Τετράδιο εργασίας καταλογογράφησης αρχαιοελληνικών μουσικών θεμάτων

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Zampelis Spyros

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Plutarch, Crassus (ed. Bernadotte Perrin)

chapter 32

κατ᾽ οὐρὰν δὲ τῆς φάλαγγος εἰς χορείας καὶ κρόταλα καὶ ψαλμοὺς καὶ παννυχίδας ἀκολάστους μετὰ γυναικῶν τελευτῶσαν. ψεκτὸς μὲν γὰρ ὁ Ῥώσκιος, ἀναιδεῖς δὲ Πάρθοι τὰ Μιλησιακὰ ψέγοντες, ὧν πολλοὶ βεβασιλεύκασιν ἐκ [p. 420] Μιλησίων καὶ Ἰωνίδων ἑταιρῶν γεγονότες Ἀρσακίδαι.

After a fashion his train was a counter-part to the fabled echidnae and scytalae among serpents, by showing its conspicuous and forward portions fearful and savage, with spears, archery, and horse, [5] but trailing off in the rear of the line into dances, cymbals, lutes, and nocturnal revels with women. Roscius was certainly culpable, but it was shameless in the Parthians to find fault with the ‘Milesiaca,’ when many of the royal line of their Arsacidae were sprung from Milesian and Ionian courtezans.
 
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Euripides, Helen (ed. Gilbert Murray)

card 1301

Χορός

Ὀρεία ποτὲ δρομάδι κώ-
λῳ μάτηρ θεῶν ἐσύθη ἀν᾽
ὑλάεντα νάπη
ποτάμιόν τε χεῦμ᾽ ὑδάτων
1305βαρύβρομόν τε κῦμ᾽ ἅλιον
πόθῳ τᾶς ἀποιχομένας
ἀρρήτου κούρας.
κρόταλα δὲ βρόμια διαπρύσιον
ἱέντα κέλαδον ἀνεβόα,
1310θηρῶν ὅτε ζυγίους
ζευξάσᾳ θεᾷ σατίνας
τὰν ἁρπασθεῖσαν κυκλίων
χορῶν ἔξω παρθενίων
μετὰ κούραν, ἀελλόποδες,
1315ἃ μὲν τόξοις Ἄρτεμις, ἃ δ᾽
ἔγχει Γοργῶπις πάνοπλος,
συνείποντο. Ζεὺς δ᾽ ἑδράνων
αὐγάζων ἐξ οὐρανίων
ἄλλαν μοῖραν ἔκραινε.
Chorus
Once with swift foot the mountain mother of the gods rushed through the wooded glen, and the river's streams [1305] and the deep-thundering sea wave, yearning for her lost daughter, whose name may not be spoken. The loudly rattling castanets cried out a shrill sound, [1310] when they, swift-footed as whirlwinds, followed the goddess on her chariot yoked to wild creatures, after the girl that was snatched away from the circling chorus of maidens— [1315] here Artemis with her bow, and there the grim-eyed goddess, in full armor, with her spear. But Zeus, who sees clearly from his throne in heaven, brought to pass another destiny.
 
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Zampelis Spyros

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ΧΟΡ. Κάποτε η Μάνα των θεών
χύθηκε απάνω στα βουνά,
σε λόγγους δασοσκέπαστους,
σε ποταμών νεροσυρμές
και πολυβούιστους γιαλούς,
γυρεύοντας ολούθε τη χαμένη
κόρη της με το ιερό
κι ανείπωτο όνομα. Τριγύρω
τα κρόταλα βροντολογούσαν,
1310σέρναν τ᾽ αμάξι της θεριά
κι εκείνη ακούραστα ζητούσε
τη θυγατέρα που ᾽χαν κλέψει
απ᾽ τους κυκλόσυρτους χορούς
των κοριτσιών. Μαζί της
ακράτητες σαν άνεμος ορμήσαν
η Άρτεμη βαστώντας τόξα
κι η Αθηνά με τη βαριά της λόγχη.
Όμως ο Δίας από ψηλά
στους λαμπερούς ουράνιους θρόνους
αλλιώς κανόνιζε τη μοίρα.

