Anthesteria

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The Anthesteria ( ancient Greek Ἀνθεστήρια (flower festival), German also anthesteria ) were a festival of the Attic festival calendar . They took place on the three days from 11th to 13th of the month of Anthesterion , named after the festival , which overlapped with the current months of February and March. Each of the three days had a different meaning with different rites and festivities. They were made in honor of the god Dionysuscelebrated, as well as four to five other festivals inside and outside Athens. The second silent fermentation of the wine served as the basis of the festival. This means that the must from the autumn of the previous year has been converted into finished wine in the meantime. The name of the festival came from the Greek word anthios, which denoted both the god of spring and the simple flowers. This points to the function of the celebrations as a spring festival to welcome the approaching spring. It is also known under the name "Elder Dionysia".

Character of the festival

The anthesteries are described as a happy and exuberant celebration, which sometimes had carnival-like features due to its processions and disguises. The festive season was accompanied by a fair where various items from the area were on sale, for example pottery, especially the pithoi , the large, painted clay vessels for the festival, young wine and other export items. This attracted a large number of market people and the population from the neighboring regions. The festival was recognized by the state and partly promoted and supported by small gifts from the government. The most important place of the celebrations was a district on the western slope of the Acropolis , the Limnaion, which is said to have been located in a swamp area.

The course of the festival

The Pithoigia

The Anthesteries began on the 11th Anthesterion with the opening of the wine barrels, also called Pithoigia. Here the first reversal of normal circumstances became apparent, namely the temples of all the gods in Athens were locked and hung with ropes. In contrast, the Temple of Dionysus, which was otherwise closed all year round, was only opened on this one day. That day was completely dedicated to the honor of Dionysus, he was thanked for the completion of the new wine and in general for his function as its bearer. Mythologically, this wine was also given special powers because it was the new wine. In general, it was customary in mythology to first categorize the new and the unknown as dangerous and to approach it with caution and prudence. The celebrants did the same with the new wine. Special rites were performed to remove the danger that it supposedly posed. These included, for example, donating some of the wine to Dionysus at the beginning of the festival. This secured his favor and hoped that he would purify the wine and banish its dangers. To do this, you went to Limnaion with your pithoi and drinking vessels and donated the wine there. They also danced and sang in honor of God. The slaves were allowed to take part in this ritual. Apart from that, of course, the people enjoyed themselves in the accompanying markets, did business there and spoke to the new wine purified by Dionysus.

The Choen

Choenkannchen as a typical gift to the Choen.

The unusual reversal of the circumstances can also be found in another ritual. During the anthesteria, each participant drank from his own jug ( chous ) instead of the usual mixing jug for everyone. Children also got here partly for the first time own pitchers ( Choenkännchen ) given that were often decorated with images of gambling and partying children. Wreaths of flowers were also placed on their heads, which in connection with the first gift can be seen as a kind of confirmation, an initiation rite. Due to the high infant mortality rate, it was believed that children by the age of three had outgrown the greatest dangers and so welcomed them into the world of the elderly. It was also hoped that the natural power of the flower wreaths would pass on to the children and strengthen them for the future. The adults also wore wreaths, which they placed around their jug ​​on the evening of the festivities and donated to the Dionysus priestess in the sanctuary. The Lenaion was also decorated entirely with flowers. It is believed that this function was carried out by the Basilinna, who thus played a further important role in the cultic beliefs of the Anthesteries. Flute players often accompanied the feast. Another was the fact that everyone emptied their drinking bowls in silence. The tradition of having one's own pitcher and of keeping quiet was based on an old legend about Orestes . According to this, his mother had insidiously murdered his father Agammenon, which is why Orestes, in deep despair, committed a matricide on his part. After this terrible deed he wanted to face Areopagus in Athens on the holiday of the Anthesteries . He decided to welcome Orestes to the city in a friendly way and to let him participate in the celebrations. However, in order not to expose the residents to the danger of being stained with his sin, it was determined that, contrary to their usual habit, everyone should drink from their own jug. This prevented the transmission and still allowed Orestes to participate.

Aside from putting wreaths on the small children, there were other blessing rites on the day of the Choen. Probably the most important at this point would be the Hieros Gamos . This essentially comprised the task of Basilinna to ritually marry the god Dionysus. For this purpose, the so-called ship cart move was carried out in the early afternoon. A ship on wheels steered by a priest drove from the port to the city and from there to the temple. In between, several laps were made on the market square. The population walked behind and around the car. Even the smallest children were allowed to take part in this event. The people on the wagon mocked the population and vice versa, and in general it was a very wild hustle and bustle. The Kanephore ran at the head of the procession. In terms of mythological significance, it is assumed that Dionysus arrived on the cart for the wedding with Basilinna and that the ship indicates his journey across the sea before arriving in Attica.

