Showing posts with label Aeschylus. Show all posts
Showing posts with label Aeschylus. Show all posts

 I'm enjoying scouring ancient texts for invocations to the Gods. I've done the Iliad and the Odysseia, so it's time to move on to the ancient Hellenic plays. An invocation is a request for the spiritual presence and blessing of a deity during a rite. To invoke is to call upon earnestly, so an “invocation” in the context of prayer is a serious, intentional calling upon a God or Goddess. In Hellenic ritual, it's common for prayers of invocation to be offered every time a new deity is invoked, so we can be sure They will the hymns and prayers of petition offered to Them.


I'm going to start the plays with Aeschylos. Aeschylos (Aiskhulos, Αἰσχύλος) was the first of the three Hellenic tragedians whose plays can still be read or performed. According to Aristotle, he expanded the number of characters in plays to allow for conflict amongst them, whereas previously characters had interacted only with the chorus. Aescholos' most famous works are undoubtedly the Seven against Thebes, the Supplicants and the Oresteia. I'm going to begin with the Oresteia.

The Oresteia (Ὀρέστεια) is a trilogy of Hellenic tragedies written by Aeskhylos concerning the murder of Agamemnon by Klytaemnestra, the murder of Klytaemnestra by Orestes, the trial of Orestes, the end of the curse on the House of Atreus and pacification of the Erinyes. This trilogy also shows how the Hellenic Gods interacted with the characters and influenced their decisions pertaining to events and disputes.

Apollon:
"O lord Apollon, be our preserver and our healer..."
"Apollon, Apollon! God of the Ways..."
"Lord Apollon, you know how to do no wrong; and, since you know this, learn not to be neglectful also. For your power to do good is assured...""

Athena:
"Daughter of Zeus..."
"Pallas, savior of my house..."

Gaia:
"Earth herself, who gives birth to all things..."

Haides:
"Infernal Zeus, the savior of the dead..."

Hera:
"Hera, Fulfiller...

Hermes:
"Supreme herald of the realm above and the realm below, O Hermes of the nether world, come to my aid..."
"May Maia's son, as he rightfully should, lend his aid, for no one can better sail a deed on a favoring course, when he would do so. But by his mysterious utterance he brings darkness over men's eyes by night, and by day he is no more clear at all..."

Nyx:
"Hail, kindly Night, you who have given us great glory..."
"O Night, our dark Mother..."

Zeus:
"Hail, sovereign Zeus, you who have given us great glory..."
"Great Zeus, lord of host and guest, whom I revere..."
"O Zeus, Zeus, you who bring things to fulfilment, fulfill my prayers! May you see to that which you mean to fulfill!"
"O Zeus, O Zeus, regard our cause..."
Zeus, supreme over all, lend your aid"..."
"Now at my supplication, O Zeus, father of the Olympian gods, grant that the fortunes of our house be firmly established, so that those who rightly desire the rule of order may behold it. Every word of mine has been uttered in justice. O Zeus, may you safeguard it!"
"O Zeus, O Zeus, what should I say? Where shall I begin this prayer of mine, this appeal to the gods? How in my loyal zeal can I succeed in finding words to match need?"

I really love Aeschylus' Eumenides play, and I also greatly enjoy the fact that it has prayers and parts you can use for prayers in it that one can use for their own household worship. Today, I will post some of the possible prayers in Eumenides. Enjoy!


"First, in this prayer of mine, I give the place of highest honor among the gods to the first prophet, Earth; and after her to Themis, for she was the second to take this oracular seat of her mother, as legend tells. And in the third allotment, with Themis' consent and not by force, another Titan, child of Earth, Phoebe, took her seat here. She gave it as a birthday gift to Phoebus, who has his name from Phoebe. Leaving the lake1 and ridge of Delos, he landed on Pallas' ship-frequented shores, and came to this region and the dwelling places on Parnassus. The children of Hephaistos,2 road-builders taming the wildness of the untamed land, escorted him with mighty reverence. And at his arrival, the people and Delphus, helmsman and lord of this land, made a great celebration for him. Zeus inspired his heart with prophetic skill and established him as the fourth prophet on this throne; but Loxias is the spokesman of Zeus, his father.

These are the gods I place in the beginning of my prayer. And Pallas who stands before the temple3 is honored in my words; and I worship the Nymphs where the Corycian4 rock is hollow, the delight of birds and haunt of gods. Bromius has held the region—I do not forget him—ever since he, as a god, led the Bacchantes in war, and contrived for Pentheus death as of a hunted hare. I call on the streams of Pleistus and the strength of Poseidon, and highest Zeus, the Fulfiller; and then I take my seat as prophetess upon my throne. And may they allow me now to have the best fortune, far better than on my previous entrances. And if there are any from among the Hellenes here, let them enter, in turn, by lot, as is the custom. For I prophesy as the god leads." [Pythia in the temple of Apollon at Delphi - 1]

"Lord Apollo, you know how to do no wrong; and, since you know this, learn not to be neglectful also. For your power to do good is assured." [Orestes to Apollon - 85]
"So now with a pure mouth I piously invoke Athena, lady of this land, to come to my aid. Without the spear, she will win me and my land and the Argive people as faithful and true allies for all time. But whether in some region of the Libyan land, near the waters of Triton, her native stream, she is in action or at rest, aiding those whom she loves, or whether, like a bold marshal, she is surveying the Phlegraean plain, oh, let her come—as a goddess, she hears even from far away—to be my deliverer from distress!" [Orestes to Athena - 287]

"I will accept a home with Pallas, and I will not dishonor a city which she, with Zeus the omnipotent and Ares, holds as a fortress of the gods, the bright ornament that guards the altars of the gods of Hellas. I pray for the city, with favorable prophecy, that the bright gleam of the sun may cause blessings  that give happiness to life to spring from the earth, in plenty." [Chorus of Eumenides - 916]
"Gracious and favorable to the land, come here, venerable goddesses, with flame-fed torch, rejoicing as you go—cry aloud now in echo to our song! Peace endures for all time between Pallas' citizens and these new dwellers here. Zeus who sees all and Fate have come down to lend aid—cry aloud now in echo to our song!" [Chorus of the processional escort to the Eumenides - 1032]

 The ancient Hellenes had an odd view of blood; for one, they made a very clear distinction between human blood and animal blood, and ascribed powers of pollution and purification to it. It's a fascinating--if not somewhat dark topic--and I'd like to take a moment to discuss blood and blood rituals in ancient Hellas today.


To a modern practitioner, 'blood' most likely has a negative connotation to it; it's considered miasmic, after all, at least the blood of humans. Miasma--the lingering aura of uncleanliness in regards to a person or space through which contact is made with the Gods--is a constant concern for the modern practitioner, and judging by the amount of purification rituals and methods we have available from the ancient Hellenes, it was for them as well.

Human blood has connotations of death; bleeding is a human thing, a weakening, an act that brings us closer to death even though we may have only cut our thumbs. We still spill our life's blood. While the ancient Hellenes studiously avoided talking about menstrual blood and the menstrual cycle of women, this reasoning is exactly why I feel menstruating women were most likely barred from religious rites: especially to the men who dictated these rules, a woman loosing blood would be a terrifying thing; a literal bloodletting and something that brings the woman closer to death and more in tune with her humanity. Miasma are those things that taint us as human while we long to be in the presence of the Gods, and take it from me, very few things make a woman feel more humbly human than suffering through her period.

