity of a rightly and nobly ordered mind and character, not that other simplicity which is only an euphemism for folly?

Very true, he replied.

And if our youth are to do their work in life, must they not make these graces and harmonies their perpetual aim?

They must.

And surely the art of the painter and every other creative and constructive art are full of them, ‹ weaving, embroidery, architecture, and every kind of manufacture; also nature, animal and vegetable, ‹ in all of them there is grace or the absence of grace. And ugliness and discord and inharmonious motion are nearly allied to ill words and ill nature, as grace and harmony are the twin sisters of goodness and virtue and bear their likeness.

That is quite true, he said.

But shall our superintendence go no further, and are the poets only to be required by us to express the image of the good in their works, on pain, if they do anything else, of expulsion from our State? Or is the same control to be extended to other artists, and are they also to be prohibited from exhibiting the opposite forms of vice and intemperance and meanness and indecency in sculpture and building and the other creative arts; and is he who cannot conform to this rule of ours to be prevented from practising his art in our State, lest the taste of our citizens be corrupted by him? We would not have our guardians grow up amid images of moral deformity, as in some noxious pasture, and there browse and feed upon many a baneful herb and flower day by day, little by little, until they silently gather a festering mass of corruption in their own soul. Let our artists rather be those who are gifted to discern the true nature of the beautiful and graceful; then will our youth dwell in a land of health, amid fair sights and sounds, and receive the good in everything; and beauty, the effluence of fair works, shall flow into the eye and ear, like a health-giving breeze from a purer region, and insensibly draw the soul from earliest years into likeness and sympathy with the beauty of reason.

There can be no nobler training than that, he replied.

...

But next, what shall we say of their food; for the men are in training for the great contest of all ‹ are they not?

Yes, he said.

And will the habit of body of our ordinary athletes be suited to them? Why not?

I am afraid, I said, that a habit of body such as they have is but a sleepy sort of thing, and rather perilous to health. Do you not observe that these athletes sleep away their lives, and are liable to most dangerous illnesses if they depart, in ever so slight a degree, from their customary regimen?

Yes, I do.

Then, I said, a finer sort of training will be required for our warrior athletes, who are to be like wakeful dogs, and to see and hear with the utmost keenness; amid the many changes of water and also of food, of summer heat and winter cold, which they will have to endure when on a campaign, they must not be liable to break down in health.

That is my view.

The really excellent gymnastic is twin sister of that simple music which we were just now describing.

How so?

Why, I conceive that there is a gymnastic which, like our music, is simple and good; and especially the military gymnastic.

What do you mean?

My meaning may be learned from Homer; he, you know, feeds his heroes at their feasts, when they are campaigning, on soldiers' fare; they have no fish, although they are on the shores of the Hellespont, and they are not allowed boiled meats but only roast, which is the food most convenient for soldiers, requiring only that they should light a fire, and not involving the trouble of carrying about pots and pans.

True.

And I can hardly be mistaken in saying that sweet sauces are nowhere mentioned in Homer. In proscribing them, however, he is not singular; all professional athletes are well aware that a man who is to be in good condition should take nothing of the kind.

Yes, he said; and knowing this, they are quite right in not taking them.

Then you would not approve of Syracusan dinners, and the refinements of Sicilian cookery?

I think not.

Nor, if a man is to be in condition, would you allow him to have a Corinthian girl as his fair friend?

Certainly not.

Neither would you approve of the delicacies, as they are thought, of Athenian confectionery?

Certainly not.

All such feeding and living may be rightly compared by us to melody and song composed in the panharmonic style, and in all the rhythms. Exactly.

There complexity engendered license, and here disease; whereas simplicity in music was the parent of temperance in the soul; and simplicity in gymnastic of health in the body.

Most true, he said.

But when intemperance and disease multiply in a State, halls of justice and medicine are always being opened; and the arts of the doctor and the lawyer give themselves airs, finding how keen is the interest which not only the slaves but the freemen of a city take about them.

Of course.

And yet what greater proof can there be of a bad and disgraceful state of education than this, that not only artisans and the meaner sort of people need the skill of first-rate physicians and judges, but also those who would profess to have had a liberal education? Is it not disgraceful, and a great sign of want of good-breeding, that a man should have to go abroad for his law and physic because he has none of his own at home, and must therefore surrender himself into the hands of other men whom he makes lords and judges over him?

Of all things, he said, the most disgraceful.