Greek Texts & Translations

What you say, Stranger, is perfectly true, and worthy of your country as well as of yourself.

That is so, Megillus: it is proper to mention the events of that period to you, since you share in the native character of your ancestors. But both you and Clinias must now consider whether what we are saying is 699eat all pertinent to our law-making; for my narrative is not related for its own sake, but for the sake of the law-making I speak of. Just reflect: seeing that we Athenians suffered practically the same fate as the Persians—they through reducing their people to the extreme of slavery, we, on the contrary, by urging on our populace to the extreme of liberty—what are we to say was the sequel, if our earlier statements have been at all nearly correct? 700a

Well said! Try, however, to make your meaning still more clear to us.

I will. Under the old laws, my friends, our commons had no control over anything, but were, so to say, voluntary slaves to the laws.

What laws do you mean?

Those dealing with the music of that age, in the first place,—to describe from its commencement how the life of excessive liberty grew up. Among us, at that time, music was divided into various classes and styles: 700bone class of song was that of prayers to the gods, which bore the name of “hymns”; contrasted with this was another class, best called “dirges”; “paeans” formed another; and yet another was the “dithyramb,” named, I fancy, after Dionysus. “Nomes” also were so called as being a distinct class of song; and these were further described as “citharoedic nomes.” ^note So these and other kinds being classified and fixed, it was forbidden to set one kind of words to a different class of tune. ^note 700cThe authority whose duty it was to know these regulations, and, when known, to apply them in its judgments and to penalize the disobedient, was not a pipe nor, as now, the mob's unmusical shoutings, nor yet the clappings which mark applause: in place of this, it was a rule made by those in control of education that they themselves should listen throughout in silence, while the children and their ushers and the general crowd were kept in order by the discipline of the rod. 700dIn the matter of music the populace willingly submitted to orderly control and abstained from outrageously judging by clamor; but later on, with the progress of time, there arose as leaders of unmusical illegality poets who, though by nature poetical, were ignorant of what was just and lawful in music; and they, being frenzied and unduly possessed by a spirit of pleasure, mixed dirges with hymns and paeans with dithyrambs, and imitated flute-tunes with harp-tunes, and blended every kind of music with every other; 700eand thus, through their folly, they unwittingly bore false witness against music, as a thing without any standard of correctness, of which the best criterion is the pleasure of the auditor, be he a good man or a bad. ^note By compositions of such a character, set to similar words, they bred in the populace a spirit of lawlessness in regard to music, and the effrontery of supposing themselves capable of passing judgment on it. Hence the theater-goers became noisy 701ainstead of silent, as though they knew the difference between good and bad music, and in place of an aristocracy in music there sprang up a kind of base theatrocracy. ^note For if in music, and music only, there had arisen a democracy of free men, such a result would not have been so very alarming; but as it was, the universal conceit of universal wisdom and the contempt for law originated in the music, and on the heels of these came liberty. For, thinking themselves knowing, men became fearless; and audacity begat effrontery. For to be fearless