By L. A. Swift
The Hidden refrain investigates the connection among the refrain of Greek tragedy and different varieties of choral track in Greek society. Choruses played on quite a number events in Greek tradition, starting from inner most weddings and funerals to large-scale non secular fairs, but the connection among those daily or 'ritual' choruses and the choruses of tragedy hasn't ever been systematically tested. L. A. fast discusses choruses from 5 ritual genres:
paian (religious songs of occasion or healing), epinikion (songs for athletic victors), partheneia (songs for the transitions of younger girls), hymenaios (wedding song), and thrênos (funerary song), and explores how those choral types spring to mind in tragedy. by way of interpreting the connection among tragic and
non-tragic choral music, she not just presents new insights into person performs, but additionally enriches our knowing of the function poetry and tune performed in Greek existence.
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Additional resources for The Hidden Chorus: Echoes of Genre in Tragic Lyric (Oxford Classical Monographs)
7. 5 Cf. g. Pickard-Cambridge (1962); Wilson (2000). See Herington (1985) 84–97 on Athenian choral festivals. 6 The population of Athens is a subject of much debate, though modern scholars tend to put the population of adult male citizens in the range of 20,000–30,000, so one could estimate roughly that between 5 and 10% of the citizen population could be involved in the choral performances at the Dionysia, Lenaia, and Thargelia. For a recent discussion of the issues involved in population estimates, see Hansen (2006) ch.
However, where we ﬁnd a clustering of motifs, all of which have a claim to be connected with the genre, the sum of the evidence can outweigh its parts. Individual readers may disagree on a case-by-case basis with some of what I select as evidence in my close reading of individual odes. However, if the overall body of material is strong enough, whether an individual element is rejected or accepted should not affect the case that a generic allusion is being made. Conclusion The conceptual problems surrounding lyric genres are signiﬁcant ones, and there is no way to overcome the essential issue that too little lyric poetry survives for us to reach ﬁrm conclusions about generic categorization.
The word KðØíßŒØïí may be slippery, but the category we use it to describe is not. We must be cautious, then, about attributing too much signiﬁcance to the casual way in which the Greeks themselves use language. Confusion in the way genre-terms are used in ancient texts does not necessarily equate with actual confusion over the core meaning of the genre. However, the difﬁculties with genre-words are not always reducible to carelessness with terminology. Sometimes we ﬁnd words used apparently to indicate genres, but where on analysis it is not possible to deﬁne a single and intelligible genre from what they describe.