Eleusinian Mysteries Research Articles

Socratic mystery‐parody and the issue ofασέβειαin aristophanes’clouds∗

This paper surveys and examines all the textual evidence in the Clouds which may suggest Aristophanic parody of the Eleusinian Mysteries. The argument takes into consideration four aspects of initiation: (1) that of Strepsiades in the initiation scene (250–63);

Writing Before the Eye: The N-Town Woman Taken in Adultery and the Medieval Ministry Play

1 COMPARATIVE ? ama Volume 27Winter 1993-94Number 4 Writing Before the Eye: The N-Town Woman Taken in Adultery and the Medieval Ministry Play Gail McMurray Gibson Richard Beadle has recently observed that "If any area of medieval English studies can be said to have changed out of all recognition over the past twenty years or so, it must be that of the drama."1 Certainly, twenty years ago I could have asserted the perversity of teaching a field of scholarly inquiry—the medieval English mystery play—whose very name ("mystery" play) was a modern scholarly invention perpetuating a linguistic confusion . As E. K. Chambers had nagged in 1903, the word 'mystery ' "is not English at all, in a dramatic sense, and in France first appears as misterie in the charter given by Charles VI in 1402 to the Parisian confrérie de la Passion." In a note he adds: "The first English use of the term 'mystery' is in the preface to Dodsley's Select Collection ofOld Plays (1744)."2 The medieval "mystery" plays, as I have more than a few times nagged to my own students, were in fact, ministerium plays, that is, plays performed by medieval craft or parish guilds. The Latin word ministerium and its vernacular Middle English forms 'myster' or 'mysterie' meant occupation, craft, or ministry. The biblical plays thus came to be called 'mysteries' in the sense of the post399 400Comparative Drama Reformation Chester Banns: "by xxiiii"e occupationes—artes, craftes, or misterye—these pagiantes should be played."3 But all medievalists must eventually learn to accept linguistic confusion as evidence of divine providence—which, as medieval theologians and exegetes knew, loves nothing so much as a good Latin pun. So it is that after twenty years I have come to realize that though, linguistically speaking, the field of my scholarship should be "the ministry play," the biblical drama of the streets of England was indeed a mystery—that is, a mysterium—and have come to see that it was an art form of signs and actions curiously antithetical to ministry. I have even come to see that E. K. Chambers was wrong in saying that there is no medieval English use of the word mysterium for this drama; John Lydgate 's banns for a London Corpus Christi procession quite explicitly call those pageants "mysteries grounded in scripture": This hye feste nowe for to magnefye, Feste of festes moost hevenly and devyne, In goostly gladnesse to governe vs and guye, By which al grace doothe vppon vs shyne; For now this day al derkenesse tenlumyne; In youre presence fette out of fygure, Shal beo declared by many unknouthe signe Gracyous misteryes grounded in scripture.4 Nor was Chambers correct in insisting that even the French use of "mystery" in a dramatic sense was an afterthought; as early as 1372 the French soldier, diplomat, and scholar Phillipe de Mézières wrote a play of the Presentation of the Virgin Mary in the Temple—written in Latin, though to be played, as he explains , either in Latin or in the vernacular as one wills—and in his lengthy, self-conscious prologue explained that since the play is to be in honor of Mary whose human life "reveals what is deep and hidden," its actions in fleshly acts and signs are means by which the mind, released from the weight of the flesh, may be enabled to arrive at knowledge of the invisible and visible elements of God's mysteries [misteriorum Dei] as it were through visible things, signs, and works, in accord with apostolic teaching.5 The Latin word mysterium, from Greek mysterion, originally signaled the secret initiations into epiphanies showing the riddles of life and of death in the cult religions of the Graeco-Roman world. According to Hippolytus, the climax of the famous Eleusinian mystery cult observed near Athens was a single harvested Gail McMurray Gibson401 head of grain revered in profound simplicity and silence.6 But the esoteric Greek word mysterion and then the Latin vulgate's mysterium (and finally 'mystery') entered the mainstream of Western tradition because of its surprising use, especially by the apostle Paul, in the New Testament. In...

Charmides, Agariste and Damon: Andokides 1.16

In De myst. 1.11–18 (see also 1.25), Andokides reports a series of four judicial denunciations (μην⋯σεις), made before the Athenians on four separate occasions in 415 B.c., concerning profanations of the Eleusinian Mysteries. After statements from the slave Andromachos and the metic Teukros, ‘a third denunciation followed. The wife of Alkmaionides, who had also been the wife of Damon, a woman named Agariste, made a denunciation that in the house of Charmides beside the Olympieion, Alkibiades, Axiochos and Adeimantos celebrated mysteries. And at this denunciation all these men fled’ (1.16). A fourth denunciation was made by the slave Lydos.