Animal blood in Hellenism has an entirely different connotation; not only was it a religious sacrifice, but it was used as a purifier as well. During an animal sacrifice, the animal was killed by a blow to the head or the slitting of the throat. Even if the animal was killed by a blow to the head, the throat was slid afterwards, and the blood was collected. Some blood was sprinkled on the front of the altar and poured into the fire as part of the sacrifice; a representation of the animal's life force, and along with the barley groats that were tossed into the fire previously, a purifier.

Animal blood as a purifier was especially important in the ritual absolution of murderers. If we look at the Eumenides by Aeschylus, we can see how Apollon has purified Orestes of the murder of his mother by killing a swine and holding it out over him, letting the blood of the animal drip down over his head and hands. In this regard, the blood serves to make visible the blood guilt--Orestes is literally covered in blood, more so than he ever was during or after the murder of his mother--and then have something physical to wash away, taking the blood guilt with it. It's one of the many steps of Orestes' redemption which is only complete when Athena absolves him, but it starts with the presentation of a substitute to the daimons of vengeance, and the physical manifestation of blood guilt.

"Taught by misery, I know many purification rituals, and I know where it is right to speak and equally to be silent; and in this case, I have been ordered to speak by a wise teacher. For the blood is slumbering and fading from my hand, the pollution of matricide is washed away; while it was still fresh, it was driven away at the hearth of the god Phoebus by purifying sacrifices of swine. It would be a long story to tell from the beginning, how many people I have visited, with no harm from association with me." [276]

This link between blood and the tension between death and life shows more often in Hellenic mythology; the blood from the vein on the left side of Médousa's head was allegedly capable of killing, but Asclepius, a great healer, used the blood from the veins on the right side of the head for saving lives. Dionysos--a God very close to the cycle of life and death due to his troubled birth--was intricately linked with blood. There are many stories on His birth, but two are of importance to this post. In one, he is born from Semele and Zeus, and while Semele is pregnant with Him, Hera plants seeds of doubt in her mind about the father of the child truly being Zeus. Semele asks Zeus to reveal Himself to her in his true form, and when he is left with no other option, He does so, killing her in the process. Zeus takes pity on His child, and takes Him into either His thigh or testicle, where He is eventually born from.

In the other version of the myth, stemming from Krete, Dionysos is the child of Zeus and Persephone (or Demeter). In this version, Dionysos is born, but ripped to pieces by Titans, under orders of a jealous Hera. Zeus smites the Titans, but is too late to save anything of Dionysos but His heart, which He gets implanted into His thigh like the first myth, or implants into Semele.

In both versions of the myth, Dionysos is twice-born, hence his epithet 'Dimêtôr' (Διμητωρ). Dionysos was considered a fertility God, but also closely related to nature's eternal cycle of birth and death. The ancient Hellens considered the moment a plant--especially the grape--began to grow for the first time after being planted its first birth, and counted its second birth when it became laden with ripened fruit. As Dionysos is so closely related to  the grape vine, it was Dionysos Himself that was considered being born once from the earth and again from the vine--and as such, wine was literally his blood. Many of His festivals allude to this, and the wine so copiously drunk during them often has a bitter connotation because of it.

There are many hidden references to blood in Hellenic mythology and ritual. It's both a corrupter and a purifier; a gateway to birth, and to death; a manifestation of the divine and of humanity. This is only an introduction on the subject--at best--but I hope it at least serves as something to ponder on.

Sometimes I find myself very aware of how much text from ancient Hellas we have lost. I was leafing through my collection of ancient Hellenic plays and I wondered how many more there must have been. Well, it seems that Sophocles wrote over 120 plays of which only seven survive in full. We also, however, have fragmentary versions of several others: including from his "Hermione," "Troilus," and "Niobe."

We have eighteen of the ninety-five plays Euripides penned, included the only complete surviving satyr play, "Cyclops" (the satyr play was the comedic play which followed the performance of three tragic plays in Hellenic dramatic festivals). And we have only seven of the ninety-two that Aeschylus penned: including the "Oresteia" ("Agamemnon," "The Libation Bearers," and "The Eumenides") which is the only surviving complete trilogy (three plays meant to be performed together).

It's also worth noting that there's little logic behind why these particular plays survive. We also know of several other playwrights writing at the time, but for some reason their work has not survived. I found myself compiling a list of plays that have survived and I have to admit, that's a very sorry list.

Tragedy:

Aeschylus (525 - 456 BC)
The Persian
The Supplicants
Seven Against Thebes
The Oresteia
Agamemnon, The Libation Bearers, The Eumenides
Prometheus? 

Sophocles (496 - 406 BC)
Ajax
Antigone
Oedipus Rex
Electra
Trachiniae
Philctetes
Oedipoes at Colonus

Euripedes (480 - 407 BC)
Alcestis
Medea
Hippolytus
the Children of Heracles
Andromache
Hecuba
Cyclops
Heracles
The Supplicants
Ion
the Trojan Woman
Electra
Iphigenia in Tauris
Helen
The Phoenician Women
Orestes
The Bacchae
Iphigenia at Aulis

Comedy:

The Acharnians
The Knights
The Clouds
The Wasps
Peace
The Birds
Lysistrata
The Thesmophoriazusae
The Frogs
The Ecclesiazusae
Plutus

 Aeschylus (Aiskhulos, Αἰσχύλος) is of the three Hellenic tragedians whose plays can still be read or performed. He was alive from around 525/524 BC to 456/455 BC, and according to Aristotle, he expanded  the number of characters in plays to allow for conflict amongst them, whereas previously characters had interacted only with the chorus. Aeschylus' most famous works are undoubtedly the Seven against Thebes, the Supplicants and the Orestia. Also usually attributed to him is 'Prometheus Bound'.

Prometheus Bound (Promētheus Desmōtēs, Προμηθεὺς Δεσμώτης) is an Ancient Greek tragedy. The tragedy is based on the myth of Prometheus, a Titan who defies the Gods and gives fire to mankind, acts for which he is subjected to perpetual punishment. Much of the play is performed by the chorus, who are, in this play, the representation of the Oceanids. In Hellenic mythology, the Oceanids (Ὠκεανίδες) are sea nymphs who are the three thousand daughters of the Titans Oceanus and Tethys. Each is the patroness of a particular spring, river, sea, lake, pond, pasture, flower or cloud.

Somewhere a little past the middle, Prometheus still firmly chained to the rock Zeus condemned him to, the chorus speaks to Prometheus through a plea to Zeus. It's this plea to Zeus I'd like to share with you today.


"May Zeus, who apportions everything, 
never set his power in conflict with my will,
nor may I be slow to approach the gods, 
with holy sacrifices of oxen slain, 
by the side of the ceaseless stream 
of Oceanus, my father;
and may I not offend in speech; 
but may this rule abide in my heart 
and never fade away.
Sweet it is to pass all the length of life 
amid confident hopes, 
feeding the heart in glad festivities." [529-544]
The ancient Hellenes had an odd view of blood; for one, they made a very clear distinction between human blood and animal blood, and ascribed powers of pollution and purification to it. It's a fascinating--if not somewhat dark topic--and I'd like to take a moment to discuss blood and blood rituals in ancient Hellas today.

To a modern practitioner, 'blood' most likely has a negative connotation to it; it's considered miasmic, after all, at least the blood of humans. Miasma--the lingering aura of uncleanliness in regards to a person or space through which contact is made with the Gods--is a constant concern for the modern practitioner, and judging by the amount of purification rituals and methods we have available from the ancient Hellenes, it was for them as well.

