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λόγου -- ῥυθμοῦ. In the best period of Greek music, lyric poetry was written only for music, and music only for poetry, the separation of the two being condemned as illegitimate: see Monro l.c. pp. 119, 120. The elements of music are ῥυθμός and ἀρμονία. The former ‘reconciles’ ταχύ and βραδύ by arranging a proper sequence of short and long notes and syllables, the latter ὀξύ and βαρύ by a proper arrangement of notes of higher and lower pitch (Symp. 187 A—C). In the wider sense, therefore, any ὁμολογία of ὀξύ and βαρὐ is a ἁρμονία, but in practice the word was used specifically of certain scales or modes, and it is in this sense (according to Westphal) that Plato uses it here and in 398 E, where see note.

ὡσαύτως: i.e. ἐν τῇ αὐτῇ λέξει as defined in 396 E, 397 D.

καὶ μὴν κτλ. The poet should be his own musician, and write the music to suit the words, not vice versá. This was another characteristic feature of classical Greek music, although a change set in during the fourth century B.C. See Westphal Gr. Rhythmik p. 1 and Laws 669 D, E, 812 D.

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    • Plato, Symposium, 187a
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