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Amoebaean singing is a type of singing competition originating in Ancient Greece. In it, a first party sings according to a topic and verse structure of their choosing. A second singer then responds with the same verse structure and on a related topic. This repeats until one side concedes or a third party can determine the winner.
The form is believed to have been used by Greek shepherds to entertain themselves. Later, it would evolve into a judged competition, consisting of multiple rounds of singing between competitors. Competitors would be judged more favorably if they could continue a theme through multiple rounds. [1]
The poet Theocritus relied heavily on Amoebaean singing, with it becoming his and his successors' "hallmark", according to David M. Halperin. [1]
Amoebaean singing can be seen in Theocritus' Idyll 5: The Goatherd and the Shepherd, in an exchange between the goatherd Comatas and the shepherd Lacon. [1] [2]
Comatas
The Muses bear me greater love than Daphnis ere did see;
And well they may, fort’other day they had two goats for me.
Lacon
But Apollo loves me all as well, and an offering too have I,
A fine fat ram a-batt’ning; for Apollo’s feast draws nigh.
Polyphemus is the one-eyed giant son of Poseidon and Thoosa in Greek mythology, one of the Cyclopes described in Homer's Odyssey. His name means "abounding in songs and legends", "many-voiced" or "very famous". Polyphemus first appeared as a savage man-eating giant in the ninth book of the Odyssey. The satyr play of Euripides is dependent on this episode apart from one detail; Polyphemus is made a pederast in the play. Later Classical writers presented him in their poems as heterosexual and linked his name with the nymph Galatea. Often he was portrayed as unsuccessful in these, and as unaware of his disproportionate size and musical failings. In the work of even later authors, however, he is presented as both a successful lover and skilled musician. From the Renaissance on, art and literature reflect all of these interpretations of the giant.
In Greek mythology, Daphnis was a legendary Sicilian cowherd who was said to be the inventor of pastoral poetry. According to Diodorus the Sicilian, Daphnis was born in the Heraean Mountains of central Sicily.
Theocritus was a Greek poet from Sicily, Magna Graecia, and the creator of Ancient Greek pastoral poetry.
The pastoral genre of literature, art, or music depicts an idealised form of the shepherd's lifestyle – herding livestock around open areas of land according to the seasons and the changing availability of water and pasture. The target audience is typically an urban one. A pastoral is a work of this genre. A piece of music in the genre is usually referred to as a pastorale.
The Eclogues, also called the Bucolics, is the first of the three major works of the Latin poet Virgil.
Corydon is a stock name for a herdsman in ancient Greek pastoral poems and fables, and in much later European literature.
The pastoral elegy is a poem about both death and idyllic rural life. Often, the pastoral elegy features shepherds. The genre is actually a subgroup of pastoral poetry, as the elegy takes the pastoral elements and relates them to expressing grief at a loss. This form of poetry has several key features, including the invocation of the Muse, expression of the shepherd's, or poet's, grief, praise of the deceased, a tirade against death, a detailing of the effects of this specific death upon nature, and eventually, the poet's simultaneous acceptance of death's inevitability and hope for immortality. Additional features sometimes found within pastoral elegies include a procession of mourners, satirical digressions about different topics stemming from the death, and symbolism through flowers, refrains, and rhetorical questions. The pastoral elegy is typically incredibly moving and in its most classic form, it concerns itself with simple, country figures. In ordinary pastoral poems, the shepherd is the poem's main character. In pastoral elegies, the deceased is often recast as a shepherd, despite what his role may have been in life. Further, after being recast as a shepherd, the deceased is often surrounded by classical mythology figures, such as nymphs, fauns, etc. Pastoral elegy is one of the forms of poems in Elizabethan poetry.
Idyll VI, otherwise known as Bucolic poem 6, was written by Theocritus in dactylic hexameter. The exact date of its composition is unknown. It references characters that have appeared in other works of literature such as Homer's Odyssey, Ovid's Metamorphoses, and Theocritus' Idyll XI.
Idyll XI, otherwise known as Bucolic poem 11, was written by Theocritus in dactylic hexameter. Its main character, the Cyclops Polyphemus, has appeared in other works of literature such as Homer's Odyssey, and Theocritus' Idyll VI.
Opp Amaryllis! is one of the Swedish poet and performer Carl Michael Bellman's songs from his 1791 collection, Fredman's Songs, where it is No. 31. The song is a graceful pastorale in rococo style, involving a sleeping nymph who is invited to come fishing upon the sea's stormy wave. In reality, the nymph is a Swedish woman, Wilhelmina Norman, the stormy wave is a Swedish waterway, and the progression from shore to fishing-boat can equally well be read as a seduction. It is one of Bellman's best-known and best-loved songs, and has been recorded by musicians including Folke Andersson and Edvard Andreasson.
