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Plato, Ion
[533ξ] Ὀρφέως ἢ περὶ Φημίου τοῦ Ἰθακησίου ῥαψῳδοῦ, περὶ δὲ Ἴωνος τοῦ Ἐφεσίου [ῥαψῳδοῦ] ἀπορεῖ καὶ οὐκ ἔχει συμβαλέσθαι ἅ τε εὖ ῥαψῳδεῖ καὶ ἃ μή.
Ἴων
οὐκ ἔχω σοι περὶ τούτου ἀντιλέγειν, ὦ Σώκρατες: ἀλλ᾽ ἐκεῖνο ἐμαυτῷ σύνοιδα, ὅτι περὶ Ὁμήρου κάλλιστ᾽ ἀνθρώπων λέγω καὶ εὐπορῶ καὶ οἱ ἄλλοι πάντες μέ φασιν εὖ λέγειν, περὶ δὲ τῶν ἄλλων οὔ. καίτοι ὅρα τοῦτο τί ἔστιν.
Σωκράτης
καὶ ὁρῶ, ὦ Ἴων, καὶ ἔρχομαί γέ σοι ἀποφανούμενος
[533δ] ὅ μοι δοκεῖ τοῦτο εἶναι. ἔστι γὰρ τοῦτο τέχνη μὲν οὐκ ὂν παρὰ σοὶ περὶ Ὁμήρου εὖ λέγειν, ὃ νυνδὴ ἔλεγον, θεία δὲ δύναμις ἥ σε κινεῖ, ὥσπερ ἐν τῇ λίθῳ ἣν Εὐριπίδης μὲν Μαγνῆτιν ὠνόμασεν, οἱ δὲ πολλοὶ Ἡρακλείαν. καὶ γὰρ αὕτη ἡ λίθος οὐ μόνον αὐτοὺς τοὺς δακτυλίους ἄγει τοὺς σιδηροῦς, ἀλλὰ καὶ δύναμιν ἐντίθησι τοῖς δακτυλίοις ὥστ᾽ αὖ δύνασθαι ταὐτὸν τοῦτο ποιεῖν ὅπερ ἡ λίθος, ἄλλους
[533ε] ἄγειν δακτυλίους, ὥστ᾽ ἐνίοτε ὁρμαθὸς μακρὸς πάνυ σιδηρίων καὶ δακτυλίων ἐξ ἀλλήλων ἤρτηται: πᾶσι δὲ τούτοις ἐξ ἐκείνης τῆς λίθου ἡ δύναμις ἀνήρτηται. οὕτω δὲ καὶ ἡ Μοῦσα ἐνθέους μὲν ποιεῖ αὐτή, διὰ δὲ τῶν ἐνθέων τούτων ἄλλων ἐνθουσιαζόντων ὁρμαθὸς ἐξαρτᾶται. πάντες γὰρ οἵ τε τῶν ἐπῶν ποιηταὶ οἱ ἀγαθοὶ οὐκ ἐκ τέχνης ἀλλ᾽ ἔνθεοι ὄντες καὶ κατεχόμενοι πάντα ταῦτα τὰ καλὰ λέγουσι ποιήματα, καὶ οἱ μελοποιοὶ οἱ ἀγαθοὶ ὡσαύτως, ὥσπερ οἱ κορυβαντιῶντες
[534α] οὐκ ἔμφρονες ὄντες ὀρχοῦνται, οὕτω καὶ οἱ μελοποιοὶ οὐκ ἔμφρονες ὄντες τὰ καλὰ μέλη ταῦτα ποιοῦσιν, ἀλλ᾽ ἐπειδὰν ἐμβῶσιν εἰς τὴν ἁρμονίαν καὶ εἰς τὸν ῥυθμόν, βακχεύουσι καὶ κατεχόμενοι, ὥσπερ αἱ βάκχαι ἀρύονται ἐκ τῶν ποταμῶν μέλι καὶ γάλα κατεχόμεναι, ἔμφρονες δὲ οὖσαι οὔ, καὶ τῶν μελοποιῶν ἡ ψυχὴ τοῦτο ἐργάζεται, ὅπερ αὐτοὶ λέγουσι. λέγουσι γὰρ δήπουθεν πρὸς ἡμᾶς οἱ ποιηταὶ ὅτι
[534β] ἀπὸ κρηνῶν μελιρρύτων ἐκ Μουσῶν κήπων τινῶν καὶ ναπῶν δρεπόμενοι τὰ μέλη ἡμῖν φέρουσιν ὥσπερ αἱ μέλιτται, καὶ αὐτοὶ οὕτω πετόμενοι: καὶ ἀληθῆ λέγουσι. κοῦφον γὰρ χρῆμα ποιητής ἐστιν καὶ πτηνὸν καὶ ἱερόν, καὶ οὐ πρότερον οἷός τε ποιεῖν πρὶν ἂν ἔνθεός τε γένηται καὶ ἔκφρων καὶ ὁ νοῦς μηκέτι ἐν αὐτῷ ἐνῇ: ἕως δ᾽ ἂν τουτὶ ἔχῃ τὸ κτῆμα, ἀδύνατος πᾶς ποιεῖν ἄνθρωπός ἐστιν καὶ χρησμῳδεῖν. ἅτε οὖν οὐ τέχνῃ ποιοῦντες καὶ πολλὰ λέγοντες καὶ καλὰ περὶ
[534ξ] τῶν πραγμάτων, ὥσπερ σὺ περὶ Ὁμήρου, ἀλλὰ θείᾳ μοίρᾳ, τοῦτο μόνον οἷός τε ἕκαστος ποιεῖν καλῶς ἐφ᾽ ὃ ἡ Μοῦσα αὐτὸν ὥρμησεν, ὁ μὲν διθυράμβους, ὁ δὲ ἐγκώμια, ὁ δὲ ὑπορχήματα, ὁ δ᾽ ἔπη, ὁ δ᾽ ἰάμβους: τὰ δ᾽ ἄλλα φαῦλος αὐτῶν ἕκαστός ἐστιν. οὐ γὰρ τέχνῃ ταῦτα λέγουσιν ἀλλὰ θείᾳ δυνάμει, ἐπεί, εἰ περὶ ἑνὸς τέχνῃ καλῶς ἠπίσταντο λέγειν, κἂν περὶ τῶν ἄλλων ἁπάντων: διὰ ταῦτα δὲ ὁ θεὸς ἐξαιρούμενος τούτων τὸν νοῦν τούτοις χρῆται ὑπηρέταις καὶ
[534δ] τοῖς χρησμῳδοῖς καὶ τοῖς μάντεσι τοῖς θείοις, ἵνα ἡμεῖς οἱ ἀκούοντες εἰδῶμεν ὅτι οὐχ οὗτοί εἰσιν οἱ ταῦτα λέγοντες οὕτω πολλοῦ ἄξια, οἷς νοῦς μὴ πάρεστιν, ἀλλ᾽ ὁ θεὸς αὐτός ἐστιν ὁ λέγων, διὰ τούτων δὲ φθέγγεται πρὸς ἡμᾶς. μέγιστον δὲ τεκμήριον τῷ λόγῳ Τύννιχος ὁ Χαλκιδεύς, ὃς ἄλλο μὲν οὐδὲν πώποτε ἐποίησε ποίημα ὅτου τις ἂν ἀξιώσειεν μνησθῆναι, τὸν δὲ παίωνα ὃν πάντες ᾁδουσι, σχεδόν τι πάντων μελῶν κάλλιστον, ἀτεχνῶς, ὅπερ αὐτὸς λέγει,
[534ε] “εὕρημά τι Μοισᾶν.” ἐν τούτῳ γὰρ δὴ μάλιστά μοι δοκεῖ ὁ θεὸς ἐνδείξασθαι ἡμῖν, ἵνα μὴ διστάζωμεν, ὅτι οὐκ ἀνθρώπινά ἐστιν τὰ καλὰ ταῦτα ποιήματα οὐδὲ ἀνθρώπων, ἀλλὰ θεῖα καὶ θεῶν, οἱ δὲ ποιηταὶ οὐδὲν ἀλλ᾽ ἢ ἑρμηνῆς εἰσιν τῶν θεῶν, κατεχόμενοι ἐξ ὅτου ἂν ἕκαστος κατέχηται. ταῦτα ἐνδεικνύμενος ὁ θεὸς ἐξεπίτηδες διὰ τοῦ φαυλοτάτου
[535α] ποιητοῦ τὸ κάλλιστον μέλος ᾖσεν: ἢ οὐ δοκῶ σοι ἀληθῆ λέγειν, ὦ Ἴων;
Ἴων
ναὶ μὰ τὸν Δία, ἔμοιγε: ἅπτει γάρ πώς μου τοῖς λόγοις τῆς ψυχῆς, ὦ Σώκρατες, καί μοι δοκοῦσι θείᾳ μοίρᾳ ἡμῖν παρὰ τῶν θεῶν ταῦτα οἱ ἀγαθοὶ ποιηταὶ ἑρμηνεύειν.
Σωκράτης
οὐκοῦν ὑμεῖς αὖ οἱ ῥαψῳδοὶ τὰ τῶν ποιητῶν ἑρμηνεύετε;
Ἴων
καὶ τοῦτο ἀληθὲς λέγεις.
Σωκράτης
οὐκοῦν ἑρμηνέων ἑρμηνῆς γίγνεσθε;
Ἴων
παντάπασί γε.
[535β]
Σωκράτης
ἔχε δή μοι τόδε εἰπέ, ὦ Ἴων, καὶ μὴ ἀποκρύψῃ ὅτι ἄν σε ἔρωμαι: ὅταν εὖ εἴπῃς ἔπη καὶ ἐκπλήξῃς μάλιστα τοὺς θεωμένους, ἢ τὸν Ὀδυσσέα ὅταν ἐπὶ τὸν οὐδὸν ἐφαλλόμενον ᾁδῃς, ἐκφανῆ γιγνόμενον τοῖς μνηστῆρσι καὶ ἐκχέοντα τοὺς ὀιστοὺς πρὸ τῶν ποδῶν, ἢ Ἀχιλλέα ἐπὶ τὸν Ἕκτορα ὁρμῶντα, ἢ καὶ τῶν περὶ Ἀνδρομάχην ἐλεινῶν τι ἢ περὶ Ἑκάβην ἢ περὶ Πρίαμον, τότε πότερον ἔμφρων εἶ ἢ ἔξω
[535ξ] σαυτοῦ γίγνῃ καὶ παρὰ τοῖς πράγμασιν οἴεταί σου εἶναι ἡ ψυχὴ οἷς λέγεις ἐνθουσιάζουσα, ἢ ἐν Ἰθάκῃ οὖσιν ἢ ἐν Τροίᾳ ἢ ὅπως ἂν καὶ τὰ ἔπη ἔχῃ;
Ἴων
ὡς ἐναργές μοι τοῦτο, ὦ Σώκρατες, τὸ τεκμήριον εἶπες: οὐ γάρ σε ἀποκρυψάμενος ἐρῶ. ἐγὼ γὰρ ὅταν ἐλεινόν τι λέγω, δακρύων ἐμπίμπλανταί μου οἱ ὀφθαλμοί: ὅταν τε φοβερὸν ἢ δεινόν, ὀρθαὶ αἱ τρίχες ἵστανται ὑπὸ φόβου καὶ ἡ καρδία πηδᾷ.
[535δ]
Σωκράτης
τί οὖν; φῶμεν, ὦ Ἴων, ἔμφρονα εἶναι τότε τοῦτον τὸν ἄνθρωπον, ὃς ἂν κεκοσμημένος ἐσθῆτι ποικίλῃ καὶ χρυσοῖσι στεφάνοις κλάῃ τ᾽ ἐν θυσίαις καὶ ἑορταῖς, μηδὲν ἀπολωλεκὼς τούτων, ἢ φοβῆται πλέον ἢ ἐν δισμυρίοις ἀνθρώποις ἑστηκὼς φιλίοις, μηδενὸς ἀποδύοντος μηδὲ ἀδικοῦντος;
Ἴων
οὐ μὰ τὸν Δία, οὐ πάνυ, ὦ Σώκρατες, ὥς γε τἀληθὲς εἰρῆσθαι.
Σωκράτης
οἶσθα οὖν ὅτι καὶ τῶν θεατῶν τοὺς πολλοὺς ταὐτὰ ταῦτα ὑμεῖς ἐργάζεσθε;
[535ε]
Ἴων
καὶ μάλα καλῶς οἶδα: καθορῶ γὰρ ἑκάστοτε αὐτοὺς ἄνωθεν ἀπὸ τοῦ βήματος κλάοντάς τε καὶ δεινὸν ἐμβλέποντας καὶ συνθαμβοῦντας τοῖς λεγομένοις. δεῖ γάρ με καὶ σφόδρ᾽ αὐτοῖς τὸν νοῦν προσέχειν: ὡς ἐὰν μὲν κλάοντας αὐτοὺς καθίσω, αὐτὸς γελάσομαι ἀργύριον λαμβάνων, ἐὰν δὲ γελῶντας, αὐτὸς κλαύσομαι ἀργύριον ἀπολλύς.
Σωκράτης
οἶσθα οὖν ὅτι οὗτός ἐστιν ὁ θεατὴς τῶν δακτυλίων ὁ ἔσχατος, ὧν ἐγὼ ἔλεγον ὑπὸ τῆς Ἡρακλειώτιδος λίθου ἀπ᾽ ἀλλήλων τὴν δύναμιν λαμβάνειν; ὁ δὲ μέσος σὺ ὁ
[536α] ῥαψῳδὸς καὶ ὑποκριτής, ὁ δὲ πρῶτος αὐτὸς ὁ ποιητής: ὁ δὲ θεὸς διὰ πάντων τούτων ἕλκει τὴν ψυχὴν ὅποι ἂν βούληται τῶν ἀνθρώπων, ἀνακρεμαννὺς ἐξ ἀλλήλων τὴν δύναμιν. καὶ ὥσπερ ἐκ τῆς λίθου ἐκείνης ὁρμαθὸς πάμπολυς ἐξήρτηται χορευτῶν τε καὶ διδασκάλων καὶ ὑποδιδασκάλων, ἐκ πλαγίου ἐξηρτημένων τῶν τῆς Μούσης ἐκκρεμαμένων δακτυλίων. καὶ ὁ μὲν τῶν ποιητῶν ἐξ ἄλλης Μούσης, ὁ δὲ ἐξ ἄλλης ἐξήρτηται—ὀνομάζομεν δὲ αὐτὸ κατέχεται, τὸ δέ
[536β] ἐστι παραπλήσιον: ἔχεται γάρ—ἐκ δὲ τούτων τῶν πρώτων δακτυλίων, τῶν ποιητῶν, ἄλλοι ἐξ ἄλλου αὖ ἠρτημένοι εἰσὶ καὶ ἐνθουσιάζουσιν, οἱ μὲν ἐξ Ὀρφέως, οἱ δὲ ἐκ Μουσαίου: οἱ δὲ πολλοὶ ἐξ Ὁμήρου κατέχονταί τε καὶ ἔχονται. ὧν σύ, ὦ Ἴων, εἷς εἶ καὶ κατέχῃ ἐξ Ὁμήρου, καὶ ἐπειδὰν μέν τις ἄλλου του ποιητοῦ ᾁδῃ, καθεύδεις τε καὶ ἀπορεῖς ὅτι λέγῃς, ἐπειδὰν δὲ τούτου τοῦ ποιητοῦ φθέγξηταί τις μέλος, εὐθὺς ἐγρήγορας καὶ ὀρχεῖταί σου ἡ ψυχὴ καὶ εὐπορεῖς ὅτι
[536ξ] λέγῃς: οὐ γὰρ τέχνῃ οὐδ᾽ ἐπιστήμῃ περὶ Ὁμήρου λέγεις ἃ λέγεις, ἀλλὰ θείᾳ μοίρᾳ καὶ κατοκωχῇ, ὥσπερ οἱ κορυβαντιῶντες ἐκείνου μόνου αἰσθάνονται τοῦ μέλους ὀξέως ὃ ἂν ᾖ τοῦ θεοῦ ἐξ ὅτου ἂν κατέχωνται, καὶ εἰς ἐκεῖνο τὸ μέλος καὶ σχημάτων καὶ ῥημάτων εὐποροῦσι, τῶν δὲ ἄλλων οὐ φροντίζουσιν: οὕτω καὶ σύ, ὦ Ἴων, περὶ μὲν Ὁμήρου ὅταν τις μνησθῇ, εὐπορεῖς, περὶ δὲ τῶν ἄλλων ἀπορεῖς:
[536δ] τούτου δ᾽ ἐστὶ τὸ αἴτιον, ὅ μ᾽ ἐρωτᾷς, δι᾽ ὅτι σὺ περὶ μὲν Ὁμήρου εὐπορεῖς, περὶ δὲ τῶν ἄλλων οὔ, ὅτι οὐ τέχνῃ ἀλλὰ θείᾳ μοίρᾳ Ὁμήρου δεινὸς εἶ ἐπαινέτης.
Ἴων
σὺ μὲν εὖ λέγεις, ὦ Σώκρατες: θαυμάζοιμι μεντἂν εἰ οὕτως εὖ εἴποις, ὥστε με ἀναπεῖσαι ὡς ἐγὼ κατεχόμενος καὶ μαινόμενος Ὅμηρον ἐπαινῶ. οἶμαι δὲ οὐδ᾽ ἂν σοὶ δόξαιμι, εἴ μου ἀκούσαις λέγοντος περὶ Ὁμήρου.
Σωκράτης
καὶ μὴν ἐθέλω γε ἀκοῦσαι, οὐ μέντοι πρότερον
[533ξ] Ὀρφέως ἢ περὶ Φημίου τοῦ Ἰθακησίου ῥαψῳδοῦ, περὶ δὲ Ἴωνος τοῦ Ἐφεσίου [ῥαψῳδοῦ] ἀπορεῖ καὶ οὐκ ἔχει συμβαλέσθαι ἅ τε εὖ ῥαψῳδεῖ καὶ ἃ μή.
Ἴων
οὐκ ἔχω σοι περὶ τούτου ἀντιλέγειν, ὦ Σώκρατες: ἀλλ᾽ ἐκεῖνο ἐμαυτῷ σύνοιδα, ὅτι περὶ Ὁμήρου κάλλιστ᾽ ἀνθρώπων λέγω καὶ εὐπορῶ καὶ οἱ ἄλλοι πάντες μέ φασιν εὖ λέγειν, περὶ δὲ τῶν ἄλλων οὔ. καίτοι ὅρα τοῦτο τί ἔστιν.
