Delivered by Ingenta View metadata,citationandsimilarpapersatcore.ac.uk ? 5.10.31.210 Wed, 07 Feb 2018 14:32:31 Copyright Mohr Siebeck ap works and situations. This contribution marks one of first attempts the to resultswhich inconstant of shifts meaning depending on different frame situational come to fore, the replacing perspective, abstract the sociological foroped contemporary the religious individual the as abase, experience, and religious practice. Using Meredith McGuire’s Religion Lived ing on essentialist and holistic systems of polis religion and cultto individual The concept of Lived Ancient Religion introduces (LAR) from ashift focus 1 Introduction gone, comic Hippolytus, Orphism, phallicprocession, genre literary K ational meaningare occasion, gender, contexts. genre andspecificliterary intheevolution factors ofsitu tofrom thepersonal, thesocio-political important culture andthegenre (epic, poetry, lyric drama, novel). Beyond thegeneral shifts between theindividualandsituational aswell asinthelarger frame ofsociety, The authorsbuilttheirfigures ofbricolage ontheprinciple , aconstant interplay Heliodorus shapethesefigures asagents, following andpersonae variousintentions. by texts Homer,exemplary Alcaeus, Sappho, Sophocles, Euripides, Aristophanes and theyattemptembodying and performing, to reach explores specific goals. how It Hippolytus, DicaeopolisandCalasiris roles intheirfictive are construed andhow, by ofthiscontributionpurpose isto show how figures likeAchilles, Alcaeus, Antigone, in whichwe encounter apparent personalinvolvement inreligious practices. The ofthearchaictexts (withafinalglance novel), andclassicalperiod ontheimperial This paperwidensthetheoretical basisofLived Ancient Religion to Greek literary Abstract in Lived Religion and the Construction of Meaning Anton Bierl 1 RRE 2(2016),10–37 ISSN 2199-4463

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ther referringther to other theoretical literature cited there in each point. For theoretical summary, agood Rüpke see 2011,on whom Iheavily draw without fur Gr w ly this fruitful approachly fruitful this to Greek literature. ords: Achilles rites, intheIliad,burial Alcaeus fr. 129,curse, fr. Sappho 17,Anti- eek Literary Texts

© 2016 Mohr Siebeck © 2016Mohr DOI 10.1628/219944616X14537295637754 : Gen re, Context, Occasion 1 It must admitted be that brought toyouby (2008),devel provided byedoc CORE - - - - - Delivered by Ingenta ? 5.10.31.210 Wed, 07 Feb 2018 14:32:31 2 (2016) rather, individuals – authors, fictive mo late religious the contents and inorder practicesof experience everyday to 5 4 3 2 address,lyric dramatic mimesis), spaces(Panhellenic Greece, island the Les (epic, drama, lyric, i. mythic-ritual are poetics vital, of including different spectrum a wide genres ning with Homer (around) to Attic 700bce drama (around 450–425),where gress given religious forms. various discourses and appropriate, manipulate, transform and eventrans elements and come cult, interact the so with bodies their to personify with ritual poetics, energy,’ creating perpetually novel dynamic meanings. and ritual practicesthus form centres vital for ‘circulation the of social marked ‘megatext’specifically to authors which and recipients refer. central importance. Under oral circumstances, myth and ritual become a author,the of sense inthe narrating the ‘I’, and recipient the remained of occasion and situation of performance the along between with dialogue the religioncial of either polis or the larger the Panhellenic culture, an age group as an interiorising process of civic the values inrites of passage. reaction of polis as the awhole toward year, crisis,anew or education the of came up, on larger the focused frame: impact the on politics and society, the of Greek literature with more or less essentialist concepts of ritual and myth religious studies since 1960shas, the interaction decades whenever the inthe plays alarger role inliterature. But by and large dominant the discourse of author ofexperience aspecific or character past inthe whenever religion many critics have on individual the or occasionally focused perspective simp figurations and practicesintegrated of Greek inaseries texts literary donot de ures changes within texts, the with socio-political aligning the in historical text, genre, situation, occasion and intention of author the - or fig fictional and individual specific expressions as very serve corresponding to con the

Copyright Mohr Siebeck v Thus Ic Particularly inarchaic dominated, still Greece, the where oral poetry Therefore Iwant to explore paper inthis how religious certain con sign See Bierl, and Lämmle See Wesselmann 2007a;2007b;Bierl 2007a. Greenblatt 1988,1and his chapter see Neumann one, also 1–20;see 2000,52. Nagy 1990,31. See s. 1990, On polis religion as Sourvinou-Inwood a system, 1990;on see Panhellenism Nagy see u e lopment. ld new meanings.ld new individuals, out These act as they religious signs and l y replicate of sets action preconfigured by an institutionalised offi

Lived in Religion ofMeaning andtheConstruction v. hose importanthose examples of archaic the and- classical begin time 5 religious practices never merely mirror system; cultic afixed

e., co medy vs. tragedy), (long modes narration, short personae or dramatic figures – manipu-

Greek Literary Greek Literary Texts 4 In such mythic- 2 but rather 3 Myth 11 - - - - - Delivered by Ingenta ? 5.10.31.210 Wed, 07 Feb 2018 14:32:31 Copyright Mohr Siebeck build figures their on principle the of bricolage pa ism that are not real inahistoric or biographic of The this sense. purpose end Ioffer abrief insight into completely the different genre of imperial the and meanings, new and where dowegeneric the differences? find At the andsame ritual local context? How can tragedy or comedy create characters and differ in whatLesbos way differentiated are poets lyrical both within the epic, as a genre, shape form? this In what regard and do Alcaeus Sappho in narratorthe intend by showing us Achilles way. inthis How Homeric does outa main customs. figure burial carrying We must ask what tradition the or embodimentas virtual the of epic the tradition, narrator, the and Achilles as and shifting images of self. It the to differentiate is necessary Homer between former, ahero, an actor, figure, persona viduals out acting religion, author the they be or rhapsodic narrator, a per religious life. Different frameworks create ever-malleable meanings. Indi- texts as historical testaments of religion from we which can reconstruct real ture and genre. As already mentioned, we must cautious be inusing literary individualthe and situational the as well as larger inthe frame of society, cul as agents and personae At same the Iwish time to explore how authors several shape figures these how, by embodying and attempt performing, they togoals. reach specific ap material oferary archaic the we inwhich and encounter classical period, widens theoretical the basis of Lived Ancient lit Religion to fictionalised, questionthe attitude personal of avery inmatters of religion. have received either scholarly wide attention or are indicative particularly of are representative or evenhighlights of different the genres. Therefore they occasionally through linked motifs, context or locality, but most of they all might convey just and one incidental particular result. The texts chosen are I intend to broaden picture the avoiding narrow too an all that perspective Usingperspectives. approach the of sweep awide through Greek literature privatedeficiencies, belief, opposition against polis) and the different gender cursing and female education inafemale group, private reaction to political ing and lament, and male female aristocratic inthe acting clan, rhetoric male Attica),bos, paradigms and (Panhellenic perspectives and epichoric, mourn 6 12

