I'm sorry, I'm swamped, so have a piece of news that made me giggle greatly today! It seems a flower pot at a palatial English estate has been identified as a long-lost Roman sarcophagus worth almost $500,000. Oops!


Antique experts visiting Blenheim Palace earlier this week marveled at the intricate designs on a large casket that has been used to hold flowers on the estate for years.

The officials were originally on the grounds to examine several other historic pieces but dropped what they were doing to assess the makeshift flower pot when they saw it tucked away in a corner.
The experts determined the container was a marble sarcophagus dating back to 300 AD.

The archaeological marvel features carved lion's heads and Greek gods including Dionysos, Hercules (our Herakles) and Ariadne.

Since its discovery, the 1800-year-old sarcophagus has been moved to an underground holding room in the palace where it's still visible to the public.

Personal note: I assume they've taken the flowers out since.
We are very proud to announce that Oxfam International has become Pandora's Kharis' Elaphebolion 2017 cause, and specifically their efforts to alleviate the impact of the hunger crisis in (Southern) Africa.


Over 21 million people in Ethiopia, Somalia, Nigeria, Kenya and South Sudan alone are suffering from hunger. The situation in South Sudan is particularly acute, as 3.2 million people are fleeing the terror of the civil war. Extreme poverty and a persistent drought are exacerbating the situation. The United Nations has declared a famine in certain parts of the country. This means that 2 out of every 10,000 people are dying from malnutrition every day--this is equivalent to 700 deaths daily among the population of Berlin.

The cause of the hunger in northern Kenya, Somalia and Ethiopia is the most severe drought in decades. Some 80% of the livestock northern Kenya have already died. This is catastrophic for the people living in the region whose livelihoods depend on livestock. The situation is also dire in the countries around Lake Chad: 7 million people in Nigeria, Chad, Cameroon and Niger are suffering from food shortages, again caused by violence, poverty and drought.

The continent needs at least $4.5 billion for emergency relief, but just a fraction of that has been raised so far, even as analysis from Oxfam shows that an early response is far cheaper than a late one. The Horn of Africa – particularly Ethiopia – and much of southern Africa is in bad straits; and the weather is not the only factor at play. A country’s ability to cope depends partly on its public finances and ability to mobilize resources; for some, weakening currencies is making food imports more expensive, and conflict is making it difficult to move supplies around.

A five-country study commissioned by the UK’s Department for International Development (DFID) in Ethiopia, Kenya, Senegal, Niger, Mozambique and Malawi estimated that response at four months after a failed harvest costs $49 per household, whereas response at six months after harvest costs $1,294 per household. A similar study in Ethiopia found that early commercial destocking (selling off animals while they are still healthy) was 137 times cheaper than waiting until herds are depleted then responding with imported food aid and restocking.

The deadline to donate is March 28th, 2017. You can do so by using the PayPal option to the side of the Pandora's Kharis website or by donating directly to baring.the.aegis@gmail.com. Thank you in advance!
On 16 March, at the usual 10 am EDT, Elaion wil host a PAT ritual for the Pandia. This is an ancient state festival attested as having been held annually at Athens as early as the time of Demosthenes--namely the 4th century BC. Very little is known about it, but seeing as we know it was wedged in between a meeting to evaluate the misconduct during the Dionysia on the eitheenth of Elaphebolion and the Dionysia itself, we can at least say with relative accuracy that it was held on the 17th of the month, although the 14th is also mentioned for its connection to the full moon (see below).


What the Pandia celebrate or commemorated is unclear; it's origin story is lost to us and the only records we have of the festival taking place date from much later than its foundation. To the ancient Hellenes who attested to the festival, it was merely a fossilized event that had remained from times past, and they celebrated it in the same way every year--a way obviously not interesting enough to write down. It seems that even they weren't exactly sure about what the festival celebrated.

