Suda

[Zambelis Spyros]

Headword: Ἀρχύτας
Adler number: alpha,4121
Translated headword: Archytas, Arkhutas
Vetting Status: low
Translation:
Of Taras,[1] son of Hestiaios or Mnesarchos or Mnasagetes or Mnasagoras; Pythagorean philosopher. This man saved Plato from being murdered by the tyrant Dionysios.[2] He championed the [Greek-]Italian federation, and was chosen general with full powers by his fellow-citizens and the [other] Greeks of the region. At the same time he taught philosophy and had celebrated pupils and wrote many books. [It is said that] this man was plainly a teacher of Empedokles.[3]
And a proverb: rattle of Archytas.[4] [Coined] because Archytas invented the rattle, which is a kind of instrument producing sound and noise.[5]
"He made a bronze rattle and rattled it".[6]
Greek Original:
Ἀρχύτας, Ταραντῖνος, Ἑστιαίου υἱὸς ἢ Μνησάρχου ἢ Μνασαγέτου ἢ Μνασαγόρου, φιλόσοφος Πυθαγορικός. οὗτος Πλάτωνα ἔσωσε μὴ φονευθῆναι ὑπὸ Διονυσίου τοῦ τυράννου. τοῦ κοινοῦ δὲ τῶν Ἰταλιωτῶν προέστη, στρατηγὸς αἱρεθεὶς αὐτοκράτωρ ὑπὸ τῶν πολιτῶν καὶ τῶν περὶ ἐκεῖνον τὸν τόπον Ἑλλήνων. ἅμα δὲ καὶ φιλοσοφίαν ἐκπαιδεύων μαθητάς τ' ἐνδόξους ἔσχε καὶ βιβλία συνέγραψε πολλά. τοῦτον φανερῶς γενέσθαι διδάσκαλον Ἐμπεδοκλέους. καὶ παροιμία: Ἀρχύτου πλαταγή: ὅτι Ἀρχύτας πλαταγὴν εὗρεν, ἥτις ἐστὶν εἶδος ὀργάνου ἦχον καὶ ψόφον ἀποτελοῦντος. ὁ δὲ πλαταγὴν χαλκευσάμενος ἐπλατάγει.
Notes:
First half of C4 BCE. See in brief OCD(3) p.150; in full Huffman (below). The present entry draws for its opening sentences on Diogenes Laertius 8.79.
[1] Roman Tarentum (modern Taranto), in S Italy. Cf. tau 112-113.
[2] Dionysios II of Syracuse. See generally delta 1179.
[3] Chronologically impossible as it stands; and even changing "teacher" to "pupil" leaves a gap.
[4] See e.g. Aristotle, Politics 1340b26.
[5] Cf. Diogenianus 2.98.
[6] For this definition of the rattle, and the appended quotation, see again pi 1697. The quotation has been tentatively attributed to Nicolaus of Damascus (nu 393); in any event its subject is evidently the sixth Labour of Herakles, the Stymphalian Birds.
Reference:
Carl A. Huffman, Archytas of Tarentum (Cambridge UP 2005)
Keywords: biography; daily life; geography; military affairs; meter and music; mythology; philosophy; politics; proverbs

~~~~~~~~~~~~~~~

Αρχύτας ο Πυθαγόρειος
(428π.Χ. - 347π.Χ.), μεγάλος Πυθαγόρειος φιλόσοφος, αστρονόμος, πολιτικός, μαθηματικός, μηχανικός και, ίσως, ο σημαντικότερος ειδικός σε θέματα ακουστικής στην αρχαία Ελλάδα. Καταγόταν από τον Τάραντα, εξ ου και το επίθετο Ταραντίνος, και ανήκε στη δεύτερη γενιά των μαθητών του Πυθαγόρα, μαθητής του Φιλολάου του Κροτωνιάτη. Ανήκει στις διασημότερες προσωπικότητες του αρχαίου κόσμου. Ο Διογ. Λαέρτιος (Περί βίων, δογμάτων και αποφθεγμάτων ΙΙΙ, 4, 79) μιλώντας για τη ζωή του λέει πως ο Αρχύτας θαυμαζόταν από τον περισσότερο κόσμο για την υπεροχή του σε κάθε κλάδο της επιστήμης και στη ζωή. Ο Αριστοτέλης έγραψε γι'αυτόν ειδική πραγματεία, η οποία δεν έχει διασωθεί, "Η φιλοσοφία του Αρχύτα". Ήταν σύγχρονος και φίλος του Πλάτωνα, τον οποίο φιλοξένησε στον Τάραντα και τον βοήθησε να αντιμετωπίσει την εχθρότητα του Διονυσίου, του τυράννου της Σικελίας. Σύμφωνα με μια παράδοση πνίγηκε σ' ένα ναυάγιο κοντά στην Ιταλία.

Ο Αρχύτας θεωρείται ως ο σημαντικότερος ίσως μελετητής της ακουστικής στην αρχαία Ελλάδα, προάγοντάς την μέσω των ερευνών του, όπως άλλωστε και όλη τη μουσική θεωρία. Οι έρευνές του για τον μουσικό ήχο τον οδήγησαν στην ανακάλυψη ότι ο ήχος παράγεται από δονήσεις του αέρα και ότι το ύψος του εξαρτάται από την ταχύτητα των παλμών· ψηλότεροι ήχοι παράγονται από ταχύτερους παλμούς και χαμηλότεροι ήχοι από βραδύτερους παλμούς (πρβ. Πορφ. Σχόλια, I. During, 56-57). Ο Αρχύτας επεξεργάστηκε τους "λόγους" (αναλογίες) των διαστημάτων του τετράχορδου στα τρία γένη, διατονικόν, χρωματικόν και εναρμόνιον. Ανακάλυψε το "λόγο" της μεγάλης τρίτης στο εναρμόνιο γένος (mi - mi+1/4 - fa - la). Ως μέγας μαθηματικός πρέπει να μετέσχε ουσιαστικά στις έρευνες των Πυθαγορείων για τη μέτρηση των διαστημάτων (Πτολεμαίου "Αρμονικά" V, 13) ορίζοντας τις σχέσεις τους ως εξής : μι, φα, σολ, λα εναρμόνιο γένος: 28/27, 36/35, 5/4, χρωματικό γένος: 28/27, 243/224, 32/27, διατονικό γένος: 28/27, 8/7, 9/8.
