Aristotle, Rhetoric (ed. W. D. Ross) bekker page 1397b
Other versions: ed. J. H. Freese, in English
eromenęs de tęs Alphesiboias pôs, hupolabôn phęsin tęn men thanein ekrinan, eme de mę ktanein.
(8.32)
Apollodorus, Library and Epitome (ed. Sir James George Frazer) book 3, chapter 14, section 4
Other versions: ed. Sir James George Frazer, in English
Hęsiodos de auton Phoinikos kai Alphesiboias legei, Panuasis de phęsi Theiantos basileôs Assuriôn, hos esche thugatera Smurnan. (4.04)
Pausanias, Description of Greece book 8, chapter 24, section 8
Other versions: in English
ho de Alkmaiôn hęnika tęn mętera apokteinas ephugen ex Argous, tote es tęn Psôphida elthôn, Phęgian eti apo tou Phęgeôs onomazomenęn, sunôikęsen Alphesiboiai tęi Phęgeôs thugatri kai autęi dôra hôs to eikos kai alla kai ton hormon didôsin. (3.17)
Homeric Hymns (ed. Hugh G. Evelyn-White) card 107
Other versions: ed. Hugh G. Evelyn-White, in English
pollai de numphai kai parthenoi alphesiboiai
paizomen, amphi d' homilos apeiritos estephanôto.
(2.94)
Homer, Iliad book 18, line 593
Other versions: in English; ed. Samuel Butler, in English
entha men ęďtheoi kai parthenoi alphesiboiai
orcheunt' allęlôn epi karpôi cheiras echontes.
(2.13)
Aeschylus, Suppliant Women (ed. Herbert Weir Smyth, Ph.D.) card 854
Other versions: ed. Herbert Weir Smyth, Ph. D., in English
mępote palin idoim'
alphesiboion hudôr,
enthen aexomenon
zôphuton haima brotoisi thallei.
The interpretation of the mixed dance as a courthip dance is supported by the women's epithet alpesiboiai 'bringing many oxen' (as dowry) (Iliad 18.593). The position of the final vignette on the Shield, an ekphrasis clearly composed according to the principles of ring composition, coroborates the interpretation. The first vignette (Iliad 18-491-496) describes a bridal procession; in their traim follow young men performing what must be acrobatics dances. Together the two vignettes from a frame for the scenes of everyday life. Thecourtship dance is in a sense preparatory to the wedding procession, and the presence of multipe couples perhaps reflects the custom of marrying off more than one pair at once, as in the weddings at the Spartan court.
Mehri tris eimai sto EKT, meta pigeno na doulepso sto ergastirio. Bradi kata deka pali sto Index. Distihos to simerino gramma, epexergasia mou kata latos sbistike :-( aurio xana grapso.
Agora
A large, open public space which served as a place for assembly of the citizens and, hence, the political, civic, religious and commercial center of a Greek city. Buildings for all of these various purposes were constructed as needed in and around the agora. Formal layout of the agora was developed in the Hellenistic period. The Greek agora is the predecessor of the fora of imperial Rome.
of Athens: Paus. 1.17.1
market-places of Ionia: Paus. 6.24.2
market-places of old style: Paus. 6.24.2-10, Paus. 7.22.2, Paus. 10.32.10, Paus. 10.35.4, 6
tombs in market-places: Paus. 1.43.8, Paus. 1.44.1, Paus. 3.12.7, Paus. 6.24.9, Paus. 7.24.1, Paus. 9.5.14
Agora (2)
a town in the Chersonese of Thrace: Hdt. 7.58
Si l'homme de la période néolithique a exécuté des danses de rituel de chasse afin de pouvoir tuer ou capturer l'animal qu'il convoitait, on peut facilement supposer qu'il a pu exécuter des danses de rituel de guerre pour souhaiter la mort de l'ennemi, dont il convoitait les terres et les richesses, ou bien pour se défendre contre l'ennemi qui désirait s'approprier des siennes. Sans posséder de preuves formelles de ce rituel chez l'homme de la préhistoire, nous pouvons en déduire l'existence en voyant les rituels de guerre des peu peuplades primitives amérindiennes et africaines. La vie du primitif était trčs rude et l'on peut supposer que les guerres étaient nombreuses dčs cette époque. Connaissant la place qu'occupaient, chez lui, les croyances et les rituels, il est possible de se le représenter exécutant une danse concrčte de guerre pour envoűter l'esprit de son ennemi afin de le tuer. On retrouve chez les tribus amérindiennes des danses de guerre qui sont accompagnées du battement effréné du tambour et des cris des participants. Ces danses servaient généralement de préparation en vue de l'attaque de l'ennemi. On y atteignait un certain point d'excitation qui favorisait le développement du courage et de la force du guerrier. Durant le temps d'absence des guerriers, les femmes, les enfants et les hommes âgés de la tribu, exécutaient d'autres formes de danse afin d'assurer le retour en vie des guerriers. Au retour, on y exécutait des danses funčbres, en l'honneur des guerriers morts ŕ la bataille et d'autres danses afin de célébrer la victoire.
Toutefois c'est en Grčce antique que l'on retrouve officiellement les premičres danses guerričres. Parmi celles-ci on retrouve la Gymnopédie, la Laconienne, la Hormos, la Mycčne et la plus célčbre, la Pyrrhique. Ces danses guerričres avaient pour but d'exalter les vertus guerričres des soldats. La Gymnopédie était dansée par deux groupes d'adolescents et d'enfants, nus, qui chantaient en dansant. C'était une danse de procession. Les meneurs de la danse étaient appelés "Tyrrhéatics" en mémoire de la victoire de Tyrrhé et ils portaient une couronne de lauriers. La Laconienne était composée de trois chśurs, représentant le passé, le présent et le futur, et était exécutée pour donner aux soldats, la force et l'agilité nécessaires pour utiliser leurs armes: lance, bouclier. Elle était accompagnée de chants.
Les vieillards débutaient ainsi:
"Jadis nous étions jeunes et heureux comme vous vaillants, audacieux et actifs en plus"
Les jeunes hommes répondaient:
"C'est maintenant notre tour, vous verrez nous n'avons jamais été aussi méritants que vous."
Et les enfants enchaînaient:
"Le jour viendra oů nous vous montrerons des faits qui surpasseront tout ce que vous avez fait."
La Hormos était une danse guerričre gracieuse et vivante.
Kai oi arxaiologoi kamia fora briskontai se amixania mprosta se ayta ta stromata, opos kai na nai i anakalypsi xreiazetai xrono, meraki, leptodouleia kai ypomoni.
De sou krybo kati gia to gramma i to Stelio, einai ola grammena sto index... O Franklin egrapse sto Stelio ti bibliografia pou tou eixa zitisei kai ekeinos mou ti metefere tilefonika. Eixa skopo na tou grapso gia na ton eyxaristiso, alla kai i Arxaiologia einai kali idea. An ton broume omos, giati ap'o,ti mou eipe o Stelios aytos taxideyei polu, perisy itan stin Athina me mia Ypotrofia stin Amerikaniki sxoli, tora isos na brisketai kai stin Aystralia.
To gramma tis Marie-Helene ginetai (einai sti diadikasia tis zymosis tora) kai ayrio exo rantebou me to Stelio. Omos yparxei mia periptosi dystyxos na to anabalo gia tin Paraskeyi (to mathima tha einai afieromeno ston Omero), giati prin apo ligo me eidopoiisan kai ayrio tha prepei na episkeyto tin anaskafi pou imoun gia na boithiso se kapoia sxedia apotyposis tou xwrou... Elpizo na prolabo.
Homer, Odyssey
... But the wooers [305] turned to dance and gladsome song, and made them merry, and ... the
Odyssey (1886) : book 18 (general note) book 18, line 295: hormos book 18 ...
www.perseus.tufts.edu/cgi-bin/ lookup?lookup=Hom.+Od.+18.321 - 32k
I am a physicist, Diploma from Karls Ruprecht University in Heidelberg and PhD from the University in Frankfurt , but have no current affiliation with either university.
For a few years I was a member of the NA35 experiment at CERN. The aim of this experiment was the study of properties of the quark gluon plasma possibly formed in ultrarelativistic heavy ion collisions. After this I was involved in software development for 3D ultrasound visualization at the Fraunhofer Institute for Computer Graphics in Germany . At present my interests include deterministic and evolutionary multiobjective optimization algorithms, optimization problems in medical physics and computational geometry issues and their application in radiotherapy treatment planning systems. Additional, in cooperation with Dr. F. Mould, I started a work on statistical modelling of survival times of cancer patients
I have found a very interesting and funny description by J. B. Calvert of a story by Herodotus of Cleisthenes, a tyrant of Sicyon in 575 BC, who wanted his daughter Agarista to marry. A large party started with many young rich men from prominent Athenian families who wanted to be considered to marry Agarista. Hippocleides, one of these young men, showed off his talents, which included dancing to the flute. He danced on a table, which was rather showy anyway, but he was finally so indelicate as to dance with his head on the table and his legs gyrating in the air. Cleisthenes reject Cleisthenes to marry his daughter, with the comment that he had "danced" away his bride. Hippocleides replied with "What do I care?" Now underwear were not used commonly by ancient Greeks and we can imagine that even if nudity was not uncommon in ancient Greece the performance of Hippocleides must be shocking.
Dance is mentioned in the Homeric poems: the suitors of Penelope delight themselves with music and dancing. Odysseus is entertained at the court of Alcinous with the exhibitions of very skillful dancers.
Plutarch describes the dance of Theseus and his fellow Athenian youths who had just escaped from the Minotaur on Crete (Plutarch Theseus).
Plato, the great moralist, says that all dancing should be based on religion like the Egyptians as he claims.
Another interesting and funny story is that of famous generals who were often asked to perform dances in celebration of military victories just like our generals today would be asked to give speeches. A similar strange story about music is that whereas the Romans used the trumpet going out to fight the Spartans marched into battle with the music of the flute and the accompaniment of lyre and harp.(Pausanias Guide to Greece)
Dance in the military was important but I assume that today it is less important :-).
The Pyrrhic dance was performed in different ways at various times and in various countries, for it was by no means confined to the Doric states. Plato describes it as representing by rapid movements of the body the way in which missiles and blows from weapons were avoided, and also the mode in which the enemy were attacked. In the non-Doric states it was probably not practised as a training for war, but only as a mimetic dance: thus we read of its being danced by women to entertain a company (Xenophon Anabasis). William Smith, A Dictionary of Greek and Roman Antiquities, John Murray, London, 1875.
The religious aspects of the Panathenaic festival were coupled with parades, music, dancing, poetry and athletic competitions. Valuable prizes were awarded to the winners.
Types of dances
The dances of the ancient times are characterized as dances of war or dances of peace. The latter are distinguished in dances of theater, religious and worshiping dances, martial dances, symposia dances, mourning dances, etc. Each type of presentation - tragedy, comedy, and satirical play - had its characteristic dances, some staid and solemn, some featuring lewd miming with phallic props. Dances cited in the ancient texts are the following:
Pyrrhic dance a martial dances part of the basic military education in both Athens and Sparta accompanied by the sound of a flute. Named for Pyrrhus (A son of Achilles).
Gymnopaedia the main dance of the Lacedaemonians performed annually at the agora in Sparta.
Geranos was danced in Delos. According to Plutarch, Theseus after having killed the Minotaur in the Labyrinth of Knossos, on his way back to Athens, he stopped at Delos. There, he offered a sacrifice to the goddess Aphrodite and he danced around the altar. This dance included serpentine movements, imitating the movements of Theseus inside the Labyrinth.
Ierakio a women's dance danced in festivals in honour of the goddess Hera.
Epilinios a dionysiac dance danced on top of the vats while treading the grapes with their feet.
Emelia the dance of tragedy, enhancing the events enacted on the stage. Kordax was the dance of the comedy was looked down on, and in general regarded as unworthy of serious men. Sikkinis was the dance of the satirical drama, imitating the movements of cats and danced by Satyrs.
Imeneos the dance of the marriage. It was danced by the bride with her mother and friends. It was quick with a lot of twists and turns.
Hormos is according to Lucian a common dance of the young men and women who dance one by the other forming a chain. The leader is a young man who shows his dancing and martial abilities through his movements. A young woman follows him providing an example of solemnity and decency to all other women dancers.
Iporchima a combination of dance and pantomime, singing and music from Crete. It was danced by boys and girls together singing choric poems.
A girl dancing with a ball, from an Attica vase.
From the Metropolitan Museum of Art
Statuette of a veiled and masked dancer, 3rd–2nd century B.C.; Hellenistic Greek Bequest of Walter C. Baker, 1971 (1972.118.95)
The attire worn by all performers of the mantle dance is similar: an ample cloak, enwrapping the body and on some occasions drawn closely over the head, or covering the lower part of the face as well, leaving only the eyes unveiled. This mantle, which is often depicted as extremely thin and transparent, and worn over a long full chiton, becomes the most expressive component of the composition, both concealing and revealing the bodily shape and identity of the dancer. Elisabet Friesländer , The Mantle Dancer in the Hellenistic Period: Glorification of the Himation.
References
J. B. Bury, A History of Greece (New York: The Modern Library, no date). p. 148.
H. L. Crosby and J. N. Schaeffer, An Introduction to Greek (Boston: Allyn and Bacon, 1961). p. 89.
Hormos is according to Lucian a common dance of the young men and women who dance one by the other forming a chain. The leader is a young man who shows his dancing and martial abilities through his movements. A young woman follows him providing an example of solemnity and decency to all other women dancers.
An analogi for the mixed dance is the hormos,a courtship dance described by Lucian (Salt.12-13)in which males and females alternate in a chain. A young man leads, dispaying his knowledge of the posttures that will later be useful to him in var, while a yung woman follows, demostrating that the knows how to move with feminine decorum. It is also a mimetic dance in imitation of a string of beads, and as Lucian says, the collier is plaited with modestry and manliness. After describing the hormos, Lucian goes on to mention Ariadne and the khoros Daidalos buolt for her. But, assuming that the reader knows the passage, he passes it over. The cintext in which he mentions the Iliad passage, however, is telling. Prior to describing the hormos Lucian touches on contemporary dances in Sparta. Spartan men, he says, practice dancing as much as warfare, and they perform not only war dances but choral dances, including those dear to Aphrodite. While they dance they sing an invocation to Aphrodite and the Erotes, that they may jiin in teheur dances. The Spartan dances , like the hormos and the Sheild vignette, blend the martial and the amorous; Lucian is implying that what took place on the dancing floor Daidalos fashioned for Ariadne was smitable for a young maiden and a hero like Theseus.
Agorazo to tehos Archeologia, gia na stelnoume to Frank, san euharistisi. Episis eitan kalo na etimazete anigma pros ton kurio Burkert. Egrapses tin Meri-Helen? Boro na matho telos pandon ti periehi to gramma tou Frank? Kati krivis, mipos parexigitike o Stelios? Min eise egoistria, den ftei o Omiros, esi i idja den ipes, pos isos iparhoun polla stromata alitias, kai hriazete xistro?
http://www.classics.unibo.it/Didattica/Programs/20032004/Elenco/Corso_Condello/seriocomico2.htm
3) Per lo scandalo suscitato giŕ in antico dal canto demodocheo – sommo esempio di serio-comico – si vedano le seguenti testimonianze discusse a lezione:
A) Xenoph. fr. 15 G.-P.2
Tutto attribuirono agli dči Omero ed Esiodo
quanto fra gli uomini č vergogna e biasimo,
il furto, l’adulterio e il reciproco inganno
B) Pl. Resp. III 390c
Ti sembra opportuno che in vista del suo autocontrollo [enkráteia] un giovane ascolti parole siffatte?[…] O raccontare che Zeus dimenticň tutto quel che aveva deciso […] per via del desiderio o dei piaceri d’amore, e fu tanto sconvolto dalla vista di Era che non attese neppure di andare in camera, ma volle unirsi con lei lě sul pavimento, dicendole di essere cosě preso dal desiderio come neppure la prima volta […]? O anche dire che Ares e Afrodite furono legati da Efesto per altri fatti simili?
C) Athen. III 122c
Era č un’ingannatrice e Ares č un adultero, e per questo tutti accusano [kategoroűsin] Omero
D) Schol. Ar. Pax 778 (p. 122,10 Holw.)
Era d’uso per gli antichi cantare le nozze di dči e di eroi. Apione fa osservare queste cose contro coloro che eliminano [athetoűntas] l’adulterio di Ares e Afrodite nell’Odissea
E) Schol. Od. VIII 267 (p. 378 Dind.)
A proposito della relazione di Ares e Afrodite, [Demodoco] li educa a non essere impudenti, visto che anche gli dči sono umiliati per simili ragioni. / Non č strano che il citarodo [kitharodós] intoni questo canto di fronte a un uditorio di gaudenti, cercando di renderli moderati [sophronízon] tramite le cose di cui godono. Perciň rappresenta l’adultero in catene e fa dire agli dči: «non fruttano bene le male azioni» [v. 329]. E Odisseo cosa dice? «Orsů, continua, e raccontaci lo stratagemma [kósmon: o la costruzione, o il canto] del cavallo, sottintendendo che Demodoco non avrebbe dovuto cantare un adulterio divino, bensě azioni utili e lodevoli. Lo accusa evidentemente perché non si sarebbero dovute rivelare simili vicende a proposito degli dči. Ma l’accusa non ricade su Omero. Sono storie tramandate dalla piů remota antichitŕ, sia in opere d’arte che in riti, sia greci che barbarici. Che Omero non abbia apprezzato tali argomenti risulta chiaro dalle parole che attribuisce ad Atena: «muoia chiunque altro facesse lo stesso» [Od. I 47, a proposito dell’adultero Egisto]. Inoltre Omero non conosce il matrimonio di Efesto con Afrodite, e ne fa piuttosto il marito di Charis; Demodoco canta tali argomenti secondo la propria creazione mitica [idíai muthopoiíai].
Per le posizioni moderne che ripetono in buona parte la prospettiva (moralistica) antica, si puň vedere il quadro fornito da W. Burkert, Das Lied von Ares und Aphrodites. Zur Verhältnis von Odyssee und Ilias, «Rheinisches Museum» n. F. CIII (1960) 130-144, oppure in italiano S. Grandolini, Canti e aedi nei poemi omerici, Pisa-Roma (Istituti Editoriali e Poligrafici Internazionali) 1996, pp. 123-130.
Walter Burkert, emeritierter Professor für Klassische Philologie, bes. Griechisch Adresse:
Walter Burkert
Klassisch-Philologisches Seminar
Rämistrasse 68
CH-8001 Zürich
Tel. 01'634 20 47
E-Mail: walter_burkert@bluewin.ch
Privat:
Wildsbergstrasse 8
CH-8610 Uster
Tel. 01 940 30 13
Biographische Daten
Geboren am 2. Februar 1931 in Neuendettelsau, Bayern, Deutschland
Studium der Klassischen Philologie, Geschichte und Philosophie an den Universitäten Erlangen und München 1950-1954
Dr. phil. Universität Erlangen 1955
Assistent, Universität Erlangen, 1957-1961
Heirat mit Maria geb. Bosch 1957, 3 Kinder (Reinhard, Andrea, Cornelius)
Habilitation, Universität Erlangen, 1961
Privatdozent, Universität Erlangen, 1961-1966
Junior Fellow, Center for Hellenic Studies, Washington, D.C. 1965-1966
Professor der Klassischen Philologie, Technische Universität Berlin, 1966-1969
Gastprofessor, Harvard University, 1968
Professor der Klassischen Philologie, bes. Griechisch, Universität Zürich, 1969-1996
Sather Professor of Classical Literature, University of California at Berkeley, 1977
Carl Newell Jackson Lectures, Harvard University, 1982
Dekan der Philosophischen Fakultät I der Universität Zürich, 1986-1988
Gastprofessor, University of California at Los Angeles, 1988
Gifford Lectures, St.Andrews, Scotland, 1989
Emeritiert 1996
Ehrungen
Carl-Friedrich-Gauss-Medaille 1982
Doctor of Law h. c. University of Toronto 1988
Dr. phil. h. c. Universität Fribourg (Schweiz) 1989
Dr. theol. h. c. Hochschule Neuendettelsau 1993
Doctor in Litteris h. c. University of Oxford 1996
Dr. of Humane Letters h. c. University of Chicago 2001
Balzan-Preis 1990
Ingersoll-Preis 1992
Orden Pour le mérite für Wissenschaften und Künste 1999
Sigmund-Freud-Preis 2003
Ordentliches Mitglied der Berlin-Brandenburgischen Akademie der Wissenschaften und der Academia Europaea
Corresponding Fellow der British Academy
Korrespondierendes Mitglied der Heidelberger Akademie der Wissenschaften, der Braunschweigischen Wissenschaftlichen Gesellschaft, der Bayerischen Akademie der Wissenschaften und der Österreichischen Akademie der Wissenschaften
Foreign Member der American Philosophical Society und der American Academy of Arts and Sciences
Honorary Member der Society for the Promotion of Hellenic Studies, London
Verzeichnis der bisherigen Veröffentlichungen (Stand: 2001)
Bücher und gesondert erschienene Abhandlungen
Zum altgriechischen Mitleidsbegriff, Diss. Erlangen 1955.
Weisheit und Wissenschaft. Studien zu Pythagoras, Philolaos und Platon, Nürnberg: Hans Carl Verlag 1962.
Engl. ed.: Lore and Science in Ancient Pythagoreanism, transl. by E.L. Minar, Cambridge, Mass.: Harvard University Press 1972.
Homo Necans. Interpretationen altgriechischer Opferriten und Mythen (Religionsgeschichtliche Versuche und Vorarbeiten 32), Berlin: De Gruyter 1972; 2., um ein Nachwort erweiterte Auflage 1997.
Ital. Ausg.: Homo Necans. Antropologia del Sacrificio Cruento nella Grecia Antica, trad. di F. Bertolini, Torino: Boringhieri 1981.
Engl. ed.: Homo Necans. The Anthropology of Ancient Greek Sacrificial Ritual and Myth, transl. by P. Bings, Berkeley, Cal.: University of California Press 1983.
[Das Opferritual in Olympia, in: G. Gebauer, Hg., Olympische Spiele - die andere Utopie der Moderne, Frankfurt 1996, 27-38 (= Homo Necans 108-119); The Function and Transformation of Ritual Killing, in: R. L. Grimes, ed., Readings in Ritual Studies, Prentice Hall 1996, 62-71 (= Homo Necans Engl. ed. 35-48)].
Griechische Religion der archaischen und klassischen Epoche (Die Religionen der Menschheit 15), Stuttgart: Kohlhammer 1977.
Ital. Ausg.: Storia delle religioni (8): I Greci, I: Preistoria, epoca minoico-micenea, secoli bui (sino al sec. ix), II: Etŕ arcaica, etŕ classica (sec. ix-iv), trad. di P. Pavanini, Milano: Jaca Book 1984.
Ital. Ausg.: La religione Greca, Seconda edizione italiana con aggiunte dell'Autore a cura di Giampiera Arrigoni. Milano: Jaca Book 2003. 638 S.
Engl. ed.: Greek Religion. Archaic and Classical, transl. by J. Raffan, Cambridge, Mass.: Harvard University Press 1985.
Griech. Ausg.: ARXAIA ELLHNIKH YRHSKEIA. Archaiké kaí Klassiké Epoché. Metáphrase Nik. P. Bezantákos - A. Abagianoű. Filologiké epimeleia: Nik. P. Bezantákos, Athen: Kardamitsa 1993.
Portug. Ausg.: Religiâo Grega na época clássica e arcaica, trad. de M.J. Simôes Loureiro, Lisboa: Fundaçâo Calouste Gulbenkian 1993.
[Afrodite e il fondamento della sessualitŕ, in: C. Calame, ed., L'amore in Grecia, Bari 1983, 135-140, 290-291 (= Griechische Religion 238-243)].
Structure and History in Greek Mythology and Ritual, Berkeley, Cal.: University of California Press 1979.
Ital. Ausg.: Mito e Rituale in Grecia. Struttura e Storia, trad. di F. Nuzzaco, Bari: Laterza 1987.
Griech. Ausg.: ELLHNIKH MUYOLOGIA KAI TELETOURGIA. DOMH KAI ISTORIA, metáfrase H. Andreáde, Athen: Morphotikó hídryma Ethnikés Trapézes 1993.
[Trasformazioni del capro espiatorio, Aut aut 184/5, 1981, 175-192 (= Structure and History 59-77, trad. P. Govi)].
Die orientalisierende Epoche in der griechischen Religion und Literatur (Sitzungsberichte der Heidelberger Akademie der Wissenschaften, Philosophisch-historische Klasse 1984,1), Heidelberg: Carl Winter 1984.
Engl. ed.: The Orientalizing Revolution. Near Eastern Influence on Greek Culture in the Early Archaic Age. Transl. by M.E. Pinder and W.B. (Revealing Antiquity 5), Cambridge, Mass.: Harvard University Press 1992 (Paperback 1995).
Griech. Ausg.: ARXAIOS ELLHNIKOS POLITISMOS. H EPIDRASH THS ANATOLHS. Metáfrase A. Logiaké. Athen: Papadima 2000.
Anthropologie des religiösen Opfers. Die Sakralisierung der Gewalt (Carl Friedrich von Siemens Stiftung: Themen 40), München 1984; 2. Auflage 1987.
[= Anthropologie des religiösen Opfers. Die Sakralisierung der Gewalt, in: H. Rössner, Hg., Der ganze Mensch. Aspekte einer pragmatischen Anthropologie, München 1986, 205-227].
Ancient Mystery Cults (Carl Newell Jackson Lectures), Cambridge, Mass.: Harvard University Press 1987.
Ital. Ausg.: Antichi culti misterici, trad. di M.R. Falivene, Bari: Laterza 1989.
Dt. Ausg.: Antike Mysterien. Funktionen und Gehalt, München: Beck 1990; 2., unveränderte Auflage 1991; 3., durchgesehene Auflage 1994.
Éd. franç.: Les cultes ŕ mystčres dans l'antiquité, trad. par B. Deforge, L. Bardollet, G. Karsai, Paris: Les Belles Lettres 1992.
Éd. franç.: Les cultes ŕ mystčres dans l'antiquité, Nouvelle traduction par Alain-Philippe Segonds. Paris: Les Belles Lettres 2003.
Brasil. Ausg.: Antiguos Cultos de Mistério, trad. de D. Bottman, Sâo Paulo: Editora da Universidade de Sâo Paulo 1992.
Griech. Ausg.: MUSTHRIAKES LATREIES THS ARXAIOTHTAS, metáfrase E. Mathaíou, Athen: Kardamitsa 1994.
Norweg. Ausg.: Oldtidens mysteriekulter. Carl Newell Jackson-forelesninger, oversatt av K. A. Lie, Oslo: Pax Forlag 1997.
Türk. Ausg.: I lkccedil;ag Gizem Tapilari, çeviren S. S ener, Ankara: I mge Kitabevi 1999.
["Strasse der Seligen" - griechische Mysterien, in: R. Beck, Hg., Der Tod. Ein Lesebuch von den letzten Dingen, München 1995, 57-64 (aus: Antike Mysterien 19-34)].
Wilder Ursprung. Opferritual und Mythos bei den Griechen (Kleine kulturwissenschaftliche Bibliothek 22), Berlin: Wagenbach 1990.
[enthält ausser dem Vorwort von G.W. Most (Strenge Erforschung wilder Ursprünge. Walter Burkert über Mythos und Ritus, 7-12) folgende, im Verzeichnis der Veröffentlichungen unten aufgeführte Artikel: Griechische Tragödie und Opferritual (1966; Rückübersetzung), 13-39; Kekropidensage und Arrhephoria. Vom Initiationsritus zum Panathenäenfest (1966), 40-59; Neues Feuer auf Lemnos. Über Mythos und Ritual (1970; Rückübersetzung), 60-76; Buzyge und Palladion: Gewalt und Gericht im altgriechischen Ritual (1970), 77-85; Demaratos, Astrabakos und Herakles. Königsmythos und Politik zur Zeit der Perserkriege (Herodot 6, 67-69) (1965), 86-95]
Ital. Ausg.: Origini selvagge. Sacrificio e mito nella Grecia arcaica, trad. di M.R. Falivene, Bari: Laterza 1992.
Éd. franç.: Sauvages Origines. Mythes et rites sacrificiels en Grčce ancienne, trad. par D. Lenfant, Paris: Les Belles Lettres 1998.
Engl. ed.: Savage Energies. Lessons of Myth and Ritual in Ancient Greece. Transl. by Peter Bing. Chicago: University of Chicago Press 2001.
Oedipus, Oracles, and Meaning. From Sophocles to Umberto Eco (The Samuel James Stubbs Lecture Series 1), Toronto: University College 1991.
Platon in Nahaufnahme. Ein Buch aus Herculaneum (Lectio Teubneriana 2), Stuttgart/Leipzig: Teubner 1993.
