17
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.
18
Moreover, the ancients well understood all the sorts of styles, although they used but few. For it was not their ignorance that confined them to such narrow instruments and so few strings; nor was it out of ignorance that Olympus and Terpander and those that came after them would not admit of larger instruments and more variety of strings. This is manifest from the poems of Olympus and Terpander and all those that were their imitators. For, being plain and without any more than three strings, these so far excelled those that were more numerously strung, insomuch that none could imitate Olympus’s play; and they were all inferior to him when they betook themselves to their polychords.
