=== p1 ===


=== p2 ===
Digitized by the Internet Archive
in 2008 with funding from
Andrew W. Mellon Foundation

https://archive.org/details/lyragraecabeingr01 edmouoft

=== p3 ===
"THE LOEB CLASSICAL LIBRARY

EDITED BY
"PS, Pa.D., LL.D. T. E. PAGE, Litr.D. W. H. Ὁ. ed Litt.

ν oe #
DKS ’ δ
ψ

De

͵

LYRA GRAECA
I

=== p4 ===
—As the hyacinth which the shepherd tramples
on the hill
Lies upon the ground and lying bloometh

purple still,
SAPPHO

=== p5 ===


=== p6 ===
FROM A FIFTH CENTURY KYLIX
BY SOTADES IN THE SRITISH MUSEUM

=== p7 ===
LYRA GRAECA

BEING THE REMAINS OF ALL THE
GREEK LYRIC POETS ΓΜ EUMELUS
TO TIMOTHEUS E¥C NG PINDAR

NEWLY EDITED AND TRANSLATED BY
Lr Aware >
J? M? EDMONDS

LATE FELLOW OF JESUS COLLEGE CAMBRIDGE

IN THREE VOLUMES

VoLtumME!L .,
INCLUDING
TERPANDER ALCMAN SAPPHO AND ALCAEUS

LONDON : WILLIAM HEINEMANN
NEW YORK : G. P. PUTNAM’S SONS
MCMXXII

=== p8 ===


=== p9 ===
MA®@HTPIAIS
ΣΥΜΜΑΘΗΤῊΣ

Vay

=== p10 ===


=== p11 ===
PREFACE

Since the appearance of the fourth edition of
Theodor Bergk's Poetwe Lyrict Graeco. in which they
form the third volume. the Lyrie Fragments, or as
they are more acc urately called, the Melie Fr: agments,
have not been published complete. The last forty
years, thanks mainly to the work of the Egypt
Exploration Fund and similar societies, have added
very notably to our slender store, and a new edition
has been long overdue. My buok will, I hope, go
some way to supply the want. It is complete in the
sense that its sole omissions are fragments which
have only palaeographical value, and it contains all
that is really necessary by way of exegesis. In all
places where the text adopted would otherwise be
misleading I have given critical notes, save only
where I have already discussed the re: nding in one or
other of the classical periodicals. Many sscholars—
and to say this is not to depreciate a great work ;
for such things depend on the point of view—must
have found Bergk lacking in two respects. First,
when so little is known of these great figures of
antiquity. all that little has value for us if they are
to seem things of flesh and blood and not the mere
subjects of a lesson in translation. With the single
exception of Sappho’s, the Fragments alone are not
enough. I have therefore included, unlike Berek,
the chief passages of ancient literature which throw
light on the life and person: lity of the poets and
their literary reputation in antiquity—not making
an exception of Sappho: for the clear-drawn self-

vil

=== p12 ===
PREFACE

portrait she gives us in her Fragments is so precious
that its very frame is of surpassing interest. To
these ‘ Lives’ I have added the ancient accounts of
such early poet-musicians as Olympus and Thaletas,
partly to serve in some sort aS an introduction to the
subject, and partly in order to avoid creating the
impression that only the poets of whem: some work
is extant are of any importance to the student of
Greek poetry. Secondly, if these mere quotations
are to have more than linguistic interest, in nine
cases out of ten they want explanation, and in at
least five of those nine the explanation may be had
from the context in which they are found. Berek
appears to have regarded the contexts as a necessar v
evil, and has not only relegated them to the footnotes
but has made them less useful than they might have
been by cutting them as short as he possibly could.
I have ‘thought it better to give full contexts in the
body of the page, printing them, however, in small
type so that the reader may the more easily omit
them if he will.

A feature peculiar to this edition is the inclusion
of a considerable number of restorations made exempl
gratia of passages preserved only im paraphrase.
These restorations, as well as those of the new Frag-
ments, are mainly my own. The reader should
clearly understand that in m: uly cases where he finds
square brackets, and all where he finds " €.g., or “6.5.
and a vertical line, he is dealing with restorations
which, though they are far from being mere guesses,
are only approximations to the truth. Similar
warnings are sometimes conveyed by dots and pointed
brackets. A dot placed beneath a letter means that
that letter is a possible interpretation of the traces,