Dionysus bowl: Dionysus drives across the sea.

As the embodiment of Dionysus and his entourage, actors who had disguised themselves as gods, satyrs or maenads and who were acting out stood on the car . Once the carriage reached the temple, Basilinna had to prepare for the wedding night. To this end, she swore an oath by torchlight in the Dionysus temple about her personal purity, chastity and the fulfillment of her religious duties. She was accompanied by the 14 gerarai who, under the expert guidance of Basilinna, performed various ritual functions on 14 altars in the temple. The title of women meant "venerable", which above all expressed respect for their important office. By no means were they regarded as lascivious disciples of Dionysus, but rather they had a high status in society.

After these purification rituals, a wooden stele modeled on the god was led from the temple to the Bucolion in a solemn procession, which was considered a wedding procession with Basilinna. These rooms were an old, prepared office of the Archon. The move was accompanied by a large, exuberant audience who came along with the car. Once the Basilinna arrived at the Bukolion, she was the only one who was allowed to enter it besides the god, her bridegroom. To be worthy of this task, as the wife of Archon Basileus, she also had to meet certain requirements, for example that she had not had another husband before him. In the premises she then performed the bridal night, which she is said to have spent with secret rituals. The role of Dionysus was perhaps represented by humans, most likely her own husband seems to have been here, who thus offered the outer shell for the god. While the togetherness was celebrated inside, the people outside continued to party through the night. At first light, the stele was brought back to the Temple of Dionysus, the bridal night was over and the ritual marriage took place. In addition to all these celebrations and the hustle and bustle, one should not neglect another important aspect of the Choen. Towards the evening of the 12th Anthesterion, the turn to the Chytres began to take place. The whole day was viewed critically by contemporaries, it was advised not to do business and in general it was considered an unlucky day. In the evening, after the Athenians' introduction, the deceased began to come to the surface again to haunt them.

The chytras

The last day of the festival stood in its course and its meaning completely contrary to the first and second. It was the day of the dead, of competitions and cooking pots. This is due to the fact that on that day a panspemic, i.e. a pot dish made from seeds, without sacrificial meat, was prepared and offered. Panspemy was given as a gift by beautiful women. The women prayed for the dead and the ancestors at the same time. The victim was not eaten, but sacrificed together with the components water, flour and honey in a crevice half a meter wide near the Olympieion . These processes should remember the chthonic Hermes as a fatality to atone for the flooded from Deucalion's time. Because of its strong connection to the dead, the third day of the anthesteries was considered an eerie time, which in its negative effect even extended to the whole month. For fear of the ghosts who were supposed to appear, all kinds of defensive measures were taken against their visit. Two of them were, for example, coating his doors with pitch and chewing hawthorn in the morning. With this one tried to protect one's house and body openings from the invading souls.

At the same time, however, mimic dances, musical and rhetorical performances were performed to honor and appreciate the dead. However, no drama that was considered a sign and characteristic of Dionysus could be staged. Various sporting competitions were also held, but their function was regarded as funeral games. The closing of the temples also took place in order to close them to uninvited guests, such as ghosts. It was also particularly interesting that the time of the Chytres coincided with another festival. We are talking about the Aiora rocking festival , which was mainly celebrated by the children and young people. They should rock long and hard to purify themselves and gain blessings. This was to be done by hurling the disaster away with the violent movement. The festival was seen as a celebration of atonement for the deceased Erigone, a rite to honor the dead, quasi to satisfy the dead and thus to achieve happiness in the new year. After the end of the last day, various sayings were shouted to drive the spirits out of the houses.

