13. ANAXANDER. Pausan. IV. 15, 1. ὕστε 11. ANAXIDAMUS. Pausan. III. 7, 5. ρον τρίτῃ γενεᾷ τὸν πόλεμον οἱ Μεσσήνιοι τόνδε [the | Ζευξιδάμου δὲ ̓Αναξίδαμος ὁ παῖς ἐκδέχεται τὴν second war: see p. 251. b] ἐπολέμησαν· ἀποδεί- ἀρχήν. ἐπὶ τούτου Μεσσήνιοι φεύγουσιν ἐκ Πελοκυσί τε τοῦ χρόνου τὸ συνεχὲς βασιλεύοντας τηνι- ποννήσου πολέμῳ τὸ δεύτερον κρατηθέντες ὑπὸ Σπαρκαῦτα ἐν Σπάρτη ̓Αναξανδρον Εὐρυκράτους τοῦ τιατών. He is accordingly contemporary with Πολυδώρου, τῆς δὲ οἰκίας τῆς ἑτέρας ̓Αναξίδαμον Anaxander, and survives Β. C. 668. Ζευξιδάμου τοῦ ̓Αρχιδάμου τοῦ Θεοπόμπου. According to Pausanias IV. 16, 5. Anaxander commands against Aristomenes: conf. III. 14, 4. and still directed affairs in the last year of the war: Idem IV. 22, 3. Probably Pausanias had no other authority for this than his own interpretation of Tyrtæus: see p. 252. which was, however, the right interpretation. ANAXANDRIDES and ARISTON probably began to reign about B. C. 560 h. Their predecessors Leon and Agesicles may accordingly be referred to about B. C. 590 or 600. According to the dates of Pausanias for the first Messsenian war the five reigns from Polydorus to Leon inclusive occupied about 180 years, or 36 years to each; the five contemporary reigns fron Theopompus to Agesicles 210 years, or 42 years to each reign: a proportion exceeding the usual amount, as already observed. But as the date of Pausanias for the first Messenian war is confirmed by the time of Polycharesk, the reigns of this period seem to belong to those cases in which an average proportion is not to be applied. The average proportion is obtained when the longer reigns of some are compensated by the shorter reigns of others. But this compensation only happens in long tracts of time, comprehending all the vicissitudes of turbulent and quiet periods, or of longer and shorter lives, such as will be found in a long series of reigns. An average will be true of twenty or thirty successive reigns, and yet may not be true of five1. But it will be said that in the preceding times the Spartan reigns exceed the h See F. H. II. 207. i Ibid. Ρ. 206. p. k See the Tables B. C. 764. 