GREEK VERSE ON A VASE BY DOURIS Author(s): David Sider Source: Hesperia: The Journal of the American School of Classical Studies at Athens, Vol. 79, No. 4 (October-December 2010), pp. 541-554 Published by: The American School of Classical Studies at Athens Stable URL: http://www.jstor.org/stable/41012854 . Accessed: 18/03/2014 10:17
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This content downloaded from 71.168.218.10 on Tue, 18 Mar 2014 10:17:11 AM All use subject to JSTOR Terms and Conditions HESPERIA 79 (2010) GREEK VERSE ON A VASE Pages 541-554 BY DOURIS
ABSTRACT
A schoolroomscene on an Atticred-figure kylix painted by Douris (Berlin, Antikensammlung,Staatliche Museen 2285) presentstwo interdependent problemsof reading. One concernsthe text on thescroll held up bythe teacher: is it in hexametersor lyric,and is it partof a preexistingpoem or an ad hoc compositionby the painter? The secondproblem is iconographical:how is theviewer to interpretthe action? Here itis arguedthat the verse is meantto be an epichexameter and thatits mistakes are to be attributedto thestudent, ratherthan to Douris.
The exteriorof a well-knownAthenian red-figure kylix painted ca. 490- 485 b.c. bythe artistDouris is decoratedwith four scenes set in a school- room (Figs. 1, 2).1 On each side a lesson involvinga textbalances one involvinga musicalinstrument.2 Students, teachers, pedagogues, and per- haps teachers'assistants (hypodidaskaloi) are nicelyarrayed, so thatno one scene exactlymirrors another. Some figuresstand, some sit; some face left,some right;one turnsbackward; and one seated figurefaces front. A musicalinstrument hangs on the wall behind one of the textscenes,
1. Berlin,Antikensammlung, Staat- severalvases by Douris inscribed with StaatlicheMuseen zu Berlin. licheMuseen 2285: CVADeutsch- thename Hippodamas, see Wegner 2. See furtherBirt 1907, pp. 138- land21, Berlin2, pl. 77;ARV2 431- 1968,pp. 76-87. 139; Havelock1982, pp. 201-203; 432,no. 48, 1653;Paralipomena 374; Forhelp of various sorts I am grate- Blanck1992, pp. 24-25; Neilsand Oak- BeazleyAddenda2 237; CAVI2^0 = fulto Miles Beckwith,Ettore Cingano, ley2003, pp. 245-246; Steiner2007, Buitron-Oliver1995, p. 78, no. 88, Daniela Colomo,Raffaella Cribiore, p. 190.We areprobably to imaginethese pl. 58. Earlierstudies include Beazley JaapHemelrijk, Regina Höschele, Henry severalisolated actions taking place at 1948,pp. 337-338; Chamoux1970; Immerwahr,Günther Koepke, Kenneth thesame time and placein a "unified" Booth1985; Palumbo Stracca 1994. Lapatin,Andrew Lear, Joel Lidov, Carol narrative,as Shapiro(1992, p. 38) calls The dateis thatof Beazley (1948, Mattusch,Bernd Seidensticker, and Alan it;see furtherSnodgrass 1982. The p. 337),who, partly on thebasis of style Shapiro.I also benefitedfrom the use- questionhas beenraised whether the andpartly because of the appearance fulsuggestions offered by audiences in sameteacher and thesame student have (twice)of Hippodamas as a kalosname Berlin,Boston, and Washington, D.C., beendepicted more than once, but in theinterior, places it in thethird of as wellfrom the advice of the Hesperia Booth(1985) arguesconvincingly that Douris'sfour periods (ARV2, 425-426). refereesand editors.Photographs were we areexpected to understandthat each Buitron-Oliver(1995, p. 23) assignsit suppliedby and areused with the ofthe students and teachersis repre- to thepainter s "middle" period. For the permissionof the Antikensammlung, sentedby a stylizedlikeness.
© The American School of Classical Studies at Athens
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Figure 1. Atticred-figure kylix, ca. 490-485, Douris. Sides A (top) and B (bottom).Berlin, Antiken- sammlung,Staatliche Museen 2285. CourtesyAntikensammlung, Staatliche Museenzu Berlin.Photos U. Jung
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Figure2. Berlin,Antikensammlung, StaatlicheMuseen 2285, detailof side A. CourtesyAntikensammlung, StaatlicheMuseen zu Berlin.Photo I. Geske
whilean unopenedroll hangs behind one ofthe music scenes. The painter of the vase has identifiedhimself by writingAOPIX EITAOIEN (Aoûpiç eypavj/ev)in the tondo.3 In one of the sceneson side A, a seatedteacher holds an open scroll containinga poetic text(Fig. 2) in frontof a standingstudent. The text raisesinteresting questions about Greekpoetry, dialects, and letterforms, as well as how thescene as a whole shouldbe understood.In thefollowing discussion,I offersome brief comments on thetext and thescene in which itis set,arguing that Douris has intentionallyincorporated at leastone (and perhapsmore than one) mistakein theverse for the delight of his viewers, and thatthe reading of the verse is relatedto thereading of the scene itself.
