Twenty Epithets for Dionysus
|December 31, 2012|
Drinking Bacchus, Guido Reni, 1623
Acratophorus, (“giver of unmixed wine”), at Phigaleia in Arcadia.
Acroreites at Sicyon.
Adoneus (“ruler”) in his Latinised, Bacchic cult.
Aegobolus (“goat killer”) at Potniae, in Boeotia.
Aesymnetes (“ruler” or “lord”) at Aroë and Patrae in Achaea.
Floor mosaic of the legend of Pyramus and Thisbe, from the House of Dionysus, 3rd century A.D.
Agrios (“wild”), in Macedonia.
Bromios (“the thunderer” or “he of the loud shout”).
Dendrites (“he of the trees”), as a fertility god.
Bacchus, Peter Paul Reubens, 1638-40
Dithyrambos, form of address used at his festivals, referring to his premature birth.
Eleutherios (“the liberator”), an epithet for both Dionysus and Eros.
Endendros (“he in the tree”).
Enorches (“with balls,” with reference to his fertility, or “in the testicles” in reference to Zeus’ sewing the baby Dionysus into his thigh, i.e., his testicles). Used in Samos and Lesbos.
Bacchus, Michelangelo Merisi da Caravaggio, 1595
Erikryptos (“completely hidden”), in Macedonia.
Eviüs, in Euripides’ play, The Bacchae.
Iacchus, possibly an epithet of Dionysus and associated with the Eleusinian Mysteries. In Eleusis, he is known as a son of Zeus and Demeter. The name “Iacchus” may come from the Ιακχος (Iakchos), a hymn sung in honor of Dionysus.
Liknites (“he of the winnowing fan”), as a fertility god connected with the mystery religions. A winnowing fan was used to separate the chaff from the grain.
Lyaeus (“he who unties”) or releases from care and anxiety.
Melanaigis (“of the black goatskin”) at the Apaturia festival.
Oeneus, as god of the wine press.
Pseudanor (“false man”), in Macedonia.
Merleau-Ponty’s Child Psychology
As much as death signals the end of the self, birth is just as mysterious. Both extend out to infinity and signal the brevity and contingency of our lives. As mysterious are those first few years of life that one does not have access to as an adult, I know I existed before my earliest memories. I know I interacted with others, I learned to walk and talk. I was willful from my parent’s tales.
William Pope.L: Reader Friendly
William Pope.L is famous for (among other things) carrying a business card that identifies him as “The Friendliest Black Artist in America.” It’s a clever gag because it makes itself true, in a way, every time it draws people closer. The card must be especially useful when Pope.L does business with people who dread Black men or Black artists.
10 Things the NSA Has Seen Me Do
One winter in my early twenties myself and some good friends — a merging of art, music and literary ladies of New York, full-grown girls aspiring to be women — got together, had a lovely dinner, some wine and delightful chat. Then we decided to spend an hour practicing “Teach Me How To Dougie”. NSA — can you teach me how to Dougie? You know why? “Because all my bitches love me.”
You may also like :
I was born in central London in 1947, a child in a very special generation. In no time at all it became perfectly clear to me that not just my parents but everyone had been awaiting my arrival and was delighted to see me. Grown-up people of all ages and genders peered into my pram and then my pushchair as if they were slightly distant relatives. They stopped on the street to chuck me under the chin and pinch my cheek (yes, well-fed, rosy with health) and congratulate the adult pushing me on bringing me into the world. Even old Queen Mary, Edwardian widow of George V, had her chauffeur stop the Rolls in St. James’s Park, where my father had taken me to feed the ducks.
Progress is never inevitable, even in reform eras. The United States at the turn of the twentieth century was in a progressive mood. It was a time in which the nation’s leaders tackled some of modern life’s most vexing problems: from taming rapacious industrialization to ensuring a clean food supply to cleaning up political corruption, American progressives were seeking a more harmonious and salubrious national life. But for African Americans, even those closest to progressive national leaders, this was a period of disappointment and devastation.
In 1983, Andre Schiffrin and Sara Bershtel, then of Pantheon Books, asked me to write a book on poverty for a new series on the politics of knowledge. The intended audience was non-specialist readers and college students. Reading extensively on the topic, I was struck by the repetitive quality of the literature: discussions of poverty revolved around the same themes stated and combined in different ways leaving the impression that there did not seem much new to say.