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

Features of the Indo-European craftsman: [1: Avenger] He is an inimical being, violent, and with a propensity for revenge. [2: Anti-Royal Progeny] He may have a monstrous child who threatens (and is usually defeated by) a king. [3: Counterpart to King] He himself may help to establish or bring 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 the periphery of society, with intoxication and women. [5: Lame/Deformed] Often he is deformed, often his skill is magical. [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). Vlundr. The Vlundarkvia opens like many folktales, with three beautiful swan-maidens, / valkyries, shedding their skins by the Wolf Lake. Here three brothers surprise them and steal the skins. Vlundr, the youngest brother, marries one, Hervor the Allwise. Within nine years, however, the swan-maidens weary of domesticity and leave their husbands. (-) The elder brothers depart in search of their wives and are not seen again, but Vlundr stays at his home in the Wolfdales, hoping Hervor will return. Here he is captured by the king Nthoth. At the queens advice they hamstring him, and set him to working metal on an island called Saeverstath (Stead by the Sea). Vlundr exacts a peculiarly vicious revenge. He lures the kings sons to come to him in his smithy, and there kills them: With silver their skulls neath the scalp that lay In silver he set and sent them to Nthoth; Of the bairs eyeballs shining beads he wrought And gave them to the cunning queen of Nthoth. But out of the twains teeth made Volund Beauteous brooches which to Bothvild he sent. [Cit. Hollander, 160]

He follows this by raping Bothvild and impregnating her, and escapes using the wings he had secretly made (Raja, 6-7). Then he flies away. The painted stone of Ardre, Gotland, showsthe smith bursting from the forge, at the very moment of escape. (-) To confirm this scenes identification with the Vlundr story, there are two headless bodies lying behind the smithy. The winged figure is stylized: we see two large wings attached to a wedge-shaped torso, with a head emerging from the front. James Lang suggests that here the transformation is more total / than in the stories, that the shape of the head shows that he has turned entirely 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 swanmaiden, a double for a valkyrie, and is addressed as alfs [ftnt.-elfs] leader. He is one of the sons of a Finnish king, and thus not Norse (ibid., 9). Plus, his avenging of himself is unique for a hero, the norm being avenging a crime against someone else. Volundr and Regin, Odin and Skallagrim, even Loki and the nameless goldsmith all share features of the Indo-European craftsman. (-) 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 his Kabeiroi, they have their elves and dwarves (Raja, 14; see preceding pages). Lleu. The smith Lleu, from the Welsh poem Mabinogi [Trans. Patrick Ford. Berkeley: U of CA P, 1977, 106], just like Ixion and Volundr, suffers and is carried into the sky. Vlundr and Lleu are transformed into birds, Ixion is made to fly on the wheel. Connection to Hephaistus chair? (Raja 25). Later, besides being Lleus foster-father [and besides committing violence against women], [Gwydion] is also his fostermother: after Aranrhod abandons her unformed child, he symbolically gestates it, in a chest at the foot of his bed (Raja 26; Cit. Maginogi 98-99). See ibid. 27 for all of these smiths position as kingmaker, the giver of royal symbols to kings, in effect kinging them. Lleu, like Lug, is a craftsman only while

he is at the periphery, while Gwydion, like Goibniu, is eternally outside, as though it is a prerequisite that a king must leave his skills behind (ibid., 27). Lug, for example, loses his craft power and 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 to Zeuss 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 and itinerant builder of churches (ibid.). Hephaistos. [H]e is deformed, and is associated with violence, with drinking and with women. (-) Most of all, he is outside: 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 weapons he makes are exemplified by the magnificent shield of Achilles, which encompasses all of human experience. He is the maker of the chariot of the sun, and at Zeuss orders, of all womankind. His works are magical in their realism: we shall see later in this chapter how an automaton attributed to him is the guardian of an island, and whose death is the subject of one of the masterpieces of Athenian red-figure painting (ibid., 29). Hephaistos. [O]ne who is neither like the gods nor mortal men, 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 sent as a gift a golden chair with invisible fetters. When Hera sat down she was held, and Hephaestus refused to listen to any other of the gods save Dionysusin him he reposed the fullest trust and 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, Hephaistos binds Hera in a magnificent throne: he traps her in her role as the embodiment of the centre and seizes control of her body. He frees her only when he is brought back to Olympus quite drunk, bringing the outside to the inside, as it were. He takes an identical revenge when, in the Odyssey, his wife Aphrodite slips from his control to betray him with Ares, the god of war. [Cit.

