http://www.jstor.orgA Lion among Ladies (Theocritus II, 66-68)Author(s): Lillian B. LawlerSource: Transactions and Proceedings of the American Philological Association, Vol. 78, (1947),pp. 88-98Published by: The Johns Hopkins University PressStable URL: http://www.jstor.org/stable/283485Accessed: 24/05/2008 15:15Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available athttp://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unlessyou have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and youmay use content in the JSTOR archive only for your personal, non-commercial use.Please contact the publisher regarding any further use of this work. 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For more information about JSTOR, please contact support@jstor.org.LillianB.Lawler VII.-ALion Among Ladies (TheocritusII,66-68) LILLIANB.LAWLER HUNTERCOLLEGEOFTHECITYOFNEWYORK In IdyllII,66-68,Theocritus speaks ofa procession inhonorofArtemis, in whichatleastone basket-bearing maidentakes part, andinwhich "many animals" moveabout,"among themalioness."Itis suggested inthis paperthat,asone ormorebasket-bearerswalk along, aroutofmummers,representing various animals,cavortaboutthem,encircling themoresedate procession; thatthese animaldancersaremaidens also; andthatoneofthem represents alioness.The ritualasawholehonorsArtemisintwoofher aspects - asa goddess of fertility andas potnia ther6n.Theanimalroutisa very old type ofritual.Thereare evidencesofits use, eitherasa religious riteorasaformofamusement,from Minoan-Mycenaean timesdown through all subsequentages tothe present. In thesecond Idyll of Theocritusthereis a passage(lines66-68) ofmore than ordinary interest. Simaetha,lamenting her lost love, Delphis, tellshowshefirstset eyesupon himata procession in honorofArtemis.Sheelaborates upon the procession: "Anaxo, daughter of Eubulus, walkedasbasket-bearertothe grove of Artemis.Atthesametime many animalstook part inthe pro- cessionaroundabout her, and among themwasalioness." Comment upon this passage, and upon the procession whichit records, seemsin general toreflectscholars'astonishmentatthe thought ofwild beasts, and particularly lions,movingthrough the streetsofaHellenisticGreek city(whether thelocalebe Sicily or Rhodesor Cos), and of young womenof goodfamily walkingcalmly intheirmidst. Thenameofthefestivalinvolvedis unknown, buttheritualis basically ofafamiliar type -a procession inhonorof Artemis, in which basket-bearing maidenstake part. Inall probability Anaxo wasnotthe onlykanephoros onthisoccasion.Ascholiastonthe passage tellsus (Schol. Theoc. 2.66) thatthemaidenswhocarried thebaskets engaged intheritualbefore marriage.Xenophon of Ephesus(1.2) describesasomewhatsimilar procession ofbasket- bearersinafestivalinAsia Minor, and says thatitwasasortof marriage fair.1Asit happens, thereareanimalsalsointhe pro- 1 OneisremindedhereoftheEaster Monday ritualinmodern Megara, when marriageablegirlsperform ina dignifiedprocessional dancewhile eligibleyouths look on; anditissaidthatonthe followingday suitorspresentthemselvesatthehomes 88 [1947 ALion Among Ladies cessiondescribed byXenophon of Ephesus - hunting-dogs and horses,ledor ridden byyoung mendressedas huntsmen, tohonor Artemisas goddess of the hunt; butthere seemtobe no lions among them. The significance oftheanimalsmentioned by Theocritushas beendebated long and earnestly. Somescholarshave thought thatthebeastswere a tributetoArtemisashuntressor Mistressof Animals,andthatinthe processionthey were chained, andwere led byattendants.Otherwritershave expressed the opinion that the lioness, at least, wastame. Many have regarded theanimals assacrificial victims - eventhelioness!Stillothershave thought thattheanimalswere merely statuesorother effigies, which were solemnlycarriedinthe