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dithyramb, the Mysians, in the Dorian mode but was unable to carry it through; the nature of the genre forced him back into the proper mode, the Phrygian.72 |
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The dithyramb had not always been such as to exclude the Dorian mode; an epigram recording a dithyrambic victory at the Athenian Dionysia, probably from the first half of the fifth century, refers to the piper as having 'nursed' the song 'in Dorian auloi'.73 It may be that the Phrygian mode did not become well established in Attica until a little later. We hear that it was first introduced to tragedy by Sophocles, who used it in a 'dithyrambic' manner.74 Euripides alludes to it, seemingly, in connection with Asiatics and with their ecstatic Bacchic worship.75 There was ritual aulos music in the Phrygian mode attributed to Olympus, including some used in the cult of the Mother of the Gods.76 Two of its characteristic rhythms are mentioned, the paion epibatos and the trochaic.77 These were perhaps the pieces of Olympus that Plato and Aristotle admired as having the power to arouse and inspire, and as revealing those who stand in need of the gods.78 If so, it goes some way towards explaining Plato's hospitality towards Phrygian. The more negative view of the mode as dangerously inflammatory finds its classic expression in the often-retold story of Pythagoras and the over-excited young man.79 |
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The Lydian mode was also represented among the aulos airs ascribed to Olympus.80 Plato, as we have seen, groups it with Ionian as a 'slack' mode, soft and sympotic. This certainly goes well with its use by Anacreon.81 Pindar imagined its being used in song at Niobe's |
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72Pol. 1342d32-b12, cf. 1340h4, Procl. Chrestomathy ap. Phot. Bibl. 320b. On the basis for the story about Philoxenus see pp. 364f. |
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73 Antigenes, Anth. Pal. 13.28 (FGE p. 12). Parallel expressions, 'in Lydian auloi', 'in Aeolian blowings of auloi', occur at Pind. Ol. [5]. 19, Nem. 3. 79. It will be recalled that early auletes needed different auloi for different modes. |
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74 Aristox. fr. 79; Psell. De trag. 5. |
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75Bacch. 159ff., cf. Tro. 545, IA 576-8 (Trojans); Ar. Thesm. 121 (Agathon in religious vein, cf. schol. ad loc.); cf. ps.-Arist. Pr. 19. 48. |
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76 Telestes, PMG 810, Poll. 4. 78, ps.-Plut. De mus. 1135b, 1137d, 1141b, 1143b. |
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77 Ps.-Plut. De mus. 1141b, 1143b; cf. Plut. Amat. 759ab. |
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78 Pl. Symp. 215c ( ps.-Pl. Minos 318b), Arist. Pol. 1340d9. For the inspired or religious character of the Phrygian mode cf. Lucian, Harmonides 1, Apul. Flor. 4. |
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79 See above, p. 31. Cf. also Lucr. 2. 620, Quint. Inst 1. 10.32f., Cassiod. Var. 2. 40. 4. |
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80 Telestes, PMG 806(?), Aristox. frs. 80, 83, Clem. Strom. 1. 76. 4. |
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81 Pl. Resp. 398e; Posidonius fr. 471 Th. The statement that the Slack Lydian was invented by Damon (ps.-Plut. De mus. 1136e) may mean that he was the first to |
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(Footnote continued on next page) |
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