Theocritus’ Idyll 6, ‘The Country Singing Match’ depicts a friendly contest between two characters, Damoetas and the ‘neatherd’(1) Daphnis. The latter plays the part of Polyphemus, who later becomes the Cyclops of the Odyssey, while the former addresses his song to Polyphemus. Such singing contests were occasionally performed to the public as a form of entertainment, spectacles that Stephen Walker believes Theocritus may have witnessed ‘as a child'(Stephen F Walker, Theocritus (Boston: Twayne Publishers, 1980), p.16.).
The opening lines of the Idyll introduce Damoetas and Daphnis, as they drive their herds to a single spot at ‘noon’ (2) and sit them by a water spring. The reference to noon is relevant in accordance to a shepherd’s schedule as it is when their animals rest, particularly on a hot ‘summer’s day’(2).
Daphnis sings first, addressing the ‘Cyclops’(5) (Damoetas as Polyphemus) and telling him that he can see Galatea throwing ‘apples’ (5), or rather love-gifts. In mythology, apples are known as the forbidden fruit, acting as a symbol of desire in this Idyll. Galatea is literally throwing her affections and desires at Polyphemus but he seems totally oblivious, playing his pipe and looking ‘seaward’(9) instead. Galatea is portrayed in a highly sexual, promiscuous manner in the following section of Daphnis’ song, warning Damoetas (as Polyphemus) that Galatea will ‘come from the deep’(11) leaping with her ‘bonny’(11) legs and ‘sweet pretty flesh’(12) for she ‘wantons’(12) upon him. Daphnis explains Galatea’s behaviour, stating that if Polyphemus was to ‘cease’(15) his wooing, she will pursue her flirting, but the moment he pays her any attention she will ‘fly ye and deny ye’(14). The relationship that the two share is compared to a game when Daphnis sings of the ‘King’s move’(15), the final move, implying that Galatea will have control over Polyphemus like a player is in control of their piece. He attempts to justify this foul play by suggesting that everything is ‘fair’(16) in love.
Then it is Damoetas’ turn to sing, in answer to all he has heard. He claims that he ‘saw’(18) her throwing the apples for he was ‘not blind’(19). He then mentions ‘Telemus’ (20), a prophet who predicted the blinding of Polyphemus by Odysseus. This reference shows that Polyphemus is aware of his eventual fate, creating a cruel irony: at the moment he is pretending he cannot see Galatea but one day he will actually not be able to. Damoetas also explicitly states that he actively teased Galatea and told her there are ‘other wives to wed’(23) in order to make her ‘jealous’(23), so that she would ‘pine’(24) for him. Polyphemus ‘hissed’(26) at the dog that lay its ‘snout’(27) on her lap, potentially a sexual frustration on his part as resting on someone's lap is an affectionate and arguably intimate position. Behind all of Polyphemus’ mind games and actions is the hope that Galatea will send him ‘messages’(28), but until she does, he will ‘bar the door’(29) until she swears to be his ‘wedded mate’(29). When we consider their relationship as lovers the door metaphor has sexual connotations: Polyphemus will not open the door (give in to desire and have sex with Galatea) until they are married.
Damoetas’ song ends with a decription of his ‘ill favoured’(30) appearance that will begin to find out isn’t actually all that bad. The ‘glassy’(30) sea showed him his reflection and he saw that his ‘beard and eye were pretty’(31), and he had ‘teeth like marble’(32). The final couplet of this song make reference to a superstition: to see one’s reflection made one more liable to the effects of the evil eye. To avert this fate one must spit, hence Damoetas stating ‘thrice in my breast I spit’(33) after seeing himself in the sea. It is an example of apotropaic magic- a ritual observance intended to turn away evil.
After the singing match is complete, the men exchange a ‘pipe’(34) and a ‘pretty flue’(35). Neither have won the match as they both stood ‘unvanquished’(38), receiving instruments of equal value and turning in to ‘dancers’(37) among the ‘tender grass’(37).
POSTED BY LAUREN
Hi Lauren: a detailed account of the Idyll that effectively re-tells the narrative; but you don't go any further than that -- it's description rather than analysis. Clearly written with lots of specific textual reference, but no larger sense of what the 'singing match' signifies, more broadly; what relation it has to other pastoral traditions, and so on.
ReplyDeleteThey don't just exchange gifts. They kiss. This poem should be read as a counterpart to #5, which is about former lovers who now hate each other. #6, in contrast, is about two lads who are still in the process of courting each other.
ReplyDelete