Giovanni Fanfani What melos forTroy? Blending of Lyric Genres in the First Stasimon of Euripides’ Trojan Women 1Introduction The first stasimon of Trojan Women is anarrativeaccount of the last dayofTroy, amelic Iliou Persis consistingofasingle triadic system and depicting the Tro- jans’ welcoming of the Wooden Horse into the city,theirrejoicinginchoral danc- ing at night,and their violent ruin at the hand of the Achaeans. Labelled by Kranz as one of Euripides’‘dithyrambic’ stasima,¹ the song has been seen by scholars as representative of the pictorial style that characterizes late Euripidean choral odes.² Morerecently, certain recognizable patterns informingEuripides’ ‘dithyrambic’ and pictorial lyric have been reassessed by Eric Csapo and posi- tioned within the wider picture of the dramatist’sengagement with New Musical verse.³ By calling attention to the growingamountofmusical imagery of aDio- nysiac stamp in the sung sections of Euripides’ plays from ca. 420BConwards, Csapo defines asignificant trait of poetics that locates the playwright at the fore- Iwould liketothankV.Bers, M. Ercoles, A. Ford, A. Henrichs and N. Weissfor helpful comments on an earlier version of thischapter.Iamespeciallygrateful to P. LeVen forher valuable criti- cism and suggestions on different drafts of thispaper,and to the editors forcorrections and advice. Researchfor thiswork hasbeen generously supportedbythe Danish Council forInde- pendent Research and FP7 Marie CurieActions ‒ COFUND (DFF ‒ 1321–00158) through aMOBI- LEX grant.The text of Trojan Women reproduces Diggle’sOCT unless otherwise stated. English translations areadapted from the most recent Loeb editions. Forstructural features of these choral odes,defined as ‘self-contained ballad-like narratives’ (‘völlig absolut stehende balladeskeErzählung’)see Kranz 1933,254,and in general 228–65,see 253, 258f.inparticular on Eur. Tro.511–67.Panagl 1971 offers adetailed analysisofthe style, lexis and syntax of Euripides’‘dithyrambic’ stasima (pp. 42– 78 on our ode). See Barlow 2008, 28–31, whorightlyemphasizes the dramatic quality of Euripides’ pictorial styleinthe choral songs of Trojan Women: ‘[D]escriptiveimagery of placebecomes dramatic im- agery also in the Troades’.DiBenedetto1971, 243–7discusses at length the pictorial qualities of stasima and monodies in Trojan Women. Forarecent discussionofpictorial and musical languageinthe first stasimon of Euripides’ Electra in relation to the category of ‘dithyrambic’ style, see Csapo 2009,who proposes for lateEuripidean lyric the definition of New Musical verse, one that ‘appeals directlytothe senses, the subconscious,and the emotions’ (p.108). https://doi.org/10.1515/9783110575910-012 Bereitgestellt von | De Gruyter / TCS Angemeldet Heruntergeladen am | 07.02.18 08:11 240 Giovanni Fanfani front of the musicalinnovations introducedbythe New Musicians in the theat- rical genres of nomos,dithyramb and drama.⁴ In anumber of late Euripidean choral songs, descriptions and dramatizations of archetypal Dionysiac choreia through the device of choral projection⁵ servethe purpose to archaize specific features of contemporary mousikē by tracing them back to primal choral forma- tions and thus providingthem with an ad hoc aetiology.⁶ Trojan Women,stagedin415 BC,isindeedthe earliest tragedy of Euripides to containmarkedreferencestomusic anddance in theactors’ monodies:⁷ theseinturnpresent remarkable choral traits,exhibit asustained ‘dithyram- bic’ style and diction, and develop ametamusical motif ‒ thenostalgicevoca- tion of pastTrojan mousikē ‒ that is integratedinthe narrativeframe of first stasimon of the play throughthe deviceofchoralprojection. An important studybyLuigi Battezzatohas demonstrated that musicalimagery in Trojan Women acts as the metaphorical vehicle throughwhich Euripides dramatizes theinterruptionofaTrojan/Phrygiantradition of choreia and its violent incor- Csapo 1999–2000,esp. 417– 26.See Power 2013,240 on metamusicalimagery in extant dith- yramb, which is ‘persistent enough to be seen as ageneric trait,but it is generallyturned inward. Dithyramb likes to sing about itself, to determine prolepticallythe terms of its reception by re- fashioningits sociomusical origins’. On this choral convention see especiallyHenrichs 1996,49‘Choral projection occurs when Sophokleanand Euripidean choruseslocatetheir dancinginthe past or the future,incontrast to the hereand now of their immediateperformance,orwhenchoruses project their collective identity onto groups of dancers distant from the concretespaceofthe orchestraand dancingin the allusive realm of the dramatic imagination’.Anearlier attempt at pointingout the mecha- nism of choral projection in tragedyisrepresented by Davidson 1986,who (p.40) mentions Eur. Tro.542– 4. Csapo 