l adapted to the manly and the cowardly when they
are in trouble? 'How can they be, when the very colours of their faces
are different?' Figures and melodies have a rhythm and harmony which are
adapted to the expression of different feelings (I may remark, by the
way, that the term 'colour,' which is a favourite word of music-masters,
is not really applicable to music). And one class of harmonies is akin
to courage and all virtue, the other to cowardice and all vice. 'We
agree.' And do all men equally like all dances? 'Far otherwise.' Do some
figures, then, appear to be beautiful which are not? For no one will
admit that the forms of vice are more beautiful than the forms of
virtue, or that he prefers the first kind to the second. And yet most
persons say that the merit of music is to give pleasure. But this is
impiety. There is, however, a more plausible account of the matter given
by others, who make their likes or dislikes the criterion of excellence.
Sometimes nature crosses habit, or conversely, and then they say that
such and such fashions or gestures are pleasant, but they do not like to
exhibit them before men of sense, although they enjoy them in private.
'Very true.' And do vicious measures and strains do any harm, or
good measures any good to the lovers of them? 'Probably.' Say, rather
'Certainly': for the gentle indulgence which we often show to vicious
men inevitably makes us become like them. And what can be worse than
this? 'Nothing.' Then in a well-administered city, the poet will not be
allowed to make the songs of the people just as he pleases, or to train
his choruses without regard to virtue and vice. 'Certainly not.' And
yet he may do this anywhere except in Egypt; for there ages ago they
discovered the great truth which I am now asserting, that the young
should be educated in forms and strains of virtue. These they fixed and
consecrated in their temples; and no artist or musician is allowed
to deviate from them. They are literally the same which they were ten
thousand years ago. And this practice of theirs suggests the reflection
that legislation about music is not an impossible thing. But the
particular enactments must be the work of God or of some God-inspired
man, as in Egypt their ancient chants are said to be the composition
of the goddess Isis. The melodies which have a natural truth and
correctness should be embodied in a law, and then the desire of novelty
is not strong enough to change the o