mperance; these, I say, leave.

And these, he replied, are the Dorian and Phrygian harmonies of which I
was just now speaking.

Then, I said, if these and these only are to be used in our songs and
melodies, we shall not want multiplicity of notes or a panharmonic
scale?

I suppose not.

Then we shall not maintain the artificers of lyres with three corners
and complex scales, or the makers of any other many-stringed
curiously-harmonised instruments?

Certainly not.

But what do you say to flute-makers and flute-players? Would you admit
them into our State when you reflect that in this composite use of
harmony the flute is worse than all the stringed instruments put
together; even the panharmonic music is only an imitation of the flute?

Clearly not.

There remain then only the lyre and the harp for use in the city, and
the shepherds may have a pipe in the country.

That is surely the conclusion to be drawn from the argument.

The preferring of Apollo and his instruments to Marsyas and his
instruments is not at all strange, I said.

Not at all, he replied.

And so, by the dog of Egypt, we have been unconsciously purging the
State, which not long ago we termed luxurious.

And we have done wisely, he replied.

Then let us now finish the purgation, I said. Next in order to
harmonies, rhythms will naturally follow, and they should be subject to
the same rules, for we ought not to seek out complex systems of metre,
or metres of every kind, but rather to discover what rhythms are the
expressions of a courageous and harmonious life; and when we have found
them, we shall adapt the foot and the melody to words having a like
spirit, not the words to the foot and melody. To say what these
rhythms are will be your duty--you must teach me them, as you have
already taught me the harmonies.

But, indeed, he replied, I cannot tell you. I only know that there are
some three principles of rhythm out of which metrical systems are
framed, just as in sounds there are four notes out of which all the
harmonies are composed; that is an observation which I have made. But
of what sort of lives they are severally the imitations I am unable to
say.

Then, I said, we must take Damon into our counsels; and he will tell us
what rhythms are expressive of meanness, or insolence, or fury, or
other unworthiness, and what are to be reserved for the expression of
opposite feelings. And I think that I have an indistinct recollectio