Plutarch Lycurgus 21

[1] Nor was their training in music and poetry any less serious a concern than the emulous purity of their speech, nay, their very songs had a stimulus that roused the spirit and awoke enthusiastic and effectual effort; the style of them was simple and unaffected, and their themes were serious and edifying. They were for the most part praises of men who had died for Sparta, calling them blessed and happy; censure of men who had played the coward, picturing their grievous and ill-starred life; and such promises and boasts of valour as befitted the different ages.

[2] Of the last, it may not be amiss to cite one, by way of illustration. They had three choirs at their festivals, corresponding to the three ages, and the choir of old men would sing first:— Then the choir of young men would respond:— And then the third choir, that of the boys, would sing:—

[3] In short, if one studies the poetry of Sparta, of which some specimens were still extant in my time, and makes himself familiar with the marching songs which they used, to the accompaniment of the flute, when charging upon their foes, he will conclude that Terpander and Pindar were right in associating valour with music. The former writes thus of the Lacedaemonians:—

[4] And Pindar says:— ¹ The Spartans are thus shown to be at the same time most musical and most warlike; as their poet says. For just before their battles, the king sacrificed to the Muses, reminding his warriors, as it would seem, of their training, and of the firm decisions they had made, in order that they might be prompt to face the dread issue, and might perform such martial deeds as would be worthy of some record. ²