as the
Scholiast
on the Plutus, v.
William Smith - 1844 - Dictionary of Greek and Roman Antiquities - c
) To
jealousy of Iphicrates as the son-in-law of Cotys, the suit instituted against him by Apollodorus, the
seem to have mainly induced the Athenians to son of Pasion, for sundry sums of money alleged
appoint Timotheus instead of him as commander to have been borrowed by him from the latter, it is
in Macedonia (B. C. 364), where the recovery of not possible to assign any exact date ; but there is
Amphipolis was the great object of their wishes. no period at which it can be fixed more satis-
In the interval between the recall of Iphicrates factorily than between B. c. 360 and 356. The
and the arrival of Timotheus, the Athenian forces oration, written for the plaintiff on this occasion,
were commanded by Callisthenes, whose disad- and ascribed to Demosthenes, is still extant. (See
vantageous treaty with Perdiccas III. of Mace- Rehdantz, pp. 195, 196. ) In B. c. 358, when the
donia contributed perhaps to hamper the new Thebans had sent a military force over to Euboea,
general, when he came on the scene of action. Timocheus, by an energetic appeal and fervid elo-
Timotheus, on taking the command, endeavoured quence, incited the Athenians to raise an armament
to secure the services of the adventurer Charide- ) for the purpose of opposing them there, and saving
tis
тера
IT.
(نا
T
again
porze
be at
the
Dens
leam
leats
of the
fiers
tere
lo
Cie
32;
3.
the
kter
Tacts
## p. 1147 (#1163) ##########################################
TIMOTHEUS.
1147
TIMOTHEUS.
their own interests in the island. (Diod. xvi. 7 ; 1 gives him some very common-place ad rice, and re-
Dem. Olynth. i. p. 11, de Chers. p. 108, c. Androt. commends to his notice a friend of his, nained
p. 597 ; Aesch. c. Cres. p. 65. ) . In the following Autocrator, the bearer of the epistle. (Diod. xvi.
year the Social War broke out; and in the second 36 ; Wess. ad loc. ; Memn. ap. Phot. Bibl. 224 ;
campaign of it (B. c. 356) Timotheus, Iphicrates, Isocr. Ep. ad Tim. ) (CLEARCHus. ]
and Menestheus were joined with Chares as com- 4. An Athenian, of the priestly family of the
manders of the Athenian fleet. The circumstances Eumolpidae, whom Ptolemy Lagi brought over to
which followed are variously related. According Egypt, to preside over and interpret religious rites
to Diodorus, Chares vainly endeavoured to induce and ceremonies. He was consulted by the king
his colleagues to engage the enemy in a storm, and, when, in consequence of a dream, he was contem-
on their refusal, wrote to the people, accusing them plating the introduction of the foreign deity Se-
of treachery. The account of C. Nepos is that rapis. (Tac. Ilist. iv. 83 ; Plut. de Is. et Osir.
Chares, baving risked a battle in spite of the 28. )
[E. E. ]
weather, was defeated, and, in order to screen TIMO'THEUS (Timóteos), literary. 1. An
himself, laid the blame on the other generals for Athenian conic poet of the Middle Comedy, of
not supporting him. Any how they were recalled, whose plays we have the following titles, Kuvéplov
and Iphicrates and Menestheus were brought to (Ath. vi. p. 243, d; Suid. ), ſúktns, Napakata-
trial first, the prosecution being conducted by Ari-1 θήκη, and Μεταβαλλόμενος ο Μεταφερόμενος.
stophon the Azenian. They were acquitted ; but The only fragments of his dramas extant are the
Timotheus was nevertheless afterwards arraigned, three lines quoted by Athenaeus from the first of
probably in B. C. 354, and condemned to the crush- the above plays, and three other lines, without the
ing fine of 100 talents (more than 24,0001. ). From title of the comedy to which they belong (Append.
Deinarchus we learn that the main charge against Florent. ad Stob. p. 23. 7, ed. Gaisford). Three of
him was the having received bribes froin the Chians the above titles are identical with those of plays
and Rhodians, and the truth of this, if we follow ascribed to other poets ; namely, there is a lúktns
the common reading in the passage (Dein. C. Dem. by Timocles, a Tapakatadhan by Aristophon, So-
p. 92), he himself confessed. According to Iso- pater, Sophilus, and Timostratus, and a Meta-
crates, his condemnation was caused chiefly by his pepóuevos by Poseidippus. The Kúkawy, which
haughty and unbending demeanour, and by his re- Harless adds to the list of the comedies of Timo-
fusal to pay court to the people and the popular theus, is evidently the title of a work of the cele-
orators. Be that as it may, he was unable to pay brated dithyrambic poet Timotheus. (Fabric. Bibl.
the fine, and withdrew to Chalcis in Euboea, where Gracc. vol. ii. p. 505 ; Meineke, Frag. Com. Graec.
he died shortly after. The Athenians subsequently vol. i. p. 428, vol. ii. p. 589; Editio Minor, p.