1 See the Philolog. Mus. vol. I. p. 87. Five kings of France of the House of Bourbon reigned A. D. 1589-1792, 204 years; giving an average of 50+ years to each. Six kings of England A. D. 1199-1399 occupy 200 years, or 33 years to each reign; being exactly equal to generations. An average proportion is still more inapplicable to any one particular reign; and an average obtained from the collective amount of 20 or 30 reigns may not exhibit the actual amount of a single reign in the series. average proportion. From the Return to Alcamenes inclusive 10 reigns of the Agidæ occupy by the reduced date of Callimachus 307 years, giving 30 years to each; and 8 reigns to Nicander inclusive in the line of the Proclidæ have 278 years, or 34 to each. The whole series of 18 reigns to the death of Leonidas B. C. 480 gives in 568 years 31, and of 13 reigns to the death of Agesicles cir. B. C. 560 gives in 488 years 37 to each. We may answer, that an average rule which is founded on the successions in elective governments, as the Roman or German emperors, and especially on elective under peculiar circumstances, as the popes of Rome, is not to be applied to hereditary successions; and that even hereditary reigns, where no cases of disputed succession occur, are not to be measured by a standard obtained from cases of disturbed succession. In applying, then, an average standardm, the particular circumstances of the history are to be considered; and in these Spartan reigns from Aristodemus to the Persian wars we may admit the argument of Hales ", that, there being one minority in the Agide and two minorities in the Proclidæ, the reigns may be taken as equal to generations. VII. GREEK POETS. THE early epic poetry of the Greeks may be distributed into three classes; in the first we may place the uvos or Teλeral, in the second the Epic cycle, and in the third the works ascribed to Hesiod, together with those poems which, although not included in the Epic cycle, yet described the same subjects. Of the early composers of uvos or their works nothing satisfactory can now be known. They were referred, however, to the earliest times. Olen was the most ancient composer of hymns a. The poet Linus also preceded Orpheus. Orpheus himself was an Argonaut. Muscus was his contemporary; but of Orpheus, Linus, and Musæus, no genuine works remained. The poems which were circulated under their names were spurious compositions, the productions of aftertimes b. Pamphos was accounted earlier than Ho a Olen is thus mentioned by Pausanias IX. 27, 2. Λύκιος δὲ Ωλήν, ὃς καὶ τοὺς ὕμνους τοὺς ἀρχαιοτάτους ἐποίησεν Ἕλλησιν, οὗτος ὁ Ὠλὴν ἐν Εἰλειθυίας ὕμνῳ [Idem I. 18, 5. θύουσί τε Ειλειθυίᾳ Δήλιοι καὶ ὕμνον ᾄδουσιν Ωλῆνος] μητέρα Ερωτος τὴν