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the elaborately decorative treatment of mythical names described on p. 203 and some wide leaps. The dive down on kata gês 'down on the ground' may be meant to fit the action described. Word accents are largely respected. |
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The compass is an octave, d-d', pitched a little lower than average. Two modes alternate. In one, f appears to be the tonic. The music moves largely above it. At pauses it tends to rest on g, rising from f (Achilleus, aoraton) or descending from  (prolipousai). In the other mode, g becomes the tonic, with the scale now descending  e d and ascending a b c' d'. Besides the b, however, there appears a chromatic  (phasgana, tharsei, despoti katedy). The composer seeks exharmonic effects by juxtaposing it with  , and elsewhere  with  (epi potamon Tantal-; epi phengos Achilleus); cf. p. 197. The piece ends with a fall from g to the fourth below, evidently in the second mode, in which, presumably, it also began. |
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The notation is Hyperionian for the first mode, Hypoionian for the second. |
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31 Same papyrus, lines 15-19
(Original a tone higher) |
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(O Lemnos and . . . where Hephaestus (made Achilles' shield?) . . . and mixing . . . skill, and all the elements . . . unseen he fashioned. Here now is Achil[les' son] . . . (This has been decreed by) Zeus, of whom the gods were afraid.) |
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