p p This project is innovative and audacious that sense inthe it explores and ary studies persona ary On the rhetorical aspect of rhetoricalOn the persona aspect can assume other personae person or figure with whom readers or audience the can identify. Aperson or author arent involvement personal in religious practicesof extreme individual er is to show how roles figures fictive intheir these are construed and Anton Bierl , ba s , ed oned ancient the meaning of mask, designates an outline of a 6 following various intentions. The authors, Iargue, as alter-egos and extensions for purposes. specific as f ictive social role, Fuhrmannictive social see 1979.In liter o r ev en awriter, cognition embody , aconstant interplay between RRE ------Delivered by Ingenta ? 5.10.31.210 Wed, 07 Feb 2018 14:32:31 extreme instancerites as aparticular of lived religion. The idiosyncratic practicesin Homeric tradition or author the shape pursuing the mourning and burial and resulted, finally, death inthe of and his friend alter-ego, Patroclus. The battle due to aloss of honour had severe consequences for Greek the army lasting only 51 days tenth in the year of Trojan the War. His retreat from Achilles as main the hero inan extremely emotional state inan episode 2 (2016) 7 as well as excessive wailing give way to violent a new rage (cholos how over individual and personal the grieving mourning friend, very adead with subsequent the retreat from and eventual return to battle, we observe Achilles’ and personal transgressive wrath (menis) against Agamemnon, agentsfictional and narrator. the When we follow narrative specific the of revolves around individual and situational practicesinrelation burial to clus’ 16and death inbook his subsequent to burial events the 24, inbook solution.and peaceful the a foil for ensuing the outcome final release 24:the of inbook Hector’s body in his excessive to link Dionysiac as practices,which, they images, build up The narrator,poses. and thus story, the intensely focus on main the character lenism and achanged agonistic performance context. centuries . The drivingbce force of evolutionary this development is Panhel- epics, Iliad tal the tradition of epic singers (aoidoi) of on an oral the models emerging based theory authorship inan on-going first narrativethe of our poet tradition, or ifwe prefer more sophisticated Itcase. on depends we, whether theoretically, regard Homer as an author, a long oral tradition of composition inperformance, complicated is avery monumental Panhellenic epic narration. Homeric epic, deeply grounded in conventional rites burial process inthe of development agradual toward a In on first Homer, section this on Ifocus massive the manipulation of the rites burial Achilles epic: his and personal 2 Homeric religionwhen really to shifted private. the Greek novel (first to third century process extending from an obscure Mycenaean past into and sixth the fifth

Copyright Mohr Siebeck I contend that entire the long end Iliad, inthe Whatever our conclusion, monumental the Panhellenic See Bierl 2015, esp.See 186–194(§ pathos Lived in Religion ofMeaning andtheConstruction are for put perspective narratological specific inthis pur and t he Odyssey he

21–40). . According to some monumen critics, the ce) as an text in prose, extended fictional , emerged gradually in a long historical spanning from Patro

7 Greek Literary Greek Literary Texts Iliad highlights , 18.337), 13 - - - Delivered by Ingenta ? 5.10.31.210 Wed, 07 Feb 2018 14:32:31 Copyright Mohr Siebeck lead tolead decay and worms might devour (19.23–27).But his body Thetis his body, friend’s since unnatural the retardation of rite burial the might 18.337).Yet also see before his revenge exacting Achilles worries about still Menis Hephaestus, magnificent bearing and extravagant armour new (19.1–13). extends over many 23. to book books at body dead the least is inaprothesis washed and exposed and place. takes funeral the following of a limited mourning period (prothesis) s ing involves gestures self-destructive along with arenouncement of food, Achillesdoes into really fall excessive mourning. As is well known, mourn But only after recovery the of Patroclus’ and corpse subsequent exposition lamentation, anticipates over her grief her own son to destined dieas well. son’s mourning, Thetis with her Nereids (18.35–69).Thetis, within this in chorus: first Achilles with his slaves (18.28–31) and reacting then, to her mourningwith wild gestures (18.22–27).The lament is ritually performed of experience death.highlight the Furt previouslyself akiller, and (Hector) his killer and paralleled concatenated. counteraction, we Achilles find and his double Patroclus, him victim, the on focus Achilles.special To end, this as we follow chain the of actionand excess ate meaning by shaping as it story the is. The textual strategy emphasises the drastic distortions tending towards heroic grandeur. Homer intends to cre In genre, this we must reckon with exaggerations heroic inthe sphere, with b cerning functionalities the of mourning and seventh inthe burial century and postponed. lack of Our written testimonies, apart from Homer, con course of expected conventionalthe ritual is interrupted, endlessly deferred revenge to exact seeks which on Hector, Patroclus’ killer. For climax, this 8 of background, inthe burial the at same the allowing time for integra the putrefaction (19.29–39). The revenge narrative demands freezingcourse the has an antidote and pours ambrosia and into nectar Patroclus’ halting nose (18.333–335). The revenge means of a deferral burial. the In meantime, the hesick promises with grief first to hunt down Hector and avenge his friend 14 ex

ce While Achilles indulges still inexcessive Thetis returns grieving, from When Achilles is confronted with Patroclus’ death (18.15–21)he reacts See Alexiou 2002,esp.See 4–23. a , r hermore, reiteration, the extension and alteration of elements certain nd hygiene. personal In normal the rite, out is led body the (ekphora) Anton Bierl (wrath) transforms into cholos egarding or centurybce earlier, twelfth the complicate situation. the es of war and revenge, accentuating amore human denouement with 8 Achilles, however, changes course the of action: (bitter anger of aggression) full (19.16; in the dead’s in the presence, (18.343–353)that RRE - - - - - Delivered by Ingenta ? 5.10.31.210 Wed, 07 Feb 2018 14:32:31 2 (2016) his beloved comrade. At stage this he exceeds and transgresses human all 9 (21.33–127). Lycaon,brutally kills perhaps an allusion to mythical the werewolf Lycaon Pa jan aristocrats he had promised to slaughter inatonement and sacrifice for to Ares (20.75–78).In twelve the of 21he chooses beginning the book Tro norfood anything but else to his meet enemy, Hector, and his feed blood nearin the future. drawssymbolically Achilles to close death as well, hewhich must encounter on opposite sidesof threshold the of life and death. The excessive mourning Patroclus’ again (19.38). This Achillesdevice links body dead and his double tar to strengthen same (19.350–354), the applied fluids his body to preserve 321). Athena now steps into give Achilles at least some ambrosia and nec body, he says, he cannot eat, he feels only desire the for revenge (19.303– (19.301). But Achilles again her usurps role, refusing to eat; over ribbed the by women, an fadesin:Briseisleads antiphonal chorus of wailing women Patroclus (19.282–300). Thus typical the keening, normallyout carried With refreshment could fight at they strength (19.216–233). full ofrite: lament, ashort period one day, aburial, then and meal. the finally pleads for a more rational course of should action. They follow normal the and moan blood the the of killing, be men (19.214).However,will Odysseus 319–321, 345–346).Moreover, Achilles stresses that his satisfaction personal to fight; he at 155–156,305–308, refuse to eatalso least will (19.209–210; see menis a long one. commences. would The body not have decayed completely inone day, even Already on following the day, day 28th the of ceremony funeral action, the Hector’s death, spanning from 19.1 to 23.110, over four and books. a half one, long day, 27th the day – very fourth the battle culminating day – with day, 26th the third the long and central day of battle. But it actually lasts only course, how no idea long Achilles to take avenge will Patroclus, on died who sion that prothesis the preservation.embalming practices inbody tion of other customs, burial perhaps evenreflections of foreign, Egyptian,

Copyright Mohr Siebeck t The next book illustratesThe next book Achilles as araging warrior desiring neither Before Achilles his starts campaign he must quickly put an end to his It that is striking for narratological reasons we are with impres the left Briseis, restored to Achilles, breaks out in a spontaneous lament over On Lycaon, Burkert 1983,83–93. see roclus (18.336–337),and drags out them of river wild (21.26–32).He the against Agamemnon over Briseis. Sincere rage (cholos) drives Achilles Lived in Religion ofMeaning andtheConstruction 9 Finally, he encounters his sought-after prize, Hector, of killer m u s t be extended indefinitely,t be having at that point, of

