=== p37 === TERPANDER Lire Athenaeus Doctors αἱ Dinner: When Poscidonius says this, he does not realise that the magadis is an ancient instrument, because Pindar pl: inly states that Terpander invented the barbifos or lyre to peepee © to the Lydian pectis or lute, in the words *Which Lesbian T erpander invented of old to vibrate in answer to the low-pitched lute at the feasts of the Lydians;’ and the peetis and the magadis are the same... It is clear that Terpander was earlier than Anacreon from the following considerations. According to Hellanicus both in his metrical and in his formal lists of Victors at the Carneian Festival, the first recorded name is VTerpanders: and we know from Sosibius’ Chronology that the festival was founded in the 26th Olympiad (nc. 676-673), while Hieronymus’ tract On Singers to the Lyre, which forms the fifth Book of his Treatise on the Poets, assigns him to the time of the lawgiver Lycurgus, who is admitted on all hands to have arranged with Iphitus of Klis the first Olympic Games reckoned in the list (8.6. 776). Parian Chronicle τ From ithe time when the Lesbian Terpander son of Derdenes . . . the ‘nomes’ .. . 1 i.e. to accompany if an octave higher? ‘trary ht. ‘highest > was according to our reckoning the lowe rst note in a Greek ‘ mode ’) 17 VOL. 1. Ξ === p38 === LYRA GRAECA LOVOLK YY μετέστ oer’ ἔτη TUTE SIN AAT ἄρχουτος ᾿Αθήνησιν Spwricov. 15... O33, 2: Terpander citharoedus insignis habetur. Tim. Pers, 231 πρῶτος ποικιχόμουσον ‘Op- devs χέλυν ἐτέκνωσεν υἱὸς ἹΚαλλιόπας ἹΠερίας ἔπι. Τέρπαωνδρος δ᾽ ἐπὶ τῷ δέκα ζεῦξε μοῦσαν ἐν woais: Δέσβος δ᾽ Αἰολία νιν ’Av- τίσσᾳ γείνατο κλεινόν' νῦν δὲ Ῥεμόθεος μέτροις ῥυθμοῖς τ᾽ ἑνδεκακρουμάτοις κίθαριν ἐξανατέλλει. Arist. Probl. 19.32 dea τί cua πασῶν καλεῖται ἀλλ᾽ οὐ κατὰ τὸν ἀριθμὸν δι᾽ ὀκτώ, ὥσπερ καὶ διὰ τε ττάρων καὶ διὰ πέντε; i) ὅτι ἐπ TTA ἧσαν αἱ γορδαὶ΄ τὸ ἀρχαῖον, εἶτ ᾿έξελων. τὴν τρίτην Τέρπαν- ρος τὴν. VYT HV 1 προσέθηκε, καὶ ἐπὶ τούτου ἐκλήθη διὰ πασῶν ἀλλ᾽ οὐ δι’ ὀκτώ" δι᾿ ἑπτὰ γὰρ ἣν. Plut. Mus, 28 οἱ “γὰρ ἱστορήσαντες τὰ τοιαῦτα Τερπάνδρῳ μὲν 1 τὴν τε “Δώριον "τὴν προσετί- θεσαν, οὐ χρησαμένων αὐτῇ τῶν ἔμπροσθεν κατὰ τὸ μέλος. Ibid. 50 0 [π. Τιμοθέου } οὗτος γὰρ ἐπταφθόγγου τῆς λύρας ὑπαρχούσ ys ἕως εἰς ᾿Αριστοκλείδην, τὸν Τερπάνδρειον τόνον ᾿ διέρριψεν εἰς πλείονας φθόγγους 3 Suid. Τέρπανδρος" ᾿ Apraios, ἢ Λέσβιος ἀπὸ ᾿Αντίσσης, ἢ Κυμαῖος" οἱ δὲ καὶ ἀπόγονον “Πσιώδου ἀνέγραψαν" ἄλλοι δὲ Ὃμηήρου, Botov 18 === p39 === LIFE OF TERPANDER and changed the style of musie SS] years, in the archonship of Dropides at Athens (πιο 615). Eusebius Chronicle: Olympiad 35. 2 (pe. O17) Mourished Terpander the singer to the lyre. Timotheus Persae: In the beginning did Orpheus son of Calliop¢é beget the motley-musicked shell on Mount Pieria, and after him came the famous ‘Ter- pander, born of Aeolian Lesbos at Antissa. and yoked the Muse unte poems ten. And lo! now Timotheus giveth the lyre new life with times and measures of eleven strings. Aristotle Problems: Why is the octave described as drapason or sat an interval of all, rather than numerically αἰ an interval of eight,” as we say ‘at an interval of four’ or of five’? Is it because the strings were in old times seven, and Terpander removed the ‘third’ when he added the xefe or ‘highest, thus keeping the total seven and not increasing it to eight?? Plutarch on J/asre > The musical historians attrib- uted the Dorian xefe or octave-noete to Terpander, musicians before him not having emploved it. The Same fen Timotheus}]: Down to the time of Aristocleides the lyre had had seven strings. ‘Timo- theus divided the Perpandrean mode into a greater number of notes.* Suidas Lereon: Terpander: Variously described as of Arne. a Lesbian of Antissa, and of Cyme 3; according to some authorities a descendant of Hesiod, or again of Homer, with the pedigree hr. ἢ * the reading is doubtful 3 Dioderus in Tuetses Chil, 1.16 calls him a Methymnaean 1 We estphal -E: ss ἕως cis Τέρπαι δρον» τὸν ᾿Αντισσαῖον Sef. fr. 5 19 === p40 === LYRA GRAECA λέγοντες αὐτὸν τοῦ Φωκέως, τ τοῦ υὐρυφῶντος, τοῦ Ὁμήρου" λυρικός | ὃς πρῶτος ἐπ τάχορδον ἐποίησε τὴν λύραν καὶ τόμους λυρικοὺς πρῶτος ἔγραψεν, εἰ καί τινες Φιλάμμωνα θέλουσι γεγραφέναι. Plat. Jus. 18 3 a Ὁ τ > A a an Ibid. 5) Ἡρακλείδης δ᾽ ἐν τῇ Συναγωγῇ τῶν ἐν ΔΙουσ σικῇ τὴν κιθαρῳδίαν καὶ τ τὴν κιθαρφῳδικὴν ποίησιν πρῶτόν ἘΝ ᾿Αμφίονα ἐπινοῆσαι. τὸν Atos καὶ ‘ArT τιύπης, TOU TAT pos δηλονότι διδά- ξαντος αὐτόν. πιστοῦται δὲ τοῦτο ἐκ τῆς ἀνα- γραφῆς τῆς ἐν Σικυῶνι ἀποκειμένης, δι᾽ ἧς Tas τε ἱερείας τὰς ἐν "Ἄργει καὶ τοὺς ποιητὰς καὶ τοὺς μουσικοὺς ὀνομάζει. κατὰ ὃδὲ τὴν αὐτὴν ἡλικίαν