DOI Page / Citation link:
https://doi.org/10.11588/diglit.52134#0182
178
'Οπλομάχος (fr. 36)
fr. 36 K.-A. (35 K.)
μάγαδις λαλήσω μικρόν άμα σοι καί μέγα
habet A
μάγαδις Casaubon: μάγαδιν Α: μάγαδι Weston μέγα Causaubon: μέγαν A
Like a magadis, I will speak together with you softly and loudly
Ath. 14.634d-e
Τρύφων δ’ έν δευτέρω περί ονομασιών λέγει ούτως (fr. 110 von Velsen)· ό δέ μάγαδις
καλούμενος αύλός, καί πάλιν <ό> μάγαδις έν ταύτω όξύν καί βαρύν φθόγγον
έπιδείκνυται, ώς Άναξανδρίδης έν'Οπλομάχω φησίν·-
Trypho in the second book of his work On Names (fr. 110 Velsen) speaks as follows:
‘the aulos called a magadis’ and again ‘the magadis produces at the same time a high
and a low sound,’ as Anaxandrides says in Hoplomachos:-
Ath. 4.182d
ό δέ μάγαδις καλούμενος αύλός ό καί παλαιομάγαδις ονομαζόμενος έν ταύτω όξύν
καί βαρύν φθόγγον έπιδείκνυται, ώς Άναξανδρίδης έν'Οπλομάχω φησίν·-
The aulos called a magadis, also named a palaiomagadis, produces at the same time a
high and a low sound, as Anaxandrides says in Hoplomachos:-
Metre lambic trimeter.
Discussion Weston 1784. 21-2; Meineke 1840 III. 179—80; 1847. 582-3; Bothe
1855. 425; Meineke 1856. 335 (adlheoc. 20.29); Meineke 1857 V.81; Kock 1884
11.149; 1888 III.737; Blaydes 1890a. 82; Blaydes 1896. 123; Garrod 1922. 68;
Edmonds 195911.60—1; Long 1986. 67; Kassel-Austin 1991 11.256; Sanchis Llopis
et al. 2007. 257
Citation context Athenaeus quotes the fragment twice, at 4.182d and 14.634e.
On the first occasion, the fragment is merely given in passing as support for
the claim that the instrument simultaneously produces a high tone and a low
tone; this claim follows the apparent assertion that the magadis is the same
as what the Dorians in Italy call a titurinos. The second occasion is part of a
much fuller discussion (4.634b-6c) of what precisely a magadis is, apparently
an issue of contention already in Athenaeus’ day. A range of authors (lyric,
tragic and comic poets, historians, grammarians and music theorists) are cited
in an attempt to identify and describe a magadis and to characterize its sound.
As in the earlier passage, this fragment is cited as evidence that the magadis
produces a high tone and a low tone simultaneously; but here the fragment
'Οπλομάχος (fr. 36)
fr. 36 K.-A. (35 K.)
μάγαδις λαλήσω μικρόν άμα σοι καί μέγα
habet A
μάγαδις Casaubon: μάγαδιν Α: μάγαδι Weston μέγα Causaubon: μέγαν A
Like a magadis, I will speak together with you softly and loudly
Ath. 14.634d-e
Τρύφων δ’ έν δευτέρω περί ονομασιών λέγει ούτως (fr. 110 von Velsen)· ό δέ μάγαδις
καλούμενος αύλός, καί πάλιν <ό> μάγαδις έν ταύτω όξύν καί βαρύν φθόγγον
έπιδείκνυται, ώς Άναξανδρίδης έν'Οπλομάχω φησίν·-
Trypho in the second book of his work On Names (fr. 110 Velsen) speaks as follows:
‘the aulos called a magadis’ and again ‘the magadis produces at the same time a high
and a low sound,’ as Anaxandrides says in Hoplomachos:-
Ath. 4.182d
ό δέ μάγαδις καλούμενος αύλός ό καί παλαιομάγαδις ονομαζόμενος έν ταύτω όξύν
καί βαρύν φθόγγον έπιδείκνυται, ώς Άναξανδρίδης έν'Οπλομάχω φησίν·-
The aulos called a magadis, also named a palaiomagadis, produces at the same time a
high and a low sound, as Anaxandrides says in Hoplomachos:-
Metre lambic trimeter.
Discussion Weston 1784. 21-2; Meineke 1840 III. 179—80; 1847. 582-3; Bothe
1855. 425; Meineke 1856. 335 (adlheoc. 20.29); Meineke 1857 V.81; Kock 1884
11.149; 1888 III.737; Blaydes 1890a. 82; Blaydes 1896. 123; Garrod 1922. 68;
Edmonds 195911.60—1; Long 1986. 67; Kassel-Austin 1991 11.256; Sanchis Llopis
et al. 2007. 257
Citation context Athenaeus quotes the fragment twice, at 4.182d and 14.634e.
On the first occasion, the fragment is merely given in passing as support for
the claim that the instrument simultaneously produces a high tone and a low
tone; this claim follows the apparent assertion that the magadis is the same
as what the Dorians in Italy call a titurinos. The second occasion is part of a
much fuller discussion (4.634b-6c) of what precisely a magadis is, apparently
an issue of contention already in Athenaeus’ day. A range of authors (lyric,
tragic and comic poets, historians, grammarians and music theorists) are cited
in an attempt to identify and describe a magadis and to characterize its sound.
As in the earlier passage, this fragment is cited as evidence that the magadis
produces a high tone and a low tone simultaneously; but here the fragment