31. Now that the right moulding or ruin of ingenuous manners and civil conduct lies in a well-grounded musical education, Aristoxenus has made apparent. For, of those that were contemporary with him, he gives an account of Telesias the Theban, who in his youth was bred up in the noblest excellences of music, and moreover studied the works of the most famous lyrics, Pindar, Dionysius the Theban, Lamprus, Pratinas, and all the rest who were accounted most eminent; who played also to perfection upon the flute, and was not a little industrious to furnish himself with all those other accomplishments of learning; but being past the prime of his age, he was so bewitched with the theatre’s new fangles and the innovations of multiplied notes, that despising those noble precepts and that solid practice to which he had been educated, he betook himself to Philoxenus and Timotheus, and among those delighted chiefly in such as were most depraved with diversity of notes and baneful innovation. And yet, when he made it his business to make verses and labor both ways as well in that of Pindar as that of Philoxenus, he could have no success in the latter. And the reason proceeded from the truth and exactness of his first education.
31. ὅτι δὲ παρὰ τὰς ἀγωγὰς καὶ τὰς μαθήσεις διόρθωσις ἢ διαστροφὴ γίγνεται, δῆλον Ἀριστόξενος ἐποίησε. τῶν γὰρ κατὰ τὴν αὑτοῦ ἡλικίαν φησὶ Τελεσίᾳ τῷ Θηβαίῳ συμβῆναι νέῳ μὲν ὄντι τραφῆναι ἐν τῇ καλλίστῃ μουσικῇ καὶ μαθεῖν ἄλλα τε τῶν εὐδοκιμούντων καὶ δὴ καὶ τὰ Πινδάρου, τὰ τε Διονυσίου τοῦ Θηβαίου καὶ τὰ Λάμπρου καὶ τὰ Πρατίνου καὶ τῶν λοιπῶν, ὅσοι τῶν λυρικῶν ἄνδρες ἐγένοντο ποιηταὶ κρουμάτων ἀγαθοί· καὶ αὐλῆσαι δὲ καλῶς καὶ περὶ τὰ λοιπὰ μέρη τῆς συμπάσης παιδείας ἱκανῶς διαπονηθῆναι· παραλλάξαντα δὲ τὴν τῆς ἀκμῆς ἡλικίαν οὕτω σφόδρα ἐξαπατηθῆναι ὑπὸ τῆς σκηνικῆς τε καὶ ποικίλης μουσικῆς, ὡς καταφρονῆσαι τῶν καλῶν ἐκείνων, ἐν οἷς ἀνετράφη, τὰ Φιλοξένου δὲ καὶ Τιμοθέου ἐκμανθάνειν, καὶ τούτων αὐτῶν τὰ ποικιλώτατα καὶ πλείστην ἐν αὑτοῖς ἔχοντα καινοτομίαν· ὁρμήσαντὰ τʼ ἐπὶ τὸ ποιεῖν μέλη καὶ διαπειρώμενον ἀμφοτέρων τῶν τρόπων, τοῦ τε Πινδαρείου καὶ Φιλοξενείου, μὴ δύνασθαι κατορθοῦν ἐν τῷ Φιλοξενείῳ γένει· γεγενῆσθαι δʼ αἰτίαν τὴν ἐκ παιδὸς καλλίστην ἀγωγήν.
32. Therefore, if it be the aim of any person to practise music with skill and judgment, let him imitate the ancient manner; let him also adorn it with those other sciences, and make philosophy his tutor, which is sufficient to judge what is iii music decent and useful. For music being generally divided into three parts, diatonic, chromatic, and enharmonie, it behooves one who comes to learn music to understand poetry, which uses these three parts, and to know how to express his poetical inventions in proper musical form. First therefore we are to consider that all musical learning is a sort of habituation, which does not teach the reason of her precepts at one and the same time to the learner. Moreover, we are to understand that to such an education there is not requisite an enumeration of its several divisions, but every one learns by chance what either the master or scholar, according to the authority of the one and the liberty of the other, has most affection for. But the more prudent sort reject this chance-medley way of learning, as the Lacedaemonians of old, the Mantineans, and Pallenians, who, making choice either of one single method or else but very few styles, used only that sort of music which they deemed most proper to regulate the inclinations of youths.
32. εἰ οὖν τις βούλεται μουσικῇ καλῶς καὶ κεκριμένως χρῆσθαι, τὸν ἀρχαῖον ἀπομιμείσθω τρόπον· ἀλλὰ μὴν καὶ τοῖς ἄλλοις αὐτὴν μαθήμασιν ἀναπληρούτω καὶ φιλοσοφίαν ἐπιστησάτω παιδαγωγόν· αὕτη γὰρ ἱκανὴ κρῖναι τὸ μουσικῇ πρέπον μέτρον καὶ τὸ χρήσιμον. τριῶν γὰρ ὄντων μερῶν, εἰς ἃ διῄρηται τὴν καθόλου διαίρεσιν ἡ πᾶσα μουσική, διατόνου χρώματος ἁρμονίας, ἐπιστήμονα χρὴ εἶναι τῆς τούτοις χρωμένης ποιήσεως τὸν μουσικῇ προσιόντα καὶ τῆς ἑρμηνείας τῆς τὰ πεποιημένα παραδιδούσης ἐπήβολον. πρῶτον μὲν οὖν κατανοητέον, ὅτι πᾶσα μάθησις τῶν περὶ τὴν μουσικὴν ἐθισμός ἐστιν οὐδέπω προσειληφὼς τὸ τίνος ἕνεκα τῶν διδασκομένων ἕκαστον τῷ μανθάνοντι μαθητέον ἐστί. μετὰ δὲ τοῦτʼ ἐνθυμητέον, ὅτι πρὸς τὴν τοιαύτην ἀγωγήν τε καὶ μάθησιν οὐδέπω προσάγεται τρόπων ἐξαρίθμησις· ἀλλʼ οἱ μὲν πολλοὶ εἰκῇ μανθάνουσιν ὃ ἂν τῷ διδάσκοντι ἢ τῷ μανθάνοντι ἀρέσῃ, οἱ δὲ συνετοὶ τὸ εἰκῇ ἀποδοκιμάζουσιν, ὥσπερ Λακεδαιμόνιοι τὸ παλαιὸν καὶ Μαντινεῖς καὶ Πελληνεῖς· ἕνα γάρ τινα τρόπον ἢ παντελῶς ὀλίγους ἐκλεξάμενοι, οὓς ᾤοντο πρὸς τὴν τῶν ἠθῶν ἐπανόρθωσιν ἁρμόττειν, αὐτῇ τῇ μουσικῇ ἐχρῶντο.