Σωκράτης
καὶ ὁρῶ, ὦ Ἴων, καὶ ἔρχομαί γέ σοι ἀποφανούμενος
[533δ] ὅ μοι δοκεῖ τοῦτο εἶναι. ἔστι γὰρ τοῦτο τέχνη μὲν οὐκ ὂν παρὰ σοὶ περὶ Ὁμήρου εὖ λέγειν, ὃ νυνδὴ ἔλεγον, θεία δὲ δύναμις ἥ σε κινεῖ, ὥσπερ ἐν τῇ λίθῳ ἣν Εὐριπίδης μὲν Μαγνῆτιν ὠνόμασεν, οἱ δὲ πολλοὶ Ἡρακλείαν. καὶ γὰρ αὕτη ἡ λίθος οὐ μόνον αὐτοὺς τοὺς δακτυλίους ἄγει τοὺς σιδηροῦς, ἀλλὰ καὶ δύναμιν ἐντίθησι τοῖς δακτυλίοις ὥστ᾽ αὖ δύνασθαι ταὐτὸν τοῦτο ποιεῖν ὅπερ ἡ λίθος, ἄλλους
[533ε] ἄγειν δακτυλίους, ὥστ᾽ ἐνίοτε ὁρμαθὸς μακρὸς πάνυ σιδηρίων καὶ δακτυλίων ἐξ ἀλλήλων ἤρτηται: πᾶσι δὲ τούτοις ἐξ ἐκείνης τῆς λίθου ἡ δύναμις ἀνήρτηται. οὕτω δὲ καὶ ἡ Μοῦσα ἐνθέους μὲν ποιεῖ αὐτή, διὰ δὲ τῶν ἐνθέων τούτων ἄλλων ἐνθουσιαζόντων ὁρμαθὸς ἐξαρτᾶται. πάντες γὰρ οἵ τε τῶν ἐπῶν ποιηταὶ οἱ ἀγαθοὶ οὐκ ἐκ τέχνης ἀλλ᾽ ἔνθεοι ὄντες καὶ κατεχόμενοι πάντα ταῦτα τὰ καλὰ λέγουσι ποιήματα, καὶ οἱ μελοποιοὶ οἱ ἀγαθοὶ ὡσαύτως, ὥσπερ οἱ κορυβαντιῶντες
[534α] οὐκ ἔμφρονες ὄντες ὀρχοῦνται, οὕτω καὶ οἱ μελοποιοὶ οὐκ ἔμφρονες ὄντες τὰ καλὰ μέλη ταῦτα ποιοῦσιν, ἀλλ᾽ ἐπειδὰν ἐμβῶσιν εἰς τὴν ἁρμονίαν καὶ εἰς τὸν ῥυθμόν, βακχεύουσι καὶ κατεχόμενοι, ὥσπερ αἱ βάκχαι ἀρύονται ἐκ τῶν ποταμῶν μέλι καὶ γάλα κατεχόμεναι, ἔμφρονες δὲ οὖσαι οὔ, καὶ τῶν μελοποιῶν ἡ ψυχὴ τοῦτο ἐργάζεται, ὅπερ αὐτοὶ λέγουσι. λέγουσι γὰρ δήπουθεν πρὸς ἡμᾶς οἱ ποιηταὶ ὅτι
[534β] ἀπὸ κρηνῶν μελιρρύτων ἐκ Μουσῶν κήπων τινῶν καὶ ναπῶν δρεπόμενοι τὰ μέλη ἡμῖν φέρουσιν ὥσπερ αἱ μέλιτται, καὶ αὐτοὶ οὕτω πετόμενοι: καὶ ἀληθῆ λέγουσι. κοῦφον γὰρ χρῆμα ποιητής ἐστιν καὶ πτηνὸν καὶ ἱερόν, καὶ οὐ πρότερον οἷός τε ποιεῖν πρὶν ἂν ἔνθεός τε γένηται καὶ ἔκφρων καὶ ὁ νοῦς μηκέτι ἐν αὐτῷ ἐνῇ: ἕως δ᾽ ἂν τουτὶ ἔχῃ τὸ κτῆμα, ἀδύνατος πᾶς ποιεῖν ἄνθρωπός ἐστιν καὶ χρησμῳδεῖν. ἅτε οὖν οὐ τέχνῃ ποιοῦντες καὶ πολλὰ λέγοντες καὶ καλὰ περὶ
[534ξ] τῶν πραγμάτων, ὥσπερ σὺ περὶ Ὁμήρου, ἀλλὰ θείᾳ μοίρᾳ, τοῦτο μόνον οἷός τε ἕκαστος ποιεῖν καλῶς ἐφ᾽ ὃ ἡ Μοῦσα αὐτὸν ὥρμησεν, ὁ μὲν διθυράμβους, ὁ δὲ ἐγκώμια, ὁ δὲ ὑπορχήματα, ὁ δ᾽ ἔπη, ὁ δ᾽ ἰάμβους: τὰ δ᾽ ἄλλα φαῦλος αὐτῶν ἕκαστός ἐστιν. οὐ γὰρ τέχνῃ ταῦτα λέγουσιν ἀλλὰ θείᾳ δυνάμει, ἐπεί, εἰ περὶ ἑνὸς τέχνῃ καλῶς ἠπίσταντο λέγειν, κἂν περὶ τῶν ἄλλων ἁπάντων: διὰ ταῦτα δὲ ὁ θεὸς ἐξαιρούμενος τούτων τὸν νοῦν τούτοις χρῆται ὑπηρέταις καὶ
[534δ] τοῖς χρησμῳδοῖς καὶ τοῖς μάντεσι τοῖς θείοις, ἵνα ἡμεῖς οἱ ἀκούοντες εἰδῶμεν ὅτι οὐχ οὗτοί εἰσιν οἱ ταῦτα λέγοντες οὕτω πολλοῦ ἄξια, οἷς νοῦς μὴ πάρεστιν, ἀλλ᾽ ὁ θεὸς αὐτός ἐστιν ὁ λέγων, διὰ τούτων δὲ φθέγγεται πρὸς ἡμᾶς. μέγιστον δὲ τεκμήριον τῷ λόγῳ Τύννιχος ὁ Χαλκιδεύς, ὃς ἄλλο μὲν οὐδὲν πώποτε ἐποίησε ποίημα ὅτου τις ἂν ἀξιώσειεν μνησθῆναι, τὸν δὲ παίωνα ὃν πάντες ᾁδουσι, σχεδόν τι πάντων μελῶν κάλλιστον, ἀτεχνῶς, ὅπερ αὐτὸς λέγει,
[534ε] “εὕρημά τι Μοισᾶν.” ἐν τούτῳ γὰρ δὴ μάλιστά μοι δοκεῖ ὁ θεὸς ἐνδείξασθαι ἡμῖν, ἵνα μὴ διστάζωμεν, ὅτι οὐκ ἀνθρώπινά ἐστιν τὰ καλὰ ταῦτα ποιήματα οὐδὲ ἀνθρώπων, ἀλλὰ θεῖα καὶ θεῶν, οἱ δὲ ποιηταὶ οὐδὲν ἀλλ᾽ ἢ ἑρμηνῆς εἰσιν τῶν θεῶν, κατεχόμενοι ἐξ ὅτου ἂν ἕκαστος κατέχηται. ταῦτα ἐνδεικνύμενος ὁ θεὸς ἐξεπίτηδες διὰ τοῦ φαυλοτάτου
[535α] ποιητοῦ τὸ κάλλιστον μέλος ᾖσεν: ἢ οὐ δοκῶ σοι ἀληθῆ λέγειν, ὦ Ἴων;
Ἴων
ναὶ μὰ τὸν Δία, ἔμοιγε: ἅπτει γάρ πώς μου τοῖς λόγοις τῆς ψυχῆς, ὦ Σώκρατες, καί μοι δοκοῦσι θείᾳ μοίρᾳ ἡμῖν παρὰ τῶν θεῶν ταῦτα οἱ ἀγαθοὶ ποιηταὶ ἑρμηνεύειν.
Σωκράτης
οὐκοῦν ὑμεῖς αὖ οἱ ῥαψῳδοὶ τὰ τῶν ποιητῶν ἑρμηνεύετε;
Ἴων
καὶ τοῦτο ἀληθὲς λέγεις.
Σωκράτης
οὐκοῦν ἑρμηνέων ἑρμηνῆς γίγνεσθε;
Ἴων
παντάπασί γε.
[535β]
Σωκράτης
ἔχε δή μοι τόδε εἰπέ, ὦ Ἴων, καὶ μὴ ἀποκρύψῃ ὅτι ἄν σε ἔρωμαι: ὅταν εὖ εἴπῃς ἔπη καὶ ἐκπλήξῃς μάλιστα τοὺς θεωμένους, ἢ τὸν Ὀδυσσέα ὅταν ἐπὶ τὸν οὐδὸν ἐφαλλόμενον ᾁδῃς, ἐκφανῆ γιγνόμενον τοῖς μνηστῆρσι καὶ ἐκχέοντα τοὺς ὀιστοὺς πρὸ τῶν ποδῶν, ἢ Ἀχιλλέα ἐπὶ τὸν Ἕκτορα ὁρμῶντα, ἢ καὶ τῶν περὶ Ἀνδρομάχην ἐλεινῶν τι ἢ περὶ Ἑκάβην ἢ περὶ Πρίαμον, τότε πότερον ἔμφρων εἶ ἢ ἔξω
[535ξ] σαυτοῦ γίγνῃ καὶ παρὰ τοῖς πράγμασιν οἴεταί σου εἶναι ἡ ψυχὴ οἷς λέγεις ἐνθουσιάζουσα, ἢ ἐν Ἰθάκῃ οὖσιν ἢ ἐν Τροίᾳ ἢ ὅπως ἂν καὶ τὰ ἔπη ἔχῃ;
Ἴων
ὡς ἐναργές μοι τοῦτο, ὦ Σώκρατες, τὸ τεκμήριον εἶπες: οὐ γάρ σε ἀποκρυψάμενος ἐρῶ. ἐγὼ γὰρ ὅταν ἐλεινόν τι λέγω, δακρύων ἐμπίμπλανταί μου οἱ ὀφθαλμοί: ὅταν τε φοβερὸν ἢ δεινόν, ὀρθαὶ αἱ τρίχες ἵστανται ὑπὸ φόβου καὶ ἡ καρδία πηδᾷ.
[535δ]
Σωκράτης
τί οὖν; φῶμεν, ὦ Ἴων, ἔμφρονα εἶναι τότε τοῦτον τὸν ἄνθρωπον, ὃς ἂν κεκοσμημένος ἐσθῆτι ποικίλῃ καὶ χρυσοῖσι στεφάνοις κλάῃ τ᾽ ἐν θυσίαις καὶ ἑορταῖς, μηδὲν ἀπολωλεκὼς τούτων, ἢ φοβῆται πλέον ἢ ἐν δισμυρίοις ἀνθρώποις ἑστηκὼς φιλίοις, μηδενὸς ἀποδύοντος μηδὲ ἀδικοῦντος;
Ἴων
οὐ μὰ τὸν Δία, οὐ πάνυ, ὦ Σώκρατες, ὥς γε τἀληθὲς εἰρῆσθαι.
Σωκράτης
οἶσθα οὖν ὅτι καὶ τῶν θεατῶν τοὺς πολλοὺς ταὐτὰ ταῦτα ὑμεῖς ἐργάζεσθε;
[535ε]
Ἴων
καὶ μάλα καλῶς οἶδα: καθορῶ γὰρ ἑκάστοτε αὐτοὺς ἄνωθεν ἀπὸ τοῦ βήματος κλάοντάς τε καὶ δεινὸν ἐμβλέποντας καὶ συνθαμβοῦντας τοῖς λεγομένοις. δεῖ γάρ με καὶ σφόδρ᾽ αὐτοῖς τὸν νοῦν προσέχειν: ὡς ἐὰν μὲν κλάοντας αὐτοὺς καθίσω, αὐτὸς γελάσομαι ἀργύριον λαμβάνων, ἐὰν δὲ γελῶντας, αὐτὸς κλαύσομαι ἀργύριον ἀπολλύς.
Σωκράτης
οἶσθα οὖν ὅτι οὗτός ἐστιν ὁ θεατὴς τῶν δακτυλίων ὁ ἔσχατος, ὧν ἐγὼ ἔλεγον ὑπὸ τῆς Ἡρακλειώτιδος λίθου ἀπ᾽ ἀλλήλων τὴν δύναμιν λαμβάνειν; ὁ δὲ μέσος σὺ ὁ
[536α] ῥαψῳδὸς καὶ ὑποκριτής, ὁ δὲ πρῶτος αὐτὸς ὁ ποιητής: ὁ δὲ θεὸς διὰ πάντων τούτων ἕλκει τὴν ψυχὴν ὅποι ἂν βούληται τῶν ἀνθρώπων, ἀνακρεμαννὺς ἐξ ἀλλήλων τὴν δύναμιν. καὶ ὥσπερ ἐκ τῆς λίθου ἐκείνης ὁρμαθὸς πάμπολυς ἐξήρτηται χορευτῶν τε καὶ διδασκάλων καὶ ὑποδιδασκάλων, ἐκ πλαγίου ἐξηρτημένων τῶν τῆς Μούσης ἐκκρεμαμένων δακτυλίων. καὶ ὁ μὲν τῶν ποιητῶν ἐξ ἄλλης Μούσης, ὁ δὲ ἐξ ἄλλης ἐξήρτηται—ὀνομάζομεν δὲ αὐτὸ κατέχεται, τὸ δέ
[536β] ἐστι παραπλήσιον: ἔχεται γάρ—ἐκ δὲ τούτων τῶν πρώτων δακτυλίων, τῶν ποιητῶν, ἄλλοι ἐξ ἄλλου αὖ ἠρτημένοι εἰσὶ καὶ ἐνθουσιάζουσιν, οἱ μὲν ἐξ Ὀρφέως, οἱ δὲ ἐκ Μουσαίου: οἱ δὲ πολλοὶ ἐξ Ὁμήρου κατέχονταί τε καὶ ἔχονται. ὧν σύ, ὦ Ἴων, εἷς εἶ καὶ κατέχῃ ἐξ Ὁμήρου, καὶ ἐπειδὰν μέν τις ἄλλου του ποιητοῦ ᾁδῃ, καθεύδεις τε καὶ ἀπορεῖς ὅτι λέγῃς, ἐπειδὰν δὲ τούτου τοῦ ποιητοῦ φθέγξηταί τις μέλος, εὐθὺς ἐγρήγορας καὶ ὀρχεῖταί σου ἡ ψυχὴ καὶ εὐπορεῖς ὅτι
[536ξ] λέγῃς: οὐ γὰρ τέχνῃ οὐδ᾽ ἐπιστήμῃ περὶ Ὁμήρου λέγεις ἃ λέγεις, ἀλλὰ θείᾳ μοίρᾳ καὶ κατοκωχῇ, ὥσπερ οἱ κορυβαντιῶντες ἐκείνου μόνου αἰσθάνονται τοῦ μέλους ὀξέως ὃ ἂν ᾖ τοῦ θεοῦ ἐξ ὅτου ἂν κατέχωνται, καὶ εἰς ἐκεῖνο τὸ μέλος καὶ σχημάτων καὶ ῥημάτων εὐποροῦσι, τῶν δὲ ἄλλων οὐ φροντίζουσιν: οὕτω καὶ σύ, ὦ Ἴων, περὶ μὲν Ὁμήρου ὅταν τις μνησθῇ, εὐπορεῖς, περὶ δὲ τῶν ἄλλων ἀπορεῖς:
[536δ] τούτου δ᾽ ἐστὶ τὸ αἴτιον, ὅ μ᾽ ἐρωτᾷς, δι᾽ ὅτι σὺ περὶ μὲν Ὁμήρου εὐπορεῖς, περὶ δὲ τῶν ἄλλων οὔ, ὅτι οὐ τέχνῃ ἀλλὰ θείᾳ μοίρᾳ Ὁμήρου δεινὸς εἶ ἐπαινέτης.
Ἴων
σὺ μὲν εὖ λέγεις, ὦ Σώκρατες: θαυμάζοιμι μεντἂν εἰ οὕτως εὖ εἴποις, ὥστε με ἀναπεῖσαι ὡς ἐγὼ κατεχόμενος καὶ μαινόμενος Ὅμηρον ἐπαινῶ. οἶμαι δὲ οὐδ᾽ ἂν σοὶ δόξαιμι, εἴ μου ἀκούσαις λέγοντος περὶ Ὁμήρου.
Σωκράτης
καὶ μὴν ἐθέλω γε ἀκοῦσαι, οὐ μέντοι πρότερον
Plato, Ion
[533c] or Thamyras,1 or Orpheus,2 or Phemius,3 the rhapsode of Ithaca, but is at a loss and has no remark to offer on the successes or failures in rhapsody of Ion of Ephesus.
Ion
I cannot gainsay you on that, Socrates: but of one thing I am conscious in myself—that I excel all men in speaking on Homer and have plenty to say, and everyone else says that I do it well; but on the others I am not a good speaker. Yet now, observe what that means.
Socrates
[533d] what I take it to mean. For, as I was saying just now, this is not an art in you, whereby you speak well on Homer, but a divine power, which moves you like that in the stone which Euripides named a magnet,1 but most people call “Heraclea stone.” For this stone not only attracts iron rings, but also imparts to them a power whereby they in turn are able to do the very same thing as the stone,
[533e] and attract other rings; so that sometimes there is formed quite a long chain of bits of iron and rings, suspended one from another; and they all depend for this power on that one stone. In the same manner also the Muse inspires men herself, and then by means of these inspired persons the inspiration spreads to others, and holds them in a connected chain. For all the good epic poets utter all those fine poems not from art, but as inspired and possessed, and the good lyric poets likewise;
[534a] just as the Corybantian1 worshippers do not dance when in their senses, so the lyric poets do not indite those fine songs in their senses, but when they have started on the melody and rhythm they begin to be frantic, and it is under possession—as the bacchants are possessed, and not in their senses, when they draw honey and milk from the rivers—that the soul of the lyric poets does the same thing, by their own report. For the poets tell us, I believe, that the songs they bring us are the sweets they cull from honey-dropping founts
[534b] in certain gardens and glades of the Muses—like the bees, and winging the air as these do.1 And what they tell is true. For a poet is a light and winged and sacred thing, and is unable ever to indite until he has been inspired and put out of his senses, and his mind is no longer in him: every man, whilst he retains possession of that, is powerless to indite a verse or chant an oracle. Seeing then that it is not by art that they compose and utter so many fine things about the deeds of men—
[534c] as you do about Homer—but by a divine dispensation, each is able only to compose that to which the Muse has stirred him, this man dithyrambs, another laudatory odes, another dance-songs, another epic or else iambic verse; but each is at fault in any other kind. For not by art do they utter these things, but by divine influence; since, if they had fully learnt by art to speak on one kind of theme, they would know how to speak on all. And for this reason God takes away the mind of these men and uses them as his ministers, just as he does soothsayers and godly seers,
[534d] in order that we who hear them may know that it is not they who utter these words of great price, when they are out of their wits, but that it is God himself who speaks and addresses us through them. A convincing proof of what I say is the case of Tynnichus,1 the Chalcidian, who had never composed a single poem in his life that could deserve any mention, and then produced the paean2 which is in everyone's mouth, almost the finest song we have, simply—as he says himself—“an invention of the Muses.” For the god, as it seems to me,
[534e] intended him to be a sign to us that we should not waver or doubt that these fine poems are not human or the work of men, but divine and the work of gods; and that the poets are merely the interpreters of the gods, according as each is possessed by one of the heavenly powers. To show this forth, the god of set purpose sang the finest of songs through the meanest of poets:
[535a] or do you not think my statement true, Ion?