TEXT AND COMMENTARY
Since Douris clearlywanted us to read the poem, let us followhis lead, beginningwith a literaltranscription of the letterson thevase:
MOIIAMOI AOIIKAMANAPON EYPQNAPXOMAI AEINAEN
No word is dividedbetween lines. It appears that an initialattempt at writingstoichedon soon had to be modified,since the generousspacing ofthe first line could notbe maintained;even so, apartfrom the first alpha
3. Here and throughoutI regularly furtherdetermination, belong to either adjustinghis sandals.Blanck (1992, transliterateinscriptions into post- a manor a woman,and it has been pp. 24-25) suggeststhat this figure Euclideanforms. The mostthorough suggestedthat Douris the vase painter representsgymnastike, which, together discussionof the artist is thatof was in facta woman;see Hauser1902, withthe instances of mousikeand Buitron-Oliver(1995). It shouldper- col. 1581; Buitron-Oliver1995, p. 1. grammataon theexterior, fills out hapsbe notedthat a Greekname with The somewhatdamaged tondo depicts thetrivium of Greek paideia. a nominativeending in -iç can,without an imageof a youngathlete, perhaps
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ofAPXOMAI, lines 2-4 tryto conformto a roughlystoichedon alignment. With the introductionof word divisionand diacriticalmarks, and a few otheradjustments discussed in detailbelow, the passage can be "cleaned up" to read Moíaá uoi à(pi IicáuavÔpovéúppoov âp%o|T àeí{v}ôeiv, almostevery word of which is ofinterest for some combinationof literary, orthographical,phonological, dialectical, and metricalreasons. Although at firstglance the line looks like a dactylichexameter, earlier editors have classifiedit as lyric.4 Moîaoc:Moîaa is theAeolic formof Attic/Ionic Moîaa ("Muse"),but itis regularlyused by Pindar, Stesichoros, Bacchylides, and otherpoets who writelyric poetry in the Doric dialect.5The remainingwords are equally at homein Attic/Ionicand Doric. The exactdialectic and poeticstatus of formsin -oiaocis notentirely clear, but RudolfWächter makes a good case for"the possibility of a Lesbian dactylic-hexametrictradition of prayers, probablycombined with hymns to gods,which influenced the archaic Greek worldin general."6For the moment,therefore, we shouldleave open the questionof thegenre of thepoem. EarlyGreek poets (and laterones who imitatedthem) typically begin theirpoems withan appeal to a Muse, and Douris s versetoo will have been understoodas the firstline of a poem.The Odysseyfamously begins ávôpccuoi ëvverceMoîaa, but closerin formto the poem on thevase are the followingArchaic and Classical comparanda,chosen froma larger group.7(In the discussionthat follows, these passages will be referredto byletter alone.)
(a) Horn.Hymn Pan. 19.1: ócuípíuoi 'Epueícco(píÀ,ov yóvov evverce, Moîaa (b) Horn.Hymn Pos. 22.1: àuxpiIloaeiôácova, 0eòv ueyav,âpxo|u' àeíôeiv (c) Horn.Hymn Diosc. 33.1: aucpiAiòç Koúpouçè^uccímiôeç carceie Moûaai (d) Terpander1 (PMG 697): àu(pí uoi aímç ava^ö' eKaxf|ßo^ov àeiôéxco(ppf|v
4. It was printedas adespota30A by S/upaKoúaioi¿lovera, AaKcoveç ¿icôaa Kai nianthe sigma itself, now intervocalic, Bergk(1882) and as Stesichoros26 by oi ueiavevéaiepoiAaKcoveç aveu was also dropped,perhaps leaving a Diehl (1925),and included,along with to Gjucòa.("Argives say monsa; Aeo- tracein theform of a roughbreathing. otherpoetic passages found on vases, liansmoisa, among whom is Pindar[!]; Diphthongizationin ai and oi was a amongthe anonyma by Page (PMG Athenians,Ionians, and Syracusanssay secondaryphenomenon in Aeolicand 938e), all ofwhom take it as a lyric mousa;Spartans môsa, while later Spar- someforms of Doric (Cyrenaeanand (melic)poem, as does Campbell(1993, tansomit the sigma and saymôa "This Elean); cf.Méndez Dosuna 2007, pp. 358-359,no. 938e),who essentially lastword should perhaps be understood pp. 450-451. ForPindar's use of uoîaa, followsPage. I shallreturn to theques- as ßcoa,môha; cf. Ahrens 1843, pp. 74- see Verdier1972, pp. 21-33, 124-127. tionof meter below. For writing on 79.) When theoriginal combination of 6. Wächter2001, p. 341. vasesin general,see Snodgrass2000; an w-soundand i-soundbecame gen- 7. Forinvocations in prayersand Steiner2007, pp. 74-93; fora studyof erallyunstable in Greek,one ofthe two hymnsin general(and evena brief theearliest examples, see Webster 1960; (herethe nasal) disappeared, while the addressand requestfrom a poetto a Osborneand Pappas2007. precedingsyllable, at firstlong only "by Muse qualifiesas sucha prayer),see 5. Cf. Herodian, Ilepi icupicov position"because of the following two Furleyand Bremer2001, vol. 1, ra! £7ti9éTG)vKai TtpoOTiyopiKcòv3.2 consonants,was keptlong by length- pp. 50-64. Forliterary invocations to (pp. 1.29-2.1 Lentz): Apyeîoiôè Xé- eningthe short vowel to a longvowel Muses in particular,see Faulkner2008, yovai juóvcra,AioXeîç //oferor, cbveoxi or diphthong;that is, ö > õ (whichcame pp. 71-72. nivôapoç, ÄTTtKolôè rai "IcoveçKai to be writtenas coor ou). In lateLako-
