DOI Page / Citation link:
https://doi.org/10.11588/diglit.14699#0160
I I 06
Addenda
Hyginus (eginus cod.) primum frasta[m] hircinae carnis praemium accepisse dicit et inde
nomen traxisse, scilicet a trago quem Latini hircum vocant.
i. 697 n. 4. P. Kretschmer comments on 2iA?;c6s again in Glotta 1915 vi. 308. But
F. Solmsen 'Si\?)v6s Xdrvpos lirvpos' in the Indogermanische Forschungen 1912 xxx.
1—47 connects the word with *ai\6s, si/us, a by-form of o-ifids, 'snub-nosed.'
i. 698 n. 1. No. (10) is now in the Museum of Fine Arts, Boston : see Miss M. H.
Swindler in the Am. Journ. Arch. 1915 xix. 412 ff. figs. 8 and 9, L. D. Caskey ib. 1918
xxii. nof. fig. 3, J. D. Beazley Attic red-figured Vases in American Museums Cambridge
Mass. 1918 p. 130 f. fig. 81 (the 'Penthesilea Painter'), Hoppin Red-fig. Vases ii. 339
no. 10, J. D. Beazley Allische Vasenmaler des rotfigurigen Slits Tubingen 1925 p. 276
no. 52. Add no. (16) Red-figured kylix in the Museo Villa Giuliaat Rome (E. fioehringer
in the Jahrb. d. Deutsch. Arch. Inst. 1928 xliii Arch. Anz. p. 166 with fig. 29) = nude
human figure with goatish head, horns, and tail dancing before Persephone, whose head
emerges from the ground.
In the fourth century these goatish dancers were assimilated to the south-Italian Pan,
e.g. on an 'Apulian' vase published by T. Panofka Musie Blacas Paris 1829 pi. 23
(F. Weege Der Tanz in der Antike Halle/Saale 1926 p. 3 fig. 2) or on an Italiote
be\\-&rater at Lecce published by Furtwangler—Reichhold Gr. Vasenmalerei ii. 106
pi. 80, 3 (F. Weege op. cit. p. 106 fig. 144, L. Sechan in Daremberg—Saglio Diet.
Ant. iv. 1044 fig. 6069). Yet A. Hartmann certainly goes too far when he says at the
end of his article on ' Silenos und Satyros' in Pauly—Wissowa Real-Enc. iii a. 53:
'So bleibt es dabei, dass die bocksartige Bildung von Satyrn erst ein Erzeugnis der in
der hellenistischen Zeit aufkommenden Einmischung des Pantypus in den Satyr- und
Silentypus ist.'
i. 700 n. 4. E. M. W. Tillyard has since discovered the faint inscription KAAOZ
H<t>AP£TO£! (sic), which makes it probable that the central figure is Hephaistos
carrying his axe. If so, the scene shows Dionysos persuading Hephaistos to accompany
him to Olympos—a scene perhaps drawn from Achaios' satyr-play "Htpaicrros (Trag. Gr.
frag. p. 750 f. Nauck2) (E. M. W. Tillyard The Hope Vases Cambridge 1923 p. 79 ff.
no. 136 pi. 23).
i. 704 early seal-stones portraying human goats etc. Any serious attempt to discuss
these much-disputed figures must nowadays take into account analogous types found over
a wide area of the ancient world. A sample or two will suffice to show the sort of data
required. A whorl of green steatite from Hagios Onuphrios near Phaistos shows a horned
figure with human legs (A. J. Evans Scripla Minoa Oxford 1909 i. 118 fig. 52, a, id.
