In these groups of authorities the scholars above mentioned find the double use which they believe to have been made of the names Dorian, Phrygian, Lydian and the rest. In Aristoxenus they recognise that these names are applied to a series of keys ([Greek: tonoi]), which differed in pitch only. In Plato and Aristotle they find the same names applied to scales called [Greek: harmoniai], and these scales, they maintain, differed primarily in the order of their intervals. I shall endeavour to show that there was no such double use: that in the earlier periods of Greek music the scales in use, whether called [Greek: tonoi] or [Greek: harmoniai], differed primarily in _pitch_: that the statements of ancient authors about them, down to and including Aristoxenus, agree as closely as there is reason to expect: and that the passages on which the opposite view is based--all of them drawn from comparatively late writers--either do not relate to these ancient scales at all, or point to the emergence in post-classical times of some new forms or tendencies of musical art. I propose in any case to adhere as closely as possible to a chronological treatment of the evidence which is at our command, and I hope to make it probable that the difficulties of the question may be best dealt with on this method. § 4. _The Early Poets._ The earliest of the passages now in question comes from the poet Pratinas, a contemporary of Aeschylus. It is quoted by Heraclides Ponticus, in the course of a long fragment preserved by Athenaeus (xiv. cc. 19-21, p. 624 _c_-626 _a_). The words are: [Greek: mête syntonon diôke mête tan aneimenan Iasti mousan, alla tan messan neôn arouran aiolize tô melei.] 'Follow neither a highly-strung music nor the low-pitched Ionian, but turning over the middle plough-land be an Aeolian in your melody.' Westphal takes the word [Greek: 'Iasti] with [Greek: syntonon] as well as with [Greek: aneimenan], and infers that there were two kinds of Ionian, a 'highly-strung' and a 'relaxed' or low-pitched. But this is not required by the words, and seems less natural than the interpretation which I have given. All that the passage proves is that in the time of Pratinas a composer had the choice of at least three scales: one (or more) of which the pitch was high ([Greek: syntonos]); another of low pitch ([Greek: aneimenê]), which was called _Ionian_; and a third, intermediate between the others, and known as _Aeolian_. Later in the same passage we are told that Pratinas spoke of the 'Aeolian harmony' ([Greek: prepei toi pasin aoidolabraktais Aiolis harmonia]). And the term is also found, with the epithet 'deep-sounding,' in a passage quoted from the hymn to Demeter of a contemporary poet, Lasus of Hermione (Athen. xiv. 624 _e_): [Greek: Damatra melpô Koran te Klymenoio alochon Meliboian, hymnôn anagôn Aiolid' hama barybromon harmonian.]