Pandia (πάνδια) was said to have been a Goddess of the moon, either as an epithet of Selene or as a Goddess onto herself--the daughter of Zeus and Selene. As such, there may have been a connection to the moon for the festival, and either to Pandia, Selene, or Zeus. Another explination would be that the festival is derived from the Attic king Pandion I (Πανδίων Α'), who was said to have lived from 1437 - 1397 BC. Like his father Erichthonius, Pandion married a naiad, Zeuxippe, and they had five children, Erechtheus, Butes, Procne, Philomela, and Cecrops II. According to Pseudo-Apollodorus' Bibliotheca, it was during Pandion I's reign that Demeter and Dionysos came to the city-state of Athens. Before his death, he gave the rule of Athens to Erechtheus, but the priesthoods of Poseidon and Athena to Butes.

A third possibility is that the festival is connected to the Attic tribe Dias, so that the Pandia would have been in the same relation to this tribe as the Panathenaea to Athens. A fourth is that the name of the festival is linked to the tribe, but also the name of Zeus--Dias, Διός--which would make it a festival of Zeus Himself.

The most accepted theory comes from Friedrich Gottlieb Welcker, a German classical philologist and archaeologist, who concluded that the festival was most likely a festival of Zeus celebrated by all the Attic tribes, analogous to the Panathenaea. It was a much smaller festival, however.

If you intend to look up Pandia, you are helped greatly by knowing the name which she was better known as in ancient Hellas: Pandeia (Πανδεια). The Homeric Hymn to Selene mentions Zeus, Selene and Pandia so we have added that hymn to the ritual:

"And next, sweet voiced Muses, daughters of Zeus, well-skilled in song, tell of the long-winged Moon. From her immortal head a radiance is shown from heaven and embraces earth; and great is the beauty that ariseth from her shining light. The air, unlit before, glows with the light of her golden crown, and her rays beam clear, whensoever bright Selene having bathed her lovely body in the waters of Ocean, and donned her far-gleaming, shining team, drives on her long-maned horses at full speed, at eventime in the mid-month: then her great orbit is full and then her beams shine brightest as she increases. So she is a sure token and a sign to mortal men. Once the Son of Cronos was joined with her in love; and she conceived and bare a daughter Pandia, exceeding lovely amongst the deathless gods. Hail, white-armed goddess, bright Selene, mild, bright-tressed queen! And now I will leave you and sing the glories of men half-divine, whose deeds minstrels, the servants of the Muses, celebrate with lovely lips." [XXXII]

The ritual for the event can be found here and the community page on Facebook can be found here.
Oh goodie! Fantastic(al) news like the sort I have for you today is what I live for. It seems archaeologists last month recovered a wealth of ingots of an unusual golden alloy from the wreck sitting in about 3m of water, 300m off the coast of Gela in southern Sicily. Also recovered from the wreck, which sank some 2600 years ago, were two Corinthian war helmets and containers once used to hold precious, scented oils. But it is the rough lumps of metal still shining with red and gold hues after two millennia on the sea floor that has excited the archaeological world. It could be orichalcum.


I've posted about orichalcum before. It was one of fabled Atlantis' marvels. The metal was called 'aurichalcum' by the Romans and is a metal mentioned in several ancient writings, including the story of Atlantis in the Critias dialogue, recorded by Plato. In it, he says:

"Some of their buildings were simple, but in others they put together different stones, varying the colour to please the eye, and to be a natural source of delight. The entire circuit of the wall, which went round the outermost zone, they covered with a coating of brass, and the circuit of the next wall they coated with tin, and the third, which encompassed the citadel, flashed with the red light of orichalcum."

The name derives from the Greek ὀρείχαλκος, oreikhalkos (from ὄρος, oros, mountain and χαλκός, chalkos, copper or bronze), meaning literally 'mountain copper' or 'copper mountain'. The mining of orichalcum would have made Atlantis (or Santorini) very wealthy as it seems the metal was only mined there, and orichalcum was considered second only to gold in value.

In January 2015, a team of divers already discovered dozens of pieces of ancient metal from a shipwreck, aged 2,600 years, off the coast of Sicily island, in the south of Italy. The lumps of metal were arriving to Gela in southern Sicily, possibly coming from Greece or Asia Minor. The ship that was carrying them was likely caught in a storm and sunk just when it was about to enter the port. They were unlike any metal ever found. Analyzed with X-ray fluorescence, the 39 ingots turned to be an alloy made with 75-80 percent copper, 15-20 percent zinc and small percentages of nickel, lead and iron.

