Second Punic War
The Second Punic War referred to as The Hannibalic War and by the Romans the War Against Hannibal, was the second of three wars between Carthage and the Roman Republic, with the participation of Greek polities and Numidian and Iberian forces on both sides. It was one of the deadliest human conflicts of ancient times. Fought across the entire Western Mediterranean region for 17 years and regarded by ancient historians as the greatest war in history, it was waged with unparalleled resources and hatred, it saw hundreds of thousands killed, some of the most lethal battles in military history, the destruction of cities, massacres and enslavements of civilian populations and prisoners of war by both sides. The war began with the Carthaginian general Hannibal's conquest of the pro-Roman Iberian city of Saguntum in 219 BC, prompting a Roman declaration of war on Carthage in the spring of 218. Hannibal surprised the Romans by marching his army overland from Iberia to cross the Alps and invade Roman Italy, followed by his reinforcement by Gallic allies and crushing victories over Roman armies at Trebia in 218 and on the shores of Lake Trasimene in 217.
Moving to southern Italy in 216, Hannibal at Cannae annihilated the largest army the Romans had assembled. After the death or imprisonment of 130,000 Roman troops in two years, 40% of Rome's Italian allies defected to Carthage, giving her control over most of southern Italy. Macedon and Syracuse joined the Carthaginian side after Cannae and the conflict spread to Greece and Sicily. From 215–210 the Carthaginian army and navy launched repeated amphibious assaults to capture Roman Sicily and Sardinia but were repulsed. Against Hannibal's skill on the battlefield, the Romans adopted the Fabian strategy – the avoidance of battle against Hannibal and defeating his allies and the other Carthaginian generals instead. Roman armies recaptured all of the great cities that had joined Carthage and defeated a Carthaginian attempt to reinforce Hannibal at Metaurus in 207. Southern Italy was devastated by the combatants, with hundreds of thousands of civilians killed or enslaved. In Iberia, which served as a major source of silver and manpower for the Carthaginian army, a Roman expeditionary force under Publius Cornelius Scipio captured Carthago Nova, Carthage's capital city in Iberia, in 209.
Scipio's destruction of a Carthaginian army at Ilipa in 206 permanently ended Carthaginian rule in Iberia. He invaded Carthaginian Africa in 204, inflicting two severe defeats on Carthage and her allies at Utica and the Great Plains that compelled the Carthaginian senate to recall Hannibal's army from Italy; the final engagement between Scipio and Hannibal took place at Zama in Africa in 202 and resulted in Hannibal's defeat and the imposition of harsh peace conditions on Carthage, which ceased to be a great power and became a Roman client state until its final destruction by the Romans in 146 BC during the Third Punic War. The Second Punic War overthrew the established balance of power of the ancient world and Rome rose to become the dominant power in the Mediterranean Basin for the next 600 years. Carthage's defeat in the First Punic War meant the loss of Carthaginian Sicily to Rome under the terms of the Roman-dictated 241 BC Treaty of Lutatius. Rome exploited Carthage's distraction during the Truceless War against rebellious mercenaries and Libyan subjects to break the peace treaty and annex Carthaginian Sardinia and Corsica to Rome in 238 BC.
Under the leadership of Hamilcar Barca and his family, Carthage defeated the rebels and began the Barcid conquest of Hispania from 237 BC onward. Control over Spain gave Carthage the silver mines, agricultural wealth, military facilities such as shipyards and territorial depth to stand up to future Roman demands with confidence; the Second Punic War was ignited by the dispute over the hegemony of Saguntum, a Hellenized Iberian coastal city with diplomatic contacts with Rome. After great tension within the city government, culminating in the assassination of the supporters of Carthage, Hannibal laid siege to the city of Saguntum in 219 BC; the city called for Roman aid. Following a prolonged siege of eight months and a bloody struggle, in which Hannibal himself was wounded, the Carthaginians took control of the city. Many of the Saguntians chose to commit suicide rather than face subjugation by the Carthaginians; the loss of Saguntum as a potential base of operations in Carthaginian Iberia was a serious setback to the main Roman strategic objective in Spain: the eviction of the Carthaginians from the peninsula.
