! !
! !"#$%&'()*+($&',-,./(,/(01++2(",)+1.)&1+(./3(.1)4(( ( 5#)*6"67#(./3($&',-(*,')61#8(
! ! !
"#$%&'(!
)*+!,-&.%/%0-&(!(1!2(11('/3!4&/1%&'(!5(/!6(.&7&%8/!9+81&:;&1#
*..(8!=>8!?(('!
@.7!ABBC!
! !"#$%&'(&)'*+%*+&
(
!
9.:"+(6;(<6/)+/)( =!
>,')(6;(?,7&1+'( @!
A/)163&-),6/( B!
!,%&-.$'/( C! !"#$%&'()&$*'+,( -! !.$&#+(/+0(12*3454,( 67!
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
F,:",671.%*#( DG! !
!
! !
!
! A! !
21/+&'(&314.5%/& !
! !
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`(T__8(940(GGFOGFI(<0=0( 76! 670(@45%&'(%4+O5'&2')(+9$&Q*$5'8(.*3':+8(^4*2#:4&(@$+'$A(76E8(4**50(9259&'(B54W2*'&'+8(940(FFE(<0=0( 7I! 6F0(B#&;?:#*$+(#)(>34+#+8(^'1;248(=:2C24:(R'+93'8("'&Q328(940(GJKOGEK(<0=0(N'9#:+*5$9*2#:M( H[*4:+%$55;Oab"#::'&&(6DDKL( FG! 6G0(<5#:]'(5'9#:+*5$9*2#:8(.*3':4(4:C(@45+;4+(?5#$Q8(P54:1)$5*(4A(@42:8([*cC*2+93'(Z4&'52'( R2'%2?34$+(#52?2:4&(4**50(@;5#:8(940(GEK(<0=0( FJ! 6E0(.**29(<&491OP2?$5'C(.AQ3#548(<4+'&8(Q52/4*'(9#&&'9*2#:8(940(E7KOE6K(<0=0( F-! 6J0("'*42&M(.**29(N'COP2?$5'C(=54*'58(V45&+5$3'8(<4C2+93':(R4:C'+A$+'$A(7KId ! I! ( ( ( ( ( ( ( 7E0("'*42&M(R$94:24:(N'C(P2?$5'C(=54*'58(>52'+*'8(^4*$54&(\2+*#5;(@$+'$A([G668(2:*'5A'C24*'( Q'52#C8(4**50(N4?$+4(B42:*'5( ED! 7J0("'*42&M(R$94:24:(N'COP2?$5'C(=54*'58(>45':*'8(N4?$+4(=#&&'9*2#:8(G6J<8(2:*'5A'C24*'(Q'52#C8( 4**50(N4?$+4(B42:*'5( ED! 7-0("'*42&M(.Q$&24:(N'COP2?$5'C(=54*'58(^4Q&'+8(@$+'#(^4]2#:4&'(I6GFD(H\7KGKL8(94(FIKOFJE(<0=08( 4**50(R#:?(a/'5)4&&+(Z5#$Q( JK! 7I0("'*42&M(.Q$&24:(N'COP2?$5'C(=54*'58(B52/4*'(=#&&'9*2#:8(<452(@451'*8(940(FIKOFJE(<0=08(4**50( R#:?(a/'5)4&&+(Z5#$Q( JK! 7D0("'*42&M(.Q$&24:(N'COP2?$5'C(a2:#93#j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a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`($0.&FH! 1-(! '(.>1&[(! >;1%8%$H!>85!$;1;>.!E%$0.($(81>'&1H!%F!1(`1;>.!>85![&/;>.!/%;'E(/!&8!-&/1%'&E>.!'(/(>E-N!a(E%85Y! 1%! /;J/1>81&>1(! 1-(! '(E&0'%E&1H! %F! 1-(! 5&/E&0.&8(/! %F! $H1-%.%7H! >85! $;/&E! -&/1%'H! &8! 1-(! /1;5H! %F! $;/&E>.!$H1-/N!D-(&'!0>'1&E;.>'!%'&(81>1&%8!&/!'(F.(E1(5!&8!1-(!5&[('7&87!%0&8&%8/!1-(H!(>E-!->[(!%8! G.H$0;/!1-(!$;/&E&>8N!G8!1-(!%8(!->85Y!G.H$0;/!&/!'(7>'5(5!>/!>!$&8%'!F&7;'(!&8!1-(!E>1(7%'H!%F! $H1-&E>.!$;/&E&>8/!^-%!&/!$>&8.H!E%88(E1(5!^&1-!1-(!,-'H7&>8!/>1H'!">'/H>/N!G8!1-(!%1-('!->85Y! G.H$0;/! &/! '(7>'5(5! >/! >! /($&K-&/1%'&E>.! $;/&E&>8! J(.%87&87! 1%! 1-(! E>1(7%'H! %F! 1-(! .(7(85>'H! F%;85('/!%F!\'((V!$;/&E!>85!'(/0%8/&J.(!F%'!/%$(!$>b%'!$;/&E>.!>E-&([($(81/Y!1-(!(/1>J.&/-$(81! %F! 1-(! (8->'$%8&E! 7(8;/! &8! 0>'1&E;.>'N! D-&/! /1;5H! >5%01/! >! $%'(! E%$0'(-(8/&[(! >00'%>E-! >85! -%0(/! 1%! 0'%5;E(! >! E%$0.(`&F&(5! ;85('/1>85&87! %F! 1-(! $>8HK/&5(5! E->'>E1('! >85! /&78&F&E>8E(! %F! G.H$0;/!@#$+21#+!^&1-&8!>8E&(81!\'((V!E;.1;'(N!D-(!J>/&E!0'($&/(!&/!1->1!-&/1%'&E>.!0-(8%$(8>! >'(!1%!J(!/1;5&(5!^&1-&8!1-(&'!/0(E&F&E!(1-8%7'>0-&E!E%81(`1/!>85!JH!&81(7'>1&87!>..!1-(!5&$(8/&%8/! 1->1!E%8/1&1;1(!1-(&'!E%$0.(`&1H!>85!/0(E&F&E&1H![&cN!1(`1/!>85!&$>7(/Y!$>&8.>85!\'((E(!>85!^(/1('8! \'((E(Y!d$H1-T!>85!d-&/1%'HTY!>81&:;&1H!>85!/E-%.>'/-&0Y!(1EN!X!1-(H!>..!&81(''(.>1(N! D-(! 1(`1Y! .&V(! 1-(! >'7;$(81! >5%01/! >8! d&81(7'>1&[(T! >00'%>E-N! Z1! /1>'1/! ^&1-! 1-(! 0('E(01&%8! %F! G.H$0;/!&8![&7%;'!&8!1-(!F&(.5!%F!E.>//&E>.!$H1-%.%7H!>85!>&$/!1%!:;>.&FH!&1!$>&8.H!1-'%;7-!>!E.%/(! (`>$&8>1&%8! %F! >..! 1-(! '(.([>81! /%;'E(/! 91(`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a%;'E(!:;%1>1&%8/Y!>JJ'([&>1&%8/Y!J&J.&%7'>0-H!>85!F%%18%1(/!F%..%^!1-(! S-&E>7%!">8;>.!%F!a1H.(Y!1-(!G`F%'5!S.>//&E>.!)&E1&%8>'H!>85!1-(!(5&1%'&>.!0%.&EH!7;&5(.&8(/!&//;(5! JH!1-(!+$('&E>8!e%;'8>.!%F!+'E->(%.%7H!EFN!^^^N>b>%8.&8(N%'7N!R&J.&%7'>0-&E!'(F('(8E(/!->[(!J((8! .&$&1(5!1%!'(E(81!>85!E(81'>.!0;J.&E>1&%8/!&8!1-(!*87.&/-!.>87;>7(N!\'((V!>85!2>1&8!1'>8/.>1&%8/!>'(! 0('/%8>.!&81('0'(1>1&%8/Y!;8.(//!/1>1(5!%1-('^&/(N! ! ! ! O! !,%&-.$'/& ( D-(!$;/&E>.!&8/1';$(81!1-(!>8E&(81!\'((V/!7(8('>..H!5(/&78>1(5!>/!4$&#+!9f!ghi1&E!&8! 1^%! '(/0(E1/! $>&8.HN! D-(! F&'/1! 0'%J.($! &/! 1-(! $%5('8! 1('$&8%.%7H! ;/(5! &8! &1! &8! [&(^! %F! &1/! %'7>8%.%7&E>.!E->'>E1('&/1&E/N!D-(!/(E%85!0'%J.($!&/!1-(!E%81'%[('/&(/!/;''%;85&87!&1/!$('&1/!>85! [>.;(!&8!\'((V!/%E&(1HN!! ! D-(!>8E&(81!\'((V!4$&#+!&/!>!^&85!&8/1';$(81!1->1!E%8/&/1(5!%F!>!0>&'!%F!'((5KJ.%^8!0&0(/N!S.>//&E>.! /E-%.>'/-&0!1'>5&1&%8>..H!1'>8/.>1(5!&1Y!F%'!%J[&%;/!'(>/%8/Y!>/!j5%;J.(!F.;1(/kN!4%^([('Y!1-&/!0%/(/! F;85>$(81>.! ($0&'&E>.! >85! (0&/1($%.%7&E>.! 5&FF&E;.1&(/N! ">'1&8! l(/1Y! &8! -&/! $%$(81%;/! .:92':*( Z5''1(@$+29Y!5(F&8(5!1-(!;J&:;&1%;/!'(85('&87!%F!j4$&#+k!>/!jF.;1(k!>/3!j1-(!$%/1!0('[>/&[(!/&78!%F! 1-(!>[('>7(!E.>//&E&/1/!;8E%8E('8!^&1-!1-(!'(>.1&(/!%F!$;/&ENk!9l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exts indicate that auloi were made of all sorts of material, including reed, wood (box or lotus), horn, bone, bronze, ivory Cf. (Bélis 2001). They also mention various types of bone: legs of stags, deer and fawn Cf. Plut. Symp. 150e-f. The Latin denomination of tibia suggests a direct connection of the instrument with bone. It has resulted into still unresolved discussions about the primacy of either the anatomical Cf. (Di Giglio 2000, 25) or the musical significance of the word Cf. (Reinach 1919, 300). 2 Some later auloi found at Meroë (Egypt) and Pompeï (Italy) had up to twenty-four finger holes and the evidence points to still larger numbers. Ancient texts often define the aulos as polytretos “many-holed”. Finger holes are called tremata or trypemata. Their ‘classic’ amount is five or six Cf. (Mathiesen 1999, 183-93; Bélis 2001). 3 Auloi typically come in one piece when made out of wood, those made of bone have several sections. For an overview of the evidence and discussions of the remains of auloi found so far. Cf. (West 1992, 97-8; Landels 1999, 28-31 with further references and bibliography). ! L! D-(!1^%!.%^(/1!0&(E(/!'(0'(/(81!1-(!>E1;>.!J%5HY!/%$(1&$(/!'(F(''(5!1%!>/!%#A%;W(j1;J;.(kNQ!D-(! 1^%!F%..%^&87!0&(E(/!>'(!EH.&85'&E>..H!J%'(5!J;.J.&V(!/(E1&%8/!;/;>..H!E>..(5!3;Q3#&A2#:!j;85('!1-(! J;.Jk! >85! 3#&A#+!jJ;.JkO!9F&7N!A'(!0%//&J.(!>85![>'&>81! 1('$&8%.%7&(/! %EE;'! &8! 1-(! >8E&(81! >85! $%5('8! ^'&1&87/NW!+1!1-(!(85Y!1-('(!&/!>!E;0K/->0(5! $%;1-0&(E(Y!/%$(1&$(/!E>..(5!1-(!]'$?#+!jH%V(kY!&81%!^-&E-!'((5/!^('(!&8/('1(5!X!^(!E>8!/((!1-&/! ->00(8&87!&8![>/(!0>&81&87/!9F&7N!I !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 4 Cf. (Pollux 4.70): !"# $' %&&'# ()&"# !* +,-. /&"!!( 0(1 !-234+(!( 0(1 56+52078 0(1 9&+:; 0(1 <=6&+;(. “The parts of the other auloi [are] the reed, the holes, the tubules, the bulbs and the parts under the bulbs”. According to some, bombyx may also have here referred to the “collars” that were turned over pipe holes in some advanced examples Cf. (Sachs 1978, 139). According to others, the word bombyx evokes the sound of the bumblebee and may have designated the pipe of the aulos producing a drone Cf. (Chailley 1979, 64) – but the suggestion of a drone itself is hypothetical. The word bombyx has been associated with auloi in various ways even by individual authors. In (Pollux 4.70) it seems to designate the resonator. In (Pollux 4.82) it is metaphorically used as a synonym for aulos. But, for instance, in Arist. (Met. 1093b2-4) it designates the lowest note produced on auloi. In Nicom. (Harm. Ench. 5.1.22) the comparative bombykesteros (tonos) indicates the lower (note). This note is produced when closing all the holes and using the pipe in its full length, associating bombyx again with the resonator Cf. (Michaelides 1978, 52-3; Mathiesen 1999, 184-6). 5 This terminology being the most generally received Cf. (Howard 1893, 28-9; Reinach 1919, 305; Schlesinger 1939, 71; Wille 1965, ; Michaelides 1978, 43; Barker 1984, 11 fig. 2; West 1992, 85; Landels 1999, 32; Mathiesen 1999, 186; Zaminer 2000, 547). 6 For instance, (Wegner 1949, 52 fig. 10) identifies hypholmion as the end of the body in which holmos, the two bored bulbous sections, were inserted. (Chailley 1979, 62): further identifies holmos as the lower bored bulbous section, and the upper bored bulbous section as syrinx – u.i. The body of the instrument he identifies as koilia “bore, cavity”. Most scholars, however, connect koilia specifically with the diametrical bores of the different auloi. By conjecture it is also applied to the metal fittings that were Cf. (Michaelides 1978, 173; Mathiesen 1999, 186-7). 7 LSJ s.v. >7?/:8: it implies a matching of a pair or a time, like horses, mules or oxen, that have to work together – and invokes probably not so much the separate mouthpieces as the double reeds (West 1992, 84). 8 The core source of information about the type, the fabrication, the variety of reeds used in ancient Greek auloi is the descriptions in Theophrastus’ Historia pantarum and the Aristotelian De audilibus. The passages are discussed extensively by (Mathiesen 1999, 198-204). The auloi were the subject of extensive technical discussions in ancient writings. Unfortunately, the treatise On Auloi by Aristoxenus, has not been preserved and many of remaining writings are of a quite late date from the classical Greek point of view e.g. Ptolemy, Porphyry. Other sources and further discussion Cf. (West 1992, 84 esp. nt. 14 ; Bélis and Péché 1996). 9 Cf. (Michaelides 1978, 124). Perhaps one also put protective caps over the reeds fitted in auloi when not played. Certain vases have been interpreted in this way ex. Lucanian red-figured crater, Tarente 8263, LCS 55.280, ca. 410 B.C., attr. Karneia Painter Cf. (Paquette 1984, 58 n° A5). Reeds could be damaged easily. 10 On these and other musicological questions related to auloi Cf. (Reinach 1919, ; Schlesinger 1939, to use with caution; Mathiesen 1999, 182-218; West 1992, 85-105; Hagel 2004, ; Howard 1893). 11 Material and playable reconstructions of ancient instruments add a great deal to understanding the construction and playing techniques of musical instruments and the texts that describe the instruments. They also possess the unique quality to allow us a glimpse into the actual sounds and harmonies of a music unfortunately forever lost to our ears. Cf. (Landels 1981, ; Hagel and Harrauer 2005, with a CD of musical examples). ! C! ! @8()(1>&.3!6(5K_&7;'(5!+$0-%'>Y!2%85%8Y!R'&1&/-!";/(;$!*!ALPY!+6=n!PBMINPIY!E>N!QIB!RNSNY!>11'N! ,(.(;/!,>&81('! ! R(E>;/(! 4$!^('(!J(H%85!>8H!'(>/%8>J.(!5%;J1!%'5&8>'&.H!'((5KJ.%^8! &8/1';$(81/Y! 1-(! E;/1%$>'H!1'>8/.>1&%8/!%F!jF.;1(k!>85!j0&0(/k!>'(!&$0('1&8(81N!_.;1(/!5%!8%1!->[(!'((5/!>85!0&0(/! $>H!'(F('!1%!J%1-!'((5K!>85!8%8!'((5KJ.%^8!&8/1';$(81/N!"%'(!0'(E&/(!J;1!8%1!$%'(!E.>'&FH&87!&/! 1-(!1('$!j'((5K0&0(/kY!>/!&1!$>H!0%&81!1%!'((5KJ.%^8!0&0(/!>/!^(..!>/!1%!0&0(/!$>5(!%;1!%F!'((5N!D-(! E.>//!%F!j^%%5^&85!&8/1';$(81/k!&/!(:;>..H!E%8F;/&87!&8!&1/(.FN!S%81'>'H!1%!^->1!1-(!1('$&8%.%7H! /;77(/1/Y!8%1!/%!$;E-!1-(!$>1('&>.!J;1!'>1-('!1-(!0.>H&87!1(E-8&:;(/!5&FF('!F'%$!1-%/(!;/(5!&8!1-(! jJ'>//!&8/1';$(81/k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`>E1.H!1%!1-(!4$&#+!>85!>8H!1'>8/.>1&%8!%F!1-(!/%'1!^&..!->[(!1%! '($>&8!&$0('1&8(81!9l(/1!PMMAY!CO !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 12 In the classical Hornborstel-Sachs system of organological classification, the distinction between single and double reeds is treated as fundamental. For some musicologists, however, the distinction between pipes of conical bore and of cylindrical bore is acoustically more essential and the use of the double or single reeds less weighty. However, different bores mainly result in other pitches when ‘over-blowing’, which was probably not a common practice in ancient Greece (West 1992, 82-5). A particular type of instrument had a regular and a conical bored pipe. It was called elymos (@&2+:8), an indigenous perhaps word for the ‘Phrygian’ aulos Cf. (West 1992, 91-2). The ‘Lydian magadis-aulos’ of consisted of unequal pairing of the ‘male’ and ‘female’ pipes Cf. (West 1992, 73 nt. 108). ! M! ! L8!)(1>&.3!6(5K_&7;'(5!+$0-%'>Y!2%85%8Y!R'&1&/-!";/(;$!*!ALBY!+6=n!PCINPOY!E>N!QCB!RNSNY!>11'N! ?.(%0->5'(/!,>&81('!! ! "%/1!5&/1&8E1&[(!>85!;8&:;(!1%!1-(!4$&#+Y!-%^([('Y!&/!1->1!1-(H!^('(!7(8('>..H!0.>H(5!&8!0>&'/NPI! *>E-! 0&0(! $%'(%[('! 0'%J>J.H! ->5! &1/! %^8! $%;1-0&(E(! >85! 9.&V(.H! 5%;J.((%.%7&E>.! '($>&8/!%F!4$!&8!0>&'/!>'(!'>'(Y!0'(E&/(.H!J(E>;/(!1-(H!^('(!0-H/&E>..H!/(0>'>1(5!0&0(/N!G8!1-(! \'((V![>/(/!^(!/((!1-($!5(0&E1(5!>/!/(0>'>1(.H!0&0(/!^-(8!8%1!0.>H(5!J;1!0.>H(5!$%/1.H!&8!0>&'/! >85!/%$(1&$(/!>./%!-(.5!1%7(1-('!JH!$(>8/!%F!>8!(`1('8>.!$%;1-0&(E(!>85!>!J&85&87!/1'>0Y!E>..(5! 1-(!Q'52+*#A2#:3!j>'%;85!1-(!$%;1-k!>85!X!$%'(!;/;>..H!K(1-(!Q3#5%'243(j->.1('k!9F&7N!L D%! 5(F&8(! 4$!>/!F.;1(/Y!0&0(/Y!5%;J.(!F.;1(/Y!%'!5%;J.(!0&0(/!&/!1-;/!&$0('1&8(81N!Z1!&/Y!F%'!%8(Y! 1(E-8&E>..H!>85!%'7>8%.%7&E>..H!&8E%''(E1N!Z1!->/!$%'(%[('!>!5&/';01&[(!(FF(E1!%8!%;'!0('E(01&%8!%F! 1-(! &8/1';$(81Y! >/! &1! &$0.&(/! -&55(8! >85! (''%8(%;/! >//;$01&%8/! %F! /&$&.>'&1HY! >85! %J/E;'(/! 5&//&$&.>'&1&(/N!D%!J(/1%^!>!$%5('8!8%1&%8!9^%'58!>8E&(81!%Jb(E1!&/!>./%!1%!J(/1%^!&1!^&1-! $%5('8!8%1&%8/!9>//;$01&%8/ 13 This does not excluded that one could occasionally play only one of the pipes. The vast majority of the evidence however confirms that the classical aulos was typically double-stemmed. There also existed a variety single pipe instruments each with a proper name: the monaulos was the single stemmed variant of the double aulos (monos: one), the plagiaulos was played as a traverse flute (plagios: traverse). Yet they appear to have played only a secondary role. The terminology used in them is often obscure and unsystematic. There are moreover hardly traces of these instruments in the iconographic and archaeological source material. Scholars are consequentially much divided when it concerns there peculiar characteristics Cf. (Vetter 1933, ; Bernert 1950). Other wind instruments included the salpinx (trumpet) and the keras (horn) On the Greek musical instruments in general Cf. (Wille 1965, ; Zaminer 2000, 547-9). 14 The precise use of it is unclear. The device helped to control the muscular pressure need to blow the instrument. Reed instruments require considerable force when played. It may also have helped to control the pressure and movement of the player’s lips and cheeks, enhancing melodic continuity and precision of tone. The use of the phorbeia would certainly have facilitated lengthy performances in public spaces. Perhaps this explains why mostly male auletes wear the phorbeia on Greek vases. The phorbeia was also worn by salpinx players Cf. (Michaelides 1978, 253; Paquette 1984, 33; Bélis 1986, ; Mathiesen 1999, 218-22). 15 Interestingly enough the Greeks never use the dualis form (aulo). 16 We do still find it in the Turkish zurna, an Islamic folk instrument. It is a direct descendent from the aulos. The same goes for the Sardinian Launeddas, however it has three pipes now Cf. (Brand 2002). ! PB! 1%!d&85&7(8%;/T!1('$/!>85!E.>//&F&E>1&%8/N!D-(!5&[&/&%8!%F!$;/&E>.!&8/1';$(81/!&8!1%!^&85Y!/1'&87(5! >85!0('E;//&%8!&8/1';$(81/!5>1(/!J>EV!1%!1-(!\'((V/!9+'&/1%`(8;/!>0N!+1-(8N!)(&0N!QNPLQ(85!&/! '(1>&8(5NPL!\(8('&E!1'>8/.>1&%8/!/;E-!>/!jF.;1(/kY!j0&0(/k!%'!j.H'(/k!>85!j5';$/k!>'(!7'>5;>..H!J(&87! >J>85%8(5!&8!F>[%;'!%F!1'>8/.&1('>1(5!\'((V!^%'5/!/;E-!>/!4$&#+8(12*34548(*;AQ4:#:8((1ENPC!D-(/(! >'(! .(//! 5(81(5! JH! $%5('8! >//;$01&%8/! >85! E%88%1>1&%8/! >85Y! &8! 1-(! E>/(! %F! 1-(! 4$&#+Y! >./%! F>'! $%'(! E%8[(8&(81! 1->8! 1-(! 1(E-8&E>..H! $%/1! >EE;'>1(! 1'>8/.>1&%8! %F! j5%;J.(K'((5! J.%^8! 5%;J.(! 0&0(/k!^%;.5!J(N!! D-(! 8%1&%8! %F! 4$&#+Y! -%^([('Y! 0'(/(81/! &1/! %^8! 5&FF&E;.1&(/N! Z8! >8E&(81! \'((VY! 1-(! ^%'5! 4$&#+! (//(81&>..H!%8.H!$(>81!j1;J(k!%'!j5;E1kN!D-(!\'((V/!E%;.5!1-('(F%'(!>00.H!&1!1%!>!^-%.(![>'&(1H!%F! 1-&87/!>$%87/1!^-&E-!^&85!&8/1';$(81/!E%8/&/1&87!8%1!%8.H!%F!5%;J.(!0&0(/!J;1!>./%!%F!/&87.(!0&0(/! 0.>H(5!^&1-!&'!([(8!^&1-%;1!'((5/N!G8!%8(!%EE>/&%8Y!&1!5(8%1(/!>!1';$0(1K.&V(!&8/1';$(81Y!^-&E-! >EE%'5&87!1%!$%5('8!%'7>8%.%7&E>.!E.>//&F&E>1&%8/!^%;.5!E.>//&FH!>/!>!jJ'>//k!&8/1';$(81!92ae!/N[N! f"goi !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 17 Concerning classifications proposed by ancient authors Cf. (West 1992, esp. 48 nt.2; Di Giglio 2000, esp. table I). 18 Cf. in recent publications such as (Pöhlmann 1995, ; Mathiesen 2001). 19 However, we also find non-musical uses Cf. (Gerhard 1955, ; Frisk 1960-1972, 187-7; Chantraine 1968, I, 140-1). 20 Cf. Eur. Alc. 430: ()&"# $A +B 0(!' %C!2, +B &D-(8 0!D3:8 @C!' C7&4#(8 $E$70' F03&.-:2+,#(8 “and let there be no sound of auloi and lyra in the city until twelve months are entirely past”. Note that such a usage is indeed quite comparable with our use of the word “flute”. The word lyra designates here all types of stringed instruments. Also in English ‘lyre’ is used as a generic term to designate the various Greek stringed instruments. The combination of aulos and lyra probably evoked (instrumental) ‘music’ more generally here. 21 Cf. IG 4.53 (Aegina): (<&:G 3.0!G$:8 “the pipes of the pektis” 22 Eur. Phoen. 784-91: &'!:? 0(!* 3#7D+(!( +,&3.; +:?C(# “singing in accord with the breath of the lôtos a song” 23 Anth. Pal. 16.8.2(Astos): $;' 7)!-4!'# =H7//6+7#:8 $:#I0'# “through the deftly-pierced reeds” 24 Cf. Hom. Hym. Pan 15: $:#I0'# J3: +:?C(# “he sounds his note on the pipes of reed” 25 Cf. (Reinach 1911, 18-9; Paquette 1984, 63-71; Haas 1985, ; West 1992, 109-12; Mathiesen 1999, 222-5). Some scholars sometimes call them “reed-less pipes” (West 1992, 190) when in fact they mean not reed-blown pipes. 26 Some late authors refer as syrinx to a part that could be bent up or down to raise the pitch of the aulos (e.g. Aristox. Harm. 1.21). Texts suggest it was possible to play the aulos without the syrinx (e.g. Ps.-Plut. Mus. 1138a). However, other texts suggest that it the aulos could also be played as a syrinx (e.g. Schol. Pin. Pyth. 12, frg. 70). Cf. (West 1992, 86, 102; Mathiesen 1999, 213-8). ! PP! D-(![%E>J;.>'H!%'&7&8>..H!;/(5!4$!&/!5&[('/(!>85!E%$0.(`N!D-(!&8/1';$(81/!>./%!5&/0.>H(5!>!^&5(! '>87(!%F!E->'>E1('&/1&E/!>85!1H0(/!>$%87/1!1-($/(.[(/!>85!1-&/!'(/;.1(5!&8!>!$>//&[(!>$%;81!>85! [>'&(1H! >85! %F! ^%'5/! >//%E&>1(5! ^&1-! 4$!&8!>8E&(81!1(`1/N!D-(H!>'(!:;>.&F&(5!4:C5'2#2( 9$(8T/ D-('(! (`&/1(5! $>8H! 5&FF('(81! 1H0(/! %F! 4$!&8!>8E&(81!\'((V/!>85!1-('(!^('(![>'&%;/!$;/&E>.! 1('$&8%.%7&(/! &8! E&'E;.>1&%8! >$%87/1! 1-(! \'((V/N! aE&(81&/1/! ;/(5! >! 5&FF('(81! b>'7%8! 1->8! 0'%F(//&%8>.! 0.>H('/! >85! 1->8! 1-(! E%$$%8! 0(%0.(N! R(%1&>8! ^%;.5! 5&FF('! F'%$! +1-(8&>8N! +'E->&E! F'%$! 4(..(8&/1&EY! (1EN! D-(! [%E>J;.>'H! ;/(5! &8! E%81($0%'>'H! /E-%.>'/-&0! &8! 1-(! >8E&(81! d\'((VT! $;/&E>.!&8/1';$(81/!&/!8%!.(//![>'&(5!>85!&8E%8/&/1(81N!">8H!E.>//&E&/1/!>'(!;8>^>'(!%F!1-(!'>1-('! 1(E-8&E>.! $>11('/! %F! E.>//&F&E>1&%8! >85! &5(81&F&E>1&%8! %F! $;/&E>.! &8/1';$(81/Y! ^-&E-! '($>&8! 1-(! 0'%[&8E(!%F!1-(!-&7-.H!/0(E&>.&/(5!>85!:;&1(!E.%/(5!F&(.5/!%F!$;/&E!-&/1%'H!>85!%'7>8%.%7H!9R#.&/! ABBP ! (H-.$'/(M'8(81+,"5"J( ! D-(!4$&#+!1';.H!0('$(>1(5!\'((V!.&F(N!D-(!>8E&(81!1(`1/!&85&E>1(!1->1!1-(!&8/1';$(81!^>/!0.>H(5!%8! %EE>/&%8!%F!.&J>1&%8/Y!/>E'&F&E(/Y!0'%E(//&%8/Y!F;8('>./Y!^(55&87/Y!&8!1-(>1'(Y!F(/1&[>./Y!>1!/H$0%/&>Y! >1!-%$(Y!>1!^>'Y!&8!(5;E>1&%8Y!(1EN!D%!(>E-!E%81(`1!E%''(/0%85(5!>!/0(E&F&E!'(0('1%'H!%F!/%87/!9(N7N! Q5#+#C2#:3! 1-(! 0'%E(//&%8! /%87Y! 3;A':42#+3! 1-(! ^(55&87! /%87Y! *35':#+3! ^((0&87! /%87Y! +1#&2#:3! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 27 A general list of words associated with the aulos has been dressed by (Di Giglio 2000, 53-5). 28 Prior to that Herodotus already distinguished auloi andreioi and gynaikeion (1.17.2). 29 Pausanias distinguishes the ethnic types of boiotio and argeioi amongst the Greek auloi (4.27.7). 30 On types and classifications of auloi Cf. (Michaelides 1978, 44; West 1992, 89-94; Mathiesen 1999, 193-6; Bélis 2001). 31 Like the archaeologist who discovered a middle Neolithic single bone pipe in Sesklo (Thessaly) published it Cf. (Venizélos 2003, 103 n°3). ! PA! 5'&8V&87! /%87Y! 'A%4*'52#:M( $>'E-&87! /%87/! ^(..! >/! /%$(! /0(E&F&E! 0&(E(/! %F! 4$&#+K$;/&E! 94$&'A4*4 32 Cf. Poll. 4.55: F3;&4#;:# (K&.+(; Poll. 4.80: /(+4&;:# (K&.+(; Luc. D.S. 34.22: (K&.+( /2#(;07L:# 33 In Atheneus enaulos kitharsis is to play music on the kithara in the style of aulos-music (Barker 1984, 300 nt.205). 34 On the songs in general Cf. (Mathiesen 1999, 23-158). On the repertory of aulos music Cf. (Reinach 1919, 319-20). 35 On the aulos-players and aulos-makers Cf. (Bélis 1999, 2001). On Greek musical genres and songs and the problems involved in their classification Cf. (Mathiesen 1999, 23-158). 36 There is a more general discrepancy between frequent references to stringed instruments and the scarcity of wind instruments in Homer Cf. the discussion in (Aign 1963, 280-93) who remarks rightfully that the absence of the words needn’t correspond to absence of the objects implied. Moreover, Homer uses the word aulos more often in a non-musical meaning. Il. 17.297 it denotes the hollow pipe of a spear. In Od. 19.227 it is connected with the clasp closing off Odysseus’ mantel. In Od. 22.18 it qualifies the streams of blood coming out of Antinoos’ nose. Some scholars therefore suggested that the word aulos was later transposition to the instrument Cf. (Wegner 1968, 20). 37 Hom. Il. 10.11-3: H(D+(>7# 32-* 3:&&* !* 0(M7!: N&;6H; 3-O ()&"# C2-M//'# !' F#:3B# 9+($6# !' P#H-E3'# “Now he [i.e. Agamemnon] would gaze across the plain to the Trojan camp, wondering at the number of their fires that were burning in front of Ilion, toward the high calls of the auloi and syringes, the murmur of the people.” 38 Hom. Il. 18. 494-5: 0:?-:; $' Q-R.C!S-78 F$M#7:#, F# $' %-( !:LC;# ()&:1 =6-+;//,8 !7 5:B# @R:#T (U $A /2#(L078 VC!I+7#(; H(D+(>:# F31 3-:HD-:;C;# W0IC!. “The young men followed the circles of the dance and among them the auloi and the phorminges kept up their clamour as in the meantime the women standing each at the door of her court admired them.” Cf. Hes. Scut. 270-285: auloi, phrominges and syringes add to the lustre of wedding festivities. 