DOI Page / Citation link:
https://doi.org/10.11588/diglit.14699#0029
Floating Islands
993
onov ra! 6 'Pqftas tori Trorapus. Km ijv e'i> tu Kaipa CKtiva, oirtp \4yowrtV, o
KaiKaSos rrjs pvo-tpds ' A.prtpibos ■ onep kot' ivimirbv t) x<*>Pa <j>v\drrovo-a, ovk et-fjpx-
ovro tit paxpdv 6&ut> ijpipas ir*VTt]KOVTa. airoii fie ,3ov\oph'ov Uttvttv eXf-yoi' avrcp
ol tVToirioi- 'jroC airipxn, avBpavt; 6 balptov <roi e^fi dnavrrfo-at b> rij obco. pi)
oOtvojif noXXo'i yap etrnpfdcrOno-av.' 6 8« 'Yir<JrioI aKovaas ravra (pctSiaae \eycov
'i^ifif ravra <poft(l<rde, tya fie t^m rov avvohevovrd poi Xpurrov.' iv ra> OVV obevtiv
avrov dapa-aXeos (dap<rak(a>S codd.) r)f 6'i'catos yap i>s At'wv irtvwBtV (Prov. 28. i).
ll7Tt}vrno~€ fie avrco yvi'i) patcpca (H. Usener cj. uaicpala? The Bollandists print
paKpa) cos fie'ica dvbpav to pjicor. vifdovtrd re irtpUIT&Ttl *a\ xpipovs tfioiTKtv. cos ovv
eibcv avrrjv, cidvs iavrov i<r<f)pdyurtv Kal ?<mj cvx»p.(vos ra c?e«, ku\ tiovt €Ktlvf)
a<f>av))s eyevtro, Ka) ai ^oipoi peydXa) potty i<jnryov, Kai tlSjkOtv dp\al3i)s)—a fact
which Nilsson Gr. Feste p. 255 justly connects with another Bithynian festival,
the icdXaflos-procession of Kios (A. Korte in the Ath. Mitih. 1899 xxiv. 413 ff.
no. 13 on a marble stele near the sea at Gemlik, the ancient Kios or Prousias, in
lettering hardly later than 10c a.d. and perhaps as early as s. i. b.C.
[---i]\\ao-oropev[ais iepfis] | 8atrp(c)v(ra> dvrjp- rvao-ai d\vi>Uob(S (W. Kroll,
followed by A. Korte, cj. dv«XtVo8« 'with no trailing feet, with active feet,' and
M. P. Nilsson cj. dvmrdno&ts 'with unwashen feet,' cp. supra ii. 959 f.; but
K. Latte rightly restores ai^XtVoSet 'with unshod feet; cp. Theokr. 4. 56 where
all codd. give uiojXijros or dvdXiirof except cod. k viiXtnos) re [<a]\ (f)'tpao-i |
<l>"i8pvi>6(()~io-at rco Ka\d\0<a crvvenfoSt, rd bt \ xpver(f)"» 6er o«ois- br)p[d]\6t yap
T« ftiv ixBpaivei ro\i]\mv Si 7rpo<ra[u]8a ('of old she (?) hates trinkets and
welcomes simple garb,' cp. e.g. Dittenberger Syll. inscr. Gr? no. 736, 15 f., 22
Andania, no. 999, 2 ff. Lykosoura). The contents of these ritual baskets were
almost certainly sexual emblems (phallos? kteist), cp. the Cabiric basket in
Phrygia and Etruria {supra i. 107 f., ii. 299).
If the Lydian dancers represented the reeds of the Gygaia Limne, they might
no doubt sway and curtsy with mimetic motions. A tomb at Beni Hasan shows
the dances performed at the funeral feast of the nomarch Chnemhotep in the
twelfth dynasty (J. G. Wilkinson Manners and Customs of the Ancient Egyptians
London 1837 ii. 416 no. 291 fig. 1, R. Lepsius Denkmaeler aus Aegypten und
Aethiopicn Berlin 1849—1859 iv. 2 pi. i26=my fig. 803, Text herausgegeben von
E. Naville—L. Borchardt—K. Sethe Leipzig 1904 ii. 88, P. E. Newberry Beni
Hasan London 1893 i. 68, 72 pi. 29 (tomb 3, west wall), P. Richer Le nu dans
I'Art Egypte—Chaldde—Assyrie Paris 1925 p. 240 fig. 405 (.after I. Rosellini
I monumenti deir Egitto e delta Nubia Pisa 1834 ii pi. 101, 3)). 'One figure...
parodies a royal group, one of the frequent victory reliefs, in which the monarch
seizes the kneeling barbarian by the hair, and swings his sickle-shaped sword
above his head. This group is called "Under the feet," the superscription over the
relief being always, "all nations lie under thy feet." Another group in the same
picture is called the wind: one woman bends backwards, till her hands rest on
the ground, a second performs the same movement above her, a third stretches
out her arms over them. Possibly the former represent the reeds and grasses
bent by the wind' (A. Erman Life in Ancient Egypt trans. H. M. Tirard London
l894 p. 248 f., with fig., cp. F. Weege Der Tanz in der Antike Halle/Saale 1926
P- 24 fig. 24 ( = my fig. 804), A. Weigall Ancient Egyptian Works of Art London
•924 p. 258 fig. from a limestone fragment at Turin referable to the reign of Seti i
(1313—1292 b.c), H. Ranke The Art of Ancient Egypt Vienna 1936 fig. 268
assigned to Dynasty xx (c. 1180 b.C.), Sir A. j. Evans The Palace of Minos
London 1935 iv. 2. 507 f. fig. 452 a, b, c ('Female Egyptian Tumblers of Social and
Ceremonial Occasions'). A surer method, however, of identifying the dancers
993
onov ra! 6 'Pqftas tori Trorapus. Km ijv e'i> tu Kaipa CKtiva, oirtp \4yowrtV, o
KaiKaSos rrjs pvo-tpds ' A.prtpibos ■ onep kot' ivimirbv t) x<*>Pa <j>v\drrovo-a, ovk et-fjpx-
ovro tit paxpdv 6&ut> ijpipas ir*VTt]KOVTa. airoii fie ,3ov\oph'ov Uttvttv eXf-yoi' avrcp
ol tVToirioi- 'jroC airipxn, avBpavt; 6 balptov <roi e^fi dnavrrfo-at b> rij obco. pi)
oOtvojif noXXo'i yap etrnpfdcrOno-av.' 6 8« 'Yir<JrioI aKovaas ravra (pctSiaae \eycov
'i^ifif ravra <poft(l<rde, tya fie t^m rov avvohevovrd poi Xpurrov.' iv ra> OVV obevtiv
avrov dapa-aXeos (dap<rak(a>S codd.) r)f 6'i'catos yap i>s At'wv irtvwBtV (Prov. 28. i).
