Sappho F 44 Voigt and Euripides' Troades

Mnemosyne 71 (2018) 920-937

brill.com/mnem

Sappho F 44 Voigt and Euripides’ Troades

Lucía P. Romero Mariscal University of Almería—Cysoc [email protected]

Received February 2017 | Accepted July 2017

Abstract

In this paper a new interpretation of the first stasimon of Euripides’ Troades is pro- posed, based on a plausible relationship with Sappho’s F 44 Voigt. Sappho’s version of the wedding of Hektor and Andromache seems to be poetically evoked by the women of the chorus right before Andromache’s arrival on stage in the second episode of the play. The lyric, recalling the welcoming of the Trojan Horse to the town and the ensu- ing communal revelry, conjures up the civic celebrations at the nuptial procession and reception of the happy couple. The striking contrast between the lyric past and the tragic present casts an even more somber light not only on the widow of Hektor but also on the Trojan women themselves who form the chorus of the play.

Keywords

Sappho – Euripides – Troades – Andromache – First Stasimon

1 Introduction

Euripides’ Troades deals with the immediate aftermath of the Trojan War, drawing particular attention to the vanquished female survivors rather than to the male Greek victors. Due to the recent capture of the city by the Achaeans, the Trojan women find themselves in a sort of transitional state: strictly speak- ing, they are not yet slaves, but prisoners of war held captive, awaiting a deci- sion about their fate.1 As such, the women of the chorus fear for their lives

1 As Gregory 1991, 155 points out, “they are not entitled to even the minimal protection that slaves could expect from their masters”. See also Croally 1994, 85. In this regard, the chorus

(E. Tr. 178-179), although they equally dread the alternative to death—slavery.2 Moreover, the specific kind of slavery these women actually fear in the first place is sexual, meaning that the impending doom looming large over these frightened war captives is death or sexual submission (E. Tr. 180-181).3 As Craik 1990, 30 aptly put it, “Troades is about sex and war: great and perennial, perhaps the greatest and most perennial of all, literary themes.” Not only the chorus but also the main characters of the play are all women of Troy and hence prisoners of war. Hekabe, the former queen of the city, is always present on stage, which turns her into the linchpin of the drama as well as the virtual leader of the chorus.4 Furthermore, throughout the different episodes of the tragedy she encounters other formidable female characters to whom she is closely related in one way or another. Together with Hekabe and the chorus, all these singular women—Kassandra, Andromache and Helen— are also faced with the gendered predicament that afflicts female war captives (i.e. the explicit menace of death or sexual submission to a male master).5 Although Kassandra, Andromache and Helen have been handpicked and not

of Euripides’ Troades is unique in the extant corpus of Athenian tragedy, except, perhaps, for Phrynichus’ Capture of Miletus and Sophocles’ The Captive Women. The chorus of Euripides’ Troades actually suffers what the chorus of Aeschylus’ Seven Against Thebes 321-368 fears so much. Not even the chorus of Euripides’ Hecuba equals the acute sense of shock and uncer- tainty that afflicts the chorus of Troades, due to the fact that in the former play some time has already passed from the sacking of the city to the enforced delay that prevents the Greeks from resuming their nostos from the shores of Thrace. 2 According to Suter 2003, 19, “in lamenting their passage to their life of slavery, the women are, unbeknownst to themselves, lamenting their own deaths also. For they, although innocent, will die with the guilty Greeks in Athena’s storm.” However, as Rodighiero 2015, 250-251 no- ticed, none of the characters of the play will actually be drowned in Athena’s and Poseidon’s storm. The prologue of this play seems to act as a threshold through which the current situation of the Trojan women is laid bare to the audience, i.e. their immediate state as war captives. For the ambiguous interpretation of the role of the gods not only in the prologue but also throughout the storyline of the play, see also Goff 2009, 37-39 and 42. 3 Regarding female war captives, see Scodel 1998, 140, who insists on the fact that “the acceptance of the sexual relationship is part of the general acceptance of slavery”. 4 See, amongst others, Goff 2009, 43. For the text of Euripides’ Troades I will follow Diggle’s OCT. 5 According to Craik 1990, 5-6, Hekabe’s words in lines 112-118 could be metaphorically understood as if not even old Hekabe is spared the sexual trauma which affects all vanquished women. See also Scodel 1998, 145, who also insists on the fact that in Troades “rape is an important theme from the beginning”.