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(e) Eur. Tro.511-514 (beginningof a choralode): GC|I(píJLIOV "IÀ10V, CO MoCooc,mivcov i5|ivcov ocoova')v ôaicpúoiçcoôcxv émicriôeiov (f) Ar.Nub. 594-596 (beginningof a choralode): ' ócuquuoi ame Ooiß ävcxi; Ar'kie,K')0iav ë'xcov ')'|/iKépaTaTiéxpav
uoi:To be takenas a matterof course with a followingverb (here apxo- ucu), not with Moîaa (see below). Encliticstend to occur at the earliest possibleposition in theirclauses, often intruding into alien syntactic units (Wackernagerslaw); cf.texts a, d, e, and f,above, and noteespecially Eur. Hipp. 10-13, wherethe ue in line 10 (ó yáç>ue [se. Ä(ppo8vcr|v]©riaécoç naie,. . .) is not accountedfor until line 13 (ÄiyeimidaTTiv).8 Texts a, d, e, and f are enough to show that uoi should not be elided like ccp^oum (see below). à(pí: The use of àuipí + accusativeto designatethe subjectof the songin questiondoes notoccur in Homer,where the preposition has only a local sense.The latermeaning appears first in theHomeric Hymns (e.g., Horn.Hymn Herrn. 57). Douris s subjectis the riverSkamandros, close to Troy,and in the textscited above the subjectsare a god (b, c, d), a god's birth(a), and Troy(e). Since scribes,on whateversurface they write, often spellwords the way they pronounce them, the omitted mu in thisword, like the added nu in àeíjvjôeiv (see below),need not be regardedas arbitrary misspellings.9The restorationóc(pí accords with standardeditorial practice,but à
8. Wackernagel1920, pp. 7-8; Col- KotTCXTtÚYCov("Titas is a world-class Theog.345) suggeststhat the variant linge1985, pp. 217-219. butt-boy,"^gora XXI, no. C 5), and an KdcuavÔpovmay lie behindthis odd 9. foromitted nasals in particular, ostrakonwith the name atax
This content downloaded from 71.168.218.10 on Tue, 18 Mar 2014 10:17:11 AM All use subject to JSTOR Terms and Conditions 546 DAVID SIDER of thisriver around Troy. What, though,would be the storyof Skaman- drosseparate from that of theTrojan War? Apollodoros(Bib/. 3.12.1-3) employsa personifiedSkamandros as a mereplaceholder in earlyTrojan genealogy,where he is said to be the fatherof threechildren: Teucer; Kallirhoe,who marriedTros, the eponymous hero of the city; and Strymo, who marriedLaomedon. The onlyHomeric episode involvingthe river god is his excitingbattle with Achilles in //.21.211-382, whichmay well haveprovided another poet with the material for a separateand presumably shortertale.12 The depictionon vases of manyepisodes from the Trojan War notfound in ourtext of the Iliad suggeststhat there were more poems on thissubject than survive in the literaryrecord.13 éúppoov:Aside fromthe fact that this (or euppoov)is theonly form of the word foundin all of Greek poetryin any meter(in the nominative, genitive,or accusative; it never appears in thedative), metrical considerations alone requireunderstanding EYPÍ2N as a four-syllableword, at leastif the line is correctlyinterpreted as a dactylichexameter. (The forméúppcov, evenif it were acceptable in anothercontext, is unlikelyin thisposition of a hexameter,since it would violate Naeke's Law: no wordend, except for a forward-lookingmonosyllable, after a spondaicfourth foot.) The writing ofa singleconsonant for a doublehas manyparallels in inscriptionsand on vases,including other examples by Douris (see belowon metrics).Although the letteromega was developedabout 650 b.c. in Ionia, it seems not to havebeen used muchin Athensuntil the last third of the6th century, and it was not made an officialpart of theAttic alphabet until the late 400s.14 Its occurrencehere, standing for omicron + omicron,can be explainedas a phonologicalspelling, if Douris, like many in Athens,pronounced the two shortvowels as one longsyllable. This closed0 soundwas originallywritten witha singleomicron, and laterwith an omicronand upsilon(a so-called spuriousdiphthong; cf., e.g., the crasisof ÔTiAóouev> ÔTi^oCjuev),but in severalearly instances in inscriptions,on ostraka,and on vases,the sound is spelledwith an omega.15Note thatDouris spelledhis own nameon this vase as AOPII (which,if it were a woman'sname, would conventionally be spelledAcopíç). apxou':As is oftenthe case in inscribedverses, the scribe has herewrit- ten out in full(scriptio plena) a form(ap^ouoci) thatfor metrical reasons would have been elided in performance.16Middle/passive forms ending in the diphthong-oci are regularlyelided in epic verse,but thisparticular