Ion
Yes, upon my word, I do: for you somehow touch my soul with your words, Socrates, and I believe it is by divine dispensation that good poets interpret to us these utterances of the gods.
Socrates
And you rhapsodes, for your part, interpret the utterances of the poets?
Ion
Again your words are true.
Socrates
And so you act as interpreters of interpreters?
Ion
Precisely.
[535b]
Socrates
Stop now and tell me, Ion, without reserve what I may choose to ask you: when you give a good recitation and specially thrill your audience, either with the lay of Odysseus1 leaping forth on to the threshold, revealing himself to the suitors and pouring out the arrows before his feet, or of Achilles2 dashing at Hector, or some part of the sad story of Andromache3 or of Hecuba,4 or of Priam,5 are you then in your senses, or are you carried out of yourself, and does your soul in an ecstasy suppose
[535c] herself to be among the scenes you are describing, whether they be in Ithaca, or in Troy, or as the poems may chance to place them?
Ion
How vivid to me, Socrates, is this part of your proof! For I will tell you without reserve: when I relate a tale of woe, my eyes are filled with tears; and when it is of fear or awe, my hair stands on end with terror, and my heart leaps.
[535d]
Socrates
Well now, are we to say, Ion, that such a person is in his senses at that moment,—when in all the adornment of elegant attire and golden crowns he weeps at sacrifice or festival, having been despoiled of none of his finery; or shows fear as he stands before more than twenty thousand friendly people, none of whom is stripping or injuring him?
Ion
No, on my word, not at all, Socrates, to tell the strict truth.
Socrates
And are you aware that you rhapsodes produce these same effects on most of the spectators also?
[535e] Ion. Yes, very fully aware: for I look down upon them from the platform and see them at such moments crying and turning awestruck eyes upon me and yielding to the amazement of my tale. For I have to pay the closest attention to them; since, if I set them crying, I shall laugh myself because of the money I take, but if they laugh, I myself shall cry because of the money I lose.
Socrates
And are you aware that your spectator is the last of the rings which I spoke of as receiving from each other the power transmitted from the Heraclean lodestone?
[536a] You, the rhapsode and actor, are the middle ring; the poet himself is the first; but it is the god who through the whole series draws the souls of men whithersoever he pleases, making the power of one depend on the other. And, just as from the magnet, there is a mighty chain of choric performers and masters and under-masters suspended by side-connections from the rings that hang down from the Muse. One poet is suspended from one Muse, another from another:
[536b] the word we use for it is “possessed,” but it is much the same thing, for he is held. And from these first rings—the poets—are suspended various others, which are thus inspired, some by Orpheus and others by Musaeus1; but the majority are possessed and held by Homer. Of whom you, Ion, are one, and are possessed by Homer; and so, when anyone recites the work of another poet, you go to sleep and are at a loss what to say; but when some one utters a strain of your poet, you wake up at once, and your soul dances
[536c] and you have plenty to say: for it is not by art or knowledge about Homer that you say what you say, but by divine dispensation and possession; just as the Corybantian worshippers are keenly sensible of that strain alone which belongs to the god whose possession is on them, and have plenty of gestures and phrases for that tune, but do not heed any other. And so you, Ion, when the subject of Homer is mentioned, have plenty to say, but nothing on any of the others. And when you ask me the reason
[536d] why you can speak at large on Homer but not on the rest, I tell you it is because your skill in praising Homer comes not by art, but by divine dispensation.
Ion
Well spoken, I grant you, Socrates; but still I shall be surprised if you can speak well enough to convince me that I am possessed and mad when I praise Homer. Nor can I think you would believe it of me yourself, if you heard me speaking about him.
Socrates
I declare I am quite willing to hear you, but not until
Plato. Plato in Twelve Volumes, Vol. 9 translated by W.R.M. Lamb. Cambridge, MA, Harvard University Press; London, William Heinemann Ltd. 1925.
[533c] or Thamyras,1 or Orpheus,2 or Phemius,3 the rhapsode of Ithaca, but is at a loss and has no remark to offer on the successes or failures in rhapsody of Ion of Ephesus.
Ion
I cannot gainsay you on that, Socrates: but of one thing I am conscious in myself—that I excel all men in speaking on Homer and have plenty to say, and everyone else says that I do it well; but on the others I am not a good speaker. Yet now, observe what that means.
Socrates
[533d] what I take it to mean. For, as I was saying just now, this is not an art in you, whereby you speak well on Homer, but a divine power, which moves you like that in the stone which Euripides named a magnet,1 but most people call “Heraclea stone.” For this stone not only attracts iron rings, but also imparts to them a power whereby they in turn are able to do the very same thing as the stone,
[533e] and attract other rings; so that sometimes there is formed quite a long chain of bits of iron and rings, suspended one from another; and they all depend for this power on that one stone. In the same manner also the Muse inspires men herself, and then by means of these inspired persons the inspiration spreads to others, and holds them in a connected chain. For all the good epic poets utter all those fine poems not from art, but as inspired and possessed, and the good lyric poets likewise;
[534a] just as the Corybantian1 worshippers do not dance when in their senses, so the lyric poets do not indite those fine songs in their senses, but when they have started on the melody and rhythm they begin to be frantic, and it is under possession—as the bacchants are possessed, and not in their senses, when they draw honey and milk from the rivers—that the soul of the lyric poets does the same thing, by their own report. For the poets tell us, I believe, that the songs they bring us are the sweets they cull from honey-dropping founts
[534b] in certain gardens and glades of the Muses—like the bees, and winging the air as these do.1 And what they tell is true. For a poet is a light and winged and sacred thing, and is unable ever to indite until he has been inspired and put out of his senses, and his mind is no longer in him: every man, whilst he retains possession of that, is powerless to indite a verse or chant an oracle. Seeing then that it is not by art that they compose and utter so many fine things about the deeds of men—
[534c] as you do about Homer—but by a divine dispensation, each is able only to compose that to which the Muse has stirred him, this man dithyrambs, another laudatory odes, another dance-songs, another epic or else iambic verse; but each is at fault in any other kind. For not by art do they utter these things, but by divine influence; since, if they had fully learnt by art to speak on one kind of theme, they would know how to speak on all. And for this reason God takes away the mind of these men and uses them as his ministers, just as he does soothsayers and godly seers,
[534d] in order that we who hear them may know that it is not they who utter these words of great price, when they are out of their wits, but that it is God himself who speaks and addresses us through them. A convincing proof of what I say is the case of Tynnichus,1 the Chalcidian, who had never composed a single poem in his life that could deserve any mention, and then produced the paean2 which is in everyone's mouth, almost the finest song we have, simply—as he says himself—“an invention of the Muses.” For the god, as it seems to me,
[534e] intended him to be a sign to us that we should not waver or doubt that these fine poems are not human or the work of men, but divine and the work of gods; and that the poets are merely the interpreters of the gods, according as each is possessed by one of the heavenly powers. To show this forth, the god of set purpose sang the finest of songs through the meanest of poets:
[535a] or do you not think my statement true, Ion?
Ion
Yes, upon my word, I do: for you somehow touch my soul with your words, Socrates, and I believe it is by divine dispensation that good poets interpret to us these utterances of the gods.
Socrates
And you rhapsodes, for your part, interpret the utterances of the poets?
Ion
Again your words are true.
Socrates
And so you act as interpreters of interpreters?
Ion
Precisely.
[535b]
Socrates
Stop now and tell me, Ion, without reserve what I may choose to ask you: when you give a good recitation and specially thrill your audience, either with the lay of Odysseus1 leaping forth on to the threshold, revealing himself to the suitors and pouring out the arrows before his feet, or of Achilles2 dashing at Hector, or some part of the sad story of Andromache3 or of Hecuba,4 or of Priam,5 are you then in your senses, or are you carried out of yourself, and does your soul in an ecstasy suppose
[535c] herself to be among the scenes you are describing, whether they be in Ithaca, or in Troy, or as the poems may chance to place them?
Ion
How vivid to me, Socrates, is this part of your proof! For I will tell you without reserve: when I relate a tale of woe, my eyes are filled with tears; and when it is of fear or awe, my hair stands on end with terror, and my heart leaps.
[535d]
Socrates
Well now, are we to say, Ion, that such a person is in his senses at that moment,—when in all the adornment of elegant attire and golden crowns he weeps at sacrifice or festival, having been despoiled of none of his finery; or shows fear as he stands before more than twenty thousand friendly people, none of whom is stripping or injuring him?
Ion
No, on my word, not at all, Socrates, to tell the strict truth.
Socrates
And are you aware that you rhapsodes produce these same effects on most of the spectators also?
[535e] Ion. Yes, very fully aware: for I look down upon them from the platform and see them at such moments crying and turning awestruck eyes upon me and yielding to the amazement of my tale. For I have to pay the closest attention to them; since, if I set them crying, I shall laugh myself because of the money I take, but if they laugh, I myself shall cry because of the money I lose.
Socrates
And are you aware that your spectator is the last of the rings which I spoke of as receiving from each other the power transmitted from the Heraclean lodestone?
[536a] You, the rhapsode and actor, are the middle ring; the poet himself is the first; but it is the god who through the whole series draws the souls of men whithersoever he pleases, making the power of one depend on the other. And, just as from the magnet, there is a mighty chain of choric performers and masters and under-masters suspended by side-connections from the rings that hang down from the Muse. One poet is suspended from one Muse, another from another:
[536b] the word we use for it is “possessed,” but it is much the same thing, for he is held. And from these first rings—the poets—are suspended various others, which are thus inspired, some by Orpheus and others by Musaeus1; but the majority are possessed and held by Homer. Of whom you, Ion, are one, and are possessed by Homer; and so, when anyone recites the work of another poet, you go to sleep and are at a loss what to say; but when some one utters a strain of your poet, you wake up at once, and your soul dances
[536c] and you have plenty to say: for it is not by art or knowledge about Homer that you say what you say, but by divine dispensation and possession; just as the Corybantian worshippers are keenly sensible of that strain alone which belongs to the god whose possession is on them, and have plenty of gestures and phrases for that tune, but do not heed any other. And so you, Ion, when the subject of Homer is mentioned, have plenty to say, but nothing on any of the others. And when you ask me the reason
[536d] why you can speak at large on Homer but not on the rest, I tell you it is because your skill in praising Homer comes not by art, but by divine dispensation.
Ion
Well spoken, I grant you, Socrates; but still I shall be surprised if you can speak well enough to convince me that I am possessed and mad when I praise Homer. Nor can I think you would believe it of me yourself, if you heard me speaking about him.
Socrates
I declare I am quite willing to hear you, but not until
Plato. Plato in Twelve Volumes, Vol. 9 translated by W.R.M. Lamb. Cambridge, MA, Harvard University Press; London, William Heinemann Ltd. 1925.
Kulcsszavak Pl. Ion 533c-536.d
ῥαψῳδ-έω ,
*A. [select] recite poems, esp. those of Homer, τί δή ποτ᾽ οὖν . . ῥαψῳδεῖς . . περιιών; Pl.Ion 541b; ἅ τε εὖ ῥαψῳδεῖ καὶ ἃ μή ib.533c, cf. Isoc. 12.33; of the poems of Archilochus, Clearch.61; “τι περί τινος” Luc. JConf.1:—Pass., of the poems, to be recited, Lycurg.102.
2. [select] abs., Arist.Po.1462a6; of Homer and Hesiod, ῥ. περιιόντας reciting or declaiming, Pl.R.600d; “Ξενοφάνης . . ἐρραψῴδει τὰ ἑαυτοῦ” D.L.9.18; “ἐμμέτρως ἐρρ. πρὸς ἄνδρας φίλους” Luc.Nec.1.
3. [select] in contemptuous sense, repeat by heart or rote, declaim, “οὐδὲν . . ἀλλ᾽ ἢ ῥαψῳδήσουσιν οἱ πρέσβεις περιιόντες” D.14.12, cf. 25.2, Luc.DMort.15.2; [“λόγοι] ῥαψῳδούμενοι ἄνευ ἀνακρίσεως καὶ διδαχῆς” Pl.Phdr.277e, cf. Phld.Rh.2.39S.
II. [select] c. acc. pers., sing of one, celebrate, “τοὺς ἀνδρείους” Ar.Ec. 679.
Μοῦσα , ης, h(, Aeol. Μοῖσα Sapph.84, IG42(1).130.16, etc.; Dor. Μῶσα Alcm. 1, etc.; Lacon. Μῶἁ (for Μῶσα) Ar.Lys.1298, cf. An. Ox.1.277:—Muse,
A. [select] “Ὀλυμπιάδες Μ., Διὸς αἰγιόχοιο θυγατέρες” Il.2.491, cf. Hes.Th.25, etc.; nine in number, first in Od.24.60; named in Hes.Th.75 sqq.
II. [select] μοῦσα, as Appellat., music, song, “μ. στυγερά” A.Eu.308 (anap.); “εὔφαμος” Id.Supp.695 (lyr.); “καναχὰν . . θείας ἀντίλυρον μούσας” S.Tr.643 (lyr.); “Αἰακῷ μοῖσαν φέρειν” Pi.N.3.28; τίς ἥδε μοῦσα; what strain is this ? E.Ion757; “ἄλυρος μ.” Id.Ph.1028 (lyr.); “διὰ μούσας ᾖξα” Id.Alc.962 (lyr.): in Prose, “ᾁδειν ἀδόκιμον μ.” Pl.Lg. 829d: in pl., μοῦσαι Σφιγγός, of the Sphinx's riddle, E.Ph.50; esp. liberal arts, accomplishments, “τὰς μούσας ἀφανίζων” Ar.Nu.972; “ἀπαίδευτον τῶν περὶ τὰς νυμφικὰς μ.” Pl.Lg.775b: also in sg., “τῆς ἀληθινῆς μ. ἠμεληκέναι” Id.R.548b; κοινωνεῖν μούσης ib.411c.
2. [select] αὕτη ἡ Σωκράτους μ. that was Socrates's way, Gal.UP1.9.
ἐνθουσι-άζω , in Trag. always ἐνθουσιάω (also in Ph., 1.148, al.); in Pl. both forms occur (v. infr.):—
A. [select] to be inspired or possessed by a god, to be in ecstasy, “ἐνθουσιᾷ δὴ δῶμα” A.Fr.58; “ὥσπερ ἐνθουσιῶν” X.Cyr.1.4.8; “ἡ ψυχὴ . . ἐνθουσιάζουσα” Pl.Ion535c, cf. 536b; “ἐνθουσιάζοντες” Id.Ap. 22c; “ἐνθουσιῶντες” Id.Phdr.253a; “ἐνθουσιάσας” Id.Tht.180c; ὑπὸ τῶν “Νυμφῶν . . ἐνθουσιάσω” Id.Phdr.241e; “ὑφ᾽ ἡδονῆς ἐνθουσιᾷ” Id.Phlb.15e; “ἐνθουσιάσαι ποιεῖν τοὺς ἀκροατάς” Arist.Rh.1408b14: c. dat., “ἐνθουσιᾷς τοῖς σαυτοῦ κακοῖς” E.Tr. 1284; “ταῖς φωναῖς -άζοντες” Phld.Lib.p.4 O.; “περὶ φιλοσοφίαν” Plu.Cat.Ma.22; “εἴς τι” Ael.NA4.31; “προ᾽ς τὴν ἀλήθειαν” Jul.Or.4.136b.
II. [select] c. acc., inspire, “ἔρωτας ἐνεθουσίασε θεοῖς” Herm. ap. Stob.1.49.44 codd. ἐνθουσί-ασις , εως, h(, = sq., Pl.Phdr.249e (pl.), Ph.2.344 (pl.), Iamb.Myst.3.6.
μελοποι-ός , o(,
A. [select] maker of songs, lyric poet, Ar. Ra.1250, Pl.Prt.326a, etc.; ὁ Θηβαῖος μ., of Pindar, Ath.1.3c; ἡ Λεσβία μ., of Sappho, Luc.Im.18.
II. [select] as Adj., generally, tuneful, “μέριμνα” E.Rh.550 (lyr.).
Κορυ^βαντ-ιάω ,
*A. [select] celebrate the rites of the Corybantes, to be filled with Corybantic frenzy, Pl.Cri.54d, Smp.215e, Ion 533e, 536c; K. περί τι to be infatuated about a thing, Longin.5: in Ar.V.8, comically, of a drowsy person nodding and suddenly starting up, cf. Plin.HN11.147.
ὀρχέομαι , impf. ὠρχούμην: Ep. 3pl. pres. ὀρχεῦνται, impf. ὠρχεῦντο (v. infr.): fut.
A. [select] “ὀρχήσομαι” Ar.Th.1178, etc.: aor. “ὠρχησάμην” Anacr. 69, Hdt.6.129 ; inf. “ὀρχήσασθαι” Hom. (v. infr.):—Pass., aor. “ὠρχήθην” Euph.87:—dance, “ἠΐθεοι καὶ παρθένοι . . ὠρχεῦντ᾽” Il.18.594 ; “Ἅλιον καὶ Λαοδάμαντα κέλευσε μουνὰξ ὀρχήσασθαι” Od.8.371, cf. 14.465 ; “πόσσ᾽ ἁπαλοῖσιν ὀρχεῦνται” Hes.Th.4 ; ὀ. πρὸς ὅπλα, of the Pyrrhic dance, Demetr.Sceps. ap. Ath.4.155b ; “ἐν ῥυθμῷ” X.Cyr.1.3.10 ; ὀρχεῖσθαι ταῖς χερσί (cf. χειρονομέω) Antiph.113.1 : c. acc. loci, δώσω τοι Τεγέην ποσσίκροτον ὀρχήσασθαι to dance in or on, Orac. ap. Hdt. 1.66, cf. Euph.l.c. (Pass.): also c. acc. cogn., Λακωνικὰ σχημάτια ὀρχεῖσθαι dance Laconian steps, Id.6.129 ; “ὀ. τὸ Περσικόν” X.Cyr.8.4.12 ; “ὀ. πρὸς τὸν αὐλὸν σχήματα” Id.Smp.7.5 ; “ὀ. τὸν ὅρμον” Luc.Salt.II sq., etc.:—Pass., “τῶν ὕμνων οἳ μὲν ὠρχοῦντο οἳ δὲ οὐκ ὠρχοῦντο” Ath.14.631d.
2. [select] represent by dancing or pantomime, ὀρχεῖσθαι τὴν τοῦ Κρόνου τεκνοφαγίαν, ὀ. τὸν Αἴαντα, Luc.Salt.80, 83, cf. AP9.248 (Boeth.), 11.254 (Lucill.).
