Papers by Loredana Di Virgilio
Il coro dei Cavalieri e l'esperienza del simposio, in Il teatro greco. Strutture, società, eredità, Atti del Convegno, a cura di L. Bravi, U. Bultrighini, C. Catenacci, M. Di Marzio, E. Dimauro, M. Recchia, Pisa-Roma, Serra, 2023 («Biblioteca di Quaderni Urbinati di Cultura Classica»,15), pp. 61-71 This article retraces the passages of Aristophanes’ Knights which refer, more or less explicitly,... more This article retraces the passages of Aristophanes’ Knights which refer, more or less explicitly, to the symposium. The mentions of πυραμοῦς and φιλοτησία, the quotations of Simonides and Cratinus in drinking contexts, the performance of a likely symposium song, together with a comparison with the symposium in Wasps, could be understood as references to a real practice to which the Knights, as ‘anti-Cleonian ἑταιρεία’, could have been accustomed in Athens during the years of representation.
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After some considerations on the attribution of the sentences of ll. 655-688 of Aristophanes’ The... more After some considerations on the attribution of the sentences of ll. 655-688 of Aristophanes’ Thesmophoriazusae, which constitute a ‘research scene’, this paper offers a comparison with the epiparodos of Aeschylus’ Eumenides, which, in terms of dramaturgy, themes and articulation in several voices, could have represented a model for the comic poet.
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In the broader context of a reconsideration of the dactylic-anapaestic versification attested by ... more In the broader context of a reconsideration of the dactylic-anapaestic versification attested by ancient colometries but generally obliterated by the metrics of 19th and 20th century, this paper aims to re-examine the case of Hecuba’s monody from the homonymous Euripidean tragedy, by investigating how the game of epiplokai documented by the paradosis underlines, from both a dramaturgical and a musical point of view, the agony of the elderly Trojan queen.
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This paper focuses on some passages from Franz Volkmar Fritzsche’s edition of Aristophanes’ Thesm... more This paper focuses on some passages from Franz Volkmar Fritzsche’s edition of Aristophanes’ Thesmoforiazusae, by retracing, through that, the history of the main proposals of formal articulation of the choral song at ll. 953-1000 – also by taking into account what is provided by manuscripts – and by dwelling on some general principles of the philological work.
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The passage of Aristophanes’ Birds this paper deals with, is a song performed by a young man with... more The passage of Aristophanes’ Birds this paper deals with, is a song performed by a young man with the intention to be accepted by Peisthetairus and allowed to live among the birds, where the parricide the boy is planning to do would be licit. As scholars generally agree, the brief lyrical passage is a quotation of Sophocles’ Oenomaus, but a deeper investigation into the lexicon and the syntax of the text seems to actually reveal the presence of Euripidean poetry too. This paper aims to put under a new light the song of the Parricide, which could be using both Sophoclean and Euripidean quotations and echoes, thus obeying to a specifc dramaturgical pattern employed by Aristophanes also for other similar singing characters in the same play.
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Aristophanes’ Thesmophoriazusae is characterised by an elaborate musical display, represented by ... more Aristophanes’ Thesmophoriazusae is characterised by an elaborate musical display, represented by the diversity of its songs as regards metre and performative requirements. The plot of the comedy includes references to the actual ritual of the Thesmophoria and to the tragedies of Euripides (with parodic – indeed, paratragic – intentions). These two themes are closely intertwined, and yet each of them is represented by its own musical and choreutic peculiarities. By analyzing in depth the text of this comedy, it is also possible to infer information about the presence and the use of other musical instruments besides the traditional aulos. In particular, by commenting the references to different kinds of lyres and to a harp and the related scenes, this paper deals with the possibility that Thesmophoriazusae presents a particular feature: an actor that is also a musician able to accompany himself or the chorus on a string instrument, depending on what the plot requires each time.
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This paper aims to investigate the metrical component in literal quotations of lyric poetry in Ar... more This paper aims to investigate the metrical component in literal quotations of lyric poetry in Aristophanes. On the basis of the examination of the colometries of manuscripts and papyri, and by taking into consideration the information provided by metrical scholia and treatises, it is possibile to identify at least four ways of quoting, here represented through chosen passages from Aristophanes: a literal quotation may 1) be an exact replica of the metrical structure of the source text; 2) be integrated in a sequence which has the opposite rhythmical trend; 3) split the original sentence in two different cola; 4) be modified in lenght, or re-contextualized in a di$erent rhythmical setting. Some of these options may also be combined together, and the poet can treat very freely his lyric model. Finally, special attention is paid to the concept of ploke as documented by a number of ancient sources.