39 The main Greek stringed instruments are the chelys, the phorminx, the kithara, the lyra and the barbitos. The chelys originally consisted of the shell of a tortoise covered with animal skin. This sound-body had two necks mounted to it. It belongs to the category of the ‘bow-lyres’. The strings were attached between a crosspiece between the necks and the body. The lyra became the standard Greek ‘bowl-lyre’. The barbitos was a larger-sized and lower-pitched variant. The main Greek ‘box lyres’ were the phorminx, which was round based and the kithara which was square based. Both instruments were typically used in public performances Cf. infra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lso Atheneaus, on the grounds of these two passages, concludes: “he [Homer] attributes the aulos to the Barbarians”: !:L8 $A 5(-5I-:;8 P3:$M$'C; !:X8 ()&:D8 (Deip. 1.28.5). 41 Some eastern Mediterranean representations are slightly earlier than the first secured representations of auloi in the mainland of Greece: a Phrygian figurine, a Cypriote bronze cup, a relief for Karatape, etc. Cf. (Aign 1963). 42 The majorities of sources maintain that the music of the aulos was originally Phrygian and attribute its invention to distant Phrygian musicians of which Hyagnis (Anth. Pal. 1.248, Anth. Pal. 9.340; Nonn. Dion, 10.234; Mar. Par. 10; Athen. 16.624b; Ps.Plut. Mus. 1132f, 1133f, Apul. Flor. 3. 13-4), Marsyas (Diod. Sic. 3.58.3 Anth. Pal. 9.266; Plin. N.H. 7.204; Athen. 4.184a; Strab. 10.3.14, Ps. Plut. Mus. 1135f) and Olympus (Strab. 10.3.14; Ps. Plut. Mus. 1135f; Sud. sv. “Y&2+3:8”) prove to be the most important. The Phrygian origins of the aulos and its music are also suggested by its distinctive connection with the cult of Cybele (Anth. Pal. 6.51; Strab. 10.3.14; Lucr. 2.620) and the first pieces of aulos-music have been associated with this (Hom.Hym. Metr. 452; Mar. Par. 10, Ps. Plut. Mus. 1137d). Adjacent regions are also attached to the aulos. Mygdon, king of the Mygdons (Mysia area), is said to have invented the mygdon aulos (Non. Dion. 10.233, 15.59). Mariandynos, king of the Mariandyns (Bithynian arae), is said to have invented the auloi myriandynoi (Schol. Aesch. Pers. 937). Still, both these areas belonged to the Phrygian sphere (phrygia megale). The Trojans have also been called Phrygians (Alcaeus frg. 42.15 PLF). However, there are other traditions to assign the origins of the aulos to Libya and to attribute its invention to the Lydian musician Seirtites (Athen. Deip. 16.618b-c; Nonn. Dion. 24.38 ; Poll. 4. 174). Even Phoenicia is a defended candidate (Poll. 4.76). Greek claims on the instrument were made by Argos, Sikyon, Troizen, and Thebes infra. Later sources invariably attribute Phrygian origins to the aulos (Is. Sev. Etym. 3.21.4; Sud. sv. Z;5í(). On the Phrygians and Greek music Cf. (Thiemer 1979). On myths about the origins of music Cf. (Danckert 1965). On the mythical origins of the aulos Cf. (Jatta 1879). On the historical origins of the aulos Cf. (Bélis 1986). 43 We have a pair of silver popes from Ur dating from about 2600 B.C., now in Philadelphia. Paired pipes are also depicted on some Mesopotamian and Egyptian monuments. The oldest Mediterranean representation is small a marble statuette of an aulos-player from the Cycladic island of Keros. It dates to the Proto-Cyladic II period (ca. 2700-2300 B.C.) and is presently in the national archaeological museum of Athens (inv 3910). The statuette is one of the oldest and most authentic representations of musicians of the “Cycladic” Bronze Age one of the fewer Cycladic idols that does not simply represent a standing nude female. It indicates that the aulos was quite old and rather important here from an early age on. However, Cycladic Bronze Age culture has much Anatolian affinities and Keros was in this particular time under Carian influence. Next, on the famous Haghia Tradia sarcophagus, dated late Minoan IIIA (ca. 1400-1300 B.C.), we meet a type of aulos that the Greek would later consider as an indigenous Phrygian type call elymos. It became especially popular during the roman era especially in connection with the cult of Cybele – and in its iconography. As one of the pipes has conical bore, which would augment the sharpness and straining effect of the sound produced, it fits the bull sacrifice that is taking place here. The phorbeia does not seem out of place as well. It is not clear however, whether the Minoans developed this type of instrument independently from the Asian tradition, or whether it was introduced here from the east at a very early stage. Nor is it clear whether the phorbeia was Minoan “invention” or an eastern introduction. Moreover, the Minoan civilisation may have been a major source of influence on Hellenic culture; it was still a non-Hellenic culture. 44 The earliest examples are: (Wegner 1968, 73 n° 5 Pl. UVb (Düsseldorf), 1 n° 23 Pl. Uiv c (Athens), 82 n° 133 (Louvre); Aign 1963, 97 n° V/17a fig. 66 (Berlin) ). 45 One needs only to search for “pipes” in the Beazley catalogue to get an impression of their massive amount. ! PQ! ! B8()(1>&.3!,'%1%K+11&E!+$0-%'>Y!,>'&/Y!2%;['(!S+!AMCOY!(>'.H!/([(81-!E(81;'H!RNSN! ! e;57&87! >F1('! &1/! $>8&F%.5! >85! $>8HK/&5(5! 5(0&E1&%8! &8! &E%8%7'>0-HY! 1-(! 4$&#+!^>/!>!$;E-!>85! ^&5(.H! &8/1';$(81N! Z8! /0&1(! %F! &1/! ([&5(81! 0%0;.>'&1H! &8! >'1Y! -%^([('Y! ^(! F&85! 8(7>1&[(! %0&8&%8/! >J%;1! &1/! $('&1/! &8! 1-(! \'((V! 1(`1/N! Z8! >! F>$%;/! 0>//>7(! %F! 1-(! N'Q$%&29Y! 1-(! ($&8(81! +1-(8&>8! 0-&.%/%0-('! ,.>1%! 9E>N! QALKIQC! RNSN !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 46 Plat. Resp. 399d3-10: ZM $,[ ()&:3:;:X8 \ ()&.!*8 3(-($,]^ 7_8 !B# 36&;#[ \ :) !:?!: 3:&2R:-$6!(!:#, 0(1 ()!* !* 3(#(-+6#;( ()&:? !2/RI#7; Y#!( +M+.+([ `S&( $4, a $' 98. bD-( $4 C:;, a# $' F/E, 0(1 0;HI-( &7M37!(; [0(1] 0(!* 36&;# R-4C;+(T 0(1 (c 0(!' P/-:X8 !:L8 #:+7?C; CD-;/] %# !;8 7d. "Well, will you admit to the city makers or players of the aulos? Or is not the aulos the most 'many-stringed' of instruments and are note the pan-harmonics themselves imitations it?" "Clearly," he said. "Then you leave”, I said, “the lyra and the kithara as useful in the city, and in the fields the shepherds might have some sort of syrinx to pipe on.""So the argument indicates," he said.” 47 Arist. Pol. 1341a19-25: :K!7 /*- ()&:X8 7_8 3(;$7M(# P0!,:# :K!' %&&: !; !7R#;0O# Y-/(#:#, :e:# 0;HI-(# 0f# 7d !; !:;:?!:# g!7-:# @C!;#, P&&' 9C( 3:;4C7; !:D!'# P0-:(!*8 P/(H:X8 \ !S8 +:2C;0S8 3(;$7M(8 \ !S8 %&&.8T @!; $A :)0 @C!;# h ()&O8 iH;0O# P&&* +j&&:# Q-/;(C!;06#, kC!7 3-O8 !:X8 !:;:D!:28 ()!l 0(;-:X8 R-.C!,:# F# :e8 m H7'-M( 0IH(-C;# +j&&:# $D#(!(; \ +IH.C;#T 3-:CH"+7# $A 9!; C2+5,5.07# F#(#!M:# ()!l 3-O8 3(;$7M(# 0(1 !O 0'&D7;# !l &6/n R-SCH(; !B# (K&.C;# “Auloi should not be introduced into education, nor should any other professional instrument, such as the harp or any other of that sort, but such instruments as will make them attentive pupils either at their musical training or in their other lessons. Moreover, the aulos is not a moralizing but rather an exciting influence, So that it should be used in the kinds of circumstances where the spectacle offers more potential for katharsis than for learning. And let us add that the aulos happens to possess the additional property telling against its use in education that playing it prevents the employment of speech.” 48 Arist. Pol. 1341a26- 1341b.1: $;O 0(&"8 P37$:0M+(C(# :V 3-6!7-:# ()!:? !B# R-SC;# F0 !"# #,'# 0(1 !"# F&72H,-'#, 0(M37- R-.CI+7#:; !O 3-" !:# ()!l. CR:&(C!;0E!7-:; /*- /;/#6+7#:; $;* !*8 7)3:-M(8 0(1 +7/(&:o2R6!7-:; 3-O8 !B# P-7!4#, @!; !7 <0(1> 3-6!7-:# 0(1 +7!* !* p.$;0* =-:#.+(!;CH,#!78 F0 !"# @-/'#, 3IC.8 q3!:#!: +(H4C7'8, :)$A# $;(0-M#:#!78 P&&' F3;>.!:?#!78. $;O 0(1 !B# ()&.!;0B# r/(/:# 3-O8 !*8 +(H4C7;8. 0(1 /*- F# b(07$(M+:#M !;8 R:-./O8 ()!O8 .K&.C7 !l R:-l, 0(1 37-1 sH4#(8 :J!'8 F37R'-M(C7# kC!7 CR7$O# :V 3:&&:1 !"# F&72H,-'# +7!7LR:# ()!S8T $S&:# $A F0 !:? 3M#(0:8 t# P#,H.07 u-IC;33:8 v0=(#!M$^ R:-./4C(8. JC!7-:# $' P37$:0;+ICH. $;* !S8 37M-(8 ()!S8, 5,&!;:# $2#(+,#'# 0-M#7;# !O 3-O8 P-7!B# 0(1 !O +B 3-O8 P-7!B# C2#!7L#:#T h+:M'8 $A 0(1 3:&&* !"# Q-/I#'# !"# P-R(M'#, :e:# 3.0!M$78 0(1 5I-5;!:; 0(1 !* 3-O8 m$:#B# C2#!7M#:#!( !:L8 P0:D:2C; !"# R-'+,#'#, W3!I/'#( 0(1 !-M/'#( 0(1 C(+5?0(;, 0(1 3I#!( !* $76+7#( R7;-:2-/;0S8 F3;C!4+.8 “Hence our forefathers rightly forbid its use by the young and the free, although at first they themselves had employed it. As they became to have more leisure because of their wealth and grew more high-spirited and ! PO! ^>/!&85((5!5&/$&//(5!F'%$!1-(!/1>85>'5!E;''&E;.;$!%8!1-(!7'%;85!%F!+11&E!&E%8%7'>0-HN!aE-%%.! /E(8(/!&8!7(8('>.!1(85!1%!F>5(!F'%$!1-(!'(0('1%&'(!%F!1-(![>/(!0>&81('/!JH!$&5!F%;'1-!E(81;'H!>85! [>/(!0>&81&87!&8!7(8('>.!5(E.&8(/!^-(8!^(!'(>E-!1-(!4(..(8&/1&E!0('&%5N!4%^([('Y!,.;1>'E-!9E>N!QWX PAB! +N)N&81>&8/! 1->1! 1-(! +1-(8&>8! 0%.&1&E>.! .(>5('! +.E&J&>5(/! 9E>N! QOBKQBQ! RNSN.'(>5H! %00%/(5!1%!1-(!&8/1';$(813!j+1!/E-%%.Y!-(!;/;>..H!0>&5!5;(!-((5!1%!-&/!1(>E-('/Y!J;1!-(!'(F;/(5!1%! 0.>H!1-(!4$&#+Y!-%.5&87!&1!1%!J(!>8!&78%J.(!>85!&..&J('>.!1-&87Nk!9+.EN!ANONPKI ! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! valorous, and as they were more filled with pride because of their achievements, both at a still earlier date and after the Persian Wars, they began to engage in all branches of learning, making no distinctions but rather enquiring. Because of this, they even included aulos-playing as a subject of study. In Sparta, a certain chorus-leader played to his chorus on the aulos himself, and in Athens it became so fashionable that almost the majority of freemen went in for aulos-playing, as is shown by the tablet erected by Thrasippus after providing the chorus for Ecphantides. But later it came to be disapproved of as a result of actual experience, when they were better able to judge what is conductive virtue and what not. Similarly they rejected many of the instruments of the ancients, like the pektis and the barbitos, and those that are designed to give pleasure to those who hear people playing them, the heptagona, the trigona and the sambuke, together with all those that demand great manual expertise.” 49 Plut. Alc. 2.7.5-6: F371 $' 7_8 !O +(#HI#7;# w07, !:L8 +A# %&&:;8 <340:27 $;$(C0I&:;8 F3;7;0"8, !O $' ()&7L# @=72/7# x8 P/7##A8 0(1 P#7&7DH7-:# 50 Plut. Alc. 2.7.1-6: !:;(?!( 3(M>'# y+( 0(1 C3:2$I>'# h s&0;5;I$.8 (:; !:X8 +(#HI#:#!(8. 9H7# F],37C7 0:+;$z !"# F&72H7-M'# $;(!-;5"# 0(1 3-:73.&(0MCH. 3(#!I3(C;# h ()&68. 9H7# F],37C7 0:+;$z !"# F&72H7-M'# $;(!-;5"# 0(1 3-:73.&(0MCH. 3(#!I3(C;# h ()&68 51 This is an extremely famous vase. The more because the scene on the interior contains one of the most unique representations of Dionysus. He is singing and playing the baribton and surrounded by two dancing satyr satyrs, one of whom is playing the krotala ‘castanets’ or ‘slapsticks’. Note that the aulos is not present is that scene. Cf. (Gasparri and Veneri 1986, 463 n°5; Zschätzsch 2002, 79 n°4; Bundrick 2005, 108 fig. 62). ! PW! C8(+11&E!6(5!_&7;'(5!V;&2WY!,>'&/Y!S>J&8(1!5(/!"(5>..&%8/!OLWY!+6=n!ILPNPQY!E>N!QMBKQCB!RNSNY!>11'N! RH'7%/!,>&81('!! ! a>1H'/Y!$>(8>5/!5'&8V&87!>85!5>8E&87Y!&8!$;/&E>.!>85!('%1&E!1($01>1&%8!>85!(E/1>/HY!>'(!>!F>[%;'&1(! $H1-%.%7&E>.!.%E;/!F%'!(`E(//N!D-(!/>1H'/!>'(!'(0'(/(81(5!>/!-HJ'&5!E'(>1;'(/Y!0>'1.H!$(8Y!0>'1.H! J(>/1N! Z8! E.>//&E>.! '(0'(/(81>1&%8/! 1-(H! >'(! 1H0&E>..H! 8>V(5Y! J(>'5(5Y! >85! ->[(! -%'/(K1>.(/! >85! X (>'/N! *>'.&('! 1-(H! %F1(8! ->5! >./%! -%'/(K.(7/! >85! KF((1N! D-(! $>(8>5/q!&8[%.[($(81!^&1-!8>1;'(!&/! (`0'(//(5! JH! >! E>8(! %F! F(88(.! %'! ^&8(! .(>[(/! 1->1! 1-(H! E>''&(5! >85! ^-&E-! ^>/! E>..(5! *3;5+#+8B=! D%7(1-('! 1-(H! $>V(! ;0! 1-(! )&%8H/&>8! *324+#+8( )&%8H/;/T! />E'(5! J>85N! D-(H! ($J%5H! 1-(! ^%'/-&00('/!%F!)&%8H/;/Y!&8!'1+*4+2+(j/1>85&87!%;1/&5(!%8(/(.Fk!>85(':*3#$+24+A#+!jF&..(5!^&1-!1-(! 7%5k!1-'%;7-!$;/&E!>85!^&8(N!)(0&E1&%8/!%F!1-(!)&%8H/&>8!*324+#+(^('(!>!0>'1&E;.>'!0%0;.>'!/;Jb(E1! &8!>'1!>85!1-(!4$&#+(&/!/1'&V&87.H!F'(:;(81!0'(/(81!&8!1-($N!*/0(E&>..H!/>1H'/!>'(!>//%E&>1(5!^&1-!1-(! 4$&#+(&8!/;E-!/E(8(/NOI!! ! a&$&.>'!F(/1&[&1&(/!>85!(`E(//(/!F%;85!1-(&'!d'(>.K.&F(T!E%;81('0>'1!&8!1-(!+;AQ#+2$AN!Z8!1-(!/H$0%1&E! (8[&'%8$(81Y!>7>&8Y!1-(!4$&#+!&/!/1'&V&87.H!F'(:;(81!0'(/(81N!*/0(E&>..H!^%$(8!>'(!>//%E&>1(5!^&1-! 1-(!4$&#+!&8!1-(/(!/E(8(/N!D-(!/H$0%/&;$. 53 The scholarly work on the subject is equally massive Cf. (Bazant 1984, ; Lissarrague 1989, ; Carpenter 1990, ; Lissarrague 1990, ; Lissarrague 1993, ; Carpenter 1997, ; Krauskopf and Simon 1997, ; Simon 1997, ; Moraw 1998, ; Villanueva Puig 2000, ; Zschätzsch 2002, 87-9; Bundrick 2005, 106-16). Their role in the dithyramb and the satyrplay is of course also a point of much scholarly attention Cf. (Pickard-Cambridge 1962, ; Webster 1970, ; Lasserre 1973, ; Voelke 2001, ; Harrison 2005, ; Seidensticker 2005). 54 On “flute girls” and women in Greek music Cf. (Starr 1978, ; Neubecker 1990, ; Rocconi 2006). 55 Xen. Symp. 212-4: @-R7!(; ()!:L8 F31 0"+:# {2-(06C;68 !;8 %# H-'3:8, @R'# !7 ()&.!-M$( P/(HB# 0(1 Q-R.C!-M$( !"# !* H(D+(!( $2#(+,#'# 3:;7L# “To promote the revelry, entered a Syracusan, with a trio of assistants: first, a “flute-girl”, perfect in her art; next, a dancing-girl, skilled to perform all kinds of wonders.” 56 Ar. Ran. 513-5: |(1 /*- ()&.!-M8 !, C:; r$. '#$:# @CH' x-(;:!I!. 0}-R.C!-M$78 g!7-(; $D' \ !-7L8 “And there is also a “flute-girl” for you inside, a beauty, and other dancing hetairai, two or three.” 57 Aesch. Tim. 42.4-8: P&&' @3-(]7 !(?!( $:2&7D'# !(L8 (_CRMC!(;8 m$:#(L8, Qo:=(/M~ 0(1 3:&2!7&7M~ $7M3#'# 0(1 ()&.!-MC; 0(1 W!(M-(;8 0(1 0D5:;8 0(1 !:L8 %&&:;8 <=' # :)$7#O8 R-B 0-(!7LCH(; !O# /7##(L:# 0(1 F&7DH7-:# “But he behaved as he did because he was a slave to the most shameful lusts, to gluttony and extravagance at table, to “flute-girls” and harlots, to dice, and to all those other things no one of which ought to have the mastery over a man who is well-born and free.” 58 On “flute girls” and female musicians in Attic and Greek art Cf. (Taplin 1991, ; Bundrick 1998, ; Snyder 1998). ! PL! ! D8(+11&E!6(5K_&7;'(5!?H.&`Y!r>.(!@8&[('/&1H!\>..('H!PMPINPWIY!+6=n!IW9> ! a%!&8!/0&1(!%F!&1/!([&5(81!0%0;.>'&1HY!1-(!4$&#+!1(85/!1%!J(!0('E(&[(5!>/!>!0'&8E&0>..H!dJ>'J>'&>8T!>85! >!d)&%8H/&>8T!&8/1';$(81Y!/;&1>J.(!$>&8.H!F%'!/>1H'/Y!F%'(&78('/Y!/.>[(/Y!0'%/1&1;1(/Y!^%$(8!>85!1-(! .&V(! K!^-(8E(!d'(b(E1(5T!JH!1-(!;00('!E.>//(/!(/0(E&>..H!&8!+1-(8/Y!1-(!-%$(1%^8!%F!&1/!$>b%'! %00%8(81/3!+.E&J&>5(/Y!,.>1%!>85!+'&/1%1.(!9R;85'&EV!ABBOY!IQKQA !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 59 In respect of ancient Greek music the idea found a fundamental expression in the highly influential work of (Abert 1899). The doctrine of ethos is a major topos of the Apollo-Dionysus distinction in Greek music. Greek culture itself is a major topos of the distinction more generally. The related distinction of rational-irrational was transposed on the intellectual development in ancient Greek and western culture in general by (Nestle 1942). It is perhaps no coincidence that both scholars are German. Cf. (Vogel 1966). Charges against the excessiveness and ‘modernity’ of these ideas even in view of music in the radical Athenian context have been brought on by (Huchzermeyer 1931, ; McKinnon 1984, ; Wilson 2004). ! PC! ! E8()(1>&.3!+11&E!R.>EVK_&7;'(5!+$0-%'>Y!\%1->Y!aE-.%//$;/(;$!+4=IIY!E>N!OABKQCB!RNSN! ! *[(8!&8!1-(!'>5&E>.!+1-(8&>8!E%81(`1Y!1-(!>//('1&%8/!>'(!;81(8>J.(N!Z8!+11&E!&E%8%7'>0-H!^(!F&85! 1->1!1-(!4$&#+!&/!>//%E&>1(5!^&1-![>'&%;/!>85!:;&1(!d;8/;/0(E1(5T!E%81(`1/!>85!E->'>E1('/!9R;85'&EV! ABBOY! ICKQA ! G8(+11&E!6(5K_&7;'(5!S'>1('Y!=&(88>Y!?;8/1-&/1%'&/E-(/!";/(;$!WMLY!+6=n!PBLONPPY!E>N!QQBKQIB! RNSNY!>11'N!)>8>(!,>&81('! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 60 Soph. Ant. 965: =;&(D&:28 !' i-,H;>7 p:DC(8 61 On the connections between Apollo and the aulos in myth, cult, literature and iconography Cf. (Castaldo 2000, 33-4; Papadopoulou and Pirenne-Delforge 2001, 55-7; Zschätzsch 2002, 44-6). 62 Hom. Hym. Herm. 448-54: P!-70,'8 /*- y+( !-M( 3I#!( 3I-7C!;# 7)=-:CD#.# 0(1 @-'!( 0(1 q$2+:# J3#:# W&,CH(;.0(1 /*- F/Ä p:DC^C;# Å&2+3;I$7CC;# Q3.$68, !zC; R:-:M !7 +,&:2C; 0(1 P/&(O8 :Ç+:8 P:;$S8 0(1 +:&3B !7H(&2L( 0(1 V+7-67;8 5-6+:8 ()&"#T P&&' :K 3E !M +:; $7 +7!* =-7C1# %&&: +,&.C7# :e( #,'# H(&M^8 F#$,];( @-/( 3,&:#!(; “Surely there are here to be taken three things, all together, joy and love and sweet sleep. I too am a follower of the Olympian Muses, who care for dances and the bright path of singing, the flowering of song and dance and the lovely reverberation of auloi. Yet never before did I care in my heart like this for any of those skilful feats that young men perform at their revels.” Note however that the music of the aulos is associated with revelry whereas Apollo’s astonishment is expressly directed to Hermes’ skill and intelligence (456: :Ç$(8). ! PM! ! D-('(!&/!$;E-!>$J&7;&1H!&8!1-(!5&E-%1%$H!J(1^((8!+0%..%8&>8!>85!)&%8H/&>8!$;/&EY!^-&E-!>./%! %00%/(/!/1'&87(5!>85!^&85!&8/1';$(81/!$%'(!7(8('>..HN!a1'&87(5!&8/1';$(81/!%EE;'!&8!$>'V(5.H! )&%8H/&>8!E%81(`1/!>/!^(..N!D-(!%45%2*#+(([(8!>00(>'/!1%!J(!>!0'(5%$&8>81.H!)&%8H/&>8!&8/1';$(81! >85!%EE;'/!$>&8.H!%8!/E(8(/!'(.>1(5!1%!/H$0%/&;$/Y!1#A#+!5>8E(/Y!(1ENWI!D-(!12*3454Y!'(7>'5(5!>/! 1-(!+0%..&8(!&8/1';$(81!Q45('W9'&&':9'Y( &/!>./%!0.>H(5!JH!/>1H'/!&8!1-(!E%$0>8H!%F!)&%8H/;/!9F&7N! PB ! KN8()(1>&.3!+11&E!R.>EVK_&7;'(5!S'>1('Y!6-%5(/Y!+'E->(%.%7&E>.!";/(;$!PIILBY!E>N!OAOKQLO!RNSN!! ! G8!1-(!d-;$>8T!.([(.Y!^(!'(>E-!E%$0>'>J.(!E%8E.;/&%8/N!d6(/0(E1>J.(T!+1-(8&>8!^%$(8!0.>H!%8!1-(! 4$&#+(%8!>!7'%;0!%F!F&F1-KE(81;'H![>/(/!1->1!J(>'/!5&/1&8E1&[(!'(.>1&%8/!^&1-!&$0%'1>81!>85!5&78&F&(5! %EE>/&%8/!&8!>8!&85&[&5;>.T/!.&F(!/;E-!>/!$>''&>7(!9&'%'+(?4A21#+8(&#$*5#Q3#5#+ !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 63 Cf. (Marcellino 1997, ; Bundrick 2005, 21-5). The instrument is also called barbiton. 64 Although dances and music, above all that of the aulos and percussion instruments, were constitutive for the collective ekstasis and enthousiasmous characterising the cult activities in his honour, Dionysus is rarely depicted with musical instruments. He is playing the barbitos on an Attic red-figured kylix, Paris, Cabinet de Medallions 576, ARVÉ 371.14, ca. 500-480 B.C., attr. Byrgos Painter Cf. (Zschätzsch 2002, 79 n°4, Pl. 9a). In similar sympotic contexts, he may also carry the lyra Ex. Attic red-figured kylix, London, British Museum E129, ARVÉ 1414.89, early 4th cent. B.C., attr. Meleager Painter Cf. (Zschätzsch 2002, 79 n°6, Pl. 9b). The atmosphere is completely different on a unique Attic red-figured fragment, Orvieto, Faina collection 64, ARVÉ 3.5, ca. 530-520 B.C., attr. Andokides Painter, where Dionysus plays the kithara and sings Cf. (Zschätzsch 2002, 79 n°1 Pl. 8b). More general on Dionysos and music Cf. (Restani 1991, ; Castaldo 2003). 65 Ex. procession to bridal bath guided by an aulete on the Attic red-figured loutrophoros, Athens, National Museum 1453, ARVÉ 1127.18, ca. 430 B.C., attr. Washington Painter Cf. (Bundrick 2005, 185 fig. 06). On music and the wedding Cf. (Kaufmann-Samaras 1996, ; Bundrick 2005, 179-93). 66 Ex. auletris on the Attic white-ground lekythos, Brussels, RMAH A1020, ARVÉ 743.2, ca. 460-50 B.C., attr. Timocrates Painter Cf. (Bundrick 2005, 17 fig. 7). On the iconography music and funerals Cf. (Delatte 1913, ; Beschi 1991, ; Papadopoulou 2003, ; Bundrick 2005, 58, 66-71, 98-9). 67 Ex. auletris and women ladling wine into a skyphos on the Attic red-figured stamnos, Oxford Ashmolean Museum G289, ARVÉ 621.41, ca. 460, attr. Villa Giulia Painter, a so-called ‘Lenaia-vase’ Cf. (Bundrick 2005, fig. 92). On the Lenaia vases Cf. (Frontisi-Ducroux 1997). On the iconography of music in Greek cult Cf. (Haldane 1966, ; Nordquist 1992, 1994, ; Brand 2000, ; Zschätzsch 2002, ; Papadopoulou 2003, ; Bundrick 2005, 150-75). 68 Ex. the theatre cast and the aulete Pronomus on the Attic red-figured crater: Naples, Archaeological Museum, 81673/H3240, ARVÉ 1336.1, ca. 400 B.C. Cf. (Bundrick 2005, 177 fig. 02). On the iconography of music and theatre Cf. (Snyder 1979, ; Taplin 1993, ; Wilson 2002, ; Bundrick 2005, 175-9). ! AB! &$>7('H!/;77(/1/!1->1!1-(!4$&#+!0.>H(5!>8!&$0%'1>81!'%.(!&8!9$;/&E>.'8&87!>85!.(&/;'(NWM!a0%'1/! >E1&[&1&(/!H?;A:4+*21'L(^('(!>EE%$0>8&(5!JH!1-(!$;/&E!%F!>8!4$&#+K0.>H('0-K!l>''&%'/!$>'E-(5!1%! J>11.(!(8E%;'>7(5!JH!1-(!$;/&E!%F!>8!4$&#+K0.>H('NLP!*5;E>1(5!$>.(!E&1&c(8/!E%;.5!([(8!(81('1>&8! 1-($/(.[(/!0.>H&87!1-(!4$&#+!>1!1-(!/H$0%/&;$NLA!+1-(8&>8!&$>7('H!5%(/!8%1!/;77(/1!>!^-%.(/>.(! '(b(E1&%8!%F!1-(!4$&#+!J;1!>11(/1/!%8!1-(!E%81'>'H!1%!&1/!0('[>/&[(8(//!&8!1-(!E&1HN!! ! l(!F&85!J%1-!1-(!%;1$%/1!5&/0>'>7&87![%&E(/!>85!1-(!%;1$%/1!;0.&F1&87!'(0'(/(81>1&%8/!&8!1-(!E&1H! %F!+1-(8/N!.$&#+K0.>H('/(^('(!&8E.;5(5!&8!(.>J%'>1(5!'(.&7&%;/!0'%E(//&%8/!9%'7>8&c(5!%8!%EE>/&%8! %F! 1-(! B4:4*3':4241! 5(E%'>1(5! 1-(! 8%'1-! F'&(c(! %F! 1-(! ,>'1-(8%8! 9F&7N! PP ! KK8()(1>&.3!+1-(8&>8!,>'1-(8%8!_'&(c(Y!U%'1-!a.>J!=ZZ!s!=ZZY!E>N!QQIKQIC!RNSN! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 69 Ex. teacher playing aulos to a young boy on the (backside of) the famous ‘Douris cup’. Attic red-figured kylix, Berlin, Staatliche Museen, Antikensammlung F2285, ARVÉ 431.48, ca. 490-480 B.C., attr. Douris Cf. (Bundrick 2005, 3 fig. 2). On music and education Cf. (Mehl 2000, ; Beschi 2003, ; Bundrick 2005, 38-41, 53-6, 61-5). 70 Ex. the discus thrower, athlete with javelin, trainer and aulete on the Attic red-figured hydria, London, British Museum E164, ca. 510-500 B.C. Cf. (Bundrick 2005, 77 fig. 47). On sports and music Cf. (Rashke 1985, ; Bundrick 2005, 74-80; Kyle 2006). 71 Ex. aulete and dancing warriors on the Attic red-figured hydria, New York, Metropolitan Museum of Art, Rogers Fund 1921 (21.88.2), ca. 500 B.C. Cf. (Bundrick 2005, 79 fig. 48). On warfare and music Cf. (Cordano 2002). On the pyrrhic weapon dances Cf. (Delavaud-Roux 1990, ; Ceccarelli 2004). 