By Chretien de Troyes., Maurice Wilmotte
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Calame's overall thesis seems to me to be in most respects convincing, and he has set out very clearly and fully the evidence for the cults in Sparta with which the performance of this partheneion might be associated, and the evidence in general for archaic girls' choruses by comparison with which many fea5 τείρει is the reading of the papyrus and of ΣB fr. 7 (i) b, see Hutchinson 2001, 7. That many scholars have also offered strong arguments in favour of reading τηρεῖ should raise the question whether Alcman was punning on the two words whose pronunciation and orthography were close – that Οὖτις / οὔτις can be 6 punned on by the poet of Od.
221–23). This seems to mirror the worksongs of mortal women (which later could be either solo or choral). On the level of human society, there are a number of well-defined types of group-song described in these poems: above all, wedding-songs, laments, and paeans. We also find solo singers who are accompanied by a group, whether of dancers, or people taking part in other ways, by clapping, beating time, or various kinds of refrain or cries. Several of these scenes are portrayed on the Shield of Achilles, which appears to be closer to the world of the poet’s own time than the main narrative of the Iliad.
12 In these cases the larger size of the χοραγός may be a mark of status, not of age, cf. Calame 1997, 42–3, 72–3. Cf. further below section 7. 13 3. Agido and Hagesichora This is an appropriate point to look closely at the relation between Agido and Hagesichora. Many scholars have held that Hagesichora is clearly placed by the chorus on a higher plane than Agido, and this ranking is fundamental to Calame's thesis (as it was to that of Griffiths 1972) that Agido is a bride and Hagesichora the cult title of the goddess Helen.