Thaletas
Encyclopedia
Thaletas or Thales of Crete was an early Greek musician and lyric poet.
The position of Thaletas is one of the most interesting, and at the same time most difficult points, in that most interesting and difficult subject, the early history of Greek music and lyric poetry. The most certain fact known of him is, fortunately, that which is also the most important; namely, that he introduced from Crete into Sparta certain principles or elements of music and rhythm, which did not exist in Terpander
's system, and thereby founded the second of the musical schools which flourished at Sparta. . He was a native of Crete, and, according to the best writers, of the city of Gortyna.
In compliance, according to tradition, with an invitation which the Spartans sent to him in obedience to an oracle, he removed to Sparta, where, by the sacred character of his paeans, and the humanizing influence of his music, he appeased the wrath of Apollo, who had visited the city with a plague, and composed the factions of the citizens, who were at enmity with each other At Sparta he became the head of a new school (katastasis) of music, which appears never afterwards to have been supplanted, and the influence of which was maintained also by Xenodamus of Cythera, Xenocritus of Locris, Polymnestus of Colophon, and Sacadas of Argos. .
In studying the early history of Greek lyric poetry, nothing would be more desirable, if it were possible, than to fix the precise dates of the musicians and poets who contributed to its development ; that so we might trace the steps of its progress, in relation to the time they occupied, the social state of the people amongst whom they were made, and the order in which they followed from one another. It must, however, be confessed that, after all the labour which scholars have bestowed on the subject, there is an uncertainty, generally to the extent of half a century, and in some cases more, respecting the dates of the earliest poets, while the more important point of their relative order of succession and their distance from each other in time is beset with great difficulties. These remarks apply most strongly to Thaletas, the various dates assigned to whom, by ancient and modern writers, range over a period from before the time of Homer down to the year 620 BC.
How uncertain, and even fabulous, were the traditions followed by the generality of the ancient writers respecting the date of Thaletas, is manifest from the statements of Suidas, that he lived before the time of Homer, of Demetrius Magnes, that he was " very ancient, about the time of Hesiod and Homer and Lycurgus," and of the many other writers, who make him contemporary with Lycurgus, and even an elder contemporary. In nearly all the accounts, above referred to, of the removal of Thaletas to Sparta, he is said to have gone thither at the invitation of Lycurgus, who used his influence to prepare the minds of the people for his own laws ; while some even speak of him as if he were a legislator, from whom Lycurgus derived some of his laws. These accounts, which Aristotle condemns as anachronisms, can easily be explained. The influence of music upon character and manners was in the opinion of the ancients so great, that it was quite natural to speak of Terpander and Thaletas as fellow-workers with the great legislator of the Spartans informing the character of the people ; and then such statements were interpreted by later writers in a chronological sense ; for similar traditions are recorded of Terpander
as well as of Thaletas. Moreover, in the case of Thaletas, the supposed connection with Lycurgus would assume a more probable appearance on account of his coming from Crete, from whence also Lycurgus was supposed to have derived so many of his institutions ; and this is, in fact, the specific form which the tradition assumed , namely, that Lycurgus, arriving at Crete in the course of his travels, there met with Thaletas, who was one of the men renowned in the island for wisdom and political abilities and who, while professing to be a lyric poet, used his art as a pretext, but in fact devoted himself to political science in the same way as the ablest of legislators. Add to this the great probability that later writers mistook the sense of the word nomos in the ancient accounts of Thaletas; and his association with Lycurgus is explained. It is not worth while to discuss the statement of Jerome (Chron. s. a. 1266, b. c. 750), who says that Thales
of Miletus (probably meaning Thales of Crete, for the philosopher's age is well known) lived in the reign of Romulus. Perhaps this may only be another form of the tradition which made him contemporary with Lycurgus.
The strictly historical evidence respecting the date of Thaletas is contained in three testimonies. First, the statement of Glaucus, one of the highest authorities on the subject, that he was later than Archilochus
.Secondly, the fact recorded by Pausanias, that Polymnestus
composed verses in his praise for the Lacedaemonians, whence it is probable that he was an elder contemporary of Polymnestus, and therefore older than Alcman
, by whom Polymnestus was mentioned. Thirdly, in his account of the second school or system (katastasis) of music at Sparta, Plutarch tells us that the first system was established by Terpander; but of the second the following had the best claim to be considered as the leaders , Thaletas, Xenodamus, Xenocritus, Polymnestus, and Sacadas; and that to them was ascribed the origin of the Gymnopaedias
in Lacedaemon, of the Apodeixeis in Arcadia, and of the Endymatia in Argos. This important testimony is very probably derived from the work of Glaucus. Lastly, Plutarch mentions a vague tradition, which is on the face of it improbable, and which is quite unworthy to be placed by the side of the other three, that Thaletas derived the rhythm called Maron and the Cretic rhythm from the music of the Phrygian flute-player Olympus
the context shows that Plutarch here deserts his guide, Glaucus, and sets up against him the traditions of other writers, we know not whom).