literature

Individual evidence

  1. ^ August Mommsen : Festivals of the city of Athens in antiquity: organized according to the Attic calendar. Leipzig 1898, pp. 384-386 .
  2. ^ Eduard Gerhard : About the anthesteries and the relationship of Attic Dionysus to service in the Kora. Berlin 1858, p. 152 ( online ).
  3. ^ August Mommsen: Festivals of the city of Athens in antiquity: organized according to the Attic calendar. Leipzig 1898, pp. 387-388 .
  4. ^ Eduard Gerhard: About the anthesteries and the relationship of Attic Dionysus to service in the Kora. Berlin 1858, p. 155.
  5. ^ HW Parke: Athenian festivals. Mainz 1987, p. 159.
  6. ^ August Mommsen: Festivals of the city of Athens in antiquity: organized according to the Attic calendar. Leipzig 1898, p. 388 .
  7. ^ HW Parke: Athenian festivals. Mainz 1987, p. 161.
  8. ↑ Ludwig Deubner : Attic festivals. Berlin 1956, p. 97.
  9. ^ August Mommsen: Festivals of the city of Athens in antiquity: organized according to the Attic calendar. Leipzig 1898, pp. 388-390.
  10. ↑ Ludwig Deubner: Attic festivals. Berlin 1956, p. 93.
  11. ^ August Mommsen: Festivals of the city of Athens in antiquity: organized according to the Attic calendar. Leipzig 1898, p. 388.
  12. ^ August Mommsen: Festivals of the city of Athens in antiquity: organized according to the Attic calendar. Leipzig 1898, pp. 391-392 ; Eduard Gerhard: About the anthesteries and the relation of Attic Dionysus to service to the Kora. Berlin 1858, p. 153.
  13. ↑ Ludwig Deubner: Attic festivals. Berlin 1956, p. 94.
  14. ↑ Ludwig Deubner: Attic festivals. Berlin 1956, pp. 96-97.
  15. ↑ Ludwig Deubner: Attic festivals. Berlin 1956, pp. 115-116.
  16. ↑ Ludwig Deubner: Attic festivals. Berlin 1956, pp. 99, 109; August Mommsen: Festivals of the city of Athens in antiquity: arranged according to the Attic calendar. Leipzig 1898, p. 396 ; Eduard Gerhard: About the anthesteries and the relation of Attic Dionysus to service to the Kora. Berlin 1858, p. 154.
  17. ↑ Ludwig Deubner: Attic festivals. Berlin 1956, p. 110.
  18. ^ HW Parke: Athenian festivals. Mainz 1987, p. 154.
  19. ↑ Ludwig Deubner: Attic festivals. Berlin 1956, p. 98.
  20. ↑ August Mommsen: Festivals of the City of Athens in Antiquity: organized according to the Attic calendar , Leipzig, 1898, p. 393 .
  21. ↑ Ludwig Deubner: Attic festivals. Berlin 1956, pp. 102-105; HW Parke: Athenian festivals. Mainz 1987, p. 166.
  22. ^ HW Parke: Athenian festivals. Mainz 1987, pp. 119, 171.
  23. ^ August Mommsen: Festivals of the city of Athens in antiquity: organized according to the Attic calendar. Leipzig 1898, p. 393.
  24. ^ Eduard Gerhard: About the anthesteries and the relationship of Attic Dionysus to service in the Kora. Berlin 1858, p. 158.
  25. ^ August Mommsen: Festivals of the city of Athens in antiquity: organized according to the Attic calendar. Leipzig 1898, p. 393.
  26. ↑ Ludwig Deubner: Attic festivals. Berlin 1956, p. 100.
  27. ^ August Mommsen: Festivals of the city of Athens in antiquity: organized according to the Attic calendar. Leipzig 1898, p. 394.
  28. ↑ Ludwig Deubner: Attic festivals. Berlin 1956, pp. 107-109.
  29. ^ August Mommsen: Festivals of the city of Athens in antiquity: organized according to the Attic calendar. Leipzig 1898, pp. 394-395 .
  30. ↑ Ludwig Deubner: Attic festivals. Berlin 1956, p. 112: August Mommsen: Festivals of the city of Athens in antiquity: organized according to the Attic calendar. Leipzig 1898, pp. 397-398 .
  31. ↑ Ludwig Deubner: Attic festivals. Berlin 1956, p. 113; HW Parke: Athenian festivals. Mainz 1987, p. 179.
  32. ^ August Mommsen: Festivals of the city of Athens in antiquity: organized according to the Attic calendar. Leipzig 1898, p. 398; Eduard Gerhard: About the anthesteries and the relation of Attic Dionysus to service to the Kora. Berlin 1858, p. 154.
  33. ↑ Ludwig Deubner: Attic festivals. Berlin 1956, p. 112; August Mommsen: Festivals of the city of Athens in antiquity: arranged according to the Attic calendar. Leipzig 1898, p. 391 .
  34. ^ August Mommsen: Festivals of the city of Athens in antiquity: organized according to the Attic calendar. Leipzig 1898, p. 401 .
  35. ^ Eduard Gerhard: About the anthesteries and the relationship of Attic Dionysus to service in the Kora. Berlin 1858, pp. 153-154.
  36. ↑ Ludwig Deubner: Attic festivals. Berlin 1956, p. 112.
  37. ↑ Ludwig Deubner: Attic festivals. Berlin 1956, p. 121.
  38. ^ HW Parke: Athenian festivals. Mainz 1987, p. 182.