Nations and Nationalism: Adultery in the House of David

Because it has never been an authoritative text for me, has been instead a realm of haunting myths and arcane rituals, priestly codes and prophetic oracles, with stories like universal Flood and tower of Babel holding kind of lure of, say, Eleusinian mysteries, Dionysian rites, or Delphic oracle. The historicist in me knew that despite this sense of a mysterious dark tapestry, once upon a time what is now the Bible had been a set of disparate documents born in widely varied political moments addressing urgent cultural and political questions in broad light of their day. I once thought I would devote my scholarly life-and such a life would indeed be scholarly-to reconstructing that sense of immediacy. Nonetheless, my initial instinctive resistance to historical-critical biblical scholarship (a resistance that is deepening and becoming more defined over years) was that it took mystery away, unweaving densely allusive literary tapestry of into thin threads of sources and dates. But it was visiting Israel that made my face a new assault, far more deadly than results of any documentary hypothesis. Emerging from plane onto portable steps at Ben-

Grief and Rage at the Wedding:

In our patriarchal society an intense relationship between mother and daughter is often considered pathological, once the daughter has passed childhood. When a daughter marries, the mother is supposed to feel great joy, relief at the loss of a competitor, and perhaps some small sorrow. This paper explores the case of a client who, at the coming marriage of her daughter, experienced a depression which masked feelings of grief and rage. The therapist, believing these feelings to be as normal as joy in the situation, used a feminist interpretation of the myth of Demeter and Persephone to help the client acknowledge and resolve her feelings. In the myth, Persephone, Demeter's daughter, is abducted and married by the Kind of the Underworld. Demeter, in her grief and rage, makes the earth barren. Zeus forces Hades to return Persephone to her mothre for part of the year so Demeter will make the earth bloom again, as only she has the power to do. In the joy of reunion with her daughter, Demeter creates a major religion, the Eleusinian Mysteries. The paper illustrates the feminist use of myth in therapy to resolve feelings which are not acknowledged as normal by our patriarchal culture and to provide a female role model who is powerful and creative as well as nurturing.

"Autobiography: Volume 1: 1907-1937: Journey East, Journey West," by Mircea Eliade; "A History of Religious Ideas: Volume 1: From the Stone Age to the Eleusinian Mysteries," by Mircea Eliade; "Ordeal by Labyrinth: Conversations with Claude-Henri Roquet," by Mircea Eliade; and The Forbidden Forest," by Mircea Eliade

"Autobiography: Volume 1: 1907-1937: Journey East, Journey West," by Mircea Eliade; "A History of Religious Ideas: Volume 1: From the Stone Age to the Eleusinian Mysteries," by Mircea Eliade; "Ordeal by Labyrinth: Conversations with Claude-Henri Roquet," by Mircea Eliade; and The Forbidden Forest," by Mircea Eliade

Nicagoras of Athens and the Lateran Obelisk

One day in the year 326 of our era Nicagoras, torch-bearer of the Eleusinian mysteries, made his way unsuspectingly past the buried tomb of Tutankhamun in the Valley of the Kings near Thebes, and climbed towards the entrance of the tomb immediately above it. Though it had itself long since been robbed, the making of Ramses VI's sepulchre had at least produced a generous scree, to which Tutankhamun owed his current oblivion and future fame. Scrambling cautiously over this, and the accumulation of sand and stones in the tomb's entrance, Nicagoras followed his dragoman down a long corridor. We can tell from its thick encrustation of graffiti that this tomb was by far the most popular with visitors; and Nicagoras's practised guide knew exactly what appealed to the different sorts of people who made up his clientèle. Learning that the Athenian was a priest, and a cultured man with philosophical interests, he made a point of stopping in front of a scene which shows the soul standing before Osiris, the god of the dead, thanks to which this tomb is sometimes called the ‘Tomb of Metempsychosis’.