Cleaned of 2600 years worth of muck, the orichalcum still glistens with its original hue. Picture: Sebastiano Tusa, Superintendent of the Sea-Sicily Region

Another load of the metal was found recently in roughly the same area as the 2015 find. The archaeologists working on recovering the wreck say it went down within sight of safety. Sicilian archaeologist Sebastiano Tusa told Seeker:

"The ship dates to the end the sixth century BC. It was likely caught in a sudden storm and sunk just when it was about to enter the port. The presence of helmets and weapons aboard ships is rather common. They were used against pirate incursions."

The dating rules out Atlantis itself as Plato, writing in the 4th Century BC, implies that legendary city slipped beneath the waves many hundreds--perhaps thousands--of years earlier.

Also recovered was an anchor, remains of amphorae and several smaller containers used for carrying precious oils. The shipwreck, and that of another two nearby, are yet to be fully excavated. Tusa told La Repubblica that protecting the wrecks remains a concern, with looters believed to be exploiting a lack of policing of the archaeologically rich waters.
Anthesterion is Dionysos' month. Many--if not all-- sacrifices and festivals feature Him in some form or another. The Erkhian calendar holds a sacrifice to Dionysos and His mother Semele on the 16th of the ancient Hellenic month. Will you join us for it on Monday 15 March, at the usual 10 am EST?


There are many versions of Dionysos' birth. In one--perhaps the most famous--Dionysos 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. When Dionysos grows up, He raises Semele to Olympos and grants her eternal life. He also places a wreath into the sky to honor her, the Corona Australis. The wreath would be made of myrtle leaves, for Dionysos left a gift of myrtle in the Underworld in return for His mother, and the followers of Dionysos wore crowns of myrtle.

Although the Erkhians left no explanations of the reason of their sacrifices, I am inclined to believe this sacrifice was a local sacrifice in line with the Anthesteria that took place in Athens two days earlier. Most likely, many Erkhians travelled to Athens for the Anthesteria, then back home to sacrifice to Dionysos and His mother in their own hometown as well.

If you are celebrating the Greater Dionysia with us, you could perform this sacrifice instead of the basic ritual we've provided for that day in the rituals for the Dionysia.

Will you join us and honour Dionysos and His mother in your hometown on 15 March, at 10 am EST? You can find the ritual here and join the community here.
The Dionysia ta en Astei (Διονύσια τὰ ἐν Ἄστει), Dionysia ta Megala (Διονύσια τὰ Μεγάλα), Great(er) Dionysia, or City Dionysia, was and is a true theatric festival of Dionysos. The City Dionysia is held on the 10th to 17th days of Elaphebolion and Elaion will host an eight day festival for it, from 9 - 16 March, 2016, at the usual 10 am EST.


The City Dionysia is thought to have been founded, or at least revived, by the tyrant Pisistratus (around 530 BC), and was held in Athens, when the city was once again full of visitors after the winter. The festival honors 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. It was the second-most important festival after the Panathenaia.

According to myth, the festival was established after Eleutherae, a border-town between Attica and Boeotia, chose to become part of Attica. The Eleuthereans had an established festival of Dionysos--which then became the rural Dionysia--and celebrated to occasion by bringing a statue of Dionysos to Athens. The Athenians, by then not big on the worship of Dionysos, initially rejected the statue, but Dionysos punished the Athenians with a plague affecting the male genitalia. The Athenians, rightfully spooked, accepted the statue and honor of Dionysos, and the plague was cured. These events were recalled each year by two processions, the first, carrying the statue of Dionysos from His temple outside of the city of Athens into the city, and the second where various groups proceeded through the city to the theater, arrayed in groups distinguishable by color or other articles of dress.

Dionysos was a métoikos in a city of Athens, a resident alien, and on the first two days of the festival, the métoikoi of the city got to wear brightly colored festival clothes--mostly purple--and carried trays of offerings in the processions, something métoikoi never got to do otherwise. The Athenian citizens, on the other hand, wore their day-to-day clothes and carried wine and bread with them, or herded the bulls which would be sacrificed. At the end of the processions, the statue of Dionysos was placed in His temple in the theater district, and sacrifices were made to Him. Flute players and poets held contests, and were eager to outdo each other. After all of this, the festival most likely became very Dionysian, indeed.