33. This will be apparent, if any one shall examine every one of the parts, and see what is the subject of their several contemplations. For harmony takes cognizance of intervals, systems, classes of harmonious sounds, notes, tones, and systematical transmutations. Farther than this it goes not. And therefore it would be in vain to enquire of harmony, whether the poet have rightly and (so to speak) musically chosen the Dorian for the beginning, the mixed Lydian and Dorian for the end, or the Hypophrygian and Phrygian for the middle. For the industry of harmony reaches not to these, and it is defective in many other things, as not understanding the force and extent of elegant aptness and proper concinnity. Neither did ever the chromatic or enharmonic species arrive to such force of aptitude as to discover the nature and genius of the poem; for that is the work of the poet. It is as plain, that the sound of the system is different from the sound of the descant sung in the same system; which, however, does not belong to the consideration of harmonical studies. There is the same to be said concerning rhythms, for no rhythm can claim to itself the force of perfect aptitude. For we call a thing apt and proper when we consider the nature of it. The reason of this, we say, is either a certain plain and mixed composure, or both; like the enharmonic species of Olympus, by him set in the Phrygian mood and mixed with the paeon epibatos, which rendered the beginning of the key naturally elegant in what is called the nome of Minerva. For having made choice of his key and measure, he only changed the paeon epibatos for the trochee, which produced his enharmonic species. However, the enharmonic species and Phrygian tone remaining together with the whole system, the elegancy of the character was greatly altered. For that which was called harmony in the nome of Minerva was quite another thing from that in the introduction. He then that has both judgment as well as skill is to be accounted the most accurate musician. For he that understands the Dorian mood, not being able withal to discern by his judgment what is proper to it and when it is fit to be made use of, shall never know what he does; nay, he shall quite mistake the nature and custom of the key. Indeed it is much questioned among the Dorians themselves, whether the enharmonic composers be competent judges of the Dorian songs. The same is to be said concerning the knowledge of rhythm. For he that understands a paeon may not understand the proper use of it, though he know the measure of which it consists. Because it is much doubted among those that make use of paeons, whether the bare knowledge make a man capable to determine concerning the proper use of those rhythms; or, as others say, whether it aspire to presume so far. Therefore it behooves that person to have two sorts of knowledge, who will undertake to judge of what is proper and what improper; first, of the custom and manner of elegancy for which such a composition was intended, and next of those things of which the composition consists. And thus, that neither the bare knowledge of harmony, nor of rhythm, nor of any other things that singly by themselves are but a part of the whole body of music, is sufficient to judge and determine either of the one or the other, what has been already said may suffice to prove.
33. φανερὸν δʼ ἂν γένοιτο, εἴ τις ἑκάστην ἐξετάζοιτο τῶν ἐπιστημῶν, τίνος ἐστὶ θεωρητική δῆλον γὰρ ὅτι ἡ μὲν ἁρμονικὴ γενῶν τε τῶν τοῦ ἡρμοσμένου καὶ διαστημάτων καὶ συστημάτων καὶ φθόγγων καὶ τόνων καὶ μεταβολῶν συστηματικῶν ἐστι γνωστική· πορρωτέρω δʼ οὐκέτι ταύτῃ προελθεῖν οἷόν τε ὥστʼ οὐδὲ ζητεῖν παρὰ ταύτης τὸ διαγνῶναι δύνασθαι, πότερον οἰκείως εἴληφεν ὁ ποιητὴς ὅμοἷον εἰπεῖν ἐν μούσοις τὸν Ὑποδώριον τόνον ἐπὶ τὴν ἀρχὴν ἢ τὸν Μιξολύδιόν τε καὶ Δώριον ἐπὶ τὴν ἔκβασιν ἢ τὸν Ὑποφρύγιόν τε καὶ Φρύγιον ἐπὶ τὴν μέσην. οὐ γὰρ διατείνει τῇ ἁρμονικὴ πραγματεία πρὸς τὰ τοιαῦτα, προσδεῖται δὲ πολλῶν ἑτέρων· τὴν γὰρ τῆς οἰκειότητος δύναμιν ἀγνοεῖ. οὔτε γὰρ τὸ χρωματικὸν γένος οὔτε τὸ ἐναρμόνιον ἣξει ποτʼ ἔχον τὴν τῆς οἰκειότητος δύναμιν τελείαν καὶ καθʼ ἣν τὸ τοῦ πεποιημένου μέλους ἦθος ἐπιφαίνεται ἀλλὰ τοῦτο τοῦ τεχνίτου ἔργον. φανερὸν δὴ ὅτι ἑτέρα τοῦ συστήματος ἡ φωνὴ τῆς ἐν τῷ συστήματι κατασκευασθείσης μελοποιίας, περὶ ἧς οὐκ ἔστι θεωρῆσαι τῆς ἁρμονικῆς· πραγματείας. ὁ αὐτὸς δὲ λόγος καὶ περὶ τῶν ῥυθμῶν· οὐδεὶς γὰρ ῥυθμὸς τὴν τῆς