Εἰλείθυιάν φησιν εἶναι. Ὠλῆνος δὲ ὕστερον Πάμφως τε ἔπη καὶ Ὀρα φεὺς ἐποίησαν. Χ. 5, 4. Βοιὼ δὲ ἐπιχωρία γυνὴ ποιήσασα ὕμνον Δελφοῖς ἔφη κατασκευάσασθαι τὸ μαντεῖον τῷ θεῷ τοὺς ἀφικομένους ἐξ Υπερβορέων τούς τε ἄλλους καὶ Ωλῆνα· τοῦτον δὲ καὶ μαντεύσασθαι πρῶτον καὶ ᾆσαι πρῶτον τὸ ἑξάμετρον. πεποίηκε δὲ ἡ Βοιω τοιάδε· ἔνθα τοι εὔμνηστον χρηστήριον ἐκτελέσαντο παῖδες Υπερβορέων Παγασὸς καὶ δῖος ̓Αγυιεύς. ἐπαριθμοῦσα δὲ καὶ ἄλλους τῶν Ὑπερβορέων ἐπὶ τελευτῇ τοῦ ὕμνου τὸν Ὠλῆνα ὠνομάσει. Ωλήν θ ̓ ὃς γένετο πρῶτος Φοίβοιο προφάτας, πρῶτος δ' ἀρχαίων ἐπέων τεκτάνατ ̓ ἀοιδάν. Idem V. 7, 4. πρῶτος ἐν ὕμνῳ τῷ ἐς ̓Αχαιίαν ἐποίησεν Ὠλὴν Λύκιος, ἀφικέσθαι τὴν ̓Αχαιίαν ἐς Δῆλον ἐκ τῶν Υπερβορέων τούτων. on what follows conf. Siebel. ad loc. Bekker. Pausan. tom. I. p. 307. Pausan. II. 13, 3. Ωλῆνι δὲ ἐν Ἥρας ἐστὶν ὕμνῳ πεποιημένα τραφῆναι τὴν Ἥραν ὑπὸ Ὡρῶν, εἶναι δέ οἱ παῖδας Αρην τε καὶ Ηβην. His hymns were ancient in the time of Herodotus: Herodot. IV. 35. φασὶ τὴν ̓́Αργην τε καὶ τὴν Ωπιν ἐούσας παρθένους ἐξ Ὑπερβο ρέων—ἀπικέσθαι ἐς Δῆλον κ. τ. λ.—καὶ γὰρ ἀγείρειν σφι τὰς γυναῖκας, ἐπονομαζούσας τὰ οὐνόματα ἐν τῷ ὕμνῳ τόν σφι Πλὴν ἀνὴρ Λύκιος ἐποίησε· παρὰ δὲ σφέων μαθόντας νησιώτας τε καὶ Ἴωνας ὑμνέειν Ωπίν τε καὶ Αργην—οτις δὴ ὁ Ὠλὴν καὶ τοὺς ἄλλους τοὺς παλαιοὺς ὕμνους ἐποίησε ἐκ Λυκίης ἐλθὼν τοὺς ἀειδομένους ἐν Δήλῳ. Fabricius B. G. tom. I. p. 134, who gives these passages, adds Suidas: Πλὴν Δυμαῖος ἢ Ὑπερβόρειος ἢ Λύκιος, ἐποποιός· μᾶλλον δὲ Λύκιος ἀπὸ Ξάνθου, ὡς δηλοῖ Καλλίμαχος [in Del. 304], καὶ ὁ Πολυΐστωρ ἐν τοῖς περὶ Λυ κίας. Πολυΐστωρ he explains to mean Alexander Ephesius. Cornelius Alexander Polyhistor wrote περὶ Λυκίας, and this may be added to the fragments in F. H. III. p. 539. But Alexander Ephesius was a different person : Ibid. p. 540. b Three of the name of Linus are described by Eudocia and Eustathius. Eudocia p. 277. Eustathius ad Iliad. σ'. p. 1163, 54. and the Scholiast on Homer Il. σ'. 570. draw from the same sources and concur in the same account: λίνος εἶδος ᾠδῆς κατὰ ̓Αρίσταρχον, ἢ ὕμνου· ὡς καὶ ὁ παιὰν καὶ ὁ διθύραμβος [Athen. XIV. p. 619. b. ̓Αριστο φάνης δ' ἐν ̓Αττικαῖς φησι λέξεσιν- σε λίνος καὶ αλ νος οὐ μόνον ἐν πένθεσιν ἀλλὰ καὶ ἐπ ̓ εὐτυχεῖ μολπᾷ κατὰ Οὐρανίη δ' ἄρ ̓ ἔτικτε Λίνον πολυήρατον υἱόν ὁ μέντοι τὸν Ἡρακλέα διδάξας μουσικὸς Λίνος [μουσικὴς Schol.] ἕτερος παρὰ τοῦτόν ἐστιν Eudoc. Eustath. Schol. The Scholiast adds, ἀνθρώποισι φωναῖς λιγν ραῖς ἀεῖσαι· Φοῖβος δέ σε κότῳ ἀναιρεῖ. which might supply another line in the epigram : ἐν φωναῖς λιγυραῖσι· κότῳ δέ σε Φοίβος ἀναιρεῖ. and a third fragment, which, as Heyne Hom. tom. VII. p. 803. remarks, is of a later date: κρύπτω τὸν θεὸν ἄνδρα Λίνον Μουσῶν θεράποντα, τὸν πολυθρήνητον Λίνον Αἴλινον· ἡ δὲ πατρῴα 66 Φοιβείας βέλεσι γῆ κατέχει φθίμενον. Eustathius proceeds to give what Eudocia a century before him had collected from the same sources: οὗ Θεόκριτος μέμνηται, ὁ καὶ ἱστορήσας [XXIV. 103] ὅτι τὸν Ἡρακλέα γράμματα σε Λίνος ἐξεδίδαξεν σε Υἱὸς ̓Απόλλωνος.” φασὶ δὲ οἱ παλαιοὶ καὶ ὅτι λίνῳ ἀντὶ χορδῆς τῶν παλαιῶν χρωμένων πρὸς τὴν κιθάραν, ὕστερον μείναντος τοῦ ὀνόματος, ἡ χορδὴ λίνον καλεῖται Εudoc. Eustath. ἄλλοι δὲ τὰ κατὰ τὸν Λίνον οὕτω συντομώτερον φράζουσιν· ἄγροικος νεανίας ὁ Λίνος ᾠδῆς τινος εὑρετής, Οὐρανίας υἱός· ὃν ἀνεῖλεν ̓Απόλλων ἐπεὶ τὸ λίνον καταλύσας χορδαῖς ἐνέτεινεν ὄργανον Eustath. Ηρόδοτος δὲ λέγει ὅτι παρὰ Αἰγυπτίοις Λίνος τις ἀείδεται· καὶ θαυμάζειν ἐκεῖνός φησι τὸν Λίνον ὁκόθεν ἔλαβε τὸ ὄνομα. λέγει δὲ καὶ ὅτι κατὰ Αἰγυπτίους βασιλέως παῖς ἐκεῖνος μονογενής ἦν· ἀποθανὼν δ ̓ ἄωρος θρήνοις ὑπ ̓ Αἰγυπτίων ἐτιμήθη, καὶ ἀοιδὴ αὕτη καὶ μόνη σφίσιν ἐγένετο [sc. Herodot. II. 79]. ἐντεῦθεν δὲ ἀναφαίνεται ὅτι κυρίως αἴλινος ὁ ἐπὶ τῷ τοιούτῳ Λίνῳ αἰαγμὸς, εἰ καὶ ἄλλως διφορεῖται τῇ σημασίᾳ κατὰ τὸν ̓Αθήναιον εἰπόντα ὡς ἐν γάμοις μὲν ᾠδή κ. τ. λ. [sc. XIV. p. 619. b].—ἡ δὲ ἱστορία καὶ τρεῖς παραδίδωσι Λίνους, τὸν τῆς Καλλιόπης, καὶ τὸν τοῦ ̓Απόλλωνος καὶ Χαλκιόπης, καὶ τὸν Νάρκισσον Eudoc. Eustath. The preceptor of Hercules is mentioned by Diod. III. 66. from Dionysius: φησὶ τοίνυν παρ' Ἕλλησι πρῶτον εὑρετὴν γενέσθαι Λῖνον ῥυθμῶν καὶ μέλους· ἔτι δὲ, Κάδμου κομίσαντος ἐκ Φοινίκης τὰ καλούς μενα γράμματα, πρῶτον εἰς τὴν Ἑλληνικὴν μεταθεῖναι διάλεκτον κ. τ. λ.—τὸν δὲ Λῖνον ἐπὶ ποιητικῇ καὶ μελῳδίᾳ θαυμασθέντα μαθητὰς σχεῖν πολλοὺς, ἐπιφανεστάτους δὲ τρεῖς, Ἡρακλέα, Θάμυριν, καὶ Ὀρφέα· τούτων δὲ τὸν μὲν Ἡρακλέα—ὑπὸ τοῦ Λίνου πληγαῖς ἐπιτιμηθέντα διοργισθῆς ναι καὶ τῇ κιθάρᾳ τὸν διδάσκαλον πατάξαντα ἀποκτεῖναι. Alian V. Η. ΙΙΙ. 32. τὸν Ἡρακλέα ὁ Λῖνος ἔτι παῖδα ὄντα κιθαρίζειν ἐπαίδευεν κ. τ. λ.