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We will now determine whether it is proper that children should be taught to sing, and play upon any instrument, which we have before made a matter of doubt. Now, it is well known that it makes a great deal of difference when you would qualify any one in any art, for the person himself to learn the practical part of it; for it is a thing very difficult, if not impossible, for a man to be a good judge of what he himself cannot do. It is also very necessary that children should have some employment which will amuse them; for which reason the rattle of Archytas seems well contrived, which they give children to play with, to prevent their breaking those things which are about the house; for at their age they cannot sit still: this therefore is well adapted to infants, as instruction ought to be their rattle as they grow up; hence it is evident that they should be so taught music as to be able to practise it. Nor is it difficult to say what is becoming or unbecoming of their age, or to answer the objections which some make to this employment as mean and low. In the first place, it is necessary for them to practise, that they may be judges of the art: for which reason this should be done when they are young; but when they are grown older the practical part may be dropped; while they will still continue judges of what is excellent in the art, and take a proper pleasure therein, from the knowledge they acquired of it in their youth. As to the censure which some persons throw upon music, as something mean and low, it is not difficult to answer that, if we will but consider how far we propose those who are to be educated so as to become good citizens should be instructed in this art, [1341a] and what music and what rhythms they should be acquainted with; and also what instruments they should play upon; for in these there is probably a difference. Such then is the proper answer to that censure: for it must be admitted, that in some cases nothing can prevent music being attended, to a certain degree, with the bad effects which are ascribed to it; it is therefore clear that the learning of it should never prevent the business of riper years; nor render the body effeminate, and unfit for the business of war or the state; but it should be practised by the young, judged of by the old. That children may learn music properly, it is necessary that they should not be employed in those parts of it which are the objects of dispute between the masters in that science; nor should they perform such pieces as are wondered at from the difficulty of their execution; and which, from being first exhibited in the public games, are now become a part of education; but let them learn so much of it as to be able to receive proper pleasure from excellent music and rhythms; and not that only which music must make all animals feel, and also slaves and boys, but more. It is therefore plain what instruments they should use; thus, they should never be taught to play upon the flute, or any other instrument which requires great skill, as the harp or the like, but on such as will make them good judges of music, or any other instruction: besides, the flute is not a moral instrument, but rather one that will inflame the passions, and is therefore rather to be used when the soul is to be animated than when instruction is intended. Let me add also, that there is something therein which is quite contrary to what education requires; as the player on the flute is prevented from speaking: for which reason our forefathers very properly forbade the use of it to youth and freemen, though they themselves at first used it; for when their riches procured them greater leisure, they grew more animated in the cause of virtue; and both before and after the Median war their noble actions so exalted their minds that they attended to every part of education; selecting no one in particular, but endeavouring to collect the whole: for which reason they introduced the flute also, as one of the instruments they were to learn to play on. At Lacedaemon the choregus himself played on the flute; and it was so common at Athens that almost every freeman understood it, as is evident from the tablet which Thrasippus dedicated when he was choregus; but afterwards they rejected it as dangerous; having become better judges of what tended to promote virtue and what did not. For the same reason many of the ancient instruments were thrown aside, as the dulcimer and the lyre; as also those which were to inspire those who played on them with pleasure, and which required a nice finger and great skill to play well on. What the ancients tell us, by way of fable, of the flute is indeed very rational; namely, that after Minerva had found it, she threw it away: nor are they wrong who say that the goddess disliked it for deforming the face of him who played thereon: not but that it is more probable that she rejected it as the knowledge thereof contributed nothing to the improvement of the mind. Now, we regard Minerva as the inventress of arts and sciences. As we disapprove of a child's being taught to understand instruments, and to play like a master (which we would have confined to those who are candidates for the prize in that science; for they play not to improve themselves in virtue, but to please those who hear them, and gratify their importunity); therefore we think the practice of it unfit for freemen; but then it should be confined to those who are paid for doing it; for it usually gives people sordid notions, for the end they have in view is bad: for the impertinent spectator is accustomed to make them change their music; so that the artists who attend to him regulate their bodies according to his motions.
