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Gavotte - Etwas langsam, nicht hastig 12 III. Musette - Rascher 13 IV. Intermezzo 14 V. Menuett - Moderato - Trio 15 VI. Gigue - Rasch. Sinfonia 9 II. Aria I 3 III. Aria II 4 IV. Cappricio 5 I. Con Moto. Quattro variazioni Four Variations 4 IV. Preludio e fuga Prelude and Fugue 5 1. March 6 2. Waltz 7 3. Polka 8 1. Andante 9 2. Balalaika 11 4.
Napolitana 12 5. Galop 13 I. Moderato 14 II. Theme with Variations 15 III. Larghetto concertante 6 III. Allegretto 7 IV. Largo - Tempo giusto, alla breve. Allegretto 4 III. Con moto 5 I. Vivace 7 III. Lento 8 IV. Allegretto 9 V. Moderato alla breve 10 VI.
Tempo di Marcia 11 VII. Larghetto 12 VIII. Tempo di Tango 13 I. Excentrique 15 III. Cantique 16 IV. Napolitana 20 III. Espanola 21 IV. Balalaika 22 I. Valse 24 III. Polka 25 IV. A Sermon from St. A Narrative; The Stoning of St. A Prayer from Thomas Dekkar - Voice. I've caught you! I freeze! Have no fear. He is not dangerous. Andante 7 III. Moderato - con moto 8 I.
Contrapuntal Blues 10 III. Rag 11 IV. Allegro moderato - Columbia Symphony Orchestra 2 Serenata. Allegro 4 Poco piu vivo - Allegro 5 Andantino 6 Allegro 7 Allegretto - 'Contento forse vivere' 8 Allegro assai 9 Allegro alla breve - 'Con queste paroline' 10 Andante - 'Sento dire no'nce pace' - 'Chi disse ca la femmena' 11 Allegro - 'Nce sta quacuna po' - 'Una te falan zemprece' 12 Presto - 'Una te falan zemprece' 13 Larghetto 14 Allegro - alle breve 15 Tarantella 16 Andantino - 'Se tu m'ami' 17 Allegro 18 Gavotta con due variazioni.
Scherzo - Allegretto 3 III. Largo 4 IV. Finale - Allegro molto. Gloria 10 III. Credo 11 IV. Sanctus 12 V. Passacaglia 20 III. Gigue 21 Elegy for J. Allegro capriccioso ma tempo guisto - Revised Version 4 I. Largo 6 III. Serenata 3 IIIa. Scherzino 4 IIIb. Allegro 5 IIIc. Andantino 6 IV. Tarantella 7 V. Toccata 8 VI. Gavotta con due variazioni 9 VII. Minuetto 11 VIIIb. Finale 12 Scherzo Fantastique, Op. Exaudi 6 III. Dies Irae 7 IV. Tuba Mirum 8 V. Interlude 9 VI.
Rex tremendae 10 VII. Lacrimosa 11 VIII. Libera me 12 IX. Geese and Swans 26 IV. Tilim-bom 27 I. Full fadom five 29 III. When Dasies pied. Pas d'action - Con moto 3 III. Theme varie 4 IV. Pas de deux 5 V. Marche - Conclusion 6 I. Song 8 III. Wedding Dance 9 IV. Cortege 10 I. Ecologue 12 III. Epitaph 13 I.
Arioso - Andantino 15 III. Ovsen - Revised version 8 III. The Pike - Revised version 9 IV. Sempre piano e molto tranquiro - Tashi 11 II. Tango 11 2. Valse 12 Part 2: Three Dances - 3. Customer reviews. How customer reviews and ratings work Customer Reviews, including Product Star Ratings, help customers to learn more about the product and decide whether it is the right product for them. Learn more how customers reviews work on Amazon. Filter reviews by English German.
Top reviews Most recent Top reviews. Top review from Germany. Translate all reviews to English. There was a problem filtering reviews right now. Please try again later. Auch merkt er z. Nichts beweist das mehr als die eigenen Aufnahmen des Komponisten. Die Unterscheide sind nicht gravierend. Tatsache ist aber, dass jede! Auch die Tracknummern sind teilweise an anderen Stellen gesetzt. Nur die faszinierenden Probenfotos werde ich etwas vermissen. Die neuen Ausgaben klingen jedenfalls keineswegs schlechter!
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Such a conclusion is of course in opposition to the doctrine of the tenth book of the Republic. Is that any reason for supposing Plato not to have had this meaning here? It depends, I think, on the extent to which the ideas are supposed by him in this passage to be separate. Nettleship, in HeUenica, London, , p. Digitized by Google William Chase Greene 38 implied in the tenth book. It is the discovery in things everywhere of the essential natures of all elements that constitute or that contribute to beauty; and it is this concern for beauty that unites our interest in small things and in great.
We have seen, then, that all the discussion of poetry in the second and third books of the Republic is based on ethical grounds. This is not a complete theory of poetry and of the other arts, but it is by no means a low or an unworthy theory. Moreover, Plato is not committed by the introduction of the theory of ideas to any adverse criticism of the arts, as such. Plato explains that the object of the training of his soldiers in fiovaucfj and in yviivaoTucfj is to prepare them to take the dye of the laws so that their opinions 2 may sink indelibly into their natures.
