§7.816ΑΘ.ἐν δὲ δὴ τοῖς τοιούτοις που πᾶς ἄνθρωπος τὰς κινήσεις τοῦ σώματος μειζόνων μὲν τῶν ἡδονῶν οὐσῶν μείζους, ἐλαττόνων δὲ ἐλάττους κινεῖται, καὶ κοσμιώτερος μὲν ὢν πρός τε ἀνδρείαν μᾶλλον γεγυμνασμένος ἐλάττους αὖ, δειλὸς δὲ καὶ ἀγύμναστος γεγονὼς πρὸς τὸ σωφρονεῖν μείζους καὶ σφοδροτέρας παρέχεται μεταβολὰς τῆς κινήσεως·
ATH.: Indeed, in such circumstances, I suppose, every human moves the movements of the body more greatly when the pleasures are greater, and more slightly when they are smaller; and on the one hand, being more orderly and more trained toward courage, he moves more slightly in turn, but on the other hand, having become cowardly and untrained toward self-control, he produces greater and more violent variations of movement.
ὅλως δὲ φθεγγόμενος, εἴτʼ ἐν ᾠδαῖς εἴτʼ ἐν λόγοις, ἡσυχίαν οὐ πάνυ δυνατὸς τῷ σώματι παρέχεσθαι πᾶς.
And generally, anyone uttering sounds, whether in songs or in speeches, is not at all able to keep the body completely quiet.
διὸ μίμησις τῶν λεγομένων σχήμασι γενομένη τὴν ὀρχηστικὴν ἐξηργάσατο τέχνην σύμπασαν.
Wherefore, the imitation of things spoken, made by postures, produced the entire art of dancing.
ὁ μὲν οὖν ἐμμελῶς ἡμῶν, ὁ δὲ πλημμελῶς ἐν τούτοις πᾶσι κινεῖται.
Thus, on the one hand, one of us moves harmoniously, and another unharmoniously, in all these things.
πολλὰ μὲν δὴ τοίνυν ἄλλα ἡμῖν τῶν παλαιῶν ὀνομάτων ὡς εὖ καὶ κατὰ φύσιν κείμενα δεῖ διανοούμενον ἐπαινεῖν, τούτων δὲ ἓν καὶ τὸ περὶ τὰς ὀρχήσεις τὰς τῶν εὖ πραττόντων, ὄντων δὲ μετρίων αὐτῶν πρὸς τὰς ἡδονάς, ὡς ὀρθῶς ἅμα καὶ μουσικῶς ὠνόμασεν ὅστις ποτʼ ἦν, καὶ κατὰ λόγον αὐταῖς θέμενος ὄνομα συμπάσαις ἐμμελείας ἐπωνόμασε, καὶ δύο δὴ τῶν ὀρχήσεων τῶν καλῶν εἴδη κατεστήσατο, τὸ μὲν πολεμικὸν πυρρίχην, τὸ δὲ εἰρηνικὸν ἐμμέλειαν, ἑκατέρῳ τὸ πρέπον τε καὶ ἁρμόττον ἐπιθεὶς ὄνομα.
Therefore, we must indeed think of and praise many other of the ancient names as being established well and in accordance with nature, and one of these is also that concerning the dances of those who fare well, they themselves being moderate toward pleasures, how correctly and at the same time musically whoever he was named them, and having established a rational name for them all together, called them "emmeleia" (harmonious movements); and indeed he established two forms of beautiful dances: the military one, "pyrrhic", and the peaceful one, "emmeleia", having applied to each the fitting and appropriate name.
