{"id":2386,"date":"2024-11-26T22:05:08","date_gmt":"2024-11-26T21:05:08","guid":{"rendered":"https:\/\/www.secolidimezzo.com\/non-categorizzato\/ion-chius\/"},"modified":"2025-03-23T14:33:06","modified_gmt":"2025-03-23T13:33:06","slug":"ion-chius","status":"publish","type":"post","link":"https:\/\/www.secolidimezzo.com\/en\/epic-elegy-lyric\/ion-chius\/","title":{"rendered":"Ion Chius fr. 5"},"content":{"rendered":"

<\/i>Download Pdf<\/span><\/a><\/div>

[Author]<\/strong> Ion Chius (480-422 BC ca.)<\/p>\n

[Work]<\/strong> Ion, fr. 5 Gent.-Pr. = 32 West2 <\/sup>= 93 Leurini = 4 Valerio<\/p>\n

[Place of work]<\/strong> Athens<\/p>\n

[Source]<\/strong> Cleonid. Isag. Harm. <\/em>12 (p. 202 Jan) = Man. Bryenn. Harm<\/em>. 1, 8 (p. 116 Jonker): \u1f10\u03c0\u1f76 \u03bc\u1f72\u03bd \u03bf\u1f56\u03bd \u03c4\u03bf\u1fe6 \u03c6\u03b8\u03cc\u03b3\u03b3\u03bf\u03c5 \u03c7\u03c1\u1ff6\u03bd\u03c4\u03b1\u03b9 \u03c4\u1ff7 \u1f40\u03bd\u03cc\u03bc\u03b1\u03c4\u03b9 (scil<\/em>. \u03c4\u03cc\u03bd\u1ff3) \u03bf\u1f31 \u03bb\u03ad\u03b3\u03bf\u03bd\u03c4\u03b5\u03c2 \u1f11\u03c0\u03c4\u03ac\u03c4\u03bf\u03bd\u03bf\u03bd \u03c4\u1f74\u03bd \u03c6\u03cc\u03c1\u03bc\u03b9\u03b3\u03b3\u03b1, \u03ba\u03b1\u03b8\u03ac\u03c0\u03b5\u03c1 \u03a4\u03ad\u03c1\u03c0\u03b1\u03bd\u03b4\u03c1\u03bf\u03c2 \u03ba\u03b1\u1f76 \u1f3c\u03c9\u03bd. \u1f41 \u03bc\u1f72\u03bd \u03b3\u03ac\u03c1 \u03c6\u03b7\u03c3\u03b9\u03bd\u00b7 \u2026 [Terp. fr. 4 Gostoli]. \u1f41 \u03b4\u03ad\u00b7<\/p>\n

[Typology]<\/strong> Elegy<\/p>\n

[Period]<\/strong>\u00a0450\u2013400 BC<\/p>\n<\/div>

<\/div><\/div><\/div><\/div><\/div><\/div>

[Text]<\/strong><\/p><\/div>

\u1f19\u03bd\u03b4\u03b5\u03ba\u1f71\u03c7\u03bf\u03c1\u03b4\u03b5 \u03bb\u1f7b\u03c1\u03b1, \u03b4\u03b5\u03ba\u03b1\u03b2\u1f71\u03bc\u03bf\u03bd\u03b1 \u03c4\u1f71\u03be\u03b9\u03bd \u1f14\u03c7\u03bf\u03b9\u03c3\u03b1<\/p>\n

\u03b5\u1f30\u03c2 \u03c3\u03c5\u03bc\u03c6\u03c9\u03bd\u03bf\u1f7b\u03c3\u03b1\u03c2 \u1f01\u03c1\u03bc\u03bf\u03bd\u1f77\u03b1\u03c2 \u03c4\u03c1\u03b9\u1f79\u03b4\u03bf\u03c5\u03c2,<\/p>\n

\u03c0\u03c1\u1f76\u03bd \u03bc\u1f73\u03bd \u03c3\u2019 \u1f11\u03c0\u03c4\u1f71\u03c4\u03bf\u03bd\u03bf\u03bd \u03c8\u1f71\u03bb\u03bb\u03bf\u03bd \u03b4\u03b9\u1f70 \u03c4\u1f73\u03c3\u03c3\u03b1\u03c1\u03b1 \u03c0\u1f71\u03bd\u03c4\u03b5\u03c2<\/p>\n

\u1fde\u0395\u03bb\u03bb\u03b7\u03bd\u03b5\u03c2 \u03c3\u03c0\u03b1\u03bd\u1f77\u03b1\u03bd \u03bc\u03bf\u1fe6\u03c3\u03b1\u03bd \u1f00\u03b5\u03b9\u03c1\u1f71\u03bc\u03b5\u03bd\u03bf\u03b9<\/p>\n<\/div><\/div><\/div><\/div><\/div>