'Vergeltung' zwischen Ethologie und Ethik. Reflexe und Reflexionen in Texten und Mythologien des Altertums (Carl Friedrich von Siemens Stiftung: Themen 55), München 1994.
Creation of the Sacred. Tracks of Biology in Early Religions, Cambridge, Mass.: Harvard University Press 1996 (Paperback 1998).
Dt. Ausg.: Kulte des Altertums: Biologische Grundlagen der Religion. München: Beck 1998.
Ital. Ausg.: La creazione del sacro. Orme biologiche nell'esperenza religiosa. Trad. Franco Salvatorelli. Milano: Adelphi 2003. 249 S.
Klassisches Altertum und antikes Christentum. Probleme einer übergreifenden Religionswissenschaft (Hans-Lietzmann-Vorlesungen 1), Berlin: De Gruyter 1996.
Ital. Ausg.: Antichitŕ Classica e Cristianesimo Antico. Problemi di una scienza comprensiva delle religioni. Cosenza: Edizioni Lionelleo Giordano 2000, 193 S. (Biblioteca di Studi Religiosi 3).
Kleine Schriften I: Homerica. Herausgegeben von Christoph Riedweg in Zusammenarbeit mit Franziska Egli, Lucius Hartmann und Andreas Schatzmann (Hypomnemata Suppl., Bd. 2), Göttingen: Vandenhoeck & Ruprecht 2001.
Kleine Schriften. II: Orientalia. Herausgegeben von M. Laura Gemelli Marciano in Zusammenarbeit mit F. Egli, L. Hartmann und A. Schatzmann (Hypomnemata Suppl., Bd. 2), Göttingen 2003 (erschienen Dezember 2002).
Die Griechen und der Orient. Von Homer bis zu den Magiern. München: Beck-Verlag, 2003.
Ital. Ausg.: Da Omero ai Magi. La tradizione orientale nella cultura greca, a cura di C. Antonetti (Saggi Marsilio), Venezia: Marsilio 1999.
Span. Ausg.: De Homero a los Magos. La tradición oriental en la cultura griega, trad. Xavier Riu, Barcelona: El Acantilado 2002. 172 S.
Aufsätze (einschliesslich Lexikonbeiträge, Personalia)
1959
STOICHEION. Eine semasiologische Studie, Philologus 103, 1959, 167-197.
1960
Das Lied von Ares und Aphrodite. Zum Verhältnis von Odyssee und Ilias, Rhein. Mus. 103, 1960, 130-144.
Engl. Übers.: The Song of Ares and Aphrodite: On the Relationship between the Odyssey and the Iliad, in: G.M. Wright, P.V. Jones, ed., Homer. German Scholarship in Translation, Oxford 1997, 249-262.
Platon oder Pythagoras? Zum Ursprung des Wortes 'Philosophie', Hermes 88, 1960, 159-177.
1961
Hellenistische Pseudopythagorica, Philologus 105, 1961, 16-43; 226-246.
Elysion, Glotta 39, 1961, 208-213.
1962
GOHS. Zum griechischen 'Schamanismus', Rhein. Mus. 105, 1962, 36-55.
Caesar und Romulus-Quirinus, Historia 11, 1962, 356-376.
1963
Iranisches bei Anaximandros, Rhein. Mus. 106, 1963, 97-134.
A Note on Aeschylus, Choephori 205 ff., Class. Quarterly 13, 1963, 177.
1965
Cicero als Platoniker und Skeptiker. Zum Platonverständnis der 'Neuen Akademie', Gymnasium 72, 1965, 175-200.
Demaratos, Astrabakos und Herakles. Königsmythos und Politik zur Zeit der Perserkriege (Herodot 6, 67-69), Mus. Helv. 22, 1965, 166-177 [wiederabgedr. in: Wilder Ursprung 1990, 86-95].
Artikel 'Herodotos', in: Lexikon der Alten Welt, Zürich 1965 (ND 1990), 1277-1281.
1966
Kekropidensage und Arrhephoria. Vom Initiationsritus zum Panathenäenfest, Hermes 94, 1966, 1-25 [wiederabgedr. in: Wilder Ursprung 1990, 40-59].
Greek Tragedy and Sacrificial Ritual, GRBS 7, 1966, 87-121 [dt. Fassung in: Wilder Ursprung 1990, 13-39].
1967
Urgeschichte der Technik im Spiegel antiker Religion, Technikgeschichte 34, 1967, 281-299.
1968
Orpheus und die Vorsokratiker. Bemerkungen zum Derveni-Papyrus und zur pythagoreischen Zahlenlehre, Antike und Abendland 14, 1968, 93-114.
1969
Einleitung zu: Hermann Diels, Kleine Schriften zur Geschichte der antiken Philosophie, hg. von W. Burkert, Darmstadt 1969.
Das Proömium des Parmenides und die Katabasis des Pythagoras, Phronesis 14, 1969, 1-30.
1970
Jason, Hypsipyle, and New Fire at Lemnos. A study in Myth and Ritual, Class. Quarterly 20, 1970, 1-16 [dt. Fassung in: Wilder Ursprung 1990, 60-76].
Buzyge und Palladion: Gewalt und Gericht im altgriechischen Ritual, ZRGG 22, 1970, 356-368 [wiederabgedr. in: Wilder Ursprung 1990, 77-85].
La genčse des choses et des mots. Le papyrus de Derveni entre Anaxagore et Cratyle, Études Philosophiques 25, 1970, 443-455.
1971
Nachwort zu: Xenophon, Erinnerungen an Sokrates (Reclams Universalbibliothek), Stuttgart 1971, 157-174.
Die 'Samia' Menanders. Zu einer wiederentdeckten antiken Komödie, NZZ 340, 25.7.1971, 37-38.
1972
Die Leistung eines Kreophylos. Kreophyleer, Homeriden und die archaische Heraklesepik, Mus. Helv. 29, 1972, 74-85.
Zur geistesgeschichtlichen Einordnung einiger Pseudopythagorica, in: Pseudepigrapha I, Entretiens sur l'antiquité classique 18, Vandśuvres/Genčve 1972, 23-55.
Fritz Wehrli zum siebzigsten Geburtstag: Vom Kontinuum geistiger Tradition, NZZ 315, 9.7.1972, 49-50.
1973
Von Amenophis II. zur Bogenprobe des Odysseus, Grazer Beiträge 1, 1973, 69-78.
1974
Die Absurdität der Gewalt und das Ende der Tragödie: Euripides' Orestes, Antike und Abendland 20, 1974, 97-109.
Artikel 'Gott' (Abschn. I: Antike), in: J. Ritter, Hg., Historisches Wörterbuch der Philosophie, Bd. III, Basel/Stuttgart 1974, 721-25.
1975
Apellai und Apollon, Rhein. Mus. 118, 1975, 1-21.
Resep-Figuren, Apollon von Amyklai und die 'Erfindung' des Opfers auf Cypern. Zur Religionsgeschichte der 'Dunklen Jahrhunderte', Grazer Beiträge 4, 1975, 51-79.
Aristoteles im Theater. Zur Datierung des 3. Buchs der 'Rhetorik' und der 'Poetik', Mus. Helv. 32, 1975, 67-72.
Le laminette auree: Da Orfeo a Lampone, in: Orfismo in Magna Grecia. Atti del XIV convegno di studi sulla Magna Grecia, Taranto, 6-10 ott. 1974, Napoli 1975, 81-104.
Le laminette auree di Thurii: Da Orfeo a Lampone, Magna Graecia 10.1/2, 1975, 5-7.
Plotin, Plutarch und die platonisierende Interpretation von Heraklit und Empedokles, in: J. Mansfeld, L.M. de Rijk, ed., Kephalaion. Studies in Greek Philosophy and its Continuation offered to Prof. C.J. de Vogel, Assen 1975, 137-146.
Nochmals das Arrian-Epigramm von Cordoba, ZPE 17, 1975, 167-169.
1976
Das hunderttorige Theben und die Datierung der Ilias, Wiener Studien 89 (N.F. 10), 1976, 5-21.
Opfertypen und antike Gesellschaftsstruktur, in: Der Religionswandel unserer Zeit im Spiegel der Religionswissenschaft, Darmstadt 1976, 168-187.
Otto Seel Ý, Gnomon 48, 1976, 217-221.
1977
Air-Imprints or Eidola. Democritus' Aetiology of Vision, Illinois Class. Studies 2, 1977, 97-109.
Orphism and Bacchic Mysteries: New Evidence and Old Problems of Interpretation, in: W. Wuellner, ed., Protocol of the Twenty-Eighth Colloquy: 13 March 1977 (The Center for Hermeneutical Studies), Berkeley 1977.
Le mythe de Géryon: Perspectives préhistoriques et tradition rituelle, in: B. Gentili, G. Paioni, ed., Il Mito greco. Atti del Convegno Internazionale, Urbino, 7-12 maggio 1973, Roma 1977, 273-283.
1978
Analyse structurale et perspective historique dans l'interprétation des mythes grecs, Cahiers internationaux de symbolisme 35/6, 1978, 163-173.
Killing in Sacrifice. A Reply, Numen 25, 1978, 77-79.
1979
Mythisches Denken. Versuch einer Definition an Hand des griechischen Befundes, in: H. Poser, Hg., Philosophie und Mythos. Ein Kolloquium, Berlin 1979, 16-39.
Von Ullikummi zum Kaukasus: Die Felsgeburt des Unholds. Zur Kontinuität einer mündlichen Erzählung, Würzb. Jahrb. für die Altertumswissenschaft N.F. 5, 1979, 253-261.
Kynaithos, Polycrates, and the Homeric Hymn to Apollo, in: G.W. Bowersock, W. Burkert, C.J. Putnam, ed., Arktouros. Hellenic Studies presented to B.M.W. Knox, Berlin 1979, 53-62.
1980
Griechische Mythologie und die Geistesgeschichte der Moderne, in: Les études classiques aux XIXe et XXe sičcles: Leur place dans l'histoire des idées, Entretiens sur l'antiquité classique 26, Vandśuvres/Genčve 1980, 159-199.
Neue Funde zur Orphik, Informationen zum Altsprachlichen Unterricht 2.2, 1980, 27-42.
mit H. Hoffmann: La cuisine des morts. Zu einem Vasenbild aus Spina und verwandten Darstellungen, Hephaistos 2, 1980, 107-111.
1981
THEON OPIN OUK ALEGONTES. Götterfurcht und Leumannsches Missverständnis, Mus. Helv. 38, 1981, 195-204.
Indogermanische Horizonte und griechische Sprache. Ernst Risch zum 70. Geburtstag, NZZ 234, 9.10.1981, 41.
Vorwort zu Ernst Risch, Kleine Schriften, Berlin 1981, V-VII.
Mythos und Mythologie, in: Propyläen Geschichte der Literatur. Literatur und Gesellschaft der westlichen Welt I: Die Welt der Antike, Berlin 1981, 11-35.
Portug. Übers.: Mito e Mitologia, Coimbra 1986.
Seven against Thebes: An oral tradition between Babylonian Magic and Greek Literature, in: C. Brillante, M. Cantilena, C.O. Pavese, ed., I poemi epici rapsodici non omerici e la tradizione orale. Atti del convegno di Venezia, 28-30 settembre 1977, Padova 1981, 29-48.
Glaube und Verhalten: Zeichengehalt und Wirkungsmacht von Opferritualen, in: Le sacrifice dans l'antiquité, Entretiens sur l'antiquité classique 27, Vandśuvres/Genčve 1981, 91-125.
1982
Craft versus Sect: The Problem of Orphics and Pythagoreans, in: B.F. Meyer, E.P. Sanders, ed., Jewish and Christian Self-Definition III: Self-Definition in the Graeco-Roman World, London 1982, 1-22, 183-189.
Span. Übers.: Profesión frente a secta: el problema de los órficos y los pitagóricos, Taula. Quaderns de pensament 27/28, 1997, 11-32.
Literarische Texte und funktionaler Mythos. Istar und Atra·asis, in: J. Assmann, W. Burkert, F. Stolz, Hg., Funktionen und Leistungen des Mythos, Freiburg/ Göttingen 1982, 63-82.
Konstruktion und Seinsstruktur: Praxis und Platonismus in der griechischen Mathematik (Abhandlungen der Braunschweig. Wiss. Gesellschaft 34), Göttingen 1982, 125-141.
Götterspiel und Götterburleske in altorientalischen und griechischen Mythen, Eranos Jahrbuch 51, 1982, 335-367.
Die orientalisierende Epoche in griechischer Religion und Literatur, Jahrb. der Heidelberger Akademie der Wissenschaften, 1982, 35-36.
1983
Apokalyptik im frühen Griechentum: Impulse und Transformationen, in: D. Hellholm, ed., Apocalypticism in the Mediterranean World and the Near East. Proceedings of the International Colloquium on Apocalyptism, Uppsala, August 12-17, 1979, Tübingen 1983, 235-254.
Der griechische Nachtigallen-Mythos und das Märchen 'Von dem Machandelboom'. Vom Mythos zum Volksmärchen, Landbote und Tagblatt von Winterthur und Umgebung 18, 22.1.1983, 21-22.
Oriental Myth and Literature in the Iliad, in: R. Hägg, ed., The Greek Renaissance of the Eighth Century B.C.: Tradition and Innovation. Proceedings of the Second International Symposium at the Swedish Institute in Athens, 1-5 June 1981, Stockholm 1983, 51-56.
Itinerant Diviners and Magicians: A Neglected Element in Cultural Contacts, ib., 115-119.
Eraclito nel Papiro di Derveni: Due nuove testimonianze, in: L.Rossetti, ed., Atti del Symposium Heracliteum 1981, Roma 1983, 37-42.
1984
Magister Ludi. Zum 'Griechischen Lehrgang' von Günther Zuntz, NZZ 77, 31.3./1.4.1984, 70 = Latein und Griechisch in Berlin 28.3, 1984, 38-40.
Vom Nachtigallenmythos zum 'Machandelboom', in: W. Siegmund, Hg., Antiker Mythos in unseren Märchen, Kassel 1984, 113-125, 196 f.
Sacrificio-Sacrilegio: Il 'Trickster' fondatore, Studi Storici 25, 1984, 835-845 = C. Grottanelli, N.F. Parise, ed., Sacrificio e societŕ nel mondo antico, Bari 1988, 163-175.
Artikel 'Mythos, Mythologie' (Abschn. I: Antike), in: J. Ritter, Hg., Historisches Wörterbuch der Philosophie, Bd. VI, Basel/Stuttgart 1984, 281-83.
Artikel 'Orphik', in: J. Ritter, Hg., Historisches Wörterbuch der Philosophie, Bd. VI, Basel/Stuttgart 1984, 1378-80.
1985
Das Ende des Kroisos. Vorstufen einer Herodoteischen Geschichtserzählung, in: Catalepton. Festschrift für Bernhard Wyss zum 80. Geburtstag, Basel 1985, 4-15.
Opferritual bei Sophokles. Pragmatik - Symbolik - Theater, Altsprachl. Unterricht 28.2, 1985, 5-20.
Herodot über die Namen der Götter: Polytheismus als historisches Problem, Mus. Helv. 42, 1985, 121-132.
Anfänge der Polisreligion. Tradition - Kristallisation - Akkulturation, in: XVIe Congrčs International des Sciences historiques, Stuttgart, du 25 aoűt au 1er septembre 1985. Rapports I (grands thčmes, méthodologie, sections chronologiques I), Stuttgart 1985, 295-297.
Artikel 'Griechische Religion', Theologische Realenzyklopädie XIV, Berlin/New York 1985, 235-253.
1986
Krieg, Sieg und die Olympischen Götter der Griechen, in: F. Stolz, Hg., Religion zu Krieg und Frieden, Zürich 1986, 67-87.
Der Autor von Derveni: Stesimbrotos Perě Teletôn?, ZPE 62, 1986, 1-5.
1987
Oriental and Greek Mythology: The Meeting of Parallels, in: J. Bremmer, ed., Interpretations of Greek Mythology, London 1987, 10-40.
The Making of Homer in the Sixth Century B.C.: Rhapsodes versus Stesichoros, in: Papers on the Amasis Painter and his World. Colloquium Sponsered by the Getty Center for the History of Art and Humanities and Symposium Sponsered by the J. Paul Getty Museum, Malibu, Cal.: J. P. Getty Museum 1987, 43-62.
Xenarchos statt Poseidonios. Zu Pap. Gen. Inv. 203, ZPE 67, 1987, 51-55.
Die antike Stadt als Festgemeinschaft, in: P. Hugger, Hg., Stadt und Fest. Zu Geschichte und Gegenwart europäischer Festkultur, Unterägeri 1987, 25-44.
Offerings in Perspective: Surrender, Distribution, Exchange, in: T. Linders, G.C. Nordquist, ed., Gifts to the Gods. Proceedings of the Uppsala Symposium 1985 (Acta Universitatis Upsalensis, Boreas 15), Uppsala 1987, 43-50.
The Problem of Ritual Killing, in: R.G. Hamerton-Kelly, ed., Violent Origins, Stanford 1987, 149-176.
Omophagia, in: M. Eliade, ed., The Encyclopedia of Religion XI, New York 1987, 70-73.
Die betretene Wiese. Interpretenprobleme im Bereich der Sexualsymbolik, in: H.P. Duerr, Hg., Die wilde Seele. Zur Ethnopsychoanalyse von Georges Devereux, Frankfurt 1987, 32-46.
Geist der Antike - Gegenwart des Humanen. Zum Tode von Fritz Wehrli, NZZ 200, 31.8.1987, 19 = Bull. Schweiz. Altphilologenverband 30, 1987, 8.
Denkformen der Kosmogonie im Alten Orient und in Griechenland, in: M. Münzel, Hg., Ursprung. Vortragszyklus 1986/7 über die Entstehung des Menschen und der Welt in den Mythen der Völker (interim 6), Frankfurt 1987, 9-18; 137.
1988
Katagógia-Anagógia and the Goddess of Knossos, in: R. Hägg, N. Marinatos, G.C. Nordquist, ed., Early Greek Cult Practice. Proceedings of the Fifth International Symposium at the Swedish Institute at Athens, 26-29 June 1986, Stockholm 1988, 81-88.
The Meaning and Function of the Temple in Classical Greece, in: M.V. Fox, ed., Temple in Society, Winona Lake 1988, 27-47.
Platonische Systematik - menandrische Heiterkeit. Zum Tod von Konrad Gaiser, NZZ 110, 13.5.1988, 27.
Werksbesichtigung (X): Burkert über Burkert. 'Homo Necans': Der Mensch, der tötet, Frankfurter Allg. Zeitung 178, 3.8.1988, 29-30. = Der Mensch, der tötet. Walter Burkert über "Homo Necans" (1972), in: H. Ritter, Hg., Werksbesichtigung: Geisteswissenschaften. Fünfundzwanzig Bücher von ihren Autoren gelesen, Frankfurt 1990, 185-193.
Heros, Tod und Sport. Ritual und Mythos der Olympischen Spiele in der Antike, in: G. Gebauer, Hg., Körper- und Einbildungskraft. Inszenierungen des Helden im Sport, Berlin 1988, 31-43.
Alfred Heubeck Ý, Gnomon 60, 1988, 283-285.
Abschied von Ernst Risch, Bull. Schweiz. Altphilologenverband 32, 1988, 6-10 = Universität Zürich, Jahresbericht 1988/89, 135-138.
1989
Schweiz: Die klassische Philologie, in: La Filologia Greca e Latina nel Secolo XX. Atti del Congresso Internazionale, vol. I, Roma, Consiglio Nazionale delle Ricerche, 17-21 settembre 1984, Pisa 1989, 75-127.
Weibliche und männliche Gottheiten in antiken Kulturen: Mythische Geschlechterrollen zwischen Biologie, Phantasie und Arbeitswelt, in: J. Martin, R. Zoepffel, Hg., Aufgaben, Rollen und Räume von Frau und Mann, Freiburg 1989, 157-179.
Artikel 'Pythagoreismus' (Abschn. I: Antike), in: J. Ritter, Hg., Historisches Wörterbuch der Philosophie, Bd. VII, Basel 1989, 1724.
1990
Ein Datum für Euripides' Elektra: Dionysia 420 v. Chr., Mus. Helv. 47, 1990, 65-69.
Apollon Didim i Ol'vija, Vestnik drevnej Istorii 193, 1990, 155-160 [engl. abstract: Apollo of Didyma and Olbia].
Herodot als Historiker fremder Religionen, in: Hérodote et les peuples non grecs, Entretiens sur l'antiquité classique 35, Vandśuvres/Genčve 1990, 1-32.
Neues aus der Altertumswissenschaft, Uni-Zürich 6/1990, 3-6.
Antike Mysterien. Eine Einführung, Bibel und Kirche 45, 1990, 118-124.
1991
Typen griechischer Mythen auf dem Hintergrund mykenischer und orientalischer Tradition, in: D. Musti et al., ed., La Transizione dal Miceneo all'Alto Arcaismo. Dal palazzo alla cittŕ. Atti del Convegno Internazionale, Roma, 14-19 marzo 1988, Roma 1991, 527-536.
Oriental Symposia: Contrasts and Parallels, in: W.J. Slater, ed., Dining in a Classical Context, Ann Arbor 1991, 7-24.
Homerstudien und Orient, in: J. Latacz, Hg., Zweihundert Jahre Homer-Forschung: Rückblick und Ausblick (Colloquium Rauricum 2), Stuttgart/Leipzig 1991, 155-181.
Homer's Anthropomorphism: Narrative and Ritual, in: D. Buitron-Oliver, ed., New Perspectives in Early Greek Art, Washington: National Gallery of Art 1991, 81-91.
1992
Opfer als Tötungsritual: Eine Konstante der menschlichen Kulturgeschichte?, in: F. Graf, Hg., Klassische Antike und neue Wege der Kulturwissenschaften. Symposium Karl Meuli, Basel, 11.-13. September 1991 (Beiträge zur Volkskunde 11), Basel 1992, 169-189.
The Formation of Greek Religion at the Close of the Dark Ages, Studi italiani di filologia classica 10, 1992, 533-551.
Eracle e gli altri eroi culturali del Vicino Oriente, in: C. Bonnet, C. Jourdain-Annequin, éd., Héraclčs: d'une rive ŕ l'autre de la Méditerranée (Institut historique belge de Rome, Études de philologie, d'archéologie et d'histoire anciennes 28), Bruxelles 1992, 111-127.
Eracle e gli altri eroi culturali del Vicino Oriente, Cenobio. Rivista trimestrale di cultura 41, 1992, 229-238.
La religione greca, in: M. Vegetti, ed., Introduzione alle culture antiche 3: L'esperienza religiosa antica, Torino 1992, 137-171.
Perikles von Mylasa, Architekt des Tempels der Venus und Roma, in: H. Froning, T. Hölscher und H. Mielsch, Hg., Kotinos. Festschrift für Erika Simon, Mainz 1992, 415-417.
GAIA: Mythische Variationen, Gaia 1 (Jan./Feb.), 1992, 2-3.
Athenian cults and festivals, in: D.M. Lewis, J. Boardman, J.K. Davies, M. Ostwald, ed., The Cambridge Ancient History V2: The Fifth Century B.C., Cambridge 1992, 245-267.
Der Standpunkt des Schmetterlings, swissair GAZETTE 6/92, 55.
Professor Dr. Hermann Koller, Universität Zürich, Jahresbericht 1991/92, 171-172.
1993
Lescha-Liskah. Sakrale Gastlichkeit zwischen Palästina und Griechenland, in: B. Janowski, K. Koch, G. Wilhelm, Hg., Religionsgeschichtliche Beziehungen zwischen Kleinasien, Nordsyrien und dem Alten Testament. Internationales Symposion Hamburg, 17.-21. März 1990, Freiburg/Göttingen 1993, 19-38.
Bacchic Teletai in the Hellenistic Age, in: Th.H. Carpenter, Chr.A. Faraone, ed., Masks of Dionysus, Ithaca 1993, 259-275.
Concordia Discors: The literary and the archaeological evidence on the sanctuary of Samothrace, in: N. Marinatos, R. Hägg, ed., Greek Sanctuaries. New approaches, London 1993, 178-191.
Kronia-Feste und ihr altorientalischer Hintergrund, in: S. Döpp, Hg., Karnevaleske Phänomene in antiken und nachantiken Kulturen und Literaturen, Trier 1993, 11-30.
Attische Feste in der 'Aulischen Iphigenie' des Euripides, in: J. Dalfen, G. Petersmann, F.F. Schwarz, Hg., Religio Graeco-Romana. Festschrift für Walter Pötscher (Grazer Beiträge Suppl. 5), Graz 1993, 87-92.
Heraclitus and the Moon: The New Fragments in P.Oxy. 3710, Illinois Class. Studies 18, 1993, 49-55.
Philodems Arbeitstext zur Geschichte der Akademie. Zu Tiziano Dorandis Neuedition des Academicorum Index, ZPE 97, 1993, 87-94.
Classics - Past Ideology and Persistent Reality, Chronicle. A Magazine of American Culture, April 1993, 19-21.
Mythos - Begriff, Struktur, Funktionen, in: F. Graf, Hg., Mythen in mythenloser Gesellschaft: Das Paradigma Roms (Colloquium Rauricum 3), Stuttgart/Leipzig 1993, 9-24.
Randkulturen und Weltreiche. Zum Rücktritt von Professor Peter Frei, NZZ 99, 30.4.1993, 55.
1994
Griechische Hymnoi, in: W. Burkert, F. Stolz, Hg., Hymnen der Alten Welt im Kulturvergleich (Orbis Biblicus et Orientalis 131), Freiburg/Göttingen 1994, 9-17.
Olbia and Apollo of Didyma: A New Oracle Text, in: J. Solomon, ed., Apollo. Origins and Influences, Tucson 1994, 49-60, 145-147.
Orpheus, Dionysos und die Euneiden in Athen: Das Zeugnis von Euripides' Hypsipyle, in: A. Bierl, P. v. Möllendorff, Hg., Orchestra. Drama - Mythos - Bühne. Festschrift für Hellmut Flashar anlässlich seines 65. Geburtstages, Stuttgart/Leipzig 1994, 44-49.
Artikel 'Praxidikai', in: Lexicon Iconographicum Mythologiae Classicae (LIMC), Zürich 1994, VII.1, 504-505.
1995
Orientalische und griechische Weltmodelle von Assur bis Anaximandros, Wiener Studien 107/8 (= SPHAIROS: Festschrift Hans Schwabl), 1994/5, 179-186.
"Irrevocabile verbum": Spuren mündlichen Erzählens in der Odyssee, in: U. Brunold-Bigler, H. Bausinger, Hg., Hören - Sagen - Lesen - Lernen. Bausteine zu einer Geschichte der kommunikativen Kultur. Festschrift für Rudolf Schenda zum 65. Geburtstag, Bern 1995, 147-158.
Lydia between East and West or How to Date the Trojan War: A Study in Herodotus, in: J.B. Carter, S.P. Morris, ed., The Ages of Homer. A Tribute to Emily Townsend Vermeule, Austin 1995, 139-148.
Krieg und Tod in der griechischen Polis, in: H. v. Stietencron, J. Rüpke, Hg., Töten im Krieg, Freiburg 1995, 179-196.
Der geheime Reiz des Verborgenen: Antike Mysterienkulte, in: H.G. Kippenberg, G.G. Stroumsa, ed., Secrecy and Concealment. Studies in the History of Mediterranean and Near Eastern Religions, Leiden 1995, 79-100.
Greek Poleis and Civic Cults: Some Further Thoughts, in: M.H. Hansen, K. Raaflaub, ed., Studies in the Ancient Greek Polis (Historia Einzelschriften 95), Stuttgart 1995, 201-210.
Causalité religieuse: La faute, les signes, les rites, Métis 9/10, 1994/5, 27-40.
Katastrophe als Mythos, Zeitschrift für Schweizerische Archäologie und Kunstgeschichte 52, 1995, 75-80.
Scherben, Folien und Papyri: Neues in der Altertumswissenschaft, in: Gymnasium Fridericianum. Festschrift zum 250-jährigen Bestehen des humanistischen Gymnasiums Erlangen, Erlangen 1995, 17-21.
Artikel 'Seelenwanderung' (Abschn. I: Antike), in: J. Ritter, Hg., Historisches Wörterbuch der Philosophie, Bd. IX, Basel 1995, 117-20.
1996
"Mein Gott"? Persönliche Frömmigkeit und unverfügbare Götter, in: H. Cancik, H. Lichtenberger, P. Schäfer, Hg., Geschichte - Tradition - Reflexion. Festschrift für Martin Hengel zum 70. Geburtstag, Bd. II: Griechische und Römische Religion, Tübingen 1996, 3-14.
Zum Umgang der Religionen mit Gewalt: Das Experiment des Manichäismus, Berliner Theologische Zeitschrift 13, 1996, 184-199.