ἃ δὴ δεῖ τὸν μὲν νομοθέτην ἐξηγεῖσθαι τύποις, τὸν δὲ νομοφύλακα ζητεῖν τε, καὶ ἀνερευνησάμενον, μετὰ τῆς ἄλλης μουσικῆς τὴν ὄρχησιν συνθέντα καὶ νείμαντα ἐπὶ πάσας ἑορτὰς τῶν θυσιῶν ἑκάστῃ τὸ πρόσφορον, οὕτω καθιερώσαντα αὐτὰ πάντα ἐν τάξει, τοῦ λοιποῦ μὴ κινεῖν μηδὲν μήτε ὀρχήσεως ἐχόμενον μήτε ᾠδῆς, ἐν ταῖς δʼ αὐταῖς ἡδοναῖς ὡσαύτως τὴν αὐτὴν πόλιν καὶ πολίτας διάγοντας, ὁμοίους εἰς δύναμιν ὄντας, ζῆν εὖ τε καὶ εὐδαιμόνως.
These things indeed the legislator must outline in patterns, and the guardian of the laws must seek out and, having investigated them, combine this dancing with the rest of music and distribute to all the festivals of sacrifices the appropriate part for each, and having thus consecrated them all in order, for the future alter nothing belonging either to dance or to song, and that the same city and citizens, passing their lives in the same pleasures in the same way, being similar in capacity, should live well and happily.
τὰ μὲν οὖν τῶν καλῶν σωμάτων καὶ γενναίων ψυχῶν εἰς τὰς χορείας, οἵας εἴρηται δεῖν αὐτὰς εἶναι, διαπεπέρανται, τὰ δὲ τῶν αἰσχρῶν σωμάτων καὶ διανοημάτων καὶ τῶν ἐπὶ τὰ τοῦ γέλωτος κωμῳδήματα τετραμμένων, κατὰ λέξιν τε καὶ ᾠδὴν καὶ κατὰ ὄρχησιν καὶ κατὰ τὰ τούτων πάντων μιμήματα κεκωμῳδημένα, ἀνάγκη μὲν θεάσασθαι καὶ γνωρίζειν· ἄνευ γὰρ γελοίων τὰ σπουδαῖα καὶ πάντων τῶν ἐναντίων τὰ ἐναντία μαθεῖν μὲν οὐ δυνατόν, εἰ μέλλει τις φρόνιμος ἔσεσθαι, ποιεῖν δὲ οὐκ αὖ δυνατὸν ἀμφότερα, εἴ τις αὖ μέλλει καὶ σμικρὸν ἀρετῆς μεθέξειν, ἀλλὰ αὐτῶν ἕνεκα τούτων καὶ μανθάνειν αὐτὰ δεῖ, τοῦ μή ποτε διʼ ἄγνοιαν δρᾶν ἢ λέγειν ὅσα γελοῖα, μηδὲν δέον, δούλοις δὲ τὰ τοιαῦτα καὶ ξένοις ἐμμίσθοις προστάττειν μιμεῖσθαι, σπουδὴν δὲ περὶ αὐτὰ εἶναι μηδέποτε μηδʼ ἡντινοῦν, μηδέ τινα μανθάνοντα αὐτὰ γίγνεσθαι φανερὸν τῶν ἐλευθέρων, μήτε γυναῖκα μήτε ἄνδρα, καινὸν δὲ ἀεί τι περὶ αὐτὰ φαίνεσθαι τῶν μιμημάτων.
Now indeed, the matters of beautiful bodies and noble souls in relation to the choral dances, such as they have been said they ought to be, are completed; but the matters of ugly bodies and thoughts, and of those turned toward comic plays of laughter, in speech and song and dance, and in all the comic imitations of these, it is necessary to behold and to know; for without ridiculous things it is not possible to learn serious things, nor opposites without all opposites, if one is to be prudent; but on the other hand, it is not possible to do both, if one is in turn to share even in a small part of virtue; but for these very reasons one must also learn them, so as never through ignorance to do or say what is ridiculous, when there is no need, and one must command slaves and hired foreigners to imitate such things, and there must never be any serious interest whatsoever in them, nor must any of the free citizens, whether woman or man, be seen learning them, but there must always appear something new in these imitations.