12. See RE IIIA, 1927,cols. 431- [definedas õucÀrôv]:Öxe Kai eîôov 471; Heubeck1979, pp. 93, 126; Im- 434,s.v. Skamandros (F. Münzer).Pho- ctvöpcoTcovei)ppo')v te äua Kai àucpi- merwahr1990, pp. 165-168;D'An- tios(Bibl. codex 186, p. 140bl6-18 Xacpfjxfiv Ôiávoiav rcpòç xàç 7ioA.ixiKaç gour1999; Hildebrandt2006, p. 89. Bekker)states that Priam sent two of á^riyriaeiç;"When I saw a manboth The earliest-knownomega occurs Hectors sons,Skamandros and Oxy- eurrhousand duplicitousin hispolitical on a mid-6th-centurygraffito abece- nios,to Lydiafor safekeeping as Troy explanations"). dariumfound in theSamian Heraion, was falling.This wouldhave allowed 13.There are other reasons as well nowin theArchaeological Museum scopefor a storyabout the former s forthe discrepancies between textual in Vathy(Jeffery 1990, pl. 79:7). exploitson reachingmaturity, but of and artisticsources; Lowenstam (1997, 15.Threatte 1980, pp. 47-49; coursea humanmember of the family p. 37) notesin particularthat "painters Immerwahr1990, p. 167. wouldnot be describedas "flowing"(in did notsee themselvesas illustratorsof 16. Cf. Heubeck1979, p. 163; epicat least;for a later,metaphoric use poems." Wächter2001, pp. 246-247. ofthe adjective, see Suda,s.v. àu(pitax(pfj 14. See Jeffery1990, pp. 37-38, 428,
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two-wordphrase, apxoji' àeí8ew, is neverfound in Homer or Hesiod, or indeedanywhere else in Greekliterature, except for the HomericHymns, whereit occurs eight times, always at lineend, and in all casesbut one in the firstline of the hymn.17Douris elidesthis syllable in a poetictag on a cup in Munich as well,where ox> ôúvccu' ox> may be a variantof thebeginning ofTheognis 939: o') Ôúvccum(pcovíi Xíyy cceiÔéjiev coarcep ar|Scov.18 àeí{v)ôeiv: Threattenotes that this is one of onlya veryfew Greek wordsnot of foreign origin with a parasiticnasal.19 Immerwahr suggests that thepainter somehow kept the missingnasal of a(p! in mind,restoring it to thetext in thisword.20 This seemsfanciful to me,but Threatte thinks thatit "has perhapsa smallchance of beingcorrect."
SETTING AND INTERPRETATION
If thiswere a photographtaken in an actualschoolroom, we mightassume thatthe teacher is holdingup a textfrom which the student has been asked to readaloud. This may,in fact,be whatDouris intended,although there are similarscenes on othervases in which it is quiteclear that the student cannot see thetext held by the teacher. Artists, however, whose works need notbe strictlydocumentary, often present images in sucha waythat information is conveyedto theviewer in an "unrealistic"manner.21 Here itis quitepossible thatthe ancientviewer would have interpretedthe scene as one in which the studenthas been asked to recitefrom memory; although the teacher holds the textopen beforehim forreference, it would be understoodthat
17. Horn.Hymn 2.1, 3.8,4.1, 5.1, to havegiven up at thepoint where 19.Threatte 1980, pp. 488-489. 6.1,7.1, 8.1, 9.1. 1 believethat the Sappho'sthumb and handbegin to 20. Immerwahr1964, p. 19, n. 1. painterof a hydriain Athenswith a coverthe exposed writing surface of the 21. An excellentexample of this sceneshowing Sappho reading from papyrus,suggesting that for one reason appearson a bell kraterof ca. 470 b.c. a bookroll (National Museum 1260: or another,he did notattempt to indi- bythe Pan Painter(Boston, Museum of ARV2 1060,no. 145; CAVI 764) in- catethat there were letters in àeíôeiv Fine Arts10.185: ARV2 550, no. 1), on tendedto writethese same words, (ifthat was indeedthe intended word) whichdogs are shown attacking a man althoughwhat he seemsto havewrit- obscuredby Sappho's hand. whilethe goddess Artemis looks on. As teninstead, again in scriptioplena, is 18. Munich,Staatliche Antiken- thepresence of the goddess proves, the àpxoumAINANTTIN. The finallet- sammlungen2646: ARV2 437, vieweris expectedto interpretthe scene tersare poorly formed, but they may no. 128; Buitron-Oliver1995, p. 83, as thedeath of Aktaion, who at the be meantto representàeíôeiv (again no. 173,pl. 96. The attributionto timeof the attack had alreadybeen witha nasalinfix?); cf. Immerwahr Theognis,who beginslines 361 and transformedinto a stag.Were Aktaion 1964,p. 26. Thus,the text can be 695 in thesame way, was firstsug- shownentirely in animalform, the understoodas thebeginning and end gestedby Hartwig (1893, p. 258, n. 8), viewerwould not know that this is not ofa dactylichexameter: Tjepicov énécov and is acceptedby Young (1961) in an ordinaryhunting scene. For further [w _ w] âpxou'àeíôeiv. Beazley theapparatus of his edition.In a very examplesof the ways in whichvase (1928,p. 11,n. 2) morecautiously similarscene on a calyxkrater by Eu- paintingsmay be interpreted,see, readsapxouot • ax • • v• x• v,where the phronios,the words coming from the amongmany others, Connelly 1993; interpunctsrepresent "misshapen and singingsymposiast s mouth form what Stansbury-O'Donnell1999; Steiner uncertainletters." Another possibility, is probablya hipponacteum:"QrcoAAov, 2007. Forthe particular problems fac- suggestedby Joel Lidov (pers. comm.), oé xe Kai uámi
