Lyra Graeca; being the remains of all the Greek lyrik poets from Eumelus to Timotheus excepting Pindar

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

https://archive.org/details/lyragraecabeingrOSedmouoft

RW!

EL eo

THE LOEB CLASSICAL LIBRARY

EDITED BY

T. E. PAGE, rirrr.p.
E. CAPPS, Pn.»., rr.p. W, H. D. ROUSE, rrrr.p.

LYRA GRAECA
IH

à1^1i &CATO

34 GNTMIA c
atrrSaa SQÉIDOAS OECD
-SBOOH 4 .H OW ALAEX VATI

iH
E
1
E E 1 1d 1 E
pr E ; 4 "i E d u B ]
| rs "1 ,*. W^
ri CREE E
- E E E - € A
J nor )

ccu A. M TODO. M

LYRA GRAECA

BEING THE REMAINS OF ALL THE
GREEK LYRIC POETS FROM EUMELUS
TO TIMOTHEUS EXCEPTING PINDAR

NEWLY EDITED AND TRANSLATED BY

J. M. EDMONDS

LATE FELLOW OF JESUS COLLEGE
LECTURER IN THE UNIVERSITY OF CAMBRIDGE

IN THREE VOLUMES

VoLUME III
INCLUDING

CoRgiNNA BaccHyLIbES TriMOTHEUS THE ANONYMOUS
FRAGMENTS THE FOLK-SONGS AND THE SCOLIA
WITH AN ACCOUNT OF GREEK LRnic PoETRY

LONDON : WILLIAM HEINEMANN

NEW YORK : G. P. PUTNAM'S SONS
MCMXXVII

fw. n

Jo ChSWwuüwih say o

»^

roo e 04 Ame Oen. adem

LS lll sddidud imm ii E ar id

[Ill

HHT LIA "O- &ZIAMMES HT
AU EIICUSE Most ATHOd DESI Mer d
E

SAGYTI [14340X. EUSHT OTT: ox aS

^ Y8 XGATERLAZSE ST OWA GHTIOGX YID

eI6OMH. 3€ .L

JSULHEM AO YO X47IBAHTIAU IUE x

eJom TY) r gc'üuTOxIT zxaniz) NLES

*XOod.a lo ssT FFAAMÓ U ?

é UU
"s Jy
3443
E

Í 9 , nd

eX aaron: MA LLIUM 3$ ES
eMOR ZMAWTDUS 4 39:
& HyYXXMOM

PREFACE

Tur third and last volume, which brings this
collection down to the end of the Athenian Age,
. was to have included, following Bergk's example, the
Anacreontea, and to have ended with an Appendix of
New Fragments published too late to be printed in
the earlier volumes. "The volume's unusual length,
caused among other things by the diffieulty of
estimating the amount of material available, has
made it necessary to transfer the Z4macreontea to a
forthcoming volume containing the Greek Elegiac
and Iambic Poets, and to withhold the New Frag-
ments for the present. For this change I must
apologise to my readers. There is this, however, to
be said, that by postponing the printing of the New
Fragments till a reprint of the earlier volumes is
called for—and I understand that this will not be
very long—1I shall be able to print them nearer to
their proper places, and meanwhile most of my new
* restorations' will be found in the Proceedings of the
Cambridge Philological Society next spring.

The Account of Greek Lyric Poetry has worked
out longer than I expected, but having written it I
find I cannot eut it down without changing its
character. It is intended to be rather more than a
catalogue, which would have been unnecessary, and
a good deal less than a history, which would have
gone beyond the scope of this Series. I hope its
discussion of origins, without which any adequate

V

PREFACE

account of the subject would be impossible, will not
be thought out of place. Its position is unusual, but
I do notregretit. Like many so-called introductions
it will read, as it was written, the better for being
taken last.

Many new readings will be found in Bacchylides,
Timotheus, and Philoxenus. They have nowhere, I
think, been preferred to those of earlier editors
without good reason, generally palaeographical.
Those of Bacchylides come of long study of the
British Museum Papyri, in the chief of which a
large number of the accepted readings were found
inconsistent either with the length of the gap or
with the possible reading of doubtful letters. The
new readings of the Persae, which are mostly due to
the filling of gaps not previously attempted, are
based on the facsimile and confirmed by the autopsy
of Dr. Schubart. With the Banquet there was still
much for ordinary emendation to do; I have
thought it suffüieient here to avail myself of the
published accounts of the MSS.

My thanks are due to the Egypt Exploration
Society for permission to include the two Encomia of
Bacchylides, to Messrs. H. J. M. Milne and H. I.
Bell of the British Museum and to Dr. Schubart of
the Berlin Museum for their expert help with the
Papyri, to Professor A. S. Hunt for access to new
material and permission to print it, to Mr. A. D.
Knox for several valuable suggestions, particularly
with regard to the metre, on the Banquet of Phi-
loxenus, to Dr. A. B. Cook and Mr. H. Rackham for
giving me the benefit of their criticism of the
Epilogue, to the general editors of the Series for
dealing kindly with a sometimes refractory con-

vi

PREFACE

tributor, and to the staffs of the publisher and printer
for giving satisfactory presentment to many pages
particularly troublesome to set up.

In a recent review of a similar collection of frag-
ments, it was objected that the compilers of such
books do not follow some accepted numeration, such
as that of the Teubner series. In this book it was
impossible. New discoveries had made both Bergk
and Hiller-Crusius out of date, and the edition of
Diehl, even if it was to contain all the fragments
and notices gathered in these volumes, had not been
completely published. I hope that the numeration-
tables will do something to ease the difficulty of
tracing old favourites to their new homes.

I take this opportunity of correcting a few mis-
takes not yet corrected in Volumes i and ii. On
page 5 of Vol. i.l. 7, for lyre-sung read flute-sung ;
p. 21, l. 8 from bottom, for or read and ; p. 25, l. 6,
for composer read performer, l. 8 omit epic; p. 28
bottom, add Procl. Chr. 320a. 33, Poll. 4. 66; p. 72,
l. 3, for ye read yo ; p. 345, 1. 8 from bottom of notes,
for 3 read 38; p. 369, fr. 75, add cf. Callim. 3. 4
(Mair); p. 443,1. 7, add 212; p. 445, Dracon, for
A.D. 180 read 100 ».c.? On page 10 of Vol. ii. 1. 11,
for évros read évrós ; p. 12 middle, for 'Opéovei read
"Opeaeta. ; p. 123 top, for colonised read went to live
in; p. 137, l. 6, and p. 273, l. 7, add Arist. 'A0. IIoA.
18; p. 941 bottom, for xXevgs read Xéoxqs, and for
Schw. rightly, ete. read come from Callim. 4:t/a (i.
l. 15 Mair); p. 453, 1l. 8, for 53 z.c. read 530 z.c.;
p. 463 top, for Lyaeus read Lycaeus.

J. M. EpMoNps.
CAMBRIDGE,
July 15, 1927.
vii

P AM

ror m x:
k moxteifhisuadi Ev
df oÁIIASMUSDCLINT »«ü 1*7 "1 RT
f : ^ zw "
"E » 2 E ecrit. e di em Vr Z ^
LE T4347 & ; MSERHICOUWLQI PI R | 03.
t 3 " & L Dur 2d s "m -
o. gift pass Bd 6 a. a 5
i5» 6T. gigs Bd mere deis
Li * "] ie e d CAE
ler. EU ESPERE CE. s
di ipuoitosllon is iinissa 30 VE dass
-- - 1i
Vc - iri ted I E
MT t. m1 M A AT: 243013 »-
B PE454 2 t 2
525.n 3fgitzt 3196590 501
RASA PT. : e"
SIL zLÀ , »
- 312 4 * M M
Zj2 Ü )
Fra » - BD F
- J r| TERI N £3.34
I 4 . -"
i4: pr f £i c $3 ned
- - * "4 r *-
* " : 5 j.. T
- H 21 20 zd i ]
j2iB85:urID 2D S25 Mk Ue jejcci am 'ob

itel esmpio ni hádodeib 35 ise. po

—-

^h

naa : 211 utt crx itla! do 3o :
; ud ; xj DIEA 3 d sii iuge É E!
d isis : doarspos esa Vt "Who j
f£ É - Ren j :
Ca d B "t H ARA * atris is |

l : x HOMES Pe
: 0f disi imos boritefagnd vit, antc iibdle i

CONTENTS

PAGE

lo 32. OY NCRDRONBEC REQUE EE ONE LTD DIST v

LOl0 CROCO ougMe ME METRE MEE SED EDUC BL E E 2

20 UL uc n PME NNEHECHR MECER C S dE REESE" 6

0o ol die aue eras cale" E DEP MEC D 10

HEN EARS S VOU . X0

CHARIXENA olo. edu e ERR E DC RU E EP dDba:: S^

EEGSNXHENEUXSAMPRUS, PRATINAS ". . . . . . . 46

Cool nn cuoc Ee dera p OR ONE CP DP OS CE MEER i

UOS cortsdiü deco sr RED UN EPI REED MP EE

DODLOLL cow ydberamen ct EHE UE (1

CODD. esxdeubaptt a dE D ERE EECRUIC n EENEE v-

IMEMNENESNMNESOIOHIEHAT - QUT Vou ore... 290
POEMS AND FRAGMENTS:

BOOK [Tod di a RE ML i: i

EEOGHEUONMPUPAKANS UTI UL. cu Tl 88

EHUPROCOHLE BPHYBAWES . co 2 ... 92

BOOK IV. PROCESSIONALS E SOT neigt ini

NOGUE "UU.MATDEN-SONGS 4 2... 2 s. . 122

HOOK CXIR DANON-SONGS . 7 — T. . € .l24

BOOK VII. VICTORY-SONGS o UP AES ARE ri

BOOK VIII. LOVE-SONGS NEC Lote Pre -s 7. :

HOOK IX. DBINKING-SONGS . . . . . 216
EUEODEL - OE OINBOBIPEIONS .u1.0€ .- 025-2 4 90
BENE PANUNH".- q x 3. x. . ow uw RI x oru SAT

CONTENTS

ION OF CHIOS: LYRIC FRAGMENTS
MELANIPPIDES; LIFE SM S AS
FRAGMENTS . . .
EURIPIDES: VICTORY-SONG . .
HIERONYMUS . . .P"'4i f.

CLEOMENES, LAMYNTHIUS, GNESIPPUS

LEOTROPHIDES .
CINESIAS .
PHRYNIS .
PRDNODMUSN 2 T OO:
SELESUES - 2 . 2 - 1.
TIMOTHEUS: LIFE .
FRAGMENTS :
BOOK L HYMNS .
BOOK IL DITHYRAMBS
BOOKS III-XXI. NOMES
C CADDUSE C lal E CC ME
PHILOXENUS SON OF ERYXIS
PHILOXENUS OF LEUCAS . .
PHILOXENUS OF CYTHERA: LIFE
FRAGMENTS . . . .
[UU ERTECHE ME E oS
POLYIDUS . . .
BERG n. ME Ud MES
EXSUMAONUS. 4 1. x c us
ARISTOTLE: ODE TO HERMEIAS
HERMOLOCHUS . . . .
LYCOPHBONIDES . . . . .
XENOCRITUS AND XENODAMUS .
MYIA, MYNNA, THEANO . . .

X

CONTENTS

ANONYMOUS FRAGMENTS:
BEESESAMNI AM x.
SAPPHO OR ALCAEUS(?) . .
STESICHORUS OR IBYCUS(?)
ANACREON (?) PIA x uc ns
FHK LATER POETS . . . .

FOLK-SONGS:;:

INTRODUCTION . . . -. .

BOOK T.
BOOK II.
BOOK III.
BOOK IV.
BOOK V.
BOOK VI.
BOOK VII.

TO GODS: s» v e ..
OTHER RITUAL SONGS
OCCUPATIONAL SONGS
GAME-SONGS . . .
AVERTING-SONGS.

LOVE-SONGS . . .
TOSMEN - 7... 7e

SCOLIA OR DRINEKING-SONGS:
INTRODUOTION .. . . . -
BOOK I. ATTIC SCOLIA. . .
BOOK II. SCOLIA OF THE SEVEN

BOOK III.

OTHER SCOLIA . .

AN ACCOUNT OF GREEK LYRIC POETRY
TABLES OF COMPARATIVE NUMERATION
INDEX OF AUTHORS . . . . . -*
GENERAL INDEX OF NAMES . . . .
INDEX TO TECHNICAL TERMS USED IN EPILOGUE
GREEK INDEX TO EPILOGUE NE

SAGES

PAGE

420
428
440
442
444

448
508
516
532
536
542
544
548

548
560
516
580
582
680
691
702
716
120

xi

Ecasew.v.- Ld DER
bb. cune -079. . 0 (TudoYSE AO pe

UY JOE Mud EQUIS vormitaos
BUD llus se oc ca ce e S c. BUODURE E?
DEG ..—..0o. .. 5. eOWOB.IAUTIE aBTO a
S b so 01a c 5. AWXOB 114 OPE A TUOD. an
Bbda-lnfIhE . o 0-04. BMOR ani E.
pxXo2- OUTANEY A. DE

PRÀ $654X- .1.4 NÉ vos eU«o2-x 04. «f

AS

Agi aux 07 EETSGA 5 V ABXODEDME
à05 058 :398DA6 XAYZSA HWET-OHO
0B. o9 cxreESAT vU EXIODÉ
CHA a rAWTAR . 0.» XSTKOS ONMUX
0 . . .-« . Aomudawux WB

HOÀ Lu o. v vo. vo. DN

Ol$os . GUOOQLUI XE QUU ENGESNE

Z ja

"US adm XESOBAXUA , |
[ . E 4-4. ANC " s P
Pd
ix K^
» v^ «28

LE

ÓK " hu
MT
« E
ac
» - . [as
É ZIP

*
»
X
e
2n
P.
2M
M, 2:03
ZW 07 1 "
(eeTIE 53 E
Mo dw |
"2

ie

$tl " ^

X ud * Un aeu Sue 6
X 4 T X» Zout z9T 00 63 eiT

Méx aM Ws

"2 *
^ » ! ^, *. ^ ^,
rinuS IA waGQuo

n EL Sad

*
4s ,
7*0 f
MA (
Wu QI k
, [|
» Á
jYi en ts d
] ^ ox
F ^ ^ ^ B "
VOUQJ A »y 3] 3 AX

LA
(0TZUAU*32 137549 C
T elita : . .
p lo . i 7 E! ? Z3
56 1D 2014 "t. TO TOUONUG.S
"111 T1 ^-

deos wA orioT iT

iv]

fa
E

1214

BIGDYR A- GRAECA. s

LI
P.
Lh
fuv
*
[$1*i
LCTRITS

MTPTIAOX
Béos

Suid. Koópwva: . . . ua8:jrpua Mvprióos.

Ibid. Ilív8apos . . . pa05T2s 66 Muprióos
ryvvaukos.

Corinna fr. 11.

Anth, Pal. 9. 26. "Avrvrárpov. OeaaaXovikéos:
es Tàs 'Evvéa Avpucàs ILowrpías:

. . . Nosocíóa ÜgXvyXeccov ióé ryXvkvaxéa

Mvprtw. ..

Tat. adv. Graec. 33 |. eixóvas ràs TOv évOOÉwv
yvvaikQv]|: .. . Boíckos (éxyaX«ovpynoc) Muvpr(óa.

MTPTIAOX
MéAq

Plut. Qu. Gr. 40 * Tís Etvocros ijpes év Tav&ypa kal 5ià vÍva
alríay rb üAcos abToU "yvvaitly àyéufaróv. éoTiww ;" — EXiées TOU
Kaóícov kal Z«iábos Ebvosros 7v viós, G daciv ómb viuonus
Eivócras ékrpa$évri ToUvo "yevéo0at ToUvoua. kaAbs be dw kai
Bíkuios oUx Ííjrrov Tv cédpwv kal avaTnpós- €pacÓTvai: b€ aUTOU
Aéyovsiw "Oxvav, uíav r&v KoA«voU Ovyarépev àvejiày obsav'.

MYRTIS

LirkE
Suidas Lexicon: Corinna:— . . . A pupil of
M yrtis.
The Same: Pindar:— . . . A pupil of the woman
Myrtis.

Corinna fr. 11 (p. 15).

Palatine Anthology: Antipater of Thessalonica; on
the Nine Lyric Poetesses :—

. . . Nossis the woman-tongued and sweet-sound-
ing Myrtis. ..

Tatian 4gainst the Greeks [representations of famous
women] . . . À bronze statue of Myrtis was made
by Boiscus.

MYRTIS

Lvnic PokMs

Plutarch Greek Questions: * Who is the hero Eunostus at
Tanagra, and what is the origin of the custom which forbids
women to set foot in his sacred grove ?'—Elieus, the son of
Cephisus and Scias, had a son Eunostus, who is said to have
taken his name from a nymph Eunosta who brought him up.
Though an honourable character was combined in him with '
good looks, he was an austere man, and the story goes that
when one of his cousins the daughters of Colonus, a maiden

3
B2

LYRA GRAECA

érei 8€ meipGcav ó EtvooTos ümerpéjaro kal Aoiboptjcas &ijA8ev
, $3 M / x c / H /
eis rovs àOeA ovs kaTwyopfjo wv, €éoOacev 1) rapÜévos ravTO TpGEaca
kaT' ékeívov kal mapátvrve rovs àBeAQovs "Exeuov kai Aéovra kal
BoókoAov &wvokTeivat rbv Elvoorov, &s mpós Bíav avri cwyyeye-
vnuévov. éxeivot u€v oüv évebpeógayres àmékreiwav Tbv veavíakor-
ó 0€ ?"EAw vs ékeivovus &0goev: 4j 9 "Oxva geraueAouévm kal
J ^ et ' [4 N * /, , ^ S
y€novaa rapaxTs, &pa uev abT1]y àraAAAEan. 0€Aovaa Tíjs Dià Tbv
ÉpoTa AvTTS, &ua oikripovca TOUS &beA oos, ébfyyyeuXe Tpbs
^ 5 ^ ^ ^ M
Tbv "EAiéa mücav Tiv &AÍfjeiav, ékeivos 0€ KoXcvdg: KoAcvoU Oe
Gikdgavros oi uev &6eAQol 73s "Oxvas €dvyov, avv3; 9€ karekptjn-
s 1 Lj -^ €
vicev éavrfjv, 6s Mupris 7 'Av8m9Oovía TovfTpia ueXGy taTópnkev.
^ M , , € -^ M y e , , , ^
ToU bt EuvócTov Tb ?pgov kal T0 üAcos oUrws àvéuBarov érnpeiro
kal &àmpocéAacTov *yvvoiliv, Gave moAAdkis aewp v 1; aUxp&yv 1j
6:100 npi&y ÁAXcv "*ycvouévov àya(nTeiv kal moAvmzpa'yuoveivy ériueAs
Ly zs /
ToVs Tavarypalovs, u3j XéA78e *yvY?) T9 TÓTQ "A101ácaca.

MYRTIS

named Ochna, fell in love with him and tried to win him, he
rejected her suit with contumely and went off to lodge a
complaint with her brothers. But she was before him, and
made the like accusation of him, urging her brothers Echemus,
Leon, and Bucolus to slay him for having forced her. Where-
upon they set an ambush and slew the poor boy, and shortly
after were taken prisoners for it by Elieus. Repenting her
crime and torn between a lover's remorse and a sister's pity,
Ochna now told Elieus the whole truth, and Elieus taking it
to Colonus, Colonus gave his judgment, and the brothers fled
the country and their sister threw herself down a precipice.
Such is the account given by the poetess Myrtis of Anthedon.
Thus came the shrine and grove of Eunostus to be forbidden
ground to women, and iudeed it often happened, in time of
earthquake, famine, or other portent, that the citizens of
Tanagra made careful enquiry whether a woman had not
inadvertently approached the spot.

KOPINNHX
Bios

Suid. Kópuvva: "AxeXeoóopov kai "Iz0kpa-
Telas,: OnBaía 7) Tavaypaía; a8 pua MupríBos:
[ézrevóuacTo 66 Mvíia:]? Mvpui. évíkgoe 6
TevrTákis, 6s Xóyos, Ilívóapov. éypave fugMa
Tévre kai Emvypáupara kai Nópovs Avpukovs.

Plut. Glor. At. 4. P 947 f. 14 8é Koópiwwva TOV
IItvóapov, à OvTA véov éTL Kai 7i Xoytórnt coBapós
Xp ypevov, évovÜérnaev. (S &povcov üvTQ NL
TOLOUVTAO p8ovs, 0 TÍs TrOUyTUT)S &p'yov eivai
cvuBéBnke, veras ó€ Kai kaTaxp)noeu kai
peradpáa ets Kai uer) kal pvOuovs 76vc para 7TOÍS
T'párypaa tv vToTiOerat. coop obv Ó IIiv&apos
émuo Tío as TOS Xeyyop£vois émroiQoev ékeivo TO
pLéXos* Tepunvov 7) XpuaaMákarov MeMav | 3) 7
Káepov 7 Xrapràv (epóv "yévos ay6pQv | ?) TO
T VV c Oévos 'HpaxXéovs | 7) ràv Awevicov v0Xv-
ya6éa TUM Sei£auévov 66 72) Koptvvy yeXácaca
ékeiv ks Xeupi Oetv &Ón eT eipeuw, à un
0Xo TÓÀ 8vXáko. TÓÀ yàp óvrt g wykepás as Ka
cvudopijsas cavameppíav Titvà ji0cv o IivGapos
eig TO uéXos é£éyeev.

1 Crónert: mss Tpokparías ? prob. belongs to a later
Corinna, cf. Suid. s. Kópivva vewrépa

6

CORINNA
LirE

Suidas Lexicon: Corinna :—Daughter of Achelo-
ódorus and Hippocrateia, of Thebes or of Tanagra ;
pupil of Myrtis; [nicknamed Myia *Fly';] a lyric
poetess. lt is said that she was victorious five times
over Pindar. She wrote five Books, and Inscriptions,
and Lyric Nomes.

Plutarch Glory of Athens: When Pindar was as
yet young, and prided himself overmuch on his
command of language, Corinna censured his ill-taste
because, though myths are the proper work of a
poet, and forms of words, turns of phrase, changes
of expression, tunes and rhythms mere embellish-
ments, his poems were nevertheless devoid of them.
Pindar took strong objection to her words and pro-
ceeded to compose the lyric which begins : * Ismenus,
or gold-distaffed Melia, or Cadmus, or the holy race
of the Sown, or the doughty might of Heracles, or
the cheerful worship of Dionysus . . .'! and showed
it Corinna. Whereupon she retorted, laughing, that
he should sow with the hand and not with the whole
sack. For Pindar had simply made mixed drinks of
his myths and then poured them into his song.

! the stock themes of Theban mythology

LYRA GRAECA

Sch. Ar. Ach. 120 aryopá ew év áyopá Ga rpi-
Bew év efovaia kai mappraía:. éoTww. " ATTLKÓS,
ó0ev xai 7 Kóptvva eXéyxei róv Tob lLvódpov
'Avrrukiouóv,! émei kai év TQ mpere TOv lap-
Üeveiov éxprjcaro 77) Xé£e.

Ael P.H. 13. 25 Ilivóapos 0 TroU]T3S dryayvi-
Couevos év OBaus àpa8éct mepumea ov ákpoarats
?rT58n Koptvvns Trevráris. éAéyx av 66 TÜv
aàpovcíav a)vrOv 0 llívóapos cÜv éxáXevu TT
Kopwrvav.

Paus. 9..22. 3 Kopívvys 96, 7) uóvy 65 é&v
Taváypa dcpara éroíqoe,. TaUTIS écTL uev pviua
ev mept$avei Tfjs TÓA€cs, ét 06 év TÓ yvuvacio
pad, Tauvía TV Reda 7) Kópiva dvaBovuér
Ts vikgs eiveka 5 llivOapov depart évíkgaoev év
O»jBais. $aívera, óé pou vucijaat Tí) OraXékov
TE etveka,, ÓTL jer ov T] $ovj 75 copio, Dorep
[r j ITív6apos, &XXà oTr oia guvija ew £ueXXov AioXeis,
KG ÓTL TjV rjuvaucóy TÓT€ 709 kaXALoT: TO eiO0$,
ei Tis érL? eixóvi Oct rexuatpeoDaa.

Prooem. Pind. fin. à 66 óvouara TÀV Tpoetpn-
uévov XupukQv écTi TdÓe€' AXipáv, 'AAxatos,
Xam$o, XTqcixopos, "IBvkos, "Avaxpéav, Xujuo-
viens, BaxxvAtiógs, kai llívOapos: Tivég 06 xai
Tjv Kópwvav.?

1 Crónert: mss 7 K. éeTl ToU Il. àrTikic Ti 3 715?
3 these 5 words omitted in most mss.

1 cf. Eust. 7l. 326. 43, Them. 27. 334, Pind. O. 6. 90, Ft.
Metr. Pind. 8 Dr. ; the other Greeks called the Boeotians

8

LIFE OF CORINNA

Scholiast on Aristophanes Acharnians: '" Ayopá£ew :—
to behave in the market-place with arrogance of
manner and licence of speech; an Attic use of the
word, for using which in Book I of his Ma:den-Songs
Corinna takes Pindar to task.

Aelian Historical Miscellames : When the poet
Pindar competed at Thebes he happened on ignorant
judges, and was defeated five times by Corinna. By
way of exposing their lack of good taste, he called
Corinna a sow.1

Pausanias Descripiion of. Greece: Corinna, the only
poet of Tanagra, is commemorated by a monument
in the open street and by a painting in the gym-
nasium. The latter represents her in the act of
putting on the headband she won when she defeated
Pindar in the lyric competition at Thebes. In my
opinion her victory may be set down first to her
dialect, because she did not sing like Pindar in
Doric, but in a dialect which Aeolians would under-
stand, and secondly because, if one may really judge
from the portrait, she was at that time a remarkably
good-looking woman.?

Introduction to Pindar: The names of the aforesaid
lyric poets are these :—4Alecman, Alcaeus, Sappho,
Stesichorus, Ibycus, Anacreon, Simonides, Bacchy-
lides and Pindar; [some authorities add to these
Corinna .?

swine; P. prob. meant to contrast her narrow and local con-
servatism with the broadened outlook which had come of
his sojourn at Athens—'She is a mere Boeotian, I am a
Greek ? Tat. adv. Gr. 33 mentions a famous statue
by Silanion ; see also Bernouilli G7. Zkon. 88 3 cf, Sch.
Dion. Thr. 21. 17, Tz. prol. Lyc. 252 M, Did ym. 395 Schmidt

9

LYRA GRAECA

Prop. 2. 3. 9 Nec me tam facies, quamvis sit
candida, cepit . . .
. »« . quantum Aeolio cum temptat carmina plectro,
par Aganippeae ludere docta lyrae,
et sua cum antiquae committit scripta Corinnae
carminaque Érinnes non putat aequa suis.

Stat. Silv. 5. 3. 156. . . . . tu pandere doctus
carmina Battiadae latebrasque Lycophronis arti !
Sophronaque implicitum tenuisque arcana Corinnae.

See also Clem, Al. Sir. 4. 122, Sch. Dion. Thr.
469. 29, Eust. 7l. 327. 10.

KOPINNHZ MEAQON
T'epotov A'
1-10

Apoll. Pron. 325 a [. 72s éyó] Bowrol (idv) ? 6s utv Tpóoav
s. ds 0€ Évioi, Gv égriv ó "ABpev, Oéua écviv 6 ov(i-yes ol
avToÍ ac Tjj u£v éyàv Ty i&v, (r1 86 éydvo rov ive, ?. ef "ye
TU Tap&à AwpieUgiy 7) eis ei ueraBáA erai, Tjj 86 éyávya riy ióv'ya.
Kópivya (fr. 11): kal érc

l1 mss atri ? Dek, 35 Ahr.

! reading doubtful ? Callimachus 3 tit. cf. Ant.
Lib. 25: there may have been more than two books; the

IO

CORINNA

Propertius Elegies: Nor is it so much her face,
fair though it be, that hath taken me captive . ..
tis rather when the melody begins of that Aeolian
quill which can rival the lyre of Aganippe, 'tis when
she pits her own poetry against old Corinna's, and
deems Erinna's verse! no match for what she writes
herself,

Statius Greenmoods [to his father the school-
master]: Thou'rt skilled to expound the songs of
the Battiad,? or the secrets of the cramped Lyco-
phron, Sophron's mazes or the meagre Corinna's
mysteries.

CORINNA
OLD-WIVES' TALES?
Book I
1-10

Apollonius Pronouns [on the lst Person Singular]: The
Boeotians use the form íéó» according to Tryphon . . .
According to some writers, one of whom is Habron, it is à
root of which one and the same people use the three forms,
ióv corresponding to éwyó, and íóve: to éyéyq—if we may
regard the Dorian s as changed to ei—, and íó»ya correspond-
ing to éyéóvys. Compare Corinna (fr. 11); and in another
place :

-

. distribution of the fragments here is uncertain, but cf.
initials of titles
II

LYRA GRAECA

(vet 8. e(poov àperàs
xeipoá&cov «roD eio 1
Ka&Xà ryepot. üicop.éva ?
Tavaypióea at Xevkomér. Avs* ?
, y y ^ , ,
5 uéya o éujs nyéyaOe mos
Auyab poko Tis évósr s.a

2

Paus. 9. 92. 9 7bv 5€ "Epufiv XAéyovat rbv Hpóuaxov, "Eperpiéov
vavgiv ét Eüfoías és cÀv Tavaypaíav o Xóvrev, ovs ve éjiovs
éLayoyyciv éml rÀv pgáxmv xal abrbv &re ÉE$nBov eTAeyyló:
&uvvóuevor udAts7a €pyyácac0a, Tày EbUBoéev pom.

Apoll. Pron. 355 c (Gram. Gr. 1. 1. 74) [m. 75s €éuov]: àAAà
uXv kal fj €uoUs (cíQv'yós éeriv) 3j TeoUs . . . kal éri Kópwya:

^ "n 5
Tepi reos "Eppás vor 'Apea ?
T'OUKTEUL.

3,4

Cram. 4. O. l. 172. 14 [m. c5s és] evveumimre: 9$ 4$ és
, ) We 4 ^ , VON
mpo8eais kai &AXm BoiterikT) mpoéaei 71) e£

eg Move ov

hv 6€ $evijev émibépnra:, 81& 890 a0

5 , /, *
€g0 GpXu TT TOXEJUO

l mss ievet m9. 2pewv a. xeipoaówv : suppl. E ? Herch :
mss x. "yepoia eig oy. ? mss -TA015, -TÀOVS 1. éufjs — épais
Bóckh: mss éu3 -Ans --53s (dat. pl.) Bóckh: mss -Aais
-TüLs 5 Wil: mss ap'eva $ mss Movcá», but cf. ibid.
278 | ? Ahr.: mss eec! apxerroAéuov:

1 the previous 3 (?) lines of this introductory poem might
have run (Some sing of Gods and Goddesses' or the like:

I2

CORINNA

But I, I am come to sing the prowess of Heroes
and Heroines, in fair old-wives' tales for the white-
robed daughters of Tanagra; and greatly doth their
city rejoice in my clear sweet babbling cries.!

2

Pausanias Description of Greece: They say that one day
when an Eretrian fleet put in on the coast of the territory of
Tanagra, Hermes the Champion led the ephebi or youngest
men into the field and by employing a strigil or flesh-scraper
ephebus-like as a weapon, inflicted à severe defeat on the
enemy.

Apollonius Pronouns [on the pronoun ' me']: Indeed along
with éuo?s *of me' there goes a form -meo)s *of thee ' . . .
Compare also Corinna :

For thy sake? Hermes fights? Ares with his fists.

39,4:

Cramer Znedita (Oxford) [on the preposition és *into ']:
This form of the preposition is identical with another, the
Boeotian form for é£ *out of? ; compare

out of the Muses

but in that dialect if the preposition precedes a vowel it
takes the form éecce ; compare

beginneth warfare

the last 4 are from Heph. 110 (see on fr. 5), and do not
certainly belong here ? Tanagra's 3 in this poem
* 1, 3, 4 would doubtless be taken (by a grammarian or
metrieian) from an early-placed poem ; 1-3 could belong to
the àpx4 or cópxyís, and 4—10 to the óu$aAós of a poem
describing the battle ( E)

13

LYRA GRAECA

5, 6, 7, 8, 9, 10

Heph. 110 [7. moAva xnparia av]: óuoÍes 5e kal éml TàÀv
TAvkwvelev ToiaUTa cxtiuara mapaXauBárerai, olov év» ois
Kopívrns: (fr. l1) &8e kal Tó8e*

1) rrevreikovT | ovvruias
Éri 6€ kal mAelogiw abr) kéxpnrai oxjuacuy*

e , 9" 3. 933 t/

cepaTos* ooT € VimmO

/ bi , , 3
kápra pev éupuuaguevot

, e
TX 0 ÉmpaÓO' o0 uév* mpooavels
yXóUk00 66 TÜs dibcv ?

TreXékeo ot Goveiry 9

11
Apoll. Proa. 325 a [v. 75s éyé] . . . 75] 0€ éyórya ry ióvya
Kópiwva.*
uépdouy 66 k3) Nvyobpàv
Movprió (covya,
ór. Bavà $obo
&Ba Tlav6ápor vor. &pw.

12

7

Ibid. 95 a 7
€p.0Us
kow3; o0ca Xvupakovcíev kal Boiwrav,
"Emíxapuos éxpfjravro.

! mss xal TevT1). ? mss 9o)p. ? Herm.-Crón. -E: mss
kaTà uev Bpuusoby. 5 B; mss émpdBouev 5 Crón.: mss Tis
&5wv — 5 mss boveira. * Bóckh-B-Wil.: mss evi 5e kai
A. uvpriba and ziv8apioto : for Bavá cí. Hdn. nov. A€£. 1. 18. 25

14

Ka0b Aal Kópiwva kal

CORINNA

b, 6, 55,9, 10

Hephaestion Handbook of Metre [on * polyschematist or
irregular verse]: Similarly such types occur in Glyconics, for
instance in those of Corinna: (ftr. 1) ; so also this:

and fifty did [Hermes?] of the lofty might [lay
low ?]

And yet further varieties are used by her :
[riding] his ship like a horse
all snorting upon him right fiercely
he appeared before them and sacked their city
and singing to them sweetly

[the air?] whistles with whirling axes

1l

Apollonius Pronouns [on the 1st Person]: . . . and íiévya
corresponding to éyá»ya. Compare Corinna :

And I, I find fault even with the clear sweet
Myrtis, because, woman though she be, she hath
striven against Pindar.!

12?
The Same : The form éuo?s
of me

is used both by the Syracusans and by the DBoeotians, being
found in Epicharmus and Corinna.

! prob. from the c ópazyt s of an early-placed poem 1 12-14
prob. came early in bk. I.

I5

LYRA. GRAECA

13
Ibid. 121 c à; à»: . . . époías Boiwwrol
TIT
em 8€ Ts kTqTAKTS

e ^ ,
&4LGV OOJ.OV

14

Ibid. 106a 75 7Ív e$(wyos 3; iv . . . écri ka) 3

e.

€tp
àmb Tijs Telv mapà '"Avriud xq Kai Kopívvgp, éml airiwrik)s | Éo6"
óTre TapaAauBavouévq.

15

Prisc. Znst. (Gram. Lat.)1. 36: in plerisque tamen Aeoles
secuti hoc facimus. illi enim 8ovyárzp dicunt pro 6vydr92p, ov
corripientes, vel magis v sono x soliti sunt pronuutiare, ideo-
que adscribunt o, non ut diphthongum faciant, sed ut sonum
v Aeolicum ostendant, ut

KC EPA x0ovos
DE 0obvyarep .

16-17 "'Aezis AÓdávas
Anth. Pal. 9. 96. 'Avrirárpov GeaaaAovikéws* eis ràs "Evvéa
Avpikàs Ilowrpías" . . . kal cé, Kópiwva, | 0oüpww 'A8mvaíns
&cTíba peAyaguévav.

17

Plut. Mus. 14 &AXoi 8€ ka). avróv 70v O0cóv ('AmÓAXwra) $aciv
avAQqcat . . . 5j 9e Kópwva ka) 0ibax0syval oci Tbv "AvóÓAAG br
'A0nvàs avAeiv.

1 Bek : mss 8c7.k1)s

16

CORINNA
13

The Same: &uày tof us': . . . similarly the Boeotians say
&ulmev

of us
and for the possessive, &udv *our'; compare

our houses

14
Apollonius Pronouns: To the 2nd Person rív *thee' corre-
sponds the 3rd Person f» * him? or *her' . . . There is also
a form étv
him

corresponding to reiv, in Antimachus and Corinna, sometimes
used as an accusative as well as a dative.

15

Priscian Principles of Grammar : in general, however, we
follow the Aeolians, who say 6ovydár72p for 0vyárzp * daughter,
with the diphthong short, or rather give the Greek v the
value of the Latin v, and for that reason prefix o in writing,
not making a diphthong but the Aeolic v; compare :

O daughter of that land of fair dances, H yria!

16-17 Turk SuigLp or ATHENA

Palatine Anthology: Antipater of Thessalonica; on the
Nine Lyric Poetesses: . . . and thee, Corinna, who sangest
of Athena's martial shield.

14$

Plutareh Ausie: Other authorities declare that Apollo
played the flute himself . . . Indeed Corinna says that
Apollo was taught flute-playing by Athena.

l jn Boeotia ? cf. Ibid. 5

17
VOL. III, C

LYRA GRAECA
18-21 Bowros

Hdn. v. uov. Aét. 2. 917 mapà 5* 7$ ToinTíü HMoceibdov . ..
-apà uévTo: Bowwroits IIoreibáev Tpamévros ToU c eis T: Kópiwva
Boiwrd'!

TOU 0€ uákap, Kpovióa ? IIorióá-
ovos,? áva£ Bowré.

19

Apoll. Pron. 122 b óuàv: . . . AioAets Duuémv . . . obpiev
Boicroí*

N , e , 5 /, 4
TÓ OÉ TLS OULLOV àKkovGáTO
Kópivva.
20

Sch. Ap. Rh. 1l. 551 'Apueví8as 56 év rois OnBaikois "Augi-
kTVovos viov "Irwvov év OeocaAía vyevvn0Tjvat, kal "AXé£avbpos év
TG &/TÓÀV KapikGv "Yrouvquarov Kopívrgs vrourna6eís.?

21

Ibid. 3. 1178 'Qyvyías 56 càs OfjBas àmb 'Qeybyov "o
«rp)rov2 BasiAevcavros abrGy. —Kópiwva 8e Tbv

"QOryóbryov $

^ , ^ ^
BoiorToU vióv: àmb ToVTOv 0e kai Tày OnBàv mUAat.

22-224 'Emr ézi Ge(ffgs

Apoll Pron. ll9c Awpieis boués . . . AioAeis Duues . . .
Boiwrol uerà 0:50ó*yyov ToU ov

e b A ,
ovués 66 koptaÜévres
Kópivva 'ErT! éri OjBais.

1 mss Kópiva: Bowroi ToU0e and ToU ? gen. E: mss 5g
? mss IIoreibácvos ^ mss ovugiev 5 Crón: mss rà»
Kopívvzs (or Kapikgv) vrouvnudTwv $ mss "Ovyvyov

18

CORINNA

18-91 Bokorus

Herodian Words Without Parallel: In Homer the form is
Poseidaon . . . but in DBoeotian, with change of s to f,
Poteidaon ; compare Corinna in her Zoeotus :

and happy thou, son thou of Poseidon son of
Cronus, lord Boeotus.

I9

Apollonius Pronouns: óuàv *of you! . .. The Aeolians
use iuuéwv . . . the Boeotians oóuíev ; compare

wherein let men listen to you;
Corinna.
20?

Scholiast on Apollonius of Rhodes Argonautica: Armenidas
declares in his Z7'ebaica that Amphictyon had a son Itonus
born to him in Thessaly, and Alexander agrees with him,
quoting Corinna in the 1st Book of his T'reatise on Caria.

21

The Same: Thebes is called Ogygian from its first king
Ogygus. Corinna makes

Ogygus

the son of Boeotus. From him came the gates of Thebes.

29—99A "THE SEvEN AGAINsT THEBES

Apollonius Pronouns: The Dorians say for * you! óués . . .
the Aeolians Puues . . . the Boeotians the form with the
diphthong oóués ; compare :

and you being brought hither?
Corinna Seven against Thebes.

! doubtless belongs to an early-placed poem; the metre
would suit this, but its position is not certain ? cf. Paus.
9. 1, Steph. Byz. Bowría * from Argos

I9
c2

LYRA GRAECA
224A

Sch. T. Z7. 17. 197 *ympás: &mokomij ToU "ynpácas, &s bmod6ds,
emi/mAós: kal Kópiwwra

Bpovrás !
&vri ToU DBpovríjcas.

23—-23A Evovovpüg
Sch. I]. 2. 496 AjA(Ba: . . . àmb AjAÍDos Ts Ebwvünov ToU
K991icoU.
23A

Apoll. Pron. 136c [z. 75s éós] AioXets uerà Tov F karà

^ ^ /
"àcay TTGgiV kal 'yévos . . . óuoíes kal Boweroí. Kópwva
Ebovovytns ?

v íj0a Fóv 0éXoca díXgs
a/'ykáNy; éXéa 09 ?

24 FiAaos

Apoll. Pron. 113 b 8ià ToU € 3) vàe -apà '"Avriuá xo év OnBatbi
EST n

TOU T€ VOÉ «Te»

€v 'IoAág Kópwva.

25-2" KardázAovs

Sch. Nic. Ter. ló oi 8t mAeíovs Tavaypatov elval $aci Tbv
'"Qpíeva. Kópiwva 8€ evceBéoTarov Aéye: abTrbv kal émeA0óvra
T0AXoUS TÓTOVS T]uep3at kal kaÜapíaai àmb Onpicv.

! Schn: mss «' pia Bpoyrás ? mss evevvpulns 5 56a
Fiy aud éAés05 Bóckh : mss mq$5eyov eXea6€ * E

20

CORINNA

224

Scholiast on the Z/iad: *ygpás * when he grew old" ;—An
apocope or shortening of *75pácas like $mo$6as and érimrAós,
and Corinna's 8povrás

striking with the thunderbolt!

for Byovrícas.

23—93A Tur DaucurERs or EvoNvMus

Scholiast on the Z/iad : Aulis: . . . from Aulis daughter
of Euonymus son of Cephisus.?

234^

Apollonius Pronouns [on the possessive éós *his' or * her]:
The Aeolians use the form with digamma (?) in every person
and gender .. . Similarly the Boeotians; compare Corinna
in the Daughters of Euonymus :

desiring to take her son in her loving arms.

24 lIoraAUs

Apollonius Pronowns [on the lst Person Dual]: The form
with e, yàe, occurs in Antimachus' Z'ebaid and in

thou and we twain
from the Zolaüs of Corinna.

25-27 "Tur RrrunN?

Scholiast on Nicander A4n4idotes to the Bites of Beasts: The
more usual view is that Orion hailed from Tanagra ; according
to Corinna he was a man of great piety who went about to
many places reclaiming them and purging them of wild beasts.

1 ref. to Capaneus? Crón. — ? cf. 33. 72, Steph. Byz. AvAís
3 of Orion, healed of his blindness, to Chios for vengeance

2I

LYRA GRAECA

Parth. 20 [m. 'Aepo?s]: Aéyera: 5€ kal Oivomícevos kal vyóuons
"EA Lens 'Aepó kópnv ytevéa68au TabTqS à 'Qpíeva Tbv "Ypiécs
épag Géyra Tap avToU mapaureig Gat àv kópnv, kal bià& rabrmqv Tív
T€ Vijcov efmuepàaai TÓT€ npíov &vdTA€cv obcav, Aeíav T€ TOXMiY
mepieAabvovra TÓV pog Xópev €0ra 5i8óvat ToU uevToL Oivomímvos
ékdaToTe bmepriÜenévov TV yénov 6ià Tb Goo Tv'yeiv abr YyauBpbv
TOLOUTOV yevéa&aa, bm ues Éopova yevóuevov Tbv '"üpíeva
karata Tbv ÓáAauov évOa 1j rais ékouüro, kal Bia(Ógevov éxkafjvat
Tovs óÜaAuovs $70 ToU Oivonícvos.

26
A poll. Pron. 105 b [. 75s 7ív]" Tí0era: mapà Kopívvg kal éml
airiaTiKTs éy KardmAg*
. . ov yàp Tiv 0 $Oovepós
131712. asp tinese d i e

&v7l ToU ct kal ca$és às kar. évaAAayty mTTéGeos.

21

ILid. 98b éoUs: ab77 àkÓóMovÜos Awpiuktj Tij TeoUs, 5j cvvexós
kal Kópiyva éxpfjcaro: év KarámAq*
4
ví«ac 0 peyaXooÜévets
, , , $^ 3 *
Oapiev, xepav T à €o0s
mücav ovoUumvev.

28 Kopovau

Ant. Lib. 25 MrTió xn kel Mevirmm: ia Topei Níkavbpos 'Erepoiov-
uévav 5' kal .Kópiwya I'epoíev a'. "Qpluvos TOU "Tpiéus ev Bowría
Qv'yaT épes eyévovTo Mmrióxn kal Mevírmm: abra T€ "Opluva
Tipávurev éE£ àv0pdámov "Apreuus, érpéiovro mapà TÍj um pt. kal

1 E -— ("wot (the citation showed Tív to be accus.): mss
Baie ? ó: Herm. $v

22

CORINNA

Parthenius Love Komances [on Aéro]: The story goes
that Aero was the daughter of Oenopion and the nymph
Helieé, and Orion the son of Hyrieus, falling in love with
her, asked her of Oenopion in marriage, and for her sake
reclaimed the island (of Chios) by purging it of the wild
beasts that infested it; moreover he drove off large herds of
cattle from tbe neighbouring farms to be her bridal gift.
Oenopion, however, had no stomach for such a son-in-law,
and whenever the day was fixed deferred it, till one night,
fuddled with drink, Orion broke into the chamber where the
girl lay asleep; whereupon Oenopion laid violent hands upon
him and put out his eyes with a firebrand.

26
Apollonius Pronouns [on the form cív *thee']: It is used
also by Corinna in the accusative ; compare the Zeturn:
for thou art not harmed by this jealous man!

where rí» is for cé by interchange of cases.

2T

The Same: éois *of him':—This corresponds to the Doric

TecoUs *of thee," which is frequently used by Corinna ; compare
the Return :

The mighty man Orion won the day, and gave all
the land his name.

98 Turk SuvrrLE-MaipbENs?

Antoninus Liberalis JMetamorphoses: Metioché and Me-
nippé:—Told by Nicander in the 4th Book of the Z7'rans-
formations and by Corinna in the 1st Book of her Old- Wives
Tales. To Orion son of Hyrieus were born in Boeotia two
daughters, Metioché and Menippé, who when Artemis re-
moved Orion from this world were thenceforth brought up

1 Aero to her father? ? cf. Ov, Met. 13. 692
23

LYRA GRAECA

'A0nvà utv éBíbackev abràs ioTovs Sivoatvew, 'Aópobír 0€ avrais
€üeke kdAAos. émel Bé 'Aovíav üXqv €AaBe Aotubs kal T0AXol
&ré8vnokov, 0ewpovs ànécTeiXay mapà Tbv "AmÓAXera Tbv lopTb-
viov. Kal avbrois eimev ó 0ebs iAdacaa0ai 800 rovs épiovví(ovs 6cobs-
É$m 5€ karamabg eu aUToUS T?2)v u]viv, ei 6v0 Üvaiv éKkovcat TapBévot
&inara yévowro. mpbs 0e 03 TO pavretoy obÜüeuía ry év Tfj TÓAe€i
mapBévay i Um íkoucev, xpi yv) 0)cca TV xpno uiv ébfveyke TpUs
TÀS Qvyarépas TOU "DOplavos. ai 0" às émU0ovro Tepl Tbv icTbY
(xovcai, Tby bmép àaTGv Üávarov éBétavro mplv jj Tiv émibijpiov
émi/TEegoUcay avTàs àoavíca: vócoy. Tpls 6e Boncápeva. x8ovíovs
Saíuovas, 0r: aUTois ékoUcat 65nara vivovraa, émáratav £avràs Tl
icepictóu mapà Tiv kAeiba kal &véppntav TÀV cóaytv. kai aUTat utv
&ud repa. kaTémegov és TÓv yüv, epredóvm 6€ kal "Adbns oikTí-
pavres TÀ uev cónera TÀV mapBévev qvia, &àyri 5 erelvuv
&cTépas &viveykav €x T7s "yüs: oi 8€ Qarévres &vgvex0mcav eis
ovpavóy, xal a?ToUs wvópacav üvOpwmo: koguíjras. iüpvcavTo Oe
mdvres "Aoves év "Opxouevd T5s Bowerías iepüv émíoquoyv TÓV
TapÜévev ro)TcYV, kal ajTais kaÜ' €xagcov éros kópot T€ kal kópat
ueiAi"yuaTa $épovgiw. 'mpoca'yopevovgi 0€ abTàs üxpi vUv AioAeis
Kopeyaías ! sap6évovs.

29-30 Muovaín

Ibid. 10 Muwvd8es: (orope? Níkavbpos 'ETepoiovuévev 5' xal
Kópiwva. Muivóov ToU 'OpxouevoU éyévovro Ovyarépes Aevkimmm,
"Apaíim 1, 'AXka80m, kal àréfnoav ékrómos diXepyol. | mAeioa be
kal ràs &AAas "yvvaikas éuéuyavro, ÓTi ékAvmoUg at TÀhv TÓDw év
Tois Bpesw eBákx evov, üxpi Aióvvaos cikag8els kópn mapijivegev
aUTais un ékAeLTei TeAeTüs ? nvoTípi TOU ÓOcov: ai 6€ ob
-poceiXov. mpós bj] Tavra XaAemüvas ó Aióvucos àyrl kópms
€yévero TaUpos kal Aéwv kal máphaAis, kal ék TY keAeüvrav

l mss .íBas

! Boeotia ? in Crete ? the oracle apparently ran
iAdageaÓ0e Oei épiovríe al ke "yevüvrai | Üuguv 00pa Bvoict kópa
6vo 0coict ékoicat * the writer seems to derive this name,
which should mean 'curved, from the boys and girls, kópo:

24

CORINNA

by their mother, being taught the art of weaving by Athena
and given personal beauty by Aphrodité. When Aonia! was
sore bested with a famine and the inhabitants were dying in
great numbers, messengers sent to consult the Apollo of
Gortyn* were told to 'propitiate the two Gods of Aid';
their wrath would be appeased 'if maidens two" consented
to be sacrificed to 'deities twain.'? "The oracle found no
maiden of the city willing to obey it, till a bond woman
brought word of it away to the daughters of Orion. No
sooner had she told them as they stood at the loom, than they
accepted death for their neighbours! sake rather than death
by the plague, and crying thrice to the Gods below that they
were a willing sacrifice, smote themselves with the shuttle
beneath the chin, severed the vein of the throat, and fell
both of them dead. In pity of them Persephon? and Hades
made the maidens' bodies to disappear, and raised up from
out of the earth in the stead of them two stars, which
appeared and rose into thc sky, and men called them comets.
And at Orchomenus in Boeotia all the Aonians built a shrine
in remembrance of the maidens, whither every year boys and
girls bring them offerings, and to this day they are known to
the Aeolians as the Coronaeae or Shuttle-Maidens.*

29-30 'Tuk DaucnurERs or MiNvas

The Same: The Daughters of Minyas:—Told by Nicander
in the 4th Book of the Transformations and by Corinna. To
Minyas son of Orchomenus were born three daughters named
Leucippé, Arsippé? and Alcathoé, who grew up to be extra-
ordinarily industrious and find great fault with the other
women for leaving the city to go and play Bacchanals in
the hills. When at last Dionysus, in the shape of a girl,
advised them not to neglect the God's rites or mysteries,
they paid no notice, whereupon Dionysus took umbrage and
became instead of a maiden a bull, a lion, and a leopard, and

kal kópa:, but prob. xopevíj once meant among other things
*shuttle, because the ends of it are sometimes slightly
curved like the tips of a bow, or because it resembles the
prow of a ship, cf. Germ. Jleberschiff 5 Arsinoé ia Plut.
Q. G. 38, who describes the Dionysiac rite to which the story
belonged

25

LYRA GRAECA

, , , , ^ , M ^ ^ ^ L4 vy

€ppím véxrap aUTG kal*yaAa. mpós 0e Trà amuetia Tàs kópas &Aae

6eiua, kal uer! oU T0AU kAfjpovs eis &yyos éugaXoUgai àvémrmAay.
^ , ^ - ^

emel 8 Óó kAfjpos éEémeoe AevkímmaS, nUlaro Üvua rd OeQ Dócew,

kai "Immacov Tiv éàvTis Taiba Diécmace cUv Tais üàÓeAdQais.

karaüAvroUGa: Üe Tà olketla ToU maTpbs éBdkxevov év vots Üpeciv

kal évéuovro kiurcüv kal uíAaka kal Bdóvgv, &xpis avràs 'Epurs

€ , vigi y / 3 » Hi ^ € ^ , ,

Gy agevos T1) pá88o ueréBaAev eis 0pyiÜas. kal abTGV 7] u&v eyévero

vukTepís, 7] 6€ 'yAaUE, 7 6* Bó(a. Eopvyor 5€ al Tpeis Ty avyljy ToU

€ /

7; ^iov.

30
Apoll. Pron. 96a TeUs: abr? có(vyos Tfj éucUs: "EmÍxapuos
. €égTi 6€ Bowwriakby 52AÓvws:
^ v e "m
T€US yàp 0 KXapos'

b mepiaracÓcy rijv mTperóTvnrov cngaíve:.

31 'Y86zovs

Sch. Eur. PAoen. 26 rivis bé kal T4] u«Tépa avrQ (T4 Oibl-
Tobi) $acly àvppíjcÓai. àyeAeiy 0t abrbv oU uóvov T3]v Ziyya
&AAà kai Tav Tevunaíav àAcmeka, s Kópiwva.

Tepotov B'

32 ['Ayóv! FeAxóvos x] Ki&npavos]

Tzetz. Prol. Hes. 30 Gaisf. 'EAu» 9€ kal Kiüaipàv à-b
*EAukGvos kal Ki8aipGvos Ty àbeAoGv ékAfj0ncav, otriwes mpis
&AAfjAovs éroAÉumcav, ka06s ó Kuprvaios Avoíuaxos €v TQ TpóTe
IIepl IIoigrav igTopet.

| not &pis, cf. l. 18 and initial of title (?) to 33 (in fr. 11
£p:s has no technical connotation, though the context equates
it to àyéy)

26

CORINNA

their weavers beams ran him nectar and milk. At these
portents the girls took fright, and shortly afterwards the
three put lots in a vessel and shook it ; and when it fell to
Leucippé she vowed she would make the God a sacrifice, and
with the aid of her sisters tore in pieces her child Hippasus.
Then leaving their father's roof they went Maenads in the
hills, and lived on ivy and eglantine and bay till Hermes
with a touch of his wand turned the first into a bat, the
second into a white-owl, and the third into an eagle-owl, and
all three fled the rays of the sun.

30
Apollonius Pronouns: -Te)s *of thee':;— This corresponds
to éuevs *of me'; compare Epicharmus . . . It is clearly

Boeotian ; compare
for the lot is thine ;!

where the circumflex shows that it is the pronoun itself (and
not the possessive adjective).

31 OkEpniPus

Scholiast on Euripides Phoeniciam Women: According to
some authorities his own mother was slain by Oedipus, and
he slew not only the Sphinx but, according to Coriuna, the
Teumesian Fox.

OLD-WIVES' TALES

Book II
329 TuEk CoNrEsT BETWEEN HEkLIiCON AND CiTHAERON

Tzetzes Introduction to Hesiod : Helicon and Cithaeron were
named from the brothers who fought against one another, as
we are told by Lysimachus of Cyrené in the first Book of his
treatise On the Poets.

! if this belongs here it is strange A. should not have
found an instance earlier in the book; possibly the above
title is not C.'s

27

LYRA GRAECA

Sch. Od. 3. 267 otro Amufürpis ó éaAmnpeUs: MevéAaos üua
Tj 'Obvacei éA0Gyv eis AeXoovs Tbv Oebv efpero mepl Ts ueAAovams
écecÓa. eis "IAtov oTpaTeías. rÓTre 0j] kal rbv évveaTqpixbv TÀV
Ivyüícv ày&va iryevoÜére: Kpéwov, évíra Bt Amuóbokos Mdkwv
ua8mris AvToufjbovs Muxqvaíov, $s 3v mp&ros 8v éróy ypdias lv
'Audvrpócvos mpos TyXe8óas udxmv kal 73v &piv KiBaipavós ve Kal
'EAucdvos, à$' Gv 83; kal rà év Bowría 0p vpoccyopevera.

Pap. Berol. 284 Berl. . Klassikertexte 5. 2.1 25H (after 11
mutilated ll. containing [éo]veré$avov, é' Ékpv, xopds, óplev,
$oUAov, "yevé0Aa):

e.g. l]ev[. .. . . .]«o»c-?
[ara "éu rav 640v ó|vyes] ac[?
[9t80 ]a tv T' oi Aa8pd[6a |v à ay-

15 KoUXop.eirao K póvo, TQ-
víka viv KXéve uáknpa 'Peta,*
ueyáXav T áÜavárov éas
€Xe rtuáv. TáÓ. EueNNrev.
pákapas Dy avTíka Moo

20 $épep.ev Aráoov € érarTOV
Kpotdlav káXmibas € €» 9 Xpov-
cooais: 70 9 &pa mávTes opÜev

mAMovas Ó eiAe* Ka8npav.
TáXa Dy "Epuás àvéda, pa-
pov àovcas, éparv TS

25 ÉXe víkav, a TeQávvauv
[9] €? xaT" gav «àv»ekóo pov?
[náka]pes.? Ó O6 voos yeryá61.
[0 66 Xo]oT 01 káÜekros
LxaXen |j fciy F eAucav é-

30 [cépve] Avrrá6a vérpav,

1 E ? P ó»» corrected from óvei 3 E: these 2
letters perh. belong to a note, or l. 13 is the end of a

28

CORINNA

Scholiast on the Odyssey: The account of Demetrius of
Phalerum is as follows:—Menelaüs came to Delphi with
Odysseus and consulted the God about the coming Trojan
War, and it was then that the eight-yearly Pythian festival
was held by Creon, and the victor was the Laconian Demo-
docus, a pupil of Automedes of Mycenae, who was the first to
write in epic verse of the battle of Amphitryon with the
Teleboans and the fight between the Cithaeron and Helicon
who gave their names to the mountains in Boeotia.

From a Papyrus of the 2nd Century (after 11 mutilated lines
containing well-crowned, on the summit, strings [of the lyre],
mountains, tribe, race) :

* . . and the [goats] brought gifts of holy [food],
and gave it him unbeknown to crooked-counselled
Cronus in the days after divine Rhea had deceived
him ! and won great honour of the Immortals.' So
sang Cithaeron, and forthwith the Muses bade the
Gods put their secret ballot-stones in the golden
urns, and all at once they rose, and the more part of
the votes was Cithaeron's. And quickly did Hermes
loud cry proclaim that he had won delightful victory,
and the Gods adorned his head with wreaths,? and
his heart was glad. But Helicon, he was whelmed
with bitter griefs, and tare out a smooth rock, and

! restoration doubtful, but the ref. would seem to be to the
miraculous feeding of the infant Zeus (at places which vary
according to the version of the story) after his mother had
saved his life by giving Cronus a stone to devour instead of
his child ? or perh. adorned him with wreaths on the
sme [of the rock]; but one would expect evdvres or the
ike

stanza ('Aexpàv — 'Acrpoiev? or 'Acíer ?) : 6461a — (&0ca (but
v « are doubtful letters) id us 5 Sch. es $ P cor-
rected from o8X« (€oAe perf. ? E) * or$ Fe(E:)P .-.]e
5 Vollgraff compares Gr. Díal. Inschr. 5075 és ràv üve üiav
Tüs TéTpas (suppl. Schroed.) ? ]l. 26-32 suppl. Wil.

29

LYRA GRAECA

[évé8e]kev 9 O|po]s* v«Tpós
[86 yo]&v ! ob dró0ev eipi-
/ 5 2 L6 5A
cé [viv é]v? uovpiáóéeo ot Xaós
(30 more mutilated lines containing mpoaíagt, ueAÍov, mpoaó-
povaev, $éy[yos], erui TU, Vou &ca[v], ávbpercsiv, Aubs
M»a-|[uocotras T... .] &képn, Sch. ézrikAn6foeatat, Fe[Aucdv],
Q0 &pa, üpos, kpov|ep . .], ega[T . .])

33. T[dpv 'Accziáv]
Ibid. :
Mooc [aov FtocTeoáv ov?
6O[pov éa Xov obT. €]véro
On[uovas uéXmr oca] uéXu?
(17 mutilated lines containing éc]eó3iov, Gme . . &éAwos,
0]ovaías, QíXa, $0]oyyáv, iav, 'Aawn|[ |, €v vópov, ucA]á8pov, év
Teijováv)

i

àv "Hy([tvav, T1àv vye]vé8XavS
Aevs [varet(p, 6wreip à |ya0Àv?
(25 mutilated lines containing Kopxov[p , TWori[bdev ..
Ta]reip Xw[émav, Oec[viav . . é]elv €xwv, caóés:, rapà 6v)

ov|rok av10|. . . . .]Óev:?
Aàv]a yàp €iás [T éézo-]

50 c ebó9uov [écer. ei]Gec.?
Tüv € Tóc Tpis pev €xL
Aes TaTeip vávTrOv fÜfactXevs.
Tpis O6 TOvTO yyüpe uéÓov
IIoriGácv, Tfjv 06 6oviv

55 Q)Bos Xékrpa kparovUvr

1 Sitz. ? — fpewe: suppl. Wil. ? Crón. ig
(obrTo — TobUTo) 5 Crón. $6 Cron.-E | ? Wil .8 Sch.
ovroT' : ll, 48-50 suppl. Wil. ? Sch. 555

30

CORINNA

the mountain-side gave way, and wailing piteously
he thrust it down among the innumerable peoples.!

( The poem is completed by 30 mutilated lines containing they
approach, limbs (or songs), he rushed towards, the light, of
the Gods to the, they gave them their fill (?) as they came,
to the men, daughters of Zeus and Memory, Scholion will be
invoked, He[licon], thus then, mountain, cold, lovely)

33 'TurE ManniacEs or THE DaucurTERs or AsoPus?
From the Same Papyrus:

[Here] tell I a [goodly] gift of the [violet-crowned]
Muses, [hymning| divinities in song

(17 mutilated lines containing after-piece, like the . . sun,
sacrifices, dear, voice, I, Asopus, into law, palace, into woe)

of whom Aegina, [thy] offspring, Zeus [the Father,
giver] of good things

(25 mutilated lines containing Corcyra, father ... Poseidon
hath Sinopé . . . Thespia, clearly, from the Gods)

never. . . . For she? shall soon be happy waiting
upon Zeus and the Goddesses. Of thy daughters,
three are with Father Zeus the king: of all, three
are wedded to Poseidon lord of the sea, two do
share the bed of Phoebus, and one is wife to Maia's

1 restoration of this sentence not quite certain * title
uncertain ; the first letter of * marriages" only survives, and
that may belong not to the title but to a note ? Asopus'
wife Metopé, daughter of river Ladon (Wil.)

31

32

60

70

75

80

LYRA GRAECA

Tàv Ó iav Mijas dqnilpe

7j Eppás. oUTOs! yup "Epos
K) Kovrpis. 7iÜérav Tus?

év ,S0pos Bárvras kpovóáaóav
kcpas évvt éXéo0.

T/j TOK €ipotv revéOXav
éoryyevváa ovO' eipuO Lov

eda cov6 Tr0Xovoreptes.

Té üT eipo T ÉSg [navros JoUvo
Tpizo00s à T | ézrerovcguav:]?

706€ yépas k|aréo xov (o]v *
és "revreikovva kpaTepOv

e , 2 5 ,
0J7.0V, Tr€00xX08$ ? 7rpooa-
Tas ceuvOv à60UTOV Xayav

axrevóuav ' Ax[pr]oetv.8

7 pácot [uev] yàp AaroiGas
Duc , Eowvob uot Tpvm óÓcoy
eos TA Xpeta pios évémriy*
TÓV [) és yyás BaXav Oi?pieys
TujuÀV Ocirepos io xev,

7s Ilori6áevos, éri-

T apíoev dps yevérop

yfjav Füv àv Tracáuevos'

Xo uev opavov àudéri

Tt.udv 0 [éXXa xov] obvav.
Toe eD T &yvo] ? évér o

T aTpéd av xpet]a uoXóvyov.?
TOU 6é, [GUN , Q6 T " àjffavárvs Dx
&1) Novo. és rapaxav 1 ópévas
ógpow[ev Fexóv ]oevov."

CORINNA

good son Hermes. For them did Love and Cypris
persuade to go secretly to thy house and take thy
daughters nine.! And they in good time shall bear
thee a race of demigod heroes, and be fruitful
mothers of children. Learn thou both the things
thou didst ask of the oracular tripod, and how it
is I learnt them. This honour have I of fifty mighty
kinsmen, the share allotted Acraephen? in the holy
sanctuary as forthteller of the truth.

For the son of Leto gave the right of speaking
oracles from his tripods first unto Euonymus ; and
Hyrieus? it was who cast him out of the land and
held the honour second after him, Hyrieus son of
Poseidon ; and my sire Orion took his land to him-
self and had it next, and now dwells in heaven—
that is his portion of honour. Hence comes it that
I know and tell the truth oracular. And as for
thee, my friend, yield thou to the Immortals and set
thy mind free from tumult, wife's father to the Gods.

! the scholiast on Pind. O. 6. 144 gives seven, Corcyra,
Aegina, Salamis, Cleoneé, Thebé, Harpinna, Nemea ; C. seems
to have included Sinopé, Thespia, and (Paus. 9. 20 2). Tanagra :
Diod. Sic. 4. 72 gives twelve, including besides the first six of
the Sch. Peirené, Tanagra, Thespia, Asopis, Sinopé, Oenia,
Chaleis; Apollod. 3. 12. 6 gives their number as twenty
* the speaker; //£. I, Acraephen, having been allotted the
truth as a prophet sharing in (or, wifh emendation, as a

prophet, in succession, of) the holy sanctuary ? epony-
mous hero of Tanagra

1 E, — roorovs : P ore ? Sch. Teo?»s 3 E, Tei — T]
(* receive both that which thou didst ask of the mantie tripod
and whence, ;.e. how, I had learnt it) : P r'&réipor es (with

Sch. qpeex) and wir! : uavr. Wil. 4 Wil. 5 bidBoxos?
$ je. &yeóóeiay: P must have had axpaietv ? Sch.
QVaKT10QGAeVos 8 Wil 9 Jur. 19 Wil: Sch. eiue

11 E cf. Pind. O. 7. 5b. ?? Wil. from Sch. o 755 'y'aun8eurns
[rar]up » Tov *yn[uav]ros
33

VOL. III. D

LYRA GRAECA

e » , 1 ,
cs é$a [nuavris]! vrepayets:
N wv , ,
TOv 0 " A[cros àc ]racíos
e£tas dava ]evos
Oákpüv T [okrá4X]Xov ? v poBaXcv
90 o6. agtvr[aro $]óvy:

(52 mutilated lines containing meos 9[é, FdBo[um, mavopu[,
€bv[ , 8m w, Aabs, Tócov &$a, II&pveiws, Fábour Te, Fabelav, keivo
TeoUs, TüUX[a] Te, €c(apep[é]us (— é£epéoss Crón.), eTépyo,
Ki0gp[év, HMAeta[B8 , peibé, 0ovuó[v, k?; Ki6(mpev, IlIAdTm[av, 5'
üyer' o[ , kAapos, Tldpve[1s, 0avovr[ , Iiapve[rt, and not concluding
the poem)

94

Theod. v. KAíceev r&v eis ev Bapvróvev Excerp. Hdn. Hilgard
Tb AáBev imb 'Avriuáxov Oià ToU w kAlveraui . . . 5 névTOi
Kópiva 8:ià ToU vT T3jy kAÍgiw émo:sjcaTo TQ AÓ'yo TÀV ueTOXUcGY
otov

,
Adá80vros 6ovaxoTpodo ?

99
Choer. l1. 75 7b uévro: Néfov 1q Aó4q vày ueroxikGv Dià ToU
vT kAÍve: Kópivva, otov
,
Né60ovTos

oí 8€ vepl Aíbvuov kal'Amíeva Dià ToU cw kAlvovgi àvaAOyws, olov
NéOavos.

96

Ath. 4. 174 f. [z. *yvyypaivev avA&v]: TovTois 5€ kal oí Kápes
Xp&vrai év rois Ópfjvois, ei u3j Éápa kal 7 Kapía doiwíi éxaAeiro,
&s mapà Kopívym kai BakxvA(On €aviw ebpeiy.

1 ]]. 86-90 suppl. Wil. ? cf, Hdn. Gram. Gr. 1. 158. 17
? mss -$ov

!]l 91-142 Asopus' answer ? afterwards Ismenus,
Paus. 9. 10. 6 3 cf, Eust, Od. 1654. 24, 824. 22, Sch. 0d.

34

CORINNA

So spake the right holy seer, and Asopus grasped
him heartily by the hand, and dropping a tear from
his eyes thus made him answer . . .

(52 mutilated lines containing! and of thee, I rejoice, I
cease, dowry, I will give, to the peoples, so he spake, Parnes,
and I rejoice, sweet, that of thee, and fortune, tell forth, I
am content, Cithaeron, Pleiad, nor, heart, and Cithaeron,
Plataea, come ye, lot, Parnes, dead, Parnes, and not concluding
the poem)

94

Theodosius Declension of Barytones in -ev : The word Ad8ev
*the river Ladon'? is declined by Antimachus with genitive
AdBwvos . . . but Corinna uses the participle-like form Ad3ovros,
for instance

of Ladon, nurse of reeds?

954
Choeroboseus [Te A4eccentuation of Barytones inm -wv]: The.

word Né8cv, * Nedon,' is declined like a participle by Corinna,
with the genitive Né8ovros

of Nedon
though Didymus and Apion decline it regularly, Né8wvos.

36

Athenaeus Doctors at Dinner [on the flute called gíngrainus]:
These are used by the Carians in their dirges, unless by
Caria is meant Phoenicia,* a confusion found in Corinna and
Bacchylides.

10. 572, Cram. .4.0. 1. 62 * cf. Str. 8. 360 5 so the
context requires, but the Gk. would more naturally mean
* by P. is meant C."

35
D 2

LYRA GRAECA

91
Choer. in Theod. 1. 80 Gaisf.
Opavv£
Opávvkos, éri ToU 0póvov apà Kopívvm.
38
Hesych.
TOvÜ cv

rapà Kopívvy, éml verialov ! kpées T0 ovoya.

39

Heracl. Mil. 26 Cohn oj7w 8€ ka) opi(w $pásgsce Tb Aéyw.
ékeiBey Kópivva 1j ueXom015s

b párTO ipi te qm
é$ év 8vol 7 Boiccukós.
Ld
EIIITPAMMATON
AT
NOMQON ATPIKON
40

Anon. Gram. Egenolff PAilol. 59. 949 7à 8t Oéceia 6" pos
Bià Ts ei DupÜd-yyov "ypábei rij T&v (npoymapotvróvev kavóvi. ó
5t 'Hpebiavós év cfj Onmnpikfj HipoggD(a 0ià ToU « *ypáei émeibiy
*àp eÜpnrai 4j mi GvAXaBi] avveoTaXuévn ós mapà Kopivvgp?

Gécia kaXMvyéveOXe, duXóEeve, uoaodiXevre

1 Mus: ms voriBlov — ? mss Kopív6e and, below, uovaoQíAsre

1 of. réy0ns * gourmand '? ? cf. Choer. 1. 75, a corrup-

36

CORINNA
3T

Choeroboseus on Theodosius Canons: 6pàvwt, genitive
Opávvkos
throne or seat

is used for 6póvos by Corinna.
38

Hesychius Glossary: Tróv6wv: —In Corinna, used of

chine-meat !

39?

Heracleides of Miletus: In the same way ópdáecw for $pá(cw
*to say? ; whence the lyrie poet Corinna uses $párTo

I say
with the Boeotian double 7.

Book III?
INSCRIPTIONS

Book IV
LYRIC NOMES
404

Anonymous Grammarian: The name Thespeia is written
thus with the diphthong by Orus according to the rule of
the proparoxytones, but Herodian in the Z/omeric Prosody
(2. 34) writes it with the « because the second syllable is found
short, as for instance in Corinna:

Thespia, mother of fair offspring, friend of the
stranger, dear to the Muse

tion of the sequel to this passage 3 the order of Books is
conjectural * cf. Steph. Byz. s. Oée eia, Eust. 266. 6

37

LYRA GRAECA

E/
41

Heph. 2 [m. evvekówevfaews] .. . 7 5vo DBpaxetav els píav
Bpaxetav . . . éaTi uévToi kal éy Émei s mapà Kopívvm év vd
méunTQ'!

7) €javek Os eO ;? ov uàv mrápos 700a, Kópwva,
«obmvaXéa. 7?

! cf. Sch. ad loc. (vwvts 8é $a év Gevrépa) ? mss eb8eis
3 Herm.

! may have contained poems of a personal type, but such
a sentence is not impossible in the àpx/ or edpayís of a
nome or of a choral song: some ancient authorities quoted
this as from Dook II ? collected by Crónert Zh. Mus.
1908. 188

38

CORINNA

Book V!
41
Hephaestion Handbook of Metre [on synizesis]: . . . or two
short syllables coalesce into one short; . . . it occurs even

in an hexameter, as for instance the 5th Book of Corinna :

Will you be sleeping for ever? There was a time,
Corinna, when you were not [a sluggard].

Boeotian forms? which probably come from Corinna are
quoted by Apollonius Pron. 69 c rov, rosv, Tovya 'thou,' 106a
F) *to him, llle vó * we two," 135a viós thy," 6&iés * God,
by Choerobosceus 143. 7 Aiveíao, * Aeneas," 145. 37 75j 'EAév,
* Helen,' 77 IIgveAóv7, ' Penelope, 168. 29 Aaxe; ' Laches,'
214. 929 'AxiAALos, "Ax1iAAlS, "AxiAAa, *Achilles 383. 32
'Epueíao, *Hermes, 390. 20 'O8vece)s, «Odysseus, 367. 20
"Ounpv, 'Homer,' 390. 32 Aa0os — Z$0os, ' Zethus, 8vyós—
(vyós * yoke" and E. M. 383. 15 écuós — 5 'yevvàca * she that
conceives?

39

AAMIIPOKAEOTX
Béos

Sch. Plat. 4ic. li8e IlIv0oxXetógs pgovotkos
7w, Ts ceuvfjs uovcuk?js 0.04o kaXos, kai IlvOa-
yopeios, ob uaO59177s ' Aya€okX)s, ob NaumpokMis,
ob Adápov.

Plut. Mus. 16 [m. TÍ)s Mi£foXxvótov áppovías]
év 0é Tols leTopuois TÍ)S Appovucis IIv8ocXetóny
nci ( Apa róEevos) TÜüV G)MQrQV ebperiv avTÍs
geryovévat. Abos 0€ Aa pora TÓV "A8rvaiov
avvi&ovra à 0TL ovK évratOa € eX et TÜv Siátev£w 6 ÜTOU
a xe60v QT AavTEsg QOVTO, AXN éTi TO oEv, ToLOUTOV
QUTI)s dmepyáca Oa TÓ cXfjua oiov TÓ dm
Tapaguéa)s €mi vmárqv vmaTÓv.

AAMIIPOKAEOT2
1

Sch. Ar. Nub. 967 [eira BabíCeiw €v TüigiV óOois eUTákTGS
es kiBapi ToU | TOUS. KG) Tas yvuvoUs &Opóovs, kei kpuavdion
kàáravíoov | eir! a? 7 poua8ety &cu é0(0nckev T mp gu
£vvéxovras, | ?] IlaAAdóa mepa éroAir 8eiwày ) TzAémopór Tl
Bóaua, | évreiwapévovs Ti» G&puovíav Àv oi TaTépes mapéerav: |
ei 8é Tis avrà Beuokoxebaur? 2 kdyeuév TiVà küj TT, | olas
oí vUv ràs karà epÜriw ravTas Tàs ÜvakoXokdumTovs, | €rerpíBero

1 cf. Ox. Pap. 1611. 160 ff., Sch. Aristid. 3. 5. 37, Suid.
TqAémopov, Tz. Hist. 1. 683 (reads 8auómeAov and ascribes to

40

LAMPROCLES

Lirk

Scholiast on Plato: Pythocleides was a musician,
a teacher of the noble or solemn type of music, a
Pythagorean, who taught Agathocles the teacher of
Lamprocles, who in turn was the teacher of Damon.

Plutarch Music [on the Mixolydian mode]: In the
History of. Harmonics Aristoxenus declares it to have
been invented by Pythocleides the flute-player. Lysis
states that Lamprocles of Athens, realising that this
mode has the * disjunction ' (or interval of a full tone
between A and B in the two tetrachords composing
the octachord EFGABCDE) not where it had been
almost universally thought to have it but at its treble
end, arranged the mode to proceed from B to B.

LAMPROCLES
l1!

Scholiast on Aristophanes [* And then the boys of the ward
would walk decorously through the streets to the lyre-
player's, all in a body, and without cloaks though it snowed
thick as barley-meal ; and he taught them to stand up properly
and sing by heart a song such as ** Pallasthe stormer dread "
or ** A far-sounding ery," sticking carefully to the good old
** mode" ; and if one of them played the buffoon or put in
glides and trills like the boys of to-day with the intricate
flourishes they get from Phrynis, why, he received a sound

Stes.), Dio Chr. 13. 259 (Bedv, 8. 0eóv, or "A6qvàv mss), Sch.
Tz. Chil. Pressel 101, Cram. 4.0. 3. 353. 13

AT

LYRA GRAECA

! x H * , * , TI $7
TvTTÓLu€VOS TOÀÀüs Gs Tàs Mo)vcas à$aví(wv| &àpxi àcuaros:
Ppvríxov -CTiwés2, &s «0:7 "Eparoo0évgs d$moiv epóvixos!
aUToU TOUTOV TOU dcLaToS uymuoveve: ós AaumpokAéovs üvTOS TOU
Mí8wvos vioU: €xei 6€ obrws:

,
IIaXXá6a vrepo érroXutv
N * ,
Geuv7)v Oeóv évypekviOotpov
/ , e N
TOTLKN0CO TrOXeuaóókov áyvàv
^ N
Tai6a AL0s ueyáXov
aur nmoexov àic Tov 7rapÜévov.?

/
kal 'karà AaumpokAéa bmorí0no: karà Aébw.

2
Ath. ll. 491 c [z. óvóuaros ToU TGv IlAeidBwv]: AaupokAs
9' ó Bi6vpauflomoibs kal pyrÀs avTàs elmev óuwvvyeiv rais TepigTe-
pais €v robTOIs*
e. GL T€ Tr0TÁVALS
€ /, , T2] , ^ 0 3
0J.OvVULOL TreXeLaa tv a4UCepu vetat e

Tep| XAPIEENHX

Et. Mag. 361. 21 émi Xapi£évgs aj)Xqrpis j
Xapi£év ápyaía kal vroujrpua kpovprov. | oi 0€
peXorrotov: eom ojos Xetptfjoiv:

1 E, cf. Sch. Aristid. (rbv 8€ mour2r avT0oU0 'PoU$os xal
Aiovócios icTopoUciw év Tfj Moveciukij Ppóvixóv Tiva, üAXot Dé
[4e. Chamaeleon, Oz. Pap.] $ae: AeumpokAéa 1) Zrmoíxopov
KTÀ.): mss pvvíxov &s 'Ep. $moiv dp)vixos, $mnolv és 'Ep.
$p)rixos bé, oUrws 'Eparoa0évns: épórixos — ? so Sch. Aristid.
(who confirms 8ewfv for Ar. but says he substituted it for
kAjoc, 4.6. kA1lCe, and omits 0eby éyp. | morikA. with some mss
of Sch. Ar. which read xAj(w [for Sewfv] and mepoémro»w) :

42

CHARIXENA

thrashing for obscuring the Muses ']: This is the beginning
of a song; according to some authorities the author is
Phryniehus, but according to Eratosthenes Phrynichus
mentions this very song as being by Lamprocles son of
Midon.* It runs as follows :

Pallas the stormer, dread Goddess that rouseth the
mellay I call, pure upholder of War, child of great
Zeus, tamer of colts,? maiden unknown of man.?

And Phrynichus expressly adds *as Lamprocles hath it."

94

Athenaeus Doctors at Dinner [on the name of the constella-
tion Pleiades]: The dithyrambist Lamprocles expressly states
that they bear the same name as doves, in the words :

e. ye who go in the sky namesakes of winged
turtle-doves

On CHARIXENA 5

Etymologicum Magnum : In Charixena's time :—
Charixena was an out-of-date fluteplayer and musical
composer, and according to some authorities a lyric
poet; compare Theopompus in the Sirens :

! it was also ascribed to Stesichorus * Phrynichus the
comic poet apparently adapted the lines thus: IlIaAAa9a
mepgémoAiww | kA (ew moAeua3ókov &yvàv | ratón Aibs | uevyáXov

6audcimmor, cf. Ox. Pap. ? meaning doubtful & of
Eust. 1713. 5 (omits re) 5 ef. Paroem. App. 29. 82, Eust.
326.44
mss Sch. Ar. 9auácwrmov only or omit ? Mein.: ms
keig 0e

43

LYRA GRAECA
a)Xet yàp carp
avT1) ye kpovuaO' ota! ràri XapiEéigs.
Kparivos O8vacecuv:
ovk i0.& TáO ovkér Ovra Ü oia Tàmi Xapi-
Eéyys?

1 Mein : mss «povudria 7à évl X. ? E, trochaic tetra-
meter: mss ioc (with a above) rd9' obkeróv0ot kTA.

44

CHARIXENA

She plays rotten music like what they played in
Charixena's time ;!

and Cratinus in the Odysseuses :

These are not peculiar dead-and-gone things like
what they played in Charixena's time.

See also Ar. Eccl. 938 ff. and Sch., Hesych. ézi
Xapiéévgs, Suid. Xapiéévg (adds éraipao).

! the Greek is *the things of C.'s time"; the saying was
apparently proverbial of anything (any performance?) that

was reckoned old-fashioned in style; for its form cf. rà
érl Navváxov (king before Deucalion)

45

AIONTEXIOT, AAMIIPOT, IIPATINOT
Bío:

^ ^ /
Plut. Mus. 31 TÓv yàp karà T:3jv avToD 7)XucLav
N , ^ /, Lal , N »
$9nci Texeocia vrQ OnBaío cvurjva: véo uev ovrt
rpaófvai. év T) kaXMoTg puovciukg] kai paOeiv
M "^ 5 Á/ N N N N /,
dXXa re TOv evOokuuoUvTOV Kai 01) «ai rà LovOd pov
^ / N /
T& T€ ÁuLovvoiov ToU Onfjatov kai rà Aayrmpov
«ai rà lIpacivov kai vàv Xovróv óco0L TOV Xvpucav
» , ,
&vOpes éyévovro vroural kpovparov àyaO0ot.

Plat. Menex. 236 a |
MEN. ísaiToQ ; 1) 6fjjXov ór(' Ao vraaíav Xéyets ;
—XO. Aéyo wyáp, kai Kóvvov yye Tóv Mqrpoj8tov:
oUTOL ty&áp p.oL Ovo eiciv OLOAG kaXotL, 0 6v uova uit),
7 06 puropukíje. obTo uév o)v rpeQópevov ávópa
265 N ^ 5 / , N ^
ov0cev ÜavuacTóv Oeiwóv eivat Xéyew: àXXà kai
0gTis €uoÜ0 káxkiov émautGeUO, uovaukzv pev vm
Adm pov rratGevOeis, pyropuciv 66 vm Avrivros
^ el P , 5
ToÜ 'Pagvovciov, ópc« kxüv obros oiós T eim
, , , , , , ^ , m
AOvaíovs *ye év ' AÓnvaíois érauvóv ebOokipetv.
Ath. 2. 44 d bÓpomóTgs 9 Qv kal Aáyumpos o
, ^
povcLkos, 7repi o9 Cpivuyos xot Xápovs Opnvetv,
5 ? /, , ,
&v ota. Aáyrpos évasréÜvnokev
üvÜpemos —ov- j0aTom0Ts, pivvpós vrepao-
Quos,
Moveóv ockeXerós, àgóóvov smíaXos, Üpvos

" ALG0v.
46

DIONYSIUS, LAMPRUS, PRATINAS

LivEs

Plutarch Music: Among those of his own age
Aristoxenus declares that it fell to the lot of Telesias
of Thebes to be educated in his youth in the best
music, and to learn the works of famous artists,
particularly of Pindar, Dionysius of Thebes, Lamprus,
Pratinas, and the rest, in fact all of the lyric poets
who were good composers of music.

Plato Menerxenus [SocRArEs and | MENExENvs]:
MEN, Whom do you mean? surely Aspasia, don't
you ?— Soc. Yes, I do, and Connus son of Metrobius.
These are my two teachers, Aspasia of rhetoric and
Connus of music. No wonder that a man can speak
with such an education. Yet even a man who was
not so well educated, but who owed his music to
Lamprus and his rhetoric to Antiphon of Rhamnus,
would be able to win himself fame by eulogising
Athenians at Athens.

Athenaeus Doctors at Dinner: Another water-
drinker was Lamprus the musician, of whom Phryni-
chus says that * the sea-mews among whom Lamprus
died sing his dirge;? the water-drinker, the whining
highbrow, the Muses mummy, the nightingales'
ague,? the hymn in honour of Death.'

! cf. Corn. Nep. Epam. 2, Harp. 'Avrvyeví8as 3 i.e. he
was drowned at sea * or perh. nightmare

47

LYRA GRAECA

Ibid. 1. 20 XojokMs óc 70s TÀÓ KüaX0s
yeyevfjaOat T pav ?)v kai ópxno Tuc O€61-
Omypuévos kai uovauknv rt rais àv mapà Aáympeo.

Suid. IIoazívas — llvppevióov 7j '"Emykwepgiov,
QX&cL0s, 7rOU)T])S Tpa'/yoOLas. avTWwycovitero 8€
AicXUXo Te kai Xotp(Xo émi Tíjs éB60jnkooTíjs
"OxvjwmLá80s, kai zrperos éypade Xar/povs. ém.i-
Oeuevvuévov O6 rovrov cvvéf và ixpua éd àv
€éoT5kecav oi Ücarai meoeiv. kal ék ToUTOV
Ocarpov qobouij0m "AOmgvaíots. | kai Opápara
Lev éme8ei£aTo v, Gv Xarvpikà A9. évixgoe O6
&Tna£t.

Ath. 1. 22a pm. ópxaja eos] aci 06 kai Oct ot
apxato oup aí, Géoa7rs, AIparívas, Dpvvixos,
0px9o Tai éxaXobvTo $i TO pi) uóvov Tà ÉaVvTOV
Ópáuara àvadépetv eis Opxrow TOÜ XOopoÜ, àXXà
KaL €£o TOV iOLev "rovudrov OiQ4cKkeiv TOUS
BovXopuevóvs. opxetoOa.

Arg. Aesch. Sept. &O10dx0m émi Oeayevíóov
OX idót 0g. évika Aaig, OióGroó,, 'EcTà
éri Oas, Xdvyyi caTvpui). OeUTepos Apua Tías
ILepa et, TavráXo, — Avraio, 7? IIaXawc ats cacv-
pukois rois Ilparivov vraTpos.

! mss add Kparivos ? (xarrod, cf. Hdn. m. gov. AéE.
p. 916 Lentz

48

LIVES OF DIONYSIUS, LAMPRUS, PRATINAS

The Same : Sophocles had not only been a hand-
some youth but had been taught dancing and music

in his childhood by Lamprus.

Suidas Lexicon: Pratinas:—Son of Pyrrhonides,
or according to some authorities, of Encomius, of
Phlius, a tragic poet. He competed against Aeschy-
lus and Choerilus in the 70th Olympiad (s.c. 500-
497) and was the first writer of Satyric drama. lt
was during the performance of one of his plays that
the wooden platforms on which the audience stood
gave way, and thereafter the Athenians built them-
selves a theatre. He exhibited fifty dramas in all,
thirty-two of which were Satyric. He was victorious
once,

Athenaeus Doctors at. Dinner [on dancing]: It is
said that the old poets Thespis, Pratinas, Phrynichus
were called dancers because they not only made
their plays a matter of choric dancing but actually
taught dancing generally, apart from their own
dramas.

Introduction to Aeschylus Seven against Tebes:
The play was produced in the archonship of Theagen-
ides in the 78th Olympiad (s.c. 468). Aeschylus won .
with the Laus, the Oedipus, the Seven Against T'hebes,
and the satyr-play Spi. The second prize fell to
Aristias with the Perseus, the 7'antalus, the 4ntaeus,
and a satyr-play of his father Pratinas, the JVrestlers.

See also Paus. 2. 13. 6, Inscr. Dittenberger Sy/l.
Ed. 2. 123.

49
VOL. III. E

LYRA GRAECA

IIPATINOT
MeXov

1

Ath. 14. 617 b [m. avAGv] IHparívas 8€ ó $Aidici0s abAqrGv
kal xopev rav uio0o$ópev kaTrexóvrov Tàs OpxioTpas üyavakreiv
Tivàs éml T Tobs a)Aqràs ui) cvvavAeiv Tois xopois kaÜdmep jv
márpiov, &àAAà TojUs Xopovs cvvdew Tots avDAmTais: bv obv clxev
KaTÀ TÀV TGUTA& TOi00VTGYV Üvubv ó Iiparívas éguoaví(er 6i& ToUOe
TOU óTopxtjuaTos:!

Tís o 0 0ópvBos 00€; Ti TáO€ TÀ xopebpaa ; ;

Tis U9pis €uoXev éri Avovvotáóa roXvmárarya

OÓvyuéxav ;

, X D N € , » ^ "^ »

€uos éuós 0 Bpojguos: €ue Oei keXaóOetv, &ue

et mrararyeiv

àv ópea c Ünevov uerà Naiáócv
9 üTe I UKVOV dyovra E TrOLKLNÓTT TEDOV péXos.

Tày doiGày Ka TÉG TAG EV S ILvepis

BaciXeiav:? 060 aUos ÜcTepov xyopevéra

kai yap écO Vrnpéras:

kcjots uovov * ÓvpaguáXor-

/ , P
10 ci ve 7rv'yuaxtaus ? véov ÜéXot srapotvev
éupevatc a TpaTmáras.
^ / hy
vraie TOV jpuvéov zroiiXov Trvoiàv
N
x£&ovva,! DXéye róv óXeotciaXokáXagov ?
AaXofapvorra rapajueXopvOuofdrav?

6

! for metre cf. Garrod C. X. 1920 p. 132; the resolved feet
are anapaests ? &re Gar: mss old ve Siebourg à$évra
* BD—E, cf. Cratin. 1: mss kareoras émiepeis BaciAei * Wil:
mss kdgwv uóvov (-«v) 5 Gar.—E: mss 6vpaudxois T€ Tv'yua-
xíauat $ 8éXAo. Dob.—Wil: mss 6caei, 0éa rapolvev D:
mss-vov 7? ópvvéov Emp.-Wil: mss $pvvaíov mvo:iv Gar :

50

PRATINAS

PRATINAS
LvnRic PoEeMws

1

Athenaeus JDocíors at Dinner [on flutes]: According to
Pratinas! of Phlius, at a time when hired flute-players and
chorus-dancers occupied the orcAesíras, some anger was
aroused! because the flute-playing was not an accompani-
ment to the singing of the choruses as of old, but the singing
of the choruses an accompaniment to the flute-playing.
Pratinas' feeling in the matter is shown by the following
Hyporcheme or Dance-Song :

What clamour is this, what measures are here?
What outrage is befallen on the patter-circled altar
Dionysiac? To me belongs Bromius, to me. [It is
I that should sing, it is I that should ring, as I speed
me o'er the hills with the Naiads like a swan that
makes his motley-feathered tune. Song'sthe queen
Muse hath made; the flute, he must dance second
as becometh a servant; let him captain the revels if
he will, the fist-to-fist door-battery of the tipsy and
the young. Beat O beat him that breathes the
breath of a speckled toad!? To the flames with this
reedy spender of spittle, bawler of bibble-babble,
counter-runner unto time and unto tune, this hire-

! reading uncertain ; perh. *the anger of P. was aroused '
(aryavák«rgoev or, with Wil, &yavakrícas éml krA. with
asyndeton) * probably a punning reference to the tragic
poet Phrynichus (— little toad)

mss Tvodv xéovra Jac: msséxovra | 9 B: mss óAociaAoK.,
0A0g1aK. ? B: mss AaXoBapvorapag.

5I

LYRA GRAECA

15 Ofjra! rpvráve Géuas mem Xaopévov.
ORE PP ber ^ 23 N N
3v tov" e coL Ge£ids * kai mro00s
&appióá, Ópau BotiO s pape
KLO G ÓXGLT' &vaf: xove rà» éuàv Aopiov
xopetarv.

2

Ath. 14. 632 f Biersipnoav 5e uáXioTa TÀOv 'EAAfwwv» Aake-
Beipóyiot Ty n ovcuktv, TAelaTy avri xpdpevot, kal gvxvol Tap
abTois é'yévovro ueXàv mowmraí. Tm2poUgiv 8€ kal vüv Tàs üpxaías
qbàs émiueA Qs moXvuaÜeis re eis rabSTas eigl kal üxpiBeis. —ó0ev
«al IIparívas $moí-

A Z » , , 3
QEcaovoTeiTTLC €UTUKOS €usS Xopov

3

Ibid. 11 461 e [v. morqpíev] àAAà uXv karà Tbv Xidciov
moi]Tir IIparívav
0v yàv avAakic uévav
5 ^ , 3-9 4 /,
&pGv, G!XX ackadoov^ uarevov
KvAumyopt;aov epxojucu.

&4& Avapawat 3) Kapvdrtóes

Ibid. 9. 3929 f [m. ópr/yev] Hparívas 9' év Avapaiveis? 1)
Kapvárigiv

aov ovov

iBíes kaAet vcbv Üprvya, mXjv €i pi Ti. mwapà Tois PAiaoiois 7)
TO(s Adkcegi $wvíjevres ós kal oi épüuces.

1 Q5jra Hart: mss 0wza or omit ? Bamberger: mssÓOetid
3 Dobr: mss Aákev ó T. KTA. ^ &püv Scal: mss ópàv
&AX' &ckapov B: mss àAAA ckáQor, ckÜ$ov 5 Mein : mss
Aug. 6 m, 7. G$)uacío:s Quvíjevrés «eicwZ» &s kal oí épüikes
mapà rois Adkmgi?

52

PRATINAS

ling creation of a carpenter's bit! Look ye here;
here's thy true wagging of hand, wagging of foot,
thou king of Thriamb and Dithyramb, thou Lord of
the ivied tresses;! so give thou' ear to me and my
Dorian roundelay.?

2

Athenaeus Doc'ors at Dinner : Now of all the Greeks none
preserved the art of music more jealously than the Spartans ;
they practised it very generally, and lyrie poets were
numerous among them. Even to this day they keep the
ancient songs with the greatest care and are real connoisseurs
of them. And thus it is that we find Pratinas saying:

the cricket of Sparta so apt at the dance?

3

The Same [on cups]: All the same, according to Pratinas
the poet of Phlius:

not ploughing ready-furrowed earth, but seeking
ground that hath not felt spade

do I come to talk over cups.

4 Turks DvsMAENAE or CaRvariDs

The Same [on quails]: Pratinas in his Dysmaenae or
Caryatids is peculiar in calling the quail

sweet-voiced

unless indeed among the Phliasians or Spartans the quail
like the partridge has a voice.*

! Dionysus * the flute was accounted Phrygian
? the cricket was proverbially the champion singer of Greece
* prob. ref. to Aleman 25 (Ath. 9. 390a); we should perh.
read *among the P. the quail, like the partridge among the
* S., has a voice '

53

LYRA GRAECA

5

Ibid. 14. 624 f. [v. 75s AioA(Bos &puovías]: ai Iparívas 5é
TOU $c
, /, ,
pajre a vvrovov OLoe
up)re rà» àveuuévav
5 M ^ , N ^N , ^
IacTi uo0cav, àXXa ràv uécav veov
&povpav aióMite TQ péXet.

€y 8€ rois és capeoTepóv $nour:

, ^ , v ,
T-péret TOL rácww ào.G6oXá D paratus
AioMis àppuorvia.

6

Plut. Mus. 7 [v. abAqBuGQv vóuev] &AAo( 8t KpdTw«Tos
eivai $act rov IIoAvké$aAov vópuov, *yevouévov ua8sroU "OAUuTOV:

€

ó 8€ Ilparívas 'OAUumTOv dmolv eivai ToU vewTépov Tbv vóporv
TOUTOV.

1 àoiboA. D: mss àoibà A.

54

PRATINAS
5

The Same [on the Aeolian * mode?]: Compare what Pratinas
SAYS:

Pursue neither the high-pitched Muse nor the low
Ionian, but plough mid-field and play the Aeolian in
your melody.

And in what follows he says it more clearly :

Sure the Aeolian mode befits all that are braggarts
in song.

6

Plutarch On Music [on flute-sung *nomes?]: According to
another account, however, the Many-Headed Nome is the
work (not of Olympus but) of Crates *a pupil of Olympus,
though Pratinas declares it to be the work of Olympus the
Younger.

See also Plut. Ms. 9, 31, 42, Acr. Hor. 4. P. 216.

55

AIAT'OPOT

Bos

Ar. Ran. 320

EA. roÜT €oT Éékéiv, O Oca ToÜ * oí ueuvmpuévot

évrab0dá vov maitovouv, obs ébpate vàv.

áGovct ryotv TOv "Iaexov Ovrep Ov áryopüs.

Schol. ad loc. Aa'yópas pex TouT)s dOeos
Og kai kai Oatuovta eia iyyeiro óc rep Xokpárs.
Kal O LV 'Apía Tapxos Auaryópov. Vüv pvnpoveei
$civ 0X es dóovTos avToU TOUS Oeóvs, XN. év
eipeveta Ketjévov ToU Xoyov, AvTi Tob XMevátovros,
é£opxovpévov. àvakivet o)v TOUS 'AOmvatovs 0
KcopiKos O80cv kai ot "AÜOmvator es OLaxXeva-
Covros TOUS eos kaaxenóia ápevo àverijpv£av
TO ji€V àvatpijaovri àp*yuptov TÓXavTOV TÓ O6
Covra Vupdcutis Góc. EmeÜev 8b kal roUs [IeA-
Aavets,! «ws (o Topet. Kparepos év TÍj Xvvanyen?)
TÓV Voéwpárov. v óc OUTOS ToXeiNórov 7aís,
MjAt0$ 70 "févos, TÓv Xpóvov Ka TÀ Zupjeoviónv Ka
Ilívónpov. oi 66 v0 Óv dyopás mepiomÓciv, cs
'"AsroXXó60pos 0 Tapaévs, kTX.

Ibid. 4v. 1071

7jjóe pévroi O'juépa pua T em ava»yopeverau,
jv àToOKTélvy TL(g Up Ov Auayópav róv Mytov

1 Wil: mss rovs ÉAXovs IleAorvovvgaíovs

! Ar. prob. intended this (8! &yopás) ; after the condemna-
tion of Diagoras for disparaging the Mysteries Aia'yópas may

56

DIAGORAS
Lirk

Aristophanes Frogs: XaNTuias to Droxvsus: Here
we are, sir; the initiates he told us of are at their
games hereabouts. They're singing the lacchus
which they sing through the market-place.!

Scholiast o» the passage: Diagoras was an atheist
lyrie poet who like Socrates introduced new
deities. According to Aristarchus, Aristophanes
does not introduce Diagoras here singing of the
Gods, but uses the word *singing' ironically for
*jeering at, *putting to scorn. So the poet is
inciting the Athenians, who accordingly condemned
Diagoras on the charge of blasphemy, and offered
the reward of a talent to any who should put him to
death, and two talents to any who should take him
alive, calling upon the Pellanians to do one or the
other. Compare Craterus in his Collection of the
Decrees. This Diagoras was a Melian, the son of
Teleclytus, and belongs to the time of Simonides
and Pindar. According to other commentators,
among them Apollodorus of Tarsus, the reading is
à! dyopás * through the marketplace, etc.

The Same Birds: Cuonvs: On this day of all days
there's proclamation made that whoever of you
Athenians shall kill Diagoras the Melian, shall re-

have been substituted as a joke, if it was not a corruption
due to the same cause

S?

LYRA GRAECA

/ / » ^ / ,
Aapu[8avew TáXavTov, jv T€ TÓV TUpávvov Tis
TLVG.
^ / , , , ,
TÀV TeÜvnkórov arokTeivy TáXavrov Xagufdáveuwv.
BovXouecÓ' ov vÜv dmewmeiv vaUTa Xx7Leis
évÜ 4e:
7v àTokTeivy Tis vv OiXokpárm rov XpovÜLov
? / ^ N , , /,
XqNrerau TáNMavrov: 3v 06 tov is áyáym,
TÉéTTQpQ, KTM.

Schol. ad loc. Ataryópav TOV M 9Atov: obros
nerà TÜv Xo Lv MjjXov QKEL Ev "A&rjvaus, Tà O€
LvoT)pia vUTÉALLeV cs TOXXoUS ékTpémeiv TÍs
TeXeris. TobTo obv éxijpv£av «aT abro) ' AOmvalo
kai év xa^ c T5)A9 €ypaxrav, os $9. MéXxavÉtos
ev TQ llepgt Mvoo9piov.

Ar. Nub. 828

ET. Atvos BaciXebet TOv AU é£eNqAXakos.

QE. aiBoi, Tí Xgpeis ; XT. (o0. To00' obros
&xov.

OE. Tís $9oi Ta07a; XT. Xoxpdrgs 0 My5juos.

Schol. ad loc. a. o M59Xos Tap la ropíav
"A8nvatos Jyàp Ó Xokpárms: XX. ém& Auayópas,
Mos &Gv, OtefBáXXero cs Üeouáxwos xai Tov
Zoexpárqv 06 cos dOeov OuafáXXei, Oià ToÜTO
Mijfuiov avTóv eimev. B'. Awyópas 0 Miyjos, 0s
TÓ pev T poTepov "jv coc eBijs, mapakaraPjenv óé
UTÓ ToS ámoa repBels € emi TÓ dcos eivai é£éópa-
pev, é' o ol "A68nvator à áryavak ijo avres T)v M fjXov
€K&kacav. ^y. Aua'yópas yéyové TUS BXáadnuos
eis TO Üetov, Mos. . . . 4àXXot 0é aci. es
oUTOS 0 Atayópas 6.Oác kaXos jv Zepárovs.

58

LIFE OF DIAGORAS

ceive a talent, and whoever shall kill one of the
dead tyrants, a talent ; and we want to do the same
here. Whoever shall kill Philocrates the Struthian
shall receive a talent, and whoever shall bring him
alive, four talents, etc.

Scholiast on the passage: Diagoras of Melos: This
man after the capture of Melos came to live at
Athens, and disparaged the Mysteries, with the
result that many of the citizens were unwilling to
be initiated. ^ Accordingly the Athenians, as we are
told by Melanthius in his tract O» ihe Musteries,
made this proclamation against him and inscribed it
on a bronze tablet.

Aristophanes Clouds: STREPsiADES and Pukipir-
PIDES : S. Vortex is king; he has turned out Zeus.
—P. Bah! what nonsense '—S. You may take it it's
true.—P. Who says so ?—S. Socrates of Melos.

Scholiasts on the passage : Of Melos :—Not literally,
for Socrates was an Athenian. But because Diagoras,
who was a Melian, was attacked for opposing the
Gods, and Socrates is now attacked by the poet for
atheism, Aristophanes calls Socrates a Melian. (2)
Diagoras of Melos, who after a friend had betrayed
his trust, turned atheist, which so enraged the
Athenians that they maltreated Melos, (3) Diagoras
was a blasphemer, of Melos (cf. 3 below). According
to another account Diagoras was a teacher of
Socrates,

59

LYRA GRAECA

Hesych. Mil 17 Aiayópav TOV TyXekXeibov
ebova Beacánevos Anpókpvros ó 'AB8npirzs ovy-
caTo abróv OoüXov Ovra pvpiav Ópaxpàv Kai
uaÜnryv émoigcaro. 0 6e TÍ) Xvpuer) érréÜero.
emeiMijen. óc dOeos, ÓTL OuóTeXvós TUS airia£eis
UT avTOU cs 7 7raiáva Uo eXópevos Óv QUTOS
émoizsev, éfouócaTo y) Kei od évat avróv, pa-
Kpóv 6€ ÜcTepov ézrióe.£áuevos abTÓv einépnaev.
évreüOev 0 Ata'yópas Avr 18eis &ypae TOUS "AT0-
T vpylitovras Aóyovs, ékzrTOG LP €xyovras Tis Trepi
TO Üetov Go£ys.

Suid. Aiuayópas: ToXekXeióov 7) TyXekMrov,
M fuos, $rXón0dos kai dcpárov TOUyTÜS . . . TOLS
Xpovots Ov nerd Ilívóapov Kai BakxvAióv, Mé-
AavwmrT(6ov 66 mpecfTepos: Tuate roivvv om
"OXvurLdOL.!

Diod. Sic. 13. 6 TOUTOYV Oé parropévav Auayó-
pas 0 &XnÜeis aeos, ua B oXf)s TUXOV ém' àcefdeta
«ai do8nÉcis TOV Óf)uov, &bvyev ék TÍjs "Avrucfjs
oí 8 '"AÜnvaio: TO àveXóvrt Aiayópav ápryvpiov
T4XavTOV mer)pv£av.

[Lys.] Andoc. l7 TocovTQ óc otros Aiavyópou
ToU My (ov àceBéa repos yeyénrac: éxetvos pev
yap Mo Trepi 7d àXXóTpLa lepà Ka éopràs
7c éBeit, oUros 06 Épryg "epi rà éy 71) avro TOXet,

1 two dates are criven by Eusebius: Ol. 78. 3 — 466 5.c.
(cf. Bacch. p. 81) and O1. 7t. 3 — 482 r.c.

1 £375 1! cf, Suid. s. Ata'y. ó MfjAuos ? the date indi-
cated is 415 B.c. * £200

60

LIFE OF DIAGORAS

Hesychius of Miletus On Famous Men: Diagoras
son of Telecleides, when a slave, was observed by
Democritus of Abdera to be a promising fellow, and,
bought by him for ten thousand drachmas,! became his
pupil. He devoted himself to lyric poetry. He
was nicknamed the Atheist because, when a fellow-
poet, whom he accused of taking a Paean he had
written, swore that he had not stolen it and then
won distinction by having it performed as his own,
he wrote in his vexation the prose-work known as
T'he Tomer of. Defence to mark his repudiation of his
religious beliefs.

Suidas Lexicon: Diagoras :—Son of Telecleides or
of Teleclytus, of Melos, philosopher and writer of
songs . . .; he comes in point of time after Pindar
and Bacchylides but before Melanippides, and
flourished therefore in the 78th Olympiad (s.c.
468—465).?

Diodorus of Sicily Historical Library : While these
events were taking place,? Diagoras nicknamed the
Atheist fled from Attica under a false accusation of
impiety and in fear of his life, and the Athenian

people put the price of a talent of silver* on his
head.

[Lysias] Against Andocides: The impiety of the
defendant is so far greater than that of Diagoras of
Melos, in that Diagoras' offence was one of words,
and was committed in respect of foreign rites and
festivals, whereas the defendant's is of deeds, and
committed in respect of the rites and festivals of his
native city.

61

LYRA GRAECA

Cic. N.D. 3. 31 at nonnumquam bonos exitus
habent boni. eos quidem arripimus attribuimusque
sine ulla ratione dis immortalibus. at Diagoras, cum
Samothraciam venisset, Atheos ille qui dicitur, atque
ei quidam amicus * Tu, qui deos putas humana negli-
gere, nonne animadvertis ex tot tabulis pictis quam
multi votis vim tempestatis effugerint in portumque
salvi pervenerint?' Ita fit, inquit; *illi enim
nusquam picti sunt qui naufragia fecerunt in marique
perierunt. idemque cum ei naviganti vectores, ad-
versa tempestate timidi et perterriti, dicerent non
iniuria sibi illud accidere qui illum in eandem navem
recepissent, ostendit eis in eodem cursu multas alias
laborantes quaesivitque num etiam in iis navibus
Diagoram vehi crederent. sic enim se res habet, ut
ad prosperam adversamque fortunam, qualis sis aut
quemadmodum vixeris, nihil intersit.

Tat. adv. Graec. 91 Auayópas ' AÜqvatos ?)v, àXXà
ToüTov é£opxnouevov rà map! ' AÓqvatows uvaraij-
pia reruuopi)kare kal Tois ODpvylois avroU Aóyots
évyrvyyávovres 7)4às uejua)kare.

Ael. V.H. 2. 22 e)voypeTarovs -*yevécÜat xai
Mavrwéas ákoUo o)0év TjTTov MNokpüv ov06€
Kpnróv ov0€ Aakeóaiuoviov avrOv o00. AOgvaiov:
ceuvóv áp 7L Xpíjua kai TO XóXwvos éwyévero, ei
kai uer ra0Ta "AÜqgvator karà pukpà TOV vopov

! at the temple of the Cabeiri, protectors of mariners

* ef. Diog. L. 6. 59
62

LIFE OF DIAGORAS

Cicero On the Nature of the Gods: But it some-
times will happen that good men make a good end.
Such examples we take up eagerly and attribute
them quite irrationally to the immortal Gods. Yet
when at Samothrace! a friend once asked Diagoras
the Atheist if a man like him, who believed that
the Gods took no thought for the affairs of man, did
not observe what numbers, to judge by the multi-
tude of paintings dedicated, had escaped by their
vows the violence of the weather and come safe to
harbour, he replied, * T'he reason of it is that there
are no paintings to record the poor fellows who
made shipwreck and were drowned.'? In a storm
at sea the same philosopher, in answer to his
frightened fellow-passengers who were saying that
it served them right for allowing him to travel
aboard the same ship, pointed to the numerous
other vessels labouring on the same course, and
asked them whether they thought that Diagoras
was aboard those as well as this, So true is it that
what we are or how we behave ourselves has nothing
to do with the colour of our fortune,

Tatian gait the Greeks: Diagoras was an
Athenian, but when he made mock of the Mysteries
at Athens you punished him, and when his P/rgygian
Discourses came into your hands you forthwith
hated us.

Aelian Historical. Miscellanies : I understand. that
Mantinea was remarkable for the excellence of its
constitution, which was not surpassed by that of
Locri nor of Crete, nor even of Sparta— nor yet, I
may add, of Athens; for the work of Solon was a
noble achievement in spite of the gradual destruc-

63

LYRA GRAECA

Tivàs TOV éÉ avTo0 pabévrov avTois OLéQOeipav.
Nuxoócpos 8€ o TÜKTQS É€v TOÍS eUOokj.cyTa Tos
Mavzivéov yevóuevos, àkkà oNré Tfjs ?)kuk(as kai
uera 71v àÜNncutw vouoÜérgs avTols éyévero, uakpá
TOUTO ÜjueLvOV TrOMLTEevcágevos Tj TQaTp(OL TOV
k)pvyuároev TOV €v Tois a Ta6lots. aci 06 avTÓ
Auayópav TOv MsjAtov cwvÜcivau, TO0US vópovs
épacT;v ryevópevov. eiyov 6é Ti kai vepavrépo
vrép NuikoÓopov eimetvy: es Ó àv p3) 6okotuv kai
Tür €TaivOov TÜÓv TOÜ Aiayópov TpocTapaXaufa-
veww, és TocolüTOv OugvícÓo Tà TOÜ Xoónov. Üeots
yàp éxÜpós Aiayópas, kai oU ov ijÓwov émi
veto Tov ? ueuvijo0at avToU.

Ibid. fr. 33 à £Eevoóávew xai Muayópai kal
"[qmroves xai ' Ezríeovpot, kai 7rás 0 Xorrós kará-
Aoyos TOV kakoOautuovov T€ kai ÜOeots éxÜpàv,
€ppere.

Suid. Arayópas 0 MyAtos: ézi TOv aÜéov kai
àTicTov kai ace[9óv.

AIADTOPOT

MeAóàv
1, 2

Philod. . eic eg. p. 85 Gom. &vOpurrocibeis Y&p ékeivoi oU
voul(ovsiv àAA' &épas kal myebuaTa «al aiÜépas. oT Eyw"ye kày
Te8appnicios €: "roug ro rovs Auaryópov uGAAOV TXJppeAety ó uev
y2p &raulev, eimep &pa kal ToUT. aUToU €g Tiv &àAA' ovk émevijvekrau
kabámep €v Tois Mayriwéov "Eéecuw "Api TóEevós $neow, ev 5e Tj
moie: 7j uóvp Dokóvom kaT' àXfjüeuuv im^ airoU "yeypáq0a: Tois

1 mss ebbokiuwTáToL(s 2 jv émi TAetov

64

DIAGORAS

tion of certain of his laws by his countrymen in after
days. Nicodorus the boxer had already become the
most famous citizen of Mantinea, when with advanc-
ing years he left the ring and became his city's
lawgiver, thus serving his country in far nobler
fashion than by being proclaimed victor in the
arena. His fellow-lawgiver is said to have been
Diagoras of Melos, whose favourite he was. More
might be said here of Nicodorus, but I refrain lest
I should seem to plagiarise the encomium! of
Diagoras, an abandoned wretch of whom I have no
wish to make further mention.

The Same: You Xenophaneses, Diagorases, Hip-
pons, Epicuruses, and the rest of that God-forsaken
catalogue, I bid you all go hang !

Suidas Lexicon: Diagoras of Melos:—4A proverb
used of the atheistic, unbelieving, or impious.

See also Plut. Superst. 13, Plac. Phil. 1. T. 1, Com.
Not. 31, Ath. 13. 611 b, Aristid. 45. p. 101, Apostol.
6. 4, Sext. Emp. 3. 52, 218, Jos. contra Ap. 2. 266,
Ael PH. 2. 91, H.A..6. 40.

DIAGORAS
Lvnic PokeMs

1,2

Philodemus Oz Píeíty: Those philosophers do not believe
in Gods of human shape, but in Airs and Breaths and
Ethers, so that for my part I should not hesitate to say that
their wickedness surpassed that of Diagoras. He, it seems,
was not serious, unless indeed, as Aristoxenus makes out in
The Customs of the Mantineans, this poem, too, is not his—
the only extant poetry which can be certainly ascribed to

1 see below
65
VOL, III. F

LYRA GRAECA

ÜXois obBtv àceBts mapevéQmvev, àAA' ÉaTiv eUjmpuos is mounrij
els 7b BDaiuóviov, kaÜdmep &àAXa Te uaprupei kal 7 *yeypauuévov

eis " Api&vOqv Tàv ' Apyetov :

O*ós, Óeós T po vravrós épyyov (Bporetov
vog opév. vreprárav,

, es AP UN ^ | 5 E :]
avToOa)s« Ó àperà fpaxvv otuov épmev

Kal TO

eis NikóÓopov Tov Mavruiwéa

hj ,
Kazà Oaíuova kai rvXyav
Tà TávTG Dporoicuv ékreXetrau?

TÀ TapamAfjgia b" abTQ Tepiéxei kal T6 Mavrivéev "Eykdipuov.

3
Sch. Vat. Aristid. 2. 80. 15 Keil Herm. 55. 63 Ai«yópas

oUros duAÓócoQos jv. kAm0els Bé more eis éaTíagiv bj' érépov

e , ^ , [4 x
QiAocó$ov, €Uovros ékelvov dakzv kal kard Twa xpeíav &Ecw
ékeívov xcepfjmavros, Tzs QakTjs u3 TeAéws im0Tvat Bvvauévgs Di
Tb u3j bmékkavpa €xeiw vb bmoke(uevov mUp abTÓs Te TepigTpadels
&be kükeige kàl Tb ToU 'HpakAéovs &yaAua Tpoxeípws ebpiv kal
cvvTpiiyas évínou TG mvpl ereiróy ém avTÓ-

«T p0s7 Óc0eka Toiciv dÜXots
Tp.a kat8ékavov TOvO. éréXeoev 'HpakMfjs Gtos.

! this line only in Did. (mss éprme) ? éereAeiaÓai in
Philod: Sext. Emp. reAeira:

1 cf. Didymus Alex. de Trin. 3. l. 784, Eust. 258. 26,
Hesych. 6ebs 6eós * apparently imitated by Ar. 4v. 544
karà baíuova kal (xarà) cvvrvxíav ; cf. Sext. Emp. 9. 402

66

DIAGORAS

him contains nosingle word of impiety, but shows the proper
reverence of a poet for things divine. I need quote only the
poem

To AnraNTHES oF Ancos!

"Tis God, 'tis God who wieldeth his mind supreme
ere every mortal deed is done; and short is the
journey Prowess can go of herself ;

and the ode

To Nricoponvus or MaNTINEA

All mortal achievement is according to God and
Fortune.?

Testimony no less strong will be found in his Zw/ogy of
Mantinea.

33

Scholiast on Aristides : This Diagoras was a philosopher.
Invited one day to dinner by another philosopher he was left
alone with the boiling lentils while his host left the room,
and finding that they could not boil because the fire lacked
fuel, ran about in search of it, till espying near-by the statue
of Heracles he broke it up and put it in the fire with the
following words :

To his twelve labours Heracles the Divine has
added a thirteenth.*

(* he began his poetry thus: ' All mortal, etc.") .? cf.
Sch. Ar. ANab. 828 (p. 58 above), Clem. Al. Protr. 9. 24. 4,
Epiphan. .4^cor. 103 (43. 204 Migne), Athenag. Presb. 4,
Theosoph. Tubing. 70 (Buresch Klaros, p. 119), Gqomot.
Vat. Wien. St. 10. 286, Sch. Ar. Nub. 830, Tz. Cil. 13.
375 * Wil. is prob. right in thinking the story and the
citation apocryphal

67
r 2

LYRA GRAECA

KTAIOT

Inscr. ap. Jahn Griech. Dichter auf Vasenbildern
taf. V:

Kvó(as : xatpe : kápra óikatos Níeapxos.

1

'* " E! , ^
Sch. Ar. JVub. 967 75 8t Tq«Aémopóv Ti Bóaua kal ToUTo

/ , , x er A er ? , , ; 3
LéAovs àpx?. acl 9e ui ebpiokeo2at üTOv ToT. égTiv: Év *yàp
5 H , ^ , e ^ , , ^ ,
&TrocTmücucri €v TT BiBAio0nkm eopeiv "ApigToQavrm. —XTives bé

^ , ^ S
$aci KuBÍov! oU 'Epuuovéos xi8apq80U àró Twos rà» daudTov?

ToXéropov 7v 8óaua. Xpas

2

Plat. Charm. 155 d [m. Xapuí8ov]: . . . Tróre 91, à *yevváóa,
elüóv 7e Tà Évros ToU iuaríov kal éóAeydóumv kol obkér! éy
épavroU 7v kal €évópica cojóTaTov eivai Tbv KvDíav Tà épwrikd,
0s eimey éri kaAoU Aéysv maibós &AXc imoTiÜEucvos,

eüAaj/geÜ 66 p) karévavra, Xéovros ?
veB8póv éX00vra 0avaToo1 0éa*
noipav aipetoÜa, —«Ookéovra- ? kpedv.

^ ,
aUTbs *yáp uoi é8ókovv bmO ToU ToiÓvTOV Üpéuuomos éaAwkévaut.

1 Bernhardy: mss Kvóí0ov ? mss also K. viwbs 'E. only
3 mss evAaBeicÓai: p3j kA. (rightly) Aéovros àAk5? cf. Ath.
5. 187 d ff. * mss àfavaréo]: 0eía or omit 5 suppl. E

! among the speeches anciently ascribed to Lysias was
one Against Nicarchus the Flute-player (Harp. s. 'Avrvyevíbas) ;
Jahn thinks that the scene depicted is some kind of musical
contest; perh. C. is the winner, N. the judge, and the rest

68

CYDIAS

CY DIAS

On a red-figured vase, among other figures of. whom
one plays a double flute, stands listening a rather. bald-
headed, bearded man mreathed mith vineleaves | and
carrying a lyre, on one side of mhom is written Cydias
and hail! and on the other Very just Nicarchus.!

1?

Seholiast on Aristophanes [see on Lamprocles above p. 41]:
The words * A far-sounding cry ' are also the beginning of a
song. lt is said to be of unknown authorship, Aristophanes
of Byzantium having found it on a fragment in the Library.
According to another account the words come from one of
the songs of Cydias of Hermioné, the singer to the lyre,
which begins thus,?

A far-sounding cry of a lyre

2

Plato Charmides [on the meeting of Socrates and
Charmides]: Then indeed, my excellent friend, I saw what
was under his cloak ; I took fire and was all abroad, realising
how true an artist in all that concerns love we have in
Cydias, who has said of a beautiful youth, putting it into
the mouth of another :

Beware lest when fawn meets lion the sight kill
him by the mere belief that he is to be seized for a
portion of flesh.

For I really did believe that I was in the clutches of just
such a creature.

a congratulatory x&àuos or revel ? ef. Suid. 7$Aémopov
? reading doubtful; some mss. have only *according to
another account the author is a certain C. of H.; for
Cydias the mss have Cydides, Cedeides (Kc8e(555s), for whom
see next page

69

LYRA GRAECA
9

Plut. Fac. Orb. Lun. 19 ei 56 uf, Oéev uiv obros Tbv
Míuvepuov émdEte: kal vcbv KuBíav xal rbv 'ApxíAoxov, mpbs 5c
ToUrOis Tbv XZTq2cíXopov kal Tbv IlívDapov, év ais ékAelpesuv
OAoÓvpouévovs ífüsTpov $avepémraTov kXemTÓuevov, kTAÀ.

Tep, KHAEIAOTT

C.1.4. 4. 1. 2. 391a. KXeuaÜévgs éyóprrye Avro-
kpárovs "Epey050v Aiytór K0etóns é0i0aaxe.

Hesych. Km;óetógsi O8vpaufov «Toupr)s-.

Ar. Nub. 985 [AAIKOX AOTOX xoi AIKAIOX
AOTLOZX]
AA. àpxaidá ye kai AvmoXuío09 kai TerTiyav
àvápeoTa
kai Kyóe(0ov? xai Bovoovtov.
AIT. &XN o)v raÜT écTiv ékeitva
e£ àv ádv0pas MapaÜ0cvouáxovs 71) mraiGevaus

&pewev.

Sch. ad loc. K«óetóov:? Oi0vpáu8ev Trov]T5)s
Távv àpyatos guégrvyraí 06 avTo0 KpaTrivos £v
II avo ats.

Phot. Lex. Kmw0e(0ge? O8vpaufBomowr)s dp-
xatos.

l1 mss Ky6eí8qs ? mss Kq«eíbov ? mss Kg8(09s

1 two of the three passages cited belong to Pindar
Paean 9, the other to Mimnermus, Archilochus, or Stesichorus

19

CEDEIDES
S

Plutarch 7e Face in the Moon [on solar eclipses]: Theon
here will adduce in our favour Mimnermus, Cydias, and
Archilochus, and Stesichorus and Pindar, lamenting at
eclipses that 'the brightest star is stolen away,' etc.!

On CEDEIDES

An Attic Inscription of c. 415 B.c. Cleisthenes was
choregus in a play called Te Self-Mixed for the
Erechtheid and 4Aegeid Tribes; the chorus was
trained by Cedeides.

Hesychius G/ossary: Cedeides:—A composer of
dithyrambs.

Aristophanes Clouds: [RiGHT and wnoNaG ARGv-
MENTsS]: W. Ah! old-fashioned notions smacking
of the Dipolia? and choke-full of grasshoppers? and
Cedeides and the Buphonia.—R. All the same these
are the fodder, which y form of education bred
good old Marathons on.

Scholiast on the passage : Cedeides:—a very old-
fashioned writer of dithyrambs mentioned by Cratinus
in the See-a//[s.

Photius Lexicon: Cedeides:—an old-fashioned
dithyramb-writer.

(see vol. ii, p. 19) ? a démodé festival of which the
Buphonia ('ox-slaying?) was a part 3 Athenians had
formerly worn golden grasshoppers in their hair

71

IIPAZIAAHS
Bíos
Eus. 01.82. 2: Kpdáry9s 0 kopukós kai 'TeXéciXXa
«ai IIpá£iXXa kai. KXeofBovMiva évyvopttovro.

Ath. 15. 694 a [zr. a oM): ai ITpdfiXXa Dy
7) Xucvovía &€Üavuátero émi T TÀÓV GckoMoev
T'0L")G €L.

Tat. Or. Gr. 93. IIpá£iXXav uév yàp AvavmTOS
éyaXkovpryna ev u8€v eiroboav 0.à TOV rov]uárov
Xpouov.

IIPAEIAAHZ MEAQON
A!
TMNON

l ets 'AGowvw

Zen. 4. 91 ^HAi8iémepos ToU IIpa£(AAms 'Abdvibos: éml vv
&vofjTwv. Ilp&tiAAa ZXucvmvía ueXomoibs éyévero, $s not THoAéuov:
abr5 1; Ilpd£iAXa Tbv "Abwrviw éy rois "fuvois! eiadrye: époróuevov
ó-0 TG&V káTw T káAAMigcTOV kaTaAUvTOy éXf)jAvÜev, ékeivov €
Aéyovra oVTcws'

! mss also uéAecu

72

PRAXILLA

LirkE

Eusebius Chronicle: Second year of the 82nd
Olympiad (451 s.c.), flourished Crates the comedy-
writer, Telesilla, Praxilla, and Cleobulina.

Athenaeus Doctors at Dinner [on drinking-songs] :
Praxilla of Sicyon, too, was admired for the drinking-
songs she wrote.

Tatian 4gainst the Greeks: Praxila was portrayed
in bronze by Lysippus, although she spoke nonsense
in her poetry.

See also Suid. IIpaé(AAs, A.P. 9. 26 (vol. ii, p. 240),
Mar. Vict. Gr. Lat. 6. 91, 129, Plot. 7b:;d. 538, Metr.
Oxyrh. ap. Consbr. Heph. p. 405, Heph. 36.

THE POEMS OF PRAXILLA
Book I
HYMNS

] To Apowis!

Zenobius Proverbs: Sillier than Praxilla's Adonis :—This
saying is used of fools. Praxilla of Sicyon, according to
Polemon, was a lyric poetess. This Praxilla, in her Hymns,
makes Adonis, when asked by the people in Hades what was
Ee most beautiful thing he had left behind above, reply as
ollows :

! gr to Cytherea?
13

LYRA GRAECA

bi
KáXXLio'TOV pv €yà Xetrro dáos reMoto,
/ /,
OeUTepov &oTpa $aewáà ceXqva(gs re m póa cov
, N & z ^
706 kai epaiovs cikvovs kal usjXa kai Oyxvas.t

€ /

ev70»s "yàp Tis lows ó Td $AÍe kal Tfj ceAfjvp Tovs cikbovs kal

^ ^ ^ :
T&à Aojra cvvapiÜudv.

P'
AIOTPAMBON
2. 'AxiXeis

Heph. 1l [m. ewvvekóevütcees] £aTi uévroi . . . kal mapà
IIpatíAA; év Ai80vpáuBois év qi émvypaoouévg 'AxiXebs-

N N » N »
&XXà T€0v ovzroTe Üvpóv évi a v1)0eoctv éreiDov

Sch. ad loc. évrab0m -yàp 43 Te kal ov cvAAaB» eis uíav
Bpaxetav avviCavovTa.

r
IIAPOINION
5

Ar. Vesp. 1939 7í( 9 órav Géwpos mpós mob» karakeluevos |
dóp KAéwvos AaBóuevos Ts Oetuis, | 'ABufjTov Aóvyov, & "roipe,
pa0Gv Tovs &yaÜovs $íAeu | ToóTe Tí Xébeis a kÓAtov ;

1 Schn: mss Uxvovs

1 of, Ath. 15. 395 c, Diogen. 5. 12, Suid. 7»u6:4 v, Apostol.
8. 53, Liban. Ep. 707 ? cf, Cram. 4.0. 4. 326. 20, Drac.
Straton. 146, Bachm. .47. 2. 180. 17 (ére:0ev), Eust. 12. 25,

74

PRAXILLA

The fairest thing I leave is the sunlight, and
fairest after that the shining stars and the face of
the moon, aye and ripe cucumbers and apples and
pears.

For none but a simpleton would put cucumbers and the
like on a par with the sun and the moon.!

Book II
DITHYRAMBS

22 ACHILLES

Hephaestion Handbook of Metre [on synizesis]: It is found
moreover in Praxilla's Di£hyrambs in the song called AcAilles :

But they never persuaded the heart that is in thy
breast.

Scholiast on the passage: Here the two syllables of Teóv
*thy ' coalesce into a single short syllable.

Book III
DRINKING-SONGS
33

Aristophanes JPasps: What will you do when Theorus
reclining next you sings with his hand in Cleon's ! Learn the
tale of Admetus, my friend, and seek acquaintance of the
brave?^? how will you take that up ?

805. 21, 1372. 9, Sch. Dion. Thr. Gr. Gr. 3. 210 3 cf.
Paus. ap. Eust. 326. 36 (who explains that 'the brave
refers to Alcestis who died for her husband Admetus, and
*the coward' to his father who refused to do so), Phot.
(Reitz.) 32, Suid. 'A8uf ov uéXAos i ie, answer it with
another quotation

75

LYRA GRAECA

Sch. ad loc. kal cobro àpx]| ckoAÍow éi2s bé éoTv. TGv
OeiAQv krÀ. KkoAakikóv Tb ckÜAi0v kal mapà Geópov, ToUTO oí
p.&v ^ AAkaíov oí 8€ ZamoUs: oUk €a Ti 0e, &AN' év Tots IIpaz(AAms
$éperat IHapoivíois.

'AGuárov Xoyov, à "raipe, naÜ!v ToUs dryaovs

dixe!
^ ^ ei ^ , ,
TÀV ÓerXÀv O' áméxov ryvoUs Órt OeXois ? oNiya
xps.

i

Ibid. TAesm. 529 7à»v mapowíav 9' émcuvà | rà)»v maAXaidv:
$mb AÍ8g *yàp | mavr vov xph | uj 9á«n pfjyTwp 8peiv.

Sch. ad loc. ék r&v eis IIpá£iAAav àvajepouéyov Hapoiicy: *

"faro vravri MOc oopnov, à 'ratpe, dvXácceo.

5

Heph. 25 [m. BakrvAuov] | éaT( 8 riva kal. Aoyyaotbukà kaXo-
, er , ^ ^ , , x
p.eva. 8akruAika, &Gmep év utév vais üAXais xópaus OakTÜUAovS Exei
TeAevraíov 8e rpoxaikv av(vylav. &csri 0€ abTGv érirmuórara
TÓ Te mpbs Bvo BakríAo:is €xov Tpoxaüciy cv(v'ylav . . . kal qb
mpbs rpicí, kaAoUuevov Ipat(AAetov:

*Q, Già Tv ÜvpíGev kaXóv éuBXémoia
0é N /, ^ hy » 8 /, 4
TrapÜéve ràv keoáXav và 0 €vepÜe vvuda.
!1 mss ?'ABufjyov: ms Ath. adds aeégov ? so. Ath: mss
Sch. Ar. and Eust. 8e àv 3 mss vapouudy 5 Vase à

61à js 8vpíBos (perh. rightly ; if so, read ras) and omits the
rest: mss also xe$aAdv, but cf. Sch. Theocr. 3. 52

1 See Scolia pp. 556 and 568 ? cf, Scolion p. 570
below, Zen. 6. 20, Diogen. 8. 59, Suid., Hesych. s.v. — ? I add

76

PRAXILLA

Scholiasts on the passage: This too is the beginning of a
drinking-song. What follows is * But from the coward,' etc.
The song is of the flattering type, put into the mouth of
'Theorus. Some authorities ascribe it to Alcaeus, others to
Sappho, both incorrectly ; for it is included in the Drínking-
Songs of Praxilla.

Learn the tale of Admetus, my friend, and seek
acquaintance of the brave; but from the coward
hold thee aloof, since there's little gratitude in such
as he.1

42

The Same Zhesmophoriazusae: l approve the old proverb;
for sure it is well to look under every stone lest an orator
bite you.

Scholiast on the passage: From the Drinking-Songs ascribed
to Praxilla :

Under every stone, my friend, beware of a
scorpion.

53
Hephaestion Zandbook of Metre [on the dactylic]: There
are also dactylics called logaoedic, which have dactyls every-
where but in the last place, where they have a trochaie
dipody. The best known of them is the line which has two
daetyls before this dipody, and the line which has three,
called the Praxillean :*

O you that look so prettily at me through the
window, a maiden in face but a wedded bride
below.

here the unplaceable fragments; cf. Sch. ad loc., Trich.
p. 380 Consbr., Vase-painting Jacobsthal Gótf. Vasen p. 59
* for another metre called Praxillean cf. Heph. 36 (Ionic a
maj.); see also Serv. Gram. Lat. Keil p. 464

77

LYRA GRAECA

6

Ath. 13. 603 a Ilpà&AAa 9' $ Zikvevía imb Aiós $uqouw
&pracÓTjvei. Tbv

XpcvrTrov

Y

Paus. 3.13. 0. IIga£íAAm uev 83; memoiuéva égrív, 6s Ebpdmrms
ef kal Kdpveios, kal avrov àveOpéyaro ' ATÓAAcv kal AnTá.

Sch. Theocr. 5. 83 [z. Kapveíev] — IIp&£iAAa uev àró Kdpvov!
$r1clv evoudcOai ToU Ais kal Ebpámas vioU, bs 7v épópuevos ToU
"ATÓAAXGvos.

8

Hesych. Báxxov Aiévqgs . . . HpátiAAa 66 di Xukvovía
Adpobüíras Taióa Tbv Oebv icTopei.

! mss also Kapveíov

PRAXILLA
6

Athenaeus Doctors at Dinner: According to Praxilla of
Sicyon,

Chrysippus

was carried off by Zeus.

re
Pausanias Description of Greece: According to a poem of

Praxilla, Carneius was a son of Europa, brought up by Apollo
and Leto.

Scholiast on "Theocritus [on the Carneian Festival]:
Praxilla declares that it takes its name from Carnus (or
Carneius) a son of Zeus and Europa who was beloved by
A pollo.

8

Hesychius Lexicon: Praxilla of Sicyon makes Dionysus
the son of Aphrodite.

1 cf. Hesych. Kapve?os, Sch. Callim. A4po/l. 71, Sch. Theocr.
5. 88

Li

BAKXTAIAOT
Bíos

Str. 10. 486. 6 Kécs 86 rerpamoYs uév vmüpte,
AcizovraL 06 Ovo, 1j re "IovAis kai 7, KapÜaía, eis
üs cvvenoMaOnzav ai Xovrai, ? pev Ionjecca
eis TV Kap6aíav 7 66 Kopnoía eis TV "IovA£8a.
ék 06 Tfjg lovA£8os 0 re Xuwovíàns 1, "v 0 peXorroLós
Ka BakxvM8ns eX i6o0s €elvov, ical uerà
Ta)T4 "EpaaíaTpaos Ó larpos Kai TÓV ek roD
vepuymárov diXoa0Óov ' Apiarov . . . vapà ToÜD-
TOUS Oé Ookei reÜfjval vore vópos, o? uéuvnrat kai

Méravópos*

kaXóv T0 Keiev vóptuóv éco i, Oavía:
0 ji) Ovváp.evos dud kaXd&s ov £7) kakós.

7 pocérarTe yáp, &s Coukev, 0 vopos TOUS UTép
éEyjkovra € T1) yeyovóras koveiátea ac ToU OLapketv
TOls ÀXXots T32)V Tpodjv.

Plut. Ex. 14 ai yàp vois zraXatots, cs &oukev,
aí Mo)cat rà káXNuLoTa TÓV GcvvTayuáTOoV kai
OokuuoTaTAa dvyyjv Xafl)ca, covepyov émeré-
Xecav. | Govxvótógs ' AÜnvatos cvvéypawre Tov
TóXeuov TOv lleXozovvgoiíoev xai 'A8qvaiev év
Opdkn epi T)v £XkamTQv "YXgv Eevoóàv év
XxuMMoüvr. Tí 'HAeaes . . . BakxvAiógs 0
700)T)s év lleXosovv5oo. .

Eus. OL 78. 3 Bacchylides et Diagoras atheus
plurimo sermone celebrantur.

8o

BACCHYLIDES

Lirk

Strabo Geography: Ceos had originally four cities,
but now has two, lülis and Carthaea, with which
the others were combined, Poieéssa with Carthaea
and Coresia with lülis. lülis was the birthplace
of the lyric poet Simonides and of his nephew
Bacchylides,! and later of the physician Erasistratus
and the Peripatetic philosopher Ariston. There
appears to have been a law here, mentioned by
Menander in the lines * The Cean custom takes my
fancy still; | The man who can't live well shall
not live ill, whereby in order to make the supplies
go round, all citizens who reached the age of sixty
should drink the hemlock.?

Plutarch Ea?e: The ancients, too, it seems, wrote
the finest and most famous of their works with the
aid of Exile. Thucydides the Athenian composed
his history of the war between the Peloponnese
and Athens near Scapté Hylé in Thrace, Xenophon
wrote at Scyllus in Elis . . ., the poet Bacchylides
in the Peloponnese.

Eusebius Chronicle: Olympiad 78. 3 (s.c. 466):
Flourished Bacchylides and Diagoras the atheist.?

1 Suid. BaxkxvA(ógs adds * on of Medon who was the son of

Bacehylides the athlete ? cf. Steph. Byz. 'IovA(s, Him.
Or. 29 ? the floruit is also given under Ol. 82 (452) and
87 (432)

8r

VOL. III. G

LYRA GRAECA

Et. Mag. Meó)Xos obDreos éXéyero 0 map
BakyvXi6ov kai yiíverat zrapà TÓ jei010, os Trapà
TO $ei6 GOeiOvUXos.

Sch. Pind. OL. 2. 154 b. [coóós 0o voXAà eióos
vd: | uaO0vres óc Xafpot | Tay Xocaía KOpaKes
rS dkpavra. yapverov l. Autos T'pos ÜpviDa Oetov]:
sa . aTOTElveTaL Oé 5 7pos TOv BakxvM8mv: y&yove
yàp a)TQ AvTa'yOVLO T7)S TpÓTrOV Tivà kai eig Tà
avra kaÜfkev. (by ilii, aivirrerat BakxvM8nv
kai Xiueviogv, éavróv Xéyov derOóv, kópakas G6
TOUS AVTULTÉXVOUS.

Id. Nem. 3. 143 [67i 9 aierós ckUÜs év moTa-
vois, | 0s &Aafev aia T5Xóo0e pueraguatópevos |
Oadoivüv dypav Toc ív | k«paryéra, O6 koXotol
TOTELVÀ vépovrat]: oí 6€ àvrirexvoi nov, Quot,
&oXoLols &oíkaat, &pavyátovres uóvov kai raTeiwà
VEJLOJLEVOL, OU óbvavrat 8e ó.aípea Óat eis ,UNros.
ooxe( 6€ Taba Téívewv eis BakxvAMOnv. 7v yàp
avTOis Kal b$opacts * 7'p0s &XMjMovs. "apa-
B áXXei 66 éavróv uév àerQ, koXouQ 66 BakyvMOmv.

Id. Pyth. 2. 91 [éué 8é Xpeav | eye Odkos
aOLvOv eauca^yopuv .. . atvérrerat 06 eis Bakxv-
Aíómv: ác yàp avrov TQ 'lépow: Oiéovpev.

Ibid. 131 [xaXós Tot 7r(Ücev «vapà vratciv aie, |

kaXos? 0 86 "PaóáuavOvs, krX.] . . . rabüra 8€
évio, Teivety avrOv eig BakyvMÓOv: ebOokiufjaat
yàp avTov mrapà lépovi . . . 0vvarat 06 kai obro

^ ec , N M ^ 5
voeicÜav 0 BakxyvA(ógs vapà mauci Ooket eivat
codós, vrapà reXe(ois 66 ovkért.

82

LIFE OF BACCHYLIDES

Etymologicum Magnum : Meidylus : the name of the
father of Bacchylides, and it is derived from «ài
*to smile' as Pheidylus from $«ào *thrift.'

Scholiast on Pindar ['skilled is the man who
knoweth much by nature; they that have but
learnt—even as a pair of crows, gluttonous in their
wordiness, these chatter vain things against the
divine bird of Zeus']: (a) This is directed against
Baechylides, who had in a way become a competitor
in the same arena. (b) He is hinting at Baechy-
lides and Simonides, calling himself an eagle and
his rivals crows.

The Same ['the eagle is swift among winged
things, and though he chase it from afar he quickly
taketh his quarry all bloody in his claws; but the
chattering daws have a lower pasturage ']: That is,
my rivals in art resemble jackdaws, only shrieking
and feeding at lower levels, and cannot rise to
the heights. He appears to be directing this at
Bacchylides, with whom he had a feud, and compares
himself to an eagle and Bacchylides to a jackdaw.

The Same [*but I must shun the overmuch biting
of slander']: He is hinting at Bacchylides, who was
always traducing him to Hiero.

The Same [:* Pretty," say the children to an
ape, f pretty thing," but Rhadamanthus, etc.']:
(a) According to some authorities this is directed
against Bacchylides, who was in high repute with
Hiero, . . . (5) It may be intended thus : Bacchylides
appears in the eyes of children a man of skill, but
not in the eyes of grown men.

! mss $ópacis ? so E, afe: — àkobei *is called '
83
G 2

LYRA GRAECA

Id. 166 [erá8nas | &é 7Lvos eXóó evo ! | mepuoaás
évéra£av &A- | os óBvvapov éd TpócÓe xap6ía, |
7piv óca $povrió. puríovrat Tvxeiv|] .. . 5
ávadopà TM TpOS BakxvMónv. eDopirvics 8€
oUTOSs 7 Oávoia, O.Là TO Tapà TO 'lépowi Tà
Ba«xvA£Gov 7pokptveaOat Towjpara.

, (Longin.] Sub. 33 Tí ó€ ; ; €v uéXeoL paXXov àv
eivaL BakxvMns &Xoto 5j Ilívóapos, kai év 7pa-
yota "Iov 0 Xtos 7) ») Aía XojokMijs ; em eió1)
oí uev à&udmTOTO, kal €v TÓ Mab vpà vápTà
&ekaXuypaduévot, o óé IívGapos kai 0 XoQo-
KAíjs ÓTe puév oiov TávT& émióMéyovat T2 $opá,
cBévvvvra, 8 dXóyos moXAdxis kal mrizTOVGLV
5 / " D 76 N ^ 5 ^ S. hj á-
a&TvyégTaTa. 7j? ov0els àv eb dpovàv évós Op
paTos Tob OiGímo00s eis ravTO cvrÜeis và "Ivovos
TávT àvTwWTLUcavTO éEfs.

Ammon. Nnpeióes. TÓv ToD Nnpéos ÜvyyaTépov
Oa épet. Aí&vpos Ojo Laos ev Trounjpat Bax-
XvMóov "Emrwieov. $ci yàp KaTà Aé£ur Eici
TOLvUV ot $act Ouadépeawv Tàs Npeitas TOV TOÜ
Ny )pées Üv'yarépov, Kai Tüs j46V ÉK Acpíbos
Myrmatas aUTOV Bvyarépas vouiítec0at, ràs O6 éE
&XXcv 1j kotwóTepov Npeióas kaXetaÜat.

Porph. ad Hor. Carm. 1. 15. Hac ode Bacchylidem

imitatur; nam ut ille Cassandram facit vaticinari
futura belli Troiani, ita hic Proteum.

! so E: mss éAkóuevoi (corrupted from €Akos below) * edd. 7j

! ]it. *for excessive measure ' ? Didymus apparently
disagreed, but in any case this may be taken as evidence

84

LIFE OF BACCHYLIDES

The Same [*longing for more than they can get,!
they do wound their own selves instead of obtaining
their heart's desire']: The reference again is to
Bacchylides. Thisis taken to be the meaning owing
to Baechylides poems being preferred by Hiero.

[Longinus] On the Sublime: Again, take lyric
verse; would you sooner be Bacchylides than
Pindar? or take tragedy; would you sooner be
Ion of Chios than the great Sophocles? Bacchy-
lides and Ion may be faultless, may have attained
to complete mastery of the polished style, whereas
there are times when Pindar and Sophocles carry
all before them like a conflagration, though they
often flicker down quite unaccountably and come
to an unhappy fall Yet surely no man in his
senses would rate all the plays of Ion put together
at so high a figure as the Oedipus.

Ammonius Jlords alike but different : The Nereids
are not the same as the Daughters of Nereus.
Compare Didymus in his Commentary on the V'ictory-
Songs of Bacchylides, where he says in an explana-
tion: *Some authorities declare that the Nereids
are not the same as the Daughters of Nereus, the
latter being his true daughters by Doris and the
former receiving the more general name of Nereids
because they came of other mothers.' ?

Porphyrio on an Ode of Horace [Pastor cum
traheret]: In this ode he imitates Bacchylides, who
makes Cassandra foretell the future events of the
Trojan War as Horace here makes Nereus.?

that in 12 he read Daughters of. Nereus at l1. 1029 and Nereids
atl. 38, though the latter is probably not what Bacchylides
wrote and 12 is a dithyramb 3 cf. 16 below

8

LYRA GRAECA

Arg. Pind.: évvéa 06 oí Xvpukot- ' AXyuày ! AXkatos
Xamóo XT59cíxopos l8vxos 'Avakpéov Xauoviógs
BakxvA(89s kai Iiv6apos.

BAKXTAIAOT MEAON
A!
TMNON

1-4
Stob. F7. 192. 1 [v. vév0ovs]: Ba«xvA(3ov "Tuvcev:
3! 7 , e , '
Aiai TÉékos aperepov:
^ * ^ , , , L4
uettov 1) srevÜetv kakóv, àdÜéykroiuw iaov.

2
Sch. Ap. Rh. 3. 467 [m. 'E«&rzs]: BakxvA(9ns 9€ Nukrós $uauw
abTT ÜÓvyaTépa:
c , - , N
Exdra 86aióoóope, NveTOs
, , 1
uekavokóNmov Üvryarep

s
Sch. Hes. Th. qpmác0a« 8€ Tv llepce$óvqv d$aclv oi utv ék
XuceA(ias, BakxvAÍOns 8e éx Kpfyrqs. :
4 *
Sch. Ar. Ach. 47 [KeAeós]: ToU 8€ KeAcoU uéuvgrai BakxvA(óns
01à TY "f'uvov.

1 Urs: mss ge'yaAok. 6.

! ef. A.P. quoted vol. i, pp. 3, 165 ? jn arranging the
Books I follow the Alexandrine edition of Pindar, though

86

BACCHYLIDES

Introduction to Pindar : The Lyric Poets are nine
in number, Aleman, Alcaeus, Sappho, Stesichorus,
Ibyeus, Anacreon, Simonides, Bacchylides, and
Pindari

See also Ael. P.H. 4. 15, who speaks of B. at the
court of Hiero.

THE POEMS OF BACCHYLIDES
Book I
HYMNS?

1-4 [To DewrrEn]

Stobaeus .4n/Aology [on lamentation]: ^ Bacchylides
Hymns:

Alas for my child! a woe is here that passeth
lament, like to one that cannot be spoken.?

2
Scholiast on Apollonius of Rhodes A4rgona«utica [Hecate]:
Bacchylides makes her the daughter of Night; compare:

O torch-bearing Hecate, daughter of dark-bosomed
Night ?

s

Scholiast on Hesiod TAeogony : According to some accounts
Persephoné was carried away from Sicily ; Bacchylides how-
ever says it was from Crete.

i

Scholiast on Aristophanes [Celeüs king of Eleusis*]:
Celeüs is mentioned by Bacechylides in the Zymns.

in the Great Papyrus of B. the DifÁyrambs probably follow
the Victory-Songs 3 Demeter loquitur? 5 cf. Hom. H.
Dem. 96

97

LYRA GRAECA

5

Men. Zh. Gr. Walz 9. 140 émiAéyoyTai (of &momeyTiKol)
&robmuíaus 6e&v vouiCouévats. 1j "ywogévais:. oov " AgóAA vos
&robnuía. Tiwes Óvouá(ovrai Tapà AmALow kal MiAmoío:s, kal
"Apréui0os Tapà 'Apyeíois: eigl Toiívuv kal rg BakxvA(óm Üpuroi
&roTeyrTikol.

6

Ath. 1l. ,900 a [7. gkóoov] ÜcTepoy oc KO T uiui eipyá-
cavTo kepajiéovs T€ kal à àp'yvpoUs cCkUv$ovs. GV TpÓTO. uev éyévovro
Kal kAéos ÉAaBov oi Boiórmi0t "yevÓuevoi, xpmcauévov karà Tàs
cTpaTeéías mpóTrov 'HpaxAéovs Td 'yévev 8:0 kal 'HpakAewTikol
TpÓs TiV&V kaAoUyTai. Éxovct uévroi pos rovs UAAovs Biajopáv:
€reo Ti. *yàp émi r&v üTwv abTois Ó Xeyyóuevos 'HpdkAetos beagós.
uynuovebe: 8€ Ty Boiwriev! okó$ev BakxvA(bms év cojrois
Toi0buevos Tbv Aóyoy Tpbs ToUs AiockÓpovs, kaAQv abrovs él
E£évia-

O? Bodov TápeaTL. cogar ovre ypvaos,

oUTe mopbipeot TámT)TEs,

àXXà Üvuós ebjevr)s

Moicdá T€ yXvkeia kai Boteriotctv

, ,

€v Go kU$oLctv oivos 7)6Us.
Biveykav 0e uerà rovs Bowríovs oí 'Pobiakoi Aeyóuevo: Aapokpá-
Tovs Ünuiovpyfjcavros: Tpírot 9" eiglv oí Zvpakóator.

BR'
IIAIANON

T
Stob. F7. [v. eipvns]: BaxxvA(8ov Haidvwv:
TixTe, 0é re ÜvaToiow Eipyjva ueyáXa
cGTp. T'XoÜTOV ueMwryXoo ocv T ? àoi6üv ávOea,

! mss Beiwrikav ? Boeckh ; mss xal ge^.

88

BACCHYLIDES
51

Menander On Declamations : Odes of Farewell are addressed
to Gods on their departure, supposed or real,? to visit some
other haunt. For instance, the Delians and Milesians have
wbat they call Departures of Apollo, and the Argives of
Artemis, and there are Farewell Odes of this kind in
Bacehylides.

6

Athenaeus Docíors at Dinner [on drinking-cups]: Later
they were made of earthenware and silver on the pattern of
the wooden ones. The first of these to be made, or to become
famous, were the Boeotian cups as they are called, having
been first used by Heracles on his warlike expeditions; hence
their alternative name with some people, Heracleotic, though
indeed these differ from the others in having on their handles
what is known as the chain of Heracles. The Boeotian type
is mentioned by Bacchylides where he addresses the Dioscuri,
summoning them to a holy feast : ?

No carcase of beef is here, nor gold, nor purple
carpets, but a kindly spirit, a sweet Muse, and
delicious wine in Boeotian cups.

Next in repute to these came the Rhodian, made by
Damocrates, and third the Syracusan.

Book II

PAEANS

T
Stobaeus A4n£hology [on Peace]: Bacchylides Paeanms :

Moreover great Peace bringeth forth for men
wealth and the flowers of honey-tongued songs, and

l! cf. Ibid. 132 * in effigy 3 for 6eotévia to the
Dioscuri cf, Ath. 137 e

89

LYRA GRAECA

y 3. v9 UR ^
6aiGaXéov T. éri Boy ov
Oeoiciv alea at Piaf £av0àa. xoi
Lfjpa. ravirpLyeov ! T€ Lov
yvpvactov T€ VÉots
a)Xàv T€ kai Koj.oV uéAetv.
» N / , pn^
&v 66 ci6apoOérois móprra£iw aiÜüv
àpüxvdov ? (a TOL TTéXovTaL,?
dvT. éyxeá re »Manpyemà Eied T üápóakéa
OÓdápvaT áei-vaos ^ eüpos
XaMkcüv 0. ovk &a TL c aXmÜyyov kTUTOS,
ov66 cvAüTaL ueMipov
[4 , bi ,
aig amo BXebápov,
»^ ^ / ,
ados? Óg 0áxT e «éap.
cuum oiov Ó ,eparóv Bpí8ovr' a^yvtat
vrat&etot 9 0 Duvoi dXéyovras.

8
Clem. Al. Sfr. 5. 687
er , e , N , , ,
érepos éf érépov oodo0s« TÓ T€ TdXa4 TO T€
vüv:
, N b e^ , / , , /,
0766 yàp pao rov àppyyrev éméov mÜXas
é£evpetv,
$701 BakxvAÍOns év rois IIoiacuv.

9
Zen. Paroem. Gr. l1. 42

"Apkrov Trapovans vxv ua?) Ciyrev

ér| rày DeiA|y kvvmyüy elpnrai 3j mapoiwla: uéuvqgra: 5$ abris
BakxvA(8ns év Tlaiàguv.

1 Butt.-Dind : mss unpbrav, umpirav, and ebrp. ? E,or
àpaxvaiarv, cf. A.P. 9. 233? or &paxvíev, cf. Sa. Oz. Pap. 1787.
149, 15 veBpíowiw, Arist. H.A. 5. 27. 1 (reading ai02v)? mss
&paxvav 3 Urs. mAékovrai perh. vightly * E: an epith.
—vo. as suggested would prob. be unmetrical: mss St.

9o

BACCHYLIDES

for Gods the yellow flame of the burning of the
thighs of oxen and fleecy sheep upon fine-wrought
altars, and for the young a desire for disport of
body ! and for flute and festal dance. Meanwhile in
the iron-bound shield-thong hang the warps of the
brown spider, headed spear and two-edgéd sword are
whelmed in an ever-spreading rust, and the noise of
the brazen trumpet is not; nor is reft from our
eyelids that honey-hearted sleep which soothes the
spirit towards dawn.? The streets are abloom with
delightful feasting and the hymns of children go up
like a flame.

83
Clement of Alexandria AMiscellanies :
Now as of yore one getteth skill of another; for
'tis not so very easy to find the gate of words unsaid
before ;

as Dacchylides says in the Paeans.

9

Zenobius Proverbs :

Seek not the tracks of a present bear.
This proverb is used of cowardly hunters, and is referred
to by Bacchylides in the Paeans.

! the Greek is ' gymnasties ' ? sleep towards dawn was
the sweetest, Pind. P. 9. ?3 ? ef. Theodoret 7er. 1. 14. 36

Bduvarai without ebp., Plut. evp. 8áu. €yxed Te Aoyxwrà E. T
&yu. 5 Bl: mss áyos or áuos $ E, or maí9:0( ? cf. Pind.
Js. 2. 8: mss -i«oí

9I

LYRA GRAECA

p

AIOTPAMBON
10-15 British Musewm Pagyrus 133 :!
10 (xiv)
"Avrqvop(8a ?)
7? EXévgs ámaítrqgous ?
e7p.a' [ Avr:j]vopos àvriOéov ?
[yvvà ko]paka'ris * " ABávas vrpoaroXos
[Kicanis dyvá]s IHaXXá80s 0pcuudxov
[0vpas dvoi£e ? x ]pvoéas
5 [avríka Nroóéovot]v " Apyyetov 'OGvccet
[Aapr.áóa MeveX]áo T' '"Avpeióg BacuXet
[àryyéXots. Govots Ba8v]Eevos Ocavo

d»pu D. 12 - . ]ov
[L . - --. 27. ..-p pus EE
3 viia é]üxripévav
(19 lines mutilated or missing)
30(. . . . . ov yàp vrokXorrov dope

Bporoict óováevra Xóryov aoóía)e
(D lines missing)
áryov, Ta1)p 0. eUBovXos Tjpes
v ávra cápatvev Ipu&uo BacvXet
raíeeact re uü00v '" Axatóv.
40 éyÜa kápvkes Ov. ev-

1 cf, C. R. 1993. 148; I omit brackets where restorations
are reasonably certain; a dot beneath a letter indicates that
it is a possible reading of the traces ? for title cf. C. E.
1922, 160 ? ]l. I-7 restored by Kenyon (1), Nairn (6),
the rest Blass-Jebb—-Z (from the Pap.) * hardly ]Aa
* P prob. avoi£ev $ Hill from Clem. Al. Paed. 3. 310 where
mss have Bporoia: $. Aóyov are Aóvyos aodía

92

BACCHYLIDES

Boox III
DITHYRAMBS

10-15 From a papyrus of the last century P.c.!
10 (xiv)

Tug Sous or ANTENOoR or Tuke DewaNpiNG Back
or HELEN

The raven-eyed wife of the godlike Antenor,?
deep-girdled Theano, daughter of Cisses, priestess
of Athena; opened forthwith the golden doors of
pure Pallas that rouseth to battle, to the knocking
of the twin messengers of the Argives,* Odysseus
Laertiad and king Menelaüssonof Atreus . . . . ..
addressed . . .. .. [to] well-builE [Troy] . . . . .

(19 imes mutilated or missing)

(For there is nothing furtive in the voiceful
utterance which skill doth bring us)?

(5 lines missing)

. . . [the sons of Antenor] led [the messengers to
the marketplace], while the wise hero their father
declared all the message of the Achaeans unto King
Priam and his children. "Whereupon heralds went

! Kenyon; Grenfell and Hunt say 1st or 2nd century A.D.
* the Greek has a play upon words (àvr. . . . àvz.) as in 34
init.,but why *raven-eyed' is not clear ? at Troy *an
embassy from the Greek camp at Tenedos demanding the
return of Helen on pain of war ^ ? position here not certain,
but it may be one of the short moralising sentences which
serve to paragraph the narrative: somewhere hereabouts
probably came Bacchylides' ref, to Theano's fifty children
(here members of the chorus ?), mentioned by the Scholiast on
Il. 24. 496

93

94

LYRA GRAECA

petav TróNLv OpvUjLevot
Tpocwov àóXM£ov QáXayryas

GTp."y 8e&la rparrov eis àryopáv.
TávTQ om OL£Opa uev av6áets Xoyos*
45 cols 8 ávíoyovres yépas áB&avárots
eUyovTo vascacÓar Ováv.
Moó?ca, Tis T'páyros Aórycov üpxev 1 OLkaiov ;
IIXeuc8evióas MevéXaos yápvi OeX£vesret
49 dOéy£arT eümém Xoict kowwvegas Xapia atv:
ayT.'y. XY Tpoes apniQiXou
Zevs Uruuéóov 0s üzavra Oépkerat
ovK avrLos Üvarois ueyáXov axéav,
AXX. év uéo q «eirat kuxetv
vüciv àvÜpeyrro:s Aíkav LÜeiav, áryvás
- , , 5 , ^ ^ ,
55 Ev?vopgias àkoXovOov kai srtvvrüás Oépuuros*
oXov vraióés viv atpeüvrau, a vvoikov.
, / e F] c JP s , N , ,
ém.'y à O aióXots képOeccu kai àjpog vvats
é£auo (ois ÜdXXovo^ àQ&auns
UY Bp:s, à T XobTov 6vvauív ve 0ods
, , » 5
60 &XXoTptov or acev, avTLS
o és Ba8vv véurei dÜópov,
keiva kai brrepbtáXovs
[l'às] zratóas oXeacv T'éyavras.

BACCHYLIDES

speeding through the wide city for to gather the
companies of the Trojans into the market, even to
the place of mustering. And their loud summons
ran everywhere about, and men put up their hands
and besought the immortal Gods to give them stay
of their troubles.

O Muse, who was it began the righteous plea?
"Twas Pleisthenid Menelaüs, and he spake in suasive
accents learnt of the fair-xrobed Graces: * Ye warriors
of Troy, 'tis not through act of high-ruling Zeus who
seeth all things, that great woe cometh to man;
rather may every man attain, if he will, unto unerring
Justice that goeth servant of Orderliness the pure
and Right the wise ; and happy they whose children
give her a home. But unabashed Presumptuousness,!
who thriveth on shifty gains and lawless follies, and
bestoweth so swiftly on a man wealth and power
that be not his, only to send him anon to deep ruin,
she it was who destroyed those overweening sons of
Earth, the Giants."

! like that of Paris in stealing Helen when he was the
guest of Menelaüs

1 P ápx. A. * 50—50 cf. Clem. Al. Str. 5. 731 where 54

has 8íxav ócíav àvyváv

9»

LYRA GRAECA

11 (xv)
['HpacXfs]

cTp. [NO]» ot[|v]t «eo, érei!
[0X«]46" Ézeuxrev éuoi xpUaéav
[IL:ep 5a0 e[v] e v6]povos [O ]dpavía
[ToXvó Járeov "yépgovcav buvov,

5 [o &Xée]»,? eir n em. àvOeyoevri " E8po?
[05)pa. à yas * 7) Got Xa xev &v| kvov]
[ovi 4 Bela $péva Tep'rópevos:

[piv «àv otv év20a]6. (xp maumóvov
àvOea. Tre80vxveiv,
10 II$0r "AsroMXor,
Tóca X0pot AeXbov
cóv KcAdiongaw Tap áyakXéa vaov,
ayT. Tp ? rye kXéojev Mrretv
OcxaMav TVpi 6a TOUÉvav

15 "Apdvrpvoviátar Ópacvyrj&éa $o-
9, i (kero ó àudiucvpov àkráv,

&vO' ám XaiGos ebpvveoet Kgvato
Zi Ovev * Bapvaxéas évvéa ravpovs
0Uo T. óopcíaXo 6apactxY0ovu uéA-

20 Xe opa. T. ofjpuuoGepket à&vya
vap0évo ' Adava
vNrucépav Bo)v.
TOT daXos OaLp.ov

1 ]-8 restored by Kenyon (4), Sandys (2), Palmer (7), E
in l. 1 P perh. had ovriow& corr. to ovreou', but only ov is
certain ? E, infin. cf. 18 and 37. 1-29 3 Meiser Myth.
Unters. zu Bacch. Munich 1904 ZrpóuBo as old name of Hebrus

96

BACCHYLIDES

1l (xv)
[Hrnacrzs]

I must not sing thy praises now, albeit! throned
Urania hath sent me from Pieria a golden galleon
laden with famous hymns, if truly thou rejoicest
beside the flowery Hebrus in the chase, or takest
mayhap thy pleasure of the sweet long-necked voice
of the swan.? So ere thou comest, O Pythian
Apollo, to seek the Paean-blossoms which the
Delphian dancers are wont to chant thee by thy
glorious temple, we tell how the adventurous bold
son of Amphitryon? quitted flaming Oechalia,* and
came to the wave-washed shore where he was to
offer of his spoil nine bellowing bulls unto wide-
clouded Zeus Cenaean,? and two of the same unto
Him that rouseth sea and subdueth land, and a high-
horned ox untouched of the yoke to virgin Athena
so fierce of eye. Then it was that a God irresistible ?

1]it *when'; Ze.'lI must not take this opportunity
granted me by Urania of Ru IE a hymn to Zfpollo, for he is
(supposed to be) absent now' ; À. was supposed to be absent
from Delphi during the three winter month 8, when dithy-
rambs took the place of paeans in his worship (Plut. de E 9);
they might have been sung shortly before the beginning of
spring ; "ef. Ale. lec he returned i the 7th Anthesterion
(Feb.—March) 2 cf. Callim. Z7. 2 3 Heracles 1 in
Euboea ; the home of Iolé, sacked € H. . 5 worshipped on
or near the promontory of Cenaeum the N.W. end of Euboea
5 Poseidon ? Destiny

5 P.era 5 P perh. -os: : 5c. àyiAAeat $ repeated mpí7?
? infin.

97
VOL. IIl. H

OT p. a

98

,
€".
25

30

10

15

LYRA GRAECA

Aaiavetpa vroXv0akpvv Üoave
t

^ , 249
uiri émriQ pov émrei

TUÜecT! dyyyeXiav TaXamevOéa,

'Ióxav 071 XevkoXevov

Auós vtós üàrapDBouáxas

&Xoyov Xurapóov 7rori 6ópov Tréjrot.
à Ovo opos, à TáXaLtv , otov épzjca o
$Oóvos evpvÜias vtv à oXeoev
6vó$eov re kaXAvpua TÓV

Uc Tepov épxyopévov,

óT émi! poó0ev7i Avkópua

6£aro Néccov mdpa Bauuóvtov Tépas.

12 (xvi)
' Hz8eo: 7) 9oebs

Kvavóm popa. jev vabs uevékrvmOv
Owycéa Ois érrá T t'yXao)s d'yovca
kovpovs laovev
Kpnrucóv Tájuve TréAa/yos*

T2Xavhyéi yàp [€] óápei
Boprjiau TTVOV aDpaL
&XvTüs ékaTL Tr|o|Xepuaítryyióos ' AÓdvas:
kvicev re Mívoi? xéap
Luepáurvkos Oeás
Kvrpióos aivà 6Opa*
xXetpa à ovUkért mapÜeviküs
d'repÜ' épárvev, Ütryev

0€ Aevküv mrapnióov:
Boacé v. Epi Bota xaXo-
Ócpaxa llavótovos

BACCHYLIDES

wove a shrewd-sorrowful device for Deianeira, when
she learnt the woeful news that the fray-undaunted
son of Zeus was sending white-armed Iolé to his
shining house for to become his bride. Alas, poor
miserable, and again alas! that she should make
such a plot as that. Her ruin was wide-mighted
Jealousy and the murky veil that hid the future, the
day she received from Nessus upon Lycormas' rose-
clad marge ! that marvellous gift divine.?

