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Additional resources for On Translating Homer
Sample text
Where Plato seems to think largely in terms of the threat that poetry poses to the state, the Mao Preface is more interested in poetry’s 11 12 oÉc Þv oÉ poihtik kaª ¡da to±v pollo±v koÅein, ll' Âs poihtikÛtera, tosoÅt ¨tton kouston paisª kaª ndrsin oÍv de± leuqrouv e²nai, doule©an qantou m llon pejobhmnouv. I return to the concept of muthos (myth) in Plato in Chapter 4. Explicit Poetics in Greece and China 35 capacity to be constitutive of the state. The indexical dimension of the Mao understanding of poetry actually allows a broader role for all kinds of poetry, “good” and “bad,” in that the “bad” at least alerts the state to its failings.
When the sound attains form we call it music. The music of ordered times is peaceful and happy and governance is harmonious. In disordered times the music is angry and resentful and governance is perverse. The music of a failed state is mournful and pensive and its people are in difficulty. Accordingly, when ordering profit and loss, moving heaven and earth, enticing ghosts and spirits, nothing approaches poetry. By this means former kings regulated husband and wife, attained filiality and respect, made human relations benevolent, beautified educational transformation, and altered customs.
Clearly, then, Aristotle does think that music has a political dimension and a role in regulating public well-being; his interest in class distinctions (and his indifference to the possibility of improving the lower classes through education) suggests limits to the role that music can play for him. Aristotle is here in part responding to Plato’s notorious views on the role of music in society. Like Aristotle, Plato sees the social role of poetry as iconic rather than indexical, mirroring in its form and content the beliefs and attitudes that citizens should themselves possess.