procession (in the Dionysiacprocession of PtolemyPhiladelphus at Alexandria,we recall, therewerecarried hugeeffigies of animals,among themlions - Athenaeus 5.201F, 202D). SomeofthescholiastsonTheocrituseven say thatthe animalsinthis particularpoem were simplypaintedpictures.2I believe,however,thatthereis anotherandmore cogentexplanation ofthe passage. From earliest times, thelion was associatedwith divinity.Cook andEvans3 recognizedlion-headed daemons,servantsofthe great mother goddess, in theart of pre-HellenicGreece, and Crete.These scholars concludedthatin the prehistoric period there was an actual "lion cult"in Greece,Crete,andAsiaMinor.Cookbelievesthat in thiscultthe worshippers wore lionmasksand skins,performed a mimeticlion dance,andwere probablycalled"lions."Most scholars regardthelionas completelyforeign to Greece;4but of the youngwomen who havepleased themin theprocession.See LillianB. Lawler, "The EasterDancesatMegara," CJ23 (1927-8)7-15.On basket-bearers see David M. Robinson,Excavations at Olynthus, 10 (Baltimore,1941)16-17,andnote82. 2 H.L.Ahrens,BucolicorumGraecorum Theocriti BionisMoschi Reliquiae, 22 (Lipsiae,1869) page iii.Other theories mentionedinthisparagraph willbe foundin the following: MartinP.Nilsson,GriechischeFeste (Leipzig,1906) 206-7;OttoKeller, DieAntikeTierwelt, 1 (Leipzig,1909)24-61;LewisR.Farnell,The Cults of the Greek States,2 (New York, 1896) 432; WernickeinREs.v."Artemis,"col. 1344; M.M. Miller,The Sicilian Idyls of Theocritus (Boston,1900) 52; A. S. Way, Theocritus,Bion, and Moschus (Cambridge, 1913) 9. 3 A.B.Cook,"Animal Worship in theMycenaeanAge,"JHS14 (1894)103-119, and Figs.5-9;Id.,Zeus (Cambridge,1914-40)1.704;Arthur J. Evans,"TheMy- cenaean Tree and Pillar Cult," JHS21 (1901)101, 117, 166-168,and Figs.1, 12, 13, 14. 4 EleanorF.Rambo,LionsinGreek Art(BrynMawr College, 1918)passim; Keller, op. cit.(above,note2)1.35-6;MartinP.Nilsson,Minoan-Mycenaean Religion (London,1927) 332-3. Vol. Ixxvli] LillianB.Lawler whethertherewereorwerenotwildlionsinGreece proper,Italy, Sicily, orCrete during that period,certainly the prehistoric inhabi- tantsofthoselandshadseenlionsin Egypt andAsia Minor, and hadbeen deeplyimpressed by them. Many writers seeinHellenic legends of the transformationof human beings intoanimals evidence for prehistoric animalcultsortotemism.5 Among these legends therearesomewhichinvolveatransformationintoalion- e.g., the story ofAtalantaand Hippomenes(Ovid, Met. 10.691-704), andthe story ofthevictimsofCirce (Odyssey 10.212and 433); cf. alsothe story ofthetransformationof Dionysus intoalion (Hymn. Hom. 7.44-53). Otherancient peoples, of course, had"lioncults."Lion- headeddeities appear in theart of the Hittites,Persians,Assyrians, Babylonians,Cypriotes, and Egyptians.Among thelatterin particular werecall Sakhmet, thelion-headed goddess who personi- fied the destructive power ofthe sun, andBastor Bastet, thecat- headedorlion-headed goddess of hunting andanimal fertility - bothof which divinitieswere identifiedwithArtemis by theGreeks. Itis possible thatthesetwo Egyptiangoddessesmay havehad some influence on the prehistoric "lion cult"inCrete and Greece, andon archaicGreekritual. Certainly intheHellenistic period, inthe days of Theocritus, relationsbetweenvariousGreekcitiesand Egypt were closeand friendly, andtherewasmuchinfluence ofthe onecivilization upon theother.Fromearliesttimestheinfluence of Mesopotamia, also, was greatupon Greece; and Mesopotamian lion deities, anddeitiesofthe"MasterofAnimals"and"Mistress ofAnimals" type hada profound effect uponpre-Greek andGreek religion and thought.6 Thereisfromremote antiquity anassociationofthelionwith Artemis.7IntheIliad (21.482-4) the goddess is actually calleda lion:"Zeusmadetheealiontowardwomen." Although thisis 5 Cook,"Animal Worship"(above, note 3) 159-160. 