[Author]<\/strong> Menander (342-291 BC)<\/p>\n[Work]<\/strong> Kitharist\u0113s<\/em>, fr. 1 Dardano (= fr. 5 K-S)<\/p>\n[Place of work]<\/strong> Athens<\/p>\n[Source]<\/strong> Ath. 12, 510d-511a.<\/p>\n[Typology] <\/strong>Comedy<\/p>\n[Period]<\/strong> 350\u2013300 BC<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div>
[Text]<\/strong><\/p><\/div>\u03ba\u03b1\u1f76 \u039c\u03ad\u03bd\u03b1\u03bd\u03b4\u03c1\u03bf\u03c2 \u03b4\u2019 \u1f10\u03bd \u039a\u03b9\u03b8\u03b1\u03c1\u03b9\u03c3\u03c4\u1fc7 \u03c0\u03b5\u03c1\u03af \u03c4\u03b9\u03bd\u03bf\u03c2 \u03bc\u03bf\u03c5\u03c3\u03b9\u03ba\u03b5\u03c5\u03bf\u03bc\u03ad\u03bd\u03bf\u03c5 \u03bb\u03ad\u03b3\u03c9\u03bd \u03c6\u03b7\u03c3\u03af \u03c6\u03b9\u03bb\u03cc\u03bc\u03bf\u03c5\u03c3\u03bf\u03bd \u03b5\u1f36\u03bd\u03b1\u03b9 \u03b1\u1f50\u03c4\u1f78\u03bd<\/p>\n
[\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 ]\u00a0 \u03c0\u03ac\u03bd\u03c5<\/p>\n
\u1f00\u03ba\u03bf\u03cd\u03c3\u03bc\u03b1\u03c4\u2019 \u03b5\u1f30\u03c2 \u03c4\u03c1\u03c5\u03c6\u03ae\u03bd \u03c4\u03b5 \u03c0\u03b1\u03b9\u03b4\u03b5\u03cd\u03b5\u03c3\u03b8\u2019 \u1f00\u03b5\u03af.<\/p>\n<\/div><\/div><\/div><\/div><\/div>
[Metrics]<\/strong><\/p><\/div>Iambic trimeter<\/p>\n<\/div>
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[Critical apparatus]<\/strong><\/p><\/div>1 <\/strong>\u03b5\u1f36\u03bd\u03b1\u03b9 codd. : \u03b5\u1f36\u03bd\u2019 Schweigh\u00e4user de trimetro <U-U-> \u03c6\u03b9\u03bb\u03cc\u03bc\u03bf\u03c5\u03c3\u03bf\u03bd \u03b5\u1f36\u03bd\u2019 \u03b1\u1f50\u03c4\u1f78\u03bd \u03c0\u03ac\u03bd\u03c5 cogitans, probb. Kaibel, Richards, Olson | post \u03b5\u1f36\u03bd\u03b1\u03b9 <\u03ba\u1f00\u03b3\u03b1\u03c0\u1fb6\u03bd> e.g. Sandbach, <\u03b8\u03b1\u03c5\u03bc\u03ac\u03c3\u03b1\u03bd\u03c4\u2019> Austin, ad trimetrum efficiendum | \u03c0\u03ac\u03bd\u03c5 \u0391\u0392\u039c : \u1f10\u03ba \u03c0\u03ac\u03bd\u03c5 P || 2 <\/strong>\u1f00\u03ba\u03bf\u03cd\u03c3\u03bc\u03b1\u03c4\u2019 AB : \u1f00\u03ba\u03bf\u03cd\u03c3\u03bc\u03b1\u03c4\u03b1 MP, \u1f20\u03ba\u03bf\u03cd\u03c3\u03b1\u03c4\u2019 Kaibel, \u1f00\u03ba\u03bf\u03cd\u03bf\u03bc\u03b5\u03bd Wilamowitz ap. eundem, \u03c4\u1f00\u03ba\u03bf\u03cd\u03c3\u03bc\u03b1\u03c4\u2019 (vel fort. \u03c4\u1f00\u03ba\u03bf\u03cd\u03c3\u03bc\u03b1\u03c4\u03b1 v. 1 ad complendum) Richards (cf. Richards 1909) | \u1f00\u03b5\u03af BMP : \u03b1\u1f30\u03b5\u03af A.<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div>
[Translation]<\/strong><\/p><\/div>And Menander in the Kithara-player<\/em>, speaking of one does music, says that he is a lover of the Muses<\/p>\n\u2026 entirely
\nthe musical performances, and he is trained to softness always.<\/p>\n<\/div>
