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[:7 11,67. 1.71;]. 32min»; '6’ If” {[5 ”y': {/5} {6:4 I ’ .( 7 1;}. It")??? ('1); .775; .'/' . f". ”(Z/’3} y,'/(I"€'l'fllfl'./lrj III/6 P .l. -39 ’ J .. '/ .‘l'fi;/' IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII J lllll!!!HIlllllllllllllfllHill/HI)lllllllllllll LIBRARY Michigan State University This is to certify that the thesis entitled MUSIC IN THE MYSTERY RELIGIONS OF THE ANCIENT WORLD presented by Debbie Ann Thornton has been accepted towards fulfillment of the requirements for _M..A.___ degree in W Date May 11, 1988 flW/fy 2441M Major pro oeorfss 0—7639 MS U i: an Wmafiw Action/Equal Opportunity Institution DV1ESI_J RETURNING MATERIALS: Place in book drop to LJBRARJES remove this checkout from “ your record. FINES will be charged if book is returned after the date stamped below. 1:: MM :25 20033 MUSIC IN THE MYSTERY RELIGIONS OF THE ANCIENT WORLD BY Dabble Ann Thornton ATHESIS Submitted to ... ”we; . SW .q... I mont o r omonts for the dog” 0! MASTER OF ARTS Dwmontofl-ktory 1988 , ‘i g'. 7' ' . .. :‘ 1., {911 ‘t I U 4: .I- ”41.3 'H.3'f l t ;‘ I .I 5W. (x: iw-vtmnsiqs' 'f,',,;.17.~ .- 2 ”Ir " 3334'; 3.: min: "7 ‘ ;f-)’.1"3'-“' "' w. an, U M i" 1 Milk??? ABSTRACT MUSIC IN THE MYSTERY RELIGIONS OF THE ANCIENT WORLD By DobbionThcrmon Wmioammhtypadmudcuudh hmdflmyfluyrmdm. W, Crate. Samothroco, Trrooo. Eloudo, Egypt, and Rome. h «data mwmmmdmmw ammonium. BMW.hcludngpfim¢yondmymoo-.md tWMdonoowou-mamdoomod. mmmmmdmmmm ommmmmmyrmcom,md WMMQWQMQMG barowhgomongmo emu. 13112)?th '5'! WI Ham :HI I’ll um)?! (I IMUW’ H1 :2',3-’.’-A Iall 4:) w: fiulnhdl rmA 6.1:1' I :1: been: 13121111 to warn? ml? pruussmrre ys‘wle e -_‘I wry-q dull" ‘9I‘-11f),t:~9t‘yIII;:I ,tglrvszgrru? Ir*.‘?':’):g.~ui'~*s {MI'-,"1Hr:'s:')m.~'wij 1‘? Pal: I!) HI ,fatlifin [MU-3 I";‘:f{_' I r‘;.‘:- :i I ,9 .‘r. "II. t! w. 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I .1 l ‘ s I .9? z I y TABLE OF CONTENTS Inromctlon .......................... 1 ChapterOnezeenardChoacta'IatioaotAl mam . . . . . . .' ............ 4 °WWT€WWW ......... 8 ChaptcTI'ree:‘lhaBd>ylonMyaterIaa .......... 15 ChapterFouz'lhePl'rydanMyatanae ............ 19 ChafiarFivahaMyatafiaaotCrm ............. 26 ChapterSIszhaMyatarIaaottheKm ~ - - - - ----- 3‘1 MSWIWWOIW ......... 35 CWtEWIThOWdEW ........... nu ewmmamiwr ....... 52 Chapter Ten: The Egyptian Myatariaa ............ 6o ChapterElevenz'IheRomanMyata'ieaoIMIttraa ------ 65 Chapter Twelve: Summary .................. 7o Appendxflwee ....................... 77 Note. ............................. 85 My ......................... 96 iv I 1 p ad 6- IL. ix ' ' f f . ‘ II "I4 '!.(_\'..:)I l . . t _ ié'K " . at I '1’ I: l - " I 1“. l f E f. y. I ;_“ “LIL ( I I 4 T‘ : i "I [I f “ g:' r 3“. u. ‘ T ‘ .. _.- ,_ , 3. ,3: I , - .‘ t .1 . . .. . I - i ‘1‘} ’1,‘;._,‘ g; £9 .‘¥. ‘4- ‘ ~ - ‘I (1-! ‘._ : ,l. I} . o \. I 9“'+"’|fl VI'I‘ I20 LIST OF FIGURES Figure 1 Egypdanawwn ................ 77 2 WG’WW' . ............ 77 3 WWW .............. 77 4 madmbIeOboa .............. 78 5 Norm ............... 79 6 Mortam ............... 80 7~ I!" ....................... 81 0 W ..................... 81 mdwm. ............... 82 1o. Babylafimdomblaoboe ............ 83 11 Egypdmlongflute ............... 84 unwnmmembyamm. (a 1“ u a. d . , . _.- A _ a s V1 arfi‘a‘;"<‘. iI‘-:I\I' ‘ ’ r L . . - l . J. ,\ ‘I‘a 2mm mid ”to die» ‘ ..‘ H . .\ -.-. , I z. : l\j~) 1‘) 2:5,"; 4} f? - ‘. “I .. - ut. ’U‘ijt .:ltf7n<’f~ .. b 0.. .‘ ~ Q-‘er‘ . " -- - a} ‘vlfrei-r- J ‘~ 9.:"3'J ck b an: it ' ii? '33 ro‘a': ‘3 . h \. t\_o figts: f " "30“; ‘_'o i. " 91:»I;}t In, ' V! 1‘1 I {II-" t'.‘ i E 'l: 'I ( I‘ C, ‘l, .:"‘ ‘1 ‘-.I gir‘. INTRODUCTION Themyataryrmdhamdamwofld. involvhgthe wordipotdalflaatomawyton.araaca.WEgypt.and Mmmdvu'aehWMMWInmywaya homogeneouahthaolofiodclantatlon. Thainyata'Iaam mummmwdm mw.wmm~uwmm protomdradflaaotonatltyam. Melted!“ rWhMammemmd. mm»mmmamm«nw,m mmmmmmmdwvacyotm WWW. mmmmmmcmm Wmmmmmu WWhaldhoommon. Oneotthaaacommon WmMMWwemmdMa ”flaw“. mmaawaaoowaa WGWopantemymdd.“hemvateaIde waaaoaremonyopmoriytopaetorpaaantfllataa. The mm»mmuamwnm,«n mmmmmauma M“: I (11!: IL ”Hi/II ed! vaéovm I i; M Malawi; 9:?! ’t«.. .;;1_<_atg.;i;aw scram 9:1! I-. 'f-s rep}? I ,ugy uI‘I 93 ”WHO 1"in in}! tr", fl what) In QM» MW mgr- w ‘1 It)!“ 310' 9 I'JW I. 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Iwmi 'f‘Nitltth'H'c". 1r“) ‘t:‘.(iI<)M Irv) IL) 9311(I94Iw1951Sounldsn v 7')! b .- III-w. 91- v fihA IE) . -— -.— Phryde end Demeter of EIeueie In Greece. In that both were honoroduIcrmW.” 'l'hepcdehhmfionotendMKybele. Kybele'e thfieWeeegoddthoeeMmd reurecflonwecnudymmedmdrqdcedovereu teeflvelheprlng. WWebmmAmemdme WoodTemmz we “Ina. BomAtueendTemmuz mmmwm.unw.uaw elongeldeflwel'coneorterbeIemdlmreepedvely. The dmfldfieedonotetopetmmouw. Aloftheprimcyeoucee rdarhgtothePlvydeyetefleenmmeueedhe mar doubleoboe.mdme Wackumhmecelebreflond MWmdpdveteceremonieememmeW Myeteriee. Wumereeciectconnecfionbetweenmetwo? Inthe eecondnflennhm B.C.metw0teeew¢ehdeedued. EvenbetcreZOOOB.C.Meeopoumhhed&eedyW mmmwmmmmw Levu'tt.34 Latenmenmfl-Meeeetebflmedmemeelveeh Anatolieetmebedmhgalmeeecmdmlennium B.C..Ihey ebeorbedmudwofwhetaebfioncommeedmas The mated“ Htflteec.12003.C.werethePn-ydene. Thce when. undeedy. econnecflonbetween Bebylonie endW. ‘ 7‘.’V.‘.: ‘1‘}..flo" 19....2‘J1LJL‘VV. L tiff 1." 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ISUW 93125.11; sg‘vnfl? 21 The m and W. used in the mysteriee of Temmuz and 1m. elongwnh euch emer "erdeetlc" Inerumente as the [PM (cynbde) did the m (M). were used in menocnmdmmebeleendAtfle. Infect. home's efli'maflon d huh hounded the wor$z "lheveeetentommeam. IhawcrunkoutomoW lnDiogenee’ WJnomodyflrouduAW W.weflnd mention mature-oeuvre «detach-1mm: ”Andyetlhe'melthenrbm-weuing women otAeionKybele. theduug'otereol therich Phrygene. with d'umeend bun-racers and booming 0! bronze cymbals In theHwohande make loud $1... celebrating herwhoiemewieeninetel ofthego$endheelereewelf37 mmmmmmm,mnydm mmedtIuMydenlmdnghe WM broudnmmededIUgeofpeycficeflequndhu-n rmamtm.mwmmormm. Thiereecflon mmpwmmoacmbumummmot the phyacamdmmdmmm.mmg pudw,d.reuon,loum~,mdflmhre,tomephyddo¢cd ’39:! {1137' o.- l 0" orgmiem in eeneary emerience. ee reprodaoed and elaborated lnmemcry. imagination. Ihoud'at. endemofiond caves.” WeknowuweGreekemwyhmwmmePwm mromrmammmmudxm.m with!» m.weebrou¢moGreecehmeeevenmmy ac.” "hmmtonotemmoaflyperm matumenteoftheGreekewereflwoeeueedhmemyuefieed Kybde.1h¢eefl¢.memmode.dmgwlmmem end Kybele’e puweelon Mum. wee Wed Into many amammm.wumm. momwmwumdncwdm undhthemyetwleedm. Stwoinhb W expldneflumecfionz'rhemee.ltemedei.SM. Becdm.deRyfi.tecded9eMademegodeby monewhohevehmdeddowntouemeCrem-wdflu th.mditemmwmw”ced mee.mmydcd.meomereeomeaedhp¢1wmme rechadhedfldlmhmwhmwmemh honcroflheMamerdmeGodemchcecdebretedh m.“ mmmmmocmcmmxoumn wereknmeelheKerybeMee. WhleKybdemdAtflewereknowntomeGreekwefld.m WhmumwyenddmfldWyB3. provedtobemimportmteventfarthedevelopmerndherwfl -"~ ,, .‘l ' L 1- t ‘4 - ‘C' ‘> — u .7 I O. v ‘ . O ‘ I.’ A J" y I -; b .. ... .. 1 fl:‘:(n {.u !' ‘II . ;' ‘1‘ k‘{' }1_"1'{1! :01. :1?! 1,11 £1!;;'111.3 {11111111, 135.411.1111,Hutfxw-hyn1H gin“. 11111:: [111.112 :15 11-1. {3 .MW 3.131.115? Y‘VQV 9 mw 8 1.31'11L) 9111 'M 1.11 9‘31} (1111):»: _sai 1.31; fl to mm 9111 mm war; {1.111111331113391 moi? 9:20:11 v11 3:131 {fin-.w 1.- 151111 I"! 9:399 1i L' 0: t.1:j>t;0‘ir1 as. 11/ 9.1.1123 as?! {triw 13w:01!.11114y11‘11191i3‘h» I! 11110 (:1p1'1.i:u11-.-tnizel fl E32" J H 111? ‘3; #1315314”! 1111?? 1'11 3.1-1.1) ”:10. i! ~’1‘1' r 1w r 1"“) 1" I ~1 ‘5’ i 1 'ri?:1'11?1:1!1«’111 11.1.1115 (1:11 :".;1w {311031; .abom 111.131. 11H 9111 51933.1.) 111.” Nady :4 v11 ..11 ...1111.E.:1:.131313nu sauw 121111.211“; 13.311: (1111.121. 1 11.114 a‘Mady ")4 b. 16 eas'xniym 9.111131511311229 .2 trmm 19113119 Inna-um '233910 9.11 In ps'11)fl£b to 91:11.: 1 ..ihosqa 9:11 n12.1- mfimm 913w 3:15.33 13 9;” '41‘.1'1.?'r;11'.'-.3 81d m adsmf £1§'-.-1'11f'1 m aaz1ratz'gm 9m r11 been 113911.? rwsa 9:13 92M 21'3339‘w1'1N as! 1'“ '11::115391'In03 £1133 3:‘11L!-:qti:1 v’i hp 911.! f1: :1fi232::11m 1:. 11:11:? £93.33 915 .tfvnI but; 951111113 9.1.11.1 bars 1113153 11‘) 911'! m; 0? nwob b1_'3!‘1.r"‘~d 9:11-1:44. 71+,» 3‘18“)?” L21: may: .1151 13.1 rmw navowmm! e 113 duidw 2112113122611 nsipwdq 9111 film 31.1314 r1: beivam 103 21911.10 9.111 Janus-.1111 smug ream n1 ammo 9111 1111»! 31131.] mi bflb 911.313 ni 31.113 L'h: L1 911.1 10 pnimfj’1 .111 [1.1111111 '1‘ 1-171 916 d.'..-'“W c. hm") 2.1.13! 111 11.r11'_'11.-P-v1 91H 11.) 11111011 -_ .. 1.111.111)! magi.) with em 511311112533 {may 1414 311T ("”5342 (In?! 113111521131 1c; .11 21:2? 311.. nworul saw {16 .M‘tsw )1: 1E) 91'1Imr1w-.1.:i '3 1::w 2:!th t {15 93:31:11,114 eisd‘s/V 7‘) Fl wumn :1 b11111 911110 has way 9111 Its amofi nis:)n31w:1')o 311.1 11111-9111 1' 1'1 1'1—‘-'.1\'1—1ih1'1;1.i 1.71 3119119 1111;111:111“ m. 9d of hex/1211] 23 in the Greco-Roman world. in 204 BC. the goddaea waa formally welcomed into Rome and accepted into the Roman pantheon. .Herm'ival aawell aalater activitieeln Romewere not wholly acceptable to all Romano, and thue her devoteee occaelonally were reetalned or expelled. 41 Some emperors favored her waahlp, however, and in the that century AD. Claudua incorporated the Pl'rydan worahlp ot the «and tree andtheoryaeticriteeotAttlewitl'l the eetablldwedrellfion of Rome. 0n tom the eecond centu'y A.D.. the Roman world became moreand moretanflllcmmmeexotlcteetivalaotthe Pl'rydan god and gems-ca.42 Thebeet-known RomanteetlvallnhonaotKybeleandAttle waa held in the aprlng. St Jamee Frazer notee that alnce the Roman ceremonlea were Phryfian ‘we may ammo that they (filtered hardy, 11 at all. from the? Aalatlc «mind-43 Atthe Spring Feetlval the Galll, the prleate of Kybele and Attle who wereatamlllcelmtlntheateetaol Home. curledthelmageot thegoddeeeln proceedonwhllechantlngthethymnatothe mualc ot Wand Wand m: On theaecondday otthefeatlval theclergywhtledaboutln dance to the accompaniment of claahing km. rumbling of am, and the (tonan of m: Another ceremony on that day wae lnaugwated by the blowing of tumpete. On the closing day of the Roman teatlval there waa a proceaalon to the brook t l 1 . L " ‘bJ‘. H : .l 111 ‘0 1:. ‘1'”. tr 1] '. VII ... .. t l l . .v \. it D c . , v .. 1.. \ v 1 .Q . 1 4 l , o . . '5 l a: 1 I t a . 0 I: I ‘ _ c 1 . 1.1 x .11 . o .Ir 1?: e 24 Almo. The worahippera moved elowly to the loud muaic of «obi and 0mm.“ Apuleiuain 77): mmgmueacloeelookatthe celebratione of the prleeta oi Kybele and Attia. Ae an aae, Luciua, the hero in Apuleiue‘ tale. pcticipatee in many a proceeeion oi the prieata: "l wee loaded agdn with the Goddeae‘e baggage and we mached off to the aound of km and We. on Oil ueual begging rounda. . . .When we reached the next Iago town. . .the citizens. . head the tinkle of our [fr/I“, the bang'ng of our W. and the melancholy Phryg'an muaic oi the m.'45 In addtion tothe publicriteein Rome. theworahipotKybele and Attle la known to have comprieed certain aecret or myetlc ceremoniee which were aimed at brindng the worehipper into cloeer communication with the deltlee. In the eacrament. the initiate into the myeteriea. aa ateady noted. ate out of a Wandd’ankoutota km. twolnetrumenteot music which figured prominently in the orcheeta of Kybele and Attia. The Wand I'm. aewell aethe m. were not onlyueedinthe myeterieeolthe Babylonianeandthe Pl'rydane. butotthe Greekeand Romaneaewell. Each culture waa unique. thoud'i. in the way it need theee inarumente to eerve ita own paticula' myeteriee. Some. like the Phrydane. ..‘A‘ .2 2".» .‘n , 5 \‘l H ‘1'.1 11“: .1 (V 1.1.1 1‘: . I. “‘. J 1: al1 . c C I ’ “ I l.‘-'\“1 . I ‘ a: 1. 5 . l . 2 ' 1. «a. \ 1' 1' .J t it o ' ‘ F . ‘ E I o . ‘ ' 1 g: 1:" 1i i.'1 i 1 l f 5""? 1 f‘f‘ 1' ‘,C. ".' 25 need theee inetumente to accompany ordaetic dancea. Othere. likethe Babyloniana. ueedthem to accompany more compoeedandeedatedancee. pantonnmee. and proceedona. TheRomaneJntl'iekworehbolebelemdAttleJepreeentan amalgamationottheBwylorhnandPltydanpracticeeJnthat the W. Wandmwereueedhboth prooeeeioneandordeedcdancee. Themudcaltiethatbinde themyattieetogetlwdoeenotendhcethoudmtlevery mudihewdencehthemyeterleeotCreteandtheGreek myeteriee. ‘ .' ( ‘1’ . 1 .’ , I i . , , 1‘ t'; I- e 1) 1.11-.'31. ’ ‘ -‘1151 ht .U -1 . i 1.31.1; ‘ 1 11. " .; «15.1mm 11112:; 1211;311:411'«1‘1.?:~1::1r1;l’;11;t91_11» r11; , 11.131111. ~.- 11-11 1 3177A 13:13 {211-117. 3% "to 1111112111111 112.!" 1.8111351»? 911T 1131 .1; ;;<~1:__11!:1; ; mm: 11: thugs 6.121111%? 2."! ~ -: 1-1110131, 1.1435415 u'ii'vi r11 1.11.1311 e 3-3wv41.$\.~.11- 19:15 1.51.: _. .1 . .1 11.1'11041‘11‘1 11-11 (1?.1'1113’511? 'ii is. :1 1' ‘.:t 0111' éjw 111.131 1;? 11-7 v 1 .1~ ‘1"?!8.‘ . .1 1} vi“ 1 61.1 it ,liL'L1x)‘iI a; 111.1”11111 .1 .~. 1 h 1111‘? 1;1 ;2.-:1111?.1y-11_:,=‘.1 ‘1‘ 11311.} 11111? {3111) “117) it) 531111;? ‘ 1-10311'15112'1'1 111115111” 1111 1 '2.-.1: 111211111 CHAPTER FIVE THE MYSTERIES OF CRETE Aoca'dngtoCretentedtionquotedbyDlodumeSMe (V.76.3-4).theretldouerlfl1deofCretewerehmdeddwnee myetefleetomereetotGreece. Mudwotwhetweknowebwt meCretendMeleoomeetouehetegnemoflhe We! Eu‘ipideemreeervedfa’uebyPcrphyryinlietreetieeon 'Abettnence tram Animal Food.