6 Rambo,op. cit. (above, note 4)passim;J. W.Crowfoot,"The Lions of Kybele," JHS21 (1901)118-127;Cook, "Animal Worship"(above, note 3) 115-119andFigs. 10 and 13; Pierre Demargne, "LeMaitredesAnimauxsuruneGemmeCr6toisedu M.M.I,"MelangesSyriensOfferts aM.ReneDussaud (Paris,1939) 1.121-7and Fig.1; Robinson,op. cit. (above, note 1) 30-39,PlateV,and Fig. 6. 7 Cook, Zeus (above, note 3)2.406, 457,1227; Heinrich Brunn, GriechischeKunst- geschichte(Miinchen,1893) 1.122-4and Fig.84; Nilsson,Minoan-Mycenaean Religion (above, note 4) 400, 435-8.Professor DavidM.Robinson writes me: "In the recently discoveredMinoan deposit foundinthe temple ofArtemis atDelosare ivoryplaques withlions fighting griffins, and a seal decorated witha lion." 90 [1947 ALion Among Ladies clearlyfigurative, ofArtemisasa goddess whosendssudden death, thereisnodoubtbutthatthelionwas always oneoftheanimals sacredto Artemis, inher capacity asMistressofAnimalsandde- scendantofthe greatpre-Hellenic nature goddess.Also, there arerelicsoftotemisticrituals throughout thecultofArtemis.8 Artemiswas worshipped intheformofalionessin Ambracia, and astatueofalionessstoodbeforeher temple inThebes (Pausanias 9.17.2). On theisland of Corcyra, atthesiteof a shrine of Artemis as"Mistressof Animals," therewasfounda largedeposit ofterra cottastatuettesofthe divinity, allofthearchaic period;many of the figurinesportray the goddess as accompaniedby alion or lioness, or holding oneoftheseanimals by thehind leg.9 Onthe Acropolis atAthenstherewasanarchaicbronzestatue ofalioness - tongueless,incidentally - ofwhich many stories weretoldinclassicaltimes. According tothe commonlyaccepted tale (Pausanias1.23.1-2;Pliny, Nat.Hist. 34.72;7.87), it repre- senteda womannamed Leaina, thesweetheartof oneof the Tyran- nicides, whorefusedtoinform against her lover, andwhowas put todeath byHippias forherstubbornsilence.Scholarshavebeen inclinedtodoubttheconnectionofthestatuewith Leaina, andto express thebeliefthatthe story wasinvented by alater age to explain the presence ofthestatueonthe Acropolis. Mostofthese scholars regard thestatueasavotive offering, butdonot agree upon the divinity towhichitwassacred.Ithas not, I think, been pointed outthatit might wellhavebeenan offering toArtemis Brauronia, near whose sanctuary itstood.Thelack of a tongue in an archaic bronze statuewouldnotbe significant,although it might seemsototheAtheniansofalater age. IntheHelenof Euripides thereisa passage(375-383) which is of great interestin connectionwithour problem.Helen, lament- ing thefactthatithasbeenherlotto bring sorrow anddeathto both Trojans and Greeks,speaks ofwomenwhowereturnedinto animalsbecauseoftheir beauty. ShementionsCallistoandthe daughter of Merops. Ancient mythographersagree thatitwasa bearintowhichArtemistransformedCallisto - yet line379ofthe Helen implies atransformationintoalioness - oaX7,a Xealvs. "Howmuch happier was thyfate," exclaims Helen,apparently 8 Farnell, op. cit. (above, note 2) 4.432-6. 9 Henri Lechat,"Terres cuitesde Corcyre," BCH15 (1891) 1-72andPlatesi-vii. Vol. lxxviii] 91 addressing Callisto, "than thatof my mother!"Helen says further thatArtemisturnedthe daughter of Merops intoa deer, and "dancedheroutof"herchoral group.Euripides is practically uniqueamong Greekwritersinthisversionofthe story ofthe daughter of Merops; he may indeedhaveinventedthetransforma- tion. Therehasbeenmuchdiscussionofthe passage, andmuch sug- gested emendation.10Somescholarseventhinkthatthewords "formofalioness"refertoArtemis herself, andnottoamortal woman.Itseemstomethatthereisalacunainthe passage, as it stands; andthatseveralofthelovesofZeus may havebeen mentioned originally.Among themwouldhavebeen Callisto, whomArtemis changed intoa bear; someotherwoman whom, according to Euripides, Artemis