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In Search of Dionysos IN SEARCH OF DIONYSOS GOTHENBURG STUDIES IN HISTORY 1 IN SEARCH OF DIONYSOS REASSESSING A DIONYSIAN CONTEXT IN EARLY ROME CARINA HÅKANSSON © Carina Håkansson, 2010 ISBN 978-91-7346-681-3 The thesis is also available in full text on http://hdl.handle.net/2077/22099 Dissertation for the degree of Doctor of Philosophy in Classical archaeology and Ancient history, Dept. of Historical Studies, University of Gothenburg. Distribution: ACTA UNIVERSITATIS GOTHOBURGENSIS Box 222 SE- 405 30 Göteborg, Sweden Printing: Geson Hylte Tryck, Göteborg, 2010 Abstract Title: In search of Dionysos. Reassessing a Dionysian context in early Rome Language: English Keywords: Dionysos, Roman religion, Archaic Rome, paradigm shift, satyrs, liminality, iconography, ritual, cult, performance, Fufluns, Liber, Bacchus, oral tradition, antefix, small finds, intercontextual. ISBN: 978-91-7346-681-3 In the present study the possibility of an early appearance of the god Dionysos and his sphere in archaic Rome, in the decades around 500 BC, will be ex- amined. In early scholarship, rooted in the 19th century, the phenomenon of Di- onysian ecstatic rites, cults, and satyr-plays in Roman society was denied. Ac- cording to that view and the subsequent tradition in religious studies, such cultic activities were not present in Rome. Furthermore, due to Christian presuppositions, religion could scarcely be connected with sexual activities and bawdy behaviour, and as this is one fundamental quality in Dionysian cultic activities, it was reason enough for neglect and rejection of the thought of Dionysian cult as religion proper, on the whole. These preconceptions have long prevailed and formed the foundation for research in Roman religious studies. Scholars in various disciplines now challenge these ideas. The theoretical framework in this multidisciplinary study focuses on an intercontextual methodology and will have the approach of a case study. The starting point is thus to make a reassessment of the evidence at hand. The importance of the iconographic material is brought forward, beside the liter- ary and epigraphic sources. Finds from the Greek and Etruscan areas supply a comparative perspective since Rome hardly can be seen as an isolated entity. It is suggested that ideas and values travelled rather freely in the area. Parallel Dionysian phenomena are known in the cultural spheres influencing Rome. Dionysos’ visual manifestations are in focus as well as Dionysos’ possible rev- elation in early Rome and plausible relation to the god Liber. Moreover, the diverse aspects of the satyrs as part of the Dionysian sphere are treated and an attempt is made to explain the satyr in a religious context. Liminality is a central feature when satyrs are concerned, and their function as a symbol of inversion of order is considered. Arguments are given for a strong connection between ritual and performance, thus indicating a cultic origin of perform- ances in Rome, and for an early appearance of Dionysos and his thiasos. “..I have tried in my way to be free..” Leonard Cohen Bird on the wire. Published with the aid of grants from Stiftelsen Harald och Tonny Hagendahls minnesfond and Wilhelm och Martina Lundgrens Vetenskapsfond. PREFACE Thank you – Prof. Margareta Strandberg Olofsson, my supervisor, friend, and guide. Al- ways there for scholarly discussions, useful criticism, and who, I felt, always stood by my side. My sincere gratitude to both Margareta and her husband Prof. Arne Olofsson who generously invited me to their home in Italy, guided me in the “Etruscan” hinterlands, and shared all their knowledge and experi- ence of Italy, ancient and modern. Unhappy events ended our collaboration, but none of this would have been written were it not for you, Margareta. My sincere appreciation. Prof. Magnus Wistrand, thanks for once upon a time introducing me to the Latin language, and for my having such a great time while learning – and to Mr. Johnny Strand who taught me the curiosities of the classical Greek lan- guage. Without the two of you, this dissertation would not have even been begun. Dr. Maria Bruun-Lundgren, my supervisor during the last year, who scruti- nized my text in detail, thus improving it considerably. Thank you for taking on such a burden at a late stage, and keeping me in good mood. Assoc. prof. Ingela Wiman, who read the manuscript and gave me the impor- tant clue to the right direction. Members of the former thematic seminars, led by Prof. Strandberg Olofsson, thanks for continuity, shared interests, and many good discussions. To mem- bers of the Higher Seminar, later to become the Research Seminar, thanks are due as well. All the staff at the Swedish Institute in Rome, and especially Dott.ssa. Stefania Renzetti, who helped me with