12 (xvi)
Tukge YouNc MEN aNp MaipNs or TutEsEvs

Lo a blue-prowed ship clave the Cretan main
with Theseus staunch-i'the din aboard and twice
seven splendid youths and maids? of race lonian,
for northern breezes fell on her far-gleaming canvas
by grace of Athena of the warring aegis. And
Minos' heart was pricked by the fell gifts of the
love-crowned Dame of Cyprus, till he could no more
hold off his hand from a maid but touched her fair
white cheeks. "Then loud cried Eriboea upon the
brazen-cuisséd seed of Pandion,* and Theseus saw,

! of Euenus, a river of Aetolia ? the poisoned shirt
with which she killed Heracles 3 ef, Serv. Aen. 6. 21
(Bacchylides in. Dithyrambis) ; these young Athenians were
the periodie tribute (the period varies in the different
accounts from one year to nine), paid to the Minotaur at
Cnosus * father of Aegeus reputed father of Theseus

! P inserts (gloss) roraug 5 P uivo

99
H 2

LYRA GRAECA

/,
éryovov: i6ev 66 Goes,
/ » LP 2313 /,
uéXav 6 v óóp/ov
£ ,
Otvacev Ouua, kapótav Té ol
/ » »
cyérALtov üuv£ev aXyos
5 , € N tN ,
20 eipév re€' At0$ vié eprarov,
/, ^
Óct0v OUKÉTL T€üV
éco kuBepvás Ópevav
Üvpóv" la xe peyaXoU yov ?)pas Btav.
/
dvT.Qà ÓTL uev ek Üeív potpa TA"yKpaTi)s
25 üt karévevae kai Aitkas pémeu Tá-
/
AAGvTOV, T €T pO L6VAV
e
aicav ékrAijoopev ÓTav
€A0p* cv 0€ Bapeiav káre-
^ , ,
X6 ijr. €i kaí ae kéóva
N N ,
30 rékev Aéyei Ai0s vm kpóradov "I6as
pnyeica * Qotvueos épa-
, ^
TOvvpos «opa DporOv
, 5 N , N
QépraTov, àXXa kae
Il70éos 0vyarnp àdveo)
35 vXaÜ0etaa | vrovrio TÉkev
IIocetóavt xpvoeóv
TÉ oí 60c av LomXokot Ka-
, , I , 9
AvTTpav kopa. Npéos.*
TO ce, zroNéuapye Kvocíov,
, ,
40 «eéXopuaL TT0XUG TOVOV
, / e 5, N ^ ,
épukev D9piv: ov tyàp àv ÜéXor-
9435 , 3 , N , m^
p. aufBpórov? épavvov ' Ao)s
, ^ , , / 4 93.79 .. ,
LOetv báos, érec * vuv riÜéov
cv Oanpácetas aékov-
45 ra: m pócOe xXeipàv Biav
, ^
Gei£opev' cà Ó émi0vra Gatuov kpuwet.
ém. à TÓG eimev àpératxjuos T]pas*
100

us

BACCH YLIDES

and his eye rolled dark 'neath his brows, and a crucl
pang pieced to his heart, and * Son of peerless Zeus '
quoth he, *now guidest thou no righteous spirit in
thy breast. Stay I pray thee, hero, thy presumptuous
violence. Whate'er resistless Fate hath decreed us
from on high and the scale of Right inclineth to, we
shall fulfil our destiny, I doubt not, when it comes;
prithee restrain thy grievous intent meanwhile. True
it may be that thou art the peerless offspring of the
bed Zeus shared beneath Ida's brow with Phoenix"
modest maiden so fair of fame;! yet I also come of
the wedding of rich Pittheus' daughter? unto Posei-
don of the sea, when the violet-crowned daughters
of Nereus gave hera veil of gold. Therefore I bid
thee, O war-lord of Cnosus, restrain a presumptuous-
ness that would bring much woe ; for I would not
my eyes should look on the sweet light of the
immortal Dawn after thou hadst done despite
to any of this youthful band. $Sooner will I show
the strength of my arms beside yours, and God
shall decide the rest.

So spake the spear-valiant hero, and the ship's crew

! Europa ? Aethra, daughter of the king of Troezen,
afterwards wife of Aegeus

! Housman transposes uvyeica (31) and sAa0€20a (35) ? E
despite Didymus ap. Ammon. 79 (— Bgk. fr. 10): P káAvuja
Napnibes: for persistence of unmetrical readings cf. the extra
k&Aov at Pind. OJ. 2. 29 3 P auBgpóroc 1 Headl. ér' ei
5 hence to l. 78 and for !l. 91-2 we have Ox. Pap. 1091

IOI

LYRA GRAECA

Tádov 06 vavBárai
$QoTós brepáoavov

50 dpa os "AALov T€ yaju9pà x0Xoaev ?)rop,
Üauvé Té moTaíay
py, eimév Te MeryaXoa Oevés
ZeU qrdrep, ducovaov eimep je vua
Doiviaca XevkaXevos coL TÉKEv,

55 vUv T porem aT obpavoU 0oàv
T vpiéÜerpav à àcTpamày
cp ' &piyvarov' €i
06 kai c€ Tpoi£gvía aet xÜovt
$vrevaev Ai0pa lloce-

60 Oü»i, TOvÓe y pvacov
X€tpós arykaov
€veryke Koc |LOV €K Ba8eías &Xós,
ÓLka»y Ópáce cua TaTp0s és Óópovs.
eia eau à. air €uás KAvy

65 K póvtos eUXás

ava£iflpévras 0 mávrev peOégv. !

caTp. D kXoe Ó uem TOV eUxàv peyaa Devis

Zeis, bTépoXóv Té oí Tékuap? d)revaoe
Típav dixo ÜéXov

70 maL0i ravGepkéa ? Üéuev,
doTpaYé 0 o 66 ÜÓvpapyévov
(Gov Tépas mérace xeitpas *
KXvTày és aiÜépa ueverTóXepos 3jpes
eipév Te' * Ogac0, rdÓ. éuà

75 pev BXérew aad) Aus
00pa' cv O0 Opvv és9 Ba-
píBpopov vréXaryos" Kpovióas
6Éé ro, zraT?)p üáva£ TeXet

IOo2

BACCH YLIDES

marvelled at the exceeding courage of the man; and
the heart of the Sun-God's daughter's spouse! grew
wroth, and a strange new plot he wove, and said
* Give ear, mighty Father of mine! If indeed I am
thy child of Phoenix' white-armed daughter, I
prithee send now forth of heaven a swift fire-tressed
levin-bolt for a sign all may know ; and thou, if for
thy part thou comest of Troezenian Aethra by
Earth-Shaker Poseidon, go fling thyself without
demur into thy father's house and fetch this bright
golden ornament of my hand.? So shalt thou know
if the Son of Cronus that is lord of the thunder and
ruleth all, heareth the prayer I make him.

Heard the prayer was and approved by mighty Zeus,
and, willing to do his dear son an honour plain to all,
he made him a surpassing sign and lightened. And
when he saw the welcome portent, the war-stedfast
hero stretched his arms to the loud sky, and * Here,
Theseus, quoth he, *seest thou plain the gifts Zeus
giveth unto me; come then thou, and spring into
the roaring main, and thy father Lord Poseidon son

! Minos, whose wife Pasiphaé was daughter of the Sun .
* à ring

1 P mzavre[v ge8e] [ev] ? E despite Alem. Parth. 87
(cf. 72): P me uívo (gloss) 3 O.P. mavrapkea i mss
Xteipas TeTaoce 5 Platt: P ra3e O. P. ra3e[ $ OQ. P. opvva?
oec[ with second o deleted: for ?vpvv(o) cf. I7. 24. 63 8aívvo

IO3

LYRA GRAECA

IIoceióàv vréprarov
80 kXéos xÜóva kar. 5UOevOpov. |
Gs eire TQ Ó ov máMw
Ovpyós àvekáumTeT , &XN. ei-
TákTOV ÉT. LKkpiav
, 7, ,
c TaÜelis Ópovae, "TüVTLOV TÉ VtV
85 Ocfaro ÜeXquóv &Xcos.
Tád ev 66 Ais viüs &voOev
, ,
Kéap, kéNevaé re kar. o0-
» , LENS
pov lo xXev evóatQa Xov
T ^ 37g. 7 ON .» tv5/
v&àa' Motpa 6 érépav émopavv' 000v.
, , eu e. , / , E ,
avr. D' (ero Ó okmojwmrov 60pv' aet
*N 2! 2 , 3 *
91 »iv fopeàs é£ómuv? vvéovo. àxra
, i
Tpéccav 0 AÜavaiov
7iÜéev «Tüv- ? yévos, émei
,
jpoes Oopev zróvrov8e, ka-
N /, 2 02 /, /
95 rà Xeipiíov T OupáTov Óá-
«pv xX€ov, Bapetav émi&éypevo, avdykav.
dépov 66 GeXives àXi-
vaiéracL* uéyav 0009s
G75céa vaTpós Um Tí-
, i , , m^
100 ov 6óuov' uéyapov re Üeov
joXev.? | 00. kXvràs iOov
&Oetg. OXf9Loto N1)-
RI CP, S. 9 e A^ VIN ,
péos? kopas' amo yap a^yXa-
^ ,
Qv Ade ryviev aéXas
i P evP. 2 K: or étómide (DBl.): P e£órifev y 4

5 Palmer: P eraAi]va.—. 9 P euoAev Te 0eov ueyapov | 9 Lud-
wich: P é8eice,vnpeos oA|Bíov

1 Theophrastus H.P. 6. 6. 9 identifies this flower with
what he calls the narcissus; in any case, for us it would

IO4

BACCHYLIDES

of Cronus will assure thee glory supreme upon all
the wooded earth? He ended, and the other's
spirit bent not back, but he took his stand upon the
firm poop and leapt, and the precinet of the deep
received him right kindly. And the heart of the
son of Zeus was amazed within him, and he bade
them keep the cunningly-wrought ship before the
wind. But Destiny struck out another path.

The bark sped on amain, urged from astern by the
North-Wind's breath, and all the tribe of Athenian
youth were affrighted when the hero leapt into the
sea, and shed tears from their lily eyes! to think of
the woeful hap that needs must be. Meanwhile
that sea-people the dolphins bore great Theseus full
swiftly to the abode of his father the Lord of steeds;?
and he came into the hall of the Gods. There
beheld he with awe Nereus famous Daughters,
whose splendid limbs shed a brightness as of fire and

only have a Latin name; I therefore give the traditional
translation (cf. * Lent.lily? — wild daffodil); but we may
compare the Pheasant-eye Narcissus of our gardens, a native
of the Mediterranean region, which is sometimes called the
Narcissus of the Poets; the translation is justified as an
adjective by its use by English writers from Spenser to
Tennyson; if the Pheasant-eye is intended here, the pupil
of the human eye is meant to correspond to the coloured
centre, and the wAite to the white petals; the word is given
its original use as an adjective, cf. Pind. JN. 7. 79 Aeípiov
ü&vOeuov ; Aeipós (Hesych. ó ie xvós xol oxpós, *thin and pale,")
and Ae:poó8aAuós (Suid. ó mpoomveis Éx«v mobs 0$0aAuobs,
*with gentle eyes") may or may not be connected ; perhaps
also Ampo( (Hesych. và mepl mois *yvvauketows xiràci, *the gold
piping of women's smocks?") ; Boisaeq favours the view that
Aetpioy is borrowed from Egyptian, comparing the Coptic
gno: — flower; the meaning is 'bright young eyes, cf.
Shakespeare's *young-eyed cherubins? * Poseidon's
palace in the depths of the sea

IOS

LYRA GRAECA

105 oT€ TUpÓS, api Xa VTa4s

8€ Xpoc eom okoL

etvmvro raiwviav xopQ 6 erep-

TOV «éap bypoict" TOO GlV*

ceuvàv «66» T dXoXov TaTpOs DíXav
110 i6e,? Boómuv € epa roi-

gi "Audvrpirav Gojcus"

à Vy pud éBaXev eLavóv Tropivpéov,

em. kopauci T éméÜnkev oUXaus

àjepdéa T Xokov,
118 TOV T O0TÉ 0l Év yáuo

60e 60XLos ' Apoóíra po8ots épemrros.^

dTGTOV ÜTL OaLuOVEs

0éo civ? obOev $pevoápais Bporois:

váa Tapá Xem Tóm pvjwov oárw deb,
120 o(atotv €v opovrícu Kvoctov

ca Yaae9 a rpararyérav, ére

mov á&íavros é£ áXós

Üa)ua TávTeGGt, Aagp-

Te Ó api yutots 0c&v óóp , àyXaó-
125 Üpovoí T€ «obpau cUV €U-

vuía veok Tiro

eXo^v£av €-

KMaryev Dr TrÜvTOS" 7i8eou Ó éyyvOev

véo, raiári£av épará omi.
130 Aule; xopotoi Kniov

opéra " iavOeis

óvrate Ücómoyurov écÓXGv rUxav.

3

1 E.P -ow ev ? Housm.—Z: P ió[o]v (corr. to eibev)
Te T. a. $. | eeuvav (18e and ceuváv accidentally transposed ;

106

BACCH YLIDES

ribbons gold-braided went round about their hair,
there, where lissom feet rejoiced their heart with a
dance; aye, and he beheld in that delightful house
his father's stately wife so dear, the great-eyed
Amphitrité, who put about him a fine purple robe,
and on his thick hair the perfect anadem which she
had at her marriage of the sly rose-crowned
Aphrodite.

Nothing Gods may do is past belief to men of
sound wit. Beside the slender-sternéd ship lo he
appeared. Ah the thoughts wherewith he gave
check to the Cnosian captain, when he came dry from
the deep a marvel to all with the gifts? of a God?
shining upon him, when the bright-thronéd Maidens *
shrieked with a new-made mirth and the sea cried
out, when the sweet voices of young men and
maidens near by raised a paean of thanksgiving!

O Lord of Delos, be thy heart made glad with
the Cean dances, and a God-sped hap of blessings
come hither from thee !

! the epithet *rose-crowned' softens the unpleasant effect
of 'sly,' ef. á3eig and 8oXixabxevi of the swan's voice 11. 6-7
? including the ring? 3 in the Gk. * Gods, but it is prob.
a 'generalising plural' * the Nereids 5 "Theseus,
returning from Crete, touched at Delos

then àé lost by haplogr. ; then zarpós and &Aoxor inverted by
a syllable-counter) ; for inversion cf. 10. 47, 12. 72, and J p.
117 3 Headl.—Z, cf. Sa. 61, Z/. 16. 9: P aiova mopovpeav'
5 E, cf. épéQw : P epeuvov, but if the wreath was 'dark'
with roses they must have been real ones ; if so, they would
have withered long before 5 Rich: P 6éAwauw Sap
ec Xao ev ? J $pévas

107

LYRA GRAECA

13 (xvii)
Goes

cTp.& BacuiXe0 vàv (epáv ' AOaváv,
TÓV áBpoBlav ava 'lovov,!
TL VéOV €kXavye xaMcorda
gáNmvyE mroXegiav doLO6Av ;

5 7) Tis üperépas XC ovós
vouevi)s ópv àpudiBaxXe
cTpaTaryéras avi '

7 Agerai kakopáXavot
TrOLJEVOOV déka TL u1Xov
10 cevovT. dyéXas fia ;
7) TL TOL kpaGLav àpócael ; ;
QOeyyev Ookéco yàp ei ruv, BporOv
Alu émikovpíav
kai riv éupevat véav,
15 à llavótovos vié xai Kpeovcas.
cTp. [9 Néov "Kev O0XLyà» àyuetras
küpv£ Trociv 'Io0uíav kéXev8ov:
dara Ó &pya Xéyeu &paratot
$oTós: TOV brrép[BLóv T Émejvev
20 £Xwiv, 0s iG'XvVi dépraros
ÓvarÀv 7v, Kpovióa Nvratov
ceuctxÜovos Tékos:
cÜüv T. àvÓpokTOvVOv év vámats
Kpeuuvàvos, arácOaXov re
25 Z«ipova kaTékTavev:
Táv T€ Kepkvóvos zraXata pav
éc xev, ILoAvaryjuovós Te kaprepàv

108

BACCHYLIDES

13 (xvii)
TuEsEvus !

King of holy Athens, lord of the soft-living
lonians, what new thing means the war-song that
cries from the brazen-belled clarion? Doth a captain
of enemies beset? the bounds of our land? or
thieves of ill intent drive our herds of sheep
perforce in their keepers despite ? or what is it
pricks thy heart? Prithee speak; for thou, me-
thinks, if any man, hast aid of valiant youths to thy
hand, O son of Pandion and Creüsa.—

A messenger is but now come running, by way of
the long road of Isthmus, with news of the deeds
ineffable of a mighty man,? who hath slain the huge
Sinis that o'erpassed the world in strength, child of
the Earth-shaker Lytaean,* the son of Cronus, and
hath laid low the man-slaying sow in the woods of
Cremmyon, aye, and the wicked Sciron,? and hath
ended the wrestling-place of Cercyon,9 and Poly-

1 'The speakers are the leader of à chorus and Aegeus;
the dithyramb was prob. performed at Athens 5. ot.
Frag. Adesp. 127.6 Nauck 3 the young Theseus, son by
Poseidon of Aegeus' queen Aethra * Poseidon was said to
be so called because he * freed ' (A?e) the Peneius by cleaving
the vale of Tempe through the mountains, cf. Steph. Byz.
Avraíl ; Sinis rent his victims in twain by tying either arm to
the top of one of two bent firs which he then allowed to
spring up and apart * à robber who lived on the coast-
road between Corinth and Megara and threw his victims
down the *Scironian Rocks ' into the sea $ à place on the
road from Megara to Eleusis was still called the * wrestling-
place of Cercyon' in the time of Pausanias, 1. 39. 3

! cf. Hermog. Jh. Gr. Walz 5. 493, 7. 982
IO9

LYRA GRAECA

a óbpav e£ BaXev IIpoxór-
TOS, apelovos TUXOV
30 $orós. Tra0ra 6é00Lx ÓTra TeXeira4.
cTp.yy Tiva 9 éuev vroev .dvBpa TOUTOV
Aéyeu Tiva, T€ a T0Xàv Éxovra ;
ToóTepa, a vv TroXepmious Ó-
TrXotct a TpatÀy áryovTa TTONMAv ;
35 7) noÜüvov caXv oT áocuv !
aTélXYeiw éumopov ot. àXárav
ér. àXXoGagíav,
[C XVpoVv T€ Kai dXktjuov
&6e kai Ópaa vv, 0s Tocovrov?
40 àvÓpOv kpaepóv a Ü£vos
ég xev ; 7) 0eós avTOv 0pud
ólkas dOLKOLGLV óopa pajo eraa-
oU ryàp ba&uov aiev ép-
óovra Hu vTVXelv ka« à.
45 TüvT €V TQ 00x Xxpóve TeXe(TaL.
aTp.O | Avo oi $óre JLOVOUS ápapr ety
Aévyei, Trepi QatóLuoict Ó. duos
Eos éyew [éXeQavrókomov];?
Eco roUs 06 Ov év xépeco' áxovras,
50 «n)üTvkTOV kvvéav Aákat-
vay «paTós Tepi^ Tvpaoxairov,
a Tépvors TE Tropópeov
xuvrÀv ? dui, kai oUXLov
OcccaXàv yXapi0* Ouudrcv O6
55 c TiXBew áàvo Aagviov
$oíviccav iXóya: maióa 9 &upuev
v po09Bov, àpgtev 6 à0vpuárov
ueuvácÓOat roXéuov ve kai
XaXxeokTUTOV jud Xx as*
60 6i£moOa. 66 duXaryXáovs ' AOávas.
IIO

BACCHYLIDES

pemon's strong hammer is dropt from the hand of
a Maimer! who hath found his match. I fear me
how this all shall end.—

Who and whence saith he that this man is, and
what his equipage? Comes he with a great host
under arms, or travelleth alone with his servants like
a merchant? that wanders abroad, this man so
mighty, stout, and valiant, who hath stayed the great
strength of so many? Sure a God must speed him
for to bring the unjust to justice, for it is no light
task to come off ever free of ill. All things end in
the long run of time.—

Two alone, he saith, are with him, and there is
slung to his bright shoulders a sword of ivory haft,
and either hand hath a polished javelin; a well-
wrought Spartan bonnet is about his ruddy locks,
and a purple shirt around his breast, with a cloak of
the frieze of Thessaly ; and as for his eyes, there
goes a red flash from them as of Lemnian flame ;? a
lad is he first come to manhood, bent on the
pastimes of Ares, war and the battle-din of bronze ;
and his quest is unto splendour-loving Athens.

1 generally called Procrustes; he used to force travellers
between Athens and Eleusis into à bed which he cut or
stretched their limbs to fit ? or wayfarer ? there was
a volcano in Lemnos

! Goligher: P omAoigtv, cf. Eur. Hec. 1148 ? Platt: P os
TOvTGV : TO.00Tcv would givethe meaning * the mighty strength
of so sírong men"? 3 Desrousseaux, from Ov. Met. 7. 41:
there is no gap in P * Bl: P prep 5 Platt: P x«reva
T. | eTepvois Tau

LLL

LYRA GRAECA

14 (xviii)
'Io
" AUnvaíots

cTp. llápeort pvpía kéXevÜOos

10

15

5 / ,
au pociev ueXéov,
e ^ N / ,
0s àv vrapà IlIwptóov Xá-
x10: 90pa Movoáv,
io Xéoapot ve kal

/ ro;

Qepeo réDavo, Xaprvres
BáXecw dud r.p àv
buvoiciv' Üatwé vvv év
TQÍs T'ONVTDÁTOLS TL KQLAVOV
oXftaus ' AOdvaus,

3 xy 26 ,
evaivere Kota uépuwa.
T pémeL a € oeprarav tuev
060v vapà KaXXiómas Xa-
xoicav é£oxov ryépas.

* 2 » 00" e ^
5»ev * Apryos 00" Vr0v Avrobca
Qebrye ypvaéa f9o0s
evpvaÜevéos ópaOatct Deprávov Aus,
lváxov poboBáiTuXos K Op,

1

àyT. OT "Apyov à ópact BXém ovra

20

2b

mrávroUev à GG. TOLS

neyuo Toávag a a, kéXevae
xpvcorerXos "Hpa
ükovrOV dÜTVOV CQV-

T& KaXXuképav Ódua uv
óvXdáccev, ov66 Matas
vLOS OóvvaT obre KQT. €U-
$eyyéas apépas XaOetv vu
ovT€ vókTas ayv[ds.p

BACCHYLIDES

14 (xviii)
Io
Fon THE ÁTHENIANS

There's full many a path of immortal verse for
him that is dowered of the Pierian Muses, and hath
his songs clothed in honour by those violet eyed
bringers of the wreath, the Graces. So weave, I
pray thee, for delightful blessed Athens a passing
fine strain, thou Cean fantasy that hast won such
fame. Dowered as art thou of Calliopé so ex-
ceeding well, the path thou choosest should indeed
be noble.

Once on a day the counsels of wide-mighted noble
Zeus sent a-fleeing from Argos that land of steeds
the golden heifer that was the rose-fingered daughter
of Inachus;? when gold-robed Hera, Lady most high,
had bidden that Argus who looked all ways with
tireless eyes to keep ward sleepless and unresting
on the fair-horned maid, and the Son of Maia? could
not elude him either by radiant day or pure and
holy night. Whether it came to pass that the fleet-

! ref. to the poet's uncle Simonides? ? river-god and
king of Arcadia ? Hermes, sent by Zeus to slay Argus

1 P corr. to kAewóv ? Headl: P zi: »v (a syllable-count-
ing emendation of jv, corruption of $ev): for ví 4v * what
happened, when . . and when [19] . . .' (comma at $vAdacev
25 and interrogation-mark at &yvds 28) cf. Plat. PAaedo 58a :
but antistr. has a trochee 3 ]l. 28-51 restored by Jebb
(28-32, 35, 36, 38, 41, 43, 45-50), E (33), Kenyon (34, 39),
Blass (40, 44), Blass-Jebb (42), Wilamowitz (51)

II3
VOL. IIl. 1

II4

LYRA GRAECA

| E ^ 1 , c ed. / , ^
eir oDv 1 yéver. é[v náxyas áo]
30 voOapké àyyeXo[v At0s]
&ravetv ToT€ [l'às vzrépom Xov]
of puuocrópov X[oxov]
"Apryov, 1)? pa kai e[ovacav Xa0o0cat]
ücTeToL uépupv|[au,]
35 7) ILeeptóes óbreve[av á6vpc uéX«]
em. kaOéov aàvámavo|w éwréóov,]
€jg0L uev oUv 1
aàcdaXécrarov à 7pó[cc kéXevOos,]
émei zrap. àvOego|0ea]
40 NeiXov àdíxer. oi[o Tpor Aa£]
'Io $épovca maíóa |yacerpi róv Ats,]
"Exaóov évOa wv vé« evxAéa]
Mog TóNav T pVT [avi ToMráv|
bTepóxo BpvovT[a T(4à,]
45 perta rav Te Óva| àv éoavev yevéOXav,]
ó0ev kai ' Aryavopt| Gas ]
ey érraTUXowc|t O»8as]
K&6pos XeuéX[av vrevoev,]
& TOV ópatBákxa|v|
50 TUcTev ALóvvcov [có póvev T€ ev]
kai xopàv aTeóav[aó0pov ávaxra.]

BACCHYLIDES

foot messenger of Zeus slew that fierce offspring of
huge-childed Earth in combat of battle, or his cares
unutterable put him unawares to sleep, or again the
Pierians delightsome music! made his persistent
troubles cease awhile, howsoever it were, surest for
such as mne is the path that passeth on to the day
when the gadfly-driven Io came to flowery Nile with
child to Zeus, with child of Epaphus.? "There bare
she him to be the faméd ruler of a linen-robéd people;?
a prince abounding in exceeding honour, and [gave
to the light a line] the mightiest of the world,
whence Cadmus son of Agenor begat in seven-gate
Thebes that Semelé who bare Dionysus rouser of
Bacchanals, [lord of merry revellings] and dances
that bear the prize.*

! of Hermes, disguised as a shepherd ? founder of
Memphis 3 the Egyptians * in the contest of

dithyramb choruses

! resumptive sd cde

IIS
12

LYRA GRAECA

15 (xix)-15A
"Ióas

Aakeeatuoviots

Xmaápra voT év e|bpvyópo]!
£avOai Aasebai[povíeov |
ToLóvóe péXos k[opat Gvokevv,] ?
óT d'yero caXwrá|paov|]

5 kópav Üpacvkáp[6:os ' Tóas]
Máprr9ocav ior|prx. és oi«ovs]
$vyev Óavárov TleXevráv]

e.g. [66 &p,/ ómráccas]?

ava£(aXos Ilocei[6àv]
10 i70Us TÉ oi icav|éuovs]

e.g. IIxevpov' és éi«7|«uévav vrépsev vrapà]

xpvcáo 100s vio|v " Apqos].

15 A

Sch. Pind. 7s. 4. 92 [«pavíois óopa Eva | vaby Ioccibáevos
épéoovra .SX€bor] iBles Tbv "Avratóv aci rGv Eévov TíV drTe-
Lévy TO:s kpavíois épé$eiw Tv ToU llogeibGvos vaóv: roUTo "yàp
is TopoUgi Tbv Op&re Atopifibny TOL€iY. Bak xvAÍ8ns 0€ Ebmqvov
ézi T&v Mapm 01s uvnoTü)pev, oi 6€ der ds XoookATfs.

! ]l 1-12 restored by Headl. (1), Wil. (2), E (3), K (4, 5,
9), J (6, 8), BL. (7), K-E (11), Reinach (12) ? cf, Simon.
86 (29 Bgk) 3 prob. written as part of l. 7; cf. 29. 148,
and for the reverse, 29. 115

I16

BACCHYLIDES

15 (xix)-15 A
[pas

Fon rHE SPaARTANS

Once in spacious Lacedaemon the flaxen-haired
daughters of the Spartans danced to such a song
as this, when stout-heart Idas! led home that fair-
cheeked maid the violet-tressed Marpessa,? when he
had 'seaped the end of death,? the day sea-lord
Poseidon gave him a chariot and horses like the
wind and sent him to the son of gold-bucklered
Ares * at well-built Pleuron .

15A

Scholiast on Pindar [fto make him cease from roofing
Poseidon's temple with the skulls of strangers]: The poet is
peeuliar in ascribing the roofing of Poseidon's temple with
the skulls of defeated strangers to Antaeus; the story is told
of the Thracian Diomede; but Bacchylides relates that
Euenus did this with the suitors of Marpessa, and Sophocles
ascribes the like to Oenomaüs,

! son of the Messenian Aphareus ? daughter of Euenus
king of Pleuron in Aetolia 3 gee the next fr. * Euenus

II7

LYRA GRAECA

16 (xx)-17 [Kéccavópa 1]

Sch. Pind. OI. 10. 83 [à» fro: 8€ Térpasw | &r$ Mavriwéas
Záuos] ó 5t AíBvuos oUrw ka0lergs. Tbv Aóyov: TÀhv Mavriwwéav
$mclv elvat íepàv Ilomeibàvos, kal maparí8era: Tbv BakxvAlBmv
Aéyovra oUTw*

IILocetóáviov cs

Mawvrtvées Tptó60vra xyaXo6at6áXotatv év
àa'TTiciv opeUvres

[à izoTp]ooa vo[os]?

1

Serv. Aen. ll. 95 [versis Arcades armis]: lugentum more
mucronem hastae non cuspidem contra terram tenentes,
quoniam antiqui nostri omnia contraria in funere faciebant,
scuta etiam invertentes propter numina illie depicta, ne
eorum simulacra cadaveris polluerentur aspectu, sicut
habuisse Arcades Bacchylides in Dithyrambis dicit.

18 [Aaokóov]

Ibid. 29. 201: sane Bacchylides de Laocoonte et uxore eius
vel de serpentibus a Calydnis insulis venientibus atque in
homines conversis dicit.

19 [I1éAoy]

Sch. Pind. OI. 1. 37 [émeí viv ka6apà AéBuros €&eXe KAc04].
2. . 6 8t BakxvA(Ogs Tov IléAora TJ» 'Péav Aéyei ioyidaca (8y-»
kaBeicay (ráAw» TQ XéBqri. ?

1 cf, Porph. Hor. C. 1. 15 (quoted above p. 85), and Sch.
Stat. Theb. 7. 330 ? this line so restored by Bl. occurs
with parts ofll. 1-3 in the Great Papyrus ; àmó or à$' must
there have been written at the end of 1l. 3; 1l. 4 is not in Sch.
Pind. 3 B: mss $ià ToU AéBmros

r18

BACCHYLIDES

16 (xx)-17
CassANDRA 1

Scholiast on Pindar: [and with the four-horse chariot,
Samus of Mantinea?]: Didymus gives the following ex-
planation:—Mantinea is sacred to Poseidon, compare
Bacchylides :

[See] how the Mantineans, with Poseidon's trident
as the blazon of their brass-bedizened shields, from

9

their horse-breeding city . . .?
I

Servius on Vergil Aeneid [the funeral of the hero Pallas—
*The Arcadians with arms reversed]: That is, holding in
mourning fashion the point, not the butt, of the spear to the
ground ; for our ancestors reversed everything at a funeral,
even inverting their shields lest the likenesses of the Gods
depicted on them be polluted by the sight of a corpse,—
which likenesses the Arcadians had on their shields, according
to Bacchylides in the Dithyrambs.?

18
[LaocoóN]

The Same [the death of Laocoón]: Bacchylides certainly
speaks of Laocoón and his wife and of the serpentis coming
from the Calydnian Isles and being turned into men.

19^
[PELops]

Scholiast on Pindar [Tantalus' cannibal feast]: . . . Dac-
chylides declares that Rhea (not Zeus) restored Pelops by
putting him back into the cauldron.

! Neue-Bl, comparing Serv. on 4en. 11. 93 ? perh.
from a list of Greek forces in Cassandra's prophecy ot the
Trojan War (Bl); cf. Porphyrio (above, p. 85) 3 the

Arcadians perh. were mentioned in a list of the Greek forces
in the Cassandra, 5 cf, Eust. 1909, 61 :
II9

LYRA GRAECA

20 [Tv8eis]

Sch. Ar. 4v. 1536 [xai TÀàv BaciAelav coi *yvvaik' &xeiw i56].
ceuaToTo.et Thv BagiAeíay avró T0 mTpüyua és Yyvvaixa.
Ebopóvis, OTi. Abs Qv'yárnp 1 1 BaciAeía. kai Boke; Tb kaTà TÀV
&0avasíav avT7 oikovoueiv, q)» Éxev kal vapà BakxvA(0gn 3j A0mvà,
TG Tv8ei bócovca 73jv à&avacíav.

21 [Pduvokr7r2s]

Sch. Pind. P. 1. 100 [Aauvó8ev]: ra?T5 75 igTopía kal Bakxv-
Aíons gvuoavet €v TOlS Ai&vpánBoss, oTi 93 oi ^ EAAqves ek Afuvov
uereaTe(Aavro TÜV PuXokTfirqv 'EAévov uavrevgauévov: etuapro "yàp
&vev TGY *HpakAei cv TÓÉwY pj Top8n8rrai TO "IAi0v.

A
IIPOXOAION
22

Stob. FI. 108. 96 -- 49 [671 8ei yevvaiws epe à mpoonizTovra
Üvras àvÜpémovs kal kar àper2v (5v óoe(Aovras] BakxvAibov
IIpocoBícev- !

cTp. Eis ópos, nia Bporoiciv? ebrvyx(las 0905,
Üvpóv ei Tis Exe ameves Óvvarai
O.a.TeNetv Lov: 0g 6€ uvpta uév agudvmroXet

operi,
TO O€ Tap &pdp T€ kai vókra ueXXovrav
Xdpuv
€óv lámTerat Kéap, dkaprrov exet T'ÓVOV.
dyT. Tí "yàp &Xadpóv € ér ? dmpakr. 08vpouevov
ovetv kapótav ; . . .

.. ? mss mporebiGv ? mss insert écgrív 3 mss insert écr
120

BACCHYLIDES

20
[Tvpkvs]

Seholiast on Aristophanes [fand have Kingship for your
wife']: He personifies Kingship as a woman. According to
Euphronius this is because Kingship is daughter of Zeus; and
she appears to preside over the immortalisation-department,
which in Bacchylides belongs to Athena, where she promises
immortality to Tydeus.!

21
[ PurLocTETEs |

Scholiast on Pindar [* from Lemnos ]: This account tallies
with that of Baechylides in the DiütÀyrambs in making the
Greeks fetch Philoctetes from Lemnos at the prophetie
bidding of Helenus. 1t seems that it was fated that Ilium
should not be taken without the bow of Heracles.

Book IV
PROCESSIONALS

22

Stobaeus Zahology [Of the need of bearing one's lot like a
gentleman, because we are human and ought to live according
to virtue]: Bacchylides Processionals :—

One goal there is, one path, of mortal happiness,
the power to keep a heart ungrieving to life's end.
Whoso busieth his wits with ten thousand cares and
affllicteth his spirit night and day for the sake of
things to come, the labour of such an one beareth no
fruit, For what ease is there left us if we keep the
heart astir with vain lament?? . ..

! cf, Apollod. 3. 75 ? the last sentence, is quoted
separately but is thought to belong hére

I2I

LYRA GRAECA
23

Ibid, 98. 295 [mepl roV Bíov, 0r. Bpaxvs kal ebreA3js kal opovrí-
Bev àváueaTos]: BakxvA(Í8Sov IIpocobíev: !

^ ,
Távreact Üvarotou Gaí-
, , , y,
jov égréra£e qróvovs &XXotgtv àXXovs.

1D
IIAPOENEION

24

Plut. Mus. l7 [m. &puovi|v]: o)k jryvóec 8€ (ó UAdTov) OTi
TOÀAÀ Adpia TapÜEveun ? "AA«püri kal Tlov6dpg kal Zuievíón kal
BakxvAÍ0 memoíT24.

em
TIIOPXHMATON
25
Stob. F7. 11. 7 [r. àAm8eías]: BaxxvA(Sov "tropxnudTev:

A vóia Lev Jyàp à AMBos
pavet Xxpóc ov: ay-

piv 9 àáperàv aodxav * e
Tü'ykpa?Ss eXéyxet
aXá8eua . ..

26-26 A

heil 4n. Gr. 7. 21 [m. &ppiukpov]: ó 6€ a)Tós kaAeira. kal
kpuTikÓs, &s rà» Kpmr&v émiwwomgcávrwv Tb «cibos ToU To(obTOv

l mss pocq0idv * mss insert &AAa 3 mss also
omit yáp,.gem omits utv "áp * gem co$ía with some
Ins8

I22

BACCHYLIDES
23

The same [on the shortness and vanity of life and how full
it is of trouble]: Bacchylides Processionals :—

God hath laid toils upon all men, one upon this
and another upon that.

Book V
MAIDEN-SONGS
24.

Plutarch Mwsic [the * modes ]: Plato was well aware that
many Dorian Maiden-Songs have been composed by Aleman,
Pindar, Simonides, aud Baechylides.

Book VI
DANCE-SONGS

2
Stobaeus .4n/hology [on " Truth]: Bacchylides JDance-
Songs :—
For gold is disclosed by the Lydian touchstone,
and the worth and skil of a man is proved by
almighty Truth.

26-26 A?

Keil Analecta Grammatica [on the amphimacer, — v -]:
It is also called a cretic because this kind of rhythm was

! cf, à * gem, prob. itself a touchstone, described by Caylus
Rec. d? Ant. V. pl. 50. 4 and Sch. Z7. 16. 57 3 cf. Dion. Hal.
Comp. 25 (T$ map& BakxvA(8gy), Ath. 14. 631 c, Ael. H. A. 6. 1,
Luc. Scyth. 11, Ach. Tat. 5. 12, Lact. ad Stat. TAeb. 2. 721

123

LYRA GRAECA
pvOuoU, ois kal 7b brópxnua àvaoéperar QiAet 56 Trà bmopxfiuara
TOUT TG T05l karauerpetaOat, otov:

Ovx &80pas &pyov o98. àuSoXás,
aàXXà ypvaatyiéos lrovías
Xp) cap ev6aicaXov vaóv eX-
0óvras áfpóv 7: Gei£a.

26 A

Lact. ad Stat. TÀ«b. 7. 330 [Itonaeos et Alalcomenaea
Minervae | agmina]: in qua Itonus regnavit, Herculis filius ;
haec civitas Boeotiae est. hinc Bacchylides Minervam Itoniam
dixit et

"AXaXkoguévgy!

significavit. hie Bacchylides Graecus poeta est quem imitatus
est Horatius in illa oda in qua Proteus Troiae futurum narrat
excidium.

21-28 [eis A7Xov]

Heph. 43 [m. vaueviko?]| 8Be85Aóo0w 8t 0T: kal 0ÀAa dcyuara
KprTiK«& avrTíÜerat, Go ep kai mapà BakxvA(5m'

5 ^ , »-
OQ, mrepikeXevré AG, áryvosxjaew pév oU o^ éXrropat

28

Sch. Call. Del. 98 [ei 8€ A(qv voAées ce mepvrpoxócecv &oibaí]-
ai Iluódpov kal BaixvA(8ov.

! Mitscherlich: mss Alchomenen, -em

124

BACCHYLIDES

invented by the Cretans, to whom is also attributed the
hyporcheme or dance-song, in which this foot is commonly
employed ; compare

This is no time for sitting or delay ; go we rather
to the fair-wrought temple of Itonia! of the golden
aegis, and there show forth some delicate thing.

26 A

Lactantius on Statius TAebaid [*'The Ttonaeans and the ranks
of Minerva the Protectress']: Where reigned Itonus son of
Hercules; it is a city of Doeotia. Hence Dacehylides calls
Minerva Itonia and

the Protectress.
This Baechylides is the Greek poet imitated by Horace in

the Ode (i. 15) in which Proteus foretells the destruction of
Troy.

21—28

[To Dzros]

Hephaestion Zandbook «f Metre [the Paeonic]: It should
be made clear that whole poems, too, are composed in cretics,
as for instance in Baechylides:

O far-famed Delos, I hope thou wilt not fail to
know again

28?

Scholiast on Callimachus Z7ymn to Delos [and if very
many songs run about thee ']: That is, songs of Pindar and
DBaechylides.

! [tonian Athena at whose temple at Coronea the Pan-
Boeotian Festival was held, cf. Alc. 6 ? or a Processional ?

127

LYRA GRAECA

7
EIIINIKON
99—41 British Museum Papyrus 733 :!

29 (1) A-E ['Apyeto Keio voit zvkry (?) "Io6pua.]

(The first 110? lines of this ode are mutilated or missing from
Brit. Mus. Pap. 733, buf we may compare for their contents :—
(a) Pind. Paeans 4. A2 [m. Aeti8éas] mépas b' ébv | eimév ax
(Eb£Ávr:0s): *Tpécw To: TÓAepuov | Aios "Evvocíbav 7e Bapókrvmov. |
x8óva rol vore kal aTpaTbv üÓpoov | Téuwav kepavrvq TpidBoval
Te | és rbv Ba0bv Táprapov, éuày | nuarépa Xvmóvres kal üAov
olkov evepkéa.—(b) Callim. Afri 3. l (Ox. Pap. 1011) 64 [m.
Kéo] év 5' 0Bpw 0dvaróv Te kepa)viov, év 8€ *yógras | TeAxivas
uakdápmv T. oUk &Aéyovra Oedv | 31Aeà Anudvakra "yépev éveOfjkaro
BéATois, | kal "ypivr MakeAÓ umrépa Acli8éms, | &s uo)vas re
vijcov àvérpemov etvek' àXvrpiis | UBpios &aimÜeis £AXurov &8ávarot.
—4c) Sch. Ov. Ib. 475 : Macelo? filia Damonis dicitur cum
sororibus fuisse ; harum hospitio usus Iupiter, cum Telchinas
quorum hie princeps erat corrumpentes invidia successus
omnium fructuum fulmine interficeret, servavit. ad quas cum
venisset Minos cum Dexione concubuit; ex qua creavit
Euxantium unde Euxantidae fuerunt.—(d) Nonn. Don. 18. 35
Ziüva kal ATÓAXwva uf Ecvurae MakeAA d . . .É—(e) Tz. Theog.
81 Matr. 4m. 580 éx Bé roÜ karappéovros oaíuaros r&v uopicv |
€v uev TÀÜ yl yeyóvaci Tpeis "Epiw?es TpáTov, | à? Tewióvg,
Méwyaipa, kal 'AXqkró avv TavTais: ? | kal aiv avrais oí Téccapes
óvouagTol TeAxives, | Axraios, MeyaAfs:0s, "Opuevós Te kal
Avkos, | obs BakxvAÍóns uév $ms: Neuégeos Taprápov, | &AXo
Tiyes 8€ Aéyovai T3js T's 7e kal ToU IIóvrov.)

l see p. 99 notel X? according to Blass, see below — ? ms
, : ,
Macedo 1 mss MakéAAcwv and a lacuna 5 ms TovUToLS

l see p. 93 note 1 ? the victory is recorded in a 4th
cent. list of victors found at Ceos, now at Athens 3. Calli-
machus' authority, Xenomedes, a mythologist of c. 450 p.c.
* according to other scholia, all except Macelo, who was
struck by lightning with her husband at her wedding
because he invited all the Gods but Jupiter. This episode may
not have formed part of the version used by B., cf. Pindar

126

BACCHYLIDES

Book VII
VICTORY-SONGS
29-41 from a Papyrus of the last Century P.c.:!
29 (i) A-E
Fon Anckivs cr CEos, Vicron IN THE Bovs'
Boxiwc-MaTcnH aT THE lsrHMvus ?

The first part of this Ode seems to have contained an invocation
to the Muses and. an address to Corinth as the scat of the Isthmian
Festival, and passed on to the story of Minos and Dexithea, a
story which 4s preserved «s follows:—(a) Pindar Paeans [on
Dexithea]: Euxantius told them the marvel that once befel
him :—* Surely I fear war with Zeus and the loud-thundering
Earth-Shaker. Surely their levin-bolt and trident sent a
land and its people every man into deep Tartarus, all but my
mother and her well-walled house'—(2) Callimachus Origins:
And therewithal insolence and a lightning-death, and likewise
the wizards the Telchins and Demonax who. so foolishly
flouted the blessed Gods—these the old man? did put in his
writing.tablets, and aged Macelo mother of Dexithea, them
twain that alone the Immortals left unharmed when they
overturned an island for its sinful insolence. (c) Scholiast on
the Ibis: It is said that Macelo and her sisters were
daughters of Damon, and that Jupiter having enjoyed their
hospitality saved them * when he struck the Telchins, of
whom Damon was chief, by lightning for maliciously blight-
ing all the fruits of the earth. "To these daughters came
Minos, and was united with Dexione, and begat Euxantius
father of the Euxantidae. Compare also (d) Nonnus Dionysiaca :
Macello entertained Zeus and Apollo at one [board]; and (e)
Tzetzes Theogony: From the blood which dripped from the
mutilated Uranus and entered the earth sprang first the
three Furies Tisiphone, Megaera, and Alecto, and with
them the four famous Telchins, Actaeus, Megalesius,
Ormenus, and Lycus, whom Bacchylides calls Sons of
(€ and Tartarus but some authorities of Earth and

ea.

127

LYRA GRAECA

29 (i)
cTp. a iis 1 i [[. 3-8)
IIreptóes . . . 'yatas dde .. . €UoUAov

[vau] Bpóv Nqpáos].

avT. Q iskiupe gosinbicds in ll. 13-142 ?)

Li
o ILéxozros Xwrapás

, , /,
vácov OeóóuaroL m Xat

em.a (perhaps in l. 19)

[0$ àp|uacuv Vr Tovg

avr. [9 (perhaps in ll. 38-39)

[x1]]ret cvvev|vov

pu y (perhaps in ll. 48-58)
[ío Tov |pryoi kop [a4] . . next) povos v [vov]
Lap xatav DUARTE Ula avO5pots àXos

. [a]byats &eXtov

Por er in (|. 13-81)

(Ma]keXo 8é ... [$1X aXákaros 2 gilsgat
ea... 7.000 ove TÉ vw]? .
gaívovGo OmL . .. pev cTÉpouat . .
aàpjáxke: Ova . . . mevía . . . [&ed]yer[e]
qáyma|v] ... .

(27 lines lost)

1 according to Blass' conjectural arrangement * from
Sch. Pind. 07. 13.1 mpó8vpov kal 00pas eió0ac: kaXeiv T3)jv KópiuvOov,

128

BACCHYLIDES

29 (i)
(lines 1-8 perhaps contained !
Pierians . . . . Isthmian land . . son.in-law of

shrewd Nereus . .?)

(I. 13-14 were perhaps
O God-built gates of ja shining isle ?)

(4. 19 Senuhh contatned
[harnessed] horses to a chariot)

(I. 38-9 perhaps
for lack of husbands)

(4l. 48-58 perhaps

girls at the loom . . . . sweet-hearted sleep ....
ancient city . . . . margin of the sea . . rays of the

Sun)
(4. 13-81 perhaps

nudoMaeelg ... loyer of the, distaff .. . to the
flowing [river?] . . and addressed [him?] . . in be-
guiling accents . . I lack . . with a two-edged grief
. poverty . . flee ye (?) altogether . .)
(2'1 lines lost)

1 Blass placed conjecturally what he considered the frag-
ments of the first four columns (110 1l.) of this ode ; they
are too mutilated and their position too much in doubt for
them to be printed here in full ? Poseidon, husband of
Amphitrite * Corinth

01à 70 Th» &pxv 1j TéAos elvai IIeAomovvijoov TOV "Ia 8uóv, Tp /óupov
6€ rois eis IIeAovróvvqaov oaTeAXouévois. BakxvADms: ^Q IIéAoTo0s
KTÀ. 3 cf. Apoll. Pron. Gram. Gr. 1. 1. 84

129
VOL. III. K

LYRA GRAECA
E Jae8e(

eje TpuTáTQs uer[à keivav| ?
[án]épa Mívos àprjios
ijvvÜev aioXompópvorse
115 vavci zevr:jkovra av Kpyrov ogiXo*

cTp.s$ Ais EokXetov 06 éka-
v. BaObvtovov kópav A
Ae£iÜéav Oáuacev
kaí oi Airr€v 3jpugU aav
120 dvÓpas àpnidíXovs,
rotciv moXvkprvov x0ova
veLuas, àzrov Xéov Q/xer. és
Kvocóv (uepràv 7 óMiv
avT.€ JjaciXeUs Ebpomíaóas.
125 6ekdáT 0 Evfavriov
uQgvi Ték eU Xokaguos
[vóuda dep]ekv8é[i vao o]?
E: v v-]* vpvra|vw]
[-- « - k]eóv[- » —

(8 lines lost)

[7 o - A&uevos àX]v£av? Ovyarpes

cTp. b! TON[tv és véa ]v ? Ba6vóe-
140 eXov[" €x TO]Ü " u€v *yévos
eT XeTO aprepóxetp:
'Apyeto[s óXoto] ? Xéovros
Óvpo[v éyov], omore
xpet[accov cv.) oXot? páxas
145 Troc aiv T éXadpós, vraTpiov
T o)K àT|O0kAapos k]aXov,?

130

BACCHYLIDES

Two days thereafter! in fifty poopéd ships gay-
painted came warrior Minos with a meinie of Cretans,
and by favour of Zeus the Fame-bringer did wed the
buxom damsel Dexithea ; and left unto her the half
of his people, men apt to arms, dividing unto them
that craggy land ;? and so was gone sailing home,
that king of Europa's blood, to lovely Cnosus. And
in nine months' time his fair-tressed bride bare
Euxantius ? to be lord of that glorious isle . . .

(8 lines missing)

. when the daughters [of Damon] had fled [to
a new and] sunshine-steepéd home.* Of his? seed
came hardy-of-hand Argeius, who showeth$ the
heart of a destroying lion when he meeteth need of
battle, came nimble-of-foot, and not without portion
in the many noble gifts that his father Pantheides

! after the visit of Zeus and Apollo to the daughters of
Damon ? ? Ceos 3 described by the scholiast on Apol-
lonius of Rhodes i. 86 as the father of Miletus * Coressus ?
5 Euxantius'? if Argeius hailed from Coressus (Kopyacós) near
Iulis, and the story of the Maidens (xópai) was a local etymo-
logising myth, we have the explanation of the appearance of
the daughters of Damon in this ode (Festa) $ the Gk. is
* hath,' confusing the permanent attribute with the occasional

! [| omit brackets where the supplements are reasonably
certain : before a 4 letter-bottoms as of wrpi AU ESBL
» üpBóBucoy (Wolff) or potpibtoy (J) would fit; éceóuevov too
long 5 E, not ]«£ € E ? or ék vàs 5 Barnett,
other suggestions too long ? E (c: lost by haplogr.) ;
Jebb's xpeiós ri: cvuBoAo: and DBlass's xpeiós € kepBoXot both
too long 1? Housman
I3I
K 2

LYRA GRAECA

àyT.L voca llav[6éióa kXvvó]vo- !
? ; , »
£oe ATOXXov avmracev
,
audí T iacropía
150 fetvev re diXávopt viud:
5 ji N , v
eü 6€ Aayov Xapírov
70XXols Te ÜavpuacÜeis fporàv
aiGv. éAvaev mrévre mai-
6as ueyauvijTovs Atrv'
, [^14 ^ [2d [4 ,
ém.b TÓV Éva oí Kpovióas
156 vritvyos '"le8uuovucov
Üfkev àvT' ebepryeciáy, Avrapóv T &X-
Xov o Teóávov émíuowor.
Qaui kai $ácc uéyio Tov
^ » , / ^
160 «0060s éyew àperáv: TAoD-
06 kai GeuXoteiv àvÜ oa ) E
TOS 0€ kai Oe.Xoia ww àvÜpcarov opuXet,

,
oTp.9» é0éXe, 8 avtetv ópévas áv-
e , e b 9? » e M
pos, 0 Ó ev épOcv Ücoys
* /, ,
eXrLoL kvópoTépa
- ,
165 caívei kéap' ei O Vyielas
N
ÜvaTOsg éov &Xa yer,
, 5,
Coetv T m. oikeimov exe,
T poTois épífer mavrí voL
, 5 , ,
répyris àvÜpoyrov [Bie
àvT.? Émerat vóa dv «ye vócev?
171 vreviag T d4La Y &vOv.
ei » ^ [4
(cov 0 T aQveos íi-
petpet peyáXov 6 ve ueiav
7TGvporépov: TO 66 mráv-
175 Tov eUuapetv ovóécy tyMvicU
Óvarotciv, 4àAX. aiei à $ev-
, ^
yovra, 0L ervrat kuxetv.

I32

BACCHYLIDES

had of the Lord of Archery, were it in the art of
healing, were it in the kindly service of strangers;
aye and much had Pantheides won of the Graces, and
a marvel was he become to many men, ere he passed
away and left the five sons of great repute, of whom
to one because of his father's well-doing the high-
throned son of Cronus hath given many bright
wreaths! and now hath made him victor at the
Isthmus.

I say and ever shall, that the greatest honour
belongeth to virtue and valour;? though wealth may
be found walking with cowards and is fain enough
to exalt a man's spirit, a nobler hope doth cheer the
heart of one that is good to the Gods; and if, for all
his mortality, he hath dower of health and can live
on what is his own, then vies he with the first.
Disease and helpless poverty apart, every human life
is attended of delight. The poor desireth small
things as much as the rich desireth great; to have a
plenty of everything is no pleasure to mortal men,
rather seek they to catch that which flies them.

! the Inscription mentions a victory of Argeius as àyévetos
or *beardless youth? at Nemea; but that would be later
than this, in which he is still competing among the «aibes or
boys ? the Gk. has the single word àperá, which varies in
meaning between virtue and valour or prowess

!1 Kenyon * cf. Plut. Aud. Poet. 14 ($áccuev mwrbv k000s
KkTÀ., omitting $aji kaí) 3 P vov[acw]v

L33

LYRA GRAECA

, , . 1 ,
ém.9 cTLwL! kovoorarat
Ovyóv Govéovot uépuuwan,
180 óc cov àv Loy xpóvov àv XéXaxev Tt-
páv? àperà 8 émíuox0os
/ ^ 9.29 ^
ILV, TeXevraÜcica 9 opÜos
[àvópt «|a 9 ebore du Xet-
[vet 7roXv |£Xe ov * ebXetas àyaNaa.

30 (ii)
TÓ GUTÓ
cTp. "A[ifov, o] 3 c euvoboretpa Qua,
és Kéov i Lepày xapura-
VUMOV dépova' àyyeMav,
ÓTL páxas paa xetpos '"Ap-
6 reios áparo víkav'
ayT. KaXdv 8' àvéuvacev óa' éy kXeévvo
aUXevt 'Ic0uo0 Ca0éav
Auróvres Ei£avríóa và-
cov éreóci£apev éflóoyj-
10 kovra cVv o TeQávotcuv:
ém. kaAet 606 Moto. avOvyevns
yXuketav aUXOv kavaXxav,
/ 9 v9 /
yepaípova. émLVLKLoLs
IIavOeióa díXov vtóv.

1 E: P óvriwa (but a Greek could not avoid taking this
with 6vuóv) ? Maas: P xp. rov? eAaxey Tiudv: but un-
metrically, and 7ó»9e should be covcov s"BE Mur
5 K: üitev & (Blass) would fit, but we need a vocative,

134

BACCHYLIDES

He whose heart is stirred by most vain solicitudes,
he getteth his honour only for his lifetime ; as for
virtue, it may give a man toil, but well completed
it leaveth him, even though he die, a right enviable
monument of fame.!

30 (ii)
Fon TruE SawE?

Up, thou giver of things revered, make haste, O
Rumour, to holy Ceos with a message of gracious
words, and say that Argeius hath gotten him victory
in the battle of sturdy hands, and brought to mind
all the feats which we of the sacred isle of Euxantius
have displayed with wreaths threescore and ten at
the famous neck of Isthmus, and that the native
Muse is calling up the sweet babble of the flutes and
honouring the dear son of Pantheides with strains of
victory.?

! though this Papyrus must have had àv8pí, Bacch. perh.
wrote óp8oi &vbpa, * well completed it setteth him up, and
when he dies he leaves a right enviable,' etc. ? perh. an
announcement of the victory celebrated in the previous ode,
written at Corinth by Bacch. and sent as a letter to Ceos
3 i.e. Bacch. is preparing Ode 29?

for the only 3 extant Epinicia of Bacchylides which have no
vocative are incomplete ; cf. 37. 1 $ P 6pacvxeip S

LYRA GRAECA

31 (iii)
épovi Xvpakocío
émrou OXoywr ia

cTp.a "Apu rokápmov XikeX(as kpéovaav
Aáparpa too TéDavóv re kovpav
Duvet, yXvkóO6ope KXelot, Óoás T 'O-
Mpmrvoüpopovs "Iépevos trrzrovs.
àvT.a/ [fev ]ro yàp aov brrepóxeo ve Ní«a
6 [cvv An[Xaía Te TTG. p. eUpvOLvav
l'AXéor, 700. A]emonéveos &nkav
OX fiov 1|é«os? a Tebávo]v «vptjaa:,
em.a ÉOpónoe 66 A[aós azetpov:
10 **A rpiwcevóatu|ev avi5jp,]*
0g vrapà Zvós Xaxov
TXela Tapxov "EXXávov yépas
oLO€ mup*yoÜevra T XoUTOV Ha) peXag-
oapéi kprTew aórQ.

oTp.[) fpvet uév tepà BovBiroi € &opraís,
16 Bpsovat QiXo£eríaus ? áryvLai-
Xámeu 0. vro uappuapvyais o xpvaos
UyriGatOANTOv pum cv cTaÜÉévrov
avTr.[9 mápoi£0e vao, TÓÓL pe yia TOV dXcos
20 oiov rapà KaeraMas pecOpots
AéXdot Órémrovat. 0cóv Oeov Tis
ayXaitéro, o 0 yàp dpio Tos OX ev:
ém.|9. | ése more kal óapaatr TOV
Avó(as ápxa'yérav,

1 E, cf, 33. 48, not eevovro nor éépovro, which are too

136

BACCHYLIDES

31 (iii)
Fon HikRo or SvnacusE

VicrToR IN THE Foun-Honsk Cnuanior-RACE AT
OrvuPiaA 1

Of Demeter that ruleth noblest-fruited Sicily, and
of her daughter the Maid of the violet wreath,? sing
now thou, joy-bestowing Clio, and with them praise
the swift steeds that ran for Hiero at Olympia. For
with Victory the pre-eminent and Glory sped they
beside the broad swirls of Alpheus, where they have
made the happy child? of Deinomenes to win a
wreath, and a multitude past number hath cried
* Ho for a thrice-blesséd man who possesseth of Zeus
the widest-ruling office of all Greece and knoweth
how to keep towered wealth unhidden of the black
mantle of darkness !'

Rife are the shrines with festal offering of oxen,
and rife also the streets? with hospitalities ; and
bright shines the flashing gold where high and rich
wrought tripods have been set before the temple,
in Phoebus' great precinct that is served by the
Delphians beside the streams of Castaly.? To the
God should we bring our honouring gifts, to the
God; for therein lies the best of all good-fortune ;
witness the lord of horse-taming Lydia; when Sardis

1 p.c. 468 ? Hiero was hereditary priest of Demeter
and Persephone (Hdt. 7. 153) 3 Hiero * of Syracuse,
where this ode is performed * the pedestals have been
discovered on the Sacred Way at Delphi, see on Simon. 170

long ? e.[ovov] too long 3 Blass * Kenyon
5 Richards: P -:«es 9 P ayAai(e8o *yap kTA.

137

LYRA GRAECA

25 eDTe ràv ven [popévav]!
Znvós TeXe|vo0o at «pt aw
Zdpties Iepaá|v édAwcav cTp]a7ó,
Kpoicov 0 xpvcd[opos]
cTp.'y QUXaE 'AmóXXov. [o 8 és à]eXmTov
ua
30 uoXov ToXv|64rpvo]v ovx éyeXXe
pápvetv ét [9ovXoc? |vav, Tvpàv 8€
Xa ev éos v por ápot]Üev avXàs
dyT. y vana , évOa civ &Xóxo] Te keOvá
c)v eUTAokápots T éméBauv' &Xa[s iov]
35 Üvyarpdci Óvpouévats: yépas Ó. és
aiT Uv ai0épa a $erépas áetpas
, / / «c , ^
em. wéyovev: *"YmépBte 8atyuov,
vro) ÜeÀQv éc Tiv xapis ;
T00 66 Aaro(6as áva£ ;
40 [éppove ]w ? 'AXvárTa 96jot,
s [o$8' àdievet|v|as p &mowa] uvptev
£xg- * , 3.13 K / Hh p
[ov vporep áryaXudáro ]v,
cTp.O [GXXN aiBera, A$0ov zaXato]v &crv,
| [$owiecerat atia ypvao]8tvas
45 lakro»ós, áeuceNcos yvvaixes
é£ é CÜkTir ov peyápov dyovrau-
àyT.O và mpócÜe 0 * é£xyOpà diXa: Üavetv
yXÜKLG TOV.
TÓG. cime, kai à po[Qárav kéXevaev
e / , » &
&v Trew ÉUXivov Bopov. éicaryov 6€
50 TrapÜévot, $iXas. T àvà palT pi Xetpas
ém.Ó &BaXXor* 0 yàp 7r pooav?)s 6va-
TOÍG LV &xÓ1a ros $óvov.

àXX. émrei Ocio "rvpos
139

BACCHYLIDES

fulfilled the sentence delivered her by Zeus and was
taken by the host of the Persians, Croesus was saved
by Apollo of the golden bow. Aye, when he had
come to that unlooked-for day, he would not await
so woeful a lot as servitude, but had them build a
pyre before his brazen-walled court and went up
upon it with his trusty wife and his fair-tressed
daughters wailing incessantly; and raised his hands
towards high heaven and cried ' Almighty Spirit!
where is the gratitude of the Gods? where is the
Lord that Leto bare? Fallen is the palace of
Alyattes,? [and I have no requital of the] thousand
[gifts I gave;? rather is the ancient] city [of Lydus
aflame, the gold-eddied Pactolus* [empurpled with
blood], the women reft unseemly from the well-
built houses. What was hateful once is welcome
now; sweetest it is to die.'

So speaking he bade one of his soft-stepping
men kindle the wooden pile. WMhereat the maidens
shrieked and threw up their hands to their mother ;
for death foreseen is the hatefullest death to man.
Nevertheless when the shining strength of that

1 Zeus? ? father of Croesus, reigned vc. 617—560 r.c.
3 mpoméumeip to give gifts, orig. processionally, cf. Aesch.
Pers. 622, ''heophr. Char. 30. 19 * this river was said to
carry gold-dust

1 ]]. 25-34 restored by Kenyon (25, 32, 34), Kenyon-Weil
(36), Palmer (27), Jebb (29-31), Blass-Kenyon (33)? Frick;
mírvovciv too long ? ]l. 41-43 Z, 44 Kenyon- Blass (Jebb's
suggestions do not fit till 44 5 P mTpóc0cv

139

LYRA GRAECA

Aajwmpóv Oudi|£ev! né]vos,
58. ZevUs émio Tácas |peXavykev]0es védos ?
c Bévvvev £avOà|v $Xóvya.]
cTp.€ àmL0 TOV 0U0€v 7L Ó|eo0? ué]owuwa
reUxev — TÓóTe AaXoyevijs ' AmróNXov
dépov és "TzrepBopéovs yépovra
60 cv ravi QUpots karévaoce koUpats
ayT. € -. OU evcéfleuav, óvL uéyio ra ÜvarOv
és a/ya€éav àvémeywye llv8o.
ócoL tye uév "EXX46. &yovouv ob 71s,
o peyaivgre lépev,* 0eXxjae
ém.€ — $ápev oéo mXeiova ypvaóv
66 Aofía méuNrac Bporàv.
[có Aéy ew? vrápeoriw, oa-
[7:5 u]) $06vo miatvera:,
[eod] A5 díXum aov dv8p. àápyjiov
70 [eO ]tov e«üzrrpov Atos
cTp.s |tomXo]kev 7e uépo[s éyovr]a Movcàv:
[9s 6e:]uaXéa vroT|é xerpi 05]óv $
[ynp]a:0s é$áuepov a[9r—uc7 9XBo]v *
acvxX]&à cxorets,? Bpax|[vv eóvra eióos*
avr.g' [0oX]óecca 9 é&Xmis bm[ó ópéveoouv
avópaàv]
76 [éGap]epéeow: 19 o 9' àva£[Cypmo uos]
['Exaf0]Xos eixe Oépn[ros vit]

l or Qidiccev ? ]. 55-7 Kenyon (55), Palmer (56),
Kenyon-Z (57) 3 6[ecy too long * Anon. sugg.
neywratvgr. 'I. 5 ] 67-71 Blass (67, 70), Palmer (68),

Herwerden (69), Kenyon (71) $ BL-Z ; 72 ff. Jebb's
ós 5 éy], év' &0v]os, xatpi]a, à[v8poós alca]v, mo[T& xeipa bot]umwv
are all too long, though his a]Iy? f5e1]v, if so read, would fit;
too long also are Blass's yaAa]vós and [&à8ovàv d]i[AX4vop]a,

I40

BACCHYLIDES

awful fire rushed over them, then sent Zeus a
black veil of cloud and quenched the yellow flame.
Nothing that comes of the care of a God passeth
belief, So then, the Delos-born! did bear away
that old king to the land of the EHyperboreans
and there give him dwelling, him and his slender-
ankled daughters, by reason of his piety, because
he of all mankind had sent up the greatest gifts to
hallowed Pytho.

Yet of all the dwellers that are in Greece,?
O illustrious Hiero, no man can say that any hath
given to Loxias? so much gold as thou. If a man
only batten not on envy, he will surely praise a
favourite of Heaven, a lover of horses, a man of war,
that holdeth the sceptre of the Lord of Laws, and
eke hath share in the gifts of the violet-tresséd
Muses,—one who, though his hand was terrible once
in war, looketh calmly now that he is old on a
happiness that is from day to day, well knowing it
to be short. Yet deceitful is hope unto the hearts
of us creatures of a day, witness the Far-darting Lord
of the Oracle,? who said unto the son * of Pheres, * As

! the earliest offerings of the Hyperboreans were to the
Delian Apollo, according to Hdt. 4. 32ff. ? Hiero may
not be as rich as Croesus, but 3 Apollo * Admetus
king of Thessaly, whom he served as neatherd

Sehwartzs àe$eAé]a, and Kenyon's ó Bovkó]Aos IE:
for ajr-s7 cf. occa-kisz- 37. 15 ; a[?ris aijà- would fit,
but the overlapping -/ would leave too little space in
the next line (-? á8éa too long ; Jebb's a[2re répli]v is too
long even as a]óre «Té pycd]v $ Jebb (but &cvx«) ; traces
of a cireumflex over ]z and an erasure after ekomeis but no
point , E 10 55A. and éragu. Jebb, the rest E 1g;
in 77 $íA» o(]Xos (Wil.) is too long even without iota adscr.

I4I

LYRA GRAECA

* Ova àv ebvra, xp?) Gu6Upovs àé£etw
ém.s wyvopas, ÓT, T. avpiov Ovreat
80 uobvov àALov $dáos
XOTL TevTüKOvT €TE€à
tCoav Ba8vTXovrov TeXets.
ócia OpQv eUbpaive Üvuóv: voUTo yàp
kepOémv VRAT.
eTp.t. $povéovri cvverà ryyapuo* a8)s uév
86 ai07)p apiavTos: UOcp O6 TÓVTOU
o) cámerau óvadopvros! Ó 0 ypvaós:
ày8pi 9. ov Oéyus Tr0MÓV Tapévra
avyT.0 yfjpas 0áXeiav arts p pic ue
90 78av. áperás. ry€ u&v oU paviv6n ?
Bporàv &pa c opat oéyyos, àXXà
Mood vi Tpéoet. lépov, av 9 0XBov
em.L xkáXMaT emeoet£ao ÜvaTots
ávÜca* v pá£avri Ó e)
95 Ov ,óépei KOGJLOV GLQ-
Td: cV)v 0 àXaÜeía kaXàv
kai ueXiyNoa aov Tis vpvija ec x apu?
Krías àn8óvos.

[ézrzro:s] IIv6ia
cTp.a "Eri Evpakocíav Quel
TOM Ó xpvcokópas Am oXov,
àc TUOeptv 9 lépova vyepaípev
rpiTov yàp rap. oubaXóv vrcOetpov x O8ovos
1 E, cf. $opóve and doopvrós: P eib$pooíva *.J AL
unkÜvo): P vé:
142

BACCHYLIDES

a mortal thou shouldest nurse two opinions, this,
that thou wilt see but one more morrow's sunlight,
and the other that thou wilt have fifty years of a life
of ample wealth. Cheer then thy heart by righteous
deeds, for therein is the highest of all gains."

I ery words the wise may understand ; the deep
sky is not to be defiled, the water of the sea doth not
decay, gold cannot be tarnished ; but a man, he may
not pass by hoary eld and then recover blooming
youth.| Yet virtue's light waneth not with a man's
body, but is cherished by the Muse. Thou, Hiero,
hast displayed before men the fairest of flowers;
and one that hath succeeded getteth no honour of
silence; so there shall be a true tale of things well
done, and along with it men shall praise the grace
of the honey-tongued nightingale of Ceos.?

32 (iv)
Fon THE SaAME,
VicroRn wirH THE Fovn-HomsEe CnuHaniorT AT PvruHo 3

The golden-haired Apollo still loveth the city of
Syracuse, and doeth honour unto Hiero the upholder
of public right. For now a third time? is he sung

1 Hiero was sick of a mortal disease, and died in the
following year; Bacch. is imitating Pindar O/. 2. 93
and i. 1 (476 r.c.) ? the poet 3 470 B.C. ; the same
victory is celebrated by Pindar P. i 3 he had won the
horse-race at Delphi in 482 and 478

143

LYRA GRAECA

5 IIvOtóvucos àctóerat
, , 2 63.1 M ird
eokvroc[ev àperá]* ovv tmrov.

eg. [&«evokpdreos Ovyyarep, oov
N ^ N /, , ?T 3 ,
| [96 Tiu 0cüs marép]|" às àXékTop

[id kap, érei Óéxov]rt vóo

10 [eóAvpovs ékacov vrep] vpvovs
, , , 3 ,

cTp.D' [keXa8éovres ov] icop-
[pozrov éyovra Atxjas TáXavrov?
,

Aeuvogéveos &' évyepatpopev viov.
Trápea tw 9. éy * &ryyiáXowct Képpas jv Xxots

15 uobvov émiyOoviov vá6€
uns ápevov oa eoávots épém ew
00 T OXuyrLOvUKas
JE , , ^ ^
aeiQetv. TL Déprepov 1) Ócotatv
diXov éóvra vavroóam v

20 Xaryxyávew a0 poipav écOXov ;

33 ()
[TO avTÓ
&éAri OXógria]

, » - /
c7p.Q . Ebopoipe Xjvpakoaiov
[ ,
(TT 00iv1)TOV G'TpaTA/y€,

, ^ ,
yvoc? pev toa Tebávov
^ / ^ m^
Motcáv yXvkvOopov áryaXpa, rÀyv rye vüv
5 ai Tis érruyÜQovtov,

1 Bl. and others (P ]:) ? E: J's supplements do not
fit in 8-10 nor account for xe (13), and the poem was doubt-
less addressed to somebody (see on 30. 1) 3 Headlam

* E: P mapeoiav

144

BACCHYLIDES

along with the prowess of swift-footed horses for a
victory won beside the centre of a high-cliffed land

e.g at Pytho.

[O daughter of Xenocrates,! the God doth honour
to thy father] whose daughters spouse is happy
because we could not so honour the son? of Deino-
menes that he should keep the scales of Justice
level? [even were we to chant] right willingly
[unto the skilful string an hundred] hymns of
praise.

Yet can we crown him with wreaths as the only
man on earth who hath achieved what he hath done
in the glens of Cirrha by the sea, aye and we can
sing of two victories Olympian. What is better
than to receive a share in all manner of good things
because one is dear unto the Gods?

39 (v)
[Fon THE SAME,

VicTOoR IN THE HonsE-RACE AT OrLvMPiA 5]

Blest leader of armies unto the chariot-whirléd
men of Syracuse, thou if any man in this present
world wilt judge truly of a joy-bestowing gift that
is offered unto the Muses of the violet wreath.

1 Hiero's third wife, cf. Piad. 7s. 2 4rg., Sch. O. 2. 29
? Hiero 3 éxovra proleptic, i.e. *so that he should have
praise in proportion to his deserts'; it is not unnatural to
regard 'him' rather than 'us' as the weigher, for the
exploits are his and so is the praise as soon as 'we' give

it * jin the horse-race in 476 (celebrated in Ode 33) and
in 472 * p.c. 476; the same victory is celebrated by
Pindar O/. i

145

VOL. III. L

LYRA GRAECA

óp8 os ópéva 0: eUÜvOLkov
aTpéu aápmavcas pepuuvày
óc xem dÜpnaov: vóoQ,
eL? gov Xapíreaat Ba8vtávois voavas
10 ouvov amo Ca0éas
vácov Éévos ouerépav
TÉUTE€V és kXeiày TON?
xpvcápmvkos Ovpavías kXe-
-vos Üepám ev: é0éXe*
15 yüpvv ék o T1Ü€éav xéov
avr.a/ aiveiv lépova. a8v)v
0. aiÜ0épa £ovOaici TápVOV
byroü. 7TTepUea at Ta .Xel-.
ats aieTos ebpvávakos dy-yeXos
£0 Zimvós pua ba páryov
apaet kparepá Trig vvog
io XVi, T Tác covTt Ó. Opvi-
XES MryódÜonynot $óBo'
OU VLV kopvóai peyáxas lg yovcL ryaias
25 ov0 ANS aca ueras
OÓvoTaimaÀa kUuaTa* vo-
pà 9.0 év árpiro xáe
Xem TóTpvxa. avv CeQupov TrvoL-
aiciv 9 &Üeav àpt-
30 yvoros * àvÜporots iOetv:
ém.a TOS Vóv kal £uol nupta "rávra kéXevÜOos
bperépav àperàv
UL Veitv,? KvavoT Xo dpov 0' ékar. Nixas
XaMeoa Tépvov 7 "Ápmos,
35 Aetvopéveus dryépo-
xo. Traióes- eb £pücv O6 pi) kdpoL eos.
FavOorpixa pév Oepévixov
146

BACCHYLIDES

Give thy unerring brain a gentle respite from its
cares, and turn thy mind's eye this way, to look if it
was with aid of the buxom Graces that a guest-friend
of thine renowned as a servitor of golden-coifed
Urania wove the song of praise he sent to a
renownéd city from a sacred isle.! Fain would he
pour the voice from his breast in praise of Hiero.
Cleaving the deep sky aloft with his swift brown
pinions the eagle-messenger of the wide-dominioned
Thunderer putteth sure trust in his mighty strength,
and the shrill-voiced birds, they cower in fear. No
stay to him are the summits of the great earth nor yet
the steepy billows of the unwearied brine, but in a
void unabating sped by a breeze from the west, plies
he his glossy plumage conspicuous to the eye. Even
so for me now are there paths ten thousand every
way to praise your prowess,? O ye lordly children
of Deinomenes? by grace both of dark-haired
Victory and of brazen-breasted War;* may Heaven
never weary of blessing you! | Gold-arméd Morn
saw that storm-swift courser the tawny Pherenicus

l j.e, see if this is a good poem ? Bacch. imitates
Pindar Zs. 3. 19 (p.c. 478?) 3 Hiero, Polyzelus, and
Thrasybulus (Gelo was dead) 5 ref. (chiefly) to the defeat
of the Carthaginians at Himera, B.c. 480

1 Richards ? Palmer: or better ai? P 4 3 E,
*epistolary past': P eu|me: kAeevvav es moAiw * P adds
6é: perh. &8eAev (E), cf. 38. 73 5 Walker, despite Sch.
Hes. 7T. 116: P veuara 9 P mvooiciy ? P inserts uer
$ Palmer: P vuvei: cf. Pind. 7s. 3. 19 ff.

147

LYRA GRAECA

' AXdéov map ebpvótvav
TÀXov àeXXoOpógav
5 /, , 5 ,
40 eiQe v.kác avra ypvaóTaXxvs Acs,

cTp.(9' Ilv8Qw c év árya0éa:
ya ó emi kiymTov miacka:
oU co Vu UT 7 porépav
Urt 3 árjàvt KQTÉypavev KOVLs
45 7 pós TéXoS opvop.evov.
pere yàp io'os Bopéa
Ov kvBepvijrav ÓvAdccov
terat Veo poTov
vikav lépewt duxoEeiug TLTÜGKOV.
50 OX Bios QTLiVL cos !
poipáv T€ KANOv &mOpev
cuv T éribjNo TÓXa
à veov Bioràv &uryew: o)
yáp TLS emixBovíiav
55 TávTa y gubaipov éóv.
àvT. B' [xai yáp ? m ]or épeurvrixav
[vaio àvi« jarov Méyova tv
[60vat Atos]? ápyyucepas-
vov 6ouaTa Depaebóvas rav. iipov,
60 kapxapóeovra KUv d-
tovr és oáos é£ ' Aita,
viov amXárov " Exióvas*
évÜa. óvo rávov fporov
Vrvyàs éd mapa Kexvro0 peéOpous,
65 oiá Te QUXNX' dveuos
"Ióas àvà uyXoBorovs
T'pOvas àprnaTàs Oovet:
Taiciv O6 perémpemev elóo-
148

BACCHYLIDES

vicetorious beside the broad eddies of Alpheus and
at hallowed Pytho.! I lay hand to earth and swear
that he hath never sped goalward fouled with the
dust of fore-running horses; for his speed is the
speed of the North-Wind as he flies 'neath his safe-
seated pilot to win for the hospitable Hiero new
plaudits and another victory.

Happy the man whom God hath made share in
honours and hath given with that enviable lot life-
long riches too. For no man on earth is fortunate
in all things; witness the tale of that gate-breaker
invincible? that child of sheen-levined Zeus who
went down to the house of slender-ankled Perse-
phoné, for to fetch up to the light from Hades the
jag-toothéd hound? that was son of Echidna the
unapproachable. There was he ware of the spirits of
hapless mortals, there beside the stream of Cocytus
like leaves a-quiver in the wind on the gleaming

shoulders of Ida where the sheep go grazing, and

! of. Arg. Pind. Ol.i ? Heracles sacked Troy, Oechalia,
and Pylos 3 Cerberus

1 ]l. 50-55 ef. Stob. P7. 98. 26, 103. 2, Apost. 12. 65e
? Jurenka : uáv is too long * Palmer

149

LYRA GRAECA

Xov Ópacvyéuvovos €y-
70 xeoráXov IlopÜaví(óa.
, N , e » , , ,
em. Tüv Ó cs iO0ev "AXpjvios Óavpac Tos
Tjpcs
/, ,
TEUXEcu Xagwropevov,
vevpàv ézéface NvyviXaryyt) kopcvas,
xaMkeókpavov 9. &mewr. é£-
78 eiXero iv àva-
, / ^ ^ » 9 ,
i dapérpas m Oa: TQ OÓ évavria
Vrvxà mpodápm 1 MeXed-ypov.
kai viv €0 et6o$ Trpooetmev:
*'Tié Atos peyáXov,
80 o TOL T. €v yópa, yyexavecas re Óvpóv

cTp.'y p) TaUciov vrpoltet
TDAXUV ÉK Xetpóv oig TOV
yrvxataw € TL due
oU TOL Cos. Os óáro: ÜduBmoev 8 dvaE
85 "Andvrpuoviáóas
eumév re: "Tis aÜavácvov
7) Bporàv ToLoDTOV éprvos
Üpévrev € &v 7roía x8ovt ; :
Tis Ó. éravev ; ; y ráxya kaXMitevos "Hpa
90 «eivov éd. áperépa.
méueu kepaXá* Tà ó€ TOV
IIaXAdót £av08 eX et."
TOv 06 zrpocépa MeXéaypos
Oakpvóeus* ' XaXerróv
95 Oeóov vraparpévrau vóov
àyT. y. dvÓpea atv émuixBovíous
Ia yàp üv T MáEvm ros Oiveis
v ab)ccv kaNvkoaTedávov

I5O

BACCHYLIDES

among them outstanding the shade of that staunch
wielder of spears, Porthaon's son.!

And when the wondrous hero-child of Alcmena
beheld him in his shining armour, first drew he the
shrill-tCwanging string to his bow's end, and then,
opening the lid of his quiver, picked out a bronze-
headed arrow. But the ghost of Meleager appeared
now close before him and spake as one that knew
him well, saying, *Son of great Zeus, stay thou
there and calm thy heart, and launch not vainly
from thy hands a brute arrow against a dead man's
ghost. "There's naught to fear The princely son
of Amphitryon marvelled at his words and said,
* What God or man reared such a scion as this, and
where? and who slew him? Sure the fair-girdled
Hera will soon send the slayer of such an one
against me also—albeit flaxen-haired Pallas, me-
thinks, will look to that.'

Then answered Meleager weeping, * Hard is it tor
earthly man to bend the will of a God. Else would

my father Oeneus the smiter of steeds have made

| Meleager
I5I

LYRA GRAECA

ceuvás xoXov ' ApréuiGos XevkaXévov
100 Acca j.evos 7roXéov
T aiyàv Ovaiauau mra T?)p
«ai [Boov dowikcovoTov:
aXX. àvikaTov 0eà
éa xev xy0Xov* ebpuDiav Ó' éaaeve kovpa
105 káTpov àvatQopuáxav
és kaXMxYopov KaXvóà-
v, évÜa v Xnpubpov aOéve,
Üpxovs ézrékeipev ó60vrt,
cóáte re uijXa Bporàv
110 0 Ga ts eicávrav poXot.
ém.y TO 0€ c Tvyepàv Ofjjpvv EXXávov dpi Tot
cTracágeÜ" évOÓvkéos
&£ üuara cUveyéos' ése 66 Oatquev
&ápros. AviroXoits Ope£ev,
115 Üdmrro uev obs ka Téme-
$vev cs ép.Bpoxas éraiccov ta,
' Aryka tov é SP T AwyéXaov!
e[Ovr Jarov kebvàv aóeXóeav
oUs TÉK€V €v ueryápots
120 TaTp0s ' AXOaía vrepueNevrotewv Oivéos*
cTp.OÓ [cov T. 9 Mere" potp' oXoà
[7Xe0va s**. ov yáp 70 Oat$ pov
[7a0c ev] xóXov á^yporépa
AaTobs Óvyárnp, vrepi 0 ai0cvos Gopás
1925 uapvápeO. évóvkéms
Kovpfjst uevem ToXéguots*
€vO' éryo Tr'0XXois o 0v AXXous
"IdukNov kaTékravov
égÜXóv T 'Adoápnra, ÓooUs udTpoeas' ov
yàp
152

BACCHYLIDES

cease the wrath of rosebud-wreathéd Artemis, the
reverend, the white-armed, when he besought her
with the sacrifice of so many goats and red-backéd
oxen. But nay, the Goddess-Maiden's wrath was irre-
sistible, and she sped a wide-mighted boar, shameless
in battle, into the lawns of Calydon, where on the
flood of his strength he went goring the vine-rows
and slaying the sheep together with every man that
came athwart his way. With a right good will and
for six days together did we that were the flower
of the Greeks maintain a loathsome warfare against
him, and when God gave us Aetolians the mastery,
we buried those that were slain by the violent
onset of the squealing boar, Ancaeus to wit and
Agelaüs the dearest of my trusty brethren whom
Althaea bare in the far-famed palace of my father
Oeneus ; aye, and with them did a dire fate destroy
yetothers; for Leto's wily! huntress-daughter stayed
not her wrath, and with a right good will fought we
the stubborn Curetes for the tawny hide. And I
slew in that fight, among many more, Iphiclus and
noble Aphares the swift brethren of my mother;

1 or warlike; the reference is to Artemis

! Kenyon: P eyyexov | ? E; $éprarovis toolong —? E;
mpós 5' or rày 0 would be too long * Housman

153

130

LYRA GRAECA

kaprepóOvpos " A pns

kpiveL. $iXov ev TrOMÉJLep*
TvQXà OÓ. éx xeuàv 869
Yrvxals € eTL Bva uevéov $ot-
TÓ, Oávaróv T€ ÓépeL

135 Toiciv àv Saiuov 0éXs.

AvT. Ó

140

145

TaÜT OUK ÉévXAe£auéva
Oeo iov kovpa Gatópoev
paT0D kakómoTQos égot

z Y 5 cim "iio
BoDXevaev OXc0pov àrápflakros tyvva
kaié Te Gat.GaXéas
ék XAápvakos eoKvpopov

^ N

dirpóv dykXavcaca, Tóv O7)
uotp' érékXoaév rore?
Coüs Opov àperépas €ujev. TUXOV pev
AaiztUXov KXojevov

^C? » , ,
T aO ducutov é£evapt-
Cv auouprov Gépgas,
mÓpyav 7 pom ápoie KLXx1ja as*
Tol O6 T pOs eükTLuévav

150 debyov àpya(av róXww
év.8 IlXevpóva: puvóvÓg? G6 pot *rvxà

160
154

yMuketa-
yvàv 6. óXvyocOevéov,
aiat: zrüjaTov 66 vrvéov 6ákpvca TXdpov,
ayXaàv TjBav vrpoXeir av."
daciv àOe.cuBoav
"Audrrpiovos vaióa poÜüvov 87) TÓTE
réyÉat BXébapov, Ta XaevÜéos
TÓTJLOV oikTípovra $oTO0s'
«ai vtv àju.eu3óp.evos
ToU * &bac ? * Ova oic uj düvat dépio rov

BACCHYLIDES

for hardy-hearted Ares distinguisheth not a friend
in war, and the javelins go and come blindly from
the hand 'gainst the lives of the foemen, and bring
death to whom God will.

* With no thought of this, my ill-starred mother!
the wily daughter of Thestius, plotted, fearless
woman, my destruction, and turned key and took
from the carven chest the swiftly-dooming log which
Fate had ordained long before to be the bourne of
my life? It so fell out that I had overtaken before
the walls of their ancient well-built city of Pleuron,
whither they fled, the faultless figure of a man, to
wit Daipylus' valiant son Clymenus, and was in act
to slay, when sweet life went faint within me and
I felt strength fail—ah me!—and with my last
breath wept my woe for the glorious youth that I
must leave behind me.'

"Tis said that then for the only time was the
eyelid of Amphitryon's son, that never feared war-
cry, wetted with a tear, because he pitied the fate
of that suffering wight; and he answered him,
* Best were it for mortals never to be born nor ever

1 Althaea ? i.e. burnt the log whose life was fated to
go with her son's, cf, Swinburne A/alenta in Calydon

1 Brooks, or &ykAécaca (Shackle)? | P eyxAavcaca
? Kenyon; P rore — ? Jebb, cf. 32. 90: P juvvv0a . * Jebb:
P 7o? with : erased and o altered to a 5 Stob. FI. 98. 27

I55

LYRA GRAECA

/, 3 9 J ^
oTp.c qmó àeMov Tpocióetv
, ^ , ? , /, , ,
déyyos" àXX' ov ryáp Tis éco TU
Tpáfis TáOe uvpouévors,
N ^ / e N , ^
Xp) keivo Xéyetv OT. Kai juéNXet TeXetv.
165 vod Tis €v pwe'yápots
Oivfjos apntdiXov
y 5 , /
éc Tiv àóyurjra Ovyarpov
N N H ,
coi Dvàvy àXvykiLa ;
ráy kev rapàv éO&xov Ociuav dxovriww.
170 Tür 0e uevezTOXéuov
Jyvyà T poséóa. M eXed-
ypov: ' A£rrov XXopavxeva
ev óouaci Aaiavecpav,
viv ért xpvcéas
175 Kvmpi&os OeXEiuBporov."
àyT.€ — XevkXeve Kama,
cTücov evmoLnrov &ppa
, ^ 7 /
avTob: (a re Kpovíoav
e , , , , S ^
Üuvgaov 'OXóuriov ápyayóv edv
180. Tóv T' ákap.avTopóav
' AXbéov léxosros ve tav
«ai llícav, év0' 0 &Xeevvos
cocci vikdágas OpoJuo
s , , , , - ,
7X0ev GO 'epévikos és evbmrvpryovs Zvpaxoa-
185 cas lépevt $épov
ebOauLovias TréTaXov.
M 945 , /
xp1) 9. àXaQetas xpi
, ^ , , J
aívetv, O0vov àudorépawoiv
xepoiv ámacápevorv,
190 ei 7i$ €0 7rpáo coi [9poróv.
ém.€ Bowrós àvijp ráOc! dév[nae yMvkeiáv]?
"Hao8os T. póroXos
^ ^ ^ , , ^ JJ 3
Movcáv, 9v àv áÜávaroi Ti[uc1, TovTo]
156

BACCHYLIDES

to look upon the sunlight; but seeing no good
cometh of these laments, one should speak of that
he is like to accomplish. Is there, I ask thee, in
the palace of warrior Oeneus an unwedded daughter
like in beauty unto thee? I would fain make such
an one my splendid bride. Whereat the ghost of
the stedfast warrior Meleager answered him:
* Deianeira left I at my home with the green of youth
upon her sweet neck, unwitting still of the golden
enchantress Cypris.' !

O white-armed Calliopé, stay thou here thy well-
wrought chariot, and sing now of Zeus Son of Cronus,
Olympian captain of the Gods, and of Alpheus
never-wearying flood, of the might of Pelops,? and
of Pisa, where the feet of the renowned Pherenicus
won the race he hath come back from unto em-
battled Syracuse with a leaf of happiness for Hiero.?
Now we should thrust envy aside with both hands,
and if any man succeed, give praise for truth's sake.
On this wise spake a man of Boeotia, Hesiod, servitor
of the sweet Muses, Whomso the Immortals honour,

! Deianeira compassed H.'s death, cf. 11; the point is that
Fate is fulfilled in the end * Pelops' grave was in the

*altis? or sacred enclosure of Olympia 3 the garland of
wild-olive which was the prize at Olympia

1 P ra5e * Bruhn 3 ]l, 193-4 Housman
157

LYRA GRAECA

Ka Bporóv $5pav ér|eo 0a.)
195 TreiQopat eóapéas
eUkAXéa, keXevÜov yykOocav ov|« amorpa-
cm àyv]!
TégTreiw ' lépovv: 006v yàp
srvÜpéves 0dXNXovosv écOX[oí,]?
TOUS 0 ueyio Tobi op ?
200 Ze)s àkuw1jrovs €v eipsjv|a QvX4oco:.]*

34 (vi)
Aaxycovi Keto
[ra:.01] craóiet 'OXsumia
/ , M /,
gGTp.Q Adaxov Aw0s jeyLa TOV
AáXxe déprarov v00ec ot
«0600s ém. AXdoeo0 mpoxoais [* áperpa,]?
óL 0cca 7rápotOev
6 apum eXovpóoor Kéov
» / 32 ,
a&ewcáv ToT OXvyumria
TUÉ T€ kai a TáOLOV kpaTeÜ-
cav a TeQávois éÜetpas
/, , /
coTp.[ veaviat D pvovres-
10 cé óé vüv àvafwuóNmrov
Opavías Üpvos €cat vikas,
"Apta Topévetov
&) ro6ávepov TÉKOS,
ryepatpeu vrpo80pots &oL-
15 Oaís, ÓrL G ráÓLOV kpa1)j-
cas Kéov eikXéi£as.
! E, cf. 38. 26 (ovk éxrbs 9íxas would surely have been
thought cacophonous) 2; KK 3 E: P -raTwp 5. Wb,
Platt 5 E; gives a good contrast between sápoidev here

and sé 8t vóv below ; the ode is divided into 3 parts of
8, 6, 7.1.

158

BACCHYLIDES

the good report of men doth follow him also.
Readily am I persuaded ! to send Hiero a faming
voice without swerving from the path,? for from such
praise spring good stocks which I pray the Great
Gardener may - keep undisturbed in peace.?

94 (vi)
Fon LacHoN or Ckos
VicCTOR IN THE [Bovs'] Foor-RACE AT Orxvwria *

The feet of Lachon have gotten him of most great
Zeus the best of glories at the outpourings of
Alpheus. Past number are the deeds for which
young men with wreaths thick upon their locks have
sung erstwhile at Olympia for victories of vine-
rearing Ceos in ring and in race-course. And now
a hymn of Urania queen of song is chanted before
thy house, O wind-footed son of Aristomenes, in
honour of the victory in the footrace with which
thou hast given Ceos fame.$

1 Hiero had evidently asked for the ode 3.46. my
praise is not more than the truth? (exaggeration would
invoke Nemesis against the person praised) : metaphor
prob. from vine- cuttings or slips, which if they *take" well
are left to become trees, cf. Alc. Oz. Pap. 1788. 15. ii. 19;
Bacehylides ealls his native Ceos àumeAorpóoos and doubtless
knew the process well (34. 5) 3 p.c. 452 ; cf. Oxyrh. Register
Ox. Pap. 222, where the name is given as Adkcev (see on 29
init.); the Cean inscription gives Aaxev ApirToueveos aTaOitoy
twice among the /Vememn victories 5 an untranslatable
play upon the name Lachon suggests a happy omen $ the
ode seems to have been performed as a greeting to the vietor
when he returned to Ceos

159

LYRA GRAECA

35 (vii)
TÓ avTÓ

cTp. 'Q XAvrapà Ovyarep Xpovov re «ai
NuxT0s, aé mrevrikovra. u|fjves, Auépa,]!
ékkaLóekaTav €v 'OXvur|ía. KeXevov- ]
[cuv] BapvBp| poto Znvós] é«a7 ?
5 [c]vros aipa|ctas kXeevvàs]
KpLvetv Ta| xvrávd Te] ; Xaurnpáv T06Qv
"EXAact KQ ryviav àpigTAMKes a Üévos*
€ 06 cU 7 pea BUravrov VeL1Uns /épas
vikas, em àvÉparm oua ty eUOoEos iéiXn-
10 ra. xai 7roXvGjXoos. — Ap|to rouévet Jov*
[e?]T' é«óou|cas e Te)óav| ow Aáxo]va,
e.g.*. [07) Tore vrov «i]xe XatpóXav [yat-]
[as &vepÜe kei]uevov evaef)|és]
[lap ém oit jio Oav[áro] OLEO NE
15 [-o —- 9]oM. e marpíóos
[-o- » — v ]veokpírov
[ ]v &rekvov
àyT.

(first 8 lines of. the antistrophe lost ; then 9 mutilated
lines. containing caióas been [Kéov? «o]-
AvágereA[ ov], [àkzp]arov Zpv[ ov], Zqvós év; then the
first 3. lines of the epode lost)

1 ]l]. 2-5 £, C. R. 1923. 148 (ufives J) ? frags. 29 and 33
(K) belong here (E and Lamacraft) ? P must have omitted
TA * ]l. 10-11 Housm. et al. (eó' E): 'Ap. patronymic as
in Boeotian (no room for -aióa in 11) * E, but junction
of ll. 12-17 with 11 and placing of ll. 26—34, though prob-
able, is not certain $ must have been compressed as
eUOotos kékAm- (9) ; cf. 11. 19, 31. 23, 40. 50

160

BACCHYLIDES

35 (vii)
Fon ruE SaAME

Thou radiant daughter of Time and Night, fifty
months command thee, Day that art sixteenth at
Olympia,! by favour of deep-rumbling Zeus to judge
for Greece within a far-famed wall? both speed of
nimble foot and pre-eminent might of limb ; and to
whomsoever thou mayst award the chiefest meed of
victory, he is forthwith called famous and much-
envied among men. When thou gavest the wreath's
adornment unto Lachon son of Aristomenes [O then
sure came unto] Chaerolas [in the earth] below a
pious [medicine against] Death, that woeful silencer
of lips ?

(3. mutilated lines. contaiming . . fatherland . .
newly decided . . childless ; £hen 8 Uines lost ;
then 9 mutilated lines containing . . sons of the
Greeks . . [Ceos isle] of many vines . . a

pure hymn of praise . . Zeus; /hen 3 lines
lost)

! months were local in Greece; 50 and 49 lunar months,
alternately, separated the successive Olympie festivals,
which lasted from the 11th to the l6th of the Elean months
Apollonius or Parthenius. The boys' events took place on
the 14th, but the great banquet at the Prytaneum was on
the last day, and it was then prob. that this ode was
performed ? of the Altis 5 Chaerolas (for the name
cf. Bechtel Gr. Personennamen, p. 463) seems to have been a
kinsman, perh. grandfather, of the winner; somewhat as in
Pind. P. 5. 98 ff, the winner's wreath of victory, like an
offering to the dead, gives his kinsman, who would have
praised him but for death, temporary resurrection, as
Pindar's ode gave it to the ancestors of Arcesilas

161t
VOL, III. M

LYRA GRAECA

ez. llvOGv4 ve ugXoÜvrav
bpvégv Nepéav Te kai loO0góv.
40 yd Ó emicio m Tav X€pa
Ko,macopnat gv aAa-
Üeia, 66 zráv Xáyrret x péos*
ovTts avÜperrov k[a0 " EXXa-]!
vas cvv ? GALKt xpovo
45 rats éov avyp T€ TXe0- ]
vas éóé£aTo vikas.
o ZcÜ Kepaveyxés, «a[i € éTm &p'y]vpoetva?
oxBataw AX$etot TeXéc[as ney axókXeas
0coOórTovs eUyds, mepi kg[àrí T 0|zrá[oca]s
50 yXavkóv AiTcO0s
ü&vónu. éXaías
év IIéXosros OD pvytov
icXetvois àéOXots.

36 (viii)
Avroyj6e. OXeiacíc
TevTáÜXo Népg«ea

cTp.&. Aó£av, à n xpucaMdkaro Xapires,
vewctpu[Bporov OoíxT , émel
Movcáv ye? toBXebápav etos mpobáras
ebrvkos QXeiobvrá ve kai Negeatov -
5 Zqvos eUÜaAés méOov
e ^ 00 5 X e P. A
vuvetv, 001? yyXoGaikrav
Üpéxyev à XevkoXevos
"Hpa TrepueXevrüv àéÜXov
cpóTov 'HpaxXet Bapidornryov Xéovra.

162

BACCHYLIDES

. .. Singing of Pytho and her sacrifices, and of
Nemea also and Isthmus.! I will lay hand to earth
and make boast—and truth alone can set any matter
in the light—that none ever, boy or man, hath
received more triumphs among the Greeks in an
equal time. O Zeus whose spear is the levin-bolt,
on the banks of silver-eddied Alpheus too hast thou
granted his prayers in a fulfilment famousing and
God-given, and bestowed about his head the grey
anadem of Aetolian olive? in the renownéd jousts
of Phrygian Pelops.

36 (viii)
Fon AvToMEbES or Purius
VicToR IN THE FivEe-EvENTS AT NEMEA

Ye Graces of the golden distaff, deign to bestow
the repute that winneth men; for a divine spokes-
man of the violet-eyed Muses? is ready to sing praise
of Phlius and the thriving plain of Nemean Zeus,
where white-armed Hera reared the ravening roaring
lion that was the first of Heracles' renownéd labours.

1 doubtless a list of the winner's victories 2 so called
after Oxylus the Aetolian Heracleid *founder' of Elis
3 the poet

! Blass ? Headlam: P ez ? ]l. 47—9, Blass (àpy.
Headlam) ! plass: P ve 5 Kenyon: P óri
163
M 2

LYRA GRAECA

àvTr.Q keiU, dowikáa ries ")ui0eol
1l vpoTic TOV Apryeiov kpiTol
, ,
à0X9cav ér' Apxepópo ! vóv £avOoOepici)s
qébv àcoTevovra ? Opákcv vrépom Xos,
cüpa néXXovTos $óvov.
15 & uoipa vONvKpaTÉs* OU VIV
Tei "OixXet6as T Mv
are ew és ebávópovs dy[vids.]
Svris vÜpamrov voatp|etrac vou ]a-?
: ó T (oav]*
év.a à kai TóT "AOpacTov TaX[aiort6av|]
20 véumev és Ov58as IIoxvveixei Xank[To
B80oa600ov.] ?
[4 , , , , , ,
keíygv ám eU óEnv drycvov
ev Nepnéa. &Xeivoi poràv
ob TpLeTEt aTebávo
£avÜàv épédrevrat kópav.
, , ^ 7
25 AvTojjOeL vüv rye vicá-
cavrti vuv 6atgov &Ookev.

y N , y e
cTp.DB mevraéOXouctv yap EHEEPSReR QS
da pav O.a.epiveu ám 8
VUKTOS Oro uví&os eodeyyyns ceXáva-*
30 rotos EXXávov Ov áreipova kikAov
Qaíive Üavpaa v Oéuas,
0Lc k0v TpoXxoeiOéa pimrTaov
kai ueXapuoUXXov kXádov
aKTÉQs Es aisewàv m poméwm ev
o 37/3 42:9. 9 ^ N » 7 ^
35 ai0ép' éx xeipos Boàv copie * Xaóv
Lp a6 )aymapx. (no trace of correction of - to em)
? Neil: P acayevovra ? Blass (not seeing, however, that ]a
is visible): Jebb's vpovoías is too long * Kenyon dE

Blass' ]rpo£ev[ belongs to 1. 76; cf. Ionic 8«0é», Aeol. Ba6óqu;,
Hoffm. Gr. Dial. 3. 370, 2. 296 $ With some hesitation I

164

BACCHYLIDES

There the crimson-shielded demi-gods that were the
flower of the Argives held the earliest jousts, held
them for the sake of Archemorus slain in slumber
by a huge and yellow-eyed serpent, an omen of
coming slaughter. Yet O thou powerful Fate!
The son of Oicles? could not prevail on them to
march back unto their populous streets. Hope
robbeth men of their understanding ; and then too
it was she that sent Adrastus son of Talaüs to Thebes
for to aid the wandering Polyneices. From those
renowned jousts at Nemea comes fame to any mortal
that crowneth flaxen hair with wreath biennial ;? and
now God hath given the same to the victorious
Automedes. For he was conspicuous among the five-
event-men even as the brilliant Moon of the mid-
month night surpasseth the stars in radiance; aye
even thus shone the marvellous figure of him amid
the vast ring of Greeks, as he hurled the rounded
quoit or evoked the people's shouts at the launching
of a branch of the dark-leaved elder into high heaven,

! Archemórus, the infant son of Lycurgus king of Nemea,
when his nurse left him to show a spring to the Seven
Warriors as they passed on their way from Argos to Thebes,
was killed by a serpent; whereupon they returned, buried
him, and founded the Nemean Games in his honour
- Amphiaraüs the seer with the Seven on their expedition
against Thebes — ? the Nemean Games were held in the 2nd
and 4th years of each Olympiad

keep P's reading, which (cf. Manil. i. 471 and Housman's
note), if right, means 'distinguishes the magnitudes of
the stars, z.e. leaves only the brightest ones visible; an
alternative is to read 8:axpí(er: de: *surpasses the stars in
brightness' (which in either case must be the general inten-
tion of the passage, and is therefore given opposite) and
compare Aesch. Cho. 932 aiudrev émáxpire and. Sch., Hesych.
eTÍ]kp.g'ev * Housman: P erpvve

165

LYRA GRAECA

àvT.[9 7) TeXevrácas apápwypa TráXas*
Tolo |s vzepÜ |vpo aOévei!
via Xéa Meer 7[évv'] aia TeXáacas ?
[KET. [ Accm]v? Tap mopóvpo8ívav,
40 TOU Kos Tücav x00va
7A0ev kai ém. éoyara Ne(Xov:
Tai T Ém. eUvaei m 0po
oikeüc, OepuoOovros éyyéov
(a ropes koüpat 6,eEimrror " Apos,
em. cóv, oO TmoXvt9Xore àva£ morauóv,
46 ék'yóvev*ryeua avro kai vYrvrÜXov T poías &Gos*
a'Telxet Ot ebpeias keXevOov
pvpta Trávra dárius
GS ryeveügs Avrapo-
50 Covov Ovyarpàv, àc 0coi
civ TÜXYAGls kic cav &pxa-
po aTopÜyrev áryvtáv.
cTp.'y Tís yjáp oUK oióev kvavozXokág.ov
OnBas éjOpa|Tov v oX]v,
eg5 [? ràv peyaXavv nov Alywar, peyia Tov
56 [Zqvós & CevyOcetaca X]éyet Térev 1jpo,
[Tís] 8 6€ e |[Te«pav sé8]ov
[5 v ]às &ácavov [Nege]atov
[ebpev o £]a| TOv &pi](as,]
60 T[ís O. &aO' 0e " Apmuvvav kparauo]o
, A[péws OUK otjó[e] eire Xov [av] [vevvov,]
apT.» m|06€ Kepkip]av * Suxoc répa|vov]
«[ovpav, T0]cat T GXXat Óeov ?
1 Kenyon-Z (roi$9" too long) * Kenyon-Jurenka ;
"[p5s *y]aía would also fit 3 Housman et al. * Jurenka

etal.: P eyyovo: 5 E (55 Bl) 5$ P must have added
ov and (below) read $ not $i '* or KAeióvav? | Corcyra,

166

BACCHYLIDES

or his completing the quick sleight of the wrestling-
match.! Even in such wise did his lofty-hearted might
bring to ground strong-limbed bodies five, ere he came
to the bank of purple-eddied Asopus, a river the fame
whereof is gone into every land, even to the remo-
test parts of Nile; the prowess of thy offspring?
thou much-envied prince of streams, was tasted by
the cunning spearwomen children of charioting Ares;?
that dwell nigh the fair flood of Thermodon,* yea
and by the towering dwelling-place of Troy; by a
wide path everywhere marcheth the measureless bruit
of thy family of bright-girdled daughters? whom
Gods so happily stablished as captains of city-ways
unravageable. For who knoweth not the well-built
city of the dark-haired Thebé, or Aegina [of great

.name] who bore a hero $ in wedlock with most great

Zeus? Who knoweth not her? that watcheth o'er
the land where every man [that seeks judgment
findeth] the test given by the Nemeans? [And who
but knows Harpinna,5] the fair-robed bed-fellow [of
Ares, | and [Corcyra ? damsel] of the twining wreath,
aye and other the modest maids that were bedded

! 7e. quoit, javelin, and wrestling; the other two events
of the pentathlon were the jump and the foot-race, in which
Automedes apparently failed; three events were enough to
secure victory (Aristid. 3. 339) ? TTelamon, Aias, Achilles,
Neoptolemus 3 the Amazons * jn Pontus ? the
daughters of Asopus, of whom we here have a partial list,
are the subject of a poem by Corinna (33) $ Aeacus
* Nemea 5 mother of Oenomaüs ? or perh. Cleoné,
see opp.

however, completes the list of the five * Daughters' dedicated
at Olympia by the Phliasians (Paus. 5. 22. 5), and for -av cf.
&Aa8cía 12. 204 $ ]l. 63-65 Jebb (P must have had rocca:

and evvaiciv)

167

LYRA GRAECA

e[vvats éÓ]dámoav àpvyvoyrots raXatob
65 [vraies ai]Gotat zrorauoÜ keXácovros,
1 [ob viv áyXa|]àv» m 0Xw
[«o pot T. ia Xo? ]aí e víika|v]
[SapBtrois av]|Xov Boai
[ríovO" ? op4Xo 0a ; ; páM|[ova]
70 [Zmqvi yp) we áei $épetv "Hpa Tje T[1u]áv,
eT. [koUpav P eTELTO Zvos épua Ü€ |veos
| [xp]vcéa|v Ti]Üévra ióTXokov €) eimeiv
UT ptv, | ?
[u]&T|eupav à*y|váuz Tov €porev
e.g.^ |vüv 06 kai kXe|wàv Bporots
| 75 [iva TeOv ue]|Xéov
[evayopebva | 7 pó&ev|ov, | $
| [AÀvTÓun6es, va|g.oTav
|. [5« àepatóÜOoryyo]v vuvov,?

cTp.Ó [6s Kev epróxo] Ka amoj8uiévo ?
80 [coL TávT àv üT]pvTov Xpóvov
[rotai» T e )mrvytvopévots aiev 7rLOava koL
[cày Ne] uéa VÍKQV. TÓ "y€é TOL KGXàV &pryov
yvgatev Üuvov TUXOV
Uo Tapa Gatos ketraa
85 cUv Ó àXa€eía fBporàv
&áXXta TOV, et |ep kai Óávy is,] 19
Méirrerau Movoe|àv peNyNa aov à€v]pua.
àyT.Ó eici 0 àvOpo [vvv áperaiciv 080i]
ToXXai: Gu kptver 96 Üeov
90 fSovXà [rà kpvBaó]uevov vicos Bvóoota wv ]
eg. |TOv O€ Xeipo T ü'ya]|ye kai TOv àpeio
[Zqgvós ate" evpukTv | mov
[Tu$Aós 9 0 mpós éaÜXd T 00]eva cov '?

e.g.

d

168

BACCHYLIDES

so illustriously with Gods, daughters all of the ancient

.sounding river! [whose splendid] city? [is now

honoured by revellings] and the acclaim of flutes
[consorting with lyres that cry] victory ?

[To Zeus and Hera first must I ever bring honour;?
but the next place in| my praise belongs to the golden
violet-tresséd [Cypris, mother?| of relentless loves;
[and now also], to champion [in fair speech the
strength of thy] limbs, [Automedes, I have sent a
voice-rousing island hymn, [which in thy life] and
after thy death shall tell [both to thee and thy]
descendants for endless time the tale of [thy] Nemean
triumph. A noble feat that hath won lawfully-
begotten songs of praise is laid up in the house of

.the Gods on high ;? and if [a man should die], the

fairest playthings [of the sweet-voiced| Muses are
left him when they are made of men's true words.
Many lie [the roads unto] human [prowess,] and 'tis
Heaven's will that decrees [what shall be hidden in

. the glooms] of night ; [the doom that is given of wide-

thundering Zeus leadeth weak and strong alike ; [as
blind is he that shall travel towards good things as

! Asopus * Phlius 3 Pausanias 2. 13. 4 speaks of a
temple of H. at Phlius * or framer; the ref. probably is
to Bacchylides' infatuation for the victor * as this ode
might be in an earthly temple, like Pindar's to Diagoras of
Rhodes, OI. 7 (Arzg.)

! Jebb-E ? Doric 3rd pers. pl. cf. 13. 10 3 ]l. 72-3
bBlass-E * we should expect mention of Hebe (Str. 8. 382)
but «al u]ar[ép' is impossible even supposing xaí to have been
omitted, or written in the previous line: for uáreipa cf. Synes.
(who read the Lyrie Poets, cf. Sa. 154) Zl. 326 d SE
$ fr. 35 (K) belongs here (Z) ? Blass 8E ? 1l. 79-
82 E (79), Kenyon-E (80, 81), Kenyon-Blass-Headlam (82)
19 ]] 86-96 Jebb-E * ópeikr. is too short 1? $vreig wv
impossible because 7 would be partly visible

169

: LYRA GRAECA

eg. [xo rpós 4XXa, Trpiv uoXetv]
95 [fée vetpav: oraccav 8é m javpots

[Av]Op|dcwv Mo?pa« avvíeoOa:t] T0 uéXXov.

ém.0 bujuv O[é xal Aáparpos é]Oexe yápuw !
kai Atov[|vcov Kpovi8as| Ócoriuarov sróNtw
vaietv àop|O1)rovs OaX]evras.

100 ypvoeookaTTp|ov Atos]

[09] Tt kaXóv $é[perat]
(ás] aivéor: "Tipo£|[évov]
TraLói a 0v &c|pots àuap-]?
[ré]ouvre mrevT|á0Xov éxari.|

97 (ix)
'AyXáco ' A0gvato
Opouet "Ioa0,ua]
cTrp.a ([O5]ua, cv yàp álu$ áperá OvarGv
é|vocyvets
[60]Xa kai máq|iww miavokeis]*
[rotoi] ueXaufa[0éos]
[yatas v] «ev[Oogévors, 0c-]
5 [cot yé]vovr. àv|Gpes kXvrot 71] 9
[rávri Y]op«v £vvóv, ór. xpU[oéav iov eU-]
o[Ao]v 0$0aXuotciv [40Xcv]
T [a0X]av àv páxrav *ya| X]nv|ots,]
'A[yX]aQ ? kal vOv kaavyvzras àkoíras
10 vacu&riv —u 79 ékivgoev uéNocav,
, /, , N 9 7e M , Lol »
avr.a [à]xetpés ? iv, aÜávarov Movaáv dyaXyua
1 P juu: 1l. 97-102 Jebb ? ]]. 103-4 Blass 3 Blass
5 Jebb 5 sic: 1l. 3-9 E (3, 8 end), Blass-Z (4, 5), Blass (6
vávr. xépq, 9), Jebb (6, 7 but víkav at end, 8 rabAav), Crusius
(7) $ or comparing ll. 6 and 51, wyévevra« [$aíbiuol 7i],
breaking Maas's law ? ? prob. P orig. had eyAao: ; correc-
170

BACCHYLIDES

;.j. he that shall make for evil, ere he come to the trial ;
and the Fates have given but] few men [power to
read] the future.

To you of Phlius, for sake of [Demeter| and
Dionysus,! [the Son of Cronus] hath given, for you
to dwell [and thrive in] ever unravaged, a city
respected of the Gods. Whoso winneth an honour
of golden-sceptred Zeus, him let all men praise.
With songs of revelry follow ye, I pray, the son of
Timoxenus, for his victory in the five-events.

91 (ix)

Fon AcGLaAUs or ATHENs, WixNER or Foor-nacks
AT THE ÍsTHMUS

O Rumour, who visitest the tribes of men for
prowess' sake, and to all that lie hid in the black
deeps of earth proclaimest of him that wins renown
in aught common to all lands,?? that he hath seen
with calm eyes the golden restful surcease of his toil;?
—so now for Aglaüs his sister's spouse hath moved
this shrill-voiced island bee,* that so an immortal
offering of the Muses, an offering not made with

! for these Gods at Phlius cf. Paus. 2. 13. 5 ff. * joco.—
or rather its unexpressed antecedent—and $7: below go with
ma/csxeis on the Greek principle illustrated by *I know thee
who thou art' 3 his eyes are calm because he has won
* the poet, paid by the brother-in-law ; xwéc is used of getting
one of a company to sing or speak, cf. Plat. Lys. 223a

tion would not now be visible, but the circumflex is clear:
cf. for the name ZmtAh. Pal. 7. 78 8 E; the Greeks were
less apt to speak of themselves allusively, and 5! mends the
metre ? Blass

171

20

,
€T .Q

25

LYRA GRAECA

Évvov àv6payrouaty ety
xápna, véay! àperàv
pavüov emixBovíowty
0ccá«xis7 Níkas ékaTt
dvO0ect £avÜàv àvaóneáyevos kebaXàv
«0060s eUpeiaus ' AÜOdvaus
05kev ?* Oivetóass 7e 60£av.
ev IIoaeidávos TepikXevrots àé8Xois
[e000s évOei£]ev? "EXAXaoiv m00Qv» opyuàv
TAXelav:

ajT|e này : ov ]potaw eru, a TaO(0v
Oepu| àv € érL |mrvéov &eXXav
écTa, [&(ave]v Ó abre? 0aT:)pov éXaíc
dápe|' és eUOpoo]v éumrírvov OjuXov,O
rerp|aéXukro]v érrei

DELE ; , ;
kar |ev ópó|uov. "leOjLovikav
6s v|iv à^ykápv£av ev(8ov-
Xov [àeÜXdapx ov meo RR

cTp.D' 6is O .elv Neué|a" Kpovíóa Zmvós map

30

1 pg.

172

dryvov

Bouó[v: à &Xer]vá ve OnBa

6éeT|o viw e]vpvxopov

T "Apros [Xuevo]v re kar. aic av:

oc € II[eXXáv]av véuovrat,

apdí 7T Evfoiav vroX[vXdio]v, ot 0' tepàv

vàco|v Avyw]av. uaTeve

9. àXA[os &A kek]an KeXevÜov

üvTi|va aTeix ]ov ? d pv'yva TOLO Sofas

referat, pvpíat 60. àvOpOv émiaTáygat
TéXovTaL

P vcav, but cf. l. 9 (the accepted change of person is

BACCHYLIDES

hands, should be a joy common to all mankind,
telling to the world a new achievement, telling how
many times he hath made honour for spacious
Athens and glory for the children of Oeneus! by
binding his flaxen head with flowers by grace of
Victory. In the illustrious jousts of Poseidon he
straightway showed the Greeks the swift onrush of
his feet; aye, while he yet breathed a hot storm
of breath he nevertheless stood a second time at the
bounds of the course,? and a second time wetted
the raiment of the lookers-on with the oil from his
body as he fell into the cheering crowd when he
finished the four-round race. Twice did the spokes-
men of the wise umpires proclaim him victor at
Isthmus, and twice also have they proclaimed him
beside the holy altar of Zeus Son of Cronus at
Nemea. And famous Thebé gave him due welcome,
and spacious Argos also and Sicyon, and they that
dwell at Pellana and amid the cornfields of Euboea
and in the sacred island of Aegina.?

Various are the paths men seek that shall lead
them to conspicuous fame, and ten thousand the
knowledges of man; for one thriveth in golden

! son of Pandion and name-hero of one of the Attic * tribes '
? ready to start 3 this refers to his previous victories
at the Theban Heracleia or Iolaia ; at the Argive Heraia and
the Sicyonian Pythia; at the Pellenaean Theoxenia; at the
Euboean Geraestia or Amarynthia ; at the Aeginetan Heraia
or Aeaceia (Jebb)

surely impossible without a voc. to mark it) AMESP
62«as 3 E: P ]as 5 E(obpowuw Bl.) 5 sugg. Jebb:
in P 9! ai£e is corrected to 9'a?re (3íavev having been corrupted
to Bid viv ? E) $ ]]. 24-28 Kenyon (24), Platt (25, 28), Jebb
(26, 27) ? |l. 29-36 Kenyon 5 Blass

173

LYRA GRAECA

avT. B 17) yàp cooós ?) Xapírov riuáv XeXoryxos
40 éxmió. xypvaéa réÜaXev,
7) Twa&. Üevmpomíav
»c^6 / : e o. , N , T
€e,OcS* €éTEeDpOS O E70 7TTAQOL
TroLKLXov TOÉOV TLTAÁLVEL
e Leid »» » X79 N ^ , ,
oL O éT €pryoictv re kai üp.d [Boov aryéXaus
45 Üvuóv ab£ovcouw. TÓ uéXXov
Ó Akpirovs TÜKTEL TeMevTás,
TÓ TÜXQ Bpiaet. TÓ uev káXNXio TOV, éa0 Xóv ?
dvópa. TOXXOv UT AvÜpemov moXvtXe Tov
eipev:
ém.|9 oióa kai v'Xovrov ueyáXov 6vvacuv,
50 à kai TÓy áxpetov. T(8 qc.
xpne Tóv. TL papày yXoccav iBeas? éXa veo
ékTOS 0000 ; mébarau * Qvarrotci víkas
[oc e ]pov ? eb opoc ra:
e.g.5 | QUXGV |eavaxaict Avpüv T€]
55 Levyv|vpev kopovs rtovra]
y ,»5 ^ e
xp? Tw|[. ' AvyXaodovros viov.]

98 (x)
"AAefiOóáuo Meramovrivo
Tra40) 7raXauo 17) liv6Oia

/ l7 , , e , Y g
GTp. à Níxa fvoicóóop : [órárav yàp]
GOL TTÀT OUTracce TLuàv
)p T

1 Blass — «foe: P moa ? Wilamowitz: P has eceA«v
for éc0Aàv ? Housman: P i0vcas | * — zépavrau. 5 Kenyon
$ E (yXvkeiav would be unmetrical) ? ]l. 1-7 partly

restored from paraphr. Stob. F7. 3 ap. Ursin. Carm. Iilustr.
Fem. (1568) BakxvAl8ns 86 Tiv Níimv y^vkóBwpór $nS. kol év
ToÀvXpÜc c "'OAbum e Zq mapioTauévnv kpiveiw TÉÀoSs àÜavdTois T€

kal 0vqrois &perijs, otherwise by Z (1. 1), Jebb (2-3)
174

BACCHYLIDES

hope because he hath skill or hath honours of the
Graces or is versed in divination, another bendeth
a wily bow at pelf, others again exalt their spirits
upon works of the field and with herds of kine.!
The future brings forth issues inscrutable; we know
not on which side Fortune's scale will sink. The
fairest of things is, that a good man be envied much
of many, albeit I know the great power also of
wealth, which turneth to account even the unprofit-
able. But why do I drive a long story outside of the
straight course? ? After victory comes mirth. [With
the din] of flute [and lyre] let us mingle [songs of
revelry in honour of the son of Aglaophon].?

38 (x)
Fon ALEXxiDAMUS oF METAPONTION
VicrToR IN THE Bovs WnEsTLING-MaTCH AT PvrTuo

O Victory, giver of sweet things, who [hast
exceeding honour] of the high-throned Father [of

! cf. Solon. 13. 43-54 * à Greek audience could hardly
fail to take uakpáv with »yAGcecar ; Bacchylides uses yAócca
33. 195 for a song or story, when he 'sends a tongue' to
Hiero; so the 'long tongue' here need not have been
grotesque ; cf. xax] 'yAGeca for *slander' ? the general
drift of the sentence is clear, but restoration doubtful
because the (dead, cf. 1. 3) father's name was almost certainly
here (cf. 36. 102) and we do not know it; the victors name
is short for v.g. Aglaophemus, his father's might well be a
compound of the same adj.

175

10

, /
GvT.G

16

20

, ,
€T .

30

176

LYRA GRAECA

vyitv[yos Ovpavióáàv,]

év zoXvypvoo ó OXvyumrO

Zi vrapioTagéva

&pivers TéXos aQaváTot-

civ T€ Kai Óva ois áperás,

&AAa6L [Sa0v|]rXokápov !

KoUpa [Xrvyós óp JBoeikov-? a éÜev y éxaTt
«ai vOv Meraróvrtov €U-

viav kaTéxovou véov

KOpoL € kai evopoavvau Óeór.uov aV,
vuveUct 6€ IvOLovikov

Taióa Üanróv GOaickov.

(Xég vw 0 AaXoryev?s vi-

3

ÓS BaÓvtévoto AaroUs
Dro BXebápo: Tr0MÉes
Ó àu AXeEióagov avOégv
&v 7re0Lo a TéDavot
Kíppas &recov kparepás
7pa vravvikoto Tr&Xas*
0UK eioé VL &€XL0s
KeivQ rye gv pa T»p0s 'ya(q, TrecóvTa.
$áco 0€ kai év CaÜ0éois

avo IléXovros GaéGots
'" AXÓeov rrapà kaXXtpoav, 6Lcav keXevOov *
ei pij Tts üzérpamev opÜ as,
Travy£évo Xaírav éXaía

yXavkáà crebavosápevov
mopTi(rpooov [àv veO][ov vár]oav 6'
(kéo Oat.

[oU ris OXvyridáóov]$
vai0 év xÜovi kaNALxÓópeo
T'OLKLAAUS TÉXVGLS 7rÉAAG EV,

BACCHYLIDES

Heaven's children], and standest beside Zeus in
golden Olympus to judge the issue of prowess both
for God and for man, be kind, thou daughter of
deep-tresséd Styx the guardian of right.! "Tis thy
doing that the revelry and mirth of stalwart youths
possess Metapontion's God-honoured town to-day,
and praise for his Pythian victory the admirable child
of Phaiscus. Kindly was the look wherewith the
Delos-born Son of deep-girdled Leto received him,
and many the garlands of flowers that fell around
Alexidamus on Cirrha's plain by reason of the might
of his triumphant wrestling ;? the sun ne'er saw him
come to the ground that day. And say it I will, that
had not Justice been turned from the straight path,
he would have come back to the cattle-rearing plain
of his country with his hair crowned with another
wreath, with the all-weleoming? gray olive won
beside fair-lowing Alpheus in the sacred lawns of
holy Pelops. [Not that any man] wrought guileful
acts upon the lad in the spacious land [of the Olympic
Games] ; rather was a God the cause ; or else was the

!jt was usual to swear by the Styx ? the victor
was greeted by the spectators with showers of leaves and
blossoms ($vAAoBoA (a) 3 i.e. the * events! for which it was
the prize were open to all comers

1 FAAa0: — 1Aq0.: Ba8v Jebb ? Fennell Ba E:P
(cf. 24, where ye is a correction of re, and 36. 3 where re
remains uncorrected) * Herwerden: P 6ó:kas keAevOov
5 Blass $ E: Jebb's od 7( 8óXos kakóopev is tautological
with moik(Aais Téxvais and leaves x8ovi kaAAuxópeg unqualified
by the necessary genitive

177
VOL. (II. N

oTp. [9

avr. B'

LYRA GRAECA

&XX. 3j 0eós airios 1)

35 yvàpat roXU T XarykroL [poràv

duepcav UmépraTOV €k xev "yépas.
vüv 0. "Aprejus áryporépa
pucaMdkaros Nvrapay
t , 1 , /, C6
[a]uépa * rofokXvros vixav eóoke.

40 TG Tor Afjavri.áóGas

45

50

55

60

b: / ,
Boeuorv karévac Ge TOXUX-
» , ^
Aw TOV €UTrezrXot T€ KOUpat,

ràs é£ epar e$ 0B gaev
TaykpaTi)s Hpa peXáÜpav
Ipoírov, Tapa My $pérvas
kaprepá CeUfan" aványka-
mapÜevía yàp érL
Jrvxá kíov és réuevos
opóvpotavoto Os,
ác kov 66 T0XV cérepov
T XoUTQ Tr podépeiv TAT6pa favÜOás vrapéópov
cejwob Atos ebpv Bia."
TAiGcLV 6€ xoXocagéra
cT»8ecact Tra porrov éuaXev vónua:
oebüyovy 9' üpos és TavíivXXov
cuepoaAéav dovàv ieiaat,
T.«pivOLov ào Tv Mrobca.
«ai Óeo8párovs áryvids.
701) yàp &ros 6ékarov
ÜcoduXés Xumróvres " Apryos
vatov à6eictf8oat
XaXkaaríees 1?i0eoL
caUv TOXvE9Ao Pacte.
vetkos yàp üàp.atákerov

BACCHYLIDES

highest meed reft from his hands by the oft-erring
judgments of men.! Howbeit he now hath victory of
the Huntress Lady of the golden shaft and renowned
bow, Artemis the Assuager,? to whom of yore the son
of Abas? did set up an altar that was the place of
many prayers,* he and the fair-robed daughters whom
almighty Hera had driven in fear from the pleasant
house of Proetus, yoking their spirits to an imperious
frenzy. For their still-girlish hearts led them to go
into the precinct of the purple-zonéd Goddess and
boast that their father was far richer than the flaxen-
haired consort of the dread wide-mighted Zeus.
Whereat in wrath she cast into their breasts a
changed spirit, and with dire shrieks they fled to the
leafy hills, far from the city of Tiryns and her God-
built streets. Nine years had passed since the brazen-
bucklered demi-gods that feared not the war-cry had
left God-favoured Argos to dwell there, they and
their much-envied king. Fora relentless quarrel had

! J'ebb compares Paus. 6. 3. 7: * The statue of Eupolemus
of Elis (at Olympia) is the work of Daedalus of Sicyon, and
the inscription upon it records that Eupolemus won the short
footrace for men at the Olympic Games and that he was also
vietorious twice at Pytho and once at Nemea. The following
also is told of him :—three of the Hellanodicae or judges stood
at the end of the course, of whom two gave the race to
Eupolemus and the third to Leon the Ambraciot, who after-
wards sued before the council of Olympia the two judges
who had given the victory to their fellow-countryman"*
? Artemis was the goddess of Metapontion; the epithet
suits the context, she consoles him for losing that victory
by giving him this; and it suggests 'Huepgsía, the name
under which she was worshipped at Lusi, cf. Paus. 8. 18. 8
3 Proetus, king of Argos 5 at Lusi in Arcadia

! quepa would not fit the gap — ? gen. (Jebb) : the second
iota of P's evpvBía. is not completed and was doubtless
intended to be erased, but forgotten

179

LYRA GRAECA

65 BXnypás àvéraXro kacvyvirois à. àpyás
IIpoíro ve kai 'Akpuatq*
Xaos re Ovyoa raciauts
7peukov! àperpoOikots uaxyats Te Xvypais.
Aíocovro 66 vraióas " A Bavros

70 vüv Tro ok ptÜov AdyovTas

T. TípvvOa. TOV OT XóTepov

kTiLei Trpir €s üpryaXéav Treo civ ava ykav.
Zeus T. éÜeXev Kpovióas
TLLLOV AavaoO nyevsàv

75 &ai OLe EU oto Avrykéos
TAÜGAL GTU'yepdv àxéav'
TeLyos 06 KokXcrres kápov
éABóvTes brrepbiaXot icXewá "rOXeL
KáXMaTOr, i iv avTiOeot

80 vatov kXvTOv v7. 0/90T0v
"Apryos fjpees mrepueXevroi Xuróvres.
évÜev ámeoc uevat
IIpoírov kvavorXókaguot
$etryov àOparo, Óvyarpes

2

cTQp.'*y TOV O. eiXev üxos kpaótav, £et-

180

86 va TÉ www 7rXáfev uépiuva-
9o(a£e 66 Dácryavov áp-
axes €v g'TÉpvoiau vü£at,
GXAd, VIV aix iooópor
90 ui8otct T€ pex Lots
«ai Bia Xeupóv Kkd'Texor.
rp. kaíóera jév TeXéovs
ufjvas karà 6acktov 1jMvUkTaCov ÜXav,
oeüyov Te «aT ApkaótLav
95 uXoTpóQov: àXX' óre 07)
Aobcov vapà kaXXipóav raT))p (xavev,

BACCHYLIDES

leapt up from a slight beginning betwixt the brothers
Proetus and Acrisius, and these bruised their peoples
with feuds that passed the measure of right and
with miserable fightings, till at last those peoples
had besought the children of Abas that they should
divide the fertile land and the younger should found
Tiryns ere all fell into grievous plight. Then for the
respect he bore unto the race of Danaüs and
charioting Lynceus,! Zeus Son of Cronus had chosen
to give them rest from their hateful woes; and the
huge Cyclopes had come and built an exceeding
good wall for the famous town, which now those
godlike heroes so illustrious did inhabit instead of
Argos the famous nurse of steeds, T hence was it that
they fled speeding forth, those dark-haired virgin-
daughters of Proetus ; and their father's heart was
seized with pain and his mind smitten with strange
thought, and he had plunged a two-edged dagger in
his breast had not his spearmen restrained him with
assuaging words or force of arm. Meanwhile the
maidens wandered wild for thirteen whole months
in the thick forest, and fled to and fro in the sheep-
walks of Arcady, But when at last their father
came to fair-flowing Lusus,? he took thereof water

! kings of Argos, ancestors of Proetus ? Jebb com-
pares Paus. 8. 18. 7 for the cave to which they fled and other
topographiealdetails ^? aspringnear Lusi; folk-etymology
doubtless connected Ao)cos with Aovec0a. to wash"

1 Housm: P mpurov 1.7. ?ipevrov ? Platt káuorr': Maas
Kdguov | 6éXovres
I8I

LYRA GRAECA

&vÜev xpóa. virápevos $oi-
v.kok|paóéy. voto AarobÜs
dyT. y kieNp [owe 0byarp]a Bo&yriv

100 Xetpas avreivav Tp0s av'yàs
UT TT GKeos acALov,
TÉékva, Gva Távoto Avccas
Trápopovos e£aryaryetv

* Qvo c Óé ro. eikoct Bobs

105 &bvyas. $owiwórpixas.
TOD Ó EKÀv pig Tom áTpa
Onpoa«ómos eo xopévov vi0ob0ca Ó Hpav
7a ev kaXvkoa redávovs
«oUpas paviüy éco

110 Trai Ó avra oL TÉJ.evos Bópáóv T€ TEÜX ov
xpaivóv TÉ pv aipat pavor
kal Xopovs. (c TaV yvvauày.

em. | €vÜev kai àpnidiXors
dvópea atv «ég» immorpóoov mOMoy!
"Axatois

115 &e' eo cvv 06 TUYa
vales. Merar0vTLOV, 6
xpvc a. 6éaro.wa, Xadv:
dcos TÉ TOL TERES
Kácav map! ebvÓpov TpÓpv

120 éc 0" éccapévov;? IptápoU érel X póvo
BovAalist 0eóv p.aucápay
Tépcav mÓMLV eot évay
xya^o0copákov jer. ^ Avpeibüv. O,caLas

1 Jebb once: P zoxw — ? Shackle-Z, taking é Ésri with roi,
' thou hast (mvpouwv became mpoyuot from mpi«uor below ; egó
was lost by haplogr.; mpouo: was changed to mpóyovo: by a
syllable-counter, who took it with Ipi&uow and altered

182

BACCHYLIDES

and washed him, and besought the ox-eyed daughter
of crimson-kerchiefed Leto, lifting his arms to the
rays of the careering sun, that she would deliver
his children from the hapless frenzy that misled
their wits—'and I will offer to thee twenty red-
haired oxen that know not the yoke. She heard
his prayer, that beast-pursuing Daughter of a peer-
less Sire, and prevailing with Hera, made cease the
God-abandoned rage of those rosebud-wreathéd
maids; and the same straightway made for her a
close and an altar, and imbrued it with the blood
of sheep and set up dances of women there. From
that spot passedst thou, O golden Mistress of peoples,
with Achaean warriors unto a horse-rearing citadel,
and dwellest now with happy fortune in Meta-
pontion,! aye and possessest by Casas' fair stream a
delightful grove which those chieftains established
for thee? when at last by the counsels of the
blessed Gods they sacked the well-built city of
Priam along with the brazen-corsleted sons of
Atreus.

1 near Tarentum in Magna Graecia, Latin JMetapontum

? lit. *there is to thee a precinct of chieftains having
founded,' or as gen. absolute ; for the chieftains see l. 113

éccauévev io agree with it): P povyo|vo: eccduevoi, which
neither scans nor gives sense; for the only ancestors they
could be Artemis and Priam, are out of the question

183

LYRA GRAECA

0cTLS €xet pévas, eb-
128 prceu a vv üzravri xypovo
pupias àXkàs ' Axatóv.

39 (xi)
, , ,
Teicia Avira
TaXaicT: Négea
€ M , , e /,
aTp. "(loei kvBepvaras codoos, vuvoávaa-
?, » ^
c' eUÜvve KXetot
vüv jpévas áuerépas
, , N y E , N , /
ei 61] rore Kai Trápos' és yàp oXfLav
5 Éewotcí ue vrórvia Níka
váàcov Avyívas &matpet
, ^ Lila ,
eAB ovra koowfja au Óco0ua ov TOv.
, 2 L 2235 TNT / / /
avT.? áv T É€v Neyuéa vyvtaX«éa uovvoráXav
eg. [vuGcav iva|
10 [zra460s ' Apto Touáxov.]
(the rest 1s lost)

40 (xii)
/ , /
[IIv0éa. Avyusr
TaykpariagT? Néuea]
(&3 lines missing or mutilated)
*. . « Ufpios virivoov
45 TavceL OL«as Üvarotat kpaivav'
, / e N / 3
avT.[9 oíav rwà 6voXodoov o-
Ano Tá XéovTt

! Jebb: P arapxe * E
184

BACCHYLIDES

Whoso hath a just mind will find throughout all
time ten thousand valiant feats achieved by
Achaeans.

39 (xi)
Fon Tkis:iis or AkEGINA

VicTOR IN THE WnEsTLING-MaATCH AT NEMEA

To-day if e'er before, O Clio queen of hymns,
steer thou like a cunning pilot the ship of my
understanding ; for the Lady of Victory despatcheth
me for a friend's sake to Aegina's isle, there to adorn
a God-built city and the strong-limbed wrestling
[might of the son of . . . which hath prevailed] at
Nemea.

(the rest is lost)

40 (xii)
[Fon PvruEAS or AkEGINA
VicroR IN THE PaNcnaTIUM AT NrMEA!]
(49 lines missing or mutilated)

*, . . he shall make cease their insolent violence
by putting judgments into effect among men.? See

!1 the same victory is celebrated by Pindar Nem. 5; the
date is prob. 481 r.c. * the prophecy concerns Heracles,
its speaker is prob. Athena

I95

LYRA GRAECA

IIepaeióas édtinouv
Xetpa TavToLatct TÉXVAaLs"

50 ov yàp 6auacítu9poros ai0cv

Xacos dm NáTOV ÜéXxeL
xopeiv OLà c nao, é-
yvápb6n Ó ómicco
$áayavov' ?) ToTÉ Óap4

55 rdOe Trepi a Te ávoiat

zra'ykpariov Trovov *EX-
Aáveact tópoevT. ea eaOat.'

"T. [04XXev map]à Bopuov &ápioTápxov Atos !

gTp.'y

186

[Ní«as] $epekvóéos àv-

60 [Opero)|tciv &v0Oea,

65

-—

-1

Ct

0

(à? kXvr]àv 6óo£av voXvdavrov év ai-
[Qvt] Tpéber vravpors Bporàv
aciei, kai órav Üavároto
: /

kvávegoy védos kaXvyen, Xeimerat
aQavaTov kXéos eU ép-

7, , ^ N 9 ^
xÜévros àc $aXet ovv aiad.

TÓV KG gU TUXOV Neguéa,
Adwrovos vié,
ravÜaXéov oed ávotciv
, 0 , , , 0 /, 3
avÜé|ev xavrav épeders,

» , e ,
[aUÉcv] vroXuv vvri&nyviav
[7Xv8es re]oviuBpórov
a[9XQv vro 0'] áó[vrv]Oocv
KOJUOV, TQTQQAV
vácov, brrépBtov la xov
Tapa uv avadoatvov.

& TOTQJL00 Übyarep
Orüvros Al*yrv' ?yriodpov,

4

BACCHYLIDES

what a crushing hand the son of Perseus! lays with
his manifold art on the ravening lion! for the man-
slaying bright bronze will not pierce that fearful
body, nay, the sword is bent backward. .O surely
it shall come to pass that on this spot the Greeks
do vie for wreaths in the sweating labour of the
pancratium.' ?

There spring for man beside the altar of the
peerless ruler Zeus, flowers of renowning Victory
which for a very few among men do make signal
glory all their lives, and when they be enwrapt in
the dark cloud of death, bestow on them the immortal
fame of a thing well done together with a destiny
that cannot fail. "These things fell to thee, O son of
Lampon, at Nemea, and so thou "rt come to magnify
a lofty-wayed city, come with thy hair crowned with
chaplets of all manner of gay flowers, come to the
tune of voluptuous flutes and sweet-breathed revel-
songs, come to thy native isle, an ensample of
eminent might in the pancratium. |O Aegina, thou
gentle-hearted daughter of a swirling stream;? great

1 Heracles was the reputed son of Amphitryon, grandson
of Perseus ? a prophecy of the founding of the Nemean
Games * Asopus, cf. 36. 47 ff.

1 ]L 58-62 Blass (58, 59 Níxas, 60, 61 but à), E (59 $epe-
Kvbéos sic), Jebb (62) ; l. 58 cf. Apoll. Synt. 186: épukvééos,
&vBeOeigiw, àv8(Bweiv do not fit ? neut. 3 70—7;3 Jebb's
suggestions fit but not the others' * not ap[

187

LYRA GRAECA

dVT.'y 7) TOL peyáxav [KporíGas] !

80 &oe TLILÀV
év cm ávTeacuv |áéOXors,]|
vvpoóv às "EXX[act TífjXe]
Daívev' T0 yye av |yévos? at]vet
kaL Tus vYravx1)s ko[pa]

85 [Üoots —ávà vv (e]pàv 3
T00€0 0L Tapdéos
» 4. N 5 M
»vT€ ve9pós àrevOTs
, 7] , , ? LÁ "] $ 4
avOeuóevras ém' |0x8ovs|
koüoa cv á&yxi60pots

90 Üpoakovo' ayakXevra|ts ératpa]ts,?

ém.y Tai 06 c Tebavocáye|vat dou )]ucéov
àyÜéov 6óvakós 7 é[miXo-]
ptav áOpoiciv?
, / N , 8
vapÜévo, uéXmrovau T|eóv kpáro]s,
, , ,

95 OécToiwa may£e|ivov x0Oovós,|
"Evóaióa re poO0 | a xvv,|
à ro[v &ypés ]av éri[«vre II9Aéa] ?
kai Texauóva iaràv|
AiakQ uevxyÓeia. év ev|và,|

6

cTQ.O TÀv «0'— vias 1? áepaiuaxovs
10 rTaXvv T AXiXXéa
, A 39 /,
evet0éos T^ EpuBoías
zai6. vrépÜvuov Boá(0oov]
Alavra cakeadópov 7jpo,
105 óc éri m póuva. a ra0eis
& xev ÜpacviápBuov ó 0p-
pakvovra, vàas
0ea eco mv|pi kabaa.| ??
i: y /
&ropa xaX keopirpa v,
188

BACCHYLIDES

is the honour the Son of Cronus hath given thee in
all the jousts, making it to shine afar to the Greeks
like a beacon. Aye and thy offspring ! is oftentime
praised by a maid of proud bearing, as her nimble
feet leap to and fro on thy holy ground "mid her
far-famed girl-neighbours as lightly as a careless
fawn's on the flowery hillside, while crowned with a
native culling of reed and crimson blossoms they
sing together of thy might, O mistress of an all-
weleoming land,? and of rose-armed Endais who
bare in wedlock with Aeacus Peleus the great
captain and Telamon the strong fighter, aye sing of
their sons the war-kindlers, the swift Achilles and
fair Eriboea's? so valiant child Aias, the warrior
hero helper-ataneed who stood on his poop and
stayed the rash onset of bronze-girdled Hector that
would burn the ships with fire ineffable, when the

! the Aeacids * Aegina: the reference is apparently
to a Partheneion or Maiden-Song 3 wife of Telamon

1 ]l 79-84 Blass (79, 82, 84), Kenyon (81), Kenyon-Z (83)
? kAéos is too short * BL-Z: l. 85 was written as part of
84, but àvà yay must have been omitted ; Aevkois is much too
long 5 K ; for érí with accus. cf. 46. 1 and Sappho 38. 2
ézl yv uéAauvav 5 ]l. 90-92 Kenyon (90), Headlam (91),
Jebb (92) $ mAókois véov would be too long ? E, accus.
with ceTe$aves.: P a0vposw $ ]l. 94-6 Jebb-Blass (94),
Housman (95), Palmer (96) ? or àypórav, cf. Alem. PartA.
8; immevráv, immórav, aixuardv, all too long; ll. 97-9 E (97
Vypérav), Jebb (97 end), Schwartz (98), Sitzler (99) I0 d
Jebb: P vieas H Kenyon 1? ]l. 108-10 Kenyon-Blass
(108), Kenyon (109, 110)

189

LYRA GRAECA

110 ó7'0T€ lI[5Xetóas]
rpaxeiav || Avpetóauot u]àviw !
avr. Ó opívar |o ^Aapóaviéas] .
T eva ev d|ras* ]
ot 7 piv pev [roXvmvpyo]v
115 "IAíov Qanróv àaTv
oU XetTrov, àrvtop.evot 0e
T Táccov Ofeiav uáxav,
eUüT éve0Lo kXovéov
patvovr. AxiXXevs,
120 Aaodóovov 60pv cetov.
&XX' Ore 67) vroXépoto
Adjbev tog rebávov
Npfj60s aTpOpmrTos vios"
em.ó óc ev kvavavOéi O[vpov avépov]?
125 T0vTQo Bopéas vm kv-
[Luo 1 Oaitel
VUKTOS üvrácas avaTe[XXogérvas, I "
Mijfev 6€ GUÜV $aeciuBpóro
"Aot Gg TÓpeaev Óé re rüvTOv,
130 obpia vOoTOU O€ kóNT[ecav Tvoá]*
(a TLov ápzraXéos eT à-
eX 10v é£íkovro xépaov:

cTD.€ Qs Toóes, € émrel kNvov at-

xparàv. 'AxiAéa

135 piuvovr. €v KNicingiv
€Lvekev fav0ás "yvvatkós,
Bpiajjieos í [pepo*yvíov,
Oeoiciv ávrewav Xépas.
$ouBàv? éciO0vres oral

140 yeuu&vos ai^yXav,

190

BACCHYLIDES

bitter wrath of the son of Peleus had risen against the
children of Atreus and given the Dardanids a respite
from their doom ;! who ere that day would not
sally from the wondrous towered city of Ilium, but
had cowered there afraid of keen battle whenever
raging Achilles went brandishing his deadly spear to
make havoc in the plain. But ah! when that
intrepid son of a violet-wreathéd Nereid? ceased
him from the war—as amid the dark bloom of the
deep the North-Wind aflicts men's hearts with the
surge when it meets them as Night riseth,? but with
the light-giving Dawn ceaseth, aye and smooths the
sea, and they set their sail to fiil in the favouring
breath of the South-Wind till they reach the
unhoped-for haven where they would be—even so
then, when the Trojans heard that spearman Achilles
abode in the tents by reason of a fair-haired woman,
the lovely-limbed Briseis, they raised hands to the
Gods because they had seen radiant sunshine be-
neath the storm, and sallying every man from the

Let. I]. 15. 415 tf. * ''hetis, mother of Achilles 3 the
phrase is apparently an extension of the 'rising' of the
stars

l'ATpg. fits better than 'Apyeío:w:: ll. lll-1l4 Desrous-
seaux-Blass (111), Desrousseaux-Jebb (112-3), Blass (114)
? Schwartz ? Blass: P originally had avve[, which points
to avreAA[ in his archetype : none of Jebb's parallels to his
&vareANouéva An£ev 8€ gv . . . "Aot is nearly so bad ; if the
stars rise it is conceivable that the night should; àvareio-
uévas would generally mean ' being spread out /o reach . . .'
so also ravóc Arat. 557 * P obpiat corrected from ovpavia :
koXmrGcav Blass, vvoà Housman; xoAmóécay must have the
same subject as é£(xovro, and the position of 8é is tolerable
after the genitive 5 so P

IQI

LYRA GRAECA

d
TccvOLa 66 NwrrOvTes
Teixyea AaopéOovTos
és 7reóLov kpaepàv
ai£av voyuítvav $épovres,
, / ^ , , ^
avr.e€ opcav ve oofgov Aavaoits,
y UE
146 c Tpvve Ó A pns
eveyx7)s Avkiov T€
Ao£(as üva£ ' AmóXXov:
(£ov 1. éri 0tva ÜaXaacas,
150 vavai 6 eUmpnvois m apà !
pápvavT', évapiCouévav
Ó ,SpevOe $orov
a/paTL yaia puéXatwa
c /, e N L9
[ ExTop]éas vT0 xeupos,
158 [7Xv0]é 7 2j40éoi-
/, , / $ € ,
c [:v rápBos] teo0éov àv opuav.

,

[79€ ]ovres vTepoiaXov
[Ó póvgu otovro] :

160 ['To&e]s iz evrai xvavcoióas é«-
[7 pzaaciv ' Apyevov] véas
[vvkTOs Xopóv eika]mívas T. &v
[6' áp ]paus &&ei Ücótpnarov-m Ov -
uxor pa T póTepov 6L-

160 vávra $owíitau Xkápavópov

á

cTp.s Üvdckovres Um. Aiakióaus
épeivyriXáots*
eg^ TÀV ei kai T[ereXesrax ]
| 7) 8a0v£oXo[ts 7vpats 1j]
| 170 [xc roc t reÜap.uéva TrUp. Bots
| [copaT, AXN. aiei a duoi]

192

em.e [à $a ]poves, 7) ueyaXauotv éXrrioiv

BACCHYLIDES

walls of Laomedon,! sped into the plain with stub-
born strife in their hands, there to rouse terror in
the Danaans, urged of lancer Ares and Apollo
Loxias lord of the Lycians; and so were come to
the seashore and fought beside the poopéd ships,
and dark earth grew red with the blood of men slain
by the hand of a Hector, and there came fear on
demigods through the onset of men that seemed
Gods. Ah the misfortunates! great indeed were
the hopes fed the exceeding pride of those horse-
men of Troy, till they made sure they would burn
the azure-eyed Argive ships, and so their God-built
city should see dancing and feasting both by night
and by day. But alas! they were doomed sooner
to encrimson swirling Scamander, dying by the hands
of the death-dealing Aeacids ; for whom albeit [their
g.bodies be ended] with the deep-logged [pyre or
the burial of the up-heapéd tomb, there liveth
nevertheless a glory evermore by grace of the

! builder of Troy

| perh. mapaí but.P apa [ not vopo[ 4 P"]Jey (155) ;
Tua Lu], 7v 9€ u] too long (155), and so are mév6os and ó-
| &iav; P dividing wrongly had s4:8eoic: | rapBos ; 1l. 154-158
Kenyon (154, 157), £ (155, 156, 158) 3 Jebb-Z (&0&pceevv

is too long) * ]l. 160-3 Nairn (160), Jebb-Z (161), £
(162), Nairn-ZE (163) $ Jebb-Z (in Ll. 169 &[ is rather

more likely than o[, but o is not excluded

I93
VOL, III. "

LYRA GRAECA

e.g. [Cer &Xéos a&vemréov]

[é«ar. Movcàv]
[aOavárais avv &oi&ais.]

175 ov yàp àXauméat VUKTÓS
Taciavys ' Aperà
epu eta" aàpavpo|)7at óvóóotatv,] E

àvr. 9 | àXN. éumre&ov áxk[apara]?

Bpvovca 80£a

180 a Tpo$ara karà ryàv €
kai ToXUT Aaykrov 04Xacaav.
kai uàv epekvóéa vágov
AiakoÜ Ti&À, cvv Eo-
kXetia, 96 diXoo Tedavo

,.185 TÓMLV kvBepvá,
E?vouta Te caóópov,
à& ÜaXías re XéXoryxev
ücTed T eic eBév
àvópày € €v .eipyva $vAdccet.
eT.c .wkap T epucvóéa uéXmeT , & véotL,

191 IIv8éa, ueXérav 7e Bporo-
$eXéa Mevdvópov,
TàV em AXdetob re poats Oa O1)
Tua ev "7 xpva ápuaos

195 ceuvà peyávpos -Afdva,
pvptov T 1059 nírpatcww àvépov
éco TeDávocev eOetpas
év ILaveXXávov à€0Xorts.

aTp.L ei uj Twa Üepouemis
200 dOóvos fiárat,
aivetro a oov dvópa
cUv Oi«a. Bporàv 6€ p.óyuos

194

BACCHYLIDES

.g.Sweet-word Muses and by virtue of immortal
| songs. ]

For radiant Prowess is not dimmed, she is not
hidden in the rayless murks of night, but goeth
ever up and down both upon the land and the
much-wandered sea, abounding in a fame that never
falis And lo! now she honoureth the enfaming
isle of Aeacus,! and guideth his city with aid of that
lover of wreaths Good Name, she and Orderliness,
the dame discreet who possesseth jollity and keepeth
the cities of pious men in peace. Chant ye the glori-
ous victory of Pytheas, O youths, and eke the aiding
care of Menander,? which the dread high-hearted
Athena of the golden chariot hath so often honoured
at the streams of Alpheus, where in the All-Grecian
Games she hath crowned with the headband the
locks of myriad men. Let all such as are not in
bondage to blatant Envy give due praise to a man of

skill. There's faultünding in every work ; but truth
! Aegina ? The Athenian trainer, cf. Pind. NN. 5. 48
! Tyrrell ? Kenyon-Platt

I95
o2

LYRA GRAECA

TávTeccL uév éoTLtv és épryous:
à 6 àXa8e(a duXet
Led e ,
205 »uküv, 0 T€ TavOapáTop
, - ^
Xpovos TO KGX&s
, , 5^ 9. Jf
épryuévov aiév aé£ev
vc evéov 66 uaraía
^ , 1161. 70 1
rykeoc àións puvvOet
e.g.? [Tévs, AXXa TÁC * . . ]

[10 Znes lost]

220 éXmríóL Óvpov Latv[e-]
Tá kai é*yo TrícVvos
Qoiwikokpa&éuvors [re Movoars]?
"T, NE v. , 5E 4
em.0 Üpuvov rwüà ráv6e v|eoómXoxkov 602tw)
Qatvo, £cvíav re duXa-
225 eyXaov 'yepatpa,
TV épol Aayr ov T|ápexyev xápw ov|?
BXyxpàv erabprjsaus T|uv&,]
Tày eL y 6 erónos ápa KXewo
vav0aM2s éuats évécra£|e paatv,]
^ 5 N
230 mep^riezrets viv àotóal
vavri kapi£ovri. Aag.

1 cf. Cram. 4.0. 1. 65. 22 ? E 3 Nairn 5 Jebb:
P had orig. i[ómAokcv: TávBe is 'attracted' for Tovro, 'I
show this as à new-made gift" 5 ]l 226-9 Blass-Jebb-
Housman-Z (226), Süss (227) Housman (229) (éma8pfjrcis
aorist participle; for meaning cf. ópáe mpós Eur. 7.4. 1624)
$ P eic (read eik?)

196

BACCHYLIDES

is wont to win, and all-vanquishing Time ever

enhanceth a deed well done. The vain speech of a

.man's enemies minisheth it all unseen [for a while,

LJ dran

[ten lines missing |

. cheereth his heart with . . . hope; and I, on
that hope relying and on the crimson-coiféd Muses,
do show this for a new-woven gift of hymns, lauding
therewith the splendour-loving hospitality which
Lampon showed me in expectation of no mean
return ; and if the flowery Clio hath in truth imbued
my wits with such grace as he expected, then shall
he be proclaimed to all the people in songs that will

delight the ear.!

: ! there is a confusion, prob. designed, between two uses of

xdápis, à favour or requital of kindness and the charm or
r

grace of a work of art, cf. Theocr. 16 /in.

197

LYRA GRAECA

4] (xiii)
KXeozToAéuo OeacaXo
iAr70ts llerpata |
cTp.a E? gév etuápÜat vrapà Oatuovos àv-
Üpcerrois dpi ov:
cvudóopà 0. éc0Xóv «T»! àpaXóD-
veu Bap)rXaTos uoXobca,
5 [kai T0]v kakóv? bvrcoav?, rev-
xet karopÜeÜetca: vr.uàv
9 &XXos àXXo(av éxev
avyr.Q piat 0. àvopOv aáperat, pia, T. e[«]
[racá]v ? zpokevrat,
10 [0s r0] * vràp xetpos kvSéprva-
[cev Gi]katauwt? ópéveoouw.
ovT €v BapvmevÜéow appo-
Ceu uáy aus Doppuyyos opdà
Kai NtyvkXatyyeis xopoL,
ém.a obT £v ÜaM(a« kava xà
16 [xaX«]ókrvaros'$ àXN. é$' ékao TQ
[«atpós] ^ àvópv éprypa t káX- '
ALcTOS* €? épOovra 6€ kai 0eós o|pOot-]
KXeor ToXégue 06 xaputv
?0 vüv wp? llocetGávos 7e lIerpat-
OU TÉjJLEVOS Kekaófjcat,
Ilvppíxov 7' ebQo£ov iz 0viko|v vtov,]?
0s diXoÉetvov re kal ópÜoOLkov
eg. loikovr àmeXAOov] . .
(16 lines missing)
40 [2o — é]v69ea Gecca[X » — —]
[o — v o] év yváXous:
[- - » IH ]avréAas «[. — —]
[7 v v -]ea [-]àwv
(the rest 1s lost)

BACCHYLIDES
41 (xiii)

Fon CLEoProrLEMUs or TuressALv

VicrToR IN THE Cuanror-RackE AT THE PErna!1A!

A happy destiny is God's best gift to man; but
even as Chance crusheth the good if she come with
a load of woe, so she maketh the wicked eminent if
she win her way. Honour hath various shapes, and
myriad are the kinds of human prowess; yet one
outstandeth all, and it is his whom a just mind
guides in what lieth to his hand. The deep misery
of battle is no place for the voice of the lyre and the
clear-ringing dance, nor hath the clash of bronze
with bronze to do with merrymaking ; rather in
every act of man is the right time the best, and
God too prospereth him that doeth a thing well.
And now 'tis the time to sing a meed unto Cleopto-
lemus, to sing together of the precinct of Poseidon
of the Rock and of Pyrrichus'? glorious chariot-victor
son, who [went forth from] a hospitable and upright-
judging [house . . .

(16 Imes missing)

. sweet smelling . . . in the fields of Thessaly ;
vu anteles-. .-—.

(/he rest is lost)

1 the Scholiast on Apollonius of Rhodes 3. 1244, * Petra in
Thessaly where Games of Poseidon are held' ; these Games
and the place are otherwise unknown, but cf. Pind. P. 4. 138
? probably the victor's father

! Jebb — ? Sehwartz-Süss: P 585 corr. to kak[ or xai[ (cf.
36. 19), whence Jebb i»?' 2 *and' ; but Jebb's x&yaro]v is too
long; xàáó9-——:7o]v would fit, but leave the objt. of re$xei,
needed to contrast with és0Aóv, unexpressed ; 7j Tó]v is too

short 3 Jurenka: é[s £vvó]v too short * Headlam
5 Wilamowitz 5 ]l 16-18 Kenyon (16, 17), Jebb (18)
? Blass 8 Blass

199

LYRA GRAECA

42
Stob. Fl. 10. 14. [z. à8ikías kal $iXapryvplas kal mAcovetías]:

BakxvAí80v "Emuwíkcv:

n 9. *PP , ^ , N A
6s 0 &ma£ eimeiv, opéva kal srvkwàv
&ép86os àvÜpoevrrov fiüra.

42 A
Sch. Aristid. 3 p. 317 BD [ei 53 xal &pua *ye àmó TÀYv

'A0mvàv Tb &pxatov, oUk &mo T35 ZikeAÍas]: roUro elmev Gs Tivcv
Aeyóvrev 0Ti oí ZuceAtGvai éteÜpov Tb &pua* oi yàp mep! Baucxv-
Aíbqv kal IlízBapov $guvíücavves rovs Tepl 'lépeva kal léAcva év
immucj rapéa xov vmóvoiav ZikeAiéras T1)v Urmuciv é£eupeiv.

43

Sch. Od. 91. 295. [Kévravpov, &àyakAvrbóv Ebpvríeva]g Bakxv-
Aíóns Bt OidQopor oferai Tbv Ebpvrieva. $maei'yàp émitevsBévra
Ae£ayevg * ey "HAibi bfpuamikGs émixeiproat ij ToU EevoboxoUvros
Ovyarpí, kal 8i& ToUTo b$mb 'HpakAéovs àvaupeÜzvai kauples ois
ékei? émigTávmos.

44—44 À

Sch. 7]. 19. 999 Ebpd-av Tv olvikos ZeUs 0eacduevos &v
TiVL Aeiuyvi jerà Nugu àv &y6r àvaAévyovaav ip&a09, kai kareA8ív
jiAXalev éavrbv eis ra0pov kai ümb ToU cTÓLaTOS kpókov Émvei.
oUrwe Te Tijv EbpéTTv àT-urícas éBdoTace kal DiomopÜuevcas eis
Kp/Trqv éulym abri: «i0 ore cvvQkiev abT]v 'Amrepíevi TQ
Kpnráàv BaciAei* "yevouérg 5€ €ykvos ékeíyn rpets maibas eyévvnee,
Mívea, Xapmíüjbova, kal "PabáuavÜvr. 1 icropía mapà 'Haió8e kal
BaxxvAÍ5g.

1 Barnes: mss 8e£duevos ? so Eust: mss here ofxois

1 cf, Eust. 1909. 61 — ? slain at the wedding of Peirithoüs
3 this would suit fr. 46, but the host there is Ceyx * af;

200

BACCH Y LIDES
42

Stobaeus 4a£hology [on Injustice, Miserliness, and Covet-
ousness]: Bacchylides Vctory-Songs :

Let me say it once for all, gain overpowers the
finest wits.

42 A

Scholiast on Aristides Panathenaicus: [:if indeed the
chariot too came originally from Athens and not from
Sicily ']: He says this because some authorities declare that
the chariot was a Sicilian invention; for Bacchylides and
Pindar, when they sang the praises of Hiero and Gelo in
respect of horsemanship, suggested that that art was invented
by the Sicilians.

431

Scholiast on the Odyssey [* the Centaur, famed Eurytion ']: ?
Bacchylides believes in a different Eurytion ; for according
to him, when he was a guest of Dexamenus in Elis he insulted
his host's daughter and was slain by Heracles, who came
opportunely upon the scene.?

4444 A

Scholiast on the Z7/iad: Zeus saw Europa the daughter of
Phoenix plucking flowers with the Nymphs iu à meadow,
and falling in love with her, went down and changed himself
into a bull; and breathing saffron from his mouth beguiled
her, and took her on his back, and crossing the sea to Crete
made her his bride, and afterwards gave her to wife to
Asterion king of the Cretans, in whose house she bore three
sons, Minos, Sarpedon and Rhadamanthus. The story is
told by Hesiod and Bacchylides.*

as seems likely, the Dithyrambs were arranged alphabetic-
ally, this was prob. part rather of an Epinician than of a
Dithyramb

20I

LYRA GRAECA

44 À
Apoll. Adv. Gram. Gr. 183 $v Tpómov kal émw óvoudrwv

peramAacgol *yívovrat, ka0dmep . . . . TO

TUpryoképaTa
vapà BakxvAÍ8g.

45

Ath 4.174 f. [m. yvyypatvev avA Gv] TovTois 55 kal oí Kapes
Xp&vrat év rots Üpüjvo:s: ei uj] Épa kal $5 Kapía Powíkr éxaXeiro,
&s mapà Kopívvp kal BakxvA(On éaiw eópeiv.

46
Ibid. 5. 178 b. [m. àkAfjrev]: BakxvA(5gs 06 mepl 'HpxkAéovs !
Aéyav, »s 7)A0ev érl rbv rov KfjUkos olov, $naív:
éc Ta, O émi Xdivov ovOov,
Toi 6d Üoívas &vrvov, à0e 0. éQa:
€ A , , /, , 2 , 0 ^
vTouaToL *y ? àryaÜov
^ ,
Oairas eUoxÜovs évrépxovrat ÓikatoL
déres 2...

4T

Clem. Al. Sfr. 5. 715 àkoócceuev oóv mA BakxvA(Oov ToU
peAoro100 Tepl ToU Üelov Aéyorros*

e b! , ^ 5, ^
oí p&V apres aeuceXuüy
»
voUvcQv eiciv Kai (va oL,
5, ^ 5 , »
ovO6€v àvÜporrots ieXot.

3

1 Schweighaüser: mss K^/vxos ? or omit with Brunck ?
mss 9' $ Schaef: mss àvaírioi

202

BACCHYLIDES
44 A

Apollonius 4dverbs: Just as metaplasms occur in nouns
aS... and upyoképara

with towering horns
in Bacchylides! . . .

45

Athenaeus Doctors at Dinner [on the flute called gingrainus]:
These are used by the Carians in their dirges, unless by
Caria is meant Phoenicia,? a confusion found in Corinna and
Bacehylides.

46 3
Athenaeus Zoctors at Dinner [on uninvited guests]:
Baechylides, speaking of Heracles and telling how he came
to the house of Ceyx, says:
He stood upon the stone threshold when they
were preparing a feast, and said, *The just come
unbidden to the heapéd banquets of the good. *

4T

Clement of Alexandria JMzscellanies: Let us hear again
what the lyric poet Bacchylides says about the divine:

All unlike to men, they cannot be subdued nor yet
harmed by cruel maladies.?

l1 prob. agreed with -a)pov, bull; i.e. Zeus; context
suggests that it is accus. masc., cf. Pind. fr. 325 Bgk.
? so the context requires, but the Gk. would more naturally
mean *by Phoenicia is meant Caria ' ? [ place here other
fragments of a general type * cf. Zenob. 2. 19, Miller
Mél. 350 5 cf. Euseb. Praep. 13. 679, Pind. fr. 143 Bgk.

203

LYRA GRAECA

48
Stob. Ed. Phys. 1.5.3 [m. eíuapuévns kal Ts à» *ywopuévev

ebra£ías]:
OvaToici! Ó' ovk abÜaíperoi
y 13 c es Pak: »
ovT 0X/8os oUT aryvauT Tos A pns
oUTE áp Üepaus cTác!s,
AXX emu pim Tet véoos dXXoT €T üXXav
yaiav à v ávócpos aica.

49
Clem. Al. Str. 6. 7/45 BakxvA(Sov re eipukóros:

ravpoicL? 6€ Üvaróv róv &ravra xpovov
Oaípov cóc ev ?

T páacovras * ey api Tr0MOKporadov
ynpas ieveia0au piv éykvpsa Ova.

50

Plut. Num. 4 pa oiv &Lióv écri TaUra cwyXcpoÜrras éml
TOUTGV dirurreir, ei ZaAeókg kal Mívg kal ZwpoáoTpm kal Noug
kal Avko)p'ye BaciAe(as kvBepyagi kal soAvreías DiakompoUgiv. eis
Tb abrb éoíra cb OBoióriov, 3j vovTro:is mtv eikós écTi kal

, 5 A] € ^ M , , ^
maíQovras? eovs ójuAetv émi BibackaAÍa kal mapoauvégei TÓV
Bexría Twv, movprais Oe kal Avpikois guvvpi(ovoiw, etmep pa,
xpíjo0«. arovbá(ovras ; ?

ei 66 Xéyet ris àXX0s,
^ ,
T'XAaTeia, kéXevOos,

karà BakxvA(Oqv.9 oU8€ yàp Grepos Aóvyos €xei Tb $aUAov, KTÀ.

1 Neue: mss 6vyrois ? Steph: mss zap' olei 3 Urs.-
Neue: mss rà Saíuow 6d9kev 5 Sylb: mss -ovra uit
mss transpose e7ovbá(ovras and maíQovras $ these two

words follow &AAcvs in Plut.
204

BACCHYLIDES

48

Stobaeus Exvíracts om. Physics [on Destiny and the Orderli-
ness of Events]: Dacchylides : —

Neither prosperity, nor stubborn war, nor all-
destructive civil strife, cometh to us of our choice,
but Destiny that giveth all, she bringeth down a
cloud now on this land and now on that.

491
Clement of Alexandria Miscellanzes : Bacchylides :—

Few are the mortal men whom God hath granted
to be so fortunate all their days as to reach the
time of gray temples without meeting trouble.

50

Plutarch Zife of Nwma: Can we then, if we admit these
instances of divine favour, refuse to believe that men like
Zaleucus and Minos and Zoroaster and Numa and Lycurgus
were visited by the Divine Power while they were guiding
kingdoms and regulating polities? Or is it reasonable to
suppose that Gods are in jest when they consort with such
persous to their edification, but in earnest in their deal-
ings, if such they have, with poets and warblers to the lyre?
Yet, to quote Dacchylides,

If any say otherwise, broad is the path.

For the other view is worthy consideration, etc.

! ef, Hesych. plv éyiipoa:

205

LYRA GRAECA
o1

E.M. eibeXov: 4$ àmb coU cópamros ckioeibijs àmóppota . . .

