Platon, Nom. 3, 700a-701c
Μέγιλλος
ποίοις δὴ λέγεις;
Ἀθηναῖος
τοῖς περὶ τὴν μουσικὴν πρῶτον τὴν τότε, ἵνα ἐξ ἀρχῆς διέλθωμεν τὴν τοῦ ἐλευθέρου λίαν ἐπίδοσιν βίου. διῃρημένη γὰρ δὴ τότε ἦν ἡμῖν ἡ μουσικὴ κατὰ εἴδη τε [700β] ἑαυτῆς ἄττα καὶ σχήματα, καί τι ἦν εἶδος ᾠδῆς εὐχαὶ πρὸς θεούς, ὄνομα δὲ ὕμνοι ἐπεκαλοῦντο: καὶ τούτῳ δὴ τὸ ἐναντίον ἦν ᾠδῆς ἕτερον εἶδος—θρήνους δέ τις ἂν αὐτοὺς μάλιστα ἐκάλεσεν—καὶ παίωνες ἕτερον, καὶ ἄλλο, Διονύσου γένεσις οἶμαι, διθύραμβος λεγόμενος. νόμους τε αὐτὸ τοῦτο τοὔνομα ἐκάλουν, ᾠδὴν ὥς τινα ἑτέραν: ἐπέλεγον δὲ κιθαρῳδικούς. τούτων δὴ διατεταγμένων καὶ ἄλλων τινῶν, οὐκ ἐξῆν ἄλλο [700ξ] εἰς ἄλλο καταχρῆσθαι μέλους εἶδος: τὸ δὲ κῦρος τούτων γνῶναί τε καὶ ἅμα γνόντα δικάσαι, ζημιοῦν τε αὖ τὸν μὴ πειθόμενον, οὐ σῦριγξ ἦν οὐδέ τινες ἄμουσοι βοαὶ πλήθους, καθάπερ τὰ νῦν, οὐδ᾽ αὖ κρότοι ἐπαίνους ἀποδιδόντες, ἀλλὰ τοῖς μὲν γεγονόσι περὶ παίδευσιν δεδογμένον ἀκούειν ἦν αὐτοῖς μετὰ σιγῆς διὰ τέλους, παισὶ δὲ καὶ παιδαγωγοῖς καὶ τῷ πλείστῳ ὄχλῳ ῥάβδου κοσμούσης ἡ νουθέτησις ἐγίγνετο. [700δ] ταῦτ᾽ οὖν οὕτω τεταγμένως ἤθελεν ἄρχεσθαι τῶν πολιτῶν τὸ πλῆθος, καὶ μὴ τολμᾶν κρίνειν διὰ θορύβου: μετὰ δὲ ταῦτα, προϊόντος τοῦ χρόνου, ἄρχοντες μὲν τῆς ἀμούσου παρανομίας ποιηταὶ ἐγίγνοντο φύσει μὲν ποιητικοί, ἀγνώμονες δὲ περὶ τὸ δίκαιον τῆς Μούσης καὶ τὸ νόμιμον, βακχεύοντες καὶ μᾶλλον τοῦ δέοντος κατεχόμενοι ὑφ᾽ ἡδονῆς, κεραννύντες δὲ θρήνους τε ὕμνοις καὶ παίωνας διθυράμβοις, καὶ αὐλῳδίας δὴ ταῖς κιθαρῳδίαις μιμούμενοι, καὶ πάντα εἰς πάντα συνάγοντες, [700ε] μουσικῆς ἄκοντες ὑπ᾽ ἀνοίας καταψευδόμενοι ὡς ὀρθότητα μὲν οὐκ ἔχοι οὐδ᾽ ἡντινοῦν μουσική, ἡδονῇ δὲ τῇ τοῦ χαίροντος, εἴτε βελτίων εἴτε χείρων ἂν εἴη τις, κρίνοιτο ὀρθότατα. τοιαῦτα δὴ ποιοῦντες ποιήματα, λόγους τε ἐπιλέγοντες τοιούτους, τοῖς πολλοῖς ἐνέθεσαν παρανομίαν εἰς τὴν μουσικὴν καὶ τόλμαν ὡς ἱκανοῖς οὖσιν κρίνειν: ὅθεν δὴ τὰ
[701α] θέατρα ἐξ ἀφώνων φωνήεντ᾽ ἐγένοντο, ὡς ἐπαΐοντα ἐν μούσαις τό τε καλὸν καὶ μή, καὶ ἀντὶ ἀριστοκρατίας ἐν αὐτῇ θεατροκρατία τις πονηρὰ γέγονεν. εἰ γὰρ δὴ καὶ δημοκρατία ἐν αὐτῇ τις μόνον ἐγένετο ἐλευθέρων ἀνδρῶν, οὐδὲν ἂν πάνυ γε δεινὸν ἦν τὸ γεγονός: νῦν δὲ ἦρξε μὲν ἡμῖν ἐκ μουσικῆς ἡ πάντων εἰς πάντα σοφίας δόξα καὶ παρανομία, συνεφέσπετο δὲ ἐλευθερία. ἄφοβοι γὰρ ἐγίγνοντο ὡς εἰδότες, ἡ δὲ ἄδεια ἀναισχυντίαν ἐνέτεκεν: τὸ γὰρ τὴν τοῦ βελτίονος [701β] δόξαν μὴ φοβεῖσθαι διὰ θράσος, τοῦτ᾽ αὐτό ἐστιν σχεδὸν ἡ πονηρὰ ἀναισχυντία, διὰ δή τινος ἐλευθερίας λίαν ἀποτετολμημένης.