Mnemosyne 71 (2018) 920-937 Downloaded from Brill.com09/27/2021 02:21:53AM via free access 922 Mariscal simply allotted, as is the case for Hekabe and the chorus,6 the plight of these women, especially Andromache, is almost identical to that of the chorus, and the Trojan women explicitly liken their situation to hers (E. Tr. 684-685). As the faithful widow of Hektor and loving mother of Astyanax, Andromache adds qualitatively to the pathos of the play, which will eventually reach its climax in the scene of the dead child lying on the shield of his father. In sharp contrast with the unintelligible Kassandra and the sophistic Helen, Andromache—the model wife—provides a moving example of tragic peripeteia, being the epitome of heartbreaking misfortune and failed virtue.7 Curiously enough, she is not even mentioned by Poseidon in the prologue of the play and very little is said about her in the beginning of the first episode, as if, as Meridor 1989, 20-21, 28-31 plausibly contended, the poet wanted to pre- vent the audience from anticipating anything regarding her sorrowful fate and, most of all, that of her child. Therefore, her first and only appearance on stage is both theatrically impressive and dramatically moving, since the playwright seems to have carefully prepared it within the gradual unfolding of the plot. The so-called ‘Andromache scene’ takes place after the ‘Kassandra scene’ in the first episode of the play. More precisely, it starts right after the first stasimon. Prior to this, a baffling celebratory hymn with perverted hymenaeal features is strikingly deployed by the enthusiastic prophetess in her first monody.8 Kassandra’s mother, who had refused to join in with the attempted choral celebration that her daughter had so unfathomably initiated, was dev- astated after the departure of the insane ‘bride’ (E. Tr. 500-510). It was at that very moment when the chorus sang the first stasimon of the drama (E. Tr. 511- 567). Hekabe had previously told the women of the chorus to respond with laments to Kassandra’s hymenaeal exhortations, since mourning was actually more fitting to the situation in which all of them, not only Kassandra, were immersed (E. Tr. 351-352).9 Therefore, in the first stasimon the chorus resumes

6 The chorus is actually divided into two semichoruses and would perhaps impersonate both adult women as well as young girls or parthenoi. See Parmentier 2001, 34-35 n. 3, Lee 2001, 90-91, and Goff 2009, 45. That not only the women of the chorus but also Hekabe have been allotted is clear from E. Tr. 243, 277, 282, 289-291 and 1270-1271. See, also, Hose 1991, 288-290. 7 See Meridor 1989, 35, Croally 1994, 90, 92, and Rodighiero 2016, 193. 8 For Kassandra’s monody and the language of hymenaios, see, amongst others, Barlow 1986, 173-174; Papadopoulou 2000, 520-523; Battezzato 2005, 77-79; Cerbo 2009, 87 n. 1 and 96; Lee 2001, 125-129, and Swift 2010, 254-255, as well as 400. 9 However, that Kassandra’s perverted hymenaeal monody bears some funereal features has been highlighted by Suter 2003, 8-9, for whom “the conception of marriage as a kind of death is common in Greek literature and ritual; here the two are presented as inextricably combined”.

MnemosyneDownloaded from71 (2018) Brill.com09/27/2021 920-937 02:21:53AM via free access Sappho F 44 Voigt and Troades 923 the lamenting with a new song, a dirge, which ironically is also brimming with stark references to premature celebrations with joyful music as well as choral singing and dancing. I submit that the first stasimon of Euripides’ Troades functions as a hinge between the ‘Kassandra scene’ and the ‘Andromache scene.’10 It appears to me that, throughout this stasimon, the poet is deliberately preparing the audience for the spectacular entrance of Andromache and he manages to do so by means of recurrent allusions not only to epic but also to lyric and, more specifically, Sapphic poetry.11 Furthermore, I am inclined to propose that the playwright builds on Sappho’s F 44 Voigt in order to introduce the second episode of the tragedy and to draw an even more poignant contrast between the happy Andromache who once came to Troy as the gorgeous bride of Hektor and the miserable Andromache who will now leave Troy as the pitiful bed slave of Neoptolemos.12 As such, the imagery depicted in F 44 Voigt by Sappho is pervasive in the first stasimon of Euripides’ Troades and, in my view, the subtle but recognizable interplay between Sappho’s song and Euripides’ tragedy aims to highlight the situational contrast between the glorious past and the

10 I adhere to the recent scholarly interpretations that reject the view of this peculiar stasimon as an embolimon. See, amongst others, Rodari 1988, 131-132 and Sansone 2009, 202. 11 I concur with Davidson 2001, 70 in the sense that “many post-Iliadic texts (such as the Little Iliad and lliou Persis of the Cycle, Stesichorus’ Iliou Persis and a number of non- extant tragedies) specifically dealt with the actual sack of Troy and its aftermath, so that Euripides’ Troades has to be seen in relationship to them as well…. However, it still seems reasonable to assume that the Iliad has special significance for Euripides as the overarch- ing text, so to speak, for the concerns with which he is dealing in the Troades.” See also Power 2010, 272 and West 2013, 206. 12 That Sappho’s songs were well known and performed in a rich variety of cultural contexts in classical Athens has been asserted, amongst others, by Yatromanolakis 2007, chapters 2 and 3, especially on pages 217 and 225-226, as well as 2009, 221-226. See also Di Marco 1980, 44, Cavallini 1986, 199-200 and Most 1995, 31-32, with special emphasis placed on the theatrical genre of comedy and its stereotypes regarding Sappho as a poet, at whom comic poets frequently poked fun. Walker 2000, 232-233 as well as Nagy 2009, 175 and 179 insist on the Athenian tradition of performing Sappho’s songs in a sympotic context. According to Lardinois 1996, 151 n. 4, together with 159 n. 45 and 170, Sappho’s F 44 Voigt, a monodic song most fitting for the banquet, is precisely the most likely candidate of her lyrical repertoire to be performed at symposia. Furthermore, Nagy 2009, 179 and 183-185 even proposes a Panathenaic context for the performance of songs attributed to Sappho. See also Bierl 2010, 2, 5 and 8. Certainly, on the last point there is room for disagreement, given the scarcity of the evidence.