remitted nine-tenths of the penalty, and allowed 798. )
his son Conon to expend the remainder on the 2. The celebrated musician and poet of the later
repair of the walls, which the famous Conon had Athenian dithyramb, was a native of Miletus,
restored. (Isocr. Depi 'AVTid. SS 137, &c. ; Diod. and the son of Thersander (Steph. Byz. s. v.
xvi. 21; C. Nep. Tim. 3, 4 ; Deinarch. c. Philocl. Mintos ; Marm. Par. Ep. 77 ; Alex. Aetol. ap.
p. 110 ; Ael. V. H. iii. 47, xiv. 3 ; Perizon. ad Macrob. Sat. v. 22 ; Suid. s. v. ). Suidas calls him
loc. )
a son of Thersander, or Neomysus, or Philopolis ;
The character of Timotheus was marked by but, as Schmidt observes, when Suidas mentions
mildness and amiability, even though we should set several names for a person's father, the first is
against this the haughtiness and the somewhat pre usually the one which he has obtained from the
sumptuous self-reliance which his brilliant successes best authorities ; and the same scholar has sug-
seem to have produced in him. Like his contem- gested that the name Neouuoou should perhaps be
poraries Chabrias and Chares, he preferred residing read Neououoou, which is very likely to be the in-
abroad when he could, ,-a preference which may vention of a comic poet, in allusion to the inno-
be ascribed at least as much to the glaring evils of vations made by Timotheus in music. (Diatribe
the Athenian democracy as to the luxurious pro- in Dithyramb. pp. 96, 97. )
pensities which have been, on no very strong The date of Timotheus is marked by the an-
grounds, imputed to him. The eloquence and cients with tolerable precision. According to the
learning which were united with his military ta- Parian marble, he died in B. C. 357, in the nine-
lents, must be traced in a great measure to his in- tieth year of his age, which would place his birth
timate friendship with Isocrates, who frequently in B. c. 446 ; but Suidas (s. v. ) says that he
attended him in his campaigns, and wrote his de- lived ninety-seven years. The period at which he
spatches for him. As a general he possessed some flourished is described by Suidas as about the
of the highest qualities, and held in contempt that times of Euripides, and of Philip of Macedon ;
fiery rashness which, as in the case of Chabrias, and he is placed by Diodorus with Philoxenus,
forgets the special duties of the commander in the Telestes, and Polyeidus, at Ol. 95, B. C. 398.
mere dashing gallantry of the soldier. (Ael. V. H. (Diod. xiv. 46). The absence of any mention of
ii. 10, 18 ; Ath. x. p. 419, c. , d. , 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).
jealousy of Iphicrates as the son-in-law of Cotys, the suit instituted against him by Apollodorus, the
seem to have mainly induced the Athenians to son of Pasion, for sundry sums of money alleged
appoint Timotheus instead of him as commander to have been borrowed by him from the latter, it is
in Macedonia (B. C. 364), where the recovery of not possible to assign any exact date ; but there is
Amphipolis was the great object of their wishes. no period at which it can be fixed more satis-
In the interval between the recall of Iphicrates factorily than between B. c. 360 and 356. The
and the arrival of Timotheus, the Athenian forces oration, written for the plaintiff on this occasion,
were commanded by Callisthenes, whose disad- and ascribed to Demosthenes, is still extant. (See
vantageous treaty with Perdiccas III. of Mace- Rehdantz, pp. 195, 196. ) In B. c. 358, when the
donia contributed perhaps to hamper the new Thebans had sent a military force over to Euboea,
general, when he came on the scene of action. Timocheus, by an energetic appeal and fervid elo-
Timotheus, on taking the command, endeavoured quence, incited the Athenians to raise an armament
to secure the services of the adventurer Charide- ) for the purpose of opposing them there, and saving
tis
тера
IT.
(نا
T
again
porze
be at
the
Dens
leam
leats
of the
fiers
tere
lo
Cie
32;
3.
the
kter
Tacts
## p. 1147 (#1163) ##########################################
TIMOTHEUS.
1147
TIMOTHEUS.
their own interests in the island. (Diod. xvi. 7 ; 1 gives him some very common-place ad rice, and re-
Dem. Olynth. i. p. 11, de Chers. p. 108, c. Androt. commends to his notice a friend of his, nained
p. 597 ; Aesch. c. Cres. p. 65. ) . In the following Autocrator, the bearer of the epistle. (Diod. xvi.
year the Social War broke out; and in the second 36 ; Wess. ad loc. ; Memn. ap. Phot. Bibl. 224 ;
campaign of it (B. c. 356) Timotheus, Iphicrates, Isocr. Ep. ad Tim. ) (CLEARCHus. ]
and Menestheus were joined with Chares as com- 4. An Athenian, of the priestly family of the
manders of the Athenian fleet. The circumstances Eumolpidae, whom Ptolemy Lagi brought over to
which followed are variously related. According Egypt, to preside over and interpret religious rites
to Diodorus, Chares vainly endeavoured to induce and ceremonies. He was consulted by the king
his colleagues to engage the enemy in a storm, and, when, in consequence of a dream, he was contem-
on their refusal, wrote to the people, accusing them plating the introduction of the foreign deity Se-
of treachery. The account of C. Nepos is that rapis. (Tac. Ilist. iv. 83 ; Plut. de Is. et Osir.
