Chronicle 14. MUSIC MADE OF BODY AND SOUL

Chronicle 14. MUSIC MADE OF BODY AND SOUL

/ΕΛΛΗΝΙΚΑ/ Χρονικό 14. ΜΟΥΣΙΚΗ ΨΥΧῌ ΤΕ ΚΑΙ ΣΩΜΑΤΙ

Venus of Brassempouy: mammoth ivory figurine, one of the oldest human face representations (23.000 BCE)

● Man: a Musical Being ● Nature, Music
and Language ● Singing Neanderthals ●
Baby Talk ● Talent ● Art of Soul vs. Art of
Beauty ● Ecstasy and Catharsis ● Ritual
Music and Dance ● Ethos of Music

Michales Loukovikas

“It is not the strongest of the species that survives, nor the most intelligent, but
the one most responsive to change”.
(Charles Darwin)

MAN IS BY NATURE A MUSICAL BEING; meaning that song, i.e. music and lyrics combined, together with movement, or dance, has always been a fundamental human characteristic, serving his various needs. Besides, music, speech, and dance, a “Holy Trinity” according to the poet Kostēs Palamās, show how close the relationship between sound, body and soul is.

Music, speech, dance: a “Holy Trinity” (Kōstēs Palamās)

Quite strange is that the ancients, even the primitives, felt the impact of musical sound onto their bodies much more intensely than modern humans. Obviously, Christianism and Occidental mentality are largely responsible for the enormous degradation of our senses. Thus experts of many disciplines are now required to work together in order to fully comprehend this subject in depth.

Hunting scenes in a Lascaux cave painting

Natural sounds played a key role in the genesis of music: the sounds of Nature constituted the raw “materials” that gradually began to take shape. According to Darwin, a primary stimulus was animal cries, especially during breeding season, when an orgasm of sounds and movements prevailed, so rich and varied that man inevitably imitated, responding to that exquisite call of Nature’s Choir. Yet, man, as a species of the animal kingdom, had congenitally his own “repertoire”, which he gradually enriched – initially by imitation, and later by inspiration.

The emergence of art was directly linked to elementary manifestations of magic, even before the latter was systematized as a form of religion. Cave paintings, of a much later period compared to music, are examples of utilitarian art: men tried to exorcise all the animals they depicted so as to have plenty of game, or propitiate their spirits, if they were awe-inspiring beasts, and gain their powers. That is why the cave paintings are usually found not in the “living rooms” of the caves, but deep inside, in the “sanctuaries”, where, according to Iégor Reznikoff, the areas are most resonant: it seems they were their “icons”…

Spirit propitiation had broader applications, especially to natural phenomena that seemed supernatural, or during work time to coordinate movements, or even to master the “spirit” of the stone or wood that man wished to turn into a tool. Music played a key role in such cases though it was lost in the mist of time. Today, millennia later, we can comfortably admire the cavemen’s performances in visual arts. But who has ever listened to their songs?

The question above is rather rhetoric. Still, there’s another one that is crucial to be answered:

What is music? What’s its origin?

MUSIC IS FOUND EVERYWHERE, in every culture or civilization, even the most isolated tribes: it is a feature of the human species – perhaps of other species, as well. Moreover, music is influenced by all aspects of a culture or civilization, including socio-economic organization, lifestyle, climate, technology… Emotions and ideas expressed through music, the circumstances in which it is played, the attitudes toward musicians and composers – all these vary according to space and time.

Indian Ghost Dance in eastern California: the figures form a circle dance.

As we have said, music had probably its origin in Nature’s sounds and rhythms. Men most likely imitated these phenomena using similar patterns with repetition and tonality. There are musicians who deliberately imitate natural sounds: folk fiddlers trill like birds, while Beethoven’s “Pastoral” 6th Symphony recreates the soundscape of a thunderstorm. Onomatopoeia is at times related to shamanistic beliefs or practices.⁽¹⁾ It also serves entertainment and edutainment, or practical purposes (such as lure of animals in hunt).

• ⁽¹⁾ A shaman is a person regarded as having access to the “world of spirits”, entering into a trance state (very different from normal waking consciousness), and acting as a diviner or healer.

● Hugo Riemann, a theorist and composer, in his Catechism of Musical Aesthetics (How do we listen to music?, 1890), [Katechismus der Musik-Ästhetik (Wie hören wir Musik?)], thinks that the song of birds approaches true music and cannot be treated separately from human song, since both are the expressions of a single sensibility; while Louis Lucas, in his New Acoustics (Acoustique Nouvelle, 1840), discusses (what he calls) excellence of the enharmonic genus, and says: “It makes its first appearance naturally, as an imitation of bird song, of animal calls, and of the endless range of sounds made by material things.” Manuel de Falla was greatly influenced by Lucas and his Acoustics in his mature compositions.

Magdalenian horse (15.000-10.000 BCE):
a game, long before it was tamed.

If the imitation of a bird song is considered music, then the bird song itself may also be regarded as music! Indeed, according to a study of zoomusicology,⁽²⁾ bird songs are based on musical principles: those of repetition and transformation. It’s not only birds: whales and dolphins have also exceptional vocal capabilities, while monkeys are unrivaled on drums and percussion as they beat hollow logs, most probably in order to demarcate their territories, creating rhythmic patterns in which some experts detect elements of “dialogue”, “call and response”.

• ⁽²⁾ Zoomusicology is the study of “music” made by non-human animals, or rather the musical aspects of sounds produced or received by them, as a means of their communication. It is described as the “aesthetic use of sound communication among animals.”

In any case, everything depends on our definition of music – that is, whether a “musician” has the intention to stir up the emotions through his sounds, which is probably linked to his ability to reflect about time (past and future). Men became “artists” 130 thousand years ago (though this timeframe is debatable) creating jewelry, other artifacts, and cave paintings, while they started burying their dead with rituals. It was a form of a “cultural revolution”. If we assume that all those new forms of behaviour suggested the emergence of consciousness, then music – as we know it – appeared in the same timeframe. Still, this is a rather narrow conception of music. As it usually happens in Africa until now, in prehistory too the concept of music was broader, including dance and worship. And not only: at that time it also served communication among the members of a group of people helping to coordinate action and strengthen their bonds. Thus its role was crucial to their survival.

Music evokes strong emotions and opens paths to other states of awareness. In general terms, strong emotions are associated with evolution (reproduction and survival). Darwin pointed out the importance of music to sexual selection.⁽³⁾ Both singing and dancing require large energy reserves. Thus a singer or dancer, like a peacock displaying its feathers, is more likely to attract a mate to date. There is a counterargument though: in most species using singing in the selection of mates, it is the female that chooses and the male that sings – as a rule alone. In the human species, nevertheless, music is mostly a team sport where everyone is involved. Man is the only mammal having mixed choirs (with men, women and children). Something similar is found only in certain species of Australian and African songbirds with males and females singing in chorus.

Charles Darwin, by George Richmond

• ⁽³⁾ “When we treat of sexual selection we shall see that primeval man, or rather some early progenitor of man, probably first used his voice in producing true musical cadences, that is in singing, as do some of the gibbon-apes at the present day; and we may conclude from a widely-spread analogy, that this power would have been especially exerted during the courtship of the sexes, – would have expressed various emotions, such as love, jealousy, triumph, – and would have served as a challenge to rivals. It is, therefore, probable that the imitation of musical cries by articulate sounds may have given rise to words expressive of various complex emotions.” (Darwin, The Descent of Man)

The first musical “instrument” was obviously the voice of man who, even before he could master speech, had a vast range of expressive sounds: imitating natural sounds, plus singing, humming, whistling (a gamut of styles), shouting, crying, laughing, coughing, yawning, or producing various sounds through the mouth. (See Darwin’s The Origin of Species on music and speech). Add motion to all of these sounds: not only dance, but also grimaces, gestures and movements of individual body parts (head, arms and legs). In like manner, the first percussion “instruments” were hand claps, finger snaps, stones, wood and whatever could be used to accentuate rhythm. Man-made instruments would appear much later when humans started making tools.

By the way, let me make clear that talking about “humans”, I refer, in fact, to the Hominini. The oldest tools found in Tanzania were made 2.6 million years ago, i.e. before the emergence of the various human species (Homo). We suppose that the first tools were made by Australopithecus, who then transmitted this knowledge to Homo habilis. Our ancestors proceeded to the next phase of tool-making 1.7 million years ago with Homo erectus. (See the Chronicle 3, where this theory is disputed). I maintain, therefore, that sound preceded speech and that music, song, a capella (with no instrumental accompaniment), emerged together with voice as a characteristic of some Hominini, or even Hominids. Besides, we know for sure that music was not born with modern humans (Homo sapiens) – who, as they say, were musically not as talented as the Neanderthals!

The Singing Neanderthals, according to Steven Mithen.
In the beginning was the sound: music precedes speech.

The oldest musical instrument: the Divje Babe flute (Slovenia) possibly made by the Neanderthals

In his study The Singing Neanderthals / The Origins of Music, Language, Mind and Body, Steven Mithen, an archaeologist and professor of early prehistory at the University of Reading in England, expands mainly two ideas: a) the parallel development of what modern man calls music and language, and b) his original idea that the Neanderthals had a peculiar proto-music/language: it was holistic (not composed of segmented elements), manipulative (influencing emotions and hence behaviour of oneself and others), multimodal (using both sound and movement), musical (temporally controlled, rhythmic, and melodic), and mimetic (utilizing sound symbolism and gesture) – i.e. “a pre-linguistic musical mode of thought and action.” That is why, as Manuel de Falla and Federico García Lorca said, “many suppose that chanting is the earliest form of language”, or that song is older than speech. Prosody (“melos of speech”, according to Aristoxenus), was the “melody” produced during ancient Hellenic speech, which was musical, not dynamic as it is now (see Chronicle 6, footnote 6, and Chronicle 12, footnote 7).

Music as the Mother of Speech

● Music (singing) as the Mother of Speech (language) is an idea shared by Darwin, Jean-Jacques Rousseau, Johann Gottfried Herder, and Wilhelm von Humboldt.⁽⁴⁾ We get an idea when we examine the pronunciation in several languages. Closer to the original source are tonal languages, such as Chinese, where each syllable is uttered with a different note or pitch. Then it’s the pitch accent languages, such as ancient Hellenic, where only the stressed syllable is uttered at a higher note-pitch. According to Dionysius of Halicarnassus, the interval between the accented and non-accented syllables reached to an anything but negligible fifth interval (e.g. E-B, see Chronicle 12). Additionally, there are dynamic languages such as modern Greek with the stress given through an increased volume of the voice, not a higher pitch. The difference with ancient Hellenic is obvious in poetry where the accents had no effect on the poetic metres, as they would if the stress were dynamic. The poetic rhythm was musical, prosodic (alternating long and short vowels), and not dynamic. Poetry was musical, having melos (the melody of pitch accent) and rhythm (with long and short movements).

• ⁽⁴⁾ Except Rousseau, Herder, Humboldt, Darwin, Falla and Lorca, many other authors have been led to suppose that word and song had once been the same thing – of course, after the word was germinated by the song.

An aggressive Neanderthal woman is rather misleading since, according to National Geographic, the genes linked to modern man’s aggressive behaviour were probably absent in the Neanderthal DNA. This may explain their disappearance…

In her review on this book, Ellen Dissanayake, of the University of Washington in Seattle, initially lists the vast ocean of knowledge such a study like Mithen’s requires: evolutionary theory; human evolution (social lifestyle, environment); palaeoarchaeology (linguistic and musical abilities and their development); anatomy (ear, vocal tract, brain and musical capacities); neurobiology (brain chemistry, musical cognition and emotion, neuroanatomy of music); origin and evolution of language (similarities and differences with music, semantics, syntax, prosody); music-like communication systems in some other animals (non-human primates, whales, birds, etc.) and their relevance to human communication; music psychology and linguistic behaviour in children; ethnomusicology; the art and practice of music; and the findings of music therapy and the psychology of musical emotion. I can also mention biomusicology or evolutionary musicology.

“Singing Neanderthals”, according to Mithen, had a vocal tract and respiratory control that could have enabled speech, but perhaps they lacked the neural network that was necessary for language. This means that in the beginning was the sound: music preceded speech. Moreover, pre-sapiens hominids, such as the Neanderthals, perhaps lacked metaphorical thought – the ability to have in mind at the same time information from several different cognitive domains. Symbolic artifacts have not yet been found in their dwelling sites, indicating absence of symbolic thought and hence symbolic utterance: spoken language. But the harsh realities and challenges faced in such a hostile environment during the Ice Age required complex emotional communication and cooperation. Therefore, they developed a “music-like communication system that was more complex and more sophisticated than that found in any of the previous species of Homo”. Mithen emphasizes the importance of “emotional intelligence” – the ability to express one’s feelings with face, voice, and body, and decode the emotional signals of others.

It’s impressive that singing was preferable to talking. Why were the symbols of spoken words less reliable than an emotional melody? What were the pros and cons of language?

What is language? What’s its origin?

Sleeping antelope, Sahara, southern Algeria

WE READ THE ABOVE QUESTIONS at the gate of a Congress Palace, the venue of a thought-provoking international symposium. Intrigued by this notice, we go inside and there we hear everyone disagreeing with everyone else! But still, there is a recurring theme of almost paramount consent – something that escaped even Darwin’s attention: a prerequisite, they say, for the emergence of language is that there must be trust within the tribe (what we now call “society”)! Meaning that some kind of social transformation generated unprecedented levels of public trust, liberating this way a potential for linguistic creativity, which was dormant until then. Under normal conditions, as the saying goes, “words are cheap”, “double-talk”, i.e. unreliable symbols on which the tribe could not count for survival; in other words, language was not trusted to become an evolutionarily stable strategy.

When a cat purrs, we mostly feel sure that the animal is content. We trust the signal because it just can’t fake that sound. Vocal calls of the primates may not be so trustworthy. Their social intelligence is characterized as “Machiavellian” – self-serving and without moral scruples. Monkeys and apes often attempt to deceive one another, while at the same time remaining constantly on guard against falling victim to deception themselves! Paradoxically, this very trait is theorized as blocking the evolution of a language-like communication among them! A verbal signal sounds like the cry “Wolves!” by a shepherd trying to fool the others in the well-known moralizing pedagogical story. Once proven false, nobody takes it for granted anymore or even cares. Therefore, socially reliable institutions are necessary, where every scoundrel, “monkey” or “shepherd”, is accountable. In a hunter-gatherer society, a basic mechanism inspiring trust is the collective ritual. (In our society, all the above adequately explain our crisis).

Baby talk and the embryo’s audio stimuli

No features on “Venus” of Willendorf (28.000-25.000 BCE), only reproductive: probably she was a Mother Goddess

Last but not least is what we call “baby talk” – not the talk of a baby still unable to speak, but the one used by adults (usually mothers) while addressing infants, touching and caressing them: a melodic and undulating language, combined with strong gestures, exaggerated facial expressions and rhythmical head and body movements. This is indeed a language because the baby understands the meaning of all these sounds and movements: that is, comprehends the mother’s intentions. In this sense, such a language is similar to music having two main functions: to strengthen the mother-child relationship, and help the infant to speak. In this way its chances of survival increase. Man’s ability to synchronize himself with an external pulse – which is probably unknown to other mammals, including primates – was derived from the primordial mother-infant interaction that in time transformed itself into a proto-music/language – à la Neanderthal!

“Baby talk” has a similar “lexicon” in all cultures. The way mothers and babies raise and lower their voices, change simultaneously expressions and move their hands, is equivalent everywhere, despite linguistic differences such as between musical and dynamic languages. The reasons may be genetic or environmental – in the sense that all embryos grow in a similar environment and can hear twenty weeks before birth, far longer than other animals, most of which cannot hear before birth. During these weeks, the human fetus can also perceive movement and orientation. In addition, it senses the emotional state of the mother via the internal sounds of her body (voice, heartbeat, footsteps, digestion, etc.) and in this way adjusts its postnatal demands (e.g. crying), improving the chances of its survival. The embryo’s capacity to learn and remember sound patterns seems to confirm the idea. In this case, the internal sounds of the human body, and their relationship with the emotional state, may be associated with the relationship between audio-rhythmic patterns in music and their strong emotional charge.

A maenad (bacchante) with a tympanum and a satyr with diaulos (double aulos)

“The human being is musical by man’s very nature”. (Iégor Reznikoff)

“MAN”, IÉGOR REZNIKOFF REMARKED,⁽⁵⁾ “is a speaking being. However, I am absolutely sure that he is also a musical, a singing being, like birds. We know that the various species of birds are also distinguished by the way they sing. The same happens with humans who are distinguished not only by their speech, but also by their singing.

• ⁽⁵⁾ Reznikoff’s remarks were recorded by Despoina Paisidou-Lazaridou in Delphi in 1986 for the radio program, Living and Learning (ERT3). It was the time I started “sailing” on the airwaves as a “chronicler”, presenter, and also music supervisor, during the first round of the program on the Chronicle of Music. Nevertheless, the making of a radio program was something that I learned watching the producer Katy Vlachou with her immense patience and also open mind: she let me present in a public mass medium what I was not allowed to do at the time in a… private one (the newspaper Thessaloniki).

The Education of Achilles by Chiron (fresco from Herculaneum,
a city more wealthy than neighbouring Pompeii)

“These features, I believe, are part of human nature. They are deeply connected with man’s organic nature – his ears and throat, that is, his vocal capacities. That’s how he is born and created since his conception. A child e.g. can hear even when it is in the womb of its mother as a fetus and remembers some elements of music and the voice of its mother or her song.⁽⁶⁾

• ⁽⁶⁾ “Voices and audio stimuli to which a fetus is exposed during pregnancy are not only perceived but also recorded in its memory”, a scientific team concluded in a study. “Thus, if as a fetus it listened to soft music of natural instruments, as an infant it immediately calms and quiets down under the same sounds, while another baby, who had no such experience when it was in the belly of its mother, keeps on screaming”…

Music activates the brain’s centres of communication

● Besides, except the “Singing Neanderthals”, there are also “Singing Embryos”! A research showed that fetuses react to sound stimuli and “sing”! Some researchers at Institut Marquès in Barcelona showed that a fetus can detect sounds and even react moving its mouth and tongue, proving that the ears of the embryo are fully developed by the 16th week of pregnancy. The leading researcher said that the fetuses responded to music moving their mouths as if they were trying to talk or to sing. Music activates the parts of the brain associated with communication, and when the embryos hear it, they react with movements similar to those of a cry, which is the first stage before speaking and singing.

“Music is deeply rooted in humans. Singing is a characteristic of the human species. It is not something recent in man’s social life. The mechanism of hearing and its relationship with speech is characterized by complexity and is located deep inside the brain. Thus it cannot be something recent. In short: the human being is a musical being by man’s very nature.”

Generally speaking, the different species are born as tabula rasa regarding those qualities to be acquired – i.e. that must be gained after birth, depending on the current conditions faced by each species for its survival. But they bear in their DNA all those inherited capacities and qualities that have emerged as acquired ones (upright position, articulation, etc.) and ensured the survival of the species during the millennia of its evolution. This is where all the wisdom of the past is stored – together, of course, with natural musical capacities.

Music Lesson (Herculaneum, early 1st century AD)

“Musical ear”: a characteristic of the majority or of a minority?

Despite all that, we know that talent, an innate musical inclination, or a “musical ear”, do not characterize all persons but rather a minority. How come that some of them can sing beautifully or at least correctly, while others, who equally love music, sing out of tune?

