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

Some content on this page was disabled on 2024/03/08 as a result of a DMCA takedown notice from Julian Jarosch. You can learn more about the DMCA here:

https://wordpress.com/support/copyright-and-the-dmca/

GIORGOS ANDREOU on “PERIPLUS”

GIORGOS ANDREOU on “PERIPLUS”

Amélia Muge | Michales Loukovikas

/ΕΛΛΗΝΙΚΑ/ Ο ΓΙΩΡΓΟΣ ΑΝΔΡΕΟΥ για τον “ΠΕΡΙΠΛΟΥ”
/PORTUGUÊS/ GIORGOS ANDREOU sobre “PERIPLUS”

Giorgos Andreou, a distinguished
Greek composer and pianist

THE CD “PERIPLUS” is a very interesting endeavour because it’s not just a recording of traditional music of either Portugal or Greece; that is, it is not a disc that simply attempts to somehow compose in part the traditions and sounds of the two cultures. Because, in such a case, it would be more a project of folklore and not of artistic creation. Of course, elements of both these related traditions are used in a considerable extent; but this is not the central “theme” of the disc.

The characteristic of “Periplus” is its dynamism emanating from two songwriters, Amélia Muge and Michales Loukovikas, who have composed original music and worked on their musical material using several sources in the poetic language of song: verses of poets (Greeks or Portuguese), lyrics from the ancient Hellenic literature, or of their own modern language, even quoting some folk or popular songs of the Greek or Portuguese traditions. A noble purpose and essential pursuit was to demonstrate the analogies that exist in this great womb called the Mediterranean.

The most famous voyager in this great womb called the Mediterranean has been an ancient (as well as modern – in my view) Hellene, called Odysseus, representing a universal archetype. Apart from all other things, as they say, he also founded Lisbon, the capital of Portugal.

Ludwig van Beethoven, by Francesco Jerace (1895)

What is important in the tradition of either Portugal or Hellas is that it has sprung out as a Folk and (gradually) Urban music precisely because it doesn’t have behind it to a great extent a background of Classical, academic music. There are certainly important composers of academic music in both countries – but neither Greece nor Portugal has produced anyone like Bach, Beethoven, Mozart, Vivaldi, Corelli, Scarlatti, Bellini, Puccini, and so forth. It’s been observed that where, for various historical and cultural reasons, the academic language of music, what we call Classical music, has not developed, the active memory of Tradition survives, and more space is created to develop and take over this Tradition in its transition to an urban environment. This is Fado, this is Rebetiko, this is the Blues, Tango… Every kind of Music that we believe it derives from Tradition, and is essentially Folk Music, has predominantly flourished in an environment where the burden of the great academic, symphonic musical tradition has not existed.

Guitarra portuguesa, fado’s lead instrument, accompanied by a king of Spanish guitar that the Portuguese call “viola”…

There are, of course, great differences between Fado and Rebetiko, as there are many analogies, as well. The analogies are exactly those implied by the geographic and cultural environment I have already mentioned, called the Mediterranean, dictating an attitude to life to the people of the several cultures living around her. And what is that? It is in my view its potential to highlight and give major importance to personal yearning.

Bouzouki: a Greek, Lebanese, and… Irish instrument!

Something that we can agree on, associating ourselves with our Portuguese friends in our music, is the way we deal with the emotional core of music; both in lyrics (the personal, existential adventure of each one), and also in music – the way we perceive the Song. Because we speak of Fado as a song, we speak of our own Traditional Folk Music as a song. The song needs a hero, and the hero’s companion. The hero is the singer, and his/her companion is the accompanying instrument: the guitarra portuguesa in Portugal, the bouzouki here, play this very role. It is a duo, a duo of silence, a duo far from the grand, “closed”, symphonic forms, a convincing duo, a duo of profound and moving emotion.

I like “Periplus”, it moves me: it’s a dynamic testimony by two authors, a Portuguese and a Greek, willing to compose original stuff and taking into account where they come from and where they go. For me this is the quintessence of musical creation: to respect your origin, and at the same time to be able to converse with it and redefine it. Because a tradition that is not redefined, that doesn’t move forward, perishes and becomes a dead, picturesque attitude.

Seikilos Epitaph (after 200 BCE), the oldest complete composition in the world (included in “Periplus”)

Another thing that impressed me in the work by Michales and Amélia is that all sequences, all “chapters”, give rise to thoughts and emotions. The first one is called “Absences”, the second “Routes”. (Note that we, Greek musicians, describe the folk musical scales with the term “route”).

The third sequence is called “Songs”. The word “song” (“tragoudi” in Greek) originates from the ancient Hellenic tragedy, it is “melos”, i.e. melody; it’s a selection of a short segment from a greater Whole, a segment of great importance for its emotional, ethical, conceptual, and musical-melodic content. There follow the “Islands”. The island has a special symbolism. It is a part of earth surrounded by the sea; a part of reason surrounded by the ocean of the subconscious.

Then we “hear” the “Voices”. The voice is the instrument of the Song. It is no coincidence that this sequence includes melodies and songs on ancient Hellenic texts, on ancient Greek poetry, along with some traditional elements – therefore we have traditions connected. There comes the sequence of “Lullabies”. A lullaby is what we dedicate to that paradoxical dimension of human existence when someone neither “remembers” (exactly) nor “feels”, a Sleep-Death: the literature and philosophic discourse on the relationship between sleep and death is extensive in the ancient Hellenic civilization.

Next is the sequence of “Loves”, essentially Eros, with a breathtaking traditional song of ours, “The Foliage of a Rose”, which is found in a similar, almost identical, form and emotional attitude in the Portuguese music, as well. The following sequence, “De Profundis”, is certainly a confession – existential, erotic, emotional. Included here is an extraordinary song, “The Inner Dictates”, on poetry by Ares Alexandrou and music by Michales Loukovikas, from a previous work of his, “The Gold in the Sky”, dedicated to the great Greek thinker, poet and author.

Panaiotis (Panos) Tountas

Then we enter some “Fado and Rebetiko Taverns”, with another comment on the similarity of the popular reflexes in both cultures. Of course (since we speak about the relationship between tradition and personal creation), the song that Michales and Amélia have chosen, “The Manges of the Tavern”, is not a piece by some unknown Hellene, but by the great composer Panaiotis Tountas. Tountas was one of the most important composers of Popular Song, essentially “erudite”, an author who had studied music, worked during his Smyrnaic period as a quasi-academic musician (of the “Hellenistic Orient”) and all his life as a first rate popular composer.

Eleni Tsaligopoulou

Finally, in the sequence “So Distant, So Near”, there’s a poetic recording of differences and similarities between the two vocal and cultural Traditions. A prime moment emotionally for me (which I consider to be the climax of the CD), is the parallel interpretation of the same song, “How Far Can Your Eyes Reach?”, by Eleni Tsaligopoulou in Greek and Amélia Muge in Portuguese. “Periplus” ends with a song that justifiably has a subjective tone on the part of Amélia, dedicated to a previous important presence, Violeta Parra, a song of whom was a kind of guide and source of inspiration for Amélia.

I’d like to conclude saying that there are very important musical compositions in “Periplus” by both, Amélia Muge and Michales Loukovikas, and this is for me another merit of the CD. Beyond aesthetic connections, beyond cultural analogies, beyond any intentions to delineate and redefine borders and “contacts” of every kind, what ultimately remains is the essential question if “all this” produces a work of authentic Art. When there is a work of Art produced, then all previous intentions are justified. If there is no work of Art, all the rest are nothing but just slogans that are not being realized.

Well done, my friends, and keep it up!

Speech during the presentation of “Periplus”
“Janus” Bookstores, Athens, October 23, 2012

● See also GIORGOS ANDREOU on “ARCHiPELAGOS”
● As well as MARIA DO ROSÁRIO PESTANA on “PERIPLUS”

PERIPLUS MUSICAL TROUPE: Amélia Muge: voice, vocals, guitarra braguesa, talk, sound-effects. | Michales Loukovikas: voice, vocals, accordion, finger-snaps, hand-claps, percussion, drone, talk, samples of voices and sounds.
Manos Achalinotopoulos: clarino (folk clarinet), voice, vocals. | Kyriakos Gouventas: violin, viola, mandolin. | Harris Lambrakis: ney (oriental flute), recorder. | José Martins: percussion, synthesizer, hand-claps, kalimba, sound-effects. | Ricardo Parreira: guitarra portuguesa. | António Quintino: double bass. | Filipe Raposo: piano, keyboards, accordion. | José Salgueiro: percussion, hand-claps.

SPECIAL GUESTS: Hélia Correia, writer: voice. | Eleni Tsaligopoulou, singer: voice, vocals, children’s songs, laughs. | Outra Voz, a Guimarães citizens’ choir: sounds of the sea, water, wind, space, vocals, children’s songs, respirations, talk.

OTHER PARTICIPANTS: Mariana Abrunheiro: vocals. | Catarina Anacleto: vocals, cello. | Irene Bakalopoulou: harp. | José Barros: vocals, mandolin, cavaquinho, guitarra braguesa. | Cristina Benedita: vocals. | José Manuel David: voice, vocals, drone, kalimba, bagpipe, horn. | Margarida Guerreiro: anathemas. | André Maia: talk. | Teresa Muge: voice, anathemas. | Dimitris Mystakidis: bouzouki, djura, rebetiko guitar. | Pedro Pinhal: fado viola (guitar). | Ziad Rajab: oud. | Eduardo Salgueiro: hand-claps. | Kostas Theodorou: percussion, double bass. | Zoe Tiganouria: accordion. | Francisco & Sofia Van Epps: children’s songs, laughs. | Rui Vaz: vocals, talk.