Chares, baving risked a battle in spite of the 28. )
[E. E. ]
weather, was defeated, and, in order to screen TIMO'THEUS (Timóteos), literary. 1. An
himself, laid the blame on the other generals for Athenian conic poet of the Middle Comedy, of
not supporting him. Any how they were recalled, whose plays we have the following titles, Kuvéplov
and Iphicrates and Menestheus were brought to (Ath. vi. p. 243, d; Suid. ), ſúktns, Napakata-
trial first, the prosecution being conducted by Ari-1 θήκη, and Μεταβαλλόμενος ο Μεταφερόμενος.
stophon the Azenian. They were acquitted ; but The only fragments of his dramas extant are the
Timotheus was nevertheless afterwards arraigned, three lines quoted by Athenaeus from the first of
probably in B. C. 354, and condemned to the crush- the above plays, and three other lines, without the
ing fine of 100 talents (more than 24,0001. ). From title of the comedy to which they belong (Append.
Deinarchus we learn that the main charge against Florent. ad Stob. p. 23. 7, ed. Gaisford). Three of
him was the having received bribes froin the Chians the above titles are identical with those of plays
and Rhodians, and the truth of this, if we follow ascribed to other poets ; namely, there is a lúktns
the common reading in the passage (Dein. C. Dem. by Timocles, a Tapakatadhan by Aristophon, So-
p. 92), he himself confessed. According to Iso- pater, Sophilus, and Timostratus, and a Meta-
crates, his condemnation was caused chiefly by his pepóuevos by Poseidippus. The Kúkawy, which
haughty and unbending demeanour, and by his re- Harless adds to the list of the comedies of Timo-
fusal to pay court to the people and the popular theus, is evidently the title of a work of the cele-
orators. Be that as it may, he was unable to pay brated dithyrambic poet Timotheus. (Fabric. Bibl.
the fine, and withdrew to Chalcis in Euboea, where Gracc. vol. ii. p. 505 ; Meineke, Frag. Com. Graec.
he died shortly after. The Athenians subsequently vol. i. p. 428, vol. ii. p. 589; Editio Minor, p.
remitted nine-tenths of the penalty, and allowed 798. )
his son Conon to expend the remainder on the 2. The celebrated musician and poet of the later
repair of the walls, which the famous Conon had Athenian dithyramb, was a native of Miletus,
restored. (Isocr. Depi 'AVTid. SS 137, &c. ; Diod. and the son of Thersander (Steph. Byz. s. v.
xvi. 21; C. Nep. Tim. 3, 4 ; Deinarch. c. Philocl. Mintos ; Marm. Par. Ep. 77 ; Alex. Aetol. ap.
p. 110 ; Ael. V. H. iii. 47, xiv. 3 ; Perizon. ad Macrob. Sat. v. 22 ; Suid. s. v. ). Suidas calls him
loc. )
a son of Thersander, or Neomysus, or Philopolis ;
The character of Timotheus was marked by but, as Schmidt observes, when Suidas mentions
mildness and amiability, even though we should set several names for a person's father, the first is
against this the haughtiness and the somewhat pre usually the one which he has obtained from the
sumptuous self-reliance which his brilliant successes best authorities ; and the same scholar has sug-
seem to have produced in him. Like his contem- gested that the name Neouuoou should perhaps be
poraries Chabrias and Chares, he preferred residing read Neououoou, which is very likely to be the in-
abroad when he could, ,-a preference which may vention of a comic poet, in allusion to the inno-
be ascribed at least as much to the glaring evils of vations made by Timotheus in music. (Diatribe
the Athenian democracy as to the luxurious pro- in Dithyramb. pp. 96, 97. )
pensities which have been, on no very strong The date of Timotheus is marked by the an-
grounds, imputed to him. The eloquence and cients with tolerable precision. According to the
learning which were united with his military ta- Parian marble, he died in B. C. 357, in the nine-
lents, must be traced in a great measure to his in- tieth year of his age, which would place his birth
timate friendship with Isocrates, who frequently in B. c. 446 ; but Suidas (s. v. ) says that he
attended him in his campaigns, and wrote his de- lived ninety-seven years. The period at which he
spatches for him. As a general he possessed some flourished is described by Suidas as about the
of the highest qualities, and held in contempt that times of Euripides, and of Philip of Macedon ;
fiery rashness which, as in the case of Chabrias, and he is placed by Diodorus with Philoxenus,
forgets the special duties of the commander in the Telestes, and Polyeidus, at Ol. 95, B. C. 398.
mere dashing gallantry of the soldier. (Ael. V. H. (Diod. xiv. 46). The absence of any mention of
ii. 10, 18 ; Ath. x. p. 419, c. , d. , 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).