1999–2000,417 traces back choral projection (especiallyits Dionysiac associations) to traditional dithyramb, in particular Pindar’s: ‘but whether authenticallytradi- tional or not,choral projection became ahallmark of New Musical style’.Infact,however, the deviceisshown by Henrichs 1996 to occur in several Euripidean plays (amongwhich the early Heraclidae)asacomplex pattern heightening dramatic tension. On choral projection and dithyrambic poetics in Pindar fr.70b S-M see Calame 2013b, 339. On the question of the der- ivation of tragic choral projection from choral lyric conventions cf. Henrichs 1996,49with n. 4, whopoints to Alcman and Pindar’s partheneia;Hutchinson 2001,434 with n. 12 provides further references to Bacchylides and Pindar’sinstances of choral projection. On choral projection in Pindar and Bacchylides’ epinikia see Power 2000,67–71,who aptlyremarks the distinctiveness of the deviceintragedy, where ‘the relation between projected and projectingchoruses is often fraught with tension’ (p.70). Steiner 2011 is afine reading of a ‘dithyrambic’ stasimon (Hel.1451– 511) from the point of view of the imagery of archetypal and Dionysiac choreia. This fact dependsonthe relative chronology Trojan Women ‒ Ion: cf. Csapo 1999–2000,423 (figure 3b). Bereitgestellt von | De Gruyter / TCS Angemeldet Heruntergeladen am | 07.02.18 08:11 What melos forTroy? 241 poration intothe new mousikē of theGreek invaders.⁸ Battezzato recognizes in this moveapatternofculturalappropriation of foreign music on thepartof the Greeks,which he locates within the cultural discourseand poetics of the New Music: in the first stasimon of Trojan Women,and in particular through the epic/citharodic openingofthe song, he sees the dramatic enactmentof such amusical ‘colonization’.⁹ This paper chooses adifferent interpretative angle, and offers areadingof the first stasimon of Trojan Women from the standpoint of generic interplay. In tragedy’scomplex appropriation and refashioning of the tradition of non-dra- matic melos,references to particular song-types in choral odes mayfunction as aliterary device arousinggeneric expectations and/or pointing to specific melic hypotexts.¹⁰ Set against this dynamics of osmotic interactionofgenres, Tro.511–67 can be seen as an instance of Euripides’ later lyric’sinclination for mixing melic sub-genres,alludingtoprevious poetry,and locating itself with- in the discourse of contemporary music; in additiontothat,itwill be argued, the blendingofsong-types which takes place in the ode is key to an appreciation of the specific poetics of Trojan Women. In particular,this paper focuses on three different aspects of the stasimon: a) the threnodic flavour of the ode, b) its ‘dith- yrambic’ character and c) its emphasis on choreia. While the aspects in question maybe(and have been) considered to figure among Euripides’ most pronounced New Musical traits,¹¹ they have seldom been regarded as distinctive areas of ge- neric interaction, nor have they been treated consistentlywithin the poetics of a single play. The first aspect regardsapervasive thematicmotif in Trojan Women,one that surfaces in the opening of the stasimon and characterizes the song as a Battezzato2005b, acontribution we shall often refer to throughout this paper. Battezzato2005b detects asimilar pattern of ‘appropriation and erasure’ (p.74) of non-Greek music at work in Sophocles’ Thamyras and in Telestes’ treatment of the myth of Marsyas in PMG 805 (pp. 96–101). On Melanippides’ Marsyas see Power 2013,241 f. Fortragedy’sevocation of the culturaland moral assumptions of several sub-types of choral lyric see Swift 2010, passim. With ashift of focus,Rodighiero2012 explores the rangeofgeneric fluidity in aselection of Sophoclean choral songs.For intertextual allusions to lyric poetry in tragedysee Garner 1990 and the systematic studyofBagordo2003.For importantmethodolog- ical remarks, and terminological tools,onhow to deal with tragedy’sreception of lyric genres, with aspecial focus on paian,see Rutherford1994–1995, 118–21 and id.2001,108–15.For the continuities between non-dramatic and tragic lyric at the level of the chorus’ ritual utterances see Calame 1994–1995and Henrichs 1994–1995. Cf. again Csapo 1999–2000,whose purpose is to show the breadth, internal consistence, and diachronic development of the phenomenon, rather than discuss the particular function of New Musical features in the (dramatic, thematic)contextofindividual plays. Bereitgestellt von | De Gruyter / TCS Angemeldet Heruntergeladen am | 07.02.18 08:11 242 Giovanni Fanfani blendingofgenres:the theme of ritual lament and threnodic music as the only available for both the Chorusand the characters to expressthe loss of their city, cultureand mousikē. The generic mixtureofcitharodic nomos and