§8.1342aφανερὸν ὅτι χρηστέον μὲν πάσαις ταῖς ἁρμονίαις, οὐ τὸν αὐτὸν δὲ τρόπον πάσαις χρηστέον, ἀλλὰ πρὸς μὲν τὴν παιδείαν ταῖς ἠθικωτάταις, πρὸς δὲ ἀκρόασιν ἑτέρων χειρουργούντων καὶ ταῖς πρακτικαῖς καὶ ταῖς ἐνθουσιαστικαῖς.
It is clear that we should use all harmonies, but we should not use them all in the same manner; rather, for the purpose of education, we should use the most ethical ones, but for listening to others performing, we should also use both the active and the enthusiastic ones.
ὃ γὰρ περὶ ἐνίας συμβαίνει πάθος ψυχὰς ἰσχυρῶς, τοῦτο ἐν πάσαις ὑπάρχει, τῷ δὲ ἧττον διαφέρει καὶ τῷ μᾶλλον, οἷον ἔλεος καὶ φόβος, ἔτι δʼ ἐνθουσιασμός· καὶ γὰρ ὑπὸ ταύτης τῆς κινήσεως κατοκώχιμοί τινές εἰσιν, ἐκ τῶν δʼ ἱερῶν μελῶν ὁρῶμεν τούτους, ὅταν χρήσωνται τοῖς ἐξοργιάζουσι τὴν ψυχὴν μέλεσι, καθισταμένους ὥσπερ ἰατρείας τυχόντας καὶ καθάρσεως·
For the passion that occurs strongly in some souls exists in all, and differs only in being less or more, such as pity and fear, and also enthusiasm; for indeed some are highly susceptible to this movement, and we see that from the sacred melodies, when they use the melodies that throw the soul into ecstasy, they are restored to calmness as if they had obtained a medical treatment and purification.
ταὐτὸ δὴ τοῦτο ἀναγκαῖον πάσχειν καὶ τοὺς ἐλεήμονας καὶ τοὺς φοβητικοὺς καὶ τοὺς ὅλως παθητικούς, τοὺς ἄλλους καθʼ ὅσον ἐπιβάλλει τῶν τοιούτων ἑκάστῳ, καὶ πᾶσι γίγνεσθαί τινα κάθαρσιν καὶ κουφίζεσθαι μεθʼ ἡδονῆς.
This same experience must necessarily belong both to the pitiful and to the fearful and to the generally emotional, and to others insofar as each is susceptible to such feelings, and there must come to all a certain purification and a feeling of relief accompanied by pleasure.
ὁμοίως δὲ καὶ τὰ μέλη τὰ πρακτικὰ παρέχει χαρὰν ἀβλαβῆ τοῖς ἀνθρώποις· διὸ ταῖς μὲν τοιαύταις ἁρμονίαις καὶ τοῖς τοιούτοις μέλεσιν θετέον τοὺς τὴν θεατρικὴν μουσικὴν μεταχειριζομένους ἀγωνιστάς·
Likewise, the active melodies also provide a harmless joy to men; wherefore those who practice theatrical music should be appointed to use such harmonies and such melodies in contests.
ἐπεὶ δʼ ὁ θεατὴς διττός, ὁ μὲν ἐλεύθερος καὶ πεπαιδευμένος, ὁ δὲ φορτικὸς ἐκ βαναύσων καὶ θητῶν καὶ ἄλλων τοιούτων συγκείμενος, ἀποδοτέον ἀγῶνας καὶ θεωρίας καὶ τοῖς τοιούτοις πρὸς ἀνάπαυσιν·
And since the spectator is twofold, on the one hand free and educated, and on the other vulgar, composed of artisans and hirelings and other such people, we must also provide contests and spectacles to such as these for relaxation.
