---
title: "The Deipnosophists · Δειπνοσοφισταί"
author: "Athenaeus"
translator: "Charles Duke Yonge"
languages: [grc, en]
shelf: "Classical Greek"
section: 20 of 78
url: https://scriptura.si/works/athenaeus-deipnosophists/20/
cite: "Athenaeus, tr. Charles Duke Yonge, The Deipnosophists · Δειπνοσοφισταί, section 20. Scriptura (scriptura.si), https://scriptura.si/works/athenaeus-deipnosophists/20/"
---

# The Deipnosophists · Δειπνοσοφισταί

*Athenaeus, tr. Charles Duke Yonge*

The Learned Banqueters: a dinner party in Rome stretched over fifteen books of talk about food, wine, courtesans, music and books, quoting hundreds of lost Greek authors.

> Greek: ed. Charles Burton Gulick, from the Perseus Digital Library (canonical-greekLit, tlg0008.tlg001, CC BY-SA 4.0).

> English: Charles Duke Yonge, from the Perseus Digital Library (tlg0008.tlg001.perseus-eng2). Notes are not included.

> Rows follow the references the two texts share (books, chapters and sections), cut where both reach the end of a sentence.

## 20. Book IV · chapters 72–83

Source: https://scriptura.si/works/athenaeus-deipnosophists/20/ · cite a paragraph as https://scriptura.si/works/athenaeus-deipnosophists/20/#p-N

[¶0] And the ancients used to call those who made sweetmeats and cheesecakes δημιουργοί. Menander, in his False Hercules, blaming the cooks as attempting what they ought not, says—
Holloa, you cook, why do you sulky seem?
'Tis the third time you've asked me what's the number
Of tables which will be required to-day.
We go to sacrifice one little pig.
Eight tables are required, or two, or one;
What can that be to you?—I want but one.
May we not make some candyli and dishes
Such as you're used to season; honey, eggs,
And semilago; but now everything
Is contrary; the cook makes cakes in moulds,
Roasts cheesecakes, and boils groats, and brings on table
After the salted meats fig-leaves and grapes.
And for the sweetmeat-makers, they, with duties
Turn'd upside down, roast joints of meat and thrushed
Instead of delicate confections; thus
He who believes he sups doth feed on dainties,
And when perfumed and crown'd, again doth feast
On honey'd cheese-cakes interspersed with thrushes.
But that all these different duties were formerly separated, when the demiurgi, as they called them, attended to the sweetmeats, and the cooks to the regular cookery, Antiphanes shows us plainly enough, in his Chrysis, where he says—
Four female flute-players do have their wages,
Twelve cooks, and just as many sweetmeat-makers,
Asking for plates for honey.
And Menander, in his Demiurgus, says—
A. What now is this, my boy, for you, by Jove,
Have come in a most business-like set fashion.
B. Yes, for we are inventing fine inventions,
And all the night long we've been hard at work,
And even now we have much left unfinish'd.
But Seleucus says that Panyasis is the earliest author who speaks of sweetmeats, in the book in which he speaks of the human sacrifices practised by the Egyptians, saying that many sorts of pastry and sweetmeats are put on the table, and many kinds of young birds. And before his time Stesichorus, or Ibycus, in the poem entitled the Contest, wrote as follows:—-
Bring gifts unto the maiden, cakes of cesane,
And groats, and cakes of oil and honey mixed,
And other kinds of pastry, and fresh honey.
But that this poem is the work of Stesichorus, Simonides the poet is a most undeniable witness; who, when speaking of Meleager, says—
Who with the spear excell'd his fellows all,
Hurling beyond the eddying Anauros
From the grape-famous Iolcos.
For thus did Homer and Stesichorus
Sing to the nations.
For Stesichorus had sung so in the previously quoted poem, namely, the Contests—
Amphiaraus gain'd the prize in leaping,
And with the dart the godlike Meleager.

> Greek: τοὺς δὲ τὰ πέμματα προσέτι τε τοὺς ποιοῦντας τοὺς πλακοῦντας οἱ πρότερον δημιουργοὺς ἐκάλουν. Μένανδρος Ψευδηρακλεῖ· καταμεμφόμενος δὲ τοὺς μαγείρους ὡς ἐπιχειροῦντας καὶ οἷς μὴ δεῖ φησιν μάγειρ᾽, ἀηδής μοι δοκεῖς εἶναι σφόδρα, πόσας τραπέζας μέλλομεν ποιεῖν, τρίτον ἤδη μ’ ἐρωτᾷς, χοιρίδιον ἓν θύομεν, ὀκτὼ ποιήσοντες τραπέζας δ’ ἢ μίαν, τί σοι διαφέρει τοῦτο; παράθες σήμερον. οὐκ ἔστι κανδύλους ποεῖν οὐδ’ οἷα σὺ εἴωθας εἰς ταὐτὸν καρυκεύειν μέλι, σεμίδαλιν, ᾠά· πάντα γὰρ τἀναντία νῦν ἐστιν ὁ μάγειρος γὰρ ἐγχύτους ποεῖ, πλακοῦντας ὀπτᾷ, χόνδρον ἕψει καὶ φέρει μετὰ τὸ τάριχος, εἶτα θρῖον καὶ βότρυς· ἡ δημιουργὸς δ’ ἀντιπαρατεταγμένη κρεᾴδι’ ὀπτᾷ καὶ κίχλας τραγήματα. ἔπειθ’ ὁ δειπνῶν μὲν τραγηματίζεται, μυρισάμενος δὲ καὶ στεφανωσάμενος πάλιν δειπνεῖ μελίπηκτα ταῖς κίχλαις. ὅτι δὲ ἐκεχώριστο τὰ τῆς ὑπουργίας, πεμμάτων μὲν προνοουσῶν τῶν δημιουργῶν, ὀψαρτυτικῆς δὲ τῶν μαγείρων, Ἀντιφάνης διεσάφησεν ἐν Χρυσίδι οὕτως· τέτταρες δ’ αὐλητρίδες ἔχουσι μισθὸν καὶ μάγειροι δώδεκα καὶ δημιουργοὶ μέλιτος αἰτοῦσαι σκάφας. Μένανδρος Δημιουργῷ· τί τοῦτο, παῖ; διακονικῶς γὰρ νὴ Δία, προελήλυθας. β. ναί· πλάττομεν γὰρ πλάσματα, τὴν νύκτα τ’ ἠγρυπνήκαμεν καὶ νῦν ἔτι ἀποίητα πάμπολλ’ ἐστὶν ἡμῖν. πεμμάτων δὲ πρῶτόν φησιν μνημονεῦσαι Πανύασσιν Σέλευκος, ἐν οἷς περὶ τῆς παρ’ Αἰγυπτίοις ἀνθρωποθυσίας διηγεῖται, πολλὰ μὲν ἐπιθεῖναι λέγων πέμματα, πολλὰς δὲ νοσσάδας ὄρνις, προτέρου Στησιχόρου ἢ Ἰβύκου ἐν τοῖς Ἄθλοις ἐπιγραφομένοις εἰρηκότος φέρεσθαι τῇ παρθένῳ δῶρα σασαμίδας χόνδρον τε καὶ ἐγκρίδας, ἄλλα τε πέμματα καὶ μέλι χλωρόν. ὅτι δὲ τὸ ποίημα τοῦτο Στησιχόρου ἐστὶν ἱκανώτατος μάρτυς Σιμωνίδης ὁ ποιητής, ὃς περὶ τοῦ Μελεάγρου τὸν λόγον ποιούμενός φησιν ὃς δουρὶ πάντας νίκασε νέους δινάεντα βαλὼν Ἄναυρον ὕπερ πολυβότρυος ἐξ Ἰωλκοῦ· οὕτω γὰρ Ὅμηρος ἠδὲ Στασίχορος ἄεισε λαοῖς. ὁ γὰρ Στησίχορος οὕτως εἴρηκεν ἐν τῷ προκειμένῳ ᾄσματι τοῖς Ἄθλοις· θρῴσκων μὲν γὰρ Ἀμφιάραος, ἄκοντι δὲ νίκασεν Μελέαγρος.

