Az agyastars es az anya, az aki messze harcol megszulte gyors urat a szolgalolanynak
akinek a helyet elfoglalta egy ko, es az akinek egyszer megegett a szive a pajzs peremetol Pi nelkul. Egesz neve ketszer is allat,mikor szerelembe esett
Meropia, a lany aki ugy szuletett egy hangbol mint a szel,az akinek
kedveert az ibolyakoszorus Muzsa eles hangon kialtott,
a langolo szerelem emleke. Az akinek ferfiassaga
kihunyt es neve a nagyapja gyikosaeval egyezo
es felszabaditotta Tirian tole. Az akinek Paris
Simihidas odaadta a vakok kedvelt
vagyonat.Orommel te aki ezzel
terelsz nyajat,Saettioni nok
kinzoja, tolvaj fia, apatlan,
larnakas labu, edesen kell
hogy jatsz a nema lannyal,
a lathatatlan Kalliopeval.
Έκανα μία πρώτη δοκιμή μετάφρασης από την αγγλική μετάφραση, στο κάτω μέρος η παράφραση που παραθέτει ο μελετητής βγάζει περισσότερο νόημα και βοηθάει στην κατανόηση του αινιγματικού χωρίου(;) αλλά αυτή θα τη μεταφράσω αύριο, δες αν καταλαβαίνεις τίποτα?:)
"H σύντροφος κανενός στο κρεβάτι και μητέρα εκείνου που πολεμά μακριά γέννησε τον γρήγορο κύριο της θεραπαινίδας εκείνου που τη θέση του πήρε μια πέτρα, όχι ο Κεραστάς(;) αλλά εκείνος που μία φορά κάηκε η καρδιά του από το χείλος μιας ασπίδας χωρίς Πι. Ολόκληρος στο όνομα, διπλό ζώο, που ερωτεύτηκε τη Μερόποια κοπέλα που γεννήθηκε από μία φωνή και σαν τον άνεμο, εκείνος που για χάρη της στεφανωμένης με βιολέτες Μούσας ένωσε μια σφυριχτή κραυγή, το μνημείο της φλογερής αγάπης του. Εκείνος που έσβησε την ανδρεία που είχε το ίδιο όνομα με το φονιά του παππού του και ελευθέρωσε την Τυρίαν από αυτήν. Εκείνος στον οποίον ο Πάρης Σιμιχίδας πρόσφερε το αγαπημένο απόκτημα των τυφλών. Αναγαλλιάζοντας με αυτό, εσύ που χτυπάς(;) τα κοπάδια (βοτοβαμων), βασανιστή των Σαέττιων γυναικών, γιε του κλέφτη, χωρίς πατέρα, με πόδια λάρνακας [(;)box-footed], πρέπει να παίζεις γλυκά στο άφωνο κορίτσι, την αόρατη Καλλιόπη."
http://www.ondamar.demon.co.uk/literat/classicl.htmTHE ORGAN IN CLASSICAL LITERATURE
The invention of the organ is traditionally credited to Ktesibios, an Alexandrian who lived in the third century BC. His instrument used water to generate and stabilise the flow of wind, and was therefore known as the 'hydraulic organ' or 'hydraulos'.
There are many uncertainties and ambiguities in our knowledge of the organ's early history. For example, the word 'organum' more often meant a tool, or a musical instrument of any kind, than a pipe-organ; and many of the early 'organs' were musical automata. One such was the Rhytum, praised in a poem by Hydelus of Alexandria (c.250 BC):
Come, all ye lovers of pure wine,
Come, and within Arsinoë's shrine
Behold the Rhytum: like th'Egyptian dancer
Besas, giving forth tones pure and bold,
Such is the Rhytum's mouth, outpouring.
It makes no sound of war;
But from its golden mouth
It signals mirth and revelry,
Such as the Nile, King of flowing rivers
Pours in watery sound from holy shrines,
Dear to the priests of sacred mysteries.
Then honour this invention of Ktesibios,
And hasten ye to fair Arsinoë's shrine.
The hydraulus earns a mention in Cicero's Tusculan Orations (c.50BC):
If a dear friend is overcome with grief, would you offer him a sturgeon rather than a treatise by Socrates? Would you urge him to listen to a hydraulus playing rather than to Plato discoursing?... Such are the remedies advocated by Epicurius; (his book) is a manual of Dissipation.
In Pliny's Natural History we read that:
... the dolphin, a creature fond not only of man but of the musical art, is charmed by harmonious melody, and especially the sound of the hydraulus.