So one must not insist on his proving that any actual state will coincide with his ideal state; one must be content with an approximation. Of that passage I shall have something to say below, pp. Memo, 98 be. As the lover loves all things that are lovable, the philosopher, if he is true to his name, is a lover of all knowledge. But this does not mean that the name of philosopher is deserved by all lovers of sights or by the frequenters of the theatre who run to hear every chorus; they are merely somewhat like the true philosophers, who love the vision of truth.
They only who know this have knowledge; the others have only opinion — though Plato does not grudge them any knowledge that they may have. In general, knowledge is of being, and ignorance is of non-being; opinion, which lies between knowledge and ignorance, is of that which is between being and non-being. The notions of the multitude about these things therefore are tossing about between being and non-being; they must, then, be opinions, not knowledge.
But his philosophy was the negation of the possibility of real knowledge; though he required concepts of things, 4 he limited all predicates to proper names, so that only identical propositions were possible. For him, general conceptions are mere names. It is, as in the Phaedo 9 readily accepted. Art 1 Jerome, contra Jovin. His contention is that this knowledge, supposing it attained, is worth less than judicious, though inexact opinion on the affairs of practical life.
Here, then, for the first time, we have an announcement on the part of Plato that he is going to set up a doctrine that opposes the ordinary conception of the value of poetry and art. And this opposition comes not from any ethical reason, but is made expressly in the name of philosophy; for it is the philosopher who is opposed to the lover of beautiful sights. And the philosopher is, in a word, no longer merely he who by a gift of nature loves to learn, 2 but he who accepts and applies the doctrine of ideas.
The theory of ideas which Plato has already held for some time does not make art impossible; it actually explains that which is valuable in art. Why does Plato write in so different a spirit in the tenth book? In order to understand the change of spirit, we must consider the theory of ideas that comes between the two discussions of art in the Republic , noting especially the grounds on which Plato came to hold this theory and his attitude toward the theory after he had conceived it V The theory of Ideas has been so often discussed that I need not in this study give an exposition of it.
I wish in the first place to point out the reasons that drove Plato to formulate the doctrine. In order to escape from the flux of Heracleitus, in which no knowledge was possible, Plato had to assume that there is a different kind of reality that could be known. And this he did by supposing the moral concepts of Socrates to have a real existence. In the Cratylus, Plato deals especially with this matter. They who gave names to things gave them under the wrong impression that all things are in motion and flux, and try to drag others into the same whirlpool in which they themselves are.
The everlasting change in body and in thought is the reason why the soul, like the body, desires immortality. In the Timaeus, that which is apprehended by intelligence and reason is always in the same state; but that which is conceived by opinion with 1 Met. The ideas again appear as practical postulates of reason; if there is knowledge, there must be ideas. It is admitted that the mind employs a certain kind of motion in the act of thinking; yet if it is admitted that all things are in motion, the mind has no existence.
For identity and permanence can not exist without 1 Timaeus, 28 a. Digitized by Google 44 William Chase Greene a principle of rest; 1 and without these, mind can not exist. He has adopted the theory of ideas as a less evil than its alternative, the confession that knowledge is impossible. Finally, in the Philebus, Socrates explains the common paradox about the one and the many, which are an impediment to thought, 4 by the use of a divine gift, 5 which turns out to be nothing else than the theory of ideas, used for the purpose of definition.
It is better to assume them, and to use them. He even describes it as an hypothesis. Shorey, Unity of Plato's Thought, p. Laches, Euthypkro , passim; Phaedrus, b; ff. II Phaedo, b. Adam ed. But Plato was unwilling to stop at this point. The love of beautiful things had led him to the love of beauty itself; and this beauty was a permanent thing, free from the vicissitudes to which particular beautiful things were subject. But the existence of this beauty was only an hypothesis.
So the same faith that impelled Plato to postulate the existence of ideas carried him still further to postulate a first cause to which they were related. Ideas must exist, he argued, since knowledge is possible; absolute knowledge must have as its object an absolute idea that is unconditioned. In this way Plato projected an ideal that was nothing more than the logical end toward which the method of dialectic tended.
To put the matter in the form of a paradox, the Idea of the Good, like the mental operation of which it is the correlate, is the end of an infinite line. That does not mean that the Idea of the Good, or that the ideas, are mere notions of the mind. It is for this reason, too, that Plato made the sciences of harmonics and astronomy unduly abstract, in the hope of getting rid of all the bonds of the flesh. So, moreover, he arranged the subjects in his higher education, on the principle of an advance from the sensible to the intellectual, introducing certain of them simply to find suitable objects for the faculties of the mind which he had assumed.
I think Burnet is nearer the truth when he observes ed. Phaedo, 66 b ff. Digitized by Google 46 William Chase Greene We need not pause long to ask why Plato chose the Idea of the Good as the first principle of his philosophy. Thus to know anything would be to explain its relation to this principle. The Idea of the Good is thus known indirectly, as the principle that orders the other ideas.
The conception of the higher dialectic, like that of the Idea of the Good, is a bold leap of the imagination. It tries to complete in theory what is seen in practice. So far we have examined the reasons that led Plato to adopt the theory of ideas, and have found that it was an hypothesis demanded by the possibility of knowledge, the testing of which, theoretically, would lead one eventually to a vision of the perfect Idea of the Good.
