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About Greek Lullabies
Iintroduction to Greek Lullabies
In Greece, lullabies have a very long-standing tradition. They are considered folk songs that developed over centuries as anonymous poetic and musical creations, and they are an invaluable treasure created with affection and spontaneous Greek sentiment. Most lullabies are created by Greek mothers of past generations, women who instinctively knew that their children would fall asleep more easily with song. Thus, they invented their own distinct poetry dedicated to their children, which contains feminine expression along with melody and original lyrics. They have existed for thousands of years and are found in all regions of Greece, as well as areas that were once inhabited by Greek populations.
The roots of lullabies can be traced back to ancient times. In his work The Laws, Plato, the great Athenian philosopher of the 5th century B.C., mentions that: “when mothers want their children to sleep, they rock them in their arms and sing to them.” Theokritos, one of the most distinguished Greek poets of the 4th century B.C., created a lullaby with many similarities to contemporary ones. In the 3rd century B.C. Athinaios, the ancient nutritionist and writer, wrote a series of thirty volumes entitled ‘On symposia.’ This great work is one of the most important sources of information about ancient Greek cuisine and culture. In various passages of it the ancient term for lullabies, appears.
Ancient Greeks believed that lullabies did not just smoothen with their melody but they also assured the baby that mama was by their side. The mother’s presence made the baby feel secure and so unconsciously it fell asleep. The ancient Greeks made cradles with branches of willow trees and hanged them high from the roof for more security. In ancient Sparta sometimes they used the warriors’ shields for a cradle. According to Theokritos (4th century B.C.), Hercules’ mother lulled him in his father’s shield.
Along with lulling, ancient Greek mothers also used rattles. They were made of clay in the shape of animals with a long handle and had small stones inside. It was the invention of Plato’s close friend named Arhitas. Arhitas did not have children of his own but he loved children very much so he invented the first rattle. Ancient Greeks valued the mission of rattles so much that even Aristotle in his ‘Politics’ cites that ‘everybody needs to agree that to use Arhita’s rattle is very efficient’.
Lullabies have been passed on to us from generation to generation through oral tradition. They are all characterized by one basic element - the need for a mother to communicate with her baby, expressing to him/her her love, hope, fears and expectations. The mother sings about her dreams and desires, her motherly pride and her playful mood. Her hope for the social upgrading of her baby is common and in the mother’s conscience the improvement in social stature is expressed. Lullabies usually begin with ‘nani-nani’ or ‘nana’ (e.g. Crete). During the Middle Ages, Greek mothers in southern Italy lulled their children to sleep saying ‘nino, nino’ or ‘nana, nana.’ Another frequent motive is the mother’s appeal to Sleep or to a holy figure, such as Christ, Virgin Mary or Saints.
Greek lullabies display variations from region to region, according to their place of origin. In lullabies of the Greek islands there is frequent mention of the sea, ships and the sun. However, in lullabies from the mainland and mountainous regions of Greece, there is reference to mountains, plains livestock, as well as local crops and cultivation.
Nevertheless, the first contact that a child experiences with lullabies occurs in infancy from his mother. This magical communication between a mother and her child which takes place with music and lyrics constitutes a precious oral heritage in every country. The atmosphere of affection, security and joy that is created with a lullaby could not possibly be substituted or replaced.
Bibliography
Dimaras K. Th. History of Modern Greek Literature. From the first roots to our time. Ikarus. Eighth edition.
Koukoules Faedon. Life and culture in the Byzantium. Edit. Papazisis.
Kyprianou S. Chrysanthos. The Pancypriot High school and Folk culture. Nicosia. 1967.
Loukatos Dim. Introduction to Greek Folk culture. Cultural Foundation of the National Bank. Athens. 1977.
Petropoulos Dim. Greek folk songs. Vasiki vivliothiki. No 47. E. And M. Zaharopoulos. Athens.
Politis Linos. Selection of Greek songs. Sixth edition. Vagionakis. 1969.
Lullabies. Babies’ songs. Games. Neoelliniki vivliothiki. Supplement No 1. Athens. 1953.
Of Thrace. Quarterly scientific edition. 1st year. Volume 1. Issues A and B. Thrakiko kentro. Athens. 1928.