Αναφέρεται και ως ικανότατος πλαγιαυλητής (φλαουτίστας) κατά δε τον Αθήναιο έγραψε και σύγγραμμα "περί αυλών" ("Δειπνοσοφιστές" IV, 184), όπου διατύπωσε την παρατήρηση ότι το μικρό μήκος του αυλού παράγει υψηλό τόνο, ενώ το μεγάλο, χαμηλό τόνο (βλ. Εύδοξος). Δίκαια ο Οράτιος του αφιέρωσε την Ι, 28 ωδή του.

Ως πολιτικός ενέπνεε βαθύ σεβασμό και εκλέχτηκε επτά φορές "στρατηγός" ("κυβερνήτης") και κυβέρνησε τον Τάραντα για πολλά χρόνια, ενώ κατά τους νόμους της πόλης δεν επιτρεπόταν να "στρατηγήσει" ένας για περισσότερο από ένα χρόνο ("Εθαυμάζετο δε και παρά τοις πολλοίς επί πάση αρετή· και δη επτάκις των πολιτών εστρατήγησε, των άλλων μη πλέον ενιαυτού στρατηγούντων δια το κωλύειν τον νόμον", Διογ. Λαέτριος).

Σύμφωνα με μαρτυρία του Φαβωρίνου, ιστορικού των αρχαίων παραδόσεων, ο Αρχύτας επινόησε και κατασκεύασε μια μη-επανδρωμένη ιπτάμενη μηχανή, που αποκλήθηκε "πετομηχανή" ή "περιστερά" και που ουσιαστικά ήταν το πρώτο αεριωθούμενο. Ο Φαβωρίνος υποστηρίζει ότι το γεγονός περιγράφει πλήρως ο Ρωμαίος Αύλος Γέλλιος (Gellius Aullus) στο έργο του Αττικαί Νύκται.

Λέγεται ότι ο Αρχύτας έλυσε ένα από τα τρία μαθηματικά προβλήματα της Αρχαιότητας, το διπλασιασμό του κύβου. Ανέπτυξε τις μεθόδους της Λογιστικής, καθώς και μεθόδους υπολογισμού οποιονδήποτε τετραγωνικών ριζών.

Giuseppe Xavarro, Testamen de Archylae Tarentini vita atque operibus... κτλ., 4ο, Hafniae 1819.
J. C. von Orelli, Archytae... Fragmenta quae supersunt. Ελλην. και λατιν. 1821.
Πολιτικά αποσπάσματα Αρχύτα, Χαρώνδα, Ζάλευκου και άλλων Πυθαγορείων... διασωθέντα από τον Στοβαίο, αγγλική μτφρ. Thomas Taylor, Λονδίνο 1822.
Ε. Egger, De Archytae vita, operibus κτλ., Παρίσι 1833. Α. Ε. Chaignet, Pythagore et la philosophie pythagoricienne, τόμ. 1-2, Παρίσι 1873.


Τάκης Καλογερόπουλος, Λεξικό της Ελληνικής μουσικής, εκδόσεις Γιαλλελή, 2001
Σόλωνας Μιχαηλίδης, Εγκυκλοπαίδεια της αρχαίας ελληνικής μουσικής, Εκδόσεις Μορφωτικού Ιδρύματος Εθνικής Τραπέζης, 1999

http://www.musipedia.gr/wiki/Αρχύτας_ο_Πυθαγόρειος

 

[Zambelis Spyros]

Headword: Ἀσία
Adler number: alpha,4147
Translated headword: Asia
Vetting Status: high
Translation:
A land, that of the east.[1]
Also "notes (twangs?) of an Asias," of the cithara. Thus Aristophanes.[2]
Or "notes of an Asiatis."
Also "Asietis land," of Asia.[3]
Greek Original:
Ἀσία: χώρα, ἡ τῆς ἀνατολῆς. καὶ Ἀσιάδος κρούματα, τῆς κιθάρας. οὕτως Ἀριστοφάνης. ἢ Ἀσιάτιδος κρούματα. καὶ Ἀσιῆτις γῆ, τῆς Ἀσίας.
Notes:
[1] The name was applied in antiquity to restricted parts of Anatolia (modern Turkey), first to the Hermus and Cayster valleys, then to the kingdoms of Lydia and Persia (the latter first in Aeschylus, Persians 929?), then to the Roman province in western Anatolia, but, quite early also, to the easternmost of the three continents known to early geographers (with Europe and Libya). See References.
[2] Aristophanes Thesmophoriazousae 120, in a chorus dealing with rhythm (web address 1). The Asias was an Asian, perhaps Lydian or Persian, stringed instrument.
[3] Cf. Aeschylus, Persians 61.
References:
Lexikon des fruehgriechischen Epos, fasc. 8.1396-7
Dyer, R.R. "Asia/*Aswia and Archilochus fr. 23" Parola del Passato 101 (1965) 115-32
Associated internet address:
Web address 1
Keywords: comedy; geography; meter and music; tragedy

http://www.stoa.org/sol-bin/search.pl

 

[Zambelis Spyros]

Headword: ᾈσθήσεται
Adler number: alpha,4154
Translated headword: It will be sung
Vetting Status: low
Translation:
From the [verb] ado ["I sing"], psallo ["I sing to a harp"].
Greek Original:
ᾈσθήσεται: ἐκ τοῦ ᾄδω, τὸ ψάλλω.
Note:
For psallo cf. psi 12, psi 13, psi 14.