Homer, Odyssey, 200] He traps the two together in an invisible net and calls the gods to witness their shame. (-) Revenge is integral to Hephaistos: Hera intended his very conception as revenge on Zeus (Raja 32). [Yes, but this revenge is more a Greek justice or diakosyne type of balance of opposites. See Minar on Pythagorean version.] Periphetes, a son of Hephaistos, like the Swedish Vidga, opposes one who has a right to kingship, and is killed and his weapon taken (Raja 33). Intoxicants: Volundrconstructs goblets out of skulls, Tvastr in the Indic is the caretaker of soma. Hephaistos himself is a cupbearer, replacing Ganymede, is drunk himself, and is the maker of the vine, as a fragment of the Little Iliad has it: The vine which the son of Cronos gave [Laomedon] as a recompense for his son. It bloomed richly with soft leaves of gold and grape clusters; Hephaestus wrought it and gave it to his father Zeus: and he bestowed it on Laomedon as a price for Ganymedes [Cit. Hesiod, 515] (Raja, 33). Hephaistos: Hedemonstrates the motif of flight: we find him swooping through the sky at least twice in the stories, when he is thrown 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 his interpretation of one of the south metopes on the Parthenon as being not a Centauromachy, but the depiction of the life of one of Athens mythical sons: the craftsman-artist Daidalos [Cit. Robertson]. Among the scenes was one of a female figure and two males, of whom one is smaller than the other. Robertson interprets this to be a depiction of a relatively obscure episode in Daidaloss life: the murder (or attempted murder) of his nephew, Tals, Kals, or Perdix [partridgejk]. Talswas Daidaloss sisters son and apprentice. The young apprentice invented the drawing compass, the potters wheel and the saw, the last by imitating the form of a snakes jawbone. These inventions are, of course, basic instruments of the very arts in which Daidalos claims excellence. This so enraged Daidalos that he pushed young Tals off the acropolis and / killed him. (-) Daidalos, in

this tale, exhibits the classic personality of the Indo-European craftsman who considers himself wronged: he is vengeful to an extreme. In reaction to being out-performed by his own pupil, he kills him. The boys mother, also Perdix in some versions, later hangs herself: in effect, therefore, Daidalos compounds his kinslaying by killing his own sister (Raja, 35). [Note the kinslaying parallel with Ixion, and also the apprentice outdoes master theme.] Daidalos is twice forced to seek refuge: once after he commits murder, and once after escaping punishment for helping Ariadne solve the Labyrinth (Raja 39). [Two crimes1) murder and 2) a crime 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 had fallen. But Pallas, who favours the quick of wit, caught him up and 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, to jeer at Ikaross fall, and we have a possible illustration of this episode in a fifth century Attic vase, where a bird with outstretched wings is pictured over a winged youth. [Two avenging craftsmen] One, Daidalos, jealously tries to murder his nephew (who escapes by flight); the second, Perdix, exults as his killers son falls to his death while trying to fly from captivity. The similarities between the two are obvious, and raise the question whether an analogous tale may lie behind two late sixth century BCE depictions of Hephaistos, seated on a winged two-wheeled cart, one of which has two swans-necks. With his right hand he pours a libation, and in his left carries his axe, with tendrils sprouting from it (ibid., 36). Bronze Talos: [T]he bronze man Tals kept guard on the island he circumambulated it thrice a day, and warded off invaders by throwing rocks at them. There are several theories given for his origins: he is the last of the Brazen Race of men, he was given to Minos by Hephaistos, or to Europa by Zeus, or he was one of Daidaloss miraculous creations. According to all these accounts but one he is manufactured by Hephaistos or by Daidalos, the two mythical craftsmen. (-) Tals had a single vein running

through his body, which was sealed by / either a bronze nail, or a thin membrane. [Medea] drew out the nail. This dramatic scene is illustrated on the Tals Painters name vase, in which Medea stands holding a bowl (presumably containing the drugs), while Tals languishes in the arms of the Dioskouroi. Tals is also a fairly popular image on Cretan coins. Here he is shown carrying or throwing a stone, sometimes with a hound at his feet. Interestingly, he is shown wingedthough I cannot discover any textual references to his wings (Raja, 3637). [Note the emphasis on automata as sculptures so realistic that no one can tell if they are real or illusion. It is doubtless connected to the idea in Lindsay of the Pythagorean who created a mosaic based on a certain number that was the man, etc. Plus, here we have Laing-Tantalos-Deucalian behavior, with the heaving of rocks as the creation of a holy temple.] Tals: Athena transforms him into a bird, which Ovid points out flutters 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 finally Bronze Tals 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 which may 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 drawn through the streets and thrown into the Dnieper. Perun, as Perknas, 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 rain charms (Raja, 40-41). We are reminded of other divine craftsmen who are also the ancestors, in one way or another, of all humanity: Hephaistos, for example (who keeps the fire that Prometheus stole)

