If any considerable specimen of the music of Euripides had survived, it might have solved many of the problems with which we have been dealing. The fragment before us extends over about six lines in dochmiac metre (_Orestes_ 338-343), with the vocal notation: but no single line is entire. The key is the Lydian. The genus is either Enharmonic or Chromatic. Assuming that it is Enharmonic--the alternative adopted by Dr. Wessely--the characters which are still legible may be represented in modern notation as follows: [Music: [_Euripides_, _Orestes 338-344_. [Greek: (katolo)phy-ro-mai; ma-te-ros (haima sas ho d' ana)bak-cheu-ei; ho me-gas (olbos ou monimo)s en bro-tois; a-na (de laiphos hôs ti)s a-ka-tou tho-as ti-na(xas daimôn) kat-e-kly-sen (deinôn ponon) hôs pon-tou labrois k.t.l. ] It should be observed that in the fragment the line [Greek: katolophyromai katolophyromai] comes before 338 ([Greek: materos k.t.l.]), not after it, as in our texts[1]. [Footnote 1: I need not repeat what is said by Dr. Wessely and M. Ruelle in defence of the genuineness of our fragment. They justly point to the remarkable coincidence that the music of this very play is quoted by Dionysius of Halicarnassus (_l. c._). It would almost seem as if it was the only well-known specimen of music of the classical period of tragedy. The transcription of Dr. Crusius, with his conjectural restorations, will be found in the _Appendix_. I have only introduced one of his corrections here, viz. the note on the second syllable of [Greek: kateklysen].] The notes employed, according to the interpretation given above, give the scale _g-a-a*-a#-d-e-e*_. If the genus is Chromatic, as M. Ruelle is disposed to think, they are _g-a-a#-b-d-e-f_. When these scales are compared with the Perfect System we find that they do not entirely agree with it. Whether the genus is Enharmonic or Chromatic the notes from _a_ to _e*_ (or _f_) answer to those of the Perfect System (of the same genus) from Hypatê Mesôn to Tritê Diezeugmenôn. But in either case the lowest note (_g_) finds no place in the System, since it can only be the Diatonic Lichanos Hypatôn. It is possible, however, that the scale belongs to the period when the original octave had been extended by the addition of a tone below the Hypatê--the note, in fact, which we have already met with under the name of Hyper-hypatê (p. 39). Thus the complete scale may have consisted of the disjunct tetrachords _a-d_ and _e-a_, with the tone _g-a_. It may be observed here that although the scale in question does not fit into the Perfect System, it conforms to the general rules laid down by Aristoxenus for the melodious succession of intervals. It is unnecessary therefore to suppose (as Dr. Wessely and M. Ruelle do) that the scale exhibits a _mixture_ of different genera.