Symposium - Revision history

Etenne at 23:50, 2 July 2022

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	In [[ancient Greece]], the '''symposium''' (plural symposia) (συμπόσιον) ''symposion'', from συμπίνειν ''sympinein'', "to drink together") was a drinking party.<ref name=garnsey>Peter Garnsey, ''Food and Society in Classical Antiquity'' (Cambridge University Press, 1999), p. 136 [http://books.google.com/books?id=iFSPK9dWqQgC&pg=PA136&dq=convivium+symposium&cd=1#v=onepage&q=convivium%20symposium&f=false online]; Sara Elise Phang, ''Roman Military Service: Ideologies of Discipline in the Late Republic and Early Principate'' (Cambridge University Press, 2008), pp. 263–264.</ref> Literary works that describe or take place at a symposium include two Socratic dialogues, Plato's ''Symposium'' and Xenophon's ''Symposium'', as well as a number of Greek poems such as the elegies of Theognis of Megara. Symposia are depicted in Greek and Etruscan art that shows similar scenes.<ref name=garnsey/>		In [[ancient Greece]], the '''symposium''' (plural symposia) (συμπόσιον) ''symposion'', from συμπίνειν ''sympinein'', "to drink together") was a drinking party, often held in the [[Andron]].<ref name=garnsey>Peter Garnsey, ''Food and Society in Classical Antiquity'' (Cambridge University Press, 1999), p. 136 [http://books.google.com/books?id=iFSPK9dWqQgC&pg=PA136&dq=convivium+symposium&cd=1#v=onepage&q=convivium%20symposium&f=false online]; Sara Elise Phang, ''Roman Military Service: Ideologies of Discipline in the Late Republic and Early Principate'' (Cambridge University Press, 2008), pp. 263–264.</ref> Literary works that describe or take place at a symposium include two Socratic dialogues, Plato's ''Symposium'' and Xenophon's ''Symposium'', as well as a number of Greek poems such as the elegies of Theognis of Megara. Symposia are depicted in Greek and Etruscan art that shows similar scenes.<ref name=garnsey/>
	[[File:800px-Symposiumnorthwall.jpg\|thumb\|400px\|<center>'''Symposium scene'''<br>		[[File:800px-Symposiumnorthwall.jpg\|thumb\|400px\|<center>'''Symposium scene'''<br>
	(Fresco from the [[Tomb of the Diver]], 475 BC)<br>		(Fresco from the [[Tomb of the Diver]], 475 BC)<br>

Etenne at 23:13, 2 July 2022

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	In [[ancient Greece]], the '''symposium''' (συμπόσιον) ''symposion'', from συμπίνειν ''sympinein'', "to drink together") was a drinking party.<ref name=garnsey>Peter Garnsey, ''Food and Society in Classical Antiquity'' (Cambridge University Press, 1999), p. 136 [http://books.google.com/books?id=iFSPK9dWqQgC&pg=PA136&dq=convivium+symposium&cd=1#v=onepage&q=convivium%20symposium&f=false online]; Sara Elise Phang, ''Roman Military Service: Ideologies of Discipline in the Late Republic and Early Principate'' (Cambridge University Press, 2008), pp. 263–264.</ref> Literary works that describe or take place at a symposium include two Socratic dialogues, Plato's ''Symposium'' and Xenophon's ''Symposium'', as well as a number of Greek poems such as the elegies of Theognis of Megara. Symposia are depicted in Greek and Etruscan art that shows similar scenes.<ref name=garnsey/>		In [[ancient Greece]], the '''symposium''' (plural symposia) (συμπόσιον) ''symposion'', from συμπίνειν ''sympinein'', "to drink together") was a drinking party.<ref name=garnsey>Peter Garnsey, ''Food and Society in Classical Antiquity'' (Cambridge University Press, 1999), p. 136 [http://books.google.com/books?id=iFSPK9dWqQgC&pg=PA136&dq=convivium+symposium&cd=1#v=onepage&q=convivium%20symposium&f=false online]; Sara Elise Phang, ''Roman Military Service: Ideologies of Discipline in the Late Republic and Early Principate'' (Cambridge University Press, 2008), pp. 263–264.</ref> Literary works that describe or take place at a symposium include two Socratic dialogues, Plato's ''Symposium'' and Xenophon's ''Symposium'', as well as a number of Greek poems such as the elegies of Theognis of Megara. Symposia are depicted in Greek and Etruscan art that shows similar scenes.<ref name=garnsey/>
	[[File:800px-Symposiumnorthwall.jpg\|thumb\|400px\|<center>'''Symposium scene'''<br>		[[File:800px-Symposiumnorthwall.jpg\|thumb\|400px\|<center>'''Symposium scene'''<br>
	(Fresco from the [[Tomb of the Diver]], 475 BC)<br>		(Fresco from the [[Tomb of the Diver]], 475 BC)<br>

