(1) Lamenting its banishment from its home: "Ever since they tore me from my osier bed, I burst my breast, striving to give vent to sighs, He who abides far away from his home My wailing is heard in every throng, Each interprets my notes in harmony with his own feelings, My secrets are not alien from my plaintive notes, Body is not veiled from soul, neither soul from body, Yet no man hath ever seen a soul." This plaint of the flute is fire, not mere air.

(11) Let him who lacks this fire be accounted dead! 'Tis the fire of love that inspires the flute,l 'Tis the ferment of love that possesses the wine. The flute is the confidant of all unhappy lovers; Yea, its strains lay bare my inmost secrets. Who hath seen a poison and an antidote like the flute? Who hath seen a sympathetic consoler like the flute? The flute tells the tale of love's bloodstained path, It recounts the story of Majnun's love toils. None is privy to these feelings save one distracted,

(601) Am I not right? Yes. Then let us have a clear understanding, and not be satisfied with half an explanation. Proceed. Of the painter we say that he will paint reins, and he will paint a bit? Yes. And the worker in leather and brass will make them? Certainly. But does the painter know the right form of the bit and reins? Nay, hardly even the workers in brass and leather who make them; only the horseman who knows how to use them—he knows their right form. Most true. And may we not say the same of all things? What? That there are three arts which are concerned with all things: one which uses, another which makes, a third which imitates them? Yes. And the excellence or beauty or truth of every structure, animate or inanimate, and of every action of man, is relative to the use for which nature or the artist has intended them. True. Then the user of them must have the greatest experience of them, and he must indicate to the maker the good or bad qualities which develop themselves in use; for example, the flute-player will tell the flute-maker which of his flutes is satisfactory to the performer; he will tell him how he ought to make them, and the other will attend to his instructions? Of course. The one knows and therefore speaks with authority about the goodness and badness of flutes, while the other, confiding in him, will do what he is told by him? True. The instrument is the same, but about the excellence or badness of it the maker will only attain to a correct belief; and this he will gain from him who knows, by talking to him

(399) under the circumstances, and acquiescing in the event. These two harmonies I ask you to leave; the strain of necessity and the strain of freedom, the strain of the unfortunate and the strain of the fortunate, the strain of courage, and the strain of temperance; these, I say, leave. And these, he replied, are the Dorian and Phrygian harmonies of which I was just now speaking. Then, I said, if these and these only are to be used in our songs and melodies, we shall not want multiplicity of notes or a panharmonic scale? I suppose not. Then we shall not maintain the artificers of lyres with three corners and complex scales, or the makers of any other many-stringed curiously-harmonised instruments? Certainly not. But what do you say to flute-makers and flute-players? Would you admit them into our State when you reflect that in this composite use of harmony the flute is worse than all the stringed instruments put together; even the panharmonic music is only an imitation of the flute? Clearly not. There remain then only the lyre and the harp for use in the city, and the shepherds may have a pipe in the country. That is surely the conclusion to be drawn from the argument. The preferring of Apollo and his instruments to Marsyas and his instruments is not at all strange, I said. Not at all, he replied. And so, by the dog of Egypt, we have been unconsciously purging the State, which not long ago we termed luxurious. And we have done wisely, he replied. Then let us now finish the purgation, I said. Next in order to harmonies, rhythms will naturally follow, and they should be subject to the same rules, for we ought not to seek out complex systems of metre, or metres of every kind, but rather to discover what rhythms are the expressions of

(88) Had not our philosophers and doctors always played upon the fiddle of pride, but had played on the musical instrument of the prophets and apostles, there would have been far another knowledge and philosophy in the world.

(401) is ill-educated ungraceful; and also because he who has received this true education of the inner being will most shrewdly perceive omissions or faults in art and nature, and with a true taste, while he praises and rejoices over and receives into his soul the good, and becomes noble and good, he will justly blame and hate the bad, now in the days of his youth, even before he is able to know the reason why; and when reason comes he will recognise and salute the friend with whom his education has made him long familiar. Yes, he said, I quite agree with you in thinking that our youth should be trained in music and on the grounds which you mention. Just as in learning to read, I said, we were satisfied when we knew the letters of the alphabet, which are very few, in all their recurring sizes and combinations; not slighting them as unimportant whether they occupy a space large or small, but everywhere eager to make them out; and not thinking ourselves perfect in the art of reading until we recognise them wherever they are found 38 : True— Or, as we recognise the reflection of letters in the water, or in a mirror, only when we know the letters themselves; the same art and study giving us the knowledge of both: Exactly— Even so, as I maintain, neither we nor our guardians, whom

