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1 According to the ancient musicians these are the equal as e.g. in dactyls (), spondees () and anapests (), where the foot divides into two equal quantities; the 3/2 ratio, as in the so-called cretic (); the 2/1 as in the iamb () and trochee (). Cf. Aristid. Quint. i. pp. 34-35.
2 Possibly the four notes of the tetrachord, but there is no agreement among experts. Cf. Monro, Modes of Ancient Greek Music.
3 Modern psychologists are still debating the question.
5 There is a hint of satire in this disclaimer of expert knowledge. Cf. 399 A. There is no agreement among modern experts with regard to the precise form of the so-called enoplios. Cf. my review of Herkenrath's “Der Enoplios,”Class. Phil. vol. iii. p. 360, Goodell, Chapters on Greek Metric, pp. 185 and 189, Blaydes on Aristophanes Nubes 651.
7 ἄνω καὶ κάτω is an untranslatable gibe meaning literally and technically the upper and lower half of the foot, the arsis and thesis, but idiomatically meaning topsy-turvy. There is a similar play on the idiom in Philebus 43 A and 43 B.
8 Literally “becoming” or “issuing in long and short,” long, that is, when a spondee is used, short when a dactyl.
9 Plato, as often, employs the forms of an argument proceeding by minute links to accumulate synonyms in illustration of a moral or aesthetic analogy. He is working up to the Wordsworthian thought that order, harmony, and beauty in nature and art are akin to these qualities in the soul.
11 The Ruskinian and Wordsworthian generalization is extended from music to all the fine arts, including, by the way, architecture (οἰκοδομία), which Butcher (Aristotle's Theory of Poetry, p. 138) says is ignored by Plato and Aristotle.
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