Politics: A Treatise on Government
taught to sing, and play upon any instrument, which we have before made
a matter of doubt. Now, it is well known that it makes a great deal of
difference when you would qualify any one in any art, for the person
himself to learn the practical part of it; for it is a thing very
difficult, if not impossible, for a man to be a good judge of what he
himself cannot do. It is also very necessary that children should have
some employment which will amuse them; for which reason the rattle of
Archytas seems well contrived, which they give children to play with,
to prevent their breaking those things which are about the house; for
at their age they cannot sit still: this therefore is well adapted to
infants, as instruction ought to be their rattle as they grow up; hence
it is evident that they should be so taught music as to be able to
practise it. Nor is it difficult to say what is becoming or unbecoming
of their age, or to answer the objections which some make to this
employment as mean and low. In the first place, it is necessary for them
to practise, that they may be judges of the art: for which reason this
should be done when they are young; but when they are grown older the
practical part may be dropped; while they will still continue judges of
what is excellent in the art, and take a proper pleasure therein, from
the knowledge they acquired of it in their youth. As to the censure
which some persons throw upon music, as something mean and low, it is
not difficult to answer that, if we will but consider how far we propose
those who are to be educated so as to become good citizens should be
instructed in this art, [1341a] and what music and what rhythms they
should be acquainted with; and also what instruments they should play
upon; for in these there is probably a difference. Such then is the
proper answer to that censure: for it must be admitted, that in some
cases nothing can prevent music being attended, to a certain degree,
with the bad effects which are ascribed to it; it is therefore clear
that the learning of it should never prevent the business of riper
years; nor render the body effeminate, and unfit for the business of war
or the state; but it should be practised by the young, judged of by the
old. That children may learn music properly, it is necessary that they
should not be employed in those parts of it which are the objects of
dispute between the masters in that science; nor should they perform
such pieces as are wondered at from the difficulty of their execution;
and which, from being first exhibited in the public games, are now
become a part of education; but let them learn so much of it as to be
able to receive proper pleasure from excellent music and rhythms; and
not that only which music must make all animals feel, and also slaves
and boys, but more. It is therefore plain what instruments they should
use; thus, they should never be taught to play upon the flute, or any
other instrument which requires great skill, as the harp or the like,
but on such as will make them good judges of music, or any other
instruction: besides, the flute is not a moral instrument, but rather
one that will inflame the passions, and is therefore rather to be used
when the soul is to be animated than when instruction is intended. Let
me add also, that there is something therein which is quite contrary to
what education requires; as the player on the flute is prevented from
speaking: for which reason our forefathers very properly forbade the use
of it to youth and freemen, though they themselves at first used it; for
when their riches procured them greater leisure, they grew more animated
in the cause of virtue; and both before and after the Median war their
noble actions so exalted their minds that they attended to every part of
education; selecting no one in particular, but endeavouring to collect
the whole: for which reason they introduced the flute also, as one
of the instruments they were to learn to play on. At Lacedaemon the
choregus himself played on the flute; and it was so common at Athens
that almost every freeman understood it, as is evident from the tablet
which Thrasippus dedicated when he was choregus; but afterwards they
rejected it as dangerous; having become better judges of what tended to
promote virtue and what did not. For the same reason many of the ancient
instruments were thrown aside, as the dulcimer and the lyre; as also
those which were to inspire those who played on them with pleasure, and
which required a nice finger and great skill to play well on. What the
ancients tell us, by way of fable, of the flute is indeed very rational;
namely, that after Minerva had found it, she threw it away: nor are they
wrong who say that the goddess disliked it for deforming the face of him
who played thereon: not but that it is more probable that she rejected
it as the knowledge thereof contributed nothing to the improvement of
the mind. Now, we regard Minerva as the inventress of arts and sciences.
As we disapprove of a child's being taught to understand instruments,
and to play like a master (which we would have confined to those who are
candidates for the prize in that science; for they play not to improve
themselves in virtue, but to please those who hear them, and gratify
their importunity); therefore we think the practice of it unfit for
freemen; but then it should be confined to those who are paid for doing
it; for it usually gives people sordid notions, for the end they have
in view is bad: for the impertinent spectator is accustomed to make them
change their music; so that the artists who attend to him regulate their
bodies according to his motions.
CHAPTER VII
We are now to enter into an inquiry concerning harmony and rhythm;
whether all sorts of these are to be employed in education, or whether
some peculiar ones are to be selected; and also whether we should
give the same directions to those who are engaged in music as part of
education, or whether there is something different from these two.
