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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.