Etenne at 22:51, 2 July 2022

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	* [http://www.thefullwiki.org/Symposium Symposium (the full wiki)]		* [http://www.thefullwiki.org/Symposium Symposium (the full wiki)]
			{{Navbox Ancient Greece}}
	[[Category:Ancient Greece]]		[[Category:Ancient Greece]]

Dandelion: /* Entertainments */

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Entertainments

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	==Entertainments==		==Entertainments==
	[[File:Symposium.png\|thumb\|350px\|left\|Symposium. Attic red-figure cup by Douris, c. 485 BCE. London, British Museum, E49. ]]		[[File:Symposium.png\|thumb\|350px\|left\|Symposium. Attic red-figure cup by Douris, c. 485 BCE. London, British Museum, E49.]]

	Poetry and music were central to the pleasures of the symposium. Slaves and boys provided service and entertainment. Although free women of status did not attend symposia, high-class female prostitutes ''(hetairai)'' and other entertainers (musicians and orators) were sometimes hired to perform, consort, and converse with the guests. Among the instruments that might be played was the ''aulos'', a Greek woodwind instrument sometimes compared to an oboe. When string instruments were played, the ''barbiton'' was the traditional instrument.<ref>{{cite web\|url=http://ccat.sas.upenn.edu/bmcr/2004/2004-09-16.html \|title=Bryn Mawr Classical Review 2004.09.16 of Alessandro Iannucci, La Parola e l'Azione: I Frammenti Simposiali di Crizia. Bologna: Edizioni Nautilus, 2002 \|publisher=Ccat.sas.upenn.edu \|date= \|accessdate=2012-08-19}}</ref>		Poetry and music were central to the pleasures of the symposium. Slaves and boys provided service and entertainment. Although free women of status did not attend symposia, high-class female prostitutes ''(hetairai)'' and other entertainers (musicians and orators) were sometimes hired to perform, consort, and converse with the guests. Among the instruments that might be played was the ''aulos'', a Greek woodwind instrument sometimes compared to an oboe. When string instruments were played, the ''barbiton'' was the traditional instrument.<ref>{{cite web\|url=http://ccat.sas.upenn.edu/bmcr/2004/2004-09-16.html \|title=Bryn Mawr Classical Review 2004.09.16 of Alessandro Iannucci, La Parola e l'Azione: I Frammenti Simposiali di Crizia. Bologna: Edizioni Nautilus, 2002 \|publisher=Ccat.sas.upenn.edu \|date= \|accessdate=2012-08-19}}</ref>

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	==Drinking==		==Drinking==
	[[File:Tomb of the Diver symposium.jpg\|thumb\|left\|250px\|<center>''[[Erastes]]'' and ''[[eromenos]]'' in a [[symposium]] scene from the [[Tomb of the Diver]] in Paestum (North wall - detail)</center>]]		[[File:Tomb of the Diver symposium.jpg\|thumb\|left\|250px\|<center>''[[Erastes]]'' and ''[[eromenos]]'' in a [[symposium]] scene from the [[Tomb of the Diver]] in Paestum (North wall - detail)</center>]]
	A symposium would be overseen by a "[[symposiarch]]" who would decide how strong the wine for the evening would be, depending on whether serious discussions or merely sensual indulgence were in the offing. The Greeks and Romans customarily served their wine mixed with water, as the drinking of pure wine was considered a habit of ~~[[Heterosexual\|~~uncivilized peoples]]. However, there were major differences between the Roman and Greek symposiums. A Roman symposium served wine before, with and after food was served, and women were allowed to join. In a Greek symposium, wine was only drunk after dinner, and women were not allowed to attend.<ref>{{cite book\|last1=Gately\|first1=Iain\|title=Drink: A Cultural History Of Alcohol\|date=2008\|publisher=Penguin Group\|location=New York\|isbn=978-1-592-40464-3\|page=32}}</ref>The wine was drawn from a ''[[krater]]'', a large jar designed to be carried by two men, and served from pitchers ''([[oenochoe]])''. Certain formalities were observed, most important among which were [[libation]]s, the pouring of a small amount of wine in honour of various deities or the mourned dead.		A symposium would be overseen by a "[[symposiarch]]" who would decide how strong the wine for the evening would be, depending on whether serious discussions or merely sensual indulgence were in the offing. The Greeks and Romans customarily served their wine mixed with water, as the drinking of pure wine was considered a habit of uncivilized peoples. However, there were major differences between the Roman and Greek symposiums. A Roman symposium served wine before, with and after food was served, and women were allowed to join. In a Greek symposium, wine was only drunk after dinner, and women were not allowed to attend.<ref>{{cite book\|last1=Gately\|first1=Iain\|title=Drink: A Cultural History Of Alcohol\|date=2008\|publisher=Penguin Group\|location=New York\|isbn=978-1-592-40464-3\|page=32}}</ref>The wine was drawn from a ''[[krater]]'', a large jar designed to be carried by two men, and served from pitchers ''([[oenochoe]])''. Certain formalities were observed, most important among which were [[libation]]s, the pouring of a small amount of wine in honour of various deities or the mourned dead.