Greek Temple-builders: Who, Where, and Why?, in: R. Hägg, ed., The Role of Religion in the Early Greek Polis. Proceedings of the Third International Seminar on Ancient Greek Cult, Organized by the Swedish Institute at Athens, 16-18 October 1992, Stockholm 1996, 21-29.
'Königs-Ellen' bei Alkaios: Griechen am Rand der östlichen Monarchien, Mus. Helv. 53, 1996, 69-72.
Plutarco: religiositŕ personale e teologia filosofica, in: I. Gallo, ed., Plutarco e la Religione. Atti del VI Convegno plutarcheo, Ravello, 29-31 maggio 1995, Napoli 1996, 11-28.
Konstruktion des Raumes und räumliche Kategorien im griechischen Denken, in: D. Reichert, Hg., Räumliches Denken, Zürich 1996, 57-85.
Isonomia und Polisreligion im Kleisthenischen Athen, in: M. Sakellariou, éd., Démocratie Athénienne et Culture. Colloque International, organisé par l'Académie d'Athčnes (23, 24 et 25 novembre 1992), Athen 1996, 51-65.
1997
Fitness oder Opium? Die Fragestellung der Soziobiologie im Bereich alter Religionen, in: F. Stolz, Hg., Homo naturaliter religiosus. Gehört Religion notwendig zum Mensch-Sein? (Studia religiosa Helvetica 3), Bern 1997, 13-38.
From epiphany to cult statue: early Greek theos, in: A.B. Lloyd, ed., What is a God? Studies in the nature of Greek divinity, London 1997, 15-34.
Impact and Limits of the Idea of Progress in Antiquity, in: A. Burgen, P. McLaughlin, J. Mittelstrass, Hg., The Idea of Progress, Berlin/New York 1997, 19-46.
Star Wars or One Stable World? A Problem of Presocratic Cosmogony (PDerv. Col. XXV), in: A. Laks, G.W. Most, ed., Studies on the Derveni Papyrus, Oxford 1997, 167-174.
Euenios der Seher von Apollonia und Apollon Lykeios: Mythos jenseits der Texte, Kernos 10, 1997, 73-81.
Logik und Sprachspiel bei Leukippos/Demokritos: Ou mâllon als These und Denkform, in: H.-C. Günther, A. Rengakos, Hg., Beiträge zur antiken Philosophie. Festschrift für Wolfgang Kullmann, Stuttgart 1997, 23-33.
1998
Towards Plato and Paul: The 'Inner' Human Being, in: A. Y. Collins, ed., Ancient and Modern Perspectives on the Bible and Culture. Essays in Honor of Hans Dieter Betz, Atlanta 1998, 59-82.
Eleusis und Bakchika: Staatliche und private Mysterien in der griechischen Antike, in: Humanistische Bildung Heft 20: Antike und moderne Religion, Stuttgart 1998, 57-73.
Le secret publique et les mystčres dits privés, Ktema 23, 1998, 375-381.
Héraclčs et les animaux. Perspectives préhistoriques et pressions historiques, in: C. Bonnet, C. Jourdain-Annequin, V. Pirenne-Delforge, éd., Le Bestiaire d'Héraclčs. IIIe Rencontre héracléenne, Kernos Suppl. 7, Ličge 1998, 11-26.
La cité d'Argos entre la tradition mycénienne, dorienne et homérique, in: V. Pirenne-Delforge, éd., Les Panthéons des cités des origines ŕ la Périégčse de Pausanias. Actes du Colloque organisé ŕ l'Université de Ličge du 15 au 17 mai 1997 (2e partie), Kernos Suppl. 8, Ličge 1998, 47-59.
La via fenicia e la via anatolica: Ideologie e scoperte fra Oriente e Occidente, in: Convegno per Santo Mazzarino, Roma, 9-11 maggio 1991 (Saggi di Storia Antica 13), Roma 1998, 55-73.
Pythagoreische Retraktationen: Von den Grenzen einer möglichen Edition, in: W. Burkert, L. Gemelli-Marciano, E. Matelli, L. Orelli, Hg., Fragmentsammlungen philosophischer Texte der Antike / Le raccolte dei frammenti di filosofi antichi. Atti del Seminario Internazionale, Ascona, 22-27 Settembre 1996 (Aporemata 3), Göttingen 1998, 303-319.
Die neuen orphischen Texte: Fragmente, Varianten, 'Sitz im Leben', ib., 387-400.
Ein Schlusswort als Dank, in: F. Graf, Hg., Ansichten griechischer Rituale. Geburtstags-Symposium für Walter Burkert, Castelen bei Basel, 15. bis 18. März 1996, Stuttgart/Leipzig 1998, 441-444.
Vom Vorlesungsmanuskript zum Standardwerk. Hermann Diels hat die "Vorsokratiker" erschlossen / Würdigung zum 150. Geburtstag, Der Tagesspiegel 18.5.1998, 30.
Response: Exploring Religion in a Biological Landscape, Method & Theory in the Study of Religion 10, 1998, 129-132.
Uvo Hölscher Ý, Gnomon 70, 1998, 474-477 = Jahrbuch der Heidelberger Akademie der Wissenschaften für 1998, 143-148.
Orphism, in: E. Craig, ed., Routledge Encyclopedia of Philosophy VII, London/New York 1998, 163-165.
1999
Aggression und Behagen: Die heiligen Schauer des Essens, in: A. Keck, I. Kording, A. Prochaska, Hg., Verschlungene Grenzen. Anthropophagie in Literatur und Kulturwissenschaften, Tübingen 1999, 243-256.
The Logic of Cosmogony, in: R. Buxton, ed., From Myth to Reason? Studies in the Development of Greek Thought, Oxford 1999, 87-106.
Die Artemis der Epheser: Wirkungsmacht und Gestalt einer Grossen Göttin, in: H. Friesinger, F. Krinzinger, Hg., 100 Jahre Österreichische Forschungen in Ephesos (Textband), Wien 1999, 59-70.
Antiker Mythos - Begriff und Funktion, in: H. Hofmann, Hg., Antike Mythen in der europäischen Tradition, Tübingen 1999, 11-26.
Von Selinus zu Aischylos: 'Reinigung' im Ritual und im Theater, Berlin-Brandenburgische Akademie der Wissenschaften, Berichte und Abhandlungen 7, Berlin 1999, 23-38.
Diels' Vorsokratiker. Rückschau und Ausblick, in: Hermann Diels (1848-1922) et la science de l'antiquité, Entretiens sur l'antiquité classique 45, Vandśuvres/ Genčve 1999, 169-197.
On "Nature" and "Theory". A Discourse with the Ancient Greeks, Michigan Quarterly Review 38/2, 1999, 178-193 = Revealing Nature amidst Multiple Cultures: A Discourse with Ancient Greeks, in: The Tanner Lectures on Human Values 21, 2000, 125-151.
2000
Geschichte der alten Religionen: Wozu braucht der Mensch Religion? Die Mensch-Gott-Beziehung in den alten Religionen, in: S.M. Daecke, J. Schnakenberg (Hg.), Gottesglaube - ein Selektionsvorteil? Religion in der Evolution - Natur- und Geisteswissenschaftler im Gespräch. Gütersloh: Kaiser 2000, 103-124.
Neanthes von Kyzikos über Platon. Ein Hinweis aus Herculaneum. Museum Helveticum 57 (2000) 76-80.
Mythen um Oedipus: Familienkatastrophe und Orakelsinn, in: Freiburger Universitätsblätter 148,2 (2000) 7-20.
"Stumm wie ein Menander-Chor": Ein zusätzliches Testimonium. Zeitschrift für Papyrologie und Epigraphik 131 (2000) 23-24.
Migrating Gods and Syncretisms: Forms of Cult Transfer in the Ancient Mediterranean, in: A. Ovadiah, ed., Mediterranean Cultural Interaction, Tel Aviv 2000, 1-21.
Iason, Hypsipyle and New Fire at Lemnos, in: R. Buxton, ed., Oxford Readings in Greek Religion, Oxford 2000, 227-249.
Revealing Nature Amidst Multiple Cultures. A Discourse with Ancient Greeks, in: The Tanner Lectures on Human Values 21 (2000) 125-151.
Private Needs and Polis Acceptance. Purification at Selinous, in: P. Flensted-Jensen, Th. Heine Nielsen, L. Rubinstein, ed., Polis & Politics, Studies in Ancient Greek History pres. to Mogens H. Hansen, Copenhagen 2000, 207-216.
La violence sacrificielle: faits et réflexions, in: A. Nayak, éd., Religions et violences, Fribourg 2000, 296-313.
2001
Il Medio Oriente e l'emergere della 'Grecia classica', in: G. Bocchi, M. Cerruti, ed., Le radici prime dell'Europa, Milano 2001, 348-358.
Opfer als Skandalon des Lebens. Eine religionsgeschichtliche Perspektive, in: H.J. Luibl, S. Scheuter, Opfer. Verschenktes Leben, Zürich 2001, 25-28.
Der Odyssee-Dichter und Kreta, in: Kreta & Zypern: Religion und Schrift, Altenburg 2001, 87-100
La religione greca all'ombra dell'Oriente: I livelli di contatti e degli influssi, in: S. Ribichini, M. Rocchi, P. Xella (ed.), La questione delle influenze vicino-orientali sulla religione greca, Rom 2001, 21-30.
2002
'Iniziazione': un concetto moderno e una terminologia antica, in: B. Gentili, F. Perusino, ed., Le orse di Brauron, Pisa 2002, 13-27.
'Mythos und Ritual' im Wechselwind der Moderne, in: H.F.J. Horstmanshoff, H.W. Singor, F.T. van Straten & J.H.M. Strubbe, ed., Kykeon. Studies in Honour of H.S. Versnel, Leiden: Brill 2002, 1-22.
Mysterien der Ägypter in griechischer Sicht: Projektionen im Kulturkontakt. In: J. Assmann, M. Bommas, Hg., Ägyptische Mysterien?, München 2002, 10-26.
Die Waffen und die Jungen: Homerisch OPLOTEROI. In: M. Reichel, A. Rengakos, Hg., EPEA PTEROENTA. Beiträge zur Homerforschung. Festschrift für Wolfgang Kullmann zum 75. Geburtstag, Stuttgart 2002. 31-34.
2003
'Seele', Mysterien und Mystik. Griechische Sonderwege und aktuelle Problematik. In: W. Jens, B. Seidensticker, Hg., Ferne und Nähe der Antike, Berlin 2003, 111-128.
Impacts, Evasions, and Lines of Defence: Some Remarks on Science and the Humanities. In: W. Rüegg, ed., Meeting the Challenges of the Future. A Discussion between 'The Two Cultures'. Florenz: Olschi 2003, 91-102.
Vorwort zu: Hermann Diels, Parmenides Lehrgedicht, 2. Auflage, Sankt Augustin: Academia Verlag 2003
Qualität und Quantität in der antiken Philosophie: Zur Genese einer Fragestellung, in: E. Neuenschwander, Wissenschaft zwischen Qualitas und Quantitas, Basel 2003, 33-48.
2004
Im Vorhof der Buchreligionen. Zur Rolle der Schriftlichkeit in den Kulten des Altertums, in: A Holzem, Hg., Normieren Tradieren Inszenieren. Das Christentum als Buchreligion, Darmstadt 2004, 25-39.
Rezensionen
W. Kullmann, Das Wirken der Götter in der Ilias, Berlin 1956: Gnomon 29, 1957, 164-170.
H. Dörrie, Leid und Erfahrung, Abh. Mainz, Wiesbaden 1956: Gymnasium 66, 1959, 168-170.
G. Bona, Il 'nóos' e i 'nóoi' nell'Odissea, Torino 1959: Gnomon 32, 1960, 669-671.
K. Reinhardt, Vermächtnis der Antike, Göttingen 1960: Gymnasium 67, 1960, 548-550.
K. Ries, Isokrates und Platon im Ringen um die Philosophia, München 1959: Gnomon 33, 1961, 349-354.
W. Mattes, Odysseus bei den Phäaken, Würzburg 1958: Gymnasium 68, 1961, 559-560.
H. Thesleff, An Introduction to the Pythagorean Writings of the Hellenistic Period, Abo 1961: Gnomon 34, 1962, 763-768.
K. Reinhardt, Tradition und Geist, Göttingen 1960: Gymnasium 69, 1962, 68-70.
J.D.P. Bolton, Aristeas of Proconnesus, Oxford 1962: Gnomon 35, 1963, 235-240.
A.-M. Malingrey, 'Philosophia', Paris 1961: Gnomon 35, 1963, 569-573.
H. Fränkel, Dichtung und Philosophie des frühen Griechentums, München 1962: Gnomon 35, 1963, 827-828.
M. Detienne, De la pensée religieuse ŕ la pensée philosophique, Paris 1963: Gnomon 36, 1964, 563-567.
Sofisti. Testimonianze e frammenti. Fasc. IV: Antifonte, Crizia, ed. A. Battegazzore, M. Untersteiner, Firenze 1962; Zenone, ed. M. Untersteiner, Firenze 1963: Göttingische Gelehrte Anzeigen 216, 1964, 141-149.
M. v. Albrecht, Iamblichi De vita Pythagorica liber, Zürich 1963: Gnomon 37, 1965, 24-26.
M. Delcourt, Pyrrhos et Pyrrha, Paris 1965: Gnomon 38, 1966, 436-440.
H. Thesleff, ed., The Pythagorean Texts of the Hellenistic Period, Abo 1965: Gnomon 39, 1967, 548-556.
C.J. de Vogel, Pythagoras and Early Pythagoreanism, Assen 1966: Gymnasium 74, 1967, 458-460.
W. und H.G. Gundel, Astrologumena. Die astrologische Literatur in der Antike und ihre Geschichte, Wiesbaden 1966: Erasmus 19, 1967, 104-108.
I. Trencsényi-Waldapfel, Untersuchungen zur Religionsgeschichte, Amsterdam 1966: Gnomon 41, 1969, 113-117.
T. Cole, Democritus and the Sources of Greek Anthropology, Western Reserve Univ. 1967: Archiv für Geschichte der Philosophie 51, 1969, 291-298.
R. Cuccioli Melloni, Ricerche sul Pitagorismo, Bologna 1969: Gnomon 42, 1970, 833
É. des Places, La religion grecque, Paris 1969: Erasmus 22, 1970, 566-568.
R. Stiglitz, Die Grossen Göttinnen Arkadiens, Wien 1967: AnzAW 24, 1971, 200-202.
A. Szabó, Anfänge der griechischen Mathematik, München 1969: Erasmus 23, 1971, 102-105.
F. Krafft, Dynamische und statische Betrachtungsweise in der antiken Mechanik, Wiesbaden 1970: Erasmus 23, 1971, 876-878.
R. Dion, Les anthropophages de l'Odyssée: Cyclopes et Lestrygons, Paris 1969: Mus. Helv. 28, 1971, 234.
Gösta Säflund, ed., Opuscula Carolo Kerényi dedicata, Stockholm 1968: Mus. Helv. 28, 1971, 254.
G.S. Kirk, Myth, Cambridge/Berkeley 1970: Gnomon 44, 1972, 225-230.
J. Bollack, Empédocle II/III, Paris 1969: Gnomon 44, 1972, 433-442.
C.A. Privitera, Dioniso in Omero e nella poesia greca arcaica, Roma 1970: Mus. Helv. 29, 1972, 281.
Mythos. Scripta in honorem Marii Untersteiner, Genova 1970: Mus. Helv. 29, 1972, 303-304.
G. Zuntz, Persephone, Oxford 1971: Gnomon 46, 1974, 321-328.
L. Feder, Ancient Myth in Modern Poetry, Princeton 1971: Mus. Helv. 31, 1974, 254.
B. Bergqvist, Herakles on Thasos, Uppsala 1973: Mus. Helv. 32, 1975, 264.
J. Annequin, Recherches sur l'action magique et ses représentations, Paris 1973: Mus. Helv. 32, 1975, 278.
J.P. Vernant, Mythe et société en Grčce ancienne, Paris 1974: Mus. Helv. 33, 1976, 57.
D. Babut, La religion des philosophes grecs de Thalčs aux Stoďciens, Paris 1974: Mus. Helv. 33, 1976, 57-58.
L.H. Lenz, Der Homerische Aphroditehymnus und die Aristie des Aineias in der Ilias, Bonn 1975: Mus. Helv. 33, 1976, 255.
K. Wilkens, Die Interdependenz zwischen Tragödienstruktur und Theologie bei Aischylos, München 1974: Mus. Helv. 33, 1976, 256.
N.J. Richardson, ed., The Homeric Hymn to Demeter, Oxford 1974: Gnomon 49, 1977, 440-446.
I. Weiler, Der Agon im Mythos. Zur Einstellung der Griechen zum Wettkampf, Darmstadt 1974: Mus. Helv. 34, 1977, 249.
K. Hommel, Symbola, Bd. I: Kleine Schriften zur Literatur- und Kulturgeschichte, hrsg. von B. Gladigow, Hildesheim 1976: Mus. Helv. 34, 1977, 273.
K. Meuli, Gesammelte Schriften, hrsg. von Th. Gelzer et al., Basel 1975: Mus. Helv. 34, 1977, 273.
L. Brisson, Le mythe de Tirésias, EPRO 55, Leiden 1976: Mus. Helv. 35, 1978, 159.
H. Doerrie, Sinn und Funktion des Mythos in der griechischen und der lateinischen Dichtung, Opladen 1978: Mus. Helv. 36, 1979, 244-245.
P. McGinty, Interpretation and Dionysus, The Hague 1978: AnzAW 33, 1980, 204-207.
P. Janni, Etnografia e mito. La storia dei Pigmei, Roma 1978: Mus. Helv. 37, 1980, 249.
J.M. Blázquez, Imagen y mito. Estudios sobre religiones mediterráneas e ibéricas, Madrid 1977: Mus. Helv. 37, 1980, 263.
J. Gagé, Enquętes sur les structures sociales et religieuses de la Rome primitive, Bruxelles 1977: Mus. Helv. 37, 1980, 263.
R. Boehme, Der Sänger der Vorzeit. Drei Kapitel zur Orpheusfrage, Bern 1980: Mus. Helv. 38, 1981, 175.
E. Vermeule, Aspects of death in early Greek art and poetry, Berkeley 1979: Mus. Helv. 38, 1981, 176.
J. Ferguson, Greek and Roman religion. A source book, Park Ridge, NJ 1980: Mus. Helv. 38, 1981, 182.
K. Ranke et al., Hg., Enzyklopädie des Märchens I (A-Ba) / II (Be-Chri), Berlin 1977 / 1979: Gnomon 54, 1982, 713-719.
H. v. Thiel, Iliaden und Ilias, Basel 1982: Bull. Schweizerischer Altphilologenverband 20, 1982, 20-21.
H. Meier, Medeia und die Peliaden, Roma 1980: Mus. Helv. 39, 1982, 318.
R. Bloch, éd., Recherches sur les religions de l'antiquité classique, Genčve/Paris 1980: Mus. Helv. 39, 1982, 336-337.
S. Düll, Die Götterkulte Nordmakedoniens in römischer Zeit, München 1977: AnzAW 36, 1983, 210-212.
D. O'Brien, Theories of weight in the ancient world, Leiden 1981: Mus. Helv. 40, 1983, 259.
K. Ranke et al., Hg., Enzyklopädie des Märchens III (Chronikliteratur-Engel und Eremit), Berlin 1981: Gnomon 56, 1984, 547-548
F. Muthmann, Der Granatapfel. Symbol des Lebens in der alten Welt, Fribourg 1982: Mus. Helv. 41, 1984, 242.
B. Snell, Griechische Metrik, 4. Aufl., Göttingen 1982: Mus. Helv. 41, 1984, 243.
D. O'Brien, Pour interpréter Empédocle, Paris/Leiden 1981: Mus. Helv. 41, 1984, 246.
G. Gnoli, J.-P.Vernant, La mort, les morts dans les sociétés anciennes, Cambridge 1982: Gnomon 57, 1985, 209-12.
E. Simon, Festivals of Attica. An Archaeological Commentary, Madison 1983: Histor. Zeitschrift 241, 1985, 656-657.
A. Stückelberger, Vestigia Democritea, Basel 1984: Mus. Helv. 42, 1985, 354.
C. Eucken, Isokrates: seine Positionen in der Auseinandersetzung mit den zeitgenössischen Philosophen, Berlin 1983: Mus. Helv. 42, 1985, 355-356.
F. Schachermeyr, Die griechische Rückerinnerung im Lichte neuer Forschungen, SBWien 1983: AnzAW 40, 1987, 88-92.
R. Bloch, F. Bader, D. Briquel, F. Guillaumont, éd., D'Héraclčs ŕ Poséidon, Genčve/Paris 1985: Histor. Zeitschrift 246, 1988, 394-395.
G. Sfameni Gasparro, Misteri e Culti Mistici di Demetra, Roma 1986: History of Religions 28, 1988, 161-163.
H.W. Parke, Athenische Feste (übersetzt von G. Hornbostel), Mainz 1987: Histor. Zeitschrift 249, 1989, 133-134.
R. Turcan, Les cultes orientaux dans le monde romain, Paris 1989: Jahrb. f. Antike und Christentum 33, 1990, 248-251.
K. Ranke et al., Hg., Enzyklopädie des Märchens IV (Ente-Förster), Berlin 1984 / R.W. Brednich et al., Hg., Enzyklopädie des Märchens V (Fortuna-Gott ist auferstanden), Berlin 1987: Gnomon 63, 1991, 639-641.
G. Sissa, Greek Virginity, transl. by A. Goldhammer, Cambridge, Mass. 1990: Mus. Helv. 48, 1991, 193.
D.J. O'Meara, Pythagoras revived. Mathematics and philosophy in late antiquity, Oxford 1989: Freiburger Zeitschrift für Philosophie und Theologie 38, 1991, 502-506.
J.G. Griffiths, Atlantis and Egypt, with Other Selected Essays, Cardiff 1991: Class. Review 48, 1993, 149-150.
H. Münkler, Odysseus und Kassandra. Politik im Mythos, Frankfurt 1990: Histor. Zeitschrift 256, 1993, 126.
D.D. Hughes, Human Sacrifice in Ancient Greece, London 1991: Gnomon 66, 1994, 97-100.
R.-J. Durling, A Dictionary of Medical Terms in Galen, Leiden 1993: Gesnerus 51, 1994, 310-311.
Mentor. Guide bibliographique de la religion grecque. Bibliographical Survey of Greek Religion, Ličge 1992: MENTOR - eine Datenbank zur griechischen Religion, Mus. Helv. 51, 1994, 226-228.
Grundriss der Geschichte der Philosophie. Die Philosophie der Antike, Bd. 4.1+2 (Die hellenistische Philosophie), Basel 1994: "Kunst des Lebens" zwischen Dogmatismus und Skepsis. Die hellenistische Philosophie im neuen "Ueberweg", NZZ 263, 11./12.11.1995, 70.
R. Drews, The Coming of the Greeks. Indo-European Conquests in Aegean and the Near East, Princeton 1995: Das historisch-politische Buch 43, 1995, 456.
J.-P. Vernant, Mythos und Religion im alten Griechenland, Frankfurt 1995: Das historisch-politische Buch 43, 1995, 363.
Th. Buchheim, Die Vorsokratiker. Ein philosophisches Porträt, München 1994: Archiv für Geschichte der Philosophie 78, 1996, 60-65.
Stephanus of Athens: Commentary on Hippocrates' aphorisms sections V-VI, ed. L. G. Westerink (CMG 11,1,3,3), Berlin 1995: Gesnerus 53, 1996, 134.
Galen: On the elements according to Hippocrates, ed. Ph. de Lacy (CMG 5,1,2), Berlin 1996: Gesnerus 53, 1996, 284.
P. Kingsley, Ancient Philosophy, Mystery, and Magic. Empedocles and Pythagorean tradition, Oxford 1995: Mus. Helv. 53, 1996, 308.
F.T. van Straten, Hierŕ kalá, Leiden 1995: Histor. Zeitschrift 264, 1997, 428.
S. Moscati, Die Karthager. Kultur und Religion einer antiken Seemacht, Stuttgart/Zürich 1996: Das historisch-politische Buch 45, 1997, 364-365.
W. Faulstich, Das Medium als Kult, Göttingen 1997: Histor. Zeitschrift 267, 1998, 722-723.
J.P. Brown, Israel und Hellas, Berlin 1995: Mus. Helv. 55, 1998, 254.
John of Alexandria: Commentary on Hippocrates' Epidemics VI fragments, Commentary of an anonymous author on Hippocrates' Epidemics VI fragments, ed. J.M. Duffy / John of Alexandria: Commentary on Hippocrates' on the nature of the child, ed. T.A. Bell et al. (CMG 11,1,4), Berlin 1997: Gesnerus 56, 1999, 137.
Mentor 2. 1986-1990. Guide bibliographique de la religion grecque. Bibliographical Survey of Greek Religion, Ličge 1998: Mus. Helv. 56, 1999, 262-263.
3. Liste der von Walter Burkert betreuten Dissertationen
= noch unveröffentlichte Arbeiten
W. Rösler, Reflexe vorsokratischen Denkens bei Aischylos (Beiträge zur Klassischen Philologie 37), Meisenheim 1970. - Diss. Berlin 1968.
Th.A. Szlezák, Pseudo-Archytas über die Kategorien. Texte zur griechischen Aristoteles-Exegese (Peripatoi 4), Berlin 1972. - Diss. Berlin 1969.
H. Schmitz, Hypsos und Bios. Stilistische Untersuchungen zum Alltagsrealismus in der archaischen griechischen Chorlyrik (Europäische Hochschulschriften XV 3), Bern 1970. - Diss. Zürich 1970.
F. Graf, Eleusis und die orphische Dichtung Athens in vorhellenistischer Zeit (Religionsgeschichtliche Versuche und Vorarbeiten 33), Berlin 1974. - Diss. Zürich 1971/2.
W.D. Meier, Die epische Formel im pseudohesiodeischen Frauenkatalog. Eine Untersuchung zum nachhomerischen Formelgebrauch, Zürich 1976. - Diss. Zürich 1975.
M. Hirschle, Sprachphilosophie und Namenmagie im Neuplatonismus. Mit einem Exkurs zu 'Demokrit' B 142 (Beiträge zur Klassischen Philologie 96), Meisenheim 1979. - Diss. Zürich 1975.
G.A. Caduff, Antike Sintflutsagen (Hypomnemata 82), Göttingen 1986. - Diss. Zürich 1978.
B. Gallistl, Teiresias in den Bakchen des Euripides, Würzburg 1979. - Diss. Zürich 1979.
D. Flückiger-Guggenheim, Göttliche Gäste. Die Einkehr von Göttern und Heroen in der griechischen Mythologie (Europäische Hochschulschriften III 237), Bern 1984. - Diss. Zürich 1983.
M. Danieli, Zum Problem der Traditionsaneignung bei Aristoteles. Untersucht am Beispiel von 'De Anima' I (Beiträge zur Klassischen Philologie 151), Königstein 1984. - Diss. Zürich 1984.
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J. Büchli, Der Poimandres. Ein paganisiertes Evangelium. Sprachliche und begriffliche Untersuchungen zum 1. Traktat des Corpus Hermeticum (Wissenschaftliche Untersuchungen zum Neuen Testament II 27), Tübingen 1987. - Diss. Zürich 1985/6.
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L. Gemelli Marciano, Le metamorfosi della tradizione. Mutamenti di significato e neologismi nel PERI PHYSEOS di Empedocle ("le Rane", Studi 5), Bari 1990. - Diss. Zürich 1988.