Keywords: definition; dialects, grammar, and etymology; meter and music

http://www.stoa.org/sol-bin/search.pl

 

[Zambelis Spyros]

Headword: Ἀσκὸς ἐν πάχνῃ
Adler number: alpha,4177
Translated headword: a wine skin in a frost
Vetting Status: low
Translation:
David says: "I have become as a wine skin in a frost."[1] A wineskin when heated becomes porous and when inflated it swells, but in the frost it is hardened and frozen. Thus also the nature of the body becomes complacent with luxury and is swollen, but with ascetic training it is humbled and oppressed. And Paul is a witness to this, saying: "But I oppress my body and treat it as a slave, lest somehow I, having exhorted others should myself become disreputable."[2] For also the prophet, when he was pursued by Saul, was stronger than his sufferings, but after enjoying peace he was injured by the switches from luxury; he humbled his body and renewed his memory of the divine laws.
Also wineskin of Ktesiphon [ἀσκὸς Κτησιφῶντος ]; Aristophanes [writes]: "According to our customs, at the trumpet signal drink your pitchers; whoever drains his first will win the wineskin of Ktesiphon."[3] For in the Pitchers[4] there was a contest concerning who could drain his pitcher first, and the winner was crowned with a wreath of leaves and got a skin of wine. At a trumpet signal they would drink. Ktesiphon was ridiculed for being fat and paunchy. An inflated wineskin was set forth in the festival of the Pitchers, on which those drinking in the competition would stand. The first one to finish his drink won, and got a wineskin. They drank a certain measure, a choa, of wine.[5]
Also to bear a wineskin [ἀσκοφορεῖν ]. In the Dionysiac processions, some things were done by the townspeople, but others had been assigned to the metics to do by the lawgivers. Accordingly the metics would put on chitons which had a crimson color and carry troughs;[6] wherefore they were called tray-bearers [skaphêphoroi]. The townspeople wore whatever clothing they wanted and carried wineskins on their shoulders, wherefore they were called "wineskin-bearers" [askophoroi].
Also a proverb: to be spooked by a little wine-skin [ἀσκωῖ μορμολύττεστηαι ], [applied] to those who are frightened absurdly and for no good reason.[7]
Also ἀσκολιαζω ["dancing as at the Askolia"]; the Athenians had a festival, the Askolia[8], in which they would hop on wineskins to the honor of Dionysus.[9] The creature[10] appears to be a natural enemy of the vine. In any event an epigram appears addressed to a goat that goes like this: "devour me to the root, yet all the same I will bear fruit; enough to pour a libation for you, goat, as you are being sacrificed."[11]
"Dance on a wineskin" meaning [to dance] on the other [leg]; strictly askôliazein is to hop on wineskins for sport. In the middle of the theatre they placed wineskins which were inflated and oiled and when they hopped onto these they slipped; just as Eubulus says in Damalia[12]: "And in addition to these things, they put wineskins in the middle and hopped and guffawed at those who fell off the track."
Also [sc. attested is] ἀσκωλιάζοντες , those who hop on one foot and who lag behind those [who move] according to nature.
"He, it seemed to me, came to his master in his rush from the [temple] of Asclepius hopping on one of his feet and when at daybreak the paean to Asclepius was sung, he showed up as one of the chorus dancers. He stood in the line as if he'd been given his stance by some chorus director, and as much as he was able he tried to sing along with the bird-like strain."[13]
Also ἀσκωλιασμός likewise, going on one foot.
Wineskins smeared with salt become better.[14]
Greek Original:
Ἀσκὸς ἐν πάχνῃ: ὁ Δαβὶδ λέγει, ὅτι ἐγενήθην ὡς ἀσκὸς ἐν πάχνῃ. ὁ ἀσκὸς θερμαινόμενος χαυνοῦται καὶ φυσώμενος ἐξογκοῦται, ἐν δὲ τῇ πάχνῃ σκληρύνεται καὶ πήγνυται. οὕτω καὶ τοῦ σώματος ἡ φύσις χαυνοῦται μὲν τῇ τρυφῇ καὶ ἐξογκοῦται, τῇ δὲ ἀσκητικῇ ἀγωγῇ ταπεινοῦται καῖ πιέζεται. καὶ τούτου μάρτυς ὁ Παῦλος βοῶν: ἀλλ' ὑποπιέζω μου τὸ σῶμα καὶ δουλαγωγῶ, μή πως ἄλλοις κηρύξας αὐτὸς ἀδόκιμος γένωμαι. τοιγάρτοι καὶ ὁ προφήτης, ἐπειδὴ διωκόμενος ὑπὸ τοῦ Σαοὺλ κρείττων ἦν τῶν παθῶν, εἰρήνης δὲ ἀπολαύσας τοῖς ἀπὸ τῆς τρυφῆς ἐβλάβη σκιρτήμασι, ταπεινώσας τὸ σῶμα τῶν θείων νόμων τὴν μνήμην ἀνενεώσατο. καὶ Ἀσκὸς Κτησιφῶντος: Ἀριστοφάνης: κατὰ τὰ πάτρια τοὺς χοὰς πίνειν ὑπὸ τῆς σάλπιγγος: ὃς δ' ἂν ἐκπίῃ πρώτιστος, ἀσκὸν Κτησιφῶντος λήψεται. ἐν γὰρ ταῖς Χοαῖς ἀγὼν ἦν περὶ τοῦ ἐκπιεῖν πρῶτόν τινα χοᾶ, καὶ ὁ νικῶν ἐστέφετο φυλλίνῳ στεφάνῳ καὶ ἀσκὸν οἴνου ἐλάμβανε. πρὸς σάλπιγγας δὲ ἔπινον. ὁ δὲ Κτησιφῶν ὡς παχὺς καὶ προγάστωρ ἐσκώπτετο. ἐτίθετο δὲ ἀσκὸς πεφυσημένος ἐν τῇ τῶν Χοῶν ἑορτῇ, ἐφ' οὗ τοὺς πίνοντας πρὸς ἀγῶνας ἑστάναι, τὸν προπιόντα δὲ ὡς νικήσαντα λαμβάνειν ἀσκόν. ἔπινον δὲ μέτρον τι οἷον χοᾶ. καὶ Ἀσκοφορεῖν. ἐν ταῖς Διονυσιακαῖς πομπαῖς, τὰ μὲν ὑπὸ τῶν ἀστῶν ἐπράττετο, τὰ δὲ τοῖς μετοίκοις ποιεῖν ὑπὸ τῶν νομοθετησάντων προσετέτακτο. οἱ μὲν οὖν μέτοικοι χιτῶνας ἐνεδύοντο χρῶμα ἔχοντας φοινικοῦν καὶ σκάφος ἔφερον: ὅθεν σκαφηφόροι προσηγορεύοντο. οἱ δὲ ἀστοὶ ἐσθῆτα εἶχον, ἣν ἐβούλοντο, καὶ ἀσκοὺς ἐπ' ὤμων ἔφερον: ὅθεν ἀσκοφόροι ἐκαλοῦντο. καὶ παροιμία: Ἀσκῷ μορμολύττεσθαι, ἐπὶ τῶν εἰκῆ καὶ διακενῆς δεδιττομένων. καὶ Ἀσκωλίαζον: ἑορτὴν οἱ Ἀθηναῖοι ἦγον τὰ Σκώλια, ἐν ᾗ ἥλλοντο τοῖς ἀσκοῖς εἰς τιμὴν τοῦ Διονύσου. δοκεῖ δὲ ἐχθρὸν εἶναι τῇ ἀμπέλῳ τὸ ζῷον. ἀμέλει γοῦν καὶ ἐπίγραμμα φαίνεται πρὸς τὴν αἶγα οὕτως ἔχον: κἤν με φάγῃς ἐπὶ ῥίζαν, ὅμως δ' ἔτι καρποφορήσω, ὅσσον ἐπιλεῖψαι σοὶ, τράγε, θυομένῳ. Ἀσκωλίαζε δὲ ἀντὶ τοῦ ἅλλου: κυρίως ἀσκωλιάζειν ἔλεγον τὸ ἐπὶ τῶν ἀσκῶν ἅλλεσθαι ἕνεκα τοῦ γελωτοποιεῖν. ἐν μέσῳ δὲ τοῦ θεάτρου ἐτίθεντο ἀσκοὺς πεφυσημένους καὶ ἀληλιμμένους, εἰς οὓς ἐναλλόμενοι ὠλίσθαινον: καθάπερ Εὔβουλος ἐν Δαμαλίᾳ φησὶν οὕτως: καὶ πρός γε τούτοις ἀσκὸν ἐς μέσον καταθέντες ἐνάλλεσθε καὶ καγχάζετε ἐπὶ τοῖς καταρρέουσιν ἀπὸ κελεύσματος. καὶ Ἀσκωλιάζοντες, ἐφ' ἑνὸς ποδὸς ἐφαλλόμενοι, ὑστερούμενοι τῶν κατὰ φύσιν. ὃ δὲ ἐμοὶ δοκεῖν, ὁρμῇ τῇ παρὰ τοῦ Ἀσκληπιοῦ ἐς τὸν δεσπότην ἀσκωλιάζων θάτερον τῶν ποδῶν ἔρχεται, καὶ ὄρθριον ᾀδομένου τοῦ παιᾶνος τῷ Ἀσκληπιῷ ἑαυτὸν ἀποφαίνει τῶν χορευτῶν, ἕνα καὶ ἐν τάξει στὰς ὥσπερ οὖν παρά τινος λαβὼν χοροδέκτου τὴν στάσιν, ὡς οἷός τε ἦν συνᾴδειν ἐπειρᾶτο τῷ ὀρνιθείῳ μέλει. καὶ Ἀσκωλιασμὸς ὁμοίως, τὸ ἐφ' ἑνὸς ποδὸς βαίνειν. ὅτι οἱ ἀσκοὶ ἁλσὶ σμηχόμενοι βελτίονες γίνονται.
Notes:
[1] Psalm 118:83 LXX. This first paragraph of the entry comes from Theodoret's commentary on it (PG 80, 1848bc).
[2] I Corinthians 9:27.
[3] Aristophanes, Acharnians 1000-2. See web address 1 below for the text. What follows here derives from scholiastic comment on the line.
[4] The Khoes, the second day of the Anthesteria festival; see also chi 369.
[5] About three quarts, or 2.8 liters.
[6] σκάφος here is in error for σκάφας , trays.
[7] Cf. mu 1251.
[8] Scholia in three manuscripts provide the correction ἀΣκώλια for the erroneous Σκώλια .
[9] From the scholia to Aristophanes, Wealth 1129.
[10] Explained in the next sentence.
[11] Greek Anthology 9.75.
[12] Eubulus fr.8 Kock. (But the title of the play is probably not Damalia; scholars have suggested Amalthea, Daidalos or Damasia.)
[13] Aelian fr.98 Hercher (a man from Tanagra experiences a miracle cure); cf. sigma 1606, chi 407.
[14] From alpha 1409.
Associated internet address:
Web address 1
Keywords: Christianity; clothing; comedy; daily life; definition; food; meter and music; poetry; proverbs; religion; stagecraft; zoology

http://www.stoa.org/sol-bin/search.pl

 

[Zambelis Spyros]

Headword: Ἀστυνόμος
Adler number: alpha,4269
Translated headword: town-superintendent, astynomos
Vetting Status: low
Translation:
There were ten astynomoi - five in Peiraieus, five in [Athens] town - whose business it was[1] to supervise both the girl-pipers and the girl-harpists, together with the dung-collectors and suchlike.[2]
Greek Original:
