περὶ ἀκροαμάτων ἐν Χαιρωνείᾳ λόγοι παρὰ πότον ἐγένοντο Διογενιανοῦ τοῦ Περγαμηνοῦ παρόντος, καὶ πράγματʼ εἴχομεν ἀμυνόμενοι βαθυπώγωνα σοφιστὴν ἀπὸ τῆς Στοᾶς, ὃς ἐπήγαγε τὸν Πλάτωνα κατηγοροῦντα τῶν αὐλητρίσι χρωμένων παρʼ οἶνον, ἀλλήλοις δὲ συγγίγνεσθαι διὰ λόγου μὴ δυναμένων. καίτοι παρὼν ἀπὸ τῆς αὐτῆς παλαίστρας Φίλιππος ὁ Προυσιεὺς ἐᾶν ἐκέλευσε τοὺς παρʼ Ἀγάθωνι δαιτυμόνας ἐκείνους παντὸς αὐλοῦ καὶ πηκτίδων ἐπιτερπέστερα φθεγγομένους οὐ γὰρ αὐλητρίδα, παρόντων ἐκείνων, ἐκπεσεῖν θαυμαστὸν ἦν, ἀλλʼ εἰ μὴ καὶ πότου καὶ σίτου λήθη κατελάμβανεν ὑφʼ ἡδονῆς καὶ κηλήσεως τὸ συμπόσιον. καίτοι Ξενοφῶν οὐκ ᾐσχύνθη, Σωκράτους καὶ Ἀντισθένους καὶ ἄλλων παρόντων τοιούτων, τὸν γελωτοποιὸν φέρων Φίλιππον, ὥσπερ Ὅμηρος τὸ κρόμυον ποτῷ ὄψον, ὑποδεῖξαι τοῖς ἀνδράσι. Πλάτων δὲ τὸν τʼ Ἀριστοφάνους λόγον περὶ τοῦ ἔρωτος ὡς κωμῳδίαν ἐμβέβληκεν εἰς τὸ Συμπόσιον, καὶ τελευτῶν ἔξωθεν ἀναπετάσας τὴν αὔλειον ἐπάγει δρᾶμα τῶν ποικιλωτάτων, μεθύοντα καὶ κώμῳ χρώμενον ἐστεφανωμένον Ἀλκιβιάδην. εἶθʼ οἱ πρὸς Σωκράτην διαπληκτισμοὶ περὶ Ἀγάθωνος καὶ Σωκράτους ἐγκώμιον, ὦ φίλαι Χάριτες, ἆρά γʼ εἰπεῖν ὅσιόν ἐστιν, ὅτι, τοῦ Ἀπόλλωνος ἥκοντος εἰς τὸ συμπόσιον ἡρμοσμένην τὴν λύραν ἔχοντος, ἱκέτευσαν ἂν οἱ παρόντες ἐπισχεῖν τὸν θεόν, ἕως ὁ λόγος συμπερανθῇ καὶ λάβῃ τέλος; εἶτʼ ἐκεῖνοι μὲν οἱ ἄνδρες ἔφη τοσαύτην ἐν τῷ διαλέγεσθαι χάριν ἔχοντες, ὅμως ἐχρῶντο τοῖς ἐπεισοδίοις καὶ διεποίκιλλον τὰ συμπόσια παιδιαῖς τοιαύταις· ἡμεῖς δὲ μεμιγμένοι πολιτικοῖς καὶ ἀγοραίοις ἀνδράσι, πολλοῖς δʼ, ὅταν οὕτω τύχωμεν, ἰδιώταις καὶ ὑπαγροικοτέροις ἐκβάλωμεν τὴν τοιαύτην χάριν καὶ διατριβὴν ἐκ τῶν συμποσίων ἢ ἀπίωμεν, ὥσπερ τὰς Σειρῆνας ἐπιούσας φεύγοντες; ἀλλὰ Κλειτόμαχος μὲν ὁ ἀθλητὴς ἐξανιστάμενος καὶ ἀπιών, εἴ τις ἐμβάλοι λόγον ἐρωτικόν, ἐθαυμάζετο· φιλόσοφος δʼ ἀνὴρ αὐλὸν ἐκ συμποσίου φεύγων καὶ ψαλτρίας ἁρμοζομένης ὑποδεῖσθαι βοῶν ταχὺ καὶ τὸν λυχνοῦχον ἅπτειν οὐ καταγέλαστός ἐστι, τὰς ἀβλαβεστάτας ἡδονάς, ὥσπερ οἱ κάνθαροι τὰ μύρα, βδελυττόμενος; εἰ γὰρ ἄλλοτε, μάλιστα δήπου παρὰ πότον, προσπαιστέον ἐστὶ τούτοις καὶ δοτέον εἰς ταῦτα τῷ θεῷ τὴν ψυχήν. ὡς τὰ γʼ ἄλλα φίλος ὢν Εὐριπίδης ἐμὲ γοῦν οὐ πέπεικε, περὶ μουσικῆς νομοθετῶν, ὡς ἐπὶ τὰ πένθη καὶ τὰς βαρυφροσύνας μετακομιστέας οὔσης· ἐκεῖ μὲν γὰρ ὥσπερ ἰατρὸν ἐφιστάναι δεῖ νοσοῦσιν ἐσπουδακότα καὶ νήφοντα τὸν λόγον, τὰς δὲ τοιαύτας ἡδονὰς τῷ Διονύσῳ καταμίξαντας ἐν παιδιᾶς μέρει τίθεσθαι. χάριεν γάρ τοι τὸ τοῦ Λάκωνος, ὃς, Ἀθήνησι καινῶν ἀγωνιζομένων τραγῳδῶν, θεώμενος τὰς παρασκευὰς τῶν χορηγῶν καὶ τὰς σπουδὰς τῶν διδασκάλων καὶ τὴν ἅμιλλαν οὐκ ἔφη σωφρονεῖν τὴν πόλιν μετὰ τοσαύτης; σπουδῆς παίζουσαν· τῷ γὰρ ὄντι παίζοντα δεῖ· παίζειν καὶ μήτε δαπάνης πολλῆς μήτε τῶν πρὸς ἄλλα χρησίμων καιρῶν ὠνεῖσθαι τὸ ῥᾳθυμεῖν, ἀλλʼ ἐν πότῳ καὶ ἀνέσει τῶν τοιούτων ἀπογεύεσθαι καὶ σκοπεῖν ἅμα τερπόμενον, εἴ τι χρήσιμον ἐξ αὐτῶν λαβεῖν ἔστιν.
