Notes on ixionic craftsmen

7/30/2019 Notes on ixionic craftsmen

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Ixionic notes on Craftsmen and Such (Notes onFatima Raja and other sources)

Features of the Indo-European craftsman:[1: Avenger] He is an inimical being, violent, and with apropensity for revenge.

[2: Anti-Royal Progeny] He may have a monstrous child whothreatens (and is usually defeated by) a king.

[3: Counterpart to King] He himself may help to establish orbring down kings, but is seldom a king himself.

[4: a) Flyer, b) Outsider, c) Drug-Man/Soma Man, d)Women/Crimes of Passion] He is associated with flight, with theperiphery of society, with intoxication and women.

[5: Lame/Deformed] Often he is deformed, often his skill ismagical.[6: Master Craftsman/Guild Master] He may be the leader or a

member of an atelier.[7: Man-Maker] In some cases humanity owes its existence or

continuance to him (Raja, 64).

V lundr . The V lundarkvia opens like many folktales, withthree beautiful swan-maidens, / valkyries, shedding their skins bythe Wolf Lake. Here three brothers surprise them and steal theskins. V lundr, the youngest brother, marries one, Hervor the Allwise. Within nine years, however, the swan-maidens weary ofdomesticity and leave their husbands. (-) The elder brothersdepart in search of their wives and are not seen again, butV lundr stays at his home in the Wolfdales, hoping Hervor will return. Here he is captured by the king Nthoth. At the queensadvice they hamstring him, and set him to working metal on anisland called Saeverstath (Stead by the Sea). V lundr exacts a peculiarly vicious revenge. He lures the kings sons to come tohim in his smithy, and there kills them:

With silver their skulls neath the scalp that layIn silver he set and sent them to Nthoth;Of the bairs eyeballs shining beads he wroughtAnd gave them to the cunning queen of Nthoth.But out of the twains teeth made VolundBeauteous brooches which to Bothvild he sent. [Cit.Hollander, 160]


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He follows this by raping Bothvild and impregnating her, andescapes using the wings he had secretly made (Raja, 6-7). Thenhe flies away.

The painted stone of Ardre, Gotland, showsthe smith bursting

from the forge, at the very moment of escape. (-) To confirmthis scenes identification with the V lundr story, there are two headless bodies lying behind the smithy. The winged figure isstylized: we see two large wings attached to a wedge-shapedtorso, with a head emerging from the front. James Langsuggests that here the transformation is more total / than in thestories, that the shape of the head shows that he has turnedentirely into a bird (Raja, 8-9; Cit. Lang 91).

Volundr then has many features that mark him as a marginal

figure. He is physically disfigured. He is the husband of a swan-maiden, a double for a valkyrie, and is addressed as alfs [ftnt.--elfs] leader. He is one of the sons of a Finnish king, and thusnot Norse (ibid., 9). Plus, his avenging of himself is unique for ahero, the norm being avenging a crime against someone else.

Volundr and Regin, Odin and Skallagrim, even Loki and thenameless goldsmith all share features of the Indo-Europeancraftsman. (-) Nearly all perform violent acts against women,nearly all engender a monstrous child. (-) Volundr and Regin

are members of bands of craftsmen: as Hephaistos has hisKabeiroi, they have their elves and dwarves (Raja, 14; seepreceding pages).

Lleu. The smith Lleu, from the Welsh poem Mabinogi [Trans.Patrick Ford. Berkeley: U of CA P, 1977, 106], just like Ixion andVolundr, suffers and is carried into the sky. Vlundr and Lleu aretransformed into birds, Ixion is made to fly on the wheel.Connection to Hephaistus chair? (Raja 25).

Later, besides being Lleus foster-father [and besidescommitting violence against women], [Gwydion] is also his foster-mother: after Aranrhod abandons her unformed child, hesymbolically gestates it, in a chest at the foot of his bed (Raja26; Cit. Maginogi 98-99). See ibid. 27 for all of these smithsposition as kingmaker, the giver of royal symbols to kings, ineffect kinging them. Lleu, like Lug, is a craftsman onlywhile


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he is at the periphery, while Gwydion, like Goibniu, is eternallyoutside, as though it is a prerequisite that a king must leave hisskills behind (ibid., 27). Lug, for example, loses his craft powerand must be vested with his weapons by the three dna.Gwydion himself, as the outsider, the wolf, has nothing. He

gains nothing but exile and humiliation from Goewins rape(ibid.) [Think here of Ixions dynamism and his odd contribution toZeuss power through his eternal wounding, as in Prometheus.]Goibniu becomes the master of the uncanny otherworldly feast,and finally emerges in folklore as Goban Saor, trickster anditinerant builder of churches (ibid.).

Hephaistos. [H]e is deformed, and is associated withviolence, with drinking and with women. (-) Most of all, he isoutside: he is the Olympian who is rejected by his family, a figure

of fun, who is repeatedly expelled from the company of his peers.Despite this, the works of his hands are coveted. The weaponshe makes are exemplified by the magnificent shield of Achilles,which encompasses all of human experience. He is the maker ofthe chariot of the sun, and at Zeuss orders, of all womankind.His works are magical in their realism: we shall see later in thischapter how an automaton attributed to him is the guardian of anisland, and whose death is the subject of one of the masterpiecesof Athenian red-figure painting (ibid., 29).

Hephaistos. [O]ne who is neither like the gods nor mortalmen, fell, cruel Typhaon, to be a plague to men (Raja 30; orig.cit., Hesiod, 347). One of the Greek legends is that Hephaestus,when he was born, was thrown down by Hera. In revenge he sentas a gift a golden chair with invisible fetters. When Hera satdown she was held, and Hephaestus refused to listen to any otherof the gods save Dionysusin him he reposed the fullest trustand after making him drunk Dionysus brought him to heaven(ibid., 31-32; orig. cit. Pausanias, Desc. of Greece, 1.20.3).

For the wrong of being rejected, made an outsider, Hephaistosbinds Hera in a magnificent throne: he traps her in her role as theembodiment of the centre and seizes control of her body. Hefrees her only when he is brought back to Olympus quite drunk,bringing the outside to the inside, as it were. He takes anidentical revenge when, in the Odyssey, his wife Aphrodite slipsfrom his control to betray him with Ares, the god of war. [Cit.


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Homer, Odyssey, 200] He traps the two together in an invisiblenet and calls the gods to witness their shame. (-) Revenge isintegral to Hephaistos: Hera intended his very conception asrevenge on Zeus (Raja 32). [Yes, but this revenge is more aGreek justice or diakosyne type of balance of opposites. See

Minar on Pythagorean version.]

Periphetes, a son of Hephaistos, like the Swedish Vidga, opposesone who has a right to kingship, and is killed and his weapontaken (Raja 33).

