DOCSLIB.ORG

7 Domesticating Artemis

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
7 Domesticating Artemis 7 Domesticating Artemis at the margins The action of Euripides’ Iphigeneia among the Taurians is set far away from the Aegean, on the northern coast of the Black Sea.1 When Orestes arrives on a mission to fetch from this place a portable image of Artemis, a crisis is generated by the local Taurian custom requiring any stranger ar- riving on these shores to be sacrificed to Artemis. Unknown to Orestes, his sister Iphigeneia (whom he believes is dead) is living here in service to Artemis, and she is expected to officiate at her own brother’s death. This is avoided when each learns the true identity of the other, but the crisis (how to appease a goddess who demands the death of strangers) cannot be re- solved without the intervention of Athena. In a show-stopping epiphany towards the end of the play, Athena announces Athenian ritual as the so- lution, directing that Orestes install a statue of Artemis at one sanctuary of Attika (Halai) and that Iphigeneia take up service to Artemis at another (Brauron). In imitation of the Taurian rite, the sacrifice at Halai would re- quire not death but merely a show of human blood. Athena announces to Iphigeneia that, as priestess of Artemis at Brauron, she would one day have her tomb in the sanctuary “at the Brauranian steps,” where she would re- ceive the garments left behind by women who died in childbirth: . and they will dedicate as ornament for you the fine-webbed woven garments that women Copyright © 2004. University of California Press. All rights reserved. Press. All rights of California © 2004. University Copyright 1. Hall (1987) 422–38, for the geography. 198 Cole, Susan Guettel. Landscapes, Gender, and Ritual Space : The Ancient Greek Experience, University of California Press, 2004. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/washington/detail.action?docID=224760. Created from washington on 2019-01-09 15:25:31. Domesticating Artemis / 199 breathing out their last breath in childbirth leave behind in their homes.2 The Brauronian steps can be seen today, carved into the living rock—a de- tail Euripides knew his audience would recognize. Other conditions de- scribed here, however, are puzzling. For one thing, Iphigeneia’s mission to receive gifts made by those who have died has no ritual model. Death in childbirth would constitute ritual failure, an ominous occasion for making a gift in a sanctuary. Granted, Iphigeneia’s own death was a prerequisite for her achievement of heroic status, because dying is what heroes and hero- ines must do, but why here and why now? More precisely, why at this time should Athens be glorifying a Peloponnesian heroine, and why did Athens need a grave and heroine that other cities claimed? 3 Finally, why, in the penultimate decade of the fifth century,4 did Euripides talk about a xoanon (portable image) of Artemis in Attika? We know there were several statues of Artemis at Brauron, at one time even a special xoanon,5 but Pausanias denies that this particular xoanon was the one Iphigeneia had brought back from the Taurians.6 The Persians took this one back to Susa in 480.7 In fact, several cities claimed to have the “genuine” Taurian statue. Strabo locates one in the temple of Artemis at Halai,8 another in a temple of Diana at Ari- cia,9 still another in a temple of Ma in Cappadocia,10 and even reports a fourth among the people of Tyndaris in Sicily.11 For Pausanias, although he mentions a xoanon of the goddess at Hermione (where, he says, Artemis was called Iphigeneia), the wooden xoanon in the sanctuary of Artemis Or- thosia at Sparta was the only genuine article.12 2. Eur. IT 1462– 66: . ka‹ p°plvn êlgamã soi yÆsousin eÈpÆnouw Ífçw, ìw ìn guna›kew §n tÒkoiw cuxorrage›w l¤pvsÉ §n o‡koiw. 3. Namely, Megara; Paus. 1.43.1. 4. The date may be about 413 b.c.e., sometime after Sophokles’ Chryses (dated before 414) and before Euripides’ Helen (412). 5. Paus. 1.23.7. Euripides calls the statue bretas, agalma, and (once) xoanon. 6. Paus. 1.33.1. 7. Paus. 3.16.7– 8. 8. Strab. 9.1.22. Copyright © 2004. University of California Press. All rights reserved. of California © 2004. University Copyright 9. Strab. 5.3.12. 10. Strab. 12.2.3. Pausanias, 3.16.8, is aware of this tradition. 11. Graf (1979) 41 n. 4, and Pritchett (1998) 256 – 60, collect the evidence. 12. Paus. 2.35.1. Cole, Susan Guettel. Landscapes, Gender, and Ritual Space : The Ancient Greek Experience, University of California Press, 2004. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/washington/detail.action?docID=224760. Created from washington on 2019-01-09 15:25:31. 