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thestudent is unableto see it.22Later in the 5th century,another student, Pheidippidesthe son of Strepsiades in Aristophanes' The Clouds, complained thathe had beenmade to learnto sing(ocggci) the lyrics of Simonides, prob- ablyin a classroomsetting much like that depicted by Douris.23 Similarlyunrealistic is theway in which the painter, in orderto present thetext to theviewer as clearlyas possible,has changedits orientation. In all knownliterary texts on papyrusrolls, the text is laid outin columnswith thelines parallel to the edges of the roll.By rotatingthe textshown here by 90 degrees,Douris allows the teacherto hold the roll morenaturally in the plane of the image,without having one arm obscurethe letters.24 Actualexamples of textswritten in thisfashion (chartae transversae) date onlyfrom the Christianera, and none is a literarywork.25 We can nowconsider the line as a whole.When adjustedto correctfor thesimple and commonphonetic errors that led to theomitted and intru- sive nasals,the scriptioplena, and the misspelledEYPÍ2N, the line read- ilyforms a dactylichexameter (with the metrical feet set off by vertical lines): Moíaá |ioi I occupiIicál^avôpov étóppoovI âp%o|x'àleíôew.
Metrically,it is unimpeachable.All caesuraeare in thepreferred positions (after|ioi, Iicáuavôpov,and eúppoov),and the line violatesnone of the so-calledlaws - normswould be a betterterm - thatobserve where word divisionsregularly occur or areavoided.26 Dactylic hexameters such as this one,consisting entirely of dactyls(except of coursefor the final spondee), make up fewerthan 20% of the versesin earlyepic, but thatis no basis forobjection here.27 Denys Page printsthe textexactly as I have (PMG 938e), but he evi- dentlyinterpreted the meterdifferently, since he explicitlystates that, in gatheringa fewverses from vases, he has excludeddactylic verse.28 He mayhave scannedthe finaliota in cc|Li(pias long beforethe two following consonants,which produces a line thatcan be read as chopher2d,that is, a choriambfollowed by a pherecrateanwith a two-dactylinsertion (enclosed belowin anglebrackets):
- - - - V-» 'J I w < '*j v^> - 'j v_/> - 'j v_y- - Moíaá |ioi àjLupiXmjxavopov éúppoov apioja' àeíôeiv.29
22. So, e.g.,Immerwahr 1964, p. 19 interpretationofthe scene painted by thetop and thebottom as theteacher ("The boyseems to be reciting,the Douris. holdsit, all fourscroll-ends extend im- teacherchecking"); Lissarague 1990, 23. Ar.Nub. 1355-1356. Similarly possiblyoutward on bothsides to the p. 138.See alsoHavelock 1982, pp. 201- unhappyare the boy who "learns to leftand right. 203. Forother scenes in whichone singbadly" in Aristophanes'Banqueters 25. See Turner1978, pp. 26-53. personholds a scrollwhile he, she, or {Daitalesfr. 225 K-A) and theone who 26. On theselaws (Meyer s, Naekes, anotherrecites, see Immerwahr1973. "strains"to singa songto Apolloin Hilbergs,etc.), see West1982, pp. 35- In one,a red-figurekylix of about HerodassSchoolmaster (3.33-34). 39; Sicking1993, pp. 69-82. 460 b.c. bythe Sabouroff Painter, a boy 24. So Birt1907, p. 139; Palumbo 27. Forthe statistics of verse types, reciteswhile a womanwho maybe his Stracca1994, p. 123,n. 10. Contrast see Raalte1986, p. 36. motherclearly holds the text so that therepresentation of Sapphoon the 28. PMG, p. 505. he cannotsee it (Amsterdam,Allard hydriain Athens(n. 17,above). For a 29. Note thesimilar metrical scheme PiersonMuseum 8210: ARV2 838, surveyof the positions in whichrolls in Pindar01. 1.2 = 13,"crpher2d. Pa- no.27). Thereare, however, enough areheld on vases,see Immerwahr1964, lumboStracca (1994, p. 127) strangely variationson thetheme that no one p. 38. Birtalso pointsout (pp. 138-139) scansthe line on thevase as hemiepes examplecan be usedto determinethe thatwhere the scroll is stillrolled up, at + reizianum.Bergk (1882, p. 696),
