[1] Eurip. Hercules Furens, 1261.
[2] Eurip. Hippol. 424.
[3] Ἐξ ὀνύχων ἁπαλῶν.
[4] See Plato, Repub. II. p. 377 C.
[5] Eurip. Hippol. 986.
[6] Demosth. in Mid. p. 576, 16.
[7] Plato, Repub. VII. p. 537, B.
[8] Hesiod, Works and Days, 371.
[9] From the Protesilaus of Euripides, Frag. 656.
[10] The story is related by our author at large, in the Life of
Lysander. It is this: Lysander sent by Gylippus to the Ephori, or
chief magistrates of Sparta, a great sum of money, sealed up in bags.
Gylippus unsews the bags at the bottom, and takes what he thinks fit
out of each bag, and sews them up again; but was discovered, partly by
the notes which were put in the bags by Lysander, mentioning the sums
in each bag; and partly by his own servant, who, when the magistrates
were solicitous to find what was become of the money that was wanting,
told them jestingly that there were a great many owls under the tiles
at his master’s house (for the money had that bird, as the badge of
Athens, where it was coined, stamped on it); whither they sent, and
found it.
[11] Εἰς οὐχ ὁσίην τρυμαλίην τὸ κέντρον ὠθεῖς.
[12] From the Dictys of Euripides, Frag. 342.
[13] See Plato, Repub. V. p. 468, C.
[14] See Strabo X. pp. 483, 484.
[15] This saying, Τὴν κατὰ σαυτὸν ἔλα, is attributed to Pittacus of
Mitylene by Diogenes Laertius, I. 4, 8. See also Aristoph. Nub. 25, and
Aesch. Prom. 890. (G.)
[16] Il. XXII. 373.
[17] Eurip. Orestes, 72 and 99.
[18] Il. XVII. 591.
[19] From the Thamyras of Sophocles, Frag. 224.
[20] Il. V. 216.
[21] Aesch. Prometheus, 574.
[22] Soph. Antig. 563.
[23] Il. XIX. 188.
[24] Odyss. XX. 392.
[25] Il. XXIV. 239.
[26] Sophocles, Frag. 769.
[27] Euripides, Frag. 964.
[28] _Nephalia_ (νήφω, _to be sober_) were wineless offerings, like
those to the Eumenides See Aesch. Eumen. 107: Χοάς τ’ ἀοίνους, νηφάλια
μειλίγματα. _Melisponda_ (μέλι) were offerings of honey. (G.)
[29] Οὐ κόρας ἀλλὰ πόρνας. Κόρη means either _maiden_ or _the pupil of
the eye_. (G.)
[30] Il. XXIV. 44
[31] Eurip. Bellerophon, Frag. 311.
[32] Sophocles, Frag. 772.
[33] Eurip. Medea, 290.
[34] Hesiod, Works and Days, 342.
[35] Demosth. Olynth. III. p. 33, 25. § 19.
[36] Eurip. Frag. 967. The verse is found also in Menander, Monos. 222.
(G.)
[37] Thucyd. II. 40.
[38] Eurip. Pirithous, Frag. 598.
[39] Hesiod, Works and Days, 371.
[40] Eurip. Medea, 1078.
[41] Thucyd. II. 64.
[42] Antisthenes, in his tenth tome, had a book entitled _Hercules_
or _De Prudentia_ or _De Robore_ (Ἡρακλῆς ἢ περὶ φρονήσεως ἢ ἰσχύος),
mentioned by Diogenes Laertius in his life. See Diogenes Laert. VI. 1,
9.
[43] Plato, Clitophon, p. 407 C.
[44] Aristoph. Nub. 983.
[45] See Herod. IV. 2.
[46] This is not a translation, but rather an essay by Mr. Pulleyn
based upon the text of Plutarch’s brief notes on the customs of the
Lacedaemonians. It is therefore reprinted without essential changes.
The sections of the original are marked whenever this is possible. (G.)
[47] § 13 of the original is included in the paraphrase with § 3. (G.)
[48] The three songs were—Ἄμες ποτ’ ἦμες ἄλκιμοι νεανίαι, _We once were
valiant youth_; Ἄμες δέ γ’ ἐσμέν· αἰ δὲ λῆς, αὐγάσδεο, _And we are now:
If you will, behold us_; Ἄμες δέ γ’ ἐσσόμεσθα πολλῷ κάρρονες, _And we
will soon be far more valiant_. (G.)
