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Tiresias: The Ancient Mediterranean Religions Source Database

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Please note: the results are produced through a computerized process which may frequently lead to errors, both in incorrect tagging and in other issues. Please use with caution.
Due to load times, full text fetching is currently attempted for validated results only.
Full texts for Hebrew Bible and rabbinic texts is kindly supplied by Sefaria; for Greek and Latin texts, by Perseus Scaife, for the Quran, by Tanzil.net

For a list of book indices included, see here.


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All subjects (including unvalidated):
subject book bibliographic info
choral, aetiologies, social change, and Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 153, 395
choral, aetiologies, tribute, religious, and Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 153, 154, 395
choral, alexandra, lycophron Pillinger (2019), Cassandra and the Poetics of Prophecy in Greek and Latin Literature, 129, 130, 131, 132
choral, and social integration, sacrifice, metaphor for Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 289, 296
choral, as chorodidaskaloi, poets Kingsley Monti and Rood (2022), The Authoritative Historian: Tradition and Innovation in Ancient Historiography, 186
choral, chorostatas, kho-, self-reference Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 257, 258
choral, chorus χορός Bernabe et al. (2013), Redefining Dionysos, 17, 41, 42, 44, 47, 48, 49, 50, 53, 54, 84, 86, 87, 88, 89, 90, 93, 94, 95, 96, 97, 103, 109, 113, 120, 146, 147, 148, 160, 162, 170, 175, 189, 192, 194, 196, 197, 240, 241, 273, 274, 275, 276, 277, 278, 279, 280, 281, 283, 285, 289, 290, 292, 293, 295, 302, 311, 314, 315, 316, 333, 334, 335, 339, 340, 342, 343, 351, 355, 356, 357, 358, 359, 360, 361, 369, 373, 374, 375, 379, 381, 431, 555
choral, dance Borg (2008), Paideia: the World of the Second Sophistic: The World of the Second Sophistic, 381, 384, 385, 388, 389, 390, 391, 392
choral, dance dance, performance Laks (2022), Plato's Second Republic: An Essay on the Laws. Princeton: Princeton University Press, 2022 103, 120
choral, dance, dance Laks (2022), Plato's Second Republic: An Essay on the Laws. Princeton: Princeton University Press, 2022 21, 65, 69, 70, 71, 103, 104, 149, 150, 188, 204, 222
choral, dance, songs and music Eidinow and Kindt (2015), The Oxford Handbook of Ancient Greek Religion, 85
choral, dance, tribute, to athens, blurring of religious and monetary in Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 88, 89, 90, 91, 92, 93, 94, 102, 110, 111, 112, 113, 114, 115, 116, 117, 118
choral, education aiming at virtue, musical and Laks (2022), Plato's Second Republic: An Essay on the Laws. Princeton: Princeton University Press, 2022 71, 187
choral, education?, women Parker (2005), Polytheism and Society at Athens, 183
choral, education?, wool, worked for athena by parthenoi Parker (2005), Polytheism and Society at Athens, 183
choral, hymn, hymn Trapp et al. (2016), In Praise of Asclepius: Selected Prose Hymns, 68
choral, hymns of roman religion Mackey (2022), Belief and Cult: Rethinking Roman Religion, 283, 284, 285, 286, 287, 288, 289, 303, 318
choral, lyric Gianvittorio-Ungar and Schlapbach (2021), Choreonarratives: Dancing Stories in Greek and Roman Antiquity and Beyond, 133
choral, lyric, chorus / de Jáuregui (2010), Orphism and Christianity in Late Antiquity, 187, 192, 242, 245, 293, 357, 396
choral, monodic, singer Borg (2008), Paideia: the World of the Second Sophistic: The World of the Second Sophistic, 384, 385
choral, performance, merging in Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 67, 89, 90, 91, 99, 153, 154, 393, 395
choral, performances Dignas Parker and Stroumsa (2013), Priests and Prophets Among Pagans, Jews and Christians, 67, 70, 72, 75
choral, performances, moral virtues, and Bartninkas (2023), Traditional and Cosmic Gods in Later Plato and the Early Academy. 170, 171, 172
choral, pipers/pipes Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 212
choral, poetry, songs and music Eidinow and Kindt (2015), The Oxford Handbook of Ancient Greek Religion, 182
choral, poetry, tragedy, interacting with Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 63, 66, 120, 174, 175, 176, 177, 193, 195, 280, 283, 308, 309, 310, 311, 313, 314, 318, 319
choral, polis-theoria, theoria Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 6, 56, 57, 58, 59, 60, 61, 62, 63, 64, 65, 66, 67, 69, 70, 71, 72, 73, 74, 76, 77, 78, 79, 81, 82, 83, 84, 85, 86, 87, 88, 89, 90, 91, 92, 93, 94, 95, 96, 97, 98, 99, 100, 101, 102, 103, 104, 105, 106, 107, 108, 109, 110, 111, 112, 113, 114, 115, 116, 117, 118, 119, 120, 121, 122, 123, 124
choral, projection Pillinger (2019), Cassandra and the Poetics of Prophecy in Greek and Latin Literature, 81
choral, ritual, rhodes, diverse pasts unified in Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 260, 261, 262, 263, 264, 265, 266
choral, self-reference, self-consciousness, in tragedy Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 257, 258
choral, singer Borg (2008), Paideia: the World of the Second Sophistic: The World of the Second Sophistic, 384, 385
choral, song, elites, and Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 5, 395
choral, songs, dionysius of halicarnassus, on euripides’ Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 51, 211
choral, theoria, locality, sense of lost in Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 69, 99, 100, 399
choral, to delos, tribute, religious Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 57, 69, 70, 71, 72, 81, 86, 90, 91, 92, 99, 100, 116, 117
choral, to hera at perakhora, tribute, religious Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 154
choral, voices in alexandra Pillinger (2019), Cassandra and the Poetics of Prophecy in Greek and Latin Literature, 129, 130, 131, 132
choral, voices in alexandra, trojan women Pillinger (2019), Cassandra and the Poetics of Prophecy in Greek and Latin Literature, 78, 80, 81, 83, 84, 96, 97, 106
choral, with tribute, religious, tripods, to dodona Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 333, 334, 335, 336, 341, 350, 351
chorus/choral, song, aeschylus, and the tragic Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 209
chorus/choral, song, sophocles, and the Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 245, 246, 258
dancing, choral, dance Bernabe et al. (2013), Redefining Dionysos, 240, 241, 381

