Thornton Lockwood

Il est communément admis, aussi bien par les spécialistes que les non-spécialistes de la Grèce antique, qu'Aristote considère le barbaros ou l'autre Non-Grec comme radicalement distinct des Grecs (peut-être même racialement) et intrinsèquement inférieur à eux. Cette idée puise sa source dans ses remarques sur l'esclavage, sur les institutions politiques non grecques, sur les caractères naturels ou ethniques. Mais l’idée la plus répandue manque de nuance, et est souvent affirmée à tort en faisant l’économie d’un examen attentif des bases textuelles. Cet article, qui est une sous-section d'un essai plus vaste sur les institutions politiques non-grecques (comme le traitement par Aristote de la politeia de Carthage dans Politique 2.11), soutient qu'Aristote ne distingue pas catégoriquement (et encore moins racialement) les Grecs et les Non-Grecs, ni n’approuve l’assertion selon laquelle les Grecs sont supérieurs aux non-Grecs. En effet, Aristote s'appuie régulièrement sur des institutions politiques non-grecques dans sa propre formulation de la meilleure constitution.

Hall (1996) raises the question of the relationship between Aristotle’s Politics and Poetics by claiming that Aristotle had separated drama from its civic origins; various rejoinders to her challenge can be found in Heath (2009) and Jones (2012). In response to this question, I argue that a central connection between these two works is their shared concern about the effects of performance—both in the case of drama and music—either for performers or their audience. Aristotle’s criticisms of “spectacle” (opsis) in tragedy—a problem taken up most recently in Bouchard (2012), Hanink (2011), Konstan (2013), Sifakis (2013), and Wise (2008)—thus parallel his criticisms of slavishness in musical performance in Politics 8. Thus, the problem of Aristotle’s silence about tragedy in his account of education in Politics 8—a problem taken up by Lord (1982) and more recently Ford (2004)—is explainable on the basis of an explicit and central doctrine from the Poetics, namely that a drama can produce the function of tragedy independent of public performance. On my reading, Aristotle’s Politics and Poetics together retain tragedy as a central “cultural” institution for the liberally educated citizen, a view completely consistent with everything Aristotle defends about tragedy in the Poetics. But Politics 8 displaces tragedy as the pre-eminent form of public education and in its place supplies instrumental music—no doubt much to the consternation of Athenian democrats both historically and their kindred spirits in contemporary drama and classics departments. My paper concludes by articulating and speculating about why music eclipses tragedy as the pre-eminent form of liberal arts education in Aristotle’s best regime.