ll7Tt}vrno~€ fie avrco yvi'i) patcpca (H. Usener cj. uaicpala? The Bollandists print
paKpa) cos fie'ica dvbpav to pjicor. vifdovtrd re irtpUIT&Ttl *a\ xpipovs tfioiTKtv. cos ovv
eibcv avrrjv, cidvs iavrov i<r<f)pdyurtv Kal ?<mj cvx»p.(vos ra c?e«, ku\ tiovt €Ktlvf)
a<f>av))s eyevtro, Ka) ai ^oipoi peydXa) potty i<jnryov, Kai tlSjkOtv dp\al3i)s)—a fact
which Nilsson Gr. Feste p. 255 justly connects with another Bithynian festival,
the icdXaflos-procession of Kios (A. Korte in the Ath. Mitih. 1899 xxiv. 413 ff.
no. 13 on a marble stele near the sea at Gemlik, the ancient Kios or Prousias, in
lettering hardly later than 10c a.d. and perhaps as early as s. i. b.C.
[---i]\\ao-oropev[ais iepfis] | 8atrp(c)v(ra> dvrjp- rvao-ai d\vi>Uob(S (W. Kroll,
followed by A. Korte, cj. dv«XtVo8« 'with no trailing feet, with active feet,' and
M. P. Nilsson cj. dvmrdno&ts 'with unwashen feet,' cp. supra ii. 959 f.; but
K. Latte rightly restores ai^XtVoSet 'with unshod feet; cp. Theokr. 4. 56 where
all codd. give uiojXijros or dvdXiirof except cod. k viiXtnos) re [<a]\ (f)'tpao-i |
<l>"i8pvi>6(()~io-at rco Ka\d\0<a crvvenfoSt, rd bt \ xpver(f)"» 6er o«ois- br)p[d]\6t yap
T« ftiv ixBpaivei ro\i]\mv Si 7rpo<ra[u]8a ('of old she (?) hates trinkets and
welcomes simple garb,' cp. e.g. Dittenberger Syll. inscr. Gr? no. 736, 15 f., 22
Andania, no. 999, 2 ff. Lykosoura). The contents of these ritual baskets were
almost certainly sexual emblems (phallos? kteist), cp. the Cabiric basket in
Phrygia and Etruria {supra i. 107 f., ii. 299).
If the Lydian dancers represented the reeds of the Gygaia Limne, they might
no doubt sway and curtsy with mimetic motions. A tomb at Beni Hasan shows
the dances performed at the funeral feast of the nomarch Chnemhotep in the
twelfth dynasty (J. G. Wilkinson Manners and Customs of the Ancient Egyptians
London 1837 ii. 416 no. 291 fig. 1, R. Lepsius Denkmaeler aus Aegypten und
Aethiopicn Berlin 1849—1859 iv. 2 pi. i26=my fig. 803, Text herausgegeben von
E. Naville—L. Borchardt—K. Sethe Leipzig 1904 ii. 88, P. E. Newberry Beni
Hasan London 1893 i. 68, 72 pi. 29 (tomb 3, west wall), P. Richer Le nu dans
I'Art Egypte—Chaldde—Assyrie Paris 1925 p. 240 fig. 405 (.after I. Rosellini
I monumenti deir Egitto e delta Nubia Pisa 1834 ii pi. 101, 3)). 'One figure...
parodies a royal group, one of the frequent victory reliefs, in which the monarch
seizes the kneeling barbarian by the hair, and swings his sickle-shaped sword
above his head. This group is called "Under the feet," the superscription over the
relief being always, "all nations lie under thy feet." Another group in the same
picture is called the wind: one woman bends backwards, till her hands rest on
the ground, a second performs the same movement above her, a third stretches
out her arms over them. Possibly the former represent the reeds and grasses
bent by the wind' (A. Erman Life in Ancient Egypt trans. H. M. Tirard London
l894 p. 248 f., with fig., cp. F. Weege Der Tanz in der Antike Halle/Saale 1926
P- 24 fig. 24 ( = my fig. 804), A. Weigall Ancient Egyptian Works of Art London
•924 p. 258 fig. from a limestone fragment at Turin referable to the reign of Seti i
(1313—1292 b.c), H. Ranke The Art of Ancient Egypt Vienna 1936 fig. 268
assigned to Dynasty xx (c. 1180 b.C.), Sir A. j. Evans The Palace of Minos
London 1935 iv. 2. 507 f. fig. 452 a, b, c ('Female Egyptian Tumblers of Social and
Ceremonial Occasions'). A surer method, however, of identifying the dancers