Ἀστυνόμος: δέκα ἦσαν ἀστυνόμοι, πέντε μὲν ἐν Πειραιεῖ, πέντε δὲ ἐν ἄστει, οἷς ἔμελλε περί τε τῶν αὐλητρίδων καὶ ψαλτριῶν καὶ κοπρολόγων καὶ τῶν τοιούτων.
Notes:
From Harpokration s.v., commenting on the headword's occurrence in Demosthenes 24.112.
[1] The Greek here has been garbled, with μέλειν (Harpokration) turning into ἔμελλε .
[2] The primary source (via Harpokration) is Aristotle(?), Ath.Pol. 50.2 (Web address 1); see also e.g. Demosth. 24.112, above (Web address 2). For the dung-collectors cf. alpha 2437.
Associated internet addresses:
Web address 1
Web address 2
Keywords: daily life; definition; gender and sexuality; geography; history; law; meter and music; rhetoric; women

http://www.stoa.org/sol-bin/search.pl

 

[Zambelis Spyros]

Headword: Ἀοιδός
Adler number: alpha,4402
Translated headword: bard
Vetting Status: low
Translation:
Singer.
Also poet.
Of old the class of bards was prudent and had a philosophical disposition. For Agamemnon leaves this man as instructor to Clytemnestra. He first went through the virtues of women, adding a certain ambition for the good and the beautiful; then he providing a sweet diversion he led her mind astray with trivial concerns. For this reason Aegisthus did not corrupt the woman before killing the bard. But Demodokos[1] sings about the love-making of Aphrodite and Ares, not because he approves the sweetness of this passion, but in order to deter them from lawless appetites. He knows that they have been brought up to a luxurious life (for banquet and harp were always dear to them)[2] and brings them entertainment very appropriate to their character. He also makes Phemios sing at their council. And the Sirens sing to Odysseus what will delight him most and be most suited to his competitiveness and desire for knowledge. They say that everyone who has listened to the song goes home delighted and knowing more.[3]
Greek Original:
Ἀοιδός: ὁ μελῳδός. καὶ ὁ ποιητής. ὅτι τὸ τῶν ἀοιδῶν γένος σῶφρον ἦν τὸ παλαιὸν καὶ φιλοσόφων διάθεσιν ἔχον. Ἀγαμέμνων γὰρ τῇ Κλυταιμνήστρᾳ σωφρονιστῆρα τοῦτον ἀφίησιν: ὃς πρῶτον ἀρετὰς γυναικῶν διερχόμενος ἐνέβαλλέ τινα φιλοτιμίαν εἰς καλοκαγαθίαν, εἶτα διατριβὴν παρέχων ἡδείαν ἀπεπλάνα τὴν διάνοιαν φαύλων ἐννοιῶν: διόπερ Αἴγισθος οὐ πρότερον διέφθειρε τὴν γυναῖκα πρὶν τὸν ἀοιδὸν ἀποκτεῖναι. ὁ δὲ Δημόδοκος ᾄδει τὴν Ἀφροδίτης καὶ Ἄρεος συνουσίαν, οὐ διὰ τὸ ἡδὺ καὶ τὸ ἀποδέχεσθαι τοῦτο τὸ πάθος, ἀλλ' ἀποτρέπων αὐτοὺς παρανόμων ὀρέξεων, εἰδὼς ἐν τρυφερῷ βίῳ τεθραμμένους [αἰεὶ γὰρ αὐτῷ δαῖς τε φίλη, κίθαρις], ὁμοιότατα τοῖς τρόποις αὐτῶν τὰ πρὸς ἀνάπαυσιν φέρων. καὶ τὸν Φήμιον ποιεῖ ᾄδοντα πρὸς τὴν βουλὴν αὐτῶν. καὶ αἱ Σειρῆνες δὲ ᾄδουσι τῷ Ὀδυσσεῖ τὰ μάλιστα αὐτὸν τέρψοντα καὶ τὰ οἰκεῖα τῇ φιλοτιμίᾳ αὐτοῦ καὶ πολυμαθείᾳ. λέγουσι δὲ, ὅτι πᾶς ὁ τῆς ᾠδῆς κατακούσας τερψάμενος νεῖται καὶ πλείονα εἰδώς.
Notes:
Source: (after the opening definitions) Athenaeus, Deipnosophistae 1.14 B-D, 16D.
[1] Delta 440.
[2] Homer, Odyssey 8.248.
[3] Homer, Odyssey 12.188.
Keywords: definition; epic; gender and sexuality; meter and music; mythology; women

http://www.stoa.org/sol-bin/search.pl

 

[Zambelis Spyros]

Headword: Αὐλητρὶς πέπτωκεν
Adler number: alpha,4435
Translated headword: The girl piper has fallen
Vetting Status: low
Translation:
An ambiguity of expression, signifying two or even more things both colloquially and properly. For through [this expression] it is revealed both that the house has fallen three times and that the girl musician, the piper [has fallen]. See also under 'ambiguity'.[1]
Greek Original:
Αὐλητρὶς πέπτωκεν: ἀμφιβολία λέξεως, δύο ἢ καὶ πλείονα πράγματα σημαίνουσα λεκτικῶς καὶ κυρίως. δηλοῦται γὰρ δι' αὐτῆς, ὅτι καὶ οἰκία τρὶς πέπτωκε, καὶ ὅτι ἡ κιθαρῳδὸς ἡ αὐλοῦσα. καὶ ζήτει ἐν τῷ ἀμφιβολία.
Note:
[1] Alpha 1706, note 1, where the ambiguity of the expression is explained. The other Stoic ambiguities are also listed and discussed by Galen in his treatise On Fallacies due to language, chapter IV (for an excellent edition of this text, with an English translation and commentary, see Blair Edlow 1977). For the issue of ambiguity in Stoicism, the reader can profit from Atherton 1993.