72 Ex. young aulete and reclining symposiast on the Attic red-figured kylix, München, Glyptothek 2646, atrr. Douris, ca. 480 B.C. Cf. (Bundrick 2005, 75 fig. 45). On music and the symposium Cf. (Lissarrague 1991, ; Bessi 1997, ; Bundrick 2005, 80- 92). 73 Cf. http://www.ekt.gr/parthenonfrieze/ ; http://www.willamette.edu/cla/wviews/parthenon/. ! AP! ! ! ! AA! 9$:;<./&+,%&=./101"*& ! Z8!>8E&(81!1&$(/Y!1-('(!(`&/1(5!>!'&E-!>85!$>8&F%.5!'(0('1%'H!%F!$H1-&E>.!F&7;'(/!>//%E&>1(5!^&1-! $;/&E!>85!$;/&E>.!&8[(81&%8/N!4('$(/!&8[(81(5!1-(!.H'(Y!,>8!&8[(81(5!1-(!/H'&8`Y!+0%..%!0.>H(5!1-(! 12*3454Y!G'0-(;/!0.>H(5!1-(!.H'(Y!1-(!a&'(8/!/>87Y!4H$(8>&%/!($J%5&(5!>!^(55&87!/%87Y!(1ENLQ!+./%! G.H$0;/! 9#gtuvoi1(7%'H! %F! $H1-&E>.! $;/&E&>8/N! 4(! /->'(/! 1-(! E>0>E&1H! %F! $H1-&E>.!&8[(81%'!%F!1-(!4$&#+K$;/&E!8%1>J.H!^&1-!">'/H>/!>85!4H>78&/N!D%7(1-('!1-(H!$>V(!;0! 1-(!d,-'H7&>8!1'&>5T!%F!$;/&E&>8/!&8!\'((V!$H1-N!G.H$0;/Y!">'/H>/!>85!4H>78&/!(8b%H(5!1-(!-&7-(/1! '(0;1>1&%8!>/!F%;85&87!4$&'*'+N!D-(H!>'(!'(.>1(5!&8!$>8H!&81('/(E1&87!^>H/N!2&1('>1;'(!>//%E&>1(/! 1-($Y! F&'/1Y! &8! 1('$/! %F! 7(%7'>0-HY! >/! E%$0>1'&%1/N! +..! 1-'((! E->'>E1('/! />&5! 1%! ->[(! E%$(! F'%$! ,-'H7&>Y!^-&E-!&/!>./%!1-(!0'(/;$(5!-%$(.>85!%F!1-(!4$&#+!&1/(.FN!a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`1!G.H$0;/!J(E%$(/!">'/H>/T!$%;'8('!>85!1-(&'!'(.>1&%8!>E:;&'(/! 1'>7&E! E%88%1>1&%8/N! D-(! /0(E&F&E! $;/&E>.! >EE%$0.&/-$(81/! >11'&J;1(5! 1%! G.H$0;/! >'(! $>8H! >85! [>'&(5! >85! %F1(8! %[('.>0N! D-(H! &8E.;5(! 1-(! &8[(81&%8! %F! [>'&%;/! &8/1';$(81/Y! '-H1-$/Y! /E>.(/Y! $%5(/Y!>85!E%$0%/&1&%8/N!G.H$0;/!>./%!(81('(5!&81%!1-(!E>1(7%'H!%F!.(7(85>'H!F%;85('/!%F!\'((V! $;/&E!E%$0'&/&87!F&7;'(/!/;E-!>/!D('0>85('!%F!2(/J%/!^-%!d&8[(81(5T!1-(!/([(8!/1'&87(5!.H'(!9&8! a0>'1> >3'(9&4++294&(Q'59'Q*2#:(#)(a&;AQ$+(2:(A;*3#&#?;( !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 74 On the Greek mythical musicians and poets Cf. (Boehm and Boehm 1959, ; Abert 1970, ; Chailley 1968, ; Restani 1995, ; Beschi 1989, ; Platthy 1985, ; Zaminer 1989, 165-80; Bosseur 1991, ; Landels 1999, ch. 6; Molina Moreno 2003, ; Restani 2005). 75 ‘mythical’ (Scichilone 1963, 674), ‘semi-mythical’ (Edmonds 1922), ‘legendary’ (Mathiesen 2004), ‘semi-legendary’ (Barker 1984, 92 nt. 197), ‘semi-historical’ (Weis 1997, 39), ‘historical’ (Michaelides 1978, 225-6). ! AI! ! Z8!1-(!5&/E&0.&8(!%F!$H1-%.%7HY!G.H$0;/!&/!&8/(0>'>J.H!>//%E&>1(5!^&1-!1-(!E->'>E1('!>85!1-(!$H1-! %F! ">'/H>/N! Z8! 1-(! /1>85>'5! d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b;57$(81!>7>&8/1!-&$Y!">'/H>/! ^>/!/;/0(85(5!F'%$!>!1'((!>85!F.>H(5!>.&[(N!4&/!/V&8!^>/!$>5(!&81%!>8!4+1#+!jF.>/VY!0%;E-kN!Z1!^>/! -;87!;0!>/!>!1'%0-H!&8!>!E>[('8!8(>'!S(.>(8>(!&8!,-'H7&>N!D-('(!F'%$!-&/!J.%%5!%'!F'%$!1-(!1(>'/!%F! 1-(!E%81(/1!>11(85>81/!/0'>87!1-(!'&[('!">'/H>/N!G.H$0;/!^>/!">'/H>/q!E%$0>1'&%1Y!-&/!0'(F(''(5! 0;0&.Y!([(8!-&/!.%[('!>EE%'5&87!1%!/%$(Y!>85!-(!>./%!J(E>$(!-&/!0'&8E&0>.!$%;'8('NLW!! 2&V(!1-(!$>b%'&1H!%F!$H1-/Y!1-(!$H1-!%F!">'/H>/!->/!E%$(!5%^8!1%!;/!&8!$;.1&0.(![>'&>81/!>85!F'%$! [>'&(5!/%;'E(/N!2&1('>'H!1(`1/Y!/E;.01;'(/Y![>/(/Y!(1ENY!'([(>.!8;$('%;/!>85![>'H&87!>/0(E1/!%F!&1!>85! 5&FF('(81! >00'%>E-(/! %F! 1-(! $H1-! (`&/1(5! >.'(>5H! &8! \'((V! +81&:;&1HN! D-('(! ^>/! 8%! dE>8%8&E>.T! [('/&%8N!"H1-/!>'(!d%0(8K(85(5T!/H/1($/!9R;`1%8!PMMQY!PO Z8!1-(!$H1-%7'>0-&E!1(`1/Y!G.H$0;/T!$>&8!'%.(!&/!1->1!%F!">'/H>/T!/1;5(81!&8!1-(!$;/&E!%F!1-(!4$&#+! >85!1->1!%F!-&/!$%;'8('!>1!-&/!E%81(/1N!4(!%EE;'/!8%1>J.H!&8!>EE%;81/!%F!1-(!E%81(/1!1->1!(.>J%'>1(! %8! 1-(! >1'%E&%;/! 0;8&/-$(81! ">'/H>/! '(E(&[(5! F'%$! +0%..%! ^-%! ->5! -&$! /1'&00(5! >.&[(N! G[&5! 0'%[&5(/!;/!^&1-!>!->'/-!5(/E'&01&%8!%F!">'/H>/T!b;57($(81!&8!-&/!F>$%;/!@'*4A#5Q3#+'+!9E>N!PKC! +N)N 76 This is the ‘standard’ version of the myth as found in dictionaries and encyclopaedia e.g. (Jessen 1894, ; Burckhardt 1930, ; Hunger 1953, 199-200; Paribeni 1961, ; Grimal 1963, 227-8; Von Geisau 1969, ; Schauenburg 1975, ; Weis 1992, ; Dowden 1996, ; Visser 1999, ; Price and Kearns 2003, 335-6). 77 Cf. (Lissarrague and Aghion 1990, 184; Reid 1993, II, 638-43). 78 Cf. (Hard 2004, 1-20: “Source for Greek Myths”) is an alphabetical list of authors and works. 79 Other sources on the contest include, listed chronologically: Hdt. Hist. 7.26; Xen. Anab. 1,2,8; Plat. Resp. 399e; Plat. Euthyd. 285c; Ps.-Palaiph. 47, Ant. Pal. 9.340 (Dioscorides); Anth. Pal. 18.6 (Alceaus of Messene); Diod. Sic. 5,75,3; Strab. 12.8.15; Livy, Epon. 38.13; Plin. N.H. 16.240; Anth. Pal. 9.266 (Antipater); Anth. Pal 7.696 (Archyas); Plut. Alc. 2; Lucian. Dial. Deor. 15; Paus. 2.7.9, 2.22.8-9; Philostr. Im. 2.1-4; Ar. Q. 2.18; Nonn. Dion. 10.230-234, 19.316-27; Fulg. Myth. 3.9; Agh. 4.23,4-5; Myth. Vat. 2.115-116. For a full alphabetical list Cf. (Maniates 2000). ! AQ! F.%EVY!%'!-('5!;0%8!1-(!0.>&8Y!J(^>&.(5!1-(!.%//m!>85!^&1-!1-(&'!1(>'/!1->1!F.%^(5!>!V&85.H!$%&/1;'(! %8! 1-(! (>'1-! J(/1%^(5m! 1->1! /%%8! E%8b%&8(5Y! >85! &8! >! J%5H! '>87(5Y! /0';87! F'%$! 1-(! 7'%;85Y! 1%! .&$0&5!^>1('!E->87(5m!^-&E-Y!5%^8!1-'%;7-!,-'H7&>T/!'%EV/Y!>!$&7-1H!/1'(>$Y!E%$(/!1'($J.&87!1%! 1-(!/(>Y!>85!">'/H>/!&/!&1/!8>$(Nk!9WNICMKQBB ";E-!1-(!/>$(!>;1-%'/!&8/&/1!(./(^-('(!%8!G.H$0;/T!%1-('!>FF&8&1&(/!^&1-!">'/H>/N!G[&5!&8E.;5(/! 1-(! E%;0.(! &8! -&/! .&/1! %F! $H1-&E>.! 1(>E-('/! %F! $;/&E! ^-%! '(E(&[(! d0'%0('T! 1'(>1$(81! F'%$! 1-(&'! /1;5(81/! /;E-! >/! +E-&..(/! >85! S-&'%8! 9,%81N! ININQA !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 80 Ov. Met. 389-400: clamanti cutis est summos direpta per artus, nec quicquam nisi vulnus erat; cruor undique manat, detectique patent nervi, trepidaeque sine ulla pelle micant venae; salientia viscera possis et perlucentes numerare in pectore fibras. illum ruricolae, silvarum numina, fauni et satyri fratres et tunc quoque carus Olympus et nymphae flerunt, et quisquis montibus illis lanigerosque greges armentaque bucera pavit. fertilis inmaduit madefactaque terra caducas concepit lacrimas ac venis perbibit imis; quas ubi fecit aquam, vacuas emisit in auras. inde petens rapidus ripis declivibus aequor Marsya nomen habet, Phrygiae liquidissimus amnis. 81 Ps.-Apol. Bibl. 1.24.1-2: P3,0!7;#7 $A s36&&'# 0(1 !O# Å&D+3:2 3(L$( p(-CD(# 82 Hyg. Fab. 165.16-9: itaque Apollo uictum Marsyam ad arborem religatum Scythae tradidit, qui eum membratim ! AO! U([('1-(.(//Y! 1-(! E.>//&E>.! 0('E(01&%8! '(7>'5/! G.H$0;/! >/! >! '(8%^8! ,-'H7&>8! 4$&#+K0.>H('! ^-%! ^>/! >5%01(5! $%/1! /;EE(//F;..H! &8! $H1-! &8! -&/! E>0>E&1H! F%'! 1'>7&E! >85! ('%1&E! (.>J%'>1&%8! %F! 1-(! E>01&[>1&87! E->'>E1('! >85! /&1;>1&%8! %F! ">'/H>/NCC!D-&/!&/!1-(!'(/;.1!%F!1-(!0'&$>'H!$H1-%7'>0-&E! F%E;/! %F! 1-(! 5&/E&0.&8(N! D-(! $H1-%7'>0-&E! 1(`1/Y! 1-%;7-! 1-(H! 5>1(! $%/1.H! 1%! 1-(! 4(..(8&/1&E! >85! 6%$>8! 1&$(/Y! E%8/1&1;1(! %F! %.5! 1-(! E%'(!/%;'E(/!&8!1-(!/1;5H!%F!^->1!&/!%F1(8!>00'%>E-(5!>/! dE.>//&E>.T!$H1-%.%7HN!"%'(%[('Y!&E%8%7'>0-H!>1!F>E(![>.;(!E%''%J%'>1(/!1-&/!0('E(01&%8N!Z8!E.>//&E>.! >'1Y!>/!^(..Y!G.H$0;/!%EE;'/!$>&8.H!&8!E%88(E1&%8!^&1-!">'/H>/N!+7>&8Y!-&/!$>&8!:;>.&1&(/!>'(!-&/! ,-'H7&>8!>85!$;/&E>.!-('&1>7(!>85!&/!-&/!0'&8E&0>.!'%.(!1->1!%F!">'/H>/T!$%;'8('!>1!-&/!E%81(/1!>85! -&/!/1;5(81!&8!1-(!$;/&E!%F!1-(!4$&#+N!D-(!">'/H>/!$H1-!7>[(!'&/(!1%!E(.(J'>1(5!^%'V/!%F!>'1!>85! 1-(/(!(`('E&/(5!>!0'%F%;85!&8F.;(8E(!%8!1-(!E.>//&E>.!0('E(01&%8!%F!G.H$0;/!&8!$H1-%.%7H!>/!^(..NCM! G8!1-(!%8(!->85Y!G.H$0;/!>00(>'/!&8!'(0'(/(81>1&%8/!%F!">'/H>/T!E%81(/1!^&1-!+0%..%!1->1!7>&8(5! /0(E&>.! 0%0;.>'&1H! &8! '%$>8! />'E%0->7&! '(.&(F/N! Z8! 1-(/(Y! G.H$0;/! 7'>5;>..H! E%81'>E1/! ^&1-! 1-(! aEH1-&>8!/.>[(!>85!1-(!4$&#+!^&1-!-&/!V8&F(!X!>55&87!%8.H!1%!1-(!0%&78>8EH!%F!1-(!/E(8(/!5(E%'>1&87! F;8('>'H! $%8;$(81/N! Z8! >8%1-('! 1'>5&1&%8Y! G.H$0;/! 0.(>5/! J(F%'(! +0%..%! 1%! /0>'(! ">'/H>/T! .&F(N! D-(!d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m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f. The ‘standard’ representation of Olympus in classical dictionaries and encyclopaedia Cf. (Grimal 1963, 328; Schauenburg 1975). However, you may look in vein for Olympus the musician in handbooks and encyclopaedias of mythology Cf. (Price and Kearns 2003). This is largely the result of their primary mythographic focus. In the mythographic texts, indeed, Moreover the mythical mountain with whom Olympus shared his name is much more famous and certainly the one which housed the ‘Olympian’ gods. Marsyas, on the other hand, is most famous for his contest with Apollo. 89 The most extensive articles on Olympus are invariably found in iconographical dictionaries and encyclopaedia of classical mythology Cf. (Weizsäker 1897-1902, ; Scichilone 1963, ; Weis 1997). 90 Olympus in later works of art of the contest between Apollo and Marsyas Cf. (Rawson 1987, §4-5; Weis 1997, §f-i) 91 Olympus in later works of art of musical lessons with Marsyas and Pan Cf. (Rawson 1987, §6; Weis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d>..(7%'&E>.T! (`0'(//&%8/! %F! 1-(! /;0('&%'&1H!%F!1-(!&5(>./!%F!>8E&(81!\'((V!$;/&E!>85!E;.1;'(NMI!D-(!(`($0.>'H![&/;>.!>'1&E;.>1&%8!&/!>! .>1(!E.>//&E>.!X!(>'.H!4(..(8&/1&E!$>'J.(!/E;.01;'(!F'%$!">81&8(>!9+'E>5&>11'&J;1(5!1%!E&'E.(!%F! 1-(! ,'>`&1(.(/! 9F&7N! PA !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 92 In Hellenistic and Roman times, the perception of the myth clearly polarises. Some authors seem to be uncomfortable by the way Apollo acquired his victory and with the brutality of the penalty chosen for his enemy. They imagine him to play tricks and have him repent (Diod., Ps.-Apollod., Hyg.). More often, however, they try to justify his triumph and deeds by accentuating Marsyas’ faults (Ps.-Pal., Ov., Apul.). Exemplary is above all Apuleius’ reading of the myth (ca. 155 A.D.), Flor. 3.17-46. A famous sculptural group represents Marsyas hanging, Apollo kitharodos and a Scythian executioner. It is regarded a major artistic achievements of Hellenistic art and had a huge impact on the Roman monuments which display a similar Apolline focus of the myth Cf. (Rawson 1987). 93 It largely derives from later scientific-philosophical interpretations of the myth Cf. A.Q. II.18.23-30: “Thus instruments resembling better things are better, the others less good. This, is, so people say, what is shown by the myth in which Apollo’s tunes and instruments were preferred to those of Marsyas. The Phrygian Marsyas who was hung up as an aksos over the river at Celaenae, is the region of the lower air, shadowy and full of breath, which hangs suspended below the aether and above the water; while Apollo and his instruments are pure, aetherial essence and its master” A related interpretation is to read the myth as a metaphor for the superiority of vocal over instrumental music in Greece. Scholars have maintained that the Greeks subordinated the music to the lyrics and made the rythmic-melodic expression contingent on the demands of the verbal text. Instrumental music would have served the main purpose of supporting the melody of the text. (Comotti 1989, 3) In a certain versions Apollo started singing to his music and Marsyas only lost because he was unable to do the same on the aulos (Diod. Sic. 3.59). But instrumental music had a long tradition – infra. Cf. (Wegner 1949, 18-9; Lippman 1963, 45-6; Anderson 1966, 9; Abert 1970, ; Michaelides 1978, 198; Thiemer 1979, 40; Mathiesen 1999, 180). For later art and periods Cf. (Neumann 1962, ; Smith 1979). Allegorical interpretations of the contest in the Greek context Cf. (Maniates 2000). Allegorical and other interpretations of Greek myth Cf. (Said 1993). 94 The panel is also described by Pausanias 8.9.1: @C!; $A p(#!;#7?C; #(O8 $;3&:?8 +I&;C!I 3:2 0(!* +,C:# !:MRn $;7;-/6+7#:8T !:? #(:? $A !z +A# %/(&+I FC!;# sC0&.3;:?, !,R#. [$A] ! AL! ! K=8(">'J.(!J>/K'(.&(F!/E;.01;'(Y!+1-(8/Y!U>1&%8>.!";/(;$!APOY!>11'N!E&'E.(!,'>`&1(.(/Y!E>N!IIO!RNS8( ! Z81('0'(1&87! $H1-/! &8! /1';E1;'>.K/H$J%.&E! 1('$/! &/! >! $>b%'! E;''(81! &8! 1-(! /1;5H! %F! $H1-%.%7HN! 4%^([('Y!&1!5%(/!8%1!8(E(//>'&.H!'(/;.1!&81%!/;E-!@8&[('/>.&/1!>85!$;1;>..H!(`E.;/&[(!%00%/&1(/!1->1! ->[(! >.'(>5H! 0'%[(8! 1%! J(! .>'7(.H! $%5('8! E%8E(01/! 1%%! /&$0.&/1&E>..H! &$0%/(5! %8! 1-(! \'((V/N! 6(E(81!/E-%.>'/-&0!->/!1(85(5!1%!d'(>5T!">'/H>/T!F%'(&78!>8E(/1'H!9,-'H7&>85!J(/1&>.!E>0>E&1H! 9/>1H'/!&81'&8/&E>..H!\'((V!(`0'(//&%8/!%F!1-(!d%1-('T3!d8%8K\'((VTY!d8%8K5&[&8(Y!d8%8KE&[&.&/(5TY! d8%8K.%7%/T!(1EN!Z8!1-&/!0('/0(E1&[(Y!1-(!d%1-('T!&/!>8!&81(7'>.!0>'1!%F!1-(!\'((V/T!/(.FK5(F&8&1&%8!>85!/%! &/!">'/H>/!>/!^(..N!+$J&[>.(8E(!>85!>$J&7;&1H!&/!>!$>b%'!E->'>E1('&/1&E!%F!\'((V!$H1-!>85!Z!^&..! >'7;(! F'%$! -('(! %8! 1->1! 1-(! $>&8! '(>/%8! F%'! 1-(! /;EE(//! %F! 1-(! >81>7%8&/1&E! $H1-! %F! ">'/H>/! &/! 0'(E&/(.H!&/!&1/!E>0>E&1H!1%!;8&1(!>!0.(1-%'>!%F!:;&1(!E%$0.(`!E%81'>5&E1&%8/!1->1!^('(!5((0K/(>1(5! &8!\'((V!E;.1;'(!>85!&8!>..!1-(&'!>/0(E1/!F;85>$(81>.!1%!1-(!\'((V/NMO! ! ! >3'(32+*#529O?':'*29(2:*'5Q5'*4*2#:( ! D-(!/(E%85!$>&8!E;''(81!&8!1-(!/1;5H!%F!\'((V!$H1-!&/!1-(!d-&/1%'&EK7(8(1&ET!>00'%>E-N!Z1!F%E;/(/!%8! 1-(!%'&7&8/!>85!([%.;1&%8/!%F!$H1-/!>85!%8!1-(&'!'(.>1&%8/!1%!-&/1%'&E>.!0-(8%$(8>N!aE-%.>'/!->[(! %FF('(5!>!^&5(![>'&(1H!%F!-&/1%'&E>.!(`0.>8>1&%8/!F%'!1-(!%'&7&8/Y!1-(!E%81(81Y!>85!1-(!/;EE(//!%F!1-(! E%81(/1!$H1-NMW!Z8![&(^!%F!\'((V!$;/&EY!1-(!$H1-!&/!1H0&E>..H!E%''(.>1(5!^&1-!1-(!d-%/1&.&1HT!1%^>'5/! 1-(!4$&#+!>85!1-(!d/;0('&%'&1HT!%F!1-(!12*3454!&8!>8E&(81!\'((E(NML!R;1!^(!->[(!/-%^8!1->1!1-(!4$&#+! ^>/!8([('!E%$0.(1(.H! '(b(E1(5N! U%'! ^>/! >! E%$0.(1(! [&E1%'H! %F! 1-(! 12*3454!([('!'(>E-(5!9l&./%8! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 95 Cf. (Vernant 1985, ; Leclercq-Neveu 1989, ; Wilson 1999, ; Feldherr 2004). On the structural interpretation of Greek myth Cf. (Detienne 1977, ; Sournivou-Inwood 1991). For the cultural study of the ‘Other’ Cf. (Hartog 1980, ; Hall 1989, ; Cartledge 1993). 96 They may include political factors such as hostility towards the ‘barbarian’ East and the superiority ascribed to Greek traditional culture Cf. (Böttiger 1796); cultural factors such as the love for competition and sophistic argumentation Cf. (Metzger 1951, 158); ethical factors such as the supremacy of aristocratic Delphic-Apolline morality and “know thyself” ideology (Weiler 1974, 37); religious factors such as ancient cult and ritual practices (Reinach 1912); etc - and mostly some combination of them. On the various historical interpretations of the contest in the Greek context Cf. (Maniates 2000). On the historical interpretation of Greek myth Cf. (Brillante 1990). 97 Cf. (Chailley 1968, 327; Michaelides 1978, 198; Mathiesen 1999, 180). ! AC! ABBQ ! ! >3'(.*3':24:(aQQ#:':*+(( ! ,.>1%Y!&8!1-(!0>//>7(!%F!-&/!N'Q$%&29($(81&%8(5!>J%[(Y!E%8E.;5(/!JH!1-(!.&0/!%F!a%E'>1(/!1->13!jl(! >'(!8%1!&88%[>1&87Y!$H!F'&(85Y!&8!0'(F(''&87!+0%..%!>85!1-(!&8/1';$(81/!%F!+0%..%!1%!">'/H>/!>85! -&/! &8/1';$(81/Nw! wU%Y! JH! -(>[(8xw! -(! />&5Y! wZ! 1-&8V! 8%1Nw! 9IMM(PKQ !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 98 Most accounts present the same story but with varying details and interpretations in its retellings that existed side by side. The oldest nucleus of the myth is the contest between Marsyas and Apollo (Hdt.; Xen.). All other elements may vary significantly. The contest is brought on by Marsyas’ hybris (Plat.) or his foolishness (Ps.-Pal.). For others it is a contest in musical skill and knowledge (Xen., Diod., Apollod., Aghat.). The judges can be the Muses, followers of Apollo (Luc.), sometimes Athena joins them (Apul.). In other sources the judges are the people of Nysa, Dionysus’ hometown (Diod.) or the Lydian mountain-god Tmolus and the Phrygian king Midas (Hyg.), associates of Marsyas. Some writers are quick to dismiss the contest as the opponents never matched (Apul.). Others go into much detail and describe the contest as thrilling contest between two worthy opponents (Diod.). For some Marsyas’ gloomy destiny is inescapable to begin with (Ps.-Pal.), others cast doubts on Apollo’s triumph (Apollod., Luc.). Even in Athens, Apollo kitharodos is far from unapproachably triumphant. Cf. (Wilson 2004, esp. 272) - infra 99 Plat. Resp. 399e1-4: “á)$,# /7, a# $' F/E, 0(;#O# 3:;:?+7#, à =M&7, 0-M#:#!78 !O# s36&&' 0(1 !* !:? s36&&'#:8 Y-/(#( 3-O p(-CD:2 !7 0(1 !"# F07M#:2 Q-/I#'#. p* `M(, a $' 98, :K +:; =(;#6+7H(” 100 Arist. Pol. 1341b2-8: 7)&6/'8 $' @R7; 0(1 !O 37-1 !"# ()&"# <3O !"# P-R(M'# +7+2H:&:/.+,#:#. =(C1 /*- $B !B# sH.#j# 7<-:?C(# P3:5(&7L# !:X8 ()&:D8. :) 0(0"8 +A# :c# @R7; =I#(; 0(1 $;* !B# PCR.+:CD#.# !:? 3-:CE3:2 !:?!: 3:;SC(; $2CR7-I#(C(# !B# H76#T :) +B# P&&* +j&&:# 7_0O8 9!; 3-O8 !B# $;I#:;(# :)H,# FC!;# m 3(;$7M( !S8 ()&4C7'8, !z $A sH.#Ü !B# F3;C!4+.# 37-;!MH7+7# 0(1 !B# !,R#.# 101 Plut. Alc. 2.5.3-7.1: 3&40!-:2 +A# /*- 0(1 &D-(8 R-SC;# :)$A# :K!7 CR4+(!:8 :K!7 +:-=S8 F&72H,-n 3-73:DC.8 $;(=H7M-7;#, ()&:X8 $A =2C"#!:8 P#H-E3:2 C!6+(!; 0(1 !:X8 C2#4H7;8 f# 3I#2 +6&;8 $;(/#"#(; !O 3-6C'3:#. @!; $A !B# +A# &D-(# !l R-'+,#n C2+=H,//7CH(; 0(1 C2#â$7;#, !O# $' ()&O# F3;C!:+M>7;# 0(1 P3:=-I!!7;# g0(C!:#, !4# !7 ='#B# 0(1 !O# &6/:# P=(;-:D+7#:#. “()&7M!'C(# :c#” @=. “u.5(M'# 3(L$78T $;(&,/7CH(; /*- :)0 d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m+L# $A !:L8 sH.#(M:;8, x8 :V 3(!,-78 &,/:2C;#, P-R./,!;8 sH.#j 0(1 3(!-l:8 s36&&'# FC!M#, # m +A# @--;o7 !O# ()&6#, h $A 0(1 !O# ()&.!B# F],$7;-7 102 Ex. (Schindler 1987, 115-46) Countered a.o. by (Wilson 1999). 103 Pind. Pyth. 12.5-27: $,](; C!7=I#'+( !6$' F0 Ö2H"#:8 7)$6]n pM$~ ()!6# !7 #;# ä&&I$( #;0IC(#!( !,R#~, !I# 3:!7 Ö(&&*8 F=7?-7 H-(C7;j# <ã:-/6#'#> :K&;:# H-S#:# $;(3&,](;C' sHI#(T !O# 3(-H7#M:;8 <36 !' P3&I!:;8 Q=M'# 07=(&(L8 %å7 &7;56+7#:# $2C37#H,å CX# 0(+I!n, Ö7-C7X8 h36!7 !-M!:# %2C7# 0(C;/#.!j# +,-:8 F##(&M~ {7-Mç=n &(:LCM !7 +:L-(# %/'#. r!:; !6 !7 H7C3,C;:# Ñ6-0:;' P+(D-'C7# /,#:8, &2/-6# !' @-(#:# Ö:&2$,0!~ HS07 +(!-68 !' @+37$:# $:2&:CD#(# !6 !' P#(/0(L:# &,R:8, 7)3(-I:2 0-j!( C2&IC(;8 p7$:MC(8é 2VO8 `(#I(8, !O# P3O R-2C:? =(+A# ()!:-D!:2 @++7#(;. P&&' F371 F0 !:D!'# =M&:# %#$-( 36#'# F--DC(!: 3(-H,#:8 ()&"# !7?R7 3I+='#:# +,&:8, Y=-( !O# è)-2I&(8 F0 0(-3(&;+j# /7#D'# R-;+=H,#!( CX# @#!7C; +;+4C(;!' F-;0&I/0!(# /6:#. 7ê-7# H768T P&&I #;# 7<-:LC' P#$-IC; H#(!:L8 @R7;#, }#D+(C7# 07=(&j# 3:&&j# #6+:#, 7)0&7j &(:CC6'# +#(C!S-' P/E#'#, &73!:? $;(#;C6+7#:# R(&0:? H(+* 0(1 $:#I0'#, !:1 3(-* 0(&&MR:-:# #(M:;C; 36&;# ë(-M!'# |(=;CM$:8 F# !7+,#7;, 3;C!:1 R:-72!j# +I-!2-78 “Receive this victory garland from Pytho in honor of renowned Midas, and receive him too, the champion of Hellas in that art which once Pallas Athena discovered when she wove together the deathly dirge of the fierce Gorgons which she heard pouring in woeful anguish from under the maidens' horrible snaky head hair, when Perseus killed the one sister out of the three and brought doom to sea-girt Seriphus and to its people. He brought darkness on the monstrous race of Phorcus, and he made dreadful for Polydectes his wedding-present, for the long slavery of his mother and her forced bridal bed; by stripping off the head of fair-cheeked Medusa, Perseus, Danae's son, begotten, we say, in a spontaneous shower of gold. But when the virgin goddess had released that beloved man from these toils, she created an ever-voiced melody of auloi to imitate with instruments the shrill cry that burst from the fast-moving jaws of Euryale. Having invented it, the goddess gave it to mortal men to possess, and she named it the nomos of many heads (polykephalos), that glorious suitor for contests which excite people, passing through the thin bronze and the reeds which grow by the city of the Graces with its lovely dancing-places, in the precinct of the river Cephissus, and are a faithful audience of the dancers.” This is hardly the place to enter into the linguistic, musicological and cultural discussions surrounding this much-studied ode. Cf. most specifically (Schlesinger 1968, ; Köhnken 1976, ; Barker 1984, 57-8; Barie 1990, ; Strauss Clay 1992, ; Frontisi-Ducroux 1994, ; Segal 1994, ; Papadopoulou and Pirenne-Delforge 2001). ! IB! );'&87! 1-(! /([(81-! >85! /&`1-! E(81;'&(/Y! %1-('! '(7&%8/! ->5! >.'(>5H! F%/1('(5! /%$(! 8%1(^%'1-H! /E-%%./! %F! 4$&'*'+!>85!E%''(/0%85&87!$H1-%.%7&(/!^('(!0'%5;E(5N!D-(!0'&8E&0>.!/%;'E(! &/! ,>;/>8&>/!9A85!E(81;'H!+N)N D-(J(/!^>/!8>1;'>..H!0'(5&/0%/(5!JH!.>V(!S%0>&/!0'%[&5&87!>00'%0'&>1(!'((5/!1%!F>J'&E>1(!-&7-K :;>.&1H!4$N!D%^>'5/!1-(!(85!%F!1-(!/&`1-!E(81;'HY!1-(!D-(J>8/!'(F&8(5!1-(!1(E-8&:;(/!%F!4$&#+K 0.>H&87! >85! 1-&/! (`1(85(5! 1-(!$;/&E>.!0%//&J&.&1&(/!%F!1-(!4$&#+!/&78&F&E>81.HN!+5[>8E(/!&8!1-(! 1(E-8&:;(/!%F!0.>H&87!->5!/1>'1(5!>.'(>5H!&8!1-(!>'E->&E!>7(Y!J;1!%8.H!&8!1-(!E.>//&E>.!0('&%5Y!^(! >./%! /((! E->87(/! 1>V&87! 0.>E(! &8! 1-(! $(.%5&E! >85! '-H1-$&E! [>'&(1&(/! ;/(5! &8! $;/&E! %F! 1-(! 4$&#+N! ,&85>'! >..;5(/! '(0(>1(5.H! 1%! 1-(! (`1(8/&[(! $(.%5&E! E>0>E&1&(/! %F! 1-(! &8/1';$(81! >85! 5(F&8(/! &1/! $;.1&0.&E&1H!%F!/%;85/!9'N!PM/!Q4AQ3#:#+(j->[&87!([('H![%&E(k!9R>'V('!PMCQY!OL!81N!PB ! ! a&;AQ$+(4:C(@45+;4+(2:(B2:C45(H940(E6IOGFI(<0=0L( ! l(! >./%! F&85! 1-(! %.5(/1! .&1('>'H! '(F('(8E(! 1%! G.H$0;/! &8! >! F'>7$(81! %F! ,&85>'! ^-('(3! ja&.(8;/! 9/0(>V/8!-('%!G.H$0;/3!0%%'!E-&.5!%F!>!5>Hx!r%;!/0(>V!E-&.5&/-!&8!J%>/1&87!1%!$(!%F! $%8(HNk!9F'7N!OL!">(-.('EE(01(5!1%!J(!">'/H>/N!D-(!'(.>1&%8!&$0.&(5!&/!(1-8&E!>85! 5&5>E1&EN!,&85>'!5%(/!8%1!$(81&%8/!">'/H>/!(`0.&E&1.H!J;1!1-&/!$>H![('H!^(..!J(!>!E>/(!%F![%.;81>'H! E%8E(>.! 0'%$01(5! JH! -&/! 8(7>1&[(! &$0.&E>1&%8/! F%'! 1-(! 4$&#+N! Z1! /(($/! 8%1! E%&8E&5(81>.! 1->1! 1-(! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 104 Paus. 2.22.9.1-3: 0(1 !O @RH:8 !O s36&&'#; $;(+,#:# F8 !:X8 ()&.!*8 @!; P3O p(-CD:2 0(1 !S8 í+M&&.8 !:? {;&.#:? 3(2HS#(; $;* !:?!:# $:07L !O# {(0I$(# ! IP! D-(J>8! 0%(1(//! S%'&88>Y! 0'%J>J.H! ,&85>'T/! E%81($0%'>'HY! E%88(E1(5! +1-(8>! >85! +0%..%! 1%! 1-(! 4$&#+!>853!j7%(/!>/!F>'!>/!1%!/>H!1->1!+0%..%!^>/!1>;7-1!JH!+1-(8>!1%!0.>H!1-(!4$&#+k!9,/NK,.;1N!";/N! PIIWJOKW ! ! a&;AQ$+(2:(B54*2:4+(H940(EKKOGEK(<0=0L( ! l(!%^(!1-(!F&'/1!