Chronicle 18. AEGEAN: KNOSSOS, MYCENAE, TROY

Chronicle 18. AEGEAN: KNOSSOS, MYCENAE, TROY

/ΕΛΛΗΝΙΚΑ/ Χρονικό 18. ΑΙΓΑΙΟΝ: ΚΝΩΣΟΣ, ΜΥΚΗΝΑΙ, ΙΛΙΟΝ

● Stonehenge ● Dorians and Sea Peoples ●
Mysteries ● Trojan War and Bronze Age Collapse

Michales Loukovikas

The Atreid dynasty palace at Mycenae

AS HEIRS OF THE MINOANS, the Mycenaeans assumed control of “Tin Routes” – i.e. the maritime trade network of metals from the Occident. Their acme lasted for about 250 years until the Bronze Age collapse. This extensive network sheds light on the reason why Mycenaean artifacts have been found well outside the boundaries of the Mycenaean world: swords located as “far away” as Georgia in the Caucasus; an amber object inscribed with Linear B symbols in Bavaria, Germany; double axes and other objects dating back to the 13th century BCE in England (Wessex, Cornwall) and Ireland. There is convincing evidence that during the final phase of construction of Stonehenge in Wiltshire, around 1600 BCE, those builders there had commercial contacts with “the great contemporary Mediterranean civilizations”, as the astronomer Gerald Hawkins wrote, that is, “Minoan Crete, Mycenaean Greece, Egypt, and the ancestors of the travelling-trading Phoenicians.” The grave of a Mediterranean teenage boy, who died c. 1550 BCE, and several items of Mediterranean origin, have been found in the burial ground of Stonehenge.

Sunset at Stonehenge

● Hence, according to Hawkins, the Mycenaeans were already included among the navigating merchants of long distance voyages even before the conquest of Minoan Crete, together with the “ancestors of the Phoenicians”. The English astronomer and author, famous for his work in the field of archaeoastronomy,⁽¹⁾ published an analysis of Stonehenge in 1965 and was the first to propose the purpose of this megalithic monument as an ancient astronomical observatory to predict movements of the sun and stars. (See Chronicle 3, on Stonehenge as a work of migrants from the cradle of Homo, i.e. the Aegean, and also on the kinship between Minoans and Mycenaeans).

• ⁽¹⁾ Archaeoastronomy: the study of how people in the past “have understood or used phenomena in the sky, and what role the sky played in their cultures.”

Mycenae, Lion Gate

The Mycenaean era (c. 1700 – c. 1100 BCE) is the historical setting of much myth and literature of the Hellenes such as the Epic Cycle and Greek tragedy. Scholars have traditionally blamed the collapse on an uprising, or an invasion by another Hellenic ethnic group, the Dorians, though at least one Mycenaean centre, Pylos, was most probably destroyed by the so-called Sea Peoples. There are theories of natural disasters or large-scale drought, which could have contributed, too. The movements of people from the Balkans and Asia Minor to the Near East at that time have been attested. The internal factors theory has the Mycenaean culture falling in the course of societal conflicts brought on by a rejection of the palatial system by the underprivileged strata of society, which were quite impoverished by the period’s finale. Another hypothesis mingles social with ethnic divisions. In this context let’s have in mind that the Iron Age made large numbers of rather cheap weapons accessible to all. War was no longer an aristocratic privilege. The iron weapons were not as good as the bronze ones but they could still kill… (See the previous Chronicle, footnote 6).

Heracles

● The Dorian invasion is a concept devised by ancient Greek historians to explain why pre-classical dialects and traditions in southern Hellas were replaced by others that prevailed in the classical era. The Dorians, a Greek legend asserted, took control of the Peloponnese in the so-called “Return of the Heracleidae”. The meaning of the concept changed several times, as historians, philologists, and archaeologists, used it in vain attempts to explain the cultural discontinuities expressed in the data of their fields. The pattern of the arrival of Dorian culture on certain islands, such as Crete, is also not well elucidated. Despite some 200 years of investigation, the historicity of the Dorian invasion has not yet been established.

Sea peoples depicted as prisoners in Egypt

● The Sea Peoples were an alliance of seafaring raiders from southern and central Europe, and the Mediterranean Sea, especially the Aegean area, who sailed (and also marched) east invading Hatti, Cyprus, Syria, Canaan, and Egypt, and bringing about the Bronze Age collapse. Pharaoh Merneptah explicitly refers to them by the term “the foreign countries (or peoples) of the sea”. Leaving Mycenaean Hellas out of the list of the victims, some scholars believe they can identify most of the Sea Peoples mentioned in Egyptian records; they supposedly were the: Ekwesh–Achaeans (if they were, why should they destroy Pylos? “Because they were Hellenes!”, is the sardonic answer); Teresh–Tyrrhenians (the ancestors of the Etruscans); Lukka–Lycians; Sherden–Sardinians; Shekelesh–Sicilians; Tekrur-Teucrians (who might have been… either Trojans or Greeks); and Peleset–Philistines (Palestinians?), allegedly coming from Crete. The Peleset and Tekrur were the only major Sea People tribes that settled permanently in Canaan. Note that several of these peoples had been used as mercenaries or “allies” by both the Egyptian and Hittite Empires, before they turned against them (see the next two Chronicles 19 and 20, on the Sea Peoples and the Bronze Age collapse).

A Mycenaean woman with her breast exposed
but… in profile – not en face à la Creta…

Mycenaean settlements were not confined in southern Hellas, but also appeared in Epirus, Macedonia, the Aegean islands, the coast of Anatolia, Cyprus, Canaan and Italy. The towns were well fortified, in contrast to Minoan Crete. The best Mycenaean palaces were excavated at Mycenae, Tiryns, and Pylos. They were heirs of the Minoan palaces but far inferior in structure. The heart of the palace was the megaron, i.e. the throne hall. Staircases found in Pylos indicate that the palaces had two stories. Located on the top floor were probably the private quarters of the royal family. Supreme power appears to have been held by the Homeric ἄναξ (“divine lord”, “sovereign”, “host”), or king. His role was military, judicial, and also religious. Occurrences of the word in texts having to do with offerings suggest that the sovereigns were worshipped.

Apart from that, no priestly class has been identified yet. Furthermore, it remains problematic to pick out a place of worship with certainty. It seems that a lot of gods and religious conceptions of the Minoans were fused in the Mycenaean religion, the mother of the classical Hellenic religion. The Eleusinian mysteries were established during the Mycenaean period on a pre-Greek vegetation cult with Minoan elements. Demeter and other gods appear in Arcadian myths as animal-headed. Representations of the processions of “daemons”, using animal masks, remind us of the Hellenic myth of the Minotaur. Dionysus, the only Greek god who died in order to be reborn, as he often appeared in the religions of the Orient, was related to the Minoan myth of the “Divine Child”, abandoned by his mother, and then brought up by the powers of Nature.⁽²⁾ Mycenaean painting was very much influenced by the Minoan art. Bull-jumping frescoes are found at Mycenae and Tiryns as well. Nevertheless, the Mycenaeans depicted the animals only in relation to man, or as victims of the hunt, and thus displayed a different relation to nature compared to the Minoans.

A procession of lion-headed “daemons” offering libation jugs to the seated goddess who raises a ritual vessel. The sun wheel and the crescent moon are in the sky. (Gold signet ring, the largest from the Mycenaean world, found in Tiryns, but made by a Minoan workshop in the 15th century BCE)

• ⁽²⁾ The “Divine Child”, “Baby Moses”, or Habis, a son of Odysseus and Calypso (we meet him when we visit Iberia, see Chronicles 5 and 21), etc. are anything but unique, as they are found in many cultures, based on the same idea, but not necessarily from the same origin. Similarly, the Deluge myths, connected with the last deglaciation, are widespread among many cultures all around the world. The Mesopotamian Utnapishtim, Deucalion, Noah, etc. are heroes of the same story in several versions. It is a pity that modern Greeks are more familiar with Noah than Deucalion. The reason is that these stories are related as myths, except those in the Bible, considered “sacred”. But what else is the Bible if not Hebrew mythology?

Phryne at the Poseidonia in Eleusis, by Henryk Siemiradzki (1889)

Eleusinian, Cabeirian and Orphic Mysteries

● The Eleusinian mysteries (Ἐλευσίνια μυστήρια) were initiation ceremonies held every year for the cult of Demeter and Persephone based at Eleusis. Of all the mysteries celebrated in ancient Hellas, these were held to be the ones of greatest importance. Most likely their basis was an old agrarian cult which may go back to the Mycenaean and Minoan periods. The mysteries represented the myth of the abduction of the daughter (“korē”) from her mother by the king of the underworld, Hades, in a cycle with three phases: the “descent”, “search” and “ascent”, when Persephone was reunited with Demeter. Her resurrection was symbolic of the rebirth of all life. The rites, ceremonies, and beliefs were kept secret. Since the rituals involved visions and conjuring of an “afterlife”, some scholars believe that their power and longevity came from psychedelic agents. The only requirements for membership were freedom from “blood guilt”, meaning never having committed murder, and also not being a “barbarian” (unable to speak Greek). Nevertheless, the festival later spread to Rome. Women and even slaves were also allowed initiation. Comparative studies show parallels between these Hellenic rituals and other similar systems in the Near East, such as the Egyptian cults of Isis and Osiris, equivalent Syrian and Persian cults and, of course, the Thracian–Phrygian Cabeirian mysteries.

Samothracian relief showing Agamemnon
being initiated into the Cabeirian rites.

