Thamyris
- Euripides, Rhesus
915-925
- Muse: [...]
- Sore hast thou wrung mine heart, Philammon's son,
- In life, and since to Hades thou hast passed.
- Thine overweening, ruinous rivalry
- With Muses, made me bear this hapless child.
- For, as I waded through the river's flow,
- Lo, I was clasped in Strymon's fruitful couch,
- What time we came unto Pangaeus' ridge,
- Whose dust is gold, with flute and lyre arrayed (organoisin
exeskemenai),
- We Muses, for great strife of minstrelsy
- With Thracia 's cunning bard; and we made blind
- Thamyris, who full oft had mocked our skill.
(Arthur S. Way, Euripides: Rhesus, vol. I, Cambridge,
Mass.-London: Harvard University Press and Heinemann, 1959: 235)
- Plato, Ion
533b-533c
- Socrates. Again, it seems to me, in the fields of aulos
playing or kithara-playing or kitharodia or
rhapsodia, you never met a man who is an expert at
discussing Olympus or Thamyris or [533c] Orpheus or
Phemius the rhapsodos of Ithaca, but who is at a loss
about Ion of Ephesus, and is incapable of working out
what is good and bad in his rhapsodic performances.
(Barker 1984: 125)
- Diodorus Siculus III 67
- Linus also, who was admired because of his poetry and
singing, had many pupils and three of greatest renown,
Heracles, Thamyras, and Orpheus. Of these three Heracles,
who was learning to play the lyre (kitharizein),
was unable to appreciate what was taught him because of
his sluggishness of soul, and once when he had been
punished with rods by Linus he became violently angry and
killed his teacher with a blow of the lyre. Thamyras,
however, who possessed unusual natural ability, perfected
the art of music and claimed that in the excellence of
song his voice was more beautiful than the voices of the
Muses. Whereupon the goddesses, angered at him, took from
him his gift of music and maimed the man, even as Homer
also bears witness when he writes:
-
- There met the Muses Thamyris of Thrace
- And made an end of his song;
-
- and again:
- But him, enraged, they maimed, and from him took
- The gift of song divine and made him quite
- Forget his harping (kitharistyn).
-
- About Orpheus, the third pupil, we shall give a detailed
account when we come to treat of his deeds (IV 25).
(Oldfather 1970: 307)
- Plinius, Naturalis
Historia 7, 207
- [... ]Amphion [invented] music, Pan son of Mercury the
pipe and the single flute (fistula et monaulum),
Midas in Phrygia tha slanting flute (obliquam tibiam),
Marsyas in the same nation the double flute (geminas
tibiam), Amphion the Lydian modes, the Thracian
Thamyras the Dorian, Marsyas of Phrygia the Phrygian,
Amphion, or others say Orpheus and others Linus, the harp
(citharam). Terpander first sang with seven
strings, adding three to the original four, Simonides
added an eighth, Timotheus a ninth. Thamyris first played
the harp without using the voice (cithara sine voce
cecinit), Amphion, or according to others Linus,
accompanied the harp with singing; Terpander composed
songs for harp and voice (citharoedica carmina).
Ardalus of Troezen instituted singing to the flute (cum
tibiis canere).
(H. Rackham, Pliny: Natural History, vol. II,
Cambridge, Mass.-London: Harvard University Press and Heinemann
1961: 643-644)
- Plutarchian De
Musica (On Music) 1132a-b
- 'About the same time, Heraclides says, Linus of Euboea
was composing dirges, Anthes of Anthedon in Boeotia was
composing hymns, and Pieros of Pieria his poems about the
Muses, while Philammon of Delphi recounted in songs the
wanderings of Leto and the birth of Artemis and Apollo,
and was the first to establish choruses at the temple of
Delphi. Thamyris , a Thracian by birth, sang more
melodiously [1132b] and with a more beautiful voice than
anyone else in those days, which led him to compete, so
the poets say, in a contest against the Muses. He is also
said to have composed a piece on the war of Titans
against the gods.[...]'
(Barker 1984: 207)
- Apollodorus, Bibliotheca
I 3. 3
- Clio fell in love with Pierus, son of Magnes, in
consequence of the wrath of Aphrodite, whom she had
twitted with her love of Adonis; and having met him she
bore him a son Hyacinth, for whom Thamyris, the son of
Philammon and a nymph Argiope, conceived a passion, he
being the first to become enamoured of males.
(James G. Frazer, Apollodorus: The Library, Cambridge,
Mass.-London: Harvard University Press and Heinemann, 1921: 17)
- Pausanias 10, 30, 8-9
- In this part of painting (Lesche in Delphi), [...]
Thamyris is sitting near Pelias. He has lost the sight of
his eyes; his attitude is one of utter dejection; his
hair and beard are long; at his feet lies thrown a lyre
with its horns and strings broken. Above him is Marsyas,
sitting on a rock, and by his side is Olympus, with the
appearance of a boy in the bloom of youth learning to
play the flute (aulein). The Phrygians in Celaenae
hold that the river passing through the city was once
this great flute-player (auletes), and they also
hold that the Song of the Mother, an air for the flute (aulema),
was composed by Marsyas. They say too they repelled the
arms of the Gauls by the aid of Marsyas, who defended
them against the barbarians by the water from the river
and by the music of his flute (auloi).
(Jones 1954: 545-547.)
- Other literary sources:
-
- Homer, Iliad,
II 594-600;
- Eustathius, ad Iliadem II 594-600;
- Pausanias, 4,33,7;
- Zenobius, Cent. 4,27;
- scholia Homerica in Iliadem 2,595;
- Mythographi latini I, 60= Mythographi Vaticani
197= Hyginus, Poetica astronomica 2,6;
- Eusebius, Praeparatio evangelica 10,6 P. 476C;
- Scholia in Hesiodi Opera et dies 1,25.
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