Greek Literary Greek Literary Texts 15 - - - Delivered by Ingenta ? 5.10.31.210 Wed, 07 Feb 2018 14:32:31 Copyright Mohr Siebeck with total the breach of culture displayed inDionysian myths and rituals. 10 last books. rius, Tenedos and near Chios Troas the and with linked human (Porphy sacrifice and Dionysus Omadios Dionysus raw meat of his enemy. kouria his of refusal ritual, on other the hand, transforms into adesire for haima­ a bes ing apart and eating raw. His our impulse hero is to ‘bringing verge the of indulge Dionysian in the practices of Achilles of breaks codes human all civilisation wish with his to gruesome Achilles shows no mercy and inhis rage wishes to devour his enemy: know happen will (22.260–267).Despite Hector’s supplication (22.338–343) norms; he vows never to return Hector’s should body latter the we which fall, 14 13 12 11 t stantly revenge seeks through devouring. Achilles, on one the hand, refuses ing Patroclus’ brutal death.is lacerated The body by war, and Achilles con Eating, ribbing and tearing apart many characterise so descriptions follow Odyssey laid to rest in a Dionysian together urn with Patroclus’ remains (Homer, la quently Dionysus, an proof alleged supposedly absent for inHomer – his he kills the twelve the he kills Trojan boys on Patroclus’ pile (23.175–176, 181–182). 16 o e t

e arrival –, becomes an importante arrival –, player configuration sign inthe of the The Dionysiac plays an important role at end the of Iliad the As antagonist of Apollo, Achilles somehow to begins resemble Lesbian the an Nagy 1999,136.Apollo compares Achilles to acarnivorous lion 24.41–43inretrospect; In aslightly different Seaford see perspective, 1994, esp. 328–338. The people of Tenedos have also astrange ritual for Dionysus Anthroporrhaistes Burkert 1983,51andSee 1985,60,194with 425n. This is not only ametaphor, as deJong 2012, 147ad especially dogs(22.67). especially Smiter of Men. Ail. nat. See ‘animal-like state of mind at stage’. this a t inaccordance with mourning the normally prescribed by custom, but d Hecuba himomestes calls de abstinentia de Iliad have done to me … If o ὤμ’ ἀποταμνόμενον ἔοργας, οἷα κρέα ἔδμεναι, ἀνήη αὐτόναἲ γάρ πως καὶ θυμὸς με μένος t Anton Bierl ial deed’.ial , the wish, the to satiate himself or Ares (22.267)and with blood to eat the 24.74–77). n 22.346–347trans. A. ly wrath and fury let me carve your and letme carve ly flesh eat wrath and it raw, fury of because what you Omestes 14 And we will see that in the final burial Achilles’ that burial And see final inthe be we bones will will 10 The situational meaning and phrasing associates Achilles , the Raw-Eater – Hecuba Achilles Raw-Eater – , the calls 2.55.3).Achilles evenmirror will strange this rite when , the RawOne,, the venerated adjacent inthe territories of 12 12.34. On these strange 12.34.Onthese Georgoudi rituals, see 2011.

T. 24.207, a term normally reserved only 24.207,atermnormally for reserved and beasts

Mur ray sparagmos

42. 347ar and and gues, to express Achilles’ omophagia omestes , the tear, the 24.207 – 24.207 – . Conse . RRE , th 13 11 e - - - - -

Delivered by Ingenta ? 5.10.31.210 Wed, 07 Feb 2018 14:32:31 2 (2016) refuses (23.39–42)before Patroclus’ interment: should first they eat, devot Achilles to Agamemnon to convince and try himto abath, take but he still inanticipationbody of big the feeding (23.26–34).The scene comrades lead animals around begins: sense, are inastricter funeral, sacrificed dead the opponents, now associated inconcatenating further At scenarios. last the Patroclus establishing (23.19–26),seemingly defiled the abalancebetween configuration. Finally, he throws dishonoured the of body Hector before ofbecomes leader the ensuing the goos Hec midons he circles around thrice of body Patroclus, dead the dragging still (22.476–514). supporter of house, the and she already anticipates dire the fate of Astyanax (22.460–476) she laments that her son has lost his father, column the and and chastity inher household (22.468–472).After fainting and reviving then symbol: she dissolves her hairband, agesture underlining breach the of order Dionysiacthe force as destructive the of goos (22.437–460), r band has died, but keening hearing wild the sound she rushes to scene the narrator Andromache on widow: focuses the not does know that her hus 22.38–76; Hecuba: 22.82–89;after it: 22.416–428,431–436).But the then ents lament witness awild and scene the begin (before death: the Priamus: opponent focusing on also regular the while lament as well: Hector’s old par narrator the deed reformulates mourning rites, again directed against the tive. aieikizein dragging Hector around through dust soil, inthe the head the (22.395–404): should and they return so to ships, the Achilles 19 – ritual actioninbook The of burial Patroclus remains we freezing of the recall incomplete – the citadel. He urges his soldiers forward, but orders then retreat (22.378–394). guarantor of its protection, Achilles at once achance sees to Trojan the take raw,body and his blood destroy drink of codes culture, all creating chaos. Achillesdrink, maniacally desires to tear apart of enemy, body the the eat his scratching his skin,wailing, wallowing indust and refusing dirt, to eat or actions upon enemy, the Hector. particularly Instead of tearing his hair, internalthe impulse of mourner, the projecting violent and destructive Copyright Mohr Siebeck mourning the externalises rituals and of he refusal; self-destruction reverses After his rage of violence Achilles returns to mourning. With his Myr We encounter Achilles raging insituational violence. With gruesome this When of best the Achaeans the of leader the Troy, killed has finally the In his individual expression of religion, personal alived, very Achilles tor, aritual expression of lament deep and desire (23.4–16).Achilles Lived in Religion ofMeaning andtheConstruction (see 22.404, ἀεικίσσασθαι), dishonouring body, the 22.404, ἀεικίσσασθαι), (see his only objec- unnin g v iolently 22.460).Again, like amaenad (μαινάδι ἴση, again inan unusual practiceand and becomes a destruction

Greek Literary Greek Literary Texts 17 - - - - Delivered by Ingenta ? 5.10.31.210 Wed, 07 Feb 2018 14:32:31 Copyright Mohr Siebeck 160). Th ings and other laments, asks only leaders to the accompany him (23.140– upon (23.138).Then Achilles, earth the after he has hair-offer performed les says, and only after his own death should pile into high they monument his lie. own The also tumulus bones will should only be temporary, Achil bones and Achilles his comrades instructs to store where urn inthe them notdoes dieout until following the gather morning. they Patroclus’ Soon devouredbe by dogs(23.179–183). an end, Achilles promises anti-ritual: the non-burial the of Hector is who to composed of many for typical signs used burial. As preparations the reach ing heroic cult (23.110–248). double an fuse, implicit will rite of ahero making. cultinthe instructions(23.192–248). These foreshadow how Achilles both and his and inLefkandi mythic burial the instances. and afew othersmagnified, still might draw on earlier practicessimilar to clus appears inadream and asks Achilles not to forget rites. funerary the at least ineating, first step the towards reintegration (23.48,54–57).Patro ing next the day to (23.43–45). For burial first Achilles time the participates 19 18 17 16 15 cert practicebecomes afantasticary construct innarration. Therefore we find so. writ large (23.127–137). for wood the pyre the (23.114–126)we is witness collected ahuge ekphora prothesis ‘given it significance.’ and new deeper has (typically) aconventional taken poet the and, it, by ritual’ modifying hair alone applies to entire the ritual. He emphasises Iliad that ‘in as Richardson puts it. indulges’ – of part excesses certainly of ‘the Akhilleus inwhich destruction pile after with sword them the killing (23.163–177).The human is sacrifice and two dogs.FinallyAchilles puts promised the twelve noble boys on the fatthe to cover body. the and Oil honey are added, as well as four horses 18

As fire the burns, Achilles pours out libations of wine, lamenting. The fire The n The ceremony implies heroic cult, alluding to it without explicitly saying 18 Richardson 1993, 189. Nagy 2012. See RichardsonSee 1993,165,185–189. Richardson 1993,182. Nagy 2012andSee Bierl 2015,198–199(§ a The Greeks carry the body to future the body the The Greeks location carry of pyre the and it set in elements of others practice intact, everyday while appear reversed, Anton Bierl ext d e – here prolonged background inthe of revenge the episode. When y build sema the ay we witness amundane implying burial, both and anticipat 19 The entire rite is afantastically constructed ritual , place the body atop,, place body the add many animals, and use 15 What Richardson for asserts offering the of

50–53). 16 As mentioned above, funer the 17 Ofcourse, we encounter the 23Homer RRE - - - - -