The Roman Senate sent an embassy to the Carthaginian Senate that declared war on Carthage in early 218 BC over the attack on Rome's Saguntine ally. Before the war and Hasdrubal the Fair had made a treaty. Livy reports that it was agreed that the Iber should be the boundary between the two empires and that the liberty of the Saguntines should be preserved; the highest priority in Carthaginian strategy was to keep the war away from Carthage's agricultural heartland in Africa and protect the property of the wealthy Carthaginian landowners who controlled Carthaginian politics. Spanish mines and sources of manpower comprised the second pillar of the Carthaginian power base and their protection was essential to maintaining Carthage's status as an independent continental great power. Hannibal's invasion of Italy forced the Romans to abandon their intended invasion of Africa and de-prioritize the reinforcement of Roman armies in Spain. Most Roman troops during the war fought in Italy, which became the main theater of the war as a result of Hannibal's offensive.
Africa remained undisturbed by a Roman invasion army until 204 BC and the Roman military presence in Spain was confined to its northeastern corn
Southwest Paleohispanic script
The Southwest Script or Southwestern Script known as Tartessian or South Lusitanian, is a Paleohispanic script used to write an unknown language identified as Tartessian. Southwest inscriptions have been found in the southwestern quadrant of the Iberian Peninsula in the south of Portugal, but in Spain; the name of this script is controversial. The more neutral name is southwestern, because it refers only to the geographical location where the inscriptions had been found, but it needs some additional precision in a general context; some researchers name this script Tartessian considering it the script of Tartessos. Others prefer to name this script as South Lusitanian, because all the southwestern inscriptions have been found in the south of Portugal, where the Greek and Roman sources locate the Pre-Roman Conii or Cynetes people, rather than in the zone considered Tartessian, but on the other hand, the name South Lusitanian is inconvenient, as it may wrongly suggest a relation with the Lusitanian language.
Other name proposals include Bastulo-Turdetanian and escrita cónia. Excepting the Greco-Iberian alphabet, to a lesser extent this script, paleoiberian scripts shared a distinctive typology: They behaved as a syllabary for the stop consonants and as an alphabet for the remaining consonants and vowels; this unique writing system has been called a semi-syllabary. There is no agreement about. In the southwestern script, although the letter used to write a stop consonant was determined by the following vowel, as in a full semi-syllabary, the following vowel was written, as in an alphabet. A similar convention is found in Etruscan for /k/, written KA CE CI QU depending on the following vowel; some scholars treat Tartessian as a redundant semi-syllabary, others treat it as a redundant alphabet. The southwestern script is similar to the southeastern Iberian script, both considering the shape of the signs and their value; the main difference is that southeastern Iberian script doesn’t show the vocalic redundancy of the syllabic signs.
This characteristic was discovered by Ulrich Schmoll and allows the classification of a great part of the southwestern signs into vowels and syllabic signs. Unlike the northeastern Iberian script the decipherment of the southeastern Iberian script and the southwestern script is not yet closed, because there is still a significant group of signs for which there is no consensus value; this script is exclusively used in near a hundred large stones with funerary purpose. Always the direction of the writing is right to left, but boustrophedon or spiral; the fact that all the southwestern inscriptions had been found out of archaeological context does not permit fixing a precise chronology, but it seems clear that it was used in the 5th century BC. A total of 75 southwest script steles are known. Of these, 16 can be seen in the Southwest Script Museum, in Almodôvar, where a stele with a total of 86 characters discovered in 2008 is on display. Paleohispanic scripts Espanca script Pre-Roman peoples of the Iberian Peninsula Prehistoric Iberia Timeline of Portuguese history Cempsi and Saefs Celtici Correa, José Antonio: «La epigrafía del sudoeste: estado de la cuestión», La Hispania prerromana, pp. 65–75.
