EPISTLE LXXXVII.
good man; therefore, chance events are not goods.” The Peripatetics reply to this by saying that the premiss is false; that men do not in every case become good by means of that which is good; that in music there is something good, like a flute, a harp, or an organ suited to accompany singing; but that none of these instruments makes the musician. 13. We shall then reply: “You do not understand in what sense we have used the phrase ’that which is good in music.’ For we do not mean that which equips the musician, but that which makes the musician; you, however, are referring to the instruments of the art, and not to the art itself.[1] If, however, anything in the art of music is good, that will in every case make the musician.” 14. And I should like to put this idea still more clearly. We define the good in the art of music in two ways: first, that by which the performance of the musician is assisted, and second, that by which his art is assisted. Now the musical instruments have to do with his performance,—such as flutes and organs and harps; but they do not have to do with the musician’s art itself. For he is an artist even without them; he may perhaps be lacking in the ability to practise his art. But the good in man is not in the same way twofold; for the good of man and the good of life are the same.
15. “That which can fall to the lot of any man, no matter how base or despised he may be, is not a good. But wealth falls to the lot of the pander and the trainer of gladiators; therefore wealth is not a good.” “Another wrong premiss,” they say, “for we notice that goods fall to the lot of the very lowest sort of men, not only in the scholar’s art, but also in the art of healing or in the art of navigating.” 16. These arts, however, make no profession of greatness of
- ↑ Cf. Plato, Phaedo 86, where Socrates contrasts the material lyre with the “incorporeal, fair, divine” harmony which makes the music.
331
