Poetics. Aristote. Paris. 1692.
La poëtique d'Aristote (André Dacier, 1692) (OCR draft) (fra) (André Dacier's French translation of Aristotle's Poetics, published in 1692.)
Provisional text from uncorrected OCR; expect errors.
5.
mvp-aristotle-comment-26
χρώμεναι
, scil.
ποιοῦνται τὴν μίμησιν.
5.
mvp-aristotle-comment-27
1447a25
τυγχάνουσιν
On the construction with
κἂν see Vahlen, Beitr. 1, p. 35. Mr. Newman in a note on
Pol. 2. 1, 1260 b 31
seems to doubt the necessity of restoring the indicative in this and other similar places in Aristotelian texts.
5.
mvp-aristotle-comment-28
ἡ τῶν συρίγγων
The word to be supplied is apparently
μίμησις— not
τέχνη, as is assumed in HSt. s.v.
σύριγξ, and in
Bon. Ind. 735 a 39
. The Platonic
ἡ τῶν λόγων τέχνη in
Phaedr. 260 D
is not a true parallel. For a similar genitive after
μίμησις comp.
Lucian De salt. 64
ἡ μίμησις τῆς ὀρχήσεως.
1447a26
3.
mvp-aristotle-comment-3
NOTE 3. P. 2.
1.5
AND OF ANY OTHER INSTRUMENTS CAPABLE OF A SIMILAR EFFECT, AS, THE SYRINX OR PIPE.
The word
Συριγξ is usually understood to mean the Fistula Panis, constructed of reeds, differing in length, fastened together with wax and thread : —
καλαμων συνθηκη, λινῳ και κηρῳ συνδεθείσα — as it is described by Jul. Pollux.
1
Tibullus has presented in two lines almost as distinct an idea of its form as can be obtained from a drawing.
[Lib. ii. 5. 31.]
Fistula cui semper decrescit arundinis ordo,
Nam calamus cerâ jungitur usque minor.
But the
Συριγξ of Aristotle, whatever it was, is here mentioned with the Lyre, and the Flute, as having some, though an inferior, degree of the same power and effect:
τοιαυται την δυναμιν. This is hardly applicable to so very simple and rude an instrument as the pipe of Pan; a contrivance not beyond the invention of a school-boy. Instruments of nearly the same construction are found, at this day, not only in Turkey, and Arabia, but even in the island of New Amsterdam in the South Seas; and it is a circumstance somewhat curious, that, in France, the instrument of the Arcadian deity, or something very like it, is degraded to the use of travelling tinkers, and known by the name of
sifflet de chaudronnier. The reader may see a description and a figure of it in Mersennus; as he may, also, of the South Sea instrument in the Philosophical Transactions, vol. 65, Part I.—But he will not, probably, be much disposed to believe, that the wild and random sounds of this savage whistle have any thing to do with the chromatic system of the Greeks.
But the passage before us is not the only one, where the Syrinx is mentioned in a way which naturally leads one to suppose, that some instrument less simple and imperfect than the fistula Panis must be meant. It is often joined with the cithara and the flute, as an instrument of some importance and effect in concerts and choral accompaniments.
2
In Lucian's treatise
Περί Ορχήσεως, it appears, among other curious information upon the subject, that the words of the drama, which the pantomimic dancer was to express by gesture alone, were, at the same time, sung by a chorus, accompanied by various instruments, among which the syrinx is repeatedly mentioned, together with the
Αυλος or flute.
3
This has, certainly, the appearance of some more powerful instrument than the pastoral syrinx.—Indeed, from the passage of Pollux above referred to, there is reason to conclude, that there were two instruments of this denomination; that above described, which he calls the rude, or extemporaneous syrinx, [
αυτοσχεδι] and another, of similar form, but more artificial construction, which he describes as consisting, not of reeds, but of a number of flutes [
αύλοι πολλοι] arranged in the same manner. The passage is defective; but this seems to me pretty clearly to be the drift of it.