200 / Domesticating Artemis Many sanctuaries of Artemis must have had such a portable image of the goddess.13 The most powerful were treated with special respect, and some even required a place for safekeeping. For security, many temples of Artemis had an extra interior chamber,14 usually called the adyton, acces- sible only to the priestess. Adyta are found in other sanctuaries, especially those associated with oracles, mysteries, or the incubation connected with healing cults, and in such contexts they were places for special rituals re- stricted to only a few. Such chambers in temples of Artemis were different, however, in that they were not for ritual but for safe storage of sacred items. Entry was strictly controlled.15 A restricted-access chamber would have provided a secure place for an image considered dangerous in itself.16 Threatening images were kept out of sight and were brought out only rarely, under supervision and the protection of ritual.17 Artemis’s temple at Hyampolis was open only twice a year.18 The image of Artemis Eurynome at Phigalia was so hard to control that it was bound with golden chains, and her temple was opened only once a year.19 At Pellene, the xoanon of Artemis was such an object of dread when taken out on parade that no one would willingly look on it, for it could wither the fruit on a tree or stop an enemy in its tracks.20 Respect for the power and danger of an angry god encouraged myths of foreign origin that located violent divinities like Ares, Dionysos, and, in 13. At Messene, the young attendant of Artemis who carried the image (bretas) of Artemis Orthia in the ceremony was honored with a statue; IG V.1 1032; see Themelis (1994) 114 –15 for a summary, and fig. 18 for the statue base. Hierai parthenoi performed the xoanophoria for the mysteries at Andania; IG V. 1 1390.29. 14. Travlos (1976), for Brauron, Halai, and Aulis. The adyton at Mounichia is essential to the story of the sacrifice there. Hewitt (1909) 89–90 associates Artemis with adyta only when her function is exceptional. Hollinshead (1985) is critical of the Attic reconstructions of Travlos, but the pattern is well-established elsewhere. See Felsch et al. (1987) for Hyampolis, Seiler (1986) for Stymphalos, Sinn (1978) and (1981) for Kombothekra, Kuhn (1993) for Thermon, and Pernier (1931) for Kyrene. Recent work at Lousoi indicates that the early temple for Artemis had a separate chamber divided from the cella by a wall. Pottery goes back to the eighth century; Mitsopoulos-Leon (1992). 15. Hollinshead (1999), especially 196 –97, emphasizes security for valuable objects but does not even consider the possibility of danger from the objects them- selves. 16. Suggested by Graf (1985) 37 for Halai. 17. Hewitt (1909) 89–90. Copyright © 2004. University of California Press. All rights reserved. Press. All rights of California © 2004. University Copyright 18. Paus. 10.35.7. 19. Paus. 8.41.5. 20. Plut. Arat. 32; Faraone (1992) 138, for the fear aroused by these images. See Graf (1985) 81–98 for the type. Cole, Susan Guettel. Landscapes, Gender, and Ritual Space : The Ancient Greek Experience, University of California Press, 2004. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/washington/detail.action?docID=224760. Created from washington on 2019-01-09 15:25:31. Domesticating Artemis / 201 some forms, Artemis far away, at the fringes of the civilized world. Arte- mis, so often worshipped in border areas, could be explained in her most savage form only as a foreign goddess, imported from a distant and alien realm. Iphigeneia’s apprenticeship in the far north, then, is preparation for her service at Brauron. As a victim of violence who is loyal to Artemis, Iphigeneia is qualified to preside over the consequences of violent death in childbirth. Athena’s solution satisfies an angry Artemis and a needy Iphi- geneia. Both figures were called for at home in Attika, but only if they would protect as well as destroy. Euripides’ play was staged during a time of continuing crisis for the Athenians, when Brauron in eastern Attika was under the shadow of a Spartan threat. What better time for claiming the grave of a Peloponnesian heroine and appropriating a talisman of Artemis so strongly identified with Sparta? the anger of artemis Euripides presents Artemis in her savage form to illustrate that she was a divinity who had to be appeased. Her sanctuaries could be places of refuge in times of stress or conflict,21 but the protection Artemis offered her fe- male worshippers demanded loyalty in return. When rituals of Artemis excluded males, females had no protection except what the goddess herself could provide. Rural sanctuaries were vulnerable targets, whether they were located in mountain areas, the countryside,22 or where the land met the sea.
