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Irini-Fotini Viltanioti L'harmonie Des Sirènes Du Pythagorisme Ancien À

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Irini-Fotini Viltanioti L'harmonie Des Sirènes Du Pythagorisme Ancien À Irini-Fotini Viltanioti L’harmonie des Sirènes du pythagorisme ancien à Platon Studia Praesocratica Herausgegeben von / Edited by Richard McKirahan, Denis O’Brien, Oliver Primavesi, Christoph Riedweg, David Sider, Gotthard Strohmaier, Georg Wöhrle Band/Volume 7 Irini-Fotini Viltanioti L’harmonie des Sirènes du pythagorisme ancien à Platon ISBN 978-1-5015-1086-1 e-ISBN (PDF) 978-1-5015-0279-8 e-ISBN (PDF) 978-1-5015-0281-1 ISSN 1869-7143 Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2015 Walter de Gruyter Inc., Boston/Berlin Druck und Bindung: CPI books GmbH, Leck ♾ Printed on acid-free paper Printed in Germany www.degruyter.com ᾿Aθάνα πότνια, ταῦθ’ ἡ σὴ σοὶἔθηκεν ἐργάτις (Anth. Pal. VI 39,7‒8) ÔArchégète, j’aime mieux être le dernier dans ta maison que le premier ailleurs (Ernest Renan, Prière sur l’Acropole) Remerciements Cette étude est issue des recherches menées danslecadre d’une thèse de doc- torat soutenue àl’Université Libre de Bruxelles en novembre 2010.Jesouhaite témoigner ma gratitude au directeur de ma thèse, Baudouin Decharneux, pour le soutien qu’il aapportéàce projet.Mareconnaissance s’adresse également à Lambros Couloubaritsis et àEvanghélos Moutsopoulos pour leur grande hu- manité. Je remercie Richard McKirahan pour sesconseils précieux. Ma gratitude va aussi au lecteur anonyme de mon manuscrit et auxéditions De Gruyter.Elle s’adresse spécialement auxéditeurs scientifiquesdelacollec- tion Studia Praesocratica,Richard McKirahan, Denis O’Brien, OliverPrimavesi, Christoph Riedweg, David Sider,Gotthard Strohmaier et GeorgWöhrle, ainsi qu’à John Whitley (Project Editor), Michiel Klein Swormink (Senior Editorial Director Ancient Studies and Philosophy) and FlorianRuppenstein (Production Editor). Qu’il me soit encorepermisd’exprimer mes remerciements àtous ceux qui m’ont fait part de leurs commentaires ou qui ont simplement vu d’un œil positif ce projet :Alberto Bernabé, JanBremmer,Michèle Broze, Gabriele Cornelli,Mark Edwards, Karl Huffman, Carine VanLiefferinge, Constantinos Macris, Anna Marmodoro, Jean-François Mattéi (†), OliverPrimavesi,Ilaria Ramelli, Peter Struck,Brian Prince, Leonid Zhmud. J’aimerais aussi remercier Georgia Koutsoukou pour l’aide apportée lors de la mise en pagedutapuscrit et Constantinos Gyftakis pour son aide avec les figures géométriques : Ce projet n’aurait pu aboutir sans le soutien de la Fondation Alexandros S. Onassis, qui, en m’octroyant une bourse doctorale, m’apermis de mener la recherche en vue de la rédaction de la présenteétude. Je souhaite aussi évoquer le soutien génereux de la Fondation VanBuuren. Je tiens, par ailleurs, àexpri- mer ma plus vive reconnaissance au Fonds National belge de la Recherche Scientifique (F.R.S.