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The treatmentof the line as meliccan be justifiedby the form Moîgcc, which(as notedabove) is commonin Aeolic and Doric lyricpoetry. It was also usedby at leastone writerof dactylic verse, the early epic poet Eumelos of Corinth(8th-7th centuryb.c.): tcoyòtp 'Iôcouáxa koctccGúuioçenleio Moîaa ("theMuse was well disposedto Zeus of Ithome,"PMG 696.1). Since,however, this fragment is said to come fromzprosodion (a songsung bya choruson approachto a god,here Apollo), it mustbe regardedas a not uncommonexample of lyric dactyls.30 If thesame is trueof Douris'sverse, it would indeedbelong in editionsof lyric poetry. On thewhole, however, givenits subject matter, it seemslikely that the verse on thecup was meant to be read as a dactylichexameter, rather than a lyric.31 While theverse is metricallycompetent, syntactically itis sucha disas- terthat it could neverhave been composedby a Greek poet. Two con- structionsoverlap in the middleof the line like pathsin an Escher print, and onlythe central prepositional phrase, ócjicpi Imuocvôpov èúppoov, can go withboth. The combinationof uoi andaproam is an especiallybad fit.32The openingwords, Moîcxx uoi occupiImuocvôpov èúppoov ("Muse, to me ofthe well [= "rapidly"]flowing Skamandros"), lead one to expectan imperative, as in the openinglines of the Iliad and Odyssey,and in passages a, c, d, and e above.The secondhalf of the line, however, ócucpì Lmuavôpov èúppoov âpxou' àeíôeiv ("I beginto singof the rapidly flowing Skamandros"), sub- stitutesan entirelydifferent construction; compare the firstwords of pas- sages b, d, and e, as well as the manyexamples of âp%ou' àeíôeiv in the readingthe unlikely form evppcov rcpoxopeixSuevoç*œùxoû ôé poioXna theseexamples a sceneon an amphora (see above)and interpretingthe verse ("Pyrwiasdancing; [this is] hisvery in Londonby the Kleophrades Painter as melic,does notindicate how he ownolpe"). The sigmaof npoxopeuó- (BritishMuseum E 270: ARV2 183, wouldscan it, but it would seem to be uevoçmust be doubledin pronunciation no. 15; CAVI 4545),where the words chopherad. to makethe preceding syllable metri- comingout of the bard's mouth, (bôé 30. Totprosodia, cf. Ax. Av. 852- callylong, as oftenin Homerand other tcox'év TípuvGi,could well be lyric 854: GDUTtocpaivéaaçëxœ I rcpoaóôia epic.(For a differentview of this in- dactylo-epitrite;cf.Pind. 01. 10.30-32: ueyáXaaeuvà rcpociévaioeoîaiv; Suda, scription,see Boegehold1965.) (2) An ôótuaoeKai keívodç'HpaicAiriç écp' oôœ, s.v.Tcpoaóôia: oüxco ôè êXeyovxàç rcpo- Atticoinochoe of the late 8th century I öxijcpóoGe note TipvvOiov I ejcepaav aayouévaçxoíç 9eoíç rcourcáç. Kai rcpo- (the"Dipylon jug") (IG I2 919; CEG ai)xcooxpaxóv. aóÔia xà eiç rcavT|Yt>peiç6eôv rcoiriuaxa 432): oç vuvòpxtiaxcòv tkxvxcov àxaAxó- 32. Gallavotti(1979, pp. 127-128) 7tapàxcov ^DpiKcov tayoueva. On lyric xaxa rcaíÇpI xoxt xóôe .... (3) A kotyle is rightfor several reasons to rejecta dactyls,see West 1982, pp. 98, 128- ofthe late 8th century from Pithe- readingof uoi as dativeof possession: 132. On Eumelos,see Bowra1963. koussai("Nestors cup") (SEGX1V 604; (1) althoughuoi can functionlike this 31. It mayalso be significantthat CEG 454): oç Ò"äv xoûôe7tír|ai tcoxt|- withwords such as y')vf|or xéicvov, dactylicverses occur several times on píoi),aùxim KeîvovI l'uepoçaipf|oei nobodyhas a personalMuse in the vases:cf., e.g., a lekythosfrom the KocAÀiax£(p(xvoi)A(ppoôixT|ç. (4) A 5th- sameway; (2) a bardwould not sum- Seyrigcollection, Paris (ARV2 452, in centuryAttic kylix in Odessa (CEG mona Muse onlyto be a passivewit- themanner of Douris; CAVI 6767) 464): íjôtmoxoçícòXiÇ eiui
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HomericHymns (noted above) and theopening of theLittle Iliad: "IÀiov óceíôcoKai Aap5avír|vé{mû)À,ov.33 How can we explainthis? Not bytreating the vase as a medievalman- uscriptand emending the text, as FrançoisChamoux did when he suggested thatfor EYPQN Douris meantto writeEOEYPQN = ecpevp'cov.34 It is true thatscribes frequently make mistakes, and thatsome artists, who areeither illiterateor simplydo not careto takethe troubleto spellwords properly, writegibberish. The failureof syntaxseen here,however, is an exampleof neitherof these faults. Indeed, Douris shows himself to be literateon so many othervases that Immerwahr has evenattempted a handwritinganalysis.35 Of thevarious proposals to save the syntaxwithout conjecture, most involvedubious interpretations of thepronoun uoi.36 A differentsolution is adoptedin the editionsof Theodor Bergkand ErnstDiehl (followed recentlyby Jenifer Neils andJohn Oakley), who posita pause afteruoi, on theassumption that the poet has interruptedhimself with the parenthetical phraseoccupi . . . àeíôeiv (forwhich no parallelis adducedand forwhich no reasoncan be given),and thatthe expected imperative would have appeared in thefollowing line.37 Anotherreading of the scene is morelikely than any of these:namely, thatthe composer of this awkward line is noneother than the student shown on thevase.38 Douris, that is, has intentionallywritten the faultyverse as an exampleof poor homework. Actual examples of student work preserved on papyrus,wax tablets,and wooden boardsshow that, like theirmodern counterparts,ancient students could and did makemistakes of all sortswhen copyingout or composingGreek verses.39 Moreover, some student writing examples,not necessarily mistakes, consist of half-verses of Homer, which suggeststhat students had half-versesin mind.40If so, thenthis particular studenthas put two of themtogether badly, combining and overlapping two linessuch as thosein passagesa and b above.41It cannotbe the case, as arguedby Kretschmer,that the studenthas joined the beginningsof twolines, since a linebeginning àucpi Imuocvôpov éúppoov ap%o|j,' àeíôeiv