Delivered by Ingenta ? 5.10.31.210 Wed, 07 Feb 2018 14:32:31 2 (2016) ap formance of lived religion interacts with normal practice and fully can be abstract system and extremely embodiment. personal The individual per character. Achilles traditional thus religion very the oscillates between as an ates ritual everyday practices for narrative and needs construes an individual lyric poet singing inMytilene poet lyric around on Lesbos and 600 bce using the In chapter this Iwant to show how an Alcaeus, aristocratic politician and as lived religion fr. island: Alcaeus Lesbos on 3 Archaic lyric 129 V., prayer curse and 20 pan-Lesbian of Hera Zeus, sanctuary and Dionysus at Messon, each singer to previous the surpass version inadiachronic chain, appropri author, Homer, or epic the tradition moulded by endeavour personal the of the elementsthose know well they from so By experience. doing everyday so, engagement, epic the singers, as well as epic the figures, freely tinker with emotionalthe strain of main the figure of narrative the personal inhis very re tem, rather epic the tradition and its recipients with lived the deal willingly in acrea alter rituals, purposes cal decompose infragmentation, them handling it all sema the (24.31) he indulges intransgressive rites, dragging grieving Hector around and meal the long the games 23 (24.3–21).For funeral inbook eleven days or centuryreality. sixth Ages or evenearlier Mycenaean overlapping partially periods, with seventh exaggeration, and archaic reminiscences from and Lefkandi other late Iron personal, emotional involvement. There is ahybrid mixof fantasy, heroic and idiosyncratic manner, reveals narrative tendencies to underpin very the Panhellenicfixed religious regiment; rather it, special highlighted inthis notdoes merely replicate practices of fixed cult, the apolis religion or a sacred ground, addresses of scenarios alienation from and re-integration Copyright Mohr Siebeck

lig p All things considered,All we witness here how narratological and ideologi Achilles’ lament remains excessive, even after reintegration, his alleged Viewed through lens the of lived religion long this interment clearly scene See Robert 1960; Nagy 1993; 2007; Caciagli 2010;other 1960;Nagy critics, e. 1993;2007;Caciagli Robert See for Furley Cape Phocas; see and Bremer 2001a,173–174. reciated only on its foil. aoidoi ion of an individual person inadynamic manner. In order to highlight tive way. Atext not needs comply cult or with afixed religious sys- of Patroclus, day. three every times Lived in Religion ofMeaning andtheConstruction create an narrative efficacious of emotional full involvement. An

Greek Literary Greek Literary Texts

g. Picg. ard 1962,plead 20 acommon 19 - - - Delivered by Ingenta ? 5.10.31.210 Wed, 07 Feb 2018 14:32:31 Copyright Mohr Siebeck com ing there, an secures authoritative Alcaeus voice inmatters of Lesbian the ego onto sacred the temple at Messon, attaching it to holy the dwell triad guage insuiteda manner perfectly to categories the of lived ancient religion. 22 21 ends. Consequently hypomnesis the hymn, rather astrong appropriation of usual hymnal the form for personal and change situations. Despite resemblances, the all however, it is not areal attempt they speech-acts to manipulate both to gods, influence the trying an atleader centre the of power on inside the of polis. the aformercus, member of hetaireia the In fr. opponent expelled the 129Alcaeus, outer inthe position, Pitta curses and two opposing inside groups leaders, oscillating the between and outside. authorityspecific to any utterance. Dionysian elements. religious i. experience, objectives, appropriates Alcaeus ritualistic both language and elements of his grouping of aristocratic the clan. ho graphical or pragmatic interpretation. Wolfgang Rösler rightly emphasised into common the (Attic of civic δᾶμος body the demos 24 23 and locals. Moreover,and locals. to not meet only his but his aristocratic also faction’s projects his person onto other personae one very specific moment specific one very in the notdoes necessarily mean songs Alcaeus’ such as fr. 129V. pinned can be to symposium of comrades, male Alcaeus’ hetairoi as well as Lesbian the and Panhellenic aristocracy. He deploys ritual lan 20

The poem zeroes inonThe power the poem negotiations agonistic between groups Fo In archaic society, myth as marked and ritual discourses that serve lend a This song draws heavily on euphemistic the hymnal and form, maledictory w ing of cohesion and unity. e. See 204; wi On fr. Voigt 129,see 1999,I,61–62;Hutchinson 1971,233–236;Liberman 2001,192– now 2011. Rösler 1980;see Caciagli the Through de Polignac’s studies we know how a polis structures its ritual space in sites at Nagy 1990,31. See 1994; Bachvarova 2007;Catenacci 2007;Yatromanolakis 2008. Rösler 1980,191–204;Burnett 1983, 157–163;Andrisano 1994;Kurke125; further: ara m r alo Alcaeus’ poetry is genuinely grounded poetry Alcaeus’ in the

Anton Bierl eschatia plotted inthat overlap prayer between and inGreek curse culture. As onwealth. th further literature further th 192n. ng time, has Alcaeus represented of paradigm primary bio the and centre the and how processions on axis this are to convey used afeel

e., sp ecific cultic venues cultic and,ecific inLesbos inparticular, g. dePog.

6; Furle 21 hetaireia The pragmatic anchoring stems from the 23 is transposed into is transposed evocation the of the lignac 1995. lignac By projecting and mimetic his poetic , wh y and Bremer 2001a,171–176;2001b, 119– as well as onto situations idealised . o c 22 I therefore that believe Alcaeus hanged sidesand is now anew . However, anchoring this hetaireia 24 ), i.

e., th , the informal, the e entire city RRE - - - - - Delivered by Ingenta ? 5.10.31.210 Wed, 07 Feb 2018 14:32:31 serves as the embodied agent as embodied the of mergingserves curse, the with Erinyes, the them 2 (2016) selves often associated with maenadic the practiceof hunt, as we know from sparagmos human as well as practicesof the sacrifice sparagmos violence forms withlinked cruellest the of Other, the such as fantasies of 26 25 30 29 28 27 group, Erinyes the resemble choral dancers (like inAeschylus’ Eumenides Feet totopro are apars also overtake trampled himwho oaths (23)with his grotesque feet (πόσιν, 22). tre is thus associated with outside, the The feet alien. the of Erinys the should child of the Thraciantacus, the barbarian Hyrrhas. at Theruler cen new the personificationthe of and synonym to ara tablets often with dead the as imagined andagents. embodied current andin the experience movements. politics and inbodily encoded ensues much the longer performative of individual full curse, involvement quence, from them rescue negative the ramifications of (9b–12).Then exile to executers, the ‘our heedingspeech-act, their ara oath re-performed inrecapitulation (14–20). a typical sign ofa typical sign tyrants. attackwho Pittacus, grotesque the dancer, who, lame, being strangely, walks ture of tyrant. the (φύσκων, 21) devours entire the city, another citizens – the all cultural fea on 21),walking apredator wineskin. Like the (see belly all ‘pot-belly’ the Copyright Mohr Siebeck of founding and naming is emphasised. The gods should ear lend afriendly short (9b–12),immediately following (1–9a),where first part the process the

I co It works according to principle the similibus of similia H mous with Erinyes (Aeschyl. Eum. 1978, 144(mentioning fr. Alcaeus also 129). Henrichs); see bce Raw-Eater, 1981,208–224.Onthe esp. see 219–222and Henrichs refers to Phaenias as his witness, interestingly who comes (fourth from century Lesbos Salamis to Dionysus Omestes 2.55.3). Even Persian Themistocles sacrificed allegedly still captives before battle the of for justice happen publicly. implementing law. the While defixiones are mostly private and secret,arai As As See VernantSee 1982. desmios performative the See reading of hymnos the Our VersnelSee similibus 2009and Riess 2012,164–234;on similia BachvarovaSee 2007. 213–217. a comparison ara between 2009, 62–65. eiliges Recht Rechtsform Sakrale or Omadios n ara t end that Dionysus Omestes Lived in Religion ofMeaning andtheConstruction belongs to complicated the mixture of law and religion, what Kurt Latte called , Th e Raw One, Dionysus received human also (Porph. sacrifice 29 , see Riess 2012,201–207;on as agents dead defixio,see the and He compared could be comic to apadded dancer, for and feature of choral the dance. As anotional (Plut. Them. 13.2–5=Phaenias fr. 25Wehrli 417)a (Latte 1964). Arai , the Raw-Eater,, the n d a nother form of legitimately enforcing and , should after and walk pursue Pit 25 inAes The prayer as first climax is are often and deadly synony 30 chyl. Eum. ’ (10),and, as aconse is secretcentre the of