● The Cabeiri (Κάβειροι) were enigmatic chthonic deities, protectors of sailors, who were imported into Hellenic ritual keeping Hittite and proto-Etruscan elements. They were worshipped in a mystery cult associated with that of Hephaestus, and centered οn the north Aegean islands of Samothrace and Lemnos, and also at Thebes. Other places of worship included Imbros and Seuthopolis in Thrace, or various sites in Macedonia, Asia Minor and the rest of the Aegean. The Samothracian cult spread during the Hellenistic period, eventually initiating Romans. As the cult’s origin was non-Greek, the “barbarians” were also accepted: the initiation had no prerequisites for age, gender, status or ethnicity. Everyone, men and women, adults and children, the free or enslaved, the Hellenes and non-Hellenes, could participate.⁽³⁾ After all, both the Samothracians and Lemnians were originally non-Greek: the latter might have been related to the Etruscans; they were Hellenized after Athens conquered Lemnos in the 6th century; but the cult of the Cabeiri survived the operation of Hellenization. The Samothracians were associated with the Trojans and Pelasgians. In the Sanctuary of the Great Gods,⁽⁴⁾ they used a so-called “barbarian” language even in Roman times. Thebes was linked to Samothrace through the marriage of Cadmus and Harmonia, the Samothracian. The Cabeiri bear many similarities to other fabulous races, such as the Telchines, Cyclopes, Dactyls, Corybantes, and Curetes. These groups were often confused or identified with one another, since many of them were also associated with metallurgy – just like Hephaestus.

• ⁽³⁾ A Samothracian relief showing Agamemnon being initiated into the Cabeirian rites gives credit to the idea that the Eleusinian mysteries originated from the Cabeirian cult through Thracians who settled at Eleusis.

• ⁽⁴⁾ The famous Winged Nike (Victory) of Samothrace (c. 200–190 BCE) stood at the island’s Temple complex, on a rostral pedestal representing a ship’s prow, and dedicated to the Great Gods.

The Myth of Orpheus, by Marc Chagall

● The Orphic (Ὀρφικά) mysteries may have also had their origins with the Cabeiri. They were religious beliefs and practices originating in the Hellenic and Thracian worlds, but associated with poetry ascribed to the mythical musician and prophet Orpheus, who descended into Hades for his beloved Eurydice and returned. Orphics also revered Persephone and Dionysus for the same reason. Initiation into Orphism, as in the case of the Eleusinian mysteries, was associated with an “afterlife”.⁽⁵⁾

Behold Alaric, the Messiah, entering triumphantly
Athens, followed by Christian “blackshirts”…

• ⁽⁵⁾ In 390 CE, Emperor Theodosius I ordered his troops to commit a most horrific massacre, one of the worst in all history, slaughtering 7,000-15,000 Thessalonians in the Hippodrome, because they had rebelled against his Germanic mercenaries. To expiate his sin, two years later, in 392, he closed all ancient sanctuaries by decree, and imposed Christianism as the sole religion, with the abolition of the Edict of Milan (313 CE) on freedom of religion. Thanks to Theodosius, the “Saint” (for the Church), or the “Great” (for History), as soon as the Christians were free from persecution, they started persecuting all the others! The last remnants of the Mysteries were wiped out in 396, when another German, the Christian Alaric, invaded Eleusis with many local Christians “in their dark garments” – the “Blackshirts” of the era – desecrating the old sanctuaries and killing all priests. Having ravaged Attica, the “Messiah” of the Christian mob entered triumphantly Athens. Then he invaded the Peloponnese, sold citizens of Corinth, Argos, Sparta, etc. into slavery, crossed the Gulf of Corinth and marched to Epirus, halting plunder and slaughter only when he was made a magister militum by the emperor. He surely deserved better: sanctification! (See Chronicles 23-24, on the Massacre of Thessalonica and the violent Christianization of the Empire through The Genocide of the Hellenes and The Triumph of Cretinism).

● Apropos: Most of the Theodosian dynasty emperors, as well as the last ones of the Occidental Empire, were puppets of Germanic kingmakers, the so-called magistri militum (military masters) or stratelates, such as Aspar in the East, and Ricimer in the West. As for Alaric, he captured and plundered even Rome, in 410, marking the beginning of the end of the Western Roman Empire.

The choral dancers frieze from the Temenos in Samothrace

After the conquest of Minoan Crete, the Mycenaean foreign trade
took off: production of goods meant to be sold abroad increased.

A Mycenaean jar with an octopus and fish

COMMERCE REMAINS CURIOUSLY ABSENT from all the written sources in Linear B. However, it is known that the Minoans exported fine fabrics to Egypt; no doubt the Mycenaeans did the same. They probably borrowed knowledge and expertise from the Minoans on matters related to navigation, as is evidenced by the fact that their maritime commerce did not take off until after the collapse of the Minoan civilization. It seems that certain products, especially fabrics and oil, even metal objects, were meant to be sold outside the kingdom, because they were made in quantities too great to be consumed solely at home. Pottery was also produced in great quantities. Especially after the conquest of Minoan Crete, production increased considerably, notably in Argolis, the area of Mycenae, with great numbers exported outside Hellas. The products destined for export were more luxurious, featuring heavily worked painted decorations that incorporated mythic, warrior, or animal motifs, etc. The Mycenaean network extended as far as Spain, Britain, and central Europe, while their pottery has been found in Sardinia, Sicily, southern Italy, the Aegean, Asia Minor (amongst others at the old settlement of Miletus, where high-quality ceramics, Minoan or Mycenaean, have been recovered), other parts of Anatolia, Cyprus, Canaan and Egypt. The Minoan and Mycenaean maritime foreign trade is one of the most important chapters of the Bronze Age history, and an open challenge to every archaeologist or historian.

Trojan War, Bronze Age Collapse and Dark Ages

The gold funeral Mask
of “Agamemnon”

The Mycenaeans inherited the Minoan thalassocracy when they became masters of Crete; but they did not last long. The Trojan War, taking place in 1194-1184 BCE according to Eratosthenes,⁽⁶⁾ the Sea Peoples’ raids, and the great instability of the era, led to their downfall during the Bronze Age collapse. Many historians think the transition to the Iron Age was violent, sudden and culturally disruptive. The Aegean and Anatolian palatial civilizations were replaced, after a hiatus, by the isolated village cultures of the so-called “Greek Dark Ages”, which were dark, indeed, but not only Greek. In just fifty years, in the first half of the 12th century, the downfall of the Mycenaean world and the Hittite Empire, the catastrophe in Syria, Canaan, and Egypt, and the cultural collapse that followed, resulted in the interruption of trade routes and the severe reduction of literacy. The Mycenaean Linear B script was forgotten. The Hellenes would need to re-invent writing in the late 9th or early 8th centuries BCE.⁽⁷⁾ During that period almost every city was violently destroyed and usually left unoccupied thereafter, such as Mycenae, Hattusa, the capital of the Hittites, and Ugarit. Troy was destroyed at least twice before being abandoned. Fewer and smaller settlements suggest famine or war (or both), leading to decimation and depopulation.

• ⁽⁶⁾ Eratosthenes (Ἐρατοσθένης, c. 276 – c. 195 BCE), from Cyrene, was a geographer, astronomer, mathematician, poet and music theorist (characteristic of the ancient scholars’ polymathy). He was the first to calculate the circumference of the Earth, and also the tilt of the Earth’s axis, with remarkable accuracy. He may have also accurately calculated the distance from the Earth to the Sun. He invented the term geography, a system of latitude and longitude, and created the first world map with parallels and meridians in his cartographic depictions based on the available geographical knowledge of the era. He invented the leap day, and was the founder of scientific chronology, trying to fix the dates of the chief political and literary events from the conquest of Troy. (Regarding the timing of the Trojan War, see also Chronicle 16, footnote 6).

The map of Eratosthenes

● Eratosthenes was a chief librarian of the Great Library of Alexandria in Ptolemaic Egypt. The library, a major centre of science and learning in the ancient world, was repeatedly destroyed by Romans (Julius Caesar in 48 BCE, Aurelian in the 3rd century CE), the Christians (Theodosius and pope Theophilus in 391), and Muslim Arabs (`Amr ibn al-`As in 642), resulting to an irretrievable loss of knowledge for mankind. (On burning of books and libraries, see also Chronicles 22 (the case of Democritus), and 23-24).

A tablet with Linear B symbols

• ⁽⁷⁾ Greek alphabet: allegedly derived from the “Phoenician alphabet”, it was in turn the ancestor of numerous other European and Middle Eastern scripts, including Latin and Cyrillic. However, a very important change was made in adapting the Phoenician system to Hellenic by introducing vowel letters. The Greeks were obliged to make the same innovation twice because the vowels are significant in their language. When the Mycenaeans adapted the Minoan Linear A script to their needs, they borrowed 87 Cretan symbols; 82 corresponded to syllables and five to vowels. Linear A is still not deciphered and, therefore, we ignore if this brilliant idea of the vowel letters was Cretan or Hellenic. According to the definition used by modern authors, this feature makes Greek the first alphabet in the real sense, as distinguished from the purely consonantal Semitic “alphabets”, the so-called “abjads” (from the Arabic word for alphabet). The Phoenician abjad belonged to the family of the closely related West Semitic scripts. (On Balkan and Greek script, see Chronicle 3, last part: Early Balkan writing).

Achilles discovered by Ulysses (Odysseus), by Jan de Bray

The Trojan War was just an act of this tragedy on a big scale involving numerous ethnicities: the fighters in Troy’s alliance are depicted in the Iliad as speaking various languages and thus needing to have orders translated to them by their commanders. On the Greek side instead, the Trojan campaign was anything but pan-Hellenic: even the great hero, Achilles, tried to avoid the war disguised as a girl in the palace of Skyros but was exposed by Odysseus! The king of Ithaca too tried to evade “conscription” pretending to be mad! Areas such as Macedonia, Epirus, and in part Thessaly, stayed away, probably because they were under the control of the Dorians, who would proceed to the Peloponnese some time later, filling the vacuum created by the demise of the Mycenaeans. Up to 90% of small sites were abandoned and all palaces destroyed, suggesting depopulation on a major scale. Athens and some other cities continued to be occupied but with a more local sphere of influence, limited trade and an impoverished culture, from which they took centuries to recover.