[Metrics]<\/strong><\/p><\/div>

Elegiac couplets<\/p>\n<\/div>

<\/div><\/div><\/div><\/div><\/div><\/div>

[Translation]<\/strong><\/p><\/div>

Cleonides, Introduction to Harmonic Science<\/em>: therefore those who define the seven-tone phorminx<\/em> use the term tonos<\/em> instead of phtongos<\/em> (\u00absound\u00bb), just like Terpander and Ion. For the one says: … [Terp. fr. 4 Gostoli], the other instead:<\/p>\n

Eleven-string lyre, which has an arrangement in ten steps<\/p>\n

for the three consonant ways of harmony,<\/p>\n

once all Greeks played you by seven tones<\/p>\n

for consonant intervals of fourths, raising modest music.<\/p>\n<\/div>

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[Comment]<\/strong><\/p><\/div>

In the past, it has gone so far as to revoke the authorship of this elegy to Ion of Chios (WILAMOWITZ 1903, 75 n. 1), to lower its chronology, and to make it contemporary with the activity of Timotheus of Miletus. Immediate appears the comparison of the hapax<\/em> \u1f11\u03bd\u03b4\u03b5\u03ba\u03ac\u03c7\u03bf\u03c1\u03b4\u03bf\u03c2 (l. 1) with the related \u1f11\u03bd\u03b4\u03b5\u03ba\u03b1\u03ba\u03c1\u03bf\u03cd\u03bc\u03b1\u03c4\u03bf\u03c2 (\u00abof eleven sounds\u00bb), attested only in Timoth. fr. 719, 230 PMG,<\/em> again about the sound of a stringed instrument Timotheus considers himself the inventor<\/em>. Although a passage from Aristophanes\u2019 Peace<\/em> (ll. 835-7) and the related Schol. vet. <\/em>Ar. Pac<\/em>. 835-7a; 837b attest that Ion was already dead at the time of the performance of this play (421 BC), he is to be fully included in the panorama of those poets who were promoters of the poetic-musical innovations that affected the period at the turn of the fifth and fourth centuries BC. Proof of this is, on the one hand, Ion fr. 745 PMG<\/em>, a dithyrambic incipit<\/em> with \u2018ethereal\u2019 and celestial themes, typical of the new style (cf. Ar. Pax<\/em> 828-31; Av<\/em>. 1382-90), and, on the other, his elegies with a metaphorical structure built on bold imagery and adjectives, in line with contemporary trends (see FONGONI 2014). The text is peppered with terms that would become proper to the technical lexicon of Greek music. The invocation to the eleven-stringed lyre was most likely placed at the composition\u2019s opening. The first couplet is built on an effective metaphor that represents the first attestation of the image of \u2018sound space\u2019 operating in later musicological speculation (see ROCCONI 1999, 97-8), and refers to the adoption of the hendecachord, in fact backdating that innovation tended to be linked to Timotheus\u2019 name. In l. 1 there is also another hapax<\/em>, the adjective \u03b4\u03b5\u03ba\u03b1\u03b2\u03ac\u03bc\u03c9\u03bd, which, outside of metaphor, seems to allude to the intervals, that is, the ten spaces located between the eleven strings. It is an attribute of \u03c4\u03ac\u03be\u03b9\u03c2, another term that will later acquire the proper musical meaning of \u00aborder of sounds within the musical scale\u00bb (ROCCONI 2003, 143). The metaphor is still operative in l. 2, where \u00abthe three consonant ways of harmony\u00bb seem to describe the structure of the hendecachord, formed by the two conjoined tetrachords already proper to the heptachord system to which a disjunct tetrachord is added (see POWER 2007, 181). The transition to the evocation of the music of the past is marked by the adverb \u03c0\u03c1\u03af\u03bd (l. 3). It was related to a \u1f11\u03c0\u03c4\u03ac\u03c4\u03bf\u03bd\u03bf\u03c2 system, here synonymous with \u1f11\u03c0\u03c4\u03ac\u03c7\u03bf\u03c1\u03b4\u03bf\u03c2 (\u00abof seven strings\u00bb) as it refers to the verb \u03c8\u03ac\u03bb\u03bb\u03c9, which properly indicates the act of playing the instrument by plucking the strings with the fingers. It was performed \u03b4\u03b9\u1f70 \u03c4\u03ad\u03c3\u03c3\u03b1\u03c1\u03b1 (l. 4), a variant of the more frequent \u03b4\u03b9\u1f70 \u03c4\u03b5\u03c3\u03c3\u03ac\u03c1\u03c9\u03bd (scil.<\/em> \u03c7\u03bf\u03c1\u03b4\u1ff6\u03bd), referring to the tetrachord. An aesthetic notation also appears in l. 4, calling ancient music \u03c3\u03c0\u03b1\u03bd\u03af\u03b1 (\u00abmeager\u00bb, \u00abmodest\u00bb), establishing an implicit comparison, at least for us, with the new melodic possibilities offered by the hendecachord.<\/p>\n<\/div>