[¶1] But I am not ignorant of what Apollodorus the Athenian has said of the Delians, that they supplied all who came to their sacred ceremonies with the assistance of cooks and table-setters; and from their actions they were named Magis and Gongylis;—since, says Aristophanes, they furnished them at these banquets with round barley-cakes, (γόγγυλαι μάζαι,) as if they had been women. And even to this very day some of them are called Chœraci, and Amni, and Artysilai, and Sesami, and Artusitragi, and Neocori, and Icthyboli. And of the women, some are called Cuminanthæ. But all are called by one common name Eleodytæ, because they attend on the kitchen tables, and minister at the festivals. For ἔλεος means a kitchen or cook's table. Homer says—
But when he roasted the meat, and placed it ἐν ἐλεοισῖν.
On which account, also, Polycraton the son of Crithon, a Rhenæan, when instituting a prosecution against hem, did not call them Delians, but inscribed his action “against the whole body of the Eleodytæ.” And the law of the Amphictyons commands the Eleodytæ to provide water; meaning by Eleodytæ the table-setters, and all attendants of that sort. But Criton the comic poet, in his Busy-body, calls the Delians the parasites of the god, in these lines—
When we had forced this great Phœnician,
The master of a well-provided purse,
Though captain of the ship, to stay in harbour,
And * * * two ships
To come to Delos from Piræus' port;
He heard from all men that this place alone
Seem'd to have three good things for a parasite,
A well-stored market, a large population
From every country, and the native Delians,
Themselves a tribe of parasites of the god.

> Greek: οὐκ ἀγνοῶν δὲ καὶ περὶ Δηλίων ἃ Ἀπολλόδωρος ὁ Ἀθηναῖος εἴρηκεν ὅτι μαγείρων καὶ τραπεζοποιῶν παρείχοντο χρείας τοῖς παραγινομένοις πρὸς τὰς ἱερουργίας, καὶ ὅτι ἦν αὐτοῖς ἀπὸ τῶν πράξεων ὀνόματα Μαγίδες καὶ Γογγύλοι, ἐπειδὴ τὰς μάζας, φησὶν Ἀριστοφάνης, ἐν ταῖς θοίναις δι’ ἡμέρας τρίβοντες παρεῖχον ὥσπερ γυναιξὶ γογγύλας μεμαγμένας. καλοῦνται δὲ καὶ μέχρι νῦν τινες αὐτῶν Χοίρακοι καὶ Ἀμνοὶ καὶ Ἀρτυσίλεῳ καὶ Σήσαμοι καὶ Ἀρτυσίτραγοι καὶ Κρεωκόροι καὶ Ἰχθυβόλοι, τῶν δὲ γυναικῶν Κυμινάνθαι, κοινῇ δὲ πάντες Ἐλεοδύται διὰ τὸ τοῖς ἐλεοῖς ὑποδύεσθαι διακονοῦντες ἐν ταῖς θοίναις. ἐλεὸς δ’ ἐστὶν ἡ μαγειρικὴ τράπεζα. Ὅμηρος· αὐτὰρ ἐπεὶ ῥ’ ὤπτησε καὶ εἰν ἐλεοῖσιν ἔθηκε. ὅθεν καὶ Πολυκράτων ὁ Κρίθωνος Ῥηναιεὺς δίκην γραφόμενος οὐ Δηλίους αὐτοὺς ὀνομάζει, ἀλλὰ τὸ κοινὸν τῶν Ἐλεοδυτῶν ἐπῃτιάσατο. καὶ ὁ τῶν Ἀμφικτυόνων δὲ νόμος κελεύει ὕδωρ παρέχειν ἐλεοδύτας, τοὺς τραπεζοποιοὺς καὶ τοὺς τοιούτους διακόνους σημαίνων. Κρίτων δ’ ὁ κωμῳδιοποιὸς ἐν Φιλοπράγμονι παρασίτους τοῦ θεοῦ καλεῖ τοὺς Δηλίους διὰ τούτων Φοίνικα μεγάλου κύριον βαλλαντίου ναύκληρον ἐν τῷ λιμένι ποιήσας ἄπλουν καὶ φορμιῶσαι ναῦς ἀναγκάσας δύο, εἰς Δῆλον ἐλθεῖν ἠθέλησ’ ἐκ Πειραιῶς, πάντων ἀκούων διότι παρασίτῳ τόπος οὗτος τρία μόνος ἀγαθὰ κεκτῆσθαι δοκεῖ, εὔοψον ἀγοράν, παντοδαπὸν ὁρμοῦντ’ ὄχλον, αὐτοὺς παρασίτους τοῦ θεοῦ τοὺς Δηλίους.

[¶2] But Achæus the Eretrian, in his Alcmæon, a satyric drama, calls the Delphians makers of sauces, in these words:—
I see the sauce-makers, and spit on them.
Inasmuch, forsooth, as they cut up the victims, it is plain that they cooked and seasoned them; and, having a regard to these facts, Aristophanes also said—
But O thou Phœbus, thou who sharpenest
The Delphian knives, and with an early warning
Givest instruction to thy ministers.
And, in the lines immediately following the former passage, Achæus says—
Why do you stay conceal'd,
Namesake of all the knives which cooks employ
For the Satyrs ridicule the Delphians, as devoting all their time and attention to festivals and sacrifices. And Semus says, in the fourth book of his Deliad, “The Delians used to provide the Delphians who came to Delos with salt, ad vinegar, and oil, and wood, and counterpanes.” And Arisotle, or Theophrastus, in his Commentaries, speaking of the Magne- sians who dwell on the banks of the river Mæander, as colonists of the Delphians, represents them as showing the same attentions to all foreigners who came to them; speaking as follows: —“The Magnesians who dwell on the banks of the river Mæander, being sacred to the god, and colonists of the Delphians, give shelter to all who come among them, and salt, and oil, and vinegar, and lights, and beds, and coverlets, and tables.” But Demetrius the Scepsian, in the sixteenth book of his Trojan Array, says that in Laconia, on the road which is called the Hyacinthine road, statues of the heroes Daiton and Ceraon were erected by those who made barley-cakes at the Phiditia, and by the attendants who mixed the wine. And the same writer reports also, in the twenty-fourth book of the same work, that Daitas the hero is worshipped among the Trojans, who is also mentioned by Mimnermus. And Hegesander the Delphian says that Jupiter is worshipped in Cyprus, under the names of Eilapinastes or the Feaster, and of Splanchnotomus or the Carver of Entrails.

> Greek: Ἀχαιὸς δ’ ὁ Ἐρετριεὺς ἐν Ἀλκμαίωνι τῷ σατυρικῷ καρυκκοποιοὺς καλεῖ τοὺς Δελφοὺς διὰ τούτων καρυκκοποιοὺς προσβλέπων βδελύττομαι, παρόσον τὰ ἱερεῖα περιτέμνοντες δῆλον ὡς ἐμαγείρευον αὐτὰ καὶ ἐκαρύκκευον. εἰς ταῦτα δὲ ἀποβλέπων καὶ Ἀριστοφάνης ἔφη· ἀλλ’ ὦ Δελφῶν πλείστας ἀκονῶν, Φοῖβε, μαχαίρας καὶ προδιδάσκων τοὺς σοὺς προπόλους. κἀν τοῖς ἑξῆς δ’ ὁ Ἀχαιός φησιν τίς ὑποκεκρυμμένος μένει, σαραβάκων κοπίδων συνομώνυμε; ἐπισκώπτουσι γὰρ οἱ Σάτυροι τοὺς Δελφοὺς ὡς περὶ τὰς θυσίας καὶ τὰς θοίνας διατρίβοντας. Σῆμος δ’ ἐν δ Δηλιάδος Δελφοῖς, φησί, παραγινομένοις εἰς Δῆλον παρεῖχον Δήλιοι ἅλας καὶ ὄξος καὶ ἔλαιον καὶ ξύλα καὶ στρώματα. Ἀριστοτέλης δ’ ἢ Θεόφραστος ἐν τοῖς ὑπομνήμασι περὶ Μαγνήτων λέγων τῶν ἐπὶ τοῦ Μαιάνδρου ποταμοῦ ὅτι Δελφῶν εἰσιν ἄποικοι τὰς αὐτὰς ἐπιτελοῦντας αὐτοὺς ποιεῖ χρείας τοῖς παραγιγνομένοις τῶν ξένων, λέγων οὕτως· Μάγνητες οἱ ἐπὶ τῷ Μαιάνδρῳ ποταμῷ κατοικοῦντες ἱεροὶ τοῦ θεοῦ, Δελφῶν ἄποικοι, παρέχουσι τοῖς ἐπιδημοῦσι στέγην, ἅλας, ἔλαιον, ὄξος, ἔτι λύχνον, κλίνας, στρώματα, τραπέζας. Δημήτριος δ’ ὁ Σκήψιος ἐν ἑκκαιδεκάτῳ Τρωικοῦ διακόσμου ἐν τῇ Λακωνικῇ φησιν ἐπὶ τῆς ὁδοῦ τῆς καλουμένης Ὑακινθίδος ἱδρῦσθαι ἥρωας Μάττωνα καὶ Κεράωνα ὑπὸ τῶν ἐν τοῖς φιδιτίοις ποιούντων τε τὰς μάζας καὶ κεραννύντων τὸν οἶνον διακόνων, ὁ δ’ αὐτὸς ἱστορεῖ κἀν τῷ τετάρτῳ καὶ εἰκοστῷ τῆς αὐτῆς πραγματείας Δαίτην ἥρωα τιμώμενον παρὰ τοῖς Τρωσίν, οὗ μνημονεύειν Μίμνερμον. κἀν Κύπρῳ δέ φησι τιμᾶσθαι Ἡγήσανδρος ὁ Δελφὸς Δία Εἰλαπιναστήν τε καὶ Σπλαγχνοτόμον.

