also for that, when invited to perform at the
festival
sost.
William Smith - 1844 - Dictionary of Greek and Roman Antiquities - c
, xii.
p.
532, b.
; Timotheus by Aristophanes (unless we suppose
Cic. Tusc. Quaest. v. 35, de Orat. iii. 34, de off. i. him to have been one of the many Timothei who,
32 ; Nep. Chabr. 3; Plut. Sull. 6, Reg. et Imp. as the Scholiast on the Plutus, v. 180, tells us, were
Apoph. Tim. 2. )
attacked by the poet) is a proof that he could not
3. Son of Clearchus, the tyrant of Heracleia on have attained to much eminence before the date
the Euxine. After the death of his father in B. c. mentioned by Diodorus ; but yet it must have
353, he succeeded to the sovereignty, under the been before that year that his innovations in music
guardianship, at first, of his uncle Satyrus, and began to attract public attention ; for we have the
Lield the rule for fifteen years. There is extant a testimony not only of Suidas, but also of Plutarch
letter addressed to him by Isocrates, in which the (see below) to the fact of his commencing his career
rhetorician commends him for his good qualities, I during the life-time of Euripides, and we have also
## p. 1148 (#1164) ##########################################
1148
TIMOTHEUS.
TIMOTHEUS.
the decisive evidence of the celebrated passage from (l. c. ), who has preserved the following epitaph
the comic poet Pherecrates, in which the musicians upon him. (Also in Jacobs, Anth. Pal. App. No.
of the day are violently attacked as corrupters of 295, vol. ii. p. 851. )
the art (Plut. de Mus. 30, p. 1141, f. ; Meineke,
Πάτρα Μίλητος τίκτει Μούσαισι ποθεινον
Frag. Com. Graec. vol. ii. pp. 326-335). It is
Τιμόθεον, κιθάρας δεξιών ηνίοχον.
evident that this attack was aimed principally
at Timotheus, whom the personification of Music The general character of the music of Timotheus,
mentions last of all, as having inflicted more and the nature of his innovations, are pretty clearly
numerous and more serious injuries upon her than described in the fragment of Pherecrates above quoted,
either of his predecessors, Melanippides, Cinesias, and in other passages of the ancient writers. Ho
or Phrynis. The following are the lines referring delighted in the most artificial and intricate forms
to him :-
of musical expression, “ windings like the passages
και δε Τιμόθεός μ', ώ φιλτάτη, κατορρυχεν
in ant-hills ” (Pherecr. l. c. ): he used instrumental
music, without a vocal accompaniment, to a greater
και διακέκναικ’ αίσχιστα. Δ. Ποιος ουτοσι
Τιμόθεος ; Μ. Μιλήσιος τις Πυρβίας *
extent than any previous composer (at least if
Ulrici is right in his interpretation of the words
κακά μοι παρέσχεν ούτος άπαντας ους λέγω
Móvn Badi coton in Pherecrates): and, in direct
παρελήλυθ', άδων εκτραπέλους μυρμηκιάς
opposition to the ancient practice, he preferred the
εξαρμονίους υπερβολαίους τ' ανοσίους,
chromatic to the other genera of music, and employed
και νιγλάρους, ώσπερ τε τάς ραφάνους όλην
it to such an extent, as to be by some considered its
κάμπτων με κατεμέστωσε.
inventor. (Boëth. de Mus, i. 1, p. 1372, ed. Basil. )
καν εντύχη που μοι βαδιζούση μόνη,
απέδυσε κανέλυσε χορδαίς δώδεκα
But perhaps the most important of bis innovations,
as the means of introducing all the others, was his
Respecting the details of his life we have very addition to the number of the strings of the cithara.
litt information. He is said to have pent some Respecting the precise nature of that addition the
time at the Macedonian court ; and reference will ancient writers are not agreed ; but it is most pro-
presently be made to a visit which he paid to bable, from the whole evidence, that the lyre of
Sparta. He appears to have formed his musical Timotheus had eleven strings. The eight-stringed
style chiefly on that of Phrynis, who was also a cithara, formed by the addition of the chord of the
native of Miletus, and over whom he on one occa- octave which was wanting in the heptachord of
sion gained a victory. He was at first unfortunate Terpander, was used in the time of Pindar [TER-
in his professional efforts. Even the Athenians, PANDER]. The ninth string appears to have been
fond as they were of novelty, and accustomed as added by Phrynis (Plut. Apophtheg. Lacon. p. 220,
they were to the modern style of music introduced c. ). There were already ten strings to the cithara
by Melanippides, Phrynis, and the rest, were in the time of lon of Chios, the contemporary of
offended at the still bolder innovations of Timo- Sophocles (Ion, Epigr. ap. Euclid. Introd. Harmon.