33. Fr.28 Bernabé(1987). Partof local sense(as in Homer),ignoring the 36. See n. 32, above. thisline was scratchedon bothsides of sixparallel passages (quoted above) in 37. Bergk(1882, p. 696) evensug- a potsherd(the vertical line indicates whichit standsin thefirst line and geststhat the next line was something - thedivision between the two sides) identifiesthe subject of the poem. Nor likeKai Oénoç (píXovvia, rcapíaxaao. - "Riov àeíôcoKai Alapôavír|v at a date is therea properexplanation for the See Neilsand Oakley2003, p. 246. roughlycontemporary with that of genitivecov, which Chamoux oddly 38. This suggestionhas alreadybeen Douris'svase. See Dubois 1996,pp. 83- construeswith äpxoucu, leaving àeíôeiv madeby Calarne (1989, pp. 51-52) and, 85,no. 42; Vinogradov1997, pp. 385- unaccountedfor. Furthermore, as Pa- withoutargument, by Gallavotti (1979, 390,pl. 15:2,3. lumboStracca (1994, p. 124) notes,the pp. 127-128). 34. Chamoux1970. Since¿v is a idea thatthe Muse, or thebard, is on 39. Cf. Cribiore1994; 1996, forwardlooking monosyllable, the thebank of the Skamandros at the pp. 139-142.Examples of student emendationdoes notviolate Naeke's momentwhen the line is recitedis not writingexercises are gathered in law,and Chamoux,followed by Lis- a happyone ("bizzarroemendamento" Ziebarth1910. sarague(1990, p. 137),translates, is heroverall assessment). See also 40. See Cribiore1996, p. 243, "Muse,trouve pour moi sur la borddu Calarne1989, p. 51, n. 24, forfurther no.291 {P.Ryl.Ill 545),which contains Scamandrela matièreinitiale du mon criticismof the conjecture. half-linesof Homer for students to chant."Nevertheless, this reading is not 35. Immerwahr1990, p. 86. Bui- memorize,a practicethat would facil- defensible.Since the verb éípeupíoicco tron-Oliver(1995, pp. 41-45) discusses itatefaulty combinations. ("invent,discover") is transitive,it theinscriptions on Douris'svases; see 41. Cf. Calarne1989, p. 52yfor a cannoteasily be construedwith àuípí, especiallypp. 44-45 for"spoken or sung slightlydifferent way of describing whichChamoux is forcedto takein a inscriptions." whatthe student has done.
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containsnot only a minorand forgivable violation of Meyer s firstlaw (a wordbeginning within the first foot ending between the two short syllables of thesecond), but also, far worse, a caesuraat midline(after èúppoov), betweenthe third and fourth feet, which is completelyunacceptable and hencecould not have been offered to thestudent as a model.42 Ifthis interpretation iscorrect, then the teacher is holding the text up to thestudent to point out his many mistakes.43 Perhaps he is doingso gently andwith a senseof sadness, knowing that as longas thereare students he willhave to correctmistakes like this. Douris, however, is surelyhaving funat thestudent s expense, showing off the flaws in thecomposition for theamusement of his viewers.44 There are other intentionally humorous sceneson Greekvases: Douris himself, in thetondo of another drinking - cup,has painted a drunkensymposiast vomiting into a bucket thehumor ofwhich becomes clear when one remembers that the image would have beeninvisible when the kylix was filledwith red wine, and wouldhave beenseen only as thedrinker tilted and drained his cup, a reminderof the dangersof drinking to excess.45 The joke is allthe more pointed in that the exteriorof the cup shows men drinking from kylikes just like the one on whichthe scene is painted,having clearly forgotten what may result from suchfun. Douris's painting of a satyrbalancing a sizablevase on thetip of hisvertically erect penis was likewisesurely intended for laughs.46 Carlo Gallavottialso findshumor ih Douris'sinscription on a sceneof a tergo lovemaking:f)tcocîç KafoV è'xe ííaoxoç ("the girl is beautiful;stay calm"), which,with the elision of ex', he readsas an iambicdimeter.47 The humor