References:
Atherton, C., Stoics on Ambiguity (Cambridge: Cambridge University Press 1993).
Blair Edlow, R., Galen On Language and Ambiguity (Leiden: Brill 1977).
Keywords: definition; dialects, grammar, and etymology; meter and music; rhetoric; women

http://www.stoa.org/sol-bin/search.pl

 

[Zambelis Spyros]

Headword: Αὐλητοῦ βίον ζῇς
Adler number: alpha,4438
Translated headword: you are living a piper's life
Vetting Status: low
Translation:
[Applied] to those living from means not their own; insofar as pipers live for free by watching out for those who are sacificing.
Greek Original:
Αὐλητοῦ βίον ζῇς: ἐπὶ τῶν ἐξ ἀλλοτρίων βιούντων: παρόσον ἐπιτηροῦντες οἱ αὐληταὶ τοὺς θύοντας ἐξ ἀτελείας ζῶσιν.
Notes:
Apostolius 4.33, etc.
Clearly a particular variety of piper is (disparagingly) envisaged in this proverb; certainly not (e.g.) the kind who, from 586 BCE, won the prestigious solo piping competition at the Pythian Games (see West p.337). For lowlier practitioners see e.g. the paid piper who was a sort of musical hanger-on of the Athenian eponymous archon each year (Aristotle(?), Ath.Pol. 62.2 [Web address 1]); and if the gloss on the proverb is correct - a crucial proviso - others without such guaranteed income had to make their living opportunistically. (For the phrase "for free", ἐχ ἀτελείας , cf. e.g. [Demosthenes] 59.39 [Web address 2]). The scenario appears to be one in which the organisers of a sacrifice - the common currency of ancient religion - have not made advance provision for the participation of the piper but can be persuaded to hire him (or her) ad hoc.
Reference:
M.L. West, Ancient Greek Music (Oxford 1992).
Associated internet addresses:
Web address 1
Web address 2
Keywords: athletics; daily life; economics; meter and music; proverbs; religion

http://www.stoa.org/sol-bin/search.pl

 

[Zambelis Spyros]

Headword: Αὐλίκουροι
Adler number: alpha,4442
Translated headword: Court attendants
Vetting Status: low
Translation:
Guards.
Also aulikoi,[1] [court] kithara-players.
Greek Original:
Αὐλίκουροι: φύλακες. καὶ Αὐλικούς, κιθαρῳδούς.
Notes:
Both these definitions are attested only in lexicography and both presuppose an etymological connection with αὐλή , court. For the kithara see generally kappa 1590.
[1] Here in the accusative case, so evidently quoted from somewhere. For the word in another sense see already under alpha 4437.
Keywords: definition; military affairs; meter and music

http://www.stoa.org/sol-bin/search.pl

 

[Zambelis Spyros]

Headword: Αὐλίσκοι
Adler number: alpha,4445
Translated headword: Little pipes, little tubes
Vetting Status: low
Translation:
[no gloss]
Greek Original:
Αὐλίσκοι.
Note:
See LSJ s.v.
Keywords: meter and music; science and technology

http://www.stoa.org/sol-bin/search.pl

 

[Zambelis Spyros]

Headword: Αὐλός
Adler number: alpha,4447
Translated headword: pipe
Vetting Status: low
Translation:
A straight spouting of blood. And the fitting [groove] of a buckle.[1] And a type of musical instrument.[2]
Also aulos, a lengthy blowpipe.
In the Epigrams: and again: "the wind-loving blacksmith's pipe."[3]
Greek Original:
Αὐλός: ὁ εἰς εὐθὺ ἐξακοντισμὸς τοῦ αἵματος. καὶ περόνης μέτρον. καὶ μουσικῆς τι ὄργανον. καὶ Αὐλός, ὁ ἐπιμήκης φυσητήρ. ἐν Ἐπιγράμμασι: καὶ αὖθις: αὐλὸν καμινευτῆρα τὸν φιλήνεμον.
Notes:
[1] Cf. the scholia to Homer, Iliad 17.297, Odyssey 22.19; and see pi 1361.
[2] Conventionally translated as "flute", but only, nowadays, by those with a woeful ignorance of musical instruments; actually more like an oboe. See generally M.L. West, Ancient Greek Music (Oxford 1992) 81-109.
[3] Greek Anthology 6.92.1; cf. phi 330.
Keywords: definition; epic; medicine; meter and music; poetry; science and technology

http://www.stoa.org/sol-bin/search.pl