4
By flutes, he must, at least, be supposed to mean pipes of larger size, and of more solid materials, such as those of which flutes were made. It seems, on the whole, very probable, that the syrinx of Aristotle was either some such improved construction of the flute of Pan, or, as I rather incline to believe, some kind of single pipe, or flageolet. Any single pipe, modulated by the fingers, must be regarded as an instrument far superior to any kind of the fistula Panis, that could be played on only by the clumsy expedient of drawing it along the mouth;"
suprà calamos unco percurrere labro," as Lucretius has well described the operation.
5
I cannot indeed say, that I have met with any passage in which the word
Συριγξ, by itself, is clearly and expressly applied to a single musical pipe or flute. But such a sense is perfectly analogous to other common applications of the word; and, on the other hand, I know of no clear authority that restrains the meaning of the word, whenever it is singly used, to the fistula Panis.
6
Athenæus speaks of the
μονοκαλαμα Συριγξ invented by Mercury, and opposes it to the
πολυκαλαμα ; and Spanheim, whose authority, in matters of erudition, is as great as the profoundest erudition can give to any man, understands this single-reed syrinx to be meant in the hymn to Mercury attributed to Homer, where it is said of that god, that—
ΣΥΡΙΓΓΩΝ ἐνοπην ποιησατο ΤΗΛΟΘ᾽ ΑΚΟΥΣΤΗΝ. v. 509. —a mode of characterizing the tone of the instrument, that reminds one of the "ear-piercing fife" of Shakspeare.
After all, a modern reader may be still surprised to find any degree of imitation, or expression, attributed to so trifling an instrument as a flageolet, or a common flute. But, in reading antient authors, it is frequently necessary, if we would either relish, or even understand them, properly, to lay aside modern ideas. And if this be necessary in general, it is, perhaps, peculiarly so in the subject of Music. Expression, in our musical language, usually conveys the idea of delicate and refined performance, and is almost appropriated to emotions of the tender and pathetic kind. But, with the antients, imitation, or expression (for the words appear to have been synonymous,) extended to every kind of emotion; to every effect produced, in any considerable degree, by Music upon the mind. Now very simple instruments, as well as very simple music, are capable of making impressions, and strong impressions, of the joyous kind, without any delicacy or refinement, either in the composition, or the execution. It is not, therefore, strange, that the syrinx, a shrill and lively pipe, should be ranked by Aristotle as an instrument of some expression; especially if, as it seems probable, the syrinx, of whatever kind, was considered as a pastoral instrument, and its expressions were, in consequence, aided by the association of rural and pastoral ideas. The rude syrinx of Pan was unquestionably of this kind, and appropriated to pastoral use; and, as far as it can be supposed to have affected by association, might, in the musical language of the Greeks, and by a hearer who felt that effect from it, be considered and spoken of as imitative, without impropriety. But being, as I conceive, of too simple and inconvenient a construction to admit of any expression but what it derived purely from associated ideas, it would not, I think, have been joined by Aristotle with the most expressive and refined instruments of the antients, the cithara, and the flute, and mentioned as of "similar power and effect."
1.2.
mvp-aristotle-comment-2
1.5
THERE ARE SOME DANCERS WHO, REGULATING THEIR GESTURES BY RHYTHM, CAN IMITATE MANNERS, PASSIONS AND ACTIONS.
THE dances of our opera will afford proof of this. In the dance of the Deferter, I have seen the spectators almost as much affected by Roffi, as by the acting of Mrs. Siddons. This fubject is well illustrated in an ingenious treatise (written by Mr. Nares,) entitled, REMARKS ON THE FAVORITE BALLET OF CUPID AND PSYCHE.
4.
mvp-aristotle-comment-4
Ritter, cap. 1 § 4
ὥσπερ γὰρ καὶ χρώμασι καὶ σχήμασι: in arte pingendi et materia imitandi et ipsa imitatio admodum manifesta apparet; ea causa fuit cur inde exemplum peteretur, quo artis musicae et poeticae ratio, quantum ad materiam pertinet, illustraretur.
