263.
mvp-aristotle-comment-263
NOTE 263.
26.2
P. 132. IF THAT WHICH IS THE LEAST VULGAR OR POPULAR BE THE BEST.
—
Ἧττον ΦΟΡΤΙΚΗ.
— The word
φορτικόν
is used in a number of different, and sometimes nicely discriminated, senses, which cannot, all of them, be expressed by any single word in our lan-
guage. Sometimes, for example, it is to be rendered by
extravagant, violent, charged, outré, &c. as in the following passage of
Diog. Laertius about Bion
: —
ἦν δὲ καὶ θεατρικὸς, καὶ πολὺς ἐν τῷ γελοἰῳ διαφορῆσαι, ΦΟΡΤΙΚΟΙΣ ὀνόμασι κατὰ τῶν πραγμάτων χρώμενος.
1
i. e. extravagant, exaggerated, outrés, as
Bayle
has well explained it, art. BION, note [B], where he gives an instance of this extravagance of expression in that philosopher, from
Plutarch
, who calls it
ΦΟΡΤΙΚΩΤΕΡΟΝ
.
2
Sometimes, applied to persons, it means
troublesome, tiresome, &c. as in
Aelian—πολὺς ἦν λαλῶν, καὶ ἐδόκει ΦΟΡΤΙΚΟΣ.
Var. Hist. XII. 13.
— Sometimes,
insolent, overbearing, &c. as, in the same writer, it is said of a famous courtesan, —
Ἡ δὲ ἦν ΥΠΕΡΗΦΑΝΟΣ καὶ δεινῶς ΦΟΡΤΙΚΗ,
XII. 63
.
3
— Sometimes, again, and that very frequently, it is used as synonymous with
ἀνελεύθερος, βάναυσος
,
popular, low, vulgar, &c. as opposed to what is
liberal, refined, delicate, genteel, &c.
4
Thus
Plutarch—ἀνελευθέρους κομιδῇ καὶ ΦΟΡΤΙΚΑΣ φαντασίας.
P. 216, ed. H. S.
And
Plato—ὁ φιλότιμος τὴν μὲν ἀπὸ τῶν χρημάτων ἡδονὴν ΦΟΡΤΙΚΗΝ τινα ἡγεῖται
—
"The ambitious man looks upon gain as a vulgar sort of pleasure,"
De Rep. IX. p. 254, ed. Mass.
Jul. Pollux
describes a species of dance called
Μόθων
, as,
ΦΟΡΤΙΚΟΝ ὄρχημα καὶ ναυτικὸν
—
"a vulgar and sailor-like dance;"
the hornpipe, I suppose, of the Greeks.
5
And thus
Athenæus
, where he mentions, from
Herodotus
, the curious story of Agarista, (the daughter of Clisthenes, king of Sicyon,) and her suitors, says, that Clisthenes rejected Hippoclides,
ἰδὼν—ΦΟΡΤΙΚΩΣ ὀρχησάμενον
: because he did not dance like a gentleman; a charge, which, according to Herodotus, seems indeed to have been pretty well founded; for he tells us, that Hippoclides got upon a table and danced upon his head.
6
But let us return to Aristotle. This last sense of the word
φορτικόν
appears to me clearly to be that, in which it is here used by him. I cannot think, that by
φορτική
, he intended to express, as Dacier, and the commentators before him, explain it, the trouble and expense of theatrical exhibition—the number of things wanted—actors, scenes, dresses, music, &c.
7
Of all the commentators I have seen,
M. Batteux
alone gives, in a short note, what I think the true meaning of the word in this place:
"Φορτικός, grossier, digne des mercenaires. Aristote, Politic. VIII. c. 6. oppose le spectateur mercenaire & ignorant,
φορτικός
, au spectateur honnête; & le plaisir grossier,
ἡδονὴ φορτική
, les danses grossieres,
κινήσεις φορτικωτέρας
, au plaisir delicat, aux danses honnêtes."
