See on I. A certain case of prolonged spondees is Ion 126-8 ὦ Παιάν, ὦ Παιάν, | εὐαίων εὐαίων | εἴης ὦ Λατοὺς παῖ, where it is to be noted that all the syllables are long by nature. IV. Dion. Hal. de comp. verb. 17: quoted as examples of molossi. Attributed to Terpander. (Trag. Adesp. 139). Hymn 17. 3 calls the Dioskuroi sons of Zeus and Leda, whereas Homer makes Tyndareus the father of both. The Vedic Açvins, the prototypes of the Dioskuroi, are also 'Saviours.'-Metre: often arranged as orthian iambics or semanto-trochees. [V.] Strabo 13. 618, Clem. Alex. Strom. 6. 814, Eukleides Introd. Harmon. in An. Par. 1. 56. 10: quoted to show that Terpander first used the heptachord in place of the tetrachord lyre. The ancients doubted the authenticity of the fragment. It is the production of a late writer who wished to make the poet give documentary evidence of the musical invention currently attached to his name. The heptachord Lydian pektis was certainly pre-Terpandreian. Cf. Arist. Probl. 19. 32. 1. TETрáуnрUV: refers to the four tones of the old lyre of the epic dodol and the poets of nomes, and not, as Bergk thought, to the old nome of four parts. Cf. ueλlynpuv åodýv Hymn 2. 341; těтpa-, as in teтpákukλov No 324 (late). 2. ἑπτατόνῳ : cf. ἑπτακτύπου φόρμιγγος Pind. Pyth. 2. 70, φ. ἑπτάγλωσσον Nem. 5. 24, ἑπτὰ δὲ συμφώνους δίων ἐτανύσσατο Xopôás Hymn 3. 51, where the invention is attributed to Hermes, κέλαδον ἑπτατόνου λύρας Eur. I. Τ. 1129. The heptachord lyre held its ground till the fifth century. The restoration of exclusively Doric or Aiolic forms is needless, as the fragment may have been composed in the late mixed dialect.-Metre: dact.-hexam. VI. Plut. Vita. Lycurg. 21 (also Arrian Tact. 44. 3): quoted, together with Alkm. xii., Pind. xxvii. (cf. Ol. 13. 22), to prove that the Lakedaimonians were both μουσικώτατοι and πολεμιKÚTATOL. Sokrates Eleg. 3 refers to the Spartans of de xopols κάλλιστα θεοὺς τιμῶσιν ἄριστοι | ἐν πολέμῳ, and Aristotle Pol. 8. 5 says that the Spartans knew at least how to appreciate music. Cf. Müller Dorians 2. 329 ff. It is uncertain whether the fragment is a part of the poem by which Terpander quelled the disorders of the Spartan state. Some think it is from a prooimion. 1. alxuá strictly spear-point,' whence martial spirit' here, and Pind. Isthm. 5. 33 Káoтopos d' aixμà IIoλudeúкeós T' ἐπ ̓ Εὐρώτα ῥεέθροις, Nem. 10. 13 θρέψε δ' αἰχμὰν ̓Αμφιτρύωνος, impulse' (γυναικὸς αἰχμᾷ Aisch. Αgam. 483, γυναικείαν αἰχμάν Choeph. 630). αἰχμή is often derived from ἀίσσω, as θυμός from θύω, but we should then have ἀιχμή or ᾆχμα. αἰχμὰ νέων = αἰχμηταὶ νέοι. Cf. Alkm. iv. 70. áλλet: in Hom. and Hes. only the perfect is used in this sense (Eiρývηv тelaλvîav Hes. Theogon. 902). The present appears in Semonides 7. 85, FOLK-SONGS xxv., Pind. Pyth. 7. 19 etc. Cf. Much Ado 5. 1. 76" His May of youth and bloom of lustihood." Ayala shrill,' 'clear-toned,' 'sweet-voiced,' since the Greeks loved a high pitch, as did the Lydians (Telestes iii.), to whose music they were much indebted. So the 'shrill pibroch' is sweet to the Scotch. λιγύς of the phorminx I 186 etc.; of the muse w 62, Hymn 14. 2 etc., Alkm. i. 7, Stes. xii. 45, Mel. Adesp. 33 A, Theokr. 22. 221; of the note of the nightingale Theogn. 939, Aisch. Agam. 1146, Theokr. 12. 6 (cf. ὀξύφωνος Soph. Trach. 963); λίγειαν Ορφείην κεφαλήν Phanokles, p. 141. So with yupós Pind. Ol. 6. 82; Myrtis is called Ayupá by Korinna v. Το καπυρὸν στόμα Theokr. 7. 37. ὄρθιος is often used of the high pitch, and so κλυτός (see on Sim. xxxiv.). Cf. Lehrs Quaest. epicae 169. In Attic, Myús and eλaxús retract their accent in the feminine, but here, Alkm. i., Stes. xii., Mel. Adesp. 33 A, there are traces of Myeîa. L. and S. say Myéā is Doric (?). 2. εὐρυάγυια : a variation on εὐρυόδεια, which Homer uses with χθών. Cf. Hymn 5. 16. Cf. Arat. Phain. 