42. Forthe suggestion, see objectionraised by Palumbo Stracca Mitchell2009, p. 90. Forother vases Kretschmer1894, p. 106. (1994,p. 125),that the student on on whichthe painting takes account of 43. Studentsprobably did their Douriss vasewould not have done his thewine within, see Lissarague1990, homeworkmostly on waxtablets, homeworkon papyrus,is notdeter- pp. 112-115. althoughthe exterior of a kylixby minative.Furthermore, just as Douris 46. London,British Museum E 768: thePainter of Munich 2660 in New had hisown artistic reason for depict- ARV2 446, no. 262; Buitron-Oliver York(Metropolitan Museum of Art inga coartatransversa, so too,unable to 1995,p. 78, no. 84, pls.54, 55. Cf. 17.230.10:ARV2 784, no. 25; ca. 460 b.c.) writea legibletext on a waxtablet, he Johns1982, p. 91 (on thisscene in showstwo students, one on each side, wouldhave felt free to depictit on a particular)and pp. 90-96 (forsexual holdingpapyrus rolls, along with a papyrusroll instead. humorin general).A similarbalancing thirdholding a writingtablet. Interpre- 44. Forhumor on vasesin general, act also appearson a cup bythe Am- tationis hinderedby the fact that, in see Agard1923; Hemelrijk1984, brosiosPainter (Boston, Museum of additionto thethree students, two pp. 151-152,187-188; 2009, pp. 151- Fine Arts01.8024: ARV2 173,no. 9; "teachers"shown on thevase are also 152; Mitchell2009; Walsh2009, ca. 500 b.c.). childrenof the same age as thestudents. pp. 32-34. Shapiro(1995, passim) 47. Boston,Museum of Fine Arts Nonetheless,one ofthe students is notesmany examples of the humorous 1970.233:ARV2 AAA,no. 241; Beazley passingthe roll over to the"teacher" in use ofinscriptions by vase painters, Addenda2240; Buitron-Oliver1995, a wayconsistent with the idea thathe is oftenat one another'sexpense. The p. 85, no. 233, pl. Ill; CAVI 2S22. See handingin hishomework. In thetondo workof Agard apart, the recognition of Gallavotti1979, p. 128. Gallavottiis, ofanother kylix in New York,by the humorin Greekpainting is verymuch I believe,alone in connectingthe two Painterof Bologna 417 (Metropolitan a recentdevelopment; hence it is no phrasesto createa lineof verse; others Museumof Art 06.1021.167: ARV2 impedimentto myargument that considerthe first to be merelya label 908,no. 13; ca. 460-450 b.c.),two girls earlierscholars such as Bergk,Diehl, and thesecond to be spokenby the oryoung women are out walking hand and Page havefailed to noticeit on the man.Nor shouldhe be followedin in hand(to or fromschool?), one of vasediscussed here. readingHIYXOI as tjctóxcuç,since the themholding a papyrusroll. Perhaps 45. Vatican,Museo Gregoriano phraseexe (or uéve)tiouxoç appears students(maybe only rich ones) did in Etrusco16561: ARV2 427, no. 2; severaltimes in Aristophanes(e.g., factuse expensivepapyrus for their Buitron-Oliver1995, pp. 72-73, no. 8, Av. 1199, Thesm.925 , Nub.1244). homework.If thisis true,then the pl. 5. Forsympotic vomiting scenes, see
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(fromthe point of view of a male viewerof thevase) lies in the idea that thegirl, enjoying the act as muchas the man,is movingtoo fastfor him. If thisinterpretation of theschoolroom scene on thekylix in Berlinis correct,the homework assignment being judged herewas primarilyone of compositionand writing;thus, speculation about the performanceof the line (and of anythat may be assumedto follow)and distinctionsbetween rhapsodyand citharodyare irrelevant.48 The viewthat the scene is primarily a comicone also rendersirrelevant the question of whether the line is drawn froma real,but no longerextant, minor epic poem. It is a students poor attemptat epic composition,and as suchis to be added to thelist of ad hoc compositionson vasesdiscussed above.49 Furthermore, since with only one exceptionDouris nowhereelse insertsor omitssonants,50 we are now free to assumethat the joke is notrestricted to theflawed syntax, but extends to all ofthe student s mistakes,including the errant nasals as wellas theforms Moîgoc(as aliento epic) and eupcov(points off for violating Naeke s law).
48. Pavese(1991, p. 162,n. 12) omissionof mu, see thediscussion of higherthan that of most of his con- arguesfor a citharodicfrooimion, but ócucpí,above, and contrastthe spelling temporaries.Note thata kylixin Paris see theremarks of Palumbo Stracca ofAu(p[ixpixri] on another fragment (LouvreG 13S:ARV2365, no. 61; (1994,p. 121,n. 9). (ex-Malibu,Getty Museum 81.AE.213, CAVI 64S0) withthe name A(v}pi- 49. See n. 31. nowreturned to Italy:Buitron-Oliver GToiéAjiç,although ascribed to Douris 50. He writesXaipéax
axoç on 1995,p. 74, no. 29, pls. 19,20; Godart byHartwig (1893, pp. 590, 595), is now twoearly vases, but includes the rho on and De Caro 2007,pp. 110-111). attributedto theTnptolemos Painter 29 othervases with this name; see Buitron-Oliver(1995, p. 42) judges byBeazley. Buitron-Oliver1995, p. 42. On the Douris'sliteracy to be significantly
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