καὶ Λίνον. .. λέγει καὶ “AvOnv . . . καὶ Πίερον εν" ἀλλὰ καὶ Φιλάμμωνα .. ." Θάμυριν δὲ... καὶ “Δημόδοκον ie Ἰοὺ Φηήμιον ἐν ῳ OU λελυμ- νὴν δ᾽ εἶναι τῶν 7 προειρημένων τὴν τῶν ποιημάτων λέξειν καὶ μέτρον οὐκ ἔχουσαν, ἀλλὰ καθάπερ Στησιχόρου τε καὶ τῶν ἀρχαίων μελοποιῶν, οἱ ποιοῦντες ἔπη, - Ἀν μέλη περιετίθεσαν'" καὶ γὰρ τὸν Τέρπανδρον ἔφη κιθαρῳδικῶν ποιητὴν ὄντα νόμων, κατὰ νόμον} ἕκαστον τοῖς ἔπεσι τοῖς ἑαυτοῦ καὶ τοῖς ‘Oprpov μέλη περιτιθέντα ἄδειν ἐν τοῖς ἀγῶσιν' ἀποφῆναι δὲ τοῦτον λέγει ὀνόματα πρῶτον τοῦς κιθαρωδικοῖς νόμοις" ὁμοίως δὲ Τερπάνδρῳ Νλονάᾶν, τὸν πρῶτον συστησάμενον τοὺς αὐλφῳδικοὺς νόμους καὶ τὰ προσόδια, ἐλεγείων τε καὶ ἐπῶν TOT yy γεγονέναι .. . οἱ δὲ νόμοι οἱ κατὰ τούτους, ἀγαθὲ ᾿Ονησίκρατες, αὐχῳδικοὶ ἦσαν... οἱ δὲ τῆς κιθαρῳδίας νόμοι πρότερον TON- AO χρόνῳ τῶν ἀαὐλῳδικῶν κατεστάθησαν ἐπὶ Τερ- 20 === p41 === LIFE OF TERPANDER Homer—Faryphon— Boeus of Phocis-——Terpander : a lyric poet who invented the lyre of seven strings and, pace those who aseribe this to: Philammon. was the first writer of lyric ‘nomes.’ Plutarch on Masic [see on Olympus p. 8]. The Same: According to Heracleides’ Collections on the Musiciuns, the art of singing to the lyre and the kind of poetry which belongs to it were the invention of Amphion son of Zeus and Antiope, who presumably was taught by his father. Tis authority is the register preserved at Sicyon, from which he derives his lists of the priestesses at Argos. the poets, and the musicians. Of the same generation, according to him, were Linus ..., Anthen . . .. Pierus τ Philammon . . .. Thamyris . . ., Demodocus . νου and Phemius. . . . These pocts’ writings were not in prose, but resembled those of Stesichorus and the old lyric poets who wrote epic lines and set them to music. Even ‘Perpander, he declares, whose forte was the citharoedic or lyre-sung nome, and to whom he ascribes the naming of these nomes, in every one of them set his own or Homer's epic lines to music for singing at the Games. In the same way Clonas, the first composer of flute-sung nomes and the originator of processional songs, used clegiac and epic verse. . . . The nomes of these flute-poets, my excellent Onesicrates, were sung to the flute, and are these... . The Ivre-sung nomes, which were established much earlier, namely in the time 2 B προοίμιον === p42 === LYRA GRAECA παάνδρου" EKELVOS YOUN τοὺς κιθαρωδικοὺς π πρῶτος + ὧν ὁμασε, Βοιώτεόν rua καὶ Δίόλεον Τροχαῖόν τε καὶ ξὺν i Νηπίωνά τε καὶ ‘Lepr ἐνδρείον καλῶν, ἀλλὰ μὴν καὶ Τετραοίδιον. π πεποίηται δὲ τῷ Τερπάνδρῳ καὶ προοι EPL κιθαρῳδικὰ ἐν ἔπεσι!" ὅτι δ᾽ οἱ κιθωρῳδικοὶ νόμοι οἱ πάλαι ἐξ ἐπῶν συνίσταντο, Τιμόθεος ἐξήλωσε: τοὺς γοῦν πρώτους νόμους ἐν ἔπεσι Crap γνύων διθυραμβικὴν. λέξιν ἦδεν, ὅπως μὴ εὐθὺς φανῇ π παρανομῶν εἰς τὴν ἀρχαίαν μουσι- Kaj, ἔοικε δὲ κατὰ τὴν τέχνην 1 τὴν κιθαρῳδικὴν ὁ τὰ rave pos διενηνοχέναι" τὰ ἸΠύθια γὰρ τετρά- ; KLS SiS νενικηκὼς ἀναγέγραπται. καὶ “τοῖς Χρόνθεν, δὲ σφόδρα παλαιός ἐστι" πρεσβύτερον γοῦν αὐτὸν ᾿Αρχιλόχου ἀποφαίνει Γλαῦκος 0 ἐξ Ἰταλίας ἐν συγγράμματί τα, τῷ ITlepit τῶν ᾿Αρχαίων Towns ὧν τε καὶ λΙουσικῶν" φησὶ γὰρ αὐτὸν ξεύτερον γενέσθαι μετὰ τοὺς πρώτους ποιήσαντας αὐλητικήν.3 ᾿Αλέξανξρος δ᾽ ἐν τῇ Συναγωγῆ τῶν περὶ Φρυγίας κρούματα Ολυμπον ἐφὴ "σρῶταν εἰς τοὺς ᾿Ελλήρμας κομίσαι, ἔτι δὲ καὶ τοὺς ᾿Ιδαίους Δακτύλοιυ!ς" ‘Tayrur δὲ πρῶτον αὐλῇῷσαι εἶτα τὸν τούτου υἱὸν Ma povar, εἶτ᾽ ᾿Ολυμπον' ἐξηλωκέναι Ge τὸν 1 Pep ave pov Ὁμήρου μὲν τὰ ἔπη, ᾿Ορφέως ce τὰ μέλη. ὁ δ᾽ ᾿Ορφεὺς οὐδένα φαίνεται μεμιμημένος" .. . ταὶς δὲ τῶν νόμων τῶν κι- θαρῳδικῶν τῶν ὑπὸ Ἱερπάνδρου πεποιημένων “Φιλώμμωνά dace τὸν ἀρχαῖον τὸν Δελφὸν συστήσασθαι. τὸ δ᾽ ὅλον ἡ μὲν κατὰ Τέρπανδρον κιθαρῳδία καὶ μέχρι τῆς Φρύνεδως ἡλικίας παντελῶς ἁπλὴ τις οὖσα διετέλει" οὐ yap ἐξῆν τὸ παλαιὸν οὕτω 22 === p43 === LIFE OF TERPANDER af Terpander, were first named by him, and are these: Bovotian, Acolian., Trochaic., Pigh pitched, Cepion, Terpandrean, and Four-song. ‘Terpander also wrote lyric Preludes in epic metre; and it becomes clear that the ancient lyre-sung nomes were composed of epic lines. if we consider that Timotheus, when he employed the dithyrambic style, interspersed his earlier nomes with them, in order to avoid the appearance of breaking the rules of the ancient music. There is reason to believe that Terpander was supreme in the art of the lyre- song. It is recorded that he won the prize at the Pythian Games four times running: and the period at which he lived must have been very early, because Glauveus the Italian in his History of the Ancient Poets and Musivians puts him before Archilochus, making him only a very little later than the