Reflections on the painting and sculpture of the Greeks : $b with instructions for the connoisseur, and an essay on grace in works of artWinckelmann, Johann Joachim
Philosophy
Reflections on the painting and sculpture of the Greeks : $b with instructions for the connoisseur, and an essay on grace in works of art
Winckelmann, Johann Joachim
Aesthetics -- Early works to 1800; Art -- Philosophy; Art, Greek
It is easy to be imagined what advantages the Greeks, having been subject
to the same influences of climate and air, must have reaped from the
happy situation of their country. The most temperate seasons reigned
through all the year, and the refreshing sea-gales fanned the voluptuous
islands of the Ionick sea, and the shores of the continent. Induced by
these advantages, the Peloponnesians built all their towns along the
coast; see Dicearchus, quoted by Cicero[118].
Under a sky so temperate, nay balanced between heat and cold, the
inhabitants cannot fail of being influenced by both. Fruits grow ripe
and mellow, even such as are wild improve their natures; animals thrive
well, and breed more abundantly. “Such a sky, says Hippocrates[119],
produces not only the most beautiful of men, but harmony between their
inclinations and shape.” Of which Georgia, that country of beauty,
where a pure and serene sky pours fertility, is an instance[120]. Among
the elements, beauty owes so much to water alone, that, if we believe
the Indians, it cannot thrive, in a country that has it not in its
purity[121]. And the Oracle itself attributes to the lymph of Arethusa a
power of forming beauty[122].
The Greek tongue affords us also some arguments in behalf of their
frame. Nature moulds the organs of speech according to the influences
of the climate. There are nations that rather whistle than speak, like
the Troglodytes[123]; others that pronounce without opening their
lips[124]; and the Phasians, a Greek people, had, as has been said of the
English[125], a hoarse voice: an unkind climate forms harsh sounds, and
consequently the organs of speech cannot be very delicate.
The superiority of the Greek tongue is incontestible: I do not speak now
of its richness, but only of its harmony. For all the northern tongues,
being over-loaded with consonants[126], are too often apt to offend
with an unpleasing austerity; whereas the Greek tongue is continually
changing the consonant for the vowel, and two vowels, meeting with but
one consonant, generally grow into a diphthong[127]. The sweetness of the
tongue admits of no word ending with these three harsh letters Θ, Φ, Χ,
and for the sake of Euphony, readily changes letters for their kindred
ones. Some seemingly harsh words cannot be objected here; none of us
being acquainted with the true Greek or Roman pronunciation. All these
advantages gave to the tongue a flowing softness, brought variety into
the sounds of its words, and facilitated their inimitable composition.
And from these alone, not to mention the measure which, even in common
conversation, every syllable enjoyed, a thing to be despaired of in
occidental tongues; from these alone, I say, we may form the highest idea
of the organs by which that tongue was pronounced, and may more than
conjecture, that, by the language of the _Gods_, Homer meant the Greek,
by that of _Men_, the Phrygian tongue.
Public-domain text, read in full here on John Shaqi.
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