	In a fragment from his c. 375 BC play ''Semele or Dionysus'', [[Eubulus (poet)\|Eubulus]] has the god of wine [[Dionysos]] describe proper and improper drinking:		In a fragment from his c. 375 BC play ''Semele or Dionysus'', [[Eubulus (poet)\|Eubulus]] has the god of wine [[Dionysos]] describe proper and improper drinking:
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	==Entertainments==		==Entertainments==
	[[File:Symposium.png\|thumb\|~~375px~~\|left\|Symposium. Attic red-figure cup by Douris, c. 485 BCE. London, British Museum, E49. ]]		[[File:Symposium.png\|thumb\|350px\|left\|Symposium. Attic red-figure cup by Douris, c. 485 BCE. London, British Museum, E49. ]]

	Poetry and music were central to the pleasures of the symposium. Slaves and boys provided service and entertainment. Although free women of status did not attend symposia, high-class female prostitutes ''(hetairai)'' and other entertainers (musicians and orators) were sometimes hired to perform, consort, and converse with the guests. Among the instruments that might be played was the ''aulos'', a Greek woodwind instrument sometimes compared to an oboe. When string instruments were played, the ''barbiton'' was the traditional instrument.<ref>{{cite web\|url=http://ccat.sas.upenn.edu/bmcr/2004/2004-09-16.html \|title=Bryn Mawr Classical Review 2004.09.16 of Alessandro Iannucci, La Parola e l'Azione: I Frammenti Simposiali di Crizia. Bologna: Edizioni Nautilus, 2002 \|publisher=Ccat.sas.upenn.edu \|date= \|accessdate=2012-08-19}}</ref>		Poetry and music were central to the pleasures of the symposium. Slaves and boys provided service and entertainment. Although free women of status did not attend symposia, high-class female prostitutes ''(hetairai)'' and other entertainers (musicians and orators) were sometimes hired to perform, consort, and converse with the guests. Among the instruments that might be played was the ''aulos'', a Greek woodwind instrument sometimes compared to an oboe. When string instruments were played, the ''barbiton'' was the traditional instrument.<ref>{{cite web\|url=http://ccat.sas.upenn.edu/bmcr/2004/2004-09-16.html \|title=Bryn Mawr Classical Review 2004.09.16 of Alessandro Iannucci, La Parola e l'Azione: I Frammenti Simposiali di Crizia. Bologna: Edizioni Nautilus, 2002 \|publisher=Ccat.sas.upenn.edu \|date= \|accessdate=2012-08-19}}</ref>

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	\|[[File:606px-Metropolitan kylix - Man bargaining for sex.jpg\|200px\|thumb\|left\| Man soliciting boy for sex in exchange for a purse containing coins. – Athens, 5th century BCE]]		\|[[File:606px-Metropolitan kylix - Man bargaining for sex.jpg\|200px\|thumb\|left\| Man soliciting boy for sex in exchange for a purse containing coins. – Athens, 5th century BCE]]
	[[File:BRYGOS PAINTER -475c Man fondling a boy at the palaestra (Ashmolean Museum 1967.304) ~~770x768~~.jpg\|200px\|thumb\|right\|Pederastic scene at the [[palaestra]]: man and youth about to make love. ca.480–470 BC.]]		[[File:BRYGOS PAINTER -475c Man fondling a boy at the palaestra (Ashmolean Museum 1967.304).jpg\|200px\|thumb\|right\|Pederastic scene at the [[palaestra]]: man and youth about to make love. ca.480–470 BC.]]
	\|}		\|}
	{{clr}}		{{clr}}

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	==Entertainments==		==Entertainments==
	[[File:Symposium.png\|thumb\|~~300px~~\|left\|Symposium. Attic red-figure cup by Douris, c. 485 BCE. London, British Museum, E49. ]]		[[File:Symposium.png\|thumb\|375px\|left\|Symposium. Attic red-figure cup by Douris, c. 485 BCE. London, British Museum, E49. ]]

