This article argues that claims of divine kinship play a central role in the Bacchic gold tablets of the late classical period. While many scholars have interpreted these tablets in reference to the Orphic Zagreus myth, I contend that key details of their texts are better understood as assertions of a familial link with the gods that assured postmortem happiness. The tablets develop the Hesiodic idea of human-divine fellowship, expanding this theme to include claims of identity or kinship with the (...) gods through a variety of narrative strategies. This aspect of the tablets finds a parallel in Empedocles, who (under Orphic-Pythagorean influence) elaborates traditional human-divine fellowship into a claim that humans are exiled gods who can hope to rejoin divine society. Following this interpretive approach, I suggest that the puzzling expression “I/you fell into milk” in some tablets expresses a symbolic relation to the gods via divine breast milk. (shrink)

In his magisterial work Persephone, Zuntz drew a basic distinction between two sets of Orphic gold leaves—those known from the elaborate tumuli at Thurii, which he called Group A, and a more widely scattered series, Group B, then represented by two longer texts from Petelia in southern Italy and Pharsalus in Thessaly, and, in a shortened form, by a series of six short texts from the environs of Eleutherna in Crete. Three further finds have reinforced Zuntz's distinctions: first, a tablet (...) from Hipponium, the colony of Epizephyrian Locri in southern Italy, published by Foti and Pugliese Carratelli, then a lamella said to be from Thessaly but now in Malibu and published by Breslin, and finally a tablet said to be from Entella in Sicily and recently in Geneva, which was published in a bad transcription by Frel and much clarified by Riedweg. The first and third belong to Zuntz's Group B, while the second is close to his Group C. Pugliese Carratelli has published an exceptionally fine set of photographs of all the texts except those from Petelia and Entella. My restudy of the leaf from Petelia has led to some improved readings. Not even a drawing exists of the Entellan leaf, which no scholar except its first editor has ever seen. This fact prompted a reviewer of this article to wonder about its authenticity. In the absence of the object itself, such doubts can only be allayed if its text consistently contributes to improving our understanding of the archetype from which it is derived. One of the aims of this article is to show that it does indeed do so. (shrink)

This essay argues that the Nestor's Cup Inscription is not a joke, but rather a magical spell designed to work as an aphrodisiac. It is divided into two parts, the first dealing with the hexametrical couplet and the second with the opening line. In the first section the author argues that the hexameters comprise a bonafide magical incantation, pointing out that: the two hexameters take the semantic form of a conditional curse well known from oaths and proprietary inscriptions of the (...) archaic period and from the earliest extant magical texts; hexametrical verse was commonly used as early as the classical period-and probably much earlier-in magical incantations; prosaic words in the inscription that do not appear elsewhere in literary hexameters, but are used in the Greek magical tradition, may in fact be terms of a quasi-technical nature that survive from a very old, but poorly documented, tradition of metrical incantations; and the deictic pronoun in the second line of the inscription signals the use of performative language common in magical spells. The second section of the paper turns to the opening line of the inscription, arguing that instead of introducing some sophisticated intertextual joke, this line can be best understood as a label or rubric of the sort frequently used to signify authorship or ownership in archaic inscriptions and other early texts to "seal" a writer's name to his œuvre. In later magical texts such rubrics boast a legendary author of a particular incantation or ritual. The author concludes that this inscription records an erotic spell traditionally spoken over a cup without any recourse to writing, and that its appearance on the cup from Pithecusae resulted from a random and ultimately unsuccessful experiment to transfer and transform an oral incantation into a written one in an age of incipient literacy. (shrink)

In chapter 12 ofBirth of Tragedy, Nietzsche describes Socrates as the new Orpheus, who rises up against Dionysus and murders tragedy:… in league with Socrates, Euripides dared to be the herald of a new kind of artistic creation. If this caused the older tragedy to perish, then aesthetic Socratism is the murderous principle; but in so far as the fight was directed against the Dionysiac nature of the older art, we may identify Socrates as the opponent of Dionysos, the new (...) Orpheus who rises up against Dionysos and who, although fated to be torn apart by the maenads of the Athenian court of justice, nevertheless forces the great and mighty god himself to flee. As before, when he fled from Lycurgus, King of the Edonians, Dionysos now sought refuge in the depths of the sea, namely in the mystical waters of a secret cult which gradually spread across the entire world., 64. (shrink)