Porfyrius (aka Publilius) Optatianus (fl. c.320AD) wrote a 'concrete poem' containing passages in the shape of an altar, a syrinx and an organ (left). The organ pipes are represented by 26 vertical lines of verse, each of which increases in length by one letter, the last line being double the length of the first. The 'windchest', a single horizontal line, is placed beneath the 'pipes' and above the 'keyboard', which consists of 26 brief lines of equal length. The poem talks of the instrument:
...on which one can bring forth varied songs, and whose sounds escape from round open pipes of bronze whose length increases regularly. Below the pipes are placed the square-shaped keys by which the hand of the artist, opening or closing at will the conduits of wind, gives out a rhythmic, agreeable melody. Further below water lies hidden, agitated by swift breaths of air blown from this side and that by the concerted labour of hard-working youths, and fanned to greater volume by an answering blast. At the least movement, the levers, opening the pipes, express a symphony of sound in rapid and vigorous songs or a calm and simple melodies. The whole world will be dazzled by its metre and rhythms!
The Emperor Julian the Apostate (d.363) wrote a riddle-epigram in Greek about the organ:
I see reeds of a different kind, doubtless sprung from a soil of bronze. They are not moved by airy breezes, but by a breath rushing forth from a bag of leather which makes its way to the lower ends of the cunningly pierced reeds. A skilled man with nimble fingers stands there handling the keys which give voice to the pipes; and they, softly quivering in response, ooze forth a delicate sound.
Towards the end of the fourth century AD, the historian Ammianus Marcellinus lamented the decadence of the times:
As things stand today, the few houses that once were centres for the cultivation of serious study are overflowing with the wanton playthings of sluggish idleness, re-echoing with the sound of voices and the jangle of musical instruments... The libraries are sealed forever, like tombs, and men construct hydraulic organs and huge lyres looking like chariots...
Claudian (fl. c.400AD) wrote a poem which includes a passage about the Hydraulus:
"Let there also be one who, by his light touch, manages the many tongues of the field of bronze pipes, and with his nimble fingers causes a mighty sound; and who violently stirs, with a strong lever, the waters from whose tormet comes forth sweet music."
A poem by Isaac of Antioch (c.450AD) refers to the hydraulus:
A wave of meditation rushed in upon me, and threw me from place to place... even to the lovely city of the Greeks that looks out to sea, in the month of January last, when the music deprived the inhabitants of sleep. Every night I would hear the sounds of citharas, hydraulic organs and harps, playing before the palaces of the princes. At an hour when sleep is sweet, the music was clearly to be heard... Every night the instruments were set out, the hydraulus in every way resembling a man, and only rational speech distinguished man from the cithara... The flute was joined with the tongue, and the lips with the hydraulus, to make the desired sound as if from a single mouth. By its loudness the hydraulus dominated the other more delicate sounds, but it united with them so that the music reached the tops of the palaces; devoid of judgement and speech, the instrument joined forces with the men to make their voice heard far and wide. The sweet concord I then heard was wonderful. On a certain day I was asleep, and snoring, when the hydraulus sounded loudly, so that I awoke with a start and rose up with my brothers to perform our religious duties. And we came to the psalm which was to be recited at that hour... but the music of the delightful hydraulus seduced my mind, as though the strings of my soul's lyre had been released, so much did this music please me. In that moment the psalm returned to my mind and tightened my weak strings...
In the fifth century, Martianus Capella was the last Roman writer to mention the hydraulic organ. In his De Nuptiis Philologiae et Mercurii, he writes:
And lo! before the gate there arose a sweet melody of great charm, sung by the choir of the Muses... There was also the music of the tibias, and the sound of lyres, and the sonorous harmonies of hydraulic organs.
The same author recounted his travels in Egypt:
Everywhere I went I found citharists, kordax dancers, and players of the sambuca and the hydraulic organs for the benefit and use of mankind.
In about 500AD Theodoric the Great wrote of his minister Boethius' abilities in arranging 'spectacles':
He makes waters surge up from the depths and cascade down again; flames run evenly around; organs thunder forth strange sounds; and he fills the pipes with exotic blasts of air, which makes them utter a melodious sound...
In the early English version of the 'History of Apollonius, King of Tyre' (c.600AD) we find the following:
And the word spread throughout all the land that Apollonius, the famous king, had found his wife; and there was tremendous rejoicing and the organs were played and the trumpets blown, and a joyful feast was prepared by the king and the people.