“There is innate musical disposition, musical talent, which is often hereditary: see the Bach family”, said professor Demetris Thémelis “But in general terms, everyone can learn music up to a point. Most people sing out of tune because they’ve had no proper musical education, except in some cases where they may have some physical problem e.g. hearing impairment. Or they may listen properly and have some feel for music, but face some problem in the larynx muscles. There are many cases of distinguished musicians, productive composers, who are ‘cacophonous’, i.e. they cannot sing well because of such problems.”

This may be so, but then how come that in the Third World and, moreover, in the countryside, anywhere far from metropolitan urban centres, i.e. wherever children are naturally brought up, almost everyone can sing and dance well? Here’s Ellen Dissanayake’s comment:

“It is not spoken language itself that overlays or stunts musical ability”, she said, “but the factors in modernized societies that have made music a specialty – individuality, competitiveness, compartmentalization, institutionalization – reinforced by the high degree of literate (not oral improvisatory) training required to read (and compose) musical scores as well as literary texts. In small-scale pre-modern societies (and in any large modern sub-Saharan African city, as well in children anywhere who are exposed customarily to frequent communal musical activity), everyone participates in music – regularly, spontaneously, and wholeheartedly – and benefits thereby from the many adaptive advantages” it offers.

Iégor Reznikoff

You can see, therefore, how crucial is the role of the mother, as well as that of the family, or social environment in general, for the development of a child’s innate musical inclination. This must be the explanation for the existence not only of musical families, but also of musical tribes among gypsies or blacks. Not everything is hereditary, in spite of the important role of heredity: the potential capacities must be cultivated; otherwise they remain dormant, inert, like some atrophic member.

“We can say that African Americans have this divine gift”, said Reznikoff, referring to the innate inclination, the special talent. “Africans have a long tradition in music and singing. Furthermore, they have kept some primitive ways of expression and emotion, and thus they are probably closer to antiquity. The ancient Greeks also loved singing and dancing very much, as the Arabs do now.”

“Since we are human beings, with the senses of audition and vision, it happens that we have constants in art. These constants in music have to do with the natural laws of resonance and consonance: when a chord vibrates, it follows the laws that govern the sound, producing sounds and harmonics that delight our ears; so, our bodies respond.

“It is striking that an instrument like the cithara is found in all cultures. The behaviour of a string and our bodies is the same everywhere. Something similar happens with the auloi. Note that these instruments have been used in several ways in all cultures. But with few exceptions, and apart from modern Western civilization, we see everywhere the same musical laws to apply. It is a global concept of consonance precisely because we are dealing with a natural law.

“This concept, nevertheless, was lost since the early 19th century when the piano was introduced into music changing the natural tuning of the instruments; for the piano is tuned differently, with the equal intervals of the tempered scale. This tuning is wrong if we consider it from the point of view of natural resonance. It is due to the enormous development of music – but a kind of cultivated, sentimental, conceptual music which has abandoned its natural foundation that is rooted in our body and soul.

“Something equivalent has happened in painting: we have ancient art, or iconography, and then we have the art of beauty, even if it depicts saints, or Theotokos: Raphael’s Madonna is really beautiful, her movements are beautiful, and art lies in this beauty, not in the power exerted deep inside your soul by an icon. We have lost these deep roots related to our biological bodies – because we must not forget we are material beings obeying to natural laws. Nowadays art is too conceptual as e.g. abstract art, or even electronic music with computers.

“In antiquity people had delicate, fine ears catching all nuances. The lyre was a ‘soft’ instrument, just like those old traditional ones. When one listened to music on those instruments, he used his spirit even more: let us remember the long texts of old songs. Now, of course, we have all these huge pieces of machinery with the many decibels! All instruments are amplified and modified for that purpose. The violin is already a ‘hard’ instrument like the piano.

“I, personally, believe in a natural approach of antiquity – without imitating or copying it. We must go back to the delicate acoustics of antiquity, because finally man remains the same body and soul. These natural laws – so rich that they have created all those cultures – are like oxygen for us. In the big cities, of course, we may live in air pollution but we are not made for this: it is better for us to breathe fresh air…

“Music’s purpose in antiquity was not just fun. It mainly had to do with the invisible world. This is also true for the Pythagoreans, and later for the Platonic school, or even previously for the Orphic tradition, which influenced the Christian Church. For the Orphic tradition, music actually serves as a link to the invisible: for the preparation of the journey of the soul after death to eternity”…

The “labyrinth” of Reznikoff’s thought, or the contraposition between “soft” and “hard” instruments, may confuse us. The key to grasp its essence lies in that apt example from the art of painting. Sweet melodies and gentle voices, e.g. in most lullabies, are the equivalent to Raphael’s Madonna. Quite the contrary was what Plato suggested about children that cannot go promptly to sleep: “mothers do not offer them peace, but movement instead, always rocking them in their arms, not silently but with some melody, and in this artless way they make the kids fall asleep”. If you experiment, they say, you will see that the… Platonic technique is highly effective!

Catharsis: the mental and moral purification through Dionysian ecstasy.

Orpheus, by Marc Chagall

A SIMILAR MISUNDERSTANDING seems to obsess psychotherapists who choose music with soft sounds, having waters trickling and birds singing as… garnish in the background. But what the ancients were after during their psychotherapeutic rituals was exactly the opposite with their deliberately intense and monotonously repetitive music.

Using suitable melodies and rhythms, they made the mentally disturbed person to flush to such a degree that a reaction would follow bringing him back to his previous normal condition. Such methods of “sorcery” survived even in the so-called “civilized” world until the 60s. Certainly, now that we have become so very “cultured”, musical sounds can hardly excite us…

“Fire cleanses, while water purifies”, said Plutarch. Catharsis was the mental and also moral purification through Dionysian ecstasy in ancient Hellas. This is the original meaning of the term; not the one used in periods of political corruption in modern Greece. According to Aristotle, it was what the audience in a tragedy was subjected to through feelings of pity and fear caused by the suffering and tragic end of the heroes.

“There was a close link between the swamps (as sources of infections and fever), the subsequent neuromental disorders and their cure with music in the therapeutic rituals of the Corybantes and the Bacchantes”,⁽⁷⁾ wrote Denise Jourdan-Hemmerdinger in the synopsis of her paper on Music in the Therapeutic Rituals of the Corybantes and the Bacchantes, at the Musicological Symposium at Delphi in 1988.⁽⁸⁾ “These data allow a better reading of ancient texts. We can reconstruct them not anymore in an entirely irrational context with widespread mysticism, but in a reality with tragic experiences in the time line.

Cybele and Attis, three Corybantes, Aeon, Helios, Selene, Phosphorus, Hesperus, Poseidon, Thetis and Gaea,
on the Parabiago plate (2nd-4th century AD).

• ⁽⁷⁾ Corybantes: Cybele–Rhea’s priests in Phrygia, connected with Dionysus-Bacchus, performing orgiastic dances accompanied by cymbals, rattles, auloi, tympana (tambourines) [> corybantism (catharsis)]. We have already seen Dionysus’ followers, the Bacchantes, Bacchae or Maenads (< mania), as Orpheus’ slayers (in Chronicle 12, footnote 3).

• ⁽⁸⁾ With this… Sibyllic synopsis, Jourdan-Hemmerdinger tried to give some idea to the audience about her paper. Unfortunately, she had a formidable opponent: relentless time. Within a very short time – granted to each speaker – she had to expand on her vast thesis that could be the subject of a separate symposium. The… machine gun tempo she chose to say “everything” in time eventually proved to be a boomerang for her extremely interesting topic.

“So the biological and pathological cause of hallucinations reappears as an archetype of the mythological and dreamlike world of fantasy. Although the monotheistic religions expelled the ancient gods, who played a therapeutic role, they did not eliminate malaria – a scourge as old as the world but always present. This Thraco-Phrygian and Orphico-Pythagorean music therapy survived more or less in some folk, religious, pagan traditions.

“What did these specific kinds of music consist of? What body and soul level did they act upon? How and why were they effective? The texts give us an idea. Can we get even further? Obviously, if we work on this rich and diverse file with a fortunate conjuncture of data of the geographical and ethnological hematology, and medical anthropology – sciences already containing a wealth of information – adding the results of ethnomusicological research, without forgetting ancient and medieval musicology, either Oriental or Occidental.”

Bacchic Dance of Maenads in a Wood,
by Gustave Doré

Ethnological, musicological and medical research was eventually carried out in Asia (India, Indochina, Siberia), Africa (Ethiopia, Senegal), America (Haiti, Native American Indians and Eskimos), and Europe. Such phenomena were observed in Magna Graecia, especially around Taranto, with the renowned tarantella dance that was a key element of the musical exorcism to counteract the poison of the tarantula spider.

Part of the same tradition is a – mostly – Thracian fire ritual, called anastenária (nestinarstvo in Bulgarian Thrace). The oldest written information about such barefoot dances on smoldering embers is found in Euripides’ The Bacchae. Later Strabo wrote about Artemis’ priestesses in Asia Minor and Italy performing such dances at will. In Byzantium the dancers were called “psychária” or “asthenária” (hence anastenária or nestinari), while around 1800 such rituals were prevalent not only in the Balkans but also throughout Anatolia.

Music and dance contribute to an emotional release
and thus have a therapeutic effect on the participants.

Anastenária’s most striking feature is probably the “incombustibility”, “immunity from fire” – the (seeming, at least) negation of a natural law. This element of the ritual stirs our imagination so much that almost everyone forgets to mention the key role of music and dance which, according to many experts, contribute to an emotional release and, in this way, have a therapeutic effect on the participants. In a sense, therefore, this ceremony is a psychotherapeutic ritual system.

Levi-Strauss believes that these systems provide the patient with a gateway to express inexpressible conditions. During this therapeutic process, the participant receives from outside a social myth that has no conflicts and, therefore, does not correspond to his previous personal condition. In such a context, reality is compelled to identify with this social myth. Without music and dance, however, methexis is not possible:

“Monotonous music”, the psychiatrist Constantinos Constantinides wrote in his Notes on Fire Walking of Anastenária and a Possible Explanation of Incombustibility, “is a prerequisite to a change of mental mood, creating an equivalent emotional state, and triggering the subcortical (motor and emotional) centres, so as everything is easily and automatically executed, eliminating the inhibitory effect of the cortex.

“Generally motivated also by music, dance is known as a largely automatic event and as such a new prerequisite to the creation of the whole mental ecstatic state – even more so if it is religious. That is why all primitive religions are ‘danced’, all happy events are ‘danced’. While dancing, there is a peculiar emotional state, there is more automation and unconscious function, and there is more or less self-absorption and a break of contact with the environment. One could say that dance is a certain step to ecstasy, opens the way to the phenomenon of ecstasy.”

“Dance is a certain step to ecstasy, opens the way to the
phenomenon of ecstasy.” (Constantinos Constantinides)

“Music particularly seems to coordinate a tendency to group unification”, commented another psychiatrist, Pantelés Kranidiotes, analyzing Anastenaria as a Psychosomatic Phenomenon. “Constantinos Romeos realized just that, commenting ‘music makes the human soul to feel such desolation that it desires to mingle with the other dancers seeking to let it go’. On the other hand, Polydoros Papachristodoulou underlines the impact of music on these people saying that music ‘exerts some particular influence on the nervous system of hysterical, naïve peasants’.

Davul

“But anyway, regardless of the quality of the receiver, everyone would perceive this fascinating power of music, if above all he experienced the crucially overwhelming davul in the ‘hangout’, where ‘all the spectators were agitated and rocked’ under its sounds.

“Emotional arousal is more secure when music is more familiar. This is obviously the purpose of conflating this religious ceremony with songs, which clearly translate the various deepest emotions of the people’s psyche and where above all is the dominion of heroic elements, which can only bring about an arousing, wild ecstasy.

“This combination seems much more effective to induce the required emotional orgy than the ecclesiastical chants and hymns, which are totally absent in this religious ceremony, as they produce a rather static ecstasy.

“The music of the fire dancers, familiar to them over the centuries, is a creation and property of their own emotional universe and that is why it can definitely stir it and indeed with an intensely arousing way.⁽⁹⁾ But here it seems that rhythm plays the main role in music and – as the musicologist Pantelés Kavakópoulos says – ‘what excites the fire dancers is the davul with its varying rhythms’.”

• ⁽⁹⁾ These psychiatrists, it’s obvious, look on the fire dancers “from on high”: they see “hysterical, naïve peasants” with “the people’s psyche”, immersed in “an arousing, wild ecstasy”, which is described as an “emotional orgy”, under the sounds of a music that is a “property of their own emotional universe”… They recognize, however, that the impact of this music and dance, in that particular environment, is equally catalytic “regardless of the quality of the receiver”, apparently having in mind that nowadays, among fire dancers, several “hysterical, naïve”… intellectuals and scientists are included!

First a fetus hears mother’s heartbeat. The pulse is recorded deep in
the brain; when excited, man’s inhibitions are neutralized, and he is
in ecstasy, acting not as an individual but as a member of a group.

Relief of a maenad holding a tympanum

RHYTHM, INEXTRICABLY connected to dance, is the first musical element man experiences. The initial sound a fetus hears is the mother’s rhythmic heartbeat, long before it enjoys her singing – if she has a sweet voice. But even if she doesn’t, this primary pulse is recorded deep in its mind, in the subcortical centres of the brain; when they are excited, man’s inhibitions are neutralized and, as a result, he is overwhelmed with ecstasy, acting as a member of a group and not as an individual.⁽¹⁰⁾ That’s why melody, the second element of music, is intentionally monotonous and persistently repetitious, while the lyrics, if it’s a song, are just as rudimentary: precisely to prevent the re-activation of the cortex and achieve the culmination of ecstasy.

• ⁽¹⁰⁾ Music has been my first occupation, since I was 15, playing in the band of my father, Iannes Loukovikas. I remember that, also due to my music education, I wondered, and was annoyed, as well, whenever an audience glorified some drummer, or anyone playing percussion, in his solo, although his performance was not as difficult as the other musicians’ who, nevertheless, never received such an ovation. The answer to this childish question of mine is given here…

Such phenomena could not go unnoticed by ancient Greek philosophers, who have testified how crucial the role of rhythm is for the preservation, modification or loss of ethos in music. Socrates, Plato, Aristotle and many others investigated the ethos in rhythm, melody, genera and harmonies or modes, not only because music was the foundation of education, but also because – quite rightly – they considered music as a form of language, capable of expressing almost as much as speech and exerting a catalytic effect on people, especially the youth.

Ethos of music (rhythm, melody, genera,
modes): exuberant, restrained, or serene.

Cybele with a tympanum, bronze statuette (2nd century CE)

“No act among people is performed without music”, Aristides Quintilianus used to say, while Plutarch stressed that “the formation and preparation [of young people] to be good [citizens is achieved] through music”, for the Orphean art is really beneficial “on everyone and every well-instructed act”, concluding: “Foul music and wicked songs lead to prodigal morals and unmanly lives, and men to indulgence and flabbiness and effeminacy”…

The ethos of music was generally distinguished as exuberant (the one causing agitation or excitement); restrained (the opposite); or serene (that calms down). Comprehensive philosophical studies were apparently based on observations on ancient folk rituals, such as musical therapeutic ceremonies. The philosophers found that every rhythmic or melodic movement resulted to certain emotional reactions, positive or negative – depending on the intended purpose. Thus they concluded that the sounds with the beneficial effects should be praised and the others to be condemned.

It was natural that the concept of ethos was also exploited for the condemnation of musical innovations by the conservatives, as we have already seen (Chronicle 12. “Do not maltreat our music!”). But in no way does this fact mean that musical ethos is worthless. Why else should the idea be adopted by Persians and Arabs and so many others?

“OK, if it’s not worthless, it is certainly completely unknown today”, the dissidents counter-argue. “Why should we care about the ethos of music (and not only) in an exceptionally unethical era in every respect? Isn’t it… an anachronism?”

Dear reader, my dearest fellow voyager, don’t you think that having come thus far, it means there is a deeper reason in earnest?

●

.

After the Mediterranean periplus, in search of Orpheus,
we set sail to Tartessos, in the Cassiterides archipelago…

Let’s follow the… tin!

• >> Chronicle 15. SAILING TO RIO DE JANEIRO!
• << Chronicle 13. PROFESSIONALS OR AMATEURS?

Next Chronicle 15. SAILING TO RIO DE JANEIRO! (Crossing the Atlantic / So Distant, So Near) ● Periplus – Luso-Hellenic Wanderings ● An Atlantic Odyssey

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Chronicle 12. “DO NOT MALTREAT OUR MUSIC!”

Chronicle 12. “DO NOT MALTREAT OUR MUSIC!”

/ΕΛΛΗΝΙΚΑ/ Χρονικό 12. “ΜΗ ΚΑΚΟΥΡΓΕΙ ΤΗΝ ΜΟΥΣΙΚΗΝ!”

Pericles

● “Golden Age” and “Decline” ● Modernists and Conservatives ● Script and Notation ● Musical Accent ● Odeon and Conservatory ● Folklore ● Collective and Individual Creation ● Democracy and Art

Michales Loukovikas

PERICLES’ “GOLDEN AGE”, THAT PERIOD of the greatest acme of ancient Hellenic civilization, coincided paradoxically with the years of “decline”, which seemed to fall upon Greece in the mid-5th century. This downward trend was a kind of omen foretelling, just like a Cassandra, the upcoming “civil” Peloponnesian War. The most dramatic reaction to “remedy the evil” was quite… anti-dramatic: the democratic polis of Athens decreed in 440 BCE the cessation of all theatrical and musical activities for four years!

“Do not maltreat our music!” (Ecprepes, a Spartan ephor)

Performing in Sparta those days with his modern nine-string cithara, Phrynis of Mytilene encountered the angry outcry of the ephori (ephors) who, shouting out “Do not maltreat our music!”, forcibly removed the two “extra” strings, and obliged him to play with the “classical” (in the 5th century) seven-string cithara.⁽¹⁾

• ⁽¹⁾ “Ecprepes, an Ephor, cut out with an adze two of the nine strings of Phrynis the musician, saying, ‘Do not maltreat music’.” (Plutarch, Moralia).

● So, the musical ethos was “restored” with an adze! “O, Tempora! O, Mores!” (Cicero, Edgar Allan Poe)

Was it indeed a clear manifestation of the ephori’s extreme conservatism, or had Phrynis, a leader of the innovative school with an exceptionally melismatic and modulative style, perhaps gone too far and actually maltreated music? We shall never know: first of all, we did not… listen to him play. But even if we had heard him play, we would still be unable to make up our minds judging by our ears – by our own standards, if you like, i.e. by the current criteria on music.

A 12-string lyre: an unparalleled “hubris”!

However, Pherecrates, a contemporary comic poet and musician, was strongly in favour of the ephori, if we consider that in his comedy, Chiron, he had presented Music as complaining to Justice for abuses committed by innovators, such as Timotheus of Miletus, Melanippides of Melos and Phrynis – whom, however, the comedian forgave because when he grew older, he came… to his senses! On the contrary, Pherecrates threw several “brickbats” at Timotheus and Melanippides, who remained impenitent until the end, playing their even more… “evil” twelve-string instruments!