The Temple of Poseidon at Sounion, Attica,
with its Doric order columns at sunset

The Dark Ages would last for more than 400 years. The decoration on Hellenic pottery, after circa 1100 BCE, lacks the figurative adornment of either Minoan or Mycenaean ware, and is restricted to simpler, generally geometric styles (1000–700 BCE). It’s the reason why this age is also called Geometric, or Homeric, due to the composition of Homer’s epics, circa the 8th century, in the context of the Epic Cycle. Those epics, a by-product of the new alphabet and inspired mainly by the Trojan War and its aftermath, which would later feed the tragedians’ imagination, also together with the emergence of the Grecian poleis, in the 9th century, were the first signs of recovery in Hellas.

The celebrated Winged Nike (Victory) of Samothrace – looted by the French, just like Aphrodite of Melos (Venus de Milo). Three Victories were found in the temenos: the second was snatched by the Austrians, while the third, at last, remained on Samothrace. The statue of the first Victory is 3.28 m high (with its wings) and 5.58 m with the marble ship’s prow on which it stands.

The catastrophe was even worse in Anatolia. Every important settlement shows a layer of destruction. Here civilization possibly did not recover to the level of the Hittites for another thousand years. Cyprus witnessed two destructive waves: by the Sea Peoples (c. 1230), and Aegean refugees (c. 1190 BCE). Ugarit, in Syria, was burned to the ground. In addition, the coastal cities from Gaza northward sank into havoc. Nevertheless, paradoxically enough, the raids did not affect the Phoenician cities; they were confined in southern Canaan. Assyria, protected by the best army in the world, also remained intact; but was obliged to withdraw to its borders for a very long time. As for Egypt, although victorious against the invaders and surviving for a while, it succumbed some time later.

Robert Drews describes the Bronze Age collapse as “the worst disaster in ancient history, even more calamitous than the collapse of the Western Roman Empire”. A number of people nostalgically referred to the cultural memories of the disaster as stories of a “lost golden age”, when “civilization was wiped out”. Hesiod spoke of Ages of Gold, Silver and Bronze, separated from the modern harsh and cruel world of the Age of Iron by the Age of Heroes. It seems that, as a result of the Bronze Age collapse, the disruption of long distance trade, an aspect of the so-called “societal collapse”, cut easy supplies of tin, making bronze impossible to produce.

The disruption of long distance trade cut easy supplies of tin,
making bronze impossible to produce (a “societal collapse”).

• >> Chronicle 19. PHOENICIA’S STROKE OF FORTUNE
• << Chronicle 17. MINOAN CRETAN THALASSOCRACY

Next Chronicle 19. PHOENICIA’S STROKE OF FORTUNE ● Phoenicians and Sea Peoples ● Minoan Eruption on Thera ● Trojan War and Bronze Age Collapse (B)

Mycenaean dagger with a hunting scene: men vs. lions

Chronicle 16. MEDITERRANEAN PERIPLUS-PARAPLUS

II. CASSITERIDES ARCHIPELAGO

Sailing to Tartessos

.

.

Chronicle 16. MEDITERRANEAN PERIPLUS-PARAPLUS

/ΕΛΛΗΝΙΚΑ/ Χρονικό 16. ΜΕΣΟΓΕΙΟΥ ΠΑΡΑΠΛΟΥΣ-ΠΕΡΙΠΛΟΥΣ

● Periplus: Circumnavigation or Log ● Navigators and Intellectuals
● The Peloponnesian War and Euripides ● Nomos (Law Song)

Michales Loukovikas

WHAT WAS THE MOTIVE BEHIND MAN’S decision to take his chances and go out to sea? As always, he had needs to satisfy: he initially was in search of a better place to live. After settling down, his needs changed: there was much food in the sea and he could certainly fish far better with a canoe or a boat. The more he familiarized himself with the sea, the further he went out there, and thus the vessel also became a means of transport. Men started exchanging goods and, as long as production increased, all these boatmen were divided into fishermen and traders – and sea warriors, as well. Commerce developed in parallel with navigation. As a rule, a sea trader was obliged to take notes and map out his routes. This notebook gradually developed into

P E R I P L U S

Ancient Greek pottery (cylix) depicting
merchant ships and warships

“PERIPLUS” is the Latin form of the Hellenic word περίπλους, a “sailing-around”. The word also developed specialized meanings; one of them became a term in the navigation of Greeks and other peoples. Such a periplus was a manuscript listing – in order and with approximate intervening distances – the ports and coastal landmarks that the captain of a vessel would see along a shore.⁽¹⁾ It served the same purpose as the Roman itinerarium, i.e. a map of road stops. If the navigators were skilled geographers (as many were), they added various notes, contributing to the geographical knowledge of the time. In that sense the periplus was a type of log. We can have an idea about such ancient logs from the earliest Hellene historian, Hecataeus of Miletus. The Histories by Herodotus and Thucydides contain passages that appear to have been based on such peripli, as well.

• ⁽¹⁾ Before the nautical charts, the primary store of geographic information for maritime navigation (a mariner’s handbook of written sailing directions) was known in antiquity as a periplus; later, in medieval Italy and the Mediterranean, it was substituted by a portolano. Portuguese navigators in 16th century called it roteiro, the Spaniards derroterro, the French routier, the English rutter, the Dutch leeskarte, and the Germans Seebuch. Portulano in Italian means “related to harbours”.

● A paraplus is similar to a periplus, meaning “sailing by (the coast)”.

● A periplus was also an ancient naval manoeuvre in which attacking triremes would outflank or encircle the defenders in order to strike them in the rear.

The map of Hecataeus

● The Milesian Hecataeus (Ἑκαταῖος, c. 550 – c. 476 BCE) lived in the time of the Persian invasion. Having travelled extensively, he settled in his native city devoting his time to the composition of geographical and historical works. He is the first Greek historian to mention the Celts. He is credited with a work written in two books and entitled Γῆς περίοδος (World Survey, or Travels Round the Earth). Each book is organized like a periplus, a point-to-point coastal survey. One, on Europe, was like a Mediterranean periplus, describing each region in turn, and reaching as far north as Scythia. The other, on Asia, was similar to the Periplus of the Erythraean Sea, giving information on the countries and inhabitants of this area, the account of Egypt being particularly comprehensive. It was accompanied by a corrected and enlarged version of Anaximander’s map of the Earth.⁽²⁾ This work survives only in fragments, mainly in Ethnica, the geographical lexicon compiled by Stephanus of Byzantium (6th century CE). Another work of Hecataeus was the Genealogiae, a systematized account of the Hellenic legends and myths, where he breaks with the epic myth-making tradition. The extant fragments are just enough to show what we are missing.

The map of Anaximander

• ⁽²⁾ Anaximander (Ἀναξίμανδρος, c. 610 – c. 546 BCE), a pre-Socratic philosopher, succeeded his master, Thales, one of the Seven Sages of Greece, as head of the Milesian school, where among his pupils he counted Anaximenes and, arguably, Pythagoras. He is the first philosopher known to have written down his studies, although only one fragment of his work remains. He was an early proponent of science trying to observe and explain different aspects of the universe, with a particular interest in its origins. In astronomy, he tried to describe the mechanics of the celestial bodies in relation to the Earth. In physics, his idea that the ἄπειρον (infinite) was the source of all things led Hellenic philosophy to a new level of conceptual abstraction. He created a map of the world and contributed greatly to the advancement of geography. According to Carl Sagan, he conducted the earliest recorded scientific experiment.

The world according to Herodotus

● Herodotus (Ἡρόδοτος, c. 484 – c. 425 BCE), born in Halicarnassus, is regarded as the “Father of History”. He was the first historian known to systematically collect his material, test its accuracy to a certain extent and arrange it in a well-constructed and vivid narrative. His celebrated Histories were a record of his Inquiries into the origins of the Greco-Persian Wars that culminated in 490–479 BCE. He describes in detail that period, which would otherwise be poorly documented – adding numerous long digressions about the various places and people he encountered during his wide-and-long-ranging travels around the Mediterranean, the Black Sea, and beyond.

Fragment from the Histories (VIII, Urania) on Papyrus Oxyrhynchus (early 2nd century CE)

Ἡροδότου Ἁλικαρνησσέος Ἱστορίης ἀπόδεξις ἥδε, ὡς μήτε τὰ γενόμενα ἐξ ἀνθρώπων τῷ χρόνῳ ἐξίτηλα γένηται, μήτε ἔργα μεγάλα τε καὶ θωμαστά, τὰ μὲν Ἕλλησι, τὰ δὲ βαρβάροισι ἀποδεχθέντα, ἀκλεᾶ γένηται. (Herodotus of Halicarnassus’ Inquiries are here set down to preserve the memory of the past by putting on record the astonishing achievements both of our own and of other peoples).

It was rather conventional at that time for authors to have their works “published” by reciting them at popular festivals. Herodotus took his Histories to Olympia, in the Olympian Games, and presented his entire work (9 books) to the assembled people in one sitting, receiving rapturous applause at the end. Others, nevertheless, said he refused to start reading until some clouds offered him a bit of shade, by which time, however, the assembly had dispersed – hence the proverbial expression “Herodotus and his shade” to describe anyone who misses his opportunity through delay.

● The Athenian Thucydides (Θουκυδίδης, c. 460 – c. 395 BCE) is the notable author of the History of the Peloponnesian War between Sparta and Athens (431–404 BCE) to the year 411. Its finale is recounted by Xenophon in his Hellenica. Thucydides is regarded as the father of “scientific history” due to his strict standards of evidence-gathering and analysis in terms of cause and effect without reference to intervention by the gods. He has also been called as the father of the school of political realism, which views the relations between nations as based on might rather than right. His Melian dialogue still remains a seminal work of international relations theory.⁽³⁾

• ⁽³⁾ The Melian dialogue is the account of a confrontation between Athens and Melos, a neutral island in the southern Aegean, east of the Peloponnese, in 416-415 BCΕ, during the Peloponnesian War. Athens wanted to conquer Melos to intimidate Sparta. The confrontation ended in tragedy: the Athenians executed all captive men and enslaved women and children…

● Melos was an important source of obsidian, a valuable volcanic material in the Neolithic era, to make cutting and piercing tools.