~~~~~~~~~~~~~~~~~~~~

Αυλός

Ιστορία. Η καταγωγή του αυλού δεν έχει τελείως αποσαφηνιστεί. Σύμφωνα με πολλές αρχαίες πηγές, ήρθε από τη Μικρά Ασία και, ειδικά, από τη Φρυγία. Το όνομα του αυλού (ως μουσικού οργάνου) εμφανίζεται δύο φορές στην Ιλιάδα, την πρώτη ως όργανο των Τρώων (Κ 12-13): "θαύμαζεν [Αγαμέμνων] πυρά πολλά τα καίετο Ιλιόθι προ, αυλών, συριγγών τ' ένοπήν ιμαδόν τ' ανθρώπων" ("τις πλήθιες τις φωνές θαυμάζουνταν [ο Αγαμέμνων], που ομπρός στο κάστρο ανάβαν, και της φλογέρας [του αυλού] τα λαλήματα, και των αντρών το μούγκρος"· μτφρ. Ν. Καζαντζάκη - Ι. Θ. Κακριδή). Τη δεύτερη φορά, μαζί με φόρμιγγες (Σ 494-495), στην περιγραφή της ασπίδας του Αχιλλέα: "κούροι δ' ορχηστήρες εν δ' άρα τοίσιν αυλοί, φόρμιγγες τε βοήν έχον" (κι οι νέοι στριφογύριζαν στο χορό κι ανάμεσά τους αυλοί και φόρμιγγες ηχούσαν). Μια από τις πιο παλιές πηγές για την προέλευση του αυλού είναι ίσως το Πάριο Χρονικό (ή Μάρμαρο), που λέει (στ. 10, εκδ. F. Jacoby) ότι "ο Φρύγας Ύαγνις πρώτος εφεύρε τον αυλό στις Κελαινές [της Φρυγίας] και έπαιξε σ' αυτόν τη φρυγική αρμονία". Σύμφωνα με το συγγραφέα Αλέξανδρο, στο βιβλίο του Συναγωγή (Συλλογή) των περί Φρυγίας (Πλούτ. Περί μουσ. 1132F, 5), ο Ύαγνις ήταν ο πρώτος που έπαιξε τον αυλό [που αύλησε] ("Ύαγνιν δε πρώτον αυλήσαι") και έπειτα από αυτόν ο γιος του Μαρσύας και κατόπι ο Όλυμπος (1133F, 7). Σύμφωνα με μια άλλη παράδοση, τον αυλό τον εφεύρε η θεά Αθηνά, αλλά βλέποντας στην αντανάκλαση των νερών ότι το πρόσωπό της παραμορφωνόταν, τον πέταξε μακριά· ο αυλός έπεσε στη Φρυγία και τον βρήκε ο Μαρσύας. Αυτή η παράδοση, που τείνει να καθιερώσει την ελληνική καταγωγή του αυλού, δημιουργήθηκε πιθανότατα αργότερα από το μύθο του αγώνα Απόλλωνα-Μαρσύα (βλ. Πλούτ. Περί αοργησίας 456B-D, 6-7· Πίνδ. 12ος Πυθιόνικος και Α.Β. Drachmann, Schol. Pind. Carm., Λιψία 1910, σ. 265). --62.228.72.186 08:46, 24 Οκτωβρίου 2010 (UTC)--62.228.72.186 08:46, 24 Οκτωβρίου 2010 (UTC)

http://www.musipedia.gr/wiki/Αυλός

 

[Zambelis Spyros]

Headword: Αὐλῶ
Adler number: alpha,4448
Translated headword: I play the pipe
Vetting Status: high
Translation:
With the dative.
Greek Original:
Αὐλῶ: δοτικῇ.
Notes:
Of the person listening.
Cf. generally alpha 4447.
Keywords: dialects, grammar, and etymology; meter and music

http://www.stoa.org/sol-bin/search.pl

 

[Zambelis Spyros]

Headword: Αὐτοδαῆ
Adler number: alpha,4488
Translated headword: self-taught
Vetting Status: low
Translation:
Things [learned] from nature and not from instruction. "Self-taught dances."
Greek Original:
Αὐτοδαῆ: τὰ ἐκ φύσεως καὶ μὴ ἐκ διδαχῆς. αὐτοδαῆ ὀρχήματα.
Note:
Sophocles, Ajax 700 (with word order reversed: see web address 1), with comment from the scholia there.
Associated internet address:
Web address 1
Keywords: definition; meter and music; philosophy; tragedy

http://www.stoa.org/sol-bin/search.pl

 

[Zambelis Spyros]

Headword: Αὐτὸς αὑτὸν αὐλεῖ
Adler number: alpha,4520
Translated headword: He is playing the pipe to himself
Vetting Status: low
Translation:
[Applied] to those who reveal themselves, in what they do, as the sort of people they are.
Greek Original:
Αὐτὸς αὑτὸν αὐλεῖ: ἐπὶ τῶν ἑαυτοὺς δεικνυόντων ἐν τοῖς πράγμασιν, ὁποῖοί τινές εἰσιν.
Note:
Cf. Comica adespota fr.733 Kock.
Keywords: comedy; daily life; meter and music; proverbs

http://www.stoa.org/sol-bin/search.pl

 