Correia, Virgílio-Hipólito: «A escrita pré-romana do Sudoeste peninsular», De Ulisses a Viriato: o primeiro milenio a.c. pp. 88–94. Ferrer i Jané, Joan: «Una aproximació quantitativa a l’anàlisi de l’escriptura del sud-oest», Palaeohispanica 16, pp. 39-79. Guerra, Amilcar: «Novos monumentos epigrafados com escrita do Sudoeste da vertente setentrional da Serra do Caldeirao», Revista portuguesa de arqueologia 5-2, pp. 219–231. Hoz, Javier de: «El origen de la escritura del S. O.», Actas del III coloquio sobre lenguas y culturas paleohispánicas, pp. 423–464. Rodríguez Ramos, Jesús: «La lectura de las inscripciones sudlusitano-tartesias», Faventia 22/1, pp. 21–48. Schmoll, Ulrich: Die sudlusitanischen Inschriften, Wiesbaden. Untermann, Jürgen: Monumenta Linguarum Hispanicarum. IV Die tartessischen, keltiberischen und lusitanischen Inschriften, Wiesbaden. Valério, Miguel: Origin and development of the Paleohispanic scripts: The Orthography and Phonology of the Southwestern Alphabet Tartessian / South-Lusitanian Script - Jesús Rodríguez Ramos Museu da Escrita do Sudoeste Almodôvar website
True thrushes are medium-sized insectivorous or omnivorous birds in the genus Turdus of the wider thrush family, Turdidae. The genus name Turdus is Latin for "thrush"; the term "thrush" is used for many other birds of the family Turdidae as well as for a number of species belonging to several other families. The genus has a cosmopolitan distribution, with species in the Americas, Asia and Australia. Several species have colonised some oceanic islands, two species have been introduced to New Zealand; some New World species are called robins, the most well known of, the American robin. Several species are migratory. While some species are split out of Turdus, the two small thrushes separated in Platycichla by many authors have been restored to the present genus in recent years; the genus Turdus was introduced by the Swedish naturalist Carl Linnaeus in 1758 in the tenth edition of his Systema Naturae. The type species was subsequently designated as the mistle thrush; the name Turdus is Latin word for a "thrush".
Eighty-two extant species are recognized: †Grand Cayman thrush Formerly, some authorities considered the following species as species within the genus Turdus: Rufous whistler Grey shrikethrush †South Island piopio Ethiopian oriole Restless flycatcher Black-headed bulbul Ruby-throated bulbul Red-vented bulbul Sooty-headed bulbul African red-eyed bulbul Cape bulbul Common bulbul Egyptian bulbul Orange-spotted bulbul Yellow-vented bulbul Sombre greenbul Réunion bulbul Mauritius bulbul Malagasy bulbul Black bulbul Philippine bulbul Brown-eared bulbul Voelker, G.. C. K.. C.. "Molecular systematics of a speciose, cosmopolitan songbird genus: defining the limits of, relationships among, the Turdus thrushes". Molecular Phylogenetics and Evolution. 42: 422–434. Doi:10.1016/j.ympev.2006.07.016. PMID 16971142. Videos and sounds - The Internet Bird Collection
Hispania was the Roman name for the Iberian Peninsula and its provinces. Under the Republic, Hispania was divided into two provinces: Hispania Citerior and Hispania Ulterior. During the Principate, Hispania Ulterior was divided into two new provinces and Lusitania, while Hispania Citerior was renamed Hispania Tarraconensis. Subsequently, the western part of Tarraconensis was split off, first as Hispania Nova renamed "Callaecia". From Diocletian's Tetrarchy onwards, the south of remaining Tarraconensis was again split off as Carthaginensis, then too the Balearic Islands and all the resulting provinces formed one civil diocese under the vicarius for the Hispaniae; the name, was used in the period of Visigothic rule. The modern placenames Hispaniola are both derived from Hispania; the origin of the word Hispania is much disputed and the evidence for the various speculations are based upon what are at best mere resemblances to be accidental, suspect supporting evidence. One theory holds it to be from the Phoenician language of colonizing Carthage.
