Cf. Orat. i. §§2–5; de Sent. D. 6; Socr. i. 9. The Arian Philostorgius tells us that ‘Arius wrote songs for the sea and for the mill and for the road, and then set them to suitable music,’ Hist. ii. 2. It is remarkable that Athanasius should say the Egyptian Sotades, and again in Sent. D. 6. There were two Poets of the name; one a writer of the Middle Comedy, Athen. Deipn. vii. 11; but the other, who is here spoken of, was a native of Maronea in Crete, according to Suidas (in voc.), under the successors of Alexander, Athen. xiv. 4. He wrote in Ionic metre, which was of infamous name from the subjects to which he and others applied it. vid. Suid. ibid. Horace’s Ode. ‘Miserarum est neque amori, &c.’ is a specimen of this metre, and some have called it Sotadic; but Bentley shews in loc. that Sotades wrote in the Ionic a majore. Athenæus implies that all Ionic metres were called Sotadic, or that Sotades wrote in various Ionic metres. The Church adopted the Doric music, and forbade the Ionic and Lydian. The name ‘Thalia’ commonly belonged to convivial songs; Martial contrasts the ‘lasciva Thalia’ with ‘carmina sanctiora,’ Epigr. vii. 17. vid. Thaliarchus, ‘the master of the feast,’ Horat. Od. i. 9. [The metre of the fragments of the ‘Thalia’ is obscure, there are no traces of the Ionic foot, but very distinct anapæstic cadences. In fact the lines resemble ill-constructed or very corrupt anapæstic tetrameters catalectic, as in a comic Parabasis. For Sotades, the Greek text here reads corruptly Sosates.]