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Ston Homero ta kuria xoria pou miloun gia ton xoro einai ta exis. Alitheia I psema? Mallon eimaste sto eleos tou Omerou me to ena bima mpros kai ta dyo piso, ena sosto pigainela sto xrono… :
Stin Odysseia oi Faiakes “betarmones” xoreyoun gia xari tou Odyssea (Od. 8. 250-372) kai ola ayta ektylissontai stin "agora" pou einai xtismeni plai ston oraio bomo tou Poseidona, me kommenes petres xostes sti gi. Dikaiologeitai etsi o "theios xoros" ton neon? Giati etsi ton apokalei o poiitis. Poioi omos apo tous neous xoreyoun? O Alkinoos kalei na xorepsoun oi kalyteroi, oi aristoi. Kai i xoreytiki epeidixi lambanei xora se kulkiko xwro (alitheia eisai sigoyri oti itan kyklikos? Kai an itan tetragonos?) pou orizetai apo tous ennea krites pou elegxoun ta panta stous agones. « Agon » onomazetai to xorostasi (ypodilonei kati arage i lexi ?) kai ekei sti mesi steketai o Demodokos, o exairetos, an kai tyflos, lyristis, pou tragouda ton erota tou Ari kai tis Afroditis. Oi nearoi betarmones synodeyoun tin afigisi me zoiri kinisi kai xtypimata ton podion sti gi. Giati betarmones? O Ares kai i Afrodite ekanan tin Armonia. Endiaferousa i apopsi tou John Franklin sxetika me ti lexi pou xrisimopoiei o Homeros gia tous Phaiakes xoreytes kathos kai o kathigitis Stelios Psaroudakes eixe pei oti isos exei simasia i epilogi tis. De mas ftanei omos mono ayto, dose mas perissotera stoixeia. Zitietai perissotera stoixeia gia tin parapompi tou F. se Burkert (1960), o opoios kanei mia kali overview stous proigoumenes meletites tou tragoudiou tou Demodokou sto RMF (Rheiniches Museum Fur Philologie, s. 130-134 « Das Leid von Ares und Afrodite »). O Odysseas thamponetai apo to exairetiko tous talento. Sto telos tou tragoudiou o Alkinoos kalei tous dyo kalyterous, ton Alio kai ton Laodama, gioi tou einai (tyxaio arage?), na xorepsoun me tin porfyri mpala pou eftiaxe o perifimos Polybos. Kai ekeinoi epidexia strifogyrizoun akrobatontas me tin mpala kai sti synexeia paradinontai sto xoro. Kapos paratrabigmeno isos, alla as anafero oti i Aimiliou Miro kanei tin exis ypothesi: Ta diafora episodeia sto nisi ton Faiakon den itan para i proboli ston mythiko tomea diadoxikon teletourgion mias giortis afieromenis stin anoixi...Akrobates xoreyoun kai sto palati tou Menelaou (Od. 4. 18), se symposio pou akolouthei tin episkepsi tou Telemachou pros anazitisi neon gia ton patera tou...
Ston Homero ta kuria xoria pou miloun gia ton xoro :
Stin Odysseia oi Faiakes xoreyoun gia xari tou Odyssea (Od. 8. 250-372) kai ola ayta ektylissontai stin "agora", opou o basilias Alkinoos kalei na xorepsoun oi kalyteroi nearoi, oi aristoi. I xoreytiki epeidixi lambanei xora se kukliko xwro pou orizetai apo ennea krites. Sti mesi steketai o Demodokos, exairetikos lyristis, kai tragouda ton erota tou Ari kai tis Afroditi. Oi nearoi xoreytes synodeyoun tin afigisi me xtypimata ton podion sti gi... Palamakia apo tous gyro syntonizoun tin kinisi. O Odysseas thamponetai apo to exairetiko tous talento. Sto telos tou tragoudiou o Alkinoos kalei tous dyo kalyterous akrobates na xorepsoun me tin porfyri mpala pou eftiaxe o perifimos Polybos. Akrobates xoreyoun kai sto palati tou Menelaou(Od. 4. 18), se symposio pou akolouthei tin episkepsi tou Telemachou pros anazitisi neon gia ton patera tou. Akrobates anaferontai kai stin perigrafi tis aspidas tou Achillea (Il. 18. 605). (To soixeio tou akrobatismou parapempei se Krete kai Minoites?) To paixnidi me tin mpala krybei kai ayto kati to endiaferon. I Naysika paizei episis me tis akolouthes tis kai to paixnidi tous synodeyetai me tragoudi. Ypirxe arage kai kapoios xoros, xoreytikes kiniseis pou yponoountai i pou ennoountai edo, giati einai polla pou o Homeros den anaferei? I Marie-Helene mas apantise legontas oti yparxoun antistoixes eikastikes martyries me mpala, mas parapempei sto biblio tis gia tous eirinikous xorous...
Fainetai loipon oti stin Odysseia oi xoreytikes skines ektylissontai sta plaisia enos deipnou, symposiou, i mias idiotikes eortis(Od. 23. 145), eno stin Iliada exoume kai theikes parousies. I Polumele (Il. 16. 180) xoreyei pros timi tis theas Artemis sto Argos.( Mikri parakampsi: kai o Hermes anamesa stis alles parthenes tin xexorizei kai tin eroteyteai kai koimatai mazi tis... I peripeteia tis Polumeles sto Argos, xari sti xoreytiki tis epidexiotita, thymisi to mytho tis Artemis Alpheiaias stin Helida(Paus. Heliaka, VI, 22, 8), pou ofeilei to onoma tis sto pathos tou Alpheiou gia aytin. Stin arxi fenete san prokeitai gia to idio motivo pou anakuklonetai, oti o theos xexorise tin Artemi apo tis alles Nymphes eno xoreyan, omos i istoria einai kapos diaforetiki, axizei ostoso isos na tin anaferoume, kathos i thea Artemis, o xoros, to erotiko pathos gia mia omorfi parthena kai i apagogi einai koina simeia. Etsi, otan o theos syneiditopoiise oti den mporouse na pantreytei ti thea, skeftike na xrisimopoiisei ti bia kai eftase stin poli ton Letrinon opou i Artemis epaize me tis Nymphes se olonyktia giorti. Epeidi omos i thea eixe kapoies ypopsies, apofasise na metamphiestei aleiphontas to prosopo tis, alla kai ton Nymphon, me pilo. Etsi o Alpheios den katafere na ti diakrinei kai telike efyge xoris aytin... I olonyktia giorti kai to paixnidi tis Artemis me tis Nymphes yponoei tin yparxi enos xorou kai o xoros aytos parapempei se enan allo latreytiko asemno xoro pou ektelountan pros timin tis Artemis Kordakas sti Helida kai aytos(Paus. Heliaka, VI, 22, 1). Sxetika me ayton to xoro exoume plirofories oti oi gynaikes kai oi antres pou epairnan meros se ayton to xoro metanfiezontan sto antitheto fylo kai oi gynaikes forontas pseytikous terastious phallous kai prospoiountan oti dieisdyan sta antrika kormia...)
Ston Homero, xoreytikes kiniseis pou ektelountai me xtypimata podion kai xerion exoume episis apo nearous kai neares pou synodeyoun to tragoudi tou Linou koubalontas stafylia(Il. 18. 572). Prokeitai gia tragoudi sygkomides? Se mia alli skene tis perigrafis tis aspidas tou Achillea neoi kai nees xoreyoun piasmenoi stous karpous (epi karpoi)(Il. 18. 590), sxetika me ayto sxoliazei kai o Lonsdale. O poiitis fainetai oti eixe sto myalo tou ton Gerano, tulahiston etsi lene kapjes meletes. (Tora akoma mono ta keimena exetasoume, anaferoume prokatabolika omos merikes ikastikes martiries.) Sti loutrophoro tou Analatou sto Louvre exoume tin proti anaparastasi gynaikeion kai antrikon morphon pou xoreyoun piasmenoi enallax. Kapoioi tin ermineysan os Gerano, o Beazley (1993) to theorei apithano, afou o xoros synodeyetai apo aylo kai oxi tin perifimi lyra tou Thesea. I epomeni parastasi enallassomenon andron kai gynaikon einai arketa ysteroteri sto aggeio Francois, opou edo prokeitai gia Gerano.
Sxetika me tin teleytaia paragrafo tis perigrafis tis aspidas, amfisbiteitai i aythentikotita tis kathos ypostirizetai oti pithanos prokeitai gia metagenesteri paremboli , etsi i martyria xanei kata polu tin axia tis... Sxetika me ayto to thema o Walter Leaf pisteyei oti ta kretika stoixeia pou diafainontai stis xoreytikes perigrafes tou Homerou einai dikaiologimena, kathos ginetai anafora se palaioterous xorous kai sti syneidisi ton arxaion Ellinon i Krete eixe paixei simantiko rolo stin anaptyxi kai akoma kai stin epinoisi tou xorou {Commentary on the Iliad (1900) Commentary on Homer, Iliad. book 18, line 590)(Perseus)}.
Meta tin arhiki amixania pos na mazeytoun me kapoio noima kai taxi ola ayta gia to xoro apo ton Omiro, anadyontai ta prota stoixeia. Mi mas apasxolei ayti ti stigmi an einai liga i polla. As symfonisoume tora pos einai arketa gia na xekinisei mia ereyna. Kai giati me ton Omiro? Epeidi einai stin arxi kai sti synexeia ginetai syxna se ayton anafora. Me tin proti matia epibebaionetai pos ta keimena tautohrona lene polla kai liga. Ti kryvetai mesa sto mythiko plaisio gia ti zoi kai to horo? Pandos oso perisotero diabaseis, niotheis pos opou kai an angixeis, o,ti episodio exetaseis, anoigoun 'dromoi', esto san pseudaisthisi, gia ritorika tehnazmata. I Amalteia-aiga dinei trofi, amrosia kai nektar bgainoun apo ta kerata tou, to derma tis ginetai aspida, kai natoi oi Kourites, armatomenoi, me toribodi horo kryboun, prostateboun ton mikro Dia. Kanei kai autos polla thaumata argotera, ap to kefali tou xepida i oplizmeni Athina, stin aiga-aspida tis einai zografismeni i tromeri Medousa. Stin Pallada dinetai protia gia ton polemiko horo.[Endiaferon exigisi, pos efebre ton aulo.] Uperboli an leme pos sta epomena "ouranos kai gi tha horevoun?" As afisoume kalytera na mas odigisei o idios o Omiros se gamous kai giortes athanaton kai thniton, se polemo opou 'horevei' o Aris. Sto ergastirio tou Hefaistou, i aspida tou 'kathreutis', kozmohoreutiko mastoreuma, me horostasi san auto pou eftjaxe a Daidalos gia tin Ariadni.IL. 18. 590-606:
Kai kataskeyase o xakoustos koutsos xorostasi paromoio me ayto pou eftiaxe o Daidalos gia tin Ariadni me tin omorfi komi. Ekei nea palikaria kai perizitites parthenes xoreyoun kratontas o enas to xeri tou allou ston karpo. Kai oi kopeles foroun lepta lina endymata, eno ekeinoi kinoun grigora tous kaloyfasmenous xitones pou einai gyalismenoi elafros me ladi. Kai bebaia oi kopeles exoun omorfa stefania, eno oi neoi xrysa maxairia pou kremontai apo asimenes zones. Kai etrexan me ta empeira podia, opos otan enas kerameas kathismenos prospathei na gyrisei ton troxo pou tairiazei stin palami. Allote pali trexoun sti seira o enas meta ton allon kai polus kosmos steketai gyro apo ton goiteytiko xoro kai eyxaristietai. Kai anamesa tous dyo akrobates xekinontas to tragoudi stifogyrizan sti mesi.
(Jane B. Carter 1995 "An Ancestor and the occasion of Homeric Performance", sto The Ages of Homer. sel. 291: O Lonsdale sto arthro tou exetazei tous desmous anamesa sta xorostasia tis Knosou kai ton "xoros" stin aspida tou Achillea. Briskei oti i homeriki eikona ton athoon neon etoimon gia gamo exei sobaroteres apixiseis kai mesa stin idia tin Iliada kai sta arxaiologika eyrimata. Pisteyei oti o kyklikos xoros stin aspida tou Achillea apixei ton "xoro" tou Achillea kai tou Hektora gyro apo ta teixi tis Troias sto biblio 22. Analogos, to xorostasi tis Ariadnis, to opoio stin Iliada fainetai oti kataskeyastike me maestria apo enan empeiro texniti gia tin eyxaristisi tis nearis prigkipissas, einai enas makrinos apoixos apo tis mnimeiodeis petrines platformes gia sygxronous ecstatikous xorous, pithanos, opos o Lonsdale proteinei, synodeyomenoi apo anthropines thysies. O homerikos xoros stin aspida tou Axillea einai meros "secular" eorton, opos oi gamoi. To minoiko-mycenaiko prototypo anikei antithetos se ena entona iero periexomeno....")
Lonsdale 1994: 275. Proxeiri metafrasi. Ola ayta me aformi ti skini sti aspida tou Axillea (Daidalos-Ariadni...):
...Mia katallili methodologiki diadikasia einai na rotisoume pos o xoros, eyreos orizomenos, sxetizetai me ti thriskeytiki empeiria me ti theotita. Sti minoiki thriskeia o xoros einai o tropos ekfrasis ton xaraktiristikon gnorismaton tis theikis thriskeytikis empeirias pou symbainei kata tin epifaneia tis theotitas. Symfona me mia diadedomeni ermineia enos Ysterominoikou xrysou sfragistikou daxtylidiou apo tin Knoso (to opoio o Hooker apokalei klasikos typo tis “theotitas pou katebainei”) kai sxetika paradeigmata tou “ferne Gotter” tou Matz, i theotita emfanizetai apo psila kata tin ektelesi tou xorou. I ypotithemeni yperfysiki kinisi kathreptizetai stous latres, oi opoioi epikalountai ti theotita me xeironomies kai xoro. Ena allo eidos epifaneias pragmatopoieitai apo ta katotera “basileia”, opos ypodilonei ena pinakidio kai to thraysma enos allou apo ti Faisto. Pali o xoros einai ena meso gia na xeiristeis tin emfanisi tis theotitas. (Stin klasiki periodo, xthonies anabaseis briskoun mia analogia stis legomenes “anodous” (áíďäďé) ton koritsion, opos tis Persefonis, pou pragmatopoiountai apo Panes kai satyrous pou xoreyoun)(Boston, MFA 01.8032). Pos syndeontai oi dyo morfes epifaneias den einai xekatharo. Ostoso I emfanisi mias theotitas den einai apomonomeno gegonos alla meros enos epanalambanomenou kyklou pou periorizetai apo kathieromenes typikes praxeis.
IL. 18. 590-606:
Kai kataskeyase o xakoustos koutsos xorostasi paromoio me ayto pou eftiaxe o Daidalos gia tin Ariadni me tin omorfi komi. Ekei nea palikaria kai perizitites parthenes xoreyoun kratontas o enas to xeri tou allou ston karpo. Kai oi kopeles foroun lepta lina endymata, eno ekeinoi kinoun grigora tous kaloyfasmenous xitones pou einai gyalismenoi elafros me ladi. Kai bebaia oi kopeles exoun omorfa stefania, eno oi neoi xrysa maxairia pou kremontai apo asimenes zones. Kai etrexan me ta empeira podia, opos otan enas kerameas kathismenos prospathei na gyrisei ton troxo pou tairiazei stin palami. Allote pali trexoun sti seira o enas meta ton allon kai polus kosmos steketai gyro apo ton goiteytiko xoro kai eyxaristietai. Kai anamesa tous dyo akrobates xekinontas to tragoudi stifogyrizan sti mesi.
An kitazoume ligo ton Lukiano gia ton ormo, amesos meta anaferetai sti skini tis aspidas ston Homero, me Daidalo kai Ariadni, kai ola denoun siga-siga. Ayto pou erxetai sto myalo ayti ti stigmi einai o "hormos", erotikos xoros pou perigrafetai apo Lukiano kai einai analogos tou xorou tis Aspidas kata ton Lonsdale. Ston xoro ayto pou perigrafei o Lukianos andres kai gynaikes enalassontai se mia xoreytiki "alysida" (Lucian 12-13).
Episis o Lonsdale anaferei oti stin perigrafi tis aspidas i emfasi pou dinetai sta mallia tis Ariadnis kai sta stefania ton xoreytrion mporei na einai kapoios ypainigmos gia tin kathieromeni simasia pou exei ayto pou ferei sto kefali tou o xoreytis. Symfona malista me ton Calame ta lita mallia se antithesi me ta demena se mitra einai simeio tis parthenas.
Nai,sas diaskedsoume me mia leptomeria? :) Leptes ptihes sta diskola omirika zitimata, to ruho, ti diafaneia omos ayti yponoei kai o Homeros otan perigrafei ta rouxa ton neon stin aspida, opou oi kopeles foroun "leptas othonas" (ëĺđôÜň ďčüíáň), lepta yfasmata diladi. Alla isos kai edo na prokeitai gia "poiitiki adeia":)
Synexizontas to diabasma ton Lonsdale anaferei oti o Platonas stous Nomous (771e-772a)leei oti ta agoria kai ta koritsia prepei na pairnoun meros se xoreytika paixnidia (ôáň đáéäéÜň đďéĺéóčáé ÷ďńĺýďíôĺň ôĺ ęáé ÷ďńĺýďőóáň...) To periexomeno tetoion xoron einai oi "synodoi" (óőíďäďß) kai ekei tha exoun tin eykairia na gnoristoun... Gia to sobaro ayto skopo prepei na xoreyoun mazi (otan einai stin katallili ilikia) kai na koitazei (čůńĺß) o enas ton allon xoreyontas gymnoi (ăőěíďýň ęáé ăőěíÝň ěĺ÷ńßđĺń áéäďőň óţöńďíďň ĺęÜóôůí), diatirontas omos to sebasmo kai ti semnotita tous. (Ara yparxei o kindynos na xefygoune:) Kai ola ayta ypo tin epimeleia ton arxonton kai ton nomotheton...
Bebaia kati tetoio leei o Lonsdale einai mallon apithano na ginotan kai stin pragmatikotita, omos ta diafana rouxa pou forousan otan xoreyan epetrepan sta somata tous na diagrafontai apokaluptika. Kai aytos o ayximenos bathmos diafaneias eixe megali koinoniki simasia, kathos i erotiki atmosfaira ypografei me tin parousia tis kathe xoro. Mia tetoiou eidous giorti san ayti pou perigrafei o Platonas dimiourgeitai kallitexnika apo ton Hefaisto stin aspida tou Axillea opou parthenoi kai efiboi xoreyoun...
Kai i Naysika "paizei" me tin mpala tis kai ayto to "paizo" einai lexi kleidi, kathos kapoioi to metafrazoun os paiximo kai xoros. O Platonas xrisimopoiei ayton ton oro. Synantame ti lexi "paidia" (đáéäéÜ)... To idio rima "paizo" xrisimopoieitai kai gia tis nymfes kai tin Artemi sti gnosti paromoiosi. O Lonsdale anamesa sta alla ypostirizei oti xrisimopoiontas o poiites kai sti dyo skines to idio rima syndeei stena tin anthropini kai ti theiki symperifora.
Ston omiriko kosmo horevoun oi enaretoi kai oi amartoloi, oi 'atimoi' mnistires pou theloun na 'kleboun tin Pinelopi, xoris na xeroun pos i Moira me ton Odussea tous etoimazei to teleutaio glendi, kai me to nima tou toxou tha ihisei thanatiforos mousiki. Apati-pagida perimenei tous apatilous, o zitianos-kamouflarismenos Odusseus deihnei tin proti parastasi. Apo ekei kai o "asemnos" horos ton akleiton?
Simeioseis apo Burkard ,resume:
Oi akletoi itan oi akalestoi enos deipnou, enos symposiou. Idi apo ta homerika xronia o kalos oikodespotis kalei ena mousiko gia na psixagogisei tous kalesmenous tou. Gia ton idio logo o Kallias sto symposio tou Xenofonta exei proslabei enan Syrakousio, tou opoiou oi sklaboi, ena agori kai dyo koritsia, diaskedazoun tous symposiastes paizontas aylo, tragoudontas, xoreyontas, kanontas akrobatika kai pantomima. Para ti xamili tous koinoniki bathmida tetoioi kallitexnes kalountai sto symposio xari stin ypsilis ektimisis texni tous (technai). Kapoioi omos, pou symballoun episis stin psyxagogeia tou symposiou, ftanoun akalestoi. Den exoun periousia kai gia kapoious logous den kerdizoun to psomi tous apo kapoia xrisimi techne. Kateythynomenoi apo ta peinasmena stomaxia tous emfanizontai opou moirizontai fagito. Aytoi oi akletoi den epaixan enan asimanto rolo stin arxaiki politistiki kai koinoniki istoria tou symposiou. Skopos tou Burkhard na anasynthesei tin epidrasi tous.
O protos "akletos" stin elliniki logotexnia o Odysseas, pou paramerizei ton « synadelfo » tou kai antipalo tou Iro kai zita apo tous mnistires fagito kai poto sto symposio tous. Stin methomeriki poiisi tis archaikis periodou oi akletoi einai episis gnostoi os koinoniki omada (Archilochus fr. 78 D= 124 W ?). Metagenesteres parallages tou akletou stin ysteri logotechnia einai o "kolax" kai o "parasitos".
I antidrasi ton kalesmenon stin emfanisi ton akleton perigrafetai idi stin Odysseia : Oi akletoi synithos pairnoun ayto pou theloun apo fobo mipos i katara tous prokalesei ti dysmeneia tou theou, i kai apo oikto, omos yparxoun antidraseis gia tis koilies tous, ti methi tous, tin tempelia tous, tin adiantropia tous kai alla... Etsi o akletos paizei me tin kakomoiria tou kai tin adynamia tou thelontas na kolakepsei tous kalesmenous, kai stin ousia « paristanei » ton eayto tou tonizontas tin fysiki kai ithiki tou katoterotita. O akletos paizei ton anithiko rolo tou methystaka oste na diaskedasei kai etsi na kerdisei kapoio yliko agatho. I methodos na dimiourgithei kali diathesi kai ilarotita proballontas kaneis ta elattomata tou xrisimopoieitai episis kai apo ton Hephaisto stin Iliada. Tin idia methodo akolouthei kai o Philippos, emfanizomenos sto symposion tou Kallia kai dilonontas oti einai akletos kai peinasmenos . Ayti i « parastasi » den einai mia techne pou kathorizetai apo sygkekrimenous kanones. Gi’ayto kai o Burkhard theorei adiko to na apokalountai aplos zitianoi, kati pou ypobibazei ena periploko koinoniko-politistiko kai tin idia ora aisthetiko fainomeno stin oikonomiki tou mono pleyra.
An dextoume oti i koinoniki domi tou symposiou allaxe sto perasma tou xronou kata diaforous tropous, den mporoume na apokleisoume ti dynatotita tou na epaixan kapoio rolo s’aytes tis allages kai oi akletoi, oxi aplos pathetika alla san enas energos erethistikos paragontas...
(Isos bori na anaptihti mia enotita, opou o xoros parousiazetai os kati pio "xalaro", pou mporei na se xegeleai. De thelo na po me arnitiki xroia, giati isos "parasyrtho"... Omos kai edo o Telemaxos tous katigorei stin Athena, legontas tis: koita mono ayto tous noiazei, i mousiki kai to tragoudi (yponoeitai kai o xoros?). Isos mia enotita opou o xoros den "doxazetai" alla gia kapoio logo esto kai emmesa "enoxopoieitai"...:)
"...Kai otan ikanopoiisan ton potho tous gia poto kai fai oi mnistires alla eixe anagi i psyxi tous, tragoudi kai xoro. Stolidia tou deipnou. Kai o kirykas tin omorfi kithara ebale sta xeria tou Fimiou, o opoios apo anagi tragoudouse stous mnistires. Omos paizontas tin kithara tou epiase na tragoudaei omorfa, eno o Telemaxos eipe stin Athena me ta apastraptonta matia plisiazontas se aytin to kefali tou, gia na min ton akousoun oi alloi. Xene mou, tha aganaktiseis mazi mou me osa tha sou po? Aytoi gia ayta noiazontai, tin kithara kai to tragoudi, eykola, afou trone atimorita xeni periousia anthropou pou isos tora ta aspra tou kokala sapizoun apo ti broxi petamena se kapoia xera, i to kuma ta kylaei sti thalassa..." Blepe kai Pari.Il. 255-261:
... ego o dystyxis, pou gennisa tous gious tous pio kalous stin Troia ti megali, apo tous opoious kanenas den m'apomeine, O Mestoras o isotheos kai o ippeas o Troilos, oute o Ektoras pou itan san theos anamesa stous andres kai den emoiaze oti itan gios thnitou alla theou. Aytous tous skotose o Ares, kai mou emeinan oloi oi axristoi, pseytes kai xoreytes, ikanotatoi sto na xoreyoun, kleftes arnion kai tragon apo to lao.
IL. 3. 393:
Ela edo. O Alexandros se kalei na pas sto spiti. Ekeinos pou einai sto thalamo kai sto torneyto krebati kai lampei xari stin omorfia tou kai ta rouxa tou. Kai oute pou tha ton eleges andra pou erxetai apo ti maxi alla pou pigainei sto xoro i pou kathetai afou molis stamatise na xoreyei.
Anarotiomaste omos, isos edo den exei pragmati toso arnitiki xroia o xoros, alla einai perissotero mia ekfrasi tou typou "edo o kosmos kaigetai kai i gria xtenizetai" i "afisane to gamo na pane gia pournaria". Diladi mprosta stin anagi kai ston kindyno esy protimas na xefygeis xoreyontas i kanontas alla "anorima" "paixnidia"? Nomizo oti to idio to keimeno thelei polli prosoxi stin anagnosi tou, xekinontas apo mia kali metafrasi. Etsi genniountai skepseis, idees, erotimata.....
An omos dextoume oti yparxoun stereotypes ekfraseis pou ypodilonoun kati, tote kai i lexi "orchestis" pou se ayto to xorio anaferetai mazi me to "pseytis" kai to kleftis mporei na exei mia stereotypi simasia arnitiki?)
Iliada: 24. 261, opou o xoros parousiazetai pali me mia arnitiki kapos xroia.
I metafrasi apo Papyro: (milaei o Priamos stous ypoloipous gious tou, thrinontas to xamo tou Ektora...)
“...Aytous eyrike o Ares na mou faei, kai mou meinan edo oloi oi tipotenioi, lamproi gia pidous kai xorous, xefantotides, pseytes, arnion kai tragon kleftides ap’ tous ftoxous tou topou.”
Opou koitas, englima kai timoria. Pos tha glitoseis?
Od. 23.129
Ego loipon leo pos etsi mou fainetai pos einai kalytera na ginei: Prota loipon lousteite kai foreste xitones, tis doules diataxte sto palati na ntythoun. Tote o theios aoidos me ti psilofoni lyra tou as sas odigisei ston paixnidiariko xoro, etsi pou kapoios pou ap'exo akouei, eite perastikos eite oi gyro geitones, na poun oti gamos ginetai. Na mi diathothei stin poli i eidisi tou megalou fonikou ton mnistiron, prin pame exo sto xtima mas me ta polla dendra. Ekei pia tha skeftoume o,ti kalytero mas prosferei o Olympios.
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Etsi milise kai ekeinoi ton akousan kai prothyma ypakousan. Loustikan prota kai foresan xitones, oi gynaikes stolistikan. Epiase kai o theios aoidos tin koili lyra tou kai tous xesikose potho gia glyko tragoudi kai exaisio xoro. Kai to megalo spiti antixouse gyro tou apo ta podia ton andron kai ton gynaikon me tin omorfi zoni (i ti lepti mesi?) pou xoreyan... An o ponos pia einai aforitos, i oraia Eleni xerei na parigorei, rihnei sto krasi magika filtra, xehnoun oi kalesmenoi ta basana,tora isiha hairontai, evruhoro to palati tou Menelaou, thaumazoun ta epidexia kinisi ton akrobaton. (Omos prosohi, giati odiniro einai to apotelesma tin katahrisi:
Od. 14.469
"akouse tora, Eymaie kai eseis oloi oi alloi syntrofoi, ti tha po afou proseyxitho, giati to krasi pou pairnei to myalo, kanei kai ton pio syneto na tragouda kai na gelaei apala kai ton xesikonei na xorepsei kai na petaei logia pou tha itan kalytero na meinoun aneipota"...)Xeroun ta koritsia, otan pezoun eora, pos einai enas mistikos horos? Mnimi gia to proto methi, skotinos mithos, kai otan mes to anixiatiko zali petane pros ton urano, zitane synhoresi gia fono? Ti mira tin Irigoni, giati kremestikan oi kopelles stin Attiki? Polles apandisis einai sta biblia, alla pou hatikan ta agrafa? Eora, helidonisma, , mehri prosfata oi laografi katagrapsane sta horja, sinitjes, giortes, tragoudja, estantikan na ehoun arhees rizes. Kseroume himia, ti domi ton methistikon, narkotikon kai paresestisiogonon ousion, stin epohi mas anthizi i psihologia, alla ti minima feri to anthema? "Pou mi ta roda, pou mi ta gia, pou mi ta kala selina", kai pos horeuete? Psilafisoume ti psuhosintesi eihane autous pou miitikan sta mistiria? Lene pos itane eukeria gia xespasma, kai meta girisane irema sto spiti. Diladi halinagogisi, elenhomeni 'exondosi' pathon, xepliroma, dosane eukeria na apelebterothun ta agria enstikta, prin kapsoun ta spitja. Tin fotja damazane me fotja. Auta mia fora briski kanis kai iremi, den kindinevi mesa sto iero horo, prostateboun, prosehoun oi sofi ierevs, embiria ehun pos 'choreografite' i teleti. I katimerini zoi den epitrepi upoerboles, edo mes stin ieri extasi ouden timorite to ubris. Oi mistes girizondas sta sinitisemena meta tin giorti, nyothun elefrada, isos uthe kan' timounde ti egine, alla paroun kai tin proidopiisi,apagoreusi:"to trello krasi, pou odigei akoma kai ena sofo antra se anoita tragoudia kai gelia, kai ton kanei na pida kai na horeuei, kai na proferei logo pou tha 'than kalitera na min eihe eipothei". Anamesa duo 'miisi', kala kani kanis na apofegis ap tin iperboliki oinoposia kai kathe akrathia, eine ubris, kai blavero, to halai o horos kai i zoi an parapotisi to krasi.
