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“84. ἐλλογίμους. ἔμελεν δὲ τοῖς πάλαι πᾶσιν Ἕλλησι μουσικῆς: διόπερ καὶ ἡ αὐλητικὴ περισπούδαστος ἦν. χαμαιλέων γοῦν ὁ Ἡρακλεώτης ἐν τῷ ἐπιγραφομένῳ Προτρεπτικῷ Λακεδαιμονίους φησὶ καὶ Θηβαίους πάντας αὐλεῖν μανθάνειν Ἡρακλεώτας τε τοὺς ἐν τῷ Πόντῳ καθ᾽ ἑαυτὸν ἔτι Ἀθηναίων τε τοὺς ἐπιφανεστάτους, Καλλίαν τε τὸν Ἱππονίκου καὶ Κριτίαν τὸν Καλλαίσχρου. Δοῦρις δ᾽ ἐν τῷ περὶ Εὐριπίδου καὶ Σοφοκλέους Ἀλκιβιάδην φησὶ μαθεῖν τὴν αὐλητικὴν οὐ παρὰ τοῦ τυχόντος, ἀλλὰ Προνόμου τοῦ μεγίστην ἐσχηκότος δόξαν. Ἀριστόξενος δὲ καὶ Ἐπαμινώνδαν τὸν Θηβαῖον αὐλεῖν μαθεῖν παρὰ Ὀλυμπιοδώρῳ καὶ Ὀρθαγόρᾳ. καὶ τῶν Πυθαγορικῶν δὲ πολλοὶ τὴν αὐλητικὴν ἤσκησαν, ὡς Εὐφράνωρ τε καὶ Ἀρχύτας Φιλόλαός τε ἄλλοι τε οὐκ.ὀλίγοι, ὁ δ᾽ Εὐφράνωρ καὶ σύγγραμμα περὶ αὐλῶν κατέλιπεν ὁμοίως δὲ καὶ ὁ Ἀρχύτας. ἐμφανίζει δὲ καὶ ὁ Ἀριστοφάνης ἐν τοῖς Δαιταλεῦσι τὴν περὶ τὸ πρᾶγμα τοῦτο σπουδὴν ὅταν λέγῃ

ὅστις αὐλοῖς καὶ λύραισι κατατέτριμμαι χρώμενος,
εἶτά με σκάπτειν κελεύεις;
Φρύνιχος Ἐφιάλτῃ:

οὐ τουτονὶ μέντοι σὺ κιθαρίζειν ποτὲ
αὐλεῖν τ᾽ ἐδίδαξας;
καὶ τὴν Ἀθηνᾶν δέ φησιν Ἐπίχαρμος ἐν Μούσαις ἐπαυλῆσαι τοῖς Διοσκόροις τὸν ἐνόπλιον. Ἴων δ᾽ ἐν Φοίνικι ἢ Καινεῖ ἀλέκτορα τὸν αὐλὸν καλεῖ ἐν τούτοις: [p. 316]

ἐπὶ δ᾽ αὐλὸς ἀλέκτωρ Λύδιον ὕμνον ἀχέων.
ἐν δὲ Φρουροῖς τὸν ἀλεκτρυόνα Ἰδαῖον εἴρηκε σύριγγα διὰ τούτων

ῥοθεῖ δέ τοι σῦριγξ Ἰδαῖος ἀλέκτωρ.
ἐν δὲ τῷ β Φοίνικι ὁ αὐτὸς Ἴων φησίν

ἔκτυπον ἄγων βαρὺν αὐλὸν τρέχοντι ῥυθμῷ,3
οὕτω λέγων τῷ Φρυγίῳ: βαρὺς γὰρ οὗτος: παρ᾽: ὃ καὶ τὸ κέρας αὐτῷ προσάπτουσιν ἀναλογοῦν τῷ τῶν σαλπίγγων κώδωνι.

” ἐπὶ τούτοις τέλος ἐχέτω καὶ ἥδε ἡ βίβλος, ἑταῖρε Τιμόκρατες, ἱκανὸν εἰληφυῖα μῆκος.

Athenaeus. The Deipnosophists. with an English Translation by. Charles Burton Gulick. Cambridge, MA. Harvard University Press. London. William Heinemann Ltd. 1927. 1.

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