+1-(8&>8!'(F('(8E(!1%!G.H$0;/!JH![&'1;(!%F!>!.>1('!/%;'E(N!Z8!>!'>1-('!%J/E;'(! 0>//>7(! %F! 1-(! ,/(;5%K,.;1>'E-(>8! 1'(>1&/(! a:( @$+29!9PKA! E(81;'H! +N)N 105 Ps.-Plut. Mus. 1136b5-6: m $A |6-;##( 0(1 $;$(RHS#(M =.C; !O# s36&&' <3' sH.#j8 ()&7L#. Pseudo-Plutarch is arguing here that Apollo also invented the music of the aulos. He adduces for this, by mouth of Soterichus several arguments and sources: "Alcaeus, the Lesbian poet, pointed out that the Delphic choirs and rituals in honour Apollo were accompanied by the aulos. The statue of Apollo in Delos also includes three Charites who play on the lyra, the syrinx and the aulos. An aulos-player performs duties in the cult of Apollo in Delphi. The Hyperboreans are said to have brought offerings to Delos to the sound of auloi, syringes, and kitharas. Alcman, the Spartan poet, writes that Apollo himself played the aulos. And Corinna, the Theban poetess, goes so far as to say that Apollo was taught to play the aulos by Athena"(1135f.8-1136b.6) He concludes: that clearly: “the music is in all respects a noble thing, and the invention of the gods.” (1136b.7). Doubt has been cast however on the date of Corinna. It was suggested (by West) that she was not a fifth-century poet but Hellenistic and archaising Cf. (Wallace 2003, 79 nt.20). 106 The reference to money might even allude to king Midas. This Phrygian king is known in myth above all for the capture of Silenus. He took him back to Dionysus, who awarded Midas with the gift that everything he touched was turned to gold whereupon he nearly starved. Later in the 5th century he was also given ass’s ears by way of punishment (Ar. Plut. 286-7). They also show up in late 5th century Attic art Cf. (Miller 1997). 107 Ps.-Plut. Mus. 1133e5-6: h $A Ö-(!M#(8 Å&D+3:2 =.C1# 7Ç#(; !:? #7'!,-:2 !O# #6+:# !:?!:#. Ps.-Plut. Mus. 1133e4-5 :”Other people say that the nomos polycephalos was an invention of Crates, a pupil of Olympus”. 108 Athen. Deip. 16.616c-d = Kaibel 14.8.8-26: !M8 h H6-25:8 9$7[ !M !I$7 !* R:-7D+(!([ !M8 J5-;8 @+:&7# F31 `;:#2C;I$( 3:&23I!(/( H2+,&(#[ F+O8 F+O8 h ì-6+;:8T F+A $7L 07&($7L#, F+A $7L 3(!(/7L# P#' Y-7( CD+7#:# +7!* î(;I$'# :eI !7 0D0#:# %/:#!( 3:;0;&63!7-:# +,&:8. !*# P:;$*# 0(!,C!(C7 Ö;7-18 5(CM&7;(#T h $' ()&O8 JC!7-:# ! IA! &1!&/!1>V(8!1%!J;EV.(!;0!1-(!$>&8!'(>/%8/!%8!^-&E-!1-(!%Jb(E1&%8/!%F!1-(!+1-(8&>8/!1%^>'5/!1-(! 4$&#+!^('(!7'%;85(5N!RH!(`0.%&1&87!1-(!&8E'(>/(5!$(.%5&E!E>0>E&1&(/!>85!$;/&E>.!($0.%H$(81!%F! 1-(! 4$&#+Y! 1-(! 4$&'*'+( ^('(! /1>'1&87! 1%! [&%.>1(! 1-(! E%8[(81&%8/! %F! 1'>5&1&%8>.! $;/&EN! D'>5&1&%8>.! $;/&E!^>/!.&8(>'Y!/&$0.(!>85!/%J('N!S%$0%/&1&%8/!^('(!.>'7(.H!-%$%0-%8%;/Y!5([(.%0&87!>.%87!>! /&87.(!$(.%5&E!.&8(!F%..%^(5!JH!1-(!>EE%$0>8H&87!&8/1';$(81/N!D-(!.H'&E/!^('(!E(81'>.!1%!(0&EY!.H'&E! >85!E-%'>.!0%(1'HY!^-&E-!%F1(8!($0.%H(5!1-(!)%'&>8!$%5(!9d)%'&>8T!5>8E(!>85!/%87 D-(!5&1-H'>$J!^>/!8(^.H!(/1>J.&/-(5!&8!+1-(8/!>'%;85!OBC!RNSN!JH!2>/;/!%F!4('$%&8(Y!>!0&%8(('! %F! 1-(! 8(^! $;/&E3! jRH! >5>01&87! -&/! '-H1-$/! 1%! 1-(! 1($0%! %F! 1-(! 5&1-H'>$JY! >85! ;/&87! >! .>'7('! 8;$J('!%F!/E>11('(5!8%1(/Y!&8!>EE%'5>8E(!^&1-!1-(!>J;85>8E(!&F!/%;85/!1->1!4$!->[(Y!-(!y2>/;/z! E->87(5! 1-(! %.5('! $;/&E! 1%! /%$(1-&87! 8(^Nk! 9,/NK,.;1N! ";/N! PPQPEPKO ! ! a&;AQ$+(4:C(@45+;4+(2:(B#&;?:#*$+l(^'1;24(2:("'&Q32(H940(G-KOGJK(<0=0L( ! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! R:-72,!', 0(1 /I- FCH' <3.-,!(8. 0E+:;8 +6#:# H2-(+IR:;8 !7 32/+(RM(;C; #,'# H,&:; 3(-:M#'# @++7#(; C!-(!.&I!(8. 3(L7 !O# =-2#M:2 3:;0M&:23#:*# @R:#!(, =&,/7 !O# Q&7C;C;(&:0I&(+:#, &(&:5(-D:3( +7&:-2H+:5I!(# H"3( !-23I#n $,+(8 373&(C+,#:#. \# _$:DT y$7 C:; $7];* 0(1 3:$O8 $;(--;=I, H-;(+5:$;HD-(+57, 0;CC6R(;!' %#(], %0:27 !*# F+*# `E-;:# R:-7M(# (Seaford 1977-1978, ; Barker 1984, 273-4; Comotti 1989, 30; Napolitano 2000). For important qualifications Cf. (Anderson 1994, 86-9; Wallace 2003, 84-5). 109 Ps.-Plut. Mus. 1141c1-5: bjC:8 $' h ä-+;:#7X8 7_8 !B# $;H2-(+5;0B# P/'/B# +7!(C!4C(8 !:X8 ï2H+:D8, 0(1 !z !"# ()&"# 3:&2='#M~ 0(!(0:&:2H4C(8, 3&7M:CM !7 =H6//:;8 0(1 $;7--;++,#:;8 R-.CI+7#:8, 7_8 +7!IH7C;# !B# 3-:ñ3I-R:2C(# r/(/7 +:2C;04# ! II! ! K@8(,%.H78%1;/!%F!D->/%/Y!U(VH&>Y!S8&5&>8!2(/E-(Y!)(.0-&Y!E>N!QWBKQOB!RNSN!6(E%8/1';E1&%83! 9a1>8/J;''HKGq)%88(..!PMMB ! l(!V8%^!F'%$!,>;/>8&>/!1->1!,%.H78%1;/!%F!D->/%/!&8E.;5(5!">'/H>/!>85!G.H$0;/!>/!1(>E-('!>85! /1;5(81!&8!1-(!$;/&E!%F!1-(!4$&#+!&8!-&/!F>$%;/!0>&81&87!%F!1-(!;85('^%'.5!9:'1;241!5(E%'>1(5! 1-(!S8&5&>8/q!.(/E-(!&8!)(.0-&!9E>!QLBKQWB! RNSN GJ[&%;/.H!$>8H!%F!,>;/>8&>/T!'($>'V/!^&..!J(!.>1(!>55&1&%8/!>85!&81('0'(1>1&%8/!J;1!1-(!0>&81&87! &1/(.FY!(81>&./!1-(!%.5(/1!/(E;'(5!'(F('(8E(!1%!">'/H>/!&8!1-(!\'((V!^%'.5Y!E%8F&'$&87!1-(!>5[>8E(5! >7(!%F!-&/!1(>E-('K/1;5(81!>//%E&>1&%8!^&1-!G.H$0;/N!,>;/>8&>/!5%(/!8%1!$(81&%8!1-(!E%81(/1!>85! /%$(! /E-%.>'/! E%8E.;5(5! ,%.H78%1;/! 5&5! 8%1! V8%^! &1N! R;1! -(! [&/&J.H! >..;5(/! 1%! &1! JH! &81(7'>1&87! ">'/H>/! &8! 1-(! @85('^%'.5N! e;/1! J(8(>1-! />1! D->$H'>/Y! >! F>$%;/! D-'>E&>8! .H'(! 0.>H('Y! ^-%! E->..(87(5! 1-(! ";/(/! 1%! /&87&87! E%81(/1! >85! ^-%! ^>/! J.&85(5! >/! >! 0;8&/-$(81N! ,>;/>8&>/! 5(/E'&J(5!1-&/!b;/1!J(F%'(3!jD->$H'>/!&/!/&11&87!8(>'!,(.&>/N!4(!->/!.%/1!1-(!/&7-1!%8!-&/!(H(/m!-&/! >11&1;5(!&/!%F!;11('!5(b(E1&%8m!-&/!->&'!>85!J(>'5!>'(!.%87m!>1!-&/!F(>1!.&(/!1-'%^8!>!.H'(!^&1-!&1/!-%'8/! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 110 Cf. (Jessen 1894, 2458; Weizsäker 1897-1902, 866; Scichilone 1963, 675 n°6; Paribeni 1961, 877; Kebric 1983, ; Rawson 1987, 67, 70-1; Stansburry-O'Donnell 1990, ; Weis 1992, 375 n°67; Schauenburg 1958, 46 nt.27; Weis 1997, 40 n°10). 111 Paus. 10.30.9: <3A- !:D!:2 FC!1# F31 3,!-(8 0(H7>6+7#:8 p(-CD(8, 0(1 ó&2+3:8 3(-' ()!O# 3(;$68 FC!;# x-(M:2 0(1 ()&7L# $;$(C0:+,#:2 CRS+( @R'#. :V $A F# |7&(;#(L8 Ñ-D/78 FH,&:2C; +A# !O# 3:!(+O# t8 $;,]7;C;# ()!:L8 $;* !S8 36&7'8 F07L#6# 3:!7 7Ç#(; !O# ()&.!4#, FH,&:2C; $A 0(1 7J-.+( 7Ç#(; !:? p(-CD:2 !O p.!-l:# (K&.+(T =(C1 $A x8 0(1 !B# ã(&(!"# P3EC(;#!: C!-(!7M(# !:? p(-CD:2 C=MC;# F31 !:X8 5(-5I-:28 J$(!M !7 F0 !:? 3:!(+:? 0(1 +,&7; !"# ()&"# P+D#(#!:8 ! IQ! >85! /1'&87/! J'%V(8Nk! 9PBNIBNCNWKMNP ! ! @45+;4+(4:C(.*3':4(2:(@'&4:2QQ2C'+(H940(GEK(<0=0L( ! ">'/H>/! F&'/1! >00(>'/! %8! 1-(! +1-(8&>8! /1>7(! >'%;85! 1-(! $&55.(! %F! 1-(! F&F1-! E(81;'H! &8! 1-(! 0.>H! @45+;4+!JH!"(.>8&00&5(/!%F!"(.%/!9E>N!QOBKQPO!RNSN !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 112 Paus. 10.30.8.6-9.1: u(+D-;$; $A F//X8 0(H7>:+,#n !:? Ö7&M:2 $;7=H(-+,#(; (V Yo7;8 0(1 !(37;#O# F8 y3(# CRS+I FC!; 0(1 m 06+. 3:&&B +A# F31 !S8 07=(&S8, 3:&&B $A ()!l 0(1 F# !:L8 /7#7M:;8T &D-( $A @--;3!(; 3-O8 !:L8 3:CM, 0(!7(/6!78 ()!S8 :V 34R7;8 0(1 (V R:-$(1 0(!7--'/2L(; 113 Cf. (Nercessian 1997, ; Zschätzsch 2002, 158-61; Bundrick 2005, 126-31). 114 Cf. (Garezou 1997, ; Molina Moreno 1997). 115 Paus. 10.30.6.7-7.1: ä&&.#;0O# $A !O CRS+I FC!; !l Å-=7L, 0(1 :K!7 m FCHB8 :K!7 F3MH.+I FC!;# F31 !z 07=(&z u-â0;:# 116 Athen. Deip. 16.616e-f = Kaibel 14.7.5-11: 37-1 +A# /*- ()&"# t +,# !;8 @=. !O# p7&(#;33M$.# 0(&"8 F# !l p(-CD~ $;(CD-:#!( !B# ()&.!;0B# 7_-.0,#(; 37-1 !S8 sH.#j8T í +A# sHI#( !ò-/(#' @--;o,# H' V7-j8 P3O R7;-O8 7Ç3, !' ‘@--7!' (dCR7(, CE+(!; &D+(, F+A $' F/Ä 0(06!(!; $M$'+; Cf. (Barker 1984, 273; Wilson 1999, 63; Wallace 2003, 83; Bundrick 2005, 132). 117 Paus. 1.24.1.1-3: F#!(?H( sH.#j 373:M.!(; !O# {;&.#O# p(-CD(# 3(M:2C(, 9!; $B !:X8 ()&:X8 P#,&:;!:, F--L=H(; C=j8 !S8 H7:? 5:2&:+,#.8 118 Plin. N.H. 34.54.5: et Satyrum admirantem tibias et Minervam ! IO! E%0&(/!9F&7N!KL ! ! KL8(R'%8c(!'(E%8/1';E1&%8Y!+1-(8>!>85!">'/H>/!7'%;0Y!_'>8VF;'1!>$!">&8Y!a1~51&/E-(!\>.('&(! 2&(J&7->;/!%'&7&8>.!>11'N!"H'%8Y!E>N!QOB!RNSN! ! D-(! /;EE(//! %F! 1-&/! 0.>H! ^%;.5! (`0.>&8! ^-H! 1-(! +1-(8>K">'/H>/! $H1-! $>5(! /;E-! >! /;55(8! J'(>V1-'%;7-!&8!1-(!E&1H!&8!.&1('>1;'(!>85!>'1!>.&V(N!D-(!1'>5&1&%8!&8[%.[&87!+1-(8>T/!d'(b(E1&%8T!%F! 4$&#+!&/!8%1!>11(/1(5!&8!.&1('>1;'(!%'!>'1!0'&%'!1%!1->1!(./(^-('(!>85!&1!&/!>./%!&8!1-&/!0>'1&E;.>'! E%8F&7;'>1&%8!1->1!">'/H>/!F&'/1!7>&8(5!/0(E&>.!0'%$&8(8E(!&8!1-&/!E&1HN!D-(!$H1-!%F!">'/H>/!&/!8%1! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 119 The group reoccurs on a late Hellenistic vase (‘finlay’ crater) on some Roman coins from Athens and it has also been recognised in statuary. The prototypes were found in a statue of Athena now in Frankfurt, Liebighaus, 195 and Marsyas now in Rome, Vatican Musea, 9975 (Lateran 379a) Cf. (Demargne 1984, 1015 n°623a (Athena); Weis 1992, 369 n° Ba (Marsyas)) This is hardly the place to enter into the many discussions surrounding the precise re contruction, date and meaning of the group. Good starting points are (Schauenburg and K 1973, ; Weis 1979, ; Daltrop and Bol 1983, ; Rawson 1987, 189-91 n°A1; Klein 1988, ; Weis 1992, 369a; Grauer 1995, ; Junker 2002, ; Zschätzsch 2002, 5-11; Geominy 2003, ; Bundrick 2005, 131-5). 120 First (Boardman 1956), espoused by (Picard-Cambridge 1970, 132-3) and most recently (Wilson 1999, 61-2) who proposed Melanippides himself commissioned the statue. A literary or theatrical influence can not be excluded and seems more likely than suggestions of a purely political or ideological impetus to the Athena-Marsyas representations Wilson briefly lists. We can follow more than one approach to explain the occurrence of common themes in works of literary and plastic art. Of the two positions at both ends of the scale, the first upholds that there is a direct link, for instance in a sculpture commemorating a stage performance or a vase painting representing a scene from a play. According to the opposite view, there is no direct link and any common themes between textual and pictorial representations must necessarily be ascribed to a unique historical coincidence or a more universal symbolism, for instance in the case of musical representations with ecstatic accents. In theory, either of these options can always be postulated but rarely refuted. Another viewpoint, which we share, maintains that texts and images autonomously derive from a common tradition and are usually only indirectly linked to each other. They express each in their own language, the many different aspects of the same socio-historical realities, including myths. On some rare occasions, a direct connection can be substantiated. The sudden breakthrough of the Athena-Marsyas myth makes a good candidate. But the suggestion is untenable for explaining the popularity of the Apollo-Marsyas myth in Attic Art and as well as most of its individual representations. ! IW! >11(/1(5!(>'.&('!&8!>'1!%'!.&1('>1;'(!&8!+1-(8/!0'&%'!1%!1->1N!!4%^([('Y!1-(!E(81'>.!E->'>E1('/!>'(!8%1! '>85%$N!+8!(>'.&('!+11&E!J.>EV!F&7;'(![>/(!/-%^/!+1-(8>!0.>H&87!1-(!4$&#+(9F&7N!KB ! ! KB8!+11&E!R.>EVK_&7;'(5!+$0-%'>Y!R>/(.Y!0'&[>1(!E%..(E1&%8Y!E>N!OABKOPB!RNSN! a-(!5&/E>'5(5!>8!&8/1';$(81!F%'!^-&E-!J(F%'(!/-(!F(.1!>!0>'1&E;.>'!.&V&87N!D-&/!5(0&E1&%8!%F!+1-(8>! 0.>H&87!1-(!4$&#+K0.>H&87!J(>'/!$%'(%[('!>!5&'(E1!'(.>1&%8!1%!-('!E;.1!>85!1%!1-(!$;/&E>.!E%81(/1/! 0('F%'$(5!5;'&87!1-(!,>8>1-(8>&E!F(/1&[>./N!D-&/!&/!>!,>8>1-(8>&E!0'&c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f. (Demargne 1984, 1014 n°617; Castaldo 2000, 268 n°26; Zschätzsch 2002, 2 n°1; Goulaki-Voutira 2003, 42). On the musical qualities of Athena in literature, iconography, myth and cult Cf. (Zschätzsch 2002, 1-27) . 122 The Panathenaea included musical competitions for kitharodes (singers to the kithara), kitharistes (solo kithara-players), auletes (solo aulos-players), aulodes (singers to the aulos) and rhapsodic contests (performance of Homeric poetry). On music at the Panathenaea Cf. On the musical iconography of the Panathenaic vases Cf. (Shapiro 1992). On music at the Panathenaea Cf. (Holloway 1966). General on the Panathenaea Cf. (Neils 1992) Note that there were also (male) beauty contest organised, the euxandreia. 123Ex. Attic Black-figured amphora, Berlin, F1846, ca. 520 B.C., attr. Circle Antimedes Painter, (Athena playing the kithara before Dionysus). The only literary reference to connect Athena with the cithara is late and dubious. It is a passage in Pliny where he is describing a work of art by Demetrius of Aleopeke (Attic) who around ca 400 B.C. made : “Minerva who is called Musica because the snakes on her aegis are represented playing the kithara” (19.76) On Athena and music Cf. (Zschätzsch 2002, 1-27). Note on the other hand that on an Attic black-figured lekythos, Chalcis, Archaeological Museum, 2739, ca. 500-480 we can see Heracles playing the aulos before two dancing satyrs Cf. (Venizélos 2003, 207 n°92). On Heracles and music Cf. (Goulaki-Voutira 1992). ! IL! ! ! KC8!)(1>&.3!+11&E!6(5K_&7;'(5!S'>1('Y!?>'./';-(Y!R>5&/E-(8!2>85(/$;/(;$!ABCRIY!+6=n!WPCNIY!E>N! QOB!RNSNY!>11'N!=&..>!\&;.&>!,>&81('! ! _'(:;(81.H! %[('.%%V(5! &8! /E-%.>'/-&0! &/! >! /('&(/! %F! [>/(/Y! 1->1! >./%! /1>'1/! >'%;85! QOB! RNSN! >85! ^-&E-!5(0&E1!">'/H>/!>/!*324+#*'+8(.(>5('!%F!1-(!)&%8H/&>8!*324+#+!9F&7N!PW @45+;4+(4:C(.Q#&&#(2:(\'5#C#*$+(H940(GEK(<0=0L( !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 124 Cf. (Otto 1975, 21-37; Schöne 1987, 166 n°546; Weis 1992, 368 n°1; Simon 1997, 1115 n°46a). 125 The story goes that Hera, in a rage of anger, threw her ‘son’ Hephaestus off the Olympus. He was raised by Thetis and Eurynome. In for revenge, he fabricated and sent Hera an extremely beautiful golden throne on which she was but eager to take place. When she wanted to get up again she turned out to be bound to it by means of invisible chains. Hephaestus was the only one who could break the spell and was summoned. But only after Dionysus plied him with drunkenness, Dionysus’ company succeeded to lead him back to Hera. 126 This may help to understand that in one vase of the group we find the inscription Marsyas twice: once with a satyr, who stands before Dionysus holding his kantharos (the typical Dionysian drinking vessel) holding a pitcher and carries over his shoulder a wine bag (askos!). Again with a satyr who is playing the barbitos (a typical Dionysian stringed instrument) on which on aulos-case hangs (sybene). Between them stands a maenad with two torches. On the group Cf. (Otto 1975). On the thiasos Cf. (Schöne 1987). On the return of Hephaestus Cf. (Hedreen 2004). ! IC! ! D-(!%.5(/1!.&1('>'H!'(F('(8E(!1%!">'/H>/T!E%81(/1!^&1-!+0%..%!&/!F'%$!>J%;1!$;E-!1-(!/>$(!>/!^(..N! 4('%5%1;/!9E>N!QCBKQAO!RNSN D-(![&/&J.(!F>E1!1->1!1-(!+1-(8>K">'/H>/!$H1-!^>/!1'>8/F%'$(5![&/;>..H!&81%!>!/E;.01;'(!0.>E(5!%8! 1-(! +1-(8&>8! +E'%0%.&/! /;'(.H! (`($0.&F&(/! &1/! E>0>E&1H! F%'! >E:;&'&87! 0'%F%;85! -&/1%'&E>.Y! 0%.&1&E>.! >85! &5(%.%7&E>.! &$0.&E>1&%8/! ^&1-&8! 1-&/! /0(E&F&E! /%E&%K-&/1%'&E>.! E%81(`1N! Z1! &/! ->'5! 8%1! 1%! /((! >! E%88(E1&%8!^&1-!1-(!5(J>1(/!/;''%;85&87!1-(!4$&#+!1->1!^('(!7>&8&87!$%$(81;$!&8!1-(!E&1H!>1!1-(! 1&$(N!R;1!&1!5&5!/%!&8!>..!&1/!'(/0(E1/N!D-('(!&/!$;E-!>$J&7;&1H!1%!1-&/!$H1-!>85!&1!&/!>.'(>5H!&$0.&(5! &8!&1/!0'&8E&0>.!>'1&E;.>1&%8/N!_%'Y!^-&.(!"H'%8T/!/1>1;(!E%8/%.&5>1(5!+1-(8>T/!'(b(E1&%8!%F!1-(!4$&#+Y! &1!>./%!0-H/&E>..H!&8E%'0%'>1(5!&1!&81%!1-(![('H!0%.&1&E%K'(.&7&%;/!-(>'1!%F!1-(!E&1HN!U%1(!1->1!"H'%8! ^>/!F'%$!*.(;1-('>&Y!>8!+11&E!E&1H!1->1!J%'5('(5!^&1-!1-(!R%(1&>8!9D-(J>88&00&5(/Y! F'%$!-&/!/&5(Y!$>H!->[(!.(1!+1-(8>!1-'%^!>^>H!1-(!4$&#+!J;1!1-(!0.>H!^>/!0'%J>J.H!>!5&1-H'>$J! >85!"(.>8&00&5(/!-&$/(.F!^>/!>!$>b%'!0'%0%8(81!%F!1-(!8(^!$;/&EN!Z1!/(($/!.&V(.H!1->1!1-(!8(^! 4$&#+!$;/&E!^>/!E(81'>.!1%!1-&/!0.>H3!jZ8!1-(!/>$(!^>H!y%F!2>/;/!%F!4('$&%8(z!1-(!.>1('!E%$0%/('! "(.>8&00&5(/! 5&5! 8%1! '($>&8! ^&1-! 1-(! V&85! %F! $;/&E! 1->1! ->5! 0'(E(5(5! -&$Nk! 9,/NK,.;1N! ";/N! PPQPEWKM 127 Hdt. Hist. 7.26.9-17: áV $A F37M!7 $;(5I#!78 !O# ô&2# 3:!(+O# x+M&.C(# !z Ñ-2/M^, $;' ()!S8 3:-726+7#:; 3(-7/,#:#!: F8 |7&(;#I8, ö#( 3./(1 P#($;$:?C; p(;I#$-:2 3:!(+:? 0(1 W!,-:2 :)0 F&ICC:#:8 \ p(;I#$-:2, !l :K#:+( !2/RI#7; FO# |(!(--40!.8, t8 F] ()!S8 !S8 P/:-S8 !S8 |7&(;#,'# P#(!,&&'# F8 !O# p(M(#$-:# F0$;$:LT F# !z 0(1 h !:? {;&.#:? p(-CD7' PC0O8 [F# !z 36&;] P#(0-,+(!(;, !O# <3O Ñ-2/"# &6/:8 @R7; <3O s36&&'#:8 F0$(-,#!( P#(0-7+(CHS#(; “When they had crossed the river Halys and entered Phrygia, they marched through that country to Celaenae, where rises the source of the river Maeander and of another river no smaller, which is called Cataractes; it rises right in the market-place of Celaenae and issues into the Maeander. The skin of Marsyas the Silenus also hangs there; the Phrygian story tells that it was flayed off him and hung up by Apollo.” 128 A saying recorded to have circulated in the time of Solon of Athens (ca .640-560 B.C.) has been connected with the Marsyas myth (Weiler 1971, 56). Plut. Sol. 14.9.9-7 = Sol. Frg. 33.5-7: “Had but I that chance of riches and of kingship, for one day, I would give my skin for flaying (askos dedarthai), and my house to die away." It was elaborated comically by Aristophanes in his Clouds: “I give up this body to them to be beaten, to be hungered, to be troubled with thirst, to be squalid, to shiver with cold, to flay into a askos, if I shall escape clear from my debts, and appear to men to be bold, glib of tongue, audacious, impudent, shameless, a fabricator of falsehoods, inventive of words, a practiced knave in lawsuits, a law-tablet, a thorough rattle, a fox, a sharper, a slippery knave, a dissembler, a slippery fellow, an impostor, a gallows-bird, a blackguard, a twister, a troublesome fellow, a licker-up of hashes. If they call me this, when they meet me, let them do to me absolutely what they please.“ (439-454) Plato was the first to connect it explicit with Marsyas in his Euthydmus: “I am ready to offer myself to be skinned by the strangers even more, if they choose, than they are doing now, if my hide is not to end by being made into an askos like that of Marsyas, but into the shape of virtue.” (285c7-d1) 129 Ps.-Plut. Mus. 1141c6-9: õ+:M'8 $A 0(1 p7&(#;33M$.8 h +7&:3:;O8 F3;/7#6+7#:8 :)0 F#,+7;#7 !z 3-:ñ3(-R:DC^ +:2C;0z ! IM! 1-(!/1>7(3!jD-('(!^>/!>./%!$;E-!E->87(!F'%$!/&$0.&E&1H!1%!7'(>1('!E%$0.(`&1H!&8!1-(!$;/&E!%F!1-(! 4$&#+N!Z8!1-(!%.5!5>H/Y!;0!1%!1-(!1&$(!%F!"(.>8&00&5(/!1-(!5&1-H'>$J&E!0%(1!&1!^>/!1-(!E;/1%$!%F!1-(! 4$&'*'+!1%!J(!0>&5!JH!1-(!0%(1/Y!J(E>;/(!([&5(81.H!1-(!0%(1'H!^>/!1-(!$%'(!&$0%'1>81!0>'1Y!>85!1-(! 4$&'*'+!/('[(5!1-(!0'%5;E('/N!2>1('!1-&/!E;/1%$!1%%!^>/!E%'';01(5Nk!9,/NK,.;1N!";/N!PPQPEPBK5W ! ! ! @45+;4+(4:C(.Q#&&#(2:()2)*3(9':*$5;(.**29(.5*( ! Z8!+11&E!&E%8%7'>0-HY!1-(!+1-(8>K">'/H>/!$H1-!^>/!/-%'1!.&[(5N!Z1!^>/!:;&EV.H!/;'0>//(5!JH!1-(! +0%..%K">'/H>/!$H1-!^-&E-Y!&8!+1-(8/!>/!(./(^-('(Y!1;'8/!%;1!J(!1-(!$%/1!5;'>J.(!>85!1-'&[&87! /1'>85N! D-(! F&'/1! '(0'(/(81>1&%8/! %F! 1-(! E%81(/1! >00(>'! &8! +11&E! >'1! >'%;85! QIB! RNSN! >85! 1-(H! 0'%$01.H!&8E.;5(5!+1-(8>NPIP!D-(!&$>7(/!/-%^!$;E-!5&[('/&1H!J;1!->'5.H!([('!5%!1-(H!F>&.!1%!7&[(! 1-(!E(81'>.!0.>E(!1%!">'/H>/!^-%!&/!0.>H&87!-&/!&8/1';$(81!J(F%'(!>8!>;5&(8E(!E%8/&/1&87!%F!+0%..%! >85!1-(!";/(/!%'!E('1>&8!G.H$0&>8/!9+'1($&/Y!2(1%Y!+1-(8>Y!>85!4('$(/!$>&8.H ! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 130 Ps.-Plut. Mus. 1141c10-d6: P&&* /*- 0(1 ! QB! ! KD8(+11&E!6(5K_&7;'(5!S'>1('Y!2%;['(!\QMBY!+6=n!PPMBNAPY!>11'N!,%1-%/!,>&81('Y!E>N!QPB!RNSN! ! a%$(!/E-%.>'/!->[(!1'&(5!1%!(`0.>&8!1-(!/;EE(//!%F!1-(!+0%..%K">'/H>/!$H1-!JH!0%/1;.>1&87!1->1!>! .%/1! 1-(>1'&E>.! 0.>H! &8/0&'(5! &1! 9_'%8&87! PMLPY! IQKO 134 Strab. 13.1.70.10-2: “Euripides is not correct in saying that “Marsyas dwells in widely famed Celaenae, in the fare most region of Ida.” 135 Athen. Deip. 4.184d = Kaibel 4.84.8-11: `:?-;8 $' F# !l 37-1 è)-;3M$:2 0(1 {:=:0&,:28 s&0;5;I$.# =.C1 +(H7L# !B# ()&.!;0B# :) 3(-* !:? !2R6#!:8, P&&* Ö-:#6+:2 !:? +7/MC!.# FCR.06!:8 $6](# 136 This is hardly the place to enter into the details of such a vexed musicological problems as to peculiarities of the modes in Greek music. Older harmoniai differed fundamentally from the classical ones and we have to rely on late sources. Suffice to say that the older harmoniai were not interchangeable. They consisted of different intervallic relationships, probably some types of rhythm went with them, perhaps even particular melodic formulai, and, of course, their evaluation. The main three older modes were the Dorian, the Phrygian and the Lydian mode. The later harmoniai, however were interchangeable and, obviously, arose under the influence of the new developments in music. On the ‘harmonia’ Cf. (Henderson 1943, ; Anderson 1994, 139) – infra. 137Each imposed a proper succession of tones, semi-tones and quarter tones to the tetrachord. An octave is made up by the succession of two tetrachords. The enharmonic scale was the most traditional and widely used, originally perhaps in an older ! QP! $;/&E!'>5&E>..H![&%.>1(5!1-(!:#A#2(%F!1'>5&1&%8NPIC!D-&/!E%;.5!8%1!J;1!>'%;/(!'(/&/1>8E(N!+1-(8>T/! d'(b(E1&%8T!%F!1-(!4$&#+!->/!J((8!1'%0(5!>/!>!$(1>0-%'!F%'!1-&/!'(>E1&%8N!R;1!&8!0'>E1&E(Y!&8/1(>5!%F!>! '>5&E>..H! '(b(E1&87! 1-&/! 0%^('F;.! &8/1';$(81Y! 1-(! +1-(8>K">'/H>/! 7'%;0! (85(5! ;0! 1%! &8/1&1;1&%8>.&/(!&1!9l&./%8!PMMM +8%1-('!$;/&E>.!E%81(/1!$H1-!>./%!7>&8(5!$;E-!0%0;.>'&1H!&8!+11&E!+'1!>85!&1!&8[%.[(5!1-(!D-'>E&>8! .H'(! 0.>H('! D->$H'>/T! E->..(87&87! 1-(! ";/(/N! D-(! 5(0&E1&%8/! /1>'1(5! >.'(>5H! >J%;1! QLB! RNSNY! '%;7-.H!E%81($0%'>'H!^&1-!,%.H78%1;/T!0>&81&87!%F!D->$H'>/!>85!1-(!%.5('!%8(/!&85((5!/(($!1-(! J(>'! >! E.%/(! '(.>1&%8! 1%! &1N! D-(H! /-%^! D->$H'>/! 0.>H&87! >$%87! 1-(! ";/(/! %'! &8! 5(b(E1&%8! >85! J.&85(5!>F1('!1-(!E%81(/1N!D-('(!&/!-%^([('!$;E-![>'&>1&%8!%[('!1&$(!>85!1-&/!->/!J((8!E%''(.>1(5! ^&1-! F>E1%'/! /;E-! >/! E->87&87! >'1&/1&E! 0'(F('(8E(/Y! (1-&E>.! 0'(%EE;0>1&%8/Y! .&1('>'H! E%$0%/&1&%8/Y! (1EN! >85! 1-(! [&'1;>..H! (85.(//! E>0>E&1H! F%'! >5>01&%8! %F! $H1-/N! a1'&V&87.H! (8%;7-! ^(! ->[(! $%'(! +1-(8&>8!1(`1/!%8!1-&/!E%81(/1!1->8!%8!">'/H>/T!E%81(/1N!D-(!>'1&/1&E!'(0'(/(81>1&%8/!/1>'1(5!(>'.&('! >/!^(..N!D-(!E(81'>.!&8/1';$(81!&/!1-(!.H'(!>85!&8!E('1>&8!'(0'(/(81>1&%8/!%F!1-&/!E%81(/1Y!1-(!";/(/! >'(!0.>H&87!%8!1-(!4$&#+NPIM!D-(!4$&#+!&/!1-(!+1-(8&>8!E%81(`1!8%!.(//!>$J&7;%;/!1->8!1-(!.H'(N!R%1-! ->[(!dF%'(&78T!