Human blood has connotations of death; bleeding is a human thing, a weakening, an act that brings us closer to death even though we may have only cut our thumbs. We still spill our life's blood. While the ancient Hellenes studiously avoided talking about menstrual blood and the menstrual cycle of women, this reasoning is exactly why I feel menstruating women were most likely barred from religious rites: especially to the men who dictated these rules, a woman loosing blood would be a terrifying thing; a literal bloodletting and something that brings the woman closer to death and more in tune with her humanity. Miasma are those things that taint us as human while we long to be in the presence of the Gods, and take it from me, very few things make a woman feel more humbly human than suffering through her period.

Animal blood in Hellenism has an entirely different connotation; not only was it a religious sacrifice, but it was used as a purifier as well. During an animal sacrifice, the animal was killed by a blow to the head or the slitting of the throat. Even if the animal was killed by a blow to the head, the throat was slid afterwards, and the blood was collected. Some blood was sprinkled on the front of the altar and poured into the fire as part of the sacrifice; a representation of the animal's life force, and along with the barley groats that were tossed into the fire previously, a purifier.

Animal blood as a purifier was especially important in the ritual absolution of murderers. If we look at the Eumenides by Aeschylus, we can see how Apollon has purified Orestes of the murder of his mother by killing a swine and holding it out over him, letting the blood of the animal drip down over his head and hands. In this regard, the blood serves to make visible the blood guilt--Orestes is literally covered in blood, more so than he ever was during or after the murder of his mother--and then have something physical to wash away, taking the blood guilt with it. It's one of the many steps of Orestes' redemption which is only complete when Athena absolves him, but it starts with the presentation of a substitute to the daimons of vengeance, and the physical manifestation of blood guilt.

"Taught by misery, I know many purification rituals, and I know where it is right to speak and equally to be silent; and in this case, I have been ordered to speak by a wise teacher. For the blood is slumbering and fading from my hand, the pollution of matricide is washed away; while it was still fresh, it was driven away at the hearth of the god Phoebus by purifying sacrifices of swine. It would be a long story to tell from the beginning, how many people I have visited, with no harm from association with me." [276]

This link between blood and the tension between death and life shows more often in Hellenic mythology; the blood from the vein on the left side of Médousa's head was allegedly capable of killing, but Asclepius, a great healer, used the blood from the veins on the right side of the head for saving lives. Dionysos--a God very close to the cycle of life and death due to his troubled birth--was intricately linked with blood. There are many stories on His birth, but two are of importance to this post. In one, he is born from Semele and Zeus, and while Semele is pregnant with Him, Hera plants seeds of doubt in her mind about the father of the child truly being Zeus. Semele asks Zeus to reveal Himself to her in his true form, and when he is left with no other option, He does so, killing her in the process. Zeus takes pity on His child, and takes Him into either His thigh or testicle, where He is eventually born from.

In the other version of the myth, stemming from Krete, Dionysos is the child of Zeus and Persephone (or Demeter). In this version, Dionysos is born, but ripped to pieces by Titans, under orders of a jealous Hera. Zeus smites the Titans, but is too late to save anything of Dionysos but His heart, which He gets implanted into His thigh like the first myth, or implants into Semele.

In both versions of the myth, Dionysos is twice-born, hence his epithet 'Dimêtôr' (Διμητωρ). Dionysos was considered a fertility God, but also closely related to nature's eternal cycle of birth and death. The ancient Hellens considered the moment a plant--especially the grape--began to grow for the first time after being planted its first birth, and counted its second birth when it became laden with ripened fruit. As Dionysos is so closely related to  the grape vine, it was Dionysos Himself that was considered being born once from the earth and again from the vine--and as such, wine was literally his blood. Many of His festivals allude to this, and the wine so copiously drunk during them often has a bitter connotation because of it.

There are many hidden references to blood in Hellenic mythology and ritual. It's both a corrupter and a purifier; a gateway to birth, and to death; a manifestation of the divine and of humanity. This is only an introduction on the subject--at best--but I hope it at least serves as something to ponder on.
The ancient Hellenes had an odd view of blood; for one, they made a very clear distinction between human blood and animal blood, and ascribed powers of pollution and purification to it. It's a fascinating--if not somewhat dark topic--and I'd like to take a moment to discuss blood and blood rituals in ancient Hellas today.

To a modern practitioner, 'blood' most likely has a negative connotation to it; it's considered miasmic, after all, at least the blood of humans. Miasma--the lingering aura of uncleanliness in regards to a person or space through which contact is made with the Gods--is a constant concern for the modern practitioner, and judging by the amount of purification rituals and methods we have available from the ancient Hellenes, it was for them as well.

Human blood has connotations of death; bleeding is a human thing, a weakening, an act that brings us closer to death even though we may have only cut our thumbs. We still spill our life's blood. While the ancient Hellenes studiously avoided talking about menstrual blood and the menstrual cycle of women, this reasoning is exactly why I feel menstruating women were most likely barred from religious rites: especially to the men who dictated these rules, a woman loosing blood would be a terrifying thing; a literal bloodletting and something that brings the woman closer to death and more in tune with her humanity. Miasma are those things that taint us as human while we long to be in the presence of the Gods, and take it from me, very few things make a woman feel more humbly human than suffering through her period.

Animal blood in Hellenism has an entirely different connotation; not only was it a religious sacrifice, but it was used as a purifier as well. During an animal sacrifice, the animal was killed by a blow to the head or the slitting of the throat. Even if the animal was killed by a blow to the head, the throat was slid afterwards, and the blood was collected. Some blood was sprinkled on the front of the altar and poured into the fire as part of the sacrifice; a representation of the animal's life force, and along with the barley groats that were tossed into the fire previously, a purifier.

Animal blood as a purifier was especially important in the ritual absolution of murderers. If we look at the Eumenides by Aeschylus, we can see how Apollon has purified Orestes of the murder of his mother by killing a swine and holding it out over him, letting the blood of the animal drip down over his head and hands. In this regard, the blood serves to make visible the blood guilt--Orestes is literally covered in blood, more so than he ever was during or after the murder of his mother--and then have something physical to wash away, taking the blood guilt with it. It's one of the many steps of Orestes' redemption which is only complete when Athena absolves him, but it starts with the presentation of a substitute to the daimons of vengeance, and the physical manifestation of blood guilt.

"Taught by misery, I know many purification rituals, and I know where it is right to speak and equally to be silent; and in this case, I have been ordered to speak by a wise teacher. For the blood is slumbering and fading from my hand, the pollution of matricide is washed away; while it was still fresh, it was driven away at the hearth of the god Phoebus by purifying sacrifices of swine. It would be a long story to tell from the beginning, how many people I have visited, with no harm from association with me." [276]

This link between blood and the tension between death and life shows more often in Hellenic mythology; the blood from the vein on the left side of Médousa's head was allegedly capable of killing, but Asclepius, a great healer, used the blood from the veins on the right side of the head for saving lives. Dionysos--a God very close to the cycle of life and death due to his troubled birth--was intricately linked with blood. There are many stories on His birth, but two are of importance to this post. In one, he is born from Semele and Zeus, and while Semele is pregnant with Him, Hera plants seeds of doubt in her mind about the father of the child truly being Zeus. Semele asks Zeus to reveal Himself to her in his true form, and when he is left with no other option, He does so, killing her in the process. Zeus takes pity on His child, and takes Him into either His thigh or testicle, where He is eventually born from.