AT Chaeronea, Diogenianus the Pergamenian being present, we had a long discourse at an entertainment about music; and we had a great deal of trouble to hold out against a great bearded sophister of the Stoic sect, who quoted Plato as blaming a company that admitted flute-girls and were not able to entertain one another with discourse. And Philip the Prusian, of the same sect, said: Those guests of Agatho, whose discourse was more sweet than the sound of any pipe in the world, were no good authority in this case; for it was no wonder that in their company the flute-girl was not regarded; but it is strange that, in the midst of the entertainment, the extreme pleasantness of the discourse had not made them forget their meat and drink. Yet Xenophon thought it not indecent to bring in to Socrates, Antisthenes, and the like the jester Philip; as Homer doth an onion to make the wine relish. And Plato brought in Aristophanes’s discourse of love, as a comedy, into his entertainment; and at the last, as it were drawing all the curtains, he shows a scene of the greatest variety imaginable,—Alcibiades drunk, frolicking, and crowned. Then follows that pleasant raillery between him and Socrates concerning Agatho, and the encomium of Socrates; and when such discourse was going on, good Gods! had it not been allowable, if Apollo himself had come in with his harp ready, to desire the God to forbear till the argument was out? These men, having such a pleasant way of discoursing, used these arts and insinuating methods, and graced their entertainments by facetious raillery. But shall we, being mixed with tradesmen and merchants, and some (as it now and then happens) ignorants and rustics, banish out of our entertainments this ravishing delight, or fly the musicians, as if they were Sirens, as soon as we see them coming? Clitomachus the wrestler, rising and getting away when any one talked of love, was much wondered at; and should not a philosopher that banisheth music from a feast, and is afraid of a musician, and bids his linkboy presently light his link and be gone, be laughed at, since he seems to abominate the most innocent pleasures, as beetles do ointment? For, if at any time, certainly over a glass of wine, music should be allowed, and then chiefly the harmonious God should have the direction of our souls; so that Euripides, though I like him very well in other things, shall never persuade me that music, as he would have it, should be applied to melancholy and grief. For there sober and serious reason, like a physician, should take care of the diseased men; but those pleasures should be mixed with Bacchus, and serve to increase our mirth and frolic. Therefore it was a pleasant saying of that Spartan at Athens, who, when some new tragedians were to contend for the prize, seeing the preparations of the masters of the dances, the hurry and busy diligence of the instructors, said, the city was certainly mad which sported with so much pains. He that designs to sport should sport, and not buy his ease and pleasure with great expense, or the loss of that time which might be useful to other things; but whilst he is feasting and free from business, those should be enjoyed. And it is advisable to try amidst our mirth, whether any profit is to be gotten from our delights.
