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Music and Society in Longus' Daphnis and Chloe and Alciphron's Epistulae

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Music and Society in Longus' Daphnis and Chloe and Alciphron's Epistulae Washington University in St. Louis Washington University Open Scholarship Arts & Sciences Electronic Theses and Dissertations Arts & Sciences Spring 5-2020 Music and Society in Longus' Daphnis and Chloe and Alciphron's Epistulae Ian B. McNeely Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/art_sci_etds Part of the Classical Literature and Philology Commons Recommended Citation McNeely, Ian B., "Music and Society in Longus' Daphnis and Chloe and Alciphron's Epistulae" (2020). Arts & Sciences Electronic Theses and Dissertations. 2041. https://openscholarship.wustl.edu/art_sci_etds/2041 This Thesis is brought to you for free and open access by the Arts & Sciences at Washington University Open Scholarship. It has been accepted for inclusion in Arts & Sciences Electronic Theses and Dissertations by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Classics Music and Society in Longus’ Daphnis and Chloe and Alciphron’s Epistulae by Ian McNeely A thesis presented to The Graduate School of Washington University in partial fulfillment of the requirements for the degree of Masters of Arts May 2020 St. Louis, Missouri © 2020, Ian McNeely Table of Contents Acknowledgments ..........................................................................................................................iv Introduction .....................................................................................................................................1 1. Reading Longus and Alciphron......................................................................................... 2 1.1. Longus’ Daphnis and Chloe ..................................................................................................3 1.2. Alciphron’s Epistulae .............................................................................................................7 2. Sophisticated Similarities: Longus and Alciphron ..........................................................10 3. Source Material and the Bucolic Question .....................................................................15 4. History of Scholarship ....................................................................................................19 5. Scope and Methodology.................................................................................................. 23 Chapter 1: The Instruments ...........................................................................................................26 1.1 Greek Music and Instruments: The Function of Music in Society .................................27 1.2 Musical Instruments in Alciphron’s Epistulae ................................................................36 1.3 Musical Instruments in Longus’ Daphnis and Chloe ......................................................39 1.3.1 Hierarchies of Herdsmen .....................................................................................................40 1.3.2 Hierarchies of Instruments ...................................................................................................45 1.4 Conclusion ......................................................................................................................55 Chapter 2: Herdsmen’s Music .......................................................................................................56 2.1 Bridging Bucolic Boundaries: Alciphron’s Pratinas .......................................................56 2.2 Bridging Bucolic Boundaries: Longus’ Daphnis ............................................................63 2.3 Conclusion ......................................................................................................................72 Chapter 3: Farmers and Festivities ................................................................................................74 3.1 Alciphron’s Farmers’ Festival: Epistulae 2.15 ................................................................75 3.2 Longus’ Rustic Rhythms: The Vintage Edition............................................................... 78 3.3 The Three-Fold Festival for Pan .....................................................................................86 3.3.1 Philetas’ Instruction in the Deeds of Eros: 2.3-7 .................................................................87 3.3.2 Pastoral Preliminaries to the Festival to Pan: 2.30-31 .........................................................88 3.3.3 Philetas the Performer: 2.32-38 ...........................................................................................90 3.4 Conclusion ......................................................................................................................99 !ii Chapter 4: He Sings Sea-Songs off the Seashore .......................................................................101 4.1 Alciphron’s Maritime Music .........................................................................................101 4.1.1 A Moral Motif in Ep. 1.15 .................................................................................................102 4.1.2 Sophistic Seamen in Alciphron’s Epistulae .......................................................................105 4.2 Longus’ Technical Music at Sea.................................................................................... 108 4.2.1 Longus’ Methymnaeans: The Syrinx and the Salpinx .......................................................108 4.2.2 Sea Shanties and Sea Sounds: Daphnis and Chloe 3.21-2 .................................................114 4.3 Conclusion ....................................................................................................................121 Chapter 5: Prostitutes and Parasites .............................................................................................122 5.1 Courtesans' Music in Longus and Alciphron ................................................................122 5.1.1 Alciphron’s Courtesans: Erotic Music in a Rural Landscape ............................................123 5.1.2 Longus’ Courtesans: Lykainion and Echo .........................................................................127 5.3 Parasites and the Music of Myth ...................................................................................135 Conclusion ...................................................................................................................................143 Bibliography ................................................................................................................................148 !iii Acknowledgments This thesis has developed over an extended period of time and I have accrued a number of debts through its production. To my advisor, Dr. Luis Salas, I owe my greatest thanks for many and extensive suggestions, and for tolerating the manifold iterations that this thesis has undergone since first I pitched the topic. I also owe many thanks to the members of my committee, Dr. Tim Moore and Dr. Zoe Stamatopoulou, for graciously reading this thesis and offering their suggestions throughout the process. I owe additional gratitude to two further professors, for cultivating my interest in Daphnis and Chloe and its music. I thank Dr. Rebecca Sears for encouraging the first versions of this research in a seminar in the spring of 2019. To Dr. Tom McCreight I give my humblest thanks for four years of undergraduate work in Classics at Loyola University Maryland, and especially for introducing me to the ancient novels. Finally, I thank my parents for having encouraged me to continue to pursue an education in Classics at Washington University in St. Louis. Ian McNeely Washington University in St. Louis May 2020 !iv Introduction Music was present in most aspects of ancient life. It was a formal part of public celebrations, led armies in battle, helped workers pass the time during daily tasks, and accompanied more personal entertainment, such as weddings, birthdays, and symposia.1 Extant descriptions of music, poems, and musical notation provide a decent understanding of the form and context of the music that was favored by the political elite from Classical Greece through the Roman Imperial period. Less well-understood is the “submerged” music produced and enjoyed by non-elite and non-urban members of society.2 Alciphron’s Epistulae and Longus’ Daphnis and Chloe include musical performances by a common variety of non-elite fictional characters, namely herdsmen, farmers, fishermen, parasites, and courtesans. This non-elite music is central to Longus’ and Alciphron’s depictions of society in ways not shared by other fictional prose narratives of the Imperial period. A close examination of the music that is performed in the countryside in these two texts offers an anatomy of the social structures that underlie the narrative in each work of fiction. My thesis, titled “Music and Society in Longus’ Daphnis and Chloe and Alciphron’s Epistulae,” raises two interrelated questions: why should the texts of Longus and Alciphron be considered together, and how does music reflect the social structures that are present within these two texts? This thesis aims to explicate the function of music performed in a non-urban environment for the fictional societies within each text. While several attempts to interpret the function of music in Longus' Daphnis and Chloe have been published in recent
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