Now, from these testimonies we obtain the results, that Thaletas was younger than Archilochus and Terpander, but older than Polymnestus and Alcman, that he was the first of the poets of the second Spartan school of music, by whose influence the great Dorian festivals which have been mentioned were either established, or, what is the more probable meaning, were systematically arranged in respect of the choruses which were performed at them.
, which resembled the Phrygian worship of the Magna Mater . His chief compositions were paean
s and hyporchemes
, which belonged respectively to these two kinds of worship. In connection with the paean he introduced the rhythm of the Cretic
foot, with its resolutions in the paeon
s; and the Pyrrhic dance, with its several variations of rhythm, is also ascribed to him. He seems to have used both the lyre and the flute
Plutarch and other writers speak of him as a lyric poet, and Suidas mentions, as his works, mele kai poiemata tina mythica, and it is pretty certain that the musical compositions of his age and school were often combined with suitable original poems, though sometimes, as we are expressly told of many of the names of Terpander, they were adapted to the verses of Homer and others of the older poets. Be this as it may, we have now no remains of the poetry of Thaletas.
The position of Thaletas is one of the most interesting, and at the same time most difficult points, in that most interesting and difficult subject, the early history of Greek music and lyric poetry. The most certain fact known of him is, fortunately, that which is also the most important; namely, that he introduced from Crete into Sparta certain principles or elements of music and rhythm, which did not exist in Terpander
Terpander
Terpander , of Antissa in Lesbos, was a Greek poet and citharede who lived about the first half of the 7th century BC.About the time of the Second Messenian War, he settled in Sparta, whither, according to some accounts, he had been summoned by command of the Delphic Oracle, to compose the...
's system, and thereby founded the second of the musical schools which flourished at Sparta. . He was a native of Crete, and, according to the best writers, of the city of Gortyna.
In compliance, according to tradition, with an invitation which the Spartans sent to him in obedience to an oracle, he removed to Sparta, where, by the sacred character of his paeans, and the humanizing influence of his music, he appeased the wrath of Apollo, who had visited the city with a plague, and composed the factions of the citizens, who were at enmity with each other At Sparta he became the head of a new school (katastasis) of music, which appears never afterwards to have been supplanted, and the influence of which was maintained also by Xenodamus of Cythera, Xenocritus of Locris, Polymnestus of Colophon, and Sacadas of Argos. .
In studying the early history of Greek lyric poetry, nothing would be more desirable, if it were possible, than to fix the precise dates of the musicians and poets who contributed to its development ; that so we might trace the steps of its progress, in relation to the time they occupied, the social state of the people amongst whom they were made, and the order in which they followed from one another. It must, however, be confessed that, after all the labour which scholars have bestowed on the subject, there is an uncertainty, generally to the extent of half a century, and in some cases more, respecting the dates of the earliest poets, while the more important point of their relative order of succession and their distance from each other in time is beset with great difficulties. These remarks apply most strongly to Thaletas, the various dates assigned to whom, by ancient and modern writers, range over a period from before the time of Homer down to the year 620 BC.
How uncertain, and even fabulous, were the traditions followed by the generality of the ancient writers respecting the date of Thaletas, is manifest from the statements of Suidas, that he lived before the time of Homer, of Demetrius Magnes, that he was " very ancient, about the time of Hesiod and Homer and Lycurgus," and of the many other writers, who make him contemporary with Lycurgus, and even an elder contemporary. In nearly all the accounts, above referred to, of the removal of Thaletas to Sparta, he is said to have gone thither at the invitation of Lycurgus, who used his influence to prepare the minds of the people for his own laws ; while some even speak of him as if he were a legislator, from whom Lycurgus derived some of his laws. These accounts, which Aristotle condemns as anachronisms, can easily be explained. The influence of music upon character and manners was in the opinion of the ancients so great, that it was quite natural to speak of Terpander and Thaletas as fellow-workers with the great legislator of the Spartans informing the character of the people ; and then such statements were interpreted by later writers in a chronological sense ; for similar traditions are recorded of Terpander
Terpander
Terpander , of Antissa in Lesbos, was a Greek poet and citharede who lived about the first half of the 7th century BC.About the time of the Second Messenian War, he settled in Sparta, whither, according to some accounts, he had been summoned by command of the Delphic Oracle, to compose the...
as well as of Thaletas. Moreover, in the case of Thaletas, the supposed connection with Lycurgus would assume a more probable appearance on account of his coming from Crete, from whence also Lycurgus was supposed to have derived so many of his institutions ; and this is, in fact, the specific form which the tradition assumed , namely, that Lycurgus, arriving at Crete in the course of his travels, there met with Thaletas, who was one of the men renowned in the island for wisdom and political abilities and who, while professing to be a lyric poet, used his art as a pretext, but in fact devoted himself to political science in the same way as the ablest of legislators. Add to this the great probability that later writers mistook the sense of the word nomos in the ancient accounts of Thaletas; and his association with Lycurgus is explained. It is not worth while to discuss the statement of Jerome (Chron. s. a. 1266, b. c. 750), who says that Thales
Thales
Thales of Miletus was a pre-Socratic Greek philosopher from Miletus in Asia Minor, and one of the Seven Sages of Greece. Many, most notably Aristotle, regard him as the first philosopher in the Greek tradition...
of Miletus (probably meaning Thales of Crete, for the philosopher's age is well known) lived in the reign of Romulus. Perhaps this may only be another form of the tradition which made him contemporary with Lycurgus.