—ὁ δὲ ἀγανακτήσας ὁ Ἡρακλῆς ἀπέκτεινεν αὐτόν. Clemens Strom. I. p. 323. Β. οἱ περὶ Ὀρφέα καὶ Μουσαῖον καὶ Λῖνον τὸν Ἡρακλέους διδάσκαλον. where he places them in the generation after Acrisius. Apollod. Ι. 3, 2. Καλ λιόπης καὶ Οἰάγρου, κατ ̓ ἐπίκλησιν δὲ ̓Απόλλωνος, Αῖνος, ὃν Ηρακλῆς ἀπέκτεινε. Idem II. 4, 9. ἐδιδάχθη Ἡρακλῆς κιθαρῳδεῖν ὑπὸ Λίνου· οὗτος δὲ ἦν ἀδελφὸς Ὀρα φέως, ἀφικόμενος δὲ εἰς Θήβας καὶ Θηβαῖος γενόμενος ὑπὸ Ηρακλέους τῇ κιθάρᾳ πληγεὶς ἀπέθανεν. Alcidamas Ulysse p. 186, 31. μουσικὴν δε Λίνος ὁ Καλλιόπης, ὃν Ἡρακλῆς φονεύει. where two MSS. apud Bekker. have Λίνος, confirming Muller Dor. vol. I. p. 443. who restores Λίνος for Τέννος, Eusebius Chron. II. places Orpheus and Linus together 85 years before the fall of Troy : Anno 749 Orpheus Thrax cognoscebatur, cujus discipulus Museus Eumolpi erat. Anno 750 Linus magister Herculis cognoscebatur. In Theodoret Serm. II. p. 741. Linus is later: Ορφεὺς γενεᾷ μιᾷ πρεσβύτερος τῶν Τρωϊκῶν· Λῖνος δὲ καὶ Μουσαῖος ἀμφὶ τὰ Τρωϊκὰ ἐγενέσθην, καὶ Θάμυρις μετὰ τούτων, καὶ Φιλάμμων ὡσαύ τως. Suidas v. Λίνος and Eudocia p. 282. Λίνος Χαλκιδεύς, Απόλλωνος καὶ Τερψιχόρης· οἱ δὲ, ̓Αμφιμάρου καὶ Οὐρανίας. οἱ δὲ, Ἑρμοῦ καὶ Οὐρανίας. λέγεται δὲ πρῶτος οὗτος ἀπὸ Φοινίκης γράμματα εἰς Ἕλληνας ἀγαγεῖν, γενέσθαι δὲ καὶ Ἡρακλέους διδάσκαλος γραμμάτων, καὶ τῆς λυρικῆς μούσης πρῶτος γενέσθαι ἡγεμών. Λίνος ἕτερος, Θηβαῖος, νεώτερος νεώτερος ποιητής Eudoc.]. Heraclides apud Plutarch. Mus. p. 1132. Α. mentions Linus : Ἡρακλείδης—τὴν κιθαρῳδίαν καὶ τὴν κιθαρῳδικὴν ποίησιν πρῶτόν φησιν ̓Αμφίονα ἐπινοῆσαι κατὰ δὲ τὴν αὐτὴν ἡλικίαν καὶ Λῖνον τὸν ἐξ Εὐβοίας θρή νους πεποιηκέναι λέγει. Tacitus Ann. XI. 14. Quidam Cecropem Atheniensem vel Linum Thebanum et temporibus Trojanis Palamedem Argivum memorant sedecim literarum formas―repperisse. Laërt. prom. 3. παρὰ μὲν ̓Αθηναίοις γέγονε Μου σαῖος παρὰ δὲ Θηβαίοις Λίνος. καὶ τὸν μὲν Εὐμόλπου παῖδά φασι—τὸν δὲ Λίνον παῖδα εἶναι Ἑρμοῦ καὶ Μούσης Οὐρανίας—τὸν δὲ Λίνον τελευτῆσαι ἐν Εὐβοίᾳ τοξευθέντα ὑπὸ ̓Απόλλωνος. Pausanias also distinguishes three Lini : II. 19, 7. τάφοι δέ εἰσιν, ὁ μὲν Λίνου τοῦ ̓Απόλα λωνος καὶ Ψαμάθης τῆς Κροτώπου, τὸν δὲ λέγουσιν εἶναι Λίνου τοῦ ποιήσαντος τὰ ἔπη. Idem I. 43, 7. ἐπὶ Κρο τώπου λέγουσιν ἐν ̓́Αργει βασιλεύοντος Ψαμάθην τὴν Κροτώπου τεκεῖν παῖδα ἐξ ̓Απόλλωνος κ. τ. λ. This son of Psamathë would be seven generations before Orpheus and Hercules. He describes another Linus IX. 29, 3. λέγεται δὲ ὡς ὁ Λίνος οὗτος παῖς μὲν Οὐρανίας εἴη καὶ ̓Αμφιμάρου τοῦ Ποσειδῶνος, μεγίστην δὲ τῶν τε ἐφ ̓ αὑτοῦ καὶ ὅσοι πρότερον ἐγένοντο λάβοι δόξαν ἐπὶ μουσικῇ, καὶ ὡς ̓Απόλλων ἀποκτείνειεν αὐτὸν ἐξισούμενον κατὰ τὴν ᾠδήν. ἀποθανόντος δὲ τοῦ Λίνου τὸ ἐπ ̓ αὐτῷ πένθος διῆλθεν ἄρα καὶ ἄχρι τῆς βαρβάρου πάσης, ὡς καὶ Αἰγυπτίοις ᾆσμα γενέσθαι Λίνον — Παμφὼς δὲ, ὃς ̓Αθηναίοις τῶν ὕμνων ἐποίησε τοὺς ἀρχαιοτάτους, οὗτος ἀκμάζοντος ἐπὶ τῷ Λίνῳ τοῦ πένθους Οἰτόλινον ἐκάλεσεν αὐτόν. And a third the preceptor of Hercules: Ibid. Θηβαῖοι δὲ λέγουσι παρὰ σφίσι ταφῆναι τὸν Λίνον. —λέγεται δὲ καὶ ἄλλα τοιάδε ὑπὸ Θηβαίων, ὡς τοῦ Λίνου τούτου γένοιτο ὕστερον ἕτερος Λίνος καλούμενος Ἰσμηνίου, καὶ ὡς Ἡρακλῆς ἔτι παῖς ὢν ἀποκτείνειεν αὐτὸν διδάσκαλον μουσικῆς ὄντα. ἔπη δὲ οὔτε ὁ ̓Αμφιμάρου Λίνος οὔτε ὁ τούτου γενόμενος ὕστερον ἐποίησαν· ἢ καὶ ποιηθέντα ἐς τοὺς ἔπειτα οὐκ ἦλθε. Conon Narr. 19. relates the death of Linus son of Psamathë, also told in Statius Theb. I. 589. and referred to by Ovid Ibis 482. Quique Crotopiaden diripuere Linon. conf. Ibin 575-578. But Conon ascribes to this Linus what Pausanias attributes to another: οὕτως ἦν ἐκπρεπὴς ὁ ἐπὶ Λίνῳ θρῆνος ὡς ἀπ ̓ ἐκείνων καὶ τοῖς ἔπειτα ποιηταῖς παντὸς πάθους παρενθήκη Λίνος ᾄδεται, μῆνά τε ὠνόμασαν ἀρνεῖον ὅτι ἀρνάσι Λίνος συνανετράφη, καὶ θυ σίαν ἄγουσι καὶ ἑορτὴν ̓Αρνίδα [ἡμέρας ̓Αρνηΐδας Ælian. Η. Α. XII. 34], κτείνοντες ἐν ἐκείνῃ τῇ ἡμέρᾳ καὶ κυ νῶν ὅσους ἂν εὕρωσι. And the Scholiast on Iliad. σ'. 570. λίνον δ ̓ ὑπὸ καλὸν ἄειδε: ἀντὶ τοῦ τὴν ἐπὶ Λίνῳ τῷ ̓Απόλλωνος παιδὶ ᾠδὴν ὄντι νηπίῳ καὶ ὑπὸ κυνῶν διασπαστ θέντι πρώτην ασθεῖσαν. We may distinguish at least three Lini: 1. Linus Psamathes et Apollinis, who belongs to the tenth generation before the Trojan war: Pausan., Conon, Statius, Ovid. celebrated in the λίνος : Conon. Schol. Iliad. σ'. 2. Linus Urania. slain by Apollo in Euboea: Laërt. buried at Thebes: Pausan. Eudoc. Eustath. Schol. Hom. celebrated in the λίνος: Hesiod. Pausan. 3. Linus Calliopes et Eagri vel Apollinis: Apollod. Ismenii : Pausan. Apollinis : Theocrit. The preceptor of Hercules, by whom he was slain. Tacitus and Dionysius apud Diod. seem to consider Linus II. and Linus III. as the same person. Menagius ad Laërt. procm. 3. confounds all the three Lini. Heyne ad Apol lod. p. 328. Linum Orphei fratrem ediderat Apollod. Debuit tamen is qui Herculem erudiit esse serior alter ut bene Thebani contendebant apud Pausan. But the preceptor of Hercules was not later than Orpheus; and Pausanias and the Thebans only distinguished him from the son of Urania. Siebelis ad Pausan. IX. 29. p. 93. confounds this third Linus with the first: Pausanias de Linis duobus :-posterior Ismenii, seu ex vulgari fama Apollinis et Psamathes, apud Apollod. Calliopes, filius, ab Hercule interfectus esse dicitur. But