I skini ektulissetai sti Lakedaimona, sto palati tou Menelaou, to opoio episkeptetai o Telemachos. Diplos gamos kai glenti en opsei, afou o Menelaos pantreyei tin omorfi kori tou me to gio tou Achillea kai to gio tou me tin kori tou Alektora...
Proxeiri apopeira metafrasis ton teleytaion stixon:
Kai moirazontan sto doma me tin psili orofi oi geitones kai oi filoi tou Menelaou kai xairontan: anamesa tous theios aoidos epaize me tin kithara tou, eno dyo akrobates xekinontas to tragoudi strobilizan sti mesi...
Oh ayti i Eleni, oi basilisses, kai oi doules! Akourastes me to adrahti, ton argalio, ftiahnoun me haroumeni porfira violettia nimata, ifasmata, rouha gia to horo sto gamo. Ravoun, plenoun adiakopa. Kapou, san ti Nausika, xekourazondai horeuontas me tin bala, to paihnidi ton Phaiakon.Naysika-potami-mpala
...I Naysika epireasmeni apo to oneiro tis trexei na dei tous goneis tis:
Od., 6, 57
"Agapimeme patera, tha mporouses na mou doseis mia amaxa psili kai me oraious troxous gia na pao sto potami ta polutima rouxa mas na pluno, pou briskontai sto spiti leromena? Kai se sena ton idio pou eisai anamesa stous protous tis boulis pou pairnei apofaseis tairiazei na exeis pano sou rouxa kathara. Exeis kai pente gious sto palati. Oi dyo einai idi pantremenoi, eno oi treis anypantra palikaria stin akmi tous. Oloi tous theloun na exoun rouxa freskoplumena otan pane sto xoro. Ola ayta apasxoloun to myalo mou......"
Od., 6, 96:
"Kai otan eplunan kai katharisan entelos ta rouxa, amesos ta aplosan stin akrogialia, opou i thalassa ekballei stin xira polla botsala(?). Kai ekeines afou loustikan kai aleiftikan me ladi liparo, epeita piran to deipno tous stin oxthi tou potamou, perimenontas ta rouxa ston ilio na stegnosoun. Kai afou eyxaristithikan me to fai kai i kopela kai oi akolouthes tis, epaizan me ti mpala petontas stin akri ton kefalodesmo. Kai anamesa tous i Naysika me ta leyka tis mpratsa itan epikefalis sto tragoudi kai to xoro. Opos i toxeytria Artemi erxetai sta bouna, i ston panypsilo Taygeto i ston Eyrymantho gia na xarei me kaprous kai okypoda elafia, mazi tis paizoun agrodiaites Numfes, kores tou Dia pou krataei aigida, kai xairetai bathia i Lito, pou kefali alla kai metopo tis koris tis ap'oles yperexoun, kai eykola ayti anagnorizetai an kai oles tous einai omorfes, etsi kai i adamasti parthena (i Naysika) xexorize apo tis doules tis."
I Marie-Helene anaferei oti o Sofoklis sti "Naysika", apo tin opoia sozontai apospasmata mono, eixe anaparastisei ti synantisi tou Odyssea me ti Naysika kai tis doules tis. Kai symfona me ton Sechan to ergo xekinouse me enan xoro pou parousiaze sti skini to plusimo ton rouxon kai synexize me enan allo xoro, me epikefalis ti Nausicaa opou me ta koritsia paizoun me tin mpala. Tous diakoptei i emfanisi tou Odyssea.
O xoros aytos emeine diasimos xari stin epytixia pou eixe o Sofklis bazontas to prosopo tis Nausicas na paizei me tin mpala...
Posa herja prepi na pjanoume, papous, propaous..., mehri na ftasoume ston Omiro? Anarothitithikame pos axiologoume ton Omiro, to mutho? Kai erhete amesos to proto kai grigoro apandisi. Koitaxame to limma gia ton Homero sto OCD (Homer: 718), perigrafei periliptika to homeriko problima, dinei perilipseis ton ypotheseon pou pragmateyontai ta dyo epi, milaei gia tin exairetiki ikanotita tou Homerou na katanoei kai na perigrafei tin anthropini symperifora kai antidraseis, gia tin polyploki domi tou daktylikou exametrou pou xrisimopoiei k.a. Leei episis oti istorikoi blepoun sta epi antikatoptrismous tis koinonias kai ton politikon blepseon ton “Skoteinon Xronon” pou epontai tis mycenaikis katastrofis (teli 13ou), akoma kai tis koinonias tou 8ou aiona p.X. Mono apolithomenes mnimes tis mykenaikis periodou epibionoun sta erga tou. I Iliada topotheteitai gyro sto 750, eno I Odysseia gyro sto 725 p.X. (epoxi tou apoikismou). Kleinei milontas gia ti methomeriki poiisi kai ekei anaferaetai ston Hesiodo, stous Homerikous ymnous kai sta poiimata tou epikou kyklou apo ta opoia sozontai mono perilipseis apodidomenes ston Proklo (pithanos grammatikos tou 2ou ai.). An kai ayta ta poiimata einai ysterotera ton Omerikon, I simasia tous gia mas egkeitai sto oti antiprosopeyoun ta themata tis heroikis poiisis opos itan prin apo ton Omero. “Thus, by a time reversal, the partially known later material can make some claim to priority over the earlier”.
Horis elpida, na exandlisoume to omiriko zitima, toso katatesoume prokatabolika, kai akoma den eidame tipota!:) Kat odon simplironoume tin eikona, to peribalon, ta genetria tou omiriko horeuti.As statoume ligo touto to sumeio, kanondas to proto cekarisma, horeutika, doi bima bros, ena piso...:)An xanakoitazoume to OCD, blepoume oti ayta pou leei isos einai kapos "palaioteres" apopseis, kai isos kapoia pragmata exoun anatheorithei i anatheorountai ... Etsi, gia paradeigma o Mazarakis-Ainian (Omeros kai Arxaiologia 2000) episimainei, stirizomenos stis arxaiologikes martyries, oti synyparxoun stoixeia apo tria istorika stromata: ena proistoriko, kyrios mykinaiko, ena endiameso ton Skoteinon Xronon (11os-9os ai. p.X.) kai ena tou 8ou aiona, tis periodou diladi kata tin opoia ezise o Omeros kai pragmatopoiithike i katagrafi ton proton epon. (Omos edo bazoume pali ena erotimatiko, kathos to diastima pou pithanos ezise o poiitis exei teleytaia dieyrynthei arketa, 900-650p.X.( Anihti erotisi, pou perimeni lisi: Sxetika me tin proti katagrafi ton epon ti xeroume?). O Ainian ypostirizei oti ta omerika keimena symballoun idiaitera stin anasystasi tis eikonas tis koinonias ton mykinaikon, ton skoteinon, i ton ysterogeometrikon xronon, me tin proypothesi oti o ereynitis elegxei poies apo tis anafores tou poiiti anagontai se kathe periodo kai poies einai dimiourgima tis fantasias tou. Mila kai gia methomerikes paremboles(?)oi opoies apoteloun ena allo stroma...
Sizitjete ,Romilly: gia aytes tis paradoseis proforikis poiisis pou yparxoun kai stis meres mas kai pou mporoun na dosoun mia idea gia to ti eixe symbei prin ton Homero. Milaei gia dyo Americanous, ton Milman Parry kai Lord pou arxisan na antiparaballoun me epimeleia apagellies giougoslabon rapsodon (bardon) kai taxinomisan apo aytes perissoteres apo 12.000. Diatirousan ton tropo synthesis tis proforikis paradosis. Etsi, tirountes tis analogies diakrinoun tis megales dynatotites tis mnimis kai blepoun kathe boitheia pou tis prosfere i epanalipsi typikon stixon i synolon typikon stixon kai i xrisi epitheton "fyseos" (ayto den to katalabaino,epithetes de nature sta gallika). Blepoun episis oti o klironomimenos thesayros mporouse na ananeothei me katallilo tropo kai na epanasygrotithei se nea epeisodia...... Alla kyrios eblepan oti oi spoudes proseilkyan tin prosoxi se o,ti eprepe na yparxei prin ton Homero kai oti ekeinos itan i katalixi mias makras paradosis......
Deipno. Stolidia, xoros kai tragoudi. Omorfi kithara. Femios. Apo anagi tragouda. Alla tragouda omorfa. Mnistires. Telemachos. Athena.
Einai mia skini sto palati. Opou o Odysseas leipei, oi mnistires "perimenontas" tin Penelope, rokanizoun tin periousia tou. Se ayto tous synodeyei i mousiki kai o xoros. Etsi kati toso omorfo, theostalto, stolidi aparaitito enos deipnou, mpleketai se kati anithiko kai xafnika athela tou "enoxopoieitai". O Phemios, o aytodidaktos, de thelei na paixei, alla anagazetai. Kai etsi paizontas tin omorfi (perikallea) kithara tou tragoudaei omorfa (kalon aeidein). (De tha mporouse arage na tragoudisei asxima, gia na tous dysarestisei? I kati tetoio tha itan epikindyno, i apagoreymeno?) O Telemachos aganaktismenos parakolouthei kai fobatai kai tin aganaktisi tou xenou(pou den xerei oti einai i metamfiesmeni thea) otan tha tou pei oti aytoi oi "ypopsifioi" mnistires den einai kai toso "athooi" afou diaskedazoun trogontas to bios antra pou mporei kai na mi zei pia...
O Fimios -Entaxei, as poume oti o mousikos mporei na einai "aytodidaktos", den didaxthike apo kapoio thnito empeiro mousiko -etsi ypostirizetai toulaxiston stin Odysseia-, alla monos tou me ti boitheia tou theou pou milaei mesa tou, alla pos mporei na isxysei to idio kai gia to xoro? Eidika ean yparxoun bimata xorografimena? Alla kai sygekrimenes armonies den ypirxan? I mipos einai to talento gia to opoio milame, kai to opoio einai pigaio, i allios "theostalto"? Kai pali de xreiazetai xypnima, kalliergeia, douleia? Ara pou einai i "estia" ton proton "syzitiseon" peri mousikis? Einai i idia kai gia to xoro? Kai mporei pragmatika arage na einai kaneis aytodidaktos?
"Simerines prooptikes gia to homeriko epos i pos mporei i ereyna na ananeosei tin anagnosi ton keimenon" Metafrasi Anastasios Stefos. Athena. Ekdoseis Kardamitsa.
Sel. 18:
...Einai apolyta alithes oti briskoume ston Homero typikes ekfraseis kai epanalipseis. Eixame arxisei, prin apo ti gnosi ton proforikon poiiseon, na tis diorthonoume, na tis afairoume. Epeita anakalypsame oti itan symfytes me kathe proforiki poiisi. Alla, sti synexeia, me to na paratiroume ek tou syneggys anakaluptoume oti ston Homero xrisimopoiountai kai axiopoiountai me megali dexiotita kai me bebaiotati aisthisi gia ti synthesi tou synolou. O poiitis pragmati epefere allages analoga me tin periptosi, me protheseis logikes. Einai omos dynato na diatirise ena idiaitero arthroisma stixon ametablito, alla tote i prothesi tou einai, sxedon pantote, gia na parousiasei mia sxesi anamesa sta gegonota pou emfanizei os synafi, akomi kai apo apostasi. O,ti apotelouse mian apo tis xares tis proforikis synthesis endyetai ston Homero me leitourgiki axia kai xrisimopoieitai gia kapoio apotelesma.
"1976 "A History of the Greek city states 700-338 B.C."
Gia ta homerika poiemata kai ayto pou syzitousame simera leei oti exei deixthei apo ton Milman Parry oti i Iliada kai i Odysseia itan proforikes syntheseis meso mias paradosiakis technikis. Kathe poietes mathaine tin techniki apo tous proigoumenous kai mporouse na elpizei sto na tin anadeixei mono kata polu ligo. Etsi i anaptyxi tis texnis tis proforikis synthesis prepei na xreiastike arketes genies. Gi'ayto kai einai katanoito to oti ta poiemata anaferoun stoixeia pou anikoun se diaforetikes periodous, kapoies apo aytes mporoun na xronologithoun me basi arxaiologika parallila stin Ysteri Epoxi tou Xalkou. Kai ayto prepei na einai sto myalo mas prin apopeirathoume na xrisimopoiisoume tis sporadikes endeixeis pou parexoun ta poiemata sxetika me tin koinonikes kai politikes synthikes. Kapoioi meletites epixeirisan na anasynthesoun tin "homeriki koinonia" syllegontas aytes tis endeixeis kai topothetontas tis oles stin idia periodo. To poso lathos einai ayti i methodos mporoume na to doume an skeftoume ti diaxeirisi ton metallon sta poiemata. Oi poietes itan exoikeiomenoi me ti xrisi tou sidirou kai sta poiemata ta ergaleia einai synithos apo sidiro. Omos oi poiites isxyrizontai oti tragoudoun to iroiko parelthon kai etsi miloun gia ta opla ton heroon pou einai ftiagmena apo to pio romantiko metallo, ton xalko. Omos den ypirxe pote koinonia pou na xrisimopoiei sidiro gia ta ergaleia kai xalko gia ta opla, antithetos efoson o sidiros einai pio dyskolos sto na douleytei alla pio skliros, xrisimopoiithike prota gia opla, otan pia apoktithike i ikanotita na ton douleyoun. Ara, otan meletountai sta poiemata oi koinonikes kai politikes synthikes, synistatai mia eklektiki methodos... (sel.:15)
Isos eixe endiaferon na psaxoume kai tin etymologia tis lexis "xoros". Se kapoia yposimeiosi tou Lonsdale pou epese tyxaia to mati mou, psaxnontas kati allo, eida pou leei oti i lexi "choros" polu pithana ermineyotan me ti lexi "chortos" (perifragmeno meros)(sta latinika "hortus" simainei "kipos"), syggeniki me ti Lithouaniki lexi "zaras" (seira, taktopoiisi), meso mias rimatikis rizas (gher-) pou simainei "periexo/krato". Alloi, leei, syndeoun tin ennoia tis rizas "krato" me to piasimo ton xerion. (W. Porzig, Die Namen fur Satzinhalte, Berlin 1942). Oti i basiki xeironomia ton melon enos xorou(?) (chorus) itan to na pianei o enas to xeri tou allou kai etsi na enonontai se ena soma yponnoeitai apo tin yparxi mias epikis stereotypis ekfrasis ("formula") "epi karpoi cheiras exontes". (Eđé ęáńđů ÷ĺéńáň ĺ÷ďíôĺň).
Tethikan ligo biastika ta exis erotimata: Ti einai to 'dromo' tou aido? ([Ekfrasi 'mistirio" o Brouno Snell exetazi sto biblio Anakalipsi tou peumatos. Blepe meta stin enotita mousiki.] Ti kalo mas kani to ambrosia kai nektar, kai apo pou pernoume?:) Pja einai ta musiko-horeutika taumata ton theon? As rotisoume ton Apollona.
Autos, mou makria toxeui, apagagi kritikous pirates kai me to kalo anemo den stamatai mehri den ftasoun sto iero topo pou idrii to nao tou. Oi proti ieris oi nautiki pythanon den xehasane ta tragoudja kai to horo ap to patrida , mehri oi makrini apogoni tous taumazonde auti tin mousiki ikanotita.(Blepe Panagopoulo.) Edo filoxenoun to pjo spoudeo mousiko agona, kai ektelite a 'pythikos nomos'. Lene pos itan mimisi, agona anamesa ton Apollona kai to drako. Ta meri tou targoudiou zondanevoun to mahi, arhizi me ton anihnevsi to pedio pou tha gini sungrousi, stadiaka prohorai... o drakos trizi ta dontja, xepsihai (syrigmos)... Meriki san na idane to prototipo to legomeni 'programatiki' mousiki. An kai den einai fronimo na paromjazoume me Ravel,- 'Apgeuma tou Drakou":)- axizi na skeftoume ligaki auto to 'programa'. Ti ekane enas horeutis an sunodeve tetio mousiki? Ta etrize ta dontja? Stringlize san diabolemeno surigx, hanondas tin psihu tou? Malon ohi, oi ekleti krites den epitrepane tetjes hondrades, alla oi mousiki panda eihane tropous,(kai akoloutos oi horeutes), idietera katalila gia auto ta 'magika' pneusta pou ligizoun eki pou theli o embiros mousikos, fernondas anemo, brohi, anasa, kraugi... Parafrasoume tous omorikous stiuhous:
Kai autoi pou xortasan apo fai kai poto, palikaria, kai gemisan tous kratires me poto kai moirasan se olous afou prota erixan ligo sta potiria, kai oli ti mera exileonan to theo me tragoudi kai xoro(?), tragoudontas oraio ymno kai doxologontas ekeinon pou apo makria toxeyei, akoustikane ap ton Apollo, kai eyxaristiotan i psyxi tou.* Megali tuhi pos sotikan duo umnoi,kai etsi boroume na ipopsiastoume tetjous ihous. Ne men metagenesteri , alla den apokliete pos mesa apo makrohroni paradosi filaxane to iero, megalopnoi ufos, ithos.
Pjon horo didete stin Pallada? Ti simeni Pallada? Ti mas leei to omeriko keimeno gia tous Kouretes? Oi Faiakes pou xoreyoun -(betarmones, perimenoume edo ti prosfati gramma tou idikou, me ti bibliografia...John Franklin, endiaferousa tin apopsi tou sxetika me ti lexi "betarmones" pou xrisimopoiei o Homeros gia tous Phaiakes xoreytes kathos kai o kathigitis Stelios Psaroudakes eixe pei oti isos exei simasia i epilogi tis lexeos aytis. Zitiete perissotera stoixeia gia tin parapompi tou se Burkert (1960), o opoios kanei mia kali overview stous proigoumenes meletites tou tragoudiou tou Demodokou...)
Kata kapoion tropo kai symfona me ton Strabona pou parafrazei ton Skepsio sxetizontai me tous Kouretes-Korybantes (Strabo, Geographica, 10.3.21). O xoros ton Koureton einai polemikos xoros. O "xoros tou Are" mporei na exei sxesi? Ti symbolizei, kathreytizei, antiprosopeyei ? O Kretas Merionis pou ton "xoreyei" me epidexiotita mas paei kapou?....
Endiaferon exigisi tou Paysania gia tin anafora tou Homerou ston kalichoro Panopea. Leei o Paysanias oti o Homeros anaferetai sti synitheia ton Thyiadon na stamatoun gia na xorepsoun sta diafora meri, anamesa tous kai ston Panopea, sto dromo tous apo tin Athena stous Delphous. Etsi o xoros einai ena simeio epafis, synantisis, anamesa stin Ariadne, episimi gynaika tou Dionysou, kai stis Mainades kai Thyiades pou ton akolouthoun.
Ara to "kalichoros" mporei na simainei: me oraia xorostasia. Se mia aggliki metafrasi o metafrastis ekei to apodidei: me tis oraies pezoules (?), kapos etsi. Den fainetai i ennoia tou xorou diladi alla tou topou.
Apo pjon matheni na horevi o Aris? Kala, o Aris kai i Afroditi ehoun kori tin Armonia. Kai tora ti tha gini, klini o kuklos, kai oi omorfes horautarades kopeles fernoun sto kozmo, genane mahites? O laos tou Ahillea anamfisbitita kamaroni me polemikes aretes. Tetjes polemistes zitane axious arhigous kai uparhigous otan shimatizoun penintameli tagmata. Enas ap autous o polemoharis Eudoros, pou ton genise agami kopela.I Polumele pou itan omorfi sto xoro, kori tou Fylanta. Ayti tin eroteytike o dynatos Argeirofontis otan tin eide me ta idia tou ta matia anamesa stis mainades pou tragoudoun sto xoro tis thorybodous Artemis me ti xrysi ti adrahti. Edo berdeutike ligaki pali to gi me ton ourano. Menades me tin Artemi? Isos mono tha teatrika erga boroun na mas diafotisoun ti egine edo? O mithos trefi to teheatro, to theatro efeuemenizi ti zoi, sizitjete i parastasi stin agora, pernoun paradigmata oi logi, dikogori, sofistes na girofernoun me auta ta themata, na dihnoun exipnada, kerdisoun entiposi, lefta. I anapoda, apo ti zoi perni dinami to theatro kai katreftisi to prosopo tou elina, dihnondas ipsos kai bathos? Oute to ena, oute to allo, ara aliloepidrasi...:)Horos dialektikos, tesis, anthitesis, sunthesis. Ti kanoun oi ellines otan den horeuoun?
Mimitikos o arhaios horos? Me ti batmo katreftizi tin paragmatikotita? Ipirhane sumbasis? Pantos stin isteri arheotita thaumazondas tin ekfarsititita tis zitithike mia horeftria ga doulja dierminea-metafrasti. I aplos eina iperboli, anaxiopisto anekdoto? Ti lei o Platon kai o Aristoteles ga tin mimesis? Ara to horo tou psara dihni pos pjanis psari, o polemistis pos epitheti, aminete, skotoni, o arthopoios pos psini, i porni pos porneuete?
Na o Ektoras, kamaroni pos xeri to horo tou Ari, den ine pedaki i ginekoula, sikoni aneta, giroferni aristera kai dexia to megalo aspida tou epidexia. Den itan mallon poupoulo, polla barja dermatina srtomata, entheta metallikes , an tripitikane ta prota, esvise ta epomena to dinami, sto ekto stamatise to foniko dori.Il.7. 243:
Kai s'ayton pali eipe o megalos Ektoras pou kinei grigora to lofio tis perikefalaias tou. Aia, paidi tou Telamoniou Dia, arxige laon, mi me dokimazeis san na imouna paidi adynato i gynaika pou den xerei ta polemika erga. Giati ego xero kala apo maxes kai skotomous andron. Xero na kino sta dexia kai sta aristera tin aspida apo to xero tomari bodion, gi'ayto kai mporo dynamika na polemo. Kai xero na ormo dynamika sto thorybo tis maxis me ta grigora aloga, kai stin olethria maxi xero na xoreyo pros timin tou Are.
Ti kanoun oi polemistes otan horeboun ?Proetimazonde? Rihnonde sto glendi na xehasoun to Haro? Pantos o Achilleas katapraini to stenohoria tou me glikofoni forminga, apomakra, isiha, ti horos teriaze to iremo peximo tou? O iroas mas klei, o Aris trehi na vri maniasmena mahi allou, akontistes pou xeglistrane, den tus pjani, htipisi akonti, allogodamastes...O horos tou Ari nane agrios? I mipos einai monopleures, hondrokommenes oi synitismenes doxasies. Stin Sparti opjos prosehi, me ekplixi apokalipsi pos ipirhe dipla to sinitismeno akampto, akardo, amjialo ikona tou fonia, mia apisteuti leptotita sti mousiki kai sto horo. Arage i sofi demones, kentauri, pou didaskane to pedi Ari, Irakli, Achillea, proetimasane emobora terrata? Giati i thei, imithei, kai iroes prota-prota matheoun mousiki kai horo, kai meta pane sto mahi? Makari na borusame na rotisoume ton piiti-stratioti Archiloho, opjos tautohrona ipiretise tin Mousa kai ton Ari. .
Pjos eina o aidos tou Odusseia? Ti theorite san pigi sto horo ton akliton? Pjes ousies borousan pithanon na epireazoun tous horeutes? Ti kanoun oi akrobates? Pos dinonde oi horeutes? Pos einai oi enfanisi tous? Ti einai i sfera? Pos pezete? Haraktirise to horo ton Phaikon, tin Nausika, ton Laodama...?
...I Naysika epireasmeni apo to oneiro tis trexei na dei tous goneis tis:
Od., 6, 57
"Agapimeme patera, tha mporouses na mou doseis mia amaxa psili kai me oraious troxous gia na pao sto potami ta polutima rouxa mas na pluno, pou briskontai sto spiti leromena? Kai se sena ton idio pou eisai anamesa stous protous tis boulis pou pairnei apofaseis tairiazei na exeis pano sou rouxa kathara. Exeis kai pente gious sto palati. Oi dyo einai idi pantremenoi, eno oi treis anypantra palikaria stin akmi tous. Oloi tous theloun na exoun rouxa freskoplumena otan pane sto xoro. Ola ayta apasxoloun to myalo mou......"
Od., 6, 96
"Kai otan eplunan kai katharisan entelos ta rouxa, amesos ta aplosan stin akrogialia, opou i thalassa ekballei stin xira polla botsala(?). Kai ekeines afou loustikan kai aleiftikan me ladi liparo, epeita piran to deipno tous stin oxthi tou potamou, perimenontas ta rouxa ston ilio na stegnosoun. Kai afou eyxaristithikan me to fai kai i kopela kai oi akolouthes tis, epaizan me ti mpala petontas stin akri ton kefalodesmo. Kai anamesa tous i Naysika me ta leyka tis mpratsa itan epikefalis sto tragoudi kai to xoro. Opos i toxeytria Artemi erxetai sta bouna, i ston panypsilo Taygeto i ston Eyrymantho gia na xarei me kaprous kai okypoda elafia, mazi tis paizoun agrodiaites Numfes, kores tou Dia pou krataei aigida, kai xairetai bathia i Lito, pou kefali alla kai metopo tis koris tis ap'oles yperexoun, kai eykola ayti anagnorizetai an kai oles tous einai omorfes, etsi kai i adamasti parthena (i Naysika) xexorize apo tis doules tis."
I proti lexi mou erxetai sto myalo einai i lexi "molpi" anafora me to arthro tou Lonsdale gia to « xoro me tin mpala » me tin Naysika, ekei opou i parthena paizei me tis doules tis stin paralia opou pigan gia na plinoun ta rouxa tous ta "kala" (proetoimasia gia to gamo kai nato amesos mpainei to erotiko stoixeio, o xoros einai mia proetoimasia gia ton erota. Poios erotas kai poios xoros ?). Se ayto to xorio o Homeros paromoiazei tin Naysika me tin Artemi pou trexei sta bouna me tous kaprous kai ta elafia kai oi nymfes tin akolouthoun. I Artemi einai i pio omorfi kai xexorizei anamesa stis alles (arignoti) an kai oles tous einai « kales ». Ta idia kritiria gia fysiki omorfia kai anoterotita briskoume stin perigrafi tis Artemis os epikefalis tou xorou ston Olympo ston Homeriko ymno ston Apollona. Einai i psiloteri, i omorfoteri kai me ti megalyteri emfyti xari. Etsi kai i Naysika xexorizei anamesa stis alles kopeles kai o Odysseas otan ti blepei ti sygkrinei me ti thea . Alla akoma kai an einai thniti o Odysseas skeftetai ti xara pou tha prepei na dinei i prigkipissa stin oikogeneia tis otan sikonetai kai pairnei ti thesi tis sto xoro. O Lonsdale loipon, i Calame , i Lawler, kai alloi ereynites blepoun se ayto to "paixnidi me tin mpala" tragoudi kai xoro, i Naysika einai i «choregos» (irxeto molpis). « Molpi » loipon i lexi pou metafrazetai os tragoudi kai xoros. Kai i paromoiosi me tin Artemi dinei to context tou xorou (Od. 6. 102-109), dinei diladi, symfona me ton Lonsdale, ena safes periexomeno gia tous paixnidiarikous xorous tis Naysikas kai ton akolouthon tis. Einai analogoi me to eidos symperiforas enstallagmenis se koritsia etoima gia gamo se latreies theotiton tou typou tis Artemis. Tetoiou typou latreies fainetai oti yparxoyn polles..... Katarxin bres tis erotiseis. Eimaste loipon sigouroi oti i lexi « molpi » simainei « xoros kai tragoudi » ? I mipos simainei mono to tragoudi ? Pou kai pos synantame ti lexi ayti stin elliniki grammateia? Kai poies einai oi latreies gia tis opoies milisa molis prin ? I Calame ypostirizei oti i lexi «melpo» kai ta paragoga tis exoun dipli simasia perilambanontas tin ennoia tou tragoudiou kai tou xorou. Kai ayti i dipli simasia epibebaionetai apo orismena apospasmata lyrikon keimenon, ta opoia dieykrinizoun ton oro kata tis dyo aytes simasies. (Bacch. 13, 83ss. Pind. Fr. 52, 96ss, 52f, 15ss. Eur. Tr. 545ss kai 551ss). Edo ta stoixeia xreiazontai safos symplirosi... :) I Calame ostoso synexizei kai me to rima « paizo » kai ta paragoga tou, pou merikes fores xrisimopoiountai se ena « xoriko » periexomeno kata tropo parallilo me ayton tou «melpo»... I xrisi tou stin perigrafi tis aspidas apo ton Hesiodo dixnei oti to rima ayto den periorizetai panta sti simerini simasia tou alla antitheta kapoies fores syndeetai stena me tin ennoia tou xorou kai tou tragoudiou... Sto Onomastiko tou Pollux de brika ti lexi molpi oute melpo (???)...