first composers for the flute. Alexander, in his Coflecions on Phryvia, declares that instrumental music was introduced into Greece by Olympus, and also by the Idaean Dactyls or Priests of Cybele, and that while the first’ flute- player was ITyagnis, who was followed by his son Marsyas, who was succeeded by Olympus, Terp: ander (the ‘lyrist) emulated in his verse Homer and in his music Orpheus, who appe ars to have been entirely original. . . . It is said that seme of the citha roedic or lyre-sung nemes thought to be the work of Terpandcr were really composed by the ancient Delphian composer Philammon. In fine, lyric song continued from Terpander’s time to that of Phrynis to be wholly simple. | Pocts were not permitted in those days to compose for the lyre 1 iss πρύτερυς 2 Westplel τ mes αὐλῳδίαν === p44 === LYRA GRAECA ποιεῖσθαι τ τὰς κιθαρῳδίας ὡς νῦν οὐδὲ μεταφέρειν τὰς ἁρμονίας καὶ τοὺς ῥυθμόυς" ἐν γὰρ τοῖς νόμοις ἑκάστῳ διετήρουν τὴν οἰκείαν τάσιν" διὸ καὶ ταύτην ἐπωνυμίαν εἶχον" νόμοι γὰρ “προσηγορεύθ ῃσαν, ἐπειδὴ οὐκ ἐξὴν παραβῆναι ὡς ἐβούλοντο * καθ᾽ ἔκαστον νενομισμένον εἶδος τῆς τάσεως. τὰ yap πρὸς τοὺς θεοὺς ἀφοσιωσάμενοι ἐξέβαινον εὐθὺς ἐπί τε τὴν “Ομήρου καὶ τῶν ἄλλων ποίησιν" δῆλον δὲ τοῦτ᾽ ἐστὶ διὰ τῶν Ἱερπάνδρου προοι- μίων. ἐποιήθη δὲ καὶ τὸ σχῆμα τῆς κιθάρας πρῶτον κατὰ Κηπίωνα τὸν Τερπάνδρου μαθητήν" ἐκλήθη δ᾽ ᾿Λσιὰς διὰ τὸ κεχρῆσθαι τοὺς Λεσβίους αὐτῇ κιθαρῳδοὺς πρὸς τῇ “Agia κατοικοῦντας. τελευταῖον δὲ Περίκλειτόν hen «i@apedor νικῆσαι ἐν Λακεδαίμονι Kapveta τὸ γένος ovta Λέσβιον" τούτου δὲ τελευτήσαντ ος, τέλος λαβεῖν Neato τὸ συνεχὲς τῆς κατὰ τὴν κιθαρῳδίαν διαδοχῆς. Suid. νόμος" 0 κιθαρῳδικὸς τρύπος τῆς μελω- δίας, ὦ ἁρμονίαν ἔχων τακτὴν καὶ ῥυθμὸν ὦ ὡρισμένον. ἧσαν δὲ ἑπτὰ οἱ ὑπὸ 'Γερπάνδρου" ὧν εἷς ὄρθιος, τετραοίδιος," ὀξύς. I)id. Moayos: ... τὸ δὲ Βοιώτιον οὕτω Ka- λούμειον εὗρε Γέρπανδρος. ὥσπερ καὶ τὸ Φρύγιον. . " t Ν ων a» ΄ τ 1 Rides wal Ἐ » - hid ὕρθιον νύμον καὶ Tpoxator τοὺς δύο νύμους ἀπὸ τῶν ῥυθμῶν ὠνόμασε 'έρπανδρος. , > \ ν ἀνατετώμενοι ἦσαν καὶ εὔτονον. .. Plut. Mus, 28 ἔτι δέ, καθάπερ Πίνδαρός φησι, ΝΥ καὶ τῶι σκολιῶν μελῶν Τέρπανδρος εὑρετὴς ἣν. 1 Westphal: iss és βούλονται ἈΓΓΟ θεοὺς “ mss τετράδιος 24 === p45 === LIFE OF TERPANDER as they do now with frequent change of made or rhythin. They maintained in the nomes the scale proper to each, which indeed is the reason of that mame, these compositions being called *nomes’ or ‘laws’ because it was not permitted to go beyond the proper seale. As soon as the composer had done his duty by the Gods, he passed on to the poetry of Homer and other epic poets. This is proved by the Preludes of Terpander, As for the form of the lyre, that was established in the time of Cepion the pupil ot Terpander: and it was called ἡ Asian’ because it was used in Lesbos which is adjacent to Asia. The last Lesbian lyrist to win the prize at the Spartan Carneia was Pericleitus. His death put an end to the continuous succession of Lesbian singers to the lyre. Suidas Lexicon: Nome: The lyric style of song- music composed according to strict rules of imode and rhythm. There were seven nomes composed by Terpander, the Orthian, the Four-song, the High- pitched .. .! The Same: The Boecotian (tune), as it is ealled, and the Phrygian were invented by ‘Terpander. The Same: Orthian and Trochaie Nomes: The two homes so called from their rhythms by ‘Perpander. They were high-pitehed and of a vigorous char- meter... Plutarch on Music: Further, Pindar tells us that Terpander was the inventor of seolia or drinking- songs. tthe list is incomplete. and the High-pitched was probably identical with the Orthion: εἴν also Suid. and Hesyeh. s. ὕρθιος νόμος, Hdl. 1. 24 to αι === p46 === LYRA GRAECA Plut. Mus. 12 ἔστι δέ τις καὶ περὶ τῶν ῥυθμῶν λόγος" γένη γάρ τελεῖ καὶ εἴδη ῥυθμῶν προσεξ- ευρέθη, ἀλλὰ μὴν καὶ μελοποιιῶν τε καὶ ῥυθμοπ Tou.” πρώτη " μὲν γὰρ ἡ Tepr τώνδρου κάιροτ ομία καλὸν τινα τρόπ τον εἰς τὴν μουσικὴν εἰσ σηγαγε" Πολύμναστος ὃ δὲ μετὰ 1 τοῦ Τερπ ἀνδρείου τρόπου καιτῷ 3 ἐχρήσατ το, καὶ αὐτὸς μέντοι ἐχόμενος τοῦ καλοῦ τύπου. Ibid. 9 ἡ μὲν οὖν πρώτη κατάστασις τῶν περὶ τὴν μουσικὴν ἐν τῇ Σπάρτῃ Ἱερπάνδρου καταστήσαντος γεγένηται. Ibid. 192 ὅτι δὲ καὶ ταῖς εὐνομωτάταις τῶν πόλεων ἐπιμελὲς γεγένηται φροντίδα ποιεῖσθαι τῆς ψενναίας μουσικῆς, πολλὰ μὲν καὶ ἄλλα ne) μαρτύρια παραθέσθαι ἔστί' pt δ᾽ ap τῆς παραλάβοι τὸν τὴν γενομένην ποτὲ παρὰ Ααϑεδαιμονί lols στάσιν καταλύσαντα. Λε]. ΓΗ͂. 