II. [select] metaph., leap, bound, “ὀρχεῖται δὲ καρδία φόβῳ” A.Ch.166, cf. Anaxandr.59 ; Θεσσαλίη ὠρχήσατο Thessaly shook, trembled, Call.Del.139.
III. [select] Act. ὀρχέω , make to dance (v. Pl.Cra.407a), is used by Ion Trag.50, ἐκ τῶν ἀέλπτων μᾶλλον ὤρχησεν φρένας made my heart leap (so codd. Ath., ὤρχησαι Nauck); but ὀρκῆσι in Ar.Th.1179 is a barbarism for ὀρχῆται.
ἁρμονία , h(, (ἁρμόζω)
A. [select] means of joining, fastening, “γόμφοις μιν . . καὶ ἁρμονίῃσιν ἄρηρεν” Od.5.248; of a ship, ὄφρ᾽ ἂν . . ἐν ἁρμονίῃσιν ἀρήρῃ ib.361.
2. [select] joint, as between a ship's planks, τὰς ἁ. ἐν ὦν ἐπάκτωσαν τῇ βύβλῳ caulked the joints with papyrus, Hdt.2.96; “τῶν ἁρμονιῶν διαχασκουσῶν” Ar.Eq.533; also in masonry, “αἱ τῶν λίθων ἁ.” D.S.2.8, cf. Paus.8.8.8,9.33.7.
3. [select] in Anatomy, suture, Hp. Off.25, Oss.12; union of two bones by mere apposition, Gal.2.737; also in pl., adjustments, “πόρων” Epicur.Fr.250.
4. [select] framework, “ῥηγνὺς ἁρμονίαν . . λύρας” S.Fr.244; “βοός” Philostr.Im.1.16; esp. of the human frame, “ἁρμονίην ἀναλυέμεν ἀνθρώποιο” Ps.-Phoc.102; “νεύρων καὶ κώλων ἔκλυτος ἁ.” AP7.383 (Phil.); “τὰς ἁ. διαχαλᾷ τοῦ σώματος” Epicr.2.19.
b. [select] of the mind, δύστροπος γυναικῶν ἁ. women's perverse temperament, E.Hipp.162 (lyr.).
c. [select] framework of the universe, Corp.Herm. 1.14.
II. [select] covenant, agreement, in pl., “μάρτυροι . . καὶ ἐπίσκοποι ἁρμονιάων” Il.22.255.
III. [select] settled government, order, “τὰν Διὸς ἁ.” A.Pr.551 (lyr.).
IV. [select] in Music, stringing, “ἁ. τόξου καὶ λύρας” Heraclit.51, cf. Pl.Smp.187a: hence, method of stringing, musical scale, Philol.6, etc., Nicom.Harm.9; esp. octave, “ἐκ πασῶν ὀκτὼ οὐσῶν [φωνῶν] μίαν ἁ. συμφωνεῖν” Pl.R.617b; “ἑπτὰ χορδαὶ ἡ ἁ.” Arist. Metaph.1093a14, cf. Pr.919b21; of the planetary spheres, in Pythag. theory, Cael.290b13, Mu.399a12, etc.
2. [select] generally, music, “αὐτῷ δὲ τῷ ῥυθμῷ μιμοῦνται χωρὶς ἁ.” Id.Po.1447a26.
3. [select] special type of scale, mode, “ἁ. Λυδία” Pi.N.4.46; Αἰολίς or -ηΐς Pratin.Lyr.5, Lasus I, cf. Pl.R.398e, al., Arist.Pol.1276b8, 1341b35, etc.
b. [select] esp. the enharmonic scale, Aristox.Harm.p.I M., Plu.2.1135a, al.
4. [select] ἁρμονίαν λόγων λαβών a due arrangement of words, fit to be set to music, Pl.Tht.175e.
5. [select] intonation or pitch of the voice, Arist.Rh. 1403b31.
6. [select] metaph. of persons and things, harmony, concord, Pl.R.431e, etc.
V. [select] personified, as a mythical figure, h.Ap.195, Hes.Th.937, etc.; Philos., like φιλότης, principle of Union, opp. Νεῖκος, Emp.122.2, cf. 27.3.
VI. [select] Pythag. name for three, Theol. Ar.16.
VII. [select] name of a remedy, Gal.13.61; of a plaster, Paul. Aeg.3.62.
ῥυθμός , Ion. ῥυσμός (v. infr. 111, IV), o
(ῥέω):—
A. [select] any regular recurring motion (“πᾶς ῥ. ὡρισμένῃ μετρεῖται κινήσει” Arist.Pr.882b2):
I. [select] measured motion, time, whether in sound or motion, Democr.15c; = ἡ τῆς κινήσεως τάξις, Pl.Lg.665a, cf. 672e; “ὁ ῥ. ἐκ τοῦ ταχέος καὶ βραδέος, ἐκ διενηνεγμένων πρότερον, ὕστερον δὲ ὁμολογησάντων γέγονε” Id.Smp.187b, cf. Suid. s.v.; rhythm, opp. μέτρον and ἁρμονία, Ar. Nu.638 sq., Pl.R.397b, 398d, 601a, Arist.Rh.1403b31; “λόγοι μετὰ μουσικῆς καὶ ῥυθμῶν πεποιημένοι” Isoc.15.46; of Prose rhythm, Arist.Rh.1408b29, D.H.Comp.17: defined by Aristox.Rhyth.1, Aristid.Quint.1.13.
2. [select] special phrases: ἐν ῥυθμῷ in time, of dancing, marching, etc., “βαίνειν ἐν ῥ.” Pl.Lg.670b, cf. X.An.5.4.14; “ὀρχεῖσθαι” Id.Cyr.1.3.10; ἐν τῷ ῥ. ἀναπνεῖν respire regularly, Arist.Pr.882b1; so “σωζόμενος ῥ.” A.Ch.797 (lyr.); “μετὰ ῥυθμοῦ βαίνοντες” Th.5.70; ῥυθμὸν χορείας ὑπάγειν keep time, Ar.Th.956 (lyr.); θάττονα ῥυθμὸν ἐπάγειν play in quicker time, X.Smp.2.22; “πυρριχίῳ δρόμῳ καὶ ῥυθμῷ” Hdn.4.2.9, cf. Plb.4.20.6: pl., paces, Alcid.Soph. 17.
II. [select] measure, proportion or symmetry of parts, at rest as well as in motion, κατὰ τὸν αὐτὸν ῥ. Pl.Lg.728e.
III. [select] generally, proportion, arrangement, order, “ῥυθμῷ τινι” E.Cyc.398 (codd., but θ᾽ ἑνὶ is prob.); οὐκ ἀπὸ ῥυσμοῦ εἰκάζω not without reason, Call. Epigr.44.5.
IV. [select] state or condition of anything, temper, disposition, Thgn.964 (coupled with ὀργή and τρόπος)“; οἷος ῥυσμὸς ἀνθρώπους ἔχει” Archil.66.7; “ὅσοι χθονίους ἔχουσι ῥυσμοὺς καὶ χαλεπούς” Anacr. 74; μένει . . χρῆμ᾽ οὐδὲν ἐν ταὐτῷ ῥ. Eup.356.
V. [select] form, shape of a thing, Democr.5i; identified by Arist. with σχῆμα, Metaph.985b16, 1042b14; μετέβαλον τὸν ῥ. τῶν γραμμάτων changed the form or shape of the letters, Hdt.5.58; of Chian boots, Hp.Art.62; of the shape of a cup, Alex.59; of a breastplate, X.Mem.3.10.10; [τοῦ θυσιαστηρίου] LXX 4 Ki.16.10; “Αὐτονόας ῥ. ωὑτός” Theoc.26.23; so of the natural features of a country, D.P.271,620; structure of a substance, κεγχροειδὲς τῷ ῥ., τῷ ῥ. σπογγῶδες, Dsc.5.77,118.
VI. [select] manner, fashion of a thing, “Ἕλλην ῥ. πέπλων” E.Heracl.130; τίνι ῥ. φόνου; by what kind of slaughter? Id.El.772, cf. Supp.94; ἐν τριγώνοις ῥυθμοῖς triangular-wise, A.Fr.78. [υ^ by nature, A.Ch.797 (lyr.), E.Supp.94, etc.; υ_ by position in Thgn.964, etc.]
Βακχ-εύω ,
A. [select] celebrate the mysteries of Bacchus, Hdt.4.79.
2. [select] speak or act like one frenzy-stricken, S.Ant. 136 (lyr.), E.Ion1204, etc.: also of places, “β. στέγη” A.Fr.58, cf. E. IT1243(lyr.).
II. [select] causal, inspire with frenzy, “αὗταί σε βακχεύουσι συγγενῆ φόνον;” E.Or.411, cf.HF966:—Pass., Id.Or.835; “φιλοσοφία εὖ μάλα βεβακχ.” full of mysticism, Plu.2.580c.
2. [select] initiate in the Bacchic mysteries, in Pass., Schwyzer792 (Cyme, v B. C.).
Βάκχη , h(,
*A. [select] Bacchante, A.Eu.25, S.Ant.1122 (lyr.), Ar.Nu.605, Pl. Ion534a, etc.: generally, Βάκχη Ἅιδου frantic handmaid of Hades, E.Hec.1077; “β. νεκύων” Id.Ph.1489 (lyr.).
II. [select] a kind of pear, Nic. Al.354, Th.513.
δι_θύραμβος [υ^], ὁ, metapl. acc. sg.
A. [select] “διθύραμβα” Pi.Fr.86:—dithyramb, Archil.77, Epich.132, Hdt.1.23, Pi.O.13.19, Pherecr.145.11, Pl.Lg.700b, Arist.Pol.1342b7, Pr.918b18, etc.; “μιξοβόας δ.” A.Fr. 355: metaph. of bombastic language, “τοσουτονὶ δ. ᾁσας” Pl.Hp.Ma. 292c; “οὐκέτι πόρρω διθυράμβων φθέγγομαι” Id.Phdr.238d.
II. [select] a name of Dionysus, E.Ba.526 (lyr.), Philod.Scarph.1:—hence Δι^θυραμβογενής , AP9.524. (Pi. is said to have written it λυ_θίραμβος (Fr.85)—as if from λῦθι ῥάμμα, the cry of Bacchus when sewn up in his father's thigh.)
ἐγκώμιος , ον, (κώμη)
A. [select] in the village: hence, native, common, v.l. for ἐγχώριος, Hes.Op.344.
II. [select] (κῶμος) belonging to a κῶμος, esp. that which escorted a victor in the games: hence, belonging to the praise of a conqueror, ἐ. μέλη, ὕμνοι, Pi.O.2.47, P.10.53; “ἐ. ἀμφὶ τρόπον” Id.O.10(11).77; στεφάνων ἐγκώμιος τεθμός the law of praise for prizes won, ib.13.29.
2. [select] Subst. ἐγκώμιον, τό, laudatory ode, D.S.11.11, Ath.13.573f; generally, eulogy, panegyric, Ar.Nu.1205, D.18.207 (pl.), Thphr.Char.3.2, etc.; “ἐγκώμια παλαιῶν ἀνδρῶν” Pl.Prt.326a; ἐ. ει^ς τινα, κατά τινος, Pl.Min.319c, D.6.9; ἐ. λογικόν in prose, IG7.2727 (Acraephia); ἐ. ἐπικόν ib.419 (Oropus); ὁ ἔπαινος τῆς ἀρετῆς, opp. τὰ ἐ. τῶν ἔργων, Arist.EN1101b33, cf. Rh.1367b28.
ὑπόρχ-ημα , ατος, to/,
*A. [select] song accompanied by dancing and pantomimic action, Pl. Ion534c, D.H.Dem.7, Plu.2.1134c, Luc.Salt.16.
ἴαμβος [ι^], ὁ,
A. [select] iambus, the metrical foot ^ _, Pl.R.400b, etc.; “ὁ ἴ. αὐτὴ . . ἡ λέξις ἡ τῶν πολλῶν” Arist.Rh.1408b33; δάκτυλος ὁ κατὰ ἴαμβον, = ^ _ ^ _, Anon.Rhythm.Oxy.2.3, Aristid.Quint.1.17.
*II. [select] iambic verse, Archil.22 (pl.) Pl.Ion534c, etc.; “ἴαμβος τρίμετρος” Hdt. 1.12; “ἴ. Ἱππώνακτος” Ar.Ra.661, cf. Arist.Rh.1418b29, Po.1448b33.
III. [select] iambic poem, such as those of Callimachus, Str.8.3.30; esp. lampoon, mostly in pl., Pl.Lg.935e, Arist.Pol.1336b20; “ἐφ᾽ ὑβριστῆρας ἰάμβους” AP7.352 (Mel.(?)): also in Prose, οἱ καταλογάδην ἴ. Ath.10.445b.
b. [select] of the persons lampooned, Luc.Pseudol. 2.
2. [select] a kind of extempore play got up by αὐτοκάβδαλοι, who themselves had the same name, Semus 20. (For the termination perh. cf. διθύραμβος, θρίαμβος.)
ὑπο-κρι^τής , οῦ, o(,
A. [select] one who answers:
I. [select] interpreter or expounder, “τῆς δι᾽ αἰνιγμῶν φήμης” Pl.Ti. 72b; “ὀνείρων” Luc.Somn.17, etc.
II. [select] in Att., one who plays a part on the stage, actor, Ar.V.1279, Pl.R.373b, Chrm. 162d, Smp.194b, X. Mem.2.2.9, etc.
2. [select] of an orator, ποικίλος ὑ. καὶ περιττός (of Dem.) Phld.Rh.1.197 S.; one who delivers, recites, declaimer, “ἐπῶν” Tim.Lex. s.v. ῥαψῳδοί; rhapsodist, D.S.14.109, 15.7; this sense or sense 11.1 is possible in PCair.Zen.4.44 (iii B. C.).
3. [select] metaph., pretender, dissembler, hypocrite, LXX Jb.34.30, 36.13, Ev.Matt.23.13, al.
χορ-ευτής , οῦ, o(,
A. [select] choral dancer, Pi.P.12.27, Ar.Ach.443, Pl.R.373b, etc.; “τῶν χ. ἐξάγειν τινά” And.4.20; “τὰ ἐπινίκια ἔθυεν αὐτός τε καὶ οἱ χ.” Pl.Smp. 173a: metaph., [θεοῦ] χ. the devoted follower of a god, Id.Phdr.252d; of a philosopher, “οἱ Πυθαγόρου καὶ Πλάτωνος καὶ Ἀριστοτέλους χ.” Jul.Or.6.197d: generally, pupil, Lib.Or.54.38.
II. [select] epith. of Pan, Pi.Fr.99; of Dionysus, Orph. “Εὐχή” 9.
2. [select] used of dolphins, from their movements, Anacreont.55.24; of cicadae, Ael.NA1.20
δι^δάσκα^λ-ος , o( (but fem., h.Merc.556, A.Pr.110, cf.
A. [select] “ξυμφορὴ γίνεται δ.” Democr.76; “πενία ἐπινοιῶν δ.” Secund.Sent.10), teacher, master, μαντείης h.Merc. l.c.; “δ. τέχνης πάσης βροτοῖς” A.Pr. l.c.; “δεινῶν ἔργων” Lys.12.78; “πόλεμος βίαιος δ.” Th.3.82; διδάσκαλον λαβεῖν get a master, [S.]Fr.1120.8; εἰς διδασκάλου (sc. οἶκον) φοιτᾶν go to school, Pl.Alc.1.109d, etc.; διδασκάλων or ἐκ διδασκάλων ἀπαλλαγῆναι leave school, Id.Grg.514c, Prt.326c; ἐν διδασκάλων at school, Id.Alc.1.110b.
II. [select] trainer of a dithyrambic or dramatic chorus, producer of a play, etc., “ἴτω δὲ καὶ τραγῳδίας ὁ Κλεομάχου δ.” Cratin. 256, cf. Ar.Av.912, Ach.628, Antipho 6.13, etc.; “δ. τοῦ μεγάλου χοροῦ” SIG698.8 (Delph., ii B. C.).
ὑποδι^δάσκα^λος , o(,
*A. [select] under-teacher, of a chorus, Pl.Ion536a; “ὑ. τραγικός” SIG692A31 (Delph., ii B. C.), al.: generally, Cic.Fam.9.18.4.
ὀρχέομαι , impf. ὠρχούμην: Ep. 3pl. pres. ὀρχεῦνται, impf. ὠρχεῦντο (v. infr.): fut.
A. [select] “ὀρχήσομαι” Ar.Th.1178, etc.: aor. “ὠρχησάμην” Anacr. 69, Hdt.6.129 ; inf. “ὀρχήσασθαι” Hom. (v. infr.):—Pass., aor. “ὠρχήθην” Euph.87:—dance, “ἠΐθεοι καὶ παρθένοι . . ὠρχεῦντ᾽” Il.18.594 ; “Ἅλιον καὶ Λαοδάμαντα κέλευσε μουνὰξ ὀρχήσασθαι” Od.8.371, cf. 14.465 ; “πόσσ᾽ ἁπαλοῖσιν ὀρχεῦνται” Hes.Th.4 ; ὀ. πρὸς ὅπλα, of the Pyrrhic dance, Demetr.Sceps. ap. Ath.4.155b ; “ἐν ῥυθμῷ” X.Cyr.1.3.10 ; ὀρχεῖσθαι ταῖς χερσί (cf. χειρονομέω) Antiph.113.1 : c. acc. loci, δώσω τοι Τεγέην ποσσίκροτον ὀρχήσασθαι to dance in or on, Orac. ap. Hdt. 1.66, cf. Euph.l.c. (Pass.): also c. acc. cogn., Λακωνικὰ σχημάτια ὀρχεῖσθαι dance Laconian steps, Id.6.129 ; “ὀ. τὸ Περσικόν” X.Cyr.8.4.12 ; “ὀ. πρὸς τὸν αὐλὸν σχήματα” Id.Smp.7.5 ; “ὀ. τὸν ὅρμον” Luc.Salt.II sq., etc.:—Pass., “τῶν ὕμνων οἳ μὲν ὠρχοῦντο οἳ δὲ οὐκ ὠρχοῦντο” Ath.14.631d.
2. [select] represent by dancing or pantomime, ὀρχεῖσθαι τὴν τοῦ Κρόνου τεκνοφαγίαν, ὀ. τὸν Αἴαντα, Luc.Salt.80, 83, cf. AP9.248 (Boeth.), 11.254 (Lucill.).
II. [select] metaph., leap, bound, “ὀρχεῖται δὲ καρδία φόβῳ” A.Ch.166, cf. Anaxandr.59 ; Θεσσαλίη ὠρχήσατο Thessaly shook, trembled, Call.Del.139.
