Ἁρμονίαν

harmony

Translated by Jennifer Benedict9 Jun 2002Vetting: high5 revisions

7 notes · 384 words

[Meaning] the string being well and skilfully [positioned] in the melodies of songs.¹
Harmony follows upon things which are fitted together [h(rmosme/nois], for it is necessary that there be strings, and then that they be stretched in such a way, and thus harmony ensue. [Harmony] does not fight with things that are fitted together, but holding thus it follows so that it might hold the things which are fitted together.² Harmony is a sounding-together [sumphonia] of the strings. Discord [anarmostia] is the sickness and weakness and ugliness of a living body, of which the sickness is the asymmetry of the elements, the weakness [is the asymmetry] of the more similar [parts], and the ugliness [is the asymmetry] of the organs.³ Harmony is an order or composition of things which have been combined. It is spoken of in two ways. According to the one meaning [it is] the composition of bodies, whenever it is set up in such a way that it is not able to be infused with another thing, whether a rock or some one of the related heavy bodies. And from these things we transfer the word "harmony" to the ratio of combined things, such as in mixtures or in things concerning music. For we say that the ratio of combined things is one and one half to one, or one and a third to one, or some other [fraction] of the composites according to the metaphor of harmony. According to the other meaning,⁴ harmony is said for juxtaposition, since these things are more familiar to us. Neither composition nor well-ordered admixture, then, create the soul.⁵ So it is necessary [to use this word] for the efficient causes and the sort of substance, that is to say, its property. For bronze resonates in one way and iron in another and lead in another, and wood [in another]. Therefore "harmonicas"⁶ are accustomed to be furnished from different substance[s], so that they might perfect harmony by the difference of their resonances. For harmony of very mixed things is the union of people with divergent opinions. Therefore [it is] impossible for a sound to happen when there is only one [entity].⁷
Harmonies are also said [to be] the nailed-together parts of furniture. "With the harmonies gaping." But these [are] figurative expressions. Aristophanes [sc. writes this].⁸

Greek original · Adler’s text

Ἁρμονίαν· τὸ εὖ καὶ ἐπισταμένως εἶναι τὴν νευρὰν ἐν τοῖς κρούμασι τῶν ᾀσμάτων. ὅτι ἡ ἁρμονία ἐπιγίνεται τοῖς ἡρμοσμένοις· δεῖ γὰρ εἶναι τὰς χορδάς, εἶτα τοιῶσδε ἐπιταθῆναι, καὶ οὕτως ἐπιγενέσθαι τὴν ἁρμονίαν. οὐ μάχεται δὲ τοῖς ἡρμοσμένοις, ἀλλ' ἕπεται οὕτως ἔχουσα, ὡς ἂν ἔχῃ τὰ ἡρμοσμένα. ἔστι δὲ ἁρμονία συμφωνία τῶν χορδῶν. ἀναρμοστία δέ ἐστι τοῦ ἐμψύχου σώματος νόσος καὶ ἀσθένεια καὶ αἶσχος, ὧν τὸ μὲν ἀσυμμετρία ἐστὶ τῶν στοιχείων ἡ νόσος, τὸ δὲ τῶν ὁμοιοτέρων ἡ ἀσθένεια, τὸ δὲ τῶν ὀργανικῶν τὸ αἶσχος. ἁρμονία δέ ἐστι λόγος τῶν μιχθέντων ἢ σύνθεσις. λέγεται δὲ διχῶς. κατὰ αʹ μὲν λόγον ἡ σύνθεσις τῶν σωμάτων, ὅταν οὕτως παρατεθῇ, ὡς μὴ δύνασθαι ἄλλον ἐμβληθῆναι μεταξὺ λίθον ἤ τι τῶν συγγενῶν βαρέων σωμάτων. ἐκ δὲ τούτων μεταφέρομεν τὸ τῆς ἁρμονίας ὄνομα καὶ ἐπὶ τὸν λόγον τῶν μεμιγμένων, οἷον ἔν τε τοῖς κεκραμένοις καὶ ἐν τοῖς κατὰ μουσικήν. τὸν γὰρ λόγον τῶν μιχθέντων τὸν ἡμιόλιον ἢ τὸν ἐπίτριτον ἤ τινα ἄλλον λέγομεν ἐκ τῶν συνθέτων κατὰ μεταφορὰν ἁρμονίαν. κατὰ αʹ δὲ λόγον ἡ ἁρμονία ἐπὶ τῆς παραθέσεως λέγεται, ἐπειδὴ γνωριμωτέρα ἡμῖν ἐστιν. οὔτε σύνθεσιν οὖν οὔτε μίξιν εὔλογον ποιεῖν τὴν ψυχήν. ἐπὶ οὖν τῶν ποιητικῶν δεῖ καὶ ποιᾶς ὕλης, ἤγουν οὐσίας. ἄλλως γὰρ χαλκὸς ἠχεῖ καὶ ἄλλως σίδηρος καὶ ἄλλως μόλυβδος καὶ ξύλον. διὸ καὶ τὰ ὀψόβαφα εἰώθασιν ἐκ διαφόρου κατασκευάζειν ὕλης, ἵνα τῇ διαφορᾷ τῶν ἀπηχήσεων τὴν ἁρμονίαν ἀποτελέσωσιν. ἡ γὰρ ἁρμονία πολυμιγέων ἐστὶ καὶ δίχα φρονεόντων ἕνωσις. διὸ καὶ ἀδύνατον ἑνὸς ὄντος γενέσθαι ψόφον. ἁρμονίαι δὲ λέγονται καὶ τὰ συμπησσόμενα τῶν κραββάτων μέρη. τῶν ἁρμονιῶν διαχασκουσῶν. τροπικῶς δὲ τὰ ποιήματα. Ἀριστοφάνης.