Intoxicants: Volundrconstructs goblets out of skulls, Tvastr inthe Indic is the caretaker of soma. Hephaistos himself is acupbearer, replacing Ganymede, is drunk himself, and is themaker of the vine, as a fragment of the Little Iliad has it:

The vine which the son of Cronos gave [Laomedon] asa recompense for his son. It bloomed richly with softleaves of gold and grape clusters; Hephaestuswrought it and gave it to his father Zeus: and hebestowed it on Laomedon as a price for Ganymedes[Cit. Hesiod, 515] (Raja, 33).

Hephaistos: Hedemonstrates the motif of flight: we find himswooping through the sky at least twice in the stories, when he isthrown down from heaven, and there are some very odd

depictions of Hephaistos seated in a winged cart (Raja, 34).

In an article published in 1979, Martin Robertson offered hisinterpretation of one of the south metopes on the Parthenon asbeing not a Centauromachy, but the depiction of the life of one ofAthens mythical sons: the craftsman-artist Daidalos [Cit.Robertson]. Among the scenes was one of a female figure andtwo males, of whom one is smaller than the other. Robertsoninterprets this to be a depiction of a relatively obscure episode inDaidaloss life: the murder (or attempted murder) of his nephew,

Tal s, Kal s, or Perdix [partridgejk]. Tal swas Daidaloss sisters son and apprentice. The young apprentice invented thedrawing compass, the potters wheel and the saw, the last byimitating the form of a snakes jawbone. These inventions are, ofcourse, basic instruments of the very arts in which Daidalosclaims excellence. This so enraged Daidalos that he pushedyoung Tal s off the acropolis and / killed him. (-) Daidalos, in


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this tale, exhibits the classic personality of the Indo-Europeancraftsman who considers himself wronged: he is vengeful to anextreme. In reaction to being out-performed by his own pupil, hekills him. The boys mother, also Perdix in some versions, laterhangs herself: in effect, therefore, Daidalos compounds his

kinslaying by killing his own sister (Raja, 35). [Note thekinslaying parallel with Ixion, and also the apprentice outdoesmaster theme.]

Daidalos is twice forced to seek refuge: once after he commitsmurder, and once after escaping punishment for helping Ariadnesolve the Labyrinth (Raja 39). [Two crimes1) murder and 2) acrime involving a woman, like Ixion.]

Daedalus envied the lad and thrust him down headlong from the

sacred citadel of Minerva, with a lying tale that the boy hadfallen. But Pallas, who favours the quick of wit, caught him upand made him a bird, and clothed him with feathers in mid-air(Ovid, Metamorphoses 8.250-53; cit. Raja 35).

Perdixreturns much later, as Daidalos flies away from Crete, tojeer at Ikaross fall, and we have a possible illustration of thisepisode in a fifth century Attic vase, where a bird withoutstretched wings is pictured over a winged youth. [Twoavenging craftsmen] One, Daidalos, jealously tries to murder his

nephew (who escapes by flight); the second, Perdix, exults as hiskillers son falls to his death while trying to fly from captivity. Thesimilarities between the two are obvious, and raise the questionwhether an analogous tale may lie behind two late sixth centuryBCE depictions of Hephaistos, seated on a winged two-wheeledcart, one of which has two swans-necks. With his right hand hepours a libation, and in his left carries his axe, with tendrilssprouting from it (ibid., 36).

Bronze Talos: [T]he bronze man Tal s kept guard on the island

he circumambulated it thrice a day, and warded off invaders bythrowing rocks at them. There are several theories given for hisorigins: he is the last of the Brazen Race of men, he was given toMinos by Hephaistos, or to Europa by Zeus, or he was one ofDaidaloss miraculous creations. According to all these accountsbut one he is manufactured by Hephaistos or by Daidalos, thetwo mythical craftsmen. (-) Tal s had a single vein running


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through his body, which was sealed by / either a bronze nail, or athin membrane. [Medea] drew out the nail. This dramatic sceneis illustrated on the Tal s Painters name vase, in which Medea stands holding a bowl (presumably containing the drugs), while

Tal s languishes in the arms of the Dioskouroi.

Tal s is also a fairly popular image on Cretan coins. Here he is shown carrying or throwing a stone, sometimes with ahound at his feet. Interestingly, he is shown wingedthough Icannot discover any textual references to his wings (Raja, 36-37). [Note the emphasis on automata as sculptures so realisticthat no one can tell if they are real or illusion. It is doubtlessconnected to the idea in Lindsay of the Pythagorean who createda mosaic based on a certain number that was the man, etc. Plus,here we have Laing-Tantalos-Deucalian behavior, with theheaving of rocks as the creation of a holy temple.]

Tal s : Athena transforms him into a bird, which Ovid points outflutters along near the ground and lays her eggs in hedgerows;and remembering that old fall, she is ever careful of lofty places[cit. Ovid 8.257-9]i.e. is not of either air or land. And finallyBronze Tal s is not only firmly placed on the coastal areas of Crete, but, like Lugus, is pictured accompanied by a hound:perhaps similr to the wolf imagery associated with Volundr?(Raja 39).

The Kabeiroi are worshipped in a mystery cult on Lemnos whichmay have been associated with craft guilds (Raja, 38; Cit.Burkert, Greek Religion, 281).

Perun: Among the Russians Perun and the agricultural god Veles were the pre-eminent gods: when Vladimir converted the Russias to Christianity, [these two] were singled out to be drawnthrough the streets and thrown into the Dnieper. Perun , as Perk nas, was also the chief god among the Balts. He is a / frequent subject of the dainas, the oak tree sacred to him is still

widely venerated. In Russia, as in the Baltic region, Perun is a thunder-god worshipped in oak groves, and invoked in raincharms (Raja, 40-41).

We are reminded of other divine craftsmen who are also theancestors, in one way or another, of all humanity: Hephaistos, forexample (who keeps the fire that Prometheus stole)


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manufactures Pandora at Zeuss command, and Tvastr is thegrandfather of Yama, the first man to die. (ibid., 41).

Svarog made it a law for every man to have only one wife, and for every woman to have only one husband; and he ordained that

whosoever trespassed against this command should be cast intoa fiery furnace (Mchal, 298; cit. in. Raja 42). [Note thealchemical-craftsman furnace and relate to Ixion etc.]

The blacksmith as the forger of a union may be compared toGwydion in the Mabinogi, who not only arranged his ward Lleusmarriage, but was instrumental in the creation of Blodeuedd, hisbride. This association with marriage may, perhaps, be part ofthe widespread relationship with women.

