At line 270 of Aristophanes’ Wasps, Philokleon is said to be φιλῳδός, for being obsessed with songs, as well as being maniac for tribunals. Soon identified as a fan of Phrynichus, depending on the circumstance Philokleon sings by using rhythms, style or themes belonging to tragedy, or by modulating his words on the metrics of high or popular tradition, symposium or hymns, and by showing his competence and readiness in some specific symposiastic songs. He also proves to be skilled in metrical variations and structures. Music and singing are characteristic features of Philokleon throughout the play: even after his habits are ‘transformed’, when he is drunk he sings in line with traditional repertoire of the κῶμος, and he is so self-assured in music to use also popular anecdotes about lyric poets and to challenge some young rivals to dance against him. This paper aims to analyse the lyric metres used by Philokleon, by tracking forms and models, which clearly flows his musical experiences and competence, and to show, at the same time, Aristophanes’ accuracy in the ‘musical construction’ of such character.
La competenza musicale di un φιλῳδός: i metri lirici di Filocleone
DI VIRGILIO
2020
Abstract
At line 270 of Aristophanes’ Wasps, Philokleon is said to be φιλῳδός, for being obsessed with songs, as well as being maniac for tribunals. Soon identified as a fan of Phrynichus, depending on the circumstance Philokleon sings by using rhythms, style or themes belonging to tragedy, or by modulating his words on the metrics of high or popular tradition, symposium or hymns, and by showing his competence and readiness in some specific symposiastic songs. He also proves to be skilled in metrical variations and structures. Music and singing are characteristic features of Philokleon throughout the play: even after his habits are ‘transformed’, when he is drunk he sings in line with traditional repertoire of the κῶμος, and he is so self-assured in music to use also popular anecdotes about lyric poets and to challenge some young rivals to dance against him. This paper aims to analyse the lyric metres used by Philokleon, by tracking forms and models, which clearly flows his musical experiences and competence, and to show, at the same time, Aristophanes’ accuracy in the ‘musical construction’ of such character.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