List of validated texts:
16 validated results for "choral"
1. Hesiod, Works And Days, 619-620 (8th cent. BCE - 7th cent. BCE)
 Tagged with subjects: • choral, • dance, choral

 Found in books: Borg (2008), Paideia: the World of the Second Sophistic: The World of the Second Sophistic, 390; Bowie (2021), Essays on Ancient Greek Literature and Culture, 539

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619 εὖτʼ ἂν Πληιάδες σθένος ὄβριμον Ὠαρίωνος'620 φεύγουσαι πίπτωσιν ἐς ἠεροειδέα πόντον, ' None
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619 One’s skin. Bring in your crops and don’t be slow.'620 Rise early to secure your food supply. ' None
2. None, None, nan (8th cent. BCE - 8th cent. BCE)
 Tagged with subjects: • chorus χορός, choral • merging in choral performance • theoria, choral polis-theoria • tragedy, interacting with choral poetry

 Found in books: Bernabe et al. (2013), Redefining Dionysos, 88; Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 59, 60, 61, 62, 63, 64, 65, 66, 67, 103

3. Aeschylus, Agamemnon, 1119-1120, 1186-1193 (6th cent. BCE - 5th cent. BCE)
 Tagged with subjects: • Alexandra (Lycophron), choral • choral poetry, and the posture of the vates • choral voices in Alexandra

 Found in books: Bowditch (2001), Cicero on the Philosophy of Religion: On the Nature of the Gods and On Divination, 80; Pillinger (2019), Cassandra and the Poetics of Prophecy in Greek and Latin Literature, 130

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1119 ποίαν Ἐρινὺν τήνδε δώμασιν κέλῃ'1120 ἐπορθιάζειν; οὔ με φαιδρύνει λόγος.
1186
τὴν γὰρ στέγην τήνδʼ οὔποτʼ ἐκλείπει χορὸς 1187 ξύμφθογγος οὐκ εὔφωνος· οὐ γὰρ εὖ λέγει. 1188 καὶ μὴν πεπωκώς γʼ, ὡς θρασύνεσθαι πλέον, 1189 βρότειον αἷμα κῶμος ἐν δόμοις μένει, 1190 δύσπεμπτος ἔξω, συγγόνων Ἐρινύων. 1191 ὑμνοῦσι δʼ ὕμνον δώμασιν προσήμεναι 1192 πρώταρχον ἄτην· ἐν μέρει δʼ ἀπέπτυσαν 1193 εὐνὰς ἀδελφοῦ τῷ πατοῦντι δυσμενεῖς. ' None
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1119 What this Erinus which i’ the house thou callest '1120 To raise her cry? Not me thy word enlightens!
1186
For, this same roof here — never quits a Choros 1187 One-voiced, not well-tuned since no 1188 And truly having drunk, to get more courage, 1189 Man’s blood — the Komos keeps within the household 1190 — Hard to be sent outside — of sister Furies: 1191 They hymn their hymn — within the house close sitting — 1192 The first beginning curse: in turn spit forth at 1193 The Brother’s bed, to him who spurned it hostile. ' None
4. None, None, nan (6th cent. BCE - 5th cent. BCE)
 Tagged with subjects: • chorus χορός, choral • theoria, choral polis-theoria • tribute, religious, choral, to Delos

