C 74+ ] 
principle of the harmonic doCtrine, and is fo here ; 
but he tells us, there was a pathos in the melody, 
which can only relate to the mufical doCtrine, and 
therefore (hews their connection. In the next paff- 
age, from Ariftides Quintilianus, it is more plainly 
hinted at. . . r , 
“ For if a certain type of the voice follows each 
fyftem, it is manifeft, that the. fpecies of the melos 
will be altered with the harmonics (22). 
But the two following paffages from Ptolemey wi 
put the matter out of difpute. . . c 
<( For we are not to imagine this conftitution o 
the mutation, according to. the tone, eftablifhed for 
fake of graver or acuter voices, (fince the intennon, 
or again the remiflion of whole inftruments, fufnces 
for fuch a difference, no alteration being produced in 
refpeCt of the melos, the whole, being executed by- 
performers of graver or acuter voices) ; but with this 
view, that the fame melos, begun by the fame voice, 
now from acuter places, and now from graver,, may 
produce a certain change of ethos; becaufe that in the 
permutations of the tones, the extremities of the voice 
do not anfwer to both the extremities of the melos ; 
but in one, the extremity of the voice always falls ihoit 
of that of the melos ; and in the other, the extremity 
of the melos of that of the voice : fo as that the fame 
melos, which at fir ft (meaning in the Dorian) ian- 
fwered to the compafs of the voice, now falling or 
noiU rif €'sr«wcoA*3-H -f <puvntTv*°< 
Ariiiid. 
of 
