Strabo, 10.3.10; Farnell, p. 146. However Farnell, p. 148, arguing that Iacchus was a late addition to the Eleusinian Mysteries, discounts Iacchus as "founder of the mysteries" saying: "if Strabo, in styling [Iacchus] the ἀρχηγέτης τῶν μυστηρίων, means more than that he led the mystae down the saced way to the mystic shrine, we need not be influenced by Strabo against better evidence."
Leaving Athens on 19th Boedromion, and arriving in Eleusis on the 20th, are the most likely dates for the procession, see Jiménez San Cristóbal 2012, pp. 125, 129; Versnel, p. 25; Kerényi 1967, p. 62; Mylonas, p. 252; Dow, pp. 113–115; Farnell, p. 147 n. a.
Translation by Farnell, p. 149 (citing scholiast on Frogs 482). See also Guía, pp. 103, 109; Bowie, A. M., p. 233; Rose, Oxford Classical Dictionary s.v. Iacchus; Versnel, p. 25; scholiast on Aristophanes, Frogs 479 (Rutherford, p. 332); PMG 879 (Page, p. 466).
Harrison, p. 413; Foucart, pp. 110–113; Persson, p. 151; Guthrie, pp. 287–288; Mylonas, p. 238; Versnel, p. 26; Clinton 1974, p. 96; Grimal, s.v. Iacchus; Graf 2005, "Iaccus"; Athanassakis and Wolkow, p. 149; Guía, p. 112, who asserts that "the figure of Iacchos probably originated in Athens as a ritual song or cry, not initially in relation to the mysteries and the Eleusinian festival, but in the context of the agricultural festivals of Dionysos".
Versnel, p. 23; Kerényi 1967, pp. 7–10; Harrison, p. 542; Herodotus, 8.65. Versnel describes the Herododean passage as the "oldest testimony". However, Encinas Reguero, p. 350, says only that it "could be the oldest". Though the event described by Herodotus supposedly took place prior to the Battle of Salamis in 480 BC, as Encinas Reguero points out, it is not known whether Herodotus wrote before or after the reference made to Iacchus in Sophocles' Antigone (c. 442–441 BC). Also possibly older testimony are the two lekythoi vases (c. 500 BC) mentioned above, as well as certain inscriptions from Berezan and Olbia ("possibly as early as the 6th century BC") noted by Jiménez San Cristóbal 2012, p. 127.
Jiménez San Cristóbal 2012, p. 127; see for example Foucart, p. 110: Au temps des guerres médiques, il n'avait pas encore de personnalité, il désignait les chants et les acclamations poussées par le cortège des mystes, lorsqu'il se rendait d'Athènes a Éleusis. C'est le sens qu'il a très nettement dans le récit qu'Hérodote a fait du prodige qui annonça le désastre des Perses à Salamine. Dans la plaine déserte de Thria, un exilé athénien, au service du Grand Roi, aperçut un nuage de poussière, comme celui qu'aurait soulevé une troupe de trente mille hommes, et il entendit un grand bruit de cris qui lui semblèrent être le Iacchos mystique, xαί οἱ φαίνεσθαι τὴν φωνὴν εἶναι τὸν μυστιxὸν ἴαxχον.
Farnell, pp. 147–148, is dismisive of Iacchus' involvement, saying "It is of no importance that a late and reckless composer of an 'Orphic' hymn chooses to introduce him into the old Eleusinian myth of Baubo", noting that "the soundness of the text may be doubted, see Lobeck, Aglaoph."
Leaving Athens on 19th Boedromion, and arriving in Eleusis on the 20th, are the most likely dates for the procession, see Jiménez San Cristóbal 2012, pp. 125, 129; Versnel, p. 25; Kerényi 1967, p. 62; Mylonas, p. 252; Dow, pp. 113–115; Farnell, p. 147 n. a.
Guía, pp. 109–113; Athanassakis and Wolkow, p. 149. Guía, p. 110, suggests that at the Lenaia, Iacchus, in addition to being a young man, and torchbearer, was possibly personified as a child, 'The son of Semele'.
Translation by Farnell, p. 149 (citing scholiast on Frogs 482). See also Guía, pp. 103, 109; Bowie, A. M., p. 233; Rose, Oxford Classical Dictionary s.v. Iacchus; Versnel, p. 25; scholiast on Aristophanes, Frogs 479 (Rutherford, p. 332); PMG 879 (Page, p. 466).
Guía, pp. 109–113, which adds the qualification "at least in Attic tragedy" (p. 110).
Harrison, p. 413; Foucart, pp. 110–113; Persson, p. 151; Guthrie, pp. 287–288; Mylonas, p. 238; Versnel, p. 26; Clinton 1974, p. 96; Grimal, s.v. Iacchus; Graf 2005, "Iaccus"; Athanassakis and Wolkow, p. 149; Guía, p. 112, who asserts that "the figure of Iacchos probably originated in Athens as a ritual song or cry, not initially in relation to the mysteries and the Eleusinian festival, but in the context of the agricultural festivals of Dionysos".
Versnel, p. 27; Jiménez San Cristóbal 2012, p. 127.
