the time, and even he took up his residence at Athens, the new centre of culture; and here his son remained. The musicians of the time were often Argives. Those who read púya in 10 refer Awptov to the serenity of the Dorian mode. Xopeíav: Pr. was famous as a dancer' (Athen. 1. 22 A). Not only did dancing form a great feature of his dramas but he also gave private lessons' in the art. xopeia has acquired the meaning 'choric song accompanying the dance'; cf. Aristoph. Ran. 247 (with ep0€ɣšáμeo0a).

Metre: the movement is extraordinarily agitated and expresses with great vividness the lively character of the hyporcheme. Mar. Vict. 2. 11 says that proceleusmatics (cf. 1-4) were used in satyric plays (whereas they are alien to sober compositions in anapaests); hence it is not certain that the adoption of the freer metrical forms is entirely due to the poet's opposition to the metrical licences of the time. Rossbach finds three eurhythmic periods ending with ll. 5, 9, 17, while Christ discovers six divisions that result from the metrical variations. The metre is hyporchematic dactylotrochaic with frequent resolutions and syncope. Irrational longs are avoided. The syncopated trochaic dipodies ( = cretics) are appropriate to the hyporchemes. I have adopted dipodic measurement as far as possible. Rossbach makes 1-2 trochaic, and so 13 may be scanned. v. 5 is perhaps a dact. trip. (though elsewhere absent) +2 troch. dip.; or dact. dip. +3 troch. dip. Christ's division makes

and

II. Athen. 14. 624 F. The earliest reference to the 'harmonies or musical modes. 'Follow neither a highly-strung music nor the relaxed (low-pitched) Ionian, but, drawing a middle furrow through your ground, be an Aiolian in your melody. 'Tis the Aiolian mode that befits all your swash-bucklers in song.'-1. The σúvтovo apμovíaι are set off against the ἀνειμέναι καὶ μαλακαί in Arist. Pol. 1290 A 27, 1342 B 21, as the Moûσal ovvтovúτepaι are contrasted with the μalakúтepaι in Plato Sophist. 242 E. Westphal (Harmonik 186) explains cúvтovos as a form of the Ionian mode (in b), and Flach equates it with the Mixo-Lydian. Bergk and Hartung regarded it as identical with the Syntono- (High) Lydian. Monro (Greek Music p. 6) takes σúvтovos generally, and thinks that the poet follows the Greek principle of adopting the mean between extremes. Pratinas demands a return to the Aiolian (Hypodorian) mode (in a) of Terpander, Alkaios, and Sappho, which had been driven out by the σύντονος and the relaxed Ionian (in g).—3. ἀοιδολαρ. : so

Cf.

Bergk for ἀοιδὰ λαβρ. Others read ἀοιδάν, ἀοιδᾶν, ἀοιδοῖς. λαβρογόρης Υ 479. The Aiolians were a self-asserting, swaggering race of fighters. Herakl. Pont. in Athenaios says of their musical mode that it was 'elevated and fearless, pompous, inflated, and full of pride.'-Metre: v. 3 points to a dactylotrochaic strophe. Most editors make five troch. dip. of I. 1, and a hypercatalectic troch. verse of 1. 2. Bergk thought ἀεί had dropped out before νεῶν. Kaibel arranges in short verses with word-breaking.

PHRYNICHOS.

PHRYNICHOS, the Athenian tragic poet, an older contemporary of Aischylos, was the author of the Capture of Miletos (496), Phoinissai (476), and Alkestis, and seems to have written hymns, paians, and dithyrambs. His tragedies were more like oratorios with dancing than dramas.

I. Schol. Aristoph. Nubes 967, schol. Aristeid. 3. 537. See on Lamprokles.-Metre: dact. -epitrite.

II. Athen. 13. 564 F, 604 a: from the Troïlos, which was either a dithyramb or a tragedy (so Nauck Frag. 13). Quoted by the poet Sophokles, who reproved the carping schoolmaster for his matter-of-fact theory of poetry (see on Sim. xxxii.); cf. πoppupî 'Appodíтn Anakr. ii. 3 and purpureus Amor. Val. Flacc. has orbes purpurei, Ovid purpureae genae after Apoll. Rhod. 3. 121 Ἔρως . . . οἱ ἀμφὶ παρειὰς [χροιῇ θάλλεν Epev0os.-Metre: dact. trip. with anacr.+ithyphallic. Cf. Archil. 79 Ερασμονίδη Χαρίλας, χρῆμά τοι γελοῖον, where the caesura divides the two cola.