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[Reference edition]<\/strong><\/p><\/div>

B. GENTILI – C. PRATO (edd.), Poetae Elegiaci. Testimonia et fragmenta. Pars altera<\/em>, Monachii et Lipsiae 20022<\/sup>; M.L. WEST (ed.), Iambi et Elegi Graeci ante Alexandrum cantati. Editio altera atque emendata<\/em>, II, Oxonii 19982<\/sup>; A. LEURINI (ed.), Ion Chius. Testimonia et fragmenta<\/em>, Amsterdam 20002<\/sup>; F. VALERIO (ed.), Ione di Chio. Frammenti elegiaci e melici<\/em>, Bologna 2013.<\/p>\n<\/div>

<\/div><\/div><\/div><\/div><\/div><\/div>

[Essential Bibliography]<\/strong><\/p><\/div>

G. COMOTTI, ‘L\u2019endecacordo di Ione di Chio‘<\/em>, QUCC<\/em> 13, 1972, 54-61; A. FONGONI, ‘Influenze del \u2018Nuovo Ditirambo\u2019 sull\u2019elegia di V-IV secolo a.C.: Ion fr. 1 Gent.-Pr. (= 89 Leurini)’, ARF<\/em> 16, 2014, 121-131; F.R. LEVIN, ‘The Hendecachord of Ion of Chios’, TAPA<\/em> 92, 1961, 295-307; T. POWER, ‘Ion of Chios and the Politics of Polychordia<\/em>‘, in V.J. JENNINGS – A.K. KATSAROS (edd.), The World of Ion of Chios<\/em>, Leiden-Boston 2007, 179-205; Th. REINACH, ‘Un fragment d\u2019Ion de Chios’, REG<\/em> 14, 1901, 8-19; E. ROCCONI, ‘Terminologia dello \u2018spazio sonoro\u2019\u00a0 negli Elementa Harmonica<\/em> di Aristosseno di Taranto’, QUCC<\/em> n.s. 61, 1999, 93-103; E. ROCCONI, Le parole delle Muse. La formazione del lessico tecnico musicale nella Grecia antica<\/em>, Roma 2003; M. WESOLY, ‘\u00abLira dalle undici corde\u00bb: per l\u2019interpretazione del fr. 5 G.-P. di Ione di Chio’, AIONFilol<\/em>. 12, 1990, 89-98; M.L. WEST, ‘Analecta Musica’, ZPE<\/em> 192, 1992, 23-28; U. VON WILAMOWITZ-MOELLENDORFF, ‘Lesefruechte’, Hermes<\/em> 37, 1902, 302-314; U. VON WILAMOWITZ-MOELLENDORFF (ed.), Timotheos. Die Perser<\/em>, Leipzig 1903.<\/p>\n<\/div>

<\/div><\/div><\/div><\/div><\/div><\/div>

[Keywords]<\/strong><\/p><\/div>

Hendecachord, \u2018New\u2019 Music, heptachord<\/p>\n<\/div><\/div><\/div>

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[Serena Napoleone]<\/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":[128],"tags":[],"class_list":["post-2386","post","type-post","status-publish","format-standard","hentry","category-epic-elegy-lyric"],"yoast_head":"\nIon Chius fr. 5 - Secoli di Mezzo<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.secolidimezzo.com\/en\/epic-elegy-lyric\/ion-chius\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Ion Chius fr. 5 - Secoli di Mezzo\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.secolidimezzo.com\/en\/epic-elegy-lyric\/ion-chius\/\" \/>\n<meta property=\"og:site_name\" content=\"Secoli di Mezzo\" \/>\n<meta property=\"article:published_time\" content=\"2024-11-26T21:05:08+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2025-03-23T13:33:06+00:00\" \/>\n<meta name=\"author\" content=\"admin\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"admin\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"63 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.secolidimezzo.com\/en\/epic-elegy-lyric\/ion-chius\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.secolidimezzo.com\/en\/epic-elegy-lyric\/ion-chius\/\"},\"author\":{\"name\":\"admin\",\"@id\":\"https:\/\/www.secolidimezzo.com\/en\/#\/schema\/person\/d7eb887d5c017f8de5c1e9a2dfe74c95\"},\"headline\":\"Ion Chius fr. 5\",\"datePublished\":\"2024-11-26T21:05:08+00:00\",\"dateModified\":\"2025-03-23T13:33:06+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.secolidimezzo.com\/en\/epic-elegy-lyric\/ion-chius\/\"},\"wordCount\":12619,\"commentCount\":0,\"articleSection\":[\"Epic, Elegy, Lyric\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/www.secolidimezzo.com\/en\/epic-elegy-lyric\/ion-chius\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.secolidimezzo.com\/en\/epic-elegy-lyric\/ion-chius\/\",\"url\":\"https:\/\/www.secolidimezzo.com\/en\/epic-elegy-lyric\/ion-chius\/\",\"name\":\"Ion Chius fr. 5 - 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