Reading Greek Poetry Aloud: Evidence from the Bacchylides Papyri

Nagy, Gregory

doi:10.2307/20546621

Cited by 34 publications

(7 citation statements)

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“…Therefore, however the poems may have originated, their rhythmic and melodic properties might be explained if they were substantially shaped by rhapsodes who were competing with each other. This is consistent with arguments offered by Nagy (1996Nagy ( , 2000b, Clark (1997) and others that the early rhapsodes did not deliver a fixed text, but engaged in a substantial degree of creative composition.…”

Section: Resultssupporting

confidence: 90%

“…Another issue that is worth mentioning is that the rather sporadic accentuation of the papyri is not always in apparent agreement with these principles. The general idea seems to be that what is marked is usually the pitch peak of a group of words (Nagy 2000a). This works well for many of the cola in the Bacchylides Papyri, as in 75.7 (Nagy 2000a: 26):…”

Section: Discussionmentioning

confidence: 98%

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Homeric Recitation, with Input from Phonology and Philology

Andrews

2005

Antichthon

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It is widely assumed that the aoidoi, the original performers of Homeric poetry or its antecedents, sang a chant restricted to three or four notes, to the accompaniment of a 4-stringed instrument (Danek and Hagel 1995, Marshall 2002). The prestigious later performers from classical times, the rhapsodes, did not have the instrument, and the vocal characteristics of their performances are quite uncertain. In this paper I will discuss various aspects of a conjectured rhapsodic style, based on the reconstruction of the Ancient Greek pitch accent by Devine and Stephens (1994), together with some consideration of issues concerning the hexameter rhythm. For some initial orientation, it might be useful to listen to the short sample on the CD accompanying this issue; various features of the style will be discussed with reference to that.

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Section: Resultssupporting

confidence: 90%

Section: Discussionmentioning

confidence: 98%

Homeric Recitation, with Input from Phonology and Philology

Andrews

2005

Antichthon

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“…As Kelly (2007:87) observes for the Iliad (but I note the same to be true for the Odyssey), this formula is often associated with our key formula when it is deployed by the poet and usually indexes "a speech which qualifies or rejects" the prior speech. On the colometry of the epic hexameter line, see Fränkel 1955:104, Nagy 1974, Peabody 1975:66-70, Edwards 1986:4-54, Foley 1990:80-82, Sale 1993, Nagy 2000, and Garner 2011. Within the current essay, I follow Berkley Peabody's schematization:…”

Section: Stricken To Silence 497mentioning

confidence: 99%