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This paper deals with the metatheatrical passage of Ar. Eccl. 887-889, where the character of the... more This paper deals with the metatheatrical passage of Ar. Eccl. 887-889, where the character of the Old Woman, being on the point of singing alone to catch men’s attention, is interrupted by the Girl, who exclaims towards her that she is ready to ἀντᾴδειν. In the words of the Girl, which promises directly to the audience that this ἀντᾴδειν will have something τερπνόν and κωμῳδικόν, is to be recognised a ‘justification’ of the author, worried about a possible annoying effect on his spectators. After the discussion and the confutation of the interpretations provided until now by some scholars, this paper aims to put forward two new alternative proposals, by taking into closer consideration the dramaturgy of the scene of Ecclesiazusae and the possible connections with the choral interlude immediately preceding it, and by analyzing in depth each of the technical words contained in the text of Aristophanes involved in this metatheatrical section.
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Ar., Ra., 1264-1277 and 1284-1295 contain two parodic monodies, sung by Euripides with the aim of... more Ar., Ra., 1264-1277 and 1284-1295 contain two parodic monodies, sung by Euripides with the aim of demonstrate, through a collection of passages from different Aeschylean tragedies, that Aeschylus is a ‘bad poet’, because of the monotony of his compositions. As ancient music is lost, the monotony Euripides is mocking is somehow understandable to us only through the metrical analyses of the two songs. Modern scholars agree in modifying the paradosis, in order to obtain a uniform dactylic structure. A critical examination of Aristophanes’ and Aeschylus’ manuscripts shows that the ancient colometry of the two monodies is perfectly meaningful, understandable through ancient metrical sources, and witnesses a more functioning musical parody.
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At line 270 of Aristophanes’ Wasps, Philokleon is said to be φιλῳδός, for being obsessed with so... more At line 270 of Aristophanes’ Wasps, Philokleon is said to be φιλῳδός, for being obsessed with songs, as well as being maniac for tribunals. Soon identified as a fan of Phrynichus, depending on the circumstance Philokleon sings by using rhythms, style or themes belonging to tragedy, or by modulating his words on the metrics of high or popular tradition, symposium or hymns, and by showing his competence and readiness in some specific symposiastic songs. He also proves to be skilled in metrical variations and structures. Music and singing are characteristic features of Philokleon throughout the play: even after his habits are ‘transformed’, when he is drunk he sings in line with traditional repertoire of the κῶμος, and he is so self-assured in music to use also popular anecdotes about lyric poets and to challenge some young rivals to dance against him. This paper aims to analyse the lyric metres used by Philokleon, by tracking forms and models, which clearly flows his musical experiences and competence, and to show, at the same time, Aristophanes’ accuracy in the ‘musical construction’ of such character.
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By analyzing the metrical structures of the songs, and by paying attention to scenes containing r... more By analyzing the metrical structures of the songs, and by paying attention to scenes containing references to musicians and musical instruments, this paper identifies some precise techniques of “musical comedy” within a brief selection of passages from Aristophanes’ plays.
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Cinesias’ song in Ar., Av., 1372-1377 begins by quoting the first line of Anacreon’s fr. 83 Genti... more Cinesias’ song in Ar., Av., 1372-1377 begins by quoting the first line of Anacreon’s fr. 83 Gentili (= PMG 378). While the very line is described by Hephaestion as a single catalectic choriambic tetrameter, Aristophanes’ manuscripts present the quotation on two cola, 2cho hypercat and 2ionmi^^. The aim of this paper is to argue that the ancient colometry of Cinesias’ song in Birds does not need to be corrected, but rather that it becomes entirely justifiable if we focus our attention on the phenomenon of ἐπιπλοκή, which plays an important role in the whole piece. By modifying the original phrasing of Anacreon’s line, Aristophanes proposes a musical variation with the purpose of blending the quotation with the rest of Cinesias’ song.