manufactures Pandora at Zeuss command, and Tvastr is the grandfather 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 into a fiery furnace (Mchal, 298; cit. in. Raja 42). [Note the alchemical-craftsman furnace and relate to Ixion etc.] The blacksmith as the forger of a union may be compared to Gwydion in the Mabinogi, who not only arranged his ward Lleus marriage, but was instrumental in the creation of Blodeuedd, his bride. This association with marriage may, perhaps, be part of the widespread relationship with women. A similar role is played on the divine scale by the Baltic craftsman, Kalvelis, or Taljavel. (-) From his forge, located like volundrs prison, on the edge of the sea of by the Dvina, Kalvelis forges stirrups for Gods son, and a crown and ring for the Suns Daughter, of which the latter accoutrements are reminiscent of those that smiths are asked to forge in Russian wedding songs. A set of Lettish folktales about the Suns Daughter makes the connection more explicit. The events are as follows: 1. The Suns Daughter is the beloved of Perknass son. 2. She is seduced by her mothers husband, the Moon. 3. The absconding pair are found either by the Sun, or by Perknas, who hacks the Moon to pieces. 4. The suns Daughter is exiled for betraying Perknass son. 5. Angered at his mother for driving the Suns Daughter away, Perknass son forges a golden chair for her, in which she, like Hera in another tale, is trapped. 6. Angered, Perknas 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 Perknass own son is a craftsman who, like Hephaistos, traps his mother in a gilded throne. More, he is the embodiment of the domestic fire. He is vindictive about / his mothers persecution of the Suns Daughter, and takes his revenge upon her body. (-) For his transgression he is flung out of heaven as surely as Hephaistos is tossed off Olympus (Raja, 43-44).

Thus while all mainstream social roles in Rome are grouped together, craftsmen are separated, and more are crushed and pulverized, 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 is domestic priest to the gods, and earns Indras inmity for promising a share of the sacrifice to the asura: Such a one [Indra thinks] is diverting the sovereignty (from me). For this threat to the chief of the gods, Visvarupa is killed, but since he is a priest his murderer is guilty of Brahmanicide. Indra can only escape his impurity by shedding it onto willing recipients: the earth (which fissures), 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 Tvastr neglected to trim them: for this reason, artisans are instructed to never complete the feet of solar images (Raja 55; orig. cit. Matsya Purana, 11.1-39). [Perhaps this idea of untrimmed feet is related to the Kalavalas two and a little left over notion in Hamlets Mill, 28.] The Rbhus, a trio of mortal craftsmen, are demigods who manufacture wondrous things including Indrashorse-less car, but their subsequent promotion is incomplete, and they are later pushed aside by the gods (Raja, 55). The Rbhus also grant life-extension and youth (ibid., 63). A passage in the Taittirya Brhmanahas a list of deities to be invoked by various classes. The only craftsman class represented is the rathakra, the chariot-makes, who may invoke the Rbhus. This is among the few texts to make even this allowance to artisan worshippersand only to the chariot-maker, who appears to be the most privileged of craftsmen (Raja, 56). Kai Kaus or Kus is a builder-king who harnesses the daeuuas to construct his jeweled palaces, and orders the realm or Iran. Kus characteristically overreaches himself, however: just as his reign seems fit to be a golden age, Iblis (Ahriman) incites him to try and ascend into the sky itself. Kus attempts this by harnessing four eagles to his throne, and equipped with a saddle-

cup of wine, rises to assail the heaven itself with his artillery. [Cit. Firdausi v. 411] Like Volundr Kus is a creator-figure who ascends into the sky; unlike Volundr, Kus falls ignominiously. Dumzil, [sic] remarks on Al Berunis mention of a decrepit old man, Kay s, who went to a mountain and returned rejuvenated, with a chariot made of clouds (Raja, 62). [Note the parallel with Ixion, 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 whose words have power. In myth the kavi often / has the power to raise the dead or reverse aging, one who belongs neither to the gods nor to the demons, who wields his magic power independently, sometimes on behalf of one group, sometimes the other [Cit. Stephanie Jamison, unpublished mss.] (Raja 63). Daktylois secret guild handshake: Hellanikos suggests that the Daktyloi are named after the events of their first encounter with Mother Rheameeting her inside Mount Ida, they greeted her edexiosantoperhaps by raising their right handsand grasped her by the fingers (Westover, 4). The diminutiveness of the Daktyloi[1] Kelmis (Knife), [2] Damnameneus (Hammer?), and [3] Akmon (Anvil and heaven)is related to ancient Purusan sacred measure. These are also the smiths implements that Herodotus or someone reported as golden objects falling from the sky. As we have seen, fingers, forearms, etc., are related to the creation of holy zones and temples, and derive from Purusa, the measure of man: Possible evidence for the diminutive size of such creatures occur ina poem from the sixth century writer Onomakritos. Pausanias cites it when discussing the image of Herakles at Megolopolis, which is very small, at the most as large as a forearm; he cites Onomakritoss poem as the authority for defining this diminutive Herakles as one of the so-called Idaian Daktyloi (Westover 4; cit. Pausanias 8.31.3). [Also, see Winn, Heaven, 30, for the axe and fish as a sacred measuring stick and probably sacred wand, equal to the human leg with the fish tattoo on it. Orig. cit. Sadovszky, *pisko, 91,93.] The scholiast, having indicated that the right hand Daktyloi are male and left female, summarizes Pherekydes position [in his