changed intoa lioness; the daughter of Meropswhom,againaccording to Euripides, Artemis changed intoa deer;and, ontheother hand,Leda, whowasnot changed intoan animal, but who livedto grieve over the fate of her daughter, Helen. Bear,lioness, deer - here wehavetheanimalsmostcom- monly associatedwithArtemis as Mistressof Animals,potnia ther6n. Wehaveincontestableevidencethatin Athens, evenin thefifth century, therewere very oldbeardancesinhonorofArtemis Brauronia.1l Itis likely thatthesebear"dances"werein reality notformal dances, butratherexhibitionsofanimal mummery. Such mummery, withorwithout masks, seemstohavebeen very commonaround the Mediterranean, in prehistoric and early classical times:anditseems regularly tohavebeen thought ofandcalled dancing.12 Asweshould expect, thisritualistic mummery was associatedwithdivinitiesofanimallife. Evidently thedancers identifiedthemselveswiththeanimalwhich theyimpersonated, and hopedthereby to acquire for themselvesnot only thefavorof the deity, butalsosomeofthe physical and temperamental char- 10 Gilbert Murray,Euripidis Fabulae, 3 (Oxford,1913), noteonline379ofthe Helen; EdwardP. Coleridge, The PlaysofEuripides, 1 (London,1906) 332;Emile Pessonneaux,Theatred'Euripide, 1 (Paris,1875)265; F.A. Paley,Euripides, withan EnglishCommentary, 2 (London,1874)149; T.A. Buckley, The TragediesofEuripides, 2 (NewYork,1857)208-9;Anon.,EuripidouHapanta, 6 (Glasgow,1821)470; Michael Wodhull, TheNineteen Tragedies and FragmentsofEuripides, 3 (London,1809) 21. 1 Aristophanes,Lys. 645andschol.ad loc.;Suidas,s.v.arktos;Euripides,frag. 767 Nauck;Hesychius, s.v.Brauroniais;Eustathius, onIliad,page331.26; Bekker, Anecd. I,444;Harpocration, s.v.arkteusai. 12 LillianB.Lawler, "TwoNotesontheGreekDance:I, TheFox," AJPh69 (1948)87-90;also, "PindarandSomeAnimalDances," CPh41 (1946) 155-159. 92LillianB.Lawler [1947 ALion Among Ladies acteristicsofthesacredanimal.TheAthenianbear mummery was performedby maidensbetweenthe ages offiveandten years, wearing shaggyyellow costumes suggestive of bears' hides.We are toldthatmaidensof goodfamilyregularlyperformed thisritual before marriage. Themaidens (parthenoi) were actually called "bears," asArtemisherself wascalledbothamaiden (Parthenos Euripides, Hipp. 17; Pausanias 3.18.4) and a bear (arktos - Bekker, Anecd. I,444).Incidentally, inthecultofArtemisBrauronia we alsofind basket-bearing maidens (Schol. Iliad. 1.594). Inlike manner, thereisevidencefordeeror stagmummery. Ontheislandof Cyprus therewerefoundterracotta figurines of the early archaic period,depictingmasked,stag-headed dancers, oneofwhomisshownintheactof removing hisor her mask, and anotherofwhomholdsthemaskinthelefthand.l3Thesedancers weara "rough furor sheepskingarment."Also, wehave literary evidencefor stagmummery inthecultofArtemis. Among the scholiaonTheocritus14 thereisa lengthypresentation ofvarious theoriesofthe origin of pastoralpoetry; andthe theory whichis designated the"trueaccount"derivesbucolicversefromarustic kOmosat Syracuse inhonorofArtemis Lyaia. Inthis procession, singers anddancers wearing"stags' hornsontheirheads"carried skinsofwineand huge loavesofbread stamped withthe figures of animalsofvarious sorts, andtook part insomeformofcontest (apparently in singing and dancing), thewinnerin which"tookthe breadoftheloser." Stag ordeer mummery ofthis generaltype survivedinNewYear's processions andrevelsinWestern Europe downtoalatedate.15 Therecanbenodoubtthattherewasalsolion mummery and dancing inthevariousGreeklands.Lion-headed dancers, both maleand female, areseenin art, fromthe Minoan-Mycenaean period downtotheHellenistic age. We have already noted (above, note 3) the manyrepresentations inCretanand Mycenaean art of figures whichhavebeen interpreted as masked, skin-cladlion dancers. Particularlysignificant inthearchaicGreek period isa black-figured amphoraupon whichis painted amale figure wearing alion mask, footgearsuggesting thefeetofa lion, andahorse's 13 John L. Myres, Handbook of theCesnolaCollection ofAntiquitiesfromCyprus (NewYork,1914)151,Nos.1030and1031. 