 Found in books: Bernabe et al. (2013), Redefining Dionysos, 87; Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 57, 61, 62

5. Euripides, Bacchae, 155-162 (5th cent. BCE - 5th cent. BCE)
 Tagged with subjects: • chorostatas (kho-), self-reference, choral • chorus χορός, choral • self-consciousness, in tragedy, choral self-reference

 Found in books: Bernabe et al. (2013), Redefining Dionysos, 47, 162, 356; Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 257

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155 μέλπετε τὸν Διόνυσον'157 βαρυβρόμων ὑπὸ τυμπάνων, 158 εὔια τὸν εὔιον ἀγαλλόμεναι θεὸν 159 ἐν Φρυγίαισι βοαῖς ἐνοπαῖσί τε, 160 λωτὸς ὅταν εὐκέλαδος ' None
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155 ing of Dionysus, beneath the heavy beat of drums, celebrating in delight the god of delight with Phrygian shouts and cries,'156 ing of Dionysus, beneath the heavy beat of drums, celebrating in delight the god of delight with Phrygian shouts and cries, 160 when the sweet-sounding sacred pipe sounds a sacred playful tune suited ' None
6. Euripides, Ion, 1080-1081 (5th cent. BCE - 5th cent. BCE)
 Tagged with subjects: • chorus χορός, choral • dance, choral

 Found in books: Bernabe et al. (2013), Redefining Dionysos, 281; Borg (2008), Paideia: the World of the Second Sophistic: The World of the Second Sophistic, 389

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1080 χορεύει δὲ σελάνα'1081 καὶ πεντήκοντα κόραι ' None
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1080 the moon, and Nereus’ fifty daughters, that trip it lightly o’er the sea and the eternal rivers’ tides, join the dance in honour'1081 the moon, and Nereus’ fifty daughters, that trip it lightly o’er the sea and the eternal rivers’ tides, join the dance in honour ' None
7. Sophocles, Ajax, 695-701 (5th cent. BCE - 5th cent. BCE)
 Tagged with subjects: • Sophocles, and the chorus/choral song • chorostatas (kho-), self-reference, choral • chorus χορός, choral • self-consciousness, in tragedy, choral self-reference

 Found in books: Bernabe et al. (2013), Redefining Dionysos, 289; Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 258

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695 O Pan, O Pan, appear to us, sea-rover, from the stony ridge of snow-beaten Cyllene. King, dancemaker for the gods, come, so that joining with us you may set on the Nysian and the Cnosian steps,'696 O Pan, O Pan, appear to us, sea-rover, from the stony ridge of snow-beaten Cyllene. King, dancemaker for the gods, come, so that joining with us you may set on the Nysian and the Cnosian steps, 700 your self-taught dances. Now I want to dance. And may Apollo, lord of Delos , step over the Icarian sea ' None
8. Sophocles, Antigone, 1146-1152 (5th cent. BCE - 5th cent. BCE)
 Tagged with subjects: • Sophocles, and the chorus/choral song • chorostatas (kho-), self-reference, choral • chorus χορός, choral • dance, choral • self-consciousness, in tragedy, choral self-reference

 Found in books: Bernabe et al. (2013), Redefining Dionysos, 277, 280, 289, 290; Borg (2008), Paideia: the World of the Second Sophistic: The World of the Second Sophistic, 389; Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 258

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1146 O Leader of the chorus of the stars whose breath is fire, overseer of the chants in the night, son begotten of Zeus,'1147 O Leader of the chorus of the stars whose breath is fire, overseer of the chants in the night, son begotten of Zeus, 1150 appear, my king, with your attendant Thyiads, who in night-long frenzy dance and sing you as Iacchus the Giver! ' None
9. Sophocles, Women of Trachis, 216-221 (5th cent. BCE - 5th cent. BCE)
 Tagged with subjects: • chorostatas (kho-), self-reference, choral • chorus χορός, choral • self-consciousness, in tragedy, choral self-reference

 Found in books: Bernabe et al. (2013), Redefining Dionysos, 289; Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 257

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216 and to the nymphs her neighbors! I am uplifted, I will not spurn the flute—O you master of my heart! Behold, his ivy stirs me! Euoe! '217 and to the nymphs her neighbors! I am uplifted, I will not spurn the flute—O you master of my heart! Behold, his ivy stirs me! Euoe! 220 Quickly it wheels me round in Bacchus’s race! Oh, oh, Paean! Look, dear lady! All is taking shape, plain to see, before your gaze. Deianeira: ' None
10. None, None, nan (5th cent. BCE - 4th cent. BCE)
 Tagged with subjects: • chorus χορός, choral • theoria, choral polis-theoria • tribute, to Athens, blurring of religious and monetary in choral dance