It may derive from a Punic cognate of Hebrew אי-שפניא meaning "island of the hyrax" or "island of the hare" or "island of the rabbit". Some Roman coins of the Emperor Hadrian, born in Hispania, depict a rabbit. Others derive the word from Phoenician span, meaning "hidden", make it indicate "a hidden", that is, "a remote", or "far-distant land". Another theory, proposed by the etymologist Eric Partridge in his work Origins, is that it is of Iberian derivation and that it is to be found in the pre-Roman name for Seville, which hints at an ancient name for the country of *Hispa, an Iberian or Celtic root whose meaning is now lost. Isidore of Sevilla considered Hispania derived from Hispalis. Hispalis may alternatively derive from Heliopolis. According to Manuel Pellicer Catalán, the name derives from Phoenician Spal "lowland", rendering this explanation of Hispania dubious. Hispania was called Hesperia Ultima, "the last western land" in Greek, by Roman writers, since the name Hesperia had been used by the Greeks to indicate the Italian peninsula.
Another theory holds that the name derives from Ezpanna, the Basque word for "border" or "edge", thus meaning the farthest area or place. During Antiquity and Middle Ages, the literary texts derive the term Hispania from an eponymous hero named Hispan, mentioned for the first time in the work of the Roman historian Gnaeus Pompeius Trogus, in the 1st century BC. Although "Hispania" is the Latin root for the modern name "Spain", substituting Spanish for Hispanicus or Hispanic, or Spain for Hispania, should be done and taking into account the correct context; the Estoria de España written on the initiative of Alfonso X of Castile "El Sabio", between 1260 and 1274, during the Reconquest of Spain, is believed to be the first extended history of Spain in Old Spanish using the words "España" and "Españoles" to refer to Medieval Hispania. The use of Latin "Hispania", Castilian "España", Catalan "Espanya" and French "Espaigne", between others, to refer to Roman Hispania or Visigothic Hispania was common throughout all the Late Middle Ages.
A document dated 1292 mentions the names of foreigners from Medieval Spain as "Gracien d'Espaigne". Latin expressions using "Hispania" or "Hispaniae" like "omnes reges Hispaniae" are used in the Middle Ages at the same time as the emerging Spain Romance languages during the Reconquista use the Romance version interchangeably. In James Ist Chronicle Llibre dels fets, written between 1208 and 1276, there are many instances of this: when it talks about the different Kings, "los V regnes de Espanya"; the Latin term Hispania used during Antiquity and the Low Middle Ages as a geographical name, starts to be used with political connotations, as shown in the expression "Laus Hispaniae" to describe the history of the peoples of the Iberian Peninsula of Isidore of Seville's "Historia de regibus Gothorum, Vandalorum et Suevorum".: You are, Oh Spain and always happy mother of princes and peoples, the most beautiful of all the lands that extend far from the West to India. You, by right, are now the queen of all provinces, from whom the lights are given not only the sunset, but the East.
You are the honor and ornament of the orb and the most illustrious portion of the Earth... And for this reason, long ago, the golden Rome desired you In modern history and Spanish have become associated with the Kingdom of Spain alone, although this process took several centuries. After the union of the central peninsular Kingdom of Castile with the eastern peninsular Kingdom of Aragon in the 15th century under the Catholic Monarchs in 1492, onl
Relief is a sculptural technique where the sculpted elements remain attached to a solid background of the same material. The term relief is from the Latin verb relevo. To create a sculpture in relief is to give the impression that the sculpted material has been raised above the background plane. What is performed when a relief is cut in from a flat surface of stone or wood is a lowering of the field, leaving the unsculpted parts raised; the technique involves considerable chiselling away of the background, a time-consuming exercise. On the other hand, a relief saves forming the rear of a subject, is less fragile and more securely fixed than a sculpture in the round one of a standing figure where the ankles are a potential weak point in stone. In other materials such as metal, plaster stucco, ceramics or papier-mâché the form can be just added to or raised up from the background, monumental bronze reliefs are made by casting. There are different degrees of relief depending on the degree of projection of the sculpted form from the field, for which the Italian and French terms are still sometimes used in English.