[¶3] And while much such conversation as this was proceed- ing, on a sudden a noise was heard from some one of the neighbouring places, as from an hydraulic organ, very pleasant and agreeable, so that we all turned round towards it, being charmed by the melody; and Ulpian looking towards the musical Alcides said, Do you hear, O you most musical of men, this beautiful harmony which has made us turn round, being enchanted by the music? And is it not the case, as it is said to be among you Alexandrians, that constant music of an unaccompanied flute causes pain rather than any musical pleasure to those who hear it? And Alcides said,—But this engine, the hydraulic organ, whether you choose to class it among stringed instruments or among wind instruments, is the invention of a fellow-countryman of ours, an Alexandrian, a barber by trade; and his name is Ctesibius. And Aristocles reports this, in his book on Choruses, saying— “The question is asked, whether the hydraulic organ is a stringed instrument or a wind instrument.” Now Aristoxenus did not feel sure on this point; but it is said, that Plato showed a sort of notion of the invention, making a nightly clock like the hydraulic organ; being very like an enormous hour-glass. And, indeed, the hydraulic organ does seem to be a kind of hour-glass. It cannot, therefore, be considered a stringed instrument, and one to be played by touching. But perhaps it may be called a wind instrument, because the organ is inflated by the water; for the pipes are plunged down into the water, and when the water is agitated by a youth, as the axles penetrate through the whole organ, the pipes are inflated, and emit a gentle and agreeable sound. And this organ is like a round altar; and they say that it was invented by Ctesibius the barber, who dwelt at that time in the territory of Aspendor, in the reign of the second Ptolemy surnamed Euergetes; and they say that he was a very eminent man; they say also, that he learnt a good deal from his wife Thais. But Trypho, in the third book of his treatise on Names, (and it is a dissertation on Flutes and Organs,) says Ctesibius the mechanic wrote a book about the hydraulis; but I am not sure that he is not mistaken as to the name. At all events, Aristoxenus prefers stringed instruments which are played upon by the touch to wind instruments; saying that wind instruments are very easy; for that many people, without having been taught, can play on the flute and pipe, as for instance, shepherds. And this is what I have got to say to you about the hydraulic organ, O Ulpian. For the Phoenicians used a kind of flute called the gingras, according to the account of Xenophon, about a span in length, and of a very shrill and mournful tone. And the same instrument is used also by the Carians in their wailings, unless, indeed, when he says Phœnicia he means Caria; and indeed you may find the name used so in Corinna and in Bacchylides. And these flutes are called gingri by the Phœnicians from the lamentations for Adonis; for you Phoenicians called Adonis Gingres, as Democlides tells us. And Antiphanes mentions the gingri flutes, in his Physician; and Menander does so too, in his Carina; and Amphis, in his Dithyrambus, saying—
A. And I have got that admirable gingras.
B. What is the gingras.
A. 'Tis a new invention
Of our countryman, which never yet
Has been exhibited in any theatre,
But is a luxury of Athenian banquets.
B. Why then not introduce it to this people?
A. Because I think that I shall draw by lot
Some most ambitious tribe; for well I know
They would disturb all things with their applause.
And Axionicus says, in his Phileuripides—
For they are both so sick with love
Of the melodious strains of soft Euripides,
That every other music seems to them
Shrill as the gingras, and a mere misfortune.

> Greek: πολλῶν δὲ τοιούτων ἔτι λεγομένων ἐκ τῶν γειτόνων τις ἐξηκούσθη ὑδραύλεως ἦχος πάνυ τι ἡδὺς καὶ τερπνός, ὡς πάντας ἡμᾶς ἐπιστραφῆναι θελχθέντας ὑπὸ τῆς ἐμμελείας. καὶ ὁ Οὐλπιανὸς ἀποβλέψας πρὸς τὸν μουσικὸν Ἀλκείδην ἀκούεις, ἔφη, μουσικώτατε ἀνδρῶν, τῆς καλῆς ταύτης συμφωνίας, ἥτις ἡμᾶς ἐπέστρεψεν πάντας κατακηληθέντας ὑπὸ τῆς μουσικῆς; καὶ οὐχ ὡς ὁ παρ’ ὑμῖν τοῖς Ἀλεξανδρεῦσι πολὺς ὁ μόναυλος ἀλγηδόνα μᾶλλον τοῖς ἀκούουσι παρέχων ἤ τινα τέρψιν μουσικήν. καὶ ὁ Ἀλκείδης ἔφη· ἀλλὰ μὴν καὶ τὸ ὄργανον τοῦτο ἡ ὕδραυλις, εἴτε τῶν ἐντατῶν αὐτὸ θέλεις εἴτε τῶν ἐμπνευστῶν, Ἀλεξανδρέως ἐστὶν ἡμεδαποῦ εὕρημα, κουρέως τὴν τέχνην Κτησίβιος δ’ αὐτῷ τοὔνομα. ἱστορεῖ δὲ τοῦτο Ἀριστοκλῆς ἐν τῷ περὶ χορῶν οὑτωσί πως λέγων· ζητεῖται δὲ πότερα τῶν ἐμπνευστῶν ἐστιν ὀργάνων ἡ ὕδραυλις ἢ τῶν ἐντατῶν. Ἀριστόξενος μὲν οὖν τοῦτο οὐκ οἶδε· λέγεται δὲ Πλάτωνα μικράν τινα ἔννοιαν δοῦναι τοῦ κατασκευάσματος νυκτερινὸν ποιήσαντα ὡρολόγιον ἐοικὸς τῷ ὑδραυλικῷ οἷον κλεψύδραν μεγάλην λίαν. καὶ τὸ ὑδραυλικὸν δὲ ὄργανον δοκεῖ κλεψύδρα εἶναι. ἐντατὸν οὖν καὶ καθαπτὸν οὐκ ἂν νομισθείη, ἐμπνευστὸν δὲ ἂν ἴσως ῥηθείη διὰ τὸ ἐμπνεῖσθαι τὸ ὄργανον ὑπὸ τοῦ ὕδατος. κατεστραμμένοι γάρ εἰσιν οἱ αὐλοὶ εἰς τὸ ὕδωρ καὶ ἀρασσομένου τοῦ ὕδατος ὑπό τινος νεανίσκου, ἔτι δὲ διικνουμένων ἀξινῶν διὰ τοῦ ὀργάνου ἐμπνέονται οἱ αὐλοὶ καὶ ἦχον ἀποτελοῦσι προσηνῆ, ἔοικεν δὲ τὸ ὄργανον βωμῷ στρογγύλῳ, καί φασι τοῦτο εὑρῆσθαι ὑπὸ Κτησιβίου κουρέως ἐνταῦθα οἰκοῦντος ἐν τῇ Ἀσπενδίᾳ ἐπὶ τοῦ δευτέρου εὐεργέτου, διαπρέψαι τέ φασι μεγάλως. τουτονὶ οὖν καὶ τὴν αὑτοῦ διδάξαι γυναῖκα Θαίδα.᾽ Τρύφων δ’ ἐν τρίτῳ περὶ ὀνομασιῶν ἐστὶ δὲ τὸ σύγγραμμα περὶ αὐλῶν καὶ ὀργάνων συγγράψαι φησὶ περὶ τῆς ὑδραύλεως Κτησίβιον τὸν μηχανικόν. ἐγὼ δὲ οὐκ οἶδα εἰ περὶ τὸ ὄνομα σφάλλεται. ὁ μέντοι Ἀριστόξενος προκρίνει τὰ ἐντατὰ καὶ καθαπτὰ τῶν ὀργάνων τῶν ἐμπνευστῶν, ῥᾴδια εἶναι φάσκων τὰ ἐμπνευστά πολλοὺς γὰρ μὴ διδαχθέντας αὐλεῖν τε καὶ συρίζειν, ὥσπερ τοὺς ποιμένας, καὶ τοσαῦτα μὲν ἔχω σοι ἐγὼ λέγειν περὶ τοῦ ὑδραυλικοῦ ὀργάνου, Οὐλπιανέ. γιγγραΐνοισι γὰρ οἱ Φοίνικες, ὥς φησιν ὁ Ξενοφῶν, ἐχρῶντο αὐλοῖς σπιθαμιαίοις τὸ μέγεθος, ὀξὺ καὶ γοερὸν φθεγγομένοις. τούτοις δὲ καὶ οἱ Κᾶρες χρῶνται ἐν τοῖς θρήνοις, εἰ μὴ ἄρα καὶ ἡ Καρία Φοινίκη ἐκαλεῖτο, ὡς παρὰ Κορίννῃ καὶ Βακχυλίδῃ ἔστιν εὑρεῖν. ὀνομάζονται δὲ οἱ αὐλοὶ γίγγροι ὑπὸ τῶν Φοινίκων ἀπὸ πῶν περὶ Ἄδωνιν θρήνων τὸν γὰρ Ἄδωνιν Γίγγρην καλεῖτε ὑμεῖς οἱ Φοίνικες, ὡς ἱστορεῖ Δημοκλείδης. μνημονεύει τῶν γίγγρων αὐλῶν Ἀντιφάνης ἐν Ἰατρῷ καὶ Μένανδρος ἐν Καρίνῃ Ἄμφις τ’ ἐν Διθυράμβῳ λέγων οὕτως ἐγὼ δὲ τὸν γίγγραν γε τὸν σοφώτατον. β. τίς δ’ ἔσθ’ ὁ γίγγρας; α. καινὸν ἐξεύρημά τι ἡμέτερον, ὃ θεάτρῳ μὲν οὐδεπώποτε ἔδειξ᾽, Ἀθήνησιν δὲ κατακεχρημένον ἐν συμποσίοις ἤδη ᾽ στί· β. διὰ τί δ’ οὐκ ἄγεις εἰς τὸν ὄχλον αὐτό; α. διότι φυλὴν περιμένω σφόδρα φιλονικοῦσαν λαχεῖν τιν᾽. οἶδα γὰρ ὅτι πάντα πράγματ’ ἀνατριαινώσει κρότοις. καὶ Ἀξιόνικος ἐν Φιλευριπίδῃ· οὕτω γὰρ ἐπὶ τοῖς μέλεσι τοῖς Εὐριπίδου ἄμφω νοσοῦσιν, ὥστε τἄλλ’ αὐτοῖς δοκεῖν εἶναι μέλη γιγγραντὰ καὶ κακὸν μέγα.