[49] Expressed by Plutarch in the proverb,—
Τὰν χεῖρα ποτιφέροντα τὰν τύχαν καλεῖν,
_As thou puttest thy hand to the work, invoke Fortune_. (G.)
[50]
Ἀσπίδι μὲν Σαΐων τις ἀγάλλεται, ἣν παρὰ θάμνῳ
Ἔντος ἀμώμητον κάλλιπον οὐκ ἐθέλων·
[Αὐτὸς δ’ ἐξέφυγον Θανάτου τέλος·] ἀσπὶς ἐκείνη
Ἐῤῥέτω· ἐξαῦτις κτήσομαι οὐ κακίω.
Archilochus, Fr. 6 (Bergk). The passage in brackets is omitted by
Plutarch. (G.)
[51] No one will attempt to _study_ this treatise on music, without
some previous knowledge of the principles of Greek music, with its
various moods, scales, and combinations of tetrachords. The whole
subject is treated by Boeckh, _De Metris Pindari_ (in Vol. I. 2 of his
edition of Pindar); and more at length in Westphal’s _Harmonik und
Melopöie der Griechen_ (in Rossbach and Westphal’s _Metrik_, Vol. II.
1).
An elementary explanation of the ordinary scale and of the names of the
notes (which are here retained without any attempt at translation) may
be of use to the reader.
The most ancient scale is said to have had only four notes,
corresponding to the four strings of the tetrachord. But before
Terpander’s time two forms of the heptachord (with seven strings) were
already in use. One of these was enlarged to an octachord (with eight
strings) by adding the octave (called νήτη). This addition is ascribed
to Terpander by Plutarch (§ 28); but he is said to have been unwilling
to increase the number of strings permanently to eight, and to have
therefore omitted the string called τρίτη, thus reducing the octachord
again to a heptachord. The notes of the full octachord in this form, in
the ordinary diatonic scale, are as follows:—
1. ὑπάτη _e_
2. παρυπάτη _f_
3. λιχανός _g_
4. μέση _a_
5. παραμέση _b_
6. τρίτη _c_
7. παρανήτη _d_
8. νήτη _e_ (octave)
The note called ὑπάτη (_hypate_, or _highest_) is the lowest in tone,
being named from its position. So νήτη or νεάτη (_nete_, or _lowest_)
is the highest in tone.
The other of the two heptachords mentioned above contained the octave,
but omitted the παραμέση and had other changes in the higher notes. The
scale is as follows:—
1. ὑπάτη _e_
2. παρυπάτη _f_
3. λιχανός _g_
4. μέση _a_
5. τρίτη _b_
6. παρανήτη _c_
7. νήτη _d_
This is not to be confounded with the reduced octachord of Terpander.
This heptachord includes two tetrachords so united that the lowest
note of one is identical with the highest note of the other; while the
octachord includes two tetrachords entirely separated, with each note
distinct. The former connection is called κατὰ συναφήν, the latter
κατὰ διάζευξιν. Of the eight notes of the octachord, the first four
(counting from the lowest), ὑπάτη, παρυπάτη, λιχανός, and μέση, are the
same in the heptachord; παραμέση is omitted in the heptachord; while
τρίτη, παρανήτη, and νήτη in the heptachord are designated as τρίτη
συνημμένων, παρανήτη συνημμένων, and νήτη συνημμένων, to distinguish
them from the notes of the same name in the octachord, which sometimes
have the designation διεζευγμένων, but generally are written simply
τρίτη, &c.
These simple scales were enlarged by the addition of higher and lower
notes, four at the bottom of the scale (i.e. before ὑπάτη), called
προσλαμβανόμενος, ὑπάτη ὑπατῶν, παρυπάτη ὑπατῶν, λιχανός ὑπατῶν; and
three at the top (above νήτη), called νήτη, παρανήτη, τρίτη, each with
the designation ὑπερβολαίων. The lowest three notes of the ordinary
octachord are here designated by μέσων, when the simple names are
not used. Thus a scale of fifteen notes was made; and we have one of
eighteen by including the two classes of τρίτη, παρανήτη, and νήτη
designated by συνημμένων and διεζευγμένων.
