A Dictionary of Greek and Roman biography and mythology. By various writers. Ed. by William Smith. Illustrated by numerous engravings on wood.

TERPANDER. TERPSION. 1005
___-'m —~Z-i, — -_ -- ~ them we find mention made of Trochaic nomes
and of Orthian nomes, which consisted in a great
extension of certain feet; and there is still extant
a fragment of Terpander, which affords a good
specimen of those Spondaic hymns which were
The interval between the extreme notes is an octave, sung at festivals of peculiar solemnity and the
or, as the Greeks called it, &Ai 7racrv. Plutarch music of which would of course be in keeping with
(de Mues. 19) adduces arguments to prove that the the gravity of the rhythm and of the meaning
omission of the third string was intentional; but (Clen. Alex. Strom. vi. p. 784):
whether the reason was, the opinion that it could / / /! /
well be dispensed with, or some theoretical pre- Ze6, iavTCaV apta, X 7radvTc a&yrT7cWp,
ference for the number 7, we are not informed. It / / / / /
was afterwards restored, so that the lyre had eight ZeP, ol 7rkA7rwo Tav'rav,vwv a'pXadv.
strings. The following table (from Plehn) shows The question, whether any of Terpanders nomes
the names of the strings, and the intervals between The question, whether any of Terpander's nomes
them, in the descending order, for each lyre:- vere aulodic, cannot be decided with — solute
them, in the descending order, for each lyre: certainty. Nearly all that we know of him is any
Heptachord. Octachord. connection with citharoedic music; and the arguE VTl E ments adduced to prove that he also used the flute
1 tone. 1 tone are by no means conclusive; while, on the other
D 7capav*wril D irapai'iT7s hand, the improvement of that species of music is
1,, expressly ascribed to other composers, as Olympus
and Clonas, who stand in much the same relation
2 me C P[Tto aulodic music as Terpander does to that of the
B TpiT'S/ B rapaylyre. It is also uncertain whether his nomes were
0-7 1, ],, embodied in any written system of musical notation,
A /g&-r/ A or whether they were handed down by tradition
- y -40- 1,, - 1,,7 in the school which he founded. Be this as it
G XLXavz G A o may, they remained for a very long period the
- 1 x,, - — 1 standard melodies used at religious festivals, and
F raprr F 7rcpr the school of Terpander flourished for many geneF ~rrapvn&7r'F 7rapvn'rdr
__ 1 rations at Sparta, and in Lesbos, and throughout
E,rarr/ E 1 drf- Greece. At the festival of the Carneia, where
Terpander had been the first to obtain a victory,
The invention of the seven-stringed lyre,.or the prize for lyric music was gained in regular
heptachord, is not only ascribed to Terpander by succession by members of his school down to
several ancient writers, but it is also referred to in PERICLEITUS, about B. C. 550. Respecting the
two verses of his own still extant (Eucl. Int rod. improvements in cithasroedic music after the time
Hlarm. p. 19; Strab. xiii. p. 618):- of Terpander, see THALETAS.
Eel1't?7~LLt re'rdynue 7reer~paere delde The remains of Terpander's poetry, which no
~oI 3' l/e?9 rEspa'pytlpVv a3ro-r~rptaPTeS &1oa3.
o ue.'; eudoubt consisted entirely of religious hymns, are'r~ai-dcp opdPtyyLY YLovs Keeesse lcroeAel?7eecomprised in the two fragments already quoted,
It remained in use even as late as the time of and in two others, the one of one hexameter verse
Pindar (Pyth. ii. 70, Nem. v. 22). The invention (Schol..4rist. Nub. 591), and the other of one and
of the bcarbilon or maegadis, an instrument of greater a half (Plut. Lye. 21), and one reference. (B6ckh,
compass than an octave, is ascribed to Terpander Plehn, and Miiller, as above quoted; Ulrici, Gesch.
by- Pindar, but probably erroneously (Pind. ap). l. Hellen Dicetl. vol. ii. pp. 341, foll.; Bode,
Ath. xiv. p. 635, d.; Plehn, Lesb. p. 153). It is vol. ii. passim; Bergk, Poet. Lyr. Graec. pp. 537,
impossible here to enter on the question whether 538.) [P. S.]
the lyre of Terpander could be adapted, by tuning TERPNUS, was the most celebrated citheroeits strings differently, to the different modes and dus of his time, and taught Nero to play and sing
genera of Greek music; and whether his own to the cithara. The master was wise enough to
compositions were in any other mode than the let his imperial pupil conquer him in the Grecian
Dorian. (See Diet. of Ant. art. Musica.) games. Terpnus continued to enjoy a great repuWhile Terpander thus enlarged the compass of tation under Vespasian. (Suet. Net. 20; Dion
the lyre, he appears to have been the first who Cass. lxiii. 8; Suet. Vesp. 19; Philostr. Vit. Apolregularly set poetry to music. (Clem. Alex. Strom. lon. v. 7.)
vol. i. p. 364, b.) Plutarch (de Mus. 3) tells us M. TERPO'LIUS, tribune of the plebs, B. c.
that he set his own verses and-those of Homer to 77, in the consulship of D. Brutus and M. Lepidus.
certain citharoedic nomes, and sang them in the (Cic. Cornel. Frag. 7, p. 453; Ascon. inz Cornel. p.
musical contests; and that he was the first who 81, ed. Orelli.)
gave names tp the various citharoedic nomes. These TERPSI/CHORA (TepttXdopa), one of the nine
nomes were simple tunes, from which others could Muses, presided over choral song and dancing.
be derived by slight variations; and these latter (Hes. T/leog, 78; Pind. Isthisn. ii. 7; Plat. Phctedr.
Nwere called PEh'Ai. That the nomes of Terpander p. 259; comp. MusAs.) [L. S.]
were entirely of his own composition, is not very TERPSICLES (TeptkrcXls), wrote a work,
probable, and indeed there is evidence to prove Inepl'AcppoSFtsu. (Athen. vii. p. 325, d.. ix.
that some of them were derived from old tunes, p. 391, e. f.)
ascribed to the ancient bards, and others from TERPSION (Tepfiwr), a Megarian, mentioned
national melodies. Neither were they all adapted by Suidas (s. 7i. EarpTrv7s) as one of the disciples
to the rhythmn of the heroic hexameter; for among of Socrates. Plutarch also refers to him (de Gce.