theus, and hissed off his performance. On this oc- p. 19, ed. Meibom. ); and the conjecture appears
casion it is said that Euripides encouraged Timo- therefore probable that the tenth was added by
theus by the prediction that he would soon have Melanippides
. There remains, therefore, only the
the theatres at his feet (Plut. An scni sit gcrend. eleventh string to be ascribed to Timotheus, for it
Respub. 23, p. 795, c. d. ). This prediction appears is most probable that the mention of a twelve-
to have been accomplished in the vast popularity stringed lyre, in the above passage of Pherecrates,
which Timotheus afterwards enjoyed. . Plutarch according to the present text, arises from some
records his exultation at his victory over Phrynis error, and the word &vdeka may be substituted for
(De se ipsum laudand. 1, p. 539, b. c. ); and even Sudera in the last verse, without injuring the
when, on one occasion, he was conquered by Phi- metre. The positive testimonies for ascribing the
lotas, a disciple of Polyïdus, he could console him- eleventh string to Timotheus, are that of Suidas
self with the rebuke administered to the boasting (s. v. ), who, however, makes him the inventor of
master of his successful competitor by the witty the tenth string also, which the testimony of Ion
Stratonicus, 7tı aúrds uèv (i. e. Polyïdus) ympio. proves to be an error; and the tradition that, when
Mata Toiec, Trubeos Sè vóuous. (Ath. viii
. p. 352, Timotheus visited Sparta, and entered the musical
b. : the point of the saying is in the double mean- contest at the Carneia, one of the Ephors snatched
ing of vòuous, laws and musical strains, and is un away his lyre, and cut from it the strings, four in
translateable into English. ) The Ephesians re- number, by which it exceeded the seven-stringed
warded him, for his dedicatory hymn to Artemis, lyre of Terpander, and, as a memorial of this public
with the sum of a thousand picces of gold (Alex. vindication of the ancient simplicity of music, and
Aetol. ap. Macrob. Sat. v. 22): the last accom- for a warning to future innovators, the Lacedae-
plishment, by which the education of the Arcadian monians hung up the mutilated lyre of Timotheus
youth was finished, was learning the nomes of in their Scias. (Paus. ii. 12. & 8; Plut. Instit.
Timotheus and Philoxenus (Polyb. iv. 20; Ath. Lacon. 17, p. 238, C. , Agis, 10 ; Artemon. ap. Ath.
xiv. p. 626, c. ): and there is still extant a decree xiv. p. 636, e. ; Cic. de Legg. ii. 15; the number of
of the Cnossians, probably of the second century the additional strings is only stated in the first of
B. C. , in which Timotheus and Polyżdus are men- these passages, but, besides the agreement of that
tioned with the highest praise, and their names number with the other evidence, it must be remem-
associated with those of the ancient Cretan poets bered that Pausanias actually saw the lyre hanging
(see Polvisus, p. 467, b. ). Timotheus died in in the Scias at Sparta). It is quite a mistake to
Macedonia, according to Stephanus of Byzantium argue, in the spirit of a pseudo-rationalistic criti-
cism, against the truth of this tradition, from the
• The meaning of this epithet is doubtful. See fact of the very same story being told about the
Schmidt, pp. 97, 98, and Lelirs, Quuest Epic. pp. nine-stringed lyre of Phrynis (Plut. Agis
, 10.
20, 21.
Apophth. Lucon. p. 220, c. ); for the conduct
## p. 1149 (#1165) ##########################################
TIMOTHEUS.
1149
TIMOTIIEUS.
i
ascribed to the Ephor is so characteristic of the and took now one direction, now another ; pre-
state of Spartan feelings with reference to the ferring, however, to seize on such points as gave
ancient music, that we may easily believe such an room for an immediate imitation in tones, and
incident to have occurred every time that the admitting a mode of description which luxurinted
attempt was made to violate that feeling ; 80 that in sensual charms. " And a little above (p. 60)
the two stories rather confirm one another ; and," At the same time the dirtryramb assumed a de-
moreover, they are mentioned together, as two scriptive, or, as Aristotle says, a mimetic character
distinct events, by Plutarch (Agis, 10). The tra-(metaboań). The natural phenomena which it
dition is also embodied, with other particulars of described were imitated by means of tunes and
the innovations of Timotheus, in the alleged decree rhythms and the pantomimic gesticulations of the
of the Spartans, preserved by Boethius (de Mus. actors (as in the antiquated Hyporcheme); and
I. c. ). It has been, however, very clearly proved, this was very much aided by a powerful instru-
that this decree is the forgery of a grammarian of mental accompaniment, which sought to represent
an unknown date. (See especially Müller, Dor. with its loud full tones the raging elements, the
b. iv. c. 6. § 3, vol. ii
. pp. 316-319, ed. Schnei. voices of wild beasts, and other sounds. A parasite
dewin). Still it is of importance, as embodying witrily observed of one of these storm-dithyrambs
what the grammarian, who forged it, had collected of Timotheus, that he had seen greater blornis
from the ancient writers respecting the musical than those which 'Timotheus made in many a kettlo
innovations of Timotheus. The substance of it is of boiling water (Ath. viii. p. 338, a. ). ” A
an order to the Ephors to censure Timotheus the striking example of this mimetic and sensuous mode
Milesian, for that he had dishonoured the ancient of representation is furnished by the dithyramb
music, and had corrupted the ears of the youth of Timotheus, entitled “ the Travail of Semele"
deserting the seven-stringed lyre, and introducing (Leuenns wiv), which is censured in the pseudo.
