Plato : LAWS Persons of the dialogue: An Athenian stranger - Cleinias, a Cretan  - Megillus, a Lacedaemonian Translated by Benjamin Jowett - 80 Pages (Part 1) - Greek fonts Search Plato's works / Plato Anthology / The Greek Word Library = Note by Elpenor

LAWS part 1 of 2, 3, 4, 5

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This Part: 80 Pages

Part 1 Page 35

Ath. We will suppose that he knows the good to be good, and the bad to be bad, and makes use of them accordingly: which now is the better trained in dancing and music - he who is able to move his body and to use his voice in what is understood to be the right manner, but has no delight in good or hatred of evil; or he who is incorrect in gesture and voice, but is right in his sense of pleasure and pain, and welcomes what is good, and is offended at what is evil?

Cle. There is a great difference, Stranger, in the two kinds of education.

Ath. If we three know what is good in song and dance, then we truly know also who is educated and who is uneducated; but if not, then we certainly shall not know wherein lies the safeguard of education, and whether there is any or not.

Cle. True.

Ath. Let us follow the scent like hounds, and go in pursuit of beauty of figure, and melody, and song, and dance; if these escape us, there will be no use in talking about true education, whether Hellenic or barbarian.

Cle. Yes.

Ath. And what is beauty of figure, or beautiful melody? When a manly soul is in trouble, and when a cowardly soul is in similar case, are they likely to use the same figures and gestures, or to give utterance to the same sounds?

Cle. How can they, when the very colours of their faces differ?

Ath. Good, my friend; I may observe, however, in passing, that in music there certainly are figures and there are melodies: and music is concerned with harmony and rhythm, so that you may speak of a melody or figure having good rhythm or good harmony - the term is correct enough; but to speak metaphorically of a melody or figure having a "good colour," as the masters of choruses do, is not allowable, although you can speak of the melodies or figures of the brave and the coward, praising the one and censuring the other. And not to be tedious, let us say that the figures and melodies which are expressive of virtue of soul or body, or of images of virtue, are without exception good, and those which are expressive of vice are the reverse of good.

Cle. Your suggestion is excellent; and let us answer that these things are so.

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