A similar role is played on the divine scale by the Baltic

craftsman, Kalvelis, or Taljavel. (-) From his forge, located likevolundrs prison, on the edge of the sea of by the Dvina, Kalvelisforges stirrups for Gods son, and a crown and ring for the SunsDaughter, of which the latter accoutrements are reminiscent ofthose that smiths are asked to forge in Russian wedding songs. Aset of Lettish folktales about the Suns Daughter makes theconnection more explicit. The events are as follows:

1. The Suns Daughter is the beloved of Perk nass son.2. She is seduced by her mothers husband, the Moon.3. The absconding pair are found either by the Sun, or by

Perk nas, who hacks the Moon to pieces.4. The suns Daughter is exiled for betraying Perk nass

son.5. Angered at his mother for driving the Suns Daughter

away, Perk nass son forges a golden chair for her, in which she, like Hera in another tale, is trapped.

6. Angered, Perk nas exiles his son.7.The Suns Daughter either becomes the patroness of the

hearth-fire, or else comes to live with[her] destined one,not in Heaven, but on Earth, among people, in the fire.

This fire is [her] love, she says.Here Perk nass own son is a craftsman who, like Hephaistos, traps his mother in a gilded throne. More, he is the embodimentof the domestic fire. He is vindictive about / his motherspersecution of the Suns Daughter, and takes his revenge uponher body. (-) For his transgression he is flung out of heaven assurely as Hephaistos is tossed off Olympus (Raja, 43-44).


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Thus while all mainstream social roles in Rome are groupedtogether, craftsmen are separated, and more are crushed andpulverized, in order to homogenize and unify the city (ibid., 50;interior cit?, maybe Dumezil Tarpeia, 244).

In the Taittiriya Samhita version of the killing of Visvarupa, he isdomestic priest to the gods, and earns Indras inmity forpromising a share of the sacrifice to the asura: Such a one [Indrathinks] is diverting the sovereignty (from me). For this threat tothe chief of the gods, Visvarupa is killed, but since he is a priesthis murderer is guilty of Brahmanicide. Indra can only escape hisimpurity by shedding it onto willing recipients: the earth (whichfissures), a tree (which fills with sap), and a concourse of women,who begin to menstruate (Raja, 54).

Tvastrs son-in-law, the Sun, has malformed feet because Tvastrneglected to trim them: for this reason, artisans are instructed tonever complete the feet of solar images (Raja 55; orig. cit.Matsya Purana, 11.1-39). [Perhaps this idea of untrimmed feet isrelated to the Kalavalas two and a little left over notion inHamlets Mill, 28.]

The Rbhus, a trio of mortal craftsmen, are demigods whomanufacture wondrous things including Indrashorse-less

car, but their subsequent promotion is incomplete, and they arelater pushed aside by the gods (Raja, 55). The Rbhus also grantlife-extension and youth (ibid., 63).

A passage in the Taittir ya Br hmana has a list of deities to beinvoked by various classes. The only craftsman classrepresented is the rathak ra , the chariot-makes, who may invokethe Rbhus. This is among the few texts to make even thisallowance to artisan worshippersand only to the chariot-maker,who appears to be the most privileged of craftsmen (Raja, 56).

Kai Kaus or K us is a builder-king who harnesses the daeuuas toconstruct his jeweled palaces, and orders the realm or Iran.K us characteristically overreaches himself, however: just as his reign seems fit to be a golden age, Iblis (Ahriman) incites him totry and ascend into the sky itself. K us attempts this by harnessing four eagles to his throne, and equipped with a saddle-


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cup of wine, rises to assail the heaven itself with his artillery.[Cit. Firdausi v. 411] Like Volundr K us is a creator-figure who ascends into the sky; unlike Volundr, K us falls ignominiously. Dumzil, [sic] remarks on Al Berunis mention of a decrepit oldman, Kay s , who went to a mountain and returned rejuvenated,

with a chariot made of clouds (Raja, 62). [Note the parallel withIxion, the cloud-poker, and his cloud-lover, the daimon-Hera].

The word kavi has a meaning apparently having little to [do]with craftsmanship: it denotes a poet or a sorcerer, one whosewords have power. In myth the kavi often / has the power toraise the dead or reverse aging, one who belongs neither to thegods nor to the demons, who wields his magic powerindependently, sometimes on behalf of one group, sometimes theother [Cit. Stephanie Jamison, unpublished mss.] (Raja 63).

Daktylois secret guild handshake: Hellanikos suggests that theDaktyloi are named after the events of their first encounter withMother Rheameeting her inside Mount Ida, they greeted heredexiosantoperhaps by raising their right handsand graspedher by the fingers (Westover, 4).

The diminutiveness of the Daktyloi[1] Kelmis (Knife), [2]Damnameneus (Hammer?), and [3] Akmon (Anvil andheaven)is related to ancient Purusan sacred measure. These

are also the smiths implements that Herodotus or someonereported as golden objects falling from the sky. As we have seen,fingers, forearms, etc., are related to the creation of holy zonesand temples, and derive from Purusa, the measure of man:Possible evidence for the diminutive size of such creatures occurina poem from the sixth century writer Onomakritos. Pausaniascites it when discussing the image of Herakles at Megolopolis,which is very small, at the most as large as a forearm; he citesOnomakritoss poem as the authority for defining this diminutiveHerakles as one of the so-called Idaian Daktyloi (Westover 4; cit.

Pausanias 8.31.3). [Also, see Winn, Heaven, 30, for the axe andfish as a sacred measuring stick and probably sacred wand, equalto the human leg with the fish tattoo on it. Orig. cit. Sadovszky,*pisko, 91,93.]

The scholiast, having indicated that the right hand Daktyloi aremale and left female, summarizes Pherekydes position [in his


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Istoria] on the differences between the two: he identifies 20 righthanded Daktyloi who loosen spells, and 32 on the left who castspells and work in poison. Bothare the first skilled ironworkersand miners and are named for mother Ida. The passage issignificant for affirming, for the first time in the record, the

existence of a supernatural or magical power associated with thedaimones, at the same time that it affirms their continuingidentification with the metallurgical arts and with Phrygia(Westover 5).

Zenobius account of the Kopsoi is quite different. He mentionsit in support of his explanation of the phrase, Kelmis en sideroaphrase that also drew Plutarchs explanatory energies some 6centuries later. The phrase is applied, Zenobius explains, tothose who trust too much in themselves, because they are by

nature obstinate and hard to conquer. [Do we have here a nexusof the concepts hard, hard to move, and metal?] Kelmisexemplified this: he, along with his brothers, offended Rhea bynot receiving her well; another possible reading is that after heoffended her, he himself was not well received by his brothers.His punishment was his metamorphosis into harshest iron.:Walkers edition clarified that this occurred after he entered intothe grave of the subterranean chambers of Mount Ida,accompanied by a great shaking (Westover, 7; Cit. WalkerSophoclean Fragments, 32, orig. in Greek).

