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Lyre

λύρα

A family of ancient Greek string instruments with strings of equal length. [See also entries under specific types: chelys-lyra, phorminx, kithara, barbitos].

"Lyra" as a term does not appear in Homer, and in Plato's Laws it refers to lyric poetry and music. The Homeric Hymn to Hermes narrates the mythic invention of a "lyra" by Hermes, who scooped out the insides of a tortoise χέλυς and covered it with hide Since the "first" lyre, then, was made from a tortoise shell, the term chelys came to mean the lyre. There is some confusion about the term "lyra" in literature, since it appears in early Greek poetry (Sappho, Alcman) and fifth century tragedy as a generic word for "lyre." "Lyra" then, is not only the tortoise-shell "lyre," but is best understood as a generic word for any of four instruments with strings of equal length: kithara, chelys-lyra, phorminx, and barbitos.

Lyres were the most important stringed instruments in ancient Greece from pre-historical times through the Hellenistic Period. They are probably related to the eastern, Mesopotamian lyre-types, though different in form. In the Greek mythic tradition lyres are the instruments of Apollo and Orpheus. Achilles was instructed in the lyre by the centaur Chiron, and Herakles also played. Lyres were also played by celebrants in festivals of Dionysos. Lyres are depicted in Greek art (vase paintings, votives, seals, grave stele, sculpture, relief), but since they were made of perishable material such as wood, no actual instruments survive.

Lyres differ by various degrees of size, shape, and use, but are all played in basically the same manner. In the earliest depictions in stone and on vase painting from the Minoan Period and later, the instrument consists of a half-circle, trapezoid, or rectangular-shaped wooden soundbox (kithara; phorminx) or a tortoise-shell soundbox (chelys-lyra; barbitos), with two arms of wood or bone rising up from its outside edges (πήχεις, κέρατα); these arms are joined at the top by a verticle cross-bar (ζυγόν). Many instruments were quite ornately carved, incised and inlaid. Strings (χόρδαι, νευραί) are stretched down from the cross bar and over a bridge on the lower center of the soundbox.

Maas and Snyder believe that the number of strings on most lyre-type instruments probably remained a constant seven from the Mycenean period onward, though there is debate about this, especially because of lines attributed to Terpander (7th c.) which seem to indicate that seven strings are an innovation from an earlier four stringed style (Strabo, 1st c. and Kleonides Eisagoge 3.67). It seems that whenever the lyre is a central feature in a vase painting it very often has seven strings; we might infer from this that seven strings were the norm from the earliest periods, but we cannot rule out the possibility that a particular song-type would require less or more strings (see I. Theory and practice). Of the four different types, the chelys-lyra and the kithara are probably the most important, especially for the classical period, during which time they were used in music lessons and played during important religious festivals and music competition (αγών).

The lyre is held close to the chest vertically in front of the player, assisted by a strap or tether (τελαμών); the left hand stops (διάληψις), dampens, or plucks the strings (we have no clear knowledge) while the right hand sounds the strings with a plectrum (πλήττειν) made of solid material, like bone. This pick was usually attached to the instrument with a thin strap. Several objects found at the site of the temple of Artemis Orthia dating from the eighth to the sixth century B.C. are said to be remains of bone plectra. Each string could be tuned by means of pegs (κόλλοπες) on the cross bar.

II. Performance [see individual entries for more specific info]. Lyres were played for personal and professional pleasure, to accompany singing and dancing, in processions at religious festivials, and as entertainment at social gatherings (drinking parties, or symposia). Music lessons were conducted on the kithara and the chelys-lyra. Use differs slightly depending on type of lyre. From the literature and vase paintings we know that the large, heavy kithara was usually played standing, but the lightweight tortoiseshell lyres could be played in almost any position, even lying down. Women players are very often shown seated. The different types of lyre could be played in ensemble with each other and with other instruments, such as the aulos. Players were, by and large, professional male singers (in Homer, aoidoi) or male amateur musicians. Although vase paintings from the classical period depict women playing lyres, at home, in bridal scenes or in festival processions, there is no evidence to suggest professional women players. [See individual entries for more specific information]

    Maas, Martha and Jane Snyder, Stringed Instruments of Ancient Greece, New Haven, Yale University Press, 1989 New Grove Dictionary of Musical Instruments, 3 vols., ed. Stanley Sadic, London, 1984 "Music.9. Instruments," Oxford Classical Dictionary (second ed.), Oxford, 1978
Nancy Sultan
Created in electronic form.

The Annenberg CPB/Project provided support for entering this text.

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