Lament Paramousos: Greek Tragic Lament in Music and Song
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This article presents an interpretation of ritual lament in fifth-century BCE Greek tragedy which examines the semantic relations between lament, music and gender by contextualizing descriptions of lament in tragedy’s rhetorical language of music. I argue that within tragedy’s diction of music, descriptions of ritual lament stand as a unique genre of “anti-musical” music. I further hypothesize that descriptions of ritual lament in Greek tragedy may be understood as a genre of “marked” music and song: marked semantically by the metaphor of the nightingale’s lament, by diction that indicates a lack of musical or dance accompaniment, and by its association with the figure of Hades. By situating tragic representations of female lament within the context of music and song, I argue for the association of this predominantly female speech-act with the negative associations of song and music that is essentially “unmusical.” I conclude with a discussion of the relevance of women’s actual ritual lament practices in modern rural Greek communities. Modern analogs support the notion that lament is a predominantly female speech-act and a gendered genre that continues diachronically as a women’s oral tradition; they can illuminate the relations between lament, gender and music in the context of literary representations of female lament in ancient Greek tragic poetry. Much of this relevant context has been shown to hinge on the issue of gender in modern rural Greek society: lamentation and painful cries are for women; song and joyful music are for men. Such a cognitive stance in modern times illuminates a traditional male attitude toward female lament practices in ancient Greece where male audiences witnessed performances of female lament as tragic theater at a time when real women were denied access to public, political speech and political power.
Abstract
This article presents an interpretation of ritual lament in fifth-century BCE Greek tragedy which examines the semantic relations between lament, music and gender by contextualizing descriptions of lament in tragedy’s rhetorical language of music. I argue that within tragedy’s diction of music, descriptions of ritual lament stand as a unique genre of “anti-musical” music. I further hypothesize that descriptions of ritual lament in Greek tragedy may be understood as a genre of “marked” music and song: marked semantically by the metaphor of the nightingale’s lament, by diction that indicates a lack of musical or dance accompaniment, and by its association with the figure of Hades. By situating tragic representations of female lament within the context of music and song, I argue for the association of this predominantly female speech-act with the negative associations of song and music that is essentially “unmusical.” I conclude with a discussion of the relevance of women’s actual ritual lament practices in modern rural Greek communities. Modern analogs support the notion that lament is a predominantly female speech-act and a gendered genre that continues diachronically as a women’s oral tradition; they can illuminate the relations between lament, gender and music in the context of literary representations of female lament in ancient Greek tragic poetry. Much of this relevant context has been shown to hinge on the issue of gender in modern rural Greek society: lamentation and painful cries are for women; song and joyful music are for men. Such a cognitive stance in modern times illuminates a traditional male attitude toward female lament practices in ancient Greece where male audiences witnessed performances of female lament as tragic theater at a time when real women were denied access to public, political speech and political power.
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