15. ὧδ Λακεδαιμόνιοι μουσικῆς «ἀπείρως εἶχον" ἔμελε γὰρ αὐτοῖς γυμνασίων καὶ ὅπλων" εἰ δέ ποτε ἐδεήθησαν τ τῆς ἐκ ΔΙουσῶν ἐπικουρίας 1) νοσήσαντες ἢ παραφρονήσαντες ἢ ἄλλο τι τοιοῦτον δημοσία παθόντες, μετεπέμποντο ξένους avdpas οἷον ἀατροὺν ὴ καθαρτὰς κατὰ πυθόχρηστον". μετεπέμψαντό γε μὴν Τέρπ τανδρον καὶ Θάλητα καὶ i hha καὶ τὸν Κυδωνιάτην Νυμῴαῖον καὶ ᾿Αλκμᾶνα." Suid, μετὰ Δέσβιον ὠδόν" παροιμία λεγομένη ἐπὶ τῶν τὰ δεύτερα φερομένων. οἱ γὰρ ΔΛακε- δαιμόνιοι τοὺς Λεσβίους κιθαρφῳδοὺς πρώτους προσεκαλοῦντο. CAT αστατούσης yap 7 τῆς πόλεως αὐτῶν, NENG HOS ἐγένετ τὸ τὸν Δέσγϑιον ὠδὸν peTa- πέμπεσθαι" οἱ δ᾽ ἐξ ᾿Ἀντίσσης Τέρπανδρον ἐφ᾽ 26 === p47 === LIFE OF TERPANDER Plutareh on Mase: Something also should be said about rhythms. Por there have been innovations in the form or kind of rhythms, and indeed of methods of metre and rhythin. Perpander first broke new ground by introducing into music a beautiful style of rhythm called atter him the Terpandrean. Poly- mnastus who followed him employed anew rhythmas well as his, bat preserved throughout the same beautiful style. The Same: The first establishment of musie at Sparta was due to Terpander. The Same: Many circumstances could be cited to show that good music has been a matter for concern to the best-regulated states, and not least among these the quelling of a sedition at Sparta by Terpander. Aelian Iistorical Miseellanies τ The Spartans, whose bent was for bodily exercises and feats of arms, had no skill in music. Yet if ever they required the aid of the Muses on occasion of general sickness of body or mind or any like public afllic tion, their custom was to send for foreigne rs, at the bidding of the Delphic- oracle, to act as healers or purifiers. For instance they summoned Terpander, Thales, Tyrtacus, Nym- phaeus of Cydonia, and Aleman. Suidas Lerieon: Next to the poct of Lesbos: Said roverbially of persons who come off second best. he singers to the lyre first called in by the Spartans were of Lesbos. When their city was torn by fac- tien there was an oracle delivered that the Υ should fetch the poct of Lesbos, and sce ordingly the ‘y sent for Terpander of Antissa, who was living in exile at 1 piss μελοποιῶν τε pal prMwe ποιῶν Ξ nes προτέρᾳ 8 2. Westphal: mss accus, and καὶ ᾧ 1 of. Philed. Mus, xx (on Stes. 71) 27 === p48 === LYRA GRAECA αἵματι φεύγοντα μεταπεμψάμενοι ἤκουον αὐτοῦ ἐν τοῖς συσσιτίοις καὶ κατεστάλησαν.---ὅτε οἱ Aaxedatportot στασιάζοντες μετεπέμψαντο ἐκ Λέσβου τὸν σα aged Τέρπανδρον, os ἥρμοσεν αὐτῶν τὰς ψυχὰς καὶ τὴν στάσιν ἔπαυσεν. εἴποτε οὖν μετὰ ταῦτα μουσικοῦ τινος ἤκουον Γ Λακεδαιμόνιοι, ἔλεγον ‘Mera Λέσβιον ὠδόν. «μέμνηται τῆς παροιμίας ταύτης Κρατῖνος ἐν Χείρωνι.:»} Ael. Dion. ap, Bust. 1. 159 καὶ ᾿Αριστοτέλης ἐν τῇ Λακεδαιμονίων ΠΠλιτεία τὸ ᾿ Mera Λέσβιον δον τὸν Ῥέρπανδρόν φησι δηλοῦν, ἐκαλοῦντο δέ φάσιν εἰς τὴν ἐκείνου τιμὴν πρῶτον μὲν ἀπόγονοι αὐτοῦ, εἶτα εἴ TIS ἄλλος παρείη Λέσβιος, εἶθ᾽ οὕτως οἱ λοιποὶ μετὰ Δέσίβθιον MOOD, τὸν ἁπλῶς δηλαδὴ Λέσβιον. Auth, Pal. ὅς ASS Touparos εἰς Τέρπην κιθα- ρῳδὸν .. ." Τέρπης εὐφύρμιγγα κρέκ ων σκιάδεσσιν ἀοιδὰν κάτθαν' ἀνοστήσας ἐν λακεδαιμονίαις, οὐκ ἄορι πληγεὶς οὐδ᾽ ἐν βέλει ἀλλ᾽ ἐνὶ σύκῳ χείχεα. φεῦ: προφάσεων οὐκ ἀπορεῖ θάνατος. Plut Lye. 28 διὸ καί φασιν ὕστερον ἐν τῇ Θηβαίων εἰς τὴν Aakwrixiy στρατείᾳ τοὺς ἁλι- σκομένους λωτας κελευομένους ἄδειν τὰ Tepa- dvépov καὶ ᾿λλκμᾶνωος καὶ Σπένδοντος τοῦ Λάκωνος παραιτεῖσθαι φάσκοντας οὐκ ἐθέλειν τοὺς δεσποσύνους. Vide Clem. Al. Str. 1. 16. 78, Plat. Aus. 28, Themist. Or. 26. 316, Buel /atr. Harm. 19, Philod. Mus, 50. 1 Zenobius 28 === p49 === LIFE OF TERPANDER Sparta because of a murder, and listening to his musie at their public dinners, ceased their factious strife. Another account is this: The Spartans at a time of internecine strugeles sent to Lesbos for the musician Terpander, who restored harmony to their minds and put an end to the strife of parties ; and so whenever after that time the Spartans listened to a musician, the saying went ‘Next to the poet of Lesbos.” This proverb is mentioned by Cratinus in his Cheiron. Aelius Dionysius quoted by Eustathius: Aristotle in his Constitution of Sparta declares that in the saying * Next to the poet of Lesbos’ the reference is to Terpander. and it is said that the Spartans used to summon to take his place of honour ! first his descendants, then any Lesbian poet present, and the rest as they came, ‘after the poet of Lesbos,’ that is after any poet that came from Lesbos, Palatine Anthology: Tryphon on the lyrist Ter- pes*...: When in the Spartan Place of Meeting Terpes Was singing a song to the thrumming of his sweet Ivre, he perished never to return, nol by a sword, nor yet an arrow, but by the casting of a fig between his lips. Alas! Death suffers from no lack of pretexts. Plutarch Life of