Vili

=== p13 ===
PREFACE

a pointed bracket indicates that the letters within
it are net or cannot have been in the MS. The
emendations and restorations for which [ believe
myself to be responsible are marked # in the notes.
All restorations have been checked where possible
by a palacographical method explained and exempli-
fied in various articles in the periodicals. Briefly, it
consists of the tracing of letler-groups from photo-
graphs of the extant portions of the papyrus or
véllum Ms. Suggestions are rejected which, when
traced out by this method, are shown, with all
reasonable allowance made for variation in the size
of the letters and the spaces between them, to
exceed or fall short of the requirements of the gap:
and where the gap is bounded on the left by an
imaginary marginal line, all suggestions are made to
correspond—again with all reasonable allowance
made—in what I may call for convenience ‘ written
leneth, Scholars who have not tried this method
will be surprised, when they do, at the way in which
it reduces the possibilities. One instance must
suffice. In the first lines of Aleaeus 27, the letters
A of παίδων, Al of πρώϊτᾳ. TO betore yap, and IC of
GAX Jans, come immediately under one another. Metre
requires Geo supplementary syllables in lines | and
2. three in line 5, and one in line 4. ΑἸ] these
supplements must correspond in written length not
only with one another but with any suggestions
made for the four subsequent lines, and w bos they
are made the result must be not only a passage
satisfactory in metre, grammar, dialect and sentiment,
but something which Aleaeus might have written.
1 should add here that so far as I have found it
practicable my work on the new Fragments is based

is

=== p14 ===
PREFACE

on the actual MSsS.: where I have used only photo-
graphs the results should be taken as still requiring
corroboration. The latter cases are indicated in the
footnotes.

The arrangement of the Fragments follows, where
this can be interred, the arrangement of the editions
current in the later antiquity: but it must not be
understood as certainly reproducing it. Cross-refer-
ences to the numerations of Ber ek and Hiller-Crusius
will be found on page 431. I have added a separate
index of the ancient authors, including those to
whom we are indebted for most of our knowledge of
these poets and their works. Among the modern
writers who have collected, emended, and interpreted
the Fragments, next to Berek! and those on whom
he drew— Ahrens, Bekker, B enseler, Bentley, Blom-
field ,? Boissonade. Brunck, Cobet, Cramer, Gaisford,
Hartung, Hecker, Hermann, Keil, Kock, Matthiae,
Meineke, ©. Miiller, } Nauck, Neue, Porson, Reiske,
Scheveidemin ἢ Schw eighinser Seidler, Ursinus, Vol-
ger, Voss, Welcker, Wolf—I owe most to Ἐπ P.
Grenfell, A. S. Hunt, Kaibel and U. von Wilamowitz-
Moellendorff. My obligations to these, as to other
recent and living scholars. are indicated in the notes.
I must here record my thanks to the Director of the
British Museum for permission to reproduce the
Sotades vase, and to the Council of the Egypt Ex-
ploration Fund for allowing me to print the Oxy-
rhynchus Fragments; to D. Bassi, J. Harrower,
W. Schubart, aati the Directors of the Bibliothéque
Nationale and of Graz University, for supplying me
with photographs of papyri and other MSS. in their
care. And I gratefully acknowledge the help and

1 ψ, 2 Bi. ° Schn. + Schw.

=== p15 ===
PREFACE

are I have received from Mrs. Adam.
H. T. Bell, S. G. Campbell. A. B. Cook, Kt. D. Hicks.
H. Καδης and A. J. B. Wace.

An account of the MS. tradition when the authors
concerned run into the sixties is a formidable affair,
and would be beyond the scope of this book. For
the most important. the scholar will find much of
what he requires in O. Hothmann’s Greechische Dialehte
and in the introduction to A. C. Pearson's Fragments
of sree The earlier history of the text has
been ably worked out by Wilamowitz in the works
mentioned in the Bibliography. But it should be
borne in mind that statements on the Acolic metres
and dialect published before 1914 may need modi-
fication. I cannot hope that the many references
in this book are quite exhaustive, modern, and
correct. But I have done my best to make them so,
A few not quite obvious errors, of which the worst
is Alevandrides tor Anaxandrides on pp, 100 and 101,
will be found corrected in the Indexes. In the
translation of Sappho /r. 55 the proverb should be
in square brackets. The omitted fragments of
merely palaeographical value will be found in the
Papyrus Collections—Onryrhynchus, Berliner K lassiker-
teate, Halle, Soceeta Ltaliana. It will perhaps be
useful to the reader to know that Volume Il. which
is already in the press, includes Stesichorus, Ibyeus,
Anacreon, and Simonides. and that Volume IIL.
which is in preparation, will include Corinna, bac ΠΣ =
lides, Timotheus, the Seolia, the Folk-Songs, the
Anacreontea, and the Adespota, with an account of
Greek Lyric Poetry.