We are now to enter into an inquiry concerning harmony and rhythm; whether all sorts of these are to be employed in education, or whether some peculiar ones are to be selected; and also whether we should give the same directions to those who are engaged in music as part of education, or whether there is something different from these two. Now, as all music consists in melody and rhythm, we ought not to be unacquainted with the power which each of these has in education; and whether we should rather choose music in which melody prevails, or rhythm: but when I consider how many things have been well written upon these subjects, not only by some musicians of the present age, but also by some philosophers who are perfectly skilled in that part of music which belongs to education; we will refer those who desire a very particular knowledge therein to those writers, and shall only treat of it in general terms, without descending to particulars. Melody is divided by some philosophers, whose notions we approve of, into moral, practical, and that which fills the mind with enthusiasm: they also allot to each of these a particular kind of harmony which naturally corresponds therewith: and we say that music should not be applied to one purpose only, but many; both for instruction and purifying the soul (now I use the word purifying at present without any explanation, but shall speak more at large of it in my Poetics); and, in the third place, as an agreeable manner of spending the time and a relaxation from the uneasiness of the mind. [1342a] It is evident that all harmonies are to be used; but not for all purposes; but the most moral in education: but to please the ear, when others play, the most active and enthusiastic; for that passion which is to be found very strong in some souls is to be met with also in all; but the difference in different persons consists in its being in a less or greater degree, as pity, fear, and enthusiasm also; which latter is so powerful in some as to overpower the soul: and yet we see those persons, by the application of sacred music to soothe their mind, rendered as sedate and composed as if they had employed the art of the physician: and this must necessarily happen to the compassionate, the fearful, and all those who are subdued by their passions: nay, all persons, as far as they are affected with those passions, admit of the same cure, and are restored to tranquillity with pleasure. In the same manner, all music which has the power of purifying the soul affords a harmless pleasure to man. Such, therefore, should be the harmony and such the music which those who contend with each other in the theatre should exhibit: but as the audience is composed of two sorts of people, the free and the well-instructed, the rude the mean mechanics, and hired servants, and a long collection of the like, there must be some music and some spectacles to please and soothe them; for as their minds are as it were perverted from their natural habits, so also is there an unnatural harmony, and overcharged music which is accommodated to their taste: but what is according to nature gives pleasure to every one, therefore those who are to contend upon the theatre should be allowed to use this species of music. But in education ethic melody and ethic harmony should be used, which is the Doric, as we have already said, or any other which those philosophers who are skilful in that music which is to be employed in education shall approve of. But Socrates, in Plato's Republic, is very wrong when he [1342b] permits only the Phrygian music to be used as well as the Doric, particularly as amongst other instruments he banishes the flute; for the Phrygian music has the same power in harmony as the flute has amongst the instruments; for they are both pathetic and raise the mind: and this the practice of the poets proves; for in their bacchanal songs, or whenever they describe any violent emotions of the mind, the flute is the instrument they chiefly use: and the Phrygian harmony is most suitable to these subjects. Now, that the dithyrambic measure is Phrygian is allowed by general consent; and those who are conversant in studies of this sort bring many proofs of it; as, for instance, when Philoxenus endeavoured to compose dithyrambic music for Doric harmony, he naturally fell back again into Phrygian, as being fittest for that purpose; as every one indeed agrees, that the Doric music is most serious, and fittest to inspire courage: and, as we always commend the middle as being between the two extremes, and the Doric has this relation with respect to other harmonies, it is evident that is what the youth ought to be instructed in. There are two things to be taken into consideration, both what is possible and what is proper; every one then should chiefly endeavour to attain those things which contain both these qualities: but this is to be regulated by different times of life; for instance, it is not easy for those who are advanced in years to sing such pieces of music as require very high notes, for nature points out to them those which are gentle and require little strength of voice (for which reason some who are skilful in music justly find fault with Socrates for forbidding the youth to be instructed in gentle harmony; as if, like wine, it would make them drunk, whereas the effect of that is to render men bacchanals, and not make them languid): these therefore are what should employ those who are grown old. Moreover, if there is any harmony which is proper for a child's age, as being at the same time elegant and instructive, as the Lydian of all others seems chiefly to be-These then are as it were the three boundaries of education, moderation, possibility, and decorum.