The harmonic intervals, discovered by Pythagoras, are the _Octave_
(διὰ πασῶν,) with its ratio of 2:1; the _Fifth_ (διὰ πέντε), with its
ratio of 3:2 (λόγος ἡμιόλιος or _Sesquialter_); the _Fourth_ (διὰ
τεσσάρων), with its ratio of 4:3 (λόγος ἐπίτριτος or _Sesquiterce_);
and the _Tone_ (τόνος), with its ratio of 9:8 (λόγος ἐπόγδοος or
_Sesquioctave_). (G.)
[52] Il. I. 472.
[53] According to K. O. Müller (History of Greek Literature, Chap. XII.
§ 4), the _nomes_ were “musical compositions of great simplicity and
severity, something resembling the most ancient melodies of our church
music.” (G.)
[54] Προσόδια were songs sung to the music of flutes by processions, as
they marched to temples or altars; hence, songs of supplication. (G.)
[55] See Rossbach and Westphal, II. 1, p. 84. (G.)
[56] This seems to be the nome referred to by Pindar, Pyth. XII. 12, as
the invention of Pallas Athena. The Scholia on the passage of Pindar
tell us that the goddess represented it in the lamentation of the two
surviving Gorgons for their sister Medusa slain by Perseus, and the
hissing of the snakes which surrounded their heads,—whence the name
πολυκέφαλος, or _many-headed_. (G.)
[57] The relations of the enharmonic scale to the ordinary diatonic are
thus stated by Westphal (pp. 124-126), _b_ being here substituted for
the German _h_:—
Enharmonic. Diatonic.
ὑπάτη _e_ | _e_ ὑπάτη
παρυπάτη ἁρμον. δ |
λιχανός ἁρμον. _f_ | _f_ παρυπάτη
| _g_ λιχανός
μέση _a_ | _a_ μέση
παραμέση _b_ | _b_ παραμέση
τριτη ἁρμον. δ |
παρανήτη ἁρμον. _c_ | _c_ τρίτη
| _d_ παρανήτη
νήτη _e_ | _e_ νήτη
The δ inserted between _e_ and _f_ and between _b_ and _c_ is called
_diesis_, and represents a quarter-tone. The section in Westphal
containing this scheme will greatly aid the interpretation of § 11 of
Plutarch. (G.)
[58] This is Volkmann’s conjecture for “spondee.” It is defined by
him (according to Aristides Quintilianus) as the raising of the tone
through three dieses (or quarter-tones). (G.)
[59] See Westphal’s interpretation of this difficult and probably
corrupt passage, II. 1, p. 89. (G.)
[60] Plato, Timaeus, p. 36 A. See the whole passage in the treatise _Of
the Procreation of the Soul as discoursed in Timaeus_, Chap. XXIX. (G.)
[61] See Rossbach, Griechische Rhythmik, p. 96, § 23. (G.)
[62] So Rossbach and Westphal interpret παρακαταλογή. Metrik, III. pp.
184, 554. (G.)
[63] It is uncertain here to whom the pronoun _he_ refers. Volkmann
transfers the whole sentence to the end of Chap. XXIX., referring it to
Lasus of Hermione. (G.)
[64] The original of this fragment of Pherecrates may be found in
Meineke’s _Poet Comic. Graec. Fragm._ II. p. 326; and in Didot’s
edition of the same fragments, p. 110. Meineke includes the verses
commonly assigned to Aristophanes in the extract from Pherecrates. (G.)
[65] The passage in brackets is out of place here, and is generally
transferred to the middle of Chapter XXXVII. (G.)
[66] See note on Chapter XXXIV.
[67] Il. IX. 186.
[68] See Section 2.
[69] Odyss. I. 152
[70] Eurip. Orestes, 258.
[71] Hesiod, Works and Days, 519.
[72] Odyss. I. 191.
[73] Il. I. 488.
[74] Il. XVII. 104.
[75] Eurip. Orestes, 232.
[76] Il. X. 88.
[77] From Eurip. Bellerophon.
[78] Pindar, Nem. IV. 6.
[79] Simonides, 5, 17.
[80] Il. III. 182.
[81] Il. II. 111.
[82] Eurip. Iph. Aul. 16.
[83] Il. XVIII. 105.
[84] Pindar, Frag. 258 (Boeckh).
[85] Odyss. VI. 130; Il. XVII. 61.