14 Ahrens,op. cit. (above,note 2) 2.5inProll.toTheocritus. 6 LillianB. Lawler, "ADancer's Trophy," CW41 (Nov.17,1947) 50-52. Vol. lxxviii] 93 LillianB.Lawler tailattachedtoa subligaculum.16 The figure bendsitskneesin rapidmotion, inthearchaic "running"attitude, andis obviously adancer. Equallyinteresting forour discussion, I believe, isan archaic figurine of lead, foundintheshrineofArtemisOrthiain Sparta.17 It depicts a femaledancer in thesame archaic "running" attitude, and wearing a large mask. Although detailsarenottoo clear, themask obviouslyrepresents theheadof an animal - either a lion or a bear, probably theformer.Artemis Orthia, of course, is definitely a"Mistressof Animals"; andtoher are dedicated many images of animals,especially lions.18 In Hesychius there is a gloss which has given rise tomuch specu- lation, butwhich is, I believe,capable of easy clarificationinthe light ofwhathasbeensaid.The gloss is:X\owv -r' Brlpov. Kat rrapOevos ...Wehaveseenthatthe lexicographersequate arktos and parthenos in connectionwiththebear dancestotheBrauronian Artemis, andthatthemaidendancersinthatcultwereknownas "bears"; so, in like manner, I believethat Hesychius(or his source) ishere thinking ofamaiden votary ofArtemiswho engages ina lion dance,wearing ananimalmaskor disguise. Thefactthat leon is used, not leaina, isnot significant; for in the epicpoems leon is epicene, and it is, in fact, the very word thatis applied toArtemis inthe passage oftheIliadwhichwehave already cited (21.483). Ina very ancient cult,terminology is normally conservative. Aliondanceis specifically mentionedinPolluxand Athenaeus, twoofour very bestGreekauthoritiesonthedance.Theformer designates itasaformof "terrifying dance" (4.103)-cf. the "terror" inspired inthe Egyptiansby thelionheaddressesoftheir rulers (Diodorus1.61). Athenaeusincludesitinalistof "funny" dances (14.629F). Elsewherel9 Ihave pointed outthatananimal dancecanbeboth "terrifying" and "funny" whenitincludes much roaring and lunging atthe spectators. Ihavealsoshown20 thatritualanimaldances originally solemnandserioushavea tendency(unlessthey are protectedby the secrecy ofa mystery cult) tobecome amusing, as a people becomes more and more sophis- 16 Cook, "Animal Worship"(above, note 3) 117 and Fig. 12. 17 R.M.Dawkins, "Excavationsat Sparta,1906," ABSA12 (1905-6) 323-4and Fig. 3,K. 18 R.M.Dawkins, "The Sanctuary ofArtemis Orthia atSparta,"Societyfor the PromotionofHellenicStudies,SupplementaryPapers, No.5 (1929) 402. 19 LillianB.Lawler,"Orchesis Phobera," AJPh67 (1946) 67-70. 20 "Pindar and Some Animal Dances" (above, note 12). 94 [1947 ALion Among Ladies ticated, andto degenerate intoaformofentertainment.In the days ofAthenaeusand Pollux, thelatesecondand earlythird centuriesoftheChristian era, theliondancewas evidentlyper- formed for entertainment,presumably in thetheateror at carnival- likefestivals. Inadditiontothese specific references tolion dances, there are inGreek literature, I believe, certain passages, someof them hithertounnoticedinthis connection, which point to mummery involving lions.TheearliestoftheseistheaccountofCirceand her victims, as given in the Odyssey (10.212-219;239-240). Around her dwelling are wolves,lions, andswinewhohadoncebeen men; they"wag their long tails," and are kept in order witha magic wand andwith"sweet song"(10.221,254,389). An early Attic cylix, black-figured, nowintheBostonMuseumofFine Arts,21 portrays Circe intheactof stirring her magicpotion,and, to right andleft of her, menwithbeasts' heads; ofthe