This essay provides a comprehensive and detailed analysis of a cluster
of Heraclitus’ fragments that revolve around an image of ‘musical’ harmony
(B 8, 10, and 51 Diels-Kranz). The aim is to demonstrate that more numerous as
well as more specific references to contemporary musical practice can be found
in these fragments than is usually thought. In particular, it is argued that in his
talk of cosmic harmonia Heraclitus might well know and exploit a musical sense
of this word, namely, that of ‘at…
Read moreThis essay provides a comprehensive and detailed analysis of a cluster
of Heraclitus’ fragments that revolve around an image of ‘musical’ harmony
(B 8, 10, and 51 Diels-Kranz). The aim is to demonstrate that more numerous as
well as more specific references to contemporary musical practice can be found
in these fragments than is usually thought. In particular, it is argued that in his
talk of cosmic harmonia Heraclitus might well know and exploit a musical sense
of this word, namely, that of ‘attunement’, which was already developing at his
time from the primary meaning of ‘connection’ and ‘agreement’. Furthermore,
it is shown that the investigation of musical patterns with which Heraclitus was
clearly acquainted offered him a significant analogical ground for his reflection
on the order and rationality of kosmos. He was not apparently interested in the
numerical definition of musical patterns, and thus there is no need to assume any
influence of earlier Pythagorean research on his theory of cosmic harmony: the
other way round, this theory was likely food for thought for Philolaus.