a multiplicity of strings, and a novelty of melodies, Lacedaemonian decree already quoted, and on one
in which ignoble and diversified strains took the passage of which Stratonicus is said to have asked,
place of the old simple and sustained movements, “ If she had been bringing forth a mechanic, and
and by changing the genus from the Enharmonic not a god, what sort of cries would she have
to the Chromatic as an Antistrophic variation, and uttered ? " (Ath. viii. p. 352, a. ; comp. Dio Chry.
also for that, when invited to perform at the festival sost. Orat. 77, p. 426, ed. Reiske. )
of the Eleusinian Demeter, he had given an indecent The language of Timotheus was redundant and
representation of the myth, and had improperly luxuriant, as we see by a fragment from his
taught the youth the travail of Semele; and, besides Cyclops, preserved by Athenaeus (xi. p. 465,
this censure, lie was to be ordered to cut away the d. ). Of the boldness of his metaphors we have
strings of his lyre which exceeded seven.
a specimen, in his calling a shield piannu Apeos,
Suidas (s. v. ) describes his style in general terms for which he was attacked by the comic poet
as a softening of the ancient music (Tuy ápxaiav Antiphanes (Ath. x. p. 433, c. ), and which Ari-
MOVOLKTV ét? To valakúrepov uetnyayev). And stotle has noticed no less than three times (Poet.
Plutarch mentions him, with Crexus and Philoxenus, xxi. 12, Rhet. iii. 4, 11). There is another ex-
and the other poets of that age, as popTIKÁTepoi ample of his bold figures in a fragment of Ana.
Kal Din braivoi, and as especially addicted to the xandrides (Ath. x. p. 455, f. ). In the celebrated
style called τον φιλάνθρωπος και θεματικόν (de | passage of Aristotle respecting the representation
Mus. 12. p. 1135, d. ).
of actual and ideal characters, in poetry and paint-
With regard to the subjects of his compositions, ing (Poet. 2), reference is made to “ the Persae
and the manner in which he treated them, we have and Cyclopes of Timotheus and Philoxenus ;"
abundant evidence that he even went beyond the but unfortunately there is nothing in the present
other musicians of the period in the liberties which text to show which of the two poets Aristotle
he took with the ancient myths, in the attempt to meant to represent as the more ideal.
make his music imitative as well as expressive, Like all ihe dithyrambic poets of the age, Timo-
and in the confusion of the different subjects and theus composed works in every species of lyric
department of lyric poetry ; in one word, in the poetry, and that in such a manner as to confound
application of that false principle, which also misled the distinctions between the several species,
his friend Euripides, that pleasure is the end of mingling Threnes with Hymns, Paeans with Di-
poetry. Unfortunately the fragments of the poems thyrambs, and even performing on the lyre the
of Timotheus and the other musicians of the period music intended for the flute (Plato, de Legg. I. c. ).
are insufficient to guide us to a full knowledge of The crowning step in this process appears to have
their style ; but we can judge of its general cha- been that which is ascribed to Timotheus alone,
racter by the choral parts of the tragedies of namely, the giving a dithyrambic tone and ex-
Euripides, and by the description of Plato (de Legg. pression to the Nomes, which seem to have been
ii. p. 700, e. ), aided by the ancient testimonies, and hitherto preserved almost in their original form,
the few fragments collected by later writers. The and the adapting them to be sung by a chorns,
subject is well, though briefly, treated by Müller instead of by a single performer (Plut. de Mus. 4,
(Hist. of lit. of Anc. Greece, vol. ii. pp. 61, 62), p. 1132, d. ; Clem. Alex. Strom. I. p. 365).
who remarks that in the late dithyramb “ there The account which has now been given of the
was no unity of thought ; no one tone pervading character of Timotheus as a musician and a poet
the whole poem, so as to preserve in the minds of must not be misunderstood. It is one thing to
the hearers a consistent train of feelings; no subor-judge an artist by pure aesthetic standards, or by
dination of the story to certain ethical ideas ; no a comparison with the severe simplicity of an early
artificially constructed system of verses regulated stage of the development of his art; it is quite
by fixed laws ; but a loose and wanton play of another thing to form a genial estimate of his cha-
lyrical sentiments, which were set in motion by racter with reference to the prevailing taste of the
the accidental impulses of some nythical story, ) tiines in which he lived, or to the impression be
## p. 1150 (#1166) ##########################################
1150
TIMOTHEUS.
TIMOTHEUS.