III. [select] Act. ὀρχέω , make to dance (v. Pl.Cra.407a), is used by Ion Trag.50, ἐκ τῶν ἀέλπτων μᾶλλον ὤρχησεν φρένας made my heart leap (so codd. Ath., ὤρχησαι Nauck); but ὀρκῆσι in Ar.Th.1179 is a barbarism for ὀρχῆται.
σχῆμα , ατος, to/, (ἔχω, σχεῖν)
A. [select] form, shape, figure, E.Ion238, Ar.V. 1170, Pl.R.601a, Thphr.Ign.52, etc.; “καθ᾽ Ἡρακλέα τὸ ς. καὶ τὸ λῆμ᾽ ἔχων” Ar.Ra.463; “διερεισαμένη τὸ ς. τῇ βακτηρίᾳ” Id.Ec.150; “Ἱππομέδοντος ς. καὶ μέγας τύπος” A.Th.488: in Trag. freq. in periphr., ὦ ς. πέτρας, = πέτρα, S.Ph.952; “ς. καὶ πρόσωπον εὐγενὲς τέκνων” E.Med. 1072; “ς. δόμων” Id.Alc.911 (anap.), cf. Hec.619; Ἀσιάτιδος γῆς ς. Id.Andr.1: in pl., of one person, φωτὸς κακούργου σχήματ' Id.Fr.210; μορφῆς σχῆμα or σχήματα, Id.Ion992, IT292, cf. IG3.1417.14; “τὴν αὐτὴν τοῦ ς. μορφήν” Arist.PA640b34 (but ἐν μορφῇ θεοῦ ὑπάρχων, opp. σχήματι εὑρεθεὶς ὡς ἄνθρωπος, Ep.Phil.2.6 and 8); “τὰ ς. καὶ χρώματα” Pl.R.373b; “σχήμασι καὶ χρώμασι μιμεῖσθαι” Arist.Po.1447a19; κατὰ χρόαν ἢ ὄγκον ἢ ς. [τοῦ προσώπου] Gal.18(2).309; ὅσα παθήματα γίνεται ἀπὸ σχημάτων caused by peculiar conformations, Hp.VM22.
b. [select] atom, imagined as differing from other atoms mainly in shape, “ἐκ περιφερῶν συγκεῖσθαι σχημάτων” Democr. ap. Thphr.Sens.65; ἐκ μεγάλων ς. καὶ πολυγωνίων ib.66, cf. 67,al., Od.64.
2. [select] appearance, opp. the reality, οὐδὲν ἄλλο πλὴν . . ς. a mere outside, E.Fr.25, cf. 360.27, Pl.R.365c; show, pretence, “ἦν δὲ τοῦτο . . ς. πολιτικὸν τοῦ λόγου” Th.8.89; “οὐ σχήμασι, ἀλλὰ ἀληθείᾳ” Pl.Epin.989c; σχήματι ξενίας under the show of . . , Plu.Dio16, etc.
3. [select] bearing, air, mien, Hdt.1.60; “τύραννον ς. ἔχειν” S.Ant.1169; ἄφοβον δεικνὺς ς. X.Cyr.6.4.20; ταπεινὸν ς. ib.5.1.5; ὑπηρέτου ς. D.23.210; “τῷ σχήματι, τῷ βλέμματι, τῇ φωνῇ” Id.21.72; ὄμμασι καὶ σχήμασι καὶ βαδίς ματι φαιδρός gestures, X.Ap.27, cf. Mem. 3.10.5; esp. outside show, pomp, τὸ τῆς ἀρχῆς ς. Pl.Lg.685c; dignity, rank, οὐ κατὰ ς. φέρειν τι in a manner not dignified or seemly, Plb.3.85.9, cf. 5.56.1, Plu.2.44a, 631c, Luc.Peregr.25; πρεσβείας, ἱερείας ς., Aristid.1.490 J., Inscr.Olymp.941; ἔχει τι ς., c. inf., there's something to be said for . . , E.Tr.470, cf. IA983; of the stately air of a horse, X.Eq.1.8,7.10.
4. [select] fashion, manner, “ἑτέρῳ ς. ζητεῖν” Hp.VM2; ς. μὲν γὰρ Ἑλλάδος στολῆς ὑπάρχει fashion of dress, S.Ph. 223; “ς. τοῦ κόσμου” E.Ba.832, 1 Ep.Cor.7.31; ς. βίου, μάχης, E.Med. 1039, Ph.252 (lyr.); τούτῳ . . κατῴκουν τῷ ς. Pl.Criti.112d.
b. [select] dress, equipment, “ἀρχαίῳ ς. λαμπρός” Ar.Eq.1331; βαβαιὰξ τοῦ ς. Id.Ach.64, cf. X.Oec.2.4, Theoc.10.35, App.BC1.16; τὸ τῆς πορφύρας ς., = Lat. latus clavus, IGRom.3.1422 (Prusias); ἐν τῷ ς. ἱερέ[ως] ib. 69.17 (ibid., cf. Glotta 14.80), cf.Sammelb.7449.10 (V A.D.), PLond.5.1729.25 (vi A.D.).
5. [select] character, role, μεταβαλεῖν τὸ ς. Pl.Alc.1.135d; “πάντα ς. ποιεῖν” Id.R.576a; “ἐν μητρὸς σχήματι” Id.Lg.918e, cf. 859a; ἀπολαβεῖν τὸ ἑαυτῶν ς. to recover their proper character, X.Cyr.7.1.49.
6. [select] character, characteristic property of a thing, [πόλεως] Th.6.89; “πολιτείας” Pl.Plt.291d; βάσιλείας ς. ἔχει the form of monarchy, Arist.EN1160b25; “τὸ ς. τῆς λέξεως δεῖ μήτε ἔμμετρον εἶναι μήτε ἄρρυθμον” Id.Rh.1408b21 (but τὰ ς. τῆς λέξεως the forms (modes) used in poetry, such as entreaty, threat, command, Id.Po.1456b9); τὰ τῆς κωμῳδίας ς. its characteristic forms, ib.1448b36; ἐν σχήματι νόμου in form of law, Pl.Lg.718b; ἐν ἀπολογίας ς. Isoc.15.8; ἐν μύθου ς. Arist.Metaph.1074b2, cf. Pl.Ti.22c; τὸ τῆς διαίτης ς. Gal.15.582; “αἱ κατὰ σχήματα πυρετῶν διαφοραί” Id.19.183.
7. [select] a figure in Dancing, Ar.V.1485: mostly in pl., figures, gestures (cf. σχημάτιον), E.Cyc. 221, Ar.Pax323, Pl.Lg.669d, Epigr. ap. Plu.2.732f, etc.; “σχήματα πρὸς τὸν αὐλὸν ὀρχεῖσθαι” X.Smp.7.5; ἐν . . μουσικῇ καὶ σχήματα . . καὶ μέλη ἔνεστι figures and tunes, Pl.Lg.655a; also of the postures of an athlete, Isoc.15.183: generally, posture, position, Hp.Off.11, al., Ar. Ra.538(lyr.), Thphr.Lass.3,14; of the foetus, Sor.2.55; τὸ τῆς κατακλίσεως ς. the patient's attitude as he lies in bed, Gal.16.578, cf. 665; cf.“σχηματίζω” 11.3.
*b. [select] Rhet., figure of speech, Pl.Ion536c, Cic.Brut. 37.141, etc.; [“ἡ τοῦ Θουκυδίδου φράσις] πλήρης σχημάτων” D.H.Pomp. 5, cf. Amm.2.2; for ς. Πινδαρικόν, etc., v. Hdn.Fig.p.100S.
c. [select] in Logic, figure of a syllogism, Arist.APr.26b33,al., Thphr.Fr.59.
d. [select] τὸ ς. τῆς λέξεως, both the grammatical form of a sentence, Arist.SE 166b10, cf. Gal.16.709, etc.; and its rhythmical form, Arist.Rh.l.c. supr.6, etc.
e. [select] grammatical form of a word, Hp.Vict.1.23, D.T.635.21, A.D.Pron.17.25,al.
8. [select] geometrical figure, Arist.de An.414b20, al., Onos.10.28; “μονωτάτη πάντων ἀριθμῶν δυὰς σχήματος οὐκ ἔστιν ἐπιδεκτική” Theol.Ar.7.
b. [select] phase of the moon, Ptol.Tetr.21, Vett.Val. 106.28.
c. [select] Astrol., aspect, Plot.2.3.1, Man.3.5,212, al.
d. [select] configuration of birds in augury, τοῖς τῶν γυναικῶν σχήμασι σῷ ζεσθαι to be saved by the configurations (of birds) appropriate to women, Gal.15.445.
9. [select] in Tactics, military formation, X.An.1.10.10.
10. [select] = τὸ αἰδοῖον LXXIs.3.17.
μαίνομαι , fut.
A. [select] “μα^νοῦμαι” Hdt.1.109, “μα^νήσομαι” AP11.216 (Lucill.), D.L.7.118 (neither found in Att.): pf. with pres. sense “μέμηνα” A.Pr. 977, S.El.879, Ar.Byz. ap. Ath.13.586f; Dor. μέμηνα dub. in Alcm. 68; also in pass. form μεμάνημαι [α^] Theoc.10.31: aor. Pass. ἐμάνην, part. μα^νείς, inf. μα^νῆναι, Hdt.3.30, E.Ba.1295: also aor. Med. “ἐμηνάμην” CPHerm.7.18 (iii A. D.); poet. 2sg. ἐμήναο prob. in Bion 1.61, 3sg. “μήνατο” Theoc.20.34; part. “μηνάμενος” AP9.35 (Antiphil.):—on the act. forms, v. infr. 11.—Hom. uses only pres. and impf.:—rage, be furious, in Il. freq. of martial rage, “μαίνεσθαι ἐάσομεν οὖλον Ἄρηα” 5.717, cf. 6.101, Od.9.350, etc.; “χεῖρες ἄαπτοι μαίνονται” Il.16.245; μαίνεται ἐγχείη ἀπὸ λοιγὸν ἀμῦναι ib.75; “δόρυ μαίνεται ἐν παλάμῃσιν” 8.111; rage with anger, πατὴρ . . φρεσὶ μαίνεται οὐκ ἀγαθῇσι ib.360; ἐνὶ φρεσὶ μ. ἦτορ ib.413; “φρεσὶ μαινομένῃσιν” 24.114; “μαινομένᾳ κραδίᾳ” A.Th. 781, E.Med.432 (both lyr.); “μανείσᾳ πραπίδι” Id.Ba.999 (lyr.); ὁ μανείς the madman, S.Aj.726; “μ. καὶ παραπαίω” Pl.Smp.173e, etc.; “αἱ τῶν μεμηνότων αἰσθήσεις” Aristocl. ap. Eus.PE14.20; to be mad with wine, Od. 18.406, 21.298; “μεμηνότες ὑπὸ τοῦ ποτοῦ” Luc.DDeor.18.2; of Bacchic frenzy, “μαινόμενος Διώνυσος” Il.6.132; [“Θυιάδες] μαινόμεναι” S.Ant. 1152 (lyr.); “Διονύσῳ μαίνεσθαι” Paus.2.7.5; “ἐπὶ τῷ Δ.” Alex.223; ὑπὸ τοῦ θεοῦ μ. to be inspired by . . , driven mad by . . , Hdt.4.79, cf. μάντις; τὸ μαίνεσθαι madness, S.OC1537; πλεῖν ἢ μαίνομαι I am beside myself with joy, Ar.Ra.103, 751; of madness in animals, Plu.2.641c, al.; later simply, = ὀργίζομαι, μαινόμενος ὅτι . . PCair.Zen.41.11 (iii B. C.): freq. with words of manner, “ὁ δὲ μαίνεται οὐκέτ᾽ ἀνεκτῶς” Il.8.355; “τάδε μαίνεται” 5.185: c. acc. cogn., “μεμηνότ᾽ οὐ σμικρὰν νόσον” A.Pr. l. c.; “μ. μανίας” Ar.Th.793; “μ. μανίαν ἐρρωμένην” Luc.Ind.22: c. dat., “μ. γόοισι φρήν” A.Th.967 (lyr.); “τόλμῃ” X.Cyr.1.4.24; πόνοις at or because of . . , A.Supp.562 (lyr.); “τοῖς εὑρήμασιν” E.Cyc.465; ἐπί τινι (sc. φιλοτιμίᾳ) Id.Ph.535 (but ἐπί τινι, of love, Theoc.10.31); “ἀμφί τινι” Semon.7.33; “εἰς τὴν ποιητικήν” D.S.14.109; “κατά τινος” Luc.Abd. 1; “ὑφ᾽ ἡδονῆς” S.El.1153.
2. [select] of things, rage, riot, esp. of fire, “ὡς ὅτ᾽ . . ὀλοὸν πῦρ οὔρεσι μαίνηται” Il.15.606, cf. Tryph.230; μαινόμενος οἶνος a hot, strong wine, Pl.Lg.773d; of feelings, ἐλπὶς μαινομένη Orac. ap. Hdt.8.77; “ἔρις” A.Th.935 (lyr.); “ἄχεα” S.Aj.957 (lyr.); “μαινομένᾳ ξὺν ὁρμᾷ” Id.Ant.135 (lyr.); “σὺν μ. δόξᾳ” E.Ba.887 (lyr.).
3. [select] ἄμπελος μαινομένη, of a vine that is never done bearing fruit, Arist. Mir.846a38, Thphr.CP1.18.4.
4. [select] μαινόμενα ἕλκη malignant ulcers, Asclep. ap. Aët.15.14.
II. [select] aor. 1 Act. ἔμηνα, in causal sense, madden, E.Ion520 (troch., prob. in IA580 (lyr.)), Ar.Th.561; enrage, X.HG3.4.8: pres. μαίνω first in Orph.H.71.6. (Cf. μέμονα.)
ῥαψῳδ-έω ,
*A. [select] recite poems, esp. those of Homer, τί δή ποτ᾽ οὖν . . ῥαψῳδεῖς . . περιιών; Pl.Ion 541b; ἅ τε εὖ ῥαψῳδεῖ καὶ ἃ μή ib.533c, cf. Isoc. 12.33; of the poems of Archilochus, Clearch.61; “τι περί τινος” Luc. JConf.1:—Pass., of the poems, to be recited, Lycurg.102.
2. [select] abs., Arist.Po.1462a6; of Homer and Hesiod, ῥ. περιιόντας reciting or declaiming, Pl.R.600d; “Ξενοφάνης . . ἐρραψῴδει τὰ ἑαυτοῦ” D.L.9.18; “ἐμμέτρως ἐρρ. πρὸς ἄνδρας φίλους” Luc.Nec.1.
3. [select] in contemptuous sense, repeat by heart or rote, declaim, “οὐδὲν . . ἀλλ᾽ ἢ ῥαψῳδήσουσιν οἱ πρέσβεις περιιόντες” D.14.12, cf. 25.2, Luc.DMort.15.2; [“λόγοι] ῥαψῳδούμενοι ἄνευ ἀνακρίσεως καὶ διδαχῆς” Pl.Phdr.277e, cf. Phld.Rh.2.39S.
II. [select] c. acc. pers., sing of one, celebrate, “τοὺς ἀνδρείους” Ar.Ec. 679.
Μοῦσα , ης, h(, Aeol. Μοῖσα Sapph.84, IG42(1).130.16, etc.; Dor. Μῶσα Alcm. 1, etc.; Lacon. Μῶἁ (for Μῶσα) Ar.Lys.1298, cf. An. Ox.1.277:—Muse,
A. [select] “Ὀλυμπιάδες Μ., Διὸς αἰγιόχοιο θυγατέρες” Il.2.491, cf. Hes.Th.25, etc.; nine in number, first in Od.24.60; named in Hes.Th.75 sqq.
II. [select] μοῦσα, as Appellat., music, song, “μ. στυγερά” A.Eu.308 (anap.); “εὔφαμος” Id.Supp.695 (lyr.); “καναχὰν . . θείας ἀντίλυρον μούσας” S.Tr.643 (lyr.); “Αἰακῷ μοῖσαν φέρειν” Pi.N.3.28; τίς ἥδε μοῦσα; what strain is this ? E.Ion757; “ἄλυρος μ.” Id.Ph.1028 (lyr.); “διὰ μούσας ᾖξα” Id.Alc.962 (lyr.): in Prose, “ᾁδειν ἀδόκιμον μ.” Pl.Lg. 829d: in pl., μοῦσαι Σφιγγός, of the Sphinx's riddle, E.Ph.50; esp. liberal arts, accomplishments, “τὰς μούσας ἀφανίζων” Ar.Nu.972; “ἀπαίδευτον τῶν περὶ τὰς νυμφικὰς μ.” Pl.Lg.775b: also in sg., “τῆς ἀληθινῆς μ. ἠμεληκέναι” Id.R.548b; κοινωνεῖν μούσης ib.411c.
2. [select] αὕτη ἡ Σωκράτους μ. that was Socrates's way, Gal.UP1.9.
ἐνθουσι-άζω , in Trag. always ἐνθουσιάω (also in Ph., 1.148, al.); in Pl. both forms occur (v. infr.):—
A. [select] to be inspired or possessed by a god, to be in ecstasy, “ἐνθουσιᾷ δὴ δῶμα” A.Fr.58; “ὥσπερ ἐνθουσιῶν” X.Cyr.1.4.8; “ἡ ψυχὴ . . ἐνθουσιάζουσα” Pl.Ion535c, cf. 536b; “ἐνθουσιάζοντες” Id.Ap. 22c; “ἐνθουσιῶντες” Id.Phdr.253a; “ἐνθουσιάσας” Id.Tht.180c; ὑπὸ τῶν “Νυμφῶν . . ἐνθουσιάσω” Id.Phdr.241e; “ὑφ᾽ ἡδονῆς ἐνθουσιᾷ” Id.Phlb.15e; “ἐνθουσιάσαι ποιεῖν τοὺς ἀκροατάς” Arist.Rh.1408b14: c. dat., “ἐνθουσιᾷς τοῖς σαυτοῦ κακοῖς” E.Tr. 1284; “ταῖς φωναῖς -άζοντες” Phld.Lib.p.4 O.; “περὶ φιλοσοφίαν” Plu.Cat.Ma.22; “εἴς τι” Ael.NA4.31; “προ᾽ς τὴν ἀλήθειαν” Jul.Or.4.136b.
II. [select] c. acc., inspire, “ἔρωτας ἐνεθουσίασε θεοῖς” Herm. ap. Stob.1.49.44 codd. ἐνθουσί-ασις , εως, h(, = sq., Pl.Phdr.249e (pl.), Ph.2.344 (pl.), Iamb.Myst.3.6.
μελοποι-ός , o(,
A. [select] maker of songs, lyric poet, Ar. Ra.1250, Pl.Prt.326a, etc.; ὁ Θηβαῖος μ., of Pindar, Ath.1.3c; ἡ Λεσβία μ., of Sappho, Luc.Im.18.