J. M. Ε΄.
CAMBRIDGE,
December 22, 1921.
xi

=== p16 ===


=== p17 ===
CONTENTS
PAGE
MMOAGE . . wl. ke τ
SELECT BIBLIOGRAPHY . .  . . . OOK

PREFATORY EPIGRAM

be

τ . 2... wk kk 4
BUMBUUS: WIFE. . . hee ee 2

FRAGMENT . 2... ee ων. 14
TERPANDER: LIFE . 2... eee ee 16

FRAGMENTS... wee a 30

THALETAS 5 92
POLYMNASTUS 38
MHOMAN: DIPE . . . 44

POEMS AND FRAGMENTS:
BOOKS I AND 11. MAIDEN-SONGS . . . 50
BOOK Ill. [OTHER CHORAL FRAGMENTS]. . 90
BOOK IV. LOVE-SONGS . . . . . . . JS
. . es
BOOK VI. [OTHER MONODIC FRAGMENTS] . 126

BOOK V. DRINKING-SONGS . . .

Gp rrr D6)

SAPPHO: LIFE . ccc cre | (|)

PORMS AND FRAGMENTS:

BOOK 1. SAPPHIC ELEVEN-SYLLABLE . 183
BOOK 11. FOUNRTEEN-SYLLABLE er . . ΜΕ

1 For early poets such as Orpheus see note on page 10
ΝΠ]

=== p18 ===
* CONTENTS

SAPPHO: POEMS AND FRAGMENTS (continued) : PAGE
BOOK JII. SIXTEEN-SYLLABLE (GREATER
ASCLEPIAD) . . . . . 290

BOOK IV. TWELVE-SYLLABLE (LESSER AS-
CLEPIAD) . .- 2. -. 254

BOOK VV. GLYCONIC AND KINDRED METRES 238
nook VI. IONIC AND KINDRED METRES . 260

BOOK VII. IAMBIC AND TROCHAIC. . . 270
BOOK VIII. DACTYLIC ΝΒ  Αἐἁ-᾿ τ
BOOK IX. EPITHALAMIES . . . . . 282
AL@AMEUS: LIFE . . . . « «© «© «© «© ΓΤ τ:
POEMS AND FRAGMENTS:
BOOK 1. BYOPNS 2. 2. ek ee
BOOK IJ. WAR-SONGS . . . . . . 982
BOOKS ΠῚ AND IV. POLITICAL SONGS . . 342
BOOK Vi. « . 6 6 « «© « - - τ»
BOOK VI. [UNCLASSIFIABLE FRAGMENTS
OF A GENERAL TYPE) . . 3/2
BOOK VII. LOVE-POEMS. . . . . . 994
BOOK VIII. ENCOMIA. . . . . ©. ~. 402
BOOKS IX AND X. DRINKING-soncGs . . 414
TABLES OF COMPARATIVE NUMERATION . . . . . 481
INDEX OF ‘NEW’ POEMS AND FRAGMENTS . . . . 442
INDEX OF FRAGMENTS RESTORED FROM PARAPHRASES . 442
INDEX OF AUTHORS . . . . . . . . « . . Ὕύἤῦῖ ΓΛ
GENERAL INDEX OF NAMES rr es:

=== p19 ===
SELECT BIBLIOGRAPHY

ΤΙ ων Berek Peewee Lyrit Graeet Leipzig 1882 vol. TH
reprinted without correction [91 ; text with contests
and Latin notes

(7. S. Farnell Greet Lurie Potern London 1891: select teat
with introductions and notes

(ἡ. Hotimann Ji Grisvhisehen Lilulehie ta threm historischsn
ΣΧ ΠΩΣ] der “0 5}. ἐν ἐδ ἢ threr (ried dy Ἢ Coot
tingen ISM)-S;: select: text of certain authors with
contexts and critical notes (used with inscriptions, etc.
to illustrate the dialects)

H. Weir Smyth Grae Melic Poets London 1900; select text
with introductions, notes, and bibliography

FE. Hiller and ©, Crusius Anthologia Lorica sive Lericarei
Groererum wterun pructer Ptadariam veliquiae jutiores
Leipzig 1903; seleet text with a few critical notes;
contains no new fragments

UL. von Wilamowitz-Moellendorff (10 Teetursehieht: der
griehiselhen Lyriker Berlin 1900; history of the text.
(2) Supphe wad Sinenives Terlin 1913+: various articles
on certain ef the Lyric Poets and their works, 2)
Crierhisehe Torstunst Berlin 1921: a study of Creek
Metre?