Comic playwrights, however, with their innate conservatism, permit me to say, are not the most reliable sources, judging by the way Aristophanes has “taken care” of another great innovator, Euripides. The tragedian believed in the talent of Timotheus, while Aristotle, together with other philosophers, also praised the work of modernists:

“Without Timotheus”, the thinker of Stageira wrote in his Metaphysics, “we would not have so many melodic compositions, and without [his teacher, and also formidable rival] Phrynis, we would not have Timotheus either.”

“Laconism (brevity) is the soul of wit”, the ancients declared. But the Laconian ephori set out to… disprove them, hurriedly expelling Timotheus from their polis with a lengthy decree, which the Roman philosopher Boethius preserved:

“For Timotheus of Miletus came to our polis and dishonoured our ancient music by despising the seven-string lyre, and also corrupted the ears of the young people by introducing a greater variety of sounds, and gave music a feminine and sophisticated character by increasing the number of strings;

“For he depraved the melody’s simplicity and soberness, which it had thus far, instead of preserving it;

“We, the king and the ephori, declare we criticize Timotheus, and additionally compel him to remove from the nine strings those that are not necessary leaving only seven; and we banish him from our polis setting him as an example for all those who would like to introduce to Sparta some improper practice in the future”…

A 13-string barbitos

● Timotheus was fool enough to go to Laconia despite Phrynis’ reception there. We just hope he was spared the… adze! In our previous Chronicle we referred to the four basic modes (Dorian, Phrygian, Lydian, and Mixolydian). There were also three genera (diatonic, chromatic, and enharmonic). Each one of these modes and genera, but also the rhythms, had its own ethos. It seems that people like the Spartan ephori, or even Athenian elitists such as Plato, preferred the Dorian mode and the diatonic genus, and disliked all the rest. This might’ve been the reason for the… “ephoral” rage rather than the multi-string instruments themselves, which simply enabled the musicians to modulate through modes and genera. We have seen the same circles condemning the multi-string instruments as unmanly and effeminate. It’s not by chance that this attitude was shared by later conservatives such as the Catholic leaders. In the 11th century, they rejected the chromatic and enharmonic genera and retained only the “harder and more natural” diatonic genus, “for the diatonic is very firm and virile, the chromatic very soft and feminine, the enharmonic dissonant and moreover useless”!⁽²⁾ That’s why the musicians in the Occident were left with just the diatonic scale!

• ⁽²⁾ Quoted in Adrien de La Fage, Essais de diphthérographie musicale (Paris, 1864), emanating from a manuscript at the Dominican convent of Santa Maria Novella, in Florence: “… quia diatonum firmissimum et virilem, chromaticum mollissimum et feminilem, enharmoniumque dissonum insuper et inutilem.”

Orpheus depicted on an old Greek stamp

The ephori’s “puritanism” was not just a phenomenon of the years of “decline”. This mentality of “supervising everything” characterized them also in the past, bringing them into conflict – among others – with another Lesbian musician, the famous Terpander, legendary heir to Orpheus’ lyre,⁽³⁾ who lived from the late 8th to the mid-7th century, i.e. in the so-called “creative” times. In fact, he spent most of his life in Sparta, where he was called in during a period of political crisis to… pour oil on troubled waters. Indeed, he was able to restore peace and tranquility in the city with his music composed specially for the occasion! But the ephori, instead of thanking him, demanded… an apology because he played – alas! – a seven-string cithara and not a “traditional” – at the time – four-string instrument! They could not even suspect that this specific peace-restoring music could not be played on a four-string lyre…

The ephori could not even suspect that Terpander’s
music could not be played on a four-string lyre…

• ⁽³⁾ Legend says that when the Thracian Maenads killed Orpheus – apparently because he failed to honour Dionysus, or even because he spurned their advances – they cut him to pieces and threw him and his lyre into the sea. The waves carried his head and the instrument to Lesbos, where some fishermen found and delivered them to Terpander. He kept the lyre and looked after the burial of his great colleague.

Apollo in front of the Academy of Athens

But there was a sacred intervention – as “deus ex machina” – by Apollo himself, whose cithara, by… “divine coincidence”, was also seven-string! It was confirmed by a rumour that craftily circulated those days. Later, sanctioned with the seal of the Delphic Oracle, “the Spartans honoured the Lesbian songwriter”, according to Heraclides Ponticus (from Pontic Heraclea, 4th century BCE), adding: “for god commanded them through prophesies to listen to him”. As they were accustomed to always overdo (let alone it was an Olympian command to obey to Terpander), the Spartans in the future placed everyone else “after the Lesbian songwriter”, as Aristotle wrote.

The prevalence of the art of this unparalleled (in his time) citharoedus, at the expense of the ephori’s scholasticism, benefited in many ways the Spartans, who secured not only a peacemaker in times of political turmoil, but also the founder of their musical life. Among other things, Terpander was the first to invent a kind of musical notation for the proper performance of the Homeric epics.

Unfortunately, the opposite happened millennia later with the notorious report On Literature, Music and Philosophy by the ephori’s descendant, Zhdanov, whom Stalin considered an expert also on issues of music because he could… “play the piano a little bit”!⁽⁴⁾ The “father of socialist realism”, who in 1934 had nationalized even… culture, so as to turn it into a political tool, in his report of June 24, 1947, demanded from the great composers Shostakovich, Prokofiev, Khachaturian and Shebalin to repent publicly, denouncing themselves! What a pity there was no Pythia anymore…

• ⁽⁴⁾ See Ares Alexandrou, the exile, by Demetris Rautópoulos.

It was the nadir of a cultural policy aimed at creating… yes-men in literature and the arts – a policy that undermined the highest interests not only of culture, but also of the revolution. Note that it was not restricted within the Soviet Union: it was also imposed on all “sister” parties. The Zhdanov report was discussed by Greek party intellectuals even on the barren islands of exile: it was unanimously approved! There was only one “dissonant” voice: that of Ares Alexandrou…⁽⁴⁾

Well, starting from historical paradoxes, we have ended up to historical parallels that are often detrimental to historical truth. Spontaneously we are in solidarity with the musicians and confront the… “Zhdanovist” ephori with disgust. In fact, we cannot be absolutely sure – especially in such times of “decline” – which side was finally right: Phrynis and Timotheus or the ephori? Let alone that the above slogan of the “villains” fits perfectly well into the current situation concerning our music and, I believe, we should all cry out loud rhythmically and in chorus: DO NOT MAL–TREAT OUR MU–SIC!

A blind Egyptian harpist

Professional Musicians and Notation

OUR ONLY CERTAINTY is probably that these historical episodes refer to professional musicians, heirs of a long tradition starting since very old times – since prehistory. Once the humans began producing more than what was absolutely necessary, resulting in surplus product which some of them gradually appropriated, and thus constituted themselves as a ruling class, since that moment musicians emerged as a separate profession.

First-rate musicians in the Orient were closely connected with the royal courts or the clergy – if they were not courtiers or priests themselves. This situation later changed in ancient Hellas due to climatic conditions that were mild and did not necessitate strong central power. These conditions nurtured a similar attitude among the Greeks and a relaxed relationship with the gods. The development of democratic ideas took place in the same context, as I have tried to explain (see Chronicles 2 and 4).

The Hellenes have had open and inquiring minds exactly because they’ve been open to the outside world, as a result of the same conditions. Just a look at a map of Greece explains why. Thus, the oriental influence has been catalytic. The ancients, however, unlike us, did not like to… “copy and paste”. So, they adapted every recipe to their tastes by adding or removing ingredients. Having borrowed their script from the Cretans already in the 15th century BCE, with the necessary changes to meet the requirements of their language (Minoan and Mycenaean Linear A and B scripts), they received (probably from the Phoenicians around the 9th century BCE) the symbols with which they created their own alphabet – a real alphabet with letters for consonants and vowels alike, in contrast to the Semitic consonantal abjads. Then, using the same symbols (what would be more logical?), they arrived to the point to also invent musical writing (notation) as early as the 7th-6th century BCE.⁽⁵⁾

Seikilos Epitaph
While you live, shine | have no grief at all
| life exists only for a short while
| and Time demands his due.

• ⁽⁵⁾ The Delphic Hymns to Apollo (138-128 BCE) are the world’s earliest extant substantial musical fragments. The second hymn was composed by Limenius, while the first one most probably by Athenaeus. The oldest extant complete musical composition in the world is Seikilos Epitaph (1st century BCE or CE), engraved on a stele: its main part, the song (excluding the prologue and epilogue), bears symbols denoting the melody.

“The Hellenes had musical notation well before the 6th century BC”, Iégor Reznikoff said at the 2nd Musicological Symposium of Delphi in 1986. “They were very good in keeping records; that’s the reason why we know so much about ancient Greek tradition and return to it, as many other traditions had no musical writing and thus we know nothing about them.”

“Many ancient notations were invented by priests for priests and cantors, and some were even kept secret”, Curt Sachs remarked.

A culture with a script was not necessarily a culture with a musical script; and if the notation existed, it might have been… top secret! Music, with its catalytic effect on humans and magical powers, was a deadly enemy of all religions, but also a mighty weapon in the hands of priests, who made sure that knowledge around this art was a well-kept secret within the very select circle of initiates.

Music, with its catalytic effect on humans, was a deadly enemy of
all religions, but also a mighty weapon in the hands of priests, who
made sure that knowledge around this art was a well-kept secret…

Music lesson (lyre class)

This means that the Hellenes have not been the inventors of musical notation, but it was them who first used it not for religious-authoritarian reasons, but for didactic purposes, given that music was at the heart of education provided to children since they were six. This shows some differences between the cultures of the Greeks and “barbarians” – i.e. those speaking tongues incomprehensible to Hellenes. Greek culture was not theocratic (there was no reason to be), which is why knowledge was a public good and right. The initiation into the mysteries was part of the devotional process, but the role of religion was totally different, as it was anything but rigidly dogmatic – a basic feature of monotheism.

The Hellenes used the archaic alphabet for instrumentation, and Ionic letters for the song.⁽⁶⁾ This may indicate that instrumental notation preceded the vocal one. Obviously the latter became necessary because of music’s further development, thereby varying the melodic lines of voices and instruments.

• ⁽⁶⁾ The idea was later adopted by Byzantines and West Europeans alike (except the Italian school) designating the musical notes with the initial letters of the alphabet: πΑ, Βου, Γα, Δι, κΕ, Ζω, νΗ, and Α, Β, C, D, E, F, G, instead of the Italian terms Do, Re, Mi, Fa, Sol, La, Si – a terminology also used in Modern Greece, as if local musical theory never existed…

1st Delphic Hymn to Apollo, in vocal notation, cretic foot (quintuple), and Phrygian or Hyperphrygian modes with variations.

Thus we are able to play even now the extant ancient Hellenic music “remnants” – of course, approximately. That’s how – based on various indications – we also approach ancient Grecian phonology, speech, pronunciation, which was musical and not dynamic as it is now.⁽⁷⁾ The difference is enormous. This implies that the divergence between ancient and modern music has become even greater.

• ⁽⁷⁾ Contrary to modern Greek, ancient Hellenic had a musical accent, meaning that the accented syllable was not uttered with a stronger voice but at a higher pitch than the rest. Dionysius of Halicarnassus said that this interval was not just one or two tones, as we would imagine, but in a way similar to that of a fifth in music (e.g. D–A)! Nota bene, the acute, circumflex, and grave accents also implied different pronunciation in ancient Hellenic (see also Chronicle 14, Music as the Mother of Speech).

Europeanization of Hellenic Music

THE ARGUABLE CONTINUITY of Greek civilization, through the succession of classical antiquity with the Hellenistic, Roman and Byzantine periods – and the necessary adjustments at each stage due to changing conditions – seems to have been interrupted with the Ottomans’ arrival. Thus, we tend to identify the emergence of any divergence during this period. However, such phenomena have been much older, as the rapid linguistic changes taking place already in the Hellenistic period show. As far as music is concerned, colossal differentiations emerged much later, not because of the Turkish yoke, but – how ironic! – as soon as this yoke was thrown off and the modern Greek state was established, supported on foreign “crutches”.

A rule that was then undermined from above concerned the link between folk and erudite music. The fact that Constantinople, Thessalonica and Smyrna – the great centres of Byzantine and Ottoman eras – were outside the borders of the new state made things easier for the erudite musicians (all of them educated in Europe) to impose the music they could play and compose, regardless if it had nothing to do with local tradition.

Moreover, due to the fact that the former conqueror shared this tradition, a new kind of servitude appeared since then, leading also to attempts to “harmonize” Grecian music (based on the Western conception of harmony; see Chronicle 11) – the demotic song and ecclesiastical Byzantine chant: that was the only erudite music left in Greece, as secular Byzantine music was thoughtlessly ceded to Turkey, without Hellas claiming its share of this age-old cultural heritage.

Haven’t those in power realized that the people risked turning into tabula rasa? Haven’t they wondered if among the ages thrown into the dustbin, the Golden Age of Pericles was also included? No problem! They bathed in the spotlight just the Parthenons (i.e. the dead meaning of the Golden Age), then set up “new Parthenons” on barren islands of exile,⁽⁸⁾ and finally set out to strangle whatever little had survived from this legacy with the asphyxiating embrace of concrete. The architectural chaos they’ve created may have knocked architecture down the podium of the fine arts, but that’s what “business with pleasure” is all about – and this combination is better achieved through… defects: that’s how wallets become thick!

• ⁽⁸⁾ “New Parthenon”: description of the open torture chamber of Macronesos made by Panaiotes Kanellopoulos, government minister during the civil war and future prime minister.

The wonderful ancient Odeon of Herodes Atticus,
on a slope of the Acropolis of Athens

The Europeanization of Greek music has been going on apace all along, as long as the tutelage provided in conservatories,⁽⁹⁾ aka foreign music language schools, is based on European standards. The absence of “national” music education at its place of birth, while “third world” countries in the Orient boast of their higher music institutes, might be unthinkable in any country other than modern Hellas. Everything perhaps can be explained by amateurism or the absence of a cultural policy – without excluding the possibility of a conscious act. After all, isn’t this absence of policy also… a policy?

• ⁽⁹⁾ A conservatoire is called odeon in Greek. However, the ancient Hellenic Odeon was not meant for music lessons but for musical shows, singing exercises, music and poetry competitions, and the like. The odeons were similar to ancient Greek theatres, but were far smaller and provided with a roof for acoustic purposes. One of the best examples of such a building is the Odeon of Herodes Atticus (Herodeion) in Athens. As regards the term conservatory, it is surely unmusical as it also refers to conservatism, greenhouses, and preservatives!

It is quite serious, indeed. Any child inclined to music, regardless of stimuli, will be obliged to attend a conservatory having no choice: he/she will necessarily be taught a foreign musical language – the erudite European. It’s another case of brainwashing – not only of this child but also of his/her future listeners, since it is impossible to “shepherd” the public to listen to occidental music, if you don’t “produce” musicians specifically trained for the role, blocking the emergence of new traditional musicians, and marginalizing those who are already active. It’s been another scheme of the ruling circles in order to eradicate local traditional music and thus mutate the collective consciousness of the people.

The ruling circles tried to eradicate local tradition and mutate the
people’s collective consciousness. But some conservatives resisted.

Taking into account all these attempts, the continuous attacks against all local musical genres since the Hellenic state has been established, it is a miracle that this tradition has survived!⁽¹⁰⁾ It prevailed, of course, because it’s deep-rooted – but also because of a certain peculiarity: there was resistance against these attacks – mainly from conservative opponents of cosmopolitanism (such as Simon Karás, though sponsored by the Ford Foundation), and not from progressive Greeks, as it would be “proper” and “normal”. The fact that it was conservatives who mostly contributed in safeguarding Hellenic traditional music, created more confusion, obscuring the real problems.⁽¹¹⁾

• ⁽¹⁰⁾ Miracle upon a miracle: In my first articles about Mediterranean periplus for the newspaper Thessaloniki, concerning the need to establish a Mediterranean Conservatoire in the city, I had written that we would be obliged to bring teachers from countries where modal music tradition is still alive to transmit their knowledge. Eventually, life itself triumphantly disproved me (and I rejoiced!): In no time at all, a new generation emerged replete with great musicians who are also theoretically skilled – and that was the Achilles’ heel of the old generation… This, my dear fellow travelers, is the magic of DNA!

• ⁽¹¹⁾ I remember when I started the Mediterranean periplus program: I was obliged every day, for months – perhaps the entire first year – to prove with my comments I’m progressive. It was as if I said: “It happens that I deal with traditional music, but I’m not some conservative nut!” I felt so strong this need then. You can understand the prevailing atmosphere at the time…

Carols, by Nikephoros Lytras (1872)

Living Tradition or Folklore?

The conservatives, for sure, care about the conservation of music the way it has passed down to us. They are mainly interested in the conservation of the type (sum of typical features or clichés) of tradition, which is not seen in connection with the rest of the Mediterranean cultures, where it belongs. It is the typical attitude of the folklorists who miss the whole point. Thus they concentrate their attention on collecting songs and tunes in the form they’ve been polished to perfection by countless generations of musicians, disregarding personal creative interventions by current folk artists, ignoring that such innovations – if adopted by public taste – refined and perfected folk songs. They also reject any further similar effort as an attempt to adulterate their purity, arguing that, in the era of individualism, the practice of collective development of music is long gone.

Folk songs were created and perfected not by the people, but by
musicians as exponents of society or some strata… Only a thorough
understanding of traditional music will enable its development…

This may be true; but disregards the fact that the songs we so admire have been created and perfected not by the people in general, but by their musicians, as exponents of society at large, or some social strata. The composers and lyricists have been some talented persons, not society in general. In addition, we have no right to throw the inflow of new elements into traditional music in the purgatory condemning it to a standstill – which is equivalent to death; as Heraclitus said: τὰ πάντα ῥεῖ (everything flows); therefore, whatever does not flow, dies out. It goes without saying that I do not argue in favour of an uncritical acceptance of all new elements. I’m just pointing out the consequences of blind negativism: by cutting the thread of continuity, we offer the worst service to tradition. Are our folklorists under the naïve impression that barricading themselves behind the wall they are erecting, they would be supposedly safe? In the Internet era they behave like ostriches!

Trio of musicians playing diaulos, cymbala and tympanum (mosaic from Pompeii).

No objection that after the invention of the phonograph, especially since the record companies have also undertaken the promotion of their “merchandise”, the role of the people has shrank into that of a passive “receiver”-listener. So much for the famous public taste! Hence, in the era of individual creation, only a thorough understanding of traditional music will enable its further development under the new conditions – which is the hoped-for result – instead of serving as couleur locale. This development, of course, cannot come up with revivals such as the “neo-demotic”, or “neo-rebétiko”, that discredit the whole verbiage about “roots”, precisely because of the adherence of their protagonists to the past – if not to money…

Democracy and Art

● THE CULTIVATION of art, of culture as a whole, I’m afraid, is incompatible with the vulgar version of “representative democracy” – which is dominant today. Under pure, direct democracy, the citizens, who actually held power, were obliged to take all the critical decisions by themselves, either in the Heliaea, or in the Ecclesia of Demos, gaining de facto a political criterion and responsibility that today’s “subjects” do not possess. In addition, the polis obliged the wealthy to fund dramatic performances, while the citizens, instead of paying, were paid to see them (from the theorica fund). Suppose you were an ancient Athenian and, during the Dionysia festival, you were exposed to the dramatic art of Aeschylus, Sophocles, and Euripides, with their high-level poetry and music in their plays. If so, your culture, your cultivation, would be far more refined than what you have today. (See Chronicle 4. On Democracy, where our “representative democracy” is defined as oligarchy).

