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Cook, Arthur B.
Zeus: a study in ancient religion (Band 3,1): Zeus god of the dark sky (earthquake, clouds, wind, dew, rain, meteorits): Text and notes — Cambridge, 1940

DOI Seite / Zitierlink: 
https://doi.org/10.11588/diglit.14698#0639

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Zeus Ombrtos

large
lion's-

'Kindly,' and Op/ielandrds1, 'Helpful'; the master, Omriqos, that is
Om(b)rikds, 'he of the Showers.' He grasps a couple of lissom sticks
and has the naked men at his mercy. The other scene gives the
sequel2—the two misdemeanants confined in the wine-cellar, wit*1
their ankles in fetters and their heads in a sort of cangue or

pillory

(xylon, kyphoti), dependent for their food on the services of a srnal
handmaid. Laconian deikettktai are known to have represented
fruit-stealers3 or the like4; and there can be little doubt that
H. Schnabel5 was right in claiming a ritual origin for such

burlesq«e-

If so, the master of the wine-bin began by representing

Dionys°s

and naturally continued to bear his name6.

Finally, we may note that in Kypros the part of Zeus ()inb1l0S
was played by a goddess, not a god. An interesting terra cott*
sketched by Cesnola at Salamis (fig. 31S2)7 portrays a naked ar^
nymph-like female kneeling on her left knee as she empties a
pitcher borne on her shoulder. Behind her is a rock with a

t plot'1

1 Inscr. Gr. sept. i. no. 2314 Thisbe (Kakosi) 'O0eXac6[pos] = Lebas—Foucar ^
no. 382 = R. Meister in Collitz—Bechtel Gr. Dial.-Inschr. i. 247 no. 750. Inscr. „^(ie
i no. 2872 Koroneia (Hagios Georgios), 2 rod '0(pe\dv5pov = Lebas—Foucait

no. 666, 2. the

2 H. Payne Necrocorinthia Oxford 1931 p. 122: 'No one has ever doubted ^
scene on the back is connected with that on the front.' That is wrong: A. Kor e
fahrb. d. kais. deuisch. arch. Inst. 1893 viii. 91 n. 61 doubts it.

3 Sosibios frag. 10 [Frag. hist. Gr. ii. 627 Miiller) ap. Athen. 621 D—E.

4 P°»-4- 104 f. bdet

5 H. Schnabel Kordax Miinchen 1910 p. 53 'Der ursprltnglich sakrale iurcl>5
Opfergaben wird zur mimischen, burlesken Diebesszene, die in der Posse foit L
ganze Altertum bis auf unsere Tage.' reg^*^

6 A. Kdrte in the Jahrb. d. kais. deutsch. arch. Inst. 1893 viii. 90 ff. fig- f jjotjntb'
Bffcous, 'OiptXavdpos, and "0/u/3/)i«:os as Bacchic daimones, not men. C Franke ^ be
ische Posse' in the Rhein. Mus. 1912 lxvii. 94—106 with 2 figs, takes all avie,v
slaves and "0/.i/3pt/cos in particular to mean 'the Umbrian' (cp. $pt(, Av lthe 0$
which H. Payne Necrocorinthia Oxford 1931 p. 122 n. 3 pronounces to be ^ancels
reasonable suggestion' ! But Miss Frankel admits that the misshapen Coiinthia"jene
are in general daemonic ('Ein sicheres Ergebnis der Forschung ist gleichfalis, ^eten
Vorbilder der attischen Schauspieler damonischer Natur sind, da sie au fori«ers
Darstellungen mil mythischen Personen gruppiert werden') and that the p ^jjnd

represented on this exceptional vase are drawn and costumed in their a ± j,eng''e'

d

■ji1

bietet zwischen der korinthischen Damonenwelt und den attischen Schau P .£jti.
Gestalt und Tracht der korinthischen Damonen wird eine korinthische Posse it*
diese enthalt bereits die Grundelemente der attischen Komodie, ohne dass jn .i(0$

damit ergibt sich iiberraschender Weise, dass der Dtimmlersche Krater ein Z*1 n, l'1

--'•auspiele

IS5 fted"*

Biihnenbild konsequent festgehalten wttrde'). She demurs to a divine ^P^j^ bis
('denn eine Bildung auf -ikos ist unter der Fiille altertiimlicher Gotter-Epi qUo
unerhort'). But, apart from Bakchos 'O/t^ptcis (supra p. 558 n. 3), we ciin s
Zev ava., AuSuvaie, He\aayiKt (II. 16. 233). 382)'

' A. P. di Cesnola Salaminia London 1882 p. 200 with fig- 203 ( — ^
London 1884 p. 183 f. fig. 219.
 
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