ὀρχήσει : Plato Laws 814 E

δύο μὲν αὐτῆς (scil. ὀρχήσεως) εἴδη χρὴ νομίζειν εἶναι, τὴν μὲν τῶν καλλιόνων σωμάτων ἐπὶ τὸ σεμνὸν μιμουμένην, τὴν δὲ τῶν αἰσχιόνων ἐπὶ τὸ φαῦλον

(comp. also 655 C ; 798 D ). For the kind of dancing Aristotle has in mind here see on 1, 1447 a 27 .

αὐλήσει καὶ κιθαρίσει : see on 1, 1447 a 15 .

1448a10

2.4 Les mèmes differences ſe trouvent auſſi dans la danſe, dans les airs de flute, dans les pieces de lyre, &c.] ¹

2.4 Dans tous les ouvrages en profe, ou en vers.] ²

2.4 P. 68. WITH THE MUSIC OF THE FLUTE AND OF THE LYRE.

Thus PLATO , in the very language of Aristotle,— . A modern reader, that is, a person who reads an antient author with modern ideas, might be inclined to to ask, how men are to be represented as better, or worse, than they are, or how, indeed, represented at all, in a harpsichord lesson, or a solo for a German flute? But the same reader, supposing him in any degree conversant with music, would surely be at no loss to conceive, that it admits of the difference of serious and comic expression; and admits of it in various degrees, from the highest elevation and dignity of style, down to the coarse and vulgar jollity of the gavot, or the hornpipe. Now the meaning of Aristotle, put into modern musical language, amounts, I apprehend, to no more than that. Suppose, then, the music, in these different styles, to be accompanied by words, relating the actions, or imitating the speech, of low, or elevated characters; we might say, that the music was expressive of such actions, or characters; the antients would have said, that it imitated them. On the contrary, suppose this music merely instrumental, we should, in general, only say, that it was grand, and sublime, or comic, mean, vulgar, &c. But the antients, from the close, and almost inseparable connection of their Music with Poetry, and particularly with the most imitative sort of Poetry, the Dramatic ¹ ; and partly, also, from the nature of their Music itself, would, in this case likewise, have retained much the same language, and would have considered this Music as imitative of the manners and passions of exalted, or vulgar characters, or even as representing those characters themselves.—But the different ideas, or rather, the different language, of the antients and the moderns on this subject, I have considered more fully, and endeavoured to account for, in the Second Dissertation . ²