In the other version of the myth, stemming from Krete, Dionysos is the child of Zeus and Persephone (or Demeter). In this version, Dionysos is born, but ripped to pieces by Titans, under orders of a jealous Hera. Zeus smites the Titans, but is too late to save anything of Dionysos but His heart, which He gets implanted into His thigh like the first myth, or implants into Semele.

In both versions of the myth, Dionysos is twice-born, hence his epithet 'Dimêtôr' (Διμητωρ). Dionysos was considered a fertility God, but also closely related to nature's eternal cycle of birth and death. The ancient Hellens considered the moment a plant--especially the grape--began to grow for the first time after being planted its first birth, and counted its second birth when it became laden with ripened fruit. As Dionysos is so closely related to  the grape vine, it was Dionysos Himself that was considered being born once from the earth and again from the vine--and as such, wine was literally his blood. Many of His festivals allude to this, and the wine so copiously drunk during them often has a bitter connotation because of it.

There are many hidden references to blood in Hellenic mythology and ritual. It's both a corrupter and a purifier; a gateway to birth, and to death; a manifestation of the divine and of humanity. This is only an introduction on the subject--at best--but I hope it at least serves as something to ponder on.
I'm on the road all day today, so I am doing a repost! Aeschylus' Eumenides is one of my favorite plays, because it has prayers and parts of prayers you can use for your own household worship. I filtered them out for your convenience. Enjoy! 

"First, in this prayer of mine, I give the place of highest honor among the gods to the first prophet, Earth; and after her to Themis, for she was the second to take this oracular seat of her mother, as legend tells. And in the third allotment, with Themis' consent and not by force, another Titan, child of Earth, Phoebe, took her seat here. She gave it as a birthday gift to Phoebus, who has his name from Phoebe. Leaving the lake1 and ridge of Delos, he landed on Pallas' ship-frequented shores, and came to this region and the dwelling places on Parnassus. The children of Hephaistos,2 road-builders taming the wildness of the untamed land, escorted him with mighty reverence. And at his arrival, the people and Delphus, helmsman and lord of this land, made a great celebration for him. Zeus inspired his heart with prophetic skill and established him as the fourth prophet on this throne; but Loxias is the spokesman of Zeus, his father.

These are the gods I place in the beginning of my prayer. And Pallas who stands before the temple3 is honored in my words; and I worship the Nymphs where the Corycian4 rock is hollow, the delight of birds and haunt of gods. Bromius has held the region—I do not forget him—ever since he, as a god, led the Bacchantes in war, and contrived for Pentheus death as of a hunted hare. I call on the streams of Pleistus and the strength of Poseidon, and highest Zeus, the Fulfiller; and then I take my seat as prophetess upon my throne. And may they allow me now to have the best fortune, far better than on my previous entrances. And if there are any from among the Hellenes here, let them enter, in turn, by lot, as is the custom. For I prophesy as the god leads." [Pythia in the temple of Apollon at Delphi - 1]

"Lord Apollo, you know how to do no wrong; and, since you know this, learn not to be neglectful also. For your power to do good is assured." [Orestes to Apollon - 85]
"So now with a pure mouth I piously invoke Athena, lady of this land, to come to my aid. Without the spear, she will win me and my land and the Argive people as faithful and true allies for all time. But whether in some region of the Libyan land, near the waters of Triton, her native stream, she is in action or at rest, aiding those whom she loves, or whether, like a bold marshal, she is surveying the Phlegraean plain, oh, let her come—as a goddess, she hears even from far away—to be my deliverer from distress!" [Orestes to Athena - 287]

"I will accept a home with Pallas, and I will not dishonor a city which she, with Zeus the omnipotent and Ares, holds as a fortress of the gods, the bright ornament that guards the altars of the gods of Hellas. I pray for the city, with favorable prophecy, that the bright gleam of the sun may cause blessings that give happiness to life to spring from the earth, in plenty." [Chorus of Eumenides - 916]
"Gracious and favorable to the land, come here, venerable goddesses, with flame-fed torch, rejoicing as you go—cry aloud now in echo to our song! Peace endures for all time between Pallas' citizens and these new dwellers here. Zeus who sees all and Fate have come down to lend aid—cry aloud now in echo to our song!" [Chorus of the processional escort to the Eumenides - 1032]

Sometimes I find myself very aware of how much text from ancient Hellas we have lost. I was leafing through my collection of ancient Hellenic plays and I wondered how many more there must have been. Well, it seems that Sophocles wrote over 120 plays of which only seven survive in full. We also, however, have fragmentary versions of several others: including from his "Hermione," "Troilus," and "Niobe."

We have eighteen of the ninety-five plays Euripides penned, included the only complete surviving satyr play, "Cyclops" (the satyr play was the comedic play which followed the performance of three tragic plays in Hellenic dramatic festivals). And we have only seven of the ninety-two that Aeschylus penned: including the "Oresteia" ("Agamemnon," "The Libation Bearers," and "The Eumenides") which is the only surviving complete trilogy (three plays meant to be performed together).

It's also worth noting that there's little logic behind why these particular plays survive. We also know of several other playwrights writing at the time, but for some reason their work has not survived. I found myself compiling a list of plays that have survived and I have to admit, that's a very sorry list.

Tragedy:

Aeschylus (525 - 456 BC)
The Persian
The Supplicants
Seven Against Thebes
The Oresteia
Agamemnon, The Libartion Bearers, The Eumenides
Prometheus?

Sophocles (496 - 406 BC)
Ajax
Antigone
Oedipus Rex
Electra
Trachiniae
Philctetes
Oedipoes at Colonus

Euripedes (480 - 407 BC)
Alcestis
Medea
Hippolytus
the Children of Heracles
Andromache
Hecuba
Cyclops
Heracles
The Supplicants
Ion
the Trojan Woman
Electra
Iphigenia in Tauris
Helen
The Phoenician Women
Orestes
The Bacchae
Iphigenia at Aulis

Comedy:

The Acharnians
The Knights
The Clouds
The Wasps
Peace
The Birds
Lysistrata
The Thesmophoriazusae
The Frogs
The Ecclesiazusae
Plutus
I'm enjoying scouring ancient texts for invocations to the Gods. I've done the Iliad and the Odysseia, so it's time to move on to the ancient Hellenic plays. An invocation is a request for the spiritual presence and blessing of a deity during a rite. To invoke is to call upon earnestly, so an “invocation” in the context of prayer is a serious, intentional calling upon a God or Goddess. In Hellenic ritual, it's common for prayers of invocation to be offered every time a new deity is invoked, so we can be sure They will the hymns and prayers of petition offered to Them.

I'm going to start the plays with Aeschylos. Aeschylos (Aiskhulos, Αἰσχύλος) was the first of the three Hellenic tragedians whose plays can still be read or performed. According to Aristotle, he expanded the number of characters in plays to allow for conflict amongst them, whereas previously characters had interacted only with the chorus. Aescholos' most famous works are undoubtedly the Seven against Thebes, the Supplicants and the Oresteia. I'm going to begin with the Oresteia.

The Oresteia (Ὀρέστεια) is a trilogy of Hellenic tragedies written by Aeskhylos concerning the murder of Agamemnon by Klytaemnestra, the murder of Klytaemnestra by Orestes, the trial of Orestes, the end of the curse on the House of Atreus and pacification of the Erinyes. This trilogy also shows how the Hellenic Gods interacted with the characters and influenced their decisions pertaining to events and disputes.

Apollon:
"O lord Apollon, be our preserver and our healer..."
"Apollon, Apollon! God of the Ways..."
"Lord Apollon, you know how to do no wrong; and, since you know this, learn not to be neglectful also. For your power to do good is assured...""