Mnemosyne 71 (2018) 920-937 Downloaded from Brill.com09/27/2021 02:21:53AM via free access 924 Mariscal sorrowful present both of the Trojan women in general and of Andromache in particular.13

2 The First Stasimon of Euripides’ Troades

It is beyond question that the first stasimon of Euripides’ Troades, with its un- paralleled invocation of the Muse as well as with its explicit assertion of the novelty of its inspired song as an epikêdeion, “recalls the end of the last book of the Iliad and also reaches out beyond itself to the dramatic whole of which the stasimon is part”.14 The detailed analysis carried out by Sansone 2009, 198-200 sufficiently proves that this stasimon “relies on its epic associations to enhance the depth of its meaning by incorporating Homeric material into its tragic fabric”.15 This having been said, the possible associations of this stasimon with Sappho’s F 44 Voigt, whose own appropriation of Homeric material has also

13 How many people in the theatre audience would actually grasp the Sapphic allusions is obviously impossible to ascertain taking into account the conceivable diversity of the people from all walks of life who would be attending the performances. That being said, the well known Trojan characters which are involved in Sappho’s F 44 Voigt, and the epic flavour of the poem itself, together with its likely diffusion (see above note 12), should make us confident of a plausible familiarity with Sappho’s song at least for the average educated person. I concur with Swift 2010, 40 when she holds that “it seems likely that Athenians knew her [Sappho] as a famous figure, but ordinary Athenians could have known who Sappho was without claiming detailed familiarity with her works”, but I agree even more with her claim that “in addressing the issue of how familiar Athenians were with lyric poetry, we can assume that even for genres which were not performed publicly, Athenians would have known enough to pick up allusions.” For the significant portion of the audience members who, regardless of their social and cultural stratification, would have acquired a considerable degree of theatrical competence due to their own personal involvement as choreutai in dramas and/or dithyrambs, see Jedrkiewicz 1992, 11-12 and Revermann 2006, 110-111. Much in the same vein, Swift 2010, 31 also insists on “the song- dance culture which formed a significant part of the audience’s daily life”. 14 Sansone 2009, 197. See also ibid., 194 and 196. Following Power 2010, 272, the dactylic incipit of the invocation of the Muse in Euripides’ Troades “unmistakably references citharodic music”. In other words, it “attests to a citharodic tradition of singing Cyclic narrative”. 15 Sansone 2009, 199. See also Biehl 1989, 223-225, Battezzato 2005, 85-86 and 89-90 and Rodighiero 2016, 179-180, with bibliography. Especially appealing is Munteanu 2010-2011, who insists on the feminine perspective on epic themes of this passage.

MnemosyneDownloaded from71 (2018) Brill.com09/27/2021 920-937 02:21:53AM via free access Sappho F 44 Voigt and Troades 925 been acknowledged,16 have not been explored to date, although other items of Sappho’s poetry have been brought up regarding the second stasimon of Euripides’ Troades.17 Since this tragedy is not the only one where some sort of intertextual play with Sapphic poetry has been deemed relevant to the un- derstanding of specific passages,18 we consider it tenable as well as fruitful to follow suit by proposing a new case of Sapphic intertextuality in Euripides’ plays.19

16 According to Rissman 1983, 121, “this is Sappho’s most Homeric poem”. Likewise, Ferrari 1986 and 2010, 128 has acknowledged the “epicizing re-evocation of the wedding of Hector and Andromache in the last poem of the second book (F 44)”. See, also, amongst others, Page 1955, 71, Burnett 1983, 3 and 219, Schrenk 1994, Pallantza 2005, 83-89, Yatromanolakis 2007, 198-199 and Wilson 1996, 149 as well as 153-154, although in Wilson’s opinion Sappho’s version is separated “not only from the Homeric tradition, but from other, namely male, poetic narratives of her time”. To Nagy 2013, 98, “Song 44 of Sappho is an example of epic as refracted in women’s songmaking traditions” (Nagy’s emphasis). 17 Particularly, lines 820-824 from E. Tr. seem to evoke Sappho F 2 Voigt, 13-16 as well as F 96 Voigt, 28-29. See Pertusi 1953, 378-380, Lee 2001, 215 and Goff 2009, 63 and 143 n. 39. 18 Cavallini 1983, 50 and 53-54 follows the traces of Sappho F 44, 5 ff. Voigt in S. Tr. 533 ff., but she also underscores the parallels between Euripides and other poems by Sappho in E. Hipp. 522 ff. (evocative of F 112 Voigt, 3 ff.; Hec. 172-173 and 207 ff. (evocative of F 1 Voigt, 6 and F 55 Voigt); Ion 82-85 (evocative of F 34 Voigt); Tr. 991-992 and Cyc. 182 ff. (evocative of F 22 Voigt, 13-14), as well as El. 1351 ff. (evocative of F 1 Voigt, 25-26). For a more detailed analysis of the perceptible influence of Sappho on the poetry of Euripides, see also Cavallini 1986, as well as Paganelli 1979, 200 and Di Marco 1980 (who focus on Sappho F 22 Voigt and E. Cyc. 182-186), together with López Cruces and García González 2012, 197-203 and 205 (who focus on Sappho F 16 Voigt and the parodos of E. Hyps.). Moreover, Scodel 1997 also acknowledges the importance of Sappho in the poetic construction of “the female spectator in Euripides”, with special emphasis on Sappho’s F 16 Voigt and Euripides’ late plays Phoenissae (88-201), Hypsipyle (F 752f 19-38 as well as F 752g 8-17 Kannicht) and Iphigenia at Aulis (164-302). Similarly, according to Marzullo 1979, 109-110, E. Hel. 694-697 seems to draw on Sappho’s F 16 Voigt. In addition to this, Calder III 1984 also picks up on an echo of the same poem by Sappho at A. A. 403-419. 19 Intertextual approaches allow us to explore the connections between texts, disregard- ing questions of intention or consciousness, thus covering a very broad spectrum of literary relationships (allusion, parallels, quotations). Additionally, in the case of ancient cultures, the specific nature of ‘oral poetry’ has to be taken into account; on these issues, see Bauks 2013. In keeping with this, I follow the sensible remarks by Garner 1990, chapters 1 and 6, as well as Hornblower 2004, 269. Facing the complex issue of defending a sustained intertextual relationship between Pindar and Thucydides, the latter declares his belief that even those who do not accept conscious imitation will concede that “the text of Thucydides can be understood better by comparison with that of Pindar”.

