The sixth and therefore central wholenotes in the Symposium and the Euthyphro are marked in various ways, as shown above, but also share a novel, more subtle kind of symbolism. Its importance is twofold. First, the sixth wholenote is the most consonant in the twelve-note scale, and this symbolism serves to reinforce its emphatic marking. Second, the location of this structure corroborates the measured locations of the exact centre, and even helps identify the central sentence in each of the dialogues.

The following arguments are sequestered in an appendix because confirming them would require surveying more than the two dialogues discussed here. The musical patterns reviewed in earlier chapters could be rigorously established because they consisted of musical symbols regularly repeated throughout entire dialogues. The interpretations of single phrases sketched here are of ered as suggestive hypotheses for future investigations.

These structures are not, strictly speaking, part of the musical structure of the dialogues. However, Huffman has perceptively argued (pers. comm.) that the sixth and central notes should be more emphatically marked than the annotations in previous chapters suggest. There is, in fact, a great deal of subtle symbolism packed into these central passages. I conjecture that Plato's resort to more subtle symbolism at the centres of the dialogues, which are perhaps easy to locate in an approximate way, was another strategy aimed at avoiding any over-obvious evidence for his stichometric structures.