Polymnestus, Testimonia

LCL 143: 332-333

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Greek Lyric

3 [Plut.] Mus. 8. 1134a (p. 114s. Lasserre, vi 3. 7s. Ziegler)

τόνων γοῦν τριῶν ὄντων κατὰ Πολύμνηστον καὶ Σακάδαν, τοῦ τε Δωρίου καὶ Φρυγίου καὶ Λυδίου . . .

4 [Plut.] Mus. 9–10. 1134cd (p. 115 Lasserre, vi 3. 8s. Ziegler)

οἱ δὲ περὶ Πολύμνηστον (ἦσαν ποιηταὶ) τῶν Ὀρθίων καλουμένων, οἱ δὲ περὶ Σακάδαν ἐλεγείων . . . καὶ Πολύμνηστος δ᾿ αὐλῳδικοὺς νόμους ἐποίησεν· εἰ δὲ τῷ Ὀρθίῳ νόμῳ <ἐν> τῇ μελοποιίᾳ κέχρηται, καθάπερ οἱ ἁρμονικοί φασιν, οὐκ ἔχομεν 〚δ᾿〛 ἀκριβῶς εἰπεῖν· οὐ γὰρ εἰρήκασιν οἱ ἀρχαῖοί τι περὶ τούτου.

5 [Plut.] Mus. 4. 1132d (p. 112 Lasserre, vi 3. 4 Ziegler)

οἱ δὲ νόμοι οἱ κατὰ τούτους, ἀγαθὲ Ὀνησίκρατες, αὐλῳδικοὶ ἦσαν· Ἀπόθετος, Ἔλεγοι, Κωμάρχιος, Σχοινίων, Κηπίων, Ἐπικήδειος1 καὶ Τριμελής· ὑστέρῳ δὲ χρόνῳ καὶ τὰ Πολυμνήστεια καλούμενα ἐξευρέθη.



3 ‛Plutarch’, On Music

Since there were three tuning-systems in the time of Polymnestus and Sacadas,1 the Dorian, the Phrygian and the Lydian, . . .

Music and Poetry1

4 ‛Plutarch’, On Music 2

Polymnestus composed the so-called Orthian pieces,3 Sacadas elegiacs . . . Polymnestus too composed nomes for pipe accompaniment. But whether he used the Orthios nome4 in his melodic composition, as the writers on harmonics5claim, we cannot say for certain, for the ancients6 have said nothing about this.

5 ‛Plutarch’, On Music

The nomes in the music of these poets (i.e. Clonas and Polymnestus), my good Onesicrates, were for pipe accompaniment: the Apothetos (‛stored away for special occasions’), Elegoi (‛laments’), Comarchius (‛revel-leader’s’), Schoinion (‛rope’), Cepion,1 Epicedius (‛funereal’) and Trimeles (‛three-songed’). Later the so-called Polymnestian pieces were invented.2

DOI: 10.4159/DLCL.polymnestus-testimonia.1988