Mnemosyne 71 (2018) 920-937 Downloaded from Brill.com09/27/2021 02:21:53AM via free access 926 Mariscal

In the remaining part of this paper I will address this possibility and pursue not only the lexical but also the ‘situational’ similarities and contrasts20 between Sappho’s F 44 Voigt and the first stasimon of Euripides’ Troades preced- ing the second episode. In doing so, I will follow in the footsteps of J. Svenbro and P.A. Rosenmeyer, whose idea of ‘allusion’ is predicated on the archaic and classical ‘song culture’, much more dependent on performance than on scrip- ture for both immediate composition and reception. As Rosenmeyer 1997, 126 pointed out, “allusive activity here reflects a general sense of literary culture, a shared heritage”.21 Indeed, in the first stasimon of the tragedy, the Trojan women of the chorus recall the moment when the Trojan horse was discovered at the gates of the city as well as the joyful celebrations with which all the people from Troy welcomed their own unexpected doom. The wooden horse is compared to a ship (ναὸς ὡσεὶ / σκάφος κελαινόν, E. Tr. 538-539) as well as to a wagon (τετραβάμονος ὡς ὑπ’ ἀπήνας, E. Tr. 516), and everyone, young and old, is said to have gathered to receive the richly decorated present. Once the artifact was wheeled inside the city, music was played and the young women danced and sang out of pure happiness in their own Phrygian ways.22 The women of the chorus say they were celebrating Artemis, the virgin goddess, sister of Apollo. Little did they suspect that their joy would immediately turn into mourning, when ‘a bloody shout went through the city and possessed the site of Troy’.23 Similarly, in F 44 Voigt Sappho describes the arrival by ship of the newly wed couple ‘from holy Thebe and ever-flowing Placia’ to the city of Troy and focuses on the joyful celebrations with which everybody welcomed Hektor and Andromache.24 The narrative voice draws attention to the transportation by carriage of the happily married couple into the city,25 who are escorted

20 This expression has been borrowed from Davidson 2001, 70 and 74. 21 Likewise, Svenbro also warned against a too literal conceptualisation of poetic allusion regarding Sappho and the so-called Homeric tradition. According to Svenbro 1984, 68, “[l]e travestissement au niveau du vocabulaire n’interdit nullement une allusion même précise”. 22 To Battezzato 2005, 74, “[i]n the Trojan Women, Trojan characters link the disruption of Phrygian traditions of song and dance performance to the arrival of the Greeks and their music, which causes the violent end of their civilisation”. 23 E. Tr. 555-557 (trans. Barlow). See also, once more, Battezzato 2005, 87-89. 24 Sappho F 44 Voigt, 6 (trans. Campbell). 25 Unfortunately, the papyri are badly damaged from line 20 onwards and one or several lines are missing, meaning the actual transportation of the couple by carriage (ll. 21-23) must be assumed from the general scene of the agôgê which is so impressively described by Sappho. See Lasserre 1989, 90.

MnemosyneDownloaded from71 (2018) Brill.com09/27/2021 920-937 02:21:53AM via free access Sappho F 44 Voigt and Troades 927 by maidens, matrons, women of the royal family and men riding on all sorts of carts, wagons and chariots.26 Furthermore, Sappho places great emphasis both on the music and the singing and dancing of absolutely everybody in the wedding escort.27 It would seem, therefore, as if, in the first stasimon of Euripides’ Troades, the chorus of Trojan women retold the famous epic scene of the Trojan Horse with distinct Sapphic echoes of F 44 Voigt on the wedding of Hektor and Andromache.28 Thus, the escort and celebrations in honour of the Trojan horse conjure up memories of a similar event but in honour of the Trojan prince and his bride. Unfortunately, the promising expectations of both joyful occasions would end up being tarnished by the bitter end eventually befalling them. In essence, while Sappho says that ‘the whole crowd of women and maidens’ (παῖς ὄχλος / γυναίκων τ’ ἄμα παρθενίκα[ν], 14-15) climbed on carts (ἐ�̣π̣[έ]βαινε, 14), as did the daughters of Priam together with young men and charioteers,29 Euripides has the women of the chorus say that ‘the whole race