http://www.greek-language.gr/digitalResources/ancient_greek/library/browse.html?text_id=118&page=32
 
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Zampelis Spyros

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Aristophanes, Clouds (ed. F.W. Hall and W.M. Geldart)
card 221

Σωκράτης
τουτονὶ τοίνυν λαβὲ
τὸν στέφανον.
Στρεψιάδης
ἐπὶ τί στέφανον; οἴμοι Σώκρατες
ὥσπερ με τὸν Ἀθάμανθ᾽ ὅπως μὴ θύσετε.
Σωκράτης
οὔκ, ἀλλὰ ταῦτα πάντα τοὺς τελουμένους
ἡμεῖς ποιοῦμεν.
Στρεψιάδης
εἶτα δὴ τί κερδανῶ;
Σωκράτης
260 λέγειν γενήσει τρῖμμα κρόταλον παιπάλη.
ἀλλ᾽ ἔχ᾽ ἀτρεμί.
~~~~~~~~~~~

ΣΩΚ. Θα γίνεις μάνα ρήτορας, ροδάνι,
φίνος σαν άχνη. Μη σαλεύεις.
Το ξερό στεφάνι που φόρεσε ο Στρεψιάδης τρίβεται πάνω στο κεφάλι του και τον γεμίζει σκόνη.
ΣΤΡ. Όσο
γι᾽ αυτό, δε με γελάς· με πασπαλίζει
τόση σκόνη, που αλήθεια γίνομαι άχνη.

~~~~~~~~~~~

Soc.
(with great solemnity) Seat yourself, then, upon the sacred couch.
Strep.
Well, I am seated!
Soc.
Take, then, this chaplet.
Strep.
For what purpose a chaplet? Ah me! Socrates, see that you do not sacrifice me like Athamas!
Strep.
No; we do all these to those who get initiated.
Strep.
Then what shall I gain, pray?
Soc.
You shall become in oratory a tricky knave, a thorough rattle, a subtle speaker. But keep quiet.
 
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Zampelis Spyros

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Aristophanes, Clouds (ed. F.W. Hall and W.M. Geldart)
card 437
Στρεψιάδης

445θρασὺς εὔγλωττος τολμηρὸς ἴτης
βδελυρὸς ψευδῶν συγκολλητὴς
εὑρησιεπὴς περίτριμμα δικῶν
κύρβις κρόταλον κίναδος τρύμη
μάσθλης εἴρων γλοιὸς ἀλαζὼν
450κέντρων μιαρὸς στρόφις ἀργαλέος
ματιολοιχός:
ταῦτ᾽ εἴ με καλοῦσ᾽ ἁπαντῶντες,
δρώντων ἀτεχνῶς ὅ τι χρῄζουσιν,
κεἰ βούλονται
455νὴ τὴν Δήμητρ᾽ ἔκ μου χορδὴν
τοῖς φροντισταῖς παραθέντων.
 
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Zampelis Spyros

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Aristophanes, Clouds
William James Hickie, Ed.
Aristoph. Cl. 437

Strep.
I will do so in reliance upon you, for necessity oppresses me, on account of the blood-horses, and the marriage that ruined me. Now, therefore, let them use me as they please. 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 leathern bottle, 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. And if they like, by Ceres, let them serve up a sausage out of me to the deep thinkers.

Ό,τι θέλουνε τώρα ας με κάμουνε· νά,
440το κορμί μου τ᾽ αφήνω σ᾽ αυτούς·
ας πεινάσω, ας διψάσω, ας χορτάσω ξυλιές,
ας βρομήσω, ας παγώσω, ας με γδάρουν, ασκί
το πετσί μου ας το κάμουν, αρκεί
απ᾽ τα χρέη μου να ξεφύγω κι ο κόσμος για μένα να πει
πως αδείλιαστος κι εύγλωττος είμαι, είμ᾽ ασίκης, νταής,
αρχιψεύτης, σερέτης, με γλώσσα ροδάνι, χαλές,
όπου λόγια, όπου δίκες και νόμοι, ξεφτέρι, αλεπού,
μαλαγάνα, κρυφός, γλιστερός, δολερός,
450αργασμένο τομάρι, μαγάρα, στρυφνός, πονηρός,
αρχικάλπης.