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Greek Comedy was one of the most popular performative genres in antiquity. In particular during t... more Greek Comedy was one of the most popular performative genres in antiquity. In particular during the 5th century in Athens, comedy was part of important festivals connected with Dionysus, taking place in theatre and collecting not only citizens but also foreign people. Comedy adopted all kinds of resources for making people laugh, and to gain the victory in the “agon”: apart from the aspects connected with the “lexis”, even masks, costumes, gestures, and music, were used by poets in many different ways in order to obtain funny effects. While consistent attention is generally paid to characters and to their comic speaking, very little is said about musical comedy techniques. Analyzing the metrical structures of the songs, and paying attention to scenes containing references to musicians and musical instruments, allow us to identify precise ways of “musical comedy”, more or less connected to the semantics of the text and to the scene in general. This paper aims to enter the poet’s laboratory, and to show, through a brief selection of passages from Aristophanes’ plays, how ancient Greeks had fun from music in comedy.
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In the prologue of Aristophanes’ Thesmophoriazusae, the tragic poet Agathon is put on stage as a ... more In the prologue of Aristophanes’ Thesmophoriazusae, the tragic poet Agathon is put on stage as a character of the play, while composing and singing a particular song. By analyzing in detail the features of this monody (content, metrics, style, context), and by comparing them with the other lyrical parts of the same comedy and with other different songs, this paper deals with the possibility that Agathon’s song is a ritual song destined to the female celebration of the Thesmophoria in which the comedy is set.
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Conference Presentations by Loredana Di Virgilio
Tavola Rotonda “Variazione ritmico-metrica e variazione melodica nei canti della Grecia antica”, ... more Tavola Rotonda “Variazione ritmico-metrica e variazione melodica nei canti della Grecia antica”, Scuola Estiva di Metrica e Ritmica greca, Urbino 4-8 settembre 2023
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Convegno "Tra organologia, iconografia musicale e prassi esecutiva: studi e testimonianze. Umbert... more Convegno "Tra organologia, iconografia musicale e prassi esecutiva: studi e testimonianze. Umberto Eco in memoriam", Urbino, 21-22 luglio 2023.
Urbino Musica Antica, 55a edizione.
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Tavola Rotonda "Metrica greca oggi: gli approcci possibili", Scuola Estiva di Metrica e Ritmica G... more Tavola Rotonda "Metrica greca oggi: gli approcci possibili", Scuola Estiva di Metrica e Ritmica Greca, Urbino 6-10 settembre 2021
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Convegno Internazionale di Studi "La presenza del teatro greco. Strutture, politica, società, ere... more Convegno Internazionale di Studi "La presenza del teatro greco. Strutture, politica, società, eredità", 15-18 marzo 2022, Università degli Studi "G. d'Annunzio" di Chieti- Pescara: 15 marzo 2022: Giornata di studi sui Cavalieri di Aristofane
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Convegno Internazionale Interuniversitario "'Nuove volute di versi'. Poesia e musica nella commed... more Convegno Internazionale Interuniversitario "'Nuove volute di versi'. Poesia e musica nella commedia greca di V e IV secolo a.C.", 8-9 ottobre 2019, Università degli Studi di Perugia
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Seminario di Studi sulle "Vespe" di Aristofane in ricordo di Massimo Vetta, Chieti, Università de... more Seminario di Studi sulle "Vespe" di Aristofane in ricordo di Massimo Vetta, Chieti, Università degli Studi "G. d'Annunzio", 13-14 Dicembre 2018.
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Papers by Loredana Di Virgilio
Conference Presentations by Loredana Di Virgilio
Urbino Musica Antica, 55a edizione.
Urbino Musica Antica, 55a edizione.
University of Basel, 16-17 November 2018
Padova, 9 aprile 2024
Chieti, 26 aprile 2023
Chieti, 7 dicembre 2022
Urbino, 07-08 ottobre 2022
Chieti, 3 maggio 2022
parte I. L'Alcesti di Euripide nella memoria di Aristofane (Prof. L. Bravi);
parte II. L’Andromeda di Euripide e le Tesmoforiazuse di Aristofane (L. Di Virgilio).
Chieti, 2 luglio 2021
Università di Urbino 22-23/03/2018
(Urbino, Eichstätt, Corfu, Mainz, Barcelona)
Editing, commenting, interpreting: multiform approaches to literary text.
Edieren, kommentieren, interpretieren: Die vielfältingen Zugänge zu literarischen Texten.
Urbino, 23-24 giugno 2016.