We must farther regulate the style of the Odes and Songs, consistent with what has been already laid down. Having prescribed what the sense of the words must be, we must now give directions about melody and rhythm. We shall permit nothing but simple music, calculated less to please the ear, than to inspire grave, dignified, and resolute sentiment. We shall not allow either the wailing Lydian, or the soft and convivial Ionic mood: but only the Phrygian and Dorian moods. Nor shall we tolerate either the fife, or complicated stringed instruments: nothing except the lyre and harp, with the panspipe for rural abodes.[66] The rhythm or measure must also be simple, suitable to the movements of a calm and moderate man. Both good rhythm, graceful and elegant speaking, and excellence of sense, flow from good and virtuous dispositions, tending to inspire the same dispositions in others:[67] just as bad rhythm, ungraceful and indecorous demeanour, defective proportion, &c., are companions of bad speech and bad dispositions. Contrasts of this kind pervade not only speech and song, but also every branch of visible art: painting, architecture, weaving, embroidery, pottery, and even the natural bodies of animals and plants. In all of them we distinguish grace and beauty, the accompaniments of a good and sober disposition--from ungracefulness and deformity, visible signs of the contrary disposition. Now our youthful Guardians, if they are ever to become qualified for their functions, must be trained to recognise and copy such grace and beauty.[68] For this purpose our poets, painters, architects, and artisans, must be prohibited from embodying in their works any ungraceful or unseemly type. None will be tolerated as artists, except such as can detect and embody the type of the beautiful. Our youth will thus insensibly contract exclusive familiarity, both through the eye and through the ear, with beauty in its various manifestations: so that their minds will be brought into harmonious preparation for the subsequent influence of beautiful discourse.[69] [Footnote 66: Plato, Republic, iii. pp. 398-399.] [Footnote 67: Plato, Republic, iii. p. 400 A.] [Footnote 68: Plato, Republic, iii. pp. 400-401.] [Footnote 69: Plato, Republic, iii. p. 401 C-D.] [Side-note: Effect of musical training of the mind--makes youth love the Beautiful and hate the Ugly.]