text:terpander_poems
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| Lyra Graeca Volume I. Translated by Edmonds, J M. Loeb Classical Library Volume 28. Cambridge, MA, Harvard University Press; London, William Heinemann Ltd. 1922. | Lyra Graeca Volume I. Translated by Edmonds, J M. Loeb Classical Library Volume 28. Cambridge, MA, Harvard University Press; London, William Heinemann Ltd. 1922. | ||
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| When Poseidonius says this, he does not realise that the magadis is an ancient instrument, because Pindar plainly states that Terpander invented the barbitos or lyre to respond12 to the Lydian pectis or lute, in the words “Which Lesbian Terpander invented of old to vibrate in answer to the low-pitched lute at the feasts of the Lydians;” and the pectis and the magadis are the same . . . It is clear that Terpander was earlier than Anacreon from the following considerations. According to Hellenicus both in his metrical and in his formal lists of Victors at the Carneian Festival, the first recorded name is Terpander’s; | When Poseidonius says this, he does not realise that the magadis is an ancient instrument, because Pindar plainly states that Terpander invented the barbitos or lyre to respond12 to the Lydian pectis or lute, in the words “Which Lesbian Terpander invented of old to vibrate in answer to the low-pitched lute at the feasts of the Lydians;” and the pectis and the magadis are the same . . . It is clear that Terpander was earlier than Anacreon from the following considerations. According to Hellenicus both in his metrical and in his formal lists of Victors at the Carneian Festival, the first recorded name is Terpander’s; | ||
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| Parian Chronicle 34 : | Parian Chronicle 34 : | ||
| From the time when the Lesbian Terpander son of Derdenes . . . the “nomes”. . . and changed the style of music 381 years, in the arconship of Dropides at Athens (B.C. 645). | From the time when the Lesbian Terpander son of Derdenes . . . the “nomes”. . . and changed the style of music 381 years, in the arconship of Dropides at Athens (B.C. 645). | ||
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| Eusebius Chronicle Ol. 33.2 : | Eusebius Chronicle Ol. 33.2 : | ||
| Olympiad 33. 2 (B.C. 647) Flourished Terpander the singer to the lyre. | Olympiad 33. 2 (B.C. 647) Flourished Terpander the singer to the lyre. | ||
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| Timotheus Persae 234 : | Timotheus Persae 234 : | ||
| In the beginning did Orpheus son of Calliopè beget the motley-musicked shell on Mount Pieria, and after him came the famous Terpander, born of Aeolian Lesbos at Antissa, and yoked the Muse unto poems ten. And lo! now Timotheus giveth the lyre new life with times and measures of eleven strings. | In the beginning did Orpheus son of Calliopè beget the motley-musicked shell on Mount Pieria, and after him came the famous Terpander, born of Aeolian Lesbos at Antissa, and yoked the Muse unto poems ten. And lo! now Timotheus giveth the lyre new life with times and measures of eleven strings. | ||
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| Aristotle Problems 19. 32 : | Aristotle Problems 19. 32 : | ||
| Why is the octave described as diapason or “at an interval of all,” rather than numerically “at an interval of eight,” as we say “at an interval of four” or “of five”? Is it because the strings were in old times seven, and Terpander removed the “third” when he added the netè or “highest, | Why is the octave described as diapason or “at an interval of all,” rather than numerically “at an interval of eight,” as we say “at an interval of four” or “of five”? Is it because the strings were in old times seven, and Terpander removed the “third” when he added the netè or “highest, | ||
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| Plutarch On Music 28 : | Plutarch On Music 28 : | ||
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| [on Timotheus]: Down to the time of Aristocleides the lyre had had seven strings. Timotheus divided the Terpandrean mode into a greater number of notes.14 | [on Timotheus]: Down to the time of Aristocleides the lyre had had seven strings. Timotheus divided the Terpandrean mode into a greater number of notes.14 | ||
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| Suidas Lexicon : | Suidas Lexicon : | ||
| Terpander: Variously described as of Arnè, a Lesbian of Antissa, and of Cymè15; according to some authorities a descendant of Hesiod, or again of Homer, with the pedigree Homer – Euryphon – Boeus of Phocis – Terpander; a lyric poet who invented the lyre of seven strings and, pace those who ascribed this to Philammon, was the first writer of lyric “nomes.” | Terpander: Variously described as of Arnè, a Lesbian of Antissa, and of Cymè15; according to some authorities a descendant of Hesiod, or again of Homer, with the pedigree Homer – Euryphon – Boeus of Phocis – Terpander; a lyric poet who invented the lyre of seven strings and, pace those who ascribed this to Philammon, was the first writer of lyric “nomes.” | ||