Istoria] on the differences between the two: he identifies 20 right handed Daktyloi who loosen spells, and 32 on the left who cast spells and work in poison. Bothare the first skilled ironworkers and miners and are named for mother Ida. The passage is significant for affirming, for the first time in the record, the existence of a supernatural or magical power associated with the daimones, at the same time that it affirms their continuing identification with the metallurgical arts and with Phrygia (Westover 5). Zenobius account of the Kopsoi is quite different. He mentions it in support of his explanation of the phrase, Kelmis en sideroa phrase that also drew Plutarchs explanatory energies some 6 centuries later. The phrase is applied, Zenobius explains, to those who trust too much in themselves, because they are by nature obstinate and hard to conquer. [Do we have here a nexus of the concepts hard, hard to move, and metal?] Kelmis exemplified this: he, along with his brothers, offended Rhea by not receiving her well; another possible reading is that after he offended 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 into the grave of the subterranean chambers of Mount Ida, accompanied by a great shaking (Westover, 7; Cit. Walker Sophoclean Fragments, 32, orig. in Greek). The idea of a subterranean chamber recalls the Daktyloi of Phoronis who meet Rhea inside Mount Ida; it occurs as well in a third or fourth century magical papyrus that refers to a katabasis ritual consisting of entry into the underground chambers of the Daktyloi. Subterranean banishment of an offending member appears as well in the myths of the Kabeiroi, e.g. the fratricide Clement recounts, and the Telchines, who are as a group banished underground for their misbehavior (Westover, 8). Kelmis en sidero=Kelmis in iron shackles [Ixionic figure]: In explanation of the story told of the Kabeiroi by Clement, in which two brothers killed the eldest, severed his head and buried it beneath a mountain, he points to the old but tenacious tradition that metal is born from the body of a man. The idea may also be seen in legends of Asia Minor that imply the use of human sacrifice to ensure the success of metallurgical operations. The

evident persistence of the saying, Kelmis en sidero, for at least six centuries suggests that if this is the correct story behind it, this idea, otherwise but slenderly attested in the extant Greek record, may have yet been of wide familiarity Crusius explained the parable in the following way: the goddess had taught them, Damnameneus or Akmon, the art of smelting from and making arrektous pedashence Kelmis, another Prometheus or Ixion, had to pay for his error in iron shackles on Ida. Thus Kelmis en sidero means Kelmis in iron shackles. He was a very hard daemon, hence Ovid could call him adamant, or steel (Westover, 9). Alexandron Polyhistor is the first to mentions [sic] the Daktyloi again in Peri Phrygias, in which he cites them as the first, after Olympos, 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 magicians rather than dancers (ibid., 15). Strabos assertion that the Korybantes, Kabeiroi, Daktyloi and Telchines are all equated with the Kouretes is one of the most frequently cited passages on their syncretism; some writers, he says, make them all identical, while others make then kinsmen distinct 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 both Kouretes and Korybantes as their offspring. He claims that nine Kouretes were born from the hundred Daktyloi, and that to each of these I turn were born ten Idaian Daktyloi (ibid., 17). Pliny also mention sthe Daktyloi in his Natural History when he explain [sic] that stones called Idaian Daktyloi had the color or iron 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 with desire for her that he chose a dangerous spot for their unionthe sacred adyton of mother Rhea, located on a mountain. In honor of his love for the girl, however, he named the mountain Ida after her, and the children of their union were the Idaian Daktyloi. In the Moralia he describes he describes frightened people reciting the names of Idaian Daktyloi as apotropaic devices, and

commentds the recollection of the works of all good men as healthy for the soul and restorative of virtue (ibid., 19). Lukian cites a Bithynian tradition that Pripus, who was either a Titan 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, which Lukian distinguishes from this one, shows the same association being made, and offers an explanation of the mythic and ritual logic behind such an association. The iochos is the ambush dance, in which warriors are symbolically born from the earth as they leap, fully armed, from their hiding places. Their performance recalls both the birth of the fully armed Athene and the frenzy of earth-born Kouretes and Korybantes around the infant Zeus (ibid., 19). The Daktyloi may have been creators of holy statues. Herakles Daktylos. [T]he Megalopolis temple of Demeer and Persephone included a one-cubit high statue of Herakles (ibid., 21). Porphyry, in his Life of Pythagoras 17, discusses Pythagoras initiation into the Daktylic mysteries. The initiations were held in a cave, an image seen in the Sophoklean fragments that suggest a cave on Mount Ida and appearing as well in the katabasis fragment discussed below. (-) Pythagoras was first purified by means of a so-called thunder stone, then stretched out prone by the sea, crowned at night with the wool of a black sheep, and finally spent three days underground in the Idaian cave in which he saw the throne of Zeus that is connected with hi annual manifestation. To his Zeus he dedicated an epigram, writing that he was the Origin (ibid., 22). The Daktyloi are inventors of Ephesian letter, explainedas the names Askion, Kataskion, Lix, Tetrax, Damnameneus and Aisia. Damnameneius is familiar as the name of a Daktyl, and Askei Kataskei occur as well the third/fourth century Katabasis ritual fragment. (-) Clement decodes the meaning of the names Askion was [sic] darkness, Kataskion light, Lix the earth and Tetrax the earth (ibid., 23).

