the memorabilia-第31章
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i。 305； 401。
They are at once the best and the dearest in the sight of God＇18＇ （he
went on to say） who for instance in husbandry do well the things of
farming； or in the art of healing all that belongs to healing； or in
statecraft the affairs of state； whereas a man who does nothing well
nor well in anythingis （he added） neither good for anything nor dear
to God。
＇18＇ Or； 〃most divinely favoured。〃 Cf。 Plat。 〃Euthyphro；〃 7 A。
X
But indeed；＇1＇ if chance brought him into conversation with any one
possessed of an art； and using it for daily purposes of business； he
never failed to be useful to this kind of person。 For instance；
stepping one time into the studio of Parrhasius＇2＇ the painter； and
getting into conversation with him
＇1＇ ｛alla men kai｝ 。 。 。 〃But indeed the sphere of his helpfulness was
not circumscribed； if；〃 etc。
＇2＇ For Parrhasius of Ephesus； the son of Evenor and rival of Zeuxis；
see Woltmann and Woermann； 〃Hist。 of Painting；〃 p。 47 foll。；
Cobet； 〃Pros。 Xen。〃 p。 50 （cf。 in particular Quint。 XII。 x。 627）。
At the date of conversation （real or ideal） he may be supposed to
have been a young man。
I suppose； Parrhasius （said he）； painting may be defined as 〃a
representation of visible objects；〃 may it not？＇3＇ That is to say； by
means of colours and palette you painters represent and reproduce as
closely as possible the ups and downs； lights and shadows； hard and
soft； rough and smooth surfaces； the freshness of youth and the
wrinkles of age； do you not？
＇3＇ Reading with Schneider； L。 Dind。； etc。； after Stobaeus； ｛e
graphike estin eikasia｝； or if the vulg。 ｛graphike estin e
eikasia｝； trans。 〃Painting is the term applied to a particular
representation；〃 etc。
You are right （he answered）； that is so。
Soc。 Further； in portraying ideal types of beauty； seeing it is not
easy to light upon any one human being who is absolutely devoid of
blemish； you cull from many models the most beautiful traits of each；
and so make your figures appear completely beautiful？＇4＇
＇4＇ Cf。 Cic。 〃de Invent。〃 ii。 1 ad in。 of Zeuxis； Max。 Tur。 〃Dissert。〃
23； 3； ap。 Schneider ad loc。
Parrh。 Yes； that is how we do。＇5＇
＇5＇ Or； 〃that is the secret of our creations；〃 or 〃our art of
composition。〃
Well； but stop （Socrates continued）； do you also pretend to represent
in similar perfection the characteristic moods of the soul； its
captivating charm and sweetness； with its deep wells of love； its
intensity of yearning； its burning point of passion？ or is all this
quite incapable of being depicted？
Nay （he answered）； how should a mood be other than inimitable；
Socrates； when it possesses neither linear proportion＇6＇ nor colour；
nor any of those qualities which you named just now； when； in a word；
it is not even visible？
＇6＇ Lit。 〃symmetry。〃 Cf。 Plin。 xxxv。 10； 〃primus symmetriam picturae
dedit；〃 etc。
Soc。 Well； but the kindly look of love； the angry glance of hate at
any one； do find expression in the human subject； do they not？＇7＇
＇7＇ Or； 〃the glance of love； the scowl of hate； which one directs
towards another； are recognised expressions of human feeling。〃 Cf。
the description of Parrhasius's own portrait of Demos； ap。 Plin。
loc。 cit。
Parrh。 No doubt they do。
Soc。 Then this look； this glance； at any rate may be imitated in the
eyes； may it not？
Undoubtedly （he answered）。
Soc。 And do anxiety and relief of mind occasioned by the good or evil
fortune of those we love both wear the same expression？
By no means （he answered）； at the thought of good we are radiant； at
that of evil a cloud hangs on the brow。
Soc。 Then here again are looks with it is possible to represent？
Parrh。 Decidedly。
Soc。 Furthermore； as through some chink or crevice； there pierces
through the countenance of a man； through the very posture of his body
as he stands or moves； a glimpse of his nobility and freedom； or again
of something in him low and grovellingthe calm of self…restraint；
and wisdom； or the swagger of insolence and vulgarity？
