Page - 2101 - in The Complete Aristotle

the Phrygian mode along with the Dorian, and the more so because he rejects the flute; for the Phrygian is to the modes what the flute is to musical instruments—both of them are exciting and emotional. Poetry proves this, for Bacchic frenzy and all similar emotions are most suitably expressed by the flute, and are better set to the Phrygian than to any other mode. The dithyramb, for example, is acknowledged to be Phrygian, a fact of which the connoisseurs of music offer many proofs, saying, among other things, that Philoxenus, having attempted to compose his Mysians as a dithyramb in the Dorian mode, found it impossible, and fell back by the very nature of things into the more appropriate Phrygian. All men agree that the Dorian music is the gravest and manliest. And whereas we say that the extremes should be avoided and the mean followed, and whereas the Dorian is a mean between the other modes, it is evident that our youth should be taught the Dorian music. Two principles have to be kept in view, what is possible, what is becoming: at these every man ought to aim. But even these are relative to age; the old, who have lost their powers, cannot very well sing the high-strung modes, and nature herself seems to suggest that their songs should be of the more relaxed kind. Wherefore the musicians likewise blame Socrates, and with justice, for rejecting the relaxed modes in education under the idea that they are intoxicating, not in the ordinary sense of intoxication (for wine rather tends to excite men), but because they have no strength in them. And so, with a view also to the time of life when men begin to grow old, they ought to practice the gentler modes and melodies as well as the others, and, further, any mode, such as the Lydian above all others appears to be, which is suited to children of tender age, and possesses the elements both of order and of education. Thus it is clear that education should be based upon three principles—the mean, the possible, the becoming, these three. 2101