Laws

Ath. Now, whereas all other creatures are devoid of any perception of the various kinds of order and disorder in movement (which we term rhythm and harmony), to men the very gods, who were given, as we said, to be our fellows in the dance, have granted the pleasurable perception of rhythm and harmony, whereby they cause us to move and lead our choirs, linking us one with another by means of songs and dances; and to the choir they have given its name from the cheer implanted therein.[*](Here χορός is fancifully derived from χαρά, joy. For similar etymologies, see the Cratylus, passim.) Shall we accept this account to begin with, and postulate that education owes its origin to Apollo and the Muses?

Clin. Yes.

Ath. Shall we assume that the uneducated man is without choir-training, and the educated man fully choir-trained?

Clin. Certainly.

Ath. Choir-training, as a whole, embraces of course both dancing and song.

Clin. Undoubtedly.

Ath. So the well-educated man will be able both to sing and dance well.

Clin. Evidently.

Ath. Let us now consider what this last statement of ours implies.

Clin. Which statement?

Ath. Our words are,—he sings well and dances well: ought we, or ought we not, to add,—provided that he sings good songs and dances good dances?

Clin. We ought to add this.

Ath. How then, if a man takes the good for good and the bad for bad and treats them accordingly? Shall we regard such a man as better trained in choristry and music when he is always able both with gesture and voice to represent adequately that which he conceives to be good, though he feels neither delight in the good nor hatred of the bad,—or when, though not wholly able to represent his conception rightly by voice and gesture, he yet keeps right in his feelings of pain and pleasure, welcoming everything good and abhorring everything not good.

Clin. There is a vast difference between the two cases, Stranger, in point of education.

Ath. If, then, we three understand what constitutes goodness in respect of dance and song, we also know who is and who is not rightly educated but without this knowledge we shall never be able to discern whether there exists any safeguard for education or where it is to be found. Is not that so?

Clin. It is.

Ath. What we have next to track down, like hounds on the trail, is goodness of posture and tunes in relation to song and dance; if this eludes our pursuit, it will be in vain for us to discourse further concerning right education, whether of Greeks or of barbarians.

Clin. Yes.

Ath. Well then, however shall we define goodness of posture or of tune? Come, consider: when a manly soul is beset by troubles, and a cowardly soul by troubles identical and equal, are the postures and utterances that result in the two cases similar?

Clin. How could they be, when even their complexions differ in color?

Ath. Well said, my friend. But in, fact, while postures and tunes do exist in music,[*](Music comprises both dance and song (including instrumental accompaniment), whether executed by single performers or by groups (χορεία). The postures are those of the dancer, the tunes those of the singer.) which deals with rhythm and harmony, so that one can rightly speak of a tune or posture being rhythmical or harmonious, one cannot rightly apply the choir masters metaphor well-colored to tune and posture; but one can use this language about the posture and tune of the brave man and the coward, and one is right in calling those of the brave man good, and those of the coward bad. To avoid a tediously long disquisition, let us sum up the whole matter by saying that the postures and tunes which attach to goodness of soul or body, or to some image thereof, are universally good, while those which attach to badness are exactly the reverse.

Clin. Your pronouncement is correct, and we now formally endorse it.

Ath. Another point:—do we all delight equally in choral dancing, or far from equally?

Clin. Very far indeed.

Ath. Then what are we to suppose it is that misleads us? Is it the fact that we do not all regard as good the same things, or is it that, although they are the same, they are thought not to be the same? For surely no one will maintain that the choric performance of vice are better than those of virtue, or that he himself enjoys the postures of turpitude, while all others delight in music of the opposite kind. Most people, however, assert that the value of music consists in its power of affording pleasure to the soul.[*]( i.e. music is commonly judged solely by the amount of pleasure it affords, without any regard to the quality of the pleasure. The Athenian proceeds to show how dangerous a doctrine this is: music, he maintains, should not be used merely to pander to the low tastes of the populace, but rather treated as an educational instrument for the elevation of public morals.) But such an assertion is quite intolerable, and it is blasphemy even to utter it. The fact which misleads us is more probably the following—

Clin. What?

Ath. Inasmuch as choric performances are representations of character, exhibited in actions and circumstances of every kind, in which, the several performers enact their parts by habit and imitative art, whenever the choric performances are congenial to them in point of diction, tune or other features (whether from natural bent or from habit, or from all these causes combined), then these performers invariably delight in such, performances and extol them as excellent; whereas those who find them repugnant to their nature, disposition or habits cannot possibly delight in them or praise them, but call them bad.

Ath.And when men are right in their natural tastes but wrong in those acquired by habituation, or right in the latter but wrong in the former, then by their expressions of praise they convey the opposite of their real sentiments; for whereas they say of a performance that it is pleasant but bad, and feel ashamed to indulge in such bodily motions before men whose wisdom they respect, or to sing such songs (as though they seriously approved of them), they really take a delight in them in private.

Clin. Very true.

Ath. Does the man who delights in bad postures and tunes suffer any damage thereby, or do those who take pleasure in the opposite gain therefrom any benefit?

Clin. Probably.

Ath. Is it not probable or rather inevitable that the result here will be exactly the same as what takes place when a man who is living amongst the bad habits of wicked men, though he does not really abhor but rather accepts and delights in those habits, yet censures them casually, as though dimly aware of his own turpitude? In such a case it is, to be sure, inevitable that the man thus delighted becomes assimilated to those habits, good or bad, in which he delights, even though he is ashamed to praise them. Yet what blessing could we name, or what curse, greater than that of assimilation which befalls us so inevitably?

Clin. There is none, I believe.

Ath. Now where laws are, or will be in the future, rightly laid down regarding musical education and recreation, do we imagine that poets will be granted such licence that they may teach whatever form of rhythm or tune they best like themselves to the children of law-abiding citizens and the young men in the choirs, no matter what the result may be in the way of virtue or depravity?

Clin. That would be unreasonable, most certainly.

Ath. But at present this licence is allowed in practically every State, with the exception of Egypt.

Clin. How, then, does the law stand in Egypt?

Ath. It is marvellous, even in the telling. It appears that long ago they determined on the rule of which we are now speaking, that the youth of a State should practise in their rehearsals postures and tunes that are good: these they prescribed in detail and posted up in the temples, and outside this official list it was, and still is, forbidden to painters and all other producers of postures and representations to introduce any innovation or invention, whether in such productions or in any other branch of music, over and above the traditional forms.