105 Alкn.. ἀγειρομένη δὲ γέροντας | ἠέ που εἶν ἀγορῃ ἢ εὐρυχόρῳ ἐν ἀγυιῇ, and the name Εὐρυδίκη. εὐθυάγυια might be defended by Solon 4. 37, Pind. Pyth. 4. 153. éπɩTáρpolos: in Hom. always of a helping god, and so carm. pop. 47. 7. In Mel. Adesp. 33 A (τáррole, Mwoa Xiyeia), we have a clip-form of ἐπιταρ., just as πλόμενος is used for περιπλόμ., ἤϊον for παρήϊον. pywv Wilamowitz thinks the fragment is spurious because the word does not show F. But there are eighteen such places in Homer, some of which are difficult to cure, e.g. A 470, A 703, P 279.-Metre: dact.-hexam. ALKMAN. ALKMAN, the chief cultivator, if not the creator, of early choral poetry, and the first representative of the fully developed melic style, was a Sardian by birth, as he tells us in Frag. v. A Lydian birthplace does not, however, disprove Hellenic extraction. Like the name of his father (Damas, or Titaros), his name is Greek. He calls himself Αλκμάων and 'Αλκμάν, a name connected with ἄλκιμος, as are 'Αλκμήνωρ, Αλκμήνη, "Ιππαλκμος. The statement vûv dé μοι ̓Αλκμὰν οὔνομα that is put into his mouth by a poet in the Anth. Pal. (7. 709) at least implies the existence of a tradition that the poet once bore à Lydian name, though this may be the result of a false inference. It is possible that his father was an Aiolian who lived in Sardis as a metic. At least it is difficult to see how a barbarian, could have so completely identified himself with Spartan institutions and Spartan speech as did the stranger who was afterwards to be known as 'the Lakedaimonian poet.' Despite the explicit statement in Frag. v., the Pergamene scholars held that he was a Lakonian from Messoa. Doubtless some passage in the poet gave rise to this tradition. As Crusius suggests, MEZZOATAZ, and MEZZOTITAΣ an inhabitant of Mt. Messōgis in Lydia, may have caused the confusion. That he was a Lakedaimonian by birth is improbable, since all the early great poets who lived in Sparta were aliens: Terpander from Lesbos, Thaletas from Crete, Polymnastos from Kolophon, and Tyrtaios (probably) from Miletos. The similarity between his father's name, Titaros, and Teutaros, the slave of Amphitryon, may have given rise to the story that the poet was of servile origin, or actually a slave who was manumitted when his master discovered the marks of his genius. (In some places in Greece Lydians stood in the relation of perioikoi to the Dorians.) The cultivation of poetry was generally restricted to the aristocracy in the melic period, but, as in the case of the tradition which made a schoolmaster of Tyrtaios, there is evidence of a tendency on the part of Lakedaimon to depreciate the social position of the artists whom she invited to her territory. If Alkman was in truth a slave he may have been made a prisoner of war in one of the forays of the Kimmerians (Kallinos 1), and sold over-sea to the Spartan Agesidas. The only date that is handed down concerning the poet is connected with the seventh year of the Lydian king Ardys. According to Africanus, this fell in 657, which is probably nearer the truth than Apollodoros' 672, since that chronologer regularly puts the dates farther back than other scholars. Eusebios' 612 represents an attempt to synchronize Alkman with Stesichoros.1 Alkman is certainly later than the second musical period at Sparta which was founded by Thaletas. His official position as teacher of the state choruses, his command over the cantonal speech, his acquaintance with the specifically Lakonian myths, and his reproduction of Lakonian manners, show that the poet must have passed much of his life in Sparta. He died at an advanced age, and was buried between the shrines of the Hippokoontidai, whose death he sung, and the heroon of Herakles, near the district called Sebrion (Paus. 3. 15. 