The "Kottabos-Toast" and an Inscribed Red-Figured Cup

Csapo, Éric; Miller, Monica Carol

doi:10.2307/148071

Cited by 44 publications

(7 citation statements)

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“…οὐ δύναμαι is a formulaic opener, but it has been thought to refer specifically to the οὐ δύναμαι of Thgn. 695 or 939 (the beginning of the proemial refusal to sing discussed above); references in Csapo and Miller (1991). If so, the combination of aulete plus 'singing posture' would seem to suggest that elegy was perceived as very much sung rather than 'inbetween' as we argue.…”

Section: The Performance Of Elegymentioning

confidence: 76%

“…More immediately relevant to ancient Greece is the evidence 10 35 The iconographic evidence is inconclusive too, as already Herington (1985) 36-38 saw. In their 'catalogue of singers of lyric verse in Attic red figure' Csapo and Miller (1991) 381-82 list three paintings possibly associated with elegy. (1) Munich 2646: a cup by Douris.…”

Section: The Performance Of Elegymentioning

confidence: 99%

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The Inbetweenness of Sympotic Elegy

Budelmann

Power

2013

J. Hell. Stud.

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This article revisits the question of how elegy was performed at the symposion, and argues that, rather than being either musical or non-musical, elegy situates itself between speech and song. None of the passages in which elegy mentions song are clearly self-referential: they tend to be generic, set in the future, concerned with other performers and other compositions or altogether too slippery in their language to pin them down. Moreover, there are a number of elegiac pieces that appear designed to allow symposiasts to shift from song to speech or speech to song, thereby introducing a new mode of performance, and so are themselves transitional. These observations about the way elegiac texts position their own performance are complemented by considerations about their actual performance. Evidence both from ancient musicologists and from other tonal languages suggests that inbetween modes of delivery were common in Greek poetry and the metrical shape makes elegy a prime candidate. The final section of the article turns to the difficult term elegos in fifth-century drama. It argues that several of these passages draw on inbetweenness as one association of elegos and thus decreases the gap between elegos and surviving elegy. A coda points out that the elegiacs in Euripides' Andromache are a further example of elegy transitioning between two modes of performance.

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Section: The Performance Of Elegymentioning

confidence: 76%

Section: The Performance Of Elegymentioning

confidence: 99%

The Inbetweenness of Sympotic Elegy

Budelmann

Power

2013

J. Hell. Stud.

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“…Gaunt (2014) According to Campbell (1964) their words 'look like the introduction of a maxim and may well have been in elegiac metre' . Csapo and Miller (1991) 372 interpret this scene as representing conversation. 13 Csapo and Miller (1991).…”

Section: Fig 71amentioning

confidence: 99%

“…Csapo and Miller (1991) 372 interpret this scene as representing conversation. 13 Csapo and Miller (1991). includes what has been taken to be the beginning of our Praxilla fragment ( fig.…”

Section: Fig 71amentioning

confidence: 99%

“…wanting to give the impression that they were copying Douris' script-by including for instance, his signature letter-shape, dotted delta-but not quite pulling it off.15 Csapo and Miller further argue that the fact that the inscription is not copied from Douris is evidence that it is archaic, since the letter-forms are archaic; while the possibility (which they do not mention) that it was copied from a different source cannot be ruled out, the likelihood does seem to be that the line was an improvised addition and that the inscription, like the cup, belongs in the first half of the fifth century. Given that the conventional chronology for Praxilla places her floruit c. 450, the vase's dependence on a poem of hers seems difficult if not impossiblebut in this respect, too, it turns out on closer inspection that we are on shaky 14 So Csapo and Miller (1991) 371. 15 On dotted delta as a recognized hallmark of Douris' script among forgers and imitators see Barron (1964) may have been trying a little too hard to live up to sympotic aspirations, for it exhibits a peculiar combination of pretension and ineptitude: everything about it, from the inscriptions to the comprehensive depiction of all verbal and ludic aspects of the symposion (poetry, gnomic conversation, competitive kottabos) to the inclusion of figurative decoration in mise en abyme on the amphora and the coverlet of the couch (which depicts cranes and pygmies) points to an attempt to display sophistication and mastery of the artistic and literary activities of the symposion-at the same time as the crudeness of the execution belies the accomplished nature of its context of production and use.…”

Section: Fig 71amentioning

confidence: 99%

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