The full range includes high relief, where more than 50% of the depth is shown and there may be undercut areas, mid-relief, low-relief, shallow-relief or rilievo schiacciato, where the plane is only slightly lower than the sculpted elements. There is sunk relief, restricted to Ancient Egypt. However, the distinction between high relief and low relief is the clearest and most important, these two are the only terms used to discuss most work; the definition of these terms is somewhat variable, many works combine areas in more than one of them, sometimes sliding between them in a single figure. The opposite of relief sculpture is counter-relief, intaglio, or cavo-rilievo, where the form is cut into the field or background rather than rising from it. Hyphens may or may not be used in all these terms, though they are seen in "sunk relief" and are usual in "bas-relief" and "counter-relief". Works in the technique are described as "in relief", in monumental sculpture, the work itself is "a relief".
Reliefs are common throughout the world on the walls of buildings and a variety of smaller settings, a sequence of several panels or sections of relief may represent an extended narrative. Relief is more suitable for depicting complicated subjects with many figures and active poses, such as battles, than free-standing "sculpture in the round". Most ancient architectural reliefs were painted, which helped to define forms in low relief; the subject of reliefs is for convenient reference assumed in this article to be figures, but sculpture in relief depicts decorative geometrical or foliage patterns, as in the arabesques of Islamic art, may be of any subject. Rock reliefs are those carved into solid rock in the open air; this type is found in many cultures, in particular those of the Ancient Near East and Buddhist countries. A stele is a single standing stone; the distinction between high and low relief is somewhat subjective, the two are often combined in a single work. In particular, most "high reliefs" contain sections in low relief in the background.
From the Parthenon Frieze onwards, many single figures in large monumental sculpture have heads in high relief, but their lower legs are in low relief. The projecting figures created in this way work well in reliefs that are seen from below, reflect that the heads of figures are of more interest to both artist and viewer than the legs or feet; as unfinished examples from various periods show, raised reliefs, whether high or low, were "blocked out" by marking the outline of the figure and reducing the background areas to the new background level, work no doubt performed by apprentices. A low relief or bas-relief is a projecting image with a shallow overall depth, for example used on coins, on which all images are in low relief. In the lowest reliefs the relative depth of the elements shown is distorted, if seen from the side the image makes no sense, but from the front the small variations in depth register as a three-dimensional image. Other versions distort depth much less, it is a technique which requires less work, is therefore cheaper to produce, as less of the background needs to be removed in a carving, or less modelling is required.
In the art of Ancient Egypt, Assyrian palace reliefs, other ancient Near Eastern and Asian cultures, Meso-America, a consistent low relief was used for the whole composition. These images would be painted after carving, which helped define the forms; the Ishtar Gate of Babylon, now in Berlin, has low reliefs of large animals formed from moulded bricks, glazed in colour. Plaster, which made the technique far easier, was used in Egypt and the Near East from antiquity into Islamic times and Europe from at least the Renaissance, as well as elsewhere. However, it needs good co
Spain the Kingdom of Spain, is a country located in Europe. Its continental European territory is situated on the Iberian Peninsula, its territory includes two archipelagoes: the Canary Islands off the coast of Africa, the Balearic Islands in the Mediterranean Sea. The African enclaves of Ceuta, Peñón de Vélez de la Gomera make Spain the only European country to have a physical border with an African country. Several small islands in the Alboran Sea are part of Spanish territory; the country's mainland is bordered to the south and east by the Mediterranean Sea except for a small land boundary with Gibraltar. With an area of 505,990 km2, Spain is the largest country in Southern Europe, the second largest country in Western Europe and the European Union, the fourth largest country in the European continent. By population, Spain is the fifth in the European Union. Spain's capital and largest city is Madrid. Modern humans first arrived in the Iberian Peninsula around 35,000 years ago. Iberian cultures along with ancient Phoenician, Greek and Carthaginian settlements developed on the peninsula until it came under Roman rule around 200 BCE, after which the region was named Hispania, based on the earlier Phoenician name Spn or Spania.