&s kal BakxvA(Oqs:

peXarykevOés eióe Xov àvópos 'I0axnotov

52

Ath. 1. 20 ce [m. ópxfiecs] o$To: oiv mávres, ó cÜpmas
ó)uos Tüjs oikovuévns, vàv éQ' tuiv, qoi, qiAócoov ópxuoràv
MéuQiw ékáAecav üàmapxoi(ovres Ti» 9ià ToU cópaTos avToU
kívqsiww Tij TÀv TÓAewv» àpxaiorárm kal BaciXucerdrg, mepl jjs
BaxxvAlOns $nat-

N , , , ,

Tàv üxeiuavTov re Méuduw
by / ^

kai 6ovakeóea NeiXov

53

Ioann. Sic. Ah. Gr. Walz 6. 241 &àpol Trà maAabv oi
Ieves, &s mov kal BakxvA(8gs $mqaí, rbv c$àv abrGv pvÜubv
ÜnAQv*

afpóT11t Évvéacuv ! "Ives BacuXt$es

54

Prise. Met, Ter. Gram. Lat. Keil 3. 428. 91: similiter
Bacch ylides

xpvaóv fBporàv yyvopatc pavet ka0apov.
hic quoque iambicus ? in fine tribrachyn habet.
1 perh. -—Toí Z; but cf. ibid. 5. 493 and 7. 982 càv

&BpoBíev 'Ióvev üvat whence PD reads 'Ióvev here ? mss
iambus

206

BACCHYLIDES

511
Etymologicum Magnum. ei8oxov * ghost? :—the shadow-like
emanation from the body . . . compare Bacchylides :

the gloom-shrouded ghost of the man of Ithaca

52?

Athenaeus Joctors at Dinner [on dancing]: All these
nations (which compose the population of Rome), the people
as it were of the world, revived for the philosophie dancer
of our time, because of the elegance of his movements, the
name of the most ancient and royal of cities, Memphis,
of which Bacchylides says:

Calm stormless Memphis and reedy Nile ?

53

Joannes of Sicily Commentary on Hermogenes : 'The Ionians
were luxurious in ancient times, as indeed we know from
Baechylides, who says in their own metre:

The Ionian princes dwell with luxury.*

54
Priscian Metres of Terence : Similarly Baechylides :—
. . . discloseth pure gold to the judgments of
men ;

where, as above, the last foot of an iambic line is a
tribrach.

1 ef. Bachm. 4a, 1. 208.13, Cram A.P. 4. 168. 30, Sch.

. Il. 5. 449, Apostol. 3. 37, Suid. etówAov * of. Eust. 864. 22

3 perh. belongs to 40 (read «al (rb»y» 8ovax.) — * Wil. thinks
that Joannes invented this, but ?

207

LYRA GRAECA
55

Zen. Paroem. Gr. l. 64 Oí(xoXo: vyv&gou mapà Tb bíxa 1)
Oírporov! karà ueráXmjiv: XóXos "yàp dj ópyyf], ópyy!] 0€ Tpómos.
Bax xvAÍ9ns

, N E 5 , ,
op'yai uev àvÜperrov O.ukekpuuévat
puptat . ..

56

E.M. mwAquguvwpís: . . . ei uévro üvoud. éariw, eUXo'yov Bapi-
rea0ai abT0 Dià Ty Tapà BakxvAÍlOqv airiaTucf)v, oloy-

TX0uavpiw TOVTOU $vyov

oT

Stob. F7. 98. 97 [wv. ToU Bíov, 0r: Bpaxvs kal evTreA3s kal
$povríówv àváueaTos| év TQ avrà (BakxvA(Bov 'Emwíikois):

OXfLos 0 ovOeis Dporóv zrávra xpovov.

51A
Heph. Ptol. ap. Phot. Bibl. 153a rí(éeTl 7b mapà BakxvA(on

Gs àrà ZeiAqvob eipquévov kal mpbs TÍva eime 75 €ros ;

Arist. fr. 40 &s &pa uj "yevéa 0a. uev &y ápuaov mávrov, Tb 5€
TeÜvdvai ToU (üv éoTi kpeirrov. kal moAXois obrw Tapà ToU
Oauuovíov peuaprópmra. ToUTO jv éke(yp TG Míbz Aéyovci
510v uerà T3)» 0fjpav &s éAaBe rbv Xeixqvbv Biepwor GvT1 kal grvvOavo-
uévo Tí TOT. ég Tl 10 BéATiGT0V TOIs àvÜpzrrois kal ví TÀv TávTev
aiperiraToV, Tb uev TmpüToy oU0ty €0É€Aew eimeiy àAAà guwmav
&ppijkrws' émeib]j Bé more uóyis mücav unxaviv wumxaváuevos
TpocT'yáyero dÜOéytag0al T. Tpbs abTÓv, oUTws Avayka(Óuevov

1 so Hesych: Zen. 7apà T5 Dix ibtórpomo:

! cf, Hesych. 8(xoXoi, 8íxoXot *yv&àpat, and Ouakerpiuévat, but
Seh. Hippocr. 5. 584 ascribes it to Alem; in the form of
év utv àvÜpáme ópyal kekpiuévai uv píaa ? cf. Fav. 368

208

BACCHYLIDES
551

Zenobius Proverbs : 8(xoXoi yvàgat, * two-galled opinions ' :—
from óàíxa * twofold,' that is *of twofold character, iof two
sorts'; this by the figure metalepsís or exchange ; for xóxos
or ! gall! is equivalent to ópy/; *anger' or * emotion, and opyf
to rpómos * character or * temper'; compare Dacchylides :

Past number are the varied tempers of mankind.

56?

Etymologicum Magnum mAnuuvpis . . . if however it is à
noun, it is reasonable to accent it proparoxytone, mAZuvpis
* tide ', because of the accusative mAcuuvpiw in Bacchylides :

escaping the tide of the sea

oT

Stobaeus 4n£Aology ? [on tbe Shortness and Vanity of Life
and how full it is of Trouble]: in the same (7.e. Bacchylides
Victory-Songs) : *

No mortal man is for all time happy.

57 A5

Ptolemaeus son of Hephaestion: What is the saying
Baecchylides puts in the mouth of Silenus, and to whom is
it addressed ?

Aristotle Zudemus or The Soul: 'That the best of all
things, said he, is never to have been born, and that to
be dead is better than to be alive. Many have received
divine confirmation of this. As you know, they say that
the great king Midas once took Silenus in the chase and
put questions to him, asking him what was the best that
man could possibly enjoy. At first Silenus would say
nothing, but kept an unbroken silence. And when, after
long doing his utmost in vain, the king at last made him open

* wrongly joined here to 40. 160 ff. 5 it is uncertain
whether this lemma belongs to this citation as well as to
40. 160, but it should be noticed that the metre would suit
40. 31 5 cf. Cic. 7. D. 1. 48
209
VOL. III. E

LYRA GRAECA

eireiv * Aaluovos émiróvov kal TÓx)s xaAXemüs é$[fjuepov aépyua,
Tí ue Biá(en0e Aéyeiw & óuly üpeiov 3] *yvàvat; uer! &yvolas "yàp
TÀV oikelev kakGv àAvmóTaTOs Ó Bios. &vÓpdmois be md mayv oUk
Éc71 "yevéa 0a: 70 mávrov üpiwr Toy obbe ueraoxeiv 7íjs ToU BeXría-
TOV $UGecs: ÜpigTOV "yàp magi kal mdácais Tb ju] "yevéc8ar Tb
uévTO|. uerà ToUTo kal mpàTov rGv àvÜpómq àvvoTGv, Bebrepov 5€
Tb "yevouévovs ào8aveiy 6s TáxioTa. DjAov otv «Uri és oUDoms
Kpetrrovos Tüs €v TQ TeÜvaàvoi Oiwyoryns 7j Tüs €v T€ (v, oUTws
&meóTvaro.

58

Clem. Al. Paed. 1. 154 oi 8€ abr) mpocéxovres Tfj mace: olov
abToD(BakTo: kal mpoatperikol altovrat Td éraíivq:

, NES , / 8év6 PPS E MA 1
apera yap ésratveoy.éva, óévOpov is aé£eras.

09

Amm. 25. 4. 3: item ut hoc propositum validius firmaret
(Iulianus) recolebat saepe dictum lyrici Bacchylidis, quem
legebat, iucunde id adserentem, quod ut egregius pictor
vultum speciosum effingit ita pudicitia celsius consurgentem
vitam exornat.

60

Sch. Ap. Rh. 2. 500 [£v6a 5' 'Apisrraiov $oíBy Tékev]: Tuvés
Téccapas ' Apa ralovs "yeveaXovyoUgiv, &s kal BaxxvAÍógs, rbv uev
KapícT0v, &AXov 8e Xeípovos,? &àAXov 5€ I')s xal ObpavoU, kal Tbv
Kvp7vns.

61

Gell. N.A4. 20. 7: nam Homerus pueros puellasque eius
(Niobae) bis senos dicit fuisse, Euripides bis septenos, Sappho
bis novenos, Bacchylides et Pindarus bis denos.

! Bl. reading 3' and 8év3peoy thought this might belong to
29 (1l. 1-2 of str. or ant.) ? B: mss xépovos

210

BACCHYLIDES

his mouth, he reluctantly answered: *O mortal seed of an
industrious deity and a cruel chance, why do ye make me
perforce tell you what it were better ye should never know ?
for life is least miserable in ignorance of misfortune. [t is
impossible for man to have what is best of all, or even to
have a share in the nature of the best; for to everyone, man
or woman, the best is not to have been born. But the next
best to this, what is the best attainable to man, is to die as
soon as he may. By this he clearly meant that time spent
in death was more desirable than time spent in life.!

58?

Clement of Alexandria Pa«edagogus: For those who devote
themselves to the true faith, increase in praise instinctively
and as they choose ;

For virtue when 'tis praised groweth like a tree.

59

Ammianus Marcellinus ZHisíory [the emperor Julian]:
Moreover, by way of driving his point home, he would
repeat that passage of the lyric poet Dacchylides, whom he
read, where he says so delightfully :

As a famous painter doth make lovely a lovely

face, so self-restraint adorneth an upward-growing
life.

60

Scholiast on Apollonius of Rhodes Argonautica [there
Cyrené bore Aristaeus to Phoebus?]: According to some
authorities, for instance Bacchylides, there were four persons
called Aristaeus, one the son of Carystus, another of Cheiron,
a third of Earth and Heaven, and the son of Cyrené.

61

Aulus Gellius Attic Nights: Homer gives Niobe six sons and
six daughters, Euripides seven and seven, Sappho nine and
nine, and Bacchylides and Pindar ten and ten.

1 cf. 33. 160 ? ascription probable but not certain;
cf. Pind. N. 8. 40
21I
P 2

LYRA GRAECA

62

Vit. Hom. Cram. A.P. 3. 98. 15 [m. 'Oufpov] xarà 5€
BakxvA(oqv kal ' Ap.arorTéA mv Tbv iAÓcoQor ' Yjrqs.

63
Str. 13. 616 à à:

Kaikos
ovk àümo Ts los pet, ka0dmep efonke BakxvA(Oqs.

64
Sch. Ap. Rh. 1. 1165 ['Pvv8Baxí6as vpoxoás]
€ /,
Póvóaxos

morauós éco Ti pvylas ov uéuvgra: BakxvA(Oqs.

65

Ibid. 4. 973 [ópe:xáAkoto $aeiwo?]: uvnuovebet kal. Zrgoíxopos
kal BakxvA(8qs.

66

Nat. Com. Myth. 9. 8, p. 987: dicitur Polyphemus non
modo amasse Galateam, sed etiam Galatum ex illa suscepisse,
ut testatus est Bacchylides.

66 A
Oxzyrh. Pap. 496! :
.. . LHivOo . . [«]éXevoev doifBos . . voxe-
pakverov v[tov] (tree utilated lines) . . . ravé-
! ascribed to Bacch. by Maas : restorations by Bl. and E

1 Plutarch Zife of Homer 1. 3 quotes a statement of
Aristotle (On Poetry Bk. III) that H.'s mother was born at
Ios, but H. himself at Smyrna ? Sch. Z[. 5. 335 quotes

212

BACCHYLIDES

62

Life of Homer: according to Bacchylides and Aristotle the
philosopher, Homer's native place was Ios.!

63
Strabo Geography: The

Caicus
does not, as Bacchylides says, rise on Mount Ida,

64

Sceholiast on Apollonius of. Rhodes 4 rgonautica [* the out-
flowings of Rhyndacus ']: The

Rhyndacus

is a river of Phrygia mentioned by Bacchylides.?

65

The Same ['shining orichalc']: Orichale or mountain-
copper is mentioned by Stesichorus and Bacch ylides.

66

Natalis Comes? M;fAology: Polyphemus is said not only
to have loved Galatea, but according to Bacchylides to have
had a son by her named Galatus.

66 A
From a Third-Century Papyrus:

. . . Pytho . .. Phoebus bade . . . son praised
in war . . . (fhree mutilated lines) . . . leafy

'PívBakov &àu$l Ba0vcxowov *by deep-reeded Rhyndacus,
where metre, however, favours Hecker's attribution to
Callimachus, e.g. 'Pvródkov — — | àuol Bao xoiwov 3 this
writer's testimony is suspect, but cf. Appian Z//yr. 2 where
the son is called Galas

213

LYRA GRAECA

QvuXXov ... lovras éxa(as . . . (three mutilated
lines) . . . : !

[&uo]s e£ " Apyeos MeXdgu[rrovs]

[5X]0' " AuvOaovtóas

[8v]uov ve IIvOaet kríce[v]

15 [xai] Téuevos tá0eov
[«eiv]as àzró pítas* TO 66 xp[vcoxópas]
[é£6]yos ríuac" '" AmÓNXov
(15 mutilated lines)

H
EPOTIKON
67

Apul. Mag. 8 [de versibus amatoriis]: fecere et alii talia,
et si vos ignoratis, apud Graecos Teius quidam et Lacedae-
monius et Cius? cum aliis innumeris.

68
Ath. 15. 667 éxaAovv 5 àm^ &vykAms Tiv ToU korrdBov mpóecgiw
6ià& Tb ÉmoykvAoUv Tiv OcLiàv xeipa év Tots àrokorraBiouois. — oi
6e ToTapíov elbos TÀ]v &vykóXmv $acl. BaxxvA(Ogs év 'Eperi-
KOiS*
"5
. - . . . . €euTe
N , , , L4 eu
TQ)V à Q'ykUN9s (got
ToicÓe TolS veavíats
N ^
Aevkóv àvTelvag a, T i)XVv.

69 A, 69 B

Heph. 73 feri: 8é rwwa kol Tà kaAobueva émijÜeyuaTikd, &
biaóépe: Tar, TGV éÓvuvíev Üri: rà uty kal mpbs voUv cvvTeAet
Ti, T& b^ ék mepirToU is mpbs Tb Aeyóuevov 7j GTpo$fj Tpoakeirai
otov Tb Bak xvAÍBov-

1 cf. ]. 8 éAaías ? Bosscha : mss civis

214

BACCHYLIDES

olive (/hree mutilated | lines) . . . when
Melampus son of Amythaon came out of Argos,
and founded an altar to the Pythian, and made a
holy precinct from that root;! and the golden-
haired Apollo did it exceeding honour. . . . ..

(15 mutilated lines)

Book VIII
LOVE-SONGS

61

Apuleius On Sorcery [amatory verse]: Poetry of this kind
has been composed before, among the Greeks, let me tell
you, by a Teian, a Spartan, a Ceian?, and numberless others.

683
Athenaeus Doctors at Dinner: "They called the throw of
the cottabus 'from the bend" because the right wrist was
bent in making it, though indeed aecording to another
explanation the àyx/A, was not the 'bend' but a kind of
eup. Compare DBacchylides Love-Songs:
when she lifts her white arm and throws from

the bend at the bidding of these young men.

69 A, 69 B

Hephaestion On Poems [on a type of refrain]: There is also
the epiphthegmatic, which differs from the ephymn?on in con-
tributing to the sense of the passage, whereas the ephymnion,
as far as the sense goes, is à superfluous addition to the
strophe. Compare Bacchylides :

1 prob. ref. to the olive of 1. 8 * je, Anacreon, Aleman,
Bacchylides 3 cf. Ath. 11. 782e
215

LYRA GRAECA

, , , , ^

7) kaX0s GOeókpviros: ov uovos avÜporrav épás.!

kal TdAiy Tapà TQ avTQ BaxxvALOm:
^ Á,
cv Ó Éév xLvTOVL LoUVO
N N / ^ ,

zapà Tv diXNqv vyvvaika, devwyers.
Ürav utv oüv Bpaxéa 5 rà émijÜeyuaTikd, roUTo TpÓccoTiw avrois
üvoua: éày 8e kal TqAikaUTa GocTe aTpooi;v ÉxmAXmpoUv, kal Tpo-
TeráxÜai u£v 73» ToU mov]uaros ? o Tpojfjv, éme(eUx0an 86 rijv GV
emióÜeyuarikGv, eira máXiw Tà la karà Tbv avrov Aóyov, 6o 704 TO
Toi00TOV cÜCTT"UO KaTÓ TepikoTT]v &vopoioj.epés.

Q'
ZKOAION?

TO
;
AXeEávOpo ' Auvvra
Ox. Pap. 1361. 1:
cTp.a ^"'Q Bdpfure, uygkér. máocaXov ivXdo-
GOV
érTáTOVOV Avwyvpàv kam Ave ryàpvy:
OcÜp' és éuàs wépas* oppaívo TL qréwm ev
xypvccov Movcáv ' ANe£dvOpo qrTépov
caTp.[9 kaicuprmoatotciv üvyaXg. €v eiábegtv,
6 ebTe veOv d/ya0Qv ryXvret * àváryka
cevopevüv kuNikov OÓáXNq1)00 Óvpàv
Kompióos T &Xrris 6a 7007 ? $pévas,
cTp.'y & pevyvvuéva 9 Atovvototot 6opots
10 àvOpáciv ? vyrorávo vréwmet ueptuvas*
avTika pev vroMev kpáceuva Xuet
vrücu 0 avÜpeyrow povapxaeuw Ooket,
1 Urs: mss ópás ? Caesar: mss moro) — ? or? Ewykwulev
* at yAvkeia begins the citation Ath, 2, 39e which supple-
216

BACCHYLIDES

O fair is Theocritus! thou 'rt not alone in loving
him ;
and again :

Off thou fliest cloakless to thy dear good wife.

Now when the epiphthegmatic is short, that is its name,
but if it is so long as to make a strophe, and the strophe
proper comes first and the epzphthegmatic second and then
again the proper and after it the epiphthegmatic, and. so on,
such a system will be reckoned xarà mepikom3jv àvouoiopuepés,
that is, as composed of like wholes whose parts or * periods '
are unlike.

Book IX
DRINKING-SONGS!1
10

Fog ALEXANDER SON OF ÁMYNTAS

From a First-Century Papyrus:

Hang no more to thy peg, my lyre, nor check the
clear voice of thy seven strings. Hither to my
hands! I would fain send to Alexander a golden
feather dropt by a Muse, to be an adornment for his
banquets on twentieth days, when the heart of noble
youths is warmed by the sweet compulsion of the
swift-circling cup, and their mind thrilled with a
hope of the Love-Goddess, which sendeth a man's
thoughts highest aloft when it be mingled with the
gifts of Dionysus. Then overthroweth he the battle-
ments of cities, and thinketh to be sole ruler of the

! or Eulogies

ments the gaps of the Pap. to the end of 1l. 16 5 P must
have had ai$vcc;] — 9 so P: inss àvauvyv. whence edd. àuuervyv.
? so P: mss àybpác, 9

217

LYRA GRAECA

cTp. vcQ O éAéDavri ve pgappaípovauv
p. xpvcd pappaíp
OLKOL |
, N , , /, ,
vrvpooópo, 66 kacv' ai-yAáevra rovrov
15 váes &'yovoiv àm. Aim TOU UéyLoTOV
m^ ^ / € /, l4
TrXoüTov: Gs vrívovros oppaítvevu kéap.

cTp.€ c mai ueyaM[ocOevéos! . . . . . .]
(6 mutilated lines and the rest lost)

7p?
"Iépovi Xvpakoo c
Ibid. 4 4- 24:
cTp.a Momo Myvax|éa «pnijva]
BápBirov: AéXA[o yàp oàv, à vat, ueM-
TVÓQV
&vOeuov Movcoáv 'Iépov[t &Xvr]
£avOaisiw LT TTOLS
5 [jiepóev TeAégas
KG vim ÓT Qus ávópecoct m[éume]
aTp. 9 Alrvav és éÜkviTOv. — €i «[ai]
TrpóaOev buvijaas TOv |€v zroXots kXeevvóv]
T0cG0i XawWrpois Gep| évikov ém AX-]
eg. 10 [$e]à v[e vi]kav
[A40 ]o[ta] [ov ]róuevos
[veüo, àXXà » éav &B[Xac rov ópav-]
Gp. fy [é$e?mrov] &poi Tóre koüpal|t]
[veavía, 0'], 9m aot Atos vráryx pvo ov otov]
[ievéowwr', á]uos (Üecav uiaXaxàáv]
[7Xókovs àoiOàv]
(3 lines mulilated or lost)

1 P ueyàA[: accentuation points to a compound ? re-
stored by Hunt (ll. 3, 6, 7, 8, 22), Murray (ll. 9, 10), E

218

BACCHYLIDES

world; then gleam his houses with gold and ivory,
and wheat-laden ships bring him mighty great
wealth from Egypt o'er the sunny sea ; such is the
dream of him that drinks. € child of.great . . .!

(6 mutilated lines and. the rest lost)

Ti
Fon HikRo or SvnacusE

From the Same:

[Hang] not up yet, [my lad,|the clear-voiced lute ;
for I am about to achieve a lovely flower of the
[honey-breathed] Muses for the Hiero who is made
so famous by his tawny steeds and eke for his com-
rades at the feast, and send the same to well-built
Etna. Albeit ere this, when I sang the praise of
that Pherenicus that is so noted among horses for
his swift feet, Pherenicus and his victory beside

^.g. Alpheus, my branches were hacked privily till I
bowed my head, yet did I burgeon forth in fresh
vigour; aye then sought unto me all the young
men and maids who resorted to the all-golden house
of Zeus, when they set up therein garlands of gentle
songs ...

(3 lines mutilated or lost)

! the epithet would seem to suggest Zeus rather than
Amyntas, the 'child' therefore is perh. rather Aphrodite
than Alexander ? the metaphor, as restored, is that of
a tree cut about by an enemy but still producing leaves
(poetry) from which garlands (processional songs) could be
made; ref, to the feud with Pindar?

219

LYRA GRAECA

20:55. bios c osv:O-. 2. 0e 5 |05,] !
[0mco]v dvÉpdrm [oov BXebápbio oéper]
Xe[oxc]mrzros ' Acs,

Tóc cov é$' üMikías
déyyos kar. àvÜporr [ovs vréraccev.]

12
Clem. Al. Str. 5. 654 :
oV tyàp €v uécao(ct keiraL
60pa OÓvcudxnra Moicüáv
TOT LTVY0OVTL jépeiv.?

I
EHIPPAMMATON
T3

Meleag. 4.P. 4.1. 33 A«eyavá T' ebkapmreüvra ueAiwrrákTov
&rb Movcécv, | &£avÜovs éx kaA&uns BaxxvA(óeo o TáXvas.

T4
Anth. Pal. 6. 313 - BakxvAtoov:

Kovpa IIéXXavros TOU Ouue, TÓTVLG Ní«a,
.Tpobpov KapÜaiov? [uepoevra xopv

aiv érrozrTeVots, TT0Xéas Ó. év áÜópuacu Movoáv
Kyío àpdurite: BacyvM0g aTeQávovs.*

1 junction of ll. 20 (right) —24 with the main frag. at 1. 20
(left) is doubtful ? [ place this among the Scoliz because
Ox. Pap. 1361. 32 has what may be the ends (ra: and. av) of
ll. 1-2, and 48 the o of Mowcay and the second e of $épew in
]. 9-3 3 B: ms rpavvaíev 5 Brunck : ms xzópw a.
BaxxvA(Ons
220

BACCHYLIDES

[. . his son! . .] who in his youthful prime hath

spread o'er the world as great a light as ever white-
horsed Dawn bringeth unto the eyelids of mankind.

12?
Clement of Alexandria Miseellanies :

For the Muses' gifts so keenly fought for lie not
in the midst for any that cometh to win.

Book X
INSCRIPTIONS
T9

Meleager The Garland:? And yellow ears he inwove
from the corn of Bacchylides, full ears left from the garner-
ing of the honey-sprent Muses.

See also Simonides 177 (vol. ii).

14
Palatine Anthology : Bacchylides :—

Renownéd Daughter of Pallas, Lady Victory,
deign to look ever kindly upon a lovely chorus from
Carthaea, and in the sports of the Muses crown
Ceian Bacchylides with many wreaths.

! Hiero's son Deinomenes, cf. Pind. P. 1l. 59; it is not
certain that lines 20-24 belong here, but they prob. are part
of the same poem ? ascription probable but not certain
3 je. the Proem to his Anthology, an index in the form of
a garland of flowers, each kind of flower representing the
contribution of a poet

221I

LYRA GRAECA

15
Ibid. 6. 53 BaxxvAiSov:

Edvónuos TÓV viov em' d'ypoü TÓVÓ' avéOwkev
TO TáVTOV geciban mTpnüTáTQ! Zeb ipo
eifauévo yàp ó y 2 $M0e Boa66os, 9$ pa TáxiG Ta
Aukpanom Temovov kapmOv aT. üa Ta X VOY.

1 Headl: ms (and Suid. zióraros) v:07TáT9 — ? Mein: ms
yap oi

222

BACCHYLIDES

15

The Same : Baechylides :—a dedication to the South-West
Wind by a farmer named Eudemus :

Eudemus set up this shrine upon his farm unto
Zephyr the kindest of all winds. For at his prayer
he came to help him winnow the grain quickly from
the ripe ears.

223

XOOOKAEOTX IIAIANON!

1-2 «eis 'AoxXgmuv
Philostr. Jun. Ziag. 13. [m. eikóva. XoQokAéovs] 'AekAmmis
6€ oluai obTos €yyvs mauüvd, T0v Tapeyyvv "ypioew kal
&XvTOunTLs ?

, -^ ^ ^5 ^
ovK &ratiàv mapà coU &koUcat. . .

2

Philostr. Vit. Apoll. 3. 17 oí 56€ $6ov gBfv, ómoios ó maiàv ó
TOU Xo$okAéovs, bv 'A0fjynci TQ " AckAqmiQ dbovauw.

9 eis Kopovióa

I.G. 3. 1 Add. p. 490. 171g [Athenis in lapide invento ad
Asclepieum sub arcis radicibus] Zo$oxAéovs:
['Q Oxeyía] kobpa epuevvue párep àXe£-
mo[vov ryXvket^ AokXarrtoD,]
[àv oigo] àxeipekóuas é[ois] évapiOju[ov
Tó0ois &Ünkev, | a& vóv àetcó-]
[ueo8a. uéX]eo v] evez[écoc . . .?

1 cf. Suid. s. ZoooxA7s, Luc. Enc. Dem. 277 ? mss -u/jr)s
3 tit. extends from vv to zo of first line (as it was presumably
in the middle, we can estimate the length of the line); on the
right i[ comes below e£ and z[ below o ; on the left, ]: comes
below x and ]e below «a: stone has prep, àkeipexopàs,
evàpióju[ ; suppl. Büch.—Z e.g.

224

THE PAEANS OF SOPHOCLES
1-2 To AscrEPius

Philostratus the Younger Portraits [on a portrait of
Sophocles]: And I believe Asclepius is here commanding you
to write a paean, and, not disdaining to be called by you

famed for his skill! , .

2

Philostratus LZfe of Apollonius: And they sang a song
resembling the Paean of Sophocles which is sung to Asclepius
at Athens.

3 To Conouis?

An Inscription of the First or Second Century [found near
the temple of Asclepius on the slope of the Acropolis at
Athens]:

Sophocles :—

O renownéd daughter [of Phlegyas, sweet]
mother of [ Asclepius] warder-off of woe, [whom]
the unshorn [Phoebus] numbered among his
[loves, to thee we will sing now with tunes] set
to noble words . . .

! for this epithet in a Paean to Asclepius cf. des.
199 (was this Sophocles Paean?) and Kaibel Zpig. 1026
? perh. part of the same Paean; some think the title
* Sophocles! may be merely the name of the dedicator, but
in any ease the poem would seem to be a good deal earlier
than the inscr. which records it

225

VOL, III. Q

IONOX XIOT MEAON
1

Ath.9.354d [m. ofvov]: "Iev 9' ó Xiós $nouv:
aóapvov 1
16 , 9 , 5, ,
vaióa ravpoeov?, véov oU véov,
ef , , , ,
70.0 rov 7rporroXov fapvryOovr av éporov,
oivov àepoivooy?
àvyÜpormov mpUTAViV

2
Sch. Ar. Pax 835 [kel vís écriv àoThp v)v éxei; |— lov ó

Xios, Ücmep émolqsev máAai | év0dBe rbv 'Aoióy mo0" &s b $A8
eb0éws | 'Aoiov abTbv TávTes ékáAovr àcTépa] Oi8vpduBev xol
mpa'ygbías kal ueAv moi]rífjs: émoimaev 8€ qbfiv, js ? àpxfr

3 ^ , y 5 4

Aotov àepodovrav ac Tépa

/ / / ,

petvcouev* àeXLov XevkorTépv'ya TrpoOpopov.
Qaíverai B€ rereAevrgkós ék Tobrev. mai(ev oiv ó 'ApurroQarns
'Aotoy abrÓv $qcsiv &cTépa kXn87zvat.

2

Sch. Ap. Rh. 1l. 1165 [z. Aiyaíevos] xal"Iwv» év Bi0vpáuBe
&k u£v ToU TeAd*yovs avróv $101 TapakXnBévra àvaxOTjvat $vXdLovra
Tv Ala | GaAdco1s 8e maiba.

1i

Arg. Soph. 4t. eraciá(erai 8€ rà mepl Tijv T)pwiba iacopov-
ueva kal Tij» àbeA$iv abrüs "laoufyvmv Ó utv "yàp "Iev év mois
AiBvpauBois karampnaOTval $5171v &àuoorépas é€v rQ iepg Tí)s "Hpas
$mb Aaobdáuavros ToU "ErcokAéovs.

! (Jas: mss ábauov ? mss also Tavpóma 3 Cas: mss
-TVO00V ! mss also ujva uév (Bentl. ueívaguev)

226

THE LYRIC POEMS! OF ION OF CHIOS
1

Athenaeus JDocíors at Dinner [on wine]: And in Ion of
Chios we read :

wild bull-faced child [of Zeus and Semele?|,
young and yet old, sweetest servitor of loud-thunder-
ing? desires, wine that cheers the heart and rules
the world

93
Scholiast on Aristophanes Peace [* And who is the star up
there now ?—Ion of Chios, who on earth once composed the
Star of Morn, and they all called him that directly he got to
heaven?]: A writer of dithyrambs, tragedies, and lyric
poems; among others, of the song beginning :

Let us wait for the Star of Morn that haunts the
sky, the white-winged forerunner of the Sun.

From this it appears that the poet was dead. His being
ealled Star of Morn is therefore a jest of Aristophanes.

s

Scholiast on Apollonius of Rhodes [Aegaeon]: According
to a Dithyramb of Ion he was summoned from the ocean ?
and carried up to be à guard of Zeus; the same authority
makes him a son of the Sea.

i

Introduction to Sophocles .4n£igone : Accounts of the
heroine and her sister Ismené vary; lon declares in his
Dithyrambs that they were both burnt to death in the temple
of Hera by Laodamas son of Eteocles.

1 Fragments 1—4 are from Dithyrambs — ? i.e. imperious,
like Zeus — ? cf. Suid. s. 8i0vpauBobibáa kaAo: * by Thetis
227

Q 2

LYRA GRAECA

D onvos eis Katpóv

Paus. 5.14. 9. "Iwvi 5t olóau TQ Xíg. kal Üuvov memoimuévov
KaipoU: yyeveaAovyet 86 év cQ Uuvo veórarov maibwy Aibs Kaupbv
eivat.

6 éykópuov eis XkvOuióqv

Paroem. ap. Miller Msc. 361 Aiwyiées obre Tpírow obre
TérGpTOV . . . Uri. "yàp ToDrois éxptjo0n kal o) Meyape)ouv kal
"Iev uéurqrai éy TQ els Zkv6idOqv éykoyuíc.

T

Philo 6. 38 Cohn: Mixridógs ó TGv '"A0mvaiev cTpaTwYÓs,
qvixa, BaciAevs ó Iepa v &racav viv àkudv 73s Acías àyaoTíiaas
puspiáci mOAAGis OuéBaiwwev éml cÀàv Ebpómq ds vapráccv
avroBodl Tiv 'EAAdBa, cvvayayóv év TQ WMava8qvoikQ ovs
cvuudxovs ópv[Óev ày&vas émébeite, Aóyov mavrbs Dvvarwrépav
broAauBávev £ceg0ai TA)» Dià Ts TOinUTTS Üyews TapakéAevau.
kal yvójums o?x "uapre. Üeacáuevoi yàp Tb TAqT1Kóv Kal $iAÓT:-
pov áxpi TeXevrijs €v àAÓryois üfjrrqrov, &prácavres rà ümAa mpbs
Tbv TÓAeuov Gpjumoav, às éx0pGv àyeviovuevot a djuagt, rTpavudTGv
kal a'ary&y àXo'yoüvres bmtp oU kal &roÜavóvres év éAevOépo "yobv
TQ Tüs TaTplüos é0dei raovav Tporpomis *yàp eis BeXríecuw
obBev oUTws aíriv ds d TOv üoaveorépev éXmíbos ueiQmv
kaTópÓwcis. ToU O6 mepl rovs üpviÜas évaeydviov uéuvqrai kal ó
Tparyucos "Tov 01à ToUTav:

ov 0 ye cua Tv7réls

O.Óvets re kópas émiXáÜerat àX«ás,
&XN. 0Mwyoópavéov dOoryyáterau
Üávarov Oé ye! GovXoavvas vpofléBovXe.

€

! mss also 9' »ye (8' óre) from above

228

ION OF CHIOS

5b HvwN To O»rronTUNITY

Pausanias Description of Greece : Il. know that a hymn was
composed to Opportunity by Ion of Chios. In it he makes
Opportunity the youngest of the children of Zeus.

6 Eurocv or Scvrurapgs!

Proverb in Miller Miscel/amies: The people of Aegium
neither third nor fourth': . . Ion, too, in his ZEw/ogy of
Sceythiades, mentions this as a reply the oracle gave to this
people ? and not to the Megarians.

| 13

Philo 7TAat every Upright Mam. is Free: The Athenian
general Miltiades, when the king of the Persians rallied. the
flower of the youth of Asia to his standard and crossed to
Europe with an enormous host, to capture Greece, as he
thought, without a blow, assembled the Allies at the
Panathenaic stadium and, as a visual exhortation likely to
prove more effective than any speech, showed them some
cock-fighting. Nor was hedisappointed. When the spectators
saw the endurance and the feeling of honour which abides
even unto death in these dumb creatures, they flew to arms
like men ready to give their lives, without thought of wound
or slaughter, if only they might be buried in the soil of a
free country. For there can be no better inducement to the
inerease of courage than an inerease of confidence in hopes
for the future. "This cock-fight is referred to by the tragic
poet Ion in the following passage :

His body and his twin eyes smitten, he yet for-
getteth not his might, not he, though his utterance
is weak ; nay, he preferreth death to servitude.

1 cf. Phot. s. óueis oí. Meyapeis, Sch. Theocr. 14. 48, Zen.
Paroem. Gr. 1. A8. ? when they asked which was the finest
people in Greece 3 perhaps from a tragedy

229

MEAANIIIITIAO'T
Bíos ,

Suid. MeAavwmrmiógs: a — Kpírevos, ryeyovas
kaTà T)v Ee 'OXxvymiáóa, Miyjios. | éypaxre 86
Aidvpáuflev fBiBgXía mXeicra kai lloujuara
'"Emikà kai Emrvypáyupara kai EXéyovs kai àXXa
-TXeiora. 9. OÓvyavpi&oUe ToU peo vrépov,!
vais O6 Kpírovos, AvpiukoÜ xai abToU: Ós ev
T TOV e.Ovpáp Bav peXoroia ékatvoróyu]a e
mÀeic Ta, Kal &iarplYras Tap Iepóieka TÓ
Bacci exei TÓv j[Díov karéa rpevrev. éypavre
kai avrós aca Ta, Nvpikà kai OL0vpáuBous.

Marm. Par. à$' o0 MeXxavurmüógs M[sjuos
évíego]ev 'AO:5vgcw éry. HHA&SAL | dpxovros
'A0svgc1 IIvOorpíirov.

Xen. Mem. 1. 4. 3 karapaÜov yàp avTOv ( Ap-
c T6O"pov) oUTE Ovovra TOUS Ocois ovTE LAvTuci)
Xpoevov àXXà kai vOv TOL0vVTOV TAUTA KaTa-
yeXàvra, Eivé puoi éiy, o 'ApiaroÓ9ue, éco
oUc TLVQS àvÓporrovs reÜaónakas eri goóía ;
"Eoyovye, éq. «ai 0s, Aé£ov y) 7v, en, T bvóuara
avTGÀv. 'Emi uév roívvv émÓQv mowujceu "Opmpov
éyorye náMucTa TeÜabpaxa, emi Bo 6i9vpáuBo
Mexavvmrmiónv, émi 6€ Tparyoóla XoooxMéa, ét
€ àv6p.av Tor oca IIoX.v&Xerrov, eni 66 Corypada
Zeüfiww. llórepá cow Gokobsuv ot ámepryaEópevot

l mss peo Borov
230

MELANIPPIDES
LirE

Suidas Lexicon : Melanippides :—(1) Son of Criton ;
flourished in the 65th Olympiad (520—517 n.c.); of
Melos ; he wrote many books of Dithyrambs as well as
Epic Poems, Inscriptions, Elegies, etc., etc. (2) Grand-
son of the elder of this name, also son of Criton,
and, like his grandfather, a lyric poet ; he made great
innovations in the Dithyramb, and spent part of his
time at the court of King Perdiccas! where he
eventually died. | He too wrote Lyric Poems and
Dithyrambs.?

Parian Chronicle : From the time when Melanip-
pides of Melos was victorious at Athens 231 years,
in the archonship of Pythocritus (494 n.c.).

Xenophon Zecollections of. Socrates: When he dis-
covered that Aristodemus neither sacrificed to the
Gods nor had recourse to divination but laughed
to scorn those who did, he said to him, * Tell me,
Aristodemus ; are there any men whose artistic skill
you admire?' *Yes, he replied. * Tell us their
names, said Socrates. * For the epic I most admire
Homer, he answered, *for the Dithyramb Melanip-
pides, for tragedy Sophocles, for sculpture Polycleitus,
for painting Zeuxis. *Which now, asked Socrates,
*do you consider the more admirable artists, those

1 454 ?—413 r.c. ? cf. Suid. on Philox. Cyth. quoted
below, p. 362; it is impossible to distinguish the two poets
in the ancient refs.

231

LYRA GRAECA

eiówXa d$ pová T€ Kàl àkivra áfioÜavpacTóTepot
eivaL 7) ot £a £u pová T€ Kài €vepyyá ;

Arist. HÀ, 8. 9. óptoíes 6€ kai ai vrepioGoL ai
paspai obcat Moyos ytverau kai àvaoMf 8 Óp.oLOy.
GoTe wvíverau 0 Co koe Anpórpvros o0 Xtos eis
MeAavvrmigv T0vjcavra. àvri TOv àyrioTpóoov
ava[3oXds*

ol T QUTO Iac TeUXeL àvyp XX kakà TEUYOV,
7? 66 nakpà 'vafoN) TÀ Toujcavro Ka.KLg T1]*

áppóTTeL "yàp TO TotoÜToV kai eis ToU pua kpokaovs
Xéyetv.

Plut. Nom posse suav. là .o006 yàp lépmw.*' àv
ovÓ ATraXos ovÓ Apxeaos érreia 0naav, Éopi-

TLíOyv Kai Zupovióny Ka MeXavirmiónv Ka
Kpárnras kai ALo80TOUS vaca aves ék TOV
cvjmoaiov, karakMvat Káp6axas Kai Aypiávas
je0 éavrOvV kai KaXMas MjevororoLoUs Ka
Opacovióas TLVàs KG OpaavMéovras OXOXV'yj|.OUS
kai «poroOopvBovs "rotobvras.

Anth. Pal. 4. 1.1. MeXeáypov XréQavos: ...

, , ^ / » e
vápkuagóv ve Topüv MeXavvríOov éykvov Upvov.

232

LIFE OF MELANIPPIDES

who make images which are without mind or motion,
or those who make living creatures capable of
thought and action ?'

Aristotle Aheloric : In like manner,a long sentence
becomes a discourse in itself, like the purely instru-
mental parts of a song when they are too long.
Hence the satire of Democritus of Chios upon
Melanippides for making an instrumental interlude !
take the place of the antistrophe :

He that does any ill to another does ill to himself,
but of all ills the worst to the doer is the long
interlude.?

The same stricture might well be made upon the
users of long clauses,

Plutarch Tat a Life lived according to Epicurus is
nol morth living: For Hiero, surely, or Attalus, or
Archelaüs could never have been brought to oust
from their festive table Euripides, Simonides,
Melanippides, or such men as Crates or Diodotus, in
favour of buffoons like Cardax, Agrias, or Callias, and
jazz-bandsmen like Thrasonides or Thrasyleon.

Palatine Anthology: The Garland of Meleager:
. and the narcissus of Melanippides big with
clear hymns.?

See also Plut. Mws. 15.

! the Gk. word meant originally *instrumental prelude
? parodies Hes. Oy. 265 3 the Znscriptions of Melanippides
are no longer to be found in the An£Aology

739

LYRA GRAECA

MEAANIIIHIAOT MEAON

l Aavatóes
Ath. 14. 651f [z. $oiw(kev]: MeAavirTÍOns 9 ó MfjAtos éy rois
Aavaíciv $oívikas TbV kápmov oUrws óvoud(et, Tbv Aóyov moi00p.evos
mepl abT&v TÀV Aavaiüwy:
oU yàp. avépov dópevv popoáev eióos,!
ovOE TÀV avo yvvatketav &xov,
aàXX. €v ápuáreact 6o pov-
xots éyvpvátovT àv. ev-
5 qAt àXocea, TONMákKAS B
05pa * $péva TepTrOuevat,
«T oXXákL 0 7 Lepo6akpvv?
A£avov evoets T€
Qoivikas kacíav re naTeUcau,
10 Tépeva Xvpia oéppara.S

2 Mapovas

Ibid. 616 e Tepl uev *yàp a0XGv ó uév Tis €Óm Tóv Mexavorníbgr
kaAGs év Td Mapava 8iacUpovra Tijv aUAmTAKYV eipnkévat mepl Ts
'A0nvas:

A es E 4 £v 'A0dva

TÓp'yav' s &ppvyrév 0' iepás dro Xetpos.

eire T" "Epper alo xea copaTóNvpua*

éné Ó —avTàv oUK7? éyo kaxkórar. ÓLOou.

l üyépey E: mss üàv0pómwv nopiüev elbos Dobr: mss
popoàv éveibos ? abbdv Cas: mss abTáv ? Crus: mss
avevnAiag Dea T0AAdKL * Pors.—E: mss 65pes 5 Hill.

suppl. íepóbakpu» Emp: mss -xpv $ Fiorillo: mss Zvpías

234

MELANIPPIDES

THE POEMS OF MELANIPPIDES
1

Athenaeus Doctors at Dinner [on dates]: Melanippides of
Melos, in the Danaids, calls the fruit of the palm dates, where
he describes those maidens thus:

For they wore not the shapely form of men, nor
yet had they the voice of women, but did strenuously
in seated chariots all about the sunny ! woodlands,
ofttimes rejoicing their heart in the chase, ofttimes
seeking the frankincense' holy tear and the sweet-
scented date or the smooth Syrian grains of the
cassia.

2 MaRnsYaAS

The Same: Onthe subject of flutes one of the guests
observed that Melanippides in his Marsyas had rightly dis-
paraged flute-playing in speaking of Athena thus:

Athena cast those instruments of music from her
sacred hand and said, ^ Away with you, ye shameful
things, defilers of the body; I give not myself to
my own undoing.' ?

! the point is that they were not, like most Greek women,

unwilling to expose themselves to the sun ? cf. Telestes
fr. 1 (below)

TÉpA. » B: mss à0dvara üpy., &6dva Opy. 5 Mein: mss
cópuaTi Ajpa E

235

LYRA GRAECA

3 Ilepaeóóvg
Stob. Ecl. Phys. l. 41. 50 Tlopówpíov ék TG» Ilepl] Zrwyós:
TiÜavGs Kal rovs év"AiBov voju(ouévovs zorauobs karwvoudkaguy:
"Axépovra u£y 6ià à Éxn, &s kal MeAavurzíOgs év IIepoedóvg:
. . . KaXetrat 0. «évek 1 éy kóNmTOLGL yalas
dxe' eict mpoxéov ?
"Axépov.

i

Ath. 10. 499b oi 86 àyvootvres T2]v ToU olvov Ojvagiwv Tbv
Aióvucov $àckovciy uavigy. elvav afriov T0is àv0pómois, BAaa-
po)rres ob uerpíes. | 00ev ó MeAavurníons éQqr
» y ) , , e

TávTEs Ó. àmeaTUyeov VOop
TÓ 7rplv éOvTes áiOpues oivov.
, ^ , M N 5 , ,
TáXaG O7) TáXa TOL £V 0UV dr oXXvovTO
, 5
Tol 6€ vrapámvjkrov xéov ouoav.

3

Ibid 2.35a à» olvov ó KoAo$óvios Níkavbpos cvoudoOa:
$nciv àmb Oivées: ' Oivevs 9' &v koíAo:iv &mollAbyas Demáeacuw |
olvovy ék«Aqoe.' molt kal MeAavvrníóns ó Más:

, , 60 ) * , / 4
€7r (OV ULLOV OS 7TOT OLVOV Oivéos.

6
Clem. Al. Str. 5. 716 | ó ueXomoibs 8€ MeAavuirní3ns GBov $qaív:

KX00( uot, 6 Tárep, ÜaDua Bporóv,
Tüs &eitoov jeÓéov *Nrvyüás.?

Y B ? (3rot.- D: mss &xeoisi (&xauoici) m. — Tpopecwv ?
? Headl. ráxa 9' 2: mss àmeXAabovro, &To0A. * bós mor
sugg. D: mss üécmor' Oivéos D: mss -éws 5 so Euseb:

Clem. jvxàs ueBécv
236

MELANIPPIDES

9 PrnsEPHONE

Stobaeus Selections: From Porphyrius On the Styx:—The
rivers that are supposed to flow in Hades have been given
plausible names. — Acheron is so called from &xs ' pains";
compare Melanippides in the Persephoné:

And because it goeth pouring forth pains within
the bosom of Earth, it is called Acheron.

i

Athenaeus Doctors at Dinner: "Those who are ignorant of
the true power of wine say that Dionysus is the cause
of madness; but this is the purest slander. Compare
Melanippides :

And they all began to loathe water! who had
never known wine before. Aye, it was not long
ere some were like to die and others were uttering
cries of frenzy.

5

The Same: Nieander of Colophon says that olvos, wine
gets its name from Oeneus: 'Oeneus crushed grapes in
hollow cups and called i& wine. Compare also Melanippides :

O give me Oeneus' namesake wine.

6?

Clement of Alexandria JMiscellanies: The lyric poet
Melanippides says in à poem:

Hear me, O Father, thou marvel unto men, ruler
of the everliving Mind.

1 j,e drank the wine neat ? cf. Euseb. Praep. Ev. 13.
680 c

231

LYRA GRAECA
T

Plut. Zroí. ló [m. 2s mepl rovs xaXovs kal ópaíovs émiueAeías
TV ÉépdvTav kal Oiué£ews] ovBev »yáp éa iy, aio Xpbv oU8. àvarykatov,
&AA& TeiÜÀ kal xápis éybiboUca *móvov 500v. às àAn8Gs *xduaróv
T eükduarov' bjwyeira: mpbs àperiv kal $iAÍav, olv" üvev 0coU
Tb mpocijkov TéXos Aauflávovaav, ot! &AXov €xovcav Tryeuóva kal
OeomóTqv 0cóv, &àAAà rbv Movcv kal Xaplrev kal 'Aópobírns
éraipov "Epora.

* N / , ^ - , /,
yXv&V tyàp Óépos àvOpos vrroomevipov srpamióov
T0

karà rbv MeAavurmioqr, rà 3jbigTa. uiyvvai rots kaXAloTots.

8

Cram, A.P. 3. 289. 9 1 856 mepl rbv MAívov icTopía mapà
$iAoxópo €v Tjj (0^ kal rapà MeAavurrí0m.

9

Sch. 71. 13. 350 [GAAà Oériw kóBaiwwe xal viéa kaprepó8vuov]-
évreU0ey 8€ MeAavurmións kvovaay àüro Ais Oériy éx5o05vai ITqA€t
61& rà pn0évra bm Ilpoum8éws jjyro: Géyu9os.

10

Philod. m. e$eeg. 23 Gom. [7. Lurépa Tl)» TàV O0eàv] Me-
Aay[rmzí]óms 9€ Adumr[pa]! umrépa 0eav $melv uíav brápx[ ew ]
kal TeAéc[725 . . .

! ms 6957 [pa ?]

239

MELANIPPIDES
T

Plutarch Zroticus [on the care of lovers for the young and
beautiful and their pursuit of them]: It is nothing low or
violent; for grace and persuasion prompting 'sweet toil,
literally, *and labour unlaborious,' lead them in the way of
a virtue and a friendship, which receive their right per-
fection with Heaven's aid, and yet know no other "God for
guide or master save only the comrade of the Muses and the
Graces and of Aphrodite, Love. For he it is who, in the
words of Melanippides,

sows a delicious harvest in the desire of a man's
heart

and mingles what is sweetest with what is noblest and most
beautiful.

8

Cramer Znedita (Paris): 'The story of Linus is found in
the 19th Book of Philochorus and in Melanippides,

9

Scholiast on the Z/iad [' but only would he honour Thetis
and her strong-heart son?]: Hence Melanippides declares
that Thetis was with child by Zeus when she was given in
marriage to Peleus, her marriage being due to the taunts of
Prometheus or Themis.

10

Philodemus Oz Piety [on the Mother of the Gods]:
According to Melanippides, Demeter was the only mother
of the Gods; and Telestes . . .

239

E ETPIIIIAOT

1-2 ézuvíkwov els AXxuBuxóqv
Plut. Alc. ld ai 9 i-morpooío: mepi8ónroi utv éyévovro xol
TÓÀ TAfjÜe. TGYV &puó Tov ema yàp &AXos ov8els xa07kev "OAvunía-
civ ibióT s ovO6€ BagiXevs, uóvos 6€ ékeivos. kal Tb vuciigau 9€ xal
8e)Tepov yevéa8a. Ka] TéraprovV, &s GovkvOiOms $natv, ó 9
Eipir (ons TpÍrov, brepBáAXet. Aapmpórni kal Bói mücay Thy 6v
TOU101S $iAoT iav. Ped 9 ó Ebprríóns ey TQ dcuari TaUTaO-
b suf
cé 9 áeicouat! à KXeuitov mai.
kaXór à vika' -«kaXov 6e»?
/ ^ N
KáXXtco TOV, 0 jeg
X Xos "EXXdvov,
6 GpuaTL Tp opa uein kai GeUTepa. kai pira.
Bfjvat T àTOWyTi Atós? a rejÜévT. éXaía
kápuktL Boàv vrapaóobvat.

2

Id. Dem. 1. 1 ó ytv vypias. Tb Éml Tj vikm Tis "OAvum (aa w
imropopías eis "AXaBidogy eyicó iov, eir. Eipmíons, &s Ó mOAÀUS
kpaTet Aóryos, e0". érepós vis ?jv, mot,

Xp? —6e67 rov9a(uovu* mpérov vmaáp£ai
TüV TÓÀLV €eUOOKL(QLOV.

zep; IEPONTMOT
Ar. Ach. 385 :
XO. ví raUra o 7péoei rexvá(eis ve kai mop(Geis TpiBás ;

^ t
AaBt 5) éuoU "y, €veka map' Iepevüuov
a k«oroDacvrvukvórpixá vi^ "Aibos kvvijv.

1 mss also &yaue, whence Lindskog &yayuai ? E: some
mss víka kdAXiov 9' 0 3 Herm : mss Óís * Plut. xpfivai
TG ejDaluovi, but note the form ráv

240

EURIPIDES

1-2 Vicronv-SoNa To ArciBIADES!

Plutarch 4/ceibiades: His horse-breeding was famous,
among other things, for the number of his racing-chariots.
He was the only man, not excluding kings, who ever entered
at Olympia as many as seven. And his winning not only
first place but second and fourth according to Thucydides—
second and third according to Euripides—is the highest and
most honourable distinction ever won in this field. Euripides'
Ode contains the following passage:

But I will sing thy praises,? son of Cleinias. A
noble thing is victory, noblest of the noble to do
what no Greek had ever done, be first and second
and third in the chariot-race, and go unwearied yet,
wreathed in the olive of Zeus, to make the herald

cry you.

93
The Same Jemosthenes: The writer of the Eulogy of
Alcibiades for his victory in the horse-race at Olympia,
whether as is commonly believed he be Euripides or another,
SAyS:

Your happy man's first need is a famous country.

on HIERONYMUS

Aristophanes 4charnians: * Why all this havering and
shilly-shallying? For all I care, you may get the loan of one
of Hieronymus' shady and shaggy Death-caps.' !

1 cf. Ath. 1. 3e * or perh. I admire thee 3 cf.
Simon. 93 (225 Bergk) from which E. seems to have borrowed
* i.e. cap of invisibility, the clippings of his head and chin

241
VOL. III. R

LYRA GRAECA

Sch. «d loc. ó 8€ 'lepóvvuos ueXav Tours kal rpa'yqborois
, *. , , A , ^ , € ,
&vópaAos kal &voucovóumTos 01à 70 üyav éuwraBets "ypá$eiw bmo8éceis
kal $oBepois mpocwmetois xpija8au. é0ókei 0€ kporeig0at. — ékeo-
^ mj J ^ Moa ^ ES; ;
p.gBeiro 86 s mávv koudv. Giómep " Aibos kvvijv Er avrÓv, maltas
kmeuoucas is kovpiavra.

Ibid. Nub. 347 [Z0KPATHZ]

yiyvovrai Táv0' 9r: BobXovrav. kàT' 1j» uev 16o01 koutjrmv,
üypióv Tiva TOV Aacícv roUTGV, oiüvrep rbv EKevojávrov,
ckámTOovGai Tij» navíay avToU Kevrabpois Zikagav abords.

Sch. ad Joc. 'lepóvvpov Aéyei bv Qi0vpauBomoióv, 9s Kevooávrov
uev Tv viós, mepi 6€ rovs maibas &yav émrómro, Aáciov Be elxe Tb
capa.

Teo) KAEOMENOTZ, AAMTNOIOT, I'NH-
TYIIIIOT

Ath. 9. 402a émel 86 cb kal rb TpoBAm0Év coi &mompoge-
moíncat Trepi Tfs xpóas ToU KaAvBcvíov cvós, ef Tis abTüv ia Topet
Aevkby Tiv xpóav yeyovóra, épot uev )ipets Tbv eimóvra: Tb bé
paprópuoy àvixvevaov có. «CoU07! máAau yàp Twy Xávo &yeyye ios
TOUS KAeopévous ToU Pmyívov Ai8vpáuBovs, Gv év 79 émvypaoogév o
MeAed*ypg ToUro ia TóprTaa.

Ibid. 14. 638 d [. Toi]rás nox8npàv dauárov]: ó 6€ Tobis eis
Xuovíbqy &vajepopévovs ToifjT aS Hrexovs Tvnoírmov TIWUS uVT)u.0-
veUei mauyvio*ypáoov 75s (apis uota ns, Aéyev olrcws*

TOUT OU uà Aía TIv4o:wrmos ov5€ KAeouévns
L ^ ,
€v évyy€ àv xopbais? kareyAXvkávaro.

Ibid. 14. 620d rovs 9 "EumebokAéovs Ka6apuovs éppoxq5naev
'OAvumíac: KAcouévgs ó pajqBós, $s d$msiw Aukalapxos év TQ
"'OAvum KG.

Ibid. 14. 605e — kày& 8t karà rijv ' Erukpárovs 'AvriAatóa
TÀpoTÍK ékueudÜnka raUTa mavTeAGs
Zam$oUs, MeAfjrov, KAeouévovs, AauvvÓtov.
Ug ? Pors: mss évvéa xopbaiaiw

242

CLEOMENES, LAMYNTHIUS, GNESIPPUS

Seholiast ox the passage: Hieronymus was a lyric poet and
tragedy-writer whose works were uneven and ill-arranged
because they had too emotional themes and were acted by
characters with too formidable masks, though he seemed to
win applause. He was caricatured for his long hair. That
is why Aristophanes calls him a Death-cap, jesting in the
manner of comedy at his need of the barber.!

The Same Clouds [SocRATES]: The Clouds can become what-
ever they like ; and if they see a fellow with long hair, oue
of these wild shaggy men like the son of Xenophantus, they
make themselveslike Centaurs by way of scoffing at his idiocy.

Scholiast on íhe passage: He means the dithyramb-writer
Hieronymus, who was the son of Xenophantus, and ran too
much after the boys and was always in need of the shears.?

on CLEOMENES, LAMYNTHIUS, GNESIPPUS

Athenaeus JDoctors at Dinner: Since you have evaded the
question put to you whether the Calvdonian Boar is any-
where stated to have been white, I will tell you where, and
you must investigate the proof. I happen to have read not
long ago the Dithyrambs of Cleomenes of Rhegium, in one of
which, entitled Meleager, the fact is stated.

The Same [on writers of low songs]: Theauthor of the play
called Te ZBeggars, attributed to Chionides, speaks of a
certain sportive writer of merry musice called Gnesippus in
the following lines:

Neither Gnesippus nor Cleomenes, I swear, could have
made such a thing palatable on a nine-chord lyre.

The Same: According to Dicaearchus in his book on
Olympia, the Purifcations of Empedocles was recited there
by Cleomenes the rhapsode.?

The Same : I too, to quote Epicrates' Anti- Lais :

Am letter-perfect in all the love-songs of Sappho, Meletus,*
Cleomenes, and Lamynthius.*

l1 cf. Oz. Pap. 856.27, Suid. "Aióos kv; — ? cf. Suid. s. KAeiro
* perhaps a different man * the accuser of Socrates ; he was
à writer of tragedy, but his scolia (drinking-songs) are referred
to by Aristophanes Zn. 1302 5 otherwise unknown
243
R 2

LYRA GRAECA

kal ó Tovs ElAwras 0€ merovmkós nou:

Tà XT"2cixÓpov Te kal 'AXkuvos Xiucevíbov Te

, ^ *, , 1 € X , M 2.» ,

&pxatov àeibev.! | ó 8€ T'vfjauvrmos &aT^ àkobew,

bs vukrepíy ebpev àirais ác uar! ékkaXeig 0a?

yvvaikas éxovras iauUkmy Te kal Tpi^yevov.
Kpariyos év MaA8axots-

A. Tís üp' épàvrá ju eióev, à Tvijourm; B. éy& ob: T0AAYy
g x oAX1.?

y b &| er ^ E

ofouai yàp umbev oUres u&pov elvat kal kevóv.
ckémTei b avrby eis rà Toif)uaTa kal év BovkóXots*

bs obk &Bck' airoUvri XoQokAéet xopóv,
79 KAeouáxov 9, bv ovk àv TjE(ovy. éyà
€uol 61bdokeiv ovO' ày eis "ABávia.

ev be rais "OQpaus:
irc 0e kal rpa'ygO(as
ó KAeoud xov 01840 kaAos
uer. avrov (ó» mapariXTpily *
€xov xopóv Av610 7l 7iA-
AovcGv uéAT movnpá.

TazAekAeibns 0e év rois ZXreppois kal ep) uoixelas àvaopédea0aí
$n)c7iv abTÓv.

Ibid. 13. 596f &àAA&à jukpoU é£eAa00umv opiv eimeiv Tf T€
'Avriuáxov AvB8fy, mpocéri üt kal c!v Óudvvuov TabT9s troipav
AvBTjy fy Try&za AauóvOios ó MiXfjgios. ékdrepos "yàp robrev Ty
mov]r&v, Gs msi KAéapxos év mois "Epwrikois, T7js BapBápov
Avbas eis émiÜvulav karagràs émoíggev, ó utv &év éXeyeíois, ó Be
€v uéAei, Tb kaXobpuevov moínua AvbTv.

! Dind. (cf. àiras a Dorie word below): mss àeíbew
? E: mss ebpe poiwxois (supplied after loss of aea by
haplogr., cf. Ar. fr. 576 (738) &àcírav: rbv éraipov: ^ Apu rooávgs

6€ Tbv épópuevov) àeiag. éxk. ? Herm : mss oióey and. éyó
TOAÀAÍ X0AÍj * Kaib: mss uerà àv 7.

244

CLEOMENES, LAMYNTHIUS, GNESIPPUS

And the author of the comedy called Te Zelots says :

It is old-fashioned to sing Stesichorus, or Aleman, or
Simonides. We can listen to Gnesippus, who has invented
songs for lovers to call out their mistresses with, iabycé!
and three-cornered lute in hand.

Compare the Soft- Livers of Cratinus :

Pray who has ever seen me in love, Gnesippus ? (and the
answer is) Not I; far from it ; I really think I have never
seen such an empty-headed fool.

And the same poet gibes thus at Gnesippus' poems in 7e
ANeatherds :

.. . who refused Sophocles a chorus when he gave one
to the son of Cleomachus, whom I wouldn't have train à
chorus of mine even for the feast of Adonis.

Again, in the Seasons :

And after him may go the son of Cleomachus, that trainer
for tragedy who has a chorus of hair-removing-maids removing
bad songs in the Lydian mode.

And according to the S/if 'Uns of Telecleides he led a life
of profligacy.

The Same : I had almost forgotten to mention to you the
Ladé of Antimachus, and moreover her namesake the
courtesan beloved by Lamynthius of Miletus. According to
the Erotics of Clearchus each of these poets, falling in love
with a foreigner called Lydé, composed à poem which he
named after her, the former an elegiac, the latter a lyric.

See also Sch. Ar. Nub. 332 (below, p. 250).

! à sort of lyre

245

LYRA GRAECA

Tepi. AEOTPOOIAOT

Sch. 4r. Av. 1405 Aewrpoóoi8m: (a') émei53j kal otros r&v
c$ó8pa Aemrrüy. 1) Uri kal otros Di0vpauBoroibs koUos . . . &mb
yàp raóTu2s v Óó Aewrpojiíbns. Tiwés Dt Üri koüoos kal XX«pbs
jv, &s éoikévoi üpyiUi. — Oeómoymos 8€ év rois KamrmqAíav

AecTpooíi8ns ó rpíuvews Aeovríg
eÜxpws oaveirai kal xapíleis Gaep vekpós.!

(B') émeió3; kal obros T&v c$00pa Aemrrv. kol ó Kiwmoías bé.
"Epuumrmos Képkoiv:
of *yàp Tevóguevoi?
àvámmp& coi 0vovaiw 3602 BovO1a?
AewrpodíBov AemróTepa kal GovpavríBos.

1 B-Kock, comparing Phot. rpíuvev, Plat. Hep. 439e, but
T€ $aíverai xapíeis 0: mss mpíuerpos és Aeóvriwos and. 7e $áve :
$aveirau E, re corrupted from ra: which fell out before kaí
and was inserted in the wrong place * these three words
not in Sch. 3 cf, Bek. 4n. 85. 29: mss 6vovauv (0v0-) Botia

246

LEOTROPHIDES

on LEOTROPHIDES

Scholiasts on Aristophanes!: («) Because Leotrophides
like Cipnesias, was very thin; or because he too was a * light?
(that is, worthless) writer of dithyrambs . . . Leotrophides
belonged to this tribe. But some authorities say that the
allusion is to his lightness and thinness, resembling those of
a bird. Compare Theopompus in the SAhop-Girls :

Leotrophides the three-pounder will seem to Leontius as
fair-complexioned and lovely as a corpse.?

(b) Because Leotrophides, like Cinesias, was remarkably
thin. Compare Hermippus, 7e Men-Monkeys :

The poor are already sacrificing to you wretched three.
legged beasts as thin as Leotrophides or Thumantis.?

1 quoted p. 255 ? Leontius had a liking for viewing
corpses (Plato Jp. 439e) 3 ef..Ath, 12. b5olb
(*Hermippus referring to Dionysus"); see also Eust. 1288,
Suid. s. Aeerpooíóns, Bek. 4n. 85. 29.

247

KINHXIOT
Bíéos

Plat. Com, 184 Kock . . . uerà rara Oé
zais Oravypov 'k IIXevpíriGos !* Kwgoías
c KeXeTÓOs, &m vos, kaXáyuva ckéN) $opov,
$00ns 7 podjrus, éo y ápas Kekavuevos
TAeío Tas vm. Ebpvovros év TQ cocyart.

Plat. Gorg. 5DOole XO. srporov 06 akejopneÜüa
TZv a)XqTLiK"V. 0U Ooket coL TOLAOUT!) TLS ClvaL,
KaXXMxkXets, Tjv 7j00v5v juGv govov OioKev,

dXXo Ó oUOcy GpovriCet ; —K AA. éuovye Goket.
-—»9: oUkoDv kai aL TOLaLOe üTacaL, olov 7
kiÜapua Tu) 7 €V TOÍS aásw ;—KAA. Vai. —

X0. dí 6j TÓYV Xopóv 6i£a kaMa kai 7 TOV
O.8vpáu9ev Tolgcis ; o? ToiavT: TÍS cOL kaTa-
$daiverav; 7) wyygp Tv Ópovrítfew | Kiwyoíav Tóv
MéXqros, Oves épei Ti ToioDTrov O0ev üv oi.
akovovres [3eXríovs vytoyvotvro, 7) ÓTt uéXXet Yaptet-
cÜa. TQ ÜyXo TOv ÜcarOv ;—KAA. OfXov 87)
TobUTÓ rye, O £okpares, Kivgoíov we mépi.—3X.Q).
Tí 66 0 7raT1)p avTo0 MéNqs ; 7) Tpós TÓ BéXria Tov
BXérov &Oókeu c oL kiÜa pq? jet ; ; 3) éxetvos Lev ov06
Tpós TO JjOLcTOV ; "vía tyàp àOcv TOUS Üeards.
aàXXà 05 ckómev ovi 5 Te kiÜapgOuer Ooket
co, Táca kai y TOv &iOvpáyuBev motos 1j6ovijs

xápw vprja8av;—KAA. — épuorye.

1 Kock: mss Eba'yópov mais éx II.

248

CINESIAS
LirE

Plato the Comedy-writer: Next comes the son of
Oeagrus by Pleurisy,! Cinesias, sceraggy and rump-
less, with legs like reeds, prophet of Decline,
branded in the flesh with many a cautery-mark of
Euryphon's.?

Plato Gorgias: SocRaATEs and CarricLEs :— S.
First let us consider flute-playing. Do you not
think, Callicles, that its sole object is our pleasure ?
—C. Yes.—S. And isn't this true of all such arts,
for instance of competitive lyre-playing ?—4€C. It is.
S. And how about the training of choruses and the
composition of dithyrambs? Is it not the same with
them? Do you suppose that Cinesias son of Meles
concerns himself to say something that shall be
improving to hear, or something that shall make
him popular?—€C. Obviously the latter, Socrates, is
the object of Cinesias.—S. And what of his father
Meles? Was his singing to the lyre inspired by the
highest motive? Whatever may be said of the son,
is it not true that the fathers ideal was not even
the greatest possible pleasure to his audience? At
any rate his singing annoyed them.? Be that as it
may, do you not agree that both arts, singing to
the lyre and the composition of dithyrambs, were
invented in order to give pleasure ?—C. Yes.*

! Orpheus was the son of Oeágrus by Calliope 2"
famous physician 3 cf. Pherecr. 6 K * Let mesee; who

is the worst singer to the lyre ?'—* Meles son of Peisias'
(421 B.c.); Ar. 4v. 766 (414 np.c.) * cf. Aristid. 46. 488, 494

249

LYRA GRAECA

Lys.21. 20 o)xovv àfiowv, à üvópes Ouacaí,
TreiÜouévovs &avTT*yopots TOLOUTOLS €uoÜ kaTa-
yeo)óiécacÜOat, oi epi àc e Beias ! Lev á'yoviCópevot
T»NKoOot yeyóvaauw, ovk àv Ovváuevo, Ó' vmép
TÓÀV cóerépov paprnpárov àmoXonjaacÜa,
érépav kaTwyopeiv roXuóat. «ai àv Kivyoías
obo Ota .celpuevos | T Xelovs c 7pareías ea Tpárevrau,
obTOL Trepi TOV TTjs TrüXecs dryavakToUct.

Ar. Nub. 332:

XO. o) yàp uà AC oicÓ' ori m Xela rovs abra

Boc kovct aodio ás,

Óovptopávrets, iaTporTéyvas, edparyióovv-
Xap'yokoujras,

k&vkMev Te Xopiv dcaTokáum Tas, dvOpas
pereo podévakas.

ovO€v Opvras Boóakova" àp'yoUs, ÓTL TG/TAS
povcoTOoLoUciv.

Sch. ad loc. kuk Mov TE' aivirrerau eis TOUS
Tei Kunoiav kai GiXo£evov xal KXeouéry, Kai
TOUTOUS eivau TÀV codio TOV BobXerau: Aéyen 06
TOUS e.Óvpau Borrotoss" TÀy yàp KkvicMaov Xopov
70v oUTOL Oi6dc kat. dc pa TOKÁMT TAS. €, ÓTL
dr] TÓ ápjovía ju) bro UT TEL a)vTOÓV TÀ gvy-
ypáppaa, kam às &XovaL TAelovas. nx oi
T AMaLoL rad Qopàv Lovc uis jyotvro eivat TOUS
06.0 vpáp ovs, «ai m poeXB av avTOv pAXXov ka0á-
yrerat [969]. —dcparokápm Tas: ToUs O.0vpap.Bo-
T'OLOUS, €Trel kajumrüs Tàs TrepugOAs Xényovat.

1 Blass &cparelas

250

LIFE OF CINESIAS

Lysias Defence om a Charge of Receiving. Bribes :
It is not right, gentlemen of the jury, that you
should condemn me at the instigation of such men
as these, who have cut such a figure in prosecutions
for impiety,! and yet have the hardihood to accuse
others though they cannot defend their own crimes
— persons who, though they have served in fewer
campaigns than the wretched Cinesias, nevertheless
take umbrage about the interests of the State.

Aristophanes Clouds: SocnRaTEs:—By Zeus, you
don't seem to know that these Clouds feed number-
less sophists, feed prophets of Thurii, quack-phy-
sicians, feed manicured, ring-bedecked, leonine
do-nothings, feed turners and twisters of song in
the cireular chorus, feed astrological knaves—for
never a hand's turn of work, just because they make
verses about them.

Scholiast on the passage : * circular ' :—He is hinting
at writers like Cinesias, Philoxenus, and Cleomenes,
and means that these too are of the sophists, though
they were writers of dithyrambs; for these were
teachers of the circular choruses. He calls them
*turners and twisters of song ' because, owing to
their compositions not keeping within the limits
of the *mode, they have too many xapgzaí Or
*flourishes'? . . .—The ancients considered the
dithyrambs were the destruction of music; later he
will attack them more bitterly [969].—* Turners and
twisters of song' :—The writers of dithyrambs ; for
xajpaí Or ítwistings' is the name they give to
instrumental interludes in the song.

! or emending text for shirking military service 3 see
Pherecr. below, p. 285

251

Ár,
KI

IIE.
KI.
1396

IIE
KI.

1400

252

LYRA GRAECA
Av. 1372. KINHZIAX xai IIEIGOETAIPO3 :

, / M 1 »y »
avarmérogaL 67) 7r pós " OXuymov vr Tepvyeaat
kovdaus: '

; » tQN o» $993 /

TérouaL 0 000v AXXoT. éz. àXXav ueXéov—
^ / ^ ^

TOVTL TÓ m parua $opriov eiraL 7'TepQv.

à$ofo $pevós Opp yévvav ép émov—

àcmaCópeo 0a Qux iprvov Kurnoiav.

Tí OeDpo Tró0a aU kVXXOv üàvà KkUKXOV KUKXels ;

: Ópvis yevéa 0a BobXopat. Moy Éoyyos did.

rabca, ueNobív, &XN. ÓTL Xéyets eimé 0L.
Um cob m Tepo0eis BovXouat uerápotos
avaTTOLevos ék TOv veQeXàv katvàs Xafdetv
, , N , , /,
aepo8ov1)rovs kai vibooXovs àvafgoXds.

. ék TV vedeXOv yàp àv Tis àvafBoxàs Xd8ot ;

Kpepuavr a Lev oov évrebOev Tjpov 7) TÉéXvY.
TÓV ivpáp Bav yàp TÀ Xam pà yioyverau
áépua kai cort TTA kai kvavavyéa

«ai TTepoO0vyra: cU 06 kXbov eiceu Táxa.

. o0 Osjr éyorye. Kl. v; róv Hpa*Aéa c ve.

&ravra ryàp 6Leuué aot rÓv áépa,

eiomXa TeTyVàÀv

aiepoÓpójuav

olavav ravaoetpov.

OT.

TÓV üXa6e OÓpouov àXájuevos

üj àvéuov Tvoaiat atv.

y; Tv AC 7) yo cov karamavco Ts TVOdS.
TóTe Lev voríay a Tel v Trpós 000v,

róTe Ó' a) [8opéa cópa meXáCav

AM evov aiépos aUXaka Téuvov.

xaptevrá *y', à mpea Bü , écoóíce kai aoá.

LIFE OF CINESIAS

Aristophanes Birds :! CiwEstas (at first singing) and
PrErruETAERUS : C. * Light-winged I fly to Olympus," ?
fly this way and that of song—P. Here's something
that needs a whole cargo of feathers.—C. With
the fearless eye of the mind exploring a tribe—P.
Hail, lime-wood-corseted Cinesias! Why circlest
thou thy splay-foot circle hither?—C. I would fain
become a bird, a clear-voiced | nightingale.— P.
Here, cut singing and tell me what you mean.—
C. (speaks) I want you to give me wings so that
I may fly up aloft—and get from the clouds some
brand-new interludes all windswept and snowclad.—
P. What? interludes from the clouds?—C. Yes;
our art depends on them. The best things in a
dithyramb are the aery and murky sort and azure-
blue and pinion-sped. You shall hear presently.—
P. Not L—C. But you shall, I say. (Szgs) For
Ill thread for you the aery vault in likeness of the
wing-sped, long-neckéd couriers of the sky.—P.
Easy all!—C. (conünuig.) On the seaward course
may l swoop with the breath of the winds—P.
By Zeus, I'll stop your breath then !—C.—now march-
ing towards the humid path, now moving my frame
to the Northwind nigh, ploughing the havenless
furrow ethereal (Speaks, referring to the feathers
mhich he nom finds have been stuck on. hum.) A pretty
trick and a smart one you've played on me, my good

1 produced 415 B.C. ? Anacr. 25

253

LYRA GRAECA

IIE. ov yàp cv yatpews 7rrepoO0vqgrTos ryevópevos ;
KI. ravTi ze70í9kas Tóv kvkXtoOLOác kaXov,
0s TaicL $vXais qepiuáxnróos eiu del ;
IIE. So?Xe. 0:194c xeww kai map. 7)uiv ov uévov
1406 Aeorpodí8n yopóv merouévov ópvéov
Kepkoión! dvXjv; Kl. xarayeXáds pov,
6/)Xos €i.
&XN' otv éyory o) vavcopat, ToÜT. (cO. Ort,
Tpiv ày Tr Tep9Üeis 6.aópápo TOv dépa.

Sch. ad loc. (1379) A(óvuos uév kÜkXov, éme
KvkAiov acju&TOV TOUjTS €o 7L, kVXXOv. €, érrei
XoXos écTw . .. 0 O66 'ApioToTéNgs év ais
Ai6ackaMiaus Ovo dmoi *yeyovévai. | Eóupayxos
oUros' Ebvópovios, émeióy) kvXXós zjv 0 Kwnoías.
—(1383) . . . caíteu Gà mpós rà Towjuara TOV
O6.8vpapuBoTro.Àv: &Oos yàp avTois ro.aDTa. émríÜera
Aéyew. üpga 66 kai mpós TO koÜüjov avTÀv.—
(1393) . . . vXeía T9 yàp avTOv 7) XéEw Toiav-
T), 0 66 voÜs éXAáxic Tos, Os 7) Tapotiuia ' xai
O.0vpáp Bev voüv Éyew éXárrova.—(1395) . ..
xXeváter 66 ToUs OG/0vpajBorrotovs.

Sch. Ar. Lys. 847 ff.: (838) «ep.o8et. Kwvgoíav cs
karcdept) eis evvoveíav. | ?jv 62 Gi0vpagufomroiós.

1 Palmerius: mss Kexpomíba

1 j.e, for L. as choregus ; the jest appears to be that only
notoriously thin men like C. and L. could reach Cloudcuc-
kooborough, the new sky-capital of the Dird-Empire; the
*tribe of Cercops! is a play on the Athenian tribe of

254

LIFE. OF CINESIAS

sir.—P. Why, don't you like it now you're pinion-
sped:—C. Is this how you treat the circular-chorus
trainer whom the tribes are always fighting to
get?—P. Then would you like to stay with us and
train the tribe of Cercops for a chorus of flying
birds for Leotrophides?!—C. I see, you're laughing
at me. But all the same Il never stop, let me
tell you, till I've got my wings and made my flight
through the air.

Scholiasts on the passage: (1379) According to
Didymus, he says 'circle' because Cinesias is a
composer of circular poems [poems for the circular
choruses ?], and * splay-foot ' because he is lame . .
But Aristotle in the JDramatic Catalogues tells us
that there were two poets of the name; according
to Symmachus, Euphronius says it is because
Cinesias was splay-footed [or bow-legged].—(1383)

. He is making fun of the poems of the dithyramb-
writers; for it was their custom to use such epithets.
He is also ridiculing their *lightness' [or, as we
should say, shallowness].—(1393) . . . Much of
their style is like this, but the sense exiguous;
compare the proverb, *You have less sense even
than a dithyramb. —(1395) . .. He is satirising
the dithyramb-writers.

Scholiast Aristophanes Luysistrata [a lvely scene
lo0 long io print here, in mhich Cinesias mith his
baby implores his mife to leave the Acropolis which
has been seized by the momen, and come home|:
He caricatures Cinesias as an uxorious husband. He
was a writer of dithyrambs.

Cecrops; the Cercópes were a race of gnomes changed by Zeus
into monkeys
255

LYRA GRAECA

Ar. Ran. 153 [vm. TOv káro]

, N
HP. era BSopBopov voX)v
^ ,
«ai c kàp aetvav' év óé TovTQ keiuévovs

155 et vov Éévov Tis 7)0Lknoe mre oTe
] Taióa Bwáàv ráprjópuov. UoeiXero
7) px TÉp" "voa ev 7) Ta p0s yvágov
emára£ev 1) 7) "ríopkov ÓpKov Op.0G€v
) Mopaípov TLS pfjow e&eypdv'aro.
AT. v) TOUS Ücovs € €xpTjv ye 70s TOUTOLGL K€L
161 TV TUppixnv TUS éua 0e TV Kiv9otov.
Sch. ad loc. (161) Kuoías &8vpa Bom otós* 0g
émoínoe Truppixmv . 2.0 Kumotas € EHE

ka rà TÓV KO LUE) DV, (S eiev Ax opio. 7v

Ka TÓ

c OL OKV1)p0S Kai KQTEO KeXeTEUK GS T2497.

Ar. Ran. 1435:

AI.

LET.
ET.
1439
AI.
ET.

Sch.

&XN. ér, uLav vyvoyn)v éxárepos evra ov
T€pi Tije TTOXecs T]vTLV. €Xev oV aoTnpíav.
éyo u&v oióa. kai Ó£Xe ópátew. |. NI. Xéye.
ei Tis Trepogas KXeóxpurov Kivgota
àépuov &paL 1 qreAavyíav bep Tra, —
yyéXotov ày daívovro: vobüv 9. éxyei Tiva ;

ei vavpaxolev, KT &XovTes ofióas
paívotev és rà BXéoapa vrÀv évavríov.

ad loc. (1438) o Kuvgoías XemTós 7v, O0 06

KXeórpiros pox8pós. $ucw obv ÓTL €i TLS vri
T TEepOV KXeok piro Kivgoíav mrepuBáXot doTE
$épeoÓat perapaíovs, cvuBrjaera, QÜTOUS OxécÜaL
avpodopryrovs yyevopévovs. —ós AemT0s c$ó0pa àv
keoóelrau KQl (S Eévos Kai E «óXaE. éuvic0n
0€ kai ToU KXeorpírov? a cs rovTOov Kai ToU Kivyaiov
opodopovovvTov.
! Tucker : mss atfpoiev abpai * mss transpose the names

256

LIFE OF CINESIAS

Aristophanes Frogs: Hrnacrts (describing Hades) :
Then miles of mire and muck everlasting, and lying
in it everyone who has wronged a stranger, bilked
a harlot, beaten his mother, boxed his father, per-
jured himself, or made himself a copy of a speech
from a play of Morsimus.—DrowNvsus: By the Gods,
thats the place too for anyone who's learnt
Cinesias sword-dance.!

Scholiast o» !he passage (161): Cinesias was a
dithyramb-writer, who composed a ' pyrrhich ' dance
. . . Cinesias attacked the comedy-writers on the
ground that they had nothing to say. He was a
nervous, timid man, and wasted to a skeleton . . .?

Aristophanes Frogs: DioNvsus, AEscuvLus, Euni-
PipDES: D. But once again, let each declare his
plan for saving the State.— E. «I know and I will
tell you what I know. —D. Tell away. E. Suppose
Cinesias were to be made into wings for Cleocritus,
so that he could *soar high aloft over the ocean
wave'—D. It would make a funny sight; but what's
the sense of it?—E. Suppose the fleets fought, and
they took cruets up and sent a shower of vinegar
into the eyes of the enemy.

Scholiast on the passage : Cinesias was a thin man,
and Cleocritus a profligate. He means, if you were
to fasten Cinesias instead of wings to Cleocritus so
that they rose in the air, the result would be that
they would be carried away for good by the wind.—
He is caricatured as being excessively thin and as
a foreigner and a toady. Cleocritus is mentioned
because he was hand and glove with Cinesias.

! e£. Ael. V.H. 3..8 ? Suid. s.v. mvrpíx2, fhe was a
Theban,' which is thought to be à mistake

257

VOL. IIT. S

LYRA GRAECA
Ar. Ran. 366 :

.. 3 xpupara TGÍls TOV AVTLTáNOV vavciv
T&péxew iw vreiOet,
7) kara T(Xd., TOv "Ekaratov kvkMiotgt xopoiatv
ÜbmdOov Fd
ToUTOLS Q0 kabÜLs dàTavOO kavÜis TO TpiTOV
LX amavóo
é£io rac Üav uo rato t xopots.
Ibid. 404 [eis "Iaxov]: »
cv yàp kareo xia jev émi tyéXo Tt
küT. €UTEXe(a TOV T€ GavÓaAMLa Kov
kai TO Dákos, kr&eüpes oo.
atnutovs mraítew T€ Kai xopeveuw.

Sch. ad loc. icov TÓ ÓLd ce «aea xia6n. €OLK€
óé apepbaíveuw ÓóTL AuTOS 70g éxopiryetro TOÍS
TOwmTrais. émi yov To0 KaXAMiov Tobrov $noiv
"Api TOTÉNIS ÓTL GcUvOvO &oEe xopnyetv. TÀ
ALovUcia TOS Tparyqóols «ai Ktj.opOois* doce
(goS$ T7 Tis kal epi TOv Agvaikóv dyova
cuGTOMj' xpovo O9 DvocTepov ov TOAÀXo Tt Ka
kaÜdzra£ T€pLeiXe Kurnoías Tüs Xopnytas. éé
ob Kai Xrpáris €v TÓQ «eis avrov ÓOpáparL,
éjy '£3a«mw) uév «éorw djóe» ToÜ xopoxróvov |
Kurgotov. !

I. G. 2. 1253 [Marmor Pentelicum ad radices
orientales arcis repertum]:

MES UMÉ c7p]aros DaXngpevs éx[opsryer . . .] Kuw-
cias eótó[aoxe.

| perh. the 1st lines

258

LIFE OF CINESIAS

Aristophanes Frogs: .. . or anyone who tries to
get money sent to the enemy's fleet, or any singer
to the circular chorus who befouls the wayside
shrines of Hecate . . . all these I charge, and
charge again, and charge yet once again, to keep
away from our Mystic dance.

Scholiast om íhe passage: This is aimed at the
dithyramb-writer Cinesias.

The Same [to Iacchus]: Thou it is who hast had
our poor sandal split and our coat rent for fun and,
be it said, economy, and found out how we can
sport and dance without having to pay.

Scholiast om the passage: That is, they have been :
split on thy account . . . He seems to imply that
the poets plays had come to be staged on the
cheap. Anyhow Aristotle says that it was in the
archonship of this Callias (406 z.c., the date of the
play), that it was decreed that tragedies and
comedies should be produced together at the Dionysia;
so that perhaps there was a like combination for the
Lenaea; and not long afterwards Cinesias finally
abolished the system of the staging of plays as a
State-service [for wealthy citizens] ; whence Strattis
in the play he wrote upon him speaks of *the shop!
of Cinesias the chorus-slayer.'

On a slab of. Pentelic marble found belom the eastern
side of the Acropolis of. Athens :

. -stratus of Phalerum provided the chorus . . .
Cinesias trained it.?

! prob. with a play on exqv5, the 'scene' or back of the
stage of the theatre ? this implies that the poet com-
posed the work performed

259

LYRA GRAECA

Ibid. 8 [Tabula marmoris Pentelici reperta in
theatro Bacchi. superiorem partem occupat anagly-
phon quo repraesentatur a sinistra Minerva adstans
cum scuto et angue dextramque porrigens alteri
feminae cum face vel sceptro quam Siciliam dixeris]:

ez. EofgovMGov à üpxovros ézi Tfjs [IL avàto]vt8os
€T s 7 puravevoUa1, ?) lIlxXaroev Nuixoydpovs
OAvev[s éypa ]uuiireve. &Oofev Ti) BovNj Kuvr-
cias eim€' 7e|[pi à dv Av ]8posBérns Xéyyet émaivécat
Atov|vVotov TOV Xu jeMas dpxovra kai Aemriívnv
[Tov àóeXo]» TÜV Atovvc tov ka] Oeapíónv TO|v
aGeX oov] 700 Atovve|tov kat Q:X]ó£evov 7[óv . . .

Ath. 12. 551a [. XemTóTiyros] Ka Api rods
9. év Pnpvráóy Aem rovs TOUGÓE KaraXéyet, obs
«al m péc Bets vo TÓV Tr0UjTÀV óyciv eis "Ai&ov
véuTeaÜat m pós TOUS Ékel zrou]ràs Xéyov ovToGt:

Á. kai ris vekpàv kevÜuóva kai akorov TrUXas
» ^ e b , , [4 ,
€TÀ1) kavreM ety ;—B. éva yàp àd$' ékáoTqs
TÉXVTS
eD.ópeÜa ko) yevoguévis eei vaías,
obs Zo uev üvras a6oQotras kai Oa
€k eta € $iXoxapovras. A. eici 'yáp TiVes
dvópes Tap TIT a&oQotra: ; ; '
páMaa 3. '-—AÀ. óOomep Gpakodotrau ;—B.
TÁVT | exeis
M 3 Lol b! ,
«ai rives àv eiev ; —B. Tpóra juev Xavvvpiov
aT0 TÓÀÓV TpvygOQ», dm0 O6 TOV Tpa'/yucOv
XopOv
MéAq0$, àr0 0€ TÓV kUkKAXiev Ko.

ei0' e£ mov:
260

E

LIFE OF CINESIAS

On a slab of the same found in the Dionysiac Theatre
at Athens, beneath a sculpture representing on. the left
Athena standing mith a shield. and. a snake, and putting
out her right hand to another female figure mith a torch
or sceptre, who is possibly intended for Sicily :

In the archonship of Eubulides! and the sixth
prytany of the tribe Pandionis whose clerk was
Plato son of Nicochares of Phlya, the Council re-
solved —Cinesias moved on the matter brought up
by Androsthenes that a vote of thanks be passed
to Dionysius the ruler of Sicily and to his brothers
Leptines and Theorides and also to Philoxenus
the».

Athenaeus Doctors at Dinner [on thin people]:
Aristophanes too in the Gerytades gives the follow-
ing list of thin men sent as ambassadors by the
poets above ground to the poets in the nether
regions :—* A. * Who is 't that dares descend to th'
hold of Death and pass the gates of Darkness? '—
B. Well, weve had a general meeting of ge
Assembly, and picked as delegates from each a
gentlemen we knew to be fond of paying mats
aimer ground.—A. Why, have you regular visitors
to Hades with you?—]B. I] should just think we
have.—4A. Like regular visitors to "Thrace?— B.
You've got it.— A. And who may they be, pray ? —
B. First there's Sannyrion from the comedy-men,
next Meletus from the tragic choruses, and Cinesias
from the circular." And then he proceeds thus:

! p.c. 394; Aristophanes! Éceclesiazusae which mentions C.
at line 330 was performed in 392 or 389, his Frogs (above) in
405 ? as no such brother of D. is recorded, Philoxenus
is prob. the poet (see p. 370)

261

LYRA GRAECA

as c o0p' eri XesrTÓÀv éXmTÜÓQv e xeio t dpa"
TOUTOUS yáp, 3)v TroXXol ÉvvéABoc w,' Xaov
0 Tfj; €Lappotas vrorapós olx rioerat

NRUPERE DN ÜvTos MerTóraos &a pakpóraros o
Kivgotas, eis Ov kai OXov ópüua yéypadev
YTpárTs, DOuoryv "AXUNMéa QUTÓV Kay à
TÓ év Tf abvToDU moiwjce! cvveyüs T0 QGODOiOTa
I4 , 5 , N , / , ^ »
Aéyew: Taiítev oUv eis Tv iO0tcav avTroU é$m
'Q0.íT 'AxiXXe0. 4XXov. OG abTÓv, ós kai
'Apia Too ávys, zroNXdkis eipiicaat QuNDprvov Kuag-
, N N y p ,
cíav &uà TO QiXUpas XauBávovra aavióa cvyumept-
CovvvaÜÓat, iva 5) káymrTQraL Oià TÓ TE uÍjkos
N N , , e |» ^ - , ,
kai Tiv La XvóTyTG. ÓTL O 9v Kuvgcías vooc9s
M N » /, e € JJ , &*; 4€ x
xai Oetvóe TÀXXa Avaias 0 purop év TQ "Ym-ép
Qartov llapavóuov ézvypadouévo Xon. elpykev,
Qáckov avTóv àdéuevov Tfjg TéXvys cvkodavreiv
^ ^ ei
Kal àTÓ TOUTOU TTÀOUVTElv. ÓTL OÉ O vroUQT:)s eat
^ L4
KaGi ovXY Érepos, cadós abTós óv omnuaítverat éx
TOU Kat émi áÜeóTqTi kop.oOoDuevov égiavitea0a.
«ai eui ToÜ Aóvyov TOLOÜTOV OelkvvaÜ au. Aéyer à
oras Ó porre p: 'Oavuáto óe €i 14) Bapées óépere
órL Kivgoías éoviv 0 rois vóuors Borós, 8 Ov bpeis
T áVTES émia Tace àa eBéa ra.rov aáTávrOv kai
Tra pavojarr aor àvÜparm ov ryenyovévat. 0UX, ObTOS
ec Tuv Ó roiatTa epi OcoUs e£anaprávov, ü Tois
uev AXXots alaxpóv écTi Kal Aéyew, TÓV Ace pup60-
6.6ao káXav có àkovere kaÜ' écac rov &viavróv ;
oU uerà ToUTOU 7r0TÉ ÀqroXXooávgs kai Mvora-
Aíógs kai AvciÜcos cvveicTiQvTO, pav 7)uépav

!1 Kock: mss T0AAQ E£vréA8:g tvAAaBóv

262

LIFE OF CINESIAS

* What very thin hopes you seem to have built
on!! If many such get together they'll be carried
away in the flood of their own scouring." ?

. . . Now Cinesias was in fact very thin and very
tall, and Strattis has an entire play written on him,
in which he calls him Achilles of Phthia because he
was always using the vocative of the word Phthian
in his poetry. Thus he made fun of his appear-
ance by addressing him as, *O Phthian Achilles.' ?
Other writers, including Aristophanes, have fre-
quently called Cinesias * the lime-wood man ' because
he wore stays of lime-wood to support his length
and thinness. We know that he was of a sickly
habit and altogether a strange being from what the
orator Lysias tells us in the speech called 74e
Oration in behalf of Phanias against an. Unconstitutional
Measure, where he makes out that he abandoned
his art for the profession of informer and became
a rich man. And there is no doubt that this is the
poet, because he is represented to have been cari-
catured for his atheism and he is shown to have
been of that character in the speech. The words
of the orator are these: «I am surprised that you
do not take it amiss that the upholder of the law
in this case should be a man like Cinesias, whom
you all know to have passed all limits in his defiance
of law whether human or divine. Is not this the
man who commits such an outrage upon religion
that the world in general cannot even mention it
with propriety and the comic poets tell you of it
regularly every year? Is not this the man who, with
Apollophanes, Mystalides, and Lysitheüs, appointed

! the Gk. is * were carried by' wt. IAol.- P.H, 7102.6
? with a play on pA£Aisis; cf. Ar. Ran. 126

263

LYRA GRAECA

ratáuevo, rYv àrodpádov, àvri 66 vovyviao TOv
kakoOatuovLaTàs cdíciv abTois roDvoua Üéyuevor,
TpémOV uév Tails avTOv TUXQGLS" oU pv ós TobTO
O.ampatouevour 77v OLávoiav &o Xov, AXX às
karayexOvres TOV Üe!v kai TÓV vópov TÓV
buerépamv. ékeivov gév oDv É€«aaTOs dTONXeTOo
(g7€p €e(k0s TOUS TOLOUTOUS. TOUTOV Óé TOV UTO
mela ov yvyvookópevov ot Oeoi obros 6LéOec av
GoTe TOUS É€XÜpovs BoXec0at QUTOV Uv pA XNXov
? TeÜvava, Tapáoeryua Tos XN Xots, (y eióQauv
óTL Toís Mav UB pia T.&Os pos Tà Üeta OLa.cetuévous
OUK €iS TOUS raióas amoTiÜevrau Tàs guaplas,
&XXN avTOUS KAGKÓs dAmTOXAUOUCL, ueitousg. Kai
xyaAXemoTépas kai Trüs cvpdopàs kai Tàs vócovs
«aU TOLs 7 1) TOi GXXots àvÜpoyrous srpoo [BaXXovres.
TO gév yàp àoÜavetv 3) kapetv vopípes koivov
juiv &maciv éoTw, v0 Ó obres exovra. Tog OÜTOV
Xpóvov Oa eXely kai kaÜ' écáoTQv 7 ueépav aT0-
Üvijakovra. ua) óvvacÜa, TeXevrijaat TÜV Biov
TOUTOLS Lóvots Tpoc)kei TO[g Tà ToLaDTa Tp
OUTOS eEnpapriyióa t. Tepi uev ov Kuivgoiov
ra)Ta 0 prop eipnkev.

Apostol. Paroem. Gr. 2. 652 Tà Kiv9otov Opá-
ézi TÀÓVv paXaxGv: ToroUTOs yàp o Kwyoías 9v.

Plut. Aud. Poet. 41 Tuuo0éc uév yàp áOovrt 77v
"Apregav év TQ Oed po * uauvá&a Óviáta $oiBáóa
AvccdOa! Kuvgoías avTeÓovnse *ToiajTy) cot
OvyáTwyp "yévorro.

l1 cf. Id. Superst. 10

264

LIFE OF CINESIAS

for their periodic revel one of the forbidden days
of the calendar, under the name not of the
New-Moon Club but the Devils Own?—a name
suitable, as it turns out, to the members fortunes,
but chosen doubtless not so much with that in-
tent as to throw ridicule both upon the Gods
and upon the law of their country. His colleagues
ended as such folk often do. The best-known
member of the club has been so visited by Heaven
that his enemies do not wish him dead but hope
that he may live long as an example, so that others
may realise that irreligion is punished not in the
children but in the fathers, for that these are
visited with greater and severer calamities both
in body and estate than all the rest of mankind
put together. To be sick or to die of ordinary
ills is the common lot of man, but to continue
thus year in year out, to be dying day by day
and yet be unable to make an end, is a fate
deserved only by the committers of such sins as
the defendant's; Such is the orator's description
of Cinesias.

Apostolius Centuries of Proverbs: He plays
Cinesias:—Used of effeminate men ; for such was
Cinesias' character.! *

Plutarch Hom the Young should listen to Poetry:
When Timotheus, singing in the theatre, called
Artemis frantic, mantic, corybantic, Cinesias
shouted back * Such be your own daughter ! '?

See also Plut. Glor. Ath. 5, Q. Conv. 1. 8. 3, Suid. s.v.
l1 cf. Sch. Ar. Eccl. 330 — ? cf. 4ud. Poet. 4 (see Timoth. 2)

265

LYRA GRAECA

KINHXIOT MEAON

l 'AokAgmi0s

Philod. v. e?céB. Gomp. 52. 'AekAqmibv 8€ Zevs éxepaivoaev,
és uev ó rà NavmrakTikà cvyypdias kàv "AakAqmri TeA]éo ns
kal Kiyn[oías] ó ueXomoiós, ó[7: 72]v IrmóAvrov [rapa]kAm8eis bm
'Ap[réuu]Bos àvéorqoe[v, és 5' é]v "Epipó^m 2[vmoíxop]es, $7:
Ka[vavéc ko) Av]kop|yov ]

2

Erot. 40 Klein: faiBocibéoraTov: koymrvAGraTOv:
x
pauBov
yàp kol *yaücov rb cTpeBAbv Aéyerav / kabrós Bé mob) mou
kauTuAGTOATai. Dt àvÜpómov mwAevpal e€!gi poauBoeibéa Tpómov:

" ^ ,
"AgkAdmov! érl ToU korá ri uiv. kolNAov kara Ti be kaumÜAOv, is
Kuvncías Tüoc0ei Ti)y Aébw.

cepi. DPTNIAOS

Sch. Ar. Nub. 970 6 ép)vis ki&apqBos MvriAmqvatos. obTos
65 Bokei mpÀros kiÜapícat map " AÓnvalors kal vucijgat TIava8qvaíois
ézri KaAA(ov? üpxovros. ?v 8t 'ApwmokAelbov ua8mnrüs. ó 8:
'"ApurrokAetOns kiÜopeDbUs Tv üpiusTos. Tb "yévos zv àmb Tepmáv-
6pov. jJjkuauce b év rfj EAAdÓ: karà rà MmBukd. mapa^aBóy be
T» p)riw abjAcDOoUvra giÜapi(eww éDiDaLev. "lorpos € £v mois
em iypo.ouévois oret Tbv épüvw AécBióv moi. Kdyuwvos
vióv: ToUTov 80€ lépevos ud'yeipoy üyra GoUv üAAo:s Do8zvat TÓ
'"ApigTOkAeiÓóm. TaUra Dt ocxeO0idoai Coukey: ei "yàp 7jv "yeyovós
800A0s kal pd'yeipos '"Iépwvos, obk &v àmékpvijav oi kwyjukot, ToA-
Adkis abToU ueuvnucvoi €Q' ois ékaivospynae kara«Adcas Tay gi

1 B: mss mAacícev ? M.H.E. Meier KaAAiud xov

| prob. a dithyramb ? cf. E. M. 701. 12 3 see Lam-
procles 1 * je. in the publie competition instituted by

266

CINESIAS

THE POEMS OF CINESIAS

l AscrEPius !

Philodemus On Piety: Zeus struck Asclepius by lightning
because, according to the writer of the Naupactica and the
Asclepius of 'Telestes and (the like-named work) of the lyric
poet Cinesias, he raised Hippolytus from the dead at the
instance of Artemis; but according to the Zriphyle of
Stesichorus it was because he raised Capaneus and Lycurgus.

92

Erotian Glossary to Hippocrates : Most bandy-legged means
very convex ; for

bandy-legged

and crooked mean distorted. Compare Hippocrates: *the
patient's ribs are very convex like bandy legs. Asclapon
employs the word of that which is concave on one side and
convex on the other, as Cinesias uses it.

on PHRYNIS

Scholiast on Aristophanes?: Phrynis was a singer to the
lyre, of Mytilene. He appears to have been the first to
play the lyre at Athens * and to have won the prize for it at
the Panathenaie Festival in the archonship of Callias.» He
was a pupil of Aristocleides, a great singer to the lyre, who
was descended from Terpander and flourished in Greece
during the Persian Wars. Phrynis was a singer to the flute
before he taught him the lyre. Istros tells us, in the work
entitled 7Ae Lyric Poets, that Phrynis was a Lesbian, the son
of Camon, and that he was originally one of Hiero's cooks,
but was given with other slaves to Aristocleides. Dut this
seems to be an invention ; for if he had been a slave and a
cook of Hiero's, the fact would not have been concealed by
the comic poets, who often speak of him in connexion with
the innovations by which he caused the deterioration of sing-

Pericles $ p.c. 456, prob. a mistake for Callimachus
B.C. 446

267.

LYRA GRAECA

Tap T) Gpxaior &00s, s 'ApicroQávgs $m! ral Pepekpárms.—
ka) mp9ros TÀ]v &Gpuovíav ékAacev émi Tb uaA0axdmepov. jv 5€
yóvvis kal yvxpós.

Plut. Mus. 6 75 9 oXov ij u&v karà Tépmavbpov kiBapzbta ka
Béxpi Tüs Ppbv:0os julas TaVTEeAGSs &mA TiS 00g DieréAei. — oU
yàp éEüv 7b maXcibv obTco moicigÜa: Tàs kiÜapeDias s vüv ov05
ueraoépew às &puovías kal rovs pvOuoUs . . .

Arist. Metaph. 993 b 15
Pherecr. ap. Plut. Mws. 30
Timoth. fr. 27

Plut. Prof. Virt. 13 bpüri. piv yàp oí éopot TOS €TTÀ
xopbais Bvo mapevrewágevov TipóTcv mórepoy Tàs üvwÜev 1) Tàs
káTweÜev ékreuciv abvots €ÜÉAei mapag xev . . .

Procl. Chrest. 320a. 32 [m. vóuov]
Ath. 14. 638b xol uox0npgv 8t daudrov "yeyóvaci mougrat,

rep! Gy $77! Pawías ó "Epéoios év Tois IIpbs ToUs ZXo$icTds,
ypáoev ortus: * TeAévikos. ó Bu(dvrios E éri 0€ LApyas, mormro)
poxenp&v üvres vóg.ov, mp5s uev rbv iOiov xapakriipa TS mora cs
eimópovv, T&v 8€ Tepsrávbpov xal Pp)ribos vóuwv oUbt karà puikpbr

éóbvavro émijjavcou.

vep. IIPONOMOT

Ath. 4 fin. (184 d) Aobpis 9 év TàÀ Ilepl E?piríbov kal
Xo$oxAeovs "Ax Bidoy $771 pae TÀàV aJ grey oU Tapà TOU
TUXÓVTOS QÀAÀ. IIpovóuov TOU ueyta Tv éc Xnkóros 8ótav.

Ibid. 14. 681e 7586 raXcibv érqpeiro wepl c3v uovauciv 7b
kaXbv kal ávT elye korà Tàv réXvmv Tbv oikeiov abmois kócuov.

1 cf, Suid, épbvis, BwuoAoxevcacro, BvakoXokaumTds ? for
the rest of the passage see vol. i Terpander, p. 23 ? ef.
Plut. De Seips. l, Poll. 4. 66 5 cf. Plut. 4gis 10. where

he gives the Ephor's name as Ecprepes (but Emprepes
268

PRONOMUS

ing. Compare Aristophanes and Pherecrates.—He was the
firs& to make changes for the worse in the use of the * modes."
He was effeminate as a man and frigid as a composer. !

Plutarch Musie: In short, lyre-singing in Terpander's day,
and indeed right down to the age of Phrynis, was always
entirely simple. In old days it was not considered right
to compose songs for the lyre like those of to-day with
modulation of mode and rhythm.?

Aristotle Me(aphysics: see on Timotheus, p. 297.
Pherecrates in Plutarch: see on Timotheus, p. 285.
Timotheus : see below, p. 328.3

Plutarch Zow a Man knows that he is improving in Virtue :
Phrynis, who had added two strings to the usual seven of the
lyre, was asked by the Ephors whether they should cut off
the two highest or the twolowest . . .:

Proclus Chrestomathy [innovations in the Nome]: see on
Timotheus, p. 291.

Athenaeus Doctors at Dinner: Moreover there have been
composers of bad lyrie, of whom we are told by Phaenias
of Eresus in his Tract Against the Sophists, where he says :
* Telenieus of Byzantium, and also Argas, who were composers
of bad nomes, were at no loss with respect to the proper
character of that type of composition, but were unable,
nevertheless, to make the smallest approach to the standard
set by Timotheus and Phrynis.' ?

on PRONOMUS

Athenaeus Doctors aí Dinner: In his treatise On Euripides
and Sophocles Duris declares that Alcibiades learnt flute-
playing from so great à man as Pronomus.

The Same: In the old days * beauty" or propriety was a
matter for consideration in musie, and everything had its
own proper artistic *ornament' oraeccompamniment. Forthis

-Apoph. Lac. s.v.) and adds *and the Ephors who did the
same with Timotheus'; if this took place at all, it prob.
belongs to the less famous man, Phrynis * Ath. adds
citations of Alexis and Anaxandrides mentioning Argas

269

LYRA GRAECA

Biómep 3oav 19101 ka exo Qv &ppiovíay a0Ao0l kai ékdaTois aUAxTÓOV
bmipxor a)Aol ékdo T: &guovta mpóa opo €v TOS &y&gt. IIpóvouos
D ó OnBaios TpAros mÜXAmoev aT Ty aUvTOYV CabAGy mácas)! TÀS
&puovias: vUv 8€ eikij kal &Aóyos ümrovrat Tí)s uovaikis.

Anth. Plan. 28 "AoqXorv:

*EAAàs uev OfjBas mporépas m pobkpivev éy abAois*
058a. 5 IIpóvouov, vaióa Tov Oiviáov.

Paus. 9. 12. 4 [m. tepóv 7b 'AróAXcvos rb €v OfjBais]: àvbpids
Té éco T1 IMpovóuov &yBpós aüATjcavros émaryovyóraTa és roUs TOÀAOUS
. . . Ipóvopuos 9€ jv 0s mpros émevónaev aUAovs és Gray üpuov(as
Éxovras émwrQDelos, mpÀros 0t ÜOid$opa és TocoUrov uéAm bm
aUAo:s qUAmce TOts abTois.? Aéyerai 8e s kal ToU mpocó mov TQ
cxhumri kal éml ToU mavrbüs kivíce: cóparos mepicoGs OT] Ti
Érepme rà Üéagrpa: kaí oi kal cua memoumuévov égTl wpocóDiov
és AjjAov rois ém" Ebpírp XaAxibeUgi. ToUTÓv T€ obv évravOa oí
O7 Batoi kal "Erauewdv8ay rov IIoAvuvibos àvé8ecav,

Ibid. 97. 7 [m. oi«wco? Meaofjvgs] kai Tiv ut» TÓTe duépav
mpbs Üvatois Te kal ebxais 7cav: rais 0& é$ebüs coU Te(Xovs Tv
mepíBoAov Tyeipov, kal évrbs oiücias ca Tà Íiepà émoiobvrTo.
eipydCovro 0€ kal bmó povaucs &AATqs uiv obDepuas, abAGv Bc
Bowwrícv kal "Apyelev- T& Te XakdDa kal Iipovóuov uéAm TóTe 91]
mpofjx0ncav udAi Ta és &yiXAay.

Ar. Eccl, 98:

hv 9 éykaBiC uen mpórepau, Migouev
Eva rex pievaa Baipdria: TbV méryevd T€
ray ka8aper t óv mepiboóuecO' ékei,

TÍs obk àv 1, quas &püpas Tryfo a8" ópàv; ;

* A-xyóppios *yoOv Tbv IIporópov Téyov ÉXcv
AéAm0e kaírot TpóTepov av otros yvví,

€

vuvl 9 , ópás, vpárTei rà uéyw! év 7j TÓAet.

t

Sch. ad loc. 'O ?Ay)ppios erparmwybs OÜnAvOpidDms, &ptas év
AécBg, kal rov pguc0bv 86€ TÓv TowrGv cvvéreue, kol mparmos
ékkAnciaucTikby BéBckev. ó Oe Ilpóvouos a)AqTÀs jéyav €xocv
Tá'yaova. "Aryóppios be ebpimpaxkros.

! (Cas.-Mein. ? Siebelis : mss avrois QU. T. aDA.

270

PRONOMUS

reason there were flutes peculiar to each ' mode,' and in the
competitions every flute-player had flutes adapted to each.
The first to play all the modes on one pair of flutes was
Pronomus of Thebes. PDut nowadays the art of music is
pursued in a random and inconsiderate way.

Planudean Anthology Anonymous :—

Greece judged Thebes to be first in playing the flute, and
Thebes Pronomus son of Oeniades.!

Pausanias Jeseription of Greece [the temple of Apollo at
Thebes]: And there is a statue there of Pronomus, a fiute-
player who had great charm for the vulgar . . . It was he
who invented flutes that were suited to any mode, and first
played tunes differing in this respect on the same pair of

utes. We are told too that his facial expression and the
versatility of his bodily movements used to bring down the
house. Moreover there is a song composed by him for the
Chalcidians on the Euripus, a Processional to Delos, Of
him then it was and Epameinondas son of Polymnis that
the Thebans set up statues in this place.

The Saie [On the founding of Messené by Epameinondas] :
That day was devoted to sacrifices and prayers. On the
following days they began to build the wall round the city,
and houses and temples within it. The work was done to the
accompaniment of no music but that of Boeotian and Argive
flutes, and there was keen competition between the melodies
of Sacadas and those of Pronomus.

Aristophanes Ecclesiazusae :

And if we sit in front we shall not be noticed so long as
we gather up our cloaks; and when we show the beards we
shall put on there, everybody that sees us will think we are
men. Why, Agyrrhius is never found out in Pronomus'
beard ; and yet he was a woman once, though now, as you
see, he's the biggest man in Athens.

Scholiast onm íhe passage: Agyrrhius was a general of
effeminate character who had commanded in Lesbos. He
cut down the pay of the poets and was the first to pay
members of parliament. Pronomus was a flute-player who
hadagreatbeard. Agyrrhius was addicted to unnatural vice.

! cf, Didymus ad Dem. Zerl. Klassikertexte i. pp. 59—60.
271

TEAEXTOT
Bíos

Marm. Par. 65. àd! ob TeAéoTgs XeXwvovvttos
évikgaev. 'A0s5vgouww. éry HAAATD'IHIH, &oyovros
'"A0:5vncw Míxovos.

Diod. Sic. 14. 46 [398 ».c.] "pagar 66 kaTd
ToÜTOV TÓV éÉviavTOv ol émLGTUOTATOL óigvpag-
Borrotot, QiXo£evos KvOspios, Tiuó0eos MiXsotos,
TeAéeTgs XeXwovvziws, lloXVióos 0€ kal Cevypa-
dukijs kai povatktjs eLxev éumeupíav.

Apollon. Hist. Mir. 40 'ApiaTó£evos 0 novatos
€v TÓ TeXéa rov Bío $civ, dep év 'lraM(a
c vvekipna ev, bó TÓV aUTOV kaupày yiveata,
TáÜ), àv 6v eivau. kal TÓ Tepil Tàg -*yvvaikas
yevouevov üTroTmOV. ékaTáGets "yàp *ycyveoOat
TOoLAUTAaS OcTe€ €viore kaÜwnuévas kai Oevmrvovcas
Os KüXoÜüvrOs TivOS UmAkOUcLv, eira ÉkmOüv
ákaTacxyérovs ryuwouévas kai Tpéxeiv ÉékTOs TÍjs
TÓXeos. pgavrevouévois O6 Toig Mokpois Kai
Poyivots Trepi TÍS àmaNxaeyfs T0 TráÜovs €UT €Lv
TOv Ücóv maiüvas dOew éapiwovs t 7uépas &. ó0ev
TT'OXX0US yevéc0at Era aon éy 7j) lraMa.

Plut. Alex. 8 kai Tr5)v pév 'lXtá0a Tfs TOXe-
puts aperís éd 8tov kai vouitev kai óvopátav
e. €Ly€v ác uerà ToU €yxeipiótov keiuévmv vr
TÓ poc kebáXatov, ds 'Oraik puros laTópyke, TOV
66 GXXcv [Bufliev ob« evrropáv &v rois dvo TOT-OLS

1 mss insert 9w8exdrqs
272

TELESTES
- LirE
Parian Chronicle: From the time when Telestes of
Selinus won at Athens 139 years, in the archonship
of Micon at Athens (402 n.c.).

Diodorus of Sicily Historical Library: About this
year (398 s.c.) flourished the most famous dithyramb-
writers, Philoxenus of Cythera, Timotheus of Miletus,
Telestes' of Selinus, and Polyidus painter and
musician.

Apollonius Marvels of History: The musician
Aristoxenus declares in his Life of T'elestes that at
the time of his visit to ltaly certain remarkable
things happened of which there was one which
concerned the women. It seems that they were
seized with a distraction which caused them when
seated sometimes at their supper to appear to answer
a call, and then rush incontinently through the door
and run out of the city. When the Locrians and
Rhegines asked the advice of the oracle on the
matter, the reply was that in order to free themselves
from this visitation they must sing Spring Paeans for
sixty days. Hence the large number of paean-
writers in Italy.

Plutarch Z4fe of Alexander: 'The Iliad, which he
believed and declared to be the vade-mecum of
valour . . . he kept, according to Onesicritus, with
his dagger under his pillow, and when he felt the
want of other books up-country,! he commanded

! j,e, in Asia Minor and beyond

213

VOL. III, T

LYRA GRAECA

"ApmaXov ékéXevoe mépwNrat káketvos émepNrev
a)UTQ Tds T€ DiX/o Tov BiBXovs kai TOv Ebpvrióov
kai XodokXéovs kal Aia XvXov rparyoLOv avyxvds,
kai TeXéo rov kai GiXo£évov OiÜvpduBovs. ,

Plin. N.H. 35. 36. 22 [de Nicomacho|: Nec fuit
alius in ea arte velocior. tradunt namque conduxisse
pingendum ab Aristrato Sicyoniorum tyranno quod is
faciebat Telesti poetae monumentum, praefinito die
intra quem perageretur, nec multo ante venisse,
tyranno in poenam accenso, paucisque diebus absol-
visse celeritate et arte mira.

TEAEXTOT MEAON
l 'Apyó
Ath. 14. 616 f mpbs bv àvr.Aéyov üAAos €y àAA* 8 ye
ZXeAiwotyri0s TeAéaTyus TQ MeAavurrzin (fr. 2) àvrucopvaoóuevos
ev ' Apyoi &Qyy. ó 8€ Aóryos éavl mepi Tjs ' AÓmvás:
. . . rv!ocodóv
coóàv Xaflobcav obk ézéXTouat voo
Opuj.ots Opetots Opryavov
&lav ' AOávav óvoóo0aXyuov aio yos éxóofn-
5 Üeicav avis xepov écBaXetv?
vuj.Qanyevet xeupokTUm o
^ , /,
$"pi Mapova &Xéos*
, , , , ,
TL yàp WLv evyparoL,o kaXXeos

274

TELESTES

Harpalus to send him some, and received from him
Philistus, a large number of the tragedies of
Euripides, Sophocles, and Aeschylus, and some
dithyrambs of Telestes and Philoxenus.

Pliny Natural History [on Nicomachus]: He was
the quiekest worker in painting ever known. We
are told that when he was under contract to
Aristratus the tyrant of Sicily! to adorn with
pictures before a certain date the monument he was
putting up to the poet Telestes, he arrived shortly
before the time to find the tyrant angry and deter-
mined to bring him to book, but within a few days
had fulfilled his obligation with a despatch and a
skill equally admirable.

See also Dion. Hal. Comp. 131 R (Philoxenus of
Cythera, p. 364), Suid. s.v.

THE POEMS OF TELESTES
]? TuE Anco

Athenaeus Doctors a£ Dinner: To this another rejoined :
* But Telestes of Selinus takes up arms against Melanippides'
(fr. 2) in the Argo, where he says—he is speaking of Athena
(and the flute)— :

My mind believeth not that in the mountain
copses divine Athena took this instrument that was
as clever as herself and then, for fear of shame to
her face, cast it again from her hands to be the
glory of the applauding Marsyas, bestial son of a
nymph. For why should she feel prick of concern

1. 360-340 B.C. 2 cf, Suid. s. TeAéoTas

l 86, abAÓv ? Wil: mss ék xepàv BaAetv

275

T

LYRA GRAECA

5 N » » vj
-o£Us éreLpev €pos,
T 0 / » 2
10 à TapUerviav aryapuov
No» on ECT /
«ai àmaL0 améveuue KXo0 ;
&s oUk hv e)0AaBy8eíons T4]v aicoxXpóTrqra ToU eiüovs Oià hv
mrapÜevíav: és TÉ $qov .
N ,
àXXà párav àyopevros? ü6e uaratoXóyaov
/, : /, 35€ / ,
oóápa Tpocér a0. 'EXXd46a uovaoroXov
"n , /, ^ ;, »
codüs émidÜovov Bporois véxvas Ovet8os,
perà raUTa 0€ ykp (eov 73v a0AmrukYy Xéyev
e^ 8 /, 4 B /, y Lal
àv cvvepiQoravav?* Bpouio vapéóeke aeuvás
, ^ Z
OaLpovos daepóev veÜüp aioXomTepUyov avv
ayXá ?

/, ^
OKUTATL XeupOv.

2-9 "AockXmqrUós
Ath. 14. 616f (contd.) xouj3s 85 kàv TQ 'AcokAq«mie ó
TeAéc 1s éBAwce Tv TÀy a0AQv xpelay év rovrois:
7?) Dpvya kaXXvrvóov avXóv tepàüv Baca,
Av6óv 0s Gppooce Trpóros
A«wpíóos àvriraXov Mo/cas vóuov, aioXopuop-
$ois $
TVeUpaTOs eUT Tepov aUpav
apr Xékov kaXápots.

"
Philod. v. e2ceB. 17 Gomp. v 'AekAwmiyv 9' imb Ais
Ke[pavro]05va *yéyp[aoev 'HaíobBos . . . kal ó v[&à Nav]rdkria
modf,oas] kaà TeAéaT[ns 'AeckAmgmiQ . . .

1 Wil: mss épos ér. ? & Dobr : mss aí ydp ü'yajuov
Cas: mss &yavov 3 Grotef: mss àvaxóp. * M. Schm:
mss cupep. 5 àepóev B: mss àepüév: à&yAG& E, cf. names
€.Q9. 'AvyXédovAos DBechtel ZHéíst. Personennamen p. 13 and
276

TELESTES

for lovely beauty, she whom Clotho had assigned
virginity unwedded and unchilded ?—
that is, she would not have minded spoiling her looks,
because of her virginity—and he continues :

Nay, vainly and not for the dance was this tale
of minstrel-babblers sped to Greece, to make a
reproach unto men a clever art —

(and then he praises flute-playing)

—which the airy breath of the holy Goddess to-
gether with the resplendent swiftness of her nimble-
wingéd hands hath given to Bromius to be best of
all his menials.

2—3 ASsCcLEPIUS

Athenaeus (continued): No less elegantly has Telestes
described the use of the flutes in this passage of the
Ascleptüaus :

or the Phrygian king of holy fair-breath'd flutes,!
who first tuned the Lydian strain in answer to the
Dorian Muse, and inwove the wingéd breeze of
his breath with the shifting-shapéd reed.

3?

Philodemus O0» Piety: Hesiod writes that Asclepius was
struck by the lightning of Zeus . . . and the author of the
Naupactia and Telestes in his Asclepius . . .

| probably Olympus ? cf. Ibid. 52 (p. 267)

Hesych. àyAàv: mss ayAaav $ vóuovDobr : aioXouópoois
Hart.-Wil: mss vouoaíoXov Oópivai

27]

LYRA GRAECA

4 "Yyuévatos
Ath. 14. 637a [m. ueyábibos] TeAéoTqgs 9t év "Yuevalg
Bi8vpdu Be mevráxopbóv nsi abr) elvai 91x 10bTcv-
dXXos 0. &XXav &Xaryyàv Cels
keparóQavov épéOLte uáryattw
vevrappáfóo ! xopóüv àpÜud
xepokagriótavXov? àvao peo ov TáXxos.

i

Ath. 14. 625e 74v 8€ épvywzl kol ch»v AvBiw Tl (&ppuovías)
-Tcpà rv BapBápwv oUcas "yvecOTvau rois "EAXQgiw &mb TOV GUV
IéAozi: kareA8óvvov eis rijv IIcAonóvvgaov pvyGv kal AvüQy . . .
8b kai TeAéa s ó XeXiwobvriós $qouv:

IIpoTo: vapà kparrpas EXXávov év avXots
N , N , ,
avvor agi Iléxozos Marpos opetas
Qpovyiv &eucav vogov:
$9 , y ^
Tol? OQ ófvjovois marióov NaXpuots * kpécov
Av6Lov Duvor.

6

Ibid. 11. 501f [m. $iaAGv] cl Oeómouzos 9 év 'AA0a(a Eom
' AaBovsa -A[fpm xpvcéav uegcóu$aAov | jidAqv. — TeAéa vas D
&xaTov cvóua(é vu,! 6s ToU TeAéaTov

,
(KQ TOV

TÀhv dudAmv eipnkóros.
T
Philod. v. e$oceg. 18 Gomp. | AiexóAos 8 [6v . . . . .. . ] «el
"Ig[vkos kal Te]JAéeT32s [. . . . . . . .- ] 7às Apn[vías . . . .
8

Ibid. 23 (see Melan. 10 p. 238 above).

1 Dind.-P: mss év mevrapáB8e, év mevrapáBg (which Wil,
keeps) and àpi&ud ? E, cf. 0DorpóxaAos : mss xépa kay.
(Eust. év xopbais xeipa x.) — ? Mus: mss rois — * mss xya^ uoí

278

TELESTES

41 HyMENAEUS

Athenaeus Doctors at. Dinner [on the stringed instrument
called aagadis]: Telestes in his Dithyramb Zymenaeus tells
us in the following lines that it had five strings :

Then uttering various din they roused the horn-
voiced? magadis, with five-lined jointure of strings
plying the to-and-fro footrace of swift hands.$

5

Athenaeus Doctors a£. Dinner: The Phrygian and Lydian
* modes," which were of foreign origin, were made known to
the Greeks through the Phrygians and Lydians who emi-
grated to the Peloponnese with Pelops. .. Hence the
passage of Telestes of Selinus:

The first to sing the Phrygian tune of the Moun-
tain Mother amid flutes over the wine-bowls of
Greece were they that attended upon Pelops; and
the Greeks forthwith began to thrum the Lydian
hymn with shrill-voiced twanging of the lute.

6

The Same [on the cup called pAia/e]: And Theopompus
in his play 4//Aaca says: *She took the brimming cup of
gold mid-bossed, but Telestes called it **boat"", Telestes
evidently having used the word

boat
for the phialé.
T
Philodemus Ox Piety: Aeschylus [in the . . . ... ] and
Ibycus and Telestes [. ... . .. .] theHarpies. . ..
8

The Same (see Melanippides 10 p. 239 above)
For CREXUS see on, Timotheus p. 2877 below

! of. Eust. 1108. 1 ? je. struck with the horn-made
plectrum 3 Jit. a hand-double-course-turning swiftness

279

TIMOOEOT

Béos
St. Byz. MíXNqgros: TOM émioav?s év Kapía
TOV leovov ... 0 mOMTTS MiX5jeios. obrTo kai

OaXijs "Efaguvov "TraTpos MiX3jo tos expmnuárite
kai DokvALOus kai 'Tuuó0eos kiÜapqO0s, 0s émoínse
Nóuov Ki8apoOucóv BiBXovs okrokaíóeka eis
émÓv OKT .KLO XUNLooV TÓV pi pov, ka IIpovójua
XXV Xia. Ovjake, 0. év Makeovía. | émvyé-
ypaTTaL avTQ Tó8e:
II&Tpa Mbuprds Tiere, Movcauat mro8ewóv
'Tuuo8eov kiÜdpas 6e£ióv jvioyov . ...

Suid. 'P;uó8eos: Oepaávópov 3) Neopovaov? 3j
OXoz0Xi60s MitNijotos Xvpikós* 0g T9v OexáTQv
«al évGekármv Xop57v 7 poa &nke «ai TV
pxatav pova Liv evi TO paNakdyrepoy per jya»yev.
7v O6 emi TÓV Ecprmíóov xpovov TOU rparyLkof,
kaÜ0' obs kai GOíXumrmros 0 Maxkeóov éBacíXevevr.
Kai éreXevTQoev érQv évqvrkovra és Tá, ypávras
0v émàv Nógovus Movcukovs Oexaevvéa,. IIpootjua
Ac, '"Apreuuwv, Aiackevàs 9, Erykopaa, Iépzas,?
Nabmwuov, Diveíóas, Aaépryv, A(0vpáu9ovs wj,

"'T'hvovs ka , «aiv àXXa wá.

Marm. Par. T6 à$' ob ,T'tju00 eos Biocas érm

PAAAA éreXebrgoev ér[n dpyovros ' ABdvgou . . .]

! * was called" ? mss Neoubaov 3 mss insert 7j

—————————————————

1 cf. Eust. Dion. Perieg. 823 ? cf. Pomp. Mela i. 17
? 21l. have obviously been lost which contained the death-
place * the last two are prob. jokes of the comic

280

TIMOTHEUS

Lire
Stephanus of Byzantium Lexicon:! Miletus :— A
famous city of lonian Caria . . . The inhabitants

are called Milesians, for instance Thales the son of
Examyas, Phocylides, and Timotheüs, the last
the singer to the lyre, who composed 18 Books of
Lyre-sung Nomes amounting to 8000 lines and
Pronomia amounting to 1000 more. He died in
Macedonia. The following epitaph has been written
upon him: * Miletus was the motherland that bore
that delight of the Muses, Timotheus the deft driver
OP EHDOTO 23:09

Suidas Lexicon : Timotheus :—Son of Thersander,
or of Neomusus, or of Philopolis;* of Miletus; lyric
poet. He added the tenth and eleventh strings to
the lyre, and changed the musical tradition for the
worse. He flourished in the time of Euripides the
tragedy-writer, when Philip of Macedon was king.?
He died at the age of 97, and was the author of 19
Musical Nomes in epic verse, 36 Preludes,9 the
Artemis, 8 Adaplations," | Eulogies, The | Persians,
Nauplius, The Sons of. Phineus, Laertes, 18 Dithyrambs,
21 Hymns, etc.

Parian Chronicle : From the time when Timotheus
died at the age of 90, in the archonship of . . . at
Athens .. . years.8

poets 5 ef. Diod. Sic. 14. 46 (above, p. 273) who says he
flourished 5.c. 398 $ perh. — the Pronomia above
? revisions or re-touchings of old works (Wil.) 8 the
actual date is lost, but must lie between 365 and 357 r.c.
281

LYRA GRAECA

Satyrus Jit. Eur. Ox. Pap. 1176. 39. xxii - [eara-
dpovovuévov]! ro) TuuoÜéov mapà rois " EXXgauw
O.À T2v Éév Tf) uovcikt kaivom|o]|av? xai ka0*
vzepfoX»v à0vwjscavros ccTe kal Tàs weipas
éavTÓ OLeyvokévac poca $épew, uóvos Eopvr(ógs ?
aváTaAw TOV guév ÜcarOv karayeXdoat, vOv G6
Tiuó0eov aicOójevos "Mos éoTiv €v TÓ wévei,
zapagvÜ5caeÜaií ve Xóyovs Owe£uov cs olóv Te
TapaKMyrukoTáTOvs, kai 07) ka, T0 TOv llepodv
7pooLutov avyypadat, TO * Te vikfjoat ravcacÓ0at
«aTadópovoUuevov [$acu vó]v? Ti[pó8eov . . .

Plut. 4n Seni 25 obTco 06 kai Tiuo0eov Ebpi-
7íO9s cvpvrTOUevov émi Tf) kauvoropia. kal srapa.-
VojLetv eig T7)v uovaukTyv 6okoüvra Üappetv ékéXevo ev
6s oXiyov xypóvov rOv Üeárpov iT. avTÓ ryevgao-
névov.

Ibid. Mus. 30. ouoíes 66 kai MeXaver ions 0
peXoToOi0s émTwyevóuevos o)k évéuewe Tf) Tpoib-
zapxoUcm pgovciuk?, &XNM ov06 GOiXófevos o706
Tiuo0eos: obros *vyàp émrad0oyyov Tfs X)pas
UTapxovo5s éos eis Apta rokAetOmy, vOv "'eprrár-
Opevov Tóvov Otéppwrev 5 eis srAetovas dOóyryovs.
&XXMà yàp kai avMgrue? d$ ámXovoTépas eis
TOKUMOTÉépav ueraflégBquke uovswv: TÓ yàp
TG&XaLOv, €éos eis Mexavvrmíógv TOv TÓÀv Ov-
páuBov mowyriv, cvuBeBker rovs abXrràs Trapá
TOV TOwjTOv Xagu9ávew oUs pucÜoUs, mpora-
yevia Tovas 09XovóTL Tfjs Trovjoeos TYv Ó avAqTOv

CO PL. ? the v seems to be added above the a
* Aéyera: seems to have fallen out, cf. ix. 31 * Wil: pap.

282

LIFE OF TIMOTHEUS

Satyrus Life of Euripides (from a 2nd-Cent.
Papyrus): When Timotheus was suffering from un-
popularity in Greece because of his musical innova-
tions, and in the depths of despair had actually made
up his mind to take his own life, it is said that
Euripides alone took the opposite line, and not only
laughed at the audiences, but realising how great an
exponent of his art Timotheus was, consoled him
with the most comforting arguments possible, and
went so far as to compose for him the prelude to
T'he Persians, his victory with which put an end to
Timotheus' unpopularity.

Plutarch Should Old Men Govern? "Thus when
Timotheus was being hissed as an innovator who
broke the laws of music, Euripides bade him be of
good cheer since he would soon have his audience
at his feet.

The Same On Music: In like manner the lyric
poet Melanippides, in his turn, refused to leave the
art of music as he found it, and so also Philoxenus
and Timotheus. Down to the time of Aristocleides!
the lyre had had seven strings. Timotheus divided
the Terpandrean * mode' into a greater number of
notes.? Flute-playing too has become imnore complex
than it once was. In old days before the dithyramb-
writer Melanippides, it had become customary for
the flute-players to be paid by the poets, obviously
because the poetry had played the first part in the
performance and the flute-players had been merely

! c. 480 B.c. ? the reading is doubtful
TOU 5 E, of. xxi. 30 9$ Westph.—Z: mss eis Tépravbgov

Tbv ' Avrio c atov Biepp.

283

LYRA GRAECA

bm mperoUvrav ToÍs &.6aa kd ots Üc'repov óé kai
ToUTo óieoO pn, Gg Kai Depekpár TOV Ico LUcÓv
ela a'yayety Tv | Movouei ev yovauceio. c XDBaTt,
ONgv kargkucpuévgv TO cÓua: coii O6 Tv
Aukaioc)vgv O.aTVUVÜavouévgv T53v airíav Tíjs
Xc[9gs kai 75v lloígoi:wv Xéyovaav:

10

20

AéÉo uv oUK dkovca: coL Te yàp kei
euot TE Aéfat Üvuos zjGovijv € eet.
euoi yap 7p£e T KQGJCOV Mexavvrmións,
€v TOOL 7 pros Óc AaBov avijké ue
XaXaporépav T emoínce xopSats óo6exa.
&XN obv OJOS otros pev "v àroxpOv àv)p
A /,
éLOVyE€ . . . 7rpós TÀà VÜv kakd.
Kurgoías 9 u o karáparos ' AcTtKOS,
efappovtovs Kap às TrOLÓYV €y rais a7 pooaís
T0 Nex obTOs, 0cT€ Ts ToU eos
TOV OlOvpáuf ov, aÜdmep € €v rais àomígLv,
àpwrTÉép avToU) Qaivera, rà Oe£iua.
&XX ov àvekTOS oUDTOS ?jv Ojos OjuOS.
pbvis Ó i6LOV oT popuXov eu Bav TLVG,
KÁUT TOV ue kai a Tpébov óXmv GiédÉopev
év érTà Xxopóais : On OeX áppovías exor.
AXN o)v Éuov'ye XoUTos 7)V arx pv ay)p'
ei yap 7L cabina prev a. bOLs àvéXa Bev.
Ó 5€ Tuuó8eós p, 6 duXTáATI, karopvxe
«ai 6.aKékvaue aia xvo Ta. AT. TLIotos obroci
— 07 'Tiuo0eos ; TIO. ,Meigids TUS mvppías:
«ad. pot Trapéa xev ots? üzravras obs Xéyo
TapeMjXvO', ayayeov?* ékrpaméXovus pvpum-
x
KLAS

! Mein: mss -os — ? Burette: mss mévre x. or sevraxópbois

3 Wil:

284

msS obTos 5 E: mss kyov

LIFE OF TIMOTHEUS

assistants of the poets who trained the choruses.
But later on, this practice fell into disuse. Thus
Pherecrates! the writer of comedy introduces Music
(as he calls her)? in the shape of a woman who
shows every sign of having been badly used, and
makes Justice ask her the cause of her terrible
plight, whereupon Music (or, as we should call her,
Poetry)? thus replies: ** I'll tell thee gladly, for
'tis equal joy to me to speak as 'tis for thee to hear."
My troubles all began with Melanippides; he was
the first to take and let me down and make me a
loose one with his twelve strings. But all the same
he was a good enough fellow . . .* to what I suffer
now. Next, that accursed Athenian Cinesias has
done me so much damage by the extra modal
*flourishes" he inserts between the strophes, that
the right rank of one of his dithyrambs looks like
the left. But all the same he was a good enough
fellow. As for Phrynis, he has bent me and twisted
me and utterly destroyed me in a particular whirl-
wind of his own, with his twelve modes on seven
strings. But all the same, he too was a good enough
fellow. If he did any damage, he made it right
again. But Timotheus now, he, my dear, has
debauched me and mauled me till l'm not fit to be
seen.—Jvusrice. And who is this Timotheus ?—
PoETRvy. A red-haired man from Miletus. He has
treated me worse than all the others by drawing

! that the citation is from the CAziron appears from
Nicom. Harin.2. 35 Meib : A. seems to have been uncertain
of the ascription to P., cf. 8$. 364a ? j.e. in the 5th-century

sense of music plus poetry 3 the Greek is ! Poetry thus
replies?; Plut. interprets for his readers, see the whole
context ! a gap in the mss. is indicated by the metre

285

LYRA GRAECA

e£fappovíovs brrepBoXaíovs Tr avociovs

25 kal ie e Gc Tep T€ Tüs Dad ávovs 9Xq
kam av * Jue kareuea Tace oer m
küv évróyn vov por Ba&iCovog uovg,
aTé0voe kàvéAvae xopOats &vóeka.

kai "A pia Todárns o 0 Ko) |LKOS pvnpovetet dyvobénav
«at ULT, ÓTL eis TOUs KUVKMiovs XopoUs* uéXm
eia qvéykao. Ka AXXoL Dr toS oto &Oei£av
TV áTomíav TÓV Lerà TaÜ)TQ T)V uLovciK?v KaTa-
KekeppaTLKoTOV.

Plut. Mus. 12 [7 Kkatvoropías Ts pvOuo-
ToLiàv|g &écT. GÉ TIS AXkpavuey «aivoropuía kai
ZET9ovx0petos, kai avrai ovK dd$eorOcat ToD
K&aXo0. Kpéfos 06 kai "Tiuó80eos kai GuXoÉevos
kai oí küT. QUTOUS T7)V T]ALKLGV Myeyovóres Trova
doprikeTepo, kat .GrNoratvórepoL? Myeyóvagt, TOv
QuXdvÓ porrrov Kai Üeparrucóv vOv óvopaLóuevov
TpÓTOV O.o£avres" TV yàp .Owyoxopb(av kal T»v
&TXóTyTA «ai ceuvoTQTa Ts uovaikys TavTEXÓS
apxaik?jv eiva, cvjuBéBnkev.

Ibid. 21.

/ ^

Plut. /zst. Lac. l1. ei 6é vis TapaBatvou 7t T1js
apxaiías povoikss, oUk émérpemov: àXXà, kal TOV
Tépzavópov àpyaiecrarov Óvra kai dpioTov TÀV
xa0' éavróv kiÜapqoOQv kai vOv 9peicov Tpáteov
! Elmsl: mss xdumTcv ? the 3 lL beginning é£apy.
placed here by & come in the mss after eieqvéykaro below,
where they are preceded by 7 956 Moveucj Aéyei TobTa

? Mein., cf. Nicom : mss $ó8eka ^ perh. uovgBikd has
fallen out (Westph.) 5 E: mss -rauvot

1 97 devious ? rau * bend ' or *flourish" and «dp; *a

286

LIFE OF TIMOTHEUS

extraordinary! ant-runs all outside the * modes,"
and impious notes in-alt, and soprano squeaks, and
filled me as full of flourishes as a cabbage is of cater-
pilars? . . , And if he ever meets me walking
alone? he strips me and undoes me?* with his
eleven strings. Moreover Aristophanes the comic
poet mentions Philoxenus, and tells us that he intro-
duced (solo-)songs into the circular choruses. And
other writers of comedy have shown up the absurd
antics of the later composers who frittered music
away till there was nothing left of it.

Plutareh Music [innovations in rhythm] : Innova-
tions are ascribed to Aleman and also to Stesichorus,
in both cases without departing from the beautiful
manner. But Crexus, Timotheus, Philoxenus, and
the other poets of their period were less refined and
more desirous of novelty, aiming at the popular
manner now? known as the thematic or effect-
producing. For the employment of few strings 9
and the simplicity and grandeur of music have gone
entirely out of vogue.

The Same (see on Polyidus p. 404)

Plutarch Spartax Institutions: Disregard of the
musical tradition was not allowed, Even Terpander,
the oldest and in his time the greatest singer to the
lyre, and a celebrator of the deeds of the heroes, was

caterpillar' are identical in the genitive plural, which gives
the opportunity of an untranslatable play on words $ 4.6.
in a solo-song * double meaning, loosing the girdle and
dissolving into nothing 5 j,e. in the time of Aristoxenus
(fl. 336 n.c.), who is Plutarch's authority 9 this term is
applied, more widely than its literal meaning would suggest,
to a general condition of technical unelaborateness

287

LYRA GRAECA

, / [4 e y , / N M ,
ézraivérzv, 0uos ot éDopor é£guíocav kai c»v kiOd-
^ /
pav avToD T pocerzarTáXevaav Nréyorres,! Óvt utav
, ^^
póvqnv XopO15v évérewe mepiacorépav ToU roLkLXov ?
T/s $oví Xápuw: póva yàp rà àmXovoTepa TÓV
Ac 28 , T "P 6e , / ^
peXàv éQoxiuatov. — Tijo0éov 9€ árgavitojévov TÀ
Kápveta, els TÓV edopov páxapav Xafdov. "por-
g€V QUTOV É€& /TOTÉpov TÓV jepOv ümoréuy Tàs
TAe(ovs TÓv ÉmTG& XxopOOv.

Paus. 3. 12. 10. [v. Zmáprwas]| érépa 8é éw Tfjs
5 ^ , N » 5 «^ , 4 €
a'yopás éa Tiv &£oGos, ka0' fv memoinrat ado 5
kaXovuévy Xiás, évÜa kal vv ért ékeNgatátovat
e évrTaU00a ékpéuacav NakeDatgovion T5)v Tuuo-
0éov 700 MuXqmoíov kiÜápav, karawyvóvres ÓTL
xXopoaís émTà Tais àpxaíais ébeÜüpev év 1$

/, / y

«iÜapoOia Téccapas xopóds.

Ath. 14. 636 e 'Apréuev O £v rQ mporQ Trepi

^ 5 /, , , N
ALovvciako0 EmioT5uaros "TuuoÜeov duoi TOv
MiX5ciov vrapà Toig T0XXois O0£at ToXvXop-
Oorépo cvoT)uaTL. xp3goacÜOac Tf) uanyáóv 0.0 al
7apà rois Aákeciv eUÜvvopevov cs Tapad60etpor
T)v àpxa(av uovauk)v, kal jLéN.XovTÓs TtvOS ékTéj.-
vety avToÜU Tàs "mepvrràüs TOV XopOQv, Óei£at map.
avTois vzrápyovTa ' AmoXXovíakov Trpos v?)v aUTOU

avvra£w icóxopOov Aípav éyovra. kai àdeOsgva.

Nicom. Mus. Gr. 214 Jan (ó-i Ócor Tfj 0y60m
Xopóf) Trpoc kaÓijrav érépas, oU Aóyo Ti, Tf) O6
7 pos TOUS à poa rs yvxa'yoryia. srpoíjy0ms av.
ócTmep 0: kai Geóopaorós? ve 0 llwepirgs T9

| E: mss $épovres ? vouiuov ? ? mss also v póopaeros,
cf. Boet. Mus. 1. 20

288

LIFE OF TIMOTHEUS

nevertheless fined by the Ephors, and his lyre nailed
to the wall, because, to suit his voice, he added to
it a single string more than was usual, and they, it
seems, approved only of the simpler style of music.
And when Timotheus was competing at the Carneian
Festival, one of the Ephors took a knife and asked
him from which end of the lyre he should cut off the
strings which brought the number beyond seven.

Pausanias [on Sparta]: There is another way out
of the market-place, past the building called the
Scias or Shade, where the assembly is held to this
day .. . Here the Spartans hung up the lyre of
Timotheus of Miletus after convicting him of adding
four new strings to the traditional seven when
singing to the lyre.!

Athenaeus Doctors at. Dinner: According to Arte-
mon in the 1st Book of his work on 77e Dionysiac
Monument? Timotheus of Miletus appears in most
" accounts to have employed a magadis or lyre with an
unusually elaborate stringing, and when he was
called to account at Sparta for corrupting the musical
tradition, and it was proposed to cut off the superfluous
strings from his instrument, to have pointed out a
statuette of Apollo there which held a lyre of the
same number of strings as his, and so to have been
acquitted.

Nicomachus Handbook of Harmony : The addition of
strings beyond the eighth was due not to reason but to
adesire to gratify the audience. Thus Theophrastus

1 cf. Dio Chr. 33. 411, Cic. Zeg. 2. 15. 39 ; the story is also
told of Phrynis to whom it more probably belongs, cf. p. 269
n. 4; the actual decree of the Ephors against T. is quoted
Boet. de Mus. 1, but is almost certainly a forgery of the 2nd
Cent. B.C. ? reading doubtful

289

VOL. III. U

LYRA GRAECA

éváTtQv Xopó7v vpockaÜiWe, kai 'lertatos Thv
Oekdármv o KoXoóovtos, Tuj.08eos 0 0 M Dvjatos TV
évGekáTqv, kai éDe£rjs &XXot. eme eis ók' Kau-
6ekárqv àrvix0n yopó5jv 10 TX1os rap. avrov.

Clem. Al. Sir. 1. 133 (265) uéXos 7e a) Tpóros
vep.éÜnke vois Trou]uag, kai rovs Aakebaruoviav
VOL.OUS epexorrocyae Tépravàpos D "Avriacaíos,
Sitopau en 66 émevónaev Aágos Epguovess, d ULVOV
Xo9cixopos Ipepatos, xopeíav AAXKuv. Aaxe-
Oa.p0vLos, Tà époiKà "Avakpéov T5jios, v brrópynow
Ilívóapos OyBaios, vouovs ve "póvos roev év
xopQ xai kiÜápa Tuuo0eos o MiXjatos.

Plut. Mus. 4 o( 66 75s kiÜapetas vopor srpórepov
TOXXQ xpoóve TOV aUXoOikQv kareaTáÜncav éri
Teprrávópov dps memobyraa óc TQ Teprmávópo
Kal TpooLpLd kiBappóucà év émeoiv. ÓTL Ó ol
«iÜapmoOueol vóuo, oi ráxa, e£ ésrüv ovvio arro,
Tiuo8eos éÓ::Xece: — rovs ryotv Trpevrovs vouovs év
émrec, Oupevyvóov O8vpaufuev Xéfww — jj6ev,
óTws p eUOvs avi) vrapavouóv eis T?» ápxaíav
LovguKv.

Procl. Chrest. ap. Phot. Bibl 320 a 33 6 Vójos
ypáderat uev eis AmóNva, Exe 06 kai TQ)V
éTOVULLAV ám avro" vópuos * yàp Ó AróNov
émekNjen or TÓV dápXxaiav xXopovs laTávrov Ka
7pós aUXOv 7) Mopav aóóvrov TOV vouov Xpvcoó-
epus Kprjs vpóTos o TOM xpnucdápevos érmperet
kai kiÜápav àvaXafdov eis u(umatv T00 ' AqróNXovos
|.óvos 7,0 € vop.ov, kai evOokujdo avTOS a.UT0U OLajuévet

1 Schott: mss vópuuos
290

LIFE OF TIMOTHEUS

of Pieria added the ninth, Histiaeus of Colophon the
tenth, Timotheus of Miletus the eleventh, and so on
to the eighteenth.!

Clement of Alexandria Miscellanies : The first man
to set poems to music was Terpander of Antissa, who
thus dealt with the laws of Sparta ;? the Dithyramb
was invented by Lasus of Hermioné ; the Hymn by
Stesichorus of Himera; the Choral dance by Aleman
of Sparta; Love-poems by Anacreon of Teos;
dancing the Hyporcheme by Pindar of Thebes ; and
Nomes were first sung to dance and lyre by Timotheus
of Miletus.

Plutarch Music: The Lyre-sung Nome was
established long before the Flute-sung, in the days
of Terpander . . . Terpander composed Lyre-sung
Proems in epic verse, and it is clear that the ancient
Lyre-sung Nomes were of this nature from the
practice of Timotheus, who sang his first nomes in
hexameters with an intermixture of dithyrambie
phraseology, so that he might conceal at the outset
his sins against the musical tradition.

Proclus Chrestomathy : 'The Nome is in honour of
Apollo and takes its name from his appellation
Nomius.? "Phe ancients used to make choruses and
sing the Nome to flute or lyre, but Chrysothemis the
Cretan first adopted a distinctive dress, and taking a
lyre in his hand to represent Apollo, sang a nome
s0lo, and as he became famous for this performance

! there follows a ref. to the passage of Pherecrates (p.
285): the seventh and the ninth are ascribed to T. by
[Censorin.] Gra«m. Lat. 6. 610, and the ninth by Pliny N. 4.
1. 97 ? perh. a confusion between the two meanings of
vóuos, *law' and 'nome, but cf. Plut. Sol. 3 3 the
etymology is prob. incorrect

29t
U 2

LYRA GRAECA

0 rpoTos TOÜ d'yovíouaros. Ooket 66 Tépmavópos
pév mpüros TeXetQcat TÓv vóuov Jpoe nérpo
Xp ápevos, eevTa "Apicov 0 Mnvpvaios OUK
OAt^yà cvvav£isat, avTOs kai rovmT?)s kai riBapo-
ó0s yyevóp.evos. pris 06 0 MvriXqvatos éKaivo-
TOU €V a)TOv' TÓ T€ yàp é£d per pov TÓ XeXvpévo
cvuviyvre kai xopoaits TÓV em mela éxp'íc aro.
TuuóÜeos Gà $ocepov eis T5v vüv avTOv iyya*ye
Táfiv. é€oTiw obv o uév OG ópaufos kekuwuévos
kai TOoXv TO €vÜovciO0es uerà xopeías éubaívov
eig Tá0 karag kevabópevos TÀ páMaTa oLKELa,
TQ ÜcÓ, kai cecó[)grai uév xai ois pvO ois,
ám ove répaus 8€ Kex pyra Taís Aéfeaw. o 66
VOLO robvavTiov Ó:.à TOV 70v! avéxerat ^ TeTQ/y-
pévas «ai ueyaXom pem ós kai TOÍS pv uoís à aveiraL
«ai Orm xac Laus Talis Meat Kexprraa. oU pv à
«ai TAS áppuoviats oiceíaus ékaTEepos Xpfyrau, Ó uev
yàp T)v 9 D pv*yrov Kai "Tsroopbytov appoteraL, o
vóuos 0é TO cvoT:uaT. TQ TOV kiÜapeoOóQv Auto.
€ouke 66 0 gév O8 ipai Bos aTO TÍs kaTà TOUS
a'povs TaiÓtàs kai Tíjs €v Tol TÓTOLS eUjpoa vus
eópeO vau, 0 6€ vóuos Ooret uev aT ToU Traidvos
pvfjvau: 0 jJi6V yáp éaTL &cotvóTepos, eig Kakàv
zapairiaiw yyeyypaguévos , o 0€ OLcos eis "Am óXXova.
óÜev TO uév évÜovaió8es obi Éyei cs 0 G0 bpagfBos*
éxei uév yàp géÜau xai satóuaLt, évraüÜa O6
ikeretat kai TroXMi) Táfts* | kai yàp avT0s 0 Üeós
ev TáÉe. kai avor:judTu kareo raNgévov * qepiép-
XeTaL TOV kpovg yov.

! Wil: mss 6eàv ? E: mss üàveéiru from below
? Sylb: mss Tóv * E: mss -uévyg: Herm. exfuari
KaTegTaAuÉvg

292

LIFE OF TIMOTHEUS

the competition has been of that type ever
since. Terpander appears to have been the first to
perfect the Nome by the employment of the heroic
metre, but no small contribution was made after him
by Arion of Methymna, who like him was both poet
and singer to the lyre. Innovations were also made
in it by Phrynis of Mytilene, who both combined the
hexameter with the *free' type of metre, and first
employed more strings than the traditional seven.
Timotheus afterwards brought it to its present con-
dition.! The Dithyramb is full of movement and,
expressing a high degree of * possession" by means
of the dance, is directed to evoking the emotions
most characteristic of the God; wild, too, in its
rhythms, it nevertheless employs a simple phrase-
ology. The Nome, on the other hand, is sustained
in an orderly and dignified style by the characters it
describes ; while its rhythms are easy and tranquil,
it employs compound expressions. Each type, of
course, uses its peculiar * modes,' the Dithyramb the
Phrygian and Hypophrygian, the Nome the Lydian
system of the singers to the lyre. The Dithyramb
seems to have developed out of the country festivities
and the merrymaking at drinking-bouts, while the
Nome is probably derived from the Paean, the former
being of general application, a supplication composed
to avert evil, the latter a private and personal appeal
to Apollo. Hence the Nome is without the element
of * possession" which is found in the Dithyramb.
For while in that we find drinking and sport, in the
Nome we find supplications and great orderliness,
since the actual deity concerned pervades the music,
which is orderly and systematically constructed.

! je, in the time of Proclus' authority: ? or uses a
phraseology twice as copious

293

LYRA GRAECA

Heph. 7T. TOU)p. ii . Consbr. ,àmoXeNvpéva €
à eif) osuriaees KQi üyev jérpov GOpLcpEvov,
otoí eLGLV 0i VOLOL ol n TuuoOéov.

Arist. Probl. 19. 15 Già Tí oi uév vouoi o)k év
avrioTpÓdois émoL0Üvro, ai O66 dXXav. eOaí, ai
Xopukat ; 7) OTL OL 46V vÓoL àryovio TOV ?jcav Ov
709 puju.etaÜa, Óvvauévov xal O.aTeívaaÜau 3) gà»)
éyívero uakpà kai moMveiOs ; kaÜámep o)v kai
Tà DupaTa, kai Tà uéM) Tf pupoaeu ?jkoXovÜOer
&eL érepa ryevóueva. | nAXXov tyàp TQ uéXet üváryia
puueto Üat 1) rots pijuactv. | .Ó.0 kal ot GLO vpagu Bor,
éTreiÓ:) pujumTLKOL éryévovro, obkért €xyovotv dvTt-
a Tpódovs, TpóTepov 6e eixov. alrtov 06 ÓTL TÓ
TXaLOV oí | EXeóB'epor € €x 0pevor c avrot- Tr0XXoUs bv
dryovia Tus dOeLv XaAXemüv 7v, OcTE évapuórta
uen ev Gov" uera Net yàp T'0XMÀs LeraBoXás
TÀ Évi pov 7) TOÍS "rOXXOis, kai TQ üryovioTi) 1)
Toís TÓ 7Ü0os dvXárrovciw. Ou ám Xoba repa
évo(ovv ab)To(s TàÀ peM]. 3 8c àvría'pooos
ám Xobv: àpiO nos yáp égTL «ai evi perpeiraa. TÓ
Ó avTO aiTiov kai Bir rà uév amo TÍs ckTwÍjs
0UK àvríaTpooa, Tà O6 ToÜ opo? àvria poda: 0.
uev yàp bTrOk puri) ayevicT)s kal puros, 0 06
Xopos TyrTOV jtjvevr au.

Poll. 4. 66 yuépg 88 -co0 xiÜappoOucoD vouov
Tepzmávópov karave(uavros ézTÁ, dpyà uerapxà
K«aTarpomrà perakaTaTpomà OpudaXos cdpamyis
ériXo'yos.

! the meaning of these two terms is unknown, perh.
*settling down to the subject * ? jt is unlikely that this
division ; goes baok to Terpander

294

LIFE OF TIMOTHEUS

Hephaestion On Poems: *Free' verse is that
which is written as it were at random and without
any definite metre, like the lyre-sung nomes of
Timotheus.

Aristotle Problems: Why are Nomes not written
antistrophically like the choral songs? Is it because
they were sung by professional actors who were
naturally able to employ mimetic gesture and to
extend themselves at will, with the result that their
song became long and of varied shape, and the
melody,like the words, went with the action and
varied continually? For the mimetic element is
more indispensable tothe air than to the words. In
the same way Dithyrambs, having become mimetic,
are no longer, as they once were, antistrophic ; and
the reason is that in the old days they were danced
by the ordinary citizen, and many found mimetic
singing difficult, with the result that they employed
in them the enharmonic style, because frequent
modulation is easier for one than for many, and
easier for the professional actor than for those who
remain in their own character ; and thus the poems
they composed forthem were simple, which is typical
of the antistrophie system, involving as it does a
recurring unit. Itisfor the same reason that what
is sung upon the stage is not antistrophic, while the
songs of the chorus are so. For the actor is a
professional artist and a natural mimic, whereas the
chorus does not carry its mimicry so far.

Pollux Onomasticon : The parts of the Lyre-sung
Nome as arranged by Terpander are seven, namely
the beginning, the after-beginning, the turning-
down, the after-turning-down,! the navel or middle,
the seal, and the epilogue.?

295

LYRA GRAECA

Arist. Metaph. 993. b. 15 ei uév Tuuo0eos 3)
éyévero, ToXMyv àv gueXomoiwav ovk eVXOMev, ei
66 u1) püvis, Tiuo0eos ok àv éyévero.

See also Themist. Or. 26. 316 e, Polybius 4. 20 and
Dion. Hal. Comp. 131 R (See on Philoxenus of
Cythera;p. 364).

TIMOGEOT MEAQON
NT
TMNON

1-2 eis "Aprepw

Macr. Sat. 5. 21 Alexander Aetolus poeta egregius in
libro qui inscribitur Musae refert quanto studio populus
Ephesius dedicato templo Dianae curaverit praemiis pro-
positis ut qui tune erant poetae ingeniosissimi in deam
carmina diversa componerent. in his versibus Opis non
comes Dianae sed Diana ipsa vocata est. loquitur autem,
uti dixi, de populo Ephesio: àAX' 9 ye smev6óuevos TÀyxv
Tpaikotci uéAeg0ai | Tiuó8eov iiüápas YBuova xol ueAécv, | vibv
Gepadávüpov] Tbv yvesev üvepa cíyAwv | xpvoeíev epqgv 83 róre
xia] | juvücca Taxéev ^Qziw BAXíürewar óigerGw | 5r émwi
Keyxpeíq Tluiov olkov €xei.! et mox ue 0e5s mpoAUrg Anretbos
&kAea &pya.

1 so Mein: mss « 9' eri keyxpiwv Tia. . . ov okov €.; the
corruption above, obviously deep, is still unhealed (epgv also
appears as iepev) ; I suggest with great hesitation GepadvOporo
AaBóy6" ékarorrá0a ci^yAwv | xpvaelev ieptv jveoc xiXidba | Guy) oat
TOXێwv T

296

TIMOTHEUS

Aristotle Me/apAhysics: If. there had been no
Timotheus, much of our lyric poetry would have been
lost to us, and if there had been no Phrynis there
would have been no Timotheus.

THE POEMS OF TIMOTHEUS

Book I
HYMNS
1-2 To AnrEMwis

Macrobius Saturnalia: 'lThe famous poet Alexander of
Aetolia, in the book entitled 77e Muses, tells of the enthusiasm
shown by the people of Ephesus at the dedication of their
temple of Diana, prizes being offered to induce the greatest
poets of the day to compose various songs in honour of the
Goddess.! In Alexander's lines Opis is the name not of the
Goddess's companion, but of the Goddess herself. He is
speaking, as I said, of the people of Ephesus : * But hearing
that all Greece honoured Timotheus for his skill with tie
lyre and its songs, they bade Thersander's son for a hundred
of golden shekels to hymn the sacred millennium ? and with
it Opis the hurler of swift shafts who hath her sumptuous
house on Cenchreus bank'; and later he says *nor leave.
unsung the works of Leto's Goddess-daughter.'

! as the older temple was not destroyed till 356 r.c.
and T. died at least a year earlier, the connexion of this hymn
with the dedication of the new temple must be a mistake
* ms. reading doubtful

297

LYRA GRAECA

2

Plut. Superst. 10 ToU Tiuo9éov riv" Apregav áS0vros ey ' A0fjvous
Kal Aéyovros

Óviá&a QoiBaÓa uatváSa Xvacodóa

Kumqcías ó ueXomoibs ék cGy Ücarüy àvaoTds * ToiaóTc coi! cime
* Qvyárnp "yévovro-

P'
AIOTPAMBON

9 Aías "Epnpavys

Luc. Harm. l[ Apuovións kal Tiuó8eos ó éx OnBav]: Gomep ore
kal c0, Q Tuuó0ee, rb mp&rov éX0Gv olkoÜev éx Bowrías ómqóAnaas
Tj IIlavOioviO: kal évikqoas év rà Alavri T9 "Eupaveit, ToU óucvüpov
co. morc ayTOs Tb uéXos, otbels 7v bs iryvóeu roUvoua, Tuuó0cov ék
938av.

4. 'EXmjvop

C.1.A. 2. 1246 Niklas Nukxobfjuov Evmreraikv àpéOqke vucfjocas
xoppyGv Kekpomí8. maíócv: IlavraAéwv ZXikvówios mUAeu doyua
'"EATÁvcp Tuso0€ov, Néaixuos 7jpxev.

D NavzAtos

Ath. 8. 337f 'HyfsavBpos 8 év rois "Trouvüpas: rábe $nol
' Tepl avToU * Awpiev ó Oyodjdyos. . . karayeAQv TOU €v TQ
TiuoÜéov NavrA(e xeiuüvos &jackev €v kakkáBa (eobsa uel(ova
éopaxévat xeu ava.

1 cf. Plut. Aud. Poet. 4 (uawába 60. $. ^.) and see Cinesias
p. 265 ? four words with identical endings and similar

298

TIMOTHEUS

91

Plutarch JSuperstition: When Timotheus, singing his
Artemis at Athens, called the Goddess

frantic, mantic, corybantic ?

the lyrie poet Cinesias rose from his seat in the audience and
cried * Such be your own daughter ! '

Book II
DITHYRAMBS

3 Tue MapNress or Ajax

Lucian ZHarmonides [H. and Timotheus of Thebes]: As in
your case, Timotheus, when you first left your home in
Boeotia and came and played the flute for the tribe Pandionis,
and won the prize in the Madness of Ajax which was written
by your namesake, everyone in Athens knew the name of
Timotheus of Thebes.

4 ErLPENOR

Attic Inscriptions : Nicias son of Nicodemus of the deme of
Xypeté dedicated this prize of his victory with a chorus of
boys of the tribe Cecropis. The flute-player was Pantaleon
of Sicyon, the song Timotheus' Elpenor, and the archon for
the year Neaechmus.?

5 NauPLius *

Athenaeus Doctors at Dinner: Compare Hegesander in his
Comanentaries: * Dorion the gourmet . . . ridiculing the
storm in Timotheus' Nauplius, said that he had seen a greater
storm in a boiling pot.

meaning in the Gk. * 320 B.C * cf. Suid. (above,
p. 281)

zg9

LYRA GRAECA

6 XeunéNgs 'Qós

Ibid. 8. 352a [Ke»us0évovs &mouvnuove?uara Zrparovíkov]:
érako?gas be 71s ^Qbivos Tj)s Tiuo0€ov *Ei 8€ épyoAdBov' &$m
* érukrev kal uj 0cóv, moías àv T)óíeu oóvas ;'

Alc. Mess. Anth. Plan. |] Zóu$wevov uaXakotct kepaaaduevos
0póov abAois | Acpó0eos "yoepobs &mvee Aapbaví8as, | kal ZeuéAas
cüirva kepabviov, EÉmyee 0' Tmmov | €pyuaT,. àei(ómv Ayduevos
Xapírev: | uo)vos 8' eiv iepotoi Aiwev?coi Tpooíjrais | Mépov
Aaupjmpàs ébé$vye mrépvyas, | OnBoios *yevetjv, XweoikAéos: éy 5€
Avaíov | vnà $opBeiàv 0fjkaro kc) kaXduovs.

Dio Chrys. 78 p. 281 Dind. [v. $9óvov]- ot8é ye rbv AaBóvra
mapà Kpoícov Tijv Bepcày ékeivov 'AAkuéeva é(fjAeaev obre XóAov
oUre ÉAXos oU0eis TÀv TÓTe c0$&v üvbpàv, $ asl rbv Avbiv
- , Aj hj , , , , € , ,
émiTpéjot rovs 05cavpovs &volEavra épei avrov ómocov BobAera
TOU xpugoU: kal TOv eiceA0óvra Tdvv àybpeles éuoopísaoOat Ts
Basiuküs Üwpeüs, xir|vd Te mo0)2pqg kara(eaduevov kol Tiv
kóXTov é€umAicavra 'yvvaiukeiov kal BaO0vv kal Tà bvmobóuara
éfemírnBes ueydXa xol koila $m00q0duevov, TéAos 8e hv kópmqv
Oiemácarro kal Tà *yéveis TQ ViyyuaTi: kal Tb aTÓua 6ymAdoavra

) ^ 12] € / , x , s DA. ^
kal ràs "yvd8ovs ékarépas uóAis €Eo Babi(ew, &amep aUAoUyra TÀv

- , , ^ /, ^ , , /

Tis XeuéAms 'Qüiva, "yéAcra kal 0cay Kpoícg mapéxovra kal
AvBois. kal v TÓTrce 'AAkuéwv obOegias üiiws Dpaxulns, es elxev
ia Táucvos.

1-9 ExvAAa

Arist. AA. 3. 14. 1415 a rà utv oÜv T&v émibeucrucv Aóyev
-pooipia ék TOUTCV, £L Émaívov, ék wWóyov, ék mporpom?s, éE
^ ^ ^ , ^

&morpomijs, ék TOv mwpbs Tbv ükpoaríüjv: Oei De 7) Eéva 1) oikeia elvaa

; , ^ / b bI ^ ^ , ^ ^

TÀ évDóciua TQ Aye. à Bt ToU OikavikoU Tpooluia Bei AaBeiv

óri. TavTb DUvarai Ümep ràv DpaudTav oi mpóXo'yoi kal r&y érüy rà
mpooíuia: Tà utv "yàp TOv bi0vpáuBwev Ópow. rois €ribeucrikots:

! mss £pyuar?

! cf. Boet. Mus. 1. 1 ? jjf. a, contractor 3 Ht.
what sort of noise could she have made? 5 i.e. a Sack

300

TIMOTHEUS

6 Tu&k Binru-PaNaGs or SEMELE!

The Same [Callisthenes' reimniniscences of Stratonicus]:
After hearing the PrtA-pangs of Timotheus he remarked * If
she had been brought to bed of a stage-carpenter? instead of
a God, she couldn't have made more noise.' 3

Aleaeus of Messene : Mingling harmonious voice with tender
flutes, Dorotheüs piped of the woeful Trojans,* and of the light-
ning-made Birth-pangs of Semelé, piped of the prisoners of the
Horse,? embracing withal the everliving Graces ; and alone
among the holy prophets of Dionysus escaped the swift
wings of Blame—a Theban he, son of Sosicles; and so
dedieated his mouth-band and reeds in the temple of
Lyaeus.

Dio Chrysostom Orations [on envy]: Nor again was
Alemaeon, the man who was so handsomely treated by
Croesus, envied by Solon or by any other of the wise men of his
day. Permitted one day by the great Lydian to enter his
treasury and take away as much gold as he liked, Alemaeon
went to work so manfully on the royal bounty as to go in
dressed in a flowing gown with a full fold at the breast like
a woman's and shod in boots purposely made much too large
for him, and ended by powdering his hair and his beard with
gold-dust and filling his mouth and both his cheeks with it,
and when he came out could scarcely walk, like a flute-player
performing 77 Birih-pangs of Semceló, much to the amuse-
ment of Croesus and his Lydians. And, weight for weight,
Alemaeon was not worth at that time a single drachma.$

'—9 ScvLLA

Aristotle Zetoric: The opening of a declamatory speech
may consist of praise, blame, exhortation, dissuasion, or a
direct appeal to the audience ; for that which gives the key-
note of the speech must be relevantor irrelevant. A juridical
speech, on the other hand, must have an opening analogous in
function to the prologue of a play or the prelude of an epic.
The Dithyramb of course resembles in this respect the
declamation ; compare :

of Troy 5 ;,e, the Wooden Horse 5 ef; Hdt; 6. 125;
Plat. Aep. 973b

301

LYRA GRAECA

Aià Té kai Teà Ó!p. «éyory 7
eig Tüày Xx)XXav —émAO0v,
E , 1

Qo ALovvce.—

8

Arist. Poet. 96. 1461b ... otov oí $a)Aoi abAqTal KvAió-
pcvoi &y Olokov Bey pujueig0at, kal t€Akovres Tbv kopvoaiov àv
ZkvAAav avAGcur.