%'&7&8/m!1-(&'!$;/&E>.!-('%(/!(81('!&8!E%$0(1&1&%8!^&1-!1-(!\'((V!7%5/!%F!$;/&EY!>85! >..!(85/!&8!1'>7(5HN!">'/H>/!^>/!8%!(`E(01&%8!&8!1-&/N!!! ! ! a&;AQ$+(2:(.52+*#Q34:'+(H940(G7G(<0=0L( ! G.H$0;/!->/!&81'&8/&E!1'>7&E!:;>.&1&(/!>/!^(..!>85!8%1!%8.H!&8!>!$H1-&E>.!J;1!>./%!&8!>!$;/&E>.!/(8/(N! +'&/1%0->8(/!9E>N!QQWKICW!RNSN ! QA! 1-(!4$&#+Nk!";/&E!1%!1-(!4$&#+(&/!%F1(8!>/E'&J(5!0.>&81&[(!:;>.&1&(/!(/0(E&>..H!1-(!4$&#C;Y!/&87&87!1%! 1-(!4$&#+Y!^-&E-!)($%/1-(8(/!>85!U&E&>/!0('F%'$(5!-('(N!_>$%;/!&8!1-&/!'(/0(E1!&/!>!0>//>7(!%F! ,>;/>8&>/N!j+85!%8!1-&/!%EE>/&%8!y1-(!/(E%85!,H1-&>8!F(/1&[>.!%F!)(.0-&z!1-(H!8%!.%87('!&8E.;5(5! /&87&87!1%!1-(!4$&#+Y!1-&8V&87!1->1!1-(!$;/&E!^>/!&..K%$(8(5!1%!.&/1(8!1%N!_%'!1-(!1;8(/!%F!1-(!4$&#+! ^('(! $%/1! 5&/$>.Y! >85! 1-(! ^%'5/! /;87! 1%! 1-(! 1;8(/! ^('(! .>$(81>1&%8/Nk! 9PBNLNOKW ! ! a&;AQ$+(2:(S$52Q2C'+(H940(GKJ(<0=0L( ! +'&/1%0->8(/!^>/!>!/1'%87!%00%8(81!%F!1-(!8(^!$;/&EN!Z1!^>/!%F1(8!1-(!/;Jb(E1!%F!E%$&E!E'&1&E&/$!&8! -&/!0.>H/N!4(!8%1>J.H!>11>EV(5!*;'&0&5(/!>/!>!d$%5('8&/1T!>85!&$>7&8(5!-&$!&8!-&/!P5#?+!&8!>!E%81(/1! ^&1-!+(/E-H.;/!J(1^((8!d8(^T!>85!d%.5T!$;/&EN!Z8!>!.>1(!1'>7(5H!%F!*;'&0&5(/!-&$/(.F!G.H$0;/!&/!F%'! 1-(!F&'/1!1&$(!(`0'(//.H!>//%E&>1(5!^&1-!1-(!4$&#+!>85!^&1-!d,-'H7&>8T!$;/&EN!Z8!_Q32?':'24(2:(.$&2+! 9E>N!QBW!RNSN !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 141 Paus. 10.7.5-6: 0(1 ()&n$M(# !7 0(!,&2C(#, 0(!(/#6#!78 :)0 7Ç#(; !O %0:2C+( 7K=.+:#T m /*- ()&n$M( +,&. !7 a# ()&"# !* C02H-'36!(!( 0(1 F&7/7L( [H-S#:;] 3-:C~$6+7#( !:L8 ()&:L8 142 Cf. Sud. Sv. @&7/:8: "Lament. From saying "e e". Or the laments sung to [the accompaniment of] an aulos; for the aulos is considered mournful. Or because the laments, that is the elegies, were sung to [the accompaniment of] an aulos. They say that Midas, the king of Gordion, later made the aulos a funeral dirge, wanting to deify his own mother when she died." Cf. (Campbell 1964). 143 Aristophanes does he mention Marsyas although it is interesting that Paris is imitating Olympus, so Euripides’ says: “where that verdict was awaiting you.” (Iph. Aul. 580) And in Paris’ judgement Athena’s beauty was at stake. In a variant tradition, moreover, Hera and Aphrodite, her opponents in this beauty contest, drew Athena’s attention to her deformed face by mocking at here while she was playing on it. For this reason, she threw it away and cursed it. Next comes in Marsyas. (Hyg. Fab. 165.1-9) But this precise passage in Aristophanes has to be regarded with suspicion and perhaps the parallel is indeed imposed on it at a later date. 144 Eur. Iph. Aul. 573-8: @+:&78, à ÖI-;8, w;!7 CD /7† 5:206&:8 P-/7##(L8 F!-I=.8 N$(M(;8 3(-* +6CR:;8, 5I-5(-( C2-M>'#, Ñ-2/M'# ()&"# á)&D+3:2 0(&I+:;8 ! QI! D-(! 4$&#+p! D-(! +;52:Wp! +! E%8[(8&(81! ^>H! %;1! &/! 1%! ->[(! ,>'&/! 0.>H! 1-(! +;52:W!&8!&$&1>1&%8!%F! G.H$0;/T! 1;8(/! %8! 1-(! 4$&#+N! D-(! ,-'H7&>8! 4$&#+( 0%/(/! >8%1-('! $>b%'! 0'%J.($N! D-('(! (`&/1(5! >! 0>'1&E;.>'!1H0(!%F!4$&#+(E>..(5!1-(!d,-'H7&>8T!4$&#+!%'!'&;A#+N!Z1/!E->'>E1('&/1&E!F(>1;'(!^>/!1->1!&1! ->5!%8(!/-%'1!EH.&85'&E>.!>85!%8(!.%87('!0&0(!E%8&E>.!J%'(5!>85!E;'[(5!;0^>'5/!1%^>'5/!1-(!(85N! D-(![>'&>1&%8!&/!>E%;/1&E>..H!/&78&F&E>81!>/!&1/!/%;85!^%;.5!->[(!J((8!.%;5('!>85!/->'0('!1->8!1->1! %F! 1-(! 4$( E%$$%8! 1%! 1-(! \'((V/N! Z8! 6%$>8! 1&$(/! 1-(! '&;A#+( ^>/! 0'&8E&0>..H! 91-%;7-! 8%1! (`E.;/&[(.H.! >85! %'7&>/1&E! E;.1/! %F! Z/&/! >85! SHJ(.(N! *[&5(8E(! F%'! &1/! ;/>7(! >$%87/1!1-(!\'((V/!&/!(`1'($(.H!$(>7'(NPQO!aE-%.>'/!->[(!/;77(/1(5!1->1!&1!^>/!1%%!dF%'(&78T!>85! d'>5&E>.T!&8!1-(!\'((V!1>/1(N!D-(!'&;A#+(^>/!E('1>&8.H!8%1!^&5(.H!;/(5!>85!1-(!1H0&E>.!d4(..(8&ET!4$&#+! ^-&E-!^(!>./%!E%8/&/1(81.H!F&85!&8!">'/H>/T!->85/!^>/!E.(>'.H!5&FF('(81!F'%$!&1!9R#.&/!PMCW D-(!4$&#+!^>/!1-(!$>&8!&8/1';$(81!%F!+1-(8&>8!1'>7(5H!>85!a%0-%E.(/!->5!%8.H!b;/1!&81'%5;E(5!1-(! ,-'H7&>8!->'$%8H!&8!1-(!7(8'(N!*;'&0&5(/!^>/!>8!(>7('!(`0.%'('!%F!1-(!8(^!$;/&E>.!0%//&J&.&1&(/! >85!F%'$/!>85!-(!(`0.%&1(5!1-%/(!%F!1-(!d,-'H7&>8T!$;/&E!8%1>J.H!&8!1-(!<49934'N!D-(!'(b(E1&%8!%'! 1-(!(.(E1&%8!%F!d,-'H7&>8T!$;/&E!E%''(.>1(/!.(//!^&1-!&1/!dF%'(&78T!>8E(/1'H!1->8!&1/!$;/&E>.!d8%[(.1HTN! D-(!,-'H7&>8!->'$%8H!0'%J>J.H!J(E>$(!^(..K(/1>J.&/-(5!&8!+11&E>!%8.H!>'%;85!1-(!$&55.(!%F!1-(! F&F1-!E(81;'H!RNSN!+8!(0&7'>$!F'%$!1-(!F&'/1!->.F!%F!1-(!F&F1-!E(81;'H!'(E%'5&87!>!5&1-H'>$J&E![&E1%'H! >1!1-(!+1-(8&>8!)&%8H/&>Y!'(F('/!1%!1-(!0&0('!->[&87!8;'/(5!1-(!d)%'&>8!0&0(/T!9l(/1!PMMAY!PCP !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 145 It first appears in Minoan times in accompaniment of the sacrifice depicted in the sacrifice depicted on the famous Haghia Triada sarcophagus and then in an 8th cent. bronze figurine from Asia Minor. But we have to wait for the Hellenistic and Roman periods to find solid evidence of its usage elsewhere. Pollux says that its material was box-wood, its invention Phrygian, and its horned end was curved (4.74). Athenaeus (Deip. 4.185a) says that it played a loud deep-pitched sound, an that this is why they fitted it to a horn (keras), analogous the bell of the salpinx (trumpet) – supra 146“That is why”, states Athenaeus, “that even among the Greeks auletes have Phrygian names.” (Deip. 16.624b) 147 The aulos has eastern models but they are many candidates. We only know that the Phrygians played an active role in the transmission and popularisation of the aulos in the Greek world. Contacts between Phrygians and Greeks are well-attested and so is the presence of Phrygian aulos-players throughout Greek history (West 1992, 331 nt. 11). 148 Scientific historiography, with its traditional obsession for ‘origins’, has offered many speculations as to the historical ‘Phrygian’ origins and the ‘historicity’ of Olympus. But it proves extremely difficult to determine to what extent the ’Phrygian’ myths to amongst Greeks went back to older Phrygian customs. Nor are we aware of the original meaning of such an indigenous tradition. The principal problem is our lack of indigenous sources. We only have information on the Phrygian auletes from Greek and, more abundant, Hellenistic and Roman sources. Even distinct Eastern elements are not by definition pre-Hellenic or ‘Phrygian’. Many musical ascriptions certainly belong to a quite late stage. For all we know, Olympus’ relation with Marsyas or even his great musical skills could be Greek adaptations, inspired on a common background and on Phrygia’s renow amongst the Greeks as a cradle of the music the aulos. ! QQ! S-%'>.!0%(1'H!&81(8/&F&(5!>!E('1>&8!0%.>'&c>1&%8!X!>.'(>5H!>..;5(5!1%!JH!,'>1&8>/!J;1!&8!0'>E1&E(!.(//! /1'>&7-1F%'^>'5NPQM!! a&;AQ$+(4:C(@45+;4+(2:(+11&E!45*(H940(G7KOGKK(<0=0L( ! G.H$0;/!/1'&V(/!&8!1^%!'(.>1(5!^>H/N!_&'/1!&8!J(&87!1'(>1(5!&85&[&5;>..H!1->1!&/!1%!/>H!;8'(.>1(5!1%! ">'/H>/!>85!/(E%85.H!&8!J(&87!1'(>1(5!>/!>!F%;85>1&%8>.!$;/&E>.!F&7;'(N!">8H!/E-%.>'/!%J/('[(!>! E>;/>.!'(.>1&%8!J(1^((8!J%1-!E%8E.;/&%8/!>85!(`0.>&8!1-(!>J/(8E(!%F!1-(!G.H$0;/K">'/H>/!$H1-!&8! F&F1-!E(81;'H!+1-(8/!>/!>![%.;81>'&.H!&$0%/(5!%8!1-(!0>'1!%F!1-(!+1-(8&>8/Y!8%1!^&/-&87!1%!/1>7(! ">'/H>/! &8! >! F>[%;'>J.(! (8[&'%8$(81! ^->1/%([('N! D-(H! %J/('[(! >8! >00>'(81! &8E%$0>1&J&.&1H! J(1^((8! 1-(! G.H$0;/K">'/H>/! $H1-Y! ^-&E-! &/! 0%/&1&[(.H! [>.;(5Y! >85! 1-(! +0%..%K">'/H>/! $H1-Y! ^-&E-!&/!8(7>1&[(.H![>.;(5m!>85!1-&/!&8!1;'8!&/!E%''(.>1(5!^&1-!1-(![>.;(!0.>E(5!;0%8!1-(!4$&#+!&8! +1-(8/N!_&F1-!E(81;'H!/%;'E(/!(/0%;/&87!1-(!G.H$0;/K">'/H>/! $H1-! >'(! 8%8K+1-(8&>83! ,&85>'! 9D-(J(/85!,%.H78%1;/!9)(.0-& 4%^([('Y! 1-('(! &/! %8(! F&F1-! E(81;'H! +11&E! '(0'(/(81>1&%8! %F! G.H$0;/! >85! ">'/H>/! 1-%;7-! &1! &/! &85((5!(`E(01&%8>.!%8!>..!>EE%;81/N!Z1!&/!%8!>!.>1(!F&F1-!E(81;'H!>$0-%'>!>11'&J;1(5!1%!1-(!"(&5&>/! 0>&81('!0'(/(81.H!&8!1-(!8>1&%8>.!$;/(;$!%F!U>0.(/!9CPQBP4IAIO !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 149 The three main modes used in ancient Greek music were the Dorian, the Phrygian and the Lydian. The Dorian was widely used and always well regarded. It was generally perceived as dignified and manly and praised as such by many writers (e.g. Plat. Resp. 398e-9c; Arist. 1342b12). It was also the first tuning boys would learn on the lyre (Aristoph. Eq. 985-96). It had a special association with epic, lyric and choral poetry in particular. Writers often contrast it with the Phrygian mode that has a special association with the aulos. Again the most core texts is a statement from Aristotle: “Socrates’ of Plato’s Republic is wrong to retain just the Phrygian along with the Dorian, especially since among instruments, the aulos is one he rejects. Among the harmoniai the Phrygian has the same power as does the aulos among instruments: both are exiting and emotional. For all Bacchic revelry and all dancing of that sort is done to the auloi more than any other instrument, and these things also find what is appropriate to them in Phrygian melodies, out of all the harmoniai. The dithyramb, for instance, is generally considered to be a Phrygian thing. The experts give many illustrations of this, notably that Philoxenus tried to compose a dithyramb, the Mysians, in the Dorian mode but was unable to carry it through; the nature of the genre forced him back into the proper mode, the Phrygian.” (Pol. 1342a32-b12) On the ‘modes’ Cf. (West 1992, 172-89; Landels 1999, 96-109). 150 á[büpÖá{]; pù†{ü[ù{] 151 The drawing was originally published in Monumenti inedit publicati dall’Instituo di di corrispondenza archeologica, soto la direzioni dei Od. Gerhard e Teod. Panofka (Roma et Parigi 1829-91), Vol. 2 taf. 37. This is a copy taken from F. Inghirami, Pitture di vasi fittili (1831-1837), Vol. 4, taf. 132. General bibliography on the vase Cf. (Jessen 1894, 2459; ! QO! ! ! KEN!+11&E!6(5K_&7;'(5!+$0-%'>Y!U>0(./Y!";/(%!U>c&%8>.(!CPQBP!94IAIO ! Z8!1-(!E%;'/(!%F!1&$(!>!^-%.(![>'&(1H!%F!5&[('7&87!/%.;1&%8/!->[(!J((8!0'%0%/(5!1%!%[('E%$(!1-(! >00>'(81!&8E%$0>1&J&.&1H!%F!&1/!/;Jb(E1!$>11('!J;1![('H!%F1(8!&1!&/!/&$0.H!&78%'(5NPOAD-(!(>/&(/1!^>H! %;1!&/!1%!/;77(/1!1->1!1-(!.H'(K0.>H('!&8!1-(!E(81'(!&/!8%1!G.H$0;/!J;1!+0%..%!>85!1->1!1-(!8>$(! G.H$0;/!'(F('/!1%!$%;81!G.H$0;/!&8!"H/&>!>/!1-(!0.>E(!^-('(!1-(!E%81(/1!1%%V!0.>E(N!4%^([('Y! 1-&/!';8/!E%;81('!1%!>..!E%81($0%'>'H!1(`1/!1->1!.%E>1(!1-(!E%81(/1!&8!S(.>(8>(N!+8%1-('!^>H!%;1!&/! 1->1!$;/&E!&/!8%1!1-(!&//;(!-('(N!D-(!;8;/;>.!%00%/&1&%8!J(1^((8!G.H$0;/!>85!">'/H>/!->/!J((8! (`0.>&8(5!>/!'&[>.'H!J(1^((8!>!1(>E-('!>85!-&/!/1;5(81!&8!^-&E-!1-(!.H'(!>85!1-(!7%%/(!%'!1-(!/^>8Y! J(8(>1-!G.H$0;/Y!>'(!.%[(!7&F1/!F'%$!">'/H>/!1%!-&$!&8!>8!>11($01!1%!/(5;E(!-&$N!D-(&'!'(.>1&%8! &85((5!>E:;&'(/!('%1&E!%[('1%8(/!&8!.>1('!>'1!>85!">'/H>/![&/&J.H!$>V(/!>8!&8[(81&87!7(/1;'(!1%! G.H$0;/N!Z8!+11&E!>'1Y!/;E-!&$0.&E>1&%8/!&8!/1;5(81K1(>E-('!'(0'(/(81>1&%8/!>'(!'>'(.H!/%!(`0.&E&1N! +'1&/1&E!(`0.>8>1&%8/!->[(!J((8!>5[>8E(5!>/!^(..N!D-(!/E(8(!F%..%^/!0('->0/!/%$(!.%/1!>85!8%8K +11&E! 0&E1%'&>.! 0'%1%1H0(N! Z1! ^>/! /;77(/1(5! 1->1! &1! (E-%(/! 1-(! 0>&81&87! %F! ,%.H78%1;/! &8! )(.0-&! >5>01(5!1%!1-(!&85&[&5;>.!8%8K[&%.(81!>85!0>/1%'>.!0'(F('(8E(/!%F!1-(![>/(!0>&81('N!G.H$0;/Y!1-(8Y! -%.5/!1-(!.H'(!0;'(.H!F%'!>'1&/1&E!'(>/%8/N!! +8%1-('! /%.;1&%8! &E%8%7'>0-('/! 1H0&E>..H! /;77(/1! ^-(8! E%8F'%81(5! ^&1-! 0'%J.($>1&E! /;Jb(E1! $>11('!&/!1->1!&1!([%V(/!>8!;8>11(/1(5!8>''>1&[(!1'>5&1&%8!%'!'(F.(E1/!>!.%/1!.&1('>'H!0.>HN!l(!V8%^! 1->1! [>/(/! %F1(8! '(0'(/(81(5! /E(8(/! %F! ^&88&87! 0.>H/! &8! .&1('>'H! E%$0(1&1&%8/! %'! (E-%(5! >1! .(>/1! 1-(&'! /;Jb(E1! $>11('N! D-&/! >00'%>E-! &/! 1-(! $%'(! 7(8('>..H! F%..%^(5! %8(! &8! '(/0(E1! %F! 1-&/! [>/(N! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! Weizsäker 1897-1902, 861-2; Papaspyridi-Karouzou 1938, 495-505; Schauenburg 1958, 46-7; Scichilone 1963, 675 n°3; Burn 1987, 58-9, 101 n°1; Rawson 1987, 29 n°A83; Stansburry-O'Donnell 1990, 225 nt. 48; Weis 1997, 39 n°3). 152 Not in (Paribeni 1961, ; Weis 1992, ; Castaldo 2000, ; Zschätzsch 2002, ; Bundrick 2005). ! QW! ,('->0/! &8! >! .%/1! 0.>HY! .&V(.H! />1H'0.>H! 5;(! 1%! 1-(! 0'(/(8E(! %F! ">'/H>/Y! ">'/H>/! E%;.5! ->[(! &'%8&E>..H! &8/1';E1(5! G.H$0;/! %8! 1-(! .H'(N! G'! 0('->0/! >8! >.1('8>1&[(! (85&87! G.H$0;/! b;57(5! &8! F>[%;'!%F!+0%..%!>85!0'(F(''(5!-&/!&8/1';$(81!1%!1-(!/>1H'T/!4$&#+N! !R;1!&1!^%;.5!J(!1%%!/&$0.(!1%! >//%E&>1(! G.H$0;/! %8.H! ^&1-! 1-(! 1'>5&1&%8>.! d.H'&ET! /&5(! %F! $;/&E! >85! 1%! &81('0'(1! 1-&/! [>/(! >/! $(1>0-%'!F%'!1-(![&E1%'H!%F!%.5!.H'(!%[('!8(^!4$&#+!$;/&EN!S%8[('/(.HY!1-(![>/(!->/!>./%!J((8!'(>5! >/!$(1>0-%'!F%'!1-(![&E1%'H!%F!1-(!8(^!.H'(!$;/&E!%[('!1-(!8(^! 4$&#+!$;/&EN!l(!V8%^!1->1!1-(! d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d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`1/!>85!5(J>1(/!1->1!%00%/(!1-(!5&1-H'>$J!1%!d)%'&>8!/%87TNPOW! +J%[(!">'/H>/!/&1/!G;'>8&>!d1-(!:;((8!%F!-(>[(8T!>85!>J%[(!G.H$0;/!/&1/!1-(!/>1H'!DHJ>/!d;0'%>'TN! D-(/(!(.($(81/!>./%!->[(!>!0>'1!&8!5(!0%.($&E/!/;''%;85&87!1-(!d8(^T!$;/&EN!Z1!&/!1-(!;8'(/%.[(5! >85!1(8/&%8!>85!1-(!(81>87.($(81!J(1^((8!1-($!1->1!&/!>'1&E;.>1(5!-('(N!D->.(&>Y!";/(!%F!S%$(5HY! F.>8V/!G.H$0;/!^&1-!1-(!.H'(!>85!S>..&%0(Y!";/(!%F!(0&E!.H'&EY!F.>8V/!">'/H>/!^&1-!1-(!4$&#+N!D-(! [>/(!J'&87/!1%7(1-('!%00%/&87!$;/&E>.!7(8'(/Y!/1H.(/!>85!&8/1';$(81/!&8!>8!(`1'($(.H!E%85(8/(5! >85!&81'&E>1(!^>HN!Z1!&/!>!/H8%01&E!&$>7(N!"H1-&E>.!1'>5&1&%8/!>'(!$%/1!>00'%0'&>1(!F%'!(`0'(//&87! 1-(! &81'&E>1(8(//! >85! >$J&7;&1&(/! %F! &8-('(81! &8! %00%/&1&%8/! >85! E%81'%[('/&(/! >85! 1-&/! [>/(! (`0.%&1/!1-(/(!E>0>E&1&(/!1%!1-(!(`1'($(!JH!1'>8/0%/&87!1-(!>81>7%8&/$/!;0%8!>..&(/N!+!E%$0.(1(! [&E1%'H!^>/!8([('!'(>E-(5!%8!(&1-('!/&5(N! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 153 Plat. Lach. 188d2-9: “And such an one I deem to be the true musician, attuned to a fairer harmony than that of the lyre, or any pleasant instrument of music; for truly he has in his own life a harmony of words and deeds arranged, not in the Ionian, or in the Phrygian mode, nor yet in the Lydian, but in the true Hellenic mode, which is the Dorian, and no other.” The passages of course mainly proves us the versatility of the lyre and the modes. 154 á†ùîú°{; ¢ùbèù; |ù[bbúáÖ°] 155 An cultmination in depictions of Apollo as the leader of the thiasos and of Dionysos as leader of the Muses and equally affection the depictions of the Apollo-Marsyasmyth in Attic art. Cf (Otto 1975, ; Queyrel 1984). 156 The fragment of Pratinas is according to some scholars not to be dated around 500 B.C.-450 B.C. nor to be correlated with the early innovations of Lasus of Hermione. The “low” dating defended places is rather ca. 450 B.C.-400 B.C. Discussion and bibliography on the subject Cf. (Wallace 2003). ! QL! ! ! KG8(+11&E!6(5K_&7;'(5!S'>1('Y!6;[%Y!e>11>!S%..(E1&%8!PBMIY!+6=n!PPCQNPY!E>N!QABKQPB!RNSNY!>1'N! ?>5$%/!,>&81('! ! l(!F&85!/&$&.>'!>$J&[>.(8E(!^&1-&8!1-(!+11&E!'(0'(/(81>1&%8/!%F!">'/H>/!>/!^(..N!G8!/%$(![>/(/Y!-(! &/!8%1!0.>H&87!1-(!4$&#+!J;1!-%.5&87!>!.H'(!>85!%8!%EE>/&%8!-(!([(8!0.>H/!1-(!12*3454(9F&7N!KG 157 Cf. (Metzger 1951, 160 n°8; Clairmont 1957, 165 n°8; Schauenburg 1958, 47 nt. 34; Froning 1971, 40 n°2; Schefold 1981, 174 fig. 232; Schindler 1987, 121; Rawson 1987, 216-7 n°A80; Weis 1992, 373 n°43; Castaldo 2000, 267 n° 15; Zschätzsch 2002, 148 n°6; Bundrick 2005, 137 fig. 83). ! QC! %F!1-(!12*3454(1%!1-(!(`1'($(N!+/!>!'(/;.1!1-&/!(`1'>K%'5&8>'H![>/(!&/!%8(!%F!1-(!$%/1!E&1(5![>/(/!&8! '(.>1&%8!1%!1-(!$H1-!%F!">'/H>/N!! S%81(/1/! %8! 1-(! 12*3454!^('(!&85((5!1-(!J(11('!'(7>'5(5N!e;57&87!>F1('!1-(!,>8>1-(8>&E![>/(/! 12*345#C;( ^>/! 1-(! J(/1K'(7>'5! 7(8'(N! Z1! &/! ->'5.H! >'J&1'>'H! -%^([('! 1->1! >./%! 1-(! 4$&#+!/-%;.5! >00(>'!%8!1-&/![>/(!^&1-!>..!&1/!E%88(E1&%8/!1%!1-(>1'&E>.!0('F%'$>8E(/!>85!1%!1-(!E;.1!%F!)&%8H/;/N! Z8!1-(!)&%8H/&>Y!1-(!4$&#+!0.>H(5!1-(!$>&8!'%.(N!D%7(1-('Y!12*3454!>85!4$&#+!^('(!1-(!1^%!0'&8E&0>.! dE%8E('1T!&8/1';$(81/!;/(5!&8!$;/&E>.!0('F%'$>8E(/N!">'/H>/!0('F%'$(5!%8!J%1-N!D-(!d8(^T!$;/&E! ^>/! (/0%;/(5! JH! J%1-! >/! ^(..N! ,'%F(//&%8>.! [&'1;%/%! 0.>H('/! ^('(! 8%1! %8.H! 7&[&87! 0'%[%E>1&[(! 0('F%'$>8E(/!%8!1-(!4$&#+N!D-(H!^('(!8%!.(//!(>7('!1%!&$0'%[(!>85!(`0.%'(!1-(!$;/&E>.!E>0>E&1&(/! %F! 1-(! 12*3454N! +55&1&%8>.! /1'&87/! ^('(! >55(5! >85! 1-(! 0.>H&87! 1(E-8&:;(/! ^('(! &$0'%[(5N! D-(! 12*3452+*'+!/1>'1(5!1%!J'&87!(:;>..H![&[&5! >85! /%0-&/1&E>1(5! E%$0%/&1&%8/! 1%! /1>7(! >/! 1-(! 4$&'*'+N! D-&/!^>/!%F!E%;'/(!$;E-!E%81'%[('/&>.N!+!F>$%;/!E'&1&E!F'>7$(81!&/Y!>7>&8Y!0'%[&5(5!JH!+1-(8>(;/N! D-(!8(^!5([(.%0$(81/Y!^(!'(>53!j.(5!1-(!E%$&E!0%(1!,-('(E1'>1(/!9(85!F&F1-!E(81;'H!RNSN7(!&8!1-(!7;&/(!%F!>!^%$>8Y!-('!^-%.(!J%5H!5&/0.>H&87!/&78/!%F!&..K1'(>1$(81N!4(! 1-(8!$>V(/!b;/1&E(!>/V/!^->1!E>;/(5!1-&/!%;1'>7(Y!>85!,%(1'H!>8/^('/3!ZT..!1(..!H%;!^&..&87.H3!1-(! /1%'H!^&..!J(!>!0.(>/;'(!F%'!$(!1%!1(..!>85!F%'!H%;!1%!-(>'N!"(.>8&00&5(/!/1>'1(5!$H!1'%;J.(/N!4(!^>/! 1-(!F&'/1!%F!1-($3!-(!7'>JJ(5!$(!>85!0;..(5!$(!5%^8Y!>85!.%%/(8(5!$(!;0!^&1-!>!5%c(8!/1'&87/N!_%'! >..!1->1Y!-(!^>/!>!7%%5!(8%;7-!$>8!1%!$(!E%$0>'(5!^&1-!1-(!1'%;J.(/!Z!->[(!8%^N!D->1!5>$8(5! S&8(/&>/!%F!+11&E>!->/!5%8(!$(!/%!$;E-!5>$>7(!^&1-!1-(!d(`->'$%8&ET!1^&/1/!-(!$>V(/!&8/&5(!1-(! /1'%0-(/Y!1->1!&8!1-(!E%$0%/&1&%8!%F!-&/!5&1-H'>$J/!H%;T5!$&/1>V(!1-(!'&7-1K->85!/&5(!F'%$!1-(!.(F1Y! .&V(!>!'(F.(E1&%8!&8!>!/-&(.5N!R;1!/&..!Z!E%;.5!J;1!;0!^&1-!-&$N!R;1!,-'H8&/!/-%[(5!&8!-&/!%^8!0(E;.&>'! d0&8(!E%8(TY!J(85&87!>85!1^&/1&87!$(!1%!$H!0('5&1&%8m!-&/!0(81>E-%'5/!^%;.5!0.>H!>!5%c(8!V(H/N!r(1! -&$!1%%!&8!1-(!(85!([(8!-(!^>/!J(>'>J.(Y!F%'!-(!'(E%[('(5!.>1('!^-(8!-(!/.&00(5N!R;1!G-x!"H!5(>'Y! D-&$%1-(;/!&/!>8%1-('!$>11('N!4(T/!J;'&(5!$(!&8!>!-%.(!>85!/E'>00(5!$(!>..!>^>H!X!&1/!>8!%;1'>7(x! K!>85!^-%!&/!1-&/!$>8p!K!+!'(5-(>5!F'%$!"&.(1;/N!D-(!1-&87/!-(!5&5!1%!$(!>'(!^%'/(!1%!$(!1->8!>..! 1-(!%1-('/!0;1!1%7(1-('m!-&/!8%1(/!E'>^.!;0!>85!5%^8!1-(!/E>.(!.&V(!>81/N!+85!^-(8!-(!F%;85!$(!%8! >!^>.V!>.%8(Y!-(!1(>'(5!>85!J'%V(!$(!^&1-!-&/!5%c(8!/1'&87/Nk!9,/NK,.;1N!";/N!PPQP5KPPQA> !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 158 Ps.-Plut. Mus. 1141d6-1141a4: x8 0(1 Ñ7-70-I!. !O# 0'+;0O# 7_C(/(/7L# !B# p:2C;0B# F# /2#(;07Mn CR4+(!;, 9&.# 0(!^0;C+,#.# !O C"+(T 3:;7L $A !B# `;0(;:CD#.# $;(32#H(#:+,#.# !B# (_!M(# !S8 &E5.8 0(1 !B# † Ö:M.C;# &,/:2C(# { ! QM! a%$(!/E-%.>'/!&81('0'(1(5!1-(!?>5$%/!0>&81('T/![>/(!>/!>8!>..(7%'H!%F!1-(![&E1%'H!%F!1-(!8(^!.H'(! $;/&E!%[('!1-(!4$&#+!$;/&EN!D-(!%1-('!^>H!>'%;85!&1!->/!J((8!'(>5!>/!>!$(1>0-%'!F%'!1-(!5%^8F>..! %F!12*3454!(85&87!;0!&8!">'/H>/T!->85/N!l(!F&85!/&$&.>'!/E(8>'&%T/!&8!1-(!5([(.%0$(81!%F!1-(!$;/&E! %F! 1-(! 4$&#+!>85!%F!1-(!12*3454N!">'/H>/Y!.&V(!$%/1!0'%F(//&%8>.!$;/&E&>8/KE%$0%/('/! ^-%! ^('(! $>V&87! /E>85>.! >1! 1-(! 1&$(! (`0('&$(81(5! %8! J%1-N! V2*345#C;!>85!4$&'+2+!^('(!1-(! 1^%! .(>5&87! 7(8'(/!%F!1-(!8(^!$;/&E!>85!0;J.&E!0('F%'$>8E(/N!6&[>.'H!>85!E%$0(1&1&%8!J(1^((8!1-(!&85&[&5;>.! 0('F%'$('/!J(E>$(!%8.H!$%'(!&$0%'1>81N!D-&/![>/(!5(0&E1/!>..!1-(!$>&8!>E1%'/!>85!F>E(1/!%F!1-(! 8(^!$;/&EN!a%$(!/E-%.>'/!/;77(/1(5!1%!'(>5!&1!F>E(![>.;(Y!>/!>!5(0&E1&%8!%F!>!dE%8E('1T!0('F%'$>8E(! %F!4$&#+!>85!12*3454N!l(!->[(!.>1('!([&5(8E(!%F!/;E-!0('F%'$>8E(/!J;1!&1!5%(/!8%1!>00(>'!1%!J(!>! [('H! E%$$%8! 0'>E1&E(N! ZF! >8H1-&87! &8! 1-(! d'(>.K.&F(T! E%81(`1Y! 1-(! [>/(! '>1-('! '(F.(E1! 1^%! 1H0(/! %F! $;/&E>.!0('F%'$>8E(!&8!1-(&'!;/;>.!%'5('!%F!/&78&F&E>8E(N!ZF!>8H1-&87!%8!1-(!$H1-%.%7&E>.!.([(.Y!1-(! [>/(!>11(/1/!1%!1-(!0.;'>.&1H!%F!">'/H>/T!$;/&E>.!:;>.&1&(/!>85!1-(![('/>1&.&1H!%F!-&/!E->'>E1('!'>1-('! 1->8!1%!>!0>'1&E;.>'!8>''>1&[(!%'!E%8[&E1&%8N!">'/H>/!&/!8%1!'(5;E&J.(!1%!>8!($J%5&$(81!%F!1-(!8(^! $;/&E! 0('F%'$('N! D';(Y! -&/! $H1-! (8b%H/! /;55(8! 0%0;.>'&1H! 5;'&87! 1-(! /(E%85! ->.F! %F! 1-(! F&F1-! E(81;'HN!R;1!&1![&'1;>..H!5&/>00(>'/!F'%$!1-(!'(E%'5!&8!1-(!J(7&88&87!%F!1-(!F%;'1-!E(81;'HY!^-(8! 1-(!0'%F(//&%8>.!/1>'!0('F%'$>8E(/!/;E-!>/!,'%8%$;/!>85!+81&7(8(&5>/!%F!D-(J(/!'(>E-!1-(&'!0(>V! 9l(/1!PMMAY!IIWKC ! @45+;4+(4:C(.*3':4(2:(>'&'+*'+(H&4*'()2)*3n'45&;()#$5*3(9':*$5;(<0=0L( ! l-(8! ^(! 1;'8! 1%! ^(/1('8! \'((E(Y! ^(! F&85! %1-('! &81('0'(1>1&%8/! %F! 1-(/(! $H1-&E>.!1'>5&1&%8/N!Z8! +1-(8>(;/!^(!'(>53!jD(.(/1(/!9E>N!QABKIQO! RNSNEV! >1! "(.>8&00&5(/! &8! -&/!.5?#Y! /0(>V&87!%F!+1-(8>!-(!/>&53!jl-(8!1-(!E.([('!7%55(//!F%;85!1-(!E.([('!&8/1';$(81!&8!1-(!$%;81>&8! 1-&EV(1/Y! Z! E>88%1! J(.&([(! &8! $H! $&85! 1->1! /-(Y! 5&[&8(! +1-(8>Y! F'&7-1(8(5! >1! 1-(! ;7.&8(//! ^-&E-! %FF(85/!1-(!(H(Y!1-'(^!&1!>7>&8!>^>H!F'%$!-('!->85/Y!1%!J(E%$(!1-(!7.%'H!%F!">'/H>/Y!1->1!->85K E.>00&87!E'(>1;'(!J%'8!F'%$!>!8H$0-N!l-H!^%;.5!/->'0!0>//&%8!F%'!.%[(.H!J(>;1H!->[(!1'%;J.(5! -('Y!1%!^-%$!S.%1-%!->5!>..%11(5![&'7&8&1HY!$>&''&>7(.(//!>85!E-&.5.(//pk!94(!$(>8/!1->1!/-(!^%;.5! 8%1!->[(!/%;7-1!1%!>[%&5!;7.&8(//!&8!-('!>00(>'>8E(!J(E>;/(!%F!-('![&'7&8&1H85!-%/1&.(! 1%!1-(!5>8E(!&/!1-&/!/1%'HY!1%.5!JH!F%%.&/-!J>'5/Y!1->1!->/!/0'(>5!1%!4(..>/Y!>!b(>.%;/!'(0'%>E-!%F!>! E.([('!>'1!>$%87!$(8Y!^-&E-!1-(!;0.&F1(5!J'(>1-!%F!1-(!8%J.(!7%55(//Y!b%&8(5!^&1-!1-(!/^&F18(//!%F! -('! F.>/-&87! F&87('/! 1->1! :;&[('&87K^&85! ->85/Y! 0>//(5! %[('! 1%! R'%$&;/! 1%! J(! -&/! $%/1! F>&1-F;.! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! aulos songs with kithara songs, and blended every kind of music with every other; and thus, through their folly, they unwittingly bore false witness against music, as a thing without any standard of correctness, of which the best criterion is the pleasure of the auditor, be he a good man or a bad. By compositions of such a character, set to similar words, they bred in the populace a spirit of lawlessness in regard to music, and the effrontery of supposing themselves capable of passing judgment on it. Hence the theater-goers became noisy instead of silent, as though they knew the difference between good and bad music, and in place of an aristocracy in music there sprang up a kind of base theatrocracy." 160 On the ‘new’ music and musicians and problems associated with it Cf. (Richter 1968, ; West 1992, 356-72; Wallace 2003, ; Csapo 2004, ; Franklin 2004, ; D’Angour 2006). ! OB! ->85$>&5Nk!9)(&0N!PWNWPWFKWPL> a&;AQ$+8(@45+;4+(4:C(.*3':4(2:()#$5*3(9':*$5;(_*4&2#*'(/4+'+( ! +./%! %8! >8! +0;.&>8! '(5KF&7;'(5! [>/(! 9F&7N! =N !