You are right （he answered）。
Soc。 Then these too may be imitated？
No doubt （he said）。
Soc。 And which is the pleasanter type of face to look at； do you think
one on which is imprinted the characteristics of a beautiful； good；
and lovable disposition； or one which bears the impress of what is
ugly； and bad； and hateful？＇8＇
＇8＇ For this theory cp。 Ruskin； 〃Mod。 P。〃 ii。 94 foll。 and indeed
passim。
Parrh。 Doubtless； Socrates； there is a vast distinction between the
two。
At another time he entered the workshop of the sculptor Cleiton；＇9＇
and in course of conversation with him said：
＇9＇ An unknown artist。 Coraes conj。 ｛Kleona｝。 Cf。 Plin。 xxxiv。 19；
Paus。 v。 17； vi。 3。 He excelled in portrait statues。 See Jowett；
〃Plato；〃 iv。； 〃Laws；〃 p。 123。
You have a gallery of handsome people here；＇10＇ Cleiton； runners； and
wrestlers； and boxers； and pancratiaststhat I see and know； but how
do you give the magic touch of life to your creations； which most of
all allures the soul of the beholder through his sense of vision？
＇10＇ Reading after L。 Dind。 ｛kaloi ous｝； or if vulg。 ｛alloious｝；
translate 〃You have a variety of types； Cleiton； not all of one
mould； but runners；〃 etc。； al。 〃I see quite well how you give the
diversity of form to your runners；〃 etc。
As Cleiton stood perplexed； and did not answer at once； Socrates
added： Is it by closely imitating the forms of living beings that you
succeed in giving that touch of life to your statues？
No doubt （he answered）。
Soc。 It is； is it not； by faithfully copying the various muscular
contractions of the body in obedience to the play of gesture and
poise； the wrinklings of flesh and the sprawl of limbs； the tensions
and the relaxations； that you succeed in making your statues like real
beingsmake them 〃breathe〃 as people say？
Cleit。 Without a doubt。
Soc。 And does not the faithful imitation of the various affections of
the body when engaged in any action impart a particular pleasure to
the beholder？
Cleit。 I should say so。
Soc。 Then the threatenings in the eyes of warriors engaged in battle
should be carefully copied； or again you should imitate the aspect of
a conqueror radiant with success？
Cleit。 Above all things。
Soc。 It would seem then that the sculptor is called upon to
incorporate in his ideal form the workings and energies also of the
soul？
Paying a visit to Pistias；＇11＇ the corselet maker； when that artist
showed him some exquisite samples of his work； Socrates exclaimed：
＇11＇ Cf。 Athen。 iv。 20； where the same artist is referred to
apparently as ｛Piston｝； and for the type of person see the
〃Portrait of a Tailor〃 by Moroni in the National Gallerysee
〃Handbook；〃 Edw。 T。 Cook； p。 152。
By Hera！ a pretty invention this； Pistias； by which you contrive that
the corselet should cover the parts of the person which need
protection； and at the same time leave free play to the arms and
hands。 。 。 。 but tell me； Pistias （he added）； why do you ask a higher
price for these corselets of yours if they are not stouter or made of
costlier material than the others？
Because； Socrates （he answered）； mine are of much finer proportion。
Soc。 Proportion！ Then how do you make this quality apparent to the
customer so as to justify the higher priceby measure or weight？ For
I presume you cannot make them all exactly equal and of one pattern
if you make them fit； as of course you do？
Fit indeed！ that I most distinctly do （he answered）； take my word for
it： no use in a corselet without that。
But then are not the wearer's bodies themselves （asked Socrates） some
well proportioned and others ill？
Decidedly so （he answered）。
Soc。 Then how do you manage to make the corselet well proportioned if
it is to fit an ill…proportioned body？＇12＇
＇12＇ Or； 〃how do you make a well…proportioned corselet fit an ill…
proportioned body？ how well proportioned？〃
Pist。 To the same degree exactly as I make it fit。 What fits is well
proportioned。
Soc。 It seems you use the term 〃well…proportioned〃 not in an absolute
sense； but in reference