ἐπεὶ δὲ ταῦτʼ ἐρρήθη, βουλόμενον αὖθις ἀντιλέγειν τὸν σοφιστὴν ἐγὼ διακρουόμενος ἐκεῖνο μᾶλλον ἔφην σκέψαιτʼ ἄν τις, ὦ· Διογενιανέ, πολλῶν ἀκροαμάτων ὄντων ποῖον ἂν μάλιστα γένος εἰς πότον ἐναρμόσειε, καὶ παρακαλῶμεν ἐπικρῖναι τουτονὶ τὸν σοφόν· ἀπαθὴς γὰρ ὢν πρὸς ἅπαντα καὶ ἀκήλητος οὐκ ἂν σφαλείη πρὸ τοῦ βελτίονος ἑλέσθαι τὸ ἥδιον ὡς οὖν ὅ τε Διογενιανὸς παρεκάλει καὶ ἡμεῖς, οὐδὲν μελλήσας ἐκεῖνος ἔφη τἄλλα μὲν ἐπὶ τὴν θυμέλην καὶ τὴν ὀρχήστραν ἐξελαύνειν, εἰσάγειν δὲ τὸ νεωστὶ μὲν ἐν Ῥώμῃ παρεισηγμένον εἰς τὰ συμπόσια, μήπω δʼ ἀναλάμπον ἐν τοῖς πολλοῖς. ἴστε γάρ εἶπεν ὅτι τῶν Πλάτωνος διαλόγων διηγηματικοὶ τινὲς εἰσιν οἱ δὲ δραματικοί· τούτων οὖν τῶν δραματικῶν τοὺς ἐλαφροτάτους ἐκδιδάσκονται παῖδες, ὥστʼ ἀπὸ στόματος λέγειν πρόσεστι δʼ ὑπόκρισις πρέπουσα τῷ ἤθει τῶν ὑποκειμένων προσώπων καὶ φωνῆς πλάσμα καὶ σχῆμα καὶ διαθέσεις ἑπόμεναι τοῖς λεγομένοις. ταῦθʼ οἱ μὲν αὐστηροὶ καὶ χαρίεντες ἠγάπησαν ὑπερφυῶς, οἱ δʼ ἄνανδροι καὶ διατεθρυμμένοι τὰ ὦτα διʼ ἀμουσίαν καὶ ἀπειροκαλίαν, οὕς φησιν Ἀριστόξενος χολὴν ἐμεῖν, ὅταν ἐναρμονίου ἀκούσωσιν, ἐξέβαλον· καὶ οὐ θαυμάσαιμʼ ἄν, εἰ τὸ πάμπαν ἐκβάλλουσιν· ἐπικρατεῖ γὰρ ἡ θηλύτησ.
WHEN Philip had ended, I hindered the sophister from returning an answer to the discourse, and said: Let us rather enquire, Diogenianus, since there are a great many sorts of music, which is fittest for an entertainment. And let us beg this learned man’s judgment in this case; for since he is not prejudiced or apt to be biassed by any sort, there is no danger that he should prefer that which is pleasantest before that which is best. Diogenianus joining with me in this request, he presently began. All other sorts I banish to the theatre and play-house, and can only allow that which hath been lately admitted into the entertainments at Rome, and with which everybody is not yet acquainted. You know, continued he, that some of Plato’s dialogues are purely narrative, and some dramatic. The easiest of this latter sort they teach their children to speak by heart; causing them to imitate the actions of those persons they represent, and to form their voice and affections to be agreeable to the words. This all the grave and well-bred men exceedingly approve; but soft and effeminate fellows, whose ears ignorance and ill-breeding hath corrupted, and who, as Aristoxenus phraseth it, are ready to vomit when they hear excellent harmony, reject it; and no wonder, when effeminacy prevails.
καὶ ὁ Φίλιππος ὁρῶν ὑποδυσχεραίνοντας ἐνίους φείδου εἶπεν ὦ τᾶν, καὶ παραβάλλου λοιδορῶν ἡμᾶς· ἡμεῖς γάρ ἐσμεν οἱ πρῶτοι τοῦ πράγματος εἰσαγομένου δυσχεράναντες ἐν Ῥώμῃ καὶ καθαψάμενοι τῶν ἀξιούντων Πλάτωνα διαγωγὴν ἐν οἴνῳ ποιεῖσθαι, καὶ τῶν Πλάτωνος διαλόγων ἐπὶ τραγήμασι καὶ μύροις ἀκούειν διαπίνοντας· ὅτε, καὶ Σαπφοῦς ἀναλεγομένης καὶ τῶν Ἀνακρέοντος, ἐγὼ μοι δοκῶ καταθέσθαι τὸ ποτήριον αἰδούμενος. πολλὰ δʼ εἰπεῖν ἐπιόν μοι δέδια μὴ μετὰ σπουδῆς τινος οὐ παιδιᾶς διαλέγεσθαι πρός σε δόξω· ὅθεν, ὡς ὁρᾷς, ποτίμῳ λόγῳ ἁλμυρὰν ἀκοὴν κατακλύσαι τῷ φίλῳ Διογενιανῷ μετὰ τῆς κύλικος δίδωμι.
