Sara Kaczko (University of Rome, "La Sapienza")
This paper presents a brief analysis of the use of inherited [aː] in poetic genres associated with archaic and classical Attica that goes beyond the traditional scenario (i.e., [aː] in tragic choruses) in several respects.
The phonological element [aː] in poetic genres associated with archaic and classical Attica is normally considered only with regard to the choral sections of tragedy and is usually explained with reference to the influence of “Doric” choral lyric. Though this influence is essentially limited to [aː] and is not entirely straightforward — since, for example, [aː] is found sporadically also in dialogic sections of tragedy — this interpretation is surely valid on a general level.[1] However, tragedy is not the only poetic Attic genre in which [aː] is found rather than the expected [εː], for there are some instances, more limited in number, but nonetheless significant, in Attic epigrams on durable material (e.g., hιπποσύνᾱι, ἐγρεμάχᾱ, κόρᾱ in CEG 4, 194, 284), comedy (Ἀθᾱ́να at Aristoph. Nu. 602), and a few extant literary compositions relating to cultic contexts in Athens, such as the fragmentary paean to Asklepios by Sophocles (cf., e.g., κούρα at SEG 28.225) and some Attic skolia (e.g., Ἀθᾱ́να, ἅ, χρυσοκόμᾱ, cf. PMG 884-887 = Fabbro 1995, nos. 1-4).
This paper also assumes that the prestige of lyric, especially choral lyric, is the main factor for the presence of [aː] in all of these genres. However, at the same time, it points out that specific factors requiring case-by-case evaluation for instances of forms in [aː] may have been at work. For instance, tragedy, as a high-register genre, tends to echo literary models such as epic and choral lyric (especially in the choruses). Comedy was closer to the vernacular language but also incorporated imitation of the language of other genres, including tragedy, lyric poetry, and cult songs.[2] Cult songs were part of everyday life in Athens, performed at religious rituals and festivals, which in turn, included performances of ritual songs and poetry competitions involving such genres as paeans and dithyrambs. Several of these compositions were performed as choral songs, so many of them both featured “ritual and religious language” and were open to the influence of lyric poetry.[3] In turn, the language of hymns and ritual songs may have exerted some influence on Attic poetry. Epigrammatic poetry shows an important influence of literary, on occasion lyric, but especially epic, poetry, the features of which are often adapted to the local context.[4]
Given this scenario, the present paper argues that two intertwined factors — the prestige associated with high-register lyric poetry and the associations with poetic performances at religious events — may have fostered the diffusion of variants featuring [aː] in Attic poetry in certain contexts. This understanding is the basis for the survey of some case-studies of forms in [aː] and a few related issues regarding their distribution in poetical compositions associated with Attica.
[1] Cf., e.g., Björck 1950.
[2] Cf., e.g., Colvin 1999; Willi 2003.
[3] Cf., e.g., Furley — Bremer 2001.
[4] See, e.g., Mickey 1981; Kaczko 2016.