[Zambelis Spyros]

Headword: Αἰγίθαλος
Adler number: alphaiota,46
Translated headword: Titmouse
Vetting Status: low
Translation:
The animal.[1]
Also the dance.
Greek Original:
Αἰγίθαλος: τὸ ζῷον. καὶ ἡ ὄρχησις.
Note:
[1] Mentioned in Attic Comedy and elsewhere; also spelled with -ll-; a bird of the species Parus.
Keywords: comedy; definition; meter and music; zoology

http://www.stoa.org/sol-bin/search.pl

 

[Zambelis Spyros]

Headword: Αἰθέριος
Adler number: alphaiota,116
Translated headword: Aitherios, Aetherius, Etherius
Vetting Status: low
Translation:
Epic poet. He wrote various things, including a Wedding Song in epic verses for Simplicius his own brother.
Greek Original:
Αἰθέριος: ἐπῶν ποιητής. ἔγραψε διάφορα, καὶ Ἐπιθαλάμιον δι' ἐπῶν εἰς Σιμπλίκιον τὸν ἴδιον ἀδελφόν.
Note:
Cf. pi 204.
Keywords: biography; daily life; epic; meter and music; poetry

http://www.stoa.org/sol-bin/search.pl

 

[Zambelis Spyros]

Headword: Αἴλινον
Adler number: alphaiota,180
Translated headword: ailinon, dirge, dirge-like
Vetting Status: low
Translation:
A type of lament and song.[1]
"This dirge-like inscription of Diodoran wisdom says that I have been struck for a short-fated woman in labor."[2]
Greek Original:
Αἴλινον: εἶδος θρήνου καὶ ᾠδῆς. [αἴλινον] ὠκυμόρῳ με λεχωίδι τοῦτο κεκόφθαι τῆς Διοδωρείου γράμμα λέγει σοφίης.
Notes:
See also alphaiota 181, alphaiota 182
[1] Cf. the scholia to Sophocles, Ajax 627, where the headword occurs.
[2] Greek Anthology 6.348.1-2 (Diodoros).
Keywords: definition; medicine; meter and music; poetry; tragedy; women

http://www.stoa.org/sol-bin/search.pl

 

[Zambelis Spyros]

Headword: Αἴλινον
Adler number: alphaiota,181
Translated headword: mournful, plaintive
Vetting Status: low
Translation:
It is [used] equally to refer to a dirge and to refer to a hymn; from Ailinos the [son] of Kalliope.[1]
Greek Original:
Αἴλινον: κοινῶς καὶ ἐπὶ θρήνου καὶ ἐπὶ ὕμνου ἐστίν: ἀπὸ Αἰλίνου τοῦ Καλλιόπης.
Notes:
For the adjective αἴλινος see alphaiota 182, and generally LSJ s.v. Here it is either masculine accusative or more probably, as in alphaiota 180, neuter nominative.
[1] For Kalliope, one of the Muses, see kappa 234.
Keywords: definition; dialects, grammar, and etymology; meter and music; mythology; poetry; religion

http://www.stoa.org/sol-bin/search.pl

 

[Zambelis Spyros]

Headword: Αἰόλαν
Adler number: alphaiota,244
Translated headword: undulating; leaping in undulating circles; of intricate, dazzling, multicoloured design
Vetting Status: high
Translation:
Leaping/hopping. "We croaked an undulating[1] dance-chorus brekekex."
Greek Original:
Αἰόλαν: πηδητικήν. αἰόλαν χορείαν ἐφθεγξάμεθα βρεκεκέξ.
Notes:
For this headword see also alphaiota 245
The present gloss, also in the Aristophanic scholia ad loc., is an adjective (in the accusative feminine singular, as is the headword) used for the hopping, leaping motion of locusts, fleas, grasshoppers and satyrs advancing (LSJ), and here of frogs dancing. The quotation -- from Aristophanes, Frogs 247-250 (web address 1) -- is here modified, for it begins with the chorus of frogs, reversing the positions of noun and adjective, omitting the octosyllabic word πομφολυγοπαφλάσμασιν (line 249, nicely translated by J. Henderson in the 2002 Loeb edition as "with bubbly ploppification") and concludes with the (truncated) first word of the following speaker (Dionysus, to be taken both as a mockery of their cry and a fart to match the frogs’ bubbles, perhaps with the chorus accompanying). It clearly contains an allusion to the choreography of the chorus in the play, but we are handicapped by our uncertainty over the meaning of the headword; cf. alphaiota 253, alphaiota 246, alphaiota 251, alphaiota 249, alphaiota 247, kappa 2122. It is attractive to suggest that the choreography of the human dancers had them on all fours in bright frog costumes leaping in one or more undulating circles, in the visual rise and fall common to a line of moving snakes, worms, frogs or fleas. But others may equally well argue that it was a lively, intricate, whirling, twisting dance in dazzling costumes. Or any other combination of the word’s meanings!
[1] Or: intricate, dazzling.
Keywords: botany; comedy; definition; meter and music; stagecraft; zoology

http://www.stoa.org/sol-bin/search.pl

 

[Zambelis Spyros]

Headword: Αἶρε μασχάλην
Adler number: alphaiota,283
Translated headword: lift the arm-pit
Vetting Status: low
Translation:
In reference to dancing.
Greek Original:
Αἶρε μασχάλην: ἐπὶ τοῦ ὀρχήσασθαι.
Note:
For a different meaning of the phrase see mu 273.
Keywords: athletics; meter and music

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