9

Ibid. lo. 1454a £c: 8€ mopaóeryua Tovopías uev ij8ovs ui
àvaykaíov oiov ó MevéAaos év TQ "OpéoTn, Tov be àmpemoUs kal
uà &puórrovros 0 Te Üpijvos 'OBvocéos év rjj ZkUAAm kal $ TS
MeAavímTTs picis.

Pap. Rain. Mit!'. 1. S6. . . . Gamep xol Tiuó0eos év TQ 0pfivo
ToU "OBvcaéos ei uév riva puueirai kol Tb Opoióv Tii 0iDev, &AXo
TO O8vocei. ..

pt—xA!
NOMQON
10-13 KikAoy

Arist. Poet. 9. 1448 à [m. 73)s évl Tb xeipov puutjaees]: ópotes
6€ kal epi rovs bi0vpáuBovs kal mepl rovs vóuovs, Gamep 'Apyyas ?
(... kal) KókAwras Tiu/8cos kal biXÓEevos.?

11

Sch. 71. 9. 219 5$ 8BimA7 Ori 0tcat oU cdta. &s Ó TuuóOcos
óTéAaGBev kal diAOEevos . . . &AAà Óvyiüc at.

1 suppl. EZ (mss eira Zk(AAa, eire ckUAa), cf. Sch. ad loc.
230 Rabe otov 72A00v efs ce 81à c€ kal rà Tcà kal Tà cà Dopa
kal ebepyyeríjuora kal rà aküAa (sic) à 8e& Aióvvae ? "Apyüs
Bek: mss yas 3? mss add juufjravro üy Tis

302

TIMOTHEUS

Because of thee and thy gifts, O Dionysus, have
I drawn nigh to Scylla,

8

Aristotle Poetics: For instance, bad flute-players twirl
themselves round if they have to represent the throwing of
the disc, and pluck at the robe of the chorus-leader! if they
are performing the Scylla.

9

The Same: Of the unnecessary degradation of character
we have an example in the Menelaüs of the Oresíes, of the
unbecoming and inappropriate in the lament of Odysseus in
the Scy/ia,? and in the speech of Melanippeé.

Rainer Papyrus: . . . like Timotheus in the lament of
Odysseus, if he mimics anyone and knows what resembles
lum... st

Books III-XXI
NOMES
10-13 Cvcrops

Aristotle Poetics [on representing characters worse than
they are]: The same is true of the Dithyramb and the Nome,
for instance the . . .* of Argas, and the Cyclops as treated
by Timotheus and Philoxenus,

1l

Scholiast on the Zia4: The mark is because 6vea: *to
sacrifice is not e$d£ia: to immolate' as Timotheus and
Philoxenus took it . . . *but to make offering! simply.?

!1 to represent S. snatching at Odysseus * for his
devoured companions . ? the ms. is incomplete — * a name
prob. lost, but reading doubtful hereabouts ? may ref. to
Pers. 29, but cf. Philox. Cyth. 10

303

LYRA GRAECA

12
Ath. ll. 465b xai 'Obvacevs Gmaaev (Od. 10. 908) 'ueAim8éa

olvov épvpóv, | &v 8émas eun AMácas, Ü8aros 9" àvà etkoci uérpa |
xcv óbyi] 9 $8eta &mo kpnTTjpos 00d8ei. TiuóBeos 8t éy KÜkAeTr

&yxeve 0 1 év uév Oéras
kLaauwov pexatvas
aTa^yóvos &pBpóras àópó BpváEov:
eicog ty 6€ pérp évéyev
5 aàvéguovye 09. aliua? Bakytov
Veoppv ? Qakpv Nupóà
ppvroicL? óakpvo,.c. NupQav.

13

Chrys. v. àmoóur. lO0 ei KókAcw ó ToU Tiuo0€ov Tpós Tiva
oUTrws &redfjvaTo*

, , "/ 5,
oUTOL TOV 'y vrrepapméxovr
^ bl /,
ovpavov eicavafoet. . .

14-19 IHépcat

Plut. Vit. Philop. ld Aéyeroi 85 72s TQ» Neueíov mavqybpews
cvveacTráaqs arparwyoÜvra Ty OiXomOÍucva TO De)repov kal vevi-
kQkóTra uev oU mdÀai TÀlv év Mayrweía uáxmv, róre be a xoAdv
&yovra 0ià Tijv éoprüv, vp&Trov yv émibeiboi Tois "EAAmoi ke-
kocumuévqy Th» $áAayya kai kiwovuévqy, GaTep eíüuwgTo, TOUS
TüKTikoUs pvÜuovs perà TáXxovs kal póyuns: emewra kiBapgbav
àycevi(ouévev eis ro Óéarpov mapeA8eiv &xovra. rovs veavíakovs év
Tais GTpXTwoTiKais XAauboi kal Tois Qowikikois broborais, ükcuá-
Covrás ce rois c'Guaciv &mavras kal rais qAik(íais mapaAMAovs,
alib 8€ moAAdv Tpbós Tbv üpxovra kal $póvnue veavikby jTodaíl-
VOVTAS €K *0AAGy kal kaAGv &yávov: üpri 0 avTOv eiceAqAvOÓTav
karà rvxJjv IluAdOqv Tbv kiÜapobby dOovra Tovs Tiso0éov Ilépsas
éváp£aa 6a.

1l D: mss Éxevey 5 ; Exeve 9': Eust. om. ? Kaib. (impf.)
and Grotef.—P: mss &yéxevay épuc ye 6laua, €véxevev àvégao*ye 5
&ua: Eust. efkoci 0 UOaros uérp exevev ? Wil: mss -rois

304

TIMOTHEUS

12!

Athenaeus Doctors at Dinner: And Odysseus (0d. 10. 208)
gave 'red honey-sweet wine from one full cup, and poured
thereon twenty measures of water; and the sweet scent
rose from the mixing-bowl! Compare too Timotheus in the
C'yelops

First poured he one ivy-wood cupful of the dark
immortal dewdrops teeming with foam, then poured
therein twenty measures, mingling the blood of
Bacchus with the freshet tears of the Nymphs.

13

Chrysippus Oz Negatives : 1f the Cyclops in Timotheus thus
declared:

Never shalt thou ascend into the superambient

Sky. -. ..*

143—19 Tux PrnsiaANs

Plutarch Life of Philopoemen: Thestory is told that during
Philopoemen's second command, shortly after the victory of
Mantinea, when there was a pause in his military operations
because of the Nemean Games,* he first made a publie display
o^. s. phalanx both drawn up in order of battle and going
aké : ;
va.sügh its usual evolutions with vigour and despatch, and
then visited the theatre during the lyre-song competition,
accompanied by his young warriors in their military cloaks
and crimson tuniecs, men all of an age and in the prime of
their strength, who showed a high respect for their leader as
well as the youthful pride which came of a long tale of
victorious combats. At the very moment of their entrance,
the lyre-singer Pylades, who was performing the Persíans of
Timotheus, began it with these words:

! cf. Eust. 1631. 61 * j.e. * don't think you (Odysseus)

can do the impossible, that is, escape me" 3 cf. Paus.

8. 50. 3, where * a Pythian victor' Pylades performs a Nome

of Timotheus of Miletus called 7Z'Àe Persians * 207 B.C.
395

VOL. lil. X

LYRA GRAECA

KXewóv éXevÜepías TeUxov uéyav 'EXX4Ót
K 0g OV

&ua 86€ rj AaumpórqTi TZ,S Qovis ToU Tepl TÀV T0i]ciy Üykov
cvumpéjyavros éniBAeuw *yevéa0at ToU 0edrpov mavraxó8ev eis coy
$uAomoÍueva kal kpóroyv uerà xapàs Gv EAATfvav, rb TaAauiDV
&Líeua Tails EéXmÍcww &vaAeuBavóvrev kai ToU TÓTe $povüuaros
eyyi ro, TQ Üappeiv "yevouévov.!

15

Maer. Sat. 1. 17. 19. Apollodorus in libro quarto decimo
7epl ey 'lfjov solem scribit; ita appellari Apollinem &só o9
karà rbv kócpov lec0oni kal lévai, quasi sol per orbem impetu
fertur. Sed Timotheus ita :

/, » ^75 9 ^ 5 wt , 5 ,
cU T O^ TOV &€L 7TOXOV OUDaAVLOV
^ e) /
Aajwmpais àeTig , AXie, BáXXov
, e , *, 0 ^ 3 /,
TépArov ékaf9óXov éxOpotiat? BéXos
cás àTO vevpas, o0 i€ llaíáv.

16

Plut, 4ud. Poet. ll ...é» 86 rois yapà ràs uáxas keXebaeaiv
ékda Tore Aéyev ("Owmpos) 'aibós, à Abrio. mÓce $evyere ;
vüv 0001 £a Te, kal *àAN' év $pecl 0éa0e &xaoTos | ai8À kal véueys *
51) yàp uéyo veios. üpwpev, àvüpelovs &oixe Toieiv rovs aóopovas
51x Tb aiBetoda: rà ala xpà kal ràs 1/Bovàs Bvraguévovs vrepBaíveiw
kal rovs kiwDUrvovs boioTacÓni. à$' Gv kal Tiuó0cos ópu.m0cis ob
kaK&s éy rois IIépaais rovs "EAAqvas mapekdAei

/ , 5 ^ N , ^ ,
céf9ea 0" aióQ avvepyyóv àperás Gopuud xov.

! according to Satyrus this line and the rest of the
hexameter prelude were written by Euripides, cf. p. 283 above

2 94

? gy bé -y à ? Crus. e$ ' io ? Crus: mss. -ois

! not certainly from Ze Persians, but cf. Aesch. Pers.

306

TIMOTHEUS

Fashioning for Greece the great and glorious
ornament of freedom

and so effective was the combination of clearness of utterance
with sublimity of diction, that the whole audience turned
towards Philopoemen and clapped their hands for joy, like
a people sure now of retrieving their historic prestige, whose
pride a new confidence had made well-nigh the equal of their
fathers".

15

Maerobius Saturnalia: In the 4th Book of his treatise
On the Gods Apollodorus gives the sun the epithet ijios,
declaring that Apollo is so called because he moves (fec6a:)
or goes (iéva:) through the universe even as the sun careers
through the sky. This, however, is what we (ind in
Timotheus:

Come, Sun, thou hurler of bright rays at the
everlasting skyey vault, send from thy bowstring
a far-lung shaft upon our enemies, O Healer to
whom we cry:!!

16?

Plutarch Zow Young People should listen to Poetry : In the
exhortations before battle Homer invariably says something
like this: *Honour, O Lycians. Whither flee you? now
make you haste,' or * But lay you each to heart honour and
the fear of God, for a great conílict hath arisen, ? thus
attempting, it would seem, to make virtuous men brave
through a sense of shame for what is dishonourable, and
able to overcome pleasure and submit to peril. And this is
just how Timotheus in the Persians began, and rightly, the
exhortation to the Greeks : *

Worship Honour the helpmate of battling
Valour.
388 ff. ? of. Plut. Fort. Rom. ll (aid Te cvvepy. àp. 8.)
* [1]. 16. 492, 13. 122. * of Themistocles, cf. Hdt. 8. 83

397
x2

LYRA GRAECA
17

Plut. 4ges. l4 BieTov 8€ 0éouo rois karoikoUci Tij» "Acíiav
"EAAqcur Tmav oi TáAoci Bopeis kal àoópmroi kal Oimppéovres bm
mÀo)TOv kol rpvó)s Umapxor kal cTpaTT'yol, DeDióres Kal Oepa-
meUovTes üvÜpemov ev vpíBewi Tepüórvra AwrQ kal mpbs tv pipa
Bpaxv xal Ackevicby &ápuóCovres éavroUs kal ueraa xnuaTiGorres:
Ggre TOAXos Eze Tà T0U TiuoOéov Aéyeiw-

"Apos rÓpavvos: ypvaov 9 EXXàs oU Oé80tkev.
Miller Mél. 363 "Apms rópavvos: vo?r0 7b kouudri0» ék TÓÀv
Tiuo8éov YlepsGv, 0 81à TÀv émi Tjj Q9j ! ebqueplav ' A8fjvnauw émi-

Lad 2 , , / , , , ,
roAGcav ? els mapoiutay mepiéa Ty uéuvogroi TavTqs Mévavüpos év
Qa181.

18

Dion. Hal. Comp. 17 £v £r: Aelmerau Tpi0vAMdBwv pv8udv
yévos, 6 ocvvéoTqkcv ék B)o uakpgv kal Bpaxelas, rpía Oe moiet
cxüuaTa. uéons uiv "yàp "ywouérms Tüs Bpaxeías ükpmv 86 rv
pakp3v kpnriós Te Aéyeroi kal &cTiv ook Gyevvüs: bmóBeryua

8' avro? 7oi5vBe-
e , , , "^ , , ,
oí O. émebyovro TAoTGis dm»vauct xaXkeu[Bo-

Xots. |

19
Pap. Berol. 9875? (Wil Tümoth. die Perser) [after a
mutilated column]:
* * LI * * . LJ * yov
, * NP v A Se
[070 6e poOotct korr àv
avv[eu]80Xoict* yet [ove]s
[va]v[ci vàes év]avzía:

1 Wil: mss ézl T3» awr0»pi607 ? Wil: mss -moAácacav
? the new readings, where necessary, are based on Schubart's

308

TIMOTHEUS

17!

Plutarch Zife of .Agesilaüs: A sweet sight it was to the
Greeks of Asia to see viceroys and generals who had long
been tyrannous and insufferable and consumed with riches
and luxury, now become the craven menials of à man who
went about dressed in a coarse plain cloak, and suiting their
actions to the short and sharp words of command affected
by the Spartans. Well might many of them repeat Timo-
theus' line:

Ares is king; Greece fears no gold.?

Zenobius Proverbs: Ares is king:—a phrase from the
Persians of Timotheus, which owing to the success the poem
met with at Athens spread and survived as a proverb.? [t
is mentioned in the Tas of Menander.

181

Dionysius of Haliearnassus Literary Composition [the
Cretic]: There remains one type of three-syllable rhvthm
which consists of two longs and a short, and makes three
kinds of metre. 1f it has the short in the middle and the
longs at either end it is called a Cretie, and it is not an
ignoble metre. This is an example of it:

And they hastened forward with their floating
chariots bronze-empointed.?

19

From a Papyrus of the 4*9! century B.c.

But neighboured by furious plashing of inter-
rhythmic oars, ships against ships graved the smooth

! cf. Plut. Demetr. 42 ? ef. Simon. 92, 117 3 cf.
Hesych. and Suid. s.v., Maear. 2389 — * cf. Epit. Comp. Verb.
l7: recognised as T. by Usener 5 4.e. ships with rams

autopsy, see Cainbridge Philol. Soc. Proc. 1926, p. 4 Aran
Aesch. Pers. 396, 462: BoAo[ Wil, 8oA[ Schub.

P2

LYRA GRAECA

Duccd$a] IIop«[t9 1 &]veyápa[£]av:
5 7001 66 ye[?ca] Xoyxo[eióéov]
apdé0evr oO0vvov,
cToLXa. 06 kvprois? kpaciv [eic oppo ]uevat
—xeipas vrapécUpov éXa|T(va ]s*
&XN ei uev évOévO. [àmrapárra]to ros
ézibépovro gm Xanyà
10 ón£[t£vy]os, vrávres [év ] à» &-
TUTTOV 5 éketae vaUTat
ei àyTÜroLX 0S ax [is 7 ]poca-
Éetev, TroNvKpóro[vs émi] cLUÓV
T€UKas "TáMLV éjépovro.
15 at? 6. &[os 7 ]&vTo via &aóépovea
TXevpàs Xivotoo rove ÜoauvovS
Tàs p[év à]v[aveovpévo]s
amotis ézeuBáXXovres àvexai-
TLCov, a4 0€ Trpavets
20 [0vovTo] y[ép]as "* àv yXaicuévat eióápo.
&páveyyxos 9? 66 zrvp.Oau [ao ros] ?
[&pó:s] A'yicuévGeros
j.eÜtero xepotv, év Ó. EmrumTE "yvtous
25 ai0e[podepf) vr Tép]opa ua kpacatvov.
cTepeorr avyy) 0. éóépero oóvia
[401a 19 zr,cc ]a|v]v& 7e vrepioXa
Tvpi oXeyóuev. és 9 àámorouácu [SovOó|pois:]
l Tlópkos — éópxos or $ópxvs, Lycophr. 47. Wil. 7nd. Lect.
Greifsw. 1883 p. 14 ? E, — groixn9óv, cf. Ad0pp and

Aa0pnBóv: P ccov[.]xe (or ]ra:) with v certainly, and x (or
7) possibly, struck 'out P xvproiri 3 Danielsson -E
5 Sitz: ci Thuc. 4. :95. 5 * nomin. pend. $ E, cf.

Theocr. 7.8: P e$. "? y uncertain. 8$ P kpayey xos » dtr.

àbáuacTos and Eur. Or. 820 mvpvyevis maAáum, Aesch. P.V.

880 &mvpos &pbis of the gadfly's sting 10 E: cf. Paus. 2.28.

S, Thuc. 6. 69 11 P'ey, ct, 236

310

TIMOTHEUS

sea that is daughter of Phoreus. They! had put
upon their feet? cornices of spearhead-like teeth,?
and speeding forward a-row with heads bent,* swept
off the foeman's pinewood arms.? But if there went
from them so unerring a blow as to rend his thwarts,5
at that spot all the crew would fall upon the enemy.
Or if the daylight rushed against their sides,? they
plied their myriad plashing pine-laths afresh upon
a slanting course.? As for their victims, while, dis-
parting their bodies this way and that;? they sought
to inweave their sides with hemp,!? some they charged
and overthrew with renewed thunderbolts,!! others
sank headlong,? stript of their glorious honour by
the iron.

Meanwhile the thong-bound cornel-shafted arrow-
point that is forged in the fire, was let fly from the
hand, and whirred its hurtling quill ? to fall among
men's limbs; and in solid mass sped murderous
hurlstones, and coils tarred and flaming upon ox-
flaying splints of wood ;1* while thronging life went

! both Greeks and Barbarians in what is almost certainly
an early stage of the battle of Salamis ? j,e, their own
feet (not the * sheets,' cf. Ar. Lys. 173), they were shod with
3 i.e. the rams, which stick out like a pediment-end and also
like a foot * like a bull 5 j.e. oars $ j.e. right
through the sides to the rowing-benches beyond v i.esdt
the ramming vessel, owing to the mancuvring of its an-
tagonist, made a * bad shot" $ i.e, ported their helm and
charged them again ? j.e. with gaping sides — !? hacked
away the broken timbers and inwove ropes with the ribs to
take their place: for alternatives see Proc. 11 j,e, rammed
again 1? i.e, without the necessity for a second blow
1$ the thong attacbed to the missile and used for throwing ;
it is likened to the * quill? or feather of an arrow 14 fire-
darts made by winding tarred tow round pieces of wood
which resembled the skewer-like pegs used by tanners

31I

LYRA GRAECA

[0bect! 86] Bioros éÜver' á&wós
30 v7 ravvT Tépoto t X aXkó-
Kpact vevpe|mevráous- 21
c papa»yooxairas 66 TrÓvTOS
d " Apniots ? éooi-
víccero o TaMd|rypaatv,|
35 [kai] AvTA Boá Te? GVIuuyns Ka TelXev.
01.00 óe Váios c TpaTOs BápBapos à TIT)
[dvra Kai kár|avT éjéper
ey auuiogedhieat pap-
papo |T Ux ]ors * KÓMTrOLG LV l'Apderpir]as.
40 évÜa rol T|us Epp |méótos ?
ápepoOpópoLo xopas dvat
[Xue ó)uBpiav àpà|v d kéXect] $
xXepotv re sraiev érmXee ? vgatoras
45 [kXv6ovior]s Oe:óue|vos. | àXX]
[ézrei 6]re£o00vse u[a vOv]
icopporá T€ 7raXevÓ|eis] 2
LravTaxXot «ay | 1)9|m, xYaXerrá|
e. !? [mroubvoc | ev KáXet Ó[aXdác |o tov Ocóv
| a vaTépa: ' T[é w', o IIóo«8]ov, o[v o |di[ryyeus
Tmvoáy ;| 4
$c ovk er |e.]o tv P [ov 6a dvynóov e| Ada aav
5) [sarà Bá eos ?? mim ]re[wv £oóv pos] à-
55 krávl* [y o]Ov[e(av vyeyao]ra 1? Ilépomv.
[Toca?]7 35 ba c [a0 ]p[ Gs, vrrép k«ebaX]dv ve
«epary[viav. eióev 0]pviv !* keXau[vav, ]
|^ [4u]8Xv € Oxpóv [ve BXérrov-|
| 60 [To]s. «area pány varo yévvs: Táx|toTa
| [8 ar eie: ' Ha[s &]p' 3$ OXX[vpa4 TáXas;]

1 Wil. ? E: P vaio:s from below (36) * E; P ]vra:
312

€.

ua

TIMOTHEUS

to the sacrifice 'neath the spread-wingéd bronze-
head snakes that are nocked upon the bowstring 1—
till the furrow of the emerald-tresséd sea grew red
with the drippings of War, and all was mingled pain
and shrieking.

Backward and forth with ours went the Barbarian
navy in the shining folds of the fish-wreath'd bosom
of Amphitrité. "There now one from the plain of
Hermus,; a lord of the land of couriers? his legs
ploughing, his arms beating, the rainy tract, floated
amid the buffets of the waves, an islander.*^ At last,
when each and all of the ways that he sought only
proved him trapped, forspent and gasping hard he

. called upon the divine Sea-Father saying : * Why, O

Poseidon, chokest thou me not? 'twill give a Persian
no less pain to be cast alive on an alien coast than
to sink in the depths of the sea."

So spake he in broken accents, when overhead
he heard? the scream of a black and baleful bird ;
whereat his eye grew dim and his cheeks pale and
his lips were sealed; yet soon again he spake and
said: * Alas! meseems my end is nigh, nor far away

l j.e, arrows ? for this river as typical of Asia cf. the
oracle in Hdt. i. 55, cf. also Ibid. $80, Strab. 13. 626
3 on the great Persian road through the Hermus valley
5 malgré lui, contrasted with Epuoméóws above 5 the Gk.
of the restoration has * saw a black bird screaming," where
* saw! is justified by * black"

Boa 8e 5 van Leeuwen (Z independently) 5 P adds
aynp, cf. 98 $ Wil. ? P emet 8 E, — uarebov
? P 6[ or o[ 19 E (new readings confirmed as possible by
Schub.) 11 P ]oyv and $4 $7», or $p 1? P ovwk (v very
uncertain) em[..]siw (e: v. uncert.) 18 P eos ip
akrav (ak v. uncert.) 15 P y and ra (7 v. uncert.)
16 P ra V P xexpoy[ and Jpziw Mu qp

313

LYRA GRAECA
9. . [ov]O 3 écàs TO cag) ézri yàg à ]yverov;?
|J [4AXd u]e &iamaXevov
65 [azretp£e uj] ov? Bácuuor [ebpéc0]ac GLoGov
| . [vaov] éxu|o]s [&v ]etpos:
[ov0. iy0vs« àp]di vatoius
rpv[$ectv é]Aox8eis* [691a TaUT àv]
[e£éó]v Na[Bpois M6o]óóv [*x ]vebp.ac[w.']
70 [6]re 8é 7 ? XetTr0tev apa,
TdOÓ ÉmeicémumTEev àjpeo-
5e àBakxtaros Opn9pos,
eis 66 Tpóduipov dyyos
éyeiT- émei 0 aufgóMpos áXpa
70 c TOLA TOS VTrepéÜviev,
ófvrapavóriro
$ová TApGKÓT ve 60fa $pevàv
Karakopijs ám eie
80 *y6pubots éperpieov
puj.oUevos ? AvpeÓv copaTos ÓaXacca: 8
"Hóg pac cia kai Trápos
Aáf9pov avXév' &axes &v 7é0q
85 ka ratevxÜetaa AiwvoGéro TeÓv:
vv b.c àvarapá£et
ZZ &vaé, eus,
TEUKQLGLV Opiyóvow tr, eykxj-
cL Óé qre&ta 7rXóoipa vojdotw akTais;,?
90 oia 7 popaves T aXatopí-
c")nua Tc TOv I9 7 Ay KáM-
gua KXvatopouáóos abpas-

$ár àcÜÓuarv 1? c Tpevyopevos,
1 PJ]z ? for metre cf. 56 3 or TOV * áudi—
éAix6eís Dan. * sugg. Dan : P ra: $ WiL-Sudh.-

Dan.: P -zrov aópeigóe * Dan: P juguovgevos 8. Wil;
314

TIMOTHEUS

c,g. my grave in a land unknown.! [I am all entrapped,
shut off from finding any pathway out by a barrier
innumerable of ships. Not even a fish, dashing to
and fro about this wreckage, could escape the fierce
trackings-down of these Mede-murdering swirls.' ?
And as often as the breath failed him, there would
break in upon him a spumy rain unblent with the
Wine-God ? and pour into the channel of his meat ;
and whenever the back-thrown brine seethed over
from his mouth, with accents hoarse and wits dis-
traught, in impotent anger gnashing his teeth he
would storm and rage at the sea that was the
despoiler of his life, saying: * Already, for all thy
arrogance, hast thou had thy turbulent neck bound
in a hempen fetter,* and now my king, mine, shall
muddy thy depths with mountain-born pines and shut
up thy floating plains within wandering coasts,? thou
frenzied thing of olden hate, faithful minion of the
billow-coursing gale.'? So spake he all fordone with

la grim joke on T.s part; his grave will be in the
vultures maw ? of the oars ? 4.e. gulps of water
* ref. to Xerxes! second, and successful, bridge over the
Hellespont 5 ref, to X.'s attempt to build a bridge from
Attiea to Salamis (before the battle Ctes. 29. 26, after it Hdt.
8. 97): the * wandering coasts? are the * Pheenician merchant-
men vyabüAot: $owukíjiio: of Hdt., and the * pines' piles or the
like (Dan.) $ ref. to the disaster to Mardonius' fleet off
Athos in 492, to the loss of X.'s first bridge over the
Hellespont in 481, and the destruction of part of X/s fleet
off Artemisium in 480 ' j.e. sea and wind have always
been in league against Persia !

P 60aAacas ? Thórnell: P avyass (beware of vabros ; all
sailors are voud8es) 10 E: P maAeojuammua amioTov 11 ef
kAjba Nic. 4/7. 170 and àv6esvmórqros, ueXeo(mrepos — 1? Wil:
P a64.

315

LYRA GRAECA

BXocvpàv e&eBaXXov
95 &xvav éravepev"yóievos
cTÓUATL Bpxtor &Xpav.
$vyá 66 zráMuv tero Báp-
Bapos € emu T ép Xa 9 TpaTós:
&XXa, 09. GXXav ÜÓpabev odprius
100 LacpavyevomXovs, xeipQv O. éc9aXXov. opet-
OUS
vó0as vaós, o TÓpaTos O é£yjA-
XovTO uapput pod eyryets
TraiOes c'vykpovopévots.?
ka Tác Teyos? 66 vróvros é« Avromvoys
áXLoo Tépecuv * éyáp-
yatpe apuacty, éBpiQovro 9. àióves:
oí Ó és àkTais éváXots

110 5pevot wyvuvosra^yeis
a)TÀ T€ kai 6akpv-
cTayet [5]óo? e repvokTvroL
Bomrá 7 0pgvoet ka el ovr 06vpuà,
pua óc [yàv] Trürpíav

115 écavekaMéovr* *'Io Mctat
OevopoéOeipau 7rTv xat,

[6vc ]ac 0é u' &vOev 00ev a1-
rate éepóje0'- 8 ob yàp éri mro6"
3707 [06 ]ua óé£era, [ov ]is.?

120 «|et]0ev "yàp xepiBalp]es u«
vup.da'ryóvov ** [ai]vóv ávrpov
o[vpa]v[o0] 9:4c 7a
kamé|keuwa] 6ovetreo
Ba8Drepov móvroio x[&c ]ua.??

1

6

1 E: P mlepoqs erparos BapBapos emi mepxov, cf. 40 2E:
P -voi 3 Herw : P -erepos 5 E: P Ac, A0, 0r. Ato

316

TIMOTHEUS

panting, and cast forth an awful foam as his mouth
spued back the deep-drawn brine.!

And now the Barbarian host went back in flight
pell-mell. "With necks outstretched ? flew the ships,
till this shoal or that brake every one, and they
lost from their hands their vessel's mountain feet,
and the white-shining children of their mouth leapt
forth as they dashed one against another ;? and the
sea was shingled o'er with swarming bodies reft
of the sunlight by failure of breath,* and with the
same were the shores heavy laden; while others sat
stark and naked on the iolariddres ties and with
cries and floods of tears, wailing and beating their
breasts, were whelmed in mournful lamentation, and
called upon the land of their fathers, saying: * Ho,
ye tree-tresséd dells of Mysia, save me out of this
place to whence the winds did bring us; else never
shall the dust receive my body. For on the one
side yawns the dire cavern of Heaven, father of
Nymphs? and heavy to the arm,$ and over against
it the deeper gulf of the tempestuous sea, Take

! his end is omitted as likely to rouse our pity for the
wrong side * like swans or geese; gakp. is aec. plur.
agreeing xarà esvegiw with ÁáAAav 3 j.e. the crew's teeth
were knocked out by the oar-handles as the oar-blades struck
the shoal: *they' — individuals or crews (ships) D.
drowned 5 really grandfather, cf. Hesych. GejuzTi&0es*
vuoi $ of Atlas

followed by gap equivalent to one (thin) letter and then
grepegiv, d.e. Awrooepeai (by confusion with previous word)
corrected to [a]A:oeepeciv (a. projecting) 5 Keil, cf. Aesch.
| P.V.398: Wilyóp 5 Wil: P -ro( * Z, cf. Aesch. Pers.
515 Boaris avbd 5 E: P ev6ev8e vvv aqrais ep. (the speaker
is ashore) 9? Wil. 19 P xepiBo[. Jes (8 very uncertain
1 Wil: P vuu$autoyovov 1? Dan: or répua (Wil.)

377

LYRA GRAECA

améyecTé» 1 y ài po[t «]a[7a]?
125 srXoipov " EXXav ei[0e iu] ? g Téyqv &Oeuue
[7]uMe]eXeovrópov € 60s
ea7T0TQ]S. OU yàp à[v Tio ]Xov o$6
dcoTv Av6ov* Xurov poc
(uu rc amépÉov? "App
130 [vv] 98 66 cá TLS Ovcékm TO TOV " eÜ-
p yNvkelay pópov Karadvyn ; j
'"IMov Trüpos ? Ka Kóv
AXvaía uova "yévovr àv,
ei Óvvarà ? qrpós uekaumeraXoxirova
135 Marpoós ovpetas 6eooovva *yova !9 sreceiv
evo Xévovs Te xetpas àpduBaXXer.M
Abcovj? ypvcorXókaye ea Márep, (kvoDpat,
140 éuóv épóv atàva 6vaékQevrrov, émet ne
avTíka XatuoTOUQ Tis ürroiaeraL
évrecipo Top 1? die
jj karakvpora'yeis vavcto0ópor
145 abpq vukvtmavyet Bopéau &a p-
pala ovr au: "epi "yàp KXUOQv
d^jptos copmer 6 (Trav
ryviev eia p 1? boavróv,
évÜa. keícouat oikTpos Op-
150 viÜev &Qvecw ouo8póocu Oowwa.'
TOLÁÓ. 0Óvpójevot kareOdkpvov.
er ei Gé 71$ Xafgov àryoi
TOoXvórov KeXatwáv
oiK1?)T0p. oppavov ua xav
155 ci0apóko7ros EXXav
àpev 16 kó,ms ério ácas:
! Dan. * Mik 3 Dan: P ej[. -.:]y «MibsP
Avbiov — 5 Wil: P areptey | 9 Wil. *' E, cf. àDidmreros:
3198

TIMOTHEUS

me, I pray you, where I would my master had never
built o'er the floating Hellé that roof of far but
final traverse.! For never then should I have left
Tmolus and the Lydian city of Sardis, to come
and fend off the Grecian War God. But now alas!
where is to be found a sweet and secure refuge
from death? Troy straits alone would assuage my
woe, if I might but fall before the mighty black-
flower-robéd knees of the Mountain-Mother and clasp
the fingers of those lovely arms. OO gold-tressed
Mother-Goddess, save and deliver this trammelled
life of mine, of mine, or some weapon-skilly wight
will carry me off with his cut-throat steel forthwith,
or else the ship-wrecker North-winds that march
acrow o'er the billows will make an end of me with
their night-freezing blast; for the wild wave has .
torn from off me all the woven covering of my
limbs, and there I shall lie for a pitiable banquet
to the carrion-eating tribes of birds.'

Such were their weeping lamentations. | And
whenever some dweller in the pasture-lands of
Celaenae, bereft now of battle? was seized by an
iron-haft Greek who lifted up his head by the

! i.e. the bridge over the Hellespont ? i.e, defenceless
now before an armed man

P 8vcékóevkrov (an anticipation of 140, which may have

occurred immediately below it in archetype) cU S
Awmopos (as à noun very unlikely as early as T. ; as an adj.
will not make sense) 9? Wil: P 8vvac7a ROB

yóvaTa 11 Sitz: P -«v 12 Wil: P Aicc«v 13 E. cf.
Hesych. and for the corruption Alc. 121, where &vrea 5é has
been restored for mss év648e and &v0a 8é: P «v0a8e uncaTopi
14 E cf. óuorayfs, aiuocTrayüs and Pind. P. 4. 374 àvéuwv
gTíxes 15 E cf. l. 110, and Aesch. Zeb. 729 : P àvéppnt£ev
and ei8os 16 E, cf, mid. Theophr. Char. 27. 5: P ayey

$59

160

165

170

175

180

185

1

320

LYRA GRAECA

o0 jb 'yovact 7'epvr Aekels
ea o c0" 'EXXd6 ! épmAékov
'AcidL Dová, Sud ropov
c ópa»yióa Üpaóov cTóparos
'Idova yXaocav éfiyveóov:
"Eryo pot cot kàs kal Tí mr pfyyua ; *
abris ovOap. CEXOc*
Kai vüv éuós Oca r0T1S
6e0po w' év0d4O. £e?
Tà Aor OUKÉTL, War ep. ov-
K€TL 4 xea 0 av1is* évÜaA5 épxo.
GN kDa
éyo coL p?) ? 6e0p , éyo
«eic e apaü Xápót, mapá
Xo)c ,' AyfBárava vaíov.
"Apruuus épós uéyas 0cós
cap" Edoecsov ovXa£e.

oí O. émrei TraMLuTOpov
jvynv &Uevro Tax ipo pov,"
abTika pev àudio Tóuovs
dKOVTAS €k Xepv epum Tov,
OpvTTeTo O6 m poco. Ov? :
IIepoióa «06—? a ToX2v vrepi
cTépvois épeucov evvdiiy
cvvrovos 9 appótero
"Acts oLjuoryá:
kTvmreL 06 zrüca 1? oXvo TÓVO
BacuXéos maviyyvpis
$oEo, TO uéXXov eicopopevot vrá8os.
0 06 zraMuuTÓpevTov os

Wil: P eAAab: ? P mpàá'yua C P £e

^B

TIMOTHEUS

hair,! then writhing and clasping the foeman's knees
he would thus inweave the Greek and Asian tongues,
marring the clear-cut seal-stamp of his mouth? with
tracking down the lonian speech: *I me to thee
how? and what to do?? me come again nohow;
and now brung? me here this way my master ; no
more, father? me no more come this way again to
fight, but me not move ; me not to you this way,
me that way unto Sardy, unto Susa, home Eocbatana.
My great God, Artimis, over to Ephesus will
protect."

And when their hotfoot backward flight was
finished, forthwith they cast the twin-cheekéd
javelins down, tore their faces with their nails, and
rent the fine-woven Persian robe about their breasts.
High-pitched now was the gamut of their Oriental
dirge,? and all the royal concourse rang with mani-
fold-mourning terror when they saw what was to

! the corresponding Middle form is used technically of
raising an animal's head before cutting its throat in sacrifice;
the word therefore prob. suggests ' raised his head as about
to slay him ' ? the speech natural to his mouth is likened
to a *good impression? of a man's own signet-ring 3 he
prob. means ' what have I to do with thee?' cf. Hat. 5. 34,
a oíai Te kal 'A0nvaíoiwn. elvai unbev mptyua, 9. 84, Dem. 18. 283
* he uses the 1st Aorist instead of the 2nd 9 y.e. Gir
(not thus used by a Greek after Homer) $ the barbarous
word is prob. intended to mean *sit down,' which is used in
Greek for 'refuse to stir' ? metaphor from the tuning
of à lyre; one of the musical *modes' or tunings was the
cvvTovoAvOig Tí, Plat. EKep. 398e

na xegavris 5 Wil: Ps $ E: P raxéTopor (froin

maAÍuTOpov) TOWil: P. $ Bl: P poswmov ovv&:
9 Eitz. 10 E; P moA. kr. 8€ náca
321

VOL. III. x

190

210

220
322

LYRA GRAECA

éaeióe i BaatNeUs. eis $vyyv
Opy.GVc à, T Ju ^y) Gg TpaTóv,
yovvTer?)s akute aua,
aro 06 kvuatvyov TUXAGLGL
"Io karackadoali 60ucv
cetp.aL ve váàes EXXavióes,
ai kaTà uev 3jN.k. oXécaÓ ? 5j-
Bav véov moXvavópov
vües ó «üuéov Évek 7? ovk
oTL.GcOTOpevTOV üEovatv, m vpós
9 aiÜaXóev uévos drypiq
c cua QXé£eu! a Tovóevra Ó. dNyn
éc Tau llepotót xopa.
à Papeia avpoopád,
& p és EXXd4O Tyyayes.
&XX. tT€, umkérL uéXXere,
Cevyvvre uév Terpá-opzov ? immov
óxnp , ot O àvápiB nov 0A-
Bov oper éT. àmijvas,
vium pare 6€ cienvás,
u7yóé TuS juerépov
(jévovr' üvgaus abroiat TXobroV.
oí 6€ Tpozrata, a Ta ápevot Autos
a'YyvóraTov TÉuevos,
IIa:áàv' é«eXáegc av iyiov
dvakTa cvpjuerpoL Ó. érekrUTEOV T00Qv
brucporous xopetats.
'"AAX à xpua oria pu $ aé-
fov pobcav veoTevXT),
éuois €XO' émikovpos D-
uvois,! 'Ijie IIazáv:
0 'yáp |. ev'yevézas pakpaá-
ov Xmápras uéyas áryegov,

TIMOTHEUS

be. The king also, when he beheld his routed
host go backward in confusion, fell on his knees and
laid hands upon himself in the storm of his mis-
fortune saying : * Woe for the razing of homes ! and
alas for you, ye desolating Grecian ships that have
destroyed a populous generation of young men, and
have so done that our ships that should have carried
them back home shall burn in the flaming might of
furious fire, and the pains of lamentation be upon
the land of Persia.! O ill hap that leddest me to
Greece! But ho! come ye quickly, yoke me my
chariot and four, and you, bring ye out my countless
wealth to the wagons, and burn my pavilions, that
it profit them not of my riches.'

As for the others the while, they set them up
trophies to be a most holy place of Zeus, and
hymned the great Healing-God men cry to, beating -
the ground pat to the tune in the high.stept dance.?

But O Great Healer to whom we cry, exalter of
a new-made Muse of the lute of gold, come thou
to aid these lays of mine. For the great and noble
and long-lived guide of Sparta city, that people

! [it. and owing to whom (£he Gk. is you) the ships will not
carry them back, but the flaming might of fire shall burn
them (the ships) with its furious body, and the pains, etc.
* here begins the e$pa*yís or last part of the Nome

1 Wil: P -8ev ? Wil: P o. 3 E (óuàv 8€ &veka —
kal Gv €veka, by the usual idiom, demonstrative instead of
repeated relative) ! P $Aétes VEL CWIDP
xpvceok. 7 Wil: P vuvoiwci

323
v 2

225

230

235

240

245

250

324

LYRA GRAECA

Bpbev àvOecuv 1jBas,

Govei as émibXéyov

ed T ai8om. ouo,

óL raXauoTépav véots

Üuvois poÜcav ATuO.

éyo Ó obTe véov Ti. oUTe

yepaóv oUT. ia) Bav

eipyo TOvÓ. ékàs buvov,!

ToUvs 06? uova omaXatoXv-

Ls, TovVTOUS Ó. àrepUkea

Nofoyrífjpas aoL6av

knpókav Avyvuakpodoov-

Qv Télvopras turyás P
vpé&ros To.ktXopuovc ov 'Op-

oes xyéXuv* érékvocev,

vtós KaXXiozas, Ilveptas éri.

Tépzravópos «0-9 éri 79 0éka

CebÉe " uoücav év qais:

Aéa Bos o AitoMa vuv» 'Av-

Tíoca ryetva.To KXetvóv

vàv 8e 'Tuuó0eos uérpois

pvÜuots ÓÜ' évOekakpovpáTous

kLOapiv é£avaTéXXet,

Óncavpov voXvüpvov oi-

tas Movcáv ÓaXauevróv:

MíXqT0s 66 0s vi à

Üpévrao! à 6veOekaeiyeos

XaoU T poTeos é£ Ayaióv.
&XX' ékaTa[90Xe I100U. áryvàv

éABois ráv6e zr0NLv oUv ÓX-

Bo méumov ámpovi kae

TOO eipovàv

04XXovcaav evvouia.?

5

TIMOTHEUS

that teemeth with blossoms of youth, dings me and
drives me with the flare of censure, for that I dis-
honour the ancient music with poems young. Yet
do I keep no man, be he young or old or my own
compeer, from these my songs; 'tis the debauchers
of the olden musie, them keep I off, the tune-
torturers who shriek as long, and shrill as loud, as
any common crier, In the beginning did Orpheus
son of Calliopé beget the motley-musicked shell
on Mount Pieria; and after him came the great
Terpander, born of Aeolian Lesbos at Antissa, and
yoked the Muse unto poems ten;! and lo! now
Timotheus openeth the Muses' rich and cloistered
treasure-house of song, and gives the lyre new life
with times and measures of eleven strings, nursling
he of Miletus, the town of a twelve-walled people ?
that is chief among the Achaeans.

But to this city I pray thee come, thou Far-
darting Pythian with the gifts of prosperity and
a peace abounding in orderliness for an untroubled

people.

1 the ten traditional Nomes, Poll. 4, 65 ? the Ionic
Confederacy of twelve cities

1 Wil: P exaBvgv. ? Wil: P o8e 3 Wil: P wyyas
* Wil: P -uovcocopwovv 5 Wil: P xaAAwra7Tepiacevi
€ Wil. * Wil: P rev£e $ Wil. ? Wil: P -iav

$25

LYRA GRAECA
20

Plut. De seips. laud. 1 | àAX&à kai rovs aTe$avovuévovs €v ois
&y&giv €repou vikQvras àvayopevovgiw, T3jv àqbíav Tijs TEpiavTO-
Ao'ías &$eipoUvres, 5j kal rbv Tiuó0eov ém) 7j kar& epivibos víkm
ypa.oorvra-

*5 , ^
pakápvos 100a, 'T.uo0e , ebre küpv£t
5 € ^ /,
eire Nukà 'Tuuót0eos
/ $ N p 2 b , , ,

M.Xzcios Tov Kápovos? rov lovoka,z Tàv:
eikóres Ova xepalvousv &s &uobgws kal mapavóues üvargporTOVTG
TlY éavTOU víkqv.

21-23 Nf

Mach. ap. Ath. 8. 341 c [$ixoEévov 8180] km] &AX' mel | $
Tiuo0éov Xdpwv oxoAd(ew obk é8 | obk 75s NióBms, xcwpeiv 8€
TopÜuí8" àvaBoa, | kaXei 8€ uotpa véxios, js kAoeiw xpedv | kA.

22

Diog. Laert. 7. 28 [m. Zfvevos Kiriéws] éreAe)ra 9t obrws:
€x TÓS GXOoAZs ümiàv TpocémToiuce kal rbv ÜükTvAov mepiéppmte,
maícas 8€ 73)» "yv 7f) xeipt nai T0 €x 75s NióBms-

» , , ,
€oXOJUAL" TL jp. QUELS j

^ , / ; / e ó
kai mapaxprua éreAebTqQ0€v àmomví£as éavróv.

29
Teles ap. Stob. F1. 5. 67 [. &w$posivqs: éx Tàv m. Avrapkelas]:
ovx bmrouévo ($oiv ó Bíov), àAA' Gamep éx avumrocíov &mraAAdTTOUOA
ov0&v Bvo xepaívov, orc kal éx ToU Bíov, orav 1j Gpa Tl,

&u 9a. TropÜpuí8os, 'Eppà.?

1 Hart.-Wil: mss 6re x?p. ? B; mss ó MiA. rbv Kdpowvos
(Kd&pBevos) 3 E, cf. Luc. Char. 1 éraipos kal acÜpmAovs kol
cvvbidkropos iv (Xdpwvos); for gen. cf. Soph. O.C. 400:
mss &pvua

! cf. Poll. 466 ? prob. from the * seal* or last division
of a Nome 3 the Laeries and the Sons of Phineus (Suid.

326

TIMOTHEUS
201

Plutarch: JVether Self-Praise is Permissible: Dut a man
who wins the wreath in a competition is proclaimed by
another person, and obviates the unpleasantness of the
blowing of one's own trumpet, which we rightly dislike in
Timotheus where he writes of his victory over Phrynis:

A happy man were you, Timotheus, when the
herald cried that the winner was Timotheus of
Miletus over the Ionian triller the son of Camon.?

For we feel that with entire disregard of taste and custom
he is advertising his own victory.

21-23 NionsE3

Machon [the willof Philoxenus]: But now, | Since Charon
from Timotheus! JNiobé | Suffers me not to tarry, but shouts
* Come | The ferry waits!' and dark imperious Fate | Calls
me, etc.

225

Diogenes Laertius [on Zeno of Citium]: The manner of
his death was this; on his way home from his school he
stumbled against some obstacle and badly broke his toe;
then striking the earth with his hand he quoted from the
JNiobé

I'm coming; why d'ye shout at me?
and thereafter died by drowning himself.*

29

Teles quoted by Stobaeus [on temperance or moderation ;
from the tract on Self-Reliance]: As Bion says, I wait not,
but as I go uncomplaining from a feast, so too from life when
the time comes—

Get aboard the ferry, Hermes.?

above, p. 280), like this, may have been either Dithyrambs
or Nomes 5 See Philox. Cyth. p. 378: some of these
phrases are doubtless T.'s 5 cf. Ibid. 31. Suid. a£eis, Stob.
Fl. 5. 44 Luc. Macr. 19 $ orsutffocating himself; others
said by voluntary starvation ? Charon doubtless said this
to Hermes when his boat was full

327

LYRA GRAECA
24

Ath. 3. 122€ ei oóv kàyyó Ti fjpaprov, à kaXALoTOV ÓvopudTGV
kai pmudáTwv Ümpevrá, u] xaAXémouve. karà *yàp róv MuAfjciov

Tiuó9eov bv m0v]rfv:
0UK áe(óm Tà TraXeá, katvà yàp àpà ! kpeta ac
véos 0 Zeus Bac txevet,
TÓ TráXat 2 6 7v Kpóvos à dpxeav
amiro Motca aXatid.

25
Ath. 10. 433b -Aeierov 8t t€mie T&v yutv fjpówev NéoTwp Ó
Tpryépov .. . kal uóvov 8€ rovrov T&v T)pówy Tb moTíjpiov ("Ounpos)

TpuüvevkeV, &s Tl!v '"AxiXAéws Qomi0a. éoTpurejveTro "yàp uer.
abDTOU kaÜdmep kal Ts àcmí0os ékcívqs, 5s molv ó "EkTcep kal
uéxpt obpavoU Wkew cb kAéos. obk àv Gudpro: Bé Tis kal Tb
moTipiov aUTOU Aéycv didAqv "Apees karà rov Avripávovs Kaiyéa,
v Q Aéyerai or cs: * eir. 1j895 bos?

/ y

di4Ngv "Apeos *

karà Tiuó0cov Eva Tóv Te BéXos.'

26
&
Ibid. 455 f [7- ypióov]: "Ava£avbpibns Aic xp3: *àpríes Biprd-
umke, kal rà uev Diavek?) | a duaros népn
y
5
Oanáter. év rvpueriro a éya

| Tuuó0eos £o moT', ávbpes, Tijv xorpav oluat Ayer."

21
Et. Mag. Vet. ópiyavov . . . émeibd, s qow "'Qpryévns,

eÜpnrat év eva TOÀ) 9) pt cvAAcBT, és rapi Tiuo0éo TQ kiÜapobdg
T
Ooiov*

l1 maAed (znetri causa) Wil: mss -aAauií àgà Wil: mss &ua
or om. ? Mein: mss Tb TaAaoióv 3 Emp: mss 7555Aos
5 after $i. mss insert the gloss 7b O-Aov 5 Kock: mss
-kTíToigi *yàs

328

TIMOTHEUS
241

Athenaeus ZDoc/ors at Dinner: If then I have offended,
O thou hunter of finest nouns and verbs, do not be angry.
For, to quote the poet Timotheus of Miletus:

I sing not the old songs, for my new songs are
better; a young Zeus reigns and Cronus' rule was
long ago; away with the ancient Muse!?

253
Athenaeus Doctors at Dinner: The ancient Nestor was the
greatest drinker among the heroes . . . and healone has had

his eup described by Homer, as Achilles has had his shield.
He took it to the war with him as he did the shield * whose
fame, according to Hector,* freached even to the sky.'
Indeed we might apply (literally) to his cup the phrase
quoted by Antiphanes in the Caeneus, where he says: * Then
give me, pray, what Timotheus calls

the goblet of Ares?
and a polished javelin.'

26

The Same [on riddles]: Compare Anaxandrides' Aeschra :
*He has but now cut up (the ox), and the end-to-end
portions of the carcase

he subdueth in the fire-built covert,

as Timotheus says, my boys, when he means, I suppose, the

pot.'
AH

Old Etymologicum Magnum | óptyavov, *marjoram': .
since, according to Origen, the second syllable is d
short, as for instance in Timotheus thus:

! [ add here the unplaceable fragments * cf. Eust.
1422. 50 3 cf, Ath. 11. 502b, Arist. Eh..3. ll. 1412 b,
4. 1407 a, Poet. 21. 1457 b * Jr. 8. 192 5 meaning a

shield ; the most usual form of drinking-cup was somewhat
saucer-shaped $ cf. E. M. and Cram. A.P. 4. 12. 25

329

LYRA GRAECA

, 2 4 e N , T
TeTaj.évov opiyava Oótà juveXorpoda.

E e [4 H , ^ [28-33 ^
c'vykeirai 9 ovros ó a TLXos àmrb mpokeAevauaTiKGV, Óó O6 reAevTatos
movs &àvámaicTOs TGy v0 Bpaxeiv eis uíav uakpàv avvaipeOeiwdv.

28

Plut. Fort. Alex. 1: '"ApxeXáe 9t DBokobvrt *'yAwexporépe Tepl
Tàs Bwpeàs elvai Tiuó0cos dBcov éveafjumwe moAAdkis TovTl T
KOJLJLGT LOV*

^ s: epe cs / »y EDT.
gU O€ " TOV rynryeverav» apryupov auvets.

6 8' "ApxéAaos obi àuoba ws üvrebávnoe * Ev 8€ "y aireis.

29

Plut. Qu. Conv. 3. 10. 3 [m. ToU kaToxoium8nvat €év | avynü
ceAdjvgs] Aéyera:t 8€ kal mpbs ebrokíav avvepyyeiv óTov 1j QuxÓumvos,
àvécei r&v v'ypàv uaAakcTépas mapéxovga ràs cOt:vas. 00ev olua
kal T»v "Aprepiv Aoxeíav kal EiAei8viav, ob. oücav érépav 3j Tv
ceAfvqv, evoudcOai. — Tiuó8eos $9 üvrikpos $qac

e N / a / »

Là Kkvaveov * 7rokov ào Tov
, ,

id T okvTOkoLo c eXsjvqs *

90
Porph. ap. Stob. Ecl. 1l. 41. 61 [m. yvx?s] TdA:v airvirTó-

P ^ ^ ; ^ ^ ^ A A
pevos óri1 Tails TÀV eva eBos BeBiekóTov ivxais uerà T2)» TeAevT2)v
. oikeiós éa i TÓmOS Ó mepl Tv. aeAdjvqv, ómeO0fjAegev eimóy: * àAAd
- ME , , / , , , , , e
d^ és "HAvai0v méBiov. kal Teípara 'yaíns | àÜdvaroi mégovauv, 601
€ , - E) /, M , 3 M ^
£av0bs * PabapavOvs, HAvciov uev meütov eikórws Tpogeumróv Tiv
Tüs ceAfjvms émibáveiav o! 5A(ov karaXaumouévqv,

ór avferat 9jMov avyais ?
&s $c Tuó8eos.

! sugg. Wil: mss -re95: E.M. adds 'OBveceías 5 which
can hardly belong here ? mss eb 954, Ap. Reg. cv bé
? Macr. Aa póv * Macr. ceAdávas 5 mss also 7eAÍov aivy.

330

TIMOTHEUS

made wanton by marrow-feeding marjoram.

This line consists of proceleusmaties (u.o.), with the last
foot an anapaest (uu—), the two shorts counting as one long.!

28 ?

Plutareh 7ZÀe Good-Fortune or Virtue of Alexander:
Archelaüs appearing somewhat stingy in the matter of his
gifts, Timotheus hinted at it several times by using the
following phrase in a song

but as for thee, thou praisest earth-born silver ;

and at last Archelaüs not inelegantly called out at him,
* But as for you, you beg it.'

20:3

Plutarch Dnner-table Problems : [on sleeping in the moon-
light]: It is also said to be a specific for promoting easy
labour when the moon is full, reducing the pains by a re-
mission of the moisture, Hence, I take it, Artemis is called
Bringer-to-bed and the Midwife, being identical with the
Moon. Timotheus is quite clear on the point:

through the blue vault of the stars and of the
swift-delivering Moon

90

Porphyrius quoted by Stobaeus Selections [on the soul]:
Implying further that after death the souls of the pious
have their proper place around the moon, Homer uses the
following words:* *But the Immortals will send thee to
the Elysian Plain and the ends of the earth, where lives the
golden-haired Rhadamanthus,' naturally giving the name of
Elysian Plain to the surface of the moon illuminated by the
sun when, in Timotheus' phrase,

she groweth with the sun's rays.

! this explanation presupposes one more syllable e ep:
Apoph. Reg. Vj7 b 5 cf. Q. Rom. 77, Macr. 7. 16. 28
* Od. 4. 563

331

LYRA GRAECA
3l

Vit. Eur. p. vi Nauck év Maxe8ovía érá$"m, kevorádiov 5
abToU 'Afvnsiww évyévero kal émvypáuua émeyéypamTo GovivDiBov
TOU ia Toptotypá oov moo avros 7) Tio0éov ToU ueXoroioV:

MrZua uév 'EXXàs ümac E)pumrióov: OocTéa

9 loxXer
y?) Maxe6ov sep 0é£aro répua DBiov:
TaTpis 0 "EAXdá6os 'EAAàs 'A0gvav mTAetcTa
66€ Movcaus
/ , ^ N * » »
TépYras ék TroXXov kai TOV €rraivov €xet.

33?

TIMOTHEUS
311!

Life of Euripides: He was buried in Macedonia, but there
was a cenotaph to him at Athens with an inscription written
either by the historian Thucydides or by the lyric poet
Timotheus:

Though his bones lie in Macedon where his life
was ended, the whole of Greece is the monument
of Euripides; but his birthplace was Athens, the
Greece of Greece, and giving much joy by his
Muses, he hath the thanks for it from many men,

1 cf. 4.P. 7. 45 and Ath. 5. 187 d, where it is ascribed to
Thucydides

333

AIKTMNIOT
Bíos
Arist. RA. 3. 19. 1413 b. Baa vrátovrau 06 oi

ava»yvecukolL, olov Xaov (àxpu83)s yàp oorep
Xoyyoyypádos) kai Nuciuvios rQv G0vpaguBomotóv.

Ibid. 3. 2. 1405 b «4XXos G6 óvópaTos TÓ uév,
e , / , ^ , E ^
cmoTep AukcvjwiLoS Xéye,, év Toig *Xrooois 7) TO
a)uawvouévo, kai aig xXos 66 ecavTos.

Ibid. 3. 13. 1414 b Gef 0é ei80s Ti Méyovza «ai
&aopàv € Üvoua, TiÓecÜat ei 0€ pij, yiverau kevóv
kai AgpoOes, oiov AucuvLos TOL€U £v Tf TÉXVm,
éropovatv óvouátov kai aom Xávygouw kai OCGovs.

Sch. ad loc. (Rabe) (a^) mà TÓv Oi0vpaguBo-
TrOLÓV AxpuBys 1, nv Moryonjpádos 0 Aucbuvuos. CES)
Ó Aukóuvuos piirep 7v: Tüs émavaMpjew. éXeyev
ékeivos émropovaers.

Plat. Phaedr. 261 b [7. frrropuctis] Tà 66 IIoXov
T S $pdcopev aU pova eia Moyev, (S Óvz'AaG to-
XoyLav kai (e poXonytav kai eikovoXoryíav, Óvo uá.-

TOV TE Aucvwieéov,. à à éxeívo éOÓcprcaro pos
Troia ever etas ;

| Ast: mss Aukvuviev

! or of speeches (as an advocate) ? Thompson: Jowett
' treasuries'

334

LICYMNIUS
Lirk

Aristotle ZAetoric: But the poets whose works
are in everybody's hands are those who write (not
to be performed but) to be read, such as Chaeremon,
whose style is as finished as that of a professional
speech-writer, and among the dithyrambic poets,
Licymnius.

The Same: The beauty or ugliness of a word
consists in the first place, according to Licymnius, in
the sounds of which it is composed or the meaning
which it conveys.

The Same: Now a term should be applied oniy
in speaking of a class and a real distinction ; other-
wise it is empty and mere nonsense,like the term
used by Licymnius in his 4rt, where he speaks of
* speeding-on ' and * aberration ' and * ramifications.'

o e : -—

Scholiast on the passage: (4) Licymnius, who
was one of the dithyramb-writers, was an accurate
writer of prose;! (5) Licymnius was an orator; it
was to repetition that he gave the name of
' speeding-on.'

Plato PAaedrus [on rhetoric] : And what of Polus
and his so-called shrines of learned speech?—
diplasiology (or word-repetition), ynomology (or the
making of sententious remarks), iconology (or the
use of metaphors), and all the other -ologies passing
under the name of Licymnius and presented by him
to Polus by way of improving his style?

335

LYRA GRAECA

Sch. ad loc. ó Auküpptos 66 IIoXov 0104okaXos,
^ , N , , , /, /, , /,
ós Ouppet rà Ovópara eis küpia, avvOera, aóeXod,
émíÜera, kal eig àXXa Tuv.

Dion. Hal. de Fi Dic. Dem. 26 Lm. ID.rovos]:
kai ovmzOo TOU [kavóv &XXà kai év Ti) ner
ajT) mepLó0p Trà avrà Toi!» oav5joerat. — goi
yáp* *Ae( Or) roioUvTov TivÓs Xoyov ÓoTis TOUS

^ , "n^ £c
Aév TereXevTQkóTas (kavós émaivéoer Toig O6
ocu €UILEV (OS Tapavége." obkobv émtpprua
émippijuat mapákevrau kal piuart pfiua, TÓ Lev
[kavós TÓ eopevós TO Ó émaLvéa e TÓ Trapauveaet,
kai Ta0TG, Tà Tápica ; ; oU AucóppLoL TaÜbT dou,
ovÓ Ayáfoves, oL Aéyovres ' ÜBpuw 1; 7) cKómpw,
«iH ' uua0Q mo0Év,' 7) * uoóy0ov ' Arpei6Qv,? àXN
e , fe ^ ,
0 6aupovtos épugveUcau IIXacvov.

AIKTMNIOY MEAON

1
Sext. Emp. ll. 49. 566 Bek. &ya8bv utv obv kal ToUTO

TpÀTOV eipfikagi TÜV b'yelay OUK 9A bot TÀV T€ TOiQTrÓV kal TÀy
cvy'ypaoécv kal kaÜóXov mávres oi àmb roU O(ov. Ziuwvíbns utv
yáp nc: (fr. 70): Aucbuvios 86 mpoevràv abra:
, ^ ,
Avrapóuuare pürep vyrtara,? Ópóvov
^ 5 , / /
caeuvadv AvzróXXovos [SactXeua Tro8ewd,

7r pavyéNos "Tryceta,t
moi0v bynAv émipépei . . .?
1 M. Sehmidt: mss 7 .. . vpw ? mss also marpí8wv
3 Wil: mss -Trev ^ mss óyeía 5 the 311. which follow

really belong to Ariphron (see p. 400)
336

LICYMNIUS

Scholiast o» he passage: Licymnius was the
teacher of Polus; he divided nouns into proper,
compound, cognate, epithet, and other.

Dionysius of Halicarnassus 7e Fine T'echmique
of Demosthenes [on Plato]: And as if this were not
enough, in the very next sentence there is an
example of the same thing : * We require a speech
which will give the dead adequate praise and the
living kindly exhortation. | Does not adverb con-
trast with adverb and verb with verb, * adequately '
with * kindly ' and * praise ' with * exhortation '? are
not these examples of 'balance'? And these are
not the phrases of a Licymnius or an Agathon with
their *ofigis or Kvzpis, (outrage or Love, their
* pag Üd zo0év, * drunken with bribes ' or * with bribes
from somewhere, and their uóx6ov 'ArpeQv, * labour
of the Atreidae, ! but of jhe divine expositor, Plato.

See also Sch. 7i. 2. 106, Dion. Hal. Z7AÀuc. lud. 24,
Thuc. Propr. 2, De Lys. 3, Ael. Fest. Aphth. ap.
Gaisf. Metr. Lat. 241, Mar. Vict. Gram. Lat. 6. 183.

THE POEMS OF LICYMNIUS
1

Sextus Empiricus 4gaínst the Mathematicians : Health has
been described not only as a good, but as the chief good, by
a great number of the poets and prose-writers, indeed by all
who write of the realities of life. Simonides says (/r. 70):
and to what heights of praise goes Licymnius after this
beginning !—

Bright-eyed Mother in the highest, precious
Queen of Apollos holy throne, soft-laughing
Health. .

! all these plays upon words are doubtful and the last
obscure and prob. corrupt

337

N,

VOL. III.

LYRA GRAECA

2, 8
Stob. Ecl. Phys. 4l. 50 Hopóvpíov éx r&v Ilep] Erwyós . . .
miÜavds kal rovs év "Aibov voyi(ouévovs orauovs karcvonákagi:
"Axépovra uev 0ià Tà üxm &s kal MeAavurmíógs . . . émel kal
Aukburiós ou

pvptaus Tra/yais 6akpuov àxéav ve Bpyver Y

KG TQAÀIiV*

"Ayépov &xea TropÜuever Bporoiot.

i

Ath. 13. 564 c [z. éperos] Auksprios? 0 ó Xios rov "Ymvov
$í1cas épàv ToU 'EvOvuievos oj8€ kaÜejBovros abToU kaTaka-
AUmTeiw? qoUs Ó$0aAuobs, àAXà àvamemrauévev r&v BAejdpov
koiui(eiw ? rbv épóuevov, ómus Dià mavrbs àmroXaón rijs ToU Üecpeiv
19ov5s. Aéyei 9 obrws:

[24 ^ , , /
Tmvos 06 xatpov óupdTov
avyais àvamem rajévots
Oc cows éxoLpute koüpov.

iy]

Ibid. 603c Auurios? 8 ó Xios £v Ai8vpauBois '"Apybvvov
$m7clv épóuevov "Tuévaov vyevéaO04.

6

Parthen. Narr. 44m. 92 Yep! NavíBos: 3 ícTopía Tapà
Aikvuvíp TQ Xíe ueAomovg kal EpuggidvakTrv "E$acav Bé Tives
kai T2] EXaphíev üà«pómoXw m5 Küpov ToU Ilepcàv BaciAéws
€ ^ , ^ /, / , bj ^
&AGvat. mpobovaqs Tíjs Kpoícov ÜOvyarpós Navíóos. émeib? "yàp
3 , ^ , M , ^ , er ^ 4
éroAiópke: Zápbeis KÜpos kal ob0ty abTQ eis üAwcuv Tijs TÜAews
mpotBaivey, év moXAd Te Oéev v ij à0powÜcv Tb cvuuaxucv
avT js TQ Kpola w 09iuAUceiv aUTQ Tv a TpaTiáv, TÓTE TÀ)v mapÜévov
TabTQ)V €elye Acyos mepl mpobocías avvÜeuévgv TQ Kópq, ei karà
vógovs llepcv &£ei: yyvraika avTíy, karà Tv ükpav gmbevbs
$uAdecovros Bí OxvpóryTOa TOU Xtwpíov eigbéxea0ai rovs ToAe- *
uíovs, cwvepyGv avri kal AAAcv TiwGv '*yevouévov: TV juévTOL
Küpov uj éurebaaat abT1 Tv bmóo xeauw.

lrayais Grot.: mss záca:ss — ? Reinesius: mss àAkÜuvios
? mss indic.

338

LICYMNIUS

2, 3

Stobaeus PAysical Extracts: Porphyrius On the Styx . .
Suitable too are the names which have been given to rivers
supposed to flow in Hades. 4cherom is from &x« ' pains,
compare Melanippides (/r. 3) . . . .; Licymnius too says
of it:
teeming with ten thousand streams of tears and
pains ;
and again :

Acheron carries on his stream the pains of men.

1i

Athenaeus Joctors at Dinner [on Love]: According to
Licymnius of Chios, Sleep loved Endymion and would not
close his beloved's eyes when he slept, but put him to sleep
with his eyes wide open, so that he might enjoy the pleasure
of gazing on them perpetually. His words are these:

Because he rejoiced in the light of his eyes, Sleep
laid the lad to rest with lids wide open.

S

The Same: According to Licymnius of Chios in his
Dithyrambs, Hymenaeus was beloved by Argynnus.

6

Parthenius AZomances: On Nonis: from the lyrie poet
Licymnius of Chios and Hermesianax :—It has been said by
some authorities that the citadel of Sardis was taken by
Cyrus king of the Persians through the treachery of Croesus'
daughter Nanis. Cyrus had been besieging the city without
getting any nearer to taking it, and was greatly afraid that
its allies might rally to Croesus' aid and destroy his army,
when this girl, according to the story, came to a compact
with him to betray the town if he would marry her accord-
ing to the laws of the Persians, and with the help of certain
men whom she made privy to her plan, admitted the enemy
to the summit, where no guards were placed owing to the
natural strength of the ground. Cyrus nevertheless refused
to keep the promise he had made her.

339
z2

OSIAOSENOT TOT EPTZIAOX
Bíos

Ar. Nub. 681 EOKPATHEZ xai XTPEVIAAHS:

XO. &0' Év ru, srepi TOv óvouárov uaOetv ce Óet,
&TT dppev éoTiv ürr& OÓ avTOv Ü1:jXea.

ZVT. &XX' oió éywowy à O59Xe éaTiív.—X. eimé 05.

XT. AvcuXXa, OiXiva, KXeirayópa, Anunrpía.

£L. dppeva 66 voia 7Àv óvouáToev ;—X Y. uvpía.

687 GuXoÉevos, MeXgoías, ' Auvrías.

£O. aXX, à sovgpé, raürá*y éoT. o0k dppeva. —

XT. ob dppev' piv écriv;—XO. ob0aygÓs w,

é7rei

690 74s àv kaXéceias évrvxàv ' Apvvía: ;

XT. ómws dv; cL, 6eüpo 8c0p. " Apvxía.

£0. oópds; yvvaixa r5v ' Ayvvíav kaXeis.

£T. obkovv Owcatos tyris o9 a Tpareverat ;

Sch. ad loc. (684) a$raí vópvat 7,cav.—(06806)
obToL évi gaXakía O.aBáAXovrat.—(691) pos
T2v kaTáN9ELv To) óvóparos érai£ev eis 6uaBoNqv
TOU àvÓpOs.

Ar. Han, 932 AIONYZOX xai AIEXYAOX:

AI. vi) TOUS Üeovs éyo ryobv
^ b ,
705 TOT £v guakpd xpóve vvkTOs Owupypv-
7TV)c&
M M Lj , ^ , H M
TOv fovOov immaXekrpvóva ÜurÀv Tis éco Tiv
Ópvis.
^ ^ /
AI. enuetov év vais vavcív, à uaÜéerar,
évenyéypar T0.

AI. éyo 66 róv iXo£évov y ouv " Epv£iw eivai.
340

PHILOXENUS SON OF ERYXIS!1
LirE

Aristophanes Clouds: SocRATEs and SrnEPsiaDzEs :
— Soc. There's another thing you ought to learn
about proper names, and that is to distinguish
masculine from Cx viele —SrR. But I know which
are feminine, trust me.—Soc. Well?—Srn. Lysilla,
Philinna, Cleitagora, Demetria (684).—Soc. And
masculine names ?—Srn. There's thousands ; Phil-
oxenus, Melesias, Amynias (686).—5Soc. But they're
not masculine, you bad boy.—STR. Not masculine
enough ?—Soc. Not a bit masculine; how would
you call Amynias if you saw him ?—Srn. Call him?
why, like this; Hi, Amynia! (691).—Soc. D'ye
see? "That's a woman's name.?—Srn. Quite right
too ; she won't join up.

Scholiast on ihe passage: (684) These were harlots.
— (686) These are satirised for effeminacy.?— (691)
The poet satirises the man by playing with the
ending of the name.

The Same Frogs: DioNvsus and Arscnuvrvs:—Y es,
by the Gods ; I've lain awake many a long hour of
the night trying to make out what sort of bird the
tawny horse-cock was.—A. It was a ship's figure-
head, you silly dolt.—D. Why, I thought it was
Eryxis son of Philoxenus.

! the identification of the gourmet son of Eryxis with the
author of the Banquet is uncertain ? the vocative of such
masculine names is identical with the corresponding nomina-
tive feminine 3 ef. Ar. Vesp. 81 and Sch.

341

LYRA GRAECA

Sch. ad loc. obros yàp cs &yuopdos xai à8ngs
&.aBáXXecaa.

Plut. Q. Conv. 4. 4. 2 [& 7) 0áXacca TÍjs 'ytjs
eboNrorépa]| xaíroi $apuárav Ovvdpews 0 Ó la pu-
KG TAOTOS pia Tos KptTS kai peXàv aperi)s ó
$uXopovaóraos, oUKcoDv kal dperfjs rov Ó
QiXovróraros- oU 'yàp IIv&ayópa re TobTOv oUOÉ
Eevokpáret. àauryTÍ) Xpna Téov, "Avra'yópa m TÓÀ
TOUT) kai DiXo£évo TÀ 'Epovfi0os xai T7Ó
Corypábe 'AvópokviGet.

Ibid. 4ud. Poet. 1 ei uev cs dq iXoÉevos 0 vrowyrüs
€Aeyev, TOV kpedv Tà p kpéa ijjóug TA écTL Kd
TOV LyÓvov oi ur) ixyOves . . .

Ath. 5. 220a mgejvxacgi O0 oi mwXeiaTOL, TÓV
$tXocóóav TÓYV KG) JLLK jV Kc. KoyyopoL pàXXov
eivat, €i ye kai Aia xiv Ó Xokpacikos € ev ev TÓ
TyXavyet .. . 0 06€ KaXMas abToO T'epLéXet TV
T00 KaXMov mpós Tv varépa. O6.a.Dopàv kai Tiv
IIpoóteov Kal "Avataropov TÓV coQicTOv Oua-
pkngiw. Xéyei vàp ds 0 pv Ilpó6Lkos Onpa-
uéviv pa0577v àmeréXeaev, 08 &repos dux óEevov
TÓv "Epi£i6os kal Apibpáóünv TOv á6eX oov "Api-
yveTov ToÜ kxiÜapoO00, xov aT TS TOV
6nXo0évrov pox8npías kai Trepi rà $a0Xa Mxvetas
éL.avicat T? TYV mrai&evaávrov O.6ao kaMav.

! son or father of this P.; *'Eryxis of the deme of
Cephisia ' occurs in a 5th-Cent. inscription, I. G. i. 338. 1. 6
? stories follow illustrating Antagoras and Androcydes
love of fish; Philoxenus' reputation was apparently such as
to need no further comment 3 the Greek is perhaps

342

LIFE OF PHILOXENUS SON OF ERYXIS

Scholiast on (he passage : Eryxis is satirised because
he was ill-shapen and did not know how to behave
himself!

Plutareh Dinner-Table | Problems [whether the
greater delicacies come from the sea or the land] :
Yet the best judge of the properties of a drug is to
be found in the greatest physician, and of the
artistic value of a musical performance in the
greatest connoisseur of music, and so the best critic
of a delicacy is the greatest gourmet. In such
matters as these we must not seek the decision of
Pythagoras or Xenocrates, but of Antagoras the
poet, of Philoxenus son of Eryxis, and of the painter
Androcydes.?

The Same How the Young should hear Poetry : f,
as the poet Philoxenus said, the best of meat is not
meat and the best of fish not fish . . .?

Athenaeus Doctors at Dinner: Most of the philo-
sophers have a better claim to be called slanderers
than the comic poets. Take Aeschines the pupil
of Socrates, in his book T'elauges . . . and his Cal/ias
not only has an account of the quarrel between
Callias and his father, but contains gibes at the
sophists Prodicus and Anaxagoras. For he declares
that Prodicus finished the education of Theramenes,
and the other that of Philoxenus son of Eryxis and
Ariphrades brother of Arignotus the singer to the
lyre, intending the reader to infer the nature of this
education from the gluttony and general depravity
of the pupils.

metrical(trochaic); if so, Plut. quotes from a poem, perh.
from the Banquet (see below p. 361)

343

LYRA GRAECA

Ibid. 1. 6 b [z. óNroayías OcóoiXos 8é yat
r Ox ó ocTep GiXóEevov TOV "Ep£i8os* éxelvos yp,
(S £OLKEV, émiuveuoópevos Tv $bcw eis. T7V
àmóXava ww mUÉaTO vore ryepávov T?v ddpvyya
c Xetv.'

Ibid. 1. 6 d [v. co) avrob]: &XXoi O6 $OuX6vv
TÓV buxóEevóv óacu "Apta ToTÉMis 66 diX08e-
TVOV üTXÓS, 0 kal rypáder rov rabra' — * Aggum-
yopobüvTes év Tols ÓxyXots kavrarpifovatv 0NQv Tv
7uépav év Trois Üavgaci kai "pos rovs €ék C áoci-
9os 7) BopvoÜOévovs aram Xéovras, áveyvokóTes
ovOcv TmMX9v ei T0 GOiXofévov Aeizvov ovx OXov.'
Oaiías 8é dmgow Or. CiXóÉevos o KvOs9pios
TOUJ)TÜS KTX.

Ath. L Tb im. àvaypaoàs Oeimvov] ToU
diXofévov 06 70D AeuxaóLov Aetmvov llXdrov 0

«ojuoo.oToLos uéuvnrat (év Gáerv T)
,

A... .. éyo Ó «óv-? evOdo' ev Tf pnuia
TovTi OLeAD etv BobXopat TO [B.BX£ov
Tpós égavTOv.—B. éor( O0, àvruBoXO oce,

TODTO Ti ;

A. GuiXo£évov kauvi] TuS óYraprvaía.

B. éí8ei£ov avr jv fjris éo T .—A. dkove 85.

6 'dofouat éx Bo oio TeMevT)oo 0 émi
Übvvov' à

B. émi Üívvov; o)koóv Tfj TeXevratas ? roXU
«pári.a TOV évrabO4 re^ reray0a« rá£eos.

!1 from Ath. 7. 325a, where ll. 9-10 are quoted without
mention of Philox. 2 Pors. ? Cas: mss-meAevrs * mss
omit ye

! Wil. Theophrastus ? cf. Arist. Prob. 28. 7. 950 a,
344

LIFE OF PHILOXENUS SON OF ERYXIS

The Same [on gluttony]: To quote Theophilus,!
* Unlike Philoxenus son of Eryxis, who is said to
have blamed Nature and wished that he had had
the neck of a crane so as to have the greater
pleasure in eating.'?

The Same [on the same subject]: Other authori-
ties vouch for Philoxenus' weakness for fish;
Aristotle, more broadly, speaks to his love of his
dinner, where he says: ' They spend the whole day
holding forth to chance audiences at the puppet-
shows or to travellers just arrived from Phasis or the
Borysthenes, though they have never read anything
but Philoxenus JPanqueí, and indeed have never
finished that. According to Phaenias, the poet
Philoxenus of Cythera, etc.?

Athenaeus JDoctors at Dinner |on descriptions of
banquets]: Plato the comic poet speaks of the
Banquet of Philoxenus the Leucadian * thus :—* A.
While I am here in the wilds I am going to read
myself this book.—B. Why, what on earth is that ?
—A. À new cookery-book by Philoxenus.—B. Give
me asample of it. —A. Well, listen: * With onion Ill
begin, with tunny end.'—B. With tunny? Then in
that country it's a real advantage to be last in the

Jud. Eth. 3. 2. 1931 a, Vic, Eth. 3.13. 1118 a, Eust. 1817. 25
(* not the neck of à crane. . . buta gullet three cubits long ")
* see p. 382 * it will be seen that the identification of the
author of this famous poem (p. 348) with the son of Eryxis,
and of him with 'the Leucadian, is not certain; Ath. 4.
146 f. (p. 348) hesitates between the Leucadian and the
Cytherian as its author, but its style belies the latter; Eust.
1283. 31, who quotes 8éuas (10) and. vespev érifjpavos (7 b) as
Plato's with no mention of Philox., evidently regarded
Plato's apparent citations as a parody of the famous poem,
às on other grounds they prob. are

345

LYRA GRAECA

A. *BoXBovs uév aTo0i4 OÓauácas karaxvoc-
paTL 6evcas
10 Gs T Xeio TOUS O.áTporye: TÓ yàp fuas
avépos 0pOoi.!
kai TáOe uév Oy Tra)Ta: ÜaXáoaqgs 9 és
TÉéKV. TELA."

N ,
eira perà pikpov*
€ )8€ N , , , N N /,
ov06 Xozüs kakov éoTiv dTràp TÓ Tá-
,
yvov àueiworv* ?
N 3279 ,
Kai jer oNwya*
€? ^ , / )6 , /
0p$ov aioX(av avvóGovrá re kapxapíav me
, , ,
ui) TÉéuvew, p coL véuecus Oeó0ev xaca-

TVv€voTn,
àXXN 6Xov ómT5cas mapáÜes: TOoXXOv yàp
GjLeLVOv.
TovAÀUTOO0S 7TXekT? O, v miMjongs? karà
KatpOv,
5b é$07 Tíjs OomwTüe, 7v 7 ueitov, Tov
KpeirTOv,

jv oT Tai 06 OU cc , éÓf) xXaierv dxyópeve.*
Tpbykg OÓ ovx &ÜéXeu ve)Upov émupjpavos
eivai
/ 3 / s » n /
vapÜévov ' Aprég400s yàp &bv kai aTÜpara
pac €t.
L 5 L / , N
ckopmíos a) B. sraíceié wyé cov Tov
TpokTóy vreXOov.

^ ,
amo rovrov TOÜ C'uXoEévov kai CPiXo£évetot iwves
^ /,
TXakobüvres ovopácOncav. cepi rovrov Xpyvavr-
, 4 €? M , M , / 3. «4
TOS "civ E*yo karéyo Twaà owWvojámyov émi

346

LIFE OF PHILOXENUS SON OF ERYXIS

row,.I—A. *Onions with coals made tame, with
sauce bedewed, Munch thou and munch ; 'twill rouse
the man in thee; Enough of that; I'll seek the
ocean's brood. And a little further—* Though
good the dish, better the frying-pan. And after a
little—* Bass, sea-trout, pipe-fish, blue-shark, cut
these not, Or Nemesis will blow on thee from heaven ;
Nay, fry and serve them whole; 'tis far the best.
And arm of cuttle, an thou beat it well, If it be
great, is better boiled than fried ; Yet boila pair;
then bid the fried go hang. Red mullet will not
serve thy purpose now ; Born of Maid Artemis he's
cold for love. .À scorpion now—-—- B. Shall sting
youon the rump.' Thisisthe Philoxenus that gave his
name to the Philoxenean cakes, of whom Chrysippus

says, *I remember a gourmet who so far departed

! met. from soldiers drilling?

1 Dind: mss 9. &vop6ot ? mss add olyua: 3 Mein: mss
&y émiA fj * Kock: mss &yopeóo

347

LYRA GRAECA

TocoÜTov ékTmeTTOoKkÓTO TOÜ p?) €vrpémeoÜat rovs
TXgatov ézri Tois eyrvopuévots oo T€ avepOs év rois
Bakavelois "5v Te xeipa c vveOtbew 7. p0s TÀ
Ücepuà kaOiévra eis $Óop Oeppóv kai TÓ cTóua
àvayapryapitójuevov epu, à ÓT s ÓnXovóri ev rois
Üepuois Ovokíryros 7. €$acav ryàp avrov kai
TOUS óvrozrotoDvras. vmOoTO0LeiaÜaL, iva Ücpuóraa
TapaTiÜGcL. kai póvos karavaMa kn ajTOs TÓV
Xovróv cvvakoXovÉeiv uj) óvvapévov. cà 8 abrà
«ai Trepi To0 KvOnpiov GiXo£évov (a opoUot.

QIAOZENOT TOT AETKAAIOT
AIOTPAMBON

1-5 Aevov
Ath. 15. 685d [m. ereQáve]. Six GEevos 6e ó 0:8 vpayiBomois

év TG émrypadouéve Aeínve àpxiv Toic(vai. 70V GOTÉ$aVOY 18s
eio xías obreol Xéywmv:
Ka Tà, Xeupós
dye, LEM 4 - € N
9 ijXvO' Ócp' aàaXos
TraióLo kos 7 &pryvpéa
T poxóQ dépov em €x evev
BO &pepe UTRBIUGM
Xemüs amo pvpriOos ! eb-
yv9yrov &Xáócov ówbva TOV.

2

Ibid. 4. 146 f [z. 8e'mwvev] d4iXótevos 9 ó Kw0fjios &v TÓ
émvypaouévo Acímvq —etrep robrov kal ó kepqüiomoibs TIIAdTGv

1 Grotef: mss eTeoavoAemTas à. uvprbev

349

PHILOXENUS SON OF ERYXIS

from the rule of consideration for one's neighbours as
openly to put his hand into the hot water at the
baths and rinse his mouth out, so that by inuring
both hand and mouth to heat he might the moré
readily tackle hot food. For it was said of him that
he would suborn the cooks at a dinner to serve the
food extremely hot, so that he might despatch the
whole of a dish while his neighbours were perforce
waiting for it to cool! "The same tale is told of
Philoxenus of Cythera.1

See also Plut. Lat. Viv. 1, De Amore 1, Ael. V. H.
10. 9.

THE DITHYRAMBS OF PHILOXENUS
OF LEUCAS?

1-5 TuE& BaNquET

Athenaeus Doctors at Dinner [on wreaths] The dithyramb-
writer Philoxenus in the work called 7e B«nquet makes the
wreath the beginning of his feast, thus:

Then came water for the hands. A dainty child
bore it round in a silver ewer and poured it over
them, and then brought a wreath that was double-
woven from thriving sprigs of the delicate myrtle.

2

The Same [on banquets]: Philoxenus of Cythera in the
work called 7TAe PBanguet—if indeed it is he and not Philo-
xenus of Leucas whom the comic poet Plato mentions in the

! the confusion between the P.s obviously began early
? identification with the son of Eryxis uncertain

349

LYRA GRAECA

év 7G Ódcvi éuvfja01 kal uJj ToU Aevkabiov diXoEévov—roiabTqv
eiTíÜera. mTapaakevijv Oelmvov:
eis 0. éoepov OvmXóot
vaióes Avrapóma vpámetav
aj, érépav Ó. érépots
» e e , 1 / ? /,
GXXo0LS erépav^ u€xXpis oU 7 X5)pocav

0LKOV*
5 Tal Oé spós vwiXUvXvovs &oTiXMBov
aUas

eva Tépavou Xekávaus ?
vapowricu T. o£vBdádov re
TX598ci? aiv Te XM6O0caL
TavTOOaTr oic, TÉXvas
10 ebp5juact m pos Bioráv,
yvxás exea ua(otat.
Trápdepov €y kavéous
uátas Xiovóxpoas &XXot,
«rois 0 émi* mpra mapij NO
15 ov kákkaj[Jos, c $iXorás,
aXX Gira yes -«TAÀárOs AXXo» wüs
pényua Tov ?
mavroTiQov Mrrapár T ÉX
eyxev vw apicTav,
yo^yypov Ócv éuérav,
20 Apes Ücorepmés: ém avr
0 AXXo mapijA0e roaov
aris 9. évégs " icókvkXos.
pk pà e Kauck a Bu 7s
ÉXovTa TÓ pev ryaXeo0 7L,
25 vapkiov dXXo, —Xo»T-«ás T7 dp
7$ érépa, «Takepüv-
Tiaiv àTmÓ TeVÜLáOcv ?
339

PHILOXENUS SON OF ERYXIS

Phaon!—describes the provision made for a feast in the
following terms :

In came pairs of lads with shining-faced tables,;?
one for these of us, another for those, till the house
was full. And each table glistened in the rays of
lofty lamps, crowned thick as they were with dish
and side-dish and a concourse of platters, luxuriant
all with the manifold inventions of the art of good
living, baits of the soul. Others meanwhile brought
baskets of snow-complexioned loaves, and for the
first course came no tureen, my sweet sir, but a nail-
studded charger? the greatest in the world, was
laden with the finest imaginable, irresistible, gleam-
ing, eel, a conger to wit, vomiting sorb-apples,
a dish for a God!* and yet on its heels came
another as large, and a turbot thereon great as a
cart-wheel. And little tureens there were too, the
one of shark cutlets, the other of ray, aye and
another dish there was teeming with tender squid

! see p. 344 * cf. Eust. 1388. 64 (&iAóE.) 3 hi.
width: or tray or dish? cf. Inscr. Phoc. ap. Collitz Gr.
Dialektinschr. 1555. b. 16 àrorewáTo àpyvpíiov mAárn éB8ouf-
kovra where it seems to be a coin or its equivalent E Bb
Matr. 36 (Corp. Poesis Ep. Gr. Ludibundae Brandt) épikvBéa

^ /
yy ypov, | ke(uevov év XondBeaa- 6 9 ém' évvéa keiro rpamé(as

l1 mss érepot: áAAoi 5 ér. ? Bi mss éoré$avo: Aaxávois
? Kai(bel): mss ó£. -Afjpeis * Hart. -B : mss &AXo( 9 émet
5 Kai-E: mss àAA' àAXomAaTeis Tb p. (rÓ correction of vás
corruption of yas) $5 E: mss *rávr' ÉmraÜev Arvmrapovres
eyxeAeaTives pigTOV "yoyypovroiwvreuav 7 B: mss fa-
cTicVenv 8 B-E: mss &AAov mapijs érepov míwv amb TevOid8a

351

LYRA GRAECA

Kü GT LOT OUXUTTOÓCLOV
-—TÓV- &maXomNokápav.

30 Üepuos uerà rabüra TaptjXOov

Fas qase ÓXog

vije Tus * gvvoOoQv Trvpós «óccov
eni BO ois —càruóv-? àTpl-
Cov éx4, TO O emi Bvorai*

35 revO(Oes, o díXe, ka£avÜwuévat ka-
pies ai kvdoai maptjXOov: ?
ÓpvpuaTi6es Ó éri ravraus
eUTÉTaXoL XXoepaí T

20. 16 , » 6
70 aóvQaparyyes «ens,
40 xai TvpieLov * a reyavai
vocal? uéyaÜDos xarà kax-
P4 T , 3 9
&a[9ov rykvkvotées, otos
ójp.paXóos Üotvas kaXetrat
/ 32.23.13 N / 3 16 10
Tp y €j4v kai TUV, cad oióa.

1

45 — ég ráOe, vai uà Oeovs,
vTrepyeraÜés 7, Óépas
Übvvov 1? uóXev óTrTÓV éketoe
Oepuóv, 00,1? yNvdioww
Teruija Ta ebÜvs àm. ques
50. às vzroyaopiOLas 1^
ÓLavekéos émrapveiw
eivep épiv T€ LéXoL
N N 15 / /
kaL T.V ^? uaXa «ev kexapoiueU *
aXX. 00ev éXXirropev 19
55 Üoíva mapégs, & T. àraX-
, 17 e "m.'- /
Xdáfai* óvvav éykparéos
éyorye, kei oU Ke XéyoL «Tus, 1?
TávOÓ' à vapsjs ériuos
» , Ó€ 5 ^ 19
djupiv, Tapémauce 06 TOULOV
352

PHILOXENUS SON OF ERYKXIS

and soft-tressed sepia. Hot after these came wide
as a table an even-toothed mullet, still smoking as
if it had never left the stove,! and, as stuffing thereto,?
squids, my boy, and hump-backed prawns baked
brown. Next those sweetly-pitted * simnels all
flower-dight and yellow, and crisp sweet-and-bitter ?
wheaten rolls big as pannikins—such as make the
main part, for sure, of a feast at your house or mine!

Yet to these, by the Gods, came an enormous
broiled tunny, came hot to the place where the
knives straightway sliced from it such undercuts 9 as,
were it mine and thine to make a clean end of,? we
should think ourselveslucky indeed! But to resume,
the feast was spread, and what may be despatched
without exceeding,? that will L? albeit no man
could tell truly all that was before us, and my

1 [jf, the threshold of the fire ; cf. Matr. 82 3 of,
the sorb-apples above * cf. Matr. 64 1 cf. Eubul. 2.
191. 1i. K 5 some kind of flavouring, cf. »yAvkiómukpos
$ j.e. bmoyacrpibías (sc. uepíBas) às ? the Gk. is * ward
offj apparently a coiloquial use, cf. àzaAAárrew below
$ hetakes his metaphor from histale — ? supplying àraAAá£o

1 B: mss eqmíov moAvmo8Íev &r. ? Schweigh : mss uv4-
eTTS 3 E: mss mvpbs érl Ba8uojs * M(eineke)-Z : mss
&rp. éml TQ B émirva ai 5 Dind.-M-Z-Jae: mss $íAai kal
tayÜal ueAikapiBes ai KoÜdat $ Mus.-E : mss re 82$apvyes,
Te 18v $ap. (Knox ibetv ódáparyyes) ?* Knox : mss mvpiev T€
8 Schmidt: mss ceTeyvai BbcTa: ? Schmidt-E: mss xakà
kauckáBov "yAvicvov ó£os 19 Koenen-A/-Jac: mss sapayejuv
kaTvCapvoiba 11 E: mss écra5é, eboTabé e D mus
TiÓcuos ÜvyjoU 13 E]: mss ékeiÜüev O0epubr 00ev 14 p-
Kai.-E: mss vyAv$ls réruevov eb0U ém' abràs às bmoyasTpibas
15 B: mss Oiavekéos emapuve TeyuvTe u. K. TiV i6 "B. Tues
oUb0ty éAAetmOLLEV U E: mss óre vraAdLai 18 B.]/ : mss
ém.Kp. Éy. erikoU kal Aéyoi 19 JC, -M-D5-E : mss vávra and
Üpguv Tapémecai 0€ Üepuóv

353

VOL. III. AA

LYRA GRAECA

60 aT X&yyvov: émevra 6 víja Tis
6éXÓakos oikeriküs
M ^ A. unm 1 Nis N
kai v&ros éa jX0e 1 xav óa jus
kai putvvptyypara Oeppua-
x / [4
KaL kebaXatov 0Xov
- /, e $ ,
65 OLd&T TVXeEs é$O0v àmepkrev-
Ó*XoryaXakToTpódov ?
TVLKTüs épiov mapéOnkav,
? / »-:9 ,
eira, OGLÉQO' àkpoka-
, ^

Aia oxeXí6as Te uer avTOv
70 Xevkodopiwoxpoovs,

,
pUyXm "ykebaXxata, mó0as T€

Xvavnartóv T€ GeGtA-

, : 3 [i 0 ; 3.3f
duiediuio éjÜa T émevra

koymT 4 épicov T€ Kai Fai peii

ra00' Vrep euókpeos ? xop6à ryXvkta Ta

piEepubapvoryerijs :
àv 67) QuXéovr. cot:

Ed k3 ^ / , 10 vi
TOUT , 0 QiXoTÓs, «ov y àÓ9yv»
y 8 ^ »» ,
ec Üots ke? XayQa à. éreur
80 àXekTpvovov T€ veoocot,

, N ,

Ocepuá Te vroXXà xv6av

705 v apeBáXXero 7rep-

OLlkov re Qaccéov re,? *
Kai pa XakoT TUXYÉoV

S D: / * , $1 ^
S5 Gprev' ouocvtvya 6€ £avOóov v. érews)-

ev uéXt kai tyáXa cUj-

TakTOV TO Kel? rvpóv üras Tug

5 5 ,
7L€v éQao x. amaXov,
, ^ , , el 9 v"

KT7ryov éóápav. Ore Ó 10m

/ 5 ^ ^
90 — fpweTvos 79€ vroráTos
€g kopov 7jj.ev éraipou

-I

Q

354

"vw

PHILOXENUS SON OF ERYXIS

heart doth falter. "Then came hot the back, loin,
chitterlings, and what not, of a stall.fed porker,
and, boiled whole and split, the head of a thorough-
milk-fattened cosset kid? killed by strangling,? and
then with the whiteskin-faced sides their well-boiled
etceteras,* snouts, brains, pettitoes, and all the tit-
bits cooked with fennel. Next cutlets boiled or
roast of kid and lamb;? and to them the luscious raw
sausage, mixed o(ífspring of the same, such fare
indeed as the Gods love—aye, there's a dish you
would eat your fill of, sweet sir! And then chickens
and jugged hare, and piping dishes galore of par-
tridge and of pigeon, and with them soft-bosomed
loaves. And cheek by jowl with these came yellow
honey, and clotted cream so thick that any man
would say—and say it I did—it was tender cheese.
So now when we comrades had more than enough
both of victuals and of drink, the servants removed

1 the Gk. is * warblings, evidently the colloquial name for
part of a pig ? &mepkros shut-off, stall-fed (cf. Aesch.
&boepxTos), ebónXos well plied with milk — ? to keep the blood
in it * lit. limb-ends *? boiled and roast lamb are still
commonly served (as separate courses) in the same meal
in Greece

l1 Bi mss vórios eíAmóe ? Kai.-E: mss &repmevOmvos
&A ekroTpóQov 3 Dobr. (but xe$áAaia): mss p. kai kejaAol
aT050s TexvauaTi üvTes égiAQiouévov * E (following Knox's
suggestion to expel kpéa): mss kpéa ómrà &AA' — 9 B.E: mss
aÜvrepepuakapós $ B: mss yAvkbs vay Er». ?* E: écact
would give hiatus: or po$póves? 9$ B: mss kat
? transp. E: mss zepü. $ac. re x00. 35m 56 wapef. Oep. m0A.
19 Dind: mss kac 11 Schw : mss éz. fuev

355

AA2

LYRA GRAECA

Tjva pev éfasráeupor!
Ones, érevra, 06 sraióes
vimTp: é000av Kaà xeupav,

95 cuápgaci L(pwwopLkToLs
XoMepoÜaXrés DÓcp érreyyéovres

, el y , 3
T0OGOV 0cOV«TLS77 ÉXpyC,
» , N € ,
ekTpiuua, T€ Xagmpov «ékaaTQ-
6 és 4 OíO
giv6ovuQes ^ óioocav

100 kai wpijart ? àáuBpootoóua

kai a Teoávovs ioÜaXéas . . .

2

à
Ath. 14. 649 f émel 9$ kol ó KvOfjpios d$iXÓEevos év TQ Aetrvo

Bevrépev Tpame(Gv uvquovebov vToXAà kai T&V TjiV mapaxeiuuévoav
avóuagev, $épe koi ToUTGv &rouvmuorevo op.ev:
Tüs 9 06 07) srpocÜev uoXovcas
—- às " Avrrapavryeis? sropÜutóas
^ 5 m , » 9 ,
ToXAOv a'yaÜdQv rav eio oepov? ryeuovaas,
Tàs éd)pepo, kaXéovri Gevrépas!? rpamrétas,
, / /, 323 / ,
5 àÜávaro: 0é v1 AuaXÜetas képas*
t^ P , , 11 , 0 à "d
Tàis Ó. €v nécatcuv M. éykaLOpv-
0» uéya. xáppa. [9porots
Xev&Os jueXOs ryXaryepós,!?
AemTois àpüxvas évaMvyiíota t mrém Xots
/, 13 » 5 /,
10 cvykaXvn Tov !? ovv aic xv-
vas UT 0 Uu) karión «Tig
TOU «T07 paXoyevés AvrovT. àváryka 1?

! p: mss étemacipeov ? cf, Ath. 4. 156e; here this
citation ends, but ll. 92-102 are quoted by Ath. 9. 409e
35 D: mss Expn(ev * E: mss Aayumpà& civoovvoj ptor
mss xpiuaT 8 E sc. rpomé(as : for poA. * gone" cf. Od. 17.

190: mss rds "E $ as this word involves the only
resolved foot in the poem, it is perh. corrupt (Awavyeis ?)

356

PHILOXENUS SON OF ERYXIS

what was left, and then lads gave washing for the
hands, pouring on them, with orris-mingled soap,
soft warm water as plenty as any man wished, and
then gave each a damask linen napkin! and an
unguent ambrosia-sweet and a garland of fresh
leis... .*

3

Athenaeus Doctors at Dinner: And since Philoxenus of
Cythera, too, in his Panquet, speaking of * second tables (or
dessert) has mentioned many of the delicacies now lying
before us, let us quote his words :

The first tables now being gone;? they brought in
those bright and shining ferryboats with many good
things fraught, called by mortal men the second
tables, and by the immortal Gods the horn of
Amalthea ;* and in the midst thereof was builded a
great joy to man, that white milky marrow, to wit,
that hideth her face in a fine cobweb-like veil, for
shame lest we see she hath perforce left the goat-born

1 cf. Eust. 1887. 50 (* P. of Cythera) * here, where
the citation ends, followed a description of, or ref. to, the
pouring of the libation; the rest follows below 3 the
tops of the tables—one to every three guests—were movable
* the cornucopia or horn of plenty

9? M: msseicep. — !? B-E: mss é$quépiot x. viv (corr. of 8'?)
Tp. 1! mss gmatci 0. év uéc'aus 12? Kai: mss yAvkepós
13 Cas: ms -rov 14 (Cas, 15 E (ró suppl. E): mss

poXoyy. T. Aer&v ois àvdrykous

357

15

avóefauévaus

LYRA GRAECA

£npàv &v Énpais ! "ApuaTai-
OU ue ppirou ? Tayats*

TQ Ó Ovojw 7) ] &pvXos.] ?
xepai 0 -dp oUkL éméÜevro
-CT02» g TOpL0V ua Nepats

47 5

OTL KG

016Q Tie, à Zavoós kaXégvrt

20

25

30

35

40

, , ,
TpOYypaT, éTeLy éméveuuav

6

éykarakvakopuyes mebpvyuévov
zvpoj/3pouoXevkepefuwO-
axavOiGopukprr puaóv-
BpepaTosavravaukToy
Grut kapieía

c'TLYAàs " rapeytvero n
a'TaLTIOKOyX opas

[vs-—vv 7o T CeceXato-

SavÜemvmanga m vpscanzràs

9

Xotptris ) ? a6éa. 8. eo-
KÜKNOT oTród eT àvàpiua
Kai ueXirakTa, TeTV'ypev.
ddoÜova cacauóoorra
TUpaKivas T€ tyaXakTu-
katjeXLo vykarádoupros ?
26 14 duvXos zr XaÜQaviras: ?
cacauorvporayíi)!9 6é

kai tea eXavorrayi)
mAaTÜvero ud cacauómagTa
TépuaTA, KüT epéBuw6or
KVQ.K0A^yels 18 &raXais ÓáXXovres Qaus,!

l M: mss -ois

T»pia Ta? :

syllable
355

3 or

? M : mss maA:p. 3 78 M : mss 7ó:

clearly we want a beestings- pudding and another

mss xepoiv 9 énlÜcvro c7. p. Tày Detauévmv

PHILOXENUS SON OF ERYXIS

flock dry 'mid the dry honey-fountains of Aristaeus
—and men knew it as beestings-pudding.! And
the guests put no bridle on the ravening hands that
took all that was given; and the name thereof? is
the dessert of Zeus. For they dealt round deep-
mingled? with saffron, roast wheaten-oaten-samphire-
chickpease- thistletop * -petticake- sweetmeat-allmix
with its waxen rim ; row for row beside this? was
lentilpod-doughkned oil-boiled-yellow-parched piggi-
cake, sweet round fennel-cakes past number, and
honey-mixed sesame-biscuits ready all in profusion,
with a milk-and-honey-made cheesebread and a fine-
flour platterbread ; broadcast also were cheese-and-
sesame-made cakes and oil-boiled sesame-sprinkled
cakes, aye, and saffron-mingled chickpeas luxuriant

1 the last word is doubtful, but the ref. must be to the
skin on the surface of a beestings-pudding, which is made
by depriving the young of the first milk after yeaning ;
the ' fountains of Aristaeus,' patron-God of farmers, are the
goat's udders: this sort of passage doubtless has its con-
nexion with the after-dinner games of eikacía: or likenesses,
and pio: or riddles ? j.e. one might well call it 3 gy-
kara- the prepositions * said to be eaten still by Scotch
children ; or perh. groundsel (Zpryépov), classed as à wild
potherb by Theophr. H.P. 7. 7. 1 5 pl. because in slices
(ef. éréveiuav above), one to each guest

5 M : mss kaí 9$ E: mss ézel T! (éreir') éxéveiuev uE
(for irpia *cakes' cf. Anacr. 18 and for form of adj. kapióios
cf ."yacrpiBía (sc. nepís) above and .ém«rvuBioivos), arixas. adv.
like ày«ds: mss -epeBiv8oakav8ovuikpiro- (-uucrpiro-, -uumpirv-)
and x590oibgo7íxas $ M (correct the quantity in L. and
S.): mss catrivokoy xogavis ? suppl. Hart. 19 e]sewh.
called xoiptvas 1 M: mss aBeaóe kvkAwra ouojAwkra
1? Schw.—M : mss à$0óvas àcauóoAcekca 135 M—E as one
word 14 E: mss qs 15 M : mss mAaTavis 16 Schmidt:
mss gacauopvTorma'yn 7 M: mss mAarvvTo 18 M-Diehl :
ms$S3 kal repeBiv0oxvakoovugvyeis 19 E: mss év ópais

359

LYRA GRAECA

oiál T àpvyGaMBes «Te
Tüv paXa.coo otov ?
, / 3 , N
«CéTAT2^ TETO," Tpoxra T€ "TQLOLV
45 á8veOTn^ kdápv , aXXa, 0
ócca Tpéret zrapà Ootvav
5n
oXBióTrXovTov —éuev.7» ?
7071s Ó. érrepaívero kór-
/, , JS 49 N ^
Ta/Soí T€ Xoryou T. ézri kotvás,
50 — é&vÜa TL kauvov éXéy0n
Ko uror á0vppártov
«ai Üavuacav aUT émi T zvysav? . ..

i

Ath. 1l. 476 e [m. keparivov mornpicv]p kol 4iXóEevos 9 6
Ku8)pios év TQ émvypadouévo Aeimvo $natv:
TveTo vexTápeov TO ?
€v Xpva éaus bad ie
Ka. NOV Kepáav,? eBpéxorro
9 o) karà pukpóvi? . . .

5

Ibid. 487 a [z. ueraviérrpov] diXóEevos 56 ó Di0vpauomoibs év
TQ émvypaouéve Acirvo uerà Tb Gmovijao0ot Tàs xeipas mpomivev
TiwL $70v

1 E: mss g4, but eggs are out of place in a list of nuts
and seeds ? B (re suppl. M): mss uaXakóDAota, Gv 59g
* so Fiorillo, but the compd. is strangely formed if itf, comes

from &85ouai and not &5os: mss a9vibg VB $ Dalecamp :
mss x7mvov ' B, adding episc as om Pind. fr. 216: mss
émet! fjv. $ cf. Luc. Zermot. 60 9 M—E : mss re ÁAAwv
KepdT av 10 Hart: mss éfpexov 8€ k. p.

1 je, hairy pods ; the épégiv6os of Dioscorides is identified
by Sibthorp with cicer arietinwm, so called from the pod,

360

PHILOXENUS SON OF ERYXIS

in their tender fleeces,! sorb-apples, soft-skinned
almonds, the delicious walnuts the children? love to
munch—and all other the cates befitting à banquet
that cometh of prosperous wealth.

Ending now was the drinking and the cottabus
and the general talk? when some new and witty
quip was made which the company all marvelled at
and praised the maker . . . .

i

The Same [on eups made of horns] : Moreover Philoxenus
of Cythera says in the work entitled 7e Banquet :

The nectar-draught 4 was drunk in the golden
forepart of fine horns, nor slow were they in waxing
merry.?

o

Athenaeus Doctors at Dinner [on the cup of wine taken after
washing the hands at table]: Compare the dithyramb-writer
Philoxenus in the work entitled 7e Banquet, when pledging
someone after the washing of the hands:

which not only has a little horn at the end but is oblong and
covered with short hairs (Z7) ? or servants, 7.e. waiters
? prob. contrasted with individual performances (riddles,
recitations and the like) or the toasting of friends in the
immediate sequel which is now wholly or partly lost ; for a
riddle that perh. came here see above, p. 343 * prob. a
toast (see n. 3) 5 the frag. printed below as 19 of P. of
Cythera may belong to this Philoxenus

361

LYRA GRAECA

.. gU 06 ráyO
àBaryierov * eUOpocov
7 Mjpn peravem píóa 6éfau-
Tp) TL TOL Bpópuos
yávos Tó0€ 00vs émi Tépvriv
vávTas dye? . ..

QIAOZENOT TOT KTOHPIOT
Bíos

Suid. GiXofevos | EoXvr(Oov KvOspios Xvpukós.
éypavre AiQvpayuovs kÓ* TeXevrd O6 év 'Edéc o.
obros üpbponoDa curae TÓV Kv6rjpov i UT A6n-
vaiíov? »yopácÓn $70 'Aryec)Xov TivOS, kal vor.
ajToD érpád», «ai Müpumt éxaXeiro. | émauóeUn
66 uerà TOv Üávarov ' Ayea UXov, MeXavvmmíibov
Tpi&uévov avTOv TOU XvpikoU. KaXXiaparos €
'HpakXetas avTov npddoer llovruefjs. éypawre óé
ueXikàs l'eveaXoryíav T0v Ata«ióóv.

Marm. Par. 69 àd' o? GiXo£evos G0vpayufo-
rotos TeXevTá fios ér [[7, éry HADT, 4&pyorros
'A85vgouv IIv6éov.

Hesych. AoUXeva: TOv uovoikov QOuiXóÉevov,
, M ^ , , , 5 N N ,
évreLó7) 6oUXos éyeyyove. GOiXoEevos. | jv 06 TO yévos
Kv8Oj5ptos.

1 E, cf. Timoth. Pers. 73 (or &éBakx(a(rov»?): mss ekfakxia
? Mein: mss &rzavras ày. ? mss Aakebauportov

! the bumper is metaphorical, meaning the poem itself,
and the person addressed is the friend of. ll. 7, 16, 20, 24, 37
? cf. eUAvros, and Avríóss I. G. ii. 1566 3 424 5.cC. 4 re-

362

LIFE OF PHILOXENUS OF CYTHERA

Receive thou this dewy un-Bacchic after-washing
bumper; sure, Dionysus giveth this for a gentle joy
to lead all on to greater pleasure.

PHILOXENUS OF CYTHERA
LirE

Suidas Lexicon: Philoxenus :—Son of Eulytides;?
of Cythera, lyric poet; wrote twenty-four Diy-
rambs; died at Ephesus. When Cythera was en-
slaved by the Athenians? he was bought by a
certain Agesylus and brought up by him, and was
called Myrmex or the Ant.* He received his
education after the death of Agesylus, when he
became the property of the lyric poet Melanip-
pides.? According to Callistratus he belonged to
the city of Heraclea in Pontus. He wrote a
Genealogy: of the Aeacids in lyric verse.

Parian Chronicle : From the time when Philoxenus
the dithyramb-writer died at the age of 55, one
hundred and sixteen years, in the archonship of
Pytheas at Athens.$

Hesychius Glossary : Dulon:— The musician
Philoxenus, because he had been a slave. He was

by birth of Cythera.

ferring perh. to the intricate windings of his music, as Ar.
Thesm. 100 speaks of Agathon's 'ant-runs'; cf. Pherecr.
quoted p. 285 ? who died before 413 (see p. 931) * 380
B.C.: Diod. Sic. 14. 46 (p. 273) puts his floruit at 398

363

LYRA GRAECA

Dion. Hal. Comp. 131 R. oí gév oiv dápxaioi
jeXorotoi, Xéyo O0. 'AXkaióv Te kai Xamo,
piukpüs émotoüvro aTpooás: ÓocTe év OXiyois Tols
K«QMots oU TOXAoUS cicofyyov Tàs erafloAds,
éTqQOois T€ TávV éypOvro ÓX(ow* oi óc Trepi
Xrneixopór TE kai IIivóapov, pet Covg épyac ápevou
TÓS TrepuoGovs, eis T0XXÀ pérpa kai kdàXa Oé-
veuuav a)Tás, oUK &XXov TLvOs ?) Ts uera[goXifjs
€peTL. oL Gé ye GiÜvpagBorrotoi kal rovs TpOTTOUS
peréBaXXov, Acpíovs T€ kQl Dpvyíovs . kai Avotovs
év TQ avTÓ dapaTt Arotoüvres Kai Tüs peXobias
exa TOV, TOTÉ uev cvappoviovs TrotobvTes, TOTÉ
8€ Xpopaukds, ToTé O6 OarOvovs kai Tots
pvO ots kara TONNIV. doeuav éve£ova idtovres
OLeréAovv: ot ye 07) karà GiXoÉevov kai Tuuo0eov
kai TexéaTgv: émei srapá vye rois àpyatots rerany-
uévos ?jv 0 QGiÜ0pau Bos. 1) 0e met?) Xé£is ámaaav
&XevÜepíav éyei kal &Oeuav 7rotkLXXew rais. uera-
BoXaíis Tv e vvOeciv ómcos Bo)UXerat.

Plut. Mus. 30 [m. Ó.a.o Tp0$7)v TH .TÜs pov-
ciKYs] «ai "Apa ropárvrs. Ó cto LLicÓg prmpoveóet
QXo£évov kaí $9ouv TL eis Tovs kvkMiovs xopovus
jéNy eia véykaro.

Ibid. 31 ó-z: 86 "apà TS áryaryàs Kal TàS
pa8ijaets OLopÜcoc ts 7) raa pod) /eyverat, OfjXov
"ApiaóEevos émoíyjce. TÓV yàp karà TT)V abTo0
TNucLa $5ci TeXecía TQ OnBaíe cvuBtgvau véo
p&v óvr. padfyvai €v Tj kaAMoT povauet) kai
jaÜeiv àXXa. Te TOV eb8okiuo veo ial 67) «ai T
IIcó&pov, r& TE ALovuciov ToU O»Baíov kai TÀ
Aáympov kai rà llparívov kai TÀv XovmrOv OcoL

364

LIFE OF PHILOXENUS OF CYTHERA

Dionysius of Halicarnassus Literary Composition :
The older lyric poets, by which I mean Alcaeus
and Sappho, wrote in short stanzas; their few lines
admitted but few variations, and they used the
epode very sparingly. ^ Poets like Stesichorus and
Pindar, however, made their sentences longer and
distributed them among many metres and lines
simply from a desire for variety. The dithyramb-
writers went further. They varied the styles, using
Dorian, Phrygian, and Lydian in one and the same
poem; modulated the melodies, making them at
one time enharmonic, at another chromatic, and at
another diatonic; and persisted in doing what they
liked with the rhythms. This is true at least of
the school of Philoxenus, Timotheus and Telestes ;
with its earlier exponents the dithyramb was of
regular shape. Prose, on the other hand, enjoys
complete freedom to adorn its structure with all
the variations it chooses.

Plutarch On Music [on the decay of music]: The
comie poet Aristophanes mentions Philoxenus, say-
ing that he introduced lyric (solo-)songs into the
circular choruses.1

The Same: It is clear that improvement or the
reverse comes by way of the various schools and
systems, from a passage of Aristoxenus, where he
gives the following account of his contemporary
Telesias of Thebes. This man, as it happened, was
instructed in the best music and learnt the works of
the great composers, including Pindar, Dionysius the
Theban, Lamprus, Pratinas, and all the other lyric

! the citation which follows prob. belongs to Pherecrates'
description of Timotheus, see p. 285

365

LYRA GRAECA

TOV XvpikGv dvOpes éyévovro Trovwrai Kpovudrov
aya8ot- kai avXijoat 66 kaXós kal rep rà Xotmrá
uép) Tís cvpmácQs Taicas (cav Oa mov-
Ofjvav- TapaXXdtavra 06 TÜV Tfjs aki) qulav
OUTO c$o8pa c£amrarnfva: UTÓ TS cKQvikSs T€
kal TOLKLÜX)S jqoUcikfs, cs kaTradpovícau TOV
kaXQv ékeivov év ois àverpádn, và GOXoEévov 0€
kai 'Tuuo0£ov exu avOávetv, KaL TOUTOYV ajTÓv Tà
TOLKÜN GT UT kai Tela Tq ev avrois exovra
katvorouíav' opppgavrá T ÉmL TO Tr'OLely ex)
Kai 6LaTeipeju.evov àuoorépev TOV TpOTmOV, TOÜ
re llwóapetov xai €DiXo£evetov, uu) O0vvacOat
kaTopÜoüv év TQ OXoEeveto yévev. yeyevfjoCas '
aiTíav T1 €x mcai00s kaXNXLa Tv d'yoryyv.

Philod. Mws. 9. 18. 6 Kemke «ai rovs Ot0vpag-
Bucovs Gé rpoTovs ei Ttg ovykpívat, Tóv T€ Kará
Ilívoapov xai TOv KaTa DiXo£evov, pen áNnv
cope jo eaat T»V Oraopàv TOV ÉTL.ÓauvOUÉvOV
70v, róv 6€ avTOv eivat Tposrov.

Sch. Ar. Plut. 119. [épá m Aa] ... aig 0€
Ovyár)p 7j Tuudvópas, Jjris e£ "Ticedpaoy TÍs
XakeAías yv. TaUTqv 06 TÓ Dixo£évo TÓÀ o.8vpa.-
BorroLà OcÓmke ALoviatos [ £y XuceMa. TÜpavvos. :
eig Kópiv8ov ov 7M ev Gua DiXoEév. kal emri-
a"pos éket éyévero kai éduNiÓr vmó mrávrov kai
vepu[9oxros ?jv ératpis.

Diod. Sic. 15. 6 xarà 06 2v Xu4xeM(av Awovó-
ci0g 0 TÓv Xvpakocíev TÜpavvos ámoXeXvpuévos
TÀv Tpós Kapymnóovíovs mroXéuov moXXM)v eipy9vgv
Kai gxoMyv eiyev. O0 kai cowujuara "ypádeiw
UTecoT)caTO uerà TOXMs o70vOÓSs, kai TOUS ÉV

366

LIFE OF PHILOXENUS OF CYTHERA

poets who were good string-musicians. Not only
this, but he became an excellent player of the flute,
and also received an adequate general education. No
sooner, however, had he come to man's estate than
he fell so completely under the influence of the over-
elaborate popular music, as to despise the excellent
tradition in which he had been reared, and direct
himself to mastering the productions of Philoxenus
and Timotheus—and not all of them, but only the
most elaborate and innovating. He now began to
compose; but his experiments in both styles, the
Pindaric and the Philoxenean, left him unsuccessful
in the latter. Such was the influence of the ex-
cellent training of his early years.

Philodemus On» Music: lf we compare the dithy-
rambie styles of Pindar and Philoxenus we shall find
a great difference in the characters presented but
an identity of style.

Scholiast on Aristophanes Píwius [on the loves
of Lais]: . . . Lais was the daughter of Timandra,
who was of Hyecara in Sicily. Timandra was given
by the Sicilian tyrant Dionysius to Philoxenus the
dithyramb-writer, and accompanied him to Corinth,
where she became notorious, finding many lovers
and much fame as a courtesan.!

Diodorus of Sicily Historica! Library:? Turning
now to Sicily, we find the Syraeusan despot
Dionysius enjoying peace and tranquillity after the
anxieties of the Carthaginian War. He now set to
work with enthusiasm on the writing of poetry,

1 there is confusion hereabouts between the two courtesans
named Lais, and the latter part of this sentence may not
refer to P. ? ef. Eust. 1691. 32

367

LYRA GRAECA

TobTOLS O0Éav €yovras uereméumero kai T portu
avToUs cvvOtérpif)e kai TOv vrovyparov émiaTáras
kai OLopÜcrüs eiXev. vw O6 vobrTOv Oià Tàs
ebepryeaías rots 7rpós X&ptv Xóyyots uereopiCop.evos
éxavyáco TOXU |LXXov émri ois 7rovjpactr 1) TOUS
ey TrOXEJLO karcpÜopévois. TÓV O6 cuvóvTOV
QUT TOU)TÓV DuXoÉevos ó o 0vpapBorrotos,
uéyta Tov EXov atfíioua Ka Tà TÜ)V KaTQG evi TOÜ
iClov TowjpaTos, KaTa TÓ cvumógtov avamyvoa-
evrov TÓV TOÜ rUpávvou TOL poxenpóv
Üvrov emporijón vepi rv Toup TÍVA. KDLGLV
€XoU aTr0KpLvauevov 0 avro) zrappra abéa repov,
0 p€v TUpavvos Trpoc oras Tois »ÜOetci kai
carae áevos ÓTL à dOovov cBXaadiiumoe,
7 poa éra£e TOÍS Ur)péraus TapaXxpf)ua. aT áryeuv
eis Tàs Aarouías. T$) ó voTepaía TOV díAowv
TrapakaXoUvrov. c 'Uyrvapa. Oobvat TÓ O;Xo£évo,
OLaXXaryelg aUTÓ 7áMv TOUS a)TOUS "wapéXa[Bev
éwi TO cvpmOciov. po(jaívovros Oé ToU TÓTOU,
kai TáNwv ToU ALovvaíov kavycepgévov Trepi vÓÀv
iQíov Touuárov, KaL Tivas GcTLXOUS TÓV O0-
KOUVTOV emvrereüx Dau 7 poevenyicapévov, kai égre-
porGvros * IIotá Twá coL $aíverat TÓ TOUT
bmápxew ; ' AXXo ev ober eize, ToUs O' Um»péras
TO Atovvatov 7 poc kaXvea á uevos ékéNevaev abTOV
aTayaetv eis Tàs Xarouías. TÓTE uév obv Oià
TÜV eorpameMav TÓV Aóryav petó.ág as o ALovvctos
jveyke TTV appuaíav, ToÜ néXavros TÜV uépArtv
àp X vovros uer OXLyov 66 TrÓÀV yv piov áp

éxeívov kai TOÜ Buovvaiov Tr. p TOV EVO TV
dxatpov Tappycíav, o. QOXo£evos | émayyyetXaro
vapácotóv Tiva émawyyeMav. édw« yàp &u Ts
368

LIFE OF PHILOXENUS OF CYTHERA

summoning all the famous poets to his court, raising
them to positions of honour, and submitting his
exercises to their constant criticism. — The bene-
ficence he showed them led to flattery, and flattery
to conceit, till he prided himself far more upon his
poems than upon his success in the field. One of
his preceptors, the dithyramb-writer Philoxenus,
whose own poetical style secured him high con-
sideration, was asked one day at an after-dinner
recital of the despot's villainous poems to give the
author his opinion of them ; and his opinion proved
to be so candid that Dionysius took umbrage, and
soundly rating him for letting envy override truth,
commanded the attendants to consign him forthwith
to the stone-quarry. The next day, his friends
urging him to pardon the misdemeanour, he made
it up with the poet, and had dinner laid for
the same company. But as the evening wore on,
he was again boasting about his poems, quoting
what he considered really successful lines and ask-
ing, * What do you think of that?' ^ To which the
poet made no answer but to call the despot's
attendants and bid them hale him to the stone-
quarry! | Now, however, Dionysius smiled at his
wit and bore with his outspokenness—for laughter
turned the edge of his affront—and common friends
of both begging the despot to overlook the poet's
ill-timed candour, Philoxenus made his patron the

1 this became a proverb *of those who will not submit
to unworthy treatment, Suid. &meye rA. ; cf. Cic. Att. 4.
6. 2, Stob. 7I. 13. 16, App. Paroem. 9. 26

369

VOL. III. B B

LYRA GRAECA

aTokpigeos Tnpp5cew ua kai T)» àXyÜeiav kai
TV evOOKnciv TOU ALovvaiov. Kai ov OieNrevoOm:
TOÜ yàp Tvpávvov Tpoeveykaj.évov rwvàs a TÜyOUS
€yovras éXeetvà 7ráÜ9 kai époT5cavros *'lloiá
TiVA. $aíiverat TÀ ToUjuaTa ; B eimrev * Oikrpd, &uà
TÀS àuoiBoMas áuoórepa T»pisas. Ó uev yàp
AtovUcLos cüé£aro Tà okTpà €ivau. €Xeewà kai
cvpmraÜeías m Xypry, rà 66 rouabra eivat Trou]Tróv
árya8óv emvrebynaa, 00ev ds ÉmmQvekóra avTOv
ámeoex ero oL O. GXXoL Tv àNOwTv OLávoLav
éxüetd evo, máüv TO oikrpóv ávorevyuaTos icu
eipijaQau G.eXauBavov.

Luc. Adv. Indoct. 15. Xéyerat eyàp kai Atovvatov
, ^
Tpa'yQOLav TO0Leiv Da)Xes vvv kai "eXotos,
[2 N , , , , N , N
coTe TOv O.Xofevov moXXákis Ov abTyv ég Tvà$
/, ^ ^
XaTojuías éjmeoeiv o) Ovvápevov karéxyew TOV
/ /, ^
yéXcTa. oUTos ToLvvv TVÜOUuevos Os ÉwymyeXárat,
-N , FK Á , e^ 5, ^ » ^
TO ÁigXxvUXov "7rUELOV, eig 0 éketvos éypade, avv
TOXX) arov6f) KT)3 ápevos, kai abTOS Qero &vÓcos
écecÜat kai ,KKdT0 X08 €k TOÜ rvELov AX Gpucos
ev abTÓ éxetvo na kp v€Notórepa &ypadev, olov
cákeivo TO' * Ac píBtov Tjeev 7) Atovvatov vv."
kai 7r LXAV* ' Oipot yvvaika xps tumv amáeaa.
«ai TOÜTO 'yàp é« Tof) 7rvtov, Kai TO' * Abrots
"yàp épmaitovaiw oL jio pol Bporàv." robTo uev
"ye T pós ge pa eoa TóXas üv eipnuévov ein TÓ
Atovvcío, kai Ov avTO0 XxpucOcaL avToU £e
ékeivo TO TrUÉLOV.

Suid. DiXoEévov ypajáriov* émi TOV pa) T €L-
Üouévev éd' ois vapakaXoÜvrat, àXX dmaryo-

379

LIFE OF PHILOXENUS OF CYTHERA

unexpected promise that his answer should preserve
both the truth and Dionysius reputation. He was
true to his word. The despot's citations, it seems,
were descriptive of something pathetic, and in
answer to the request for his opinion Pbiloxenus
now replied, * Pitiable, and by this equivoque made
his promise good. For Dionysius took the word
* pitiable' in the sense of * pathetic, full of pathos,'
and knowing that pathos was one of the points of a
good poet, understood the criticism as praise, while
the company, accepting the real sense *utterly
pitiable, realised that the prince was guilty of a
genuine lapse.!

Lucian Against the Uncultured Man mho bought many
Books: lt is said that Dionysius wrote tragedy of a
sort so entirely feeble and ridiculous as to cause the
repeated consignment of Philoxenus to the stone-
quarry because he could not forbear to laugh at it.
Realising that he was being put to scorn, the despot
procured at great pains the writing-tablet which
had been used by Aeschylus, and flattered himself
that he would draw inspiration from it. But alas!
he wrote still worse—for instance, * Came Dionysius'
wife Doridium '; and, * Ah me! I've lost a service-
able wife, that too came from the writing-tablet ;
and again, *The fools that are among us mock
themselves. | Now this last citation Dionysius might
have applied pat to your case. Had he done so,
he would have deserved to have that writing-tablet
gilded for him.

Suidas Lexicon: The letter of Philoxenus :—A
saying of those who refuse to do what they are

! cf. the inscription quoted on p. 260

371
BB

LYRA GRAECA

pevóvTOv paXXov. O,Xófevos yàp 0 Kv6jptos
OLa vy Tüs eis Xvpakocas MÉorouías eis üs
€vémegev OT, Tàs TOÜ ALovvoiov TOÜ TUpávvov
Tpa'ycgOías ovk émmveu OiérpuBev év Tápavru Tíjs
SukeMas. perameumopevov 66 Atovvotov avTOv
kai à£iobvros. OLà My papuirov éAÓQeiv, XbuXóEevos
àvrvypárat uev obk éyvo, Xajgov óé BuBMov TÓ
oU a TOUXelov éypare póvov T0XXákis év avTÓ, ÓLà
TOUTOU Ó9XoGcas ÓTL TT]V FO pAKNTE ENS

Sch. Aristid. 46. 309 D a'. perà yàp TV $vynv
évzégTeLNev avTQ Aiovictos cporpemópnevos kai
éTa'yyeXXópevos cs TeUÉoTO TiVOS TÓV $rXav-
por cov. Ó 66 avremég retXev avTO ypdxras
Medi obros, &XXo Jte éxovcav oUOtv oU
06! moXAd: TobTO O6 éoQpavev 7) pad nuóvov:
O? uéXev nov TOv cv: ov $povri(e: oU OÉXo
eAgetv Tap cé. oijote, oXoXvtCe, yoyvte. —B.
DuXGEevos o 0 KvÓ?jptos Oa yov Tàs AaTopuías eis
üs QUTOV AuovÜa Los Ó Tpavvos evéBaXXev OUK
ézaivoUvra Tàs Tparyegóías avTOoU, OLérpiBev év
Kporow. 7Tfjs lraM(as. 7v0Oopevos 66 0 Atov?atos
zj£tov QUTOV és ZvpakoUgas rrapa-fevéa at. o 0€
T pos rabra XaBav Xáprm, KüL KüTÀ pécov
yedvras pAKpóv oU, Trepi TOÜTO peibov - kal 7epi
TOUTO Q€iLov2 TepLeX par rev Gore TÓ cxtipa
TOLOUTOV yyevéa aa, Ka TMjcas TOUTOV TÁVTQ TÓV
Xáprrv emreprev, éuóaívev OTt TOXXákts kal
pe áovog à pveir aA 00ev éri TÓÀV peyáos d pvov-
pevav cvapoupía TO QDiXoÉévov o2. — T2v ov
TouauvTXV àTa'yópevcw ? "Apuae(ógs éujaivov

l mss oióe, ob8éva ? mss pocay.

37?

LIFE OF PHILOXENUS OF CYTHERA

asked. It seems that after his escape from the
Syracusan stone-quarry to which he had been con-
signed for failing to praise the tragedies of the
tyrant Dionysius, Philoxenus of Cythera was sent
for by his late patron from Tarentum where he now
lived. He determined not to reply by ordinary
letter, but took a roll of paper and merely inscribed
in it a succession of O's, thus indicating that he
refused to return.!

Scholiast on Aristides:? (1) After his flight
Dionysius wrote to Philoxenus urging him to re-
turn and promising that he would find him a
generous host, But he replied by a letter which
contained nothing but a row of O's, by which he
meant, (You are nothing to me, I don't care,
I wont come to such as you. (Go weep, go
wail, go hang!'3—(2) Philoxenus of Cythera, after
making his escape from the stone-quarry to which
the despot Dionysius had committed him for re-
fusing to praise his tragedies, was living at Crotona
in ltaly, when Dionysius heard of it and requested
him to return to Syracuse. Whereupon he took
paper and wrote in the middle of the page a small
O, and a larger one round it, and a still larger one
round that—like this,* and when he had filled the
paper with concentric O's sent the paper off to
Dionysius as an emphatie and repeated *No.'
Hence the proverb *The O of Philoxenus' of
emphatie denials, It is such a denial that Aristides

! see below ? ef. Plut. Tranq. 12, Apostol. 6. 68,
Diogen. 8. 54, App. Paroem. 5. 16 3 the last word, as it
does not begin with O, is either corrupt or an explanation of
the previous word; in the latter case it may or may not be
an interpolation * a figure in the mss

373

LYRA GRAECA

duetv.—4àXNX' oijoteww ékeivos éXevÜépos vypádev
a)TQ' 7) yàp rToLaÜTT QTa'yOpevcis OpuoLtóv éoTLV
óo7rep àv ei otjote Trpos avTOv EXeyev.

Plut. Jit. Aer. Al. fin. . kai Tí 6f TOUTOUS Xéyetw,
ó7zrov OuXóoÉevos ó p.eXorrotós 7 àmouia XiuceXuct)
&Mjpov perao xov. kai iov kai olkov TOXMv
eimopíav &XovTos, 0pQv 6é TpvQv «ai j6vrábeav
xai àgovcíav émiyopiátovcav, * Mà rovs 0eo)s,
eim€v, éué raÜra Tá'yaÜà ojUx àTmoXei, ANN. éyo
raÜTa" kai karaMumov érépows vOv &Mipov éÉ£é-
7r Aevo ev.

Luc. Cal. 14à éwíore pévroi kai Ó kpoduevos
aUT0s bro BáXXet Tfjs O.a Bois Ts àdopy.ds, Kai
Tpóg TOV €ke(vov TpóTOV oL kaconjdeus avTol áppuo-
Couevoi eva ToXoDciv . . . v O6 morgrukós 7) Kal
émi rovTQ péya opov?, * Mà Ata" (oaci)* éxXeva-
cé cov QuXo£evos rà éry kai O.éovpe kal áperpa.
eizev avTà kai kakoavvÜOeza.

Ath. 8. 352 c fyXer5s 06 «0:47 TÓv ebrpa-
TéNlov XAóyev ToUrOV éÉyévero 0 Xrparóviukos
Xuucviíóov ToÜ TowroÜ, Os duoi "Edopos év
6evrépo Ilepoi. Ebpnuárov, báckov kai GiXoÉevov
Tüv KvOxpiov vepi rà Opoia. éorovOakévat.

Diog. Laert. 4. 6. 11 [v. 'ApkeouXáov] pos

,
" AXefiveióv ! ctva O.aXekTikóv, ux) Ovvápevov ka
, ^ ,
a£(av rÀv ' AXe£tvov vi Oupyrjcac0at, T0 DiXoEévo
1 Cas: mss 'AAe£tvov
! i.c. we are not to suppose that P. wrote the word efje

* Go hang !? ? the point turns on the double meaning of
&róAAvu to destroy and to lose

374

LIFE OF PHILOXENUS OF CYTHERA

makes here.—His words * Bade him go hang with
the utmost outspokenness ' are to be explained thus :
such a denial is as though he said to him, :Go
hang!'!

Plutareh Against Borroming: Why give such in-
stances when the lyrie poet Philoxenus, having been
assigned a farm in a Sicilian colony with plenty to
live on and an excellent house, exclaimed when he
perceived luxury, soft living, and want of refinement
to be general in that country, «Such things shall
not be my fate ; I'll leave them to theirs, ? and so
handed over the farm to another man and left the
district.

Lucian On Not Believing Slander too Readily:
Sometimes, however, the hearer. himself provides
the opportunity for the slander, and the ill-disposed
succeed by accommodating themselves to his
temperament . . . If he be poetically inclined and
prides himself upon it they exclaim, * By Zeus,
Philoxenus did scoff at your lines!'—pulled them
to pieces and said they were unmetrical and wrongly
constructed."

Athenaeus Doctors at Dinner: In respect of such
sallies of wit Stratonicus became an emulator of
the poet Simonides, if we may believe Ephorus
in the 2nd Book of his treatise On Inventions, where
moreover he declares that Philoxenus of Cythera
had a similar bent.

Diogenes Laertius [on Arcesilaüs]: To a disputant
of the school of Alexinus who was unable to give
a proper account of some argument of his master's,

3175

LYRA GRAECA

7 pos 70Us Tv6iakoUs mpax8ev eiT€V: ékeivos

yap. TÀ GUTOÜ KGKüs dSovras TOUTOUS karaXaBav

abs Tüs 7 MvÜovs avTÓOV cvvemáTngev. eim,
"Qs opeis Tà éuà 0rd ÜOeípere kàryo và buérepa.

App. Stob. F/.ii. 13. 86 [ée ràv "Apu revópov
Toguaptov kai Xorpárovs]: DiXóoEevos 0 0 p.ovaucós,
éporvÜcis Tí LáMicTa Guvepyet qaióeía, evme
* X póvos.

Ibid. Fl Mon. 260 [éxc Tv Anpokpirov,
"EmukT5TOV, kai érépov $rXocóodav, TOUJTÓV «ai
purópev)]: Qux oEevos Tapijvet 7r poTUAG TÓV (yovéov
TOUS 6.6a0 káXOUVS, ÓTL OL J4£V yoveis TOÜ Ev nóvov
oL 6€ OLOáa kaXot T0Ü ka Xs Cv alto yeyóvacuw.

Suid. 'Avrryevetógs: Xarópov GOmBaios pgov-
giK0s, GUX«60s CGiXofévov. obrogs vmoO5uact
MiXqgcíots mpTos éypr5caro. kal kpókerov €v
TQ KonacT9 mepiefaXXero (iuáriov. — é&ypawre
peN.

Arist. Pol. 8. 7. 1342b máca yàp Bakxela. kal
Tüca 7 TOLAUTT) kivnats páMa Ta TÓV bpyávev
égTiV év TOlS aU)Xois, TOV Ó dppoviQv év Toís
DpvyuaTi uéXeot Xa Sávet TabTa TÓ TrpÉT Ov, 0LOV
Ó o0 Upap Bos Oop.oXoryovpévos civat Goket D piyiov.
Kai TOUTOU T 0X4 rrapaóety paa Méryovatv oí
Tepi T)V GUvectv TaíTQV dXXa T€ kai Oi07L
QXo£evos éyxeupnjsas ev 7f) Aopiari arovijaaa
6i ópapBov TOUS Maovs! OUX olós T 3v, GXX.
bro TS $íceos avTÍjs eere ev eis Tv Opvyuo Ti
TV 7Trpocjkovacav àppovíav T &Xtv.

! Schneider: mss uófovs

376

LIFE OF PHILOXENUS OF CYTHERA

he told the story of Philoxenus and the brickmakers.
One day Philoxenus found the brickmakers singing
a song of his own badly, and immediately trampled
the bricks they were making underfoot, exclaiming,
* As you destroy things of mine, I destroy things of
yours.

Appendix to Stobaeus Anthology [from the T'racts
of Aristonymus and from Socrates]: The musician
Philoxenus, when asked what was the chief aid to
education, replied * Time.*

The Same [from the works of Democritus, Epic-
tetus, and other philosophers, poets and orators]:
Philoxenus advised us to honour our teachers more
than our parents, because our parents cause us to
live but our teachers to live well.

Suidas Lexicon: Antigeneides :—Son of Satyrus;
of Thebes; a musician; Philoxenus' singer to the
flute. He was the first to wear Milesian shoes;
and in the Heveller he wore a yellow cloak. He
wrote lyric poems.!

Aristotle JPoltzcs: All revelry and all similar
forms of excitement belong, of all instruments, to
the flute, and receive their proper expression, of
all the *modes, in the Phrygian . Thus the
Dithyramb appears to be admitted on all hands
to be a Phrygian form; and of this many proofs
are offered by competent authorities, notably
Philoxenus' failure to compose his Dithyramb Te
Mysians in the Dorian mode; for he was driven
by the nature of the case to fall back on the
appropriate mode, the Phrygian.

1 or wrote melodies ?

311

LYRA GRAECA

Ath. 8.341a [sg. óvrodaryov]: kai "Avbpok8ns
8 0 Kvtuenvos Covypádvos. QiX.yOvs àv, cs (e Tope
IoXépev, emi TocoUTOv T)XÜev j6vra8cías es KQL
ToUs Tepi Tv XkóXXav (x0ÓUe xarà omOovOQv
yp&vNrai. epi 66 GiXo£évov 700 KvOnptov à£v-
pajBoro.0 Máxyov ó kopoOtorrotos ráóe vypáder

10

20

3798

"YzepBoXi Xéyovau rov OiXóEcvov

TÓV o 0 vpáp Bav TÓV 7rOL)TT]V "yeyovévaa

oro áryov. eira TovAUTODG TOV Ovetv

ev raís Zvpakoócaus TOT GUTÓV áryopácaL

«ai ckevácavra karadoayetv 0Xov a xeoov

TX5v Tfjs kebaXijs. áXovra 0. v0 6vodrevrtas

KaKOs co0pa axetv: eira Ó. iarpoU TLvOS

7'pos GUTOV ela eX óvros, Óg $ajvos TáVV

opQv Pbepópievov. avTOv evmev: ' Et T coL

avoukovóumTóv éca7., OLaTiBov TGXU,

Qux óEev' ; ámoDavi) yàp ópas éBeoums ' —

kákelvos eme * TéXos € éxev rà TráVTQ, LOL,

iaTpé, oí, * kal 6e0uo9 irat máXau-

ToUs OtÜvpápuBovs cvv Ócots karaMuumrávo

7vOpeévovs kal rávras éareQavouévovs*

obs àvariOnpu rats épavroO avvrpodQots

Moícats, 'Adpoóírgv kai Awvvcoov émwvrp0-
TOUS.

Ta00 aí 6.a8 ka. 6.acadQ obo. 4M eTrei

Ó Tiuo8£ov Xdpov g XoXá Cet OUK Ed

oUK TÍS Nis, Xepetv 66 rropÓ uio 1 àvaBoá,

ael 6€ potpa VUXt0S, 7s KM euv Xpev,

Lv exav ázroT pex o TávTa TánavTob káTo

TOU TroUAUTTOÓ0S u.OL TO Ka TÁNOUT.OV aT. 0007€.

1 (as: mss mopÜpuóv

LIFE OF PHILOXENUS OF CYTHERA

Athenaeus Doctors at Dinner [on gourmets]:
According to Polemon, the painter Androcydes of
Cyzicus, who was a TS er of fish, carried his luxury
to such a pitch as to depict the fish swimming
around his Scylla with the most careful accuracy.
The love of fish shown by Philoxenus of Cythera,!
the dithyramb- writer, is | thus described by the comic
poet Machon :

Philoxenus, maker of dithyrambs,

Was, so men say, a mighty epicure.

He bought at Syracuse a cuttle-fish

Two eubits long, which, duly dressed for table,

He ate, save for the headpiece, well-nigh whole ;

Seized with an indigestion he fell sick ;

The doctor came, saw he was in sad case,

And cried, * If your estate needs ordering,

Order it quickly; at an hour past noon

Youll die. *All'sdone; says he, *all's long been

done.

My dithyrambs, praise to Heaven, I bequeath

Full-grown and wreathéd ;? them I do entrust ?

To the Muses, my milk-sisters, to be wards

Of Aphrodite and Dionysus; such

Is my last will and testament. But now

Since Charon from Timotheüs' Niobe

Suffers me not to tarry, but shouts *' Come,

The ferry waits! " * and dark imperious Fate

Calls me—9O, that I may trot off, my friends,

With all I have, give me my cuttle-ends!'

! there is confusion between the P.'s here and prob. also
in Machon, who flourished at Alexandria 300-260 s.c.
* double meaning, 'prize-winners' and *entitled to dine as

ephebi, i.e. over 18, cf, Anacr. 45 3 with secondary
meaning ' dedicate" * /if, has room

379

LYRA GRAECA

kàv 4XXo 66 uépei yat:

G.Xo£evós T00', os Xéyovo , 0 KvOisjpios

qU£aTo TpLOV o Xe TÓV Adpvyrya TXeov,
tUm os kacamivo | $nsív ÓTL 7r Xeia TOV Xxpóvov

kai TávÓÜ' àápa. uo, và Spopua0 ' 290vzv Tof.

N , N e ^ , N /,
kai ALoyévgs O6 0 kÜov eyuov T0MToÓa KaTa-
Gayev émiÜeuévos abTÓ Tí 00 MU aT éOave.
i 6€ ro0 OuXoÉévov kai 0 vapeO0s Xormarpos

Aéyov $noct

Lo c aís àp ev écaigiy LyOvov dopats
yàp eu p
707a, TOv AlTvys és uécov Xevaacov aov.

Polyb. 4. 20. 8 raóra ryàp müaív éa t yvoptyua
Ka cvvijey, ÓLoTL c xcov Tapà uovow '"ApkácL
7r páyrov uev oL mraióes € eK viyrmiov aóety ei£ovrau
karà VOLO Vs TOUS Ünvovs kai ma4üvas ois éca.o Tot
KaTÀà TÓ TáTpLa. TOUS €TrL.XcpLovs jjpeas kai OeovUs
vuvoU0cr gerà 66 Ta)0ra ToUs QDiXofévov xai
Tuuo0éov vouovs navOdvovres ToXM$ duXoripía
xopevovgL. kaT €viavTOV TOls ALovvctakois aUMyj-
TGÀs €v TOls Üed'rpots, oí uév vratOes TOUS 7raLO.kovs
a'yQvas oi 66 veavíakou roUs TÀV àvOpOv Xewyo-
Aévovs* Opoíos ye u9yV kai map OXov TOv jDíov
TàS$ OLa/yo'yüs* Tàs €év rais cvvovoiats oUX obTO
TroL00VTA4 OLà TÓV ÉvreucákTov ákpoauárov es Ov
avTOv àvà uépos a6eww ÀXXjXots poa TárTOVTEs.

Ath.14.643d cabra kai o KvOsjptos QiXoEevos:

^ , ^ , , , ^ 1] ^ ,
Ov ezrauvàv. Avrioádrvngs év TQ Tpvraryovio T?) Quai:

! Schweigh: mss àywyás
390

LIFE OF PHILOXENUS OF CYTHERA

And in another part he says:

Philoxenus, they say, he of Cythera

Wished that his throat had been three cubits
long,

To make his drinking last as long 's could be

And all his vietuals give him equal joy.

And Diogenes the Cynie died of an over-loaded
stomach ! from eating a cuttle-fish raw. Of
Philoxenus Sopater the parodist writes as follows:

For in between two feasts of fish he sits
And gazes straight into the side of Etna.?

Polybius Histories: lt is a matter of common
knowledge that the Arcadian system is almost
unique. In Arcadia the children are by law taught
first to sing the hymns and paeans with which each
community according to its custom honours the
heroes and Gods. Later they learn the 'nomes'
of Philoxenus and Timotheus and dance them in
keen competition every year for the Dionysiac flute-
players in the theatres, the boys competing in the
children's contests and the young men in what are
called the men's contests. ^ Nay, in like manner at
all times when they dine together they rather call
upon each member of the company for his song than
employ professional musicians to entertain them.

Athenaeus Doctors at Dinner: So far Philoxenus
of Cythera,? whom Antiphanes * in his Td Actor

! or of à gastric upset ? cf. Diog. Laert. 6. 2. 76 E dt
sits doing nothing till it is time for the next meal
3 this description of the poet is prob. correct for what
follows but not for the Zanquet which precedes 3 ce, 407—
333 B.C.

381

LYRA GRAECA

TOM) ty. éa Ti rávrov TOV 7rou]rOv Ovádopos
0 G.XoÉevos. "poricTa uév yàp óvópactv
LOLoLgL kal kasvoigu! xptfyrat TravTaX00*
émerra, Tà né» ueraoXats kai xpouagtv

5 ces €e0 kékcparau. | Üeós év àvÜpovrroiauv Tv
éketvos eios T1) àAnÜos uovounv:
oi vOv 0€ kuacoTXekTa kai kpyvaia kat
avOeavrórara uéXea peXéows óvónaauv
Tr0.0UG LV Éur Xékovres àXXóTQLa. uéXR.

OIAOZENOT TOT KTOHPIOT
AIOTPAMBON

1-11 KxAoy 1j l'aMireta ?

Ath.1.66 $awías 8é $us 071 $iAÓEevos ó KvÜfjpios ours,
mepwraÜ5s ó&v Tois Uiois, BevrvOv more mopà Aiwvvcie. &s elbev
ékelvp uiv gueyüMqv Tpi/yAav mapareÜeicav éavrQ 6 jukpáv,
&vaAaBiv aUT3 eis Tàs xeipas mpbs TO o)s Tpocveyke. mv0o-
uévov 82 ToU Atovuvgtov rivos €vekev TOUTO 7r0i€i, eizev ó GiAÓEevos
0T. 'ypáóbev Tiv loAdTeiav BobAovrÓ Tia Tap Ééxcivqs TÀV kurà
Nopéa mv0éc8av TÀ2v Bt iperwouévmv &mokexpta0at Dióri vecrépa
&Aoiq Oib uj mapakoAovÜeiv- Tijv 0€ TQ Aiovvoie TapareÜeioav
mpecBurépav obgav eibüévou mávra caos & BobXerai uaÜeiv. Tbv
oüV AiovictoV *yekácavra üàmocTeiAai aUTÉÀ TJ)y TpiyAav c3jv apa-
keutévqv abTQ. guveuéüve be TQ diXobéve TÓéws Ó Auovicios.
eme 8e Tiv épouévgv TaAdreiav éQwpd05 Oia$0eipev, eis vàs
Aarouias évefBAfÓg: év ais moiv Tv KÜkAwma cvuvéOmke TiV
ub80v eis Tb mepl abTbv *yevóuevov TáÜos, Tbv ytv Auiovüciov
KóxAwTa bTocTQcáuevos, rijv 0 abAm«rpíóa (TaAdTretav) TaAd-
TeiàV, éavTbv 8. ^O8voaéa.

l (Grot: mss koiwoici: Cas. ko) kowoisi, perh. rightly
? cf. Arist. Poet. 2 (Timoth. 10)

382

THE DITHYRAMBS OF PHILOXENUS

praises as follows : * The poet Philoxenus stands in a
class by himself. In the first place he uses new
words of his own everywhere. Secondly, how well
he mingles his music with changes of time and key !
He was a God among men ; for he knew what true
music is. As for the poets of to-day, setting other
men's tunes to their miserable words they write
ivy-wreathed, fountain-clear, flower-hovering, but
miserable, stuff.'

See also Plut. Alex. 8 (above, p. 272), Ael. N.A.
2. 11, Tz. ap. Cram. A.O. 3. 334, Sch. Theocr. 4. 31,
Paus. 1. 2. 3.

*

THE DITHYRAMBS OF PHILOXENUS OF
CYTHERA

1-11 Cvcrors og GaraATEA

Athenaeus Doctors at Dinner: According to Phaenias, the
poet Philoxenus of Cythera, who loved a good dinner, supping
one day with Dionysius and observing that the prince was
served with a large mullet and himself with a small one,
took his mullet up and put it to his ear. When Dionysius
asked why he did so, he replied that being engaged on his
Galatea he wanted his fish to give him news of Nereus
country, and that she had answered * I have been caught too
young to understand it; Dionysius mullet is older and can
give you all information. Whereupon the prince burst out
laughing and sent him his own fish. It seems that Philoxenus
was one of Dionysius! favourite bottle-companions, and when
he was caught one day in the arms of his patron's mistress
Galatea, he was committed to the stone-quarry. And it was
there that he composed the Cyclops story to fit to his own
history, modelling his Cyclops on Dionysius, his nymph
Galatea on Galatea the flute-player, and Odysseus on himself.

383

LYRA GRAECA

Ael. V.H. 129. 44 ai éy ZuceAa Ai8orouía: sepl às "EmtroAàs
jcav, c Ta3íov uáikos, TU €Üpos Bío mAéÜpev. d$cav 66 év avrais
TOU xpóvov TocoUrov DiwTpijavres üvÜpemoi &s kal *yeyyaumkevat
€xet kal maibomowjcai. kal riwes rv malÓwv ékelvov unbemámore
TÓAiv iOóvTres, Üüre és Zvpakoógas jov kal «elbov tmmovs
bre(evyuévovs Kai Boais éAavropévovs, Eoevyor BoGvres: Tb bé
KdAAiO TOV TÀV Ékei m nNaiay émóvvpov áv dix oEévoy. TOU To0ujTOU,
ev à $aci Diar p(Buy Tbv K)kAcwTa eipyácaro TGV ÉQvTOU ueAav
Tb kKdAAigTOV, Tap obey éuevos TÀ)v ék Wem Tucplav kal
karabikqy, &AA* év avT1 TÍ cvuoopa povcovpyay.

Hermesian. ap. Ath. 13. 998 e [xaráAoyos éperikar]: &ybpa
Óe Tbv Kv8épy&ev, óv é0péjavró T' 'A05vai? | Báxxov kal AwTo0
migTÓTOATOV Taubqv | Moógais maióevgáy Te? $i óEevov, ola
Tia X8els [5 Oprvyty * TaÜDTT7S 48e 81à T T0A€cs, | y:wóckeis àtova a.?
u.éyav má8ov bv TaAaTec(n? | avrois uXelois 01jkaD" bmb mpomóXois.?

Sch. Theocr. 6. 1 Aopís $61 0i& 73v ebBooiav Tdv Üpeuudá-
TGV Kal ToU yáAakros moAvrAjTOeiav cbv IloAvQmuov iBpócac0a:
iepóv Tapà T Afrvg l'aAaTeías: Pix dEevov 6e Tir KvÓfj piov, émi-
bnuficavra kal ui] Óvvàuevoy émivofjoni T] air(av, àyamAdoot ds
ó7: IIloA? uos 7jpa 7775 T'aAaTe(as.

Did. ad Dem. PAil xi Berl. Klass. texte i. p. 59 Tiv uv
ex Maxke8ovías ópuduevor oUTcwS eivai QiAokiyBvvoy, c0 bmtp TOU
uciCu moujcat TI) &pxTYV kararerpüa au -üy Tb CÓ TOiS TOÀc-
uío:s uaxóuevov'—. . mepl u&v yàp Tlv Me0dyns moXiopkíay TV
Deliby 0$0aXuby ébexómm ToienaT: mAwyeis, €v à Tà unxavópaTa

. é$eópa . . . Tà u&v y&p Tepl T&v abAmr&v ÓuoXoyeirai kal
T&pà Mapaje, DióTi GvvTeAoÜvTL povcikovs üy&vas aürQ pukpbv
émáve Tis cvu$opaás karà Da(uova avvéBm rbv KÜkAcma Távras
aUA7ca, "Avrvyevelny uiv Tbv $9iXobévov, Xpvoó'yovoy 8& Tbv
ZT52cixópov, Tiuó0eov B& Tbv OividBov.

! mss add ó éiAóEevos ? bv é0p. Herm: mss ávep.:
T ^A80. E: mss mi05va 3 Moícais Schn: mss -ca:
Taj0evcdv ve Kaib: mss -6évra * Couat: mss wopvyl
5 Dalecamp-Ruhnk: mss -x«e: kal o)cav $ Weston: mss
-7s '* E: mss mpóyovois

! Colophon? on his way to Ephesus where he died?
* the sea-nymph G. according to some versions of her story

384

THE DITHYRAMBS OF PHILOXENUS

Aelian JMiscellanies : The Sicilian stone-quarries were
situated near Epipolae, and measured two hundred yards
by sixty. Some of the prisoners they contained had been
there so long that they had married and got children within
them, and among these were not a few who having never set
eyes on à town were so amazed when they went into Syracuse
and saw teams of horses driven by shouting drivers that they
fled shrieking away. The best of the caves in the quarries
was known as that of the poet Philoxenus, being the quarters
in which he snapped his fingers at the punishment meted out

to him by Dionysius, and so effectively courted the Muse in
the midst of his sufferings as to compose in that p his
finest lyric poem Zhe Cyclops.

Hermesianax Leontium [from a catalogue of love- affairs]: :
And the man from Cythera, whom Athens nursed and bred
to be the Muses' most loyalsteward of Bacchus and the flute,
to wit Philoxenus, well thou knowest, Leontium, what was
the wound he suffered at Ortygia ere he passed through this
city,! for thou wottest of the great love wherewith Galatea
inspired e'en her sheep-attendants.?

Scholiast on Theocritus : According to Duris, Polyphemus
built a temple to Galatea on the side of Etna because of the
excellent pasturage and the abundant supply of milk, but
Philoxenus of Cythera, living there and so being unable to
give a fictitious reason like. that, made Polyphemus the
lover of Galatea.

Didymus on Demosthenes: The man who came from
Macedonia was so willing to take risks that in his desire to
extend his rule he became maimed for life in battle against
his enemies ' . lt was at the siege of Methoneé that
Philip lost ue right eye by an arrow while he was inspecting
the siege-engines. . . The story of the fluteplayer is
accepted, among other historians, by Marsyas. It seems
that at à musical competition held by Philip a short time
before the loss of his eye, all the competing fluteplayers, by
a strange coincidence, performed the Cyclops, Antigeneides
that of Philoxenus, Chrysogonus that of Stesichorus, and
Timotheus that of Oeniades.

was a shepherdess ; the sheep of /Àis G. were the courtiers,
including P., of her royallover Dionysius (see above)

385

VOL. III. cc

LYRA GRAECA

2
Ath. 15.699 d émel 5 évrav0a ToU Aó"yov éauév,

XZvuBaXoÜuat TL uéXos bur eis" Epora,

^ ^ J, yg.
-KaTà roy KvOT)pioy To:qTT)v.

39,4

Ar. Plut. 290 KAPIQN. kal uv éyào BovAficouat ÜperraveAo
Tóv KUkAwma | piobpevos Kal Toiv moboiv &0l mapevcaAebav |
nas iyeiw. | &AA' ela Tékea Üauiv! éravaBoavres ! BNnxépevot T€
mpoBariev | airy&y. 7€ kiwaBpévrev uéXm | €rec0 àneieAmnuévoc
Tpá'yoi 0" &kparrieiaOe.

Sch. ad loc. (a) 0psrraveAb cbv KükAwma . . . roUTO Bt ék
KókAcTos diAoLévov éoT( memo(Qqke *yàp obTros Tbv KükAwTA
kiÜaptCovra . . . B&ixgvpei 6€ diAÓEevov rbv Tparyikóv, bs. eiatyyaye
KiBapi(ovra róy IloAód quov. 55€

ÜperraveXó
T0:bv uéAos kal kpovudr.Óv égTv. TO 0€
, , / 9 ^
&XX eia Tékea Üayív' érravaBodovres

ek ToU KÜkAcTOs PiAoEévov égTí. siXóEevov TÜV D.8vpau Booty
iac pei, 9s ypaie rv € Spera TOU KÜkAemos Tbv érl 71 'aAaeía-
eira kiÜdpas 7jxov pupiobuevos ev Tj cvyvypáppart, ToUTÓ dni T)
Püua ÜperraveAó. éxei "yàp eiad'yei rbv. KÜkAcra kiÜapiCovra kal
épeüt(ovra T3jv TaAdTeiay.—(8') ó diXÓEevos ó DiüvpauBomoibs év
ZukeA(a Tv mapà Aiovugiqg. Aéyovgi 8€ 0r. oTt TaAareía mivl
T&AAGK(ÜD. Aiorugtov mpocéBoAe: kal ua0ív A'ovócios ébdpirev
abTbv eis AaToygiav. dwycov 9€ éxei0ev 7A0ev eis Tà Ópm TÀV
Kv0fpov kal ékei Ópaua rjj» TlaAaTe(ay émoíQsev, éy à eiod]veryke:
Tóv K/xAwma épdGvra Tis laAaTe(as, roUTo Ó€ aivvrTÓuevos eis
Aiovógiov: ü&me(kace "yàp abrbv TQ KÜkAwmi, émel kal abTbs ó
Auovógios oUx w£voOpker.

1 cf, 6. 271 b, Paroem. Gr. 2. 453, Plat. Symp. 185 c, Dion.
Hal. Comp. 1.6 ? cf, Suid. 6perraveAó, Ael. V.H. 12. 44

396

THE DITHYRAMBS OF PHILOXENUS
91

Athenaeus Doctors a6 Dinner: Now that our conversation
has reached this point,

A song will I contribute to my love of you,

in the words of the poet of Cythera.

9,4?

Aristophanes P/utus: CaRioN: Yes, lll lead you with
the Cyclops! ting.a-ling and a criss-eross swing of the legs
like this. Come up, my little ones, come, with cries multi-
tudinous, chanting the bleats of sheep and malodorous goats,
all rampant and gay, and you shall break your fast like
he-goats.

Scholiast on the passage : (1) * The Cyclops' ting-a-ling:...'
this comes from the Cyclops of Philoxenus, who makes the
Cyclops play the lyre . . . Heis parodying Philoxenus the
tragedy-writer, who introduced Polyphemus playing the lyre.
The word

ting-a-ling

is a sort of musieal phrase and is instrumental rather than
vocal The words

Come up, my little ones, come, with cries multi-
tudinous

are from the Cyclops of Philoxenus. Philoxenus is parodied,
the dithyramb-writer who wrote about the love of the
Cyclops for Galatea; and he imitates the sound of the
lyre in his book with the word 6perraveAó or ting-a-ling.
For he introduces the Cyclops playing the lyre in order to
win Galatea's affection.—(2) Philoxenus the dithyramb-
writer was with Dionysius in Sicily. It is said that he once
seduced a woman called Galatea who was Dionysius! mistress,
and when he learnt of it Dionysius consigned him to the
stone-quarry. Escaping thence he retired to the highlands
of Cythera and there composed a drama called Galatea, in
which he made the Cyclops Galatea's lover, thus hinting at
Dionysius, whom he likened to the Cyclops, because Dionysius'
sight, like his, was not of the best.

387
cc2

LYRA GRAECA

5

Ar. Plut. 996 XOPOZ. 1ueis bé y a0 (nrífjmoyev 0perravexó
Tbv KükAwTa | BAnxóyevoi, c€ rovrovl mwavra. karaXaBóvres |

, » , , 3.598 ,
T»jpav €xovra Xáxava T' d&'ypua 6pocepá

kpauraAGvra | 3ryovjevov ois mpoBariois, | eik5j 0€ karabapÜóvra
mov | uéyav AaBóvres tjuuévov a kia kov ékrvóAdaat,

Sch. ad loc. aüjpav Éxovra: (a') $iXotévov ésTl mapmwyuévov
kal ToUTo Tb fmqróv . . . (B8') évrav0& ó cowmrhs mavyvieDds
éripépei rà ToU diXoEÉvov eimóvros mf)pav Baará(ew rbv KéxAcma
kal Adxava écÓiew. oUTc '*yàp memoínke Tv ToU KUkAwTOS
bmrokpiT Tv eis Ty 0 kv3yv eicaryóuevov. €uvfjo0n 86 rs Tv$A news,
&s olas €v TQ Tol)RATIE . . .

6

Sch. Theocr. 11. 1 . . . xal diAÓ£evos Tbv KókAwma Troie
mapajuvÜobuevov éavrbv éml Td Tjjs laAaTe(as peri kal évreAAó-
pevov Tois ÓeAQigi» ümwSs &Ta'yyelíXwcoiv abri, ri rais Mobgaus
Tbv Épwra ükeiTau.

Plut. Q. Conv. 1. 5 é(qreiro mapà Xoccíg Ümov kal riv
KükAwTa

povcats ebovois (oOat

$10) Tbv Épera diXÓEcvos.

Diogen. 7. 82
^ V ,
TÜp érri Oa Xóv éXO 0v

3 * ^ , , 5 ^ /, [ ,
ézl TÀY TaXÉwS *yivouévay: àmrb ToU KuxAwrmOS 7) ueradop3.

8

Ath. 13. 564e [m. £peros] ó 5e ToU Kunpiov diXoEévov
KükAw], épàv Ts laAareías kal émauyvQv abris TD KdAAOS,

388

THE DITHYRAMBS OF PHILOXENUS
5

Aristophanes P/ufus (continued): CmHomRus: But bleating
the Cyclops' ting-a-ling, we will find you, my friend, keeping
your sheep all dirty and drunken

with a scrip full of dewy wild potherbs,
and when you've just dropped off to sleep well take a great
burning skewer and try to put your eyes out.

Scholiast on the passage : * With a scrip ' :—(1) This phrase
also comes from Philoxenus; (2) here the poet playfully
attacks Philoxenus' poem where he makes the Cyclops carry
a scrip or wallet and eat potherbs. For that is how he
dresses the man who aets the Cyclops. And Aristophanes
mentions the blinding, because it is found in the work of
Philoxenus . .

6

Scholiast on Theocritus: And Philoxenus makes the
Cyclops console himself for his love of Galatea and order the
dolphins to take word to her that he is assuaging the pain of
love with the Muses.

Plutarch Dinner-table Problems: Sossius was asked in what
passage Philoxenus says that the Cyclops

tries to heal with the tuneful Muses
the pains of love.!
T
Diogenian Proverbs :
the wood took fire ;

a saying used of things that take place rapidly; the
metaphor comes from the Cyclops.

82
Athenaeus Doctors at Dinner [on love]: The Cyclops of
Philoxenus of Cythera, in love with Galatea and praising

1 cf, Philod. Mus. 80. 15. 9 K ? cf. Eust. 1558. 15
389

LYRA GRAECA

Tpouavrevóuevos T3» TUQAwGiV TüvTG uàAÀoy abTís emauvet 7) TV
ó$j0aAuGy uvmuovevet, Aévyov be
à KG XXum poo ere
, /,
xypvceoBoarpvye l'aXaáreia
, 0 , 1 'E ,
xapuvroóove, &aàXos* . Eporov

9
Zenob. 5. 45
oic p. 0 Gatu.ov TépaTL ovykaOeip£Eev:
€
ézl r&y buvcavaa xeroUvrov éri ru Bvo xepei mpdryuari Aéyerai 3j
mapouuía. | KOkAci *yáp éco i 6püja diXoEÉvov ToU moimro), ev 9 ó
'OBvecevs mepi xeÜcls TG ToU KÜkAwros omTAaio Aéyev Ole kTÀ.

10
Suid.
» , ,
&Üvcas: àvriÜvag
ToUTo Tapà PiAoEévg ó KÜOkAc Aéyei mpbs Tbv "Obvocéa. àme-
Béxovro? »yàp Tb *ÉvOc Dc mÜp kfjavres é0bcapev' (Od. 9. 231)
capi TQ moin eipja0ai él TQv &pv&v, obxXl 0€ 70 émeÜviudeaguev?
voeia 0a.
Sch. 71. 9. 219 3 8urA$ 0r: 00cat ov cáta,, ós ó TiuóOeos
bméAaBev kal deiXóEevos, óuoíes Tij T"uerépa cvvm0ela, àAAà
0vyi&c oi, kal 0ri ÜvAàs ràs émiÜvouévas üàrapxás.

11

Synes. Ep. 191 "Avacracíe: 'Obvocevs Émei0e IIoA$$muov
biapeiva. abrbv ék ToU aTqAaíov: 'Tóms '*yáp eipi kal eis kaupbv

1 Eust. omits FL'a«A. (so Wil.) 0dXos B: mss kdAAos
? mss àmekDéxovrai 3 B-E: mss àme0ícaucv

! cf, Diogen. 7. 19, Apostol. 12. 52, Ars. 379 * ref, to
390

THE DITHYRAMBS OF PHILOXENUS

her beauty, foresees his blinding and takes great care to
praise her for everything except her eyes, thus :

O Galatea of the lovely face, of the golden hair,
of the delightful voice, scion of the Loves

91
Zenobius Proverbs :
With what a portent hath Heaven imprisoned
me!?
The proverb is used of those who are much perturbed at
some unpleasant event. The Cyclops is a drama of the poet

Philoxenus in which these words are used by Odysseus when
he is shut into the Cyclops' cave.

10?
Suidas Lexicon :

You sacrificed others; you shall be sacrificed
yourself.

This is said by the Cyclops to Odysseus in Philoxenus.
It seems thàt they took Homer's words *then we kindled
fire and sacrificed! to be said of the lambs and not to mean
merely 'to offer firstlings.'