τελείας οἰκειότητος δύναμιν ἣξει ἔχων ἐν αὑτῷ· τὸ γὰρ οἰκείως ἀεὶ λεγόμενον πρὸς ἦθός τι βλέποντες λέγομεν. τούτου δέ φαμεν αἰτίαν εἶναι σύνθεσίν τινα ἢ μῖξιν ἢ ἀμφότερα. οἷον Ὀλύμπῳ τὸ ἐναρμόνιον γένος ἐπὶ Φρυγίου τόνου τεθὲν παίωνι ἐπιβατῷ μιχθέν· τοῦτο γὰρ τῆς ἀρχῆς· τὸ ἦθος ἐγέννησεν ἐπὶ τῷ τῆς Ἀθηνᾶς νόμῳ προσληφθείσης γὰρ μελοποιίας καὶ ῥυθμοποιίας τεχνικῶς τε μεταληφθέντος τοῦ ῥυθμοῦ μόνον αὐτοῦ καὶ γενομένου τροχαίου ἀντὶ παίωνος, συνέστη τὸ Ὀλύμπου ἐναρμόνιον γένος. ἀλλὰ μὴν καὶ τοῦ ἐναρμονίου γένους καὶ τοῦ Φρυγίου τόνου διαμενόντων καὶ πρὸς τούτοις τοῦ συστήματος παντός, μεγάλην ἀλλοίωσιν ἔσχηκε τὸ ἦθος· ἡ γὰρ καλουμένη ἁρμονία ἐν τῷ τῆς Ἀθηνᾶς νόμῳ πολὺ διέστηκε κατὰ τὸ ἦθος τῆς ἀναπείρας. εἰ οὖν προσγένοιτο τῷ τῆς μουσικῆς ἐμπείρῳ τὸ κριτικόν, δῆλον ὅτι οὗτος ἂν εἴη ὁ ἀκριβὴς ἐν μουσικῇ ὁ γὰρ εἰδὼς τὸ Δωριστὶ ἄνευ τοῦ κρίνειν ἐπίστασθαι τὴν τῆς χρήσεως αὐτοῦ οἰκειότητα οὐκ εἴσεται ὃ ποιεῖ· ἀλλʼ οὐδὲ τὸ ἦθος σῴσει· ἐπεὶ καὶ περὶ αὐτῶν τῶν Δωρίων μελοποιιῶν ἀπορεῖται, πότερόν ἐστι διαγνωστικὴ ἡ ἁρμονικὴ πραγματεία, καθάπερ τινὲς οἴονται, τῶν Δωρίων, ἢ οὔ. ὁ αὐτὸς δὲ λόγος καὶ περὶ τῆς ῥυθμικῆς ἐπιστήμης; πάσης· ὁ γὰρ εἰδὼς; τὸν παίωνα τὴν τῆς χρήσεως αὐτοῦ οἰκειότητα οὐκ εἴσεται διὰ τὸ αὐτὴν μόνην εἰδέναι τὴν τοῦ παίωνος ξύνθεσιν ἐπεὶ καὶ περὶ αὐτῶν τῶν παιωνικῶν ῥυθμοποιιῶν ἀπορεῖται, πότερόν ἐστι διαγνωστικὴ ἡ ῥυθμικὴ πραγματεία τούτων, καθάπερ τινές φασιν, ἢ οὐ διατείνει μέχρι τούτου. ἀναγκαῖον οὖν δύο τοὐλάχιστον γνώσεις ὑπάρχειν τῷ μέλλοντι διαγνώσεσθαι τὸ τʼ οἰκεῖον καὶ τὸ ἀλλότριον· πρῶτον μὲν τοῦ ἤθους, οὗ ἕνεκα ἡ σύνθεσις γεγένηται· ἔπειτα τούτων, ἐξ ὧν ἡ σύνθεσις. ὅτι μὲν οὖν οὔθʼ ἡ ἁρμονικὴ οὔθʼ ἡ ῥυθμικὴ οὔτʼ ἄλλη οὐδεμία τῶν καθʼ ἓν μέρος λεγομένων αὐτάρκης αὐτὴ καθʼ αὑτὴν τοῦ ἤθους εἶναι καὶ γνωστικὴ καὶ τῶν ἄλλων κριτική, ἀρκέσει τὰ εἰρημένα.
34. [Now then, there being three species into which all harmony is divided, equal in the magnitude of systems or intervals and force of notes and tetrachords, we find that the ancients never disputed about any more than one; for they never troubled themselves with the chromatic or diatonic, but differed only about the enharmonic; and there no farther than about the great interval called the diapason. The further subdivision indeed caused some little variance, but they nearly all agreed that harmony itself is but one. ] Therefore he must never think to be a true artist in the understanding and practice of music, who advances no farther than the single knowledge of this or that particular: but it behooves him to trace through all the particular members of it, and so to be master of the whole body, by understanding how to mix and join all the divided members. For he that understands only harmony is confined to a single manner. Wherefore, in short, it is requisite that the sense and understanding concur in judging the parts of music; and that they should neither be too hasty, like those senses which are rash and forward, nor too slow, like those which are dull and heavy; though it may happen sometimes, through the inequality of Nature, that the same senses may be too slow and too quick at the same time. Which things are to be avoided by a sense and judgment that would run an equal course.
34. τριῶν δʼ ὄντων γενῶν, εἰς ἃ διαιρεῖται τὸ ἡρμοσμένον, ἴσων τοῖς τε τῶν συστημάτων μεγέθεσι καὶ ταῖς τῶν φθόγγων δυνάμεσιν, ὁμοίως δὲ καὶ ταῖς τῶν τετραχόρδων, περὶ ἑνὸς μόνου οἱ παλαιοὶ ἐπραγματεύσαντο· ἐπειδήπερ οὔτε περὶ χρώματος οὔτε περὶ διατόνου οἱ πρὸ ἡμῶν ἐπεσκόπουν, ἀλλὰ περὶ μόνου τοῦ ἐναρμονίου, καὶ αὖ τούτου περὶ ἓν τι μέγεθος συστήματος, τοῦ καλουμένου διὰ πασῶν· περὶ μὲν γὰρ τῆς χρόας διεφέροντο, περὶ δὲ τοῦ μίαν εἶναι αὐτὴν τὴν ἁρμονίαν σχεδὸν πάντες συνεφώνουν. οὐκ ἂν οὖν ποτε συνίδοι τὰ περὶ τὴν ἁρμονικὴν πραγματείαν ὁ μέχρι αὐτῆς τῆς γνώσεως ταύτης προεληλυθώς, ἀλλὰ δηλονότι παρακολουθῶν ταῖς τε κατὰ μέρος ἐπιστήμαις καὶ τῷ συνόλῳ σώματι τῆς μουσικῆς καὶ ταῖς τῶν μερῶν μίξεσί τε καὶ συνθέσεσιν, ὁ γὰρ μόνον ἁρμονικὸς περιγέγραπται τρόπῳ τινί. καθόλου μὲν οὖν εἰπεῖν, ὁμοδρομεῖν δεῖ τὴν τʼ αἴσθησιν καὶ τὴν διάνοιαν ἐν τῇ κρίσει τῶν τῆς μουσικῆς μερῶν καὶ μήτε προάγειν, ὃ ποιοῦσιν αἱ προπετεῖς τε καὶ φερόμεναι τῶν αἰσθήσεων, μήθʼ ὑστερίζειν, ὃ ποιοῦσιν αἱ βραδεῖαὶ τε καὶ δυσκίνητοι. γίγνεται δὲ ποτʼ ἐπί τινων αἰσθήσεων καὶ τὸ συγκείμενον ἐκ τοῦ συναμφοτέρου καὶ ὑστεροῦσιν αἱ αὐταὶ καὶ προτεροῦσι διά τινα φυσικὴν ἀνωμαλίαν. περιαιρετέον οὖν τῆς μελλούσης ὁμοδρομεῖν αἰσθήσεως ταῦτα.