In Greece, lullabies have a very long-standing tradition. They are considered folk songs that developed over centuries as anonymous poetic and musical creations, and they are an invaluable treasure created with affection and spontaneous Greek sentiment. Most lullabies are created by Greek mothers of past generations, women who instinctively knew that their children would fall asleep more easily with song. Thus, they invented their own distinct poetry dedicated to their children, which contains feminine expression along with melody and original lyrics. They have existed for thousands of years and are found in all regions of Greece, as well as areas that were once inhabited by Greek populations.
The roots of lullabies can be traced back to ancient times. In his work The Laws, Plato, the great Athenian philosopher of the 5th century B.C., mentions that: “when mothers want their children to sleep, they rock them in their arms and sing to them.” Theokritos, one of the most distinguished Greek poets of the 4th century B.C., created a lullaby with many similarities to contemporary ones. In the 3rd century B.C. Athinaios, the ancient nutritionist and writer, wrote a series of thirty volumes entitled ‘On symposia.’ This great work is one of the most important sources of information about ancient Greek cuisine and culture. In various passages of it the ancient term for lullabies, appears.
Ancient Greeks believed that lullabies did not just smoothen with their melody but they also assured the baby that mama was by their side. The mother’s presence made the baby feel secure and so unconsciously it fell asleep. The ancient Greeks made cradles with branches of willow trees and hanged them high from the roof for more security. In ancient Sparta sometimes they used the warriors’ shields for a cradle. According to Theokritos (4th century B.C.), Hercules’ mother lulled him in his father’s shield.
Along with lulling, ancient Greek mothers also used rattles. They were made of clay in the shape of animals with a long handle and had small stones inside. It was the invention of Plato’s close friend named Arhitas. Arhitas did not have children of his own but he loved children very much so he invented the first rattle. Ancient Greeks valued the mission of rattles so much that even Aristotle in his ‘Politics’ cites that ‘everybody needs to agree that to use Arhita’s rattle is very efficient’.
Lullabies have been passed on to us from generation to generation through oral tradition. They are all characterized by one basic element - the need for a mother to communicate with her baby, expressing to him/her her love, hope, fears and expectations. The mother sings about her dreams and desires, her motherly pride and her playful mood. Her hope for the social upgrading of her baby is common and in the mother’s conscience the improvement in social stature is expressed. Lullabies usually begin with ‘nani-nani’ or ‘nana’ (e.g. Crete). During the Middle Ages, Greek mothers in southern Italy lulled their children to sleep saying ‘nino, nino’ or ‘nana, nana.’ Another frequent motive is the mother’s appeal to Sleep or to a holy figure, such as Christ, Virgin Mary or Saints.
Greek lullabies display variations from region to region, according to their place of origin. In lullabies of the Greek islands there is frequent mention of the sea, ships and the sun. However, in lullabies from the mainland and mountainous regions of Greece, there is reference to mountains, plains livestock, as well as local crops and cultivation.
Nevertheless, the first contact that a child experiences with lullabies occurs in infancy from his mother. This magical communication between a mother and her child which takes place with music and lyrics constitutes a precious oral heritage in every country. The atmosphere of affection, security and joy that is created with a lullaby could not possibly be substituted or replaced.
Bibliography
Dimaras K. Th. History of Modern Greek Literature. From the first roots to our time. Ikarus. Eighth edition.
Koukoules Faedon. Life and culture in the Byzantium. Edit. Papazisis.
Kyprianou S. Chrysanthos. The Pancypriot High school and Folk culture. Nicosia. 1967.
Loukatos Dim. Introduction to Greek Folk culture. Cultural Foundation of the National Bank. Athens. 1977.
Petropoulos Dim. Greek folk songs. Vasiki vivliothiki. No 47. E. And M. Zaharopoulos. Athens.
Politis Linos. Selection of Greek songs. Sixth edition. Vagionakis. 1969.
Lullabies. Babies’ songs. Games. Neoelliniki vivliothiki. Supplement No 1. Athens. 1953.
Of Thrace. Quarterly scientific edition. 1st year. Volume 1. Issues A and B. Thrakiko kentro. Athens. 1928.
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