χρώματα καὶ σχήματα interpretor colores et lineamenta (Farben und Umrisse sive Zeichnungen). scilicet pictores ad figuras exhibendas aut coloribus utuntur aut lineis vel lineamentis, ipsae figurae hoc loco non denotantur: figurae enim sunt illud ipsum quod imitando efficitur (
τὸ μίμημα), non imitandi materia. eodem modo
χρώματα καὶ σχήματα pictori (
τα
ζωγράφῳ) tribuit Plato in Civitate X. p. 601 A,
χρόας καὶ σχήμαια idem ibidem V. p. 476 B. ipse hic noster
σχήματα καὶ χρώματα pictorum esse indicat in Politicis VIII, 5. p. 1340 a 34.
ἔτι δὲ οὐκ ἔστι ταῦτα ὁμοιώματα τῶν ἠθῶν,
ἀλλὰ σημεῖα μᾶλλον τὰ γιγνόμενα σχήματα καὶ χρώματα τῶν ἠθῶν. aliis in locis
σχήματα ipsae figurae sunt: conf. Plat. Civit. II. p. 373 B. Gorg. p. 465 B. 474 D et E. Menon. p. 74 E. Cratyl. p. 431 C. Sophist. p. 251 A. Phaedon. p. 100 D. nomen pictores (
γραφεῖς,
ζωγράφοι,
εἰκονογράφοι) indefinite per
τινες et
ἀπεικάζοντες significavit, eo opinor consilio ut omne pingendi negotium, etiam vulgare et minus politum, comprehenderet.
ἀπεικάζοντες est assimulantes, h. e. ad similitudinem rei cuiusdam ad imitandum propositae imaginem facientes. praepositio
ἀπὸ in
ἀπεικάζοντες ad rem illam spectat, unde (
ὅθεν) imago ducitur."
οἱ μὲν διὰ τέχνης οἱ δὲ διὰ συνηθείας : hoc additamentum salva loci sententia omitti potuit, sed accessit ut lectores admonerentur eam imitationem quae fiat coloribus lineamentisve duobus modis ab hominibus vulgo exerceri, aut per artem professionemque aut per consuetudinem. qui per artem (
διὰ τέχνης) pingit, is data opera hoc negotium exsequitur, h. e. artem pingendi factitat et profitetur; qui per consuetudinem (
διὰ συνηθείας) pingit, is animi causa et pro arbitrio, non aliorum hominum gratia, modo ad id negotium incumbit modo missum facit et alias res agit.
τέχνη h. 1. neque artis exercendae facultatem (Kunstfertigkeit) neque artis legum intellectum (Kunsteinsicht) potest denotare, propterea quod sic non
συνήθειαν sed aut
ἐμπειρίαν (cf. Metaphys. A. 1 sub init.) opponi oportuit aut
φύσιν, quemadmodum c. 8,3.
