And each a different strain awakens,—

One struck the loud horn-sounding magadis,

And in the fivefold number of tight strings

Moved his hand to and fro most rapidly.

I am acquainted, too, with another instrument which the Thracian kings use in their banquets, as Nicomedes tells us in his essay on Orpheus. Now Ephorus and Scamon, in their treatise on Inventions, say that the instrument called the Phœnix derives its name from having been invented by the Phœnicians. But Semus of Delos, in the first book of the Delias, says that it is so called because its ribs are made of the palm-tree which grows in Delos. The same writer, Semus, says that the first person who used the sambuca was Sibylla, and that the instrument derives its name from having been invented by a man named Sambyx.

41. And concerning the instrument called the tripod (this also is a musical instrument) the before-mentioned Artemo writes as follows—"And that is how it is that there are many instruments, as to which it is even uncertain whether they ever existed; as, for instance, the tripod of Pythagoras of Zacynthus. For as it was in fashion but a very short time, and as, either because the fingering of it appeared exceedingly difficult, or for some other reason, it was very soon disused, it has escaped the notice of most writers altogether. But the instrument was in form very like the Delphian tripod, and it derived its name from it; but it was used like a triple harp. For its feet stood on some pedestal which admitted of being easily turned round, just as the legs of movable chairs are made; and along the three intermediate spaces between the feet, strings were stretched; an arm being placed above each, and tuning-pegs, to which the strings were attached, below. And on the top there was the usual ornament of the vase, and of some other ornaments which were attached to it; all which gave it a very elegant appearance; and it emitted a very powerful sound. And Pythagoras divided the three harmonies with reference to three countries,—the Dorian, the Lydian, and Phrygian. And he himself sitting on a chair made on the same principles and after the same pattern, putting out his left hand so as to take hold of the instrument, and using the plectrum in his other hand, moved the pedestal with his foot very easily, so as to use whichever side of the instrument he chose to begin with; and then again turning to the other side he went on playing, and then he changed to the third side. And so rapidly did the easy movement of the pedestal, when touched by the foot, bring the various sides under his hand, and so very rapid was his fingering and execution, that if a person had not seen what was being done, but had judged only by his ear, he would have fancied that he was listening to three harp-players all playing on different instruments. But this instrument, though it was so greatly admired, after his death rapidly fell into disuse."

MUSIC.

42. Now the system of playing the harp without any vocal accompaniment, was, as Menæchmus informs us, first introduced by Aristonicus the Argive, who was a contemporary of Archilochus, and lived in Corcyra. But Philochorus, in the third hook of his Atthis, says—"Lysander the Sicyonian harp-player was the first person who ever changed the art of pure instrumental performance, dwelling on the long tones, and producing a very rich sound, and adding also to the harp the music of the flute; and this last addition was first introduced by Epigonus; and taking away the jejuneness which existed in the music of those who played the harp alone without any vocal accompaniment, he first introduced various beautiful modifications[89] on that instrument; and he played on the different kinds of harp called iambus and magadis, which is also called συριγμός. And he was the first person who ever attempted to change his instrument while playing. And afterwards, adding dignity to the business, he was the first person to institute a chorus. And Menæchmus says that Dion of Chius was the first person who ever played on the harp an ode such as is used at libations to the honour of Bacchus. But Timomachus, in his History of Cyprus, says that Stesander the Samian added further improvements to his art, and was the first person who at Delphi sang to his lyre the battles narrated in Homer, beginning with the Odyssey. But others say that the first person who ever played amatory strains on his harp was Amiton the Eleuthernæan, who did so in his own city, whose descendants are all called Amitores.

But Aristoxenus says that just as some men have composed parodies on hexameter verses, for the sake of exciting a laugh; so, too, others have parodied the verses which were sung to the harp, in which pastime Œnopas led the way. And he was imitated by Polyeuctus the Achæan, and by Diocles of Cynætha. There have also been poets who have composed a low kind of poems, concerning whom Phænias the Eresian speaks in his writings addressed to the Sophists; where he writes thus:—"Telenicus the Byzantian, and also Argas, being both authors of low poems, were men who, as far as that kind of poetry could go, were accounted clever. But they never even attempted to rival the songs of Terpander or Phrynis." And Alexis mentions Argas, in his Man Disembarked, thus—

A. Here is a poet who has gained the prize