Lycurgus: Thus it is said that later during the Theban invasion of Laconia the Helot prisoners refused to sing at the bidding of their captors the songs of Terpander or Aleman or Spendon the Laconian, on the plea that their masters never allowed it. 1 Veosveh. & μετὰ Δέσβ. ‘called first before the judues of the musical contests’ μ apparently an abbreviation of Terpander, cf. Suid. 5, γλυκὺ μέλι 29 === p50 === LYRA GRAECA TEPIANAPOT 1 εἰς Δία ; — ᾿Ξ _—- “- ani ; Clem. AL Si. ὅν 7S fb τοΐσον oprerte τοῦ βαρβάρου ΨαΝ τηρίου, ᾿ " > , - > Ἢ τὸ Geuror ewhaivovTa τοῦ μέλους. ἀρχαιοτάτη τυγχάν θυσα, ὑποδεῖγμα “Τερπάνδρῳ μάλιστα γίνεται πρὸς ἁρμονίαν τὴν Δώριον ὑμνοῦντι τὸν Δία ὧδε πως" Ζεῦ, πάντων ἀρχά, 7: TUT 7O)I' pT OP, Ζεῦ, σοὶ πέμπω 7 ef > 7 1 ταύταν ὕμνων ἀρχάν. om 3 f 2. εἰς ᾿Απόλλωνα Suid. ἀμφιανακτίζειν" ἄδειν τὸν Τερπάνδρου νόμον τὸν καλούμενοι Opther, οὗ τὸ προοίαιον ταύτην τὴν ἀρχὴν εἶχεν" oy "Aude μοι atte Furvayd éxatnBorov deo, ὦ dpi.” 9 3. cis ᾽᾿Ἀπόλλωνα καὶ Μούσας Weil ala. Geom. ὃς Gla. σπονδείυ] σπονδεῖος ὃ᾽ ἐκλήϑη ἀπὸ τοῦ pubuot τοῦ ἐν ταῖς σπονδαῖν ἐπαυλυμένον τε καὶ ἐπεθομένου, οἷον" ,ὔ Fal ΄ Σπένδωμεν ταῖς Mvapas \ , παισὶν ΝΜ σαις Ν n “ καὶ τῷ Mwodpyo tal cn Λατοῦς viet. 1 ἀγῆτορ: : mss ἀγή 34 ἁγήτωρ 4 αὖτε Herm : mss αὖτις, αὐτὸν, av TOY i ὦ Crus: mss ἀϑέτω, ἀειδέτω, andere a 30 === p51 === TERPANDER TERPANDER 1 Wo Zeus Clement of Alexandria Wiseriiiiis s So Che mode or scale of the barbarian psaltery of Davida, disphiving solemmity as it dees and beine very ancient. furnishes anu example or foveshadowing of ‘Terpamder thus singing the praise of Zeus in the Dorian mode : @eus, the beginning of all, the leader of all; Zeus, to thee 1 brine this eift for a beginning of hymns.? 2 To Avot Suidas επί dsapameerice: to sing the Nome of Perpander called the Orthinn ov High-pitehed, of which the prelude begins : Of the Far-finging Lord come sing me, O my soul.” 3% To Apotto ann THE Muses Keil Grammaticn! Heirarts (on the Spondee]: ‘This rhythin is vo called from that of the sones sung tothe flute at σπονδαί or ‘libations,’ such as: Let us pour to the Daughters of Memory and their Lord the Son of Leto. lithe solemnity js partly due to the absence of short syllables if the words are really ‘Tos the meaning of “all” is prob. not cosmogonic οἵ. Ars. 901}: Apostol. 8. 29¢ 2 cf. Suid. ad low Sch. Av. Nuh, 595 («ἐκ τῶν Τερπάνδρου προοιμίων), Wesveh. ἀμφὶ tvaxta’ ἀρχὴ πιθαρῳδικοῦ νόμου 3 ascription doubtful 31 === p52 === LYRA GRAECA ge J , + τ εἰς Διοσκούρους Dion. Hal. Cony. 17 [π. ῥυθμῶν} ὁ δ᾽ ἐξ ἁπασῶν μακρῶν, μολοττὸὺν δ᾽ αὐτὸν of μετρικοὶ καλοῦσιν, ὑψηλός τε καὶ ἀξιωματικός ἐστι καὶ διαβεβηκὼς ἐπὶ πολύ' παραδεῖγμα δὲ αὐτοῦ τοιόνδε" Ὦ Ζηνος καὶ ήδας κάλλιστοι σωτῆρες ~ 9 Sera. 13. GS ie. Mp Origerns |" οὗτος μὲν οὖν 16 ᾿Αρίων) κιθαρῳδός" καὶ Τέρπανδρον δὲ τῆς αὑτῆς μουσικῆς τεχνίτην γεγονέναι φασὶ! καὶ τῆς αὐτῆς νήσυυ, τὺν πρῶτον ἀντὶ τῆς τετραχύρδου λύρας ἑπταχύρδῳ χρησάμενον, καθάπερ καὶ ἐν τοῖς ἀναφερομένοις ἔπεσιν εἰς αὐτὸν λέγεται" ἡμεῖς τοι τετράγηρυν ἀποστ ἐρξαντ ες ἀοιδὰν 1 ἑπτατόνῳ φόρμιγγι νεοὺς κελαδήσομεν ὕμτηους. 6 Plut. Leeara, 51 ὅλως be ἄν τις ἐπιστήσας τοῖς Λακωνικοῖς ποιήμασια ὧν ἔτι καθ᾿ quads ἔνια διεσώθη," καὶ τοὺς ἐμβατηρίους ῥυθμυὺς ἀναλαβὼν οἷς ἐχρῶντο mpus τὺν αὐλὸν ἐπάγοντες τοῖς πολεμίοις. οὗ κακῶς ἡγήσαιτο καὶ τὺν Τέρπατδρον καὶ τὸν Πίνδαρον τὴν ἀνδρείαν τῇ μουσικῇ συνάπτειν. ὁ μὲν yap οὕτως πεποίηκε περὶ τῶν Λακεδαιμονίων" ἔνθ᾽ αἰχμά τε τέων θάλλει καὶ Δῶσα λίγεια ᾿ "i ‘dl ~ 2 τ καὶ Δίκα εὐρυάώγυεα καλῶν ἐπιτάρροθος ἔργων. = ί - -- ΄ , Joh. Lyd. Wine. ΤΏ Tépravipss ye μὴν ὁ Λέσβιος Νύσσαν a ] , . Ἴ y ἔν - - i 3 λέγει τετιθηνήηκεναι τὸν Διόνυσον Tov ὗπο τινῶν Ξαθαζκιον ovoma- Couevor, ἐκ Διὸς καὶ Περσεφόνης γενόμενον, εἶτα ὑπὸ τῶν Τιτάνων ὔ σπαραχθέντα. Lise Enel: Strab. σοὶ δ᾽ ἡμεῖς and ἀποστρέψ. 2 mss διεσώζετο 33 === p53 === TERPANDER 41 To tne Dioscurt Dionysius of Halicarnassus Composition [on rhythines|: The rhythm which consists entirely of long syllables ~called glosses by the writers on metre--is clevated and dignitied wed takes long strides τ and this is an example of it: O [Sons} of Zeus and Leda, saviours nost beautiful. a Straho Greorraphy [on Methymna}: Avion was a singer to the lyre; and aceording to tradition the same branch of music had an exponent in a native of the same island, Terpwnder, who was the first to use a lyre with seven strings insteal of four, as is recorded in the epie lines ascribed to him: To thee we will play new hymns upon a lyre of seven strings, and will love the four-voiced lay no more.? 6 Plutarch Life of Lyewrgus: Indeed if the reader will @ousider the Laconian poetry of which some is still extant and the march-rhythms the Spartans used to the tune of the flute when they went into battle, he will conclude that both Terpander and Pindar have good reason to connect valour With music as the former does where he says of Sparta : Where bloom both the spear of the young men and the clear sweet Muse, and cke that aider unto noble deeds, Justice that goeth in broad Bireets.. .3 7 Johannes Lydus On the Menths: According to Terpander Gf Lesbos, Dionysus, who is sometimes called Sabazius. was nursed by Nyssa; le was the son of Zeus and Persephone and was eventually torn in pieces by the Titans.! 