[¶4] But how much better, O most sagacious Ulpian, is this hydraulic organ, than the instrument which is called nabla; which Sopater the parodist, in his drama entitled Pylæ, says is also an invention of the Phoenicians, using the following expressions—
Nor is the noise of the Sidonian nabla,
Which from the throat doth flow, at all impair'd.
And in the Slave of Mystacus we find—
Among the instruments of harmony
The nablas comes, not over soft or sweet;
By its long sides a lifeless lotus fix'd
Sends forth a breathed music; and excites men,
Singing in Bacchic strain a merry song.
And Philemon says, in his Adulterer—
A. There should, O Parmeno, be here among us
A nablas or a female flute-player.
B. What is a nablas?
A. Don't you know? you idiot!
B. Indeed I don't.
A. What, do not know a nablas l
You know no good; perhaps a sambucistria
You ne'er have heard of either?
There is also an instrument called the triangle, which Juba mentions in the fourth book of his Theatrical History, and says it is an invention of the Syrians; as is also the sambuca, which is called λυροφοίνιξ. But this instrument Neanthes the Cyzicene, in the first book of his Seasons, says is an invention of Ibycus the Rhegian poet; as also the lyre called barbitos was of Anacreon. But since you are running all us Alexandrians down as unmusical, and keep mentioning the monaulos as our only national instrument, listen now to what I can tell you offhand about that.

> Greek: πόσῳ δὲ κρεῖττον, ὦ Οὐλπιανὲ σοφώτατε, τὸ ὑδραυλικὸν τοῦτο ὄργανον τοῦ καλουμένου νάβλα, ὅν φησι Σώπατρος ὁ παρῳδὸς ἐν τῷ ἐπιγραφομένῳ δράματι Πύλαι Φοινίκων εἶναι καὶ τοῦτον εὕρημα. λέγει δ’ οὕτως· οὔτε τοῦ Σιδωνίου νάβλα λαρυγγόφωνος ἐκκεχόρδωται τύπος. καὶ ἐν Μυστάκου δὲ θητίῳ φησί· νάβλας ἐν ἄρθροις γραμμάτων οὐκ εὐμελής, ᾧ λωτὸς ἐν πλευροῖσιν ἄψυχος παγεὶς ἔμπνουν ἀνίει μοῦσαν. ἐγρέτου δέ τις τὸν ἡδονῆς μελῳδὸν εὐάζων χορόν. Φιλήμων ἐν Μοιχῷ· ἔδει παρεῖναι, Παρμένων, αὐλητρίδ’ ἢ νάβλαν τιν᾽. π. ὁ δὲ νάβλας τί ἐστιν; … α … οὐκ οἶδας, ἐμβρόντητε σύ; π. μὰ Δία. α. τί φής; οὐκ οἶσθα νάβλαν; οὐδὲν οὖν οἶσθ’ ἀγαθόν. οὐδὲ σαμβυκίστριαν; καὶ τὸ τρίγωνον δὲ καλούμενον ὄργανον Ἰόβας ἐν τετάρτῳ θεατρικῆς ἱστορίας Σύρων εὕρημά φησιν εἶναι, ὡς καὶ τὸν καλούμενον λυροφοίνικα … σαμβύκην. τοῦτο δὲ τὸ ὄργανον Νεάνθης ὁ Κυζικηνὸς ἐν α ῝ Ὥρων εὕρημα εἶναι λέγει Ἰβύκου τοῦ Ῥηγίνου ποιητοῦ, ὡς καὶ Ἀνακρέοντος τὸ βάρβιτον. ἐπεὶ δὲ ἡμῶν τῶν Ἀλεξανδρέων κατατρέχεις ὡς ἀμούσων καὶ τὸν μόναυλον συνεχῶς ὀνομάζεις ἐπιχωριάζοντα παρ’ ἡμῖν, ἄκουε καὶ περὶ αὐτοῦ ἃ νῦν ἔχω σοι λέγειν ἐν προχείρῳ.

[¶5] For Juba, in the before-mentioned treatise, says that the Egyptians call the monaulos an invention of Osiris, just as they say that kind of plagiaulos is, which is called photinx, and that, too, I will presently show you is mentioned by a very illustrious author; for the photinx is the same as the flute, which is a national instrument. But Sophocles, in his Thamyras, speaks of the monaulos, saying—
For all the tuneful melodies of pipes (πήκτιδες)
Are lost, the lyre, and monaulos too.
* * * * And Araros, in his Birth of Pan, says—
But he, can you believe it? seized at once
On the monaulos, and leapt lightly forth.
And Anaxandrides, in his Treasure, says—
I the monaulos took, and sang a wedding song.
And in his Bottle-bearer he says—
A. What have you done, you Syrian, with your monaulos?
B. What monaulos?
A. The reed.
And Sopater, in his Bacchis, says—
And then he sang a song on the monaulos.
But Protagorides of Cyzicus, in the second book of his treatise on the Assemblies in Honour of Daphne, says, "He touched every kind of instrument, one after another, castanets, the weak-sounding pandurus, but he drew the sweetest harmony from the sweet monaulos. And Posidonius the Stoic philosopher, in the third book of his Histories, speaking of the war of the Apameans against the Larisæans, writes as follows—“Having taken short daggers sticking in their waists, and small lances covered with rust and dirt, and having put veils and curtains over their heads which produce a shade but do not hinder the wind from getting to their necks, dragging on asses laden with wine and every sort of meat, by the side of which were packed little photinges and little monauli, instruments of revelry, not of war.” But I am not ignorant that Amerias the Macedonian, in his Dialects, says, that the monaulos is called tityrinus. So here you have, O excellent Ulpian, a man who mentions the photinx. But that the monaulos was the same instrument which is now called calamaules, or reedfife, is clearly shown by Hedylus, in his Epigrams, where he says—
Beneath this mound the tuneful Theon lies,
Whom the monaulos knew its sweetest lord;
Scirpalus' son; age had destroy'd his sight,
And when he was a child his sire him call'd
Eupalamus in his first birthday ode,
Showing that he was a choice bouquet where
The virtues all had met. For well he sung
The Muses' sports amid their wine-glad revels;
He sang to Battalus, an eager drinker
Of unmix'd wine, and Cotalus and Pæncalus.
Say then to Theon with his calamaules,
Farewell, O Theon, tune fullest of men.
As, therefore, they now call those who play on a pipe of reeds (κάλαμοι) calamaules, so also they call them now rapaules, according to the statement of Amerias the Macedonian, in his dialects.