35. For there are three things at least that at the same instant strike the ear,—the note, the time, and the word or syllable. By the note we judge of the harmony, by the time of the rhythm, and by the word of the matter or subject of the song. As these proceed forth altogether, it is requisite the sense should give them entrance at the same moment. But this is certain, where the sense is not able to separate every one of these and consider the effects of each apart, there it can never apprehend what is well or what is amiss in any. First therefore let us discourse concerning coherence. For it is necessary that coherence accompany the discerning faculty. For judgment of good or bad is not to be made from notes disjoined, broken time, and shattered words, but from coherence. For there is in practice a certain commixture of parts which commonly are not compounded. So much as to coherence.
35. ἀεὶ γὰρ ἀναγκαῖον τρίʼ ἐλάχιστα εἶναι τὰ πίπτοντα ἅμʼ εἰς τὴν ἀκοήν, φθόγγον τε καὶ χρόνον καὶ συλλαβὴν ἢ γράμμα. συμβήσεται δʼ ἐκ τῆς μὲν κατὰ τὸν φθόγγον πορείας τὸ ἡρμοσμένον γνωρίζεσθαι, ἐκ δὲ τῆς κατὰ χρόνον τὸν ῥυθμόν, ἐκ δὲ τῆς κατὰ γράμμα ἢ συλλαβὴν τὸ λεγόμενον· ὁμοῦ δὲ προβαινόντων, ἅμα τὴν τῆς αἰσθήσεως ἐπιφορὰν ἀναγκαῖον ποιεῖσθαι. ἀλλὰ μὴν κἀκεῖνο φανερόν, ὅτι οὐκ ἐνδέχεται, μὴ δυναμένης τῆς αἰσθήσεως χωρίζειν ἕκαστον τῶν εἰρημένων, παρακολουθεῖν τε δύνασθαι τοῖς καθʼ ἕκαστα καὶ συνορᾶν τὸ θʼ ἁμαρτανόμενον ἐν ἑκάστῳ αὐτῶν καὶ τὸ μή. πρῶτον οὖν περὶ συνεχείας γνωστέον. ἀναγκαῖον γάρ ἐστιν ὑπάρχειν τῇ κριτικῇ δυνάμει συνέχειαν τὸ γὰρ εὖ καὶ τὸ ἐναντίως οὐκ ἐν ἀφωρισμένοις τοῖσδέ τισι γίγνεται φθόγγοις ἢ χρόνοις ἢ γράμμασιν, ἀλλʼ ἐν συνεχέσιν ἐπειδὴ μῖξίς τις ἔστι κατὰ τὴν, χρῆσιν τῶν ἀσυνθέτων μερῶν. περὶ μὲν οὖν τῆς παρακολουθήσεως τοσαῦτα.
36. We are next to consider whether the masters of music are sufficiently capable of being judges of it. Now I aver the negative. For it is impossible to be a perfect musician and a good judge of music by the knowledge of those things that seem to be but parts of the whole body, as by excellency of hand upon the instrument, or singing readily at first sight, or exquisiteness of the ear, so far as this extends to the understanding of harmony and time. Neither does the knowledge of time and harmony, pulsation or elocution, or whatever else falls under the same consideration, perfect their judgment. Now for the reasons why a musician cannot gain a perfect judgment from any of these, we must endeavor to make them clear. First then it must be granted that, of things about which judgment is to be made, some are perfect and others imperfect. Those things which are perfect are the compositions in general, whether sung or played, and the expression of those, whether upon the instruments or by the voice, with the rest of the same nature. The imperfect are the things to these appertaining, and for whose sake they are made use of. Such are the parts of expression. A second reason may be found in poetry, with which the case is the same. For a man that hears a consort of voices or instruments can judge whether they sing or play in tune, and whether the language be plain or not. But every one of these are only parts of instrumental and vocal expression; not the end itself, but for the sake of the end. For by these and things of the same nature shall the elegancy of elocution be judged, whether it be proper to the poem which the performer undertakes to sing. The same is to be said of the several passions expressed in the poetry.
36. τὸ δὲ μετὰ τοῦτο ἐπισκεπτέον, ὅτι οἱ μουσικῆς ἐπιστήμονες πρὸς τὴν κριτικὴν πραγματείαν οὔκ εἰσιν αὐτάρκεις. οὐ γὰρ οἷόν τε τέλεον γενέσθαι μουσικόν τε καὶ κριτικὸν ἐξ αὐτῶν τῶν δοκούντων εἶναι μερῶν τῆς ὅλης μουσικῆς, οἷον ἔκ τε τῆς τῶν ὀργάνων ἐμπειρίας καὶ τῆς περὶ τὴν ᾠδήν, ἔτι δὲ τῆς περὶ τὴν αἴσθησιν συγγυμνασίας· λέγω δὲ τῆς συντεινούσης εἰς τὴν τοῦ ἡρμοσμένου ξύνεσιν καὶ ἔτι τὴν τοῦ ῥυθμοῦ· πρὸς δὲ τούτοις ἔκ τε τῆς ῥυθμικῆς καὶ τῆς ἁρμονικῆς πραγματείας καὶ τῆς περὶ τὴν κροῦσίν τε καὶ λέξιν θεωρίας, καὶ εἴ τινες ἄλλαι τυγχάνουσι λοιπαὶ οὖσαι. διʼ ἃς δʼ αἰτίας οὐχ οἷὸν τʼ ἐξ αὐτῶν τούτων γενέσθαι κριτικόν, πειρατέον καταμαθεῖν. πρῶτον ἐκ τοῦ ἡμῖν ὑποκεῖσθαι τὰ μὲν τῶν κρινομένων τέλεια τὰ δʼ ἀτελῆ· τέλεια μὲν αὐτό τε τῶν ποιημάτων ἕκαστον, οἷον τὸ ᾀδόμενον ἢ αὐλούμενον ἢ κιθαριζόμενον καὶ ἡ ἑκάστου αὐτῶν ἑρμηνεία, οἷον ἥ τʼ αὔλησις καὶ ἡ ᾠδὴ καὶ τὰ λοιπὰ τῶν τοιούτων· ἀτελῆ δὲ τὰ πρὸς ταῦτα συντείνοντα καὶ τὰ τούτων ἕνεκα γιγνόμενα τοιαῦτα δὲ τὰ μέρη τῆς ἑρμηνείας. δεύτερον ἐκ τῆς ποιήσεως· ὡσαύτως γὰρ καὶ αὐτὴ· ὑποκρίνειε γὰρ ἄν τις ἀκούων αὐλητοῦ, πότερόν ποτε συμφωνοῦσιν οἱ αὐλοὶ ἢ οὔ, καὶ πότερον ἡ διάλεκτος σαφὴς ἢ τοὐναντίον· τούτων δʼ ἕκαστον μέρος ἐστὶ τῆς αὐλητικῆς ἑρμηνείας, οὐ μέντοι τέλος, ἀλλʼ ἕνεκα τοῦ τέλους γιγνόμενον παρὰ ταῦτα γὰρ αὖ καὶ τὰ τοιαῦτα πάντα κριθήσεται τὸ τῆς ἑρμηνείας ἦθος, εἰ οἰκεῖον ἀποδίδοται τῷ παραποιηθέντι ποιήματι, ὃ μεταχειρίσασθαι καὶ ἑρμηνεῦσαι ὁ ἐνεργῶν βεβούληται. ὁ αὐτὸς δὲ λόγος καὶ ἐπὶ τῶν παθῶν τῶν ὑπὸ τῆς; ποιητικῆς σημαινομένων ἐν τοῖς ποιήμασιν.