Greek Literary Greek Literary Texts , se and and e Riess 2012,186,on applied incurse omophagia 26 321–396by Bierl The Erinys, and prayers 2 ). Plutarch . He abst. 21 ) 28 27 ------

Delivered by Ingenta ? 5.10.31.210 Wed, 07 Feb 2018 14:32:31 Copyright Mohr Siebeck death and under earth. burial the sworethey not to betray or leave asingle one of comrades, the under pain of attendedscene by Pittacus an (14b–20).Sacrificing animal (τόμοντες, 15), ac gods andtal named (κἀπωνύμασσαν, The 5)them. names encapsulate the details how Lesbians the (ἔθηκαν, installed 4)altars for immor blessed the Pittacus as opposed to Lesbian the community. loquens Second, persona the himself aligns with entire first-person the the speaker demos temple, as ξῦνον (3),common (1–4).By to focusing all on sanctuary this entire people (demos) of island, the established for Hera alarge (2), τέμενος song progresses efficaciously, first highlighting that Lesbians, the i. surrounding Dionysus it is god’s the enemy (theomachos) peoplethe from agrotesque monster devours who In them. fantasies the all demos drastic. As Pittacus has changed sides he must the die himself, otherwise of young deer, acommon allusion to brisk the movement of dance. andtral decisive himKemelios for call They curse. the (6–7). The third one is cen- (τόνδε, associated be with adeictic 8)as he will dess of Heraia the as is currently done; address they central the goddess Hera ‘you’, god the Aeschylus’ 35 34 33 32 31 grotesque Eater and Devourer of people the and city. the and central god, alien/barbarian and native, is summoned to devour the paradoxically bridging opposites the outside between and inside, animal curses. follows prayer the for deliverance. Erinyes are sometimes equated with arai Ancurse. appeal to Erinys the (14),typically present at oaths (Iliad Dionysus demos (δᾶμον, entire 20),the community, from suffering. the currently inpower, most likely hetaireia the 22

t Curses can bind metaphorically. as speech-acts victim andthe kill Through recollection of exact this oath, the its breach becomes even more The epithet ὠμήστας (9) encapsulates power the for needed ensuing the See ῤύεσθε, 12, and ῤύεσθαι, 20,with emphasis 12,and at ῤύεσθαι, end the ῤύεσθε, of strophe. the See th as agents the oftenThe dead serve of tablets, curse restlessthe to help revenge, in the in Riess 2012,201with n. See CatenacciSee 2007. eff We do, inJohn Austin’s words (Austin 1975),something with words, and have they an io e form of revenge’s the personification, Erinys. the Chthonian Dionysus assists. also n: they titled Zeus Antaios Zeus titled n: they ect. Anton Bierl will not will regain freedom. 33 Then, instead of pars the epica Omestes Omestes Eumenides , c and his maenads typically dismember and eat fawns raw. a l ling her ‘Aeolian’ and ‘Glorious’, the Mother ‘the of all’ . The Raw-Eater Dionysus, quintessential the dancer

176. , to be approached, to be by suppliants inahikesia 35 34 By securing his death, can By Alcaeus free securing Third, vowed they opponents the to kill , comes along to flashback oath the of Myrsilus, and deliver the (κεμήλ who is sacrificed is who sacrificed and singles out ι ος, 8), the god god 8),the ος, 19.253), 32

e., th 31 Also, Also, The RRE e - - , ,

Delivered by Ingenta ? 5.10.31.210 Wed, 07 Feb 2018 14:32:31 his people, restoring cohesion and unity. 2 (2016) triad and identical the triad setting for her and personal to female fit experience co ments stemming from Lesbian actual religious reinforces experience, group song. Its performance, combined with allusions mythic-ritual to certain ele song and beauty contest at Messon beauty and song fr. island: Sappho Lesbos on 4 Archaic lyric 17 V., festivity, female the cratic group, suited situations for specific both and general ones: whenever into a marked strategy meant with common the to deal enemy of aristo the ing: in a given occasion, thus imbued withintention, new song the evolves gion inwords and performance. activates This focus situational anew mean tyrantthe and his house intatters. Through Lyaios act this and its of people, voracity, full devoured by Raw-Eater. the The leaves god household, grotesque the kitchen, of tyrant: the eater the of polis the 38 37 36 and signs towards completely different aims. aristocratic families, sometimes for uses her female group same the practices engagedalso in and was by affected among power the struggles Lesbian the Sappho, contemporary the female and equivalent, lyric like who Alcaeus kommende Gott side as kommende the narrator envisages Dionysus, by embodied returning Alcaeus, from out the and isolatedginalised by Pittacus’ propaganda. same inthe alien; manner, anative Alcaeus, aristocrat, feels alienated, mar- nity, common harmony cohesion. and Native social Dionysus himself seems enemy,the Dionysus usually destroys household a small to commu install facing threat the of huntedbeing down, dismembered and eaten. In killing to god. the Pittacus is transplanted to side of the barbarian, the animal, the Copyright Mohr Siebeck meaningfixed of cult,rather he resorts to expression apersonal of lived reli-

h Obviously refers Alcaeus not to an abstract system of polis religion or a Drawing on religious the of common energy the precinct, first-person the coming). 18–22 and interpretation new the Ferrari also 2014,15–18;see by Nagy 2016(forth discoverednewly now textual see evidence, Fish Burris, and Obbink 2014,esp. 5–6, 28–29 with bibliography; 2011,153–156.Onthe 2007;2012,64–66; Caciagli Calame See VoigtSee 1971,44–46;Bremer and Furley 2001a,165–166;2001b, 115–117;Aloni 1997, on process accordingThe is described social to Seaford it put sees 1994,who into practice Otto 1933,esp. 74–80.

esio het ly in fifth-century Atticly infifth-century tragedy. Onfr. 259–260. 129,see aireia n and aides negotiation the of power relations. Lived in Religion ofMeaning andtheConstruction convenes can Alcaeus re-enact situation the by repeating the , 36 destroying centre the here pictured as asmall 37 38 In fr. 17 she evokes same the

Greek Literary Greek Literary Texts or Lysios or releases (23–24) 23 ------Delivered by Ingenta ? 5.10.31.210 Wed, 07 Feb 2018 14:32:31 Copyright Mohr Siebeck Expressions of lived religion indrama are, different again, very from or lyric 5 Drama choralthe performance and its words. closely intertwining inarchaic lived religion, directly which interacts with again probably at Messon. This is another example of andpersonal public Sapphowhich makes her intimate sisterly affection public inchoral mimesis, performance. The discovered newly ‘Brothers is Song’ another example in of agendapersonal subjective, full female and and corporeal experience Sa work conveying situational anew meaning. of model Onthe lived religion and occasion appropriated by female the agents fit same the religious frame famous this win contest. Again, gendered inastrictly society, context the aristocratic girls inbeauty that reach so they marriage and, future, inthe were hardships for Atridae, the it ahard be will too so effort to educate the to journey their adulthood. As Trojan the War and labours the of nostos the t sent, after judged being as most the beautiful, are wed to bridegrooms, the statusliminal at rite their of passage they, when like young the maidens pre In petition concerning quintessential the female value of beauty, Kallisteia. the Heraea, including aprocession and hold large own they their com sacrifice, fr. Alcaeus ἐλκεσίπεπλοι, 130b.17–18).πώλεντ’ In festival seasonal the of the to and fro judged being φύαν/ for κριννόμεναι (ὄππαι Λ[εσβί]αδες beauty’ pan-Lesbian shrine at Messon, ‘where Lesbian females with trailing robes go women of island the leave home their once ayear to dance as chorus at this decisive reaching shrine the in procession and their fair Lady, for help that so maidens the can perhaps gracious be themselves, support for Atridae the asking when goddess the of marriage, holy the and her educational intentions. She cites mythical, the precedent ‘old’ of Hera’s 39 epic, since agents the roles act in mimesis. Thus apparent their personal very to ga scenario,cal Sappho, choral the and leader performative ‘I’, Hera beseeches 24 h

e p t ume b Orle 2016 (forthcoming). For recently very the discovered fragments Obbink 2014and see forthcoming the vol p he choral and musical celebration women the notionally return to their initiates and masters new of household. the Perhaps evoking mythi the - ho acommon utilises sacred spaceand expressions cultic for her very t her her strength inorder to compel aristocratic the girls to complete Anton Bierl a ns (Bierl and Lardinois 2016),for Brothers the Song esp. contribution the of Nagy ased onased aconference and inBasel apanel presented at SCSmeeting the inNew rite de passage to become women. For same the festival girls and 39 telos . They have. They to pass their RRE - - - -