26 Sappho F 44 Voigt, 13-17. See, amongst others, Page 1955, 70-71. 27 Sappho F 44 Voigt, 31-32. Regarding this, see, Wilson 1996, 152, who insists on the all- inclusive response by all the inhabitants of Troy, as well as Oakley and Sinos 1993, 26-27 and Pallantza 2005, 81-82. 28 Indeed one of the anonymous reviewers of this paper pointed out to me the possibility that Sappho’s poem was actually meant to make its audience think about the Trojan reception of the Horse. This is really very likely, since the impending tragic doom of the newlyweds was a story so well known as to remain haunting all throughout the song. As a matter of fact, some scholars had issues when considering F 44 Voigt as a proper epithalamion, due to the inauspicious associations with the heroic couple. In this regard, that Sappho could possibly have evoked the epic episode of the Trojan Horse in her depiction of the welcoming and escort of the heroic couple looks extremely probable. A verbal allusion to the Trojans’ reception of the Horse as was certainly told in the Little Iliad, an epic poem attributed to the Lesbian poet Lesches, might actually be found in line 12 from Sappho’s F 44 Voigt. The expression φήμη δ’ εἰς στρατὸν ἦλθε (F 32* Bernabé), apparently a recurrent ‘Homeric’ formula which Aeschines 1.128 linked to the Iliad, could in actual fact belong, as West 2013, 177-178 has cogently suggested, to the Little Iliad. According to West 2013, 178 and 205, this epic formula could have been used in the Little Iliad to introduce episodes such as the aftermath of the suicide of Ajax as well as the Trojans’ reception of the Horse. West 2013, 178 n. 13 suitably points out a similar expression in Sappho 44 Voigt, 12 (φάμα δ’ ἦλθε κατὰ πτ̣όλιν), possibly a subtle proleptic allusion to the epic formula that gave the cue to the famous episode of the Trojan Horse. For a summary on the stances both in favour and against an epithalamial interpretation of Sappho’s F 44 Voigt see, amongst others, Rösler 1975, 277-278, Burnett 1983, 220 n. 27, Lasserre 1989, 81-86 and Suárez de la Torre 2008, 147-149. 29 Pernigotti 2001, 19.

Mnemosyne 71 (2018) 920-937 Downloaded from Brill.com09/27/2021 02:21:53AM via free access 928 Mariscal of the Phrygians’ (πᾶσα δὲ γέννα Φρυγῶν, 531) proceeded to the gates of the city to fetch the Trojan Horse and accompany it inside the walls.30 Moreover, the chorus rhetorically asks who, young girl or old person, did not attend such an occasion (τίς οὐκ ἔβα νεανίδων, / τίς οὐ γεραιός, 527-528),31 thereby conveying an atmosphere of general excitement and collective movement similar to the one depicted by Sappho (ἐ�̣π̣[έ]βαινε, Sappho F 44 Voigt, 14 / ἔβα, E. Tr. 527).32 Sappho’s description of the jubilant hymenaeal celebrations empha- sizes the acoustic effects of the melodies played by ‘the sweet-sounding pipe’ (αὖλος δ’ ἀδυ[μ]έλης,̣ 24), intertwined with ‘the sound of castanets’ (ψ[ό]φο[ς κ]ροτάλ[ων, 25).33 In addition to this, her poetical composition also blends the instrumental music with the vocal sound of singing, since ‘maidens sang a holy song’ (πάρ[θενοι / ἄειδον μέλος ἄγν̣[ον, 25-26).34 In much the same vein, the chorus of Euripides’ Troades vividly evokes the Phrygian sounds of the Lybian pipe (Λίβυς τε λωτὸς ἐκτύπει / Φρύγιά τε μέλεα, 544-545), accompanied by the tapping of maidens’ feet (κρότον ποδῶν, 546) who danced and sang at the same time (παρθένοι δ’ / ἄειρον ἅμα κρότον ποδῶν / βοάν τ’ ἔμελπον εὔφρον’, 545-547).35 Both Sappho and Euripides stress the joy of the community through an aesthetic display where music and, more precisely, choral celebrations are prominent.36 However, whereas Sappho distinguishes between the

30 Biehl 1989, 230 comments on the aeolic form of the term γέννα, which would emphasize the possible influence of Sappho’s poetry on the passage. Both in E. Hec. 159 and Or. 972 the alpha is long. 31 For the tragic appropriation of these “pseudo-epic questions” by the chorus of Trojan women, see Munteanu 2010-2011, 133. The remarkable anaphora in these lines could actually prompt the association with Sappho’s depiction of the okhlos, who made their way through the masses to join in the welcoming of the newlyweds. 32 As Lee 2001, 166-167 insightfully put it, the presence of young girls need not be excluded: they might not do the hard work of pulling but might provide the aoidai. The anaphoric style “is attractive and stresses the idea that all the Trojans without exception were involved in the happy welcome given to the Horse”. For the crowd pulling the Horse accompanied by boys and girls singing hymns, see also West 2013, 206, regarding the Little Iliad as well as its separately framed scene at the base of the Tabula Capitolina. 33 Possibly the sound of the lyre (κίθαρις vel μάγαδις) was also included. See Campbell 1982, 88 and 90. In general, for the musical instruments played at wedding celebrations, see Lyghounis 1991, 180, with reference to ancient sources. 34 According to Burnett 1983, 222, “the effect of this piece is close to that of a dynamic choral ode”. 35 Cavallini 1986, 45 also connects E. Ba. 687 with Sappho F 44 Voigt, 25. 36 Perhaps it is not irrelevant to notice that, as Suárez de la Torre 2008, 153 observes, visual, olfactory and acoustic sensations are inextricably intertwined in Sappho’s F 44 Voigt, while Barlow 1986, 183, regarding the first stasimon of Euripides’ Troades, also recognizes