Bronze mask depicting Dionysus bearded
and horned (200 BCE – 100 CE)

Unfortunately, direct democracy has been a historical parenthesis. What’s happened before or after? The arts were then cultivated under the auspices of the ruling class. The kings or princes in their Courts, as well as several Maecenas – all of whom were cultivated, unlike their subjects or today’s rude plutocrats in power – really cared for the arts and the artists, if they were not artists themselves. Unfortunately, except the ancient Hellenic miracle, born out of pure democracy, all other classical forms of art were due not only to the celebrated artists of the era, but also to those exploiters and oppressors who supported them… Now, the rude ruling plutocrats do everything to ensure that their subjects are (or will become) equally rude. It is the only way their plutocracy will not be questioned. And those plutocrats who decide to play the role of politicians, as a result, are voted in by the crowd.

According to the commercialism of the era, demand determines everything: from detergents to works of art! And if the “rude crowd” does not buy works of art? So much the worse for the artists – who once again depend on the prosperous: either those few, with artistic sensibilities, or the many, who want to satisfy their vanity, or simply to show off! What would the general public choose today? Bach, Mozart, and Beethoven? Ravi Shankar, Parisā, Munir Bashir? Or the trash passed off as music? The good thing in the time we live is that the economic base is not fully reflected on the superstructure. Meaning that, in addition to the majority of trash buyers, there is also a sufficient minority with artistic, ecological, social, political, economic and also other sensibilities. The bad thing is that the ebb and tide in our socio-political balance is the determining factor. Hence, for sure, the people are not without responsibilities in the present circumstances, because it depends on them where this balance is tilted each time. Until one day the tide becomes permanent…⁽¹²⁾

• ⁽¹²⁾ I’m talking as daydreamer about a “permanent tide” in the time of the Internet, where “free downloading” is the thing. At a time when the vast majority of young people think that music is (to be offered) “free”, Music, as an art, has worn her burial shroud… So, let me be self-critical, as well: in the Internet era, I also behave like an ostrich!

• >> Chronicle 13. PROFESSIONALS OR AMATEURS?
• << Chronicle 11. “MUSIC IS THRACIAN AND ASIAN”

Next Chronicle 13. PROFESSIONALS OR AMATEURS? ● “Do Not Maltreat Our Music!” (Β) ● Autodidacts or Literate? ● Asia Minor Catastrophe and Rebétiko ● Censorship on Music ● Controversy Over Rebétiko ● Entertainment and Edutainment (B)

Dedication to Bacchus (Dionysus), by Lawrence Alma Tadema

Chronicle 4. ON DEMOCRACY

Chronicle 4. ON DEMOCRACY

/ΕΛΛΗΝΙΚΑ/ Χρονικό 4. ΠΕΡΙ ΔΗΜΟΚΡΑΤΙΑΣ

● Authentic Democracy: Direct and in No Way “Representative” ●
Castoriadis and Chaos ● The Trial of Socrates ● Ecclesia and Heliaea
● French and Haitian Revolutions ● Plato’s Republic

The Parthenon: the symbol of Athenian democracy.

Michales Loukovikas

“ΟNE OF THE SEVERAL HISTORICAL PARADOXA” of antiquity, I underlined in Chronicle 2, “concerns the differences between the Aegean and the Orient in their political structures: the decentralized Grecian city-states”, on the one hand, and the “centralized empires” in the East, on the other. I tried to explain these differences as a result of objective conditions prevailing in the Orient vis-à-vis those in the Aegean, in order to speak about the birth of democracy –⁽¹⁾ the pure, direct and participatory, in contrast to today’s so-called “representative democracy” that was imposed on us. Here’s to you, my fellow voyagers: especially now, because of the crisis, it is good to make comparisons and have some reflections

OΝ DEMOCRACY

• ⁽¹⁾ Cornelius Castoriadis, nevertheless, attributed the birth of democracy to the realm of ideas. The Greeks, he said, differed from other societies due to their ideal of autonomy. The Cosmos, they imagined, stemmed from Chaos, while in contrast, the Hebrews believed it stemmed from the will of a rational entity, God, as described in Genesis. Thus the former developed a system of direct democracy, where the laws were ever changing according to the people’s will, while the latter a theocratic system, according to which man is in an eternal quest to understand and enforce the will of God. This radical idea of a “cosmos out of chaos”, as found in ancient Hellenic philosophy and cosmogony, means that the world was created out of nothing; therefore man can model it as he sees fit, without trying to conform on some “divine law”. Castoriadis rejected as well the term “city-state” used to describe ancient Greek cities, since the Hellenic poleis were autonomous. During colonization e.g., we observe for the first time in history that the Hellenes, instead of transferring the social system of the metropolis to the newly established colony, they legislated anew from the ground up. On the contrary, the Phoenicians, with a similar expansion then in the Mediterranean, were monarchical till the end, and their colonies paid tribute to the metropolis.

View of the Acropolis of Athens, by Jean-Auguste-Dominique Ingres (1841-1849)

LIFE IN ANCIENT HELLAS was generally not a “test for some happy afterlife” – an idea the common people of the “Asiatic mode of production” should necessarily entertain. The Greeks were shaped and inspired by Hellenic Nature. They philosophized and discussed public issues under her beneficial influence. She “dictated” the forms of their state and political organizations – regardless if they both fomented discord. Their model was the polis; democracy was their ideal; freedom their highest virtue – regardless if they lived in a slave and “male” society. It seems contradictory.

Additionally, their democracy was pure, direct, and authentic; today’s so-called “democracy” is the so-called “representative”, where power is not exercised by the people anymore but by their so-called “representatives”, contrary to the very definition of democracy.⁽²⁾ More and more oxymora and paradoxa… Let’s try to make them clear:

• ⁽²⁾ Democracy (δημοκρατία, “rule of the people”, from demos = people, and cratos = power) is a synonym to the Modern Greek λαοκρατία (“people in power”), and an antonym to ἀριστοκρατία (aristocracy, “rule of some elite”), and ὀλιγαρχία (oligarchy, from oligoi = few, and archō = to rule). Which one represents our so-called… “representative” system, even a little child can say!

● The “father of Athenian democracy” was Cleisthenes, and its symbol was the Parthenon. A hill of Athens, the Pnyx, was the meeting place of the Ecclesia, with the speaker’s platform or bema. It is where the political struggles of the “Golden Age” were fought; from this bema, the speeches of the great figures of the time were delivered – but also of many ordinary citizens, who raised their hands responding to the question: “Τίς ἀγορεύειν βούλεται;”, “Who wishes to speak?”

Pericles’ Funeral Oration, by Philipp Foltz (1852)

As much as the Ecclesia of Demos can be related to the Ecclesia
of Christ, so much the pure and direct democracy can be related to
the so-called “representative democracy” – which is an oligarchy.

A deficit in democracy is accompanied by similar deficits in politics and justice. An entire country, Greece, was devastated by the politicians with the judges’ consent – i.e. by persons who are absolutely useless and extremely dangerous to democracy. Democracy has no need of politicians: the citizens themselves, as “political animals”, according to Aristotle, are involved in politics; they are the ones who decide. Democracy has no need of judges: the citizens themselves administer justice. Democracy – if it is indeed a state of the people in power – does not delegate such powers to anyone, not even to a Pericles! The memoranda of austerity would have no chance in the Ecclesia of Demos (that of Christ, the Church, I’m sure, would bless them)! The court of Demos, Heliaea, would have never sentenced Kolokotronis,⁽³⁾ let alone to death! We have no democracy, let’s accept it! It’s the prerequisite for us to obtain it someday…

• ⁽³⁾ General Theodoros Kolokotronis, the pre-eminent leader of the Greek War of Independence against the Ottomans (1821–1829), was jailed (1825), sentenced to death and pardoned (1835).

Trial of Socrates

● But if Socrates was sentenced to death, why should Kolokotronis fare better? First of all, let’s make clear that Socrates was tried by democracy, while Kolokotronis by oligarchy. The people’s sense of justice was for Kolokotronis, but against Socrates. Why? Let’s have a look at the trial of Socrates, which took place in 399 BCE, after the defeat of the Athenian democracy by the Spartan oligarchy in the Peloponnesian War. It was a political trial in disguise because of the amnesty given to the oligarchs after the overthrow of the Thirty Tyrants, who were puppets of the Spartans. That’s why the charges against him were: asebeia (impiety) to gods, and corruption of the youth of the polis of Athens. Note that what we know about Socrates’ trial and verdict is mainly derived from the Apology of Socrates, by Plato, and the Apology of Socrates to the Jury, by Xenophon – both students of Socrates, hence anything but impartial sources.

Socrates Tears Alcibiades from the Embrace of Sensual Pleasure, by Jean-Baptiste Regnault (1791)

In Socrates’ face, democracy prosecuted its demons: specifically two other of his dear friends and students, Alcibiades and Critias.⁽⁴⁾ Alcibiades was the main proponent of the absolutely disastrous Sicilian Expedition (415-413 BCE) during the Peloponnesian War, where almost all Athenians participating, more than 50,000 men, were killed or captured and enslaved. After being summoned to trial, Alcibiades defected to Sparta, then to Persia, returning with false promises to Athens, where he was driven out after another defeat by the Spartans, who finally killed him in Phrygia in 404 BCE.

• ⁽⁴⁾ The close relationship between Socrates and Alcibiades is clearly reflected in paintings such as: Socrates Tears Alcibiades from the Embrace of Sensual Pleasure (Jean-Baptiste Regnault, 1791). Other painters (Jean Léon Gérôme, Francesco Hayez, etc.) show Socrates Seeking Alcibiades in the House of Aspasia… Discovering Him in Women’s Quarters… in a Hetaera’s House… or in a Brothel… and Reprimanding Him. The two of them are also depicted in The School of Athens, by Raphael, in company with Aeschines and Antisthenes (or Xenophon).

Critias, who appears in Socratic dialogues by Plato, one in his name, was the blood-thirsty leader of the Thirty Tyrants, who were installed by the Spartan occupation army as an oligarchic regime in 404 BCE, after Athens’ defeat in the war. Not only Critias, but also several other tyrants were students of Socrates, as well. They were in power for only eight months, but in this short period, they managed to kill 5% of the Athenians, exile a lot of others, and seize the property of the dead and exiled. Many wealthy citizens were executed or murdered by the oligarchs just to confiscate their property and share it among themselves, giving a portion to their followers. It was a terror regime, led by Critias, who became notorious for his cruelty and inhumanity, as he was determined to put an end to democracy – regardless of human cost. The uprising that overthrew the tyrants in 403 was organized by a group of exiles led by Thrasybulus. Critias was killed in the initial combats. Xenophon may have played an important part in this regime, as one of the two commanders of the cavalry, which were the Thirty’s militia.

Socrates

Many prominent Athenians, who were opposed to the regime of terror, left the city. Socrates, however, chose to remain and his attitude was interpreted as acceptance of the tyrants – indirectly but clearly. The philosopher espoused anti-democratic ideas, such as the view that it’s not majority opinion that yields correct policy but rather genuine knowledge and professional competence, which only a few experts possess. He often praised the laws of oligarchic Sparta. Plato reinforced these anti-democratic ideas in the Republic, advocating rule by an élite of so-called enlightened “Philosopher Kings”. This might have also been Socrates’ idea of himself, going as far as claiming in his apology he had been a “gods’ gift” to the Athenians… There’s a view that “Socrates’ real crime [was] preaching a philosophy that produced Alcibiades and Critias… but of course, under the amnesty, he couldn’t be prosecuted for that”. This is a rather favourable view about Socrates. Because there are some other views, as well, that the Republic of both, Socrates and Plato, may have been… implemented by the Thirty Tyrants, and that this “Philosopher King” was finally none other than Critias himself!

This crisis would be unthinkable in ancient Athens: the Ecclesia of
Demos would have never accepted what the creditors dictated.

UNDER THE SO-CALLED “REPRESENTATIVE DEMOCRATIC” SYSTEM, the people, who supposedly “rule”, are in fact powerless and unable to rule out all those dire consequences of the crisis we are experiencing now. In ancient Athens, on the contrary, as in any other democratic Hellenic city-state, such a crisis would be unthinkable: the Ecclesia would have never accepted what the creditors dictated. The decision would not be taken by some president or prime minister, government or House of Representatives, court or even banker, but by the citizens themselves.

Of course, there were officials, but for limited periods of time, alternating and revocable at any time. Their powers were precisely defined and their capacity for initiative limited. They just administered rather than governed. They could not decide “for the people”, but simply acted on decisions already taken by the people’s Ecclesia. Before taking over, and after leaving office, the citizens were subject to scrutinies, reviewing their abilities beforehand (δοκιμασία = trial), and their performance afterwards (εὐθύναι = responsibilities).

The Ecclesia and Heliaea are the pillars of democracy.
Without one, democracy is lame; losing both, it’s dead.

Cleisthenes: the “father of Athenian democracy”

There were no judges, just jurors, numbering hundreds, even thousands in the most serious cases. The Ecclesia-Assembly, with a quorum of 6000 (around 10-20% of the citizens), and the people’s courts, the Heliaea (6000 jurors) were the pillars of democracy. Without one, democracy would be lame; losing both (as in our so-called “representative” system), there would be no trace of democracy left… The 400-member Boule’s work was more or less bureaucratic overseeing and coordinating the state institutions, while some older ones, e.g. the Archons and Areopagus, were gradually stripped of real powers.⁽⁵⁾

• ⁽⁵⁾ The Areopagus (from Areios Pagos, i.e. “Ares’ Rock”) is a rocky hill, NW of the Acropolis, where the court met. In pre-democratic Athens, it was the elders’ council, similar to the Roman Senate. Its membership was then generally restricted to former archons. There were three archons at a time: archon basileus (king ruler, a relic of monarchy), archon eponymous (chief magistrate) and polemarch (war ruler).

● One of the “privileges” left to the Areopagites was to enjoy the beauty of… Phryne, the famous hetaera, stripped in front of them, when she was accused of impiety. The orator Hypereides, one of her lovers defending her, used his best “argument” to save her from death: he removed her robe before the judges to… “arouse their pity”! Her beauty (not his rhetoric) was so “convincing” that she was acquitted! The episode inspired Jean Léon Gérôme in his painting Phryne Before the Areopagus (1861).

Phryne Before the Areopagus, by Jean Léon Gérôme (1861)

What’s been left from ancient democracy in today’s political
system is the least democratic procedure: election…

Athenian democracy was participatory: the citizens selected for office served collectively. The selection was done mostly by lot, not election, because the latter usually favoured (and still favours) the rich, noble, educated, eloquent and famous. Each citizen could serve (in the real sense of the word) only once, in some cases twice, in such positions. Allotment was considered as the most democratic means to prevent the corrupt purchase of votes and give citizens a unique form of political equality. In this way, more and more Athenians were engaged in politics, “ruling and being ruled in turn”, as Aristotle wrote. It is not a surprise that what’s been left from ancient democracy in today’s political system is the least democratic procedure, that is, election – which has become almost a synonym for “democracy”…

Elected rather than chosen by lot (therefore, coming from the higher classes) were the ten generals, the strategoi, due to their necessary expertise in matters of politics and war, and also those who were obliged to handle large sums of money: any money embezzled could be recovered from their estates. Elected officials, too, were subject to review before holding office and scrutiny after that. And they, too, could be removed from office at any time. Citizens held to be acting against the interests of the polis, the demos, e.g. in cases of abuse of power or embezzlement, faced penalties that could be very severe, such as death, huge unplayable fines, confiscation of property, permanent exile and loss of citizens’ rights through atimia (disgrace), a form of disenfranchisement.

The Pnyx with the speaker’s platform, the bema

“We do not say that a man who takes no interest in politics is a man who minds his own business; we say that he has no business here at all.” (Pericles)

A good example of the contempt the first democrats felt for those who did not participate in politics can be found in the modern word “idiot”, from the ancient Grecian term ἰδιώτης, meaning a private person, someone who is not actively participating in politics. Pericles, according to Thucydides, declared: “We do not say that a man who takes no interest in politics is a man who minds his own business; we say that he has no business here at all.”

The intelligentsia of the time was mostly aristocratic. Hence, among the ancient Greek critics of democracy we can find Socrates (the most well-known victim of democracy), Plato, and Aristotle – i.e. the “heavy artillery” of Hellenic philosophy was anti-democratic – dramatists, such as Aeschylus and Aristophanes; and also historians, such as Thucydides, Xenophon, or even Polybius, who firmly believed that every democracy eventually decays into “a government of violence and the strong hand,” leading to “tumultuous assemblies, massacres, banishments.” (So: Down with democracy! Long live aristocracy! The aristocrats, the oligarchs, have a “mutual understanding”, a modus vivendi, without resorting to “excesses”!)

The victory against the Persians, the birth of drama, the great acme
of Hellenic civilization, would be unthinkable without democracy.

Epidauros theatre: the best… loudspeaker ever!

All the above “forgot” that the victory against the Persians, the birth of drama, and even the great acme of Hellenic civilization, would have been unthinkable without democracy. However, despite all precautions, we now know there was no check on the dangers of demagogy: that was democracy’s Achilles’ heel. Two notorious Athenian demagogues (from demos and the verb agō = manipulate, thus “people’s manipulators”) during the Peloponnesian War were Alcibiades and Cleon.⁽⁶⁾

• ⁽⁶⁾ This Chronicle’s aim was not a critical evaluation of direct democracy. I just wanted to show its colossal differences from the so-called “representative democracy”. I presented in broad terms how it worked to assess the feasibility of its implementation today if it’s appropriately adapted. Among its victims were not only anti-democrats, like Socrates, but democrats, as well, such as Pericles, or his tutor and friend, the philosopher Anaxagoras. They were both accused by Cleon, the demagogue – the former for maladministration of funds (he was soon reinstated), and the latter for “impiety”. Pericles was obliged to send Anaxagoras, for his own safety, to Lampsacus, where he lived the rest of his life.

● On the relation between democracy and art, see the conclusion of Chronicle 12.

Imaginary depiction of the Agora of ancient Athens at the time of Pericles

The ancient Grecian polis died out together with Athenian democracy: it was the end of an era for this form of government that ceased to be a model, because no one really cared or was interested to counter the negative accounts of the ancient writers. The classical model that inspired revolutionaries and radicals in Europe and America was Rome, not Athens – although Res publica Romana was no democracy. Thus, the Founding Fathers of the USA in 1787 set up a Senate, not an Ecclesia, which eventually met on the Capitol… But times changed and Athenian democracy was gradually appreciated for the high level of cultivation that her citizens enjoyed. Since the middle of the 20th century, every politician declares he is a “democrat”, every country claims it is a “democracy”, regardless of the actual makeup of its government.⁽⁷⁾

• ⁽⁷⁾ The failure of democracy, as well as of the last two centuries’ revolutions that were described as “socialist”, aiming at communism, was, in essence, a failure homo “sapiens”, or a failure of man as a “political animal”. His inability to create democratic, or even classless societies, is ultimately blamed on his own inability to rise to the occasion.

Revolutions in France (1789) and Haiti (1791)

The last victorious Battle of Vertières (1803) in the Haitian Revolution.

