[ 734 ] 
This paffage, with what has been faid, being fuf- 
ficient to give a general idea of the fcope of melo- 
poe'ia, I fhall pafs to that of harmonic. 
We have already feen, that the theoretic divifion 
of mufic was by the author, whofe diftribution I 
have followed, fubdivided into natural and artificial, 
and that harmonic came under the latter. The an- 
tients, indeed, feem not all to have treated the fci- 
ence under fuch narrow limits, the phyfical proper- 
ties of found, the ratios of intervals, &c. appearing 
to have been confidered therein, by the Pythagorean 
and other fchools, as well as the ftrudture of the 
fyflems in ufe. But not to flop at this objedtion, 
which is not very material, thus far muff be allowed,, 
that harmonic, as to the greatefl part of its fcope, was 
an artificial fcience, its moft considerable objedt being 
to explain and teach the denominations, pofitions, 
powers, &c\ of the founds of the fyftem, and all 
other inventions in ufe, for facilitating the ffudy of 
mufic, or bringing it to greater perfedtion. Now, in 
this fhort view of the fcience, which is fufficient for 
our purpofe, we may already begin to account for 
the difference between its dodtrines and thofe of me- 
lopoeia, artificial fciences being but too prone to ad- 
mit dodfrines for convenience, that are repugnant to 
the truth. This was indeed the cafe with harmonic, 
as the two dodtrines of the tones fufficiently teflify^. 
the origin of which I fhall now confider. 
mulcts 'sronfjcti iytyvoVTr, fi. ‘zroin'lix.ot, ctyvay-oVts 'zfcl to J't- 
hcuov f [xvtrns hcl'i to tof^tycy,, CctKyivoyjis, koa y.ctWov 
Ktrfiyo/ufyjoi v<p' ilJ'wf, Ki^a.vvv{jis J'i dpni'xrje llyvoif nett rsrcuuvsts 
x.ui aCuhaJ'tctf J'ti r K.t^ctpuJ'ietis ytyvywof, K*t 
n't 'Bafict %vvctyov]i{. Plat, de Legibus, lib. iii. 
The 
