2OO CHAPTER
4/NOTES40-41
despisedby
Platoasbanausicanddepraved ;cp.Rep.,4956and
5900and
note
4
to
chapter
11
);Republic,6ooc,whereHomeris
putbelowthelevel
ofthe
SophistsProtagorasandProdicus
(see
alsoGomperz,
GreekThinkers,
German
ed.,II,401) ;and
Republic,6o5a/b,
where
poets
are
bluntly
forbidden
toenterintoanywell-governed city.
Theseclear
expressions
ofPlato's
attitude,however,are
usuallypassed
over
by
thecommentatorswhodwell,ontheotherhand,onremarkslikethe
onemadeby
Platoin
preparing
hisattackonHomer
('
. .
though
loveand
admirationforHomerhardly
allowmeto
saywhatIhaveto
say
'
;Rep.,
595b).Adamcommentsonthis
(note
to595bn)bysaying
that'Plato
speakswithreal
feeling
'
;butIthinkthatPlato'sremark
only
illustratesa
method
fairlygenerallyadopted
inthe
Republic,namely,
thatofmakingsome
concessiontothereader'ssentiments
(cp.chapter10,esp.
texttonote
65)
beforethemainattackupon
humanitarian ideasislaunched.
40
Onthe
rigidcensorshipaimedatclass
discipline,
see
Republic,377e,ff.,
and
especially378c
:
'
Thosewhoaretobethe
guardians
ofour
cityought
toconsideritthemost
pernicious
crimeto
quarreleasilywithoneanother.*
Itis
interesting
thatPlatodoesnotslatethis
politicalprinciple
atonce,when
introducing
his
theory
of
censorship
in
3760,-ff.,butthathe
speaks
firstonly
oftruth,beauty,
etc.The
censorship
isfurther
tightenedup
in
595a, ff.,
esp.6o5a/b(see
the
foregoingnote,andnotes18to22to
chapter7,and
text).
OnPlato's
forgctfulness
ofhis
principle(Rep.,4ioc~4i2b,
secnote
36
tothis
chapter)
thatmusichasto
strengthen
the
gentle
elementinmanas
opposed
tothefierce,see
especially3993, f.,wheremodesofmusicare
demandedwhichdonotmakemen
soft,butare
*
fitformenwhoarcwarriors '.
Cp.
alsothenext
note,(2).
ItmustbemadeclearthatPlatohasnot
*
forgotten
'
a
previouslyannounced
principle,
but
only
that
principle
towhich
hisdiscussion is
going
tolead
up.
*
41
(i)OnPlato'sattitudetowardsmusic,especiallymusic
proper,see,for
instance,Republic,397b,
ff.
;3986,
ff.
;4Ood,
ff.
;4iob,424^ f.,546d.
Laws,6576,
ff.
;673a,7oob, ff.,798d,ff,8oid,ff,8o2b, ff.,8i6c.The
attitude
is,fundamentally,
thatonemust
'
bewareof
changing
toanewmode
ofmusic
',since
'
Anychange
inthemodeofmusicis
alwaysfollowedbya
change
inthe . .state.So
saysDamon,andIbelievehim.'
(Rep.,424C.)
Plato,asusual,followsthe
Spartanexample.Adam
(op.cit.,vol.
I,p.216,
noteto
424C2O ;
italicsmine
;cp.
alsohis
references)says
that
*
theconnection
between musicaland
politicalchanges
. .was
recognized universally
throughoutGreece,and
particularly
at
Sparta,where . .Timotheushadhis
lyre
confiscatedfor
adding
toitfournew
strings
'.That
Sparta'sprocedure
inspired
Platocannotbedoubted
;
itsuniversalrecognitionthroughout
Greece,and
especially
inPcricleanAthens,
ismost
improbable. (Gp.(2)
of
this
note.)
(2)
InthetextIhavecalledPlato'sattitudetowardsmusic
(cp.esp.
Rep>398e,ff.)superstitiousandbackwardif
comparedwith
*
amore
enlightened
contemporary
criticism '.Thecriticism Ihaveinmind isthatofthe
anonymous writer,probably
amusicianofthefifth
(or
the
earlyfourth)
century,
theauthorofwhatisnowknownasthethirteenth
piece
ofGrenfell-
Hunt,TheHibeh
Papyri,1906,p.45
ff. Itseems
possible
thatthewriteris
oneof
*
thevariousmusicianswhocriticizeSocrates
'
(i.e.
the
'
Socrates
'
of
Plato's
Republic),mentionedby
Aristotle
(in
his
equallyreactionary Politics,
1
342b);butthecriticismoftheanonymouswriter
goesmuchfurtherthan
Aristotleindicates. Plato
(andAristotle)
believedthatcertainmusicalmodes,
forinstance,the
'
slack
'
IonianandLydianmodes,made
people
softand
effeminate,whileothers,especially
theDorianmode,madethembrave.
Thisviewisattackedby
theanonymous
writer.
'
Theysay',he
writes,
*
that
somemodes
producetemperate
andothers
justmen
;others,again,heroes.