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His eyes sparkled, and a feverish flush was on his cheek. Philothea took her cithara, and played his favourite tunes. This seemed to tranquilize him; and as the music grew more slow and plaintive, he became drowsy, and at length sunk into a gentle slumber.
So I work for myself, but I shall soon afford from her earnings to buy me a second Staphyla; doubtless, the Thessalian kidnapper had stolen the blind girl from gentle parents. Besides her skill in the garlands, she sings and plays on the cithara, which also brings money, and lately but that is a secret. 'That is a secret! What! cried Lydon, 'art thou turned sphinx? 'Sphinx, no! why sphinx?
"There should be a contrast," rejoined Eudora, smiling: "The pillars of agoras are always of lighter and less majestic proportions than the pillars of temples." As she spoke, Geta lifted the curtain, and Philothea instantly obeyed the signal. For a few moments after her departure, Eudora heard the low murmuring of voices, and then the sound of a cithara, whose tones she well remembered.
They who succeeded in carrying their lights from boundary to boundary unextinguished were declared the victors. This game will at once recall the moccoletti, which close the carnival at Rome. Dancing to the sound of the cithara, flute, and pipe, was a favorite amusement with all classes. The grizzly veterans and the younger soldiers all joined in martial dances.
At the walls cithara players and Athenian choristers were waiting for the signal of their leader. The table service gleamed with splendor, but that splendor did not offend or oppress; it seemed a natural development. Joyousness and freedom spread through the hall with the odor of violets.
When the musician of early times enlarged this chamber, moved it to the end of the bow, and multiplied the strings, he constructed the cithara of antiquity, the ancestor of a host of modern types, from the harp to the bass-viol and mandolin. The dance and the drama find their beginnings in the simple reënactment of an actual series of events.
This would have been thoroughly in keeping with the growing tendency of the frottola to use refrains and advance toward strophical form. The lyre, with which Baccio Ugolino as Orfeo accompanied himself, may have been a cithara, but the probabilities are that it was not. Prætorius tells us that there were two kinds of Italian lyres.
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