As a farewell to the organ in the classical world, the composer Mesomedes of Crete (fl. c.130 AD) appears in Marguerite Youcenar's 'Hadrian' (1951), a fictional autobiography of the Roman Emperor. The Emperor and his entourage visit the Museum at Alexandria, and a concert is given on a collection of musical instruments. Old Dorian lyres, Phrygian pipes and African drums are heard; then:
My favourite musician, Mesomedes of Crete, used the water organ to accompany the recitation of his poem, The Sphinx, a disturbing, undulating work, as elusive as the sand before the wind.
As elusive as the memory of the hydraulus itself.
See also The organist in literature pt.1: from the classical world to 1880.
First annotated edition. "Édition rare et trčs recherchée" (Legrand). Contains a number of unpublished idylls, the extant epigrams of Theocritus and his poems "Pelekys" and "Pterygion". "An unusual feature of the book is that the poems 'Syrinx' ('Pan-pipes') and 'Pelekys' ('axe') are printed respectively in a funnel-shaped frame representing a set of Pan-pipes and in an outline drawing of an Minoan double axe-head, while the poem 'Pterygion' ('wing') is printed in the shape of a wing but without a frame" (Staikos). - With numerous neat and learned annotations in Latin and Greek, partly by Petrus Francius, Professor of Classics in Amsterdam. With ownership-inscription of the Dutch mathematician Rudolf Snell and bookplate of L. S. Olschki. Minor staining here and there, marginal annotations partly touched by the binder's knife. A very fine copy, bound in 17th cent. red morocco gilt.
http://www.reiss-sohn.de/frame_stut03.php?page=29
"The number of reeds (10) in the instrument, is not against the poem, for though numbers, above nine... are rare, as many as twelve are found. A much more serius objection is that the Greek syrinx is rectangular instrument with reeds of equal lenght (1,169 n). The stepped variety represented by the decreasing lines of the poem is perhaps Etruscan in origin and appears on Roman coins early in the first century B.C. These however seem to be its earliestappearance in Greek or Roman art, whereas there are many representations of tehe rectangular form down to the end of the third century. To this argument Edmonds replied that' the variation in the heard lenght of tehe lines would correspond naturally enough to the variation in note of the tubes of the pipe', which musical persons must have known to be effectively of unequal lenght. It seems plain however, since two lines are devoted to each pipe, that it has breadth as vell as length, or in other words that each couplet represents, not a note heard, but a visible and tangible reed, and that in this respect the Syrinx is on all fours with the other Technopaegina. Unless, therefore, examples of the stepped from of instrument can be produced from Greek land at much earlier date than any at present known itis impossible to regard the poem as by T. or even as nearly contemporary vith him. (Gow. Comm, 1952.)
Alexandra Pappas's personal free Blog
Alexandra Pappas's blog. Permalink 2004-09-25 13:08:58, Categories: My Posts, words.
Welcome to your new free Blog! This is our welcome message. ...
www.huminity.com/blog=501282
EPIGRAMMA, CONCETTO
Mario Praz: Emblem, Device, Epigram, Conceit. In: Studies in Seventeenth Century Imagery. Roma, 1964.
"A történelem minden korszakában létezik minden emberi dolog pusztán arányát tekintve beszélhetünk divatokról. Az attikai vázafestők a trójai háború hőseit ábrázolták, akiknek pajzsán a bajmegelőzést elősegítő szimbólumok voltak - néhányat Aischylos is leír a Heten Théba ellen című művében -; Titus egyik híres pénzérméjének fej-részén horgony köré csavarodó delfin volt. De nem nevezhetnénk sem az aischylosi Görögországot, sem a Flaviusok Rómáját emblematikus korszaknak, noha az utóbbiban nagy divatja volt az epigrammáknak, ennek az emblémákhoz hasonló műfajnak, amint azt a későbbiekben még látni fogjuk. De minden bizonnyal emblematikus korszak volt Nagy Sándoré, a technopaegnia-val és az ???Ut Pictura Poesis" elvvel; 3 és emblematikus volt a korai keresztények gondolkodásmódja is, jól ismert szimbólumaival, továbbá a középkoré, vadállatokról szóló, erkölcsi célzatú meséivel, lapidáriumaival és allegóriáival."
