Classical Mythology, 7th Edition - obinfonet: dia logou

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292 THE MYTHS OF CREATION: THE GODS Maenad. Interior of an Attic kylix by the Brygos painter, ca. 480 B.C.; <strong>dia</strong>meter llV4 in. This lively white-ground painting (the cup is signed by the potter Brygos) shows a maenad in violent motion, holding a thyrsus in her right hand and a small leopard in her left. A leopardskin is fastened over her dress and a wreath of serpents encircles her head. (Antikensammlungen, Munich. Photograph courtesy ofHirmer Verlag, Munchen.) The essential characteristics of Dionysiac religion are an ecstatic spiritual release through music and dance, 14 the possession by the god of his followers, the rending apart of the sacrificial animal, and the eating of the raw flesh (omophagy, a kind of ritual communion, since the god was believed to be present in the victim). The religious congregation (the holy thiasus) was divided into groups, often with a male leader for each, who played the role of the god. The Bacchae,
DIONYSUS, PAN, ECHO, AND NARCISSUS 293 or maenads, are the female devotees, mortal women who become possessed. In mythology they are more than human, nymphs rather than mere mortals. Their mythological male counterparts are satyrs, who are, like them, spirits of nature; they, however, are not completely human but part man and part animal, possessing various attributes of a horse or a goat—a horse's tail and ears, a goat's beard and horns—although in the later periods they are often depicted as considerably more humanized. Satyrs dance and sing and love music; they make wine and drink it, and they are perpetually in a state of sexual excitement. One of their favorite sports is to chase maenads through the woods. Animal skins and garlands are traditional attributes of Bacchic revelers (although satyrs are usually nude); maenads, in particular, carry the thyrsus, a pole wreathed with ivy or vine leaves, pointed at the top to receive a pine cone. As we have seen, it is a magic wand that evokes miracles; but if necessary it can be converted into a deadly weapon. Sileni also attend Dionysus; they often cannot be distinguished from satyrs, although some of them are older (papposileni) and even more lecherous. Yet others are old and wise, like Silenus himself, the tutor of Dionysus. A story tells how once one of them was made drunk by adding wine to the water of a spring; when he was brought to King Midas, this Silenus philosophized that the best fate for human beings was not to be born at all, the next best to die as soon as possible after birth, a typical example of Greek pessimism and wisdom reminiscent of Solon and Herodotus. 15 Dionysus and his retinue are favorite subjects in Greek art. As the male god of vegetation, Dionysus was, as we should expect, associated with a fertility goddess; his mother, Semele, was a full-fledged earth deity in her own right before she became Hellenized. The story of Zeus' birth on Crete, with the attendants who drowned out his infant cries by their frenzied music, suggests contamination with Dionysiac ritual. Certainly Euripides associates Bacchic mysticism with the ritual worship of both Rhea and Cybele. Dionysus' "marriage" with Ariadne, saving her after she was deserted by Theseus on the island of Naxos (see pp. 558-563), not only provides an example of the union of the male and female powers of vegetation but also illustrates allegorically his powers of redemption. Dionysus represents the sap of life, the coursing of the blood through the veins, the throbbing excitement and mystery of sex and of nature; thus he is a god of ecstasy and mysticism. Another myth told about his birth even more clearly established him in this role as a god of the mysteries. Zeus mated with his daughter Persephone, who bore a son, Zagreus, which is another name for Dionysus. In her jealousy, Hera then aroused the Titans to attack the child. These monstrous beings, their faces whitened with chalk, attacked the infant as he was looking in a mirror (in another version, they beguiled him with toys and cut him to pieces with knives). After the murder, the Titans devoured the dismembered corpse. 16 But the heart of the infant god was saved and brought to Zeus by Athena, and Dionysus was born again—swallowed by Zeus and begotten on Semele. Zeus was angry with
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CLASSICAL MYTHOLOGY
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Oxford University Press Oxford New
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PLATES, MAPS, AND FIGURES ix PREFAC
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PLATES, MAPS AND FIGURES COLOR PLAT
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PLATES, MAPS AND FIGURES XI 81 Oedi
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PREFACE This is the seventh edition
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PREFACE XV The Introduction in prev
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ABOUT THE AUTHORS Mark Morford is P
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CHAPTER 1 INTERPRETATION AND DEFINI
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INTERPRETATION AND DEFINITION OF CL
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CHAPTER 2 HISTORICAL BACKGROUND OF
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HISTORICAL BACKGROUND OF GREEK MYTH
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CHAPTER 3 MYTHS OF CREATION There w
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MYTHS OF CREATION 53 Another myth o
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MYTHS OF CREATION 55 wonder to prim
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MYTHS OF CREATION 57 Selene, and Eo
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MYTHS OF CREATION 59 Selene's conti
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MYTHS OF CREATION 61 simply and eff
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MYTHS OF CREATION 63 love, lay on G
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MYTHS OF CREATION 65 after he is de
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MYTHS OF CREATION 67 Gigantomachy.