NEVERTHELESS, THERE are still many “sensitive souls” who lament on the “impurity” of Athenian democracy because it excluded women, slaves and foreigners, exercising “imperialist” policies – as if patriarchy, slavery, racism and imperialism were all born out of democracy! Patriarchy is still going strong; the same applies to racism and imperialism. Slavery was abolished quite “recently”, though I’m afraid it is also going strong under disguise… But where or when did you see slaves voting?(!) As for universal suffrage, Finland was the first nation to give all adult citizens (men and women) the right to vote and run for office in 1906. Greek women voted for the first time in 1953. Note that the First French Republic, after the French Revolution (1789), was the first nation that adopted universal male suffrage in 1792, i.e. excluding women – let alone the slaves.

Apropos, have our “sensitive souls” ever heard of the great Haitian Revolution (1791), the only successful slave insurrection in history? It broke out two years after the equally great French Revolution and with precisely the same slogans: “liberté, égalité, fraternité”; but the Haitian aspirations for Freedom, Equality, Brotherhood, were denied by the great French revolutionaries on the basis of their… armed forces – sending even mercenaries (e.g. Poles) to Haiti to suppress the insurrection: such privileges were meant exclusively for the “noble, white Frenchmen”, not for negro Haitian helots!⁽⁸⁾

• ⁽⁸⁾ What was their reward? The country where the only victorious slave revolution ever took place is now probably the poorest all around the world. The so-called “international community” never forgave them for their heroism and punished them severely because they raised their heads in their desire to live free.

Plato’s Republic: a Dictatorial Monarchy!

● Plato’s Republic, the first recorded utopian proposal,⁽⁹⁾ is one of the most influential works on philosophy and political theory. The “citizens” are categorized into a rigid class structure of golden, silver, bronze and iron socio-economic classes with limited social mobility (reminding us of the Indian caste system). Golden citizens are trained in a rigorous 50-year-long educational program to be benign oligarchs, philosopher kings.⁽¹⁰⁾ The wisdom of these hereditary rulers will supposedly eliminate poverty and deprivation through fairly distributed resources. Yet, true knowledge is reserved for the élite, while the lower classes are expected to fulfill their functions to the state loyally until the end of their lives. Censorship is common, to prevent impiety and immorality from corrupting the youth. The Platonic Republic has few laws, practices a form of eugenics to weed out the disabled, and deliberately hires mercenaries to conduct wars in the hope that the more warlike populations of nearby countries will be eliminated (what the Punics did until finally Carthage was razed to the ground). Indeed, who would like to live in such a harsh, unfree utopia, if his/her metal were not noble? In his book The Open Society and Its Enemies (1945), Karl Popper singled out Plato’s Republic as a “totalitarian dystopia”, with a distinct hereditary governing ruling class, while the lower working class is given no role in decision making, and treated as “human cattle”. Undoubtedly, the greatest utopia is to expect solutions from such “philosopher kings”, even if they are world-famous and have influenced generations upon generations of thinkers.

A group of philosophers from the Academy in Athens,
mosaic found in Pompeii (1st century CE)

• ⁽⁹⁾ Utopia: an imagined community or society with highly desirable or nearly perfect conditions for all its citizens. Utopian ideals place emphasis on egalitarian principles, with the method of implementation varying according to the ideology of each proposal. The term utopia was coined by Thomas More for his book Utopia (1516), describing a fictional island society in the Atlantic. The word comes from the Hellenic οὐ (not) and τόπος (place) and means no place. Eutopia, from the Greek εὖ (good) and τόπος, meaning good place, is the correct term to describe a positive utopia. Utopia and eutopia in English are homophonous; so they became synonymous, as well. The opposite of eutopia is dystopia, from the Hellenic δυσ- (bad) and τόπος, i.e. cacotopia or anti-utopia.

• ⁽¹⁰⁾ Finally, the Platonic Republic is in fact a monarchy, or a dictatorship, since the “philosopher king” resembles another equally imaginary being: a “benevolent dictator”…

● The Republic was written around 380 BCE, more than twenty years after its implementation in practice by the Thirty Tyrants, in 404-403. Therefore, we conclude that Plato was an unrepentant anti-democrat all his life… He even attempted to spread his ideas to Syracuse, even though he was disgusted with the “sensual” life in Sicily. According to Diogenes Laërtius, Plato initially went to Syracuse while it was under the rule of Dionysius. The latter’s brother-in-law, Dion, became one of Plato’s disciples, but the tyrant himself turned against him. Plato almost faced death, and was sold into slavery. Anniceris, a Cyrenaic philosopher, subsequently bought his freedom and sent him home.⁽¹¹⁾ After the tyrant’s death, according to Plato’s Seventh Letter, Dion requested him to return to Syracuse to tutor and guide Dionysius II to become a “philosopher king”! Dionysius seemed to accept Plato’s teachings, but he became suspicious of his uncle and exiled him. Dion would finally return to overthrow Dionysius and rule Syracuse for a short time before being in turn… overthrown and assassinated by a fellow disciple of Plato, Calippus, who had traveled with Dion to Sicily to capture Syracuse! Calippus also ruled briefly before being ousted from power himself. Afterwards he commanded a band of mercenaries, who later killed him with the same sword that he used to kill Dion! That was the end-result of the second attempt to implement the Republic!… Plato reminded me of Pythagoras who also tried to combine his philosophy with the politics of Crotone, in Magna Graecia. The consequences would be disastrous for himself and his disciples. I wonder. How would Aristotle rate the two of them as “political animals”?

• ⁽¹¹⁾ What a disgrace for Plato! He was saved by Anniceris, a representative of a philosophic school he despised, as the Cyrenaics were famous for their sensual hedonism!

• >> Chronicle 5. IBERIA’S ODYSSEY
• << Chronicle 3. A CHRONICLE OF THE HUMANS

Next Chronicle 5. IBERIA’S ODYSSEY ● Hellenes in Portugal ● Fado and Fate ● Odysseus and Calypso in Lisbon; Their Son in Santarém ● Creto-Iberian Ties: Bull Worship and Bullfight

Chronicle 20. THE ENIGMATIC SEA PEOPLES

Chronicle 20. THE ENIGMATIC SEA PEOPLES

/ΕΛΛΗΝΙΚΑ/ Χρονικό 20. ΟΙ ΑΙΝΙΓΜΑΤΙΚΟΙ ΛΑΟΙ ΤΗΣ ΘΑΛΑΣΣΑΣ

● Bronze Age Collapse Due to Famine ● Trojan War and Anatolian
Sea Peoples ● Merneptah Stele and Exodus ● Hittites and Luwians

Michales Loukovikas

The “Great Green” Mediterranean, the “Sea of Hellenes”

BEFORE WE VOYAGE WEST, we need to sail off onto the “Great Green” of the “Sea of Hellenes” (Egyptian terms referring to the Mediterranean), in search of the Sea Peoples, meeting more migrant-refugee bands on the way. Voyaging in space and time, in history, legend or myth, let us go back to the explosive finale of the 17th century BCE, i.e. the “big bang” of the Minoan volcanic eruption on Thera, as it occurred very close to the period that the Sea Peoples initially appeared in Egypt. If we take into account the wrecking of the Minoan navy policing the seas, we can presume that these peoples were then nothing but pirates, and we also realize how interdependent the great powers were in the ancient world, as well.

Ancient ship, Egyptian papyrus painting

Later the Egyptians started identifying various bands of Sea Peoples in their own style, and one of the first they mentioned were the Sherden, or Shardana, a large group of pirates. They disrupted trade in the late 13th century and contributed greatly to the collapse of the Mycenaean civilization. Nonetheless, they are not mentioned in either Hellenic or Hittite legends or documents, suggesting that they did not originate from either sphere of influence. Many scholars relate the Shardana to Sardinia due to the similarity between the two words. Based on the same principle, the archaeologist Margaret Guido proposed that the Shardana might have ultimately derived from Sardis, and the Sardinian plain nearby, in Lydia, and perhaps migrated later to Sardinia. It seems that many people, and not only the Trojans that would become Romans, left Anatolia and the Aegean for the Italian peninsula and its islands due to the Bronze Age collapse rather than before. There is evidence that gives credit to Virgil’s Aeneid – but without excluding the possibility of earlier migrations. Recent genetic studies indicate that the populations not only of people, but even of cattle, in several Italian regions, especially in Tuscany, are more related to Asia Minor, and mainly in the northwest, than to anywhere else.

A famous passage from Herodotus, quoted by scholars quite often, portrays the migration and drifting of Lydians in the Mediterranean because of famine:

Etruscans dancing, painting on a tomb

“Their king divided the people into two groups, so that the one should remain and the other leave the country. His son, Tyrrhenus, was to be the head of those who departed. They went down to Smyrna and built themselves ships. After sailing past many countries they came to the Umbri, where they founded cities and called themselves Tyrrhenians.”

We can’t but remember that Anatolia faced the same acute problem of famine in the time of the collapse and, as a result, the Sea Peoples, then a coalition of seagoing migrants, closed ranks seeking relief from scarcity. Drought could have easily precipitated socio-economic problems and wars. As regards the story told by Herodotus and its link to the Sea Peoples, some scholars contend that those people called Teresh by the Egyptians were none others than the Tyrrhenians, or Tyrsenians, who are often identified with the Tusci (hence Tuscany), the Latin exonym for the Etruscans, or Ras(en)na, as they called themselves. The Tyrsenian linguistic family, together with Etruscan, includes the Lemnian language, spoken on the Aegean island of Lemnos to the 6th century BCE. Another Aegean tongue possibly related to the Etruscan was the Minoan Cretan. A third Aegean island close to Asia Minor mentioned as their possible origin by Thucydides is that of Lesbos. The Romans, as Virgil’s readers, identified the Teresh with the Trojans. There are clues to support this view. Several writers, e.g. Andrea Salimbeti in The Greek Age of Bronze: Sea Peoples, comment that a Trojan connection in the case of the Teresh (or Tursha) should be at first taken under consideration:

The double-headed eagle, the Byzantine symbol of Empire, was used before by Mycenaeans and Hittites, e.g. this relief at Alaca Höyük (1400 BCE)

“Troy appears in a Hittite record as Taruisa. It is a reasonable assumption that the people of Taruisa called themselves by some name close to this; stripped of vowels so that it can be compared to the Egyptian spelling”.

The Troad (or Troas) was outside the territory but within the sphere of influence of Hatti. Nevertheless, another Hittite record points to a different location, for it contains a list of cities, among them Tarsa, most likely Tarsus. These toponyms and corresponding ethnicities would be written down in Egyptian hieroglyphs, or in any cuneiform script, as “T-r-s” or “T-r-sh” – i.e. without vowels.⁽¹⁾

• ⁽¹⁾ A very good example of how important the Greek innovation with the vowels in the alphabet has been. If the Egyptian script had vowels, as well, the enigma of the Sea Peoples might have long since been solved!

“The Sea Peoples may well have been Troy and its confederated
allies, and the literary tradition of the Trojan War may well reflect
the Greek effort to counter those raids.” (Eberhard Zangger)

Anatolian amalgam: the most important regions and peoples

Anatolian connections have been suggested for other Sea Peoples, too, such as the Lukka (Lycians). Most striking is that they mostly seem to have descended from the Troad. Thus the Swiss geoarchaeologist,⁽²⁾ Eberhard Zangger, thinks that “the Sea Peoples may well have been Troy and its confederated allies, and the literary tradition of the Trojan War may well reflect the Greek effort to counter those raids.” This is what the Iliad seems to reflect.⁽³⁾

• ⁽²⁾ Geoarchaeology uses techniques and subject matter of geography, geology, and other Earth sciences, to examine topics which inform archaeological knowledge. Geoarchaeologists study the natural processes that affect archaeological sites, such as geomorphology, as well as soil and sediments, to contribute to archaeological studies.

• ⁽³⁾ According to this scenario, the Trojan War was “just” and defensive on the part of the Greeks, not intended for conquest and destruction of the city controlling the passage to the Black Sea.

Ilium/Troy: the wider area and, below on the right, the modern coastline in red and, therefore,
the floodplain that interested Zangger – on the strategic straits and close to the border area.

Eberhard Zangger

Eberhard Zangger’s Anatolian Hypothesis

● In his Anatolian hypothesis, Eberhard Zangger caused a sensation because of his controversial identification of Troy as Atlantis. Zangger’s point of view is that Plato used an Egyptian version of the story about Troy for his famous report on Atlantis. He based his argument on comparisons between the Mycenaean culture and Plato’s account of the Hellenic civilization facing Atlantis, as well as parallels between the recollections of the Trojan War and the one supposedly fought between Greeks and Atlanteans (a Titanomachy variation). He interpreted the legend of the Trojan War to be the memory of the momentous chaos leading to the Bronze Age collapse, and arrived at the conclusion that Troy must have been much bigger than scholars had presumed, with artificial harbours inside the modern floodplain. In order to prove it, he prepared a helicopter-based geophysical exploration of the plain to locate layers of settlement and artificial port basins, using ground-penetrating techniques. Having granted an “exclusive excavation license” for Troy to Manfred Korfmann, a German archaeologist, the Turkish government rejected Zangger’s request. Disappointed, the latter summed up his theory giving a lecture in the Heidelberg Academy of Science. In my view, his ambitious project was undermined not by Korfmann’s… exclusive rights to excavate for Troy (! – Zangger’s plan did not entail any real excavations) but rather by Turkey’s unwillingness to authorize any disclosure of sensitive military data in an area close to the border for the sake of science.

The historicity of the Iliad

Trojan War scenes on pottery

Despite the attempts of several historians to discredit the historicity of the Iliad, the Trojan War is considered a historical event; in addition, it is a key to grasp the underlying causes of all these epoch-making developments. “For sure, the Sea Peoples’ movement was one of the largest and most important migrations in history that changed the face of the ancient world more than any other single event before the time of Alexander the Great”, remarks Andrea Salimbeti. This long, ravaging war, in combination with the widespread famine in the entire peninsula, created the explosive conditions leading to the collapse. Under the circumstances, many Trojans, allies or neighbours, became refugees, and some survived by their wits or swords. Archeological evidence leads to the conclusion that the Sea Peoples were not pirates anymore, nor raiders plundering and pillaging established cities, but instead a mass of people looking for a place to settle, in search of a home. This was obvious since their first invasion of Egypt under Libyan leadership, when they were accompanied by their families and belongings. The Libyan tribes also played a role in the first campaigns against Egypt. Herodotus and Hecataeus mentioned one of them centuries later. It was the Berber tribe of the Maxyes or Mazyes, the Mazaces to the Romans, or the Meshwesh to the Egyptians – who claimed to have Trojan blood in their veins…

A Peleset headdress, and a similar (?) Phaestos disc symbol (below on the right)

Pelasgians and Philistines (Peleset)

An important Sea People have been the Peleset, identified with the Philistines, or in a broad sense, the Palestinians:

“One of the theories”, says Salimbeti, “links them to the Pelasgians who were allies of Troy and one group of them lived in Thrace. Those Pelasgians would have migrated south, overrunning and fatally damaging Achaean Greek civilization. Shortly after, many would have gone farther south to Crete.”

There are also Biblical references to the Philistines as coming from a place called Caphtor, identified by several scholars with Crete:⁽⁴⁾

• ⁽⁴⁾ According to Wikipedia: “Caphtor is a locality mentioned in the Bible and related literature. The people of Caphtor are called Caphtorites (Caphtorim) and are named as a division of the ancient Egyptians. Traditional Hebrew sources place Caphtor in the region of Pelusium [in the Nile Delta]. Other sources [?] associate Caphtor with localities outside Egypt e.g. Cilicia, Cappadocia, Cyprus or Crete.” The least probable scenario is “hard truth” for some scholars… (See Chronicle 27, footnote 10).

The Nile Delta with Pelusium in the East, the Hellenic colony Naucratis in the West, and further on the location Alexandria was to be built. The ancient canal linking the Mediterranean and the Red Seas is also shown.

“This theory”, adds Salimbeti, “has been somewhat strengthened by the discovery in Crete of the Phaestos disc. One of the symbols shows the head of a man crowned with feathers – very similar to the feather-topped helmets of the Peleset depicted” at the Temple of Ramses III.⁽⁵⁾

• ⁽⁵⁾ Well, it was certainly unavoidable: “The similarity [of the Peleset helmet] with Maya and Aztec feather headdresses is truly amazing, given the distance that separated the Mesoamerican culture” from the Mediterranean… Galloping imagination somewhere in the Internet Sea, while far in the distant horizon the land of Atlantis is gradually emerging…

● Well, what about the language of the Philistines? Wikipedia informs us of “possible relations to Indo-European languages, even Mycenaean Greek, [which supposedly] support the independently-held [?!] theory that immigrant Philistines originated among ‘Sea Peoples’.” And what do we know about the Pelasgian language(s)? “In the absence of certain knowledge about the identity (or identities) of the Pelasgians, various theories have been proposed. Since Greek is classified as an Indo-European language, the major question of concern is whether Pelasgian was an Indo-European language”. For more information, we are forwarded to the Aegean language family, proposed by Giulio M. Facchetti, due to some alleged similarities between Etruscan, Lemnian, and some other languages of the area, such as Minoan Cretan, Eteocretan, Eteocypriot, and Philistine. These languages could constitute a pre-Indo-European phylum stretching from Canaan to the Alps. But this is not a view held in common; there are attempts to link Eteocretan and Eteocypriot with Semitic.

Pelasgian Cycladic civilization: on this “frying pan”’s design (2800 BCE), some imaginative people see a map of Atlantis!

Surely, all the above are nothing but hypotheses, as Facchetti himself admits. What counts is the idea the ancient Hellenes had about the Pelasgians, who had survived even in the classical period in several locations of mainland Greece, Crete and other Aegean islands. People identified as “Pelasgian” spoke a language or languages that the Hellenes described as “barbaric” – that is, they were incomprehensible to them. A tradition also survived that many parts of Greece had once been Pelasgian before being Hellenized. Hence, we can relish watching all scholarly theorizations crumbling and crashing down… (On the Pelasgians see Chronicle 15, footnote 7).

Another “Trojan” Sea People might have been the Weshesh. Again, the scarcity of information led… “necessarily” to speculation about possible links between their name and that of Ilion, as the city of Troy was also called by the Greeks – Wilusa (or Wilusiya) by the Hittites – after king Ilus (thence the Iliad). “The W of Weshesh”, notes Salimbeti, “is a modern invention for ease of pronunciation; the Egyptian records refer to Uashesh.” Some scholars associate this people with Assos, also in the Troad, or with Iassos in Caria, or with Issus (Issos) in Cilicia. Others have theorized that they became part of the Israelite confederacy as the tribe of Asher. Another people connected with the Hebrews were the Tjeker. Moving to Canaan, they captured the city-state of Dor and turned it into a large, well-fortified capital of their kingdom. Dor was violently destroyed in the mid-11th century BCE by the expanding Phoenicians, who were initially checked by the Philistines, and then by the Hebrews. King David (if he was something more than just a mythological figure) supposedly conquered Dor and the Tjeker were mentioned no more.