Philip, perceiving some of the company uneasy at this discourse, said: Pray spare us, sir, and be not so severe upon us; for we were the first that found fault with that custom when it first began to be countenanced in Rome, and reprehended those who thought Plato fit to entertain us whilst we were making merry, and who would hear his dialogues whilst they were eating cates and scattering perfumes. When Sappho’s songs or Anacreon’s verses are pronounced, I protest I then think it decent to set aside my cup. But should I proceed, perhaps you would think me much in earnest, and designing to oppose you, and therefore, together with this cup which I present my friend, I leave it to him to wash your salt ear with fresh discourse.
δεξάμενος οὖν ὁ Διογενιανὸς ἀλλὰ καὶ τούτους ἔφη νήφοντας ἀκούω λόγους· ὥσθʼ ὁ οἶνος ἡμᾶς ἀδικεῖν οὐκ ἔοικεν οὐδὲ κρατεῖν. δέδια δὴ μὴ καὶ αὐτὸς εὐθύνας ὑπόσχω· καίτοι τὰ πολλὰ περικοπτέα τῶν ἀκροαμάτων ἐστί· πρώτην τραγῳδίαν, ὡς οὐ πάνυ τι συμποτικὸν ἀλλὰ σεμνότερον βοῶσαν καὶ σκευωρουμένην πραγμάτων ὑποκρίσεις πάθος ἐχόντων καὶ οἶκτον. ἀποπέμπω δὲ τῆς ὀρχήσεως τὴν Πυλάδειον, ὀγκώδη καὶ παθητικὴν καὶ πολυπρόσωπον οὖσαν· αἰδοῖ δὲ τῶν ἐγκωμίων ἐκείνων, ἃ Σωκράτης περὶ ὀρχήσεως διῆλθε, δέχομαι τὴν Βαθύλλειον αὐτόθεν πέζαν τοῦ κόρδακος ἁπτομένην, Ἠχοῦς ἤ τινος Πανὸς ἢ Σατύρου σὺν Ἔρωτι κωμάζοντος ὑπόρχημά τι διατιθεμένην. τῶν δὲ κωμῳδιῶν ἡ μὲν ἀρχαία διὰ τὴν ἀνωμαλίαν ἀνάρμοστος ἀνθρώποις πίνουσιν· ἥ τε γὰρ ἐν ταῖς λεγομέναις παραβάσεσιν αὐτῶν σπουδὴ καὶ παρρησία λίαν ἄκρατός ἐστι καὶ σύντονος, ἥ τε πρὸς τὰ σκώμματα καὶ βωμολοχίας εὐχέρεια δεινῶς κατάκορος καὶ ἀναπεπταμένη καὶ γέμουσα ῥημάτων ἀκόσμων καὶ ἀκολάστων ὀνομάτων· ἔτι δʼ ὥσπερ ἐν τοῖς ἡγεμονικοῖς δείπνοις ἑκάστῳ παρέστηκε τῶν κατακειμένων οἰνοχόος, οὕτω δεήσει γραμματικὸν ἑκάστῳ τὸ καθʼ ἕκαστον ἐξηγεῖσθαι, τίς ὁ Λαισποδίας παρʼ Εὐπόλιδι καὶ ὁ Κινησίας παρὰ Πλάτωνι καὶ ὁ Λάμπων παρὰ Κρατίνῳ, καὶ τῶν κωμῳδουμένων ἕκαστος· ὥστε γραμματοδιδασκαλεῖον ἡμῖν γενέσθαι τὸ συμπόσιον ἢ κωφὰ καὶ ἄσημα τὰ σκώμματα διαφέρεσθαι. περὶ δὲ τῆς νέας κωμῳδίας τί ἂν ἀντιλέγοι τις; οὕτω γὰρ ἐγκέκραται τοῖς συμποσίοις, ὡς μᾶλλον ἂν οἴνου χωρὶς ἢ Μενάνδρου διακυβερνῆσαι τὸν πότον. ἥ τε γὰρ λέξις ἡδεῖα καὶ πεζὴ κατέσπαρται τῶν πραγμάτων, ὡς μήθʼ ὑπὸ νηφόντων καταφρονεῖσθαι μήτʼ οἰνωμένους ἀνιᾶν· γνωμολογίαι τε χρησταὶ καὶ ἀφελεῖς ὑπορρέουσαι καὶ τὰ σκληρότατα τῶν ἠθῶν ὥσπερ ἐν πυρὶ τῷ οἴνῳ μαλάττουσι καὶ κάμπτουσι πρὸς τὸ ἐπιεικέστερον· ἥ τε τῆς σπουδῆς πρὸς τὴν παιδιὰν ἀνάκρασις ἐπʼ οὐδὲν ἂν πεποιῆσθαι δόξειεν ἀλλʼ ἢ πεπωκότων καὶ διακεχυμένων ἡδονὴν ὁμοῦ καὶ ὠφέλειαν. ἔχει δὲ καὶ τὰ ἐρωτικὰ παρʼ αὐτῷ καιρὸν πεπωκόσιν ἀνθρώποις, καὶ ἀναπαυσομένοις μετὰ μικρὸν ἀπιοῦσι παρὰ τὰς ἑαυτῶν γυναῖκας· οὔτε παιδὸς ἔρως ἄρρενός ἐστιν ἐν τοσούτοις δράμασιν, αἵ τε φθοραὶ τῶν παρθένων εἰς γάμον ἐπιεικῶς καταστρέφουσι· τὰ δὲ πρὸς ἑταίρας, ἂν μὲν ὦσιν ἰταμαὶ καὶ θρασεῖαι, διακόπτεται σωφρονισμοῖς τισιν ἢ μετανοίαις τῶν νέων· ταῖς δὲ χρησταῖς καὶ ἀντερώσαις ἢ πατήρ τις ἀνευρίσκεται γνήσιος, ἢ χρόνος τις ἐπιμετρεῖται τῷ ἔρωτι, συμπεριφορὰν αἰδοῦς· ἔχων φιλάνθρωπον. ταῦτα δʼ ἀνθρώποις ἄλλο μὲν τι πράττουσιν ἴσως οὐδεμιᾶς σπουδῆς ἄξιά ἐστίν· ἐν δὲ τῷ πίνειν οὐ θαυμάσαιμʼ ἄν, εἰ τὸ τερπνὸν αὐτῶν καὶ γλαφυρὸν ἅμα καὶ πλάσιν τινὰ καὶ κατακόσμησιν ἐπιφέρει, συνεξομοιοῦσαν τὰ ἤθη τοῖς ἐπιεικέσι καὶ φιλανθρώποις.