Pausanias describes three Lini. Fabricius B. G. tom. I. p. 110. after Suidas takes the son of Urania, the son of Psamathë, and the preceptor of Hercules, for the same person, and distinguishes the son of Ismenius, who was in reality the preceptor of Hercules. Hauptmann, who has written upon this subject, as I learn from Harles ad Fabric. tom. I. p. 111., questions the account of Pausanias, according to Harles p. 112. r. Linum Ismenii filium a Lino Apollinis filio male distingui a Pausania animadvertit Hauptmannus. But Pausanias rightly (with a view to the mythological account) distinguishes him from the son of Amphimarus. He mentions no Linus son of Apollo except the son of Psamathe, who perished in his infancy. The works which bore the name of Linus were ascribed to the second Linus, son of Urania, by Hesiod apud Eustath. He is noticed again in Clem. Al. Strom. I. p. 281. A. 'Hoíodos τὸν κιθαριστὴν Λῖνον παντοίας σοφίας δεδαηκότα εἰπών. Heraclides apud Plutarch. and Laërtius also refer them to the son of Urania. Sextus Empiricus p. 259. mentions among those who preceded Homer Λίνον τε καὶ Ὀρφέα καὶ Μουσαῖον. Celsus apud Origen. I. 16. affirms Aívov Kai Movσαῖον καὶ Ὀρφέα-εἰς βίβλους κατατεθεῖσθαι τὰ ἑαυτῶν diyuara. but Pausanias already quoted IX. 29. denies that any works of Linus existed, and consequently rejected these works as spurious. The poet-musician is called the son of Apollo by Virgil Eclog. IV. 57. and perhaps by Hyginus fab. 161. Apollinis filius Linus ex Urania musa; but he is taken for the son of Psamathë by Servius ad Virgil. 1. c. and by Propertius II. 13, 8. Inachio notior arte Lino; which is contrary to the fables already noticed concerning Psamathë. Nonnus Dionys. XLI. p. 707. calls the poet Linus Φοιβήτος 'Αρκὰς ἀλήτης: and, as Linus appears among the sons of Lycaon (see above p. 89), it seems probable that some legends reckoned this to be the poet. The other varieties in Suidas and Eustathius appear to refer themselves to the three Lini above mentioned. Λίνος Χαλκιδεὺς ̓Απόλλωνος καὶ Τερψιχόρης is Linus I. Λίνος Καλλιόπης and Linus ex Urania Musa in Hygin. fab. 161. is Linus II. Λίνος Νάρκισσος is probably Linus I. In the preceding testimonies where the accent Avos occurs it has been given, since the remark of Servius ad Virgil. 1. c. shews that this accent was added. But that this was the wrong accent is evident from Homer, Hesiod, and Nonnus. Orpheus is mentioned by Aristophanes Ran. 1032. in B. C. 405. He is then mentioned by Isocrates Busir. p. 223. 