[86] Solon, Frag. 15.
[87] Hesiod, Works and Days, 25.
[88] See Il. XXIV. 527.
[89] Il. V. 484.
[90] Aesch. Philoct. Frag. 246.
[91] Eurip. Bacchae, 498.
[92] Eurip. Orestes, 396.
[93] See Il. I. 335.
[94] See Plato, Repub. I. p. 331 A.
[95] Plutarch derives δεῖμα from δέω, _to bind_, and τάρβος from
ταράσσω, _to distract_ or _confuse_. (G.)
[96] Eurip. Orestes, 211.
[97] Eurip. Troad. 759.
[98] Pindar, Pyth. I. 25.
[99] Pythagoras, Carmen Aur. 41.
[100] Archilochus, Frag. 56.
[101] Hesiod, Works and Days, 463.
[102] See Il. VII. 193; II. 382, 414.
[103] See Maccabees, I. 2, 27-38, cited by Wyttenbach. (G.)
[104] Sophocles, Oed. Tyr. 4.
[105] I leave Mr. Baxter’s conjectural version of this corrupt passage,
instead of inserting another equally conjectural. As to the original
Greek, hardly a word can be made out with certainty. (G).
[106] Il. XXIV. 604.
[107] Il. XXIV. 212.
[108] Il. XXII. 20.
[109] The Greek κλείς (clavis), _a key_, signifies also the
_collar-bone_. (G.)
[110] Il. V. 340.
[111] Μὴ σποῦδε γῆμαι, πρὶν τελευτήσαντ’ ἴδῃς. From Sophocles’s Tyro,
Frag. 596.
[112]
Σῆμα δ’ οὐκ ἐπῆν κύκλῳ·
Οὐ γὰρ δοκεῖν ἄριστος ἀλλ’ εἶναι θέλει,
Βαθεῖαν ἄλοκα διὰ φρενὸς καρπούμενος,
Ἐξ ἧς τὰ κεδνὰ βλαστάνει βουλεύματα.
Aesch. Sept. 591. Thus the passage stands in all MSS. of Aeschylus;
but it is quoted by Plutarch in his Life of Aristides, § 3, with
δίκαιος in the second verse in the place of ἄριστος. It has been
plausibly conjectured, that the actor who spoke the part intentionally
substituted the word δίκαιος as a compliment to Aristides, on seeing
him in a conspicuous place among the spectators. See Hermann’s note on
the passage in his edition of Aeschylus. (G.)
[113] See Odyss. X. 495.
[114] Ἦλθον, εἶδον, ἐνίκησα, _veni, vidi, vici_.
[115] It is doubtful what amount is here intended by Plutarch. If
sesterces are understood, the amount is much less than it is commonly
stated; and even if we understand drachmas (or denarii), we shall still
fall below the amount commonly given, which is 700,000,000 sesterces
(or about $28,000,000). See, for example, Vell. Paterc. II. 60, 4:
Sestertium septiens miliens. (G.)
[116] Il. XI. 514.
[117] Odyss. IV. 392.
[118] See Eurip. Medea. 290.
[119] Eteocles the Theban, in Eurip. Phoeniss. 524.
[120] Μηδὲν διαφέρειν ὄπισθέν τινα ἢ ἔμπροσθεν εἶναι κίναιδον.
[121] Hesiod, Works and Days, 102.
[122] The text of this passage is uncertain, and probably corrupt. I
have given Holland’s version of the doubtful expressions. (G.)
[123] Τράγος γένειον ἆρα πενθήσεις σύ γε, _Thou goat, soon thou shalt
bewail the loss of thy beard_. This verse is supposed to belong to the
Satyrdrama _Prometheus_ of Aeschylus, which was exhibited with the
trilogy to which the Persians belong. The whole tetralogy, according to
the _didascalia_, consisted of the _Phineus_, _Persians_, Glaucus, and
_Prometheus_. (G.)
[124] Aeschyl. Septem, 593. See note on page 202. (G.)
[125] Fragment 253.
[126] Fals. Legat. p. 406, 4.
[127] Eurip. Orest. 251.
[128] Eurip. Frag. No. 1071
[129] From the Adrastus of Euripides.
[130] From Euripides.
[131] Laws, V. p. 731 E.
[132] Il. IV. 350.
[133] Plato, Laws, XI. p. 935 A.