Venus de Milo, or Aphrodite of Melos (130-100 BCE)

● However, the island is famous all over the world because of a work of art that was found there: it is the celebrated statue of Aphrodite of Melos, better known as Venus de Milo. It was abducted by the French, supported by the Ottomans still occupying Hellas (1820), during clashes, at Melos and Piraeus harbours, that left more than 200 Greeks dead!

The Peloponnesian War, after the glorious end of the Persian Wars, marked the dramatic finale to the Golden Age of Hellenic civilization.

● In the first phase of the war Sparta launched invasions of Attica, and Athens raided the Peloponnesian coast, taking advantage of its naval supremacy. The Athenians sent later a huge expeditionary force to attack Syracuse in Sicily failing disastrously. This ushered in the final phase of the war, when Sparta, already receiving support from Persia, incited rebellions in the Athenians’ subject states in the Aegean and Asia Minor, undermining their hegemony. The destruction of their fleet put an end to the war and Athens surrendered in the next year. This Greek “civil war”,⁽⁴⁾ a few years after the glorious end of the Median (Persian) Wars (499–449 BCΕ), reshaped the ancient Hellenic world. Athens, the strongest polis in Greece prior to the war’s beginning, was reduced to almost complete subjection, while Sparta became established as the leading power. However, the economic costs of the war were felt all across Hellas; poverty became widespread in the Peloponnese, while Athens, totally devastated, would never recover its pre-war prosperity. The war also wrought subtler changes to Grecian society; the antagonism between democratic Athens and oligarchic Sparta, each of which supported friendly political factions within other poleis, made civil war a common occurrence in Hellas. Greek warfare, originally on a limited scale, was transformed into an all-out struggle between city-states, complete with large-scale atrocities. Shattering religious and cultural taboos, devastating whole cities and the countryside, this civil war marked the dramatic finale to the 5th century BCΕ and the Golden Age of Hellenic civilization.

• ⁽⁴⁾ The Peloponnesian War was ἐμφύλιος in the Greek sense of the word: not just a civil war, but a war within the “phylum” of the Hellenes.

During celebrations for victory, someone sang a song of Euripides.
The Spartans were so moved they changed their minds: “They felt it
would be barbarous to annihilate Athens that produced such men.”

Euripides, by Sebastià Giralt

● The Peloponnesian War is the background of a didactic story on music and politics centered on Euripides (c. 480–406 BCE) – perhaps the best of the Greek tragedians. He was also musically avant-garde, working with the most experimental musicians – a fact exploited by conservatives, such as Aristophanes, in order to ridicule him. Yet, it was Euripides’ music (and not that by Aristophanes, neither by Aeschylus, nor by Sophocles) that saved many Athenians, and Athens itself, during the war. Since then, and for many centuries to come, people used to sing the best odes of tragedies (we can say “arias” in operatic terminology). Hence, the modern Greek word for “song” (“τραγούδι”) originates from the word of “tragedy” (τραγῳδία). After the disastrous Athenian expedition to Sicily, many Athenians held captives there saved their lives as they were able to sing songs of Euripides. And at the end of the war, the victorious Spartan generals had a meeting to decide the fate of Athens. They concluded that the city should be demolished and its citizens enslaved. Then, during a banquet to celebrate victory, someone sang an ode from Euripides’ Electra. The generals were so much moved that they changed their minds: “They felt it would be a barbarous act to annihilate a city that produced such men”! These generals, needless to say, could appreciate the music of Euripides thanks to their culture.⁽⁵⁾ A most celebrated song in the ears of today’s generals or politicians would have no effect whatsoever… (These episodes are from Plutarch’s Parallel Lives – those of Nicias and Lysander).

• ⁽⁵⁾ Indeed, it’s very impressive that at that time, the most popular songs were avant-garde! It goes without saying that the citizens’ cultural level was very high…

Pytheas of Massalia: the greatest navigating explorer of the era with his periplus of Europe

A “Periplus” made of stone and the first one around Africa

JUST LIKE EVERYTHING ELSE, merchant shipping started in… “our own Orient” (it’s time for me to be sarcastic with this cliché! See Chronicle 6, footnote 1). The available data lead us to Egypt. Very soon the initiative passed to some sea peoples (Carians, Cretans, Greeks, Phoenicians, etc.), for the Egyptians, as a land people, were prone to agriculture. The Mediterranean, a closed sea with many islands, was in fact ideal for… sailing courses – the Aegean even more! Periplus as a log appeared with long-distance navigation, which is unthinkable without such a log. A captain kept his notes in any script, even… stenographic scribble, he could manage. It was impossible to memorize everything, and he could not impart his expertise to others.

● Hannu (Hennu, or Henenu), serving under Mentuhotep III (late 21st century BCE) re-opened the old trade routes to the land of Punt (in the Horn of Africa) and “Libya” – i.e. Africa beyond the Nile (the Maghreb). Hannu set out as head of 3000 soldiers, crossed the mountainous desert via Wadi Hammamat (“Valley of Many Baths”) and went on to the coast of the Red Sea. He wrote of his expedition on stone, on a rock-inscription in the same valley (therefore, his “Periplus” was made of stone):

Boat of Khonsu, the Egyptian god of the Moon

“I was sent to conduct ships to the land of Punt, to fetch for Pharaoh sweet-smelling spices… I reached the Great Green [i.e. the sea]. Then I made the ships and dispatched them with all manner of things and made for them a great oblation of cattle, oxen and gazelles. When I returned from the Great Green… I brought for His Majesty every product that I found on the shores of God’s Land; [… and also] splendid blocks of stone for the temple statues.”

Hannu’s road was the one used in the time of the Ptolemies and Romans; it led from Coptos to Leucos Limen (White Harbour, now Qoseir) on the Red Sea. It’s the same commercial thoroughfare of merchants of all countries, who traded in the wonderful products of Arabia and India, and thus turned into a bridge of all nations, which of old united Asia and Europe. Hannu is the first eponymous explorer. Coming back to Egypt, he brought precious treasures, e.g. myrrh, metal, wood. As for the Kingdom of Punt, it was probably situated in the area of today’s Somalia; others point towards neighbouring eastern Ethiopia and Eritrea. This lucrative trade network continued all the way into the classical era connecting local merchants with Phoenicia, Ptolemaic Egypt, Greece, Parthian Persia, Sheba, Nabataea, and the Roman Empire.

Penteconter

● In Hannu’s time, or perhaps a little later, the Cretans started their voyages during the Minoan thalassocracy in the Mediterranean, and maybe beyond. There followed the Argonautic expedition, and the Odyssey (meaning Odysseus’ wanderings) in the late Bronze Age.⁽⁶⁾ Everything we know about those voyages, and many others in that period, comes not from the navigators’ logbooks but from other sources. This does not mean they did not keep notes: long-distance voyages were inconceivable with no such peripli-logs of some sort, as we have said.

• ⁽⁶⁾ The Trojan War, according to Eratosthenes, took place in 1194-1184 BCE. So, Odysseus returned to Ithaca in 1174. But some researchers, using NASA data, compared the solar eclipses recorded in the Odyssey and specified he got back on his island on October 25, 1207 BCE. Hence the war took place in the decade 1227-1217. (On the Argonauts, see Chronicle 15, footnote 7, and Chronicle 22, Massaliote Periplus revival).

● According to Herodotus, the Phoenicians carried out a great feat: the first periplus of “Libya” (i.e. Africa), on behalf of the Egyptians, in the years of Necho II (610–595 BCE). It started from the Red Sea and lasted almost three years. A Persian awaiting execution attempted to repeat the feat, following the reverse course, in an effort to save his life, but eventually abandoned – though death was waiting for him… Even now, a voyage from the Red Sea to the Nile around Africa is not an easy thing. Epic voyages of such calibre have nothing to envy from today’s manned flights in space! Like the astronauts, in case of a long stay “out there”, the Phoenicians, too, were obliged to sow and harvest every year, since it was impossible to carry supplies for an indefinite period of time.

Herodotus and Thucydides

Herodotus’ Histories, Melpomene: “Libya is washed on all sides by the sea except where it joins Asia, as was first demonstrated, so far as our knowledge goes, by the Egyptian king Necho, who, after calling off the construction of the canal between the Nile and the Arabian Gulf, sent out a fleet manned by a Phoenician crew with orders to sail west about and return to the Mediterranean and Egypt by way of the Pillars of Heracles. The Phoenicians sailed from the Erythraean Sea into the southern ocean, and every autumn put in at some convenient spot on the Libyan coast, sowed a patch of ground, and waited for next year’s harvest. Then, having got in their grain, they put to sea again, and after two full years rounded the Pillars of Heracles in the course of the third, and returned to Egypt”…

The Phoenicians’ voyage to the unknown (on a “boat” called… hope) was additionally unknown how long it will last, as we have said. Consequently, the crew had to create temporary settlements, cultivate the land and maintain themselves. Herodotus’ brief reference to this incredible venture ends with a truly fantastic assertion:

“These men made a statement which I do not myself believe, though others may, to the effect that as they sailed on a westerly course round the southern end of Libya, they had the sun on their right – to northward of them. This is how Libya was first discovered by sea.”