Athena:
"Daughter of Zeus..."
"Pallas, savior of my house..."

Gaia:
"Earth herself, who gives birth to all things..."

Haides:
"Infernal Zeus, the savior of the dead..."

Hera:
"Hera, Fulfiller...

Hermes:
"Supreme herald of the realm above and the realm below, O Hermes of the nether world, come to my aid..."
"May Maia's son, as he rightfully should, lend his aid, for no one can better sail a deed on a favoring course, when he would do so. But by his mysterious utterance he brings darkness over men's eyes by night, and by day he is no more clear at all..."

Nyx:
"Hail, kindly Night, you who have given us great glory..."
"O Night, our dark Mother..."

Zeus:
"Hail, sovereign Zeus, you who have given us great glory..."
"Great Zeus, lord of host and guest, whom I revere..."
"O Zeus, Zeus, you who bring things to fulfilment, fulfill my prayers! May you see to that which you mean to fulfill!"
"O Zeus, O Zeus, regard our cause..."
Zeus, supreme over all, lend your aid"..."
"Now at my supplication, O Zeus, father of the Olympian gods, grant that the fortunes of our house be firmly established, so that those who rightly desire the rule of order may behold it. Every word of mine has been uttered in justice. O Zeus, may you safeguard it!"
"O Zeus, O Zeus, what should I say? Where shall I begin this prayer of mine, this appeal to the gods? How in my loyal zeal can I succeed in finding words to match need?"
When we, in Hellenismos, petition the Gods for aid, we always do so with an offering. This offering can be incense, a libation, a food offering or anything else. It must be something tangible. Good thoughts and intentions don't count. This offering is given freely, joyfully, with pleasure, out of respect and love for the Gods. We ask what we feel we need--sometimes that's a new job, sometimes just a sentiment like honor and prosperity to the household--and never expect to be granted this request. Petitions aren't bribery. We give to the Gods and should They feel inclined to grand us our request, we thank Them by offering to Them again, to which the Gods might respond, to which we will sacrifice, and so on. This circular practice of voluntary giving is called kharis (xάρις), and through it, we built relationships with all Theoi.

Kharis is one of the pillars of Hellenismos, together with xenia and katharmos. Those who practiced kharis properly in ancient Hellas were seen as humble, grateful and good people in general. Kharis is the base of a good few words we use to describe related acts and characteristics to this day; charisma, for instance, and charity. To word it differently; kharis represents your reputation with a specific Deity. Building a relationship with the Theoi was vital for the ancient Hellenes and it's vital in Hellenismos today. It's the foundation of daily practice, of the large-scale festivals of old, of Xenia, katharmos and the whole of Hellenismos. You can't practice Hellenismos without striving for a reciprocal relationship with the Gods.

Literary and artistic evidence from ancient Hellas shows that daily worship centered around the oikos, the household. The courtyard of the home often held a bômos, a free standing, raised, altar where the majority of household worship took place. Some houses also had a wall niche, an indoor worship area, either in a room especially designated for worship, or in the main family room. These altars were used to worship the Ephestioi (Εφεστιοι), the most personal of the household Theoi. These almost always included: Hestia, Zeus Ephestios (Overseer of the Hearth), Zeus Kthesios, and Agathós Daímōn. Worship of these deities was highly personal, and many other Theoi could be added to this worship list.

Most Hellenes gave daily or twice daily sacrifice to the list of deities they'd selected for their household worship. But how do you select these Gods? Can you do that respectfully without leaving any out? There was no definite list everyone had to follow for the ancient Hellenes. The only list there was, was the festival calendar, and through that, most of the 'major' Gods were worshipped throughout the year. This left the ancient Hellenes free to add any Theoi they felt drawn to or whose influence they felt they needed in their life. Ancient fishermen would undoubtedly have included aquatic Gods, merchants Gods connected to trade and travel. Sometimes the choice was sheerly made because they felt a draw to a particular God or Goddess. Aeschylus' Eumenides describes it quite accurately:

"First, in this prayer of mine, I give the place of highest honor among the gods to the first prophet, Earth; and after her to Themis, for she was the second to take this oracular seat of her mother, as legend tells. And in the third allotment, with Themis' consent and not by force, another Titan, child of Earth, Phoebe, took her seat here. She gave it as a birthday gift to Phoebus, who has his name from Phoebe. Leaving the lake1 and ridge of Delos, he landed on Pallas' ship-frequented shores, and came to this region and the dwelling places on Parnassus. The children of Hephaistos, road-builders taming the wildness of the untamed land, escorted him with mighty reverence. And at his arrival, the people and Delphus, helmsman and lord of this land, made a great celebration for him. Zeus inspired his heart with prophetic skill and established him as the fourth prophet on this throne; but Loxias is the spokesman of Zeus, his father.
These are the gods I place in the beginning of my prayer. And Pallas who stands before the temple is honored in my words; and I worship the Nymphs where the Corycian rock is hollow, the delight of birds and haunt of gods. Bromius has held the region—I do not forget him—ever since he, as a god, led the Bacchantes in war, and contrived for Pentheus death as of a hunted hare. I call on the streams of Pleistus and the strength of Poseidon, and highest Zeus, the Fulfiller; and then I take my seat as prophetess upon my throne. And may they allow me now to have the best fortune, far better than on my previous entrances. And if there are any from among the Hellenes here, let them enter, in turn, by lot, as is the custom. For I prophesy as the god leads." [Pythia in the temple of Apollon at Delphi - 1]

I can't help you decide which Gods you should add to your daily practice, but my list can be found here. Perhaps you have UPG experiences with any God that makes you want to include them, perhaps you want to honour the Gods mythically connected to night and day as we perform these rites at the cusp of when Their time starts. Pro tip: start with a short list and build up once you feel comfortable and you have found your rhythm. Remember: there is no manual for this, just go with your heart.
Aeschylus (Aiskhulos, Αἰσχύλος) is of the three Hellenic tragedians whose plays can still be read or performed. He was alive from around 525/524 BC to 456/455 BC, and according to Aristotle, he expanded the number of characters in plays to allow for conflict amongst them, whereas previously characters had interacted only with the chorus. Aeschylus' most famous works are undoubtedly the Seven against Thebes, the Supplicants and the Orestia. Also usually attributed to him is 'Prometheus Bound'.
Prometheus Bound (Promētheus Desmōtēs, Προμηθεὺς Δεσμώτης) is an Ancient Greek tragedy. The tragedy is based on the myth of Prometheus, a Titan who defies the Gods and gives fire to mankind, acts for which he is subjected to perpetual punishment. Much of the play is performed by the chorus, who are, in this play, the representation of the Oceanids. In Hellenic mythology, the Oceanids (Ὠκεανίδες) are sea nymphs who are the three thousand daughters of the Titans Oceanus and Tethys. Each is the patroness of a particular spring, river, sea, lake, pond, pasture, flower or cloud.

Somewhere a little past the middle, Prometheus still firmly chained to the rock Zeus condemned him to, the chorus speaks to Prometheus through a plea to Zeus. It's this plea to Zeus I'd like to share with you today.


"May Zeus, who apportions everything,
never set his power in conflict with my will,
nor may I be slow to approach the gods,
with holy sacrifices of oxen slain,
by the side of the ceaseless stream
of Oceanus, my father;
and may I not offend in speech;
but may this rule abide in my heart
and never fade away.
Sweet it is to pass all the length of life
amid confident hopes,
feeding the heart in glad festivities." [529-544]
Christmas is not really my thing, but it sure keeps you off of the street, doesn't it? I'm off to do some serious gift giving with my girlfriend's family so I am borrowing the work of others today. Sententiae Antiquae.com collected a bunch of quotes about gifts and the giving of them that I think fits brilliantly with the day. I hope Christmas was safe and enjoyable for all of you!