II. [select] as Adj., generally, tuneful, “μέριμνα” E.Rh.550 (lyr.).
Κορυ^βαντ-ιάω ,
*A. [select] celebrate the rites of the Corybantes, to be filled with Corybantic frenzy, Pl.Cri.54d, Smp.215e, Ion 533e, 536c; K. περί τι to be infatuated about a thing, Longin.5: in Ar.V.8, comically, of a drowsy person nodding and suddenly starting up, cf. Plin.HN11.147.
ὀρχέομαι , impf. ὠρχούμην: Ep. 3pl. pres. ὀρχεῦνται, impf. ὠρχεῦντο (v. infr.): fut.
A. [select] “ὀρχήσομαι” Ar.Th.1178, etc.: aor. “ὠρχησάμην” Anacr. 69, Hdt.6.129 ; inf. “ὀρχήσασθαι” Hom. (v. infr.):—Pass., aor. “ὠρχήθην” Euph.87:—dance, “ἠΐθεοι καὶ παρθένοι . . ὠρχεῦντ᾽” Il.18.594 ; “Ἅλιον καὶ Λαοδάμαντα κέλευσε μουνὰξ ὀρχήσασθαι” Od.8.371, cf. 14.465 ; “πόσσ᾽ ἁπαλοῖσιν ὀρχεῦνται” Hes.Th.4 ; ὀ. πρὸς ὅπλα, of the Pyrrhic dance, Demetr.Sceps. ap. Ath.4.155b ; “ἐν ῥυθμῷ” X.Cyr.1.3.10 ; ὀρχεῖσθαι ταῖς χερσί (cf. χειρονομέω) Antiph.113.1 : c. acc. loci, δώσω τοι Τεγέην ποσσίκροτον ὀρχήσασθαι to dance in or on, Orac. ap. Hdt. 1.66, cf. Euph.l.c. (Pass.): also c. acc. cogn., Λακωνικὰ σχημάτια ὀρχεῖσθαι dance Laconian steps, Id.6.129 ; “ὀ. τὸ Περσικόν” X.Cyr.8.4.12 ; “ὀ. πρὸς τὸν αὐλὸν σχήματα” Id.Smp.7.5 ; “ὀ. τὸν ὅρμον” Luc.Salt.II sq., etc.:—Pass., “τῶν ὕμνων οἳ μὲν ὠρχοῦντο οἳ δὲ οὐκ ὠρχοῦντο” Ath.14.631d.
2. [select] represent by dancing or pantomime, ὀρχεῖσθαι τὴν τοῦ Κρόνου τεκνοφαγίαν, ὀ. τὸν Αἴαντα, Luc.Salt.80, 83, cf. AP9.248 (Boeth.), 11.254 (Lucill.).
II. [select] metaph., leap, bound, “ὀρχεῖται δὲ καρδία φόβῳ” A.Ch.166, cf. Anaxandr.59 ; Θεσσαλίη ὠρχήσατο Thessaly shook, trembled, Call.Del.139.
III. [select] Act. ὀρχέω , make to dance (v. Pl.Cra.407a), is used by Ion Trag.50, ἐκ τῶν ἀέλπτων μᾶλλον ὤρχησεν φρένας made my heart leap (so codd. Ath., ὤρχησαι Nauck); but ὀρκῆσι in Ar.Th.1179 is a barbarism for ὀρχῆται.
ἁρμονία , h(, (ἁρμόζω)
A. [select] means of joining, fastening, “γόμφοις μιν . . καὶ ἁρμονίῃσιν ἄρηρεν” Od.5.248; of a ship, ὄφρ᾽ ἂν . . ἐν ἁρμονίῃσιν ἀρήρῃ ib.361.
2. [select] joint, as between a ship's planks, τὰς ἁ. ἐν ὦν ἐπάκτωσαν τῇ βύβλῳ caulked the joints with papyrus, Hdt.2.96; “τῶν ἁρμονιῶν διαχασκουσῶν” Ar.Eq.533; also in masonry, “αἱ τῶν λίθων ἁ.” D.S.2.8, cf. Paus.8.8.8,9.33.7.
3. [select] in Anatomy, suture, Hp. Off.25, Oss.12; union of two bones by mere apposition, Gal.2.737; also in pl., adjustments, “πόρων” Epicur.Fr.250.
4. [select] framework, “ῥηγνὺς ἁρμονίαν . . λύρας” S.Fr.244; “βοός” Philostr.Im.1.16; esp. of the human frame, “ἁρμονίην ἀναλυέμεν ἀνθρώποιο” Ps.-Phoc.102; “νεύρων καὶ κώλων ἔκλυτος ἁ.” AP7.383 (Phil.); “τὰς ἁ. διαχαλᾷ τοῦ σώματος” Epicr.2.19.
b. [select] of the mind, δύστροπος γυναικῶν ἁ. women's perverse temperament, E.Hipp.162 (lyr.).
c. [select] framework of the universe, Corp.Herm. 1.14.
II. [select] covenant, agreement, in pl., “μάρτυροι . . καὶ ἐπίσκοποι ἁρμονιάων” Il.22.255.
III. [select] settled government, order, “τὰν Διὸς ἁ.” A.Pr.551 (lyr.).
IV. [select] in Music, stringing, “ἁ. τόξου καὶ λύρας” Heraclit.51, cf. Pl.Smp.187a: hence, method of stringing, musical scale, Philol.6, etc., Nicom.Harm.9; esp. octave, “ἐκ πασῶν ὀκτὼ οὐσῶν [φωνῶν] μίαν ἁ. συμφωνεῖν” Pl.R.617b; “ἑπτὰ χορδαὶ ἡ ἁ.” Arist. Metaph.1093a14, cf. Pr.919b21; of the planetary spheres, in Pythag. theory, Cael.290b13, Mu.399a12, etc.
2. [select] generally, music, “αὐτῷ δὲ τῷ ῥυθμῷ μιμοῦνται χωρὶς ἁ.” Id.Po.1447a26.
3. [select] special type of scale, mode, “ἁ. Λυδία” Pi.N.4.46; Αἰολίς or -ηΐς Pratin.Lyr.5, Lasus I, cf. Pl.R.398e, al., Arist.Pol.1276b8, 1341b35, etc.
b. [select] esp. the enharmonic scale, Aristox.Harm.p.I M., Plu.2.1135a, al.
4. [select] ἁρμονίαν λόγων λαβών a due arrangement of words, fit to be set to music, Pl.Tht.175e.
5. [select] intonation or pitch of the voice, Arist.Rh. 1403b31.
6. [select] metaph. of persons and things, harmony, concord, Pl.R.431e, etc.
V. [select] personified, as a mythical figure, h.Ap.195, Hes.Th.937, etc.; Philos., like φιλότης, principle of Union, opp. Νεῖκος, Emp.122.2, cf. 27.3.
VI. [select] Pythag. name for three, Theol. Ar.16.
VII. [select] name of a remedy, Gal.13.61; of a plaster, Paul. Aeg.3.62.
ῥυθμός , Ion. ῥυσμός (v. infr. 111, IV), o
(ῥέω):—A. [select] any regular recurring motion (“πᾶς ῥ. ὡρισμένῃ μετρεῖται κινήσει” Arist.Pr.882b2):
I. [select] measured motion, time, whether in sound or motion, Democr.15c; = ἡ τῆς κινήσεως τάξις, Pl.Lg.665a, cf. 672e; “ὁ ῥ. ἐκ τοῦ ταχέος καὶ βραδέος, ἐκ διενηνεγμένων πρότερον, ὕστερον δὲ ὁμολογησάντων γέγονε” Id.Smp.187b, cf. Suid. s.v.; rhythm, opp. μέτρον and ἁρμονία, Ar. Nu.638 sq., Pl.R.397b, 398d, 601a, Arist.Rh.1403b31; “λόγοι μετὰ μουσικῆς καὶ ῥυθμῶν πεποιημένοι” Isoc.15.46; of Prose rhythm, Arist.Rh.1408b29, D.H.Comp.17: defined by Aristox.Rhyth.1, Aristid.Quint.1.13.
2. [select] special phrases: ἐν ῥυθμῷ in time, of dancing, marching, etc., “βαίνειν ἐν ῥ.” Pl.Lg.670b, cf. X.An.5.4.14; “ὀρχεῖσθαι” Id.Cyr.1.3.10; ἐν τῷ ῥ. ἀναπνεῖν respire regularly, Arist.Pr.882b1; so “σωζόμενος ῥ.” A.Ch.797 (lyr.); “μετὰ ῥυθμοῦ βαίνοντες” Th.5.70; ῥυθμὸν χορείας ὑπάγειν keep time, Ar.Th.956 (lyr.); θάττονα ῥυθμὸν ἐπάγειν play in quicker time, X.Smp.2.22; “πυρριχίῳ δρόμῳ καὶ ῥυθμῷ” Hdn.4.2.9, cf. Plb.4.20.6: pl., paces, Alcid.Soph. 17.
II. [select] measure, proportion or symmetry of parts, at rest as well as in motion, κατὰ τὸν αὐτὸν ῥ. Pl.Lg.728e.
III. [select] generally, proportion, arrangement, order, “ῥυθμῷ τινι” E.Cyc.398 (codd., but θ᾽ ἑνὶ is prob.); οὐκ ἀπὸ ῥυσμοῦ εἰκάζω not without reason, Call. Epigr.44.5.
IV. [select] state or condition of anything, temper, disposition, Thgn.964 (coupled with ὀργή and τρόπος)“; οἷος ῥυσμὸς ἀνθρώπους ἔχει” Archil.66.7; “ὅσοι χθονίους ἔχουσι ῥυσμοὺς καὶ χαλεπούς” Anacr. 74; μένει . . χρῆμ᾽ οὐδὲν ἐν ταὐτῷ ῥ. Eup.356.
V. [select] form, shape of a thing, Democr.5i; identified by Arist. with σχῆμα, Metaph.985b16, 1042b14; μετέβαλον τὸν ῥ. τῶν γραμμάτων changed the form or shape of the letters, Hdt.5.58; of Chian boots, Hp.Art.62; of the shape of a cup, Alex.59; of a breastplate, X.Mem.3.10.10; [τοῦ θυσιαστηρίου] LXX 4 Ki.16.10; “Αὐτονόας ῥ. ωὑτός” Theoc.26.23; so of the natural features of a country, D.P.271,620; structure of a substance, κεγχροειδὲς τῷ ῥ., τῷ ῥ. σπογγῶδες, Dsc.5.77,118.
VI. [select] manner, fashion of a thing, “Ἕλλην ῥ. πέπλων” E.Heracl.130; τίνι ῥ. φόνου; by what kind of slaughter? Id.El.772, cf. Supp.94; ἐν τριγώνοις ῥυθμοῖς triangular-wise, A.Fr.78. [υ^ by nature, A.Ch.797 (lyr.), E.Supp.94, etc.; υ_ by position in Thgn.964, etc.]
Βακχ-εύω ,
A. [select] celebrate the mysteries of Bacchus, Hdt.4.79.
2. [select] speak or act like one frenzy-stricken, S.Ant. 136 (lyr.), E.Ion1204, etc.: also of places, “β. στέγη” A.Fr.58, cf. E. IT1243(lyr.).
II. [select] causal, inspire with frenzy, “αὗταί σε βακχεύουσι συγγενῆ φόνον;” E.Or.411, cf.HF966:—Pass., Id.Or.835; “φιλοσοφία εὖ μάλα βεβακχ.” full of mysticism, Plu.2.580c.
2. [select] initiate in the Bacchic mysteries, in Pass., Schwyzer792 (Cyme, v B. C.).
Βάκχη , h(,
*A. [select] Bacchante, A.Eu.25, S.Ant.1122 (lyr.), Ar.Nu.605, Pl. Ion534a, etc.: generally, Βάκχη Ἅιδου frantic handmaid of Hades, E.Hec.1077; “β. νεκύων” Id.Ph.1489 (lyr.).
II. [select] a kind of pear, Nic. Al.354, Th.513.
δι_θύραμβος [υ^], ὁ, metapl. acc. sg.
A. [select] “διθύραμβα” Pi.Fr.86:—dithyramb, Archil.77, Epich.132, Hdt.1.23, Pi.O.13.19, Pherecr.145.11, Pl.Lg.700b, Arist.Pol.1342b7, Pr.918b18, etc.; “μιξοβόας δ.” A.Fr. 355: metaph. of bombastic language, “τοσουτονὶ δ. ᾁσας” Pl.Hp.Ma. 292c; “οὐκέτι πόρρω διθυράμβων φθέγγομαι” Id.Phdr.238d.
II. [select] a name of Dionysus, E.Ba.526 (lyr.), Philod.Scarph.1:—hence Δι^θυραμβογενής , AP9.524. (Pi. is said to have written it λυ_θίραμβος (Fr.85)—as if from λῦθι ῥάμμα, the cry of Bacchus when sewn up in his father's thigh.)
ἐγκώμιος , ον, (κώμη)
A. [select] in the village: hence, native, common, v.l. for ἐγχώριος, Hes.Op.344.
II. [select] (κῶμος) belonging to a κῶμος, esp. that which escorted a victor in the games: hence, belonging to the praise of a conqueror, ἐ. μέλη, ὕμνοι, Pi.O.2.47, P.10.53; “ἐ. ἀμφὶ τρόπον” Id.O.10(11).77; στεφάνων ἐγκώμιος τεθμός the law of praise for prizes won, ib.13.29.
2. [select] Subst. ἐγκώμιον, τό, laudatory ode, D.S.11.11, Ath.13.573f; generally, eulogy, panegyric, Ar.Nu.1205, D.18.207 (pl.), Thphr.Char.3.2, etc.; “ἐγκώμια παλαιῶν ἀνδρῶν” Pl.Prt.326a; ἐ. ει^ς τινα, κατά τινος, Pl.Min.319c, D.6.9; ἐ. λογικόν in prose, IG7.2727 (Acraephia); ἐ. ἐπικόν ib.419 (Oropus); ὁ ἔπαινος τῆς ἀρετῆς, opp. τὰ ἐ. τῶν ἔργων, Arist.EN1101b33, cf. Rh.1367b28.
ὑπόρχ-ημα , ατος, to/,
*A. [select] song accompanied by dancing and pantomimic action, Pl. Ion534c, D.H.Dem.7, Plu.2.1134c, Luc.Salt.16.
ἴαμβος [ι^], ὁ,
A. [select] iambus, the metrical foot ^ _, Pl.R.400b, etc.; “ὁ ἴ. αὐτὴ . . ἡ λέξις ἡ τῶν πολλῶν” Arist.Rh.1408b33; δάκτυλος ὁ κατὰ ἴαμβον, = ^ _ ^ _, Anon.Rhythm.Oxy.2.3, Aristid.Quint.1.17.
*II. [select] iambic verse, Archil.22 (pl.) Pl.Ion534c, etc.; “ἴαμβος τρίμετρος” Hdt. 1.12; “ἴ. Ἱππώνακτος” Ar.Ra.661, cf. Arist.Rh.1418b29, Po.1448b33.
III. [select] iambic poem, such as those of Callimachus, Str.8.3.30; esp. lampoon, mostly in pl., Pl.Lg.935e, Arist.Pol.1336b20; “ἐφ᾽ ὑβριστῆρας ἰάμβους” AP7.352 (Mel.(?)): also in Prose, οἱ καταλογάδην ἴ. Ath.10.445b.
b. [select] of the persons lampooned, Luc.Pseudol. 2.
2. [select] a kind of extempore play got up by αὐτοκάβδαλοι, who themselves had the same name, Semus 20. (For the termination perh. cf. διθύραμβος, θρίαμβος.)
ὑπο-κρι^τής , οῦ, o(,
A. [select] one who answers:
I. [select] interpreter or expounder, “τῆς δι᾽ αἰνιγμῶν φήμης” Pl.Ti. 72b; “ὀνείρων” Luc.Somn.17, etc.
II. [select] in Att., one who plays a part on the stage, actor, Ar.V.1279, Pl.R.373b, Chrm. 162d, Smp.194b, X. Mem.2.2.9, etc.
2. [select] of an orator, ποικίλος ὑ. καὶ περιττός (of Dem.) Phld.Rh.1.197 S.; one who delivers, recites, declaimer, “ἐπῶν” Tim.Lex. s.v. ῥαψῳδοί; rhapsodist, D.S.14.109, 15.7; this sense or sense 11.1 is possible in PCair.Zen.4.44 (iii B. C.).
3. [select] metaph., pretender, dissembler, hypocrite, LXX Jb.34.30, 36.13, Ev.Matt.23.13, al.
χορ-ευτής , οῦ, o(,
A. [select] choral dancer, Pi.P.12.27, Ar.Ach.443, Pl.R.373b, etc.; “τῶν χ. ἐξάγειν τινά” And.4.20; “τὰ ἐπινίκια ἔθυεν αὐτός τε καὶ οἱ χ.” Pl.Smp. 173a: metaph., [θεοῦ] χ. the devoted follower of a god, Id.Phdr.252d; of a philosopher, “οἱ Πυθαγόρου καὶ Πλάτωνος καὶ Ἀριστοτέλους χ.” Jul.Or.6.197d: generally, pupil, Lib.Or.54.38.
II. [select] epith. of Pan, Pi.Fr.99; of Dionysus, Orph. “Εὐχή” 9.
2. [select] used of dolphins, from their movements, Anacreont.55.24; of cicadae, Ael.NA1.20
δι^δάσκα^λ-ος , o( (but fem., h.Merc.556, A.Pr.110, cf.
A. [select] “ξυμφορὴ γίνεται δ.” Democr.76; “πενία ἐπινοιῶν δ.” Secund.Sent.10), teacher, master, μαντείης h.Merc. l.c.; “δ. τέχνης πάσης βροτοῖς” A.Pr. l.c.; “δεινῶν ἔργων” Lys.12.78; “πόλεμος βίαιος δ.” Th.3.82; διδάσκαλον λαβεῖν get a master, [S.]Fr.1120.8; εἰς διδασκάλου (sc. οἶκον) φοιτᾶν go to school, Pl.Alc.1.109d, etc.; διδασκάλων or ἐκ διδασκάλων ἀπαλλαγῆναι leave school, Id.Grg.514c, Prt.326c; ἐν διδασκάλων at school, Id.Alc.1.110b.
II. [select] trainer of a dithyrambic or dramatic chorus, producer of a play, etc., “ἴτω δὲ καὶ τραγῳδίας ὁ Κλεομάχου δ.” Cratin. 256, cf. Ar.Av.912, Ach.628, Antipho 6.13, etc.; “δ. τοῦ μεγάλου χοροῦ” SIG698.8 (Delph., ii B. C.).
ὑποδι^δάσκα^λος , o(,
*A. [select] under-teacher, of a chorus, Pl.Ion536a; “ὑ. τραγικός” SIG692A31 (Delph., ii B. C.), al.: generally, Cic.Fam.9.18.4.
ὀρχέομαι , impf. ὠρχούμην: Ep. 3pl. pres. ὀρχεῦνται, impf. ὠρχεῦντο (v. infr.): fut.