MnemosyneDownloaded from71 (2018) Brill.com09/27/2021 920-937 02:21:53AM via free access Sappho F 44 Voigt and Troades 929 ritual songs of elderly women and those of men (F 44 Voigt, 31-32)37 Euripides concentrates specifically on the female ritual singing and dancing of the chorus of the play, formed solely by Trojan women. In Sappho’s F 44 Voigt, 31-34, women ‘cried out joyfully’ a kind of celebratory paian,38 while all the men called on the god Apollo himself and ‘sang in praise’ (ὔμνην) of Hektor and Andromache.39 Similarly, the chorus of Troades performs in honour of Artemis, Apollo’s sister (E. Tr. 551-555). In a remarkably gendered and self-referential way, the women of the chorus direct their attention towards their own past choral activity of singing and dancing (ἐμελπόμαν / χοροῖσι, 553-554) in honour of a virgin goddess associated not only with Troy but also, and more importantly, with female virginity and prenuptial rites.40 Only moments before their tragedy, these women exulted at their supposed victory as in the utmost happiness of a wedding celebration, and it is this very moment which is sadly recalled in the choral performance that is actually taking place intradramatically.41 What the women of the chorus now sing is a totally new hymn (καινῶν ὕμνων, E. Tr. 512). It is a mourning song, and it is its sharp contrast not only with their recent past celebrations but also with those of the wedding of Hektor and Andromache, which seems to resonate so powerfully.42 The hymenaeal undertones of the antistrophe belonging to the first stasimon of Euripides’ Troades have also been acknowledged by Swift 2010, 191 and 220, who regarded lines 545-547 and 552-555 as allusive to the choral celebrations of parthenaia. In her opinion, the parthenaic imagery displayed

that “it is not enough to separate out the effect on the senses, for they interpenetrate one another”. 37 See Swift 2010, 258. As Oakley and Sinos 1993, 25 point out regarding wedding celebrations in ancient Athens, “men and women danced at the wedding, celebrating the occasion just as they did feasts to the gods, with joyful steps that gave pleasure to gods and men. Men and women danced in separate groups but within view of each other.” 38 F 44 Voigt, 31 (trans. Campbell). On the close relationship between ὀλολυγή and paian, see Calame, referenced by Pernigotti 2001, 18 n. 39 and Cavallini 1986, 129. On the different readings of the two papyri, where POxy 1232 renders ἐλέλυσδον and POxy 2076 ὀλόλυζον, see again Pernigotti 2001, 14. 39 F 44 Voigt, 34 (trans. Campbell). For possible echoes of this passage by Sappho in Theognis and, most of all, Pindar and Bacchylides, see Cavallini 1986, 126-133 and 159. 40 According to Oakley and Sinos 1993, 12, “the bride must win Artemis’ acquiescence in order to depart safely from her sphere to the sphere of sexuality belonging to Aphrodite”. See also ibid., 14-15, 31, 54-56 and 100, as well as Lyghounis 1991, 160-161. 41 In this last respect, see in particular Battezzato 2005, 87. 42 For these ‘new hymnic strains’, see Munteanu 2010-2011, 132. Although without referring to Sappho, see also, in this regard, Rodari 1988, 134.

Mnemosyne 71 (2018) 920-937 Downloaded from Brill.com09/27/2021 02:21:53AM via free access 930 Mariscal along these lines serves to underline the sexual transition, which the Trojan women will undergo as concubines of the victorious Greeks, and not as their legitimate wives. This much is true, although, as Swift herself recognizes, the Trojan women of the chorus are not maidens but mothers who throughout the play mourn the death of their husbands and separation from their children. In my view, the wedding undertones are due not only to the concerns of the play on female war captives and sexual aggression, but also to the remarkable memories of a joyful past whose glorious splendor was paradigmatically encapsu- lated by the wedding of Hektor and Andromache.43 Here Euripides seems to make use of the inextricable link which in all likelihood Sappho had already brought into play, namely between the joyful celebrations for the welcoming of the Trojan horse (a symbol of evanescent peace and imminent death) and the merrymaking for Hektor and Andromache on the occasion of their wedding day (a paradigm of transient happiness and impending doom).44

3 The Second Episode of Euripides’ Troades: The ‘Andromache Scene’

In the second episode of Euripides’ Troades, Andromache’s entrance is an- nounced by the chorus (or coryphaeus) in anapaests (568-576). The stately approach of mother and son through one of the parodoi is thus theatrically highlighted by this anapaestic announcement.45 Indeed, their chariot-borne