Aristotle himself will here be his best commentator, in the passages to which M. Batteux refers. Some sorts of rhythm, he says,
ΦΟΡΤΙΚΩΤΕΡΑΣ ἔχουσι τὰς κινήσεις
, (violent and vulgar,)
αἱ δὲ, ΕΛΕΥΘΕΡΙΩΤΕΡΑΣ.
8
Again, in the
next chapter, relative to the musical education of youth, he speaks of the pleasure of a popular musical audience, as a vulgar, illiberal sort of pleasure.
"The performer there,"
he says,
"aims only at the pleasure of the hearers,
καὶ ταύτης ΦΟΡΤΙΚΗΣ· διόπερ οὐ ΤΩΝ ΕΛΕΥΘΕΡΩΝ κρίνομεν εἶναι τὴν ἐργασίαν,
("such performance does not become a gentleman,")
ἀλλὰ ΘΗΤΙΚΩΤΕΡΑΝ
(the playing of a man who is paid for playing:)
καὶ ΒΑΝΑΥΣΟΥΣ δὴ
(mechanics)
συμβαίνει γίγνεσθαι· πονηρὸς γὰρ ὁ σκοπὸς πρὸς ὃν ποιοῦνται τὸ τέλος· ὁ γὰρ ΘΕΑΤΗΣ, ΦΟΡΤΙΚΟΣ ὢν, μεταβάλλειν εἴωθε τὴν μουσικήν—."
— In the next chapter is the following passage, still more directly to our present purpose, in which he expressly distinguishes, as here, the two sorts of spectators, or hearers:—
θεατὴς διττὸς, ὁ μὲν ΕΛΕΥΘΕΡΟΣ καὶ ΠΕΠΑΙΔΕΥΜΕΝΟΣ, ὁ δὲ ΦΟΡΤΙΚΟΣ, ἐκ βαναύσων, καὶ θητῶν, καὶ ἄλλων τοιούτων, συγκείμενος.
11
The word occurs frequently in other parts of Aristotle's writings, and seems generally, if not always, to be used in the same sense.
12
By
φορτική
, then, applied to Tragedy, I think it clear, that he means only—calculated for
φορτικοὶ
spectators; adapted to the entertainment of popular audiences—to the taste, as we commonly
express it, of the upper gallery, as opposed to the refined and cultivated taste of men of reading and reflection.
13
As far as I can judge, from a comparison of the different senses of the word with its etymology,
14
the common idea, which runs through and connects them all, is that of excess, or, perhaps, more exactly, of offensive, disgusting, or burdensome, by excess, of some kind or other.
264.
mvp-aristotle-comment-264
NOTE 264. P. 132.
26.3
AS IF THE AUDIENCE, WITHOUT THE AID OF ACTION, &c.—
Ὡς γαρ ἐκ αισθανομένων, ἀν μη ΑΥΤΟΣ ΠΡΟΣΘΗΙ, πολλην κίνησιν κινενται
. This wound has been sufficiently probed. When I found, that the
"medica manus"
of Mr. Toup had been tried upon it, I looked, at least, for the
"salubres Ambrosiae succos, et odoriferam panaceam,"
if not for the precious
Dictamnus, that would entirely heal it.
15
He proposed to read—
ὠν μη ΑΥΛΟΣ ΠΡΟΣΗ
. I should be very sorry to do any injustice to the emendation of so masterly a Greek scholar; but I am obliged to confess, that I do not understand it.
"The imitators have recourse to every kind of motion, just as if the audience were not able to understand (or, to hear) them, without the addition or accompaniment of a flute." How any sense can be made of this, or of any other fair version of the passage, so corrected, I cannot discover. The emendation, surely, requires to be explained, at least; and if Mr. Toup gave any explanation in his letter to Mr. Winstanley, it is to be wished, that the learned editor had communicated it to the public in his note.
As far as I can judge, from a comparison of the different senses of the word with its etymology, the common idea, which runs through and connects them all, is that of excess, or, perhaps, more exactly, of offensive, disgusting, or burdensome, by excess, of some kind or other.
16
17
It is some comfort, however, that the general meaning of the passage seems liable to little or no difficulty; and, accordingly, in that, all the commentators, I think, are agreed, however widely they may differ as to the reading.
