Download Plato's Rhapsody and Homer's Music: The Poetics of the by Gregory Nagy PDF
By Gregory Nagy
The competition of the Panathenaia, held in Athens each summer time to have a good time the birthday of the city's goddess, Athena, used to be the atmosphere for performances of the Homeric Iliad and Odyssey through specialist reciters or "rhapsodes." The works of Plato are our major surviving resource of data approximately those performances. via his references, a very important section within the background of the Homeric culture might be reconstructed. via Plato's eyes, the "staging" of Homer in classical Athens can once more develop into a digital fact.
This e-book examines the general testimony of Plato as knowledgeable in regards to the cultural legacy of those Homeric performances. Plato's positive ear for language--in this example the technical language of high-class artisans like rhapsodes--picks up on numerous actual expressions that echo the controversy of rhapsodes as they as soon as practiced their artwork.
Highlighted one of the works of Plato are the Ion, the Timaeus, and the Critias. a few specialists who examine the Timaeus have recommended that Plato should have meant this masterpiece, defined by way of his characters as a humnos, to be a tribute to Athena. The metaphor of weaving, implicit in humnos and particular within the peplos or gown that was once provided to the goddess on the Panathenaia, applies additionally to Homeric poetry: it too was once pictured as a humnos, destined for everlasting re-weaving at the festive get together of Athena's ceaselessly self-renewing birthday.
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Extra resources for Plato's Rhapsody and Homer's Music: The Poetics of the Panathenaic Festival in Classical Athens
Example text
Also HQ 111); see also PH 23n27 on Lycurgus Against Leokrates 106–107, where the orator mentions a customary law at Sparta concerning the performance of the poetry of Tyrtaeus. [ ] 8. ” In terms of rhapsodic vocabulary, as we saw above in “Plato” Hipparkhos 228b–c, hupolêpsis is not just ‘reception’ but also ‘continuation’ in the sense of reception by way of relay. [ ] 9. Cf. the context of epideigma ‘display, demonstration’ in “Plato” Hipparkhos 228d, as discussed in PH 161; cf. also id. pp. 217 and following on apodeixis ‘presentation, demonstration’.
36. On the out-performing of Agamemnon by Achilles, see Martin 1989:63, 69–70, 98, 113, 117, 119, 133, 202, 219, 223, 228. See especially p. 141, a discussion of Iliad XXIII 657, 706, 752, 801, 830, where Achilles stands up to speak five times. Also p. ” Also p. 198: “[Achilles] will go on to defeat Agamemnon, symbolically, by being the best performer on the verbal level” (cf. p. 223). [ ] 37. See PP 111n24. [ ] 38. I confront for the first time this aspect of rhapsodic performance in PH 23–24n28.
Murray 1996:127. [ ] 41. Cf. already PP 123–124, with reference to Isocrates Panathenaicus 18–19 and 33. [ ] 42. For commentary on the formal variations between the Homeric verses as transmitted in the medieval vulgate and the Homeric verses as quoted in the Platonic textual traditions, see Murray 1996:126 and 128. On Plato’s “text” of Homer as an indirect reflex of Panathenaic performance traditions in the 5th and 4th centuries BCE, see PP 142–146. [ ] 43. Chantraine DELG 823. [ ] 44. Cf. in general Martin 1989:xiv, followed by Reynolds 1995:207.