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MYTHS OF CREATION 69
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MYTHS OF CREATION 71 for power agai
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MYTHS OF CREATION 73 ing a branch,
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MYTHS OF CREATION 75 8. See the bib
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ZEUS' RISE TO POWER: THE CREATION O
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THE TWELVE OLYMPIANS: ZEUS, HERA, A
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THE NATURE OF THE GODS 129 dition,
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THE NATURE OF THE GODS 131 He argue
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THE NATURE OF THE GODS 133 all the
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THE NATURE OF THE GODS 135
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THE NATURE OF THE GODS 137 solutely
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THE NATURE OF THE GODS 139 group of
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THE NATURE OF THE GODS 141 Croesus,
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THE NATURE OF THE GODS 143 Yet ther
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THE NATURE OF THE GODS 145 and God
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CHAPTER 7 POSEIDON, SEA DEITIES, GR
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POSEIDON, SEA DEITIES, GROUP DIVINI
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CHAPTER 8 ATHENA THE BIRTH OF ATHEN
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ATHENA 159 all honoring Athena, who
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ATHENA 161 brate the festival of th
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ATHENA 163 birth Athena was reared
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ATHENA 165 Athena. Detail from an A
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ATHENA 167 in a more generic and ab
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ATHENA 169 oning progress and the a
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CHAPTER 9 APHRODITE AND EROS As we
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APHRODITE AND EROS 173
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APHRODITE AND EROS 175 The Godhead
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APHRODITE AND EROS 177 The goddess
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APHRODITE AND EROS 179 youth. Obvio
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APHRODITE AND EROS 181 Venus and An
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APHRODITE AND EROS 183 tiful woods
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APHRODITE AND EROS 185 taken his de
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APHRODITE AND EROS 187 honors, alth
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APHRODITE AND EROS 189 able to tell
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APHRODITE AND EROS 191 a feast and
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APHRODITE AND EROS 193 SOCRATES AND
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APHRODITE AND EROS 195 bridegroom v
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APHRODITE AND EROS 197 ¥ Immediate
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APHRODITE AND EROS 199 NOTES 1. in
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ARTEMIS 201 Artemis the Huntress. R
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ARTEMIS 203 of her primary function
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ARTEMIS 205 out "Actaeon am I; obey
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ARTEMIS 207 ana's side nor be the f
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ARTEMIS Artemis of Ephesus. Alabast
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ARTEMIS 211 favorite of Aphrodite,
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ARTEMIS 213 ¥ APHRODITE: I am call
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ARTEMIS 215 stead may they live and
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ARTEMIS 217 her own life. She confi
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ARTEMIS 219 my unhappy mother, O my
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ARTEMIS 221 your enemies. The god o
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ARTEMIS 223 with the last gasps of
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ARTEMIS 225 3. A rock on Mt. Sipylu
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APOLLO 227 peaks of Pelion, Thracia
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APOLLO 229
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APOLLO 231 a she-dragon by the fair
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APOLLO 233 neath or inside the bowl
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APOLLO 235 entrust them to the leav
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APOLLO 237 all-consuming fire and f
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APOLLO 239 Apollo and Daphne, by Gi
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Page 281 and 282: HERMES 259 seashore, he wove sandal
Page 283 and 284: HERMES 261 The old man spoke to him
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Page 293 and 294: HERMES 271 uous exercise of the hun
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ORPHEUS AND ORPHISM: MYSTERY RELIGI
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INTRODUCTION Universal themes are p
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374 THE GREEK SAGAS: GREEK LOCAL LE
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CHAPTER 18 THE MYCENAEAN SAGA The l
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o CD Dioscuri Zeus Tyndareus 1^ Hel
