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            <title xml:lang="en">Playing the aulos in Athens: was it politically correct?</title>
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                <title xml:lang="en">Playing the aulos in Athens: was it politically correct?</title>
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                <term xml:lang="en"> oligarchy</term>
                <term xml:lang="en"> democracy</term>
                <term xml:lang="en"> education</term>
                <term xml:lang="en"> Plutarch</term>
                <term xml:lang="en"> Sparta</term>
                <term xml:lang="en">aulos</term>
                <term xml:lang="en"> Alcibiades</term>
                <term xml:lang="en"> Critias</term>
                <term xml:lang="en"> Athens</term>
                <term xml:lang="en"> Marsyas</term>
                <term xml:lang="en"> Athena</term>
                <term xml:lang="fr">oligarchie</term>
                <term xml:lang="fr">démocratie</term>
                <term xml:lang="fr">Lacédémone</term>
                <term xml:lang="fr">éducation</term>
                <term xml:lang="fr">Plutarque</term>
                <term xml:lang="fr">Athéna</term>
                <term xml:lang="fr">Marsyas</term>
                <term xml:lang="fr">Athènes</term>
                <term xml:lang="fr">Critias</term>
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              <p>According to Plutarch, the young Alcibiades would have refused to play the aulos on the pretext that this practice distorted the appearance and the features of a man and was unworthy of an Athenian citizen; his example was followed and therefore the aulos was expelled from liberal education in Athens. Other textual and iconographic sources, testify instead of the presence of auloi everywhere in Athenian public and private life, throughout the fifth and fourth centuries. Analysing the ambiguous status of the aulos in Athens, we must certainly distinguish what refers to hearing and what refers to practice. From available sources, we can actually trace successive breaks in the evolution of acceptation or rejection of this instrument, but it is necessary to examine what were the causes and origins of these breaks. The analysis of the the young Alcibiades’ arguments autorizes hypothesis about the symbolic value of the aulos in political discourses of elites during the Peloponnesian War, whether they were favorable or not to democracy.</p>
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              <p>Selon Plutarque, Alcibiade enfant aurait catégoriquement refusé de jouer de l’aulos au prétexte que cette pratique déformait les traits du visage et était indigne d’un citoyen athénien. Son exemple aurait fait école et dès lors l’aulos aurait été exclu des études libérales à Athènes. D’autres sources, textuelles et iconographiques, témoignent au contraire de l’omniprésence des auloi dans la vie publique et privée des Athéniens, aux ve et ive siècles. Sans doute faut-il distinguer ce qui relève de l’audition et de la pratique lorsqu’on analyse le statut ambigu de l’aulétique à Athènes. Et, si la confrontation des sources permet effectivement de retrouver la trace de ruptures successives dans le degré de popularité de cet instrument, il convient de s’interroger sur les causes et sur l’origine de ces ruptures. L’examen des arguments utilisés par le jeune Alcibiade permet de formuler quelques hypothèses sur la valeur symbolique que prenait l’aulos dans les discours politiques des élites, favorables ou hostiles à la démocratie, pendant la guerre du Péloponnèse.</p>
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