A. C. Pearson Thea Fraypinents of Sephectes Cambridge 1917
intreduction τ on the ‘sources’ and their MSS

J. ΔΓ, Mackail Leelwies on Greek Pertry London 1910

See also Ceyrhynehns Papyri 11898; and X (1914, Pauly.
Wissowa Leenenilopidis umier Lem, ΟΝ
«ας, οτος, J. Sitzler in Bursian (Kroll), Jediesterioht
ΟΣ Ate Burtschritte ΟΣ ΣΤ
1500), 1907, 1919) and various articles by the editor of
this edition in the C/isiea/ Revinw, Classieul ΘΗ ΝΥ ΗΝ,
and Cumleridge 77. Παρ Soeietus Piveedings frou

1909 to 1922

1 These reached ie too lave for me te profit by them in prepagins mr
first volume

XV

=== p20 ===


=== p21 ===
LYRA GRAECA

=== p22 ===
TIINAAPE ΔΙουσάων tepor στόμα, καὶ λάλε Σειρὴν
BAKXYAIAH, ΣΑΠΦΟῪΣ τ᾽ Δίολίξες χάριτες,
γρώμμα 7 ᾿ΑΝΑΚΡΕΙΟΝΤΟΣ, Ὁμηρικὸν ὅς 7 ἀπὸ

ῥεῦμα
ἔσπασας οἰκείοις ZSTHSIXOP’ ἐν καμάτοις,
ἢ τε ΣΙΜΩΝΙΔΈΩ γλυκερὴ σελίς, ἡδύ τε {Πειθοῦς
ἼΒΥΚΕ καὶ παίξων ἄν Gos ἀμησάμενε,
καὶ ot tte “AAKAIOIO πὸ τ πολλάκις αἷμα τυράννων
σπεισεν τ πάτρη ς θέσμια ῥυόμενον.
θηλυμελεῖν ἌΛΚΜΑΝΟΣ ἀηδόνες, ἵλατε, πεσης

7
’ \ γ᾽ ‘ , B) 7
upXyv οἱ λυρικῆς καὶ πέρας ἐστάσειτε.

LHe. Tel, B.A line 4 Jahn καπέτοις * irrigation -
ditches” perhaps rightly line 10 Mein: iss ἐσπάσατε

2

=== p23 ===
That holy mouth of the Muses θεν απ that sweetly
prattling Siren Baceuytipes, those Acolian Graces of
Sarruo: the book ANscreon wrote, ΟἼΕΙ ΟΝ
whose work was fed from the stresm of Tfomer ;
the delicious seroll of Stwoximers, Inycus gathercr
of the bloom of Persuasion and of lads, the sword
Ancarus used, to shed tyrant blood and save iris
country’s rights. the maiden-tuncd nightingales of
Aveman: 1 pray you all be gracious unto me, ye that
have established the beginning and the ending of all

om fl
lyric song.

L Didutine shithology : probably Che Leow 7 a book of
selections from the Nine Lyric Poets ; ef. 9. S71 (p. 106)

=== p24 ===
OATMILOT
Bios

Plat. Mus. 5 “ANE Ear ὅρος δ᾽ ἐν τῇ Συναγωγῇ
τῶν Tepi Φρυγίας κρούματ a Ὄλυμπον ἔφη πρῶτ τον
εἰς τοὺς ‘Eas κομίσαι, ἔτι δὲ καὶ τοὺς ᾿Ιδαίους
Δακτύλους Ὑαγνιν δὲ πρῶτον αὐλῆσαι, εἶτα τὸν
τούτου υἱὸν ΔΙαρσύαν, εἶτ᾽ ᾿Ολυμπον.

