Now, that music can heal diseases, Theophrastus asserts in his treatise on Enthusiasm, where he says that men with diseases in the loins become free from pain if any one plays a Phrygian air opposite to the part affected. And the Phrygians are the first people who invented and employed the harmony which goes by their name; owing to which circumstance it is that the flute-players among the Greeks have usually Phrygian and servile-sounding names, such as Sambas in Alcman, and Adon, and Telus. And in Hipponax we find Cion, and Codalus, and Babys, from whom the proverb arose about men who play worse and worse,—"He plays worse than Babys." But Aristoxenus ascribes the invention of this harmony to Hyagnis the Phrygian. 19. But Heraclides of Pontus, in the third book of his treatise on Music, says—"Now that harmony ought not to be called Phrygian, just as it has no right either to be called Lydian. For there are three harmonies; as there are also three different races of Greeks—Dorians, Æolians, and Ionians: and accordingly there is no little difference between their manners. The Lacedæmonians are of all the Dorians the most strict in maintaining their national customs; and the Thessalians (and these are they who were the origin of the Æolian race) have preserved at all times very nearly the same customs and institutions; but the population of the Ionians has been a great deal changed, and has gone through many transitions, because they have at all times resembled whatever nations of barbarians have from time to time been their masters. Accordingly, that species of melody which the Dorians composed they called the Dorian harmony, and that which the Æolians used to sing they named the Æolian harmony, and the third they called the Ionian, because they heard the Ionians sing it. "Now the Dorian harmony is a manly and high-sounding strain, having nothing relaxed or merry in it, but, rather, it is stern and vehement, not admitting any great variations or any sudden changes. The character of the Æolian harmony is pompous and inflated, and full of a sort of pride; and these characteristics are very much in keeping with the fondness for breeding horses and for entertaining strangers which the people itself exhibits. There is nothing mean in it, but the style is elevated and fearless; and therefore we see that a fondness for banquets and for amorous indulgences is common to the whole nation, and they indulge in every sort of relaxation: on which account they cherish the style of the Sub-Dorian harmony; for that which they call the Æolian is, says Heraclides, a sort of modification of the Dorian, and is called ὑποδώριος. And we may collect the character of this Æolian harmony also from what Lasus of Hermione says in his hymn to the Ceres in Hermione, where he speaks as follows:— I sing the praise of Ceres and of Proserpine, The sacred wife of Clymenus, Melibœa; Raising the heavy-sounding harmony Of hymns Æolian.