(349) Nothing, he said, can be better than that statement. And the unjust is good and wise, and the just is neither? Good again, he said. And is not the unjust like the wise and good and the just unlike them? Of course, he said, he who is of a certain nature, is like those who are of a certain nature; he who is not, not. Each of them, I said, is such as his like is? Certainly, he replied. Very good, Thrasymachus, I said; and now to take the case of the arts: you would admit that one man is a musician and another not a musician? Yes. And which is wise and which is foolish? Clearly the musician is wise, and he who is not a musician is foolish. And he is good in as far as he is wise, and bad in as far as he is foolish? Yes. And you would say the same sort of thing of the physician? Yes. And do you think, my excellent friend, that a musician when he adjusts the lyre would desire or claim to exceed or go beyond a musician in the tightening and loosening the strings? I do not think that he would. But he would claim to exceed the non-musician? Of course. And what would you say of the physician? In prescribing meats and drinks would he wish to go beyond another physician or beyond the practice of medicine? He would not. But he would wish to go beyond the non-physician? Yes. And about knowledge and ignorance in general; see whether you think that any man who has knowledge ever would wish to have the choice of saying or doing more than another man who has knowledge. Would he not rather say or do the same as his like in the same case? That, I suppose, can hardly be denied. And what of the ignorant? would he not desire to have

(52) IX. Offer not your right hand easily to anyone. This warns the disciple to keep his own counsel and not offer wisdom and knowledge (his right hand) to such as are incapable of appreciating them. The hand here represents Truth, which raises those who have fallen because of ignorance; but as many of the unregenerate do not desire wisdom they will cut off the hand that is extended in kindness to them. Time alone can effect the redemption of the ignorant masses

(13) Therefore I will not bury his talent in the earth, but lend it out upon usury or interest, lest he should say to me at that time of his requiring it of me, Thou wicked, slothful servant, why hast thou hid my talent in the darkness, and didst not put it out upon use, and so now I might have received it with usury, gain, and profit? For then he would take it quite away from me, and give it to another, who has gained many talents with his one. Therefore I will sow, let him water it, I leave the care to him. Now observe:

(20) What could I, poor, simple layman, teach or write of their high art, if it were not given to me by the spirit of nature, in whom I live and am? I am in the condition or state of a vulgar or layman, and have no salary, wages or pay for this writing: Should I, then, oppose the spirit, that he should not begin to open where, and in whom, he pleaseth? I am not the door, but an ordinary wooden bolt upon it: Now if the spirit should pluck me out from thence, and fling me into the fire, could I hinder it?

(9) It is better to leave a vessel unfilled, than to attempt to carry it when it is full. If you keep feeling a point that has been sharpened, the point cannot long preserve its sharpness. When gold and jade fill the hall, their possessor cannot keep them safe. When wealth and honours lead to arrogancy, this brings its evil on itself. When the work is done, and one's name is becoming distinguished, to withdraw into obscurity is the way of Heaven.

(15) "The honours of this world are light as feathers, yet none estimate them at their true value. The misfortunes of this life are weighty as the earth itself, yet none can keep out of their reach. No more, no more, seek to influence by virtue. Beware, beware, move cautiously on! O ferns, O ferns, wound not my steps! Through my tortuous journey wound not my feet! Hills suffer from the trees they produce. Fat burns by its own combustibility. Cinnamon trees furnish food: therefore they are cut down. The lacquer tree is felled for use. All men know the use of useful things; but they do not know the use of useless things."

(171) Come, look at this glittering world, like unto a royal chariot; the foolish are immersed in it, but the wise do not touch it.

(89) For the corrupted nature in this world labours in its utmost power and diligence, that it might bring forth heavenly forms, and many times little children might be their parents' schoolmasters and teachers, if parents could but understand, or would but take notice of them: But nowadays the corruption is unfortunately with both young and old, and the proverb is verified, Wie die Alten sungen, so lerneten die Jungen. As the old ones sing, So th' young learn to ring.

(41) The prayer is answered by the mere fact that part and other part are wrought to one tone like a musical string which, plucked at one end, vibrates at the other also. Often, too, the sounding of one string awakens what might pass for a perception in another, the result of their being in harmony and tuned to one musical scale; now, if the vibration in a lyre affects another by virtue of the sympathy existing between them, then certainly in the All- even though it is constituted in contraries- there must be one melodic system; for it contains its unisons as well, and its entire content, even to those contraries, is a kinship.

Thus, too, whatever is hurtful to man- the passionate spirit, for example, drawn by the medium of the gall into the principle seated in the liver- comes with no intention of hurt; it is simply as one transferring fire to another might innocently burn him: no doubt, since he actually set the other on fire he is a cause, but only as the attacking fire itself is a cause, that is by the merely accidental fact that the person to whom the fire was being brought blundered in taking it.