Scholiast on the Z7iad: The mark is because 6)ca: 'to
sacrifice" is not cóaà£a: *to immolate' as Timotheus and
Philoxenus took it in our present usual sense, but *to make
offering' simply, and because by 6v;3Aa( are meant the
offered firstlings.

in
Synesius Letters 121 : To Anastasius : Odysseus was trying
to persuade Polyphemus to let him out of the cave—* For a

the size of the stone at the mouth of the cave 3 cf. Paroem.
Gr. App. 2. 10, Zon. 625 * it is thought likely that this
letter is based ultimately on Philoxenus' Cyclops

391

LYRA GRAECA

&y goi mapeimy oUk evTrVvXoUvTi Tà eis TU" ÜaAdTTiov € Epiat &AA'
éyó To: kal er ebàs olóa. kal karabéspuovs kal € éporikàs karaváykas,
ais oUk eiküs üvriG Xeiv ov0e mpbs Bpaxv Tiv laAdTeiav. uóvov
brócTTQÓ. cU Tijv 0bpav &morivijcoi (uàaAXo0v 86 ry Ovpebv ToUTov-
épol utv *yàp kal àkper)ptov elvai $aíverai), éyó 5€ émavfjkw aoi
0arTov 5j Aóyyos Tj]v maiba karep'yyacduevos: TÍ Aéyom kaTepyyaaá-
uevos; abT3v ékeíymv üroQavà coi: Beüpo moAAats fü. Et yevouévmv
&yá'yuuov: kai Defoeraí cov kal àvriBoAfjer gb 5^ àkkidj kol
kareipovebg y. üTap uerato ué Ti kal Toi0VTOV COpale, uj] TÀv
Kwbicv ó vypácos &751js yévmraa kópm rpvódoy kal Aovouévm Ts
"iépas TOoÀAÀdkis" kaAbv oDV ei mdVTQ ei&erí,as, ékropfjreiás T€
Kal éxmAvveis kal év6vuda eias TÓ Donde oy éri i KAAAt0v, el kal
a Tedávovs mapackevág auo KiTTOU T€ kal uíAakos, ots cavróv Te kal
TÀ TOiLKÀ &vo fy cuo" &AAà TÍ OixTpíBeis ; ovk eyxeipeis jon T
0ipa : pis ojv raUTa Óó IloAv$muos eEexáyxaaé Te 0cov éebvyaTo
péywrTov kal TO xeipe ékpórgoe: kal ó utv "Obvacevs dero abT)v
ómbó xapuovzs ovk Éxeiw OTi éavTQ xpfgawvrOo kaTreAmigavTa TV
TOi01KGV mepiég ea 6aa. ó 5é bmo'yeveiiaas avróv, ^n Obr. Épn,
"Bpiuiraov &vÓpáimioy €owxas elvai kal éykararerpipuéyoy ev
mpáyuagw &AXo uévroi i TOÍk1AAe* évOévBe yàp oUK &mobpáceis."
ó uev oiv 'Obvscevs (30ueiro "yàp ÜvTws) €ueAAev üpa «77s
mayovpyías óvícec0a. | gt 0é, KókAwma tv Ovra T TOÀUj.
ZXícvoov 8€ rois éyxeiptjuaci, 8Í«n uersjA0e kal vóuos xaBeipEev,!
Qv ui] ToTe GU kaTU'yeAdcetas. ei 6€ 8ei mávT os Umepéxeww ve GV
vóucv, &AAà gu Cyerye elpv Ó mapaADev abToUS kal ràs Opas
karappmyVis ToU ézi rois bec uóóraus oikijuaTOS. . . .

12 Xpos (1)

Hesych. uecabxeves: "ApwaroQávgs $mot* * pecavxévas vékvas
&ckoUs. ? Oià ToU pu? 'ypamwTéov ueca)xeves Ori uégcov abxéva
E ^ / & , ! ^4 ' x ,
&ckoU Tié(eu 0 mepieBáAANovro aXoiwíov. Tapq0ei* 5€ Tà £v

/ , 5 x ' ^ ^ / ,
P$iAoLévov Zb)pg.? évioi Be 0ià ToU O "ypá$ovgi Oecabxeves kol
(Bvaabxeves» 5 ov kaAGs.

1 efr. 9 ? Dobr: ms &eórovs ? Dobr: ms c
* Dobr.-B: ms abroU mTe(e? mwapeBáAAovro Tb GX. Tpaycbet

5 B sugg. Zarbpo $ B, cf. Poll. 2. 136, Xenarch. ap. Ath.
2. 63f.

392

THE DITHYRAMBS OF PHILOXENUS

wizard am I, who may prove a welcome aid to thee in thy so
unsuccessful sea love-making. I know incantations and
binding charms and. philtres which Galatea can hardly
withstand even for a little while. Only do thou engage to
move the door aside— or rather this doorstone, which seemeth
to mea very promontory—and I will subdue the maid and
rejoin thee quicker than the saying of it. Subdue? nay, I
will show thee herself lured hither by many a charm ; and
she shall be thy suppliant, and thou shalt play coy dissembler.
Yet this much giveth me thought, lest the smell of the goat
in the fleeces disturb a maid that lives softly and washeth
herself many times à day. It were well then that thou
shouldst both put all in order and sweep and wash and
fumigate thy cbamber, and better still if thou preparedst
crowns of ivy and woodbine to crown thyself and thy love
withal O why tarriest thou? puttest thou not thy hand
een nowtothe door?' Atthis Polyphemus burst out laugh-
ing his very loudest and elapped his hands together; and
Odysseus thought he was in transports of joy at the expecta-
tion that his love should be his. But Polyphemus only
chucked him under the chin and said * Noman, thou seem'st
to be a mighty shrewd manikin and well versed in the affairs
of life ; but now thou must fain broider thee a different robe,
for from this place thou shalt not escape. Odysseus, who
was truly being wronged, was in the event, we know, to get
the advantage in knavery. But you, who are a Cyclops in
strength and a Sisyphus in attempt, are caught by Justice
and held fast by Law, both of which you perhaps despise.
Yet if you must overcome the laws altogether, I only hope I
may not be the one to undo them and break down the door
of the prisoner's hold . . .

12! Tux Svniaw (?)

Hesychius Glossary: ueca)óxeves * Mid-necked" :—Aristo-
phanes says * wineskins, those mid-necked corpses. It is to
be written so with the letter u, ueca?xeves, because the cord
tied round it squeezes the neck of the wineskin in the middle.
He is parodying the phrases of Philoxenus in the Syrian.
Some authorities, however, write it with the 8, 8ecajxeves
'tie-necked' and also -—in the form fvca?xeves 'bung-
necked?-, but incorrectly.

1 of. E.M. 258. 29
393

LYRA GRAECA

13? "Yuévawos
Ath. 1l. 5 e [m. óyo$ayías]: 7à 5' avrà kal mepl oU KuOmplov
PiAobévov ícTopoUc: . . KAéapxos Bé $mo: diXÓEevov TpoAovó-
uevov év 75 TaTpÍ0:. kal ÉAXais TÓAegi TepiépxeoÓUai TàS oikías
&coXovÜoDvrcv avTQ ma(bwv epóvrev éXatov oivov *yápov 0£os kal
&AXa 5B)cuaTa' Émevra eigióvra eis Tàs àAXorpías oiklas Tà
éjóueva vois üAAo G&pr)ew éufgdAMovra &v éoTl xpeía, xà0
olrces eis éavrby kbyavra eiwxeic0ai. — ovTos eis "Eóecov kara-
TAejcas eópáy T2]v OUyomáAiba kévqv émU8ero TÀ]v airíav: kal
pa8bv DT: Ty «is 'yáuovs cvvqyópacTat Xovcáuevos apr
ÉkA9TOs s Tby víudiov. Kol uerà TO Üevmvov ícas buévaiov oU

1 àpxí
, ^ ,
l'aue, 0eov Xauwmporae

müpTras éjvxayáyncev: fv Bi Si80vpauBomoiós. kal ó vUudios
* diAÓEevye? elme, * kal abpiov &be Beunviaeis? — kal ó. diAÓEevos
**Ay yov! £j | uj To Tis.

14
Ibid. 2. 35 d [m. otvov] ó 8€ Kv0fjpios diXÓEevos Aéyevc

, , -* ,
evpevras otvos Trajeovos

15

Antig. Car. Hist. Mir. 197 oí AcA ool 6€ Aéyovaiw OTi €v Tj
Iapvács karà Tivas xpóvovs ró Kcpük:ov $aívea Gai xpvaocibés,
5:10 kal rbv diXÓEevov ov8els àv eikovoAovyeiv etmoi Aéyov60" olTws-

avTOL yàp 0L Iapvacc o0
xypvcopóóov Nvudéov eloo 0aXáuov!

1 E: mss xpvgopópev N. e. 0uAdgev: Wil. xpvcopóev
vvudoalev eíaw 0nAduev

394

THE DITHYRAMBS OF PHILOXENUS

13! ErirTHALAMY

Athenaeus Joctors aí Dinner [on gluttony]: The same
story? is told of Philoxenus of Cythera . . . According to
Clearchus, whether at home or abroad Philoxenus used to
take a bath and then visit other people's houses accompanied
by slaves carrying oil, wine, caviare, vinegar and other kinds
of seasoning, dress with the required seasoning whatever was
cooking for the owners, and then sink down exhausted and
make a good meal on the spot. It was Philoxenus who on
his arrival at Ephesus found the fishmonger's empty, and
being informed, when he asked the reason, that all the fish
had been bought up for a wedding, took a bath and went
uninvited to the bridegroom's. When supper was over he
sang—he was a dithyramb-writer—a wedding-song, that
which begins

O Marriage, most famous of Gods,

and captivated all hearts. "When the bridegroom said * You
must sup here to-morrow too, Philoxenus, he rejoined *I
will, if the good things aren't sold meanwhile.

143
The Same [on wine]: Compare Philoxenus of Cythera :

fair-lowing musical wine

15

Antigonus of Carystus Marvels : According to the Delphi-
ans, at certain times the Corycian cave on Mount Parnassus
shines like gold. And so we must not suppose Philoxenus
to be speaking metaphorically when he says:

They themselves over Parnassus into the gold-
roofed chamber of the Nymphs . . .

! this and other lyrics of various types may have formed
an appendix to the Di/Ayrambs ? see on Philox. Eryx.
p. 946 3 cf. Eust. 1770. 9

395

LYRA GRAECA

16
Ath. 10. 446a [m. otvov] ó abrós $«oiwv "Avripávgs €v 7$
Tpavuaría* *. . . mapabiBov 0" é£5s éuol | rbv
dpkeat^yvLov

Gs éoaci Evpwrí(óns. | -B. Ebpwmíbms *yàp ToUT tóackev; /(—4.
&AA& TÍs ; | -B. diAdEevos byymovÉev. —A. oU0&v 0:adépei, | à* TÀv*

€AÉyxets u^ €éveka gvAAaBfs pis.

17

Theophr. de Ventiís 38 [m. Zed$pov]: vvei 8' éviaxoU utv
xeuuépios, ü0ev kal ó mowris Dvca? mpoam'yópevoev, éviaxoU Bt
uerpíes kal uaAakdas, 8:0 kal PiAÓEevos

aOetav

^ , M /,
avTOU TEeTO0l]k€ T1]v TVOTV.

18

Plin. ZJ.N. 37. 31 Phaethontis fulmine icti sorores luctu
mutatas in arbores populos lacrimis electrum omnibus annis
fundere iuxta Eridanum amnem, quem Padum vocamus, et
electrum appellatum, quoniam $sol vocitatus sit Elector,
plurimi poetae dixere, primique, ut arbitror, Aeschylus,
Philoxenus, Euripides, Satyrus, Nicander.

19

Ar. Nub. 335 ZTPEVIAAHZ xal ZQKPATHZ' ZT. rabT üp
émoíovy bypüv NeóoeAav aTperratyAay bdiov óppdv, | TAok&uovs e
ékaTo"ykebáAa Tv$à Tprucawobgas re ÓvéAXas, | elr' àcpías, Giepds,
yaulovs oievovs àepovnxeis, | óuBpovs 0" óüdTwv Üpocepav NeoeAar:
eir! àvr' avrÀv karémiwov | kecrpàv Teuáxm ueyaküv àyaÜ0àv xpéa
T. ÓpvíOeia kiXmAàv.

! there may be some hidden joke here besides the
exaggeration

396

THE DITHYRAMBS OF PHILOXENUS

16
Athenaeus Doctors at Dinner [on wine]: The same
Antiphanes says in the JPounded Soldier: * . . . hand

over to me next
the aider of limbs

as Euripides called it.—7. Euripides called it that?— 4.
Well then, who?—JZ. Philoxenus, of course.— 4. No matter,
my good man ; you're quibbling over a single syllable. !

17

Theophrastus Oz Winds [on the Zephyr or S. W. wind]: It
is sometimes a stormwind, hence Homer calls it àvcafs or
*ill-blowing' ; sometimes on the other hand it is moderate
and mild, hence Philoxenus has spoken of its breath as

sweet.

18

Pliny Natural History: . After Phaethon was struck by
lightning, his sisters were changed by their lamentations into
poplar-trees which every year poured forth tears of amber
on the banks of the Eridanus, a river which we call the
Padus or Po ; the amber is called e/ecírum because the sun
is called Elector or * Bright One.^ — So have very many poets
told us, the first of them, I believe, Aeschylus, Philoxenus,
Euripides, Satyrus and Nicander.

19

Aristophanes Clouds STREPSIADES and SocRATES: STR.
Then that's why they wrote of the 'deadly light-shotten
onrush of moisty clouds, of the *tresses of hundred-head
Typhos' and 'storms a-pant,' of *ethereal liquid ones? and
*erook-taloned air-swimming birds' and the 'rains of the
waters of clouds all dewy '—and for doing that they would
t on fricasséed thrushes and slices of eel *great and
good.

397

LYRA GRAECA

Sch. ad loc. . . . ra)ra 8€ eis diXÓEevov vov Bi&vpauBooióv.
TÓ 'yàp
/
oTpeT TaVyXav
oUTOS elzey. émel oiv g vvÜérois Kal TOXVTAÓKOLS 0l 9i8vpap Booiol
xpàvTa& Aéfegciw, karà Tbv ékelvev (Xov kal abTbs ToiajTaus

xpiirau. 570i oüv üvrikpus 0ià Tb éLegTpauuévoy Tiv &nbíav
TOUTGV ÉV TOiS GvvÜÉTOIS.

20 "Ezcypapuua
Anth. Pal. 9. 319. diXotévov: eis 'EpuoU ü,aApa ümep àve0nke
TAqrÓAeues Mupebs:
TXsrróXepós «uo Mvpe)s 'Epuáv àder!5)ptov
€pua
(po6popors Ózkev mais 9 IToXvkpíreo,
Ois Oék' ümO aTaGLov évaryoviog;? àXXà Trovetre
paXOakóv ék eyovárcov ókvov Arocápevot.
1g * E: ms -ov, but l. 3 must give a reason; éya'yóvios
would naturally come to mean * victorious' in a heat (as of
wrestling), still in, ^ *not knocked out, and thence would

seem to have been transferred in that sense to a *final,
as here

! the word seemis to mean pleached, inwoven, or 'shot,'
with light, but another Sch. (Suid. s.v.) explains it as
* turning the daylight or making to disappear? ? if this

398

THE DITHYRAMBS OF PHILOXENUS

Scholiast om the passage: . . . This is directed against
Philoxenus the dithyramb-writer; for the word

light-shotten !

is his.* The dithyrambie poets use compound and complex
expressions, and so Aristophanes uses the same in emulation
of them. Thus he makes clear the unpleasantness these
authors show in their compounds owing to their disjointed-
ness.

20 IwscRIPTION

Palatine Anthology: Philoxenus on a statue of Hermes
dedicated by Tlepolemus of M yra.?

Tlepolemus of Myra, the son of Polycrites, set up
this Hermes for a starting-post * unto the runners in
the sacred races, because he had been victorious.
after twice ten furlongs; thrust soft sluggardry from
your knees, ye runners, and hie you on.?

does refer to P. of Cythera it must have come only in the
9nd edition of the play, for he was only 12 in 423 * the
T. of Lycia of Paus. 5. 8. ll (called ' Hippocrates son of
Thessalus! in the Armenian version of Eusebius) is either à
mistake or a different man ; the vietory there recorded under
256 B.C, was in a race ridden on colts 5 there is
prob. a play on Zermes and Aerma * post or ! cairn ? the
6óAixos or long-race was sometimes as much as 24 furlongs ;
in all but the shortest race the starting-post was also the
turning-post

399

Wu

APISPONOX
Bíos

C.1.4.1980 Mrgeíuaxyos Mvgciorpárov Geo-
Tuuos AtoT(pov éXopiyyovv, 'Apiópev éüi0ackev,
IloAvxápgs Koovos éóióac xev.

APIOPONOX

Iloiav eis Yyceu

Ath. 15. 70lf. gerà TabT! 45g gueXAAÓvTov kol $uQv à»-
cTagÓai: émeio zA80v maibes Qépovres ó uév Tis ÜvjiaTfjpuov Óó Dé
.1 à ToU ÜvpiaTmplov . . . kal ék ToU AiBaverov, rois Ücois
Tüci kal vácgais ebtduevos, émiame(cas ToU ofvov kal Goss karà b
vópiuov 7b émixdpiov Tb Aovwmbv oU ükpdrov TQ DibÓvri ÉkTieiV
, , i3 t , ^ v J c
mail, cby eis Tv Y-yteiav llaidya doas TÜV ToimÜ€vra vm
"Apiópovos ToU Xucvevíov óybe:?

' Yyieia, pea Bia ra pakápov, uerà ae) vat-
OLLL TO Xevmrog.evov
Biorás, a) Gé pot vrpóipov ovvouwos eis:
ei yáp Tis 3) TTXovTOV Xápuis 7) Tekémv 1)?
5 rüs icoGaLpovos àvÜpo-
mots [jJaciXnjt6os àpyás 7) r00ov
! gap of 9 1l. in ms ? stone reads (1-2) vyeia Bporoisi
p. and cov (so Max.) vew (i.e. voíew), vo Aowrov Bv, (3)
mpoópev Ewyevqy (Cvyelus or avveígs?), (4-5) mb av8is - mA.
xapi 7] Tek. 19 avOis evDauuovos av8pemovs, (6—8) apxas qmriodpov
(vyips Aóp. eAkegi (i.e. €pkegi ?), (9-10) 55e vis and cepyuv,

(ll) akoa TeÜavra: (12) uera 01a vyeia (13) xap. omos (sic)
3 Ath. omits

400 -

ARIPHRON
Lirk

Attic Inscriptions [on a stone found at Athens]:
Mnesimachus son of Mnesistratus and Theotimus
son of Diotimus provided the chorus, Ariphron and
Polychares son of Comon taught it.!

ARIPHRON

PaEgAN To Hraarru ?

Athenaeus Doctors at Dinner: We were on the point of
leaving the table when slaves entered with a censer and
Ifrankimneense .. ..... ]? he prayed to all the Gods and
Goddesses, poured a libation of the wine and gave what was
left, according to the custom of the country, to the minister-
ing slave to finish up, sang the Paean to Health of Ariphron
of Sicyon as follows :

Health, eldest of Gods,* with thee may I dwell
for the rest of my life and find thee a gracious
house-mate. If there be any joy in wealth, or in
children, or in that kingly rule that maketh men

1 records a victory in the dithyramb competition; the
*teachers? were the composers; the date is about 397 E.C.
? cf. Plut. Virt. Mor. 10, Frat. Am. 2, Max. Tyr. 13 (7),
Luc. Pro Lapsu 6, Themist. Or. 1l. 151. c, and stone ap.
Kaib. Zpigr. 1027 (c. A.D. 200) 3 see opp. : the gap
doubtless contained a libation-bowl, etc. and prob. musicians
and the subject of the main verb, which apparently followed
E citation, where there is another gap * or most honoured
of Gods

4O0I
VOL. III. DD

10

LYRA GRAECA

obs kpvdxtois ' AÓpoóLras

dpkvawy Onpebopev,

7j €i Tis dXXa Ücó0ev avOpco-

TOLL Tépy'is 7) Tr0vev

àpmvoà méoavraa,

uera ceto, pásaup' Tyieu, T
TávTa Kai Xáumeu Xaptirov ódpors'!

aéÜev 06 «plis oUris eUOacj.ov &ov.—

kal àa rca Áueros pis QiAoopó ves» . . .

402

2

ARIPHRON

like to Gods, or in the desires we hunt with the
secret nets of Aphrodité, or if there be any other
delight or diversion sent of Heaven unto man, tis
with thy aid, blessed Health, that they all do thrive
and shine in the converse of the Graces; and
without thee no man alive is happy.—

and then, after bidding us a hearty good-night . . .

1 Crus: mss Ath. oapes, (api, oap, Cod. Ottobon. oapzs
? Ath. omits

493

IIOATIAOT
Bíos

Marm. Par. 68 | à$! o$ IloXsióos XuXvufpiavós
OvpduBe éviegoev "A0jvgcw érgy HA[...
&pxyovros 'AO5vgou . . . . . . .]

Diod. Sic. 14. 46

J ) » ^ M ^
Plut. Mus. 21 ka80Xov Ó' ei ris TG qu) xpfjo0at
, , ^ X ,
Tekpuatpouevos karayveoceraL TOV qu Xpoévov
14 ^ , ^ ^
d'yvouAv, TOXXOv dv Tis $Üavo( kai Tdv vv
, ^ , "^
KaTa'yvryvoogkov' otov, TOV uev Acpuoveiov ToD
) , ,
Avrvyevióetov rpóTrov karadopovovvrov, émeibiymep
^ ^ ^ , ^
ov XpOvra. avrQ: TOV O 'Avrvyevióetov T0
, M N , N 2: ^ N
Acpiovetov óuà T1jv avT1)v avríav: TV 06 kiÜape-
"m "m^ & 5
6Qv ToÜ 'TiuoÜe(ov pómov, oXxeO0v vàp ámo-
^ , b
T€ovr)kagip eig T€ Tà kaTTÜLaTA Küi eig TÀ
IIoxviGov zo)juaca.

Ath.8.352b [ée róv KaXuc0évovs Xrparo-
, , / ; T: Y
vikov aàTouvuuovevpaTa]| lloxvióov 66 cegvvvo-
uévov os évíkgoe "Tuuó0eov 0 ga059T)s avTo0
GiXoràs 'Üavpatew ' &Qy * e& áryvoeis órv otros!
u€v Nenóicpara 0t, TuiuóÜ0eos 06 vópovs.'

1l mss avTÓs

404

POLYÍDUS
LirE

Parian Chronicle: From the time when Polyidus
of Selymbria was victorious with the dithyramb at
Athensa hundred and [. . . .. years,! in the archon-
Sbipset sS uneress : at Athens. ]

Diodorus of Sicily : see on Telestes p. 273.

Plutarch On Music: In general, if we are to argue
ignorance of a use from its not being employed, we
shall condemn for ignorance many artists of the
present day,—for instance, the Doro-Ionies who
despise the Antigenidean style, and the Antigeni-
deans who despise the Doro-Ionic; neither school
uses the style of the other, Similarly we shall con-
demn for ignorance the lyre-singers who despise the
style of Timotheus ; these have practically returned ?
to the * patchwork ' musie and the compositions of

Polyidus.

Athenaeus Doctors at. Dinner MK sayings of
Stratonicus from Callisthenes|: When Polyidus
boasted one day of his pupil Philotas defeat of
Timotheus, Stratonicus exclaimed 'I am surprised
that you do not know that Philotas writes bills
presented and Timotheus acts passed.' ?

! the lost date must lie between 398 and 380 z.c. ? in

the time of A.'s authority, perh. Aristoxenus ? with a
play on vóuo:, laws or *nomes'

405

LYRA GRAECA

C.I.G. 2. p. 641. 3053 lapis prope T'eon compertum :
^ , ^
&o£e Kvociov rots Kóoots kai Td mróXev. émreió1)
€ /, ^
Hpoó6oros Mqvoóóre ai MevekXMfs Awvvato
, , M N E ^ ^
aTocTAaXÜÉévres Tpeoevrai map 'Tyiev vopri Tas
, / , N / N ^
év Kpyjra, T 0Mas, kai Ó.urpilravres TOv 7rXeia Tov
^ e ^ /, ^
xXpóvov év rd áp& v0Xet, o0 uóvov Tràv ám Tás
, ^ , , , Li H à ^
avacTpooüs evrafíav ámeOefavro àXXà xai
émeüei£aro MevekXfjs uerà kiÜdápas mXeovákis Td
A N ^ b ^ € ^ , ,

T€ Tipo0éo kai lloxXvtóo xat TOv aàpuóv àpxyavov
vovwrüv, kaÜcs "poatkev üàvOpi memaióevuépo*
ej kJ 5 ^ Fe e e , , , N
óTa. Qv (avri 'Tijiou rv à vr0Mts amroóéOerrau TOS
TOLOUTOS TÓV AvOpOv, 0e00xÜau érrauvécas vv T€
Taotev Tót émi TQ TotovTos àvÓpas céuwWa,
óno(cs Ge Tos Trpeo 9evràs 'HpóGorov kal MevekMfv,
ÓTL ka Xs kai eUrákros evoeoa|pjkavre . . .

IIOATIAOT MEAON

1

E.M. 164. 20 | ArAas: üpos AiGUms" IIoAvibos 8e ó Si6vpapBo-
-010s mapíaTnciw abTbV ToiuéÉva "yeyovévat, kaí $moiw OTi. 7apa-
yevóuevos ó IlepgeUs émepoTóuevós Te bm abvToU Tís eig kal
Tó0ev &ápikro, émei]] Aé*yav oük ÉrmeiÜev, üvd'ykg &beitev avrQ Tb
Tíjs l'opyóvns wpóawmov kal üàmeA(0waev avTóv, kal àw abToU Tb
üpos"ArAas ékAfj0m. oUTc Avkódpovos év "'TrouvfjuaTt.

2

Arist. Poet. 16 [m. àvayvwepícews] Teráprg 9e 4$ ék acvA-
Aoyicju00, oiov év Xomóópois, Óri Opoiós Tis €AfjAvOev, Opotos 5€

1 cf, Tzet. Lyc. 879, Exeg. 11. 132, 18
406

POLYIDUS

Upon a stone found near Teos: Whereas Herodotus
son of Menodotus and Menecles son of Dionysius
have been sent ambassadors from Teos to the cities
of Crete and have spent most of the time allowed
them in our city, and have not only shown the
good behaviour expected from visitors, but one of
them, to wit Menecles, as became a man of culture,
has given sundry tasteful performances to the lyre,
as well of the works of Timotheus and Polyidus as of
our own classical poets; it is resolved by the
Directors and City of Cnossus that, in order that
the Teians may know that the City has accepted the
embassy of the ambassadors aforesaid, thanks be
tendered to the city of Teos for sending the same,
and likewise to the ambassadors Herodotus and Mene-
cles for their excellent behaviour during their visit.

See also [Censorin.] Gram. Lat. 6. 608.

THE POEMS OF POLYIDUS

11!

Etymologicum Magnum : Atlas: A mountain of Libya.
The dithyramb-writer Polyidus makes him out to have been
a shepherd to whom Perseus one day came and (instead of
being allowed to pass) was asked by him who he was and
whence he came ; whereupon, being unable to gain his per-
mission by force of words, he must needs show him the
Gorgon's head and turn him to stone ; and thus the mountain
came to be called after him Atlas. This account is given by
Lycophron inh Commentary.

2

Aristotle Poetiícs [on *recognition' or *discovery' in the
drama]: The fourth kind is that occasioned by inference.
For instance in the Libation-bearers ; *Someone has arrived

497

LYRA GRAECA

ovOcls àAX' 1" OpéeTqs: obros pa 8A fA uev. kal ^ IIoAvibov ToU
coQicToU nepl T2s 'lóvyeveías" | elkós yàp TÜY "OpéaTmv TvA-

Aoyícac0ci. Óri 5j T^ àbeA X érU0m kal abr cvufaíve: 0ec0a:.

Ibid. 17 -Toís Tre Aówovs Tovs memov]péyovs 8e; kal abTbv
moi00vra ékrí0eoOa: KaBókov, el8' obTws émeicoDioUv kal Tapa-
Telveww, | Aéyo 5€ oÜres kv Óewpeig0ai Tb kaÜóXov, olov Ts
"lovyeveías, TuÉcla s riwbs kópms kal &pavireians abis TOÍS
icai, iBpuvOc(ans 56€ eis &AAqY Xépav ev jj vópos 7v Tovs Eévous
0bew 7d 0c, TabTmqY £a xe TÓv tepeg yr. Xpóve 9 VorTeoov Té
&beAQó cvyéBm éA0eiv Tüs lepeías. cb 8t Üri àveiAev ó Bebs Did
7i. airíav ! éA8eiv é exei, ial ép OTi 5é, ÉEw ToU pió8ov. eA0Gv be
kal An$6els 65ec 0a. RÉAMMoy vevyvápigev, eíü ds Eiperibns e18*
&s IIoAviBos émoiugev, KaTà TU eikbs eimów ÜTL OUK &pa uóvov TV
&à0eA Xv àAXà kal avTov &5ei rvOzvav kal évreü8ev 3 c «7 pta.

meg! TEAAHNOX 5$ TEAAIAOSZ
Plut. Reg. Apoph. 193 [T. "Erauewdyba]: &ma'yyeiXayros 5é

TiV0s (s 'AÜnvaioi c Tpirevua cauvois ,Keko unpuévoy ÜTAOLS es
IeAomóvvqcov &mreoTrdAkaci, * Tí obv^ eimev * Avrtyeveíbas crévei
kaiyoUs TéAAqvos aUAoUs E£xovros;' $v 8€ avAm«TUSs Ó uev TéAAmS
káxic TOS, Óó Oe AvTvyeveiBas kdAAiugTOS.

Zen. Paroem. 1.45 &eibe Tà TéAAmvos: éri TÜV GCkceTTIiKüV
Tí8erai 7 mapoiía. TÉAAmY yàp avATJS éyéveco Kal JueXav
T0iT15, maiyvid. Te kuréAvrev eUppuÜuóraTa kal xdpu Éxovra
mAcloTQv kai okóuuora Koujórara.

Ibid. 2. 15 otvos ó TéAXqmv éyévero abAmThs kal ueXGyv àvvmo-
TákTCV Tov]TS. uéuvmQrat: abroU Aukalapxos ó Meaafjvios.

Ptol. Heph. ap. Phot. Bib. 190. 151. 9 -eAevrüsavros

Anu piov ToU ZX«myíov Tb BiBAiov TéAAXi8os Tpbs Tjj keQaAf
abToU eópéO7.

1 mss add É£w ToU ka0ÓAov

408

TELLES, TELLEN, OR TELLIS

who resembles me; nobody resembles me but Orestes ;
therefore it is he. And there is the recognition of Iphigeneia
in Polyidus the sophist, where Orestes naturally infers that
as his sister has been sacrificed so he must now share her
fate.

The Same : Subjects already invented should nevertheless
be sketched out in general by the poet himself before being
arranged in episodes and worked out in detail. He should
investigate the general plan, for example, of an Zphigeneia
thus:—4A young girl has been sacrificed and has then
mysteriously vanished from the sight of her sacrificers and
been transported to a country where it is customary to
sacrifice all strangers to the God, and there become priestess.
Some time afterwards her brother happens to arrive,there.
The fact that he has been sent there by the oracle for some
reason, the purpose of his coming, is outside the story.
However, he comes, is seized, and is about to be sacrificed,
when he makes the recognition. This may be either in the
manner of Euripides or of Polyidus, who makes him say very
naturally that it was not only his sister, then, who was to
perish by sacrifice—a remark which saves his life.

on TEELES, TELLEN, or TELLIS

Plutarch S«yings of Kíngs [Epaminondas]: When news
was brought him that the Athenians had sent a newly-
equipped army into the Peloponnese, he said * What of it?
Does Antigeneidas weep and wail when Telles gets a new
pair of pipes?' Now Telles was as bad a fluteplayer as
Antigenidas was a good one.

Zenobius Proverbs : Sing the songs of Tellen :—the proverb
is used of mockers or jesters. Tellen was a fluteplayer and.
lyric poet who left some sportive verse of excellent rhythm
and remarkable charm, and some extremely witty jests.

The Same: This Tellen was a fluteplayer and a writer of
miscellaneous lyrics, who is mentioned by Dicaearchus the
Messenian.

Ptolemy son of Hephaestion : When Demetrius of Scepsis
died, a copy of the works of Tellis was found beside his pillow.

409

LYRA GRAECA
cep; ATEIMAXOT

Harpocr. Avcíuaxos: . . . o9 uvmuovebóe: AvkoUpyos ev T
Hepi 75s Aioufjcews &s eUTeAoUs pueAomoi0U.

APIXTOTEAOTX
eis 'Epp.eíav

Ath. 15 696a [m. cxoAÍev]: roóTev Aex0évrev ó Anuókprros
Ébm 'AAAÀ uiv kal Tb bmTD ToU TOAvuaÜegTáTov "ypaev 'Apiao-
TÉéAovs cis Epueíav cbv "Arapvéa ov mTaidv éoTiw, &s Ó Tw TS
&ceBeías karà ToU $iNsoóov ypa or &mevéykas Anuó$iAos
év(ekdAegev àv» aibas Y mapag kevag Ócis Ur d , Ebpvuébovros, es
&ceBoUvros kal àBovros €v rois avacvríois ócnpépat eis Ty. Epueíav
maiüva. OTi De raiüvos oUBeulav Éuoaciw mapéxei Tb ácpa, àAAà
T&V GCKOÀlev tv Ti kal avTD elbós éaTiw, €E abris Ts AéLews
$avepbv bguiv Toifjgc*

'" Aperà 7roNpox0e yevei BpoTeio;?

Ój papa káXAXLa TOV Dio,
cás mépi, zrapÜéve, nopüs
«ai Üavety CaXerós év '"EXXd48t vróTpos
5 kai m0vovs TA'jvat uaXepovs ákápavras"?
Toiov éTi Ópéva BáXXews
«apr 1 icaÜávacov* Xpvao0 Te xpeiaac
ka yovéov paXaravyjToó 0' bmvov.
ceÜ y Évex oi? Ais 'HpakXégs Anóas. T€
KoUpoL
10 7rÓXX àvérAacav épois
càv áypevovres óvvaguv'S
cois 6€ vr00ots AxtXeus
Alas T Aia O0pov 7)XOov:?
1 E: mss &reveyykdáuevos A. eis aibwre ? P Bporec:, perh.

rightly * so Diog : P -ros, Ath. duiapáétops * Wil. and
P: Diog. x. eis à0., Ath. x. r' à6. 5 y P: others 9' oí

410

LYSIMACHUS
on LYSIMACHUS

Harpocration Zexicon io the Attic Orators: Lysimachus :—
mentioned as a second-rate lyric poet by Lycurgus in his
speech On the Treasury.!

ARISTOTLE

To Hkrnwtkr:ss ?

Athenaeus Joctors at Dinner [scolia or drinking-songs]:
Democritus now remarked that the poem written by the
most learned of men, Aristotle, to Hermeias of Atarneus,
was not a paean as was asserted by Demophilus, who at
the instigation of Eurymedon instituted the proceedings
against the philosopher and laid the outrageous accusation
of impiety, on the plea that he daily sang a paean in honour
of Hermeias? at the common board of the Peripatetic School.
*As a matter of fact! said he *the poem bears no resem-
blance to the paean, but is a particular kind of scolion such
as we have just been discussing, and this I will show you
plainly from what it says:

Virtue, laborious prize of mortals and noblest
quest of life, tis the most enviable lot in Greece to
die or suffer bitter toil unceasing for thy maiden
beauty, such the heaven-rivalling fruit thou be-
stowest on the mind; better than gold or high
birth, better than soft-eyed sleep. For thee did
Heracles, for thee did those other sons of Zeus that
Leda brought him, bear much in vigorous search of
thy power and art ; for love of thee went Ajax and
Achilles to the house of Death ; and now for thy

1 cf. Suid. s.v. ? cf. Stob. 77. 1. 12, Diog. L. 5. 1. 7
(*the hymn to Hermeias") Didymus Zerliner Klassikertexte
i. 25 (* paean ) 3 died 344

Wil: mss ó éx 8 P [càv àié ]movres 8. 7 Wil: mss 'Aíóao
8óuovs 7^. P To8o1c:

4II

LYRA GRAECA

^ , ,
cás Ó &verev $iMov
pops kai "Arapvéos &yrpoos
15 àeXiov xnpocev! ,avyás.

Tolyap &oiótov 6 €p'yoLs

a8ávarov Té yuv av0:5jcovou.? Motca4

Mvagocvvas Ovyarpes,

Au0s Éeviov aéBas ab£ov-

,
20 cat duXas re yyépas Befatov.
éy& utv ovk olba el vís vi karibeiy éy roUTois DÜvarai Taiavikbv
ibíeua, caos ónoXoyobvros ToU *vyeypapóros TereXevrgzKévai Tbv
'Epueíav 8! &v elpnkev . . . ok €xei 0 o00€ rb maiavikbv éríppnua,
kaÜdmep ó eis AbcavBpov Tbv XrapridTTqV "ypaoeis üvrws Taidv, Ov
$10: Aobpis év Tois Zauíev érvypadoouévois "Qpois dBea0ai éy Záug.
. &AAà uv kal abT0s 'ApiaToTÉéAms €v rjj AmoXoía Ts "Ace-

Beías, ei u3j karéyeva at 6 Aóryos, $noív: Ob »yàp &v more 'Epueía
ew &s &8aváTQ Tpoaipobuevos &s 0vgTQ uvijua kareoxeva(ov kal
&BavaTi(ew T2». íciw BovAóuevos érvraoío:s àv Tiuais ékóouncsa
Tb (cGyua). ?

EPMOAOXOT (?

Stob. F7. 98. 66 [m. rov Bíov, 0T: Bpaxvs kal ebreAJjs kal
$povriüwv àvdueaTos] 'EpuoAóxov*
, / e ^ /, , x »
aTécuapros o más Bios ob 0€v éyov
TLiO0TÓV TAaváüTaL UV TUXÜALS e?
&Xrris 06 fpévas vrapaÜDapa re, 70 06 uéXXov
apud as
oióev oUócis varós G ma déperai-
5 àvrvmvet € TOMMÁkIS ev-
TvxLats Oc.wá Tis abpa-8
0cós 66 zrávras €v «Te» kivOÓv-
ro.cty év T. &raus kugepvá.?
1 Diog. P omit xaí P xwpnoev ? üolbipov Ath. P:
Diog. -uos (and à6ávaTo:) aj5. Wil: mss a£. from below

? Kaib: mss ékocufjcaro, ékóruovv 5 mss also 'EguoAdov,
but Phot. -Aoxos 5 E; mss cwrvxíauriv $ PRugk-P :

412

HERMOLOCHUS (?)

loved beauty Atarneus' nursling! hath made the
sun's light desolate. "Therefore shall the Daughters
of Memory cry him famous for his deeds and to live
evermore, and magnify the God of Host and Guest
and extol true friendship.

Now I do not know whether anyone can see anything here
characteristic of the paean. The writer clearly admits that
Hermeias is dead . . ., and there is no paeanic refrain as
there is in the real paean to the Spartan Lysander which, in
his book entitled 4aaais of Samos, Duris declares is sung
in that city . . . And moreover Aristotle says himself, in
his Zefence from the Accusation of Impiety—if the speech is
genuine—'*If I had intended to sacrifice to Hermeias as an
immortal being I should not have built him the tomb of a
mortal, nor if I had wished to make him a God should I have
honoured his remains with funeral obsequies." '

HERMOLOCHUS (?)

Stobaeus 4n£hology [that life is short, of. little account,
and full of care]: Hermolochus : ?

AII life is inscrutable, wandering amid events with
nothing sure. "Tis hope cheers on the heart; no
man born knoweth certainly whither he goes; and
often enough there bloweth a dire wind contrary to
success, Yet in danger and calamity God is ever at
the helm.

1 Hermeias * or Hermolaüs ; called Hermolochus by
Stobaeus ap. Phot. Bibl. 167 (p. 117 init. Bek.) ; hardly to be
identified with the Hermodotus of Plut. 7s. et Os. 24, Stob.

Fl. 60. 3, still less with the Hermocles of Ath. 15. 697a,
6. 253b; it may well come within the scope of this book

mss &vrcmrvée: and. àrvxíais ?* transp B: mss 60s . . .
KvBepvà àrrumYei . . . abpa re» E (B. suppl. ye) xubv-
voigiv €y T' krais B : mss kivbvois 0varobs

413

ATKOOPONIAOT MEAON

1
Ath. 13.5644a [m. Éperos] Tpbs àAdj8eiav "ydp, kaÜdmep mol
KAéapxos év TQ TpóTy TÀV '"EpwrikQv, Avkodpovíómv eipqkévai
$ncív:
» ' » » /

obre Traió0s dppevos oUre srapÜévav

TÓV Xpvaodópov ovOÉ yuvaucóv Bafukol aum

Ka Xv TÓ Trpoc cTrov éày u3) «oa juov 7repukq!

7 yàp ai&os ávOos émio7retper.

2

Clearch. ap. Ath. 15. 670e [8ià 7f, rà» ésTre$avwuévev éày
AjqnTai Ó cTé$avos, épàv Aéyovrai]: 7j nàXXov $4! àv otovral ve
kal mpbs àAfj8eiav Tbv T7)s Vvx?)s kócuov éokÜXevvrat, ToUTOis Kal
Tbv ToU cógaTOS kÓcjov ÜTO ToU TüÜovs éLa'yóuevot gkvAevovres
éavrovs àvariOéaciy ;? müs 9 ó ép&v roUTo Op uév,? u3j mapóvros
66 ToU épeuévov Tj * éumobiv moieirai Tijv àvá0egiw. 08er Av-
Kodopoví8ns Tov épvra ékeivoy aimóXov émoínae Aéyovra:

!e5 , / / e f
T00 àvaTiÜnuí cot póOov
M , / Y / N ,
Ka. NOV avátepa? kai TréQ.Xa, kai kvvéav
Kai TàV Onpodóvov Xo'yyiO , émeí got voos
dXXa KéxvTaL

émi TàV Xápict díXav vai AkakaXXLóa.8

Tep, ZENOKPITOT xai EENOAAMOT

Herel' Tap JoL^Im og [7. Aorpàyv ]' éyfévero
Aoxpós Eievókpvros, TUÓXOSs éx vevertjs Trouyrijs.

1 (dày uf and me$)ókp Mein.-B: mss àAA4 and -xe
? Mus: ms8 kal TrovTois kaí and kal a kvAevovres $8 Schw.
inserts mapóvros, but cf. the ellipse before ei 5€ ujj — * mss ov
5 (as,-E: mss vónua $ Wil: cf. Ap. Rh. 4. 1491, Anacr.

18. 3: mss mai0a kal kaAáv

414

LYCOPHRONIDES
PoEMs

1

Athenaeus JJoctors at. Dinner [on love]: According to the
Ist Book of the Eroties of Clearchus, Lycophronides truly
Says:

Neither in lad nor golden lass ! nor yet in buxom
dame is the face fair which is not modest, for beauty
is engendered of a proper shame.

92

Clearchus in the Same [why, when a man's wreath comes
apart, we say he is in love]: Or is it rather that lovers are
betrayed by their passion into despoiling themselves of a
bodily adornment to dedicate it to one who has despoiled
them, as they rightly think, of a spiritual? "That is what
every lover does if the beloved be there; and if not, he
dedicates it to whoever is—which is the reason why
Lycophronides makes his lovesick goatherd say :

This rose, with my cap and shoes and game-
slaying javelins, is my fair offering to thee? though
my thoughts lie otherwhere, to wit on the lass
Acacallis whom the Graces love so well.

T'he folloming passages refer to poets of' mhom some
certainly and. all. possibly come within the scope of this
book
on XENOCRITUS and XENODAMUS

Heracleides of Pontus [on Locri]: Xenocritus, a
poet blind from his birth, was a Locrian.

! lit. wearing gold (i.e. ornaments) ? cf. Philostr.
Vit. Ap. 5. l5 K 3 prob. a wayside effigy
415

LYRA GRAECA

Plut. Mus. 9 72s Gevrépas 66 (karao Tác eos TÀV
Tp TV ova uc éy Tj Xmápry) OaXfjras TE ó
l'opróvios KG Eevóbapos 0 Kv6*jpios kai Fievó-
Kpvros Ó Aokpós Ka ILoXóuvraos 9 0 KoXoóovios
kai Xaxdóas 0 'Apyelos páMa Ta. airíay Exovaw

»yepoves yevéo0at . . . cav 6 0 mepi OaXsrav
— ,

T€ Kai FievóOaguov kai Fievokpvrov ToU]TaL TaLá-

VOV s GXXoL Dr Eevóbauov vTOpX"AdTov

TOU)TT)V yeyovévat $aci Kai 07 TTALÁVOV, kaÜámep
IIpaívas: Kai avTo0 66 ToD evobápov à aro uyr-
poveber aa ác, ó eai $avepás brópx»pa. Trepi
6€ Eevokpirov, 0g 7v TÓ wyévos ek Aokpàv ev
IraMa, pda Byrebra, el maiáyav TrOU)TIS
ryéyovev: rnpoixàs tyàp vrroOéaets ToU] eX óv-
TOv! qowro»v wvyeyovévat $aciv abróv 010 kal
Twas Oi8vpáuBovs kaXeiv avro) Tà moujuara."
"pea Birepov 66 T Mia $uciv o VXaüxos
OaXjrav Eevókpvrov vyeyovévaa.

Plut. Mus. 6 reXevratov 0e llepieXevróv aot
kiÜapo60v vukfjoa: év MakeGatuov. Kdpveia, T
yévos óvra Aéafhov: To)Tov Oé reXevT5cavros,
TéXos Xafleiv Aeaf8íots TO avvexés Ts kaTà T3)V
kiÜapoóLav SuaeoX ijs. &vtot 0€ TXavopevor vopí-
Covaci kaTà TÜV QUTOV Xxpóvov Teprrávópo Irm6-
vakca yfeyovévau- $aívera,. 8' 'ImTÓvakros xal
IIepieXevros àv 7peoBvrepos.

epi. MTIAX

Suid. Mv/a: Emapriis, TOUjTpua. ÜVOUS eis
"AT OXXova kai" Apreuu.

! mss 7poikàv *y. broÜécewv mpayuara éxovadv ? mss ràs
bmo0éaeis

416

MYIA

Plutarch Music: The second establishment of
music at Sparta is best ascribed to 'Thaletas of
Gortyn, Xenodamus of Cythera, Xenocritus of Locri,
Polymnastus of Colophon and Sacadas of Argos ..
Thaletas, Xenodamus, and Xenocritus were com-
posers of paeans . . though according to some
authorities, as for instance Pratinas, Xenodamus
composed hyporchemes and not paeans. There is
actually a song of Xenodamus' on record, which is
obviously a hyporcheme . . As to Xenocritus, who
was by birth of Locri in Italy, it is questioned
whether or no he was a composer of paeans, because
we are told that he wrote poems on ' heroic ' subjects,
and that some writers therefore called his works
dithyrambs. According to Glaueus, Thaletas was
an older contemporary of Xenocritus.!

Plutarch Music: We are told that the last lyrist
to win the prize for lyre-song at the Spartan Carneia
was a Lesbian called Pericleitus;? his death put an
end to the continuous succession of Lesbian singers
tothelyre. Some writers are mistaken in making
Hipponax a contemporary of Terpander. The truth
would appear to be that he comes later even than
Pericleitus,

on MYIA

Suidas Lexicon: Myia:—4A Spartan poetess
Hymns to Apollo and Artemis.

1 cef, Diog. Laert. 4. 15, where (on the authority of
Aristoxenus) he is called Xenocrates, perh. rightly ? op
the last Lesbian lyrist to win . . . was P.

417

VOL. III. EE

LYRA GRAECA

meo! MTNNHZ

Joh. Gram. v. AioA£8os i. 22 (Hoffm. Gr. Dial.
2 p. 208) x«éxpmgvra, 96 av75 £am$o, AXxatos,
Mouvvva, kai àXXot.

veg; OEANOTX

Suid. Oeavo' Noxpis, Xvpuki.. acuara Nokpucà
Kai pé.

Eust. Jl. 2. 321. 10. oc 66 xai Oeavo Tis *yvv1)
Aoxpis Xvpuk?) 7jv, la TopoUctv oi vraXatot.

For SPENDoN see vol. i, p. 29.

THEANO

on MYNNA (?)

Johannes Grammaticus On the Aeolic Dialect : 'This
dialect is used by Sappho, Alcaeus, Mynna,! and
others.

on THEANO

Suidas Lexicon: Theano:—4A lyric poetess, of
Locri. Locrian songs and lyric poems.

Eustathius on the //ad: According to the old
writers there was also a Theano of Locri, who was
a lyric poetess.?

! variously emended to Myia ('/Fly,; a nickname of
Corinna) Melinna (7.e. Melinno, a first-century writer of
Aeolie verse), and Erinna (a poetess of uncertain date but
prob. Alexandrine) ? according to Clem. Al. Str. i. 80.
3 on the authority of Didymus 7. IlvOayopucjs $iXocodías
Theano was the first writer of poetry

419

AAESXIIOTA
1

Zen. 5. 99 vü)v! 8é 6eol] udkapes: ToÜTo émiAéyovrai ol
poy eot, &s kal oi kiapqoSol
àXXà dva£ uáXa xaitpe.?

Eust. Jl. 939. 19 ieréov Bt Ori ék ToU *àAAà ÉvaE' Umep
évrabOa mipà Té Yun Q. 360) keira: àpxfj Tis éEobiov —
SikoU T0 * àAA& üvat, ? is iaropet AlAuvos Atovógtos.

e$ AAKMANOZ

2

Ox. Pap. 8
, L4

20. o. 2. 5 5. amp. -- IEIDOPD EP DERBEDRE
» 3 /, , , y» 35
iv8 oper és peyáXas Aajárepos évvé éáacau
Talca rap eviaí, raícat Kü.Xà € &upaT éxota at
kaXà puév E€upaT éxoícau, dpvmpeméas 06 kai

Spp[es] y »C ^ , »
m pua TO é£ éXéQavros iOfjv mroreokóras aity[Xa. 9

9, 4

Prisc. 1l. 20 Adeo autem hoc verum est, quod pro Aeolico
digamma ponitur u ; quod sicut illi solebant accipere digamma
modo pro (u, modo pro» consonante simplici, teste Astyage,
qui diversis hoc ostendit usibus ut in hoc versu :

E

1 mss Zen. civ, Hesych. and Phot. vv 8€ 0col u. àv éa0Aav

&oOovoi éaT€ ? mss àAA' üva£ kTA. mss also uéwa x.
*? mss àAAà àAA üvaf 5 cf. Callim. H. 3. 14, 6. 33
5 Air[va?: xmi

420

ANONYMOUS FRAGMENTS
11

Zenobius Proverbs: * And now, ye blessed Gods'; this
is the epilogue of the rhapsodes or reciters of epic verse;
compare the phrase used by the singers to the lyre:

But all hail, O Lord.?

Eustathius on the Z/ad: It should be noted that from
this phrase *But, O Lord' comes as a beginning of an
exodium or end-piece in singing to the lyre the words
* But, O Lord . . .,'? as we are told by Aelius Dionysius.

^

ALCMAN (1?)
2

From a 2nd century Papyrus:

. among the dead, we are come to the temple
of great Demeter, nine in number, maidens all,
clad all of us in fair robes, in fair robes clad and
bright shining necklaces of carven ivory like the
daylight * to behold

3,4

Priscian Principles of Grammar: So true is it that w is
put for the Aeolic digamma [w, written F]. Just as they
took digamma sometimes as 4 and sometimes as a simple
consonant— witness Astyages, who shows it in both the
uses, as in the verse

! cf. Hesych. viv 8€ 0eoí, Phot. àAA' &vat * Apollo ; cf.
Timoth. Pers. ? the rest is lost * or perh. |the snow
on] Etna

42I

LYRA GRAECA

ovop.evos 1 FeXévav éXukorrióa

sic nos quoque pro consonante simplici habemus u loco
digamma positum ut *At Venus haud animo nequicquam
exterrita mater. est tamen quando idem Aeoles inveniuntur
pro duplici quoque consonante digamma posuisse, ut :

NécTopa? 66 FQ mai80$ . . .

Ibid. 22 Digamma Aeoles est quando pro nihilo in metris
accipiebant, ut:

dues 0. Ferprjvav: 700€ yàp 0éro Móca Xi»yeia.?

est enim hexametrum heroicum.

r4
5,4, 5,-9, ID
Apoll. Synt. 335 àmeipdiis *yàp Tà Awpikà Dià iXGr àvri-
cTOoÍXwv Tàs GvvaAoipàs Torieiau *
ko Tofóras 'HpakXégs—
KáNLcT UTGUXÉy 5—
, "| N , , 6
ka ueyao0evys Acavata 9—
MeXáproóá 7T AproXvkóv Te—
dpxor ev tyáp &' 0 Ópacíev *

11
Et. Mag. 519. 19 MevéAas:

MervéXas ve &' Ayapéuvov ?

àr) ToU MevéAaos: &ud(BoXov eire avykomrij MevéAas ós? AopíAas,
eire kpáaet 0D 0 kal a eis a uakpóv, às éAcEao éAéEa, kTA.

1 E (Prisc. read oF.), cf. Ale. 82. 6: mss also órógevos
(glossed aspiciens), óQ. * mss also Nécropi 3 preceding
words e.g. &AXoi uev" Apga oíAevr. — * one ms marg. 'AAkuavos
5 B: mss bmravAev $ Ahr: mss kà uey àmevícasa v2l à,
kauey' àc0evqcasav, ümeyf;aca ?7 Bek: mss xo8pacíev
5 mss kal 'Avy. 9 B: mss xat
422

ANONYMOUS: ALCMAN (?)

waiting for Helen of the glancing eye

—so we too have w as a simple consonant like digamma,
for instance in *But mother Venus afraid for good reason."
Sometimes however, the Aeolic writers are found to have
used digamma for a double consonant, as:

but Nestor from his son

5

The Same: The Aeolic writers sometimes neglect digamma
in metre, as:

but we [love] peace; for this hath the sweet clear
Muse ordained for herself.!

For it is an heroic hexameter.

559 10

Apollonius O0» Syntaz: Very frequently in Doric, synaloephé
or the coalescing of two vowels is made with the correspond-
ing unaspirated consonant ; compare?

and bowman Heracles—
to flute a fine accompaniment—
and the great-mighted Athena—
Melampus and Harpalycus—
for the bolder man would rule
11
Etymologicum Magnum: Menelas :
Menelas and Agamemnon
from AMenelaüs; itis doubtful whether it is by syncope like

Dorylas, or by crasis of o and a into à like éAé£ao éAéEo, etc.

! the preceding words were perh. *Others love War'
? a marginal note to one ms ascribes all (or the first?)
of these to Aleman; with the last cf. Alem. 91, which may
belong to the same passage

423

LYRA GRAECA
12, 13

Apoll. Pron. 328B 7 yàp T óp05s Tdoews oca cbiOciav
cuaíyer vapà Acpieügi

kai TU Atos Üvyyarep uid ja aD
éykAivouéym 9e airiaTucf]v:

kaí vv díXumr TOV €Ünkev.

14
Hesych.

"EveríGas 7X0 o Tebavadópos

&mb T5js Tepl Ty "ABpíav 'Evéribos:! — 81aépovat "yàp exei.

15, 16

Hephaest. 15 [m. &mo8ecées uérpev] BpaxvkaráAmkra Bé
KkaAeirai. Oca mb Dumobías éml 0Aq obl ueuelerat oiov éml
tau Bukcov*

y 5 - 1979 ^ S ,

a'y QUT fs oikov Tov. KXegavm o.
évrabUÓa "yàp ó swmmTOw Tovs vrl 0Aqs iapuBikTjs keiraa Dvmobías.
bmepkaráAmkra Be ma mpbs Té TeAcíe TpocéA«Be uépos mobós,
oiov éri iauBikoU

eip, ore mTvacáyo XvOetca ?

^ E ^ ,
TOUVTO m oUV cvAAaBn 3 TE€pUTTeEUet.

1T

Ath. 11 (vol. 3, p. 16 Kaib.) [m. vormpíev] abrós *ye uàv ó
Zevs Ts HpakAéovs *yevécews tiov d'yeirat O&pov 'AAkufvn

! Mus.—B : mss e7éQav. (sic) and as separate gloss "Evi$ópo
&nb Tjjs kTÀ. Diudépei y. é..— ? Wil: mss ó rarvacakceAv6eica,
&T' àrvacáAco Aveica, Gor. àmb rvaodAw Aveica: Sch. paraphr.
&mrb mTaccáAov AvÜeica — ? Consbr : cf, Choer, 66. 5 (rveaáAc) :
mss gvAA. mAelovi

424

ANONYMOUS: ALCMAN (?)
12, 131

Apollonius Pronowns: For when the pronoun 7$ 'thou
has the acute accent it is the nominative in Doric:
and thou, great-mighted daughter of Zeus
but when enclitie, the accusative:

and made thee a lover of horses.

14
Hesychius G7ossary :
Enetic colts that have won in the race

from Enetia or Venetia on the Adriatic Sea ; for the colts of
that country are particularly good.

15, 16?
Hephaestion Z/andbook of Metre [the classification of

metres]: They are called brachycatalectic when a dipody
is short by a whole foot, as in the iambic line:

Come again to the house of Cleésippus.

Here the foot -s:w-w stands for a whole iambic dipody.
Hypereatectic metres are those which have part of a foot
in addition to the last, as in the iambic :

I will go like a [calf] freed from the nose-ring.

Here there is a syllable too many.

17?

Athenaeus JDoc/ors at Dinner [on cups]: Why, Zeus him-
self thinks a cup à worthy gift for Alemena in honour of

| cf. Id. Synt. 131-2 * cf. Epit. Heph. 361. 17 Cons.,
Sch. Heph. 114 C, Phot. and E.M. óccdákovs, Arc. 51, Hesych.
Üccakos and Tóccaxos: EóXov kaumÜAov Trois uómxois Tepl TOUS
uuKTTpas Ti܀uevov keAVov 0nAd(eww a curved piece of wood
put round the muzzles of calves to prevent their sucking"
3 cf. Plaut. 4mph. 260, Ath. 11. 474 f.

425

LYRA GRAECA
Bo05va. moTfpiov, 0 map AXAkuüvop! "Audurpóevi eikaa6els
6í8wauwv,
à 9 imo8efapuéva Oaxcaro
xpvaeov aida ToT)puov.

18
Et. Mag. 490. 40 5j5e: mapà Tb 0c Tb &péc ko'
&Oov díXov 0s &' €ég. áÓnci.?

^ * , / LÀ /
Tà "yàp àpég kovra 1)0€a.

19

Stob. Ecl i. 2. 31 [974 8ebs Bquiovpyós rÀv Üvrwv kal biémet
Tb ÜXov Td Tijs Tpovoías Aó*yw, kal Toías oUcías órdpxei]

€ , , ^ b »
'Tuvéoues uákapas, Moaat Atos éxrnyovot,
àdÓLrois &o(6ais.2

20, 21
Et. Mag. AVji. 19. ievéov ori 40 $xi . . . oi. Aupieis áxi

Aéyovat 9ià ToU a*
.* , , ^
&xuL Avxa ueya aüpa
TOvTÉGTiV Ürov TOU Alxa Tb uké*ya puvnueiov, kal
"7 e N
QYL 0 KXetvos
"Audurpvovióas

1 E (preceded by two quotations from Hom. and followed
by one from Stes., cf. 13. 600 f.): mss óm-ep 'Au$urpiwr»i
*? B-E: mss &s kev à5.: Pors. $íAq ? mss Motcai: or omit
as incorporated gloss?

426

ANONYMOUS: ALCMAN (?)

the birth of Heracles, giving it her when he is appearing in
the shape of Amphitryon [in Aleman :

and she took the golden cup and forthwith looked
at it in wonder.

181

Etymologicum Magnum 38e *to please? : from ác 'to give
pleasure! ; compare

I pleased the friend who pleased me.

For things which give pleasure are 75é« * pleasant or sweet."

19

Stobaeus Selections [that God is the creator of the world
and orders the universe by the reason of Providence, and of
what nature God is]:

Let us hymn the Blessed Ones, ye Daughters of
Zeus,? with songs immortal.

20, 21

Etymologicum Magnum: It should be noted that the
Dorians say áx: for $x« * where? ; compare

where the great tomb of Lichas
and
where the famous son of Amphitryon?
! perh. elegiae (Callimachus ?) ? the Greek has *ye

Muses daughters of Z., but the word J/uwses is perhaps a
gloss * Heracles

427

LYRA GRAECA

es EAIIDOTZ 7 AAKAIOT

22

Heph. 86 rerp&uerpov 8€ karaXqkTiukbv émivikóv, 0 Th» uv
mpórmv exei iauBucfiv, Tyro: é£áanuov 1j érráauov, Ty 56 bevrépay
ievuciyr 1; 8evrépay mauevuctv, T3» 9€ Tpírnv Tpoxaikiv é£damnuov 1)
émrrácnuor, elra Tj» ék Tpoxaíov kal T5js àbiaoópov kardkAeciba,
otov:

^ , [2] / LES , , 2.3 £ 1
TeoUT0s eis Bas ráis àpuareo o: óynuévosi—
MáXts uév évvg XémTov ÉXow' ám árpákTo

Aívov.?

29
Plut. Garr. 5 kalekóme: r3» 1 Avolov] 9 7e(65 kal xápu:

N ^ » N ,
. . Kai &Tjvov éyo dau Fior Xókov
Moícav e? Xáxejuev.*

24
Apoll. Pron. 97. 4 | AioXeis &ugur
... &XX& Tis &puut Oabpov

25
Hdn. ap. Cram. 4.0. 3. 2939. 28 — oí *yàp AioAets Aéyovai (ry

/ a ansa

TV), TS Tas
^ , ^
"TTGts O0 Xopos*

tiva iówuev 0r: Táva. 1

1 mss OfjBas, ápudrecoi ? ÉXAoig? E, — ÉAXoiw7a — efAovcaa:
mss Éxoic" mss also ér' 3 "AAKaíov ? * B-E: mss
kükeiyoy "yàp ey $aut lomAokáucov and Aaxety 5 suppl. Z (cf.
context) $ an example of má» 'all' perhaps underlies
this
428

ANONYMOUS FRAGMENTS

SAPPHO or ALCAEUS (?)!

22?

Hephaestion Aandbook of Meítre [the combination of unlike
elements] : The epionic catalectic tetrameter has the first foot
an iambie, either of six or of seven 'times,' the second an
ionic or 'second' paeon, the third a trochaic of six or of
seven * times,' and then the close, consisting of a trochee and
a doubtful syllable, for instance:

Such was [my] son when he entered Thebes in
his chariot ;

and
Malis was a-spinning, twisting the fine thread
from her distafft.
23
Plutarch Garrulity: Observe the charm of .

And I say that he i a fair dower of the violet-
tressed Muses.

24

Apollonius Pronouas: The Aeolic writers use the form
&ugi *to us'; compare

but to us some God

25

Herodian in Cramer's Oxford Inedita: For the Aeolians
say -áv for màv, and mais for màs ; compare

all the place

4

1 See also Scolion below, p. 564 ? ef. Et. Mag. &vyq
(Hdn. 2. 302. 14) 3 the mss say Lysias, but this cannot
be right; prob. A/caeus — * the mss are corrupt

429

LYRA GRAECA
26

9. 939. 90 ówyé . . ií0uy uévro: AioAets kal év &mAf
Tpooopá 9ià ToU | aUTO &rooaívovra

, b

óYyu yàp dp£ao:!

laws àvaAoyórepov &s Beikvvrai év rà IIepl "Erippnudrav.

21
Cram. 44.0. i. 63. 99 [m. co0 &yea Od. 4. 794] Tb 56 v mp5

ToU BvrAo0 obberómore eópíakerai, ei ui) uóvovy év 7d Vos ... €v0a
oí AioAeis àvaXo'yóTepol eigiv

»

UN,OS
Aévyovres kal

»
KaT iNr9Xov opéov.

28

Ibid. i. 327. 3 7$ yàp óp&à Bevrépas utv &s mpóbómAov, àAAA
kal mpáT0s, es 0?Aov éx Tíjs AioA(80os DiaAékTov: ds "yàp àm ToO
oikà 1j uerox?) Cotkeiw»* (Alc. 88): obrc &mb To) ópà (Upeisy"

àXXN' à mávT ÉémÓpets " AMue . .?

29

Ibid. i. 208. 13. i8pós: ToÜTo map AioAeUci ÓqAvkds Aé*yerau:
&vabéxerau kAlgiw àkóAovÜov ÜnXvkg *yévei . . Óuowv Tq T]ós
elra 1j *yevuct

lópos «Ova oudorépa ?

àvrl ToU ibpoUs, &s* * MéAa'yxpos aíóws &tios" (àvrl albobs».*

1 mss here àp£áre, Ka8. IIpoc. gives -aro: B cf. Sch. Soph.
Ai. 257 ? B: mss éoopeis "AA. 3 E, cf. with B Hesych.
ópod: óbuf AakGves: mss iÓp3s &udórepa * E, ct. Alc. 47:
mss ós MeAd*yxpws àyrl MeA&'yxpovs kal aib9s üEtos

430

ANONYMOUS: SAPPHO OR ALCAEUS (?)
261

Herodian On Peculiarities: óyé *late': . . . The Aeolians,
however, use the form in : even when it is not compounded ;
compare

for he began too late ;

which is more consistent, as is shown in the tract On
Adverbs.?

273

Cramer Znedita (Oxford) [on the word yea in the
Odyssey]: The letter v is never used before a double letter
except in byos .. . where the Aeolians are more consistent
in using the form fyos

height
and fjzAos * high' ; compare
down the high hills

28

The Same: The word $pà *to see' is clearly of the second
conjugation, but we see that it is also of the first if we
compare the Aeolic dialect; foras the participle of oixà *to
dwell! is ofxeis (Alc. 88), so that of ópaà *to see! is Opeis

but O thou all-surveying Sun *
29

The Same: í6pós *sweat'; this is used as a feminine in
Aeolic; it takes the declension of feminine nouns . . . such
as 44s *dawn,' and then the genitive f5pes—compare

as ill-smelling as sweat

—instead of íbpoUs; as in ' Melanchrus worthy of respect"
(Alc. 47), atóws for ai8ovs.

! cf. Id. Ka6. IlIpos. i. p. 497 * Apoll. Dys. Adv. 573,
p. 163 Schn. 3 cf. Cram. 4.0. 1. 418. 31 * ref. to
the eclipse of May 28, 585 z.c. ?

431

LYRA GRAECA
30

Hesyeh. áccvppov: àvri ToU mác'cvprov: AioXeis*

,
TÓ TráccVppov Am ávTOV ryévos àjuéov 1

91
Et. Mag. 514. 65. naviqv' àyrl coU (qreiv: ék To gale ToU
(nrÀ . . kal Gamep T0 kAaíew AloAukas Dijpnrai kal *ylverau:

kXatqv 6ákpv

[4 1 Ji ^ ^ 4L 2
OUT(OS Ka. uatqv TÀcovaguo TOU U Luavtmy.

22

Ibid. 587. 19 uéreppa: ToÜro Tb má0os Tis AloAucs écTl
6iaAékTOv, oiov-
, ^- 3
5 5 CUTLOO
rà péreppa-

ó *yàp uérpios uéreppos vap' aDTois Aéyerau.

33

Apoll. 4dv. 153. 20 Bap)bvera: kal 9ca ék ueraMdnpeds égTi
TüV eis Üev, ümep écri map AloXe0ci kal AcwpieÜgt . . UTiGÓev
üT10 0a-

0 0 é£imio0Üa kaaTáÜeis

34

E. M. Vet. 260 jd sc$u: . . eÜpmrau 5$ c$l àvrevvyuía mapà
T$ Tori cUV TÓÀ Vv: Zvpakovcio: B& Wív Aéyovoi, Adkwves div
(AloXets 85€ áav

vapà 0 cd kópat Xevkdáa mies *

! Hoffm.—Z, cf. raecvpeí Poll. 9. 143 and racevp?s Hesych :
mss vacc piov &. T. raccvbígv (from above) AloAets Tb maa a ipiov
dudQv &ümàvTev *yévos — ? uavtqy and mAcovacuQ ToU v gu. Meist:

432

ANONYMOUS: SAPPHO OR ALCAEUS (?)
30

Hesychius G7ossary: áccvppov: used by the Aeolians
instead of zácevprov *&wept up from all sides'; compare

our whole race swept from every side

3l

Etymologicum Magnum puavtqy : equivalent to (qreiv ; from
uaíe *I seek' . . and just asthe word xAaíew *to weep' is
made three syllables in Aeolic, as in

to weep a tear,
80 uatgyv becomes with the pleonastic v uavtqr.

32

The Same: uéreppa * moderate" : this is characteristic of the
Aeolic dialect; compare

thou didst ask a moderate boon ;
for uéreppos is used by the Aeolians for uérpios.

33

Apollonius 4dverbs: Grave also is the accent of the dia-
lectic forms of adverbs in 60ev, as in Aeolic and Doric .
órig0a for mic0ev * behind? ; compare

but he, standing behind

94

Etymologicum Magnwmn: The pronoun e$í 'to them" is
found in Homer with the v; the Syracusans use yív and the
Laconians $í(v; the Aeolians ác$:, compare

and beside them, maidens white-shielded !

! prob. the Amazons

mss uavíqv and TA. T. v uavíqy — rob (TG E: mss r0 C. mss
also 9dkpvciww — ? Impf. Mid. — * B: mss qur mapà 8é a krÀ.
433

VOL, III. FF

.LYRA GRAECA

35
Choer. Sch. 948. 27 (Hdn. 29. 281) kai r5 mós olov:
c9 70s Éxei uuaLvOLLÉVOLGLV
ümb ToU TOUS *yéyyove.

96
E. M. Vet. 949 mókros:

, /, ,
. TràvT€$ $avporépots épov
T ÓKTOLS*
Tapà TO TÓKOS TÓKTOS.
37
Hesych. -ví8e évraü0a Aioxets:
//
TvLO Ov koXevav Tvvóapióav . .

koAdGvay -TvvBapiBay Aéryei riy Oep&mvav. 27?

38

Et. Mag. 199. 59. àmb rob BAS ó Bevrepos àjpimros &BAmv
OLOV*

2o. s 7T00ev 6é TOXKOS
evUTeres és ;?

39
Cram. 4.0. 1. 413. 12. &v6ev equeiobvroa TO
vapkia aco Tepevorepov *

^ ^ /,
kai Aéyovgiw 0Ti &mDb Tis TÉpevos eU0eia "yiverau Ó Tépevos: ék
TOUTOV TÓ Te€pevórepos.

40
Et. Mag. 995. 8 yéxav:. (éyéXov) otov
yéXav 6. àBávaroi Oéor
1 B-Hoffm., cf. Hesych. $a0pos: koU$os : mss vókroict $épov
? B-Hoffm: mss T$5a: and -vBàv koXwvav: Twvbapibüv x.

5 Hoffm: mss 8é àAxbs eUm. €£B.: Vet. (s. BAeís) 9' émAxós
eUmcés * mss vapkíacov rep.

434

ANONYMOUS: SAPPHO OR ALCAEUS (?)
35!

Choeroboseus Scholia: and the form mós, as in
like the foot of a madman,
is found instead of mos ' foot."

36 ?
Old Etymologicum Magnwm mékros * fleece" : compare
they all carried poorer fleeces ;
mókTos instead of zóxos.

3T
Hesychius Glossary rví8e: hither; Aeolic; compare
hither to the hill of the Tyndarids;
by this is meant Therapne.

38?

Ehtymologicum Magnum: From BA, *to smite? comes the
second aorist £gAqv :

and whence wast thou dealt this lucky blow ?

391
Cramer Znedita (Oxford) : Wherefore they put a mark at
as delicate as a daffodil

and say that from the genitive répevos * delicate" is formed a
nominative répevos, and from this the comparative repevórepos.

40
Etymologicum Magnum : *yéxav :. for éyéAwv laughed,
as in

and the immortal Gods did laugh ;

lof. E. M. 635. 22 (mós xewaivoyuévowiw) and. Choer. | Schol.
182. 34 (do.) 3 cf. Arcad. 80. 9 9 ef. E. M. Vet. 65
3 cf, Hdn. Gram. Gr. 1. 180. 22

435
FF

LYRA GRAECA

karà cvcTOXA]y AauBáverai, Gs 7 uerox3 ÜnXot: "yéAavros "yàp 1j
yeviki; karà ava TOÀ TOU a.

41
Hesych.

, ^
evoéXAavvov Giov oikov!1

jjro. 1apà T0 GéAas 7) rapà Tv a eXfjv v, tva. 3; àmb uépovs évaoTpov,

42
Cod. ap. Gaisf. Hes. Op. 664 uerà yàp Tb à ó$wvfevros

éra'youévov mpoaTí0era. AloAikGs Tb v, &s Tb àljjp aUqp, às abws
1 juépa, &drav Ty BAaBmv, kal

^ ,
TV AK0peoTOV aváTav

43

Cram. 4.0. 4. 356. 94. 1 &vri, Tbv Évra. àyrl 700 bmápxovaa,
&s kal 7) xpjc1s 99AXot oUTws €xovaa:

^ y
TQ évra?

ii

Sch. ZZ. 13. 957 [kxareátauev 9$ plv Éxeokov | àemíba
Ani$óBoiw BaXóy bmepmvopéoyros] -Am0vvrikbv évikQ) émyyanyev
AioAikGs: kol Ebprríóqs " Ievv. *koAvóuea0a uj Ta0eiy & BoóAopua.*

45

Aristid. 1l. 397 5ok& ro)bvavTiov Torfjcew Tois AioAeUgi T0um-
TGis" Ékeivo: pv *yáp, émeibdv Ti BoUAwvrai rGv kaÜ' abrovs
$avAÍcai, ueyáA* abró mapéBaXov kal map' &pxaíows Tepijavei
€ , , 24 [4 H , 3
T'yovpuevoi u&Aig T. àv oUTcs éEeAXevyEau.

1 Mein.—Z : mss evgeAavóvbiov ol. ? mss Taíóa é.; cf.
Eust. 1787. 45 3 B: mss é£eAéy£eww

436

ANONYMOUS: SAPPHO OR ALCAEUS (?)

this comes by systole or shortening, as is shown by the
participle, whose genitive is yéAavros by shortening of
the a.

41
Hesychius GLossary :
moonlit home divine

comes either from aéAas ' brightness or from ceAfry * moon,
so that it means, by the figure part-for-whole, 'starry.'

421

MS. quoted by Gaisford: When another vowel follows a,
the Aeolie dialect inserts v between the two, as à4?p aip
* air,' à&s atiws * day,' àdrav * harm? abárav, as in

and Harm the insatiable

43 ?

Cramer Znedita (Oxford): &vri, fvyra are used to mean
* being, as is shown by the following passage :

being a child

ii

Scholiast on the Z//ad [! we broke the spear I had before
in striking the shield of the proud Deiphobus?]: The poet has
used the plural with the singular as they do in Aeolie ; com-
pare Euripides Jon * we are prevented from being treated as
I desire.

45

Aristides Eulogy of Rome: Ithink I shall do the opposite of
the Aeolic poets, who when they desired to disparage any-
thing of their own, compared it with something great and
anciently famous, because they believed that they would
thus be the most convincing.

1 cf, Fav. 262 ? cf. Choer. 2. 859, Fav. 205-6
437

. LYRA GRAECA

*

46
Seh. Soph. Z/. 139 [&AA' obro: Tóv *y' é& 'Aiba | ma'ykolvov

Aluras maTép üvaTdceis olTe *yóois obrc Avraigw] . . . kal
Aic xiAos * uóvos 0càv *yàp 0&varos o0 8ópov épG-

« Ai6as 0càv-
jóvos oU Oékerat ryXvkepás uépos éXrrí8os.!

4T

Zon. 2294 Tittm. àvégye ... otye kal àvol^yw, 0 kal Giterqaiw
ó AloAeUs Aévymv:

vávras ot»yev ÓaXápors ?

48

Stob. Ecl. 1. 2. 9 [ovi 0ebs Bnuovpyyos r&v Üvrev kal Biémei TO
OAov TQ Tis mpovolas Aó*yq, kal moías ovaías brapxe]

7 M! e N ^ M 0 , , ^ 3
€US O0 KQL4 6077)$ KQGL UVavaTOU "T€LOQ TQ, VOD) jLOOP

49
Choer. in Ald. Cornu Cop. 268 .. ofov $4; Zamóó rs Zamóós

kal A)TrÀ T?s AnTGs, kal 0nAoUciv ai xpfjaeis oUros Cxovaai*
éx Xámóos 700 àyueNyouevos nét vot iépo*
kal map' a071j Tj Zamoi- (Sa. 55).

! Diehl recognises Aeolic metre; suppl. Crus. —Z, e.g.:
mss Béxerai ? mss 6amAduovs | müvras (T »? three con-
secutive shorts do not occur in Lesbian poetry 3 if for
(w5s we read (oías the metre becomes that of Sappho 103,
but her dialect would require Ze)s ó xal (oías kal 0aváTw
TÉpparTa váp.aus * Ahr : mss 75 56 ék X. krA.

438

ANONYMOUS: SAPPHO OR ALCAEUS (?)

46 !

Scholiast on Sophocles Zlecíra [*but thy father that is
beside the waters of Hades to which all go, thou shalt never
raise him up either by prayer or lamentation?]: . . . Compare
Aeschylus: ' Alone of Gods Death hath no love for gifts" ;
and this: ?

Alone «Cof Gods Hades? receives no share of
sweet hope.
47 3

Zonaras Lexicon: àvég*ye fhas opened ': . . . ofye (with its
compound ároí^«), which the Aeolian makes trisyllabic, oto,
thus:

opening all chambers

48

Stobaeus Selections [that God is the creator of the world
and orders the universe by the reason of Providence, and of
what nature God is]:

Zeus who keepeth hold of the ends both of life
and of death

49
Choeroboscus: . . . like Zaróó ' Sappho' genitive Zamr$ós
and Am«74 'Leto' genitive Az7às, as 1s shown by passages
like this :

From Sappho pressed is this honey that I bring
thee ;*

and, in Sappho herself, this: (Sa. 55).

! cf. Suid. s. mdyykowos ? the gnthors name is lost
* ef. Hdn. Gram. Gr. i. 250. 18 * prob. belongs not to
Alcaeus but to an imitator of Sappho who lived in a later
age

439

LYRA GRAECA

os XTHXIXOPOT ;j IBTKOT

50
Et. Mag. 48. 399 àxwd'yuara: olov
XeupQv 766 vro6Qv àkiwámyuara

Trà Tiw&'yuaTa TOV To0DGv uerà pvOuoU xal TGv Xepav 3 riy fiuara*
kal TAeovacudg ToU a kal ToU *y kal rpom 1, ToU 7] eis & ükiyd-yuara-
Hpo0iavós.

91
Et. Gud. 308. 26
Kav)kov T €Mikas f9óas!

&mokomi) kal cvykomii Kabkeves * Kavkdvov TToAÍeÜpov' xal karà
cvykoriv Kabkev.? HpwBiavbs IIepl IIa8àv.

52

Sch. 7I. 16. 97 [T. Tov eor e(x ea ] óc 01s kupíois eis qs Afyougi
Bapvróvois cvvrÓvois Tapákevrat émiÜerikà óbvvóueva: Auo'yévs
o. . GUTàp ó Dioryevfjs, IloAvveíkns àAXN

& TOXUVELK?)S
60 EAXéva?
53
Apoll. Pron. 46. 10 [v. rórov àvrevvyi&v]: kal éml 7ó*
UT éuo) avTás*
pare kaavyviyrov vró0as okéas
TpUGT7)S

6iécraAke Bvcl mepia meuévais* jjvvdTei "yàp cwvreÜzvai Dià Tb
émiepóuevov pijua.

il so E. M. Vet., A. P.: Gud. kabkovres éA. B. ? mss
Kar 3 mss àAA& moAvviukds DieA€va, 5! Bek: mss
éudvrüs

440

ANONYMOUS FRAGMENTS

STESICHORUS or IBYCUS (?)
50

Etymologicum Magnum àkiwávyuara : In the phrase
swingings (?) of hands and of feet !

the word (translated swngiíngs) means the rhythmic waving
of the feet and movement of the hands; by the insertion of a
and y and the change of *» to a, kivjuara * movements' be-
comes àxiwàyuara, | Herodian.?

51?

Etymnologicum Gudianwum :
and the shambling kine of the Caucians;

by apocope or cutting off and syncope or cutting out, KaUkwves

* Cauconians,' as in * the citadel of the Cauconians,' * becomes
, [ ; , - , 5

Kabpkev 'Caucians. Herodian On Znflexions.

52

Scholiast on the Z/ad [on the word e?re(xea]: To all paroxy-
tone proper names in -5s there correspond oxytone epithets,
for instance Aioyévzs 'Diogenes' . . but 8ioyevüs 'sprung
from Zeus,' IIoAvveíkgs ! Polyneices' but zoAvveixfs as in

divine Helen for whom so many strove

53
Apollonius Pronouns [the accentuation of pronouns]: And
in this passage,
Weary thou not the swift feet of myself nor yet
of my brothers,
the author has separated éuó avras 'myself' with two peri-

spomenon (or circumflex) accents ; for it could not be taken as
one word (as the reflexive éuavraàs) because of what follows.

! prob. in the dance, but nothing else is known of the
word ? (fram. Gr. 2. 167 * cf. Cram. 4.P. 4. 55. 29,
68. 24, E. M. Vet. 180 * Callimachus Z. i. 39 5 Gram.
Gr. 2. 218

441

LYRA GRAECA

54
Hesych.
oj.oTrat6a kácww Kacávópas

ój.o0U ToibevOévra * 3j óuoU TekveÜOévra, émeibi) DiDvuol eiauw.

es ANAKPEONTOS
55

Hdn. Gram. Gr. 2. 649 ieTéov óvi ToU Züv Z«qvbs éQ)AaLav
oí TaAau0l "Ioves 73v kAíciv, otov:

émi 0 laxe
Zqvós vireped)s 6óuos
Caxpmis ^

56

Heph. 33 [v. &àvriamacTukov]: kal £c iw émíanua év abr vábe:
eo. ÜÍuerpov 86€ áxardAmkrov Tb kaXobuevov l'Avkóveiov T aUToU
lAókevos ebpóvros avTÓ] ?

/, Eur 8r79€ ,
KkaTpos 9VUX 0 uatvoNns
000vTL GKVXAGKOKTÓVOQ

, ,
Kvrpióos 0áXos oXecocv*

57, 58, 59

Anon. Metr. Ox. Pap. 320.8 ef ris Ts mTpóTmas Dumobías
mávTa Tà cXTjuaa mapopíaci? kal kaaA(mo: uóvov abrfjs Bpaxeiav

1 Mus: mss kdci kacdvbpas óuoU TaibevÜévres ? B-E:
mss érel 9' 1exe and 8óuois (pns 3 this can hardly be
right; perh. obx abToÜ kTrA. and émel kal "apà 'AvakpéovTí
écTi, cf. 26 'Apieroodveiv (p. 25 Cons.) 1 cf. Ibyc. 6
5 Wil: ms pica

1 Helenus ? or. suddenly; cf. Hesych. (axpaeis:
é£amivalovs ; d.e. with thunder? 3 cf. Sch. Heph. 106,

442

ANONYMOUS: ANACREON (?)

54
Hesychius Glossary :
twin-born brother of Cassandra ; !

the word óuóma:ba (translated twin-born) means either *brought
up together,' or * born together' because they are twins.

ANACREON (?)

55

Herodian The Accentuation of Nouns: It should be noted
that the older Ionians kept the declension of Zzv Zqvós;
compare :

and the high-roofed house of Zeus rang wildly.?

56?

Hephaestion Zandbook of Metre [the antispastic]: Notable
uses of it are these: . . . and the acatalectic dimeter called
the Glyconie . . .*

When the raving boar with dog-destroying tooth
slew the darling of Cypris ?

57, 58, 59

Anonymous Writer on Metre in « Papyrus of about A.D.
100; If you remove all the parts of the first dipody and leave

Mar. Plot. 291, Sch. Ar. Nub. 563 (rà TAskovos) * the
words which follow, *Glyceon himself having invented it,
are prob. eorrupt; if so, perh. read *though Glycon himself
did not invent it, for it occurs also in Anacreon'; if not,
the lines must belong to a late imitator of A.; nothing is
known of Glycon's date, but hike Asclepiades, who gave his
name to a metre used in the 7th Cent., he was prob.
Alexandrian 5 Adonis

443

LYRA GRAECA

kal rà Aovrà ToU cTÍXov, TeAei gei: ToUTo Tb Dluerpov: 18e *yoUy
ÉcTw TáBe eaAalkeia:

'H Afuvos TO TraXatOv €i Tis AX
[ Eo£á]uxv 46e Trois 0cots üvacr
TTÉépa 9 d'yvà wap 'EpoTos Adpoóíra

TOUTGy *y&p Üvrcv ÓaXakeloy ürokomréa0ccav ai mparoat cvAXaBal
kal *yev tjm erai T0 ' AvakpeóvTeiov oUTcos' T0 TaAaQuDy el Tis ÁAAy ...

TON METATENEXTEPON

60, 61

Ath. 14. 632 f. Gierfpnsav 5€ ud^iw Ta r&y 'EAMfvev Aake-
Daiuóvtot Tw H0VGLKTV, mAclam aiTf xpápevot, kal cvxvol map
aUTOis €'y€vovro ueAGy mov]raí. TnpoUgiv 6€ kal vüv ràs &pxaías
qDàs émiueA s, moAvuaÓeis Te els Tabras eigl kal àkpiBets. — OBev
kal IIparívas $5oí (2): AakevorérriE ebrvukos eis xopóv: | 0i9 kal
ot TovjTal DteréAovv mpocayopevovres oUres Tàs qOds-

, e 1
yMvkvTáTOV T pvTAVLV UuvoV

kal

uéXea, uer Tépora Movoáy?

62, 63

Hdn. Gram. Gr. 2. 649 ueravycvéa epo: AioAets Érpeijav Zavbs
kal Zá»: kal Éri ueraryevéo epo, oi "Ieves 0ià ToU (a) Zàv, T$
Zaví-?

1l (Jas: mss ucv ? Cas: mss poDcav 3 mss Avkayi

! the first two lines may belong to Anacreon, cf. fr. 38 ;
the third, which, prob. by some confusion or loss, contains
twelve syllables as against their eleven, might be Lesbian, 4.e.
Sappho or Alcaeus, but metre, if we may read &yv» and
'Aopobírg, favours Anacreon (in either case the 4th syllable

444

ANONYMOUS FRAGMENTS

only a short syllable with the rest of the verse, this dimeter
will result. Take for example these Phalaecians :— !

Lemnos, foremost of cities of old,
and
This was my prayer to all the Gods
and
pure Aphrodite . . . wings from Love.

From these lines, which are Phalaecians, let us cut off the
first syllables, and we shall get the Anacreontean, thus:
* foremost of cities of old! . . .?

THE LATER POETS?
60, 61

Athenaeus Doctors at Dinner : Now of all the Greeks none
preserved the art of music more jealously than the Spartans;
they practised it very generally, and lyric poets were
numerous among them. Even to this day they keep the
ancient songs with the greatest care, and are real connoisseurs
of them, And thus it is that we find Pratinas saying (fr. 2) :
*'The cricket of Sparta so apt at the dance," while the poets
never tired of calling these songs

chief of sweetest hymns
or
honey-wingéd melodies of the Muses

62, 63

Herodian Te Accentuation of Nouns: The later Aeolians
used the forms Zavós and Zá», and still later the Ionians used
the a-form Záv with dative Zaví ; compare

must be long), cf. fr. 52. 3 ? the translation does
not represent the metre: there follows a gap in the ms
3 prob. including Pindar, as well as Simonides, Bacchylides,
the Dithyrambists, and others ; someattempt has been made
to arrange these fragments roughly in chronological order by
a consideration of style and subject; it is not certain that all
fall within the scope of this book

445

LYRA GRAECA

&X00L po, Zavós re kovpn—
Zavi 1. éXevÜepio !

64.

Et. Mag. Vet. Baíovy: Aéwyerau 8€ apà 79 ToujTí) kai 3jBaubr
kal Baióv* . . kal
2

Bau év aiàvi Bporov
au éva poT

65, 66, 6T

Heph. 55 [v. xopiauBikob0] -epaioüTa: uev *yàp kal eis Tàv
i6(av róv 8dkrvAov 1) kpurikóv, otov 8Íuerpov uev T

(c TOTrÓVOL UeLpa.kes
Tpíj.er pa. Ó€

oU06 Xeovrav aÜévos ov08 rpodaí
TeTpáuerpa 8e

a? KvÜOepy5jas émimveir Opryia XevkoXévov?

68
Et. Mag. Vet. 76 (E.M.9231. 9) £ari 8€ mpórms kal 8evrépas
cv(vylas Tb *ynpás Gamep TO mijmAGs,? otov miumAQ TiumAGs kal
Ti TA€LS, 0i0V :
Tüs PaóauávÜOvos * mum Xets Bav
69
Plut. Q. Conv. i. proem. 75
picéo nvápnova avpmóTav
! mss fav Te Aev6. ? for choriamb cf. Ibye. 67. 48
3 ynp9» Gamep Tb TiUuT AQ ? ! mss ràs PabdáuavOvs

446

ANONYMOUS: LATER POETS

Give ear to me, thou daughter of Zeus and . . .
and this
and to Zeus the God of freedom
64
Old Etymologicum | Magnum: Homer uses 7f8aiv and
Balov (both meaning *little"); compare . . . and

in the little life of mortal man

65, 66, 671

Hephaestion Handbook of Metre [the choriambic]: It also
ends properly with the dactyl or cretic, for instance, the
dimeter ?

lasses that work at the loom,
trimeters such as
neither the strength nor yet the living of a lion,
and tetrameters like ?

ye who inspire * the mysteries of the white-armed
Cytherea

68

Old Etymologicum Magnum: 'The verb *2pà *to age' is of
both the first and the second. conjugation like miumAó to fill,
Tim CIfll 'thou fillest' m«mAGs and miumAeis, the latter
exemplified in :

with which thou fillest the mighty Rhadamanthus

695
Plutarch Dinner Table Problems: The saying
I hate a mindful drinking-mate

1 cf, Sch. ad Loc. * cf. Mar. Plot. Gram. Lat. 6. 534. 14
* cf. Greg. Cor. ap. Hermog. 7. 988 (éx Kv6.) * or blow
favourably upon the persons addressed are feminine
* ef. Luc. Symp. 3, Mart. 1. 27. 7 (uic&)

447

LYRA GRAECA

à Xóccie Xeveximv, € &vioi mpbs TOUS émur Tábpovs ipiis 8a: Aéyovai,
$opTiKOUS ÉTieikGS kai àvaryóryous e» TQ mívew üvTas- oi yàp év
ZueAia A«pieis, Gs €oike, TOV eníoaÓuov. práuova m poc Tyópevoy-
Éyioi 5e TV mapoiuíav ofovrai TO[S Tapà TÓTOV Ae'yopuévois kal
TpaTTOuÉVois &àuymoTíay émdyew.

10
Stob. Ecl. l. 5. 10-12 [m. e(uapuévgs kal v2s T&v *wouévev
evralías] !
KAóre Moípau, Atos ai T€
zràp Ópóvov ó^yxóraa 0c?
eCóuevat Trepuoat. üdvkrá me
uajeea, zravroóaráv [3ov-

5 Aáv à6agavrívats ooatvere kepkíauv,
Aica —kavi» KXe00 Aáyecíts T
eveXevou NvkTOs kópau?
ev Yyopuévov ésakoUca ,
oUpáviatL xÜóvuat T€

10 Oa6uoves à vavóetuaTou
méumeTr dpi» poGokoXTrov
Evopiav Xvrapo8póvovs 7' àóeX$às
Aíxav kai a Teoavy)ópov
Etpyjvav, róNiv T€ rávóe

15 Bapvópóvov XeXá80vre avvrvyiüáv.

71

Strab. 1. 23 7) kal 'Heió8g utv Érpere i] $Xvapety àAXà Tais
karexovgaus bótais ükoXovÜOeiv, ien LE

à

ÓTTL K€v em aKatpLpav

yXóccav iy keXaóety ; ?

!1 there is some confusion in the mss; Nauck rightly
recognised the 3 fragments, ll. 1-3 (5Cineval), 220 (Alea), and
6-15 (the first ascribed to Eur. Peleus) as a single lyric poem

448

ANONYMOUS: LATER POETS

is said by some authorities, Sossius Senecio, to have been
applied to masters of the feast, who showed some measure of
bad manners and ill-breeding when the wine was on the
table; for it seems that the Dorians of Sicily called the
master the mindful one. Others hold that the saying invites
forgetfulness of things said or done over the wine-cup.

TO
Stobaeus Selections [on Fate and the good order of events]:

Give ear, ye Fates who sit nearest of Gods to the
seat of Zeus and weave with shuttles adamantine
numberless and inevitable devices of all manner of
counsels, Destiny, Clotho, and Lachesis, Night's
daughters of the goodly arms,—listen to our prayers,
ye all-dreaded deities both of heaven and hell ; send
unto us rose-bosomed Orderliness and her bright-
throned sisters Right and wreathéd Peace, and may
ye make this city to forget her melancholy fortunes.

ram.

Strabo Geography: Or should Hesiod avoid talking non-
sense and follow received opinions, and Homer

babble all that may come to a tongue that knows
not time or season ?

1 cf. Ath. 5. 217 e, Luc. Zist. Conscrib. 39, Rhet. Praec. 18,
Dion. Hal. Comp. 1. 5

? mss vapz mss also à&yxor&Tow 3 Wil: mss xoüpa: v.
5* Wachs: mss 7av8eíuavroi 9 frr: xev Ath. Luc: Dion.
Ór. kev, Str. ri áv: keA. only in Str: Ath. Luc. &A67y, Dion.
Éros (A0 Aéyeiw

449
VOL. III. G G

LYRA GRAECA

12
Theod. Met. 515 [ei yauwréov éeTiv 3j M!) Tois émiuéAeiav

Éxovci ka) ópovríBa Tjjs kar' àperitj» (wrs] kal moumral 8€ Qagiv:
4 Lo] , , 1
€ 'ykvKet eipava
, ^
T'XovToO0Teipa, ÉD porois

173

Ibid. 562 [Ov: máàvres a. xe5ov &yOperoi $iXoTAovrías ürrovTai]
Küv el mTÀdTTcovTOi TOapoAvrycpeiv kal mapopav &vemiaTpóoxs kal
TapaTpéxeu,

/ 2 E d ^
. . VUgO€eL* y OuoSs adoàs
0 -ynTp. 7)6ovàs
$73iv 1j ToÍ9c.s.
74

Plut. Pyth. Or.99 oi uev oiv mepi TO FaAa£Eiv Ts Bowuerías
KQT0LKO0ÜVTES Jía8ovro TOU coU ('AmóAAwvos) TÀv émiodrveiay
&$Ooyía T€ kal mepiovoía 3mm

m po árev? yàp ée Trávrov keXápvtev

^ , *
Gs à7T0 kpavàv déprarov O0op

/ , A N bu , , 4 , ,
OjXeov yáXa: Tol emLUTXav^ égaUjevot
TriÜovs*
5 bi e » , ^ 5
àcK0s Ó ovre TLS Gp. opevs
6 &Aivv' €v 6ópois*
, ^

TéXXat MÜLvot re Trio, 6 vrXüaÜev á&mavres.

75
Clem. Al. Str. 5. 661
vai TÀV "OXuyrov «a raóep-
K0|.ÉVaV ckamToUxov " Hpav,
écTL oL Tr.a TOV TGJuueloy eri yXoocas:
f mov]Tucf) $50iv, 6 Te Ala XÓX0s KTÀ.

l mss eipfjvn ? mss voTTEl * Leonicus: mss pordávrwv
5 mss -TÀcV * Headl. àu$:$opevs $ Schn.—B : mss
kpmvácy éAÍvvve Bóuois, m. 0€ EUAiwoi míBo:

450

ANONYMOUS: LATER POETS

12

Theodorus the Metochite Pre/4/e [whether those who take
thought for the life according to virtue should marry or no]:
And poets, too, say

O sweetest Peace that givest wealth to men

131

The Same [that practically everyone is the slave of the
love of wealth]: And even if they pretend to disregard and
overlook and pass by on the other side,

still are they pricked by Pleasure's wiles

as the poem says.

14?

Plutarch TAe Pythian Oracle: Dwellers near the Galaxium
(the shrine of Apollo) in Boeotia are warned of the God's
epiphany by the great abundance of milk ;

For like purest water from the springs the welling
milk gushed forth from all the flocks, while they
filed their vessels in hot haste; aye, neither skin
nor keg was idle in their houses; piggin and
earthen jar, all were filled to the brim.

75

Clement of Alexandria Miscellanies :

I swear by the sceptred Hera that looketh down
upon Olympus, I have upon my tongue a sure and
trusty treasure-house ;
so says Poetry, and Aeschylus, etc.

! claimed by Wil. for Pindar ? claimed by Schroeder
for Pindar

451
ac2

LYRA GRAECA
16

Dio Chr. Or. 33. 41ll kel piv ox obrw Bewóv éemw, ei
üvÓpezoi: uerati cpofdTrev $ceviv AdBowv o05 ei Bodv, o00 àv
xpeuerí(esiw c08 àv óAakTGQgiv, Gomep Tijv ExdBmv oi mcinral
Aéyovgir €mi magi To0s Üeiwots reAevratov mo:5j001 Tàs "Ep:wÜas

N e
XapoT àv kÜva, xáXkeov 8é oi
yvá8 ov ! ék rov
[4 e , A vy

$Üeyyouévas vrrákove uév "10a

4 E /,
Téve6ós ve vrepuppvra

-—:P ,

GOprnikias re «Xdpov- diXáveuou grérpas.?

TT

Plut. Lat. Viv. 6 riy 8€ rs évavr(as kipiov uoípas, eire 0cbs
eire Ba(ucmv éavív, "Aibmv óvoud(ovauv, &s hv eis àcibts kal àóparov
118v órav 0iauAvOcuev BabiCóvTwv

vvkTOs àióvüs àepryn-
^! e el /, 8
Aoto Ü vTVOU Koipavos

T8
Id. Non Posse 19. woios yàp àv o)Abs 7) ki0dpa Digpuocuévg
Tpbs qO1v 7) TÍS Xopbs
, , / 5, ,
ebpvoTa kéXaGov àá«pocódoov
a'yvUjLevov 6.à a To|.A TOV

$8eyyóuevos obrces qiopavev ;

19

Id. Adv. Stoic. 19 ei 8€ 03) mávrws ébeiro kaxoÜ *yevéaoecs 1
$ócis, tv Tv OfWmov mapabevyua kakías íxavo» 1j beUrepov: ei be
Boxe: 8éka dabXovs 7j xiMovs 7j uvpíovs &Bei *yevéaOot, ical p
kakías uev opàry rocevTqv To TAT80s

| perh. e$, but B cf. 77.16. 531 wyvá86wv.Geel: mss-^yra0u&v
which could bardly be fem. ? Herm.-B-E, cf. Hom. H.
Del. Ap. 34, 11. 13. 12: mss Opmirxct ve $iAÉmv (QíAa) Éuovye
* Plut. koípavor (adapting), cf. De EI
452

ANONYMOUS: LATER POETS
16

Dio Chrysostom Ora/ions: Yet it is not so strange that
men in the midst of it should take the voice of sheep or
of oxen, nor should neigh nor yet bark, even as the poets
say that the Furies, as the last of her miseries, turned
Hecuba into

a dog of flashing eye, from whose hoary jaws came
a brazen sound that was heard by Ida mount and
wave-girt Tenedos, and the wind-loving crags of
Thracian Samos.!

I

Plutarch On Living in. Obscurity: The master of the opposite
fate, whether God or spirit, they call Hades (*Ai85s), because
after our dissolution we are supposed to make our way into
the àsióés or unseen, that

king of murky night and untoiling sleep

T8

The Same TAÀe Impossibility of living pleasantly according to
Epicurus: What flute or lyre attuned to song, what band of
singing dancers with its

wide-voiced din breaking abroad through high-
skilled lips

ever gave such delight as this ?

793

The Same Common Complaints against the Stoics : Now if
Nature really needed the existence of evil, one or, say, two
examples would surely be sufficient, or if you like, there
might have been ten bad men or a thousand or ten thousand ;
and not such an enormous quantity of evil that

! Samothrace stands high * cf. Id. De EI 21 Ttsb
Id. 4n. Prol. 4

453

LYRA GRAECA

ov Nrájuuos 7) kOvts 7) Tr TÉpa.

TroLKLX00 pócv ! oicvav

T0ccOv àv xevavT. àpiÜuov,
&perzjs 8€ umo" évimViov.

80

Sch. Pind. N. 6. 85... oók éxk mapabpout;s 85€ Cdkorov elme 7b
8ópv ToU 'AxiAAÉcs, Gcavel ueiAiwwov 3j Ti Toi0ÜTOV abTb Em €v
kowórzTi, &AX ÓOTi ibi$Tepoy Tapà Tà AAa kareckeDagcTO.
Gikpovv *yàp, &ae bvo àxyu&s Éxeiww kal jui& BoATj Buc0à rà Tpa uaa
&mepyá(ec8at. . . kal ZoQokATZs €v 'AxiAAéws "'Epacrais (152
Pearson). . .?

e J N 26 /, » 3
VTTTUXOL ryap oovVatL ptv 7)pL ov

, , ,

AxXuUNNqLov Óópaos.

8l

Plut. Non Posse 26 xal 8vcavaexerobst: TobTw» Ae'youévav,
às TÓ
érevra, ketaerau [Sa0vGévópo
év xXÜovi acvwrociov T€ kai Xvpáv àpotpos
(Q/yüs T€ TravTepméos avv.

82
Ibid. 97 oi8e jaBíes o0" &àAUTws Gkobouev-
^ v 5 , , ,
0s àp evmrovTa pav augpoatov
T9Aavyés * ékao(z Tov Trpóg oov?
aTéMwrev ágépas.
83

Id. Consol. Apoll. 28 ei *yobüv à NióB« karà Tobs j8ovs
mpóxeipov elxe Tijv bmóNqiw TaíTTqV ÜTi
l so Am. Prol : here -rpíxev ? some words prob. lost

between two citations, of which only the first is thought to

454

ANONYMOUS: LATER POETS

not sand or dust or feathers of motley-voicéd
birds would heap so great a number,

and of virtue not so much as a dream.

80

Scholiast on Pindar Nemeans: . . . He does not give the
spear of Achilles the epithet *exceeding wrathful' casually,
as he might call it *ashen ' or the like as a stock-epithet, but
because it was more suitable than any other. For the spear
was forked, so as to have two points and deal two wounds at
one thrust . . . Compare Sophocles in the Lovers of Achilles
ud as[snd..,. .]!

For he was rent by the twofold pain of the

Achillean spear.
8l

Plutarch TÀe Impossibility of living pleasantly according to
Epicurus: They are vexed at heart when they hear such
words as these:

Then shall he lie in a deeply-wooded land, and
have no part in revelling or the lyre nor in the
all-delighting cry of the flute.

82
The Same: Nor is it with comfort or content that we hear
it said:
So spake he, when lo! the ambrosial far-beamed
face of charioting Day had gone from him.

83

The Same Consolation to Apollonius: If Niobé in the story
had had at hand the thought that

! see opp.

belong to S. ? no need to read jjpeucov (see Pears.)
5 B: mss 73^. à. 9 Wytt: mss ps Trómov

455

LYRA GRAECA

, ,
ovk aie ÓaXé8ovri Bio
, / , ^
BXdáoraus T€ Tékvov BpiÜouéva *xyXvkepov
dos 0p9ca
TeAevríjme, oük àv olrws éDvaXépauvev, às kal rb (mv é0€Aew

€kAumretv 9ià 7b uéyeÜos Ts cvjuopas kal ovs 0covs émikaAeia at
y
&vápmracTov aUTLv "yevéa at mpós àmóAeiav Ti)» xakemoTaTTV.

84

Baech. Znír. Mus. 95 Békaros Bt évóm^ios ét iduBov kal
Tryeuóvos kal xopeíov kal idu Bov otov

€ N / ,
0 TOV 7TriTVOS G'TÉDAVOV

85
Clem. Al. Str. 6. 796

ov pij rore ràv ? üperàv
LE /, 5 , , ,
aXXáfoyua, àv. à&ikov
KépOeos*

ü&óuxov bt Évrikpvs képBos íjbov)) kal Avmm mó00s ? ve kal $óBos xal
cvuveAÓóvri eimetv Tà md0n 75s iyvx?s, Gv TO TapavTíka TepmVOv
&viapóv és rovmóv.

86

Cram. 4.0. l. 171. 33. eeequcíerai 70 TloAvavia. &rl TobTov:
kal TO kÜpiov kal TO Tpoc'yyopikóv é£é0Auje Tb v

IIoXóppia mavrepm?)s kópa

87

Chrys. v. àroQ. 24 ei mous 71s olrws àredalvero
, 5 , , ,
ovK ei6ov üvep.oKkéa. kopav

1 mss also xal 7 .* uf; more ráv B : mss uf» vor. v, ufy
TO TÁV 3 Münzel: mss 7ovos

456

ANONYMOUS: LATER POETS

she shall not always be laden with the joys of
vigorous life and budding babes in the delicious
daylight
but come to die,! she would not have found life unendurable
in the face of so great a disaster? and prayed the Gods

that she might be carried away to the worst possible
destruction.

84

Baechius Zn/roduction to Music : 'The tenth enoplius consists
of an iambus, a hegemon (or pyrrhich), a choree (or trochee)
and an iambus, as

he that . . . the wreath of pine?

85
Clement of Alexandria Miscellamnies :
Never will I barter virtue for unrighteous gain;

and unrighteous gain is nothing else but pleasure and pain
and desire and fear, and in fact all the conditions of the soul
whose present indulgence brings future remorse.

86

Cramer Znedita (Oxford) : Thereason why the word Polymnia
is marked is this, that both as a common adjective and as a
proper name it loses the second v; * compare

Polymnia, all-delightful maid

8T
Chrysippus ZVegatives : If a poet thus expressed himself :
I saw not the wind-swift maid.

! or even she that is laden . . . shall come to die ? the
slaying of her children by Apollo * the prize at the
Isthmian Games * 4e. 1t is not Poly-ymnia

457

LYRA GRAECA

88
Aristid. 2. 513

$épe 81) kal TaÜTa é£éraaov:
á Mobca yàp OUK amps eve, TÓ Tapóv
Lóvov, &XX. émépyerat
Távra Üepitoyuéva,
TOÜUT' ob 8okei c0( Ó Tov]T3js abrby émauwvüy Aéyew ós "yóvigov kal
mÓpiuov eis Tà uéAm ; T( 9 émeibày Aéyn
uj po. karamaver , émevmep i)p£aro
TepmVoTáTOV LeXéov
0 kaAMBg0oas roXvXop80s avX0s.!

89
Ap. Tyan. Ep. 73. 407 'Ecaciaíg- TaTpíbos écuév moppwTépo
cvv Da(uovi, 7/05 8€ rà T3)s TÓAews mpáyuara év và éBaXóuay:
06eve. Mo?pa mpós TéAos àvÓpiv
o? Tàpy T poTav XeXóryyaat Ttpáv.
&ptei be Tb Aormbv maibdpia kcl pikpbv émáve TobTcv peípakes.

évrab04. Tov Béos, u3j a$aAT rà bmb véev kvBepvóueva. | col 9 o
6éos, émei BeBickauev.

90
Plut. ap. Stob. Ec/. 1. 5. 19 7» yàp etuapuévor &rpemrov kal
&rapáBarorv,
xXoTrep jóvov óbpict vebcy
kaprépa robTQ KékXocT àváyka.

91, 92, 93

Arist. Eh. 3.8 és: 5e maiüvos 570 ei57 &vrwcelueva 3M,
&v Tb uev tv àpxii GpuóTTei Gamep kal xp&vrav otros 9 éavlv ob
Épxe: uev 3j uakpa, TeAevrG a: 6€ rpeis Bpaxetac

! B joins the two fragments, prob. rightly (for the
anticipatory use of yáp cf. Anacr. 31 and 106); otherwise
karaTavere has no objt. ? mss add xal merpweguévn (gloss on
&va-yka ?)

458

ANONYMOUS: LATER POETS
88

Aristides On the Extemporised Addition: Just examine
this :

Since the Muse is not needy nor giveth to taste
alone of what is at hand, but goeth abroad to
harvest all, —
is it not clear to you that when he says this the poet is
praising his own poetical productiveness ? and what when he
adds :

I pray you check her not, now that the goodly
ery of the many-stringéd flute ! hath begun its most
delightful music.

89

Apollonius of Tyana Letters: to Hestiaeus :——With Heaven's
help we are further from our home, and already I have been
thinking of home affairs :

Men who have received the first honour—their
fate travelleth to the end ;

and babes, and children scarcely more than babes, will reign
in their stead. And there is some fear their government may
fail—though you need not share it, for you and I have finished
our course.

90

Plutarch in Stobaeus Selections: For Destiny is not to be
turned aside nor passed by—

and whatsoever she but winketh with her eyelid,
for this straightway is spun potent necessity.

91, 92, 93?

Aristotle Rhetoric: There are two opposite kinds of paeon ;
one of these suits the beginning, where indeed it is generally
put; thisis the one that begins with the long syllable and
ends with three short, as

! either in the technical sense * with many tones," i.e. a wide
compass, as in Plat. Zep. 339c, or * accompanied by many
strings (of lyres) ? cf. Sch. Arist. ap. Cram. A.P. 1. 308

459

LYRA GRAECA

AaXo*yevés, eire Avk(av!

«al
Xpvoeokoópas " Ekare, at Atos?

érepos 5 éE évavrías, ob Bpaxeia: üpxovsi Tpeis, 7] 0t nakpà
TeAevTaía-

^ * , , , * , , ,
uerà àé yüv 06ava 1. okeaw ? ndáviae vi.
oUTos 8 TreAevriv moie: 1j yàp Bpaxeta * Bià ro àreAd;s elvat zroiet
KoAoBóv.

94

Heph. 81 [z. -aiwvikob]- evvri8éac: 8é rives kal érépg TpómQ
Tb TeTpdueTpov, Gare Tpeis elvat ToUS kaAovuévovs ceráprovus
mayas, eira reAevraioy rbv kpnTiKÓv:

OvpueXukàv i0. uákap diXodpovos eis pw

Choer. ed loc. p. 249 Cons. x ràv kaXovuévev AeAduküv
éaTlv 1j Tpokeiuévm xpjgis, ui) exóvrov TU Üvoua TOU To(7T0U.

95

Plut. Prim. Frig. 17 6 yàp 5Xws àvíoxev, s Tis eire Tv
86:0vpauBomoiGv, eb0bs kTA.

er , F,
QALOS QVLO Y OV
* M DR 9 rs ^ 5 , - ge ay
evÜ Us avém Anc aepoBaráv JLeyav otkov aàveuov.

96
Dion. Hal. Comp. l7 ó utv oóv Bpaxvo?AXaBos iryeuáv T€

kal Tvppíxios kaXebtrav kai obre ueyaXompemijs éa iw obire aeuvós:
cx')ua 9" aUToÜ ToiÓvbe:
N , /
Aéye 66 c) karà T00a veóxvra? uéXea.

1 Sch. Arist. Cram. 5e — mss also Avxía, Avxie — .? xp. B:

mss xpva eokóp.a ? mss cokéavov 5 uakpd ? 5 mss àvé-
TÀncev, but the metre is paeonie &epoBarav Düb: mss
-Bárav $ mss also veóAvra

460

ANONYMOUS: LATER POETS

O Delos-born, whether in Lycia!
and
Golden-headed Far-darter, son of Zeus.!

The other on the contrary is the one which has three short
syllables first and ends with the long, as

The land and ocean-waters disappeared in night.

This paeon forms a conclusion, the short ? syllable truncating
the rhythm by its incompleteness.

94

Hephaestion Zandbook of Metre [the paeonic]: Some
writers compose the tetrameter in another way, making
three of the feet the fourth paeon as it is called, and putting
the cretic at the end ; compare

Come propitious, Blessed One, to the strife at thy
altar.?

Choeroboscus on the passage: This citation, which is
anonymous, is taken from the so-called De/phian Collection.*

95

Plutarch Cold the First Principle: For as one of the
dithyrambie poets has said,

the rising sun straightway filled the great home of
the air-walking winds.

96

Dionysius of Halicarnassus Lterary Composition; The
short-syllable type is called Aegemon (leader) or pyrrhich,
and is neither impressive nor stately ; it is of the following
type:

Pick thou up the limbs newly scattered at thy feet.5

lan address to Apollo ? long? ? to Dionysus at
à poetical contest * apparently a collection of lyric poems
preserved in the temple archives at Delphi, cf. the Delian
Collection mentioned vol. ii, p. 283, cf. vol. i, p. 317

* prob. the limbs of Pentheus
461

LYRA GRAECA
97

Ibid. ó uév yàp éj àmacàv Bpaxeibv cvvearós kaXoUpevos €
jTÓ Tiwev TpíBpaxvs moUs,! ov mapabei'yua Toióvbe:

Bpopue, 6oparoo op , évváAue,
ToXepokéXaóe márep " Apm?

TaTeiVUS T€ Kal laeuvós éoTi kal &yevyüs, kal ovBev àv ét ajToU
"y€vouro *yevvatov.

98

Ibid. ó 89 é« nakpás kai Bveiv Bpaxeiav uéoqv uev Aafàv T3
uakpàv &uoiBpaxis ovóuasTat, kal o0 a$ó0pa ràv eU xtiuev éori
pvOudv, àAXà DiakékXagTal re kal ToAU TU OT) Av kal à'yevyes éxev
oid. éc Ti TavTÓ:

"Iaeye 0ptiauBe ? av TOvOe xoparyé

99

Ibid. oí uévro: pvOuikol ToUTov ToU To00s (ToU bakTUAov) Tv
uakpày Bpaxvrépav elval asi. Ts TeAe(as, o0k €xovres 0 eimeiv
Ócq, kaAoUciw aUT]y üAo'yov. érepós éoTiw àvríaTpoQov Éxov
ToUTq pvÜuóv, 9s àmbó rdv Dpaxewwy üp£áuevos éml Tijv dAo'yov
TeAevTü: ToUTOV X piaayres ümb rav üvamala wv kvkAitKÜV aAo0o01,
mapabei'yua aUToO $épovres Toi0vOe

N ^
KéxvTAL TONS vNrirvXos kaTáà vv.

100

Ibid. [.xpmriko0]: éàv 8€ Tqv &pxcv ai 5o nakpal karáco xcci
Tqv 9€ TeAevrT 1j Bpaxeta, oid eai ravri-

coL, Poife, Movcats re evuflepov*

&v5pdDes mávv éo vl T0 o XTjpa kai eis aeguvoXo'yíav émvrijbeiov.

! mss also xopetos, Tpoxatos ? müTep "Apo only in .4.G.
(for "Apr B cf. Sch. Aesch. Sept. 105), which reads zoAeuókXove
3 QpíauBe Dind : mss 9:00pau 8e contra metr. * B-E : mss

Mobcaí re evuBauev (couBopoi)

462

ANONYMOUS: LATER POETS
gu

The Same: The foot which consists entirely of short

syllables and is called by some writers the Tribraceh, of which
the following is an example :

Dinning, spear-bearing, furious, war-clattered,
Father Ares

is mean and undignified and ignoble, and can be used to
compose nothing that is noble.

98

The Same: The foot which is made of a long and two
shorts and has the long in the middle is called the Amphi-
brach, and is not a particularly beautiful rhythm, being
enervating and smacking strongly of the effeminate and
ignoble ; for instance

Thriambic? Iacchus, thou leader of this chorus

929

The Same: The writers on rhythm, however, declare that
the long of the Dactyl is shorter than a full long, and being
unable to say by how much, they call it *irrational.! There
is another foot having the converse rhythm to this, which
begins with the shorts and ends with the irrational. "This
they distinguish from the Anapaest and call it 'cyclic,'
giving the following example:

The high-gated city lies scattered o'er the ground.

100
The Same [the Cretic]: If the two longs come at the
beginning and the short at the end, like this:
who shares altars with thee, O Phoebus, and the
Muses

we have a manly type of rhythm suitable to the dignified
style.

! ef, Keil An. Gram. 8. 11, Macr. Sat. 1. 19. 1 (may have
taken Bpóuie as Dionysus and "Aps as an appellation, but in
that case the other epithets would be characteristic of D.
not of A.) ? the meaning of the epithet is unknown

463

LYRA GRAECA

101

Ibid. [m. TpicvAAáBev pvOuaov] Tb 9" avTb cvufBfjserai kàv 3
Bpaxeia mpore0j! Tàv puakp&v- kal "yàp obros Ó pvOubs Giieua
€xei kal uéyyeÜos* mapábevyua 5€ a0T00 TÓD€*

, ^ ^
Tív' àkráv, Tiv UXav Ópajw ; qoi zropevOO ;

102
Sch. Heph. p. 299 Cons. [z. vvppixlov] xarà O:mobíav 5€

GwvTiÜÉyevos kal T)V TpoKeAevcuaTikÜüv TOiQV, TÀ KAAoULCva
TpokeAeva uaTiKÀ 3j Tvppixiakà jérpa oi.et, Gy mapabet^yuaTa
, , , ks , ,
(0. uOXe raXvT7.000s ei Oéuas éXádov
, x , »
-Tepodópov «àvàz epi 60vaxa viÜeuéva:?

103

Mar. Plot. Gram. Lat. 6. 515.2 Hemidexium trimetrum
dactylieum schemata habet octo, de quibus unum solum
ponam Graecum exempium hemidexium, quod repperi, tribus -
dactylis constans :

Eeive, Tüv 'Apyepopov ? rádov
103 A

Ibid. 542. 3 Minus Ionieum dimetrum catalecticum fit
lonico minore et anapaesto :

"I0. uávep ueyáxa*
104

Ibid. 540. 1 [de pedibus numeri Ionici a majore]
"EXckorréraXe, kaXXikéXa8e, duXoyopevrá ?

1 mss gvvreÓj, mpóry TeO5j ? B: mss émí0eggua (éml
6ecuá) and vrepooópav (-ov) xepabv xa8nuéva (xepao' kaBogay) :
4A. G. Tax) mobe ézi 0éuas and mwrepooópov: xeAi&óva kaÜnuévqv
3 B: mss apxeBpov * D: mss guarüp (umnrep) ueyáAm
* B-Keil-Putsch: mss EAIKOCTIHTAAH (EATKOCIIHTAAH)
KAAATKEAAH (cafalectis AAAE) $IAOKXOPEITA ($1AOKOAO-
PEITA) |

464

ANONYMOUS: LATER POETS
1011

'The Same [trisyllabic rhythms, continued]: The same will
happen if the short comes before the longs; this rhythm,
too, is distinguished and impressive, and here is an example
of it:

To what shore, to what forest shall I ffy? whither
shall I go??

1023

Scholiast on Hephaestion Handbook of. Metre [the pyrrhich]:
When this foot is put into dipodies to make the proceleus-
matic (uou) we get what are called proceleusmatic or
pyrrhichiae lines, such as this:

Away with thee, maid, like a fleet-foot roe, with
a feathered reed upheld.

103

Marius Plotius Ou Metres: The dactylic hemidexian trimeter
has eight kinds, of which I shall give the sole Greek example
that I have found, consisting of three dactyis:

Stranger, the tomb of Archemorus *

103 A

The Same: The 'lesser? Ionic catalectic dimeter is com-
posed of an Ionie « nore and an anapaest :

Come, Great Mother
1045

The Same [on the feet of the Ionie « maiore]

Flower-twined, merry-dinning, friend of the
dancer $

! cf. Epit. Comp. Verb. Vj, p. 172 Us.-Rad. ? prob. (in
this context) from a dithyramb, but a tragedy is possible
3 cf, Keil Anal. Gram. 4 * the name is uncertain 5;ok.
Hesych. kaXAukéAaBos 9 Dionysus

465
VOL, III, HH

LYRA GRAECA
104 A

Dion. Hal, 25 (v. roU '70is 0cois eUxouat moi kal mcus,"
Dem. Cor. lj] o? roiobTos uévro: kükeivós éoviw Ó pvOpós-
/ , ^ ^ ,
Kpryotots év pvOuots zratóa uéXvropuev . . .

€uol *yotv Ooxej; éLw *yàp ToU TeAevraolov mTo00s Td 'ye ÉAAa év
müciy taa &pioTalt.

105

Mar. Plot. Gram. Lat. 510. 25 de pentametro integro
acatalecto monoschematisto: est metrum integrum penta-
metrum dactylicum, quod semper quinque dactylis constat,
quale est exemplum Graecum illud :

"IAcov àápgd EXévy vesmvpcepevov óoXero.!
105 A

Ibid. 524. 1l tetrametrum (iambicum) brachycatalectum
colurum . . ut est

'O IIv8tos uecoudoáXois ? 0c0s ap. éeyápaus,

106

Heph. 39 [v. ievikoU ToO àm éAdocovos] ToÜro (rb TeTpd-
perpov karaAn]kTiKOür) uévrot Kai "*yaAAiajBikby | kal ur peakby
ka eira.—Üaepoy DE xal» &yakAdueyoy ex f00—0ià Tb T0AAÀ
TOUS yecrépovs eis Thv purépa. TÓÀV eeüv ypéyat TobTQ T$ uéÉTpg
(év ois kal rà ToUS TplTovs Tai&vas Éxovra kai maMpuBákxev kal
Tàs Tpoxaikàs àBiaoópes mapaXauBávovai Tpós rà kaÜapá), &s kal
Tà TOAvÜÓpiATTa TaUTOG TapaOe("yuara O7Aot-

l'aXXal UT pós ópetrs $UxoÓvpaot ópopn.áóes,
ais évrea, mrararyeirat kai XáXkea, kpóraXa

1 B: mss AEIMONAM&EAHNENHIITQOMENONAOAHTO, AEIMON-
AAASEAENEITTOMENOAECO ? B: mss -aA:i05

! D. reckons the last syllable of uéAwewuev short, though
metrically it can stand for a long ? as the remaining

466

ANONYMOUS: LATER POETS
104 A

Dionysius of Halicarnassus Liferary Composition [on a
passage of Demosthenes]: Is not the following rhythm,
however, of the same kind?

In Cretan rhythms let us sing the child of . . .

To me, atany rate, it seems so; for except for this last foot
the identity is complete.!

105?

Marius Plotius O0» AMetres: On the acatalectic iambic
pentameter monoschematistic :—it is an acatalectic dactylic
pentameter, which always consists of five dactyls, of which
the following is a Greek example :

Ilium was burnt and destroyed for Helen's sake.

105 A

The Same: The brachycatalectic truncated iambic tetra-
meter .. . as

The Pythian God beside the hearths of the mid-
most spot?

106

Hephaestion Zandbook of Metre [the Ionic a ménore] : The
catalectie tetrameter is also called the CGalliambie or
Metroae—and in later times also the broken or irregular—
because the Mother of the Gods has often been addressed
in this metre by the more modern writers (who, moreover,
mingle lines containing the third paeon, the palimbaechius,
and trochaic dipodies, indiscriminately with the pure Ionics) ;
compare the following famous example:

Gallae of the Mountain Mother, fleet friends of
the thyrsus, whose harness and brazen cymbals clash
amain 4
Plotian exx., quoted by Bergk, appear to have been com-
posed «4 hoc, these may be of the same nature ? Delphi
was the * navel' of the earth * ascribed by Wil. to Calli-
machus, but cf. Choer. ad loc. p. 245-6 Cons.

467
H H2

- LYRA. GRAECA

107
Hdn. Gram. Gr.i. 528.19 75 86 *ara$a Aluvqv! 5
KXáóa ypvaeokapmov

ovX €£ev rwwà ep£eiav avàs 1j kAds" ueramAacpol "ydp eic.

108

Arist. AKA. 3. 11. 1412b eic 8€ kal af eikóves . . . àel ebboki-
uotcau TpÓmov Tivà ueradopai- àel yàp éx üvotv Aéyovrai, Gomep
1 àvà Aóyov ueraQopá: olov 4; &eTmís $auév émTi $iaAd) "Apeos
(Timoth. 25) «al ró£ov

$ópuvyE dxopOos !
109, 110

Dem. E/oc. 91 Awmxréov 8B& kai c)v0era óvóuaro, oU cà
0i0vpauGikas ovykelueva oiov

Ücorepá rovs s'Xávas

dcTpov OopUTVpov apa TÓV

&AA' éoikóra mois bmO Ts cwvTzÜcías ovykeiuévois.

111

Plat. Men. 77a 9oket roívuv uoi, à. Xókpares, àperi) elvai,
kaÜdzep ó moumjrijs Aévyet,

/, ^ N ,
xatpew T€ kaXoigt kai óvvaaOat
Kal é-y& ToU TO Àévyw Gperfjy, éxiÜvuoÜüvra TO» koAQy Dvvarbv elvai
mopí(eo a4.

112

Plut. Q. Conv. 4. 6. 1 [rís ó vap' "Iovbatois 0cós]: 0avpudcas 5€
Tb émippnÜtv ó Zóuguaxos: "Ap, €oq, cv Tbv maTpuóTmv Ücóv, À
Aaym pía,

! for Oéoyris in Dem. Zloc. B sugg. Geó8wpos or Oeobékrqs ;
but the frag. may come from Theognis the tragedy-writer

468

ANONYMOUS: LATER POETS
1071

Herodian Complete Prosody: The forms eráBa in er7á3a
AÍuvmv *standing pool, and xAá85a in xAá8a xpvceókapmov

golden-fruited bough

will be found to have no nominative ; they are metaplastic.

108?

Aristotle RAetoric: Similes, also, are always in a sense
effective metaphors ; like the * proportional' metaphor, they
always involve two terms. For instance, we call a shield
* the goblet of Ares ' (Timotheus 25) and a bow

the stringless lyre
109, 110

Demetrius on Style: We should also employ compound
words, but not dithyrambie compounds like
heaven-portented wanderings?
or
the fire-speared host of the stars

but resembling the compounds of ordinary speech.

111

Plato Meno: Then my opinion is, Socrates, that virtue,
in the words of the poet, is

to rejoice in the noble and be able to do it.

This is what I too mean by virtue, to desire what is noble or
beautiful and have it at command.*

1125

Plutarch Dínner-Table Problems [on the nature of the God
of the Jews]: Wondering at what was said, Symmachus
exclaimed, *And as for your divine fellow-countryman,
Lamprias,

! cf. Cram. 4.0.3. 283. 5 ? cf. Dem. Zloc. 85 $ prob.
Io's * this interpretation is prob. not quite correct
5 ef. Id. Ez. 17, De EI. 9

469

LYRA GRAECA

eUiov ópavyvvatka
paivouévats Avovvaov
avOéovra Tip ais!

éyypáeis kal ómomoiets Tots EBpaíev &roppfiTots ;

112A zaiàv eis Avcavópov

Plut. Vit. Lys. l8 mpórg? utr ydp, &s ícTopei Aopis,
5 -^
EAAfvcr ékcívgp BeuoUs ai mÓAeis àvéarqcav &s Oed kal Ovaías
£0vcav, eis mp&rov 0c moves j,0070av, Gv évos àpxàjv àmouwvmpo-
yevovgi ToidvOe:

Tóv 'EXXá80s áya0éas
cTpara'yóv àw. evpvxopov ?
Paápras (jwvücojuev à
3^ I 757A
i) ILaiáv.

ZXdguioi 86 rà rap abrois Hpata Ava vOpeia kaAeiv éjmoiaavro.

- A ^5 , E] t ^
Ath. 15. 696e [m. Tbv ToU 'ApigToTéAovs eis Epuelav Taiva
, , *e* / ,
kaXovuevov]: o)« Éxet 8' oj8e 7b Taiavikbv Émíppnua, kaÜdmep ó
, , , M » , e ^
eis Abcav8pov Tóy ZrapriaTTV "ypaoeis óvrws Taiàv, 0v not AovUpis
, ^ H / e y , ,
€v Tois Xauíev émvypadoguévois "Qpois à9en0a1 év Zàuc.

113

Plut. Aic. Mult. 5. và yàp eÜxpna va T3js duMas Bio xpnova
ylyverai 91& 73v T0AvdiA(av:

, , , ,
&XXov TpO7r0s, &XXov éwyeiper
N
$povris àvO por ov: ?
obre "yàp oí $Uccis Tjudv éml raUrà Tais Ópuais Démovciw, ore

, t) ^

Tíxais óuorpómois àel abvea uev, al re ry mpátewv kaipol ka8dmep
,

Tà TVebgaTa TOUS eV dépovai rovs 0 àyrimímTovat,

114

Id. Gaerr. 29 kal ka8dmep orav év avAXÓvyg Tw Gueri] "yévnra«
rbv 'Epufjv émeweAnAv0évai Aéyovgiw, olrws órav eis avumóaiov

l so de EI, mss here dv6. riua?oci A., Exil. A. uev. dyp0. 7.
? mss TpóTov 3 Naeke: mss -xópov * mss g13 (or ij) 7.
5 mss ÉAAov Tpómos (Tpómov) yàp üXXov: üAXov ,. . ÉAAov i8
apparently for &AXov uév . . ÉAXov Bé

470

ANONYMOUS: LATER POETS

God of the cry evoe, rouser of women, gay with
frenzied rites, Dionysus

do you enrol Ai; in the Hebrew mysteries ?

112A ParaN Tro LvsANDER

Plutarch Life of Lysander: According to Duris, he was
the first Greek to whom the cities built altars and made
sacrifice as to a God, and the first to whom were sung
paeans, one of which they relate to have begun as follows :

We will sing the general of holy Greece who
comes from the spacious town of Sparta, O Paean O !
Moreover the Samians decreed that their festival of Hera
should be called the Lysandreia.

Athenaeus Doctors at Dinner [on Aristotle's so-called Paean
to Hermeias]:! Moreover it does not contain the paeanic re-
frain like the true paean composed in honour of the Spartan
Lysander, which according to Duris' Annas of the Samians
was sung to him at Samos.

113

Plutarch 0n having Many Friends: What is serviceable in
friendship becomes unserviceable when friendship is too
widely extended ;

one man is moved by disposition, another by
thought ;

nor do our natures all incline to the same things, nor do we
enjoy the same fortune ; and opportunities, like the winds,
favour one and are contrary for another.

114?

The Same On Garrulity: When silence falls in an assembly
they say that Hermes has joined the company, and in the
same way when a garrulous fellow enters a drinking-party or

I (see p. 411) ? cf. Id. San. Praec. 18, Coh. Ira 4 (pb

kÜuaTos ds Tiva T. lkp. a TeA^Ójevos)

471

LYRA GRAECA

3 cvwvéopiov *yvepiuwv AdAos eigéA0p, Távres ümogiwmógi pi
BovAóuevo: AaBXzv mopacxeiv: àv 9 abrbs üptqrat Diaipew TU
cTÓua,

Tpó xeijuaTos oT àvà movríav
dx«pav Bopéa Caévros!

Ü$opdápevo: cáXov kal vavríav é£avéoTcav.

115

Plut. Praec. Reip. 9 -oAXoi 8t mb vóxus Gduevoi và»
koiw&v kal àyamAmaoOévres obkéri pables &meA0eiv BUvavrai, rabTO
Tois éuÜGgiv eis mAotov aidópas xápw, eir àmoocTacÓeiciw eis
méAa'yos memovÜóres: €iw BAémovat vavriQyres kal TapaTTÓMevot,
uéveiw 8€ kal xpja0at rois mapoUciy àvdykgv Éxovres:

^ , ,
Xevküs kaO0vrrepÜe vyaXávas
, "^ . y Ed
ev7rpoc oro, a óüs mrapdi£av ? €peres vatas
E , / ) e
&Xalóos xapa£umóvrov 6auuoviav és UBpw.

116
Plut. 4a Seni l2 7) -Xoíev uev üpxovras oU Toit "ypápguaTa
kvBepynrikd, pi] ToAXákis "yevouévovs év mpüuym 0eoràs rv mpos
kÜgua kal mvevua kal vUkra xeuuepiev dydávov
, Y ^
ore Tvv6api6áv à6eX-
^ /, ,
$ov &Xtov vavrav 7000s
P aXXet * . .

LEI

Id. Tranqu. lj kvBepvüy yàp oUve kÜüua mpabvat TpaxU kal
mveüu.a DvvaTóv éaviw, ore 0moi: BovAerai Ocouévo Aiuévos TvXeiv,

! Bopéa D : mss here Bopéov, Son. Boppà (aévros Crus :

mss here (éovros, San. Praec. mvéovros ? B: mss
Tapfücav: Wil/s mapáeipav hardly accounts for Aevkás ky.

! Jit. *to hover around, ef. Plut. Soll. 4mim. 970 c and
bmepatcpeig0a: * to lie at anchor Hdt. 6. 116, or * just to cross
a strait' (lif. as a means of transport), cf, Aristid. Or. 24. 331

472

ANONYMOUS: LATER POETS

a chance gathering of acquaintances there is a general and
sudden lull in the talk because nobody wishes to give him a
handle ; and if he begins to open his mouth,

as when the Northwind blows across a sea-beaten
headland before a storm

they scent tossing and seasickness, and rise and depart.

115

Plutareh Political Precepts: And often they take up politics
through mere chance, and when they have had their fill of
them find that they can no longer easily withdraw. Like
people who go for a sail! and are carried away into the open
sea, they look out of the ship seasick and troubled, but
obliged to remain and make the best of their plight ;—

Specious desires for the thwart of a sea-graving ?
ship send them speeding over the white calm to
heaven-sent ruin.?

116

Plutarch SAhou!d Old Men Govern ? Treatises on navigation
do not make pilots, or they would stand on the poop mere
spectators of the stormy contests of wind and wave and
night *

when the seafarer is seized with a longing for the
Tyndarid brethren* . . .

bl

The Same On Peace of Mind: For the pilot to temper the
wind and smooth the wave, to make the desired haven, or

(987), or *for air and exercise! sake, cf. Jos. 4. J. 8. 7. 3
é$' &puaros Óxobuevos kal Aevidy TjuQiemuévos éa85jTa (ó ZoAÓ-
pev) Tpbs aidpav €0os elxev étopuav ? cf. Timoth. Pers. 4
5 for üBpis cf. Act. Ap. 27. 21 * Castor and Polydeuces,
the saviours of mariners 5 cf. Id. Superst. 8 eb xópuevos 5e

Tbv oíoka Tpocd'ye,, TÀv kepaíav dns: Qebyei ómocv. épeBób.
ik 6.

413

LYRA GRAECA

olre ÜappaAécws kal &rpóuws bmoueiva T0 avpuBatvoy: àAX. €ws oUk
ümé*yveke Tfj TéXVY) Xpépevos
$evye ueya Xaios UrogTOMaaS
Coe Kec VépTaTOV ic Tog !
,
epe90eos éc ÜaXác ans vmépa xm
(róTe 865? cpéuev ká0nrat kal raAAXÓuevos.

118

Plut. Non Posse 293 &amep ef Tis év meAdyec kal xeiudwi
Oappórev émicTàs Aéyoi ufTe T2v vaüv Tiwüà Exew kvfeprfiTmv,
pfjTe ToUS EHEPU. aUTovs üà$íEea 0a: érepxóuevóv e, kTA.

émrepx ópevóv TE paXá£ovres Bua rày 5

T'OVTOV QKelLas T üvéuov purrás.

119
Ael. H.A. 14. 14 [m. 8opká8wv kal keudbwv] 15 'ye uv kaXov-
uev kal ómb rv Tov]róv keuàs
Opajetv uéy oio T1) ÓvéNXns Oceqv,*
ibeiv (865 üpa mvppóOpiE kal Aaciwrárm.

120, 121

Plat. Rep. 10. 607b Tara 95, &$mv, &moXeNoyfiaBm TIU
&vauynaOeiaw mepl movigeus, Óri eikórws &pa TÓT€ abr)v. ék Ts
TÓAecS &meg TÉAA opey Tow TqY obcay: ó yàp Aóvyos TS j pet.
mpogeimepiev 5€ abTÍf, D kal rwwa, ckAnpórTa 1; Tuv kal &ypoukíay
karayVg, Or. mTaAociÀ uév TiS 812.popà $iAocoQía T€ kal TOUT.
kal "yàp 7)

, N , "d
Xaképvta pos Oeo TO0Tav kUav

ékelyn (55? kpavyá(ovca 9 kal
,
pévyas év ábpóvev kevearyoptauat

l Égre ke vépr. D: mss &vs dor ibis iavós E, cf. Superst.
(opp.): mss forov AB 3 Plut. paMáEovras, adapting :
Def. Or. it A udin T€ uaAdgcovres Biaráy B: mss here
Bíaiov, Def. Bla Tóv 5 some mss omit uéy 5 E, as

P.'s explanation of Aax.: mss also kpá(ovca

474

ANONYMOUS: LATER POETS

cheerfully and fearlessly to wait on fortune, all are equally
impossible ; so as long as he does not despair he practises his
art, and

flies with his mainsail lowered till the mast holds it
at its lowest out of the murky sea ;!

but when he does, he sits all quivering with fear.

118?

Plutarch 77e Impossibility of Living pleasantly according to
Epicurus: lt is as if in a storm on the open sea one should
stand by and say quite cheerfully that the ship had no pilot,
and the very Dioscuri would not come

to temper the onrush of the puissant sea and the
swift gusts of the winds

H9

Aelian on 4nima!s [gazeles and xeud5es]: Yet what is
called by the poets xéuas or a young deer—-compare

fawn most swift of foot like a storm,

but in appearance it is red-haired and very shaggy.

120, 121

Plato AHepublic: We have harked back to Poetry, and the
defence we have just made must suffice to show that we
apparently were right in expelling such a person from our
city. It stood to reason that we should. But lest she think
us incivil and unkind, we will add that the quarrel between
philosophy and poetry is of long standing. Indeed, that
yelping

cur who 's master bays,
that man so

great in th' empty talk of fools,

! to reduce the surface exposed to the wind the ancients
brailed up their sail from below and lowered the yard that
supported it * claimed by Schroeder for Pindar, cf. Id.
Def. Or. 30

415

LYRA GRAECA

kal *ó r&y Alav coóóv UxXos kpdrov'! kal oi *Aerr&s uepiuvavres
Ór. üpa mévovrai kal üAAa uvpía cmueta maAaias €vavriógews
TroPTcv: Ops Oc eiptja8c, Ort T)uets "ye, el rua, &xoi Aóvyov ebmeiv. 5j
-pbos Tbov4v Tojwprik! kal 7j uiuncis, &s xpijj avri elvai €v mÓA«i
e)vouovuévm, üsuevoi àv karaDexoíue0a, is avvicuév "ye pv
abTois krAovuévois $m. abT3)s" GAXG "yàp ro BokoUy &AvÓes ovx 0citov
m po8ibóvaa.

122

Plat. Ep. | xàxeivo 8€ Tb moi"ua Tois voUv €xovoiv oU kakds
€xeiv Doket

OU Xpva os d^yNo.0s

GTTAVLOTATOS EV Óvar&v Ova eria Te Bie,
078 AOdpas, ovÓ àpyópov KXivat 7 pos a» Upar-
vov? 6okuuaCopev' üo Tpám Tet Trpós Ovreue,?
0v6€ ryyalas eUpuT.éOov

yóvtusoL [8piQovres avrapreis ryvat,

es ayyaÜ!v àvópàv ouodpáóuev voyeurs.

123
Stob. Ecl. 1l. 6. 13 [z. ríxms 7) ra?Toudrov]: *

ct

Tóxa, pepór av àpxà
kai Tépua, TU kai aodías Oaxeis &Opas ?
«ai TLULAY Bporéois eméOnkas € epnrous
Kai TO Ka Xv T AéOvV 7) KüKOv é« « cé6ev, ü T€
Xdpts
5 Xáprret Tepi cày T TÉpVya xpUcéav:
Kai TO Ted TrAáa TUyyL Go0€v
HaKQ.pLG TÓTQ/TOV TeXéOei-
TU Ó apaxaviías T0pov eüpes év üNyeouv,
«ai Xajrpov dáos d'yaryes év a «óro,
10 zpodepec rára? Üeóv.

6

! Herw.-Adam: mss 9:acóQov, 8ía (914) cov and kparàv

476

ANONYMOUS: LATER POETS

that * crowd of the unco! wise,' those * subtle thinkers beggars
after all, * and others galore, are proofs of an ancient feud.
Nevertheless we will admit once for all that if the poetry
whose end is to please, and by that I mean all * imitation" or
art-representation of the sort, could give reason to prove
that she had a proper place in a well-constituted state, we,
at any rate, should welcome her back with open arms,
because we know what an effect she has upon us; but till
then, as religious men, we cannot betray what seems to us
the truth.
122

Plato Leíters: This poem, too, is approved by sensible
men ;

Not glorious gold so rare in this mortal life of
disappointment, nor diamonds, nor silver couches,
shine in the eyes in comparison of a man, nor are
the rich-laden self-sufficient fields of the wide-set
earth of such account as the unanimous thinking of
good men and true.

123

Stobaeus Selections [on Fortune or Chance]:

Fortune, beginning and end of mortal man, thou
sittest in the seats of wisdom and puttest price on ?
human deeds. More good than ill comes of thee,
and grace shineth around thy golden wing. That
which is given of thy scales turns out the happiest ;
thou findest a way out amid the woes of perplexity,
and leadest like a light shining in the darkness, thou
most excellent of Gods.

1 these latter quotations are prob. not lyric * oor
grantest honour to
? mss also -rev ? mss also poc óyets * St. ascr. to
Aeschylus 5 mépua 75 Grot: mss répuari — Oakets &bpas Jac:
mss üxos 5pás Or omit $ ebpes sugg. DB: mss eiBes
&Ayea:? 7 mss also mpo$avécrara (-ov)

411

LYRA GRAECA

123 A ['Apíovos] Ugvos eis ILoaeióóva

Ael. H.A. 12. 45 rb r&v BeAoívev QUXov Bs ciat diAqDol Te
kal oíAavAo:, rexunpigat ikavoós kal "Apíev ó MuÜvuvatos Ék ve
TOU &ydAuoros ToU éml Toiwdpp kal ToU ém ^ oUTÀ! ypadévros
emzvypigpaTos. | €gTi Oc v0 Émiypauga: t'A0avdrev Toymaiciw
Apíova KukAéos vióv | é« ZuceAoU meAdryyovs aàoev Üxnua 08e.
Uuvov 8€ xapisTfpiov TO lloceibGvi, udprvpa Tijs rTGy OeXivwv

/, € , / ; [4 t2 x
$iAouovaías, oiovel kal roUrois (ed-ypia éirívov 6 Aplev Eypae.

€

X cC e €
KQL €gTlV 0 ULVOS OUTOS*

"Yyuuae 0cóv,
TrüvTLe Xpucorptauve IIocet8ov,
atrox &'yk üLovos &pyeO' pas,"
epi ae Bparyxtowst $ TXcTOL

5 Opes Xopevova. KE,
koUQoLcu vroÓQv piuuacuv
, /, , , , ,
€Aaop avaaXXojuevot, g'tuoL
dpiEabyeves okvOpouot a kUXakes, QuXOuovaoL
6eAives, évaXa Ópéupuara

10 kovpüv Nm«petóov Oeàv,
^ 5 / 3 3 ,
üg éyeivar Agudurpvra,

eu , / ^ , ^ / , N

oL 1. eis IléXomros syyàv érri Tasvapiav áxràv
émrópevcav? m XatOuevov XikeXà évi róvr o
«vprotat varroLs óxéovres

15 dXoka Nqpetas Tr Macog
TépuVOv Tes, aat Bf) TrOpov, $ ores G0Xt0L
ds jw à$' àXurX00vU tyXavpás veos
eis oió,. &Nwmrópovpov Atuvas épirav.?

E

810v u€y Ofjrov DeAQlvov mpbs rois bye AexÜeiai kal Tb iiXÓuovaov

1 Herch : mss &T' aU/roU M VUE mss "y. éykvuováAuav,
yadfjoxe kvuovdpxa (kvsovaAk' ) Tz. »y. éykóuov àXuds
mss Gpáyxiwi (Tz. -:3) mepl 86 cé — * Tz. piráguacw 5 Brunck:
Iss -care, -caTO $ Brunck: mss xopebovres " mss
plyav
478

ANONYMOUS: LATER POETS
123 A1

[ AnioN's] HvwN To PoskEIDOoN

Aelian On Animals: That dolphins have a natural liking
for singing and the flute, witness Arion of Methymna by
token of the statue? at Cape Taenarum and the inscription
thereon, which runs *By immortal guidance this equipage
saved Arion son of Cycleus from the Sicilian main.' The
hymn of thanksgiving to Poseidon which testifies to the
dolphins' love of music was composed by Arion? as a meed of
gratitude not only to him but to them. It is as follows:

Chiefest of Gods, sea-lord Poseidon of the trident
of gold, earth-shaking king of the swelling * brine,
the beasts that swim dance all about thee with fins,
and lightly bound with nimble flingings of the foot,
the snub-nosed coursing hounds of bristling mane,
the dolphin-lovers of the Muse, sea-creatures of
Nereus' goddess-daughters that he had of Amphi-
trite, the beasts that bore a wanderer on the Sicilian
sea to Taenarum's shore in Pelops' land, ploughing
the untrodden furrow of Nereus' field astride their
humpéd back, when crafty men had cast me from
out the hollow wave-going ship into the sea-purple
billows of the ocean.

Thus, in addition to the characteristies mentioned above,
it is clear that dolphins are fond of music.

i cf, Tzetz. Cram. 4.0. 3. 352. 19 ? an effigy of a
dolphin * the hymn cannot be older than the mid fifth
Century * or teeming

479

LYRA GRAECA:
124, 125,126, 127, 128

Aristox. Pv8u. Xroix. Ox. Pap. 9. 22 [m. Aét£ews Tpixpórvov]-
xpüccvro 9 àv abry kal ó BdkrvAos ó kar fauBov &váTmaAÀi TÀV
Tepiexova Gv EvAXaBay TeÜewgcGv eis rovs Xpóvovs EJ às €v TQ
kp ucg ér(0evro. tasca 9t Tb cXijua TOU moDbs Dr o9 1) pvOuomoita
mopebgerai TD els lauBov olov:

, N ,
évÜa, 87) mro.kiNev àvÜéov áuflporo, Xeiuakes
, »» y ,
Ba0vakiov map. dXcos áBporapÜévovs
, /
€ULOTAS Xopovs d'ykáNats Oéyovrat.
ey TOUT Q Yap oí T€ mp&roi méyTE móBes obre kéxpmvrai Tjj AéEei,
kal TdAiw ÜgTepoi mpeis: kat

e , , N ^ e
OgTis eUÜvgr kai xopots 1)16erau.—

érl moAV 8e rjj ToimUTg pvÜnomorlz ob mdvv xp&rai ó pvÜubs obros

. karà 0e mà TÀs pvÜuomoias caxfjara TapaAAáTTe|i (TD
Bakxeiauküv kaXobevoy elüos) 1 &y cQ

«09»? díXov "DOpawuw. áyámmpa, Ovarroiaw

avamavpa uox0ov—
Ég 1 0é mov kal Evvexeis éml pets:
, / 924 0r, ^ /
QépraTov Oaíuov' dryvás Tékos
/ ^ / DES / B. T3
paTépos, ày KáOpos éyévvaaé mor. év
T&is 7rolvoXftow Oa

t , c ^ 3 ^ , L E / j
xpncairo 9 àv kal ó TauBos T5 avTZ ravTp AéLtew &ovéamepov 5e
ToU Bakxelov: Tb -yàp uovóxpovov oikeiórepov ToU TpoxaikoU 7) TOU
i&uBov: olov év rà:

^ ^ ^ , * , , ,

Bre, Büre keiÜev aio. eis ro vrpóoÓev opopevat.

[5 ^ , , ,
Tis T0Ü' à veüwts ; cs eim pems vw agdoére

^ / - ^ ,
rpeis róbas 6iaAe(rovo uw ai Evv(v'ylou, Gare mepuoDaDés Ti *ylyveaOat.

! suppl. Blass ? $ suppl. Powell
4980

ANONYMOUS: LATER POETS
124, 125, 126, 127, 128

Aristoxenus Elements of Rhjythin [the *three-beat ' cadence]
It may also occur in the Iambic-Dactyl,! the syllables con-
cerned being reversed as regards the Cretie with reference to
the beats.? "The metrical basis will be the iambus, thus;

there immortal meads of varied flowers take to
their embrace beside an umbrageous grove dancing
throngs of dainty Bacchic maids.?

In this passage the first five feet, and later a group of
three, employ the cadence as has been described. Again:

whoso delights in good cheer and a dance—

But this type of verse does not employ the rhythm at all
frequently . . . (The Baccheiec type, as it is called)* varies
its rhythm in the line:

beloved darling of the Seasons, respite to man
from his labour ?—

Three such feet sometimes occur together :

The great God that is child of a pure mother

whom Cadmus once begot in rich and wealthy
Thebes $—

The same cadence may occur in the Iambus, though with
less grace than in the Baccheus; for the single beat is more
suitable to the trochaie measure than to the Iambus. For
instance, in the lines :

Hither, come hither, ye maids, make haste to the
front. Who can that maiden be? | How gracefully
about her hangs—

the *syzygy, or extra lengthening of a syllable, occurs at
intervals of three feet, so as to produce a kind of period.

1 .—v— 3 4.6. Lo— not —uv J 3 here as elsewhere

thetranslation disregards the metreof theoriginal —* suppl.
Blass — ? wine * Dionysus son of Semele
481
VOL. III. lI

LYRA GRAECA

129 eis Tóxaqv
Berliner Klassikertexte 5. 29. p. 142!
IToX$yetpe, T'oUcUNónopée, 7 Tavo[véót]Ae,"
Üvacots vvouég rue vaykparés Toxa,
TS Xp?) Teàv (o XV re Óei£aL
kaper | dv ;j? TÀ uev byrubai)
5 kai cépv &is ven Ünp [ovr] e[o- *
0écos] vr jpuees ? xarà ryàv
vépos àuQnkapéva Codeo[v $
Tà Ó€ Qa9Xa kai Tám Ewa
ToXXdkis T Tepoiauv *
10 eis bros é£detpas,
& Oaiuov peyáXa.
TróTepóv ce Nj ao uev? KAXo00 keXatváv,
7 Tày TaXUTOTLOV "Avdykan,
7] Tàv TaMránynyexov i Tptw àDavár Td
15 TávTov ràp àpyàv kai TéXos àxpov 19 éyeis.

130 ILaiàv Acts (7) EpvÓOpatos)

IIaiáva kXvrojm9rt áeicaTe kot|po]
Aaroibav É Exkarov, i$ à L€ ILaiáv,

0g Léa x&pua Bporoiaw € éyetvaro

uevxOels év QiXóTa T. Kopovió: rà OXeryve(a.!?

! written by an Egyptian who writes A for p, 8 for r, and
makes other mistakes not mentioned below — ? E (confirmed
by Schub) -. ? P kai aper[av Schub., kat reay *[ Wil: or
T|éxvav omitting red»? no. of letters at end unknown 4E
(a unelided ?): P oj. « [. - Wil, ou . [..- - -]e ; . Sghub. tran-
sitive: P -xas $E (P (oxei|?) ) ef. E.M. 34. 35: P ueva . .

T.c[orv.[ Schub. ? this word not certain FUTT
KATnCej.ev 9 Hp TaxvaryyeAov from above 19 Wil: P
ayiov. Wil. (v.e. arypov for &xpov ?), wyeiww Schub. 11 for

the 4 versions of this poem, perh. the famous paean of
Sophocles (see p. 225), all extant in inserr., see Powell Co.

492

ANONYMOUS: LATER POETS
129

To FonruNE oR CuaNcE

From a Fourth-Century Papyrus:

Wing-sandalled being of many hands and varied
shape, housemate of man, almighty Fortune, how
should thy strength and excellence be told? That
which shines proudly on high, comes it but within
thy ken, thou rendest privily and scatterest on the
ground in a murky cloud,;! and what is mean and
lowly, that, O great deity, oftentime thou dost
raise aloft. Whether shall we call thee black Clotho
or fleet-fate Necessity, or art thou Iris, the messenger
'twixt Gods and men? For thou holdest the
beginning and the last end of everything that is.?

150
PaEAN or Diuw (on EnvTunaAE)

Sing, lads, the far-darting Son of Leto, Paean the
Healer, so famed for his skill hey, O hey, thou
Healer!—who begat great joy for man when he
mingled in love with Phlegyas' daughter Coronis—

! as of the dust that rises when a building falls "5G.

Soph. (?) ap. Clem. Al. Str. 5. 726 (Dind. Fragg. Soph. /in. in
Poet. Scen. Gr.)

Alex. p. 136; the above, found at Dium in Macedonia, though
not the oldest, is prob. the most correct (a few s are
changed here to asas in the oldest version found at Erythrae)
1? Di. $Aeyvao

483

L5

|

LYRA GRAECA

5 i1] llatüva ' AokXyyrióv Gatuova. kXeworarov, ie
IIaiáv.
To) 66 kal é£eyévovro Mayxáev xai IHoGaXetptos
79 laco Axes Tre TOXUNMu TOS, Ó ie Iatáv,
AlyXa T€ ebáymis IIavákeid ve 'Hzrtovas vratóes
gov dra evaryet "Yyreta,!
10 i) IIaiàv '"AckNymié, Gaiuov KXeLvOTATE, L€
Ilazav.
Xaipé uot, (Xaos 0. émiiaco Avéev ? qróMv
eopUxopov, Le d ié à ie Iatay,
60s Ó jus. Xxatpovras opüv $dos aeXiovU
Gok(povs cv AyaiXvTÓ eva'yet Tyteia
15 D) IIazàv ' Ao Nymé, Batuov cenrvoraTe,
ié I ai.
131

Hippol. (Origen) Adv. Haer. 5. 7 Miller? ézel yàp ómó0ecis
abro:s Ó üvOpwmós écTiv 'Abdyuas, kal Aéyovci "yeypá$0ai mepl
abToU Tiv *yeveàv ajToU Tis Üupyfjceroi;^ uá0ere cs karà uépos
mapà T&v €8vav T)jy àvetebpqrov kal àBid opor ToU ày0pámov Yyeveày
AaBóvres émumAdocovsi T XpigTQ. "yi 89€, Qaslv oi 'EAASves,
üvOpwmov àvébeke mpóT1:) kTAÀ.

Lal e , , 5 /|C ,
l'ata ó' avÜperrovs ávéóce vrpo!
,
KGXóv éverykapuévr nyépas
uy $vr&y àvoicÓfjTev unbe Onplev &àAóymr, &àAX' djuépov (gov kal
6coQiXoUs &0£Aovca utjrnp tyevéotau
XaXemróv 8 e£evpeiv*
eiTe Bowcroís ,AXaMwopévevsh
5 ALuvgs vrép Ko$io(6os 9
T p&ros avÜporr ov àvéa xev,"
eire Kovpfjres rjcav
5 m^ Fe ,
I89atou Oéiov vyévos
/
7) Dpvyioi Kopvfavres
10 obs 7]At0s 7rporovs érretóe?
484

ANONYMOUS: LATER POETS

sing ho for the Healer Asclepius most famous of
Gods, sing hey for the Healer! Of his loins came
Machaon and Podaleirius, and laso and Aceso to
whom so many pray,—sing hey for the Healer!'—
Panaceia and Aeglé the beauteous, children all
of Epioné, and with them pure Health the renowned
—ho thou Healer Asclepius most famous of Gods,
hey thou Healer! All hail I cry, and come thou
propitious to the wide-spaced city of Dium,—hey O
hey O hey thou Healer !—and grant we may see the
sunlight in joy, passed whole by the leech with aid
of pure Health the renowned—ho thou M Healer
Asclepius most famous of Gods, hey thou Healer!

151

Hippolytus Against the Heresies: For since the man Adam
is the foundation of their argument and they say it is
written of him * Who shall tell his generation ?', learn how
they take in part the * undiscoverable and indifferent! origin
of man from the Gentiles and stick it on to Christ. Accord-
ing to the Greeks:

"Iwas earth that at the first had the noble
privilege of giving forth our human kind,

wishing to be mother not of senseless plants, nor of speechless
brutes, but of a gentle race beloved of God,

but hard to discern it is whether the first man that
arose was Boeotian Alalecomeneus on the shores of the
Cephissian Lake, or the Idaean Curetes or Phrygian
Corybants were the divine race the Sun first saw bud

l1 Di, wyeiat ? Di. euaos 8 emiweiweo Bewv S? e
Reitz. Poim. p. 83 * mss 8é $qow é£. 5? B: mss'AAkog.
$ B: mss bmep A. x. ? B: mss àvéoxe m. à. 5 B: mss

mparos 5j. émibe

485

LYRA GRAECA

6evópodo veis àvafBXaaávovras,

eire T poc eXrjvatov * ' Apkaó(a Lexaesyó

7 "Paptas oik5jropa ^vcaóXqv? 'Exevois
7) Mos kaXNXimaióa KáfBetpov

15 àppnjro TÉékev 5 o Op'yLa.c uo,
eire IIeojvy OXeypatov
"AXkvorija v pouov Vvyávrov.
AíBves 9 I4pBavrá aac vporóoyovov
avxu)póv meóLov avaóvvra "

20 yXvxceias àmápfacÜau AL0s BaXávov:
Alum Tíav. 6é Neixos i m 8 émiAvratvav
Ego'yevet uexpt a)epov ?

U'ypá capkovpeva 19 QepuóTqTL
(Qa couará T àv6ióocur.1

3

5
6

! Schn : mss zpbs eeXnvatov ? Wil: mssóí(avAov 3 mss
-cív * E: mss érékvoccv 5 E: mss éAeypatov 'AXkvovéa
mpeo Bórarov T., but cf. Orph. H. 32. 12 $ mss Aífes 5€

486

ANONYMOUS: LATER FRAGMENTS

tree-like forth, or Arcadia brought to birth with rites
mysterious the Pelasgian older than the Moon, or
Rarian Eleusis her dweller Dysaules, or Lemnos her
fair child Cabeirus, or Pellené Alcyoneus chief of the
Phlegraean Giants. The Libyans say that larbas
first arose from their desert plains, born of the
pleasure of the loins of Zeus; and to this day Nile
fattens the Egyptian mud and brings forth creatures
fleshed with the wet heat, and teems bodies that
will live.!

! it is not certain that this poem, which Wil. Zerm. 37
p. 332 declares is prose, comes within the scope of this book ;
if so, a few slight changes should be made in the dialect, e.g.
TpoTa for mpóTT)

TapB. $. m. * mss àvab)vra TeDio $8 Schn. —-E: mss
AlyvmrTiev N. ÜAmv 9? E: mss gp. oe. (eoyovàv dmaív
19 B: mss bypàs àpxr. M E: mss kal c Gua àvabito.

497

OIAON

eic a-yoyyj]

Poll. i. 38 aí 66 eis ÜeoUs cal Kovós. [Lev
raiáves, Üpvot, lOlcos 6€ "Apréjueos buvos oUmVy-
yos, AqróXMovos 0 TaLáv, üpdoTépav 7 pocóbua,
Auovócov o0 pa Bos, AxjunyT pos lovXos Mvos
yàp kai Avrvépa s! okamavéov qai kal vec pyàv.

Hdt. 4 35 [m. "Apyws xai "Qmios]: «ai yàp
á^yelpety adi TÀs 'yvvaíkas, emovopatoógas TÀ
obvopaTa €v TÓÀ Deo TÓP goi Qv àvnp A UkLos
émoínse . . . obros 06 0 QNX9gv kai ToUs dXXovs
TOUS TGXaLiovs Duvovs Émoígoe é« Aukims éXO cv,
TOUS &eiOQouévovs év Asjko.

Callim. H. Del. 304
oL ju€v vraeiGovat vójov ukloLo nyépovros,
Ov TOL àró FLávÜoto Üeóm poros iyyasyev Cap
a4 6€ 7r00) zr Nija c ovat xXopiri6es áaaXMés ovas.
Il. i. 474

e ^ , ^ n. e ,
oí 6€ zravuépiot uoXm1 0eóv (Xáakovro
Ka.Xov &e(6ovres maujova koüpot ' Axatàv,

ES /

uéXTrovres ékáepryov: 0 06 péva répmer. ákovov.

Archil. 76 Bergk

, b! , / N , N / /
avT0s é£ápyov mpós avXov Aéao fiov mraujova.

1 mss Avriépans

488

FOLK-SONGS
INTRODUCTION

Pollux Onomasticon : Songs to the Gods are called
in general paeans or hymns, in particular a hymn to
Artemis is known as ojbzvyyos, to Apollo as the
paean. Both these are addressed in processional
songs, Dionysus in the dithyramb, Demeter in the
tovAos. The Linus and Lityerses are the songs of
delvers and husbandmen.

Herodotus Histories [ Argé and Opis]: For accord-
ing to them the women go begging gifts for them,
calling upon their names in the hymn composed for
them by a Lycian named Olen . . . This Olen it
was who came from Lycia and composed this and
the other ancient hymns that are sung at Delos.

Callimachus Hymn to Delos: The men sing the
song of the Lycian ancient, the song the prophet
Olen brought from the bank of Xanthus, and the
maidens that dance to them beat with their feet the
stable earth.

Iliad : Al the day long they worshipped the God!
with music, singing the beautiful Paean, these sons
of the Achaeans, making musice to the Far-darter;
and his heart rejoiced to hear them.?

Archilochus: Myself leading with the flute the
Lesbian paean.

!- Apollo ? cf, I], 99. 391
489

LYRA GRAECA

Il. 18. 490 Be: aaTíO0s Tíjs Axis]:

éy 06 Ovo mroínae TrÜXeLs pepóm av àv poyr ov
KüXás. €v TÍ) uv pa ryápou T. écav eikarrivau T€,
vuu.Oas 0 éx ÜaXáyov Gatóov bro Xauroueváov
7ytveov àvà ác TU, TOXUS O bpévatos ópdpe
opo. Ó ópxo Tf)pes éGtveov, € &v Ó dpa Toiciv
aol dóppuyyés e Boy € €xov' ai 6€ yvvaikes
ia Tápevat Üavpatov éri T poÜbpoistv éxao1.

Hes. Scut, 981 [v. ào7i60s 73) HpaxkXéovs]

évOev 9. a00. érépo0e véo. kopatov vm. aUXob-
TOL rye uev a) maítovres vm opxynOuQ xai àoi0f),
TOL rye u€v a9 ryekóovres vx avMgTi)pL écaa os
T pócÓ' éxiov.

Plut. Aic. 18 eminus apnévov o6 TOÜ O9uov «ai
yyevopévav éroLJLv TávTOV Tos TÓV ÉkTrXOVV, OU
xpucTÀ Tapjv ov06 Tà Tüs €oprijs. ' AOcviov
yp eis TÀS juepas éketvas ka ióvrov eióoXa
TOXXaxoU vex pois éxkopatopévous ó 01L0LQ, 7 poUkervTo
TGÁs ryvvat£l, kal raóàs épupotvro kom Tópevat kal
Üp5vovs 78ov.:

Aesch. Cho. 423
HA. éxovra kopuóv " Apiov eire Kwocías

VOJLOLS i]Xepua v pías
aT pucróTMnkra ToXVTMávITA, O. 7jv iOetv
émraccvreporpiff) Tà .Xepos ópéyuara
dveOev àvékaOev, krUm v Ó. éreppoOe,
&por5TOv àuóv kai zravaO0Xtov kápa.

Il. 94. 119 [v. v po0éceos 7)s " Exropos]:

oí O émel elodyayov kXvrà Ocnara, rV pv

eT euTa.

490

FOLK-SONGS: INTRODUCTION
Iliad [the Shield of Achilles] : And therein he made

two fair cities of mortal men; in the one were
weddings and feasts, and they led the brides from
their chambers amid the light of torches through
the town, and loud rose the bridal song. Young
men whirled in the dance, and flute and lyre cried
aloud among them, while the women stood each at
her door marvelling at them.

Hesiod [the Shield of Heracles]: And on the
other side was a rout of young men with flutes
playing, some frolicking with dance and song, others
laughing, each and all in time with the flute-player
as they went along.

Plutarch ZL;fe of Alcibiades: The motion was
carried and all was ready for the sailing of the
expedition,? when there befel unfavourable portents,
not least that of the feast of Adonis, which falling
at this time, in many places images were set out
like corpses for burial by the Athenian women, who
beat their breasts and sang dirges in mimic funeral
rites.

Aeschylus Libation- Bearers :

ErEcrna : I made lament in Arian? wise, or to the
tunes of the Cissian? mourner; aye, then behold
hands outstretched one after other, striking desper-
ately, wandering wildly, upward, downward, my
miserable stricken head ringing again to their
beat.

Iliad [the funeral of Hector]: And when they had
brought him into the famous house, then laid they

1 cf. Hes. Scut. 274, Ar. Av. fin. ? against Syracuse
3 Persian

491

LYRA GRAECA

TpTois év Xexéea at. 0écav, Tap 9 elcav áoi&ovs

privo. e£dpxovs, ot TE g'T0vóecc av àoL6»v

oi uev p. éÜprjveov, émri 06 oreváxovro ryvvaixes.
Ii. 18. 567 [v. àaí8os Ts AxiXXécs]:

N N N 4. , b /
vrapÜevwcai 86 kai )0eo, àraXà, povéovres
T'Xekois év TaXápouct Dépov ueXun6éa kapmróv.
Totciv Q. év uéccotct mráis dóppuwysi Xuyeio
e , , , 39^ N N »

Ljuepoev kiDapuoe, A£vov UT O kaXov deie
Aer aen Qov$ TOL O6 f Pijeaovres ápapri)
noMmri T ivynà Te roc) a katpovres érovro.

Sch. ad loc. [Aivov 9' vró kaXóv áee]: . . . àvri
"^ SY , N /, ^95 / x , , »
T0) Tv Émri Aívo TÀ AT XXovos vrai gv, ovrt
vymi Kai UTO KUVOV TrOLJLEVLICÓDV Gao mac tyr
T poo € da0eicav - Stolb dE "ApiaTapXos. 5.4 yfévos
TL Üpvov TOV AívOV, OoTep €i €Xeye sratáva zOev 1)
TL TOLOÜTOV.

Callix. ap. Ath. 5. 199a [w. 77v OiXa6éAQov
ToLTQv] émárovv 9é éErkovra Xárvpoi T'pOs
aUAóv dO0vres uéXos émUM$wiov, éDewoT)kes
avTois Z4XqQvós.

Long. Past. 2. 3b ai vácav réyvqgv émióeikvo-
jevos evvouías jovoiki?s ég)purTev, olov fdoóv
d'yéMg Tpémov, oiov aimoMo TpóodQopov, oiov
voLuvats diXov.

Ibid. 36 Apías 0é àvac às kai keXeUo as a vpir-
TeLV ÁLovvaiaKOv uéXos émüUNviov avrois Opxnoutv
epx5)garo. Kai éekeu, TOTÉ juév TpvryQvTL, TOTÉ
66 $épovri àppixovs, eira. ravotvr. Tovs fÜóTpvs,

1 grapes ? or sang of the fair Linus 3 'Thornley
(as revised in the L.C.L.)

492

FOLK-SONGS: INTRODUCTION

him upon a fretted bed and set beside it minstrels
for to lead the dirge, the which did make lament
of mournful song, while the women wailed in answer
to them.

