Next it would seem proper to discuss Magnificence, * μεγαλοπρέπεια denotes Munificence of a magnificent kind, the spending of money on a grand scale from the motive of public spirit. In discussing it Aristotle is thinking especially of the λῃτουργίαι or public services discharged at Athens , and in other Greek cities, by wealthy individuals; such as the refitting of a naval trireme, the equipment of a dramatic chorus, and the defraying of the cost of a θεωρία or delegation representing the State at one of the great Hellenic festivals. The word literally means ‘great conspicuousness’ or splendor, but in eliciting its connotation Aristotle brings in another meaning of the verb πρέπειν , viz. ‘to be fitting,’ and takes the noun to signify ‘suitability on a great scale’; and also he feels that the element ‘great’ denotes grandeur as well as mere magnitude. for this also appears to be a virtue concerned with wealth. It does not however, like Liberality, extend to all actions dealing with wealth, but only refers to the spending of wealth; and in this sphere it surpasses Liberality in point of magnitude, for, as its name itself implies, it consists in suitable expenditure on a great scale.
But this greatness of scale is relative. An amount of outlay that would be great for a person fitting out a galley for the navy would not be great for one equipping a state pilgrimage.
The suitability of the expenditure therefore is relative to the spender himself, and to the occasion or object. At the same time the term magnificent is not applied to one who spends adequate sums on objects of only small or moderate importance, like the man who said ‘Oft gave I alms to homeless wayfarers’ * Hom. Od. 17.420 ; said by Odysseus pretending to be a beggar who formerly was well-to-do. ; it denotes someone who spends suitably on great objects. For though the magnificent man is liberal, the liberal man is not necessarily magnificent.
The defect corresponding to the magnificent disposition is called Paltriness, and the excess Vulgarity, Want of Taste or the like. The latter vices do not exceed by spending too great an amount on proper objects, but by making a great display on the wrong occasions and in the wrong way. We will however speak of them later. * 2.20-22.
The magnificent man is an artist in expenditure: he can discern what is suitable, and spend great sums with good taste.
（For as we said at the outset, * Cf. 2.1.7 fin., chap. 2.8. a disposition is defined by the activities in which it is displayed, and by the objects to which it is related.） So the magnificent man's expenditure is suitable as well as great. And consequently the objects he produces must also be great and suitable; for so only will a great expenditure be suitable [to the result * These words are better omitted: ‘suitable to the occasion’ seems to be meant. ] as well. Hence, as the object produced must be worthy of the expenditure, so also must the expenditure be worthy of or even exceed the object produced.
Again, the motive of the munificent man in such expenditure will be the nobility of the action, this motive being characteristic of all the virtues.
Moreover he will spend gladly and lavishly, since nice calculation is shabby;
and he will think how he can carry out his project most nobly and splendidly, rather than how much it will cost and how it can be done most cheaply.
The magnificent man will therefore necessarily be also a liberal man. For the liberal man too will spend the right amount in the right manner; and it is in the amount and manner of his expenditure that the element ‘great’ in the magnificent or ‘greatly splendid’ * See note on 2.1. man, that is to say his greatness, is shown, these being the things in which Liberality is displayed. And the magnificent man from an equal outlay will achieve a more magnificent result * Sc. than the vulgar man or the shabby man. ; for the same standard of excellence does not apply to an achievement as to a possession: with possessions the thing worth the highest price is the most honored, for instance gold, but the achievement most honored is one that is great and noble （since a great achievement arouses the admiration of the spectator, and the quality of causing admiration belongs to magnificence）; and excellence in an achievement involves greatness.
Now there are some forms of expenditure definitely entitled honorable, for instance expenditure on the service of the gods— votive offerings, public buildings, sacrifices—and the offices of religion generally; and those public benefactions which are favorite objects of ambition, for instance the duty, as it is esteemed in certain states, of equipping a chorus splendidly or fitting out a ship of war, or even of giving a banquet to the public.
But in all these matters, as has been said, the scale of expenditure must be judged with reference to the person spending, that is, to his position and his resources; for expenditure should be proportionate to means, and suitable not only to the occasion but to the giver.
Hence a poor man cannot be magnificent, since he has not the means to make a great outlay suitably; the poor man who attempts Magnificence is foolish, for he spends out of proportion to his means, and beyond what he ought, whereas an act displays virtue only when it is done in the right way.
But great public benefactions are suitable for those who have adequate resources derived from their own exertions or from their ancestors or connections, and for the high-born and famous and the like, since birth, fame and so on all have an element of greatness and distinction.
The magnificent man therefore is especially of this sort, and Magnificence mostly finds an outlet in these public benefactions, as we have said, since these are the greatest forms of expenditure and the ones most honored. But Magnificence is also shown on those private occasions for expenditure which only happen once, for instance, a wedding or the like, and which arouse the interest of the general public, or of people of position; and also in welcoming foreign guests and in celebrating their departure, and in the complimentary interchange of presents; for the magnificent man does not spend money on himself but on public objects, and his gifts have some resemblance to votive offerings.
It is also characteristic of the magnificent man to furnish his house in a manner suitable to his wealth, since a fine house is a sort of distinction; and to prefer spending on permanent objects, because these are the most noble;
and to spend an amount that is appropriate to the particular occasion, for the same gifts are not suitable for the gods and for men, and the same expenditure is not appropriate to a sacrifice and a funeral. In fact, inasmuch as the greatness of any form of expenditure varies with its particular kind, and, although the most magnificent expenditure absolutely is great expenditure on a great object, the most magnificent in a particular case is the amount that is great in that case,
and since the greatness of the result achieved is not the same as the greatness of the expenditure （for the finest ball or oil-flask does not cost much or involve a very liberal outlay, though it makes a magnificent present in the case of a child）,
it follows that it is the mark of the magnificent man, in expenditure of whatever kind, to produce a magnificent result （for that is a standard not easily exceeded）, and a result proportionate to the cost.
Such then is the character of the magnificent man. His counterpart on the side of excess, the vulgar man, exceeds, as has been said, by spending beyond what is right. He spends a great deal and makes a tasteless display on unimportant occasions: for instance, he gives a dinner to his club on the scale of a wedding banquet, and when equipping a chorus at the comedies he brings it on in purple at its first entrance, as is done at Megara . * In the earlier scenes of the comedies of Aristophanes, the chorus appear in character as charcoal-burners, cavalrymen, wasps, clouds, etc., and take part in the action of the play as such. They seem to have stripped off their outer dress for the Parabasis, or interlude, in which they address the audience on behalf of the author （ Aristoph. Ach. 627 , Aristoph. Peace 730 ）. In the later scenes they tend to fall more into the position of spectators, like the chorus of tragedy; and the play usually ends with something in the nature of a triumphal procession, when purple robes （like the scarlet worn by the chorus at the end of the Eumenides of Aeschylus） would not be inappropriate, as they would be in the opening scenes. Megarian comedy is elsewhere associated with coarse buffoonery. Moreover, he does all this not from a noble motive but to show off his wealth, and with the idea that this sort of thing makes people admire him; and he spends little where he ought to spend much and much where he ought to spend little.
The paltry man on the other hand will err on the side of deficiency in everything; even when he is spending a great deal, he will spoil the effect for a trifle, and by hesitating at every stage and considering how he can spend least, and even so grudging what he spends and always thinking he is doing things on a greater scale than is necessary.
These dispositions then are vices, but they do not bring serious discredit, since they are not injurious to others, nor are they excessively unseemly.