Delivered by Ingenta ? 5.10.31.210 Wed, 07 Feb 2018 14:32:31 2 (2016) activity. Dicaeopolis transforms secondary, the metaphorical meaning into comic manner, spondai the for device becomes amagical comic the hero’s egoistic plans. In atypically ri osyncratically draws on festive the life of polis, embedding the public the ing it with similar rites the Dionysia. of rural the pe tions caused by Peloponnesian the war and politicians’ the inability to make tryside. shown(πομπή) on hero the stage leads also from polis into the coun the (250)is procession mentioned the because ἀγροὺς specifically Διονύσια agenda. personal his very ments Dionysia of rural the inpurely private and domestic dimensions for utopia. of where countryside the he establishes aprivate market and an egoistic form procession he invents individual his andpersonal rites very in order to reach (c. 42 41 40 society and system. political the Insociety Acharnians against polis, aimingthe at creating fantastic solutions for in deficiencies In Old Comedy hero, the on a comic based often idea, individually acts procession aphallic of performer and practitioner religious Acharnians inAristophanes’ Dicaeopolis Comedy: 6 Old and ego-centred behaviour. appropriation again play decisive roles for understanding individual very the from tragedy. Context, occasion, embodiment, genre and forms of personal Therefore play the with elements of lived religion in comedy different is very draws on Attic reality. Moreover drama generic follows norms. strict very attitude toward religion is not of adirect reflection real life, but it certainly

t Copyright Mohr Siebeck

ual ofual phallophoria the ace

In of scene this lived and private religion (241–279), For relation the of city and passage, in this Henrichs countryside see 1990,269–270. See also Hendersonalso 1991,59–60and Habash 1995, 560–567. According to scholion the on Aristoph. Ach. onThis passage Bierl based is partly 2009,314–325. Fisher 1993. Anthesteria, the particular are reworked in pastiche-like fashion. Habash See 1995 and festival the of Lenaea, the performance. the Throughout play, the rites of Dionysus, in ) bce 450–380 , negotiates his own private accord. peace Drawing on public cult and

The thirty-year wine offeredThe thirty-year by Eleusinian the priest Amphitheus Lived in Religion ofMeaning andtheConstruction 40 Leaving Athens, Dicaeopolis appropriates a phallic song and ele puts Dicaeopolis on scene, who, frustrated by limita the used in actual performances in actual used plot in the and blend , the private, the treaty, peace corresponds to asacred 202, th e rural Dionysiae rural correspond to ) Aristophanes) (425bce 42 The festival of τὰ κατ’

Greek Literary Greek Literary Texts 41 Aristophanes idi as individual as individual 25 - - - - - Delivered by Ingenta ? 5.10.31.210 Wed, 07 Feb 2018 14:32:31 Copyright Mohr Siebeck da larly remarks from sexual the and wishes of ribald directed fertility at the participants. one inthis distilled woman, is kept to bare the minimum of performers and on crowd participation and presence the of acomastic choral dance group, bining sacrifice with biningpleasure the sacrifice of eating and symposium the drinking, 43 logia andribald, erotic the (254–260, 265, 271–275,277–278),adding aischro the procession and intermingling it with comastic the (264–265,277–279),the olis arole embodies and practice of invention, a new drawing on ritual the of procession.the processionthe commences. Dicaeopolis himself position takes at end the of phallus erect,happens virgin,the which the behind carried to be as as soon In asubsequent command Dicaeopolis positions Xanthias as phallophoros crowdthe participating ritual inthe on roof. the th of leader mini-procession. the rus After abrief prayer (247–252),he begins solo-singer role the of acitizen chorus, simultaneously while as choacting monodic solo-delivery. reason,this of is usualcollective style the abandoned speech infavour of a nature of not on act, the inclusion the based of whole the community. For ing celebrations the to one’s own oikos In other this space and hero the time may his install private market. Reduc sion wends its way towards into fall the primordial and utopian chronotopes. expresses realisation the of private the peace-accord. The movement space, to to his rural deme the of Cholleidai libationsactual of wine inhonour of Dionysus, of god the wine and theatre. 45 44 26

e ac ug The procession derives comic its and peculiar parodic nature particu This vivid expression of lived religion is an individual practice. Dicaeop Dicaeopolis, trailing as symbol of comic inversion and distortion, as fulfils na ad 389 . 119 ad ecstatic ritual of Adonis the procession. Aristoph. See Lys. 389with Henderson, 1987 presented on stage. The woman’s from viewing roof the connected with the is especially On the EleusinianOn the dimension of Amphitheus as spondophoros Through the instruction ‘Have a look from the roof’ (262), she also becomes inter (262),she the also Through ‘Have instruction the from alook roof’ the Similarly Pickard-Cambridge 1962,146. 104–106. metaphorical125–126. Onthe usage of spondai processionthe connection 26–27.Onthe Deubner to of Eleusis,see 1932, Lenaea the and personal ridicule of and Lamachus ridicule personal (270,273),com and Strymodorus hter, basket parade the as leads (254–258). bearer who of sacrificial the l female ‘spectator’ is which at spectacle, theatrical same inthe the ritual, time being Anton Bierl tual song, alone, without achorus, his wife assumes while role the of an d dem in the Acharnians inthe e reflects the extraordinary the e reflects 45 The procession, founded 44 , se The phallic proces- e Bowie 1993,21;fore Bowie , see Newiger, see 1957, (406),tangibly RRE 43 - - - - - ­ -

Delivered by Ingenta ? 5.10.31.210 Wed, 07 Feb 2018 14:32:31 2 (2016) 47 46 real life directly either,reflect but philosophical indi new ideas, certainly of generic the norm and horizons of not The expectation. does scenario and individual arguments, private and domestic space, and breaches radical regard. Euripides renowned poet ) is tragic the for 480–406bce (ca. sophistic matic genre – satyr the play, on other the end, has little to contribute inthis The situation is completely different intragedy, other the and dra higher 7 Tragedy: Hippolytus Euripides’ of opposites. is to linked scene its comic to origins dynamic the and energy specifically changethis upon stage. the Through of lived the experience Dionysus the reshaped. The domestic procession emblematically and effects symbolically abundanceof peaceful inan setting be idyllic can collectiveperspective the foilthe of extremely individualistic behaviour anti-social ceding to lures the tensions polis and the between individual, the war and Only upon peace. comic lens, self-centred the family procession inmonody highlights the into primordial chronotopes where utopia and dystopia Throughmeet. a ing deeply anchored comic in the genre of its working, i. onindividual alived practice based religious we mean experience, find dynamically interacting with patterns known to audience. the Through this prevent Dicaeopolis from reaching his goal. individual, attention their drawn to him by his sacred activity. to try They oppose behaviour anti-social who this by Dicaeopolis and thus attack said ofa species dark primordial human and beings opposing ghosts or monsters, chorus is relegated to role the of Acharnian the charcoal burners, embodying to Dionysia the currently place. taking into worship the (251, 268–270, 278–279) andof peace simultaneously refer (277), and musical performance. Copyright Mohr Siebeck ancises exclusive right performative inthe to speech portion as well. The matic anchoring imitation inthe of achoral dance song. Dicaeopolis exer

