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Orphic Myths on Attic Vases. Orphic Myths On ORPHIC MYTHS ON ATTIC VASES. 343 ORPHIC MYTHS ON ATTIC VASES. THE accompanying cut represents the painting upon a hydria in the British Museum (No. E 818). The design, in red figures, covers the body of the vase, which apparently dates from early in the fourth century B.C., and stands "32 metres high; the glaze is of that semi-iridescent character which ilk, marks the Attic vases of this time, and the red figures are smeared with ruddle and show the original sketch marks very plainly. It was found in excavations in Rhodes in 1880, outside a tomb at the site named in Mr. Biliotti's Diary Cazviri; unfortunately the circumstances of the find 1 do not 1 Biliotti's Diary. Cazviri. March 11. 1880. 1 alabastron. No. 43. ' Discovered a sharply vaulted tomb ; 1 glass bottle with three coloured stripes. found outside, 1 lekythus with ornaments. ' 1 Hydria black glaze painted with three red 1 same with one haudle, very common. figures; not very fine specimen however, as the 1 fragment of stone, perhaps part of a tool. figures are rather roughly done. 344 ORPHIC MYTHS ON ATTIC VASES. assist us in determining more accurately the date; but it may be taken as of certainly Athenian fabric, and probably of the date above stated. At first sight the curiously rough and hasty style of the drawing suggests a caricature; while however this peculiarity is evidently intentional, I do not think that the artist intended a caricature in our sense of the word; as to this I shall have to speak presently; but first, as to the subject. We see a group of three principal figures. The central one is a bearded man who faces the spectator, dressed in a short chiton girt at the waist; over this is a long cloak decorated with horizontal patterns, including a double band of ivy or vine leaves, and fastened by two flaps knotted on the chest; on his head is a cap which hangs down the back and has a separate flap on each shoulder. With his right hand he raises to his mouth—obviously with the intention of eating—the limb of a dt3ad boy which he has torn from the body that he holds on his left arm. The dead child is quite naked, and its long hair hangs down from the head which falls loosely backward; the lifeless character of the figure is well brought out, in spite of the general sketchiness of the drawing. On the left advances a figure who is also bearded, and who expresses his surprise at the sight of the central scene by the gesture of his left hand; his long wavy hair, wreathed with vine or ivy, and the thyrsos in his right hand mark him at once as Dionysos. He wears a succinct talaric chiton decorated with vertical stripes. On the right a bearded personage, attired in the same way as the central figure, runs away to the right, looking back, and extending his left arm as if in surprise. In his right hand he carries a long staff. Part of this figure has been broken away in the only damage which the vase has undergone, but fortunately no important part seems to be wanting. ' The dress which distinguishes the two right-hand figures is that which in Greek art is invariably used to characterise the inhabitants of Thrace. Thus it is worn for instance by the Thracian Boreas on a vase of this period in the ORPHIC MYTHS ON ATTIC VASES. 315 British Museum, 2STo. F 154 (Gerhard, A. V. iii. pi. 152, fig. 3); but perhaps the best instance for our purpose is the Naples krater, Museo Borb., Tom. ix. Tav. xii. The figures are there arranged in two friezes around the body of the vase; in the upper frieze we have (i.) Orpheus wearing an himation seated on a rock playing upon the lyre in the midst of four Thracian men dressed precisely like our figures, and who listen in attitudes of attention and approval; (ii.) Orpheus, as before, leading two Thracian men to the left: on either side a horse. In the lower frieze is the same figure of Orpheus pursued by five Thracian women who threaten him with various weapons, a large pestle, a spit, bipennis, &c. It is remarked on this vase by Heydemannx that Orpheus is here distinguished by his Greek costume, just as Pausanias (Phok. 30, 3) notices of him in the Delphic picture by Polygnotos: 'E\\r)vi/cbp Be TO (xyjiiia. e<TTi T<£ 'Op<f>el, ical oine ff i<r0r)<i oine ezrl6r)fia icmv iirl ry KefyaXfi ®pa/ciov. This iaffijs and iiridrffia have been identified by Dilthey 2 as the £eipd and the aXa)7re/cr} which Herodotos3 mentions as worn by Thracians on their campaigns; and Xenophon4 