“ Tm tram. Porphwy telleue, weeepoken bythedwa'ueotCrem myetlcewhoheve cometothepeleoeot Mhoe. In It, theleedtotthe mydce edtnowtedgeetheritudecteinwhiduhekfietemhimeen to ldeeen Zeus, holds the Greet Mother'e mountain flame, and becomee e "Becchoe. Accordng to J.E. Hurteon. the ldeeen Zeue referred to in the fragment "ie dedy the eeme ee Zegeue. the myetery form of Dionyeoef‘r’ Zeue wee e lete comer. who in e eenee. eupplented Zeg'eue by tuning on hie chtectcletice. The myth otZeg'eueierether complex; eetoldbyClemental Alemdie.‘°itoenteredonthehtentgodwhovdouelycdled Zeue. Dionyeoe. or Zegeue wee protected by the Kou'etee who 26 ?: " t n‘ ‘ ‘ 1 ‘1‘“ :f it t ‘3. 1? .1: “IV 11 W11. ’11: A. it}? 7“ , ”gyny \ I (1'1’Y‘ ‘: 3‘ ..1, 1!" ' é‘ ti.) 11". ‘i .11., )1: .'. 51‘ '1: Q I'D“. F: l ..i .4 ‘ [‘1 ‘h ‘_ ‘3 "1. f‘ ‘ 2.} ' I . . .l’ ' 1"? t . 1: ‘ ‘.I I .8 h. l t.’ ‘9'. " .' i- .— . .ol 1 9 \' 1 ‘ _ .4 -‘ i") .1 ‘11? { ' t .- 3- t .1» Hi I‘Vx l P ‘1'.“ .} 1 1' a“ K *J : ‘71 9, i . ‘10} . '1‘" H1? (_.”. 1‘. ' {1 '81591’: A x .' 9—“ t3. “‘ 1. 71 .1 if): 3. e . Via; 1; ’ 1 ‘ _j 1 N " . ‘. . 3 '3 ‘3' t" 1’ I}. 1 1 ‘ 1 I . . ."e (ii—3‘1“" ‘3 ‘ _. 3‘ g ‘. ”3‘1: 1;: 1 ’ r 7‘ f" . '9 "'1; , ‘1) ‘1. H (j 1-.» . -r 1‘ 1.1 1 . z! ‘1,” '11' ' ": 'cx" :1 {it}. t 1 1 3 H14 27 danced around him the? cmed dance. The Tltme. deeiing to deetoy him. iu‘edthedwiidawaybyoflaring him toya, a cone. a Wflaull-fOUU). andthegoidan appleeofthe Heaparidee. amkra. aknuckiebone. andatuftotwool. Having lwed him awaythey aet on him. alew him andtore him limb irom iimb. tobeba'nafinamidmeflameeotmmothal‘adeath. TheKou'etee. thetmed Cretan prieete. havebeanlinked withtheKorybmteeotPtryfia. svmmmmam and Phrydantradtiona we ”connectedmpttwiththereuing otthechiidZeuainCreteandinpatwithmeordeainhonorot the«MacrameooduwmcharoooloinrmdmPrim»:49 Accordngto Lillian Lawier.the-'med danoeottheKouretee andtheKorybanteeiatotmd from varyancient timee.5° It beganaaaieapingandnoiae-makingritualmdthen developed intoarhythmicetieeotmovementamdpoatu'eeueefuiinwt. Phrydan etaineotthe mwere ueedto accompmy it. and onoccaaionaeongwaaaungtoiteitharbymedancaraorbya eepa'ate chorus. Stabo eaya that the KotreteeIKorybantee wereyouthaapecieilydwoeentoexecutemovementain unnar.’51 ltwaeewecialyaeinepkeddmceramattheytuifliied mumctionaaminiatarainaaaedritea. Theyinmkedterror bythecmeddanceaaccompaniedbythe noiaeofclaahing cme.ahouting.theueeot W(¢ume)andtheaoundot theaccompanying m. Arituai hymn foundat Palaikaatoon 7 f ‘. ’ ‘I'b : 4 fi'i " n l ,. i 1;. I; ~ . Ti 1,3" ‘ Q I " .¢ ‘ i" g . \g a D 1."£" | t r ,v i I ... I 5‘; 8 1 t 7' 3". " 1 I u ' £ I V 1 . . V .1’ ‘l . ‘ . i‘ ’ 4. 28 Crete. commemating the brth oi the Want Zena. ie thoumt to iliuatate the Moe ot the Kowetea: 'ToDiktelMount idaliorthe YOU. oh, much and reioice in the dance and aong. that we make to thee with hcpeandpipeelauMminded t.ogether and eing aawe come to a uncommon-52 AccordngtoJE. H-rieonJhe Wmdtheahieldotthe Koweteechrybanteewereoneandtheaame.“ Addnwae atetchedovertl'iectcuita'ovdmotmeahieidmdwae playeduponwitt'iad'umetiok.Aithoud1M.P.Nlaaonageea mattheahieldhadbommymdmuaicdaimflicmcmhe Weweitnotaea Waltaaa Wacymbal. He pointaoutthataeveralamalbronzeai'iiekhwaretotmdman Imamcave.eoamalhtact.(melcgaatbahgoniy55cm.) MMMwouldnotbeuaaththeywoudmake fine kmiauubymKMu.“ wmunm wareuaedaa W, thrbomitieevidentthatme gatotbeKweteelKaybanteewaamuaicalaewelaa Stabodeeo'ibeaaaiidmtlydflerentveraionotmeroieotme Kotteteeintheatoryottl‘oeinfantZeuati'iandoeeCiement. Accordngto SrabomeKotreteaweretohetheainhidng the infant Zeue tom Cronoe. tor protection, by announcing the r111 .' taflt'” M"? Y' FHC‘ ‘? '.'."./"“. ‘1‘ "8-“. a tt‘k “' 1:00 1.1 [*1 1 i ‘ a! : E 1‘ " "2 . 311" ’1’ "‘1' J31; " 2,15: - 3 - 1. - '3 s " 1.3!, ;i } I’.‘ 'ti 1 AIL ‘ ’ T L e ’ ““ ‘ .' . If I :t t O *1 .’9irl |. . .".t_,v’§(9:§f11-1.-mpg-5,5; .‘.. ‘ (_‘,!‘.D '\;l;‘) ‘. 1 i “ ‘ ’ ‘ " ' iL ’. t -i 1niil.1\.-..§ '1; If I t 1' 31111.1)? 9‘11 4.1 L ~::‘_;‘ 1-1.11; i‘ 1. i. ;-.—.i (‘3 .. “ A... I :‘ . :6 .'~ A : Haifa?) 11111.?'ii-9W\'aulr1: 11‘». ’ “1'1".“ x, ' ‘ 1 ‘1." 1‘1 1 -1. 1" 1 L1. . HR;V”‘)')A i. '1 - ‘-~ - ‘firv.‘_-'“‘L.. 6" ‘_\“3:;’ '_".f) ’ ’I.. ~4 ._:..,‘:.“!' 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(ii-141:1 5‘: ' 3._‘- =1: . 1 1 . s §,-i $1"; it1',.' 15.1.,1tot‘: i ;‘ .ii1|.1.‘.] 29 goddess with nmnambouines) and simila' noisy instruments and by the performance of wU-dances. The uproar was supposed to strike terror into Cronos and enable the Kowetee to steal the child away.55 The inclusion of Rhea is yet another link with the Phrydan rites. since Rhea is identified with the Mother Goddess. Kybele. The Kou'etes. then. danced that wU-dance over the new-born child and were. at the same time. attendants ol the Mother Goddess. J. E. Hurison suggests that the Kowetes were the mde mm to the female nm of Dionysos. known as maenads. She says Strabo knew that the mysteries ot Crete. Phryda. and Tl'race were Wally the same. that Kowetes. Kcrybantes. and Maenads. attendants on the Son. were also satellites of the Mother.56 Strabo uses the m of Eu'ipidee to liberate: "0 secret chamber the Curetes knew! O holy cavern in the Cretan gade where Zeus was crsded. where for at: delimt the triple-crested Korybantes dew ti t the round (tum-skin, till its wild made rapturous rh m to the breathin sweetness of yg'an flutes [ sub/ll en dvine Rhea found the (turn could give her Bacchic airs completeness; from her. the Mother of all, the crazy Satyrs soon, in their dancing festival when the second yer comes round, seized on the 0W3 tune to play the leadng part in feasts that delig'it the heat of Dionysos."57 ‘71. 1, .i u . " « ’ 1213' ”:1 ”.3. i: 11.1? 1 “but...“ .-“':' Y " ". ;t:r. .1“. Y”. . 1 " (”w-”:3 -ll-filt J t3? 6 T l 131:); :1 s):t .~ .n} l 34" 1.'.’V '} H" \(ta 2”. til: t?‘ J. 11H " 1‘ ‘."!~’%'3 ’L‘.-‘~)iv.. .141“: 1‘ 'I a 1 .' ~33. ‘ )4 ’11:...311 ‘ 7.‘ U Li‘wf‘; i»: .‘i; l1 ,MML .3? ‘ W‘-1.. 1):” Law: ’3 .1311 1‘.1vn--33r"\ 1":5 f.- t.1.: 1 u‘!‘ 1 'l‘V‘nI‘CFA 53513 ‘0 7‘7 iii—1:77)fo 1‘2 : 1!? £517" "‘ it}. . 1‘ . ‘i‘ . L. .n‘ 1 :3 91131.13 eon-fr: 1.1m .11 it trad? .’ I. x _ >1. ‘15‘ l L 5:34;.1 . 11.11.. 1L1! 1-..“ ’? 1. 1 ‘ *<‘.l;“.r:“~l Fu‘.‘ 4.41.2. ;:1-.~I.u.1: 1 11.1.3511 1 stay 1 . f t; “ . r. it 1' _ ~ fa. 91.1.} .’ {Ti 1-3‘3132'51 l . 11 1.5.1352. . {2:12; la,’ ’ 13.231 11,111.13” :11: Y .2) ; {1115-4 11 l‘ 1' 131,5»;5‘: 1.3- z; 1311:. 1.’ "it?! [Hz-.9 .1 g 1 .9: k131i . 1.121 2:..11 'l .l ‘1.\"1.i?? -‘l' '3‘ ‘ 34.“. [-91, f‘ - .t. .- _g - 15‘ .3 .1 1‘ :2. 2.1'. .t1ei1n1 *1.) i‘s‘ 1i-' “(:1 .gr‘i‘e a,“ (7, {Qt ’. ‘11... um mi .1: :1 1.; 4 v 1lr‘?'1 '1 o =-| L)- ‘, ... ‘I o' - .1: l.!..1vf?’>\,-.‘~-l ( 9mm “1'- 0“: X '- WHY» i. wit Pb l .l ;_."1 11. it .131. .' .. Ii z?!- .. l..? 13‘ 1: l]*)t't’tlt“ --.1 ' 1’; -!\1-. Jli :1 t3-11‘21 11.1:1‘.1:?r3.:1:~111-f1”w 1. _oef',..;;'3: Hi-.. _.. ['1 '1 ~, I 5 . .1 "' l1" :1 1 3‘51»: ‘1ii"' n. n 11-.11-11-l1u..':. 3'." 1-? :3 f3 Veil ( int 1,1, aY'tl ‘. ‘ ," t . I1 1‘. 123(7‘3;t) ‘"\ L' h" ‘WEI‘ {HT} 1 . r },,’.,- -, "I! . Hi . 1‘ 1. ’ 1? ..i 1 hut-11;; :11, - u «1, . 1 ‘ ; : ”5... ”14‘ v. “‘1'“. l'.‘ 1... . t «‘7‘ 1 $.43 1.3111: '-L';-t‘..?f.'.~; ..‘w j'..-.. ‘ - 30 We we constantly broud'it back to the same Great Mother with her Child or Coneort whoee worehip under va’ioue names and titlea extended over Greece and Aeia Minor. For Crete. the ritual wae ot the Mother and the Son“. in other myeteriee vuiatione occured. euoh as the worehlp oi the Mother and Daugnter at Eleueia. and the worahip oi Dionyaoe with a faded mother in the backgomd in Thrace. Crete. then. repreeente a ooneoliation ol vu'ioue relig’oue rites. many dooely related to thoee oi Phryg‘a. eepeoialy thoee ritea involving muaic and dance. Theee in tun were dflueed to thereet of Greece. LR. Ftnell notee: 'Thieielanddflueedin very etly tlmee many of ite epecial culte and relidoue namee through the Cyoladee to the Greek mainland!“ 1Q- CHAPTER SIX THE MYSTERIES OF THE KABEIROI ThecultottheKabei‘oiwaeoneoltheoldeet myetery relig‘one ol Greece. lte g'eat center wee the ieland ot Samothrace. but this was by no meane the only one. Ritee of the Kabei'oi were aleo celebrated in the county around Pergamum. on the ialmd ot Lemnoe. and a Won hae been excavatedatThebeeonthe mainland. whceGreekvnee havebeenloundpeihtedwithaceneeconnectedwithtl'tecult.60 Accordng to C. Kerenyl, theee myeteriee we even more «chaic than the Eleueinlan Myeteriee. He notee that, actually, the MyeterieeottheKabei'oi “repreeentanetllerphaeethan the Eleueinian Myotorioors‘ Herodotus, the first writer to epeelt ol the Myeteriee ol Samothrace. aea'ibee them to the Poioogiono, the aboriginal population at Greece.” The Pelaedana we reputed to have inhabited not only Samothrace. but Attica. the Peloponneeue, and Themly aa wel. The? habitation hae alao been fixed to Crete.63 Greek nation pictu'eethe PWcomhgdowntomTlraceand Theeaaly into Attica and the Poloponneeue. The Iona of 31 Y Mung!“ T.’ 't" “‘t ”it ‘7. } 3 {79.11} 72:" ‘v H": ll“; 3., )‘l ’1. it") brim... 0:11 .35...» MIN . it“ fit“ 3‘! ’3 "s 311* ..t",’; I 4f 'i‘: ' M f.]g,'t::. ..‘l‘. Y L” ). 3x.-:7i“1(j‘1 .‘ ‘.. lift-t3 H.) ‘L ' : ‘Ih' '.' $31. ”I’lffll y! it .1 '_' 1:9!1W .t.\n£:ze'u"trt 5513 m. 9w. "w?! ”mt. 3v ; H: -. - “.wxl at.” *r K) “'2 ‘f .’ ti. ‘II ‘V i 'r"‘ A.‘. O'.I’ "! I 7‘1 ‘\‘i" t i ' ‘%‘, t g r h ~ ‘4; . 3 _ - "I 1!; 0t r ttt : i {'1 9 _3 . n “5‘ 1 . . L . — t ‘ . - .5 1’ ~ 1' 1 i!‘ ‘ I "i. Mi." ' ‘ I ‘ ’- ‘31:: .f ' r e - l _ _ 'Q . l ‘ ' a :3 3 i : , 3 .( '4 ‘5 ,‘§;’ 5 ' ;_ I .0 a 9 '- - o- 1 I It. . .. 9i . . - , .A H... . .‘ .. - is t s " I: V .. 3!! t it...) .‘_.l,';_" .3;6~)£4 1‘ .‘ I ' I ‘ T ' 1’ 7 . k" ’ 1 ’} % v‘ é - | 'H vX-1'l., 3 1 o * its. tit. , r ' I a .I I! ‘ \ ‘ ‘ ‘ ’ 2 ‘ 1" I '3‘ ‘ 5v “ | , I 1'" . I 4 ' ’ ‘ 'E J” ‘3’ '1' k i t. t,, r t '; ...; \ ‘ ‘3 .\ I“ f ; ‘.* l 9 —. t l".",.-! 32 Mycenae in the Peioponnecue have a Mesopotamian countenance. and it is thought this ancient motif probably came from Meeopotamia and Ptryda to Greece. broumt at least put at tho way by tho Poioogiono.“ The Poioogiono were connectedwith Crete. and it la known that Cretewaa influenced by the Plrydana. Accordng to J.M. Roberta. the Cretane “may well have been the moat important ainde conduit throum which tho producto and idea oi the iirot dvlflzaflona'ssm daeeminated. The Pelaadans. then. could have been the tie that united the myetery relidona of the Greek world. the bees that. perhape. lived in Crete and from there poIinated the reet of Greece. Accordng to Km Rudolph. the "geat code“ of the ma of Samothrace were "probably a pat ol Phrygan am.“ The name ”Kabekoe' ieaaeociatedwith a mountain ora mountainrefion in Pl'ryg'aknown tohavebeen aacredtothe Great Mother. Accordng to Kerenyi. “he moet noteworthy leetu'e ot the general tradtion regtdng the Kabekoi ia that it placeethem amongthewidergoupoldefinctly maledeitiee (Kowetee. Korybantee. ldaioi. Daktyloi). who made up the retinueolthe Great Mother.'67 Aaevidenceolthelink between Samothrace and Warockalttahavebeen uneu'thed on Samothrace that very cioeeiy reeemble thoee dedcated to the Great Mother in Phryda. I -r t. 1’. ’ I l r' s z 'A 'l ...! .5“ H s. o D 1 r ’ ‘ I t o» l . . , .l 8 it 'l ”.../r " ' t it“ I 0 'V l .I: I ‘ ' I 'tl . l. f' - r 1 A ' ,. . l‘ a c \U-’ 33 The Kabei'oi have been connected with other seas such as Lemnos. Thebes. Eleusis. and Andania. Kerenyl mentions that one element the Mysteries of Eleusie and those of Samothrace have in common is the Dionysian chcacter oi the mystery god.68 Kurt Rudolph also sees a connection between the ”geat gods“ oi tho Kabekoi and Demeter and Orphomt.69 The ceremonies oi the Kabeioi had a pronounced ordastic chu'acter. Althoug't almost nothing is known oi the initiation rites themselves. accordng to John Ferguson. ”at least we know. . .that there was music and dancing.”0 From the description oi Nonnusonthe mysterieaoitheKabeiroiwesee that indeed there was music and dancing: ”Aready the heimeted bands oi desert» haunting Corybants were beating on that shields in the Cnossian dance. and with rhythmic steps. and the oxhides thudded under the blows oi 'ron as they wh'rled them about in rivaky. while double pipe made music. and quickened the dancers with its rollicking tune in time to the bouncing steps"?1 Accordngto StrabotheritesoitheKabekoi included'the subs thesoundsoi m. and W“. aswellas 'acclamations and shouts and atampinge oi the feet."72 Nonnus describes the dance of the Kabekoi as “Cnossian". thus tiectly linking the Samothracian dance to Crete. He. like 1 o ‘ l I 'I .16 . 1... to .. ti t ‘ o I In- ! t . 'e O; 34 Strabo. mentions both the double pipe or m. the Phrydan instument so prominent in mystery rites. and the Wm. Stabo notes two types W used by the Samothracians. the one being the? shields. and the other oxhidee which “thudded under the blows ol ‘ron.’ it appears then. that the Samothracian rites oi the Kabei'oi were influenced by both the mysteries oi Crete and the mysteries oi Phryda. It is diiicult to say whether the Phrydan influence was passed to the Samothracians tl'rougw the Cretans. a‘ it it was given (or taken) wectiy tom Phryda. I am inclinedtoseea¢ectlink metatherock aitu'sioundon Samothrace which closely resemble those in Phryg‘a. and the iactthat'dekos‘wasnotonlythenamedventothe Samotl'racian gods. buta mountainrejonin Phrydaasweli. . e - - L. ' :'3 ‘x. l ." ”Hulk“! ' "fin“ I'- ' tt‘ei‘ z."