We must now ask how far he believed that he, or that any one, could attain to this vision. Many of these, to be sure, are only examples of Socratic irony, and are used for the purpose of calling attention to these doctrines. But others are the genuine expression of a man who feels that much is at stake, 3 and that he must feel his way in darkness.
He speaks truly through the mouth of Socrates in the Meno: he does not lead others into difficulties when he 1 Jowett, transl. Plato does not even have any explanation of the relation of mathematical ideas to the Good, or of numbers to ideas. Adam, ad loc. V, 2 The one thing in his argument on which he will insist is his duty to seek for knowledge of the things of which he is at present ignorant.
So he could hope to be better and more manly and less idle than if he were to suppose that he could not find out what he did not know. But a little later Socrates lays down nearly the same principle as the limit of argument that is humanly possible. How far does Plato imply in the Republic that absolute knowledge is attainable?
The discussion of the higher dialectic and of the Idea of the Good occurs in the course of the creation of the state whose realization is confessedly impossible. X 0 ott. Laws, The confession that Socrates is here represented as making is one that is never retracted or even modified.
Plato is no misologue; but he simply can not give a reasoned account of the Idea of the Good. He can only hint at its existence, or depict it by means of a comparison, or describe the steps that one should take in order to approach it. Adam ad loc. He was averse to committing his views on this subject to writing; it was not capable of expression like other subjects.
But he thought it wiser only to indicate it briefly to a few. Epistle 7. I do not think it necessary here to inquire into the authenticity of the Epistles. I will merely remark that many scholars to-day regard most of them as genuine. Even if the present passage were a forgery, however, it would be a stupid forgery if Plato had left any exposition of the Idea of the Good.
The sentence therefore puts us on our guard for the remainder of the present discussion. If all imitative 1 Cf. Rep, a. Digitized by Google Plato's View of Poetry 51 poetry is now to be excluded, it must be on some new ground; and, what is more, Plato must have some new motive for wishing to exclude it. The reasons which Plato brings forward in this discussion are two. The ' second ground is the division of the soul into parts; 1 this division was made, we remember, because it was discovered that the soul can be affected in contrary ways by the same object, and because the soul can apprehend truth only by thought, not by sense.
In both arguments, then, what Plato is interested in deciding is whether imitative poetry, as such, can give us an apprehension of truth, it being understood that truth can be apprehended only by the reason. The account of the theory of ideas which Plato here sketches strikes us at once as curious. Now Plato did at times admit the existence of ideas of created things and of natural genera , as well as of ethical notions.
Such an interpretation is supported by the fact that Plato begins the discussion of imitation with painting, and argues about poetry by analogy; for it is painting that most obviously imitates the objects of sense. All this discussion is doubtless influenced by the analogy of the divided line; but the analogy can not be pressed in 1 Ibid. Cratylus , ; Meno, 72 c; Parmenides , de. All that Plato wishes in any case to insist upon is the inferior value of sense to thought in the search for truth; and he places the imitator at one or two or three removes from the truth according to the demands of his special contexts.
The instance chosen here is curious: they may, at a distance, take a picture of a carpenter which aims at representing the carpenter as he appears, not as he is for the real carpenter. Stocks, Class. And in the present case, of course, the poet turns out to be ignorant.
This argument is not strictly new; 8 it derives new force however, from the analogy of the Line and the allegory of the Cave, in 1 Not, of course, in general. Adam, on Rep. Protagoras , d. Digitized by Google 54 William Chase Greene the light of which the argument must in general be read. Imitation appeals to the faculty that is deceived by the illusions of sense, not to that which is able to correct rationally the variety of appearances.
These passions, indeed, offer a greater variety for imitation than does the equable temperament; and they appeal especially to a promiscuous crowd. But the imitative poet who aims at being popular is not by nature able, nor is his art intended, to please the rational part of the soul.
He is like the painter, in that he is interested in appealing to the lower part of the soul, and in that his creations have an inferior degree of truth. Most important of all, poetry can harm even the good; few escape its evil influence. It calls forth our sympathy for imaginary woes, whereas in real life we restrain our feelings; and out of sentimental pity grows a real weakness.
In the same way, the enjoyment of comedy tends to turn us into buffoons. In general, poetry feeds and waters the passions, instead of drying them; it enthrones the passions, rather than the reason. For these reasons, Plato concludes, we can not accept Homer as an educator, or admit that he is profitable for the ordering of human affairs.
We can admit no poetry in our state save hymns to the gods and praises of famous men; for if the Muse of pleasure is admitted, in epic or in lyric verse, the place of law and of universally accepted reason will be usurped by pleasure and pain. In short, there has always been a quarrel between philosophy and poetry; so that the former judgment of exile passed against poetry is justified by the nature of poetry. It is clearly his purpose in this place to damage the cause of poetry as much as he can.
Digitized by Google Plato's View of Poetry 55 regarded as conclusive, 1 and e does all this in the name of philosophy! Does Plato mean us to take it all seriously? Is he altogether ingenuous? He who listens to poetry should, fearing for the safety of the city which is within him , be on his guard against her seductions.
Having sketched his picture of the ideal philosopher and of the absolute knowledge which is to engage his activity, Plato returns to the world about him, as the liberated prisoner of his allegory returns to the cave, and looks once more at the objects from the contemplation of which his fellow-countrymen hope to attain truth; the images of the cave happen to be the poets.
