One of the most important sources of information on Tarentine religion and mythology are the coins minted by this powerful port city, especially since it left little in the way of ruins compared to the other poleis of Magna Graecia, some of which still possess nearly intact temples and sanctuaries. Currency was a way of propagating identity in the ancient world, with strong political, historical and religious messages encoded in its symbolism. Coins traveled far and fast, especially in the purses of seafaring merchants, and though everyone may not have been able to read their inscriptions people understood the pictures they contained.
It’s a little harder for us to decode them today since they often rely on localized traditions that either conflict with or never made it into the literary record that’s come down to us. The tantalizingly fragmentary glimpses we get of this variant mythology leave us hungering for more stories and images and the threads of a living culture to bind it all together in our hearts.
Consider the coins that frequently pair the Dioskouroi with Iakchos and his special iconography observed nowhere else. And yet this is a motif that extends beyond coinage – Dionysos is also represented with a distaff on Apulian pottery, so clearly this was a locally important feature.
One wonders if there is Orphic influence at work here. After all weaving and nets are a prominent feature of Orphism. Orpheus, according to the Suidas, authored a book entitled Diktuon or ‘The Net’ which likely discussed the generative weaving of Persephone. Epigenes in his work On Orpheus offered an interpretation of some of the language in this poem, suggesting that “shuttles with bent carriages” meant ploughs, “warp-threads” were furrows, “thread” was seed, “Fates clothed in white” were the phases of the Moon, “Workless” was an epithet of Night, “Gorgonian” an epithet of the Moon because of the face on it and Aphrodite meant “time for seed-sowing.” There are plenty more – including a reference to Orpheus hunting with a net like Zagreus and of course the prescription to wear linen instead of wool because of the latter’s chthonic associations, but I’ll save all of that for a future post.
What I’d like to tease out tonight is the thread between Dionysos and the Dioskouroi – an appropriate metaphor since one of the animals linked to these sons of Zeus is the spider. Through Helen they are also connected to a golden apple, one of the toys (along with a tuft of wool) used by the Titans to lure the tragic infant to his demise according to Clement of Alexandria.
The passage quoted in that link continues on suggestively:
If you wish to inspect the orgies of the Corybantes, then know that, having killed their third brother, they covered the head of the dead body with a purple cloth, crowned it, and carrying it on the point of a spear, buried it under the roots of Olympus. These mysteries are, in short, murders and funerals. And the priests of these rites, who are called kings of the sacred rites by those whose business it is to name them, give additional strangeness to the tragic occurrence, by forbidding parsley with the roots from being placed on the table, for they think that parsley grew from the Corybantic blood that flowed forth; just as the women, in celebrating the Thesmophoria, abstain from eating the seeds of the pomegranate which have fallen on the ground, from the idea that pomegranates sprang from the drops of the blood of Dionysos. Those Corybantes also they call Cabiric; and the ceremony itself they announce as the Cabiric mystery. For those two identical fratricides, having abstracted the box in which the phallos of Bacchus was deposited, took it to Etruria–dealers in honourable wares truly. They lived there as exiles, employing themselves in communicating the precious teaching of their superstition, and presenting phallic symbols and the box for the Tyrrhenians to worship. And some will have it, not improbably, that for this reason Dionysos was called Attis, because he was mutilated. And what is surprising at the Tyrrhenians, who were barbarians, being thus initiated into these foul indignities, when among the Athenians, and in the whole of Greece–I blush to say it–the shameful legend about Demeter holds its ground?
This is interesting for a number of reasons. First it states that Dionysos’ penis was transported to Italy, which may explain the country’s super-abundant fertility (one of the reasons that the rape of Kore was located here) and why his cult is so deeply rooted in this place.
Secondly, it makes Dionysos one of the Samothracian Kabeiroi which is significant for two reasons. One, the Tarentine coins give Persephone’s Samothracian name Axiokersa in conjunction with Iakchos and secondly the Kabeiroi were often identified with the Dioskouroi since they were both sibling deities who had lost a brother. Interestingly, in the case of the Dioskouroi the pattern is somewhat switched since it is Polydeukes who is immortal. (Polydeukes’ name is thought to be derived from polu “much” gleukos “sweet new wine.”)
