The Modes of Ancient Greek Music. D. B. Monro

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to be found in the Dorian and the Phrygian. In the Laches (p. 188) there is a passing reference in which a similar view is expressed. Plato is speaking of the character of a brave man as being metaphorically a 'harmony,' by which his life is made consonant to reason—'a Dorian harmony,' he adds—playing upon the musical sense of the word—'not an Ionian, certainly not a Phrygian or a Lydian, but that one which only is truly Hellenic' (atechnôs Dôristi, all' ouk Iasti, oiomai de oude Phrygisti oude Lydisti, all' hê per monê Hellênikê estin harmonia). The exclusion of Phrygian may be due to the fact that the virtue discussed in the Laches is courage; but it is in agreement with Aristotle's opinion. The absence of Aeolian from both the Platonic passages seems to show that it had gone out of use in his time (but cp. p. 11).

      The three chapters which Aristotle devotes to a discussion of the use of music in the state (Politics viii. cc. 5–7), and in which he reviews and criticises the Platonic treatment of the same subject, will be found entirely to bear out the view now taken. It is also supported by the commentary of Plutarch, in his dialogue on Music (cc. 15–17), of which we shall have something to say hereafter. Meanwhile, following the chronological order of our authorities, we come next to the fragment of Heraclides Ponticus already mentioned (Athen. xiv. p. 624 c−626 a).

       Table of Contents

       Table of Contents

      Of the writers who deal with music from the point of view of the cultivated layman, Aristotle is undoubtedly the most instructive. The chapters in his Politics which treat of music in its relation to the state and to morality go much more deeply than Plato does into the grounds of the influence which musical forms exert upon temper and feeling. Moreover, Aristotle's scope is wider, not being confined to the education of the young; and his treatment is evidently a more faithful reflexion of the ordinary Greek notions and sentiment. He begins (Pol. viii. 5, p. 1340 a 38) by agreeing with Plato as to the great importance of the subject for practical politics. Musical forms, he holds, are not mere symbols (sêmeia), acting through association, but are an actual copy or reflex of the forms of moral temper (en de tois melesin autois esti mimêmata tôn êthôn); and this is the ground of the different moral influence exercised by different modes (harmoniai). By some of them, especially by the Mixo-lydian, we are moved to a plaintive and depressed temper (diatithesthai odyrtikôterôs kai synestêkotôs mallon); by others, such as those which are called the 'relaxed' (aneimenai), we are disposed to 'softness' of mind (malakôterôs tên dianoian). The Dorian, again, is the only one under whose influence men are in a middle and settled mood (mesôs kai kathestêkotôs malista): while the Phrygian makes them excited (enthousiastikous). In a later chapter (Pol. viii. 7, p. 1342 a 32), he returns to