24.04.2013 Views

The Judgment of Animals in Classical Greece: Animal Sculpture and ...

The Judgment of Animals in Classical Greece: Animal Sculpture and ...

The Judgment of Animals in Classical Greece: Animal Sculpture and ...

SHOW MORE
SHOW LESS

You also want an ePaper? Increase the reach of your titles

YUMPU automatically turns print PDFs into web optimized ePapers that Google loves.

disqualifies him from judg<strong>in</strong>g if they are executed correctly. <strong>The</strong> word memimhme/nwn is<br />

the perfect participle <strong>of</strong> the verb mime&omai, which is connected to mi/mhsij (mimesis), a<br />

term which, as noted above, is critical to the <strong>Classical</strong> Greek, particularly Platonic, view<br />

<strong>of</strong> “representation” <strong>in</strong> the arts. Liddell <strong>and</strong> Scott translate this memimhme/nwn as “artistic<br />

representations.” 598 Consider<strong>in</strong>g that the Athenian speaks <strong>of</strong> “each <strong>of</strong> the bodies<br />

(swma&twn) <strong>of</strong> the memimhme/nwn,” then, the latter phrase should be understood as each <strong>of</strong><br />

the bodies <strong>of</strong> subjects that have been represented <strong>in</strong> works <strong>of</strong> art. Swma&twn is the<br />

genitive plural <strong>of</strong> sw~ma, a word that Liddell <strong>and</strong> Scott consider to be Plato’s usual term<br />

for the body <strong>of</strong> a human be<strong>in</strong>g or animal. 599 If this observation is correct, then the above<br />

memimhme/nwn should be understood as artistic representations <strong>of</strong> the bodies <strong>of</strong> human<br />

be<strong>in</strong>gs <strong>and</strong>/or animals. Also <strong>in</strong> the Cratylus (400a-400c), Plato perceives <strong>of</strong> the soul as a<br />

power which, when present <strong>in</strong> the body, “causes it to live <strong>and</strong> gives it the power to<br />

breathe the air <strong>and</strong> be revitalized” (400a); thus, the body is “an enclosure or prison <strong>in</strong><br />

which the soul is securely kept” (400c). 600 This remark is important, for it implies that<br />

for Plato representations <strong>of</strong> bodies were most likely deprived <strong>of</strong> life <strong>and</strong> animation.<br />

To be able to judge artistic representations effectively one needs to be familiar<br />

with specific aspects <strong>of</strong> their composition <strong>and</strong> appearance. To the Athenian, these<br />

aspects correspond to “numbers” (a)riqmou&j), <strong>and</strong> “arrangement” (ta&c<strong>in</strong>), “colors”<br />

(xrw&mata), <strong>and</strong> “shapes, designs, or forms” (sxh&mata). <strong>The</strong>se elements belong to both<br />

the orig<strong>in</strong>al <strong>and</strong> the representation. Not surpris<strong>in</strong>gly, these are all terms that feature<br />

598 LSJ 9 , 1134, s.v. mime&omai.<br />

599 LSJ 9 , 1749, s.v. sw~ma, suggest that Plato uses the word to refer to the body <strong>of</strong> a man (Resp. 469d) or<br />

animal (Resp. 564a), as opposed to Herodotus, who uses it for “plant” <strong>and</strong> also “liv<strong>in</strong>g body” (1.139).<br />

600 Translations: Reeve, Plato. Cratylus 30 <strong>and</strong> 31, respectively.<br />

306

Hooray! Your file is uploaded and ready to be published.

Saved successfully!

Ooh no, something went wrong!