That is quite true, he said.
Whereas the other requires all sorts of harmonies and all sorts of rhythms, if the music and the style are to correspond, because the style has all sorts of changes.
That is also perfectly true, he replied.
And do not the two styles, or the mixture of the two, comprehend all poetry, and every form of expression in words? No one can say anything except in one or other of them or in both together.
They include all, he said.
And shall we receive into our State all the three styles, or one only of the two unmixed styles? or would you include the mixed?
I should prefer only to admit the pure imitator of virtue.
Yes, I said, Adeimantus, but the mixed style is also very charming: and indeed the pantomimic, which is the opposite of the one chosen by you, is the most popular style with children and their attendants, and with the world in general.
I do not deny it.
But I suppose you would argue that such a style is unsuitable to our State, in which human nature is not twofold or manifold, for one man plays one part only?
Yes; quite unsuitable.
And this is the reason why in our State, and in our State only, we shall find a shoemaker to be a shoemaker and not a pilot also, and a husbandman to be a husbandman and not a dicast also, and a soldier a soldier and not a trader also, and the same throughout?
True, he said.
And therefore when any one of these pantomimic gentlemen, who are so clever that they can imitate anything, comes to us, and makes a proposal to exhibit himself and his poetry, we will fall down and worship him as a sweet and holy and wonderful being; but we must also inform him that in our State such as he are not permitted to exist; the law will not allow them. And so when we have anointed him with myrrh, and set a garland of wool upon his head, we shall send him away to another city. For we mean to employ for our souls’ health the rougher and severer poet or storyteller, who will imitate the style of the virtuous only, and will follow those models which we prescribed at first when we began the education of our soldiers.
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 suchlike.
These then, I said, must be banished; even to women who have a character to maintain they are of no use, 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.”
Well, and are these of any military use?
Quite the reverse, he replied; and if so the Dorian and the Phrygian are the only ones which you have left.
I answered: Of the harmonies I know nothing, but I want to have one warlike, to sound the note or accent which a brave man utters in the hour of danger and stern resolve, or when his cause is failing, and he is going to wounds or death or is overtaken by some other evil, and at every such crisis meets the blows of fortune with firm step and a determination to endure; and another to be used by him in times of peace and freedom of action, when there is no pressure of necessity, and he is seeking to persuade God by prayer, or man by instruction and admonition, or on the other hand, when he is expressing his willingness to yield to persuasion or entreaty or admonition, and which represents him when by prudent conduct he has attained his end, not carried away by his success, but acting moderately and wisely under the circumstances, and acquiescing in the event. These two harmonies I ask you to leave; the strain of necessity and the strain of freedom, the strain of the unfortunate and the strain of the fortunate, the strain of courage, and the strain of temperance; 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,