One of the most intriguing bits of information about the Daktyloiis a fragment of a katabasis ritual preserved in the context of a magical spell. The fragment consists of instructions for 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, I have been initiated, and I went down into the (underground) chamber of the Daktyloi, and I saw the other things down below The threat facing the protagonist seems to be fear of punishment in Hades: the untranslatable works represent the formula usually called Ephesian letter, which Clement of Alexandria 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 the legend of that island. They seem to be both the legendized recollection of an actual ancient tribe that preceeded Greek colonization of the island and mythical creatures, metallurgists and magicians, presented as ancient god in a position of compromised power subsequent to their jealous attacks on the prosperity of their neighbors (ibid., 29). They were associated with the production of hail, snow and storms that would be as potentially deadly for a farmers crops as for a ship at sea (ibid., 25). Blinkenberg attempted a reconstruction of one passage from these fragments; it revealed that among the offspring of the castration of Ouranos were the dolphin and the pompilous, an animal fond of love since it was born at the same time as Aphrodite. (-) That the Telchines themselves were sometimes considered fish-like in form emerges more clearly in Suetonios account; Strabo informs us that the castration that engendered this 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 several daughters of Damon, chief of the Telchines, living in Ceos after Zeus scattered the Telchines abroad in punishment for their

having blighted the earth of Rhodes. A dream came to her, warning of impending disaster and counselling [sic] them to leave the city for the seacoast. They did so, and met two strangers of noble appearance, who had just arrived. Though in deep sorrow and distress, Macelo, on behalf of the sisters, offered them the hospitality that they couldone of the visitors spoke words of comfort and predicted that thought Damon must be smitten by Zeus wrath, a great hero would soon come to Ceos, wed one of the sisters, and through her found a famous line that would rule the island. This hero appeared three days later in the form of Minos, who married Sexithea and fathered Euxantius, the eventual father of the hero Miletus, and ancestor of the Milesian clan, the Euxantidae. The storysuggests an awarenessof the Telchines as spiteful beings who used magic, blighted the crops of 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 foolish wizards who willfully ignored the gods; their punishment was death by lightning (ibid., 33). The Telchines are presented as the creators of a waterjug of inscrutable manufacture, on which it was engraved that the Telchines dedicate a tenth of their work to Athena Polias and to Zeus Poleis (ibid., 33). A text invites cranes who delight in the blood of the pygmies to fly far from Egypt, thus arguably providing three elements suggesting dwarfish size: the cranes, famous in vase painting for their battle against the diminutive pygmies; the pygmies themselves; and Egypt, whose long tradition of divine dwarves has been discussed at length (ibid., 35). Nikolaos of Damaskos on the Telchines: Their particular skill was the creation of the first statues of the gods; that this was not condusive [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 these workers, was known as Athena Telchinia or also Athena Baskanos, e.g. Malicious Athena or Athena the sorcerer (ibid., 35).

Interestingly, statues of Hephaistos were particularly often used as apotropaic magic statues, his feet twisted backwards to prevent his movement and bind the negative force of fire. Thus a malicious statue could be created precisely in order to exert power over the force it embodied (ibid., 37). See Diodorus Siculus 5.55-57 for the Telchines: These sons of Poseidon, nephews of the / Telchines, were rude to Aphrodite when she tried to stop at the island; in revenge she made them mad, so that they lay with their mother and committed violence upon the natives. When word this reached Poseidon, he buried them beneath the earth; they are now known as the Eastern Demons, proseoious daimonas (37-38). Acc. to Strabo they made 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 to the Samothracian gods, and Glaucus appeared to announce their apotheosis (ibid., 61). According to Herodotus, Cambyses, increasingly insane and bent on destruction, entered the temple of Hephaistos in Memphis and mocked the image of the god. Herodotus / compares this image to the Phoenician Pataici, dwarfish figures carried on the prows of triremes. Cambyses also entered the temple of the Kabeiroi, into which none but the priests could enterhis eventual fate is echoed by those recorded for victims of the Kabeiroi many centuries later by Pausanias, who records that the Persians, and later 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 of unspeakable rites. (-) This association of the Kabeiroi with the first 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 his Argonautica] refersto Samothrace as the island of Elektra, daughter of Atlas: Athenion identifies her as the mother of the Kabeiroi. (-) A more specifically Kabeiric association is Orpheus confidence that the Argonauts will travel

more safely once initiated, recalling the identification of the Kabeiroi with the Dioskouroi (ibid., 67). Clement of Alexandria [wrote that] two of the Korybantes, whom he equates to Kabeiroi, slew a third one, their brother, covered his head with a purple cloak, and then wreathed and buried it at the skirts of Mount Olympus. Kelmis quarrel with his brother Daktyloi, and his subsequent subterranean interment, is a parallel tradition. If Clements report is to be believed, the sash is the record of a grisly crimewe are reminded that initiates were said to have to confess the worst thing they ever did (68).

