Aristotle, Second Part of the POLITICS Complete

Translated by W. Ellis. Cf. An Introduction to Aristotle's Politics, by A. Lindsay

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II: 78 pages - You are on Page 74

And this will be easily known if we feel our dispositions any way influenced thereby; and that they are so is evident from many other instances, as well as the music at the Olympic games; and this confessedly fills the soul with enthusiasm; but enthusiasm is an affection of the soul which strongly agitates the disposition. Besides, all those who hear any imitations sympathise therewith; and this when they are conveyed even without rhythm or verse. Moreover, as music is one of those things which are pleasant, and as virtue itself consists in rightly enjoying, loving, and hating, it is evident that we ought not to learn or accustom ourselves to anything so much as to judge right and rejoice in honourable manners and noble actions. But anger and mildness, courage and modesty, and their contraries, as well as all other dispositions of the mind, are most naturally imitated by music and poetry; which is plain by experience, for when we hear these our very soul is altered; and he who is affected either with joy or grief by the imitation of any objects, is in very nearly the same situation as if he was affected by the objects themselves; thus, if any person is pleased with seeing a statue of any one on no other account but its beauty, it is evident that the sight of the original from whence it was taken would also be pleasing; now it happens in the other senses there is no imitation of manners; that is to say, in the touch and the taste; in the objects of sight, a very little; for these are merely representations of things, and the perceptions which they excite are in a manner common to all. Besides, statues and paintings are not properly imitations of manners, but rather signs and marks which show the body is affected by some passion. However, the difference is not great, yet young men ought not to view the paintings of Pauso, but of Polygnotus, or any other painter or statuary who expresses manners. But in poetry and music there are imitations of manners; and this is evident, for different harmonies differ from each other so much by nature, that those who hear them are differently affected, and are not in the same disposition of mind when one is performed as when another is; the one, for instance, occasions grief 13406 and contracts the soul, as the mixed Lydian: others soften the mind, and as it were dissolve the heart: others fix it in a firm and settled state, such is the power of the Doric music only; while the Phrygian fills the soul with enthusiasm, as has been well described by those who have written philosophically upon this part of education; for they bring examples of what they advance from the things themselves. The same holds true with respect to rhythm; some fix the disposition, others occasion a change in it; some act more violently, others more liberally. From what has been said it is evident what an influence music has over the disposition of the mind, and how variously it can fascinate it: and if it can do this, most certainly it is what youth ought to be instructed in. And indeed the learning of music is particularly adapted to their disposition; for at their time of life they do not willingly attend to anything which is not agreeable; but music is naturally one of the most agreeable things; and there seems to be a certain connection between harmony and rhythm; for which reason some wise men held the soul itself to be harmony; others, that it contains it.

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