The idea of a subterranean chamber recalls the Daktyloi ofPhoronis who meet Rhea inside Mount Ida; it occurs as well in athird or fourth century magical papyrus that refers to a katabasisritual consisting of entry into the underground chambers of theDaktyloi. Subterranean banishment of an offending memberappears as well in the myths of the Kabeiroi, e.g. the fratricideClement recounts, and the Telchines, who are as a groupbanished underground for their misbehavior (Westover, 8).

Kelmis en sidero=Kelmis in iron shackles [Ixionic figure]: Inexplanation of the story told of the Kabeiroi by Clement, in whichtwo brothers killed the eldest, severed his head and buried itbeneath a mountain, he points to the old but tenacious traditionthat metal is born from the body of a man. The idea may also beseen in legends of Asia Minor that imply the use of humansacrifice to ensure the success of metallurgical operations. The


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evident persistence of the saying, Kelmis en sidero, for at leastsix centuries suggests that if this is the correct story behind it,this idea, otherwise but slenderly attested in the extant Greekrecord, may have yet been of wide familiarity Crusius explainedthe parable in the following way: the goddess had taught them,

Damnameneus or Akmon, the art of smelting from and makingarrektous pedashence Kelmis, another Prometheus or Ixion,had to pay for his error in iron shackles on Ida. Thus Kelmis ensidero means Kelmis in iron shackles. He was a very harddaemon, hence Ovid could call him adamant, or steel(Westover, 9).

Alexandron Polyhistor is the first to mentions [sic] the Daktyloiagain in Peri Phrygias, in which he cites them as the first, afterOlympos, to bring the music of the auloi into Greece. The title of

this work confirms that he sees them as Phrygian immigrants;this is the first time they are described as specifically magiciansrather than dancers (ibid., 15).

Strabos assertion that the Korybantes, Kabeiroi, Daktyloi andTelchines are all equated with the Kouretes is one of the mostfrequently cited passages on their syncretism; some writers, hesays, make them all identical, while others make then kinsmendistinct from each other only in the smallest matters. (-) [T]hey worked iron first on Ida, wee wizards and attendants of the

great Mother, lived in Phyrgia around Ida, and claim bothKouretes and Korybantes as their offspring. He claims that nineKouretes were born from the hundred Daktyloi, and that to eachof these I turn were born ten Idaian Daktyloi (ibid., 17).

Pliny also mention sthe Daktyloi in his Natural Historywhen heexplain [sic] that stones called Idaian Daktyloi had the color oriron and were shaped like a human thumb (ibid., 18).

[A] certain Aegisthsius, [Plutarch] writes, was struck with love

for a girl by the name of Ida. He was so out of his mind withdesire for her that he chose a dangerous spot for their unionthesacred adyton of mother Rhea, located on a mountain. In honorof his love for the girl, however, he named the mountain Ida afterher, and the children of their union were the Idaian Daktyloi. Inthe Moralia he describes he describes frightened people recitingthe names of Idaian Daktyloi as apotropaic devices, and


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commentds the recollection of the works of all good men ashealthy for the soul and restorative of virtue (ibid., 19).

Lukian cites a Bithynian tradition that Pripus, who was either aTitan or an Idaian Daktyl, taught Mars the art of leaping. Priapus

links the chance of the Daktyloi with fertility, Mars with was;Lonsdales discussion of the traditional lochos dance, whichLukian distinguishes from this one, shows the same associationbeing made, and offers an explanation of the mythic and rituallogic behind such an association. The iochos is the ambushdance, in which warriors are symbolically born from the earth asthey leap, fully armed, from their hiding places. Theirperformance recalls both the birth of the fully armed Athene andthe frenzy of earth-born Kouretes and Korybantes around theinfant Zeus (ibid., 19). The Daktyloi may have been creators of

holy statues.

Herakles Daktylos. [T]he Megalopolis temple of Demeer andPersephone included a one-cubit high statue of Herakles (ibid.,21).

Porphyry, in his Life of Pythagoras 17, discusses Pythagorasinitiation into the Daktylic mysteries. The initiations were held ina cave, an image seen in the Sophoklean fragments that suggesta cave on Mount Ida and appearing as well in the katabasis

fragment discussed below. (-) Pythagoras was first purified bymeans of a so-called thunder stone, then stretched out prone bythe sea, crowned at night with the wool of a black sheep, andfinally spent three days underground in the Idaian cave in whichhe saw the throne of Zeus that is connected with hi annualmanifestation. To his Zeus he dedicated an epigram, writing thathe was the Origin (ibid., 22).

The Daktyloi are inventors of Ephesian letter, explainedas thenames Askion, Kataskion, Lix, Tetrax, Damnameneus and Aisia.

Damnameneius is familiar as the name of a Daktyl, and AskeiKataskei occur as well the third/fourth century Katabasis ritualfragment. (-) Clement decodes the meaning of the namesAskion was [sic] darkness, Kataskion light, Lix the earth and

Tetrax the earth (ibid., 23).


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One of the most intriguing bits of information about theDaktyloiis a fragment of a katabasis ritual preserved in thecontext of a magical spell. The fragment consists of instructionsfor dispelling the daemon of punishment: after grabbing his heel,the individual practicing the ritual is instructed to recite several

words, some of which are untranslatable, and then the phrases, Ihave been initiated, and I went down into the (underground)chamber of the Daktyloi, and I saw the other things downbelow The threat facing the protagonist seems to be fear ofpunishment in Hades: the untranslatable works represent theformula usually called Ephesian letter, which Clement ofAlexandria attributed to the Idaian Daktyloi (ibid., 24).

The Telchines are unique in their characterization as jealous,malicious creatures whose homeland is almost universally

restricted to Rhodes: their history is intimately linked with thelegend of that island. They seem to be both the legendizedrecollection of an actual ancient tribe that preceeded Greekcolonization of the island and mythical creatures, metallurgistsand magicians, presented as ancient god in a position ofcompromised power subsequent to their jealous attacks on theprosperity of their neighbors (ibid., 29). They were associatedwith the production of hail, snow and storms that would be aspotentially deadly for a farmers crops as for a ship at sea (ibid.,25).

Blinkenberg attempted a reconstruction of one passage fromthese fragments; it revealed that among the offspring of thecastration of Ouranos were the dolphin and the pompilous, ananimal fond of love since it was born at the same time asAphrodite. (-) That the Telchines themselves were sometimesconsidered fish-like in form emerges more clearly in Suetoniosaccount; Strabo informs us that the castration that engenderedthis fish was carried out with a sickle manufactured by the

Telchines; and Tzetzes, in the twelfth century, suggests that the

Telchines were generated similarly, born, along with the Erinyes,from the blood flowing into the ground out of the genitals (ibid.,31).