1 ascription doubtful * ς΄. εἰ. δι». Harm. 19, Cram. 4.7.1. 56.10, Clem. Al. Str. 6. S14, Poll. 4. 66 * ef, Arr. Tort. tin. 4 of. Inser. Theatr. Dion. Keil PAcJo7, 23° GOS 33 Re. 1. D === p54 === @AAHTA ἡ OAAHTOS Bios Diog. L. 1.1. 11 γεγόνασι δὲ καὶ ἄλλοι Θαλαΐζ, καθά φησι Δημήτριος ὁ Mayuns ἐν τοῖς ‘Opeve- MOS, πέντε. ὧν .. τρίτος ἀρχαῖος πάνυ κατὰ ᾿Ησίοδον καὶ Dagar καὶ Λυκοῦργον. Plut. Lye. 4 ἕνα δὲ τῶν νομιζομένων ἐκεῖ σοφῶν καὶ πολετ LKOV χάριτι καὶ φιλίᾳ πείσας ἀπέστειλεν εἰς τὴν Σπάρτην, Θάλητα, π ποιητὴν μὲν δοκοῦντ λυρικῶν μελῶν. καὶ πρόσχημα τ τὴν τέχνην ταύτην πεποιημένον, ἔργῳ δὲ ἅπερ οἱ κράτιστοι τῶν νομοθετῶν διατ᾽ πρατ τόμενον. λόγοι γὰρ ἦσαν αἱ ὠδαὶ πρὸς εὐπ πείθειαν καὶ ὁμονοίαν ἀνακλητικοὶ διὰ μελῶν ἅμα καὶ ῥυθμῶν πολὺ τὸ κόσμιον ἐχόντων καὶ καταστατικόν . .. ΌΣ Eph. ap. Str. 10. 48 [ 7. Κρητῶν " ὡς δ᾽ αὕτως καὶ τοῖς ῥυθμοῖς Κρητικοῖς “χρῆσθαι κατὰ τὰς ὠδὰς συντ ονωτάτοις οὖσιν, ous Θάλητα ἀνευρεῖν, καὶ τοὺς παιάνας καὶ τὰς ἄλλας τὰς ἐπιχωρίας ny ᾧ 5 , bas ἀνατιθέασι καὶ πολλὰ τῶν νομίμων. fal x ΄ Ὁ \ Paus. 1. 14.4 Θαλῆς δὲ ὁ Λακεδαιμονίοις τὴν ΄ κα 5 , νόσον παύσας. . . Marita δ᾽ elvat φησι Top- ; va πα , ΕΙΣ >» τύνιον Πολύμναστος ἱλολοφώνιος ern «λακεδαι- , μονίοις ἐς αὐτὸν ποιήσας. Ael. V.H. 12. 50 e ae , , a Plut. Ius.9 ἡ μὲν οὖν πρώτη κατάστασις τῶν I A = 2 - 4 ᾽ν Τ ad % ὃ περι τὴν μουσικὴν εν τῇ aT APT?) EPpT av pov 1 cf. Strabo 10. 482 34 === p55 === THALETAS or THALES LIFE Diogenes Laertius Lije of Thales the Philosopher : hecording to Demetrius of Magnesia in his Wen of he Sane Name, there have been five others of this wme, of whom... the third belongs to very meient times, namely those of Hesiod, Homer, and sycurgus.} Plutarch Life of Lycurgus: One of the men who add a name in Crete for wisdom and statesmanship wyeurgus prevailed on by favour and friendship to τὸ to Sparta. This was Thales, who was ostensibly }eomposer of songs for the lyre but did the work fa lawgiver of the best sort. For his songs were ieetatione to lawabidingness and concord made yw means of melodies and rhythms themselves marked by order and tranquillity. Ephorus quoted by Strabo Geography [on the Sretans] : Similarly the rhythms they use in their ongs are Cretan, the grave and severe rhythms nvented by Thales, to w - moreover they ascribe Paeans and other native songs as well as many # their customs. Pausanias Description of Greece: Thales who tayed the plague at Sparta... was a native of yn according to Polymnastus of Colophon, who mposed some epic lines on him for the Spartans. Aelian LMistorical Miscellanies [see above on Ter- wander, p. 37]. ‘Plutarch On Music: The first establishment of music at Sparta was due to Terpander. The second 35 === p56 === LYRA GRAECA ΄ a Ζ καταστήσαντος yeyévyntat τῆς δευτέρας δὲ ε — , Θαλήτας τε ὁ Ἰορτύνιος καὶ ΞἘενόδαμος . .. καὶ ἘΞενόκριτος . .. καὶ Πολύμναστ ~~. καὶ Σακάδας.. .. μάλιστα αἰτίαν ἔχουσιν ἡγεμόνες γενέσθαι . 5 + τούτων γὰρ εἰσηγησαμένων τὰ περὶ τὰς Τυμνοπαιδίας τὰς ἐν Λακεδαίμονι λέγεται κατασταθῆναι... ἦσαν δ᾽ οἱ περὶ Θαλήταν. τε καὶ ΞΞενόδαμον καὶ ΞΞενόκριτον ποιηταὶ παιάνων . .. Plut. Mus. 42 ὅτε δὲ καὶ ταῖς εὐνομωτάταις τῶν πόλεων ἐπιμελὲς γεγένηται φροντίδα ποιεῖσθαι τῆς. γενναίας μουσικῆς, πολλὰ μὲν καὶ ἀλλὰ μαρτύρια ἔστι. Τέρπανδρον δ᾽ ἄν τις παραλάβοι. .. Kab Θαλήταν τὸν Κρῆτα, ὅν φασι κατά τι πυθόχρη- στον «λακεδαιμονίους παραγενόμενον διὰ μουσικῆς ἰάσασθαι ἀπαλλάξαι τε τοῦ κατασχόντος λοιμοῦ τὴν Σπώρτην, καθώπερ φησὶ Πρατίνας. Ibid. 10 καὶ περὶ Θαλήτα δὲ τοῦ Kpyros, εἰ παιάνων γεγένηται ποιητής, ἀμφισβητεῖται. Τλαῦκος γὰρ μετ ᾿Αρχίλοχον φάσκων γεγενῆσθαι Θαλήταν μεμιμῆσθαι μὲν αὐτόν φησι τὰ ᾿Αρχι- λόχου μέλη, ἐπὶ δὲ τὸ μακρότερον ἐκτεῖναι, καὶ Παιῶνα 1 καὶ Κρητικὸν ῥυθμὸν εἰς τὴν μελοποιΐαν ἐνθεῖναι" οἷς ᾿Αρχίλοχον μὴ κεχρῆσθαι, ἀλλ᾽ οὐδ᾽ ᾿Ορφέα οὐδὲ Τέρπανδρον' ἐκ γὰρ τῆς ᾽Ολύμπου αὐλήσεως Θαλήταν φασὶν ἐξειργάσθαι ταῦτα καὶ δόξαι ποιήτην ἀγαθὸν γεγονέναι. Porph. Vit. Pyth. 32 τὰς γοῦν διατριβὰς Kab αὐτὸς ἕωθεν μὲν ἐπὶ τῆς οἰκίας ἐποιεῖτο, ἁρμοζόμενος πρὸς λύραν τὴν ἑαυτοῦ φωνὴν καὶ ἄδων παιᾶνας ἀρχαίους τινας τῶν Θάλητος. 