But the temptation to imagine this world to be realized is too great; he must needs, in the spirit of the mime, contrast it with our visible world. So he calls into being his Paradiso, the Civitas Dei , and to it he opposes feeling and the senses in their most specious form. Of course they seem pale and unsatisfactory shadows when they are confronted with the dazzling radiance of the ideal world. Poetry is, poetry in this world must always be, like opinion, in some degree a makeshift.
Would Plato regard the number of pupils that the sophists gathered as a trustworthy index of the value of their teachings? Digitized by Google William Chase Greene 56 is the leading of the soul from sense to pure thought. Plato himself realizes how great are the chances against his own ideal being taken seriously, even as an ideal; 4 we must not outdo him and suppose that his exile of poetry from a Paradise is tantamount to sober literary criticism.
Plato himself adopted the r 61 e of poet in his sentence against the poets, and the very excess of his argument is almost a sufficient indication that he did not mean us to take him altogether seriously. And the whole of the present argument is directed toward showing that any one who is content with the world of sensible things or who is content with imitations of them is thereby cut off from any possibility of real knowledge. If poetry is content with such imitation, it is to be condemned.
If Plato seriously meant more than this in the Republic, we may expect to find traces of the more severe condemnation in the later dialogues. VH The subject of the Phaedrus has been much disputed. Some have held that the subject is love, others that it is rhetoric.
Laws , a. Zeller 4 , ii, pp. But Antisthenes would not admit just the theory of ideas on which imitative art is here condemned. Plato, i, p. These are intimately related, and neither alone is the subject. The proposition that Plato is putting forward in the dialogue is this: A speaker must know the truth in order to speak. In the second discourse of Socrates on love, 7 the speaker distinguishes from the kind of madness which is evil a noble madness.
Phacdrus , e. Phacdrus, b. And is the criticism of poetry made under the aegis of the theory of ideas here repudiated? We must examine more carefully the nature of the inspiration that is here given as the justification of poetry. In the Phaedrus y however, Plato not only attempts to depict the process with greater wealth of mythological detail, but he gives us more hints that enable us to connect the account with his view of poetry proper.
The soul is figured as a charioteer with a pair of winged horses; in the human being, the pair is ill-matched, one horse being noble, the other ignoble. Many fail, and feed on opinion instead. So with broken wings, they drop to earth, and are bom as men. Those souls that have seen most of truth pass into the body of a philosopher or of a lover of beauty or of some other musical and loving nature. In the sixth class are found poets and other imitative artists. All must undergo a period of probation, in order to grow their wings again, and to determine what form they are to assume in their next transformation.
We must notice, however, that whereas the dialectic described in the sixth and seventh books of the Republic is entirely free from any 1 Phaedrus, b. The first of these principles is that discussed in be; the second, though not expressly mentioned till e, is the one on which the second speech of Socrates was constructed, as he proceeds to show.
This, apart from the imagery and the conception of the preexistence of the soul, means that the experience of individual objects of sense may lead one to envisage directly an idea that one possesses a priori.
That is the higher dialectic that was sketched in the Republic. So far the description of the regained vision of reality has been given in general terms. The soul beheld beauty, wisdom, goodness, and the like, 7 justice, temperance, and absolute knowledge. Few, indeed, retain it; and when they do per- 1 Cf. Adam, cd. Phaedo, 73 c; 75 ab. He points out the fact that the brilliant episode just concluded was designed as a picture of the fourth madness, that of love, or rather as a theory of the philosophic habit of mind.
Beauty furnishes the connecting link. Beauty, the object of Love, is one of the Ideas, and it is that one of which alone the world of sense presents a vivid and approximately adequate resemblance. But beauty was beheld in the other world shining brightly; 2 and we who have come to earth find her shining here, too, by means of our clearest sense — that of sight. Sensible objects, to be sure, are not affirmed to be real— Plato does not in the Phaedrus raise this point so explicitly as in the Phaedo — but they may put us in mind of beauty itself.
So at least a part of our inquiry is answered; 7 we find that the theory of ideas, which is by no means given up in the Phaedrus , is not an obstacle to the passage of the mind from the world of sense to truth; it is rather a bridge.
Neither has the figure of image and original been dropped, 8 though it is not employed in such a wooden way as in the tenth book of the Republic. It will suffice to notice the phrases: bdovcrLbaeuv, e; Xifluv. But more important than the use of such language is the idea that underlies it; the idea that it is possible by the contemplation of sensible objects to suffer initiation into a blessed state in which one beholds reality.
Possibly it may be objected, however, that we have here only a general account of the aesthetic experience, somewhat idealized, and that little has been said of poetry proper. It may be admitted that Plato places the lover of beauty in the same class with the philosopher ; 1 but it is in the very same passage that the imitative poet is placed in the sixth rank.
Plato is giving, as we have just said, an idealized account of the aesthetic experience: this may well be compared with the account of the higher dialectic given in the Re - public. It is exactly because such an experience can not be completely realized that Plato is unable to give a description of the super-celestial region that is any more clearly defined.
If, on the other hand, we are required to suppose that Plato was serious in his arrangement of ranks, we must notice that the imitative poet is here ranked above the artisan. How that is to be reconciled with the fact that the imitative poet was ranked below the artisan in the tenth book of the Republic is a question that I leave to those critics who hold that Plato was always in earnest when he attacked the poets. Perhaps it may serve the rest of us as a warning against too great literalness of interpretation.