contacts with the Italian museums as well as other practical arrangements, when visiting the Institute. Annika Pihl, ready to discuss all aspects of the ancient world with an always clever approach, and many thanks for your friendship. Prof. Göran Malmstedt who reached out a helping hand at a critical moment. Jenny Högström who read the manuscript and gave valuable advice and good company, and thank you for the title! Jon van Leuven who corrected my English with much patience, and offered good advice. Prof. Robin Hägg, thanks for so thoroughly correcting my bibliography, and for bibliographical guidance. Generous grants have been facilitated by the following foundations: Stiftelsen stipendiefonden Viktor Rydbergs minne, Adlerbertska Stipendiestiftelsen, Stiftelsen Paul och Marie Berghaus donationsfond. Further special thanks to Stiftelsen Harald och Tonny Hagendahls minnesfond, for supporting travels during several years, and not least part of financing costs for publishing this thesis. Funding for publishing has also been provided by Wilhelm och Mar- tina Lundgrens Vetenskapsfond. Thanks for generous support. My dear friend Dott.ssa Christina Johansson, always keen on discussing Italy, ancient and present, in every possible aspect, and sharing many good lunches. Special thanks are due to Dr. Gunnel Emgård Olsson & Claes-Olof Olsson, who always stood by. To all the members of the board committee of S.A.L.T., special thanks for keeping me sane and for all the good laughs. The staff in administration in the different departments, and staff at the Go- thenburg University Library for supplying good service in several ways. Several museums in Europe have provided photos, fast service and generous conditions for publishing, which have improved the thesis. Due credits are given in the text. Last, but most important, thank you, my family and true friends who have been a source of strength in all possible ways, and a very special thanks to Andrea. Gothenburg, April 2010 Carina Håkansson Contents I. INTRODUCTION……………………………………………………………………13 Aim, method and theory ………………………………………………………13 Theoretical and methodological framework……………………………… 14 Structure ………………………………………………………………19 On construction and deconstruction ……………………………21 Research on Roman religion ………………………………………22 Some methodological questions ………………………………… 29 The religious experience …………………………………………… 31 Terminological remarks on theatre ……………………………36 Sources ……………………………………………………………………………38 II. TRACES OF DIONYSOS………………………………………………………41 Dionysos-Bacchus-Pacha-Fufluns-Liber…………………………………… 41 The Greek Dionysos…………………………………………………………… 42 Iconography of Dionysos reflecting myth and cult ……………43 The Etruscan Dionysos……………………………………………………… 56 Iconography of Dionysos reflecting myth and cult ……………57 The Roman Dionysos …………………………………………………………69 Discussion ………………………………………………………………………74 III. SATYRS………………………………………………………………………………79 Satyrs in the Greek area ………………………………………………………80 Satyrs in Etruria …………………………………………………………………84 Satyrs in Rome …………………………………………………………………89 Discussion ………………………………………………………………………104 IV. PERFORMANCES …………………………………………………………………107 Dionysos and performance ……………………………………………………107 Performance in the Greek area …………………………………107 Performance in Etruria …………………………………………… 113 The tradition of Roman performances ………………………… 117 Discussion ………………………………………………………………………133 V. SYNTHESIS………………………………………………………………………139 VI. SUMMARY AND CONCLUSION……………………………………………143 BIBLIOGRAPHY WITH ABBREVIATIONS…………………………………149 Modern literature………………………………………………………………149 Ancient sources…………………………………………………………………175 APPENDICES ……………………………………………………………………………177 Appendix 1, list of iconographical motives, ‘Figures carrying ivy leaves’…………………………………………………177 Appendix 2, list of iconographical motives, ‘Satyrs in procession or dance’……………………………………………183 I. INTRODUCTION Aim, method, theory An early tradition in scholarship, rooted in the 19th century, denied the phenomenon of Dionysian ecstatic rites, cults, and satyr plays in Roman society. If treated at all, the question has been very briefly touched upon, although similar phenomena are known from con- temporary societies. This direction in early research has been very in- fluential and persistent until recently. Today, the research on Roman religion seems to be undergoing a paradigm shift. Scholars such as Mary Beard and John North, for example, challenge the validity of the established versions of the history of Roman religion, and argue convincingly that a radical re-assessment of the evidence we have is crucial.1 In addition, a contextual framework as described by Kris- tian Kristiansen and Thomas B. Larsson seems favourable.2 Besides, there seems to be a continuous overlooking of small finds, and a neglect of images, as indications of the god Dionysos’
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