Singing and dancing had always been a big part of the City Dionysia, but after a while, the structure of the eight day festival became more apparent. Instead of random singing and dancing, from the third day onward, everyone flocked to the theaters to view the plays, whose names and creators had been announced the day prior. The next three days of the festival were devoted to the tragic plays. The three chosen playwrights performed three tragedies and one satyr play each, one set of plays per day. Famous playwrights include Aeschylus, Euripides, and Sophocles. They were judged by judges (agonothetai) chosen on the second day.

On the seventh day of the festival, five comedies by famous playwrights like Philemon, Chionides, and Aristophanes were performed. Comedies were of secondary importance at the Dionysia--the Lenaia was far more important for those--but winning the comedic prize at the Dionysia was still regarded a great honor. It seems that, from the fifth century BC onwards, plays could be recycled, and the audience seemed to have appreciated it. These plays were fan favorites, and were not rushed to completion.

Another procession and celebration was held on the final day and the winners of the competitions were declared. The winning playwrights won a wreath of ivy or a goat, and when old plays were performed, the producer was awarded the prize rather than the long-dead playwright.

For the city Dionysia, we will be reading 'The Bacchae', a play by Euripides. We did it last year as well and we wanted to keep it a tradition. The play premiered posthumously at the Theatre of Dionysus in 405 BC as part of a tetralogy that also included 'Iphigeneia at Aulis' and 'Alcmaeon in Corinth', and which Euripides' son or nephew probably directed. It won first prize in the City Dionysia festival competition.

The Dionysus in Euripides' tale is a young God, angry that his mortal family, the royal house of Cadmus, has denied him a place of honor as a deity. His mortal mother, Semele, was a mistress of Zeus; while pregnant she was killed, through trickery, by Hera, who was jealous of her husband's affair. When Semele died, her sisters said it was Zeus' will and accused her of lying; they also accused their father, Cadmus, of using Zeus as a coverup. Most of Semele's family refuse to believe Dionysus is the son of Zeus, and the young God is spurned in his home. He has traveled throughout Asia and other foreign lands, gathering a cult of female worshipers (Maenads or Bacchantes).

At the play's start he has returned, disguised as a stranger, to take revenge on the house of Cadmus. He has also driven the women of Thebes, including his aunts, into an ecstatic frenzy, sending them dancing and hunting on Mount Cithaeron, much to the horror of their families. Complicating matters, his cousin, the young king Pentheus, has declared a ban on the worship of Dionysus throughout Thebes. The Bacchae is considered to be not only Euripides' greatest tragedy, but one of the greatest ever written, modern or ancient. You can find links to several versions of the play in the rituals document.

You can find the rituals for the event here and join the community here. The first and last days have larger rituals and we've made a small ritual for the days in-between. The idea is that you read part of the play every day and finish it on the day of the last ritual. We hope you will join us in honouring Dionysos in his many, many forms.
Yezterday was a fun day. Someone, a man, perceived me as inferior because  my gender and told me to my face. A pleasure to know not much has changed since the time of Semonides.

Semonides of Amorgos was an ancient Hellenic iambic and elegiac poet who is believed to have lived during the seventh century BC. He is perhaps best known for his 'Types of Women'. It gives us an overview of the many negative qualities of women he perceived, speaking of the good in only a hand full of lines. Yet, in his negativity, he also notes all the virtues of women--women who are active, smart, clean, skilled, even-tempered, quiet, loyal, religious, modest (especially with her hair), beautiful, and ready to carry her share of the work.

