uced the flute also, as one
of the instruments they were to learn to play on. At Lacedaemon the
choregus himself played on the flute; and it was so common at Athens
that almost every freeman understood it, as is evident from the tablet
which Thrasippus dedicated when he was choregus; but afterwards they
rejected it as dangerous; having become better judges of what tended to
promote virtue and what did not. For the same reason many of the ancient
instruments were thrown aside, as the dulcimer and the lyre; as also
those which were to inspire those who played on them with pleasure, and
which required a nice finger and great skill to play well on. What the
ancients tell us, by way of fable, of the flute is indeed very rational;
namely, that after Minerva had found it, she threw it away: nor are they
wrong who say that the goddess disliked it for deforming the face of him
who played thereon: not but that it is more probable that she rejected
it as the knowledge thereof contributed nothing to the improvement of
the mind. Now, we regard Minerva as the inventress of arts and sciences.
As we disapprove of a child's being taught to understand instruments,
and to play like a master (which we would have confined to those who are
candidates for the prize in that science; for they play not to improve
themselves in virtue, but to please those who hear them, and gratify
their importunity); therefore we think the practice of it unfit for
freemen; but then it should be confined to those who are paid for doing
it; for it usually gives people sordid notions, for the end they have
in view is bad: for the impertinent spectator is accustomed to make them
change their music; so that the artists who attend to him regulate their
bodies according to his motions.

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 prese