But as for those sorts of harmony, the one being
sad and doleful, the other loose and effeminate, Plato deservedly rejected them, and made choice of the Dorian, as
more proper for sober and warlike men; not being ignorant, however (as Aristoxenus discourses in his second
book of music), that there might be something advantageous in the rest to a circumspect and wary commonwealth.
For Plato gave much attention to the art of music, as being
the hearer of Draco the Athenian and Metellus the Agrigentine; but considering, as we have intimated before, that
there was much more majesty in the Dorian mood, it was
that he preferred. He knew moreover that Alcman, Pindar,
Simonides, and Bacchylides had composed several Parthenia
in the Doric mood; and that several Prosodia (or supplications to the Gods), several hymns and tragical lamentations, and now and then love verses, were composed to the
same melody. But he contented himself with such songs
as were made in honor of Mars or Minerva, or else such
as were to be sung at solemn offerings, called Spondeia.
For these he thought sufficient to fortify and raise the mind
of a sober person; not being at all ignorant in the mean
time of the Lydian and Ionian, of which he knew the tragedians made use.