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[Comment]<\/strong><\/p><\/div>The reconstruction of the menandrean text behind this passage of the Deipnosophists<\/em> is especially challenging. First of all, unlike other citations included in Athenaeus\u2019 work, this one citation is not independent of Athenaeus\u2019 text when it comes to its syntax. Therefore Meineke and Kock believed this to be a paraphrasis rather than a citation from Menander; according to them, the original text might have been \u03c6\u03b9\u03bb\u03cc\u03bc\u03bf\u03c5\u03c3\u03cc\u03c2 \u1f10\u03c3\u03c4\u03b9 \u03b3\u1f70\u03c1 \u03c0\u03ac\u03bd\u03c5 \/ \u1f00\u03ba\u03bf\u03cd\u03c3\u03bc\u03b1\u03c4\u2019 \u03b5\u1f30\u03c2 \u03c4\u03c1\u03c5\u03c6\u1f74\u03bd \u03c4\u2019 \u1f00\u03b5\u1f76 \u03c0\u03b1\u03b9\u03b4\u03b5\u03cd\u03b5\u03c4\u03b1\u03b9 (FCG<\/em> IV) or maybe \u03c6\u03b9\u03bb\u03cc\u03bc\u03bf\u03c5\u03c3\u03cc\u03c2 \u1f10\u03c3\u03c4\u03b9 \u03b3\u1f70\u03c1 \u03c0\u03ac\u03bd\u03c5 \/ \u03c0\u03b1\u03b9\u03b4\u03b5\u03cd\u03b5\u03c4\u03b1\u03b9 \u03c4\u2019 \u1f00\u03ba\u03bf\u03cd\u03c3\u03bc\u03b1\u03c4\u02bc \u03b5\u1f30\u03c2 \u03c4\u03c1\u03c5\u03c6\u03ae\u03bd \u1f00\u03b5\u03af (CAF<\/em> II).
\nAs more recent editors noticed, though, Athenaeus\u2019 manuscripts have a perfectly good iambic trimeter in the section \u1f00\u03ba\u03bf\u03cd\u03c3\u03bc\u03b1\u03c4\u2019-\u1f00\u03b5\u03af: is it possible, then, that the infinitive form was already found in Menander\u2019s text (where the infinite might have depended on a verb which Athenaeus replaced with \u03c6\u03b7\u03c3\u03af). The same thing cannot be said about the text before \u1f00\u03ba\u03bf\u03cd\u03c3\u03bc\u03b1\u03c4\u03b1, which cannot be a trimeter, as it is found in the manuscripts: not only it is too short, but the syllables\u2019 sequence is ametrical. Moreover, \u03b5\u1f36\u03bd\u03b1\u03b9 seems to produce an iatus before \u03b1\u1f50\u03c4\u03cc\u03bd, which is an issue, since there are no parallels in Menander allowing us to assume correptio<\/em>, nor the elision of \u03b5\u1f36\u03bd\u03b1\u03b9. In light of all this, we might wonder if the text found in Athenaeus\u2019 manuscripts between \u03c6\u03b7\u03c3\u03af and \u1f00\u03ba\u03bf\u03cd\u03c3\u03bc\u03b1\u03c4\u03b1 was actually meant to be a citation, as the subsequent section, or not. If this is the case, the text is corrupted, even if it preserves some elements of the original, such as \u03c6\u03b9\u03bb\u03cc\u03bc\u03bf\u03c5\u03c3\u03bf\u03bd and maybe \u03c0\u03ac\u03bd\u03c5 (it looks likely that the latter closed the verse preceding \u1f00\u03ba\u03bf\u03cd\u03c3\u03bc\u03b1\u03c4\u2019-\u1f00\u03b5\u03af: Menander uses it often as the last word of a trimeter). Since Athenaeus was mainly interested in the relation between music and \u03c4\u03c1\u03c5\u03c6\u03ae, which is the topic of the complete trimeter that we have, though, it cannot be ruled out that he meant to cite just that verse, while choosing to summarize and rephrase the preceding verse (or even verses).