Teucer (Teucrus) of the Troad and Salamis

Achilles and Ajax playing a dice game: an amphora
by painter-potter Exekias, ca 540-530 BCE

A possible linguistic connection has been proposed between the Tjeker and the Tekrur, identified with the Teucri, a tribe described by some ancient sources as inhabiting northwest Anatolia to the south of Troy. Tradition offers basically two candidates for their homeland: Crete or Attica. Legend links all three places and goes even further, following two heroes with the same name: Teucer (Teucrus). According to Virgil, the older Teucer was from Crete but left the island with a third part of its inhabitants during a great famine (how many such stories…). They eventually settled near a river, named Scamander after his father. On the contrary, Dionysius of Halicarnassus claims Teucer had gone to the Troad from Attica. Scamander (or Xanthos) was a river-god, a son of Oceanus. According to Homer, he fought on the side of the Trojans after Achilles insulted him. He was the personification of the river that flowed by Troy. The Hellenes had set up their camp near its mouth, and their battles with the Trojans were fought on its plain. The land was initially called Teucria, after Teucer. When Dardanus arrived there, it was renamed as Dardania (thence Dardenelles), and later Troad (from king Tros). But these toponymic changes would not deter the Trojans to often call themselves Teucrians. Aeneas e.g. is described as “the great captain of the Teucrians”.

The Judgement of Paris (1904), by Enrique Simonet: Aphrodite, the winner in this ancient beauty pageant, stepping forward triumphantly naked, while Hera and Athena stay behind humiliated…

Teucer the younger, or “bastard”, was half-Trojan because his mother, Hesione, a concubine of king Telamon, was a princess of Ilion. His father had arrived from Aegina to Salamis, as he was sent away by his own father for he had accidentally killed his brother. Teucer also fought in the Trojan War, but on the side of the Hellenes, having his half-brother, Ajax, as a co-fighter, while his cousins, Hector and Paris, and his uncle Priam, were “enemies”. After all, war was a family affair – let alone for Teucer Jr. On his return to Salamis, however, his father accused him for not bringing Ajax’s body back home. He was in his turn disowned, exiled and set out to find a new home. With his departing words that Horace turned into a moving ode, he exhorted his companions to “despair in no way… tomorrow we shall set out upon the boundless sea”.⁽⁶⁾ This speech, related later to the theme of voyages of discovery, is also found in Dante’s Inferno and Tennyson’s Ulysses. Teucer eventually joined king Belus of Tyre in a Phoenician campaign against Cyprus, and when the island was seized, the king handed it over to Teucer as a reward. He founded there the city of Salamis, named after his homeland.

• ⁽⁶⁾ Horace, Odes: “Wherever fortune may bear us, kinder than my father, | We shall go, o men and comrades! | Despair in no way with Teucer as your leader and as protector, | Surely resolved Apollo has promised uncertain | Future to Salamis in a new world. | O men, who with me often have endured | Worse fortunes, now, banish cares with wine; | Tomorrow we shall set out upon the boundless sea!”
  (Quo nos cumque feret melior fortuna parente, | ibimus, o socii comitesque. | Nil desperandum Teucro duce et auspice Teucro; | certus enim promisit Apollo ambiguam tellure nova Salamina futuram. | O fortes peioraque passi | mecum saepe viri, nunc vino pellite curas; | cras ingens iterabimus aequor.”)

Leda and the Swan, from the Sanctuary of Aphrodite,
Paphos, Cyprus (3rd century CE)

The “copper island”, a vital node in the trade networks, experienced two waves of Grecian settlement: the initial wave consisted of Mycenaean traders, c. 1400 BCE. Towards the end of this period, great amounts of Mycenaean pottery were produced in Cyprus. A major second wave, connected with Teucer’s story, took place after the Bronze Age collapse, c. 1100 BCE, with the island’s predominantly Hellenic character dating from this era, due to the invasion of Helladic refugees. Apart from Salamis, Teucer is credited as a founder of other cities, too. A local legend in Galicia, in northwestern Iberia, relates the foundation of Pontevedra to “Teucro”. The legend seems to be based on the conjecture that Greek traders might have arrived there in ancient times. Though legends appear for a certain reason, historians and archaeologists tend to agree that the initial settlement was probably formed when Gallaecia was integrated into the Roman Empire (1st century BCE). Pontevedra, i.e. “old bridge”, in reference to an old Roman bridge across the Lérez river, is sometimes poetically called “The City of Teucro”, and its inhabitants teucrinos – just like the Trojans!⁽⁷⁾ (See Chronicle 26, Odysseys in the Aftermath of the Trojan War: Colonization of Iberia).

Oil lamp, Tróia

• ⁽⁷⁾ It seems as if Tróia, across Setúbal, Portugal, was named after Troy but we do not know why. Tróia peninsula has been inhabited since prehistoric times when it was an island called Acalá. In the 1st century CE, the Romans built a town and named it Cetóbriga. It served as a fishery centre until 412, when it was destroyed completely by an earthquake with tsunami. If the town’s initial name had been Tróia, we could think that the Romans, as originating from the Trojans, decided to build a “Troy” in the vicinity of the city of Odysseus – Olisipo, Lisbon! According to José Pedro Machado, Tróia – in the Onomastic-Etymologic Dictionary of the Portuguese Language – is not a toponym found exclusively in the area of Setúbal. There are more Tróias in Portugal and a Troya in Galicia. Their “godfathers” were probably inspired by the Iliad. Based on an article in the Great Portuguese and Brazilian Encyclopedia, Machado expressed the idea this name to originate from Cetóbriga: > Cetóbria > Cetróbia > Cetróia > Xetróia > Atróia – though it seems too much of an adventure for a toponym… Or perhaps the name comes not from Troy but from either Troyes or Truyes, two cities of France; or its origin is the Latin phrase “Trogia (villa)”, from the Celtic name Trogus – which is the most likely explanation.

Mosaic in Conímbriga

Thracian and Celtic Coincidences

● Cetóbriga is apparently a Celtic toponym, too. But because of the reports on the presence of even Thracians in Iberia, who also had the suffix –briga in their tongue, let’s have a look at that possibility, too. This suffix is very common in several toponyms of the peninsula. The most well-known city with such a name is Conímbriga, one of the greatest Roman settlements in Portugal. During pre-Roman times, the Conii (or Cynetes, who settled later in southern Portugal) occupied the settlement. After the town was destroyed by Suebi c. 465-468 CE, several of its inhabitants went to live in the neighbouring Aeminium that was gradually renamed as Coimbra. The word Conímbriga is not related to the Conii; it is formed by the native term conim (rock) and the Celtic suffix –briga (citadel), deriving from the Celtic Brigantes, who had Brigantia, N. England, under their control in pre-Roman times. Ptolemy wrote that the Brigantes also lived in SE Ireland, while Strabo mentioned the Brigantii as a subtribe of the Vindelici on the Alps. There was a Brigantium (Coruña) in Galicia, and a Brigaecium in Asturias. But there were also the Bryges, or Brigantes, a numerous Thracian people, whose cradle was perhaps the land of the Cicones, a Homeric tribe, between the Hebrus (Maritsa) and Nestos rivers, or the area around the Prespes or Brygeides lakes. The Bryges were ancestors of the Phrygians (‘B’ turned into ‘Ph’), who originally lived in the Balkans, and then settled in Asia Minor. The land of the Cicones, according to Herodotus, was initially called Briantica. The Bryges spread to N. Epirus (c. 700 BCE), to Paeonia, to Illyria (as Scymnus of Chios wrote in his Periēgēsis), to the Adriatic (in the area of the Brygeides islands), and later to West Europe, campaigning as followers of Dionysus. According to Hesychius, the suffixes –briga, or –bria, were typical in the names of the Thracian Brigantes’ towns (See Chronicle 26, Odysseys in the Aftermath of the Trojan War: Colonization of Iberia).

Trojan Horse: its oldest known depiction
on the Mykonos vase; ca 670 BCE

UP TO NOW, excluding Teucer, who attacked Cyprus in collaboration with the Phoenicians, representing all those who found refuge there, we have seen no Hellenes fighting alongside the Sea Peoples, or their allies, but rather against them in the Trojan War. It is what Sanford Holst already told us in the previous Chronicle:

“The Mycenaeans attacked the Anatolian people from the seaward side. To deal with this problem, warriors and ships in the Sea Peoples confederacy poured from Anatolia and the Black Sea into the Aegean, where they ravaged the Mycenaeans.”

Let us try to verify this in Wikipedia:

“The invaders, that is, the replacement cultures at those [Mycenaean] sites, apparently made no attempt to retain the cities’ wealth but instead built new settlements of a materially simpler cultural and less complex economic level atop the ruins. For example, no one appropriated the palace and rich stores at Pylos, but all were burned up, and the successors (whoever they were) moved in over the ruins with plain pottery and simple goods. This demonstrates a cultural discontinuity.”

This may demonstrate a logical discontinuity, as well! The question of who the invaders might have been is left open. However, the author identifies them with “the replacement cultures”, who were stupid enough to “burn up the palace and rich stores”, instead of appropriating them. Quite simply, those invaders had no intention to settle there; they went there just to destroy: for sure, they were not “the replacement cultures”!

Captive Sea Peoples in Egypt

The Anatolians were prevalent among the Sea Peoples but they were not alone. Several tribe names in the Egyptian files have a dubious or unknown origin – i.e. the Shekelesh, perhaps the Siculi, who moved to Sicily from the Italian mainland.

“There was a gigantic series of migratory waves”, Michael Grant remarks, “extending all the way from the Danube valley to the plains of China”; and Moses Finley agrees: “A large-scale movement of people is indicated… The original centre of disturbance was in the Carpatho-Danubian region of Europe… pushing in different directions at different times.”

But if we have faith in Michael Wood, they were… “essentially” [?!] Hellenes:

“Were the Sea Peoples in part actually composed of Mycenaean Greeks – rootless migrants, warrior bands and condottieri on the move? Certainly there seem to be suggestive parallels between the war gear and helmets of the Greeks and those of the Sea Peoples”. Moreover, he reminds us that “there were migrations of Greek-speaking peoples to [Sardinia and Sicily] at this time”, and therefore, he includes the Sherden and Shekelesh among the “villains”. Troy, he concludes, “was sacked by essentially Greek Sea Peoples”…⁽⁸⁾

• ⁽⁸⁾ It’s a pity there were “essentially” no Britannic “condottieri on the move”. Or else this… “thinking woman’s crumpet” (as Wood was humorously dubbed by British newspapers for his good looks most appealing to women) would have found Hellenic colonies even on Mars!

Cycladic head: a Pelasgian who is suspect as an “islander”: he has deformed his features!

Michael Wood is not alone, either. The identification of the Denyen and Ekwesh with the Danaans and Achaeans respectively are long-standing issues in Bronze Age scholarship, as the “suspects” also lived “in the isles”…⁽⁹⁾ Were the Egyptian scribes so naïve to use two names for one and the same people? What species of Bronze Age scholars are they if they (pretend to) ignore that Achaeans and Danaans are synonymous terms? Have they not been schooled in the Iliad? Homer mentions the name Achaeans 598 times; Danaans 138 times; Argives 182 times; and Hellenes only once. According to a version of the myth, they were ancestors of the Greeks and their tribes: Hellen, Graecus, Magnes, and Macedon (Makednós) were sons of Deucalion and Pyrrha, the only survivors of the Great Flood. Sons of Hellen were Dorus, Xuthus, and Aeolus; sons of Xuthus were Ion and Achaeus. Danaus, coming from Egypt, Pelops, from Anatolia, and Cadmus, from Phoenicia, gained a foothold in Greece, were assimilated and Hellenized. At least for the Danaans, perhaps due to their “Egyptian” origin, there is some “flexibility”: they are identified with the people of Adana in Cilicia, or possibly related to the land of the Danuna, near Ugarit, in Syria, or it is rumoured they joined Hebrews to form one of the original 12 tribes of Israel, that of Dan.

• ⁽⁹⁾ Although the connection of the Hittite toponym Ahhiyawa, or Ahhiya, with Achaea is strongly disputed (cf. Wikipedia: “the exact relationship of the term Ahhiyawa to the Achaeans beyond a similarity in pronunciation is hotly debated by scholars”; see also the conclusion of this Chronicle), the… “Wikipedists” are absolutely sure about the identification of the Achaeans with the Ekwesh. So, if you search for the entry “Ekwesh”, you are redirected to the “Achaeans”… As for the phrase “in the isles”, used by the Egyptians when referring to Sea Peoples and quoted by scholars as an argument, it ends up meaning: “Whoever is not a landsman is a suspect”!

THE MAJOR EVENT DURING PHARAOH Merneptah’s reign (1213–1203 BCE) was a war against a confederacy, termed the “Nine Bows”, under the leadership of the king of Libya. The pharaoh declared that he defeated the invasion, killing 6,000 soldiers and taking 9,000 prisoners. To be certain of the numbers, among other things, he took the penises of all uncircumcised dead and the hands of all the circumcised.⁽¹⁰⁾ We mention this macabre detail because, as it turned out, the so-called “Achaeans”, the Ekwesh, were circumcised, a fact that would certainly have obliged any serious Bronze Age scholar to “acquit” the Grecian Achaeans!⁽¹¹⁾

• ⁽¹⁰⁾ Imagine those poor soldiers who were assigned to count all these penises and hands…

• ⁽¹¹⁾ …“a fact causing some to doubt they were Greek,” is what we actually read in Wikipedia! They were circumcised as a… camouflage! Or just to baffle our Bronze Age scholars! What they do remember is Virgil’s aphorism: “Timeo Danaos et dona ferentes”; i.e. “Beware of Greeks bearing gifts” – in this case: bearing circumcision! Our scholars have been schooled in the Aeneid, at least… Note that not only the Ekwesh, but also the Shekelesh and Shardana were circumcised, as the Egyptians made clear (pity, they did not inform… Michael Wood)! Thus these two peoples had also been Oriental in origin and settled in Sicily and Sardinia only later. Those who were not circumcised were the Peleset. (“Aha!”, I can hear you chuckling, my dear scholars…)

Merneptah stele: the Zionist usurpers… usurped it from
another usurper!

Merneptah Stele and Exodus

● The pharaoh’s victories over the Libyans and their Sea People allies are glorified on the Merneptah Stele, a black granite slab over three meters high, that Flinders Petrie discovered in Thebes in 1896. There is, however, a kind of footnote in the final two of the 28 lines, which refers to a separate campaign in Canaan. There the king boasts of defeating and destroying four cities, the fourth one being most probably a city and valley in northern Canaan, called Jezreel – a word so similar to… Israel! For sure, that would be far more convenient and beneficial for all: the entire Jewish diaspora, the emerging Zionism, formally established as a movement the next year after the discovery, for many Christians, especially the clergy, and of course, for Petrie himself! That day he wondered: “Won’t the reverends be pleased?” and then he prophesied: “This stele will be better known in the world than anything else I have found.” He was not a fool: if this set of hieroglyphs on Line 27 could be read as… “Israel”, instead of “Jezreel”, it would present the first documented instance of this name in the historical record, and the only mention in ancient Egypt!

Although the readings in many places are illegible due to the rough surface and the poor cutting (Petrie’s own translation of the text contains dozens of question marks; only next to the controversial word the mark is missing…), most biblical archeologists accept Petrie’s version. So, his find was also proclaimed as… “Israel Stele”;⁽¹²⁾ based on a disputed word in the penultimate line of a text dealing with another subject! What a disgrace for Merneptah: a proud pharaoh boasting of a triumph over a handful of poor villagers! There were no more than about 25 villages then on the highlands of Canaan. Archaeologists and historians have attempted to trace the origins of these villagers but it’s been impossible to identify any distinctive features that could define them as specifically Israelite. “It is probably… during Iron Age I” (1200–1000 BCE), says archaeologist Paula McNutt, that “a population began to identify itself as ‘Israelite’.” The Kingdom of Israel emerged as an important, worth-mentioning local power even later, by the 9th century BCE, before falling to the Assyrians in 722. Thus, there was no “Israel” for Merneptah to mention – unless he was as prophetic as Petrie himself!

• ⁽¹²⁾ Merneptah is also to blame: he “appropriated” the stele from his predecessor, Amenhotep III, turned it round and wrote his controversial text on its rough surface. He could never imagine how this text would be distorted. For sure, he was not a prophet like Petrie!

Departure of the Israelites, by David Roberts (1829)

● This “misspelling” trick was some kind of “compensation” for the historical “error” of the Egyptians to mention neither the notorious Exodus nor the calamitous Biblical plagues. The archeologists are equally “guilty”, as they failed to find any evidence to support the “story” of the Jews in Egypt and the Sinai. The consensus among biblical scholars is that there was never any exodus of the proportions described in the Bible. According to the book of Exodus, arguably the most important in the Bible, the Jews leaving the country would have numbered some 2 million – compared with an entire Egyptian population of around 3 to 3.5 million in 1250 BCE! Marching ten abreast and without accounting for livestock, they would have formed a line 240 kilometers long! No evidence has been found that Egypt ever suffered such a demographic and economic catastrophe, or that the Sinai desert ever hosted (or could have hosted) these millions of people and their herds… The date proposed initially of an Exodus around 1450 BCE is also problematic: digs in the 1930s had failed to find traces of the simultaneous destruction of Canaanite cities c. 1400 BCE – and in fact many of them, such as Jericho, the first one to fall to the Israelites according to the Bible, were then uninhabited. A century of research by archaeologists and Egyptologists has found no evidence that can be directly related to the captivity, and the escape and travels through the wilderness, and most archaeologists have abandoned their investigation of Moses and the Exodus as “a fruitless pursuit”. Archaeologist William Dever says that there is “no room for an Exodus from Egypt or a 40-year pilgrimage through the Sinai wilderness.”

Flinders Petrie’s “fine, Caucasian, dynastic race” invading Egypt…!

● Flinders Petrie, who could possibly “address the issue”, died a long time ago and was buried on Mount Zion, in Palestine. Besides, he remains a controversial figure as a committed advocate of “eugenics” and of the “superiority” of the white, Northern peoples over the Latinate and Southern peoples, as well as for his affiliation with a variety of fascist groups and anti-democratic thought in England. His archaeological views were equally racist: he contended that the Egyptian civilization was derived from a “fine”, invading “Caucasian Dynastic Race”, which had conquered Egypt in pre-dynastic times of late prehistory and introduced the pharaonic, dynastic culture to the “inferior” “mulatto” race then inhabiting the country. These views spilled over into disputes with E. A. Wallis Budge. The British Museum‘s Egyptologist declared that the ancient Egyptians were an African people with roots in eastern Africa and their religion was essentially identical to the religions of the peoples of northeastern and central Africa. However, all but some of his colleagues followed Petrie – a most revealing fact about the dominant ideology at the time, at least among intellectuals. Thus Petrie and his followers derided Budge’s ideas as impossible and “unscientific”…

NEXT ROUND in this protracted war against the Sea Peoples, marking the Bronze Age collapse, took place some three decades later, during the reign of Ramses III (1186–1155 BCE), the last great pharaoh of Egypt. His inscriptions state that the “Nine Bows” re-appeared as another “conspiracy in their isles”… Most Sea People tribes were there again; we are also informed that at least two great battles were fought, one on the sea, and the other on land.

The pharaoh proudly presented his captives (from L to R): the Libyan, Nubian, Syrian, Shasu, and Hittite (the… Hellene probably escaped!)

“When it was over”, says the Wikipedia article on the Sea Peoples, “several chiefs were captive: of Hatti, Amor, and Shasu among the ‘land peoples’, and the Tjeker, ‘Sherden of the sea’, ‘Teresh of the sea’ and Peleset or Philistines (in whose name some [?] have seen the ancient Greek name for sea people: Pelasgians)”…⁽¹³⁾

• ⁽¹³⁾ Pelasgian is related to πελός and Πέλοψ (Pelops: dark-skinned), or to πέλας (the fellow man, or the one nearby) and πελάζω-πλάζω (approach), or to περάω and πέρα (cross to the other side, as a migrant tribe). Once more, the scholars are wrong, as there is no connection with the sea, specifically πέλαγος (pelagos < πλήσσω or πλήττω, i.e. hit).