Homer, Od.8.367
Apopeira metafrasis tou xoriou (protagonistes o Alios, o Laodamas kai i kokkini mpala):
Prostaxe ton Alion kai ton Laodamanta na xorepsoun monoi tous, giati aytous kaneis den tous antagonizotan. Kai ekeinoi loipon otan epiasan tin omorfi mpala me ta xeria tous, kokkini, tin eftiaxe gia aytous o empeiros texnitis Polubos, o enas tin petaxe pros ta skoteina (i skiera?) synnefa kamptontas to kormi tou pros ta piso, kai o allos ypsothike apo ti gi kai eykola tin epiase ston aera, protou ta podia tou ftasoun sto edafos. Otan omos peiramatistikan metaxy tous me ti sfaira, petontas ti psila kai katakoryfa, arxisan tote ton xoro stin polutrofo gi kai o enas diadexotan ton allon polles fores. Kai oi ypoloipoi neoi stekontan gyro apo to xoro kai xtypousan palamakia, thorybos polus eixe xesikothei. Kai tote o theios Odysseas apeythynthike ston Alkinoo...
Etsi metafrazei I Lawler ti skini me ton Alio kai to Laodama pou xoreyoun, legontas pos o enas rixnei tin mpala ston allon, eno sto prototypo de fainetai kati tetoio:
"...Kai afou 'zestatikan' rihnontas ti mpala ston aera, horepsan ustera plisiestera stin trofodotria gi, tinazontas me tahitita ti mpala o enas ston allo"
Episis ston Calame diabasoume gia Arrephorous (tis anaferei o Pausanias), koritsia apo 7 eos 11 eton, pou meteferan sti giorti ton Arriforion (giorti tis Athenas) "arrita iera" kai zousan gia ligo kairo sto "oikima ton arreforon" pou ta themelia tou diatirithikan dytika tou Erextheiou. Gia ta koritsia ayta ypirche mia mikri ayli, gnosti os "sfairistria ton arreforon", diladi meros opou oi mikres epaizan me ti sfaira (topi i mikri mpala). Den anaferetai xoros bebaia, alla m'arese.
O Lonsdale leei oti stin Odysseia oles oi skines xorou syndeontai me enan gamo, alla den einai oles giati oi Faieakes xoreyoun gia ton Odyssea. Bebaia to tragoudi einai "erotiko", alla anamesa stous xoreytes den yparxoun gynaikes. O xoros tous arage einai mimitikos? Episis anarotiemai ektos apo tin agora, pou allou diorganonontan oi xoroi pou esto emmesa anaferei o Homeros, opos as poume ekei opou i Naysika prospathontas na peisei ton patera tis na tin afisei na paei sto potami tou tonizei tin epythimia ton gion tou na pigainoun me rouxa kathara sto xorostasi...
H Naysika, leei o poiitis, irxeto molpis (ěďëđçň). Kapoioi metafrazoun to molpi os xoro kai tragoudi, yparxei kai se orismena lexika, etsi to ermineyei i Lawler, "xoros me tin balla" to apokalei o Lonsdale kai ego to dextika. Omos thelei prosoxi leei o Stelios Psaroudakis. Giati kat'ayton "molpi" apo to rima "melpo" simainei to tragoudi. Syxna oi arxaiologoi to kanoun lathos, alla einai kai fysiko otan den exoun mousikes i xoreytikes gnoseis. Polles fores prepei na parakoloutheis ti ginetai kai se alla meri tis gis, mou efere paradeigma me India, kai mousikous stin Iaba opou akoma xrisimopoioun ti "forbeia", alla se ena mono eidos dimotikou tragoudiou. Tetoies sygkriseis isos kai na einai ligo parakindinevmena,, alla pali oxi giati tetoia paradeigmata mporoun na empneysoun kai na dromologidoun ti skepsi sou kai tin ereyna pros kati pio sygkekrimeno pou ystera tha psaxeis na breis ean eppibebaionetai mesa sta keimena kai sta alla stoixeia pou diatheteis. Efoson yparxoun den mporeis na ta agnoeis otan malista einai ekei kai xereis oti mporeis na ertheis se epafi mazi tous kai na tous rotiseis. Na tous bgaloume foto otan xoreyoun me tin mpala... Den einai kako diladi ean exeis mia yposimiosi opou anafereis ena tetoio paradeigma.
... opou gamos kai xoros, o Lonsdale sto arthtro tou “A dancing floor for Ariadne (Iliad 18. 590-592): Aspects of ritual movement in Homer and Minoan Religion” milaei kai gia to episodeio tis Naysikas, opou I prigkipisa empleketai se ena romantiko interloudio pou stolizetai me xoro. Otan o Odysseas ti blepei gia proti fora ayti paizei xoreyontas me ti mpala (she plays the « ball-dance ») parea me tis doules tis. I paromoiosi me tin Artemi (Od. 6. 102-109) dinei ena safes periexomeno gia tous paixnidiarikous xorous tis Naysikas kai ton akolouthon tis. Einai analogoi me to eidos symperiforas enstallagmenis se koritsia etoima gia gamo se latreies theotiton tou typou tis Artemis. Omos einai simantiko oti ena koritsi pou den exei biasthei prin katafernei na ftasei sto stoxo tis, opos deixnei o mythos tis.... Sti domi tou heroikou mythou i epythimia tis Naysikas na boithisei ton Odyssea antapokrinetai sti sygrousi-diamaxi me tin opoia erxetai antimetopi i kori tou basilia otan eroteyetai ton xeno heroa : exei tin diathesi na prodosei ton patera tis prokeimenou na boithisei ton heroa. Mexri tote tin eyxaristouse na xoreyei gia ton patera tis kai i anepireasti agapi tis nearis koris gia ton patera briskei tin ekfrasi tis sto motivo « dancing for daddy » (xoreyo gia ton mpampa), opos stin historia tis koris tou Jepththah, i stous xorous tis parthenas Artemis (kai Apollona) pou apolambanei o Dias kai i Leto (Hymn. Hom. Ap. 197-206). Stin Odysseia i allagi pistis apo ton patera ston heroa dieythynetai theika apo tin Athena meso tou xorou me tin mpala pou odigei sti synantisi tis Naysikas me ton Odyssea. Xoroi gamou kai erototropias paizoun paromoio rolo sto na metathetoun tis sxeseis agapis exo apo to ameso oikogeneiako periballon kai na prokaloun tin enosi nearon eraston (cf. Plato. Laws 771e-772a). I katastasi metaxy Odyssea kai Naysikas kai ayti tou Thesea kai tis Ariadnis einai paralliles. An kai I paromoiosi tis Ariadnis den apokalyptei leptomereies, o Daidalos ktaskeyazontas to xorostasi paizei ena boithitiko rolo paromoio me ayton tis Athenas sto episodeio tis Naysikas (Lonsdale 1995).
I aytomati syndesi xorou kai gamou einai emfanis sto “texnasma” ypekfygis pou skarfizetai o Odysseas meta to fono ton mnistiron. Prostazei ton Telemacho kai tous xoiroboskous na pluthoun kai na foresoun tous xitones tous kai na baloun tis gynaikes na ntythoun episis. Kai o aoidos tha paixei mousiki eortastiki etsi pou oi perastikoi tha skeftontai oti “ exoume gamo”. Ayto pou o Odysseas psaxnei me to xegelasma ayto na krypsei einai to foniko pou exei proigithei kai etsi na kerdisei xrono mexri na brethoun asfaleis sto xtima tous opou o Dias tha tous fotisei gia to ti einai kalytero na kanoun.
I analysi tou rolou tou xorou allou ston Homero deixnei oti prokeitai gia mia drastiriotita katallili sto na entharrynei kai na prokalei tin enosi nearon eraston. Ostoso oi enoseis stis opoies odigei mporei na einai aplos pseydaisthiseis i prosorines. Einai episis mia drastiriotita pou mporei na odigisei se adynamia. (Ti na ennoei edo ?) Mporei episis na xrisimopoiithei gia diprosopo skopo apo mia theotita, opos i Athena, i apo enan heroa (Odysseas). I geniki idea tis erototropias pou kataligei se enosi mporei na anagnosthei stin paromoiosi tis Ariadnis: O Daidalos xtizei ton “xoron” gia tin Ariadni oste na mporesei na elkysei enan agapimeno pou tis tairiazei...
O xoros tis omorfis parthenas (Nausika) paromoiazetai me tin Artemi pou katebainei ta bouna gia na xarei me kaprous kai elafia kai ti synodeyoun oi Nymfes oi "agrodiaites" paizontas mazi tis. Anamesa tous xexorizei se omorfia kai xari i thea, opos kai i Naysika. Kai o Lonsdale sxoliazei ayti tin paromoiosi.
I agora ton Faiakon einai xtismeni, plai ston oraio bomo tou Poseidona, me kommenes petres xostes sti gi (symfona me ti metafrasi tou Maroniti). Ara ypirxe bomos. Ayto dikaiologei isos ton "theio xoro" ton neon? Giati etsi ton apokalei o poiitis.
Tairiazei me ti lyra kai to sygkekrimeno tragoudi(Ares-Aphrodite) enas zoiros xoros?
... I lyra dinei tono ston mousiko kai aytos me ti foni tou yfainei to rythmo kai ti melodia kai etsi odigei kai to xoro. Mousikos kai xoreytis synergazontai, exoun mesa tous to programma (?) kai den tous ektroxiazei to palamaki, me empeiria kai gnosi grammeni (ti ennoouses edo?) apofasizoun an i mousiki pou tous erxetai einai entoni i oxi... Me ta matia o enas parakolouthei ton allon, epikoinonoun.
Mipos tetoies xoreytikes skines pou perigrafontai ston Homero einai stereotypes, me stoixeia kinisis, bimaton ktl pou epnalambanontai kai aplos kathe fora i istoria, to plaisio, to periexomeno pou peribalei to xoro allazei kai prosarmozontai, esto kai an den tairiazoun stin pragmatikotita (alla poia pragmatikotita ?) kai toso. San mia symbasi. I poiitiki adeia? I katagrafi tetoion skinon kai o entopismos koinon stoixeion, efoson yparxoun i oxi, tha mporouse isos na boithisei stin apantisi tetoion erotimatikon.
O Alios kai o Laodamas itan gioi tou basilia Alkinoou, pou pairnoun meros sta agonismata (pygmaxia, pali, alma, dromos) anamesa se allous axious neous. O Laodamas malista erxetai protos stin pygmaxia kai epeita o idios parakinei ton Odyssea na parabgei se kapoio agonisma giati de fainetai na einai apeiros sta athlimata. Kai edo ginetai to mpleximo me aformi to opoio xepida kai i xoreytiki epideixi ton Faiakon, ...
Fainetai oti ta plousia geymata, I kithara kai oi xoroi paizoun xexoristo rolo sti zoi ton Faiakon. Kai kayxiountai gi'ayto. Stin agora me ta petrina skalopatia exei sygkentrothei kosmos polus, anamesa tous antres pou xexorizoun, oi gynaikes den anaferontai para mono piso sto palati...
Ti 'axia' ehei to horo tou Pari? An kai zalistikate, oi erotisis den ehoun teliomo...:)
Pos katarizete, epexergazete to linari? Htipjete, traujete alipita pano sta agathja tou sakandsohirou..:) Etsi katarisoun, eleuteronoun oi ines, etimo san aspro sinnefo sto adrahti, na strivis nima,bafis prfira, kitrina, ifenis oti hriazete. Paromja me ta erotimata, pou akoma 'ahtenista', berdemena perimenoun na vrun ti sosti tesi, morfi, apandisi. Pjos lei: uranos kai gi horeuei?
Ston Omero ouranos kai gi mporei na mplekontai, alla telika emeis anazitontas-psaxnontas ton xoro theloume na xexorisoume to mythiko stoixeio apo tin alitheia? Alla isos na eimaste antimetopoi me perissotera stromata alitheias, kai tote xreiazomaste to xystri.
O Alios kai o Laodamas itan gioi tou basilia Alkinoou, pou pairnoun meros sta agonismata (pygmaxia, pali, alma, dromos) anamesa se allous axious neous. O Laodamas malista erxetai protos stin pygmaxia kai epeita o idios parakinei ton Odyssea na parabgei se kapoio agonisma giati de fainetai na einai apeiros sta athlimata. Kai edo ginetai to mpleximo me aformi to opoio xepida kai i xoreytiki epideixi ton Faiakon, ...
Fainetai oti ta plousia geymata, I kithara kai oi xoroi paizoun xexoristo rolo sti zoi ton Faiakon. Kai kayxiountai gi'ayto. Stin agora me ta petrina skalopatia exei sygkentrothei kosmos polus, anamesa tous antres pou xexorizoun, oi gynaikes den anaferontai para mono piso sto palati...
Why did Daidalos build the dancing floor for Ariadne? As recent scholarship has shown, the courtship dance on the Shield is mawkishly mirrored by the whirling motion of Achilles and Hector about the eddying streams of Skamandros prior to Hektor's death. The mixed dance is preparatory to the act of marital union, much as the dance of death is a grim prelude to Achilles' clash with Hektor, whose death forms a link is the chain of sacrifices beginning with Zeus' own son Sarpedon. This parallelism has significance beyond the purely liteary, since dancing and circumambulantion rituals in Greek religion accompamy sacrifice.
What has most struck critics about the final Shield vignette is its description of mals and females holding hands at the wirst, te type of row dance best know in the Archaic period as a primarily female activity. This apparent anomaly has led some scholars to unsubstantiated conclusions about the poem/s apparent ignorance of the gender-specific nature of Minoan dance, and encouraged others to see in any representations of mixed danes in Archaic art an automatic reference to the dances of Theseus and Aridne. If mixed dances are in Aegean and in Greek art of the Iron Age, it is in part because artists were promted to second cult dances, and not co..rtship, wedding, and other socially circumscribed dances of the sort the Homeric passage clearly describes.
Ston Homero ta kuria xoria pou miloun gia ton xoro :
Stin Odysseia oi Faiakes xoreyoun gia xari tou Odyssea (Od. 8. 250-372) kai ola ayta ektylissontai stin "agora", opou o basilias Alkinoos kalei na xorepsoun oi kalyteroi nearoi, oi aristoi. I xoreytiki epeidixi lambanei xora se kulkiko xwro pou orizetai apo ennea krites. Sti mesi steketai o Demodokos, exairetikos lyristis, kai tragouda ton erota tou Ari kai tis Afroditi. Oi nearoi xoreytes synodeyoun tin afigisi me xtypimata ton podion sti gi... Palamakia apo tous gyro syntonizoun tin kinisi. O Odysseas thamponetai apo to exairetiko tous talento. Sto telos tou tragoudiou o Alkinoos kalei tous dyo kalyterous akrobates na xorepsoun me tin porfyri mpala pou eftiaxe o perifimos Polybos. Akrobates xoreyoun kai sto palati tou Menelaou(Od. 4. 18), se symposio pou akolouthei tin episkepsi tou Telemachou pros anazitisi neon gia ton patera tou. Akrobates anaferontai kai stin perigrafi tis aspidas tou Achillea (Il. 18. 605). (To soixeio tou akrobatismou parapempei se Krete kai Minoites?) To paixnidi me tin mpala krybei kai ayto kati to endiaferon. I Naysika paizei episis me tis akolouthes tis kai to paixnidi tous synodeyetai me tragoudi. Ypirxe arage kai kapoios xoros, xoreytikes kiniseis pou yponoountai i pou ennoountai edo, giati einai polla pou o Homeros den anaferei? I Marie-Helene mas apantise legontas oti yparxoun antistoixes eikastikes martyries me mpala, mas parapempei sto biblio tis gia tous eirinikous xorous...
Fainetai loipon oti stin Odysseia oi xoreytikes skines ektylissontai sta plaisia enos deipnou, symposiou, i mias idiotikes eortis(Od. 23. 145), eno stin Iliada exoume kai theikes parousies. I Polumele (Il. 16. 180) xoreyei pros timi tis theas Artemis sto Argos.( Mikri paralampsi: kai o Hermes anamesa stis alles parthenes tin xexorizei kai tin eroteyteai kai koimatai mazi tis... I peripeteia tis Polumeles sto Argos, xari sti xoreytiki tis epidexiotita, mou thymise to mytho tis Artemis Alpheiaias stin Helida(Paus. Heliaka, VI, 22, 8), pou ofeilei to onoma tis sto pathos tou Alpheiou gia aytin. Stin arxi fenete san prokeitai gia to idio motivo pou anakuklonetai, oti o theos xexorise tin Artemi apo tis alles Nymphes eno xoreyan, omos i istoria einai kapos diaforetiki, axizei ostoso isos na tin anaferoume, kathos i thea Artemis, o xoros, to erotiko pathos gia mia omorfi parthena kai i apagogi einai koina simeia. Etsi, otan o theos syneiditopoiise oti den mporouse na pantreytei ti thea, skeftike na xrisimopoiisei ti bia kai eftase stin poli ton Letrinon opou i Artemis epaize me tis Nymphes se olonyktia giorti. Epeidi omos i thea eixe kapoies ypopsies, apofasise na metamphiestei aleiphontas to prosopo tis, alla kai ton Nymphon, me pilo. Etsi o Alpheios den katafere na ti diakrinei kai telike efyge xoris aytin... I olonyktia giorti kai to paixnidi tis Artemis me tis Nymphes yponoei tin yparxi enos xorou kai o xoros aytos parapempei se enan allo latreytiko asemno xoro pou ektelountan pros timin tis Artemis Kordakas sti Helida kai aytos(Paus. Heliaka, VI, 22, 1). Sxetika me ayton to xoro exoume plirofories oti oi gynaikes kai oi antres pou epairnan meros se ayton to xoro metanfiezontan sto antitheto fylo kai oi gynaikes forontas pseytikous terastious phallous kai prospoiountan oti dieisdyan sta antrika kormia...)
Ston Homero, xoreytikes kiniseis pou ektelountai me xtypimata podion kai xerion exoume episis apo nearous kai neares pou synodeyoun to tragoudi tou Linou koubalontas stafylia(Il. 18. 572). Prokeitai gia tragoudi sygkomides? Se mia alli skene tis perigrafis tis aspidas tou Achillea neoi kai nees xoreyoun piasmenoi stous karpous (epi karpoi)(Il. 18. 590), sxetika me ayto sxoliazei kai o Lonsdale. O poiitis fainetai oti eixe sto myalo tou ton Gerano stirizoun kapjes meletes. A kai st stigmi mono ta keima exetasoume, anaferoume prokatabolika mia ikastiki martiria. Sti loutrophoro tou Analatou sto Louvre exoume tin proti anaparastasi gynaikeion kai antrikon morphon pou xoreyoun piasmenoi enallax. Kapoioi tin ermineysan os Gerano, o Beazley (1993) to theorei apithano, afou o xoros synodeyetai apo aylo kai oxi tin perifimi lyra tou Thesea. I epomeni parastasi enallassomenon andron kai gynaikon einai arketa ysteroteri sto aggeio Francois, opou edo prokeitai gia Gerano.
Sxetika me tin teleytaia paragrafo tis perigrafis tis aspidas, amfisbiteitai i aythentikotita tis kathos ypostirizetai oti pithanos prokeitai gia metagenesteri paremboli , etsi i martyria xanei kata polu tin axia tis... Sxetika me ayto to thema o Walter Leaf pisteyei oti ta kretika stoixeia pou diafainontai stis xoreytikes perigrafes tou Homerou einai dikaiologimena, kathos ginetai anafora se palaioterous xorous kai sti syneidisi ton arxaion Ellinon i Krete eixe paixei simantiko rolo stin anaptyxi kai akoma kai stin epinoisi tou xorou {Commentary on the Iliad (1900) Commentary on Homer, Iliad. book 18, line 590)(perseus)}.
Meta tin proti amixania pos na mazeytoun me kapoio noima kai taxi ola ayta ta stoixeia gia to xoro apo ton Omiro, anadyontai ta prota stoixeia. Mi mas apasxolei ayti ti stigmi an einai liga i polla. As symfonisoume tora pos einai arketa gia na xekinisei mia ereyna. Kai giati me ton Omiro? Epeidi einai stin arxi kai sti synexeia ginetai syxna se ayton anafora. Me tin proti matia epibebaionetai pos ta keimena tautohrona lene polla kai liga. Ti kryvetai mesa sto mythiko plaisio gia ti zoi kai to horo? Pandos oso perisotero diabaseis, niotheis pos opou kai an angixeis, o,ti episodio exetaseis, anoigoun 'dromoi', esto san pseudaisthisi, gia ritorika tehnazmata. I Amalteia-aiga dinei trofi, amrosia kai nektar bgainoun apo ta kerata tou, to derma tis ginetai aspida, kai natoi oi Kourites, armatomenoi, me toribodi horo kryboun, prostateboun ton mikro Dia. Kanei kai autos polla thaumata argotera, ap to kefali tou xepida i oplizmeni Athina, stin aiga-aspida tis einai zografismeni i tromeri Medousa. Stin Pallada dinetai protia gia ton polemiko horo.[Endiaferon exigisi, pos efebre ton aulo.*] Uperboli an leme pos sta epomena "ouranos kai gi tha horevoun?"* As afisoume kalytera na mas odigisei o idios o Omiros se gamous kai giortes athanaton kai thniton, se polemo opou 'horevei' o Aris. Sto ergastirio tou Hefaistou, i aspida tou 'kathreutis', kozmohoreutiko mastoreuma, me horostasi san auto pou eftjaxe a Daidalos gia tin Ariadni.IL. 18. 590-606:
Kai kataskeyase o xakoustos koutsos xorostasi paromoio me ayto pou eftiaxe o Daidalos gia tin Ariadni me tin omorfi komi. Ekei nea palikaria kai perizitites parthenes xoreyoun kratontas o enas to xeri tou allou ston karpo. Kai oi kopeles foroun lepta lina endymata, eno ekeinoi kinoun grigora tous kaloyfasmenous xitones pou einai gyalismenoi elafros me ladi. Kai bebaia oi kopeles exoun omorfa stefania, eno oi neoi xrysa maxairia pou kremontai apo asimenes zones. Kai etrexan me ta empeira podia, opos otan enas kerameas kathismenos prospathei na gyrisei ton troxo pou tairiazei stin palami. Allote pali trexoun sti seira o enas meta ton allon kai polus kosmos steketai gyro apo ton goiteytiko xoro kai eyxaristietai. Kai anamesa tous dyo akrobates xekinontas to tragoudi stifogyrizan sti mesi.
(Jane B. Carter 1995 "An Ancestor and the occasion of Homeric Performance", sto The Ages of Homer. sel. 291: O Lonsdale sto arthro tou exetazei tous desmous anamesa sta xorostasia tis Knosou kai ton "xoros" stin aspida tou Achillea. Briskei oti i homeriki eikona ton athoon neon etoimon gia gamo exei sobaroteres apixiseis kai mesa stin idia tin Iliada kai sta arxaiologika eyrimata. Pisteyei oti o kyklikos xoros stin aspida tou Achillea apixei ton "xoro" tou Achillea kai tou Hektora gyro apo ta teixi tis Troias sto biblio 22. Analogos, to xorostasi tis Ariadnis, to opoio stin Iliada fainetai oti kataskeyastike me maestria apo enan empeiro texniti gia tin eyxaristisi tis nearis prigkipissas, einai enas makrinos apoixos apo tis mnimeiodeis petrines platformes gia sygxronous ecstatikous xorous, pithanos, opos o Lonsdale proteinei, synodeyomenoi apo anthropines thysies. O homerikos xoros stin aspida tou Axillea einai meros "secular" eorton, opos oi gamoi. To minoiko-mycenaiko prototypo anikei antithetos se ena entona iero periexomeno....")
Lonsdale 1994: 275. Proxeiri metafrasi. Ola ayta me aformi ti skini sti aspida tou Axillea (Daidalos-Ariadni...):
...Mia katallili methodologiki diadikasia einai na rotisoume pos o xoros, eyreos orizomenos, sxetizetai me ti thriskeytiki empeiria me ti theotita. Sti minoiki thriskeia o xoros einai o tropos ekfrasis ton xaraktiristikon gnorismaton tis theikis thriskeytikis empeirias pou symbainei kata tin epifaneia tis theotitas. Symfona me mia diadedomeni ermineia enos Ysterominoikou xrysou sfragistikou daxtylidiou apo tin Knoso (to opoio o Hooker apokalei klasikos typo tis “theotitas pou katebainei”) kai sxetika paradeigmata tou “ferne Gotter” tou Matz, i theotita emfanizetai apo psila kata tin ektelesi tou xorou. I ypotithemeni yperfysiki kinisi kathreptizetai stous latres, oi opoioi epikalountai ti theotita me xeironomies kai xoro. Ena allo eidos epifaneias pragmatopoieitai apo ta katotera “basileia”, opos ypodilonei ena pinakidio kai to thraysma enos allou apo ti Faisto. Pali o xoros einai ena meso gia na xeiristeis tin emfanisi tis theotitas. (Stin klasiki periodo, xthonies anabaseis briskoun mia analogia stis legomenes “anodous” (áíďäďé) ton koritsion, opos tis Persefonis, pou pragmatopoiountai apo Panes kai satyrous pou xoreyoun)(Boston, MFA 01.8032). Pos syndeontai oi dyo morfes epifaneias den einai xekatharo. Ostoso I emfanisi mias theotitas den einai apomonomeno gegonos alla meros enos epanalambanomenou kyklou pou periorizetai apo kathieromenes typikes praxeis.
IL. 18. 590-606:
Kai kataskeyase o xakoustos koutsos xorostasi paromoio me ayto pou eftiaxe o Daidalos gia tin Ariadni me tin omorfi komi. Ekei nea palikaria kai perizitites parthenes xoreyoun kratontas o enas to xeri tou allou ston karpo. Kai oi kopeles foroun lepta lina endymata, eno ekeinoi kinoun grigora tous kaloyfasmenous xitones pou einai gyalismenoi elafros me ladi. Kai bebaia oi kopeles exoun omorfa stefania, eno oi neoi xrysa maxairia pou kremontai apo asimenes zones. Kai etrexan me ta empeira podia, opos otan enas kerameas kathismenos prospathei na gyrisei ton troxo pou tairiazei stin palami. Allote pali trexoun sti seira o enas meta ton allon kai polus kosmos steketai gyro apo ton goiteytiko xoro kai eyxaristietai. Kai anamesa tous dyo akrobates xekinontas to tragoudi stifogyrizan sti mesi.
An kitazoume ligo ton Lukiano gia ton ormo, amesos meta anaferetai sti skini tis aspidas ston Homero, me Daidalo kai Ariadni, kai ola denoun siga-siga. Ayto pou erxetai sto myalo ayti ti stigmi einai o "hormos", erotikos xoros pou perigrafetai apo Lukiano kai einai analogos tou xorou tis Aspidas kata ton Lonsdale. Ston xoro ayto pou perigrafei o Lukianos andres kai gynaikes enalassontai se mia xoreytiki "alysida" (Lucian 12-13).
Episis o Lonsdale anaferei oti stin perigrafi tis aspidas i emfasi pou dinetai sta mallia tis Ariadnis kai sta stefania ton xoreytrion mporei na einai kapoios ypainigmos gia tin kathieromeni simasia pou exei ayto pou ferei sto kefali tou o xoreytis. Symfona malista me ton Calame ta lita mallia se antithesi me ta demena se mitra einai simeio tis parthenas.
Nai,sas diaskedsoume me mia leptomeria? :) Leptes ptihes sta diskola omirika zitimata, to ruho, ti diafaneia omos ayti yponoei kai o Homeros otan perigrafei ta rouxa ton neon stin aspida, opou oi kopeles foroun "leptas othonas" (ëĺđôÜň ďčüíáň), lepta yfasmata diladi. Alla isos kai edo na prokeitai gia "poiitiki adeia":)
Synexizontas to diabasma ton Lonsdale anaferei oti o Platonas stous Nomous (771e-772a)leei oti ta agoria kai ta koritsia prepei na pairnoun meros se xoreytika paixnidia (ôáň đáéäéÜň đďéĺéóčáé ÷ďńĺýďíôĺň ôĺ ęáé ÷ďńĺýďőóáň...) To periexomeno tetoion xoron einai oi "synodoi" (óőíďäďß) kai ekei tha exoun tin eykairia na gnoristoun... Gia to sobaro ayto skopo prepei na xoreyoun mazi (otan einai stin katallili ilikia) kai na koitazei (čůńĺß) o enas ton allon xoreyontas gymnoi (ăőěíďýň ęáé ăőěíÝň ěĺ÷ńßđĺń áéäďőň óţöńďíďň ĺęÜóôůí), diatirontas omos to sebasmo kai ti semnotita tous. (Ara yparxei o kindynos na xefygoune:) Kai ola ayta ypo tin epimeleia ton arxonton kai ton nomotheton...
