Page:Philological Museum v2.djvu/447

437 Now in order to understand this passage it will be ne-cessary to ascertain as nearly as we can, the precise meaning of the terms made use of in it. is explained by being opposed to and clearly indicates that the sounds of the voice and lyre were different, the nature of which difference is determined by what follows, "the strings uttering one strain and the composer who arranged the song another :" it therefore cannot mean merely the repetition of the same strain in different octaves. is explained by i " frequency of notes" sounding together with "infrequency," i. e. the striking of notes here and there on the lyre during a continued strain of the voice ; by quick notes in the one answering to slow in the other, and high notes in one to low in the other. To also are referred the  " all sorts of subtle combinations of the cadences ;"' I would then take  to include all the ornaments, such as appogiaturas. &c. which the performer on the lyre introduced while the voice sung the simple strain. There is a paper on this passage in the Histoire de l'Academie des Inscriptions, Vol. iii. p. 118, by M. Burette, who contends that what we call counterpoint is not intended here. He says this and  might take place in four ways; 1. By the performer on the lyre sounding the same strain as the voice, but playing in a flowery and artificial style. 2. By the voice singing in a different mode from that in which the lyre was playing, as for instance the lyre playing in the Lydian mode and the voice singing in the Dorian, which was a third above. 3. By the lyre and voice being pitched in different octaves. 4. By the voice