What conclusions can we draw? We are surprised, first of all, since our scholars were not… surprised at all when they read about a Hittite chief among those captive. Hatti had been a Sea Peoples’ arch-enemy – and one of their greatest victims. But scholars are usually aware of such “details” and are not taken by surprise. Besides, the same thing happened before and the pharaoh’s official complaints were forwarded to the Hittite monarch – as long as this empire still existed. OK, but why don’t they bother to explain, instead of wasting their time trying to involve the Greeks in this… “conspiracy theory”?

Ramses III vs the Sea Peoples

Eventually, we realize that the destruction of the established civilizations, mainly the Hittite and Mycenaean, was a deliberate tactic of the Sea Peoples to garner more strength at sea and amass land forces, as well. After all, the empires were of the aristocracies, Hittite or Mycenaean. What else could a desperate Hellene or a destitute Anatolian do, under the circumstances, but follow and stand by the peoples with whom he shared the same aspirations for a better life?

What else could a desperate Hellene or a destitute Anatolian do but follow the peoples with whom he shared the
same aspirations for a better life?

But what a pity for our scholars: not even one Greek among the captive chiefs… He probably escaped! The other captives were chiefs of the Amorites, who lived in Syria and part of Mesopotamia, and possibly of the Hebrews: Shasu is a term for nomad wanderers, and at least one of the tribes worshipped the Jewish god Yahweh. The rest were sea captains.

The pharaoh concluded his report as follows: “I slew the Denyen in their isles” and “burned” the Tjeker and Peleset… Therefore, he implied some maritime raids of his own, or some punitive expeditions elsewhere in the Mediterranean. In the Aegean? Where, what and whose were these “isles”? Whatever the answers, the chain reaction of the raids went on; it was the Egyptians’ turn to destroy – but destruction bears no signature…

Lady of Mycenae (fresco)

Homer mentions an Achaean attack upon the Nile delta, while Menelaus speaks of that in the Odyssey, recounting his voyage back home from the Trojan War. It was not, however, the only such marauding action by Mycenaeans against Egypt where they went “just for the fun of it” – and some gain, of course!

Taking into account the continuous turbulence among or within the sovereign Mycenaean royal families, the hypothesis that they may have utterly destroyed themselves is long-standing, and seems to find support by the reputable Greek historian Thucydides:

“For in early times the Hellenes and the barbarians of the coast and islands… were tempted to turn to piracy, under the conduct of their most powerful men… They would fall upon a town unprotected by walls… and would plunder it… no disgrace being yet attached to such an achievement, but even some glory”…

Hittite chariot

The “Achaeans” through Hittite eyes

VARIOUS HITTITE ACCOUNTS, from c. 1400 to c. 1220 BCE, mention a land in western Anatolia, named Ahhiyawa (or Ahhiya). The term is thought to be a Hittite rendition of the word “Achaea”, with the broader meaning of “the Achaeans’ land”. This idea was strongly disputed by other Hittitologists (see e.g. footnote 9). In addition, a precise geographical location of this land cannot be drawn from the texts. In any case, it seems that “Achaea” and Hatti evidently dealt with each other both on a diplomatic and a military level. We can read a letter that the Hittite king sent to his “Achaean” counterpart, where the latter is recognized as a “Great King”, and of equal status with the other contemporary great Bronze Age rulers: the kings of Egypt, Babylonia and Assyria. Referring to Millawanda (or Milawata: Miletus?) as a city within the “Achaean” domain,⁽¹⁴⁾ the Hittite monarch mentions an earlier “Wilusa episode”, within his own area, where the “Achaeans” lined up with his enemies. We have seen that Wilusa was most probably Troy (cf. the archaic Ϝίλιον, and later Ilion, i.e. the Trojan acropolis). This “episode” is possibly connected with the Trojan War.⁽¹⁵⁾

The Love of Helen and Paris, by
Jacques-Louis David (1788)

• ⁽¹⁴⁾ The Minoans had created in Miletus perhaps their most important settlement on Anatolian soil. The Mycenaeans inherited it, when they replaced the Cretans as the leading power in the Aegean. The city grew and became prosperous, as it is attested not only from the archaeological evidence, but also these Hittite records, which indicate that Miletus was the most important base for “Achaean” activity in Asia Minor ultimately reaching Iassos, Ephesus, and other cities.

• ⁽¹⁵⁾ Unfortunately, we cannot cross-check the available evidence because the Mycenaeans, unlike the Hittites, did not bother to write down such… “details”! The records in Linear B just refer to administrative bureaucratic issues of the palace. Even commerce is curiously absent from the written sources in Linear B! That’s why it’s impossible to reconstitute from texts in Linear B the late Bronze Age’s political developments. (Hittites vs. Mycenaeans: 1–0!)

In the second half of the 13th century, a long anti-Hittite revolt broke out with “Achaean” support, and headed by Piyama-Radu, who married his daughter to the vassal ruler of “Miletus”. His case is of particular interest since it appears to intertwine with that of the Trojan War. It was a remarkable revolt for its duration, having spanned at least 35 years, during which time he posed a considerable threat to three consecutive Hittite kings; it caused a great deal of turmoil in the areas of Wilusa, Arzawa,⁽¹⁶⁾ and Seha, and led to an invasion of Lazpa (Lesbos?), which passed under “Achaean” control. The aforementioned letter was sent in this period, as the Hittite king tried to persuade his “Achaean” counterpart to restore peace. Among other things, he mentions a brother of the “Achaean” monarch, named Tawagalawa, or… Eteocles,⁽¹⁷⁾ according to several imaginative scholars! Much more controversial is the “identification” of Piyama-Radu: it is speculated that he “corresponds to the archetype” of the Trojan king Priam… What’s next? They will probably… rewrite the Iliad!

• ⁽¹⁶⁾ “Achaea” and Arzawa joined forces several times against the Hittites. Arzawa was a kingdom, or a confederacy of local rulers, in western Anatolia, with Apasa, later Ephesus, as a capital.

• ⁽¹⁷⁾ The story of Oedipus’ son and king of Thebes is part of the Theban Cycle that is unrelated to the Trojan (Epic) Cycle and the Atreides. Eteocles’ brother was Polynices, with whom he fought for the throne and both were killed. The tragedy culminated with their sister Antigone’s death.

Places mentioned in this Chronicle (counter-clockwise): Wiluša, Lazpa, Seha, Mira, Apaša, Millawanda, Arzawa, Hapalla, Lukka, Alašiya, Ugarit, Amurra,Tarša, Hatti, Hattuša.

Warfare between “Achaeans” and Hittites began c. 1400 BCE. Hittite records mention the operations of the “Achaean” warlord Attarsiya in southwestern Asia Minor, possibly in Lycia, against Hittite vassals. It is the first recorded “Achaean” military activity on the Anatolian mainland, and is associated with an increase of Mycenaean findings in Miletus in this period (early 14th century BCE), indicating that a number of Greeks moved from mainland Hellas to this region. Attarsiya used the city as a military base, and hostilities continued until circa 1250 BCE. “Achaean” activity was to interfere in Asia Minor, with the support of anti-Hittite uprisings, or through local vassal rulers that the “Achaean” king used as agents for the extension of his influence. Speculation, of course, is also present here: It has been suggested by several scholars that the warlord was none other than Atreus, a mythical king of Mycenae, and father of Agamemnon. Others, noting that the Hittites do not speak of the “high king of Achaea”, argue that he should have been some general, named Atreus, or with a similar name, or finally that Attarsiya means Atreidēs, i.e. he was a member of the royal dynasty.

In order to undermine the Hittites, the warlord intervened in Anatolian affairs attacking Hittite vassals, such as Madduwatta from Arzawa (Luwia),⁽¹⁸⁾ whom he repeatedly defeated, as the army he deployed included 100 war chariots. But he eventually withdrew from Asia Minor to prepare a campaign against Alashiya (Cyprus?). He had the Lukka (“Lycians”) on his side, providing him the necessary naval support, together with a number of his Anatolian allies, even Madduwatta, who decided to switch camps. This worried the Hittites, since they considered the island one of their dependencies. The invaders finally defeated them, and thus Alashiya passed under their control. The Mycenaean presence in Cyprus is also corroborated by archaeological evidence, as we have seen, for Mycenaean finds dating from that time were unearthed there.

Anatolian hieroglyphs

• ⁽¹⁸⁾ The Luwians lived in central, western, or southern Asia Minor, as well as the northwestern part of the Levant, in the Bronze and Iron Ages. They spoke the Luwian language, an Indo-European Anatolian tongue written in cuneiform of Mesopotamian origin, or a unique native hieroglyphic script, which was sometimes also used by the linguistically related Hittites.

The following decades were a period of Mycenaean expansion on the Anatolian coast (c. 1380–1320 BCE). In 1320-1315, there was another anti-Hittite rebellion in Arzawa, in cooperation with “Miletus”, and supported by the “Achaeans”, who appeared to be in control of a number of islands in the Aegean, an impression also supported by archaeological evidence. Finally, the Hittites were victorious. The king of Arzawa managed to escape to “Achaean”-controlled territory, and his land was split into three provinces: a southern province, Mira, would later become known as Caria; a northern province, Seha, would be renamed as Lydia; and an eastern province called Hapalla (the Grecian Pisidia). That was the finale of this kingdom’s history, which had passed into oblivion, and came back on the surface thanks to the Hittite texts.

If, indeed, the information contained in these archives corresponds up to a point to historical facts, it seems that the Mycenaean and Hittite palatial civilizations of the Aegean and Anatolia were “bored” (to death) by the same woodworms…

The Luwian Civilization: The Missing Link in the Aegean Bronze Age

ALBEIT BELATEDLY, I’VE STUDIED Eberhard Zangger’s book,⁽¹⁹⁾ The Luwian Civilization / The Missing Link in the Aegean Bronze Age (2016). I feel it is useful to outline his main points regarding the Sea Peoples:

• ⁽¹⁹⁾ Since 1994 Zangger has been advocating the view that a Luwian civilization existed in Western Asia Minor during the 2nd millennium BCE. In 2014 he established the international non-profit foundation Luwian Studies.

The Luwian Civilization / The Missing Link in the Aegean Bronze Age. Cover: probably an Atlantis-like reconstruction of Troy, the most prominent Luwian city, as Eberhard Zangger imagined it.

“Over twenty years ago, I proposed a chronological reconstruction of the political and economic development in the countries around the Eastern Mediterranean during the 13th century BCE. It causally links three wars comprised of reciprocal attacks. First, the so-called Sea Peoples’ invasions took place, during which the navy of allied Luwian petty states from the eastern shore of the Aegean Sea advanced to the southeast. The Luwians were then attacked a few years later by allied Greek forces – and this is memorialized in the tradition of the so-called Trojan War. And finally, a civil war… broke out in Greece.”

“Perhaps the trigger for the [Luwians’] decision to engage in war was [Hatti’s] conquest of Cyprus… possibly to get access to its copper resources. The Luwians in western Asia Minor played an active role in long-distance trade and may have depended on Cyprus as a port of call. Therefore they entered into a military alliance and built a fleet of fast, agile vessels for invasions. Instead of moving against the Hittite forces over land, they dashed across the sea and reached the important Hittite borderlands of Cyprus and Syria. The acclaimed mercenary armies of the Lukka and Sherden had become marine forces which no longer fought alongside the Hittite king but against him – they had formed the coalition known as the Sea Peoples… [Eventually] the capital Hattuša was wiped out overnight – and with it the Hittite Empire.”

Sphinx Gate at Hattusa

“The petty states from western Asia Minor suddenly controlled an area stretching from Macedonia across Anatolia to Syria and Canaan, where it touched upon the Egyptian dominion… Together with this vast territory, the Luwians now dominated almost all ore deposits in the Eastern Mediterranean, as well as the trade routes on land and at sea… Both the access to the Black Sea region as well as the connection through Cyprus and Syria to Mesopotamia were now under Luwian control. Considering the distribution of mineral resources, arable land, the path of the perennial rivers and of the trade routes, the Mycenaeans were about to face a superior force for an extended period of time. To avoid complete dependence… they engaged in a coalition themselves with the ultimate purpose to raid western Asia Minor… About ten years later, united Greek forces attacked western Asia Minor – and this was later remembered as the ‘Trojan War’… which was thus a counterattack against the previously victorious Sea Peoples.”

“While the Mycenaean kings were fighting at Troy, their wives and less competent deputies had taken their thrones. When the surviving victorious kings returned, many of these deputies did not want to give up their power. A civil war broke out and consumed progressively one citadel after another… Pylos – and later Ithaca – may have been among the last palaces to fall into the hands of the insurgents.” (Eberhard Zangger, The Luwian Civilization / The Missing Link in the Aegean Bronze Age; see Chronicle 26, Odysseys in the Aftermath of the Trojan War: Colonization of Iberia).

• >> Chronicle 21. IBERIAN “EL DORADO”
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Next Chronicle 21. IBERIAN “EL DORADO” ● Minoans, Mycenaeans, Phoenicians in Iberia ● Fortunate Isles, Hesperides ● Sardinia ● Odysseus, Calypso, Ophiussa ● Tartessos

Mycenaean gold diadem

Chronicle 17. MINOAN CRETAN THALASSOCRACY

Chronicle 17. MINOAN CRETAN THALASSOCRACY

/ΕΛΛΗΝΙΚΑ/ Χρονικό 17. ΚΡΗΤΟΜΙΝΩΙΚΗ ΘΑΛΑΣΣΟΚΡΑΤΟΡΙΑ

● Minoan Society and Art ● Linear A-B, Phaestos Disc
● Tin Bronze ● Bull-Leaping (Taurocathapsia)

Michales Loukovikas
Swallows and lilies, fresco on Thera-Santorini (ca 1650 BCE, detail)

The palace of Minos at Knossos

THE MINOAN CIVILIZATION, the crème de la crème of the Aegean cultures in the Bronze Age, arose on the island of Crete, flourished from the 30th to the 15th centuries BCE, and then vanished. It came to light again at the outset of the 20th century CE, thanks to the British archaeologist Arthur Evans. The term Minoan refers to the legendary Minos. We presume, on no evidence, that it was not a name but a royal title. In the Odyssey, composed centuries after the demise of the Minoans, Homer calls the natives of the island Eteocretans (“true Cretans”); most probably, they were true descendants of the Minoans. In addition, there were several settlements in the Aegean and the Ionian Seas, as well as in Sicily and Canaan, known by the name Minoa. The root min– appears in some Aegean languages, toponyms, and in the name of an autochthonous people inhabiting the Aegean, the Minyans.

The Ship Procession or the Flotilla frieze at Acroteri, Thera (detail)

We assume (again, on no evidence) that the Cretans were not Indo-Europeans, but a Mediterranean people, possibly related to the Pelasgians and the Minyans – the pre-Hellenic dwellers of the Aegean. Crete remained free from invasions for many centuries, and managed to develop an independent and very distinct civilization, one of the most advanced in the Mediterranean during the Bronze Age, together with that of Egypt. Linear A, the Minoan script, has not yet been deciphered – though it is similar to Linear B, the Mycenaean Hellenic script. It possibly represents an Aegean language, unrelated to Indo-European tongues. (On the Aegean, Crete, Minoans, Mycenaeans, sea voyages, etc. see Chronicle 3; on the Pelasgians, Minyans, Greeks see Chronicle 15, footnote 7, and Chronicle 20, The historicity of the Iliad).

Grace in the Aegean: the art of the Minoans (Eugene Hirschfeld)

Bronze Apollo with Lyre, Pompeii

“Crete was well placed in relation to sea trading routes”, observes Eugene Hirschfeld, writing on Grace in the Aegean: the art of the Minoans. “Thucydides wrote that Minos was the first to build a navy:

“‘The first person known to us by tradition as having established a navy is Minos. He made himself master of what is now called the Hellenic sea, and ruled over the Cyclades, into most of which he sent the first colonies… and thus did his best to put down piracy in those waters, a necessary step to secure the revenues for his own use’.”⁽¹⁾

• ⁽¹⁾ Piracy is most ancient; in all likelihood, it appeared together with navigation. The Tyrrhenians, Illyrians and Thracians were known as pirates in ancient times. The Aegean island of Lemnos, a haven for Thracian pirates, long resisted Hellenic influence. By the 1st century BCE, there were pirate states along the Anatolian coast, threatening the commerce of the Roman Empire.

“With their merchant fleet,” says Hirschfeld, “the Minoans came to dominate the seas, sailing for hundreds of miles in search of trade from Spain in the west to Syria in the east…⁽²⁾ It is possibly a measure of both the Minoans’ geographical isolation and the strength of their fleet that their coastal towns seem to have had few fortifications. Thus their period of ascendancy was called by Arthur Evans the Pax Minoica or ‘Minoan peace’ – a time when cities needed no walls.⁽³⁾ Like Pax Romana, of course, such a peace, if it existed, would have been the product of military strength rather than pacifism.”

Replica of the Uluburun shipwreck

• ⁽²⁾ “We should never under-estimate how ‘joined up’ the ancient world was”, Hirschfeld footnotes. “See for example the late Bronze Age shipwreck [at Uluburun], which was carrying a remarkable assortment of international goods from northern Europe, Africa and Mesopotamia”.

● The ship carried one of the most spectacular late Bronze Age assemblages to have emerged from the Mediterranean Sea dated to the late 14th century BCE. It was similar to Graeco-Roman vessels of a later time and was found in 1982 by a sponge diver in south-western Asia Minor.

• ⁽³⁾ Although Evans’ vision of a Pax Minoica has been criticized recently, it seems there was little armed conflict in the island itself until the following Mycenaean period. Archaeologists say the Minoans often show weapons in their art, but only in ritual contexts. Claims that they produced no weapons are erroneous; Minoan swords were the finest in all of the Aegean. Furthermore, no evidence exists for a Minoan army, or domination of peoples, outside Crete.

The Pleiades, by the Symbolist Elihu Vedder (1885)

● The Minoan Cretans used celestial navigation. Besides, they surely had knowledge of astronomy: the palaces and mountaintop sanctuaries have architectural features that align with the rising sun on the equinoxes, as well as the rising and setting of particular stars. The Cretans voyaged to Thera, Egypt, Iberia… Such trips, even that one to Santorini, would have taken more than a day’s sail; thus the sailors would have been left travelling by night across open water. Then the sailors would use the locations of particular stars, especially those of the constellation Ursa Major, for their orientation. Written records of such navigation using the stars go back to Homer’s Odyssey, where Calypso tells Odysseus to keep the Bear (Ursa Major) on his left, and at the same time observe the position of the Pleiades, the late-setting Boötes and the Orion, as he sailed eastward from her Ogygia isle traversing the Ocean. Celestial navigation was as important as shipbuilding: the development of nautical know-how and technology was necessary for the expansion of the Mediterranean civilizations.

● This knowledge characterized all major navigating cultures. Before the Minoans and Mycenaeans, well before the Phoenicians, who were last in line, such a seafaring people covering long distances with their ships had been the Carians. According to Thucydides, it was largely the Carians who settled the Cyclades (and other Aegean islands) prior to the Cretans. The Minoan expansion during the Middle Bronze Age into this region seems to have come at their expense: they were pushed eastwards towards this area in Asia Minor called later Caria, and many turned to piracy as a way of life. Then Minos established his navy to control the Aegean and put down piracy. Ironically, the Carians did not find peace not even on the Asia Minor coast. Hellenic colonies in Doris and Ionia pushed them further into the hinterland, and those who started as seafarers ended up as land people (see the map).