Samothracian name -------------------------Axieros Axiokersos Axiokersa Kasmilos (ibid., 70)

Dionysodoros/Mnaseas -----------------------------Demeter Hades Persephone Hermes

Varro & Servius --------------------Caelum, Serapis Saturn, Jupiter Terra, Isis, Ops, Juno Minerva Camillus, Mercurius

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Apollonios scholiast says there were but two Kabeiroi, the elder being Zeus and the younger Dionysos, named for the Kabeira mountains in Phrygia rather than for their father (ibid., 70). Hellanikos in the fifth century b.c. [sic] and Idiomeneus in the third, both cited in the Scholia Parisina to Argonautica 1.915-916, offer more details: Elektra, they said, was called Strategis by the Samothracians, and bore three childrenDardanos, who founded Troy, Eetion or Iasion, who was struck by lightning for having insulted the agalmata of Demeter, and Harmonia, of whom Hellanikos and Idomeneus report that she married Kadmos and 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 expulsion for 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 be expunged (ibid., 81). Iron rings: [T]he presence of a lodestone at Samothrace and ancient accounts of the iron rings of Samothracian initiates, magnetized perhaps / as part of the epopteia ceremony, point to some connection between the metallurgical aspect of the

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 for him and consulted the Fouretes, his diviners, for help. They told him to seek the man who could best describe to him a certain cow in his herds whose hide was three different colors; Minos did so and found that of all the seer, Polyidos best accomplished this task, as he compared the color of the cow to the fruit of the bramble. He was subsequently able to find the child by divination. Hyginus fills in the details that the cow actually changed color twice a day, from white to red to black, and that Polyides found the boy by observing an owl that had perched on a wine-cellar and was driving away bees. Minos then shut him up with the dead body, telling him to restore the boy to life as the Kouretes had foretold / he would be able to. Polyidus was at a loss, but s he waited he observed a serpent enter the area go toward the corpse. Alarmed, he threw a stone at the serpent and killed it. Another snake soon entered, and when it found the first serpent dead, left, fetched an herb, and placed it on the body of the dead serpent, which then came back to life. Polyidus then applied the same herb to Glaukos body and raised him from the dead. Minos insisted that Polyides teach the restored boy the secrets of his craft, which he did so against hiswillhe cleverly recovered them, however, when, at the time of his own departure from Crete, he ordered the boy to spit into his mouth. The saliva re-transferred all of Glaukos knowledge back to his master, and the boy was left without any prophetic powers. (-) The Kouretes of this story seem nearly tangential, but the elementsa child presumed slain, his body hidden, the appearance of death but final freedom from itare familiar from the generic Kouretic context. (-) [T]he three colors of the cow refer to three different stages of the initiatory rite; and the mouse myn, as the object of Glaukos quest, invites etymological word play with myein, mystic initiation (ibid., 102-103). [Could the {1} white, {2} red, and {3} black be tied to alchemy, or at least to Hephaisto-Orphic cosmology? Yes, read on] P. Faure, Les Minerais de la Crete Antique, Revue Archeologique, 7th series, 1 (1966): 45-78, suggests that the changing colors of the cow, which suggest a progression through

stages of initiation, refer to the processes of metallurgical transformation. Glaukos name, the blue-green, suggests the raw material malachitea particularly appropriate material to invoke, he argues, as it comes from the Semitic root m-l-k, the king (ibid., 104). [T]he son of the king, e.g. Glaukos/malachite, can only be revived by one who knows how to identify the heifer of the three changing colors, e.g. the bellows made from the heifers hide enables 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 the Kouretes from the second century. To the essential myth of the Douretes protection of the infant Zeus he adds that Kronos, angry at his deception, punished the Kouretes by turning them into lions. Zeus could not reverse his fathers doing, but granted them supremacy over the other animals and the privilege of drawing the car Rhea, described as the goddess who lightens birth 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 mother Hera (Il. 14.166-7) and father Zeus (14.338-9) as well as the houses 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 until well into the Hellenistic period; in fact, weapons were supposed to have been invented on Hephaistos island Lemnos. In this area, Hephaistos clearly surpasses mortal smiths, since his own objects can look very much like living creatures, such as moving tripods (Il. 18.373-7), walking servants (18.417-21), shivering leaves of vines (Hes. Sc. 297), the guardian dogs of Alcinous (Od. 7.91-4: a motif Homer also derived from the Ancient Near East) and the sharply crying women in Hesiods Shield (244) [Bremmer, Hephaistos, 195].

Athenas association with Hephaistos in myth begins with her birth from the head of Zeus, with the help of Hephaistos. In this representation of the myth, Athena is emerging from the head of Zeus, while Hephaistos, holding his double axe, prepares to flee the scene. Both Athena and Zeus appear prepared to attack Hephaistos. Deacy points out that his depiction may indicate that Hephaistos was actually attempting to wound Zeus, rather than help him relieve his headache. This scene would then align Hephaistos with Prometheus, who in some versions of the myth performs this act, as an enemy of Zeus (Smith, Miasma, 17) sl. 30 Hephaistoss all is anything but godlike: it took him an entire day 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 bound because of his rivalry with his brother Posiedon over the love of Thetis, who ends up mating with the moral Peleus. Once having loosed the bonds, [Themis] summons Briareos, not to perform, but simply to sit beside Zeus as a reminder of Zeuss final mastery in the succession myth struggle. Briareos and his bothers, in Hesiod, are never instigators, but agents; Thetiss power to summon the hekatoncheirherebeyond what the insurgent gods are capable ofrecalls Zeuss own successful use of Briareos and his brothers. Not even a single one of Briareoss hands needs to be laid on the mutinous gods here: they are overwhelmed by the assertion of sovereignty implied by the presence of Briareos, rather than overpowered by him. In this sense, one can see Briareoss narrative function as a mirror of his dramatic 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 of Romulus, men armed with rods for keeping back the crowd, and girded with straps, ready to bind at once those whom he ordered them to bind. [Cit. Dumzil, Mitra-Varuna, 72] The Luperci, a magico-religious / brotherhood founded by Romulus, belonged to the order of the equites, and in that capacity they wore a ring on