Load more

Recommended publications
  • Greek Art in Motion Studies in Honour of Sir John Boardman ​On the Occasion of His 90Th Birthday
    Greek Art in Motion Studies in honour of Sir John Boardman on the occasion of his 90th birthday edited by Rui Morais, Delfim Leão, Diana Rodríguez Pérez with Daniela Ferreira Archaeopress Archaeology © Archaeopress and the authors, 2019. Archaeopress Publishing Ltd Summertown Pavilion 18-24 Middle Way Summertown Oxford OX2 7LG www.archaeopress.com ISBN 978 1 78969 023 1 ISBN 978 1 78969 024 8 (e-Pdf) © Archaeopress and the individual authors 2019 Cover: Head of Alexander in profile. Tourmaline intaglio, 25 x 25 mm, Ashmolean (1892.1499) G.J. Chester Bequest. Photo: C. Wagner. All rights reserved. No part of this book may be reproduced, or transmitted, in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior written permission of the copyright owners. Printed in England by Oxuniprint, Oxford This book is available direct from Archaeopress or from our website www.archaeopress.com © Archaeopress and the authors, 2019. Contents Preface ����������������������������������������������������������������������������������������������������������������������������������������������������������������������������������1 John Boardman and Greek Sculpture �����������������������������������������������������������������������������������������������������������������������������������3 Olga Palagia Sanctuaries and the Hellenistic Polis: An Architectural Approach �����������������������������������������������������������������������������������14 Milena Melfi ‘Even the fragments, however, merit scrutiny’: Ancient
    [Show full text]
  • Hadrian and the Greek East
    HADRIAN AND THE GREEK EAST: IMPERIAL POLICY AND COMMUNICATION DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Demetrios Kritsotakis, B.A, M.A. * * * * * The Ohio State University 2008 Dissertation Committee: Approved by Professor Fritz Graf, Adviser Professor Tom Hawkins ____________________________ Professor Anthony Kaldellis Adviser Greek and Latin Graduate Program Copyright by Demetrios Kritsotakis 2008 ABSTRACT The Roman Emperor Hadrian pursued a policy of unification of the vast Empire. After his accession, he abandoned the expansionist policy of his predecessor Trajan and focused on securing the frontiers of the empire and on maintaining its stability. Of the utmost importance was the further integration and participation in his program of the peoples of the Greek East, especially of the Greek mainland and Asia Minor. Hadrian now invited them to become active members of the empire. By his lengthy travels and benefactions to the people of the region and by the creation of the Panhellenion, Hadrian attempted to create a second center of the Empire. Rome, in the West, was the first center; now a second one, in the East, would draw together the Greek people on both sides of the Aegean Sea. Thus he could accelerate the unification of the empire by focusing on its two most important elements, Romans and Greeks. Hadrian channeled his intentions in a number of ways, including the use of specific iconographical types on the coinage of his reign and religious language and themes in his interactions with the Greeks. In both cases it becomes evident that the Greeks not only understood his messages, but they also reacted in a positive way.