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CHAPTER 19 THE TROJAN SAGA AND THE
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440 ¥ PARIS: THE GREEK SAGAS: GREE
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i 1 Telamon m. Hesione Teucer 1 lit
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The Building of the Trojan Horse, b
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CHAPTER 20 THE RETURNS AND THE ODYS
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UT. o 00 bya r 5 Danaus Aegyptuj r~
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Zeus m. Danaë I Perseus m. Androme
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C HAPTER 23 THESEUS AND THE LEGENDS
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Dionysus and Ariadne. Marble sarcop
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Aeolus 3 I I I I I Salmoneus Alcyon
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CHAPTER 25 MYTHS OF LOCAL HEROES AN
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The François Vase. Attic black-fig
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C HAPTER 26 ROMAN MYTHOLOGY AND SAG
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ROMAN MYTHOLOGY AND SAGA 625 ALPES
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ROMAN MYTHOLOGY AND SAGA 627 Mars i
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ROMAN MYTHOLOGY AND SAGA 629 archai
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ROMAN MYTHOLOGY AND SAGA 631 The se
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ROMAN MYTHOLOGY AND SAGA 633 obscur
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ROMAN MYTHOLOGY AND SAGA 635 famous
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ROMAN MYTHOLOGY AND SAGA 637 on the
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ROMAN MYTHOLOGY AND SAGA 639 f Guar
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ROMAN MYTHOLOGY AND SAGA 641 with s
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ROMAN MYTHOLOGY AND SAGA 643 same p
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ROMAN MYTHOLOGY AND SAGA 645 Map 26
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ROMAN MYTHOLOGY AND SAGA 647 who fo
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ROMAN MYTHOLOGY AND SAGA 649 Underw
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ROMAN MYTHOLOGY AND SAGA 651 Dido a
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ROMAN MYTHOLOGY AND SAGA 653 hersel
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ROMAN MYTHOLOGY AND SAGA 655 Ennius
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ROMAN MYTHOLOGY AND SAGA 657 f "Go,
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ROMAN MYTHOLOGY AND SAGA 659 The Oa
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ROMAN MYTHOLOGY AND SAGA Rape of Lu
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ROMAN MYTHOLOGY AND SAGA 663 8. See
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CHAPTER 27 CLASSICAL MYTHOLOGY IN L
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CLASSICAL MYTHOLOGY IN LITERATURE A
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CHAPTER 28 CLASSICAL MYTHOLOGY IN M
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CLASSICAL MYTHOLOGY IN MUSIC, DANCE
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SELECT BIBLIOGRAPHY Only a few of t
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GLOSSARY OF MYTHOLOGICAL WORDS AND
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THE GREEK SPELLING OF NAMES 777 Che
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CAPTIONS FOR COLOR PLATES 1-10 1. J
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PLATE 2 Dionysus, kylix by Exekias.
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? & & * |£ ^^H v \i\à ' PLATE 6 T
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PLATE 8 The Discovery of the Infant
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s PLATE 10 Las Manderas (The Weaver
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CAPTIONS FOR COLOR PLATES 11-21 11.
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PLATE 13 The Triumph of Neptune and
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PLATE 15 Earth: Vertumnus and Pomon
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IPSBKTIÎHB S'Y ;.--:«r.i. m&Z
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PLATE 20 Hector and Andromache, by
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INDEXES INDEX OF AUTHORS, ARTISTS,
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INDEXES 1-3 Bruch, Max, 711 Brueghe
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INDEXES 1-5 Erechtheus (Euripides),
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INDEXES 1-7 Hymn to Apollo (Bliss),
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INDEXES 1-9 Mourning Becomes Electr
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INDEXES 1-11 Rapp, Michael, 730 Rec
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INDEXES 1-13 Villa-Lobos, Hector, 7
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INDEXES Alcaeus (al-së' us), fathe
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INDEXES 1-17 Baucis (baw' kis), she
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INDEXES 1-19 from the earth, who lo
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INDEXES 1-21 Eurybië (u-rib' i-e),
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INDEXES 1-23 Icarius (i-kar' i-us):
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INDEXES 1-25 Melpomene (mel-pom' e-
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INDEXES 1-27 Periclymenus (per-i-kl
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INDEXES 1-29 Sphinx (sfinks), "Stra
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