Hardy and the Aesthetic Mythographers: The Myth of Demeter and Persephone in Tess of the d'Urbervilles

In his study of the seven different versions of Tess of the d'Urbervilles (1891), J.T. Laird reveals that many of Hardy's references to classical mythology are present in the ur-text of the novel, including Angel Clare's comparison of Tess to 'Artemis' and 'Demeter.' To strengthen the link between Tess's story and the myth of Demeter and Persephone, Hardy changed the description of the club-walking from 'Vestal rite' in the manuscript to the 'local Cerealia' for the Graphic serialization. The analogy between Tess and the 'two goddesses'—the mother, Demeter or Ceres, founder of the Eleusinian mysteries, protectress of the growing corn, and goddess of agriculture in general; and her daughter, Kore, 'the maiden,' otherwise known as Persephone or Proserpine—was not an afterthought, a literary top-dressing added to the novel in its final stages of revision. Whereas The Return of the Native (1878) began as a pastoral novel and underwent what John Paterson calls a 'classical transvaluation,' Tess of the d'Urbervilles contained from an early period of composition not only scattered or isolated references to various classical myths, but also the genesis of an extended parallel to the configuration of characters, action, and imagery in the most popular of the Greek divine tales. Hardy developed his allusions to Demeter and Persephone into a pattern of symbolic correspondences, an organized mythological motif that, while not as prevalent or consistently explicit as his use of the Christian mythology, Biblical and Miltonic, of Adam, Eve, and Satan, nevertheless deserves more attention than it has yet received.

The offerings from the hyperboreans

The ancient Greeks believed that the fruits of agriculture could be harvested only if one first appeased the spirit of the primitive avatars from which the edible crop had been evolved over the centuries through hybridization and cultivation. On occasion, this appeasement was secured through the sacrifice of a human victim, a person who for various reasons could be considered to represent a similar primitivism. By the classical age, this extreme form of sacrificial appeasement appears to have been reserved for times of unusual crisis, such as pestilence or natural disaster, for at such times, the resurgent forces of primitivism seemed to threaten the entire civilization with regression back to its wilder origins. Other forms of appeasement were ordinarily substituted for the actual offering of a human victim. Amongst these was the enactment of puberty rites, for the natural growth and maturation of an individual could be thought to symbolize this same evolutionary process. Each infant is born as a wild creature who must develop into a socialized adult through the metaphoric death of its former self as it assumes the responsibilities of civilized life in crossing the threshold to sexual maturity. A similar symbolic victim was customarily represented by the offering of first fruits. A portion of the cultivated crop was prematurely cut and consecrated to redeem and release the ripening harvest from the dangerous contamination with the spirits of its pre-agricultural precedents. On the island of Delos, a special version of this consecration was performed. Each year, the various Greek cities would send a sheaf of unripened grain to the sanctuary of the god Apollo and his twin sister Artemis. Amongst these annual offerings, there was one that was supposed to have originated from the Hyperboreans, a mythical people who were thought to live in the original homeland of the two gods. This special Hyperborean offering differed from the others, for it was said to contain a secret item hidden within the sheaf. The mythical traditions about these Hyperboreans recalled the Hellenic peoples' Indo-European origins, back in the time before the tribal migrations that brought them eventually into the Mediterranean lands, and the secret offering pertained to Apollo's more ancient religion in that pre-Geek Hyperborean context. The god who was honored by the Delian rite in the classical period was actually an assimilated manifestation of that original IndoEuropean deity and another from Anatolia, the so-called Lycian Apollo, whose functions and symbolism coincided, more or less, with those of the Hyperborean god. The annual presentation of the secret offering was intended as a ritual appeasement and reconciliation of the god's own former identities in more primitive times. It assured that he too, like the whole fabric of classical civilization, would remain stable in his evolved state. This offering was Soma, the magical plant that figured in the shamanism of the Indo-Europeans and other peoples. In the Hellenic context, as amongst the Indo-Iranians, many substitutes were found for the original Soma when it was no longer easily available in the lands to which these peoples migrated. Although it is never mentioned in Greek literature by name, the tradition of this magical plant was incorporated into the ceremony of the Eleusinian Mysteries and the viticultural rites of the god Dionysus. The substitutions, moreover, as the Delian rite reveals, included the sacred olive and the laurel. As in the former two religions, however, the original of the plant sacred to Apollo appears to have been a fungus, thus adding further confirmation to R. Gordon Wasson's identification of Soma as Amanita muscaria.