43 Andromache might already be visible to the audience, being transported through one of the parodoi of the theatre into the orkhestra during the end of the choral song. 44 According to Swift 2010, 249-250, the genre of the hymenaios would consistently imply the association between mixed singing and wedding ritual, reflecting the unification of the sexes “albeit with a bias towards the female experience”. To my mind, this is precisely what we find in the choral recollections of the first stasimon of Euripides’ Troades. Like Sappho, the Trojan women of the chorus distinguish between the choral dancing and singing of the parthenoi, which are described in the third-person plural (βοάν τ’ ἔμελπον, 545-547), and their own choral celebrations to Artemis, which are mentioned in a related though clearly separate way in the first-person singular (551-555). By contrast, their female celebrations are immediately followed by ‘the bloody shout’ (φοινία δ’ ἀνὰ / πτόλιν βοά, 555-556) of the male Greek soldiers who, like another chorus, discordantly join in. The striking echoes of these lines (φοινία δ’ ἀνὰ / πτόλιν βοὰ, E. Tr. 555-556) regarding the previous recollections of the Trojan Horse episode (ἀνὰ δ’ ἐβόασεν λεὼς / Τρωϊάδος, E. Tr. 522-523) could also bring to mind the line where Sappho seems to have evoked the epic tradition of the Trojan Horse (φάμα δ’ ἦλθε κατὰ πτ̣όλιν, F 44 Voigt, 12). See above note 28. 45 As Taplin 1977, 73 puts forward, “we have in surviving tragedy thirty or so anapaestic an- nouncements, recited by the chorus or coryphaeus. In nearly every case there is some obvious way in which the entry is slow or stately.”

MnemosyneDownloaded from71 (2018) Brill.com09/27/2021 920-937 02:21:53AM via free access Sappho F 44 Voigt and Troades 931 entry is apposite for this particular kind of announcement.46 Moreover, the choral greeting that immediately ensues, which according to Taplin 1977, 74-75 tends to occur “in situations of high pathos”, casts a special tragic light both on the woman and her little son (572-576). As Goff 2009, 56-57 has pointed out, “Andromache’s entrance is just as striking as the all-singing, all-dancing entrance of Kassandra, invoking as it does a number of other dramatic chariot entrances such as those of Atossa in Persians, Agamemnon in Agamemnon, and Klytemnestra in Euripides’ Elektra. Comparison with other such entrances indicates that they mark the point of a precipitous fall from prosperity to doom.”47 The announcement of Andromache’s entrance is rather long and detailed. As Halleran 1985, 97 has remarked, it was actually a wagon, not a chariot that Euripides employed for this impressive ‘moving tableau’.48 In Halleran’s view, “the simple wagon carrying Hektor’s wife and son among other objects of spoil (573-4) deeply impresses the viewer, who makes the implicit comparison with the more usual chariot scene”. Taplin 1977, 76 and 305 has also highlighted the conspicuous detail of the spoils and trophies of Troy that accompany mother and child in their means of transport and which are “clearly marked”. Consequently, the Phrygian booty (574), of which Andromache and her child are part as chattels, together with the weapons of Hektor, might evoke not only the words of the god Poseidon at the beginning of the prologue of the play regarding the Greeks’ pillage (18-19), but also the well known story of Andromache’s and Hektor’s transportation on their wedding day.49 Carts were the vehicles normally used at weddings in ancient Athens, so the unexpected vision of the woman and the child on a wagon could well trigger the ‘tragic wedding’ association.50 To put it in a nutshell, the image of

46 See, again, Taplin 1977, 74-75 as well as Cerbo in Di Benedetto and Cerbo 1998, 150-151 n. 69. 47 See also Lee 2001, 174, Barlow 1986, 187 and Cerbo in Di Benedetto and Cerbo 1998, 184 n. 154. 48 Cf. E. Tr. 569, 572 and 626. 49 According to Paley 2010, 479, “it is probable that the σκῦλα, especially as mentioned over and above ὅπλα, the shields and spears, mean the costly embroidered garments and pepli taken in the houses of Troy”. 50 See Oakley and Sinos 1993, 29 and 87-95. Only Biehl 1989, 250 wonders about the possible association of the wagon in this scene with wedding carts. This association is confirmed by Rehm 1994, 131. The fact that Euripides employs a wagon and not a chariot deprives the scene of the heroic grandeur so common in literary sources describing wedding proces- sions, including Sappho’s F 44 Voigt, 17. For the expression ‘tragic wedding’, see Seaford 1987. Astyanax is Hektor’s legitimate son, so he evokes the haunting image of his father in this play.

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Andromache being carried on a wagon with the trophies of war and the weapons of her former husband would very likely bring to mind her proper wedding as recreated by Sappho, when she was being transported and accompanied by all sorts of wagons, together with her husband and her splendid dowry, to her new home. In Sappho’s version, bride and groom looked like gods in the glam- our of their wedding procession,51 especially Andromache, whose beauty and wealthy gifts are praised in particular detail.52 It is precisely the memory of the happiness and splendour of that moment from the past that renders the present so poignant now. The delicate bride, who was carrying with her all sorts of domestic and feminine items as part of her dowry, has now been turned into a pitiful war captive carried away amongst other spoils of war.53 Indeed, in the second episode of Euripides’ Troades, Andromache seems to be reenacting her once famous and jubilant wedding, only in reverse.54 On this occasion she leaves Troy by wagon in order to be taken to the ship, which will take her to a new home she truly loathes.55 Scholars have commented upon the general tendency of Greek tragedy to imagine extramarital union as marriage,56 and the reflection of that general tendency in this particular scene has already been pointed out.57 Moreover, as Oakley and Sinos 1993, 4 have ob- served, “the misery of tragic figures, both men and women, is often dramatized