!
would probably make on the mind of our own age. | curean, is mentioned by Strabo among the distin-
There was undoubtedly great power and beauty guished natives of Sinope (xii. p. 546; the words
in the compositions of Timotheus, and if they could are Τιμόθεον τον Πατρίονα).
be restored, even as mere writings, and much 5. Of Athens, the author of a biographical work,
more if they could be reproduced as they were from which Diogenes Laërtius (iii. 5, iv. 3, v. l,
publicly performed, they would certainly excite our vii. 1) quotes statements respecting Plato, Speu-
admiration, whatever might be the judgment of sippus, Aristotle, and Zeno. Nothing is known of
calm criticism. The few fragments which have his age, unless these references be supposed to
come down to us afford ample proof of this. Such furnish any guide to it. Vossius is probably right
a line, for instance, as that with which he led off in supposing him to be a different person from the
his nome entitled Persae,
Timotheus whose 'Αργολικά and the eleventh book
Κλεινόν ελευθερίας τεύχων μέγαν Ελλάδι κόσμον, le Plue. 18. 3), and also different from the writer
of whose work on Rivers are quoted by Plutarch
bears
upon it the impress of the true poet. (Paus. to whom Eustathius (ad Dion. Perieg. 421) refers.
viii. 50. § 3 ; Plut. Philopoem. 11. )
(Vossius, de Hist. Grucc. p. 507, ed. Westermann. )
He composed, according to Stephanus of Byzan- 6. A mythological writer, from whom Arnobius
tium (l. c. ), eighteen books of citharoedic nomes, (v. 5) quotes soine statements respecting the
containing eight thousand verses, and a povóuia Phrygian worship of the mother of the gods.
aủawr xixca, according to the correction of Grono- (Vossius, de Hist. Graec. p. 506, ed. Westermann. )
vius, αυλών for άλλων, and, perhaps too, for προνό- 7. Of Gaza, an eminent grammarian, in the time
Mia we should read a pooluia, but even so the mean- of the emperor Anastasius, whose financial admi-
ing is not very clear, for we have no account of any nistration he is said to have attacked in a tragedy
flute-music by Timotheus: possibly there is some entitled Xpuoápyupos, of which no fragments are
confusion betwcen him and the flute-player of the extant. He flourished therefore at the end of the
same name, who lived in the time of Alcxander firth century of our era. He also wrote a poem
the Great. Suidas gives a much fuller account of in epic verse, and in four books, on the quadruped's
his works, and ascribes to him nineteen Musical | of India, Arabia, Egypt, and Libya, and on foreign
Nomes, thirty-six Prooems, eight Diasccuze (Stu- and extraordinary birds and serpents. (Suid. s. v. ;
okeval, which Meineke supposes to mean compo- | Tzetz. Chil. iv. 128. )
sitions by other poets, which Timotheus recast and 8. Bishop of Alexandria towards the close of
adapted to his own style of music, Hist. Crit. Com. the fourth century, was distinguished for his oppo-
Gracc. p. 32), eighteen Dithyrambs, twenty-one sition to Gregory of Nazianzus. He succeeded
Hymns, some Encomiums, and other works ; and, his brother Peter in the see of Alexandria in A. D.
besides this general classification of his works, 379, and was present at the second general council
Suidas mentions the following special titles, at Constantinople, in the year 381, where he was
"Αρτεμις, Πέρσαι ή Ναύπλιος, Φινείται, Λαέρτης. | one of the most active agents in the attack upon
Probably, instead of Dépoai | Naútilos, we ought Gregory of Nazianzus, which caused the retire-
to read népoal, Naútinos, as two distinct titles, for ment of that great and good man, and in the ap-
the Naútidos of Timotheus is quoted by Athenaeus pointment of his successor Nectarius. He died
(viii. p. 338) and by Eustathius (ad Od. v. p. 1538). in A. D. 385. He wrote a work on the lives of the
The Kúkawy, which appears to have been one of fathers and monks, which is quoted by Sozomen
the most celebrated of his Dithyramus, has already (11. E. vi. 25), but is now lost. (Cave, Hist. Litt.
been referred to. The few extant fragments of s. a. 380, p. 274, ed. Basil. ; Fabricius, Bill. Graec.
these poems are collected by Bergk, Poetae Lyrici vol. x. pp. 138—293 ; Clinton, Fast. Rom. s. a.
Graeci, pp. 860—863, and by Kayser, Diatribe in 381).
Dithyrambum, pp. 96—120. (Fabric. Bibl. Graec. Notices of some other ecclesiastics and Christian
vol. i. p. 747, vol. ii. p. 325 ; Müller, Hist. of Lit. writers of the name will be found in the works of
of Anc, Greece, vol. ii. pp. 59–62; Ulrici, Gesch. Cave, Fabricius, and Schröckh. None of them
d. Hellen. Dichtkunst, vol. ii. pp. 604-610; Bode, seem to require specific mention, except a chrono-
rol. ii. ; Bernhardy, Gesch. d. Griech. Litt. vol. ii. grapher, who is quoted by G. Cedrenus and Jo.
pp. 551–554 ; Kayser, l. c. ; Clinton, Fast. Hellen. Malala.
