Plutarch's essays and miscellanies, Vol. 1 · Plutarch
FOOT-NOTES:
1. ὑπάτη _e_ 2. παρυπάτη _f_ 3. λιχανός _g_ 4. μέση _a_ 5. τρίτη _b_ 6. παρανήτη _c_ 7. νήτη _d_ This is not to be confounded with the reduced octachord of Terpander. This heptachord includes two tetrachords so united that the lowest note of one is identical with the highest note of the other; while the octachord includes two tetrachords entirely separated, with each note distinct. The former connection is called κατὰ συναφήν, the latter κατὰ διάζευξιν. Of the eight notes of the octachord, the first four (counting from the lowest), ὑπάτη, παρυπάτη, λιχανός, and μέση, are the same in the heptachord; παραμέση is omitted in the heptachord; while τρίτη, παρανήτη, and νήτη in the heptachord are designated as τρίτη συνημμένων, παρανήτη συνημμένων, and νήτη συνημμένων, to distinguish them from the notes of the same name in the octachord, which sometimes have the designation διεζευγμένων, but generally are written simply τρίτη, &c. These simple scales were enlarged by the addition of higher and lower notes, four at the bottom of the scale (i.e. before ὑπάτη), called προσλαμβανόμενος, ὑπάτη ὑπατῶν, παρυπάτη ὑπατῶν, λιχανός ὑπατῶν; and three at the top (above νήτη), called νήτη, παρανήτη, τρίτη, each with the designation ὑπερβολαίων. The lowest three notes of the ordinary octachord are here designated by μέσων, when the simple names are not used. Thus a scale of fifteen notes was made; and we have one of eighteen by including the two classes of τρίτη, παρανήτη, and νήτη designated by συνημμένων and διεζευγμένων.
Enharmonic. Diatonic. ὑπάτη _e_ | _e_ ὑπάτη παρυπάτη ἁρμον. δ | λιχανός ἁρμον. _f_ | _f_ παρυπάτη | _g_ λιχανός μέση _a_ | _a_ μέση παραμέση _b_ | _b_ παραμέση τριτη ἁρμον. δ | παρανήτη ἁρμον. _c_ | _c_ τρίτη | _d_ παρανήτη νήτη _e_ | _e_ νήτη The δ inserted between _e_ and _f_ and between _b_ and _c_ is called _diesis_, and represents a quarter-tone. The section in Westphal containing this scheme will greatly aid the interpretation of § 11 of Plutarch. (G.) [58] This is Volkmann’s conjecture for “spondee.” It is defined by him (according to Aristides Quintilianus) as the raising of the tone through three dieses (or quarter-tones). (G.) [59] See Westphal’s interpretation of this difficult and probably corrupt passage, II. 1, p. 89. (G.) [60] Plato, Timaeus, p. 36 A. See the whole passage in the treatise _Of the Procreation of the Soul as discoursed in Timaeus_, Chap. XXIX. (G.) [61] See Rossbach, Griechische Rhythmik, p. 96, § 23. (G.) [62] So Rossbach and Westphal interpret παρακαταλογή. Metrik, III. pp. 184, 554. (G.) [63] It is uncertain here to whom the pronoun _he_ refers. Volkmann transfers the whole sentence to the end of Chap. XXIX., referring it to Lasus of Hermione. (G.) [64] The original of this fragment of Pherecrates may be found in Meineke’s _Poet Comic. Graec. Fragm._ II. p. 326; and in Didot’s edition of the same fragments, p. 110. Meineke includes the verses commonly assigned to Aristophanes in the extract from Pherecrates. (G.)
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