Then Diogenianus, taking the cup, said: Methinks this is very sober discourse, which makes me believe that the wine doth not please you, since I see no effect of it; so that I fear I ought to be corrected. Indeed many sorts of music are to be rejected; first, tragedy, as having nothing familiar enough for an entertainment, and being a representation of actions attended with grief and extremity of passion. I reject the sort of dancing which is called Pyladean from Pylades, because it is full of pomp, very pathetical, and requires a great many persons; but if we would admit any of those sorts that deserve those encomiums which Socrates mentions in his discourse about dancing, I like that sort called Bathyllean, which requires not so high a motion, but hath something of the nature of the Cordax, and resembles the motion of an Echo, a Pan, or a Satyr frolicking with love. Old comedy is not fit for men that are making merry, by reason of the irregularities that appear in it; for that vehemency which they use in the parabasis is loud and indecent, and the liberty they take to scoff and abuse is very surfeiting, too open, and full of filthy words and lewd expressions. Besides, as at great men’s tables every man hath a servant waiting at his elbow, so each of his guests would need a grammarian to sit by him, and explain who is Laespodias in Eupolis, Cinesias in Plato, and Lampo in Cratinus, and who is each person that is jeered in the play. Concerning new comedy there is no need of any long discourse. It is so fitted, so interwoven with entertainments, that it is easier to have a regular feast without wine, than without Menander. Its phrase is sweet and familiar, the humor innocent and easy, so that there is nothing for men whilst sober to despise, or when merry to be troubled at. The sentiments are so natural and unstudied, that midst wine, as it were in fire, they soften and bend the rigidest temper to be pliable and easy. And the mixture of gravity and jests seems to be contrived for nothing so aptly as for the pleasure and profit of those that are frolicking and making merry. The love-scenes in Menander are convenient for those who have already taken their cups, and who in a short time must retire home to their wives; for in all his plays there is no love of boys mentioned, and all rapes committed on virgins end decently in marriages at last. As for misses, if they are impudent and jilting, they are bobbed, the young gallants turning sober, and repenting of their lewd courses. But if they are kind and constant, either their true parents are discovered, or a time is determined for the intrigue, which brings them at last to obliging modesty and civil kindness. These things to men busied about other matters may seem scarce worth taking notice of; but whilst they are making merry, it is no wonder that the pleasantness and smoothness of the parts should work a neat conformity and elegance in the hearers, and make their manners like the pattern they have from those genteel characters.