Yet there is one more passage in the Phaedrus that will help us to understand the bearing of the dialogue on poetry proper. The method involves an account of 1 Phaedrus , d. So in e and c-e, we find the principle of the organic unity of a composition. On the use made of this by Aristotle, cf.
Finsler, Platon und die Aristotelische Poetik , pp. Phaedrus , a. Yet he does not abandon the theory of ideas. In the second book, he explains that the object of early education is to train the young in right opinions and habits of character. He is not satisfied with poetry as it is, for it inculcates bad moral notions and seeks rather to appeal to the mob than to assist in the reign of reason and law.
But Plato goes farther than that. He actually raises again the question whether comedy and tragedy are to be admitted in the state that he is planning, and, with certain restrictions, admits them. For comedy, he finds, is essential to a complete understanding of things, and may teach us what sort of folly we should avoid. Plato cautiously but definitely admits them, provided that they will submit to the censorship. He, too, is a crea- I Cf.
II Ibid. In the earlier passage, Plato is working from sense to thought, from particular to universal. Finding poets, as they exist, to be an obstruction, he resorts to the poetical expedient of banishing them. In the Laws , Plato is speaking as a poet, 1 but as a poet who has achieved a greater degree of truth and hence a greater seriousness of purpose than other poets.
When he undertakes here to step back into the world of sense, he welcomes the cooperation of these other poets, so far as their aims can be made to fall in with his own. If this be true, Plato is himself definitely announcing his own belief in an austere and chastened poetry as a vehicle for the realization of his ideals. The poetic faculty is still irresponsible; 4 yet the inspiration 5 of the poet is to be enlisted in the discovery of the best hymns.
Note also that there is to be a variety in the songs, in order that the singers may not weary of them c ; this is a greater liberty than was allowed in the Republic cf. Plato, v, pp. Digitized by Google 66 William Chase Greene a state that he contemplated, 1 might he not have recognized the poets even more fully?
It remains for us to consider a number of indications that Plato has given of the way that he viewed the opposition, indications widely scattered in the dialogues, giving evidence of a persistently held attitude. As in the Symposium , the Phaedo, the Republic , and the Phaedrus the lover of beauty climbs from beautiful things up to beauty itself, he comes back in the other direction, Plato hints at times, to express this vision in the world of sense.
We must note, then, in the first place, the difficulty that Plato finds in expressing the relation of the world of sense to the world of ideas. In every case he has to resort to a metaphor, though no single phrase is altogether satisfactory. Possibly this is going too far; yet it is not mere caprice that sees in the partial reconciliation of the Laws something like the aspiration for a purified love of beauty that we find in the Symposium. These passages, and others, are cited by Shorey, Unity of Plato's Thought , p.
It is possible, then, for a universal idea to find expression in sensible form. This may mean simply the shaping of material for a certain purpose: so the workman, if a shuttle is broken, will use not the broken instrument as a model for a new one, but the imagined shuttle which expresses the essential nature of the shuttle.
Timaeus , 28 a. Note the phrase AnofiXbrutv vpAt n. PolUicus , c d. Finsler, Platon und die Aristotelische Poetik , p. L6v6que, cited, p. Digitized by Plato's View of Poetry 69 Clearly, however, there are many things in the world of ideas that can not in any literal sense be imitated in the visible world.
This Plato recognizes. Yet he holds that it is possible to appeal to the soul through the eyes and the ears in such a way that it shall be properly disposed toward the truth, because good habits are inculcated and fostered. So the dances of the unwarlike Muse express an escape frony danger or labor into good, or the preservation and increase of former' good.
Plato would have to admit, as Aristotle said of the mysteries, 6 that the hearer of music does not learn anything so much as feel certain emotions and fall into a certain frame of mind. It can not be doubted, however, that Plato had in mind also a notion of the relation of mathematics to ethics. When he remarks in the Republic that he is afraid that he is speaking like a tragic poet, 7 he means only that he is speaking metaphorically; for he has half revealed, half hidden in symbolic language the truth that he would fain express.
And that is the trait of the poet. Gorgias , e. Kwbvrdx0 Xiytiv. The poet, as seer, has beheld the truth; it is as artist that he seeks to convey it by means of images. The word xoimta was at first used of any sort of created thing. Plato also distinguishes the toIijvis that is carried on by man from the divine creation Sophist , d Odas ipya TOffjaean ; cf. So Protag. In this sense, the poets leave creations, that is, the poems which are their offspring Symp.
Plato could, on the other hand, refer to the writing of poetry in a depreciatory sense, as mere compiling Phaedrus, de. From this it appears that to Plato, as to Greeks generally, the activity of the poet was creative only so far as it created poems; it could not create ideas cf.
So far as he commits himself on the subject " at all, it is by falling back on the doctrine of inspiration, which, to be sure, he has modified considerably. Generally the process will work in one of two directions, although it may be hard to pigeon-hole given cases too nicely. Either a definite experience encountered in the world of flux, an experience that appears to be unique, impresses the monly attach to the word poet Etudes sur VAntiquiU Grecque , Paris, ; pp.