~'.. “‘ ‘1 ? ‘. ’ I l '- ’l' . ' CHAPTER SEVEN THE MYSTERIES 0F DIONYSOS The mysteries oi Dionysos dffer from the other mystery relidons in that the performances of the mysteries were not confined to a specific location. as were those oi Crete, Andania, or Samothrace. Where Dionysos came from is a much debated question. one in which the answers range from Walter F. Otto's. that the worship oi Dionysos was indgenous to Greece”. to W.K.C. Guthrie's. that Dionysos was of Asiatic origin". in this chapter we will look into this mestion. using music as a ycdstick to help illuminate the answer. A fa'rly recent decovery of the name 'Dionysos‘ on a Mycenaean tabletfrom Pyloshasledtoapeculationthathis cult may have fist reached Greece tlroudi the Minoans and Mycenaeans.75 If this is rue. then the mysteries of Dionysos must have reached Greece later than the inception of the Cretan mysteries. w.i<.c. Guthrie believes this to be true76. as does J.E. Hudson-’7. Both point to the uncanny similcities between the two mystery religions. Harison goes so is as to 35 .Q ,3‘ .. '4; ‘ -- ,. say. ”The Cretan cult ofthe Kotsetes andthe Tlradan religion of Dionysos we substantidly one."78 The Kowetes. the cmed priestsoiG’etemavebeendectlylinkedtomeKorybmtesof Pl'ryda. ltwaseqaecidyasinapredmsthatthe KWorybufleshlfliledthethmctlonasMshthe sacredrltes. lndsed.themoetlmportmtelementoithe myetarleeoiDionyeoewaetheecetaIcorhepreddance. MedSencteyexplahethatthePtvydmoriwioiDionyeoe ishdcatedbytl'ieusualaccompanyhghstuments.the Pl'rydm sub'and 007m. 'The mwastheinsrument mostgsnerdyemuoyediorlheritesoiDionysos. Theeileni. skensandmaenads.whocomprlsedtheretlmeoithegod Dionysos.ailplayedthe W79 l-lealsonotesl'ieuseoithe m.oPiryoimiormoithoiyro.inthoritoootoionyooo.°° ln Elsipidse' Whammctsthetwoeven more closely: 'The male Mme mother's. and back to mother Rhea mustitwend. 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Atthebednnhgoitheplayolonysos himself fives us a gimpee into his ecstatic rites: "Raisethemusicoiyouowncounsy. the Ptryyan d'ums inventedby Rhea theGreatMothcandbyme."83 Later. thechaus. likeDionyeoed>ove. connectstheritesoi DionyeoewiththoaeofPl'ryfia: "Singtotterattleoithunderous d'ums. singforioy. praiseDionyeos. god of ioyl Shout like Phrydans. sing outthetunes you know. whle the sacred pile-toned m vibrates the akwith holy marimsnt..."a4 EvenoneolDionysos’nicknamesdvseussome enli¢atenmentlntothemusicofhisritesz 'B'omius'. meaning noisyortlwunderousmndprobablyreicstothedmmsueedin hisworehb. StaboinhlsaccountoftheKotsetesoiCretemenflonsthat Aeehcylusinhislost EMsaystl'iattheinstumentsoiKotys wereueedbytheTl'racimsinthetudesoiDlonysoe. Kotysis theThracian—Pl'rydanform oithe Great Mother. Aeschylus 4!. . . , -- - r» I ~ . - . C-;l}i ‘I-'t.):"“ti.‘:'{'“"‘f'!.v.4I-vi‘"l' 1"IIO" ;|1‘J ‘ I .-, { i . X i" Mi --. i? to £5.t‘.ii‘..f‘-“-ti "‘.‘*.3 int";- “7 mi“. 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He continues: "and bull-voices row thereto from somewhere out of the unseen. fea'ful semblances. and from a ctum an image as it were of thunder underg'ound is borne on the as heavywith dreed.~°5 As steady noted. the moat chuactcistic put of the Dionysiac rite was the frenzied dance. as Lucian explains: ”As to the rites of Dionysos. you know. without my telling you. that they consisted in dancing irom beginning to end."86 Music and dancing led to the excitement oi coup emotion. which. accordng to Philip Vellacott. were the g‘eatest attaction oi the mysteries of Dionysos. Vellacott goes on to say: “the excitement. . .of worshiping in a company detinguished by tress. secret rites. and a consciousness of power residng in mass-surender to the super-neural. . .not only attracted the more excitable Oriental. but the Greek who for one reason or another found the demands and restictions oi civilized life profitless and 'rksome.”37 In connection with the Dionysiac cult we read of many types oi dances. one of which is the m. The Mme a frenzied dance over the mountains and throug'i the woods at nig'it. in the dead oi winter: ”screaming women tossed the'r ‘ t V. . . .c ‘ in l u l C. k. .. y 'i i . t i i r . v I t I t. ,' i o .I it. i . a R V I ‘ ‘ i i I, r 1 .3 iii Av NA . 1' t i o e I e. X _ .i t L o .t .- l i r to . .l... ’ l e O O 9 a i an I Q i e t ‘ .i \ ‘ i t o .l \ t i I .a . 39 flowing hat wilcly and brandshed torches or fans/[wands tipped with ivy or pins cones]. . . . Some of them played on m' or W368 There were also dances of men in honor of Dionysos as a god of fertility and wine. The most common of these was the d’MJM/nb- a song and dance performance to the music oi the Win the Phrydan mode. Mothertype of Dionysiac dance is the pjmb/c dance. According to Athenaeus in Wthis dance consisted oi postu’ee and movements for attacking an enemy. The dancers. instead of carying bows and «rows. curied n‘um'and torches. and danced out stories oi I:>ionyeoe.89 Ono last typo oi donco is calledthe'ancewith handsioined‘. In itthedancer held hisor her hands over his head and bent gacefully to the rigtt or left as the dance prog'essed. Dancers oi this type were usually clothed in Asiatic costumes. as this Moms seems to have been native to the Eeet.9° Accordng to S. G. Cole, the ritual activity in which the machess oi the god manifested itself in the dancing and inepi'ed behavior oi the worshippers is described by the verb MW 9‘ Both the worshipper and the god. then, are described by the activity oi the ritual. More evidence for the rites of Dionysos we in the festivals presented in his honor. Since we have a good deal of iniormation on the festivals of Dionysos in Attica, those serve \O .f as a standu'd; and althoum the festivals of other areas may have been sligitly cifferent. at least the Attic festivals will throw some light on those other celebrations. All oi the Attic festist of Dionysos occu'red in winter and My spring. The festival of the Oschophoria took place in November. the Greek monfl'i of Pyanopsion. This festival fell at the time of the vintage and wine-pressing and was therefore a thanksdving to Dionysos. the dver of gap». Sindng was not only characteristic of the whole celebration. but was also put of the vintage itself. An amphora in szbug by the Amasis Painter shows this as well as a piping satyr standng among his busy comrades. The procession of the Oschophoria was led by two oschophoroi. youths with vine-branches full of game. The two oschophoroi eluted from one of the Athenian sanctuu'ies of Dionysos. we do not know from which. and walked sing’ng toward Phaleron to the sanctuary of Athena Skin».92 The offerings were made within the sanctucy. Of the songs and dances performed there. some were cheerful and some sad. Such a ritual was typical of festivals of vegetation deities who were not immortal but ded. Tammuz. Attis. and Oskis as but a few examples. Another Attic festival of Dionysos was the Anthesteria. celebrated in the month of F ebruuy. the Greek month of Anthesterion. Accordng to Erika Simon. the Anthesteria was 41 orig'nally the last of the winter Dionysiac celebrations and thus emerges as the end of the Dionysiac cycle which began with the Oschophoria. The two festivals may be reguded in some ways as two sides of the same coin: the Oschophoria for the vintage. and the Anthsstsria for the fist dinking oi the new wine. Dising the festival the priest of Dionysos summoned datinwished persons to an official drinking contest in which speaking was forbidden. To begin the contem a tumpet sounded. and d'inking began in silence.93 During the festival of the City Dionysia in Athens there were dances of choruses at vaious alta’s. and especially at that of the Twelve Gods in the Agora.94 We can assume that the procession was enlivened by the performance of satsical songs. Also. each competitive event of the City Dionysia was announced by the sound of a Vumpet. The festival for Dionysos Lenaios was celebrated at the end of Januu'y. in the Greek month of Gamelion. Accordng to Aristotle the archon basileus ”superintends the Lenaean Dionysia. which consists of a procession and a musical contest. This procession he orders jointly with the superintendents of the festival, but has sole chugs of the contest."95 On some vases known to represent the festivities of the Lenaia we see a goup of maenads dancing. In the Peioponnesian city of Elis a dancing chorus of sixteen 42 women invoked Dionysos with the words: “Come. Lord Dionysos”96. On an inscription from Rhodes there is mention of a musician who awakens Dionysos with a water organ97. Accordng to cm Sachs. the Greek word for organ was 0%. The wind pressure of the hydrate-was not supplied by bellows. but by a water compressor and pistons. hence the name Animal's-or water organ.98 in Sicyon. another Peioponnesian town. one was not permitted to see the images of Dionysos Bakcheios and Lysios the whole yet throudl. Only on one holy nigtt were they brouth into the temple to the accompaniment of hymns and sisrounded by torch “mt”. At the festival of the epiphany of Dionysos in Argos. the Ardves called Dionysos out of tho lake oi Lsrna with rumpot bioote‘ 0°. As we have seen. the instumsnts and dances used in the rituals and festivals of Dionysos link him with the East. The similarities of Dionysos and other cults do not end with the East thoug'i. but reach to the mysteries of Eleusis. How can this be explained? J.E. Hurison brilliantly explains: “Dionysos DOUG to the end. as no other god does. the stamp of his mariachal origin. He can never rid himself of the throng oi worshiping women. he is always the nu'sling of his Maenads. Moreover. the instruments of his cult we always not his but his mother's.“ 0‘ Dionysos brought hie mother with him and wherever he was we find his mother. and likewise wherever she was we find him. CHAPTER EIGHT THE MYSTERIES OF ELEUSIS The most influential and populu of the Greek mysteries were those of Demeter and Kore at Eleusis in Attica. From ancient times it was believed that at Eleusis the gods had favored humanity by g‘ving gain for food. so that an eu'ly agiculturai cult there commemorated the yes'ly sowing of gain round the time of the Greek month Boed’omion. that is September! October. Before Athens took conu'ol of Eleusis. d'iortly before 600 B.C.. the mysteries of Demeter and Kore were contracted / by an independent Eleusis. After Athens assiJntsd itrisdction of the mysteries. however. Athenian interests natu’ally predominated in the celebration of the Elsusxi'iian mysteries. The mysteries at Eleusis focused upon the goddesses Demeter and Kore. Mtvin W. Meyer claims that Demeter was probably a Cretan goddess by orign102. as she was in the W W to W Shewasequatedwiththe "mountain mother" of Crete and with the Great Mother. Kore was the maiden, and because of her sojourn in the realm of Hades. Kore is identified with Persephone. the queen of the underworld. o i‘ .g. 1». 1. 3i’i if, 4 “ "p ’ 1,5 ‘t\ a i - ’ 311’; ‘ i 2| .. Of 3 t i O i x ' 3 . ‘ l.. i 1 I’. 1 -_-r ‘. t ‘ I 45 Most of our information concerning the features of the Eieusinian mysteries derives from the period of the Athenian domination of Eleusis. In the month of Anthesterion. our F ebruu'y. the lesser mysteries were conducted near Athens, as something of a preparation for the geater mysteries celebrated in Boed'omion. The story was f‘rst told in the W Wm lb 00070le 03. Neither the author of this hymn nor the time of composition is known. but schoias have come to consider it the official story of the Eieusinian tracitions1 04. The hymn narates events in the tradtional tales which occured long before its composition. The political system of the hymn mkrors that of the Mycenaean age. and it was in that time. accordng to popular tradtion. the cult of Demeter and Kore was introduced to Eleusis. Accordng to George E. Mylonas. the leadng scholar on Eleusis. the mysteries of Demeter and Kore were not indigenous but definitely imported. 1 05 W.K.C. Guthrie agrees with both Myionas and Meyer. that the mysteries were indeed imported. but he goes even fixther to say that the cult took its origin from Crete. 