著者

戸祭 哲子

出版者

日本西洋古典学会

雑誌

西洋古典学研究 (ISSN:04479114)

巻号頁・発行日

vol.60, pp.37-49, 2012

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This article considers Plato's description of the rhapsode in his dialogue Ion as a critique of the New Music which flourished in late fifth- and fourth-century Athens. At this time, mousike, which may be understood as a body of skills and activities presided over by the Muses, including poetry, instrumental music, dancing, and drama, began to change and diversify. The development of new practices of mousike was stimulated by the growth of public festivals, such as musical contests held at the Panathenaea and theatrical performances held at the Great Dionysia. The new style of mousike attracted the attention of intellectuals, most notably Plato, who subjected it to severe scrutiny. I view the rhapsode in Plato's Ion as a social critique of the innovations in mousike. The New Musicians and Plato's rhapsode share two important features. Firstly, both are professional performers on the public stage. Secondly, both emphasise superficial aspects of public performance, for example mimesis and emotional expressions, purely for entertainment. These aspects were criticised by Plato, who understood that mousike was important in nurturing people's minds and perpetuating Athenian cultural identity. He was afraid, therefore, that the New Music might be socially disruptive. This essay draws attention to a neglected aspect of the New Music as a social phenomenon, and brings social and cultural studies to bear in the examination of a literary text.