A History of Religious Ideas: Volume 1, from the Stone Age to the Eleusinian Mysteries by Mircea Eliade Chicago, University of Chicago, 1978. 479 pp. $20.00

A History of Religious Ideas: Volume 1, from the Stone Age to the Eleusinian Mysteries by Mircea Eliade Chicago, University of Chicago, 1978. 479 pp. $20.00

Dionysiac Drama and the Dionysiac Mysteries

In Euripides'BacchaeDionysos visits Thebes in disguise to establish his mysteries there. And so, given normal Euripidean practice, it is almost certain that in the lost part of his final speech Dionysos actually prescribed the establishment of his mysteries in Thebes. In the same way theHomeric Hymn to Demetertells how the goddess came in disguise to Eleusis and finally (vv. 476–82) established her mysteries there. After coming to Eleusis she performs certain actions in the house of king Celeus, for example the drinking of theκυκεών, which have long been recognized as corresponding to ritual undergone by the initiands in the Eleusinian mysteries. It is the main thesis of this paper that just as elements of theHomeric Hymn to Demeterseem to derive from aἱερ⋯ς λ⋯γοςof the Eleusinian mysteries, so certain elements of theBacchaederive from aἱερ⋯ς λ⋯γοςof the mysteries of Dionysos, and that furthermore Euripides consciously alludes to the Dionysiac mysteries for a dramatic effect dependent on the religiosity of his audience, rather as Aeschylus alludes in theOresteia, on the principleμαθο⋯σιν αὑδ⋯, to the mysteries of Eleusis.This case will suffer from two drawbacks. Firstly there is the general scepticism about ritual patterns in drama arising as a reaction to the excesses of, for example, Murray and Cornford. This means that a far greater degree of probability seems to be required from suggestions of this kind than from the more traditional mode of speculation of, say, textual criticism. And secondly, it must be immediately and frankly admitted both that we do not know much about the mysteries of Dionysos and that most of what we do know is from the Hellenistic and Roman period. In the argument that follows recourse will sometimes be had to two assumptions. The first is to suppose a degree of continuity between the Dionysiac mysteries of the classical and later periods. This assumption is based firstly on the observable continuity of the mysteries: for example the antiquity of the Eleusinian ritual described by Plutarch, which will form an important part of my argument, is attested by Aristophanes and Plato. And it is based secondly on general considerations: conservatism is of the essence of those rituals in which a community such as athiasosperpetuates itself by the transmission of a ritual treasured as originally taught by their god. The second assumption is to suppose, on the basis of numerous observable similarities, an essential similarity between the Dionysiac mysteries and the Eleusinian, about which we are well informed even for the classical period.

Mushrooms and philosophers

The fifth-century philosopher Socrates was satirized by his contemporary, the comic poet Aristophanes, in the Birds as conducting a rite of necromancy in the company of a group of people called the “Shade-foots”, a fabulous tribe from India who were thought to jump about on a single foot that could also be used as a parasol. The historical reference for this imagined scene of necromancy is the scandal that had recently occurred in which it was discovered that many prominent Athenians, including a notorious disciple of Socrates, were guilty of profanely celebrating a secret religious rite with friends in their private homes. This rite was the so-called Eleusinian Mystery, the major religion of the pre-Christian era, and it involved a shamanic ceremony in which initiates, who were sworn to secrecy, drank a special potion and experienced a vision of spirits from the world of the dead. The scandal had uncovered that some people were apparently using the sacred drug for their own entertainment. The Eleusinian Mystery was a Hellenized version of a primordial Indo-European shamanic religion that was carried into Greece and combined with indigenous agrarian traditions when the Indo-Europeans migrated into the Mediterranean lands in the second millennium before Christ. A similar migration brought them and their religion into Iran and India at about the same time. There the religion survived as the ancient Soma cult, which originally also involved shamanic experience induced by the drinking of a sacred drug. R. Gordon Wasson has shown that this drug was a fungal extract and that a similar role was reserved for the fungi in the traditions of the Eleusinian Mystery, both apparently survivals from the primordial religion. The Aristophanic parody of Socrates' supposed rite of necromancy confirms that a fungal drug was indeed used in the Eleusinian Mystery, for the creatures with single, parasol-like feet can be related to a very ancient epithet for Soma and they survive in contemporary Asiatic shamanism and in European folk traditions about mushrooms. Furthermore, the Greek myth about the theft of fire, which is also part of the context for the Aristophanic parody, can be shown to have reference to shamanic experience, with parallels in Indo-Iranian traditions. Thus, in accusing Socrates of profaning the Mystery, Aristophanes was suggesting that the philosopher had derived his theories from drug-induced visions. Such was, in fact, the common presupposition about Socrates and other ancient philosophers.