DIAGORAS.

DIAGORAS Of Melos, 'the Atheist,' flourished in the second quarter of the fifth century and was a younger contemporary of Pindar and Bacchylides. He is said to have composed songs, enkomia and paians. The tradition that he wrote dithyrambs is doubtful unless the word is taken in the later and wider sense (see the Introduction).

His poetry was perhaps the product of his earlier years and is reported to have been free from the impiety which made him notorious (Aristoph. Aves 1072). Literary gossip said that this was occasioned by the failure of the gods to punish a poet who had robbed him of a paian; soberer tradition ascribed it to his study of the Atomistic philosophy. His 'ATоπupɣíšovтes Xóyoɩ (in prose) contained an indirect attack upon the traditional faith, and his puto Moyo, if a separate work, profaned the Mysteries (cf. Andok. 1. 29). These works would stamp him as guilty not only of ἀσέβεια but also of ἀθεότης. Blomfield thought that Diagoras is referred to in Aisch. Agam. 369 οὐκ ἔφα τις ] θεοὺς βροτῶν ἀξιοῦσθαι· μέλειν | ὅσοις ἀθίκτων χάρις | πατοῖθ'. ὁ δ ̓ οὐκ εὐσεβής. Diagoras was condemned to death at Athens on a charge of impiety, certainly before the beginning of the Peloponnesian War, and fled to Pellene in Achaia. He may have also lived at Mantineia and Korinth. In Aristoph. Nubes 830 Sokrates is covertly identified with Diagoras (2. Mýλos). As regards his atheism, Phaidros On Nature 23 says that the Stoics were more sceptical than he. The extant fragments are quoted by the ancients to show the pious character of his poetry (εὔφημος, ὡς ποιητής, εἰς τὸ δαιμόνιον).

I. Philodem. teρì evσeßeías p. 85 (vv. 1-2), Didym. Alex. de Trinit. 3. 2.-1. The formula eòs Oeos was often used at the beginning of sacred and profane functions (Eust. Il. 258. 26). Cf. Pind. xi. Ocós is repeated in Pind. Pyth. 2. 49, Isthm. 5. 52, Bacch. i. 21.2. Cf. v 255 αἰὲν ἐνὶ στήθεσσι νόον πολυkepồća vwμŵv.—3. Cf. Sim. xxv.; Theogn. 169 ồv dè Peoì τιμῶσιν, ὁ καὶ μωμεύμενος αἰνεῖ· ] ἀνδρὸς δὲ σπουδὴ γίνεται οὐδεμία. ἕρπει: φωνᾶεν ἕρπει Pind. Isthm. 4. 40, ἐξόδους ἕρπειν Soph. Aias 287.-Metre: dact. -epitrite.

II. Philodem. 7. 7. Nikodoros had invited the assistance of Diagoras (doubtless before he turned atheist) in forming a code of laws for Mantineia, and the poet is said to have written an Enkomion on the Mantineians. Line 1 may be imitated in Aristoph. Aves 544: κατὰ δαίμονα καὶ κατὰ συντυχίαν, cf. Eur. El. 1358. δαίμων is joined with τύχη in Lysias and Aischines. Diagoras may have been influenced by Demokritos che il mondo a caso pone (Dante Inf. 4. 136). This fragment may have stood at the beginning of Diagoras' poems. -Metre: logaoedic.

KYDIAS.

KYDIAS of Hermione, a choral poet, wrote love songs that were highly esteemed by Plato. He lived in the first half of the fifth century. He is possibly the same as Kydides, a dithyrambic poet, the author of the Tηλéopov Bóaua (Aristoph. Nubes 967).

Plato Charm. 155 D, in paraphrase. The fawn trembles before the lion as the boy before his lover. Cf. Hor. 3. 20. Proverbs are νεβρὸς τὸν λέοντα and μὴ πρὸς λέοντα δορκὰς ἅψωμαι μάχης. μοῖραν αἱρεῖσθαι : tanquam portionem carnium capi ideoque lacerari (Stallb.), but μoîpav may be 'fate.'-Metre : dact.-epitrite.

PRAXILLA.

