With regard to the Phrygian and Lydian scales Heraclides (_l. c._) quotes an interesting passage from Telestes of Selinus, in which their introduction is ascribed to the colony that was said to have followed Pelops from Asia Minor to the Peloponnesus: [Greek: prôtoi para kratêras Hellênôn en aulois synopadoi Pelopos matros oreias phrygion aeison nomon; toi d' oxyphônois pêktidôn psalmois krekon Dydion hymnon.] 'The comrades of Pelops were the first who beside the Grecian cups sang with the flute ([Greek: aulos]) the Phrygian measure of the Great Mother; and these again by shrill-voiced notes of the _pectis_ sounded a Lydian hymn.' The epithet [Greek: oxyphônos] is worth notice in connexion with other evidence of the high pitch of the music known as Lydian. The Lydian mode is mentioned by Pindar, _Nem._ 4. 45: [Greek: exyphaine glykeia kai tod' autika phorminx Lydia syn harmonia melos pephilêmenon.] The Dorian is the subject of an elaborate jest made at the expense of Cleon in the _Knights_ of Aristophanes, ll. 985-996: [Greek: alla kai tod' egô ge thaumazô tês hyomousias autou phasi gar auton hoi paides hoi xynephoitôn tên Dôristi monên enarmottesthai thama tên lyran, allên d' ouk ethelein labein; kata ton kitharistên orgisthent' apagein keleuein, hôs harmonian ho pais outos ou dynatai mathein ên mê Dôrodokêsti.] § 5. _Plato._ Following the order of time, we come next to the passage in the _Republic_ (p. 398), where Socrates is endeavouring to determine the kinds of music to be admitted for the use of his future 'guardians,' in accordance with the general principles which are to govern their education. First among these principles is the condemnation of all undue expression of grief. 'What modes of music ([Greek: harmoniai]),' he asks, are plaintive ([Greek: thrênôdeis])?' 'The _Mixo-lydian_,' Glaucon replies, 'and the _Syntono-lydian_, and such-like.' These accordingly Socrates excludes. 'But again, drunkenness and slothfulness are no less forbidden to the guardians; which of the modes are soft and convivial ([Greek: malakai te kai sympotikai])?' '_Ionian_,' says Glaucon, 'and _Lydian_, those which are called slack ([Greek: chalarai]).' 'Which then remain?' 'Seemingly _Dorian_ and _Phrygian_.' 'I do not know the modes,' says Socrates, 'but leave me one that will imitate the tones and accents of a brave man enduring danger or distress, fighting with constancy against fortune: and also one fitted for the work of peace, for prayer heard by the gods, for the successful persuasion or exhortation of men, and generally for the sober enjoyment of ease and prosperity.' Two such modes, one for Courage and one for Temperance, are declared by Glaucon to be found in the Dorian and the Phrygian. In the _Laches_ (p. 188) there is a passing reference in which a similar view is expressed. Plato is speaking of the character of a brave man as being metaphorically a 'harmony,' by which his life is