> Greek: Ἰόβας μὲν γὰρ ἐν τῷ προειρημένῳ συγγράμματι Αἰγυπτίους φησὶν λέγειν τὸν μόναυλον Ὀσίριδος εἶναι εὕρημα, καθάπερ καὶ τὸν καλούμενον φώτιγγα πλαγίαυλον, οὗ καὶ αὐτοῦ παραστήσομαι μνημονεύοντα ἐλλόγιμον ἄνδρα. ἐπιχωριάζει γὰρ καὶ ὁ φῶτιγξ αὐλὸς παρ’ ἡμῖν. τοῦ δὲ μοναύλου μνημονεύει Σοφοκλῆς μὲν ἐν Θαμύρᾳ οὕτως·· οἴχωκε γὰρ κροτητὰ πηκτίδων μέλη, λύραι μόναυλοί θ’ οἷς ἐχαίρομεν τέως ναούς τ’ ἐρημοῖ πισσοκωνίας Ἄρης. Ἀραρὼς δ’ ἐν Πανὸς γοναῖς· ἀναρπάσας μόναυλον εὐθὺς πῶς δοκεῖς κούφως ἀνήλλετο. Ἀναξανδρίδης δ’ ἐν Θησαυρῷ· ἀναλαβὼν μόναυλον ηὔλουν τὸν ὑμέναιον. καὶ ἐν Φιαληφόρῳ· … τὸν μόναυλον ποῖ τέτροφας; οὗτος Σύρε. β. ποῖον μόναυλον; α. τὸν κάλαμον. Σώπατρος Βακχίδι· καὶ τὸ μόναυλον μέλος ἤχησε. Πρωταγορίδης δ’ ὁ Κυζικηνὸς ἐν δευτέρῳ περὶ τῶν ἐπὶ Δάφνῃ πανηγύρεών φησιν παντὸς δὲ ὀργάνου κατὰ μίτον ἧπται, κροτάλων, ὑπὸ φανοῦ, πανδούρου, τῷ τε ἡδεῖ μοναύλῳ τὰς ἡδίστας ᾽ ἁρμονίας ἀναμινυρίζει. Ποσειδώνιος δ’ ὁ ἀπὸ τῆς στοᾶς φιλόσοφος ἐν τῇ τρίτῃ τῶν ἱστοριῶν διηγούμενος περὶ τοῦ Ἀπαμέων πρὸς Λαρισαίους πολέμου γράφει τάδε· παραζωνίδια καὶ λογχάρι ἀνειληφότες ἰῷ καὶ ῥύπῳ κεκρυμμένα, πετάσια δ’ ἐπιτεθειμένοι καὶ προσκόπια σκιὰν μὲν ποιοῦντα, καταπνεῖσθαι δ’ οὐ κωλύοντα τοὺς τραχήλους, ὄνους ἐφελκόμενοι γέμοντας οἴνου καὶ βρωμάτων παντοδαπῶν, οἷς παρέκειτο φωτίγγια καὶ μοναύλια, κώμων οὐ πολέμων ὄργανα. οὐκ ἀγνοῶ δὲ ὅτι Ἀμερίας ὁ Μακεδὼν ἐν ταῖς Γλώσσαις τιτύρινόν φησι καλεῖσθαι τὸν μόναυλον.ʼ ᾽ἴδε ἀπέχεις, καλὲ Οὐλπιανέ, καὶ τὸν τῆς φώτιγγος μνημονεύοντα ὅτι δὲ ὁ μόναυλος ἦν ὁ νῦν καλούμενος καλαμαύλης σαφῶς παρίστησιν Ἡδύλος ἐν τοῖς ἐπιγράμμασιν οὑτωσὶ λέγων
τοῦτο Θέων ὁ μόναυλος ὑπ’ ἠρίον ὁ γλυκὺς οἰκεῖ αὐλητής, μίμων ἡ ʼν θυμέλῃσι Χάρις, τυφλὸς ὑπαὶ γήρως εἶχεν καὶ Σκίρπαλον υἱόν, νήπιον ὅντ’ ἐκάλει Σκίρπαλον Εὐπαλάμου, ἀείδων αὐτοῦ τὰ γενέθλια· τοῦτο γὰρ εἶχεν τὴν παλαμῶν ἀρετὴν τοὔνομα σημανέων. ηὔλει δὴ Γλαύκης μεμεθυσμένα παίγνια Μουσέων ἢ τὸν ἐν ἀκρήτοις Βάτταλον ἡδυπότην ἢ καὶ Κώταλον ἢ καὶ Πάκαλον, ἀλλὰ Θέωνα τὸν καλαμαυλήτην εἴπατε χαῖρε Θέων.
ὥσπερ οὖν τοὺς τῷ καλάμῳ αὐλοῦντας καλαμαύλας λέγουσι νῦν, οὕτω καὶ ῥαππαύλας, ὥς φησιν Ἀμερίας ὁ Μακεδὼν ἐν ταῖς Γλώσσαις, τοὺς τῇ ῥάππῃ τῇ καλάμῃ αὐλοῦντας.

[¶6] But I wish you to know, my most excellent Ulpian, that a more musical and accomplished people than the Alexandrians is not mentioned. And I do not speak only of playing on the harp, with which even the poorest people among us, and those who do not make a profession of it, and who are utterly ignorant of every other kind of learning, are so familiarized that they can in a moment detect any error which has been made in striking the strings,—but especially are they skilful with the flute; and not only in those which are called girls' flutes and boys' flutes, but also in men's flutes, which are called perfect and superperfect; and also in those which are called harp-flutes and finger-flutes. For the flutes called elymi, which Sophocles mentions in his Niobe and in his Drummers, we do not understand to be anything but the common Phrygian flute. And these, too, the Alexandrians are very skilful in. They are acquainted also with the flute with two holes, and also with the intermediate flute, and with those which are called hypotreti, or bored underneath. And Callias also speaks of the flute called elymi, in his Pedetæ. But Juba says that they are an invention of the Phrygians, and that they were also called scytaliæ, from their resemblance in thickness to the scytale. And Cratinus the younger says that the Cyprians also use them, in his Thera- menes. We know, too, of some which are called half-bored, of which Anacreon says—
What lust has now seized thus upon your mind,
To wish to dance to tender half-bored flutes?
And these flutes are smaller than the perfect flutes. At all events, Aeschylus says, speaking metaphorically, in his Ixion—
But very soon the greater swallows up
The lesser and the half-bored flute.
And these half-bored flutes are the same as those which are called boys' flutes, which they use at banquets, not being fit for the games and public shows; on which account Anacreon called them tender.