καὶ περὶ τοὺς λόγους δὲ καὶ τὴν ψιλο μετρίαν: quod paulo ante (c. 1, 6) nove ἐποποιίαν dixit, idem nunc λόγους καὶ ψιλομετρίαν appellat. λόγοι h. 1. sunt sermones pedestri oratione ( λογάδην) conscripti sed simul μι μητικῶς compositi, ut Sophronis mimi Xenarchique et dialogi Platonici: per ψιλομετρίαν alteram ἐποποιίας partem comprehendit, imitationem numeris quidem decurrentem sed musica et saltatione destitutam, quam c. 1, 6. per μέτρα signi ficavit, talis est epica poesis quae vulgo vocatur, praeterea elegiaca, denique parodiae iambique. aliter hunc locum intellexit Augustus Matthiae in diurnis Ienens. a. 1805. n. 222. p. 549. quippe καὶ τὴν ψιλομετρίαν explicationis gratia ad τοὺς λόγους ab Aristotele addita esse opinatur. hoc vero et per sese non verisimile videtur et ex repetito ante ψιλο μετρίαν articulo falsum esse liquet. quod dicit ille censor, exempla statim afferri nonnisi ex poesi sumpta, id cur factum sit prompte explicaveris. prosae enim imitationis exempla allata iam erant c. 1, 7., ubi imitationes numeris instructae et cantu carentes nonnisi universe et breviter significabantur per εἴ τις διὰ τριμέτρων ἢ ἐλεγείων ἢ τῶν ἄλλων τινῶν τῶν τοιούτων ποιοῖιο τὴν μίμησιν. lyrica quidem ars et ipsa imitatur, sed eam paulo post, ubi nomes et dithyrambos memorat, designavit ita ut duabus formis totum genus complecteretur. οἷον Ὅμηρος μὲν βελτίους : quos Homerus in medium produxit viros, ii superant homines qui vulgo sunt, praecipue corporis viribus et animi fortitudine, saepius etiam morum ingeniique praestantia. valentiores et fortiores a se describi ipse significavit Il. E, 302, ὁ δὲ χερμάδιον λάβε χειρὶ Τυδείδης, μέγα ἔργον ὃ οὐ δύο γ᾽ ἄνδρε φέρθιεν, οἷοι νῦν βροτοί εἰσ᾽· ὁ δέ μιν ῥέα πάλλε καὶ οἷος. similia protulit idem duobus aliis Iliadis locis, M. 383. Y. 287. Κλεοφῶν δὲ ὁμοίους: an hic poeta idem sit atque is cuius decem tragoedias Suidas et Eudocia enumerant, dubitari potest, sed hoc dubitari non posse videtur, non tragoedias Cleophontis sed aliud eius poema ab Aristotele intelligi, nam h. I. ψιλομετρίας exempla ponuntur, tragoedia comoediaque paulo post alio in genere nominantur. sed haud dubie hic homo non diversus est ab eo, quem aliis locis Aristoteles commemoravit. primum ille in Soph. Elench. c. 15. p. 174 b 27. Cleophontis Μανδρόβουλον citavit a Suida in tragoediis eius non relatum, tum eiusdem in Critiam reprehensionem ex Solonis elegis petitam exposuit in Rhetoricis I, 15. p. 1375 b 32. in codem opere (III, 7. p. 1408 a 15.) Cleaphontem epitheta ornantia vilibus nominibus adiunxisse tradit: μηδ' ἐπὶ τῷ εὐτε λεῖ ὀνόματι ἐπῇ κόσμος· εἰ δὲ μή, κωμῳδία φαίνεται, οἷον ποιεῖ Κλεοφῶν· ὁμοίως γὰρ ἔνια ἔλεγε καὶ εἰ εἴπειεν ἂν “ ὦ πότνια συκῆ.” eius humilem elocutionem notavit infra c. 22, 1. quae omnia cum considero, verisimile mihi videtur hune Cleophontem poema conscripsisse nomine Μανδροβού 20v, quod mediam quasi viam teneret inter epicae poesis dignitatem et parodiarum humilitatem. Ἡγήμων - πρῶτος: Aristoteles Hegemonem facit inventorem paesis parodicae, florentem illum ingenii laude tempore belli Peloponnesiaci (vid. Athen. IX. p. 407 A), alii autem eiusdem inventionis gloriam in Hipponactem circa Olympiadem 60. viventem contulerunt, ut Polemo apud Athenaeum XV. p. 698 Β. εὑρέτην τοῦ γένους ( παρῳδιῶν) Ἱππώνακτα φατέον τὸν ἰαμβοποιόν. nimirum Aristoteles parodias Hipponactis, quamvis herois versibus conscriptas, in iambis sive maledictis numeravit, τὴν ἰαμβικὴν ἰδέαν 1) potius respiciens quam Homerici sermonis similitudinem. ipsa Polemonis verba ostendunt Hipponactem pro parodiarum scriptore habitum non 1) Nobilem irrisorem etiam in parodiis more suo singulos perstringendi delectatum esse non solum per se probabile videtur, sed etiam insigni fragmento constat. vid. Athen. XV. p. 698. C.esse: scribit enim εὑρέτην - φατέον, neque ipse illa carmina παρῳδίας sed εξάμετρα designat: λέγει γὰρ οὗτος ἐν τοῖς ἑξαμέτροις κτλ. minus recte, ut mihi videtur, nonnulli * existimant Hegemonem ob eam causam parodiarum inventorem ab Aristotele perhiberi, quod ille parodiis ex scena recitatis de praemio certare coeperit, ut docet Athenaeus XV. p. 699 A. eam sententiam probaverunt Floegelius in Comicae poesis histor. I. p. 383., Tyrwhittus ad h. 1., Weland de Parodiarum Homer. scriptoribus apud Graecos p. 26. de Hegemone lege Athen. IX. p. 406 Е - 407 В. Νικοχάρης ὁ τὴν Δηλιάδα χείρους: Nicocharis Deliadem compositam fuisse ad irridendos Delios, quos propter vitam deliciis diffluentem famosos fuisse docuit Apollodorus apud Athenaeum IV. p. 172 F- 173 C., acute vidit Tyrwhittus, sed idem nomen χείρους non recte accepit, cum scripsit Deli incolas magnam partem χείρους fuisse, coquos scilicet et caupones. nam ipsos coquos et caupones aliquis et βελτίους et χείρους et ὁμοίους potest imitari. immo Nicochares Delios tales ostendit, ut aliquanto peiores ( χείρους) quam re vera essent apparerent. hunc Nicocharem comoediis docendis certasse cum Aristophane scimus. vid. Argumentum Pluti et Meinekii Quaest. scen. II. p. 58. sed hoc eius poema comoediam non fuisse vel inde liquet, quod in ψιλομετρίας exemplis refertur. parodiam fuisse vel parodiae similem speciem prae se tulisse suspicor. neque sane mirandum est ab eodem homine (nihil est cur hunc Aristotelium Nicocharem a poeta comico diversum fuisse statuamus) et comoedias et parodias editas esse, siquidem etiam Hermippus antiquae comoediae poeta parodias fecit, et rursus Hegemo parodiarum scriptor comoediam nomine Philinnae evulgavit. vid. Athen. XV. p. 699 A. ....