of “Eclecticism” (1988) 126–144; P.L. Donini, “I fondamenti della fisica e la teoria delle cause in
Plutarco,” in I. Gallo, ed., Plutarco e le scienze (1992) 99–120; OCD3 1200 – 1201, D. Russell.
Jan OpsomerPlutarch (?), On Music (ca 150 CE)
The dialogue On music, included among the Moralia by tradition, is rejected by current
scholarship as an authentic work of P. Nevertheless, a number of authentic
treatises contain important information on Pythagorean mathematics and music (On the
generation of the soul in the Timaeus), the ethical effect and value of music in society (Table-Talk),
and the history of musical instruments (Ancient customs of the Spartans; Life of Crassus; On
progress in virtue; On the control of anger).
Regardless of its author, On music is in a sense the earliest “history” of Greek music and a
prime source of information on ancient Greek musical life, including historical material on
Pythagorean music theory, the “invention” of musical forms, and the development of
early musical scales. Some of this material is attributed to now-lost works by A
M, A, Glaukos of Rhe ̄gion, and H H
P, J. The two primary speakers in the dialogue, Lysias and Soterichus, repre-
sent respectively the practical and theoretical viewpoints of music and its development.
After describing various musico-poetic forms and attributing them to early “inventors,”
Lysias explains the construction of the enharmonic genus, its relationship to the other
genera, and a special “spondeion” scale, the precise structure of which remains obscure.
Soterichus expands on Lysias’ practical presentation, correcting and augmenting his
descriptions of the musico-poetic forms and the spondeion scale. He subsequently turns his
attention to the realm of Pythagorean mathematics and music, concluding that music
should be elevating, instructive, and useful. Modern musical innovations have led music
to its present low estate, aptly represented by the famous fragment from the Cheiron of
Pherecrate ̄s. Music must be restored to its proper place by copying the ancient style, follow-
ing the guidance of philosophy. Reviewing the principles of harmonics and rhythmics,
Soterichus recognizes that this knowledge is insufficient alone for the creation or judgment
of musical art and yields to the precentor One ̄sicrate ̄s, who provides the philosophical
capstone of the dialogue: P, P, and A have revealed that music
is of value because the revolution of the universe is based on music and god has arranged
everything to accord with harmonia (kath’ harmonian).
K. Ziegler, Plutarchi Moralia 6.3 (1966); Barker (1984) 1.205–257; NGD2 19.931–932; Mathiesen (1999)
355 – 66; MGG2 13.698–699.
Thomas J. Mathiesen
Plutarch, pseudo, De Fluuiis (300 CE?)
The anonymous collection De Fluuiis is divided into 25 chapters containing etiological myths
about the names of as many streams in Greece, Gaul, Asia and Egypt, with added informa-
tion about unusual or wonderful stones, metals and plants found in those rivers or on nearby
mountains. The work survives in a single MS preserving several other paradoxographical
treatises (Palat. gr. 398). Numerous source-citations, underscoring the collection’s credi-
bility, further place it squarely in the mirabilia-tradition. However, while some of the acknow-
ledged writers (46) and books (65) peri potamo ̄n, peri litho ̄n, peri oro ̄n etc. are possibly real
sources (A S, A K, P S,
PLUTARCH (?), ON MUSIC