> Greek: γινώσκειν δὲ βούλομαί σε, ἀνδρῶν λῷστε Οὐλπιανέ, ὅτι Ἀλεξανδρέων μουσικώτεροι ἄλλοι γενέσθαι οὐχ ἱστόρηνται, καὶ οὐ λέγω περὶ κιθαρῳδίαν μόνην, ἧς καὶ ὁ εὐτελέστατος παρ’ ἡμῖν ἰδιώτης προσέτι τε καὶ ἀναλφάβητος οὕτως ἐστὶ συνήθης ὡς τάχιστα ἐλέγχειν τὰ παρὰ τὰς κρούσεις ἁμαρτήματα γινόμενα, ἀλλὰ καὶ περὶ αὐλούς εἰσι μουσικώτατοι οὐ μόνον τοὺς παρθενίους καλουμένους καὶ παιδικούς, ἀλλὰ καὶ τοὺς ἀνδρείους, οἵτινες καλοῦνται τέλειοί τε καὶ ὑπερτέλειοι, καὶ τοὺς κιθαριστηρίους δὲ καὶ τοὺς δακτυλικούς, τοὺς γὰρ ἐλύμους αὐλούς, ὧν μνημονεύει Σοφοκλῆς ἐν Νιόβῃ τε κἀν Τυμπανισταῖς, οὐκ ἄλλους τινὰς εἶναι ἀκούομεν ἢ τοὺς Φρυγίους, ὧν καὶ αὐτῶν ἐμπείρως ἔχουσιν Ἀλεξανδρεῖς. οἴδασι δὲ καὶ τοὺς διόπους ἔτι τε μεσοκόπους καὶ τοὺς καλουμένους ὑποτρήτους. τῶν δ’ ἐλύμων αὐλῶν μνημονεύει καὶ Καλλίας ἐν Πεδήταις. Ἰόβας δὲ τούτους Φρυγῶν μὲν εἶναι εὕρημα, ὀνομάζεσθαι δὲ καὶ σκυταλείας, κατ’ ἐμφέρειαν τοῦ πάχους, χρῆσθαι δ’ αὐτοῖς καὶ Κυπρίους φησὶ Κρατῖνος ὁ νεώτερος ἐν Θηραμένει. οἴδαμεν δὲ καὶ τοὺς ἡμιόπους καλουμένους, περὶ ὧν φησιν Ἀνακρέων τίς ἐρασμίην τρέψας θυμὸν ἐς ἥβην τερένων ἡμιόπων ὑπ’ αὐλῶν ὀρχεῖται; εἰσὶ δ’ οἱ αὐλοὶ οὗτοι ἐλάσσονες τῶν τελείων. Αἰσχύλος γοῦν κατὰ μεταφορὰν ἐν Ἰξίονί φησι· τὸν δ’ ἡμίοπον καὶ τὸν ἐλάσσονα ταχέως ὁ μέγας καταπίνει. εἰσὶν δ’ οἱ αὐτοὶ τοῖς παιδικοῖς καλουμένοις, οἷς οὐκ οὖσιν ἐναγωνίοις πρὸς τὰς εὐωχίας χρῶνται. διὸ καὶ τέρενας αὐτοὺς κέκληκεν ὁ Ἀνακρέων.

[¶7] I am acquainted, too, with other kinds of flutes, the tragic flute, and the lysiodic flute, and the harplike flute; all which are mentioned by Ephorus, in his Inventions and by Euphranor the Pythagorean, in his treatise on Flutes, and also by Alexon, who wrote another treatise on Flutes. But the flute made of reeds is called tityrinus among the Dorians in Italy, as Artemidorus the Aristophanian tells us, in the second book of his History of Doris. And the flute which is called magadis, which is also named palæo-magais, sends forth a sharp and a deep note at the same time, as Anaxandrides says in his Armed Fighter—
I will speak like a magadis, both loudly and gently
And the flutes called lotus flutes are the same which are called photinges by the Alexandrians; and they are made of the plant called the lotus; and this is a wood which grows in Libya. But Juba says that the flute which is ma e out of the leg bones of the kid is an invention of the Thebans; and Tryphon says that those flutes also which are called elphantine flutes were first bored among the Phoenicians. I know, too, that the magadis is a stringed instrument, as is the harp, the lyre, and the barbitos. But Euphorion the epic poet says in his book on the Isthmian Games—“Those men who are now called players on the nablas, and on the pandurus, and on the sambuca, do not use any new instrument, for the baromus and the barbitos (both of which are mentioned by Sappho and Anacreon), and the magadis, and the triangle, and the sambuca are all ancient instruments. At all events, a statue of one of the Muses was erected in Mitylee by Lesbothemis, holding a sambuca in her hand.” But Aristoxenus calls the following foreign instruments—phœnices, and pectides, and magadides, and sambucæ, and triagles, and clepsiambi, and scindapsi, and the instrument called the enneachord or nine-stringed instrument. But Plato, in the third book of his Polity, states— ' We shall not, hen,' said I, 'have much need of many strings or of much harmony in our songs and melodies.' 'I think not,' said he. 'But we shall have triangles, and pectides, and all sorts of instruments which have many strings and are very harmonious.' But the scindapsus is an instrument of four strings, as Matron the parodist says in the following lines—
Nor did they hang it upon pegs where hung
The sweet scindapsus with its fourfold strings,
Joy of the woman who the distaff hates.
And Theopompus the Colophonian likewise mentions it, the Epic poet, I mean, in his poem entitled the Chariot—
Shaking the large and lyre-toned scindapsus,
Made of young tamarisk, in his skilful hand.
Anaxilas, too, in his Lyre Maker, says—
But I was making three-string'd barbiti,
Pectides, citharæ, lyres, and scindapsi.
But Sopater the parodist, in his poem entitled “The Initiated,” says that the pectis is an instrument with two strings, saying—
The pectis, proud of its barbaric muse,
With its two strings was placed within my hand.
The instrument called pariambis is mentioned by Epicharmus, in his Periallus, in this way—
But Semele doth dance and he doth sing
Tunefully on his pariambis lyre,
And she rejoices at the rapid song.
Now it was Alexander of Cythera, according to the account given by Juba, who completed the psaltery with its full number of strings. And he, when he had grown old in the city of the Ephesians, suspended this instrument in the temple of Diana, as being the most skilful invention he had made with reference to his art. Juba mentions also the lyrophœnix and the Epigonius, which, though now it is transformed into the upright psaltery, still preserves the name of the man who was the first to use it. But Epigonius was by birth an Ambraciot, but he was subsequently made a citizen of Sicyon. And he was a man of great skill in music, so that he played the lyre with his bare hand without a plectrum. For the Alexandrians have great experience and skill in all the above-named instruments and kinds of flutes.. And whichever of them you wish me to try, I will exhibit my own skill before you, though there are many others in my country more musical and skilful than I am.