37. The ancients now made principal account of the moral impression, and therefore preferred that fashion of the antique music which was grave and least affected. Therefore the Argives are said to have punished deviation from the ancient music, and to have imposed a fine upon such as first adventured to play with more than seven strings, and to introduce the Mixolydian mood. Pythagoras, that grave philosopher, rejected the judging of music by the senses, affirming that the virtue of music could be appreciated only by the intellect. And therefore he did not judge of music by the ear, but by the harmonical proportion, and thought it sufficient to fix the knowledge of music within the compass of the diapason.
37. ἅτʼ οὖν ἠθῶν μάλιστα φροντίδα πεποιημένοι οἱ παλαιοί, τὸ σεμνὸν καὶ ἀπερίεργον τῆς ἀρχαίας μουσικῆς προετίμων. Ἀργείους μὲν καὶ κόλασιν ἐπιθεῖναὶ ποτέ φασι τῇ εἰς τὴν μουσικὴν παρανομίᾳ ζημιῶσαί τε τὸν ἐπιχειρήσαντα πρῶτον ταῖς πλείοσι τῶν ἑπτὰ χρήσασθαι παρʼ, αὐτοῖς χορδῶν καὶ παραμιξολυδιάζειν ἐπιχειρήσαντα. Πυθαγόρας δʼ, ὁ σεμνὸς ἀπεδοκίμαζε τὴν κρίσιν τῆς μουσικῆς τὴν διὰ τῆς αἰσθήσεως νῷ γὰρ ληπτὴν τὴν ταύτης ἀρετὴν ἔφασκεν εἶναι. τοιγάρτοι τῇ μὲν ἀκοῇ οὐκ ἔκρινεν αὐτὴν τῇ δʼ ἀναλογικῇ ἁρμονίᾳ αὔταρκές τʼ, ἐνόμιζε τοῦ διὰ πασῶν στῆσαι τὴν τῆς μουσικῆς ἐπίγνωσιν.
38. But our musicians nowadays have so utterly exploded the most noble of all the moods, which the ancients greatly admired for its majesty, that hardly any among them make the least account of enharmonic distances. And so negligent and lazy are they grown, as to believe the enharmonic diesis to be too contemptible to fall under the apprehension of sense, and they therefore exterminate it out of their compositions, deeming those to be triflers that have any esteem for it or make use of the mood itself. For proof of which they think they bring a most powerful argument, which rather appears to be the dulness of their own senses; as if whatever fled their apprehensions were to be rejected as useless and of no value. And then again they urge that its magnitude cannot be perceived through its concord, like that of the semitone, tone, and other distances; not understanding, that at the same time they throw out the third, fifth, and seventh, of which the one consists of three, the other of five, and the last of seven dieses. And on the same principle all the intervals that are odd should be rejected as useless, inasmuch as none of them is perceptible through concord; and this would include all which by means of even the smallest diesis are measured by odd numbers. Whence it necessarily follows, that no division of the tetrachord would be of use but that which is to be measured by all even intervals, as in the syntonic diatonic, and in the toniaean chromatic.
38. οἱ δὲ νῦν τὸ μὲν κάλλιστον τῶν γενῶν, ὅπερ μάλιστα σεμνότητα παρὰ τοῖς ἀρχαίοις ἐσπουδάζετο, παντελῶς παρῃτήσαντο, ὥστε μηδὲ τὴν τυχοῦσαν ἀντίληψιν τῶν ἐναρμονίων διαστημάτων τοῖς πολλοῖς ὑπάρχειν·ν· οὕτω δʼ, ἀργῶζ; διάκεινται καὶ ῥᾳθύμως, ὥστε μηδʼ ἔμφασιν νομίζειν παρέχειν καθʼ ὅλου τῶν ὑπὸ τὴν αἴσθησιν πιπτόντων τὴν ἐναρμόνιον δίεσιν, ἐξορίζειν δʼ αὐτὴν ἐκ τῶν μελῳδημάτων πεφλυαρηκέναι τε τοὺς δόξαντάς τι περὶ τούτου καὶ τῷ γένει τούτῳ κεχρημένους. ἀπόδειξιν δʼ ἰσχυροτάτην τοῦ τἀληθῆ λέγειν φέρειν οἴονται μάλιστα μὲν τὴν αὑτῶν ἀναισθησίαν, ὡς πᾶν, ὅ τι περ ἂν αὐτοὺς ἐκφύγῃ, τοῦτο καὶ δὴ πάντως ἀνύπαρκτον ὂν παντελῶς καὶ ἄχρηστον εἶτα καὶ τὸ μὴ δύνασθαι ληφθῆναι διὰ συμφωνίας τὸ μέγεθος, καθάπερ τό τε ἡμιτόνιον καὶ τὸν τόνον καὶ τὰ λοιπὰ δὲ τῶν τοιούτων διαστημάτων. ἠγνοήκασι δʼ ὅτι καὶ τὸ τρίτον μέγεθος οὕτως ἂν καὶ τὸ πέμπτον ἐκβάλλοιτο καὶ τὸ ἕβδομον· ὧν τὸ μὲν τριῶν τὸ δὲ πέντε τὸ δʼ ἑπτὰ διέσεών ἐστι· καὶ καθόλου πάνθʼ ὅσα περιττὰ φαίνεται τῶν διαστημάτων ἀποδοκιμάζοιτʼ ἂν ὡς ἄχρηστα, παρʼ ὅσον οὐδὲν αὐτῶν διὰ συμφωνίας λαβεῖν ἔστι· ταῦτα δʼ ἂν εἴη, ὅσα ὑπὸ τῆς ἐλαχίστης διέσεως μετρεῖται περισσάκις, οἷς ἀκολουθεῖν ἀνάγκη καὶ τὸ μηδεμίαν τῶν τετραχορδικῶν διαιρέσεων χρησίμην εἶναι, πλὴν μόνην ταύτην, διʼ ἧς πᾶσιν ἀρτίοις χρῆσθαι διαστήμασι συμβέβηκεν αὕτη δʼ ἂν εἵη ἥ τε τοῦ συντόνου καὶ διατόνου καὶ ἡ τοῦ τονιαίου χρώματος.