(24) What dost thou suppose the Master of the house will say to thee, when he shall require and demand his talent with which he entrusted thee, thou having buried it in the earth? Will he not say, Thou perverse wicked servant, why didst thou not put my talent out upon use, and then I could have demanded the principal and the interest or profit?

(531) their ears before their understanding. You mean, I said, those gentlemen who tease and torture the strings and rack them on the pegs of the instrument: I might carry on the metaphor and speak after their manner of the blows which the plectrum gives, and make accusations against the strings, both of backwardness and forwardness to sound; but this would be tedious, and therefore I will only say that these are not the men, and that I am referring to the Pythagoreans, of whom I was just now proposing to enquire about harmony. For they too are in error, like the astronomers; they investigate the numbers of the harmonies which are heard, but they never attain to problems—that is to say, they never reach the natural harmonies of number, or reflect why some numbers are harmonious and others not. That, he said, is a thing of more than mortal knowledge. A thing, I replied, which I would rather call useful; that is, if sought after with a view to the beautiful and good; but if pursued in any other spirit, useless. Very true, he said. Now, when all these studies reach the point of inter-communion and connection with one another, and come to be considered in their mutual affinities, then, I think, but not till then, will the pursuit of them have a value for our objects; otherwise there is no profit in them. I suspect so; but you are speaking, Socrates, of a vast work. What do you mean? I said; the prelude or what? Do you not know that all this is but the prelude to the actual strain which we have to learn? For you surely would not

(10) Take heed, and beware of covetousness: for a man's life consisteth not in the abundance of the things which he possesseth.

(1) Pythagoras was likewise of opinion that music contributed greatly to health, if it was used in an appropriate manner. For he was accustomed to employ a purification of this kind, but not in a careless way. And he called the medicine which is obtained through music by the name of purification. But he employed such a melody as this about the vernal season. For he placed in the middle a certain person who played on the lyre, and seated in a circle round him those who were able to sing. And thus, when the person in the centre struck the lyre, those that surrounded him sung certain pæans, through which they were seen to be delighted, and to become elegant and orderly in their manners.

But at another time they used music in the place of medicine. And there are certain melodies devised as remedies against the passions of the soul, and also against despondency and lamentation, which Pythagoras invented as things that afford the greatest assistance in these maladies. And again, he employed other melodies against rage and anger, and against every aberration of the soul. There is also another kind of modulation invented as a remedy against desires. He likewise used dancing; but employed the lyre as an instrument for this purpose. For he conceived that the pipe was calculated to excite insolence, was a theatrical instrument, and had by no means a liberal sound. Select verses also of Homer and Hesiod were used by him, for the purpose of correcting the soul.

Among the deeds of Pythagoras likewise, it is said, that once through the spondaic song of a piper, he extinguished the rage of a Tauromenian lad, who had been feasting by night, and intended to burn the vestibule of his mistress, in consequence of seeing her coming from the house of his rival. For the lad was inflamed and excited [to this rash attempt] by a Phrygian song; which however Pythagoras most rapidly suppressed. But Pythagoras, as he was astronomizing, happened to meet with the Phrygian piper at an unseasonable time of night, and persuaded him to change his Phrygian for a spondaic song; through which the fury of the lad being immediately repressed, he returned home in an orderly manner, though a little before this, he could not be in the least restrained, nor would in short, bear any admonition; and even stupidly insulted Pythagoras when he met him.

When a certain youth also rushed with a drawn sword on Anchitus, the host of Empedocles, because, being a judge, he had publicly condemned his father to death, and would have slain him as a homicide, Empedocles changed the intention of the youth, by singing to his lyre that verse of Homer,

(15) "If you tell a man he is a wheedler, he will not like it. If you tell him he is a flatterer, he will be angry. Yet he is everlastingly both. But all such sham and pretence is what the world likes, and consequently people do not punish each other for doing what they do themselves. For a man to arrange his dress, or make a display, or suit his expression so as to get into the good graces of the world, and yet not to call himself a flatterer; to identify himself in every way with the yeas and nays of his fellows, and yet not call himself one of them;—this is the height of folly. "A man who knows that he is a fool is not a great fool. A man who knows his error is not greatly in error. Great error can never be shaken off; a great fool never becomes clear-headed. If three men are travelling and one man makes a mistake, they may still arrive at their destination, error being in the minority. But if two of them make a mistake, then they will not succeed, error being in the majority. And now, as all the world is in error, I, though I know the true path, am alas! unable to guide. "Grand music does not appeal to vulgar ears. Give them the Chê-yang or the Huang-hua, and they will roar with laughter. And likewise great truths do not take hold of the hearts of the masses. And great truths not finding utterance, common-places carry the day. Two earthen instruments will drown the sound of one metal one; and the result will not be melodious.