§8.1341aκαὶ ποίων μελῶν καὶ ποίων ῥυθμῶν κοινωνητέον, ἔτι δὲ ἐν ποίοις ὀργάνοις τὴν μάθησιν ποιητέον, καὶ γὰρ τοῦτο διαφέρειν εἰκός.
(And it is not difficult to solve by considering) what kind of melodies and what kind of rhythms they should participate in, and further, on what kind of instruments their learning should be made, for indeed it is likely that this also makes a difference.
ἐν τούτοις γὰρ ἡ λύσις ἐστὶ τῆς ἐπιτιμήσεως· οὐδὲν γὰρ κωλύει τρόπους τινὰς τῆς μουσικῆς ἀπεργάζεσθαι τὸ λεχθέν.
For in these things is the solution to the objection; for nothing prevents certain modes of music from producing the aforementioned effect.
φανερὸν τοίνυν ὅτι δεῖ τὴν μάθησιν αὐτῆς μήτε ἐμποδίζειν πρὸς τὰς ὕστερον πράξεις, μήτε τὸ σῶμα ποιεῖν βάναυσον καὶ ἄχρηστον πρὸς τὰς πολεμικὰς καὶ πολιτικὰς ἀσκήσεις, πρὸς μὲν τὰς χρήσεις ἤδη πρὸς δὲ τὰς χρήσεις ὕστερον.
It is manifest, therefore, that the learning of it should neither hinder later activities, nor make the body vulgar and useless for military and political exercises, for their use now and for their use later.
συμβαίνοι δʼ ἂν περὶ τὴν μάθησιν, εἰ μήτε τὰ πρὸς τοὺς ἀγῶνας τοὺς τεχνικοὺς συντείνοντα διαπονοῖεν, μήτε τὰ θαυμάσια καὶ περιττὰ τῶν ἔργων, ἃ νῦν ἐλήλυθεν εἰς τοὺς ἀγῶνας ἐκ δὲ τῶν ἀγώνων εἰς τὴν παιδείαν, ἀλλὰ καὶ τὰ μὴ τοιαῦτα μέχρι περ ἂν δύνωνται χαίρειν τοῖς καλοῖς μέλεσι καὶ ῥυθμοῖς, καὶ μὴ μόνον τῷ κοινῷ τῆς μουσικῆς, ὥσπερ καὶ τῶν ἄλλων ἔνια ζῴων, ἔτι δὲ καὶ πλῆθος ἀνδραπόδων καὶ παιδίων.
And this would happen in connection with learning, if they should neither labor at those things which contribute to professional contests, nor at the wondrous and extraordinary performances, which have now entered into the contests and from the contests into education, but even those things which are not of this kind, up to the point where they are able to enjoy noble melodies and rhythms, and not only that which is common in music, as also some of the other animals do, and further, a multitude of slaves and children.
δῆλον δὲ ἐκ τούτων καὶ ποίοις ὀργάνοις χρηστέον.
And it is clear from these things also what kind of instruments must be used.
οὔτε γὰρ αὐλοὺς εἰς παιδείαν ἀκτέον οὔτʼ ἄλλο τι τεχνικὸν ὄργανον, οἷον κιθάραν κἂν εἴ τι τοιοῦτον ἕτερον ἔστιν, ἀλλʼ ὅσα ποιήσει αὐτῶν ἀκροατὰς ἀγαθοὺς ἢ τῆς μουσικῆς παιδείας ἢ τῆς ἄλλης· ἔτι δὲ οὐκ ἔστιν ὁ αὐλὸς ἠθικὸν ἀλλὰ μᾶλλον ὀργιαστικόν, ὥστε πρὸς τοὺς τοιούτους αὐτῷ καιροὺς χρηστέον ἐν οἷς ἡ θεωρία κάθαρσιν μᾶλλον δύναται ἢ μάθησιν.
For neither must we bring the aulos into education, nor any other professional instrument, such as the cithara and if there is any other such thing, but only such as will make them good hearers either of musical education or of other education; and further, the aulos is not of an ethical character, but rather orgiastic, so that it should be used for such occasions in which the experience achieves purification rather than learning.
προσθῶμεν δὲ ὅτι συμβέβηκεν ἐναντίον αὐτῷ πρὸς παιδείαν καὶ τὸ κωλύειν τῷ λόγῳ χρῆσθαι τὴν αὔλησιν.
And let us add that there happens to be an opposite effect in it toward education: namely, that playing the aulos prevents using speech.
διὸ καλῶς ἀπεδοκίμασαν αὐτοῦ οἱ πρότερον τὴν χρῆσιν ἐκ τῶν νέων καὶ τῶν ἐλευθέρων, καίπερ χρησάμενοι τὸ πρῶτον αὐτῷ.
Wherefore our ancestors rightly rejected its use from the young and free-born, although they used it at first.
σχολαστικώτεροι γὰρ γιγνόμενοι διὰ τὰς εὐπορίας καὶ μεγαλοψυχότεροι πρὸς τὴν ἀρετήν, ἔτι τε πρότερον καὶ μετὰ τὰ Μηδικὰ φρονηματισθέντες ἐκ τῶν ἔργων, πάσης ἥπτοντο μαθήσεως, οὐδὲν διακρίνοντες ἀλλʼ ἐπιζητοῦντες.
For having become more at leisure through their wealth and more high-minded toward virtue, and even before and especially after the Persian Wars, having become proud because of their achievements, they laid hold of every kind of learning, making no distinctions but searching out everything.
διὸ καὶ τὴν αὐλητικὴν ἤγαγον πρὸς τὰς μαθήσεις.
Wherefore they also brought aulos-playing to their studies.
καὶ γὰρ ἐν Λακεδαίμονί τις χορηγὸς αὐτὸς ηὔλησε τῷ χορῷ, καὶ περὶ Ἀθήνας οὕτως ἐπεχωρίασεν ὥστε σχεδὸν οἱ πολλοὶ τῶν ἐλευθέρων μετεῖχον αὐτῆς· δῆλον δὲ ἐκ τοῦ πίνακος ὃν ἀνέθηκε Θράσιππος Ἐκφαντίδῃ χορηγήσας.
For indeed in Lacedaemon a certain choregos himself played the aulos for the chorus, and around Athens it became so common that almost the majority of free citizens participated in it; and this is manifest from the tablet which Thrasippus dedicated when he served as choregos for Ecphantides.
ὕστερον δʼ ἀπεδοκιμάσθη διὰ τῆς πείρας αὐτῆς, βέλτιον δυναμένων κρίνειν τὸ πρὸς ἀρετὴν καὶ τὸ μὴ πρὸς ἀρετὴν συντεῖνον· ὁμοίως δὲ καὶ πολλὰ τῶν ὀργάνων τῶν ἀρχαίων, οἷον πηκτίδες καὶ βάρβιτοι καὶ τὰ πρὸς ἡδονὴν συντείνοντα τοῖς ἀκούουσι τῶν χρωμένων, ἑπτάγωνα καὶ τρίγωνα καὶ σαμβῦκαι,
But later it was rejected through experience itself, when they were better able to judge what contributes to virtue and what does not; and likewise also many of the ancient instruments, such as pektides and barbitoi and those which contribute to the pleasure of those who hear the players, heptagona and trigona and sambykai,