Terpander, Fragments

LCL 143: 316-317

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Greek Lyric

3 (698 P.M.G.) Clem. Alex. Strom. 6. 11. 88. 2 (ii 475s. Stählin)

ἡ τοίνυν ἁρμονία τοῦ βαρβάρου ψαλτηρίου, τὸ σεμνὸν ἐμφαίνουσα τοῦ μέλους, ἀρχαιοτάτη τυγχάνουσα, ὑπόδειγμα Τερπάνδρῳ μάλιστα γίνεται πρὸς ἁρμονίαν τὴν Δώριον ὑμνοῦντι τὸν Δία ὧδέ πως·

Ζεῦ, πάντων ἀρχά, πάντων ἁγήτωρ, Ζεῦ, σοὶ πέμπω ταύταν ὕμνων ἀρχάν.

cf. Arsen. 261= Apostol. viii 29c

4 (adesp. 941 P.M.G.) Anal. Gramm. (6. 6 Keil)

σπονδεῖος δ᾿ ἐκλήθη ἀπὸ τοῦ ῥυθμοῦ τοῦ ἐν ταῖς σπονδαῖς ἐπαυλουμένου τε καὶ ἐπᾳδομένου, οἷον·

σπένδωμεν ταῖς Μνάμας παισὶν Μούσαις καὶ τῷ Μουσάρχῳ Λατοῦς υἱεῖ.

5 (adesp. 1027c P.M.G.) D. H. Comp. 17 (vi 70 Usener-Radermacher)

ὁ δ᾿ ἐξ ἁπασῶν μακρῶν, μολοττὸν δ᾿ αὐτὸν οἱ μετρικοὶ καλοῦσιν, ὑψηλός τε καὶ ἀξιωματικός ἐστι καὶ διαβεβηκὼς ἐπὶ πολύ. παράδειγμα δὲ αὐτοῦ τοιόνδε·

ὦ Ζηνὸς καὶ Λήδας κάλλιστοι σωτῆρες.

6 (5 Bergk) Str. 13. 2. 4 (iii 67 Kramer)

οὗτος μὲν οὖν (sc. Ἀρίων) κιθαρῳδός. καὶ Τέρπανδρον δὲ τῆς αὐτῆς μουσικῆς τεχνίτην γεγονέναι φασὶ καὶ τῆς αὐτῆς νήσου, τὸν πρῶτον ἀντὶ τῆς τετραχόρδου λύρας ἑπταχόρδῳ χρησάμενον, καθάπερ καὶ ἐν τοῖς ἀναφερομένοις ἔπεσιν εἰς αὐτὸν λέγεται·



3 Clement of Alexandria, Miscellanies

Now the tuning of the barbarian harp1 which brings out the solemn quality of the melody and is very ancient provides a pattern for Terpander above all, when he sings of Zeus to the Dorian tuning in something like these words:

Zeus, beginning of all, leader of all, Zeus, to you I send this beginning of my hymns.2

4 Grammatical Extracts

The spondee (– –) was named after the rhythm played on pipes and sung at σπονδαί, ‛libations’, e.g.

Let us pour libation to the Muses, the daughters of Memory, and to the leader of the Muses, Leto’s son.1

5 Dionysius of Halicarnassus, On Literary Composition

The rhythm consisting entirely of long syllables, called ‛molossus’ by the metricians (– – –), is lofty and dignified and has a long stride, e.g.

(Sons) of Zeus and Leda, you handsome saviours.1

6 Strabo, Geography

Now Arion was a cithara-singer. Terpander also, they say, practised the same kind of music and came from the same island (sc. Lesbos): he was the first to use the seven-stringed instead of the four-stringed lyre, as we are told in the hexameters attributed to him:

DOI: 10.4159/DLCL.terpander-fragments.1988