Idyll I, sometimes called Θύρσις ('Thyrsis'), is a bucolic poem by the 3rd-century BC Greek poet Theocritus which takes the form of a dialogue between two rustics in a pastoral setting. Thyrsis meets a goatherd in a shady place beside a spring, and at his invitation sings the story of Daphnis. This ideal hero of Greek pastoral song had won for his bride the fairest of the Nymphs. Confident in the strength of his passion, he boasted that Love could never subdue him to a new affection. Love avenged himself by making Daphnis desire a strange maiden, but to this temptation he never yielded, and so died a constant lover. The song tells how the cattle and the wild things of the wood bewailed him, how Hermes and Priapus gave him counsel in vain, and how with his last breath he retorted the taunts of Aphrodite.
Idyll VII, also called θαλύσια, is a bucolic poem by the 3rd-century BC Greek poet Theocritus. The dramatic persona, a poet, making his way through the noonday heat, with two friends, to a harvest feast, meets the goatherd, Lycidas. To humour the poet Lycidas sings a love song of his own, and the other replies with verses about the passion of Aratus, the famous writer of didactic verse. After a courteous parting from Lycidas, the poet and his two friends repair to the orchard, where Demeter is being gratified with the first-fruits of harvest and vintaging.
Idyll III, also called Κώμος, is a bucolic poem by the 3rd-century BC Greek poet Theocritus. The poet appears to personate a young goatherd, who after five lines dedicatory to a friend whom he calls Tityrus, serenades his mistress Amaryllis outside her cave. The poem is a monologue, but, like Idyll II, preserves the dialogue-form by means of a dumb character.
Eclogue 3 is a pastoral poem by the Latin poet Virgil, one of a collection of ten poems known as the "Eclogues". This eclogue represents the rivalry in song of two herdsmen, Menalcas and Damoetas. After trading insults, the two men decide to have a singing competition, for which each offers a prize. A neighbour, Palaemon, who comes along by chance, agrees to be the judge. The second half of the poem consists of the contest, in which each of the two competitors in turn sings a couplet and the other caps it with another couplet. In the end Palaemon brings the contest to an end and declares it a draw.
Eclogue 7 is a poem by the Latin poet Virgil, one of his book of ten pastoral poems known as the Eclogues. It is an amoebaean poem in which a herdsman Meliboeus recounts a contest between the shepherd Thyrsis and the goatherd Corydon.
Eclogue 8, also titled Pharmaceutria, is a pastoral poem by the Latin poet Virgil, one of his book of ten Eclogues. After an introduction, containing an address to an unnamed dedicatee, there follow two love songs of equal length sung by two herdsmen, Damon and Alphesiboeus. One is the song of a love-sick young man, whose girlfriend Nysa is marrying another man, Mopsus. The second is the song of a woman who, with the help of her servant Amaryllis, is performing a magic rite to try to entice her beloved Daphnis back from the city.
Eclogue 9 is a pastoral poem by the Latin poet Virgil, one of his series of ten poems known as the Eclogues. This eclogue describes the meeting of two countrymen Lycidas and Moeris. Moeris has been turned out of his farm and is taking some kid goats to town for the new occupant; young Lycidas is astonished, for he had heard that Menalcas had secured the safety of the district by his poetry, but Moeris replies that, so far from that being so, he and Menalcas himself had barely escaped with their lives: they then proceed to recall passages of Menalcas' poetry. Lycidas wants to continue singing to lighten the journey but the distressed Moeris begs him to cease, promising that they will sing again when Menalcas returns.
Idyll V, sometimes called Αιπολικόν και Ποιμενικόν, is a bucolic poem by the 3rd-century BC Greek poet Theocritus. This Idyll begins with a ribald debate between two hirelings, who, at last, compete with each other in a match of pastoral song. The scene is in Southern Italy.
Idyll VIII, also called Βουκολιασταί βʹ, is a bucolic poem by the 3rd-century BC Greek poet Theocritus.
Idyll IX, also titled Βουκολιασταί γʹ, is a bucolic poem by the 3rd-century BC Greek poet Theocritus. Daphnis and Menalcas, at the bidding of the poet, sing the joys of the neatherds and of the shepherds life. Both receive the thanks of the poet, and rustic prizes—a staff and a horn, made of a spiral shell.
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