He seems to me, however, to be mistaken in saying p. Burnet, note on 60 d 1. The task of the genuine poet, then, would be to find the pufos as well as to put it in verse; he is the creator, not, to be sure, of ideas, but of images. The poems of Homer would be, in the main, an example of this process. Or the poet may conceive an abstract idea, and then endeavor to clothe it in such imagery as will present it concretely to those who have not yet become acquainted with it, trusting that their perception of the concrete imagery will serve as an initiation for them into the perception of the ideal beauty that he has seen.
Of such a process we find instances in the hymns to the gods that Plato approves, and in his own myths. X We have now reached a point where we may turn and look back on our study in the hope of disengaging certain results. Plato himself knew better than that. He realized that truth is elicited from the conflict of views, and from the struggle with ever-recurring problems. He did not build a system of philosophy; he did much more than build a system, for he laid bare the springs from which all later streams of philosophy have flowed.
His work then could never be finished or completely consistent Above all, we must remember that Plato was a man in whose own breast raged the conflict between poetry and philosophy. We can set forth all that is certain; the rest can not be explained till personality can be explained. We must suppose Plato, it follows, to have been bom with a genius of many kinds. In his boyhood, the love of poetry and of the world of images and colors and sounds appealed strongly to him.
He had also a leaning toward reasoning about ethical matters, which found nurture in his association with Socrates. Later, during travels in Magna Graeda, he came into touch with the Pythagorean and Orphic sects, which stimulated, on the one hand, his tendency to speculate in a mystical fashion about the origin and the destiny of the soul, and which aroused, on the other hand, his interest in mathematics and pure science.
When he started to teach in the Academy, all these interests crowded his mind, and he wavered in his devotion to them. For one thing, the instinct of the poet was bom too deep in him; and, as he came to realize after his first flush of enthusiasm was over, science itself has a limit.
If man can not rid himself altogether of the trammels of sense, he may then at least use his earthly surroundings in order to see through them or to express by them the reality beyond them that his faith gives him. In the Ion, we saw him weigh and reject the ordinary notion of poetic inspiration, reserving for some later occasion a more adequate explanation of the value of poetry. In the Symposium , we saw him sketch the ultimate goal to which the experience of the love of beauty, breaking away from sense and ascending by means of thought, should proceed.
In the Phaedrus , we discovered him returning to the problem of inspiration, and relating it to the doctrine of ideas, distinguishing between the perfect experience of the ideal lover of beauty and the imperfect experience of the imitative poet. Accordingly, those interpreters are mistaken who attempt to make a sweeping generalization — as that Plato expelled the poets, 1 or that his real doctrine is contained in myths.
The absolute, for him, is both a principle of existence and a principle of goodness and beauty, and hence, in theory, can be approached either by a hypothetical science of dialectic or by the direct intuition of the lover of beauty. He recognized, however, that the poet might express eternal forms, and so far as he did so, he became a philosopher. In some such way Plato imagined that the ancient conflict between philosophy and poetry might cease.
I hold, however, that Plato was right in believing that some sort of ideal theory must penetrate even the province of art, as a counterblast to the hopeless confusion that would come from a mere creative impulsive or mere expressiveness. My disagreement with the author of this brilliant essay on one point does not prevent me from admiring the essay in general. With the scholarly thoroughness and exactness so characteristic of him he had built his foundations broad and deep; while gradually amassing the most complete apparatus, including collations of the MSS.
But scarcely had he completed his final revision of the text and commentary for one-third of the first play selected for publication — the Aves — when death suddenly interrupted his labors. The text taken as the standard is that of Hall and Geldart first edition, Not all the entries made on the collation sheets are recorded in the following pages.
A great many minor details of accentuation, punctuation, and the like, were entered on the sheets as evidence of the practice of the various scribes; all erasures and changes of any sort were also entered, as well as differences in verse division.
Much of this detail was never intended by Professor White to appear in his critical apparatus, which was planned to contain only significant variants. Where a reading has been corrected, this fact is stated, if apparently of any significance, and the original reading reported, if legible. The MSS. XV C - Parisinus XVI H - Havniensis. XV G, however, was not collated for the Vespae.
Accepting Dr. With slight modifications this plan has been adopted for the present purpose. No one of the three can be a copy of either of the others, since each omits verses contained in the other two. Cary, loc. In the case of corrected readings, if the derived MS. Where the corrections in the parent MS. V 1 in marg. As regards the correcting hands seen in the MSS. Cary were content to accept Mr.
In T three correcting hands were recognized in the text of the Aves and two in the text 6 i the Vespae, in addition to the corrections made by the original hands. For B there is a second correcting hand. No clear case of a second hand was to be found in any of the other MSS.
Where assignments of verses have been changed in T and B, it has seemed simpler not to specify the hands, since in these MSS. U has no names of speakers entered after verse i of the Aves,t but regularly leaves a space in the middle of a line where T had one before the entries were filled in. Similarly A has no speakers entered for either play, but has the same breaks in the middle of lines that B showed at the time A was copied from it.
The spatium will be mentioned only when there is no other indication of a change of speaker. J Except on vs. It must be borne in mind that U regularly uses the comma also as an interrogation point; in fact, the scribe hardly seems to know the regular sign. Here and there C seems to follow the same practice.
