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35 The same contrast between human helplessness and divine control, with emphasis on the arbitrariness and omnipotence ofthat control, is stated in Fr. 58: Toîs Oeoîs T* €60ei'36 airavra • TroAAá/ac [¿èv ¿k kolkwv ãvòpaç opdovaiv ¡jieAaivr}K€ifiévovs ¿Vi yßovL, TroAÀá/as"8' avarpéiTovai Kai /xaA' €v ßeßrjKorac V7TTLOVS kXLvOVG* ' €7T€tTa TToÁÁà ylyVZTai KaKOL Kai ßiov XPVPTITrÀavârai /cai vóov irapr¡opoc. 203 on Sat, 17 Nov 2012 16:56:35 PM All use subject to JSTOR Terms and Conditions 38 EARLY GREEK MONODY For the gods all things are easy.
It is by its mode that a melody is regularly described, and it is the mode that gives a melody its character. Unfortunately we cannot tell exactly what ancient Greek mode was. That it was closely related to key is inescapable, but that it had some difference of meaning seems just as necessary, since it is difficult to see how mere key differentiation could have the character and ethical significance ascribed by ancient writers to mode. The word harmoniameans a stringing of the lyre, and clearly each mode involved a different stringing of the lyre.
In Chapter Seven there will be occasion to look further at the relationship between such "epigrammatic" style and lyric form. 26 But just as Fr. i clearly announces a new double role for Archilochus, other poems set forth, with startling frankness and freshness of view, an outlook on warfare that is fundamentally different from that of the Homeric warrior. There is no more familiar fragment of Archilochus than Fr. 6: *A