The Palace of Minos at Knossos Oxford 1921 i. 69 fig. 38 a). A prism-seal in black
steatite from Karnak shows a human figure with bovine head running (id. Scripta Minoa
i. 123 fig. 58, c, Palace of Minos i. 69 fig. 38 b, c). Both these are assigned to the 'Early
Minoan i' period (3400—2800 b.C.). Sir J. Marshall Mohenjo-daro and the Indus
Civilization London 1931 ii. 389 fig. 356 on pi. 111 notes two human figures (from
seals no. 227 and no. 230) with the hoofs, horns, and tail of a bison. Id. ib. ii. 389
n£- 357 on pl- 111 gives a seal on which a similar figure is seen struggling with a
fabulous horned tiger. Sir John compares the type with that of Enkidu the companion
of Gilgames. H. R. Hall, lecturing at Cambridge on Oct. 31, 1928, quoted an ' ibex-
headed man on a proto-Elamite tablet' and an 'animal-headed man on a seal from South
Caucasus' as evidence of Mesopotamian priority to the fantastic sealings from Zakro
(supra p. S45 n. 3). See also Addenda to i. 67 n. 3.
i. 705. R. C. Flickinger 'Tragedy and the Satyric Drama' in Class. Philol. 1913
viii. 261—283 (especially pp. 269—272) discusses the derivation of Tpayydia, defending
the goat-prize tradition and rejecting the goat-men conjectures. Id. The Greek Theater
and its Drama Chicago 1918 pp. 13—15, ib* 1936 pp. 13—15, maintains the same
standpoint. E. Rostrup Attic Tragedy in the light of Theatrical History trans. I. Andersen
Kj0benhavn—Kristiania—London—Berlin 1923 p. 64 ff. denies the dancers ' costumed
as he-goats' and holds, on anthropological grounds, that the rpayot were young men who
had undergone puberty-rites and were known by an animal name—the x°P°l TrcttSwr,
Xopoi rpay(pduji>, and x°P0L avbpCov representing successive age-groups. A. W. Pickard-
Cambridge Dithyramb Tragedy and Comedy Oxford 1927 pp. 149—166, after a careful
discussion of all the possibilities, reverts to the view that rpaycpSis may well mean 'singer
at the goat-sacrifice' or 'singer for the goat-prize.' 'The two may even be reconciled,
if the goat was first won and then sacrificed ' (p. 165).
i. 706 Zeus Aseis. W. M. Calder in the Journ. Hell. Stud. 1913 xxxiii. 103 compares
this appellative with an Old Phrygian text from Euyuk in Kappadokia (J. Friedrich
Kleinasiatische Sprachdenkmdler Berlin 1932 p. 127 no. 15 a, 3 repKoaaaieKpiop), of which
Addenda
Hyginus (eginus cod.) primum frasta[m] hircinae carnis praemium accepisse dicit et inde
nomen traxisse, scilicet a trago quem Latini hircum vocant.
i. 697 n. 4. P. Kretschmer comments on 2iA?;c6s again in Glotta 1915 vi. 308. But
F. Solmsen 'Si\?)v6s Xdrvpos lirvpos' in the Indogermanische Forschungen 1912 xxx.
1—47 connects the word with *ai\6s, si/us, a by-form of o-ifids, 'snub-nosed.'
i. 698 n. 1. No. (10) is now in the Museum of Fine Arts, Boston : see Miss M. H.
Swindler in the Am. Journ. Arch. 1915 xix. 412 ff. figs. 8 and 9, L. D. Caskey ib. 1918
xxii. nof. fig. 3, J. D. Beazley Attic red-figured Vases in American Museums Cambridge
Mass. 1918 p. 130 f. fig. 81 (the 'Penthesilea Painter'), Hoppin Red-fig. Vases ii. 339
no. 10, J. D. Beazley Allische Vasenmaler des rotfigurigen Slits Tubingen 1925 p. 276
no. 52. Add no. (16) Red-figured kylix in the Museo Villa Giuliaat Rome (E. fioehringer
in the Jahrb. d. Deutsch. Arch. Inst. 1928 xliii Arch. Anz. p. 166 with fig. 29) = nude
human figure with goatish head, horns, and tail dancing before Persephone, whose head
emerges from the ground.
In the fourth century these goatish dancers were assimilated to the south-Italian Pan,
e.g. on an 'Apulian' vase published by T. Panofka Musie Blacas Paris 1829 pi. 23
(F. Weege Der Tanz in der Antike Halle/Saale 1926 p. 3 fig. 2) or on an Italiote
be\\-&rater at Lecce published by Furtwangler—Reichhold Gr. Vasenmalerei ii. 106
pi. 80, 3 (F. Weege op. cit. p. 106 fig. 144, L. Sechan in Daremberg—Saglio Diet.
