History of Greece: I. Legendary Greece. Ii. Grecian History to the Reign of ... 2

George Grote

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s. 8. The ideas of singing and speech are, however, often confounded, in refer ence to any verse solemnly and emphatically delivered (Thucydid. ii. 58) — ugkovt(s ol wpeafivrepoi ndXai #6ea&ai, °H£e< Aupuucdf noXcftoc kcU Woifibc &fi* airy.. And the rhapsodes are said to sing Homer (Plato, Eryxias, e. 13 ; Hesych. v. Bpavpuvioig) ; Strabo (i. p. 1 8) has a good passage upon song and speech. William Grimm (Deutsche Heldensage, p. 878) supposes the ancient Ger- man heroic romances to have been recited or declaimed in a similar manner with a simple accompaniment of the harp, as the Servian heroic lays are even at this time delivered. Fauriel also tells us, respecting the French Carlo vingian Epic (Romans de Chevalerie, Revue des Deux Mondes, xiii. p. 559) : u The romances of the 12th and 18th centuries were realty sung : die jongleur invited his audi ence to hear a bdU ckan*m cTAMtotrv,— -*le mot chanter ne manque jamais dans laJbrmule initialed — and it is to be understood literally: the mnsie was simple and intermittent, more like a recitative ; the jongleur carried a rebek, or violin with three strings, an Arabic instrument ; when he wished to rest his voice, he played an air or ritonrnelle upon this ; he went thus about from place to place, and the romances had no existence among the people, except through the aid and recitation of these jongleurs.' 9 It appears that there had once been rhapsodic exhibition* at the festivals of Dionysus, but they were discontinued (Klearchus ap.

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