At the end of the Western Roman Empire the Germanic tribal confederations migrated from Central Europe, invaded the Iberian peninsula and established independent realms in its western provinces, including the Suebi and Vandals. The Visigoths would forcibly integrate all remaining independent territories in the peninsula, including Byzantine provinces, into the Kingdom of Toledo, which more or less unified politically and all the former Roman provinces or successor kingdoms of what was documented as Hispania. In the early eighth century the Visigothic Kingdom fell to the Moors of the Umayyad Islamic Caliphate, who arrived to rule most of the peninsula in the year 726, leaving only a handful of small Christian realms in the north and lasting up to seven centuries in the Kingdom of Granada; this led to many wars during a long reconquering period across the Iberian Peninsula, which led to the creation of the Kingdom of Leon, Kingdom of Castile, Kingdom of Aragon and Kingdom of Navarre as the main Christian kingdoms to face the invasion.
Following the Moorish conquest, Europeans began a gradual process of retaking the region known as the Reconquista, which by the late 15th century culminated in the emergence of Spain as a unified country under the Catholic Monarchs. Until Aragon had been an independent kingdom, which had expanded toward the eastern Mediterranean, incorporating Sicily and Naples, had competed with Genoa and Venice. In the early modern period, Spain became the world's first global empire and the most powerful country in the world, leaving a large cultural and linguistic legacy that includes more than 570 million Hispanophones, making Spanish the world's second-most spoken native language, after Mandarin Chinese. During the Golden Age there were many advancements in the arts, with world-famous painters such as Diego Velázquez; the most famous Spanish literary work, Don Quixote, was published during the Golden Age. Spain hosts the world's third-largest number of UNESCO World Heritage Sites. Spain is a secular parliamentary democracy and a parliamentary monarchy, with King Felipe VI as head of state.
It is a major developed country and a high income country, with the world's fourteenth largest economy by nominal GDP and sixteenth largest by purchasing power parity. It is a member of the United Nations, the European Union, the Eurozone, the Council of Europe, the Organization of Ibero-American States, the Union for the Mediterranean, the North Atlantic Treaty Organization, the Organisation for Economic Co-operation and Development, Organization for Security and Co-operation in Europe, the Schengen Area, the World Trade Organization and many other international organisations. While not an official member, Spain has a "Permanent Invitation" to the G20 summits, participating in every summit, which makes Spain a de facto member of the group; the origins of the Roman name Hispania, from which the modern name España was derived, are uncertain due to inadequate evidence, although it is documented that the Phoenicians and Carthaginians referred to the region as Spania, therefore the most accepted etymology is a Semitic-Phoenician one.
Down the centuries there have been a number of accounts and hypotheses: The Renaissance scholar Antonio de Nebrija proposed that the word Hispania evolved from the Iberian word Hispalis, meaning "city of the western world". Jesús Luis Cunchillos argues that the root of the term span is the Phoenician word spy, meaning "to forge metals". Therefore, i-spn-ya would mean "the land where metals are forged", it may be a derivation of the Phoenician I-Shpania, meaning "island of rabbits", "land of rabbits" or "edge", a reference to Spain's location at the end of the Mediterranean. The word in question means "Hyrax" due to Phoenicians confusing the two animals. Hispania may derive from the poetic use of the term Hesperia, reflecting the Greek perception of Italy as a "western land" or "land of the setting sun" (Hesperia
An aulos or tibia was an ancient Greek wind instrument, depicted in art and attested by archaeology. An aulete was the musician; the ancient Roman equivalent was the tibicen, from the Latin tibia, "pipe, aulos." The neologism aulode is sometimes used by analogy with rhapsode and citharode to refer to an aulos player, who may be called an aulist. There were several kinds of aulos, double; the most common variety was a reed instrument. Archeological finds, surviving iconography and other evidence indicate that it was double-reeded, like the modern oboe, but with a larger mouthpiece, like the surviving Armenian duduk. A single pipe without a reed was called the monaulos. A single pipe held horizontally, as the modern flute, was the plagiaulos. A pipe with a bag to allow for continuous sound, a bagpipe, was the askaulos. Though aulos is erroneously translated as "flute", it was a double-reeded instrument, its sound — described as "penetrating and exciting" — was more akin to that of the bagpipes, with a chanter and drone.