Cic. Tusc. Quaest. v. 35, de Orat. iii. 34, de off. i. him to have been one of the many Timothei who,
32 ; Nep. Chabr. 3; Plut. Sull. 6, Reg. et Imp. as the Scholiast on the Plutus, v. 180, tells us, were
Apoph. Tim. 2. )
attacked by the poet) is a proof that he could not
3. Son of Clearchus, the tyrant of Heracleia on have attained to much eminence before the date
the Euxine. After the death of his father in B. c. mentioned by Diodorus ; but yet it must have
353, he succeeded to the sovereignty, under the been before that year that his innovations in music
guardianship, at first, of his uncle Satyrus, and began to attract public attention ; for we have the
Lield the rule for fifteen years. There is extant a testimony not only of Suidas, but also of Plutarch
letter addressed to him by Isocrates, in which the (see below) to the fact of his commencing his career
rhetorician commends him for his good qualities, I during the life-time of Euripides, and we have also
## p. 1148 (#1164) ##########################################
1148
TIMOTHEUS.
TIMOTHEUS.
the decisive evidence of the celebrated passage from (l. c. ), who has preserved the following epitaph
the comic poet Pherecrates, in which the musicians upon him. (Also in Jacobs, Anth. Pal. App. No.
of the day are violently attacked as corrupters of 295, vol. ii. p. 851. )
the art (Plut. de Mus. 30, p. 1141, f. ; Meineke,
Πάτρα Μίλητος τίκτει Μούσαισι ποθεινον
Frag. Com. Graec. vol. ii. pp. 326-335). It is
Τιμόθεον, κιθάρας δεξιών ηνίοχον.
evident that this attack was aimed principally
at Timotheus, whom the personification of Music The general character of the music of Timotheus,
mentions last of all, as having inflicted more and the nature of his innovations, are pretty clearly
numerous and more serious injuries upon her than described in the fragment of Pherecrates above quoted,
either of his predecessors, Melanippides, Cinesias, and in other passages of the ancient writers. Ho
or Phrynis. The following are the lines referring delighted in the most artificial and intricate forms
to him :-
of musical expression, “ windings like the passages
και δε Τιμόθεός μ', ώ φιλτάτη, κατορρυχεν
in ant-hills ” (Pherecr. l. c. ): he used instrumental
music, without a vocal accompaniment, to a greater
και διακέκναικ’ αίσχιστα. Δ. Ποιος ουτοσι
Τιμόθεος ; Μ. Μιλήσιος τις Πυρβίας *
extent than any previous composer (at least if
Ulrici is right in his interpretation of the words
κακά μοι παρέσχεν ούτος άπαντας ους λέγω
Móvn Badi coton in Pherecrates): and, in direct
παρελήλυθ', άδων εκτραπέλους μυρμηκιάς
opposition to the ancient practice, he preferred the
εξαρμονίους υπερβολαίους τ' ανοσίους,
chromatic to the other genera of music, and employed
και νιγλάρους, ώσπερ τε τάς ραφάνους όλην
it to such an extent, as to be by some considered its
κάμπτων με κατεμέστωσε.
inventor. (Boëth. de Mus, i. 1, p. 1372, ed. Basil. )
καν εντύχη που μοι βαδιζούση μόνη,
απέδυσε κανέλυσε χορδαίς δώδεκα
But perhaps the most important of bis innovations,
as the means of introducing all the others, was his
Respecting the details of his life we have very addition to the number of the strings of the cithara.
litt information. He is said to have pent some Respecting the precise nature of that addition the
time at the Macedonian court ; and reference will ancient writers are not agreed ; but it is most pro-
presently be made to a visit which he paid to bable, from the whole evidence, that the lyre of
Sparta. He appears to have formed his musical Timotheus had eleven strings. The eight-stringed
style chiefly on that of Phrynis, who was also a cithara, formed by the addition of the chord of the
native of Miletus, and over whom he on one occa- octave which was wanting in the heptachord of
sion gained a victory. He was at first unfortunate Terpander, was used in the time of Pindar [TER-
in his professional efforts. Even the Athenians, PANDER]. The ninth string appears to have been
fond as they were of novelty, and accustomed as added by Phrynis (Plut. Apophtheg. Lacon. p. 220,
they were to the modern style of music introduced c. ). There were already ten strings to the cithara
by Melanippides, Phrynis, and the rest, were in the time of lon of Chios, the contemporary of
offended at the still bolder innovations of Timo- Sophocles (Ion, Epigr. ap. Euclid. Introd. Harmon.