The lived religion of adramatic protagonist can thus shape plot the by The monodic form of performance expresses strikingly lack the of prag ca Dionysus brings concepts. together these all Dionysus sure, to is be peace, but peace al Kugelmeier of 1996,153eventhinks ‘comic dance movements’. In general one may an element of Ares. For Ares and Dionysus, Bierl 1991,154–157. see as dance broader inthe of sense term. the so characterise the body language characterise body the so of entering the comasts as choral that kinetics, is, nnot wholly subsumed be under Dionysus, within him carries also god the because Lived in Religion ofMeaning andtheConstruction 46 All the rites the All and pleasures mentioned fuse a new Orphic lived, a new religion Orphic 47

Greek Literary Greek Literary Texts

e., th e comic lapse 27 - - - - - Delivered by Ingenta ? 5.10.31.210 Wed, 07 Feb 2018 14:32:31 Copyright Mohr Siebeck ist refuses to honour Aphrodite and engage inheterosexual love. Instead, he Eur.(see Cret. Orphism: his rage to understand at him ofposition, trying this accuses adherence to before their period ofbefore initiation. period their In Hippolytus sense, astructural refuses chastethe goddess of young girls before marriage, charged as a guardian invents his own monolatrous cult,dedicating himself completely to Artemis, sideof flip the medal. the To some extent Orphismrepresents direct opposite the of normal polis cult, polis religion and its principles, choosing alife opposed to radically norm. approach. Hippolytus thus provides candidate ideal the for alived ancient religion procedures inbloody meat killed and therefore practices vegetarianism. anleads absolutely pure provisions andlife. indietary asexual Also he avoids As an follower alleged of an of extremist mystery belief, Hippolytus sect for achaste life of under sign the Artemis. formin the of eponymous the hero’s one-sided, singular and stance very cussions on Euripidean certain figures. and revolutionarysects forms of individual systems belief have some reper vidual and aristocratic expressions of life religious new style, particularly 50 49 48 28

On the basis ofOn the decision apersonal and conviction he stands against the In In See e. See Eur.See fr. Cret. 472.18–19Kannicht: ἐμψύχων/ τήν ἐδεστῶν τ’ πεφύλαγμαι. βρῶσιν On Euripides’ Hippolytus Cairns 1997;Fitzgerald 1990. 1973;Goff of t Euripides, Hippolytus inhonor.books make Orpheus your lord and engage inmystic rites, holding vaporings the of many conf unintelligentings, so never be as to impute folly to gods. the Continue your then you chaste the one, untouched by persuaded never be your byIwill vaunt evil? Are y βάκχευε γραμμάτων πολλῶν τιμῶν καπνούς· ἄνακτ’ ἔχωνσίτοις τ’ καπήλευ’ Ὀρφέα αὔχειἤδη νυν καὶ δι’ ἀψύχου βορᾶς φρονεῖν ἀμαθίαν κακῶς. προσθεὶς θεοῖσι ἐγὼ οὐκ ἂν κόμποις πιθοίμην τοῖσι σοῖς καὶ κακῶν σώφρων ξύνει; ἀκήρατος; σὺ ὢν ἀνὴρ περισσὸς ὡς δὴθεοῖσιν σὺ Hippolytus he polis cult, see Detienne 1975and Detienne 1977. he polis cult, see Anton Bierl

g. Dodds 1951,136–156;Masaracchia Dodds g. 1993;Parker 1995;on reversal alleged the iden ou, companion the then, of gods, the as aman beyond common? the Are t boasting, take up take t boasting, adietof greens and play showman the with your food, fr. 472.9Kannicht) with conviction. The individual extrem (428 ) we encounterbce another expression of lived religion 950–954transl. D. , se 50 e Barrett 1974;Michelini 1987;Susanetti 1997and 2007; Nevertheless, Hippolytus his leads ‘pure life’

Ko 48 vacs Hippolytus’ father, in Theseus, RRE 49 - - -

Delivered by Ingenta ? 5.10.31.210 Wed, 07 Feb 2018 14:32:31 2 (2016) li Hippolytusacterises and devotee personal as sectarian personal of anew character as an extremist Orphic and poorly suppressed erotomaniac, char misjudgment ironically corresponding elements to certain of Hippolytus’ 53 52 51 Olympian pantheon. the erotomania and chastity, Aphrodite and Artemis, although belong both to polis system the between andfractions adeviant, individual puritan belief: turn outwill aterribly to error. be tragic andmodernist religious like Derveni-author. the radical manistic end inthe magicianmust (1038),who (γόης) an intellectual die – intellectual, portrays Hippolytus as individual enchanter and sha (ἐπῳδός) and addict perpetrator.a sexual andgod personally devoting his life to agoddess he, inTheseus’ opinion, is …ἀνὴρ (948),aman transgressingπερισσὸς normal standards. Almost a ture of Orphism,sticks to his oral oath and must so die. and his son Hippolytus, participant modern cul alleged the bookish inthe or his hunting fellows (58–113). first part inthe coincides with hiddenerotic feelings as stephanophoros stepson the in which attempted to rape version her (669–886).The fictional attaches aletter on her body, perfidiously details which an invented version But she commits suicide, out of shame and, indefence of her female honour, he only unleashes aviolentlove – against tirade (601–668). female the sex keeps his oath of because conviction, personal as not so to betray Phaedra’s ytus is shocked and outraged. However, although he first vows to break it, he attempts at suppression, nurse the plays mediator the of her desire. Hippol life resemblesasexual asublimation of amaniac erotic desire. br ner. Euripides, sophist composingthe of poet fissures with poetics the and fore Aphrodite schemes to punish man perfidious himinaparticularly to become an adult man lives who inmarriage and children. begets There

Copyrightv Mohr Siebeck

e e In of we akaleidoscope witness perspectives Euripidean the fissures and anTheseus, adherent of orality, ironically written inthe believes version In system the of polis religion represented by tragedy, Euripides, tragic the When erotic the mania See Bierl 2014. See 1992. Segal See 179, 205,269,279,283,293–294;il Illness as result of Phaedra’s love: before 597,698;also cause actual the is known: 131, 766, 1306. See Barrett 1964,246ad 766, 1306.See aches, has Hippolytus’ stepmother inlove madly fall with him.The pure d religion of individuality claims (948–961).Theseus that his son is a Lived in Religion ofMeaning andtheConstruction , the wild disease (nosos) disease wild , the licit love 394,405, as and mental disease: perversity 476–477.

Greek Literary Greek Literary Texts , (73–74)for Artemis 51 53 refuses Phaedra’s But Theseus’ deed 52 Theseus, inhis Theseus, 29 ------Delivered by Ingenta ? 5.10.31.210 Wed, 07 Feb 2018 14:32:31 Copyright Mohr Siebeck she is autonomos is she tates her actions, inher which, bring mind, will her death and heroic glory. sexuality. An extreme desire, and ἔρως the ὀργή, to complete dic deed, this fundamental distortion of elemental all categories of relationship blood and to complete interment, the by driven vicious especially the of cycle Oedipus’ dramathe revolves. Antigone, with her own lived religion, feels compelled rite, as happened Iliad inthe ri Creonbeys by sprinkling symbolically dust and on body the giving himthe and standards the of human behaviour. Antigone, on other the hand, diso 697, 1198),overstep ‘unwritten and irrevocable laws of gods’ the (454–455) andburial instead letting animals decayed wild the feed (Ant. body tain limits. one Onthe hand, Creon’s measures inforbidding Polyneices’ receivesThebes, honour. full at ever, occupies other the extreme, forbidding of burial the Polyneices, who andher individual special attitude toward practice. burial the Creon, how dramatic author) builds Sophocles his (497/6–406bce entire plot about Sophocles’ and distortedAnother of polis case cult system typically the perverted is 8 Tragedy: Antigone Sophocles’ 54 to murder, butchery and sacrifice, brutal violence. In perverted comedy, on of nent and mutual transgression, Dionysiac, the inwhich as ageneric feature betray Antigone’s self-centred, extremely individual mind and value system. osyncratic self, itselfthe completely autonomous. Composites with autos overallthe system. She moves forward with atotally and free decision wild of Yet her mean actions an also isolated and stance radical against polis and the f gion and current cults.Driven by extreme desire, isolated radically these death mean. Sophocles thus questions certainties concerning all polis reli- to create situational anew framework for understanding what and burial embodiment of a deviant and individualistic religious behaviour and the 30 igur t t