2). Alkman's life fell in a period of material prosperity and artistic development in the Spartan state. The oldtime severity of the institutions of Lykurgos had been somewhat relaxed. The plastic arts flourished. The Zkiás was built. Still, notwithstanding these traces of sympathy with the arts on the part of the state, and the partial fusion between seriousness and playfulness that gave a more secular tone to life-both the results of the second musical epoch, of which Alkman was the heirthese causes are not sufficient to account for the character of his art. There is a non-Dorian touch. He is an Aiolian in his tenderness, buoyancy, imagination, grace (ò xapíeis 'A\кμáv), love of beauty; and he has more of Ionic suppleness than Dorian vigour. His love of the pleasures of life, his quick sensibilities, are not Dorian, though his humour is not alien to his new home. There were six books of Alkman's poems current in Hellenistic times: partheneia, hymns, hyporchemes, paians (both intended for the gymnopaidia), erotika, and hymenaia. Some of his poems suggest the skolia. The deities he celebrated in the partheneia and hymns-Zeus, Hera, Artemis, Aphrodite-were those held in special honour in the Spartan cult. If the nome had been displaced by his immediate predecessors, he gave to the partheneion a perfection that was never equalled even by the great poets of the sixth and fifth centuries. The universal character of the later choral lyric rendered it 1 Rohde R. M. 33. 199. In the Greek biographies yeyove usually denotes the ȧkun. This is regarded as forty years after birth; and a similar period is supposed to elapse between the akun of a teacher and the ȧkμý of a pupil. So with Alkman and Arion. ill-suited to the display of the fine personal qualities, the delicate reverence and even romantic gallantry towards women that distinguish the first cultivator of this class of melic composition. By a pardonable error, which ignores the predecessors whom he eclipsed, the poet was in fact called the founder of erotic song. But his passion does not consume the heart like that of his Aiolic successors. No choral poet of Greece loves to speak of himself so much as does Alkman. No choral poet has such winsome ingenuousness in giving us his confidence; but he is proudly conscious of his position as a poet who has learned from nature the secret of his art. He is the most amiable of the Greek singers. If he does not compass the loftier range of the idealistic poets, he has the serenity of the humbler sphere wherein he was a master. His feeling for nature is almost modern. Technical originality is displayed by Alkman only in his use of metre. The lyric hexameter he, indeed, employs, and with fine effect; but the preference of Terpander for the hexameter has yielded in him to a love of shorter dactylic verses, notably the tetrameter, in which spondees rarely find a place. Through the influence of Archilochos, and possibly of folk-song, the splendour of the epic verse has at last suffered eclipse. Alkman often uses pure trochaic and iambic metres of various forms, and also employs these measures in conjunction with dactyls, following herein the innovation of Archilochos. His anapaests he probably derived from the melodies of the people. His cretics show the influence of Thaletas; while ionics, the first examples of which appear in his fragments, are due to his predecessor, Polymnastos. His logaoedics show various forms that are simple and graceful. In the arrangement of his verses Alkman makes use both of systems, consisting of the same measures repeated (such as dactylic tetrapodies, iambic dimeters, and catalectic trimeters), and of strophes. The latter are usually of simple structure, consisting of three or four verses, and are monostrophic in arrangement (dactylic and trochaic lines). The long logaoedic partheneion stands midway between the systems and the elaborate odes of Stesichoros |