    [Show full text]
  • Urban Planning in the Greek Colonies in Sicily and Magna Graecia
    Urban Planning in the Greek Colonies in Sicily and Magna Graecia (8th – 6th centuries BCE) An honors thesis for the Department of Classics Olivia E. Hayden Tufts University, 2013 Abstract: Although ancient Greeks were traversing the western Mediterranean as early as the Mycenaean Period, the end of the “Dark Age” saw a surge of Greek colonial activity throughout the Mediterranean. Contemporary cities of the Greek homeland were in the process of growing from small, irregularly planned settlements into organized urban spaces. By contrast, the colonies founded overseas in the 8th and 6th centuries BCE lacked any pre-existing structures or spatial organization, allowing the inhabitants to closely approximate their conceptual ideals. For this reason the Greek colonies in Sicily and Magna Graecia, known for their extensive use of gridded urban planning, exemplified the overarching trajectory of urban planning in this period. Over the course of the 8th to 6th centuries BCE the Greek cities in Sicily and Magna Graecia developed many common features, including the zoning of domestic, religious, and political space and the implementation of a gridded street plan in the domestic sector. Each city, however, had its own peculiarities and experimental design elements. I will argue that the interplay between standardization and idiosyncrasy in each city developed as a result of vying for recognition within this tight-knit network of affluent Sicilian and South Italian cities. This competition both stimulated the widespread adoption of popular ideas and encouraged the continuous initiation of new trends. ii Table of Contents: Abstract. …………………….………………………………………………………………….... ii Table of Contents …………………………………….………………………………….…….... iii 1. Introduction …………………………………………………………………………..……….. 1 2.
    [Show full text]
  • Athenians and Eleusinians in the West Pediment of the Parthenon
    ATHENIANS AND ELEUSINIANS IN THE WEST PEDIMENT OF THE PARTHENON (PLATE 95) T HE IDENTIFICATION of the figuresin the west pedimentof the Parthenonhas long been problematic.I The evidencereadily enables us to reconstructthe composition of the pedimentand to identify its central figures.The subsidiaryfigures, however, are rath- er more difficult to interpret. I propose that those on the left side of the pediment may be identifiedas membersof the Athenian royal family, associatedwith the goddessAthena, and those on the right as membersof the Eleusinian royal family, associatedwith the god Posei- don. This alignment reflects the strife of the two gods on a heroic level, by referringto the legendary war between Athens and Eleusis. The recognition of the disjunctionbetween Athenians and Eleusinians and of parallelism and contrastbetween individualsand groups of figures on the pedimentpermits the identificationof each figure. The referenceto Eleusis in the pediment,moreover, indicates the importanceof that city and its majorcult, the Eleu- sinian Mysteries, to the Athenians. The referencereflects the developmentand exploitation of Athenian control of the Mysteries during the Archaic and Classical periods. This new proposalfor the identificationof the subsidiaryfigures of the west pedimentthus has critical I This article has its origins in a paper I wrote in a graduateseminar directedby ProfessorJohn Pollini at The Johns Hopkins University in 1979. I returned to this paper to revise and expand its ideas during 1986/1987, when I held the Jacob Hirsch Fellowship at the American School of Classical Studies at Athens. In the summer of 1988, I was given a grant by the Committeeon Research of Tulane University to conduct furtherresearch for the article.
    [Show full text]
  • Greece • Crete • Turkey May 28 - June 22, 2021
    GREECE • CRETE • TURKEY MAY 28 - JUNE 22, 2021 Tour Hosts: Dr. Scott Moore Dr. Jason Whitlark organized by GREECE - CRETE - TURKEY / May 28 - June 22, 2021 May 31 Mon ATHENS - CORINTH CANAL - CORINTH – ACROCORINTH - NAFPLION At 8:30a.m. depart from Athens and drive along the coastal highway of Saronic Gulf. Arrive at the Corinth Canal for a brief stop and then continue on to the Acropolis of Corinth. Acro-corinth is the citadel of Corinth. It is situated to the southwest of the ancient city and rises to an elevation of 1883 ft. [574 m.]. Today it is surrounded by walls that are about 1.85 mi. [3 km.] long. The foundations of the fortifications are ancient—going back to the Hellenistic Period. The current walls were built and rebuilt by the Byzantines, Franks, Venetians, and Ottoman Turks. Climb up and visit the fortress. Then proceed to the Ancient city of Corinth. It was to this megalopolis where the apostle Paul came and worked, established a thriving church, subsequently sending two of his epistles now part of the New Testament. Here, we see all of the sites associated with his ministry: the Agora, the Temple of Apollo, the Roman Odeon, the Bema and Gallio’s Seat. The small local archaeological museum here is an absolute must! In Romans 16:23 Paul mentions his friend Erastus and • • we will see an inscription to him at the site. In the afternoon we will drive to GREECE CRETE TURKEY Nafplion for check-in at hotel followed by dinner and overnight. (B,D) MAY 28 - JUNE 22, 2021 June 1 Tue EPIDAURAUS - MYCENAE - NAFPLION Morning visit to Mycenae where we see the remains of the prehistoric citadel Parthenon, fortified with the Cyclopean Walls, the Lionesses’ Gate, the remains of the Athens Mycenaean Palace and the Tomb of King Agamemnon in which we will actually enter.
