Historicity The position of Thaletas is one of the most interesting, and at the same time most difficult points, in that most interesting and difficult subject, the early history of
Greek music and
poetry. The most certain fact known of him is that he introduced from
Crete into
Sparta certain principles or elements of music and
rhythm, which did not exist in
Terpander's system, and thereby founded the second of the musical schools which flourished at Sparta. He was a native of Crete, and, according to the best writers, of the city of
Gortyna.
In Sparta In compliance, according to tradition, with an invitation which the Spartans sent to him in obedience to an oracle, he removed to Sparta, where, by the sacred character of his
paeans, and the humanizing influence of his music, he appeased the wrath of
Apollo, who had visited the city with a
plague, and composed the factions of the citizens, who were at enmity with each other. At Sparta he became the head of a new school (
katastasis) of music, which appears never afterwards to have been supplanted, and the influence of which was maintained also by
Xenodamus of Cythera,
Xenocritus of Locris, Polymnestus of Colophon, and
Sacadas of Argos. How uncertain were the traditions followed by the generality of the ancient writers respecting the date of Thaletas is manifest from the statements of Suidas, that he lived before the time of
Homer, of
Demetrius Magnes, that he was "very ancient, about the time of
Hesiod and Homer and
Lycurgus," and of the many other writers, who make him contemporary with Lycurgus, and even an elder contemporary. In nearly all the accounts of the removal of Thaletas to Sparta, he is said to have gone thither at the invitation of Lycurgus, who used his influence to prepare the minds of the people for his own laws; while some even speak of him as if he were a legislator, from whom Lycurgus derived some of his laws. These accounts, which
Aristotle condemns as anachronisms, can easily be explained. The influence of music upon character and manners was in the opinion of the ancients so great, that it was quite natural to speak of
Terpander and Thaletas as fellow-workers with the great legislator of the Spartans informing the character of the people. Moreover, in the case of Thaletas, the supposed connection with Lycurgus would assume a more probable appearance on account of his coming from Crete, from whence also Lycurgus was supposed to have derived so many of his institutions; and this is, in fact, the specific form which the tradition assumed, namely, that Lycurgus, arriving at Crete in the course of his travels, there met with Thaletas, who was one of the men renowned in the island for wisdom and political abilities and who, while professing to be a lyric poet, used his art as a pretext, but in fact devoted himself to political science in the same way as the ablest of legislators. Add to this the great probability that later writers mistook the sense of the word
nomos in the ancient accounts of Thaletas; and his association with Lycurgus is explained. It is not worth while to discuss the statement of Jerome (Chron. s. a. 1266, b. c. 750), who says that
Thales of Miletus (probably meaning Thales of Crete, for the philosopher's age is well known) lived in the reign of
Romulus. The strictly historical evidence respecting the date of Thaletas is contained in three testimonies. First, the statement of Glaucus, one of the highest authorities on the subject, that he was later than
Archilochus. Secondly, the fact recorded by
Pausanias, that
Polymnestus composed verses in his praise for the
Lacedaemonians, whence it is probable that he was an elder contemporary of
Polymnestus, and therefore older than
Alcman, by whom Polymnestus was mentioned. Thirdly, in his account of the second school or system (
katastasis) of music at Sparta,
Plutarch tells us that the first system was established by Terpander; but of the second the following had the best claim to be considered as the leaders, Thaletas, Xenodamus, Xenocritus, Polymnestus, and Sacadas; and that to them was ascribed the origin of the
Gymnopaedias in
Lacedaemon, of the
Apodeixeis in
Arcadia, and of the
Endymatia in
Argos. This important testimony is very probably derived from the work of
Glaucus. Lastly, Plutarch mentions a vague tradition, which is on the face of it improbable, and which is quite unworthy to be placed by the side of the other three, that Thaletas derived the rhythm called Maron and the Cretic rhythm from the music of the Phrygian flute-player
Olympus. The context shows that Plutarch here deserts his guide, Glaucus, and sets up against him the traditions of other writers, we know not whom. From these testimonies we obtain the result that Thaletas was younger than Archilochus and Terpander, but older than Polymnestus and
Alcman, that he was the first of the poets of the second Spartan school of
music, by whose influence the great Dorian
festivals which have been mentioned were either established, or, what is the more probable meaning, were systematically arranged in respect of the choruses which were performed at them. ==Legacy==