"Az alexandriaiakkal való kapcsolatot kifejezetten hangsúlyozza Juan Eusebio Nieremberg jezsuita atya (többek között a Gnomoglyphica című könyv szerzője) Oculta Filosofia 15 című munkájában:
???Plotinzs a világot Isten költészetének nevezte. Hozzáteszem, hogy ez a költemény olyan, mint egy labirintus, amelyet minden irányban olvasnak és Szerzőjéről is szól, rá is mutat. Az antikvitás költői eszközei között ünnepelték Theocritos fuvoláját, rodosi Simias tojását, szárnyát és bárdját. De mindenekelőtt azt a rendkívül szellemes és összehasonlíthatatlan dicshimnuszt, amelyet Porphyrius költő Constantinus császárnak címzett, és amelyet Szent Jeromos, Fulgentius és Bede dicsőített... Mindez a dicshimnusz tizenhét, rendkívül művészien megszerkesztett labirintusból áll, ahol egyik versszakot a másikkal különbözőképpen kapcsolja és köti össze; minden részben megünnepli a Császár kiválóságát a sorok kezdetével, közepével és végével, továbbá, átlósan is az első sor első betűjétől kezdve az utolsó sor utolsó betűjéig, majd keresztbe-kasul összeköti a sorok első és utolsó betűje között maradókat: a második sor második betűjét, a harmadik sor harmadik betűjét stb., úgy, hogy még ezer más véleményt is megformáz a Császár dicsőítésére. Így képzelem én el, hogy a világ Isten Dicshimnusza."
In the 1950's I stumbled upon The Greek Anthology - Vol 5 - Loeb Classical Library - 1953 - Book XV - MISCELANEA EPIGRAM 21- The Pipe Of Theocritus- A picture of the pipe of Pan in words written about Pan.
PUBLICATION NUMBER AAT 9910414
TITLE The music of Syrinx: The voice in pastoral (Spain, France, Roman Empire)
AUTHOR Bultman, Dana Cay
DEGREE PhD
SCHOOL THE UNIVERSITY OF WISCONSIN - MADISON
DATE 1998
DIGITAL FORMATS 7.07Mb image-only PDF
PUBLICATION NUMBER AAT 3128691
TITLE Applications of bioacoustics to musical instrument technology: Models for sound synthesis and musical controllers based on animal sound production mechanisms
AUTHOR Smyth, Tamara
DEGREE PhD
SCHOOL STANFORD UNIVERSITY
DATE 2004
DIGITAL FORMATS 9.69Mb image-only PDF
PUBLICATION NUMBER AAT 3128124
TITLE Greek writing in its aesthetic context: Archaic and Hellenistic arts and letters
AUTHOR Pappas, Alexandra
DEGREE PhD
SCHOOL THE UNIVERSITY OF WISCONSIN - MADISON
DATE 2004
DIGITAL FORMATS 26.18Mb image-only PDF
TITLE THE PANPIPE AS INDICATOR OF CULTURE CONTACT: A TEST OF TOLSTOY'S METHOD IN LONG RANGE COMPARISON.
AUTHOR TEKINER, ROSELLE MARTIN
DEGREE PHD
SCHOOL CITY UNIVERSITY OF NEW YORK
DATE 1974
PAGES 301
SOURCE DAI-A 35/03, p. 1303, Sep 1974
SUBJECT ANTHROPOLOGY (0292)
TITLE The panpipe (nai) in contemporary Romanian folk music
AUTHOR Apan, Valeriu
DEGREE PhD
SCHOOL UNIVERSITY OF CALIFORNIA, LOS ANGELES
DATE 1994
PAGES 323
ADVISER Rice, Timothy
SOURCE DAI-A 55/02, p. 237, Aug 1994
SUBJECT EDUCATION, MUSIC (0522); MUSIC (0413); ANTHROPOLOGY, CULTURAL (0326)
TITLE A synthesis of Middle Woodland panpipes in eastern North America
AUTHOR Turff, Gina May
DEGREE MA
SCHOOL TRENT UNIVERSITY (CANADA)
DATE 1997
PAGES 324
ADVISER Tamplin, Morgan
ISBN 0-612-21705-1
SOURCE MAI 36/02, p. 364, Apr 1998
SUBJECT ANTHROPOLOGY, ARCHAEOLOGY (0324)
TITLE Playing panpipes in southern Russia: History, ethnography, and performance practices
AUTHOR Velichkina, Olga V.