http://www.greek-language.gr/digitalResources/ancient_greek/library/browse.html?text_id=143&page=11
 
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Zampelis Spyros

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Lucian, De Syria dea (ed. A. M. Harmon)
section 44

[44] θυσίη δὲ δὶς ἑκάστης ἡμέρης ἐπιτελέεται, ἐς τὴν πάντες ἀπικνέονται. Διὶ μὲν ὦν κατ᾽ ἡσυχίην θύουσιν οὔτε ἀείδοντες οὔτε αὐλέοντες: εὖτ᾽ ἂν δὲ τῇ Ἥρῃ κατάρχωνται, ἀείδουσίν τε καὶ αὐλέουσιν καὶ κρόταλα ἐπικροτέουσιν. καί μοι τούτου πέρι σαφὲς οὐδὲν εἰπεῖν ἐδύναντο.
 
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Zampelis Spyros

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Euripides, Cyclops (ed. David Kovacs)
card 82

Σιληνός
χαῖρ᾽, ὦ ξέν᾽: ὅστις δ᾽ εἶ φράσον πάτραν τε σήν.
Ὀδυσσεύς
Ἴθακος Ὀδυσσεύς, γῆς Κεφαλλήνων ἄναξ.
Σιληνός
οἶδ᾽ ἄνδρα, κρόταλον δριμύ, Σισύφου γένος.

Odysseus
Odysseus, of Ithaca, lord of Cephallene.
Silenus
I know of the man, the wheedling chatterer, Sisyphus' son.1

ΣΙΛ. Γεια χαρά κι εσένα, ξένε. Πώς σε λεν, κι από πού είσαι;
ΟΔΥ. Είμ᾽ ο Οδυσσεύς εγώ, της Ιθάκης βασιλιάς — μα και της Κεφαλλονιάς.
ΣΙΛ. Άκουσα πολλά για σένα: πάει η γλώσσα σου ροδάνι· στο αίμα σου έχεις την απάτη.

http://www.greek-language.gr/digitalResources/ancient_greek/library/browse.html?text_id=125&page=3
 
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Zampelis Spyros

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Euripides, Cyclops (ed. David Kovacs)
Eur. Cycl. 203

Κύκλωψ
ἄνεχε πάρεχε: τί τάδε; τίς ἡ ῥᾳθυμία;
τί βακχιάζετ᾽; οὐχὶ Διόνυσος τάδε,
205οὐ κρόταλα χαλκοῦ τυμπάνων τ᾽ ἀράγματα.
πῶς μοι κατ᾽ ἄντρα νεόγονα βλαστήματα;
ἦ πρός τε μαστοῖς εἰσι χὐπὸ μητέρων
πλευρὰς τρέχουσι, σχοινίνοις τ᾽ ἐν τεύχεσιν
πλήρωμα τυρῶν ἐστιν ἐξημελγμένον;
210τί φατε; τί λέγετε; τάχα τις ὑμῶν τῷ ξύλῳ
δάκρυα μεθήσει. βλέπετ᾽ ἄνω καὶ μὴ κάτω.
 
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ΚΥΚΛΩΠΑΣ
Γιά στην άκρη! Κάντε πέρα! Τί κατάσταση είν᾽ αυτή;
Βλέπω μια χαλαρότητα, μια βακχική κραιπάλη.
205Όμως δεν έχει Βάκχο εδώ, και δεν βροντούν νταούλια.
Γιά πείτε μου:
Τ᾽ αρνάκια τα νιογέννητα που ᾽ναι μες στη σπηλιά
είναι στης μάνας το βυζί και τρέχουν να τρυπώσουν
στην αγκαλίτσα της; Στα σκοίνινα κοφίνια ξεχειλίζει
—πηχτό τυρί, άσπρο τυρί— το αρμεγμένο γάλα;
210Μιλάτε, βρε! Στόμα δεν έχετε;

Enter the Cyclops with retinue by Eisodos A.



