{"id":6613,"date":"2026-06-10T17:45:52","date_gmt":"2026-06-10T15:45:52","guid":{"rendered":"https:\/\/www.secolidimezzo.com\/alexander-the-great-and-the-poetic-musical-agons\/musical-competitions-2-of-alexander-the-great-at-tyre-phoenicia\/"},"modified":"2026-06-12T18:17:25","modified_gmt":"2026-06-12T16:17:25","slug":"musical-competitions-2-of-alexander-the-great-at-tyre-phoenicia","status":"publish","type":"post","link":"https:\/\/www.secolidimezzo.com\/en\/alexander-the-great-and-the-poetic-musical-agons\/musical-competitions-2-of-alexander-the-great-at-tyre-phoenicia\/","title":{"rendered":"Musical competitions (2) of Alexander the Great at Tyre, Phoenicia (Plutarchus)"},"content":{"rendered":"

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[Topic] <\/strong>Musical competitions of Alexander the Great at Tyre (Phoenicia)<\/p>\n

[Source]<\/strong> Plutarchus, De Alex. virt. aut fort. or. <\/em> II, 2, 334e<\/p>\n

[Period]<\/strong> 350\u2013300 BC (331 BC, late spring, May\/June)<\/p>\n<\/div>

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

2.<\/strong> \u1f08\u03bb\u03bb\u2019 \u1f08\u03bb\u03ad\u03be\u03b1\u03bd\u03b4\u03c1\u03bf\u03c2 \u03b5\u1f30\u03b4\u1f7c\u03c2 \u03c4\u03af\u03bd\u03c9\u03bd \u03b4\u03b5\u1fd6 \u03b8\u03b5\u03b1\u03c4\u1f74\u03bd \u03b5\u1f36\u03bd\u03b1\u03b9 \u03ba\u03b1\u1f76 \u1f00\u03ba\u03c1\u03bf\u03b1\u03c4\u1f74\u03bd \u03ba\u03b1\u1f76 \u03c4\u03af\u03bd\u03c9\u03bd \u1f00\u03b3\u03c9\u03bd\u03b9\u03c3\u03c4\u1f74\u03bd \u03ba\u03b1\u1f76 \u03b1\u1f50\u03c4\u03bf\u03c5\u03c1\u03b3\u03cc\u03bd, \u1f24\u03c3\u03ba\u03b5\u03b9 \u03bc\u1f72\u03bd \u1f00\u03b5\u1f76 \u03b4\u03b9\u1f70 \u03c4\u1ff6\u03bd \u1f45\u03c0\u03bb\u03c9\u03bd \u03b4\u03b5\u03b9\u03bd\u1f78\u03c2 \u03b5\u1f36\u03bd\u03b1\u03b9 \u03ba\u03b1\u1f76 \u03ba\u03b1\u03c4\u1f70 \u03c4\u1f78\u03bd \u0391\u1f30\u03c3\u03c7\u03cd\u03bb\u03bf\u03bd \u00ab\u03b2\u03c1\u03b9\u03b8\u1f7a\u03c2 \u1f41\u03c0\u03bb\u03b9\u03c4\u03bf\u03c0\u03ac\u03bb\u03b1\u03c2, \u03b4\u03ac\u03b9\u03bf\u03c2 \u1f00\u03bd\u03c4\u03b9\u03c0\u03ac\u03bb\u03bf\u03b9\u03c2\u00bb (Eschilo fr. 353a Radt). \u03c4\u03b1\u03cd\u03c4\u03b7\u03bd \u03c4\u03ad\u03c7\u03bd\u03b7\u03bd \u1f14\u03c7\u03c9\u03bd \u03c0\u03c1\u03bf\u03b3\u03bf\u03bd\u03b9\u03ba\u1f74\u03bd \u1f00\u03c0\u2019 \u0391\u1f30\u03b1\u03ba\u03b9\u03b4\u1ff6\u03bd, \u1f00\u03c6\u2019 \u1f29\u03c1\u03b1\u03ba\u03bb\u03ad\u03bf\u03c5\u03c2 (Plut. Alex. Vit. <\/em> 2), \u03c4\u03b1\u1fd6\u03c2 \u03b4\u2019 \u1f04\u03bb\u03bb\u03b1\u03b9\u03c2 \u03c4\u03ad\u03c7\u03bd\u03b1\u03b9\u03c2 \u03c4\u1f78 \u03c4\u03b9\u03bc\u1fb6\u03bd \u1f04\u03bd\u03b5\u03c5 \u03c4\u03bf\u1fe6 \u03b6\u03b7\u03bb\u03bf\u1fe6\u03bd \u1f00\u03c0\u03b5\u03b4\u03af\u03b4\u03bf\u03c5 \u03ba\u03b1\u03c4\u1f70 \u03c4\u1f78 \u1f14\u03bd\u03b4\u03bf\u03be\u03bf\u03bd \u03b1\u1f50\u03c4\u1ff6\u03bd \u03ba\u03b1\u1f76 \u03c7\u03b1\u03c1\u03af\u03b5\u03bd, \u03c4\u1ff7 \u03c4\u03ad\u03c1\u03c0\u03b5\u03b9\u03bd \u03b4\u2019 \u03bf\u1f50\u03ba \u1f26\u03bd \u03b5\u1f50\u03ac\u03bb\u03c9\u03c4\u03bf\u03c2 \u03b5\u1f30\u03c2 \u03c4\u1f78 \u03bc\u03b9\u03bc\u03b5\u1fd6\u03c3\u03b8\u03b1\u03b9. \u03b3\u03b5\u03b3\u03cc\u03bd\u03b1\u03c3\u03b9<\/strong> \u03b4\u1f72<\/strong> \u03ba\u03b1\u03c4<\/strong>\u2019 <\/strong>\u03b1\u1f50\u03c4\u1f78\u03bd<\/strong> \u03c4\u03c1\u03b1\u03b3\u1ff3\u03b4\u03bf\u1f76<\/strong> \u03bc\u1f72\u03bd<\/strong> \u03bf\u1f31<\/strong> \u03c0\u03b5\u03c1\u1f76<\/strong> \u0398\u03b5\u03c4\u03c4\u03b1\u03bb\u1f78\u03bd<\/strong> \u03ba\u03b1\u1f76<\/strong> \u1f08\u03b8\u03b7\u03bd\u03cc\u03b4\u03c9\u03c1\u03bf\u03bd<\/strong>, \u1f67\u03bd<\/strong> \u1f00\u03bd\u03c4\u03b1\u03b3\u03c9\u03bd\u03b9\u03b6\u03bf\u03bc\u03ad\u03bd\u03c9\u03bd<\/strong> \u1f00\u03bb\u03bb\u03ae\u03bb\u03bf\u03b9\u03c2<\/strong>, \u1f10\u03c7\u03bf\u03c1\u03ae\u03b3\u03bf\u03c5\u03bd<\/strong> \u03bc\u1f72\u03bd<\/strong> \u03bf\u1f31<\/strong> \u039a\u03cd\u03c0\u03c1\u03b9\u03bf\u03b9<\/strong> \u03b2\u03b1\u03c3\u03b9\u03bb\u03b5\u1fd6\u03c2<\/strong> \u1f14\u03ba\u03c1\u03b9\u03bd\u03bf\u03bd<\/strong> \u03b4<\/strong>\u2019 <\/strong>\u03bf\u1f31<\/strong> \u03b4\u03bf\u03ba\u03b9\u03bc\u03ce\u03c4\u03b1\u03c4\u03bf\u03b9<\/strong> \u03c4\u1ff6\u03bd<\/strong> \u03c3\u03c4\u03c1\u03b1\u03c4\u03b7\u03b3\u1ff6\u03bd<\/strong>. \u1f10\u03c0\u03b5\u1f76 \u03b4\u2019 \u1f10\u03bd\u03af\u03ba\u03b7\u03c3\u03b5\u03bd \u1f08\u03b8\u03b7\u03bd\u03cc\u03b4\u03c9\u03c1\u03bf\u03c2, \u00ab\u1f10\u03b2\u03bf\u03c5\u03bb\u03cc\u03bc\u03b7\u03bd \u1f04\u03bd\u2019 \u1f14\u03c6\u03b7 \u03bc\u1fb6\u03bb\u03bb\u03bf\u03bd \u1f00\u03c0\u03bf\u03bb\u03c9\u03bb\u03b5\u03ba\u03ad\u03bd\u03b1\u03b9 \u03bc\u03ad\u03c1\u03bf\u03c2 \u03c4\u1fc6\u03c2 \u03b2\u03b1\u03c3\u03b9\u03bb\u03b5\u03af\u03b1\u03c2 \u1f22<\/strong> \u0398\u03b5\u03c4\u03c4\u03b1\u03bb\u1f78\u03bd<\/strong> \u1f10\u03c0\u03b9\u03b4\u03b5\u1fd6\u03bd<\/strong> \u1f21\u03c4\u03c4\u03b7\u03bc\u03ad\u03bd\u03bf\u03bd<\/strong>.\u00bb \u1f00\u03bb\u03bb\u2019 \u03bf\u1f54\u03c4\u2019 \u1f10\u03bd\u03ad\u03c4\u03c5\u03c7\u03b5 \u03c4\u03bf\u1fd6\u03c2 \u03ba\u03c1\u03b9\u03c4\u03b1\u1fd6\u03c2 \u03bf\u1f54\u03c4\u03b5 \u03c4\u1f74\u03bd \u03ba\u03c1\u03af\u03c3\u03b9\u03bd \u1f10\u03bc\u03ad\u03bc\u03c8\u03b1\u03c4\u03bf, \u03c0\u03ac\u03bd\u03c4\u03c9\u03bd \u03bf\u1f30\u03cc\u03bc\u03b5\u03bd\u03bf\u03c2 \u03b4\u03b5\u1fd6\u03bd \u03c0\u03b5\u03c1\u03b9\u03b5\u1fd6\u03bd\u03b1\u03b9, \u03c4\u03bf\u1fe6 \u03b4\u03b9\u03ba\u03b1\u03af\u03bf\u03c5 \u03b4\u2019 \u1f21\u03c4\u03c4\u1fb6\u03c3\u03b8\u03b1\u03b9. \u03ba\u03c9\u03bc\u1ff3\u03b4\u03bf\u1f76 \u03b4\u2019 \u1f26\u03c3\u03b1\u03bd \u03bf\u1f31<\/strong> \u03c0\u03b5\u03c1\u1f76<\/strong> \u039b\u03cd\u03ba\u03c9\u03bd\u03b1<\/strong> \u03c4\u1f78\u03bd<\/strong> \u03a3\u03ba\u03b1\u03c1\u03c6\u03ad\u03b1<\/strong>\u00b7 \u03c4\u03bf\u03cd\u03c4\u1ff3 \u03b4\u2019 \u03b5\u1f34\u03c2 \u03c4\u03b9\u03bd\u03b1 \u03ba\u03c9\u03bc\u1ff3\u03b4\u03af\u03b1\u03bd \u1f10\u03bc\u03b2\u03b1\u03bb\u03cc\u03bd\u03c4\u03b9 \u03c3\u03c4\u03af\u03c7\u03bf\u03bd \u03b1\u1f30\u03c4\u03b7\u03c4\u03b9\u03ba\u1f78\u03bd \u03b3\u03b5\u03bb\u03ac\u03c3\u03b1\u03c2 \u1f14\u03b4\u03c9\u03ba\u03b5 \u03b4\u03ad\u03ba\u03b1 \u03c4\u03ac\u03bb\u03b1\u03bd\u03c4\u03b1.<\/p>\n