Ibid. 1 [π. αὐλῳδικῶν νόμων] λέγεται γὰρ τὸν
προειρημένον Ὄλυμπ. ον, αὐλητὴν ὄντα τῶν ἐκ
Φρυγίας, ποιῆσαι νόμον αὐλητικὸν εἰς ᾿Απόλ-
OVA τὸν καλούμενον ΠΠολυκέφαλον" εἶναι δὲ
τὸν Ὄλυμπον τοῦτόν φασιν «ἔνιοι "1 ἕνα τῶν
ἀπὸ τοῦ πρώτου ᾽Ολύμπου. τοῦ Mapovov πεποι-
ηκότος εἰς τοὺς θεοὺς τοὺς νόμους" οὗτος γὰρ
παιοικὰ γενόμενος Mapavov καὶ τὴν αὔλησιν
μαθὼν παρ᾽ αὐτοῦ τοὺς νόμους τοὺς ἁρμονικοὺς
ἐξήνεγκεν εἰς τὴν ᾿λλάδα, οἷς νῦν χρῶνται οἱ
“ὔλληνες ἐν ταῖς ἑορταῖς τῶν θεῶν. ἄλλοι δὲ
Κράτητος εἶναί ᾧῴφασι τὸν Ἰϊολυκέφαλον νόμον,
ψενομένου μαθητοῦ ᾿Ολύμπου. ὁ δὲ Ipativas
Ὀλύμπου φησὶν εἶναι τοῦ νεωτέρου τὸν νόμον

1B

Pin ancient times there was some confusion between the
elder and younger musicians of this name. Voth seem to
have been musiciaus pure and simple, but are included here

4

=== p25 ===
OLYMPUS
Lire!

PJutarch On Music: Alexander in his Collections on
Phryoia declares that instrumental music was intro-
duced into Greece by Olympus and by the tdacan
Dactyvls or Priests of Cybele. The first flate player
according to him was Hy: agnis. who was followed by
his son M: arsvas, who was succeeded by Olympus.

The Same: fon lyre-sung ‘nomes*]: We are
told that the Olympus of whom we spoke just
now. a flute-player from Phrygia, composed a flute-
nome? te Apollo which is known as the Many-
Headed. This Olvimpus, however, is said by some
authorities to have been a descendant of the first
Olympus. son of Marsvas. who composed the nomes
to the Gods.—This earlier Olympus was in his boy-
hood a favourile of Marsvas, and learning dute-plaving
of him, introduced the musical nomes 2 into Greece,
where they are now used at the festivals of the
Gods.— According to another account, however, the
Many-FHeaded nome is the work of Crates +a pupil
of Olympus.’ though Pratinas declares it to be the
work of Olympus the Seeond, The Harmnatian

beeanse the development of Greek dyrie poctry is hardly
separable in its early stages from that of Greek music
Ξ τον, & certain type of air for the finte alone, not for flute
and voice as above

=== p26 ===
LYRA GRAECA

“ . ἃ , ti , , 0
τοῦτον, τὸν δὲ καλούμενον “Δρμάτιον νόμον héye-
ται ποιῆσαι ὁ πρῶτος ᾿Ὅλυμπος, ὁ Δίαρσύου

’ ef ’ 3 ‘ ’ 4 ει "4
μαθητής. . . . ὅτι δ᾽ ἐστὶν Odvprou ὁ ᾿Αρμάτιος

f a x 6
νόμος, ἐκ τῆς Γλαύκου ᾿Αναγραφῆς τῆς ὑπὲρ

5 /
᾿Λρχαίων ΠΠοιητῶν μάθοι ἄν τις... ἄνκλοι δέ
a \ /
τινες ὑπὸ ΔΙυσῶν εὑρῆσθαι τοῦτον τὸν νόμον"
’ J
γεγονέναι yap τινας ἀρχαίους αὐλητὰς Muaovs.

Plat. Mus. 11 Ὄλυμπος δὲ ὡς ᾿Αριστόξ ενός
φησιν, ὑπολαμβάνεται ὑπὸ τῶν μουσικῶν τοῦ
ἐναρμονίου γένους εὑρετὴς γεγενῆσθαι" τὰ γὰρ πρὸ
ἐκείνου πάντα διάτονα καὶ χρωματ τικὰ ἣν. ὑπο-
νοοῦσι δὲ τὴν εὕρεσιν τοιαύτην τινὰ γενέσθαι"
ἀναστρεφόμενον τὸν ᾿“Ολυμπον ἐν τῷ διατόνῳ καὶ
διαβιβάξοντα τὸ μέλος πολλάκις ἐπὶ τὴν διάτονον
παρυπιίτ TH, τότε μὲν ἀπὸ τῆς παραμέσης, τότε δ᾽
ἀπὸ τῆς μέσης, καὶ π παραβαίνοντα τὴν διάτ τόνον
λιχανὸν καταμαθεῖν τὸ κάλλος τοῦ ἤθους, καὶ
οὕτω τὸ ἐκ τῆς ἀναλογίας συνεστηκὸς σύστημα
θαυμάσαντα καὶ ἀποδεξώμενον ἐν τούτῳ ποιεῖν
ἐπὶ τοῦ Δωρίου τόνου" οὔτε γὰρ τῶν τοῦ διατόνου
ἰδίων οὔτε τῶν TOU χρώματ τὸς amr εσθαι, ἀλλ᾽ ἤδη
τῶν τῆς ἁρμονίας. εἶναι δ᾽ αὐτῷ τὰ πρῶτα τῶν
ἐναρμονίων τοιαῦτα. .. φαίνεται δ᾽ ᾿Ὅλυμπος
αὐξήσας μουσικὴν τῷ ἀγένητόν TL καὶ ἀγνοού-
μενον ὑπὸ τῶν ἔμπροσθεν εἰσαγαγεῖν, καὶ ἀρχηγὸς
ευέσθαι τῆς ᾿Ιλληνικῆς καὶ καλῆς μουσικῆς.

