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We will beg Homer and the other poets not to be angry if we cancel those and all similar passages, not that they are not poetic and pleasingCf. Theaetetus 177 COU)K A)HDE/STERA A)KOU/EIN. to most hearers, but because the more poetic they are the less are they suited to the ears of boys and men who are destined to be free and to be more afraid of slavery than of death.” “By all means.”“Then we must further taboo in these matters the entire vocabulary of terror and fear, CocytusMilton's words, which I have borrowed, are the best expression of Plato's thought.
are the dirge-like modes of music? Tell me, for you are a musician.” “The mixed Lydian,The modes of Greek music are known to the English reader only from Milton's allusions, his “Lap me in soft Lydian airs” and, P.L. i. 549 f., his “Anon they move/ in perfect phalanx to the Dorian mood/ Of flutes and soft recorders; such as rasied/ To highth of noblest temper heroes old.” The adaptation of particualr modes, harmonies, or scales to the expression of particular feelings is something that we are obliged to accept on faith. Plato's statements here were challenged by some later critics, but the majority believed that there was a connection between modes of music and modes of feeling, as Rusk
but who is slightly deafCf. Aristoph.Knights 42-44. and of similarly impaired vision, and whose knowledge of navigation is on a par withCf. 390 C, 426 D, 498 B, Theaetet. 167 B, and Milton's “unknown and like esteemed,” Comus 630. his sight and hearing. Conceive the sailors to be wrangling with one another for control of the helm, each claiming that it is his right to steer though he has never learned the art and cannot point out his teacherFor this and similar checks on pretenders to knowledge Cf. Laches 185 E, 186 A and C, Alc. I. 109 D and Gorg. 514 B-C. or any time when he studied it. And what is more, they affirm that it cannot be taught at all,Plato of course belie