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ἀντίληψιν εἶναι, πάντας δὲ τοὺς μουσικῆς ἁπτομένους
πρὸς τὴν θεατρικὴν προσκεχωρηκέναι μοῦσαν
‘εἴποι τις ὦ τᾶν, οὐδὲν οὖν ὑπὸ τῶν ἀρχαίων προσεξεύρηται καὶ κεκαινοτόμηται;’ φημὶ καὶ
[p. 513]
αὐτός, ὅτι προσεξεύρηται, ἀλλὰ μετὰ τοῦ σεμνοῦ καὶ
πρέποντος. οἱ γὰρ ἱστορήσαντες τὰ τοιαῦτα Τερπάνδρῳ μὲν τήν τε Δώριον νήτην προσετίθεσαν,
οὐ χρησαμένων αὐτῇ τῶν ἔμπροσθεν κατὰ τὸ μέλος:
καὶ τὸν Μιξολύδιον δὲ τόνον ὅλον προσεξευρῆσθαι λέγεται, καὶ τὸν τῆς ὀρθίου μελῳδίας τρόπον τὸν κατὰ τοὺς ὀρθίους πρός τε τῷ ὀρθίῳ καὶ τὸν σημαντὸν τροχαῖον. ἔτι δέ, καθάπερ Πίνδαρός φησι, καὶ τῶν σκολιῶν μελῶν Τέρπανδρος εὑρετὴς ἦν:
ἀλλὰ μὴν καὶ Ἀρχίλοχος τὴν τῶν τριμέτρων ῥυθμοποιίαν προσεξεῦρε καὶ τὴν εἰς τοὺς οὐχ ὁμογενεῖς
Plutarch. Moralia. Gregorius N. Bernardakis. Leipzig. Teubner. 1895. 6.
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