As they sailed round the southern tip of Africa, the sailors told him, they had the sun on their right – something that he wrote down, although he was doubtful, as it went beyond the knowledge of his time. This is exactly what makes his story reliable. For sure, the Greeks could understand the movement of the sun, but found it incredible that Africa reached so far south; they thought it was a lot smaller with the southern part connected to Asia. Thus we believe Herodotus, because he did not believe an account handed down to him by oral tradition, which is why he recorded it: this is where he differed from Thucydides; the latter would not bother to mention it – so we would never get to know the story… And it was not only Thucydides: Polybius, Strabo and Ptolemy had also many doubts, unlike Pliny. The Egyptologist A. B. Lloyd observes: “It is extremely unlikely that an Egyptian king would, or could, have acted as Necho is depicted as doing.” This rumour, he adds, might have been triggered by the failure of Sataspes (the death-row Persian) to circumnavigate Africa under Xerxes I.

The Canal of the Pharaohs

So, what could the pharaoh’s motives be? When Necho took over, the situation was anything but rosy in Egypt’s northeastern border. The Babylonians had captured the Assyrian capital, Nineveh, and then defeated the Egyptians in Carchemish to punish them for their support to the Assyrians. According to the Nebuchadnezzar Chronicle, Necho was campaigning in Syria (609–605 BCE), when the Babylonian king defeated him. The pharaoh perhaps considered the possibility to attack southern Babylonia by sea, and ordered a canal to be constructed between the Nile and the Red Sea. Then he realized he was giving free access to his enemies, as well. Consequently, the canal remained uncompleted until the Persians took over Egypt, in late 6th century, and Darius commissioned its completion. But it was Necho who started the construction (or restoration) of a canal some 85 kilometers long, foreshadowing the Suez Canal.

The periplus of Africa was related to Necho’s defense plans. He asked for Phoenician assistance because they were excellent sailors and had several colonies in the West, such as Gadir (Cádiz), next to the Pillars of Heracles. The Phoenicians must have also been happy to help, as they shared the Babylonian enemy. So, technically, a voyage around Africa would have been possible. The currents and winds favour a clockwise, East-West, periplus, according to plan, as long as it is a paraplus, sailing by the coast, keeping it in sight. The periplus’ purpose was to determine the exact size of Africa. If it was as small as they thought, the canal might not be such a great idea, taking into consideration the economic cost. Other Egyptologists dispute that a pharaoh would authorize such an expedition – except for the reason of trade, opening new maritime routes. Indeed, such voyages were made for economic gain. Despite Hannu’s accomplishments, the Egyptians lagged behind in the control of the seas; and they were not after sea adventures of any kind. There was already a status quo in place in the Mediterranean, with the Greeks exerting control over the northern shores, and the Phoenicians over the southern coast. The only region where Egypt, with its inferior fleet, might acquire influence and wealth was eastern Africa, where they had already established trade ties – that could thus be further expanded.

Re-enactment of the first periplus of Africa

According to the Livius site: “The Phoenicians must have started their expedition in July, and must have reached the Horn of Africa after an uneventful trip, relying on the northern wind. The Red Sea (which Herodotus calls ‘Arabian Gulf’) was well known to their Egyptian pilots, because the Egyptians traded incense with the Arabs of modern Yemen… After they had passed Africa’s most eastern shores, the northeast monsoon – which started in October – sped up their journey, and in March they must have reached the Equator. The Agulhas Current must have brought them through the Mozambique Channel and along the coast of modern South Africa. Sailing on their westerly course, they must have observed that they had the sun on their right… When they reached Cape Agulhas, they left the current that had helped them to the south. At the same time, they encountered the contrary South East trade winds. And they must have been surprised to discover that here, on the southern hemisphere, the winter was already approaching. However, they must happily have noticed that they had started to go north. The plain behind Saint Helena Bay, 150 kilometers north of modern Cape Τown, offered a fine opportunity to land. They must have sowed their wheat in June, started to repair their ships, and harvested in November.

“The Benguela Current and the now favorable South East trade winds brought the Phoenician sailors back to the hot equatorial regions; they will have experienced its effects in a most unpleasant way, when they sailed along the Namibian coast, which is a waterless desert. It took several weeks to reach a more fertile coast. In March, a new and equally unpleasant surprise awaited them: they had been traveling on a northerly course, but now, the coast curved to the west again. They may have benefited from the westward Guinea Current, but not for long, because it changes its direction during the spring. For weeks, they were struggling against the wind and the current, only to reach – in July – the African west coast, where they encountered the contrary Canary Current and the North Eastern trade winds. But they must have been relieved to find themselves rowing in a northerly direction again. Somehow they managed to beat against the wind and the current, and in November they must have landed somewhere on the coast of modern Mauritania… The voyagers sowed their wheat, repaired their ships, and waited for the next harvest…

“In May, they brought their ships to the sea, and started to beat their way up to along the Moroccan coast, where they discovered that they had returned to the world they knew: the town on Mogador island was occupied by Phoenicians. Having told the incredible story of their trip to the southern hemisphere, and no doubt with new equipment, they continued their voyage; soon they reached Phoenician towns like Lixus, modern Cádiz and Málaga, and Carthage. They must have reached Egypt at the end of the summer. Their expedition had lasted three full years. This story, told by Herodotus, was generally questioned after the famous geographer Ptolemy had said that it was impossible to circumnavigate Africa”… Thus this “top secret” epic periplus left no trace in the geographical knowledge of the time.

Peripli of the Classical and Hellenistic eras

Trireme

SEVERAL PERIPLI have survived, in whole or in fragments, and in quotations cited by other writers. The impression one gets, even with a first look at the list below, is that for a long time, from the 6th to the 4th centuries BCE, it was a Graeco-Phoenician “bras de fer” between Massalia and Carthage aimed at dominating the sea routes leading to regions rich mainly in gold, silver, tin and amber:

● The Massaliote Periplus (6th century BCE), preserved in Avienus’ Ora Maritima (Sea Coast, 4th century CE), followed Tartessian trade routes along the Atlantic shores of Europe, and recorded a voyage from Marseille to the British Isles, circumnavigating Iberia. It described the coasts of Spain and Portugal, and made a brief mention of a visit to the “sacred isle” Ierne (Ireland), located across from Albion (Britain). It is the earliest work about the trade links between northern and southern Europe; the fact that such a manual existed indicates the importance of these trade links. Especially the trade in tin to be used for making bronze is attested by archaeological evidence from even earlier periods. The riches to be won attracted numerous adventurers to the North Atlantic coast.

● The Periplus of Hanno the Navigator (6th or 5th century BCE) described the South Atlantic, along the African coast from Morocco down to the Gulf of Guinea – at best; in the worst case, the Punics probably did not sail beyond Morocco. If we trust their trumped-up information, Hanno was in charge of 60 ships and 30,000 colonists and soldiers! In fact, they should not exceed 5,000. This fleet was designed to explore and colonize Northwest Africa. The Punics founded or repopulated seven colonies on the Moroccan coast beyond the Pillars of Heracles (as a rule, the Phoenician settlements were not populous). Then, according to the official version, they proceeded further south, meeting several native tribes. The members of a hirsute and savage tribe were called “Gorillae”. In the 19th century, Hanno’s description was used as a name for the well-known primates.

Hanno’s periplus according to his “official” report

The primary source for this expedition is a Hellenic periplus, supposedly a translation of a tablet Hanno had reportedly hung up on his return to Carthage in the temple of Ba’al Hammon, whom the Greeks identified with Cronus. Its full title was The Periplus of Hanno, commander of the Carthaginians, round the parts of Libya [Africa] beyond the Pillars of Heracles, which he deposited in the Temple of Cronus.⁽⁷⁾ Obviously, the tablet contained falsified information, so that Carthage’s competitors, especially the Hellenes, could not profit. The sole purpose of the tablet was to gratify the pride of the Punics in their achievements. The very purpose of the voyage – the consolidation of the route to the African gold market – is not even mentioned…

• ⁽⁷⁾ This translation, into rather mediocre Greek, was not a complete rendering. The abridged text was copied repeatedly by Hellenes, as well as Byzantines. Two copies are still extant: one is the Palatinus Graecus 398 (9th century CE) in the University Library of Heidelberg. The other is the Codex Vatopedinus 655 (14th century) found in the Vatopedi monastery on Mount Athos, and divided between the British Library and the French Bibliothèque Nationale (it was probably sold: the monks in this monastery have an age-old strain of business acumen in their DNA)…

● Herodotus gives a story based perhaps upon Hanno’s original report:

“The Punics tell us that they trade with a race of men who live in a part of Libya beyond the Pillars of Heracles. On reaching this country, they unload their goods, arrange them tidily along the beach, and then, returning to their boats, raise a smoke. Seeing the smoke, the natives come down to the beach, place on the ground a certain quantity of gold in exchange for the goods, and go off again to a distance. The Punics then come ashore and take a look at the gold; and if they think it presents a fair price for their wares, they collect it and go away; if, on the other hand, it seems too little, they go back aboard and wait, and the natives come and add to the gold until they are satisfied. There is perfect honesty on both sides; the Punics never touch the gold until it equals in value what they have offered for sale, and the natives never touch the goods until the gold has been taken away.”

Herodotus, I’m afraid, lacks the business acumen that characterizes the monks at Vatopedi…

Himilco’s “report”: sea monsters!

● Along with the Massaliote Periplus, sailing to the North Atlantic, the explorations extended south also with the voyage of Euthymenes of Massalia (early 6th century or, according to other writers, second half of the 5th century BCE). Unfortunately, the original text of his Periplus in the Outer Sea was lost; only some quotations survived, such as those by Plutarch, or Seneca the Younger, who was very skeptical. During his exploration, Euthymenes arrived at a large river with hippopotami and crocodiles, whose outflow made the sea at its mouth fresh or brackish. It seems that it was the Senegal River. The Massaliotes should have known that the Punics, led by Hanno, had undertaken a great expedition in the same area and perhaps in the same period. There is no information, however, that the two fleets met. The results of Euthymenes’ venture were probably considered poor. So, the Massaliotes abandoned their effort in the South Atlantic.

