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The Hyporcheme of Pratinas The Classical Review http://journals.cambridge.org/CAR Additional services for The Classical Review: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here The Hyporcheme of Pratinas H. W. Garrod The Classical Review / Volume 34 / Issue 7-8 / November 1920, pp 129 - 136 DOI: 10.1017/S0009840X00014013, Published online: 27 October 2009 Link to this article: http://journals.cambridge.org/abstract_S0009840X00014013 How to cite this article: H. W. Garrod (1920). The Hyporcheme of Pratinas. The Classical Review, 34, pp 129-136 doi:10.1017/S0009840X00014013 Request Permissions : Click here Downloaded from http://journals.cambridge.org/CAR, IP address: 193.61.135.80 on 07 Apr 2015 The Classical Review NOVEMBER—DECEMBER, 1920 ORIGINAL CONTRIBUTIONS THE HYPORCHEME OF PRATINAS. ATHE.VAEUS 617b, 8 : Upanva<; Se o strangely to our ears—of ' Pindar and <£>\tao-jo5, avXrjTcov Kal yppevrSyv Karexov- Dionysius of Thebes and Lamprus and TCOV ras opxfiaTpas, ayava/CTeiv Tivas eVt Pratinas and the other lyrists who ex- ra> Tou? av\r]Ta$ fir) ffvvavXeiv T019 celled in musical composition (irot,7)T(n Kaddirep r)v Trdrpiov, aK~Ka i j(pp Kpov/jLarav ayaOoi,),' (1146 B). He asso- %vvaheiv rots avK-qrals. ov o?iv elye dvfibv ciates Pratinas always with the theory Kara rwv ravra TTOIOVVTWV o of music and with the hyporcheme ifi<f>avL£ei Bia TOOOV rov v (1133, 1142,1134: cf. Plut. Symp. IX. 2). TIS 6 Obpvfios 85e ; ri rdSe ra ^opei^ara ; Of the Pratinas who has chiefly in- TIS ijflpis 1/ioXev eirl AiovvcriaSa TroXvirdraya Ov/j.4- terested modern scholarship, the \ ; Pratinas who wrote tragic and satyric tfiis ifids 0 Bp6/uos • i/U 5ei KfXadeiv, Se? dramas, the Pratinas who contended for iraTayetv, av' 6pea ai^evov /terd Nal'dSaw, fame with Aeschylus, he knows nothing. 5 &re KUKVOV dyovra iroiKiK6wTepov ,tiAos. The first writer to connect Pratinas with TOLV doiddv Kariffraffe Iltepis «=#7ra:». j8a<TiXeta«' 6 5' auXd 0 ^ drama is Pausanias (perhaps fifty to a Kai yap lad' vwifper hundred years later). But Pausanias' Kiifxiji fibvov 0vpa/xdxois knowledge of Pratinas is just so much 10 re irvyixaxi-oLis viuv SiXei irapoivoiv as he picked up one day in the streets [l pf Tra.Ce rbv <ppvi>iov TTOIKIXOV wvoia-v of Pratinas' native town, Phlius. In Xeovra. <f>X^ye rbv dXe<ri(riaXov KaXafiov XaXo- Phlius there was a tradition that fiapijoTa Tapap,e\opv6fiofidrav Pratinas had written reputable satyric pvwa-^po^Tpvirdvas dtftas ireirXaaii.e'iiov 15 T)VISOU ' &de trot Set-La Kal irodbs plays. But even to the loyal Phliasians diappi<f>a., 6ptafJL[io8i66pa[>L(3e. he was, it would seem, a less notable Kiaabx&t-T' avai-, aKove rav ifiav A&piov x°Pe^at>- poet than his son Aristias, who had a 5. dre scripsi: Sid re codd. 6. rav doidav statue in the market-place. TOVTU> T& Casaubon : rav aoiSav codd. : •*6ira?*- addidi, metri causa. 10. 84a. el(s) codd., corr. Dobree: waie 'ApMTTia craTvpoi Kal Ylparlva T<B irarpl codd., corr. Jacobs: <ppvvlov Emperius: <ppwaiovelai Treiroiiffievoi TTXTJV TWV AMT%V\OV codd. 12-13. Trvoia¥ dedi (irvoav iam Emperius) : BoKi/u.d>Taroi., says Pausanias — oddly Xeovra Jacobs : irpovtxovra codd. 13. <5Xe<ri(riaXo» KaXa/wv dedi (&Xeffi<naXoKdXa/j.oi> iam Emperius): rendered by Mr. A. R. Shilleto: ' The 6Xo<riaX<»caXajiuM codd. 14. pvira^po^Tpviravat satyrs carved by Aristias and Pratinas scripsi: 0viraTpvTrdv<# codd. are reckoned the best carving after that I will preface what I have to say upon of Aeschylus.' But I am not clear that this Fragment by a brief account of the Pausanias - knew much more about sources of our knowledge of Pratinas: Pratinas than Mr. Shilleto. If we go a subject inadequately treated in books on another half-century, we find Pratinas of common access. The name of mentioned several times by Athenaeus. Pratinas does not occur in literature If the diligent reader will look at earlier than ..the second century of our Meineke's Index, s.v. Pratinas he will era. No writer mentions Pratinas who find that, in all the passages there cited is not further removed from him in by Meineke, the Pratinas spoken of by time than I am from Chaucer. His Athenaeus is, like the Pratinas of name occurs for the first time in the ' Plutarch,' a lyrist, a hyporchematist, a treatise De Musica, commonly ascribed musicus. In not one of these passages is to Plutarch. ' Plutarch ' speaks — there any hint of Pratinas the dramatist. NO. CCLXXIX. VOL. XXXIV. 