theus, and hissed off his performance. On this oc- p. 19, ed. Meibom. ); and the conjecture appears
casion it is said that Euripides encouraged Timo- therefore probable that the tenth was added by
theus by the prediction that he would soon have Melanippides
. There remains, therefore, only the
the theatres at his feet (Plut. An scni sit gcrend. eleventh string to be ascribed to Timotheus, for it
Respub. 23, p. 795, c. d. ). This prediction appears is most probable that the mention of a twelve-
to have been accomplished in the vast popularity stringed lyre, in the above passage of Pherecrates,
which Timotheus afterwards enjoyed. . Plutarch according to the present text, arises from some
records his exultation at his victory over Phrynis error, and the word &vdeka may be substituted for
(De se ipsum laudand. 1, p. 539, b. c. ); and even Sudera in the last verse, without injuring the
when, on one occasion, he was conquered by Phi- metre. The positive testimonies for ascribing the
lotas, a disciple of Polyïdus, he could console him- eleventh string to Timotheus, are that of Suidas
self with the rebuke administered to the boasting (s. v. ), who, however, makes him the inventor of
master of his successful competitor by the witty the tenth string also, which the testimony of Ion
Stratonicus, 7tı aúrds uèv (i. e. Polyïdus) ympio. proves to be an error; and the tradition that, when
Mata Toiec, Trubeos Sè vóuous. (Ath. viii
. p. 352, Timotheus visited Sparta, and entered the musical
b. : the point of the saying is in the double mean- contest at the Carneia, one of the Ephors snatched
ing of vòuous, laws and musical strains, and is un away his lyre, and cut from it the strings, four in
translateable into English. ) The Ephesians re- number, by which it exceeded the seven-stringed
warded him, for his dedicatory hymn to Artemis, lyre of Terpander, and, as a memorial of this public
with the sum of a thousand picces of gold (Alex. vindication of the ancient simplicity of music, and
Aetol. ap. Macrob. Sat. v. 22): the last accom- for a warning to future innovators, the Lacedae-
plishment, by which the education of the Arcadian monians hung up the mutilated lyre of Timotheus
youth was finished, was learning the nomes of in their Scias. (Paus. ii. 12. & 8; Plut. Instit.
Timotheus and Philoxenus (Polyb. iv. 20; Ath. Lacon. 17, p. 238, C. , Agis, 10 ; Artemon. ap. Ath.
xiv. p. 626, c. ): and there is still extant a decree xiv. p. 636, e. ; Cic. de Legg. ii. 15; the number of
of the Cnossians, probably of the second century the additional strings is only stated in the first of
B. C. , in which Timotheus and Polyżdus are men- these passages, but, besides the agreement of that
tioned with the highest praise, and their names number with the other evidence, it must be remem-
associated with those of the ancient Cretan poets bered that Pausanias actually saw the lyre hanging
(see Polvisus, p. 467, b. ). Timotheus died in in the Scias at Sparta). It is quite a mistake to
Macedonia, according to Stephanus of Byzantium argue, in the spirit of a pseudo-rationalistic criti-
cism, against the truth of this tradition, from the
• The meaning of this epithet is doubtful. See fact of the very same story being told about the
Schmidt, pp. 97, 98, and Lelirs, Quuest Epic. pp. nine-stringed lyre of Phrynis (Plut. Agis
, 10.
20, 21.
Apophth. Lucon. p. 220, c. ); for the conduct
## p. 1149 (#1165) ##########################################
TIMOTHEUS.
1149
TIMOTIIEUS.
i
ascribed to the Ephor is so characteristic of the and took now one direction, now another ; pre-
state of Spartan feelings with reference to the ferring, however, to seize on such points as gave
ancient music, that we may easily believe such an room for an immediate imitation in tones, and
incident to have occurred every time that the admitting a mode of description which luxurinted
attempt was made to violate that feeling ; 80 that in sensual charms. " And a little above (p. 60)
the two stories rather confirm one another ; and," At the same time the dirtryramb assumed a de-
moreover, they are mentioned together, as two scriptive, or, as Aristotle says, a mimetic character
distinct events, by Plutarch (Agis, 10). The tra-(metaboań). The natural phenomena which it
dition is also embodied, with other particulars of described were imitated by means of tunes and
the innovations of Timotheus, in the alleged decree rhythms and the pantomimic gesticulations of the
of the Spartans, preserved by Boethius (de Mus. actors (as in the antiquated Hyporcheme); and
I. c. ). It has been, however, very clearly proved, this was very much aided by a powerful instru-
that this decree is the forgery of a grammarian of mental accompaniment, which sought to represent
an unknown date. (See especially Müller, Dor. with its loud full tones the raging elements, the
b. iv. c. 6. § 3, vol. ii
. pp. 316-319, ed. Schnei. voices of wild beasts, and other sounds. A parasite
dewin). Still it is of importance, as embodying witrily observed of one of these storm-dithyrambs
what the grammarian, who forged it, had collected of Timotheus, that he had seen greater blornis
from the ancient writers respecting the musical than those which 'Timotheus made in many a kettlo
innovations of Timotheus. The substance of it is of boiling water (Ath. viii. p. 338, a. ). ” A
an order to the Ephors to censure Timotheus the striking example of this mimetic and sensuous mode
Milesian, for that he had dishonoured the ancient of representation is furnished by the dithyramb
music, and had corrupted the ears of the youth of Timotheus, entitled “ the Travail of Semele"
deserting the seven-stringed lyre, and introducing (Leuenns wiv), which is censured in the pseudo.
