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σχήμασιν ‘gestures.’

ἔλεγον. 396 B, C.

πρὸς τὴν αὐτήν: sc. ἁρμονίαν, as Schneider saw. To supply λέξιν with Stallbaum, Hartman, and others is not satisfactory, nor is it easy to understand χορδήν (with Campbell). On the other hand ἁρμονίαν may be readily supplied in view of ἐν μιᾷ ἁρμονίᾳ following. λόγος qualifies τὴν αὐτήν. The somewhat vague expression πρὸς τὴν αὐτήν, where the musical sense of προς may be illustrated by πρὸς Λιβὺν λακεῖν | αὐλόν (Eur. Alc. 346), is afterwards made more explicit and precise by ἐν μιᾷ ἁρμονίᾳ i.e. ‘in one musical mode’ (see on 398 E), as opposed to πασῶνἁρμονιῶν in C. μεταβολή was technically used of passing from one ἁρμονία to another: see Cleonid. Isag. Harm. 13 and Bacchius Isag. 53 ed. von Jan. We shall best apprehend the full meaning of the whole passage if we read it in connexion with 399 A, B. The general sentiment may be illustrated from Arist. Eth. Nic. IV 8. 1125^{a} 12 ff. καὶ κίνησις δὲ βραδεῖα τοῦ μεγαλοψύχου δοκεῖ εἶναι, καὶ φωνὴ βαρεῖα, καὶ λέξις στάσιμος, Pl. Charm. 159 B, Dem. 37. 52 and elsewhere.

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  • Commentary references from this page (2):
    • Euripides, Alcestis, 346
    • Plato, Charmides, 159b
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