39. But these opinions are not only contrary to appearance, but repugnant one to another. For they themselves chiefly make use of those divisions of tetrachords in which most of the intervals are either unequal or irrational. To which purpose they always soften both lichanos and paranete, and lower even some of the standing sounds by an irrational interval, bringing the trite and paranete to approach them. And especially they applaud the use of those systems in which most of the intervals are irrational, by relaxing not only those tones which are by nature movable, but also some which are properly fixed; as it is plain to those that rightly understand these things.
39. τὸ δὲ τὰ τοιαῦτα λέγειν τε καὶ ὑπολαμβάνειν, οὐ μόνον τοῖς φαινομένοις ἐναντιουμένων ἐστὶν ἀλλὰ καὶ αὑτοῖς μαχομένων. χρώμενοι γὰρ αὐτοὶ τοιαύταις τετραχόρδων μάλιστα φαίνονται διαιρέσεσιν, ἐν αἷς τὰ πολλὰ τῶν διαστημάτων ἤτοι περιττά ἐστιν ἢ ἄλογα· μαλάττουσι γὰρ ἀεὶ τάς τε λιχανοὺς καὶ τὰς παρανήτας· ἤδη δὲ καὶ τῶν ἑστώτων τινὰς παρανιᾶσι φθόγγων, ἀλόγῳ τινὶ διαστήματι προσανιέντες αὐτοῖς τάς τε τρίτας καὶ τὰς παρανήτας· καὶ τὴν τοιαύτην εὐδοκιμεῖν μάλιστά πως οἴονται τῶν συστημάτων χρῆσιν, ἐν τὰ πολλὰ τῶν διαστημάτων ἐστὶν ἄλογα οὐ μόνον τῶν κινεῖσθαι πεφυκότων φθόγγων, ἀλλὰ καί τινων ἀκινήτων ἀνιεμένων, ὥς ἐστι δῆλον τοῖς αἰσθάνεσθαι τῶν τοιούτων δυναμένοις.
40. Now for the advantages that accrue to men from the use of music, the famous Homer has taught it us, introducing Achilles, in the height of his fury toward Agamemnon, appeased by the music which he learned from Chiron, a person of great wisdom. For thus says he:—Amused at ease, the god-like man they found,Pleased with the solemn harp’s harmonious sound.The well-wrought harp from conquered Thebe came;Of polished silver was its costly frame.With this he soothes his angry soul, and singsThe immortal deeds of heroes and of kings.Learn, says Homer, from hence the true use of music. For it became Achilles, the son of Peleus the Just, to sing the famous acts and achievements of great and valiant men. Also, in teaching the most proper time to make use of it, he found out a profitable and pleasing pastime for one’s leisure hours. For Achilles, being both valiant and active, by reason of the disgust he had taken against Agamemnon withdrew from the war. Homer therefore thought he could not do better than by the laudable incitements of music and poetry to inflame the hero’s courage for those achievements which he afterwards performed. And this he did, calling to mind the great actions of former ages. Such was then the ancient music, and such the advantages that made it profitable. To which end and purpose we read that Hercules, Achilles, and many others made use of it; whose master, wisest Chiron, is recorded to have taught not only music, but morality and physic.
40. χρῆσιν δὲ μουσικῆς προσήκουσαν ἀνδρὶ ὁ καλὸς Ὅμηρος ἐδίδαξε δηλῶν γάρ, ὅτι ἡ μουσικὴ πολλαχοῦ χρησίμη, τὸν Ἀχιλλέα πεποίηκε τὴν ὀργὴν πέττοντα τὴν πρὸς τὸν Ἀγαμέμνονα διὰ μουσικῆς ἧς ἔμαθε παρὰ τοῦ σοφωτάτου Χείρωνος·τὸν δʼ εὗρον ʽ φησἴ φρένα τερπόμενον φόρμιγγι λιγείῃ,καλῇ δαιδαλέῃ· ἐπὶ δʼ ἀργύρεον ζυγὸντὴν ἄρετʼ ἐξ ἐνάρων πόλιν Ἠετίωνος ὀλέσσας,τῇ ὅγε θυμὸν ἔτερπεν, ἄειδε δʼ ἄρα κλέα ἀνδρῶν.μάθε, φησὶν Ὅμηρος, πῶς δεῖ μουσικῇ χρῆσθαι· κλέα γὰρ ἀνδρῶν ᾄδειν καὶ πράξεις ἡμιθέων ἔπρεπεν· Ἀχιλλεῖ τῷ Πηλέως τοῦ δικαιοτάτου. ἔτι δὲ καὶ τὸν καιρὸν τῆς χρήσεως τὸν ἁρμόττοντα διδάσκων Ὅμηρος ἀργοῦντι γυμνάσιον ἐξεῦρεν ὠφέλιμον καὶ ἡδύ· πολεμικὸς γὰρ ὢν καὶ πρακτικὸς ὁ Ἀχιλλεὺς διὰ τὴν γενομένην αὐτῷ πρὸς τὸν Ἀγαμέμνονα μῆνιν οὐ μετεῖχε τῶν κατὰ τὸν πόλεμον κινδύνων ᾠήθη οὖν Ὅμηρος πρέπον εἶναι τὴν ψυχὴν τοῖς καλλίστοις τῶν μελῶν παραθήγειν τὸν ἥρωα, ἵνʼ ἐπὶ τὴν μετὰ μικρὸν αὐτῷ γενησομένην ἔξοδον παρεσκευασμένος τοῦτο δʼ ἐποίει δηλονότι μνημονεύων τῶν πάλαι πράξεων. τοιαύτη ἦν ἡ ἀρχαία μουσικὴ καὶ εἰς τοῦτο χρησίμη. Ἡρακλέα τε γὰρ ἀκούομεν κεχρημένον μουσικῇ καὶ Ἀχιλλέα καὶ πολλοὺς ἄλλους, ὧν παιδευτὴς ὁ σοφώτατος Χείρων παραδέδοται, μουσικῆς τε ἅμα ὢν καὶ δικαιοσύνης καὶ ἰατρικῆς διδάσκαλος.