One after the other, all the unique features of this marvelous civilization seem to arise from only one: the Minoans’ thalassocracy, their “geographical isolation and the strength of their fleet”, as Eugene Hirschfeld points out and explains in detail immediately afterwards:

“As a maritime trading civilization, it is unsurprising that the Minoans left us some beautiful fresco images of their ships, wooden sailing vessels superior to any others on the Mediterranean. Perhaps because of this fleet and the protecting seas, military images are unusual in Minoan art. Until the attacks by the Mycenaeans in 1450 BC, there is no real evidence that the Minoans fought wars with any other culture. This is in stark contrast to their contemporaries: the city states of Mesopotamia were constantly at war, celebrating their exploits on such works as the Stele of the Vultures, and Egypt covered tomb walls with images of military pomp. The Minoans preferred leisurely scenes or sports. They loved to decorate walls with murals of dolphins, flowers and fish. Their art has a grace, movement and exuberance distinct from the art of Egypt and Sumer, and… their craftsmanship is second to none.”

The Dolphins mural at Knossos

A cultural paradox: a great power without militarism; a palace that was
not a royal residence, neither the king was glorified; a religion with no
grandeur; while women were equal to men and free – or so it seems…

Knossos Palace (reconstruction)

This civilization is really an astonishing paradox: a great power without a military aristocracy; a palace that was not a royal residence, and neither the anax (king) was glorified; a religion with no grandeur; while women were equal to men and free – or so it seems. Besides, free expression was a basic feature of Minoan art.

“The Minoans were skilled and sensitive architects, and the palaces count amongst their greatest works of art. The most famous is the palace at Knossos, often called the ‘Palace of Minos’. A multi-storey complex of corridors, rooms and staircases built around a central courtyard, the palace boasted impressive plumbing as well as lovely frescos, columns and gardens. Visitors found its ‘agglutinative’ architecture of over 1000 rooms so confusing that it is thought to have inspired the myth of the Minotaur’s Labyrinth. Knossos was an entire community, a centre for religion, pottery production and storage of trade goods, and a venue for festivals. For this reason the term ‘palace’ is not adequate for describing these Minoan complexes.”⁽⁴⁾

Sacred symbols: bull and labrys

• ⁽⁴⁾ The Palace of Knossos is five times the size of Buckingham Palace, with 3-4 floors, a sewerage system, a type of hot water heater, flush toilets and lots of red coloured columns. Millennia later, the Versailles had no toilets at all except for the royal couple! That’s why not only the palace but its gardens, as well, stank awfully…

● On Minoan architecture, true fresco, or how they spread in the Near East with itinerant Cretan craftsmen and artists, see Chronicle 27. An Archaeologist’s Waterloo.

“Sitting at the apex of a trading empire, the Cretan kings were extremely wealthy. It is therefore interesting that they appear to have ordered no sculpture, memorials, king-lists or other works to boast of their power and status… We find nothing like the mighty monuments to the god-kings of Egypt. We have no record either of a king Minos or of any other named monarch, male or female… Historian R. F. Willetts has suggested that the apparent modesty of the Minoan aristocracy can be explained by a difference in religious emphasis: the Minoans did not seek to associate the king with the immortal gods, like the Egyptians or Mesopotamians, but worshiped a particular vision of nature. From this standpoint, images glorifying the king were unnecessary.”

Minoan Snake Goddess

“Women seem to have enjoyed higher status in Minoan culture than was usual in the Bronze Age and… served as administrators and priestesses… Women’s relative equality may be because of the absence of military threat, giving far less impetus to the development of a male warrior discourse and thus a greater role and respect for women. It is tempting when looking at images of young women somersaulting over bulls with the men to conclude that women enjoyed considerable freedom… As for religion, Minoan art provides us with faience figurines of a ‘snake goddess’, and frescos… on which women priests outnumber men. No images of male deities have been found from the peak of Minoan civilization. The apparent prominence of women in Minoan religion has led to conjecture that the principal deity or deities of Minoan Crete may have been female, e.g. an earth or mother goddess.”

What conclusions can we draw?

“The absence of battles, kings, boastful inscriptions and historical
events in Minoan art is surprising for the time.” (Eugene Hirschfeld)

A Minoan beauty on Thera

“Minoan art does show a greater emphasis on spontaneity and invention, and is more secular and informal… less constrained by rigid conventions and geometry”, Eugene Hirschfeld remarks. “The absence of battles, kings, boastful inscriptions and historical events in its art is surprising for the time. We need to recognize such distinctions [but] without falling into the crude formulations sometimes used in the past, such as posing cultured Minoans against barbarous Mycenaeans.

“Arnold Hauser’s first explanation for the particular character of the Minoans’ art is the relatively modest role of religion in their society. Minoan shrines seem to have been small, even in the palaces, kept in people’s homes or built in out of the way places like hills and caves. There is nothing like the great cult of the dead seen in Egypt, or the grandiose works that went with it. There was therefore less impetus towards sternly imposed conventions. He also admires the urbanity of the cultural life that arose around the palaces:

“‘The freedom of Cretan art can be partly explained by the extraordinarily important role which city life and commerce played in the island’s economy… Probably city life was nowhere so highly developed as in Crete’.

“The ‘palace’ was the centre of Minoan life: of trade and agriculture, but also of art. It was perhaps this union of trade and culture in a context of long internal stability that gave Minoan art its urbane liveliness. Crete’s geopolitical situation may also have exerted an influence. With the natural protection of the sea and backed by their fleet, the Minoans had little need to fear invasion. In the absence of a warrior class, not only were women’s rights better than in most Bronze Age cultures, but art was less constrained by the military and religion.”

“It was perhaps this union of trade and culture in a context of long internal stability that gave Minoan art its urbane liveliness.” (Eugene Hirschfeld)

The mysterious Phaestos Disc (side B)

“It is very likely that writing arose in Minoan culture for the same reason it did in Sumer: to keep accounts”, adds Hirschfeld. “An early pictographic script… was replaced in around 1700 BC by one which represented sounds, i.e. a true alphabet, known as Linear A… It has still not been deciphered… If there is imaginative literature among these writings, we cannot read it. We have no Minoan poetry, no songs, no history, no scripture. It is a great culture, but a silent one… One of archaeology’s more mysterious objects is the Phaistos Disc… A fired clay disc, covered on both sides with spirals of stamped symbols… They belong to none of the writing systems mentioned above.”⁽⁵⁾

• ⁽⁵⁾ The Phaestos disc is unique because all these symbols seem to have been impressed into the clay using 45 stamps, reproducing a body of text with reusable characters. The German linguist and typographer Herbert Brekle maintains that the disc is an early document of movable type printing, because it meets the essential criteria of typography, while the American geographer, historian and anthropologist Jared Diamond described it as “by far the earliest printed document in the world”. Discovered by the Italian archaeologist Luigi Pernier in the palace of Phaestos in 1908, the disc (15 cm wide) captured the imagination of amateurs and professionals, and many attempts have been made to decipher it – but in vain…

“We have no Minoan poetry, no songs, no history, no scripture. If
there is imaginative literature among these writings, we cannot
read it. It is a great culture, but a silent one.” (Eugene Hirschfeld)

Theran antelopes

Minoan Trade and Influence

MINOAN CULTURE’S INFLUENCE outside Crete manifests itself in the presence of Minoan handicrafts on the mainland of Greece. After around 1700 BCE, the material culture of the Hellenes achieved a new, higher, level due to Minoan influence. The connections between Crete and Egypt were prominent. Minoan wares were found there, while several Egyptian items were imported, especially papyrus, as well as artistic ideas. The Egyptian hieroglyphs served as a model for the Minoan pictographic writing, from which the Linear A writing system developed.

Later (late 15th – early 14th century BCE), the Minoan palaces were occupied by the Mycenaeans, who adapted the Minoan Linear A script to the needs of their own language, a form of Greek, which was written in Linear B. The Mycenaeans generally tended to adapt rather than destroy Cretan culture, religion, and art, and they continued to operate the Minoan economic system and bureaucracy. After about a century of partial recovery, most Cretan palaces and cities went into decline in the 13th century BCE. When the Bronze Age came crashing down some time later, Crete did not feel the agony of death…

A Theran fisherman

The Minoans were traders, and their cultural contacts reached far beyond Crete – to copper-bearing Cyprus and Asia Minor (or Anatolia), Egypt and Canaan (the Levant), the Balkans and the Black Sea area, mainly Colchis (Georgia–Abkhazia), Mesopotamia, even faraway Afghanistan. Paintings in Thebes, Egypt, from the 15th century BCE, depict a number of Minoans bearing gifts. Inscriptions record these people as coming from the “islands in the midst of the sea”, and may refer to gift-bringing merchants or officials from Crete. Minoan techniques and styles in ceramics also provided models for Helladic Greece. Along with Thera, Cretan ‘colonies’ can be found on Cythera, an island close to the mainland that came under Minoan influence in the 3rd millennium and remained Minoan in culture for a thousand years, until the Mycenaean occupation in the 13th century, as well as on Melos, Cea, Aegina, Rhodes, Miletus, and elsewhere. The Cyclades and the Dodecanese were in the Cretan cultural orbit.

Certain locations in Crete emphasize it as an “outward looking” society. The palace of Kato Zakros e.g. is located within a bay, 100 metres from the modern shore-line. Its large number of workshops and the richness of its site materials indicate a centre for import and export. Such activities are elaborated in artistic representations of the sea with ships and sailors, e.g. the Flotilla fresco on Thera. Homer recorded a tradition that Crete had 90 cities. Multi-room constructions were found also in “poor” areas, revealing a social equality and even distribution of wealth derived through trade. There was a high degree of organization, with no trace of the military aristocracies that characterized the following cultures. While the Mycenaeans relied mainly on conquest to expand, the Minoan Cretans were a mercantile people engaged primarily in overseas trade. No doubt they should have been involved in the Bronze Age’s most crucial trade of tin: tin, alloyed with copper, obviously from Cyprus, was used in the manufacture of bronze. The Minoan decline seems to be correlated with the decline in the use of bronze tools in favour of iron ones.

Multi-room constructions were discovered even in the ‘poor’ areas, revealing
a social equality and even distribution of wealth derived through trade. There was a high degree of organization, with no trace of military aristocracies…

The entire Ship Procession or Flotilla frieze at Acroteri, Thera

Bronze and Orichalcum or Chalcopyrite (Brass)

A Thracian bronze deer, 9th-6th century BCE

● In the beginning, bronze was made from naturally or artificially mixed ores of copper and arsenic. That is why it was called arsenic bronze. Tin was used only later, becoming the sole type of major non-copper ingredient of bronze in the late 3rd millennium. Tin bronze was superior in that the alloying process could be easily controlled and the alloy was stronger and easier to cast. Moreover, unlike arsenic, tin is not toxic. The earliest tin-alloy bronzes date to the late 4th millennium in Iran, Mesopotamia and China. Copper and tin ores are rarely found together (exceptions include one ancient site in Iran); thus, serious bronze work has always involved trade. The major source for tin in Europe was England’s deposits of ore in Cornwall, traded as far as the eastern Mediterranean. Though bronze is generally harder than wrought iron, the Bronze Age gave way to the Iron Age because iron was easier to find and to process into a poor grade of metal. Bronze was still used in the Iron Age. Roman officers e.g. had bronze swords while foot soldiers had iron. Archaeologists suspect that a serious disruption of the tin trade precipitated the transition. Mass population migrations c. 1200-1100 BCE reduced the shipping of tin around the Mediterranean (and from Britain), limiting supplies and raising prices. As cultures advanced from wrought to machine forged iron, they learned how to make steel, which is stronger than bronze and holds a sharper edge longer. There are many bronze alloys but modern bronze is typically 88% copper and 12% tin. Historical bronzes are highly variable in composition, as most metalworkers used whatever scrap was on hand.

Andean birdman, tumbaga

● Orichalcum is mentioned in several ancient writings, most notably in the story of Atlantis as recounted in Plato’s Critias dialogue. It is first mentioned by Hesiod in the 7th century BCE, and in a Homeric hymn dedicated to Aphrodite. Plato says that the metal was considered second only to gold in value. But by his time, it was known only by name. Pliny the Elder points out that it has lost currency due to the mines being exhausted. The name derives from the Hellenic word ὀρείχαλκος (from ὄρος, “mountain” and χαλκός, “copper”). Plato’s orichalcum has been held to be either a gold-copper alloy, or a metal no longer known, or mythic like Atlantis. The Romans transliterated “orichalcum” as “aurichalcum”, meaning “gold copper”. The Andean alloy tumbaga is something similar, being a gold-copper alloy. In Virgil’s Aeneid, a gold-silver alloy is mentioned. In later years, orichalcum was used to describe the sulfide mineral chalcopyrite or brass, that is, a copper-iron or copper-zinc alloy. The colour of brass is generally golden-yellow, while that of bronze is brown-red.⁽⁶⁾

• ⁽⁶⁾ Once I had the naïve impression – based on a mechanistic perception of the succession of historical ages (where what comes next is “deterministically superior” to what has preceded it) – that the Iron Age was superior in every aspect to the Bronze Age. Generally this is true. But there are some anomalies, some logical paradoxes, especially in the beginning of the new age, since you have to accept that the “iron” Dorians were more civilized than the “bronze” Achaeans.

Brass French horn

● A similar sham, by the way, is the idea of the “superiority” of monotheism versus polytheism, while in fact it is a colossal setback – and the Christian obscurantism of the Dark Ages proves it. When everyone claims the exclusivity or monopoly on truth, when polytheistic tolerance is lost, then the result is… Jerusalem as the capital not of Israel but of hatred among monotheists!

● Iron weapons, made out of necessity, were “poor weapons”, but also the “weapons of the poor”. Thus the aristocratic monopoly on the conduct of war ceased. One could perhaps argue that “war was democratized”. Even so, is the right to kill a “democratic” right?(!)

Where did the Minoans find tin, the necessary component to produce
bronze? No doubt, Minoan ships should have transported British tin…

Theseus with Ariadne and the Minotaur,
mosaic at Paphos: a Cretan theme in Cyprus.

The Cassiterides

CYPRUS WAS THE MEDITARRANEAN “copper island”; the word copper comes from the name of the island: from the Latin phrase Cyprium (aes), “Cyprian (metal)”. A possible etymological origin of the name Cyprus is the Sumerian words for copper or bronze (zubar / kubar), due to the massive deposits of copper ore found in the island. But where did the Minoans find tin – the necessary component – to produce bronze? Tin was very rare in the eastern Mediterranean. The only known source of cassiterite in the area was Kestel-Göltepe on the Taurus Mountains of south-central Anatolia. It supplied tin from the late 4th millennium to the mid-19th century BCE, when the ores became uneconomical or ran out. There were three other sources of tin available to the Minoan traders: the distant northeastern Afghanistan, central Europe (Bohemia), and the Occident, with vast amounts of tin in places such as Iberia, Brittany, in northwestern France, and especially Cornwall, in southwestern Britain. For the seafaring Cretans, the West was the destination they probably preferred best.⁽⁷⁾ When the Taurus mines shut down, western tin became more important and the Minoans would have completely monopolized the supply of tin into the Eastern Mediterranean with their navy and shipping. Objects made by Minoans suggest there was an extensive network with mainland Greece, Anatolia, Cyprus, Syria, Egypt, Mesopotamia, and westwards as far as Iberia, and also even further, that is, Bohemia, Brittany and, of course, Cornwall. Trade in nearby lands was direct, while in distant lands it could also be indirect through middlemen. Undoubtedly, Minoan ships should have transported British tin. If they also dropped anchor at British harbours it’s another story.

• ⁽⁷⁾ Not that the Minoans disregarded tin coming from the Orient: a tablet from the Mari archives mentions a Cretan who purchased tin at Ugarit from agents of the Mari palace in Mesopotamia. This tin came in part from Afghanistan, where Minoan items have been found. Others, however, insist that the said tablet refers, on the contrary, to the purchase of Cretan tin by Mari (500 kg, in 1670 BCE). Mesopotamia, they say, imported mainly Cretan tin and Cypriot copper to make bronze. Central European tin was carried through the Amber Route leading from the Baltic to the Adriatic Sea.

The blue monkeys fresco on Thera

The Cretans derived their surplus from trade, unlike Babylonia and Egypt that principally relied on agriculture. They were the unrivalled long-distance traders, masters of the sea routes, having developed the most advanced navy that had ever been seen. They traded not only their own manufactured goods, “Made in Crete”, such as ceramics and metalwork, but acted as intermediaries, as well, trading raw materials and finished products throughout the Mediterranean and beyond. Their most valuable re-exports were pottery, copper, tin, gold, or silver. They were on the move not only in the Orient but also in the Occident, founding emporia all around. Their most privileged trade contacts in the East were surely those with the Egyptians, while their most significant Western partners should have been the Iberians, as the peninsula was rich in metals, especially silver, but also tin. Trade in tin was very lucrative in the Bronze Age, because, as we have seen, it is an essential component of true bronze, and comparatively rare: only gold and silver are rarer. Apart from the cassiterite deposits in Iberia, the locals obviously knew the route to the Cassiterides…⁽⁸⁾

• ⁽⁸⁾ The Cassiterides, that is, the Tin Islands (from the Greek word for tin: cassíteros), were thought to be situated somewhere near the west coasts of Europe. Ancient writers (Strabo, Poseidonius, Diodorus Siculus, etc.) described them as islets off northwest Iberia. Dionysios Periegetes (i.e. the Voyager) mentioned them in connection with the mythical Hesperides. Stesichorus and Strabo wrote that the Hesperides were by legendary Tartessos (where we shall voyage in due time). But if information of those ancient writers is ignored, it is traditionally assumed that these isles refer to the British Isles as a whole, because of the significant tin deposits in Cornwall; these deposits have become very limited due to their over-exploitation for millennia. (About the Cassiterides see especially Chronicle 26, Early Political Groups).

The metals were just the opening move of a far broader economical and cultural exchange. A lot of Iberians e.g. are nowadays intrigued by the fact that so long ago the Minoans were practicing their own version of “bullfight”. In his bilingual (in Portuguese and English) book, Fado – Lyrical Origins and Poetic Motivation, Mascarenhas Barreto refers to the Neolithic hunting rituals as a possible origin of the bull-leaping “pegas” during Portuguese bullfights, or even other similar daring games with bulls, and wonders

Cretan gold ring: four women with long robes
and bare breasts in a “cult scene” (ca 1500 BCE)

“whether the peoples of the Iberian Peninsula learnt this from the Cretans of the 3rd millennium BC, or if they themselves may have been the teachers, since the bulls were taken from their natural habitat in the peninsula to the island of Crete” (see, as well, Chronicle 5. Iberia’s Odyssey, Creto-Iberian ties).

Nevertheless, when one speaks of such extensive exchanges taking place in the 3rd millennium BCE, with customs adopted and bulls transported so far away, is it really so important to know who imitated whom?

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Next Chronicle 18. AEGEAN: KNOSSOS, MYCENAE, TROY ● Stonehenge ● Dorians and Sea Peoples ● Mysteries ● Trojan War and Bronze Age Collapse

Ταυροκαθάψια (bull-leaping) depicted on a Knossos fresco (15th century BCE)