1 06 Neither the lib/”ma: Hymn to Demetrnor any other source. literay or a'tistic. before the Christian authors touches themes which were forbidden. Silence regscing all secret reiig’ous rites was maintained tfroug'iout antiquity. The the ‘Q l ' ‘ v-t ~ - 4‘ ' ‘ ~ ‘ .l E ~ a o 2 tv 1' T l . ‘fi '9 Christians were the first to betray the sacral mysteries. but their accounts are so mixed with polemics that little can be gathered from thOl'l'I107. As Mylonas says: “it is amazing indeed that the basic and important substance of the secret rites was never declosed. when these Mysteries were held at Eleusis annually for some two thousand yecsf" 08 We do know that the fkst pert of the celebration was held in public. It occured in the open a‘r and initiated and uninitiated alike could witness it. This was especially true for the puts of the celebration held in Athens: the proclamation declaing that the initiates were to bathe in the sea. the initiates sacrificing a young pig to Demeter and Kore. the Iacchos procession in which the initiates muched along the Sacred Way from Athens to Eleusis. sing’ng. dancing. and ourying the m (the sacred things) of the goddesses back to the Telestsrion (the goat hail of initiation) in Eleusis. in the procession from Athens to Eleusis both the extensive use of music as well as a connection with Dionysos we evident. The procession towa'ds Eleusis was pervaded by a mood of dancing and singng. Satiicd songs were sung along the sacred way. and at a short dstance outside of the town was a bridge at which sat'ricai exchanges between choirs took place. as a prescribed put of the ritual itself. The Greek term for bridge was gleam": and a song performed on this bridge was called Wis/7m. meaning ”song at the bridge”. Halts were made on the way to Eleusis and sacred dances were 47 performed. The In)”: asthey moved. sang hymns in honor oi lacchus. Therhythmic shout 'Iakch' O idtche'. reeounded overndovsrsminuticulahgmemovemsntofthea'owd. mdhsidssoftsmcl'isscdsdbim‘wcemigtothe rhythm. WeknowtomtheFmoiAridopfmssmatthe processionfolswingtheimageoflacclmsbscamea ammo. atorohiigitdanoe‘”. Iscchus himselfwas saidtowavehetuchUTdinaimatetheancs. ltismlacchus tl'iatErikaSimonnotesacomectionwitl'iDionysosz'Ancient sotscsssndnewtcl'iasolodcdmatsriddiowthatlscchusin Eieusinianrepresentationsisnooneosictl'isnDionysos.”1o Aristophsnsssaysthesame: 'Sh'igtheadordilegodwholsadsus if in oi: dancing. sing Dionysos thefd‘. d'awhimtousinsong... lscchos. festalMusicisn. come doiiii'ntousnow...”111 A.N.Atl'ianassakisexplflisthat'lachs'wasacultnameby whichDionysoswasinvoksdbotistAthsnsdelsusisJ psrsonlficatlonofthea'yoftl'ie MM'112 Daiclngofcou'se wasoneolthemdnattibutssoftl'ieDionydmritss.mdhsre weseelttskinganin'pormp-tintheElsusinimritse. Later intheF/vaeseemaeofthewicss: 'Lstusw'ice. DmcetoDemstsr l I i W 2‘ \ . g I: ‘ I: O 1:1'!§.|l£’1ss1". A ’J l‘il“ ’ii‘ 9, ‘2‘ i \ . 1 V, N: ' s1 aiefi‘ir. (.)'ilf:t"-."'iit if multifyiil all t .53 , l ‘1l331vtiif’tfldutil‘i {Milt—fit“? ‘l' :3? if. 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WU“ «ti .TJ'o'vt --) .lt ' iii. if) ',',W mi.’ it! iiiiif‘illfiit‘.' .i «intuit-”t i. ‘i..t.:-:vi i 5?“; :tit"ir‘§i!\ it: ”Ind 59$)..." 3 , ‘J H r (itiifl 'ii '\. ~.i (”a .t‘ ii ii“ "."‘ =1 ‘3 in ‘(Ti Ci. 7’! ir‘ l'i’ lit“. i-iitir- h". i/‘\ in", ' I in»; (...... i tit: Myttvii' imii L: twin!” 3.2:. Hr: .i 1‘)!‘fi) t‘i: ‘ “£th :' i saint-writ wai‘i i.i r» i; that i v1: .ii on I‘ Mitzi ti ;‘ .... “'2’“ 2,,” in gytl’f! 59' " ’i'Ai ‘1".‘f't ‘ f}. 'i".”.‘::ii: . l 0? eve-mil ":- intxs .:;i t: l' .; f‘i with flowers....Jewel her meadow with song."1 1 3 The rettrn to Athens. like the setting out. was public. The people of the city came out to meet the returning procession. and with dance and song the Imm’returned to ther homes. What occurred between the going to Eleusis and the rettrning from Eleusis is the real mystery. The procession from Athens to Eleusis occurred on the fifth day of the festival. Once the initiates reached Eleusis they probably spent the nigtt in singing and dancing in honor of Demeter. The dances were traditionally held round the Kallichoron well. the Well of the Fair Dances. Accordng to Pausanias this was where the women f'rst danced and came to the goddess. 1 1 ‘ That dances in honor oithegoddessandasapat ofths mysterieswere performed here is proven by the Niinnion tablet. The Niinnion tablet is the only document that can be definitely associated with the mysteries oi Eleusis‘ 1 5. It was painted in the red-figure technique and dated in the frst half of the fourth centiry B.C. The inscription on the base tells us it was dedcated to Demeter and Kore by Niinnion. The scene represented on the tablet shows a woman extendng her rig“ hand in a gesture of greeting while holdng a spray of myrtle. She is moving forwud in a ligit step. on her toes. in a stance which indcates dancing. JV 3,. ‘ 'i 1 i y In“ I i v E,‘ " to' 49 Though we we not privy to the private rites. we may be certain. explains Mylonas. that the rites included three dflerent elements1 1 6: the dam“. that which was enacted; the Mam. the sacred objects that were shown; and the W. the words that were spoken. Accordng to the available evidence, the dam must have included a sacred pageant which dealt with the story of the adection of Kore. and the reunion of Demeter and Kore at Eleusis. The pageant included dancing in measu’ed steps to insh‘umental and vocal accompaniment. From what Lucian says we can sawme that some of the secrets were revealed at this time in some form of dance. Mylonas speculates that “the pageant. acted in the midst of the nimt with alteration of lidtt and dtkness. with music. and even sung invocations. could have been made into a memorable experience.“ 1 1 7 The hierophant would sound a gong whenever Kore's name was used. C. Kersnyi calls this gong a m. 1 1 8 The gong. oi couse. orig’nated in the East and was imported to Greece. Kersnyi speculates that it was the hierophant who intoned the call for Kore while he beat the m. the instrument with the voice of thunder.‘| 19 Mylonas imagines that when the gong was struck the initiate was ”struck with a marveious limt. [and] received into pu'e regions and meadows. with voices and dances and the majesty of holy sounds and shapes."1 20 Walter F. Otto notes that the striking ‘l ‘3 \ . . A .... I . l u .. I fa . l m e . ,' \ . \— .0 l I' s . c ll - .I ’l _ . . b t ..P. I ‘ O n. \ a. I it i ll ... \u to i . . ... o .. i . o I . . I I . I _I- .‘I .n 1 1 ‘1 I \ \Ti O . i .. ‘ n It . _. '- \ y I .' n _s ‘ . . a i . t. i. V 50 of a gong brings to mind Oriental funeral rites. 1 21 The Mnym, the objects shown. are very much a mystery. The most important of the obit/arm were known as the Mira. The title of the hid'i priest. hierophant. means ”he who shows the Mrs '. The Mwsre kept in the Anaktoron. the holy of holies. in the center of the Telestsrion. We know even less about the lags/nan: since there is a total lack of evidence. On the last day at Eleusis the initiates devoted themselves mainly to libations and rites for the dead. A good deal of the day was spent in festivities. in singing and dancing.' 22. The importance of the role of music and musical instruments in the Eieusinian mysteries is shown not only by the? constant use in the processions and solemn dances. but also in the name of Eumolpos. the ancestor of the clan of the Eumolpidai from which the hidiest Eieusinian priest. the hierophant. was chosen. Eumolpos meant "the good singer". As noted earlier. Demeter was equated with both the "mountain mother" of Crete and the Great Mother oi Phryg'a. On this subject J. E. Hurison notes: “Wherever she was worshipped she had mysteries. the imam/and the cymbal came to be cha'acteristic of the wilder Asiatic Mother. but the Mother at Eleusis also clashed the brazen cymbals.” 23 That Dionysos was also present in the mysteries of Eleusis is 51 somewhat baffling until Strabo illuminates: “Now most of the Greeks assimed to Dionysos. . .and above all to Demeter, everything of an orgastic or Bacchic or choral nature. as well as the mystic element in initiations; and they give the name 'lacchus' not only to Dionysos but also to the leader-in-chief of the mysteries; who is the genius of Demeter. And branch-bewing. choral dancing. and initiations as common in the worship of these gods.” 2“ The connections among Kybele, the Pl'rygian Mother Goddess, the ”mountain mother“ of Crete. Dionysos. and Demeter ts possibly explained by the'r indvichal relationships to another god. Orpheus. Is it possible that Orpheus was the one who introduced the mystic rites to the Greeks. after he had made a cceful study of foreim mystery rites? CHAPTER NINE THE MYSTERIES 0F ORPHEUS: THE MAN AND THE RELIGION Weenternowintothecomplicatedsubiectoio'pheusand Orphism. WasOrpheusaredpersonorwasheiustafigment ofthe Greek imadnatlon? Washeresponsible for instituting all ofthemysterlesorlusthisown? Theeecpestlonshavebeen asked numerous times and med many difsrent ways. in thlschmterldidcontonttheeemeetlonsoneatatime. The question of whether Orpheus, like Homer. realy existed, canbeansweredonlyhypotl'ietlcally. ButOrpheus.realor imagnty. represents the solutim to a long-standng problem. The problem is how to explain the numerous similclfles between the vtious mynsry rell¢ons. especially betwun the foreign and the Greek relidons. Since the simiia'ities re undeniablethsre methavebeen contactamongthevu'ious gseg'aphical areas. andwhobettertossrveaetheiinkthan Orpheus? Ku't Rudobh notesthatalthoum itisnotcertaintherewere actudy mysteriesofOrpheus. itlscsrtdnthatataneu'lydate Orpheuswae tuned into thefounder of the Eieusinian. 52 0‘ ' ' ."/ \,‘ ‘:I.:‘.-'\ c‘ T"(l ' : Ll'Z‘XH'J» fl a. .. i,“ ii: a: f lull _r-gi 7“»; t; j‘ "'i i. i263 "i..’,:'l ,i‘l.‘ '- EHVV’ (it '1'..- ' .. mu ii inir‘ ' ‘2 r "V \~ ~ ' awn “”10 9-91 is if , i". :::;l ”V . t! - 4. . .,( 3:” ‘ .-9.ifi =i' ryaw'l Huiiiby Ii, iloim'W'mi/iyc—M‘» n. Mi. :‘ru—ui ... .3 8“! . _ t "?(!‘,'3; “if“; t) if? “'H" ill": i.“ . .3 " \"."i . .vnil‘ ll Hawk Wm‘ —::‘. _‘ “JU.W‘ C.“ EJ'FII '1 xwl.in9*H"r i {‘«yi'x-z‘. a; 9.:.: 'ii' if)“ .fzil! " ’i ‘ .;.~ 3"-‘JL: ‘ ii ' ‘gui 3'“ r; ‘i3111«'[":' “ ’3‘..';(A.'1'" lt"43!? . l ’vtl‘." . 1 'i ('I .1: 1,, .‘ {Li ' it, t :‘ \"f ‘-‘f ~ 1 -(iv' ' mi: ‘o s". ‘7“..‘Ji‘aii‘ifit, ~i"-i;ii,~" . i at {mi '- ‘v‘aié “ ‘5" t ‘tl 0. ‘ili ‘ - uo' ~f f .::~~;.:~:‘llii:. A)?!:i.'iii:i[vH--~‘i.r. i. 1 "i =40 it «hum? ~ '~ 53 Dlonyelm. and Samotl'racian myeterlee. He aleo atatee that Orphlem aeema to have been more of a mlealonury religion. mat.unllketheoflicldculta.lthadnocenfdaancluty.125 AriatophaneaintheF/maaya: “Orpheue: he tau uato underatcld the Myeteriea." lmmedatelyfolowhgoneolmemoetmotedpaeeageeh Lucian'a arm. leanexplmatlonotthe'Orphlc connection': "I need hcdy obearve that among the ancient myetariee not one ie to be found that doee not include dutcing. Orpheue and Muaaeua [the eon ol Orpheua]. the beet dmcere ol the? time, were the foundere of theee rites; and the? ordnancee ahow the value they attached to rhythm and dance ae elemente in relldon." 27 Diodoruaol SlcllyclalmaOrpheuabroumtthe myeteriealrom Egypt: ”Orpheus broom lrom Egypt moat ol hie m etic ceremoniee, the org‘aatic rltee at accompanied hie wander- inge, and hie fabulous account of hie experiencee in Hadeaf'mo AdeecrlptlonolapalntlngbyPolymotoamPaueanlae' m to Windmbathe'Orphlc connection' in relation to the ‘i’t . i ,ll‘ ii ‘ll', ' sin tit‘..‘g/.i .l .-‘l‘," l'T'. .‘l f l . .«ninl' ‘ M ' V “'1‘ ”.{t'il 1' W5") is! 3‘5 H a? .‘jiilili in i' 9\ Nil; .i: seem»! ,’ w : . I ._ g _ ah - ' ”-3- .:.§1L.5cl~!:‘) .iiirfnffi‘g’fi "3.4.: J o"” r.";!‘ :_\ I:"’,'fl1 '.':" ‘ m '(‘ [‘qu‘Ig-l """’i‘ir""h ""1 "nl-‘hffl , vii it) in it. '“l- *9 ill~ xi mv ~‘\<‘ ' ‘ V . 2 . .. -l lllJ "Hm? "“‘Jl‘lx’ 911.? i“ ‘1er f" In i) ‘E~‘.r t" ;-- iv xiii‘fl‘d r‘"~‘“"‘. l" m} v.31 {1-9.1 ‘~ if" I ~r‘.‘.‘~.':-I MA? max. :1? Mr“ ‘4" I H )4; fr ‘3.“ W Iml! hum? 10 u: L». if} :31 inns»? =.:‘-l .8 2.13mi?“ ‘: 1:04} It) 9‘?!» m; u it [.1! "51111“; J ‘ 11 vi“ Elli)‘ 23:“ .9 it-i'v‘wi 94"}? ,5 tr {mi-LN". 3", WM 1.3 an: Uh to ‘tlua ?" hm. .a-wn mm; 5"! . It" ;:'1.:r,2i:, 1.3:” 9.1.4113! ‘H‘J \.(:'u ' ~c-b “ “i .,, .,.‘ _ '. 'l ’. . . ~ gnu; 'a’V‘lQKbcH-‘i u NM £1 1’;)I“’il"‘~i’l‘? 'hll tip n #41 (“s "n1 .( e‘»1f:~;‘.">3i;).gii)" inf ma"; it) Y:":nlll ' 3 l:‘ a . . . 9 '\ . . . .. q l 11m: Hal; 3.. 3‘4 l . "s" -; ‘i ' 5:»? 3:5,- '.m .'-.. ‘1 -v ‘4' it".‘l::“q+i\.~"‘t .21“. .. . yi‘Il‘K ..., ‘H 33' ‘1,".“‘:!i.‘~.1."3?2,;..§ , -., it; '; fi").? ‘5 .. . - .4 "at .E- l 71: 39:41:31 11%-. -::I "l* i {'3 2/913”: if ,3 HRH;- ‘ t‘— . , . . i‘v 7‘ 3H)1)t’“”‘i 9 .".«\‘ ‘ 54 Great Mother or! Phryda: ”In this pct of the paintin ie... Pellae. . .Iooking at Orpheoue... onarocluliteltlceyae"129 Mueyaewaemeoelebratedplpertplayerotthe m1 of Pl'l'yde. Hewaeeoekflflul in playingthe mthatthe Phrydane deemed him the inventor of it. He and hie m were cloeelytiedtotheworehipotthe Great Mothc' o! Ptryda, Kybele. Many recent echolte have accepted the mdente' beliet in the ‘Orphlc oonnection'. A.N. Athaneeeakie explaine the relationahip o! Orpheue to Eleuele In thle way: ”There la a long-etendng tadtion that Orpheue broumt al eaa’ed myetic ritee from Egypt. taumt them to the Greeke and even Nomad them into the waehip of Demeter and Dionyeoe. It ie therefore wwuiee to deny the exietence of Orphic elemente in emmflw Ku't Ruddph noteethat althoum practlcdynothhgleknownotthemyetefleeotmeKabekol w. are mm. at llnke with Orpheue.'131 Walter wm expldnethe'Orphsc connection‘ inthlewey: 'TheOrphlc myeteriee we a cult of Dionyeoe. From Twaoethey were broom to Theeealy and Boeotia. and In the midde of the aixth oenttryepreadraptdyhAtflcamderme Pleietatide. In the? Wet appetance, they exerted an influence on the Eieusinian g‘o.‘- u \ ' 1 \"..' t .3; 3 2‘ i .- U “ o q‘ f ‘ H ”J "H. y i u U I. '3‘. ' ' '2 i}; . Lr . | I’-o.lk.: ;! (5"‘Ff.l : r1, 9 I Q 6 .i ' t s "J1 " A I. ,t -. . ' t a. . . .