> Greek: οἶδα δὲ καὶ ἄλλα γένη αὐλῶν τραγικῶν τε καὶ λυσιῳδικῶν καὶ κιθαριστηρίων, ὧν μνημονεύουσιν Ἔφορός τ’ ἐν τοῖς εὑρήμασι καὶ Εὐφράνωρ ὁ Πυθαγορικὸς ἐν τῷ περὶ αὐλῶν, ἔτι δὲ καὶ Ἄλεξις ὧν καὶ αὐτὸς ἐν τῷ περὶ αὐλῶν. ὁ δὲ καλάμινος αὐλὸς τιτύρινος καλεῖται παρὰ τοῖς ἐν Ἰταλίᾳ Δωριεῦσιν, ὡς Ἀρτεμίδωρος ἱστορεῖ ὁ Ἀριστοφάνειος ἐν β περὶ Δωρίδος. ὁ δὲ μάγαδις καλούμενος αὐλός. καὶ πάλιν· ὁ μάγαδις ὀνομαζόμενος ἐν ταὐτῷ ὀξὺν καὶ βαρὺν φθόγγον ἐπιδείκνυται, ὡς Ἀναξανδρίδης ἐν Ὁπλομάχῳ φησί· μαγάδι λαλήσω μικρὸν ἅμα σοι καὶ μέγα.
οἱ δὲ καλούμενοι λώτινοι αὐλοὶ οὗτοί εἰσιν οἱ ὑπὸ Ἀλεξανδρέων καλούμενοι φώτιγγες. κατασκευάζονται δ’ ἐκ τοῦ καλουμένου λωτοῦ ξύλον δ’ ἐστὶ τοῦτο γινόμενον ἐν Λιβύῃ. Θηβαίων δ᾽ εὕρημά φησιν εἶναι Ἰόβας τὸν ἐκ νεβροῦ κώλων κατασκευαζόμενον αὐλόν. ὁ δὲ Τρύφων φησὶ καὶ τοὺς καλουμένους ἐλεφαντίνους αὐλοὺς παρὰ Φοίνιξιν ἀνατρηθῆναι. οἶδα δὲ ὅτι καὶ μάγαδις ὄργανόν ἐστιν ἐντατὸν καθάπερ καὶ κιθάρα, λύρα, βάρβιτον. Εὐφορίων δὲ ὁ ἐποποιὸς ἐν τῷ περὶ Ἰσθμίων οἱ νῦν, φησίν, καλούμενοι ναβλισταὶ καὶ πανδουρισταὶ καὶ σαμβυκισταὶ καινῷ μὲν οὐδενὶ χρῶνται ὀργάνῳ· τὸν γὰρ βάρωμον καὶ βάρβιτον, ὧν Σαπφὼ καὶ Ἀνακρέων μνημονεύουσι, καὶ τὴν μάγαδιν καὶ τὰ τρίγωνα καὶ τὰς σαμβύκας ἀρχαῖα εἶναι, ἐν γοῦν Μιτυλήνῃ μίαν τῶν Μουσῶν πεποιῆσθαι ὑπὸ Λεσβοθέμιδος ἔχουσαν σαμβύκην. Ἀριστόξενος δ’ ἔκφυλα ὄργανα καλεῖ φοίνικας καὶ πηκτίδας καὶ μαγάδιδας σαμβύκας τε καὶ τρίγωνα καὶ κλεψιάμβους καὶ σκινδαψοὺς καὶ τὸ ἐννεάχορδον καλούμενον. Πλάτων δ’ ἐν τρίτῳ Πολιτείας φησίν· οὐκ ἄρα, ἦν δ’ ἐγώ, πολυχορδίας γε οὐδὲ παναρμονίου ἡμῖν δεήσει ἐν ταῖς ᾠδαῖς τε καὶ μέλεσιν. οὔ μοι, ἔφη, φαίνεται. τριγώνων ἄρα καὶ πηκτίδων καὶ πάντων ὀργάνων ὅσα πολύχορδα καὶ παναρμόνια … ἐστὶν δ’ ὁ σκινδαψὸς τετράχορδον ὄργανον, ὡς ὁ παρῳδός φησι Μάτρων ἐν τούτοις· οὐδ’ ἀπὸ πασσαλόφιν κρέμασαν, ὅθι περ τετάνυστο σκινδαψὸς τετράχορδος ἀνηλακάτοιο γυναικός. μνημονεύει αὐτοῦ καὶ Θεόπομπος ὁ Κολοφώνιος ἐποποιὸς ἐν τῷ ἐπιγραφομένῳ Ἁρματίῳ· σκινδαψὸν λυρόεντα μέγαν χείρεσσι τινάσσων, οἰσύινον προμάλοιο τετυγμένον αἰζήεντος· καὶ Ἀναξίλας ἐν Λυροποιῷ· ἐγὼ δὲ βαρβίτους, τριχόρδους, πηκτίδας, κιθάρας, λύρας, σκινδαψοὺς ἐξηρτυόμαν. Σώπατρος δ’ ὁ παρῳδὸς ἐν τῷ ἐπιγραφομένῳ Μυστάκου θητίῳ δίχορδον εἶναί φησι τὴν πηκτίδα λέγων οὕτως· πηκτὶς δὲ Μούσῃ γαυριῶσα βαρβάρῳ δίχορδος εἰς σὴν χεῖρά πως κατεστάθη. τῶν δὲ παριαμβίδων Ἐπίχαρμος ἐν Περιάλλῳ μνημονεύει οὕτως· Σεμέλα δὲ χορεύει· καὶ ὑπαυλεῖ σφιν σοφὸς κιθάρᾳ παριαμβίδας· ἃ δὲ γεγάθει πυκινῶν κρεγμῶν ἀκροαζομένα. τὸ δὲ ψαλτήριον, ὥς φησιν Ἰόβας, Ἀλέξανδρος ὁ Κυθήριος συνεπλήρωσε χορδαῖς καὶ ἐγγηράσας τῇ Ἐφεσίων πόλει ὡς σοφώτατον τῆς ἑαυτοῦ τέχνης τουτὶ τὸ εὕρημα ἀνέθηκε ἐν Ἀρτέμιδος. μνημονεύει δ’ ὁ Ἰόβας καὶ τοῦ λυροφοίνικος καὶ τοῦ ἐπιγονείου, ὃ νῦν εἰς ψαλτήριον ὄρθιον μετασχηματισθὲν διασῴζει τὴν τοῦ χρησαμένου προσηγορίαν. ἦν δ’ ὁ Ἐπίγονος φύσει μὲν Ἀμβρακιώτης, δημοποίητος δὲ Σικυώνιος· μουσικώτατος δ’ ὢν κατὰ χεῖρα δίχα πλήκτρου ἔψαλλεν. πάντων οὖν τούτων τῶν προειρημένων ὀργάνων καὶ αὐλῶν ἐμπείρως ἔχουσι καὶ τεχνικῶς Ἀλεξανδρεῖς, καὶ ἐν οἷς ἄν μου θέλῃς ἀποπειραθῆναι ἐπιδείξομαί σοι ἐγὼ αὐτός, πολλῶν ἄλλων μουσικωτέρων μου ἐν τῇ πατρίδι ὑπαρχόντων.

[¶8] But Alexander, my fellow-citizen, and he has only lately died, having given a public exhibition of his skill on the instrument called the triangle, made all the Romans so music-mad that even now most people recollect the way in which he used to play. And Sophocles speaks of this triangle in his Mysians, saying—
The constant music of the Phrygian
Tender triangle, and the concerted strains
Of the shrill Lydian pectis sounded too.
And in his Thamyras he also mentions it. But Aristophanes, in his Daitaleis, and Theopompus, in his Penelope, likewise speak of it. And Eupolis, in his Baptæ, says—
Who plays the drum with wondrous skill,
And strikes the strings of the triangle.
And the instrument called the pandurus is mentioned, as has been said before, by Euphorion, and by Protagorides, in the second book of his treatise on the Assemblies in honour of Daphne. But Pythagoras, who wrote a book on the Red Sea, says that the Troglodytæ make the panduri out of the daphne which grows on the seashore. But horns and trumpets are the invention of the Etrurians. But Metrodorus the Chian, in his history of the Affairs of Troy, says that Marsyas invented the pipe and flute at Celænæ, when all his predecessors had played on a single reed. But Euphorion the epic poet, in his treatise on the Modulation of Songs, says that Mercury invented the pipe which consists of one single reed; but that some say that Seuthes and Ronaces the Medes did so; and that Sileuus invented the pipe which is made of many reeds, and that Marsyas invented that one which is joined together with wax.

> Greek: Ἀλέξανδρος δὲ ὁ πολίτης μου οὗτος δ’ οὐ πρὸ πολλοῦ τετελεύτηκε δημοσίᾳ ἐπιδειξάμενος ἐν τῷ τριγώνῳ ἐπικαλουμένῳ ὀργάνῳ οὕτως ἐποίησε πάντας Ῥωμαίους μουσομανεῖν ὡς τοὺς πολλοὺς καὶ ἀπομνημονεύειν αὐτοῦ τὰ κρούσματα, μνημονεύει δὲ τοῦ τριγώνου τούτου καὶ Σοφοκλῆς ἐν μὲν Μυσοῖς οὕτως· πολὺς δὲ Φρύξ τρίγωνος ἀντίσπαστὰ τε Λυδῆς ἐφυμνεῖ πηκτίδος συγχορδίᾳ, καὶ ἐν Θαμύρᾳ. ι Ἀριστοφάνης δ’ ἐν Δαιταλεῦσι καὶ Θεόπομπος ἐν Πηνελόπῃ· Εὔπολις δ’ ἐν Βάπταις φησὶν ὃς καλῶς μὲν τυμπανίζει καὶ διαψάλλει τριγώνοις. τοῦ δὲ καλουμένου πανδούρου Εὐφορίων μὲν, ὡς προείρηται, καὶ Πρωταγορίδης ἐν β περὶ τῶν ἐπὶ Δάφνῃ πανηγύρεων. Πυθαγόρας δὲ ὁ γεγραφὼς περὶ τῆς Ἐρυθρᾶς θαλάσσης τοὺς Τρωγλοδύτας φησὶ κατασκευάζειν τὴν πανδούραν ἐκ τῆς ἐν τῇ θαλάσσῃ φυομένης δάφνης. Τυρρηνῶν δ’ ἐστὶν εὕρημα κέρατά τε καὶ σάλπιγγες. Μητρόδωρος δ᾽ ὁ Χῖος ἐν Τρωικοῖς σύριγγα μέν φησιν εὑρεῖν Μαρσύαν καὶ αὐλεῖν ἐν Κελαιναῖς, τῶν πρότερον ἑνὶ καλάμῳ συριζόντων. Εὐφορίων δ’ ὁ ἐποποιὸς ἐν τῷ περὶ μελοποιῶν τὴν μὲν μονοκάλαμον σύριγγα Ἑρμῆν εὑρεῖν, τινὰς δ’ ἱστορεῖν Σεύθην καὶ Ῥωνάκην τοὺς Μαιδούς, τὴν δὲ πολυκάλαμον Σιληνόν, Μαρσύαν δὲ τὴν κηρόδετον.

