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Religions of the Ancient Greeks

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Religions of the Ancient Greeks KEY THEMES IN ANCIENT HISTORY RELIGIONS OF THE ANCIENT GREEKS P. A. Cartledge Glare College, Cambridge SIMON PRICE P. D. A. Garnsey Jesus College, Cambridge Key Themes in Ancient History aims to provide readable, informed and origi nal studies of various basic topics, designed in the first instance for students and teachers of Classics and Ancient History but also for those engaged in related disciplines. Each volume is devoted to a general theme in Greek, Roman, or where appropriate, Graeco-Roman history or to some salient aspect or aspects of it. Besides indicating the state of current research in the relevant area, authors seek to show how the theme is significant for our own as well as ancient culture and society By providing books for courses that are oriented around themes it is hoped to encourage and stimulate promising new developments in teaching and research in ancient history Other books in the series Death-ritual and social structure in classical antiquity, by Ian Morris 521 i 37611 o 37465 0 (hardback), o 4 (paperback) Literacy and oraliy in ancient Greece, by Rosalind Thomas o 521 37346 8 (hardback), 0 52’ 37742 0 (paperback) Slavery and society at Rome, by Keith Bradley o 521 37287 9 (hardback), 0 521 36887 7 (paperback) Law, violence, and communiçy in classical Athens, by David Cohen o 521 38167 3 (hardback), 0 521 38837 6 (paperback) Public order in ancient Rome, by Wilfried Nippel o 521 38327 7 (hardback), o 521 38748 3 (paperback) V Friendshz in the classical world, by David Konstan o 521 45402 6 (hardback), 0 521 45998 2 (paperback) Sport and sociqy in ancient Greece, by Mark Golden o 521 49698 (hardback), 0 521 49790 6 (paperback) Food and society in classical antiquity, by Peter Garnsey 0 521 64182 9 (hardback), o 521 64588 3 (paperback) J• CAMBRIDGE UNIVEi.sjry PRESS 10 Introduction (iv) a stone temple built by the heroes Trophonios and Agamedes, burnt I down In 548 BC.22 CHAPTER 2 Though it might be tempting to find archaeological correlates of all four of these temples, the temptation should be resisted. Though there might Gods, mjths andfestivals have been an eighth-century temple at Delphi constructed out of laurel and with an apsidal end, it is more likely that the laurel temple (i) is a refraction of the importance of the laurel in the cult of Apollo. There was an all-stone temple at Delphi from 675—650 BC, but temples (ii), (iii) and (iv) are likewise mythical creations designed to express ideas about the ideal evolution of Delphi from nature to humanity through the divine and heroic spheres. According to a Christian writer of the second century, the Greeks had The point that we must not, in the first instance, interpret archaeolog 365 gods.’ For the proponent of one (Christian) god this alleged fact ical evidence in the light of written evidence can also be seen in another demonstrated the absurdity of Greek religion. Moderns too sometimes Deiphic example. A myth, perhaps originating in the Hellenistic period, assume the nobility and superiority of one supreme god (‘monotheism’) told how the site of Delphi was first discovered by a goatherd who had as against the proliferation of little gods (‘polytheism’). But the number lost some animals down a chasm in the rocks.23 When he approached of the Greek gods (not as great as 365) does not mean that those gods the spot, he was overcome by vapours and began to prophesy. A vivid lack significance,2 any more than does the multiplicity of gods in the story which was taken at face value by some modern scholars who Hindu tradition. In addition, proponents of monotheism (whether asserted that this explained the workings of oracular prophecy at Delphi. Jewish, Christian or Islamic) are often not ready to note the disruptive Unfortunately, the geology of Delphi is such that there can never have consequences of monotheistic intolerance or the extent to which alleged been actual vapours, and there was, at most, only a symbolic chasm in monotheisms contain plural elements. Within Christianity what about the temple itself. the Trinity, the Blessed Virgin Mars or the Saints? In fact the categories Archaeological evidence and the written record each need some care ‘monotheism’ and ‘polytheism’ do not promote historical under in their interpretation and should ideally be studied in isolation before standing. In both ethnography/anthropology and ancient history schol they are combined. The structures of the texts are themselves at least as ars have sometimes sought to ‘rescue’ polytheism by arguing for an interesting as the ‘factual’ details in them. One cannot pile together element of monolatry or henotheism, in which the power of one god in the pantheon is proclaimed 3 ‘facts’ culled from texts without regard for contexts, in categories of as supreme. But the manoeuvre is condi which one is unconscious and which may well be inappropriate. The his tioned by a Judaeo-Christian evaluation of monotheism. The terms torian of Greek religions needs to be alert both to modern categories ‘polytheism’ and ‘monotheism’ are best abandoned to the theologians. and questions, and also to those of the ancients. PANHELLENIC MYTHS 22 Pindai Eighth Paean 58—99; Pausanias 10.5.9—13. Cf. Sourvinou-Inwood ‘979. 