51 Cf. F 44 Voigt, 23 and 34. See, also, Nagy 2013, 98. 52 Pallantza 2005, 86-87 highlights this characteristic focus on the newly wedded bride both in Sappho’s poetry in general and in this fragment in particular. 53 See, once more, Pallantza 2005, 88, who elaborates on Sappho’s appropriation of the Homeric tradition in order to sing the triumph of peace over war. For the Homeric associations of both cart and gifts with Priam and the ransom of Hektor in Sappho’s F 44 Voigt, see Rissman 1983, 126 and 145 n. 34; Schrenk 1994, 145 and 147, as well as Pallantza 2005, 84-85. Similar Homeric associations regarding Euripides’ Troades have also been acknowledged by Davidson 2001, 71. 54 As Page 1955, 72 points out, “Sappho has chosen to introduce the story of Hector and Andromache at a peculiar moment—the moment of arrival from overseas”. At the end of the second episode, Andromache will sarcastically say that she is ready to embark on her journey to her ‘nice wedding.’ Cf. E. Tr. 777-779. Lee’s insightful comment ad loc. is worth quoting: “Andromache makes her exit on the cart in which she entered. She asks the chorus to prepare her for the marriage ceremony. They are to veil her like a bride and throw her into the ship which will take her to the bridegroom’s house for the ceremony.” Euripides masterfully begins and ends the episode with the shocking image of Andromache as a tragic bride. See also Swift 2010, 400. 55 Cf. E. Tr. 577 and most of all 660. 56 See, e.g., Seaford 1987, 107. 57 Concerning the nautical imagery of the lines, which associate the wagon to a ship, see Seaford 1987, 124 and 130 as well as Rodari 1989, 137 and Craik 1990, 7; regarding the

MnemosyneDownloaded from71 (2018) Brill.com09/27/2021 920-937 02:21:53AM via free access Sappho F 44 Voigt and Troades 933 by comparing it to the happiness of their wedding day”.58 However, as far as I know, that the Sapphic recreation of Hektor and Andromache’s wedding might precisely have served Euripides as a means of emphasizing Andromache’s ‘personal focus’ in his Troades, has not been acknowledged.59 To my mind, it is important to notice that, before the chorus greets Andromache, they first announce her arrival to Hekabe, who has probably been lying on the ground up until this moment. At this point, she would have got up in order to greet her daughter-in-law or, rather, to join her in mourning.60 The chorus plays the role of a herald who makes known the appearance of Andromache and her son to the queen (and the audience). Like Priam in Sappho’s version (F 44 Voigt, 11), Hekabe would have risen to greet the couple, although the contrast between past and present is now rather grim.61 In conclusion, Andromache’s entrance immediately after the first stasimon of Euripides’ Troades stands out if we take into account the carefully arranged scene of her arrival. Furthermore, the possible associations between the first stasimon and Sappho’s rendering of the joyous celebrations of Hektor and Andromache’s wedding in the city of Troy are plausible enough, according to the evidence I have provided in this paper. Andromache encapsulates the Trojan women’s predicament as female captives of war in transition. The memory of her happy marriage to Hektor, as Sappho originally depicted in her poetry,62 places her in a focal position and eventually renders her situation

wedding procession, see Seaford 1987, 119 and Rehm 1994, 131-132. According to Suter 2003, 13, “[t]he play acts out the image of death as marriage and death as a sea voyage”. 58 As a matter of fact, that is precisely what Andromache does at the beginning of E. Andr. 1-6. 59 I borrow this expression from Heath 1987, 91, who employs the term ‘focus’ in a technical sense, “of any character who is serving as a centre of sympathetic attention”. 60 I concur with Shisler 1945, 382 in that “[l]ying prostrate for a length of time is a method of showing emotion that is surprisingly popular with Euripides. Hecuba’s distressed state of mind is shown long before she speaks, when the Troades opens with her sorrowful figure stretched upon the ground (1-98, cf. 36-7); later in the play, too, after sinking to the ground she lies outstretched throughout a long speech of her own (466 ff.) and, after being led to a low pallet on the ground (506-8), throughout a choral song.” See, also, Goff 2009, 43. 61 Andromache addressing Hekabe as μῆτερ in E. Tr. 610 and 634 might indeed be reminis- cent of Sappho’s description of Priam as πάτ[η]ρ̣ φίλος. For the significance of Sappho’s introduction of the Trojan herald Idaeus in her poem, see Rissman 1983, 126; Schrenk 1994, 146-147 and Pallantza 2005, 84. 62 The wedding of Hektor and Andromache does not seem to have been the focus either of the literary or the iconographic tradition before Sappho. See Touchefeu-Meynier 1981, 768, Pernigotti 2001, 16 and Pallantza 2005, 83-84. However, Lasserre 1989, 97-106 believes that F 44 Voigt properly belongs to an epithalamion composed for the very moment when the newlyweds entered the house of the bridegroom. Hanging on the door of the house

Mnemosyne 71 (2018) 920-937 Downloaded from Brill.com09/27/2021 02:21:53AM via free access 934 Mariscal more pathetic.63 Her actual plight is that of a new bride who is being transported against her will to the house of her new master, with spoils of war instead of dowry and funereal lamentations replacing hymenaeal songs. As Cavallini put forward, Athenian playwrights appropriated Sappho’s poetical images and lines for their own means, Euripides not being the least of them. I believe that in the first stasimon of Troades which leads to the ‘Andromache scene,’ Sappho’s F 44 Voigt very much resonates in sharp contrast against the tragic display.64

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