Book contents
- Frontmatter
- PREFACE TO THE SECOND EDITION
- INTRODUCTION
- Contents
- ADDENDA ET CORRIGENDA
- CHAPTER I THE HYMN OF THE KOURETES
- CHAPTER II THE DITHYRAMB, THE Δρώμενον AND THE DRAMA
- CHAPTER III THE KOURETES, THE THUNDER-RITES AND MANA
- CHAPTER IV MAGIC
- CHAPTER V TOTEMISM, SACRAMENT AND SACRIFICE
- CHAPTER VI THE DITHYRAMB, THE SPRING FESTIVAL AND THE HAGIA TRIADA SARCOPHAGOS
- CHAPTER VII THE ORIGIN OF THE OLYMPIC GAMES
- CHAPTER VIII DAIMON AND HERO
- CHAPTER IX FROM DAIMON TO OLYMPIAN
- CHAPTER X THE OLYMPIANS
- CHAPTER XI THEMIS
- INDEX
CHAPTER II - THE DITHYRAMB, THE Δρώμενον AND THE DRAMA
Published online by Cambridge University Press: 07 October 2011
- Frontmatter
- PREFACE TO THE SECOND EDITION
- INTRODUCTION
- Contents
- ADDENDA ET CORRIGENDA
- CHAPTER I THE HYMN OF THE KOURETES
- CHAPTER II THE DITHYRAMB, THE Δρώμενον AND THE DRAMA
- CHAPTER III THE KOURETES, THE THUNDER-RITES AND MANA
- CHAPTER IV MAGIC
- CHAPTER V TOTEMISM, SACRAMENT AND SACRIFICE
- CHAPTER VI THE DITHYRAMB, THE SPRING FESTIVAL AND THE HAGIA TRIADA SARCOPHAGOS
- CHAPTER VII THE ORIGIN OF THE OLYMPIC GAMES
- CHAPTER VIII DAIMON AND HERO
- CHAPTER IX FROM DAIMON TO OLYMPIAN
- CHAPTER X THE OLYMPIANS
- CHAPTER XI THEMIS
- INDEX
Summary
θιαсεỹεΤαι ψγχάΝ.
We have seen the Kouros grow out of the band of his attendants the Kouretes, yet the Kouretes and the Kouros remain figures somewhat alien and remote, belonging to a bygone civilization, only to be realized by comparison with barbarous analogies. We have further seen or rather suspected that in the thiasos of Dionysos, in his attendant Satyrs, the band of daimones who attended the Kouros found its closest analogy. This clue if followed leads to a conclusion as unlooked for as it is illuminating—Dionysos is the Kouros. The Cretan cult of the Kouretes and the Thracian religion of Dionysos are substantially one.
Anyone entering the theatre of Dionysos for the first time will probably seat himself at once in the great chair of the high priest of Dionysos, midway in the front row of the spectators’ seats. Immediately opposite him, as his Baedeker will inform him, is the logeion or ‘stage,’ as it is usually though incorrectly called, of Phaedrus. He will be told that this ‘stage’ is late, dating not earlier than the time of Septimius Severus (193–211 a.d.), and, in his haste to search for the traces of the ancient circular orchestra, he may be inclined to pass it by; yet he will do well to give to the sculptured frieze that decorates it a passing glance.
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- ThemisA Study of the Social Origins of Greek Religion, pp. 30 - 49Publisher: Cambridge University PressPrint publication year: 2010