Translation and notes copyright 1995 Diane Arnson Svarlien; all rights reserved
 
From the start, the gods made women different.
One type is from a pig--a hairy sow
whose house is like a rolling heap of filth;
and she herself, unbathed, in unwashed clothes,

reposes on the shit-pile, growing fat.
Another type the gods made from a fox:
pure evil, and aware of everything.
This woman misses nothing: good or bad,
she notices, considers, and declares

that good is bad and bad is good. Her mood
changes from one moment to the next.
One type is from a dog--a no-good bitch,
a mother through and through; she wants to hear
everything, know everything, go everywhere,

and stick her nose in everything, and bark
whether she sees anyone or not.
A man can't stop her barking; not with threats,
not (when he's had enough) by knocking out
her teeth with a stone, and not with sweet talk either;

even among guests, she'll sit and yap;
the onslaught of her voice cannot be stopped.
One type the gods of Mount Olympus crafted
out of Earth--their gift to man! She's lame
and has no sense of either good or bad.

She knows no useful skill, except to eat
--and, when the gods make winter cold and hard
to drag her chair up closer to the fire.
Another type is from the Sea; she's two-faced.
One day she's calm and smiling--any guest

who sees her in your home will praise her then:
"This woman is the best in all the world
and also the most beautiful." The next day
she's wild and unapproachable, unbearable
even to look at, filled with snapping hate,

ferocious, like a bitch with pups, enraged
at loved ones and at enemies alike.
Just as the smooth unrippled sea at times
stands still, a joy to mariners in summer,
and then at times is wild with pounding waves--

This woman's temperament is just like that.
The ocean has its own perplexing ways.
Another type is from a drab, gray ass;
she's used to getting smacked, and won't give in
until you threaten her and really force her.

She'll do her work all right, and won't complain;
but then she eats all day, all night--she eats
everything in sight, in every room.
And when it comes to sex, she's just as bad;
she welcomes any man that passes by.

Another loathsome, miserable type
is from a weasel: undesirable
in every way--un-charming, un-alluring.
She's sex-crazed, too; but any man who climbs
aboard her will get seasick. And she steals

from neighbors, and from sacrificial feasts.
Another type a horse with flowing mane
gave birth to. She avoids all kinds of work
and hardship; she would never touch a mill
or lift a sieve, or throw the shit outside,

or sit beside the oven (all that soot!).
She'll touch her husband only when she has to.
She washes off her body every day
twice, sometimes three times! then rubs herself
with perfumed oil. She always wears her hair

combed-out, and dressed with overhanging flowers.
Such a wife is beautiful to look at
for others; for her keeper, she's a pain
--unless he is a king, or head of state
who can afford extravagant delights.

Another type is from an ape. I'd say
that Zeus made her the greatest pain of all--
his gift to man! Her face is hideous.
This woman is a total laughingstock
when she walks through the town. She has no neck,

no butt--she's all legs. You should see the way
she moves around. I pity the poor man
who holds this horrid woman in his arms.
She's well-versed in every kind of trick
just like an ape; what's more, she has no shame

and doesn't care if people laugh at her.
She'd never think of doing something kind
to anyone; she plots the whole day long
to see how she can do the greatest harm.

Another type is from a bee. Good luck
in finding such a woman! Only she
deserves to be exempt from stinging blame.
The household that she manages will thrive;
a loving wife beside her loving man,
she'll grow old, having borne illustrious

and handsome children; she herself shines bright
among all women. Grace envelops her.
She doesn't like to sit with other women
discussing sex. Zeus gratifies mankind
with these most excellent and thoughtful wives.

But by the grim contrivances of Zeus
all these other types are here to stay
side by side with man forever. Yes,
Zeus made this the greatest pain of all:
Woman.

          If she seems to want to help
that's when she does her keeper the most harm.
A man who's with a woman can't get through
a single day without a troubled mind.
He'll never banish Hunger from his house:
unwelcome, hateful lodger, hostile god.

Just when a man seems most content at home
and ready for enjoyment, by the grace
of god or man, that's when she'll pick a fight,
her battle-helmet flashing, full of blame.
A household with a woman is at a loss

to give a decent welcome to a guest.
The wife who seems the most restrained and good,
she's the most disastrous of them all;
for while her slack-jawed husband gapes at her
the neighbors laugh at how he's been deceived.

Each man will diligently praise his own
and blame the next man's wife; we just don't see
that we all share alike in this hard luck.
For Zeus made this the greatest pain of all
and locked us in a shackle hard as iron

and never to be broken, ever since
the day that Hades opened up his gates
for all the men who fought that woman's war.