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| Plutarch on Music 18 : | Plutarch on Music 18 : | ||
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| Alexander, in his Collections on Phrygia, declares that instrumental music was introduced into Greece by Olympus, and also by the Idaean Dactyls or Priests of Cybelè, and that while the first flute-player was Hyagnis, who was followed by his son Marsyas, who was succeeded by Olympus, Terpander (the lyrist) emulated in his verse Homer and in his music Orpheus, who appears to have been entirely original . . . It is said that some of the citharoedic or lyre-sung nomes thought to be the work of Terpander were really composed by the ancient Delphian composer Philammon. | Alexander, in his Collections on Phrygia, declares that instrumental music was introduced into Greece by Olympus, and also by the Idaean Dactyls or Priests of Cybelè, and that while the first flute-player was Hyagnis, who was followed by his son Marsyas, who was succeeded by Olympus, Terpander (the lyrist) emulated in his verse Homer and in his music Orpheus, who appears to have been entirely original . . . It is said that some of the citharoedic or lyre-sung nomes thought to be the work of Terpander were really composed by the ancient Delphian composer Philammon. | ||
| In fine, lyric song continued from Terpander’s time to that of Phrynis to be wholly simple. Poets were not permitted in those days to compose for the lyre as they do now with frequent change of mode or rhythm. They maintained in the nomes the scale proper to each, which indeed is the reason of that name, these compositions being called “nomes” or “laws” because it was not permitted to go beyond the proper scale. As soon as the composer had done his duty by the Gods, he passed on to the poetry of Homer and other epic poets. This is proved by the Preludes of Terpander. As for the form of the lyre, that was established in the time of Cepion the pupil of Terpander; and it was called “Asian” because it was used in Lesbos which is adjacent to Asia. The last Lesbian lyrist to win the prize at the Spartan Carneia was Pericleitus. His death put an end to the continuous succession of Lesbian singers to the lyre. | In fine, lyric song continued from Terpander’s time to that of Phrynis to be wholly simple. Poets were not permitted in those days to compose for the lyre as they do now with frequent change of mode or rhythm. They maintained in the nomes the scale proper to each, which indeed is the reason of that name, these compositions being called “nomes” or “laws” because it was not permitted to go beyond the proper scale. As soon as the composer had done his duty by the Gods, he passed on to the poetry of Homer and other epic poets. This is proved by the Preludes of Terpander. As for the form of the lyre, that was established in the time of Cepion the pupil of Terpander; and it was called “Asian” because it was used in Lesbos which is adjacent to Asia. The last Lesbian lyrist to win the prize at the Spartan Carneia was Pericleitus. His death put an end to the continuous succession of Lesbian singers to the lyre. | ||
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| Suidas Lexicon : | Suidas Lexicon : | ||
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| Ibid. | Ibid. | ||
| Orthian and Trochaic Nomes: The two nomes so called from their rhythms by Terpander. They were high-pitched and of a vigorous character . . . | Orthian and Trochaic Nomes: The two nomes so called from their rhythms by Terpander. They were high-pitched and of a vigorous character . . . | ||
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| Plutarch On Music 28 : | Plutarch On Music 28 : | ||
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| Many circumstances could be cited to show that good music has been a matter for concern to the best-regulated states, and not least among these the quelling of a sedition at Sparta by Terpander. | Many circumstances could be cited to show that good music has been a matter for concern to the best-regulated states, and not least among these the quelling of a sedition at Sparta by Terpander. | ||
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| Aelian Historical Miscellanies 12. 50 : | Aelian Historical Miscellanies 12. 50 : | ||
| The Spartans, who bent was for bodily exercises and feats of arms, had no skill in music. Yet if ever they required the aid o the Muses on occasion of general sickness of body or mind or any like public affliction, their custom was to send for foreigners, at the bidding of the Delphic oracle, to act as healers and purifiers. For instance they summoned Terpander, Thales, Tyrtaeus, Nymphaeus of Cydonia, and Alcman. | The Spartans, who bent was for bodily exercises and feats of arms, had no skill in music. Yet if ever they required the aid o the Muses on occasion of general sickness of body or mind or any like public affliction, their custom was to send for foreigners, at the bidding of the Delphic oracle, to act as healers and purifiers. For instance they summoned Terpander, Thales, Tyrtaeus, Nymphaeus of Cydonia, and Alcman. | ||
