CHAPTER VII

We are now to enter into an inquiry concerning harmony and rhythm; whether all sorts of these are to be employed in education, or whether some peculiar ones are to be selected; and also whether we should give the same directions to those who are engaged in music as part of education, or whether there is something different from these two. Now, as all music consists in melody and rhythm, we ought not to be unacquainted with the power which each of these has in education; and whether we should rather choose music in which melody prevails, or rhythm: but when I consider how many things have been well written upon these subjects, not only by some musicians of the present age, but also by some philosophers who are perfectly skilled in that part of music which belongs to education; we will refer those who desire a very particular knowledge therein to those writers, and shall only treat of it in general terms, without descending to particulars. Melody is divided by some philosophers, whose notions we approve of, into moral, practical, and that which fills the mind with enthusiasm: they also allot to each of these a particular kind of harmony which naturally corresponds therewith: and we say that music should not be applied to one purpose only, but many; both for instruction and purifying the soul (now I use the word purifying at present without any explanation, but shall speak more at large of it in my Poetics); and, in the third place, as an agreeable manner of spending the time and a relaxation from the uneasiness of the mind. [1342a] It is evident that all harmonies are to be used; but not for all purposes; but the most moral in education: but to please the ear, when others play, the most active and enthusiastic; for that passion which is to be found very strong in some souls is to be met with also in all; but the difference in different persons consists in its being in a less or greater degree, as pity, fear, and enthusiasm also; which latter is so