-FNRS)etàlaFondation Wiener-Anspach pour leur soutien indéfectible. Je voudrais enfin adresser mes remerciements àl’Université Libre de Bruxelles ainsi qu’àl’Université d’Oxford, qui ont fait en sorte que ce livre puisse être rédigé dansles meilleures conditions possibles. Pour terminer,jesouhaite témoigner ma gratitudeàmes parents, Evanghélia et Nikolaos, et yassocier toutemafamille. Δίκαιον μὲνεἶναι τοὺςπρώτους καὶ τοὺςτὰμέγισταεὐηργετηκότας ὑπὲρ ἅπαντας ἀγαπᾶνκαὶμηδέποτε λυπεῖν (Iamb. VP 38). Ce livre leur doit beaucoup. Oxford, le 10 décembre2014 Le poèteetles Sirènes Malibu, J. Paul Getty Mus. 76. AA.11. Tarent (Τάρας), Italie du Sud, 350–300 av.J.-C. (avec l’aimableautorisationdeJ.PaulGetty Mus. Open Content Program) Tabledes matières Introduction 1 L’harmonie des Sphères 1 L’harmonie des Sirènes:ducosmos àl’âme 6 Première partie:L’harmonie des Sirènes dans le pythagorisme ancien L’harmonie des Sirènes dans son contexte: ἀκούσματα et σύμβολα 13 . Introduction 13 . A᾿ κούσματα 14 . Σύμβολα 34 . Conclusion 44 L’harmonie des Sirènes:d’Homère au pythagorisme ancien 46 . Introduction 46 . Les Sirènes homériques 47 . Les Sirènes pythagoriciennes 57 . La tétractys 73 . En guise de conclusion:sous le patronage d’Apollon 82 Seconde partie:L’harmonie des Sirènes chez Platon Les Sirènes chez Platon 87 . Introduction 87 . Le problème du mythe chez Platon 87 . Les Sirènes et l’âme 98 . Conclusion 107 Sur les genoux d’Anankè 109 . Introduction 109 . Les origines :d’Hésiode aux Présocratiques 110 . Deux Nécessités chez Platon 115 . Le Bien et l’Un 126 . Conclusion 130 X Tabledes matières L’harmonie des Moires dans le mythe d’Er 132 . Introduction 132 . L’image poétique 133 . Par delà l’imagepoétique 139 . Les Moires et l’âme 145 . Conclusion 156 De l’harmonie des Sirènes àlaDelphes céleste 158 . Introduction 158 . De la psychologie àl’astronomie 159 . De l’âme àlacité: la patrie céleste 168 . Conclusion 177 Épilogue 178 Appendice:Lavaleurapollinienne de la légende de Pythagore 181 Bibliographie 190 Éditions et traductions d’auteursanciens 190 Auteurs modernes 196 Indices Index Verborum Graecorum 221 Index Locorum 225 Index AuctorumRecentiorum 246 Index Nominum 248 Index Rerum 252 Introduction Κι’ ἁρμόζουν διάφορο τὸ φῶςχίλιες χιλιάδες ἄστρα, Χίλιες χιλιάδες ᾄσματα μιλοῦνκαὶκάνουν ἕνα. (Dionýsios Solômós) 1L’harmonie des Sphères La doctrinedel’harmonie des Sphères est sans doute une des plus fameuses doctrines pythagoriciennes;elle devait d’ailleurs connaîtreune postéritéaussi durable que remarquable.¹ Cependant,l’expression «harmonie des Sphères» (ἁρμονίατῶνσφαιρῶν), qui s’applique d’ordinaire àcettedoctrine, pose pro- blème.Larechercheamis en évidence qu’il s’agit d’une expression générali- sante, dont l’inconvénient consisteence«qu’elle ne permet pas de suivre chronologiquement l’évolution de la théorie en question dès ses origines».² Àce propos,onrecourt en général àl’analogie entreles sept planètes et les sept cordes de la lyre archaïque considérées comme les cordes de l’instrument cé- leste.³ Cependant,dans le mythe d’Er,qui est la sourcelaplus ancienne en ce qui concerne tant l’idée de l’harmonie des Sphères que l’énumération de sept planètes, Platon se réfère àune harmonie de huit tons,puisque le cercle des étoiles fixes yest également mentionné.⁴ La confusion s’accroît chez les auteurs plus tardifs:d’un texteàl’autre, le nombre des Sphères varie entre trois,sept, huit et neuf.