Epigonoi Fr. 4 (From Clement of Alexandria)
“Many evils come to men from gifts”
ἐκ γὰρ δώρων πολλὰ κάκ’ ἀνθρώποισι πέλονται.
 
Ovid, Ars Amatoria 2.275
“Poems are certainly praised, but great gifts are what is sought.”
carmina laudantur sed munera magna petuntur.
 
Sophocles, Ajax, 664-5
“But the old saying is true: the gifts of enemies are no gifts, and sure to yield no profit.”
ἀλλ᾽ ἔστ᾽ ἀληθὴς ἡ βροτῶν παροιμία,
ἐχθρῶν ἄδωρα δῶρα κοὐκ ὀνήσιμα
 
Aeschylus, fr. 279a2
“Alone of the gods, Death doesn’t long for gifts.”
μόνος θεῶν γὰρ Θάνατος οὐ δώρων ἐρᾶι·
 
Solon, 13.64
“The gifts of the gods must not be rejected”
δῶρα δ᾿ ἄφυκτα θεῶν γίγνεται ἀθανάτων
 
Nostoi, fr. 8.1
“Gifts debase the minds and actions of men”
δῶρα γὰρ ἀνθρώπων νόον ἤπαφεν ἠδὲ καὶ ἔργα
As we are currently celebrating the City Dionysia, I thought it would be fitting to have at least a few Dionysos/theatrically themed blog posts this week Today, I would like to start with the surviving plays that competed or won in the City Dionysia over the years.


To the ancient Hellenes, theater was a form of entertainment taken very seriously. People would come from all across the Hellenic world to attend the popular theaters held in open air amphitheaters. In their glory days, some amphitheaters could hold crowds of up to 15,000 people, and some were so acoustically precise that a coin dropped at the center of the performance circle could be heard perfectly in the back row. The theater was a place where politics, religion, the human condition, popular figures, and legends were all discussed and performed with great enthusiasm. The origin of the dramatic arts in Greece would come in the 6th century BC, when the tyrant Pisistratus, who, at the time, ruled the city of Athens, established a series of public festivals. In the 6th century B.C. a priest of Dionysos, named Thespis, introduced a new element that is considered to be the birth of theater.

The (Greater) City Dionysia was and is a true theatric festival of Dionysos. It was and is held on the 10th to 17th days of Elaphebolion and is thought to have been founded, or at least revived, by the tyrant Pisistratus (around 530 BC). It was most famously held in Athens, when the city was once again full of visitors after the winter. The festival honours Dionysos Eleuthereus (Διονυσος Ελευθερευς), who was said to have been introduced into Athens from the village of Eleuterae (Ελευθέραι). The festival focuses on the performance of tragedies, but has included the performing of comedies since 487 BC. We know of a lot of winners (and even some runner up's), but very few of the plays have survived. Here is a complete overview of the winners whose plays have survived.

472 BC – Aeschylus - The Persians
467 BC – Aeschylus - Seven Against Thebes
463 BC – Aeschylus - The Suppliants
458 BC – Aeschylus - The Oresteia (Agamemnon, The Choephori, Eumenides)
447 BC – Sophocles - Antigone
428 BC – Euripides - Hippolytus
409 BC – Sophocles - Philoctetes
405 BC – Euripides - The Bacchae, Iphigenia in Aulis
401 BC - Sophocles - Oedipus at Colonus (posthumous award)

Happy reading! Hail Dionysos!
Every writer, movie buff, theatre lover, and game connoisseur knows the term: deus ex machina; 'God from a machine'. The term (pronounced as 'Day-oos eks MAH-kee-nah') is a calque from the Hellenic ἀπὸ μηχανῆς θεός (apò mēkhanês theós), which has roughly the same meaning. The term has evolved into a plot device whereby a seemingly unsolvable problem is suddenly and abruptly resolved by the contrived and unexpected intervention of some new event, character, ability or object. Depending on how it is done, it can be intended to move the story forward when the writer has stuffed up and sees no other way out, to surprise the audience, to bring the tale to a happy ending, or as a comedic device.

The term was coined in Hellenic tragedy, where a machine was (and still is) used to bring actors playing Gods onto the stage. The machine could be either a crane (mechane) used to lower actors from above or a riser that brought actors up through a trapdoor. The idea was introduced by Aeschylus and was used often to resolve the conflict and conclude the drama. Although the device is associated most with Hellenic tragedy, it also appeared in comedies.

Aeschylus used the device in his 'Eumenides', but it was with Euripides that it became an established stage machine. More than half of Euripides' extant tragedies employ a deus ex machina in their resolution, and some critics claim that Euripides, not Aeschylus, invented it.

In Aristophanes' play 'Thesmophoriazusae', the playwright parodies Euripides' frequent use of the crane by making Euripides himself a character in the play and bringing him on stage by way of the mechane. Aristotle was the first to use deus ex machina as a term to describe the technique as a device to resolve the plot of tragedies. Antiphanes believed that the use of the deus ex machina was a sign that the playwright was unable to properly manage the complications of their plot:

"When they don't know what to say, and have completely given up on the play, just like a finger they lift the machine, and the spectators are satisfied. Here is none of this for us."
 
Aristotle also wasn't a fan and he criticized the device in his Poetics:
 
"As in the structure of the plot, so too in the portraiture of character, the poet should always aim either at the necessary or the probable. Thus a person of a given character should speak or act in a given way, by the rule either of necessity or of probability; just as this event should follow that by necessary or probable sequence. It is therefore evident that the unraveling of the plot, no less than the complication, must arise out of the plot itself, it must not be brought about by the Deus ex Machina- as in the Medea, or in the return of the Greeks in the Iliad. The Deus ex Machina should be employed only for events external to the drama- for antecedent or subsequent events, which lie beyond the range of human knowledge, and which require to be reported or foretold; for to the gods we ascribe the power of seeing all things. Within the action there must be nothing irrational. If the irrational cannot be excluded, it should be outside the scope of the tragedy. Such is the irrational element the Oedipus of Sophocles."

Despite that, the effect of the device on Hellenic audiences was attested as a direct and immediate emotional response. Audiences would have feeling of wonder and astonishment at the appearance of the gods and often adds to the moral effect of the drama. Even in modern plays, books, and movies, the deus ex machina can have this effect. How about the Hulk showing up near the end of The Avengers to punch that alien battleship/whale on the nose? Or the Eagles showing up at the end of the Lord of the Rings trilogy to carry our near-dead heroes home? I, for one, felt extreme elation and excitement at both. When used too much, or too obviously, the deus ex machina can be a cheap trick, but when done well, it can be quite brilliant.
Tumblr is a lovely medium, especially for asking questions to keeper of blogs. Sometimes, those questions are very specific, and sometimes, not so much. Yesterday, for example, I got a question that read:

"Could u pls make a post about Euripides, Aeschylus, and Sophocles???"

To which the answer is 'sure! But I'm not sure if it's going to include what you want it to include'. Let's start with introductions. Euripides, Aeschylus, and Sophokles were all playwrights of ancient Hellas, and their plays are pretty much the only ones that have survived--well, some of them.