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

2.<\/strong> But Alexander, knowing well in what matters he should be merely a spectator and listener, and in what he should play the chief role, trained himself always to be formidable in arms, and. in the words of Aeschylus, \u2018Sturdy contender in arms, baleful to all that oppose\u2019 (Aesch. fr. 353a Radt). This art he inherited from his ancestors, the Aeacidae, and from Heracles (Plut. Alex. Vit.<\/em> 2, 665 b); but upon the other arts he freely bestowed honour without jealousy according to their worth and artistic excellence; but he was not so easily carried away by the pleasure they give him as to try to imitate them. The tragic actors of his time were the group that centred about Thettalus and Athenodorus. At the contest of these two, the kings of Cyprus defrayed the expenses of the performance and Alexander’s most celebrated generals served as judges.<\/strong> When Athenodorus won, \u2018I would rather,\u2019 said Alexander, \u2018have lost half my kingdom than see Thettalus defeated<\/strong>.\u2019 However, he did not intercede with the judges nor find fault with the judgement, since he felt that, while he must be superior to all men, yet he must submit to Justice. The comic actors of his time were the group that centred about Lycon of Scarpheia<\/strong>. When Lycon inserted in one of his comedies a begging verse, Alexander laughed and gave him ten talents. [transl. by F. C. Babbitt]<\/p>\n<\/div>