130 THE CLASSICAL REVIEW However, Meineke's Index is here de- And now I will essay a piece of scien- fective ; for it omits a passage in tific ' Ueberlieferungsgeschichte ' — if Book I. (22a), where Athenaeus speaks such things are not by now altogether of ' Thespis Pratinas Carcinus and out of court. Phrynichus.' Heaven forbid that I Somewhere towards the beginning should speak ill of Athenaeus, a solace of the third century B.C. a pupil of of my declining years. Yet I half Aristotle, the famous Aristoxenus, wrote suspect that he does not know that this a work of (presumably) popular char- Pratinas of 22a is the same person acter to which he gave the name as the Pratinas of whom he speaks else- ' Mixed Drinking Questions' (Xv/ifuirra where. Why I say this will be apparent ~Zv/nroTiKa). But even in his lighter presently. hours Aristoxenus could not keep off the Apart from these writers, who is there theory of music; and in a portion of in antiquity who has anything to tell us this work he traced the development of of Pratinas ? I know no one for certain. the lyric from the earliest times down But then I am not certain when anti- to the time of Timotheus. This work quity ends and the Middle Age takes was used in common by ' Plutarch ' on. However, let us call' ancient' the and Athenaeus. Athenaeus, in the Hypothesis to the Septem c. Thebas of book (xiv.) in which he has preserved Aeschylus, and be grateful to it for this: to us the Hyporcheme of Pratinas, ivl/ca Aaim OISLTTOSI cE7TTa eVt ©j;/3a9 eleven times names Aristoxenus ; and X<f>iyyl craTvpi/cf}. /3 'Apicrriat Ylepaei at 632a he definitely mentions the Td ^'AC Udl "ZvfifUKTa 2u/i7roTt«a. ' Plutarch' men- p Trarpoi;. (I have added tions Aristoxenus at 1134 F, 1136 C, <7Avrat,<o^> after TavrdXco, since, ob- 1136 D, 1143 B, 1146F; and in the last viously, four plays are required. The of these passages he, in effect, names the Antaeus of Aristias is mentioned by Xvfifu/cTa 'Zv/ATToriicd • avveftaive yap Herodian, Mon. Lex. p. 916, Lentz. If elo-dyeo-dai /Movancr/i' o>? iieavrjv avncrnav the supplement I suggest is plausible, KCU TTpavve.iv TTJV TOV OIVOV vtrodepixov we shall no longer suppose, with Gais- Swa/uv, KaOdirep irov fyrjai KCU 6 vperepos ford and others, that all three plays 'Apio-rogepos, K.T.X. But what above mentioned in the MS. text were post- all makes certain the dependence of humous plays of Pratinas. The Palaestae both writers upon Aristoxenus is that to alone will belong to Pratinas. How both of them, as I have said, Pratinas is easily <C'Avraiai^> might be lost after primarily, indeed exclusively, a lyrist TavraXo) I need not say). and musician. Pratinas the dramatist is, it is true, mentioned at Athenaeus 22a. By the side of this Aeschylean scrap There Athenaeus draws upon a different I will place ' Acron' upon Horace, source, and fails, I have suggested, to A.P. 216 ('Acron' perhaps belongs to identify the two Pratinases. The dif- the fourth or fifth century) : ferent source—whether Athenaeus draws satyrica dramata, in quibus salva maiestate upon it directly or indirectly—is another gravitatis (? tragicae artis) iocos inserebant pupil of Aristotle, Chamaeleon (Athen. secundum Pratinae (Cratini codd.: corr- Casau- 2ie 13; 22a 10). Chamaeleon wrote a bon) institutionem : is enim primus Athenis, 1 dum Dionysia essent, satyricam fabulam in- work Hepl "Zarvpcov: and this book was duxit. probably a principal source of informa- Cratbii is the most obvious blunder tion in later times upon the subject of for Pratine, as anyone will know who the primitive drama (see Suidas sub knows what the letters C and P look anrd>Xeaa<; rbv oivov). Chamaeleon and like in rustic capitals. Yet Casaubon's the Aristotelian Didascaliae may be sup- correction is not so much as mentioned posed to have supplied to Alexandria in the Apparatus to the ' standard ' text most of what was known there of of' Acron.' Pratinas the dramatist. (To this, per- This at any rate, so far as my know- haps by way of the Onomatalogos of ledge goes, exhausts ' antiquity '; and all else that we know of Pratinas we 1 With the same writer's Hepl QtainSos (Suidas owe to Suidas. sub oi&v irpos rbv Ad) THE CLASSICAL REVIEW Hesychius, the Lexicon of Suidas goes TWV irovt)tS>v Xafiftdveiv roiiv fii<rdoi><;, back.) That Alexandria had anything, TrparaycovicTTOvo-T)'} SrjXop ori ri}<; iroir\- or knew very much, of Pratinas is per- (xecos rS>v 8' avXijT&v virrfperovvrcav rot? haps not probable. Dioscorides' Epitaph 8i8a<T/cd\oi<;. It will be noticed at once for Sositheus, A.P. vii. 707, 3-4, that the last five words look very much ppj yp fp like an echo of lines 7-8 of our Pratinas &£ia VKeicurluiv pal fii. xopobs Xaripuv, poem (o 8' av\6f varepov %opev€T(o • ical says little, and is all that there is that is yap ia-0' v-n-rjpeTds:).
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