    [Show full text]
  • Parthenon 1 Parthenon
    Parthenon 1 Parthenon Parthenon Παρθενών (Greek) The Parthenon Location within Greece Athens central General information Type Greek Temple Architectural style Classical Location Athens, Greece Coordinates 37°58′12.9″N 23°43′20.89″E Current tenants Museum [1] [2] Construction started 447 BC [1] [2] Completed 432 BC Height 13.72 m (45.0 ft) Technical details Size 69.5 by 30.9 m (228 by 101 ft) Other dimensions Cella: 29.8 by 19.2 m (98 by 63 ft) Design and construction Owner Greek government Architect Iktinos, Kallikrates Other designers Phidias (sculptor) The Parthenon (Ancient Greek: Παρθενών) is a temple on the Athenian Acropolis, Greece, dedicated to the Greek goddess Athena, whom the people of Athens considered their patron. Its construction began in 447 BC and was completed in 438 BC, although decorations of the Parthenon continued until 432 BC. It is the most important surviving building of Classical Greece, generally considered to be the culmination of the development of the Doric order. Its decorative sculptures are considered some of the high points of Greek art. The Parthenon is regarded as an Parthenon 2 enduring symbol of Ancient Greece and of Athenian democracy and one of the world's greatest cultural monuments. The Greek Ministry of Culture is currently carrying out a program of selective restoration and reconstruction to ensure the stability of the partially ruined structure.[3] The Parthenon itself replaced an older temple of Athena, which historians call the Pre-Parthenon or Older Parthenon, that was destroyed in the Persian invasion of 480 BC. Like most Greek temples, the Parthenon was used as a treasury.
    [Show full text]
  • The Greek World
    THE GREEK WORLD THE GREEK WORLD Edited by Anton Powell London and New York First published 1995 by Routledge 11 New Fetter Lane, London EC4P 4EE This edition published in the Taylor & Francis e-Library, 2003. Disclaimer: For copyright reasons, some images in the original version of this book are not available for inclusion in the eBook. Simultaneously published in the USA and Canada by Routledge 29 West 35th Street, New York, NY 10001 First published in paperback 1997 Selection and editorial matter © 1995 Anton Powell, individual chapters © 1995 the contributors All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. British Library Cataloguing in Publication Data Greek World I. Powell, Anton 938 Library of Congress Cataloguing in Publication Data The Greek world/edited by Anton Powell. p. cm. Includes bibliographical references and index. 1. Greece—Civilization—To 146 B.C. 2. Mediterranean Region— Civilization. 3. Greece—Social conditions—To 146 B.C. I. Powell, Anton. DF78.G74 1995 938–dc20 94–41576 ISBN 0-203-04216-6 Master e-book ISBN ISBN 0-203-16276-5 (Adobe eReader Format) ISBN 0-415-06031-1 (hbk) ISBN 0-415-17042-7 (pbk) CONTENTS List of Illustrations vii Notes on Contributors viii List of Abbreviations xii Introduction 1 Anton Powell PART I: THE GREEK MAJORITY 1 Linear
    [Show full text]
  • Hesiod Theogony.Pdf
    Hesiod (8th or 7th c. BC, composed in Greek) The Homeric epics, the Iliad and the Odyssey, are probably slightly earlier than Hesiod’s two surviving poems, the Works and Days and the Theogony. Yet in many ways Hesiod is the more important author for the study of Greek mythology. While Homer treats cer- tain aspects of the saga of the Trojan War, he makes no attempt at treating myth more generally. He often includes short digressions and tantalizes us with hints of a broader tra- dition, but much of this remains obscure. Hesiod, by contrast, sought in his Theogony to give a connected account of the creation of the universe. For the study of myth he is im- portant precisely because his is the oldest surviving attempt to treat systematically the mythical tradition from the first gods down to the great heroes. Also unlike the legendary Homer, Hesiod is for us an historical figure and a real per- sonality. His Works and Days contains a great deal of autobiographical information, in- cluding his birthplace (Ascra in Boiotia), where his father had come from (Cyme in Asia Minor), and the name of his brother (Perses), with whom he had a dispute that was the inspiration for composing the Works and Days. His exact date cannot be determined with precision, but there is general agreement that he lived in the 8th century or perhaps the early 7th century BC. His life, therefore, was approximately contemporaneous with the beginning of alphabetic writing in the Greek world. Although we do not know whether Hesiod himself employed this new invention in composing his poems, we can be certain that it was soon used to record and pass them on.
