Quotes from “Sacrifice and Cultural Formation” in _Masks of Dionysus_

“I will not, however, want to claim that maenadic omophagy is even a mythic of imaginative example of Dionsysiac sacramentalism, for the very reason that it is not sacrifice at all. Instead,  it constitutes the inversion of normal sacrificial procedure, in which a domesticated (and not wild) animal is ritually selected (and not merely chanced  upon), killed, systematically cut up (and not dismembered by force), and eaten cooked (and not raw). Maenadic sparagamos followed by omophagy thus stands in complete contradistinction to ordinary sacrifice and can thus be viewed as a kind of inverted character myth, setting for the way in which sacrifice should not take place, much as the account of the dismemberment of the young Dionysus by the Titans invert the original, paradigmatic division of the sacrificial victim by (another Titan) Prometheus.

Raw meat in these instances is to be associated with highly marginal, unusual, and infrequent situations of ritual exception and solution. One may compare the Hephaestia on Lemnos, a time of dissolution and exception, in which all fire is extinguished for nine days until new fire is brought from Delos.* During the exceptional period sacrifices continue to be performed without fire; there is thus no normal food (consumption of raw meat is actually not attested). So also in the case of maenadic sacrifice there is an infrequent (“trietetric,” i.e., every other year), periodic (though short-lived) ritual and commemorative regression to an aboriginal period in cultural history, with the mythical worshipers of Dionysus “regressively transformed into bestial predators.”

I suspect that if you asked a Theban of Delphic maenad if they performed sparagmos during their oreibasiai, the answer would have been, ‘No, but we used to do so. It’s just we don’t do that anymore. Other people, those people,” they might have said, “up there [Thracians, perhaps], still do it.” (The same is often said by one culture of another culture about cannibalism[…].)

*Philostratus Heroicus 67.7 (de Lannoy 1977): during the exceptional nine-day period ‘fid the ship brining new fire from Delos arrives before the funerary sacrifice are over, it may not be brought to anchor on Lemnos.’ Cf. Burkert 1983, 190-96, especially on the Dionysiac elements with further bibliography: ‘Sacrifice was clearly a part of the exceptional period at Lemnos, sacrifice without fire; so that one could eat at most only raw pieces of meat, burying the rest or throwing it intot he sea’ (193).

“In Homer, Hephaistos is the divine goldsmith. “

‘For the popularity of Athena among the artisans at this time some verses of Sophocles are characteristic: “Come out in the street you, all the people of the handicraftsmen, who venerate the daughter of Zeus, Ergane, with sacrificial baskets and beside the heavy anvil, beaten with hammers.” Evidently, Sophocles hints at some popular festival of Athena celebrated by the artisans in the streets of the town. There was such a festival, the Chalkeia. The word signifies the festival of the coppersmiths. It belonged to Athena, but at a later date another god of the Athenian artisans, Hephaistos, was associated with Athena. These two even had a common temple. In Homer, Hephaistos is the divine goldsmith. He probably came from the island of Lemnos or, perhaps, from Asia Minor. In origin he was a daemon of fire coming up from the earth. Gas which takes fire and burns is considered by many people to be divine. Later a volcano was considered to be his smithy. He had almost no cults in Greece except in Athens. No doubt the Athenian artisans took up his cult and place him at the side of Athena. He seemed, perhaps, to be nearer to them than the great city goddess. But in the early age it was she who was the protectress of the Athenian craftsmen.’ – Greek Folk Religion, Martin P. Nilsson.

[“BLA and GB Gabbler” (really just a pen name – singular) are the Editor and Narrator behind THE AUTOMATION, vol. 1 of the Circo del Herrero series. They are on facebook, twitter, tumblr, goodreads, and Vulcan’s shit list.]

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Tweets of the Week: To kill a tweetingbird

In no particular order:

B.L.A. hopes to be on this list some day:

On a story featuring Hephaestus:

 

 

[“BLA and GB Gabbler” (really just a pen name – singular) are the Editor and Narrator behind THE AUTOMATION, vol. 1 of the Circo del Herrero series. They are on facebook, twitter, tumblr, goodreads, and Vulcan’s shit list.]

all yellow B&N | Amazon | Etc.