‘7. . , 'v . . .5 J .‘5 '1 A ~ § . 9 g i ‘5‘ 0‘ 2 l ‘ ‘ _ 1 - Q" I I ‘ i \. 1H .3 .V -* i .. a. H ' .‘ ' 3 I9; «1.; ‘1. c ' 1! 'i t 1' l:\ H! ‘ tynfijd‘ ‘ I J n . J r. -f I. n“: 1 rev, . 1;. '1. I. V g‘ ‘I 0.70- .’ ' . ‘ ‘-‘ .-A ~.(‘} U} J-‘i o s 94 A v s t .1 ‘ *1- v71 1‘! H .r 3 e \r o 1. [3‘ . p .’/¢ '~ ,4: :‘I’V‘ 7 v' ‘0 J I i i a .3 I,“ .‘ 1" l I v ’\ v a 4 e, I 3 55 Mysteries“ and before the midde of the sixth century their influence epreed even father.‘ 32 Althoud'i G.R.S. Mead does not addece the 'Orphic connection' d'ectly. he does accept the concept that there we a connection of one kind or another among the myetery religione: ”The Eleuelnian. Orphic. Bacchic. Samothracian. Plrydm. Egyptian. Chddeen and other Myeteriee all came from a common eou'ce.“133 MP. Nileeon believee that the Dionyeoe repreeented in the Cretan myeteriee owedhie preeence thde tothe 'Orphic connection'.13‘ IM. Linforth eeye: "There can be little doubt that Dionyeiac mm [myeteriee]. like the m of other node. were underetood to have been lnetituted by Orpheue and to have found authority in hiepoeme.""35 Theee poeme. eeid to have been written by Orpheue. refer to myetery culte. ae Walter Birkert notee: "Eleueie in ptticula is claimed to be a foundation of Orpheue. but relatione we aleo eetabliehed with Phlya. Samothrace. and with Dionyelac feetivale in general."1 35 Some of the 'Orphic influence' was atributed to wandering myetery prieete. ae deecribed in Plato'e W 'Beggt prieete and eeere come to the doore of the rich and convince them that in gear laanctihe, g'ven by tn; coda. ere ee e power to with eacrificee and incantatione, if a miedeed hae been committed by "f ‘I «if? § -i l ‘ 9 . \ 7 i “ :l. I' f 1 I?” ‘ . 3 , ii! . 4 i E? no ’ «91w (. \ .‘i-l ‘3‘ I fl ..‘i' l l )‘w‘a ' ‘ :- .411 f ’e I x " k; ‘ rv ., ”“2ng if‘ ' i i t ' I . 'fv ,( a I. f . t \ ‘ '- M. i“ 11m u a ‘ ‘ .' '7 ( ‘ n ’ l f ‘. " i ..l . .1 - liifli’i H “H ”‘1’ ,‘i' e l I 'f s ‘T I i I I .i U ‘ ‘O . '4 . .- J i. I. 1 -. 1 .‘- o \ f . k I \‘/;| - l V '. l +—‘ wi‘ l0 ‘0 t ‘ ~ 1; A? t; g! 3 I I V. ‘g . i "l J t ij‘ \ ‘ ‘, l ‘3 i ._ . 4 'l ‘4 ‘3 x ,‘i. . ' if: 7 " V a L ‘3! «A; 0.3‘: ,1 ) .e . . - ‘ .i 'L. h :us’n; 1' i'- . ' '° 3' ‘. ,':s, 3 3 . I \ ‘ t l" I .‘."‘t i is i" "I ' I r :‘ ,r; 56 themeelvee or the? anceetore. with pleaeu'able feetivale. . .and they offer a bunde of booke of Mueaioe and Orpheue. . .accordng to which they perform the? eeaificee. . . they cd theee lhtnvayeta'ieel"1 37 0f the poeme of Orpheue. Paueaniae notee: “Orpheue wrote ...eo that the Lykomidai could them at thet myeteriee."1 3° The Lykomlai celebratedthei'private myeterieenorth of Atheneat Phyle. mentionedaboveby Bukert. W.K.C. Guthrie elabaateeupontheabovepaeeageofPaueaniae:"l’he Lykomidai of Phyle in Attica chanted hymne of Orpheue over thekeecredpcformal'iceemJ-lymnethen. meticel prayere recdlingthenatueandmytheofagodandeekhgforhie femmndeungeteceneeoleecrlficeorpoeelblyrelldoue (tame, were eome of the ”revealed by Orpheue."1 39 Gutl'rienoteelaterthatOrpl'iichymnewerealeoemginthe myeteriee of Dlonyeoe.“° lnecrlpflone at Pergamum reveal thattheeindngofhymweeanimportentpctoftheworehip ofDionyeoethere.“1 Ofthat.Bukerteaye:"Thecumulative eflectoftheevldenceieoverwheln'iing.andwemaytakeittl'iat mecut-hynmeofOrpheuemchwepoeeeeewereueedln Pergamum..."142 r l \ t; t 9 5 l,‘ 3 1 Q V . ‘ " ‘2 r g”! f, ""I‘-) 3 . ' . X l " a. ' I.“ ’ 1- r' ‘ ti -. 1‘: "n‘LU ‘U l\ lid/1'24”” ( \ "3 l «9* it'fié‘qoni 4‘ :- Tm“! g“ ...,rf’ 5.753 v9.4" 2“?“ ’33 ;‘f ‘1‘“ ,‘.' h". 1:”; : ‘ i“) T() {Jr‘figlifj 51.“ ill ‘ Q, fit a". y/ ‘3. ‘§'\.‘] 9’(‘. ruV'filJcp.i-"1{‘l )- !I,‘y.i?_‘s»-in 31"}! ' :A{"’Q:H x.. .4 A 3 v ’4‘ . ‘Dis‘.'t'llv.tfi ‘ff’fi‘ '1 or: 54m ‘ Hi "*1: ,n was}: 3'1 tin-,1! bi'ii‘Ifl'E )5 3-: agaitz‘ugi'gl n. l m a is.“ i ) *l W .iwplnwi v.1 wvvifi‘ir_aw'il_vwi 1;.‘s’ii"3 l=‘ fen ~11 1 3' , h ‘ ‘, I \ ‘ f . *1 - .e: c! git,‘ Lu; 3 i. i ii". ' -,,‘: 1-, a' m, "9: _i 1"“ iii 2*“ an ' ‘ ' 3 b \ I - .l . ‘ ‘ Pi “1' ii.’ * H, . H‘ " , l tiUEM'nc' ’ \t-‘-. ‘ § ‘ . I e V .', .’ ‘7 .‘Y1 :I\1.Y ‘ "$5 ~ A ‘i",fi-‘i u ii(,(‘r~ .' .t)‘ } l 9, "3"'Ii“lo‘i’f.*il”~i""i3 .4 .t. if» ’g .. .- '3. i’ .3. '3'“ "it" $ 2.3 ,r ’- ; "Hi 4 .”' ii I ‘ it” '5l H. ' fs: Mir" )3," i ;.-‘o‘.-a1‘~t3 ' ‘ ‘. ‘Eii‘. l’c) ‘ ‘ -, . ‘l.’ 9'; l _. ,. V - i _ V. ‘ 3; e l u"\ai 3: 3"‘Slv". ‘ 1 If? s I )i 1 i ‘ is” .I-f- 9‘ i '_..I\, ’ 3’ 3"! )I ‘ s . ' i“ L3 * “tr; g '. ii" .tytu‘ Jraiusi) it 3;? 3'43 ' '-.- £j.:-;:4&t\,‘.‘:>:i}i0 '9 ‘ ‘. -' t ' . * f" :f . ‘ ' t ‘ ' n " "I' ‘ ' “. e t. ‘ i M '3 v 0'31 'Vrftvi. k in: V-‘FEVV‘ r-3JL) In ’ Il‘ Dig. .‘ (LE!!! t~lf I 3 -, r -... ; ...- _ .. -,. l .... -.7 .4 P — - -.. . A . 1.. mi. HHW .7. xx r. l‘ MW 8p": .3 ,‘J 3 it) :4 ails/.1 13;: 4-9: i. .- e . a )3 .. ... 57 in about a third of the extant Orphic hymne" 43. bleeeinge were invoked on the mM’in the cloeing petition. and the lanwage of the three hymne. m. Horae. and Heetia, euggeettl'iattl'ieyweretobeeungattheimtiation olnew membere. Excavatione in weetern Aeia Minor have uneuthed lneaiptione. like the one referring to Pergemum above. that contain nameeandepitheteofgodealeofoundhtheOrphic hymne. Manyinea'iptionecontain eomeoftheeametechnical termeofthemyeterieealeoueedinthehym.‘“ AccordngtoApolonlueothodee,Orpheuewaeeuppoeed tohavehadeomeputinthehetiwtionofthemyeterieeofthe GeetMotherKybeleinPtryda. Heeayethatamongthe ceremonieepu'lormedwaeadmcerecommendedby Orpheue. Onefeatweofthiedancewaemeueeofthe mwull-rou'ernndthe W(¢um). Apolloniue aleoeteteetl'iatthiedencewaecontinuedeverefterhtheritee www.145 TheconnectionebetweenOrpheueandtheother myetery relidone we endeee. it eeeme. Diodorue claimethat Orpheue muet have brouditthe myeteriee to Greece from Egypt becauee: "theriteofOei'ieietheeameee that of Dionyeoe. andthat of Ieie ie very eimila' to that of Demeter. the names alone having been inter- changed."1 ‘5 .hJ -‘. t I 1 " Olli 1. .‘-. 1.: e - _ ""’t‘.ii4 ‘uiu .xti.’ '4; 1!! Dl:|:“lil.?'$' n W ‘1 "it _ ‘: " ‘1 I . ‘_ , i 3 ‘2 T' 1" w 5' 1:, l , ID‘.’ l it 5- , ‘l 'zi‘ ii- . ; Via-Hap-ix, ‘ : ‘1’, 1’ ~.}’§511|7‘ l.- o . . _ :. ' -". t. ‘- 3.1. 3 Hv:"’.;:ii:‘} ; ‘ :3- (time u an: i‘_" Y"! - -1, V ' m 3. 3 . i's' ". ‘ “..I, {l 3; . 31"13“ _"t‘f}i‘i,\ )‘.":“~ . . 1 HM i ; (t T3L. i (' ~\\‘ ,§‘~ .ii . 3 L““ ’1) 0 '1}: f 2;.«(11'3‘iw‘i U 1r?);.)“n.o.‘lt i (“..i} . l , .3. 3 '" "JlL: . - ‘9 I ' i “U '7 gin; a: l "l'l‘ltii 1‘? 58 Linforth notee that “Things of religious import - ritee and myeteriee, the setting up of imagee, hymne, chante, and incantation - altheeethingewereinetitutedon Egyptian or othermodelebytheTl'raclan Orpheus-.147 0rpheue.then, redormytholog’cal.waeaneaq3ertinthemyeterieewho employed thie ekill by eetabliehing myeteriee d overthe ancient world. Orpheue,theprogenitorofmyeteriee.doeenotgetthea’edt. thoudmfa'pereondlyindmtinghieaunmyuciee. Orphiem cameeboutaftertheinetitutionoltl'ieothermyeterieemndwae a combination ofthe good, non-eavage. elementefl'om thoee myeteriee. itwaenotuntiltl'iemiddeoftl'ieelxthcenttryB.C., longeftertl'ieeetabliehmentoftheothermyeteriee,thaten Orphic doctineaeeuch emerged.“a P. Gamer etateethat Orphiem repreeented a refigon m which ”the eavege elemente were. . .eliminated and relig'oue and philoeophic elemente inputted-J49 Orphiem rep'eeented idealietic room. The recfleee looeeneeeoftl'ieOlympianewaereplecedbyaee'ictcodeof conduct. lnitdevelopedaconceptionofeinandconecience. endadiaieticviewolmebodyaeevilendoftheeoulaedvine. Theetbiugationofthefled'ibecameamainptrpoeeofrelio'on. aeacondtionofthereleaeefortl'ieeoul. Thebrotherhoodof I Q 3 ; 3 3' '3 ‘ H z . t ~ , ' i i. ‘DQ ' E3: .1 3 I | I I O, f ‘— .. 1 ‘t " I . $ 1 3 I... -“ .“ -’: :VJ‘ . .3 :0 ’ :1 :r 3‘£'£I‘I.i S, t e o e ’ ' ." , I , , .. 2 1“ nLi‘i" '0’? 1/ H ‘53” aiiiiT‘ 4‘ '1'“ t i ‘V ,‘i sw'ii VI - 1‘ n , . . i - H" i *‘m :!w n Hi"! ,hi.‘ L. .‘ "(wit . i3 n is . .131 Z'Vv9'1139913il3‘30b rt"); .j.’,'.,/{:" i31¢3§i,1-3Ery] 9‘1} ;~L:.--,d._ii'\ [.13 4141(4) my mun/m w .’ swing! :m vim» , ‘ K‘l :‘t w} i -' .‘-~.i-'-!‘~,~I“i ":3 1? t ’i 7: *.. iLJTei‘fiq‘i :ézii tariff“.- fhuain .;‘!"‘ ‘ 13/1,!)Ilijli'2'.” Zilf‘fl! 3") .32.; ms; 1L}?! "‘IJ ‘* 3 i 1 ‘ ‘i l f ." '1 '. '4'? dials-2331?“ : m ‘3'“5 ‘1. l": : v H :.' ' " " i: Us is?” .z"i'i‘.";'-.'V"'3 1‘3," "r -: I ‘33:.7 - --~. 1 ram. ‘ "’1' -.-1..‘7“?.e.“) if? ’ 1‘36.) (‘i {3'3 3 i ii. ‘3 f1" .71. - 7"} (at l .. . - . ’Q". i 4 g. . .-_.r..‘ 9 ‘ - , 3 ...o e. . . I 1- ‘ . . t n .J, i-.. : .uhvdiu- ..-:.. ll. m3? .iw l-i . ,— ~(4 o J -,3 y 't 3 t‘ 4: t l" g; r :3.- y . l 1} _ v ‘ i‘ "‘I -' t3 '3 'f' 2‘ =4 ‘9'! tail .F‘!’ (1‘ ‘1? 3:33:11“ i 5&3 _ . ,_ . t . -..-. . i "cstu‘ : i u iic' b viibier («HAHN Ri.:,:.)::~ iii. II'UUBI ; c. ‘ ..... - . ..- . -: .. . - we. .§ .... c} .-- .a..-.. .-1...— -, ~ in; ~".‘iio'l_ll'l~.;ll.1.,7'!.ii,. .‘tjzsglcj 9”? ..Tu' ...,t .. ,_,i:__'-"¢gi 2 r l' "3.3 .,‘ 3 ‘2 "J 3?: (sun, wt! 1 “ ‘3 4 Z in.” 3") mn'hnr“) i ‘ 59 Orphic initiates was cistinguished by the weu'ing of white gumente. the avoidance of flesh food. and a my: degee of aeceticiem. Orpheue. the legende mm. and Orphism. the relig'on. then. re two eeptate entities. One common element thoud'i. in dl ofwhat Orpheus dd. was music. Orpheus attached a weatvaluetothebeeicelementeinreligonzrhythm. music. and dance. andtheeeelementea'e commontoal mystery relidone, iuet ae Orpheus ordned. ”.4 “f ‘4 V a\ ‘0 ;~ \ " _3: "‘ "'\ ‘1‘) I, CHAPTER TEN THE EGYPTIAN MYSTERIES Ofthel'iurid'edeofgodeandgoddeeeeeworehippedin ancient Egypt. leis end Ofiis. and the members of M dvlne family were among the most influential. leis was a mother goddeeeand Oei'iewaethebrotherandhuebendof leis. Osi'ie poeeeeeed generative powers that enebledthe Egyptian land watered by the Nile to be fertile and productive of crops. in Egyptian mythology the trother andrival of Cable. Set. kiIed him; but Horus. theeon of leieandOe'ris. defeated Set. Horus. thus. succeeded his dead father and ensured the tiumph of continuity and order in Egyptian life. leis. meanwhile. employed her madcal powers to mummify Oei'ie and thereby to restore him tom death to life. HerodotueepeakeofthemysterieeofleieandOei'ieand thetconnectiontoGreece: “It is on this lake before the temple of Athens, at S s, in the Delta that the Egyptians act by ni t in at they call their Mysteries the scion of that bein whose name I will not speak. All the ails of these performances we known to me. but - I will say no more. Similu'ly l propoee to hold my tongue ~-./ ..., y.-f~"l t1} 3.)) i“:- "‘ , ' “r! it“; ‘1 1‘ 3 1.3-: t r l 3 ; i . i it i ‘i' ‘r 's '1 v e‘ . a . 3! .r,v ‘13 o it ‘ 'a H? . ..,’ 3‘ r - 331.1. ‘4 ‘ 3 1 ‘J'a ".2 r) ‘.. it. 11.0%.? -. . L. iL, l.’ .. ‘ . l . v’rl L. v' vi. ‘ ’ ’6‘ ) g '3 {if t H . ‘l 3 i ' twi‘i 9 »| i l”: 5 t ' t . '- ' r. K s' ‘ " 3i I l‘ .. "l“vt { : .1 "i. ‘ .. mm: -1' 23“.“: . i , ? ..‘113...l'17‘i‘» ' " 3 i 3‘ 7’"‘ i 3s. 1. , .-.- . .-- 7* L x. wax. ‘tsa\.'-. ‘2' "l 1 i“ '2 3‘... i' : o .i - u' ; 13.3.4.4, iii-- 4 - . L u'll‘téllltlr tn "‘0 c‘lu A - n 4 . ‘1‘ " :. , t ’ ' 1 t". s -1 r. 9: l ‘n e l" ‘ b i I. ‘ '0‘; 3 11 :-' . . «w. i -. . l~ la " ..' 3 l U 'l 'i‘ 3! e'l ‘ , '33‘i ‘ I‘ ‘ ‘gj ',T " .‘ . I . v . ‘ .. ‘ ‘ D! ’t .p .~’I' ii g_'i. it .i‘ . t! >«.‘-l 61 about the mysterious rites of Demeter. which the Greeks call Thesmophoria, thougi in this case there as one or two points which may be mentioned without impiety. I may say. for in- stance. that it was the daugitere of Daiaue who brougit this ceremony from Egypt and instructed the Peiaso’an women in it."1 5° Herodotuswasnot theonly one who connectsthe myeteriesof lsisandOai’iewith Greece. Diodorus aleoeeesaconnection: 'theriteofOetisistheeameae that of Dionysos. and that of isle is very simiiu' to that of Demeter. the names alone having been inter- changed.“ 51 And Plutuch in his treatise lair and mumply states that “om. is identical with Dionysos.“ 52 The main reason Piuta'ch g'vesforthis belief isthatthetrumpetwasueedfor both Osiris and Dionysos in exactly the same way. An Ardve tadtion holdethatDionyeoedescendedinto Hedeetobringup his mother Semele irom the dead ti'roum the Alcyonlan lake. i-iieretun tomthelowerworldwaau'inuelycelebratedonthe spot by the Argvee. who summoned Dionyeoe tom the water bytumpetblests.153 Thetumpetwaeueedthiewayinritee heldin honor ofOskis. Thetrumpet is pictured fortheitsttime in Egyptabout 1415 B.C., mdwasueedaeasaaedinstrument for Od'ia. lnfactlteinventionwaeatributed to the god 62 nimooii.‘ 54 In Pluttch's explanation of Os'ris' relationdiip withhiepeople. hedveeusanotherreaeonfortheconnection betweenOeiieendDionyeoe: "butmoetofthe eehewonoverto his way by the cm of his persuasive decarsecombinedwitheon andall mannerof music. Hencethe eekecame to identify him with Dionyeoe.