a multiplicity of strings, and a novelty of melodies, Lacedaemonian decree already quoted, and on one
in which ignoble and diversified strains took the passage of which Stratonicus is said to have asked,
place of the old simple and sustained movements, “ If she had been bringing forth a mechanic, and
and by changing the genus from the Enharmonic not a god, what sort of cries would she have
to the Chromatic as an Antistrophic variation, and uttered ? " (Ath. viii. p. 352, a. ; comp. Dio Chry.
also for that, when invited to perform at the festival sost. Orat. 77, p. 426, ed. Reiske. )
of the Eleusinian Demeter, he had given an indecent The language of Timotheus was redundant and
representation of the myth, and had improperly luxuriant, as we see by a fragment from his
taught the youth the travail of Semele; and, besides Cyclops, preserved by Athenaeus (xi. p. 465,
this censure, lie was to be ordered to cut away the d. ). Of the boldness of his metaphors we have
strings of his lyre which exceeded seven.
a specimen, in his calling a shield piannu Apeos,
Suidas (s. v. ) describes his style in general terms for which he was attacked by the comic poet
as a softening of the ancient music (Tuy ápxaiav Antiphanes (Ath. x. p. 433, c. ), and which Ari-
MOVOLKTV ét? To valakúrepov uetnyayev). And stotle has noticed no less than three times (Poet.
Plutarch mentions him, with Crexus and Philoxenus, xxi. 12, Rhet. iii. 4, 11). There is another ex-
and the other poets of that age, as popTIKÁTepoi ample of his bold figures in a fragment of Ana.
Kal Din braivoi, and as especially addicted to the xandrides (Ath. x. p. 455, f. ). In the celebrated
style called τον φιλάνθρωπος και θεματικόν (de | passage of Aristotle respecting the representation
Mus. 12. p. 1135, d. ).
of actual and ideal characters, in poetry and paint-
With regard to the subjects of his compositions, ing (Poet. 2), reference is made to “ the Persae
and the manner in which he treated them, we have and Cyclopes of Timotheus and Philoxenus ;"
abundant evidence that he even went beyond the but unfortunately there is nothing in the present
other musicians of the period in the liberties which text to show which of the two poets Aristotle
he took with the ancient myths, in the attempt to meant to represent as the more ideal.
make his music imitative as well as expressive, Like all ihe dithyrambic poets of the age, Timo-
and in the confusion of the different subjects and theus composed works in every species of lyric
department of lyric poetry ; in one word, in the poetry, and that in such a manner as to confound
application of that false principle, which also misled the distinctions between the several species,
his friend Euripides, that pleasure is the end of mingling Threnes with Hymns, Paeans with Di-
poetry. Unfortunately the fragments of the poems thyrambs, and even performing on the lyre the
of Timotheus and the other musicians of the period music intended for the flute (Plato, de Legg. I. c. ).
are insufficient to guide us to a full knowledge of The crowning step in this process appears to have
their style ; but we can judge of its general cha- been that which is ascribed to Timotheus alone,
racter by the choral parts of the tragedies of namely, the giving a dithyrambic tone and ex-
Euripides, and by the description of Plato (de Legg. pression to the Nomes, which seem to have been
ii. p. 700, e. ), aided by the ancient testimonies, and hitherto preserved almost in their original form,
the few fragments collected by later writers. The and the adapting them to be sung by a chorns,
subject is well, though briefly, treated by Müller instead of by a single performer (Plut. de Mus. 4,
(Hist. of lit. of Anc. Greece, vol. ii. pp. 61, 62), p. 1132, d. ; Clem. Alex. Strom. I. p. 365).
who remarks that in the late dithyramb “ there The account which has now been given of the
was no unity of thought ; no one tone pervading character of Timotheus as a musician and a poet
the whole poem, so as to preserve in the minds of must not be misunderstood. It is one thing to
the hearers a consistent train of feelings; no subor-judge an artist by pure aesthetic standards, or by
dination of the story to certain ethical ideas ; no a comparison with the severe simplicity of an early
artificially constructed system of verses regulated stage of the development of his art; it is quite
by fixed laws ; but a loose and wanton play of another thing to form a genial estimate of his cha-
lyrical sentiments, which were set in motion by racter with reference to the prevailing taste of the
the accidental impulses of some nythical story, ) tiines in which he lived, or to the impression be
## p. 1150 (#1166) ##########################################
1150
TIMOTHEUS.
TIMOTHEUS.