ὁ μὲν οὖν Διογενιανὸς ἢ παυσάμενος ἢ διαλιπὼν ἐσιώπησεν ἐπιφυομένου δʼ αὐτῷ τοῦ σοφιστοῦ πάλιν καὶ ῥήσεις τινὰς οἰομένου δεῖν τῶν Ἀριστοφανείων περαίνειν, ὁ Φίλιππος ἐμὲ προσαγορεύσας οὗτος μέν ἔφη τὴν ἐπιθυμίαν ἐμπέπληκε, τὸν ἥδιστον αὐτῷ Μένανδρον ἐπαινέσας, καὶ τῶν ἄλλων οὐδὲν ἔτι φροντίζειν ἔοικε. λείπεται δὲ πολλὰ τῶν ἀκροαμάτων ἡμῖν ἀνεξέταστα, περὶ ὧν ἂν ἡδέως ἀκούσαιμί σου· τὸν δὲ τῶν ζῳδιογλύφων ἀγῶνα βραβεύσομεν αὔριον, ἂν δοκῇ τῷ ξένῳ καὶ Διογενιανῷ, νήφοντες.οὐκοῦν ἔφην ἐγὼ μῖμοί τινες εἰσιν, ὧν τοὺς μὲν ὑποθέσεις τοὺς δὲ παίγνια καλοῦσιν· ἁρμόζειν δʼ οὐδέτερον οἶμαι συμποσίῳ γένος, τὰς μὲν ὑποθέσεις διὰ τὰ μήκη τῶν δραμάτων καὶ τὸ δυσχορήγητον τὰ δὲ παίγνια, πολλῆς γέμοντα βωμολοχίας καὶ σπερμολογίας, οὐδὲ τοῖς τὰ ὑποδήματα κομίζουσι παιδαρίοις, ἄν γε δὴ δεσποτῶν τῶν ᾖ σωφρονούντων, θεάσασθαι προσήκει. οἱ δὲ πολλοί, καὶ γυναικῶν συγκατακειμένων καὶ παίδων ἀνήβων, ἐπιδείκνυνται μιμήματα πραγμάτων καὶ λόγων, ἃ πάσης μέθης ταραχωδέστερον τὰς ψυχὰς; διατίθησιν. ἀλλʼ ἥ γε κιθάρα πάλαι που καὶ καθʼ Ὅμηρον ἔτι τοῖς χρόνοις γνωρίμη τῆς δαιτός ἐστι, καὶ μακρὰν οὕτω φιλίαν καὶ συνήθειαν οὐ πρέπει διαλύειν, ἀλλὰ δεῖσθαι τῶν κιθαρῳδῶν μόνον, ὅπως τὸν πολὺν θρῆνον καὶ γόον ἐξαιρῶσι τῶν ᾠδῶν, εὔφημα καὶ πρέποντα θαλιάζουσιν ἀνθρώποις ᾄδοντες. τὸν δʼ αὐλὸν οὐδὲ βουλομένοις ἀπώσασθαι τῆς τραπέζης ἔστιν· αἱ γὰρ σπονδαὶ ποθοῦσιν αὐτὸν ἅμα τῷ στεφάνῳ καὶ συνεπιφθέγγεται τῷ παιᾶνι τὸ θεῖον, εἶτʼ ἀπελίγανε καὶ διεξῆλθε τῶν ὤτων καταχεόμενος φωνὴν ἡδεῖαν ἄχρι τῆς ψυχῆς ποιοῦσαν γαλήνην· ὥστʼ, εἴ τι τῶν ἀσηρῶν καὶ πεφροντισμένων ὁ ἄκρατος οὐκ ἐξέσεισεν οὐδὲ διέλυσε, τοῦτο τῇ χάριτι καὶ πραότητι τοῦ μέλους ὑποκατακλινόμενον ἡσυχάζειν, ἄν γε δὴ καὶ αὐτὸς τὸ μέτριον αὑ διαφυλάττῃ μὴ παθαινόμενος μηδʼ ἀνασοβῶν καὶ παρεξιστὰς βόμβυξι καὶ πολυχορδίαις τὴν διάνοιαν ὑγρὰν ὑπὸ τῆς μέθης καὶ ἀκροσφαλῆ γεγενημένην. ὡς · γὰρ τὰ θρέμματα λόγου μὲν οὐ συνίησι διάνοιαν ἔχοντος, σιγμοῖς δὲ καὶ ποππυσμοῖς ἀμελέσιν ἢ σύριγξι καὶ στρόμβοις ἐγείρουσι καὶ κατευνάζουσι πάλιν οἱ νέμοντες, οὕτως, ὅσον ἔνεστι τῇ ψυχῇ φορβαδικὸν καὶ ἀγελαῖον καὶ ἀξύνετον λόγου καὶ ἀνήκοον, μέλεσι καὶ ῥυθμοῖς; ἐπιψάλλοντες