A lemma is given wherever confusion might result from its omission, so particularly where the reading of a MS. G, M9, E2, or A gives that reading instead of the reading of its archetype. ET] A sup. Toiabi B xpej? M 1 cfcreXddvra M, rts IX 0 cl? Nearly all MSS. E2, rj in ras. M letter erased? Kal Jooy M in schol. E2 cf. A EH] A sup. T, xw M and T at first? M xws] R, — xws — M, ev xws irei rel. VM9, -rp rel. HI] TB, sp U, om rel. M9 Ko. Trrfyiv M rpd s abrbv lib. HI] G, sp RM? V G rel. XO] R sup.
R, -eis G rel. M9 airrijs G, afo rel. B, tr rel. Iktivov lib. Tr v RMr? M9 1 rel. Ijv S 9 , reading Ipw S 9 corr. MAVp2C, , U, ; rel. HI] ArB, : R, om rel. All MSS. T, iroceiv T c rel. H corr. M9 I min. E2 7c] T in ras. M, tv ArB, tT rel.
M9 rel. Art] Irt A Utivos lib. Between and R repeats 6. MrM9, om rel. V, M9 sup. V, om RAU, ; rel. AM, , U, ; rel. U, KbxKkkpovcn. EB, ko. HI] R above ras. V, sp? H kvvtj R c? E2 No MS. V om G afrrofa] R, airrots rel. E2 rel. C x before eyo C cf.
M in schol. VM 1 olbe ot- RV G rel. After vs. TH, tour -lr rel. HI] R l in marg. V, Teptralpv R no MS. No MS. EB, kvIggcl T? H, korl rel. U M sup. B 1 no] —RV, om G, 1 p rel. C Ktpdaivoptv from icedal- C r 9 ] V C? G, om V? GM 9, Trept RV? AXXo lib.
U, ptaijrtdv Vp2C, piarjriav rel. KaBrjrai E2, KhOrjrai rel. Iktivos lib. XA 0 pa lib. V, fad G, fadv rel. TH no] R 1 in marg. HP] in marg. R 1 , : R Xkyeis lib. R, ofo? T, paaiXelav rel. Robinson In Cridds omnium recte aesdmantium judicio princeps sine controversia, sine aemulo ac rivali dominatur. Dominions Boudins. AquOa in nubibus, quod Graed dicunt, vere tu es. Vides, imo pervides omnia, et quidquid venaris, capis. Justus Lipsius. Scaliger stand auf dem Gipfel universaler lebendiger philologischer Gelehrsam- keit, wie keiner nach ihm: und so hoch in Wissenschaft jeder Art, dass er mit dgnem Urtheil, was ihm auch vorkommen mochte, fassen, nutzen, und richten konnte.
T HE recognized position of Joseph Scaliger as the greatest scholar of modern times — if not indeed of all time—gives a peculiar value to his estimates of the authors of classical antiquity. I have, then, good reason to hope that the collection here for the first time presented will be useful and acceptable to classical students; and that I may count upon a liberal measure of their indulgence for the imperfections inevitable in the execution of such a task. See Ausonianae Lectiones , ii, The arrangement is alphabetical, by authors and in a few cases by groups of authors, with such cross references as seem necessary.
A chronological list or key is prefixed. Ausoniarum Lectionum Libri duo. Stoer in References are by book and chapter. In Appendicem P. Virgilii Maronis Commentarii et CastigaUones. In the Leyden edition of Leidae, Castigationes in Catullum , TibuUum , Propertium. In the Antwerp edition of Cyclometrica Elementa duo. Lugduni Batavorum, Confutatio Fabulae Burdonum.
Edition of Canones Isagogici. Coniectanea in M. Terentium Varronem De Lingua Latina. Notac ad Varronis libros De Re Rustica. In the Stephanus edition of Elenchus utriusque Orationis Chronologicae D. Davidis Parei. Opus de Emendatione Temporum. Elenchus Trihaeresii Nicolai Serarii.
References are to the marginal page numbers, which follow the first edition In Sex. Agen and Paris, Manila ,. Paris, Beys, Poemata Omnia. Berolini, De Re Nummaria Antiquorum Dissertatio. Thesaurus Temporum. Lutetiae, Chronological List. Greek Authors. Before b. Sixth century b. Tarutius Firmanus, Tryphon. Sixth: Musaeus, Paulus Silentiarius, Procopius. Robinson Seventh: Maximus Monachus.
Ninth: George Syncellus, Nicephorus Patriarcha. Twelfth: Eustathius, Tzetzes, Zonaras. Fourteenth: Thomas Magister. Latin Authors. Third and second centuries b. Seventh: Isidore of Seville. Eighth: Bede, Paulus Diaconus. Uncertain: Calliopius, Symposius. Anapaesticos elegantissimos Accii poetae ex Phinidis.
Superstitiosissimus enim, si quis alius, est Aelianus. Aelius Gallus. See Critics and Grammarians. Tanti poetae. De iis tantum loquimur, qui sacrae historiae, ac veri cultus vetustatem opere ei rei privatim dicato asseruerunt: qui quum prope infiniti fuerint post tempora Constantim, qui ante illud tempus earn rem tractaverit, unus tantum impraesentia succurrit, Julius Africanus, et qui eum ipsis vestigiis ita sequitur, Eusebius Pamphili, ut totum ejus 8 fere Chronicum in suum transcripserit: quern, ut earn provinciam susciperet, honesta aemulatio, et aliae caussae,.