!
would probably make on the mind of our own age. | curean, is mentioned by Strabo among the distin-
There was undoubtedly great power and beauty guished natives of Sinope (xii. p. 546; the words
in the compositions of Timotheus, and if they could are Τιμόθεον τον Πατρίονα).
be restored, even as mere writings, and much 5. Of Athens, the author of a biographical work,
more if they could be reproduced as they were from which Diogenes Laërtius (iii. 5, iv. 3, v. l,
publicly performed, they would certainly excite our vii. 1) quotes statements respecting Plato, Speu-
admiration, whatever might be the judgment of sippus, Aristotle, and Zeno. Nothing is known of
calm criticism. The few fragments which have his age, unless these references be supposed to
come down to us afford ample proof of this. Such furnish any guide to it. Vossius is probably right
a line, for instance, as that with which he led off in supposing him to be a different person from the
his nome entitled Persae,
Timotheus whose 'Αργολικά and the eleventh book
Κλεινόν ελευθερίας τεύχων μέγαν Ελλάδι κόσμον, le Plue. 18. 3), and also different from the writer
of whose work on Rivers are quoted by Plutarch
bears
upon it the impress of the true poet. (Paus. to whom Eustathius (ad Dion. Perieg. 421) refers.
viii. 50. § 3 ; Plut. Philopoem. 11. )
(Vossius, de Hist. Grucc. p. 507, ed. Westermann. )
He composed, according to Stephanus of Byzan- 6. A mythological writer, from whom Arnobius
tium (l. c. ), eighteen books of citharoedic nomes, (v. 5) quotes soine statements respecting the
containing eight thousand verses, and a povóuia Phrygian worship of the mother of the gods.
aủawr xixca, according to the correction of Grono- (Vossius, de Hist. Graec. p. 506, ed. Westermann. )
vius, αυλών for άλλων, and, perhaps too, for προνό- 7. Of Gaza, an eminent grammarian, in the time
Mia we should read a pooluia, but even so the mean- of the emperor Anastasius, whose financial admi-
ing is not very clear, for we have no account of any nistration he is said to have attacked in a tragedy
flute-music by Timotheus: possibly there is some entitled Xpuoápyupos, of which no fragments are
confusion betwcen him and the flute-player of the extant. He flourished therefore at the end of the
same name, who lived in the time of Alcxander firth century of our era. He also wrote a poem
the Great. Suidas gives a much fuller account of in epic verse, and in four books, on the quadruped's
his works, and ascribes to him nineteen Musical | of India, Arabia, Egypt, and Libya, and on foreign
Nomes, thirty-six Prooems, eight Diasccuze (Stu- and extraordinary birds and serpents. (Suid. s. v. ;
okeval, which Meineke supposes to mean compo- | Tzetz. Chil. iv. 128. )
sitions by other poets, which Timotheus recast and 8. Bishop of Alexandria towards the close of
adapted to his own style of music, Hist. Crit. Com. the fourth century, was distinguished for his oppo-
Gracc. p. 32), eighteen Dithyrambs, twenty-one sition to Gregory of Nazianzus. He succeeded
Hymns, some Encomiums, and other works ; and, his brother Peter in the see of Alexandria in A. D.
besides this general classification of his works, 379, and was present at the second general council
Suidas mentions the following special titles, at Constantinople, in the year 381, where he was
"Αρτεμις, Πέρσαι ή Ναύπλιος, Φινείται, Λαέρτης. | one of the most active agents in the attack upon
Probably, instead of Dépoai | Naútilos, we ought Gregory of Nazianzus, which caused the retire-
to read népoal, Naútinos, as two distinct titles, for ment of that great and good man, and in the ap-
the Naútidos of Timotheus is quoted by Athenaeus pointment of his successor Nectarius. He died
(viii. p. 338) and by Eustathius (ad Od. v. p. 1538). in A. D. 385. He wrote a work on the lives of the
The Kúkawy, which appears to have been one of fathers and monks, which is quoted by Sozomen
the most celebrated of his Dithyramus, has already (11. E. vi. 25), but is now lost. (Cave, Hist. Litt.
been referred to. The few extant fragments of s. a. 380, p. 274, ed. Basil. ; Fabricius, Bill. Graec.
these poems are collected by Bergk, Poetae Lyrici vol. x. pp. 138—293 ; Clinton, Fast. Rom. s. a.
Graeci, pp. 860—863, and by Kayser, Diatribe in 381).
Dithyrambum, pp. 96—120. (Fabric. Bibl. Graec. Notices of some other ecclesiastics and Christian
vol. i. p. 747, vol. ii. p. 325 ; Müller, Hist. of Lit. writers of the name will be found in the works of
of Anc, Greece, vol. ii. pp. 59–62; Ulrici, Gesch. Cave, Fabricius, and Schröckh. None of them
d. Hellen. Dichtkunst, vol. ii. pp. 604-610; Bode, seem to require specific mention, except a chrono-
rol. ii. ; Bernhardy, Gesch. d. Griech. Litt. vol. ii. grapher, who is quoted by G. Cedrenus and Jo.
pp. 551–554 ; Kayser, l. c. ; Clinton, Fast. Hellen. Malala.