Euripides (Εὐριπίδης) was alive from about 480 to 406 BC, and in his lifetime, he wrote about 95 plays, 18 of which have survived completely and many more as fragments. His most known works are Alcestis, Medea and The Bacchus. His plays included strong women and wise slaves--something considered very modern, and very unconventional at the time. Euripides is undoubtedly the Hellenic tragedian who has had the biggest influence on European tragedy, and even in his day, how writing became a cornerstone of literary education, along with the greats like Hómēros. Euripides is known for his representation of traditional, mythical heroes as ordinary people in extraordinary circumstances--which is a story told many times over in modern day writing.

Aeschylus (Aiskhulos, Αἰσχύλος) was the first of the three Hellenic tragedians whose plays can still be read or performed. He was alive from around 525/524 BC to 456/455 BC, and according to Aristotle, he expanded the number of characters in plays to allow for conflict amongst them, whereas previously characters had interacted only with the chorus. Aeschylus' most famous works are undoubtedly the Seven against Thebes, the Supplicants and the Orestia.

Sophoklēs (Σοφοκλῆς) was a tragedian who wrote 123 plays during his life (497/6 BC – winter 406/5 BC). Only seven have survived in entity, but they include classics such as Antigone, Oedipus the King and Electra. He developed theatre by adding a third actor, reducing the importance of the chorus, and introducing scenography. Sophocles also abolished the traditional trilogic form of tragedies and made each play complete in itself – this added dramatic value to the plays.

For almost fifty years,  Sophoklēs was the most awarded and recognized playwright in the dramatic competitions of the city-state of Athens that took place during the religious festivals of the Lenaia and the Dionysia. He competed in around thirty competitions, won perhaps twenty-four, and was never judged lower than second place. Aeschylus won fourteen competitions, and was sometimes defeated by Sophoklēs, while Euripides won only four competitions.

There you have it, a very basic introduction on the three great playwrights of ancient Hellas.
The Archaeological News Network reports that the open air plays of the ancient Hellenes may offer us a valuable insight into the Mediterranean climate of the time. According to the article, new research into the ancient plays and the artwork about them has identified 'halcyon days'--days of theatre friendly weather even in (what now equates as) January and February--or so says Dr. Christina Chronopoulou, from the National and Kapodestrian University of Athens.

"We explored the weather conditions which enabled the Athenians of the classical era to watch theatre performances in open theatres during the midwinter weather conditions. We aimed to do so by gathering and interpreting information from the classical plays of Greek drama from 5th and 4th centuries B.C."

In order to conduct this research, the writings of 43 plays--7 by Aeschylus, 7 by Sophocles, 18 by Euripides and 11 by Aristophanes--were examined for references about the weather, and many did. If the plays are to be believed, the ancient Hellenes enjoyed long, hot, dry summers, yet also were treated to the rare theatre friendly 'halcyon days' of clear, sunny weather during winter.

"The comedies of Aristophanes, often invoke the presence of the halcyon days. Combining the fact that dramatic contests were held in mid-winter without any indication of postponement, and references from the dramas about the clear weather and mild winters, we can assume that those particular days of almost every January were summery in the fifth and maybe in the fourth centuries BC."

According to the research conducted, the Halcyon days, a phenomenon also observed nowadays, has its origins in an ancient myth. According to one version, the goddess Halcyon, daughter of Aeolus, the ruler of the winds, insults Zeus and Hera. So, the father of gods transformed her into a bird and condemned her to lay her eggs only in the mid-winter. Consequently, the little birds were hardly able to survive. Crying and praying endlessly, Halcyon managed to make Zeus feel pity for her and so he decided to give her 14 days of good and calm weather in mid-January in order to lay her eggs in security. The Halcyon days were named after this Greek myth, and in Aristotle's Histories about animals (p. 5.8; 350 BC) he writes The halcyon breeds at the season of the winter solstice. Accordingly, when this season is marked with calm weather, the name of “halcyon days” is given to the seven days preceding and to as many following the solstice (Wentworth Tompson, 2007).

The report als shows that the ancient Hellenes used to forecast by looking for the signs of diosimies, which are phenomena caused by Zeus. Meteorological calendars called ‘Parapigmata’ were being circulated in the ancient Agora (a place of gathering and a market) since the fifth century (McCormick et al., 2012). Philosophers were observing weather phenomena from mountains such as Mithimna, Idi and Lycabettus (Theophrastus, third to fourth century BC), and by combining astronomy with their empirical knowledge of the local meteorology they composed the Parapigmata, a kind of empirical forecast report.

The entire article is well worth the read and was published in the magazine 'Weather', Volume 69, Issue 3, pages 66–69, March 2014. The entire article can be found here.
The ancient Hellenes had an odd view of blood; for one, they made a very clear distinction between human blood and animal blood, and ascribed powers of pollution and purification to it. It's a fascinating--if not somewhat dark topic--and I'd like to take a moment to discuss blood and blood rituals in ancient Hellas today.

To a modern practitioner, 'blood' most likely has a negative connotation to it; it's considered miasmic, after all, at least the blood of humans. Miasma--the lingering aura of uncleanliness in regards to a person or space through which contact is made with the Gods--is a constant concern for the modern practitioner, and judging by the amount of purification rituals and methods we have available from the ancient Hellenes, it was for them as well.

Human blood has connotations of death; bleeding is a human thing, a weakening, an act that brings us closer to death even though we may have only cut our thumbs. We still spill our life's blood. While the ancient Hellenes studiously avoided talking about menstrual blood and the menstrual cycle of women, this reasoning is exactly why I feel menstruating women were most likely barred from religious rites: especially to the men who dictated these rules, a woman loosing blood would be a terrifying thing; a literal bloodletting and something that brings the woman closer to death and more in tune with her humanity. Miasma are those things that taint us as human while we long to be in the presence of the Gods, and take it from me, very few things make a woman feel more humbly human than suffering through her period.

Animal blood in Hellenism has an entirely different connotation; not only was it a religious sacrifice, but it was used as a purifier as well. During an animal sacrifice, the animal was killed by a blow to the head or the slitting of the throat. Even if the animal was killed by a blow to the head, the throat was slid afterwards, and the blood was collected. Some blood was sprinkled on the front of the altar and poured into the fire as part of the sacrifice; a representation of the animal's life force, and along with the barley groats that were tossed into the fire previously, a purifier.

Animal blood as a purifier was especially important in the ritual absolution of murderers. If we look at the Eumenides by Aeschylus, we can see how Apollon has purified Orestes of the murder of his mother by killing a swine and holding it out over him, letting the blood of the animal drip down over his head and hands. In this regard, the blood serves to make visible the blood guilt--Orestes is literally covered in blood, more so than he ever was during or after the murder of his mother--and then have something physical to wash away, taking the blood guilt with it. It's one of the many steps of Orestes' redemption which is only complete when Athena absolves him, but it starts with the presentation of a substitute to the daimons of vengeance, and the physical manifestation of blood guilt.

"Taught by misery, I know many purification rituals, and I know where it is right to speak and equally to be silent; and in this case, I have been ordered to speak by a wise teacher. For the blood is slumbering and fading from my hand, the pollution of matricide is washed away; while it was still fresh, it was driven away at the hearth of the god Phoebus by purifying sacrifices of swine. It would be a long story to tell from the beginning, how many people I have visited, with no harm from association with me." [276]

This link between blood and the tension between death and life shows more often in Hellenic mythology; the blood from the vein on the left side of Médousa's head was allegedly capable of killing, but Asclepius, a great healer, used the blood from the veins on the right side of the head for saving lives. Dionysos--a God very close to the cycle of life and death due to his troubled birth--was intricately linked with blood. There are many stories on His birth, but two are of importance to this post. In one, he is born from Semele and Zeus, and while Semele is pregnant with Him, Hera plants seeds of doubt in her mind about the father of the child truly being Zeus. Semele asks Zeus to reveal Himself to her in his true form, and when he is left with no other option, He does so, killing her in the process. Zeus takes pity on His child, and takes Him into either His thigh or testicle, where He is eventually born from.