Bebaia kati tetoio leei o Lonsdale einai mallon apithano na ginotan kai stin pragmatikotita, omos ta diafana rouxa pou forousan otan xoreyan epetrepan sta somata tous na diagrafontai apokaluptika. Kai aytos o ayximenos bathmos diafaneias eixe megali koinoniki simasia, kathos i erotiki atmosfaira ypografei me tin parousia tis kathe xoro. Mia tetoiou eidous giorti san ayti pou perigrafei o Platonas dimiourgeitai kallitexnika apo ton Hefaisto stin aspida tou Axillea opou parthenoi kai efiboi xoreyoun...
Kai i Naysika "paizei" me tin mpala tis kai ayto to "paizo" einai lexi kleidi, kathos kapoioi to metafrazoun os paiximo kai xoros. Kai o Platonas xrisimopoiei ayton ton oro. Synantame ti lexi "paidia" (đáéäéÜ)... To idio rima "paizo" xrisimopoieitai kai gia tis nymfes kai tin Artemi sti gnosti paromoiosi. O Lonsdale anamesa sta alla ypostirizei oti xrisimopoiontas o poiites kai sti dyo skines to idio rima syndeei stena tin anthropini kai ti theiki symperifora.
Ston omiriko kosmo horevoun oi enaretoi kai oi amartoloi, oi 'atimoi' mnistires pou theloun na 'kleboun tin Pinelopi, xoris na xeroun pos i Moira me ton Odussea tous etoimazei to teleutaio glendi, kai me to nima tou toxou tha ihisei thanatiforos mousiki. Apati-pagida perimenei tous apatilous, o zitianos-kamouflarismenos Odusseus deihnei tin proti parastasi. Apo ekei kai o "asemnos" horos ton akleiton?
Simeioseis apo Burkard ,resume:
Oi akletoi itan oi akalestoi enos deipnou, enos symposiou. Idi apo ta homerika xronia o kalos oikodespotis kalei ena mousiko gia na psixagogisei tous kalesmenous tou. Gia ton idio logo o Kallias sto symposio tou Xenofonta exei proslabei enan Syrakousio, tou opoiou oi sklaboi, ena agori kai dyo koritsia, diaskedazoun tous symposiastes paizontas aylo, tragoudontas, xoreyontas, kanontas akrobatika kai pantomima. Para ti xamili tous koinoniki bathmida tetoioi kallitexnes kalountai sto symposio xari stin ypsilis ektimisis texni tous (technai). Kapoioi omos, pou symballoun episis stin psyxagogeia tou symposiou, ftanoun akalestoi. Den exoun periousia kai gia kapoious logous den kerdizoun to psomi tous apo kapoia xrisimi techne. Kateythynomenoi apo ta peinasmena stomaxia tous emfanizontai opou moirizontai fagito. Aytoi oi akletoi den epaixan enan asimanto rolo stin arxaiki politistiki kai koinoniki istoria tou symposiou. Skopos tou Burkhard na anasynthesei tin epidrasi tous.
O protos "akletos" stin elliniki logotexnia o Odysseas, pou paramerizei ton « synadelfo » tou kai antipalo tou Iro kai zita apo tous mnistires fagito kai poto sto symposio tous. Stin methomeriki poiisi tis archaikis periodou oi akletoi einai episis gnostoi os koinoniki omada (Archilochus fr. 78 D= 124 W ?). Metagenesteres parallages tou akletou stin ysteri logotechnia einai o "kolax" kai o "parasitos".
I antidrasi ton kalesmenon stin emfanisi ton akleton perigrafetai idi stin Odysseia : Oi akletoi synithos pairnoun ayto pou theloun apo fobo mipos i katara tous prokalesei ti dysmeneia tou theou, i kai apo oikto, omos yparxoun antidraseis gia tis koilies tous, ti methi tous, tin tempelia tous, tin adiantropia tous kai alla... Etsi o akletos paizei me tin kakomoiria tou kai tin adynamia tou thelontas na kolakepsei tous kalesmenous, kai stin ousia « paristanei » ton eayto tou tonizontas tin fysiki kai ithiki tou katoterotita. O akletos paizei ton anithiko rolo tou methystaka oste na diaskedasei kai etsi na kerdisei kapoio yliko agatho. I methodos na dimiourgithei kali diathesi kai ilarotita proballontas kaneis ta elattomata tou xrisimopoieitai episis kai apo ton Hephaisto stin Iliada. Tin idia methodo akolouthei kai o Philippos, emfanizomenos sto symposion tou Kallia kai dilonontas oti einai akletos kai peinasmenos . Ayti i « parastasi » den einai mia techne pou kathorizetai apo sygkekrimenous kanones. Gi’ayto kai o Burkhard theorei adiko to na apokalountai aplos zitianoi, kati pou ypobibazei ena periploko koinoniko-politistiko kai tin idia ora aisthetiko fainomeno stin oikonomiki tou mono pleyra.
An dextoume oti i koinoniki domi tou symposiou allaxe sto perasma tou xronou kata diaforous tropous, den mporoume na apokleisoume ti dynatotita tou na epaixan kapoio rolo s’aytes tis allages kai oi akletoi, oxi aplos pathetika alla san enas energos erethistikos paragontas...
(Isos bori na anaptihti mia enotita, opou o xoros parousiazetai os kati pio "xalaro", pou mporei na se parasyrei. De thelo na po me arnitiki xroia, giati isos "parasyrtho"... Omos kai edo o Telemaxos tous katigorei stin Athena, legontas tis koita mono ayto tous noiazei, i mousiki kai to tragoudi (yponoeitai kai o xoros?). Isos mia enotita opou o xoros den "doxazetai" alla gia kapoio logo esto kai emmesa "enoxopoieitai"...:)
Opou mnistires, ekei gamos...
"...Kai otan ikanopoiisan ton potho tous gia poto kai fai oi mnistires alla eixe anagi i psyxi tous, tragoudi kai xoro. Stolidia tou deipnou. Kai o kirykas tin omorfi kithara ebale sta xeria tou Fimiou, o opoios apo anagi tragoudouse stous mnistires. Omos paizontas tin kithara tou epiase na tragoudaei omorfa, eno o Telemaxos eipe stin Athena me ta apastraptonta matia plisiazontas se aytin to kefali tou, gia na min ton akousoun oi alloi. Xene mou, tha aganaktiseis mazi mou me osa tha sou po? Aytoi gia ayta noiazontai, tin kithara kai to tragoudi, eykola, afou trone atimorita xeni periousia anthropou pou isos tora ta aspra tou kokala sapizoun apo ti broxi petamena se kapoia xera, i to kuma ta kylaei sti thalassa..." Blepe kai Pari.Il. 255-261:
... ego o dystyxis, pou gennisa tous gious tous pio kalous stin Troia ti megali, apo tous opoious kanenas den m'apomeine, O Mestoras o isotheos kai o ippeas o Troilos, oute o Ektoras pou itan san theos anamesa stous andres kai den emoiaze oti itan gios thnitou alla theou. Aytous tous skotose o Ares, kai mou emeinan oloi oi axristoi, pseytes kai xoreytes, ikanotatoi sto na xoreyoun, kleftes arnion kai tragon apo to lao.
IL. 3. 393:
Ela edo. O Alexandros se kalei na pas sto spiti. Ekeinos pou einai sto thalamo kai sto torneyto krebati kai lampei xari stin omorfia tou kai ta rouxa tou. Kai oute pou tha ton eleges andra pou erxetai apo ti maxi alla pou pigainei sto xoro i pou kathetai afou molis stamatise na xoreyei.
Anarotiomaste omos, isos edo den exei pragmati toso arnitiki xroia o xoros, alla einai perissotero mia ekfrasi tou typou "edo o kosmos kaigetai kai i gria xtenizetai" i "afisane to gamo na pane gia pournaria". Diladi mprosta stin anagi kai ston kindyno esy protimas na xefygeis xoreyontas i kanontas alla "anorima" "paixnidia"? Nomizo oti to idio to keimeno thelei polli prosoxi stin anagnosi tou, xekinontas apo mia kali metafrasi. Etsi genniountai skepseis, idees, erotimata.....
An omos kai etsi dextoume oti yparxoun stereotypes ekfraseis pou ypodilonoun kati, tote kai i lexi "orchestis" pou se ayto to xorio anaferetai mazi me to "pseytis" kai to kleftis mporei na exei mia stereotypi simasia arnitiki?)
Iliada: 24. 261, opou o xoros parousiazetai pali me mia arnitiki kapos xroia.
I metafrasi apo Papyro: (milaei o Priamos stous ypoloipous gious tou, thrinontas to xamo tou Ektora...)
“...Aytous eyrike o Ares na mou faei, kai mou meinan edo oloi oi tipotenioi, lamproi gia pidous kai xorous, xefantotides, pseytes, arnion kai tragon kleftides ap’ tous ftoxous tou topou.”
Opou koitas, englima kai timoria. Pos tha glitoseis?
Od. 23.129
Ego loipon leo pos etsi mou fainetai pos einai kalytera na ginei: Prota loipon lousteite kai foreste xitones, tis doules diataxte sto palati na ntythoun. Tote o theios aoidos me ti psilofoni lyra tou as sas odigisei ston paixnidiariko xoro, etsi pou kapoios pou ap'exo akouei, eite perastikos eite oi gyro geitones, na poun oti gamos ginetai. Na mi diathothei stin poli i eidisi tou megalou fonikou ton mnistiron, prin pame exo sto xtima mas me ta polla dendra. Ekei pia tha skeftoume o,ti kalytero mas prosferei o Olympios.
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Etsi milise kai ekeinoi ton akousan kai prothyma ypakousan. Loustikan prota kai foresan xitones, oi gynaikes stolistikan. Epiase kai o theios aoidos tin koili lyra tou kai tous xesikose potho gia glyko tragoudi kai exaisio xoro. Kai to megalo spiti antixouse gyro tou apo ta podia ton andron kai ton gynaikon me tin omorfi zoni (i ti lepti mesi?) pou xoreyan... An o ponos pia einai aforitos, i oraia Eleni xerei na parigorei, rihnei sto krasi magika filtra, xehnoun oi kalesmenoi ta basana,tora isiha hairontai, evruhoro to palati tou Menelaou, thaumazoun ta epidexia kinisi ton akrobaton. (Omos prosohi, giati odiniro einai to apotelesma tin katahrisi:
Od. 14.469
"akouse tora, Eymaie kai eseis oloi oi alloi syntrofoi, ti tha po afou proseyxitho, giati to krasi pou pairnei to myalo, kanei kai ton pio syneto na tragouda kai na gelaei apala kai ton xesikonei na xorepsei kai na petaei logia pou tha itan kalytero na meinoun aneipota"...)
I skini ektulissetai sti Lakedaimona, sto palati tou Menelaou, to opoio episkeptetai o Telemachos. Diplos gamos kai glenti en opsei, afou o Menelaos pantreyei tin omorfi kori tou me to gio tou Achillea kai to gio tou me tin kori tou Alektora...
Proxeiri apopeira metafrasis ton teleytaion stixon:
Kai moirazontan sto doma me tin psili orofi oi geitones kai oi (...?) tou Menelaou kai xairontan: anamesa tous theios aoidos epaize me tin kithara tou, eno dyo akrobates xekinontas to tragoudi strobilizan sti mesi...
Oh ayti i Eleni, oi basilisses, kai oi doules! Akourastes me to adrahti, ton argalio, ftiahnoun me haroumeni porfira violettia nimata, ifasmata, rouha gia to horo sto gamo. Ravoun, plenoun adiakopa. Kapou, san ti Nausika, xekourazondai horeuontas me tin bala, to paihnidi ton Phaiakon.Naysika-potami-mpala
...I Naysika epireasmeni apo to oneiro tis trexei na dei tous goneis tis:
Od., 6, 57
"Agapimeme patera, tha mporouses na mou doseis mia amaxa psili kai me oraious troxous gia na pao sto potami ta polutima rouxa mas na pluno, pou briskontai sto spiti leromena? Kai se sena ton idio pou eisai anamesa stous protous tis boulis pou pairnei apofaseis tairiazei na exeis pano sou rouxa kathara. Exeis kai pente gious sto palati. Oi dyo einai idi pantremenoi, eno oi treis anypantra palikaria stin akmi tous. Oloi tous theloun na exoun rouxa freskoplumena otan pane sto xoro. Ola ayta apasxoloun to myalo mou......"
Od., 6, 96:
"Kai otan eplunan kai katharisan entelos ta rouxa, amesos ta aplosan stin akrogialia, opou i thalassa ekballei stin xira polla botsala(?). Kai ekeines afou loustikan kai aleiftikan me ladi liparo, epeita piran to deipno tous stin oxthi tou potamou, perimenontas ta rouxa ston ilio na stegnosoun. Kai afou eyxaristithikan me to fai kai i kopela kai oi akolouthes tis, epaizan me ti mpala petontas stin akri ton kefalodesmo. Kai anamesa tous i Naysika me ta leyka tis mpratsa itan epikefalis sto tragoudi kai to xoro. Opos i toxeytria Artemi erxetai sta bouna, i ston panypsilo Taygeto i ston Eyrymantho gia na xarei me kaprous kai okypoda elafia, mazi tis paizoun agrodiaites Numfes, kores tou Dia pou krataei aigida, kai xairetai bathia i Lito, pou kefali alla kai metopo tis koris tis ap'oles yperexoun, kai eykola ayti anagnorizetai an kai oles tous einai omorfes, etsi kai i adamasti parthena (i Naysika) xexorize apo tis doules tis."
I Marie-Helene anaferei oti o Sofoklis sti "Naysika", apo tin opoia sozontai apospasmata mono, eixe anaparastisei ti synantisi tou Odyssea me ti Naysika kai tis doules tis. Kai symfona me ton Sechan to ergo xekinouse me enan xoro pou parousiaze sti skini to plusimo ton rouxon kai synexize me enan allo xoro, me epikefalis ti Nausicaa opou me ta koritsia paizoun me tin mpala. Tous diakoptei i emfanisi tou Odyssea.
O xoros aytos emeine diasimos xari stin epytixia pou eixe o Sofklis bazontas to prosopo tis Nausicas na paizei me tin mpala...
Posa herja prepi na pjanoume, papous, propaous..., mehri na ftasoume ston Omiro? Anarothitithikame pos axiologoume ton Omiro, to mutho? Kai erhete amesos to proto kai grigoro apandisi. Koitaxame to limma gia ton Homero sto OCD (Homer: 718), perigrafei periliptika to homeriko problima, dinei perilipseis ton ypotheseon pou pragmateyontai ta dyo epi, milaei gia tin exairetiki ikanotita tou Homerou na katanoei kai na perigrafei tin anthropini symperifora kai antidraseis, gia tin polyploki domi tou daktylikou exametrou pou xrisimopoiei k.a. Leei episis oti istorikoi blepoun sta epi antikatoptrismous tis koinonias kai ton politikon blepseon ton “Skoteinon Xronon” pou epontai tis mycenaikis katastrofis (teli 13ou), akoma kai tis koinonias tou 8ou aiona p.X. Mono apolithomenes mnimes tis mykenaikis periodou epibionoun sta erga tou. I Iliada topotheteitai gyro sto 750, eno I Odysseia gyro sto 725 p.X. (epoxi tou apoikismou). Kleinei milontas gia ti methomeriki poiisi kai ekei anaferaetai ston Hesiodo, stous Homerikous ymnous kai sta poiimata tou epikou kyklou apo ta opoia sozontai mono perilipseis apodidomenes ston Proklo (pithanos grammatikos tou 2ou ai.). An kai ayta ta poiimata einai ysterotera ton Omerikon, I simasia tous gia mas egkeitai sto oti antiprosopeyoun ta themata tis heroikis poiisis opos itan prin apo ton Omero. “Thus, by a time reversal, the partially known later material can make some claim to priority over the earlier”.
Horis elpida, na exandlisoume to omiriko zitima, toso katatesoume prokatabolika, kai akoma den eidame tipota!:) Kat odon simplironoume tin eikona, to peribalon, ta genetria tou omiriko horeuti.As statoume ligo touto to sumeio, kanondas to proto cekarisma, horeutika, doi bima bros, ena piso...:)An xanakoitazoume to OCD, blepoume oti ayta pou leei isos einai kapos "palaioteres" apopseis, kai isos kapoia pragmata exoun anatheorithei i anatheorountai ... Etsi, gia paradeigma o Mazarakis-Ainian (Omeros kai Arxaiologia 2000) episimainei, stirizomenos stis arxaiologikes martyries, oti synyparxoun stoixeia apo tria istorika stromata: ena proistoriko, kyrios mykinaiko, ena endiameso ton Skoteinon Xronon (11os-9os ai. p.X.) kai ena tou 8ou aiona, tis periodou diladi kata tin opoia ezise o Omeros kai pragmatopoiithike i katagrafi ton proton epon. (Omos edo bazoume pali ena erotimatiko, kathos to diastima pou pithanos ezise o poiitis exei teleytaia dieyrynthei arketa, 900-650p.X.( Anihti erotisi, pou perimeni lisi: Sxetika me tin proti katagrafi ton epon ti xeroume?). O Ainian ypostirizei oti ta omerika keimena symballoun idiaitera stin anasystasi tis eikonas tis koinonias ton mykinaikon, ton skoteinon, i ton ysterogeometrikon xronon, me tin proypothesi oti o ereynitis elegxei poies apo tis anafores tou poiiti anagontai se kathe periodo kai poies einai dimiourgima tis fantasias tou. Mila kai gia methomerikes paremboles(?)oi opoies apoteloun ena allo stroma...
Sizitjete (Romilly: gia aytes tis paradoseis proforikis poiisis pou yparxoun kai stis meres mas kai pou mporoun na dosoun mia idea gia to ti eixe symbei prin ton Homero. Milaei gia dyo Americanous, ton Milman Parry kai Lord pou arxisan na antiparaballoun me epimeleia apagellies giougoslabon rapsodon (bardon) kai taxinomisan apo aytes perissoteres apo 12.000. Diatirousan ton tropo synthesis tis proforikis paradosis. Etsi, tirountes tis analogies diakrinoun tis megales dynatotites tis mnimis kai blepoun kathe boitheia pou tis prosfere i epanalipsi typikon stixon i synolon typikon stixon kai i xrisi epitheton "fyseos" (ayto den to katalabaino,epithetes de nature sta gallika). Blepoun episis oti o klironomimenos thesayros mporouse na ananeothei me katallilo tropo kai na epanasygrotithei se nea epeisodia...... Alla kyrios eblepan oti oi spoudes proseilkyan tin prosoxi se o,ti eprepe na yparxei prin ton Homero kai oti ekeinos itan i katalixi mias makras paradosis......
Deipno. Stolidia, xoros kai tragoudi. Omorfi kithara. Femios. Apo anagi tragouda. Alla tragouda omorfa. Mnistires. Telemachos. Athena.
Einai mia skini sto palati. Opou o Odysseas leipei, oi mnistires "perimenontas" tin Penelope, rokanizoun tin periousia tou. Se ayto tous synodeyei i mousiki kai o xoros. Etsi kati toso omorfo, theostalto, stolidi aparaitito enos deipnou, mpleketai se kati anithiko kai xafnika athela tou "enoxopoieitai". O Phemios, o aytodidaktos, de thelei na paixei, alla anagazetai. Kai etsi paizontas tin omorfi (perikallea) kithara tou tragoudaei omorfa (kalon aeidein). (De tha mporouse arage na tragoudisei asxima, gia na tous dysarestisei? I kati tetoio tha itan epikindyno, i apagoreymeno?) O Telemachos aganaktismenos parakolouthei kai fobatai kai tin aganaktisi tou xenou(pou den xerei oti einai i metamfiesmeni thea) otan tha tou pei oti aytoi oi "ypopsifioi" mnistires den einai kai toso "athooi" afou diaskedazoun trogontas to bios antra pou mporei kai na mi zei pia...
O Fimios -Entaxei, as poume oti o mousikos mporei na einai "aytodidaktos", den didaxthike apo kapoio thnito empeiro mousiko -etsi ypostirizetai toulaxiston stin Odysseia-, alla monos tou me ti boitheia tou theou pou milaei mesa tou, alla pos mporei na isxysei to idio kai gia to xoro? Eidika ean yparxoun bimata xorografimena? Alla kai sygekrimenes armonies den ypirxan? I mipos einai to talento gia to opoio milame, kai to opoio einai pigaio, i allios "theostalto"? Kai pali de xreiazetai xypnima, kalliergeia, douleia? Ara pou einai i "estia" ton proton "syzitiseon" peri mousikis? Einai i idia kai gia to xoro? Kai mporei pragmatika arage na einai kaneis aytodidaktos?
"Simerines prooptikes gia to homeriko epos i pos mporei i ereyna na ananeosei tin anagnosi ton keimenon" Metafrasi Anastasios Stefos. Athena. Ekdoseis Kardamitsa.
Sel. 18:
...Einai apolyta alithes oti briskoume ston Homero typikes ekfraseis kai epanalipseis. Eixame arxisei, prin apo ti gnosi ton proforikon poiiseon, na tis diorthonoume, na tis afairoume. Epeita anakalypsame oti itan symfytes me kathe proforiki poiisi. Alla, sti synexeia, me to na paratiroume ek tou syneggys anakaluptoume oti ston Homero xrisimopoiountai kai axiopoiountai me megali dexiotita kai me bebaiotati aisthisi gia ti synthesi tou synolou. O poiitis pragmati epefere allages analoga me tin periptosi, me protheseis logikes. Einai omos dynato na diatirise ena idiaitero arthroisma stixon ametablito, alla tote i prothesi tou einai, sxedon pantote, gia na parousiasei mia sxesi anamesa sta gegonota pou emfanizei os synafi, akomi kai apo apostasi. O,ti apotelouse mian apo tis xares tis proforikis synthesis endyetai ston Homero me leitourgiki axia kai xrisimopoieitai gia kapoio apotelesma.
"1976 "A History of the Greek city states 700-338 B.C."
Gia ta homerika poiemata kai ayto pou syzitousame simera leei oti exei deixthei apo ton Milman Parry oti i Iliada kai i Odysseia itan proforikes syntheseis meso mias paradosiakis technikis. Kathe poietes mathaine tin techniki apo tous proigoumenous kai mporouse na elpizei sto na tin anadeixei mono kata polu ligo. Etsi i anaptyxi tis texnis tis proforikis synthesis prepei na xreiastike arketes genies. Gi'ayto kai einai katanoito to oti ta poiemata anaferoun stoixeia pou anikoun se diaforetikes periodous, kapoies apo aytes mporoun na xronologithoun me basi arxaiologika parallila stin Ysteri Epoxi tou Xalkou. Kai ayto prepei na einai sto myalo mas prin apopeirathoume na xrisimopoiisoume tis sporadikes endeixeis pou parexoun ta poiemata sxetika me tin koinonikes kai politikes synthikes. Kapoioi meletites epixeirisan na anasynthesoun tin "homeriki koinonia" syllegontas aytes tis endeixeis kai topothetontas tis oles stin idia periodo. To poso lathos einai ayti i methodos mporoume na to doume an skeftoume ti diaxeirisi ton metallon sta poiemata. Oi poietes itan exoikeiomenoi me ti xrisi tou sidirou kai sta poiemata ta ergaleia einai synithos apo sidiro. Omos oi poiites isxyrizontai oti tragoudoun to iroiko parelthon kai etsi miloun gia ta opla ton heroon pou einai ftiagmena apo to pio romantiko metallo, ton xalko. Omos den ypirxe pote koinonia pou na xrisimopoiei sidiro gia ta ergaleia kai xalko gia ta opla, antithetos efoson o sidiros einai pio dyskolos sto na douleytei alla pio skliros, xrisimopoiithike prota gia opla, otan pia apoktithike i ikanotita na ton douleyoun. Ara, otan meletountai sta poiemata oi koinonikes kai politikes synthikes, synistatai mia eklektiki methodos... (sel.:15)
Isos eixe endiaferon na psaxoume kai tin etymologia tis lexis "xoros". Se kapoia yposimeiosi tou Lonsdale pou epese tyxaia to mati mou, psaxnontas kati allo, eida pou leei oti i lexi "choros" polu pithana ermineyotan me ti lexi "chortos" (perifragmeno meros)(sta latinika "hortus" simainei "kipos"), syggeniki me ti Lithouaniki lexi "zaras" (seira, taktopoiisi), meso mias rimatikis rizas (gher-) pou simainei "periexo/krato". Alloi, leei, syndeoun tin ennoia tis rizas "krato" me to piasimo ton xerion. (W. Porzig, Die Namen fur Satzinhalte, Berlin 1942). Oti i basiki xeironomia ton melon enos xorou(?) (chorus) itan to na pianei o enas to xeri tou allou kai etsi na enonontai se ena soma yponnoeitai apo tin yparxi mias epikis stereotypis ekfrasis ("formula") "epi karpoi cheiras exontes". (Eđé ęáńđů ÷ĺéńáň ĺ÷ďíôĺň).
Tethikan ligo biastika ta exis erotimata: Ti einai to 'dromo' tou aido? ([Ekfrasi 'mistirio" o Brouno Snell exetazi sto biblio Anakalipsi tou peumatos. Blepe meta stin enotita mousiki.] Ti kalo mas kani to ambrosia kai nektar, kai apo pou pernoume?:) Pja einai ta musiko-horeutika taumata ton theon? As rotisoume ton Apollona.
Autos, mou makria toxeui, apagagi kritikous pirates kai me to kalo anemo den stamatai mehri den ftasoun sto iero topo pou idrii to nao tou. Oi proti ieris oi nautiki pythanon den xehasane ta tragoudja kai to horo ap to patrida , mehri oi makrini apogoni tous taumazonde auti tin mousiki ikanotita.(Blepe Panagopoulo.) Edo filoxenoun to pjo spoudeo mousiko agona, kai ektelite a 'pythikos nomos'. Lene pos itan mimisi, agona anamesa ton Apollona kai to drako. Ta meri tou targoudiou zondanevoun to mahi, arhizi me ton anihnevsi to pedio pou tha gini sungrousi, stadiaka prohorai... o drakos trizi ta dontja, xepsihai (syrigmos)... Meriki san na idane to prototipo to legomeni 'programatiki' mousiki. An kai den einai fronimo na paromjazoume me Ravel,- 'Apgeuma tou Drakou":)- axizi na skeftoume ligaki auto to 'programa'. Ti ekane enas horeutis an sunodeve tetio mousiki? Ta etrize ta dontja? Stringlize san diabolemeno surigx, hanondas tin psihu tou? Malon ohi, oi ekleti krites den epitrepane tetjes hondrades, alla oi mousiki panda eihane tropous,(kai akoloutos oi horeutes), idietera katalila gia auto ta 'magika' pneusta pou ligizoun eki pou theli o embiros mousikos, fernondas anemo, brohi, anasa, kraugi... Parafrasoume tous omorikous stiuhous:
Kai autoi pou xortasan apo fai kai poto, palikaria, kai gemisan tous kratires me poto kai moirasan se olous afou prota erixan ligo sta potiria, kai oli ti mera exileonan to theo me tragoudi kai xoro(?), tragoudontas oraio ymno kai doxologontas ekeinon pou apo makria toxeyei, akoustikane ap ton Apollo, kai eyxaristiotan i psyxi tou.* Megali tuhi pos sotikan duo umnoi,kai etsi boroume na ipopsiastoume tetjous ihous. Ne men metagenesteri , alla den apokliete pos mesa apo makrohroni paradosi filaxane to iero, megalopnoi ufos, ithos.
Pjon horo didete stin Pallada? Ti simeni Pallada? Ti mas leei to omeriko keimeno gia tous Kouretes? Oi Faiakes pou xoreyoun -(betarmones, perimenoume edo ti prosfati gramma tou idikou, me ti bibliografia...John Franklin, endiaferousa tin apopsi tou sxetika me ti lexi "betarmones" pou xrisimopoiei o Homeros gia tous Phaiakes xoreytes kathos kai o kathigitis Stelios Psaroudakes eixe pei oti isos exei simasia i epilogi tis lexeos aytis. Zitiete perissotera stoixeia gia tin parapompi tou se Burkert (1960), o opoios kanei mia kali overview stous proigoumenes meletites tou tragoudiou tou Demodokou...)
Kata kapoion tropo kai symfona me ton Strabona pou parafrazei ton Skepsio sxetizontai me tous Kouretes-Korybantes (Strabo, Geographica, 10.3.21). O xoros ton Koureton einai polemikos xoros. O "xoros tou Are" mporei na exei sxesi? Ti symbolizei, kathreytizei, antiprosopeyei ? O Kretas Merionis pou ton "xoreyei" me epidexiotita mas paei kapou?....
Endiaferon exigisi tou Paysania gia tin anafora tou Homerou ston kalichoro Panopea. Leei o Paysanias oti o Homeros anaferetai sti synitheia ton Thyiadon na stamatoun gia na xorepsoun sta diafora meri, anamesa tous kai ston Panopea, sto dromo tous apo tin Athena stous Delphous. Etsi o xoros einai ena simeio epafis, synantisis, anamesa stin Ariadne, episimi gynaika tou Dionysou, kai stis Mainades kai Thyiades pou ton akolouthoun.
