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1 Greek idiom achieves an effect impossible to English here, by the shift from the co-ordination of ποιήματα with αὐτός to the treatmnt of it as the object of ἐπιδείξασθαι and the possible double use of the latter as middle with αὐτός and transitive with ποιήματα. Cf. for a less striking example 427 D, Phaedrus 250 B-C.
3 Cf. 379 A ff.
4 He laughs at his own mild joke, which Professor Wilamowitz (Platon ii. p. 192) does not understand. Cf. Laws 859 E, Hippias Major 293 Aἢ οὐχ εἷς τῶν ἁπάντων καὶ Ἡρακλῆς ἦν; and in a recent novel, “'I am afraid everybody does not include me,' she smiled.”
5 The complete song includes words, rhythms, and “harmony,” that is, a pitch system of high and low notes. Harmony is also used technically of the peculiar Greek system of scales or modes. Cf. Monro, Modes of Ancient Greek Music.
6 The poets at first composed their own music to fit the words. When, with the further development of music, there arose the practice of distorting the words, as in a mere libretto, it provoked a storm of protest from conservatives in aesthetics and morals.
7 The modes of Greek music are known to the English reader only from Milton's allusions, his “Lap me in soft Lydian airs” and, P.L. i. 549 f., his “Anon they move/ in perfect phalanx to the Dorian mood/ Of flutes and soft recorders; such as rasied/ To highth of noblest temper heroes old.” The adaptation of particualr modes, harmonies, or scales to the expression of particular feelings is something that we are obliged to accept on faith. Plato's statements here were challenged by some later critics, but the majority believed that there was a connection between modes of music and modes of feeling, as Ruskin and many others have in our day. The hard-headed Epicureans and sceptics denied it, as well as the moral significance of music generally.
8 Cf. 387 E.
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