Cyclops
Give way, make way! What is going on here? What means this slackness? Why this Bacchic holiday? Here is no Dionysus, [205] no bronze castanets, no rattle of drums. How fare my new-born lambs in the cave? Are they at the teat and running to their mothers' sides? The milk for cheeses—has it been put in rush buckets? [210] What say you? This club will soon make someone cry. Look up, not down!

http://www.greek-language.gr/digitalResources/ancient_greek/library/browse.html?text_id=125&page=6
 
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Zampelis Spyros

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Title:
Attic Red-Figure Kylix
Artist/Maker:
Attributed to Onesimos (Greek (Attic), active 500 - 480 B.C.)
Culture:
Greek (Attic)
Place:
Athens, Greece (Place Created)
Date:
about 490 B.C.
Medium:
Terracotta
Object Number:
82.AE.14
Dimensions:
8.5 × 36.9 cm (3 3/8 × 14 1/2 in.)


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Scenes of revelry decorate this Athenian red-figure kylix or cup. On the interior, a nude woman reclines as she plays kottabos, a popular drinking game at the symposium (aristocratic male drinking party). With one handle of a deep drinking cup (skyphos) slipped over her index finger, she tries to flick the dregs from the bottom of the cup at a target some distance away.

The sympotic theme continues on the exterior. On one side, youths dance with skyphoi and krotala (castanet-like instruments). On the other, two more youths cavort and gesture around a nude woman, who reclines on a cushion, playing krotala.

The symposium was a male event, and when women were present, they were typically there to entertain or otherwise attend to the male participants. They are often shown performing music, helping the sick, or having sex. The nudity of the two women on this cup would have been inappropriate for respectable Athenian women, and they are either hetairai – mistresses or courtesans who would augment an evening’s drinking with their song, conversation and sexual allure – or prostitutes hired for the occasion.

http://www.getty.edu/art/collection...ix-greek-attic-about-490-bc/?artview=dor82277
 

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Bibliography
Heinemann, Alexander. "Ungleiche Festgenossen: Spatarchaische Gelagegemeinschaften im Medium der Vasenmalerei." Christian Mann, et al. eds. Rollenbilder in der athenischen Demokratie, Medien, Gruppen, Raume im politischen und sozialen System, Beitrage zu einim interdisziplinaren Kolloquium in Freiburg i. Br., 24.-25. November 2006 (Wiesbaden: Reichert Verlag, 2009), pp. 54-56, fig. 8.

Steiner, Deborah T. "Parting Shots: Aeschylus, Agamemnon 1384-98 and Symposia [...]." In The Cup of Song:Studies on Poetry and the Symposion. Vanessa Cazzato, Dirk Obbink, and Enrico Emanuele Prodi, eds. (Oxford: Oxford University Press, 2016), p. 159-83, p. 175; plate 20.
 
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Title:
Pair of Candelabra with a Dancer
Artist/Maker:
Unknown
Culture:
Etruscan
Place:
Vulci, Etruria (Place Created)
Date:
first half of 5th century B.C.
Medium:
Bronze
Object Number:
96.AC.129
Credit Line:
Gift of Barbara and Lawrence Fleischman
Department:
Antiquities
Classification:
Implements


Made as a pair, these elaborately designed candelabra are topped with statuettes of dancing youths. The youths hold up krotala, castanet-like instruments, with which they accompany their dancing. Each youth wears only a short cloak draped around his shoulders and the fluttering garment emphasizes the graceful movement. The detailed musculature of the youths, particularly in the chest and abdomen, was inspired by Greek prototypes. The statuettes stand on a circular base atop the shaft of the candelabra, surrounded by the branching arms. Supported on a tripod base decorated with lion's paws and palmettes, each tapering shaft is fluted and a series of moldings marks the bottom and top. The various elements of the candelabra were cast separately and the pieces assembled and welded together. Unlike the Greeks, who used oil lamps for illumination, the Etruscans used candles, which were stuck on the ends of the candelabra's arms. Etruscan candelabra seem often to have been made and used in pairs. This pair, although nearly identical, shows slight differences in size and detail.

http://www.getty.edu/art/collection...half-of-5th-century-bc/?dz=0.3623,0.1837,4.48
 

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