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 161 Athen Deip. 16.616f-617a = Kaibel 14.7.12-31: 3-O8 t# P#!;&,/'# %&&:8 @=.T ‘P&&' 9 /7 {7&;#:D# !;:8 Z7&,C!.8 !l p7&(#;33M$^ P#!;0:-2CC6+7#:8 F# s-/:L @=. – h $A &6/:8 FC!1 37-1 !S8 sH.#j8 – t# C:=O# C:=*# &(5:?C(# :)0 F3,&3:+(; #6n $-2+:L8 Q-7M:;8 Y-/(#:# $M(# sHI#(# $2C6=H(&+:# (ÇCR:8 F0=:5.H7LC(# (cH;8 F0 R7-"# 5(&7L#, #2+=(/7#7L R7;-:0!D3n =.-1 p(-CD~ 0&,:8. !M /I- #;# 7).-I!:;: 0I&&7:8 Q]X8 @-'8 @!7;-7#, § 3(-H7#M(# %/(+:# 0(1 %3(;$' P3,#7;+7 |&'HE[ x8 :)0 f# 7)&(5.H7MC.8 !B# (_CR-6!.!( !:? 7d$:28 $;* !B# 3(-H7#M(#. W]S8 !, =.C;T P&&* +I!(# PR6-72!:8 y$7 +(!(;:&6/'# =I+( 3-:C,3!(H' ä&&I$( +:2C:36&'# C:=j8 F3M=H:#:# 5-:!:L8 !,R#(8 Y#7;$:8. +7!* !(?!( $A F/0'+;I>'# !B# ()&.!;0B# &,/7;T •# C2#7-;H:!I!:# ì-:+Mn 3(-,$'07, C7+#j8 $(M+:#:8 P7-67# 3#7?+' (_:&:3!7-D/'# CX# P/&(j# }0D!(!; R7;-"# Cf. (Barker 1984, 273; Wilson 1999, 66; Wallace 2003, 86-7; Bundrick 2005, 132-3). 162 Cf. (Jessen 1894, 2248; Schauenburg 1958, 43-4; Scichilone 1963, 675 n°11; Trendall and Cambitoglou 1978, 267 n°48; Demargne 1984, 1014 n°620; Schefold 1981, 353 nt. 1; Frontisi-Ducroux 1994, ; Daltrop and Bol 1983, 18; Rawson 1987, 195 n°A5; Weis 1992, 369 n°10, 1997, 39 n°4; Castaldo 2000, 268 n°25; Papadopoulou and Pirenne-Delforge 2001, 47; Zschätzsch 2002, 2 n°4). ! OP! -('(N!Z1!&/!E.(>'!([(8!F%'!Ä(;/!1%!/((N!+85!1-(!J(>;1&F;.!H%;87!G.H$0;/!>85!1-(!/>1H'!">'/H>/!^&..!J(! /0>'(5!8%!.(//!/0>'(5!JH!&1N!! ! ! =N8!)(1>&.3!+0;.&>8!6(5K_&7;'(5!S'>1('Y!R%/1%8Y!";/(;$!%F!_&8(!+'1/!BBIQCY!E>!ILBKIWB!RNSNY!>11'N! R%/1%8!,>&81('! ! "H1-&E>.!1'>5&1&%8/!1->1!>'(!^&5(.H!V8%^8!.(85!1-($/(.[(/!0>'1&E;.>'.H!^(..!1%!J(!5([(.%0(5!&81%! &$>7(/!1->1!>'(!0('->0/![&/&J.H!>85!0-H/&E>..H!E>.$!J;1!^-&E-!>E:;&'(!(`1'($(!0>1-%/!&8!'(/0(E1!%F! 1-(!E%81'>/1!E'(>1(5!>/!/;E-!^&1-!1-(&'!0/HE-%.%7&E>.!&$0.&E>1&%8/NPWI!l(!/-%;.5!J(!E>;1&%;/!8%1!1%! 1>V(! 1-($! >1! F>E(! [>.;(Y! F%'! 0%.H/($H! &/! 1-(&'! 0'&8E&0>.! 0(E;.&>'&1H! >85! .&V(.H! >! 7'%;85! %F! 1-(&'! /;EE(//N! Z8! 1-&/! 0('/0(E1&[(Y! ^(! /-%;.5! 0('->0/! >./%! ;85('/1>85! 1-(! +1-(8&>8/T! 0'(F('(8E(! F%'! &$>7(/!%F!">'/H>/!0.>H&87!%8!1-(!4$&#+N!+!E>.$!/E(8(Y!>..!1-(!$%'(!5'>$>1&E!8([('1-(.(//N! D-(!R%/1%8![>/(!J'&87/!1%!$&85!/%$(!F'>7$(81/!0'(/('[(5!JH!,.;1>'E-N!,('->0/!^(!E%;.5!/;77(/1! >! ^(/1('8! \'((V! E%88(E1&%8p! jD-%/(! ^-%! 5(.&7-1! &8! 0.(>/>81! /1%'&(/! />H! 1->1! ^-(8! +1-(8>! ^>/! 0.>H&87!%8!1-(!4$&#+Y!/-(!^>/!'(J;V(5!JH!1-(!/>1H'!>85!^%;.5!7&[(!8%!-((53!jD-&/!J(>'&87!/;&1/!H%;! 8%1m!.>H!JH!1-(!4$!>85!1>V(!;0!H%;'!>'$/!>85!0;1!H%;'!E-((V/!1%!'&7-1/Nk!l-(8!/-(!/>^!-('!F>E(! &8!>!'&[('Y!/-(!^>/!5&/7;/1(5!JH!&1!>85!1-'(^!>^>H!1-(!4$&#+0!r(1!1-(!1>.(81!%F!;8/&7-1.&8(//!J'&87/! 7'>E(F;.8(//N!">'/H>/Y!&1!/(($/Y!JH!>!$%;1-0&(E(!>85!E-((V!J>85/!'(0'(//(5!1-(![&%.(8E(!%F!-&/! J'(>1-!>85!1'&EV(5!;0!>85!E%8E(>.(5!1-(!5&/1%'1&%8!%F!-&/!F>E(3!j4(!F&11(5!1-(!F'&87(!1%!-&/!1($0.(/! ^&1-!7.(>$&87!7%.5!>85!-&/!7'((5H!$%;1-!-(!F&11(5!^&1-!1-%87/!J%;85!J(-&85Nk!9S%-&JN!Z'>N!QOWJQK EA !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 163 A casual image of Ajax planting a spear into the ground, acquires much drama when you know that Ajax is in fact preparing his death Cf. (Woodford 2002, 35 fig. 20). 164 Plut. Cohib. Ir. 456b4-c2: 0(1 /*- !B# sH.#j# &,/:2C;# :V 3(M>:#!78 ()&:?C(# <3O !:? C(!D-:2 #:2H7!7LCH(; 0(1 +B 3-:C,R7;#T ’:K !:; 3-,37; !O CRS+(T !:X8 ()&:X8 +,H78 0(1 Hà3&( &I>72 0(1 /#IH:28 7)H.+6#7;’ H7(C(+,#.# $A !:? 3-:CE3:2 !B# Yo;# F# 3:!(+l !;#; $2CR7-j#(; 0(1 3-:,CH(; !:X8 ()&:D8T 0(M!:; 3(-(+2HM(# m !,R#. !S8 P+:-=M(8 @R7; !B# F++,&7;(#. 0(1 h p(-CD(8, x8 @:;07, =:-57;Ü !;#; 0(1 37-;C!:+M:;8 [5M~] !:? 3#7D+(!:8 !O ï(/$(L:# F/0(H7L-]7 0(1 !:? 3-:CE3:2 0(!706C+.C7 0(1 P3,0-2o7 !B# P#'+(&M(#. ’R-2Cl $' ! OA! 5([&E(!$%/1!(//(81&>.!1%!1-(!0;J.&E!0('F%'$('/!1->1!^('(!E>;/&87!/%!$;E-!/E>85>.!X!1-%;7-!/%$(! /E-%.>'/!>E1;>..H!/(($!1%!1-&8V!&1!%8.H!/('[(5!>(/1-(1&E!0;'0%/(/N!G8.H!&8!>!/>1H'!0.>HY!'(>..HY!E%;.5! +1-(8>!J(!>55'(//(5!&8!1-&/!^>HN!Z1!$;/1!->[(!0'%[&5(5!7%%5!>$;/($(81!1->1!1-(!-&5(%;/!/>1H'!&/! 1-(!%8(!1%!&8F%'$!1-(!7%55(//!1->1!/-(!&/!.%%V&87!;7.HN!!Z8!&1!&/!E('1>&8.H!>./%!>!7%%5!E%81(`1!1%!/1>7(! ">'/H>/!>/!>!/V&.F;.!9>85!5([&E(!F;.../%!$>1E-(/!;0!^&1-!1-(!/>1H'!E%8E(>.&87!-&/! 7'((5H!$%;1-!^&1-!7.(>$&87!7%.5N!a%$(!->[(!/;77(/1(5!1->1!1-&/!>'(!F'>7$(81/!%F!*;'&0&5(/T!.%/1! 0.>HN!D-(!%'&7&8>.!>11'&J;1&%8!&/!1%!a&$%8&5(/!%F!S(%/!9E>N!OOWKQWC!RNSN ! !! a&;AQ$+8(@45+;4+(4:C(.Q#&&#(2:()#$5*3(9':*$5;(_*4&2#*'(/4+'+( ! D-(!^(/1('8!\'((V/Y!/;'(.H!E%$0(1(81!&8!(`0.%&1&87!1-(!0%.H/($%;/!:;>.&1&(/!%F!1-(!$H1-%.%7&E>.! 1'>5&1&%8/Y! J(! &1!5'>$>1&E>..H!9>/!&8!1-(![>/(!%F!1-(!R%/1%8!0>&81('..H!90('->0/!&8!1-(! ,.;1>'E-;/!F'>7$(81 ! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! (_/&47#!; C2#4-+:C7# P+=;$(C7M(8 06-C(8 0(1 C!6+( &I5-:# Q3;CH:$,!:;C;# V+jC;#T’ Cf. (Bélis 1986, ; Anderson 1994, 84; Wilson 1999, 65; Wallace 2003, 80). 165 Satyrs hardly ever wear the phorbeia in Attic art and the few instances they do, have similarly been interpreted as a playful inversion of the norm Cf. (Wilson 1999, 71 nt. 56). 166 Cf. (Jessen 1894, 2457; Schauenburg 1958, 52 nt.71; Froning 1971, 43 n°8; Schefold 1981, 353 nt.0; Weis 1982, ; Rawson 1987, 206 A59; Queyrel 1992, 670 n°119; Weis 1997, 42 n°32; Zschätzsch 2002, 149 n°38). 167 The oldest Italiote image shows Marsyas leaning against a column (inscr. MARS...), holding a huge knife (machaira) talking ‘casually’ to a goddess before him. We also see Athena’s lance and spear and there is a third female figure present. Scholars accept that Marsyas is talking to Artemis, Apollo’s ‘dedoublement’ here, to exploit the psychological value of the myth: Lucanian red-figured fragment, New York, Metropolitan Museum of Art, 12.235.4, end 5th cent. B.C., attr. Palermo Painter Cf. (Schauenburg 1958, 50 n°1; Trendall 1967, 53 n°273 Pl. 23.1; Froning 1971, 42 n°38 PL. 12.1-2; Moret 1979, ; Schefold 1981, 175 fig. 234; Kahil 1984, n°1430; Rawson 1987, 199 n°A32; Weis 1992, 370 n°20a). ! OI! =K8!+0;.&>8p!+11&Ep!,%.HE-'%$(!2(VH1-%/Y!U>0.(/Y!";/(%!U>c&%8>.(!CPIMW!94AAMP ! ! ! Z8!1-(!E(81'(!/&1/!">'/H>/!J%;85!^&1-!-&/!->85/!J(-&85!-&/!J>EV!1%!>!0>.$!1'((N!D-(! 4C&2?4*$+! jJ%;85k!$%1&F!&/!>!1'>5&1&%8>.!&8!1-(!Z1>.&%1(!'(0('1%'HNPWC!R(F%'(!-&$!/1>85/!>!aEH1-&>8!/.>[(!^&1-!>! V8&F(!^-%!&/!1%!F.>H!-&$N!D-(!0'(/(8E(!%F!1'((Y!>!E%.;$8Y!(1ENY!&85&E>1(!>!/>8E1;>'H!/(11&87N!D%!1-(! '&7-1! /1>85/! +0%..%! ^(>'&87! >! E('($%8&>.! 7>'$(81N! 4(! &/! $>'V(5! %;1! JH! 1-(! ^&87(5! U&V(! >J%[(! -&$N!+!$;/(!/&11&87!1%!1-(!.(F1!-%.5/!>!12*3454(X!&1!&/!->'5!1%!1(..!^-(1-('!/-(!&/!0.>H&87!&1!%'!8%1N!Z1! ^>/!/;77(/1(5!1->1!1-&/!&/!*'>1%Y!1-(!";/(!%F!.H'&E!>85!.%[(!0%(1'HN!*`E(01&%8>..H!>..!8&8(!$;/(/!>'(! 0'(/(81Y!&8!/%$(!1(`1/!1-(H!>E1!>/!1-(!b;57(/N!"%/1!->[(!8%!&5(81&FH&87!>11'&J;1(/!-('(N!D-('(!&/!%8.H! >./%!1-(!";/(!1%!1-(!F>'!.(F1Y!0'(/(81&87!/%$(1-&87!1%!1-(!H%;87!$>8!J(F%'(!-('N!a%$(!1-&8V!1-&/!&/! *;1('0(! 0'(/(81&87! 1-(! 4$&#+!1%!G.H$0;/N!D-(!8>V(5!H%;87!$>8!%8!1-(!F>'!'&7-1Y!.(>8&87!%8!>! E%.;$8! &8! >! E.(>'! /1>1(! %F! 5&/1'(//Y! &/! /;'(.H! G.H$0;/N! D-(! [>/(! '(0'(/(81/! 0('->0/! G.H$0;/T! 1'>7(5H!1%%N!! l(!F&85!G.H$0;/!&8!Z1>.&%1(!>'1!&81(7'>1(5!&8!1-(!+0%..%K">'/H>/!$H1-!%8!%1-('!$%$(81/!>/!^(..N! G8! %8(! (>'.H! +0;.&>8! [>/(! 1-(! E%81(/1! &/! /1&..! 7%&87! %8! 9F&7N! == 168 The original stylistic attribution to Attic is therefore no longer accepted. Cf. (Weis 1982) who argued that it was ultimately derived from a painting of Amykos adligatus which was located in central Italy and which showed Amykos, the impious king, bound to a tree. Weis suggests that the choice of the tree was inspired by the Italic idea of the arbor infelix and its punitive an funeral associations. It is consistent with the characters associated with it: Perithoos, Amykos, Andromache, Marsyas, etc. 169 Cf. (Jessen 1894, 2454; Clairmont 1957, 166 n°22; Schauenburg 1958, 43 nt.9, 50 nt. 5; Froning 1971, 42 n°55; Schauenburg 1972, 321; Trendall and Cambitoglou 1978, 171 n°41; Schefold 1981, 353 nt.47; Kahil 1984, n°1425; Paquette 1984, 156 n°L13; Rawson 1987, 203 n°A47; Weis 1992, 372 n°34a; Lopinto 1995, 93 n°35A; Weis 1997, 41 n°24; Zschätzsch 2002, 150 n°55). ! OQ! G.H$0;/3! >! ->.FK8>V(5! H%;87! $>8Y! .(>8&87! -&/! -(>5! >85! -&/! ->85/! %8! -&/! /1>FF! &8! >! 5(F&8&87! d$(.>8E-%.&ET!7(/1;'(N!D-(!^&85%^!&8!1-(!E(81'(!/;77(/1/!0('->0/!>!1-(>1'(!E%88(E1&%8N!! ! ==8!+0;.&>8!6(5K_&7;'(5!a&1;.>Y!6;[%Y!e>11>!S%..(E1&%8!PIWQY!E>N!ILBKIOB!RNSNY!>11'N!6;[%!PIWQ! ,>&81('! ! D-(>1'&E>.! E%88(E1&%8/! %F! [>/(/! >85! &$>7(/! >/! ^(..! >/! E%88(E1&%8! J(1^((8! .&1('>1;'(! >85! >'1! &8! 7(8('>.!>'(!>8!%.5!>85!>![(`(5!0'%J.($NPLB!Z85&'(E1!E%88(E1&%8/!>85!&8F.;(8E(/!J(1^((8!1-($!>'(! %J[&%;/.H!^&5(/0'(>5!>/!1-(!0.>H/!>85!1-(![>/(/!>'(!0>'1!%F!1-(!/>$(!E;.1;'>.!E%$0.(`!>85!5'>^! ;0%8!>!E%$$%8!d0%%.T!%F!8>''>1&[(!>85![&/;>.!1'>5&1&%8/!>85!$%1&F/N!D-(!5(0&E1&%8!%F!/E(8&E!%Jb(E1/! /;E-!>/!1'&0%5/Y!E%.;$8/Y!^&85%^/Y!(1ENY!5%(/!8%1!8(E(//>'&.H!&$0.H!>!5&'(E1!E%88(E1&%8!J(1^((8!>! [>/(! 0>&81&87! >85! 1-(! 1-(>1'(N! 4%^([('Y! 1-('(! >'(! (`E(01&%8/N! G8(! &/! >8! (>'.H! +0;.&>8! [>/(! 9F&7N! =@ !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 170 It was Horatio’s remark ‘ut pictura poesis’ (as is painting, so is poetry) that unintentionally triggered the debate on the relationship between literary and pictorial representations. The dispute gathered momentum when Leonardo Da Vinci, in Paragone, ranked the art of painting first, and Lessing, in Laokoon, gave preference to the art of poetry. The battle continues until this very day. As far as the visual arts of Ancient Greece are concerned, the issue has polarised the community of researchers. Carl Robert was the first to make out a case, in his Bild und Lied (1881), for abandoning the idea that vase painters did their jobs holding a papyrus roll in one hand and a brush in the other. Louis Séchan, however, in his Etudes sur la tragédie grecque dans ses rapports avec la céramique (1926), demonstrated that certain vase scenes ware undeniably text- bound. The non-philological approach at presently prevails Cf. (Taplin 1993, ; Goldhill and Osborne 1994, ; Rutter and Sparkes 2000). 171 Cf. (Trendall 1967, 86 n°195; Schauenburg 1972, 318 nt.7; Trendall and Cambitoglou 1978, 172 n°49; Schefold 1981, 353 nt.47; Rawson 1987, 202 n°A44; Lopinto 1995, 94-5 n°37A). On the musical connections and iconography of the ‘phlyakes vases’ Cf. (Goulaki-Voutira 2001-2002). ! OO! ! =@8!+0;.&>8!6(5K_&7;'(5!G&8%E-%ÇY!"(.J%;'8(Y!U>1&%8>.!=&E1%'&>!\>..('H!MBOY!E>N!ILBKIOB!RNSNY! >11'N!_(.1%8!,>&81('! ! Z1! &/! '($>'V>J.(! 1->1! ^(! F&85! J%1-! 1-(! $%/1! (`0.&E&1! -%''&5! >85! 1-(! $%/1! $>8&F(/1! E%$&E! '(0'(/(81>1&%8/!%F!1-(!+0%..%K">'/H>/!$H1-!&8!Z1>.&%1(!>'1!>85!1->1!G.H$0;/!&/!&81(7'>1(5!&8!(>E-! E>/(N!4(!->/!;8&:;(!E>0>E&1&(/!F%'!F>'K'(>E-&87!1'>7&E!>85!E%$&E!(`0.%&1>1&%8!%F!1-(!/&1;>1&%8N!D-(! 4$&#+!/1'&V(/!JH!&1/!>J/(8E(N!+..! '(.([>81! '(0'(/(81>1&%8/! 7&[(! 1-(! E(81'>.! 0.>E(! 1%! 1-(! .H'(N! D-(! Z1>.&%1(!'(0'(/(81>1&%8/!7&[(!&8!7(8('>.!0'&%'&1H!1%!+0%..%!>85!-&/!&8/1';$(81!92%0&81%!PMMO ! a&;AQ$+(2:(>'&'+*'+(H&4*'()2)*3O'45&;()#$5*3(9':*$5;(<0=0L( ! +1-(8>(;/!E%81&8;(/3!jD(.(/1(/Y!&8!1-(!.+9Q&'2$+Y!1%%!%'8>1(.H!(`0'(//(5!1-(!;/(!%F!1-(!4$!&8!1-(/(! ^%'5/3! jG'! 1-(! ,-'H7&>8! V&87! %F! J(>;1(%;/KJ'(>1-&87Y! -%.H! 4$ ( ^-%Y! F&'/1! F&11(5! 1%7(1-('! 1-(! :;&[('&87!2H5&>8!:#A#+Y!'&[>.!1%!1-(!)%'&>8!";/(Y!&81('1^&8&87!>!^(..K^&87(5!J'((c(!%8!-&/!'((5/! ^&1-! 1-(! [%&E(! %F! -&/! J'(>1-Nk! 9)(&0N! PWNWPL>KJ 172 Athen. Deip. 16.616f-617b = Kailbel 14.7.31-7: 0:+o"8 $A 0P# !l sC0&.3;l h Z7&,C!.8 F$4&'C7 !B# !"# ()&"# R-7M(# F# !:D!:;8 T\ Ñ-D/( 0(&&;3#6'# ()&"# V7-"# 5(C;&S(, b2$O# t8 q-+:C7 3-"!:8 `'-M$:8 P#!M3(&:# +:DC.8 #6+:#, (_:&:# Q-=#(; 3#7D+(!:8 7K3!7-:# (K-(# P+=;3&,0'# 0(&I+:;8 Cf. (Barker 1984, 273; Wilson 1999, 66; Wallace 2003, 86-7). ! OW! 1'>7(5H!>85!(/0(E&>..H!F%'!.>$(81>1&%8/!9l(/1!PMMAY!PLM8! 1%! 2H5&>8! >/! &F! 1-(! F%'$('! ^>/! 1-(! %.5('! >85! 1-(! .>11('! 1-(! H%;87(/1N! 4(! >//%E&>1(5! G.H$0;/!^&1-!d8(^T!$;/&EN!4(!>./%!E>../!-&$!>!,-'H7&>8N!D(.(/1(/!/(($/!V((8!1%!&81(7'>1(!>..!1-'((! $>b%'!\'((V!$;/&E>.!d(1-8&E/T!&8!-&/!1(`1/N!4&/!1(`1!.&V(!-&/!0&(E(/!^>/!.&>J.(!1%!$%5;.>1(!J(1^((8!>..! $>b%'!$%5(/!>85!/E>.(/!9l(/1!PMMAY!PWO ! ! a&;AQ$+(2:(Z&4$9$+(H)#$5*3(9':*$5;(<0=0L( ! \.>;E;/!%F!6-(7-&;$!9a&E&.H$(/!%8(!%F!1-(!0&(E(/!%F!'(.&7&%;/!$;/&E!>11'&J;1(5!1%!G.H$0;/m!1-(! :#A#+(345A4*'2#+!j%F!1-(!E->'&%1kN!Z1!&/!&5(81&F&(5!>/!1-(!:#A#+(.*3':4+!jF%'!+1-(8>k!JH!>!/E-%.&>/1! %8!*;'&0&5(/T!a5'+*'+!^-%!;/(/!1-(!:#A#+(345A4*'2#+!1%%!9PICQ 173 Eur. Or. 1380-90: “Phrygian, Iium, Ilium, oh me! City of Phrygia and Ida's holy hill with fruitful soil, how I mourn for your destruction [harmateios nomos] with barbarian cry; destroyed through her beauty, born from a bird, swan-feathered, Leda's cub, hellish Helen! to be a curse to Apollo's tower of polished stone. Ah! Alas! Woe to Dardania, its wailing, wailing, for the horsemanship of Ganymede, bedfellow of Zeus.” 174 Ps.-Plut. Mus. 1133e11-f5: 9!; $' FC!1# Å&D+3:2 h ¶-+I!7;:8 #6+:8, F0 !S8 ã&(D0:2 C2//-(=S8 !S8 <3A- !"# P-R(M'# 3:;.!"# +IH:; %# !;8, 0(1 @!; /#:M. 9!; {!.CMR:-:8 h ß+7-(L:8 :K!' Å-=,( :K!7 Z,-3(#$-:# :K!' s-RM&:R:# :K!7 u(&4!(# F+;+4C(!:, P&&' ó&2+3:#, R-.CI+7#:8 !l ¶-+(!7Mn #6+n Cf. (Lasserre 1954, 136; Barker 1984, 212-3). 175 Ps.-Plut. Mus. 1134d11-e5: F31 $A !O +(0-6!7-:# F0!7L#(;, 0(1 Ö(M'#( 0(1 |-.!;0O# ï2H+O# 7_8 !B# +7&:3:;M(# F#H7L#(;T :e8 s-RM&:R:# +B 07R-SCH(;, P&&' :)$' Å-=,( :)$A Z,-3(#$-:#T F0 /*- !S8 Å&D+3:2 ()&4C7'8 u(&4!(# =(C1# F]7;-/ICH(; !(?!( 0(1 $6](; 3:;.!B# P/(HO# /7/:#,#(; Cf. (Lasserre 1954, 136-7; Barker 1984, 215). ! OL! .>H!>1!1-(!F%;85>1&%8!%F!$;E-!\'((V!$;/&EN!Z1!&/!(`0(E1(5!1->1!1-(!\'((V/!^('(!^(..!>^>'(!%F!1-&/N! \.>;E;/!>./%!&$0.&(/!1->1!G.H$0;/T!$;/&E!>85!E%$0%/&1&%8/!^('(!^&5(.H!>5%01(5!JH!.H'(!0.>H('/! .%87!J(F%'(!1-(!E%81'%[('/&(/!%[('!1-(!4$&#+K$;/&E!7>&8(5!$%$(81;$!>85!E->87(5!&1/!'(E(01&%8N! a1(/&E-%';/!>.'(>5H!'(F(''(5!1%!-&/!a5'+*'24!>/!>!d,-'H7&>8!/%87T!>85!1-('(!8%!5%;J1!1->1!1-&/!^>/! /;87! 1%! 1-(! 12*3454!9l(/1!PMMAY!PCB ! ! a&;AQ$+(4:C(@45+;4+(2:()#$5*3(9':*$5;(_*4&2#*'(/4+'+( ! a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f. (Schauenburg 1958, 45 nt.20; Trendall 1983, 19 n°265; Rawson 1987, 201 n°A40). Some scholars hinted that this could perhaps not be Olympus but Apollo and suggest an analogy with a lost Campanian vase, where Marsyas and Apollo appear to be meeting: Campanian oinochoe, Paris, Bibliothèque Nationale 994, 2nd half 4th cent. B.C., attr. Ixion Painter Cf. (Schauenburg 1958, 52 nt.70; Rawson 1987, 197 n°A27). 177 Cf. (Trendall 1970, 15 n°416a; Weis 1997, 37 n°9). 178 Cf. (Trendall 1970, 15 n°416b; Rawson 1987, 213-4 n°A73; Weis 1997, 39 n°6). A similar representation was found on an Italian vase dating to the end of the 4th cent. but it is unpublished: Yorkshire, Nostell Priory, Lord. St. Oswald collection 23 Cf. (Trendall 1983, 97 n°39; Rawson 1987, 214 n°A74; Weis 1997, 39 n°6b). ! OC! ! ! ! =B8!)(1>&.3!2;E>8&>8!6(5!_&7;'(5!S'>1('Y!D'&(/1(Y!U>1;'>.!4&/1%'H!";/(;$!aQPPY!&81('$(5&>1(! 0('&%5Y!>11'N!6>7;/>!,>&81('! ! ! =C8!)(1>&.3!2;E>8&>8!6(5K_&7;'(5!S'>1('Y!D>'(81(Y!6>7;/>!S%..(E1&%8Y!QPWRY!&81('$(5&>1(!0('&%5Y! >11'N!6>7;/>!,>&81('! ! ! D-(!+0;.&>8!'(0'(/(81>1&%8/!/1>'1!%;1!(:;>..H!/&$0.(!J;1!1-(H!7&[(!G.H$0;/!>!d\'((VT!>00(>'>8E(! >85!1-(!E(81'>.!0.>E(N!l(!8%^!F&85!1-(!F&'/1!'(0'(/(81>1&%8!%F!G.H$0;/!0('F%'$&87!%8!1-(! 4$&#+! J(F%'(!">'/H>/Y!/(>1(5!%8!>!'%EV!>85!F;..H!8>V(5N!R%1-!>'(!^(>'&87!>!E'%^8!9F&7N!=D !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 179 (Trendall and Cambitoglou 1978, 82 n°122; Weis 1997, 40 n°12) ! OM! ! =D8!)(1>&.3!+0;.&>8!6(5K_&7;'(5!S'>1('Y!U>0.(/Y!";/(%!U>c&%8>.(!CPQIM!94ABQB ! a%%8!1-(!'(0'(/(81>1&%8/!J(E%$(!$%'(!E%$0.(`!>85!E->'7(5N!G8!>!0.>&8!/1H.(!+0;.&>8![>/(!9F&7N! =E ! ACN!)(1>&.3!+0;.&>8!6(5K_&7;'(5!S'>1('Y!,'&[>1(!S%..(E1&%8Y!R>'&!">'V(1Y!E>N!ICBKIWO!RNSNY!>11'N!2%87! G[('F>../!\'%;0! ! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 180 Cf. (Trendall and Cambitoglou 1982, 1043-4 n°140a; Weis 1997, 40 n°11). ! WB! ! =G8!)(1>&.3!+0;.&>8!6(5K_&7;'(5!G&8%E-%ÇY!R>//>8%Y!S-&8&!S%..(E1&%8Y!E>N!ICBKILB!RNSNY!>11'N!2(EE(! ,>&81('! ! +0-'%5&1(!>85!*'%/Y!>!/;0'($(!.%[(!E%;0.(Y!%EE;'!>./%!%8!>8%1-('!+0;.&>8![>/(!9F&7N!=G ! ! @N8!)(1>&.3!+0;.&>8!6(5K_&7;'(5!S'>1('Y!R>/(.Y!+81&V(8$;/(;$Y!.%>8Y!E>N!IOB!RNSNY!>11'N!2HE;'7;/! ,>&81('! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 181 Cf. (Trendall and Cambitoglou 1978, 126 n°228; Schefold 1981, 369 nt.241; Delivoras, Berger-Doer, and Kossatz- Deissmann 1984, 142 n°1350; Berger-Doer 1986, 350 n°3; Weis 1997, 41 n°30). ! WP! ! G8!>!.>/1![>/(Y!>./%!1-(!$%/1!F>$%;/!%8(Y!1-(!$;/&E>.!.(//%8!->/!>E:;&'(5!%[('1.H!0(5('>/1!1%8(/! 9F&7N!@N Z8!Z1>.&%1(!&E%8%7'>0-HY!1-(!G.H$0;/K">'/H>/!$H1-!&/!F'%$!1-(![('H!/1>'1!>!$H1-&E>.!1-($(!&8!&1/! %^8! '&7-1! >85! &1! (8b%H(5! $;E-! 0%0;.>'&1H! &8! [>'&%;/! '(7&%8/N!l(!>./%!F&85!&8!.&1('>1;'(!$;E-! '(/0(E1!F%'!G.H$0;/T!$;/&E>.!>E-&([($(81/!>85!([(8!>!5(F(8/(!%F!1-(!4$&#+K$;/&E!JH!>8!>11>EV!%8! 1-(! +1-(8>K">'/H>/! $H1-N! ZE%8%7'>0-('/! %J/('[(5! >8! >00>'(81! E%88(E1&%8! J(1^((8! 1-(! 0%0;.>'&1H!%F!G.H$0;/K">'/H>/!>/!/1;5(81K1(>E-('!>85!1-(!0%/&1&[(![>.;(!0.>E(5!;0%8!1-(!4$&#+!&8! ^(/1('8!\'((E(!9l(&/!PMMLY!QI a&;AQ$+(2:(B&4*#(H940(FIKOFJK(<0=0L( ! 6($>'V>J.HY!^(!'(>E-!/&$&.>'!E%8E.;/&%8/!&8!1-(!+1-(8&>8!E%81(`1N!,.>1%Y!1->1!F>$%;/!%00%8(81!%F! 1-(!4$&#+Y!'>8V/!G.H$0;/!>$%87/1!1-(!F%;85>1&%8>.!F&7;'(/!&8!$;/&E!>85!/0(>V/!^&1-!$;E-!'(/0(E1! >J%;1!-&$N!Z8!1-(!(>'.H!5&>.%7;(!_#:!9E>N!ICB!RNSN1(/!>/V/3!j+85!&F!Z!>$!8%1!$&/1>V(8Y!H%;! 8([('!$(1!^&1-!>8H!%8(!>$%87!4$&'*'+!%'!12*3452+*'+!%'!12*345#C'+!%'!534Q+#C'+!^-%!&/!>8!(`0('1!%8! 5&/E;//&87!G.H$0;/!%'!D->$H'>/!%'!G'0-(;/Y!%'!,-($&;/!1-(!534Q+#C'!%F!Z1->E>Y!J;1!^>/!>1!>!.%//! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 182 Cf. (Herrmann 1975, 85-9; Trendall and Cambitoglou 1978, 415 n°1; Schefold 1981, 180 fig. 241; Delivoras, Berger- Doer, and Kossatz-Deissmann 1984, 142 n°1493; Berger-Doer 1986, 350 n°4; Wrede 1986, 198; Rawson 1987, 213 n°A72; Weis 1997, 41 n°21). ! WA! ^-(8!-(!E>$(!1%!/0(>V!%F!Z%8!%F!*0-(/;/Y!>85!&/!&8E>0>J.(!%F!^%'V&87!%;1!^->1!&/!7%%5!>85!J>5!&8! -&/!0('F%'$>8E(/pk!9OIIJKEI ,.>1%!&/!>./%!1-(!F&'/1!^'&1('!1%!>//%E&>1(!G.H$0;/!^&1-!">'/H>/!&8!>!'(0;1>J.(!E%81(`1N!Z8!1-(!R'?'+! -(!>/V/!JH!$%;1-!%F!S.&8&>/3!j)%!H%;!$(>8!1->1!1-(/(!1-&87/!^('(!;8V8%^8!1%!1-(!$(8!%F!1-%/(! 5>H/!F%'!1-%;/>85/!;0%8!1-%;/>85/!%F!H(>'/Y!>85!1->1!%8(!%'!1^%!1-%;/>85!H(>'/!>7%!/%$(!%F!1-($! ^('(!'([(>.(5!1%!)>(5>.;/Y!/%$(!1%!G'0-(;/Y!/%$(!1%!,>.>$(5(/Y!1-(!$;/&E>.!>'1/!1%!">'/H>/!>85! G.H$0;/Y!.H'&E!1%!+$0-&%8Y!>85Y!&8!/-%'1Y!>![>/1!8;$J('!%F!%1-('/!1%!%1-('!0('/%8/!K!>..!5>1&87Y!/%!1%! />HY!F'%$!H(/1('5>H!%'!1-(!5>H!J(F%'(pk!9WLL5PKW D-(!$%/1!'($>'V>J.(!0>//>7(!&/!F%;85!&8!1-(![;AQ#+2$AN!4('(!,.>1%!7&[(/!1-(!-%8%;'!1%!+.E&J&>5(/Y! /%!F>$%;/!F%'!E%85($8&87!1-(!4$&#+!JH![&'1;(!%F!1-(!">'/H>/!$H1-Y!8%^!1%!(`0'(//!-&/!0'%F%;85! >^(!%F!&1/!$;/&E!>85!&1/!$%/1!/V&..(5!0('F%'$('Y!">'/H>/N!+.E&J&>5(/!(81('/!1-(!+;AQ#+2$A!^&1-!-&/! 1#A#+Y!>88%;8E(5!JH!1-(!$;/&E!%F!1-(!4$&'*52+Y!.&V(.H!5';8V!>85!&8!>8H!E>/(!/0&'&1(5!(8%;7-!1%!7&[(! >!/0((E-!&8!^-&E-!-(!E%$0>'(/!1-(!7'(>1!a%E'>1(/!^&1-!">'/H>/!>85!/&87/!0'>&/(!%F!1-(&'!/->'(5! 4$&'*29( [&'1;(/3! j+85! ^->1q/! $%'(Y! Z! />H! -(! &/! $%/1.H! .&V(! ">'/H>/N! U%^Y! >/! 1%! H%;'! .&V(8(//Y! a%E'>1(/Y!1%!-&$!&8!F&7;'(Y!Z!5%!8%1!/;00%/(!([(8!H%;!H%;'/(.F!^&..!5&/0;1(!&1m!J;1!Z!->[(!8(`1!1%!1(..! H%;!1->1!H%;!>'(!.&V(!1-($!&8!([('H!%1-('!'(/0(E1N!r%;!>'(!-HJ'&/1&E((-p!ZF!H%;!^&..!8%1!E%8F(//!&1Y!Z! ->[(! ^&18(//(/! >1! ->85N! +'(! H%;! 8%1! >8! 4$&'*'p! r(/Y! >85! %8(! $;E-! $%'(! >/1%;85&87! 1->8! -(Nk! 9APOJIKC !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 183 Plat. Ion 533b5-c3: s&&* +4#, k8 /' F/Ä :Ç+(;, :)$' F# ()&4C7; /7 :)$A F# 0;H(-MC7; :)$A F# 0;H(-n$M~ :)$A F# ï(on$M~ :)$73E3:!' 7Ç$78 %#$-( 9C!;8 37-1 +A# Å&D+3:2 $7;#68 FC!;# F]./7LCH(; \ 37-1 u(+D-:2 \ 37-1 Å-=,'8 \ 37-1 Ñ.+M:2 !:? NH(0.CM:2 ï(on$:?, 37-1 $A ®'#:8 !:? v=7CM:2 [ï(on$:?] P3:-7L 0(1 :)0 @R7; C2+5(&,CH(; y !7 7c ï(on$7L 0(1 • +4 Cf. (Barker 1984, 125). 184 Plat. Leg. 677d1-6: Z:?!: 9!; +A# +2-;I0;8 +D-;( @!. $;7&I#H(#7# %-( !:X8 !6!7, RM&;( $A P=' :ê /,/:#7# \ $18 !:C(?!( @!., !* +A# `(;$I&n 0(!(=(#S /,/:#7#, !* $A Å-=7L, !* $A Ö(&(+4$7;, !* $A 37-1 +:2C;0B# p(-CD~ 0(1 Å&D+3n, 37-1 &D-(# $A s+=M:#;, !* $A %&&( %&&:;8 3I+3:&&(, x8 @3:8 7_37L# RHA8 0(1 3-©.# /7/:#6!( Already in the Minos we found the following dialogue: “Socrates "Then you are quite right. Now can you tell me who, in former times, has proved himself a good lawgiver in regard to the laws of aulos-playing? Perhaps you cannot think of him: would you like me to remind you?" Companion "Do by all means." Socrates "Then is it Marsyas, by tradition, and his beloved Olympus, the Phrygian?" Companion "That is true". Socrates "And their aulos-pieces also are most divine, and alone stir and make manifest those who are in need of the gods; and to this day they only remain, as being divine. Companion “So it is.” (318b1-c1) The authenticity of this dialogue, however, is extremely uncertain. It is inauthenticity is more accepted. 185 Plat. Symp. 215b3-8: 0(1 =.+1 (c F:;0,#(; ()!O# !l C(!D-n !l p(-CD~. 9!; +A# :c# !6 /7 7Ç$:8 9+:;:8 7Ç !:D!:;8, à {E0-(!78, :)$' ()!O8 %# 3:2 P+=;C5.!4C(;8T x8 $A 0(1 !™&&( @:;0(8, +7!* !:?!: %0:27. <5-;C!B8 7ÇT \ :K[ F*# /*- +B h+:&:/z8, +I-!2-(8 3(-,]:+(;. P&&' :)0 ()&.!48[ 3:&D /7 H(2+(C;E!7-:8 F07M#:2 186 Plat. Symp. 215c1-6: h +,# /7 $;' Q-/I#'# F04&7; !:X8 P#H-E3:28 !z P3O !:? C!6+(!:8 $2#I+7;, 0(1 @!; #2#1 t8 f# !* F07M#:2 ()&z – • /*- ó&2+3:8 .K&7;, p(-CD:2 &,/', !:D!:2 $;$I](#!:8 – !* :c# F07M#:2 FI#!7 P/(HO8 ()&.!B8 ()&z FI#!7 =(D&. ()&.!-M8, +6#( 0(!,R7CH(; 3:;7L 0(1 $.&:L !:X8 !"# H7"# !7 0(1 !7&7!"# $7:+,#:28 $;* !O H7L( 7Ç#(; On the passage Cf. (Stanford 1942, ; Zanker 1996, ; Usher 2002). On music in Plato Cf. (Moutsopoulos 1959). ! WI! 0'%5;E(! 1-(! />$(! (FF(E1! ^&1-! /&$0.(! 