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[1342b]
[1]
for the
Phrygian mode has the same effect among harmonies as the flute among
instruments—both are violently exciting and emotional. This is shown by poetry; for all Bacchiac
versification and all movement of that sort1
belongs particularly to the flute among the instruments, and these meters find
their suitable accompaniment in tunes in the Phrygian mode among the harmonies:
for example the dithyramb is admittedly held to be a Phrygian meter, and the
experts on this subject adduce many instances to prove this, particularly the
fact that Philoxenus when he attempted to compose a dithyramb, The
Mysians, in the Dorian mode
was unable to do so, but merely by the force of nature fell back again into the
suitable harmony, the Phrygian. And
all agree that the Dorian mode is more
sedate and of a specially manly character. Moreover since we praise and say that
we ought to pursue the mean between extremes, and the Dorian mode has this nature in relation to the
other harmonies, it is clear that it suits the younger pupils to be educated
rather in the Dorian melodies. But
there are two objects to aim at, the possible as well as the suitable; for we
are bound rather to attempt the things that are possible and those that are
suitable for the particular class of people concerned;
[20]
and in these matters also there are dividing lines
drawn by the ages—for instance, those whose powers have waned through
lapse of time cannot easily sing the highly strung harmonies, but to persons of
that age nature suggests the relaxed harmonies. Therefore some musical experts also rightly criticize
Socrates2 because he disapproved of the relaxed harmonies for amusement, taking
them to have the character of intoxication, not in the sense of the effect of
strong drink, for that clearly has more the result of making men frenzied
revellers, but as failing in power. Hence even with a view to the period of life
that is to follow, that of the comparatively old, it is proper to engage in the
harmonies and melodies of this kind too, and also any kind of harmony that is
suited to the age of boyhood because it is capable of being at once decorous and
educative, which seems to be the nature of the Lydian mode most of all the
harmonies. It is clear therefore that we should lay down these three canons to
guide education, moderation, possibility and suitability.
1 Or perhaps βακχεία and κίνησις denote bodily movement accompanying the song; or they may denote the emotional frenzy expressed and stimulated by it. The dithyramb was a form of poetry of this class, originally celebrating the birth of Dionysus. Philoxenus, one of the most famous dithyrambic poets, 435-380 B.C., lived at Athens, and later at the court of Dionysius of Syracuse.
Aristotle. Aristotle in 23 Volumes, Vol. 21, translated by H. Rackham. Cambridge, MA, Harvard University Press; London, William Heinemann Ltd. 1944.
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