εἰσὶ δὲ ὥσπερ αὐτῶν αἱ ψυχαὶ παρεστραμμέναι τῆς κατὰ φύσιν ἕξεως—οὕτω καὶ τῶν ἁρμονιῶν παρεκβάσεις εἰσὶ καὶ τῶν μελῶν τὰ σύντονα καὶ παρακεχρωσμένα, ποιεῖ δὲ τὴν ἡδονὴν ἑκάστοις τὸ κατὰ φύσιν οἰκεῖον, διόπερ ἀποδοτέον ἐξουσίαν τοῖς ἀγωνιζομένοις πρὸς τὸν θεατὴν τὸν τοιοῦτον τοιούτῳ τινὶ χρῆσθαι τῷ γένει τῆς μουσικῆς.
And just as their souls are distorted from their natural state, so also there are deviations of harmonies, and tense and highly colored melodies; and that which is natural and proper to each produces pleasure for them, wherefore we must allow the competitors who compete before such a spectator the freedom to use some such kind of music.
πρὸς δὲ παιδείαν, ὥσπερ εἴρηται, τοῖς ἠθικοῖς τῶν μελῶν χρηστέον καὶ ταῖς ἁρμονίαις ταῖς τοιαύταις.
But for education, as has been said, we must use the ethical melodies and such harmonies.
τοιαύτη δʼ ἡ δωριστί, καθάπερ εἴπομεν πρότερον· δέχεσθαι δὲ δεῖ κἄν τινα ἄλλην ἡμῖν δοκιμάζωσιν οἱ κοινωνοὶ τῆς ἐν φιλοσοφίᾳ διατριβῆς καὶ τῆς περὶ τὴν μουσικὴν παιδείας.
And the Dorian is of this kind, as we said before; and we must also accept any other that our partners in the study of philosophy and in education concerning music may approve for us.
ὁ δʼ ἐν τῇ Πολιτείᾳ Σωκράτης οὐ καλῶς τὴν φρυγιστὶ μόνην καταλείπει μετὰ τῆς δωριστί, καὶ ταῦτα ἀποδοκιμάσας τῶν ὀργάνων τὸν αὐλόν.
But Socrates in the Republic does not do well in leaving only the Phrygian along with the Dorian, and this after having rejected the aulos among the instruments.
§8.1342bἔχει γὰρ τὴν αὐτὴν δύναμιν ἡ φρυγιστὶ τῶν ἁρμονιῶν ἥνπερ αὐλὸς ἐν τοῖς ὀργάνοις· ἄμφω γὰρ ὀργιαστικὰ καὶ παθητικά·
For the Phrygian has the same power among the harmonies as the aulos has among the instruments; for both are orgiastic and emotional.
. πᾶσα γὰρ βακχεία καὶ πᾶσα ἡ τοιαύτη κίνησις μάλιστα τῶν ὀργάνων ἐστὶν ἐν τοῖς αὐλοῖς, τῶν δʼ ἁρμονιῶν ἐν τοῖς φρυγιστὶ μέλεσι λαμβάνει ταῦτα τὸ πρέπον.
This is clear because all Bacchic frenzy and all such movement belong especially to the auloi among the instruments, and among the harmonies these find their appropriate expression in the Phrygian melodies.
δηλοῖ δʼ ἡ ποίησις, οἷον ὁ διθύραμβος ὁμολογουμένως εἶναι δοκεῖ Φρύγιον.
And poetry shows this, as for example the dithyramb is universally agreed to be Phrygian.
καὶ τούτου πολλὰ παραδείγματα λέγουσιν οἱ περὶ τὴν σύνεσιν ταύτην, ἄλλα τε καὶ ὅτι Φιλόξενος ἐγχειρήσας ἐν τῇ δωριστὶ ποιῆσαι τοὺς Μύσους οὐχ οἷός τʼ ἦν, ἀλλʼ ὑπὸ τῆς φύσεως αὐτῆς ἐξέπεσεν εἰς τὴν φρυγιστὶ τὴν προσήκουσαν ἁρμονίαν πάλιν.
And of this, those who are knowledgeable in this understanding tell many examples, especially that Philoxenus, having attempted to compose his 'Mysoi' in the Dorian harmony, was unable to do so, but by nature itself fell back again into the Phrygian, which was the fitting harmony.