229. and by Plato Leg. III. p. 677. where he is named as of high antiquity: χίλια ἀφ ̓ οὗ γέγονεν ἢ δὶς τοσαῦτα ἔτη τὰ μὲν Δαιδάλῳ καταφανῆ, τὰ δὲ Ὀρφεῖ, τὰ δὲ Παλαμήδει, τὰ δὲ περὶ μουσικὴν Μαρσύᾳ καὶ Ὀλύμπῳ. Ibid. VIII. p. 829. μήδ' ἂν ἡδίων ᾖ τῶν Θαμύρου τε καὶ Ὀρφείων ὕμνων. Ion. p. 533. b. ὅστις περὶ μὲν Ὀλύμπου δεινός ἐστιν ἐξηγεῖσθαι ἢ περὶ Θαμύρου ἢ περὶ Ὀρφέως ἢ περὶ Φημίου τοῦ Ιθακησίου ῥαψῳδοῦ. Protag. p. 315. a. κηλῶν ὥσπερ Ορφεύς. p. 316. d. πρόσχημα ποιεῖσθαι —τοὺς μὲν ποίησιν, οἷον Ομηρόν τε καὶ Ἡσίοδον καὶ Σια μωνίδην, τοὺς δ ̓ αὖ τελετάς τε καὶ χρησμῳδίας, τοὺς ἀμφί τε Ορφέα καὶ Μουσαῖον. He is mentioned again with Thamyris Rep. X. p. 620. Plato Cratyl. p. 402. b., after quoting Homer and Hesiod, adds, λéyes dé nov Kai 'Oppeùs T Ὠκεανὸς πρῶτος καλλιῤῥόος ἦρξε γάμοιο, If ὃς ῥα κασιγνήτην ὁμομήτορα Τηθὲν ὅποιεν. But all the works ascribed to Orpheus were rejected by Aristotle as spurious: Cic. N. D. I. 38. Orpheum poëtam docet Aristoteles nunquam fuisse, et hoc Orphicum carmen Pythagorei ferunt cujusdam fuisse Cercopis. The forgery was imputed by some to Onomacritus: Clemens Strom. I. p. 332. D. Ονομάκριτος ὁ ̓Αθηναῖος, οὗ τὰ εἰς Ορφέα φερόμενα ποιήματα λέγεται εἶναι. Sextus Empir. p. 135. Ὀνομάκριτος ἐν τοῖς Ὀρφικοῖς. they were forged by a Pythagorean, they were probably composed after the time of Onomacritus; for Onomacritus was contemporary with Pythagoras himself. Herodorus imagined two Orphei before the Trojan war. Others increased the number: see the passages in Lobeck Aglaopham. p. 355–357. But, as he justly remarks, Hi Bisalti et Odrysii Orphei inventi sunt ad componenda veterum scriptorum dissidia, quorum alii Orpheum Aristei æqualem faciunt, alii Argonautis aggregant. Musaus is the teacher of Orpheus: Clemens Strom. I. p. 332. D. Ορφεὺς ὁ συμπλεύσας Ἡρακλεῖ, Mavraíou pants. or the disciple: Syncell. p. 156. D. Ορφεὺς Θρᾷξ ἐγνωρίζετο. τούτου μαθητὴς Μουσαῖος ὁ Εὐμόλπου υἱός. Pausan. X. 7, 1. Ορφέα σεμνολογία τῇ ἐπὶ τελεταῖς καὶ ὑπὸ φρονήματος τοῦ ἄλλου καὶ Μουσαῖον τῇ ἐς πάντα μιμήσει τοῦ Ὀρφέως. Suidas: Μουσαῖος—ἐποποιός, μαθητὴς Ορφέως, μᾶλλον δὲ πρεσβύτε ρος. Diod. IV. 25. Μουσαίου τοῦ Ὀρφέως υἱοῦ. His works are mentioned with those of Orpheus by Aristophanes Ran. 1033. but the works ascribed to him were forged, or at least interpolated, by Onomacritus: Herodot. VII, 6. Пeiσioτpatidéwv oi |