108

Θησαυρός (fr. 19)

(see below for this fragment as a possible example of a ύμέναιον). According
to West 1992. 92-3, the term monaulos is used to distinguish the single aulos
from the more normal double aulos, thus implying an instrument with suffi-
cient holes to occupy both hands (in contrast to the double aulos). Although
the single aulos is found in artistic representations beginning in the archaic
period, the word μόναυλος does not occur until S. fr. 241, where Pearson 1917
claims that it is used to distinguish the σϋριγξ μονοκάλαμος from the σϋριγξ
πολυκάλαμος (‘pan-pipe’). Despite the occasional occurrence of the word
later, the small cluster of instances appearing in the early to mid fourth cen-
tury (here; fr. 52; Arar. fr. 13; Sopat. fr. 2) suggests that the instrument was in
vogue at this time; note, however, the fragments of a monaulos found in Egypt
and dated to ca. 15 BC (cf. Anderson 1994. 180, 184). West 1992. 97-8 offers a
catalogue of known fragments of auloi from the archaic and classical periods.
ηϋλουν τον υμέναιον ‘Played the music that accompanies the wedding
song.’ There were songs at the banquet, the ceremony, and during the pro-
cession to the groom’s house and the wedding chamber. Which of these is
alluded to here is uncertain, although most literary references are to the latter.
Cf. Men. Sam. 125-6 for the groom practicing the wedding song (or at least
humming it to himself).
For possible fragments of wedding songs, see Sapph. frr. 27; 30; 44; 104-17
(cf. Page 1955. 71-4, 119-26); for literary adaptations, Ar. Pax 1332-66 (cf.
Olson 1998 ad loo); E. Tr. 308-41; Phaeth. 227-44; Theoc. 18; Catullus 61; 62;
64.323-81; cf. E. IA 1036-79. In general, see Maas 1914. 130-4; Schmidt 1886;
Contiades-Tsitoni 1990; a succinct account at Smyth 1900. cxii-cxx. For the
wedding itself, see Hermann-Blumner 1882. 268-78; Oakley-Sinos 1993.