Епски пејачи во микенскиот свет?

Abstract

Analysis of the Linear B records shows that, although the word aoidoi cannot be found on the tablets, the existence of box lyres - the traditional instrument of the aoidoi - in this period can be corroborated through ru-ra-ta-e (TH Av 106); the personal names Ru-ro (KN V 832, PY Aq 64, PY Jo 438); and Ki-ny-ra (PY Qa 1301, Vn 865 and maybe in PY Aq 218). These were the names of functionaries in Mycenaean society and this fact confi rms the importance of this instrument for the upper classes. The connection of Ki-ny-ra with the Semitic knr reveals the infl uence of other Mediterranean cultures on Mycenaean culture. The ethnics Ai-ku-pi-ti-jo, Mi-sa-ra-jo, Ai-ti-jo-qo and Turi-jo also demonstrate the existence of relations between the Mycenaean and other Mediterranean civilizations of this period in which epic poetry prospered; and this fact shows that it would have been impossible for the Mycenaeans not to have learnt anything about such singers and poetry. Archaeological findings corroborate the existence of the lyre in this period, in particular the lyre-player depicted in the fresco in the throne-room at Pylos, who undoubtedly resembles an aoidos. Even if we accept claims that all such representations existed only in the context of a cult, this would serve simply to confi rm rather than deny the existence of aoidoi. Moreover, given that Demodocus sings of the love between Ares and Aphrodite in The Odyssey, we can claim that religious hymns were a part of the repertoire of the aoidoi together with epic poetry.