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[670e] If they were trained up to such a point, their training would be more thorough than that of the majority, or indeed of the poets themselves. For although it is almost necessary for a poet to have a knowledge of harmony and rhythm, it is not necessary for him to know the third point also—namely, whether the representation is noble or ignoble1; but for our older singers a knowledge of all these three points is necessary,

1 i.e. the composer, as such, is not concerned with the moral (or psychological) effect of the piece.

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