“ 55 AtfiefeetivdolOetisfiewommwoddgodaoutkom villegetoviIagesindngeongehhlsprdee. muchltethe womenofDionyeoeelnmgeongeforliekgod. ClakePoiin noteeM'incuments oftenwcededcatedtotheworehipof ptflcultgoa-beleeridflineerelatedtoOekiati'iem/nto leie.'355 The measmhsrumentcommontoboth EgyptandMeeopotemia(Figre1).cidaeCtrtSachenotes: "ArelationdtipbetweentheMeeopotamimendtheEgyptian “mum;weknowthatinprehietorictimeethe countieewere cormectedbycommercidtade.'157 Sinoewe donotfindmentioneftheuseofthea'etwninthewordiipof Kybeie.wecanberelatlvelyetreitwaenotimportedtom Kybeleforueebyleish Egypt. Aemeworehipofldeepread. ti'ioufii.wefindthattheueeofthemfolowed. Bytl'ieHelenieticperiodti'ieworehbofleieandOeflehad becomeeetabfiel'iedinoneformoranotheremongthe Greeks. and later it was also common among the Romans. it was not " 0] inn; ..4 twiym i.- in W 4.; if: ' . we .. ,..__,, , 1‘ -. 1‘15.) "1.:“Hi.';.‘.. .1 'I tt i. . ' m: ii inn-.17. . :1 iyii'mw fi‘ifiiékw but} tis‘ii‘il til 29:10.3 -‘ .i l'. "7/ 3'53: -- as end 4 ‘w‘: ~tqf.".;‘-?‘ 5.1? '53 35...:(5) C? t")tt‘:tf:s‘1 E: ‘e’ “at: .imiiu iii’:' Eff.“ :i'ii.:t~ ii i') .363 tw’ii‘a (: a .. 2f» e _ .3 -. . . ..-... b _ . :::,i 2.1,: ifiifft‘fibi‘i-ii'l..li i" 51‘ ii i? 'iiTtéi .n‘i-ai iii-“i ‘li fruit “v.24 “ TA! .3, . .- ) ‘.”i~ 2]} ‘iii‘ Ov‘i‘ f” -- — ,-. - ..—. A. ‘—. I \ . ’gi:3.-.‘.I.HV 29:"lil\.\~..‘~\.t’.~..-:, ii -.; a); i’ .. I . ..-... _. - - .. . ' i-i-.:iil’:‘iii ~Ié!.‘f:1:.?_' )- ,- ,v. _«":f~. if! i .- . . _ Bun: 'Imr‘; :1: 1.1.. F- 'm mg )l r‘leiiiw " .; {2 nuns) ..e‘nl I _- I? 2-”). I , ‘ I'..’ ‘1i.i ““‘i‘l i. it “n: . .. n, ‘ " .. .«w» .1 i’ W I :n? T.‘ ‘:.‘i‘ Vii“ “5!. l\ :) “fa-.112, ‘. '1. 'l‘.. H i . 5 4 _ _, * I‘ ‘ ." —: fl. '! KT) -— .5 ".I‘.‘ .JT.£..II:F;.:1T If ’ 01 - «I. ‘U . ‘LI ..4 \‘tc- '1 1,371? turn: 64 back of the head (Figu'e 4). The flute referred to could be either the Egyptian flute. which was cut from cane and generally a ytd long with lrom two to aix fingerholee (Figue 1 1). or the croee-llute of the Greco-Roman period. We have iuet one depiction olacroee-l'lutei'om thieperlod. on acoin otthe Syrian town oi Caeea'ea from ae late ae 169 AD.‘ 59 On an ll'n from an Etruacan tomb of the aecond centu'y B.C. we have the etlieet example of a croee-flute. 0n the an is the head of a mueician playing the inel'ument. The inetrument ehown is rather ehort and would probably have meaeued leee than two feet in len¢h.16° ThemtdumenfionedmbyApuleiue are the m. unimetotheworehipotleie. The whada U-ehqae. andlookedmuchlikeaepuwlthcroeebce. which iindedwhen ehaken. TheRomanriteeolleieendOei'ieJhethepteomeolthe flevoroltheoridnalriteeolEgyptandeddedtothem eome from Greece. Ae Km Rudolph explaine: ”Greek influence is eepeciallyclecherefltwaeonlythrouditheldentiflcationof leiewith Demeter andtheheIenizationottl'Iecultotleietl'Iattl'ie latter came to include myeteriee.n1 51 ‘ .\ ' . . I at t I _ ' ’ 'l . ‘. . ‘ ' ,1 I :' 3 V -l ‘1! l” 1‘» 4 " ‘ :‘ .lT..J.“lIu.){..l\ lint ‘ J ,1 ‘ I q ~ . ' t 1? . -\ l . ..' minor-m ~- ' . -. . l* ’ ... “.131 : .s' 5 _ , . i" 21%.: . w -l _ .— ' ' I ) .. n L I .'I\‘ \ . -.Ui “‘:’§ Ii '~ 0 v ~\‘ ‘ . V1 3. §]‘ \' ' t ‘3‘ 1 l ‘v‘ ‘. f: I 0‘ 'h a .1— l ‘. L 1“ H") 0 .y - i 1' n 1. .‘ ‘ - ; .3 ,, .' be i . . .,," it; :‘.i I. p. ’ ”'3‘: ix): 0 ...? 1‘11. it" ' .‘ f‘le‘ ; i“ d 11' ’0‘,' I e ' ' i‘l ' ".., l .. . ‘. 3' (3" \I‘ ’1'. ‘~~ 1! .' fi’UI I' It ‘ .‘ ‘ J ’ 1"; ‘1 .. “,3 ”it. 'i .9. ' I; i . i V J ., 3 :f'f CHAPTER ELEVEN THE ROMAN MYSTERIES 0F MITHRAS Aewe know them. the Mithraic mysteries we a Roman phenomenon that flouished in the Roman E mpi'e from the second centu'y AD. on. The mysteries of Mithras were mysteries for men. in pcticuiar. solders. sailors. and imperial officers. This attraction helps to account for the number of sanctutiesofMitlvas. calledMlthraea. locatedinthefrontier provinceswhere Romanledonswce stationed. asweli asin citieeandportsoftheempse. Althoudi the mysteries of Mithras were unime to the Roman Empke. Mithras himself was an import from the East. Among the lndo-iranianpeoplssMithraswaeknownasagodoflld'It. ruth. and WW. in the Za'oastrian literature of Persia. the Am, Mlti'ras was associated with Ahu'a Mazda. the wise lord. The priests of Mitfras were known as the Mad. Some of the Persian motifs. such as the affinity to the number seven: seven gatesofheaven. sevenstagseintheinitiationproceee, andtheseven stageeofaecsnttothehig'lestgod. ofthe eastern Mithras were ctried to the Wed and to Rome. 1 62 In War 7750 Damn! Intobfeaba. the 65 f 4‘} . I .11.“) , f1.'\ ',1~ J ‘T 'i l f I Y’.'.' 5‘! "His? 1 l L . '1, 3‘ ‘l . ih‘ ‘. ”H ... 66 second-centu'y writer Lucian of Samosata g'ves us a gimpse into a mag'cai rite performed by one of the priests of Mithras. a Magus. Menippus. the hero of Lucian's tale. wishes to descend into Hades in order to find out about the best life and the best philosophy. He accomplishes his task with the help of one of the Mad. Althoudi Lucian's description of the rite is a prody. it also contains elements that he midit have derived from the practices of the Mad: the place of ritual. sacrifice. libation. and foreim-soundng chants. As Lucian says: “i resolved to go to Babylon and add'ess myself to one of the Mag'. the deciples and successors of Zoroaster. as i had head that with certain chums and care- monials they could open the gates of Hades....0n my «rival l conversedwlth one of the Chaldeans. . .his name was liliithrobuzanes)”l 63 Before the descent into Hades the priest 'bechcmed' Msnbpus. a common Eastern rite usually accompanied by the m, becausethesoundofthe mwasthoumtofrig'iten away demons. Once in Hades. Mithrobczanes began invoking the names of the sprite interminged with a “number of foreig'I-soundng. meanindess words of many sylables."1 54 This rite then. definitely had a foreim. even Persian. chuacter. In his 1159 diam]. Plutsch nurateethestoryofthe g'and and violent weer of Pompey (b. 1 06 - d. 48 B.C.). One of Pompsy's impressive militu‘y victories was his quick strike -:l l‘ i.‘ . I ‘— I’ . I I let ' ' \ ' l l I a rs _ . £1 '3';\ -. U i. ' . i 0 ’ l ' I p- i , 1 ‘ T 5 I \ O l s l A ‘1 ‘ l I 67 against the Cilician pistes in 67 B.C. Plutuch dscussss the life of these p'rates. includng the fact that they were devotees of Nilthrae and was probduly responsible for intochcing the celebration of the Waic mysteries into the Roman world. Accordng to Pluttch. the plates constantly involved themselves in music aid dancing: “mtmwxz. 9"“ the'r strin instruments, their (run an revels along every coast..."55 Cilicia was put of the Hittite Emp're in the last half of the second millennium B.C. Since the Hittites absorbed much of what the Babylonians could teach. and were conquered later by the Pfrydans. itislikslythe mueicoftheCilician pretes. andinturn the? rites of Mithras. had a BabylonianIPhrygan flavor. Accordng to Franz Cumont. during the actual initiation ceremony. 'lamps ranged tout the choi' tfrew their brid'It rays ontheimageeofthegoaandthecsielrants...'1“ Heaiso notes that long pealmodee and chants accompaniedwith music were interspersed among the ritual acts. The moment when the image of Mitlraswas unveiledwas probably mated by the soundng of a bell. 1 67 Althougi we have some inscriptions that may be lines from Mitlraic hymne1 65. they do not tell us much. The inscriptions found in a Mithraeum beneath the Church of ' ‘ , l , . 'ii" }' \Jvi Hit" 1 4 ii I V“ I .M' 5‘. J! I ‘ t .’ '1 f l ‘ 'a- ii! i- “t“il‘i 1"“I‘ N i ~I‘ ~ vl' .24.;914Wh 'f" «:1: 2-13.“: .‘ . ;. z- - . ‘ --1 - I .-. 'tii .... i :vii “ill w i 1...; 1‘. 1 inf-,1 91's 1 ) .19.?»va . is I uJ‘li V ‘t.‘ fit, I g I ..l .: ligi1". ‘ (." i_4 ”‘ ‘x " ’ i i -, , .1 i " .l M it. .H'ili'lili- w' .I‘ .. i 'Jrs ;r_ s A) .. ‘h ‘ll.’ ‘ 'r. “'}ll HiI ln-i' in (. .‘a \ Uni .Xp .lI.Il‘I {”1 " xi . gun v.1} J 3? 'l'i"iiI|-.*) --"':'-.«Yu'.i‘¢‘.l ii v-i V: 1"“ ’f' ‘- 4 4va t '1: a - ." I. .i .l l V' .I .~-‘ ~. 1;.13’1J {i g,“ j .41, .i z . 171.“ 2... . _I I ( l I . ' (l XI ‘ .1.- .11 t'i,‘ v ‘ .«r'» .1" L‘ini- ".41 I \' : ibis". I ,r' k\‘. . \ .. t V" y; ‘} " .f I J : :',‘ k“)... I. t . . .-.l.’ _ . . J F -.-..- ' ‘ .“-; -:.:;.-,1;;I‘I!:,.‘t'3 iii, ..i.i'i'.~.i,7¢l’;t. .51, .H:.;_.\::;: , ... . .1. J _— ..- a _ ..__ . I - _ h , . ~ ‘3“ .ir‘f‘f .- it‘ll ; 't ’ L‘3i1 7.3- 1. ”h." l . i. , ' ’ 'I 'a ..a‘1!.i_: 4': II : .‘; d, 2’ o; i E 's ’3‘! I ‘7‘; f"..:i’ " / I)‘\ ...l .. .. . . l _ J . . . ... u _. . ., ‘ .J 12v.“ VJ‘J‘fgt ‘lilir ’47:”: i. f ' Nil l( 3. .._-! \ll'hfl. 1i‘:,‘ 7 I 1’)?!“ l . g , 3.} .7 .. ”ti {mi .. in“ I ’1‘” ~=t< 1." 1"“ i, "t’f‘l.‘{")! ii H U" :. -, .- . .1 . ~ . — t . - . z-l ". 4 in: 'i I" (u f M’Nwi 't) . ‘g- ‘.:I it .ll ~‘, I? ~11 31‘.“ l'itzH .! “it. I 1iii,)I(i’.it3'. In...“ '...-I.‘=.-. O .. .l ... ...v . I , a . .. It 1“ I 5". 7' 1‘ I; 3" a, If Cs‘.’ ‘ Ll‘r‘; ,b 3.3....1‘k) ‘7',‘ “ i 2’\.;‘ ‘ i i 1‘ ¢- "‘ \"‘ I f . ' v I f F . ‘ - ' 3 1m» v‘tii) e. r l. (.15??- ‘ I1: :1. *III' '4" t: ;. i ., ,4 {‘W‘L". ‘- -_‘ :3 if. t ‘. j-i} ‘ I I 68 Santa Prisca in Rome were written in Latin and we poetic in natu'e. and thus may be lines from Mithraic hymns or other ritual material that praises or invokes the Mithraic powers. One inscription in Mimic shows a definite connection with the rituals of the East: “Accept, O holy Father, acceptthe incense-buning Lions. througi whom we offer the incense, throudi whom we oIrseives re consumed."169 The use of incense was of eastern oridn. and probably came to the Roman rites of Mithras throud'i the influence of the Cilician pistes. As Cumont once said: “Al the oridnd rites that chcactsrized the Mithraic cult of the Romans unmestionably go back to Asiatic origins." 7° Ned'theendofthesscondcenttryAD. thepaganauthor Celaus wrote an attack upon Chrisfimity entitled m £09m (7h. Discount). Thanksto the cast Christian theologan Origen. who published his Cm" Catt/m in the mid-thid centu'y as a reply to the cha'ges of Celsus. much of the lehas su'vived as quotations in Origen. in the folowing passage Origen is dscussing Celsus' description of the Waic mysteries: "wtxmwmtm if.“ describes. He waxes enthusiastic about these and g’ves a second explan- ation which again contains musical i n \.I’t.‘[ 11-)‘(‘&:1‘. ‘ i _) VT" ff) Owing .liv “>131 «it‘ll! is \ (1;;- l i ‘i 1', 4"‘f ' i .4 .113 -. . ’ - "3 Vi!tl,,,] ' . ' ¢'- ‘9 .. " ‘6‘ fl _ x f "- ‘ J ‘l s‘,Ili. . t ‘ J " ’1}- VJ . '31 ‘i I: ' . ... . - ‘i it if :1). * ~- 1 l. '. . "it; I}. ’ l. t ". "Lmi'w. :’ ,, 0.. t l‘! Ira, : ‘it\.’ ‘. II. t . P ’ ' l r ‘+I I. u ‘ f‘ 3 l) I] ‘t t‘. ‘V' ' - ‘1 H ., l }"";”f l ,, i. ’ ‘ i‘ . .¥~.I , ’ b ’It " . g1 ) I.‘ ‘5." i l 'I‘ ' f I ‘19 |".'.’Vt ‘l ‘L :.‘ "‘ . .i .3" ” 'll‘fs") :3! P- 1‘ 5', " I I 1; .- ‘ , ' ,3 5 ’. f' P x i‘ . I . “ f - T-..‘fl tr) ? , § ‘ “ 1 a. '| 3‘ f i 31.1, . . l 1'. . .. ‘ (:2 l i ’ , . ' a. ‘ ' '1, 4‘~ - J | ' I .I a Y t _- i. \. “U a . rt . it I l ' 1‘ i“ f - I . l " ' ‘ . : ‘( I ' _l I: ‘ -¢.; . 'I . ....‘H ' rs} “ if: Gil ., f 0 .ll . ' ‘ fl . . ‘ l 'r 94'” " 6 '/1 ..ii 69 ideas.” 71 Music, then. was an integal put of the Roman mysteries of Mithras. The was and song play a role in the celebrations of Mithras, as they have in all of the mysteries meyed. Althougt we know little about the specific types of music and instruments used, we do know enougt to admit to a definite link with the East, and Phryda in prticulu‘. CHAPTER TWELVE SUMMARY Theptrpoeeolthis investigation intotheroleol music inthe mystery relidons of the ancient world is to compte the types of music used among these relig'ons in order to uncover the chmcter oi the relationship which undeniably exists between them. I believe the similtities found will be valuable in defining the close relationship which existed among the mysteries. and the dflerences found will aid in uncovering where and from whom the mysteries received addtional input and ideas. The music of the ecliest oi the mysteries, the Babylonian mysteries of Tammuz. clesly utilized two wind instruments. the flute and the double oboe men, one sting insrument, the d-yror lyre, and one permission instrument, the drum. Theee inetumentswere generallyueedto accompmyritual songs perlormed by a chat. Also. sources describe a pantomime. which included gestues cocrdnated to the rhythm ot the music. it is sale to saythat this pantomimewas a form of dance. Next in line, clronologcally, were the Phrygan mysteries oi Kybele and Attls. Musically there re numerous pa’allels between the Babylonian and Phrygan myetery rites. The 70 ’l v i! HIT i Y: ”writ? “ it Writ) N i|l.'-H’ in i‘ll'Oo HHvLW 1' I \ I . . u 0 w ‘1 «.1 . a . ~¢ ‘ ‘ ’-\3 - I 1 ' . I ' . Q s .‘- a a... e 1 O . i_. 1.4 4 ,1 .5 . s ‘ q . 1 . ’i u . . . ' i.(‘-" 'n H. i! I , ‘ ‘t ! . ' I ' W?“ A‘..‘ K . ,l' 1‘ - ‘ v ‘1 o 5 i ( 3 J l . '. ‘ ‘ I ' . l i , ' A -' ..L ‘V’ ‘ 'l J ‘ ,ii . (if) .7, ! I .' O ‘ - 1: $3 2 i- ' 4 ‘ 'h’: ‘i' l . ) 'it; M'l' . v r : . .x. :5 1.3911"in a u ;,_"";.'? "’H'l-Jt‘l‘f-f. ~‘r"‘ t‘ . “I” t. g'l .‘n.,.:~..;,ci3.gl.: ’1 4|: 9.;1‘ ‘ " “." _. ‘ . ‘ ll ‘ 1:. ‘ t l . . . mm -.~ ,. we: .. . . .../y . ;-. i y z. ‘. ii ‘r ‘ ._ 4 v- ‘3 .= ').~' ~ .. . Mm. ... ;‘ m‘ '1 l” : !.' w .l.‘- ‘1’. I I. ...