The Same [the Shield of Achilles]: And lasses
and lads in childish glee carried the honey-sweet
fruit! in plaited baskets, while in their midst a boy
did harp delightfully upon a sweet clear lute, and
sang the fair Song of Linus? in a piping voice, the
rest following with dancing feet that kept time with
his playing and his song.

Scholiast on the passage [/sang the fair song of
Linus]: . . . that is the song first sung in honour
of Linus the darling of Apollo, a little boy who was
torn in pieces by sheep-dogs . . . but Aristarchus
says that it is a sort of hymn, as if he said *sang a
paean' or the like.

Callixeinus of Rhodes [the festal procession of
Philadelphus] : There were sixty Satyrs treading the
grapes, singing to the flute the Song of the Wine-
press, with Silenus for their overseer.

Longus Daphnis and. Chloe: Displaying all the art
of pastoral music, he showed upon the pipe what
notes were fit for the herds of cows and oxen, what
agreed with the flocks of goats, what were pleasing
to the sheep.?

The Same: But Dryas, rising and bidding him
pipe a Dionysiac tune, fell to dancing before them the
Dance of the Winepress And now he acted to the
life the cutting amd gathering of the grapes, now
the carrying of the baskets, then the treading of the
grapes in the press, then presently the tunning of

493

LYRA GRAECA

eira. m Mypobvri TOUS mrí8ovs, eira mívovti TOÜ
tykexovs. rabra mávra obras eUa ynuóvos opxij-
cao ó Apias «ai eva pryós, óoTe eóókovv BXéreiw
Kai Tüs üàjvréXovs kal T5)v Xqvóv kai rovs TiÜovs
xai àXr0 6s Apvarra Tívovra.

Ibid. 3. 11 xav azrap£apuevou: TQ Atov?coQ xpa-
Tjpos ijja0iov kírTQ Tàs kebaXàs écTeQavopévor.
Kai égei kaipós Tv, laK YácavTes kai evácavres
T povTEeum OV TÓV Addvwwv.

Ibid.2.31 zedáv rivas kal 96às eis ràs NUpas,
TAXaLOv TOLLÉVOV TTOL)ELATO..

Ath.14. 618c xai qófjs 6€ óvouaaías kaga Xét
0 Tpóóov (év CevTépo Ovopaciáv) TácGe: *'Ipatos
7) émiiiNL0s, jv Trapà ToUs àAéroUs mO0v, kaXov-

/ $ v , : ^ t , e M D , N
uévQ! (ows m0 Ts (paMOos. (uas O éoTiv
TGpà Acepieüciv 0 vócTOS kal rà ÉmLpeTpa TOV
aàXeUpav.? 17 06 rÀv ioTovpryOv QO1 éAiwwos? s
'E-tyapuos év 'AraXávrats (oTopet. 30e TÓÀv
raXacLovpryGv tovXos. — Xfuos 9 0 AxjXuos év TÀ
Iepi Hazdvov $yct Tu ,Spd'ypara TÓV kpiÜQv
avrà kaÜ0' avrà 7 poa 1yópevov à Xa cvra-
ÜpowcÜévra G6 xal ée moXXÓOv puíav vevoóueva
Oécumv oUXovs kal ioUXovs kai T9)v A5nuwyrpa
f£: N /, CON A9 , , N ^. Lo ^
oTé uév XXógv, óré 06 'lovAG. m0 TrÀv ov TÍS

! here Kaib: mss before £i» ? Kaib. from Hesych. s.
eÜvooTros: mss àAÉTGv ? mss also af?uvos

! Thornley (as revised in the L.C.L.) ? but see Sch.
Ar. Han. 1996 (below, p. 506), Hesych. s.v. ? an

epithet of Demeter at Syracuse, cf. Polem. ap. Ath. 10.
416 b, 3. 109 a ; there was a Cretan month Himahlus, C.7.G.

494

FOLK-SONGS: INTRODUCTION

the wine into the butts, and then again their joyful
and hearty carousing the must. All these things he
represented so aptly and clearly in his dancing, that
they all thought they verily saw before their face
the vines, the grapes, the press, the butts, and that
Dryas did drink indeed.!

The Same: And when they had made a libation
from the bowl to Dionysus, they fell to their meat,
with ivy crowns upon their heads. | And when it
was time, having cried the Iacchus and Euoe, they
sent Daphnis away.!

The Same: They sang, too, certain songs in the
praise of the Nymphs, the solemn carmens of the
ancient shepherds.!

Athenaeus Doctors at Dinner : In the second Book
of his Appellations Tryphon gives the following list
of the different kinds of song: * The Himaeus is the
Mill-song, which they sang as they ground the corn.?
The word perhaps comes from Azmalis, which in Doric
means the * return " or over-measure of wheat-flour.?
The Weavers' song is known as Elinus,* as we know
from Epicharmus' Aftalantae. This is the tovAos of the
spinners.? To quote Semus the Delian's work On
Paeans: * The trusses or handfuls of barley were
known individually as &páXav; collectively a bunch
of trusses was called o$Aos or (ovAos; and Demeter
was known sometimes as Chloé, sometimes as Iülo.

2556, and a nymph Himalia in Rhodes, Diod. 5. 55; cf.
Hesy ch. uvAdvretoi eot, tuaA(s—iudAtov, and tuaAÍs Eust. 1885.
25 * form uncertain, but for the song cf. Od. 5. 62, 10.
222 5 see below, p. 532 ; ; some words may have fallen out
before this sentence

495

LYRA GRAECA

Aij pos ebpnpárov TOUS T€ KGpTOUS kal TOUS
Ünvovs ToUs els Tv 0eóv oUXovs &aXoÜct «ai
LoUAovs. 5 ÓOmgu59rpovXo! xai kaXXtovXov — kai
* IIxeta-rov obXov oXov fet, lovXov tet. AXXoL 0é
asi épwovpyOv eivai Tijv qcO9v. ai 66 cvv
TurÜevova àv eai karaBavkaXijoeis. óvopLovra.
jv G6 kai émi vais aicpaus? is ém Hpvyóvg, fjv
«ai AMT Aéyovciv, cr. "Apua roTéMs yov
éy T KoXoóoviev IIoAcreta, Quotv: *" AqréÜavev
66 kal avros 0 OeóÓcpos Üc'Tepov Baie Üaváre.
Aéyera, 06 wevécÜa,. Tp)ijov Tis, v9 ék Tís
Toc eos 02X0v éoTww. éTi yàp. kai vOv ai
Novatkes dG6ovciv avTOÜ LéXyQ "epi Tàs aicpas.
5 86 TOv Üepta TOv Q7) Arvépams kaXeirat. Ka
TOV puicÜcTOv Oé vis "jv O7) TOV és ToUs drypobs
dorrevreov, os TyXecXeións Qoo év 'Auduerioctv:
kai BaXavéov &àXXat, os Kpárnus év TóXuatus* xal
TOV "'TLG0cOVGOV (XN Ti$, e$ ApiaToDávgs év
Oecopodopiatoócaus kai Nucoxyápgs év "HpakXet
Xopmqyà. v 66 kai Tots 7ryovuévois TOV Book-
uárov o [jovkoMiac os KkaXovUpevos. | Atopos 9.
jv BovkoXos XwuceXweor»9s 0 pos eUpov TO eiOos-
uv9uoveve. 0 avro0 Emíyappos év " AXkvovi. kai
év 'Oóvecet Navaryg. 7: 96 émi Üavárow xai
Ava oO» OXoovpuós kaXeirat. ai O6 iovXoL
&aXobpevat o8ai A»9wurpi kai ODepaedóvg rpé-
TOUGL. 37) 06 eig AmóNMova qQÓ5n duXqgMds, os
TeXéciXXa TapiaTQciw: oUTmVyryot Gà ai eis " Apre-
pip. 390vro 66 'AONv9goi xal oí Xapcv6ov vópoi

! Cas. (oi abro» ? Kaib. from Hesych: mss éópais

496

FOLK-SONGS: INTRODUCTION

Thus both the corn and the hymns to the Goddess
are called ojAo. or iovAo: from the inventions of
Demeter. Thesame word comes in the compounds
8gpsjrpovAos and. kaAMcovAos, and also in the song * A
sheaf, a sheaf, send, send a great sheaf.! But ac-
cording to other authorities the word means a
Spinning-song. Nursing-songs are called xarafjav-
xaA59cews or Lullabies. There was also a song sung
to Erigoné at the Swing-Feast, called the àAgris or
Wandering-song. Compare Aristotle in the Con-
stitulion of; Colophon: * Theodorus himself came later
to a violent end. He seems to have been a luxurious
liver, to judge by his poetry, for even to this day
the women sing his songs over the swings. The
Reaping-song is called Lityerses. And according to
Telecleides' Amphictyons there was a song of the
hired labourers who went out to the farms, and
others, as Crates tells us in his Daring Deeds, of the
bathmen, and yet another, according to Aristophanes
T'hesmophoriazusae? and Nicochares' Heracles as Chorus-
Leader, of the women who winnow the corn. More-
over the tenders of cattle and sheep had a song, the
BovkoMuaspós or Herding-song. The inventor of this
was a Sicilian oxherd called Diomus, who is men-
tioned in the Haícyon and Odysseus Shipmwrecked of
Epicharmus. The song sung at deaths and in
mourning is called the óAoóvpyuós or Wailing. The
songs called iovAo. belong to Demeter and Perse-
phoné. The song to Apollo is called the Phileliad
or Sun-loving, as is shown by Telesilla; and the
songs to Artemis are known as obzvyyo.. At Athens
they used to sing over the wine the Laws of
! or 'skein, see below, p. 532 ? not in the extant
edition
497
VOL. III. K K

LYRA GRAECA

, ^" e el , , L4 s
cap oivov, 6s "EpuwmmOs $ugow év ékro llepi
^ , ^
NouoÜOeróv. "Apis ooávgs 6. év 'Avrikals doiv

Aé " «*T ^ 067 X. 0 P ux , óé /,
é£eauv natos «07 pvXoÜpOv: év óé yápois
e / , N , 5/7 , N M
Uuévatos* év Óé srévÜeoiv idXeuos. Aivos O6 kai
» , , , , 5 N ^ n i7»
aiAi.vos o) guovov év mévÜecww àXXà xai ém
^ ^ N ,
evTv yet uoXNm d karà vov Evopvriómr.

KAéapxyos 80. év wporo 'EpeTucQv vópuov
^ , / 505 , 5 » /,
kaXetcÜat T.wwá. uouwv. eórv am 'Hpióavióos,
, er €? NS € N /
ypád ov ovTos* * Hpiavis 7) ueXor ovs MeváX«ov
kuvyyerobvTos épacÓeica éÜrpevev ygeraÜéovca
rais émiÜvuLaus. dorràca yàp kai mXavepévm
TávTaS TOUS Opelovs ézefyeu OÓpvuoUs, os 00v

5 ^
eivai, TOUS XAeyouévovs loüg Opóuovs: óGoTe yu)
novov TOv àvÜporroev ToUs ácTopry(a O.adépovras,
&XXà kai TOv Ügpàv Tovs àvgueperárovs a vv6a-
xpücat TQ TáÜe, Xafóvras aicOmew époructjs
eu , .

Civrrióos. 60ev émoinaé T€ KüGl T0L7cacd repuijet
KüTü TV épnuíav, AT. $acuw, àvaBoóca kai
dOovca TO kao uevov vOpLOV, év Ó éaTíy*
Maxpai OÓpves à MévaAxa. "Apis róÉevos rS
€y rerápro lleoi Movou«fjs 'Zóov' $moiv 'ai
ápxa/iat vyvvaikes KaXiierv rwà. gv ETucvxo0pov
ó mT7"dVv Troia, v à KaXóen TLS Óvoua época
Evá40Xov veavia kov eUxeraL Ti) "Adpoóírg gagn-
Ofvau abvTÓ: enel 6€ brrepeiBev ó 0 veavía «os, Kare-
Kpnvicev éavT5v. éyévero Oé T0 TáÜos epi
€

Aevkáóa. codpoviküv O6 vrávv kareakevagev o
^ N

TO0wT)s TO Tjjs TapÜévov 7Üos, obk é« savros

, ^
rpoTov ÜcXovas cvyyevéaÜat TQ veavía kao, àXX'
^ ,
evxouév1s ei 6óvacro *yvv:) ToU. Evá0Xov ryevéoOat

498

FOLK-SONGS: INTRODUCTION

Charondas, as we learn from the sixth Book of
Hermippus' work On the Lamgivers. n his A4tücisms
Aristophanes [of Byzantium] states: * The Himaeus
is the song of the millers;! the Hymenaeus is the
song sung at weddings; in mourning they sang the
Ialemus or Lament; the Linus and Ailinos were
sung not only on occasions of mourning, but also, in
Euripides' phrase, ** for the singing of prosperity." '
In the first Book of his Erotica Clearchus says that
there was a certain song called Nomian? which
originated with Eriphanis, and he tells the tale as
follows: * The lyric poetess Eriphanis, becoming en-
amoured of Menalceas when he was out hunting,
turned hunter too and pursued him with her love.
Like Io in the story they say she wandered to and fro
through all the mountain woods, till not only the
most phlegmatic of men, but the fiercest beasts, wept
with her and understood the longings of her heart.
And thus it was that she composed, they say, the
so-called Nomian or Pastoral Song, crying aloud and
singing it while she wandered in the wilds; from
this song comes the line * The oaks grow high,
Menalcas."' Toquote the fourth Book of Aristoxenus
On Music, In former times the women had a song
called Calycé. It was a poem of Stesichorus, in
which a maiden of this name prayed to Aphrodite
that she might be wedded to a youth called
Euathlus, and when he flouted, her threw herself
over a cliff. The scene was laid near Leucas. The
poet gave the maiden a very virtuous character; for
she had no wish that she and the youth should come
together at all hazards, but prayed that she might

! but cf. Callim. Zec. (below) ? cf. Ap. Rhod. 1. 577
Long. Past. 4. 15

499
KKk2

LYRA GRAECA

kovptóía 1) 7) € T0UTO gu) ÓvvaTóv, àzraXXaryíjvat roD
Btov. év 6é Tote xarà Bpax? Tropvipact 0
"ApieTOÉevos *"IdueXos! duoiv * 'ApmaXrgv
€pacÜeicav vmepeitev. | 7) 66 ámréÜavev kai vytverat
em avr? TmapÜévois dyov qófjs, Tris ApraM í
$7ci ! KaXNeir au. Nóudus 0b év cvpoTo llegi
HpauXeías Trepi Mapiavóvràv Suyyospevós nsu:
j Opotos 6€ kai TÓV qv évías karavor)jaetev v
TuS, üs ékeivou kaTá Tiva emi opiatopévgv Tap
aros « éopr)y 5 dOovTes àvakaXobüvrat rua rÀV
apxaieov, mpocayopevovres Bopuov.? Tobrov 06
Aéyovoi» viov *yevécÜat àvOpós émiavoüs xal
T Xovaíov, TOÀ 0€ káXXei kai Tf) kaTà T)V ükpav
dpa TOM) TÀÓV ÜXXcv Beveykeiv: 0v é$eoTÓTa
&p'yots tOLots kai BovXópevov Tois Üepi£ovatv Gobvat
TrLety Baóttovra éd ÜOcp dava Ófvaa. &Teiv
OUV QUTÓV TOUS AT Tfjs Xópas nerá Twwo$ pepe-

Apónpévov Üpijvov xai àvakXijaeos, Ó Kai vov ért
TrávTes Xponevot OÓLaTeXoUci. ToOLOUTOS Ó. éEoTi
kai o Tap AiyvmTioLs kaXobuevos Mavépos.

Poll. 4. 53 [. Troupárov |- . . LOUXOL, oUXapoí,
QUT V'y'yoL, Aí£vos, émriALos cr), (uatos kai (ua Ms,
0 66 dÓov ,(paot60s. Bopipos ó€ Mapiavébvov
yeopyóv cua, s Avyvmiov pavépas kai
Avrvépca as Ppvyóàv. QNM Aiyv TÜOLS uev 0
Mavépoes -*yeopryías ebperijs, pov v n a871s,
Avrvépcas 06 Opvf(v: o( 0. avróv Mi$ov Taióa
eivat Aéyovaw, es ép.v 06 djmro0 7 pokaXoUuevov
pagTvyQca. TOUS évóiOov1as, Biaiorépg 66 üpiT
vepuregóvra Üávarov maÜ0eitv: oi 06 'HpakAéa

1 Wilam. ? Cas: mss BwpBov, BópBov
500

FOLK-SONGS: INTRODUCTION

if possible be his wedded wife, or failing that might
die. ^ We are told by Aristoxenus in his Brief
Notes that, Iphiclus spurning her affection, Harpalycé
died, and the maidens made a song-competition in
her honour, called after her the Harpalycé. We
read in the first Book of Nymphis' Heraclea, where
he is speaking of the Mariandyni, * Similarly we may
notice some of the songs, which at a feast that it
is their custom to celebrate they sing when they
invoke a person of ancient times whom they address
as Bormus. This was the son, they say, of a man
wealthy and distinguished, a youth of surpassing
beauty and vigour, who, when superintending the
work on his farm, went in quest of water for his
reapers and disappeared. Accordingly the inhabi-
tants of the district went in search of him with a
kind of dirge or invocation set to music, which the
whole people sing to the present day. A similar
kind of song is the Maneros, as it is called, of the
Egyptians.'

Pollux Onzomasticon [poems]: . . . the various forms
Of tovXos, ovAajtos, and. ovzcyyos, the Linus, the Song
of the Mill, and the Himaeus or Himalis, of which
the singer was called íuaoiós.? There was also the
Borimus, the song of the Mariandynian farmers,
corresponding to the Egyptian Maneros and the
Phrygian Lityersas. This Maneros was the Egyptian
inventor of husbandry, a pupil of the Muses ; and
Lityersas was the same among the Phrygians. Of
the latter we are told that he was a son of Midas
who used to challenge the reapers to a reaping-
match and give the losers the whip, but met his
death at the hands of one that was stronger, who

i cE vol. 1i. p. 9/ ? cf, Eust. 77. 1164. 10
Sor

LYRA GRAECA

yeyevíia8au TOV mokrelvavra avróy Aéyovatv.
7jGero 06 0 Üpfjvos Trepi Tàs &Xcs kai TÓ Üépos € emi
M(8ov capajvÜia. o 86 Bopipos 7v 'loXAa kai
Maptavósvov aàGeXd0s, Oibríov BactXéms ais, €v
Opa veóos ópg Üépovs ám o0 avdv Tuui Ta 8€
8pyvóSet T€pi TV yeopytav dcpuaTi. Tv OÉ TL
KQl QMfTLS àc pa TGUS aldpais "poc aóópevov,
Ocobdpov ur To) KoXoóovíov. kai TL KQL
émüiNQv.ov aUNgua eri Porpvev OXuBouévov, kai
Tepov qrTu0TLKO0V, Os GOpv/rixos év. Kopaorais
$ueiv 0 kopLkOs*
éyo 86 vàv 07) reperiQ Ti ria TLKÓV,
«ai Nucooóv év rois Xeiporyáa Topouv
&XX. l0, T pocaUXgcov av vàv v T,0140V TIG.

«ai éperukà On TV. avMjuara Kai TOLlLeVLKÓ.
"Emríxappos 66 kai TroLuevucov i TL uéXos aüXetaÜat
oyci, IIEX&rov 96 0 kojukós. kal cvBorrucóv LO
Tupprvoi 06 TÓÀ "Apta roTéXovS Ayo OU TrUKTEUOU-

giV VT aU uóvov &XXà kai pacgTvyoUoi Kal
óxromrotoDatv.

Callim. Hec. i. 4 a 1l

76m yàp éco wà Aóxva $aeívet,
aeL6et kaí vro Tis àvi)p vOaTyós Luatov.

Hesych. j/avkaXàv: — karaotpitew: TuÓnvetv:
vraiéía per. eOfjs rotutem.

Long. Past. 4. 38 ?jv ov, es év Totoia0e avyumó-

1 Kühn: mss zourikóv

502

FOLK-SONGS: INTRODUCTION

some say was Heracles. The dirge, which was
sung at the threshing-floors and the mowing, was to
console his father. Borimus was a brother of lollas
and Mariandynus and son of king Upius who died
young when hunting at harvesttime. He is com-
memorated in a dirge-like song about husbandry.
There was also a song known as Aletis, sung over
the swings; this was the work of Theodorus of
Colophon. And there was a Flute-piece of the
Winepress, for the treading of the grapes; and
another for the Winnowing, which is referred to by
the comedy-writer Phrynichus in his Revellers, thus :

I'll whistle for us a winnowing-song ;
and by Nicophon in his Hand to Belly in the line:

But come you and play us a winnowing on your
flute.

And there were flute-tunes for rowers also, and for
shepherds. Epicharmus mentions a Shepherding-
tune, and Plato the comedy-writer a tune for the
Herding of Swine . . .! And according to Aristotle
the Etruscans not only box but even flog and cook
to the sound of the flute.

Callimachus Zecale: For already the lamps of
dawn are shining, and I warrant some water-drawer
is singing the Himaeus.

Hesychius Glossary BavkaAav: to lull to sleep, to
nurse, to send children to sleep with a song.?

Longus Daphnis and Chloe:? "Therefore then, as
usually when rural revellers are met together at a

! the quotation from Plato is corrupt (211 K) a^ bf.
Theocr. 24. 7, Sext. Emp. Mat, 6. 32 3 cf, Anacreontea
60. 8, Opp. Cyn. i. 127.

SJ

LYRA GRAECA

BP. id - SS
TQ4S, TráVTA "yeopryikà kai àvypoiká' 0 pev TO€v
? » / e NM» 1$ "Bx ^
oia, áGovat ÜepiCovres, 0 06 a korr re Tà érri Xqvois
Ph ^ , / , »
ckouuara. QOiXgrTüs écUpwoe Aáumis qUXgoe
Ap)as kai Aáuov opxrcavro.

* N ,
Ibid. 40 707e 96 vvxTós yevouévgs crávres
V e
avTOUS TüpémEeuTOV eis TOV ÜdXapuov», oi juév
, i4 N , ^ e Ny ^ /,
cvpirTovres, oi 66 avXoÜvres, oi 06 0dOas peyáXas
àvíoXovres. ai émei mXgotov 770av TQyv Ovpóv,
j6ov ckX9gpà kai ame T) deovi, kaÜ0dmep
^ /
TpLaívais yn» avappmyvvvTes, ovx uvpévaLov
aovres.

Sch. Theocr. 10. 41 [0ácat 67) kai Ta0ra Trà TÓ
Ücio Avrvépca] 60éaca, dci, kai ravrqv pov

^ , e^ MT m^ /, à /
Tiv Tpa'ygOíav, jv mepi TOU Airvépgcov néXXo
5 e ^ "m
àcat. obros 06 0 Avrvépons oikQv KeXatvàs Tfjs
Opwyias Tovs mapiovras TOv Éévov cüoxóv
7váykate ger avToU Üepífew. | eira éomépas
aTo0küTTGV TüS keÓaXàs avTÀÓv TO Xovróv apa
€v TOlS Ópárygacu cvveuXOv 5Oev. 'HpakXis 86
avatpcas avrov karà TOv Maíavópov voragóov
» e M ^ t M b ,
éppvrev, ó00ev kai vüv oi Oepia ral karà Opvy(av
» , N , , e€ » ,
aOovciv avTOv éykouatovres os üpia Tov Üepuoy)v.

Ar. Nub. 1351

€ , , ^ /

0 6 eUÜéos àápxatov eiv éQaoxe TO kiÜapiCew

L6 /, "h e N p $9
aóeww Te ivovÓ', «cacmepei káxpus -*yvvaik
àXobcarv.

504

FOLK-SONGS : INTRODUCTION

feast, nothing but georgics, nothing but what was
rustical was there. Here one sang like the reapers,
there another prattled it and flung flirts and scoffs
as in the autumn from the press. Philetas played
upon his pipes, Lampis upon the hautboy. Dryas
and Lamo danced to them.!

The Same:! Then, when it was night, they all
lead the bride and bridegroom to the chamber, some
playing upon whistles and hautboys, some upon the
oblique pipes, some holding great torches. And
when they came near to the door they fell to singing,
and sang with the grating harsh voices of rustics,
nothing like the Hymenaeus, but as if they had been
singing at their labour with mattock and hoe.?

Scholiast on Theocritus Z'he lieapers [* Come, hear
this of the divine Lityerses']|: By this he means
Hear this tragedy [sic] of mine, which I am about
to sing concerning Lityerses'; now this Lityerses,
who lived at Celaenae in Phrygia, used to compel
passing strangers after feasting at his table to reap
with him, and when evening came would cut off
their heads, and binding the trunk into a sheaf
with the trusses of corn, would sing a song; but he
was eventually slain by Heracles and. thrown into
the river Maeander. Which is why in Phrygia to
this day the reapers sing his praise as a champion
reaper.?

Aristophanes Clouds: But he said at once that it
was old-fashioned to sing and play after supper like
a wench grinding barleycorns.

! 'Thornley (revised in L. C. L.) ? this pron. pue that
there was a hoeing-song 3 cf. Eust. 1164.

595

LYRA GRAECA
Ar. Ran. 1296

m9 , ^
Tí T0 QXaTT0Üpar ToUT éco Tiv; é« MapaÜ0Gvos, i)
, J e , F,
Tró0ev a vvéXe£as (uovioo Tpooov uéXq ;

, , ^
Sch. ad loc. olov a xyowwtoaTpóov uéXn à eikós
» el 5 /, » e N N ^
dvOpa 0Gava àpvópevov dOet.. iuovià yàp kaXetrat
^ / N 5
TÓ TÓV àvTMQuáTOV cXowwiov, kai TO ücpua 0
DAN E43 Xie ^ ,
áOovciv oí àvyTMqTaÀ (uatoy. KaXAtuaxos: (Hec.
ids 10)

Od. 5. 61 [z. KaXvyroós]:
7 €. €vOov àoiGtáovo" omi kaXf)
(c T0V émroiXouévi) xpvaetn kepkió. Uoauivev.

Eratosth. ap. Et. Mag. 412
7?) xepvtjris €pi8os vo viyrXo0 vrvXeóvos
Aav6airis a TelYyovca! kaXàs ijeiGev ioUXovs.

Long. Past.3.21 ..vaüe àMéev ód$09 mapa-
, » N , 5 , ME. ^
TAéovca. &veuos uev oUk Tv, yaNiv: 96 qv, kai
,
épérreww éO0kei.— kal Tjperrov éppopgévas: vyrei-
N ^ ^ M
yovro tyàp veaXeis (xy0Ü0s eis T) TÓMww Otacc-
, ^ / E
cacÜaí Tw, TÓV TXovoiov. oiov o)v eico0act
^ ^ , f. ^ ^
vaüTaL Opáv eig kaprov àjuéXeiav, ToUTO KüketvoL
OÓpQvTes Tàs komas àvébepov. eig uév avTois
M N 9 , , t b N
KekevaTis vavriKüs T7O0ev cOás, oí O6 Xouroi
t ^
«a8 dárep yopós oj.oievos karà kaupóv Tf)s ékecvov
^ ,
jovis éBgoowv.
! reading uncertain, see p. 532 fr. 25

506

FOLK-SONGS: INTRODUCTION

The Same Frogs: What's the meaning of this
phlaitothrat? | Was it at Marathon, or where was it,
that you picked up the songs of a water-drawer?

Scholiast on the passage* That is, songs of a rope-
winder, such as a man might sing drawing water from
a well. It seems that (pov is the name of the well-
rope, and the song sung by the drawers is called
Himaeus. Compare Callimachus (above, p. 503).

Odyssey [Calypso]: And within, going before the
loom, she plied a golden shuttle, singing the while
with a sweet voice.!

Eratosthenes in Efymologicum Magnum : 'The hired
Dandaetian (7?) weaving-woman sang fair Songs of
the Skein as she went to and fro beneath the lofty
gate-house.

Longus Daphnis and Chloe: . . . they saw a fisher-
man's boat come by. The wind was down, the sea
was smooth, and there was a great calm. Wherefore
when they saw there was need of rowing, they fell
to plying the oars stoutly. For they made haste to
bring in some fresh fish from the sea to fit the
palate of one of the richer citizens of Mytilene.
That therefore which other mariners use to elude
the tediousness of labour, these began, and held on
as they rowed along. There was one among them
that was the boatswain, and he had certain sea-songs.
The rest like a chorus all together strained their
throats to a loud holla, and catched his voice at
certain intervals.?

1 cf. Od. 10. 226 ? Thornley (revised in the L.C. L.)

597

OTAON
A'
EIZ TOT£Z OEOTA
l eis "Aprejuv

Ath. 14.636d 7v yàp 55 TIVA KOGl Xcpis TOV éppuawpévov
kai xopbais 81e Amuuevov Erepa yóoov uóvov TGpATKevaaTIKd,
ka8ámep TÓ kpéuBaAa. mepl &v $ncl Aikoiapxos €v Tots IIepi oU
755 EAAdBos Bíov, emi epi aa ác kev more ka8 brepBoXiiv eis
TO .mrpogopx eia0aí T€ kal TpocdOeiw Tas "yvvautlv ipyavá TIVO, TT0lÀ.,
Gy Ore T1$ ÜTTOLTO TOLS DakTóAois TOLelV Avyupbv yóoor: 93X00c021
86 éy 7Ó Tfjs " ApréjuDos Goat o9 eo ly àpxii

"Aprepu, goi 7 emi pv éótuepov
Üuvov Lépev , ai Tí ae ka mpoOev!
&6é r$ AXXa Xpvaodaévva.

«péuBaXa xyaXkomápa! «i&yowaz xepatv.?

2 eis "Aprepauv
'Theodoret i. 940 Schulze [ Kings 2. 16. 3]: eiboy y&p £y TIG

TÓA€G1V &mat TOU Érovs év rais mAaTelaus &mropévas TVpds, kal
TaUTGOS TiVÀS bmepaAXouévovs kai m10GvTOS, OU uóvov maiBas GAAÀ
kal &ybpas, Tà Dé ye Bpéon mapadepóueva 61à Tfs $Aoyós: éDókei
66 roUTo &rorpomiacubs elvai kal ká8apaus.
Hesych.
, ,
*Qr dvacca, mvpà Tpo0vpos:?

-üp mpb T&v Üvp3v: Bià $apuákev eid8aci rives émdyew àv
'Ekd qv vais oikíaus.*

1 E; for spó8ev cf. àmémpo9ev: mss ué vi $. and Üuvov (Umvov)
vevat Luenns féyau) 00ev (60€) ? B.E: mss &8é ris (à5é vis)
&AA& xpvcodoavíia k. X. 3 Palm: mss 7vppà 7p. 5 Jast
sentence brought by B from émwripe to which it cannot
belong (mss 7j Exdr7 T&s oikías)

508

FOLK-SONGS
Book I
TO GODS

] To AnrEwis!

Athenaeus JZoctors at Dinner: There were some musical
instruments besides those of wind and string, producing
merely noise, for instance the xpéu8aAa or castanets. "These
are mentioned by Dicaearchus in his Life ín Greece, where he
says that certain instruments which made a piercing sound
when touched by the fingers were much used by women in
certain parts of Greece to accompany dance and song; and
he compares the Artemis-Song beginning :

My heart bids me utter a hymn that shall please
thee, O Artemis, if e'er before thou hast had delight
of a damsel all bright with gold, who clasheth
brazen-cheeked crembals in her hands.

9 To AnTEMIS

Theodoret [* Ahaz made his son to pass through the fire '] :
In certain cities I have seen fires lit once a year in the streets,
and people leaping over them, not only children but grown
men, and even babes passed through the flame. It seemed
to be an averting or purifying rite.

Hesychius G/ossary :
Opis Queen, fire by the door ;?

that is, fire before the doors; in some parts they draw
Hecate to their houses by spells.?

! perh. by Aleman ? or the fire is before the door; but
the fire was perh. identified with Opis (Artemis or Hecate) ;
cf. Callim. Z. 3. 204 3 the last sentence does not certainly
belong here

509

LYRA GRAECA

9 eis 'ÁAdpoírqv
Plut. Q. Conv. 3. 6. 4 :éo: ve "yàp mápeist *yeyapmkóres, óo*
&v Oei * QiXorjgia Epya? reAecta0at, kal Tjuás obm mavTdmaGiV 7)
"AdpobÍrm mé$ev'yev, àAAà kal mpogevxópeOa b íjrovÜev abri) Xéyovces
€v TOis TG Üedv ÜUpvois
, s ^
avaBaXX àvo TO yfjpas
5 X62 ,
& kaXà Adpoórra.

4 eis Atóvvaov
Plut. Q. Graec. 36. 7. 8iX «( Tbv Aióvucoy ai TOV 'HAelev

yvvatkes buvoUcai mapakaAoUci Boég 7001 mapaylyvec0m mTpbs
aUTds: Éxei 0€ obrws Ó Duvos-

5 ^ ,

EX6eiv, npe Atvvce,

c y y

AXeLov 1 és vaov

Ls N A d ,

a'yvov cvv Xapireo ctv

, N ^ , N A

és vaóv 7Q Boéc m00i Óbov,

, ^

a£ie raUpe,

, ^

afie raUpe.

Paus. 6. 96. 1 60eày 8€ év rois udXwrra Aióvvcov céBovoiv
'HAeto, kal rv 0eóv adici émipovrüy és TQ» Gvíov Tiv éopràv
Aéyovat.

BD-— eis Auóvvaov

Sch. Ar. Kan. 479 év rois Aqvaikois &vy&ci ToU Aiovócov ó
628500x0s karéxov XAapmádBa Aéyei

KaXeire Oeov:

ET , -^
kal oi orakovovres Boóct

ZXeneMji "laeye 7rXovroS0Ta:

l'AAeíev D: mss &Auv

1 cf, Hesych. àvaBaAóynpas (so B: mss àvaBaAAdyopas):
oápuakór Ti, kal A(Qos év Záug (a kind of spell; also a stone

510

FOLK-SONGS: TO GODS

3 To APunop!TE

Plutareh Dinner Table Problems: Our company includes
not only young married men who perform * Love's rites' as in
duty bound, but us older folk from whom Aphrodite has not
yet fled for good and all, and who can still, I think, pray to
her in one of the Hymns to the Gods : !

Put off old age for many a year, O beautiful

Aphrodite.

4 To DioNvsvus

Plutarch Greek Questions: Why do the Elean women in
their hymn to Dionysus invoke him to come to them * with
foot of ox'? The hymn is as follows:

Come, hero Dionysus, to the shrine of the Eleans,
to the pure shrine with the Graces, raging hither
with foot of ox, goodly Bull, O goodly Bull.

Pausanias ZDeseripíion of Greece: Dionysus is one of the

Gods most highly venerated by the Eleans, who declare that
he visits their city at the Feast of Thyia.?

5-7 To DioNvsus

Scholiast on Aristophanes Frogs: In the Lenaean Festival
of Dionysus the torchbearer link in hand cries

Call the God ;

and his hearers shout

Semelean Iacchus giver of wealth ;

in Samos) ? this word seems to have been connected
with 6ów 'to rage or rush furiously, cf. 'raging hither'
above; Paus. goes on to tell of the miraculous filling of sealed
wine-jars overnight which took place at the festival; in this
very ancient invocation D. is still a * hero" and a bull

SII

LYRA GRAECA

3 Tpbs vb £v cais Ovcoíais émiXeyóuevov. | émeibày *yàp amovbo-
T0if]G GVTO4 ÉTIAÉyovaiy

, "P /, ,
ékkéyvTas*. káXev eov:

8-9

Ar. Paz 968 àAX evbxópue0o: | rís r$0€ ; ToU sor eloi 0A Xol
kà'ya8oí ;

Schol. ad loc. (a^) oí amévBovres "yàp éAeyov
y ^0
TLS T7)0€ ;
&yrl TOU Tís mdpeoTiw. €lra oi mapóvres ebdmu(óuevot &Aevyov
TroXXoL kcaryaQot.

^ OM , e /, e e , € ^
TOUTO ÜE ÉémolovV oi a TévBovres, tva oi auveiBóTes T1 éavro(s üromov
F] ^ ^ ^ , V o ^ » x , /
ékxcpotev T&v omovügyv. (B) b 8e *moU mor! &aTi Aéyet év
40er moU elclv oi émi$ovobUvres, (va. avr) ériAéyoiey mi0avas- 1)
&s j]80evoós üvTOS KaAoU kü'yaDoU.

10, 1l eis A(wvvcoov

Ath. 14. 622b Z$5uos 9 ó Adios év TQ Ilepl Ilai&vev ' oi
abrokdB8aAoi qmncl ' kaXMoóuevoi égTe$aveuévou kvrrTÓ axéomv
émépaivov pfjeew. — Voepov 8e auBoi ovouda0ncav avroí rc kal à
moínuara aUTGV. oi 0c iÜUjaAXoOV qoi 'kaXoDuevor 7poccreia
ue0vóvrev Éxovaw kal émreQávevra. xeipiüas àvÜwwàs Exovres-
xiràgi. Oe xp&vrai jecoXeókois kal mepié(ovrau. Tapavrivov
káAvmTOV avTOUS uéxpi rQy cvpüy. cvyij 0€ Dbià ToU TvAdvos
eiceA0óvres, Übrav karà uéoqv cv ÓpxfüoTpav "yévevrau, émis Tpé-
Qovcuv eis T0 Üéurpov Aéyovres:

! this strictly belongs to the next section ? ef. App.
Prov. 4. 90 (kaXol kà'ya8ot)

512

FOLK-SONGS: TO GODS

Or the reference may be to what is said at a sacrifice.
After the libation has been made they say

It is poured ; call the God.

8-9!

Aristophanes Peace: Let us pray ; *who is here?' where
are the * many good men '?

Scholiast on the passage: (1) When pouring a libation they

used to say
Who is here ?

meaning Who is present? and then the company would
reply religioso :

Many good men.?

This was done by those who were pouring a libation, so
that anyone who felt himself unfit to take part might with-
draw. (2) Trygaeus says the words * where are?' in character
[7.e. they are not part of the quotation]—* where are the
people who respond? so that they may make a plausible
reply, or else because nobody present was a real gentleman
[/it. noble and good].

10, 11 To DioNvsus

Athenaeus JJociors a£ Dinner: According to Semus of
Delos in his treatise On Paeans * The Improvisers as they were
called used to recite at a slow pace and wreathed with ivy.
At alater period they received the name of Jambi, a name
also given to their poems. "The ZíAyphalli wear masks
depicting them as drunken men, and wreaths over them,
and flowered gloves or sleeves ; their tunies are shot with
white, and they are girt about with a Tarentine robe which
envelops them down to the ankles. They enter in silence
by way of the pylon, and when they arrive in the middle
of the orchestra, they turn to the audience with the
words :—

513
VOL. III. LL

LYRA GRAECA

5 , 5 , ,
Avayer , eUpvxopiav
voietre TQ O0eQ: !
&ÜéXet yàp éovOeévos ?
N , ,
01à. uéaov BaóiLew.
oi üt daAAXo$ópoi $nsiv (pocwmretov jgtv o) AaguBdvovow,
poa kómioy ? 6e é£ épr/AXov mepvriféuevoi kal maubépemros émáyco
TOUTOV ÉmLTÍÉevTOA cTépavoy Daciy fov kal kvrTOU: kavváxas * Te
7 epiBeBAn uévo: mapépxovraa oí uev ék mapó8ov, oi Üe karà Tüs
uégas died Baívovres év pv8ud kal Aéyovres-
GOL, Bárxe, TávÓe ,uobsav á'ykaibop.ev
áT Xov pvOuóv yéovres aióN p eet,
kasvày? árrapÜévevrov, oU TL TGÍS T ápos
&expuévav góaicw, àXX àknpaTov
ka Tápxopev TOV Üuvov.

-. ri 18 5e x
eira m poopéxovres? éró0a(ov obs mpoéAowwro, aáüny 0€ Crparrov,

ó 8: qaAAoQópos i&v BaB((wv karamac0els aiQAAg.*

12 eis Kópmv
Procl ad Hes. Op. 389 .. oi 9t àpxaioi kal mpaiairepoy

Éomeipoy, kal 85Ao0v ék r&y "EAevciviev TeAeTGV, €V ois eee Tos

IIdpc6t, Kóp, yébvpav: *
ócov ob TpirroXos 7) 01.9

13 eis Adr pa.
Hippol. (Orig.) Zaeres. 115 Miller Aéyowsi 96 abróv, $mcí,

$piyes, kal xAoepbv aTáxvv TeÜepiguévov, kal uerà vovs pias
'A0mvaioi pvoUvres "EAevaívia, kal émibeikvüvres mois ÉmomTeUovoi

! Pors. rÓÀ 0eà Toieire |? Mein.-Wil.—ZE: mss 60. y. ó
0ebs óp8bs écvpwpévos 3 Kaib., cf. Posid. ap. Ath. 4. 176b
and Suid. s. X5uos: mss 3 poxduUr * Cas: mss avyáas
5 sugg. Kaib.: mss uécas às 8. * Hemst: mss kal uáv
? mss also 7porp 8 B: mss £Aeye ro me0i (1.0. mapa) k. "y.
? E, cf. 6a Eur. 7'hocn. 1296, Aesch. Eum. 874, Prom. 568,
Ag. 1072, Ar. Lys. 198, Theocr. 4. 17, 7. 39 ; cf. "Evvoaíbas
Pind. P. 4. 33. 173 and Aquf,rop: mss oz rprróAeov é

514

FOLK-SONGS: TO GODS

Make way ho! for the God ; he would fain walk
through the midst in all his vigour.
The Phallophori on the other hand wear no masks, but put
on a vizor of thyme and lad's-love and above it a thick crown
of violets and ivy, and come before the audience in plaids,
some proceeding from the wings and others by way of the
middle doors, moving in time and saying

This music we adorn for thee, O Bacchus, pouring
forth a simple lilt of varied melody, fresh and
maiden, never used in earlier songs; for the hymn
we begin is pure and undefiled,
Then running forward they would make jests at whoever

they chose, standing still the while. The man who carried
the pole merely walked in! bespattered with soot.'?

12 To PEnsEPHONE

Proclus on Hesiod JVorks and Days: . . The ancients used
to sow earlier, as may be seen from the Eleusinian Mysteries,
in which they used to say :

Pass over the bridge, Maiden: the earth is well-
nigh thrice-ploughed.?

13 To DrewETER

Hippolytus (Origen) Against the Heresies: He says that
the Phrygians say that he is an ear of corn reaped green,
and the Athenians follow them when they perform initiations
into the Mysteries of Eleusis and show the initiates the

! meaning doubtful ? ef. Suidas s. Z9uos and $aAAoQópo:
3 reading uncertain, but the ref. seems to be to the bridge
by which the great procession crossed the Attic Cephisus
on the road from Athens to Eleusis, and the preparation of
the ground for the autumn sowing

5*3

hd

LYRA GRAECA

7b uévya kal Üavuagmbv kal reXeióTGrOV ÉmomTikby éket uua TT)puov,
€v cim) TeÜepiguévov aoTüxvv. ó 0€ aTáxvs ovrÓs €c'ri kal mapà
'A0-vaíois ó Tapà ToU àxapaxrnpigcTov dcwoTiap TéAeis péwyas,
kaÜdzep abTbs Óó iepotávrns, ok Gwokekouuévos u£v, s ó " ArTIS,
eivovxiwuévos 8t 0ià kevelov kai mücay àmqpricuévos cy aapkivqv
yéveaw, vukros éy "EAcvoiyi Umb T0AXQ mvpl TeAQv rà ueydAa kal
&ppnra uvoTfpia Boa kal kékparye Aéyov*

€ N y, ,

lepov &veke 7rorvia koUpov

N ,

Bpiuo Bpiuov:!

/ , hy , J / , -] , € / €
TovrÉégTiv laxvpà ioxvpóv: móTvim 80€ éaTi, $moíiv, T7) "yéveois 37
TvevyuaTiKT, 7] €movpávios, 7 üvco' ioxvpos Bé éarw Ó obro
yevváyuevos.

14 eis Aía
Marc. Aur. 5. / Evx?j 'A03vaícv*
€ "? 5 /, ^
'Taov, $cov, o9 diXe Ze,
X ^ , / ^ , ^

kaTà Tjs àpovpas Tfjs AO0mnvàv

N N ^ ^
«ai «xarà» T/js leóuov.?

- , ^ ,
jyrou oU 8e e9xea8au 7j oUT es &ümAdGs kal éAevüépuws.

P'
AAAQN TON EOPTAZONTON ;
15

Sch. Pind. P. 3. 32 [ómoxovpi(ec&ai]: (a) àvrl 09 maí(ew kol
xope?ew: 7j &uoorépovs rovs kópovs bpveiv, rbv vvudíov kal T»
vóuony. (B')&AXes: Tb bmokovpi(ec0at &oibais elme 0ià TD Tovs
ónvoUvras émevompui(ouévovs Aéyew ovv kobpois? ce kal ópaus.
kai AicXóAos Aavaigv íIxümevr üvewi* Aaumphv 5»Aíov dos, |
€vs ? éyeípo mpevuevets rovs vuuoíovs | vóuoun 0évrov avv kópois

! Miller: mss fp. Bpiuf ? B—E (Tlebiav — IHeBiéov, cf.
Heipaigs): mss 'A0mvaíev kal T&v Te0lcv * mss also rópois
* "oup : mss x&revra 9 eicit * final, cf. Od. 5. 386 et al.

516

OTHER RITUAL FOLK-SONGS

great and wonderful final mystery, an ear of corn reaped in
silence. "This ear of corn, among the Athenians as among
the Phrygians, is the great and perfect illuminator or ray that
comes from the Inexpressible, witness the hierophant himself,
who, not unmanned like Attis but unsexed by hemlock and
yet perfect in all the generation of the flesh, performing by
night at Eleusis the great and secret Mysteries by the light
of much fire, shouts the words

Brimo hath borne Brimus, the Queen a holy son ;!
—the name meaning ' strong,' and the Queen being generation

spiritual, heavenly, from above ; now one that is so generated
is strong.

14 To ZEvs
Mareus Aurelius Meditations: A prayer ofthe Athenians:—

Rain, dear Zeus, send rain
Over the fields of Athens
And over the fields of the Plain.

We should pray thus simply and frankly, or not pray
at all.

Boox II
OTHER RITUAL SONGS
15

Scholiast on Pindar Py/Aians [on the word bmokovpi(ec0a:,
of which the usual meaning is * to address like a child or in
endearing terms]: (1) Here used to mean *to sport and
dance' ; or to sing the praises of the xópo:, that is the bride
and bridegroom. (2) He uses this phrase because the singers
sang in their *blessing^ * With both boys and girls. And
Aeschylus says in the Danaids * And then will rise the bright
light of the sun, so that I may waken bridegrooms made
gracious by the songs of those who have put them *with
[4e. made them fatbers—to be—of] both boys and girls.'

! cf. Hesych. Bpiuó, Bpiuós
517

LYRA GRAECA

Te kal ópcus. ! s kp TÓ Bo àvri ToU '&koper Kópas kopavas
zaporpóvovres ! viol $acuv * ékkópei kópovs ? kopávas."

Horap. Hierog ogl. 108 Iz. kopsyav]: Tis B ToiabrTS abra
óporoías xápur uéxpi vüv oi "EAXmves €v mois "yágois *€k kopi kopi
kopdyn^ ? Aéyovau üyvoobUvres.

Hesych. xovpi(óuevos: buevoiwbpuevos, 9ià Tb Aéwyew -yapov-
uévaas * av kobpois e kal kópaus?" Urep vüv mapedO0apuévos ékkopety
AéysTa4.

Ael H.A4.3.9 àxojUw 86 rovs mdAau kol €v rois "y&áuois puer

/, ^ - ^

Tv bpévoiov Tij kopdwmav ka^eiv, avvOÓnua ópovoías coUTO TOS
cvvioUgiy éml Tij Taibomoitia OiGóvras.

Ek opi Kop kopavm
cvv koUpots Te kai kópaus.*

16

Ath. 3. 109 f. &àxatvas: robrov ToU üprov uvnuovevei Xijuos ev
"y A»AidBos Aéyov Tos 0eauooópois "*yívec0mi. — elgl 8& üproi
ueyaXot kal éoprij kaXeirau MeyaAdpria émiXeyóvrov rày oepóvrov:

, E , P4 /,
AXaivqv a TéaTOs épmXeov Tpayov.

! mss and ed. pr. &xope? (evkopet) &vrl ToU kópas (kópovs,
Ko?povs, Kópos) maparpémovres (mapurp. Oé, mepurp., poTp.,
maporpvrovres, -ras) ? mss also xópet 3 mss éxkopí,
kopí, kopévn(v) * so E from the above passages ; xop:
perh. (Deubner Herm. 48. 303) bears the same relation to
kopá&vT àS xeAi- to xeAdymn in 33. below (as puss to ca£, a voc.
sometimes used to form a sort of compound with the nom.,
cf. pussy-cat, baa-lamb ? but cf. Ar. Lys. 350 üvópes movemórn-
poi) ; €x may be (1) an exclamation *ho !' Z.e. *come hither,
though Lat. ecce is prob. not cognate, or (2) the preposition
used - adverbially, meaning either 'avaunt"' (which hardly
suits l. 2) or *emerge;' 7.c. from the womb (for £x not ££ cf.
€xkaíbeka) ; the other readings are prob. due partly to folk-
etymology and partly to ms-corruption

518

OTHER RITUAL FOLK-SONGS

And not only in literature but in life, some people when
exhorting the newly-married pair, instead of àxopei xópas
koperaás (which contains the word * girls") say éxxópet kopovs
kopévas (which contains the word *' boys").*

Horapollo Zieroglyphics [on crows]: Even to this day,
because of this mutual affection between raated crows, the
Greeks say to the bride at a wedding et Ekorí korí koróné
[Come here pretty crow ?] without knowing what it means.

Hesychius Glossary xovpiQóuevos: This means having the
wedding song sung to one,' because they said to girls being
married * with both boys and girls? ; which now is corrupted
to éxkopetv *sweep out' [or *supply well'?]?

Aelian Natural History: l understand that at a wedding
too the ancients, after singing the wedding-song, invoked the
Crow, thus presenting the newly-married pair with a token
of mutual affection, for the begetting of children.

Ho, pretty crow, pretty crow !
And bring both boys and girls !?

165

Athenaeus Doctors at Dinner: The loaf named àxatvas is
mentioned by Semus in the 8th Book of his Deliad, where he
says that such loaves were made by the Thesmophori. They
are large loaves, and the feast is called Megalartia or Great-
Loafings, the people who carry thein crying—

Bite a great-loaf full of fat.

! the point seems to be that the masc. xópo: can be used
as well as the fem. xópa:, and here is collective of the married
pair; the first half of the original incantation was prob. in
the form preserved by Horap.; the Scholiast records two
popular eorruptions, one of which was perh. thought to mean
* Deflower the daughters of the crow . . (or the crow-girls . .),?
the other *Supply well (xopée — kopévvvgi) the son and
daughter of the crow . . (or the crow-children . .),^ both
sentences being completed in the next line ? some words
seem to have fallen out * erows seem to have been con-
nected with Hera Goddess of Marriage as with Juno, cf.
Pauly-Wiss. s. Corníscae * cf. Ath. 14. 646e, Hesych.
8. xaívas (sic)

519

LYRA GRAECA

17

Plut. Tes. 22 0dxas 5€ rbv marépa, T " ArÓAAwvi Ty eUXv
&reBibov Tfj é89óun rov Ilvavoyigvos uqvós iarauévov: rabTy "yàp
àvéBgsav eis üocrv acwOévres. 1j utv oiv émnois cà» Ogmpiev
Aéyerai "yiven 0a. Dià Tb awÜcvras avrovs eis ravTO cvupitai TÀ
mepióvra r&y gvríev Kal uíav x)rpav koiwn?v €wfgavras cvveaia-
05vai kal avykaraQayeiv àAMfjXois. Tj» 8€ elpeaióvqv éxépovoi
KkAdbov éAaías épíg utv éoTeuuévov, Gomep TÓre TÀv ikermpíav,

^ A Vn / / hj ^ , ,
ravrobamüy 0€ àyámAecv karapyudrey 0i& v6 AfjEou T1] &bopiav,
^ ^ t
émdDBovres: Elpegióvn krA. — kairouraUrá rives éml rois HpakAe(Oaus
L / e / € ^ L] , € ^
»yivea8ai Xéyovaiv obr cs 0r peoopuévois bm-b ry '"A0mvaiev. oi 0e
mAeíoves &s mpoeípnrau.

Ar. Eq. 728 Tíves oí Bo&vres ; obk &mir' àmb v) 00pas ; | càv
eipecióvmv nov kareamapá£are.

Sch. ad loc. eipesióvqv: (a) kXd8os éXaías épiois mepiremAey-
uévois üàvaBeBeuévos. ébfprmvro 5€ abroU &paia mdvva ükpóbpva.
cpb 8€ r&v Üvp&v iarüciy abTXy elaéri kal vv. Toi00gi b€ ToUTO
karà maAcuóv ri Xpqo Tfpiov. oi uév *yáp $aciw óri AiuoU, oi O€
0r. kal AoiuoU, 3j» Tücav karac xóvros oikovuévgy, xpeuévov Tiva
àv Tpómov ma)vcavro Tb Deiwóv, TÀ]v Aóciw TabrmV Ó IIí6i0s
€uavreUcuro, el mponpóciov imtp G&mávrev 'Afmnvaio 6)ceiuav:
0vcávrev oÜv TÀy "AÓgvaiev TO Sewov érascaro. kal obres Gomep
xapiT puo oi mayraxó0ev rois '"A0nvaíois é£éreumov rüy kapmáv
&mdvrwy Tàs àmapxás .. . 00ev eigéri kal vüv, émeibày àv récit
Tbv kAáDov, Aévyovci raUTa-

^ , ,

Eipeotovy aka déper xai vriovas áprovs
N / L / 1 $25 , , "| 74
Kai |L€XL év korUNm kai eXatov àroYroaa at,
b Á, , , , el 9 0 , 0 28 4
kai kUNu.K evCopoto, OT tos ? ueÜvovaa kaUevón.
(8') Hvaveyíois kal GOapynA(o:s HAíe kal "Qpats éopráQovsuv
'A0mvaio, — $épovci be oi maibes rovs ÜagAXovs épíois mepieiXmp-

, er , ^ / M , ^ ^
uévovs, ü0ev.eipegiQvai Aéyovroi, kal rovrovs Tpàó TÓv Üvpàv
kpeuQsiw. ébüprmvro 0€ rày ÜaXAXav ai cpau.

1 Eust., Et. Vet. uéAvros korÜAmv ? Plut. Clem. Sch.
àvajy., Eust. émikpfjcac6at ? Plut. Clem. Sch. Suid. ei(epov
and ós áv (Plut. Sch.), fva xat (Et.), ómes Clem, Suid., tva
Eust. * Suid., Sch. Ar. P/ut, -9ns

! from Crete, where he had slain the Minotaur ? who
sailed with T. ? before he set out for Crete * these

520

OTHER RITUAL FOLK-SONGS

17

Plutarch Zife of Theseus: After he had buried his father,
Theseus paid his vows to Apollo on the seventh day of
Pyanopsion, which was the day on which they went up to
Athens after their safe return.! Now the custom of boiling
pulse (on that day) is said to have come from the rescued
youths ? having mixed together their remaining provisions in
a common boiling-pot and made merry over it at a common
board. "The Ziresioné which is carried at the same festival
is an olive-branch wreathed with wool, such as Theseus used
for his supplication,? and laden with ali sorts of fruit-offerings
in token that the dearth was over, and those who carry it
sing: '.Eiresioné, etc. | But according to some authorities
the rite commemorates the children of Heracles who were
thus brought up by the Athenians. The former explanation,
however, is more generally given.

Aristophanes Knighís: What's all this shouting? go away
from the door. You've torn my Zíresioné all to shreds.

Scholiast ox the paessage: (a) The JEiresionó was an olive-
branch bound round with fillets of wool, with all kinds of
fruits in season fastened to it. They set it up before their
doors to this day. This is done in accordance with an
ancient oracle, which when the Pythian Apollo was consulted
about a world-wide famine—or, as some authorities declare,
a plague—, directed the Athenians to celebrate a fore-tillage
sacrifice on behalf of the world in general This they did
and the visitation ceased. And so it was that firstlings of
all fruits were sent to the Athenians from all parts as a
thank-offering. . . . And this is why, to the present day,
when they set up the branch they say:

Eiresioné brings figs and fat loaves and honey in
the pot, oil to wipe from the body, and a cup of
neat liquor to send her to bed drunk.

(P) The Athenians hold to the Sun and the Seasons festivals
called Pyanepsia and Thargelia.& At these the children
carry the boughs wreathed with the wool which gives them

their name eiresionae,* and hang them before the house-doors.
The ' seasons ' * are fastened to the boughs.

festivals were held in Oct.-Nov. and May-June respectively

5 derivation obscure, but popularly connected with £pia * wool"

* apparently the technical name of the various fruits (Wil.)
521

LYRA GRAECA

Eust. 1983. 7 eipesióvw | 0aAAbs éAaías émTeuuévos épig
mpockpeuauévovs €xcv Diadópovs ék -y5js kapzoUs: ToUTOV €kjépei
Tais Guoi8nATs kal Tí0nci pU Üvp3v TOU 'AsÓAAGvOS LepoU éy ois
IIvavejíois . . . 3/yov 86 &o8 0re ravra Kal &morpomi AuuoU. TiBov
0: maibes obra- Elpecióvm krÀ. perà Bt cÀv 6oprijy €Eo Grypy !
Tidéaci.mapà ràs Ojpas. Kpárzs bt év TO Illepi Gv '"A0fjvmei
Qvsigr G$oplas Tore karacXovons TA2v mTÓAw ÜaAAbv kara-
aTéyavras éplois ikernpiay àvaBeivai 74 " AmTÓAAav1.

Et. Vet. elpesióvw . . . mpoerí8ero 8€ ieata éxelvn T3 u€pa $
oi vepl Og0éa a«OTjvai BokoUgi' karaxyvouara D€ kal kÜAika otvov
kekpauérqy karaxéovres ajríjs emiAéyovguy Elpegióvg kTÀA. . . .

18 |

Vit. Hom. Hdt. 33. rapaxewd(ev 8t év rij Zduc Tais vov-
umvimis TpocTmopevóuevos pos Tàs oikías vàs eUBaiuoveoTdras ?
éAduBavé i &cíBov rà Éreo mde, & kaAeiroi Elpeguóvm, &OTlyovv
6€ avrov kal cvumaptjcay &el r&y mal3cv Ties TOV EyXepltev-

^ , , A , ,

Aopa TrpocerparopeaO' àüvÓpos uéyya Ovvapévono,

^ , ^ , , N /, M 9;- P

0g uéya uev OvvaTat, uéya 66 Bpéuer OXtos atet.

b! , , , ^ N »
avra. àvakXivea0e, Üvpav. TrXoUToS tyàp eae
, M g ^ M , e,
T'OXX6S, avv 7 XovTQ O6 kai evÓpoovrr reÜaXvia
, » hi X
5eipyvo T ayaÜ0iy 0ca O Gyyca, nea à pev eim,
, 2 5d 9 ^ /, * 6o [d 4
kvp[Bjactn aciei j.át&s kaTà kapooTov Ep'roL.
m^ ^ , , ,
viv uev kpiÜatqv eUerióa o:)0auóea a av

TOU 7aL.00s O06 yuv; karà Oiopaxa?. Bücerat

UupAV,
[ , , » /, , , ^
7u4oroL 0. G£ovct kpacvaítro8es és 08e 6Qpa,

1 unexplained ? Ruid. r&v éripaveorárev 5" Wil:
mss kvpBaía, Suid. kvpxaím ^ Wil: mss kapb. €p. pa(a,
Suid. 8ópmrov €preo ua(a 5 so Suid: mss 8:ópdba

522

OTHER RITUAL FOLK-SONGS

Eustathius om the Iliad: The ZEresioné is an olive-bough
wreathed with wool and having various fruits of the earth
attached to it. It is carried by a boy whose parents are
both living, and set before the doors of the temple of Apollo
at the Pyanepsia! . . . It was sometimes done to avert
famine. And children sang as follows: ' Eresioné, etc.
After the festival is over . . .?*they set it beside the door.
Crates declares in his treatise On the Festivals at Athens that
a suppliant bough wreathed with wool was once dedicated to
Apollo when the city was afHlieted with famine.

Old Etymologicum Magnum: eipeoivg . . . This was set
out in supplication on the day that Theseus and his crew
are supposed to have returned safe home, and they sprinkle
it with various things and pour a cup of mixed wine over it
and say: ' Eiresioné, etc." ?

IS

Herodotean Life of Homer: While he was spending the
winter in Samos, every new moon he visited the most
prosperous houses in the island and received gifts in return
for singing the following lines, which are called the E?res?oné ;
he was invariably accompanied by some of the children of the
people of the district, who led him about:

We are come for aid to the house of a great man,
a man great in power, and loud of voice like one
ever in prosperity. Open of thyself, good door,
for much wealth enters by thee, and with the wealth
abundant good cheer and goodly peace. Be all
his vessels full, and the pile of bread ever toppling
over in his bin. To-day a smiling barley-and-sesame
cake .. .9 Your son's wife shall come down from
a chair, and hard-hooved mules shall bring her to

! here follows the story of Theseus ? [it. outside the
fields or outside Agrae, but the passage scems corrupt vui
Ar. Vesp. 399, Píut. 1054 and Sch., Lyeurg. fr. 82-5, Clem.
Al. Str. 4. 2. 7. 3, Eust. 1283. 8, Suid. eipesiévg 4 cf.
Suid. s. *Oumpos 5 some lines lost

5*8

LYRA GRAECA

10 ab7, oj (o TOV bo avo em jMéeT pe BeBavia.
veünal TOL veüjat éviavatos eae Xe
éaT9k év mpoÜ)pois TyiX, m00as, àXXà dép

aivra.

UTmép ce T Ü(rmóXXovos, à vyUva, Tt 60s: !
ei uév TL OcG€Ls*. €i 0€ ui), ovx éoT))£opev:
, S 7 b /Q »
15 ov yàp cvvotkzjcovres év0aà. 3) XOopev.

x Y by j ; ^ / , ^ "4 e ' ^

j9ero 0t rà emea Trd0e év Tjj Záug Éml moAvv xpóvov vmó TÓv
^ 2x ^ v /

maíBwv, Üre à'yeípoiev €v 3j éoprij ToU " AmÓAAwvos.

19

Arg. 'Theoecr. [m. eópécews r&v BovkoAikQv] év rais Zvpakob)b-
caius &Tügews ToTE "yevouévns kal ToAAQv moAvrGv $Üapévrav, eis
óuóvoiay ToU mTAfüjÜovs mdAiv? eiceA8óvros &0obev "Apreyus airía
yeyovévai Tis 8igAAaySs. oi 8t &ypoiko: BGpa ékópicav kal 1v
0eóy "yeynBÜóres àvóuvgcav, Émewa ois (rÀv) üypoikev qais
róTOv COckav kal cwyíjÜewav. Oei 8€ aciv avrovs üprov é£nprm-
uévovs 8nplav év e&vri mAéovas rUmOvs €xovra kal qífjpay mavamep-
uías àvdmAewv kai olvov év aiyeíg &okQ, omovOdv véuovras mois
bravràgi, cTépavóy Te mepiketo a. kal képora €XAáwv mpokeia at
«al uerà xeipas. Éxeiv AarytBóXov. TÓv 6€ vikfjcavra, AayuBávew
Tóy TOU veyucnuévov üprov: k&kelyoy uiv ézri ijs TÓÀY Xvpakovaiev
uéveiv TÓAews, rovs Bt vevucmuévovus eis màs mepioik(bas xepeiv
&yeípovras éavrois Tàs Tpoods: GOew? Dt üAAa Te maubids kal
yéXeros éxóyueva kal ebóuuoÜvras émiXéyeuw:

N ,
Aéfau rày áyaÜDàv rvxav,
N

Oéfat àv vryLeuav,

^ , N ^ ^

àv époues vrapà vás 0coU

? , Z / 4

ov ékXátaro T»va.

1 Wil: mss omit 7 po8. 7:345 Suid. mépsau TÀ 'AmÓAAwvos

"yvtdiribos ? mss Toré 3 Schaef: mss8ióve. |. * E (aor.
of é«XayuBávo, ékXáCouat, Or ékXAayxávco ?) ; they arethanking for

food received in A.'s name: mss &v ékAeAáckero (ékaAéo aro)
7/
Tv&

524

OTHER RITUAL FOLK-SONGS

this house;! may she go to and fro at the loom
upon electrum,? Aye, I come, I come every year
like the swallow ; 1 stand in the doorway barefoot,
so give your gift quickly. For Apollo's sake I
prithee, lady, give. If thou give, well; but if thou
give not, we shall not stay, for we came not hither
to take up our abode with you.

These lines were long sung by the children in Samos when
they went begging at the feast of Apollo.

19

Introduction to "Theocritus [the invention of pastoral
poetry]: At Syraeuse once, when, after many of the citizens
had perished in civil strife, unity was re-established, it was
believed that the discord had been the work of Artemis.
'The peasants accordingly now brought offerings and joyfully
sang the Goddess! praises, and the people afterwards made
those songs permanent and customary. (t seems that they
sang them equipped with a loaf bearing several animal-
shapes, a wallet full of mixed seeds, and some wine in a
goatskin, making libations for anyone they met, with a
garland about them and the antlers of a stag on their heads,
and in their hands a hare-stick or hurlbat. "The winner
received the loaf carried by the loser, and remained at
Syracuse while his defeated antagonists went round the
neighbouring villages begging food. "The various songs sung
by these peasants were full of fun and play and ended with
the following blessing :

Receive the good luck, receive the good health,
which we bring from the Goddess for the gifts she
hath had of you.

! je. your son shall marry a wealthy woman who sits on à
chair, not on a stool, in the upper chamber, and will ride in
a mule-car at her wedding ? apparently a floor inlaid
with this metal

525

LYRA GRAECA
20

Ath. 8.360b | kopwrigcal 8€ ékaAoUrvro oi Tij kopdvy yeípovres
. . Kal rà dBÓneva 8€ óm' abrÀv kopmvicuara KaAeirau, s ioTopet
"A-yvokA s ó 'Pó0ios é€v Kopewioots. kal xeAXiBovi(ew 8€ kaAeirat
* Ld ,
Tapà PoBíois (yepuós Tis üAAos, mepl ov $5zol Oéoywis év B' HIepl
^ H ^ 3 ^
TGVy Éy Póbóg Gvucigv, vypá$wer obUrss: 'eibos Bé ri ToU. üyeipew
,y t ^ A /, ^ ^ ,
xeAiSBovíCeww '"PóBiot kaAoUciw, 9 "*yivevau TÓ BonbpogiQyi | uq.
x&ioviQeiy 8€ Xéyerai bi& TO ele80s éripeveio0ac

5 4 »
HA8', 2?X0e yexióov
w al »
KQü. Xs opas aryovaa
N
KQl KA XOUS €VLAaVTOUS
, v , N
€T, ryao Tépa, Xeuka
e N ^ , t
5 nmi voca uéXatva.
TANáÜav cV T pokUkXen?
,
€K TTLOVOS OLKO
» e , 3
oivo T€ OÉT ac Tp0V
,
TUpO T€ KávVG TpOV'
10 ka vpova* xe ov
N /,
KQi XekuÜLTav

ovk o0etra..?

vóTep amíiojes 3] «Ti cov? Aaf9opeÜQa ; $
5 , , , N N 5 95, 7
ai L€v TL Occ€Ls* ai G6 ju), ovK éác opes"
15 7) ràv Óbpav óépopes 7) ÓovmépÜvpov
7) Tàv yvvatka Tàv éa c kaÜypuévav ;
uukpü uév éa Tt paOLos vuv otcopes.

1 Eust. émi v. pg. ? Herm: mss o? mpokvkAeis; Eust. ov
T4. (roUpey ? mss ofkov and ofvov 5 B (cf. kamvpíbütov
and kvkeáv) 5 E: mss àra6. 9$ E (wrongly read rís o?
and cut out ?) * mss ei (bis) and édeoyev

526

OTHER RITUAL FOLK-SONGS
201

Athenaeus Doctors at Dinner: According to Hagnocles of
Rhodes in his Crowmen, the people who went round begging
for the Crow were called Crowmen . . . and their songs
Crow-songs. Another begging song is that of the Swallow,
which is sung in Rhodes, and of which Theognis writes as
follows in the 2nd Book of his //hodian Festivals: *'There is a
kind of begging-round which the Rhodians call the Swallow-
Round, which takes place in the month of Boedromion,? and
receives its name because it is the custom to beg to the
following song :

See! see! the swallow is here!

She brings a good season, she brings a good year ;
White is her breast and black her crest ;

See, the swallow is here.

Ho ! roll a fruit-cake from your well-filled cot,
Of cheese a fair round, of wine a full pot ;
.Porridge she'll take, and a bite of hardbake ;
She never despises good cheer.

Go we away empty to-day ?
An thou wilt give us, well up and away ;
But an thou deny us, O here we shall stay.

Shall we take your door and your lintel also,
Shall we take the good wife that is sitting below ?
She's not so tall but we'll lift her and all—

We can easily bear her away. [Over

l cf. Eust. 1914. 45 (reads for xam. xeA. in l. 10 à xeA.),
Hom. Carm. Min. l5. 14, Dio Chrys. 53. 5 (! Plato ironically
bids them erown Homer with wool, anoint him with perfume
and send him elsewhere ; which is what the women do with
the swallows ') ? September-October, but it is clearly a
Spring-song, and Theognis prob. mistranslated the Rhodian
month into terms of the Attic calendar

527

LYRA GRAECA

ai ka. Óépns 7L, péya TL 07) «kavT0s7 dépors.!
&vovy , ávovye àv Óbpav xeXióvc
, N , , , , N , 2
20 ov "yàp "yépovrés eiues àXXa Tratóta.
Tóv bé à'yepuóv roUVrov karéBeile mwpáros KAeóBovAos ó AívOios &v
AívBq xpeías *yevouévgs a vAXoyss xpnudrcv.*

2]

Moer. 193. 4 BaAfi8es ai éml ràv à$éoewv Bdcoei éykexa-
pa'yuévat ats éméBauvov oí Opoyueis, iv é£ ícov Tarauvro. O10 kal oí
kfpukes él r&y rpexóvrov ' BaXBióa kr. kal vüyv &rt Aéyovauw.
'AcriKol, VomAmE 56 koiwóv.

Jul. Caes. 318 kal ó Xeixqvós 8nx60els écióma kal rois &yeviQo-
uévois ék ToUTov TOV voUv mpoceitxev. 'Epyuijs 0e éxfipvrmev-

» M , N ^ /,

ApyeL uev aàyov TOV KaXNia TOV

/ N N ^

dÜXcov rag(as, katpós 06 kaXet

t xe;
unkéru. uéXXew: àXX. àxobovres
M e , /,
Tàv àjyerépav kypuka. Boáv,
^ , ^ , , x ,
BaXBt6os 009 Oére m00a màp Tr00a.*
/ x ,
vikrns 66 TéXos Zi ? ueXxja e.
22
Philostr. Gum. 7 ei 5€ pa0Uuws ükoveis ToU kü)pukos, ópas ios
érl TüvTav TeAevrTs kmporTEL Aiyyew jev TOV TOV üÜAwv rauíav
&y&va, Trjv cáXmryya 8€ Tà ToU "EvvaA(ov c nualvew, mpokaAov-
uévqv TOUS véovs és 0mÀa. keXebet 8€ Tovrl TO küpvyua kal
ToUAai0v &pauévovs éxroBáv Toi oépew, ovx &s àXeulouévovs GAX'
&s meravguévovs ToU &Aeldea8a:.
Luc. Demon. Vit. 65 óve 8€ cwvvikev ob0ké0 oiós re àv abTÓ

ézikovpeiv, eimráy mpós Tovs mapóvras róv évarydviov knpükcv qó5a

3

1 Mein.-Wil: mss àv 85; and uéya 84 7i (Toi, Ti kal) $épois

? mss égpev à. m. 3 or àtovres (B)? Cob. kAborvres 4 this
line not in Jul: Headl.—E: or zobv vapà movv ?: mss BaABiba
v050s 0. (zóbas Oévres) Tó0a mapà mó8a 5 E, Elean — Af,

cf. Coll. Gr. Dialektinschr. 1149, 1152, 1157: mss Zi, perh.
a modernisation, conira metr. :

528

OTHER RITUAL FOLK-SONGS

If you give us but little, then God send you more ;
The Swallow is here! come, open the door ;

No graybeards you'll see, but children are we ;

So we pray you to give us good cheer.

The custom of begging in this way was introduced by
Cleobulus of Lindus ata time when there was need in that
city of a collection of money.'

21!

Moeris At/ic Terms: BaABióes are the grooves made at the
starting-place, on which the runners stood so that all might
start fair. This is why the heralds even to this day say when
the race is to be run: 'Set foot tofoot,'etc. "Thisis the Attic
word, the Common Greek is PemA7£.

Julian 7AÀe Caesars: Silenus suffered the rebuff in silence
and gave his attention thenceforward to the disputants.
Hermes now made proclamation thus : ?

The match that is steward of noblest games
begins, and the time calls * Come, away ' ; so list to
our herald-shout and set foot to foot on the starting-

threshold ; and the end that is victory shall lie with
Zeus.

22

Philostratus G'ymnastic: If you listen but casually to the
herald, you find that at the end of each * event" he proclaims
that the match that is steward of noblest games ends and the
trumpet cries men to the things of the War-God, summoning
the young to arms. This proclamation also bids them take
up their oil and carry it out of the way, not, that is, in order
to anoint themselves, but because they have now ceased from
doing so.

Lucian Zzfe of Demonax: When he realised that he could
no longer wait upon himself, he quoted to his friends the
so-called -o/s or 'foot' of the herald at the Games *' The

1 the proclamations before and after a race at Olympia
? these lines were recited in one breath ; cf. Gal. Mot. Musc.
2. 9, Poll. 4. 91, Ammian. 24. 6. 10

529
VOL. III. M M

LYRA GRAECA

"Mryet uy KTA.' kal mTÀvTUY &moc xópevos &r3jA0e ToU Blov $oibpós
kal otos &ei TOLS €yT v'y xávouauy é$aívero.
Ayer jv. àryov rV kaXMaTov
» / N ^ ^
a0Xov rauías, katpos O6 kaXet
, , -
unkérL LéXXeiw, |4XX àkobovres
TÀVVAAMOV c)LaLvOUG GV
». ,
cáNTUyya, véot, Géper. apápevot
ToUAaLov d7oTp0 Tr00Qv TroL.]

29 eis "Adpoóírqv Kai "Eporas

Luc. Salt. ll oryapobv kal TO cua à 0 perati ópxoUuevoi
d8ovauv (oi Aáreves) "AopoBtrns enikAqaís écTiy kal "Epérav, ds
my opáCouev aUTOIS kal gvvopxoivro- kal Girepov 0: rGv deum ev
—bo "yàp dBera.—kal 6i8ackaA(ar Éxei is xpi) ópxeto0av *TIóppo
y&p' $aciv * à maibes, krA

Tppo *yàp, do TraiOes, 7ró0Q
HTC HERE kai kop.átare
BéXrLov.?

24
Plut. Vit. Lycurg. 9l Tpibv *yàp xop&v karà màs Tpeis
qAiklas cvvuTaévov év rais éoprots, ó uv TGv "yepóvrev àpxóuevos
75ev:
€ , 3 9 » ,
Apgés TrOK ?)L€S QXKLpot veaviat*
ó 8€ rdv ükua(óvrev àyueuBógevos éAeyev:
, ^
"Agée 6é y eiués" ai 6€ Xfjs avryaoeo:?

€

ó be piros ó Tv maíboy:

"Aués 6é y. éecóopeoa moNXo káppoves.?

! ast. 31 ll. E from Philostr.; cf. 71. 6. 69 &mompo $épwv
? mss also xeguácare B.; cf. Hesych. xweuáb0eu- ópxeio0oi
5 so Inst. Lac. and Se ips. Laud.: Vit. Lwe. ai 8€ Afjis eipav
AaBé, Sch. Pl. 4v 8€ Afjs v. A. * Steph.—B : mss moAAGv
kpeia.coves

530

OTHER RITUAL FOLK-SONGS

match, etc.,' and so, relinquishing all food, departed this life
with the smile with which he always met you.

The match that is steward of noblest games doth
end, and the time calls * Come, away '; [so list, ye
young men, to the trumpet that cries you to the
things of the War-God, and take up your oil and
carry it afar.]!

923 To APHnoDiTE AND THE LovEs

Lucian On Dancing: Thus the song which the Spartans
sing as they dance is an invocation of Aphrodite and the
Loves to join their revels and measures. Moreover one
of the songs—for there are two—actually contains instruc-
tions how it ought to be danced :

For ye must foot it wide-paced, lads, and dance
your revels better.

24 ?

Plutarch Zife of Lycurgus: Three choruses corresponding
to the three ages of life were marshalled at the Spartan
festivals, and the old men began by singing

Striplings stout of yore were we ;
and the men in the prime of life answered
That we are; pray look and see;
to which the third chorus, the boys, replied
And some day we shall e'en better be.
See also Zenob. 4. 33 (p. 604, note 2).

! in some of the contests the prize was a jar of oil, but
the ref. is more prob. (cf. Philostr.) to the oil with which
the competitors anointed themselves ? cf. Inst. Lac. l5,
Se ips. Laud. 15, Cons. Apoll. 15, Sch. Plat. p. 223, Diogen.
2. 30, 5. 3, Zenob. i. 82, Greg. Cypr. i. 48, Apostol. 2. 72,
Ars. 51, Poll. 4. 107, Et. Vet. 367

531
MM2

LYRA GRAECA

T"
TON EH' EPFOI
25

Sch. Ap. Rh. 972 1ovAos 8€ kaXeirou 7) mpóv étdvOmois icol
Érovgis TÀyv €v TÀ *yevelp cpix&v. ó uévrov"Eparoa0évgs Ovoua
q0ns épíÓcv éméBwkev &y rà Epufj, Aéyov ore * H xeprijris €piBos
éQ! byymAoU mvAeGvos | 8evDBaA(Bas reU xovca ! kaA&s jjeibev loUAovs."
obk €gTi 8é, nol AíBvpos, &àAX Üpuvos eis Afjunrpa, &s ó obmvyyos
mapà Tpoi(nvíois els" Apreguv. — &a ri "yàp o0Aos kal TovAos 7] €k T&v
Bparyudrcev gvva'youévg 6éaum. kal ODAÀ 7) Anuyrmp.

Sem. ap. Ath. 14. 618 (cf. p. 494). àró rdv oiv 75s Afjumrpos
ebpnudTrcv TOUS T€ kápmovs kol rovs Üuvovs ToUs eis Tj)v ÓOeóv

olAovs kaXoUci kal loíAovs. (oi abrol»? xal OnuíyrpovAo: kal
KaAA(ovAo: kal

^ ^ eu / e/
T X€tG TOV OUXOV OUXOYV (€L, LOUXOV (EL.

—Bü&AXoi Bé $aciw épiovpydy elvou Tiv. Qofyv.

26

Plut. Sept. Sap. 14 émioTíüjmavros 8€ ToU. Aóryou Tb cwumóciov
ó utv GaAs émguccmTGv €e)0 $poveiv &om Tbv "Emiuevíomv ori uj
BoóAera. mTpa'yuara €xew àAGv Tà Gvría kal mérTev éavTQ,
kaÜ0dmep llurrakós. éyó 'yáp, eire, 75s Eévqs jjkovov dbovoqs
mpós Tijv uóXqv €v 'Epée q "yevóuevos:

" AXet, LUN , dXei*
^ ^ , »
kav tyàp CirTakos aXeL

ueryáXas 7r0Mos BacvXevov.?

! reading doubtful; see p. 506 above * "Cas. ? mss
&Aei (ter), uvAa, Iltrr., and uey. MirvAdvas Bac.

1 Eust. 1169. 42 (érióvnua épueAés), Sch. Ap. Eh. 1. 972,
Hesych. and Phot. tovAos, Pollux i. 38 (p. 488), Artem. 2, 24,

532

FOLK-SONGS

Boox III
OCCUPATIONAL SONGS
251

Seholiast on Apollonius of Rhodes A7gonautiea : The word
lovAos is used to mean the first growth of the hair of the
chin. Eratosthenes however, in the Zermes, makes it the
name of a spinning.song: ' The hireling spinning-woman on
the lofty gate-house sang pretty fovAo: as she made barley-
cakes.'? But according to Didymus this is incorrect, and the
TovAos is à hymn to Demeter like the Troezenian oi^reyyos to
Artemis. It seems that o?Xos or fovAos is the sheaf and
O»Aó (Oulo) is a name of Demeter.

Semus in Athenaeus Doctors at Dinner (see p. 494above): Thus
both the corn and the hymns to the Goddess are called o?Ao:
or fovAo: from the inventions of Demeter. The same word
comes in the compounds 9yu7TpovXos (o0Aos of Demeter) and
XaAA(ovAos (obXos beautiful) and also in the song:

A sheaf, a sheaf, send, send a great sheaf.?
But according to other authorities the word means a spinning-
song.
264

Plutarch Symposium of the Seven, Wise Men : The argument
having interrupted the drinking, Thales waggishly observed
that Epimenides was quite right to be unwilling to annoy
other people by grinding and baking his own food like
Pittacus. *I heard my hostess, said he, *singing over the
millstone when I was at Eresus

Grind, mill, grind ;
E'en Pittacus once ground with thee,
And he was king of a fair countree.'

Tz. Cil. 13. 563, Sch. Lycophr. 23, E. M. 13. 563 ? reading
doubtful, cf. p. 506 * or à skein, a skein, etc. 5 cf.
Ael. V. H. 7. 4; Diog. L. 1. 81, Clem. Al. Paed. 3. 10 p. 284,
Isid. Pelus. Ep. 1. 470 p. 440 M

533

LYRA GRAECA

2T

Sch. Aesch. Pers. 940 [MapiavBvvo? 0pmvqT?pos] ^ KaA-
AÍaTpaTos €v Devrépe Ilep] HpakAeías TurvoU Tpeis maibas elvat,
HpióAav, Mapiaybvvóv, Bàpuov, 0v! kvvqyerots Ta àmroXéa0at kal
uéxpi viv MapiavOvvovs àcuij 0épovs 0pnveiw avTov, roy 5€ Mapiav-
Ovrbv abico: udá^wTa Thy ÜpqvgTiky avAgO(ay, kal OibdEoi
L4 P , / » / ; ,

'Yayvw T0v Mopavov zaTépa. xal aUXol 0€ Tivés eic. MapiavOvvol
émiTqbeiórq7a ÉXovres eis càs 0pnvoO(os, kal rb émipepóuevov:

a)Xet Mapiavóvvots kaXáuots kpovov aai

es rT&ày MapiayBvvav 0pqvebgv UvTcv.

28

Dio Chrys. 2. 59 [mr. 7o? BaciAéws] uóvqv 8t ghv utr
ücerai kal mapaBéLerou 73jy TQ "EvvaAMo mpérovcav uáAa ic Xvpàv
«al bid&Topov, ovx T0ovijy ob0€ pa8vulav $épovcav Tois üxobDovauw,
&AA' ài x avoy $óBov kal 8ópuBov . . . éri 8€ oluc Thy apa-
KXyructy, ofa 7| T&v Aac«eviucay éuBarnpisv, uáAa mpémovca Tij
Avrobp'yov ToAvreía kal Tois énirmoeUuagiy €xetvois:

"Ayer , 0 Xarápras evávópo
KOpoL Tra Tépov TroMaTGv,"
Xai& u€v irvv m poB 4Xeo6e,
Dópv e cÜT ON Jus BáXer' ávra,
Hu) $ei&ónevot Ts Sods-
ov tyàp vr&rpiov Tà Xmápra.
Sch. ad loc : TapakXqrikà éx Tv ET)

3

29

Heph. 27 [mr. àvamaiwTikoU ToU 'ApwTo$aveíov] TÓ uévToi
Tbv gTOVDeiov Éxov àAAà ud róv àvámoi0TOV TapaATf'yovra eiclv
oí Aakevikbv KaAoUc:, mpobepóucvo: mapáDeryua TÓ

1 Weck: mss M. uóvov ? mss ebávOpov koÜpoi T. ToAumTAaV
Wecl u ; pov koüp
(-r&v, -Tàs, -Tai) 3 E: mss BaAXere, BáAXovres

! doubtfully classified ? cf. Tz. CAil. i. 692, Heph. 27
534

OCCUPATIONAL SONGS
271

Scholiast on Aeschylus [the Mariandynian mourner]: Ac-
cording to Callistratus in the 3rd Book of his work Ox»
Heracleia, Tityus had three sons, Priolas, Mariandynus, and
Bormus, of whom the last was killed out hunting, and is
mourned to this day by the Mariandynians at midsummer,
and the second made great improvements in lamentational
flute-song and was the teacher of Hyagnis father of Marsyas.
There are certain flutes, called Mariandynian, particularly
suited to accompanying laments, and the saying

He plays the Mariandynian pipes in the Ionian
mode

refers to this.
1:284

Dio Chrysostom [on the ideal king]: The only song he
willsing or listen to will be of the loud and piercing sort
suitable to the War-God, the sort that does not suggest
to the hearers ease and pleasure, but rather irresistible terror
and confusion . . . and moreover, I think, the hortatory
song, like that of the Spartan march-songs, so suitable to the
constitution of Lycurgus and the institutions of that city :

Forward, ye sons of sires that dwelt in a town
of brave men ; hold in your left hand the protecting
shield and cast the spear stoutly before you, with
no thought for your life, for to spare that was never
Sparta's way.

Scholiast om the passage: Hortatory lines from the poems
of Tyrtaeus.?

293

Hephaestion Zandbook of Metre [the anapaestic verse known
as Aristophanean]: Thetype, however, which has the spondaic
instead of the anapaestic close, is called by some writers
Laconic, for example :

(on the anapaestic), Mar. Vict. Gv. Lat. 6. 98. 296 ite o
Spartae primores fauste nunc Parcas (mistrans. of uoípas —
uópas ? B) ducentes * ascription very doubtful

535

LYRA GRAECA

^ ^ ^
"Ayer, à Xmápras évomXou kÓpor, oTi TàV
'Apées kivgouv.t

Sch. ad loc. | érel ' AAkyuày Tor q éxpfjcaro, obros 8€ Aákav.

A!
TON IIAIZONTON
30

Ath. 14. 629 e [m. ópxfjoeev] 7v 8€ kal map&à mois iQiorous
KaAovuévg üvÜeua. TabTQv 8c cpxobvro uerà Aétews TotabTTS
piouevor kal Aéyovres:

^ N € 7 ^ M y
IIob uoi rà 06a, 700 pot Tà (a,
^ N N /
7 0U LuoL Tà, KA Xà c éXtva ;
, N N
—Taói rà 500a, raói 7à (a,
N N V ,
TaÓl Tü kGXà céMva.

91, 32, 33

Poll 9. 193 «iei 8& kal &AAc moiDiaÍ, €y korUAm, XaAkmv
uviay, EEex' à QíA' fjAtce, rpv'yoblómais, uyXoXáv0g, XeAixeA dv,
ckavÜapi(e, pa8omvylCew, mevráAi0a, oírra MaMidbes d$írTa
'Poud( $írra MeA(ía, mAamrwyóviov, TnÀé$iMov kpíva, cTépua
uev, Adrayes, koX^a(Ceiw. 7] utv €v korTÜAm, Ó u&v mepid/yei
TÀ Xeétpe eis roimíow kal avvdmTei, ó 8c karà TÓ *yóvv éQuoTáuevos
aUTais $éperau, €mixaBiv Toiv xepotv Tà ó$0aAui ToU dépovros.
TaUTqV kal imd0a kal kvBmgoívüa xaAXoUci Tiv mToiDidp. 3$ €
Xo9^k uvia, raivig TOÀ Óó0aXu mepuroiyLavres évbs moibós, ó
ptv mepugTpéoerai kmpóTTGv

XaXkfv uvtav 0npác c
oi 9 àmokpiwwduevoi — '
Onpáceis, àXX. o) Nyvret,

! mss koUgo: and xívaciv

536

GAME-SONGS

Forward, ye arméd children of Sparta, to the
dance of the War-God.

Scholiast om (Ae passage: They call this Laconic because
it was employed by Aleman, who was a Laconian.!

Book IV
GAME-SONGS
30

Athenaeus Joctors a£ Dinner [on dances]: One of the
danees of private life was that known as lowers. This
they daneed with suitable gestures to the following words:

Where are my roses, where are my violets,
And where is my fine parsley ?

— Here are your roses, here are your violets,
And here is your fine parsley.

31, 32, 33

Pollux Onomas!icon: There are also other games, In-the-
Pot, Copper-Fly, Shine-out-mny-good-Sun, Grope-i'-the-Lees,
Cockchafer, Turtle-tortle, Cross-finger, Kick-Bottom, Five-
Stones, Avaunt-Apple-nymphs-avaunt.Pomegranates-avaunt-
Ash-nymphs, Slap-the-Poppy, Love-in Absence, Lilies, Flip-
the-Pip, Heel-Taps, Hoodman-blind. In the game called
In-the-Pot, one player clasps his hands behind him and
carries another kneeling on them, the latter putting his
hands on the former's eyes. "This game is also known as
Horses or Wallets. In Copper-Fly, one child has a
handkerchief tied over his eyes and turns round and round
crying

I go a-hunting a Copper Fly ;
and the others answer
Hunt you may, but you'll never come nigh,

! ascription very doubtful

537

LYRA GRAECA

ckóTregi. BuBAÍvois abrbv Talovciw, €ws Tivós avTAy AdBmravr 3
9 fLex Ó Q(X Jie moubià kpórov Éxei vGv Taíbwv avv TQ éÉmi-
Bofuari ToUTq, ÓmÓTav vé$os émibpdug Tbv Oeóv: O0cv kal
ZrpárTis év owíccais, El0' fjAi0s utv TeíÜerai ois Taubiois, |

ÜTay Aévymwciv
"Efex' Ó duN pae.

$ 9€ Tpvyolómsis ToU *yeXoÍov xápiw éLebpmnrar Oei ydp Ti és
Tpvybs Aexárvqv karaBeBukÓs, Tepimya'yóvra Omigow TiÀ Xeipe TÀ
cTóuaTi &veAéc0ai. 3 0€ ugXoAdvOg (gov mwTqvóv écTiw, Üjv xol
u2XoAóv8qv kaXoUcuv, Tiro: éx 71s GyÜfioews Tàv ufjXev 1j aiv TÍ)
àvOdce: *yiwóuevoy: 00 ($ov Aívov éxbfcavres àdiüciw, cb De
€AukoeiBàs dv 7j mTüoei 1 DieAÍogerav — Ümep "Apis ToQármns
Éowke. Aeyeiv, *Awóberov Gomep umXoAóvO0qv ToU Tobós. d 5€
X€e^ixeAdvn sapÜévov éaciv 1j ai10:4, apóuoióv Tt Éxovca Tfj XÜrpa-
5 uev "yàp kdÜnrai, kal kaXeirai xeAdvwm, ai b& mepvrpéxovoiv
&vepor gat

- , , d ^ ^
XeNiyeXova, TL 7r0L€is év TO uéa c ;?

ii *,

$ 6€ &mokplverai
/, 5 ,
Mapvoy épia kai kpokav MiXqgaíav.
cir! ékeivai mái ékBodauw
€ ^ 1-4 , , ^ , ,
O à' écryovós cov TL 7roLGv à. eXero ;
$ 0€ $noi
^ ,
Aevkáv à. tmrov eis Ó&Xaacav àXaro.
Tb 0€ a kavOapi(eiw, kA.

94

Ibid. 113 4 5€ xvrpívóa, ó ntv év uéo« kd0mrot kai kaAeirat
xórpa, oí 8€ víAXovcuv 1) kvíQovoi:w 7j kal malovciv abTóy mepi-

1 mss incorp. gloss 75 Aífvov ^ ? ríis lengthened metri gr.
or we must suppose coíe:is (so Mein.)—or -oieis or moéeis or
moiéeis—intended, with a comic type of dactyl; similarly
TÍ voi&y below.

1 cf. Hesych. uvia xoA«?: 'the name of a game which
children play by shutting their eyes and stretching out their
hands till one of them is caught ' ? not the same as In-

538

GAME-SONGS

and strike him with whips of papyrus till he catches one of
them.! In Shine-out-my-good-Sun the children clap their
hands to this refrain when a cloud passes over the sun.
Compare Strattis in the Phoenician Women : * And more, the
sun obeys the children when they say

Shine out my good Sun.'

The object of Grope-i'-the-Lees is simply fun. Something is
put at the bottom of a pan, and the player has to get it out
with his mouth, his hands being behind him. The Cock-
chafer or u5XoAáv0gy is à winged creature also called 47Ao-
Aóv65, which comes either out of the apple-blossom or with
it. To this ereature they tie a thread and then let it go, and
the beetle spins round and round in its flight. "This is what
Aristophanes seems to refer to (Clouds 763), where he
says (with its foot tied to a thread like a cockchafer.'
Turtle-tortle is a girls' game something like Pots.? One girl
sits down—she is called Turtle, while the others run round
her asking ?

Turtle-tortle, what dost thou there ?
and she replies

I'm weaving a weft of Milesian rare.
And then they cry again

And how comes thy bantling a corpse for to be?
and she answers

He drove a white horse and went splash in the
sea.
Crossfinger is played as follows, etc.

34

The Same: In the game of Pots one player sits in the
middle—he is called Pot—,while the others run round him
plucking at him, or tickling him, or actually hitting him ; if

the-Pot, but described by Pollux 9. 113 (below) 3 cf. Eust.
1914. 56 (reads xéAe: and adds 'the word is an imperative
echoing xeA&v3 ), Hesych. xeAev xeAdvm * Hippolytus ?

539

LYRA GRAECA

0eovres. 60 mr abToU gTpepouévov Anó8cls à &vT' avTOU ká&nrau.
&c0' Ore IÁ" ó uev Éxerai Tis xórpas karà Tóv keóaAdv Tí
AaiG mepiÜécy éy kÜkAq, oi 8€ malovaty abrby émeperüvres.

Tís T?v xvTpav ;
&ketvos ümorpíverat

' Avatet:

Tís Trepi xvTpav ; !
Kükeivos &mokpíverat

'"Eyeo Míóas:

oU v àv róxn TQ moBÍ, ékeivos àvr' abroU mepl] rjv xb)rpav
Tepiépxerau,

39
Hesych.

/
"Efdyo xoXov rparyto cov:
To181&s ei0os apà Tapavrivois.

36

^ ^ ^ /

Plut. ZAes. 16. 9 [m. 8acquo) ToU KpmrucoU] 'ApwroréAmgs 86
kol abrbós év Tj Borriaíev lloAwreíg 85Aós éomiw ob voyui(ev
, ^ ^ ^ € ^ /, , x , cj ^
àvaipeig0a. Tovs Toibas bmO0 ToU Mivw, àAAà ÓÜmrcvovras év cii
Korn kora'ynpáoakeiw: kaí more Kpijras ev xijv raAciày àoOiDOvTas
H ; , M H M 2 / ^ Y l4
&yOpéáTcev &mapxiv eis AeAooUs àmogTéAAÀeiv, rois 0e Teuropuevois
&vaueixOévras éiryóvovs ékelvev avveteA0ety: és 6€ oUk Tjcav ikavol
Tpéeiw éavrovs abTÓÓL, mp&rov uev eis "IraA(av Oimmepacat kàkec
kamoikeiv epi T1» "lamvyiav, éxei8ev 8€ ab0is els Gpdicqv kojug07vai
kal kAm8nvait Borriaíovs: 010 ràs kópas r&v Borriaíev 0voíav Tiwà
TeAobcas émdÜüeiw

"Iepuev eis" A05vas.

1 some mss omit àva(et to kàkeivos

! the verb has to be supplied, and is uncertain à prob.
— Tm donkey; cf. the ball-game Poll. 9. 106 ps
Hesych. xvTpív9a 5 cf. Plut. Q. Gr. 35 (why it was

the custom for the Bottiaean girls to sing as they danced
$40

GAME-SONGS

Pot turns and catches one of the others, the player who is
caught takes his place. Sometimes the chief player holds on
to the edge of the pot with his left hand while he runs round
in a circle, and the rest strike him, asking

Who watches the pot ? !
and he replies
The pot's a-boiling ;
or else they say
Who's round the pot ?
and he replies
I, Midas?

and whoever he reaches with his foot takes his place.?

99
Hesychius Glossary

I lead off a little lame goat :
a game played at Tarentum.

36

Plutarch Zfe of Theseus [the Cretan tribute]: Moreover
Aristotle himself in his Constitution of Bottiaea clearly does
not hold that these children (of the Athenians) were put to
death by Minos, but that they lived the remainder of
their lives as slaves in Crete; and he declares that the
Cretans once sent human firstlings to Delphi in fulfilment of
an ancient vow, and among them descendants of these
Athenian children who, being unable to support themselves
there, first crossed over into Italy and settled in the district
of Iapygia, and thence passed into Thrace, where they canre
to be called Bottiaeans; which is the reason why the
Bottiaean maidens sing as they perform a certain sacrifice

Off to Athens we will go.*

* Off to Athens? ete.) *. . . Hence the daughters of the
Bottiaeans commemorate their descent by singing at their
festivals ** Off to Athens" etc."

541

LYRA GRAECA
3T

Sch. Ar. 4v. 54 [r$ GkéAei 0éve Ti» mérpav] mpbs ri» T&v
zoíbwv cvvrnÜelav roUro Aéwyev dagl yàp ékeivor mpós àAATjAovs
iBóvres üpvea,

Aós TÓ G KÉXos Tí) TÉTpa
Ka TeTÓGL TÓpvea.

E'
AIIOTPEHTIKON

28

. Fest. 314 (strigem ut ait Verri)jus Graeci erphy'ya ap(pell-
ant), quod maleficis mulieribus nomen inditum est quas
volatieas etiam vocant. itaque solent his verbis eas veluti
avertere Graeci:

Xrpiyy ámorro m eiv vore E NA
aT piy' dT Xady?

Ópv.v àvoVUJLaV

ekvTópovs éri vijas.

38 A

Plin. N.Z. 27. 75 (100) Lapis volgaris iuxta flumina fert
muscum siccum, pedir Hic frieatur altero lapide addita
hominis saliva ; illo lapide tangitur impetigo; qui tangit
dicit :

.Gebyere kavÜap(Oes: XUkos rypios vue O,okei.*

1 E: mss mecoÜvrai Tà Üprea: perh. okéAos mérpz Óós
? E, cf. pakáoua: mss vvkrikouay : edd. vvkriBóav or
vukriKópaka, from Heysch. e«cpí^yAos * Haupt-P: mss.
ZYPPINTA IIOMIIEIEN N. ZYTPINTATOAAON 1 mss also
aipa 8.

! or female magicians *? of. Plin. N.H. 11: 232—"'* the
period to which this and the next two songs or sayings

542

AVERTING-SONGS

9T

Scholiast on Aristophanes AB?rds ['kick the rock]: This
refers to the children's custom of saying to one another when
they see birds:

Give the rock a kick, and out the birds will fly.

Book V
AVERTING-SONGS

98

Festus On the Meaning of Words: According to Verrius the
Greeks call the scritch-ow! epí^;/£, a name which is given to
evil women! whom they also call 'fliers? or sorceresses.
Thus the Greeks avert them, as it were, with these words:

Avert the shrieker of the night, the scritch-owl,
from the peoples; away with the bird we may not
name to the ships that sail so fast.?

38 A3

Pliny Natural History: A stone which is commonly to be
found near rivers bears a dry white moss. This, with the
addition of some human spittle, is rubbed with another stone,
and the first stone then applied to the eruption, the applier
saying

Away with you, beetles; a fierce wolf* is after
you.

belong is doubtful, but the Aeolic form of the word * you'
indicates, for this, at any rate, a pre-Alexandrine date
* the * wolf' is perh. a kind of venomous spider described by
Aristotle 7.4. 9. 39. 1 as being small, particoloured, active,
and a good leaper,' but compare 38 C .

543

LOVE-SONGS

98 B
Marcellus Emp. Jed. p. 279 Steph. Varulis (hordeolis)
oculorum remedium tale facies . , . item hoc remedium

efficax : grana novem hordei sumes, et de eorum acumine
varulum punges, et per punctorum singulas vices carmen hoc
dices :
Qeb»ye, oetrye:
, ,
kpi?) ae OLoKet.

98 C

Alex. Trall. 4t. Med. 10 p. 296 Steph. [de colico affectu ex
calidis et biliosis humoribus nascente]: Annulum ferreum
accipito, ac cireulum ipsius octangulum efficito, atque ita in
octangulum inscribito :

Qeürye, Deby', iov xoMj
0 KopU6aXos ce Cyrei.l

G'
EPOTIKON
39

Ath. 14. 619c [m. 'HpioavíBos]: . . 60ev émo(qoé re kal moiíjoaca
-epuje: Karà TÀ2v épmuíav, ós $aciv, àvaBodca kal àbovca Tb
KGAOUjJLEVOV VOUAOV €v €aTi

Maxpai 6pves, o MévaXx«a.
pai 8p

40

Plut. Amator. l7 [m. KAeouáxov ToU $apcaAiov] *Hxer» émí-
kovpos XaAKi3eUgt ToU Oca aaA oU kaÜqnyeudv Ur» 00,? ToXéuov
Tpós "Eperpieis &kudCovros: kal rbv e(bv ébóke: rois XaAkibeUgiw
€ppacÓÜam, rovs 9' imméas uéy Epyov dv $cacÓmi. TÀv ToMeulicv:
mapekaAovy 03 rTóv KAeóuaxov &vbpa Aaumpby Ovra Tl)y vx oi
cóupuaxo. mp&rov éuBáAAew eis rovsimméas, ó 9 jjpórnoemapóvra

| B: mss x. é(frre ? suppl. Bernardakis
544

LOVE-SONGS :

398 B
Marcellus Empirieus On AMedicaments: Styes or eyesores
may be cured thus: . . . This remedy is also efficacious :

Take nine barleycorns and prick your stye with their points,
saying at each prick :

Away with you, away with you: barleycorn is
after you.

38 C

Alexander of Tralles [on the colic affection that comes of
hot and bilious * humours?]: Take an iron ring and make it
into an octangle and in the octangle write the words:

Away with you, away-ho, bile; the sky-lark's
a-seeking you.

Book 6
LOVE-SONGS
99

Athenaeus Dociors at Dinner [the story of Eriphanis]:! . . .
Hence she composed, they say, the so-called Nomian or
Pastoral Song, crying aloud and singing it while she
wandered in the wilds ; from this song comes the line:

The oaks grow high, Menalcas.
40

Plutarch 4maforius [Cleomachus of Pharsalus]: He
brought a squadron of Thessalian horse to fight for the
Chalcidians at the height of their war with Eretria. Now
though the enemy's infantry did not seem formidable, their
cavalry was quite the reverse; so the allied troops called
upon Cleomachus, who was noted for his valour, to lead an
attack on the cavalry. His bosom-friend, it seems, was on

1 for the rest of the story see above, p. 498.

545

VOL. III. NN

LYRA GRAECA

TÜV épáuevov el uéAAo( 0càcÓai Tv &yGva $firavros 6€ ToU
veavigkov kal $iAoó póves avbTÜV &cmacauevov kal T kpávos. éT1-
6évros, émryavpo6cis ó ó KAeópaxos kal rovs &pigTovs Tàv Gera dA«v
cvvaryoyüv: mep| abrby ébfAace Aayumpós kal mpocémege Tois
moAeuiots, Gore gvyrapátot ical rpépas8at bi imm ucóv ék 8€ ToUTOV
kal Tv ómAvrQV QvyóvTcov, €víkmsay kaTà kpáros oí XaXAxibeis.
TV jéVTOL KAeónaxov &oÜaveiv gvvéruxe Toy 9 avroU
Beucybovaw éy à'yop& XaAkibets, éQ' o9 uéxpi vv ó uéyas éoéoTqke
kíaoy kai r0 Tau0epacTeiv mpórepoy €v jóyq Ti0Euevoi róT€ uGAAOv
érépoy Tyámqcav kal ériumsav. "ApurroréNns 8e Tv uev
KAedpaxov &AAcs àmoÜaveiv $neí, kparíravra TÀV "Eperpiécv TÍ
páxm Tov 0 imb ToU épeuévov diAm0évra r&v àmb Opdkns XaA-
kiBémv *yevéa 0a Teuo0évra rois €év EoBoía XaXtibeUgiw émikovpov:
00cv á0ec0ai Tapà rois XaAkibeUguy:

*Q, zaióes oi Xapíreov T€ kai marépov. Xáxer |
éc ÜXQv,
p) $oveit ópas áryaB ota óp4Mav
gv yàp àvOpeía kai o XvatjeMi)s épos
? XaAióéov Ü4XXe TroMeaaty 3

Avrwev jv Oüvoua TrQ €épacTi, TQ 0 épeuévg iAigTOS, bs €v TOiS
,
Airiois Atovicios ó ToujT3)s ia TÓpnoe.

41

Ath. 15. 697 b O?X7iavbs "yàp ràs kamvperépas qbàs àamá(erau
L&AAov T&y égmovÜacuévev: oiai eigcww ai Aokpikal kaXoUp.evat,
poixikal mies iy $Uciy vmápxovaci, &s kal j8e-

- , / ^

Q ví máoXets ; p?) 7 po6Qs app icerevo t

7 piv Kai poMety. Keivov, àviaTo, pun) KQKOV

péya «ce TOUjg Ke d TV OerMánpar.

ápépa. «ai O59 T0 Os O.à Tás Üvpi8os ovk

eicopis ; "
!1 Mein: mss éAáxere ? Wil: mss érí 3 Headl:
msS TÓA*GiV 4 perh. ikereóc 5 Dind.-Wil: mss y.

Toifja 2s: val ue 9$ B: mss ij0q * Mein.-Z: mss éxopns
546

LOVE-SONGS

the field, and he asked him if he would watch the fight.
* Yes! said the boy and put on his helmet for him with a
kiss. Whereupon Cleomachus proudly assembled the best
men of his squadron and, sallying forth in his might, attacked
the enemy with such vigour as to throw their horse into con-
fusion and put them to flight. The infantry now followed
them, and the Chaleidians won an overwhelming victory,
though unfortunately Cleomachus was killed. His tomb is
shown in his allies' marketplace, where the great pillar
stands to this day, and the Chalcidians thenceforward held
in notable regard a form of affection which they had before
disapproved. According to Aristotle,! however, though it is
true Cleomachus lost his life in this victorious battle against
the Eretrians, the man who was kissed by his friend was a
Chaleidian of Thrace who was sent to fight for the
Chaleidians of Euboea, and is commemorated by them in
theselines: -

Ye lads that have the Graces and come of worthy
stock, grudge not to good men converse with your
beauty ; for in the cities of the Chalcidians Love the
looser of our limbs blooms side by side with manli-
ness,

The name of the lover was Anton, and of his love Philistus,
if we may believe the poet Dionysius in his Origins.

41

Athenaeus Jocfors at Dinner: For Ulpian takes more
kindly to the lighter kind of song than to the serious ; for
instance the Locrian Songs as they are called, songs of a
risqué type like this :

O what is wrong? 1] beg you, do not betray us.
Rise and go before he comes, or he'll do some great
harm to you and thrice-pitiable me. E'en now 'tis

day; see you not the light through the window?

1 fr. 98

547
NN2

LYRA GRAECA

/ ^ L] J , ^ ^ / [3 4 3 ?
TOoibTGYV 'yàp dcdTev abToU Tüca TMüpms T Poivíxm, €v $ kol
abrbs Tepije: kaAaui(mv uerà mày ToUs koAdBpovs kaXovuévovs
curTiOévrov.

g/
EIX ANOGPOIIOTZ
42

Paus. 4. 16. 6 'Apierouévei 8é, s àyéampeyev és jv " Avbavíay,
TOivias ai *yvvatkes kal rà ipaia émiüAXovoai Tv üvÜGv éméAeyoy
&cyua TO kal és uas éri dBÓuevoy:

"Es Te uécov 7r€OLOV XrevukXápuov € écT üpos ükpov
emer ApioTopévys rois AaxeGauuovtots.

EKOAION
eia anyayij
Sch. Plut. Gorg. 451e (8 XxóXuov Aéyerau 7

TTapoLvLos qórj, eS pv Aucaiapyos €» TO epi
Movewóv ' Arcevov, OTt rpía yerm v Qv. TÓ uev
UT TÁVTOV d6ópievov «, TO O6 ÜTÓ TáVTOV pev
AXXà kaÓ' éva. é£fjs, TO 06 UmÓ TÓÀV avverarrá-
TOV OS érUXe TÍ) Táfet, 0 0 0: kaXetacÜat —Oià Tv
TaÉÍLV7 a kOMLOV"? cs 6€ "Apua TóEevos «ai Q)NXXs 0
povcikós, ÓrL €v Tois yápots vrepi uiav Tpámetav

! cf. Ath. 15. 694 a (below, p. 560) — ? Suid. and Phot. s.

OC KÓALOV

! to the same tradition possibly belong the Marisaewm
Melos, Powell Collect. Alex. p. 184, and the IIapakAavaí8vpov
(Grenfells Erotic Fragment) ibid. p. 177 * it is not clear
to whom this refers ; possibly to a certain Philon mentioned

548

FOLK-SONGS: TO MEN

Songs of his like this are to be heard all over Phoenicia,!
where he? himself went about playing on the flute with the
composers of the so-called Colabri or Thracian war-dances.

Book VII
TO MEN
42

Pausanias Description of Greece: When Aristomenes
returned to Andania? the women pelted him with ribbons
and all the flowers in season, reciting the song which is sung
even to this day :

To the midst of Stenyclarus plain, to the top of the
mountain, too, Aristomenes followed the Spartans.

SCOLIA

INTRODUCTION

Scholiast on Plato Gorgias: (2) Scolion is the
name ofthe type of song sung over the wine. It was
so called, according to Dicaearchus in his treatise on
The Musical Competitions, because there were three
kinds of song, of which the first was sung by all the
guests together, the second by all in due order one
by one, and the third by the best performers just as
it happened, the last being called, because of the
haphazard arrangement, scolia. On the other hand
Aristoxenus and Phyllis the writer on music declare
that they used to set a number of dining-couches

earlier, and not to * Doctor' Ulpian ; but the epitomator is
probably at fault ? after his defeat of the Spartans in
the Second Messenian War

549

LYRA GRAECA

Tr0AXàs K«Mvas TiÜÉvTes, zrapà uépos e£fs puppivas
éxovTes 1j) Sdóvas 760v vas kai epoLkà
c UVTOVQG. 7 6€ mrepío&os g k0Mà éyivero Oià TÜV
a ovÜeatv TOV KMwóv émri oiknuávov ToXvyoviov
ovGÓv, kai TOÜTQ Kai Tüs €7 a)Tüàs karaKALo eus
vapafoTovs wyivecÜat. ov Oià TV peXomoLíav
o)v, OLà O6 T5v Tfs pvppivgs akoXiàv OLáOoctv
TrajT9 KkGi Ts QOàs ckoXLàs kaXeioÜat. — (vy)
'AOsvycoiw év TQ vpvraveio mapà mórov okóMa
76ero eis Tivas, Go'TTep eis App.o00tov, " AÓpnrov,
TeXayuóva- eiprjo0at óc a)TO GKOMLOV KaT' àvrí-
$paciv, OTi dea 7277) ONwyóo rixa GS émvypáp-
para 76ero àü ekaAetro c kóMa, àvTym poretvóvav
&XMjkots TÓV GcvjTOTÓV, Kai XéyXovrOo oi gu)
dGovres 6s &uovcot.

Sch. Ar. Nub. 1364 [érevra 0 éxkéXevo abTàv
àXXà uvppivov Aafóvra | TÓV AicXUXOU. Xé£at TL
pot] Aukaíapxos ey TÀ Trepi Movouikóv ' Ayóvov

*érL 66 KoivOv TL máfos Qaíverau avvakoXovÜeiy
TOÍS OtepXopévots eire nerà péXovs eiTe &vev
p.éXovs &xovTás TL év Ti xetpi sro.eta Oa TÜv
à pmo w. oL T€ yàp d'Govres €v TOÍS c vjrOGoLs
ek TaXaids TLvOS mapa&ós eos &XOÀva O6ádovgs 7)
pvpptvrs XafBovres àGovouv.'

Plut. Q. Conv. p Jn : ézreí TOL kal Tà GKOMLÁ
$acuw OU yvos àc ud rov eivaL Tero) uévayv
àcadós, AXX ÓTL TpÓTOV uév 280v o15yv To) 0coU
ko,wGs &Tmavres pud ovi aaviovies, OceUTepov

1 ef, Suid. s. ekoA(ov (a^) Hesych. s.v. and &9ei pbs pvppivmv
? the identity of the order with that of Athenaeus (below)

550

SCOLIA : INTRODUCTION

round one table at weddings, and the guests one
after the other sang proverbs and love-songs of a
serious type, holding twigs of myrtle or laurel. The
course followed among them was s£olios or * crooked '
owing to the arrangement of the couches in polygonal
rooms, which made the seating irregular. Thus the
songs, according to these authorities, were not called
crooked because of their metrical structure but
because of the crooked course taken by the myrtle-
twig as it passed from hand to hand.!—(3) In the
Prytaneum or Town-Hall of Athens scolia were sung
over the wine on certain men such as Harmodius,
Admetus, Telamon ;? and this type of song was so
called by antiphrasis (or saying the opposite to what
you mean), because they were easy to sing and, like
*epigrams' (or metrical inscriptions), had but few
lines, the guests offering the sprig to each other in
turn, and those who did not sing were thus shown to
be unmusical.?

Scholiast on Aristophanes Clouds [! And then I
told him first to take the sprig and recite me some-
thing from Aeschylus']: To quote Dicaearchus
Musical. Competitions, * Moreover it appears to be
natural for a man who gives a recitation or a song to
do so with something in his hand. After-dinner
singers by an old-established custom sing holding a
branch of bay or myrtle.'

Plutarch Dinner- Table Problems: We are told that
the Scolia were not a type of obscurely constructed
songs, but were so called because the ancients first
sang to the God a paean in which all the guests

points to these scolia having formed a book ; cf. on 14, 15,
2], and Sch. Ar. Ach. 980 (Reitz.) 3 cf. Diogen. 2. 68

551

LYRA GRAECA

6 éde£üs ékáG TQ parus rapa&iGouévns, jv
ala aucoy oua &à rà àÓeiv TOV Oed puevov ékáXovv:
eri 66 ToUTQ Xvpas mépidepopévms ó 0 j.€v rezraióev-
pévos ep Bave Kai joev áppotópevos, TÓYV à
dpobcav oU T pog teuévav, ckoMtóv ovopácÓO: TÓ
1) &oLVOV avToU umóé pdOtov. GXXoi 6é $act TV
pupoivnv OU «a6c£f) fs Ba&itew, aàXXà ka &kaa Tov
aT Mns eri kMvv Oua epe au TÓV yàp
7 püyrov dcavra TQ mporTQ TÍjs Oevrépas Mans
ázocTéXNvew, éxetvov RE TG TpoTQ TS. TpUT3S,
cira TÓV ÓeUTepov Ouoios TÓ Oevrépo, Kai —OLà-
TÓ TOLKÜXOV Kai Trokvkagjmrés os &ouke TT]s TrepLó60v
ckoML0v ovopácO.

Schi: Ar Vesp. 1222. [rà CKÓM. OT OS óc£y
kaXÓs ] àpxatov éBos € éc TLO VOUS € aet GKoXov-
es TÓ TOTO, eL TAG ITO, TÍjs Q8ijs TÀ e£fis.
kal yàp o é£ px) 6ádvmv 1) 7) pvpptvqv Ka rex ay
jj6e Xuuovitov 1| 7) LTüswxopov pé) üXpts 0 b T)8eXe,
Ka per. rab:a Ó ,SBosXero é6L00v, oUX ds j

t
N

Tá£is ámyreu. Ka &Xeyev 0 Oeédpevos Tapa ToD
Tr éyTOU TÀ efje, &ketvos émebibov TáMV
eBobXero. T TÓ TávTaS OUv àm poa Goriras
aGety kal Néyew à uéN), ako, eipiyrat uà T3)v
óve koMav.

Ibid. 1239 oi 6é $acuv cs &0os jv TOv qu?) Óvvá-
pevov év Toig ovyuTOcio:s —Tpós Aopav-! dcat
Od4bvgs kXOvao 3) nvppivgs Xafóvra 7rpós ToUTOV

! Reitzenstein
1 cf. Cic. Tusc. l. 4 Themistocles . . . cum in epulis

recusaret lyram, habitus est indoctior ? cf. Clem. AI.
Paed. 2. 44. 8, Tzetz. TauB. Texv. kwu. 82

552

SCOLIA : INTRODUCTION

took part, and secondly sang one after the other as a
myrtle-sprig was passed round, this sprig being called
aicakogs because, I take it, the guest who took it
sang (aóew) ; thirdly they passed round a lyre which
every man who could play took, tuned, and sang to,
but which was refused by the unmusical, this last
type of song being called scolion or crooked because
it was not sung by all nor easy to sing. Other
writers state that the myrtle-sprig did not go round
in order, but from a guest reclining on one couch to
a guest reclining on another; the first, having
finished his song, passed it to the first guest on the
second couch, and he to the first on the third, and
then the second in like manner to the second ; and
the scolion received its name of *crooked' very
naturally from the shifting nature of the myrtle's
course.?

Scholiast on Aristophanes Jl'asps [* Mind you take
up the scolia properly ']: There was an ancient
custom by which the guests at a feast sang one
after the other, beginning where their predecessor
ended. The first held a laurel or myrtle sprig and
sang some lyries of Simonides or Stesichorus up
to a point of his own choosing, and then offered
the twig to any guest he chose, no matter where he
reclined. This guest would then continue where
the other had left off, and pass it on in his turn to
the man of his choice. The songs were called
scolia or * crooked ' because of the difficulty involved
in singing or reciting the lines without due warning.

The Same: According to some authorities it was
the custom for any guest who could not sing to the
lyre, to take a branch of bay or myrtle and sing (as

553

LYRA GRAECA

v ej , , A, ^ L4 ^ e , ^

aOewW. . . . ÓTL OUK àmO TOU éÉfjs 9 Apa Toís

E / PANIÁ , 3149 / ^ N ^

cvuTOTA4S é0LO0TO, &XX. évaNXd£E, Qià T1)» a koiàv
^ / N 2 ab o WD 4

T7)$ Xvopas 7repuiopav a koXta, éXévyero.

Ar. esp. 1216. BAEAYKAEON xai GIAOKAEQON.

BA.

vr.
BA.

1221

1230

554

el N , N / 5 /
b6op kaTà Xeipós* ràs rpaméCas eia oépeuv:
Oevmrvobpuev: droveviugueO - 1) avrévopev.
Tp0s TOV ÜcAv, évimwov éovriOeÜa ;

5 N , , f N ,
avMgQrpis évebuanaev: oi 66 avjwrorat
eiciv Oéopos, Aic xivgs, avos, KXéov,
£évos is Érepos vrpüs kebaXfs ' AkéaTopos.

, N b , 3: id , ^
TOUTOLS Évvov TÀ GkOXU Ovres Oéfei kaXós.
&X9Ües ; os o?0cis Auakpiov Oé£erat.

Bas. » - N M / 949 29 "€ "E
. éyo eicouaw kai 7) yáp eiu. éyo KXéov,

dc O06 rpóvros ApyuoOLov: Oééat à6 av.
O?8eis v6T0T àv?)p &yevr AÜOnvais
ovX oUro "e mavoÜpyos. «ós cj»
KXéT T9.
N A , ^ ,
TovTi cV Opác&s ; mapamoXet (9ocuevos*
, N , ^ N ^
dijo et yàp é£oXetv ce kai 0.adOepetv
xai Tijo8e Tjs ry5js ééeXáv. PI. éyo Gé ye
éày dmeiXi), vi) AC, érepov áaouas.
^O, 'vÓped! obros 0 pawógevos TO uéya
pos

àyTpévreis &ri ràv mrÓN ww: à Ó. Exerat porrás.

. Tí. € órav OéÉécepos cpós T00Q0v karakei-

JLevos
469 KXéovos Xafojevos Tíjs Oc£tás*

SCOLIA: INTRODUCTION

it were)! to it. . . . The lyre not being passed on to
the guests in due order but crosswise, the songs were
called * crooked ' after its crooked course.?

Aristophanes Jl'asps: BpELvcrEoN and PnuirocrEoN

B. (in dumb-show) Water for the hands !—bring
in the tables.—We dine.—We've had the after-
wash.—Now the libation.

P. Good Heavens! is our feast a dream?

B. The flute-gir's played.— The guests are
Theorus, Aeschines, Phanus, Cleon, Acestor, and a
stranger next him. Mind you take up the scolia
properly with this company.

P. Why, of course; ll do it better than any
Diacrian.

B. l'll test you. Now, I'm Cleon, and I start
with the Harmodius. You shall take it up after
me. (sings) None mas e'er born at Athens mho—

P. (sings) Was such a thorough-paced thief as you.

B. Oh that's your game, is it? Youll die of
execration. He'll swear hell ruin you and have
your blood and get you banished.

P. Well, if he blusters, why, I'll sing another.

T'his man mho's so mad to get all in his grip
Will o'ertopple the State ; she's just ready to tip.?

B. Butsuppose his couch-neighbour Theorus takes
Cleon by the hand and sings :

! j.e. recite * cf, Ath. 15. 693f. below, p. 560
3 à parody of Alcaeus fr. 50, which seems to have been
included in the book of Scolia

1 Bentl.
555

LYRA GRAECA:

'Aóu5rov Xoyov, O 'raipe, uaÜóv ToUs
a'yaÜovs diXev
1940 TovTO TL Xé£eis okoNcov ; DI. eóueds éyo,
, » , ,
OUK CO TLV GIO Tr €KlLeLv
ovO àudoTépotcu vyioyvea at diXov.
BA. uerà Tobrov Aiaxívgs 0 XéXXov Gé£eraz,
àv7)p coQos Kai LoVGLKO0S* KdáT AGceTQu
1245 Xp'ipara. kai fíav KAXerrayopa 7€ kdgoi
perà OerráXov

GI. zoXXà 07) Gtekójracas av kaányo.t
BA. rovTi uév ézreikQs ov yy. ééemíaracav
1950 O7w«s O érii Ocizrvov eis PiXokT)uovos Lev.

Sch. Ar. Vesp. 1235 (above) € éc TOV 'AXkaíov 6€
Tapo8et eig KXéova os pawonevov.

Ibid. 1239 (above) 'AGurov Xoyov: kai ToUTO
àpx: akoALov: é£rs 9é éarr | TOv ÓecXv ámréxov
vovs óTL OetXGv OXCya xápis.' kai év ILexapryots*

ó jLev 7joev '"Aópnrov Aóvyov Tr pos pvpptvmv,
0 € avTOv 9váykatev '" ApuoOtov uéXos.

- Hpóóucos 66 év ois Kono8ovpevots kai TOV
"Aurrov avayéypadoe vapaPeis rà To0 Kparivov
ec Xeupovov:

! prob. preserves the metre of the original; «e.g. 9Oovs
&mravras àmekBaAeis Tvpávvovs

! the original was perh. * You shall turn the tyrants out?
2 j.?, substitutes uawwópevos * mad ' for uaióuevos * seeking

556

SCOLIA: INTRODUCTION

Learn misdom of Admetus, lad ; be friends with the
brave and good ;

how will you cap that ?

P. Oh, first rate.

I'd play no fox's tricks if. I mere you,
With both sides to be friends mill never do.

B. Next to him the myrtle will go to Aeschines
son of Sellus, that clever man, that true musician,
who'll sing :

If to me and io Cleitagora there's money and muscle

stout

And a fem brave men of Thessaly—

P. — You've won our bragging-bout.!
B. I see you're quite au fait at the game; so let's
be off to Philoctemon's to dinner.

Scholiast on l. 1235 (above): The poet is parody-
ing Alcaeus, making Cleon * mad"?

The Same on l1. 1239 : * Learn wisdom of Admetus,
lad; be friends with the brave and good ':—This
too is the beginning of a scolion ; the next line is

The coward is the man to shun; he knows no
gratitude.

Compare Aristophanes in the Stor£s :
* The one began to sing to the myrtle-sprig *€ Learn
wisdom of Admetus," and the other compelled him
to sing the Harmodius-song instead.'

Herodicus, in his treatise on Persons Satirised. in
Comedy, has included Admetus (or the Admetus-
song), comparing Cratinus in the Cheirones:

557

LYRA GRAECA

KAerra'yópas à8ew Orav ' AÓurjrov uéXos aJ9Xj.

.

. , E yy / :
Ibid : , Kxerraeyopa- frs éyévero moLjrpia
KXerra'yopas jiéXos Xéyovoat T0 eis avTijv, KXevra-
,
yopav.
Ar. Lysist. 1231
^ ^ ^ e, » , L4
vüv uv yàp órav éA8cpev és Aakeóatuova
, , A , e /,
vijQovres, evÜvs 9Xémoyuev ori rapá£oyev:
óacO' órL uév àv Aéyocuv ovk àkovoj.ev,
^ , , , m^ e /
à Ó oU Xéyovot, ra00' vrrovevorjkapev,
- , / , , , N ^ , ^ ,
1935 a'yyéXXopev 0 ov ravTà TOV avTOV TÉpL.
/
vvvi Ó &TavT "peakev: QoT €i pv nyé Tus
à6oL TeXapdvos, KXevraryópas deu éov,
émqQvécapev ày kai m pocemiopk)oapev.

Sch. ad loc. 'Texaguóvos* py» Tos okoXiov
€ II ^ "a X ^ , ,) L4 eé ^ [4d b
ai 'Texauàvos avxunrá' . . 0 66 voUs Ort 7à
, , , e ^ N /, e ,
évavTía, Xéyouev éavTois kai vrpárrogev: órav ryáp
»y , N ^ , , e
Tis do 7 àrró TOV ckoXiov llwóápov, Xéyouev oTt
Oct uáXXov det àzó KXerraryópas Tfjs rou] pías*
7) : yàp KXerwra'yopa Towujrpua vv Makoviue, 7)
M , »h , /,
uenvnraL kat év Aavatew 'Apia Toóávys.

Suid. cxoXóv: (B')vrouvnya &ypavrev Tvpavviov
cepi. ToU ckoMio)0 uérpov 0 mTpoeráÜn] avTQ vmO
l'aétov Kaícapos.

1 £e. to the music of the Cleit., cf. p. 575 n. 2 ? there
is a good deal of confusion here; but the ascription of the
Telamon to Pindar is to be noticed

558

SCOLIA : INTRODUCTION

* to sing the song of Cleitagora to the tune of the
Admetus.'

Another Scholiast: * To Cleitagora': Who was a
poetess; by *the song of Cleitagora' is meant the
song to (or on) herself, Cleitagora.

Aristophanes Lysistrata :

Nowadays, when we arrive sober at Sparta, we
immediately look to see what mischief we can do,
and therefore what they do say we don't hear and
what they don't say we suspect, and give them
messages which contradict one another. To-day
everything pleased them, so that if anybody were
to have sung the Telamon instead of the Cleitagora,!
we should have thanked him and forsworn our-
selves.

Scholiast o» :!he passage: The Telamon:—The
beginning of a scolion * Son of Telamon, spearman
Aias' . . . The meaning is that we say and do
mutually inconsistent things. For when anybody
sings one of the scolia of Pindar we say that
he ought to sing one of those of the poetess
Cleitagora. Now Cleitagora was a Spartan poetess
mentioned by Aristophanes in the Daughters of
Danaüs.?

Suidas Lexicon: Scolion :—(2) Tyrannion wrote a
Treatise on the Scolion-Metre at the instigation of
the Emperor Gaius.

See also Procl. Chrest. (Phot. 321 A 3 Bek.),
Didym. ap. E.M. 718. 55, Eust. 1574. 14, Cram.
4.0. 4. 314. 4, Timocr. 8 (vol. ii. p. 426).

559

LYRA GRAECA

9
ATTIKON XZKOAION

Ath. 15. 693f é£uéuvqvro 8:1 T0AXo0l kal r&v 'ArrikGv ékelvov
er M - AES , l4 E A , A
cKOoAÍey: &mep kal avrà üEióy éorí aoi àmouynuoveUaat Già Te Tv
&pxaiórTyTa kal à$éAeiav Tdv movodvyrov,? émowovuévev éml Tíj
*-/ , ^ ^ 3 , 3 , €
iüéga TabTy TüS oOwTik]s 'AXkalov T€ kai AvakpeovTOs, s
"ApiaTooávgs maplorgsiv éy. AavraXAeUsiv A€yov. oUrws*

&coy 81) uot ckÓMióv 71 XaB&v "AXkalov k'Avakpéovros.

kal IIp&£ziAAa 9 7j Zucvevía é0avud(ero ézl Tfj Tv okoAlev morfjoet.
cKóAia 8€ kaAkoUvrai oU karà TV TíS jieAomoitas TpÓmOV ÜTi
cKoXi0s jvy—Aéyovaiw "yàp éy rais àveuuévaus. eivat Tà? a kóAia—
&AAà Tpidv 'yev;v Üvrwv, Gs dou 'Apréuwv ó KacayrÜüpevs év
6evrépp BiBAÍev Xpfjcews, év Q* Trà mepl ràs cGuvovoías jv
dBóueva, Gy rb utv mpOrov jv 0 5j mávras üOew vóuos jv, TO
6€ BeUrepoy 0 01j mávres u&v 100v, ov uijy à&Aà —ka8' tvaz» 9 ve,
karà Tia Teploboy é£ i$moBox7s, kal Tijv éml màci TdLw ÉXov,
-Tb2- Tplrov 869 ob nereixov obkéri máyres, &AX oi cuverol
BokoUvres elvai uóvoi, kai karà TóTOV ÜvTiwa, cl" TÜXOLEV
üvres:—Diómep ós &raliay Tiwà uóvov mapà TüAAa Éxov Tb uf0'
&ua uíÜ' éE)s "yevópevov àAX' 0mov Érvxer elvau a kóAioy. ékAfj0m-
Tb Bt ToioUTrov jbero ómóTe Tà koiwà kal magi àva'ykaia TÉAOS
AdBor évraU0a yàp 38m T&v coodv tkacTov gt Tiwa kaAv eis
uécov Tj£lovv Tpooépew. kaATy 0€ rabTqv évóya(ov, T3]y mapaiveaiv
TÉ TiVa. kal *yv&p.mv €xeiv 8okovcav xpnaíumr eis rv iov.

TGv oüv DevrvocoQua TOv Ó uéy vis EAevye rdv akoAlav vóbe, ó Dé
Tis 7Ó8e: mávra 9 jv rà AexÓOévra ravTa-

1 sugg. Kaib : mss 9' oi ? Kaib: mss insert kal Twv
3 Reitz: mss rd aíter ydp 5 E: mss ois 5 Reitz.
$ E(ró add. Kaib.): mss cpíroy 8t kal TÀ2v é. m. T. ÉXov
?* Runck : mss rómov Tivà €i

560

SCOLIA

Book I
ATTIC. SCOLIA1

Athenaeus Doctors a Dinner: Many of the guests men-
tioned the well-known Attie Scolia or Drinking-Songs.
These too call for notice here because of the ancient and
simple style in which they are written, Alcaeus and
Anacreon being famous for this particular type of poem,
witness Aristophanes in the Janqueters: * Take and sing
a drinking-song of Alcaeus or Anacreon. Another cele-
brated writer of scolia was Praxilla of Sicyon. These songs
are so called not because the style of verse in which they
are written is cxoAiós or 'crooked,' for they are said to be
reckoned among the laxer type of verse. PDut according to
Artemon of Casandreia in the second volume of his Use of
Books, which contains the poems sung at banquets, there
were of these three kinds, of which the first was by custom
sung by all the company together, and the second 1n a kind
of succession round the table in which no gaps were allowed ;
the third, unlike the other two, was performed only by the
guests who were considered real musicians, regardless of the
order in which they sat, and so was called «exóAiwv or
*erooked song' only as being irregular compared with the
others, that is, as not being sung by all together nor yet in
succession, but by some just as it might happen. Moreover
the scolia were sung after the songs which were general and
compulsory. When those were over each of the really
musical guests was asked to entertain the company to a
good song, *good' meaning one which appeared to contain
some exhortation or sentiment of practical utility.

Among the Deipnosophists or Dining Doctors, one now
recited his choice among the scolia, and another his. All
that were given will be found in the following pages.?

1 cf. Eust. 1574. 6 ? the arrangement of 2-26 is that of
Athenaeus, prob., that is, of the collection known to him,
cf. Dio Chr. 2. 95; it floes not appear to have been
chronological

561

VOL. III. O0

e.g.?

LYRA GRAECA

1

IIaXXàs Tprroryévet , &vaco" " A0qvá,
ópÜov r:vOe vrÓNuv T€ kai Troas
dTep àX'yéov kai a Tác eov
kai Óavárov àcpov cav T€ kai maT1:)p.
2
IIxovrov wyrépa 7 "Oumvidv c àeióo!
Anjunrpa a TeQavióópors év opas,
cé T6, Ta Atos, epo edóvy:
xatperov, eb 06 rávO. aàpdémerov sroMiv.?

s

"Ev AgXo oT érueTe zraióe Naro?

doigorv ypvaoxópav, üvakT. Aq0XXo,*
, 3.(1» 4

éAadonB0oXov T áyporépav

*y ^ ^ pev uw »
ApTeguv, à ryvvaueov jy. €xeu kparos.

i
*O IId», 'Apkaótas uéóov kXeevvás;?
, ^ , , N /,
opxynoTà Bpopgíais omaóé Noudars,
yeXdcaaas, io ILáv,9 éz' épais
ebópoci TaicÓ. &oiGats keyapmuévos."

5

'"Evuejeagev 6s égovXopeo0a,
kai vimv é6ocav 0eoi dépovres
zapà lIávópocov -«Kerpormtav
?pa dXqv «T 'A0gvà» «ToXujoyov.

l Cas.-E: mss gumrép 'OAvwwmíav €ibm ? Cant: mss

»
auderorv
-wva

562

3 Herm: mss zaiba (er rékva) A. * [lg: mss
5 Herm: mss ic IIà»v and ue8écv $ B, cf. linel:

ATTIC SCOLIA
1

Trito-born Pallas, Queen Athena, uphold thou
this City and her people, thou. and thy Father,
without pains or strifes or untimely deaths.

2

Thee O bountiful Demeter, mother of Wealth,
I sing at the wearing of the wreath, and with thee
Persephoné daughter of Zeus; all hail, ye twain,
and protect this City.

à

In Delos of yore did Leto bear children twain,
Phoebus the golden-haired, Lord Apollo, and
Huntress Artemis shooter of deer, who holdeth so
great sway over women.

41

O Pan, thou Lord of famed Arcadia, comrade-
dancer of the rioting Nymphs, mayst thou smile,
ho Pan! with pleasure at these my merry songs.

5

We have won as we wished, and the Gods have
given victory [for the sake of Cecropian] Pandrosus
and her friend Athena [upholder of cities ].?

1 the inclusion of this scolion in the collection points to
its having been made after the Persian War (Reitz.); its
resemblance to Pindar fr. 95 Bgk. is hardly fortuitous
(Ilgen) ? the latter half restored «e.g.

mss »yeAaciaoo TI. 7 Wil: mss e?ópoc?vais and àoióais
&oibe (&eibe) x. 5 E: mss Ilavbpócov &s d. 'A6.
563
o o2

LYRA GRAECA

6
, "^ e [m
Ei0' é£5zv omroiós Tis 7)v €caa' ros
N m^ , ^

TO o TfjÜos O.eXOvT. Érrevra vOv vobv
éci60vTa, kXeicavTa TráMtv,

» 7 , 5 , ,
àvópa. QiXov vouitew à60Xc jpevt.

71 QX XIMONIAOY H EIIIXAPMOY

ii , N » , e x ") ^
ytatvew gév àpio Tov àvópi ÓvaTÓ,
, b b N ,
OevTepov 66 kaXüv $vàv ryevéa at,
TÓ TpiTOV O6 7rXovreiv á60Xos,
N N , e ^ N ^ ,
kai r0 Téraprov 7 Bàv uera TOv diXov.

da6évros 6€ roUTov kal maàvTrcv qo8evrov ér abr kal urnpovev-
cávTwy Óri kal ó kaAbs IIAdrev aUbToU Luéuvmrou ós üpig«a eipm-
uévov, ó MpríXos Éon "Avatavbpibny aUTÓ BiakexXxevakéyai Tiv
Kwugüiomoiby év OncavpgQ Aéyovra obres: 'O Tb ckóAiov ebpiw
€keivos, bacis 7)» | TO utv byiayew TpÀTOV ds Épwrrov üv | avópa-
gev óp0as- Bebrepov. 9 elvai kaAóv, | rpirov 86 TAovreiv, ToU6',
óp3s, € épatvero | uerà rv byleiaw yàp Tb TXovre 9iaoéper | ied
8€ meiway éaviv aig x piv 8npíov."
és 0 éAéx0n kal rdbe

8 O£X AAKAIOY

VU V0 t TÉNDTyPIS XP? «arióny TAo0V

€ TuS Oívauro «ai TaXápn €xoL,

émrei 6é &' &v müvTQ tyévraa

TÓ TüpeóvTL Tpéxyetw àványk.t

! the original, prob. Alcaeus, would run xp$j utv yàp éx

yaías karí8mv mAó0ov | aí vis Bovavro kal TaXdguay €xov | érel 6é i
€y TÓvTQ 'yévrai TQ mapéovri rpéxmv àváyka for (àvéug)
rpéx ew cf. I1. 19, 207, Theogn. 856, Soph. 47. 1083: Tyrrell
rapáevr. perh. rightly : P sugg. xpées6' (rather xpdáeg0') for
rpéxew, cf. Plut. cited A4desp. 115 below

1 cf. Eust. 1574. 18, * This scolion comes from a Fable of
Aesop, in which Momus finds fault with Prometheus because

564

ATTIC SCOLIA

61
Would it were possible to part every breast and

so read the mind within, and then closing it up
believe beyond all doubt the man is a friend.

7 SiwoNipEs on. EPicHARWMUS (?)

Health is the first good lent to men ;
A gentle disposition then ;

Next to be rich by no bye-wayes;
Lastly with friends t' enjoy our dayes.?

When the last song was sung and the delighted company
had recalled the excellent Plato's praiseof it,? M yrtilus pointed
out that the'comie poet Anaxandrides had held it up to
ridicule in his play The T'reasure-House in the following lines:
* Whoe'er it was who wrote the famous ditty | Was right to
give first place in it to Health; | But if the second best is
to be pretty | And third be rich, then he was mad; for
Wealth | Comes next to Health, and there's no living
thing | So wretched, friend, as Beauty hungering.'
The songs continued thus:

8 Arcakvus(?)

A mariner should view his course from the shore,
if he but have the power and skill ;* but once he is
on the sea he must run before whatever wind may
blow.

when he made man he did not add gates to the breast so that
when they were opened we might see his heart, but allowed
him to be a dissembler? * Herrick : for * gentle disposition
the Greek has what more prob. means personal beauty'
* Gorg. 451le and Sch. ('this scolion is ascribed by some
writers to Simonides, by others to Epicharmus '), Laws 631 c,
661a; cf. Luc. Laps. 6 and Sch., Clem. Al. Str. 4. 5. 23,
Apostol. 17. 48d, Ars. 456, Arist. A». 2. 91, Rh«ct. Gr. Walz 7.
1154, Stob. F7. 103. 9, Liban. Ep. 1060 * or to see if he
have the power and the skill

565

LYRA GRAECA

9
'O xapkivos Q9: éia
xad TOv div AafBv
i Ev0Uv XP?) TÓV éralpov &u-

uev kai p1) GkoMáà dpovety. !

KAAATISTPATOY
10? "Apno8tov
Ov8eis vzroT àvyp éyevr | AÓrvaus ?
ev póprov &Xa6L 70 Éioos Poprja c,"
GoTep Appó0tos ' Api roryebrov,

,
óre TOV TUpavvov kTAVÉTTV
,
icovouovs T AÓ»5vas émowoárov.

5 $vra0 -Apjuo8U ; oU TL TOV TéÉvnkas:
vijcots 0 ép pacdpav cé oacuw eivai
(va ep Tro6o c1) T''AxyiXéa

'Tu6etógv T ér éc0Xóv AtopajGea.?

ev uiprov &Xa6L 70 Éíbos $oprjac,
10 rides Appó8tos 2 "Apiaroryeirav,
T A8qwaíigs v Óvcíais
d»Bpa Tópavvov" Yzapyov ékawérqv.

3X ^ , » 5 ^
aiei av kXéos éacerat xav. aiav,
/ »c j^ , , 6
Qüvra8" Apuo0Los & Apia Toryevrove
SRe 7 ^N /, L
15 OTi TOV TÜpavvov kravérqv
, , , , /
icovouovs T" AÓ5vas érowaárqv.
! mss ó Be kapk., Eust. eb6éa ? see opp. ? Bentl:
mss éyéver! ? A8nvaitos 5 Suid. xpar/0w 5 E (Brunck

'AxiAeUs) : mss 7oBókns "AxiAAeUs "T. cé asi TOv éo0Nbv A.
5 mss vocc,

! cf. Eust. 1574. 14 (eb0éa and Éuev), Aesop. Fab, 70 (346),
566

ATTIC SCOLIA

91
Said the Crab when he clawed the Snake, * A

friend should be straight and not be crooked-
hearted.' ?

CALLISTRATUS

103 $Sowuc or Hanwopnivs

No man was ever born at Athens [who apt

Ill carry my sword in a myrtle-branch, like Har-
modius and Aristogeiton when they slew the despot
and made Athens free.— Dearest Harmodius, I know
thou art not dead, because they tell me thou art in
the Islands of the Blest, where Achilles lives still,
and brave Diomed.?—T['ll carry my sword in a myrtle-
branch, like Harmodius and Aristogeiton when at the
Feast of Athena they killed the despot Hipparchus.
—Your fame shall live in the earth for ever, dearest
Harmodius and Aristogeiton, how you slew the
despot and made Athens free.

Plut. Hdt. Ma/. 27 * i.e. the Pot once called the Kettle
black ; but Eust. 'that a friend should be upright and not
crooked-hearted ' 3 cf, Eust. 1400. 18, Hesych. 'ApuoBíov
uéAos (*the scolion composed in memory of Harmodius by
Callistratus') and év ujóprov kAdBw, Ar. Ach. 1092 and Sch.,
Sch. Ar. Ach. 980, Pelarg. 3, Antiphan. ap. Ath. ll. 503 e,
Diogen. Prov. 2. 68, Apostol. 8. 35, Ar. Lys. 632 and Sch.,
Suid. s.vv. év u)prov, obbé mor! éyÓ, mápowos, Aristid. i. 133
* (not in Ath.) this seems to have been the first line of the
Harmodius-Song in the collection known to Aristophanes,
cf. Vesp. 1224 (above, p. 554) 9 Sch. Ar. Ach. 980 makes
this the first stanza, adding * they sang it to Harmodius and
Aristogeiton as destroyers of the despotism of the sons of
Peisistratus ; there were other songs too, one called that of
Admetus, the other Telamon's'

567

LYRA GRAECA

1l Ilpaé(AA«s

"AónáTov Xoyov, à 'raipe, ua0cv rovs áryaÜovs
QXet,
TÓV SerAr. 9 áméyov wyvojs ÓTi OewXois 0Xbya

xápus.l
12 eis Atavra

IIa? TeXap avos, Aiav avxpunTd, Méyovat ce

ec Tpotav ápio Tov éAQetv Aavaóv uer ' AxiXXéa ?
13

Tov Texagóva vp&rov, Alavra 66 Gevrepov

&& Tpofav Xéyoveuv éXOetv Aavadv uer! AxXiXNAéa.^
14

Eie Avpa KaXd ryevotuav &XeQavríva,
kaL ue kaXoL vraióes oépotev Atovíatov és xopóv.

2

5

15

Ei dm vpov kaXov yevotuuav Léya xpvatov
«aL pe kaXà ryvvà dopotiy kaÜapóv Üeuéva voov.?

16

, ^ , ,
£v uo. m ive, avvia, ava reQavuooópe
, , , M ,
có» or paiouéwp -paiveo,. Gv c opor.
c o djpovet.

! for notes see p. 76 above and p. 567, note5 — ? Eust. ce'
? uer! Eust.: Ath. xaí ^ mss kal 'Ax. 5 some
mss have éAeQavríva (14) and vyevoíuay (15); elsewhere a is
restored by edd. * Cant: mss ebv c«povfjrc gdpovt,
cvo m «opóvei c édpovi Y

! for other contexts and notes see p. 76 above ? cf.

568

ATTIC SCOLIA

11! PnaxiLLA

Learn the tale of Admetus, my friend, and seek
acquaintance of the brave; but from the coward
hold thee aloof, since there's little gratitude in such
as he.

122 "Lo. AxAx

Son of Telamon, spearman Aias, men say that next
to Achilles thou wast the noblest Greek that ever
went to Troy.

13?

Men say that Telamon was first, and. Aias second,

after Achilles, of all the Greeks that went to Troy.

141

O would I might become a pretty ivory lyre, and
pretty lads might take me with them to Dionysus'
choral dance.

154

O would I might become a pretty great new gold
jewel, and a pretty woman might wear me with a
mind pure of ill.

16?
Drink with me, play with me, love with me, be

wreathed with me; be wild when I am wild, and
when I am staid be staid.

Eust. 285. 2, Hesych. á3ew TeAauvos (eis Afavra), Theopomp.
Com. ap. Ath. 1. 23 e, Antiph. ib. 11. 503 e, Sch. Ar. Lys. 1937
(ascr. to Pindar) * this and the preceding scolion seem to
have been written after the battle of Salamis, of which island
T: and A. were the heroes (Reitz.); the author seems to have
known Alc. 83 * cf. Dio Chrys. i. 95 (in the same order)
5 ef, Eust. 1574. 20, Anaer. 25 and 70

569

LYRA GRAECA
17

€ N N , , m. 7» Pg e /,

'Taró zravri MÓe: axopmíios, à 'ratp , vrroóverau
/ /, /, ^ , , m "^ eu

ópáfev 5 ce BáXyyr TO. O. àoavet más Émerai

60Xos.
18
N z N »
'A os rày BáXavov àv uév €xeu, Tày O. éparat
Xaetv:
, ^ ^ M ^ P! » M ,» »
kàro Taióa kaMr)v T?V uév €xo, T»v Ó &papat
Aajfgetv.
19
, N , /
IIópva! kal BaXxaveUs TovrTóv É€yovo' éureOéos
&os*
, , ^ , , 9 "» ^ , * ,
év rabTÓ TvÉéXQ TOV T d'yaÜ0v TOv Te kakv Xoet.
20

"Eryxyet kai Ksjócevi, 6tákove, ux. émiXrOov,
ei Xp) rots à'yaÜois àvÓpáatv otvoxoetv.?

2l

Aiai, Aewriópiov zrpoówaératpov,
otovs üvOpas à oXecas, uáxea0aL
a'yaÜovs ve kal eUrarpióas?

"^ , EO e , » 4
ot ToT éOeiÉav oiov mrarépov écav.

! mss zóprm ? el xpfj Pors. and ' A0. IIoA : Ath. ei 93; xpi

? metre favours 5's x&üy', but "A0. IIoA. has xaí * so 'A8.
HoA., Suid. Ars. Apostol.: Ath. xópmcav, E.M. £acur, &acav

l of. Ar. T]«sin. 528 and Sch. (*from the verses ascribed
to Praxilla") and for notes Prax. 4 above ? cf. 'A0. IIaA.
20 (*at an earlier time than by the Alemaeonids, the tyrants
were attacked by Cedon, which is the reason why they used

579

ATTIC SCOLIA
bol.

'Neath every stone, friend, lurks a scorpion; be-
ware or he'll sting you; for there's no treachery but
waits upon the unseen.,

18

This acorn the sow has, that, she is fain to have ;
and this fair maid I have, that, I am fain to have.

19

"Pwixt harlot and bathman the likeness is pat ;
Both wash good and bad in the very same vat.

20?

If good men deserve a drink, drawer, forget thou
not to pour one out for Cedon.

218

Alas thou betrayer of friends, Leipsydrium, what
heroes thou hast slain '—gallant soldiers and high-
born gentlemen who then did show of what lineage
they came.

to sing of him too in one of the scolia ** If good men," etc. );
Zenob.. 2. 42, Diogen. 8. 42 3 cf. 'A0. IIoA. 19. 3 (the
Alcmaeonids fortified Leipsydrium on Mt. Parnes and after
being joined there by some sympathizers from the city were
forced to capitulate by the tyrants, a disaster afterwards
commemorated in one of the scolia *' Alas"' ete."), E. M. 361.
31, Apostol. 7. 70, Ars. 239, Eust. 461. 26, Suid. s. éml Ae.
uáxn, Hesych. Aeuy.

571

LYRA GRAECA

22

"Oarts &vOpa diXov 19 Trpoóióectv, neyákav exer
^ ^ , ,
TLUÀV €v. Te Üporois év ve Ücoiawv kac. éuóv vóov.

23 YBPIOY

ckóAiov Bé $ací ries kal vO imO "YBpíov ToU KpmrOs TowmÜév.
€xei 0 obres

"EcTt uot zrXobTos uéyas 60pv kai Eijos

Kai TO ka Xov Xatajiov, zr po Xuua, xpo'ós*

TOUTQ yàp àpà, rovTQ Üepito,

ToUTQ TüGTÉO TOV üÓUV oivov àv. àuméXo,

6 roUTQ Oo 010a pvoitas kékNpat.t

Tol 06 u3) ToNuQvT. éyew O0pv kai Éios ?
«ai T0 kaXóv Xavcjiov, popa xpoTós,
TáVTES yovv mem T:90T€s —audi
dgv- kvvéovr, 6eomórav «épé 0eomoTüv?
bi , AT , 4
10 kai uéyav BactXrja Qovéovrt.

24 IIYOEPMOY

Ath. 14. 6256 [m. uoveuks]- $acl 5€ IIóepuoy róv T4iov év 79
yévei Ts &puovias robrq ToijgQ. GKOÀAiÀ ? uéXm, kal Dià cO elvai
TOV Tovyrlv "levikóv "laci kAm05voi Tiv &puovíav. otrÓs éc7i
IIófepuos o0 pvnuovebóe: "Avávis 7j 'Immóva£ év Tots "Idufois
(. . . kal»? év É&AXq obres: | Xpvcóv Aévyei Tló8epuos ds obbty
TÜAAa,. Aéwyei 8€ obrws ó IIó0epuos:

Od6év 7jv dpa TÀXXa TXv 0 xpuaos.?
1 E, cf. Callim. ap. Sch. Par. ad Ap. Rh. 2. 866 àvr1 vyàp

ékA 10s "IBpace IIapÜevíov : mss 8eamóras uvoias k. — * roAudvT.
Herm. (better roAguavr ?): mss -res 3 suppl. B-Hil.-Crus.
* so. Eust., paraphrasing Kel po$cevoUc: uéwyav B.: others
$wvéovres — ? Cas: mss ekaiá — 9 Kaib. — * óonly in Suid,

! cf. Eust. 1574. 7 ? possibly to be identified with
572

ATTIC SCOLIA
22

The man who betrays not his friend hath great
honour methinks both of men and of Gods.

23! HynnRias
Some authorities would reckon as a scolion the Song of
Hybrias the Cretan,? which runs as follows :
My wealth's a burly spear and brand
And a right good shield of hides untanned
Which on my arm I buckle.
With these I plough, I reap, I sow,
With these I make the sweet vintage flow
And all around me truckle.

But your wights that take no pride to wield
A massy spear and well-made shield, -

Nor joy to draw the sword ;
Oh, I bring those heartless, hapless drones
Down in a trice on their marrow-bones

To call me king and lord.?

24 PvyTuERMUs *

Heracleides of Pontus On» Music (in Athenaeus Doctors at
Dinner): lt is said that drinking-songs were written in the
Ionian mode by Pythermus of Teos, and that the mode was
called Ionian because he came from Ionia. This is the
Pythermus mentioned by Ananius or Hipponax in the
lambics thus . . .9* and again: ' Pythermus says that com-
pared with gold all else is nothing' ; and his actual words
are

All but gold is nothing after all.

the Ibrius mentioned by Hesych. s. igurfo as composer of a
march-song (Wil.) ? Thomas Campbell; the date of the
poem may be as early as the 7th cent. 5.c. * cf. Diogen.
Paroem. Gr. i. 285 ovbtv jjv TÉAXa mdvTa mA» xpvcós, Plut.
Prov. i. 96, Suid. obütv jv rapà TÉAXa mAJjv ó xpvoós 5g
quotation has probably been lost

573

LYRA GRAECA

^ ^ /,
obkoUv kal karà ToUrov TOV Aó'yov Ti0avóv égTi TÓv llóÜepuov
ékeiBev Üvra, moricac0ai Tijv &yoryzjy TÓV ueAÓv àpuórrovcay Tots
j0eci TÀv 'lóvaov.

Sch. Diog. Paroem. Gr. l. 285 Leutsch ab-5 àpx4 éoTi
cKoA(ov. àvariOe;gi 8€ avro IIvÜcpuc.!

25 .
Ar. Vesp. 1941 ['A8uyrov Aóyov, à "ratpe, na8v obs àyaBovs
QíAei]-
Ox &ariv àNwrrektteww
o00 audoorépoic. tyioyvea at díXov.

26 KAerayópas

Ibid. 1245 [uerà ToUrov Aloxívgs ó ZéAXov Oéterai, | àvp
cojbs kal uovaikós: küT Gcerar]

"t , , , , M ^

Xpy9uara kai Btav KXevraryopa ve kàjoi uera.

OerraXov.

Schol. ad loc. KXewrayópas uéAos Aéyovsi: TO «is abTív
KAerraryópay, jyris. évyévero movfjorpia, GerráAm Tis "yvyf] . . . ék
ckoALov viwós égTiw: "AÜmvaíows Bt OerraAol avveudxmaav ev 7Q
TpOS TOUS TVpGvvovs TOAÉuq.

2

Ath. 11. 783 e, vol. 3 p. 22K [r. &u$criBos] émivov 5€ Tv
üuvoTiv uer& uéAovs, ueuerpmuévov Tpós küTQTA Xpóvov. s
"Auenjids- * AUAei pot uéAos: | rU. 9. G8e mpós TívDO ékmiouat 8
€yó Téws. | B. aiAe cV kal (ov? riy üuvoriw AáuBave."

Ov Xp?) 7T0XN. &yetv Üvqróv Le &XN. épáv ?
kai kareaOLew—av 06 kapT. àdiórs.?

! mss IIvOépuovi ? metre halts: Mein. 6vqróv àvbp
KTÀ : perh. 6vqrov Ovr 3 Mein: mss e? 96 kdpra deí0p :

the original was perh. míveiw 89' àyvovi or the like

1 Scholiast: (és kóXaka 91aBd4AAev abTóv, he trounces him
for flattery ^ ; not certainly a scolion ? cf. Cratin. 286 K.
(to sing the Cleitagora when he plays the Admetus "), Ar.

574

ATTIC SCOLIA

This seems to show that Pythermus suited his musical
system to the character of the Ionians because he came from
that part of Greece.

Scholiast on /he passage: This is the beginning of a
drinking-song or * catch? which is ascribed to Pythermus.

25

Aristophanes JVasps [to cap * Learn the tale of Admetus,
my friend, and seek acquaintance of the good '].

You cannot play the fox and be friends with
both.

26 CLErTAGSORA?

The Same [*next, Aeschines son of Sellus will receive the
myrtle, the clever man and true musician, and forthwith will
sing'—]

Money and force to Cleitagora and me with the
Thessalians . .

Scholiast onm the passage: The song to (or on) Cleitagora
is called the song of Cleitagora, who was a poetess of

Thessaly . . . It is from a scolion. The Thessalians fought
on the side of the Athenians in the war against the tyrants.
27

Athenaeus Doctors at Dinner [on the amystis or * bumper ']:
They drank this to music, counting the time it took. .Com-
pare Ameipsias: * Play me a tune, flute-girl, and sing to her
music, you, while I drink it up. 7. Yow play, and you take
the bumper ' (sings)

Much is not for mortal man ;
Just love and meat—-but you're too greed3.?

fr. 261 K, Sch. Ar. Lys. 1237 (*a Laconian poetess "), Apollon.
ap. Sch. Ar. Vesp. 1945, Hesych. KAeirayópa, and see above
pp. 2556-8 3 these last words are prob. substituted by the
poet for e.g. * and a pull at the can?

515

LYRA GRAECA

28
Hesych.
Bopéas

c KÓAiÓv Ti 0lrcs àpxópuevov ! &Aeyov.

P'
XKOAIA EIITA OON

29 GOaAeco
Diog. Laert. 1. 34 à 8€ wyeypauuéva $m avroV $mol AóBav

€ , ^ , P4 , P) /, ^ b! , , ^
ó 'Apyetos eis em Telveiw 0(iak0gim . . TÓV Oe dbouévwv avToU
elva: rábe:

Ov 7L Tà TOXXÀ € em opoviumv àredyvaro 6o0£av'
&v TL uáTeve aodóv
&y «Té»? vL keóvóv aipot,
Avcets yàp àv6pOv keiXov rykeoacas arepavro-
Xoyovs.
90 XoXovos
Ibid. 1l. 61 àv 8€ dBouévev a?roU écvl rác
ILeóvXa'yuévos dyÓpa écac Tov Opa
p3) kpvTr TOV €yxos eX ov «paa
óauópà «oe? T'pocevémm Tpoc ám
yXGcca 8é oi &uyóuvÜos éx ueXalvas dpevüs
yeyovi.
9l X«Aóvos
Ibid. l. 71 7àv 8€ d9ouévev abro) udAwa cbbok(umaev éketvo:
1 Mein : mss d3óuevov ? E 3

! all these are thought to have been derived by Diogenes
from Lobon of Argos who prob. lived in 3rd cent. B.C. ;

576

SCOLIA OF THE SEVEN WISE MEN

28
Hesychius Glossary :

Boreas
There was a scolion beginning thus.

Book II
SCOLIA OF THE SEVEN WISE MEN!
29 TuALEs

Diogenes Laertius Lives of the Philosophers: According to

Lobon of Argos his writings extended to two hundred
lines . . . The'same writer gives the following as one of his
pieces which are sung : ?
. A multitude of words is no token of a wise judg-
ment; pursue one thing that is wise even as you
choose one thing that is dear, or you will loose the
never-silent tongue of the babbler.

930 SoLoN
The Same: Of his pieces sung ? this is one:

Against every man be thou on thy guard, lest in
his heart he hold a secret sword though he accost
thee with a smiling face, lest his tongue speak all
double-worded ? from a heart that is black.

31 CukiroN

The Same: Of his pieces sung? this is the most famous:

none is likely to be genuine nor is the title sco/ie certain, but
all may be as old as the 5th cent.

? gr recited 3 j.e, ambiguous

571

VOL. III. PP

LYRA GRAECA

'Ev AiBtvats àkovats 0 ypvaós é£eráterat
M , , , b! , a
0160) [Sácavov oavépav. év 06 ypóvo
^ , ^ ^ ^ 4
avOpQv d'yaÜOv ve kakQv ve voUs &Óok' ÉXeyxov.

32 IlLwvTákov

Diog. Laert. 1l. 78 rà» 8€ dBouévev avroU udAi Ta cUlok(unoe
/
Tábe:

v N , NE S , ,
Exovra yp: T0£a ai io00kov Qapérpav
a elxew TroTi? $órra kakóv:
N N 5 N ^ hy ,
Tr.G TOV yàp ov6€v rykócca Ou a TOU TOS
XaXet Gvyój.vOov &yovau? kapóLa vó
X / X p n 724a.

39 Bíavros
Ibid. 1l. 85 r&v 8€ d8ouévev abroU ebBok(umoe Td5e:
, ^ » ^ , , T7 / 4
Acotciw ápeake rüatv €v vrüXeL à ke uévgs:
Tela Tav ryàp &xyei xápiv* avÜáó)s O6 Tporros
ToXXákt 077? BXafepàv é£éXauvrev drav.

94 KAeofoíXov
Ibid. 1l. 91 rà» 8* dBouévev e$9ok(unoev avrov rae:
'Apovaía TO 7rXéov uépos év Éporotaiw
Aórcov re TAíjÜos* àXX. 0 kaupós àpkéaet.
dpóvei TL keOvóv: 1 páratos à xápis eyevéc Oo.

! Headl: mss xpvod ? Ed. Frob. ézí, perh. rightly
3 B: msséxovca: Cob. 8:xó0vuov * mss af xeu. — ? C. F.
Hermann

579

SCOLIA OF THE SEVEN WISE MEN

Gold that is tried gives clear proof by whetstones
of rock ; the mind of a man is brought to the test
of good or ill by lapse of time.

32 PrrTACUS

Diogenes Laertius: Of his pieces sung! the following is
the most famous :

You need to go 'gainst an evil man with a bow
and a quiver of arrows ; for of such as have a double-
worded thought in their heart the tongue blabbeth
only lies.

33 Bias

The Same: The following is famous among his pieces that
are sung :!

Seek to please every citizen in the place where
you abide; for that hath in it the greatest favour ;
whereas presumptuous ways do often kindle noxious
calamity.

34 CrEoBUuLUus?

The Same: Of his pieces that are sung! the following is
famous :

The more part among men is all rudeness and
verbiage, whereas the due measure will suffice ; let
thy intent be good; suffer thou not grace and
beauty to be in vain.

l gy recited ? ef. Suid. KAcóBovAos

579
PP

LYRA GRAECA

I"
AAAA1

35 Eb$oparis?
Berl. Klassikertexte 5.2.56
"E»yeépacov Xapirov kpai)p ezt-
a Teéa «p| ódov ] ve TrpOTrive Xoyov.
ajpauw ÓTL mra pÜevikav
aT eípoct gr Xé£opev vois
6 Tàv Óopós fpa * keupa.uevav
Tpotav kaTà? TÜV Tüpà vavgiv dei-.
uvácTots àXóvra vukri9árav oKorov.

36 Mrvqgukocvvy
Ibid.
"Q, Movo «àv ayavoupare párep,
cwveriameo cv Tékvov [yv] [yov]e.
dpTL BpVovaav aoi&àyv *
T'poToT anyet gobía
5 OLaTOLKLNOV ex épo per.
[v4 7]ot Téy£av Bx 8póc[or:]
[rate] vapam pola," boe 706a
AD' éavoU vr Tépvyas, Táxos leco
XezToAiÜov [ém. àyà]v.?
10 eb? ka8ópa TréXayos* 7apà ryàv
ei eve NóTov yaXemàv
QoBepàv [Giazro]vromXaví) uavíav.
1 restored by Wil. Schub. Crus. ? or -r4 (tit. in marg )
? Powell Col. AIez. p. 191, which see for details: P map9evov

3 low: P Sopio epar 5 P kad[r]ov $ tit. in marg.
' P awibay .. $ Wil. zépa mpoi&y ? Pow. oxe]r — !? P ev:

590

OTHER SCOLIA

Book III
OTHERS!
395 Turk Gopprss or Series?

From a Papyrus of the 3rd Cent. r.c. :

Fill the bowl of the Graces brimming, and drink
a health in a covert saying. Proclaim that with
countless praises of maidens we will garland the
Troy that was ravaged by the throwing of a spear
at a prowling spy who was taken beside the
immemorable ships.?

36 MwewuosvNE (M EMORY)

From the Same :

O mild-eyed Mother of the Muses, follow thou a
pure offspring of thy children, Freshly blooming is
the song we bring, made motley with new-fashioned
skill. (The ship] is wet with the dews of Acheloüs.*
Pass thou no further by the shore, man, let go the
sheet, slacken thy linen wings, make haste to the
smooth-pebbled beach. "Tis well. Look at the sea ;
escape ashore from the sore and awful frenzy of the
ocean-ranging Southwind.

See also Ar. esp. 1232 (above, p. 554), Mein.
Com. Fr. Anon. 305.

1 these poems from a fragmentary papyrus song-book may
belong to rather too late an age to be properly included here
? the Greek apparently means *She that makes detection
easy?! X ? Dolon, Z/. 10. 300 ff. : the song is of the nature of
a riddle * prob. rain

581

nórj2sd38 b. g*uyEnt 3513 atlz ^.

D1I5 ;VIntepn
Iu à E
N ] Dni rI501
f t IT
Üerditke Tir
£ft ^ ^ » Lj vt P ;la gi Gf
JX4 € : 212 z 1 t7 2123 21 4Áu buit
Nh ob^ env or bs »itil
R315j
4 $ *. ta
Ui Á " E2261 1i 33 »
Me A LP ud HA IST
ciIUIOQOIG. 7163931 4 liis ptc A
6 € * E ' . 4
Oiesi-W^2It. 6jJirw hij
/ "14 . !
jointioZA 10 30 23n3 11
] 99 L QUILIUT, rds
-
) ài Oj4j2bll 59Anbi 29»
: :
bili3J3hOoG.lI .Huw
1 ü €
10 VNITSST UTWRA DUIS

giol4 .(1GG .G.- v 0dg)

fult. A000 - 94028 &4^ (C60 vio grat d
1511 DUI MI V 13 dow "d 61 124 [x

jo, WITZ ad 4di 1o. gttog sil. JN ET

AN ACCOUNT
OF GREEK LYRIC POETRY

Ow the third day of the Apaturia, known as
Children's Day, when Athenian fathers brought the
infants born within the year to be enrolled in the
clan, it was the eustom, according to Plato, for the
schoolehildren to compete for prizes in the singing
and recitation of passages from the poets. "The
young Cretans, according to Ephorus, were taught
to sing the songs prescribed by law, including, no
doubt, the War-Song of Hybrias. At Sparta the
survival of the Spartan war-poems of Tyrtaeus may
be due merely to their use as exhortations to battle,
but the traditional kinship of the Cretan and Laconian
codes suggests that they were also taught to the
boys. The Arcadians, in Polybius! time, taught the
children first to sing the Hymns and Paeans cele-
brating the Gods and heroes of their city, and as
they grew older the Nomes of Philoxenus and Timo-
theus. At Chios an inscription of the 2nd Century
B.C. mentions among school-subjects reading, recita-
tion, and lyre-playing. We learn much the same
of Teos from an inscription of the 3rd Century.!
Take it as a whole, Greek education, so neglectful,
as it seems to us, of languages, was far from neglectful
of language, and taught it in an excellent way, by
imitation, viváü voce, of good models. "The children
of the Athenians, at any rate, grew up able to appre-
ciate the masterpieces of literature, witness the mere
size of the Dionysiae Theatre. And not only this.
Even as children the young Greeks took part from
time immemorial in festal song and dance, and every
Athenian tribe as constituted by Cleisthenes pro-
duced large choruses of unprofessional singers, men
and boys, at the annual festivals of Dionysus. When
the young Athenian, and we may believe the same
of other Greeks, took his place as a man in the

1 the Athenian schoolmaster's library would include such
anthologies as the .4ttic Scolia and ' Theognis '

583

POETRY IN GREEK EDUCATION

symposia, he did not find the literary part of his
education become a thing of the past, put away
with his childish clothes and his long curls ; but when
the wine and dessert came on he would take his
turn in singing or reciting poetry, and his choice
was not always the latest thing from the 6a/vgara—
such as Theophrastus' Late-Learner sits out several
performances to get by heart—but often what he
had learnt at school, à $e from Euripides or a
song to his own accompaniment from Aleaeus or
Anacreon.