26 === p57 === LIFE OF THALETAS or THALES s best ascribed to Thaletas of Gortyn, Xenodamus Xenocritus . . .. Polymnastus . . ., and Sacadas. For we are told that the Feast of Naked Youths at Sparta! . . . was due to these musicians : .. Thaletas, Xenodamus, and Xenocritus were composers of Paeans. Plutarch on Music: Many circumstances could be om to show that good music has been a matter of con- vern to the best-regulated states, and not least among shese the quelling of a rising at Sparta by Terpander _.. And according to Pratinas, Thaletas the Cretan who is said to have been invited thither at the in- stance of the Delphic oracle to heal the Spartans by his music, rid their city of the plague which ravaged it. The Same: As for Thaletas of Crete, it is doubted whether he composed Paeans. Glaucus, who puts nim later than Archilochus, declares that he imi- vated that poet with the difference that his songs - longer and he employed the Paeonic and Cretie rhythms. These had not been used by Archilochus, nor indeed by Orpheus or Terpander, mit are said to have been derived by Thaletas, who thus showed himself a great poet, from the flute- nusic of Olympus. Porphyrius Life of Pythagoras: He used to amuse imself alone in his own house of a morning by fnging certain ancient paeans of Thales to his own hecompaniment on the lyre. See also Plut. dg. 10, Princ. phil, 1, Strab. 10, 182, Philod. Mus. xis. - 1 of. Ath. 15. 678 b (on Alem. p. 47) 1 Ritschl: mss μαρῶνα 37 === p58 === IOATMNASTOT Βίος tr. 14. 643 [π. Κολοφῶνος ]' λέγει δὲ Πίνξαρος καὶ Πολύμναστόν τινα τῶν περὶ τὴν μουσικὴν ἐλλογίμων: ᾿Φθέγμα μὲν πάγκοινον ἔγνωκας Πολυμνάστου ἹΚολοφωνίου ἀνδρός. Plut. Mus. 8. ὁμοίως δὲ Τερπάνδρῳ Krovar, τὸν πρῶτον συστησάμενον τοὺς αὐλῳδικοὺς νόμους κα τὰ προσόδια, ἐλεγειῶν τε καὶ ἐπῶν ποιητὴν yer γονέναι. καὶ Πολύμναστον τὸν Κολοφώνιον τὸ μετὰ τοῦτον yer ὁμενον τοῖς αὐτοῖς , χρήσασθαι ποιήμασιν. οἱ δὲ νόμοι οἱ κατὰ τούτους, ἀγαθὲ ᾽᾿Ονησίκρατες, αὐλῳδικοὶ , ἦσαν, ᾿Απόθετος, ἜἜλεγος,; Κωμάρχιος, Σχοινίων, Κηπίων, Ἔπι- κήδειος," καὶ Τριμελής" ὑστέρῳ δὲ χρόνῳ καὶ τὰ Πολυμνάστεια καλούμενα ἐξευρέθη. Ibid. 5 μετὰ δὲ Τέρπανδρον καὶ Κλονᾶν ’Apyi λοχος παραδίδοται ψενέσθαι. ἄλλοι δέ τίνες τῶ συγγραφέων᾽ ᾿Αρδαλόν φασι Τροιξήνιον πρότερο Κλονᾷ τὴν αὐλῳδικὴν συστήσασθαι μοῦσαν, γεγονέναι δὲ καὶ Πολύμναστον ποιητὴν Νίέλητος τοῦ Κολοφωνίου υἱόν. ὃν τὸν Πολυμνήστειον νόμον ὃ ποιῆσαι. “περὶ δὲ Κλονᾶ, ὅτι τὸν ᾿Από- θετον νόμον καὶ Σχοινίωνα πεποιηκὼς εἴη, μνὴη- μονεύουσιν οἱ ἀνωγεγραφότες" τοῦ δὲ ΠΤολυμνάστου 1 mes ἔλεγοι 2 Westphal: mss τε καὶ δεῖος 3 mes ὃν Πολύμνηστόν (gloss on by) τε καὶ Πολυμνήστην νόμους 38 === p59 === POLYMNASTUS - Lire Strabo Geography [on Colophon]: According to Pindar, Polymnastus was one of the famous musicians ; for he says: ‘Thou knowest the world-wide saying of Polymnastus the man of Colophon.’ 1 Plutarch On Muste: What was done in the lyric sphere by Terpander was done in that of the flute by Clonas, the first composer of flute-sung nomes and of processional songs: he used elegiac and epic verse. His successor Polymnastus of Colophon followed his example. The nomes of these flute-poets, my excellent Onesicrates, were sung to the flute, and are called the Apothetus or Special, the Elegy or Lament, the Comarchius or Rout-Leader’s, the Schoenion or Rope-Song, the Cepion or Garden- Song, the Dirge, and the Three- -part. To these were added etter eards the Polymnastian Songs, as they are called. The Same: The successor of Terpander and Clonas is given as Archilochus. But some historians make out that Ardalus of Troezen composed music for flute and voice before the time of Clonas, and that the poet Polymnastus son of Meles of Colophon flourished before his day and composed the Poly- mmnastian nome. The claim of Clonas to be the author of the Special nome and the Rope-Song is borne out by the compilers of the registers, and Polymmastus Ὁ Pind), fr. 186 === p60 === LYRA GRAECA καὶ [Itvéapos καὶ ᾿Δλκμὰν of τῶν μελῶν ποιηταὶ ἐμνημόνευσαν. Paus. 1. 