This seems to be a colouring put upon the story by later writers, and the intervention of the Athenians in the matter in any way deserves little credit. It seems more probable that the legendary connection of the Dioscuri with Aphidnæ, celebrated at or near that time by the poet Alcman, brought about, through the Delphian oracle, the presence of the Aphidnæan poet at Sparta. Respecting the lameness of Tyrtæus, we can say nothing: but that he was a schoolmaster (if we are constrained to employ an unsuitable term) is highly probable, for in that day, minstrels, who composed and sung poems, were the only persons from whom the youth received any mental training. Moreover, his sway over the youthful mind is particularly noted in the compliment paid to him, in after-days, by king Leonidas: “Tyrtæus was an adept in tickling the souls of youth.” We see enough to satisfy us that he was by birth a stranger, though he became a Spartan by the subsequent recompense of citizenship conferred upon him; that he was sent through the Delphian oracle; that he was an impressive and efficacious minstrel, and that he had, moreover, sagacity enough to employ his talents for present purposes and diverse needs; being able, not merely to reanimate the languishing courage of the baffled warrior, but also to soothe the discontents of the mutinous. That his strains, which long maintained undiminished popularity among the Spartans, contributed much to determine the ultimate issue of this war, there is no reason to doubt; nor is his name the only one to attest the susceptibility of the Spartan mind in that day towards music and poetry. The first establishment of the Carneian festival, with its musical competition, at Sparta, falls during the period assigned by Pausanias to the Second Messenian War: the Lesbian harper, Terpander, who gained the first recorded prize at this solemnity, is affirmed to have been sent for by the Spartans pursuant to a mandate from the Delphian oracle, and to have been the means of appeasing a sedition. In like manner, the Cretan Thaletas was invited thither during a pestilence, which his art, as it is pretended, contributed to heal (about 620 B.C.); and Aleman, Xenocritus, Polymnastus, and Sacadas, all foreigners by birth, found favourable reception, and acquired popularity, by their music and poetry. With the exception of Sacadas, who is a little later, all these names fall in the same century as Tyrtæus, between 660 B.C.-610 B.C. The fashion which the Spartan music continued for a long time to maintain, is ascribed chiefly to the genius of Terpander.
That the impression produced by Tyrtæus at Sparta, therefore, with his martial music, and emphatic exhortations to bravery in the field, as well as union at home, should have been very considerable, is perfectly consistent with the character both of the age and of the people; especially as he is represented to have appeared pursuant to the injunction of the Delphian oracle. From the scanty fragments remaining to us of his elegies and anapæsts, however, we can satisfy ourselves only of two facts: first, that the war was long, obstinately contested, and dangerous to Sparta as well as to the Messenians; next, that other parties in Peloponnesus took part on both sides, especially on the side of the Messenians. So frequent and harassing were the aggressions of the latter upon the Spartan territory, that a large portion of the border-land was left uncultivated: scarcity ensued, and the proprietors of the deserted farms, driven to despair, pressed for a redivision of the landed property in the state. It was in appeasing these discontents that the poem of Tyrtæus, called
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Many of the Messenians who abandoned their country after this second conquest are said to have found shelter and sympathy among the Arcadians, who admitted them to a new home and gave them their daughters in marriage; and who, moreover, punished severely the treason of Aristocrates, king of Orchomenos, in abandoning the Messenians at the battle of the Trench.