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

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Table <strong>of</strong> Contents xxvii<br />

The ' Hero-Feasts.' Snake and cornucopia as symbols <strong>of</strong> <strong>the</strong> Agathos<br />

Daimon and <strong>the</strong> hero. The daimon proper is a functionary but gets<br />

'contaminated' with <strong>the</strong> individual dead man.<br />

Theseus as Hero-daimon. His ritual in <strong>the</strong> Oschophoria is that <strong>of</strong> a<br />

Year-daimon. The Eiresione. The raythos <strong>of</strong> a Year-daimon. Analysis <strong>of</strong><br />

mythos. The Eniautos-mythos. Its elements. Its monotony. Its survival<br />

in folk-plays to-day. Attic drama has <strong>the</strong> forms <strong>of</strong> an Eniautos-mythos but<br />

<strong>the</strong> material <strong>of</strong> <strong>the</strong> Homeric saga. Hippolytos as Year-Daimon and Kouros.<br />

pp. 260—363.<br />

Excursus on <strong>the</strong> Ritual Forms preserved in <strong>Greek</strong> tragedy.<br />

Tragedy in origin a Sacer Ludus <strong>of</strong> Dionysos as Eniautos-Daimon. Its<br />

elements are an Agon, a Pathos, a Messenger, a Threnos, an Anagnorisis,<br />

followed by a Theophany. The Satyrs and <strong>the</strong> Peripeteia. Necessary<br />

sequence <strong>of</strong> <strong>the</strong>se ritual forms. The Theophany in iEschylus, Sophocles and<br />

Euripides. The Prologue and <strong>the</strong> Prorrhesis. Reassertion in Euripides <strong>of</strong><br />

Sacer Ludus forms. The 'fundamental paradox.' pp. 341—363.<br />

-n CHAPTER IX.<br />

From Daimon to Olympian.<br />

Herakles as transition figure between daimon and Olympian god.<br />

Herakles as fertility- and year-daimon—as Herm—as Thallophoros. His<br />

attributes <strong>the</strong> branch and <strong>the</strong> cornucopia. The Herakles <strong>of</strong> <strong>the</strong> Trachiniae<br />

as daimon <strong>of</strong> <strong>the</strong> Sun-year. Herakles as Idaean Daktyl. Ritual <strong>of</strong> Herakles<br />

as Year-Daimon and as Olympian. Yearly sacrifice characteristic <strong>of</strong> heroes.<br />

Herakles as Alexikakos <strong>of</strong> epheboi, as husband <strong>of</strong> Hebe. Asklepios and<br />

Telesphoros as Year-daimones.<br />

The sequence <strong>of</strong> cults at Delphi. Prologue to Eumenides. Gaia and<br />

<strong>Themis</strong>. Phoibe as Moon. Oracle <strong>of</strong> Night at Delphi. Worship <strong>of</strong> Earth<br />

precedes worship <strong>of</strong> Metarsia and Meteora. JEschylus supposes a peaceful<br />

evolution, Euripides a conflict <strong>of</strong> cults.<br />

Ritual <strong>of</strong> Gaia. Omphalos as sacred stone, as grave-mound. Omphalos<br />

and beehive tombs. 'Tomb <strong>of</strong> Tantalos.' ' Daktyl's Monument.' Grave<br />

mound and Aguieus-cone. Apollo Aguieus. Omphalos at Argos.<br />

Ritual <strong>of</strong> Gaia in Ennaeteric Festivals at Delphi. The Charila and<br />

Herois. Heroines as fertility-daimones. The ' Bringing up <strong>of</strong> Semele.' The<br />

Anodos on vases. Satyrs at <strong>the</strong> Anodos. The Stepterion. An Eniautos-<br />

festival. The Python as snake-king. Kadmos and Jason as snake-slayers.<br />

The snake as daimon <strong>of</strong> tree and well. The Spartoi and <strong>the</strong> dragon's teeth.<br />

The Apollo <strong>of</strong> <strong>the</strong> Daphnephoria as Phoibos. Apollo as Kouros. Apellon.<br />

Apollo and Dionysos as Kouroi. Contrast between <strong>the</strong> two. Both are<br />

Megistoi Kouroi. Only Apollo becomes fully Olympianized. pp. 364—444.

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