latter, onehastheheadofa lion.Circe was certainly a lesser deity of the"Mistress of Animals" type; inone passage inthe Odyssey(10.549) sheiscalled potnia Kirke - atitle suggestive, at least, of potnia theron.The story as toldinthe epicmay wellbean imaginative and poetic recordof primitive animal mummery in thecultof a lesser divinity of animal life. Ina fragment ofa dithyramb ofPindar's (Loebedition, page 560), thereisa significantpassage:"Lightly comesthe lonely- roamingArtemis, whohas yoked inBacchicrevel-dancestherace offiercelionsfor Bromius; andheis delighted,too,bydancing herds ofanimals." Surely thereishere ahintofreal ritualanimal dances, inthecultsofArtemisand Dionysus.Incidentally, ritual similaritiesbetweenthesetwocultshaveoftenbeennoticed.22 In theAlcestis of Euripides thereis a choral ode of great interest (575-585). Thechorus sing ofhowinformer daysApollo so- journed with Admetus, servedasa shepherd, andat pastoral fes- tivalsevokedbeautifulstrainsfromthe syrinx andthekithara. "And in joy at thysongs,"theycontinue, addressing Apollo, "even spottedlynxes herdedwiththe flocks; andtheblood-flecked troop 21 Stephen B. Luce,"A PolyphemusCylix in the Museum of Fine Arts in Boston," AJA17 (1913)1-31,and Fig.1; Ernst Buschor, Greek Vase Painting(London,1921) Plate L,Fig.92,facingpage 100. 22 Cf.A.W. Pickard-Cambridge,Dithyramb,Tragedy, and Comedy(Oxford,1927) 248. Vol. lxxviii] 95 oflionscame stepping,leaving thedellof Othrys. Andaround thylyre,Phoebus, danced (Xopevua) the dapple-skinnedfawn, com- ing fromover against thetall-tressed pines - dancedwith light ankle,rejoicing in thymerrysong." Itis entirelypossible that thisisnot merely acaseoffine poeticimagery, butthatitcontains areminiscenceof prehistoric animaldancesor mummery inhonor of Apollo - evidently the mummery referred toinPindar'stenth PythianOde, 34-36.23The particular animals mentioned, we note, arethe lynx, the lion, andthefawn.AsIhave pointed outelse- where,24 referencestoanimalsas following or dancing afteror arounda great musician,usuallyOrpheus(Euripides, Bacch.561- 564; Pausanias 9.30.3-4) or Apollo, are probablypoetized memories ofritualanimal mummery. Ihave longthought thatthere may beahintofritualanimal dancesinthe14thHomeric Hymn totheMotheroftheGods. "To her are pleasing,"says theunknown poet, "the soundof krotala and tympana, and thebromosof flutes, and the outcry of wolvesand fierce-eyed lions, and echoingmountains, andwoodedhaunts." Theclose juxtaposition hereofmusicalinstrumentswhichaccom- pany a dance, and the howling of animals,mightimply a wilddance or mummery, inanoutdoor setting,by votaries disguised asani- mals, and uttering criesimitativeofthoseanimals.Thefactthat wildlionsare notfoundinGreeceinthehistorical periodmay con- firmthe conjecture thatdancersarehere indicated;although, of course, thereis always the possibility thatthe poet is referring to Asia Minor, wherelionsweretobefoundinthewild state, even downtoclassicaltimes-orthatthe poet is merelyusing his imagination! We may recallthe savage lion,roaring and twisting its neck, whichaGreek poetsays had "taught itselfthedance of Rhea" (Anth. Pal. 6.218). Anditwasthe Phrygian Rheawho turnedAtalantaand Hippomenes intolions (Ovid, Met.10.691-704; Servius, adAen. 3.113). Itwillbenotedthatritualisticanimal mummery takestwo forms- viz., oneinwhichallthe participantsportray thesame type of animal, and another, a sortof rout, in which various animals areimitated by theseveraldancers.An outstanding Greek por- trayal ofthelatter type isthe processiondepicted onthe piece of 23 Cf. Lawler, "Pindar and SomeAnimalDances" (above, note 12). 24 Lawler,"The Fox"(above, note 12). 