[134] Hesiod, Works and Days, 23.
[135] Solon, Frag. No. 16.
[136] Aesch. Prom. 378.
[137] From the Stheneboea of Euripides, Frag. 662.
[138] From Euripides.
[139] Eurip. Iph. Aul. 29.
[140] Il. XII. 327.
[141] Eurip. Phoeniss. 558.
[142] From the Ino of Euripides.
[143] From the Ino of Euripides.
[144] Pindar, Pyth. VIII. 135.
[145] Odyss. XVIII. 130.
[146] Il. VI. 145.
[147] Il. XXI. 463.
[148] Il. XXIV. 522.
[149] Hesiod, Works and Days, 94.
[150] From the Danae of Euripides.
[151] From Euripides.
[152] Pindar, Pyth. III. 145.
[153] Eurip. Alcestis, 792.
[154] See Odyss. XIII. 80; and Il. XIV. 231; XVI. 672; XI. 241.
[155] Plat. Phaed. pp. 66 B-67 B.
[156] From Aeschylus.
[157] Eurip. Suppliants, 1109.
[158] From the Cresphontes of Euripides.
[159] From the Hypsipyle of Euripides.
[160] Odyss. XV. 245.
[161] See the Latin version in Cicero, Tusc. III. 14, 29.
[162] Plato, Repub. X. p. 604 B.
[163] Μεῖον Τρωίλος ἐδάκρυσεν ἢ Πρίαμος is a saying of Callimachus, as
we learn from Cicero, Tusc. I. 39: Quanquam non male ait Callimachus,
_multo saepius lacrimasse Priamum quam Troilum_. (G.)
[164] Il. XXII. 56.
[165] See Il. XXIII. 109; Odyss. I. 423.
[166] Hesiod, Works and Days, 94.
[167] Eurip. Phoeniss. 555.
[168] Il. XI. 452.
[169] Il. XXIV. 744.
[170] Il. XXIII. 222; XVII. 37.
[171] Il. IX. 482.
[172] From Euripides.
[173] Il. VI. 486.
[174] Il. XX. 128.
[175] Aeschines against Ctesiphon, § 77.
[176] Plat. Gorg. 523 A-524 B.
[177] Il. I. 527.
[178] Δεικηλίκτας, the Spartan word for the more common ὑποκρίτης. (G.)
[179] Following Wyttenbach’s emendation for “I have lost my post.” (G.)
[180] That is, changing μάχεσθαι (_to fight_) into ἀναμάχεσθαι (_to
retrieve a defeat_). (G.)
[181] According to Plutarch, the Spartan iron coin weighed an Aeginetan
mina (about 1-1/2 lbs. avoir.), and was of the value of four chalci (or
3-1/4 farthings, about 1-1/2 cents). (G.)
[182] Herod. I. 8.
[183] Simonides, Frag. No. 47.
[184] Odyss. XVII. 222.
[185] Plato, Republic, V. p. 474 D.
[186] Antigone, 232.
[187]
Εἰς τὸν λειμῶνα καθίσας
ἔδρεπεν ἕτερον ἐφ’ ἑτέρῳ
αἰρόμενος ἄγρευμα ἀνθέων
ἡδομένᾳ ψυχᾷ,
τὸ νήπιον ἄπληστον ἔχων.
From the Hypsipyle of Euripides.
[188] Il. IX. 482.
[189] Sophocles, Frag. 778.
[190] Il. XXIII. 77.
[191] See Odyss. IV. 178.
[192] See Il. V. 902.
[193] Sophocles, Oed. Tyr. 4.
[194] From Menander.
[195] Eurip. Hippol. 253.
[196] Eurip. Pirith. Frag. 598.
[197] Thucyd. II. 51.
[198] Theognis vs. 215.
[199] Il. IX. 325.
[200] Il. III. 179.
[201] Il. IX. 189.
[202] Il. XII. 243.
[203] Demosthenes on the Crown, p. 258, 20.
[204] Thucyd. II. 87.
[205] Alcman, Frag. 27.
[206] Aristophanes, Knights, 1056.
[207] From the Erechtheus of Euripides.
[208] Il. XI. 265.
[209] Il. V. 340.
[210] Il. X. 407.
[211] Il. II. 478.
[212] See foot-note at the end of the First Oration on Alexander.