This study addresses the question of the presence of dochmii in choral lyric poetry, a topic that has been the subject of considerable discussion in the second half of the last century. The ancient colometric paradosis provides substantial confirmation of the use of dochmii in the lyric-choral songs of the classical age, with a notable prevalence in the latter quarter of the fifth century BCE. The period coincides with the rise of Aeschylus at the court of Hieron and the mutual relations between numerous musicians at the prestigious Sicilian seat. The striking increase in the use of dochmius in lyric-choral authors (and in Pindar, in particular) could be explained in the light of emulation of tragic art in the dynamic context of the Syracusan court.
Pindar and Tragedy: A Fresh Look at Dochmiac in Choral Lyric
Liana Lomiento
2025
Abstract
This study addresses the question of the presence of dochmii in choral lyric poetry, a topic that has been the subject of considerable discussion in the second half of the last century. The ancient colometric paradosis provides substantial confirmation of the use of dochmii in the lyric-choral songs of the classical age, with a notable prevalence in the latter quarter of the fifth century BCE. The period coincides with the rise of Aeschylus at the court of Hieron and the mutual relations between numerous musicians at the prestigious Sicilian seat. The striking increase in the use of dochmius in lyric-choral authors (and in Pindar, in particular) could be explained in the light of emulation of tragic art in the dynamic context of the Syracusan court.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
