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[400a] require the foot and the air to conform to that kind of man's speech and not the speech to the foot and the tune. What those rhythms would be, it is for you to tell us as you did the musical modes.” “Nay, in faith,” he said, “I cannot tell. For that there are some three forms1 from which the feet are combined, just as there are four2 in the notes of the voice whence come all harmonies, is a thing that I have observed and could tell. But which are imitations of which sort of life, I am unable to say.3

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.

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