καὶ καταυλοῦντες εὖ τίθενται καὶ καταπραΰνουσιν. οὐ μὴν ἀλλʼ εἰ δεῖ τὸ γʼ ἐμοὶ φαινόμενον εἰπεῖν, οὔτʼ ἂν αὐλοῦ ποτε καθʼ αὑτὸν οὔτε λύρας μέλει χωρὶς λόγου καὶ ᾠδῆς ἐπιτρέψαιμι τὸ συμπόσιον, ὥσπερ ῥεύματι φέρειν ὑπολαμβάνοντι· δεῖ γὰρ οὕτως ἐθίζειν καὶ σπουδάζοντας καὶ παίζοντας, ὥστε καὶ τὰς ἡδονὰς ἐκ λόγου λαμβάνειν καὶ τὰς διατριβὰς ἐν λόγῳ ποιεῖσθαι· τὸ δὲ μέλος καὶ τὸν ῥυθμὸν ὥσπερ ὄψον ἐπὶ τῷ λόγῳ καὶ μὴ καθʼ αὑτὰ προσφέρεσθαι μηδὲ λιχνεύειν. ὡς γὰρ ἡδονὴν ἐν οἴνῳ καὶ ὄψῳ τῇ χρείᾳ τῆς τροφῆς συνεισιοῦσαν οὐδεὶς ἀπωθεῖται, τὴν δʼ ἐπὶ τοῖς μύροις οὐκ ἀναγκαίαν καὶ περίεργον οὖσαν ὁ Σωκράτης ἐπὶ κόρρης ῥαπίζων ἐξέβαλλεν· οὕτω ψαλτηρίου φωνῆς καὶ αὐλοῦ, καθʼ ἑαυτὴν τὰ ὦτα κοπτούσης, μὴ ὑπακούωμεν· ἂν δʼ ἕπηται μετὰ λόγου καὶ ᾠδῆς ἑστιῶσα καὶ τέρπουσα τὸν ἐν ἡμῖν λόγον, εἰσάγωμεν, οἰόμενοι καὶ τὸν Μαρσύαν ἐκεῖνον ὑπὸ τοῦ θεοῦ κολασθῆναι, ὅτι φορβειᾷ καὶ αὐλοῖς ἐπιστομίσας ἑαυτὸν ἐτόλμησε ψιλῷ μέλει διαγωνίζεσθαι πρὸς ᾠδὴν καὶ κιθάραν. μόνον ἔφην σκοπῶμεν, ὅπως συμπόταις διὰ λόγου καὶ φιλοσοφίας ἀλλήλους εὐφραίνειν δυναμένοις μηδὲν ἐπάξομεν τοιοῦτον θύραθεν, ὃ κώλυμα διαγωγῆς μᾶλλον ἢ διαγωγή τις ἔσται. οὐ γὰρ μόνον ὅσοι τὴν σωτηρίαν οἴκοι καὶ παρʼ αὑτῶν ἔχοντες ἄλλην θέλουσιν εἰσαγώγιμον λαβεῖν, ὡς Εὐριπίδης εἶπεν, ἀβέλτεροὶ εἰσιν, ἀλλὰ καὶ ὅσοι, πολλῆς ἐν αὐτοῖς εὐφροσύνης καὶ θυμηδίας παρούσης, ἔξωθεν ἐπάγειν τὰ τέρποντα φιλοτιμοῦνται. καὶ γὰρ ἡ τοῦ μεγάλου βασιλέως μεγαλοφροσύνη πρὸς Ἀνταλκίδαν τὸν Λάκωνα δεινῶς ἀπειρόκαλος ἐφάνη καὶ ἀγροῖκος, ὁπηνίκα ῥόδων καὶ κρόκου μεμιγμένων στέφανον εἰς μύρον βάψας ἔπεμψεν αὐτῷ, τὸ σύμφυτον καὶ ἴδιον καλὸν ἀποσβέσας καὶ καθυβρίσας τοῖς ἄνθεσιν. ὅμοιον οὖν ἐστι τό, συμποσίου χάριν ἔχοντος ἐν ἑαυτῷ καὶ μοῦσαν ἰδίαν, καταυλεῖν καὶ καταψάλλειν ἔξωθεν, ἀφαιρούμενον τῷ ἀλλοτρίῳ τὸ οἰκεῖον. μάλιστα γοῦν ἀκροαμάτων ἂν εἴη καιρὸς ἐν συμποσίῳ κυμαίνοντι καὶ κορυσσομένῳ πρὸς ἔριν ἢ φιλονεικίαν ὥστε λοιδορίαν τινὰ κατασβέσαι καὶ ζητήσεως εἰς ἅμιλλαν ἀτερπῆ καὶ ἀγῶνα σοφιστικὸν ἐκφερομένης ἐπιλαμβάνεσθαι, καὶ ἀγῶνας ἐκκλησιαστικοὺς καὶ ἀγοραίους ἐπισχεῖν, ἄχρι ἂν αὖθις ἐξ ἀρχῆς ἀθόρυβον καὶ ἀνήνεμον γένηται τὸ συμπόσιον.