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| Suidas Lexicon : | Suidas Lexicon : | ||
| Next to the poet of Lesbos: Said proverbially of persons who come off second best. The singers to the lyre first called in by the Spartans were of Lesbos. When their city was torn by faction there was an oracle delivered that they should fetch the poet of Lesbos, and accordingly they sent for Terpander of Antissa, who was living in exile at Sparta because of a murder, and listening to his music at their public dinners, ceased their factious strife. Another account is this: The Spartans at a time of internecine struggles sent to Lesbos for the musician Terpander, who restored harmony to their minds and put an end to the strife of parties; and so whenever after that time the Spartans listened to a musician, the saying went “Next to the poet of Lesbos.” This proverb is mentioned by Cratinus in his Cheiron. | Next to the poet of Lesbos: Said proverbially of persons who come off second best. The singers to the lyre first called in by the Spartans were of Lesbos. When their city was torn by faction there was an oracle delivered that they should fetch the poet of Lesbos, and accordingly they sent for Terpander of Antissa, who was living in exile at Sparta because of a murder, and listening to his music at their public dinners, ceased their factious strife. Another account is this: The Spartans at a time of internecine struggles sent to Lesbos for the musician Terpander, who restored harmony to their minds and put an end to the strife of parties; and so whenever after that time the Spartans listened to a musician, the saying went “Next to the poet of Lesbos.” This proverb is mentioned by Cratinus in his Cheiron. | ||
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| Aelius Dionysius quoted by Eustathius Il. 1. 129 : | Aelius Dionysius quoted by Eustathius Il. 1. 129 : | ||
| Aristotle in his Constitution of Sparta declares that in the saying “Next to the poet of Lesbos” the reference is to Terpander, and it is said that the Spartans used to summon to take his place of honour17 first his descendants, | Aristotle in his Constitution of Sparta declares that in the saying “Next to the poet of Lesbos” the reference is to Terpander, and it is said that the Spartans used to summon to take his place of honour17 first his descendants, | ||
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| Palatine Anthology 9. 488 : | Palatine Anthology 9. 488 : | ||
| Trypon on the lyrist Terpes18 . . . : When in the Spartan Place of Meeting Terpes was singing a song to the thrumming of his sweet lyre, he perished never to return, not by a sword, nor yet an arrow, but by the casting of a fig between his lips. Alas! Death suffers from no lack of pretexts. | Trypon on the lyrist Terpes18 . . . : When in the Spartan Place of Meeting Terpes was singing a song to the thrumming of his sweet lyre, he perished never to return, not by a sword, nor yet an arrow, but by the casting of a fig between his lips. Alas! Death suffers from no lack of pretexts. | ||
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| Plutarch Life of Lycurgus 28 : | Plutarch Life of Lycurgus 28 : | ||
| Thus it is said that later during the Theban invasion of Laconia the Helot prisoners refused to sing at the bidding of their captors the songs of Terpander or Alcman or Spendon the Laconian, on the plea that their masters never allowed it. | Thus it is said that later during the Theban invasion of Laconia the Helot prisoners refused to sing at the bidding of their captors the songs of Terpander or Alcman or Spendon the Laconian, on the plea that their masters never allowed it. | ||
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| 12. i.e. to accompany it an octave higher? (hupatê lit. “highest” was according to our reckoning the lowest note in a Greek “mode”)\\ | 12. i.e. to accompany it an octave higher? (hupatê lit. “highest” was according to our reckoning the lowest note in a Greek “mode”)\\ | ||
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| According to Terpander of Lesbos, Dionysus, who is sometimes called Sabazius, was nursed by Nysa; he was the son of Zeus and Persephone and was eventually torn in pieces by the Titans.25 | According to Terpander of Lesbos, Dionysus, who is sometimes called Sabazius, was nursed by Nysa; he was the son of Zeus and Persephone and was eventually torn in pieces by the Titans.25 | ||
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| 19. the solemnity is partly due to the absence of short syllables if the words are really Terpander’s the meaning of “all” is prob. Not comsogonic cf. Ars. 261; Apostol. 3. 29c\\ | 19. the solemnity is partly due to the absence of short syllables if the words are really Terpander’s the meaning of “all” is prob. Not comsogonic cf. Ars. 261; Apostol. 3. 29c\\ | ||
text/terpander_poems.1376784573.txt.gz · Last modified: 2014/01/15 11:15 (external edit)