‘ '; . . ‘ H 71 Phryg'an rites included the am or d'um (in fact, in works of art. Kybele was frequently portrayed holdng one). the 00/05. singing. and dancing. Since the two case were linked throug'i wads. it is probable the Phrygfiane adopted the use of these instruments lrom the Babylonians for use in the? own rites. ln addtion. thoudi. the Phrydans had instruments of the'r owneuch asthe may.» km. and m anddances unlike the pantomimic dance of the Babylonians. such as the «med dance and vuious ordestic dances. The mysteries of Kybele in Home were known to have used the tumpet in much thesameway as itwasusedbyboththe Egyptiansinthe mysteries of Os'ris. and the Greeks in the mysteries of Dionysos. Since there is no mention of the trumpet in the orig'nal Plryg‘an rites. lthinkwecan concludethstitwas borrowed from either the Greeks or the Egyptians. it is possible someoralloltheeeinstrumentsanddsncesusedorldnallyby the Phrydans and not the Babylonian were inherited from the peoples who inhabited the reg'on of We previous to the Pl'ryg'an occupation. Likewise. they could have been Phryg’an lrom the stat. What we do know. thoum. is the Phryg'ans influenced other mystery rites in much the same way the Babylonians influenced these. The mysteries of Crete exhibit a close resemblance to many aspects of the rites of Phryda. The cmed dance played an integal role in the rites of both mysteries, as dd the playing of In} _l'l' it 10 l . O , 4. .i‘ .. i . I .9. . I\ . .s O. i . . . . i a. 1 .... l i. f. 72 the m, am (napalm. and the tymdufs. It is in the cmed dance of the Cretan Kottetes. thouui. that we see almost a m'rror image of the Phrydan dance of the Korybantes. As in the mysteries of the Babylonians and Phrygans before them. the Cretans sang hymns to the accompaniment of the «be. One instument used in the Cretan mysteries but not in the Plvydan. wasthehu'p. ltispoesibletheCretanspickedup theueeofthehtpfromthe Egyptians. asitwasueedthere. thoum notinthe mysteries. The Babyloniansthoudi. ddusea close relative of the htp. the ”or lyre. in thek mysteries. and possibly the Cretans borrowed it from them. Theiittleweknowofthe MysteriesoftheKabe‘roi of Samotl'race indcates an influence from both Crete and Phryda. The Kabei'oi. like the Cretans and Phrydans. gave the tmed dance an integal role in the? mystery rites. and the w. W. and Wteknowntohsvebeen usedto accormanythisdance. ThedanceoftheKabekoiwascalled Cnossian by Nonnus‘ 72 and thus may be a ¢ect link with Crete. and throudi them. Plryda. The name "Kabekoi". lndcatlngboththegodsof Samothraceandamountalnor mountain redon in W. and Pl'rydan rock um found on Samothrace. l believe indcate that the Samotlracians were in contact dectly at one time or another. with Pl'ryg'a. The mysteries of Dionysos seem to be a combination of the Pl'rydan. Cretan. and Egyptian mysteries. Dance of many . .. I; . . i '. A? L} ‘5' "1 ’ ~. '.l l! .‘ ‘ i‘ .\ , ’ :ifi ‘ ‘° 1L E" 333,“: f ‘ 7" I A " ’ hf E'V'V.‘ ’iTl 5.? "’3 1. 'é.’.'“ti;l.“il‘l"i - ; 2315: .-."..Es'3: A.“ is ., £1 3. :3 . 1 « l :1, i . v.41 . i"?- gr ‘5! till” in NH '0 "‘.. .. . ‘ ’ = i .‘v lUli‘! “an if. ..| ' .4 ‘,\‘z .' \ .a C‘?, F ' r0 . a ‘ ' . " I be”. ‘ J V '1‘ ... s Q‘ ". if?! ~\II ‘ ~ ‘ . a. ‘ 3 , i z'e i Laziggin' “""l‘f ’35'lll"lx.‘1'll:’-.:f -'-~)~ I l ' . I u .. 1., 2.. l- .1».- "' . ' r ’.. -- ', : I .‘ ‘2' I I ‘ 1:;I)f‘, a o ‘ I I l ‘\ , 3 t l I I melit'm: l“"l"_jl,1’li3§t hf‘f‘} ‘47": it) (if. an"; -‘1' A ‘ e‘ _. .' fix" .\4 ‘4! a ‘ o it.) hi. . _fc fl an I ll. '- v‘! ', ‘ A a kl If ' 5'. .f‘ 1 1 ” I . ' ‘,l‘ e ,4 I f 7 \ i f t ' i 73 types. includng an umed dance. played a very prominent put in the mystery rites of Dionysos. Most of the dances were ordastic in character and used the usual Phrydan instruments as accompaniment: the m. W. 17W mm, and W. The pjmfv'c dance most closely resembled the «med dances of Phryg’a. Crete. and Samothrace. This dance wasmadeupofmovementsforattackinganenemy. butthe dancer. insteedofccrylngabowandurowasintheother mysteries. carried mm'and torches. Hymns. as usual. were included in many of the Dionysiac rites. such as Attic festivals of the Oschophoria and the Anthesteria. During the Anthesteria the tumpet was used to announce the beginning of the official (kinking contest. and it wasueedagain attheCity DionysiainAthenstoannouncethe bednningofeach event. AtaDionysienfestlvalinArgosa trumpet was used to call Dionysos out of the lake of Lerna. Since the trumpet was fist used by the Egyptians in c.141 5 B.C. in the rites of Oasis. and since Dionysos has been linked to o-iria‘ 73. it came probable that the tumpet used by Dionysos belonged first to Oasis. The W. the Phrydan lyre. was also used by Dionysos. butnot. asft aswecantell. byanyofthe other mysteryrites. This hints to a ciect connection to We. since if the Phryg'an influence came to Dionysos throud'i the Cretans. then the m would not have made the ransfer because the ‘V‘i' tifld V‘I“§[5‘} ‘32; {Y'}.‘ )‘. ‘3} 1’.) .11.}.§"l(§.o; _.. i. 5‘}. 3 (j? til‘ i".' «N ‘ui‘fiw’ was», won: L mu»: .1». gng‘w iii 11353”: r: by 3'. . ' r.’ . ‘ ‘ ‘ ‘ . (:10". )if‘n' fungi .,- - _'\\_ r\'\l‘i‘!_-) ;.Q:}g-gi.“‘a-l, ‘.. t’\:l(ll(.1')'“‘{) Vin-Ail ll! 301.: "H '9 it: w ”Jun. (6*:- ,étillt'y‘H “ . a ‘ ': “.“.g “- ’ '. ' o l all (jib-“7‘ ‘i- , i).I~\t"l'-l ill“: (1.». ‘Q-’ .41 {‘2.-ii T2918 Hl lt‘ffi‘gllil‘; ’31 r ’% wail «claw imitflu if 9.11 «can. irriiwk 9.?) pm mi: Li‘in‘aazli .7:- h? ”It i if. , , [,i'l. Lfilt.‘ ii)! aft; ;.3’ l. i..,: Mi ‘ ',E' . 7‘) )lllltlllglf. 1 . Tim. -. .i if) ("pl [xi—ls’ifl?,\ iii Ln“: .. i“ i -, .. 99 m. {iii—(Hm £143?“ '2.:va .rm 1A r1: iéVle‘fii .i .. 314.2: 5181A t . _. .‘ -. its: ‘ it) (awning. f.‘.o‘i'.=.1.r’.‘ gift-iii: . is...’j:. «‘Jiiw'muzwgrunt . will“. ; I i "y . ‘- if._'f‘-i‘vi if '13:?“ .‘ I. ‘ {‘1 ‘ j H‘. ‘ “5' t i N ‘ :— : 'c_‘ ’1, ‘ f: 1" .f" ‘ ’1' 1‘r - -. -— 7 ~ 1° 9 < 7 ‘ ' . - . , o ‘ t '\ A w i Hi ya ...“ ”A; is»! '&;”‘.1Nian «if min-nip. 3‘ 1' ll gt: l' 1 ti ‘ a? ‘t 3 l | . ,v -',i'.t;-J’-3--i\“ ..l', 72 .w cw! was. t; 1:1 ‘ n‘l ' " “.4 ‘. “ ‘i 74 Cretans dd not use the Wm in the? rites. Thus. the mysteries of Dionysos were influenced by many of the foreigi cults. the Phryg‘an. the Cretan. and the Egyptian in pa'ticula'. Althoug'i there were indeed sing'ng and dancing in the mysteries of Eleusis. it is tifficult to connect them with any other mystery cults. pu'ticultly since we have almost no information on the specific types utilized. We know however. that 0407M were used in the rites of Demeter. as they were in the rites of another ”Great Mother". Kybele. The mm or gong. was also used in the Eieusinian rites. The Wwas from the East. butthereisno mention of itsusein myoftheother mystery relig’ons. Musically. then. it is clfficult to determine what mysteries (if any). other than the Phrygan. influenced the mysteries of Eleusis. Orpheus has been linked to almost all of the mysteries dscussed.174 Orpheusseemstobetheonlylinkwehave Ween the Plryg'an. Cretan. Samothracian. Dionysian. Eieusinian. and Egyptian mysteries. There we only two things each of the above rites have in common: eindng and dancing. Yes. there as other similarities. but they as not shred by all of the mysteries. Singng and dancing. thoum. we the very two things Orpheus specialized in1 75. The Egyptian mysteries of Isis and Oskis seem to have used iust a few foreigt instruments along with those unique to Egypt. The trumpet was used by the Egyptians in the worship of Osiris ‘9 iv 1‘ ‘ U ' ' o .3 " l .' ' v II" ' ‘\:o‘ I " . ,i ’ t. ' . b I b « oi I ‘3 0‘ K“ 75 as euly as the midde of the second millennium B.C.. and as we have seen. it was passed on for the Greeks to use in the mysteries of Dionysos. and for the Romans to use in the mysteries of Kybele. The Egyptians also used the alien/m. an instrument indgenous to Egypt. and used only in the worship of Isis. In addtion there is mention of hymns. flutes. and bells. Hymns. of course. were found in all of the mysteries. The flute was used in the mysteries of Babylon also. but it is doubtful the Egyptians borrowed it from them. it is more likely the Egyptians had the'r own flute. The vertical flute of the Egyptians was recorded, for the first time anywhere. on a prehistoric slate from Hieraconpolis in the fou'th millennium B.C.1 7‘ ltisin Romeweseethe musedfa'thefi'sttimeinthe mysteries of Isis and Osi’is. Since Isis and Osh'is dd not «rive in Rome until the second centtry B.C.. they could have picked up the Whom almost anywhere. for by that time it was being used in the Phryg'an. Cretan. Samothracian. and Dionysien rites. Since the Roman Mysteries of Mithras were linked with the East. and since the Romans Wed these rites from the Cilician pistes from the '0. new Phryda. it is not sttprising to find mention of the case. As with all the other mysteries we also find sing'ng and dancing. in addtion. thoud't. we find the use of a bell to announce the unveiling of Mithras. The only other time a bell had been mentioned in regu'd to mysteries was ‘ b - .4. ti . . , J '. .‘ 1‘ -‘\0 - <7. 5 P‘ .. {1 a n t t‘ ftx,‘ , i I 5 ' I I I i .. t t' ’ . A“. J\, \ an» 76 in the Egyptian mysteries of lsis. But this alone does not prove a direct link between the two. All of the mysteries. than, were dependent upon each other for some of the musical ideas used in the'r rites. None of them copied from another so completely that we would feel compelled to call them identical. they each gave something of themselves to the music of the'r mysteries. The simila'ities and pa’allels thoudl. we undeniable. and I believe prove that there was a shuing or borrowing among the cults. Yet there as dfferences. and these prove that the later mysteries were not simply mirror images of the eulier. but benefactors. 4-0 APPENDIX FIGURES Figure 1+: Aulos or Double Oboe 78 Figure 8: Barbiton 81 Salpinx or Figure 10: Babylonian Double Oboe e U 83 9“")le NOTES 1 Diodorus Siculus, (Wei/Mamtrans. C.H. Oldfather (Cambridge. Mass: Hm University Press. 1 960). V.76.3-4. 2James Hastings. ed. Eng/0W all-7m mamas (New York: Charles Scribner's Sons. 191 7). s.v. “Initiation.“ by Goblet d'Alviella. 3Lucian. amoral/#7770. tans. H.W. Fowler a. PG. Fowler (Oxford: Clsendon Press. 1 947). 1 5. 4J.w. Fitton. “Greek Dance.“ mwmxxm (1973). 255. 5Marvln w. Meyer. nemrmmmew York: Hsper & Row. 1 987), 7. swam Burkert, WW Cambridge, Massachusetts: Huvcd University ass. 1 985). 277. 7Jacques Chailley. now Vm ofm( New York: F m. Straus. & G'roux, 1 964). 8. 8cm Sachs. m/WdW/naums-(New York: W.W. Norton 8: Company. Inc. 1 940). 1 28. 9Lucian. 1 5. 1 0Lillian B. Lawler. mamhmr Greece ('li‘ltliddetown. Connecticut: Wesleyan University Press. 1 965), 1 1 Sachs. 1 39. 1 2J.A. Haldane. “Musical Themes and lma in Aeschylus,” WWW/m SW L V (1 965), 83. 85 1/ 86 1 3A11red Sendrey. may we Saab/Mdfld/y'oos [/70 of flnWIb/(Cranbury, New Jersey: Associated University Press, 9 4). 322. 14Sach8. 139. 1 5Fitton. 273. 16stvlcha. 149. ‘ 7Fitton. 274. 1 93M. Snyder, "The Win the Clasdcal Period.” 77» WWG7 (1972), 331. 1 9Ouinctilian, Xl l . 1 0, Die Chrysoetom. 2"Marcelle Duchesne-Guillemin. A WWSM fem W momma/Wmmma (Malibu: Undena Publications, 1 984), 22. 21Claire C.J. Polin, “alarm/mag (Weetport. Connecticut: Greenwood Press. 1976). 32. 22Sachs. 40-1. 23J.E. Hurison. EWIawesn/dydm ‘ ‘ 1:20'7gfmmew Hyde Pck. New York: University s. ). . 24James Hastings. ed. 50W afflaf’y‘uamdé'm (New York: Chutes Scribner‘s Sons. 191 7). s.v. ”Mysteries,“ by S. Langdon. 251m. 25lbid. 27Polin, 17. 28lblol. 1s. ”Sachs. 75. I-a 87 3°Polin, 20-1. 31M.P. Nilsson, nemasn-Waeanflafl' ' and/Is- 1594;303ng amnmym (New York: Biblo and annen. 321m. ”Suntan. 273. 34.1.1.1. Roberts, Wag/oldie Wave/(New York: Pelican Books. 1 933). 73. ”bid. 1 1 9. 36Clement. msmmramo We. tans. G.W. ButterYllI'orth (Cambridge, Mass: Hmd University Press, 1 960). .1 5. 37Athenaeue. Wm. trans. Chane. Burton Gulick (Cambridge, Mass: Hmd University Haas, 1959). XIV.636. 35cm E. Seashore. Wafmmew York: Dover Publications, inc., 1967), 378. assend‘ey. 292. 4°Strabo. My. tans. Horace Leontd Jones (Cambridge, Mass: Hmd University Press. 1961 ), X.3.7. 41Livy.szmMo/-’ arm 670/. trans. Evan T. Sage (Cambridge. Mass: Hmd niversity Press. 191 9). XXIX. 1 4. 42Meyer. 1 1 4. 43Sir James Frazer. ”MMGGWW (New York: New American Libra'y, 1 964). 369. “lbw, 372-3. 4'5 leius, 77» 6mm, trans. Robert Graves (New York: arc. Straus. & G'roux. 1 951 ). lX.4. Vlll.31. 7‘ 88 46Edwu'd W. Wuren. trans. misfioronto: Pontifical Institute of Medaeval Stu es. 1975). 47.1.5. Harrison. Wmm mayo/Greer W (Cambridge, Engand: Uni ' Press. 1 903). 480. “Clement, 11.1 5. 4981mm, x.3.7. 5oLawIer, 106. 5‘ Strsbo. x.4a. I‘52Harison, 62:77:9va ID the MOIWW soc/M, 7. 53lbid. 19s. “Nilsson, 578-9. 55Strabo. X31 1 . 50056leieon. Wmmswa/Mw. 57Strebo. x.3.13. “Harlem. 499. 591.3. Famell, mamawmmmxlao: Cluendon Press. 1 907). 203. 60John Ferguson. mflofg’ansofmemfnph (Ithaca, New York: Cornell University Press, 1970), 122. 61c. Kersnyi. 'The Mysteries of the Kabeirois' 77» We: Rom them Velma-(Princeton. N.J.: Princeton University Press. 1 978), 46. 62Hsrodotus. WW trans. Aubrey de Selincourt (Baltimore: Penguin. 1954). ".51. 89 63¢ Lempriere, Clamba/D/bnmag/(London: Routledge 8r Kegan Paul. 1984). 453. 6“wall Durant. 7779 .5707 aramzan'm; Warsaw W (New York: Simon and Schuster. 1954), 30. “Roberto, 1 10. “Miroea Eliade. ed. mEW orgasm (New York: Macmillian Publishing Company. 1 987). s.v. “Mystery Relig'ons.“ by Kurt Rudolph. 67|(erenyi, 48. 6‘3c. Kerenyi. Ems, trans. Ralph Manheim (New York: Bollingen F oundation. 1 967). 1 55. 