The strictly historical evidence respecting the date of Thaletas is contained in three testimonies. First, the statement of Glaucus, one of the highest authorities on the subject, that he was later than Archilochus
Archilochus
Archilochus, or, Archilochos While these have been the generally accepted dates since Felix Jacoby, "The Date of Archilochus," Classical Quarterly 35 97-109, some scholars disagree; Robin Lane Fox, for instance, in Travelling Heroes: Greeks and Their Myths in the Epic Age of Homer , p...
.Secondly, the fact recorded by Pausanias, that Polymnestus
Polymnestus
In ancient Greece, Polymnestus was, with Phronime, the father of Battus I of Cyrene....
composed verses in his praise for the Lacedaemonians, whence it is probable that he was an elder contemporary of Polymnestus, and therefore older than Alcman
Alcman
Alcman was an Ancient Greek choral lyric poet from Sparta. He is the earliest representative of the Alexandrinian canon of the nine lyric poets.- Family :...
, by whom Polymnestus was mentioned. Thirdly, in his account of the second school or system (katastasis) of music at Sparta, Plutarch tells us that the first system was established by Terpander; but of the second the following had the best claim to be considered as the leaders , Thaletas, Xenodamus, Xenocritus, Polymnestus, and Sacadas; and that to them was ascribed the origin of the Gymnopaedias
Gymnopaedia
The Gymnopaedia, in ancient Sparta, was a yearly celebration during which naked youths displayed their athletic and martial skills through the medium of war dancing...
in Lacedaemon, of the Apodeixeis in Arcadia, and of the Endymatia in Argos. This important testimony is very probably derived from the work of Glaucus. Lastly, Plutarch mentions a vague tradition, which is on the face of it improbable, and which is quite unworthy to be placed by the side of the other three, that Thaletas derived the rhythm called Maron and the Cretic rhythm from the music of the Phrygian flute-player Olympus
Olympus (musician)
Olympus is the name of to two ancient Greek musicians, one mythical who lived before the Trojan war, and one apparently real, who lived in the 7th century BC. Both musicians were connected with the auletic music, which had its origin in Phrygia...
the context shows that Plutarch here deserts his guide, Glaucus, and sets up against him the traditions of other writers, we know not whom).
Now, from these testimonies we obtain the results, that Thaletas was younger than Archilochus and Terpander, but older than Polymnestus and Alcman, that he was the first of the poets of the second Spartan school of music, by whose influence the great Dorian festivals which have been mentioned were either established, or, what is the more probable meaning, were systematically arranged in respect of the choruses which were performed at them.
Legacy
The improvement effected in music by Thaletas appears to have consisted in the introduction into Sparta of that species of music and poetry which was associated with the religious rites of his native country ; in which the calm and solemn worship of Apollo prevailed side by side with the more animated songs and dances of the CuretesKorybantes
The Corybantes were the armed and crested dancers who worshipped the Phrygian goddess Cybele with drumming and dancing. They are also called the Kurbantes in Phrygia, and Corybants in an older English transcription. The Kuretes were the nine dancers who venerate Rhea, the Cretan counterpart of...
, which resembled the Phrygian worship of the Magna Mater . His chief compositions were paean
Paean
A paean is a song or lyric poem expressing triumph or thanksgiving. In classical antiquity, it is usually performed by a chorus, but some examples seem intended for an individual voice...
s and hyporchemes
Hyporchema
The hyporchema was a lively kind of mimic dance which accompanied the songs used in the worship of Apollo, especially among the Dorians. It was performed by men and women...
, which belonged respectively to these two kinds of worship. In connection with the paean he introduced the rhythm of the Cretic
Cretic
A cretic is a metrical foot containing three syllables: long, short, long. In Greek poetry, the cretic was usually a form of paeonic or aeolic verse. However, any line mixing iambs and trochees could employ a cretic foot as a transition...
foot, with its resolutions in the paeon
Paeon (prosody)
In prosody a paeon is a metrical foot used in both poetry, or prose. It consists of four syllables, with one of the syllables being long and the other three short. Paeons were often used in the traditional Greek hymn to Apollo called paeans. Its use in English poetry is rare...
s; and the Pyrrhic dance, with its several variations of rhythm, is also ascribed to him. He seems to have used both the lyre and the flute
Plutarch and other writers speak of him as a lyric poet, and Suidas mentions, as his works, mele kai poiemata tina mythica, and it is pretty certain that the musical compositions of his age and school were often combined with suitable original poems, though sometimes, as we are expressly told of many of the names of Terpander, they were adapted to the verses of Homer and others of the older poets. Be this as it may, we have now no remains of the poetry of Thaletas.