Jiménez San Cristóbal 2012, p. 128; Guía, p. 110 n. 46; Liddell & Scott, s.v. Ἴακχος; SudaἼακχος (iota,16). For example see Euripides, The Trojan Women1230: νεκρῶν ἴακχον, where ἴακχον is used to denote a threnody, a lament for the dead, thus Coleridge translates the line as "Wail for the dead"; Cyclops68–71, where the song "Iacchos Iacchos" is sung to Aphrodite; Palamedes fr. 586 Kannicht [apudStrabo, 10.3.13] (= fr. 586 Nauck) (Collard and Cropp, pp. 56, 57), where the word ἰάκχοις, translated by Collard and Cropp as "revel-cries", is used to refer to the sound of Dionysiac tambourines (τυμπάνων).
Jiménez San Cristóbal 2012, p. 125; Bowie, A. M., p. 232; Harrison, pp. 540–542.
Jiménez San Cristóbal 2012, p. 127; Graf 2005, "Iacchus".
Jiménez San Cristóbal 2013, p. 279, Bowie, A. M., pp. 232–233; Sophocles, Antigone1115–1125, 1146–1154; Versnel, pp. 23–24. Jebb, in his note to line 1146 χοράγ᾽ ἄστρων, understands the Sophoclean use of the name "Iacchus" as specifically denoting the Eleusinian Dionysus.
Versnel, p. 23; Kerényi 1967, pp. 7–10; Harrison, p. 542; Herodotus, 8.65. Versnel describes the Herododean passage as the "oldest testimony". However, Encinas Reguero, p. 350, says only that it "could be the oldest". Though the event described by Herodotus supposedly took place prior to the Battle of Salamis in 480 BC, as Encinas Reguero points out, it is not known whether Herodotus wrote before or after the reference made to Iacchus in Sophocles' Antigone (c. 442–441 BC). Also possibly older testimony are the two lekythoi vases (c. 500 BC) mentioned above, as well as certain inscriptions from Berezan and Olbia ("possibly as early as the 6th century BC") noted by Jiménez San Cristóbal 2012, p. 127.
Versnel, p. 23; Jiménez San Cristóbal 2012, p. 126, p. 127.
Jiménez San Cristóbal 2012, p. 127; see for example Foucart, p. 110: Au temps des guerres médiques, il n'avait pas encore de personnalité, il désignait les chants et les acclamations poussées par le cortège des mystes, lorsqu'il se rendait d'Athènes a Éleusis. C'est le sens qu'il a très nettement dans le récit qu'Hérodote a fait du prodige qui annonça le désastre des Perses à Salamine. Dans la plaine déserte de Thria, un exilé athénien, au service du Grand Roi, aperçut un nuage de poussière, comme celui qu'aurait soulevé une troupe de trente mille hommes, et il entendit un grand bruit de cris qui lui semblèrent être le Iacchos mystique, xαί οἱ φαίνεσθαι τὴν φωνὴν εἶναι τὸν μυστιxὸν ἴαxχον.
Jiménez San Cristóbal 2012, p. 128; Guía, p. 110 n. 46; Liddell & Scott, s.v. Ἴακχος; SudaἼακχος (iota,16). For example see Euripides, The Trojan Women1230: νεκρῶν ἴακχον, where ἴακχον is used to denote a threnody, a lament for the dead, thus Coleridge translates the line as "Wail for the dead"; Cyclops68–71, where the song "Iacchos Iacchos" is sung to Aphrodite; Palamedes fr. 586 Kannicht [apudStrabo, 10.3.13] (= fr. 586 Nauck) (Collard and Cropp, pp. 56, 57), where the word ἰάκχοις, translated by Collard and Cropp as "revel-cries", is used to refer to the sound of Dionysiac tambourines (τυμπάνων).
Strabo, 10.3.10; Farnell, p. 146. However Farnell, p. 148, arguing that Iacchus was a late addition to the Eleusinian Mysteries, discounts Iacchus as "founder of the mysteries" saying: "if Strabo, in styling [Iacchus] the ἀρχηγέτης τῶν μυστηρίων, means more than that he led the mystae down the saced way to the mystic shrine, we need not be influenced by Strabo against better evidence."
Jiménez San Cristóbal 2012, p. 128; Guía, p. 110 n. 46; Liddell & Scott, s.v. Ἴακχος; SudaἼακχος (iota,16). For example see Euripides, The Trojan Women1230: νεκρῶν ἴακχον, where ἴακχον is used to denote a threnody, a lament for the dead, thus Coleridge translates the line as "Wail for the dead"; Cyclops68–71, where the song "Iacchos Iacchos" is sung to Aphrodite; Palamedes fr. 586 Kannicht [apudStrabo, 10.3.13] (= fr. 586 Nauck) (Collard and Cropp, pp. 56, 57), where the word ἰάκχοις, translated by Collard and Cropp as "revel-cries", is used to refer to the sound of Dionysiac tambourines (τυμπάνων).
Jiménez San Cristóbal 2013, p. 279, Bowie, A. M., pp. 232–233; Sophocles, Antigone1115–1125, 1146–1154; Versnel, pp. 23–24. Jebb, in his note to line 1146 χοράγ᾽ ἄστρων, understands the Sophoclean use of the name "Iacchus" as specifically denoting the Eleusinian Dionysus.
Versnel, p. 23; Kerényi 1967, pp. 7–10; Harrison, p. 542; Herodotus, 8.65. Versnel describes the Herododean passage as the "oldest testimony". However, Encinas Reguero, p. 350, says only that it "could be the oldest". Though the event described by Herodotus supposedly took place prior to the Battle of Salamis in 480 BC, as Encinas Reguero points out, it is not known whether Herodotus wrote before or after the reference made to Iacchus in Sophocles' Antigone (c. 442–441 BC). