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Themis, a study of the social origins of Greek ... - Warburg Institute

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226 The Origin <strong>of</strong> <strong>the</strong> Olyminc Games [ch.<br />

A cycle such as this is obviously a late and very artificial<br />

invention, implying fairly exact astronomical knowledge. It is<br />

independent <strong>of</strong> <strong>the</strong> seasons and concerned solely with <strong>the</strong> motions <strong>of</strong><br />

<strong>the</strong> sun and moon. There is no reason why it should begin at <strong>the</strong><br />

same season as <strong>the</strong> pastoral or <strong>the</strong> agricultural year. The most<br />

propitious moment would be <strong>the</strong> summer, as near as can con-<br />

veniently be managed 1 to <strong>the</strong> summer solstice, when <strong>the</strong> sun is at<br />

<strong>the</strong> height <strong>of</strong> his power. The moon too is taken at <strong>the</strong> full. The<br />

union <strong>of</strong> <strong>the</strong> full moon and <strong>the</strong> full-grown Sun is one form—<strong>the</strong><br />

astronomical—<strong>of</strong> that sacred marriage which in many parts <strong>of</strong> <strong>the</strong><br />

ancient world was celebrated at midsummer. This union, we<br />

suggest, is symbolised by <strong>the</strong> marriage <strong>of</strong> Pelops and Hippodameia.<br />

The suggestion has <strong>the</strong> support <strong>of</strong> Dr Frazer's high authority.<br />

He gives reason for holding that 'under <strong>the</strong> names <strong>of</strong> Zeus and<br />

Hera <strong>the</strong> pair <strong>of</strong> Olympic victors ' (that is, <strong>the</strong> victor in <strong>the</strong> chariot-<br />

race and <strong>the</strong> girl who won <strong>the</strong> virgin's race at <strong>the</strong> Heraea, which<br />

we shall discuss later) ' would seem to have really personated <strong>the</strong><br />

sun and moon, who were <strong>the</strong> true heavenly bridegroom and bride<br />

2 .'<br />

<strong>of</strong> <strong>the</strong> ancient octennial festival<br />

Thus <strong>the</strong> second factor under consideration—<strong>the</strong> marriage <strong>of</strong><br />

Pelops and Hippodameia— is explained. It was symbolised, as we<br />

saw, by <strong>the</strong> flight <strong>of</strong> bride and bridegroom in <strong>the</strong> same chariot.<br />

As such it appears in <strong>the</strong> design (Fig. 58) <strong>of</strong> a red-figured<br />

amphora 3 with twisted handles. Hippodameia stands erect,<br />

1 Some mention will be made later (p. 230) <strong>of</strong> <strong>the</strong> difficulties which seem to<br />

have forced <strong>the</strong> founders <strong>of</strong> <strong>the</strong> cycle to choose just this part <strong>of</strong> <strong>the</strong> summer. The<br />

month Apollonios corresponded with <strong>the</strong> Delphic Bukatios (Pythian Games) and<br />

<strong>the</strong> Laconian Karneios (festival <strong>of</strong> <strong>the</strong> Karneia). It was clearly convenient to fix<br />

<strong>the</strong>se greater festivals at a time when <strong>the</strong> labours <strong>of</strong> harvest were well over and<br />

agricultural work was at a standstill. Earlier writers, for instance Boeckh and<br />

Ideler, believed that <strong>the</strong> Games were held at <strong>the</strong> first full moon after <strong>the</strong> summer<br />

solstice.<br />

- See Part in. <strong>of</strong> <strong>the</strong> Golden Bough, ed. 3, p. 91. Dr Frazer arrived at this<br />

conclusion some years ago, and, after hearing that I had reached it also, kindly<br />

allowed me to see <strong>the</strong> pro<strong>of</strong>s from which <strong>the</strong> above sentence is quoted. I believe<br />

<strong>the</strong> explanation was first suggested to me by one <strong>of</strong> Mr A. B. Cook's articles on<br />

The European Sky-God in Folk-Lore xv. p. 377 ff.<br />

3 Now in <strong>the</strong> Museo Pubblico at Arezzo. First published in <strong>the</strong> Monimenti<br />

(via. 3) <strong>of</strong> <strong>the</strong> German Archaeological <strong>Institute</strong>. I am glad to find that Pr<strong>of</strong>.<br />

Furtwangler in commenting on this vase has pointed out that <strong>the</strong> scene here and<br />

on <strong>the</strong> o<strong>the</strong>r Oinomaos vases is a rape ra<strong>the</strong>r than a race. He writes (Griechische<br />

Vasenmalerei, Serie n. Taf. 67, Text p. 34) 'Dass die Fahrten der Freier der Hippodameia<br />

und damit die des Pelops urspriinglich nicht als Wettrennen sondern als<br />

EntfiihruDg, als Brautraub gemeint und Oinomaos der Verfolger war, dies ist in<br />

den verschiedenen Sagenvarianten, und in den Kunstdenkmalern immer deutlich<br />

geblieben.' Pr<strong>of</strong>. Furtwangler makes <strong>the</strong> interesting suggestion that this vase is<br />

from <strong>the</strong> hand <strong>of</strong> <strong>the</strong> same master as <strong>the</strong> famous Talos vase in Ruvo.

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