	Poetry and music were central to the pleasures of the symposium. Slaves and boys provided service and entertainment. Although free women of status did not attend symposia, high-class female prostitutes ''(hetairai)'' and other entertainers (musicians and orators) were sometimes hired to perform, consort, and converse with the guests. Among the instruments that might be played was the ''aulos'', a Greek woodwind instrument sometimes compared to an oboe. When string instruments were played, the ''barbiton'' was the traditional instrument.<ref>{{cite web\|url=http://ccat.sas.upenn.edu/bmcr/2004/2004-09-16.html \|title=Bryn Mawr Classical Review 2004.09.16 of Alessandro Iannucci, La Parola e l'Azione: I Frammenti Simposiali di Crizia. Bologna: Edizioni Nautilus, 2002 \|publisher=Ccat.sas.upenn.edu \|date= \|accessdate=2012-08-19}}</ref>		Poetry and music were central to the pleasures of the symposium. Slaves and boys provided service and entertainment. Although free women of status did not attend symposia, high-class female prostitutes ''(hetairai)'' and other entertainers (musicians and orators) were sometimes hired to perform, consort, and converse with the guests. Among the instruments that might be played was the ''aulos'', a Greek woodwind instrument sometimes compared to an oboe. When string instruments were played, the ''barbiton'' was the traditional instrument.<ref>{{cite web\|url=http://ccat.sas.upenn.edu/bmcr/2004/2004-09-16.html \|title=Bryn Mawr Classical Review 2004.09.16 of Alessandro Iannucci, La Parola e l'Azione: I Frammenti Simposiali di Crizia. Bologna: Edizioni Nautilus, 2002 \|publisher=Ccat.sas.upenn.edu \|date= \|accessdate=2012-08-19}}</ref>

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2017-09-21T02:15:17Z

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	==Entertainments==		==Entertainments==
	[[File:~~EUAION PAINTER -455c Boy serving wine in a banquet (Louvre G467) 2080x1390~~.~~jpg~~\|thumb\|300px\|left\|~~<center>Boy serving wine in a banquet,</center> holding an oenochoe (wine jug) in his right hand and a kylix (shallow cup) in his left hand~~. ~~Side A from and~~ Attic red-figure ~~[[kylix]]~~, ca. ~~460-450 BC~~.]]		[[File:Symposium.png\|thumb\|300px\|left\|Symposium. Attic red-figure cup by Douris, c. 485 BCE. London, British Museum, E49. ]]

	Poetry and music were central to the pleasures of the symposium. Slaves and boys provided service and entertainment. Although free women of status did not attend symposia, high-class female prostitutes ''(hetairai)'' and other entertainers (musicians and orators) were sometimes hired to perform, consort, and converse with the guests. Among the instruments that might be played was the ''aulos'', a Greek woodwind instrument sometimes compared to an oboe. When string instruments were played, the ''barbiton'' was the traditional instrument.<ref>{{cite web\|url=http://ccat.sas.upenn.edu/bmcr/2004/2004-09-16.html \|title=Bryn Mawr Classical Review 2004.09.16 of Alessandro Iannucci, La Parola e l'Azione: I Frammenti Simposiali di Crizia. Bologna: Edizioni Nautilus, 2002 \|publisher=Ccat.sas.upenn.edu \|date= \|accessdate=2012-08-19}}</ref>		Poetry and music were central to the pleasures of the symposium. Slaves and boys provided service and entertainment. Although free women of status did not attend symposia, high-class female prostitutes ''(hetairai)'' and other entertainers (musicians and orators) were sometimes hired to perform, consort, and converse with the guests. Among the instruments that might be played was the ''aulos'', a Greek woodwind instrument sometimes compared to an oboe. When string instruments were played, the ''barbiton'' was the traditional instrument.<ref>{{cite web\|url=http://ccat.sas.upenn.edu/bmcr/2004/2004-09-16.html \|title=Bryn Mawr Classical Review 2004.09.16 of Alessandro Iannucci, La Parola e l'Azione: I Frammenti Simposiali di Crizia. Bologna: Edizioni Nautilus, 2002 \|publisher=Ccat.sas.upenn.edu \|date= \|accessdate=2012-08-19}}</ref>

User4: /* Exturnal links */

2016-04-05T18:29:08Z

Exturnal links

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	==Exturnal links==		==Exturnal links==
	*[http://en.wikipedia.org/wiki/Symposium Symposium (~~Wikipeidia~~)]		*[http://en.wikipedia.org/wiki/Symposium Symposium (Wikipedia)]

	* [http://www.thefullwiki.org/Symposium Symposium (the full wiki)]		* [http://www.thefullwiki.org/Symposium Symposium (the full wiki)]
	[[Category:Ancient Greece]]		[[Category:Ancient Greece]]