But to give briefly some similar examples, Terpander and Arion of Methymna saved the citizens of Lesbos and Ionia from very serious illnesses by the aid of song. Moreover, in this same way Ismenias the Theban is said to have cured all the maladies of the many Boeotians, who were suffering from sciatica. Similarly it is said that Empedocles had the mode of singing altered when an infuriated youth attacked one of his guests with a sword for having insulted his father; and by this means he tempered the wrath of the youth.[120]
The power of the musical discipline was so evident to the ancient students of philosophy that the Pythagoreans would employ certain melodies when they wanted to forget their daily cares in sleep, and, upon hearing these, a mild and quiet slumber would fall upon them. In the same manner, upon awakening, they would purge the stupor and confusion of sleep with certain other melodies; for these ancients knew that the total structure of our soul and body consists of musical harmony. For the very pulse of the heart itself is determined by the state and disposition of the body. Democritus[121] is said to have told this to the physician Hippocrates, who came to treat Democritus when he was being held in custody by his fellow townsmen because they thought he was a lunatic.
dithyramb, a form of hymn sung to Dionysus, the god of wine and merrymaking; Ismenias was a Theban politician in the fourth century bce, shortly after the end of the Peloponnesian War; Empedocles was a prominent pre-Socratic philosopher in the fifth century bce. 9. Democritus: ancient Greek philosopher (circa. 460—circa 370 bce) and one of the first people to postulate that all matter was composed of atoms; Hippocrates, prominent Greek physician (circa 460—circa 370 bce) often considered the father of modern medicine.
But why have I said all this? Because there can be no doubt that the unity of our body and soul seems to be somehow determined by the same proportions that join together and unite the harmonious inflections of music, as our subsequent discussion will demonstrate. Hence it happens that sweet melodies even delight infants, whereas a harsh and rough sound will interrupt their pleasure. Indeed this reaction to various types of music is experienced by both sexes, and by people of all ages; for although they may differ in their actions, they are nevertheless united as one in the pleasure of music.
UNDERSTANDING THE TEXT
Why does Boethius begin the essay by writing about other senses, especially sight, before introducing the topic of music? What kinds of connections do you think he wants us to draw between how we perceive music and how we perceive things visually?
What about music, according to Boethius, gives us pleasure? What kinds of music should produce the most pleasure? What kinds should produce the least?
Why does Boethius say that music is related to morality? How can music make people more or less moral? What definition of "morality" does he imply in this argument?
What kinds of modern music might Boethius view as "lascivious"? As "prudent and modest"?
Do you agree with Boethius's assertion that "there is no greater path whereby instruction comes to the mind than through the ear"? What kinds of things can music (without words) teach us? What effect does adding words to music have on its ability to instruct?
What kinds of music does Boethius (following Plato) believe that a state should promote? What kinds should it discourage? Why?
What is the purpose of the story of Taormine and Pythagoras that Boethius recounts in paragraph 6? How do the other stories that he tells support his argument?
Ultimately, what connection does Boethius draw between music and human nature? In what ways can music teach us about ourselves? Do you agree?
MAKING CONNECTIONS
Both Boethius and Elaine Scarry (p. 279) argue that there is a connection between beauty and morality. How are their arguments similar? How are they different? Would Scarry accept the idea that the human mind is drawn toward certain kinds of sounds that represent order and harmony?
Boethius argues that people are naturally drawn to "sweet and well-ordered modes" of music but can be swayed to more violent and corrupt forms. What assumptions about human nature lie behind this assertion? Would Boethius agree more with Mencius's view of human nature (p. 78) or Hsun Tzu's (p. 84)?
3. Music was one of the liberal arts most prized by Seneca (p. 13). In what ways does Boethius confirm Seneca's view of the value of purely intellectual pursuits? Are there areas in which Boethius and Seneca might disagree?
WRITING ABOUT THE TEXT
Write an essay in which you agree or disagree with Boethius's assertion that "there is no greater path whereby instruction comes to the mind than through the ear." Consider whether this has been true in your education. Consider the differences between visual, auditory, and kinesthetic learning styles as you write your essay.
Choose one song that you find "prudent and modest" and another that you find "violent" or "lascivious." Examine the properties of both songs in light of Boethius's arguments. Do you accept his connection between the kinds of music a person likes and his or her personal character?
Compare or contrast Boethius's understanding of beauty with that of Edmund Burke (p. 256). What emotions does Boethius associate with beautiful things? How about Burke? What might account for the differences in their emphasis?
lady murasaki shikibu
On the Art of the Novel
[eleventh century]
THE IMPERIAL COURT of Heian Japan, where Lady Murasaki Shikibu (circa 978-circa 1014 or 1025) spent most of her life, was unlike any other capital in the world's history. By 1000, the court included the entire city of Kyoto—nearly 100,000 people—and was governed by an absolute monarch with the emperor as ruler. The emperor was usually a young boy who pursued his own pleasures while his grandfather or father-in-law—almost always a member of the powerful Fujiwara clan—ruled behind the scenes. Emperors were routinely "encouraged" to abdicate while still relatively young in favor of other young men with Fujiwara wives and mothers.
Lady Murasaki Shikibu came from a minor branch of the Fujiwara family, a powerful Japanese clan. After a very early marriage, she became a personal assistant to the empress. As such, she had firsthand experience with the domestic politics of Heian Japan—a world of poetry, pomp, and sexual conquest. Though the women of the court were not taught Chinese character script, or kanji, used for official correspondence, Lady Murasaki and other women did learn a simpler script, hiragana, which was much more suitable for sustained works of prose.
Between 1000 and 1012, Lady Murasaki wrote Genji Monogatari, or The Tale of Genji, one of the longest sustained prose narratives in world literature. Initially, the work circulated around the Imperial court, where it found great favor. Soon after Lady Murasaki's death, it was recognized as an important work, and it has long been considered one of the greatest classics of Japanese literature. This story focuses on the life of Genji, a fictional "shining prince" of the Heian court. He is the son of an emperor and a low-ranking concubine. Officially this makes him a commoner, but his wit, good looks, and impeccable manners endear him to the emperor, and, more importantly for the story, the ladies of the court.
The Tale of Genji contains 54 chapters that cover Genji's life from his birth to his death and beyond. Each chapter stands alone as an episode in the main character's life, but there are also recurring themes and conflicts that tie the work together as a whole. Most of the chapters revolve around Genji's many love affairs and sexual intrigues.