A Note on the Cognomina of Legio XX

provided on the one hand by the pruning-knife in the Phrygian youth's right hand, a reference to his subsequent self-emasculation, and on the other by the single dominant tree behind him, which could allude either to the almond-tree from whose fruit Attis was conceived or to the fir-tree into which he was ultimately metamorphosized (the former is more likely, to judge from the leaves). If the figure were the shepherd Paris, one might expect to see some reference to his flocks in addition.39 At Brading, admittedly, the pruning-knife is exchanged for a less macabre attribute, the syrinx;'0 but the resemblances to the Pompeian figure-types confirm the identification of Attis and the nymph. This conclusion disrupts Stupperich's neat programme, by which the four scenes in the pavement would all symbolize 'means of man's support': Demeter-Ceres and Triptolemus (agriculture), Lycurgus and Ambrosia (viticulture), Paris and Oenone (cattle-breeding), and possibly Neptune and Amymone (fishing). But mythological scenes associated in the same mosaic pavement, or in the same roomdecoration in general, are not always united by a common theme; moreover a scene of Paris and Oenone is not a particularly good allegory of cattle-breeding. For the three better-preserved scenes in the Brading mosaic we might think rather of a programme linking the mystery-cults. the Eleusinian mysteries, the Dionysiac mysteries, and the cult of Attis and Cybele. Unfortunately the fourth and partially destroyed scene does not seem to fit this programme, since its subject looks like an amorous pursuit. Stupperich's Neptune and Amymone is a plausible enough identification, but not a compelling one: there is no sign of a trident in the preserved part of the panel. Several divine philanderers come to mind, and further speculation is unprofitable.

The Phenomenon of Christianity By Ninian Smart (London: Collins. 1979. 320 pp. £6•95.)/A History of Religious Ideas By Mircea Eliade. Volume I: From the Stone Age to the Eleusinian Mysteries (London: Collins. 1979. xvii, 489 pp. £12. 00.)

The Phenomenon of Christianity By Ninian Smart (London: Collins. 1979. 320 pp. £6•95.)/A History of Religious Ideas By Mircea Eliade. Volume I: From the Stone Age to the Eleusinian Mysteries (London: Collins. 1979. xvii, 489 pp. £12. 00.)

REVIEWS

The Rebel Lands: An Investigation into the Origins of Early Mesopotamian Mythology. By J.V. Kinnier Wilson with the assistance of Herman Vanstiphout The Book of Daniel. By André Lacocque The Gospel of Luke: A Commentary on the Greek Text. By I. Howard Marshall Jems: an Experiment in Christology. By Edward Schillebeeckx Jesus: The Man and the Myth, a Contemporary Chrtstology. By James P. Mackey The Ainu of Jesus. By Ben F. Meyer Jesus and the Gospel of God. By Don Cupitt Augustin über Schöpfung, Ewigkeit und Zeit. By E.P. Meijering Augustine on the Body. By Margaret Ruth Miles The Shape of Baptism: The Rite of Christian Initiation. By Aidan Kavanagh Wort und Eucharistie bei Origenes. By Lothar Lies Themes in Fundamental Moral Theology. By Charles E. Curran Free and Faithful in Christ, Volume I. By Bernard Hating La Mort et I'au delà. By Georges Habra Language, Metaphysics and Death. Edited by John Donnelly. New York, Fordham University Press, 1978, $20.00 (hardback), $8.00 (paperback). Structure and Creativity in Religion: Hermeneutics in Mircea Eliade's phenomenology and new directions. By Douglas Allen A History of Religious Ideas, vol 1: From the Stone Age to the Eleusinian Mysteries. By Mircea Eliade Theodora: Portrait in a Byzantine Landscape. By Antony Bridge English Chantries: The Road to Dissolution. By Alan Kreider The Collected Works of Erasmus: Literary and Educational Writings 1 and 2, Volumes 23 and 24. Edited by Craig E. Thompson Le Theatre des Jésuites dans les Pays de Langue Allemande. By Jean‐Marie Valentin The Cambridge Apostles: the Early Years. By Peter Allen The Cambridge Movement: The Ecclesiologists and the'Gothic Revival. By James F. White The Letters and Diaries of John Henry Newman. Volume I. Edited by Ian Ker and Thomas Gornall The Church in a Secularised Society. By Roger Aubert [and others] The Triumph of the Holy See. By J. Derek Holmes Toward Vatican III. Edited by D. Tracy, H. Küng and J.B. Metz Newton on Matter and Activity. By Ernan McMullin The Melancholy Science: An Introduction to the Thought of Theodor W. Adomo. By Gillian Rose Gottlob Frege: Posthumous Writings. Edited by H. Hermes, F. Kambartel, and F. Kailbach, translated by Peter Long and Roger White

A History of Religious Ideas. Volume 1, From the Stone Age to the Eleusinian Mysteries. By Mircea Eliade. Translated by Willard R. Trask. Chicago: University of Chicago Press, 1978. xvii + 489 pp. $20.00.