    [Show full text]
  • Ancient Greek Myth and Drama in Greek Cinema (1930–2012): an Overall Approach
    Konstantinos KyriaKos ANCIENT GREEK MYTH AND DRAMA IN GREEK CINEMA (1930–2012): AN OVERALL APPROACH Ι. Introduction he purpose of the present article is to outline the relationship between TGreek cinema and themes from Ancient Greek mythology, in a period stretching from 1930 to 2012. This discourse is initiated by examining mov- ies dated before WW II (Prometheus Bound, 1930, Dimitris Meravidis)1 till recent important ones such as Strella. A Woman’s Way (2009, Panos Ch. Koutras).2 Moreover, movies involving ancient drama adaptations are co-ex- amined with the ones referring to ancient mythology in general. This is due to a particularity of the perception of ancient drama by script writers and di- rectors of Greek cinema: in ancient tragedy and comedy film adaptations,3 ancient drama was typically employed as a source for myth. * I wish to express my gratitude to S. Tsitsiridis, A. Marinis and G. Sakallieros for their succinct remarks upon this article. 1. The ideologically interesting endeavours — expressed through filming the Delphic Cel- ebrations Prometheus Bound by Eva Palmer-Sikelianos and Angelos Sikelianos (1930, Dimitris Meravidis) and the Longus romance in Daphnis and Chloë (1931, Orestis Laskos) — belong to the origins of Greek cinema. What the viewers behold, in the first fiction film of the Greek Cinema (The Adventures of Villar, 1924, Joseph Hepp), is a wedding reception at the hill of Acropolis. Then, during the interwar period, film pro- duction comprises of documentaries depicting the “Celebrations of the Third Greek Civilisation”, romances from late antiquity (where the beauty of the lovers refers to An- cient Greek statues), and, finally, the first filmings of a theatrical performance, Del- phic Celebrations.
    [Show full text]
  • THE ELEUSINIAN MYSTERIES of DEMETER and PERSEPHONE: Fertility, Sexuality, Ancl Rebirth Mara Lynn Keller
    THE ELEUSINIAN MYSTERIES OF DEMETER AND PERSEPHONE: Fertility, Sexuality, ancl Rebirth Mara Lynn Keller The story of Demeter and Persephone, mother and daugher naturc goddesses, provides us with insights into the core beliefs by which earl) agrarian peoples of the Mediterranean related to “the creative forces of thc universe”-which some people call God, or Goddess.’ The rites of Demetei and Persephone speak to the experiences of life that remain through all time< the most mysterious-birth, sexuality, death-and also to the greatest niys tery of all, enduring love. In these ceremonies, women and inen expressec joy in the beauty and abundance of nature, especially the bountiful harvest in personal love, sexuality and procreation; and in the rebirth of the humail spirit, even through suffering and death. Cicero wrote of these rites: “Wc have been given a reason not only to live in joy, but also to die with bettei hope. ”2 The Mother Earth religion ceIebrated her children’s birth, enjoyment of life and loving return to her in death. The Earth both nourished the living and welcomed back into her body the dead. As Aeschylus wrote in TIic Libation Bearers: Yea, summon Earth, who brings all things to life and rears, and takes again into her womb.3 I wish to express my gratitude for the love and wisdom of my mother, hlary 1’. Keller, and of Dr. Muriel Chapman. They have been invaluable soiirces of insight and under- standing for me in these studies. So also have been the scholarship, vision atdot- friendship of Carol €! Christ, Charlene Spretnak, Deem Metzger, Carol Lee Saiichez, Ruby Rohrlich, Starhawk, Jane Ellen Harrison, Kiane Eisler, Alexis Masters, Richard Trapp, John Glanville, Judith Plaskow, Jim Syfers, Jim Moses, Bonnie blacCregor and Lil Moed.