Betacode

*(armoni/an: to\ eu)= kai\ e)pistame/nws ei)=nai th\n neura\n e)n toi=s krou/masi tw=n a)|sma/twn. o(/ti h( a(rmoni/a e)pigi/netai toi=s h(rmosme/nois: dei= ga\r ei)=nai ta\s xorda/s, ei)=ta toiw=sde e)pitaqh=nai, kai\ ou(/tws e)pigene/sqai th\n a(rmoni/an. ou) ma/xetai de\ toi=s h(rmosme/nois, a)ll' e(/petai ou(/tws e)/xousa, w(s a)\n e)/xh| ta\ h(rmosme/na. e)/sti de\ a(rmoni/a sumfwni/a tw=n xordw=n. a)narmosti/a de/ e)sti tou= e)myu/xou sw/matos no/sos kai\ a)sqe/neia kai\ ai)=sxos, w(=n to\ me\n a)summetri/a e)sti\ tw=n stoixei/wn h( no/sos, to\ de\ tw=n o(moiote/rwn h( a)sqe/neia, to\ de\ tw=n o)rganikw=n to\ ai)=sxos. a(rmoni/a de/ e)sti lo/gos tw=n mixqe/ntwn h)\ su/nqesis. le/getai  de\ dixw=s. kata\ a# me\n lo/gon h( su/nqesis tw=n swma/twn, o(/tan ou(/tws parateqh=|, w(s mh\ du/nasqai a)/llon e)mblhqh=nai metacu\ li/qon h)/ ti tw=n suggenw=n bare/wn swma/twn. e)k de\ tou/twn metafe/romen to\ th=s a(rmoni/as o)/noma kai\ e)pi\ to\n lo/gon tw=n memigme/nwn, oi(=on e)/n te toi=s kekrame/nois kai\ e)n toi=s kata\ mousikh/n. to\n ga\r lo/gon tw=n mixqe/ntwn to\n h(mio/lion h)\ to\n e)pi/triton h)/ tina a)/llon le/gomen e)k tw=n sunqe/twn kata\ metafora\n a(rmoni/an. kata\ a# de\ lo/gon h( a(rmoni/a e)pi\ th=s paraqe/sews le/getai, e)peidh\ gnwrimwte/ra h(mi=n e)stin. ou)/te su/nqesin ou)=n ou)/te mi/cin eu)/logon poiei=n th\n yuxh/n. e)pi\ ou)=n tw=n poihtikw=n dei= kai\ poia=s u(/lhs, h)/goun ou)si/as. a)/llws ga\r xalko\s h)xei= kai\ a)/llws si/dhros kai\ a)/llws mo/lubdos kai\ cu/lon. dio\ kai\ ta\ o)yo/bafa ei)w/qasin e)k diafo/rou kataskeua/zein u(/lhs, i(/na th=| diafora=| tw=n a)phxh/sewn th\n a(rmoni/an a)potele/swsin. h( ga\r a(rmoni/a polumige/wn e)sti\ kai\ di/xa froneo/ntwn e(/nwsis. dio\ kai\ a)du/naton e(no\s o)/ntos gene/sqai yo/fon. a(rmoni/ai de\ le/gontai kai\ ta\ sumphsso/mena tw=n krabba/twn me/rh. tw=n a(rmoniw=n diaxaskousw=n. tropikw=s de\ ta\ poih/mata. *)aristofa/nhs.

Notes (7)

[1] From the scholia to Aristophanes, Knights 994, where the headword appears (in the accusative case, as again here).
2John Philoponus, Commentary on Aristotle's de Anima 142.6-16. ↩
3John Philoponus, Commentary on Aristotle's de Anima 145.1-4. ↩
4The transmitted text actually says "first" again. ↩
5John Philoponus, Commentary on Aristotle's de Anima 148.4-18, 25-31. ↩
6opsobapha (omicron 1085), also oxubapha, were chimes constructed from saucers made of different materials which were hit with a small wooden hammer; cf. delta 1155, and see generally M.L. West, Ancient Greek Music (Oxford 1992) 128. ↩
7John Philoponus, Commentary on Aristotle's de Anima 358.10-16. ↩
8Aristophanes, Knights 533 (web address 1 below); cf. eta 199. The line which follows the quoted passage is from the scholia there.