A History of Religious Ideas. Volume 1, From the Stone Age to the Eleusinian Mysteries. By Mircea Eliade. Translated by Willard R. Trask. Chicago: University of Chicago Press, 1978. xvii + 489 pp. $20.00.

Grades in the Eleusinian Mysteries

Quels degrés comportaient les mystères d'Eleusis ? Il convient de distinguer - ce qu'on ne faisait pas autrefois - , d'une part entre « petits mystères » et « grands mystères », d'autre part entre « mystes » et « époptes ». La critique moderne est toujours peu disposée à séparer l'initiation ("múēsis") de la cérémonie ("teletē") du premier degré, malgré les précisions fournies par Pringsheim (1905). En effet, ni l'initiation n'est « préalable », ni la cérémonie n'est « l'initiation proprement dite ». De plus, l'examen des mots et racines grecs indique que : "mûësis" n'est pas analogue à "epopteia" (le degré de l'épopte) ; "tel"- s'applique aux rites et non à l'initiation (et, par conséquent, "teléō" ne veut pas dire « initier », ni "telestērion" « salle d'initiation ») ; "teletē" ne désigne pas la cérémonie du premier degré. On peut ainsi comprendre plus exactement le sens de divers passages d'auteurs anciens, notamment celui de Plutarque sur l'initiation précipitée de Démétrios de Phalère. Il ressort d'autres passages que les auteurs tardifs ignoraient les vrais « petits mystères » (qui, selon nous, n'existaient plus à l'époque) et, comme la critique la plus ancienne, confondaient la cérémonie du premier degré avec les « petits mystères ». Cette confusion se révèle très utile pour notre enquête, car elle aide à interpréter le premier degré, lié à Perséphone. Si le "telestèrion" ne pouvait pas contenir ensemble tous les initiés, il est permis de penser que les époptes seuls devaient y avoir accès. Les mystes, dans ce cas, devaient prendre part au drame « sacré » et chercher Perséphone à l'extérieur du "telestèrion". A l'intérieur, c'est aux seuls époptes que l'hiérophante devait exhiber le grand secret.

A History of Religious Ideas: Vol. 1 From the Stone Age to the Eleusinian Mysteries. By Mircea Eliade. Translated by Willard R. Trask. Chicago: The University of Chicago Press, 1978. xvii + 489 pages. $20.00.

A History of Religious Ideas: Vol. 1 From the Stone Age to the Eleusinian Mysteries. By Mircea Eliade. Translated by Willard R. Trask. Chicago: The University of Chicago Press, 1978. xvii + 489 pages. $20.00.

Eliade and the History of Religious IdeasA History of Religious Ideas, Vol. 1, From the Stone Age to the Eleusinian Mysteries. Mircea Eliade , Willard R. Trask

Previous articleNext article No AccessReview ArticlesEliade and the History of Religious Ideas A History of Religious Ideas, Vol. 1, From the Stone Age to the Eleusinian Mysteries. Mircea Eliade , Willard R. Trask Ninian SmartNinian Smart Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by The Journal of Religion Volume 60, Number 1Jan., 1980 Article DOIhttps://doi.org/10.1086/486754 Views: 3Total views on this site Citations: 1Citations are reported from Crossref Copyright 1980 The University of ChicagoPDF download Crossref reports the following articles citing this article: , Method & Theory in the Study of Religion 28, no.22 ( 2016): 141.https://doi.org/10.1163/15700682-12341372

The Sacred Officials of the Eleusinian Mysteries. By Kevin Clinton.

Previous articleNext article No AccessBook ReviewsThe Sacred Officials of the Eleusinian Mysteries. By Kevin Clinton.Michael H. JamesonMichael H. Jameson Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by American Journal of Archaeology Volume 81, Number 2Spring 1977 The journal of the Archaeological Institute of America Article DOIhttps://doi.org/10.2307/503187 Copyright © 1977 by the Archaeological Institute of America. All rights reserved.PDF download Crossref reports no articles citing this article.