 Found in books: Bernabe et al. (2013), Redefining Dionysos, 41, 48; Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 115

11. None, None, nan (5th cent. BCE - 4th cent. BCE)
 Tagged with subjects: • chorus / choral lyric • chorus χορός, choral

 Found in books: Bernabe et al. (2013), Redefining Dionysos, 48, 175, 281, 373; de Jáuregui (2010), Orphism and Christianity in Late Antiquity, 187, 293

12. None, None, nan (5th cent. BCE - 4th cent. BCE)
 Tagged with subjects: • chorus χορός, choral • dance, dancing,choral • theoria, choral polis-theoria

 Found in books: Bernabe et al. (2013), Redefining Dionysos, 381; Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 122

13. None, None, nan (5th cent. BCE - 5th cent. BCE)
 Tagged with subjects: • Sophocles, and the chorus/choral song • choral, • chorus χορός, choral

 Found in books: Bernabe et al. (2013), Redefining Dionysos, 47; Bowie (2021), Essays on Ancient Greek Literature and Culture, 540; Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 245

14. Philo of Alexandria, On Husbandry, 79-82 (1st cent. BCE - missingth cent. CE)
 Tagged with subjects: • Exodus, choirs • On the Contemplative Life, allegorical interpretation of choirs by Red sea • Philo Judaeus, Agriculture, choirs • Philo Judaeus, Life of Moses II, choirs • Philo of Alexandria, choirs, characterization of • Therapeutae,choir

 Found in books: Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 279; Kraemer (2010), Unreliable Witnesses: Religion, Gender, and History in the Greco-Roman Mediterranean, 84, 91, 94, 95, 96, 98, 101, 103, 106, 107, 108, 109

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79 But the divine army is the body of virtues, the champions of the souls that love God, whom it becomes, when they see the adversary defeated, to sing a most beautiful and becoming hymn to the God who giveth the victory and the glorious triumph; and two choruses, the one proceeding from the conclave of the men, and the other from the company of the women, will stand up and sing in alternate songs a melody responsive to one another's voices. "80 And the chorus of men will have Moses for their leader; and that of the women will be under the guidance of Miriam, "the purified outward Sense." For it is just that hymns and praises should be uttered in honour of God without any delay, both in accordance with the suggestions of the intellect and the perceptions of the outward senses, and that each instrument should be struck in harmony, I mean those both of the mind and of the outward sense, in gratitude and honour to the holy Saviour. 81 Accordingly, all the men sing the song on the sea-shore, not indeed with a blind mind, but seeing sharply, Moses being the leader of the song; and women sing, who are in good truth the most excellent of their sex, having been enrolled in the lists of the republic of virtue, Miriam being their leader. XVIII. 82 And the same hymn is sung by both the choruses, having a most admirable burden of the song which is beautiful to be sung. And it is as follows: "Let us sing unto the Lord, for he has been glorified gloriously; the horse and his rider hath he thrown into the Sea." ' "' None
15. Philo of Alexandria, On The Life of Moses, 2.256 (1st cent. BCE - missingth cent. CE)
 Tagged with subjects: • Exodus, choirs • On the Contemplative Life, allegorical interpretation of choirs by Red sea • Philo Judaeus, Agriculture, choirs • Philo Judaeus, Life of Moses II, choirs

 Found in books: Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 279; Kraemer (2010), Unreliable Witnesses: Religion, Gender, and History in the Greco-Roman Mediterranean, 84, 95, 96, 98

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2.256 For this mercy Moses very naturally honoured his Benefactor with hymns of gratitude. For having divided the host into two choruses, one of men and one of women, he himself became the leader of that of the men, and appointed his sister to be the chief of that of the women, that they might sing hymns to their father and Creator, joining in harmonies responsive to one another, by a combination of dispositions and melody, the former being eager to offer the same requital for the mercies which they had received, and the latter consisting of a symphony of the deep male with the high female voices, for the tones of men are deep and those of women are high; and when there is a perfect and harmonious combination of the two a most delightful and thoroughly harmonious melody is effected. '' None
16. None, None, nan
 Tagged with subjects: • chorus χορός, choral • theoria, choral polis-theoria • tribute, to Athens, blurring of religious and monetary in choral dance

 Found in books: Bernabe et al. (2013), Redefining Dionysos, 103; Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 114




Please note: the results are produced through a computerized process which may frequently lead to errors, both in incorrect tagging and in other issues. Please use with caution.
Due to load times, full text fetching is currently attempted for validated results only.
Full texts for Hebrew Bible and rabbinic texts is kindly supplied by Sefaria; for Greek and Latin texts, by Perseus Scaife, for the Quran, by Tanzil.net

For a list of book indices included, see here.