[51] The language of Plato is remarkable on this point. Republic, ii. p. 376 E. Τίς οὖν ἡ παιδεία; ἣ χαλεπὸν εὑρεῖν βελτίω τῆς ὑπὸ τοῦ πολλοῦ χρόνου εὑρημένης; ἐστὶ δέ που ἡ μὲν ἐπὶ σώμασι γυμναστική, ἡ δ’ ἐπὶ ψυχῇ μουσική — and a striking passage in the Kriton (p. 50 D), where education in μουσικὴ and γυμναστικὴ is represented as a positive duty on the part of fathers towards their sons.
About the multifarious and indefinite province of the Muses, comprehending all παιδεία and λόγος, see Plutarch, Sympos. Problem. ix. 14, 2-3, p. 908-909. Also Plutarch, De Audiendis Poetis, p. 31 F, about the many diverse interpretations of Homer; especially those by Chrysippus and Kleanthes.
The last half of the eighth Book of Aristotle’s Politica contains remarkable reflections on the educational effects of music, showing the refined distinctions which philosophical men of that day drew respecting the varieties of melody and rhythm. Aristotle adverts to music as an agency not merely for παιδεία but also for κάθαρσις (viii. 7, 1341, b. 38); to which last Plato does not advert. Aristotle also notices various animadversions by musical critics upon some of the dicta on musical subjects in the Platonic Republic (καλῶς ἐπιτιμῶσι καὶ τοῦτο Σωκράτει τῶν περὶ τὴν μουσικήν τινες, 1342, b. 23) — perhaps Aristoxenus: also 1342, a. 32. That the established character and habits of music could not be changed without leading to a revolution, ethical and political, in the minds of the citizens — is a principle affirmed by Plato, not as his own, but as having been laid down previously by Damon the celebrated musical instructor (Repub. iii. p. 424 C).
The following passage about Luther is remarkable:—
“Après avoir essayé de la théologie, Luther fut décidé par les conseils de ses amis, à embrasser l’étude du droit; qui conduisait alors aux postes les plus lucratifs de l’État et de l’Église. Mais il ne semble pas s’y être jamais livré avec goût. Il aimait bien mieux la belle littérature, et surtout la musique. C’était son art de prédilection. Il la cultiva toute sa vie et l’enseigna à ses enfans. Il n’hésite pas à déclarer que la musique lui semble le premier des arts, après la théologie. La musique (dit il) est l’art des prophètes: c’est le seul qui, comme la théologie, puisse calmer les troubles de l’ame et mettre le diable en fuite. Il touchait du luth, jouait de la flûte.” (Michelet, Mémoires de Luther, écrits par lui-même, pp. 4-5, Paris, 1835.)
He declares war against most of the traditional and consecrated poetry, as mischievous.
It is in this spirit that he deals with the traditional, popular, almost consecrated, poetical literature which prevailed around him. He undertakes to revise and recast the whole of it. Repudiating avowedly the purpose of the authors, he sets up a different point of view by which they are to be judged. The contest of principle, into which he now enters, subsisted (he tells us) long before his time: a standing discord between the philosophers and the poets.[52] The poet is an artist[53] whose aim is to give immediate pleasure and satisfaction: appealing to æsthetical sentiment, feeding imagination and belief, and finding embodiment for emotions, religious or patriotic, which he shares with his hearers: the philosopher is a critic, who lays down authoritatively deeper and more distant ends which he considers that poetry ought to serve, judging the poets according as they promote, neglect, or frustrate those ends. Plato declares the end which he requires poetry to serve in the training of his Guardians. It must contribute to form the ethical character which he approves: in so far as it thus contributes, he will tolerate it, but no farther. The charm and interest especially, belonging to beautiful poems, is not only no reason for admitting them, but is rather a reason (in his view) for excluding them.[54] The more beautiful a poem is, the more effectively does it awaken, stimulate, and amplify, the emotional forces of the mind: the stronger is its efficacy in giving empire to pleasure and pain, and in resisting or overpowering the rightful authority of Reason. It thus directly contravenes the purpose of the Platonic education — the formation of characters wherein Reason shall effectively controul all the emotions and desires.[55] Hence he excludes all the varieties of imitative poetry:— that is, narrative, descriptive, or dramatic poetry. He admits only hymns to the Gods and panegyrics upon good citizens:— probably also didactic, gnomic, or hortative, poetry of approved tone. Imitative poetry is declared objectionable farther, not only as it exaggerates the emotions, but on another ground — that it fills the mind with false and unreal representations; being composed by men who have no real knowledge of their subject, though they pretend to a sort of fallacious omniscience, and talk boldly about every thing.[56]
[52] Plato, Republ. x. p. 607 B. παλαιὰ μέν τις διαφορὰ φιλοσοφίᾳ τε καὶ ποιητικῇ, &c.
[53] Plato, Republ. x. p. 607 A-C. τὴν ἡδυσμένην Μοῦσαν … ἡ πρὸς ἡδονὴν ποιητικὴ καὶ ἡ μίμησις, &c.
Compare also Leges ii. p. 655 D seq., about the μουσικῆς ὀρθότης.