0'%/(! ;8>&5(5! JH! &8/1';$(81/Nk! 9APOEWK5P ! ! ! @45+;4+(4:C(.Q#&&#(2:(o':#Q3#:(H940(FJ7(<0=0L( ! ](8%0-%8!9QIBKIOO!RNSN'/H>/!>85! +0%..%!(`0.&E&1.H!>85!-(!$>&81>&8/!1->1!$;/&E>.!/V&..!>85!V8%^.(57(!^('(!>1!/1>V(N!&8!-&/!.:4%4+2+! 9E>N!IWA!RNSN !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 187 Plat. Symp. 215c61-d1: CX $' F07M#:2 !:C:?!:# +6#:# $;(=,-7;8, 9!; %#72 Q-/I#'# o;&:L8 &6/:;8 !()!O# !:?!: 3:;7L8 188 Xen. Anab. 1.2.8: (V $A 3./(1 ()!:? 7_C;# F0 !"# 5(C;&7M'#T ï7L $A 0(1 $;* !S8 |7&(;#"# 36&7'8. @C!; $A 0(1 +7/I&:2 5(C;&,'8 5(CM&7;( F# |7&(;#(L8 F-2+#* F31 !(L8 3./(L8 !:? p(-CD:2 3:!(+:? <3O !z P0-:36&7;T ï7L $A 0(1 :ê!:8 $;* !S8 36&7'8 0(1 F+5I&&7; 7_8 !O# p(M(#$-:#T !:? $A p(-CD:2 !O 7c-68 FC!;# 7d0:C; 0(1 3,#!7 3:$"#. F#!(?H( &,/7!(; s36&&'# F0$7L-(; p(-CD(# #;04C(8 F-M>:#!I :V 37-1 C:=M(8, 0(1 !O $,-+( 0-7+IC(; F# !l %#!-n 9H7# (V 3./(MT $;* $A !:?!: h 3:!(+O8 0(&7L!(; p(-CD(8 "There is likewise a palace of the Great King in Celaenae, strongly fortified and situated at the foot of the Acropolis over the sources of the Marsyas river; the Marsyas also flows through the city and issues into the Maeander and its width is twenty-five feet. It was here, according to the story, that Apollo flayed Marsyas, after having defeated him in a contest of musical skill; he hung up his skin in the cave from which the sources issue and it is for this reason that the river is called Marsyas.” ! WQ! ! ! a&;AQ$+8(@45+;4+(4:C(.Q#&&#(2:()#$5*3(9':*$5;(.**29(45*( ! Z8! 1-(! .>1(! +11&E! '(0'(/(81>1&%8/! %F! 1-(! ">'/H>/! $H1-Y! 1-(! 4$&#+!&/. This is the case for the Homeric phorminx. Seven strings become more widespread again during the 7th century B.C. Cf. (Anderson 1994, fig. 19). 196 Ps.-Plut. Mus. 1133c5-6: ”F3:;4H. $A 0(1 !O CRS+( !S8 0;HI-(8 3-"!:# 0(!* |.3M'#(, !O# Z7-3I#$-:2 +(H.!4#” 197 On the stringed intstruments Cf. (Maas and McIntosh Snyder 1989). On the kitharodes Cf. (Bélis 1995). ! WL! 0'%F(//&%8>.!(`0('1/!9*'93:21#:(#5?4:#: D-('(!&/!$;E-!>$J&7;&1H!&8!+0%..%T/!/;55(8!>00(>'>8E(!>/!>!1'&;$0->81!12*345#C#+!&8!1-(!F%;'1-! E(81;'H! E%81(/1! '(0'(/(81>1&%8/N! Z1! &/! 8%1! >! /&$0.(! $(1>0-%'! F%'! 1-(! /;0('&%'&1H! %F! 1-(! +0%..&8(! $;/&E!%F!1-(!12*3454!>1!1-(!1&$(N!D%!(`0.>&8!1-(!/;55(8!E->87(!%F!/;Jb(E1Y!/E-%.>'/!>./%!/;77(/1(5! 1->1!>!E%$$%8!0&E1%'&>.!$%5(.!&8/0&'(5!1-(![>/(/N!Z8!+0%..%!12*345#C#+!/%$(!'(E%78&/(!>!/1>1;>'H! 1H0(!0'(/('[(5!0('->0/!>./%!&8!1-(!F>$%;/!=>1&E>8!+0%..%!S&1->'%(5;/NPMM!">'/H>/!d5(b(E1(5T!->/! J((8! '(.>1(5! 1%! 1-(! &8F.;(8E(! %F! 1-(! 0>&81('! ,>''->/&;/! %F! ^-%$! ^(! V8%^! 1->1! -(! &8/0&'(5! >8! &81('(/1!&8!1-(!5(0&E1&%8!%F!($%1&%8/!>85!F>E&>.!(`0'(//&%8/!>$%87/1!1-(![>/(!0>&81('/!%F!1-(!1&$(N!! ! ! @@8!_'>7$(81/3!+11&E!6(5K_&7;'(5!S'>1('Y!G`F%'5Y!+/-$%.(>8!";/(;$!PMIMNOMMY!+6=n!PQABNAY!E>N! IIBKIAB!RNSN! ! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 198 Arist. Pol. 1341a9-21: C2+5(M#:; $' f# 37-1 !B# +IH.C;#, 7_ +4!7 !* 3-O8 !:X8 P/"#(8 !:X8 !7R#;0:X8 C2#!7M#:#!( $;(3:#:L7#, +4!7 !* H(2+IC;( 0(1 37-;!!* !"# @-/'#, • #?# F&4&2H7# 7_8 !:X8 P/"#(8 F0 $A !"# P/E#'# 7_8 !B# 3(;$7M(#, P&&* !* <+B> !:;(?!( +,R-; 37- f# $D#'#!(; R(M-7;# !:L8 0(&:L8 +,&7C; 0(1 ï2H+:L8, 0(1 +B +6#:# !l 0:;#l !S8 +:2C;0S8, kC37- 0(1 !"# %&&'# @#;( >©'#, @!; $A 0(1 3&SH:8 P#$-(36$'# 0(1 3(;$M'#. $S&:# $A F0 !:D!'# 0(1 3:M:;8 Q-/I#:;8 R-.C!,:#. :K!7 /*- ()&:X8 7_8 3(;$7M(# P0!,:# :K!' %&&: !; !7R#;0O# Y-/(#:#, :e:# 0;HI-(# 0f# 7d !; !:;:?!:# g!7-:# @C!;#, P&&' 9C( 3:;4C7; !:D!'# P0-:(!*8 P/(H:X8 \ !S8 +:2C;0S8 3(;$7M(8 \ !S8 %&&.8 “The right approach to learning would be achieved if students learned neither the techniques required for professional contests, not the spectacular and very difficult practices which have now been adopted in the contests and have passed from the competitions into education, but learned things of the sort only to the extent needed to enable to enjoy good melodies and rhythms, and not merely the music of the kind that is universally enjoyed, even by some of the animals and by the common multitude of slaves and children. And it is also clear from these considerations what sort of instruments should be used. Auloi should not be introduced into education, and neither should any other instrument proper to professional experts (technikon organon), the kithara, for instance, and others of that sort, but only those of them that will make people good students of musical or any other sort of instruction.” 199 This type is in turn espoused as a prototype in a statuary group of the contest between Marsyas and Apollo (integrating besides that also a Muse) that has been associated with the sculptor Lysippus. ! WC! D-(!0>'1&E;.>'!F%;'1-!E(81;'H!>(/1-(1&EY!>'1&/1&EY!E;.1;'>.!>85!'(.&7&%;/!0'(F('(8E(/!$>V(!1->1!^(! 8%^!F&85!1-(!F&'/1!0;8&/-$(81!/E(8(!&8!+11&E!>'1N!Z1!&/!F%;85!%8!/%$(!d?('E-T!/1H.(!F'>7$(81/!9F&7N! @@ D-(!.>EV!%F!F%'(1-%;7-1!&/!>8!>/0(E1!%F!-HJ'&/!1->1!>./%!E%;.5!/1>85!%;1!>..!1-(!$%'(!0%&78>81!-('(!&F! ^(!E%8/&5('!1-(!0%//&J&.&1H!1->1!1-(!H%;87!$>8!^&1-!1-(!/1>FF!->/!>FF&8&1&(/!^&1-!G.H$0;/N!4HJ'&/!&/! %F1(8!1'%0(5!>/!1-(!d(//(8E(T!%F!1-(!">'/H>/!$H1-!>85!&1!->/!J((8!E%''(.>1(5!^&1-!+0%..&8(!(1-&E/! >85!F>E1%'/!/;E-!>/!1-(!,('/&>8T/!-HJ'&/Y!1-(!-HJ'&/!%F!1-(!+1-(8&>8/T!1-($/(.[(/Y!1-(!-HJ'&/!%F!1-(! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 200 Cf. (Beazley 1939, 40 n°86; Metzger 1951, 162 n°20; Clairmont 1957, 168 n°35; Schauenburg 1958, 47 nt.34; Froning 1971, 43 n°52; Säflund 1976, 373 n°48; Schefold 1981, 175 fig.233; Demargne 1984, 1015 n°622; Kahil 1984, 734 n°1426; Rawson 1987, 207 n°A61; Kossatz-Deissmann 1988, 716 n°481a; Weis 1992, 373 n°48; Zschätzsch 2002, 149 n°36) 201 Cf. (Scichilone 1963, 675 n°14; Froning 1971, 43 n°53; Säflund 1976, 74 fig.14; Schefold 1981, 353 nt.0; Rawson 1987, 207 n°A63; Weis 1992, 373 n°48a; Zschätzsch 2002, 149 n°37). ! WM! $;/&E>.![&'1;%/&Y!(1ENABA!D-(!$%1&F!&/!>!1'>5&1&%8>.!&8!\'((V!E%81(/1!$H1-/!91-&8V!%F!D->$H'>/Y!U&%J(Y! +'>E-8(Y!(1EN85!&8!1-(!$H1-!%F!">'/H>/!&1!%8.H!7>&8/!0'%$&8(8E(!>85!(`0.&E&18(//!%[('!1&$(NABI! ,.>1%!^>/!1-(!F&'/1!>;1-%'!1%!$>'V!%;1!">'/H>/T!-HJ'&/!%0(8.HY!^-(8!E%$0>'&87!-&$!1%!a%E'>1(/! >85!&8!-('(!G.H$0;/!&/!>./%!0'(/(81N!">'/H>/!d5(b(E1(5T!5&/0.>H/!-&/!F';&1.(//!>F1('1-%;7-1!>85!E>8! J(!>8%1-('!&85&E>1&%8!%F!-&/!-HJ'&/N!a%!5%(/!G.H$0;/!&8!$(.>8E-%.H!F%'!">'/H>/!.%%/(/!-&$!1%%N! 4HJ'&/!->/!$%'(%[('!'(.&7&%;/!>/!^(..!>/!/(`;>.!E%88%1>1&%8/!9l(&/!PMMLY!QQ ! ! @L8!)(1>&.3!+11&E!6(5K_&7;'(5!a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`0'(//&87!1-(!7'(>1(/1!>^(!F%'!1-(! $;/&E!%F!G.H$0;/!9.>1('!([(8!%F!">'/H>/ !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 202 On hybris in the Marsyas myth Cf. (Schauenburg 1958, 58-9; Weiler 1974, 46; Beschi 1989, 39-42; Bundrick 2005, 135- 9; Monbrun 2005). More general Cf. (Fisher 1992). 203 On contests in Greek myth Cf. (Weiler 1974). Specifically on musical contests in myth Greek myth and cult Cf. (Zschätzsch 2002, 145-89). ! LB! 1-&/NABQ!+./%!G.H$0;/!(`($0.&F&(/!J%1-N!4(!0%//(//(/!1-(!:;>.&1H!1%!>$0.&FH!1-(!>$J&[>.(8E(!>1!1-(! E%'(!%F!1-(!E%81(/1!$H1-!&8!>..!&1/!F>E(1/N!4(!->/!E%88(E1&%8/!^&1-!">'/H>/!>85!^&1-!+0%..%Y!^&1-! 4$&#+!>85!^&1-!&;5'Y!-(!&/!>!,-'H7&>8!J;1!>./%!>!\'((VY!d%.5T!>85!d8(^TY!d1'>7&ET!>85!d[&E1%'&%;/T!>85!&8! 1-&/!E>0>E&1H!-(!E>8!(`($0.&FH!>$J&7;&1&(/!%F!J%1-!%00%8(81/N!! D-(!">'/H>/KG.H$0;/Y!&8!&1/!1'>5&1&%8>.!9,%.H78%1(>8..H!>J/(81!&8!E.>//&E>.!+1-(8/N! Z1!/;'(!E%''(.>1(/!^&1-!1-(!5(J>1(/!/;''%;85&87!1-(!$('&1/!%F!4$&#+!&8!1-&/!E&1H!>1!1-(!1&$(N!4%^([('Y! 1-(! /%;'E(/! 5%! 8%1! ;0-%.5! 1%! '(.>1(! &1! 1%! >! %8(K/&5(5! 8(7>1&[(! [&(^! &8! 1-(! $>11('N! "%/1! &E%8%7'>0-('/!>00(>'!1%!1-&8V!1->1!G.H$0;/!&/!>J/(81!.>'7(.H!J(E>;/(!>!8(7>1&[(!([>.;>1&%8!%F!1-(! 4$&#+!>85!%F!">'/H>/!0'([>&./N!r(1!&F!^(!1>V(!>1!.%%V!>1!1-(!/%;'E(/Y!1-(!$>11('!&/!$%'(!E%$0.(`N! G.H$0;/!&/!8%1!>J/(81!>1!>..N!4%^([('Y!&1!&/!1';(!1->1!$%/1!E.>//&E>.!>;1-%'/!>'(!'(.;E1>81!1%!E%88(E1! -&$!^&1-!1-(!4$&#+!>85!.(1!>.%8(!^&1-!">'/H>/N!D-(!$>&8!'(>/%8!&/!1-(!0>'1&E;.>'!(/1(($!>85!1-(! 7(8('>.&/>J.(!:;>.&1H!%F!-&/!$;/&EN!G.H$0;/!&/!&8!1-(!+1-(8&>8!1(`1/!;/;>..H!1'(>1(5!&85&[&5;>..H!>85! %8!1-(!7'%;85!%F!:;>.&1&(/!>//%E&>1(5!^&1-!-&/!$;/&E>.!>'1N!R;1!1-(H!>'(!8%1!(`E.;/&[(!1%!1-(!4$&#+! 8%'!&85((5!E%8F&8(!1%!>!E('1>&8!>//%E&>1&%8!^&1-!">'/H>/!%8.HN!+..!$H1-/!>85!$H1-&E>.!E->'>E1('/! >'(!0%.H/($%;/!>85!$>8HK/&5(5!>85!([(8!1-(!G.H$0;/K">'/H>/!$H1-!&/!&8!>..!%F!&1/!(.($(81/!8%! (`E(01&%8! &8! 1-&/N! G.H$0;/T! $;/&E>.! :;>.&1&(/! >'(! [('/>1&.(! >85! $%$(81%;/! >85! -&/! $H1-&E>.! E->'>E1('!&/!8%!5&FF('(81N!! ! ! a&;AQ$+(2:(.52+*#*&'(H4)*'5(FFE(<0=0L( ! +./%!+'&/1%1.(Y!F&8>..HY!5%(/!8%1!$(81&%8!1-(!4$&#+!^-&.(!>EV8%^.(57&87!1-(!0%^('!1->1!&/!>./%!1-(! 5>87('!%F!G.H$0;/T!$;/&EN!Z8!>FF&'$&87!1->1!1-(!/%;.!&/!>FF(E1(5!JH!$;/&EY!+'&/1%1.(!>//('1/!j>85!8%1! .(>/1! JH! 1-(! $(.%5&(/! %F! G.H$0;/m! F%'! 1-(/(! >5$&11(5.H! &8/0&'(! %;'! /%;./! ^&1-! (81-;/&>/$Y! >85! (81-;/&>/$!&/!>8!>FF(E1&%8!%F!1-(!E->'>E1('!%F!1-(!/%;.N!+85!$%'(%[('!([('HJ%5H!^-(8!.&/1(8&87!1%! &$&1>1&%8/!&/!1-'%^8!&81%!>!E%''(/0%85&87!/1>1(!%F!F((.&87Y!([(8!>0>'1!F'%$!1-(!'-H1-$/!>85!1;8(/! 1-($/(.[(/Nk!9,%.N!PIQB>MKPI 204 Apollo has been given the epithets deiradiotes (Paus. 2.24.1) and tortor (Suet. Aug. 70). On the backside of Apollo Cf. (Detienne 1998, ; Monbrun 2001). 205 Arist. Pol. 1340a9-13: :)R q0;C!( $A 0(1 $;* !"# Å&D+3:2 +7&"#T !(?!( /*- h+:&:/:2+,#'8 3:;7L !*8 o2R*8 F#H:2C;(C!;0I8, h $' F#H:2C;(C+O8 !:? 37-1 !B# o2RB# rH:28 3IH:8 FC!M#. @!; $A P0-:E+7#:; !"# +;+4C7'# /M/#:#!(; 3I#!78 C2+3(H7L8, 0(1 R'-18 !"# ï2H+"# 0(1 !"# +7&"# ()!"# Cf. (Barker 1984, 174-5; Ford 2004, 320- 5). ! LP! :#A#+( %F! 1-(! )(.0-&E! ,H1-&>8! E%81(/1/! >85! 1-(! E;.1! %F! +0%..%Y! &/! >! 5&'7(! &$&1>1&87! 1-(! 5'(>5F;.! /%;85/!$>5(!JH!1-(!,H1-&>8!/8>V(!5;'&87!&1/!J>11.(!^&1-!+0%..%N!R%1-!:#A#2!->[(!>8!>FF(E1&[(!>85!>! $&$(1&E!/%;'E(N!+'&/1%1.(!(`0>85/!1-&/!&5(>!>85!>'7;(/!1->1!/;E-!$;/&E!&8!&1/(.F!&/!F;'1-('$%'(!>! /%;'E(!%F!>FF(E1>1&%8!>85!&$&1>1&%8!F%'!1-(!>;5&(8E(N!D-(!E%8E(01!%F!A2A'+2+(&/!5&FF&E;.1!>85!'(.>1(5! 1%!1-(!E%8E(01!%F!14*345+2+N!2&V(!$%/1!+1-(8&>8!>;1-%'/Y!+'&/1%1.(!5%(/!8%1!E%88(E1!91-(!$;/&E!%F'/H>/N!+E1;>..HY!+'&/1%1.(!8([('!$(81&%8/!">'/H>/!>1!>..Y!8%1!([(8!&8!-&/!F>$%;/! 0>//>7(!>EE%;81&87!F%'!+1-(8>T/!'(b(E1&%8!%F!1-(!4$&#+N!GF!E%;'/(Y!-(!F%;85!d'>1&%8>.T!'(>/%8/!'>1-('! 1->8!d>(/1-(1&ET!7'%;85/!F%'!1-&/!X!%8!(`>E1.H!1-(!/>$(!7'%;85/!D(.(/1(/!->5!0'(F(''(5!1%!'(b(E1!1-(! $H1-!&8/1(>5!%F!1-(!&8/1';$(81N!!"H1-&E>.!1'>5&1&%8/!>'(!($J(55(5!&8!>7%8&/1&E!5&/E%;'/(/!>85!1-(H! >'(!%F1(8!(`0.%&1(5!&8!%00%/&87![&(^0%&81/N!D-(H!>'(!>!$%/1!F.(`&J.(!>85!0%^('F;.!1%%.!1->1!E>8!J(! 0;1!1%!>!^&5(![>'&(1H!%F!0>'1&E;.>'!;/(/N!G8.H!1-'%;7-!>!E.%/(!>8>.H/&/!%F!1-(!/0(E&F&E!^>H/!&8!^-&E-! (>E-!>;1-%'!$>V(/!;/(!%F!1-(!1'>5&1&%8!E>8!$H1-/!'([(>.!1-(&'!$;.1&1;5(!%F!$(>8&87/N!! ! ! >3'(9&4++294&(Q'59'Q*2#:(#)(a&;AQ$+(2:(A$+29(32+*#5;( ! Z8!1-(!E%;'/(!%F!1-(!F%;'1-!E(81;'HY!^(!^&18(//!1-(!'&/(!%F!d/E&(81&F&ET!0'%/(!>85!$;/&E!J(E%$(/!>! F>[%'&1(! /;Jb(E1! %F! -&/1%'&E>.Y! 0-&.%/%0-&E>.! >85! /E&(81&F&E! &8:;&'HN! S.>//&E>.! E;.1;'(! &/! '(0;1(5! 1%! ->[(!F%/1('(5!1-(!J(7&88&87/!%F!/E&(81&F&E!$;/&E>.!^'&1&87/!>85!1-%;7-!1-(!$%/1!&$0%'1>81!1(`1/!>'(! E%8/&5('>J.H! .>1(Y! 1-(! -&/1%'&E>.! /1;5H! %F! >8E&(81! \'((V! $;/&E! &/! 1'>5&1&%8>..H! 1&7-1.H! E(81'(5! %8! 1-($N!D-(!E%8E(01!%F!@#$+21'!E->87(5!>/!^(..N!l-('(>/!&1!;/(5!1%!&8E.;5(!8%1!%8.H!$;/&EY!J;1!>./%! 0%(1'H! >85! 5>8E(Y! &1! ^>/! 8%^! 7'>5;>..H! '(5;E(5! 1%! $;/&E! &8! &1/! 8>''%^! d$;/&E>.T! /(8/(N! G.5('! E%$0.(`! (81&1&(/! %F! A'&#+!>85!:#A#+( ^('(! F>..&87! >0>'1! &81%! 5&/E'(1(! ;8&1/!/;E-!>/!'-H1-$Y! ->'$%8HY!$(.%5HYNNN!X!^(!b;/1!/>^!1-&/!->00(8&87!&8!+'&/1%1.(N!Z1!^%;.5!.(>5!&81%!1-(!5([(.%0$(81!%F! 1-(!1'>5&1&%8!%F!d1-(%'HT!%F!$;/&E!1->1!$>5(!/;E-!>!-;7(!&$0'(//&%8!%8!1-(!'(E(01&%8!>85!1-(!/1;5H! %F! \'((V! $;/&EN! R(/&5(/! 1-(! 1'>5&1&%8! 1->1! F%E;/(5! %8! $;/&E! &8! >! 1(E-8&E>.K0-&.%/%0-&E>.! /(8/(Y! $;/&E!&/!>./%!/1;5&(5!/E&(81&F&E>..H!&8!1-(!E;.1;'>.K-&/1%'&E>.!/(8/(N!";E-!>11(81&%8!^>/!5([%1(5!1%! :;(/1&%8/! Q'52( 3'$5'A4*##:!j%8!1-(!&8[(81%'/kN!D-(!1'>5&1&%8!%F!d-(;'($>1%7'>0-HT!>&$(5!1%! >11'&J;1(!>..!/%'1/!%F!E;.1;'>.!>E-&([($(81/!1%!0>'1&E;.>'!F&7;'(/!>85!1%!E%$0&.(!1-($!K!^(!>.'(>5H! />^! 1-&/! ->00(8&87! &8! \.>;E;/N! 4&/! 1(`1Y! -%^([('Y! .&V(! /%! $>8H! %F! 1-(! (>'.H! \'((V! d/E&(81&F&ET! ^'&1&87/! >J%;1! $;/&EY! ->/! E%$(! 5%^8! 1%! %8.H! JH! 1-(! [&'1;(! %F! $;E-! .>1('! -&/1%'&%7'>0-&E>.Y! >8(E5%1&E>.! >85! .(`&E%7'>0-&E>.! 1(`1/N! Z1! &/! 1-(/(! 1->1! E%8/1&1;1(! 1-(! E%'(! /%;'E(/! %F! 1-(! E.>//&E>.! 0('E(01&%8!%F!G.H$0;/!1-(!$;/&E&>8!&8!1-(!5&/E&0.&8(!%F!$;/&E!-&/1%'HNABW! D-(! 1(`1/Y! -%^([('Y! 5&/0.>H! >! 7(8('>.! 1(85(8EH! 1%^>'5/! '>1&%8>.&c>1&%8! %F! $H1-/! >85! /(0>'>1&%8! J(1^((8!d$;1-%/T!>85!d.%7%/T!9aE>'0&!PMMQY!IPI 206 Cf. On the historiography of ancient Greek music history Cf. (Mathiesen 2001). ! LA! >EE%;81/! E%8E('8&87! G.H$0;/N! D-(! $%/1! /;J/1>81&>.! >85! &8F.;(81&>.! /%;'E(! &/! 1-(! ,/(;5%K ,.;1>'E-(>8! 1'(>/1&/(! B'52( @#$+21'+!9F&'/1!1%!/(E%85!E(81;'H!RNSN !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 207“Senza dubbio Plutarco costituisce il punto di arrivo di un processo di razionalizzazione o se vogliamo di ‘logiccizzazione’ des dicorso mitico.” (Scarpi 1994, 313). All translations are taken from (Barker 1984). 208 Ps.-Plut. Mus. 1134f1-3: ó&2+3:8 $,, x8 s-;C!6]7#68 =.C;# <3:&(+5I#7!(; <3O !"# +:2C;0"# !:? F#(-+:#M:2 /,#:28 7<-7!B8 /7/7#SCH(; 209 Ps.-Plut. Mus. 1135a.5-6: !;H,(C; /*- !:D!'# 3-"!:# !O {3:#$7L:# 210 Ps.-Plut. Mus. 1145a4-8: áV $A #?# !O +A# 0I&&;C!:# !"# /7#"#, 937- +I&;C!( $;* C7+#6!.!( 3(-* !:L8 P-R(M:;8 FC3:2$I>7!:, 3(#!7&"8 3(-^!4C(#!:, kC!7 +.$A !B# !2R:?C(# P#!M&.o;# !"# F#(-+:#M'# $;(C!.+I!'# !:L8 3:&&:L8 <3I-R7;# 211 Ps.-Plut. Mus. 1135b10-c2: =(M#7!(; $' ó&2+3:8 ()]4C(8 +:2C;0B# !l P/,#.!6# !; 0(1 P/#::D+7#:# <3O !"# @+3-:CH7# 7_C(/(/7L#, 0(1 P-R./O8 /7#,CH(; !S8 ä&&.#;0S8 0(1 0(&S8 +:2C;0S8 212 Ps.-Plut. Mus. 1137a6-b5: |(1 :V 3(&(;:1 $A 3I#!78, :)0 P37M-'8 @R:#!78 3(C"# !"# í-+:#;"#, F#M(;8 FR-4C(#!:. :) /*- m %/#:;( !S8 !:;(D!.8 C!7#:R'-M(8 0(1 Q&;/:R:-$M(8 ()!:L8 (_!M( /7/,#.!(;, :)$A $;' %/#:;(# :V 37-1 ó&2+3:# 0(1 Z,-3(#$-:# 0(1 :V P0:&:2H4C(#!78 !z !:D!'# 3-:(;-,C7; 37-;7L&:# !B# 3:&2R:-$M(# !7 0(1 ! LI! jZ8!>8E&(81!1&$(/!0(%0.(!1'(>1(5!$;/&E!&8!>EE%'5>8E(!^&1-!0'%0('!/1>1;/Y!b;/1!>/!1-(H!1'(>1(5!>..! 1-(&'!%1-('!>E1&[&1&(/N!U%^>5>H/!$;/&E&>8/!->[(!'(b(E1(5!&1/!$%'(!5&78&F&(5!>/0(E1/!>85!&8!0.>E(!%F! 1->1!$>8.H!&8/0&'(5!$;/&EY!J(.%[(5!%F!1-(!7%5/Y!1-(H!J'&87!1%!1-(!1-(>1'(/!>!$;/&E!%F!(FF($&8>1(! 1^&11('&87/N!D-;/!,.>1%!(`0'(//(/!-&/!>00'%[>.!%F!1-&/!V&85!%F!$;/&E!&8!1-(!1-&'5!J%%V!%F!1-(!N'Q$%&29! ^-('(! -(! '(b(E1/! 1-(! 2H5&>8! ->'$%8H! %8! 1-(! 7'%;85/! 1->1! &/! -&7-K0&1E-(5! >85! /;&1>J.(! F%'! .>$(81>1&%8N!Z1!&/!&85((5!/>&5!1->1!1-(!F&'/1!E%$0%/&1&%8!&8!1-&/!345A#:24!^>/!>!.>$(81N!+'&/1%`(8;/Y! &8!-&/!F&'/1!J%%V!%F!-&/!^%'V!a:(@$+29Y!/>H/!1->1!G.H$0;/!^>/!1-(!F&'/1!1%!;/(!1-(!2H5&>8Y!^-(8!-(! 0.>H(5! >! .>$(81! F%'! 1-(! ,H1-%8! %8! 1-(! 4$&#+0!a%$(!0(%0.(!/>H!1->1!&1!^>/!"(.>8&00&5(/!^-%! %'&7&8>1(5!1-&/!V&85!%F!$(.%5HNk!9PPIWJCKEC ,/(;5%K,.;1>'E-! $%'(%[('! >/E'&J(/! /([('>.! %1-('! $;/&E>.! E%$0%/&1&%8/! >85! &88%[>1&%8/! ^&1-! 0'%F%;85!'(.&7&%;/!>85!'&1;>.!&$0.&E>1&%8/!1%!G.H$0;/3!jD->1!G.H$0;/!>85!-&/!F%..%^('/!^('(!8%1! ;8F>$&.&>'!^&1-!1-&/!&/!0'%[(5!JH!1-(&'!,-'H7&>8!0&(E(/Y!/&8E(!1-(H!;/(!&1!y5&/E%'5>81!8%1(/z!8%1!%8.H! &8!1-(!>EE%$0>8&$(81!J;1!&8!1-(!$(.%5H!>/!^(..Y!&8!1-(&'!A'*5#4!>85!%1-('!,-'H7&>8!E%$0%/&1&%8/Nk! 9PPILEPBK5Q !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 3:;0;&M(#. +(-!2-7L /:?# !* Å&D+3:2 !7 0(1 Z7-3I#$-:2 3:;4+(!( 0(1 !"# !:D!:;8 h+:;:!-63'# 3I#!'#T !-MR:-$( /*- Y#!( 0(1 í3&j, $;(=,-7; !"# 3:;0M&'# 0(1 3:&2R6-$'#, x8 +.$,#( $D#(CH(; +;+4C(CH(; !O# Å&D+3:2 !-63:#, ! LQ! >//%E&>1(5!^&1-!^&5(!'>87(!%F!7%5/!>85!1-(&'!E;.1/Y!&8E.;5&87!/;E-!/(($&87.H!E%81'>/1&[(!%8(/!>/! +0%..%!>85!)&%8H/%/!%'!+1-(8>!>85!SHJ(.(N!D-(H!>'(!>..!4$&'*29(0&(E(/!1-%;7-N! !j+.(`>85('Y! &8! -&/! S%..(E1&%8! %F! Z8F%'$>1&%8! %8! ,-'H7&>! />H/! 1->1! G.H$0;/! ^>/! 1-(! F&'/1! 1%! &81'%5;E(!&8/1';$(81>.!$;/&E!1%!1-(!\'((V/Y!1-%;7-!1-(!Z5(>8!)>E1H./!5&5!/%!1%%Y!>85!1->1!4H>78&/! ^>/!1-(!F&'/1!1%!0.>H!1-(!4$&#+Y!F%..%^(5!JH!-&/!/%8!">'/H>/!>85!1-(8!JH!G.H$0;/Nk!9PPIA(PBKFI 2>1('!>;1-%'/!/(0>'>1(5!$%'(!(`0.&E&1!J(1^((8!5&FF('(81!F&7;'(/!%F!G.H$0;/N!D^%!/%;'E(/!>'(!E&1(5! &8!1-&/!'(/0(E1!$>&8.HN!Z8!S.($(8/!%F!+.(`>85'&>T/![*5#A4*4(9E>N!POO!+N)N5!F&'/13!jZ8!$;/&E! G.H$0;/!1-(!"H/&>8!(/0%;/(5!1-(!2H5&>8!->'$%8HNk!9PNPWNLWNQ !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 217 Ps.-Plut. Mus. 1132e10-f3: s&,](#$-:8 $' F# !z {2#(/'/z !"# 37-1 Ñ-2/M(8 0-:D+(!( ó&2+3:# @=. 3-"!:# 7_8 !:X8 Æ&&.#(8 0:+MC(;, @!; $A 0(1 !:X8 N$(M:28 `(0!D&:28T Ø(/#;# $A 3-"!:# ()&SC(;, 7Ç!( !O# !:D!:2 2VO# p(-CD(#, 7Ç!' ó&2+3:# 218 Ps.-Plut. Mus. 1133d6-f1: &,/7!(; /*- !O# 3-:7;-.+,#:# ó&2+3:#, ()&.!B# Y#!( !"# F0 Ñ-2/M(8, 3:;SC(; #6+:# ()&.!;0O# 7_8 s36&&'#( !O# 0(&:D+7#:# Ö:&20,=(&:#T 7Ç#(; $A !O# ó&2+3:# !:?!6# =(C;# g#( !"# P3O !:? 3-E!:2 Å&D+3:2 !:? p(-CD:2 <+(H.!:?>, 373:;.06!:8 7_8 !:X8 H7:X8 !:X8 #6+:28T :ê!:8 /*- 3(;$;0* /7#6+7#:8 p(-CD:2 0(1 !B# (K&.C;# +(HÄ# 3(-' ()!:?, !:X8 #6+:28 !:X8 í-+:#;0:X8 F]4#7/07# 7_8 !B# ä&&I$( :e8 <@!; 0(1> #?# R-"#!(; :V Æ&&.#78 F# !(L8 W:-!(L8 !"# H7"#. %&&:; $A |-I!.!:8 7Ç#(M =(C; !O# Ö:&20,=(&:# #6+:#, /7#:+,#:2 +(H.!:? Å&D+3:2T h $A Ö-(!M#(8 Å&D+3:2 =.C1# 7Ç#(; !:? #7'!,-:2 !O# #6+:# !:?!:#. ZO# $A 0(&:D+7#:# ¶-+I!7;:# #6+:# &,/7!(; 3:;SC(; h 3-"!:8 ó&2+3:8, h p(-CD:2 +(H.!48. !O# $A p(-CD(# =(CM !;#78 pICC.# 0(&7LCH(;T :V $' :K, P&&* p(-CD(#T 7Ç#(; $' ()!O# ∞I/#;$:8 2V6#, !:? 3-E!:2 7<-6#!:8 !B# ()&.!;0B# !,R#.#. 9!; $' FC!1# Å&D+3:2 h ¶-+I!7;:8 #6+:8, F0 !S8 ã&(D0:2 219 Clem. Alex. Strom. 1.16.76.4.1-2: 37-M !7 +:2C;0B# ó&2+3:8 h p2CO8 !B# bD$;:# í-+:#M(# F=;&:!,R#.C7#T 220 Clem. Alex. Strom. 1.16.76.5.1-7.1: =(C1 $A 0(1 !B# 3&(/M(# CD-;//( {I!2-:# 7<-7L# !O# Ñ-D/(T 0-:D+(!( $A ó&2+3:# h+:M'8 !O# Ñ-D/(, 0(HI37- Ñ-D/;:# í-+:#M(# 0(1 +;]:=-D/;:# 0(1 +;]:&D$;:# p(-CD(#, !S8 ()!S8 Y#!( !:L8 3-:7;-.+,#:;8 RE-(8, 0(1 !B# `E-;:# uI+2-;# F3;#:SC(; !O# u-Ü0( ! LO! J(E>$(!>!0&%8(('!%F!&8/1';$(81>.!4$&#+K$;/&EN!a1;5(81!>85!J(.%[(5!%F!">'/H>/Y!>!/>1H'!JH!.&8(>7(Y! ^-%!^>/!-&$/(.F!>!0;0&.!>85!/%8!%F!4H>78&/Nk!9%AAB8!^-%!(/1>J.&/-(5!>85!1>;7-1!1-(! :#A#2!%F!12*3454K0.>H&87Nk!9%AAP8Y!1-(!H%;87('Y!J(E>$(!>8!4$&'*'(>1!1-(!1&$(!%F!?&87! "&5>/!%F!\%'5&%8NkAAP!D-(!E%81'%[('/&(/!%[('!1-(!8>1;'(!>85!>EE;'>EH!%F!1-(/(!5&/1&8E1&%8/!>85!1-(! 0>'1&E;.>'! 0(E;.&>'&1&(/Y! %F! 1-(! $;/&E>.! >EE%$0.&/-$(81/! >//%E&>1(! ^&1-! G.H$0;/! 5%$&8>1(! 1-(! 5(J>1(!>85!1-(!0('E(01&%8!%F!G.H$0;/!&8!$;/&E!-&/1%'H!;81&.!1%5>HNAAA! ";/&E! -&/1%'&>8/! >/! ^(..Y! 1>V(! 1H0&E>..H! >! d-&/1%'&E&/1T! >00'%>E-! 1%! d$H1-T! >85! 1'H! $>&8.H! 1%! F&85! d-&/1%'HT!&8!&1N!D-&/!0'%5;E(5!/%$(!'>1-('!/E-($>1&E!&81('0'(1>1&%8/N!+.1-%;7-!1-(!/%;'E(/!>'(!F>'! F'%$! /1'>&7-1F%'^>'5Y! /%$(! $;/&E! -&/1%'&>8/! >EE(01! 1%! 5&/1&87;&/-! J(1^((8! >! $H1-&E>.! >85! >! -&/1%'&E>.!F&7;'(!%F!G.H$0;/!%'!>1!.(>/1!J(1^((8!>8!d%.5('T!>85!>!d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`1;>.!8>1;'(!%F!$H1-&E>.!&$>7(/N!4%^([('Y!%8(!$;/&E! -&/1%'&>8Y!">`!l(78('Y!->/!F%;85!>!'(0'(/(81>1&%8!%F!1-(!0('F%'$>8E(!%F!A'&'(#&$AQ#$!%8!>8!(>'.H! +11&E!J.>EVKF&7;'(5!>$0-%'>!9F&7N!@B 221 Poll. On. omicron.219: <ó&2+3:8,> p(M:#:8, p2C68, ()&.!B8 0(1 3:;.!B8 +7&"# 0(1 F&7/7M'#, m/7+E# !7 /7#6+7#:8 !S8 0-:2+(!;0S8 +:2C;0S8 !S8 $;* !"# ()&"#T +(H.!B8 0(1 F-E+7#:8 p(-CD:2, !O /,#:8 Y#!:8 {(!D-:2, P0:2C!:? $A 0(1 3(;$O8 ∞I/#;$:8. /,/:#7 $A 3-O !"# Z-'å0"# h ó&2+3:8, F] :ê !O Y-:8 !O F# p2CM~ Q#:+I>7!(;. omicron.220: <ó&2+3:8:> h !:X8 #6+:28 !S8 0;H(-n$M(8 F#H718 0(1 $;$I](8. omicron.221: <ó&2+3:8,> Ñ-D], #7E!7-:8, ()&.!B8 /7/:#Ä8 F31 pM$:2 !:? ã:-$M:2 222 Cf. (Husmann 1939, ; Vogel 1963, ; Wegner 1939, ; Thiemer 1979, 61-84; West 1992, 163-5, 330-1; Anderson 1994, 53- 4; Landels 1999, 106, 9; Mathiesen 2004) 223 Cf. (Papaspyridi-Karouzou 1938, ; Scichilone 1963, 675 n°1; Wegner 1970, 70 fig. 41; Bélis 1992, ; Shapiro 1992, 140 fig. 41; Weis 1997, 43 n°5). ! LW! D-(!>7%8&/1&E!E%81(`1!%F!1-(![>/(!>85!&1/!5(0&E1&%8!->[(!J((8!E%''(.>1(5!^&1-!1-(!'(%'7>8&/>1&%8!%F! 1-(!,>8>1-(8>&>!&8!OWW!RNSN!%8!^-&E-!%EE>/&%8!4$&'*29(>85!4$&#C29(E%81(/1/!^('(!&81'%5;E(5N!D-(! /^>8!&/!jF.>/-(8F;..;87k!F%'!l(78('N!4(!$>5(!1-&/!(`0.&E&1!.&V(.H!J(E>;/(!1-(!/^>8!^>/!1-(!V(H!&8! 1-(!>'7;$(81!%F!a($8&!,>0>/0H'&5&K?>'%;c%;!&8!>!E%$0.(1(!5&FF('(81!&81('0'(1>1&%8N!! ! @B8(+11&E!R.>EVK_&7;'(5!+$0-%'>Y!+1-(8/Y!U>1&%8>.!";/(;$!OOMY!E>N!OLBKOWB!RNSN! ! a-(!0;J.&/-(5!1-(![>/(!&8!PMIM!>/!1-(!%.5(/1!'(0'(/(81>1&%8!%F!1-(!$H1-&E>.!$;/&E&>8!G.H$0;/N!_%'! -('!1-(!/^>8![&/;>.&/(/!1-(!(81-'>..&87!(FF(E1!%F!$;/&EY!E>01&[>1&87!-;$>8/!>85!>8&$>./!>.&V(N!2&V(! 1-(!$;/&E!%F!G'0-(;/!5&5N!D-&/!&/!1-('(F%'(!>!'(0'(/(81>1&%8!%F!1-(!F%;85>1&%8>.!$H1-&E>.!>;.(1(Y! /;'(.H!G.H$0;/!9>85!8%1!">'/H>/ !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 224 Strab. 10.3.14.1-5: |(1 {7;&.#O# 0(1 p(-CD(# 0(1 ó&2+3:# C2#I/:#!78 7_8 ±# 0(1 7<-7!*8 ()&"# VC!:-:?#!78 3I&;# 0(1 :J!'8 !* `;:#2C;(0* 0(1 Ñ-D/;( 7_8 ±# C2+=,-:2C;, !4# !7 ®$.# 0(1 !O# ó&2+3:# C2/07R2+,#'8 3:&&I0;8 x8 !O ()!O Y-:8 0!23:?C;# 7_C1 +A# :c# &6=:; !,!!(-78 ó&2+3:; 0(&:D+7#:; !S8 ®$.8 0(!* !B# s#!(#$-M(#, @C!; $A 0(1 h p2CO8 ó&2+3:8, 9+:-:8 +A# :)R h ()!O8 $A !z ®$^ ! LL! 0>'1&E;.>'![>/(!^&1-!(&1-('!1-(!-&/1%'&E>.!$;/&E>.!0&(E(/!%'!1-(!$H1-&E>.!F&7;'(!%F!G.H$0;/!J;1!1-(! 5&[('7(81!&81('0'(1>1&%8/!(`($0.&FH!-%^![('/>1&.(!>85!>$J&[>.(81!G.H$0;/!'($>&8/!;81&.!1%5>HN!! ! ! )'*0$./1'*& ! D-(!0('E(01&%8!%F!G.H$0;/!&8!$H1-%.%7H!>85!$;/&E!-&/1%'H!&/!$>'V(5.H!5&FF('(81!J;1!1-('(!&/!%8(! $>b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d%1-('T!>/0(E1!&/!$>'7&8>.!F'%$!(&1-('!0('/0(E1&[(N!+..!5(0(85/!%8!1-(!1H0(!%F!/%;'E(!>85! >00'%>E-!H%;!>5%01N!! _((.&87/! %F! &8E%$0>1&J&.&1H! >85! >$J&[>.(8E(! 0('[>5(! 1-(! /%;'E(/N! "%/1! +1-(8&>8! >;1-%'/! 1'(>1! G.H$0;/! &85&[&5;>..H! %8! >EE%;81! %F! -&/! $;/&E>.! :;>.&1&(/! 9,'>1&8>/Y! +'&/1%0->8(/Y! *;'&0&5(/Y! D(.(/1(/Y! \.