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36-421: Bacchides may refer to: Bacchides (play) , a Roman comedy by the playwright Plautus Bacchides (general) , Hellenistic Greek general, ruler of country beyond Euphrates Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with the title Bacchides . If an internal link led you here, you may wish to change

72-502: A chanter and (modulated) drone . An aulete ( αὐλητής , aulētēs ) was the musician who performed on an aulos . The ancient Roman equivalent was the tibicen (plural tibicines ), from the Latin tibia, "pipe, aulos ." The neologism aulode is sometimes used by analogy with rhapsode and citharode ( citharede ) to refer to an aulos -player, who may also be called an aulist ; however, aulode more commonly refers to

108-424: A double-reed could be heard over larger distances, and over the clamour of marching whilst wearing armour. It was the standard accompaniment of the passionate elegiac poetry . It also accompanied physical activities such as wrestling matches, the broad jump, the discus throw and to mark the rowing cadence on triremes , as well as sacrifices and dramas. Plato associates it with the ecstatic cults of Dionysus and

144-547: A female worshipper of Bacchus , god of wine. Aulos An aulos (plural auloi ; Ancient Greek : αὐλός , plural αὐλοί ) or tibia ( Latin ) was a wind instrument in ancient Greece , often depicted in art and also attested by archaeology . Though the word aulos is often translated as "flute" or as " double flute ", the instrument was usually double-reeded, and its sound—described as "penetrating, insisting and exciting"—was more akin to that of modern woodwind instruments such as oboes or bagpipes with

180-467: A great many cultural tensions that the Greeks expressed in the opposition they often drew between the lyre and aulos: freedom vs. servility and tyranny, leisured amateurs vs. professionals, moderation ( sophrosyne ) vs. excess, etc. Some of this is a result of 19th century AD "classical interpretation", i.e. Apollo versus Dionysus , or "Reason" (represented by the kithara) opposed to "Madness" (represented by

216-533: A pair of pipes known as tibiae . This pattern is referred to as the "ABC succession", where A = iambic senarii, B = other metres, and C = trochaic septenarii. Some of Plautus's plays, however, begin with song (for example, Persa and Cistellaria ). The Bacchides is notable for the variety of its musical passages. These include a polymetric song (612–669), in which Mnesilochus blames himself bitterly for losing his temper. This song has several changes of metre (trochaic, anapaestic, bacchiac, cretic) and includes

252-444: A passage of 12 lines of the rarely found wilamowitzianus (626–631a). Later in the play there is a long passage of iambic octonarii, mixed with trochaic octonarii and septenarii, in which Chrysalus celebrates his triumph (925–996a); and there are also passages of cretics (1107–1116) and bacchiacs (1120–1140a), and two long passages in anapaestic metres (1076–1108 and 1149–1211). If the trochaic septenarii passages are taken as indicating

288-467: A play believed to be Menander's Dis Exapaton ( Δὶς Ἐξαπατῶν ), allowing scholars to see in detail for the first time how Plautus made use of Menander's material. These lines correspond to Bacchides 494–562. It is evident that Plautus adapted, rather than simply translated, the Menander play. In Menander the characters have different names. Lydus is still Lydos, but Mnesilochus is Sostratos, Pistoclerus

324-408: A singer who sang the accompaniment to a piece played on the aulos. There were several kinds of aulos , single or double. The most common variety was a reed instrument. Archeological finds, surviving iconography and other evidence indicate that it was double-reeded , like the modern oboe , but with a larger mouthpiece, like the surviving Armenian duduk . A single pipe without a reed was called

360-498: Is Moschos, and Chrysalus is called Syros. In Menander's play, there is a scene where Sostratus tells his father about the money; this is followed by a choral interlude and then another (fragmentary) scene involving Sostratos and his father. All of this is omitted by Plautus. The simple meeting between Sostratos and his friend Moschos in Menander is greatly expanded in Plautus (534–539) to an elaborate symmetrical monologue more typical of

396-658: Is a shrine or altar of Apollo. While the young man Mnesilochus is abroad in Ephesus, collecting a debt on behalf of his father, he falls in love with a courtesan called Bacchis. But Bacchis is taken against her will to Athens by a soldier who has hired her services. His friend Pistoclerus, who has been instructed to look for Bacchis in Athens, falls in love with Bacchis's twin sister, also called Bacchis. When Mnesilochus and his cunning slave Chrysalus return home, Chrysalus deceives Mnesilochus's father Nicobulus into thinking that part of

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432-597: Is part of the Lost Sounds Orchestra, alongside other ancient instruments which ASTRA have recreated the sounds of, including the epigonion , the salpinx , the barbiton and the syrinx . The aulos was also featured in the 2009 movie Agora , wherein a character performs a solo in an amphitheatre. It is also visible in the 2007 movie 300 . Modern evolutions of the aulos exist in Southeastern Europe . In southern Albania , specifically,