\nAnother issue concerns the particle \u03c4\u03b5. Though it appears as the fourth element of the trimeter, it is generally understood to link the text preceding \u1f00\u03ba\u03bf\u03cd\u03c3\u03bc\u03b1\u03c4\u03b1 with the trimeter itself. This implies that \u1f00\u03ba\u03bf\u03cd\u03c3\u03bc\u03b1\u03c4\u03b1 would be linked to the syntax of the subsequent sentence, as the direct object of \u03c0\u03b1\u03b9\u03b4\u03b5\u03cd\u03b5\u03c3\u03b8\u03b1\u03b9 (which would be transitive) or as accusativus relationis<\/em> dependent on the same verb (which would be, in this case, reflexive); furthermore, the particle \u03c4\u03b5 would be postponed, appearing as the fourth element of the sentence, rather than the second as usual. This is very uncommon and cannot be properly explained based on Denniston 1954, 515ss. Scholars tried to fix this issue supplementing a different verb to support \u1f00\u03ba\u03bf\u03cd\u03c3\u03bc\u03b1\u03c4\u03b1, or moving the particle. On the other hand, if the text after \u03c6\u03b7\u03c3\u03af has in fact come to us as Athenaeus meant it, it is easier to understand \u1f00\u03ba\u03bf\u03cd\u03c3\u03bc\u03b1\u03c4\u03b1 in relation to what precedes it, rather than what follows: thereby, it should be understood as accusativus relationis<\/em>, at least<\/em> in Athenaeus\u2019 text. His standing in Menander\u2019s original, though, remains unclear.
\nIt is natural to think that the \u03c6\u03b9\u03bb\u03cc\u03bc\u03bf\u03c5\u03c3\u03bf\u03bd described by the persona loquens<\/em> is the kithara<\/em>-player Phanias, the protagonist of Menander\u2019s Kitharist\u0113s<\/em>. The fragment might belong to from the early part of the play: an indirect introduction of this kind, in which the rumors circulating around about Phanias are reported, may be well suited to pave the way for the first appearance of the kythara<\/em>-player on the scene.
\nThe interpretation of the word \u1f00\u03ba\u03bf\u03cd\u03c3\u03bc\u03b1\u03c4\u03b1 is unclear: in the only other two menandrean instances the term (always in the singular) means \u2018sound, voice, news\u2019, (Mis<\/em>. 568, e in fr. 825 \u039a-A); considering the context, though, it looks inevitable to make a connection with music and musicians. According to some scholars \u1f00\u03ba\u03bf\u03cd\u03c3\u03bc\u03b1\u03c4\u03b1 might refer to the Phanias\u2019 students, according to others it might hint to his music, each interpretation implying a different value of \u03c0\u03b1\u03b9\u03b4\u03b5\u03cd\u03b5\u03c3\u03b8\u03b1\u03b9 (\u2018to train someone\u2019 or \u2018to practice\u2019). Martina translates \u00ab(si dice) che sia amante della musica e istruisca musicisti per il diletto\u00bb (Martina III, p. 467); Coppola, on the other hand, suggests \u00ab(si dice) che sia amante della musica e sempre si eserciti nella musica sensuale\u00bb (Coppola 1938, p. 28).