Ibid. 15 "Ὄλυμπον γὰρ πρῶτον ᾿Δριστόξενος ἐν
τῷ πρώτῳ περὶ Movorkis ἐπὶ τῷ Πύθωνί φησιν
ἐπικηδεῖον αὐλῆσαι Λυδιστί.

Ibid. 29 καὶ αὐτὸν δὲ τὸν "θλυμπον ἐκεῖνον, ᾧ
δὴ τὴν ἀρχὴν» τῆς ᾿Ιλληνικῆς TE καὶ νομικῆς μού-

nN

=== p27 ===
LIFE OF OLYMPUS

nome, as it is called. is reputed the work of the

first Olympus, the pupil of Marsyas .. . and this
view is supported by Glancus in his Account af the
Ancient Poets... . Tt is held, however, by some

writers that the TTannatian nome was a Mysian
invention, Mysia having produced flute-players in
ancient times.

Plutarch On Musie: According to Aristoxenus,
musicians ascribe the invention of the Fnharmonic
scale (REP ABB’CE) ! to Olympus. Before his time
the only seales had been the Diatonie and the
Chromatic. The invention is supposed to have come
about thus: In descending in the — νς seale his
melody frequently passed from B or from A to F,
omitting G. Realising the beater of this effect,
Olympus in his astonishment accepted the principle
for the whole system, and eomposed in it in the
Dorian ‘mode.’ rejecting all intervals peculiar to the
Diatonic or Chromatic scales and concerning himself
directly with the mode. Such was the origin of his
Enharmonic seale... . It is clear that Olympus
made a real advance in’ music by introducing an
entire novelty, and was the father of good music in
Greece.

The Same: We are told by Aristoxenus in the first
Book of his Treatise on Music that the first flute-plaver
to use the Lydian mode was Olympus in his Lament
for the serpent Python.

The Same: The Olympus who is reputed the
oviginator of art-music in Greece, is considered to

1 the dash indicates a quarter-tone

=== p28 ===
LYRA GRAECA

’ & @&f ‘ a - 7 4 fal
σὴς ἀποδιούασι, TO TE τῆς ἁρμονίας γένος ἐξευρεῖν
‘ a e wn f x e e
φασι. καὶ τῶν ῥυθμῶν τόν τε TpoTOoLaKON ἐν ᾧ ὁ
ἴω 3 , “ A X al - nw
τοῦ A\péws τόμος, Kat τὸν χορείον ᾧ πολλῷ
΄ 5 a , . "» Ἵ ὲ ‘
κέχρηται ἐν τοῖς ΔΙητρῴοις" ἔνιοι δὲ καὶ τὸν βακ-
an "Oo » Ὁ ’ c ral 9
yetov “Odvprror οἴονται εὑρηκέναι. δηλοῖ ὃ
δ - 3 "i nn ef a 2 Ὁ
ἕκαστοι τῶν ἀρχαίων μελῶν ὅτι ταῦθ᾽ οὕτως ἔχει.
oe τ ΄ ΧΙ ,
Plut. Mus.33 οἷον ᾽᾿Ολύμπῳ τὸ ἐναρμόνιον γένος
3 Ν ’ , Ν 4 3 / 7
ἐπὶ Φρυγίου τόνου τεθὲν παίωνι ἐπιβάτῳ μιχθέν"
a Ν a a Ν > J Ν nw
τοῦτο γὰρ τῆς ἀργῆς τὸ ἦθος ἐγέννησεν ἐπὶ τῷ
n , ΄ \

