Zeus : a study in ancient religion - Warburg Institute

848
Retrospect
The 'Minoan' conception of the sky-father's weapon imbedded
in the earth-mother's tree^ could be traced here and there in Hellenic
cult and myth. In this connexion we discussed the axe of Helios
in the oak at Dodona-, the sword of Orestes in the tree at Rhegion^
the sword of Kinyras in the myrrh-tree*, the axes of Erysichthon's
comrades in the oaks at Dotion^, and the knife of Phylakos in the
oak at Phylake®. Scandinavian saga and Celtic folk-tale attested
a similar relation of weapon to tree"; and confirmatory evidence
was sought in the megalitliic art of western Europe ^ Penelope's
marriage-test perhaps presupposed the same set of half-forgotten
ideas^ And the sanctity of the sky-god's axe may even be regarded
as the ultimate ground of more than one modern superstition ^''.
As civilisation advanced, the double axe gave place to spear
and sword. Lightning therefore came to be viewed on occasion as
the spear of Zeus—a view which facilitated his transition from
storm-god to war-god". Zeus Labrdyndos of Mylasa bore, not only
an axe, but a spear and a sword to boot, and was worshipped by
the martial Carians as Strdtios, 'Lord of Hosts^^' Zeus Areios of
Hydisos is represented in military costume, now brandishing a
thunderbolt, now resting on a spear^^ Zeus Strategos of Amastris
likewise holds a spear". Analogous figures in Roman religion were
lupiter Militaris, lupiter hnperator, lupiter Victor, etc.'^ And the
spear in the god's hand was illustrated from an Etruscan mirror, a
Gallo- Roman statuette, and the handle of a Roman lamp^''.
More rarely lightning was symbolised by a sword '^ Comparable
with the cult of Zeus Strdtios at Mylasa was the cult of Zeus
Chrysaoreiis or CJirysadrios at Stratonikeia. This title, perhaps of
Semitic origin, was presumably taken by the Greeks to mean
'Bearer of a Golden Sword,' that is, of the lightning'^
Axe, spear, and sword by no means exhausted the armoury of
Zeus. Far more frequent than any of them as his attribute in
literature and art is the thunderbolt {kerminosy^ . Nevertheless from
s. vi B.C. onwards this tremendous tool, as O. Gruppe observed,
falls gradually into the background ^o. Little by little the thunder-
bolt gives way to the sceptre, and the impetuous thunderer in time
becomes the dignified ruler—a change sufficiently evidenced by
vase-paintings-^, statues, and other works of art'^'-. To this moral
development there was one notable exception. At Olympia Zeus
1 Supra p. 677. ^ Stipra p. 677 ff. ^ Supra p. 680. * Supra p. 680 ff.
'= Supra p. 683 f. c Supra p. 684 f. ^ Supra p. 682 f. ^ Supra p. 685 flF.
" Supra p. 690 ff. '0 Supra p. 698 ff. ^1 Stipra p. 704 f.
^•' Supra p. 705 f. " Supra p. 707.
^^ Supra p. 706 ff.
1' Supra p. 712 ff. '^ Stipra p. 714 ff. ^^ Stipra p. 722.
-1 Supra p. 731 ff.
'^'^ Supra p. 737 ft".
*' Supra p. 705.
'* Stipra p. 709 ff.
-" lb.