Ant. iv. 1044 fig. 6069). Yet A. Hartmann certainly goes too far when he says at the
end of his article on ' Silenos und Satyros' in Pauly—Wissowa Real-Enc. iii a. 53:
'So bleibt es dabei, dass die bocksartige Bildung von Satyrn erst ein Erzeugnis der in
der hellenistischen Zeit aufkommenden Einmischung des Pantypus in den Satyr- und
Silentypus ist.'
i. 700 n. 4. E. M. W. Tillyard has since discovered the faint inscription KAAOZ
H<t>AP£TO£! (sic), which makes it probable that the central figure is Hephaistos
carrying his axe. If so, the scene shows Dionysos persuading Hephaistos to accompany
him to Olympos—a scene perhaps drawn from Achaios' satyr-play "Htpaicrros (Trag. Gr.
frag. p. 750 f. Nauck2) (E. M. W. Tillyard The Hope Vases Cambridge 1923 p. 79 ff.
no. 136 pi. 23).
i. 704 early seal-stones portraying human goats etc. Any serious attempt to discuss
these much-disputed figures must nowadays take into account analogous types found over
a wide area of the ancient world. A sample or two will suffice to show the sort of data
required. A whorl of green steatite from Hagios Onuphrios near Phaistos shows a horned
figure with human legs (A. J. Evans Scripla Minoa Oxford 1909 i. 118 fig. 52, a, id.
The Palace of Minos at Knossos Oxford 1921 i. 69 fig. 38 a). A prism-seal in black
steatite from Karnak shows a human figure with bovine head running (id. Scripta Minoa
i. 123 fig. 58, c, Palace of Minos i. 69 fig. 38 b, c). Both these are assigned to the 'Early
Minoan i' period (3400—2800 b.C.). Sir J. Marshall Mohenjo-daro and the Indus
Civilization London 1931 ii. 389 fig. 356 on pi. 111 notes two human figures (from
seals no. 227 and no. 230) with the hoofs, horns, and tail of a bison. Id. ib. ii. 389
n£- 357 on pl- 111 gives a seal on which a similar figure is seen struggling with a
fabulous horned tiger. Sir John compares the type with that of Enkidu the companion
of Gilgames. H. R. Hall, lecturing at Cambridge on Oct. 31, 1928, quoted an ' ibex-
headed man on a proto-Elamite tablet' and an 'animal-headed man on a seal from South
Caucasus' as evidence of Mesopotamian priority to the fantastic sealings from Zakro
(supra p. S45 n. 3). See also Addenda to i. 67 n. 3.
i. 705. R. C. Flickinger 'Tragedy and the Satyric Drama' in Class. Philol. 1913
viii. 261—283 (especially pp. 269—272) discusses the derivation of Tpayydia, defending
the goat-prize tradition and rejecting the goat-men conjectures. Id. The Greek Theater
and its Drama Chicago 1918 pp. 13—15, ib* 1936 pp. 13—15, maintains the same
standpoint. E. Rostrup Attic Tragedy in the light of Theatrical History trans. I. Andersen
Kj0benhavn—Kristiania—London—Berlin 1923 p. 64 ff. denies the dancers ' costumed
as he-goats' and holds, on anthropological grounds, that the rpayot were young men who
had undergone puberty-rites and were known by an animal name—the x°P°l TrcttSwr,
Xopoi rpay(pduji>, and x°P0L avbpCov representing successive age-groups. A. W. Pickard-
Cambridge Dithyramb Tragedy and Comedy Oxford 1927 pp. 149—166, after a careful
discussion of all the possibilities, reverts to the view that rpaycpSis may well mean 'singer
at the goat-sacrifice' or 'singer for the goat-prize.' 'The two may even be reconciled,
if the goat was first won and then sacrificed ' (p. 165).
i. 706 Zeus Aseis. W. M. Calder in the Journ. Hell. Stud. 1913 xxxiii. 103 compares
this appellative with an Old Phrygian text from Euyuk in Kappadokia (J. Friedrich
Kleinasiatische Sprachdenkmdler Berlin 1932 p. 127 no. 15 a, 3 repKoaaaieKpiop), of which