41. In brief therefore, a rational person will not blame the sciences themselves, if any one make use of them amiss, but will adjudge such a failing to be the error of those that abuse them. So that whoever he be that shall give his mind to the study of music in his youth, if he meet with a musical education, proper for the forming and regulating his inclinations, he will be sure to applaud and embrace that which is noble and generous, and to rebuke and blame the contrary, as well in other things as in what belongs to music. And by that means he will become clear from all reproachful actions, for now having reaped the noblest fruit of music, he may be of great use, not only to himself but to the commonwealth; while music teaches him to abstain from every thing indecent both in word and deed, and to observe decorum, temperance, and regularity.
41. καθόλου δʼ ὅ γε νοῦν ἔχων οὐ τῶν ἐπιστημῶν ἔγκλημα δήπου θείη, εἴ τις αὐταῖς μὴ κατὰ τρόπον χρῷτο, ἀλλὰ τῆς τῶν χρωμένων κακίας ἴδιον εἶναι τοῦτο νομίσειεν. εἴτʼ οὖν τις τὸν παιδευτικὸν τῆς μουσικῆς τρόπον ἐκπονήσας τύχοι ἐπιμελείας τῆς προσηκούσης ἐν τῇ τοῦ παιδὸς ἡλικίᾳ, τὸ μὲν καλὸν ἐπαινέσει τε καὶ ἀποδέξεται, ψέξει δὲ τὸ ἐναντίον ἔν τε τοῖς ἄλλοις καὶ ἐν τοῖς κατὰ μουσικήν, καὶ ἔσται ὁ τοιοῦτος καθαρὸς πάσης ἀγεννοῦς πράξεως διὰ μουσικῆς τε τὴν μεγίστην ὠφέλειαν καρπωσάμενος ὄφελος ἂν μέγα γένοιτο αὑτῷ τε καὶ πόλει, μηθενὶ μήτʼ ἔργῳ μήτε λόγῳ χρώμενος ἀναρμόστῳ, σῴζων ἀεὶ καὶ πανταχοῦ τὸ πρέπον καὶ σῶφρον καὶ κόσμιον.
42. Now that those cities which were governed by the best laws took care always of a generous education in music, many testimonies may be produced. But for us it shall suffice to have instanced Terpander, who appeased a sedition among the Lacedaemonians, and Thaletas the Cretan, of whom Pratinas writes that, being sent for by the Lacedaemonians by advice of the oracle, he freed the city from a raging pestilence. Homer tells that the Grecians stopped the fury of another noisome pestilence by the power and charms of the same noble science:—With sacred hymns and songs that sweetly please,The Grecian youth all day the Gods appease.Their lofty paeans bright Apollo hears,And still the charming sounds delight his ears.These verses, most excellent master, I thought requisite to add as the finishing stone to my musical discourse, which were by you cited before to show the force of harmony. For indeed the chiefest and sublimest end of music is the graceful return of our thanks to the Gods, and the next is to purify and bring our minds to a sober and harmonious temper. Thus, said Soterichus, most excellent master, I have given you what may be called an encyclic discourse of music.
42. ὅτι δὲ καὶ ταῖς εὐνομωτάταις τῶν πόλεων ἐπιμελὲς γεγένηται φροντίδα ποιεῖσθαι τῆς γενναίας μουσικῆς, πολλὰ μὲν καὶ ἄλλα μαρτύρια παραθέσθαι ἔστι· Τέρπανδρον δʼ ἄν τις παραλάβοι τὸν τὴν γενομένην ποτὲ παρὰ Λακεδαιμονίοις στάσιν καταλύσαντα· καὶ Θαλήταν τὸν Κρῆτα, ὅν φασι κατά τι πυθόχρηστον Λακεδαιμονίους παραγενόμενον διὰ μουσικῆς ἰάσασθαι ἀπαλλάξαι τε τοῦ κατασχόντος λοιμοῦ τὴν Σπάρτην, καθάπερ φησὶ Πρατίνας. ἀλλὰ γὰρ καὶ Ὅμηρος τὸν κατασχόντα λοιμὸν τοὺς Ἕλληνας παύσασθαι λέγει διὰ μουσικῆς· ἔφη γοῦνοἱ δὲ πανημέριοι μολπῇ θεὸν ἱλάσκοντο,καλὸν ἀείδοντες παιήονα, κοῦροι Ἀχαιῶν,μέλποντες ἑκάεργον· ὁ δὲ φρένα τέρπετʼ ἀκούων.τούτους τοὺς στίχους, ἀγαθὲ διδάσκαλε, κολοφῶνα τῶν περὶ τῆς· μουσικῆς λόγων πεποίημαι, ἐπεὶ φθάσας σὺ τὴν μουσικὴν δύναμιν διὰ τούτων προαπέφηνας ἡμῖν τῷ γὰρ ὄντι τὸ πρῶτον αὐτῆς καὶ κάλλιστον ἔργον ἡ εἰς τοὺς θεοὺς εὐχάριστός ἐστιν ἀμοιβή· ἑπόμενον δὲ τούτῳ καὶ δεύτερον τὸ τῆς ψυχῆς καθάρσιον καὶ ἐμμελὲς καὶ ἐναρμόνιον σύστημα. ταῦτʼ εἰπὼν ὁ Σωτήριχος ἔχεις ἔφη τοὺς ἐγκυκλίους περὶ μουσικῆς λόγους, ἀγαθὲ διδάσκαλε.