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

This testimony clearly pertains to the musical competitions held by Alexander the Great at Tyre in May\u2013June 331 BC, which are also described by Plut. Alex. vita <\/em>29.1\u20136 (see the specific entry). Indeed, the testimony reports a series of events associated with these musical competitions: the presence of the actors Thessalus, Athenodoros, and Lycon; the indication that Thessalus was Alexander\u2019s favorite; the anecdote of Alexander\u2019s refusal to intervene on Thessalus\u2019 behalf; the account of Lycon receiving ten talents from Alexander; and the mention of choregia, with the indication that the choregoi were the kings of Cyprus. However, this testimony reveals explicitly a number of additional details compared to the previous one: that Thessalus and Athenodoros performed as tragic actors, while Lycon as a comic actor; that each of the three actors was in Tyre not alone but with his own troupe; that the judging responsibilities in the competition were assigned to the most renowned generals of Alexander\u2019s army; that, for this reason, the audience must have consisted of the rest of the army. These data, on the one hand, weakens Le Guen\u2019s hypothesis that the choruses in these competitions were made up of members of Alexander\u2019s army, as the three actors were in Tyre with their entire troupes [Le Guen 2014, 266-267]. On the other hand, it supports Vahtikari\u2019s theory, which argues that the musical competitions in Tyre were clearly held in a theatre [Vahtikari 2014, 103-104], since, once again, the actors arrived in Tyre accompanied by their full teams of performers and assistants.<\/p>\n<\/div>

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

Editions and commentaries: Plutarchi Moralia<\/em>, vol.II, recensuerunt et emendaverunt W. Nachst\u00e4dt, W. Sieveking, J. B. Titchener, Leipzig 19352<\/sup> (rist. 1971), 93-120, esp. 95-96; Plutarco, La virt\u00f9 o la fortuna di Alessandro Magno<\/em>, trad. it. e note a cura di L. Cecchet, in Plutarco, Tutti i moralia<\/em>, testo greco a fronte, coordinamento di E. Lelli e G. Pisani, Milano 2017, 610-643 (Greek text) and 2621-2626 (introductions and notes), esp. 624-625 (Greek text) e 2625 (notes).<\/p>\n

Studies: B. LE GUEN, \u201cTheatre, Religion and Politics at Alexander\u2019s Travelling Royal Court\u201d, in Great Theatre in the Fourth Century B.C.<\/em>, ed. by E. CSAPO, H. Rupprecht Goette, J. R. Green, P. Wilson, Berlin \u2013 Boston 2014, 249-274; V. Vahtikari, Tragedy performances outside Athens in the late Fifth and the Fourth Centuries BC<\/em>, Helsinki 2014.<\/p>\n<\/div>

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

Alexander the Great, choregi, actors, theatre companies, tragedies, Athenodorus, Thessalus, comedies, Lycon of Scarpheia, theater, competition judges, strategoi of Alexander the Great<\/p>\n<\/div><\/div><\/div>

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[Saulo Delle Donne]<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[130],"tags":[],"class_list":["post-6613","post","type-post","status-publish","format-standard","hentry","category-alexander-the-great-and-the-poetic-musical-agons"],"yoast_head":"\nMusical competitions (2) of Alexander the Great at Tyre, Phoenicia (Plutarchus) - 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\/alexander-the-great-and-the-poetic-musical-agons\/musical-competitions-2-of-alexander-the-great-at-tyre-phoenicia\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Musical competitions (2) of Alexander the Great at Tyre, Phoenicia (Plutarchus) - 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