ual duties situ ual in There is agiven rite, customs, burial one which can interpret within cer The dramatic author stages figures of radical the Antigone and Creon dra acked his home city and his own brother Eteocles, who, as defender of Heinrich 2002;Sourvinou-Inwood 1989;Flashar 2002,58–79. From literature vast the secondary Icite only Oudemans and Lardinois 1987; Bierl 1989; es t Anton Bierl ma, manifests itself,manic in wild, behaviour embodied that can lead alk at meaningalk cross-purposes, while is constituted only by- perma (875); these artificially and almost philosophically artificially coined(875); these Antigone , autonomous , . Both display. Both aone-sided, individual practice. The burial (442 bce). (442 , becomes centre the of around energy which

(821), and her inner desire is autognotos 54 The heroine represents another dramatic , a girl’s personal drive, agirl’s burial for personal (self) abound: (self) 205–206, termini , idi- RRE - - - -

Delivered by Ingenta ? 5.10.31.210 Wed, 07 Feb 2018 14:32:31 2 (2016) signs entirely subordinated to of goal the developing erotic the plot. m as narratological the shamanic the posited Calasiris γόης, kler the focus, holy man and inHeliodorus priest Calasiris (third centuryce).John Win life experience. development of erotic the and story almost never merely everyday reflects erotic genre. Lived religion context inthis always provides avehicle for the 58 57 56 55 horizonthe of choices, expectations determine particular but not merely in of actor plot inthe and auctor we always encounter andpersonal individual on level perspectives the both religioustackling centres of interest inancient Greek literature. In texts these The Lived Ancient Religion concept represents an important in method new 10 Conclusion The tor of knitting sense, together threads the of about story the Charicleia and marise as a development toward individual expressions of a lived religion. changessocio-political religious in the realm, onewhich could sum - indeed anew completely fresh variants of picture this of lived religion, due to drastic In Greek the novel, prose fictional texts from we times, imperial encounter lived religion of forms new, personalised its and love novel: Greek insight fiction 9 The into abrief imperial an and to journeys primordial wheresive ribaldry Otherworlds utopia speech, otherthe hand, we Dionysiac the find indistorted of scenarios aggres sex, Copyright Mohr Siebeck dif their referencingcific of canonical pretexts from archaic and classical with times dominion. Moreover, within complex the plots of prose we witness aspe of an altered situation political for Greeks the inAsia Minor under Roman Personal feelings beliefs, and come needs into relief against background the

a d Perhaps most the religious striking figure developed for genre this is the Winkler 1982. Bierl 2007b.See Bierl 2011;2013. See See WinklerSee 1985. ni a genes. pulator of signs and magician the inhis enigmatic role as dissemina ystopia overlap. ferent religious outlooks, strategies blended with particular of the Lived in Religion ofMeaning andtheConstruction 57 Author, auctor and actor 55 as extra-textual author. Factors of and epoch 58 overlap created inthe of cascades

Greek Literary Greek Literary Texts 31 56 - - - -

Delivered by Ingenta ? 5.10.31.210 Wed, 07 Feb 2018 14:32:31 Copyright Mohr Siebeck various narrative goals. I hope it demonstrated has been that ‘Lived Ancient prosefictional appropriate texts also such expressions of lived religion for ticated narrative. Inheriting functions the of monumental the epics, these totalising new the genre of novel, the always acting of infunction sophis the extremetimes, in imperial agents of a lived religion incorporated can be into religious practice as an expression of lived religion. With change radical the add that Hellenistic comedy displays domestic and bourgeois involvement in religious personal very their attachments (tragedy). As conception, anew I (comedy)vals or are followers radical or of oppose polis sects orders new for centred agents of lived religion, create as they private rites or domestic festi to generic norms of plot figurations figuresmoulded can into be these ego- performativese and applies actors roles enact who mimesis. via According f guage context inanew engagement personal of very and appropriate them goals ingroups.specific personae These authorslyric, project themselves into to, ofwith, and extended the narration. purpose the inservice In archaic practices according to own their goals personal that are inaccordance all In extremely emotional situations main characters shape regular religious role t Homeric respect. in this ticularly fruitful epic displays heroes social in their on individualisticbased religious embodiment. merely replicate an system; abstract cultic rather create they meanings new convey different levels of meaning. As never nuclei they energy of special intentions, situation the and context the of plot, the religious expressions can behaviour, interacts with literature. According to occasion, authors’ the the th does vations and predispositions, as them mere seeing extensions of system the and authors the are always individual figures endowed moti with specific textual body, force special possess and potential of energy. Since agents the in sion, genre contexts. literary and specific Meaning thus becomes situational tion of situational meaning same inthe synchronic frame time are occa to from personal,shifts the important socio-political factors evolu in the an abstract systematic way for cult or the Greek religion. general the Beyond of interface the of religion and literature. intensely interact with culture as well life as everyday and work on basis the Religion’ approach is afruitful for analysing Greek texts, literary which 32 o r t Archaic and classical texts performance inwhich is prominent are par m heir agenda inharmony roles. with gendered their Theatre social is per a o convey aristocratic values narrated inan artfully monumental story. Anton Bierl nifold ways. Religious expressions in Greek literature, integral to the em a disservice. Rather,em adisservice. lived religion, and as experience apersonal personae can rites utilise and religious lan with fictive roles with fictive to reach RRE ------Delivered by Ingenta ? 5.10.31.210 Wed, 07 Feb 2018 14:32:31 2 (2016) Bierl, Anton; Lardinois, André 2016.The (eds) Newest Sappho (P. Bierl, Anton; Wesselmann, Rebecca; Lämmle, Katharina Reli und 2007a.Literatur (eds) Bierl, Anton 2011. ‘Dionysos auf derBühne: Gattungsspezifische Aspekte des Theater Bierl, Anton 2007b. ‘Mysterien und dieInitiation derLiebe Jugendlicher: Literatur und Bierl, Anton 1989.‘Was hat dieTragödie mit Dionysos zutun? und Rolle Funktion des Barrett, William S. Bachvarova, 2007. ‘Oath R. Mary and allusion fr. in Alcaeus 129.’ In Austin, John L.²1975.How to Things Do with Words: The William James Lectures deliv Andrisano, Angela 1994.‘Alcae. fr. 129,21ss. V.: (L’eroe tiranno: eil una comunicazione Bierl Bierl, Anton 1991.Dionysos und die griechische Tragödie: Politische und ‘metatheatra Bierl, Anton; Wesselmann, Rebecca; Lämmle, Katharina 2007b. (eds) Reli und Literatur Bierl, Anton 2009. Bierl, Anton 2007a.‘Literatur und Religion Rito als Alo Alexiou, Margaret ²2002.The Ritual Lament in Greek Tradition. Lanham, MD:Row- Bibliography Bierl, Anton over 2014.‘“Riddles riddles”: “Mysterious” and “symbolic” (inter)textual Bierl, Anton 2013.‘Dionysos Staging inOld comedy: of experiments on myth and cult.’ Copyright Mohr Siebeck 105, frs. 1–5).Studies105, frs. inArchaic and Greek Classical Brill. Song 2.Leiden: 1.2. Berlin: deGruyter.1.2. Berlin: gion II.Wege zueiner mythisch deGruyter.1.1. Berlin: gion I. vol. polytheism gottes inTragödie, Satyrspiel und Komödie.’ In ADifferent God?Dionysos and ancient 20. Cambridge, MA:Harvard University Press. 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