    [Show full text]
  • The Phokikon and the Hero Archegetes (Plate54)
    THE PHOKIKON AND THE HERO ARCHEGETES (PLATE54) A SHORT DISTANCE WEST of the Boiotian town of Chaironeia the Sacred Way I Lcrossed the border into Phokis. The road went past Panopeus and on toward Daulis before turning south toward the Schiste Odos and, eventually, Delphi (Fig. 1). To reach the famous crossroads where Oidipos slew his father, the Sacred Way first had to pass through the valley of the Platanias River. In this valley, on the left side of the road, was the federal meeting place of the Phokians, the Phokikon.1 This is one of the few civic buildings from antiquity whose internal layout is described by an eyewitness.2 Pausanias says, Withrespect to size the buildingis a largeone, and withinit thereare columnsstanding along its length; steps ascend from the columnsto each wall, and on these steps the delegatesof the Phokianssit. At the far end there are neithercolumns nor steps, but a statuegroup of Zeus, Athena, and Hera; the statueof Zeus is enthroned,flanked by the goddesses,with the statueof Athenastanding on the left (1O.5.2).3 Frazersuggested that the interior of the building resembledthe Thersilion at Megalopolis.4 The location of a federal assembly hall so close to the border with Boiotia, an often hostile neighbor, seems puzzling, but given the shape of the entire territory of Phokis, the position of the Phokikonmakes sense (Fig. 2). As Philippson noted, "Die antike Landschaft Phokis ist nicht nattirlichbegrenzt und kein geographisch einheitliches Gebiet."5 Ancient Phokis was dominated by Mount Parnassos, and the Phokians inhabited two distinct 1 An earlier draft of this paper was delivered at the 92nd Annual Meeting of the Archaeological Institute of America (San Francisco 1990; abstract, AJA 1991, pp.
    [Show full text]
  • Arcana Mundi : Magic and the Occult in the Greek and Roman Worlds : a Collection of Ancient Texts / Translated, Annotated, and Introduced by Georg Luck
    o`o`o`o`o`o SECOND EDITION Arcana Mundi MAGIC AND THE OCCULT IN THE GREEK AND ROMAN WORLDS A Collection of Ancient Texts Translated, Annotated, and Introduced by Georg Luck o`o`o`o`o`o THE JOHNS HOPKINS UNIVERSITY PRESS BALTIMORE The first edition of this book was brought to publication with the generous assistance of the David M. Robinson Fund and the Andrew W. Mellon Foundation. ∫ 1985, 2006 The Johns Hopkins University Press All rights reserved. Published 1985, 2006 Printed in the United States of America on acid-free paper 2 4 6 8 9 7 5 3 1 The Johns Hopkins University Press 2715 North Charles Street Baltimore, Maryland 21218-4363 www.press.jhu.edu Library of Congress Cataloging-in-Publication Data Arcana mundi : magic and the occult in the Greek and Roman worlds : a collection of ancient texts / translated, annotated, and introduced by Georg Luck. — 2nd ed. p. cm. Includes bibliographical references (p. ) and indexes. isbn 0-8018-8345-8 (hardcover : alk. paper) isbn 0-8018-8346-6 (pbk. : alk. paper) 1. Occultism—Greece—History—Sources. 2. Occultism—Rome—History— Sources. 3. Civilization, Classical—Sources. I. Luck, Georg, 1926– bf1421.a73 2006 130.938—dc22 2005028354 A catalog record for this book is available from the British Library. For Harriet This page intentionally left blank Contents List of Texts ix Preface xiii List of Abbreviations xvii General Introduction: Exploring Ancient Magic 1 I. MAGIC Introduction 33 Texts 93 II. MIRACLES Introduction 177 Texts 185 III. DAEMONOLOGY Introduction 207 Texts 223 IV. DIVINATION Introduction 285 Texts 321 V.
    [Show full text]