Seite - 2099 - in The Complete Aristotle

flute is not an instrument which is expressive of moral character; it is too exciting. The proper time for using it is when the performance aims not at instruction, but at the relief of the passions. And there is a further objection; the impediment which the flute presents to the use of the voice detracts from its educational value. The ancients therefore were right in forbidding the flute to youths and freemen, although they had once allowed it. For when their wealth gave them a greater inclination to leisure, and they had loftier notions of excellence, being also elated with their success, both before and after the Persian War, with more zeal than discernment they pursued every kind of knowledge, and so they introduced the flute into education. At Lacedaemon there was a choragus who led the chorus with a flute, and at Athens the instrument became so popular that most freemen could play upon it. The popularity is shown by the tablet which Thrasippus dedicated when he furnished the chorus to Ecphantides. Later experience enabled men to judge what was or was not really conducive to virtue, and they rejected both the flute and several other old-fashioned instruments, such as the Lydian harp, the many-stringed lyre, the ‘heptagon,’ ‘triangle,’ ‘sambuca,’ the like—which are intended only to give pleasure to the hearer, and require extraordinary skill of hand. There is a meaning also in the myth of the ancients, which tells how Athene invented the flute and then threw it away. It was not a bad idea of theirs, that the Goddess disliked the instrument because it made the face ugly; but with still more reason may we say that she rejected it because the acquirement of flute-playing contributes nothing to the mind, since to Athene we ascribe both knowledge and art. Thus then we reject the professional instruments and also the professional mode of education in music (and by professional we mean that which is adopted in contests), for in this the performer practices the art, not for the sake of his own improvement, but in order to give pleasure, and that of a vulgar sort, to his hearers. For this reason the execution of such music is not the part of a freeman but of a paid performer, and the result is that the performers are vulgarized, for the end at which they aim is bad. The vulgarity of the spectator tends to lower the character of the music and therefore of the performers; they look to him—he makes them what they are, and fashions even their bodies by the movements which he expects them to exhibit. VII We have also to consider rhythms and modes, and their use in education. Shall we use them all or make a distinction? and shall the same distinction be made for those who practice music with a view to education, or shall it be some other? Now we see that music is produced by melody and rhythm, and 2099