[¶9] This then, O my word-hunting Ulpian, is what you may learn from us Alexandrians, who are very fond of the music of the monaulos. For you do not know that Menecles the Barcæman compiler, and also that Andron, in his Chronicles, him of Alexandria I mean, assert that it is the Alexandrians who instructed all the Greeks and the barbarians, when the former encyclic mode of education began to fail, on account of the incessant commotions which took place in the times of the successors of Alexander. There was subsequently a generation of all sorts of learning in the time of Ptolemy the seventh king of Egypt, the one who was properly called by the Alex- andrians Cacergetes; for he having murdered many of the Alexandrians, and banished no small number of those who had grown up to manhood with his brother, filled all the islands and cities with men learned in grammar, and philosophy, and geometry, with musicians, and painters, and schoolmasters, and physicians, and men of all kinds of trades and professions; who, being driven by poverty to teach what they knew, produced a great number of celebrated pupils. But music was a favourite amusement of all the Greeks of old time; on which account also skill in playing the flute was much aimed at. Accordingly, Chamæleon of Heraclia, in his book entitled Protrepticus, says that the Lacedæmonians and Thebans all learned to play on the flute, and the inhabitants of Heraclea in Pontus devoted themselves to the same study down to his own time. And that so did the most illustrious of the Athenians, Callias the son of Hipponicus, and Critias the son of Callaeschrus. But Duris, in his treatise on Euripides and Sophocles, says that Alcibiades learnt music, not of any ordinary master, but of Pronomus, who had the very highest reputation in that line. And Aristoxenus says that Epaminondas the Theban learnt to play the flute of Olympiodorus and Orthagoras. And likewise, many of the Pythagoreans practised the art of flute-playing, as Euphranor, and Archytas, and Philolaus, and many others. But Euphranor has also left behind an essay on Flutes, and so too has Archytas. And Aristophanes shows us, in his Daitaleis, the great eagerness with which men applied themselves to this study, when he says—
I who am wasted quite away
In the study of flutes and harps,
Am I now to be sent to dig?
And Phrynichus, in his Ephialtes, says—
But were not you the man who taught him once
To play upon the flute and well-strung harp?
And Epicharmus, in his Muses, says that Minerva played a martial strain to the Dioscuri. And Ion, in his Phœnician, or Cæneus, calls the flute a cock, speaking thus:—
The cock then sang the Greeks a Lydian hymn.
And also, in his Garrison, he calls the pipe the Idæan cock, using the following expression:—
The pipe, th' Idæan cock, precedes your steps.
And, in the Second Phœnix, the same Ion writes—
I made a noise, bringing the deep-toned flute
With fluent rhythm.
Where he means Phrygian rhythm; and he calls the Phrygian flute deep-toned. For it is deep; on which account they also add a horn to it, having a similarity to the bell mouth of trumpets. So now this book may be ended, my friend Timocrates; as it is quite long enough.

> Greek: ταῦτα ἔχεις παρ’ ἡμῶν τῶν Ἀλεξανδρέων, Οὐλπιανὲ ὀνοματοθήρα, τῶν περὶ τοὺς μοναύλους ἐσπουδακότων. οὐ γὰρ οἶδας ἱστοροῦντα Μενεκλέα τὸν Βαρκαῖον συγγραφέα ἔτι τε Ἄνδρωνα ἐν τοῖς Χρονικοῖς τὸν Ἀλεξανδρέα, ὅτι Ἀλεξανδρεῖς εἰσιν οἱ παιδεύσαντες πάντας τοὺς Ἕλληνας καὶ τοὺς βαρβάρους, ἐκλειπούσης ἤδη τῆς ἐγκυκλίου παιδείας διὰ τὰς γενομένας συνεχεῖς κινήσεις ἐν τοῖς κατὰ τοὺς Ἀλεξάνδρου διαδόχους χρόνοις. ἐγένετο οὖν ἀνανέωσις πάλιν παιδείας ἁπάσης κατὰ τὸν ἕβδομον βασιλεύσαντα Αἰγύπτου Πτολεμαῖον, τὸν κυρίως ὑπὸ τῶν Ἀλεξανδρέων καλούμενον Κακεργέτην. οὗτος γὰρ πολλοὺς τῶν Ἀλεξανδρέων ἀποσφάξας, οὐκ ὀλίγους δὲ καὶ φυγαδεύσας τῶν κατὰ τὸν ἀδελφὸν αὐτοῦ ἐφηβησάντων ἐποίησε πλήρεις τάς τε νήσους καὶ πόλεις ἀνδρῶν γραμματικῶν, φιλοσόφων, γεωμετρῶν, μουσικῶν, ζωγράφων, παιδοτριβῶν τε καὶ ἰατρῶν καὶ ἄλλων πολλῶν τεχνιτῶν οἳ διὰ τὸ πένεσθαι διδάσκοντες ἃ ἠπίσταντο πολλοὺς κατεσκεύασαν ἄνδρας ἐλλογίμους. ἔμελεν δὲ τοῖς πάλαι πᾶσιν Ἕλλησι μουσικῆς· διόπερ καὶ ἡ αὐλητικὴ περισπούδαστος ἦν. χαμαιλέων γοῦν ὁ Ἡρακλεώτης ἐν τῷ ἐπιγραφομένῳ Προτρεπτικῷ Λακεδαιμονίους φησὶ καὶ Θηβαίους πάντας αὐλεῖν μανθάνειν Ἡρακλεώτας τε τοὺς ἐν τῷ Πόντῳ καθ’ ἑαυτὸν ἔτι Ἀθηναίων τε τοὺς ἐπιφανεστάτους, Καλλίαν τε τὸν Ἱππονίκου καὶ Κριτίαν τὸν Καλλαίσχρου. Δοῦρις δ’ ἐν τῷ περὶ Εὐριπίδου καὶ Σοφοκλέους Ἀλκιβιάδην φησὶ μαθεῖν τὴν αὐλητικὴν οὐ παρὰ τοῦ τυχόντος, ἀλλὰ Προνόμου τοῦ μεγίστην ἐσχηκότος δόξαν. Ἀριστόξενος δὲ καὶ Ἐπαμινώνδαν τὸν Θηβαῖον αὐλεῖν μαθεῖν παρὰ Ὀλυμπιοδώρῳ καὶ Ὀρθαγόρᾳ. καὶ τῶν Πυθαγορικῶν δὲ πολλοὶ τὴν αὐλητικὴν ἤσκησαν, ὡς Εὐφράνωρ τε καὶ Ἀρχύτας Φιλόλαός τε ἄλλοι τε οὐκ.ὀλίγοι, ὁ δ’ Εὐφράνωρ καὶ σύγγραμμα περὶ αὐλῶν κατέλιπεν ὁμοίως δὲ καὶ ὁ Ἀρχύτας. ἐμφανίζει δὲ καὶ ὁ Ἀριστοφάνης ἐν τοῖς Δαιταλεῦσι τὴν περὶ τὸ πρᾶγμα τοῦτο σπουδὴν ὅταν λέγῃ ὅστις αὐλοῖς καὶ λύραισι κατατέτριμμαι χρώμενος, εἶτά με σκάπτειν κελεύεις; Φρύνιχος Ἐφιάλτῃ· οὐ τουτονὶ μέντοι σὺ κιθαρίζειν ποτὲ αὐλεῖν τ’ ἐδίδαξας; καὶ τὴν Ἀθηνᾶν δέ φησιν Ἐπίχαρμος ἐν Μούσαις ἐπαυλῆσαι τοῖς Διοσκόροις τὸν ἐνόπλιον. Ἴων δ’ ἐν Φοίνικι ἢ Καινεῖ ἀλέκτορα τὸν αὐλὸν καλεῖ ἐν τούτοις· ἐπὶ δ’ αὐλὸς ἀλέκτωρ Λύδιον ὕμνον ἀχέων. ἐν δὲ Φρουροῖς τὸν ἀλεκτρυόνα Ἰδαῖον εἴρηκε σύριγγα διὰ τούτων ῥοθεῖ δέ τοι σῦριγξ Ἰδαῖος ἀλέκτωρ. ἐν δὲ τῷ β Φοίνικι ὁ αὐτὸς Ἴων φησίν ἔκτυπον ἄγων βαρὺν αὐλὸν τρέχοντι ῥυθμῷ, οὕτω λέγων τῷ Φρυγίῳ· βαρὺς γὰρ οὗτος· παρ᾽· ὃ καὶ τὸ κέρας αὐτῷ προσάπτουσιν ἀναλογοῦν τῷ τῶν σαλπίγγων κώδωνι.
ἐπὶ τούτοις τέλος ἐχέτω καὶ ἥδε ἡ βίβλος, ἑταῖρε Τιμόκρατες, ἱκανὸν εἰληφυῖα μῆκος.