περὶ δὲ τῆς δωριστὶ πάντες ὁμολογοῦσιν ὡς στασιμωτάτης οὔσης καὶ μάλιστα ἦθος ἐχούσης ἀνδρεῖον.
Concerning the Dorian, all agree that it is the most stable and especially possesses a brave character.
ἔτι δὲ ἐπεὶ τὸ μέσον μὲν τῶν ὑπερβολῶν ἐπαινοῦμεν καὶ χρῆναι διώκειν φαμέν, ἡ δὲ δωριστὶ ταύτην ἔχει τὴν φύσιν πρὸς τὰς ἄλλας ἁρμονίας, φανερὸν ὅτι τὰ Δώρια μέλη πρέπει παιδεύεσθαι μᾶλλον τοῖς νεωτέροις.
Furthermore, since we praise the mean between excesses and say that we ought to pursue it, and the Dorian has this nature in relation to the other harmonies, it is clear that the Dorian melodies are more fitting for the younger people to be educated in.
εἰσὶ δὲ δύο σκοποί, τό τε δυνατὸν καὶ τὸ πρέπον· καὶ γὰρ τὰ δυνατὰ δεῖ μεταχειρίζεσθαι μᾶλλον καὶ τὰ πρέποντα ἑκάστους.
But there are two targets, the possible and the appropriate; for indeed we must practice rather the possible and the appropriate for each.
ἔστι δὲ καὶ ταῦτα ὡρισμένα ταῖς ἡλικίαις, οἷον τοῖς ἀπειρηκόσι διὰ χρόνον οὐ ῥᾴδιον ᾄδειν τὰς συντόνους ἁρμονίας, ἀλλὰ τὰς ἀνειμένας ἡ φύσις ὑποβάλλει τοῖς τηλικούτοις.
And these are also defined by ages; for example, for those who are worn out by time, it is not easy to sing the tense harmonies, but nature suggests the relaxed ones to those of such an age.
διὸ καλῶς ἐπιτιμῶσι καὶ τοῦτο Σωκράτει τῶν περὶ τὴν μουσικήν τινες, ὅτι τὰς ἀνειμένας ἁρμονίας ἀποδοκιμάσειεν εἰς τὴν παιδίαν, ὡς μεθυστικὰς λαμβάνων αὐτάς, οὐ κατὰ τὴν τῆς μέθης δύναμιν, βακχευτικὸν γὰρ ἥ γε μέθη ποιεῖ μᾶλλον, ἀλλʼ ἀπειρηκυίας.
Wherefore some of those concerned with music also fitly censure Socrates for this, because he rejected the relaxed harmonies for education, taking them as intoxicating, not in the sense of the power of drunkenness (for drunkenness rather makes one Bacchic), but as being worn out.
ὥστε καὶ πρὸς τὴν ἐσομένην ἡλικίαν, τὴν τῶν πρεσβυτέρων, δεῖ καὶ τῶν τοιούτων ἁρμονιῶν ἅπτεσθαι καὶ τῶν μελῶν τῶν τοιούτων, ἔτι δʼ εἴ τίς ἐστι τοιαύτη τῶν ἁρμονιῶν ἣ πρέπει τῇ τῶν παίδων ἡλικίᾳ διὰ τὸ δύνασθαι κόσμον τʼ ἔχειν ἅμα καὶ παιδείαν, οἷον ἡ λυδιστὶ φαίνεται πεπονθέναι μάλιστα τῶν ἁρμονιῶν.
So that both in view of the age that is to come, that of the older men, one must touch upon such harmonies and such melodies, and furthermore, if there is any such harmony that is fitting for the age of children because of being able to have both order and education at the same time, as the Lydian seems to be affected most of all the harmonies.
δῆλον οὖν ὅτι τούτους ὅρους τρεῖς ποιητέον εἰς τὴν παιδείαν, τό τε μέσον καὶ τὸ δυνατὸν καὶ τὸ πρέπον.
It is clear then that we must make these three standards for education: the mean, the possible, and the appropriate.