● It was the Punics’ turn to expand into the North Atlantic, in the area described by the Massaliote Periplus. The expedition was headed by Himilco the Navigator (late 6th century BCE), with a periplus sailing by the coasts of Iberia and France. Following Tartessian routes, he reached Ophiussa (Portugal-Galicia) to trade for tin and other precious metals. Himilco gave a new dimension to the propaganda of Carthage: his voyage was presented as particularly painful; he painted a grim picture while referring to sea monsters and giant seaweed, so that the competitors, especially the Greeks, would not dare sail out into the Atlantic. It seems that this tactic was particularly effective: the Punic stories about sinister “signs and wonders” became the source of the myths discouraging voyages beyond the Pillars of Heracles.

● The Periplus of Scylax of Caryanda (late 6th – early 5th century BCE), on behalf of the Persians, explored the mouth of the Indus River, the Indian Ocean and Red Sea coasts as far as Suez. Scylax was born in Caria; he was a renowned Hellenized Carian explorer and writer in the years of Darius I. His expedition’s aim, circa 515, was to find the Indus River estuary. Sailing out into the Indian Ocean, he turned west until he arrived at the Red Sea, which he also explored. His voyage took 30 months. His report, perhaps entitled Periplus, and dedicated to king Darius, was lost, except for the quotations by later writers – such as Strabo in his Geography, Herodotus in his Histories, and Aristotle in his Politics, when he refers to the Indian kings. There are seven quotations in all, indicating his Periplus was not merely a log, but contained accounts of people, landscape, the natural conditions and political affairs. Hence it contained information intended for the expansion of the Persian Empire. Written in Greek, it was among the first works to be written in Hellenic prose. Moreover, it was the first account of the peoples of the Orient reaching the Mediterranean world and served as a model for later Greek writers. More lastingly, it registered the name of India and the Indians in geography.

● Periplus Outside the Pillars of Heracles, a work of the historian, chronographer, and logographer Charon of Lampsacus (1st half of the 5th century BCE), who lived before Herodotus; Periplus of the Inner Sea (the Mediterranean), a work of the astronomer, meteorologist and geographer Euctemon of Athens (mid-5th century), who was a student and partner of his compatriot, Meton; and also Ocean Periplus, of the great Abderitan “atomic” philosopher Democritus (c. 460 – c. 370 BCE): none of them has survived; especially in the case of Democritus, there are other reasons beyond fate (see Chronicle 22, intermediate reference to Abdera and Democritus).

● The epic exploration of the top Massaliote navigator, Pytheas (c. 380 – c. 310, or c. 350 – c. 285 BCE), took place around 325, and led him to Britain, Scandinavia, the Baltic Sea and, via river routes, to the Black and Mediterranean Seas, completing a periplus of Europe! His work, Τὰ περὶ τοῦ Ὠκεανοῦ (Things about [or Description of] the Ocean, or even Περίοδος γῆς (Travel around the Earth), survives only in excerpts quoted by other writers, some of whom treat him with skepticism, e.g. the constantly doubtful Strabo, and also Polybius. Pytheas said he “travelled over the whole of Britain that was accessible”, and explored the entire North. He saw the inhabitants of Cornwall to be involved in the manufacture of tin. Some of his observations may be the earliest report of Stonehenge; he also introduced the idea of ultimate Thule to the geographic imagination.⁽⁸⁾ He is the first person to describe the Midnight Sun and polar ice, and to state that the tides are caused by the moon. He measured latitude by the gnomon, and observed Germanic and possibly Finnic tribes.

• ⁽⁸⁾ Thule was believed in the past to be Iceland that was uninhabited until the second half of the 9th century CE. Yet, Pytheas had seen people on the island. By the late 19th century, Thule was identified with Norway. Others linked Thule to Greenland, where human presence dates back to 2500 BCE. Still, the likelihood of Pytheas sailing that far north is considered completely unreal.

Excerpts from his work are quoted or paraphrased by many others, such as Diodorus Siculus, Pliny, Geminus of Rhodes. Late writers gave titles to his book. Other simpler titles are Periplus, On the Ocean, or Ocean. After Britain and Norway, there followed the discovery of the Baltic and the voyage to the Don. And there, Polybius, willingly or not, created uncertainty, claiming that Pytheas turned back at the mouth of the Vistula, at the border of Scythia: “… on his return hence, he traversed the whole of the coast of Europe from Gades to the Tanais”… Was it a second leg in his exploration? And he didn’t pass by Massalia to refit and refresh the crew? Others claimed that the “Tanais” was not the Don, but the Elbe. Some writers raised questions on the first leg of the voyage, implying it had never happened! Since the Punics had blockaded the Pillars of Heracles – is the “incontestable” argument of the “armchair intellectuals” – how could Pytheas pass? Thus we need to examine the relations among Punics, Massaliotes and Romans at the time of his exploration.

Massaliotes, Punics and Romans as… “bitter friends”

Thule (or “Tile” on Olaus Magnus sea map, 1539), located NW of Scotland with monsters, was identified by some other “monsters”,
the Nazis, with Hyperborea (see Chronicle 15) as the cradle of the “Aryan race”: the Nazi party was hatched within the Thule Society.

The Punics had imposed a blockade of the Pillars of Heracles to all ships from other nations. However, by the 4th century BCE, the western Hellenes, especially the Massaliotes, were more or less on “amicable” terms with them. First of all, Massalia was militarily superior to Carthage: they had defeated the empire in the late 6th and early 5th centuries. Not wishing to test the issue any further, the Punics had made an independent treaty with the Massaliotes; and the latter had no trouble to place and maintain colonies on the Mediterranean Iberian coast. Archaeologically the sites of the western Mediterranean show no diminishment of Grecian wares at any time; on the contrary, there was an increase due to their better quality – which is a good indication of trade. Second, Massalia was an old ally of Rome. The Massaliotes had helped the Romans in their conflicts with the Etruscans and the Gauls. In the mid-4th century, Carthage and Rome came to terms over the Sicilian Wars, defining with a treaty their mutual interests. Rome could use Sicilian markets and Carthage could buy and sell in Rome. If Carthage had enslaved allies of Rome, they were to be set free. Rome was to stay out of the western Mediterranean – excepting Massalia. During the last half of the 4th century – the time of Pytheas’ voyage – relations between Rome and its allies on the one hand, and Carthage on the other, were totally amicable. The Massaliotes were free to operate as they pleased. Neither is there any evidence in any of the sources about some kind of problem emerging “in the last moment” in relation to Pytheas’ exploration. On the contrary, mentions of Gades, Tartessos, and the “sacred promontory” (Sagres), at the southern tip of Portugal – all testify to his passing through the Pillars “in broad daylight” and heading north…

Nearchus Paraplus

Nearchus Paraplus

● While Pytheas was circumnavigating Europe, Nearchus, as Alexander’s admiral, was carrying out his Paraplus, under the instructions to steer the fleet from India to the Persian Gulf, sailing by the coast, and meet the Macedonian king at Susa. Nearchus Paraplus is preserved in Arrian’s Indica.⁽⁹⁾ Nearchus was appointed as satrap of Lycia and Pamphylia in 334-333. In 328 he rejoined Alexander in Bactria, bringing with him reinforcements. Two years later, he was made admiral of the fleet that had been built at the Hydaspes (Jhelum) river, and steered it from the Indus to the Persian Gulf – a voyage that he recorded in every detail. Then he became the first Greek to visit Tylos (Bahrain), marking the area’s inclusion in the Hellenic world with the worship of Zeus (as the Arab sun goddess, Shams), and Greek being spoken as the language of upper classes. Nearchus Paraplus was intended by Alexander as a way to learn about the mouth of the Indus and the sea between India and Babylon. After many adventures, Nearchus arrived in Carmania (Kermā, in SE Iran, where one of the Alexandrias was founded), meeting with Alexander after the latter’s crossing of the Gedrosian desert. The king sent him off to complete his voyage – he went as far as the Euphrates river before turning back to rejoin Alexander at Susa, in early 324. He then took the fleet up to Babylon. Nearchus had a place in Alexander’s final plans, as he was to be the admiral of the Arabian invasion fleet – perhaps also in his other plans against Rome, Carthage and Iberia. But these plans were cut short by Alexander’s death in 323 BCE.

Pataliputra, where Megasthenes was sent: one of the largest cities in the world. Mathura: controlled by the Graeco-Indians (180-70 BCE). Sagala:
capital of Menander’s Graeco-Indian kingdom.

• ⁽⁹⁾ Arrian (late 1st – 2nd centuries CE) was one of the main historians of Alexander the Great, born in Nicomedia, the capital of Bithynia, in NW Asia Minor. His Indica tells the story of Nearchus’ voyage to the Persian Gulf after the Macedonians conquered the Indus Valley. But much of the importance of the work comes from his in depth writing about the history, geography, and also culture, of the Indian subcontinent. Arrian, who had Herodotus as a model, relates the stories of Heracles and Dionysus in India, as well.

Indica is also the title of a similar book by Megasthenes describing the history of India; this was a major source from which Arrian drew. Megasthenes (c. 350–290 BCE), also born in Anatolia in the Hellenistic period, was a Greek ethnographer, who became an ambassador of Seleucus I to Chandragupta at Pataliputra, in Bihar of NE India, some time before 298, the year this Indian chief died. Megasthenes had lived before in Arachosia, southern Afghanistan. At the beginning of his book, he referred to the old Indians who knew about the arrival of Dionysus and Heracles in India, and mentioned the devotees of Heracles (Krishna) and Dionysus (Shiva or Indra). Indica served as an important source to many later writers such as Strabo, Diodorus and Pliny; it also introduced India to the Mediterranean world. Its scope is wide-ranging, from the Himalayas in the North to Taprobana (Sri Lanka) in the South.

