Three spectacles, not three pleasures. ᾨδή, ὄρχησις, παγκράτιον — song, dance, the pankration: the programme of the festival games, the thing a city assembles for. Marcus takes not "pleasures" in general but precisely the enthralling spectacle, before which a person feels powerless.

The mechanics of the device. EXERCISEκαταμερίσῃς εἰς ἕκαστον τῶν φθόγγων — "break it down into each separate note" — and ask of each: εἰ τούτου ἥττων εἶ; — "is it by this that you are beaten?" The device rests not on an argument but on a disproportion: what enchants is the whole, but there is no whole as a separate thing — there is a sequence of notes, not one of which enchants. Hence the reaction Marcus names outright: διατραπήσῃ — "you will be ashamed," from δια-τρέπω, "to turn one's face away." Not "you will understand," but precisely: you will be ashamed to say it aloud.

Transfer across three targets. Then the same again — καθ’ ἑκάστην κίνησιν ἢ σχέσιν ("at each movement or pose") for the dance, "and the same for the pankration." The division into parts is literal: melody into notes, dance into postures, the bout into holds.

The proviso the whole passage is for. χωρὶς TERMἀρετῆς καὶ DOGMAτῶν ἀπ’ ἀρετῆς — "apart from virtue and what comes from virtue." This is not a polite qualification but the boundary of the method. Division devalues whatever it is applied to (reducing the object to the class of the indifferent — the word ἀδιάφορα itself does not occur in the text) — and is therefore dangerous: apply it to a virtuous act and you get the same nihilism. Marcus marks the forbidden zone explicitly. Compare the reverse operation at 3.2, where dissection gives way to a contemplation that discloses the true worth of the unlovely: EXERCISEdefinition deflates a false price, φυσιολογία reveals the real one.

The last sentence is the widest. τὸ δ’ αὐτὸ καὶ ἐπὶ τὸν βίον ὅλον μετάφερε — "and transfer the same to the whole of life." A sudden widening: the device applied to a song is turned on a biography entire. A life broken into its days and deeds stops being "a great destiny" — and within the Stoic frame that is not despair but release: greatness is sought not in the whole but in each part (cf. 11.1, where the whole is complete at any of its points). The governing discipline is assent, the sustaining one desire.

Textual note. μετάφερε (imperative) is printed here, the reading both translations follow; el.wikisource gives the infinitive μεταφέρειν, which continues the run of infinitives governed by μέμνησο (τρέχειν, ἰέναι) and is the smoother grammar. The sense is unchanged.