>;E;/Y! +'&/1%1.(Y! +'&/1%`(8;/85! %8.H! >;1-%'/! 1->1! >'(! (`0'(//.H! F>[%;'>J.(! 1%! 1-(! 4$&#+!>//%E&>1(!-&$!>./%!(`0.&E&1.H!^&1-!1-&/!0>'1&E;.>'!&8/1';$(81!9*;'&0&5(/Y!D(.(/1(/ +.'(>5H! &8! 1-(! >8E&(81! /%;'E(/! 1-(! F&7;'(! %F! G.H$0;/! /1>'1/! 1%! 0%.>'&c(! &81%! >! d$&8%'T! $H1-&E>.! F&7;'(Y!^-&E-!&/!-%^!^(!F&85!-&$!&8!$H1-&E>.!&E%8%7'>0-H!>85!.>1('!&8!$H1-%7'>0-HY!>85!>!d$>b%'T! .(7(85>'H! $;/&E&>8Y! ^-&E-! &/! -%^! ^(! F&85! -&$! &8! $;/&E>.! >85! -&/1%'&E>.! ^'&1&87/N! G.H$0;/T! 0('E(01&%8!0%.>'&c(5!F;'1-('!&8!/E-%.>'/-&0Y!5;(!1%!1-(!>E>5($&E!0'(F('(8E(/!>85!/(0>'>1&%8/!%F! 1-(!5&/E0.&8(/!%F!$H1-%.%7H!>85!$;/&E!-&/1%'HN!)&/E('8&87!1-(!F&F1-!E(81;'H!$(>8&87!%F!G.H$0;/! F'%$!>..!1-&/!&/!8%1!>8!(>/H!;85('1>V&87N!l-(8!^(!1>V(!>!E.%/('!.%%V!>1!1-(!(81&'(!E%'0;/!%F!/%;'E(/! >85! &81('0'(1>1&%8/Y! 1-(! $>11('! %8.H! J(E%$(/! $%'(! E%$0.(`! >85! >$J&7;%;/N!Z1!&/!&$0%//&J.(!1%! 5&/(81>87.(!&1N!Z8!1-(!\'((V!E%81(`1Y!1-(!$H1-&E>.!>85!$;/&E>.!:;>.&1&(/!%F!G.H$0;/!>'(!&8/(0>'>J.(! >85! &1! &/! 0'(E&/(.H! 1-(&'! (81>87.($(81! 1->1! ^(! 8((5! 1%! 1'H! 1%! ;85('/1>85N! ,-'H7&>! >85! \'((E(Y! ! LC! )&%8H/;/! >85! +0%..%Y! 4$&#+!>85!.H'>Y!(1EN!">8H!%F!1-(/(!dE.>//&ET!5;>.&1&(/!>'(!F>'!1%%!'&7&5N!D-(! "%;/&V(Y! ^('(! .&1('>..H! 1-(! >'1/! %F! 1-(! ";/(/N! D-(&'! $H1-&E>.! >85! $;/&E>.! 5&$(8/&%8/! >'(! &81'&8/&E>..H! &81(''(.>1(5! >85! &81('/(E1! &8! $>8H! ^>H/N! G.H$0;/! 1-(! $;/&E&>8! &/! %8(! %F! 1-($N! 4&/! $;.1&0.&E&1H!&/!-&/!/&87;.>'&1H!>85!&1!&/!1-(!$;.1&0.&E&1H!%F!-&/!$;/&E!1->1!-(!$%/1!>5(:;>1(.H!E%8[(H/! &8!$>8H!0%//&J.(!^>H/N!D-(!>^(!-(!&8/0&'(5!&/!8%!.(//!1%!5>HN!! !! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! >1#$1'45"<,:& ! ! ! ! ! +J('1Y!4N!PCMMN!"2'(R'35'(/#A(S*3#+(2:(C'5(?52'932+93':(@$+21N!2(&0c&7N! ! LM! ÉÉÉN! PMLBN! +81&V(! ";/&V('.(7(85(8N! Z8! P'+*+9352)*( ]$A( DK0( Z'%$5*+*4?'( N#93$+( P5'23'55:( /#:( R2&2':95#:N!2(&0c&73!R'(&1V%0F!s!4>('1(.Y!PKPWN! +&78Y! RN! PMWIN! "2'( Z'+93293*'( C'5( @$+212:+*5$A':*'( C'+( c?c2+93':( N4$A'+( %2+( $A( -KK( /#5( =350! _'>8VF;'1!>N!">&83!)&//('1>1&%8!eNlN![%8!\%(1-(K@8&[('/&1~1N! +85('/%8Y!lN)N!PMWWN!S*3#+(4:C(SC$94*2#:(2:(Z5''1(@$+29M(*3'('/2C':9'(#)(Q#'*5;(4:C(Q32&#+#Q3;N! S>$J'&57(3!4>'[>'5!@8&[('/&1H!,'(//N! ÉÉÉN!PMMQN!@$+29(4:C(@$+2924:+(2:(.:92':*(Z5''9'N!Z1->E>U(^!r%'V2%85%83!S%'8(..!@8&[('/&1H! ,'(//N! R>'&(Y!,N!PMMBN!=%$!@'/E-'(&!c;$!_.%1(8/0&(.N!,&85>'/!c^Å.F1(!0H1-&/E-(!G5(!;85!5&(!"H1-%.%7&(! 5('!";/&VN!.Y!IB!9W<3WOKLLN! R>'V('Y! +N! PMCQN! Z5''1( @$+294&( p52*2:?+0( _M( >3'( @$+2924:( 4:C( 32+( .5*Y! S>$J'&57(! '(>5&87/!&8!1-(! .&1('>1;'(!%F!$;/&EN!S>$J'&57(3!S>$J'&57(!@8&[('/&1H!0'(//N! R>c>81Y!eN!PMCQN!G8!a>1H'/Y!"(8>5/!>85!+1-(8&>8!=>/(/N!S25':'!AP3QPKLN! R(>c.(HY!eN)N!PMIMN!D-(!*`E>[>1&%8/!>1!>.!"&8>Y!a;(&5&>!ZZZ!1-(!6(5KF&7;'(5!=>/(/N!f3+!OM3PKQQN! R#.&/Y!+N!PMCWN!2q>;.%/!0-H'7&(8N!N.!MI3APKQBN! ÉÉÉN!PMCWN!2>!0-%'J(&>N!<=\!PPB3ABOKPCN! ÉÉÉN!PMMAN!2q>;.Ñ1(!(1!.(!b(;!5(!.q%&(N!<=\!PWW!9A<3QMLKOBBN! ÉÉÉN!PMMON!S&1->'(/Y!E&1->'&/1(/!(1!E&1->'Ö5(/!(8!\'ÑE(N!=N._!Q3PBAWKWON! ÉÉÉN!PMMMN!R'+(A$+292':+(C4:+(&b.:*2q$2*rN!,>'&/3!4>E-(11(N! ÉÉÉN!ABBPN!+;.%/N!^'e(Z5#/'("29*2#:45;(#)(@$+29(4:C(@$+2924:+U!S5K'%$N! R#.&/Y!+NY!s!=N!,#E-#N!PMMWN!);!J%8!;/>7(!5;!'%/(>;3!D-#%0-'>/1(Y!6(E-('E-(!/;'!.(/!0.>81(/!9Z=N! PPNPKM ! CB! S>'1.(57(Y!,N!PMMIN!>3'(Z5''1+M(4(Q#5*542*(#)(+'&)(4:C(#*3'5+N!G`F%'53!G`F%'5!@8&[('/&1H!,'(//N! S>/1>.5%Y!)N!ABBBN!_&(B4:*3'#:(A$+294&'(M(29#:#?54)24(:'&&4(9'54A294(4**294(*54(T_('(_T(+'9#&#N!=%.N!AY! 2(!1(//('(N!6>[(88>3!2%87%N! ÉÉÉN! ABBIN! )&%8H/%/! >85!1-(!";/&E3!U%1(/!%8!1-(!";/&E>.!ZE%8%7'>0-HN!f__.02*!P!9)<3%8K.&8(! -1103^^^Nb&&>N&1eZZ+N&1a(c&%8(àZZeZZ+àBPS>/1>.5%à)+'1&E%.%à)S>/1>.5%à>'1&E%.%à0> 7PN-1$.N! S(EE>'(..&Y! ,N! ABBQN! )>8E&87! 1-(! B;553293'!&8!+1-(8/N!Z8!@$+29( 4:C( *3'( @$+'+0( >3'( =$&*$5'( #)( b@#$+21'b(2:(*3'(=&4++294&(.*3':24:(=2*;Y!(5&1(5!JH!,N!";''>H!>85!,N!l&./%8N!G`F%'53!G`F%'5! @8&[('/&1H!,'(//Y!MPKPPLN! S->&..(HY! eN! PMWCN! "H1-%.%7&(! (1! E&[&.&/>1&%8! $;/&E>.(! 5>8/! .>! 7'ÑE(! >81&:;(N! Z8! S:9;9&#QrC2'( C'+( A$+2q$'+(+495r'+Y!(5&1(5!JH!eN!,%'1(N!,>'&/3!2>J('7('&(Y!IAIKILN! ÉÉÉN!PMLMN!R4(A$+2q$'(?5'9q$'(4:*2q$'N!,>'&/3!2(/!R(..(/!2(11'(/N! S->81'>&8(Y! ,N! PMWCN! "29*2#::425'( r*;A#&#?2q$'( C'( &4( &4:?$'( ?5'9q$'0( \2+*#25'( C'+( A#*+N! =%.N! PKAN! ,>'&/3!?.&8EV/&(EVN! S.>&'$%81Y!SN!PMOLN!a1;5&(/!&8!\'((V!"H1-%.%7H!>85!=>/(K0>&81&87N!+0%..%!>85!">'/H>/N!X9+!PO3PWPK LCN! S%$%11&Y!\N!PMCMN!@$+29(2:(Z5''1(4:C(N#A4:(=$&*$5'N!D'>8/.>1(5!JH!6N!=N!";8/%8Y!+8E&(81!a%E&(1H! >85! 4&/1%'HN! R>.1&$%'(3! e%-8/! 4%0V&8/! @8[('/&1H! ,'(//N! G'&7&8>.! (5&1&%8Y! S%$%11&! \NY! 2>! $;/&E>!8(..>!E;.1;'>!7'(E>!(!'%$>8>Y!D;'&8Y!PMLMY!PPA!0N!9R&J.&%1(E>!5&!E;.1;'>!$;/&E>.(N!P3! a1%'&>!5(..>!$;/&E>!PP ! CP! \>/0>''&Y!SNY!s!+N!=(8('&N!PMCWN!)&%8H/%/N!R_@=!ZZZ!9P<3QPQKOIQN! \(%$&8HY! lN! ABBIN! +1-(8>! ;85! ">'/H>/! 3! (&8(! F'Ü-V.>//&/E-(! \';00(! &8! 6>;$! ;85! Ä(&1N! Z8! i$A( T'53c&*:2+( /#:( N4$A( $:C( i'2*( 2:( C'5( ?52'932+93':( V$:+*( M( B4++4/4:*O[;AQ#+2#:8( I0( %2+( 6K0( "']'A%'5(7KKKY!(5&1(5!JH!,N!SN!R%.N!"Å-8(/((3!R&J.&%0%.&/Y!PQIKWBN! \('->'5Y!rN!PMOON!f ghi!R)?5S!ã3POOOKPOOOLN! \%.5-&..Y!aNY!s!6N!G/J%'8(Y!(5/N!PMMQN!.5*(4:C(>'W*(2:(.:92':*(Z5''1(=$&*$5'N!S>$J'&57(3!S>$J'&57(! @8&[('/&1H!,'(//N! \%;.>V&K=%;1&'>Y!+N!PMMAN!4('>E.(/!>85!";/&EN!N_C2@(^'e+&'**'5!PL!9P<3AKPQN! ÉÉÉN!ABBPKABBAN!";/&E!%8!,-H.>`![>/(/N!_A4?#(@$+294'!PCKPM3IOKOCN! ÉÉÉN!ABBIN!"H1-(!(1!'(>.&1#!5>8/!.>!$;/&:;(!5(!.>!\'ÑE(!>8E&(88(N!Z8!"#:+(C'+(@$+'+0(@$+2q$'('*( C4:+'( C4:+( &4( ?5m9'( 4:92'::'0( @$+r'+( 5#;4$W( Cb.5*( '*( Cb\2+*#25'0( @$+r'( C;( =2:q$4*':425'( 7Jd7O7EdEd7KKFY!(5&1(5!JH!*N!=(8&c#.%/N!+1-Ñ8(/3!"&8&/1Ñ'(!5(!.>!E;.1;'(!5(!.>!'#0;J.&:;(! -(..#8&:;(Y!QBKLN! \'>;('Y! lN! PMMON! +1-(8>! ;85! ">'/H>/N! Z8! @#C$+( 2:( N'%$+0( Z'C':1+9352)*( )t5( p#&)?4:?( [932:C&'5Y! (5&1(5!JH!)N!6Å//.('!>85!=N!a1Ü'$('N!R('.&83!">88Y!OBKQN! \'&(/('Y!4N!PMILN!^#A#+0(S2:(<'2*54?(]$5(?52'932+93':(@$+21?'+93293*'N!4(&5(.J('73!R&.>J(.N! \'&$>.Y!,N!PMWIN!"29*2#::425'(C'(&4(A;*3#&#?2'(?5'9q$'('*(5#A42:'N!I!(5N!,>'&/3!,@_N! 4>>/Y! \N! PMCON! "2'( [;52:W( 2:( C'5( ?52'932+93':( <2&C1$:+*N! =%.N! PPY! l&(8('";/&V^&//R(&1'N! l&(83! RÅ-.>;N! 4>7(.Y!aN!ABBQN!S>.E;.>1&87!+;.%&N!D-(!2%;['(!+;.%/!aE>.(N!Z8!@$+29(.593'#&#?294&([#$59'+M(.5*2)49*+8( a54&(>54C2*2#:8(p52**':(S/2C':9'Y!(5&1(5!JH!*N!4&EV$>88!>85!6N!*&E-$>88N!6->5(83!">'&(! 2(&5%'FY!ILIKMBN! 4>7(.Y!aNY!s!SN!4>''>;('Y!(5/N!ABBON!.:92':*(Z5''1(@$+29(2:(B'5)#5A4:9'0([;AQ#+2#:(p2':8(7D0(['Q*0n60( a1*0(7KKFN!l&(83!=('.>7!5('!å/1(''(&E-&/E-(8!+V>5($&(!5('!l&//(8/E->F1(8!! 4>.5>8(Y!eN+N!PMWWN!";/&E>.!&8/1';$(81/!&8!\'((V!^%'/-&0N!Z`N!]ZZZ3MCKPBLN! 4>..Y!*N!PMCMN!_:/':*2:?(*3'(<45%4524:M(Z5''1(['&)O"')2:2*2#:(*35#$?3(>54?'C;N!G`F%'53!S.>'(85%8N! 4>'5Y!6N!ABBQN!>3'(N#$*&'C?'(\4:C%##1(#)(Z5''1(@;*3#&#?;N!2%85%83!6%;1.(57(N! 4>''&/%8Y!\N"NlNY!(5N!ABBON![4*;5("54A40(>54?'C;(4*(B&4;N!a^>8/(>3!D-(!S.>//&E>.!,'(//!%F!l>.(/N! 4>'1%7Y!_N!PMCBN!R'(A255#25(Cb\r5#C#*'0(S++42(+$5(&4(5'Q5r+':*4*2#:(C'(&b4$*5'N!,>'&/3!\>..&$>'5N! 4(5'((8Y!\N"N!PMMQN!a&.(8/Y!8H$0-/Y!>85!$>(8>5/N!f\[!MQ3QLKWMN! ÉÉÉN!ABBQN!D-(!6(1;'8!%F!4(0->&/1%/Y!)&%8H/&>E!,'%E(//&%8!6&1;>.!>85!1-(!S'(>1&%8!%F!>!=&/;>.! U>''>1&[(N!f\[!PAQ3ICKWQN! 4(85('/%8Y!ZN!PMQIN!D-(!\'%^1-!%F!+8E&(81!\'((V!";/&EN!@$+29(N'/2'e!Q3QKPIN! 4(''$>88Y!+N!PMLON!D^%!4(..(8&/1&E!7'%;0/!>85!1-(&'!F%'(';88('(/N!.1!PC3COKMAN! 4%..%^>HY!6N6N!PMWWN!";/&E!>1!1-(!,>8>1-(8>&E!_(/1&[>.N!.5934'#&#?;!PM3PPAKMN! 4%^>'5Y!+N+N!PCMIN!D-(!+;.%/!%'!D&J&>N!\45/45C([*$C2'+(2:(=&4++294&(B32&#&#?;!Q3PKWBY!0.N!PKAN! 4;E-c('$(H('Y!4N!PMIPN!.$&#+($:C(V2*3454(2:(C'5(?52'932+93':(p'&*(%2+(]$A(.$+?4:?(C'5(1&4++2+93':( i'2*N!"Ü8/1('3!2(E-1(N! 4;87('Y! 4NY! (5N! PMOIN! R'W21#:( C'5( ?52'932+93':( $:C( 5hA2+93':( @;*3#&#?2'( l&(83! =('.>7! R'Ü5('! 4%..&8(VN! 4;/$>88Y!4N!PMIMN!G.H$0%/N!)&(!*8->'$%8&V!5('!\'&(E-(8N!\4:C%$93(C'5(@$+21%2%&2#*3'1(B'*'5+! QQ3PMKQQN! e>11>Y!\N!PCLMN!2q&8[(8c&%8(!5(..(!1&J&(N!."_!QP3AQKICN! e(//(8Y!GN!PCMQN!">'/H>/N!@R!ZZ!9A<3AQIMKWBN! e;8V('Y!?N!ABBAN!)&(!+1-(8>K">'/H>/K\';00(!5(/!"H'%8N!f"_!PPL3PALKCQN! ?>-&.Y!2N!PMCQN!+'1($&/N!R_@=!ZZ!9P<3WPCKLOIN! ?>;F$>88Ka>$>'>/Y!+N!PMMWN!,>'%.(/!(1!$;/&:;(/!5(!$>''&>7(!(8!\'ÑE(!>81&:;(3!a%;'E(/!#E'&1(/!(1! &$>7(/!0(&81/N!Z8![2&':9'(':()$5'$5M(R4()'AA'('*(&'(A45524?'(':(Z5m9'Y!(5&1(5!JH!GN!S>[>.&('N! +[&78%8Y!QIWKQCN! ?(J'&EY!6NRN!PMCIN!>3'(B42:*2:?+(2:(*3'(=:2C24:(R'+93'(4*("'&Q32(4:C(*3'25(\2+*#5294&(=#:*'W*N!2(&5(83! R'&..N! ?.(&8Y!RN"N!PMCCN!)&(!"H'%8&/E-(!+1-(8>K&$!^(77(-(8!J(7'&FF(8!p!<#5'4+!PP3QIKLN! ?Å-8V(8Y!+N!PMLWN!,('/(;/q!?>$0F!;85!+1-(8>/!*'F&85;87N!\'5A'+!PBQ3AWIKON! ?%//>1cK)(&//$>88Y!+N!PMCCN!4('>N!R_@=!Z=!9P<3PLWKCCN! ?'>;/V%0FY!ZNY!s!*N!a&$%8N!PMMLN!">&8>5(/N!R_@=!=ZZZ!9P<3LCBKCBIN! ?H.(Y!)N\N!ABBWN![Q#5*(4:C([Q'9*49&'(2:(*3'(.:92':*(p#5&C3!R.>EV^(..N! 2>85(./Y!eN\N!PMCPN!D-(!6(E%8/1';E1&%8!%F!+8E&(81!\'((V!>;.%&N!p#5&C(.5934'#&#?;!PA!9I<3AMCKIBAN! ÉÉÉN!PMMMN!@$+29(2:(.:92':*(Z5''9'(4:C(N#A'N!2%85%8!K!U(^!r%'V3!6%;1.(57(N! ! CA! 2>//(''(Y! _N! PMOQN! B&$*45q$'( C'( &4( A$+2q$'0( B5r9rCr+( Cb$:'( r*$C'( +$5( &brC$94*2#:( A$+294&'( C4:+( &4( Z5m9'(4:*2q$'N!=%.N!PY!R&J.&%1-(E>!4(.[(1&E>!6%$>8>N!2>;/>88(3!@'/!\'>F!K!=('.>7!G.1(8N! ÉÉÉN!PMLIN!2(!5'>$(!/>1H'&:;(N!NP_=!PBP3ALIKIBPN! 2(E.('E:KU([(;Y!RN!PMCMN!">'/H>/Y!.(!$>'1H'!5(!.q>;.%/N!@r*2+0(N'/$'(Cb(4:*35#Q#&#?2'(C$(A#:C'(?5'9( 4:92':0(B32&#&#?2'0(\2+*#25'0(.593r#&#?2'!Q3AOPKWCN! 2&00$>8Y!*N+N!PMWIN!D-(!a%;'E(/!>85!)([(.%0$(81!%F!1-(!*1-&E>.!=&(^!%F!";/&E!&8!+8E&(81!\'((E(N! @$+294&(w$45*'5&;!QM!9A<3PCCKABMN! 2&//>''>7;(Y!_N!PMCMN!l-H!/>1H'/!>'(!7%%5!1%!'(0'(/(81N!Z8!^#*32:?(*#(C#(e2*3("2#:;+$+(g(.*3':24:( "54A4( 2:( _*+( [#924&( =#:*'W*Y! (5&1(5! JH! eN! eN! l&8V.('! >85! _N! ZN! Ä(&1.&8N! ,'&8E(1%83! ,'&8E(1%8! @8&[('/&1H!,'(//Y!AACKIWN! ÉÉÉN!PMMBN!D-(!/(`;>.!.&F(!%F!/>1H'/N!Z8!<')#5'(+'W$4&2*;M(>3'(9#:+*5$9*2#:(#)('5#*29('WQ'52':9'(2:( *3'(4:92':*(Z5''1(e#5&CY!(5&1(5!JH!)N!"N!4>.0('8Y!eN!eN!l&8V.('!>85!_N!ZN!Ä(&1.&8N!,'&8E(1%83! ,'&8E(1%8!@8&[('/&1H!,'(//Y!OIKCPN! ÉÉÉN! PMMPN! >3'( .'+*3'*29+( #)( *3'( Z5''1( <4:q$'*M( _A4?'+( #)( p2:'( 4:C( N2*$4&N! D'>8/.>1(5! JH! +N! ac(7(5HK">/c>VN!,'&8E(1%83!,'&8E(1%8!@8&[('/&1H!,'(//N! ÉÉÉN!PMMIN!G8!1-(!^&.58(//!%F!/>1H'/N!Z8!>3'(@4+1+(#)("2#:;+#+Y!(5&1(5!JH!DN!4N!S>'0(81('!>85!SN! _>'>%8(N!Z1->E>3!S%'8(..!@8&[('/&1H!,'(//Y!ABLKABN! 2&//>''>7;(Y!_NY!s!ZN!+7-&%8N!PMMBN!\r5#+('*(C2'$W(C'(&b4:*2q$2*r(M(?$2C'(29#:#?54Q32q$'N!,>'&/N! 2%0&81%Y!2N!PMMON!R4(A$+294(C'?&2(C'20(Z&2(+*5$A':*2(A$+294&2(:'&&l29#:#?54)24(C2(.Q#&&#(+$&&4(9'54A294( 2*4&2#*4N!_>/>8%3!aE-(8>!*5&1%'(N! ">>/Y! "NY! s! eN! "E&81%/-! a8H5('N! PMCMN! [*52:?'C( 2:+*5$A':*+( #)( 4:92':*( Z5''9'N! U(^! 4>[(83! r>.(! @8&[('/&1H!,'(//N! ">8&>1(/Y!"N6N!ABBBN!">'/H>/!+7%8/&1(/N!=$55':*(@$+29#&#?;!WM3PPCKWAN! ">'E>5#Y!eN!PMCAN!@8(!'(0'#/(81>1&%8!0'#E%E(!5(!D->$H'>/!(1!.(/!";/(/!5>8/!.>!E#'>$&:;(!>11&:;(! â!F&7;'(/!'%;7(/N!N.3AAIKMN! ">'E(..&8%Y!+N!PMMLN!\.&!/1';$(81&!>!E%'5>!8(..>!\'(E&>!>81&E>3!*#(%45%2*#:N!N2/0(_*0(@$+29#&0!IA!9P<3IK AQN! ">1-&(/(8Y!DN!ABBQN!G.H$0;/!1-(!"H/&>8N!^'e(Z5#/'("29*2#:45;(#)(@$+29(4:C(@$+2924:+U!S5'%$N! ">1-&(/(8Y!DNeN!PMMMN!.Q#&&#l+(R;5'M(Z5''1(A$+29(4:C(A$+29(*3'#5;(2:(4:*2q$2*;(4:C(*3'(@2CC&'(.?'+N! 2&8E%.83!@8&[('/&1H!%F!U(J'>/V>!,'(//N! ÉÉÉN!ABBPN!\'((V!";/&EY!+8E&(81N!Z8!^'e(Z5#/'("29*2#:45;(#)(@$+29(4:C(@$+2924:+Y!IALKQCN! "EV&88%8Y!eN!PMCQN!D-(!'(b(E1&%8!%F!1-(!>;.%/!&8!E.>//&E>.!\'((E(N!Z8!@$+29(4:C(92/2&2+4*2#:M('++4;+(2:( 3#:#$5(#)(B4$&(\':5;(R4:?Y!(5&1(5!JH!,N!4N!2>87!>85!(N>N!U(^r%'V3!U%'1%8Y!ABIKPQN! "(-.Y!+N!ABBBN!";/&V;81(''&E-1!;85!";/&V('c&(-;87!&8!5('!7'&(E-&/E-K'Å$&/E-(8!+81&V(N!Z8!@$+21( $:C( @$+21$:*'55293*M( Z'+93293*'( O(Z'?':e45*(O(i$1$:)*Y! (5&1(5! JH! "N! 2&(51V(N! R>5! 4(&.J';883!?.&8V->'51Y!PAPKOBN! "(1c7('Y!4N!PMOPN!R'+(5'Q5r+':*4*2#:+(C4:+(&4(9r54A2q$'(4**2q$'(C$(_T(+2m9&'N!=%.N!P/#'&(!PLPKAY![%.! ,YDY!R&.&%1-Ñ:;(!5(/!#E%.(/!F'>8ç>&/(/!5q!+1-Ñ8(/!(1!5(!6%$(N!,>'&/N! "&E->(.&5(/Y!aNY!(5N!PMLCN!>3'(@$+29(#)(.:92':*(Z5''9'0(.:(S:9;9&#Q4'C24N!2%85%83!_>J('!s!_>J('N! ÉÉÉY!(5N!PMLCN!>3'(@$+29(#)(.:92':*(Z5''9'0(.:(S:9;9&#Q'C24N!2%85%83!_>J('!s!_>J('N! "&..('Y!"NSN!PMMLN!"&5>/N!R_@=!=ZZZ!9P<3CQWKOPN! "%.&8>!"%'(8%Y!_N!PMMLN!G'F(%!$é/&E%N!=P=HZL!L3ACLKIBCN! ÉÉÉN! ABBIN! a5)'#( ;( &4( A2*#&#?x4( C'( &4( Ay+294N! D(/&/! 5%E1%'>.3! @8&[('/&5>5! S%$0.;1(8/(! 5(! ">5'&5N! "%8J';8Y! ,N! ABBPN! +0%..%83! 5(! .q>'E! â! .>! .H'(N! Z8! =34:*'5( &'+( "2'$W0( @$+2q$'( '*( 5'&2?2#:( C4:+( &b( .:*2q$2*r(?5'9q$'('*(5#A42:'0(.9*'+(C$(9#&&#q$'+(C'+(6J8(6-('*(6I(Cr9'A%5'(6DDD(u(N'::'+('*( R#52':*Y!(5&1(5!JH!,N!R';.#!>85!SN!=(85'&(/N!6(88(/3!,'(//(/!@8&[('/&1>&'(/!5(!6(88(/Y!OMK MWN! ÉÉÉN! ABBON! 2>! 8%1&%8! 5(! '(1%;'8($(81! (1! .q>7Ö8! $;/&E>.! (81'(! +0%..%8! (1! ">'/H>/! 5>8/! .>! R&J.&%1-Ñ:;(!5;!0/(;5%K+0%..%5%'(!3!&81('0'#1>1&%8!5q;8!$H1-(N!V'5:#+!PC3AWMKCMN! "%'>^Y! aN! PMMCN! "2'( @c:4C'( 2:( C'5( 4**2+93':( T4+':A4&'5'2( C'+( J0( $:C( E0( f4353$:C'5*+( /0( =350( N']'Q*2#:4+*3'*2+93'(.:4&;+'('2:'+(4:*21':(p'2%&2931'2*+':*e$5)N!">&8c3![%8!Ä>J('8N! "%'(1Y!eN"N!PMLMN!@8!>8Eè1'(!5;!0-H.>E1Ñ'(!3!.(!0&.&('!&8/E'&1!5(/![>/(/!&1>.&%1(/N!N.!CW3IKIQN! "%;1/%0%;.%/Y!*N!PMOMN!R4(A$+2q$'(C4:+(&b#'$/5'(C'(B&4*#:N!,>'&/3!,'(//(/!@8&[('/&1>&'(/!5(!_'>8E(N! G'&7&8>.!(5&1&%8Y!PMOMN! U>0%.&1>8%Y!"N!ABBBN!U%1(!>..T&0%'E-($>!5&!,'>1&8>!9,"\!LBC!ê!D'\_!Z!Q!_!I ! CI! U(&./Y! eNY! (5N! PMMAN! Z#CC'++( 4:C( B#&2+0( >3'( B4:4*3':429( P'+*2/4&( 2:( .:92':*( .*3':+N! ,'&8E(1%83! ,'&8E(1%8!@8&[('/&1H!,'(//N! U('E(//&>8Y!+N!PMMLN!D->$H'&/N!R_@=!=ZZ!9P<3MBAKQN! U(/1.(Y!lN!PMQAN!T#A(@;*3#+(]$A(R#?#+N!a1;117>'1N! U(;J(EV('Y! +NeN! PMMBN! _'>;(8! &$! >.17'&(E-&/E-(8! ";/&V.(J(8N! Z8! @$+21( $:C( "293*$:?M( :'$'( P#5+93$:?+%'2*54?'( T21*#5( B#+93&( ]$A( IK0( Z'%$5*+*4?( ?'e2CA'*Y! (5&1(5! JH! "N! =N! +.J'(E-1! >85!lN!aE-;J('1N!_'>8VF;'1!>N!"3!2>87Y!PIKAIN! U(;$>88Y!eN!PMWAN!>2*]24:M("2'(+932:C$:?(C'+(@45+;4+N!,'>7;(3!+'1&>N! U%'5:;&/1Y! \N! PMMAN! Z8/1';$(81>.! ";/&E! &8! 6(0'(/(81>1&%8/! %F! \'((V! S;.1N! Z8! >3'( _9#:#?54Q3;( #)( Z5''1( =$&*( 2:( *3'( .593429( 4:C( =&4++294&( B'52#C+0( B5#9''C2:?+( #)( *3'( P25+*( _:*'5:4*2#:4&( ['A2:45( #:( .:92':*( Z5''1( =$&*8( #5?4:2+'C( %;( *3'( [e'C2+3( _:+*2*$*'( 4*( .*3':+( 4:C( *3'( S$5#Q'4:( =$&*$54&( =':*5'( #)( "'&Q32( H"'&Q328( 6JO6I( ^#/'A%'5( 6DDKLY! (5&1(5! JH! 6N! 4~77N! +1-(8/!K!2&(7(3!?('8%/!/;00.#$(81!CY!PQIKWCN! ÉÉÉN! PMMQN! a%$(! U%1(/! %8! ";/&E&>8/! &8! \'((V! S;.1N! Z8! .:92':*( Z5''1( 9$&*( Q549*29'( )5#A( *3'( 'Q2?54Q3294&( '/2C':9'0( _:*'5:4*2#:4&( +'A2:45( #:( 4:92':*( Z5''1( 9$&*8( 7:C8( .*3':+8( 77O 7Gd66d6DD6Y!(5&1(5!JH!6N!4>77N!a1%EV-%.$3!+/1'%$Y!CPKMIN! G11%Y!RN!PMLON!">'/H>/!&8/!D-&>/%/N!f%<4Cpt5**!PA3APKICN! ,>0>5%0%;.%;Y!ÄN!ABBIN!2>!$;/&:;(!5>8/!.>![&(!0'&[#(N!Z8!"#:+(C'+(@$+'+0(@$+2q$'('*(C4:+'(C4:+(&4( ?5m9'(4:92'::'0(@$+r'+(5#;4$W(Cb.5*('*(Cb\2+*#25'0(@$+r'(C;(=2:q$4*':425'(7Jd7O7EdEd7KKFY! (5&1(5!JH!*N!=(8&c#.%/N!+1-Ñ8(/3!"&8&/1Ñ'(!5(!.>!E;.1;'(!5(!.>!'#0;J.&:;(!-(..#8&:;(Y!LBKON! ÉÉÉN! ABBIN! 6(85'(! -%$$>7(! >;`! 5&(;`N! 2>! $;/&:;(! 5>8/! .>! [&(! 0;J.&:;(N! Z8! "#:+( C'+( @$+'+0( @$+2q$'( '*( C4:+'( C4:+( &4( ?5m9'( 4:92'::'0( @$+r'+( 5#;4$W( Cb.5*( '*( Cb\2+*#25'0( @$+r'( C;( =2:q$4*':425'(7Jd7O7EdEd7KKFY!(5&1(5!JH!*N!=(8&c#.%/N!+1-Ñ8(/3!"&8&/1Ñ'(!5(!.>!E;.1;'(!5(! .>!'#0;J.&:;(!-(..#8&:;(Y!QCKOMN! ,>0>5%0%;.%;Y! ÄNY! s! =N! ,&'(88(K)(.F%'7(N! ABBPN! Z8[(81('! (1! '#&8[(81('! .q4$&#+3! >;1%;'! 5(! .>! ]ZZ(! B;*32q$'!5(!,&85>'(N!Z8!=34:*'5(&'+("2'$W0(@$+2q$'('*(5'&2?2#:(C4:+(&b(.:*2q$2*r(?5'9q$'('*( 5#A42:'0(.9*'+(C$(9#&&#q$'+(C'+(6J8(6-('*(6I(Cr9'A%5'(6DDD(u(N'::'+('*(R#52':*Y!(5&1(5!JH!,N! R';.#!>85!SN!=(85'&(/N!6(88(/3!,'(//(/!@8&[('/&1>&'(/!5(!6(88(/Y!ILKOCN! ,>0>/0H'&5&K?>'%;c%;Y!aN!PMICN!+!,'%1%K,>8>1-(8>&E!+$0-%'>!&8!1-(!U>1&%8>.!";/(;$!>1!+1-(8/N! .f.!QA3PMOKOBON! ,>:;(11(Y! )N! PMCQN! Rb( 2:+*5$A':*( C'( A$+2q$'( Cb4Q5m+( &4( 9r54A2q$'( C'( &4( Z5m9'( 4:*2q$'0( S*$C'( Cb#5?4:#&#?2'0!,>'&/3!5(!R%EE>'5N! ,>'&J(8&Y!*N!PMWPN!">'/&>N!S..!Z=3CLWKCBN! ,&E>'5KS>$J'&57(Y!+N!PMLBN!>3'(Z5''1(=3#5$+N!.%85%83!"(1-;(8N! ,&EV>'5KS>$J'&57(Y!+N!PMWAN!"2*3;54A%8(>54?'C;(4:C(=#A'C;N!G`F%'53!S.>'(85%8N! ,.>11-HY! eN! PMCON! @;*3294&( B#'*+( #)( Z5''9'N! l>/-&871%83! _(5('>1&%8! %F! Z81('8>1&%8>.! ,%(1'H! +//%E&>1&%8/N! ,Å-.$>88Y!*N!PMMON!\'&(E-(8.>85N!+81&V(N!@ZZU!I3PWAWKLWN! ,%..;`N!G8%$>/1&E%8N! ,'&E(Y!aNY!s!*N!?(>'8/Y!(5/N!ABBIN!>3'(aW)#5C("29*2#:45;(#)(=&4++294&(@;*3(4:C(N'&2?2#:N!G`F%'53!G`F%'5! @8&[('/&1H!,'(//N! ,/>'%;5>V(/Y! aN! ABBLN! ,&0&87! &8! 1-(! 4>5(/3! D-(! >;.%/! %F! ,H58>N! Z8! E*3( [;AQ#+2$A( #)( *3'( _:*'5:4*2#:4&( [*$C;( Z5#$Q( #:( @$+29( .5934'#&#?;M( =34&&':?'+( 4:C( a%z'9*2/'+( 2:( @$+29( .5934'#&#?;8(<'5&2:(S*3:#&#?294&(@$+'$A8(['Q*'A%'5(6DO7F(7KKJ(R('.&8N!G'&7&8>.!(5&1&%8Y!GN! R>8%;Y!yD-(!5%;J.(!F.;1(!F%;85!&8!,H58>z!9(8!7'(E ! CQ! 6(/1>8&Y!)N!PMMPN!)&%8H/%/!1'>!4$&#+!(!12*34543!;8!0('E%'/%!5&!&E%8%7'>F&>!$;/&E>.(N!Z8!"2#:;+#+(M( A2*#('(A2+*'5#0(.**2(C'&(9#:/'?:#(2:*'5:4]2#:4&'8(=#A49932#8(FOE(:#/'A%5'(6DIDY!(5&1(5!JH! _N!R('1&N!S%$>EE-&%3!+//(//%'>1%!>..(!Z/1&1;c&%8&!S;.1;'>.&Y!ILMKMON! ÉÉÉN!ABBON!2(/!$H1-(/!5(!.>!$;/&:;(!5>8/!.>!\'ÑE(!>81&:;(N!Z8!@$+2q$'+0(Y:'(':9;9&#QrC2'(Q#$5( &'(oo_'(+2m9&'Y!(5&1(5!JH!eNKeN!U>11&(c!>85!(N>N!,>'&/3!*5&1&%8/!+E1(/!a;5Y!PWIKCPN! ÉÉÉY!(5N!PMMON!@$+294('(A2*#(:'&&4(Z5'924(4:*294N!R%.%78>3!Z.!";.&8%N! 6&E-1('Y! 2N! PMWCN! )&(! U(;(! ";/&V! 5('! 7'&(E-&/E-(8! +81&V(N! D(&.! Z3! )&(! .&1('>'&/E-(! áJ('.&(F(';87N! .5932/()t5(@$+21e2++':+934)*!AO!9P<3PKPCN! 6%EE%8&Y! *N! ABBWN! l%$(8! 0.>H('/! &8! >8E&(81! \'((E(N! D-(! E%81(`1! %F! /H$0%/&;$! >85! 1-(! /%E&%K E;.1;'>.!0%/&1&%8!%F!0/í.1'&>&!>85!>;.(1'ì5(/!&8!1-(!E.>//&E>.!^%'.5N!Z8!@$+29(.5934'#&#?;(2:( 9#:*'W*+M( 45934'#&#?294&( +'A4:*29+8( 32+*#5294&( 9#::'9*2#:+8( +#92#O9$&*$54&( 9#::#*4*2#:+( 4:C( #*3'5( 2AQ&294*2#:+Y! (5&1(5! JH! *N! 4&EV$>88Y! +N! +N! R%1-! >85! 6N! *&E-$>88N! 6->5(83! ">'&(! 2(&5%'FY!IIOKQQN! 6;11('Y!?NUNY!s!RN!a0>'V(/Y!(5/N!ABBBN!p#5C(4:C(_A4?'(2:(.:92':*(Z5''9'Y!SC2:%$5?3(R'/':*2+([*$C2'+( 6N!*5&8J;'7-3!*5&87J;'7-!@8&[('/&1H!,'(//N! a>E-/Y!SN!PMLCN!>3'(\2+*#5;(#)(@$+294&(_:+*5$A':*+N!A!(5N!,-&.>5(.0-&>3!eN!"N!)(81!s!a%8/N!G'&7&8>.! (5&1&%8Y!PMQBN! a~F.;85Y!\N!PMLWN!D-(!R(.[(5('(!D%'/%!3!>8!&81('0'(1>1&%8N!aN#A!PP3WIKCQN! a>&5Y!aN!PMMIN!.QQ5#93'+(C'(&4(A;*3#&#?2'(?5'9q$'N!,>'&/3!U>1->8N! a>'1&Y! aN! PMMAN! \.&! &8/1';$(81&! $;/&E>.&! 5&! +0%..%N! .::4&2( C'&&b2:+*2*$*#( $:2/'5+2*452#( #52':*4&'( C2( ^4Q#&20([']2#:'(C2(4593'#&#?2'('(+*#524(4:*294!PQ3MOKPBQ!'#/N!(8!>87.N!0N!AMIN! aE>'0&Y!,N!PMMQN!"&1&!$;/&E>.&!%!$;/&E>.&1â!5(.!$&1%!p!@$+294('([*#524!A3IBMKAPN! aE->;(8J;'7Y! RNY! s! ?N! PMLIN! D%'/%! 5('! $H'%8&/E-(8! +1-(8>Y! 4>$J;'7! ";/(;$! FÜ'! ?;8/1! ;85! \(^('J(N!.:*B&!PA3QLKWLN! aE->;(8J;'7Y!?N!PMOCN!">'/H>/N!N@!WO3QAKWWN! ÉÉÉN!PMLAN!)('!J(/%'71(!">'/H>/N!N@!LM3IPLKAAN! ÉÉÉN!PMLON!">'/H>/N!R.p3PCOCN! ÉÉÉN!PMLON!G.H$0;/9p ! CO! a1>8/J;''HKGq5%88(..Y!"N)N!PMMBN!,%.H78%1%/q!U(VH&>3!>!'(E%8/1';E1&%8!>85!>8>.H/&/N!.f.!MQ3APIK ION! a1>''Y!SN\N!PMLCN!+8!([(8&87!^&1-!1-(!F.;1(K7&'./N!BB!]]]ZZZ3QBPKPBN! a1'>;//!S.>HY!eN!PMMAN!,&85>'q/!D^(.F1-!B;*324:3!6((5!>85!R'%8c(N!.fB3!PPI3OPKOAON! D>0.&8Y!GN!PMMPN!+;.(1>&!>85!>;.(1'&5(/!&8!\'((V!E%$(5H!>85!E%$&E![>/(K0>&81&87/N!^.=!AB3IPKQCN! ÉÉÉN!PMMIN!=#A29(.:?'&+(4:C(#*3'5(.QQ5#493'+(*#(Z5''1("54A4(*35#$?3(T4+'OQ42:*2:?N!G`F%'53! S.>'(85%8N! D-&($('Y! 4N! PMLMN! "'5( S2:)&${( C'5( B35;?'5( 4$)( C2'( 4&*?52'932+93'( @$+21N! =%.N! AMY! G'0-(;/K aE-'&F1(8'(&-(!c;!\';85F'>7(8!5('!";/&VN!R%88!K!R>5!\%5(/J('73!=('.>7!FÜ'!aH/1($>1&/E-(! ";/&V^&//(8/E->F1N! D'(85>..Y!+N)N!PMWLN!B3&;4W(T4+'+N!A!(5N!=%.N!PMY!RZSa!/;00.($(81N!2%85%83!2%85%8!@8&[('/&1H!,'(//N! ÉÉÉN!PMWLN!>3'(N'CO)2?$5'C(T4+'+(#)(R$94:248(=4AQ4:24(4:C([292&;0!=%.N!PKAN!G`F%'53!S.>'(85%8N! ÉÉÉN!PMLBN!>3'(N'CO)2?$5'C(T4+'+(#)(R$94:248(=4AQ4:24(4:C([292&;8(+$QQ&0(60!RZSaY!a;00.N!AWN! ÉÉÉN!PMCIN!>3'(N'CO)2?$5'C(T4+'+(#)(R$94:248(=4AQ4:24(4:C([292&;8(+$QQ&0(F0!RZSa!a;00.N!QPN! D'(85>..Y!+N)NY!s!+N!S>$J&1%7.%;N!PMLCN!N'C(P2?$5'(T4+'+(#)(.Q$&24(_N!G`F%'53!S.>'(85%8N! ÉÉÉN!PMCAN!N'C(P2?$5'(T4+'+(#)(.Q$&24(__N!G`F%'53!S.>'(85%8N! @/-('Y!"N)N!ABBAN!a>1H'!,.>H!&8!,.>1%q/!aH$0%/&;$N!.fB3!PAI!9A<3ABOKACN! =(8&c#.%/Y! *NY! (5N! ABBIN! "#:+( C'+( @$+'+0( @$+2q$'( '*( C4:+'( C4:+( &4( ?5m9'( 4:92'::'0( @$+r'+( 5#;4$W( Cb.5*( '*( Cb\2+*#25'0( @$+r'( C;( =2:q$4*':425'( 7Jd7O7EdEd7KKFN! +1-Ñ8(/3! "&8&/1Ñ'(! 5(! .>! E;.1;'(!5(!.>!'#0;J.&:;(!-(..#8&:;(N! =('8>81Y!eNK,N!PMCON!R4(A#5*(C4:+(&'+(;'$W0(P2?$5'+(C'(&b4$*5'(':(Z5m9'(4:92'::'Y!D(`1(/!5;!]](!/&ÑE.(N! ,>'&/3!4>E-(11(N! =(11('Y!lN!PMIPN!";/&VN!NS!]Z=!9P<3CAIKCQN! ÉÉÉN!PMIIN!"%8>;.%/N!NS!IP3LQKON! =&..>8;([>!,;&7Y!"NKSN!ABBBN!@42:4C'+(5'93'593'+(+$5(&4(?':m+'(C$(*324+'()rA2:2:(C'("2#:;+#+8(C'+( #52?2:'+( u( &4( )2:( C'( &4( Qr52#C'(45934|q$'(HC$(+'9#:C(q$45*(C$(T_'(+2'}9&'(4}(GIKL0(S++42( Cb29#:#?54Q32'(5'&2?2'$+'N!2&..(3!+NUN6NDY!@8&[('/&1(ï!5(!2&..(!ZZZN! =&//('Y!*N!PMMMN!">'/H>/9P ! CW! l&./%8Y!,N!PMMMN!D-(!4$&#+!&8!+1-(8/N!Z8!B'5)#5A4:9'(9$&*$5'(4:C(.*3':24:(C'A#9549;Y!(5&1(5!JH!aN! \%.5-&..!>85!6N!G/J%'8(N!S>$J'&57(3!S>$J'&57(!@8&[('/&1H!,'(//Y!OCKMON! ÉÉÉN!ABBAN!D-(!$;/&E&>8/!>$%87!1-(!>E1%'/N!Z8!Z5''1(4:C(N#A4:(.9*#5+0(.+Q'9*+(#)(4:(.:92':*( B5#)'++2#:Y!(5&1(5!JH!,N!*>/1('.&87!>85!*N!4>..N!S>$J'&57(3!S>$J'&57(!@8&[('/&1H!,'(//Y!IMK WCN! ÉÉÉN! ABBQN! +1-(8&>8! a1'&87/N! Z8! @$+29( 4:C( *3'( @$+'+0( >3'( =$&*$5'( #)( b@#$+21'b( 2:( *3'( =&4++294&( .*3':24:( =2*;Y!(5&1(5!JH!,N!";''>H!>85!,N!l&./%8N!G`F%'53!G`F%'5!@8&[('/&1H!,'(//Y!AWMK IBWN! l%%5F%'5Y!aN!ABBAN!_A4?'+(#)(@;*3(2:(=&4++294&(.:*2q$2*;N!S>$J'&57(3!S>$J'&57(!@8&[('/&1H!,'(//N! l'(5(Y!4N!PMCWN!,>8!;85!5>/!2(5('->F1(8N!N@!MI3PCMKABBN! Ä>$&8('Y!_N!PMCMN!";/&V!&$!>'E->&/E-(8!;85!V.>//&/E-(8!\'&(E-(8.>85N!Z8!"2'(@$+21(C'+(.&*'5*$A+Y! (5&1(5!JH!+N!6&(1$Ü..('!>85!_N!Ä>$&8('N!2>>J('3!2>>J('!=('.>7Y!PPIKABWN! ÉÉÉN! ABBBN! ";/&V&8/1';$(81(Y! \'&(E-(8.>85N! Z8! "'5( ^'$'( B4$&;0( S:];1&#QcC2'( C'5( .:*21'N! a1;117>'1!s!l(&$>'3!=('.>7!eN!RN!"(1c.('Y!OQIKOPN! Ä>8V('Y! ,N! PMMWN! a%E'>1(/! >85! 1-(! ">/V! %F! a&.(8;/N! Z8! >3'( @4+1( #)( [#954*'+M( >3'( _A4?'( #)( *3'( _:*'&&'9*$4&(2:(.:*2q$2*;Y!(5&1(5!JH!,N!Ä>8V('N!R('V(.(HY!IAKMN! Ä/E-~1c/E-Y!+N!ABBAN!T'5e':C$:?($:C(<'C'$*$:?(?52'932+93'5(@$+212:+*5$A':*'(2:(@;*3#+($:C(V$&*N! 6->5(83!=('.>7!">'&(!2(&5%'FN! ! ! ! CL!