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ὑποαμουσότερον. It is unnecessary (with Herwerden) to add <μέν>, although ὑποαμουσότερον is contrasted with φιλόμουσον: see on I 340 D. φιλόμουσον. The ‘timocratical’ man has neglected τῆς ἀληθινῆς Μούσης τῆς μετὰ λόγων τε καὶ φιλοσοφίας (548 B), but he is nevertheless φιλόμουσος, though somewhat less so than Glauco, whom Socrates calls μουσικός in III 398 E. On the Spartan love of music cf. Plut. Lyc. 21 and other evidence in Hermann-Thumser l.c. p. 178 notes 5, 6. φιλήκοον κτλ. This characteristic of the Spartans is well illustrated by J. and C. from Hipp. Mai. 285 D ff.: Ἀλλὰ τί μήν ἐστιν ἃ ἡδέως σου ἀκροῶνται καὶ ἐπαινοῦσιν (sc. οἱ Λακεδαιμόνιοι);—Περὶ τῶν γενῶν—τῶν τε ἡρώων καὶ τῶν ἀνθρώπων, καὶ τῶν κατοικίσεων, ὡς τὸ ἀρχαῖον ἐκτίσθησαν αἱ πόλεις, καὶ συλλήβδην πάσης τῆς ἀρχαιολογίας ἥδιστα ἀκροῶνται. Schneider is mistaken in taking οὐδαμῶς with all three adjectives: it belongs only to ῥητορικόν. The carefully qualified expression ὑποαμουσότερον would be inconsistent with calling the Spartan οὐδαμῶς φιλόμουσον: and φιλήκοον is not used as in VII 535 D, but rather as the antithesis to ῥητορικόν.
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