PRAXILLA, the chief poetess of the Dorians, and a writer of dithyrambs, was a native of Sikyon, a city that had long been the home of this class of melic composition. Hdt. 5. 67 reports that about 590 B.C. Kleisthenes, tyrant of Sikyon, checked an attempt to install Adrastos, the local hero, in the place of Dionysos, to whom the 'tragic choruses' were sacred. Praxilla's dithyrambs seem to have dealt with subjects foreign to the cult of Dionysos, but in view of the fact that the themes of the dithyrambic choruses has already been secularized by Simonides, it may be doubted whether the Sikyonian poetess revived the ancient antagonism of her townsmen. The dithyrambic poets of the fifth and fourth centuries chose stories unconnected with the worship of Dionysos, e.g. Melanippides' Marsyas, Persephone, Danaids, Timotheos' and Philoxenos' Polyphemos, Telestes' Argo, Asklepios, Hymenaios. Because of Praxilla's local reputation a Sikyonian collection of skolia, which was modelled on the 'Attic' banquet songs, was ascribed to her. We hear only of skolia 'attributed' to Praxilla (see the introduction to the Skolia). Lysippos set up a bronze statue to commemorate her fame.

I. Hephaist. 11. From a dithyramb entitled Achilles. The oldest form of the dithyramb was in dactylic hexameters, which were revived in the fifth century. Other verse-forms may however have been used in connection with the hexameter. The verse recalls ψ 337 ἀλλὰ τοῦ οὔ ποτε θυμὸν ἐνὶ σTÝDEσσL ETTELOev (cf. n 258, i 33). Neue thought that Achilles is here addressed by a member of the peoßeia in Il. I; cf. 1. 315. Teóv makes a short monosyllable as @cós Pind. Pyth. 1. 56 (cf. βρότεον 10. 28). Cases of a semi-vocalice before a short

syllable are very rare.

II. Zenob. 4. 21. From the dithyramb called Adonis. Adonis is questioned by the inhabitants of the lower world as to the sweetest thing he had left behind in life. The passage occasioned the proverb 'more foolish than the Adonis of Praxilla.' But the poetess probably intended to depict only the naiveté of the boy. Cf. Menand. 481 TOÛTOV EŮTUχέστατον λέγω, | ὅστις θεωρήσας ἀλύπως, Παρμένων, | τὰ σεμνὰ ταῦτ ̓ ἀπῆλθεν, ὅθεν ἦλθεν, ταχύ, | τὸν ἥλιον τὸν κοινόν, ἄστρο, ὕδωρ, νέφη, | πῦρ· ταῦτα, κἂν ἑκατὸν ἔτη βιῷς, ἀεὶ | ὄψει παρόντα, κἂν ἐνιαυτοὺς σφόδρ' ὀλίγους, | σεμνότερα τούτων ἕτερα δ ̓ οὐκ ὄψει TOTÉ, Eur. Frag. 316. From a different point of view we are informed in Aristoph. Ranae 155 that the blessed in Hades enjoy a sunlight that is like that of the upper world (ŏe Te φῶς κάλλιστον ὥσπερ ἐνθαδί). Farnell quotes the “Essays of Elia" (New Year's Eve'): "Sun and sky, and breeze and solitary walks, and summer holidays, and the greenness of fields, and the delicious juices of meats and fishes-do these things go out with life?”—1. Cf. λ 93 τίπτ' αὖτ ̓, ὦ δύστηνε, λιπὼν φάος ἠελίοιο | ἤλυθες (Teiresias to Odysseus in Hades). Sappho 79 has τὸ λάμπρον ἔρως ἀελίω καὶ τὸ κάλον λέλογχε.-2. σεληναίη = σελήνη, cf. παρθενική = παρθένος Alkm. vii.; SO γαληναία = γαλήνη, Αθηναία = Αθήνη.-Metre: dact.hexam. κατὰ στίχον.

III. Hephaist. 25.-1. Cf. Theokr. 3. 18 Tò каλÒν πоlореÛσα. 2. παρθένος is a virgin, νύμφη a newly wedded wife in Theokr. 2. 136; cf. veоyáμov výμons Aisch. Agam. 1179. Sometimes vúμon is used for ywvý (Diodor. 3. 136). There is no specific Greek word for a 'betrothed' girl. A married woman retained the title výμon until she became a matron, and sometimes even after she had reached matronhood.Metre an exquisite example of the effect of light logaoedic dactyls running over into trochees. The combination of three dactyls and a trochaic dipody was called Пpagiλelov and the citation of this fragment under that name is our sole warrant for ascribing it to Praxilla. It is Aiolic in rhythmic effect,