BOOK III
Project Gutenberg EPUB3 edition
Xenophon and Dakyns, Henry Graham
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 grovelling—the 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 pancratiasts—that 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 beings—make 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 Gallery—see "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 price—by 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 to the wearer, just as you might describe a shield as well proportioned to the individual it suits; and so of a military cloak, and so of the rest of things, in your terminology? But maybe there is another considerable advantage in this "fitting"?
Pist. Pray instruct me, Socrates, if you have got an idea.
Soc. A corselet which fits is less galling by its weight than one which does not fit, for the latter must either drag from the shoulders with a dead weight or press upon some other part of the body, and so it becomes troublesome and uncomfortable; but that which fits, having its weight distributed partly along the collar-bone and shoulder-blade, partly over the shoulders and chest, and partly the back and belly, feels like another natural integument rather than an extra load to carry. (13)
(13) Schneider ad loc. cf Eur. "Electr." 192, {prosthemata aglaias}, and for the weight cf. Aristoph. "Peace," 1224.
Pist. You have named the very quality which gives my work its exceptional value, as I consider; still there are customers, I am bound to say, who look for something else in a corselet—they must have them ornamental or inlaid with gold.
For all that (replied Socrates), if they end by purchasing an ill-fitting article, they only become the proprietors of a curiously-wrought and gilded nuisance, as it seems to me. But (he added), as the body is never in one fixed position, but is at one time curved, at another raised erect how can an exactly-modelled corselet fit?
Pist. It cannot fit at all.
You mean (Socrates continued) that it is not the exactly-modelled corselet which fits, but that which does not gall the wearer in the using?