ς ᾿λθηνῆᾶς νόμῳ προσληφθείσης yap μελο-
of SG of - oR ,
TOMAS Καὶ ῥιθμοποιΐας TENVIKMS O€ μεταληφθέντος

n € n U n f
τοῦ ῥυθμοῦ μόνον αὐτοῦ καὶ γενομένου TPOXaLoU
.3 i ,ὔ λ 3 fv 3 “
ἀντὶ παίωνος, συνέστη τὸ ᾿Ολύμπου ἐναρμόνιον

T

,
γένος.
Π “ \ OA vA ᾽ τ
Ibid. 18 καὶ οἱ παλαιοὶ δὲ πάντες οὐκ ἀπείρως
q n fal e n a? 3 ΄
ἔχοντες πασῶν τῶν ἁρμονιῶν ἐνίαις ἐχρήσαντο"
‘ ΄ vr nw 7 ᾽' -
οὐ γὰρ ἡ ἄγνοια τῆς τοιαύτης στενοχωρίας καὶ
3 , b) a 5», 7 “ a > A 3
ὀλιχοχορξδίας αὐτοῖς αἰτία γεγένηται" οὐδὲ δι
” ¢ , ov Yorn Ων \ ΄
ἄγνοιαν οἱ περὶ ᾿Ολυμπον καὶ Tépravopor καὶ ot
~ 4 , a
ἀκολουθήσαντες τῇ τούτων προαιρέσει περιεῖλον
Ἴ ν Υ nn
τὴν πολυχορδίαν TE Kal ποικιλίαν. μαρτυρεῖ
n Ν Ὦ ΄ \ T χα 7 ὃ / a
yoo τὰ ᾿Ολήμπου τε καὶ ερπάνδρου ποιήματα
x a , e ’ ΄ > f
καὶ τῶν τούτοις ὁμοιοτρόπων πάντων. ὀλεγό-
vopoa! γὰρ ὄντα καὶ UTAG διαφέρει TOV ποικίχων
Xo yep orre & pre ;
ipo ns μηδένα δύνασθα θ
καὶ πολυγόρδων, ὡς μηδένα δύνασθαι μιμήσασθαι
᾿ ΕΣ ΄ , - ye iN , \
τὸν ᾿Ολύμπου τρόπον, ὑστερίζειν O€ τούτου TOUS
a , C ‘ ,
ἐν τῷ πολυχόρδῳ TE Kal πολυτρύπῳ KaTa-
“ιχυομέπνους.
1 Volkmann: mss τρίχορδα

=== p29 ===
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

=== p30 ===
LYRA GRAECA

Arist. Pol, 8. 5 {π. μουσικῆς ]" τοῦτο δ᾽ ἂν εἴη
δῆλον, εἰ ποιοί τινες τὰ ἤθη γιγνόμεθα δι᾽ αὐτῆς.
ἀλλὰ μὴν ὅτι γιγνόμεθα ποιοί τίνες, φανερὸν διὰ
πολλῶν τῶν ἑτέρων, οὐχ ἥκιστα δὲ καὶ διὰ τῶν
Ὀλύμπου μελῶν. ταῦτα γὰρ ὁμολογουμένως
ποιεῖ τὰς ψυχὰς ἐνθουσιαστικάς, ὁ δ᾽ ἐνθου-
σιασμὸς τοῦ περὶ τὴν ψυχὴν ἤθους πάθος ἐστίν.

Suid. Ὄλυμπος: Φρρύξ, νεώτερος, αὐλητὴς
γεγονὼς ἐπὶ Midov τοῦ Τορδίου.

Hesych. ᾽Ολύμπου νόμος" τῶν αὐλητικῶν τις.

Ar. Eg. 1 ΔΗ. 6 κακόδαιμον, πῶς ἔχεις:

NI. κακῶς καθάπερ σύ.

ΔΗ. δεῦρο δὴ πρόσελθ᾽, ἵνα

ξυναυλίαν κλαύσωμεν Οὐλύμπου νόμον.

All. NI. pu μῦ μὺ μῦ μὺ μῦ μὺ μῦ μὺ μῦ μὺ μῦ.

Sch. ad loc... . ὁ δὲ Ὄλυμπος μουσικὸς ἦν,
ΔΙαρσύου μαθητής. ἔγραψε δὲ αὐλητικοὺς καὶ
θρηνητικοὺς νόμους.

