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[399d] many stringed and poly-harmonic1 instruments.” “Apparently not.” “Well, will you admit to the city flute-makers and flute-players? Or is not the flute the most 'many-stringed' of instruments and do not the pan-harmonics2 themselves imitate it?” “Clearly,” he said. “You have left,” said I, “the lyre and the cither. These are useful3 in the city, and in the fields the shepherds would have a little piccolo to pipe on.4” “So our argument indicates,” he said.

1 Metaphorically. The “many-toned instrumentation of the flutes,” as Pindar calls it, Ol. vii. 12, can vie with the most complex and many-stringed lyre of musical innovation.

2 Cf. 404 D, the only other occurrence of the word in Plato.

3 Cf. my note on Timaeus 47 C, in A.J.P. vol. x. p. 61.

4 Ancient critics noted this sentence as an adaptation of sound to sense. Cf. Demetr.Περὶ ἑρμ185. The sigmas and iotas may be fancied to suggest the whistling notes of the syrinx. So Lucretius v. 1385 “tibia quas fundit digitis pulsata canentum.” Cf. on Catullus 61. 13 “voce carmina tinnula.”

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