“Sane ut in religionibus saltaretur, hæc ratio est: quod nullam majores nostri partem corporis esse voluerunt, quæ non sentiret religionem: nam cantus ad animum, saltatio ad mobilitatem corporis pertinet.” (Servius ad Virgil. Eclog. v, 73.)
[163] Aristot. Politic. viii, 4, 6. Οἱ Λάκωνες—οὐ μανθάνοντες ὅμως δύνανται κρίνειν ὀρθῶς, ὥς φασι, τὰ χρηστὰ καὶ τὰ μὴ τῶν μέλων.
[164] Homer. Hymn. Apoll. 340. Οἷοί τε Κρητῶν παιήονες, etc.: see Boeckh. De Metris Pindari, ii, 7, p. 143; Ephorus ap. Strabo, x, p. 480: Plutarch, De Musicâ, p. 1142.
Respecting Thalêtas, and the gradual alterations in the character of music at Sparta. Hoeckh has given much instructive matter (Kreta. vol. iii, pp. 340-377). Respecting Nymphæus of Kydonia, whom Ælian (V. II. xii, 50) puts in juxtaposition with Thalêtas and Terpander, nothing is known.
After what is called the second fashion of music (κατάστασις) had thus been introduced by Thalêtas and his contemporaries.—the first fashion being that of Terpander,—no farther innovations were allowed. The ephors employed violent means to prohibit the intended innovations of Phrynis and Timotheus, after the Persian war: see Plutarch Agis, c. 10.
[165] Alkman. Fragm. 13-17. ed. Bergk, ὁ πάμφαγος Ἀλκμάν: compare Fr. 63. Aristides calls him ὁ τῶν παρθένων ἐπαινέτης καὶ σύμβουλος (Or. xlv, vol. ii, p. 40. Dindorf).
Of the Partneneia of Alkman (songs, hymns, and dances, composed for a chorus of maidens) there were at least two books (Stephanus Byzant. v. Ἐρυσίχη). He was the earliest poet who acquired renown in this species of composition, afterwards much pursued by Pindar, Bacchylidês, and Simonidês of Keôs: see Welcker, Alkman. Fragment. p. 10.
[166] Alkman, Frag. 64, ed. Bergk.
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