Vide Ἀροϊοᾷ. 1. 4. 2, Plut. Mus, 10, Eur, /, A.
ὅττι Plat. Symp. 315 ς, fem 533 b, Lanse 3. 677 b,
Min. 318 b, Lue. adr. ind. ), Strab, 10, 470, 12. 578,

Among their earliest lyric pocis the Greeks numbered
Olen, Linus, Pamphos, Orpheus, Chrysothemis, Philam-
mon. Thamyris, Eumolpus, and Musaeus, Works
ascribed to some of these were extant in απ. See,

το

=== p31 ===
LIFE OF OLYMPUS

Aristotle Politics: [on music| : This would be clear
if we could show that music affects our characters.
And we can, by many instances, notably that of the
musical compositions of Olympus, which admittedly
carry us away, an effect which is a condition of the
character of the soul.

Suidas Lexicon: Olympus: A Phrygian, the younger
of the name. a flute- plaver who (uwsinked. in the
time of Midas Τ son of Gordias.

Hesychius Glossary: Nome of Olympus: One of
the composers for the flute.

Aristophanes Avughis :
DemosTHENEs. My poor old mate, how d've feel *
Nictas. Bad, as bad as you do.
Dem. Then come here, and
‘let's pipe Olympus’ nome of woe in concert.’
[They hum a few bars.]
Scholiast on the passage: Olympus was a musician,
a pupil of Marsvas. He wrote dirge-nomes for the
flute.
1 died Βα. 693.
mel, 7}. WY. 13. 20, Ov, Meat. ὁ. 393, Phin, Δ΄. ΄.
®. 4, Hyg. F. 165, 273, Paus. 10. 30, 9.

Jor instance, Ld, 4.35, 7. 6. Plato Crat. 402 b, Rep.
B40, Arist, HWA. S63 a 18. Pans. » 14. 3. 22. 1,

= ot. Dd, ὦ. 31. 2. 959. Ty, 70. a 2, Clem, Al, Str,
1.20. 191. δυο, ap. Phot, Bibl, 32k

11

=== p32 ===
ΕΥ̓ΜΗΛΟΥ͂
Bios

Paws. 2.1.1. ἡ oe ἸΚοριυθία χώρα, μοῖραι οὖσα
τῆς ᾿Αργείας ἀπὸ Κορίνθου TO ὄνομα ἔσχηκε.
Avos δὲ εἶναι KopivOov οὐδένα οἷδα εἰπόντα Te
σπουδῇ, πλὴν Kopwhloyv τῶν πολχῶν. ὔμηλος
δὲ ὁ" Δμφιλύτου τῶν βακχιδῶν καλουμένων, ὃς
καὶ τὰ ἔπη λέγεται ποιῆσαι, φησὶν ἐ ἐν τῇ KopirOva
Συηγγραφῇ, εἰ δὴ Ἰ᾿ ὑμήλου γε ἡ συγγραφή,
᾿Εφύραν ᾿Ωκεανοῦ θυγατέρα οἰκῆσαι πρῶτον ἐν
τῇ γῆ ταύτῃ. ..

Sch. Ap. Rh. 1. 146 [Αἰτωλὶς Aen]...
Γλαύκου δὲ αὐτὴν τοῦ Σισύφου ἐκ πατρὸς ἐν
Ἰκοριυθιακοῖς λέγει [ὕμηλος καὶ Ἰ]αντειδυίας
μητρός.

Sch. Pind. ὦ. 13. Th διδάσκει δὲ τοῦτο ἰὕμηλος
τις ποιητὴς ἱστορικὸς. ..

Clem. Al. Sir, 6. 267 τὰ δὲ “Ἡσιόδου μετήλ-
λαξαν εἰς πεζὸν λύγον καὶ ws ἴδια ἐξήνεγκαν
ὐμηλύς τε καὶ ᾿Ακουσίλαος οἱ ἱστοριογράφοι.

Ibid. 1. 151 ἀλλὰ καὶ ὁ τὴν ὐρωπίαν ποιήσας
ἰστορεῖ τὸ ἐν Δελφοῖς ἄγαλμα ᾿Απόλλωνος κίονα
εἶναι διὰ τῶνδε...

Seh. 7. ὅ. 131 τῆς ἡστορίαν πολλοὶ ἐμνήσθησαν,
προηγουμένως δὲ ὁ τὴν [ὑὐρωπίαν πεποιηκὼς
ὔμηλος.

Paus. 9, 5. 8 ὁ δὲ τὰ ἔπη ta ἐς ᾿ϑύρωπην
ποιήσας φησὶν ᾿Αμφίονα χρήσασθαι λύρᾳ πρῶτον
‘Kppov διδάξαντος.

= ow ἡ γεν 4 ta
Ath. 7.277 d... ὁ τὴν Trravopayiay ποιήσας,

12