the foot and the melody to words having a like spirit, not the words to the foot and melody. To say what these rhythms are will be your duty—you must teach me them, as you have already taught me the harmonies.
But, indeed, he replied, I cannot tell you. I only know that there are some three principles of rhythm out of which metrical systems are framed, just as in sounds there are four notes[1] out of which all the harmonies are composed; that is an observation which I have made. But of what sort of lives they are severally the imitations I am unable to say.
Then, I said, we must take Damon into our counsels; and he will tell us what rhythms are expressive of meanness, or insolence, or fury, or other unworthiness, and what are to be reserved for the expression of opposite feelings. And I think that I have an indistinct recollection of his mentioning a complex Cretic rhythm; also a dactylic or heroic, and he arranged them in some manner which I do not quite understand, making the rhythms equal in the rise and fall of the foot, long and short alternating; and, unless I am mistaken, he spoke of an iambic as well as of a trochaic rhythm, and assigned to them short and long quantities.[2] Also in some cases he appeared to praise or censure the movement of the foot quite as much as the rhythm; or perhaps a combination of the two; for I am not certain what he meant. These matters, however, as I was saying, had better be referred to Damon himself, for the analysis of the subject would be difficult, you know?
Rather so, I should say.
But there is no difficulty in seeing that grace or the absence of grace is an effect of good or bad rhythm.
None at all.
And also that good and bad rhythm naturally assimilate to a good and bad style; and that harmony and discord in like manner follow style; for our principle is that rhythm and harmony are regulated by the words, and not the words by them.
Just so, he said, they should follow the words.
And will not the words and the character of the style depend on the temper of the soul?
- ↑ The four notes of the tetrachord.
- ↑ Socrates expresses himself carelessly in accordance with his assumed ignorance of the details of the subject. In the first part of the sentence he appears to be speaking of pæonic rhythms which are in the ratio of 3 to 2; in the second part, of dactylic and anapæstic rhythms, which are in the ratio of 1 to 1; in the last clause, of iambic and trochaic rhythms, which are in the ratio of 1 to 2 or 2 to 1.