Dexithea, she who entertains a god, was one of severaldaughters of Damon, chief of the Telchines, living in Ceos afterZeus scattered the Telchines abroad in punishment for their


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having blighted the earth of Rhodes. A dream came to her,warning of impending disaster and counselling [sic] them to leavethe city for the seacoast. They did so, and met two strangers ofnoble appearance, who had just arrived. Though in deep sorrowand distress, Macelo, on behalf of the sisters, offered them the

hospitality that they couldone of the visitors spoke words ofcomfort and predicted that thought Damon must be smitten byZeus wrath, a great hero would soon come to Ceos, wed one ofthe sisters, and through her found a famous line that would rulethe island. This hero appeared three days later in the form ofMinos, who married Sexithea and fathered Euxantius, theeventual father of the hero Miletus, and ancestor of the Milesianclan, the Euxantidae. The storysuggests an awarenessof the

Telchines as spiteful beings who used magic, blighted the cropsof Rhodes, and so suffered exilethis association with vegetal

fertility has been seen in the Daktyloi and Kabeiroi as well. (-)[In] Xenomedes accountthe Telchines are described as foolishwizards who willfully ignored the gods; their punishment wasdeath by lightning (ibid., 33).

The Telchines are presented as the creators of a waterjug ofinscrutable manufacture, on which it was engraved that the

Telchines dedicate a tenth of their work to Athena Polias and toZeus Poleis (ibid., 33).

A text invites cranes who delight in the blood of the pygmies tofly far from Egypt, thus arguably providing three elementssuggesting dwarfish size: the cranes, famous in vase painting fortheir battle against the diminutive pygmies; the pygmiesthemselves; and Egypt, whose long tradition of divine dwarveshas been discussed at length (ibid., 35).

Nikolaos of Damaskos on the Telchines: Their particular skillwas the creation of the first statues of the gods; that this was notcondusive [sic] to social acceptance is suggested in their

depiction, here as elsewhere, as Baskanoi to sphodra.sfronoi.Nikolaos notes that the first statue of Athena, created by theseworkers, was known as Athena Telchinia or also AthenaBaskanos, e.g. Malicious Athena or Athena the sorcerer (ibid.,35).


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Interestingly, statues of Hephaistos were particularly often usedas apotropaic magic statues, his feet twisted backwards toprevent his movement and bind the negative force of fire. Thus amalicious statue could be created precisely in order to exertpower over the force it embodied (ibid., 37).

See Diodorus Siculus 5.55-57 for the Telchines: These sons ofPoseidon, nephews of the / Telchines, were rude to Aphroditewhen she tried to stop at the island; in revenge she made themmad, so that they lay with their mother and committed violenceupon the natives. When word this reached Poseidon, he buriedthem beneath the earth; they are now known as the EasternDemons, proseoious daimonas (37-38). Acc. to Strabo theymade the scythe of Kronos (41).Didodorus Siculus reports in 4.48 that stars first appeared above

the heads of the Dioskouroi in response to prayers by Orpheus tothe Samothracian gods, and Glaucus appeared to announce theirapotheosis (ibid., 61).

According to Herodotus, Cambyses, increasingly insane and benton destruction, entered the temple of Hephaistos in Memphis andmocked the image of the god. Herodotus / compares this imageto the Phoenician Pataici, dwarfish figures carried on the prows oftriremes. Cambyses also entered the temple of the Kabeiroi, intowhich none but the priests could enterhis eventual fate is

echoed by those recorded for victims of the Kabeiroi manycenturies later by Pausanias, who records that the Persians, andlater the Macedonians, who entered the Kabeiric sanctuary at

Thebes in order to mock the images were killed by lightning(ibid., 65-66).

The Kabir isthe beautiful child of Lemnos, his birth part ofunspeakable rites. (-) This association of the Kabeiroi with thefirst man appearsin connection with a vase sherd from the

Theban Kabeirion showing the emergence of Pratolaos from the

soil in the presence of Kabiros and his pais (ibid., 67).

Apollonios [of Rhodes in hisArgonautica] refersto Samothraceas the island of Elektra, daughter of Atlas: Athenion identifies heras the mother of the Kabeiroi. (-) A more specifically Kabeiricassociation is Orpheus confidence that the Argonauts will travel


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more safely once initiated, recalling the identification of theKabeiroi with the Dioskouroi (ibid., 67).

Clement of Alexandria [wrote that] two of the Korybantes, whomhe equates to Kabeiroi, slew a third one, their brother, covered

his head with a purple cloak, and then wreathed and buried it atthe skirts of Mount Olympus. Kelmis quarrel with his brotherDaktyloi, and his subsequent subterranean interment, is aparallel tradition. If Clements report is to be believed, the sash isthe record of a grisly crimewe are reminded that initiates weresaid to have to confess the worst thing they ever did (68).


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Samothracian name Dionysodoros/Mnaseas Varro & Servius-------------------------- ------------------------------ ---------------------Axieros Demeter Caelum, Serapis

Saturn, Jupiter

Axiokersos Hades Terra, Isis, Ops, Juno

Axiokersa Persephone Minerva

Kasmilos Hermes Camillus, Mercurius(ibid., 70)

[Maybe we could relate this to Peter Kingsleys AncientPhilosophy, ch1.]

Apollonios scholiast says there were but two Kabeiroi, the elderbeing Zeus and the younger Dionysos, named for the Kabeiramountains in Phrygia rather than for their father (ibid., 70).

Hellanikos in the fifth century b.c. [sic] and Idiomeneus in thethird, both cited in the Scholia Parisina to Argonautica 1.915-916,offer more details: Elektra, they said, was called Strategis bythe Samothracians, and bore three childrenDardanos, whofounded Troy, Eetion or Iasion, who was struck by lightning forhaving insulted the agalmata of Demeter, and Harmonia, of

whom Hellanikos and Idomeneus report that she married Kadmosand named the hates of Thebes for her mother Elektra (ibid.,71).

The Kabeiroi were sometimes called upon to ward off poverty(ibid., 73).

The myths of the Kabeiroi as fratricides, the primordial expulsionfor misbehavior characteristic of their cousin Daktyloi and

Telchines, as well as evidence connecting the rites at both

Lemnos and Thebes to Prometheus and his ancient transgression,offer literary support for a ritual notion of ancient guilt to beexpunged (ibid., 81).

Iron rings: [T]he presence of a lodestone at Samothrace andancient accounts of the iron rings of Samothracian initiates,magnetized perhaps / as part of the epopteia ceremony, point tosome connection between the metallurgical aspect of the


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daimones known in myths and a ritual articulation (ibid., 81-82;cit. Cole, Theoi Megaloi, 26-30).