the finger [Cit. Mitra-Varuna, 16]. On the other hand, the flamen dialis, representing the austere, juridical, static religion, was allowed neither to ride a horsenor to wear a ring unless it were of openwork and hollow. If a man in chains comes in [to the flamen dialis] he must be set free: let the shackles be thrown up through the compluvium on to the roof and thrown thence into the street. He [the flamen] wears no knot either on his hat, at the belt or elsewhere. If a man is being led forth to be beaten with rods, and this man throws himself for mercy at the feet of the flamen, it is a sacrilege to beat him on that day [Cit. AulusGellius, Noctes Atticae, 10.15] (Eliade, God Who Binds, 93-94). [I]t is Varuna above all who has the magic power to bind and unbind men at a distance (ibid., 96). Varuna is sahasrksa, the thousand-eyed, a mythic formula which refers to the stars andcould have been used of none but an ouranian divinity. (-) There isa remarkable symmetry between what might be called celestial stratum of Varuna, which correspond with and complement one anther: heaven is transcendent and unique, exactly as the Universal Sovereign is; the tendency to be passive, manifested by all the supreme gods of Heaven, goes very well with the magical prestige of the sovereign gods who act without action, who work directly by the power of the spirit (ibid., 97). Nocturnal, lunar aspect of Varuna: Bergaigne mentions the remark 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 in the ouranian sense of the nocturnal heavens, but also in a wider, truly cosmological and even metaphysical sense. The Night itself is virtuality, seed, the non-manifest; and it is just this nocturnal modality of Varuna that enabled him to become a god of the Waters and made possible his assimilation to the demon Vritra (ibid., 98). One remembersthe iron ring borne by the Chatti as a chain until they had killed their first enemy (Tacitus, Germania, 31), the ritual shackling among the Albanians (Strabon, 11.503); also the chains borne by the Georgian devotees of the White George, the ritual bindings of the Armenian kings (ibid., 104).

Knots, in their Semitic and other contexts, resist our efforts to classify them as either good or bad. Rather, they have more to do with magic, with power and process themselves (ibid., 110111). But ambivalence of this sort is to be found in all the magico-religious uses of knots and bonds. The knots bring about illness, but also cure or drive it away; nets and knots can bewitch one, but also protect one against bewitchment; they can both hinder 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 (vyu) has woven the Universe by linking together this world and the other world and all beings, as it were by a thread, just as the breath (prna) 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 these threads which constitute, ultimately, a vast cosmic bondage (ibid., 114). The Babylonian markasu, link, cord, also indicates the cosmic principle that unites all things, and [here me all the way!] may be related to the IE rt, basis of Sanskrit rta (ibid., 115). [T]here is the iron ring that the sorcerer (Panda) of the Gonds wears round his neck during the nine days of the feat of KlDrga (a festival that the Gonds call zvr, a word derived from the Hindu javr, oats, a proof of its agrarian origin); and, on the other hand, there are the rings of iron about the necks of a feminine idol and of the proto-Shiva, both found at MohenjoDaro [See footnt., ref. to Evans, The Palace of Minos, 1.430ff., for ritual 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 and feet, and then asks her to strike a pine tree, first with the right forefoot. The fox obeys and her foot sticks fast (ibid.), The animal thief of elements A5, B12 sticks to the stool or stone

covered with tar or bird-lime when he sits on it (ibid.). [These elements 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, represents the 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 was Aeschylus who first introduced drunken people to the sight of the spectators of tragedy; and that this evil eminence was displayed in his Cabiri, in which play he represented Jason and his companions as drunk. Fragment 49 would seem to refer to the hospitable reception of the Argonauts by the Cabiri, who furnished them with an abundance of wine upon their landing at Lemnos, the first stopping-place of the Argo on its eastward voyage. The introduction of a drunken orgy has caused many scholars to regard the play as satyric rather than tragic. Whether pure tragedy may thus relax its gravity is a question that has been raised also in connexion with the Ostologoi of Aeschylus and the Sundeipnoi of Sophocles. The Scholiast on Pindar, Pythian 4. 303, states that the names of the heroes of the Argonautic expedition 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 of Zeus and Kalliope (Calliope) and were identical with the Kabeiroi (Cabeiri), and that these went off to Samothrake, which in earlier times was called Melite, and that their rites were mystical. (2) But though the Skepsian [Demetrius of Scepsis, grammarian C2nd B.C.], who compiled these myths, does not accept the last statement, on the ground that no mystic story of the Kabeiroi (Cabeiri) is told in Samothrake, still he cites also the opinion of Stesimbrotos the Thasian [writer C5th B.C.] that the sacred rites in Samothrake were performed in honor of the Kabeiroi: and the Skepsian says that they were called Kabeiroi after the mountain Kabeiros in Berekyntia [in Mysia].

