Page - 1086 - in The Complete Plato

We certainly will, he said, if we have the power. 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 and song. That is obvious. Everyone 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 word “everyone” 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, 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 will surely be no difference between words which are and which are not set to music; 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 lamentation and strains of sorrow? True. And which are the harmonies expressive of sorrow? You are musical, and can tell me. The harmonies which you mean are the mixed or tenor Lydian, and the full- toned or bass Lydian, and such like. These then, I said, must be banished; they are of no use, even to women who have a character to maintain, and much less 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? The Ionian, he replied, and the Lydian; they are termed “relaxed.” 1086