23 Diodorus Siculus ,6.s6. Cf. Price sg8, The principal Panhellenic Greek deities were quite limited in number, though infinitely extensible via epithets: Zeus, Hera, Athena, Apollo, Artemis, Poseidon, Aphrodite, Hermes, Hephaistos, Ares, Demeter, and Proclaimed by Orpheus: Theophilus, To Autolycus 3.2 (trans. R.M. Grant, Oxford 1970); also Lactantius, Divsne Institutes 1.7.6-7 (trans. M,F. McDonald, Fathers of the Church 49, Washington DC 1964). Cf. below, p. i6i. Historiographical debates: Schmidt 1987; Hinduism: Fuller 1992. Desy in Schmidt 1987; Versnel ig9oa. ‘I I 5 myths andfestivals 12 Gods, myths andfestivals Gods ‘3 between the Dionysos.4 These ‘twelve Olympians’, the number that became conven and Hesiod. The Homeric narratives describe interactions attacked Patroclus in tional in the fifth century BC, formed a family. Zeus, ‘father of gods and gods and the human protagonists: how Apollo men’, was at its head, Hera his sister—wife, and the others his siblings or battle (Iliad 16.778), or how Athena gave guidance to Telemachos (Odyssey and other children. The family structure was important up to a point: a nephew 1.178-323). Such interactions between gods and humans, degree of anthropo (Apollo) or a niece (Athena) might yield to an uncle (Poseidon) in Homeric stories about the gods, presuppose a 5 However, the extent of detail of family trees given in morphism: that the gods are like humans. Though this was a lasting Homeric contests. modern books and wall charts is very misleading. There was no one legacy in Greece, sometimes criticised by later generations (below, in canonical ancient version and the Greeks were not bothered whether or p. 127), Homer equally emphasises that gods were also unlike humans, Homer talk not Poseidon was a first cousin of Demeter. What mattered was that they their power and their immortality’° When characters in deities, were related, that they all lived together on Mount Olympos and that about divine interventions, they use not the names of specific a god (t/zeos) or there were other ‘chthonic’ (chthon ‘earth’) gods who lived beneath the which the narrator uses, but indeterminate terms like earth, Hades king of the underworld and his wife Persephone. divine being (daimon). Hesiod’s Theogony is a systematic treatise on the rule of Stories about this family were told or represented in many different Greek pantheon, which has at its centre the establishment of the contexts.6 Children heard the myths at the knees of their mothers or Zeus and how he mastered challenges to it by other powers (Titans, nurses.7 Aristocratic men in archaic and classical Greece attending their Typhoeus). 8 As we shall see The pre-eminence of Hesiodic thinking can be seen, for example, in sumposia (formalised drinking parties) liked to tell myths. built at latei, myths were omnipresent in sanctuaries and festivals, both the iconography of the massive altar of Zeus and Athena iconographically and verbally. They were also very visible in other public Pergamon in north-west Asia Minor in the second century BC. The places: in the Athenian agora, for example, one stoa (portico) gained its wonderfully dramatic sculpture running rio metres round the podium name ‘Painted’ because it served to display four fifth-century BC paint on which the altar stood celebrated the successful struggle of these arid could ings by the outstanding artists of the day on mythical and historical the other gods against the giants (Fig. 2. i). The casual observer the gods and the fact topics (cf. below, 22). The thousands of extant vases of the seventh to readily understand the frieze, but the attributes of p. permit the more fourth centuries BC depict scenes of the gods and heroes. Some of them that all the gods and giants were also labelled would are influenced by now lost works in other media (paintings, tapestries, learned and leisurely viewer to appreciate the complex iconographical metalwork), others are fresh creations of the individual pot painter. The scheme of the monument. It deals with the battle of the Gods and the account of contexts of these pots is important. They are the product of artists, Giants, which does not appear in the Theogony, but Hesiod’s including non-Greek slaves, working in different states and should a struggle of the divine order against a threat from outside was the ideally not all be lumped together as ‘Greek’.
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