[http://www.theoi.com/Georgikos/Kabeiroi.html] 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 are permitted to enter it. The sanctuary of the Kabeiroi (Cabeiri) is some seven stades distant from this grove. I must ask the curious to forgive me if I keep silence as to who the Kabeiroi are, and what is the nature of the ritual performed in honour of them and of the Meter (Mother). But there is nothing to prevent my declaring to all what the Thebans say was the origin of the ritual. They say that once there was in this place a city, with inhabitants called Kabeiroi; and that Demeter came to know Prometheus, one of the Kabeiroi, and Aitnaios (Aetnaeus) his son, and entrusted something to their keeping [probably the phallus of the dismembered god Zagreus]. What was entrusted to them, and what happened to it, seemed to me a sin to put into writing, but at 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 of the Kabeiroi (Cabeiri) of the Samothrakian Mysteries:] If you would like a vision of the Korybantian Orgies (orgia Korybanton) also, this is the story. Two of the Korybantes (Corybantes) [i.e. the Kabeiroi, Cabeiri] slew a third one, who was their brother, covered the head of the corpse with a purple cloak, and then wreathed and buried it, bearing it upon a brazen shield to the skirts of Olympos. Here we see what the Mysteries (mysteria) are, in one word, murders and burials! The priests of these Mysteries, whom such as are interested in them call Anaktotelestes (Presidents of the Princes' rites), add a portent to the dismal tale. They forbid wild celery, root and all, to be placed on the table, for they actually believe that wild celery grows out of the blood that flowed from the murdered brother . . . . The Korybantes are also called by the name Kabeiroi, which proclaims the Rite of the Kabeiroi (teletes Kabeirikes). For this

very pair of fratricides got possession of the chest in which the virilia of Dionysos [i.e. the phallus of the god Zagreus who was dismembered by the Titanes] were deposited, and brought it to Tyrrhenia [i.e. Lemnos], traders in glorious wares! There they sojourned, being exiles, and communicated their precious teaching of peity, the virilia and the chest, to Tyrrhenoi (Tyrrhenians) for purposes of worship. For this reason, not unnaturally some wish to call Dionysos Attis, because he was mutilated. Orphic Hymn 31 to the Curetes (trans. Taylor) (Greek hymns C3rd B.C. to 2nd A.D.) : Hymn to the Kouretes (Curetes). Leaping Kouretes, who with dancing feet and circling measures armed footsteps beat: shoe bosoms Bacchanalian furies firer, who move in rhythm to the sounding lyre: who traces deaf when lightly leaping tread, armbearers, 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 the herdsman's life defend. [http://www.theoi.com/Georgikos/Kabeiroi.html] The pictures of Herakles' works on the metopes of the Zeustemple in Olympia shows the heroe almost half-sleeping, reminding of this dangerous slumber. When he awoke on the thirtieth day he crowned himself with celery like those who came out of a tomb; because the tombs were decorated with celery. The same wreath thereafter was borne by the winners in the Nemean 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]

BIBLIOGRAPHY Jan Bremmer. Hephaistos Sweats or How To Construct an Ambivalent 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 of Knots. In Images and Symbols: Studies in Religious Symbolism. Translated by Philip Mairet. New York: Sheed and Ward, 1961. 92124. Aurelio M. Espinosa. A New Classification of the Fundamental Elements of the Tar-Baby Story on the Basis of Two Hundred and Sixty-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: Harvard University Press, 1943. Homer. Odyssey. Translated by Robert Fagles. London: Penguin Books, 1997. James T. Lang. Sigurd and Weland in Pre-Conquest Carving from Northern England. The Yorkshire Archaeological Journal 48 (1976): 83-94. J. Mchal. Slavic Mythology. Translated by F. Krupicka. In Mythology of All Races III. Boston, MA: Marshall Jones, 1918. Matsya Purana. Translated by various. Delhi: Oriental Publishers, 1972.

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Shan M.M. Winn. Heaven, heroes, and Happiness: The IndoEuropean Roots of Western Ideology. Lanham, MD: University Press of America, 1995.

PASTED BIB. ITEMS P. Budd and T. Taylor. The Faerie Smith Meets the Bronze Industry: 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 University Press, 1989. J. Darmesteter. Cabires, Bene Elohim et dioscures, Essai sur les traductions mythiques. Memoires de la Societe de linguistique de Paris 4 (1881): 89-95. [x] M. Detienne and J.-P. Vernant. Cunning Intelligence in Greek Culture and Society. Translated by J. Lloyd. Sussex: The Harvester Press, Ltd., 1978. [x] J. Muhly. How Iron Technology Changed the Ancient World and Gave the Philistines a Military Edge. Bulletin of the Schools of Oriental Research 8.6 (1982): 40-50.