Ara to "kalichoros" mporei na simainei: me oraia xorostasia. Se mia aggliki metafrasi omos pou exeis topothetisei pio prin kai me rotas ti simainei, o metafrastis ekei to apodidei: metis oraies pezoules (?), kapos etsi. Den fainetai i ennoia tou xorou diladi alla tou topou.
Apo pjon matheni na horevi o Aris? Kala, o Aris kai i Afroditi ehoun kori tin Armonia. Kai tora ti tha gini, klini o kuklos, kai oi omorfes horautarades kopeles fernoun sto kozmo, genane mahites? O laos tou Ahillea anamfisbitita kamaroni me polemikes aretes. Tetjes polemistes zitane axious arhigous kai uparhigous otan shimatizoun penintameli tagmata. Enas ap autous o polemoharis Eudoros, pou ton genise agami kopela.I Polumele pou itan omorfi sto xoro, kori tou Fylanta. Ayti tin eroteytike o dynatos Argeirofontis otan tin eide me ta idia tou ta matia anamesa stis mainades pou tragoudoun sto xoro tis thorybodous Artemis me ti xrysi ti adrahti. Edo berdeutike ligaki pali to gi me ton ourano. Menades me tin Artemi? Isos mono tha teatrika erga boroun na mas diafotisoun ti egine edo? O mithos trefi to teheatro, to theatro efeuemenizi ti zoi, sizitjete i parastasi stin agora, pernoun paradigmata oi logi, dikogori, sofistes na girofernoun me auta ta themata, na dihnoun exipnada, kerdisoun entiposi, lefta. I anapoda, apo ti zoi perni dinami to theatro kai katreftisi to prosopo tou elina, dihnondas ipsos kai bathos? Oute to ena, oute to allo, ara aliloepidrasi...:)Horos dialektikos, tesis, anthitesis, sunthesis. Ti kanoun oi ellines otan den horeuoun?
Mimitikos o arhaios horos? Me ti batmo katreftizi tin paragmatikotita? Ipirhane sumbasis? Pantos stin isteri arheotita thaumazondas tin ekfarsititita tis zitithike mia horeftria ga doulja dierminea-metafrasti. I aplos eina iperboli, anaxiopisto anekdoto? Ti lei o Platon kai o Aristoteles ga tin mimesis? Ara to horo tou psara dihni pos pjanis psari, o polemistis pos epitheti, aminete, skotoni, o arthopoios pos psini, i porni pos porneuete? Na o Ektoras, kamaroni pos xeri to horo tou Ari, den ine pedaki i ginekoula, sikoni aneta, giroferni aristera kai dexia to megalo aspida tou epidexia. Den itan mallon poupoulo, polla barja dermatina srtomata, entheta metallikes , an tripitikane ta prota, esvise ta epomena to dinami, sto ekto stamatise to foniko dori.Il.7. 243:
Kai s'ayton pali eipe o megalos Ektoras pou kinei grigora to lofio tis perikefalaias tou. Aia, paidi tou Telamoniou Dia, arxige laon, mi me dokimazeis san na imouna paidi adynato i gynaika pou den xerei ta polemika erga. Giati ego xero kala apo maxes kai skotomous andron. Xero na kino sta dexia kai sta aristera tin aspida apo to xero tomari bodion, gi'ayto kai mporo dynamika na polemo. Kai xero na ormo dynamika sto thorybo tis maxis me ta grigora aloga, kai stin olethria maxi xero na xoreyo pros timin tou Are.
Ti kanoun oi polemistes otan horeboun ?Proetimazonde? Rihnonde sto glendi na xehasoun to Haro? Pantos o Achilleas katapraini to stenohoria tou me glikofoni forminga, apomakra, isiha, ti horos teriaze to iremo peximo tou? O iroas mas klei, o Aris trehi na vri maniasmena mahi allou, akontistes pou xeglistrane, den tus pjani, htipisi akonti, allogodamastes...O horos tou Ari nane agrios? I mipos einai monopleures, hondrokommenes oi synitismenes doxasies. Stin Sparti opjos prosehi, me ekplixi apokalipsi pos ipirhe dipla to sinitismeno akampto, akardo, amjialo ikona tou fonia, mia apisteuti leptotita sti mousiki kai sto horo. Arage i sofi demones, kentauri, pou didaskane to pedi Ari, Irakli, Achillea, proetimasane emobora terrata? Giati i thei, imithei, kai iroes prota-prota matheoun mousiki kai horo, kai meta pane sto mahi? Makari na borusame na rotisoume ton piiti-stratioti Archiloho, opjos tautohrona ipiretise tin Mousa kai ton Ari. Giati ohi, bori na krivete kapja apandisi sta piimata tou.
Pjos eina o aidos tou Odusseia? Ti theorite san pigi sto horo ton akliton? Pjes ousies borousan pithanon na epireazoun tous horeutes? Ti kanoun oi akrobates? Pos dinonde oi horeutes? Pos einai oi enfanisi tous? Ti einai i sfera? Pos pezete? Haraktirise to horo ton Phaikon, tin Nausika, ton Laodama...?
...I Naysika epireasmeni apo to oneiro tis trexei na dei tous goneis tis:
Od., 6, 57
"Agapimeme patera, tha mporouses na mou doseis mia amaxa psili kai me oraious troxous gia na pao sto potami ta polutima rouxa mas na pluno, pou briskontai sto spiti leromena? Kai se sena ton idio pou eisai anamesa stous protous tis boulis pou pairnei apofaseis tairiazei na exeis pano sou rouxa kathara. Exeis kai pente gious sto palati. Oi dyo einai idi pantremenoi, eno oi treis anypantra palikaria stin akmi tous. Oloi tous theloun na exoun rouxa freskoplumena otan pane sto xoro. Ola ayta apasxoloun to myalo mou......"
Od., 6, 96
"Kai otan eplunan kai katharisan entelos ta rouxa, amesos ta aplosan stin akrogialia, opou i thalassa ekballei stin xira polla botsala(?). Kai ekeines afou loustikan kai aleiftikan me ladi liparo, epeita piran to deipno tous stin oxthi tou potamou, perimenontas ta rouxa ston ilio na stegnosoun. Kai afou eyxaristithikan me to fai kai i kopela kai oi akolouthes tis, epaizan me ti mpala petontas stin akri ton kefalodesmo. Kai anamesa tous i Naysika me ta leyka tis mpratsa itan epikefalis sto tragoudi kai to xoro. Opos i toxeytria Artemi erxetai sta bouna, i ston panypsilo Taygeto i ston Eyrymantho gia na xarei me kaprous kai okypoda elafia, mazi tis paizoun agrodiaites Numfes, kores tou Dia pou krataei aigida, kai xairetai bathia i Lito, pou kefali alla kai metopo tis koris tis ap'oles yperexoun, kai eykola ayti anagnorizetai an kai oles tous einai omorfes, etsi kai i adamasti parthena (i Naysika) xexorize apo tis doules tis."
I proti lexi pou mou erxetai sto myalo einai i lexi « molpi anafora me to arthro tou Lonsdale gia to « xoro me tin mpala » me tin Naysika, ekei opou i parthena paizei me tis doules tis stin paralia opou pigan gia na plinoun ta rouxa tous ta "kala" (proetoimasia gia to gamo kai nato amesos mpainei to erotiko stoixeio, o xoros einai mia proetoimasia gia ton erota. Poios erotas kai poios xoros ?). Se ayto to xorio o Homeros paromoiazei tin Naysika me tin Artemi pou trexei sta bouna me tous kaprous kai ta elafia kai oi nymfes tin akolouthoun. I Artemi einai i pio omorfi kai xexorizei anamesa stis alles (arignoti) an kai oles tous einai « kales ». Ta idia kritiria gia fysiki omorfia kai anoterotita briskoume stin perigrafi tis Artemis os epikefalis tou xorou ston Olympo ston Homeriko ymno ston Apollona. Einai i psiloteri, i omorfoteri kai me ti megalyteri emfyti xari. Etsi kai i Naysika xexorizei anamesa stis alles kopeles kai o Odysseas otan ti blepei ti sygkrinei me ti thea . Alla akoma kai an einai thniti o Odysseas skeftetai ti xara pou tha prepei na dinei i prigkipissa stin oikogeneia tis otan sikonetai kai pairnei ti thesi tis sto xoro. O Lonsdale loipon, i Calame , i Lawler, kai alloi ereynites blepoun se ayto to "paixnidi me tin mpala" tragoudi kai xoro, i Naysika einai i «choregos» (irxeto molpis). « Molpi » loipon i lexi pou metafrazetai os tragoudi kai xoros. Kai i paromoiosi me tin Artemi dinei to context tou xorou (Od. 6. 102-109), dinei diladi, symfona me ton Lonsdale, ena safes periexomeno gia tous paixnidiarikous xorous tis Naysikas kai ton akolouthon tis. Einai analogoi me to eidos symperiforas enstallagmenis se koritsia etoima gia gamo se latreies theotiton tou typou tis Artemis. Tetoiou typou latreies fainetai oti yparxoyn polles..... Katarxin bres tis erotiseis. Eimaste loipon sigouroi oti i lexi « molpi » simainei « xoros kai tragoudi » ? I mipos simainei mono to tragoudi ? Pou kai pos synantame ti lexi ayti stin elliniki grammateia? Kai poies einai oi latreies gia tis opoies milisa molis prin ? I Calame ypostirizei oti i lexi «melpo» kai ta paragoga tis exoun dipli simasia perilambanontas tin ennoia tou tragoudiou kai tou xorou. Kai ayti i dipli simasia epibebaionetai apo orismena apospasmata lyrikon keimenon, ta opoia dieykrinizoun ton oro kata tis dyo aytes simasies. (Bacch. 13, 83ss. Pind. Fr. 52, 96ss, 52f, 15ss. Eur. Tr. 545ss kai 551ss). Edo ta stoixeia xreiazontai safos symplirosi... :) I Calame ostoso synexizei kai me to rima « paizo » kai ta paragoga tou, pou merikes fores xrisimopoiountai se ena « xoriko » periexomeno kata tropo parallilo me ayton tou «melpo»... I xrisi tou stin perigrafi tis aspidas apo ton Hesiodo dixnei oti to rima ayto den periorizetai panta sti simerini simasia tou alla antitheta kapoies fores syndeetai stena me tin ennoia tou xorou kai tou tragoudiou... Sto Onomastiko tou Pollux de brika ti lexi molpi oute melpo (???)...
Homer, Od.8.367
Apopeira metafrasis tou xoriou (protagonistes o Alios, o Laodamas kai i kokkini mpala):
Prostaxe ton Alion kai ton Laodamanta na xorepsoun monoi tous, giati aytous kaneis den tous antagonizotan. Kai ekeinoi loipon otan epiasan tin omorfi mpala me ta xeria tous, kokkini, tin eftiaxe gia aytous o empeiros texnitis Polubos, o enas tin petaxe pros ta skoteina (i skiera?) synnefa kamptontas to kormi tou pros ta piso, kai o allos ypsothike apo ti gi kai eykola tin epiase ston aera, protou ta podia tou ftasoun sto edafos. Otan omos peiramatistikan metaxy tous me ti sfaira, petontas ti psila kai katakoryfa, arxisan tote ton xoro stin polutrofo gi kai o enas diadexotan ton allon polles fores. Kai oi ypoloipoi neoi stekontan gyro apo to xoro kai xtypousan palamakia, thorybos polus eixe xesikothei. Kai tote o theios Odysseas apeythynthike ston Alkinoo...
Etsi metafrazei I Lawler ti skini me ton Alio kai to Laodama pou xoreyoun, legontas pos o enas rixnei tin mpala ston allon, eno sto prototypo de fainetai kati tetoio:
"...Kai afou 'zestatikan' rihnontas ti mpala ston aera, horepsan ustera plisiestera stin trofodotria gi, tinazontas me tahitita ti mpala o enas ston allo"
Episis ston Calame diabasoume gia Arrephorous (tis anaferei o Pausanias), koritsia apo 7 eos 11 eton, pou meteferan sti giorti ton Arriforion (giorti tis Athenas) "arrita iera" kai zousan gia ligo kairo sto "oikima ton arreforon" pou ta themelia tou diatirithikan dytika tou Erextheiou. Gia ta koritsia ayta ypirche mia mikri ayli, gnosti os "sfairistria ton arreforon", diladi meros opou oi mikres epaizan me ti sfaira (topi i mikri mpala). Den anaferetai xoros bebaia, alla m'arese.
O Lonsdale leei oti stin Odysseia oles oi skines xorou syndeontai me enan gamo, alla den einai oles giati oi Faieakes xoreyoun gia ton Odyssea. Bebaia to tragoudi einai "erotiko", alla anamesa stous xoreytes den yparxoun gynaikes. O xoros tous arage einai mimitikos? Episis anarotiemai ektos apo tin agora, pou allou diorganonontan oi xoroi pou esto emmesa anaferei o Homeros, opos as poume ekei opou i Naysika prospathontas na peisei ton patera tis na tin afisei na paei sto potami tou tonizei tin epythimia ton gion tou na pigainoun me rouxa kathara sto xorostasi...
H Naysika, leei o poiitis, irxeto molpis (ěďëđçň). Kapoioi metafrazoun to molpi os xoro kai tragoudi, yparxei kai se orismena lexika, etsi to ermineyei i Lawler, "xoros me tin balla" to apokalei o Lonsdale kai ego to dextika. Omos thelei prosoxi leei o Stelios Psaroudakis. Giati kat'ayton "molpi" apo to rima "melpo" simainei to tragoudi. Syxna oi arxaiologoi to kanoun lathos, alla einai kai fysiko otan den exoun mousikes i xoreytikes gnoseis. Polles fores prepei na parakoloutheis ti ginetai kai se alla meri tis gis, mou efere paradeigma me India, kai mousikous stin Iaba opou akoma xrisimopoioun ti "forbeia", alla se ena mono eidos dimotikou tragoudiou. Tetoies sygkriseis isos kai na einai ligo parakindinevmena,, alla pali oxi giati tetoia paradeigmata mporoun na empneysoun kai na dromologidoun ti skepsi sou kai tin ereyna pros kati pio sygkekrimeno pou ystera tha psaxeis na breis ean eppibebaionetai mesa sta keimena kai sta alla stoixeia pou diatheteis. Efoson yparxoun den mporeis na ta agnoeis otan malista einai ekei kai xereis oti mporeis na ertheis se epafi mazi tous kai na tous rotiseis. Na tous bgaloume foto otan xoreyoun me tin mpala... Den einai kako diladi ean exeis mia yposimiosi opou anafereis ena tetoio paradeigma.
... opou gamos kai xoros, o Lonsdale sto arthtro tou “A dancing floor for Ariadne (Iliad 18. 590-592): Aspects of ritual movement in Homer and Minoan Religion” milaei kai gia to episodeio tis Naysikas, opou I prigkipisa empleketai se ena romantiko interloudio pou stolizetai me xoro. Otan o Odysseas ti blepei gia proti fora ayti paizei xoreyontas me ti mpala (she plays the « ball-dance ») parea me tis doules tis. I paromoiosi me tin Artemi (Od. 6. 102-109) dinei ena safes periexomeno gia tous paixnidiarikous xorous tis Naysikas kai ton akolouthon tis. Einai analogoi me to eidos symperiforas enstallagmenis se koritsia etoima gia gamo se latreies theotiton tou typou tis Artemis. Omos einai simantiko oti ena koritsi pou den exei biasthei prin katafernei na ftasei sto stoxo tis, opos deixnei o mythos tis.... Sti domi tou heroikou mythou i epythimia tis Naysikas na boithisei ton Odyssea antapokrinetai sti sygrousi-diamaxi me tin opoia erxetai antimetopi i kori tou basilia otan eroteyetai ton xeno heroa : exei tin diathesi na prodosei ton patera tis prokeimenou na boithisei ton heroa. Mexri tote tin eyxaristouse na xoreyei gia ton patera tis kai i anepireasti agapi tis nearis koris gia ton patera briskei tin ekfrasi tis sto motivo « dancing for daddy » (xoreyo gia ton mpampa), opos stin historia tis koris tou Jepththah, i stous xorous tis parthenas Artemis (kai Apollona) pou apolambanei o Dias kai i Leto (Hymn. Hom. Ap. 197-206). Stin Odysseia i allagi pistis apo ton patera ston heroa dieythynetai theika apo tin Athena meso tou xorou me tin mpala pou odigei sti synantisi tis Naysikas me ton Odyssea. Xoroi gamou kai erototropias paizoun paromoio rolo sto na metathetoun tis sxeseis agapis exo apo to ameso oikogeneiako periballon kai na prokaloun tin enosi nearon eraston (cf. Plato. Laws 771e-772a). I katastasi metaxy Odyssea kai Naysikas kai ayti tou Thesea kai tis Ariadnis einai paralliles. An kai I paromoiosi tis Ariadnis den apokalyptei leptomereies, o Daidalos ktaskeyazontas to xorostasi paizei ena boithitiko rolo paromoio me ayton tis Athenas sto episodeio tis Naysikas (Lonsdale 1995).
I aytomati syndesi xorou kai gamou einai emfanis sto “texnasma” ypekfygis pou skarfizetai o Odysseas meta to fono ton mnistiron. Prostazei ton Telemacho kai tous xoiroboskous na pluthoun kai na foresoun tous xitones tous kai na baloun tis gynaikes na ntythoun episis. Kai o aoidos tha paixei mousiki eortastiki etsi pou oi perastikoi tha skeftontai oti “ exoume gamo”. Ayto pou o Odysseas psaxnei me to xegelasma ayto na krypsei einai to foniko pou exei proigithei kai etsi na kerdisei xrono mexri na brethoun asfaleis sto xtima tous opou o Dias tha tous fotisei gia to ti einai kalytero na kanoun.
I analysi tou rolou tou xorou allou ston Homero deixnei oti prokeitai gia mia drastiriotita katallili sto na entharrynei kai na prokalei tin enosi nearon eraston. Ostoso oi enoseis stis opoies odigei mporei na einai aplos pseydaisthiseis i prosorines. Einai episis mia drastiriotita pou mporei na odigisei se adynamia. (Ti na ennoei edo ?) Mporei episis na xrisimopoiithei gia diprosopo skopo apo mia theotita, opos i Athena, i apo enan heroa (Odysseas). I geniki idea tis erototropias pou kataligei se enosi mporei na anagnosthei stin paromoiosi tis Ariadnis: O Daidalos xtizei ton “xoron” gia tin Ariadni oste na mporesei na elkysei enan agapimeno pou tis tairiazei...
O xoros tis omorfis parthenas (Nausika) paromoiazetai me tin Artemi pou katebainei ta bouna gia na xarei me kaprous kai elafia kai ti synodeyoun oi Nymfes oi "agrodiaites" paizontas mazi tis. Anamesa tous xexorizei se omorfia kai xari i thea, opos kai i Naysika. Kai o Lonsdale sxoliazei ayti tin paromoiosi.
I agora ton Faiakon einai xtismeni, plai ston oraio bomo tou Poseidona, me kommenes petres xostes sti gi (symfona me ti metafrasi tou Maroniti). Ara ypirxe bomos. Ayto dikaiologei isos ton "theio xoro" ton neon? Giati etsi ton apokalei o poiitis.
Tairiazei me ti lyra kai to sygkekrimeno tragoudi(Ares-Aphrodite) enas zoiros xoros?
... I lyra dinei tono ston mousiko kai aytos me ti foni tou yfainei to rythmo kai ti melodia kai etsi odigei kai to xoro. Mousikos kai xoreytis synergazontai, exoun mesa tous to programma (?) kai den tous ektroxiazei to palamaki, me empeiria kai gnosi grammeni (ti ennoouses edo?) apofasizoun an i mousiki pou tous erxetai einai entoni i oxi... Me ta matia o enas parakolouthei ton allon, epikoinonoun.
Mipos tetoies xoreytikes skines pou perigrafontai ston Homero einai stereotypes, me stoixeia kinisis, bimaton ktl pou epnalambanontai kai aplos kathe fora i istoria, to plaisio, to periexomeno pou peribalei to xoro allazei kai prosarmozontai, esto kai an den tairiazoun stin pragmatikotita (alla poia pragmatikotita ?) kai toso. San mia symbasi. I poiitiki adeia? I katagrafi tetoion skinon kai o entopismos koinon stoixeion, efoson yparxoun i oxi, tha mporouse isos na boithisei stin apantisi tetoion erotimatikon.
O Alios kai o Laodamas itan gioi tou basilia Alkinoou, pou pairnoun meros sta agonismata (pygmaxia, pali, alma, dromos) anamesa se allous axious neous. O Laodamas malista erxetai protos stin pygmaxia kai epeita o idios parakinei ton Odyssea na parabgei se kapoio agonisma giati de fainetai na einai apeiros sta athlimata. Kai edo ginetai to mpleximo me aformi to opoio xepida kai i xoreytiki epideixi ton Faiakon, ...
Fainetai oti ta plousia geymata, I kithara kai oi xoroi paizoun xexoristo rolo sti zoi ton Faiakon. Kai kayxiountai gi'ayto. Stin agora me ta petrina skalopatia exei sygkentrothei kosmos polus, anamesa tous antres pou xexorizoun, oi gynaikes den anaferontai para mono piso sto palati...
Ti 'axia' ehei to horo tou Pari? An kai zalistikate, oi erotisis den ehoun teliomo...:)
Pos katarizete, epexergazete to linari? Htipjete, traujete alipita pano sta agathja tou sakandsohirou..:) Etsi katarisoun, eleuteronoun oi ines, etimo san aspro sinnefo sto adrahti, na strivis nima,bafis prfira, kitrina, ifenis oti hriazete. Paromja me ta erotimata, pou akoma 'ahtenista', berdemena perimenoun na vrun ti sosti tesi, morfi, apandisi. Pjos lei: uranos kai gi horeuei?
Ston Omero ouranos kai gi mporei na mplekontai, alla telika emeis anazitontas-psaxnontas ton xoro theloume na xexorisoume to mythiko stoixeio apo tin alitheia? Alla isos na eimaste antimetopoi me perissotera stromata alitheias, kai tote xreiazomaste to xystri.
O Alios kai o Laodamas itan gioi tou basilia Alkinoou, pou pairnoun meros sta agonismata (pygmaxia, pali, alma, dromos) anamesa se allous axious neous. O Laodamas malista erxetai protos stin pygmaxia kai epeita o idios parakinei ton Odyssea na parabgei se kapoio agonisma giati de fainetai na einai apeiros sta athlimata. Kai edo ginetai to mpleximo me aformi to opoio xepida kai i xoreytiki epideixi ton Faiakon, ...
Fainetai oti ta plousia geymata, I kithara kai oi xoroi paizoun xexoristo rolo sti zoi ton Faiakon. Kai kayxiountai gi'ayto. Stin agora me ta petrina skalopatia exei sygkentrothei kosmos polus, anamesa tous antres pou xexorizoun, oi gynaikes den anaferontai para mono piso sto palati...
http://projectsx.dartmouth.edu/classics/history/bronze_age/lessons/les/12.html#11
Minoan Architecture: The Palaces
Theatral Area
Although the function of such shallowly stepped areas is uncertain, they are usually considered to be accommodations for a standing, or less probably a seated, audience. Possible social contexts for the assembling of such audiences include attending political gatherings, witnessing religious ceremonies [sacred dances? bull-jumping, assuming this had a religious function?], or simply being entertained [again by dancing and/or bull-jumping, if these were in fact secular activities, and possibly by boxing and wrestling as well]. At Knossos, the theatral area is located at the northwest corner of the palace. The steps of it which run east-west and lead down to the north were constructed in MM I. The steps running north-south to the east of this first series, as well as the so-called "Royal Box" built in the angle between the two series, were added in MM IIIA at the beginning of the Neopalatial period. At Phaistos, the theatral area lies at the north end of the middle west court and constitutes the division between the middle and uppermost levels of the west court at this site. The original theatral area here was largely buried during the period of the later palace when the west facade of the palace building was shifted eastward and the original west court was buried under several feet of debris capped by a plastered pavement. Probably to compensate for this reduction in the space devoted to the theatral area, a new, eastern extension of it was added, oriented perpendicularly to the Protopalatial steps and doubling in function as an entryway into the Neopalatial palace. The theatral areas at Phaistos and Knossos are thus both converted into L-shaped constructions, similar in their plans to the contemporary but much smaller theatral area at the north end of Gournia's "public court" (see handout on LM non-palatial architecture). At Mallia, no unmistakable theatral area survives, but sets of three or four broad steps with low risers are probably to be restored around three or all four sides of the so-called " Agora" to the northwest of the palace proper, on top of the broad rubble foundations that ring this space. There is no obvious theatral area at Zakro.
Minoan Domestic and Funerary Architecture (13.html)
Minoan Architecture The Palaces (12.html)
Post-Palatial Twilight (29.html)
http://projectsx.dartmouth.edu/classics/history/bronze_age/cgi-bin/search_index.cgi
Lesson 15 Bibliography:
Minoan Religion
[Updated March 2004
S. H. Lonsdale, "A Dancing Floor for Ariadne (Iliad 18.590-592): Aspects of Ritual Movement in Homer and Minoan Religion," in J. B. Carter and S. P. Morris (eds.), The Ages of Homer: A Tribute to Emily Townsend Vermeule (Austin 1995) 273-284.
Gerardus van der Leeuw (1890-1950)Sacred and Profane Beauty: The Holy In Art
By Gerardus van der Leeuw
357 pp. New York, Holt, Reinhart & Winston, 1963. $6.50.
More often than not, the promotional statement on the jacket tends to exaggerate the value and quality of the book. In the case of the present book, however, readers can forget their skepticism and read the jacket with profit. We are told that the present volume, first published in 1932, was revised shortly before the author's death in 1950, and was prepared for publication by his colleague, Dr. E. L. Smelik, who deserves our thanks. While this reviewer cannot read Dutch, the translation
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seems to be very clear and good. Readers are strongly advised to read the helpful "Preface" by Professor Mircea Eliade who knew van der Leeuw both as a person and as a scholar.
The author, late Professor of the History of Religions at the University of Groningen, Holland, was also a theologian and a philosopher. And besides, as Eliade reminds us, van der Leeuw was "a poet, a musician, a man of the Church, and after the liberation of Holland for some time served his country as Minister of Education." However, in spite of his competence in many areas of learning, van der Leeuw was first and foremost a "phenomenologist," preoccupied with the systematic discussion of "what appears." In his own words:
Where history asks, "How did it happen?," phenomenology asks, "How do I understand it?"; where philosophy examines truth and reality, phenomenology contents itself with the date without examining them further with respect to their content of truth or reality. We do not intend to pursue causal relationships, but rather to search for comprehensive associations. Further, we do not intend to investigate the truth behind the appearance, but we shall try to understand the phenomena themselves in their simple existence (pp. 5-6).
Thus, the present volume may be characterized as a phenomenological study of the relationship between art and religion, or between beauty and holiness. The forms of art discussed here are the dance (which incidentally is the "original art," according to van der Leeuw), drama, rhetoric, the fine arts, architecture, and music. As in his other writings, the author in this book uses the two categories of "primitive" and "modern" not as designations of intellectual levels but as descriptions of two kinds of structures. His thesis is that there was a period when art and religion were almost equated. In the primitive world, "song was prayer; drama was divine performance; dance was cult." In other words, the primitive man saw life as concentric circles, and not as a series of separated planes, as the modern man sees it.
In the course of time, according to van der Leeuw, the unity of various dimensions of life was lost, whereby "science, art, religion, each has been specialized by its own circle for its own circle." The modern man is not capable of finding himself in several circles simultaneously as his primitive cousins did. "When we dance, we do not pray; when we pray, we do not dance. And when we work, we can neither dance nor pray." Inevitably, each art form freed itself from its "primitive" or "religious" state and established its own independence, too. This resulted in the impoverishment of both art and religion. For example, modern theology has forgotten the Biblical insight that God is movement. "It is the curse of theology always to forget that God is love, that is movement. The dance reminds us of it" (p. 74).
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Van der Leeuw, however, goes far beyond phenomenological descriptions in his book. He depicts the theological significance of each art, depending heavily on his "sacramental" principle. Then, in the last section of the book, the author attempts to construct a "Theological Aesthetics." He sincerely hopes that there are some Christians who have learned, "through the manifestation of their Lord, to love the whole manifest world. And he hopes that there are servants of beauty who are conscious of a holiness which is more than beauty. "Perhaps," he says, "there are men on both sides who have not bent their knees before Baal, the Baal of a self-made Christianity or a self-made art, but who can kneel before God, always and everywhere" (p. xii). This book deserves to be read again and again.
Joseph M. Kitagawa
The University of Chicago
Chicago, Illinois
