“And ever against eating cares
Lap one in soft Lydian airs
Married to immortal verse;
Such as the melting soul may pierce
In notes with many a winding bout
Of linked sweetness long drawn out.”
The Dorian was in a minor scale, and was considered to be manly and vigorous. Martial music was of this kind. So, to quote Milton again, we have:
“Anon they move
In perfect phalanx to the Dorian mood
Of flutes and soft melodies; such as raised
To heights of noblest temper heroes old
Coming to battle.”
The third, or Phrygian, was also minor, and was considered to be suitable for sacrifices and other religious functions as being of an ecstatic kind. There were combinations and modifications of these moods. Readers who may desire to know more of the subject, should consult Professor Mahaffy’s Rambles and Studies in Greece, pp. 424-444 (3rd edition). A more elaborate account may be found in Mr. Chappell’s History of Music.
[32] So Hector in the single combat with Ajax.
[33] A quarter of Athens south of the city on the Ilissus.
[34] The “Kalokagathos” (literally handsome and good), combining the two Greek ideals, beauty of mind and beauty of body.
[35] See note page 22.
[36] Xenophon, who was probably in Athens at the time, positively asserts that this was done, and I cannot think that the arguments of Mr. Grote countervail his authority.
[37] The “Eleven” were commissioners of police who had, besides the charge of the guardians of public order, the care of the prisoners, and the custody of criminals.