↩

External resources

Web address 1 perseus.tufts.edu

Linked from4 entries

Neighbouring entries

α3975Ἁρμόδιοιfitting α3976Ἁρμοζόμενοςfitting α3977Ἁρμονίανharmony α3978ἉρμονίδηςHarmonides α3979Ἁρμοσταίharmosts

Revision history5 revisions · last 5 Nov 2015

5 Nov 2015tweaked link — Catharine Roth
31 Aug 2015Revised — David Whitehead
12 Apr 2012another keyword; tweaks and cosmetics — David Whitehead
18 Oct 2005another keyword — David Whitehead
10 Jun 2002augmented notes; added keyword; cosmetics — David Whitehead
9 Jun 2002Translated — Jennifer Benedict

Greek original · Adler’s text

Betacode

*(armoni/an: to\ eu)= kai\ e)pistame/nws ei)=nai th\n neura\n e)n toi=s krou/masi tw=n a)|sma/twn. o(/ti h( a(rmoni/a e)pigi/netai toi=s h(rmosme/nois: dei= ga\r ei)=nai ta\s xorda/s, ei)=ta toiw=sde e)pitaqh=nai, kai\ ou(/tws e)pigene/sqai th\n a(rmoni/an. ou) ma/xetai de\ toi=s h(rmosme/nois, a)ll' e(/petai ou(/tws e)/xousa, w(s a)\n e)/xh| ta\ h(rmosme/na. e)/sti de\ a(rmoni/a sumfwni/a tw=n xordw=n. a)narmosti/a de/ e)sti tou= e)myu/xou sw/matos no/sos kai\ a)sqe/neia kai\ ai)=sxos, w(=n to\ me\n a)summetri/a e)sti\ tw=n stoixei/wn h( no/sos, to\ de\ tw=n o(moiote/rwn h( a)sqe/neia, to\ de\ tw=n o)rganikw=n to\ ai)=sxos. a(rmoni/a de/ e)sti lo/gos tw=n mixqe/ntwn h)\ su/nqesis. le/getai  de\ dixw=s. kata\ a# me\n lo/gon h( su/nqesis tw=n swma/twn, o(/tan ou(/tws parateqh=|, w(s mh\ du/nasqai a)/llon e)mblhqh=nai metacu\ li/qon h)/ ti tw=n suggenw=n bare/wn swma/twn. e)k de\ tou/twn metafe/romen to\ th=s a(rmoni/as o)/noma kai\ e)pi\ to\n lo/gon tw=n memigme/nwn, oi(=on e)/n te toi=s kekrame/nois kai\ e)n toi=s kata\ mousikh/n. to\n ga\r lo/gon tw=n mixqe/ntwn to\n h(mio/lion h)\ to\n e)pi/triton h)/ tina a)/llon le/gomen e)k tw=n sunqe/twn kata\ metafora\n a(rmoni/an. kata\ a# de\ lo/gon h( a(rmoni/a e)pi\ th=s paraqe/sews le/getai, e)peidh\ gnwrimwte/ra h(mi=n e)stin. ou)/te su/nqesin ou)=n ou)/te mi/cin eu)/logon poiei=n th\n yuxh/n. e)pi\ ou)=n tw=n poihtikw=n dei= kai\ poia=s u(/lhs, h)/goun ou)si/as. a)/llws ga\r xalko\s h)xei= kai\ a)/llws si/dhros kai\ a)/llws mo/lubdos kai\ cu/lon. dio\ kai\ ta\ o)yo/bafa ei)w/qasin e)k diafo/rou kataskeua/zein u(/lhs, i(/na th=| diafora=| tw=n a)phxh/sewn th\n a(rmoni/an a)potele/swsin. h( ga\r a(rmoni/a polumige/wn e)sti\ kai\ di/xa froneo/ntwn e(/nwsis. dio\ kai\ a)du/naton e(no\s o)/ntos gene/sqai yo/fon. a(rmoni/ai de\ le/gontai kai\ ta\ sumphsso/mena tw=n krabba/twn me/rh. tw=n a(rmoniw=n diaxaskousw=n. tropikw=s de\ ta\ poih/mata. *)aristofa/nhs.

Notes (7)

[1] From the scholia to Aristophanes, Knights 994, where the headword appears (in the accusative case, as again here).

2John Philoponus, Commentary on Aristotle's de Anima 142.6-16. ↩

3John Philoponus, Commentary on Aristotle's de Anima 145.1-4. ↩

4The transmitted text actually says "first" again. ↩

5John Philoponus, Commentary on Aristotle's de Anima 148.4-18, 25-31. ↩

6opsobapha (omicron 1085), also oxubapha, were chimes constructed from saucers made of different materials which were hit with a small wooden hammer; cf. delta 1155, and see generally M.L. West, Ancient Greek Music (Oxford 1992) 128. ↩

7John Philoponus, Commentary on Aristotle's de Anima 358.10-16. ↩

8Aristophanes, Knights 533 (web address 1 below); cf. eta 199. The line which follows the quoted passage is from the scholia there.

Translation

Greek original · Adler’s text

Notes (7)

External resources

Linked from4 entries

Neighbouring entries

Translation

Greek original · Adler’s text

Notes (7)

External resources

Linked from4 entries

Neighbouring entries