Abstract

The article discusses the composition of Lysias’ speech, devoted to the history of music, in Pseudo-Plutarch’s treatise On Music. Close attention has been paid to the unifying mechanisms employed by Lysias to create the coherence and unity of the textual construction. The analysis of the speech presented in the article leads to the conclusion that the employment of clearly marked and coordinated two-part units became the most important technique of the organisation of this speech. The first part of each of eleven pairs Lysias’ speech consists of includes quotations from earlier written sources, the second displays comments and interpreting remarks on these citations. This scheme of organisation of the speech provides the internal order and continuity of thought in the historical part of Pseudo-Plutarch’s work.