43. Nor was Soterichus a little admired for what he had spoken, as one that both by his countenance and speech had shown his zeal and affection for that noble science. After all, said Onesicrates, I must needs applaud this in both of you, that you have kept within your own spheres and observed your proper limits. For Lysias, not insisting any further, undertook only to show us what was necessary to the making a good hand, as being an excellent performer himself. But Soterichus has feasted us with a discovery of the benefit, the theory, the force, and right end of music. But one thing I think they have willingly left for me to say; for I cannot think them guilty of so much bashfulness that they should be ashamed to bring music into banquets, where certainly, if anywhere, it cannot but be very useful, which Homer also confirms to be true:—Song and the merry dance, the joy of feasts.Not that I would have any one believe from these words, that Homer thought music useful only for pleasure and delight, there being a profounder meaning concealed in the verse. For he brought in music to be present at the banquets and revels of the ancients, as believing it then to be of greatest use and advantage to repel and mitigate the inflaming power of the wine. To which our Aristoxenus agrees, who alleges that music was introduced at banquets for this reason, that as wine intemperately drunk weakens both the body and mind, so music by its harmonious order and symmetry assuages and reduces them to their former constitution. And therefore it was that Homer reports that the ancients made use of music at their solemn festivals.
43. ἐθαυμάσθη μὲν οὖν ὁ Σωτήριχος ἐπὶ τοῖς λεχθεῖσι, καὶ γὰρ ἐνέφαινε διὰ τοῦ προσώπου καὶ τῆς φωνῆς τὴν περὶ μουσικὴν σπουδήν. ὁ δʼ ἐμὸς διδάσκαλος μετὰ τῶν ἄλλων ἔφη καὶ τοῦτʼ ἀποδέχομαι ἑκατέρου ὑμῶν, ὅτι τὴν τάξιν ἑκάτερος τὴν αὐτὸς αὑτοῦ ἐφύλαξεν ὁ μὲν γὰρ Λυσίας, ὅσα μόνον χειρουργοῦντι κιθαρῳδῷ προσῆκεν εἰδέναι, τούτοις ἡμᾶς εἱστίασεν ὁ δὲ Σωτήριχος, ὅσα καὶ πρὸς ὠφέλειαν καὶ πρὸς θεωρίαν, ἀλλὰ γὰρ καὶ δύναμιν καὶ χρῆσιν μουσικῆς συντείνει, διδάσκων ἡμᾶς ἐπεδαψιλεύσατο. ἐκεῖνο δʼ οἶμαι ἑκόντας αὐτοὺς ἐμοὶ καταλελοιπέναι· οὐ γὰρ καταγνώσομαι αὐτῶν δειλίαν, ὡς αἰσχυνθέντων κατασπᾶν μουσικὴν εἰς τὰ συσσίτια· εἰ γάρ που καὶ χρησίμη καὶ παρὰ πότον, ὼ ὁ καλὸς Ὅμηρος ἀπέφηνε μολπή γάρ πού φησιν ὀρχηστύς τε, τὰ γάρ τʼ ἀναθήματα δαιτός. καί μοι μηδεὶς ὑπολαβέτω, ὅτι πρός τέρψιν μόνον χρησίμην ᾠήθη μουσικὴν Ὅμηρος διὰ τούτων. ἀλλὰ γὰρ βαθύτερός ἐστι νοῦς ἐγκεκρυμμένος τοῖς ἔπεσιν εἰς γὰρ ὠφέλειαν καὶ βοήθειαν τὴν μεγίστην αὐτοῖς καιροῖς παρέβαλε μουσικήν, λέγω δʼ εἰς τὰ δεῖπνα καὶ τὰς συνουσίας τῶν ἀρχαίων συνέβαινε γὰρ εἰσάγεσθαι μουσικήν, ὡς ἱκανὴν ἀντισπᾶν καὶ πραΰνειν τὴν τοῦ οἴνου ὑπόθερμον δύναμιν, καθάπερ πού φησι καὶ ὁ ὑμέτερος Ἀριστόξενος ἐκεῖνος γὰρ ἔλεγεν εἰσάγεσθαι μουσικήν, παρʼ ὅσον ὁ μὲν οἶνος σφάλλειν πέφυκε τῶν ἅδην αὐτῷ χρησαμένων τὰ τε σώματα καὶ τὰς διανοίας· ἡ δὲ μουσικὴ τῇ περὶ αὑτὴν τάξει τε καὶ συμμετρίᾳ εἰς τὴν ἐναντίαν κατάστασιν ἄγει τε καὶ πραΰνει. παρὰ τοῦτον οὖν τὸν καιρὸν ὡς βοηθήματι τῇ μουσικῇ τοὺς ἀρχαίους φησὶ κεχρῆσθαι Ὅμηρος.
44. But for all this, my most honored friends, methinks you have forgot the chiefest thing of all, and that which renders music most majestic. For Pythagoras, Archytas, Plato, and many others of the ancient philosophers, were of opinion, that there could be no motion of the world or rolling of the spheres without the assistance of music, since the Supreme Deity created all things harmoniously. But it would be unseasonable now to enter upon such a discourse, especially at this time, when it would be absurd for Music to transgress her highest and most musical office, which is to give the laws and limits of time and measure to all things. Therefore after he had sung a paean, and offered to Saturn and his offspring, with all the other Gods and the Muses, he dismissed the company.
44. ἀλλὰ δὴ καὶ τὸ μέγιστον ὑμῖν, ὦ ἑταῖροι, καὶ μάλιστα σεμνοτάτην ἀποφαῖνον μουσικὴν παραλέλειπται. τὴν γὰρ τῶν ὄντων φορὰν καὶ τὴν τῶν ἀστέρων κίνησιν οἱ περὶ Πυθαγόραν καὶ Ἀρχύταν καὶ Πλάτωνα καὶ οἱ λοιποὶ τῶν ἀρχαίων φιλοσόφων οὐκ ἄνευ μουσικῆς γίγνεσθαι καὶ συνεστάναι ἔφασκον πάντα γὰρ καθʼ ἁρμονίαν ὑπὸ τοῦ θεοῦ κατεσκευάσθαι φασίν. ἄκαιρον δʼ ἂν εἴη νῦν ἐπεκτείνειν τοὺς περὶ τούτου λόγους· ἀνώτατον δὲ καὶ μουσικώτατον τὸ παντὶ τὸ προσῆκον μέτρον ἐπιτιθέναι. ταῦτʼ εἰπὼν ἐπαιώνισε, καὶ σπείσας τῷ Κρόνῳ καὶ τοῖς τούτου παισὶ σὺν θεοῖς πᾶσι καὶ Μούσαις ἀπέλυσε τοὺς ἑστιωμένους.