By A cura di Ludovica Koch
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7 I would be more cautious than Herzfeld in stating just what a moirolói is and is not. In the region of southern Mani called Inner Mani, a region especially noted for its laments by Greeks themselves, the term moirolói is used for a much wider variety of material than in other regions. ’8 It is true that, apart from what are called ‘dancing songs’, heard at weddings or celebrations, laments have become the most common form of song in Mani. It is still common for men to sing laments as ‘table songs’ in the same way as Klephtic and Akritic ballads would be performed in other regions.
And half-brother Fitilianikos hung me over the cliff DANGEROUS VOICES 41 by a length of cheap string at Pounta on Makryna shore that cuts the boat ropes up. He left me to eat dry weeds and drink the brackish water. The widows’ songs support the findings of Danforth and Caraveli-Chaves concerning women’s dependence on family ties, particularly male family ties, for status, but I have some reservations about Danforth’s use of the term ‘marginalisation’. It presumes there is some centre field, occupied by men, on the periphery of which women live their lives.
When she arrived at Alika at Alika at Latoma she greeted no one. In the verses that follow, Ligorou’s brother-in-law, understanding from her strange behaviour that something is amiss, asks her for an explanation. She repeats word for word what she was told by the murderer of her brother. Then comes her cry for revenge, one that, by calling Yiannis’ honour into question, gives him little choice but to act: DANGEROUS VOICES 47 And Ligorou let out a shrill cry that made the place shudder all around —Did Vetoulas have no brother, did he have no first cousin?