468-577: The Bacchides (perhaps 200 lines) are missing in the manuscripts of the P family, presumably because they all derive ultimately from an ancient copy which was damaged; they are also missing in the Ambrosian palimpsest (A), which in this play begins only at line 476. Some 20 short fragments quoted by ancient writers are thought to belong in this gap: these are numbered lines 1–31 in the Oxford text. Some of

504-523: The Bacchides . Various solutions to this have been suggested. Several scholars have proposed that the third deception was added by Plautus himself and was not in the original Menander play. Because of the variety of musical passages, the Bacchides is believed to have been written late in Plautus's career, either before or after the Pseudolus . The play is set in Athens. The stage set shows two houses, that of Bacchis and that of Nicobulus. Between them

540-639: The Korybantes , banning it from his Republic but permitting it in his Laws . Players of the aulos used a tool known as the Phorbeia or the Capistrum . It was a device that consisted of two straps. One was placed on top of the head and another was placed on the back of the head and stretched from ear to ear to support the cheeks. It was used by ancient musicians to play the aulos by allowing them to create noise through circular breathing and steady

576-609: The monaulos ( μόναυλος , from μόνος "single"). A single pipe held horizontally, as the modern flute, was the plagiaulos (πλαγίαυλος, from πλάγιος "sideways"). A pipe with a bag to allow for continuous sound (a bagpipe ) was the askaulos (ἀσκαυλός from ἀσκός askos " wineskin "). Like the Great Highland Bagpipe , the aulos has been used for martial music , but it is more frequently depicted in other social settings. A normal flute would produce insufficient volume to be of any use in military application, where

612-406: The 15th century. Also, the acts themselves do not always match the structure of the plays, which is often more clearly shown by the variation in metres. A common pattern in Plautus is for a metrical section to begin with iambic senarii (which were unaccompanied by music), followed optionally by a musical passage or song, and ending with trochaic septenarii, which were recited or sung to the music of

648-461: The Great 's aulete Timotheus discusses fame with his pupil Harmonides. Timotheus advises him to impress the experts within his profession rather than seek popular approval in big public venues. If leading musicians admire him, popular approval will follow. However, Lucian reports that Harmonides died from excessive blowing during practicing. In myth, Marsyas the satyr was supposed to have invented

684-564: The Plautine style. In lines 526–72 Plautus has used recitative verse (trochaic septenarii) in place of Menander's spoken iambic trimeters. Plautus may have made other changes in his adaptation. For example, in Plautus, it is possible that the scene where Lydus comes out of the brothel has been moved to later in the play: since Lydus himself says that he spent only a few moments there, it is likely that in Menander he came out almost at once rather than nearly 200 lines later. Plautus may have moved

720-405: The aulos). In the temple to Apollo at Delphi, there was also a shrine to Dionysus, and his Maenads are shown on drinking cups playing the aulos, but Dionysus is sometimes shown holding a kithara or lyre. So a modern interpretation can be a little more complicated than just simple duality. This opposition is mostly an Athenian one. It might be surmised that things were different at Thebes , which

756-404: The aulos, or else picked it up after Athena had thrown it away because it caused her cheeks to puff out and ruined her beauty. In any case, he challenged Apollo to a musical contest, where the winner would be able to "do whatever he wanted" to the loser—Marsyas's expectation, typical of a satyr, was that this would be sexual in nature. But Apollo and his lyre beat Marsyas and his aulos. And since

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792-487: The blockage; the aulete had a fundamental role in ensuring the integrity of the phalanx. In this particular scene, the phalanx approaching from the left is unprepared and momentarily outnumbered four to five. More soldiers can be seen running up to assist them from behind. Even though the front four are lacking a fifth soldier, they have the advantage because the aulete is there to bring the formation back together. An amphora from c.  540 –530 BC depicts Herakles in

828-542: The corresponding scenes: for example, in sections 1 and 7, Pistoclerus and his father both compare the girls' sweet talk to bird-lime ( viscus ), used to trap birds (50, 1158); in sections 2 and 6, Nicobulus talks of the necessity of sailing to Ephesus (342–3, 775–6); and both Lydus (372) and Cleomachus (869) use the word sorbeo of sucking blood. Similar symmetrical or chiastic structures can be found in other Plautus plays, such as Asinaria , Miles Gloriosus , Captivi , and Pseudolus . The first two or three scenes of

864-421: The end of each metrical section, the play can be analysed metrically as follows: Clark (1976) analyses the play as having a symmetrical structure, centring around the intervention of the soldier's parasite in 573–611. The events in the first half are echoed in reverse order in the second half. He sees a structure such as the following (omitting the first two scenes): Clark points out various verbal echoes between

900-563: The fragments are in metres suitable for song (cretic, bacchiac, and one iambic octonarius), while others are in iambic senarii. The order of the fragments differs in different editions and is not entirely certain. However, it is most likely that, like most of Plautus's plays, Bacchides began with the spoken iambic senarii verse. The reconstruction given below is based on the arguments of Bader. In 1968 were published, pieced together from 13 fragments of papyrus discovered in Egypt, some 80 lines of

936-615: The instrument. It may have also been used to prevent the reeds of the instrument from falling down the throat of the player. Another potential use for the phrobeia was holding the lips in place, taking some strain off of the lip muscles. Although aristocrats with sufficient leisure sometimes practiced aulos-playing as they did the lyre , after the later fifth century the aulos became chiefly associated with professional musicians, often slaves. Nevertheless, such musicians could achieve fame. The Romano-Greek writer Lucian discusses aulos playing in his dialogue Harmonides , in which Alexander

972-405: The link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Bacchides&oldid=1062335331 " Category : Disambiguation pages Hidden categories: Short description is different from Wikidata All article disambiguation pages All disambiguation pages Bacchides (play) The play is probably an adaptation of

1008-411: The money he needs. Chrysalus therefore tells Nicobulus that Mnesilochus has been making love to the wife of a soldier called Cleomachus who is threatening to kill Mnesilochus. To protect his son, Nicobulus willingly promises to pay the money. Later, in yet another deception, Chrysalus persuades Nicobulus to pay another 200 gold pieces to prevent his son committing perjury. Shortly afterwards Nicobulus meets

1044-452: The money is still in Ephesus; in this way Mnesilochus will be able to keep some of the money to pay for Bacchis's release from her contract with the soldier. But when by chance Mnesilochus hears that Pistoclerus has acquired a girlfriend called Bacchis, in his anger he gives all the money to his father, keeping none back. Too late, he learns from Pistoclerus that there are two Bacchises. He begs Chrysalus to play another trick on his father to get

1080-474: The play Δὶς Ἐξαπατῶν ( Dis Exapaton ), meaning Twice Deceiving or The Double Deceiver, by the Greek playwright Menander . The beginning of it is lost, but the outline of the missing scenes can be partly reconstructed from twenty surviving fragments. One feature of the play which has puzzled scholars is that while Menander's original play was called "The Twice Deceiving", there appear to be three deceptions in

1116-682: The process of completing his tenth labor . Auletes can be seen playing in a procession going around on the neck of the amphora. The sounds of the aulos are being digitally recreated by the Ancient Instruments Sound/Timbre Reconstruction Application (ASTRA) project which uses physical modeling synthesis to simulate the aulos sounds. Due to the complexity of this process the ASTRA project uses grid computing to model sounds on hundreds of computers throughout Europe simultaneously. The aulos

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1152-552: The pure lord of Delphi 's mind worked in different ways from Marsyas's, he celebrated his victory by stringing his opponent up from a tree and flaying him alive. Marsyas's blood and the tears of the Muses formed the river Marsyas in Asia Minor. This tale was a warning against committing the sin of " hubris ", or overweening pride, in that Marsyas thought he might win against a god. Strange and brutal as it is, this myth reflects

1188-404: The scene to replace a choral interlude in Menander. Another change that it has been suggested that Plautus may have made is to introduce a third deception to Menander's play. The third deception involves the concept of fides ("loyalty, faith, keeping one's word"), which is a particularly Roman one. It is argued by Owens (1994) that the typically Roman behaviour of Nicobulus is contrasted with

1224-530: The soldier and learns that Bacchis is only a courtesan who owed the soldier money. Furious, Nicobulus and Pistoclerus's father Philoxenus go to the Bacchis sisters' house to confront their sons; the two sisters come out, tease them and charm them and persuade them to come in and enjoy the party. Plautus's plays are traditionally divided into five acts. However, it is not thought that the act-divisions go back to Plautus's time, since no manuscript contains them before

1260-559: The untrustworthy deceptive behaviour of Chrysalus, which to a Roman audience might have seemed typically Greek. In the scene between Mnesilochus and Pistoclerus also, Plautus has greatly expanded on the importance of keeping one's word (lines 540–542), whereas in the corresponding Menander passage Sostratos merely accused Bacchis of acting unjustly. Several of the characters names are significant. Nicobulus ironically means Victorious in counsel , Chrysalus means Goldie , Cleomachus means Glorious fighter , and Bacchis means Bacchant ,

1296-454: Was a center of aulos-playing. At Sparta —which had no Bacchic or Korybantic cults to serve as contrast—the aulos was actually associated with Apollo, and accompanied the hoplites into battle. The battle scene on the Chigi vase shows an aulos player setting a lyrical rhythm for the hoplite phalanx to advance to. This accompaniment reduced the possibility of an opening in the formation of

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