LIFE OF OLYMPUS

have invented not only the Enharmonic scale but
the two rhythms known as the Prosodiac (—--«),
which is that of the Nome of Ares. and the Choree
(eo) Which oceurs so frequently in the tunes used in
the worship of Cybele. ‘Phe Bacehius (ὦ το τοῦ also is
sometimes ascribed to him.) These statements are
borne out by each of the ancient melodics.

Plutarch On Muaste: Take for instance the Fnhar-
monic scale employed by Olympus with the Phrygian
mode and the Epibatie Pacon? the combination which
gives its character to the opening of the Nome to
Athena, Both melody and rhythm make their con-
tribution, the metre being mere ly changed in a
cunning w: av so as to become as ‘it were trochaic
instead of paeonic. and the effect is completed by
the use of the Enharmonic scale of Olympus.

The Same: Moreover, although the ancient poets
used only some of the *modes. they knew them
all. Tt is net through ignorance that they con-
fine themselves to employing so few strings.’ or
that composers like Olympus and Terpander and
their followers denied themselves the use of many
strings and the variety which that entails. This is
clear both from the works of Olympus and Ter-
pander and those of the composers who belong to the
sume school, Though they are quite simple and
written only for a few strings, they so tar excel the
elaborate works written for many. that the style of
Olympus remains inimitable and the exponents of
the opposite principle have to take the second place.

1 see also Pint. us. Won Thaletas p. 37) ® perh.
the ‘3rd Paeon’ (υὺ --- υ)]ὺ called δρόμιος or ‘running’
Sor * wetes’; the Greek worl is intendel to include the
stops of the flute ; so also below