Glaukos, a son of Minos on Crete, was chasing a mouse, fell into

a jar of honey and was drowned. Minos searched diligently forhim and consulted the Fouretes, his diviners, for help. They toldhim to seek the man who could best describe to him a certaincow in his herds whose hide was three different colors; Minos didso and found that of all the seer, Polyidos best accomplished thistask, as he compared the color of the cow to the fruit of thebramble. He was subsequently able to find the child bydivination. Hyginus fills in the details that the cow actuallychanged color twice a day, from white to red to black, and thatPolyides found the boy by observing an owl that had perched on

a wine-cellar and was driving away bees. Minos then shut him upwith the dead body, telling him to restore the boy to life as theKouretes had foretold / he would be able to. Polyidus was at aloss, but s he waited he observed a serpent enter the area gotoward the corpse. Alarmed, he threw a stone at the serpent andkilled it. Another snake soon entered, and when it found the firstserpent dead, left, fetched an herb, and placed it on the body ofthe dead serpent, which then came back to life. Polyidus thenapplied the same herb to Glaukos body and raised him from thedead. Minos insisted that Polyides teach the restored boy the

secrets of his craft, which he did so against hiswillhe cleverlyrecovered them, however, when, at the time of his own departurefrom Crete, he ordered the boy to spit into his mouth. The salivare-transferred all of Glaukos knowledge back to his master, andthe boy was left without any prophetic powers. (-) The Kouretesof this story seem nearly tangential, but the elementsa childpresumed slain, his body hidden, the appearance of death butfinal freedom from itare familiar from the generic Koureticcontext. (-) [T]he three colors of the cow refer to threedifferent stages of the initiatory rite; and the mouse myn, as the

object of Glaukos quest, invites etymological word play withmyein, mystic initiation (ibid., 102-103). [Could the {1} white,{2} red, and {3} black be tied to alchemy, or at least toHephaisto-Orphic cosmology? Yes, read on]

P. Faure, Les Minerais de la Crete Antique, RevueArcheologique, 7th series, 1 (1966): 45-78, suggests that thechanging colors of the cow, which suggest a progression through


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stages of initiation, refer to the processes of metallurgicaltransformation. Glaukos name, the blue-green, suggests theraw material malachitea particularly appropriate material toinvoke, he argues, as it comes from the Semitic root m-l-k, theking (ibid., 104).

[T]he son of the king, e.g. Glaukos/malachite, can only berevived by one who knows how to identify the heifer of the threechanging colors, e.g. the bellows made from the heifers hideenables the worker to give three colors to the ovens of roasting(black), melting (red), and refining (white) (ibid., 105).

Oppians Cynegetica 3.7 account provides the final image of theKouretes from the second century. To the essential myth of theDouretes protection of the infant Zeus he adds that Kronos,

angry at his deception, punished the Kouretes by turning theminto lions. Zeus could not reverse his fathers doing, but grantedthem supremacy over the other animals and the privilege ofdrawing the car Rhea, described as the goddess who lightensbirth pangs (ibid., 112).

Left sl. 134

Hephaistos is the divine smith and builder. The latter aspect is

somewhat surprising, but he constructed the rooms of his motherHera (Il. 14.166-7) and father Zeus (14.338-9) as well as thehouses of the individual gods (1.607-8), including that of himself,which was imperishable, decked with stars and of bronze(18.369-71) (Bremmer, Hephaistos, 194).

Hephaistos connection with weapons remained alive in Athens untilwell into the Hellenistic period; in fact, weapons were supposed to havebeen invented on Hephaistos island Lemnos. In this area, Hephaistosclearly surpasses mortal smiths, since his own objects can look very

much like living creatures, such as moving tripods (Il. 18.373-7), walkingservants (18.417-21), shivering leaves of vines (Hes. Sc. 297), theguardian dogs of Alcinous (Od. 7.91-4: a motif Homer also derived fromthe Ancient Near East) and the sharply crying women in Hesiods Shield(244) [Bremmer, Hephaistos, 195].


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Athenas association with Hephaistos in myth begins with herbirth from the head of Zeus, with the help of Hephaistos. In thisrepresentation of the myth, Athena is emerging from the head ofZeus, while Hephaistos, holding his double axe, prepares to fleethe scene. Both Athena and Zeus appear prepared to attack

Hephaistos. Deacy points out that his depiction may indicate thatHephaistos was actually attempting to wound Zeus, rather thanhelp him relieve his headache. This scene would then alignHephaistos with Prometheus, who in some versions of the mythperforms this act, as an enemy of Zeus (Smith, Miasma, 17)

sl. 30

Hephaistoss all is anything but godlike: it took him an entireday to come to earth and when he finally hit Lemnos he needed

to be healed by its human inhabitants, the Sintians (Rinon,Tragic, 6; cit. Il. 1.592-594).

Interestingly, Zeus, like his double Ixion, finds himself boundbecause of his rivalry with his brother Posiedon over the love of

Thetis, who ends up mating with the moral Peleus. Once havingloosed the bonds, [Themis] summons Briareos, not to perform,but simply to sit beside Zeus as a reminder of Zeuss finalmastery in the succession myth struggle. Briareos and hisbothers, in Hesiod, are never instigators, but agents; Thetiss

power to summon the hekatoncheirherebeyond what theinsurgent gods are capable ofrecalls Zeuss own successful useof Briareos and his brothers. Not even a single one of Briareosshands needs to be laid on the mutinous gods here: they areoverwhelmed by the assertion of sovereignty implied by thepresence of Briareos, rather than overpowered by him. In thissense, one can see Briareoss narrative function as a mirror of hisdramatic function: he is a reminder (Slatkin, Power of Thetis,69).

M. Dumzil reminds us of a text of Plutarchs (Romulus, 26)where it is said that certain men always walked in front ofRomulus, men armed with rods for keeping back the crowd, andgirded with straps, ready to bind at once those whom he orderedthem to bind. [Cit. Dumzil, Mitra-Varuna, 72] The Luperci, amagico-religious / brotherhood founded by Romulus, belonged tothe order of the equites, and in that capacity they wore a ring on


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the finger [Cit. Mitra-Varuna, 16]. On the other hand, the flamendialis, representing the austere, juridical, static religion, wasallowed neither to ride a horsenor to wear a ring unless it wereof openwork and hollow. If a man in chains comes in [to theflamen dialis] he must be set free: let the shackles be thrown up

through the compluvium on to the roof and thrown thence intothe street. He [the flamen] wears no knot either on his hat, atthe belt or elsewhere. If a man is being led forth to be beatenwith rods, and this man throws himself for mercy at the feet ofthe flamen, it is a sacrilege to beat him on that day [Cit. Aulus-Gellius, Noctes Atticae, 10.15] (Eliade, God Who Binds, 93-94).

[I]t is Varuna above all who has the magic power to bind andunbind men at a distance (ibid., 96).

Varuna is sahasr ksa , the thousand-eyed, a mythic formulawhich refers to the stars andcould have been used of none butan ouranian divinity. (-) There isa remarkable symmetrybetween what might be called celestial stratum of Varuna,which correspond with and complement one anther: heaven istranscendent and unique, exactly as the Universal Sovereign is;the tendency to be passive, manifested by all the supreme godsof Heaven, goes very well with the magical prestige of thesovereign gods who act without action, who work directly by thepower of the spirit (ibid., 97).