ἤτοι διὰ τέχνην ἢ διὰ φύσιν legimus. ac sane tantum abest ut sermo sit de imitatione cum arte et scientia instituenda, ut communi hoc imitandi negotio, quo fungentes multa imitantur aliqui, imitationem veris illis artibus subiectam illustrari scriptor voluerit. iam vero tam is qui per consuetudinem pingit (der Dilettant) quam qui per artem (der Maler von Fach), et felicissime et pessime negotio suo defungi possunt, prout ingenio et natura fautrice aut instructi sunt aut destituti. hoc igitur iam in aperto est, in subsequentibus pro
ἕτεροι δὲ διὰ τῆς φωνῆς legi non posse
ἕτεροι δὲ διὰ τῆς φύσεως, quod a Madio excogitatum ab ipsoque reprobatum in operis contextum admisit Hermannus, improbante recte quidem, non tamen iustam ob causam ¹), Augusto Matthiae in diurnis Ienens. a. 1805. n. 223. p. 547. sed quid nos faciemus verbis istis quae mutanda negamus? ea membris duobus praecedentibus,
οἱ μὲν διὰ τέχνης οἱ δὲ διὰ συνηθείας, respondere et tamquam tertium adiungi non posse, hoc et per se manifestum est et magis etiam liquet ex nostra verborum
διὰ τέχνης et
διὰ συνηθείας interpretatione. Buhlius igitur aliis praeeuntibus in hunc modum Aristotelia disposuit:
ὥσπερ γὰρ καὶ χρώμασι καὶ σχήμασι πολλὰ μιμοῦνταί τινες ἀπεικάζοντες (
οἱ μὲν διὰ τέχνης,
οἱ δὲ διὰ συνηθείας),
ἕτεροι δὲ διὰ τῆς φωνῆς, ut ad haec postrema ex prioribus
πολλὰ μιμοῦνται intelligerentur. sed ut omittam pessimam et ambiguam membrorum sententiae copulationem, hoc tamen silentio praetermittere non possum, agi de materia imitandi, vocem autem esse quidem instrumentum imitationis, materiam non esse, vide quam absurde dicatur ex pictoribus alii coloribus imitantur, alii autem manu, et tamen hoc illi de quo disputamus simile esset. itaque ad hanc explicationem vindicandam pro
διὰ τῆς φωνῆς (durch die Stimme) scriptum certe oportuit
διὰ φωνῶν (durch Laute), sed eam mutationem neque admittere ullus sustinebit, neque per eam ipsam omnes loci difficultates vitabuntur: scilicet illam imitationem quae fit
φωναῖς in arte poetica et musica, eam ipsam per hoc exemplum ex imitatione pingentium petitum illustrari voluit Aristoteles. quid multa? additamentum illud, unde sanam sententiam nemo 1) Censor eruditus paulo confidentius pronuntiat
συνήθειαν h. 1. esse usum ingenio partum, quem
συνήθειαν ἀφ᾿ ἕξεως vocaverit Aristoteles in Rhetoricis I, 1. p. 1354 a 7.interpretum adhuc potuit elicere, a consilio scribentis alienissimum est neque ab ipso profectum est, sed insertum ab homine male sedulo qui sententiam a se pro manca habitam explere pro virili sed infeliciter tentavit. fortasse hanc notam in margine posuit ut breviter comprehenderet illa
οὕτω κὰν ταῖς εἰρημέναις κτλ., sed tum debuit saltem
διὰ φωνῶν.
ἢ τε αὐλητικὴ καὶ ἡ κιθαριστική : potuit musicam simpliciter appellare, sed eam cum per partes paulo ante significavisset, eandem loquendi rationem hic quoque tenuit; ut tamen recte intelligeretur addidit
κἂν εἴ τινες ἕτεραι τυγχάνωσιν οὖσαι τοιαῦται 2)
τὴν δύναμιν. sed cavendum ne, cum Aristoteles dixerit artem tibiis canendi citharaeque pulsandae imitari per concentum numerumque, inde imitativas esse has artes, h. e, semper imitari, statuisse illum opinemur. id enim si fecisset, paulo ante inconsiderate posuisset
τῆς αὐλητικῆς ἡ πλείστη καὶ κιθαριστικῆς, cum illam latiorem et angustiorem imitandi significationem, quam in poesi admissam invenimus, ad musicam Graeci non adplicuerint. hoc dicit Aristoteles, auleticam et citharisticam ceterasque musicae species, si imitentur, imitari per concentum numerumque. idem ille de tota musica profitetur in Politicis VIII, 5. р. 1340 a 18.
ἔστι δ' ὁμοιώματα μάλιστα παρὰ τὰς ἀληθινὰς φύσεις ἐν τοῖς ῥυθμοῖς καὶ τοῖς μέλεσιν ὀργῆς καὶ πραότητος,
ἔτι δ᾽ ἀνδρίας καὶ σωφροσύνης καὶ πάντων τῶν ἐναντίων τούτοις καὶ τῶν ἄλλων ἠθικῶν.