Chapter one argues for the significance of visualized divine music by situating ancient viewers’ experience of representations of divine music within their ancient contexts, thereby establishing a well-defined space in which divine music could have been seen, imaginatively heard, and experienced. Laferrière takes as her focus a corpus of fourth-century BCE votive reliefs that depict Pan playing his syrinx and the Nymphs dancing; dedicated to these same gods, the reliefs were consistently deposited in cave shrines throughout Attica. Since the clear archaeological record allows for a reconstruction of the worshipper’s religious experience, Laferrière draws attention to the ways the reliefs provoked specific sensory experiences in the ancient worshippers. Within the cave shrines, worshippers could have gazed upon votive reliefs that were visually similar to the physical cave, so that the distinction between image and reality blurred and collapsed. As a result, these reliefs allowed for a fully embodied experience of the Nymphs: by imaginatively listening to the music that Pan plays, and perhaps even contributing their own music, worshippers are invited to join in the Nymphs’ dance.

This chapter argues that in Longus, Daphnis and Chloe, the depictions in the inset tales of male self-assertion and sexual violence are offered not as models which we may expect Daphnis to imitate (as suggested e.g. by Winkler) but as contrasts to his reciprocal and considerate relationship with Chloe.

Theocritus’ Syrinx is one of the Technopaegnia, a corpus of Hellenistic and Roman calligrames with an intricate and enigmatic vocabulary. The Palaiologan scholars Maximos/Manuel Holobolos and John Pediasimos rediscovered this poem and composed commentaries for didactic purposes. The first part of this chapter delves deeper into the teaching of Holobolos, who has not received as much attention as other Palaiologan scholars. With a particular focus on his commentary on the Syrinx, it analyses Holobolos’ work on the Technopaegnia and addresses questions such as: Why was Holobolos interested in these poems? Which sources did he employ and how did he adapt them to his didactic needs? What literary competence did his students acquire by reading the Technopaegnia? The second part of the chapter explores Pediasimos’ detailed commentary on Theocritus’ Syrinx by addressing the same questions. It also deals with the scholarly context and dating of his exegetical work on the poem. The last part presents a comparative study to explore how Holobolos’ work influenced Pediasimos’ commentary. In this framework, the chapter also examines the manuscripts preserving the Technopaegnia in order to shed light on the scholarly milieu and production of these copies as well as the commentaries by Holobolos and Pediasimos.