A. [select] “ὀρχήσομαι” Ar.Th.1178, etc.: aor. “ὠρχησάμην” Anacr. 69, Hdt.6.129 ; inf. “ὀρχήσασθαι” Hom. (v. infr.):—Pass., aor. “ὠρχήθην” Euph.87:—dance, “ἠΐθεοι καὶ παρθένοι . . ὠρχεῦντ᾽” Il.18.594 ; “Ἅλιον καὶ Λαοδάμαντα κέλευσε μουνὰξ ὀρχήσασθαι” Od.8.371, cf. 14.465 ; “πόσσ᾽ ἁπαλοῖσιν ὀρχεῦνται” Hes.Th.4 ; ὀ. πρὸς ὅπλα, of the Pyrrhic dance, Demetr.Sceps. ap. Ath.4.155b ; “ἐν ῥυθμῷ” X.Cyr.1.3.10 ; ὀρχεῖσθαι ταῖς χερσί (cf. χειρονομέω) Antiph.113.1 : c. acc. loci, δώσω τοι Τεγέην ποσσίκροτον ὀρχήσασθαι to dance in or on, Orac. ap. Hdt. 1.66, cf. Euph.l.c. (Pass.): also c. acc. cogn., Λακωνικὰ σχημάτια ὀρχεῖσθαι dance Laconian steps, Id.6.129 ; “ὀ. τὸ Περσικόν” X.Cyr.8.4.12 ; “ὀ. πρὸς τὸν αὐλὸν σχήματα” Id.Smp.7.5 ; “ὀ. τὸν ὅρμον” Luc.Salt.II sq., etc.:—Pass., “τῶν ὕμνων οἳ μὲν ὠρχοῦντο οἳ δὲ οὐκ ὠρχοῦντο” Ath.14.631d.
2. [select] represent by dancing or pantomime, ὀρχεῖσθαι τὴν τοῦ Κρόνου τεκνοφαγίαν, ὀ. τὸν Αἴαντα, Luc.Salt.80, 83, cf. AP9.248 (Boeth.), 11.254 (Lucill.).
II. [select] metaph., leap, bound, “ὀρχεῖται δὲ καρδία φόβῳ” A.Ch.166, cf. Anaxandr.59 ; Θεσσαλίη ὠρχήσατο Thessaly shook, trembled, Call.Del.139.
III. [select] Act. ὀρχέω , make to dance (v. Pl.Cra.407a), is used by Ion Trag.50, ἐκ τῶν ἀέλπτων μᾶλλον ὤρχησεν φρένας made my heart leap (so codd. Ath., ὤρχησαι Nauck); but ὀρκῆσι in Ar.Th.1179 is a barbarism for ὀρχῆται.
σχῆμα , ατος, to/, (ἔχω, σχεῖν)
A. [select] form, shape, figure, E.Ion238, Ar.V. 1170, Pl.R.601a, Thphr.Ign.52, etc.; “καθ᾽ Ἡρακλέα τὸ ς. καὶ τὸ λῆμ᾽ ἔχων” Ar.Ra.463; “διερεισαμένη τὸ ς. τῇ βακτηρίᾳ” Id.Ec.150; “Ἱππομέδοντος ς. καὶ μέγας τύπος” A.Th.488: in Trag. freq. in periphr., ὦ ς. πέτρας, = πέτρα, S.Ph.952; “ς. καὶ πρόσωπον εὐγενὲς τέκνων” E.Med. 1072; “ς. δόμων” Id.Alc.911 (anap.), cf. Hec.619; Ἀσιάτιδος γῆς ς. Id.Andr.1: in pl., of one person, φωτὸς κακούργου σχήματ' Id.Fr.210; μορφῆς σχῆμα or σχήματα, Id.Ion992, IT292, cf. IG3.1417.14; “τὴν αὐτὴν τοῦ ς. μορφήν” Arist.PA640b34 (but ἐν μορφῇ θεοῦ ὑπάρχων, opp. σχήματι εὑρεθεὶς ὡς ἄνθρωπος, Ep.Phil.2.6 and 8); “τὰ ς. καὶ χρώματα” Pl.R.373b; “σχήμασι καὶ χρώμασι μιμεῖσθαι” Arist.Po.1447a19; κατὰ χρόαν ἢ ὄγκον ἢ ς. [τοῦ προσώπου] Gal.18(2).309; ὅσα παθήματα γίνεται ἀπὸ σχημάτων caused by peculiar conformations, Hp.VM22.
b. [select] atom, imagined as differing from other atoms mainly in shape, “ἐκ περιφερῶν συγκεῖσθαι σχημάτων” Democr. ap. Thphr.Sens.65; ἐκ μεγάλων ς. καὶ πολυγωνίων ib.66, cf. 67,al., Od.64.
2. [select] appearance, opp. the reality, οὐδὲν ἄλλο πλὴν . . ς. a mere outside, E.Fr.25, cf. 360.27, Pl.R.365c; show, pretence, “ἦν δὲ τοῦτο . . ς. πολιτικὸν τοῦ λόγου” Th.8.89; “οὐ σχήμασι, ἀλλὰ ἀληθείᾳ” Pl.Epin.989c; σχήματι ξενίας under the show of . . , Plu.Dio16, etc.
3. [select] bearing, air, mien, Hdt.1.60; “τύραννον ς. ἔχειν” S.Ant.1169; ἄφοβον δεικνὺς ς. X.Cyr.6.4.20; ταπεινὸν ς. ib.5.1.5; ὑπηρέτου ς. D.23.210; “τῷ σχήματι, τῷ βλέμματι, τῇ φωνῇ” Id.21.72; ὄμμασι καὶ σχήμασι καὶ βαδίς ματι φαιδρός gestures, X.Ap.27, cf. Mem. 3.10.5; esp. outside show, pomp, τὸ τῆς ἀρχῆς ς. Pl.Lg.685c; dignity, rank, οὐ κατὰ ς. φέρειν τι in a manner not dignified or seemly, Plb.3.85.9, cf. 5.56.1, Plu.2.44a, 631c, Luc.Peregr.25; πρεσβείας, ἱερείας ς., Aristid.1.490 J., Inscr.Olymp.941; ἔχει τι ς., c. inf., there's something to be said for . . , E.Tr.470, cf. IA983; of the stately air of a horse, X.Eq.1.8,7.10.
4. [select] fashion, manner, “ἑτέρῳ ς. ζητεῖν” Hp.VM2; ς. μὲν γὰρ Ἑλλάδος στολῆς ὑπάρχει fashion of dress, S.Ph. 223; “ς. τοῦ κόσμου” E.Ba.832, 1 Ep.Cor.7.31; ς. βίου, μάχης, E.Med. 1039, Ph.252 (lyr.); τούτῳ . . κατῴκουν τῷ ς. Pl.Criti.112d.
b. [select] dress, equipment, “ἀρχαίῳ ς. λαμπρός” Ar.Eq.1331; βαβαιὰξ τοῦ ς. Id.Ach.64, cf. X.Oec.2.4, Theoc.10.35, App.BC1.16; τὸ τῆς πορφύρας ς., = Lat. latus clavus, IGRom.3.1422 (Prusias); ἐν τῷ ς. ἱερέ[ως] ib. 69.17 (ibid., cf. Glotta 14.80), cf.Sammelb.7449.10 (V A.D.), PLond.5.1729.25 (vi A.D.).
5. [select] character, role, μεταβαλεῖν τὸ ς. Pl.Alc.1.135d; “πάντα ς. ποιεῖν” Id.R.576a; “ἐν μητρὸς σχήματι” Id.Lg.918e, cf. 859a; ἀπολαβεῖν τὸ ἑαυτῶν ς. to recover their proper character, X.Cyr.7.1.49.
6. [select] character, characteristic property of a thing, [πόλεως] Th.6.89; “πολιτείας” Pl.Plt.291d; βάσιλείας ς. ἔχει the form of monarchy, Arist.EN1160b25; “τὸ ς. τῆς λέξεως δεῖ μήτε ἔμμετρον εἶναι μήτε ἄρρυθμον” Id.Rh.1408b21 (but τὰ ς. τῆς λέξεως the forms (modes) used in poetry, such as entreaty, threat, command, Id.Po.1456b9); τὰ τῆς κωμῳδίας ς. its characteristic forms, ib.1448b36; ἐν σχήματι νόμου in form of law, Pl.Lg.718b; ἐν ἀπολογίας ς. Isoc.15.8; ἐν μύθου ς. Arist.Metaph.1074b2, cf. Pl.Ti.22c; τὸ τῆς διαίτης ς. Gal.15.582; “αἱ κατὰ σχήματα πυρετῶν διαφοραί” Id.19.183.
7. [select] a figure in Dancing, Ar.V.1485: mostly in pl., figures, gestures (cf. σχημάτιον), E.Cyc. 221, Ar.Pax323, Pl.Lg.669d, Epigr. ap. Plu.2.732f, etc.; “σχήματα πρὸς τὸν αὐλὸν ὀρχεῖσθαι” X.Smp.7.5; ἐν . . μουσικῇ καὶ σχήματα . . καὶ μέλη ἔνεστι figures and tunes, Pl.Lg.655a; also of the postures of an athlete, Isoc.15.183: generally, posture, position, Hp.Off.11, al., Ar. Ra.538(lyr.), Thphr.Lass.3,14; of the foetus, Sor.2.55; τὸ τῆς κατακλίσεως ς. the patient's attitude as he lies in bed, Gal.16.578, cf. 665; cf.“σχηματίζω” 11.3.
*b. [select] Rhet., figure of speech, Pl.Ion536c, Cic.Brut. 37.141, etc.; [“ἡ τοῦ Θουκυδίδου φράσις] πλήρης σχημάτων” D.H.Pomp. 5, cf. Amm.2.2; for ς. Πινδαρικόν, etc., v. Hdn.Fig.p.100S.
c. [select] in Logic, figure of a syllogism, Arist.APr.26b33,al., Thphr.Fr.59.
d. [select] τὸ ς. τῆς λέξεως, both the grammatical form of a sentence, Arist.SE 166b10, cf. Gal.16.709, etc.; and its rhythmical form, Arist.Rh.l.c. supr.6, etc.
e. [select] grammatical form of a word, Hp.Vict.1.23, D.T.635.21, A.D.Pron.17.25,al.
8. [select] geometrical figure, Arist.de An.414b20, al., Onos.10.28; “μονωτάτη πάντων ἀριθμῶν δυὰς σχήματος οὐκ ἔστιν ἐπιδεκτική” Theol.Ar.7.
b. [select] phase of the moon, Ptol.Tetr.21, Vett.Val. 106.28.
c. [select] Astrol., aspect, Plot.2.3.1, Man.3.5,212, al.
d. [select] configuration of birds in augury, τοῖς τῶν γυναικῶν σχήμασι σῷ ζεσθαι to be saved by the configurations (of birds) appropriate to women, Gal.15.445.
9. [select] in Tactics, military formation, X.An.1.10.10.
10. [select] = τὸ αἰδοῖον LXXIs.3.17.
μαίνομαι , fut.
A. [select] “μα^νοῦμαι” Hdt.1.109, “μα^νήσομαι” AP11.216 (Lucill.), D.L.7.118 (neither found in Att.): pf. with pres. sense “μέμηνα” A.Pr. 977, S.El.879, Ar.Byz. ap. Ath.13.586f; Dor. μέμηνα dub. in Alcm. 68; also in pass. form μεμάνημαι [α^] Theoc.10.31: aor. Pass. ἐμάνην, part. μα^νείς, inf. μα^νῆναι, Hdt.3.30, E.Ba.1295: also aor. Med. “ἐμηνάμην” CPHerm.7.18 (iii A. D.); poet. 2sg. ἐμήναο prob. in Bion 1.61, 3sg. “μήνατο” Theoc.20.34; part. “μηνάμενος” AP9.35 (Antiphil.):—on the act. forms, v. infr. 11.—Hom. uses only pres. and impf.:—rage, be furious, in Il. freq. of martial rage, “μαίνεσθαι ἐάσομεν οὖλον Ἄρηα” 5.717, cf. 6.101, Od.9.350, etc.; “χεῖρες ἄαπτοι μαίνονται” Il.16.245; μαίνεται ἐγχείη ἀπὸ λοιγὸν ἀμῦναι ib.75; “δόρυ μαίνεται ἐν παλάμῃσιν” 8.111; rage with anger, πατὴρ . . φρεσὶ μαίνεται οὐκ ἀγαθῇσι ib.360; ἐνὶ φρεσὶ μ. ἦτορ ib.413; “φρεσὶ μαινομένῃσιν” 24.114; “μαινομένᾳ κραδίᾳ” A.Th. 781, E.Med.432 (both lyr.); “μανείσᾳ πραπίδι” Id.Ba.999 (lyr.); ὁ μανείς the madman, S.Aj.726; “μ. καὶ παραπαίω” Pl.Smp.173e, etc.; “αἱ τῶν μεμηνότων αἰσθήσεις” Aristocl. ap. Eus.PE14.20; to be mad with wine, Od. 18.406, 21.298; “μεμηνότες ὑπὸ τοῦ ποτοῦ” Luc.DDeor.18.2; of Bacchic frenzy, “μαινόμενος Διώνυσος” Il.6.132; [“Θυιάδες] μαινόμεναι” S.Ant. 1152 (lyr.); “Διονύσῳ μαίνεσθαι” Paus.2.7.5; “ἐπὶ τῷ Δ.” Alex.223; ὑπὸ τοῦ θεοῦ μ. to be inspired by . . , driven mad by . . , Hdt.4.79, cf. μάντις; τὸ μαίνεσθαι madness, S.OC1537; πλεῖν ἢ μαίνομαι I am beside myself with joy, Ar.Ra.103, 751; of madness in animals, Plu.2.641c, al.; later simply, = ὀργίζομαι, μαινόμενος ὅτι . . PCair.Zen.41.11 (iii B. C.): freq. with words of manner, “ὁ δὲ μαίνεται οὐκέτ᾽ ἀνεκτῶς” Il.8.355; “τάδε μαίνεται” 5.185: c. acc. cogn., “μεμηνότ᾽ οὐ σμικρὰν νόσον” A.Pr. l. c.; “μ. μανίας” Ar.Th.793; “μ. μανίαν ἐρρωμένην” Luc.Ind.22: c. dat., “μ. γόοισι φρήν” A.Th.967 (lyr.); “τόλμῃ” X.Cyr.1.4.24; πόνοις at or because of . . , A.Supp.562 (lyr.); “τοῖς εὑρήμασιν” E.Cyc.465; ἐπί τινι (sc. φιλοτιμίᾳ) Id.Ph.535 (but ἐπί τινι, of love, Theoc.10.31); “ἀμφί τινι” Semon.7.33; “εἰς τὴν ποιητικήν” D.S.14.109; “κατά τινος” Luc.Abd. 1; “ὑφ᾽ ἡδονῆς” S.El.1153.
2. [select] of things, rage, riot, esp. of fire, “ὡς ὅτ᾽ . . ὀλοὸν πῦρ οὔρεσι μαίνηται” Il.15.606, cf. Tryph.230; μαινόμενος οἶνος a hot, strong wine, Pl.Lg.773d; of feelings, ἐλπὶς μαινομένη Orac. ap. Hdt.8.77; “ἔρις” A.Th.935 (lyr.); “ἄχεα” S.Aj.957 (lyr.); “μαινομένᾳ ξὺν ὁρμᾷ” Id.Ant.135 (lyr.); “σὺν μ. δόξᾳ” E.Ba.887 (lyr.).
3. [select] ἄμπελος μαινομένη, of a vine that is never done bearing fruit, Arist. Mir.846a38, Thphr.CP1.18.4.
4. [select] μαινόμενα ἕλκη malignant ulcers, Asclep. ap. Aët.15.14.
II. [select] aor. 1 Act. ἔμηνα, in causal sense, madden, E.Ion520 (troch., prob. in IA580 (lyr.)), Ar.Th.561; enrage, X.HG3.4.8: pres. μαίνω first in Orph.H.71.6. (Cf. μέμονα.)
Korybas
''Dionysosnak magán kultusza is kifejlődött, mert dionysosi mámor bármikor eltölthette az egyént, dithyrambost tiszteletére kiki bármikor énekelhetett, körmenetet kisebb társaság is mindig tarthatott. A hatodik század edényfestészete, különösen az attikai, szívesen alkalmazta a diszítés motivumáúl, az ilyen körmeneteket, melyeknek ünneplésére a nép között kisebb szövetkezetek, ú. n. rajok (thiasos) alakultak.
A görög világ más vidékein is kifejlődtek hasonló orgiaszerű istentiszteletek, így Kretában az ifjú harczosok (Kuretes) fegyvertáncza Zeus-Dionysos születésének emlékére, Ephesosban az ión világ Artemis ünnepei, melyek az anyaország Demeter-féle mysteriumainak felelnek meg, mert a kisázsiai istenanya (Kybele) tiszteletén alapulnak; különben maga ez a kisázsiai istenanya-kultusz, s a vele járó ú. n. Korybas-rajok is behatoltak a görög vallásba.''
NAGY KÉPES VILÁGTÖRTÉNET
''Dionysosnak magán kultusza is kifejlődött, mert dionysosi mámor bármikor eltölthette az egyént, dithyrambost tiszteletére kiki bármikor énekelhetett, körmenetet kisebb társaság is mindig tarthatott. A hatodik század edényfestészete, különösen az attikai, szívesen alkalmazta a diszítés motivumáúl, az ilyen körmeneteket, melyeknek ünneplésére a nép között kisebb szövetkezetek, ú. n. rajok (thiasos) alakultak.
A görög világ más vidékein is kifejlődtek hasonló orgiaszerű istentiszteletek, így Kretában az ifjú harczosok (Kuretes) fegyvertáncza Zeus-Dionysos születésének emlékére, Ephesosban az ión világ Artemis ünnepei, melyek az anyaország Demeter-féle mysteriumainak felelnek meg, mert a kisázsiai istenanya (Kybele) tiszteletén alapulnak; különben maga ez a kisázsiai istenanya-kultusz, s a vele járó ú. n. Korybas-rajok is behatoltak a görög vallásba.''
NAGY KÉPES VILÁGTÖRTÉNET
Korybas-papok
Friedrich Nietzsche:
A görög irodalom története
''Az Iónban Platón így szól: "mint miképpen Korybas-papok
kábulatába esettek táncaikat és ugrásaikat a legtisztább józansággal
teszik, olyképpen a jó lírikus költők akkor szerzik szép dalaikat, mikor a
harmónia és a ritmusok rabjaivá váltak." Miképpen a költő cselekvésre
kényszerül, ahhoz hasonlóan képzelik a ritmus erejével kényszeríteni az
isteneket.