notices the same fact, explaining why foxes' skins were worn by them on the head, and particularly alluding to the fact that the chiton was worn, not only around the breast, but also around the thighs, that is to say, longer than the usual Greek male attire, but yet not talaric. We may conclude therefore from the dress of the two right-hand characters of our scene, that these are intended to represent Thracians. We have thus before us the devouring of a boy by a Thracian, in the presence of Dionysos and a second Thracian who flees in terror. The episode of a child torn to pieces and devoured occurs very rarely in Greek mythology; the banquet of Thyestes, and that of the gods with Tantalus when they ate his son Pelops are of course inapplicable to the present case, as there is no question in either of those myths of conscious and deliberate anthropophagy : neither is Dionysos a leading figure in these dramas. There remains only the episode of the devouring of the infant Zagreus by the Titans, and this must be the subject represented on our vase. This episode was one of the most characteristic legends connected with the mystic-orgiastic Thracian cult which in Athens took root in the form of the Orphic mysteries. The central conception of the Orphic cult was Dionysos in his varying forms; and considering his presence here, and the Thracian colouring that is given to the scene by the dress of the other two figures, I think we may without hesitation identify the' subject as the devouring of Zagreus. If so, we have here what is I believe the first recorded instance of an intrinsically Orphic scene in Attic art,5 treated in a way which offers some 1 Arch. Zeit. 1868, p. 3. 1022, refers to a representation of this same 2 Jnnali dell' Inst. 1867, p. 179. scene in Gerhard A. B. taf. 70, bnt I cannot find 3 Herod, vii. 75. ©p^i/ces 8e &rl fiev Tfjai the publication he refers to ; it is apparently not KetpaArjcrt aAonre/cas ix°'nes itrrpvrtioyro, Trepl 5e Antike Bildwerke nor Auserlesene Vasenbilder. rb iru/itt Ki9&vas, M Se f«p&s irepi/StejSXTjjiieVoi The statement above is of course exclusive of voiiciAas... the two familiar types, of Orpheus playing to 4 Andb. vii. i. 4. or destroyed by Thracians ; and Orpheus in 5 Pauly, Real-Encycl. s. v. Liber Pater, iv. p. Hades. 346 OEPHIC MYTHS ON ATTIC VASES. interesting points of divergence from the Orphic traditions, as we know them. The moving principle of the Thracian legend was the dogma of the immortality of the soul; the early localization of this idea in Thrace is set forth in various passages from Herodotos.1 Unfortunately, most of our knowledge of the Orphic doctrines is drawn from such late authorities as Nonnus and Clemens, in whose narratives there is an obvious jumble of the Theogony of Hesiod and other unknown Theogonies with that of the Orphic sect. The discoveries at Sybaris and the inscribed tablets found there,2 together with the Petelia tablet in the British Museum, speak for the prevalence of the cult in Southern Italy during the third century B.C. And still more recently, the discoveries at the Theban Kabirion and Kern's re- searches therein 3 have shown that Orphic influences emanating from Athens were affecting Boeotia at any rate towards the end of the fifth century B.C. But of the existence of Orphic art types at Athens we have hitherto had no direct evidence. In the cosmogony of the Orphic teaching, there are the two great cosmic elements, Zeus, the omnipotent all in all, and his daughter Kore, who com- bines in her personality the characteristic features of Persephone, Artemis, and Hekate; from the union of Zeus in serpent form with Kore, Zagreus is born, and to him, essentially in his character of ^06vto<;, the kingdom is given of this world. Zagreus is the allegory of the life and death and resurrection of Nature; in the generally accepted version, he is brought up as the Zeus • child, and from fear of Hera is sent on earth to be warded by the Kouretes. Hera sends the Titans, who surprise Zagreus at play, tear him in pieces, and eat him, all except the heart. Zeus destroys the Titans with his thunder- bolts, and out of their ashes the human race is born. Since the Titans had swallowed Zagreus, a spark of the divine element for ever permeates the human system. The heart is carried by Athene to Zeus, who either gives it to Semele in a potion or swallows it himself, and thus is born another Zagreus, the "younger Dionysos," o i/eo? Aiovv<ro<;.
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