Nocturnal, lunar aspect of Varuna: Bergaigne mentions theremark of the commentator of the Taittiriya Samhita (1.8.16.1)that Varuna designates him who envelops like the darkness.

This nocturnal side of Varuna is not to be interpreted solely inthe ouranian sense of the nocturnal heavens, but also in a wider,truly cosmological and even metaphysical sense. The Night itselfis virtuality, seed, the non-manifest; and it is just this nocturnalmodality of Varuna that enabled him to become a god of theWaters and made possible his assimilation to the demon Vritra

(ibid., 98).

One remembersthe iron ring borne by the Chatti as a chainuntil they had killed their first enemy (Tacitus, Germania, 31), theritual shackling among the Albanians (Strabon, 11.503); also thechains borne by the Georgian devotees of the White George, theritual bindings of the Armenian kings (ibid., 104).


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Knots, in their Semitic and other contexts, resist our efforts toclassify them as either good or bad. Rather, they have moreto do with magic, with power and process themselves (ibid., 110-111). But ambivalence of this sort is to be found in all the

magico-religious uses of knots and bonds. The knots bring aboutillness, but also cure or drive it away; nets and knots can bewitchone, but also protect one against bewitchment; they can bothhinder childbirth and facilitate it; they preserve the newly born,and make them ill; they bring death, and keep it at bay (ibid.,112).

In Indian speculationthe air (v yu ) has woven the Universeby linking together this world and the other world and all beings,as it were by a thread, just as the breath (pr na ) has woven

human life. (-) [I]n the Cosmos as well as in human life,everything is connected with everything else in an invisible web;and secondly, that certain divinities are the mistresses of thesethreads which constitute, ultimately, a vast cosmic bondage(ibid., 114).

The Babylonian markasu, link, cord, also indicates the cosmicprinciple that unites all things, and [here me all the way!] maybe related to the IE rt, basis of Sanskrit rta (ibid., 115).

[T]here is the iron ring that the sorcerer (Panda) of the Gondswears round his neck during the nine days of the feat of K l - D rga (a festival that the Gonds call zv r , a word derived fromthe Hindu jav r , oats, a proof of its agrarian origin); and, on the other hand, there are the rings of iron about the necks of afeminine idol and of the proto-Shiva, both found at Mohenjo-Daro [See footnt., ref. to Evans, The Palace of Minos, 1.430ff., forritual knots.] (ibid., 122).

In the Tar Baby story: The animal begins to stick to tar-baby

when he is going to kiss, embrace or dance with the pretty girl,or when he is going to embrace the pitchy-pine bride (Espinosa,34), In order to catch a fox, a rabbit puts pitch on her hands andfeet, and then asks her to strike a pine tree, first with the rightforefoot. The fox obeys and her foot sticks fast (ibid.), Theanimal thief of elements A5, B12 sticks to the stool or stone


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covered with tar or bird-lime when he sits on it (ibid.). [Theseelements are in the Hephaistos-Ixion story.]

Aeschylus, Cabiri (lost play) (Greek tragedy C5th B.C.) :

This drama [i.e. the play Cabiri], named for its Chorus, representsthe earliest known appearance of these gods in Greek literature.Weir Smyth (L.C.L. volume) summarises evidence of the play:Athenaeus, Deipnosophists 10. 33. 428F, declares that it wasAeschylus who first introduced drunken people to the sight of thespectators of tragedy; and that this evil eminence was displayedin his Cabiri, in which play he represented Jason and hiscompanions as drunk. Fragment 49 would seem to refer to the

hospitable reception of the Argonauts by the Cabiri, whofurnished them with an abundance of wine upon their landing atLemnos, the first stopping-place of the Argo on its eastwardvoyage. The introduction of a drunken orgy has caused manyscholars to regard the play as satyric rather than tragic. Whetherpure tragedy may thus relax its gravity is a question that hasbeen raised also in connexion with the Ostologoi of Aeschylus andthe Sundeipnoi of Sophocles. The Scholiast on Pindar, Pythian 4.303, states that the names of the heroes of the Argonauticexpedition were set forth in the Kabeiroi.

[http://www.theoi.com/Georgikos/Kabeiroi.html]

Strabo, Geography 10. 3. 19 - 21 :

(1) Others say that the Korybantes (Corybantes) were sons ofZeus and Kalliope (Calliope) and were identical with the Kabeiroi(Cabeiri), and that these went off to Samothrake, which in earliertimes was called Melite, and that their rites were mystical.

(2) But though the Skepsian [Demetrius of Scepsis, grammarianC2nd B.C.], who compiled these myths, does not accept the laststatement, on the ground that no mystic story of the Kabeiroi(Cabeiri) is told in Samothrake, still he cites also the opinion ofStesimbrotos the Thasian [writer C5th B.C.] that the sacred ritesin Samothrake were performed in honor of the Kabeiroi: and theSkepsian says that they were called Kabeiroi after the mountainKabeiros in Berekyntia [in Mysia].


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Pausanias, Description of Greece 9. 25. 5 - 26. 1 :

[In the town of Thebes in Boiotia] you come to a grove of

Demeter Kabeiraia (Cabeiraea) and Kore (Core). The initiated arepermitted to enter it. The sanctuary of the Kabeiroi (Cabeiri) issome seven stades distant from this grove. I must ask the curiousto forgive me if I keep silence as to who the Kabeiroi are, andwhat is the nature of the ritual performed in honour of them andof the Meter (Mother). But there is nothing to prevent mydeclaring to all what the Thebans say was the origin of the ritual.

They say that once there was in this place a city, with inhabitantscalled Kabeiroi; and that Demeter came to know Prometheus, oneof the Kabeiroi, and Aitnaios (Aetnaeus) his son, and entrusted

something to their keeping [probably the phallus of thedismembered god Zagreus]. What was entrusted to them, andwhat happened to it, seemed to me a sin to put into writing, butat any rate the rites are a gift of Demeter to the Kabeiroi.[http://www.theoi.com/Georgikos/Kabeiroi.html]

Clement, Exhortation to the Greeks 2. 16 (trans. Butterworth)(Greek Christian writer C2nd A.D.) :

[The early Christian writer Clement divulges the secret mythos ofthe Kabeiroi (Cabeiri) of the Samothrakian Mysteries:]

If you would like a vision of the Korybantian Orgies (orgiaKorybanton) also, this is the story. Two of the Korybantes(Corybantes) [i.e. the Kabeiroi, Cabeiri] slew a third one, who wastheir brother, covered the head of the corpse with a purple cloak,and then wreathed and buried it, bearing it upon a brazen shieldto the skirts of Olympos. Here we see what the Mysteries(mysteria) are, in one word, murders and burials! The priests ofthese Mysteries, whom such as are interested in them callAnaktotelestes (Presidents of the Princes' rites), add a portent tothe dismal tale.They forbid wild celery, root and all, to be placedon the table, for they actually believe that wild celery grows outof the blood that flowed from the murdered brother . . . .