14. Θαλῆς δὲ ὁ Λακεδαιμονίοις τὴν νόσον παύσας . . . Θαλῆτα δὲ εἶναί φησι Γορτύνιον ἸΤολύμναστος ἹΚολοφώνιος ἔπη Aaxe- δαιμονίοις ἐς αὐτὸν ποιήσας. Plut. Mus. 8 [π. Σακάδα} τόνων yoy τριῶν ὄντων κατὰ Πολύμναστον καὶ Σακάδαν, τοῦ τε Δωρίου καὶ Φρυγίου καὶ Λυδίου. .. Ibid. 9 ἡ μὲν οὖν πρώτη κατάστασις τῶν περὶ τὴν μουσικὴν ἐν τῇ Σπάρτῃ Τερπάνδρου κατα- στήσαντος γεγένηται" τῆς δευτέρας δὲ Θαλήτας τε ὁ Γορτύνιος καὶ Ξενόδαμος ὁ Κυθήριος καὶ Ξενόκριτος ὁ Δοκρὸς καὶ Πολύμναστος ὁ Κολο- φώνιος καὶ Σακάδας ὯΝ Ἀργεῖος μάλιστα αἰτίαν ἔχουσιν ἡγεμόνες γενέσθαι" τούτων γὰρ εἰσηγη- σαμένων τὰ περὶ τὰς Γυμνοπαιδίας τὰς ἐν Λακεδαίμονι λέγετ a κατασταθῆναι, τὰ περὶ τὰς ᾿Αποδείξεις τὰς ἐν ᾿Αρκαδίᾳ, τῶν τε ἐν "Άργει τὰ *Evéupatia καλούμενα. ἦσαν δ᾽ οἱ περὶ Θαλήταν τε καὶ Ἐενόδαμον καὶ ΞΞενόκριτον ποιηταὶ παιάνων, οἱ δὲ περὶ ἸΠολύμναστον vay ὀρθίων καλουμένων, οἱ δὲ περὶ Σακάδαν ἐλεγείων... καὶ Πολύμναστος δ᾽ αὐλωδικοὺς νόμους ἐποίησεν' εἰ δ᾽ ἐνὶ τῷ ὀρθίῳ νόμῳ τ τῇ μελοποιίᾳ κέχρηται, καθώπερ οἱ ἁρμονικοί φασιν, οὐκ ἔχομεν ἀκριβῶς εἰπεῖν" ov yap εἰρήκασιν οἱ ἀρχαῖοί τι περὶ τούτου. . Ζ pF f > € 4 Ibid. 399 Πολυμνάστῳ δὲ τόν θ᾽ Ὕπολύδιον a th 3 Υ Ν \ νῦν ὀνομαζόμενον τόνον ἀνατιθέασι, καὶ τὴν 1 inss ἐν δὲ and ἔχομεν δ᾽ below 49 === p61 === LIFE OF POLYMNASTUS is mentioned by two of the lyric poets, Pindar and Aleman. Pausanias Description of Greece: The Thales who stayed the plague at Sparta . . . according to Polymnastus of Colophon, who composed some epic lines upon him for the Spartans, was a native of Gortyn. Plutarch On Music: There were three modes em- ploved by Polymnastus and Sacadas, the Dorian, the Phrygian, and the Lydian .. . The Same: The first establishment of music at Sparta was due to Terpander. The second is best aseribed to Thaletas of Gortyn, Xenodamus of Cythera, Xenocritus of Locri, Polymnastus of Colophon, and Sacadas of Argos. For we are told that the institution of the Feast of Naked Youths at Sparta, of the Provings in Arcadia, and of the Feast of Garments as it is called at Argos, was due to these musicians. Thaletas, Xenodamus, and Xenocritus were composers of Paeans, Polymnastus of the so-called Orthian or High-pitched Songs, and Sacadas of Elegies . . . Polymnastus, too, composed nomes to be sung to the flute. But whether, as the writers on the theory of music aver, he employed his musical powers upon the Orthian, in the absence of ancient testimony we cannot tell for certain. The Same: Polymnastus is credited with the in- vention of what is now called the Hypolydian mode, 41 === p62 === LYRA GRAECA » \ \ ‘4 , ἔκλυσιν καὶ τὴν ἐκβολὴν πολὺ μείξω πεποιηκέναι la φασὶν αὐτόν. Ar. Eq. 1281 .. . ᾿Αριφράδης πονηρός. .. καὶ Πολυμνήστεια ποιῶν καὶ ξυνὼν Οἰωνίχῳ" ὅστις οὖν τοιοῦτον ἄνδρα μὴ σφοδρὰ βδελύτ- TETAL v me] 2 a » ¢ nn te , οὔποτ᾽ ἐκ ταὐτοῦ pel ἡμῶν πίεται ποτηρίου. Hesych. ἸΠολυμνήστειον ἄξειν" εἶδός τι μελο- ποιΐας τὸ ,Πολυμνήστειον. ἣν δὲ Κολοφώνιος μελοποιὸς ὁ So εὐήμερος ᾿ πάνυ. “ / Suid. Πολύμνηστο . . « Πολυμνήστεια δὲ a «ἄσματα Πολυμνήστι ov ὃς; καὶ αὐτὸς 5 κωμῳ- “a ° ιν Εν δεῖται ἐπὶ αἰσχρότητι. Ἀρατῖνος" “Kai ΠΠολυ- μνήστει᾽ ἀείδει μουσικήν τε μανθάνει. 1 ms εὐημερὴς : al. ebuepi;s, εὐμελὴς 3 mss αἵτη 42 === p63 === LIFE OF POLYMNASTUS and is said to have greatly increased the three- quarter-tone lowering, and five-quarter-tone raising, of notes in the scale.! Aristophanes Anights: . . . That scoundrel Ari- phrades . . . and doing, not singing, the ‘Polym- nestian’ and consorting with Oconichus. Now whoever is not utterly disgusted by such a man as this, shall never drink out of the same cup as I.* Hesychius Glossary: To sing the Polymnestian: This was a kind of musical piece. Polymnestus was a lyric poet of Colophon, of a very merry type. Suidas Leaicon: Polymnestus: ... the Polym- nestian are songs of Polymnestus who, like the above, is satirised for his obscenity. Compare Crati- nus: And learns music and sings the Polymnestian songs. lithe reading is doubtful, but cf. Mus. Seript. Gr. Janus pp. 301, 302 += Baccheius 41, 42), and p. 300 (Bacch. 37) where these are said to be features peculiar to the Enharmonic scale 2 ef. Sch. Luc. p. 235 Jacobitz 43 === p64 === ΑΛΚΜΑΝΟΣ Βίος Suid. “AXxuav. Λάκων ἀπὸ Δίεσσόας, κατὰ δὲ τὸν Κράτητα πταίοντα Λυδὸς ἐκ Σάρδεων. λυρικός, υἱὸς Δώμαντος, ἢ Τιτάρου. ἣν δὲ ἐπὶ τῆς at’ Ὀλυμπιάδος, βασιλεύοντος Λυδῶν "Ἄρδυος τοῦ ᾿Αλυάττου πατρός. καὶ ὧν ἐρωτικὸς πάνυ εὑρετὴς γέγονε τῶν ἐρωτικῶν μελῶν. ἀπὸ οἰκετῶν δέ. ἔγραψε βιβλία 5 μέλη," πρῶτος δὲ εἰσήγαγε τὸ μὴ ἑξαμέτροις μελῳδεῖν. κέχρηται δὲ Δωρίδι τς καθάπερ Λακεδαιμόνιος. Ael. V.H. 12.5 Vell. Pat. 1. ” 2 Alemana Lacones falso 510] vindicant. Anth, Pal. 7. 709 ᾿Αλεξάνδρου" Σάρδιες ἀρχαῖαι, πατέρων νομός, εἰ μὲν ἐν ὑμῖν ἐτρεφόμαν, κερνᾶς ἣν τις ἂν ἢ βακέλας χρυσοφόρος, ῥήσσων καλὰ τύμπανα" νῦν δέ μοι ᾿Αλκμάν οὔνομα καὶ Σπάρτας εἰμὶ πολυτρίποδος, καὶ Μούσας ἐδάην “Ελικωνίδας αἵ με τύραννον θῆκαν καὶ Γύγεω μείζονα Δασκυλίου ὁ Ibid. 7. 18 ᾿Αντιπάτρου Θεσσαλονικέως εἰς ᾿Αλκαμᾶνα" 1 nss «¢’ 2 mss add καὶ Κολυμβώσας 3 miss add ἔστι δὲ Kal ἕτερος ᾿Αλκμάν, εἷς τῶν λυρικῶν, by ἤνεγκεν ἡ Μεσσήνη 4 ms τυράννων θ. δυσκύλεω μ. κ. γ. 44