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,—

50

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:—

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:—

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:—

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

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.