\nBoth interpretations could be consistent with what we know about Phanias, who was probably both a professional kithara<\/em>-player and a teacher (see fr. 7, 2 Dardano, where he is called \u03b4\u03b9\u03b4\u03ac\u03c3\u03ba\u03b1\u03bb\u03bf\u03c2). The LSJ <\/em>dictionary takes \u1f00\u03ba\u03bf\u03cd\u03c3\u03bc\u03b1\u03c4\u03b1 as accusativus rei<\/em> with the passive verb (\u00abto be taught a thing\u00bb): the same does Sandbach 1973 (\u00abbut the middle \u2018caused to be trained\u2019 not absolutely excluded\u00bb). Martina\u2019s interpretation, endorsed by Blanchard, is based on a remark made by K\u00f6rte-Thierfelder 1959, p. 284: \u00ab…dominus scilicet nescioquis \u03c6\u03b9\u03bb\u03cc\u03bc\u03bf\u03c5\u03c3\u03bf\u03c2 narratur sibi deliciarum causa erudiendos curare fidicines, psaltrias etc., quod genus hominum vel \u1f00\u03ba\u03c1\u03bf\u03ac\u03bc\u03b1\u03c4\u03b1 vel \u1f00\u03ba\u03bf\u03cd\u03c3\u03bc\u03b1\u03c4\u03b1 vocari satis constat\u00bb. In this view, \u1f00\u03ba\u03bf\u03cd\u03c3\u03bc\u03b1\u03c4\u03b1 are Phanias\u2019 students. The shift from abstact to concrete in the plural is actually attested for \u1f00\u03ba\u03c1\u03cc\u03b1\u03bc\u03b1, -\u03b1\u03c4\u03bf\u03c2, usually meaning \u00abanything heard, esp. with pleasure, piece read, recited, played or sung\u00bb, but in the plural also \u00ablecturers, singers, or players, esp. during meals\u00bb (LSJ<\/em>); it is also true that, according to some lexicographical sources, \u1f00\u03ba\u03bf\u03cd\u03c3\u03bc\u03b1\u03c4\u03b1 was used as a synonym for \u1f00\u03ba\u03c1\u03bf\u03ac\u03bc\u03b1\u03c4\u03b1 (see Thom.Mag. \u03b1 6, 16, Sud. \u03b1 994, 3, Et.Sym<\/em>. 194, 21). Hence (probably) the idea of K\u00f6rte-Thierfelder that \u1f00\u03ba\u03bf\u03cd\u03c3\u03bc\u03b1\u03c4\u03b1, like \u1f00\u03ba\u03c1\u03bf\u03ac\u03bc\u03b1\u03c4\u03b1, might be used to refer to \u00abfidicines, psaltrias\u00bb and musicians in general. This meaning, nonetheless, does not seem to be attested in the texts, where \u1f00\u03ba\u03bf\u03cd\u03c3\u03bc\u03b1\u03c4\u03b1 is consistently associated to abstract terms (vd. e.g.<\/em> Arist. EN <\/em>1174b, X. De re eq. <\/em>IX 4, 3, Plu. Per. <\/em>1, 2, Mor<\/em>. 457c, 519f); furthermore, nothing prevents us from thinking that \u1f00\u03ba\u03bf\u03cd\u03c3\u03bc\u03b1\u03c4\u03b1 and \u1f00\u03ba\u03c1\u03bf\u03ac\u03bc\u03b1\u03c4\u03b1 were used synonyms because of the shared abstract sense of the plural (for the abstract meaning of \u1f00\u03ba\u03c1\u03bf\u03ac\u03bc\u03b1\u03c4\u03b1 see e.g.<\/em> Arist. EN<\/em> 1173b e X. Smp<\/em>. II 3). In conclusion, there is not enough evidence to suggest that \u1f00\u03ba\u03bf\u03cd\u03c3\u03bc\u03b1\u03c4\u03b1 might refer to Phanias\u2019students: it is probably safer and more likely to think that it referred to the music of the musical performances.
\nDespite some doubts concerning the syntax (see above), the trimeter \u1f00\u03ba\u03bf\u03cd\u03c3\u03bc\u03b1\u03c4\u2019-\u1f00\u03b5\u03af is likely to hold a polemical nuance: \u03b5\u1f30\u03c2 \u03c4\u03c1\u03c5\u03c6\u03ae\u03bd \u03c0\u03b1\u03b9\u03b4\u03b5\u03cd\u03b5\u03c3\u03b8\u03b1\u03b9 appears to overturn, with some kind of aprosdoketon<\/em>, expressions such as \u03c0\u03b1\u03b9\u03b4\u03b5\u03cd\u03b5\u03c3\u03b8\u03b1\u03b9 \u03b5\u1f30\u03c2 \u03c4\u03ad\u03c7\u03bd\u03b7\u03bd \u03c4\u03b9\u03bd\u03ac (X. Mem. 2, 1, 17) and \u03c0\u03b1\u03b9\u03b4\u03b5\u03cd\u03b5\u03b9\u03bd \u03c4\u03b9\u03bd\u1f70 \u03b5\u1f30\u03c2 \u1f00\u03c1\u03b5\u03c4\u03ae\u03bd (Pl. Grg. 519e, but see also similar expressions with the verb \u03c0\u03b1\u03b9\u03b4\u03b5\u03cd\u03c9 and \u03c0\u03c1\u1f78\u03c2 \u1f00\u03c1\u03b5\u03c4\u03ae\u03bd, as Pl. R. 492e, or \u1f10\u03c0\u02bc\u1f00\u03c1\u03b5\u03c4\u03ae\u03bd, as X. Cyn. 13, 3). Which aspect of Phanias\u2019 musical training calls out the mention of \u03c4\u03c1\u03c5\u03c6\u03ae is unclear. From Plu. Dem. 4, 6, 4 we learn that the compositions of the aulos<\/em>-player Batalos were considered to be \u03c4\u03c1\u03c5\u03c6\u03b5\u03c1\u1f70 \u03ba\u03b1\u1f76 \u03c0\u03b1\u03c1\u03bf\u03af\u03bd\u03b9\u03b1: in this case, however, the adjective is likely to conceal a reference to the musician’s alleged homosexuality (cf. Harp. 72, 3 s.v. \u0392\u03ac\u03c4\u03b1\u03bb\u03bf\u03c2; Lib. Arg.D. 1, 5; Luc. Ind. 23; see Recchia 2022). There is no reason to believe that such suspicions could have concerned Phanias as well. It seems, on the other hand, that the wealthy and sophisticated kithara<\/em>-player was disliked by some of the characters, who considered him pretentius and vain (cf. fr. 9, fr.dub. 14 and fr. 7, 1-4 Dardano): this fact might explain the mention of \u03c4\u03c1\u03c5\u03c6\u03ae. Moreover, one might suspect that the judgment of the persona loquens<\/em> concerned not only Phanias himself, but also the music he performed (and probably also composed), in the style of the well-known Aristophanic polemic against the degenerations of the ‘new music’ and the new dithyramb (cf. Dobrov-Urios-Aparisi 1995): the other surviving fragments of the play, however, offer no clue in this regard.<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div>
[Reference edition]<\/strong><\/p><\/div>R. KASSEL – S. SCHR\u00d6DER, Poetae comici graeci<\/em>, VI.1: Menander. Dyskolos et fabulae quarum fragmenta in papyris membranisque servata sunt<\/em>, Berolini\u00a0 2022; V. DARDANO, Menandro. Il Citarista. Edizione critica, traduzione e commento<\/em>, in press.<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div>
[Essential Bibliography]<\/strong><\/p><\/div>C. AUSTIN,\u00a0Menander: Eleven Plays<\/em>, Cambridge 2013; W. G. ARNOTT,\u00a0Menander<\/em>, II, Cambridge, MA 1996; A. BLANCHARD,\u00a0M\u00e9nandre<\/em>, III:\u00a0Le Laboureur; La Double Tromperie; Le Poignard; L\u2019Eunuque; L\u2019Inspir\u00e9e; Thrasyl\u00e9on; Le Carthaginois;\u00a0<\/em>Le Cithariste<\/em>;\u00a0Le Flatteur<\/em>;\u00a0Les Femmes qui boivent la cigu\u00eb; La Leucadienne; Le Ha\u00ef; La P\u00e9rinthienne<\/em>, Paris 2016; G.W. DOBROV \u2013 E. URIOS-APARISI,\u00a0The Maculate Music:\u00a0<\/em>Pherecrates and Comedy\u2019s Evolving Response to the Dithyramb<\/em>, in G.W. DOBROV (ed.),\u00a0Beyond Aristophanes.\u00a0<\/em>Transition and Diversity in Greek Comedy<\/em>, Atlanta 1995, 164-174; A. W. GOMME \u2013 F. H. SANDBACH,\u00a0Menander. A Commentary<\/em>, Oxford 1973; A. MARTINA,\u00a0Menandrea<\/em>.\u00a0Elementi e strutture della commedia di Menandro<\/em>, III, Pisa-Roma 2016; M. RECCHIA,\u00a0Beffeggiare il musicista: auleti e citarodi di V-IV secolo nella commedia attica<\/em>, in A. GOSTOLI \u2013 B. ZIMMERMANN (edd.),\u00a0Nuove volute di versi: poesia e musica nella commedia greca di V e IV secolo a. C.<\/em>, G\u00f6ttingen 2022, 173-198.<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div>
[Keywords]<\/strong><\/p><\/div>Menander, Kitharist\u0113s, <\/em>comedy, Nea, <\/em>Athenaeus of Naucratis, softness<\/p>\n<\/div><\/div><\/div><\/div><\/div>
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[Valentina Dardano]<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[161],"tags":[],"class_list":["post-1949","post","type-post","status-publish","format-standard","hentry","category-theater"],"yoast_head":"\n
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