Now, as all music consists in melody and rhythm, we ought not to be
unacquainted with the power which each of these has in education; and
whether we should rather choose music in which melody prevails, or
rhythm: but when I consider how many things have been well written upon
these subjects, not only by some musicians of the present age, but also
by some philosophers who are perfectly skilled in that part of music
which belongs to education; we will refer those who desire a very
particular knowledge therein to those writers, and shall only treat
of it in general terms, without descending to particulars. Melody is
divided by some philosophers, whose notions we approve of, into moral,
practical, and that which fills the mind with enthusiasm: they also
allot to each of these a particular kind of harmony which naturally
corresponds therewith: and we say that music should not be applied to
one purpose only, but many; both for instruction and purifying the soul
(now I use the word purifying at present without any explanation, but
shall speak more at large of it in my Poetics); and, in the third place,
as an agreeable manner of spending the time and a relaxation from the
uneasiness of the mind. [1342a] It is evident that all harmonies are to
be used; but not for all purposes; but the most moral in education: but
to please the ear, when others play, the most active and enthusiastic;
for that passion which is to be found very strong in some souls is to be
met with also in all; but the difference in different persons consists
in its being in a less or greater degree, as pity, fear, and enthusiasm
also; which latter is so powerful in some as to overpower the soul: and
yet we see those persons, by the application of sacred music to soothe
their mind, rendered as sedate and composed as if they had employed
the art of the physician: and this must necessarily happen to the
compassionate, the fearful, and all those who are subdued by their
passions: nay, all persons, as far as they are affected with those
passions, admit of the same cure, and are restored to tranquillity with
pleasure. In the same manner, all music which has the power of purifying
the soul affords a harmless pleasure to man. Such, therefore, should be
the harmony and such the music which those who contend with each other
in the theatre should exhibit: but as the audience is composed of two
sorts of people, the free and the well-instructed, the rude the mean
mechanics, and hired servants, and a long collection of the like, there
must be some music and some spectacles to please and soothe them; for as
their minds are as it were perverted from their natural habits, so
also is there an unnatural harmony, and overcharged music which is
accommodated to their taste: but what is according to nature gives
pleasure to every one, therefore those who are to contend upon the
theatre should be allowed to use this species of music. But in education
ethic melody and ethic harmony should be used, which is the Doric, as we
have already said, or any other which those philosophers who are skilful
in that music which is to be employed in education shall approve of.
But Socrates, in Plato's Republic, is very wrong when he [1342b] permits
only the Phrygian music to be used as well as the Doric, particularly as
amongst other instruments he banishes the flute; for the Phrygian music
has the same power in harmony as the flute has amongst the instruments;
for they are both pathetic and raise the mind: and this the practice
of the poets proves; for in their bacchanal songs, or whenever they
describe any violent emotions of the mind, the flute is the instrument
they chiefly use: and the Phrygian harmony is most suitable to these
subjects. Now, that the dithyrambic measure is Phrygian is allowed by
general consent; and those who are conversant in studies of this sort
bring many proofs of it; as, for instance, when Philoxenus endeavoured
to compose dithyrambic music for Doric harmony, he naturally fell back
again into Phrygian, as being fittest for that purpose; as every one
indeed agrees, that the Doric music is most serious, and fittest to
inspire courage: and, as we always commend the middle as being between
the two extremes, and the Doric has this relation with respect to other
harmonies, it is evident that is what the youth ought to be instructed
in. There are two things to be taken into consideration, both what is
possible and what is proper; every one then should chiefly endeavour to
attain those things which contain both these qualities: but this is to
be regulated by different times of life; for instance, it is not easy
for those who are advanced in years to sing such pieces of music as
require very high notes, for nature points out to them those which are
gentle and require little strength of voice (for which reason some who
are skilful in music justly find fault with Socrates for forbidding the
youth to be instructed in gentle harmony; as if, like wine, it would
make them drunk, whereas the effect of that is to render men bacchanals,
and not make them languid): these therefore are what should employ those
who are grown old. Moreover, if there is any harmony which is proper for
a child's age, as being at the same time elegant and instructive, as the
Lydian of all others seems chiefly to be-These then are as it were the
three boundaries of education, moderation, possibility, and decorum.
INDEX
ACHILLES, 76
Act of the city, what, 69
Actions, their original spring, i
Administration, 76;
whether to be shared by the whole community, 203
AEsumnetes, 96
AEthiopia, in what manner the power of the state is there regulated, 112
Alterations in government, whence they arise, 142;
what they are, 143