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 was chiefly owing to that abundance of vowels, that the Greek tongue
was preferable to all others, for expressing by the sound and disposition
of its words the forms and substances of things. The discharge, the
rapidity, the diminution of strength in piercing, the slowness in
gliding, and the stopping of an arrow, are better expressed by the sound
of these three verses of Homer, Iliad Δ.
125. Λίγξε βιὸς, νευρὴ δε μέγ’ ἴαχεν, ἆλτο δ’ ὀϊστὸς[128]
135. Διὰ μέν ἂρ’ ζωστῆρος ἐλήλατο δαιδαλέοιο,
136. Καὶ διὰ θωρηκος πολυδαιδάλου ἠρήρειστο,
than even by the words themselves. You see it discharged, flying through
the air, and piercing the belt of Menelaus.
The description of the Myrmidons in battle-array, Iliad Π. v. 215.
Ἀσπὶς ἄρ’ ἀσπίδ’ ἔρειδε, κόρυς κόρυν ἀνέρα δ’ ἀνήρ.
is of the same kind, and has never been hit by any imitation: what
beauties in one line!
Plato’s periods were, from their harmony, compared[129] to a noiseless
smooth-running stream. But we should be mistaken in confining the tongue
to the softer harmonies only: it became a roaring torrent, boisterous as
the winds by which Ulysses’ sails were torn, split only in three or four
places by the words, but rent by the sound into a thousand tatters[130].
This was the “_vivida expressio_,” the living sound; supremely beautiful,
when properly and sparingly used!
How quick, how refined must the organs have been, which were the
depositaries of such a tongue! The Roman itself could not attain its
excellence: nay, a Greek father, of the second century of the christian
æra[131], complains of the horrid sound of the Roman laws.
Nature keeps proportion; consequently the frame of the Greeks was of a
fine clay, of nerves, and muscles most sensibly elastic, and promoting
the flexibility of the body: hence that easiness, that pliant facility,
accompanied with mirth and vigour, which animated all their actions.
Imagine bodies most nicely balanced between leanness and corpulency:
both extremes were ridiculed by the Greeks, and their poets sneer at the
Philesiases[132], Philetases[133], and Agoracrituses[134].
Public-domain text, read in full here on John Shaqi.
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