i 58 HISTORY OF THE (he early rhythmical forms are of two kinds*, the equal (iffor), in which the arsis is equal to the thesis; and the double (InrXaaiov), in which the arsis is twice as long as the thesis. The former is the hasis of the hexameter, the latter of the chief part of the poetry of Archilochus. The equal rhythm is most appropriate, when a calm composed state of mind is to be expressed, as there is a perfect balance of the arsis and thesis. The double rhythm has a rapid and easy march, and is therefore adapted to the expression of passion, but not of great or elevated sentiments, the double arsis requiring no great energy to carry forward the light thesis. Now, besides these, there is a third kind of rhythm, called, from the relation of the arsis to the thesis, one and a half (J^iokiov) ; in which an arsis of two times answers to a thesis of three. The Cretan foot (_/_u — ), and the multifarious class of paeons belong to this head (looo,uuul, &c), to which last the theoretical writers of antiquity ascribe much life and energy, and at the same time, loftiness of expression. That the poets and musicians considered it in the same light may be inferred from the use which they made of it. Olympus was the first who cultivated this rhythm, as we learn from Plutarch, and it is almost needless to remark that this exten- sion of the rhythms agrees with the other inventions of Olympus . § 8. It appears, therefore, that Olympus exercised an important influence in developing the rhythms, the instrumental music, and the musical scales of the Greeks, as well as in the composition of numerous nomes. Yet if we inquire to what words his compositions were arranged, we can find no trace of a verse written by him. Olympus is never, like Terpander, mentioned as a poet ; he is simply a musician . His nomes, indeed, seem to have been originally executed on the flute alone, without singing ; and he himself, in the tradition of the Greeks, was celebrated as a flute-player. It was a universal custom at this time to select the flute-players for the musical performances in Greek cities from among the Phrygians : of this nation, according to the testimony of Athenaeus, were Iambus, Adon and Telos, mentioned by the Lacedae- monian lyric poet Alcman, and Cion, Codalus, and Babys, mentioned by Hipponax. Hence, for example, Plutarch says, that Thaletas took the Cretan rhythm from the flute-playing of Olympus §, and thus acquired the fame of a good poet. Since Olympus did not properly belong to the Greek literature, and did not enter the lists with the poets
- Above, chap. xi. §8.
f According to Plutarch de Mus. c. 29. Some also ascribe to Olympus the B«*£s7«j puPpos (u—'-), which belongs to the same family, though its form makes a less pleasing impression.
Suidas attributes to him pixy and IXiytTxi, which may be a confusion between
compositions in the lyric and elegiac style and poetical texts. § IktHs 'oxi/i-rou abxiertus, Plutarch de Mus.c. 10 ; cf. c. 15. Hence also, inc. 7, au- letic nomes are ascribed to Olympus; but in c. 3 the first aulodic nomes are ascribed to Clonas.