96LillianB.Lawler [1947 ALion Among Ladies marble drapery foundintheshrineof Despoina at Lycosura.25 This carving,although ofHellenistic date, seemstobeafaithful reproduction ofactualembroidered drapery offeredto Despoina from primitivetimes, andto portrayvery oldcult practices. On therelief areeleven dancingwomen,moving with rapidstep, some carryinglyres anddouble flutes, andeachone wearing an animal mask.Theanimals represented includethe pig,ram,donkey,fox, horse, bear; and oneof themasks portrays a cat-likecreature which mighteasily be interpreted asalioness.Itis hardlynecessary to point outthat Despoina isa"Mistressof Animals," andhasclose connectionswithArtemis.The Lycosuradrapery servestoillu- minate such representationsas, for instance, the statuetteof Artemis fromPrinia;26 here,upon the garment ofthe goddess, are depicted various animals, among thema lion, a horse, anda sphinx,moving asifina procession.Perhaps relatedin significance isthebronze diademoftheGeometric period, foundin Thebes,upon which appearbirds, a lion, andseveral fish, inwhathasbeentermeda rout.27Atheniandrama may have preserved inclassicaltimesa poetized relicofthe"mixed" type ofanimal mummery inhonor of Dionysus, inthechorusofsuch plays astheTheriaof Crates, evenasit preserved a memory, at least, oftheother type in plays liketheBirdsof Aristophanes andof Magnes, theBeesof Diocles, theSwineof Cephisodorus, etc. Wecomebacknowtothesecond Idyll ofTheocritus: "Anaxo, daughter of Eubulus, walkedasbasket-bearertothe grove of Artemis.Atthesametime many animalstook part inthe proces- sionaround about her, and among themwasalioness."AsAnaxo andother basket-bearers,marriageablemaidens, walk sedately along, Ibelievethataroutof mummers, representing various animals, cavortabout them,circling theslower procession. Ibe- lievethattheseanimaldancers aremaidens also; andthat "among themisalioness."Ibelievethattheritualasawholehonors Artemisintwoofher aspects-asgoddess of fertility, andas potnia ther6n. Afewwords byway of epilogue: Theanimal rout, as a religious ritualandasaformof amusement, seemstohavelastedfor a long time.In fact, itsurvivestothe presentday, incarnivalandHal- 25 GuyDickins,"Damophonof Messene," ABSA13 (1906-7) 392-5and Plate14. 26 Nilsson,Minoan-Mycenaean Religion(above,note 4) 400. 27 Heinrich Brunn, op. cit. (above, note 7) 1.120-1andFig.82. Vol. Ixxviil] 97 lowe'enmummery.28 In post-classical Greece and Rome, wecome upon secret rites in the cult of Mithras which were known as leontika; andinthemwefindcertain dignifiedparticipants, called"lions" and "lionesses,"29roaring, leapingabout, andotherwise comporting themselvesassacredanimals.AstheRoman empire drewtoits close,pagandancing anddancersfellmore andmoreunder theban oftheChristianchurch.In particular,professional dancers, find- ing it increasingly difficulttomakea living intheChristian cities, scatteredoverthe countryside; andtheirsuccessors ultimately becamethe strolling entertainersoftheMiddle Ages. Itseems fairly certainthatthese fugitives tookwiththemsomeforms ofthe ancientanimal dances; foranimalmasksarecommon among medievalmummers.30Frommedievalmummersto Shakespearean actorsis adirect development. AndsotheconsiderateLionofthe Midsummer Night's Dream (ActV, Scene i), whoreassuresthe femininemembersofhis audience,may be actually anartistic descendantof performers in pagan ritualsandtotemisticcultsof bygone millennia, and even,indirectly, ofourancientGreek"lion among ladies." 28 Formodern folkfestivalsin Thrace,Thessaly, and Skyros which preserve the ancient wearing ofanimal disguises, seeR.M.Dawkins,"TheModernCarnivalin ThraceandtheCultof Dionysus," JHS26 (1906)191-206; andWilliam Ridgeway, The Origin ofTragedy (Cambridge,1910) 16-24. 29 Porphyrius, De Abstinent. 4.16;Ps.-Augustinus,Quaest. vet. et novi Test. 94. 30 E.K.Chambers, The Mediaeval Stage, 1 (Oxford,1903) Chapter Iandfrontis- piece. LillianB.Lawler [1947 98