Note 164 — Chapter XXIX · LYRIC POETRY. — THE SEVEN WISE MEN.

Homer. Hymn. Apoll. 340. Οἷοί τε Κρητῶν παιήονες, etc.: see Boeckh. De Metris Pindari, ii, 7, p. 143; Ephorus ap. Strabo, x, p. 480: Plutarch, De Musicâ, p. 1142.

Respecting Thalêtas, and the gradual alterations in the character of music at Sparta. Hoeckh has given much instructive matter (Kreta. vol. iii, pp. 340-377). Respecting Nymphæus of Kydonia, whom Ælian (V. II. xii, 50) puts in juxtaposition with Thalêtas and Terpander, nothing is known.

After what is called the second fashion of music (κατάστασις) had thus been introduced by Thalêtas and his contemporaries.—the first fashion being that of Terpander,—no farther innovations were allowed. The ephors employed violent means to prohibit the intended innovations of Phrynis and Timotheus, after the Persian war: see Plutarch Agis, c. 10.