This love of musie and poetry doubtless goes back
to the dim time when the two arts were one. Plato
above, like the inscriptions, calls the children's
performance fajo8ía, and says that they 'sang'
Solon's elegies. "These terms are survivals from that
time. HoMwER makes Achilles sing to the lyre the
' renowns of men,' which, with songs like the profes-
sional minstrel's Lay of the Wooden Horse and The
Love of Ares and. Aphrodite, seem to have been the
material out of which the two great Epies were
*stitehed.' But besides musie, early poetry had
another constituent, the dance. For just as voice
and gesture are differentiations, we may believe,
from a single activity, the communication of ideas,
so song, poetry, and dancing, as we know them,
are differentiations from the song-dance which
primitive peoples stil regard as a single whole.
Although neither the civilisation described by Homer
nor—so far as we can distinguish it from the other—
that of the time in which he lived, can be called
primitive in the anthropologist's sense, the Iliad
contains survivals from this stage of development.

It is clear for instance that uoA-/ and jéAmeo0a: some-
times mean much more than song and singing. Hector
says, boasting (7. 241): *I know how to charge into
the mellay of swift chariots, and how to do song-dance
(uéAmec8a!) to furious Ares in close battle. In three
places of the Iliad we find the phrase xvvàv» yéATmÓpa
yevéa0a. * become à song-dance of dogs, that is their
sport. In both these instances it is the dance rather

584

SONG-DANCE IN HOMER

than the song that makes the metaphor applicable. In
the Odyssey (8. 266), Demodocus' song of the Love of Ares
and Aphrodite is accompanied or at any rate preluded
by à dance of young men.

And song was originally cult-song. Traces of this,
too, survive in Homer. Phemius calls himself a
minstrel who sings both to Gods and men, that is
both Hymns and Lays, kAéa àvópóv. Homer often
calls the munstrels 6€to, divine. Their function
appears to have been twofold. "They were profes-
sional story-singers, and they led the dance. Just
as the banquet was in origin part of the sacrifice,
so what may be called the 'entertainment' side of
the minstrel's activity was once part of the religious
side. Similarly the cult song-dance at à wedding
or à funeral eannot be dissociated historically from
the dance or-song-dance which in Homer appears
generally to have become a mere entertainment.
The dance depicted on the Shield of Achilles is thus
deseribed (//. 18. 590) :

* Also did the glorious Lame God devise therein &
daneing-place (xopós) like that which Daedalus made
for the fair-tressed Ariadne in wide Cnosus. "There
youths did dance and maidens of costly wooing, their
hands upon one another's wrists. Of fine linen was the
maidens' raiment, and the youths wore well-woven doublets
glistening with the oil. Fair wreaths had the maids, and
the young men daggers of gold that hung from silver
belts. And now ran they around with deft feet
exceeding lightly, as when a potter, sitting at the wheel
which fits between his hands, makes trial to see if it
run; now again ran they in lines to meet each other.
Around the lovely dancing-place stood a great crowd
rejoicing, and among them a divine minstrel made music
on his lyre,! and leading the uoAmí in the midst two
tumblers whirled.'

These tumblers seem to be & sort of professional
dancers who lead the rest. As in the Hyporcheme
of later times, their dancing was probably more

1 the minstrel, omitted in the MSS, is not certainly to be
supplied. as he was by Wolf, from the parallel passage of the
Odyssey (4. 17)

585

SONG-DANCE IN HOMER

pronouncedly mimetie than that of the chorus
proper. lt is clear that here, as sometimes in Attice
drama, the main body of the dancers is divided into
two parts.

The Wedding Song-dance in Homer is rather more
clearly a religious act (4//. 18. 490) :

* And therein wrought he two fair cities of mortal men.
In the one were espousals and marriage-feasts, and
beneath blaze of torches they led the brides from their
chambers through the city, and loud rose the bridal song
($uévaws). The young men whirled in the dance, and
high among them did sound the flute and the lyre; and
all the women marvelled at it, standing each at her door.'
The Funeral Song (24. 718), like some of the songs of
entertainment, seems already to have lost the dance.
Perhaps it is merely taken for granted :

* And when they had brought Hector's body to the

famous house, they laid him on a fretted bed, and set
beside him the minstrels who lead the dirge, and these
did wail a mournful song, and the women moaned in
answer.'
'Then in turn Andromache, Hecuba, and Helen make
what is called à yóos or address to the dead, and
after each yóos the women moan again. Here is
something of the nature of an Amoebeie Dirge
between the principals, with a chorus of wails from
the rest. Perhaps the dance-element was supplied
by the elaborate mourning gestures of the wailing
women.! However that may be, the dance is clearly
a part of the Dirge for Linus which is performed in
the vintage-scene of the Shield (18. 572):

* And maidens and striplings with childish glee bare
the honey-sweet Ííruit in platted baskets; and in the
midst of them a boy made delightful musie with a clear-
toned lyre and sang to. it the fair Linus-Song (or sang of
the fair Linus) ? in a piping voice, while the rest, beating
in time, followed his dancing (uo^-$) and his singing,
leaping lightly with their feet."

Such a cult-dirge would retain ancient features longer

1 asonthe Dipylon Vases; see below p. 623 ? or, comparing
Od. 21. 411 sang beautifully the Linus-Song (or Linus)'

596

THE NATURE OF GREEK METRE

than the dirge for an actual burial. If it be true
that children's games are often rituals that have
degenerated, it is significant that we find mention of
por, song-dance, when Nausicaa plays ball with her
maidens (Od. 6. 100). When Alcinous gives a dis-
play by the two champion ball-throwers, it is a dance:

*and the other youths stood by the lists and beat
time (or shouted in time), and a great din uprose.'!

In connexion with this early song and dance we
have had more than one mention of beating time to,
or keeping in time with, the performer. This brings
us to the question of THE NATURE OF GREEK METRE.

It is usual nowadays to maintain that it went entirely
by length of syllable; there was no 'ictus. This, it is
true, tallies with what we know of the natural accentua-
tion—pitch, not stress—of the language in classical times ;
and if the history of early Greek music could be confined
to the flute, the theory would, on the face of it, be reason-
able enough. But all the early bards are lyre-players,
and for a good reason; the lyre-player, unlike the flute-
player, can sing to his own accompaniment. Moreover
*percussive' sound like that of the lyre was probably
found a better accompaniment to the dance than the
*sustained' sound of the flute.? "There is no instance
in Homer of dance or song accompanied merely by &
flute. Now it is well known that languages change the
nature of their accentuation, at one period stress (or
varied loudness) predominates, at another pitch (or varied
note); and Latin, a stress-language, successfully adopted
Greek metre. It seems therefore more likely that the
Greek metre of classical times did involve a very appreci-
able ictus; and this (though of course it came to run
counter to the natural pitch-accent of the word, and, as
in Polish folk-music and in English blank verse, could
be shifted on occasion from its ' proper' place)? may
well have been a survival from the time when Greek or

1 Od, 8. 370 ? the recourse of organists to grace-notes
and staccato-playing when leading ' congregational' singing, like
that of the Greek fluteplayer to the xpovmreca or foot-clapper
when training a chorus, shows that they feel the metrical short-
comings of their instrument 3 as perhaps in the substitution
of -- for -- (Anaclasis); e.g. in Sappho 86 cf. ll. 7 and 16

587

THE NATURE OF GREEK METRE

pre-Greek had more of the nature of a stress-language—
whether or no this time was identical with the very early
period which produced the 'weak' forms of 'roots'
exemplified by 5í-óp-os beside $ép-w.

That the Hexameter, or the iorehis out of which it
grew, was originally a stress-metre, is perhaps suggested
by its never admitting resolution of one long syllable
into two short, and by such Homerie scansions as üávporz;ra
and $:Aq. It is significant that Aeolie verse, which, as
we shall see, shows elements of greater antiquity than
the Hexameter, is equally unfavourable to resolution;
admits ictus-lengthening—if such it be—of certain con-
sonants; and, as might be expected in the early stages
of & language which preferred co$ómrepos to eod$órepos,
eschews the suecession of three short syllables. "The
strange contentment of classical Attie with such a form
as emevórepos (due to the word's having been originally
erevFós) shows à change in the feeling of its speakers !
which, whether actually contemporaneous with it or not,
can hardly be dissociated from the spread of resolved
feet from Iambic-Trochaic into Melie metres.?

If Greek metre was originally a stress-metre, it does
not perhaps necessarily follow that it involved *equi-
distant stress, that is, that it was divisible into equal
* bars? ; but, other considerations apart, Homer's mentions
of beating time assuredly point this way for the folk-
musie, and the use of the xpojvme(a? for the later art-
music. Eventually no doubt, just as it became admissible
to shift the ictus, the equidistance could be broken on
occasion and even frequently, as it is in the Elizabethan
madrigals,* but, as in our blank verse, the underlying
sense of it must always, one would think, have been
there. Despite the half-parallel of our own plain-song,
it is hard to believe that the Greek poet-musicians of the
6th and 5th Centuries, whom Aristoxenus speaks of as
$iAóppvÜuor in contrast with the d$iAoueAeis of his own
day, should have habitually taught a chorus of fifty non-

1 the later working of the change appears in the fact estab-
lished by de Groot that Demosthenes avoids groups (a) of more
than two ' shorts ' and also (b) of more than two ' longs, whereas
Plutarch and Philo avoid (b) but not (a) ? Aleman uses
resolution in his Partheneion, but only in trochaic lines 3 p.
687,n.l ^ e.g. by inserting a bar or bars of 3 among bars of 2
without compensating by & change of tempo

588

DANCE AND METRE

professional Athenians to sing and dance an unpunctuated,
or unevenly punetuated, succession of 'longs' and
*shorts, in which the grouping could make little or no
appeal to the lay ear. Another perhaps illuminating
consideration is, that the arrangement of Anapaests and
Iambi (or Trochees) in two-foot ' metra would seem to
indieate 4-time rather than 2-time in the one case, and
6-time rather than 3-time in the other, and this grouping
surely implies à secondary ictus, as in our 6/8-time, half-
way through the *metron' or bar. If there was or had
been no ictus at all, why the contrast in nomenclature
with the Hexameter, where foot and metron are identical ?
For us this question of the nature of Greek metre has
some real importance. For with a very few exceptions,
and those either late or fragmentary, we have lost all
the music of Greek lyric; and if we are to accept the
view that there was no ictus, let alone no equidistant
ietus, we, whose own poetry goes by stress, a stress that
in feeling if not in fact 4s equidistant, must in the nature
of things lose much of the rhythm as well. And yet the
$diAóppvÓuos reader of, say, an ode of Pindar, gets an
aesthetic pleasure from the rhythm; and making all
allowance for undoubted difference of metrical associa-
tion between the Greeks and ourselves,! this effect often .
seems to suit the sense so admirably that it is hard to
believe it à mere phantom.*

TRE NATURE OF GREEK DANCING is mostly beyond our
present scope; but certain considerations may throw
some light on the early history of Greek metre. "The use
of the word ' foot" in a metrical sense proves that, of the
bodily gestures of which ancient dancing consisted, the
most important was the movement of the feet, doubtless
because the feet strike the ground and so produce sound.
Its invariable use for a group of two or more syllables
and not for one syllable suggests that the step and the
syllable ceased to correspond at a very early stage. This
stage seems to have been reached earlier in the Dactylic
and Anapaestie than in the other metres, and earlier in

l for instance, despite the well-meant attempts of modern
composers of musice for Greek plays, nothing can make a
choriambic metre solemn to the ear of Englishmen, whose
ancestors disliked it so much that they inverted the adjective
as in *the house beautiful, *the lady bountiful, and preferred
*wife's mother ' to * mother-in-law ' ? a good instance is the
speech of Jason, Pind. P. 4. 148 ff.

589

THE CYCLES: HESIOD

the Iambie and Trochaiec than in the Melic. "The use of
Anapaestie rhythms for marching suggests that there
were two and not three steps to the Anapaest; and the
Prosodiae for instance (z—--—-- —), clearly involved
an unsung step or musical rest of a whole foot between
each pair of lines. Yet that the foot once corresponded
with the syllable and not with two or more syllables, is
made probable both by the word itself and by the ultimate
identity of poetry and dance, considered with the par-
ticularly slow development of ' resolution ' in Melic verse,
which, otherwise so much more open to innovation than
the other forms, preserved its connexion with the dance
far longer and shows other signs of a greater antiquity.

When Greece emerges from the Dark Age which
followed the Age of the Heroes deseribed by Homer,
this dimly-seen and hardly-to-be-measured time of
changes territorial, economic, political, we find the
Hexameter still the art-metre par excellence, but it
has widened its scope. The Trojan CYcLE,! some
of them of the school of Homer in Chios, but drawing
sometimes on material other than his, have begun
their work of filing the gaps in the Tale of Troy;
. and we have traces also of a Theban Cycle concerned
with the two expeditions against Thebes, and of
other Epie poetry such as the T'itanomachy. These
poets mostly are the conservatives—the old con-
ventional metre and the old aristoeratic themes.
The kings were mostly perhaps still kings, and doubt-
less liked to have bards singing at their table of the
deeds of their heroic ancestors. We hear of à king
Agamemnon of Aeolian Cymé, whose daughter was
married to Midas king of Phrygia.? The name and
the marriage are both significant. Now this Cymé
not only plays a part in the traditions surrounding
the name of Homer, but was the city whence HEs1oDp's
father emigrated to Boeotia; and in Hesiod, kings,
by which are probably meant nobles, are oppressors

l this name for a select body of poetry should be compared
with the xou zepíoóos of Pindar's works (Arg. p. 6 Dr.); it
more probably originated among the schoolmasters than
among the professors ? the Dynasty of kings known to the
Greeks by this name came to an end in 05

590

THE HOMERIC HYMNS

of the people. Homer glorifies war and kingship
like the court-poets before him. By Hesiod's time
the force of the royal tradition has weakened. "The
poet now detests war, and his audience—and with it
his subject-matter—has widened. Hesiodis a popular
poet who uses the old metre for new subjects. He
writes more for the gatherings at the forge and less
for the feasts in the baronial hall. Epic poetry,
long become a mere entertainment, takes new life
as & means of instruction. "The poet resumes his
ancient róle of prophet. For our present purpose
the greatest thing about Hesiod is that he speaks
not only of the real present instead of an ideal past,
but of himself. "This, as far as we can tell, was new.
But we must remember his Aeolic ancestry. The
personal note which rings so clear in the poems of
Sappho and Aleaeus may well have been struck in
Aeolis, as we shall see, before their day.

The same period produced the earliest of the
HoxwEsnic Hvwws. The Heroie Lay which was the
material of Homer's Epies seems once to have been
the secular, the purely narrative, portion of a sacri-
fieial song of which the Hymn, part invocation,
part theogony, part prayer, was the sacred or ritual
portion.

The extant Hymns have a way of referring to a ' praise
of men' to follow, and Thucydides calls the Hymn to
Apollo à proem or prelude.! Now early ritual song, for
instance Olen's Delian Hymn and the hymn performed
by the Gods at the beginning of the Hymn to the Pythian
Apollo, was danced, as primitive poetry generally if not
always is; yet the Hymn proper of the Greek classical
times was not.* It is possible that it was the use of the
narrative part as a mere story-telling which reacted at
an early period on the ritual part, and caused it ultimately
to drop the dance. "The process of division was doubt-
less slow, oecasional long before it was usual; and even
after it had come about, the dance seems sometimes to
have been thought proper for the Hymn. Of the three

l see also on Arion, vol. i, p. 138; and on the Nome below,
p. 674 ? the testimony of Proclus, Chr. 244. 12, to judge by
the context, is to be preferred to that of Athenaeus, 15. 631d

591

THE DARK AGE

songs of Demodocus (Od. 8. 73, 266, 499), though all are
apparently mere entertainment, the second, which alone
is concerned with the doings of the Gods, alone is accom-
panied by a dance. This theory is supported by the use
of iuvos by Homer in Odyssey 8. 429 for what is apparently
a purely secular song—a survival perhaps from the days
when all formal song was ritual, and the partition of the
Hymn had not yet taken place.

It is remarkable too that in the earliest or Mytho-
logical Period, the DAn&k AGE, to which we must
now turn back, the period of Orpheus, Thamyris,
and Amphion, we hear little if anything of any
poetical form but the Hymn. Yet to judge from
references in Homer, analogies from other peoples,
and the usages of the Greeks in later times, there no
doubt existed side by side with them Wedding-
Songs and Laments, for instance, and Oeccupation-
Songs of spinners, weavers, grinders, rowers, and
the like. How far all these should be celassed as
cult-songs it is difficult to say, and if not, where to
draw the line. Go back far enough, and in a sense
every human act 42s cult. 'The point here is that
the Hymn seems at this very early time to have
taken the first, perhaps the only, place in what we
should now call professional circles. Why, is fairly
clear. lt was the subject of religious competition.
And naturally, for these contests, so marked a
feature of Greek life at all periods, were performed
in honour of à God or hero, and for such a contest
in musie the hymn of praise or incantation—-once
of the ghost—is the obvious subject. "The fact
that Olen's Delian Hymn to Eileithyia (p. 594, below)
was choral and the Homerie Hymns monodie, need
not trouble us. |

If we may trust Pausanias' account of the earliest
competitions at Delphi—and his account almost certainly
represents the local tradition if not the local records—
the early Hymns were sometimes, at any rate, sung and
played by a single person. "The truth is, the clear-cut
line between choral and monodie song (or song-dance)
was drawn comparatively late. Homer's minstrels already

592

EARLY HYMNS: A BOEOTIAN SCHOOL?

do their dancing by proxy; Hesiod's Apollo, like Archi-
lochus, still leads the dance as he sings and plays. "That
the early Hymn proper, that is the more strictly ritual
part of the Heroic Lay, was, like the Hymn to the Muses
which begins the Works and Days and some of the extant
Homeric Hymns, quite short, is perhaps indicated by
Pausanias' remark on the shortness of the only genuine
Hymns of Orpheus. Before the partition (which would
be aided by the facet that certain narratives would be
more acceptable than others to any particular audience
of the wandering bard, while the same ' hymn would
be just as welcome to the descendants of one hero as to
those of another) the ritual part would tend to shrink,
like the choral element in the Attic Drama. Once the
partition was complete, the Hymn itself would tend to
become partly secularised and lengthen out into narrative,
such as we find in the longer Homeric Hymns and Alcaeus'
Hymn to Apollo.

Among the. early bards we hear of Anthes of
Anthedon in Boeotia, who composed hymns, Pierus
of Pieria who composed 'the poems about the
Muses, the Delphian Philammon who described in
lyrie poems (or in music) the births of Leto and
Artemis and Apollo, and first established choruses
at the Delphian temple. 'These may not all be
facets, but it is at least clear that Central Greece
kept its light burning throughout the Dark Age.
The immemorial use of the Hexameter, though not
invariable, in the Delphie oracles, betokens the high
antiquity of the staff of poets which Strabo tells us
was attached to the temple for this purpose. With
such literature the didactie element in Hesiod doubt-
less has some kinship.! Even in Hesiod's day there
seems to have been something of the nature of
poetry-sehools or guilds of poets in Boeotia. The
eult of the Muses there, the existence of the Homeridae
in Chios, the parallel of the Asclepiadae in Cos, and
the way in which the Greeks took it for granted, as
for instance in Plato's Protagoras, that arts and
crafts passed from father to son, seem to point here

1 ef. also his use of descriptive animal names, e.g. $«péotxos,
A. B. Cook, C.R. 8. 381 ff.

593
VOL. III, QQ

ORPHEUS: PAMPHOS: OLEN

to something more than a mere casual association
of master and pupil. It may well be that Hesiod,
that is the author of the Works and Days, attended
a long-established school of faje8ía, to which his
pupils or pupils pupils, the authors of the other
Hesiodie poems, also belonged. "The strong Aeolic
element in the Boeotian dialect and the discovery of
7th-Century Ionie inscriptions in Thebes, no less
than the later history of Boeotian poetry, speaks for
the political and cultural survival in Boeotia of a
mixed pre-Dorian element, doubtless at first oppressed
but not, as in most of the Peloponnese and in Thessaly,
permanently enslaved, by the Dorian invaders.

Cultural survivals of the days before the Great Migra-
tions are to be found elsewhere in Greece, notably in
Sicyon, which preserved to the time of Heracleides of
Pontus (340 B.c.) its register of the priestesses of Argos
and the poets and musicians,! and where the existence
of a fourth tribe representing the pre-Dorian element has
doubtless à causal connexion with its claim to the first
Greek painters and sculptors and the first appearance
there of Tragic Choruses. At Athens, where there had
been no break with the past, the Lycomids, hereditary
priests of Demeter, preserved the only works of Orpheus,
Pamphos, and Musaeus which Pausanias accepts as
genuine. These were Hymns sung at the Eleusinian
Festival, some of them Hymns to Love. A fragment of
Pamphos is worth quoting as one of the very few surviving
pieces of pre-Homerie literature: 'Pamphos, says
Pausanias (7. 21), * who composed for the Athenians their
most ancient hymns, says that Poseidon is '|Giver of
horses and of ships with spread sails "

e ^ ^ 3 9 , ,
Urmev re 0ori)pa veav T. iOvkpmüéuvov.

At Delos we hear from Herodotus and others of Olen
*the Lycian. Pausanias speaks, as though they were
extant, of his Hymn to Achaeia, a Hyperborean maiden
who came to Delos, his Hymn to Hera, and his Hymn to
Eileithyia. From the last he quotes (8. 21) what is per-
haps our earliest piece of Greek literature; for he places
Olen before Pamphos and Orpheus: ' The Lycian Olen

1 probably their victories in competitions

594

CHRYSOTHEMIS: PHILAMMON : THAMYRIS

eomposed various Hymns for the Delians including one
to Eileithyia, in which he calls her

€eUAivOS

or 'deft spinner. "The Hymn doubtless celebrated the
births of Apollo and Artemis. Olen's hymns are prob-
ably referred to in the Homerie /7ymn io the Deltan
Apollo (156): *And there is this great wonder also,
whose renown shall never die, the Delian maids that are
servants of the Far-Shooter; for when they have praised
Apollo and after him Leto and Artemis that delighteth
in arrows, they sing a strain telling of men and women
of ancient days and charm the íribes of men. These
Hymns, known to Herodotus, were still performed in
the days of Callimachus (see p. 488, above). Of the several
recorded inventors of the Hexameter, the ciaim of Olen
is perhaps the best established.

All these survivals of the Dark Age seem to be
connected with Apolio or Demeter. Speaking of the
earliest competition at Delphi, Pausanias says (7. 2)
that he was told that the subject of the contest was
a Hymn to the God, and that the winner was Chryso-
themis of Crete, son of Carmanor priest of Apollo.
The Cretan connexion, confirmed by archaeological
finds, occurs too in the Zymn to the Pythian Apollo,
which makes the God appoint as his ministers at
Delphi the crew of à Cretan ship of Cnossus, miracul-
ously guided to the port of Crisa.

*'The next winner' continues Pausanias ' was Philam-
mon, and next to him Philammon's son Thamyris.
Orpheus, however, gave himself such airs because of the
Mysteries that he would not enter for the prize, and
Musaeus, who laid himself out to copy Orpheus, followed
his example. This seems to mean that Orpheus and
Musaeus, as belonging to the Eleusinian Mysteries of
Demeter, could not reasonably be supposed to have
competed in à Hymn to Apollo. "The tradition points
to an ancient jealousy between Eleusis and Delphi.
*'They say" he goes on 'that iEleuther won a Pythian
victory by his strong sweet voice alone, for the song he
sang was not his own. We may note this early, and to
Pausanias noteworthy, case of a lyrist-rnusician who was
not also a poet. 'Itis said too that Hesiod was excluded

595
QQ2

EUMOLPUS: MUSAEUS: AMPHION

from the competition because he had not learnt to accom-
pany himself on the lyre. Homer came to Delphi to
inquire of the oracle; but even if he had known how to
play the lyre, the loss of his sight would have made the
accomplishment useless."

Apparently the informants of Pausanias believed that
Homer and Hesiod were not musicians as well as
poets, that is that they were rhapsodes or reciters
of Epie verse. Did the rise of true Epic as opposed
to the Heroie Lay begin the divorce of Greek poetry
from music ?

Philammon, like Orpheus, was said to have come from
Thrace. As we have seen, he first established choruses
to the God; according to some accounts he invented the
Lyrie Nome. 'Thamyris is mentioned as contemporary
with Eurytus, that is with Heracles, in the Catalogue,
Il. 2. 591. Strabo, strangely enough, makes him ruler
of part of the Chalcidie peninsula. Heracleides ascribes
to him a Battle of the Titans. 'To the same Thracian
family belonged, according to some authorities, Eumolpus
and Musaeus. 'The reputed descendants of Eumolpus
were priests of the Eleusinian Mysteries. The story
which made him a grandson of Boreas through the Attic
maiden Oreithyia probably reflects a desire to associate
him with Athens rather than Eleusis. Musaeus was said
to have invented the Dactyl:! Besides a collection of
oracles (see vol. ii, p. 223), he was credited with the
authorship of works which remind us of Hesiod, Precepts,
"Yxo07ka., addressed to his son, and a T'heogony. But Pau-
sanias believed (1. 22) that his only genuine extant work
was the Hymn he composed to Demeter for the Lyco-
mids. Athenian tradition gave him burial on the Museum
Hill. Three words of his, quoted by Aristotle, stand as
the motto for this Epilogue. The only one of what
appears to be the earlier stratum of these primitive poets
or poet-priests that does not seem to have been con-

1 Were the earliest * pre-hexameter' songs spondaic? Com-
pare the fragment of Pamphos quoted above and the spondaic
fragments attributed to 'Terpander. Do Spondaic-Dactylie
and Trochaic-Iambic origins unite in a group of two stresses,
one strong and the other weak, the result of that menta! group-
ing of successive equal and equidistant sounds which we call
rhythm, & grouping which in biped rznan naturally, where
walking or running is concerned, falls into twos ?

596

SOURCES OF GREEK MUSIC

nected in any account with Thrace, is Amphion, who is
mentioned in the Odyssey as the founder of Thebes, where
his tomb and his tripod were shown to Pausanias.

Although Herodotus makes these early poets
posterior not only to Homer but to Hesiod, other
traditions placed them before the Dorian Migrations.
If they are historical, and most of them probably
are, they should perhaps be placed in the time of
the Achaean princedoms along with Demodocus and
Phemius with whom they are sometimes coupled.

Their foreign origin, if we may use the term of days
when the line between Greek and Barbarian was but
faintly drawn, implies that the Greeks, or at any rate the
people from whom they derived a large part of their
culture, were already in Greece, and should be considered
in connexion with such myths as those of the Telchines
and the Idaean Dactyls. Indeed Alexander Polyhistor,
quoted by Plutarch Mus. 5, ascribed the introduction of
instrumental musie (xpo$uara) to Olympus and the
Idaean Dactyls. "This seems to be a combination of two
accounts. The Dactyls were the Phrygian priests of
Cybele and, according to tradition, great workers in iron.
The spread of à higher type of music, and probably this
means of poetry, seems to have coincided roughly with
the passing—doubtless very gradual—of the Bronze
Age. "The other aecount used by Alexander apparently
ascribed the introduction of xpobuara to Olympus,
adding that the first fluteplayer was Hyagnis who was
followed by his son Marsyas who was succeeded by
Olympus. This is the Marsyas who was said to have
been flayed alive as the result of a contest in music with
Apollo. "The barbarity of the story is a mark of its great
age; Marsyas' name is not Greek; and the scene of his
death is laid, like that of the activities of the Dactyls,
in Phrygia. The myth clearly reflects an early antagonism
between ' professional' wind and string, like that which
made Athena reject the flute when she saw the reflexion
of herself blowing it. It is indeed possible that the flute
as a ' professional! instrument came in from Asia and
found the lyre, which had come from Thrace, already
installed in popular, or shall we say princely, favour.
But the great vogue of the flute in the conservative
Dorian communities of classical times shows that, if so,

597

END OF THE DARK AGE

it must have come in very early. "The tradition followed
by Telestes was that it came with Pelops. In any
case we must not imagine, either of wind or string,
that no sort of instrument of the kind was indigenous in
Greece. It has been thought that what Olympus really
introduced was the double-flute. The Egyptians first
used the double-flute after their conquest of Asia Minor.
Ilt was used in Crete in Late Minoan times.

it should be added that the apparent contradictions
in the accounts of cultural importations—Olen of Lycia
and Olen of Thrace, the Hyperborean and Lycian origins
of the worship of Apollo, and the like—are probably due
partly to migrations such as that of the Phrygians across
the Hellespont, partly to rivalries like that between
Delphi and Delos, partly to the desire of the early Greek
colonists of Asia to connect themselves with the Greece
of the Heroic Age. Moreover the traditions of these
early poets are doubtless contaminated by the ulterior
motives of the Orphies and the Pythagoreans. On the
whole we must conclude at present in favour generally
of Eastern and South-Eastern origins rather than Northern.
But the worship of the Muses clearly came from the
North, and there seems to be reason sufficient to make
a further exception of Orpheus.

Between these bards and the age of Homer and
Hesiod, with which we have already dealt, there is
an almost eomplete blank. Yet we may well believe
there was no break in tradition. Homer, however
we interpret the name, clearly had forerunners. The
passages where the J/;ad speaks of two names for
the same person or thing (e.g. Jl. i. 403), one the
divine and the other the human, point certainly to
an older, probably to a more hieratic and possibly a
non-Hellenie, stage of the Epic; and the use of
'stock' epithets not justified by the context is a
certain sign of a long tradition. Hesiod, as we have
seen, may have attended a long-established Boeotian
school of poetry; the musico-poetieal contests at
Delphi were of great antiquity; and Orpheus'
severed head, in the myth, was carried by the Hebrus
to the shore of Lesbos.

We now pass into the region of dates and (com-
598

EUMELUS: THE ELEAN HYMN

parative) certainties. While the true Epic of the
Cycles, as opposed to the quasi-Epie of the Hesiodic
school, eontinues to flourish in lonia, there arises
in Dorian Corinth an interesting figure, who on the
strength of his Processional to Delos, written before
the Spartan conquest of Messenia, appears in the
text-books as the first Lyrie poet. But it should
be remembered that EuxwELuS was also reputed an
Epie poet of the Trojan Cycle and a writer of history
in Epie verse. The last sounds like a new departure
—if it is true; and it seems reasonable enough.
Formally it would be a natural development of the
theogonic element of the Epos; in the great colonising
times of the 8th Century the colonists would welcome
a rhapsode who told them tales of their great ancestors
of the motherland; and Eumelus was not only a
contemporary but a kinsman of the man who founded
Syracuse from Corinth. His Processional Hymn,
which is written in what was then the only 'art '-
metre, although it is doubtful whether Pausanias
means that it was the first sent by the Messenians
or the first ever sent, was probably by no means
unique as a festal song. There may well have been
a demand, for instance, for wedding-songs long
before Aleman's day, and one at least of Sappho's
was written in the traditional Hexameter. It
smacks of the great days of expansion that these
lines of Eumelus, quoted—significantly—as evidence
for a musical competition, testify to innovations in
poetry. The poet 1s clearly refusing to be bound by
convention.!

Side by side with the professional poetry of the
Epic tradition there existed now, no doubt, as always,
& body of folk-poetry which was soon to react, as
we shall see, upon the poetry of the great musical
contests. 'The Elean women's Hymn or Incantation
to Dionysus, though we have it in à modernised
version, is certainly very old, probably a good deal

1 Croiset suggests that the ref. to the 'íree sandal' means
that the chorus was composed not of slaves but of citizens,
li, p. 52

599

ELEGY

older than Eumelus; for in it Dionysus is & bull-
God or rather & bull-hero,! and there is no mention
of wine. Metrically it seems to go back, like some
of the Half-hexameter proverbs, to pre-hexameter
days, from the same stock indeed as the Epic, but
a remote cousin.

But the joint reign of the Epie and the lyre—a
reign long afterwards still remembered in the sub-
eonscious mind of the Greek race, for xpojpara,
literally 'strikings, and voA/yop8os, literally *of
many strings, were used in classical times of flute
as well as of lyre——was coming to an end. As we
enter the 7th Century, we find new kinds of pro-
fessional poetry, new kinds which, though they may
not in their extant state have so long a past behind
them as the Hexameter, must nevertheless not be
regarded as new creations. The lore of the unskilled,
unlearned, unrecognised, has merely begun one of
its reactions on the lore of the skilled, the learned,
the fashionable.? Let us begin with the ErrEcv.
The ancient view was that 1t originated in a lament.
This is very likely true. The non-Hellenie word
éAeyos which first appears in Echembrotus (c. 600
B.C.) has been compared with the Armenian elégn
*reed' or (flute; Armenian is the modern repre-
sentative of ancient Phrygian; the instrument of
Elegy was the flute; the flute was believed by the
Greeks to have come from Phrygia; the flute seems
to have been connected with the worship of Cybele
as the lyre with that of Apollo.

At first sight the fact that the Pentameter, which is
certainly misnamed, enters history in association with
the Hexameter, is a strong indication that it developed
out of it. Yet not only does it appear as early as Stesi-
chorus (c. 600 5.c.) in conjunction with a Dactylic Hepta-
meter, but in Archilochus (c. 650) we find ' half-penta-
meters ' mixed with Iambic and Trochaic metres; and in
inscriptions a Pentameter sometimes ends a succession of
Hexameters. Moreover if its early association with the

1 unless, as has been suggested, we read Jp) 6. Awvveos
? for the inaccuracy of this distinction, see below, p. 669

600

THE ELEGIAC DISTICH

Hexameter is to be used to prove its derivation from it,
the same argument will hold for the Iambic, which first
appears among the hexameters of the Margites. It is
more likely that the Pentameter was derived partly from
the pre-Epie Hexameter of the early Hymns and partly
from the reaction of the ' pre-hexameter' folk-songs !
upon it. Archilochus, who, as we shall see, seems to have
* gone to the folk for some, at least, of his metres, com-
bines Iambie and 'Trochaie with *' Half-pentameters ';
and it is on the face of it more likely that the Pentameter
is & conjunction of two wholes than that Archilochus
split it and used half at a time.

Now if the éAeyos was originally à lament, as it still is
in Euripides! Helen, Iphigenia in Tauris, and Andromache,
and in Aristophanes! Birds, it is possible that the two
parts of the Pentameter were once sung by two semi-
choruses and the preceding Hexameter by a singer to the
flute. "The refrain of the ancient Elean Hymn to Dionysus
is doubled, and so is the cry à fre Báxxav in. Euripides;
the Muses in the JI/ad lament Achilles àueiBóuevai,
*alternately '; and an amoebeie Dirge is implied in
the Lament for Bion (48). Such an origin might account
for what is so strange in the Elegiac Distich in com-
parison with the frequently overlapping Epie Hexameter,
its unity. Of course, in the earliest Elegiaes, those of
Callinus and. Archilochus, this non-overlapping rule is by
no means always observed; moreover the second part
of the Pentameter is always Dactylie, while Spondees are
allowed in the first. But it is only our school-training
in the Ovidian Distich which emphasises the frequency
of these early overlaps rather than their infrequency ;
and the Dactylic fixity of the second half may well be a
custom which came in after the combination of the two
parts had taken place; for as we shall see, it was an
early tendency of Greek verse, as of Sanskrit, to keep
rules more carefully towards the end than towards the
beginning of the line, witness, among other things, the
comparative rareness even in Homer of a Spondaic fifth
foot. Moreover the double-long at the middle and end
points fairly clearly to original breaks in the sense, breaks
which it would naturally take far longer for change of
fashion to override than the break at the end of the

1 i.e. folk-songs composed in the rhythms which evolved into
the Hexameter

601

FLUTE-SONG

Epie Hexameter, which at the most was equivalent to
only a short syllable. :

Just as the lyre-metre, the Hexameter, once the
metre of the Hymn, probably came, as we have
seen, to be used for the Epie Lay, and the Epie Lay
developed into Heczameter poems of various sorts,
so the flute-metre, the Elegiae, came to be used by
the 8th-Century lonians for Elegiac poems of various
sorts. While Clonas, the so-called inventor of the
Flute-sung Nome, probably used it at Sparta in the
Nome called Elegos when the Nome was still hieratie,
his later contemporary Callinus of Ephesus uses it
for the purely secular purpose of à War-Song, and
Archilochus of Paros not much, if any, later employs
it for consolation, lament, aecounts of war and
travel, and what not. This change of purpose,
which of course came gradually—for Calhnus also
wrote an Elegy to Zeus— was, as we shall see, of
the utmost importance.

Continuing his account of the early Pythian con-
tests (7.2), Pausanias tells us that the first competitions
at Delphi were musico-poetieal; not til the First
Pythiad (586 B.c.) was the athletic element brought
in, and at the same date the musico-poetical ' events '
were extended to include, besides the immemorial
Singing to tHe Lyre, Flute-song and Flute-playing ;
at the Second Pythiad (582 5.c.) the Amphiectyons
discontinued the Flute-song because they decided
that it was not an auspicious form of musie '—that
is, unsuitable for à ritual whieh was intended to
invoke the favour of the Gods —; *'for it con-
sisted of very doleful flute-musie with Elegies '—
éAeyeta glossed 6pí$jvov— sung to its aecompaniment.'
This left the Lyre-song for the poet-musician and
the Flute-playing for the musician. At the Eighth
Pythiad (558 s.c.) the Lyre-playing interest, as we
should call it, succeeded in inducing the Amphictyons
to include a contest in Lyre-playing. Now in Alcaeus'
Hymn to Apollo the Delphians were represented as
singing and dancing a Paean to flutes; moreover
Aleman said in & lost passage that Apollo played

602

THE IAMBIC

the flute himself. 'The coincidence of dates indicates
that in the first quarter of the 6th Century the flute-
players were working up their case on the mytho-
logical side. It is to be noted that we are told that
the fluteplayers mentioned by Aleman had Phrygian
names.

All the same, it must not be supposed that the flute
had nothing to do with Apollo till 586. "We are told
that the first fluteplayer to use the Lydian mode was
Olympus in his lament for the serpent Python; and as
such a lament can only be conceived as part of the Delphian
ritual, this would take the use of the flute at Delphi back
to the early 7th Century atleast. "The truth would seem
to be that the flute had long taken part in the ritual of
Apollo, but for some reason, probably the great vogue
of the lyrist-minstrels as we see it in Homer, it was not
given the same prominence as the lyre.

The attempt of the fluteplayers to win recognition
in the Pythian contests was, as we have seen, only
partly successful. The contest in the Flute-sung
Nome— which seems to have been in the Elegiae
metre and at first choral—was not repeated. Else-
where, however, we hear of Flute-song, notably in
the 'solos' of Attic Drama, down to the last Century
B.C. Meanwhile flute-playing continued to flourish
all over Greece. At Sparta it was the custom to
march into battle to the sound of.flutes; flutes
accompanied not only wrestling and other exercise
of the palaestra at Athens, but many occupations
such as building, reaping, baking, everywhere: and
in the Dorie Choral Melie, as we shall see, the flute
came to play a great part.

Another seemingly new type of poetry to appear
in the 7th Century was the lAwBIic. Whatever the
derivation of the word íapfos, it cannot be dis-
sociated from that of &&6/papgos, which will be
discussed later. It occurs first in Archilochus: *'I
care neither for ambi nor for delights, where the
context shows that the citation was believed to be à
reply to those who were trying to force him to pore
over his books. "The exact meaning he attached to

603

THE IAMBIC

it is not clear. We only know that he used this
word of his poetry, or of a certain kind of it. Whether
it had the meaning or not to Archilochus, however,
it is certain that when the word came to be used to
deseribe a form of literature, it came to connote
ridicule and invective, and the idea of ridicule seems
to have joined in it with that of improvisation.!
The reciter of (aufo. was also called £aufos. In
metric the word came to be used solely as we use it,
save that Trochaiec and Ilambie were sometimes
classed together as Iambic.

The earliest literary use of this metre, as we have seen,
is in the burlesque Homerie poem called the Margites,
where it is mixed with the Epic Hexameter. All we know
of the date of this poem is that itis earlier than Archilochus,
Like the Pentameter, the Iambic seems to have come from
the songs of the people. It was used in the ritual of
libation (see p. 512) and in the Eleusinian Mysteries. In
the Homerie Hymn to Demeter (th Century) a woman
named lIambé moves the sorrowing Goddess to 'laugh
and be cheerful with many a quip and jest, ' and we have
her definitely identified with ritual Iambic lines :

jj 61) oi kal &reiro, ueÜbarepov eUabev ópryais,

* who afterwards also did cheer her moods '—a reference
to the Jesting at the Bridge (ye$vpwuós) in the pro-
cession from Athens to Eleusis. Of this jesting we
probably have a fragment in the two lines quoted on
page 514, where we have Iambie metre certainly in the
first and probably also in the second. At Sparta we find
this metre in the Chorus of the Three Ages (p. 530);
at Athens in the formula for dismissing the ghosts at the
Anthesteria.? And it occurs in the songs for Children's
Games (p. 538). Such customs are very old, yet here is
the Iambie senarian full fledged.

The Iambic metre, then, though it appears to have
been raised to art-status by the lonians, was known
and used in ritual all over Greece.

lambie poetry seems to have been sung to the accom-

1G. L. Hendrickson, Am. Journ. Philol. 1925, 101,

sees in literary invective a development of the magical curse
2? Ojpaóce, Kapes* ovkér. 'Av6carjpua, Zen. 4.33.

604

ARCHILOCHUS

paniment of a sort of lyre, the iauBóksy. The xAeyíauBos !
accompanied it also, but with this the vocal delivery was
something halfway between singing and speaking, appar-
ently resembling the spoken part of à modern comic
song, where the performer merely speaks in time with the
music.

For the origin of the art-use of the Iambie it is
important to note that ARcHILOCHUS belonged to
a family of hereditary priests of Demeter.

It is well known how in his anger at being refused the
hand of the daughter of a Parian noble he attacked the
whole family in an Iambie poem which he sang or recited
at the festival of Demeter, producing such an effect that
the daughters of Lycambes, whose character the verses
called in question, were believed to have hanged themselves
for shame.

Clearly, like the Hymns in the contests at Delphi
in honour of Apollo, Iambie song-poems were the
subjects of poético-musieal competitions at Paros in
honour of Demeter. 'The sequel may indeed have
done something to bring the Iambie Trimeter into
more than local or ritual use among the professional
poets of Greece; but the ancient belief that Archilo-
chus invented it, in view of the complete metrical
identity of his lines with those of the Attic tragedy
of 150 years later, is extremely unlikely. He was
also said to have invented the combination of unlike
rhythms. This in view of the Margites can be only
partly true.

* To him also" says Plutarch ? ! are ascribed the Epode,
the Tetrameter, the Cretic, the Prosodiac, and the lengthen-
ing of the Dactylie Hexameter (e.g. in heptameters and
octameters); by some also the Elegiae —and so on,
referring to his new metrical combinations, and then—
*the practice of reciting some of the lIambies to the
instrument (Aéyes0a: -mapà TÀ]hv kpobscw) and singing
others '—and a little further on—' he is also thought to
have invented T4» xpobciw 7Àv m0 Th» gOfv, or playing a

l used also for accompanying what were probably Melie
Monodies of Aleman (see p. 617) ? that isto say,the author
of the De Musica (S 28)

605

ARCHILOCHUS

higher melody than what you sing,* whereas all the poets
before him played the same notes as they sang.'

Itis clear, judging him merely from the technical
standpoint, that we have to do here with a great
poet-musician. But Archilochus was great for other
reasons. Not only is he the,first satirist, but; with
the partial exception of Hesiod he is the earliest
person of our western civilisation that we know from
à portrait drawn by himself.

His works as preserved in antiquity comprised Elegies,
lambies (including Trochaies), Epodes, Inscriptions (that
is epitaphs and votive labels), and à Book of Hymns
addressed mostly to JDionysus and called "16Baxxo:.
In the £legies he says: ! Lam the servant of lord Enyalius,
yet I am also versed in the lovely gift of the Muses. And
this: 'In the spear is iny kneaded bread, in the spear my
Ismarian wine, Il recline when I drink on the spear.'
And again: ' Ah me! lifeless I lie in the toils of Desire,
pierced through and through with the intolerable pains
the Gods have given me.'

These little fragments suffice to show that a new
thing has arisen in Greek poetry, the personal poem.
The fame of Archilochus, as the mere preservation
of his poems testifies, was Panhellenic. His Ilambic
Hymn of Victory to Heracles, originally sung ' for his
own victory at Paros in the Hymn to Demeter '
became something like? the Greek equivalent of
our ' See the conquering hero comes,' itself originally
written for à particular, though imaginary, occasion.

To sum up, we may ask what do we feel as chiefly
distinguishing Archilochus from the Epie poets?
Not so much his metres, different through these are,

1 Cf. Plat. Laws 812d, Arist. Prob. 9. 39. 921a. 25 (Gevaert);
in this ancient approximation to modern 'harmony' the
accompaniment took the higher note, Ib. 12. 918a. 37; that it
never involved more than two 'parts, which converged ulti-
mately on the keynote, is clear íroin Ib. 16. 918b. 30; both
melody and accompaniment could be played by a single per-
former on the double-flute, Apul. Flor. 1; the same was done
by the lyre, neither hand being used for 'stopping'; flute-
melodies so rendered would presumably have a range onl
of a ' fifth,' Iyre-melodies of an octave ? jt was rather less
formal; 'chairing ' would be perhaps a nearer parallel

606

AEOLIAN MELIC

as his notion of what is a proper subject for poetry.
In the century, if that be the right estimate, between
Hesiod and these early 7th-Century poets, the Greeks,
and particularly the Ionian Greeks in close touch—
and that connotes self-contrast—with the civilisations
of the East, had grown more conscious of themselves,
more introspective, with the result that art-poetry
and art-song—to use ill-sounding but useful terms—
were no longer only the expression of what happened
but also of what was felt. 'This in à sense was a
reversion; for Epic itself, as we have seen reason to
suppose, was ultimately a development of the primi-
tive incantation, once itself a cry for help, an expres-
sion of feeling. But from the point of view otf art
it was an advance. Art lives by periodic reversion
to 'nature. Moreover the folk-expression, so to
eall it, of emotion, tends to be tribal, formal, senten-
tious. An ignorant man speaks in metaphors and
proverbs; it takes a cultured man to express his own
feelings in his own terms. And so although the lost
forerunners of these poets went back, as it were, to
the people both for the form and the content of the
new poetry, it was not from the old popular poetry
that they took the personal outlook. Indeed the
germ of this is to be seen in Hesiod himself, but it took
three or four generations to come to life.

Athenaeus has preserved a fragment of Archilochus
in which he speaks of 'leading the Lesbian paean
to the flute. The adjective marks a connexion of
great interest. Contemporary with the rise of the
lonian Elegiae and lambie poetry, or perhaps a
little later, comes the rise of the AEorLrAN MEriC.!

The instrument of Melic song was originally the lyre.
The word ué^os as applied to this sort of song does not
oecur before Herodotus. In Aleman, who flourished in
the latter half of this 7th Century, we find the phrase
Érm Bé ya kal uéAos, meaning 'lines and a tune. So also
Echembrotus speaks of himself early in the 6th Century

l writers on Greek literature sometimes use 'Lyric' to

include Iambic and Elegiae poetry; in this book it is always
equivalent to * Melic '

607

CHORAL AND MONODIC SONG

aS uéAe T0 éAéyovs "EAAmsuww üeiówv. And this seemingly
older meaning survived along with the other in the 5th
and 4th Centuries.! It is not unreasonable, then, to
. suggest that the word uéAos was applied to this sort of
poetry at a time when the three others, Epie, Elegiae,
and Iambic, had already become mere spoken verse. lt
meant, in short, £une-poetry.

This poetry, in the very early time when all poetry

was normally sung, seems to have arisen as an art-

formin Lesbos. "The tradition of the head of Orpheus

PR carried thither by the Hebrus reflects this
elief.

Metrically the outstanding difference between Melic
poetry and its contemporary art-forms of verse appears
to have been that it did not admit resolved feet. "The
Hexameter and Elegiac, strictly speaking, did so neither,
but in them the poet often had the choice between
Dactyls and Spondees. It is in this choice that the
difference really lies. Early Melic had certain ' freedoms,'
as we shall see, but no choice so wide as this. Its line
always has the same number of syllables. "This peculiarity
cannot be dissociated from its longer adherence to the
dance. For Choral Melie remained song-dance right
through the classical period. Resolution did of course
come in, but notforalongtime. Melie poetry was divided
by 5th-Century custom into two categories, Choral or
xopgbía and Monodie or jovg83ía. In the early days
this distinction would have been meaningless. In
Homer the lyre-player sings and plays to lead the dance;
the dancers also sang in certain forms of early Greek
poetry, always perhaps in the very earlest; but except
in the Paean of Iliad i. 472, the musico-poetical part of
the performance centres, for Homer, in the miunstrel,
and the dance, if there be one—and that 'if' is the
beginning of Monodic poetry—seems to be an impromptu
reflexion of his words and music, in which the amateurs,
if we may so call them, were led by two tumblers. This
technical subordination of the dance, which had led even
in Homer to Monodie or solo performances without it,
was probably connected with the development of the
Hymn and its secular offshoot, if such it were, the Epic.

l uéAos is the * tune as opposed to the * accompaniment " in
Arist. Probl. 9. 12. 918a. 37, 49. 922b. 28

608

THE LYRE

It is not to be supposed that cult song-dances like the
Wedding-Song, Olen's Dance-song to Artemis, and the
Dirge for Linus, were impromptu performances; and it is
to them more than to the Hymn that we should probably
look for the origins of the Choral Melie which comes to
light in the 7th Century.

The instruments employed in Choral Melic were
both lyre and flute; in Monodic the lyre, except in
the Flute-sung Nome, which seems to have been
accompanied by a dancing chorus.

The most usual word for the lyre in Homer is $ópuvyt;
kíüap:s is far less common; and Apa, xéAvs, and
BápBvros do not occur till later. Of these five words
all except 8ápBiros i$ not Greek are at any rate Indo-
European, for it does not seem impossible to connect
kíÓap:s, or as it appears after Homer .iódpa, with
Kídapos *the chest (pectus), perhaps originally * breast-
bone. In the Border Ballad of T'he Two Sisters the
harper makes a harp out of the breast-bone of a drowned
maiden and strings it with herhair. "This, we may believe,
though the breast-bone would hardly be à human one as à
rule, would be one type of primitive stringed instrument,
and the xéAvs or tortoiseshell the other. "lThey would
of course retain their names long after they had come to be
made of wood. "The ancients appear sometimes to have
drawn a distinction, associating the xiódpa with Apollo
and the xéAvs or xéAvvva with Hermes. "The player
of the Linus-Song in Homer is said d$ópuvyyi rigapí(eiw,
which seems to show that dópuvyk and xíÓapis were
identical to Homer's audience. The word Apa is first
found in Archilochus. 84pBwros and xéAvs perhaps be-
longed originally to the Aeolie side of Greek Meliec,
Kióápa to the Ionic. The 'Lydian' pectis was probably
new to Greece in Sappho's day. The differences of name
doubtless represent, in most cases, differences in form and
in tonal range and pitch.

The reconstitution of the musico-poetical com-
petitions at Delphi in 586 was due, no doubt, to new
influences. One of these was clearly a 'boom, as
we should say, in fluteplaying, which is to be con-
nected with the spread of Elegiae poetry; another
was probably the spread of Aeolian Melic.

609
VOL. III. RR

TERPANDER

* If ever! says Aelian! 'the Spartans required the aid
of the Muses on occasion of general sickness of body or
mind or any like publie affiction, their custom was to
send for foreigners at the bidding of the Delphie oracle,
to act as healers and purifiers. For instance they sum-
moned Terpander, Thales [or Thaletas], Tyrtaeus, Nym-
phaeus of Cydonia, and Aleman. Here in 7th-Century
Greece is the poet as medicine-man. This, doubtless his
original róle, is reflected earlier by Homer's epithet ' divine,'
later by Simonides! peace-making between Hiero and
Theron and by Pindar's counsels to his patrons, always
by the attributes of Apollo. Apollo destroys the pre-
sumptuous, helps and heals in time of general need, is
the God of prophecy, and the God of the lyre and of
song. Moses stayed the plague. But this is by the way.
*'The first establishment of music at Sparta ' says
Plutarch? *was due to 'Terpander. TERPANDER,
who filourished in the middle of the 7th Century, is
variously described as an Antissaean or Methymnaean
of Lesbos, and of Cymé in Aeolis. "The last, we may
remember, was the birthplace of Hesiod's father, and
according to some accounts Terpander was descended
from Hesiod. But his fathers name, Derdenes, is.
hardly Greek.

According to Pindar,? Terpander invented the barbitos
* at the feasts of the Lydians to vibrate in answer to the
sounds (&xovóv, &xodov) of the low-pitched fpectis, which
apparently refers either to the only type of harmony
admitted by Greek musie, two concurrent melodjes, of
which the lower carried the air, both converging finally
on a single note (see p. 606, n.), or to the tradition that
Terpander added the octave string to the lyre. "That he
did 8o, if this is true, at the expense of the ' third ' note
(that is our sixth) in the scale, which he removed, is sug-
gested by several considerations, for instance the statement
of Plutarch that the lyre had only seven strings down to
the time of Phrynis (c. 450).*

Aelian's list of the lyric poet-musicians who 'ran'
the official cult-musie at Sparta in the latter half of
the 7th Century is incomplete. lt may be supple-

1 y. H. 1250 ? Mus. 9 3 Ath, 635d 1 the seven-
stringed lyre was used in Crete as early as the Late Minoan Age

610

TERPANDER

mented from Plutarch Mus. 8 (vol. i, p. 7). Some
of those mentioned were Dorians, one at least an
Ionian, but in the full list there was doubtless a
predominance of Aeolians.! — According to Plutarch,
the last Lesbian citharode to win the prize at the
Spartan Carneia was Pericleitus, who seems to have
flourished about 550. The great days, then, of
Spartan patronage of poetry lasted for rather over à
century, though it must not be supposed that it now
ceased. "The Argument to Theocritus (p. 616 n. 3)
implies that Maiden-Songs were sung at Sparta as
late as the time of the Persian Wars, and the Birds
of Aristophanes (11 Schol.) mentions a contemporary
vietor at the Carneia.

The above passages, even if they stood alone,

would prove the early existence of poetico-musical
contests (dyó&ves) elsewhere than at great religious
centres like Delphi. It is doubtless true that there
had long been competitions in ' musice ' and athletics
(which it should be remembered were the two great
branches of Greek education) in connexion with many
local eults all over Greece, and at these hundreds of
poet-musician-schoolmasters competed of whom we
shall never know the names. All these took part in
the development of Greek poetry, and it is à serious
error to imagine that the great personages whom we
know of are the only factors in the problem of its
history.
Some of the most famous poems, which no doubt won
prizes at the Carneia during this period, survived not
only in books but as folk-songs. ' During the Theban
invasion of Laconia (370 5B.c.) the Helot prisoners" says
Plutarch ? ! 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.'

Among the fragments of the poetry ascribed to
Terpander we find a Hymn to Zeus and an Hexameter
Lyre-sung Nome to Apollo called the Orthian or

1 see vol i, p. 29: in Sa. 148 the phrase 'Lesbian poet,
usually taken to refer to Terpander, may be general — ? Lyc. 28

611
&En2

POYLMNASTUS: THALETAS: TYRTAEUS

High-pitched.! He was also credited with Proems or
Preludes, that is Hymns to be followed by Epie Lays,
the first-known Scolia or Drinking-Songs, and innov-
ations in rhythm. The Nomes and Proems will be
dealt with later (pp. 673 ff.).
On the strength of its metrical similarity to his Spondaic
*Hymn'—probably à Proem—, the ancient view that
Terpander invented Drinking-Songs, and the belief that
the Spondaie. rhythm was so called from emovbal
* libations, ' editors sometimes ascribe to him the ZL4bation
Flute-Song to the Muses and Apollo. A fragment to the
Dioscuri written in molossi(— — —)is perhaps his.
There is no trace in Terpander of Iambic or Elegiae,
or of the Aeolic rhythms of Sappho and Alceaeus. We
unfortunately possess too little of Terpander's work
to do more than take his ancient reputation on trust.

The Seolion-tradition was probably carried on by
a poet in the same list, the Ionian PorLyMwNASTUS,
whose merry and perhaps obscene Flute-songs were
sung at Athens in the time of Cratinus. Polymnastus
followed the lead of Clonas, whom Plutarch deseribes
as 'the first composer of Flute-sung Nomes and
Processional songs,' and includes with him among the
authors of the seven traditional Nomes sung to the
flute. To some of the same poets are ascribed Paeans
and Elegies. One of them, Thales or TmHarETAS of
Gortyn, who seems to have been íhe great poet of
Crete, was said to have imitated Archilochus, and also
to have resuscitated the Paeonic and Cretie rhythms,
both of which involve quintuple time, from the old
flute-music of Olympus. That this musie still
existed, if we could but be sure that there was not à
second Olympus, would prove a tradition stretching
back into the Dark Age. But the Olympus imitated
by Thaletas is perhaps not so ancient.

A famous Spartan poet of this period was probably
a native of Aphidnae in Attica, TvRTAEUS, called by:
Suidas' authority a writer of Elegy and a fluteplayer.
This was doubtless his chief fame in the later antiquity,
but he also composed for the choruses.

1 classed by Sch. Ar. Nub. 595 among the Proems
612

SEMONIDES: MIMNERMUS

To judge by the two quoted by the Attic orator Lycurgus

—Uultimately, it is thought, from a military song-book, a
textbook of Spartan education,—his War Elegies or
Exhortations resembled those of Callinus in the naivetó
and vigour of their appeal. Lycurgus gives the occasion
of their use: *Whenever the Spartans take the field
under arms, every man has by law to be summoned to
the king's tent to hear Tyrtaeus' songs, this being the
surest way of making him willing to die for his country.'
It was the time of the Second Messenian War. Sent by
the Athenians at a request the Spartans made them, in
obedience to an oracle, that they would send them a
general, Tyrtaeus played the part not only of war-poet
but virtually, if not in name, of commander-in-chief.
We also possess some fragments of his Elegy Eunomia,
an exhortation to orderly life. Of his Embateria or Songs
of the Battle-Charge a possible example is printed among
the Polk-Songs. 1t should be noted that these Spartan
Elegies still preserve the lonie dialect free, or almost
free, of Dorian admixture; the Zmbateria on the c*her
hand, being anapaestie, are entirely in the Doric, having
no foreign tradition to comply with.
The story that Tyrtaeus was a lame schoolmaster
need not be rejected. Musie was no doubt a part of
Athenian education from very early times, and an
important part of the musician-poet's profession must
have been to teach his art. "Tyrtaeus' fame was not
eonfined to Sparta. In Plato's day the young
Athenian learnt his songs by heart.

The Ionian Iambie and Elegiae tradition is con-
tinued in the latter half of the 7th Century by
Semonides of Amorgus, Mimnermus of Colophon,
and Solon the Athenian lawgiver. Of these, SEMo-
NIDES uses the Iambie for satire of a gnomic or moralis-
ing type, and appears to have composed a History
of Samos in Elegiacs. "The latter probably at this
time would already be recited rather than sung.
MIMNERMUS, who, like his fellow-countryman
Polymnastus, wrote Flute-sung Nomes, uses the
Elegy for poems on such themes as love and the
shortness of life.

One of these, or à Book of them, was addressed to his

613

SOLON

flute-girl—and, one may suppose, accompanist—Nanno,
who did not requite his love. "Though gnomie in style,
the fragments of Mimnermus resemble those of Archi-
lochus in combining the general with the personal; and
in reading them we feel ourselves in the presence of the
author. ' What would life be, what would pleasure, he
sings, * without golden Aphrodite ? '

Mimnermus has been called the fíather of the
Erotie Elegy. "The two streams Iambie and Elegiae
unite for the last time in the first truly Athenian poet,
the greatest instance of the poet as healer of publie
ills, SoLoN. But we are passing beyond the limits
of this book. For our present purpose it must
suffice to add that Solon answered Mimnermus' wish
that he might die without disease or trouble at the
age of sixty, with à poem requesting him to read for
sixty, eighty—a story which is useful as marking the
lonian origins of Attic literature, and as illustrating
the use of poetry as à medium of criticising another
poet, a use which may derive from Archilochus'
employment of the Tambic for invective.

Thus the spheres of Elegiae and Iambie have by
the end of the 7th Century overlapped, both having
probably by that time to some extent dropped the
music, becoming, like the Epic, mere recitation-verse,
but often still accompanied by an instrument whose
rhythm was followed by the reciter. This change
would naturally tend to bring the two kinds together.
Melie still held apart, and though, as we shall see, it
was not always sung, preserved so strongly the
traditional connexion of poetry with musie and the
dance that it actually appears to have restored the
dance element to the sphere of art.

Even if we admit the use of the seven-stringed lyre in
art before Terpander,? early Greek musie undoubtedly
had a very limited range of tone, and must have relied

1 Wilamowitz points out that the story of Solon reciting his
Elegy Salamis in the agora mentions no fluteplayer, Plut.
Sol. 8. 1 ? its invention is ascribed to Hermes in the
Homerie Hymn to Hermes (c. 590 8.c.); it was probably a folk-
instrument in Lesbos long before Terpander adopted it for art,
see p. 610, n.

614

ALCMAN

forits effect more on rhythm and less on melody than modern
song. Indeed the lack of rhythmieal variety probably
contributed much to the disuse of the Hexameter, the
Elegiae, and the Iambie, as song-metres; and it may be
that Melie took their place chiefly because, being as a new
art-form less bound by tradition, it was better able to
supply this very want. And the desire for the fullest
possible expression of this variety would emphasise the
importance of the dance. Another thing which gave
Melie an undoubted advantage, at any rate in solo per-
formanees—and Epie, Elegiae, and Iambie were by this
time all monodic—was that the performer was his own
aecompanist. This it is that with us causes from time to
time the vogue of a new stringed-instrument, the banjo
in the last generation, the ukulele in this.

The later writers of Elegiae and Iambie poetry,
Hipponax, Phocylides, Xenophanes, Theognis, do not
concern us here. Itis enough to note, as a sign of the
times, that Xenophanes was a philosopher.

Turning now to the Lyrists, we find in the last
quarter of the 7th Century the most popular poet
of the Spartan Succession, ALCMAN, whose poems,
with the possible exception of Terpander's, alone
appear to have survived into Alexandrian times.
With Aleman—whose name is the Dorie form of Alc-
maeon—Spartan pride showed itself, as with Tyrtaeus,
in the legend that made a foreigner into a native, and we
find in antiquity a confíliet based on the disagreement
between the popular and literary traditions. lt is not
unlikely that there was Lydian blood in his veins. "There
appears to have been close intercourse between the
kingdom of Croesus and the Greek islands, notably
Lesbos, about this time, but whether Aleman came under
the native Lesbian influence as well as that of its offshoot
at Sparta is not clear.

His chief work would seem to have been choral,
and most of this composed for girl-choirs. Of the
Wedding-Songs known to Leonidas of Tarentum no
trace survives. "The Partheneia or Maiden-Songs were
closely akin to the Hymn in purpose, but there tho
resemblance ceased.

The largest fragment is that of à poem which perhaps

615

ALCMAN

contained fourteen or sixteen stanzas, of which we have
eight. Of these the first three contain the end of the
myth of Heracles' revenge on the sons of Hippocoón, and
the last five praise of the chorus and references to the
occasion and the hoped.-for victory in the competition.
The phrase »veávibes ipávas épáras éméBav is either an
anticipation of this victory or, perhaps more likely, a
reference to the object of the ritual, thanksgiving after
war. "That peace in that sense particularly affected the
Spartan maidens is clear from the Argument to 'Theocritus
(p. 21. 7 Wendel). 'The poem seems to have been sung
and danced at dawn in procession to the temple of Orthia.
The chorus apparently was composed of cousins, or at
least members of the same tribe. What lies behind the
comparison of the leader and vice-leader to horses and
doves,—ritual, coterie-trick, or traditional type of meta-
phor—we cannot tell; but it is worth noting that early
ivories found in her precinct show Orthia surrounded by
birds. Other fragments addressed to the Dioscuri, to
Zeus Lycaeus, to Hera, to Artemis, to Aphrodite, may well:
come from Partheneia.

From these fragments we should judge that these
Maiden-Songs began with an address to the Muse and
an invocation of the God to whom they were sung.
Then came the myth; and then the personal part—
praise or banter sometimes in the poet's name and
sometimes in the chorus! own—with references to the
competition, the prize, the judges, and so on.? In
one delightful fragment, where Aleman complains
that he is getting too old to dance with his maidens,
the implication is that in his day, as in that of
Archilochus before him, the poet was the é£dpyov,
the leader of the dance, in more than name. The
Love-Songs, of which we have one very charming

1 *the maidens being hidden away owing to the disturbance
caused by the Persian War, certain country fellows entered the
temple of Artemis and lauded the Goddess with their own songs"
2 fr. 24, where the girls apparently address the poet, is said to
have come at 'the beginning of the 2nd Partheneion'; but the
fragment would make & strange beginning, and it is unlikely
that the pattern of a ritual ode of this period should have been
so elastic; we should perhaps translate * at the beginning of the
2nd Book of the Partheneia '

616

ALCMAN

fragment, were seemingly monodie and secular,
following the lead of Polymnastus. Some of these
perhaps were recited rhythmically to a kind of Lyre (cf.
Hesych. kAejtapBos ). Their occasion would be usually
a monodie xópos or serenade; some may have been
sent as letters. Aleman's Fifth Book was composed
of Drinking-Songs, cexóXa Or ocvpzorá, probably
developments of the ritual Libation-Songs some of
which seem to have been ascribed to Terpander.

His metres are most commonly Dactylie or Anapaestic,
and Iambie or Trochaie, in both cases with the occasional
use of Spondees, and in the latter with that of resolved
feet. 'These elements are sometimes combined in the
same line. We also find the Cretie (— ——), said to have
been introduced at Sparta by Thaletas of Crete, and the
Ionie (--— —), perhaps brought thither by Polymnastus
of Colophon. The occurrence of the Paeon (---— or
—---) in Aleman is doubtful. Alcman seems to have
had a fondness for the Dactylie Tetrameter, which is
indeed found in Archilochus, but only combined (in the
same line) with other elements; ; &nd if we may trust the
MSS there are seeming traces in his frdgments of that
closer combination of Dactyl and Trochee which is some-
times, but incorrectly, called logaoedie,! whereas Archilo-
chus keeps these two elements each to its line or part of
the line. "These details are given here because they show
the gradual encroachment of the other metres on the
traditional art-form, the Hexameter.

According to Suidas' authority Aleman was the first
(if this is the right translation) to adopt the practice of
not accompanying the Hexameter with music.? Another
interesting point is the structure of Aleman's strophes.
The Archilochian stanza never exceeds two lines, of which
the first is divisible by caesura and the second generally
shorter than the first. The stanzas of Aleman, if we may
trust the Alexandrian line-division of the 1st Partheneion,

1 the use of the term for any mixture of Dactyls and Trochees
is a modern and now mostly discredited extension of its use by
Hephaestion for Dactylies with a 'Trochaic, or for Anapaesties
with an Iambie, close 2 750 3 éfauérpows peAo80civ; an alter-
native is *singing to lyre orflute songs whose metre was not
Hexameter '; one is tempted to excise 45, thus making it* to
use Hexameters in Melie poetry '

617

ALCMAN

range from three lines to six—not fourteen, for the ancient
belief that the Triad (strophe, antistrophe and epode) was
the invention of Stesichorus is probably not quite correct.
The threefold chorie arrangement has its early Spartan
analogue in the Song of the T'hree Ages, and a short strophe
of four lines followed by an only slightly longer epode of
six, is more likely at this early period than a strophe of so
many lines as fourteen. But it should be noted that,
as in Anacreon and to a great extent too in Sappho and
Alcaeus, each strophe consists of a repetition of homor-
rhythmic units; it is probable also that, as with them,
the same metrical system occurred in more than one of
Aleman's poems. 1t is interesting to note that the sense
always ends with his triad, but not necessarily with his
strophe.

Aleman's place as the first of the Nine Lyrie Poets
was doubtless primarily due to the preservation of his
poems into Alexandrian times, and their preservation
proves their popularity. The epitaph seen by
Pausanias said with pride that his poems ' were not
made the less sweet because he used the tongue of
Sparta'—which seems to indicate that his dialect
was an innovation.

His predecessors, mostly Lesbian, had perhaps run the
Aeolie tendencies too strong, and the patriotie objectors
(prototypes of the upholders of British music during the
late war) welcomed a poet who would put a reasonable
amount of Doriec into these songs of Dorians. "The epitaph
is probably not contemporary; but it may have been put
up at some time, perhaps during the Peloponnesian War,
when Spartan pride in everything Spartan was at its
height. 'The same pride would secure the repeated per-
formance and consequent preservation of his poems, as
made him a Spartan instead of à Lydian.

His dialeetie innovation, though not so remarkable
as would appear at first sight,! was doubtless a real
advance, but his claim to greatness rested, as we have
seen, on greater things.

1 the late Laconian forms such as e for 8 must be due to
comparatively late editing; inscriptions show that these
changes were not recognised in the spelling of the dialect till
some generations after the time of Aleman

618

ORIGINS OF CHORAL MELIC

It is now time to step back to the early history of

Greek CHoRAL MzriCc. Among the various forms
of this kind of poetry are some to which belong certain
refrains, ie moiáv tío the Paean, ó& iépauBe to the
Dithyramb, $ujv $gévaw to the Wedding-Song, atAuvov
to the Lament.!
These refrains, called by the later Greeks é$)$uvia and
in origin probably identical with the éze5ós, whose name
indeed is sometimes given them, are doubtless the oldest,
and probably also the most truly ritual, parts of the
song-element in the song-dances in which we find them.
'The lengthened vowel in two of them, like such forms as
puaxeobuevos in Homer, betokens metrical adjustment,
perhaps of stress-elements to the conditions of a pitch-
language. Without pressing the parallelism unduly, we
may note here that some of the old Norse ballads of the
Shetlands have come down to us with the body of the
stanza in an English translation, but with the refrain—
which is comparatively unimportant as mere entertain-
ment— stil untranslated. Some of the traditional
English carols.similarly have the refrain in Latin. It
would seem then that the refrain resists change more
obstinately than the rest of the song, and the apparently
non-Hellenie character of the Greek refrains points to a
language shift. 1t should be noted here that /:i maid
recalls the Hexameter, and the Hexameter was closely
connected with Apollo; while à 0:0?pauBe is Iambic, and
the Iambie was associated with Dionysus as well as
Demeter.? "he song itself was doubtless called after the
refrain—aid», 09100pauos, etc.—and not vice versa.

The Refrain in its earliest stage probably arose out
of one or both of these elements: (1) the cult cry-
and-movement—to use a term more applicable here
than song-dance—of the crowd during the performance
of à cult-act by one or a few of their number, an act
in which most of them could share only vicariously,
such as the slaying of an ox; (2) the * occupational '
cry-and-movement of a number of people doing the

l1 the war-cries éAeAe? (or 6&AeAeAe?) and àAaAá are formal cries
which might have but apparently did not become refrains;
€AeAcv was also used in lamentation ? it should be added that
€AeAev and 4AaAá4, like the Embateria, are Anapaestic, and that
Euripides uses Anapaests in a lament, Hec. 155 ff.

619

ORIGINS OF CHORAL MELIC

same thing, such as rowing or reaping. In all such
*oecupations' unity of movement is advantageous,
in some, such as pulling on a rope, it is essential; and
to secure this unity in an occupational song-dance—
for that is what this ery-and-movement comes to be—
we must have a leader. Out of such elements, the
man who performed the sacrifice, the man who led
the rowers or reapers, was probably evolved the
eédpyov or leader-off, who developed by the division
of functions so well known to anthropologists into :

(1) The minstrel who played and sang and sometimes
danced as well, while the chorus danced singing what they
could, namely the refrain, which was always the same;
and (2) the xopeyós or dance-leader, of whom there would
seem to have been sometimes two, one to each half of the
chorus. This occasional division of the chorus is probably
due to several causes: (1) there was sometimes difference
of age or sex—Olen's Hymn to Eileithijia vas sung by boys
and danced by girls—; (2) the ancient dance being
mimetiec, the dancers must often have had to represent
two parties, as in a fight or a dispute; (3) non-Hellenic
parallels show that among primitive peoples mimetic
fights are à way of commemorating the dead, and have
developed elsewhere than in Greece into competitions
athletic and other.

This duality is probably reflected in some if not all
of the following phenomena :

(1) in the Amoebeic Element, question-and-answer
or the like, which has its derivatives in the sticho-
mythia of Attic drama as well as in Bucolie poetry; (2)
in the Triad—strophe and antistrophe followed by the
epode deriving from the refrain, which was some-
times itself called é-95ós; (4) in the Competitive Element
which persisted in Greek life and literature even into
the days of prose,! for instance in the Pythian àyóves
at Delphi and the Dionysiae at Athens, and in the song-
contests of 'lTheocritus' shepherds. It also comes, this
duality, into the Elegy and the Epode or epodic stanza,
which only differ from each other in the Elegiae stanza or
couplet having a doubled refrain (half-pentameter);

1 this is the meaning of Thucydides! xr5&« és aiei.paAAMov ij
&yóvcqua. 6g T0 rapaxpijj.a. àkovew, * not for competition but for record

620

ORIGINS OF CHORAL MELIC

for in both, the first metrical element or line is divisible
into two parts by the caesura.

If the Refrain, the * Epode,' originated as we have
suggested, whence arose the other part of the stanza ?

Apparently from the leader's part. In the Dirge for
Heetor in the Z/iad, the speeches of Hecuba, Andromache,
and Helen are as it were the leader's parts, and the wails
of the women which follow each of them the chorie or
refrain element; in the earlier half of the same ritual
performance, the leader's part is the lament of the minstrels,
and the choric part again the wails of the women.! The
dropping of the dancing chorus as it is dropped in Demo-
doeus' kAéa à»vbpàv (but not in the Lay of Ares and
Aphrodite) gives us monodie poetry; and this pedigree
would seem to indicate that all monodie Greek * art-
poetry, whether Epie, Elegiae, Iambic, or Melie, was in
origin choral. But in some cases the ritual element
resisted the tendency to make the performance a mere
entertainment, and the dancing chorus, so far from
being dropped, became more and more important, even-
tually taking to itself the leader's part (or the two leaders'
parts) as well as the refrain.
This was the birth both of the Triadie arrangement,
for instance of Attic drama, and of the Strophie
arrangement, for instance of some of Pindar's
Epinicia, the former a combination of the refrain
or epode with two amoebeic leader's parts, the latter
a fusion of it with a single leader's part.
It is significant here that the refrain often extends in
Attic tragedy into a little strophe of three or four lines,
for instance ézl 86 TQ TeÜvuévp krA., Aesch. Eum. 321—
346; and that the last line of the familiar Sapphic stanza
was called the Adonian, being metrically identical in all
probability with the refrain of the Adonis-Song. There
is nothing to show, as is sometimes held, that the Strophic
arrangement is older than the Triadic.

The choral cult song-dance, then, which emerges
into the art-sphere in the latter half of the 7th Century,
had an immemorial past behind it.

1 whether or no this passage is a late addition, it is sufficiently
ancient evidence for our purpose

621

NEW FORMS

It is to be observed in various stages of development in
Homer, Hesiod, and the Homeric Hymns. "The pro-
cessional song-dance of the Muses to Olympus in l. 68
of the T'heogony (c. 150 B.c.) was clearly conceived by
a man familar with the Processional Hymn. At l.
515 of the Hymn to the Pythian Apollo (c. 650 s.c.)
the Paean is processional, led by Apollo é$épuvyy v
xe«ipeagiv Éxev éparóv ki0apí(ev | kaAà kal vy: BiBds, where
the last phrase suggests the song-dance. Atl. 157 of the
much older Hymn to the Delian Apollo (8th Century)
Delian maidens sing what is apparently the standing
Hymn, like that of classical times, to Apollo and Artemis;
but we should note that it is there still followed by the
'*renowns of men. Except perhaps for this feature, this
song is essentially a Partheneion. The Wedding Song-
dance and the Linus-Dirge song-dance in Homer have been
mentioned above. In the Shield of Heracles ('$h Century) !
we have the bridal procession, with a chorus of youths
singing to the pipe, and another of maidens dancing to the
lyre; and the xá&yos or revel of young men * some frolick-
ing with dance and song, and others laughing in time with
the fluteplayer as they went along.

From the earliest form of the Hymn developed in all
probability, as we have seen, the Epic Lay, the Hymn
proper, and, as we shall see later, the Nome. Greek
Choral Melic seems to have been derived from a later
'return,' so to speak, to the 'non-art' forms, ritual
and once-ritual forms which had long existed side by
side with the art-forms, but which hitherto had not
been drawn upon by professional poet-musicians.
In the 8th and 7th Centuries these ' non-art" forms,
folk-forms, made a number of contributions to the
art-sphere, where the two-time Hexameter had so
long reigned supreme.

These were: (1) new metres and rhythms, for instance
the three-time Iambie, Molossus, lIonie, the five-time
Paeon and Cretic,? the Elegiae couplet; (2) new subjects
or topics, for instance, lamentation, banter and invective,

1 ]. 270 ? sometimes, by the lengthening of the first long
syllable, the Cretic was adapted to what we call 6/8 time (or
& double bar of 3); this adaptation is parallel to that of the
ordinarily two-time Dactyl to predominantly Trochaiec metres,
which were usually three-time or rather six-time

622

RITUAL SONG-DANCE OUTSIDE THE EPIC

exhortation with its offshoot * moralising,' that is general
reflexion on men and things (these new topies and their
traditional metrical associations led the way to the
personal poem of which we find examples even in Archilo-
chus, and to the personal element in the Choral Melie such
as Aleman's Partheneion); (3) the resuscitation, as an
art-form, of the song-dance.

Apart from the evidence of Homer, Hesiod, and the
Homeric Hymns, there is much to show that ritual
song-dance had long existed in Greece.

The Megarians used to send a chorus of fifty youths
and maidens to Corinth whenever one of the Bacchiad
family died. "This was not only the family of Archias
founder of Syracuse (740 B.c.) but one of the Spartan royal
families, and therefore very ancient. Singers and dancers
are figured on a ' Dipylon' bowl. "This Dipylon pottery,
found at Athens, belongs to the 9th or 8th Century. We
may compare too the Elean women's Hymn to Dionysus,
and with it a passage of Pausanias (5. 16. 6) about the
Heraean women's games or competitions: ' The Sixteen
Women (chosen.two from each tribe) also get up two
choruses, one called the chorus of Physcoa, the other the
chorus of Hippodameia. "This Physeoa, they say, was a
native of the Vale of Elis who bore Dionysus a son
Nareaeus, and she and her son were the first to worship
Dionysus. These were no doubt choruses of women.
Herodotus speaks of ancient invective choral song-dances
of women at Aegina. "There are also the Attic rpvyqboí or
vintage-singers, from which came Attic comedy, and the
Tpa'yio! xopoí held in honour of Adrastus at Sicyon.
Ritual song-dance, then, was very ancient; yet
apart from prehistoric figures such as Olen, we do not
hear of it in connexion with what we may call pro-
fessional poets till Eumelus, and after him there is
a gap of à century. Nor do we find it, in its ' pre-
art' stage, connected with any particular God.
When, however, it emerges as an art-form in the Sth
and 7th Centuries, we find it associated with Apollo.
This is natural enough ; for the only professional poetry
up to that time had been connected with the worship of
Apollo and the Muses, and the only known periodic
competition of poets which we can call prehistorie is the
eontest which Pausanias tells us was founded at Delphi in

623

SAPPHO AND ALCAEUS

the days of Chrysothemis and Philammon. For the
chorus in the ancient ritual of Apollo we have clear
evidence in the Paean in Homer, in Olen's Hymn to
EAleithyia, in the local Delian partheneia mentioned in the
Homerie Hymn to the Deliam Apollo, and in the xopoí
sent to Delos as mentioned by Thucydides and the mpocó8iov
of Eumelus for the Messenians.

The chorus had probably been connected with the
Pan-Dorian Apollo-festival of the Carneia in all
Dorian communities from time immemorial, but had
degenerated at Sparta into mere folk-ritual till the
second revival of music, that by Thaletas in the 7th
Century. If Terpander's earlier revival dealt with
Choral Melie, we do not know of it. We find Thaletas
credited, as we have seen, with the introduction of the
Cretic and Paeonic rhythms and with the composition
of song-dances for the choruses of the Three Ages at
the Gymnopaediae. 'Tyrtaeus wrote for the same
choruses, and also, as has been said above, composed
Elegies for the flute. "Phis brings us down to Aleman,
with whom we have fully dealt already.

The Aeolian tradition deriving from Terpander,
which supplied Sparta with a long line of poets
mostly Lesbian, produced before the end of this
wonderful 7th Century the two great Lesbian lyrists
SAPPHO and ALCcAEUS. Among Alcaeus' ten Books
probably only one was choral, the Hymns; among
Sappho's nine ! we find one comprising Épithalamies,
and the contents of the others seem to have been
mainly monodic.

Besides this new predominance of solo-song, we find
new rhythms, some of which are familiar to us because
they were adopted and adapted by Horace. Besides
these distinctively Aeolic metres both poets used the
Hexameter—but showing peculiarities which may well be
pre-Homeric—,* and Sappho's eighth Book contained

! for the question whether there were two differently arranged
editions in Roman times see vol. i, p. 218 n. ? xéAopa« begins
one line of Aleaeus, and another ends with póos és 0dAaccav ixave,
while Sappho used the Spondaie beginning so frequently as to
give her name to that type of line

624

* NEW'-LESBIAN FORMS

Iambies, probably including Trochaies; but whether these
were plain trimeters and tetrameters or combinations such
as we find in Archilochus, we do not know.

One of the outstanding features of the new Aeolic verse
is the entire absence of resolution and of groups of three
short syllables. It can hardly therefore derive from the
same source as the Paeon (-—-——), which was Cretan, nor
as the Choree or Tribrach (---) which was Phrygian.
Another peculiarity is the Choriamb (—--—). " The'true'
Choriamb, composed as it were ! of a Dactyl plus an extra-
long syllable, occurs only in Asclepiad metres. It is
equivalent to £wo bars, or one-and-two-thirds bars, of
three-time.? In Glyconies and kindred metres the
presence of the Choriamb is merely a question of syllable-
division; it may be there, but it is not necessary to
postulate it. "The Ionic rhythms involving the feet -—— —
and ——--, as their name suggests, are something quite
different. The Ionic,like the Molossus (— — —),is equivalent
to one bar of three-time. This, and perhaps the Glyconie,
oecur in Aleman. These metres may therefore have
come earlier than the others into Lesbian art-poetry.
Whatever their ultimate source, the Ionic certainly, in
view of its name, and the Glyconie probably, because of
its so frequent use by Anacreon, came through Ionian
channels. "The ' Sapphie'' stanza with its ' epode ' called
Adonian, which occurs in the refrain of the Elean Hymn
to Dionysus,in the cry à íre Bákxa: in Euripides, and
in one form of the refrain of the Paean, à 1e maiáv, and
the Asclepiads, used by Sappho in a choral song involving
question and answer between a girl-choir and Cytherea,
point to connexion certainly with folk-hymns, perhaps
with a traditional Adonis-Song. "The Glyconie (of which
Alcman's 130. 5 is an uncertain example, as it follows two
iambie dimeters) in view of Catullus' Epithalamium in
the Glyconic-Pherecratie stanza, certain similar hymeneal
fragments of Sappho and Euripides (T'road. 323 ff.), and
the rhythm of the Wedding refrain, à jóu4v buévaw, may
perhaps be derived from an even more ancient Marriage-
song. The worship of Adonis, mentioned first by Hesiod,
seems to have come from Semitic sources through Cyprus.
Some of these. new-Lesbian metres, for instance the

1 the Greeks probably felt it more 8s an iambus plus a trochee

? ef. Anacr. 97. 2, 5; or more accurately one bar or 5/6ths of
& bar of 6/8 time

625

VOL. III, SS

«NEW -LESBIAN FORMS

* Sapphie ' and ' Alcaie,!' to judge by their remaining so
long without imitation, were perhaps peculiarly suited to
the Aeolic accentuation; for the dialect-accent must have
emphasised the particular character of an Aeolian or Dorian
song even more than the ' mode ' in which it was sung.!

Another peculiarity of Aeolie verse is that its arrange-
ment is always strophie, never triadie, even in choral
poetry. Even poems consisting entirely of similar lines,
the prototypes of such odes as Horace's Maecenas atavis
edite regibus, were considered in Alexandrian times to be
made up of two-line strophes. "This would hardly have
been an invention of the Alexandrian editors. 'The
Triadie arrangement, which, it should be remembered,
involved by custom the construction of a different
metrieal system for every poem, is to be recognised, as
we have seen, in Aleman's Partheneion, but in the Aome
of the Lesbian tradition, as far as our scanty evidence
goes, it never appears. lt was probably a Dorian feature.
Compare the Song of the Three Ages. We may remark
here that, although these Lesbian poems were written in
strophes like à modern church-hymn, the musie, that is
to say the notes as apart from the rhythm, must have
changed completely from strophe to strophe. The repeti-
tion was metrical not tonal. 'The same is probably true
of all Greek lyric. If it had been otherwise, the over-
lapping of the sense from strophe to strophe and even—

1 these modes (api.ovía:, tunings of the lyre) were a series of
limited 'scales' of 7 (or 8) notes differing from one another
mainly, but probably not entirely, in relative pitch; each of the
series began one note higher than its predecessor; each could
be either in the ' chromatic' or the ' diatonie' scale, according
to the position of the semitones; they had various emotional
associations, much as we roughly associate grief with the * minor"
and joy with the ' major'; they were named after their origin
(to arrange them from 'low ' to * high ") Lydian, Phrygian, Dorian,
Aeolian, Ionian, but this nomenclature eventually underwent
considerable change, e.g. the Aeolian became the Hypodorian,
and the Mixolydian (said to have been invented by Sappho) was
added below the Lydian; the Dorian and Aeolian were tradition-
ally proper to Choral and Monodie lyrie respeetively, the
Phrygian to flute-musie and the Dithyramb, the Lydian to
laments, the Ionian to love and pleasure; anyone who has an
* absolute' sense of pitch, and has played an elaborate piece of
musice he knows well on a piano tuned a tone or a tone-and-a-
half lower than his own, will realise the possibility of this
difference of emotional association

626

*NEW'-LESBIAN FORMS

as in Pindar—from triad to triad, would hardly have been
possible. Moreover Greek musie took account of the
pitch-aecent, at any rate, it would seem, till the maüd-
5th Century,! and this was ignored in Greek metre till
stress began to resume its sway in the language. "The
dance, on the other hand, where dance there was, could
remain essentially the same throughout, though there
could be, and doubtless was, much variety of action
without any change of the actual steps.

Other notable features of Lesbian poetry are the
frequency of alternatives such as 2Oppavos and épavos,
which, however they should be spelt, may be reckoned
historically correct—both standing for ópFavos; and the
lengthening of certain consonants for metrical purposes,
for instance óvvéópwe. Both these features have their
parallels in Homer, where dialectical considerations point
to their belonging to the Aeolie element. "The metrical
lengthenings, at any rate, are in all probability survivals
of an early stage of Greek or pre-Greek poetry when the
rules of quantity had not worked themselves out, but
words were simply grouped roughly in rhythms. "The
initial * freedoms* - - or -, found in certain Aeolic lines
and also in Vedie poetry, may well be equally archaic.
As in ordinary speech, rhythmie fixity doubtless began in
Greek poetry and its forbears at the end of the unit.
This rough grouping into rhythms is most easily con-
ceived of as taking place at a stage in the growth of the
language when stress was the predominant form of
aecentuation, when the rhythms were stress-rhythms as
in the lyre (and piano), not length-rhythms as in the
flute (and organ) And the fact that there were two
quintuple or five-time feet called Paeon, — — — —— and
---— (or —---), the first of which is conceivably that
of the earliest form of the refrain of the Paean, ixqraiáov,
can better be accounted for by supposing them twin
descendants of a foot of five beats than of five lengths.?

1 eompare Dion. Hal. Comp. 11 on à * chorus of Euripides
with the Delphian * Hymns' to Apollo; this disregard of the
pitch-aecent was clearly one of E.'s innovations (cf. Ar. Frogs
1313 ff.) which was not followed by the conservatives; it
would tend to make it less easy for the audience to follow the
words, and doubtless contributed to the resuscitation of the
monodie, and therefore more easily intelligible, Lyre-Sung
Nome (see p. 673) ? cf. Aristox. ap. Ox. Pap. 9 col. 4, where
the possibility of a Paeon of five shorts is suggested

627

ss2

*NEW'-LESBIAN FORMS

If this is right, the absence of resolved feet from Lesbian
verse seems natural enough. "The unit was traditionally
the syllable, not the short syllable, and consequently it
would not occur to anyone to substitute two shorts for
onelong. "That would come in later as the stress-tradition
faded away and the increasing use of the flute, with its
*sustained ' rather than ' pereussive' sound, supported
that growing reliance on variation of length rather than
of loudness which was natural to the art-rhythms of a
pitch-language.! Last, but not least, Lesbian poetry
speaks its own language. "Tyrtaeus mixes, though indeed
rarely, with the traditional lonie of the Elegy the Dorie
of his audience; Aleman allows the Aeolic which we may
take it was traditional in the Sparto-Lesbian Succession
to colour the Doric which he was praised for substituting
for it; Sappho and Aleaeus throw off the foreign yoke
and write as they spoke.?

Here then we have clear evidence of the incorpora-
tion into Greek poetry of a fresh tradition, which
eventually combined with those of Thaletas and
Polymnastus and produced the great lyries of Pindar
and Aeschylus. Some of its elements may well be
due to Lydian infiuence, old and new. Terpander
introduced the pectis iérom Lydia; Sappho was the
first to use the Mixolydian 'mode. Others. were
native, we may suppose, to Lesbos. "The avoidance -
of three concurrent short syllables is, as we have
seen, essentially Greek.? In any ease it was doubtless
derived, most of it, from the 'folk, among whom,
always open indeed to foreign influence, an influence
which in the days of slavery was felt in every house-
hold but the very humblest,* it had nevertheless

1 the flute and the tribrach were supposed to be Phrygian
2 this of course does not mean that they eschewed all poetie
locutions; they wrote in the spoken dialect, but what they
wrote was poetry 3 or pre-Greek ; Vedic ' tends to eliminate
even groups of two shorts" (Meillet, Orig. Indoeurop. des Métres
Grecs, p. 45) 4 Plutarch's story of the Helot prisoners of the
Thebans (see p. 611), and the story of the ill-treatment of the
Íree-born female captive from Olynthus in Demosthenes P.L. 402,
imply that it was the custom to make your prisoners-of-war sing
to you; cf. the Athenian prisoners at Syracuse; slaves were often
prisoners-of-war

628

A CHANGED OUTLOOK

preserved features both of the songs the early Greek
colonists had brought with them to Lesbos, and of
those they had found there when they came.

The causes of this incorporation, whether it was
made by Sappho and Aleaeus or, what is more likely,
their immediate but unknown ! predecessors, are to be
looked for in changing cireumstances and a changing
outlook. For one thing, the introduction of coinage
had but recently given its great stimulus to commerce,
and the accumulation of wealth had begun to give
men freer command of the labour of their fellows.
'This showed itself not only in the multiplieation of
*tyrannies ' throughout Greece, but in the conflicts
between nobles and commons, as for instance at
Mytilene. Sappho, who was banished by the demo-
eratie dietator Pittacus, was of high birth, and her
husband a very rich man who came from Andros:
her brother accumulated enough wealth as a trader
in wine to buy the notorious courtesan Doricha * at
a high price. It is natural in such cireumstances—
in Greece—that poets should get more to do. We
may believe that ritual song-dance, particularly if,
asit often was, it was competitive, gave opportunity
for the display of wealth. Wealth made the indi-
vidual, with his greater command of others' hands,
a greater person than his neighbours, a more im-
portant wheel in the machine of state. This feeling
of importance would seem to have expressed itself in
art-patronage, and fostered a demand for poetic
praise of men as well as of Gods.

The first portrait statue—-of a victorious Spartan
athlete at Olympia—appears in 628, the first En-
ecomium among the fragments of Aleaeus. "These
Eulogies were doubtless a development of an old
feasting-custom not unconnected with the Homeric
*renowns of men on the one hand and the ritual
Libation-Song on the other. The Love-Song, found,
as we have seen, already in Aleman, was a specialised
development, we may take it, of the same originals;

1 possibly Arion was one

629

THE TWO LESBIANS

its sister the Epinicion or Song of Congratulation
for vietory in the Games is found— but as a ' Hymn *
to Heracles celebrating the poet's own suecess—as
early as Archilochus. "To the same family doubtless
belongs the Scolion or Drinking-Song, whose origin,
as we have seen, was ascribed to Terpander.! "This
toois found in Aleman as well asin Aleaeus. | Alcaeus'
Stasiotica, Political Songs, were probably separated
from his Drinking-Songs by the Alexandrian editors
merely because of their subject. We have an iambie
tetrameter in Alcaeus, and, as we saw just now,
Sappho's eighth Book was called T'he lambics.
Whether or not the traditional metre of invective
was commonly used by both, the lampooning spirit is
in some of the Stasiotica of Aleaeus and in Sappho's
lines T'o a Woman of No Education.

During the 7th Century the whole Greek view of
life had become more individualistie, more self-
conscious, more analytic? Poets now sang more
about their own feelings, and addressed themselves
to the emotions of individuals as well as to those of
collective audiences. The sphere of art-activities
was enlarged to include privatelife. "The old customs
of the feast became the proper subject of high art,
and high art took over with the customs the folk-
metres which belonged to them. This is doubtless
why these new metrical forms emerged in Lesbian
poetry, and why too, though new to the world of
art, they are so remarkably archaie in colouring.
But this was not all. Archilochus is said to have
invented the custom of ' reciting some of the Tambies
to musie and singing others. Thus begins the
divorce of poetry from song. And when poetry has
once become possible apart from music, it has taken
the first step towards becoming a thing written rather
than a thing spoken. "The written epitaph is to the

1 these types are discussed pp. 653 ff. ? cf. the
development of the use of the Indicative Mood (that of the
Objective realm) for unfulfilled wishes, between Homer and
Tragedy; this shows a power of analysis to which the Latins
did not attain

630

THE TWO LESBIANS

lament, the written love-poem to the serenade, as the
written message is to direct speech.

Even in Archilochus there are fragments which might
come from letters; Alcaeus writes from exile to his friend
Melanippus; Sappho's so-called Hmn to Aphrodite may
be best interpreted as a love-letter; her scolding Ode to
the Nereids could hardly have been sung to Charaxus
with lyre-accompaniment; we may well believe that
Horace, in imitating the style and matter of the Lesbian
poetry, imitated also its occasions, and some of his Odes
are unmistakably letters, for instance I. 20, an answer to
Maecenas! request for an invitation to the Sabine farm.
Moreover in à new fragment of Sappho there is some trace
of the poem of reflexion, in which the audience, as it were,
is the writer himself.

These uses of poetry indieate again an increase of
individualism and self-consciousness.

Among the remains of Alcaeus, besides the songs
mentioned above, we find Hymns and War-Songs.
All his forms, except the Hymns, were probably
developments of the songs sung either at feasts or
after the company had broken up and lovers sought
their mistresses. Many were doubtless sung at table,
some outside the loved one's door,—and some, as
we have seen, were sent as letters. "These occasions,
we may take it, were not confined to men. Women
were not kept in the background in Lesbos, or Sappho
would not have had sufficient political influence to
deserve banishment. Indeed the evidence goes to
show that the seclusion of high-born women in
Greece was lonian rather than Dorian or Aeolian.
Even at Athens, to judge by certain of Aristophanes"
comedies, it was probably not so complete as is
generally believed.

This is not the place to attempt an estimate of the
influence exercised by these two Lesbians, direct or
through their imitators, on the culture of the western
world. We know what Dionysius thought of Alcaeus,
what Plato thought of Sappho. 'To many moderns,
Sappho, like Plato himself, is one of those great of
the earth to whom one returns again and again to

631

SACADAS

find them ever greater. For all the answers to the
question, ** Why are these two poets—and Sappho, of
course, in particular—so attractive to us?" we may
indeed go far, but some of them are near and plain.
First, of these more than of any ancient singer it is
true to say that we find ourselves dealing with poets
rather than poems, with persons rather than books.
The curve of individualism reaches its peak in the
self-revelation of Sappho. Secondly, and here again
Sappho outshines her contemporary, they are masters,
even among the Greeks, of the art of putüng a thing
briefly without making it bald, gracefully without
making it untrue, simply without making it un-
dignified. "Thirdly, theirs is almost entirely free of
the mannerisms of phrase which cause most other
early Greek poetry, beautiful as it often is, to smack
of the sophistication that comes of a long tradition.
Fourthly and lastly, great as Greek Choral poetry
could be, it was in its essence tribal, and that means
bound up with national customs and habits of
thought which to us are mere matter of history; the
Lesbian Monodies, on the other hand, are concerned
with the unchanging elements of man's individual
life,—birth, feasting, friendship, love, war, ambition,
exile, rest after strife, sleep, death. Good poems on
such themes, in whatever language they may be
written, to whatever time they may belong, ask of
us no effort of the imagination ; they go straight home.

In the first quarter of the 6th Century, when
Alcaeus and Sappho were stil! singing in Lesbos, and
Alcman still perhaps training girl-choruses at Sparta,
there was a stir, as has been already said, among the
fluteplayers, which caused the inclusion in the
Pythian contests of Flute-sung Elegy and Flute-
playing pure and simple. Of these two *'events"'
only the latter survived the first meeting, but else-
where the flute continued to be the instrument
proper to Elegy, and SAcADAs of Argos was famous
for both types of Nome, the Flute-sung, a$A«8uj,
and the Flute-played, aóAgruej. Of the former we

632

XANTHUS: STESICHORUS

have mention of a Taking of Troy, and of the latter
we hear of the Pythian Nome, & musical representa-
tion, in five movements, of the fight between
Apollo and the Serpent. Sacadas is mentioned with
'Thaletas as an innovator in rhythm. Another
recorded name of this period, XANTHUS, is famous as
that of the earliest known composer of an Oresteia,
probably a Lyre-Sung Nome.

'The life of SrEsicHonRvs of Locri, called of Himera
(if that be the solution of the puzzle of his identity),
who was reckoned of the Nine Great Lyrie Poets,
would seem to lie between 630 and 550. He drew
for themes upon his predecessor Xanthus, and his
Lyre-Sung Nomes, if these they were, owed some-
thing to (the younger ?) Olympus.

He is connected in various passages of ancient authors
not only with Himera and Locri (or Mataurus) but with
Acragas and with the Arcadian town of Pallantium,
whence he is said to have been banished to Catana in
Sicily, the place of his burial. He seemingly did not
belong to the half-Lesbian school of Sparta, and though
he was contemporary with Sappho and Aleaeus, shows
no trace of what we may call the new-Lesbian tradition.
His poems, arranged at Alexandria in twenty-six
Books, ran some of them to more than one, though
we hear of no generic titles but Hymns, Paeans and
Love-Songs. He calls his Helen a Proem or Prelude,
and his Calycé, which became a folk-song among the -
women of Greece, can hardly perhaps have been
choral. 'The longer poems, as we shall see, were
probably Lyre-Sung Nomes, divided perhaps into long
episodes.! Such Monodies, as they seem to have
been, would have the advantage over Choral poetry,
as Timotheus saw many years after, in being more
easily heard as words, and therefore more suitable

1 the omission of his name by Proclus on the Nome is not
conclusive against this view; he also omits Corinna; moreover
the Nome and the Prelude were often confused (see below,
p. 6074); that they were Dithyrambs is hardly possible at this
early stage of the Dithyramb's development; but some of
them may have been Hyinns, since Clement calls Stesichorus
the inventor of the Hymn

633

STESICHORUS

as mere entertainment. The nature of the Nome
will be diseussed later. Meanwhile it should be noted
that, apart from his ' invention ' of the Triad, Stesi-
chorus' fame seems to have rested on his power as
a narrator. 'Longinus, Quintilhan, Antipater of
Sidon, all compare him to Homer. Simonides speaks
of the two in the same breath. "The age of the
tyrants was soon to see a repetition of that char-
acteristic . of the age of the kings, the court-poet.
The mantle of the singer of the old Epic Lay had
already fallen on the singer of the new Lyrie Tale.
But as yet, like the Lesbian Succession at Sparta,
the poét was patronised by the state. We may
compare Stesichorus' advice to the Agrigentines to
beware of Phalaris, and his remark to the Locrians
that they must not prove wanton, or the crickets
would chirp from the ground.! "The style here is
reminiscent of the Delphie oracle. Stesichorus is
still the medicine-man, the Hebrew prophet, the
spiritual power rather in the state than of it.

The subjects of his poetry include, besides the
myths of the Epos, certain love-tales—gathered pre-
sumably from the lips of the people—which are of
great interest because they furnished models to the
Alexandrian poets. Stesichorus' Daphnis was the
forerunner of Theocritus! Song of Thyrsis, and may
. well be an ancestor, through the Greek Novel, of
modern Romance.

The metres of his few extant fragments show some
combination of Dactylic with Trochaie, especially in the
*epitritic' close (— - — —), but the two-time Dactylie greatly
predominates. Only in the ZEhadina, which Strabo
thought to be wrongly ascribed to him, do we find any
possible trace of new-Lesbian influence.

To Stesichorus is perhaps due the beginning of the
structural expansion, both metrieal and syntactical,
which we see on comparing an ode of Pindar with an
ode of Alcaeus. Whether we should accept the ancient
belief that he invented the Triad, is doubtful. His name,

1 instead of from the trees, which would be destroyed by
an external foe

634

IBYCUS

which is a nickname, indeed proves that he made some
great advance in Choral Melie, and Suidas' authority
declares that all his poetry was 'epodic.' Yet the very
length of some of his poems points to Monody, and it
seems well-nigh impossible, particularly in view of the
new fragments of Ibycus, to regard the arrangement of
Aleman's Partheneion as anything but triadic. "The
problem of priority of invention often remains unsolved
to-day, with all the relevant documents available. In
this ease the internal evidence is almost none, and the
external slight and indirect or else of questionable
authority.

But there is no doubt that this Dorian who inspired
Euripides the tragic poet and Polygnotus the painter,
who was parodied by Aristophanes and sung at
Athenian banquets, and whose choral achievements
became the proverbial test of a Greek's claim to have
been educated, was a very great man.

The next great name comes a generation later.
lBvcus is for many reasons an interesting figure.
This Dorian poet, who in so many ways resembles
Stesichorus, and whose works were sometimes con-
fused with his, refused to become tyrant of his
native city, the half-Doric, half-Ionic Rhegium, and
not only withdrew to the lIonian court of Aiaces at
Samos but, as we now know, dedicated his poems
(or a Book of his poems) to his son and successor
Polyerates. "This shows very clearly the power to
which a poet could still attain by virtue of what
we may call the medicine-man tradition. lt was
used either to thwart the power of the commercial
tyrant, or, as Alcaeus used it, to rally the aristocrats
against the rising middle-class. And it is charac-
teristic of the age that the same man who was offered
the supreme power in his birthplace, is the first
recorded instance, after the Heroic Age, of a court-
poet.

Ibyecus' metres bear a close resemblance tó those of
Stesichorus. They are mainly combinations of Dactyl
and Trochee with the Dactyl predominating. "The struc-
ture of his poems, some of which we now know to have
been triadic, shows no advance on Aleman. But we see

635

ANACREON

for the first time a certain sign of the spread of the new-
Lesbian influence, the Choriamb. "The same influence is
probably to be traced in the personal note that sounds
in the beautiful fragments of the Love-Poems which
made his chief claim to immortality. It is clear that in
losing Ibycus we have lost much, perhaps even a * male
Sappho. Whether these Love-Poems were Monodies we
do not know. Some of them certainly contained myths.
But human nature as well as the Aeolian connexion makes
it unlikely that they were all Choral. lf the authorship
of Stesichorus!' Funeral Games of Pelias was sometimes
attributed to him, it would seem probable that Ibycus
wrote similar narrative poems, some of which may have
been Monodie. "The triadie arrangement of the poem
dedieated (or dedieatory) to Polycrates would seem to
imply that it was performed by a chorus as an Encomium
or Eulogy, à development:of the «óguos of which we have
already had examples—but Monodic examples—in Alcaeus.
Some of the Love-Songs were probably of the same type.
We hear of no Hymns or Paeans, though we have one
mention of à Dithyramb. Of this we shall speak later.
The dedication to Polyerates is to be noted as a
personal ending to a Choral and impersonal song.
t marks the growing tendency to employ art-choral
to honour an individual, à tendency which appears

later in the Eulogies and Epinicia of Simonides and
Pindar.

The new-Lesbian influence is very clearly marked
in the fragments of à poet who sang at the same
court. The long life of the lIonian ANACREON,
beginning before the middle of the 6th Century,
continued well into the 5th.

He probably died at Athens about 488. Aeschylus' first
tragedy was staged in 499. Anacreon's life seems to have
been spent at his birthplace Teos, at Abdera whither
he went with his countrymen when they emigrated to
'"hrace rather than submit to the Persians, at the court
of Polycrates at Samos, at Athens at the court of the
Peisistratids, at the house of the 'Thessalian noble
Echecratidas, and again at Athens under the democracy.
Antiquity seems to have possessed his works in
five Books, the first three probably comprising. his

636

ANACREON

Lyric poetry, the fourth his Iambic, and the fifth his
Elegiac. Among his Elegies were Drinking-Songs,
Epitaphs and other Inseriptions, and perhaps in-
vective.

The use of metre for inscriptions was a survival of the
very early days when all 'literature,' all that is that was
composed for record or repetition, tended to be metrical,
partly through long association with the dance, and
partly because verse—which is not at that stage dis-
tinguishable from song—aids the memory. "That the
early Greek inscriptions were first in Hexameters ! and
then in the Elegiae metre,? points to the early separation—
in this order—of Epos and Elegy from musice. "These
were now the natural speech-metres.

One of Anacreon's Inscriptions appears to have
been written for the grave of a fellow-countryman
who fell in the battle which broke the resistance of
the natives of Abdera; another is the dedication of
a votive effigy for the victory of the horse of Phoi-
. dolas of Corinth at Olympia. The subjects of the
lambies seem to have been various, but all personal,
and many of them, as would be expected, satirical.
The most famous of these is the charming little
piece, composed perhaps at Abdera, to the Thracian
coquette. 'lhis must have been either sent as a
letter, or sung——or recited—at a drinking-bout,
perhaps both.

The metres of this Book owe much to the tradition of
Archilochus, but also, like those of Ibycus, betray the new-
Lesbian strain by the use of Choriambs. It is to be
noted that the only two extant poems of any length are
divisible into strophes of two and three lines respectively.
The Melie poetry included Hymns, Love-Songs—one at
least in the form of à Hymn-—-, Partheneia, and (what adds
the last and most lasting touch to the traditional picture
of this lover of lads, lasses, wine, and music) songs of
regret for past youth. "The Choral poems, of which we
have the httle Hymn dedicating a temple or statue of
Artemis at the Ionian Magnesia, and a new and doubtfully
restored fragment from the Maiden-Songs, show no ad-

l e.g. those on the Chest of Cypselus, Paus. 5. 18 ? we
have three ascribed to Archilochus, and three to Sappho

637

LASUS

vance in elaboration on those of Ibycus. The metre, how-
ever, instead of being mainly Dactylie, is Glyconie, Chori-
ambic, and Ionic, all new-Lesbian characteristics; and the
poems appear to be arranged sometimes in homorrhythmie
strophes of uneven length. "The entire absence of the
Triad may be an accident.

The fragments of the Melie songs of love and
wine, in which Anacreon's self-revelation comes
second only to Sappho's, but which, to judge by
Horace's words in the Ode Velox amoenum, included
narrative poems, have less fire and more sweetness
than those of Ibyeus. Though the serious note is
not always absent from them, they seem to betoken
a man who often played with love rather than loved,
and, as we should expect in such a man, invective
has here spread beyond its traditional spheres both
of metre and occasion. Among them, for the first
time, we find the Anacreontic or Half-Iambie metre,
really a type of Ionic, which enjoyed so great a vogue
with the late imitators on whom rests Anacreon's
modern reputation. Of his fame in 5th-Century
Athens there can be no question :

* On the Athenian Acropolis' says Pausanias (i. 25) * are
statues of Pericles son of Xanthippus and of his father
also who fought the Persians at Mycalé. Near Xanthippus
stands Anacreon of Teos, the first poet excepting Sappho
of Lesbos to make his chief theme love. "The statue
represents him as one singing in his cups."

The latter half of the 6th Century brought the
beginnings of a change which proved of capital
importance in the history of the world, the rise of
Athens as the intellectual centre of Greece. Peisis-
tratus or his sons collected the first recorded library,
saw to the editing of Homer and Hesiod, and regulated
the performance of the rhapsodes at the Panathenaie
Festival; Hipparchus brought Anacreon to Athens
and made Simonides, as we shall see, a court-poet ;
the young Pindar was sent to Athens to learn his
art; within a generation of the death of Anacreon
Athens had become the home of the philosopher
Anaxagoras. Among the foreigners befriended by

638

SIMONIDES

Hipparehus was Lasvs of Hermioné in Argolis,
Melie poet, teacher of the lyre, and musical theorist.!
He seems indeed to have been the first writer on the
theory of music, to have improved the lyre by giving it à
more extensive and more finely divided scale, and to have
given new life to the Dithyramb——whose history is reserved
for a later page—both by enlarging its metrical and tonal
scope, and by making its performance competitive.

He clearly had much to do, after the fall of the
Peisistratids, with the extension or institution of the
intertribal contests in musie and poetry by which
Cleisthenes sought to establish his constitution in
the affections of the people.

Though his Choral poetry seems to have survived into
the Alexandrian age, we have only the first three lines of
his Hymn to the Hermionian Demeter, and references, both
of which throw doubt on their genuineness, to an asig-
anatie ode entitled 7T'he Centaurs and & Book of Dithy-
rambs. "

His later reputation may be measured by his
having been accorded a place among the Seven Wise
Men, and his contemporary fame by Pindar's flute-
master's choice of him to instruct his pupil in the
lyre.

A then somewhat similar but now far more famous

figure in the Athenian life of that day is the first
Pan-Heilenie poet, SIMONIDES.
Born about 555, he seems to have spent his youth and
early manhood in his birthplace, the lonian island of
Ceos; then to have lived under the patronage of Hippar-
chus at Athens; and after the fall of the Peisistratids to
have migrated to Thessaly, where he lived with one or
other of the great nobles. In the year 506 or soon after,
he wrote an Epitaph for the Athenians who died in the
operations against Chalcis, and early in the new century
accepted the new order and returned to Athens to live
under the democratic régime.

l it is significant that the first ancient system of musical
notation was founded on an old Argive alphabet, and that
Lasus' theoretical studies were shared by the Pythagorean
Hippasus of Metapontum

639

SIMONIDES

Like Lasus, he seems to have thrown himself into the
musico-poetical side of the popular movement, and
is recorded as having won a victory as poet and
chorus-trainer in the year after the battle of Mara-
thon. At the age of eighty he won his fifty-sixth
prize for the Dithyramb. He wrote the inscription
for the new statues of Harmod:us and Aristogeiton
set up in 477. Friend of the foremost Athenian
Themistocles and of the foremost Spartan Pausanias,
he now wrote Epitaphs, Dirges, and other poems of
the war, some of them in competition with other
poets such as Aeschylus, some, we may believe, by
direct commission. The last few years of his long
life were spent at the court of Hiero of Syracuse, the
resort at that time of his nephew Bacechylides, of
Pindar, and of Aeschylus. 1n the year 475 his
influence with Hiero, his fame in Sicily, and the
traditional respect paid to poets as healers of discord,
were such that he made peace in the field between
the armies of Hiero and Theron of Acragas before a
blow had been struck.

Besides his fame as a poet, Simonides enjoyed in anti-
quity the reputation of having invented the art of mne-
monies, some system, presumably, of memory-training ;
and also of having added certain letters to the alphabet,
a tradition founded perhaps on his having set the fashion
at Athens, as a popular Ionian poet well might do, of
employing the Ionic alphabet, which seems to have come
into vogue in Attie literature in the middle of the 5th
Century, though it did not supersede the old alphabet
officially till the first year after the Peloponnesian War.
For us Simonides lives in his noble Epitaphs of
the Persian War, in his great little Dirge for the
heroes of 'Thermopylae, and in his incomparable
Danaé. 'These rank with the fragments of Sappho,
the Parthenon, and the Dialogues of Plato as the
finest living flowers of the Greek genius.

Hymns, Paeans, Prayers, Dithyrambs—these to the
Gods; Dirges, Epinicia, Eulogies, Inscriptions—these to
men; such was the ancient classification of his works.
Suidas' notice mentions as his most famous Elegiae poems

640

SIMONIDES

The Kingdom of Cambyses and. Darius, The Sea-fight with
Xerves, T'he Sea-fight off Artemisium; as his most famous
lyric poem 7'he Sea-fight at Salamis; and includes among
his works a Book of T'ragedies. His "Arakro: Aóyov were
perhaps a sort of Mime. Among the Zulogies, besides
that on Salamis, were Elegiae poems on the battles of
Marathon and Plataea. Among the Znscriptions, besides
War-Epitaphs, are lines for the tomb of the daughter of
Hippias, for one of the Alemaeonids, for the runner Dandes
of Argos, for Lycas à Thessalian hound. "The same Book
contained dedications for votive-offerings for victories over
Chaleis, over the Persians off Artemisium, over the Car-
thaginians at Himera and the Etruscans off Cumae; for
the altar of Zeus Eleutherios at Plataea; for the statues of
winning athletes; for a painting by Polygnotus at Delphi.!

None of Simonides' Melie poetry seems to have
been Monodie. In the fragments of his Choral works
we find for the first time the common Lyrie dialect
of speech—and one may almost add, of metre—
which seems, like the common Epic dialect which
generations before had been the first literary expres-
sion of the unity of the Greek race, to have arisen as
part of the new emphasis in that unity brought about
by the Persian Wars.

Neither in speech, metre, nor structure is there any
notable distinction to be made between these fragments
and the * choruses ' of Attic drama. |. Some of the Epitaphs
show Doric forms rather than'the traditional lonie when
they are written for Dorians; the Melic dialect does not
vary. Here too for the first time we find the Triad in
its full development with strophes eight or nine lines
long. Side by side with it we find, as in Pindar, the
strophie arrangement; here also the strophes are longer
than hitherto. "These changes in the direction of greater
elaboration should be considered in connexion with the
musical reforms of Lasus, and the statement of the
Scholiast on Pindar that the ' originator' of the dancing-
chorus was Arion of Methymna (at Corinth), who was
followed (seventy years later) by Lasus.

1 some at least, probably all the best, of the Simonidean
Inscriptions printed in vol. ii are to be ascribed to Simonides;
the fashionable doubt of their genuineness is chiefly due to
misunderstanding of Herodotus (see vol. ii, p. 353 n.)

641

VOL. III, TE

TIMOCREON

In default of the self-revelation of monodie poetry,

the basis of our estimate of Simonides naturally
includes the stories that gathered round his name.
Many of these record wise sayings, some of which are
proverbs still: : Fortune favours the brave, ' Painting
is silent Poetry,' ' Play all your life and never be entirely
in earnest. On the other hand, there are references
even as early as Aristophanes to his penuriousness; and
Pindar was supposed to hint at him where he says ' The
Muse was no seeker of gain then, nor worked for hire,
and the ancient comment is He means that nowadays
they compose victory-songs for pay, a custom begun by
Simonides. Pindar was probably referring to all con-
temporary poets including himself. It may be that the
Eulogy, being complimentary of an individual, was the
last form of poetry to be bought and sold, or that till
the end of the 6th Century poets had lived by teaching
the young, and regarded the composition of lyric poetry
and the training of choruses as acts of grace.
In any cease a dispassionate survey of all the
external evidence suggests, not a niggard, but a man
of independent disposition who was not content to
live as a mere hanger-on of rich men, but believed
the labourer to be worthy of his hire; and this is not
inconsistent with the great kindly humorous soul
that beams from the JDanaé and the Epitaphs.
Sappho was supreme in the solo-song, the personal
lyrce; Simonides was great because he took the
choral lyric, the collective epitaph-—the impersonal
song, the song of the tribe—and made it, humanly
speaking, personal.

Among the fragments of Simonides are certain after-
dinner impromptus, which, like some of the dedi-
catory Inscriptions, show the marvellous technical
ingenuity that comes of a life spent in handling
words. The dinner-table was clearly the venue of
his passage-at-arms with a man who, significantly
of the period, combined the Lyric and lIambie poet
with the Comedy-writer, and strangely enough was
a five-event champion as well, T1MocREON of Rhodes.
By the irony of fate Timocreon owes the preservation
of his most considerable extant fragment to his having

642

TELESILLA

attacked in it Simonides' friend Themistocles. Tt is
& triadie poem, and therefore probably Choral,
written in a much more pronounced Doric than that
of the Attic 'choruses, and was probably sung and
danced, like Simonides! Victory-Song for Scopas, at &
drinking-party. The Eulogy here masquerades as a
lampoon.

Timoereon's poem in lIonie dimeters beginning 'Quoth
à pretty man of Sicily to his mother, and his monodic
Drinking-song in Trochaie dimeters to the God of Riches,
suggest that he is indebted, if not for form, at least for
matter, to Aleaeus. He seems to have quoted an Iambic
line of Anacereon's. Like Simonides, he also wrote
Inscriptions. Of his Comedies, like Simonides' Tragedies,
nothing is known except the statement of Suidas that he
wrote them.

Another poet of this age who seems to have com-
bined ' pure ' lyric and the drama was Phrynichus,
whose first tragie victory was in 511, and who is
recorded by Timaeus as a writer of Paeans.! "Thus
in the first quarter of the 5th Century signs are
already visible of à change in the history of Greek
Melie. The lyrie genius of Athens is soon to run in
but two channels, the Dithyramb and the Drama.

Before we continue the account of Lyric at the
new literary metropolis we have to speak of four
poets, two Pan-Hellenic and two provincial, the latter,
whom we shall take first, both wholly or in part
Dorian, and both—a thing hardly to be expected in
lonian Athens— women. The noble figure of TErE-
SILLA of Argos shines for us in the pages of Pausanias
and Plutarch, but as a poet, or rather à prophet,
turned warrior. Of her poetry we know hardly more
than that, like another Dorian, Timoecreon, she used
the Dorie dialect and sometimes the Ionie measure,
and that she wrote what was perhaps a Partheneion
to Artemis and probably a Hymn to Apollo.

Of the great Boeotian poetess who was by some

1 unless indeed we read, with T. Reinach, Tynnuichus for
Phrynichus

643
TT

CORINNA

accorded tenth place in the ' canon ' of Greek Lyrie
Poets, there is fortunstely more to say. Apart from
her famous reproof of the young Pindar (above,
p. 6), and his as famous but less courteous reference
to her rusticity (above, p. 8), littlle is known of
ConrNNA beyond what may be gathered from the
few extant fragments of her work. She was born at
Tanagra; she perhaps lived part of herlife at Thebes ;
she was five times victorious over Pindar; she took
Pindar to task in à poem for using an Attie word;

she wrote 'five Books, and Inscriptions, and Lyric
Nomes. She was moreover & pupil of an otherwise
almost unknown lyrie poetess Myrtis of Anthedon,
who wrote atleast one poem, known to Plutarch, on
a local Tanagraean myth, resembling in subject the
love-tales of Stesichorus and in general type the
Stories sung by Corinna herself.

To judge by her editor's orthography, which cannot
be earlier than the 4th Century, the edition in which the
Alexandrians apparently found Corinna's works was made
long after her day. It throws light on the provincial, or
should we say national, character of her work compared
with Pindar's, that it was not 'metagrammatised ' like
his into the new Attice alphabet, but into its offshoot
the new Boeotian. "The edition was probably made by à
Theban schoolmaster soon after the battle of Leuctra,
when the national pride of the Boeotians ran high.

In the extant part of what appears to be the
introductory poem to her O/d-Wives' Tales, of which
there were perhaps two or more Books, she sings
* for, or to, the white-robed daughters of Tanagra ';
but whether this means that they were the per-
formers as choruses of maidens or merely the audience
which she chiefly had in view, is not clear. Her
subjects seem to be mainly the local myths of
Boeotia, often taken, as her title plainly tells, from
the hps of the people, and told not without charm
in a singularly plain and simple way nearer kin to
the Fable than to the Epos. "There is some small
trace of personal poetry, but this may belang- to the
personal part of Choral works.

644

PINDAR

'The dialect is the half-Aeolian Dorie of Boeotia, the
metre mainly perhaps Ionie Dimeters or Glyconiecs arranged
in equal strophes of five or six lines, the latter admitting
of resolution at the beginning. She wrote, we know,
Lyrie Nomes, the introductory parts of which were
probably in Hexameters; but whether her other narrative
poems also were Monodic is not certain. "The separation
of the Nomes perhaps suggests that they were not. Her
Book of Inscriptions speaks for the wide vogue of the
fashion which among the great poets seems to have begun
with Sappho, if not with Archilochus.

Of the local Boeotian tradition to which Myrtis and
Corinna seem to have belonged we have no other
trace. Anthes, who hailed from Myrtis' birthplace,
belongs to the Dark Age; the poetess Boeo is of
unknown date.

Corinna's greater pupil, PrNDAR, whose poems lie
beyond the scope of this book, must nevertheless
find brief mention here. We are toid that his
flute-teacher, perhaps seeing dimly that the new
Pan-Hellenism was centred, for poesy, in Athens,
thither—it would be about the year 505— sent the
young Theban to learn thelyre. Among his teachers
was the great poet-musician Lasus. "The lad returned
to Thebes to be rebuked by Corinna for the neglect
of * myth ' in his poems, and to lose to her five lyric
contests; after which he lost patience with the
provineial-minded judges and ealled his old instructress
* a Boeotian sow."

His first datable Ode, Pythian x, was written in 498
when he was twenty years of age, his latest, Pythian viii,
in 446 when he was seventy-two. He seems to have lived
most of his life at Thebes, with occasional visits to the
various places in Greek lands to which he was called to
exercise his. art of poet-musician and chorus-trainer.
In the 'life' prefixed to his works by the Alexandrians
who edited them we read: ' He wrote seventeen Books,
I Hymns, IY Paeans, III and IV Dithyrambs, V and VI
Processionals, VII to IX Maiden-Songs, X and XI
Hyporchemes or Dance-Songs, XII Eulogies, XIII Dirges,
XIV to XVII Victory-Songs.) By this list we may
rneasure our losses in Greek Choral Lyrie; for, but for a

645

BACCHYLIDES

few fragments, these last four Books are all of Pindar that
we have.

With no complete Epinicion of Simonides to which
we may compare Pindar's, we cannot tell how far the
structure of his odes or his treatment of the myth!
were new. But the outward and visible informality
which embodies an inward and spiritual symmetry ;
the seemingly casual, yet never, we may believe,
really abrupt, transitions which give to these works
of consummate art the easy flow of an evening's
intimate conversation; the light and landscape
that is born of a single epithet; the vivid portrayal
of action as by a painter whose strokes are firm and
few; the dark metaphor doubtless made plain by the
gestures of the dancers; the effect of playing with
a story rather than tellng it; the combining of a
sublime detachment of outlook with the sympathy
of one acquainted with grief—it is part of the Greece
of that day that such things should be in a song of
congratulation to an athlete, but some at least of
them we may believe are Pindar's own.

Till a generation ago Pindar's Epinician Odes were
the only complete examples we possessed of Greek
Choral Melic outside the Drama. In 1896 the sands
of Egypt gave us part of a papyrus-roll containing
a number of Epinicia and Dithyrambs of his younger
contemporary, the last of the Great Nine. Baccnuvr-
LIDES, like his mother's brother Simonides, was a
native of Iulis in Ceos, where he was born about 510.
Like Pindar he seems to have visited the houses of his
patrons in various cities of Greece; he was apparently
with his uncle at the court of Hiero at Syracuse; he
spent part of his life in exile— probably for anti-democratic
tendencies—in the Peloponnese; his first datable ode
was written about 485, his latest in 452. A comparison
of his * output ' with that of Simonides and Pindar indicates
a similarity throughout; but we find no Dirges, and we
do find Love-Songs. If the two elder poets wrote Erotica,
they were included in their Eulogies. 'To Bacechylides, like

l1 for these details the reader may be referred to the text-
books, e.g. Gildersleeve's Pindar

646

BACCHYLIDES

Pindar but unlike Simonides, were ascribed Processionals
and JPartheneia. But we must remember that these
elassifieations owe much to Alexandria; and in any case
it is clear that the themes of these three poets and the
treatment of their themes were closely akin. Hence
partly no doubt the rivalry between the two lonians
and the Aeolo-Dorian; hence also perhaps in some degree
their excellence.

Yet we may believe they were far from equal.
Before we had Bacchylides we knew ' Longinus' '
dietum :

*Baechylides and Ion may be faultless, may have
attained to complete mastery of the smooth or polished
style, whereas there are times when Pindar and Sophocles
carry all before them like a conflagration, though they
often flicker down quite unaccountably and come to an
unhappy fall; yet surely no man in his senses would
rate all the plays of Ion put together at so high a figure as
the Oedipus.

And now for Baechylides we can agree. | Bacchy-
lides' eagle, his ghosts beside Cocytus, his flowers of
Vietory around the altar of Zeus, are fine delicately
conceived pieces of imaginative writing; but they
do not bring water to the eyelid like Simonides'
Thermopylae nor, like Pindar's three-word apo-
calypses, stir thoughts too deep for tears. Our
mind's eye may delight in Bacchylides, our heart
goes out to Simonides. Bacchylides' material was
the same as Pindar's, but his treatment of it, as far as
we can judge, much less original. His myths, both in
style and structure, bear a closer kinship to the
Epos, or rather perhaps to the Lyre-Sung Nome
that had long taken its place in narrative song. His
tale has more of the novel than Pindar's and less of
the short story. He is more concerned with the
facets of a vietory than with its meaning. With him
gnomie commonplace is not transmuted into pro-
phetie utterance. He is more of the professional
song-writer who entertains, less of the inspired
prophet who needs must teach. He might (almost)
have written some of the 4th Pythian ; he could never

647

THE HYMN

have written the 5th. "The reader feels somehow
that Baechylides' charms are embroidered on his
theme, while Pindar's are inwoven init. His beauty
is of the earth, Pindar's of the waters under the
earth. 'Man is the dream of & shadow '; for all
his power as à narrator, Bacchylides could not have
written that.

Before we continue our story it will be convenient
to give some account of the various kinds of Melic
poetry. Of the history of the HvywN down to the
days of Terpander we have spoken already. —

In Roman times Hymns were classified as e?xrixol * of
prayer, &mevkrikol fof deprecation,' xA«71«oí * of invoca-
tion, &momeumrTikoí ' of valediction. The first would
correspond with Simonides' Book of xerevxaí or Prayers.
The last, of which the ancients had examples in
Bacchylides, would be used for instance at Delphi when
Apollo withdrew for his winter sojourn in the land of the
Hyperboreans. The Cletic Hymn is exemplified by
opening lines addressed to Aphrodite by Alcman and
Sappho, and one or other of the types in the fragments of
the Hymns to Hermes and Athena by Alcaeus; in a perhaps
complete Hymn to Artemis by Anacreon; in the beginning
of Lasus' Hymn to Demeter ; in à paraphrase of what were
probably the first six stanzas of Alcaeus' Hymn to Apollo ;
andsome fragmentsof the Hymnsof Bacchylidesand Pindar.
Sappho's Ode to Aphrodite, like Anacreon's to Dionysus, is
apparently an adaptation of the Hymn to the purposes of
a Love-Song or Love-Message. "These few instances, none
of which, except the two Love-Songs, is necessarily to be
considered monodic, are sufficient to give some idea of the
Hymn of the early classical period. Catullus! Hymn. to
Diana; Horace's Carmen Saeculare and some of the
Odes, for instance those to Mercury (1. 10), to Venus (i. 30),
to Diana (ii. 22); and the Hymns of Tragedy and
Comedy, for instance the beautiful invocation to the
Clouds in the play of Aristophanes; will help to fill out the
picture. "The earliest extant non-hexameter fragment of a
Hymn is & line from one to Demeter included in the
'lóBakxo: of Archilochus. "The connexion of these Hymns
with the Homeric Hymns is marked by the use of the
word Proem for the Homeric Hymn to A pollo by'T'hucydides,
648

THE PROSODION

and for Aleaeus' Hymn to Apollo by Pausanias. "To judge
by the fragments which seem to come from Simonides'
Hqmmn to Poseidon, the Hymn was later elaborated to
include myths of some length, in this case that of the
Argonauts. Towards the end of the classical period we
hear of Hymns by Timotheus, one of which, at any rate,
was monodic. Long before this the Hymn, almost alone
of elassieal Choral Melie, had thrown off the dance. "The
Hymns of classical times were generally sung at a sacrifice,
by a chorus standing round the altar of the God. — There is,
naturally, no trace of the Triad, and, again perhaps
naturally, there seems to have been no characteristic
rhythm. In post-classical times the Hymns were fre-
quently performed by children of both sexes. The early

. parallel of Olen's Hymn to Eileithyia suggests that this

may have been common in the classical period. Bacchy-
lides calls Hymns saiBucofí, though the actual form of the
word is suspect.!

The PnocEssroNAL or Prosodion, of which we
have two lines of an early example composed by
Eumelus for a chorus of Messenians to sing at Delos,
seems to have been a sort of Hymn-in-motion sung

as the dancing chorus approached the temple of the
God.

The author of the passage in the T'heogon; (68) describing
the progress of the Muses to Olympus, was doubtless, as
we have seen, familiar with the Prosodion (see p. 622).
Like the standing Hymn, it included a petition. Eumelus
speaks of himself as an innovator. The ascription of the
invention of this form to Clonas probably marks a later
resuscitation involving the supersession of the lyre-
aecompaniment by that of the flute. 'The metre was at
first, as 1t seems, the Hexameter; later the characteristic
rhythm was the Prosodiaec ——--—--—(—), probably
a folk-rhythm forerunner of the Anapaestie, as the * Half-
hexameter * found in one of Sappho's Wedding-Songs and
in proverbs may have been one of the ancestors of the
Hexameter. It is found in the Embaterion or Song of ihe
Battle-Charge of the Spartans sometimes ascribed to
Tyrtaeus. The revival of this rhythm for use in the
Prosodion was perhaps due to Clonas. Processionals

l of, mra(óeto. juvoc in Pind. Is. 2. 5, but there the meaning is
perhaps different, if indeed it is not & play on the two meanings

649

THE PAEAN

formed two Books of Pindar's works and at least one of
Baechylides. Pindar's longest extant fragment opens
with an address to Delos. A song sung in the Prosodiaec
metre in honour of the Spartan general Lysander has
the Paeanic refrain and is called a paean by Duris (p. 470).

The PaAEAN was apparently a development of a
probably non-Hellenie cry, iyzaiíov, used to invoke
a healing and averting deity who came, after Homer's
day, to be identified in various parts of Greece with
various Gods and Heroes; chiefly with Apollo,
though even Pindar's Book of Paeans contained,
we are told, songs addressed to all the Gods.

The Paean was sung at the beginning of any important
undertaking, such as a voyage, for instance the Athenian
Expedition to Sicily, or a battle—this was post-Homeric—
for instance that of Salamis;! in the worship of Apollo as a
special type of song or song-dance of prayer or thanks-
giving, sometimes processional or performed at various
points where a procession temporarily stopped, always
after the libations which followed a sacrifice, taking in
some cases the place of the Hymn; among the customs
of the feast—originally identical with the sacrifice—as a
particular sort of hymn or prayer after the threefold
libation which bore the same relation to the ensuing
drinking-bout as the sacrifice to the just-completed feast ;
after victory, for instance that of Salamis, when Sophocles
played the lyre and led the dance of naked youths, as a
song of thanksgiving and triumph at the setting up of
the trophy or as the returning troops marched in. With
the last use went, naturally enough as time went on, the
notion of praise of the victorious general, for instance the
Anapaestic, or Prosodiaec, and therefore probably Pro-
cessional, Paean sung to Lysander at Samos, and the
competitive Paean performed to Antigonus and Demetrius
at Athens. Side by side with these more formal uses
was the use of the refrain as a mere shout of joy, as it
were Hurrah, especially for victory in battle. Eventually
there seems to have arisen some confusion between the
Paean and the Prosodion, and even the Hymn. In
Aristophanes! T'hesmophoriazusae (311) the refrain of the
Paean is used as a sort of Amen to the Hymn-prayer. "The

1 see Thuc. 6. 32 and Aesch. Pers. 393; cf. Xen. Hell. 2. 4. 17
where the general é£ápxe« rov matava

650

THE PAEAN

introduétion of the Paean at Sparta was ascribed to
'Thaletas, who was said to have brought it from Crete, when
summoned to stay the plague. "The Cretan connexion
is also marked by the Homerie Hymn to the Pythian Apollo
(c. 600 5.c.) The rhythm of the oldest form of the
refrain, coupled with the name of the foot known as the
Great Paeon, points to the original metre having been com-
posed of groups of five long syllables. "This is perhaps the
best way of scanning the * Hymn ' Ze? -ávrev àpxá ascribed
to Terpander. But the extant Paeans show no surviving
trace of this rhythm and but few traces of its sister the
ordinary Paean — -—- (or »——-—), both possible descendants
of an old stress-foot of five beats (see p. 627 above). It is
possibly not without significance that the * new-Lesbian'
Melie shows the clearest traces of old stress-conditions,
that Archilochus calls the Paean *Lesbian, «that
the refrain bears à resemblance to the name of the
Paeónians, and that Orpheus' head was carried, in the
tale, by the Hebrus to the shores of Lesbos. 'The Paean
of publie ritual accompanied all the sacrifices at Delphi
except thoseoffered during thethree months' winter-absence
of Apollo, when its place was taken by the Dithyramb. It
was sung by women at Delos, by youths at Thebes; at
the Spartan Gymnopaediae it was performed by naked
youths in honour of those who fell at Thyrea in 546.
From about the year 460, when the cult of Asclepius was
introduced at Athens, it became the custom to sing
Paeans there, in which Asclepius was probably associated
with Apollo, on the eve of the Greater Dionysia. We have
fragments or mentions of Paeans by Stesichorus, Tynnichus,
Simonides, Pindar, Diagoras, Bacchylides, Sophocles,
Socrates, Ariphron, Timotheus; and a considerable number
belonging to the late 4th Century and after, some of them
complete, are preserved in inscriptions. "The two hymns'
with musical notation found at Delphi, which are com-
posed in Paeons and Cretics, may possibly be Paeans.
That the later Paean did not always contain the refrain is
clear from the ancient controversy over Aristotle's Ode to
Virtue (p. 410).

The Symposiac or Dinner-table Paean was the everyday
counterpart of the festal Paean at private dinner-parties,
at club-feasts, at the common table of certain Dorian
communities, and the like. References to it are found as
early as Aleman. Among the Athenians—and the customs

651

THE PAEAN

of other peoples were probably very similar—the wine was
mixed in three bowls, from each of which the first ladleful
was poured on the ground to Olympian Zeus, the Heroes,
and Zeus the Saviour; and then the whole company,
every man holding a laurel twig, sang the Paean. If à
fresh bowl was required, it was sung again. And some-
times there was yet another singing of it, to end the
evening's festivity; this last Paean was sung by the
hostalone. "The flute, the instrument proper to a sacrifice,
was the usual aecompaniment, played by a hired flute-girl.
These dining-paeans were addressed primarily to Apollo,
but like their greater counterparts they came to associate
with him other deities such as Poseidon, or quasi-deities
such as Health or Virtue. 'The Paeans chosen were
mostly perhaps ' classics '; we hear of those of Stesichorus,
of Tynnichus,! of Pindar. "The other songs of the feast,
Drinking-songs, Eulogies, were secular; the Paean, like
the English ' grace, was sacred. "The Paean was generally
Choral, the secular songs generally Monodic.?

The traditional contents of a Paean seem to have been
first an invoeation, then something of the nature of à
' myth" with occasional reference to present-day topies, and
finally a prayer. During the reign of the Hexameter, that
metre seems to have been employed. A survival of this use
is perhaps to be seen in the Hexameters that appear in the
' Paean-like ode in the Oedipus Tyrannus (151ff.) Later,
as in the other kinds of Melic, the older rhythms resumed
their sway. The refrain either divided the couplets or
strophes, which, to judge by Aristophanes' song in the
Wasps (863 ff.), sometimes extended to half the whole
poem, or made part of theirlastline orlines. In the latter
case we find it in certain of Pindar's Paeans elaborated into
a short sentence, sometimes recurrent as in li, sometimes
not,asin vi. In three of the four extant triadie Paeans of
Pindar, the refrain or refrain-sentence ends the Triad, and
it may have done so in the fourth (Ox. Pap. 1791). Better
evidence for the structural evolution of Choral Melie
could hardly be wished for (see p. 621). Inthe Alexandrian
period, like other forms of Melie poetry, the Paean tended

1 go T. Reinach for ' Phrynichus' Ath. 250 b ? or songs
originally choral sung as solos; it was one advantage of the
absence of part-singing from ancient music that this was possible,
and this is one of the reasons that the line of distinction between
Choral and Monodie is sometimes so hard to draw

652

THE ENCOMIUM

to drop its isostrophie arrangement; and the refrain, if
it occurs, is apt to occur capriciously. "The instrument of
the publie or Festal Paean was at first, as was to be
expected, the lyre, and later flute and lyre, or even,
notably in the Processional Paean, the flute alone. "The
aeccompaniment of the Symposiac Paean, as we have seen,
was given by the flute.

The Paeans both Festal and Symposiae were turned
to secular use before the end of the 4th Century.
The Encomium or EurLocv was the result of a similar
but far earlier change.

Among its early ancestors we should doubtless reckon
the Homeric ! renowns of men.' lts connexion with the
feast—originally a sacrificial feast—shows that like all
ancient customs it was once part of arite; and just as the
narrative Epic seems to have budded off from the Hymn,
it may well be that the Eulogy was an offshoot of the
Symposiae Paean. But the name ' the song in the xàyos '
points to a more immediate derivation from the revel with
which the symposium ended. Indeed Pindar more than
once uses the word xóuos in the sense of éyróyjuov.
Apart from Homer, the earliest extant example is Alcaeus'
monodie émaívgo:s, as the Lesbians seem to have called it,
to his brother returned from the wars. "The new triadic
fragment of Ibycus, if Eulogy it be, shows the type fully
developed as a form of Choral Melie, an elaborate secular
song-dance performed in honour of an individual at a
feast. Such a development could at first only be expected
under the conditions which produce court-poets. In the
hands of Simonides, at any rate, the Choral Eulogy
became established as one of the great types of Greek
Melie. We have a considerable fragment of a poem in
seven-line strophes addressed to the 'Thessalian prince
Seopas, which, beginning with the rhythm called Encomio-
logie, —--—--—z— -—-—, is probably an Encomium.
In it the poet speaks up in his own person for the man
whose character is *not too good for human nature's
daily food. Of the Eulogies of Bacchylides we have two
incomplete examples, one to Alexander son of Amyntas,
king of Macedon, and the other to Hiero of Syracuse
(Ox. Pap. 1361). Both are composed in short recurrent
strophes; both begin with a reference to the fdpBiros;
both refer to the symposia at which they were performed ;

653

THE ENCOMIUM

both may be Monodie. "The better preserved of the two,
in which the Encomiologic metre predominates, sings
of the pleasing effects of the wine-cup; the other, which
is written in kindred rhythms, mentions an Olympian
victory. A more mutilated part of the same papyrus
would seem to indicate that Bacchylides' Encomia some-
times contained a myth. We have mention of two
Eulogies of Diagoras, one of a Mantinean, the other of
Mantinea. This Eulogy of à state was doubtless per-
formed, like Pindar's xith * Nemean,' of which presently,
at & city-banquet in the town-hall. The Exulogies of
Pindar formed his xiith. Book, from which we have three
considerable fragments. By a lucky chance we have also
one complete Encomium included—apparently because
it mentions local victories in wrestlhng—in the ANemean
Epinicia. Of these four poems, two are strophie and
two triadie; one begins with the Encomiologic, one has
it—with additions—at the end, and all are in. kindred
rhythms. | Nemean' xi was sung and danced in praise
of Aristagoras of Tenedos after a publie sacrifice and
feast on the occasion of his becoming president of his
city's council. It begins with an address to Hestia,
whose sacred fire was kept burning in the town-hall;
wishes that Aristagoras may win favour by his year of
office; congratulates his father on him, and himself on
his splendid body; hints—by way of averting the
Nemesis that came, and still comes, of over-praise 1—that
despite his beauty, wealth, and athletic prowess he is
nevertheless mortal; yet adds that it is good that ' we"
his fellow-citizens should tell his praise. "Then eomes the
reminder that he has won sixteen victories in the wrestling-
match among neighbouring peoples, and the assurance
that he would have been victorious at Pytho and Olympia
had his too diffident parents only thought fit to allow
him to compete there. Next, after a moralising * transi-
tion ' to the effect that some men are ' cast out from good
things' by boasting, others by mistrusting their strength,
follows a reference to his heroie ancestry; then more
moralising, on the heredity of virtues, how one generation
will have them and another not, for that it is destiny that
leads men on; Zeus gives us no clear sign of the future,

1 this precaution, à commonplace in Pindar, has its echo in
the modern Greek custom of averting the evil eye by spitting
in the face of a person whom you have praised

654

THE EPINICION

yet hope drives us to embark on high designs; we should
therefore pursue advantage moderately, 'for fiercest is
the madness that comes of desires unattainable. "The
word éyxóuiv came to be used of any song of praise
addressed to an individual, for instance Simonides! Dirge
On those who fell at T'hermopylae ; and the type eventually
evolved both ' Epie' Eulogies, which presumably were
recited, and prose panegyries. "The extension of the term
to other forms of Melie was really a reversion; for it was
the songs of the xàpuos that were in all probability the
forbears of the Victory-Song, the Drinking-Song, and the
Serenade and other Love-Songs.

Indeed the distinction between a Eulogy and an
Epinieion or VicroRy-SoNG was probably first
drawn at Alexandria. In any case, what difference
there was came of the accident that the 5th-Century
Greek honoured commons as well as kings, and
the vietor in the Games, whatever his rank, became
a man of the highest distinction.

A prototype of the Vietory-Song is Archilochus' so-
called * Hymn ' of Victory to Heracles, celebrating his own
success in the competitive hymn to Demeter (see p. 606).
In those days a poet could sing of his own prowess—if he
remembered to ' ascribe all to God "—for instance in the
*seal' of a Nome or Partheneion; but it was probably
some generations yet before the true Encomium became
an art-form, and perhaps another generation before it
evolved the Epinicion proper. We have fragments of
Victory-songs by Simonides dating from the last decade of
the 6th Century; the earliest of Pindar's forty-three was
written in 498. "Thanks to the preservation of Pindar's
Epinicia and some of those of Bacchylides, discussions of
the form, contents, and occasions of this type of choral
song-dance are easily available elsewhere.! Here it is
enough to remind the reader that after the year 573, of
every four years the first saw an Olympic Festival in
July or August, the third a Pythian in August, the second
and fourth an Isthmian in the Spring and a Nemean in
July; and there were a very great number of lesser
festivals of a similar kind. At all these the athletic
*events' aroused the widest interest, but we should
remember that Pindar celebrates a Pythian victory in the

1 see particularly Jebb Bacchylides Introd.
655

THE LOVE-SONG

Flute-Nome. "The enumeration of these competitions is
a syllabus of ancient education, and the catalogue of the
known poems which celebrated them a hymn to the spirit
of Greece.

Another variety of the 'Song-in-the-xópos* was
the Eroticon or Lovz-Soxa.

This may be said to have had its prototypes, if not in
the Hymns to Love ascribed to the early bards and sung
at the Eleusinian Festival (see p. 594), in the Love-Elegies
of Archilochus and Mimnermus—which were probably
recited rhythmically to the flute—and in the ribald songs
of another Ionian, Polymnastus. But Chamaeleon
ascribed the first Love-Songs to Aleman. t is significant
that Alcaeus begs his beloved to 'receive your serenader
(keuá(ovra), that is x&guos-singer. When the sym-
posium broke up, the guests went merrily through the
streets and lovers sought their loves. '"lhis rout was
called kàuos. Whether the Love-Song was sung at the
table like other Eulogies, or at the door of the beloved,
depended on circumstances. lf the beloved was of the
opposite sex, the latter would more probably be the
occasion. In the hands of Sappho and Aleaeus, the
masters of Monody, the Eroticon quickly reached its
zenith. Ibycus, with his half-Dorian origin, was perhaps
the first to make it, as a court-poet might, like any other
Encomium a choral song-dance,'! though it is not likely
that allhis Love-Songs were Choral. 'Thelonian Anacreon,
truer to human nature, more consistently followed, we may
believe, the great Lesbians. "The connexion of the Love-
Song with the Eulogy is marked by Pindar's Encomium
to T'heoxenus of T'enedos, the beautiful youth in whose lap
the aged poet is said to have died. "This, which consists of
a single Triad, was probably sung and danced by a chorus
afterafeast. Inspite of the personal form of its expression
it has à strangely impersonal, almost unworldly, ring,
suited not only to the formality of its performance, but to
the character and, we may beleve, the age, of its author.

Another and at first doubtless identical offshoot,
as it would seem, of the Symposiae Paean, was the
Seolon or DRiNKriNG-SoNG. Here again classification
apparently derives from a circumstantial and once
fortuitous distinction.

l these perhaps are the a(óevo. vvox of Pindar, Z5. 2. 1 ff.

656

THE DRINKING-SONG

The term Seolion apparently came to be used of the
post-Paeanie song if it was sung while the drinking went
on, the term Encomium if it was sung when it was over—
or nearly over. The exact moment when the xóuos could
be said to have begun was often doubtless as imaginary as
the Equator, and thus the term Encomium was often used
of a song sung at the table. Hence the seeming confusion
in what, even if it was editorially useful, was a funda-
mentally arbitrary classification. It is to be noted that
the Argument to Pindar mentions a Book of Encomia but
not of Scolia, though Athenaeus cites his 125th fragment
from the :Scolion to Hiero '; and that Aristotle classes
as an Encomium the Harmodius-Song, which may never-
theless be taken as typical of the Attic Scolia, a collection
which no doubt formed part of the library of every Athenian
lyrist-schoolmaster in the mid-5th Century. We shall
speak of this presently. "The earliest Drinking-Songs were
ascribed, perhaps wrongly, to the Lesbian Terpander. In
any case it is clear that they came up as art-forms about
the middle of the 7th Century, and their budding in
Aleman and their flowering in Alcaeus suggest an Aeolian,
perhaps once part-Lydian, stock.

Aleaeus uses the Scolion not only as a pure Drinking-
Song, but as a Political Song, to rally nobles against
commons, to attack the tyrants; as a War-Song, to
inspire his countrymen in the Athenian and EÉrythraean
wars; and, inevitably in such a man and in such a quarter
of the Greek world, as a Love-song. Aristotle quotes an
attack on Pittacus as from the Drinking-Songs, and yet
Alexandria seems to have put the Scolia in one Book and
the Stasiotica in another. "The distinction would prob-
ably have puzzled Aleaeus himself. "They were ali Songs
of the Table. "The invective element came, if you will,
from Archilochus, the erotic from Mimnermus, the warlike
from Tyrtaeus. But in the hands of Alcaeus the invective
beeomes publie instead of private, the erotic active
instead of passive, and the warlike personal instead of
tribal. 'This development was due partly to the man,
and partly, as we have seen, to the hour. Sappho's Table-
Songs were sometimes political, but more often, we may
believe, songs of love and friendship. She, too, however,
was & good hater, and it is clear that she sometimes
attacked her rivals, if not to their faces, at least in à
company of sympathisers who would pass the song on.
Like their imitator Horace, both Lesbians seem, as has

657

VOL. IIT. UU

THE DRINKING-SONG

been said above, to have used the song as a letter. Most
of Anacreon's songs of satire, of love and wine, of regret
for past youth, are clearly Melic and Monodic Table-Songs
or Iambic (or Trochaic)recitations to thelyre. Eveninthe
court-poet the political motif is not always absent.

Lesbian infiuence is clear too in the book of Attic
Scolia, whose preservation we owe to Athenaeus. Here
we find political or national songs referring to the struggles
of the nobles against the Peisistratids, celebrating the
tyrannicides, recalling the Persian Wars; songs lauding
Athena, Demeter and Persephoge, Apollo and Artemis,
Pan; or gnomie (moralising) songs on friendship and good
company—all these in the characteristic four-line * hendeca-
syllabie ' stanza; an Alcaic ' strophe on the theme ' Look
before you leap, and a partly Glyconie fable of the Crab
and the Snake, both perhaps from Alcaeus; and a number
of couplets mostly gnomie in subject and in Choriambie
metres, some taken írom Praxilla. The book perhaps
included the distrophie War-Song of Hybrias the Cretan,
With the exception of this last and Callistratus' Harmodius-
Song, which has four isorrhythmie strophes, they are all
of but one stanza. "The repetitions in the AHarmodius-
Song (ll. 1-2 — ll. 9-10, Il. 3-4 — 1l. 15-16) are probably à
characteristic feature, to be connected in the history of
folk-song with the competitive ' capping ' in certain forms
of Bucolie poetry. Compare the quotation-capping
scene between Bdelycleon and Philocleon in the Knights.

There is no doubt that improvisation took part in
the creation of many of these Drinking-Songs. A change
in the fashion of these things is indicated by a passage
which is also valuable as showing us how these songs were
sung at Athens, Aristophanes Clouds 1353 ff., which is here
given in Rogers' translation :

Strepsiades. Wellfrom the very first I will the whole contention
show :

"Twas when I went into the house to feast him, as you know,

I bade him bring his lyre and sing, the supper to adorn,

Some lay of old Simonides, as, how the Kam was shorn :

But he replied, to sing at meals was coarse and obsolete ;

Like some old beldame humming airs the while she grinds the
wheat.

Pheidippides. And should you not be thrashed who told your
son from food abstaining

To sing! as though you were forsooth cicalas ! entertaining ?

1 who lived on dew

658

THE HYPORCHEME

Str. Youhear him! $So he said just now or e'er high words
began :

And next he called Simonides à very sorry man.

And when I heard him I could scarce my rising wrath command ;

Yet so I did and him I bid take myrtle in his hand

And chant! some lines from Aeschylus, but he replied with
ire,

* Believe me Im not one of those who Aeschylus admire,

That rough, unpolished, turgid bard, that mouther of bombast ! '

When he said this, my heart began to heave extremely fast;

Yet still I kept my passion down, and said * Then prithee you,

ge one of those new-fangled songs which modern striplings

o."

And he began 3 the shameful tale * Euripides has told

How a brother and a sister lived incestuous lives of old.

''hen, then I could no more restrain, etc.

The Drinking-Song was evidently an alternative to the
Pfci:s or * speech ' from Tragedy, and it was the host's part
to decide what form the entertainment should take. 'lhe
myrtle-branch (perhapscommemorative of the tyrannicides)
or à spray of laurel (connected probably with Apollo and
the Paean) was passed from hand to hand as the guests
took turns at recitation. When singing was the order
of the day, the place of this branch was taken by the
lyre with which the singer accompanied his song. As
all the guests could not be expected, as a rule, to be able
or willing to sing, the lyre's course round the company was
often somewhat ' erooked '; hence, in contrast with the
regular course of the branch, the proceeding, and after it
the song itself, was called exóA:wv.?» "The entertainment
was sometimes varied by all the guests singing together,
for instance the stanza '"Yyia(vew t&v üpwrov àvóp| 0vqTG;
but such were probably merely Monodic songs, as it were,
multiplied, and did not involve the dancing which was
characteristic, we may believe, of most Choral Melic.

A form of Choral Melie in which the dance pre-
dominated over the song was the HYPORCHEME.
This, once probably the ritual dance of the Curetes, was

said to have been introduced from Crete by "Thaletas,
and to have been the accompaniment proper to the £vorAos

1 Aéfav 2 Aéfov 3 jac, see p. 584 4 pci
5 Martin sees & sign of the Aeolic pedigree in the accentuation,
but this is regular in an oxytone adjective which became a noun,
ef. 6óA.xos

659
vua

THE HYPORCHEME

üpxnsis or Pyrrhich, which at first—always at Sparta— -
was a dance-at-arms, later a mimetic dance of more
general type associated at Athens with Dionysus. But
it was probably not confined to this use, being more
generally a dance of many accompanying a dance of few,
the few being silent and more mimetic than the many who
sang. Its characteristic metre was the Cretie (—-—),
though this does not predominate in the longer extant
fragments and the names of certain metres, for instance
the hyporchematie prosodiaec -—--—--—- | —--—-—-.
point to a great widening of the metrical scheme. We
have mention of Hyporchemes by Xenodamus, Pindar,
Bacchylides, Pratinas. 'The three most considerable
fragments, once given to Simonides (vol. ii, p. 330), are
now generally ascribed to Pindar. These, like the large
fragment of Pratinas on the over-importance given to the
flute, are probably characteristic in the rapid motion of
their rhythm and the liveliness of their subject-matter.
As would be expected, the 'mode' employed was the
Dorian. "There is no trace of strophic or triadie arrange-
ment. "We are told that both sexes took part. According
to what is perhaps a late authority, the Hyporcheme was
performed by a chorus who ran round the altar while the
sacrifice was burning. "This, which does not seem con-
sistent with the other evidence, may have been a late
development. Athenaeus compares the Hyporcheme
with the Cordax of Comedy by reason of its sportive
character. It was employed in Tragedy, for instance by
Sophocles Phil. 391 ff., and is perhaps to be recognized
in Comedy, for instance at the end of the Ecclesiazusae.
some of the songs of Greece, naturally, such as the
Mill-Song and the Spinning-Song, never came upon
the stage of art; others, such as the Reaping-Song,
only in the book-form of Alexandrian Bucolic
(Theocr. 10. 411f.); some, such as the Iobacchus,
made art, as it would seem, by Archilochus, were
superseded by other similar forms; others were
indeed brought into art-poetry in Lesbos, but seem
to have had no vogue elsewhere in the classical
period. The Adoneion or Anpowis-SoNcG and the
Epithalamium or WEppDpiNG-SoNG, both connected
with eults which made their chief appeal to women—
whence probably their lack of vogue in the Greece

66o

ADONIS-SONGS: WEDDING-SONGS

of the classical period—became art-song in the hands
of Aleman ! and Sappho.

As we have seen, the ' Sapphic ' stanza probably owes
something to the people's Adonis-Song; and there are
several fragments of Sappho which clearly come from
her Adonideia, of the composition of which she seems to
speak in a new and doubtfully restored fragment. One
of these fragments, which is in a Choriambic metre,
belongs to an Amoebeic song between a chorus of maidens
and their leader who personates Cytherea—an interesting
parallel to the early Dithyramb, itself the work of a
Lesbian, Arion. Adonideia are also ascribed to the Dorian
poetess Praxilla of Sicyon. In the Alexandrian period,
when women's natural position in civilised life comes
again to be reflected in the treatment of love in literature,
we have Bion's hexameter Lament for Adonis and 'Theo-
critus' book-representation of the song sung on the previous
day of the festival to celebrate the marriage of Adonis and
Aphrodite.?

'The same period saw a revival of the Epithalamium. The
hymeneal folk-songs, of which the refrain was à óugv óuévoue
or the like, were apparently of several classes: the song
of the marriage sacrifice and feast, the song of the wedding-
proeession,? the songs at the door of the bridal chamber
before and after the nuptial night; but some of these
may have been late developments. The procession-song
only is mentioned in Homer, where it is clearly a song-
danee. "Theocritus! Epithalamy of Helen, which we are
told owed something to the Helen of Stesichorus, and
seems to show an acquaintance with the ixth Book of
Sappho, is supposed to be danced by maidens before the
chamber during the night. Sappho's 65th fragment ends
with a reference to the coming dawn. The Helen of
Theocritus begins with banter of the bridegroom, quickly
passes to praise of the bride's beauty and her skill as
spinner and weaver and as player of the lyre—this makes

1 the Adonis-Song is not quite certain for Aleman, but we
know that he mentioned a Phrygian fluteplayer called Adon,
who perhaps took his name from the God he personated
? xv. 100 ff. ; the song itself contains (137 ff.) a forecast of the
dirge to be sung on the morrow 3 if the Harmatian Flute-
Nome ascribed to Olympus means Chariot-Tune, it may well
belong here; cf. Didymus ap. Sch. Eur. Or. 1384 and the
Epitymbidian Nome

661

THE DIRGE

the chief part of the song—, and after a climax consisting of
a promise to choose a tree to be called and worshipped as
Helen's, ends a farewell to the happy pair with the line
"fuv à "fuévaie, *y&p érl TG8e xapeims,

which, as well as the topics of the song, may be traditional.
Part of one earlier example (Sa. 66), if it was written for à
real wedding and is not a mere tale in song, a Lyric Nome
like those of Stesichorus, is remarkable as containing (or
being in the form of) a myth. With one exception which
is open to the same doubt (146), all the other fragments of
Sappho's ixth. Book appear to be concerned with the
present. To judge by some of them, the bride herself
took part in an Amoebeie song with the bridesmaids:
and here, as in Theocritus, we find banter, but not only
of the bridegroom. The lines on the doorkeeper are com-
posed in a sort of / Half-hexameter,' like the meshymnic 1
fragment (148) but with the first two 'shorts' of any
length. Sappho indeed seems to have employed various
metres for this kind of song, including, like her imitators
Catulus and "Theocritus, the traditional art-form, the
Hexameter. Her Half-hexameters' and her Glyconies—
and with the latter we may compare Catullus' other
Emithalam; and the metre of the wedding-refrain—probably,
as we have seen, came from popular forms. 'l'he Wedding-
Song naturally appears sometimes in Attic Drama, for
instance at the end of Aristophanes! Peace and in the
Trojan Women of Euripides. We also hear of à Wedding-
Song by Philoxenus, which was perhaps exceptional for
thetime. 'Telestes' Hymenaeus was a Dithyramb.

The Homerie form of the Threnos or DrRGE has :
already been described. Its chief occasion was the
laying-out of the corpse, but in Athens, at any rate,
it was probably sung also on the thirtieth day after
the burial and repeated at the anniversary of death.
The existence of a traditional Flute-Nome called Zpi-
tymbidian or Over-the-Grave ; the derivation of Elegy,
sung to the flute, from the lament; and the practice in
5th-Century Athens of making a prose laudation over the
dead, point to its having been performed sometimes at
the actual burial. "Two, at any rate, of the popular forms
which stand behind the Dirge are the Ialemus and the

1 $.e. with the refrain following each line

662

THE DIRGE

Linus, both having their echoes in Attic drama, the former
for instance in Aeschylus Swpplices 113 ff. and. Euripides
Phoenissae 1034 ff., and the latter in Aeschylus Agamemnon
121 fi., Sophocles Ajax 626. "The traditional metre of
the 'IàAeuos was perhaps -—-—-—-— | ————-——
for this rhythm occurs in both the above passages and
corresponds in part with the word itself, doubtless once a
refrain. 'The Linus refrain was Dactylie, afAiwov aíXiwov;
which is derived from the Semitie and once meant ' woe
for us!' Both these forms were said to have come from
Asia, and both refrains, being non-Hellenie and therefore
unintelligible, gave rise to myths in which Ialemus and
Linus were persons. "The Linus-Song in Homer has been
already dealt with on p. 586. "There was some confusion
in the later antiquity between the OpZvos and the
'Emuef0ew»v. The Epikedeion was perhaps once an alter-
native term which came later to be used for the Elegiae
Lament in particular; the adjective émiu5ews occurs
first in Euripides. As with so many other forms of
Melie poetry, we have indications of the use of Hexa-
meters in the first art-stage. We may compare Euripides
Andromache 103 ff., where an Elegiae Lament by Andro-
mache herself is followed by à Choral Ode in which the
Hexameter is mixed with ' Half-pentameters' as well as
with Iambic and Trochaioe lines reminiscent of the Ialemus.
Compare also the Helen 164 ft. "The Elegy of Andromache
is doubtless closely akin both to the * Epigram ' or Inserip-
tion commemorative of the dead, and to the 'EmrwráQius
Aóyos or Publice Funeral Oration delivered over fallen
warriors at Athens at least as early as the beginning of the
5th Century. Bion's Lament for Adonis is entitled érvráios ;
here we find the amoebeic and refrain elements of the old
popular Dirge, of which the former survived in the kxouuoí
of Attic drama.

In art-poetry, with the possible exception of Stesichorus,
the Dirge appears first among the works of Simonides,
where, perhaps under the influence of the Eulogy, it seems
to have thrown off the refrain.! 'The Dirge for Those who
fell at Thermopylae was probably sung and danced over
their grave. f complete, it is a single strophe of ten
lines. The Danaé, if 1t is a Dirge, was à more elaborate
work in two or more Triads of 25 or 30 lines, containing
a myth. Simonides seems to have raised the Dirge, as

l1 cf. the later Symposiac Paean, p. 652
663

PRAYER-SONG: GRAPE-BEARING SONG

he did the inscriptional Epitaph, to the highest point of
excellence, equalled, but not surpassed, by a poet whose
thoughts were deeper but not wider, of whose Dirges we
have several considerable fragments. In one of these
Pindar describes the life of the departed, in the other he
seemingly embodies the Orphic doctrine of reincarnation.
We know, too, that Pindar wrote a Dirge for Hippocrates,
brother of the great Athenian Cleisthenes, who probably
died about 486. "The instrument of the Dirge, naturally,
considering its connexion with the Elegy, was the flute.
Apart from the Dithyramb and the Nome, which
are reserved for a later page, we find in the catalogue
of Proclus, which is based on Didymus, four more kinds
of Melie, Partheneia, Daphnephoriea, Oschophorica,
and PRAYER-SONGS.
The last, ebxriká, are probably a late subdivision of the
Hymn, of which we see a trace in one of the Alexandrian
titles of Simonides! Books, xarevxoí. They apparently
differed from the Hymn in accentuating the element of
petition, but they did not eschew the myth. Simonides'
Sea-Fight off Artemisium was, it would seem, a Prayer-
Song performed in obedience to the oracle which bade
Athens ask aid of the son-in-law of Erechtheus, that is
Boreas, and perpetuated, if we may interpret Himerius,
in the Panathenaic procession.

The Athenian OscHoPHORICON was a form of
Proeessional song-dance performed just before the
vintage by twenty youths chosen two from each tribe.
These traditionally represented the young Athenians
rescued by Theseus from the Minotaur; but the rite clearly
was a conflation, for besides Theseus and Ariadne, it did
honour to Dionysus and Athena Sciras, the latter the
protectress of the olive. "The two principal dancers, who
were dressed as maidens in memory of the ruse by which
Theseus increased the proportion of males to females in
the human tribute of Athens to Cnossus, carried grape-
hung vine-branches; women who represented the mothers
of the intended victims carried in the procession baskets
of food like that with which they had furnished them for
their voyage; and the ceremony, besides the bearing of
the vine-branches (/cxoi) from the temple of Dionysus
&t Athens to that of Athena Sciras at Phalerum, included
races among the choristers, and on their return to Athens

664

LAUREL BEARING SONG

funeral rites commemorating the death of Aegeus, and a
banquet. "The songs were probably of a two-fold nature
alternating grief for the death of the father with joy for
the triumph of the son.

Of the DaPHNEPHORICA or Laurel-bearing Songs,
which were composed by Aleman, Alcaeus, and
Simonides, and of which Pindar's works contained
three Books, we now have an incomplete example
written by the Theban poet for the Daphnephoria
held every eight years in his native city in honour of
Apollo Ismenius.

The procession, said to be commemorative of an ancient
victory over the Oetaeans, consisted of a chorus of branch-
bearing maidens led by the priest of the year, a handsome
boy of noble birth, called the Daphnephorus, who,
with his unbound hair crowned with a golden diadem and
wearing a long and richly-embroidered vestment and a
special kind of shoes, followed his nearest kinsman of either
sex, the actual ' bearer, with his hand upon the laurel.
This 'laurel' was an olive-branch bound with bay and
flowers, which was surmounted by a globe of copper from
which depended a number of smaller globes, and had tied
to its middle another small globe to which were fastened
purple ribbons, its lower end being wrapped in a piece of
yellow cloth. "The explanation given was that the upper
globe and its dependants represented the sun, the planets,
and the stars, the lower the moon, and the ribbons, which
were 365 in number, the days of the year. Similar rites
were observed at Athens and elsewhere, notably at Delphi,
whither every eight years a chorus of children, led by a
child Daphnephorus personating Apollo, brought laurel-
branches by à traditional route from Tempe, in com-
memoration, it was said, of Apollo's return from his journey
thither to purify himself after slaying the Serpent.
Pindar'ss extant Daphnephoricon is written in Triads of
fifteen short lines. His Daphnephorus' father Pagondas,
whose own father Aeoladas is the real inspirer of the poem,
commanded the Thebans when they defeated the Athenians
at Delium long afterwards. The girls of the chorus sing of
the occasion; of themselves and their dress ; of the Daphne-
phorus and the honours his family has won in the Games,
with some reference to Theban politics; but the myth,
if there was one, is not extant.