Non enim se ad hanc scrip- tionem contulit, ut Gentium duntaxat pertinaciam obtunderet, sed et praecipue ut Christianorum errori succurreret, quibus nulla sacrae historiae constabat certa ratio. T prolegom. Digitized by Google George W. Robinson Viri eruditissimi. Optimi et Christianissimi scriptoris. Ammian Marcellin est bien scabreux. Lepidissimus Anacreon. Doctissimi suorum temporum Anianus et Panodorus Aegyptii monachi.
Antonius Gnepho. Doctissimus simul atque vetustissimus Grammaticus. Tota Bibliotheca Apollodori, opus sane ingeniosis- simum et elegantissimum, fabulosa est, non utique si homines, sed si hominibus attributa considerentur. Luculentum et acutissimum poematium. Apollonius Rhodius. See Critics and Grammarians, Poetae Graeci. Appianum alienorum laborum fucum. Multa hujusmodi fabulosa adtexta sunt illi libro Appiani.
Quod si non sunt assuta, valde infantem in historia Appianum fuisse necesse est. Magnus Archimedes. See Critics, Critics and Grammarians. Aristarchus Samius. See Mathematici. Bonus auctor, Atticus et primus legendus, nec se quisquam jactet Atticismum intelligere, qui hunc ad unguem non teneat.
Certe nullus est qui melius apud Graecos loquatur ipso Aristophane, ut nec apud Latinos Terentio. Scriptor eruditissimus, neque magistellorum auribus commendandus. Latimor, quam elo- quentior non enim assentimur iis, qui barbarum auctorem vocant, cum sit scriptor purissimi sermonis, sed inconditi. Piissimus ac eruditissimus scriptor. Le pauvre livre que les Confessions de saint Augustin! Cela est beau, de faire reconnoistre ses fautes.
Doctissimus poeta. Cum eos ita loquentes audis, risum potes abstinere? Et non ridebis, cum Ausonium bonum poetam negant? Et tamen non a plebe haec audias, sed ab illis, qui honoribus amplissimis funguntur, qui in luce hominum versantur, qui in literis aliqui videri volunt. Nam nobilitati Galliae, quae putat in Gallia nihil esse boni, praeter eum tractum aut regionem, quam Fran- ciam vocamus, et iuventuti Frandcae, quae eodem morbo laborat, in illo praedpiti calore aetatis qui illis aciem mentis perstringit, et plebi, quam postulare sapere, est cum ratione insanire, facile ignosco.
At illos magnos viros hoc dicere, quis poterit pati? Nos, qui neque acuti, neque adeo hebetes in iis rebus sumus, eos amplissimos viros, siquid de supercilio remittere velint, possumus docere, et quid sit Aquitania, et quid sit in literis Criticum esse. Aliter enim de literis hie apud nos, ac de negotiis in aula disputatur. Ita omnia ad imitationem veterum, tanquam ad examen quoddam exiguntur. So also A. Delicatissimis epigrammatis.
Est autem poematium illud in liere- diolum elegantiae priscae, et venustatis plenissimum. De quo hoc possum serio affirmare: si sine nomine aut titulo in veteribus mem- branis repertum fuisset, idem illi potuisse contingere, quod multis aliis poematis Ausonianis, Rosis, Viro bono, Literae Pythagorae, et aliis.
Nam ut ilia sine nomine auctoris in veteribus libris reperta, Virgilio diu attributa fuerunt: ita hoc delicatum elegidion non nisi veteri cuidam, ac etiam ultra aetatem Virgilii poetae adscriptum fuisset. Lucilliano stilo patris sui, itemque praedioli Elogium scripsit.
In quo mihi videtur omnium, quicunque idem tentaturi sunt, conatus posse de- terrere. De industria enim veterem illam simplicitatem affectat, et quantum potest ad eius characterem stilum suum componit. Eruditissima et elegantissima est epodice epistola, quam mittit Paulino pro causa Philonis procuratoris quondam sui. Robinson Epistolo I Theoni Peiper, p.
Epistola, quam scribit primam ad Clementinum Theonem, poetam Medulum, digna est, quae non solum propter eruditionem, sed etiam propter urbanitatem legatur. Treveris agens caepit amoenitatem eius tractus, et fluminis Mosellae delitias admirari. Quo argumento mirum in modum oblectatus, caepit illud poetica scriptione periclitari: id quod ei, ut alia omnia, feliciter cessit. Extat eius ea de re eruditissimus ac venustissimus Panegyricus.
Apage illud illepidum et invenustum carmen Rhopalicis versibus conscriptum. Qui potest esse Ausonii, ineptum, insuave, soloecismis plenum, neque a docto homine, neque seculo Ausoniano scriptum? In Monosyllabis suis, ingeniosis- simo opusculo. Avienus est optimus Arati non solum paraphrastes, sed etiam interpres. Doctissimus Beda. Eximium scriptorem Chaldaeum. Boethius totus legendus est, magnus quippe Philosophus et Poeta eximius, phrasin Neroniani temporis imitans.
Planitas aequabilis Quam Caesar olim, quam colebat Tullius. Majorum gentium auctorem. Nunquam Cassiodoro cum Eusebio convenit de anno aut tempore, quamvis eadem verba referat. Itaque studiosi caveant ab ilia Cassiodori farragine: cujus miram confusionem in Consulibus temulentiae recte comparat Onufrius Panvinius noster.
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