The Korybantes are also called by the name Kabeiroi, whichproclaims the Rite of the Kabeiroi (teletes Kabeirikes). For this


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very pair of fratricides got possession of the chest in which thevirilia of Dionysos [i.e. the phallus of the god Zagreus who wasdismembered by the Titanes] were deposited, and brought it to

Tyrrhenia [i.e. Lemnos], traders in glorious wares! There theysojourned, being exiles, and communicated their precious

teaching of peity, the virilia and the chest, to Tyrrhenoi(Tyrrhenians) for purposes of worship. For this reason, notunnaturally some wish to call Dionysos Attis, because he wasmutilated.

Orphic Hymn 31 to the Curetes (trans. Taylor) (Greek hymnsC3rd B.C. to 2nd A.D.) :

Hymn to the Kouretes (Curetes). Leaping Kouretes, who withdancing feet and circling measures armed footsteps beat: shoe

bosoms Bacchanalian furies firer, who move in rhythm to thesounding lyre: who traces deaf when lightly leaping tread, arm-bearers, strong defenders, rulers dread: famed deities the guards(of Persephone) preserving rites mysterious and divine: come,and benevolent this hymn attend, and with glad mind theherdsman's life defend.


The pictures of Herakles' works on the metopes of the Zeus-

temple in Olympia shows the heroe almost half-sleeping,reminding of this dangerous slumber. When he awoke on thethirtieth day he crowned himself with celery like those who cameout of a tomb; because the tombs were decorated with celery.

The same wreath thereafter was borne by the winners in theNemean games and later of Isthmos too.[Heracles and the Nemean Lion. Message board post at:http://www.forumancientcoins.com/board/index.php?action=printpage;topic=25089.0]


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BIBLIOGRAPHY

Jan Bremmer. Hephaistos Sweats or How To Construct anAmbivalent God. In The God of Ancient Greece: Identites and

Transformations. Ed. Jan Bremmer and Andrew Erskine.Edinburgh: Edinburgh University Press, 2010. 193-208.

S. Cole. Theoi Megaloi: The Cult of the Great Gods at Samothrace.Leiden: Brill, 1984.

Mircea Eliade. The God who Binds and the Symbolism ofKnots. In Images and Symbols: Studies in Religious Symbolism.

Translated by Philip Mairet. New York: Sheed and Ward, 1961. 92-124.

Aurelio M. Espinosa. A New Classification of the FundamentalElements of the Tar-Baby Story on the Basis of Two Hundred andSixty-Seven Versions. The Journal of American Folklore 56.219(January-March 1943): 31-37.

Firdausi. Shahnama. 2 vols. Translated by A.G. and E. A. Warner.London: Kegan, Paul, Trench, Trubner and Co., 1905.

Hesiod, the Homeric Hymns and Homerica. Translated by H.G.

Evelyn-White. Loeb Classical Library. Cambridge, MA: HarvardUniversity Press, 1943.

Homer. Odyssey. Translated by Robert Fagles. London: PenguinBooks, 1997.

James T. Lang. Sigurd and Weland in Pre-Conquest Carving fromNorthern England. The Yorkshire Archaeological Journal 48(1976): 83-94.

J. Mchal. Slavic Mythology. Translated by F. Krupicka. InMythology of All Races III. Boston, MA: Marshall Jones, 1918.

Matsya Purana. Translated by various. Delhi: Oriental Publishers,1972.


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Edwin LeRoy Minar. Early Pythagorean Politics in Practice andTheory. Waverly Press, 1942. [182.2 M66e]

Ovid. Metamorphoses. Volume 1 of 2. Translated by Frank JustusMiller. Loeb Classical Library. Cambridge, MA: Harvard University

Press, 1984.

Pausanias. Description of Greece. Translated by W.H.S. Jones andH.A. Ormerod. Cambridge, MA: Harvard University Press, 1918.

Poetic Edda. Translated by Lee Hollander. Austin: University ofTexas Press, 2000.

Fatima Raja. For Such a Tomb: The Craftsman in Indo-EuropeanMyth and Society. B.A. Thesis. Harvard University, 2003.

Yoav Rinon. Tragic Hephaestus: The Humanized God in the Iliadand the Odyssey. Phoenix60.1-2 (Spring-Summer 2006): 1-20.

Martin Robertson. Two Question-Marks on the Parthenon. In ATribute to Peter Heinrich von Blanckenhagen. Ed. Gunter Kopckeand M.B. Moore. Locust Valley, NY: J.J. Augustin Publisher, 1979.78-87.

Otto J. Sadovszky. The Reconstruction of IE *pisko and the

Extention fo its Semantic Sphere.JIES 1 (1973): ?

Laura M. Slatkin. The Power of Thetis: Allusion and Interpretationin the Iliad. Berkeley: University of California Press, 1991.

Christine Ann Smith. Controlling Miasma: The Evidence for Cultsof Greek Craftspeople from the Archaic to the Hellenistic Period(6th-2nd c. BCE). D.Phil. dissertation. Washington University in St.Louis, 2009.

R. Walker. Sophoclean Fragments. London: Burns, Oates andWashbournes, Ltd., 1921.

Sandra Blakely Westover. Daimones, Metallurgy, and Cult. D.Phil.dissertation. University of Southern California, 1998.


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Shan M.M. Winn. Heaven, heroes, and Happiness: The Indo-European Roots of Western Ideology. Lanham, MD: UniversityPress of America, 1995.


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PASTED BIB. ITEMS

P. Budd and T. Taylor. The Faerie Smith Meets the BronzeIndustry: Magic Versus Science in the Interpretation of Prehistoric

Metal-Making. WA 27.1 (1995): 133-143.

A. Burford. Craftsmen in Greek and Roman Society. London:Thames and Hudson, 1972.

S. Dalley. Myths from Mesopotamia. Oxford: Oxford UniversityPress, 1989.

J. Darmesteter. Cabires, Bene Elohim et dioscures, Essai sur lestraductions mythiques. Memoires de la Societe de linguistique

de Paris 4 (1881): 89-95.

[x] M. Detienne and J.-P. Vernant. Cunning Intelligence in GreekCulture and Society. Translated by J. Lloyd. Sussex: The HarvesterPress, Ltd., 1978.

[x] J. Muhly. How Iron Technology Changed the Ancient Worldand Gave the Philistines a Military Edge. Bulletin of the Schoolsof Oriental Research 8.6 (1982): 40-50.

Documents

Notes on ixionic craftsmen