665

THE PARTHENEION

The poem is really à special kind of PARTHENEION?
showing à family resemblance to the partly extant
Maiden-Song of Alcman.

We are told that Pindar's Partheneia were almost
exceptional among his works as displaying less of the
*archaie and austere style' otherwise characteristic of
him.! It may be, if we may judge by the remains of
Aleman's, that the difference lay in a lighter tone, though
this is hardly borne out by the fragments. "The Par-
theneion was a sort of Processional song-dance allied to
the Hymn, but still containing the secular elements of
which the Hymn seems, as we have seen, to have divested
itself by a process of budding-off, and always, as the name
implies, sung by maidens. Of Alcman's work in this kind
we have already spoken on p. 615. Here it is enough to
add that in the hands of its ! inventor ' it is clearly charac-
terised in its personal part by a merry badinage between
teacher and taught,? sometimes delivered in the poet's
own person, sometimes in his choir's, which speaks for the
happy relations between them, and throws a pleasing
light on the position of women in Dorian communities.
We hear of Maiden-Songs by Simonides and Bacchylides ;
we have a few fragments of Pindar's three Books and a
few lines which may come from Partheneia by Telesilla
and Corinna; and in a recently restored papyrus, a passage
from the hitherto unknown Book of these songs by
Anacreon. 'lhis new fragment is important because it
shows that of the Choral songs sung by women the Maiden-
Song, at any rate, was not confined to the Dorians and
Aeolians.

It is now time to resume our story, which broke off
at the end of the * Canon' of the Lyrie Poets. Though
local competitions both in song and in the games still
went on all over Greece,? sometimes, as at Syracuse,
attaining more than local importance, most of the
greater poetical and musical talent of the 5th and 4th
Centuries appears to have been absorbed by the
Dionysiae contests at Athens. The JDithyramb

1 for the context see Dion. Hal. Dem. 1073 ? cf. the story
of Simonides' choir and the jackass, ii. p. 346 3 the Execes-
tides of Ar. Av. 11, a singer to the lyre, was victorious at Delphi,
at the Spartan Carneia, and at the Athenian Panathenaea

666

THE DITHYRAMB

seems to have been a comparatively late importation ;
yet it in all probability existed, in origin the com-
memorative, once invocatory, rite of a dead hero,
through many generations of folk-custom, and with
many local modifications, before it came upon the
stage of art.

According to Aristotle its origin lay in Phrygia. The
word A:68/5pauBos is an epithet of Dionysus in Pindar and
Euripides. The singer of iambi was himself called "Iaufos.
We clearly cannot separate in origin Oi80)pauBos, fauBos,
0píauBos, and the Latin íriumphus, iranslated 6píauBos
by the later Greeks. As with maed», itself probably non-
Hellenie,! the ritual epithet used as a refrain came to be
the name of the song itself. It may well prove to be
Lydian.?

The earliest instance of the Dithyramb among the
Ionians is the fragment of Archilochus, * I know how to
lead the dithyramb-song of lord Dionysus with my senses
lightning-struck with wine. Among the Dorians we find
the very ancient? invocation sung by the Elean women,
where Dionysus is at once a hero and a bull but not yet a
God, and where—which marks an older stage than íhe
lines of Archilochus—there is as yet no mention of wine.
As this is essentially a Hymn, the Dithyramb would seem
to have been an early offshoot of the ghost-invocation
which in primitive communities would be indistinguish-
able from a rite of commemoration. 'l'he separation would
only become obvious when the commemorative element
came to predominate. 'lhe word of Archilochus, 'to
lead,' é&dp£c,, is used by Homer of the two tumblers
who lead the dance of youths and maidens, in the Shield
of Achilles. "We are told by the Scholiast on the Frogs,
where Dionysus in distress says ' Call the God,' that at the
Lenaean festival the torchbearer says ' Call ye the God,'
and those who reply to him cry, * Semelean Iacchus, giver
of wealth. "This Amoebeic element, which has its parallel
in Sappho's Adonis-Songs and Epithalamies, was probably
a very ancient feature of the Dithyramb; but the Elean
Hymn suggests that it was not original. It survives in the
Theseus of Bacchylides. According to Aristotle, Tragedy

1 not necessarily non-Indo-European ? cf. Calder C.R.
1922, p. 11, A. B. Cook Zeus i, p. 681, n. 4 3 doubtless
modernized in the form which has survived

667

THE DITHYRAMB

derived from the 'leaders of the Dithyramb,' and it is
therefore significant that question-and-answer should be
so marked a feature both of the Melic and non-Melic parts
of Attic Drama.

The theme of the old folk-Dithyramb seems to have
been the adventures of Dionysus; but its extension to
other heroes began early in its history at Sicyon, where
according to Herodotus the adventures (vá6ea) of Adrastus,
one of the Seven before Thebes, were celebrated with
tragic dances (rpayucotot xopoic:),' in which they honoured
Adrastus instead of Dionysus '; and this is spoken of as
the immemorial custom of the city down to 580. At
Athens, as we shall see, the extension to other heroes came
later. Whatever its origin, the Dithyramb seems to have
developed before the historical period into the song-dance
of the worshippers, of whom one personated the God and
the rest Satyrs or goat-men, to the sound of the flute
around the altar at Dionysus at the sacrifice of a bull,
the song probably from the first competitive and the bull's
carcase the prize. At Delphi Dithyrambs to Dionysus
were performed in the three winter months, Paeans to
Apollo during the rest of the year. At Athens the per-
formance of the Dithyramb belonged traditionally to the
early spring and was connected with the Anthesteria, &
sort of Feast of All Souls. From very early times the
eult of Dionysus seems to have been associated with that
of Apollo at Delos; it is worth noting that Simonides'
Dithyrambs were preserved in the Delian temple archives.

The raising of this old ritual song-dance to the sphere
of art was connected by the ancients with the name of
the Lesbian Arion, who is said to have flourished at the
court of Periander of Corinth about 625; to have been a
pupil of Aleman; and to have been victorious at the
Carneian Festival at Sparta. According to Suidas'
authority he 'invented the tragic style, was the first to
assemble a chorus (xopór oT57:), to sing a Dithyramb, to
give that name to the song of the chorus, and to introduce
Satyrs speaking in metre. According to Aristotle, also,
the originator of the Dithyramb was Arion, 'the first
trainer of the Cyclic Chorus (k$xAis xopós)' In these
two passages we seem to have the beginnings, that is the
raising to art-status, and possibly the differentiation, of
the Dithyramb, of Tragedy, and of the Satyric Drama.
1f this is so, the reference of Archilochus, who lived 50

668 -

THE EARLIER DITHYRAMB

years before Arion, would seem to be to the folk-ritual.
But perhaps it is unsafe for us, though the ancients did it,
to draw a hard and fast line between the *' folk "-stage of
development and the stáge of *art,/ When we draw it,
at any rate, and it is often convenient to do so, let us
remember that changes of this sort generally come more
gradually than their historians suppose; and that the
classification * folk ' and *art' is, at bottom, unscientific.
The distinction, for any particular place or time, depends
on cireumstanees, and the winding river of culture often
parts into more than two streams.

It should be noted that Archilochus was a poet and
speaks of himself as 'leading' the Dithyramb, and
ó étdpxev the Dithyrambie poet remained in name through-
out the classical period. "The leader's part would naturally
fal to à man of superior powers, in this case doubtless
powers of reproducing and improvising song-dance,
especially if, as it seems to have been, the performance
was a matter of question and answer; for it takes more
intelligence to put an impromptu question than to answer
it.

After Arion, the next great name in the history of the
Dithyramb is that of the Argive Lasus (see p. 638). The
Argive musicians seem to have been famous at the end of
the 7th Century, when Cleisthenes of Sicyon ejected them
to make room for native performers. When we are told
that Lasus was the first to make the Dithyramb com-
petitive we should probably understand this to mean com-
petitive as an art-form at Athens. He and Simonides,
with the early dramatists such as Choerilus, Phrynichus,
Chionides, and perhaps Thespis, were probably prime actors
in the art-movement which began under the Peisistratids
and continued under the democracy. All the various
types, the Dithyramb proper, its offshoots Tragedy and
the Satyr play, and later, Comedy, the child of the rustic
vintage and harvest rites associated with the reproductive
forces in nature and man, were performed at the Greater
Dionysia, some at other festivals. 'The first recorded
vietory ' with & chorus of men,' which probably means
in the Dithyramb, that of Hypodieus of Chalcis in 508,
is thought to mark the beginning of the intertribal com-
petitions which were intended to help in the welding of
the new democracy. Private citizens, acting in two
categories, as boys and as men, now superseded the guilds

669

THE EARLIER DITHYRAMB

of singers; the professional element did not reassert itself
till the over-elaboration of musie made it imperative in
the 4th Century. It is recorded that Simonides was
vietorious in the Dithyramb in 476, Pindar in 474.

In other parts of Greece about the year 500 we find
Dithyrambs being composed by Praxilia of Sicyon, and
there is some trace of the art-Dithyramb before this in
Magna Graecia, though the claim that most of the poems
of Stesichorus were Dithyrambs is not to be regarded as
proved. They were more probably Lyre-Sung Nomes.

In 5th-Century Athens the change in the subject-
matter of the Dithyramb was resented by the conservative
element in the people, and ' What has this to do with
Dionysus?' became a proverb for irrelevance. The only
considerable fragment of the Dithyrambs of Pindar, which
filled two Books, deals with Dionysus; but the only two
of Simonides! Dithyrambs of which we know the names
were called Memnon and Europa ; and of the five complete
extant Dithyrambs of Bacchylides the Io is the only one
that mentions him, and that only just at the end.! Both
Pindar'ss fragment and the /o were written for the
Athenians. Pindar tells us that the Dithyramb originated
at Corinth, and this seems to have been the scene of the
labours of Arion. In the same passage Pindar calls it
*ox-driving ' (BogAdra3s), that is, for which the prize is
an ox. "The Scholiast on Plato tells us that the winning
poet received an ox, the second a jar, presumably of wine,
and the third à goat which was led away anointed with
wine-lees. Athenaeus tells us that the winning Athenian
tribe received a tripod. This tripod was dedicated in the
Street of 'Tripods with an inscription recording the
archonship, the poet, the fluteplayer, and the choragus or
rich citizen who had paid for the training and equipment
of the chorus. "The fiuteplayer stood on the steps of the
altar, and the chorus danced round it. 'lThe chorus was
of fifty men in the time of Simonides, later sometimes of
more, and was called circular probably in contrast at first
with the quadrangular processional song-dances such as
the Partheneia and the Prosodia, and later with the
similar formation which became usual in the Drama.
The musical mode employed was at first, as was to be

1 jt is not necessary to suppose that the classing of these as
Dithyrambs is merely Alexandrian; apart from the evidence
of the proverb, the * absence ' of Dionysus was a natural develop-
ment and has its parallel in the history of the Paean

670

THE LATER DITHYRAMB

expected, the Phrygian. "The structure of a Dithyramb
in the best period was sometimes strophie, sometimes
triadic.

We have evidence of the authorship of Dithyrambs
at this time for Ibycus, Lasus, Simonides, Lamprocles,
Pindar, and Baechylides. Of the five complete extant
Dithyrambs of Bacchylides the subjects are The Asking-
back of Helen, Heracles and the Shirt of Nessus, Theseus'
Voyage to Crete, Theseus' First Coming to Athens, The
Wanderings of Io. Of these the Voyage of Theseus was
performed in honour of Apollo at Delos by a chorus of
Ceans, the Heracles in honour of Apollo at Delphi; the
First Coming of Theseus is clearly for the Athenians; the
Io is definitely stated to be for the Athenians; the frag-
mentary Idas is for the Lacedaemonians.

With the growing importance of musice in Melie
performanees, against which Pratinas of Phlius pro-
tested in vain (p. 660 above), and to which we have
references in Aristophanes (Nub. 970), came a still
completer separation of the Dithyramb from the
Drama. "The Drama became less and less à matter
of song and dance, and the Dithyramb more and more
a matter of instrumental music.

We may realise this by comparing the proportions of
Melie to other matter in Aeschylus and Euripides. "The
accompaniment of the Dithyramb now included the lyre,
and the dancing of the Dithyrambie chorus was greatly
elaborated. "The music-and-dancing element once strong
in both Drama and Dithyramb was now concentrated in
the Dithyramb, and the verbal element once equally
important in both was now concentrated in the Drama.
Not that the verbal element disappeared from the Dithy-
ramb, but the over-elaboration of the dancing and the
musie caused degeneration in the style of the words and a
loss of form in the metre. The strophiec arrangement
disappeared; all the 'modes' were used in the same
poem; the words became a turgid jumble of disjointed
sentences full of wildly-compounded epithets.

Soon the performance became too much for the
eitizen-choruses, and professionalism resumed its
sway. "The comic poets and Plato protested in vain.
The truth is that all the Dionysiae performances,
including the Drama, suffered the degeneration which

671

PHILOXENUS: TIMOTHEUS

waits on art-forms when they begin to appeal only
to the pleasure of the looker-on. "This degeneration,
to judge by modern parallels, would be hastened by
the disastrous Peloponnesian War.

In the latter half of the 5th Century the chief
name is that of MELANIPPIDES, grandson of the earlier
Melanippides; attheend of the 5th and the beginning
of the 4th those of PHILOXENUS of Cythera, his pupil,
and Timotheus of Miletus.

Melanippides introduced instrumental flute-preludes
and íree rhythms—that is, astrophie arrangement—,
Philoxenus solo-songs.! ^ Aristodemus nevertheless, in
conversation with Socrates, is made by Xenophon to place
Melanippides with Homer, Sophocles, Polycleitus, and
Zeuxis, as a master of his art. Philoxenus enjoyed a great
reputation both at Athens, and, later, at the court of
Dionysius at Syracuse. His famous Dithyramb The
Cyclops, in which he satirised the tyrant, who had crossed
him in love, was imitated by Theocritus. "The large frag-
ment of the Banquet which, clever though it is, shows the
Dithyramb at its worst, is probably the work of another
Philoxenus.

Of the eighteen famous Dithyrambs of his contempo-
rary TrworHEUS? we have but one line from the
Scylla. He raised the number of the strings of the
lyre to eleven, and made other bold musical inno-
vations which, after a period of great unpopularity,
eventually combined with his success with the Lyre-
sung Nome—of which presently—to make him the
most famous poet of his day. For his Hymm to
Artemis the Ephesians paid him a thousand gold
pieces. The after-influence of Philoxenus and
Timotheus may be gauged by the fact that two
hundred years after their death their Nomes were
still taught to the young Arcadians (Polyb. 4. 20. 9).
There is one more famous name, that of TELESTES
of Selinus, who won his first victory in the Dithyramb
in 402.

1 this rests on & probable emendation of Westphal in Plut.
Mus. 30 ? not to be confused with the fluteplayer, temp.
Alexander

672

THE LYRE-SUNG NOME

We have a considerable fragment of his Argo, in which
he speaks up for the use of the flute, possibly in reply to
Melanippides' Marsyas, which dealt with the contest
between flute and lyre.

Towards the end of this period the ever-growing
desire for mere entertainment caused a revival of
interest in an old but not obsolete ! form, the Lyre-
Sung Nome. This revival was due to the Lesbian
Phrynis, who won his first Athenian victory in 446,
and his pupil Timotheus of Miletus, who lived at
Athens and was a friend of Euripides, and died at
a great age in 357.

This ancient song was accompanied by a dancing, and
sometimes in the earlier period singing (Plut. Mus. 8,
Procl. Chrest. 320a. 33), chorus, to the tune, traditionally,
of the lyre; but even in the time of Terpander the lyre
was supported in a subordinate position by the flute.
When the share of the chorus came to be confined habitually
to the dancing, the song was left a Lyrie Monody with
orchestic accompaniment, a type which had the advantage
over other Chorie song that the words could be heard
more easily by the audience. "That this was felt to be à
real advantage to it as an entertainment is clear not only
from the way in which Epic, Iambie and Elegiae all
became recitation-verse, but from the passage of the
Frogs where Aristophanes takes credit to himself for
supplying his audience with books of the words for the
coming contest between Aeschylus and Euripides. t
is no coincidence that the same period in the history of
Melie poetry saw Philoxenus' introduction of solos into the
Dithyramb.

To judge by the large fragment of Timotheus' Persae,
the style of the * new " Nome, despite the distinction drawn
by Proclus, differed little from that of the later
Dithyramb, with which indeed it was probably intended
to compete for popular favour. "The Persae is directed, in
its *seal' or personal part, the part in which the author

1 the * Boeotian ' Nome was still performed at Athens in 426,
Ar. Ach. 13 ff. ? there, of course, it is the spoken, not the
sung, word that they wished to be able to follow, but the inference
to the attitude of the late-5th-Century playgoer at Athens is
clear; see also p. 633 3 below, p. 676

673
VOL. Ill, A X

PRELUDE AND NOME

as it were signed his name,! against the conservatism of the
now dominant Spartans in matters of musice and poetry.
We may well believe that this justification of the poet to
his judges in the competition would have been unnecessary
had they been Athenians. Degeneration had gone
further at Athens than at Sparta.

There seem to have been extant at this time certain
Lyre-Sung Nomes ascribed to Terpander. "These probably
are the ten &àoejàaí mentioned by Timotheus. The
derivation of vóuos in this connexion is not quite certain.
This use of the word is first found in the Hymn to the
Delian Apollo. 'The ancient explanation that it meant
'regular' because the composer was not allowed to go
beyond the proper technical limits will not hold water;
for the frequent change of mode and rhythm (in the same
song) with which this explanation would contrast it, was,
as we know from Plato, a late development. Now the
Nomes of Terpander were coupled with, but different
from, his mpooíui or Preludes; it is clear from Suidas
that these were preludes to the Nomes; and when Plutarch
wants to prove his derivation of vóuos he says: ' Ás soon
as the performer had done his duty by the Gods, he passed
on to the poetry of Homer and other poets—which is
proved by the Preludes of Terpander. This would seem
to imply that Terpander's Preludes, like some of the
Homeric Hymns, contained some reference to their having
originally been followed by Epic Lays. Was it the
custom that Prelude should be followed by Nome and
Nome by Epic Lay ?

Before it means law »vóuos means custom. lt is
conceivable therefore that vóuos in this connexion means
the usual, if not the legally constituted, song, the pre-
scribed part, the ritual and once unvaried part, of the
performance;? and thus first, when the Hymn broke in
two and the Epie became a separate thing, the alternative
terms vóuos and po»íuiwv (stil sometimes called ?vuvos)
were left standing alone without the Lay the contrast with
which had given them birth; the second stage was the
dividing of the »óuos into the -pooíutv vópov and

1 Wil. compares the end of the Hymn to the Delian Apollo
? cf. the éx zóv vónev o6a( taught to the young Cretans,
Strab. 10. 4. 20, and the use of vóuos — vóutsua, whence Latin
nummAs; the use of the word by Aleman fr. 70 of the songs of
birds may well be a metaphor from the Flute-Nome itself

674

THE NOMES OF TERPANDER

the main body of the vóuos; but the two together were
still sometimes spoken of as & mpooí(uov, and Ter-
pander's Preludes in this sense contained some reference,
as Plutarch implies, to their being followed by Epie Lays—
as indeed, according to Heracleides, they originally were.
The aseription to Timotheus of a Book of IIpovóuua Or
Preludes to Nomes seems to indicate the late use of a more
distinctive name for the -mpooíuov vóuov. "The Flute-
Sung Nome 'invented' by Clonas may well have begun as
an occasional substitute for the Lyre-Sung. Of the two
purely instrumental Nomes both were probably develop-
ments of the few bars which preceded the ancient Hymn
by way of giving the singers their pitch, the lyre again
coming first in point of time.

Of the Lyre-Sung Preludes of the first stage, when they
were identical with the Nome, and also of the Preludes of
the second stage when they formed introductions to it,
we may well have examples among the Homeric Hymns ;
but they were probably not all composed in hexameters
after the days of Terpander. One of the Nomes ascribed
to him was called 7Z'he Trochaic, and he is praised by
Plutareh for introducing into musie a beautiful style
called Terpandrean. It is clear that he not only added a
string to the lyre but was a rhythmical innovator as well.
"That one of his Nomes was called Trochaiec suggests that
hitherto the metre of such songs had been something else—
in all probability the Hexameter. The ' Terpandrean '
metre was likely enough the Spondaie, exemplified in at
least one extant fragment, that of a poem which was
ascribed to him in antiquity and was presumably one of
the famous Nomes—possibly the Nome called Terpandrean ;
for it might have been called after the metre rather than the
composer, which would explain why among so many
Nomes ascribed to Terpander only one bore his name.!

We hàve corroboration of the view that the Nome was a
derivative of the Hymn, in the first fragment of Terpander,
where we find, in what is probably the beginning of the
Nome called Terpandrean, the poet referring to the first

1the view that Tpoxetos in this connexion refers to the
tempo—' running '—and not the rhythm, is less likely; cf. also
Stob. Ecl. i. 1l. 31, where after an enumeration of deities in 9
hexameters we read v$uvéoues uákapas, MoUgat Atos €xyorot, adfcrous
àáoióais, which, though it can hardly be earlier than the 4th
Century, may follow an old tradition

675
xx2

DITHYRAMB AND NOME

part of his poem as a ' beginning of Hymns. In Pindar
Nem. 2. 1, * Where too the Homerid bards of stitched epie
lines for the most part begin, namely the prelude to Zeus,'
the reference is to the rhapsodes, and the -pootjuov is
probably a short Hexameter address such as the xxiiird
Homeric Hymn. | Whether this Zeus-Prelude of Ter-
pander's would be suitable to a Nome sung in competition
at Delphi or at the Spartan Carneia, both held in honour
of Apollo, is not quite certain. It may have been per-
formed elsewhere; but it should be noted that the poetical
custom of ' beginning with Zeus '——though not perhaps
as old as the T'heogony, where ll. 47 ff. come awkwardly
and may well be an addition—is as old as Pindar. "Timo-
theus' Persae, which was probably written for a festival
of Poseidon, ends with an address to Apollo. "The con-
tents of Terpander's Nomes can only be conjectured from
the incomplete Persae of his imitator, and from a general
comparison with the Homeric Hymns.

Among the earler poets of the Nome, besides Ter-
pander, Lyric Nomes were ascribed before him to
Chrysothemis and Philammon, to the latter of whom
were sometimes attributed certain of the Nomes
generally called Terpander's; Arion's ' Preludes to Epic
Poems, of which there were two Books, were probably
Lyrie Nomes; so too perhaps were some at least of the
long narrative poems of Stesichorus, which he himself
calls Preludes, and of Ibycus, who was sometimes credited
with the Funeral Games of Pelias; Lyric Nomes were
ascribed by Suidas' authority to Corinna.

In the latter half of the 5th Century comes Phrynis,
whose innovations, according to Proclus' authority, were
* the combination of the Hexameter with free rhythms and
the use of a lyre of more than seven strings. Next to him
his pupil Timotheus, who 'brought the Nome to its
present condition. "Then follows à comparison with the
Dithyramb: :' The Dithyramb is full of movement and,
expressing by means of the dance a high degree of
* possession ' or excitement, is directed to evoking the
emotions most characteristic of the God ; wild, too, in its
rhythms, it nevertheless employs a simple phraseology.
'The Nome on the other hand is sustained ! in an orderly
and highly dignified style by the various characters it

1 reading àvéxeza: for the first àveira«, but the meaning of the
whole sentence is uncertain

616

THE BEGINNING OF THE END

describes; while its rhythms are easy and tranquil, it
employs compound expressions. Each of course has its
particular **modes," the Dithyramb the Phrygian and
Hypophrygian, the Nome the Lydian system of the
singers to the lyre. Here Proclus' authority clearly was
speaking, if not of the Dithyramb before Melanippides
and of the Nome before Phrynis, at any rate of both before
the worst results of their innovations had worked them-
selves out.

In the Clouds (423 5B.c.) Aristophanes bewails the
change of taste which had made such songs as those
of Lamprocles out of date; in the first Book of the
Republic (c. 385) Plato makes the aged Cephalus
quote Pindar as an old man in a modern novel might
cite Tennyson; in his comedy Linus, Alexis (372—
270) makes the bard bid his pupil Heracles select a
book from his library in the following lines :

* Come here and take whatever book you please ;
Look carefully at the titles; take your time;
Here's Orpheus, Hesiod, and the Tragedies,
Choerilus, Homer, Epicharmus, prose
Of every sort and kind; your choice will show
What manner of man you are.'

No mention of lambie, Elegiae, or Lyrie poetry.
It is clear that by the end of the 4th Century, when
playwrights were already writing plays merely to be
read, much even of the verse which had long been
only recited had lost its attraction, and song-poetry,
at any rate the older song, was going out of fashion.
Theophrastus! Late-Learner (319 m.c.), instead of
learning the 'classics,' is at pains to get by heart the
songs he hears at the juggler's show. In a fragment
of Aristotle quoted by Athenaeus (i. 6 d) we read :
*'They spend the whole day holding forth to chance
audiences at the puppet-shows or to travellers just
arrived from Phasis or the Borysthenes, though they
have never read anything but Philoxenus' Banquet,
and indeed have never finished that. Here we may
well have a glimpse of the half-literary publie who
thumbed the earlier Greek story-books of which we
have somewhat late examples in the fragment of the

677

THE ROMAN TWILIGHT

Tale of Ninus, a papyrus which may belong to the last
Century before Christ, and the famous Milesian Tales
colleeted by one Aristeides and translated into Latin
in the time of Sulla. The Song of the Table survived
—chiefly among hired musicians—through the
Alexandrian Age; Sappho and the Anacreontea were
still sung—by professionals—after banquets in the
2nd Century of our era. "There was a long twilight,
but the sun had set.!

By the end of the Athenian Period, that is by about
330 s.c., whieh has been taken as the limit of this
book, most of the forms of Greek poetry, including the
Drama, by the process of budding-off which began, 1t
would seem, with the early Hymn, appear to have
developed secular uses: for the honouring of men rather
than Gods; fortheimparting of general moral truths ;
for the expression of personal love, hate, grief, Joy ;
for mere record or communication; for sheer enter-
tainment. In Melie poetry the hieratie tradition
went on into Roman times, to give birth eventually
to the Christian Hymn ;? the secular forms, narrowing
in scope of occasion and choice of metre, and growing
ever more a means to pleasure, survived the last
centuries B.C., mostly perhaps as recitation-poems.
The change was partly due no doubt to changing
economie conditions, but partly also to the ever-
increasing rift between the dialect of literature and
the idiom of common life, and not least to the gradual
supersession of the pitch-accent. Stress was resuming
its sway, and poetry sung in ! longs ' and ! shorts ' was
naturally felt to be too artificial when the ' quantities '
were coming to be ignored in speech. Another
eause, which began to work even in the days of
Euripides, was doubtless the spread of two corrupting
practices which came of the over-elaboration of the
musical aecompaniment, the singing of several notes
to a single syllable and the neglect of the pitch-aecent
in composing the melody. So long as these practices

1 Aul. Gell. N.A. 19. 9, Polyb. 4. 20. 10 2 cf, W. Christ
Anth. Graeca Carm. Christ,

678

THE END

were the exception no harm was done, but when they
became the rule, the words became less important
than the musice because less easily intelligible to the
ear, poetry was less often sung for its own sake, and
even Monodie art-song eventually appealed to few
but the highly educated in music.

The general standard of the literary taste that
prevailed among the educated Greeks of the Roman
Empire is shown—for song—by our possession of the
Anacreontea beside our loss of Anacreon. Some ofthe
Anacreontea, which date from about 5.c. 150 to A.D.
550, show signs of attempts to adapt the old Lyrie
metres to the new language-conditions; Bishop Syne-
sius, who lived about 400 4.p., knew the Lyric Poets
and wróte ' Anacreontic' Hymns; in the 7th Century
it was still worth the while of a certain Egyptian
Greek, who was not a good metrician, to copy out the
Fifth Book of Sappho; recitation-poetry, Epic, Ele-
giac, and Iambie, with certain modifications, were still
written in the 6th and 7th Centuries; the Epigram
indeed lived on till the 10th, Iambic to the 12th.
But after that the dark.

* I was told when a boy,' writes Petrus Aleyonius in the
16th Century, 'by Demetrius Chalcondyles, that the
priests of the Greek Church had such influence with the
Byzantine Emperors that they burnt at their request a
large number of the works of the old Greek poets, parti-
eularly those which dealt with the passions, obscenities,
and folles of lovers, and thus perished the plays of
Menander, Diphilus, Apollodorus, and Alexis, and the
poems of Sappho, Erinna, Anacreon, Mimnermus, Bion,
Aleman, and Alcaeus.'

679

TABLES

COMPARING THE NUMERATION ADOPTED IN THIS EDITION (ÉZ) WITH THOSE

FOLLOWED BY BERGK IN HIS POETAE LYRICI GRAECI ' OF 1882 (BGK.),
HILLER-CRUSIUS IN THEIR ÍANTHOLOGIA LYRICA' OF 1913 (HiIL.),
DIEHL IN HIS ÉANTHOLOGIA LYRICA' OF 1922-5 (DL.), JEBB IN HIS
*BACCHYLIDES' OF 1905, SÜSS IN HIS ' BACCHYLIDES" OF 1912, AND
WILAMOWITZ IN HIS / TIMOTHEOS' OF 1908 (WIL.)

CORINNA
Bgk. E Bgk E Bgk E Bgk. E Bgk. E
1 18 10 1 19 23A 28 33n 937 12
2 27 TY 2 20 l 29 17 88 37
2 25 12 934 21 T. 30 20 39 35
4 26 13 5 22 19 31 2 40 38
5 24 14 6 28 40 29 29 41 39
6 ce 15 7 24 30 38 31
7 28 16 8 25 13 34 8
8 15 17 9 26 4 35 22A
9 41 18 10 27 36 36 14
Hil E Hil. E Hil. E Hil. E Hi. 8
1 1 Sq. 260 6 6 9 9 12 11
2 18 4 1 7 7 10 10 13 41
3 27 5 2 8 8 11 23A 14 40
DI E DI. E DI. E DI. E DI. E
1l 41 7 22 13 30 19 5 25 19
2 1 8 23A 14 2 20 6 26 13
3 40 9 24 15 A1 21 7
4 32 10 4 16 1l 22 8
5 33 11 27 17 34 23 9
6 18 19 26 18 quy 24 10
E —Bgk; "Hib- DUE| E Bei; HiL —*DISICEE Bgk- "Hil DE
1 10 4 16 9 T4 9 28 | 18 1 2 6
20 1 2i) 18 10 24 | 19 22 —— 25
2 11 5 14 | 11 21 12 15:1] 20 30 — —
3 20n — — | 12 937 — — |21 ixl — —
4 26 — 10 | 13 25 -— 26 | 22 6 — 7
13 — 19 | 14 36 — — | 23 — — —
6 14 6 20 | 15 8 — 18:1^23A 49 11 8
7 15 7 21 | 16 — — — | 24 5 — 9
8 16 8 22 | 17 29 — — 25 3 — —
680

E Bgk. |Hil.
26 1 3a
927 2 3
98 7 I
29 32 —
30 24 --
31 33 --

Bgk. E
1 33-50
9 33-160
e 57
3 49
1 42
5 49A
6 33-37
(i 29-13
8 29-76
9 38-1
10 12:38
1l l
12 1i
13 j^
14 8
15 9
16 21
17 12:2
Hilbz
1 33-50
2 33-160
51
3 42
4 33:81
5 29-76
6 38-1
Yi i
8 7
a
2
Jebb E
11 29:111
2 30
3 31
4 32

BACCHYLIDES

DLioE- gJBgk. |Hil DL.| E
12 | 32 -— -— 4 | 38
1l [33 — — 5| 389
—|34 12 — 17 | 40
—|35 39 — — | 41
13 | 36 27 -— —
—1|37 38 — —
BACCHYLIDES
Bgk. E Bgk. E
18 17 36 48
19 229 iv 50
20 x 38 51
21 23 39 52
22 25 40 2
23 26 41 16
24 68 42 53
25 694 43 54
26 69B 44 55
27 70 45 56
28 6 46 40-205
29 10:50 47 33:26
30 29-159 48 73
31 27 49 74
32 18 50 59
33 46 51 44A
31 47 52 40:58
35 10:30 53 45
Hil. E Hil. E
12 13 24 27
13 25 25 46
14 26 26 47
Z5 68 27 10-30
16 694 28 48
3 69B 29 50
18 70 30 51
19 6 S1 52
20 49 32 2
21 29-13 33 16
22 10:50 34 53
23 29-159 35 54
Jebb E Jebb E
5 33 9 37
6 34 10 38
4 35 11 39
8 36 12 40

ecl

E
41
10
11

12

68r

Jebb E
17 13
18 14
19 15

Frag.

1 42
2 d.
3 7
4 8
5 9
6 16
7 :
i 22
9 23
10 25
11 26
12 21
13 68
Süss E
1 29
92 30
3 3l
4 32
5 33
6 34
7 35
8 36
9 37
10 38
11 39
12 40
13 41
14 10
15 11.
16 12
17 13
18 14
19 15
20 16
E Bgk.
ii Et
2 40
3 64
4 19
5 lin
6 28

Hil.

7
32

19

BACCHYLIDES

E Jebb EZ
Frag
69A 31 44A
69B 32 72
70 38 To
6 94 74
46 35 9.84
4T 36 4
48 37 5
49 38 17
52 39 21
2 40 24
55 41 59
51 42 28
53 43 65
54 44 60
57 45 20
50 46 16n
56 4T 44
E Süss E
Frag.
42 19 69B
b 20 70
4 21 6
7i 2 46
8 23 47
9 24 48
21 25 49
17 26 10-30
18 2 50
44 a Sri
2 9
22 30 52
28 31 2
24 2L 53
25 33 54
26 34 55
rd 35 56
67 936 40-205
68 3 57
69A 937A 72
Süss E Bgk. Hil
Ír.r2 Y 13 8
ir 2b 8 14 9
Ír. 47 9 15 —
I2 29 22
fr. 2n 10 35 27
fr. 21 (59? —

E Bgk
11 p
DI

13 —
14 —
15 —
15A 61
16 4l
17 18
18 32
19 55
20 54
21 16
23 19
29 21
24 —
25 22
26 23
264 23n
27 3l
28 q1
oo à
| 30
30 —
31 —
32 —
2
33 6
47
934 —
35 —
36 —
97 —
38 9
39 dE
40 (£5

Bgk. E

1 2

2 29

3 90

4 13

Hil. E

1 z

2 13

3 12

Hil. Jebb
— 15
kB 16
— 17
— 18
—- 19
— Íír.49
an- fr. 6
LI fr.38
— Íír.51
— Íír.54
— ír.45
— .fr.39
Ig Ir ^T
12 "fr. 9
— .Ífr.40
To fr.d0
T4. Hr, 1I
24 r.12
— . ír.42
21
3 1
23
-- 2.
-— 3
— 4
Ep
ij :
4 o
39
— 6
— .
D 8
-—- 9
6 10
— 11
E 12
Bgk. E
5 12
6 22
7 27
8 14
Hil. E
4 D2
5 14
6 16

TIMOTHEUS

Süss E Bzgk
15 P- E
4
16 424 5
17 43 60
18 44 56
19 444 51
192 45 53
20 46 33
fr. 8 47 34
iri-9 48 36
fr. 42 49 3
fr;4L 50 ar
Iri 51 38
ir.1i 52 39
Ir-13 53 42
vo ue EE 54 43
fr. 14 55 44
fr. 15 56 45
fr. 152 D 2
fr. 16 58 Ad.
fr. 16n p. 143
59. 50
1 60 62
61 63
9 62 65
3 63 66
4 64 67
65 68
5 66 694A
664 —
67 ——
6 68 24
7 694 25
8 690p 26
9 70 27
10 b ——
11 72 d.
TIMOTHEUS
Bgk. E Bgk.
9 16 13
10 17 14
TT 20 16
12 24
Hil. E Hil.
ni 17 10
8 21 11
9 29 12

E

OQ» o2 e» rotor2roro
dS EA CS ES ES DO ER CA | | | | | es]

e» 9205
[er E911

L3 -I

I&xSesI LIII

5.
&

Wil. E
1 3
2 x d
3 9
4 4
5 10
6 iNE
7 12
DLE
1 2
2 12
3 13
4a 21
E Bgk.
1 p.619
2
3 uu
4 c.
5
j219l
4. 11-324
8 Il;
9 ES.
10 25.619
T4 19
12 5
13 4
14 8
15 13
16 9

Bgk. E

:| L1
2 2"
3 L3
4 L5
5 L4

Hil. E
1 Li
2 L'2
3 LG

PHILOXENUS

Wi. E Wi. E | Wil
8 13 ic i36 21
9 p.281 15* | 17 22

10 5 16 6 23

lla 21 17 9 24

llb 23 18 8 25

12 922 19 26

1530714 20 p.981 27
DL. E DL E DI
4b 93 éc |317 9
BEST 99 6d 18 10
6a 14 7. 24 11
BH 16 8 90 12

Hil Wil DL E Begk

n: 2 p.134 17 10
1 3 1 Ad

E 1 a 18 117

ES 4 i 19 EC

Lr epe d ET 20 11

— 16 -— 2a 6n

: 6

—uM V9 9 23 6n

napt-Peer - 24 12

coe MESE € 25 16

ie 5 x3 26 17

cr 6 e 27 7
3 7 2 28 14
2 8 3 29 2
5 13 6a 30 3

13 25 11 3l E
61:34 6b

PHILOXENUS!
Bgk, E Bgk. E Bgk.
6.502 03 | 14
7 ."g6.| q12gxX11 S5

8X. 028 lo:5:] 16

Q^ o4 |.12, OD || 14

10 cl0 | 13 ci3 | 18

Hi. E Hi. E | Bil.

s 435-5 7 ' 80 x18

bi LÀ 8 clO0 | 11

6 L8 9 C13

1TL-—of Leucas, C 2 of Cythera

29
31

DI.
Là
Lb
LC

i»

eCOoOonoonoon0n000trimBEÁB)wg
00 *1 CO» Q Q2 E9 P OP Oo 02

DI.

Ld
Le
c1

g

| | e exorto .

|

ADESPOTA

DI. E

c2 c9
c3 c10
c4 C13
DI. E
Là c9
Lb c10
Le C11
Ld C12
Lc C13
c C14
e5 C15

C16
— C17
C18

d C19
— c20
c1
ADESPOTA
E Bgk.
28 79B
44 79c
45 80
Sa. 81
35 82A
34 82B
26 83A
24 S3B
2 84
A 864
29 87
30 88
31 89
32 90
33 91
34 93
65 93
66 94
67 95
BU 96
36 97
37 98
38 99
39 100
40 101
55 102
56 103

DI. E
c5 c2
c6 C15

IIl I zelo

Bgk.
104A

104B
105
106
107
108
109
110
111
112
113
114
1154
115B
116

117

118
119
120
121
122
123

124

125
126
127

ADESPOTA

Begk. E Bgk. E Bgk. E Bgk. E
128 109 132 117 137 — 142 89
129 Sa. 135 118 138 122 143 90
134 134 119 139 123

130 J44 135 120 140 70
131 112 136 — 141 69

Hil E Hil E Hil E Hil. E Hil E
1 -—- 20 35 38 — 57 86 76 Tim.
2 50 21 936 39 72 58 87
3 3 22 94 40 "4 59 94 "71 95
4 4 23 Alc. 41 116 60 97 178 122
5 — 53 42 "n 61 98 79 123
6 TT 24 38 43 78 62 100 80 70
7 17 25 39 44 79 63 99 81 69
8 53 26 40 45 80 64 96 82 89
9 14 27 56 46 81 65 102 83 90

Dl: E Dl: E Dl: E Dl E Dl: E
Chor. i Chor. Chor. Mon. Alex.

1 19 90 36 124 10 AT T —
2 5 20 114 37 125 11 116 2 49
3 35 21 84 38 126 12 i 3 —
E 123 22 97 39 127 13 42 E 104
5 10 23 Terp 40 128 14 62 5 96
6 69 15 63 6 102
» 64 24 98 |Mon 16 53 7 DS
8 122 25 100 1 An 17 41 BI. 17
9 113 26 99 15 18 46 9 106
10 87 27 101 2 59 19 * 10 1034
1t 85 28 83 3a| Sa. 20 36 11 E
12 71 29 82 3b f 113 21 38 12 50
13 7T 30 80 E 39 22 65 13 75

5 24 | 93 66 | 14 56
16 81 | 33 107 ; 40 | 95 . 104A
WE i

! According to his volumes, Chori (Chor. or C), Monodqe (Mon. or M),
Alexandrini (Alex. or A)

686

t€ 0 -1 O COu& 9 to zE Ud

10

Dec]

&emesllllilllilitisS

ADESPOTA

DI. E Bgk. Hil.
Terp. 39 76 25
3 44 riri 26
9 41 79c 29
Alem 42 123 75
75 43 47A —-
M12 44 54 —
c2 45 55 —
Alem 46 —- 87
12 417 REN [9
Alcm 48 —- 86
22 49 62 —
Alem 50 30B 2
zy 51 50 ——
E m 52 44 10
Alcm 53 41 8
AT 54 79B 28
em e
Alem 56 79A 27
26 5 -— —
Alem. 58 -— ——
di 5 59 — —
em
em
104 61 81 -—
Alcm 62 82A 30
TIT 63 82B 31
- 64 834 32
Alem 65 69 iT
68 66 70 18
-—- 67 "1 19
M21 68 83B -—-
Sa 69 141 81
148 70 140 80
C17 d 86A 35
M 5 72 89 39
c 73 89n 84
M 9 74 90 40
M 6 75 87 37
M8 16 101 52
— "7 92 42
— 78 93 43
— 79 94 44
— 80 95 45
— 81 96 46
L— 82 97 4T
0:3 83 98 48
M20 84 103 54
Alem 85 104B 56

m
oo
c
[en
e
e
e
-1

M2

«00-10c» C "T
o

z
ty

[5]

pu

M» C»0 O5 mM c

Occo -31 o0 € omv-

e
oo

FOLK-SONGS

DI. E
C10 111
112
c18 112A
C19 113
v 114
E 115
A 116
2902 117
A 5 118
c22 119
C24 120
c26 121
925 122
c27 123
A 6 123A 37g. 80
— 24
A10 125
A 4 126
M25 127
C35 128
C34 129
A 9 130
c33 131

E Bgk
13 18
7 19
8 20
9 21
16 224
ZB
22 24
23 25
E Hil.
12 20
13 21
7 22
8 22a
9 23
p. 604n 24
16 25
21 26
22 97
23 28
24 29

SE EL P

(0? -1O 0 09 r9 Hm bl

00-10» Sue eo to e

d:
-10 UR OD RR

VOL. IIl.

DI. E DI. E DI.
24 (s 32 20 43
T 6 33 34 44
[7 34 31 45
25 418 35 33 46
lo 36 20 47
926 p.604n, 37 39 48
2 16 3 19 49
29 25 39 p.536
30 26 40 32 50
31 15 41 35 51
42 38 53
p Depth
Hil. DI. E Bgk. Hil.
2 Alem, 23 17 18
24 18 19
— — 25 1 1
3 Alem. 26 43 46
66 9" -— 48
5 46 Tyrt. Tyri.
28 s:
, 15 13
4 24 Tyrt
29 16 20
12 25 30 19 21
3 31 20 22
8 47 32 22A 24
9 48 33 21 23
10 50 34 — 22A
11 51 35 228 25
— -— 36 28 26
28 31 37 —- —
14 27 38 26 29
-—- 2 38A — —
51 1 38B -—- —
45 38 38C — —
44 32 39 24 27
15 20 40 44 47
16 21 41 27 30
1x 28 42 28 31
SCOLIA
Bgk. E Bgek. E Bgk.
9 HW 12 25
10 18 13 26
ff 10 19 14 27
12 20 15 28
13 21 11 29
14 21 22 16 30
15 8 28 17
16 9 24 18
LYRA GRAECA NX

E

m CO 500-10» Cu C2 092 i

rn

—

co-0 ou coton E

(600-10: Cue Qo bo by

10

vM

-10 02 bo i Fd

«5 00 -1 0» Oui Q9 bo i E]

ier)
(sl
m

mn
«o 0» 900 -10» CUu» Oo b

E

n
«o 00 -1 O4 CO» C 9» H4 CO DD

rm

10

SCOLIA

z

«o 00 IO» Ctr Ob |

Hi. E-
29 29
30 30
31 5k.
32 32
33 33
34 34
DI. E
29 d
5
30 36
31 29
32 30
33 31
34 32
935 33
36 34
Hil. DI.
18 21
19 22
26 28
12 24
20 25
p. 2750 p. 108
p.2180 p. 60
21 28
28 29
29 31
30 32
31 33
32 34
33 35
34 36
— 30

INDEX OF

ACHILLES [Tatius]: 123; com-
mentator on Aratus; A.D.250?
Acro: 55; Latin commentator on

Horace; A.D. 180
Acts of the Apostles : 473
Adespota: - Anonymous Frag-
ments
Aelian ;: 8, 62-5, 86, 123, 257, 263,

340, 383-6, 447, 478, 518, 533;

610; writer oi miscellanies;
A.D. 200
Aelius Dionysius: 420; rhetori-

cian; A.D. 120

Aelius Festus Aphthonius: 337;
metrician; A.D. 330
Aeschines (Socraticus): 3412; LX
E

osopher and rhetorician ;
B.C

Aeschylus: 48, 139, 165, 256, 2714,
306, 309—10, 317-9, 340, "ped
370, 396, 406, 438, 450, 462,
471, 490, 514-6, 534, 550;
621, 623, 636, 640, 650, 658,
663, 671-3; writer of tragedy;
485 B.C.

Aesop: 504-6; writer of beast-
fables; 550 B.C.

Agathocles: 40; musician; 505

Vade s

Agüthon: 3306; writer of tragedy ;
410 B.C.

Alcaeus : 8, 86, 97, 125, 159, 319,
364, 418, 422, 498 ff, 555-06,
560, 564, 569; '584, 591-3, 602,
612, 618, 624, 628 ff, 633-6,
643, 648, '653, 656-8, 665, 679;
lyrie poet; 595 B.C.

Aleaeus of Messené : 300; writer
of iambics and epigrams; 200
B.C.

Alcyonius, Petrus: 679

Alemàn: 8, 53, 86, 103, 122, 189,
208, 215, 244, 286, 420 ft, 509,

AUTHORS *

536; 588, 599, 602-7, 610-1,
615 ff, 623-32, 635, 648, 651,
656-7, 661, 665-8, 674, 679;
lyric poet; 630 B.C.

Alexander Cornelius (Polyhistor) :
18; 597; geographer; 65 B.C.

Alexander of Aetolia : 296; poet ;
215 B.C.

Alexander of Tralles: 5414; physi-
cian; A.D. 540

Alexinus : 374; Megarian philoso-
pher; 330 P.C.

Alexis : 260; 671-9;
comedy; ' 350 B.C.

Ameipsias: 574; writer of comedy ;
410 B.C. ops

writer of

Ammianus Marcellinus :

529; historian; A.D. 390

Ammonius: 84,101; grammarian;
A.D. 390

Amphion: 592, 596

Anacreon : 8,86, 215, 253, 379, 414,
442, ff, 458, 560, 569; 584, 618,
625, 636 ff, 643, 618, 656-8,
666, 679; lyric poet; 530 B.C.

Anaereontza : 503; 638, 678-9; a
collection of short poems suit-
able for singing, written by
various hands between 150 P.C.
and A.D. 550 in imitation of
Anacreon

Ananius: 572;

B.C.
Anaxagóras: 343; 6038; philoso-
928, 504;

pher; 440 B.C.
Anaxandrides : 269,
writer of comedy; 360 B.C.
Andecides: 60; Attic orator; 400 B.C
Anonymous M etrician : see Metrical
Fragment
Anonymous LA of Comedy : 581

Antagóras:; 342; epic poet; 270
B.C.

jambic poet; 520

* The dates are those of the floruit, i.e. about the 40th year

691

INDEX OF

Anthes: 593, 645

Anthologia Graeca Carminum Chris-
tianorum : 678

Anthologia Palatina (A.P.):
Palatine Anthology

Anthologia Planudea (Anth. Plan.) :
see Planudean Anthology

Antigonus of Carystus: 394; sculp-

. tor, writer on art, biographer;

240 B.C.

Antimachus of Teos: 16,20,34(?);
epie poet; 730 B.C.?

Antimachus otf Colophon: 244 (16,
20, 34?); epic and elegiac
poet; 425 B.C.

Antipáter of Sidon : 634; epigram-
matist; 150 B.C.

Antipáter of Thessalonica: 216;
epigrammatist; 10 B.C.

Antiphánes: 328, 380, 396, 567-9;
writer of comedy ; 365 B.C.

Antiphon: 46; Attic orator; 440
B.C.

Antoninus Liberalis: 10, 22-4;
mythologist: A.D. 150?

Apion: 34; grammarian; A.D. 40

Apollodorus: 33, 121, 306; chron-
ologer, grammarian, myth-
ologist; 140 B.C.

Apollodorus of Tarsus: 56; gram-
marian; 100 B.C.?

see

Apollodorus : 679; writer of
comedy; 300 B.C.

Apollonius: 272; writer of mis-
cellanies; 100 B.C.?

Apollonius: 575; commentator on
Aristophanes; 150 B.C.

Apollonius Dysceólus: 10-22, 26,
39, 129, 187, 202, 422 ff, 440;
grammarian; A.D. 110

Apollonius of Rhodes : 18, 86, 131,
199, 210-2, 226, 414, 499, 532;
poet; 260 B.C.

Apollonius of Tyana: 458; Pytha-
gorean philosopher; A.D. 100

Appian: 213; historian; A.D. 130

Apostolius: 65, 74, 149, 207, 264,
37/9,.390, 5931, 565, 507,571;
compiler of a collection of pro-
verbs; A.D. 1460

Apuleius: 214; Roman phil-
osopher and novelist; A.D. 130
Arátus: 191; didactic poet; 270

B.C.
Arcadius: 425, 485; grammarian;

692

AUTHORS

between A.D. 200 and 600; the
work on accentuation ascribed
to him perhaps belongs to
"Theodosius (A.D. 400)
Arcesilaüs: 374; Academic phil-
osopher; 275 B.C.
Archilóchus : 70, 488; 593, 600 ff,
609, 612-4, 617, 623-5, 630-1,
637, 645, 648, 651, 655-7, 660,
667-8; elegiac and iambic poet ;

650 B.C.
Argas: 268, 302; lyric poet; 370

B.C. :
Arion: 292, 478; 5091, 629, 641,
661, 668-70, 676;. lyric poet;

625 B.C.
Ariphron: 400 ff; 651
Aristarchus: 56, 4492; gram-

marian; 175 B.C.
Aristias: 48; writer of (tragedy
and?)satyric drama; 470 B.C.
Aristides: 40-2, 65-6, 167, 200,
249, 372, 436, 458, 472, 561;
rhetorician; A.D. 170
Aristocleides : 266, 282; singer to
thelyre; 480 B.C.

Ariston: 80; philosopher; 230 B.C.
Aristonymus : 376; a compiler of
sayings, of unknown date
Aristophánes (Ar.) : 8, 40, 44, 56-8,

66—70, 74—6; 86, 120, 226, 240—
6, 249-62, 266—70, 310, 340,
9362, 366, 386-8, 396-8, 442,
491, 494—6, 504—6, 510-14, 520,
523, 534, 538, 542, 550—60, 567—
10, 574; 601, 611-2, 627, 631,
635, 642, 648-52, 658-62, 666—
7, 6071-3, 6077; writer of
comedy; 410 B.C.
Aristophanes of Byzantium: 68,
408; grammarian; 215 B.C.
Aristotle (Arist.): 90, 208, 212,
32, 258, 268, 294-6, 300-2,
320, 334, 344, 376, 382, 406-8,
410 ff, 458, 468-70, 496, 502,
540-2, 546, 565; 596, 606-8,
651, 657, 667-8, 677; phil-
osopher; 345 B.C.
Aristoxénus : 40, 64, 272, 287, 364,
404, 417, 480, 498, 500, 548;

588, 627; writer on music;
320 B.C.
Armenidas:; 18; historian; 100

B;0.?
Arsenius: 290, 531, 565, 571; son

INDEX OF

of Apostolius;
collection of proverbs;

compiler of à
A.D.

150

Artemidorus: 532; writer on
dreams; A.D. 150

Artémon of Cassandreia : 288, 560;
historian; 130 B.c.?

Asclàpon: 266; physician; 50 B.C.
Asclepiádes : 443; poet; 285 B.C.

Astyáges: 420; grammarian; of
unknown date
Athenaeus :

34, 46-54, 65, 68, 72-8,

85, 123, 202, 206, 214-6, 26,
234—6, 241-4, 247, 260, 268,
274-8, 298-300, 304, 328, 333,
338, 342-4, 348, 356, 360, 314,
378-82, 386-8, 394-6, 400—4,
410, 413-4, 424, 444, 419, 470,
494, 508, 512-4, 518-9, 526,
532, 536, 544-6, 555, 500 ff,
572-4; 591, 657-8, 670, 677;
writer of miscellanies; A.D.
220

Athenagóras: 67; Christian writer;
A.D. 180

Aulus Gellius: 210; 678; gram-

marian; A.D. 170

Automedes: 28

Rr

Bacchius: 456; writer on music;
A.D. 320

Bacehylides: $8, 34, 60, 80-222,
444 ff. (see 445 n.) ; 640, 640 ff,
651-4, 660, 666-7, 670-1

Bachmanmn's Anecdóta: "74, 207;
extracts írom hitherto un-
published Greek MSS pre-
served at Paris, published 1828

Bekkers Anecdóta : 246; a collec-
tion of previously unedited
ge works, published 1814-

Bion: 661-3, 0679; poet; 100 B.c.?

Bion the Borysthenite : 326; phil-
osopher; 270 B.C.
Boeo: 645
Boétius: 288, 300; writer on
philosophy, "mathematics, and
music; A.D. 515

Callias: 232; writer of comedy;

: 10, 78, 97, 124-6,
212, 266, 420, 427, 441, 407,

AUTHORS

488, 499, 502, 506, 509; 595;

poet ; 270 B.C
Callinus: 601, 613; elegiac poet;
650 B.C.
Callisthénes : 300; historian; 330
B.C.
Callistrátus: 566; 6058
Callistrátus : 362, 5341 ; historian;
100 B.C.
Callixeinus: 492; historian and
writer on art; 220 B.C.
ipi gern reget 573; poet;
Catullus: 625, 648, 662; Roman
poet; 60 B.C.
Cedeldes : 68-70
Censorinus : M 406; gram-
marian; A.D. 240
Chaeremon : 334; writer of
tragedy : 360 B.C.
Chamaeleon: 42; 656; Peri-

patetie philosopher and gram-
marian; 310 B.C.

Charixéna : 42-4

Chionides: 242; £669; writer of
comedy; 510 B.C.

Choerilus: 48; 6069, 677: writer
of tragedy ; 500 B.C.

Choeroboscus : 34-6, 39, 424, 431—
6-8, 460, 467; grammarian;
A.D. 600

Chrysippus: 304, 347, 456; the
Stoie philosopher; 240 E.c.;

the ífragmentary work On
ANegatives is perh. not his
Chrysóthémis: 290; 595, 624, 676
Cicero: 62, 209, 289, 369, 552;
the Roman orator and philoso-
pher; 60 B.c.
Cinesias : 246-66, 284, 208

Clearchus : 244, 394, 414, 498;
Peripatetic philosopher; 300
B.C.

Clement of Alexandria : 10, 67, 90—

2, 95, 202—4, 210, 220, 236, 290,
419, 450, 456, 483, 523, 533,

552, 565; 033; Christian
writer; A.D. 200
Cleobülina : 72; writer of riddles

in hexameter verse; daughter

of
Cleobülus : 528; of Rhodes; poet;
one of the Seven Sages
Cleoménes :. 242, 250
Clónas : 602, 612, 649, 675

693

INDEX OF

Connus: 46; musician; 450 B.C.
Corinna: 2, 5-38, 167, 202, 419;
633, 644 ff, 666. 676
Cramer's Ánecdóta Oxoniensia : 12,
95, 41, 74, 196, 383, 428-30,
434—6, 456, 479, 559; a collec-
tion of previously unedited
Greek works from Oxford MSS,
published 1835-7

Cramer's Amnecdóta | Parisiensia:
207, 236, 320, 441, 4590: a
collection. of previously un-
edited Greek works from Paris
MSS, published 1839-41

Cratérus: 56; historian; 340 D.C.

Crates: 72, 496, 522; writer of
comedy; 450 B.C.
Crates of Mallus: 232; gram-

marian; 170 B.C

Cratinus: 44, 50, 70, 244, 556-8,
574; 612; writer of comedy ;
450 B.C.

Crexus: 278,286

Cydias: 68

Cydides: see Cydias

Damon: 40; musician; 420 B.C.

Delphian * Hymns '

Demetrius Chalcondyles : 679;
scholar; A.D. 1465

Demetrius of Phalerum : 28; Peri-

patetic philosopher and. states-
man; 315 B.C.
Demetrius of Scepsis :

408; gram-
marian; 170 B.C.

Demetaina 468; rhetorician; A.D.

50?

Democritus : 60,3876; philosopher;
420 B.C.

Demodócus: 28; 592, 597, 621

Demosthénes: 321, 336, 384; 588,

628; the great Athenian orator
and statesman : 340 B.C.
Diagóras: 56-64, 80; 651, 654
Dicaearchus: 242, 408, 508, 548,
550; Peripatetie philosopher,
historian, grammarian; 310

B.C.

Didymus :. 9, 34, 84, 101, 118, 271,
303, 884, 411, 419, 532, 559;
661, 664; grammarian; 30
B.C.

Didymus the Blind, of Alexandria ;
s Christian writer; A.D.
34

694

AUTHORS

Dio Chrysostom (Dion of Prusa):
41, 289, 300, 452, 526, 534, 561,
569; rhetorician ; A.D. 80

Diodorus of Sicily : 33, 60, 273, 280,
362, 366, 404; historian: 40
B.C

Diodótus: 232; perhaps to be
identified with the commenta-
tor on Heracleitus (Diog. L.,
9. 12, 15); 170 B.C.?

Diogénes "Laertius (Diog. Lj: 602,
326, 374. 381, 411, 417, 533,
5176; biozrapher; A.D. 250

[Diogenian] : 14—6, 373; 390, 531,
550, 567, 570, 579; gram-
marian; prob. not the author
of the collection of proverbs
under his name; A.D. 120

Dionysius of Corinth: 546;
poet, 200 B.c.

Dionysius of Thebes: 46, 364

Dionysius of Halicarnassus: 123,
275, 207, 308, 336, 364, 386,
449, 460-6 ; '627, 631, 666:
historian and grammarian ; 20

epic

B.C.

Dioscorídes : physician and botan-
ist; A.D. 60

Diphilus : 679; writer of comedy;
310 B.C.

Dracon of Büra Ponce 74; gram-
marian; 100 B.C

Duris : 268, 384, AN 470; 650;
historian; 300 B.C.

Echembrótus: 600, 607; singer to
the flute; 586 p. B.

Empedocles : '242; philosopher and
poet; 465 B. c.

EPHPMAR 974; 583; historian; 350

B.C.

Epicharmus: 14, 20, 494-6, 502,
564; 677; writer of comedy;
500 B.C.

Epio 242; writer of comedy ;

.Q.
Fipicituna 316; Stoic philosopher;
Epicürus : 054;

300 B.C.
Vpipsenm 67; Christian writer;

350
Erasistrátus : 80; physician; 290
B.C.

the philosopher;

INDEX OF

Eratosthénes: | 42, 506, 532;
mathematician, geographer,
astronomer, chronologer, gram-
marian; 2395 B.C.

Erinna: 10, 419; 679; a poetess
of doubtful date

Erotian ;: 266; lexicographer: A.D.

Etymologicum | Gudianum |. (E.G.) :
440; etymological . lexicon;
A.D. 1100

Etymologicum Magnum (E.M .) : 39,
42, 82, 206-8, 266, 329, 393,
406, 425-6, 429, 432-4, 4410,
506, 533, 559, 571; .etymo-
logicallexicon; A.D. 1200

Etymologicum Magnum Vetus (also
called Et. Florentinum and Et.
Genuinum): 328, 4934, 440,
446, 522, 531; an etymological
lexicon compiled under the
direction of Photius c. A.D. 870

Eubülus: 353; writer of comedy ;
34YDB.O.

Eumelus: 599, 623, 649; epic and
lyric poet; 760 B.c.

Eumolpus: 596

Euphronius: 120;
250 B.c.

Euripides : 26, 111, 196, 210, 232,
240, 256, 268, 274, 280-2, 306,
310, 332, 396, 408, 436, 448,
514; 584, 601, 619, 625-7, 635,
658, 661-3, 667, 671-3, 678;
writer of tragedy; 440 B.c.

Eusebius: 60, 72,80, 203, 237, 399;
chronologer [mostly survives
only in Jerome's Latin version
and the Armenian translation];
A.D. 305

Eustathius: 8, 10, 34, 37, 43, 66,
74-6, 119, 200, 207, 247, 279—-
80, 305, 345, 351, 357, 307,
389-90, 395, 418-20, 436, 495,
501;./505, .522, :526, 532, 539,
559, 561, 564-6, 569, 571-2;
—— and historian; A.D.

grammarian ;

Favorinus (or Guarino) : 208, 436;
scholar and lexicographer; A.D.
1520

Festus: 5412; Roman lexico-
e between A.D. 100 and

AUTHORS

Galen: 529; writer on medicine,
philosophy, grammar, criti-
cism; A.D. 170

Glaucus: 416; writer on music
and poetry; 420 B.C.

Gnesippus: 242-4

Grammarian, Anonymous : 36

Gregory of Corinth (Pardus) :. 447;
grammarian; A.D. 1150

Gregory of Cyprus : 531; Christian
writer; A.D. 1280

Grenfell's Erotic Fragment: 549;
a metrical serenade in à papy-
rus of 2nd Cent. B.C.

Habron: 10; grammarian; A.D. 1l

Hagnocles: 526

Harpocrátion: 47, 68, 410; gram-
marian; A.D. 170

Hégésander: 298; writer of mis-
cellanies; 150 B.C.

Hephaestion : 13-4, 38, 72-7, 124,
214, 204, 424, 428, 442-6, 460,
464, 534; metrician; A.D. 170

Héraeleides of Miletus: 36; gram-
marian; A.D. 100

Heracleides of Pontus: 572; 594-
6,675; Peripatetie philosopher
and grammarian; 380 B.C.

Hermesiánax : 338, 384; poet;
290 B.C.

Hermippus.: 246; writer — of
comedy; 430 B.C.

Hermippus: 498; biographer;
210 B.C.

Hermocles: 413

Hermódótus: 413

Hermogénes: 109, 447; rhetori-
cian; A.D. 200

Hermolaüs: 413

Hermólóchus : 412 ff.

Herodian (Hdn.): 18, 34-6, 48,
498-30, 435, 439-44, 468;

grammarian; A.D. 170.
Herodiíeus: 556 ; grammarian; 50

A.D.

Herodótus (Hdt.): 137, 141, 301,
307, 313, 321, 472, 488, 522;
594-7, 607, 663; historian;
445 B.C.

Herrick : 565; poet; A.D. 1650

Hesiod (Hes.: 26, 86, 147, 200,
233, 448, 488, 491; 590, 593-8,
605, 610, 622-5, 638, 649, 677;
epic poet; 720 B.C.?

695

INDEX OF
Heschius: 36, 44, 66, 70, 76-8,
104, 165, 205, 208, 277, 309,

317—9, 362, 392, 420, 424, 430—
6, 442, 465, 494—6, 502, 508-10,
517-8, 530-2, 538-40, 550,
567-9, 571, 573-6 ; 617; lexico-
grapher; A.D. 450

Hesychius of Miletus: (60; bhis-
torian; A.D. 550

Hieronymus : 240-2

Himérius: 80; 664; rhetorician;

A.D. 355
Hippo: 208, 266; physician;
420

B.C.
Hippólytus: 484, 514; Christian
writer; A.D. 200
Hippon: 64; physical philosopher;
430 B.C

B.C.

Hipponax: 416,572; 615; writer
of iambic lampoons; 540 B.C.

Histiaeus of Colophon: 290

Homer: 18, 39, 210-2, 230, 306,
321, 328-30, 390, 396, 420,
432, 446-8, 522, 526; 584-5,
587, 590-2, 596-8, 603, 608-10,
622-4, 627, 634, 638, 650, 653,
661-3, 667, 672-4, 671; see
also J/iad, Odyssey, Eustathius,
Tzetzes: epic poet; 850 B.C.?

Homeric Hymns : 86, 452; 591-5,
604, 614, 6022-4, 048, 651,
674—5; a collection of hymns
to the Gods by various hands;
750-550 B.C.?

Homeridae: 593, 676; a school of
epic poets claiming descent
from Homer, first mentioned
by Acusilaüs; 550 B.C.

Horace: 55,84,118, 124; 624-6,
631, 638, 648, 657; Roman
poet; 25 B.C.

Horapollo: 518; grammarian ; A.D.
380

Hybrias: 572; 583, 058

Hypódiceus: 669

Ibrius: 573

Ibyeus: $8, 80, 278, 440 ff, 446;
635 ff, 655, 656, 671, 676; lyric
poet; 550 B.C.

Iliad: 20, 93, 106, 123, 200, 207,
212,.286, 272, 306, 329, 337,
390, 406, 418-20, 436, 440,
488-02, 530, 564, 581; 584-6,

696

AUTHORS

598, 601, 608, 621; see also
Homer, Eustathius, Tzetzes

Inscriptions : 29, 49, 70, 126, 133,
159, 224, 258—060, 298, 351, 371,
400, 406, 528; 594, 651; see
also Parian Chronicle

Ion of Chios: 84, 226-8; 647;
writer of tragedy and lyric
poetry; 450 B.C.

Isidore of Pelusium; 533; Chris-
tian writer; A.D. 420

Istros (Ister): 266; historian,
grammarian, poet; 240 B.C.

Johannes Grammaticus: 418; per-
haps to be identified with J.
Philópónus, philosopher and
grammarian; A.D. 510

Johannes of Sicily (Doxopatres) :
206; rhetorician; A.D. 1020

Josephus: £65, 473; Jewish his-
torian; A.D. 75

Julian: 528; Roman Emperor
A.D. 361-363

Keil's Analecta, Grammatica :. 122,
463; fragments of two anony-
mous metrical treatises

Lactantius (Placidus): 123-4;
author of à commentary on
Statius; A.D. 550?

Lament for Bion : 601; anonymous
poem of about 90 P.C. in
Bucolici Graeci

Lamprocles: 40-2, 266; 671, 677

Lamprus: 46-8, 364

Lamynthius: 242-4

Làsus: 639-41, 645, 669, 671; lyric
poet; 500 B.C.

Leonidas of Tarentum: 615; epi-
grammatist; 270 B.C.

Leotrophides: 246

Libanius: 74, 565;
A.D. 955

Licymnius : 334-8

Lobon: 576; an untrustworthy
biographer; 250 B.C.?

[Longinus]: 84; 634, 647; anony-
mous rhetorician; A.D. 50?

Longus: 492-4, 499, 502, 506;
romance-writer; A.D. 150?

Lucian: 123, 224, 298, 327, 370,
374, 401, 447-9, 528-30, 565;

rhetorician ;

INDEX OF

tme and satirist; A.D.

Lycóphron: 9, E 310, 406, 533;
poet; 200 B

Lycophroníides : 1i4 ff.

Lycurgus: 410, pe 613; Attic
orator; 330 B

Lysias : 60, 68, 250; 7262, 337; Attic
orator; 405 B.C.

Lysimüchus : 410

Lysimachus of Cyréné :
marian; 100 B.C.?

Lysis: 40; the teacher t Epa-
meinondas? 420 B.C.?

26; gram-

Macarius: 309; compiler of a col-
lection of Greek proverbs ; A.D.
1250?

Machon: 326, pem writer of
comedy ; 280 B

Macrobius: 296, 306, 331, 463;

Roman grammarian; A.D. 390
436

MS:

Marcellus Empiriecus: 544; physi-
cian; A.D. 380 ^

Mareus Aurelius: 516; Roman

Emperor A.D. 161-180
Marisaeum Melos : 548; a metrical
dialogue between a man and a
woman inscribed near the door
of a temple at Marissa in
Palestine; 150 B.C.?
Marius Plotius: see Plotius
Marius Victorinus; 72, 337, 535;
Roman grammarian; A.D. 350
Margites: 601, 604—5 (which see)

Marmor Parium: see Parian
Chronicle

Marsyas: 384; historian; 300 B.C.

Martial: 447; Roman poet;

A.D. 80
Matron: 351-3; writer of parodies
on Homer; 400 B.c.?

Maximus of Tyre: 401; rhetori-
cian; A.D. 180
Melanippides: 60, 230-8, 274,

282-4, 338, 362; 672-3, 077
Melanthius : 58; historian ; 250 B.c.?
Meleager: 220, 232; epigram-

matist; first compiler of the

Greek Anthology ; 90 B.c.
Meletus: 242, 260; tragic and

erotic poet; one of the accusers

of Socrates; 400 B.C.

AUTHORS

Melinno: 419; poetess; A.D. 120?

Menander : 80, 308; 679; writer
of comedy ; 300 B.C.
up 885 rhetorician; A.D.

Metrical Fragment, Ozyrhynchus :
13, 442; iragment of an anony-
mous book on metre found at
Oxyrhynchus

Milesian Tales: 678; a collection
of short stories, mostly of love,
compiled by one Aristeides c.
150 B.C., used by Petronius
and Apuleius but no longer

extant
Miller's Mélange de Philologie et
d'Epigraphie: 208, 298; a
collection of articles containing
certain hitherto unpublished
RE works; published in
í

Mimnermus: 70; 613-4, 656-7,
670; elegiac poet; 620 B.c.

Moeris ;. 528; grammarian; A.D.
200?

Musaeus: 582, 594-6

Myia: 416

Mynna: 418

Myrtis: 2-6,14; 614-5

Natalis Comes: 2i2; mytho-
grapher: A.D. 1550

Nauck's Fragmenta Adespota

(Anonymous Fragments) in
his Tragicorum | Graecorum
Fragmenta; 109

Nepos, Cornelius: 47;
historian; 60 B.C.

Roman

Nicander: 20-4, 236, 396; poet;
150 B.C.

Nicocháres : 496; writer of
comedy; 410 B.C.

Nicomáchus : 284, 288,.315; writer

on arithmetic and musice; A.D.
40

Nicophon : pec writer of comedy ;

410 B

Ninus, Tale of: 678 (which see)

Nonnus : 126; epic poet; c. A.D.
420

Nossis : 2; poetess, epigrammatist ;
300 B.C.

Nymphaeus: 610

Nymphis: 500; prob Nym-

697

INDEX OF

phodorus of Syracuse; geo-
grapher; 330 B.C.

Odyssey : 28, 84, 200, 304, D 4230,
495, 506, 516; 585-6 592.
597; see also Homer, Eusta-
thius

Oeniádes : 270, 384 (which see)

Olen: 488, 591-5; 8,. 609,
649

Olympus: 54, 277; 597-8, 603,

612, 620, 623-4, 6033, 6061;
prob. the name of two flute-
players, one of c. 700 B.C., the
other belonging to the Dark
Age
Onesicritus : 272; historian; 320

B.C.
Oppian: 503; didactic poet; A.D.
200

Origen : Mee, Christian writer;
A.D.

Orpheus: 324; 592-4, 598, 608,
651, 671; the early poet and
musician

Orphic Hymns: 486; a collection
of apocryphal poems of
Orpheus, of uncertain date

Orus : 36; grammarian : A.D. 200?

Ovid : 23,111,126; 601; Roman
poet; A.D.1
Ozyrhynehus Papyri: 40, 42, 72,
101-3, 159, 212, 216-8, 220,
243; 0627, 652-83; (see the
authors) : fragments of ancient
books and other documents
found by B. P. Grenfell and
A. S. Hunt at Oxyrhynchus in
Ezypt, still in course of publi-
cation

Palatine Anthology (A.P.): 16, 72,
86, 171, 220—2, 232, 533, 998;
4 large collection of Greek
*epigrams, i.e. inscriptions
and quasi-inscriptions, em-
bodying the earlier compila-
tions of Meleager and others,
made by Constantine Cephálas
about A.D. 920

Pamphos: 594-6

Papyri: 28, 90, 72, 92, 126, 159,
302, 308, 411, 420, 442, 482,
580; 077; see also Oxyrhyn-
chus

698

AUTHORS

Parian Chronicle: 230, 272, 2980,
962, 404; an inscribed stone
now at Oxford, giving a sum-
mary of Greek history down
to 264 B.C.

Paroemiographi Graeci: 43, 369,
373, 386, 390, 512; the ancient
proverb-collections | published
by von Leutsch and Sehneide-
win in 1839

Parthénius: 22, 838; poet and
story-writer; 20 B.C.

Pausanias: 8, 12, 18, 49, 7/5; 78,
109, 167-9, 171, 179, 181, 228,
270, 288, 305, 310, 383, 398,
510, 548; 592—9, 602, 618, 623,
637-8, 643, 648; geographer ;

A.D. 180

Pericleitus: 416; 611

Phaenias: 268, 382; Peripatetic
philosopher: 330 B.C.

Phemius : 585, 597

Pherecrátes: 249, 251, 268, 284,
290, 362, 365; writer oí

comedy; 430 B.C.

Philammon : 593-6, 624, 676

Philistus: 274; historian; 395 B.C.

Philo : AES PU Jewish philoso-
pher; . 40

Philochorus "238. historian; 290

B.C.

Philodémus: 464, 238, 266, 278,
366, es eon miens and
poet:

Phi er Lus the Athenian"): 224,
415, 528; biographer; A.D.

210

Philostrátus (! the Younger ^) : 224;
essayist; A.D. 280

Philotas: 404

Philoxénus: the name of two and
perh. three persons who are
confused in the ancient refer-
ences; P.son of Eryxis (340 f.)
perh. : — the author of the
Banquet, P. of Leucas (348 ff;
672, 677); the other is the
dithyrambie poet, P. of
Cythera; 250, 260, 272-4, 286,
302, 326, 362 ff; 588, 662,

672-3

Phocylídes: | 280; 615; elegiac
poet; 540 B.C

Photius : 70, 75, 229, 408, 413, 420,

425, 532, 559; critic, lexico-

INDEX OF AUTHORS

grapher, compiler of chresto-
mathies; A.D. 860

Phrynichus son of Polyphradmon :
42, 48, 51; 043, 052, 0069;
writer of. tragedy ; . $00 B.C.

Phrynichus: 46, 502; writer of
comedy ; ; 420 B.C.

Phrynis: 40, 266-8, 284, 289, 292,
326; 610, 673, 676-7; dithy-
rambie poet; 430 B.C.

Phyllis: 548

Pindar : 2, 6, 8, 33, 46, 56, 60, 70,
82-6, 01, 101, 104, 116-128,
143-9, 161, 169, 185, 195, 199,
200, 203, 210, '219, 291, 319,
364—6, 444 ff. (see 445 n), 451,
454, 474, 514-16, 558, 563,
569; 589-90, 610, 621, 627-8,
634—44, 645 ff, 652-7, 660, 664—
7, 670-1, 676; lyric poet; 480

B.C.

Planudean. Anthology : 210, 300;
the shorter of the two great
collections of Greek ' epigrams,'
made by Maximus Planüdes
A.D. aar see Palatine Anth-

olog
Plato: 248, 344, 348, 386, 459, 502
writer of comedy; 420 B.C.
Plato: 46,68, 113, 171, 246-8, 301,
321, 334-6, 468, 474-6, 526,
531, 548, 564; 583-4, 593, 606,
631, 640, 670-1, 674, 611;
philosopher; 380 B.C.
Plautus: 425. Roman writer of
comedy ; 215 B.C.
Pliny (the Elder?^): 274, 291,
396,542; encyclopedist; A.D.60
Plotius (Sacerdos): 72, 443, 447,
4164-6; Roman metrician of
doubtful date, between 30 B.C.
and A.D. 500
Plutarch : 2, 6, 16, 25, 40, 46, 54-5,
65, 70, 80, 91, 97, 122, 133, 204,
212. 232. 238-40, 264, 268, 272,
282, 286, 291, 298, 304-8, 330,
342, 349, 364, 373-4, 383, 401,
404, 408, 416, 428, 446, 450—4,
458, 468-74, 490, 510, 520,
530-2, 540, 544, 567, 573; 588,
597, 605, 610-4, 628, 643-4,
673-5; biographer and essay-
ist; A.D. 85
mius 72, 378, 494;

geo-
grapher; 200 B.C.

Pollux (Polydeuces) : 268, 204, 326,
894, 488, 500, 529, 531-2, 536,
ERR lexicographer; A.D.

í

Polus: 334-6; vicegn and rhetori-
cian ; 420 B

Polybius : 297, 380; 583, 672, 678 ;
historian; 175 B.C.

Polyidus : 212, 404 ff, 408
Polymnastus: 416; 612-13, 617,
628, 656; poet; 630 B.C.
Pomponius Mela: 280; Roman

geographer; A.D. 40

Porphyrio: $84, 118-9; com-
mentator on Horace; A.D.
250?

Roue uos (Porphyry): 236, 330,

Neo-Flatonist philoso-
pher; A.D. 270
Poseidonius: 2514; Stoic philoso-
90 B.C.
46-8, 50-4, 364, 4106,

1, 670
Priscian : o6, 206, 420-2; Roman
grammarian ; At Dp. 500
Proclus: 208, 290, 514, 559; 591,
633, 6064, 673, 676-7; compiler
of a chrestomathy, perh. identi-
cal with the Neo-Platonist
philosopher and grammarian
Of A.D. 450
Prodieus: 343; sophist; 430 B.C.
Pronómus: 268-70
Propertius: 10;
20 B.C.
Ptolemaeus son of Hephaestion :

Roman poet;

m 408; grammarian; A.D.
120

Pylides: 304

Pythagóras: 342; philosopher;
535 B.C.

Pythermus: 572
Pythocleides : 40

Quintilian : 634; Roman rhetori-
cian; A.D. 75

Rhetóres Graeci : 565
Sacádas: 270,416; 632; poetand
flute- player; 580 B.C.

3g qe 260; writer of comedy ;

699

INDEX OF AUTHORS

Sappho: 8, 86, 90, 106, 169, 189,
210, 242, 364, 418, 428 ff; 587,
591, 599, 611—2, 618, 621, 624 f,
633, 636—42, 645, 648—9, 656-7,

661-2, 4667, 0678-9; lyric
poetess; 600 B.C.

Satyrus: 282, 306, 396; Peri-
patetic philosopher; 220 B.c.

Scholiast : — ancient commentator
whose notes are preserved in
some of our MSS of Greek
authors

Semonides of Amorgus: 613

Semus: 494, 512, 518, 532; geo-
grapher and antiquary, of un-
known date

Servius: 77,99, 118-09; Roman
grammarian; A.D. 400

Sextus Empiricus : 65-6, 336, 503;
Sceptie philosopher and physi-
cian; A.D. 190

Simonides: 8, 56, 80, 82, 86, 113,
116; 122;-18Y; 2207- 2832; 241,
244, 309, 336, 974, 444 ff. (see
445 n), 552, 564; 610, 634-8,
639 ff, 646-9, 651-4, 658-600,
Ou E 71; lyric and elegiac poet ;

Socrates : 7230, 248—50, 3410, 376,
396, 468; 651, 672; the great
Athenian philosopher ; 440 B.C.

Solon: 62,174,300,576; 614; the
Athenian lawgiver and elegiac
and iambic poet; 600 B.C.

Sopáter: 380; writer of parody
and burlesque; 300 B.C.

Sophocles : 48, 84, 116, 224—6, 244,
268, 274, 438, 454, 483, 564;
647, 650-2, 660, 663, 6072;
writer of tragedy ; 450 B.C.

Sophron: 10; writer of mimes;
440 B.C.

Spendon: 611

Statius: 10,118, 123-4; Roman

poet; A.D. 80

Stephánus of Byzantium: 18, 21,
37, 80, 280; lexicographer;
A.D. 530

Stesichórus : 8, 40-2, 70, 86, 212,

244, 2006, 286, 364, 384, 426,
440 ff, 498, 559 633 ff, 644,
651-2, 661-3, 670, 676; lyric
poet; 570 B.C.?

Stobaeus: 86-8, 120-2, 149, 174,
200, 204, 208, 236, 326, 330, 338,

100

369, 376, 411-12, 426, 438, 448,
458, 476, 565; 675; compiler
of chrestomathies:; A.D. 450?

Strabo: 35, 169, 212, 313, 448;
593, 596, 6034, 074; geo-
grapher; A.D.1

Strattis: 202, 538; writer of
comedy; 400 B.C.

Suidas : 2, 6, 40, 44, 60, 64, 72-6,
80, 104, 207, 224, 227, 230, 243,
247, 251, 265, 268, 975, 299,
309, 326, 362, 369—70, 376, 386,
390, 398, 411, 416-8, 439, 514,
592-4, 550, 558, 567, 571, 579:
612, 617, 635, 640, 643, 668,
674—6; lexicographer; A.D.950

Symmáchus: 254; grammarian;
A.D. 100

Synesius: 169, 390; 679; Chris-
tian writer; A.D. 410

Tatian: 2, 9, 62, 72; Christian
writer; A.D. 160

Telecleides: 244, 496; writer of

comedy ; 420 B.C.
Telenieus: 268; poet and flute-
player; 430 B.C.
Teles: 320; philosopher; 270 B.C.
E 46, 364; musician; 380

B.6.2

Telesilla : 72, 496; 643, 666

Telestes : 234, 238, 266, 272-8, 364,
404; 508, 662, 612 ff.

Telles, Tellen,' or Tellis: 408 ff.

Tennyson : 677

Terpander : 266-8, 282, 286, 290-4,
324, 416; 596, 610—17, 624,
628-30, 648, 651, 657, 673 ff;
lyric poet; 675 P.C

Thaletas (or Thales) : 416; 610-12,
617, 624, 628, 633, 651, 659;
lyrie poet; 660 B.C.

Thamyris: 592, 595-6

Theàno: 418

Themistius: 8, 297, 401; philoso-
pher and rhetorician; A.D.350

Theocritus: 76-8, 197, 229, 310,
383-4, 388, 503-4, 514, 524;
611, 616, 620, 634, 660-2;

poet; 275 B.C.
Theodoret: 91, 508; Christian
writer; A.D. 430

Theodorus the ^Metochite: 450;
grammarian and historian;
A.D. 1300

INDEX OF

Theodórus: 496, 502; poet of un-
known date, save that he is
mentioned by Aristotle

Theodosius: 34-6; grammarian;
A.D. 400; see Choeroboscus

Theognis: 564; 583, 615; elegiac
poet; 5410 B.C.

Theognis : 468; a writer of tragedy ;

an otherwise un-

quoted by
Athenaeus

Theophilus: 344; a geographer
mentioned by Josephus and
Plutarch

Theophrastus : 104, 139, 288, 319,
344, 359, 396; 584, 677; Peri-
patetic philosopher; 330 B.c.

Theopompus: 42, 278, 569; writer
of comedy; 400 B.C.

"T heosophia 'TTubingensis (Graecorum
Deorum Oracula) : 67; à MS
collection of extracts from
authors first published by
Buresch in his Klaros in 1889

Thespis: 48; d. writer of
tragedy : 530 B

THOCSRdES ' 80, 310; 323, 394; 50],
620, 624, 648— 50; "historian ;
430 B.C.

Timaeus : 643; historian; 300 B.C.

'lTimocreon: 559; 642; Ape and

comic poet; '470 B
Timótheüs : 268, 280 fi, 362-6,
378-82, 390, 404— 6, 420, 413;
583, 633, 649, 672 ft.
Timótheüs of Thebes: 298-381;
651, 672»; flute-player; 330
B.C.

AUTHORS

Tricha: 77; metrician; A.D. 650?
m. 10, 494; grammarian;
0 B.C.

Tynnichus : 643, 651-2

Ty rannion : 558

Tyrtaeus: 534; 010-15, 624, 628,
649, 657

IT'zeUzes': ^0;.90,'41, 07, 126, 383,
406, 479, 533-4, 552; gram-
marian; A.D. 1150

Verrius Flaecus: 542; Latin
lexicographer; 10 B.c.

Xanthus: 633

Xenarchus : 394; writer of comedy ;
340 B.C.

Xenocrátes: 342; philosopher;
o ID"B.O.

Xenocritus : 414 ff.

Xenodamus: 414í1f; 660

Xenoméedes: 126; mythologist;
450 B.C.

Xenophánes: 64; 6015; Eleatic
philosopher and elegiac poet;
530 B.C.

Xenophon: $80, 230; 6050, 072;

historian; 400 B.C.

Zeno of Citium: 326; founder of
the Stoic philosophy ; 295 B.C.

Zenobius : 72, 76, 90, 203, 208, 229,
308, 390, 408, 420, 531, 570;
rhetorician; A.D. 130

Zonaras: 438; A.D. 1120 [the
lexicon ascribed to this his-
torian is prob. by another
hand]

701

GENERAL INDEX

ABDERA: 6036. Acacallis: 414
Acéso: 484. Achaeia: 594
Achaeans : 182-4, 324, 488; 597

Achéloüs: 580; a river of N.W.
Greece
Achéron: 236, 338; the river of

eath
Achilles : 39, 74, 167, 188-90, 262,
328, 410, 454, 566-8; 5841—5,
601; son of Peleus and the
sea-nymph Thétis; hero of the

Iliad

Acraephen: 32; prob. — Acrae-
pheus íather of Ptoüs the
founder of the Boeotian town
of Acraephia

Acrágas (Agrigentum) : 633-4, 640;
a Greek city of Sicily

Acrisius: 180. Adam: 484

Admetus: 74, 140, 550, 556, 567,
574; king of Pherae in
Thessaly; see Alcestis in vol. ii

Adriatic Sea : 424

Adonis: 72, 244, 442, 490; 621,
625, 660-3, 667; a Cyprian
youth beloved by Aphrodite,
who mourned his death yearly
at the Adonis Festival

Adrastus: 164; 623, 668; kinz of
Argos, leader of the expedition
known as the 'Seven against
Thebes; and of the second
expedition, that of the
* Epigoni '

Aeaceia: 173

Aedcids : 188, 192, 362 — Peleus,
'Telamon, sons, Achilles, Ajax,
grandsons of

Aeácus: 166,188, 194; founder of
Aegina; afterwards a judge in
Hades

Aegaeon: 226; a son of Uranus

Aegeus: 98, 100; 665; king of
Athens; reputed father of
'Theseus

702

Aegina : 30-3, 166, 172, 184-8, 194 ;
623; an island S.W. of Attica

Aegium: 228; a city of Achaia

Aeglé: 484

Aenéas: 39; see vol. ii

Aeolidas: 665

Aeolian : 420-2, 498—836, 444, 543;
588-90, 594, 607-9, 610-12,
618, 624 ff, '* mode" 626, 636,
615-7, 659, 666

Aéro: 22. Aethra: 100-2

Aetolia: 98, 116, 152, 162; a dis-
trict of N. Greece

Agamemnon: 422

Agamemnon of Cymeé: 590

Aganippe: 10; a spring on Mt.
Helicon sacred to the Muses

Agelaüs: 152. Aglaüs: 170
Agrae: 523; the S.E. district of
thens

Agrias: 232. Agyrrhius: 270

Ahaz: 508. Aiaces: 635

Aias (Ajax): 167, 188, 298, 410,
558, 568

Alalcóméneus : 484
Alcestis: 75
Alcibiádes: 240; Athenian general

and statesman; pupil of
Socrates

Alcinoüs: 587; king of the
Phaeacians

Alcmaeon: 300
Alemaeonids : 570; 641;
Athenian family
Alemena: 424; mother by Zeus

of Heracles
Alcyóneus: 486
Alexander son of Amyntas: 216;
653; king of Macedon 498-
454 B.C.
Alexander the Great: 272; king
of Macedon 336-323 B.C.
Alexandria: 379; 655
Alexidaàmus : 174-6
Alpheüs: 136, 148, 156-8, 1602,

a noble

GENERAL INDEX

176, 1904, 218; the river on
which stands Olympia
Althaea: 152-4; see vol. ii
pruden : 138 ; king of Lydia 604-
C

0 B.C.
Amarynthia: 173
Amazons: 166. 433; a race of

female warriors whose chief
seat was placed by Greek
mythology near the modern
'Trebizond

Amphiaraüs: 164

Amphictyon : 18; son of Deucalion

Amphictyons : | 602; (à council,
drawn from the various Greek
federations, which met an-
nually near Thermopylae and

at Delphi
106, 128, 312, 478;

Amphitrité :
wife of Poseidon

Amphitryon : 28, 187, 426; reputed
father of Heracles

Amynias; 340; (an Athenian
satirised by the poets of the
Old Comedy

Andania: 548; a town of Messenia

Androceydes: 378; painter; 380
B.C.

Andromiché : 586, 621, 663

Andros: 629; an island of the
mid-Aegean
Antaeus: 116; son of Poseidon;

his wrestling was irresistible so
long M he touched his mother

Eart

Anténor: 92; one of the Trojan
elders

Anthedon: 4; 593, 644; a town
of Boeotia

Anthesteria : 604, 668 (which see)

Antigeneides: 376, 384, 404, 408

Antigóneé: 226; daughter of
Oedipus

Antigonus: 650; general and part-
suecessor of Alexander the
Great

Aonia: 24;
Boeotia

Apaturia: 583. Aphüres: 152.

Aphüreus: 116. Aphidnae: 612

Aphrodité : 24, 32, 78, 98, 106, 156,
168, 219, 238, 330, 378, 402,
444, 498, 510, 530; 584-5, 616,
621, 631, 648, 661

Apollo: 16, 24, 30-2, 78, 88, 96,

ancient name of

126, 131-2, 130-42, 170, 192,
214, 224, 270, 288-92, 300,
322—6, 416, 420, 450, 457, 460-
2, 466, 482, 488, 492, 496, 520-
4, 562; 591-603, 609-12, 619,
622-4, 627, 633, 643, 0648—52,
658-9, 665, 668, 671, 676

Arcadia: 112, 118, 180, 380, 486,
562; 583,633,072; the central
district of the Peloponnese

Archelaüs: 232, 330; king of
Macedon 413-399 B.C.

Archemórus: 164, 464

Archias: 599, 623

Ares: 12, 110, 116, 154, 166, 308,
318, 328, 4062, 528-30, 534;
584-5, 621

Argé: 488

Argeius: 126, 130, 134

Argonauts :. 649

Argos: 19, 88, 92, 112, 164, 172,
178-80, 192, 214, 270; 6039,
643, 669

Argus: 3112; the hundred-eyed
watehman set by Hera to
guard Io

Argynnus : 338

Ariadné : 585, 664

Arian: 490. &Arianthes: 66

Arignotus: 342; a famous singer
to the lyre, brother of

Ariphrádes: 342; an evil-liver
satirised by Aristophanes

Aristaeus: 210, 358; a pastoral
and agricultural deity of vari-
ously-given parentage

Aristagóras: 654

Aristodémus: 230; 672; pupil of
Socrates

Aristoménes : 158 ff

Aristoménes: 548

Aristrátus: 274. Armenian: 600

Artémis: 22, 88, 152, 178, 182,
264—6, 280, 296-8, 320, 330,
946, 416, 488, 496, 508, 524,
532, 562; 592—4, 609,
620-4, 637, 643, 648-9, 658,

672
cus 315 (which see) ; 641,

Asclepiádae : 593; & school of
physicians claiming descent
from

Asclepius (Aesculapius): 224, 266,
276, 482; 651; a great physi-

793

GENERAL INDEX

cian; after Homer the God of
healing

Ascraá: 29: a town of Boeotia,
birthplace of Hesiod

Asia: 273, 3908, 812, 320; 597-8,
663

Asopis: 33

Asopus: 30, 34, 166-8, 1860;

Boeotian river-gzod

Aspasia: 46; mistress of Pericles;
one of the great women of
antiquity

Asterion: 200

Atarneus: 410-12; a Greek city
of N.W. Asia Minor

Athéna: 16, 92, 96-8, 120, 124,

184, 194, 234, 260, 274, 422.
562; 597, 648, 658, 664
Athens : 46, 58-62, 98, 108, 110-2,
170-2, 200, 224, 230, 258—600,
266, 270-2, 280, 308, 332, 362,
400, 404, 408, 490, 496, 514-
16, 520-2, 526, 540, 550, 554,
560, 566, 574; 583, 589, 504—6,
603-4, 612-13, 620, 623, 628,

631, 635— 44, 650— l1, 657-14

Athos: 315; à promontory of the
N.W. Aegean

Atlas: 406

Atreus: 92, 182, 336; father of
Agamemnon and Menelaüs (see
Pleisthenes)

Attálus: 232; the name of three
kings of Pergamum, who
reigned (T) 241—197, (II) 159-
138, (III) 138-133 B.C.

Attica: 315; see Athens

Attis: 516; a Phrygian shepherd
loved by Cybele, who vowed
him to perpetual chastity;
breaking the vow he went mad
and made himself a eunuch

Aulis: 20; a town in Boeotia
whence the Greek fleet sailed

162-8
114, 481; 6025; see

to Troy
yr uia
Bacchanals :
Maenads
Bacchiad Family: 623
Bacchus: see Dionysus
Bdelycleon : 554, 658
Bias: 578; of Priené e. 600 B. 0.5
the type of an upright judge '
Boeotia : 8, 22—4, 28, 88, 124, 156,

794

270, 296, 450, 484; 590, 594,
598, 643-5

Boeotus: 18; ancestral hero of
the Boeotians

Boiscus: 2; sculptor, perh. to be
identified with Boedas the son
of Lysippus; 300 B.C.?

Boreas: 576; 596, 664

Bormus or Borimus : 502, 534

Borysthénes: 344; 677; the chief
river of Scythia, now the
Dnieper

Bottiaea: 540. PBrimo: 516

see 71. i
see Dionysus

Briseis: 190;
Bromius: 276;

bücólus: 4. Byzantium: 67?

d
Cabeirus: 486
Cadmus: 6, 114, 480; mythical

king of Thebes

Caicus: 212; ariver of Asia Mínor

Callias : 258, 266; the name of
several Athenian archons

Callas son of Hipponicus; 342;
a rich and dissolute Athenian;
490 B.C.

Callicles: 248; a rich Atherian,
patron of Gorgias the rhetori-
cian, in Plato's dialogue -

Callimáchus : 267

Calliópe: 112, 156, 249, 324; one
of the Muses

Calyceé: 498 (which see); 633 ^

Calydnian Islands: off the W.
coast of Caria in Asia Minor

Calfdon: 152, 242; a-.city of
Aetolia

Calypso: 506; a nymph, ruler of
Ogygia ; loved by Odysseus

Capáíneus: 21, 266; one of the
* Seven against "Thebes 3113868
vol. ii

Cardax: 232

Caria: 18, 34, 202, 280; a district
of Asia Minor

Carion: 386. Carmànor: 595
Carneia: 288, 416; 611, 624, 666-
676; the great Apollo-

Festival of the Dorians

Carneius: 78

Carthaea : 80, 220; a city of Ceos

Carthage : 146, 366; 641

Caryatids : 52: the name given to
the maidens at their annual

GENERAL INDEX

dance to Artemis Caryàtis at
Caryae in Laconia

Carystus: 210. Casas: 182

Cassandra : 84, 118, 442; a pro-
phetess, daughter of Priam

Castaly : à sacred spring at Delphi

Cátina: 0633. Caucians: 440

Cecropian : 562; Cecrops was first
king of Attica

Cécrópis: 298, Cédon: 570

Celaenae: 318, 504; 4a city of
Phrygia

Celeüs: 86. Cénaeum: 96

Cenchreus: 296; the river of
Ephesus

Centaur ; 200, 242; see Cheiron

Ceos: 80, 106, 126, 131, 134, 142,
158-60, 214, 220; 639, 646,671;
a small island of the W. Aegean

Cephàlus: 677

Cephissian Lake: 484; in Boeotia

Cephisus: 2, 20; a river of Boeotia
and Phocis

Cephisus: 515; a river of Attica

Cerbérus: 148; the watch-dog of
the Lower World .

Cereops: 254. Cercyon: 108

Ceyx: 200-2; lord of Trachis;
friend of Heracles

Chaerólas: 160

Chalcidic Peninsula: 596; in N.

Greece
Chalcis: 33, 270, 544-6; 039-41,
669; a city of Euboea
Charaxus: 629, 631; brother of

Sappho
eee s: 210, 378; ferryman of the

ea

Charondas: 498; lawgiver of the
Chalcidian colonies in Sicily
and Italy c. 650 B.C.

Cheilon or Chilon: 57060; Spartan
statesman; 560 B.C.

Cheiron : 210; the Centaur ; see vol. i

Chios: 21; 583, 590, 593; a large
island of the E. Aegean

Chloé : 494. Christ: 484

Chrysogónus: 384

Cirrha: 144, 176; near the coast
below Delphi; site of the
hippodrome the scene of the

hian games in the time of

Pindar and Bacchylides

Cisses: 92; a king of Thrace in
Homer

LYRA GRAECA,
VOL. III.

Cissian : 400

Cithaeron: 26-8, 34; a mountain
of Boeotia

Cleesippus : 424

Cleitagóra : 340, 556-8, 574

Cleisthénes tyrant of Sicyon : 669;
grandfather of

Cleisthénes: 583, 639, 601; the
Athenian statesman; 507 B.C.

Cleobülus: 578; of Lindus in
Rhodes; c. 600 B.c.

Cleoeritus: | 256; an Athenian
satirised by the poets of the
Old Comedy

Cleomáchus : 544

Cleon: 74, 554; Athenian general
and statesman satirised by
Aristophanes

Cleoné: 33, 166; eponymous
heroine of Cleonae in Argolis

Cleoptólémus : 198

Clio: 136, 184, 196; one of the
Muses

Clotho: 276; see Fates

Clyménus: 154

Cnosus or Cnossus: 98, 100, 130,

406; 585, 595, 664; the city
of Minos in Crete

Cocytus: 148; 60417; a river of
Hades

Colonus : 2

Colóphon: 385, 496; a city of
Ionia

Coreyra: 30, 33, 166; a large
island off the W. coast of

Greece (Corfu)

Coresia : 80. Coressus: 130

Corinth : 108, 126-8, 135, 366; 599,
623, 041, 668-70

Corniscae : 519

Coronaeae: see Shuttle- Maidens

Coronea: 125

Coronis : 482; mother by Apollo of
Asclepius

Corjbants: 484;
Cybelé

Corycian Cave: 394

Cos: 593; an island of the S.E.
Aegean

Cremmyon or Crommyon: 108;
between Megara and Corinth

Creon: 28; king of Thebes

Crete :: 24, 62, 86, 98, 106, 124, 130,
200, 406, 520, 540, 572; 583,
595, 598, 610-2, 617, 625, 651,

79$

worshippers of

ZZz

GENERAL INDEX

659, 674; southernmost island
of the Aegean; one ofthe great
Dorian areas of Greece ; famous
for its dancing

Creüsa: 108

Crisa: 595; the port of Delphi

Croesus : 138, 300, 338; 615; king
of Lydia 560-546 B.C.

Crónus: 28, 328; father of Zeus

Curétes: 152; a tribe of Aetolia

Crotona (Croton): 372; a Greek
city of S. Italy

Curétes: | 484; 659; mythical
attendants or actual worship-
pers of Zeus at the Idean Cave
in Crete

Cybélé : 318, 464-6; 597; 600

Cyclopes : 180, 302-4, 382-92; 672;
a race of one-eyed giants; see
vol. ii

Cydonia: 610; a city of Crete

Cymé : 590, 610

Cypris: 442; see Aphrodite

Cyprus: 625

Cypsélus: 637; tyrant of Corinth
655-625 B.C.; see vol. à

Cyrené: 210; a Greek city of N.
Africa

Cyrus Dun 338; king of Persia 550-
5

Cythera : 362: an island off the S.
of Laconia

Cytherea: 446; (025, 661; see
Aphrodite

Dactyls, Idaean :. 597

Daedálus: 585; mythical sculptor
and architect

Daedálus of Sicyon: 179;
tor; 400 B.C.

Daipylus: 154. Dàmocrátes: 88

Damon: 126, 130

go ak 234; the fifty daughters

o
Danaüs: 180; brother of Aezyp-
tus and ancestor of the
Danaans: 192, 568; an ancient
name for the Greeks
Dandaetian (?): 506

sculp-

Dandes: 641. Daphnephoria : 665

Day: 454

Deianeira: 98, 156; wife of
Heracles

Deinoménes: 136, 144-6, 220;

106

name of the father and son of
Hiero
eiphóbus : 436

Delium : 665; 424 B.C.

Delphi: 28, 96, 136, 140-4, 148,
162, 174-6, 179, 394, 461, 466,
520, 540; 592-5, 598, 602-3;
609-11, 620— 3, 627, 632, 641,
648, 651, 654, 665-8, 671, 676;
a city oi Phocis: seat of the
oracle of the Pythian Apollo

Delos: 88, 106, 124, 140, 176, 270,
461, 488, 562; 594—5, 598-9,
622-4, 649-51, 668, 671; an
island of the S. Aegean, one of
the chief seats of the worship
of Apollo

Déméter: 86, 136, 170, 238, 420,
488, 494—6, 514, 532, 562; 594—
6, 604-6, 619, 639, 648, 655,

658
Demetrius (Poliorcetes): 650; son
of Antigonus; *liberated '

Athens in 307 B.C.
Démonax: 126 (2 Damon)
Demophilus : 410. Derdénes: 610
Dexaménus : 200; lord of Elis
Dexióné: 126. Dexithéa: 126, 130
Diacrians : 554; these were the
poorest of the three parties
in the days of Solon; the joke
is obscure
Diana: see Artemis
E 380; Cynic philosopher;
70 B.C.

Diomede, "Thracian: 3116; king
of Thrace; so called to dis-
tinguish him from D. of Argos

Diómus: 496

Dionysia: 258; 651, 669; festival
of Dionysus

Dionysius: 260, 366-72, 382-6;
672; tyrant of Syracuse 405-
367 B.C.

Dionysus: 6, 24, 56, 78, 114, 170,
216, 226, 236, 246, 256, 276,
300-4, 314, 340, 362, 378-80,
463-4, 470, 480, 488, 492-4.

510- 14, 568; 583, 599, 601,
606, 619-20,' 623-5, 648, 660,
664-71

Dioscüri (Castor and Polydeuces):
88, 472-4; 612, 616; sons of
Zeus and Leda wife of Tyn-
dareüs king of Sparta, and

GENERAL INDEX

brothers of Helen; worshipped
as horsemen, boxers, and
harpers, and as saviours of
men in battle Or at sea

Dium: 482; a town of Macedonia

Dolon: 581

Dorian : 2776, 364, 376, 404, 492—4,
432, 448; 594, 597—9, 603,
611—15, 618, 624, 628, 631, 635,
641-7, 251; 656, 661, 666

Doricha : 629

Doridium : 370. Dorion: 298

Doris : 845 daughter of Ocean

Dorotheüs: a flute-player: 200

B.C.
Dorylas: 422. Dryas: 492
Dysaules: 486; father of Tri-
ptolémus and brother of Celeüs
king of Eleusis
Dysmaenae: 52;
at Sparta

Earth : 114, 126, 210

Ecbatána: 320; a city of Media
Echecrátidas: 636. Echémus: 4
Echidna: 148; a serpent-maiden,

— Bacchanals

daughter (of Tártarus; see
vol. ii
Egypt: 114, 218, 486, 500; 598
Eileithyia : see Artemis
Eiresione : 520-2. Elector: 396
Eleusis : 86, 108-10, 486, 514-16;

94—6, 604; a town of Attica,
seat of the worship of 7727; i

Eleuther: 593. Elieus:

Elis : 80, 161-2, 179, 200, 510, 528;
599, 601, 623-5, 667 ; a dis-
trict in the N.W. Peloponnese

Elpenor: 298; one of the com-
rades of Odysseus who were
turned into swine by Circé

Elysium : 330; the underworld

Endais: 188

Endymion: 338; see vol. ii

Enetic: see Venetic

Enyilius: 606; sometimes identi-
fied with Ares

Epameinondas: 270,408; Theban
general and Statesman; 390

B.C.

Epáphus: 114

Ephésus: 2906, 320, 362, 385, 394;
602, 672; one of the twelve
Ionian cities of Lydia

Epiménides : 532; a Cretan wonder-

LYRA GRAECA.
VOL III.

worker who came to Athens c.

500 B.C.

Epióneé: 484. Epipólae: 384

Erechtheus: 664; à mythical king
of Athens

Erésus: 532; a town of Lesbos

Eretria: 12,544; a city of Euboea

Eriboea: 98, 188; afterwards wife
of Telamon

Eridánus: 396

Erigóné : 490; zy "UC heroine

Eriphánis : 498,

Erythrae: 482; OST: & city of
Ionia

Eryxis: 340-2

Eteocles : 226; brother of Antigone

Etna: 218, 380, 420;
volcano of Sicily

Etruscans:; 641. Euathlus: 498

Euboea: 96, 172, 546; a large
island on the E. coast of

Greece
Eubülides: 260. Eudemus: 222
Euenus (river): 98. Euenus: 116

Eunostaà and Eunostus : JJ

the great

Euoe: 494; cry of the Bacchants
Euónymus: 20, 32; son of Ce-
phisus

Euphoràtis: 580. Eupólémus: 179
Eurirpus: 270; the strait between
Euboea and the mainland

Europe: 228
Europa: 78, 100, 130, 200 (which

see)
Eurymédon: 410. Euryphon .: 248
Eurytion: 200. Eurytus: 596
Euxantius: 126, 130, 134; mythi-
cal lord of Ceos
Execestides: 666

Fates : 170, 276, 318, 448, 458, 482
Fortune : 476, 482

Furies : 126, 452

Gaius (Caligula): 558; Roman
Emperor A.D. 37-41

Galatea: 212, 382-02; :.a sea-
nymph beloved by the Cyclops
Polypheémus

Galatea : | 382-6; mistress of
Dionysius

Galáitus: 212. Galaxium: 450

Gallae: 466
Gelo: 146, 200; brother of Hiero
and tyrant of Acrágas

707

zz*

GENERAL INDEX

Gentiles : 484. Geraestia : 173

Glycon: 443. Giants: 94, 486
Gorgon : 406
Graces, The:. 112, 132, 146, 162,

174, 238, 300, 402, 414, 510,
546; spirits of beauty and
excellence, handmaids of the
Muses

Greece : 140, 160, 228, 266, 270, 276,
282, 306, 332, 410, 470, 508,
574; 594, 597-8, 603-4, 610—
11, 620, 629, 633, 638, 646, 657,
660, 666

Greek : 2, 9, 58, 119, 121, 152, 160—
4, 188, 194, 214, 240, 278,
306-8, 318, 320-2, 484, 542;
583, 593, 597, 607, 619, 625-32,
635, 655, 679

Gyseno denied: 624, 651 (which
8ee

Hades: 24, 46, 72, 148, 236, 260,
338, 410, 438, 452

Harmódius: 554-6, 566; 6410,
657-8; with Aristogeiton he
murdered in 514 B.C. Hip-
parchus one of the sons of
Peisistratus; after the expul-
sion of his brother Hippias
from Athens in 510 they came
to be regarded as martyrs in
the cause of democracy

Harpálus: 274; cousin and trea-
surer of Alexander the Great

Harpalyce:500. Harpalycus.: 422

Harpies: 278; in Homer, spirits
of the storm-winds; later,
winged maidens of foul aspect
who swooped on a man's food
and carried it away

Harpinna: 33,166

Healing-God : see Apollo

Health : 336, 400; 652

Heaven : 210, 316

Hebé: 169. Hebrew: 470

Hebrus: 96; 598, 608, 651; river
of Thrace

Hecáte: 86,258; 508

Hector: 188, 192,328,490; 584-6,
621; son of Priam and chief
hero on the Trojan side

Hecuba (Hekábé): 452; 586, 621

Helen : 39, 92—5, 422, 440, 466 ; 586,
621, 633, 661-2, 671; see vol. ii

4,08

Helénus: 120, 442; prophet and
warrior, son of Priam

Helicon: 26-8; a mountain of

Boeotia

Hellé: 318; daughter of Athámas
and Nephélé; XN. saved her
son Phrixus írom sacrifice by
ieans of the Ram with the
Golden Fleece, which carried
him to Colchis; Hellé, who
rode with him, fell off while the
Ram was crossing to Asia at
the strait called after her the

Hellespont: 315,318; 598

Helots: 611, 628; the serífs of
Lacedaemon

Hephaestus: 585

Hera: 112, 150, 162, 168, 178, 182,
226, 450, 470, 519; 594, 616

Heraia: 173

Héracles (Hercules): 6, 66, 88, 96-
8, 120, 124, 148—50, 154, 162,
184-6, 200-2, 256, 410, 422,
426, 502-4, 520; 596, 606, 616,
630, 655, 671, 677

Héracleia: 173, 362

Heraean Women : 623

Hercules: see Heracles

Hermeias: 410, 470;
Atarneus

Hermes: 12, 14, 26-8, 32, 39, 112-
14, 326, 398, 470, 528; 609, 614,

648
312;

Hermus:
Minor

Heródótus: 406. Heroes, The: 652

Hiero: 82-6, 136, 140-8, 156-9,
175, 200, 218, 221, 232, 266;
610, 640, 646, 653, 657; tyrant
of Syracuse 478-467 B.C.

Himalia: 494

Himéra: 146; 633, 641; a Greek
city of Sicily :

Hipparchus: 566; 638; Hippias:
641; sons and successors of
Peisistratus

Hippásus: 639.

Hippocrátes: 664

Hippodameia : 623

tyrant of

à river of Asia

Hippocoón : 616

Hippolytus: 266, 539; son of
Theseus; refusing the ad-
vances of his stepmother

Phaedra, he was accused by
her of seeking her love, and
cursed by Theseus, whose

GENERAL INDEX

Ei Poseidon caused his

Hyagnis: 534; 597

Hyecara : 366

Hymenaeus : 278, 388; a beautiful
youth of whom various stories
were told in connexion with
wedding rites

Hyperboreans : 140; 5094, 598, 648;
à a legendary people of the far

22, 92

Iacchus: 56, 258, 462, 404, 510;
667; a name of Dionysus;
sometimes distinguished from
him às a son of Demeéeter

Iambé: 604. Iambi: 512

Toiagune 540; a district of S.

N
Iarbas: 486. láso: 484
Ida: 452, 484; name of two
mountains, one near Troy, the
other in Crete
Idas: 116. llium: see Troy
Ináchus: 112
lo: 114, 469, 498; 671; beloved
by "Zeus, she was changed
through Hera's jealousy into
aheifer and wandered over the
earth
Iolaia : 173
Iolaüs: 20; companion of Heracles
Ióle : 98: "daughter of Eurytus of
echalia
Iollas: 502
lonian: 98, 108, 206, 320, 324-6,
404, 444, 534, 572; 594, 599,
602-4, 607-14, 625, 628, 631,
635-43, 656, 667
Ios: 212; a small island of the
mid-Aegean
Iphiclus : 500. Iphiclus: 152
Iphigeneia : 408; daughter of
Agamemnon, who sacrificed
her at Aulis
Iris: 482. Ismárus:
Ismene : 226; sister of P Antigoné
Ismenius, Apollo: 665
Isthmus : n 126-8, 132-4, 162,
170-2, 4
Itháca : 200: a small island W. of
Greece ; "home of Odysseus
Itonia: 124. Itónus: 18, 124
Italy: 22, 416, 540

Hiria: 16. Hyrieus :

Ithyphalli: 512
Iülis: 80, 130; 646; a city of Ceos
Iülo: 494

Jason: 589. Jews: 468

Julian : 210; Roman emperor A.D.
361—363

Juno: 519. Jupiter: see Zeus

Laches: 39. Lachon: 158-60

Laconian: 432, 534; 018; see
Sparta

Ladon: 30,-84;
river of Thebes

— Ismeénus, à

Laertes: 92, 280; father of
Odysseus

Lais: 366. Lamo: 504

Lame God, The : see Hephaestus

Lampis : '504

Lampon: 186, 196

Lamprias: 4

Laocoón: 118; priest of Apollo at

Troy; while sacrificing at the
bringing-bin of the Wooden
Horse, against which he had
warned his countrymen, he was
slain by two serpents sent
from the sea by Poseidon

Laodámas: 226

Laomédon: 192; king of Troy;
father of Priam

Latin: 630, 674, 678. Leda: 410

Leipsydrium : 570; c. 550 B.C.

Lemnos: 110, 120, 444, 486; a
large island of the N. Aegean

Lenaea: 258, 510; 667; a festival
of Dionysus

Leon: 4. Leontium: 384

Leontius: 246

Lesbos: 266, 270, 324, 416, 438;
598, 608-18, 6024í(f, 6033-8,
651-7, 660-1, 668, 673;; a
large island of the E. Aegean

Léto (Latona): 78, 176, 182, 562;
593, 595

Leucas: 498

Leuctra : 644; 371 B.C.

Libya : 406, 486

Lichas: 426; attendant of Hera-
cles; the *tomb' is the sea,
-— which he was thrown by

Linus: 238, 488, 492, 498; 586,

609, 622, 663, 677; alegendary
bard, for whom the vintage-

799

GENERAL INDEX

song was supposed to be a
lament

Er : 488, 496, 500 (which see),
i

62, 272, 414,

416-8, 546; 633-4; a Greek
city of S. Italy

Love (Eros) : 32, 238, 390, 444, 530,
546; 594, 656

Loxias: see Apollo

Lüsi: 178-80. Lüsus: 180

Lyaeus: 300; Alexandrian epithet
of Dionysus

Lycaeus, Zeus: 616. Lycas: 641

Lycia: 192, 806, 460, 488; 594,
598; the most southerly dis-
trict of Asia Minor

Locri (Epizephyrii) :

Lycomidae: 594-6

Lycormas: 98

Lycurgus: 165, 266; king of
Nemea; brother-in.aw of

Adrastus and one of the ' Seven
against Thebes '

Lycurgus E Spartan lawgiver):
204, 534

Lyde: 244

Lydia: 122, 136, 300, 318; 603,
609-10, 615, 618, 628, 60257,
667; the middle district of
W. Asia Minor, seat of the
kingdom of Croesus; became
part of the Persian Empire in

546 B.C

Lydus: 138; mythical king of the
Lydians.

Lynceus: 180

Lysander: 412, 470; £650; the

Spartan general who deieated
Athens in 404 B.C.
Lysippus: 72; sculptor; 330 B.C.

Macedonia: 332, 384

Macélo: 126-8. Machaon: 484
Maeandger: 504;

Minor

Maecenas: 631
Maenads: 26;
Magnesia: 637.
Maid :

à river of Asia

see Baccehanals
Maia: 30, 112

see Persephoneé

Malis: 428. Manéros: 500

Mantinea: 62-6, 118,304; 654; a

city of Arcadia

Marathon : 506, 640-1

Mardonius : 215

Mariandyni: 500, 534

110

Mariandynus : 502, 534

Marpessa: 116

Marsyas: 234, 2974, 534; 597; a
mythical futeplayer defeated
by Apollo in a contest of music,
under the terms of which he
was flayed alive

Mataurus: 633; a town of Sicily

Megalartia : 518

Mégára: 108; 623. Meidylus: 82

Melampus: 214, 422; a prophet,
lord of part of Argos, son-in-
law of Proetus

Melanchrus : 430

Melanippé: 302; daughter of
Aeólus, heroine of two lost
piays of Euripides

Melanippus: 631

Meleager: 150-6; see vol. ii

Méles: 248

Mélia: 6; a sea-nymph, who be-
came by Apollo the mother of
Ismenius name-hero of Ismenus
a river of Thebes

Melos: 56-60, 230; a large island
of the mid-Aegean

Memory (Mnemósyneé): 412, 580

Memphis: 115, 206; a city of
Egypt

Menalnn d 498, 544

Menander: 194. Menecles: 406

Menelaüs: 28,92—4,302,422; king
of Sparta and husband of
Helen

Messeneé: 270; a city of the Pelo-
ponnese

Messenia: 116; 599, 613, 624, 649

RE '174-8, 182 (ubhich
see

Methoneé: 384; a Greek city of
Macedonia ' |

Methymna: 610

Metioché : see SAuttle- M aidens

Metope: 30. Micon: 272

Midas: 500, 540 (which see)

Miletus: 88, 131, 280, 284, 324, 376,
538; a city of Ionia; see vol. di

Miltiádes : 228

Minerva: see Athena

Minos : 98, 102, 126, 130, 200, 204,
540; legendary king of Crete

Minotaur : 98, 520; 664; a monster
halí-man ' half-bull kept by
Minos in the Labyrinth and
fed with a yearly tribute of

GENERAL INDEX

youths and maidens sent from
Athens; he was killed by
Theseus

Minyas, Daughters of : 24

Mnemósyné: see Memory

Mnesimachus : 400

.Momus: 504; personification of
mockery and censure

Moses: 610. Moon: 330,486

Mountain-Mother : see Cybele

Muses, The : 12, 28, 30, 36, 42, 46,
88, 94—6, 112-4, 127-8, 134-6,
140-6, 156-8, 168-70, 184,
194-6, 216-20, 238, 276, 280,
322—4, 328, 332, 378, 412, 422,
426-8, 444, 458, 462, 478, 500,
580; 593, 598, 601, 606, 610-
2, 616, 622-3, 649

Museum Hill: 596; in Athens

Mycàálé: 638; 479 B.C.

Mysia: 316; a district of N.W.
Asia Minor

Mytilené : 506, 533; chief city of
Lesbos

Nanis: 338. Nannáíceus: 44

Nanno: 614. XNarcaeus: 623

Nauplius: 280, 298; the father of
Proetus, or a king of Euboea
who in requital for the death
of his son Palamedes at Troy
caused the shipwreck of the
returning Greeks

Nausicaà: 587; daughter of
Alcinoiis

Neaechmus: 298. Necessity: 482

Nédon: 34; a river of Messenia

Néméa: 33, 162-8, 178-9, 184-6,
304; near Phlius in the Pelo-
ponnese; scene of the Nemean

Games

Némésis: 1206, 159, 346; 654

Neoptólémus : 166; son of Achilles

Nereids : 84,104—6, 190; 631; sea-
nymphs, daughters of

Néreus: 84, 100, 128, 382, 478;
the Sea-God

Nessus: 98; a Centaur who caused
the death of Heracles

Nestor: 328, 422; lord of Pylos,
the oldest and wisest Greek
before Troy

Nicarchus: 68. Nicodorus: 6041-6

Nicomáchus: 274

Night : 86, 160, 448

Nile: 114, 166, 206, 436
Nióbé: 210, 320, 378, 454: see
vol. ii
Nómius: 290; a name of Apollo as
God of flocks
Numa: 204; king and lawgiver of
me

o
Nymphs : 200, 304, 318, 394, 494

Ochna: 4

Odysseus: 28, 39, 92, 206, 302-4,
382, 390-2

Oeágrus: 248; king of Thrace

Oechalia: 296, 149; a city of
Euboea

Oedipus: 26; see vol. ii

Oeneus: 150-2, 156; king of
Pleuron in Aetolia; father of
Meleager

Oeneus: 172, 236; son of Pandion
king of Athens

Oenia: 33; a town of Acarnania

Oenomaüs: 116, 166; legendary
king of Pisa in Elis

Oenópion: 22; legendary king of
Chios

Oetaeans : 665; à people of Thessaly

Ogygus: 18. Oicles: 164

Olympia: 136, 144, 158, 160, 167,
170, 179, 240, 244, 529; 6029,
637, 654; in Elis; scene of the
Olympic Games

Olympus : 176, 252, 450; 622, 649;
the abode of the Gods, some-
times identified with the moun-
tain in Thessaly

Olynthus: 628; a Greek city of
Macedonia

Opis: 296, 488, 508

Opportunity : 228

Orchoménus: 24; a city of
Boeotia

Orderliness : 448. Oreithyia : 596

Orestes : 408; see vol. ii

Orion: 20-4 (which see), 32; a
great hunter, who after his
death became the constellation

Orphics : 598, 664; votaries of the
cult of Orpheus which comes
to light at Athens in the 6th
Cent. B.C.

Orthia : 616

Ortygia : 384; Syracuse

Oschophoria : 664. ^Oulo: 532

Oxylus: 162

711

GENERAL INDEX

Pactolus: 138. Padus: 396

Paeonians : 651; early inhabitants
of Macedonia

Pagondas: 665. Pallantium : 653

pps eue 7 40,:92, 150, 220,
5

Pallas (the hero) : 118
Pan: 562; 658. Panaceia: 484
Panathenaea: 638, 664-6; the
feast of Athena at Athens
Pandion: 98, 108, 173; legendary
king of Athens
Pandiónis: 260, 298
Pandrósus: 502;
Ceecrops
Pantaléon; 298. Pantéles: 198
Pantheides: 130-4. Paris: 95
Parnassus: 394; the famous
mountain in Phocis

daughter of

Parnes: 34, 571; a mountain of
Attica
Paros: 602, 606; an island of the

central Aegean
Pasiphaé : 103. Pausanias: 640

Peace: 448-50

Peiréené: 33; the fountain of
Corinth

Peirithoüs: 200

Peisistrütids : 636-8, 658; Hippias

and Hipparchus, sons of
Peisistrátus : 567, 638
Pelasgians : 486; a pre-Hellenie

people of Greece
Peleus: 188-90, 238; Ííather of

Achilles

Pellana or Pellené : 56, 172, 486;
a town of Achaia

Pélops: 118, 128, 156, 162, 176,
278, 598; mythical king of

Pisa in Elis; father of Atreus;
gave his name to the

Peloponnesus: $80, 128, 278, 408,
478; 594, 646
Penélópé : 39; wife of Odysseus

Peneiüs : 108; a river of Thessaly

Pentheus : 461: son of Agave and
grandson of Cadmus; killed by
his mother in a Bacchic frenzy

Perdiccas: 230; king of Macedon
454 ?—-413 B.C.

Periander: 668; tyrant of Corinth
c. 625-585 B.C.

Pericles : 638; the Athenian states-
man; 450 B.C.

PersÉphóné (Proserpine ^or The

712

Maid): 24, 86, 136, 148, 236,
496, 514, 562; 658; daughter

of Démeter; see tol. ài

Perseus: 186, 406; son of Zeus
and Danaé; slayer of the
Gorgon

Persian: 138, 228, 280-2, 304-22,
338, 490, 563; 611, 616, 636—
41, 658

Petraia : 198

Phaéthon : 396; having leave of
his father the Sun to drive
his chariot for one day, he
lost control of the horses and
was struck down by Zeus to
save the world

Phaiscus: 176

Phálíris: 634; tyrant of Acragas

Phaléerum : 664 ; a roadstead of

Phallophóri: 514. Phanias: 262

Phasis: 344; 677; at the E. end
of the Black Sea

Pheidippides: 658

Pheidolas: 637

Pherenicus : 146, 156, 218; Hiero's
famous race-horse

Phéres: 140

Philadelphus, Ptolemy (II):. 492;
king of Egypt 285-247 B.C.

Philetas: 504. fPhilistus: 546

Philip II king of Macedon 359-336
B.C.: 280, 384

Philocleon : 554, 658

Philoctétes : 120; | the Greek

archer, who, left sick of a
snake-bite on Lemnos, had to
be fetched to Troy before his
countrymen could take it; his
bow was the gift of Heracles
Philopoemen : 304-6; of Megalo-
polis in Arcadia, general of
the Achaean League; 210

B.C.

Phineus: 280; 2a blind prophet
and king of Salmydessus in
Thrace, who was punished by
the Gods for illtreating his
sons; his food was continually
seized by the Harpies (wich
see) till he was delivered by the
Argonauts

Phlegra: 480; a district of Mace-
donia

GENERAL INDEX

Phlius: 52, 162, 166-70; a city of
the Peloponnese

Phoebus: see Apollo

Phoenicia : 34, 202, 314, 548

Phoenix: 100-2, 200

Phrygia: 162, 276, 484, 500, 504,
514-6; 597—600, 603, 625,
623, 661, 667; à district of
central Asia Minor, whence

Pelops came to Greece

Phthia: 262; a district of Thessaly
in N. Greece; home otf
Achille

Physceoa: 623

Piéria: 96, 112-4, 128, 324, 593;
à district of Macedonia just N.
of Olympus

Piérus: 593

Pisa: 156; a town in Elis near
Olympia where the famous
Games were held

Pittacus: 532, 578; 0629, 6057;
aesymnete or elected dictator
of Mytilene c. 585-575 E.C.

Pittheus: 100

Plain, The: 516; part of Attica

Plataea : 34; 041; a town of
Boeotia famous for the defeat
of the Persians in 479 B.C.

Pleiádes: 34, 42; daughters of
Atlas, and companions of
Artemis; pursued by Orion
in Boeotia they were saved
by being changed into doves
and placed among the stars

Pleisthénes: 94; à son of Atreus,
who married his widow ; Aga-
memnon and Menelaüs were
sons of either according to the
accounts

Pleuron: 116 (which see), 154

Podaleirius : 484

Poetry : 284, 474. Poieéssa: 80

Polycleitus: 230; 672; the great
sculptor: 430 B.C.
Polyerátes: 635-6; tyrant of

Samos 533-522 B.C.

Polygnotus: 635, 641; the famous
painter: 470 B.C.
Polymnia: 456; one of the Muses

Polyneices: — 164; brother of
Antigone ; his restoration from
banishment caused the expedi-
tion of the *'Seven against
Thebes '

Polypémon : 108-10

Polyphemus : 384; see Cyclops

Polyzelus: 146

Pontus: 167, 362; a district of N,
Asia Minor

Porthaon: 150;
in Aetolia

Poseidon : 18, 30-2, 96, 100—4, 108,
116-8, 126-8, 172, 198, 312,
478; 594, 649, 652, 676

Priam: 182; king of Troy

Procrustes: see Polypemon

Proetus: 178-80

Prometheus: 238, 564; son of the
Titan Iapétus; he stole fire
from heaven

Proteus: 124; the prophetic old
man of the sea

Pyanepsia: 520-2

Pylos: 149; a city of the Pelopon-
nese

Pyrrhichus: 198

Pythagoreans : 598

Pytheas: 184, 194, 362

Pythia :: 173. Pytho:

Pythocritus: 230

Python: 603, 633, 665

Rarian Plain, The: 486; of
Eleusis

Rhadamanthus : 83, 200, 330, 416;
son of Zeus and brother of
Minos; after death he became
a judge in Hades

Rhea: 28, 118; wife of Cronus

Rhegium : 272; 635; a Greek city
of S. Italy

Rhodes: 88,526; a large island of
the S. Aegean

Rhyndácus: 212. Right: 448

Rome: 206,436

king of Pleuron

see Delphi

Sacred Way, The: 136

Sálámis: 33, 310, 315, 569; 614,
641, 650; an island on the W.
coast of Attica, memorable for
the defeat of Xerxes by the
Greeks in 480 B.C.

Samos: 412,470, 510, 522-4; 635-
6, 650; an island of the E.
Aegean

Samothrace : 62, 452; an island of
the N. Aegean

Samus: 118

713

GENERAL INDEX

Sardis : Rd 318-20, 338; capital

: 492; 668; the half-bestial
attendants of "Dionysus

Scamander: 192; a river of Troy

Scapté Hylé : 80. Scias: 2

Sciras, Athena: 664. Sciron: 108

Scópas: 653; a Thessalian noble

Scylla: 302, 83878; a female monster
dwelling on a rock in the
straits of Messina

Scyllus: 80. Scythiádes: 228

Sea: 126, 226

Seasons, T'he : 480, 520

Sémélé : 114, 226, 300, 480, 510;
667; daughter of Cadmus and
mother by Zeus of Dionysus,
who was saved miraculously
when she was consumed by
the Thunder-God's lightning at
his birth

e 448; Roman consul A.D.
9

Serpent, The: see Python

Shuttle-Maidens : 29

Sicily : 86, 200, 260, 274, 366, 374,
384, 448, 496; 633, 640, 650

Sicyon: 172; 594, 623, 668-70; à
city of the Peloponnese

Silanion: 9; sculptor; 320 B.C.

Silenus : 208, 492, 598; the chief
attendant of Diony sus

Sinis : 108

Sinopeé: 30, 33;
the Black Sea

isyphus: 392; in Hades he was con-
demned to making perpetual
but unavailing attempts to
roll a stone to the top of a hill

Sleep : 338. Southwind, The: 580

Sown, The (Sparti) : 6; the armed
men sprung from the teeth of
the dragon sown by Cadmus

Sparta : 52, 62, 110, 116, 214, 286—
90, 308, 322. 412, 416, 444,
470, 530, 534, 548, 558; 583,
599, 603-4, 610, 615-18, 624.
628— 9, 632-4, 651, 660, 666-8,
671, 674—6

Sphinx : 26; afemale monster who
propounded riddles to passers-
by near Thebes, and slew all
who could not guess them

Spies, Goddess of: 580

714

à Greek city on

Stényclarus: 548; in N. Messenia

Stratonicus: 300, 374, 404; an
Athenian musician; 330 B.C.

Strepsiádes: 396; 658.

Styx: 176, 236; a river of Hades

Sulla : 675; Roman statesman;
0 B

Sun : 102. 306, 430, 484, 520

Susa : 320; one of the capitals of

the Persian kings

Symmáchus : 468

Syracuse : 88, 137, 142-4, 156, 372.
378, 384, 432, 491, 404, 524;
599, 623, 628, 640, 646, 666,
672; the chief Greek city of
Sicily

Syria; 234

Taenárum : 478; the southernmost
point of Greece

Talaüs: 164

Tanágra: 2, 6,8, 12, 20, 33; 644;
2 city of Boeotia

Tantalus: 118; father of Pelops,
whom he boiled and set before
the Gods at table

Tarentum : 372, 512, 540; a Greek
city of S. Italy

Tartárus: 126; the Lower World

Teisias: 184

Télámon: 166, 188, 550, 558, 567—
8; son of Aeácus

Telehins (Telchimes): 126; 597;
voleanie monsters who worked
in metal and blighted the
crops; slain by Zeus

Teleboans: 28; ^a people of
Acarnania

Tempé: 108; 665;
'Thessaly

Ténédos: 93; 653, 656; a small

island near Troy

214, 406, 572: 583, 6036; a

city of Ionia

Teumesian For: 26; a legendary
fox that ravaged 'Thebes, so-
called from Teumessus a village
of Boeotia

Thales: 280,532,576; the philoso-
pher; 585 B.C.

'Thargelia : 520. Theano: 92

Thébé: 33, 166, 172; name-
heroine of

TThebes : 18, 68, 114, 164, 270, 300,
376, 428, 480; 590, 597, 611,

2 valley in

Teos :

GENERAL INDEX

628, 644, 651, 665; the chief
city of Boeotia
Thémis: 238; Goddess of Justice;
daughter "of Uranus
Themistocles : 306, 552; 640, 643;
Athenian statesman ; 480 B.C.
Theocritus: 216
'Theorus: 74-0, 554
'TTheotimus : 400
Theoxénia: 89, 173
'Theoxénus: 656
Theráménes : 342;
statesman : 410 B.C.
Therapné: 434; (a town of

Laconia

Thermódon: 166; a river of
Pontus in N. Asia Minor

Thermópylae: 640; the pass on
the Maliae Gulf between N.
and S. Greece, famous for its
defence by the Spartans against
the Persians in 480 B.C.

Theron: 640

'QTheseus: 98, 102-8, 520-2, 540;
664, 671; legendary king and
chief hero of Athens

Thesmophóri: 518; the chief
celebrants of the Athenian
women's festival of Demeter

Athenian

T D 33, 96; a town of
o0eo
TThessaly : 18, 110, 140, 198, 556,

574; 594, 636, 639, 653; à
district of 'N. Greece
TThestius : 154
Thétis: 190, 227, 238; , 3 sea-
nymph, mother of Achilles
Thrace: 116, 260, 540, 546; 596-
8, 636-7

Thrasonides and Thrasyléon: 232
Thrasybülus: 146

Thümantis: 246

Thurii: 250; a Greek city of S.

Italy

Thyia: 510

Thyrea: 651; scene of the defeat
of the Argiv es by the Spartans
in 546 B.C.

Timandra: 366. Time: 160,196

Timoxénus: 170

Tiryns: 130; an ancient Greek

city of Argolis

Tityus: 534. TTlepólémus: 398

'Tmolus: 318; a mountain of Asia
Minor, S. of Sardis

Troezen: 100-2, 532; a district of
the Peloponnese

Troy: 92-4, 120, 124, 149, 166,
182, 190-2, 300, 466, 568, 590

Trygaeus: 512

Tydeus: 120; king of Calydon,
son of Oeneus and Althaea

Tyndarids : 434, 472; see Dioscuri

Typhos or Typhoeus: 396; see
vol. ài

Ulpian: 546. Upius: 502

Urania: 96, 146, 158; a Muse

Uránus: 126; see Heaven

Venetic: 424

Venus: 422; 648; see Aphrodite

Virtue: 410; 651-2

Wealth : 643

Wooden Horse, The: 300; 584

Xanthippus : 638

Xanthus: 488; a river of Lycia

Xenocrátes: | 144; brother of
Theron tyrant of Acragas

Xerxes: 315; king of the Persians
485-465 B.C.

Zaleucus: 204; lawgiver of the
Epizephyrian Locrians

Zephyr (S.-W. Wind): 222, 396

Zethus: 39; a legendary Theban,
son of Zeus and Antiopé

Zeus : 29, 30, 42, 58, 78, 94—6, 100-
4, 112-4, 118-20, 1206, 130-2,
138-40, 146-50, 156-62, 166-
14,178-82,186-8,200-2, 226-8,
238-40, 255, 266, 276, 322, 328,
358, 410-12, 424—060, 438, 442,
446-8, 460, 486, 516, 528; 602,
611, 616, 641, 647, 652-4, 676

Zeuxis: 3230; 072; the great
painter; 420 B.C.

Zoroister: 204; £1founder of the
Magian religion of the Persians,
first mentioned by Plato

715

INDEX OF THE TECHNICAL
TERMS USED IN THE EPILOGUE

ACCENT : 587, 619, 626-8, 678-9
Adonis-Song : 625, 660 ff, 667
Aeolic oct 588, 607 ff, 612,
AE Mode: 626, 636, 645-7, 659,
66
* Alcaic " stanza (2 ll. ——.,—-—
— 2 ——2- followed by E
SLNULCSE Anc—rt-rf122840——.—
Alphabet: 639 n, 640, 644
Amoebeie Song (question and an-
swer, and the like) : 586, 601,
620-1, 625, 661-2, 667, 669

Anaclásis: 5877 Qrhich see), 588

Anacreontic (—— — 2 —.2 — —):
638

Anapaest (2 -——): 589-90, 617,
619 n, 649-50

Asclepiad (metres CODE chiefly
of — —.—2 —): 625

Ball-throwing : 587
Bards, Early: 587,592 ff, 623, 656,

671
Blank Verse: 587-8
Bucolic (Pastoral) Poetry :
Burlesque Poetry : 604

Caesüra (the slight * break' in the
sense observed in certain kinds
of metricallines): 617, 621

* Capping ' : 658

Choral Song: 592, 603, 608-9,
618 ff, 632-7, 641-2, 6044-6,
648, 652—3, 656, 665, 673

Choriamb (— —— —— —) : 625 ff, 636—
8, 658, 661

Chorus: 583-5, 588, 593, 604, 612,
616, 620, 623-4, 641-2, 644,
660-1, 665—6, 668-70, 672

Comedy: (623, 641-2, 660, 662,
668-71, 677-9

116

620, 660

Competitions : 583, 592, 595, 598—
, 602, 605—6, 609-11, 616, 620,

623, 629, 639—40, 644—5, 655,
664, 666, 668-70, 672-3

Court-poets : 590—1, 634—6, 638-40,
646, 653, 658

Cretic (— «— —) : 605, 612, 617, 622-
4, 651, 660

*Cult': 592. Cycle, The: 590

Cyclie (or circular) Chorus: 6608,
670 (which see)

Dactyl(— — —): 589, 596, 608, 617,
625, 634—5, 638, 663

Dance: 585, 589, 591-2, 609, 614,
620— 1,623, 627, 648, 659, 671-2

Dance- Song : $66 Hyporcheme

Daphnephoricon : 665

Dedieations : 641

Dialect: 618, 626-8, 0641, 643-5,

678

Dimeter : 643, 645

Dirge: 586, 609, 621, 640, 645-6,
654, 662 ff; see Lament

Dithyramb : 619, 633 n, 636, 639—
40, 643, 6415-6, 651, 661-2,
666 ft, 676

Dorian Mode: 626, 660

Drinking-Song : see Scolion

Elegiac: 601-6, 608-9, 612-15,
620—4, 632, 637, 640, 656, 662—
4, 673, 677, 679

Embaterion : 613, 619 n», 649

Encomiologic ( C V ALAS $ —
—2 —— T): 653-4

Encomium : 629, 636, 640—1, 643,
645-6, 652, 653 ff.

Epic : 584, 590-1, 599—601, 606-8,
614, 634, 637, 641, 644, 647,
653, 655, 673-4, 676-7, 679

Epic Lay: see Lay

INDEX OF TECHNICAL TERMS IN EPILOGUE

* Epigram ' : see Inscription
Epikedeion : 663
Epinicion or Victory-Song: 630,
636, 640, 642-3, 645-6, 655 ff.
o3 P; 606, 630, 637, 639-42,
3—

Epithalamy : see Wedding-Songz
* Epitritic ' close : 634
661m, 662

Epitymbidian Nome:
(which see)

Epode: 605-6, 620 ff, 635; used
commonly in two senses, (1) a
short stanza of two similar
lines followed by a dissimilar
generally shorter, (2) the third
part of a triad (which see), and
occasionally (3) — refrain

Equidistant stress : 588 ff.

Eroticon: see Love-Song

Eulogy : see Encomium

Exhortation: 623; see War-Song
and Gnomie Poetry

Fable, The: 644, 658

Flute: 586 ff, 597—600, 602-3, 609,
628, 632, 645, 649, 652-3, 660,
661-3, 670, 672-3

Flute-Song: 602-3, 612-3, 617m,
624, 632-3, 656, 661-2, 675

Folk-Poetry : 592, 599, 600, 607,
611, 622, 625, 628, 630, 658,
660-2, 667-8

* Foot': 589

Foot-clapper : 587 n, 588

* Freedoms, metrical: 608, 627,662

585-6,

Funeral Oration : 663
Funeral Song and Dance:

665; see Dirge and Lament
Games, Children's: 587, 604
Glyconie (— — — — 2 -——--— and

m : 625, 638, 645, 658,

2

prec (Moralising) Poetry : 613,
5

Grace-notes: 587m
Grape-Bearing Song : 664

Half-hexameter :. 600, 649, 662
Half-iambie : 638
Half-pentameter : 600, 620, 663
Harmatian Nome: 661n
Hendecasyllabic (———.B—

—o-— X): 658
Heptameter : 600, 605

Heroic Lay : see Lay

Hexameter: 2588-90, 593-5, 599-
602, 605, 608, 615-17, 622-4,
637, 6045, 6049, 6052, 002-3,
675-6

Hymn : 583,591 ff, 509—601, 605-8,
612, 622-5, 630-3, 636-7, 639—
40, 643, 645, 648 ff, 650, 653,
655-6, 664, 666-7, 672, 674-5,
678-9

Hypodorian Mode: 626

Hypophrygian Mode: 292; 077

Hyporcheme or Dance-Song :
645, 659 ff.

Ialémus : 662-3

Iambic (—— —) : 588-90, 601, 603-7,
612-15, 617, 622, 625-30, 637,
e 658, 663, 667, 673, 6771,

Ictus ; 587

* [ctus-lengthening ' : 588, 619, 627

Incantation : 592, 599, 607, 667

Inscriptions (' Epigrams "): 606,
637, 640-1, 643-5, 663

Invective: 604-5, 614, 622-3, 630,
637-8, 642, 657, 662

Iobacchus : 606, 648, 660

Ionian Mode: 626

Ionic metre (— - — — or ——
617, 622, 625, 638, 643, 645

585,

Isostrophic : see Strophic

Lament: 585-6, 592. 600-2, 609,
619, 622, 630, 661, 663; see
Dirge

Lampoon: see Invective

Laurel-Bearing Song : 665

Lay, Heroic: 584-5, 591-3, 596,
602, 612, 634, 674

Leader, Dance-: 2593, 608, 6016,
619-21, 661, 667, 669

Lesbian Poetry : see Aeolic Poetry

* Lesbian Succession * at Sparta (or
Spartan Succession :.of Les-
bians): 610 ff, 634

Letters, Songs as: 631, 648, 658

dee Song: 612, 617, 629, 650,

Linus-Song : 586, 609, 622, 663

* Logaoedic ' verse : 617

Love-Letter: 6031, 648

Love-Song: 616, '629, 633, 636-8,
646, 648, 655, 656 ff, 679

Love-Tales : 634, 644

717

INDEX OF TECHNICAL TERMS IN EPILOGUE

Ly aru 244, 276-8, 292,364 ;
1

609; 583 ff, 596—7, 600—10,
614, 631, 639, 645, 649-50, 653,
658-9, 661, 672-3, 675-6
Lyre-Song: 602, 610, 617 n, 627,
633, 644-5, 647, 662, 666, 670,
672, 673 ff.

see Melic and 607 n.

634, 662

Lyre:

Lyric :
Lyric Tale :

see Partheneion
see Wedding-Song
see. Prophet

Maiden-Song :
Marriage-Song :
Medicine-man :

Melic: 588-90, 603, 607 ff, 614—5,
619 ff, 637-9, 641-6, 6048 ff,
677-8

Metra: 589

Metre, Greek : 587 ia 597

Mime (Dialogue) :

Minstrel: 585, 592, po 608. 620-1

Mixolydian Mode: 626-8

* Modes, musical: 626 n, 628, 660,
671; 8ee Aeolian, etc.

Molossus (———): 612, 622, 625

Monodic Poetry (solo- -song) : 592,
605 n, 608, 615—7, 621, 624 ff,
632— 3, 636, 641- 2. 645, 652,
654, 658- 9, 673, 678

Music, Greek : 587-9, 612-14, 617,
626, 633, 639, 641, 670- 1, 673,
678-9

*Myth'" (the narrative part of a
poem): (616, 636, 645, 647,
652, 654, 662-3, 664—5

T "-Lesbian : 625 ff, 633, 636-8,
f.

5
Nome : 583, 591 n, 596, 602-3, 611-
3, 622, 627 n, 633, 614—5, 647,
655—6, 661 n, 662, 670, 672 ff.
; Ux "Song: 592, 619 ff,
0
Oracles : 593, 596, 613, 634
Organ, The: 587 n, 627
Oschophoricon : 664 ft.

Paean: 583, 607-8, 612, 619, 623,
633, 636, 640, 643, 645, 650 ff,
663 n, 668, 670 "n

Paeon (— — — 0f —i v v): 612,
617, 622—7, 651

Paeon, "The Great ( ————— )*
627, 651

,

118

Partheneion (Song of "Maidens):
615 ff, 623—6, 632, 637, 643-5,
647, 655, 666 ff, 670

Personal Poetry : 591, 606, 614-6,
623, 632, 636, 642, 644, 673

Pherecratic (— .— — —-— —-— and
variations): 625

Phrygian 'mode': 278, 292, 364,
376; 626, 671, 677

Piano, The: 627. Plain-song: 588

Prayer: 640, 648, 650, 652, 664

php eer songs: 596m, 601,

60
Prelude: see Proem
Processional Song :
Proem or Prelude :
648, 674 ff.
Prophet, Poet as:
634—5, 640, 647
Prosodiac (— — 2 ——--—):
590, 605, 649, 650
Prosodion : 599, 612, 622-4, 645,
647, 649 ff, 666, 670
Proverbs: 608, 649. Pyrrhich: 660

Recitation: 583-4, 605, 613-4,
617, 630, 637, 656, 658-9, 678—
9: see Rhapsode

Retrain : de 619 ff, 625-7, 650-2,

2,

* Renowns of Men': 584-5, 595,
621, 629, 653

Resolved Feet (— —for—): 588-90,
608, 625

* Revel" (ónzos) : 617, 622, 631, 636,
653, 656

Rhapsode py Epic poetry):

596-9, 6
Rhythm: 587 fi, 596 n, 615, 627,
633, 649, 651, 660, 663, 672,

675-6

see Prosodion
591, 612, 633,

591, 596, 610,

*Sapphic' stanza (3 ll. — — — — —
c2 — -—- followed by —
c — X): 621, 625, 661

Satire: 606, 637, 658, 672; see
Invective

Satyric Drama : 668-9

Schools, Poetry- : 593-4, 598

Scolion (Drinking-Song) : 612, 617,
629, 637-8, 643, 652, 655, 656 ff

Semi- chorus : 585, 601, 620

Serenade : 617, 630, 655—6

Short Syllables, Avoidance of : 588,
625, 628

INDEX OF TECHNICAL

Song-dance: 584ff, 591, 608-9,
619 ff, 629, 650, 653, 6055-0,
661, 664, 666, 668-9

Spondee (— —): 596 n, 601, 608,
612, 617

Staccato : 587 n.

Stanza: see Strophé

Stasiotica (Political Songs) :

57

Story-books: 677-8

Strophé : 617-8, 637-8, 663

Strophic (composed of metrically
similar stanzas): 621, 6027,
641, 654, 658, 660, 671

Tetrameter : 605, 617, 625, 630

Tragedy : 605, 623, 641, 643, 660,
662-3, 668-71, 677-8

Triad (a composite stanza consisting
of 2 metrically identical groups
of lines, strophé and antistro-

630,

TERMS IN EPILOGUE

phe, followed by a third group,
epode, like them but not iden-
tical with them) : 618, 620-1,
627, 634-6, 0638, 641-2, 6048,
652-4, 656, '660, 563, 671.

Tribrach (— — —) :

'Trimeter: 625

Trochee (— —): 588-601, 604-6,
T 625, 634—5, 643, 658, 603,

Tumblers: 585, 608, 667

Victory-Song : see Epinicion

Vintage-Song : 623,664; see Linus-
Song

583, 602, 613, 619 n,
Wedding Song and Dance: 585-60,

592, 599, 609, 615, 619, 622,
625, 649, 660 (T, 667

War-Song :
631

719

GREEK INDEX
THE EPILOGUE

TO

àyaves: 611, 620

&ydvua. : 620n

a.€(&o * recite' : 583, 659n

aiÀtvov ; 619, 663

àxovav — akoov : 610

àAaA4: 6197

aj.euBópevac : 601

a&vóporg:«:; 588

aàouac; 674

amevukrukoL vuvov: 648

azomejmTukoL vuvouv; 648

&pyovíac ; 626n

"Arakrov Aóyoi (Lit. unar-
ranged words or saày-
ings): 641

avAgrucj and avAc6uc;:
632

BápB.ros ; 609, 653
BogAárqs; 670

yeóvpuauós ; 604

yóos: 586

6.0vpap.Bos: 6023, 619,
667

Giópos: 588

€ykóp.tov ; 653-5

€Aeyeta. ; 602

cAeyos: 600-1

€AcÀcÜ : 619n

€vorÀos opxnots: 659

cfapérpois p.eAcÓetv, TO
B5: 617n

v^ mde 616, 620, 650n,
667-9

eraívqats : 653

ezi 66 TQ TeÜvuévo, kTÀ. :
621

emucióecov ; 663

eztrádtos Aóyos :

eroóós; 619-20

€UKTLKOL UJL.VOL;

evAtvos : 594

€óíuvia ; 619

663
648, 664

- PRINTED IN GEEAT

0avj.a7o. shows': 584
etos : 585, 610
6prvos : 602, 663
0pxaj. Bos: 667

idAepos : 663

tau Bos: 603-4, 667
LeuBorn : 605

Ujce zov; 619
upjracuáov: 627, 650
"IóBaxxot : 606, 648

kaTevxac: 648, 664

xiápa.. 609

kAéa. avÓópov : 584, 621

kAejcagBos: 605, 617

kAnTwkoL vjvov: 648

koi) mepto8os : 590m

xpovzeGa; DB7n, 588

kpovjara: 597, 600

kpoUgtv, Aéyca&a. Tapà
TQv: 605

kpovgtv,T1v vro T]v o5jv :
605

KUkALos xopós: 668

kepos: 617, 622, 636,
653-6

Àéyec8at. màpà Thv kpoUv-
cw; 605
Aítvos : 663
Apa: 609
p.axeovjcevos : 619
p.éAos : 607-8
poAm6: 584-7
povoóca:; 608

vópuicpa: 674n
vóuos: 674-5

óvvdptve (— àvápive): 627

ópavos and oppavos ( — ov-
pavós); 627

ógxo.; 664

TaGLAV : 619, 650
mató.kot v.voc; 649

BUNGAY, SUFFOLK,

za(evo. vgvov: 6495
7KTGs ; 609-10
moAvxopóos: 600
IIpovóuta: 675
zpootutov: 674-6
vpocó6tov: 624

paVobóía: 583, 594
posu : 582, 659

c for 0: 6182
vkóAua; 617, 659
codxorepos ; 588
c70v6ac; 612
cTevórepos : 588
cvumorwáa ; 617

Tpayikoi xopoc: 623, 668

Tpoxatos: 675m

Tpvyc8or: 623

iu.évatos : 586, 619

vu4v vpévate; 619, 625,
661-2

Uuvos: 592, i 674

WW BBás ; 6

$epéowxos (—house-car-
rier, i.e. snail): 593a
ó€po : 588
$tAe : 588
Lar ser and $iuone-
Acts : 588-9
óópp.cyé: 609

xé^vs: 6090

xopayós:; 620

xopóv aT5jca: 668

xopós 'dancing-place':
585

xopós: 624

xopeóca: 608

i &óspag Be ; 619
ie mov: 625
Ó tre Baxxa.: 601, 625

cat, €x TOv vóucyv ; 674n

BniTAIN BY RicHARD CLAY & SoNsS, LIMITED,

THE LOEB CLASSICAL LIBRARY

VOLUMES ALREADY PUBLISHED.

Latin Authors.

APULEIUS. THE GOLDEN ASS (METAMORPHOSES) W.
Adlington (1566). Revised by S. Gaselee. (374 Z7zf.)

AULUS GELLIUS. jJ. C. Rolfe. 3 Vols.

AUSONIUS. H. G. Évelyn White. 2 Vols.

BOETHIUS: TRACTS ANp DE CONSOLATIONE PHILOSOPHIAE.
Rev. H. F. Stewart and E. K. Rand. (2242 Z4.)

CAESAR: CIVIL WARS. A. G. Peskett. (2z4 Js.)

CAESAR: GALLIC WAR. kH., J. Edwards. (47A Zzz.)

CATULLUS. F. W. Cornish; TIBULLUS. J. P. Postgate; AND
PERVIGILIUM VENERIS. ]J. W. Mackail. (774 Z7.)

CICERO: DE FINIBUS. H. Rackham. (2x4 /7z5.)

CICERO: DE OFFICIIS. Walter Miller. (224 Z7zf.)

CICERO: DE SENECTUTE, DE AMICITIA, DE DIVINATIONE.
W. A. Falconer. (2x4 /»st5.) | [3rd Inf., Vols. II. and III. 2nd Inf.)

CICERO: LETTERS TO ÁTTICUS. E. O. Winstedt. 3 Vols. (Vol. I.

CICERO: LETTERS TO HIS FRIENDS. W. Glynn Williams.
3 Vols. Vol. I.

GICBHROS PEHILIPPICS. .W. C. A.-Ker, [Watts.

CICERO: PRO ARCHIA, POST REDITUM, DEDOMO,krc. N.H.

CICERO: TUSCULAN DISPUTATIONS. J. E. King

CICERO : PROCAECINA, PRO LEGEMANILIA, PRO CLUENTIO,
PRO RABIRIO. H. Grose Hodge,

CLAUDIAN. M. Platnauer. 2 Vols. [(3rd Imp.)

CONFESSIONS OF ST. AUGUSTINE. W. Watts (1631. 2 Vols.

FRONTINUS: STRATAGEMS aNp AQUEDUCTS. C. E. Bennett.

FRONTO:CORRESPONDENCE. C. R. Haines 2 Vols.

HORACE: ODES AND EPODESs. C. E. Bennett. (77A Zu.)

HORACE: SATIRES, EPISTLES, ARS POETICA. H. R. Fairclough.

JUVENAL AND PERSIUS. G. G. Ramsay. (2zd Is.)

LIVY. B.O. Foster. 13 Vols Vols. I.-IV. (Vol. I. 224 5.)

LUCRETIUS. W.H. D. Rouse.

MARTIAL. W.C. A. Ker. 2 Vols. (ozd Is.)

OVID: HEROIDES ANp AMORES. Grant Showerman. (2-4 Z5.)

OVID: METAMORPHOSES. F. J. Miller. 2 Vols. (3x4 Z7z£.)

OVID: TRISTIA ANp EX PONTO. A. L. Wheeler.

PETRONIUS. M. Heseltine; SENECA: APOCOLOCYNTOSIS.
W. H. D. Rouse. (sz& 4».)

PLAUTUS. Paul Nixon. $5 Vols. Vols. I.-III. (Vol. I. 2442 774.)

PLINY: LETTERS. HMelmoth's Translation revised by W. M. L.
Hutchinson. 2 Vols. (3x4 /;45.)

PROPERTIUS. H. E. Butler. (374 7f.)

QUINTILIAN. H. E. Butler. 4 Vols.

SALEUSETP. J. C. Rolfe. (I. and II.

SCRIPTORES HISTORIAE AUGUSTAE. D. Magie. 3 Vols. Vols.

SENECA: EPISTULAE MORALES. R. M. Gummere. 3 Vols. (Vol.
I. 2nd Im.)

SENECA: TRAGEDIES. F. J. Miller. 2 Vols. (2z4 7;zP.)

SUETONIUS. J. C. Rolfe. 2 Vols. (3z4 Zu.)

TACITUS: DIALOGUS. Sir Wm. Peterson, and AGRICOLA AND
GERMANIA. Maurice Hutton. (3x2 Z5.)

TACITUS: HISTORIES. C. H. Moore. 2 Vols. Vol. I.

TERENCE. John Sargeaunt. 2 Vols. (szA Pp.)

VELLEIUS PATERCULUS awp RES GESTAE. FF. W. Shipley.

VIRGIL. H.R.Fairclough. 2Vols. (Vol. I. 674 7»z7., Vol. II. nr Dub.)

Greek Authors,

ACHILLES TATIUS. S. Gaselee. [The Illinois Greek Club,
AENEAS TACTICUS: ASCLEPIODOTUS aup ONASANDER.
AESCHINES. C. D. Adams.

AESCHYLUS. H. Weir Smyth. 2 Vols. (Vol. I. 2zd Zzz.)

APOLLODORUS. Sir James G. Frazer. 2 Vols.

APOLLONIUS RHODIUS. R.C.Seaton. (37Z 4j.)

THE APOSTOLIC FATHERS. Kirsopp Lake. 2 Vols. (I. 42A, II. 374.)

APPIAN'S ROMAN HISTORY. Horace White. 4 Vois.

ARISEIQERANES Benjamin Bickley Rogers 3 Vols. (224 Jm.)
lerse trans.

ARISTOTLE: THE * ART" OF RHETORIC.. J. H. Freese.

ARISTOTLE: THE NICOMACHEAN ETHICS. H. Rackham.

ARISTOTLE: POETICS, ANp LONGINUS. W. Hamilton Fyfe;
DEMETRIUS ON STYLE. W.Rhys Roberts.

ATHENAEUS: DEIPNOSOPHISTAE. C. B. Gulick. 6 Vols, Vol. I.

COHDAEHUS AND LYCOPHRON. 4A. W. Mair; ARATUS. G. R.
Mair.

CLEMENT OF ALEXANDRIA. Rev. G. W. Butterworth.

DAPHNIS AND CHLOE. Thornley's Translation revised by J. M.
Edmonds; aANp PARTHENIUS. S. Gaselee. (2z4 77z5.)

DEMOSTHENES, DE CORONA aub DE FALSA LEGATIONE.
C. A. Vince and J. H. Vince.

DIO CASSIUS: ROMAN HISTORY. E.Cary. 9 Vols.

DIOGENES LAERTIUS. R.D. Hicks. 2 Vols.

EPICTETUS. W. A. Oldfather. 2 Vols. Vol. I.

EURIPIDES. A.S. Way. 4 Vols. (Vols. I., IV. 3x Zzz5., Vol. II. 424
I715., Vol. III. 222 Z»z5.) Verse trans. [Vol. I.

EUSEBIUS: ECCLESIASTICAL HISTORY. Kirsopp Lake. 2 Vols.

GALEN: OON THE NATURAL FACULTIES. A. J. Brock.

THE GREEK ANTHOLOGY. W. R. Paton. 5 Vols. (Vol. I. 377
Inf., Vol. II. 22 Z725.)

THE GREEK BUCOLIC POETS (THEOCRITUS, BION,. MOS
CHUS) J. M. Edmonds. (4ZA /zzf.)

HERODOTUS. A. D. Godley. 4 Vols. (Vol. I. 2z2 Zzg-) . [(37d £u.)

HESIOD ANp THE HOMERIC HYMNS. H. G. Evelyn White.

HIPPOCRATES. W.H.S.Jones & E. T. Withington. 4 Vols. Vols. I.-1II.

HOMER: ILIAD. A.T. Murray. 2 Vols. [II. 22 Z7z5.)

HOMER: ODYSSEY. A. T. Murray. 2 Vols. (Vol. I. 47A Z7z5., Vol.

ISAEUS. E. W. Forster.

JOSEPHUS: H. St. J. Thackeray. |. 8 Vols. Vols. I. and II.

JULIAN. Wilmer Cave Wright. 3 Vols. [Vol. II. 222 77z2.)

LUCIAN. A. M. Harmon. 8 Vols. Vols. I.-IV. (Vol. I. 3zZ Zmf.,

LYRA GRAECA. ]. M. Edmonds. 3 Vols.

MARCUS AURELIUS. C.R.Haines (22d 1:5.)

MENANDER. F. G. Allinson.

PAUSANIAS: DESCRIPTION OF GREECE. W. H. S. Jones. 5 Vols.
and Companion Vol. Vols. I. and II.

PHILOSTRATUS: THE LIFE OF APOLLONIUS OF TYANA.
F. C. Conybeare. 2 Vols. (Vol. I. 3zZ Zz7., Vol. II. 2z42 £725.)

PHILOSTRATUS aANp EUNAPIUS: LIVES OF THE SOPHISTS.
Wilmer Cave Wright.

PINDAR. Sir J. E. Sandys. (47A Ij.)

PLATO: CHÀARMIDES, ALCIBIADES, HIPPARCHUS, THE
LOVERS, THEAGES, MINOS axp EPINOMIS. W. R. M. Lamb.

PLATO: CRATYLUS, PARMENIDES, GREATER HIPPIAS,
LESSER HIPPIAS. H. N. Fowler.

PLATO: EUTHYPHRO, APOLOGY, CRITO, PHAEDO, PHAE.
DRUS. H. N. Fowler. (5z£ Zz:5.) (W. R. M. Lamb.

PLATO: LACHES, PROTAGORAS, MENO, EUTHYDEMUS.

PLATO: LAWS. Rev. R. G. Bury. 2 Vols.

PLATO: LYSIS, SYMPOSIUM, GORGIAS. '"W. R. M. Lamb.
PLATO: STATESMAN, PHILEBUS. H.N.Fowler; ION. W. R.M.

Lamb.
PLATO: THEAETETUS ax» SOPHIST. H. N. Fowler.
PLUTARCH: MORALIA. F. C. Babbitt. r4 Vols. Vol. I.
PLUTARCH: THE PARALLEL LIVES. B. Perrin. ir Vols. (Vols.
I. and VII. 2zd /ztf.)
POLVYBIUS. W. R. Paton. [I.-IV.
PROCOPIUS: HISTORY OF THE WARS. H. B. Dewing. 7 Vols.
QUINTUS SMYRNAEUS. A. S. Way. Verse trans. [Verse trans.
SOPHOCLES. F.Storr. 2 Vols. (Vol. I. 47A Z»tf., Vol. II. 3zd Z5.)
ST. BASIL: LETTERS. R. J. Deferrari. 4 Vols. Vol. I.
ST. JOHN DAMASCENE: BARLAAM AND IOASAPH. Rev. G. R.
Woodward and Harold Mattingly.
STRABO: GEOGRAPHY. Horace L. Jones. 8 Vols. Vols. I.-IV.
THEOPHRASTUS: ENQUIRY INTO PLANTS. Sir Arthur Hort,
Bart. 2 Vols.
THUCYDIDES. C. F. Smith. 4 Vols.
XENOPHON:CYROPAEDIA. Walter Miller. 2 Vols. (Vol.I. 2zz2 77/7.)
XENOPHON: HELLENICA, ANABASIS, APOLOGY, Aup SYM-
POSIUM. C. L. Brownson and O. J. Todd. 3 Vols. [Marchant.
XENOPHON: MEMORABILIA aub OECONOMICUS. E. C.
XENOPHON: SCRIPTA MINORA. E. C. Marchant.

IN PREPARATION

Greeh Authors.

ARISTOTLE, ORGANON, W. M. L. Hutchinson.
ARISTOTLE, PHYSICS, Rev. P. Wicksteed.

ARISTOTLE, POLITICS ap ATHENIAN CONSTITUTION,
Edward Capps.

ARRIAN, HIST. OF ALEXANDER aNp INDICA, Rev. E. Iliffe
Robson. 2 Vols.

DEMOSTHENES, OLYNTHIACS, PHILIPPICS, LEPTINES aAuxp
MINOR SPEECHES, J. H. Vince.

DEMOSTHENES, MEIDIAS, ANDROTION, ARISTOCRATES
TIMOCRATES, J. H. Vince.

DEMOSTHENES, PRIVATE ORATIONS, G. M. Calhoun.
DIO CHRYSOSTOM, W. E. Waters.

GREEK IAMBIC AND ELEGIAC POETS.
ISOCRATES, G. Norlin.

LYSIAS, W. R. M. Lamb.

OPPIAN, COLLUTHUS, TRYPHIODORUS, A. W. Mair.
PAPYRI, A. S. Hunt.

PHILO, F. M. Colson and G. W. Whitaker.

PHILOSTRATUS, IMAGINES, Arthur Fairbanks.
PLATO, REPUBLIC, Paul Shorey.

PLATO, TIMAEUS, CRITIAS, CLITIPHO, EPISTULAE, Rev.
R. G. Bury.

SEXTUS EMPIRICUS, Rev. R. G. Bury.

THEOPHRASTUS, CHARACTERS, J. M. Edmonds; HERODES;
HIEROCLES PHILOGELOS; CHOLIAMBIC FRAGMENTS,
etc, A. D. Knox.

Latin Authors.

BEDE, ECCLESIASTICAL HISTORY.

CICERO, IN CATILINAM, PRO MURENA, PRO SULLA, E. L.
Ullman.

CICERO, DE NATURA DEORUM, H. Rackham.
CICERO, DE ORATORE, ORATOR, BRUTUS, Charles Stuttaford.
CICERO, DE REPUBLICA axwp DE LEGIBUS, Clinton Keyes.

CICERO, IN PISONEM, PRO SCAURO, PRO FONTEIO, PRO
MILONE,etc., N. H. Watts.

CICERO, PRO SEXTIO, IN VATINIUM, PRO CAELIO, PRO
PROVINCIIS CONSULARIBUS, PRO BALBO, D. Morrah.

CICERO, VERRINE ORATIONS, L. H. G. Greenwood.

LUCAN, J. D. Duff.

OVID, FASTI, Sir J. G. Frazer.

PLINY, NATURAL HISTORY, W. H. S. Jones and L. F. Newman.

ST. AUGUSTINE, MINOR WORKS.

SENECA, MORAL ESSAYS, J. W. Basore.

SIDONIUS, LETTERS. E. V. Arnold and W. B. Anderson.

STATIUS, J. H. Mozley.

TACITUS, ANNALS, John Jackson.

VALERIUS FLACCUS, A. F. Scholfield.

VITRUVIUS, DE ARCHITECTURA, F. Granger.

DESCRIPTIVE PROSPECTUS ON APPLICATION

London - - WILLIAM HEINEMANN
New York - t - G. PUTNAM'S SONS

PS def ecae

E «gy L H E x I
d v r4 , » a
k LS omm. «eZ - dini
" $ y d » í
v " H -
» a 3 N » E P.
| xf age — nS C J
ELT uS " ]
[ 4^ " " LI
u- i aso N P.
á ds ] , ] E a.
» - ms Ar cm
hw
-:

hen.
m

e

qusc
ua eR

| | Puto ACADUROS

fA " « .
NS p ix Nu. ; 1
u Um D. A

Li

n L la E enr i À

DID DCODIURIS TOU TROU

[d

| 2d |
à "M ^i NU
SUR RM PM p
Á Ar "

i * á ES NEL. MAT LAMP
T "y / V) REIP c N

" ? B 2 nu TO FARARON b PUE MP mur
XD. Nn. : 1 $ OR, J

- MM i qU.. » OPTIO Mel k Wn
LN" Ou Nu b Jj. À NUM NOMEA uro

, po ou mtr '
TAB à TUE uM
"d ^ » T NE

— OOPDRDRRRERU UD RE

NU Tr ATUM WO UN !

un LA dox wl Mo n Oed
VoIP 090 1 UMP VP APP.
m. Nu d hi À (

4i ay E
^ Ó UN nu
p. t

ANO UA

419099

LULA Ii

PLEASE DO NOT REMOVE
CARDS OR SLIPS FROM THIS POCKET

UNIVERSITY OF TORONTO LIBRARY

PA Edmond ohn xwell
3443 Lyra Graeca

EA,

1922

V. x

cop. 4

DONO
Finibus
tht Nt
* Pittst "iv
pon
iintstebutit

^it

ur Ha

c

NO
ui

D
"
nes

D 61 LAT ht

itas
uu

Alb AcAt AIR
OD
e ete e?

L nn *
ODDO
MAS BL

De:

^

T

14

vt.

T€. 9 m me T

i
323252

$ed

Quad
QUIM

DI
TRISTI

UII
i.t.

SEES
1335 2E

T

$32
z 2

t.

OLG