DEGREE PhD
SCHOOL THE OHIO STATE UNIVERSITY
DATE 1998
PAGES 458
ADVISER Mazo, Margarita
ISBN 0-591-74236-5
SOURCE DAI-A 59/01, p. 20, Jul 1998
SUBJECT MUSIC (0413); EDUCATION, MUSIC (0522); LITERATURE, SLAVIC AND EAST EUROPEAN (0314)
TITLE The Chinese dizi, the Native American courting flute, and the Andean panpipes: An investigation of pedagogy and musical practice
AUTHOR Baxter, Marsha Lynne
DEGREE EdD
SCHOOL COLUMBIA UNIVERSITY TEACHERS COLLEGE
DATE 2001
PAGES 270
ADVISER Pogonowski, Lenore
ISBN 0-493-39084-7
SOURCE DAI-A 62/09, p. 2998, Mar 2002
SUBJECT EDUCATION, MUSIC (0522); EDUCATION, BILINGUAL AND MULTICULTURAL (0282)
TITLE GREEK VOTIVE RELIEFS TO PAN AND THE NYMPHS
AUTHOR EDWARDS, CHARLES MALCOLM
DEGREE PhD
SCHOOL NEW YORK UNIVERSITY
DATE 1985
PAGES 933
SOURCE DAI-A 46/08, p. 2109, Feb 1986
SUBJECT FINE ARTS (0357); ANTHROPOLOGY, ARCHAEOLOGY (0324)
The purpose of this thesis is to collect and study the votive reliefs dedicated to Pan and the Nymphs during the Classical and Hellenistic periods in Greece. The work is divided into two parts: text and catalogue. Chapter I of the text serves as a background to our study of the reliefs. Various aspects of the cult of the Nymphs and Pan are explored both in mythology, and in the physical remains of their cave sanctuaries. Nymphs are related to fresh water springs and in that context many aspects of their character can be understood. As goddesses of fresh water they appear as virginal girls, often under the protection of the two Olympians whom they most resemble: Artemis and Athena. The evidence from their cave sanctuaries suggests that votive reliefs to the Nymphs were set up on stelai outside the entrance of the cave. The most famous sanctuary of the Nymphs in the city of Athens was the Klepsydra. A re-evaluation of the evidence suggests that Pan was worshiped in the cave directly above the Klepsydra. Chapter II is a discussion of the figural types used by votive relief carvers of the Classical period. A close study of the previous chronology for the reliefs suggests a downward shift in the dates, and that the typical cave frame was not introduced until around 340 B.C. Several figural types found on the votive reliefs appear on neo-Attic reliefs of the Antonine period. The evidence suggests that the latter are scale copies of an original monument which supplied the votive relief carvers with new figural types. This monument was the statue base of Dionysos Eleutherios carved in Athens ca. 340 B.C. Chapter III studies the archaistic and non-archaistic reliefs of the Hellenistic period in Athens. Again, an attempt is made to specify the iconographic source for these reliefs. Archaistic compositions serving as prototypes were the Round Dance, the Corinthian 'Puteal' Types, Dionysos and Four Seasons, and Dionysos and Three Nymphs. Evidence suggests that an unspecified late Classical monument which carried mantle dancers also provided Hellenistic carvers with non-archaistic figural types. Chapter IV collects the evidence for the spread of Attic motifs throughout the Greek world. The catalogue lists each of the 113 preserved reliefs. Each piece is completely described and discussed in terms of date and iconography.
PUBLICATION NUMBER AAT ML57371
TITLE La syrinx dans la peinture et la mosaique du IIe s. av. J.-C. au IVe s. ap. J.-C
AUTHOR Boisjoly, Richard
DEGREE MA
SCHOOL UNIVERSITE LAVAL (CANADA)
DATE 1990
ISBN 0-315-57371-6
SOURCE MAI 40/07, 2002
SUBJECT FINE ARTS (0357)
PUBLICATION NUMBER AAT 9910414
TITLE The music of Syrinx: The voice in pastoral (Spain, France, Roman Empire)
AUTHOR Bultman, Dana Cay
DEGREE PhD
SCHOOL THE UNIVERSITY OF WISCONSIN - MADISON
DATE 1998
THE ORGAN IN CLASSICAL LITERATURE
Alexandra Pappas's personal free Blog
In the 1950's I stumbled upon The Greek Anthology - Vol 5 - Loeb Classical Library - 1953 - Book XV - MISCELANEA EPIGRAM 21- The Pipe Of Theocritus- A picture of the pipe of Pan in words written about Pan.
The Sound of the Avian Syrinx
Theocritean Syrinx
agon
The Syrinx of Ps.-Theocritos 181
PUBLICATION NUMBER AAT 9910414