Personally, however, I tend to view the Kabeiroi and Dioskouroi as distinct on account of this story related by Diodoros Sikeliotes:
There came on a great storm and the chieftains had given up hope of being saved when Orpheus, they say, who was the only one on ship-board who had ever been initiated in the Mysteries of the deities of Samothrace, offered to them prayers for their salvation. And immediately the wind died down and two stars fell over the heads of the Dioskouroi, and the whole company was amazed at the marvel which had taken place and concluded that they had been rescued from their perils by an act of providence of the gods. For this reason, the story of this reversal of fortune for the Argonauts has been handed down to succeeding generations, and sailors when caught in storms always direct their prayers to the deities of Samothrace and attribute the appearance of the two stars to the epiphany of the Dioskouroi. (Library of History 4.43.1)
Despite their syncretic fusion at the end it is notable that Orpheus called the Kabeiroi forth to still the violent winds and did not simply turn to his companions on the Argo, suggesting that Kastor and Polydeukes are not the Theoi Megaloi of Samothrace.
However if one were inclined to see them that way, this passage from the Roman Cicero positing that there were three Dioskouroi comparable to the three Kabeiroi brothers stands out for its intriguing implications, especially since it counts Dionysos among their number (twice if you accept the Orphic assignment of Eubouleos as an epithet of Dionysos in his chthonic and mediating aspect) and also brings them into connection with the Tritopatores:
The Dioscuri similarly are known amongst the Greeks by a variety of names; there are, firstly, the three who are called at Athens Anactes or Kings, the offspring of the most ancient of the Royal Jupiters and of Proserpine: Tritopatreus, Eubuleus, and Dionysus. (De Natura Deorum 3.21)
Note that the mother of these sons of Zeus is Persephone.
The Tritopatores are the “Fathers of the Third Generation” (among other derivations of the name) who are either the ancestors, wind-spirits or giant monsters with a hundred hands – and quite possibly all three in one:
Demon in the Atthis says that the Tritopatores are Winds, Philochoros that the Tritopatores were born first of all. For the men of that time, he says, understood as their parents the Earth and the Sun, whom then they called Apollon. Phanodemos in book 6 maintains that only the Athenians pray and sacrifice to them when they are about to marry for the conception of children. In the Physikos of Orpheus the Tritopatores are named Amalkeides and Protokles and Protokleon, being doorkeepers and guardians of the Winds. But the author of Explanation claims that they are the offspring of Ouranos and Gaia and that their names are Kottos, Briareos and Gyges. (Suidas s.v. Tritiopatores)
The association of these daimonic winds with conception is further elucidated by a verse of Orpheus’ discussed by Aristotle:
This problem affects the doctrine in the so-called Orphic poems as well; for he says that the soul, being carried by the winds, enters from the universe into living creatures when they inhale. (De Anima 410b)
Now, are you ready for shit to get really weird?
Iakchos is usually regarded as the form that Dionysos takes on at Eleusis, where he lead the initiates in torch-lit revels:
Now most of the Greeks assigned to Dionysos, Apollon, Hekate, the Mousai, and above all to Demeter, everything of an orgiastic or Bacchic or choral nature, as well as the mystic element in initiations; and they give the name Iakchos to Dionysos as the leader-in-chief of the mysteries and the daimon attendant of Demeter. And branch-bearing, choral dancing, and initiations are common elements in the worship of these gods. (Strabo, Geography 10.3.10)
Swinging your firebrand in your hand – light in the darkness of night – you arrived in your enthusiastic frenzy in the flower-covered vale of Eleusis – euhoi, o io Bakchos, o ie Paian! There the entire Greek nation, surrounding the indigenous witnesses of the holy Mysteries, invokes you as Iakchos: you have opened for mankind a haven, relief from suffering. – Ie Paian, come o Saviour, and kindly keep this city in happy prosperity. (Philodamos, Paian to Dionysos III)
I call upon law-giving Dionysos who carries the fennel stalk,
unforgettable and many-named seed of Eubouleus,
and upon holy, sacred and ineffable queen Mise,
whose two-fold nature is male and female.
As redeeming Iacchos, I summon you lord,
whether you delight in your fragrant temple at Eleusis,
or with the Mother you partake of mystic rites in Phrygia,
or you rejoice in Cyprus with fair-wreathed Kythereia,
or yet you exult in hallowed wheat-bearing fields along Egypt’s river,
with your divine mother, the august black-robed Isis,
and your triad of nurses. (Orphic Hymn 42)
Or as Aristophanes had his chorus sing in The Frogs:
Iakchos, much-loved resident of these quarters,
- Iakchos, O Iakchos! -
come to this field for the dance
with your holy followers,
setting in motion the crown
which sits on your head, thick
with myrtle-berries, boldly stamping the beat
with your foot in the unrestrained
fun-loving celebration -
the dance overflowing with grace,
dance sacred to the holy initiates!
Wake the fiery torches which you brandish in your hands,
- Iakchos, O Iakchos! -
brilliant star of the all-night celebration!
The meadow is aflame with light;
old men’s knees cavort!