Diogenianus, either designedly or for want of breath, ended thus. And when the sophister came upon him again, and contended that some of Aristophanes’s verses should be recited, Philip speaking to me said: Diogenianus hath had his wish in praising his beloved Menander, and seems not to care for any of the rest. There are a great many sorts which we have not at all considered, concerning which I should be very glad to have your opinion; and the prize for carvers we will set up to-morrow, when we are sober, if Diogenianus and this stranger think fit. Of representations, said I, some are mythical, and some are farces; neither of these are fit for an entertainment; the first by reason of their length and cost, and the latter being so full of filthy discourse and lewd actions, that they are not fit to be seen by the foot-boys that wait on civil masters. Yet the rabble, even with their wives and young sons, sit quietly to be spectators of such representations as are apt to disturb the soul more than the greatest debauch in drink. The harp ever since Homer’s time was well acquainted with feasts and entertainments, and therefore it is not fitting to dissolve such an ancient friendship and acquaintance; but we should only desire the harpers to forbear their sad notes and melancholy tunes, and play only those that are delighting, and fit for such as are making merry. The pipe, if we would, we cannot reject, for the libation in the beginning of the entertainment requires that as well as the garland. Then it insinuates and passeth through the ears, spreading even to the very soul a pleasant sound, which produceth serenity and calmness; so that, if the wine hath not quite dissolved or driven away all vexing solicitous anxiety, this, by the softness and delightful agreeableness of its sound, smooths and calms the spirits, if so be that it keeps within due bounds, and doth not elevate too much, and, by its numerous surprising divisions, raise an ecstasy in the soul which wine hath weakened and made easy to be perverted. For as brutes do not understand a rational discourse, yet lie down or rise up at the sound of a shell or whistle, or of a chirp or clap; so the brutish part of the soul, which is incapable either of understanding or obeying reason, men conquer by songs and tunes, and by music reduce it to tolerable order. But to speak freely what I think, no pipe nor harp simply played upon, and without a song with it, can be very fit for an entertainment. For we should still accustom ourselves to take our chiefest pleasure from discourse, and spend our leisure time in profitable talk, and use tunes and airs as a sauce for the discourse, and not singly by themselves, to please the unreasonable delicacy of our palate. For as nobody is against pleasure that ariseth from sauce or wine going in with our necessary food, but Socrates flouts and refuseth to admit that superfluous and vain pleasure which we take in perfumes and odors at a feast; thus the sound of a pipe or harp, when singly applied to our ears, we utterly reject, but if it accompanies words, and together with an ode feasts and delights our reason, we gladly introduce it. And we believe the famed Marsyas was punished by Apollo for pretending, when he had nothing but his single pipe, and his muzzle to secure his lips, to contend with the harp and song of the God. Let us only take care that, when we have such guests as are able to cheer one another with philosophy and good discourse, we do not introduce any thing that may rather prove an uneasy hindrance to the conversation than promote it. For not only are those fools, who, as Euripides says, having safety at home and in their own power, yet would hire some from abroad; but those too who, having pleasantness enough within, are eager after some external pastimes to comfort and delight them. That extraordinary piece of honor which the Persian king showed Antalcidas the Spartan seemed rude and uncivil, when he dipped a garland composed of crocus and roses in ointment, and sent it him to wear, by that dipping putting a slight upon and spoiling the natural sweetness and beauty of the flowers. He doth as bad, who having a Muse in his own breast, and all the pleasantness that would fit an entertainment, will have pipes and harps play, and by that external adventitious noise destroy all the sweetness that was proper and his own. But in short, all ear-delights are fittest then, when the company begins to be disturbed, fall out, and quarrel, for then they may prevent raillery and reproach, and stop the dispute that is running on to sophistical and unpleasant wrangling, and bridle all babbling declamatory altercations, so that the company maybe freed of noise and quietly composed.
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