Μέγιλλος
ἀληθέστατα λέγεις.
Ἀθηναῖος
ἐφεξῆς δὴ ταύτῃ τῇ ἐλευθερίᾳ ἡ τοῦ μὴ ἐθέλειν τοῖς ἄρχουσι δουλεύειν γίγνοιτ᾽ ἄν, καὶ ἑπομένη ταύτῃ φεύγειν πατρὸς καὶ μητρὸς καὶ πρεσβυτέρων δουλείαν καὶ νουθέτησιν, καὶ ἐγγὺς τοῦ τέλους οὖσιν νόμων ζητεῖν μὴ ὑπηκόοις εἶναι, [701ξ] πρὸς αὐτῷ δὲ ἤδη τῷ τέλει ὅρκων καὶ πίστεων καὶ τὸ παράπαν θεῶν μὴ φροντίζειν, τὴν λεγομένην παλαιὰν Τιτανικὴν φύσιν ἐπιδεικνῦσι καὶ μιμουμένοις, ἐπὶ τὰ αὐτὰ πάλιν ἐκεῖνα ἀφικομένους, χαλεπὸν αἰῶνα διάγοντας μὴ λῆξαί ποτε κακῶν.
[700a]
Megillus
Well said! Try, however, to make your meaning still more clear to us.
Athenian
I will. Under the old laws, my friends, our commons had no control over anything, but were, so to say, voluntary slaves to the laws.
Megillus
What laws do you mean?
Athenian
Those dealing with the music of that age, in the first place,—to describe from its commencement how the life of excessive liberty grew up. Among us, at that time, music was divided into various classes and styles: [700b] one class of song was that of prayers to the gods, which bore the name of “hymns”; contrasted with this was another class, best called “dirges”; “paeans” formed another; and yet another was the “dithyramb,” named, I fancy, after Dionysus. “Nomes” also were so called as being a distinct class of song; and these were further described as “citharoedic nomes.”1 So these and other kinds being classified and fixed, it was forbidden to set one kind of words to a different class of tune.2 [700c] The authority whose duty it was to know these regulations, and, when known, to apply them in its judgments and to penalize the disobedient, was not a pipe nor, as now, the mob's unmusical shoutings, nor yet the clappings which mark applause: in place of this, it was a rule made by those in control of education that they themselves should listen throughout in silence, while the children and their ushers and the general crowd were kept in order by the discipline of the rod. [700d] In the matter of music the populace willingly submitted to orderly control and abstained from outrageously judging by clamor; but later on, with the progress of time, there arose as leaders of unmusical illegality poets who, though by nature poetical, were ignorant of what was just and lawful in music; and they, being frenzied and unduly possessed by a spirit of pleasure, mixed dirges with hymns and paeans with dithyrambs, and imitated flute-tunes with harp-tunes, and blended every kind of music with every other; [700e] and thus, through their folly, they unwittingly bore false witness against music, as a thing without any standard of correctness, of which the best criterion is the pleasure of the auditor, be he a good man or a bad.3 By compositions of such a character, set to similar words, they bred in the populace a spirit of lawlessness in regard to music, and the effrontery of supposing themselves capable of passing judgment on it. Hence the theater-goers became noisy
[701a] instead of silent, as though they knew the difference between good and bad music, and in place of an aristocracy in music there sprang up a kind of base theatrocracy.1 For if in music, and music only, there had arisen a democracy of free men, such a result would not have been so very alarming; but as it was, the universal conceit of universal wisdom and the contempt for law originated in the music, and on the heels of these came liberty. For, thinking themselves knowing, men became fearless; and audacity begat effrontery. For to be fearless [701b] of the opinion of a better man, owing to self-confidence, is nothing else than base effrontery; and it is brought about by a liberty that is audacious to excess.
Megillus
Most true.
Athenian
Next after this form of liberty would come that which refuses to be subject to the rulers;2 and, following on that, the shirking of submission to one's parents and elders and their admonitions; then, as the penultimate stage, comes the effort to disregard the laws; while the last stage of all is to lose all respect for oaths or pledges or divinities,—wherein men display and reproduce the character of the Titans of story, [701c] who are said to have reverted to their original state, dragging out a painful existence with never any rest from woe. What, again, is our object in saying all this? Evidently, I must, every time, rein in my discourse, like a horse, and not let it run away with me as though it had no bridle3 [701d] in its mouth, and so “get a toss off the donkey”4 (as the saying goes): consequently, I must once more repeat my question, and ask—“With what object has all this been said?”
Megillus
Very good.
Athenian
What has now been said bears on the objects previously stated.
Megillus
What were they?
Athenian
We said5 that the lawgiver must aim, in his legislation, at three objectives—to make the State he is legislating for free, and at unity with itself, and possessed of sense. That was so, was it not?