They shake off the pain
of long years in old age
in their holy excitement.
Hold your light aloft
and lead the youthful chorus, Lord,
to the lush flowers of the sacred ground!
However, Iakchos is sometimes represented as the child of Dionysos, with Persephone or Demeter most often given as the mother.
Except in the Dionysiaka, where we find a very interesting and relevant variant tradition.
Nonnos has the god beget Iakchos through Aura (the Titaness of cool, early morning breezes) by putting on the form of a Wind and furthermore the epic poet makes Iakchos the immortal sibling of a mortal twin, precisely like the Dioskouroi:
A babe came quickly into the light; for even as Artemis yet spoke the word that shot out the delivery, the womb of Aura was loosened, and twin children came forth of themselves; therefore from these twins (didymoi) the highpeaked mountain of Rheia was called Dindymon. Seeing how fair the children were, the goddess Artemis again spoke in a changed voice: ‘Wetnurse, lonely ranger, twinmother, bride of a forced bridal, give your untaught breast to your sons, virgin mother. Your boy calls daddy, asking for his father; tell your children the name of your secret lover. Artemis knows nothing of marriage, she has not nursed a son at her breast. These mountains were your bed, and the spotted skins of fawns are swaddling-clothes for your babies, instead of the usual robe.’
She spoke, and swiftshoe plunged into the shady wood. Then Dionysos called Nikaia, his own Kybeleid Nymph, and smiling pointed to Aura still unbraiding her childbed; proud of his late union with the lonely girl, he said, ‘I beseech you, hasten to lift up my son, that my desperate Aura may not destroy him with daring hands–for I know she will kill one of the two baby boys in her intolerable frenzy, but do you help Iakchos: guard the better boy, that your daughter Telete may be the servant of son and father both.’
And in deep distress beside the rock where they had been born, Aura in childbed held up the two boys and cried aloud–‘From the sky came this marriage–I will throw my offspring into the sky! I was wooed by the breezes, and I saw no mortal bed. Breezes (aurai) my namesakes came down to the marriage of Aura, then let the breezes take the offspring from my womb. Away with you, children accursed of a treacherous father, you are none of mine–what have I to do with the sorrows of women? Show yourselves now, lions, come freely to forage in the woods; have no fear, for Aura is your enemy no more.’
She took the babes and laid them in the den of a lioness for her dinner. But a panther with understanding mind licked their bodies with her ravening lips, and nursed the beautiful boys of Dionysos with intelligent breast; wondering serpents with poisonspitting mouth surrounded the birthplace, for Aura’s bridegroom had made even the ravening beasts gentle to guard his newborn children.
Then Lelantos’s daughter sprang up with wandering foot in the wild temper of a shaggycrested lioness, tore one child from the wild beast’s jaws and hurled it like a flash into the stormy air: the newborn child fell from the air headlong into the whirling dust upon the ground, and she caught him up and gave him a tomb in her own maw–a family dinner indeed! The maiden Archeress Artemis was terrified at this heartless mother, and seized the other child of Aura, then she hastened away through the wood; holding the boy, an unfamiliar burden in her nursing arm … She went about the forest seeking for traces of Lyaios in his beloved mountains, while she held Aura’s newborn babe, carrying in her arms another’s burden, until shamefast she delivered his boy to Dionysos her brother.
The father gave charge of his son to Nikaia the nymph as a nurse. She took him, and fed the boy, pressing out the lifegiving juice of her childnursing breasts from her teat, until he grew up. While the boy was yet young, Bakchos took into his car babe and presented him to Attic Athena amid her mysteries, babbling ‘Euoi’. Goddess Pallas in her temple received him into her maiden bosom, which had welcome for a god; she gave the boy that pap which only Erechtheus had sucked, and let the alien milk trickle of itself from her unripe breast. The goddess gave him in trust to the Bakchantes of Eleusis; the wives of Marathon wearing ivy tript around the boy Iakchos, and lifted the Attic torch in the nightly dances of the deity lately born. They honoured him as a god next after the son of Persephoneia, and after Semele’s son; they established sacrifices for Dionysos lateborn and Dionysos first born, and third they chanted a new hymn for Iakchos. In these three celebrations Athens held high revel; in the dance lately made, the Athenians beat the step in honour of Zagreus and Bromios and Iakchos all together. (Dionysiaka 48.860 ff)
All of which is really making me wonder if something like that was behind the Tarentine coins with the Dioskouroi on one side and a distaff-wielding Iakchos on the other.
I also wonder whatever became of Iakchos’ dead brother?
Tagged:
ariadne,
athene,
demeter,
dionysos,
dioskouroi,
italy,
orpheus,
persephone,
spider