Hellenistic culture in the Indian subcontinent: Graeco-Indian banquet, with Hellenic clothes, amphoras, wine, music (1st–2nd centuries CE)

● Androsthenes of Thasos was another admiral of Alexander’s, and also a trierarch (commander of a trireme) of Nearchus’. The account of his voyage is a Paraplus of Indica. Alexander sent him down the Euphrates in an exploration, skirting the coast of Arabia and sailing farther than Archias of Pella. The latter was a geographer and officer who also served as trierarch under Nearchus. Archias was dispatched with a galley and reached Tylos; as he reported, the island was “about a day and a night’s sail” from the mouth of the Euphrates. Onesicritus was also an officer serving under Nearchus as a helmsman. Some quotations of his own Periplus referring to ancient India and its inhabitants have survived. Nevertheless, he was regarded as unreliable and conceited.

● The Periplus of Pseudo-Scylax (330s BCE) was written by an unknown Athenian. He entitled it as Periplus of the Sea of Universal Europe and Asia and Libya, and signed it as “Scylax” for reasons of prestige. He presented the Mediterranean and Black Seas clockwise, starting from Iberia and concluding in western Africa beyond the Pillars of Heracles.

● The Stadiasmus, i.e. Periplus of the Great Sea, is a work of an unknown geographer-helmsman (late 4th – early 3rd century BCE). Extant is only the part about distances, sailing directions, and descriptions of the Mediterranean harbours.

● The ten-volume Periplus of Timosthenes (early 3rd century BCE) was intended to describe more precisely countries already known, specifying the location of harbours and stations in the Mediterranean. Timosthenes of Rhodes was a major navigator, geographer, cartographer, and admiral of the Ptolemaic fleet. He additionally wrote On Harbours, On Islands, and Stadiasmi, drawing up several nautical maps. He was an expert on winds in antiquity, and the first Hellene geographer to use the winds for geographic orientation, rather than merely as meteorological phenomena. There are only quotations surviving in the works of other writers, who referred to him with admiration, such as Erathosthenes, or Strabo. The latter revealed another talent of this versatile man: he composed a Pythic nomos (law), a Pythian “canon”, if you like, for aulos and cithara to be played at Delphi in the Pythian Games in celebration of the victory of Apollo over Python.⁽¹⁰⁾

Apollo slaying Python, by Eugène Delacroix (1850)

Musical Nomos (Law)

• ⁽¹⁰⁾ “Nomos [law, canon] in music was the most important form of composition and interpretation in ancient Greek music. It seems that it evolved from a very old tradition, according to which the laws were sung by the people to be easily memorized and followed [unlike what happens now that the legislators do their best for the laws to be incomprehensible, although – or precisely because – ignorance of the law is not forgiven]… The composition and interpretation of nomoi were very demanding and set high professional standards in the four Hellenic games (Olympian, Pythian, Isthmian, Nemean), where the most distinguished musicians (composers-performers) of their time took part. The Pythian nomos, the most important nomos for aulos, invented by Sakadas, was the first known type of program music and was meant to describe the contest between Apollo and the dragon Python, in five parts…” (Solon Michaelides, Encyclopedia of Ancient Greek Music).

● Timosthenes either innovated, combining the aulos with the cithara in his Pythian nomos, or such a combination was already established in his time. These instruments were mostly played by professional musicians: aulos, a wind instrument, connected with Dionysus; cithara, a string instrument, identified with Apollo. The lyre, instead, was played only by amateurs. (On laws in verse see also Chronicle 11, footnote 1, and Chronicle 21, footnote 5 and the relevant text).

The duel between the citharoedus Apollo and the aulete Marsyas

● Note that no celebration was established, nor was any nomos composed, for another victory of Apollo in a musical contest against the satyr aulete Marsyas from Phrygia. The god, in order to win, was obliged to sing, as well, something that the Muses, who were the judges, permitted, of course. It was a “win on points”, infuriating Apollo, who over-reacted: he flayed Marsyas alive and nailed his skin to a pine tree for his “hubris” to challenge a god! That is how the Hellenic music prevailed over the Phrygian, and the Apollonian spirit subdued the Dionysian… However, in the Hellenistic years, according to Diodorus Siculus, Marsyas was admired for his intelligence (σύνεσις) and self-control (σωφροσύνη), while the Romans praised him for his free speech and boldness (παρρησία), and also “speaking truth to power”. His statue near the Roman forum was regarded as an indicium libertatis, a symbol of liberty, and associated with demonstrations of the plebs, the common people.

● Two great Greek navigators, who might have worked together in the Indian Ocean, were Eudoxus of Cyzicus (c. 150–100), and Hippalos (late 2nd – 1st centuries BCE). Eudoxus explored the Arabian Sea on behalf of the Ptolemies in Egypt. According to Poseidonius and Strabo, he was the first to sail on the monsoon wind system on the Indian Ocean in 118–116. They said that a shipwrecked sailor from India had been rescued in the Red Sea and taken to Alexandria. This Indian offered to guide Greek navigators to India. Eudoxus was appointed for the first voyage, in 118 BCE, guided by the Indian sailor. After he returned with a cargo of aromatics and precious stones, a second voyage was undertaken, in 116, sailing without a guide. Until then, Greek and Indian sailors met to trade at Arabian ports such as Aden, called by the Hellenes Εὐδαίμων (Felix: Fertile and Happy; while Yemen was named Eudaemon Arabia). Attempts to sail beyond Aden were rare and discouraged, involving a long, laborious sailing by the coast to India. On the contrary, Indian ships used the monsoon winds to sail to Arabia. If the Greeks acquired the know-how, they would have no need of the Arabian ports, trading directly with India. Having this accomplished, very soon, by mid-1st century BCE, there was a marked increase in the number of Hellenic and Roman ships sailing this way to India.

Greek ships and a sea monster near the Pillars
of Heracles, sketch by Walter Plitt Quintin

When Eudoxus was returning from his second voyage to India, the wind forced him south and down the coast of Africa for some distance, where he found the remains of a ship. Due to its appearance and the story told by the natives, he concluded that the ship was from Gades (Cádiz) in Andalusia, sailing south around Africa. Therefore, he was inspired to attempt a periplus of Africa. Organizing the expedition on his own, he set sail from Gades, but the difficulties were too great, so he was obliged to go back. He didn’t give up though. He again set out to circumnavigate Africa, but his eventual fate is unknown. Although some, such as Pliny, claimed that Eudoxus did achieve his goal, the most probable conclusion is that he perished on the journey…

● Concerning Hippalus, he is sometimes referred to as Eudoxus’ captain. The writer of the Periplus of the Erythraean Sea credited him with discovering the direct route from the Red Sea to India, correcting the map of the area. Greek geographers before him thought that the Indian coast stretched from west to east. Hippalus recognized the north-to-south direction of India’s coastline. Only someone who had this insight would foresee crossing the Indian Ocean might be a faster way to South India than sailing by the coast. Since the 1st century BCE onwards, we witness the prosperity of trade between Egypt and India. Sometimes Hippalus is credited with introducing to Europe the idea of sailing to India aided by the monsoon winds.

● The Periplus of the Erythraean Sea (40–70 CE),⁽¹¹⁾ written by an unknown Alexandrian, gives the shoreline itinerary of the Red Sea and the Indian Ocean, starting each time at the port of Berenice Troglodytica (also known as Baranis). Beyond the Red Sea, the manuscript describes the coast of India as far as the Ganges River and the east coast of Africa (called Azania).

• ⁽¹¹⁾ Although “Erythraean Sea” literally means “Red Sea”, the term for the ancient Greeks included the Indian Ocean and the Persian Gulf, as well.

● The Periplus Ponti Euxini (130–131 CE) described the trade routes along the Euxine (Black Sea). It was written by Arrian in a letter to the emperor Hadrian, and contains an accurate topographical survey of the coastline. It is possibly connected with his instructions, as a legate of Cappadocia, for a march of the Roman army against the Alani. Its purpose was to inform the emperor of the “lay of the land” – the distances between cities and locations that would provide safe harbour, in case of a military expedition to the region.

● The Anaplous Bosporou (Voyage through the Bosporus, or De Bospori navigatione), written by the geographer Dionysius of Byzantium (2nd century CE), describes the Bosporus coastline and ancient Byzantium, before becoming Constantinople in the 4th century. The text has been described as “one of the most remarkable and detailed of ancient geographic texts.”

Periplus, by Adolf Erik Nordenskiöld.

● The Periplus of the Outer Sea is an original work of the Greek geographer Marcian of Heraclea Pontica (4th century CE). He also prepared some epitomes: The Periplus Inside the Sea, an epitome of Menippus of Pergamon, and Geography, an epitome of Artemidorus Ephesius.

● Finally, a Periplus by Adolf Erik Nordenskiöld (1832-1901), a Finn arctic explorer, geologist and mineralogist, most remembered for the expedition along the northern coast of Eurasia in 1878-79. This was the first complete crossing of the Northern Sea Route, or Northeast Passage. It was a great feat as it opened the way to a periplus of Eurasia. Except his monumental Periplus (5 volumes, 1897), and a popular summary (2 volumes), he published the monograph Early History of Cartography (1889), for he was interested in the history of Arctic exploration as evidenced in old maps.

The Periplus of Eurasia through the North Sea and the Suez Canal Routes

• >> Chronicle 17. MINOAN CRETAN THALASSOCRACY
• << Chronicle 15. SAILING TO RIO DE JANEIRO!

Next Chronicle 17. MINOAN CRETAN THALASSOCRACY ● Minoan Society and Art ● Linear A-B, Phaestos Disc ● Tin Bronze ● Bull-Leaping (Taurocathapsia)