Like the Great Highland Bagpipe, the aulos has been used for martial music, but it is more depicted in other social settings. It was the standard accompaniment of the passionate elegiac poetry, it accompanied physical activities such as wrestling matches, the broad jump, the discus throw and to mark the rowing cadence on triremes, as well as sacrifices and dramas. Plato associates it with the ecstatic cults of Dionysus and the Korybantes, banning it from his Republic but reintroducing it in "Laws", it appears that some variants of the instrument were loud and therefore hard to blow. A leather strap, called a phorbeiá in Greek or capistrum in Latin, was worn horizontally around the head with a hole for the mouth by the auletai to help support the lips and avoid excessive strain on the cheeks due to continuous blowing. Sometimes a second strap was used over the top of the head to prevent the phorbeiá from slipping down. Aulos players are sometimes depicted with puffed cheeks; the playing technique certainly made use of circular breathing much like the Sardinian launeddas and Armenian duduk, this would give the aulos a continuous sound.
Although aristocrats with sufficient leisure sometimes practiced aulos-playing as they did the lyre, after the fifth century the aulos became chiefly associated with professional musicians slaves. Such musicians could achieve fame; the Romano-Greek writer Lucian discusses aulos playing in his dialogue Harmonides, in which Alexander the Great's aulete Timotheus discusses fame with his pupil Harmonides. Timotheus advises him to impress the experts within his profession rather than seek popular approval in big public venues. If leading musicians admire him, popular approval will follow. However, Lucian reports. In myth, Marsyas the satyr was supposed to have invented the aulos, or else picked it up after Athena had thrown it away because it caused her cheeks to puff out and ruined her beauty. In any case, he challenged Apollo to a musical contest, where the winner would be able to "do whatever he wanted" to the loser—Marsyas's expectation, typical of a satyr, was that this would be sexual in nature.
But Apollo and his lyre beat his aulos. And since the pure lord of Delphi's mind worked in different ways from Marsyas's, he celebrated his victory by stringing his opponent up from a tree and flaying him alive. King Midas was cursed with donkey's ears for judging Apollo as the lesser player. Marsyas's blood and the tears of the Muses formed the river Marsyas in Asia Minor; this tale was a warning against committing the sin of "hubris", or overweening pride, in that Marsyas thought he might win against a god. Strange and brutal as it is, this myth reflects a great many cultural tensions that the Greeks expressed in the opposition they drew between the lyre and aulos: freedom vs. servility and tyranny, leisured amateurs vs. professionals, moderation vs. excess, etc. Some of this is a result of 19th century AD "classical interpretation", i.e. Apollo versus Dionysus, or "Reason" opposed to "Madness". In the temple to Apollo at Delphi, there was a shrine to Dionysus, his Maenads are shown on drinking cups playing the aulos, but Dionysus is sometimes shown holding a kithara or lyre.
So a modern interpretation can be a little more complicated than just simple duality. This opposition is an Athenian one, it might be surmised that things were different at Thebes, a center of aulos-playing. At Sparta – which had no Bacchic or Korybantic cults to serve as contrast – the aulos was associated with Apollo, accompanied the hoplites into battle; the battle scene on the Chigi vase shows an aulos player setting a lyrical rhythm for the hoplite phalanx to advance to. This accompaniment reduced the possibility of an opening in the formation of the blockage. In this particular scene, the phalanx approaching from the left is unprepared and momentarily outnumbered four to five. More soldiers can be seen running up to assist them from behind. Though the front four are lacking a fifth soldier, they have the advantage because the aulete is there to bring the formation back together. An amphora from ca. 540-530 B. C. depicts H