A második megfigyelés a mindennemű szenvedélyesség kisülésének hatása. Ezt
hasznosították a pytgagoreusok: Terpandros zenével elejét lecsillapít a
lakedaimóniaiak között egy lázadást, Empedoklés zenéjével lecsillapít egy
dühöngőt, Damón egy szerelemittas ifjút. Mart. Cap. IX. 346 Eyss.:
Pythagorei etiam docuerunt ferociam animi tibiis aut fidibus mollientes cum
corporibus adhaerere nexum foedus animarum. Membris quoque latentes
interserere numeros non contempsi. A ritmus nyilvánvaló feladata, hogy a
lélek és a test rezdülései, mozgásai közötti helyes feszültséget, harmóniát
helyreállítsa. Ősrégi alkalmazást nyert e megfigyelés az istenekre
vonatkozólag, hogy tompítsák azok vadságát: melos, engesztelő ének. Az
istenek egyfajta megtisztítása.''
Friedrich Nietzsche:
A görög irodalom története
''Az Iónban Platón így szól: "mint miképpen Korybas-papok
kábulatába esettek táncaikat és ugrásaikat a legtisztább józansággal
teszik, olyképpen a jó lírikus költők akkor szerzik szép dalaikat, mikor a
harmónia és a ritmusok rabjaivá váltak." Miképpen a költő cselekvésre
kényszerül, ahhoz hasonlóan képzelik a ritmus erejével kényszeríteni az
isteneket.
A második megfigyelés a mindennemű szenvedélyesség kisülésének hatása. Ezt
hasznosították a pytgagoreusok: Terpandros zenével elejét lecsillapít a
lakedaimóniaiak között egy lázadást, Empedoklés zenéjével lecsillapít egy
dühöngőt, Damón egy szerelemittas ifjút. Mart. Cap. IX. 346 Eyss.:
Pythagorei etiam docuerunt ferociam animi tibiis aut fidibus mollientes cum
corporibus adhaerere nexum foedus animarum. Membris quoque latentes
interserere numeros non contempsi. A ritmus nyilvánvaló feladata, hogy a
lélek és a test rezdülései, mozgásai közötti helyes feszültséget, harmóniát
helyreállítsa. Ősrégi alkalmazást nyert e megfigyelés az istenekre
vonatkozólag, hogy tompítsák azok vadságát: melos, engesztelő ének. Az
istenek egyfajta megtisztítása.''
Bacchante
Bacchante with thyrsus, wears chiton over girt diploidion, and scarf (mantile).
Bacchante with crotals, wears single chiton without doubled part, and scarf (mantile).
Bacchante with torches, wearing himation, or cloak.
Bacchante with rod of sesamum, wearing chiton and himation.
Bacchante with thyrsus, wears chiton over girt diploidion, and scarf (mantile).
Bacchante with crotals, wears single chiton without doubled part, and scarf (mantile).
Bacchante with torches, wearing himation, or cloak.
Bacchante with rod of sesamum, wearing chiton and himation.
Satyros, mainas
SATYROS & MAINAS
Museum Collection: Antiken-sammlungen, Munich, Germany
Catalogue Number: Munich 2344
Beazley Archive Number: 201659
Ware: Attic Red Figure
Shape: Amphora, pointed
Painter: Attributed to the Kelophrades Painter
Date: ca 500 - 490 BC
Period: Late Archaic
SUMMARY
Detail of a Mainas and Satyros from a scene depicting the company of Dionysos. The Satyros is draped with a panther skin and plays a double-flute. He has the features typical of his kind: horse's ears and tail, pug nose and eret member. The Mainas Nymphe wields a thyrsos (pine cone tipped staff) and has her head thrown back in an orgiastic dance
SATYROS & MAINAS
Museum Collection: Antiken-sammlungen, Munich, Germany
Catalogue Number: Munich 2344
Beazley Archive Number: 201659
Ware: Attic Red Figure
Shape: Amphora, pointed
Painter: Attributed to the Kelophrades Painter
Date: ca 500 - 490 BC
Period: Late Archaic
SUMMARY
Detail of a Mainas and Satyros from a scene depicting the company of Dionysos. The Satyros is draped with a panther skin and plays a double-flute. He has the features typical of his kind: horse's ears and tail, pug nose and eret member. The Mainas Nymphe wields a thyrsos (pine cone tipped staff) and has her head thrown back in an orgiastic dance
The Bacchae
ca. 27 B.C.–14 A.D.; Augustan
Pentelic marble; H. 56 5/16 in. (143.03 cm)
As female votaries of Dionysos, maenads abandoned themselves to orgiastic festivities. They celebrated the rites of the god with song, dance, and music in the mountains, often clothed in animal skins. This dancing maenad, clothed in a diaphanous chiton, carries an object characteristic of Dionysos' retinue, the thyrsos, which consists of a fennel stalk crowned with a pinecone and ivy berries. The voluminous garment swirls about her in fanciful, highly expressive folds that evoke her dance. Her introspective expression, so typical of art of the Classical period, contrasts most effectively with the exuberance of her drapery.
In his tragedy, the Bacchae, Euripides describes how women under the spell of Dionysos sing and dance in a state of ecstatic frenzy:
When the ebony flute, melodious
and sacred, plays the holy song
and thunderously incites the rush of women
to mountain,
then, in delight, like a colt with its mother
at pasture, she frolics, a light-footed Bacchant.
- Euripides, "The Bacchae"
Comments
ca. 27 B.C.–14 A.D.; Augustan
Pentelic marble; H. 56 5/16 in. (143.03 cm)
As female votaries of Dionysos, maenads abandoned themselves to orgiastic festivities. They celebrated the rites of the god with song, dance, and music in the mountains, often clothed in animal skins. This dancing maenad, clothed in a diaphanous chiton, carries an object characteristic of Dionysos' retinue, the thyrsos, which consists of a fennel stalk crowned with a pinecone and ivy berries. The voluminous garment swirls about her in fanciful, highly expressive folds that evoke her dance. Her introspective expression, so typical of art of the Classical period, contrasts most effectively with the exuberance of her drapery.
In his tragedy, the Bacchae, Euripides describes how women under the spell of Dionysos sing and dance in a state of ecstatic frenzy:
When the ebony flute, melodious
and sacred, plays the holy song
and thunderously incites the rush of women
to mountain,
then, in delight, like a colt with its mother
at pasture, she frolics, a light-footed Bacchant.
- Euripides, "The Bacchae"
Comments
Platon ~ dialogus
Látszólag éles váltásokkal halad Ritoók ógörög olvasata, Homéroszt majd hirtelen Platónt idézve. A tematikus egység kedvéért föláldozva az időrendet, meghagyva olvasóinak, hogy önszántukból szedjék szépen sorba az auktorokat. Így aztán majd Platón is többször visszaköszön.
És bárcsak valóban visszaköszönhetne, mert az általa szeretve tagadott írás, mint a viasztábla karcolata, elveszti elevenségét. Így az írott szavak igaztalanul kimondójuk ellen fordulhatnak, akár kritikátlan egyetértésre, akár elutasításra találnak. A párbeszéd, a dialógus, megenged minden kérdésre újabb feleletet, és minden feleletre újabb kérdést.
Látszólag éles váltásokkal halad Ritoók ógörög olvasata, Homéroszt majd hirtelen Platónt idézve. A tematikus egység kedvéért föláldozva az időrendet, meghagyva olvasóinak, hogy önszántukból szedjék szépen sorba az auktorokat. Így aztán majd Platón is többször visszaköszön.
És bárcsak valóban visszaköszönhetne, mert az általa szeretve tagadott írás, mint a viasztábla karcolata, elveszti elevenségét. Így az írott szavak igaztalanul kimondójuk ellen fordulhatnak, akár kritikátlan egyetértésre, akár elutasításra találnak. A párbeszéd, a dialógus, megenged minden kérdésre újabb feleletet, és minden feleletre újabb kérdést.
Aristides
''Aristides, Publius Aelius (Adrianutherai, Müszia tartomány, Kr. u. 129 – Szmürna, (ma İzmir), Kr. u. 189?) görög szónok.
A retorika alapelemeivel a rodoszi Arisztoklésznél illetve Athénben Héródész Attikosznál tanult. Tanulmányai befejezése után beutazta Egyiptomot, később, szónoki előadóútjai során az egész görög világot, 155 és 156 között Rómában is járt. Római útja után 17 éven át betegeskedett (hogy milyen betegségben, nem tudjuk). Felgyógyulása után alkotta azokat a műveit, amelyek világhírűvé tették. Betegsége alatt Szmürnában tartózkodott, amikor 178-ban egy földrengés rombadöntötte a várost, a császártól kieszközölte az újjáépítését, ezért még életében szobrot emeltek neki.
Művei közül ránk 55 beszéde maradt. Beszédeiben leginkább különböző városokat méltat, különösképp Rómát. Fennmaradt Aszklépiosz istent magasztaló hat beszéde is, ebben betegségének történetéről beszél. Műveit három kötetben 1722–30-ban Geeb, 1829-ben pedig Dindorff W. adta ki Lipcsében.
A retorikában Iszokratész felfogását követte: az ékesszólás művészetét minden tudás csúcsának tartotta. Ezen az alapon vitázott Platónnal, aki ezt a szerepet természetesen a filozófiának szánta.''
''Aristides, Publius Aelius (Adrianutherai, Müszia tartomány, Kr. u. 129 – Szmürna, (ma İzmir), Kr. u. 189?) görög szónok.
A retorika alapelemeivel a rodoszi Arisztoklésznél illetve Athénben Héródész Attikosznál tanult. Tanulmányai befejezése után beutazta Egyiptomot, később, szónoki előadóútjai során az egész görög világot, 155 és 156 között Rómában is járt. Római útja után 17 éven át betegeskedett (hogy milyen betegségben, nem tudjuk). Felgyógyulása után alkotta azokat a műveit, amelyek világhírűvé tették. Betegsége alatt Szmürnában tartózkodott, amikor 178-ban egy földrengés rombadöntötte a várost, a császártól kieszközölte az újjáépítését, ezért még életében szobrot emeltek neki.
Művei közül ránk 55 beszéde maradt. Beszédeiben leginkább különböző városokat méltat, különösképp Rómát. Fennmaradt Aszklépiosz istent magasztaló hat beszéde is, ebben betegségének történetéről beszél. Műveit három kötetben 1722–30-ban Geeb, 1829-ben pedig Dindorff W. adta ki Lipcsében.
A retorikában Iszokratész felfogását követte: az ékesszólás művészetét minden tudás csúcsának tartotta. Ezen az alapon vitázott Platónnal, aki ezt a szerepet természetesen a filozófiának szánta.''
Aristides ~ Μῶσα ~ Σειρήν
Dialect Colouring in Quotations
of Classical Greek Poetry
by George Hinge
''Fr. 30 P is quoted in a dialect-neutral form: ἡ Μῶσα κεκλήγη/ ει ἡ λίγεια Σειρήν (except for the typical Μῶσα). Our informant Aristides has elsewhere a fragment of Alcman in a perfectly Doric form (fr. 127 P). Hephaestion, who quotes fr. 119 P with an η, keeps the Doric α in 27 P Καλλιόπα and 50(b) P ἅν (beside more specific dialectal features: σαλασσομέδοισ᾿, μασδῶν), and Strabo has η in 126 P ηὔλησε, but α in 16.5 P ἀκρᾶν, 55 P ἱμερτάν, περιρρύταν, and 98 P παιᾶνα.''
Dialect Colouring in Quotations
of Classical Greek Poetry
by George Hinge
''Fr. 30 P is quoted in a dialect-neutral form: ἡ Μῶσα κεκλήγη/ ει ἡ λίγεια Σειρήν (except for the typical Μῶσα). Our informant Aristides has elsewhere a fragment of Alcman in a perfectly Doric form (fr. 127 P). Hephaestion, who quotes fr. 119 P with an η, keeps the Doric α in 27 P Καλλιόπα and 50(b) P ἅν (beside more specific dialectal features: σαλασσομέδοισ᾿, μασδῶν), and Strabo has η in 126 P ηὔλησε, but α in 16.5 P ἀκρᾶν, 55 P ἱμερτάν, περιρρύταν, and 98 P παιᾶνα.''
Muzsa zeng, az eleshangu Sziren
Aristeides, Beszedek 28, 51 II p. 158 Keil = Alkman 30. tor. Page
Hallod a lakont, amikor magara es a karra azt mondja:
a Muzsa zeng, az eleshangu Sziren,
[...]
...hozzateszi azt is, hogy a koltonek az elejen magara a Muzsara van szuksege, hogy altala hatoerovel telt legyen, aztan, mintegy eszet vesztve azt mondja,hogy ez az eppen : a kar maga tolti be a Muzsa helyet.
Aristeides, Beszedek 28, 51 II p. 158 Keil = Alkman 30. tor. Page
Hallod a lakont, amikor magara es a karra azt mondja:
a Muzsa zeng, az eleshangu Sziren,
[...]
...hozzateszi azt is, hogy a koltonek az elejen magara a Muzsara van szuksege, hogy altala hatoerovel telt legyen, aztan, mintegy eszet vesztve azt mondja,hogy ez az eppen : a kar maga tolti be a Muzsa helyet.
Alkman
''Alkman (Szardeisz, i. e. 7. század – Spárta, i. e. 7. század) görög költő.
Életrajzi adatai igen hézagosak és bizonytalanok. Arra, hogy egy kis-ázsiai görög családból származott, mindössze egyik versében tett megjegyzéséből lehet következtetni, később a spártaiak tartották honfitársuknak. Spártába élete delén túl települt át, itt a hagyomány szerint leánykórusokat tanított táncra és zenére. A spártai polgárjoggal költői és tanítói érdemei miatt tüntették ki. Néhány daltöredéke személyes vonatkozással is bír: keserű öngúnnyal csúfolja vénségét, hatalmas étvágyát, hasztalan vágyakozását a leányok után.
Írói hagyatéka a hagyomány szerint öt könyvből állt, ezek mintegy 50-100 kardalt foglalhattak magukba. Költészete egészen a hellenizmus koráig roppant népszerű volt, később azonban az újabb irányzatok előretörése miatt megcsappant művei iránt az érdeklődés. Ránk maradt nagyszámú, ám csekély terjedelmű töredékén kívül terjedelmesebb művet egyet ismerünk tőle: egy kardal mintegy száz soros töredékét, amely 1885-ben került elő Egyiptomban egy papiruszon. A lelet alexandriai tudósok kommentárjait is tartalmazza, amiből kiderül, hogy e művét Artemisz tiszteletére írta Spártában egy leánykórus számára.''
''Alkman (Szardeisz, i. e. 7. század – Spárta, i. e. 7. század) görög költő.
Életrajzi adatai igen hézagosak és bizonytalanok. Arra, hogy egy kis-ázsiai görög családból származott, mindössze egyik versében tett megjegyzéséből lehet következtetni, később a spártaiak tartották honfitársuknak. Spártába élete delén túl települt át, itt a hagyomány szerint leánykórusokat tanított táncra és zenére. A spártai polgárjoggal költői és tanítói érdemei miatt tüntették ki. Néhány daltöredéke személyes vonatkozással is bír: keserű öngúnnyal csúfolja vénségét, hatalmas étvágyát, hasztalan vágyakozását a leányok után.
Írói hagyatéka a hagyomány szerint öt könyvből állt, ezek mintegy 50-100 kardalt foglalhattak magukba. Költészete egészen a hellenizmus koráig roppant népszerű volt, később azonban az újabb irányzatok előretörése miatt megcsappant művei iránt az érdeklődés. Ránk maradt nagyszámú, ám csekély terjedelmű töredékén kívül terjedelmesebb művet egyet ismerünk tőle: egy kardal mintegy száz soros töredékét, amely 1885-ben került elő Egyiptomban egy papiruszon. A lelet alexandriai tudósok kommentárjait is tartalmazza, amiből kiderül, hogy e művét Artemisz tiszteletére írta Spártában egy leánykórus számára.''
Alcman
Alcman
''’Alkman (dór alak = ’Alkmaiwn), görög lyrikus költő, valószínüleg lydus eredetü (sardesi), kit a spartaiak hivatalosan magukhoz hivtak (Aelian. V. H. 12, 50) s ezért némelyek spartainak mondják. Az is lehet, hogy rabszolgaként került Spartába, Agesidas házába, ki később felszabadította. Mely időben élt, nem tudni bizonyosan, mindenesetre a Kr. e. VII. század közepe táján volt élete javában. Különösen partheniákat (hajadonok kardalai), hymnusokat, paeanokat, hyporchemákat, prosodiákat és szerelmi dalokat irt változatos versformákban és ős-eredeti költői tehetsgégel, ó-laconi dór dialectusban, melynek nyerseségét azonban epikus és aeol alakokkal enyhítette. Spartában az államtól elismert énekmester volt. A régiek a dór kardal megteremtőjét tisztelték benne s az alexandriai critikusok költői canonjuk élére helyezték az ő nevét. 6 könyvre terjedő költeményeiből csak egy kevés jelentéktelen töredék maradt fenn. E töredékeket először Welcker gyüjtötte össze (Giessen 1815), ezekhez járult 1855-ben egy igen becses töredék, melyet Mariette egy aegyptusi papyruson talált (most Párisban van). Összes töredékei találhatók Bergknél: poet. lyr. Graeci III, 14. l. L. Flach. Gesch. d. griech. Lyrik 300–316. Magyar fordítása Fabrichictól 1804 (l. Pindarus alatt). Értekezés Hóman Ottó: Alkman (Phil. Közl. 1872).''
CS. J.
Alcman
''’Alkman (dór alak = ’Alkmaiwn), görög lyrikus költő, valószínüleg lydus eredetü (sardesi), kit a spartaiak hivatalosan magukhoz hivtak (Aelian. V. H. 12, 50) s ezért némelyek spartainak mondják. Az is lehet, hogy rabszolgaként került Spartába, Agesidas házába, ki később felszabadította. Mely időben élt, nem tudni bizonyosan, mindenesetre a Kr. e. VII. század közepe táján volt élete javában. Különösen partheniákat (hajadonok kardalai), hymnusokat, paeanokat, hyporchemákat, prosodiákat és szerelmi dalokat irt változatos versformákban és ős-eredeti költői tehetsgégel, ó-laconi dór dialectusban, melynek nyerseségét azonban epikus és aeol alakokkal enyhítette. Spartában az államtól elismert énekmester volt. A régiek a dór kardal megteremtőjét tisztelték benne s az alexandriai critikusok költői canonjuk élére helyezték az ő nevét. 6 könyvre terjedő költeményeiből csak egy kevés jelentéktelen töredék maradt fenn. E töredékeket először Welcker gyüjtötte össze (Giessen 1815), ezekhez járult 1855-ben egy igen becses töredék, melyet Mariette egy aegyptusi papyruson talált (most Párisban van). Összes töredékei találhatók Bergknél: poet. lyr. Graeci III, 14. l. L. Flach. Gesch. d. griech. Lyrik 300–316. Magyar fordítása Fabrichictól 1804 (l. Pindarus alatt). Értekezés Hóman Ottó: Alkman (Phil. Közl. 1872).''
CS. J.
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