⁵ On aainsi pu faire état d’une «galerie de formules, qui ne pa- raissent relever que du capriceindividuel ».⁶ Les choses ne sont pasmoins complexes dans le cas du pythagorismeancien:par exemple,quelle forme prendrait l’harmoniedes Sphères dans le système astronomique de Philolaos, qui comptedix corps célestes en rotation autour du feu central?⁷ Surl’harmonie des Sphèresengénéral, cf. Burkert 1972, 350‒368;Zhmud 2012,337‒346.Sur la fortune de cette théorie dans l’Antiquitétardive,cf. O’Meara 2007;sur le Moyen Âge, cf. Beierwaltes 1991;sur les temps modernes,cf. Bartusiak 2000;Bruhn 2005.Cf. aussi l’anthologie de Godwin 1993; Barbour 1953, 2‒4; Meyer-Baer 1970 ;Van Wymeersch 1999;Kahn 2001,156‒ 157;Roob 2001,89‒97. Moutsopoulos 1959, 376. Ibid. 379, nn. 11 et 12.Cf. aussi Burkert 1972,351‒352. Pl. R. X 616c‒617c. Burkert 1972,354 et nn. 23‒26. Reinach1900,433‒434. Àcepropos,cf. aussi Burkert 1972,351 n. 5. 2 Introduction En ce qui concerne plus précisément le pythagorisme primitif, John Burnet souligne le risque accru que peut impliquer l’emploidel’expression générali- sante «harmonie des Sphères»: Il faut bien prendre garde car cetteexpression serait doublementtrompeuse si on l’ap- pliquait àune quelconque des théories que nous pouvons àjuste titreattribuer àPythagore lui-même. Le mot ἁρμονία ne signifie pas harmonieetles sphères sont un anachronisme.⁸ En effet,ainsi qu’Evanghélos Moutsopoulos le note, «lanotiond’harmonie […] n’avaitpas àl’origine un sens musical, mais signifiait la liaison, l’accord, l’ordre, la régularité».⁹ Il ne m’appartient pas ici de traiter de l’histoiredecette notion au sein de la pensée présocratique.¹⁰ Je me bornerai ànoter que l’usagemusical correspond àune application figurée du sens originel mentionné ci-dessus¹¹ et que, chez Philolaos, l’ἁρμονία désigne déjà l’octave.¹² Mais, si l’usageduterme «harmonie»danslepythagorismeancien est attesté, il ne va pas de même pour la référence àdes «sphères»(σφαῖραι), qui relèved’un pur anachronisme.En effet,ilest impossible de faire état de «sphères»avant Eudoxe de Cnide et son système de sphères homocentriques.¹³ Ainsi, dans le mythe d’Er,onn’entend pas parler de sphères,mais de bords d’anneaux (κύκλοι)concentriques¹⁴ sur lesquels sont situées les Sirènes,qui émettent des sons harmonieux : Burnet 1945, 110.Trad. A. Reymondcitéepar Moutsopoulos 1959, 376. Moutsopoulos 1959, 376. Àcesujet,cf. Kirk 1954,207 sq.;Kahn 1979,196 sq.;Huffman 1993, 138‒140;149‒152;160‒ 162; Petit1995. Huffman 1993, 138‒139. Philol. VS 44 B6(I, 409‒410) =Stob. Ecl. I21, 7d: ἁρμονίας δὲ μέγεθος ἐστι συλλαβὰ καὶ δι’ ὀξειᾶν· […] οὕτως ἁρμονίαπέντε ἐπόγδοα καὶ δύοδιέσιες, δι’ οξειᾶνδὲτρία ἐπόγδοα καὶ δίεσις, συλλαβὰ δὲ δύ’ ἐπόγδοα καὶ δίεσις.Cf. Huffman 1993, 145‒165, notamment 149‒152;McKirahan 2010,357. Burkert 1972, 351n.1:«The expression ‘harmonyofthe spheres’ is inappropriate,strictly speaking, as applied to the time before Eudoxus, for then one spokeofbodies, wheels, rings, circles in the sky,but not yetofspheres». SurEudoxe et son système de sphères homocentri- ques,cf. Lasserre1966;Dicks 1970,
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