69Mkcea Eliade. ed. 771050qu o/flaé'g’anmew York: Macmillian Publishing Company. 1987). s.v. “Mystery Relig'ons.“ by Kat Rudolph. 7°John Ferguson. Rmmdmeflomsmeumca. New York: Cornell University Press. 1 970), 1 23. 7‘ Nonnos, 0mm. trans. W.H.D. Rouse (Cambridge, Mass. : Harvard University Press. 1 956). lll.61-7. 72$trabo. X31 5. 73Walter F. Otto. awmmcw. trans. Robert B. Palmer (Bloomington: In a University Press, 1 965), 52. 7‘w.x.c. Guthrie, mMswmmmoston: Beacon Press.1961).146. 76Latllllrtr. 74. 76Guthrie. 155. "J.E. Harison. EW, 30. 73lbid. S I . t ‘ I t e I 1 t .. l e . .... t s 1 I t i- .. ..- l a 1 e; r. t t L 1 a i I \ ' a l l a '. a l .1 fl . t l t v r . . . . 1 fr 4 s I ‘ . I V\ ..il 1‘ 1 90 798emtey. 31 8. 8"Ibid. 31 1. 81 Eu'ipides. 77>: ascribes. trans. Philip Vellacott (New York. New York: Penguin Books, 1 972), 1 20-1 35. azHu'rison, 39. 63Euripidee. W, 58-59. 54lbid. 157-59. 85Strabo, x.47o. 86Lucian, 22. 87Philip Vellacott, “lntrodmtion,” in Maser-Mae, Eu'ipides (New York. New York: Penguin Books. 1 972). 31 -2. 88Lawler. 74. 89Atl'lenaeus. XIV.631. 9°Lawler. 1145. 91 Susan Geuttel Cole. ”New Evidence for the Mysteries of ggm.“ Great; RommmdflymmszXI (1980), ”Bike Simon. Fosn'mb current» Commencing/(Madam, Wisconsin: The University of Wisconsin Press. 1983). 91. 93lbid. 92. 94Sir Arthur PickerokCambridgo. mmmo'cFesni/aeo/ Am (Oxford: Cluendon Press. 1 968). 62. 95Mstotle, maxm cm, trans. P.J. Rhodes ”t 91 (New York: Penguin Books. 1984). 57.1. 96Pluta'ch. ”walla/1V, trans. Edwin L. Minar. Jr. (Cambridge. Mass: Havard University Press. 1 961 ). 2998. 97Otto. Wm, 82. 98Sachs, 1 43. ”Romania Wafm trans. w. H. s. Jones andl-l. A. Ormsrod (Cambridge. Mass: Hmd University Press. 1926) ll. 75. 1 ooOtto. Dionysus, 1 62. 1 01l-lurison, W. 562. 1 02Meyer, 1 7. 103H. G. Evelyn White trans, l/oa‘od Ibo/bows WWW/b07076: (Cambridge. Mass; Htvard University Press,1959),171-83. 10463ng. Myl ylonas. mmwm nceton: Princeton University Press. 1961). 3. 1°5lbid. 20. 1°66uthrie. 232. 1 °7c1ement of Alexandria 5139mm Iowa areare. Origen Cm" Caller/m. Arnobius of Sicca Chas/4mm 1 ”Mylonas. 226. 1 09Aristophanes. ”Isl-7'09: . trans. Dudey Fitts (New York: Hccout. Brace 8: World. Inc.. 1 962), 32411. 1 1°Simon. 32. 1 1 1Aristophanes. 395-400. 92 1 1 2Apostolos N. Athanassakis. ”Music and Ritual in Primitive Eleusis." Harm XXVII (1976), 93. 1 1 akistophanes, 441 -2. 1 1 4Pausanias, Gw'ae to m, trans. Peter Levi (New York: Penguin Books. 1984). L386. 1 1 5The orig'nal is on exhibit in the National Museum in Athens. George E. Mylonas in Emma’s Bel/am” Whas a good dscussion and picture of the tablet. p. 1 1 6Mylonas, 261 . 1 1 7|bid. 263. 1 1 aKsrenyi. 5700.969, 84. 1 ‘ 9|bid, 94. 1 2°Mylonas. 264. 1 2‘ Walter F. Otto, "The Meaning of the Eieusinian M arias,“ in Mow/stmbs'quarsI’OMMOfimx We. ed. Joe Campbell (Princeton, New Jersey: Hinceton University ass. 1 978). 27. 1 2“zMylonas. 261 ff. 123Harison. 1 58. 12“Strabo. x.3.1o. 12'5lllircerl Eliade. ed. newer/9m (New York: Macmillian Publishing Company, 1 987). s.v. “Mystery Relig'ons.’ by Ktrt Rudolph. 1 26llllristophanes, 1 032. 1 27Lucian. 1 5. 1 28Diororus Siculus, L96. 93 1 29Pausanias, X. 30.2. 13°A.N. Athanassakis. 102. 131Mircee Elide ed. TbeEnCJ/dqanm offladfa’anmew York: Macmillian Publishing Company. 1 987). s.v. ”Mystery Religone,” by Kat Rudolph. 1 32Walter wm, “The 'c Mysteries and the Greek Sp'rit,“ in The 073.9:qu: 001mm Yearbooks, ed. Joseph ampbell (Princeton, New Jeraey: Princeton University Press. 1978). 70. 13363.3. Mead. ammmew York: Bernese. Noble. lnc., 1965), 1 53. 1 34MP. Nilsson, 580. 1351ven M. Lintorth. mmdapom(m Vent: Arno Press. 1973), 171. 1 36Bu'kert. 296. 1 37Plato, 7750.9 ' . trans. B. Jowett (New York: Vintage Books), 36%. 1 38Pauaaniae, x.27.1. 139Guthrie. 203. 14°Ibid, 258. 1 ‘11 lbid, 261. 142mm. 143Apoetoe N. Athanaaaakie. 77:00pm- .- rexr, mmmm(Miaeoula. Montana: 8 elm, 1977). 144Ltn1erth. 154. 145Apouoniue Rhodue. Inmate. trans. R.C. ...... -...4 94 ls1eego4r;f(Cambridge, Mass: Harvard University Press. 1961 ). . 1 . 1 “Diodorus Siculus, L96. 1 47Lintorth, 244. 14°wm, 7o. 1 49James Hestin ed. 50W creamy; and EWWew York: C ales Scribner's Sons. 191 7). s.v. ”Greek. Pl'ryg'an Mysteries.” by P. Gamer. 1 “Herodotus. WW. tans. Aubrey de Selincou't (Baltimore: Penguin. 1964). ".17. 1 51 Diodorus Siculus. l.96. cf. Ch. IX above. 1 52Hutercn. av/asmashs. trens. Edwin L. Minar. Jr. (Cambridge. Mass: Hmd University Press. 1961). 364e-1. 1 53Pausaniaa. Wa/m. tans. W.H.S. Jones and HA. Ormsrod (Cambridge. Mass: Hmd University Press. 1926). ll.37.5. 1 5“Sachs. 1 00. 1 5591mm. arr/sewage. asse. 1 56Polin. 32. 1 57Secns. 7o. 1 5°Apuletus. x1.1 o. 1 59$aohs. 1 42. 1 501m. 1‘51 Mtrces Eliade. ed. IMF/1W 0mm (New York: Macmillian Publishing Company. 1 987). s.v. “Mystery Relig'ons,” by Km Rudoph. . . . ’ ' 1 ' I ‘ ’ * . ) \ x r t .. l‘ 1 ,. ' . C e . ’ \ n I ' u .- 1. c o ".1 ’ I) 1‘ \ ' ’ .. I i ‘ .‘7 ‘ ‘ J xi) :1 ' I ‘I . ... ‘ r I r‘. '4’ 95 1 62Meyer. 1 99. 153Lucisn. ”MW/s. trans. H.W. Fowler 3. F.G. Fowler (Oxford: Clcendon Press. 1 949), 6 - 9. 154lbid. 9. 1 615Plutach. litres o/o‘Ie Mable Wmdfiomms. trans. John Dryden (New York: Modern Library. n.d.). 24.4. 1 66Franz Cumont. mWo/Ws. trans. Thomas J. McCormack (New York: Dover Publications. lnc., 1 956). 1 62. 1 67lbid. 166. 1 68Meyer, 206. 159lbid, 207. 1 7OCumont. 30. 171 Origen. Conn Calm/:2. trans. Henry Chadwick (Cambridge. Mass: Hms'd University Press. 1 980). VI .22. 172Nonnus. lll.61—7. 173Hmaron in 00 Ages/740mb says: "Os'ris is identical with Dionysos. . .They call him up out of the water by the sound ottrumpets.” 3645& F. 1 7‘The Mysteries of Mithrs were chronolog'cally later and thus not included in the stories ciculated about Orpheus. 1 7"1‘Lucian says that Orpheus was the best dancer of his time ( Dimmer/77v. 1 5). and Orpheus was known is and wide as a singer. 1 76Sachs. 90. BIBLIOGRAPHY LIST OF REFERENCES ANCIENT WORKS Apollonius Rhodius. Mommas. Translated by R.G. Seaton. Cambridge. Massachusetts: Hu'vu'd University Press. 1961 . Apulelus. 77m Gabe/7A.”. Translated by Robert Graves. New York: Farrar. Straus. & G'rous. 1 951. Aristophanes. 7710/9295. Translated by Dudey F itts. New York: Hacou‘t. Brace 8: World. lnc., 1 962. Aristotle. WAMM Cassia/m. Translated by P.J. Rhodes. New York: Penguin Books. 1 984. Athenaeus. 77700 ' ' . Translated by Chules Burton Gulick. ambridQO. Massachusetts: Havad University Press. 1959. Clement of Alexandia. me Emmmm Greats. Translated by G.W. Buttsrworth. Cambridge. Massachusetts: Ha'va'd University Press. 1 960. Diodorus Siculus. Dyna/H3107. Translated b C.H. Oldfather. Cambridge, Massachusetts: avud University Press. 1 960. Eulpldes. 77795160939. Translated by Philip Vellacott. New York: Penguin Books. 1972. Herodotus. 7776 fistm. Translated by Aubrey de Selincom. Baltimore: Penguin. 1954. Liz. F/vm mFWgo/Ms 670/. Translated by van T. Sa . Cambridge. Massachusetts: Huvard University ass. 1 91 9. Lucian. What/s. Translated by H.W. Fowler 8; F .G. Fowler. Oxford: Cla’endon Press. 1949. 96 9'7 . Dips/71007127761. Translated by H.W. Fowler 8: F .G. Fowler. Oxford: Clarendon Press. 1949. Nonnos. Diary/arises. Translated by W.H.D. Rouse. Cambridge. Massachusetts: vaard University Press. 1 956. Origen. Carin C‘s/sum. Translated by Henry ngomvick. Cambridge: Cambridge University Press. Pausanias. 0W2»? o/Grm. Translated by W.H. S. Jones and HA. Ormsrod. Cambridge. Massachusetts: Harvad University Press. 1926. . 6% 7'0 Greece. Translated by Peter Levi. New York: Penguin Books. 1984. Plate. Ibo/9W3: Translated by B. Jowett. New York: Vintaage Books. n.d. Plutuch. lives of»: Nab/e Greases and/70m. Translated by John Dryden. New York: Modern Library. n.d. . AW. Translated by Edwin L. Mind. Jr. Vol. lx. Cambridge. Massachusetts: Hu'vcrd University Press. 1 961. . 0/7 lssmdoms. Translated b Edwin L. Minar. .h'. Cambridge. Massachusetts: md University Press. 1961. Ouintilian. Imam/0'0 arms. Translated by HE. Butler. Cambridge. Massachusetts: Hmd University Press. 1 958. Strabo. 6W]. Translated by Horace Leonad Jones. V ume V. Cambridge. Massachusetts: Hmd University Press. 1961. ‘e‘v LIST OF REFERENCES MODERN WORKS Athanassakis. Apostolos. ”Music and Ritual in Primitive Eleusis.” Harm XXVlll (1 976): 86-1 05. Bukert. Walter. Gear/76W in. Cambridge. Massachusetts: Harvard niversity Press. 1 985. Chailley. Jacques. 44W VmOfM/a'c. New York: F arrar. Sraus 8. Giroux. 1 964. Cole. Susan Geuttel. “New Evidence for the Mysteries of Dionysos. " G'aat Roman mafia/rm Strides XXI (1 980): 223—238. Cumont. Franz. WWOIW. Translated by Thomas J. McCormack. New York: Dover Publications. lnc., 1 956. Duchesne—Guillemin. Mccelle. A Mammal/Sm FM”) Ugan't' ”MD/scam chi/smooths ' me. Malibu. Undena Publications. 1 984. Duant. Will. 77» SMOIC/Wam:0wa7mrsl Hm'tags. New York: Simon and Schuster. 1 954. Eliade. M'rcea. ed. 7719 Encyc/qpeda effigy/pm. New York: Macmillian Publishing Company. 1 987. S.v. ”Mystery Religions.“ by Kat Rudolph. Evelyn White. H.G.. trans. Hasbro! WWW/{mas sod/10mm. Cambridge. Massachusetts: Harvard University Press. 1 959. F snail. Lewis Richa'd. 7hr Cuts afflict 6mg? 57:13:. Oxford: Clarendon Press. 1907. F or son. John. MafimwmfiammEm'e. I see. New York: Cornell University Press. 1 970. 98 99 F itton. J.W. ”Greek Dance." 7776' Cbsaba/Ouaflarly XXIII (1 973): 254-274. Frazer St James. The New Golden Bat/Q7. Abridged by Theodor H. Gaster. New York: New American lerwy. 1964. Guthrie.W.K.C. WWSWWW. Boston: Beacon Press. 1961. Haldane. J. A. “Musical Themes And Imagery ln Aeschylus.” WWOIWSW. LXXXV (1 965): 33-41. Hurison. Jane Ellen. E W 7'0 msmor “#7me 0073'. New Hyde Pa'k. New York. University Books. 1962. . 7'0 The 5W0!“ Rm. Cam 'dge: University Press. 1 903. Hastin James. ed. Enema/flaw ' and 50719;. New York: Chales Scribner s Sons. 1917. S. v. “Initiation: Introductory and Primitive. " by G. d'Alvislla. 5W: a/flafgm M507“. New York: Charles Soribner' s Sons.1917. S. v. “lnitiation: Introductory and Primitive. " by G. d’Alviella. 5mm o/WWEM. New York: Chu'les Scribner‘s Sons. 191 7. S. v. “Mysteries. " by S. Langdon. Kersnyi. C. Eleusis. Translated by Ralph Manheim. New York: Bollingen Foundation. 1 967. Kersnyi. C. "The Mysteries of the Kabe'roi." In 7770 Mysteries. 90m 77):: 5mm rams. ed. Joseph Cam II. 32-63. Princeton. New Jersey: Princeton University Prass. 1 978. stler. Lillian B. mmmmrm. giddetfg‘hé Connecticut. Wesleyan University ass Lempriere, J. Chasm/mm London: Routledge 8: Kegan Paul. 1984. 4’ ‘1 t 1 I - I I s o . l . :1 i . . 11 t r . I’ 3 1 I l 1 1 ‘1 r t V ‘ I . . - ‘1 \ t c _ i I. ' 1 er. t‘ '. I ' \ i t r 6 I . I l , . t i . V: e . i. .. . l . l. I 1‘ l l e , v' 1‘ J' i . 1 ’ “- 1 a. 1 l‘ .‘ t 1'. ‘ l. l.. '. .61‘1 ' ‘- l “ .‘ ‘ - \ f 1. a - .1 5 rs ‘ ‘, . : : i' . ait“ . l .. l'. ,'l~~ 1 tu“ \ ‘ I v”. - 1 ‘ , ' 9 I. ' t . I l 1 ll 9‘ s ‘0 ti ._ _ .3 1 J 1 ' .'1( S .f j t) \ “ \\ O . o 8 . l ’ ) x #9}, ‘l. . a:.'|| i,- - i- i; . J. ' -. t ‘_ «if» ’1 r ' -.‘ . . ‘ ‘9‘ "| a O. l\ I . L _ ‘\ '1:- *‘l .' ‘ ‘ ‘ L I 1 '_ .. g . ~;1h'. 'I r . It I‘ 3 I i l ' ‘, . .' l_) a ".1 -1 ‘ 1 1 t . I . l ‘ \ .\ ‘ -i‘ . i ‘ ) l _ r . . . \ ‘ , ‘J |I3 g l1:L I] 1': :l 'l {I _l ”1“ . i. I , 1 ’ ‘ 7 - I . I ‘ ' x h ’.l ' l 1 ‘1‘ ‘. ~.' \ I ' _ e ‘ . v . , 1 M 4 s l‘ l l A -. '1 A . t 4 1 _ V tr» 11 I ' - I . ‘ J t ‘ fl" “1" ‘ '1' 'y “l\-: :_ ~.t. rt" ‘. . 1 . " :' 1 ; " ‘ .. I rive. ('1 -.-l 2 . . . +1 11 .. ‘ 100 Linforth. Ivan M. 7779AI7so/0p/7909. New York: Arno Press. 1 973. Mead. G.R.S. 0730909. New York: Barnes8: Noble lnc., 1965. Meyer. Mcvin W. WW’WW. New York: Huper 8: Row. 1 987. Mylonas. Georg E. Elws'GAndflw Elma/7 nceton: Princeton University Press. 1961. Nilsson, Mutin P. 7779 Mhaan- 990747977997 and Its Swirls/.57 WW. ew York: Biblo and Tannen. 1 971 . Otto. Walter F. abnms'mlaodaw. Translated Robert B. Palmer. Bloomington: lndana niversity Press. 1 965. ."The Meaning of the Eleusinian M eries. " ln 777940919799'msF/m 7779 99 79.17990“. ed. Joseph Campbell. 14—31. girligeton. New Jersey. Princeton University Press. Pickud—Cambridge. 8'! Arthur. 77790977790959st 0.6407909. Oxford: Cluendon Press. 1968. Polin. Cla're C.J. mammrmaw. Westport. Connecticut: Greenwood Press. 1 976. Roberts. J.M. Macy/aim Won’d. New York: Pelican Books. 1 983. Sachs. Curt. 7779 mama/mwmmwms. New York: W.W. Norton 8: Company. lnc., 1 940. Seashore. Cal E. B‘WO/Am. New York: Dover Publications. lnc., 1 967. Send'ey. Alfred. Misc/n 7779 SOCVUMJRWS [/19 OIMDWW. Cranbu’y. New Jersey: Associated University Press. 1 974. Simon. Erika. FWO/Ama'axAnArmmWw Commentary. Madison. Wisconsin: The University 'I ./ .r 101 of Wisconsin Press. 1983. Sn der. Jane McIntosh. "The Miasln The lassical Period.” 7779 C/asw’ca/ana/ 67 (1 972): 331 -340. Wuren. Edwu'd W. trans. Pap/Imus. Toronto: Pontifical Institute of Mediaeval Studies. 1975. Will. Walter. “T he Orphic Mysteries And The Greek Sp'rit.‘ In ”79 mantrs'msf'rom 7779 Ema: Yea-boars, ed. Joseph Campbell. 64-92. $393.10“ New Jersey: Princeton University Press. GENERAL REFERENCES ANCIENT WORKS Apollodorus. 7779017197. Translated by S'r James George Frazer. Cambridge. 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