In the other version of the myth, stemming from Krete, Dionysos is the child of Zeus and Persephone (or Demeter). In this version, Dionysos is born, but ripped to pieces by Titans, under orders of a jealous Hera. Zeus smites the Titans, but is too late to save anything of Dionysos but His heart, which He gets implanted into His thigh like the first myth, or implants into Semele.

In both versions of the myth, Dionysos is twice-born, hence his epithet 'Dimêtôr' (Διμητωρ). Dionysos was considered a fertility God, but also closely related to nature's eternal cycle of birth and death. The ancient Hellens considered the moment a plant--especially the grape--began to grow for the first time after being planted its first birth, and counted its second birth when it became laden with ripened fruit. As Dionysos is so closely related to  the grape vine, it was Dionysos Himself that was considered being born once from the earth and again from the vine--and as such, wine was literally his blood. Many of His festivals allude to this, and the wine so copiously drunk during them often has a bitter connotation because of it.

There are many hidden references to blood in Hellenic mythology and ritual. It's both a corrupter and a purifier; a gateway to birth, and to death; a manifestation of the divine and of humanity. This is only an introduction on the subject--at best--but I hope it at least serves as something to ponder on.
Ah, one more 'Q' post, and then I'll be without them for another year. That's a good thought! On that cheery note, I figured out another subject for the 'Q's: quorum votes. The word 'quorum' reminds me of Battlestar Galactica, which has the 'Quorum of Twelve': the governing body of the Twelve Colonies of Kobol, composed of one representative from each colony. The 'Quorum of Twelve' was actually a Christian reference by the creator of the series, but in a universe heavily influenced by the Greek legacy--where the names of the Twelve Colonies and their planets are similar to the names of the constellations in the Greco-Roman zodiac, many people are devout followers of the Theoi, and characters often had nicknames like 'Athena' and 'Apollo'--the quorum is actually fairly reminiscent of ancient Hellas.

Ostraka

A quorum is the minimum number of members of a deliberative assembly necessary to conduct the business of that group. I have written a little about the ancient Athenian quorum before, but before I get to that, let me explain the Athenian government body really quick--or at least the parts relevant to this post. There is a longer summary to be found here, but as that is a Pagan Blog Project post as well, I am just going to assume you have read it. So, short summary:

Back in Classical ancient Athens, if you were adult male Athenian citizens who had completed their military training as ephebes, you were required to partake in the democratic assembly of citizens, called the ekklesia. It consisted of about 25,000 voting citizens. The ekklesia, in turn, was managed by the boule of 500 citizens, taken from the ranks of the ekklesia. The boule, finally, was managed by 50 members of the boule, called the prytaneis. Everyone in the ekklesia voted, but their votes were tallied by the boule-members of their tribe, who related the votes to the prytanis of their tribe, who then tallied and proclaimed the votes. Previous to the Classical age, smaller assemblies would dispense judgment, or the judgment was dispensed by the king.

Perhaps the most well-known example of voting in ancient Athens comes from Aeschylus' Eumenides where Orestes faces divine judgment after slaying his mother in revenge for the death of His father. Athena presides over this judgment, and Apollon speaks for Orestes, but the vote is in the hands of the Athenian people, although Athena has the winning vote in case of a tie.

"O men of Athens, ye who first do judge the law of bloodshed, hear me now ordain. Here to all time for Aegeus' Attic host shall stand this council-court of judges sworn, here the tribunal, set on Ares' Hill where camped of old the tented Amazons, what time in hate of Theseus they assailed Athens, and set against her citadel a counterwork of new sky-pointing towers, and there to Ares held their sacrifice, where now the rock hath name, even Ares' Hill. And hence shall Reverence and her kinsman Fear pass to each free man's heart, by day and night enjoining, Thou shalt do no unjust thing, so long as law stands as it stood of old unmarred by civic change. Look you, the spring is pure; but foul it once with influx vile and muddy clay, and none can drink thereof. Therefore, O citizens, I bid ye bow in awe to this command, Let no man live, uncurbed by law nor curbed by tyranny; nor banish ye the monarchy of Awe beyond the walls; untouched by fear divine, no man doth justice in the world of men. Therefore in purity and holy dread stand and revere; so shall ye have and hold a saving bulwark of the state and land, such as no man hath ever elsewhere known, nor in far Scythia, nor in Pelops' realm. Thus I ordain it now, a council-court pure and unsullied by the lust of gain, sacred and swift to vengeance, wakeful ever to champion men who sleep, the country's guard. Thus have I spoken, thus to mine own clan commended it for ever. Ye who judge, arise, take each his vote, mete out the right, your oath revering. Lo, my word is said."

In the Eumenides, twelve judges then come on stage and cast their vote in one of two urns--one to vote Orestes guilty, the other to vote him not guilty. The results are tallied and Orestes is cleared of blood guilt.

Voting in Classical Athens would have been much the same. Prior to the changes to the political landscape of Athens in the sixth century BC and onwards, made by Solon and Kleisthénês, it appears votes were more often settled by talking or shouting during assemblies. As this was of voting was decidedly personal, those of higher birth or greater power would have been able to sway votes. Solon, especially, worked hard to abolish these influences in decision making. The far more neutral voting system of 'bind' votes, where votes were cast in urn or other holders was considered far preferable.

Votes were tallied in a few different ways: one was to use stones of varying colors, and ascribe one color to 'yes' votes, and the second color to 'no' votes. All lots were case into a single urn, which was cracked open after everyone had voted, and tallied. The second option was the one portrayed in Eumenides: two urns, one type lot. A third option was a particular one; it was only used when deciding who would be ostracized. When a person was ostracized, potsherds (ostraka, ὄστρακα) with names scratched on them were used as lots, and he who received the most votes, was ostracized for ten years.

During an ostracism (ostrakismos, ὀστρακισμός) each member of the ekklesia would choose a politician they wished to have 'ostracized', or exiled for ten years. If any one name received a majority and a total of 6,000 or more votes, that man would have to leave Athens. The picture up top features some excavated ostraka naming prominent politicians still well-known to historians today: at the top, Aristeides, son of Lysimachus on the left, and Themistokles, of the deme Phrearios on the right. At the bottom, Kimon, son of Miltiades on the left, and Perikles, son of Xanthippos on the right. Ostracism was often used preemptivel, as a way of neutralizing someone thought to be a threat to the state or potential tyrant. As such, ostracism had no relation to the processes of justice; there was no charge or defense, and the exile was not in fact a penalty; it was simply a command from the Athenian people that one of their number be gone for ten years.

For a small category of votes a quorum of 6000 men was required, and ostracisms were included in that number. Another was the granting of citizenship to métoikos, if they had done something important for the city of Athens. These decisions were considered too important to leave up to smaller numbers.

The Athenian direct democracy we are now unfamiliar with besides when judging rounds of Top Model or Idols, allowed every (adult male) citizen the exact same vote, and equalized the political landscape. Quorum votes were especially important, as the decision was not only backed up by 6000 men, but they had voted on it together, bringing these men--and the city of Athens--closer.