本文将聚焦于竞赛语境中的抒情诗以及史诗传统的演述,这种竞赛发生于每年一度在雅典举行的季节性节日,即泛雅典娜赛会之中。广为人知的是,作为职业演述人的史诗吟诵人是泛雅典娜赛会中史诗传统的承载者;而主要以职业演述人为载体的抒情诗传统则鲜为人知,其演述人被称为七弦琴歌手和吹箫歌手,分别指的是以七弦琴为伴奏乐器的歌手和以双管箫为伴奏乐器的歌手。与此相关的一个重要信息来自于“乐师之墓”的考古学证据的出版,而“乐师之墓”与泛雅典娜赛会中抒情诗歌的演述问题有一定关联。相关的文章还有E.Phlmann和M.L.West所著《最早的希腊纸莎草纸和书写板:来自阿提卡“乐师之墓”的五世纪文献》。我将对二人在描述该项考古学发现以及与该项发现有关的其他证据时使用的术语提供一种批判性的视角。 This article will focus on lyric poetry in the context of contests as well as epic traditions, which take place during the annual festival of the Pan-Athena, a seasonal festival held in Athens. It is well-known that the epic reciters as professional preachers are the bearers of epic traditions at the Pan-Athenaeum; while the lyric tradition, which is predominantly based on professional pretenders, is less well known and its authors are called Lyre and blowjob singers, respectively, refers to the lyre accompaniment instrument singer and dual pipe flute accompaniment instrument singer. An important piece of information related to this comes from the publication of the archaeological evidence of “The Tomb of a Musician,” while the “Tomb of a Musician” is somewhat related to the presentation of lyric poetry in the Pan-Athens Festival. Related articles include “The earliest Greek papyrus and writing board by E.Phlmann and M.L.West: The Fifth Century Literature from Attica”. I will provide a critical view of the terms used by the two in describing the discovery of the archeology and other evidence relevant to the discovery.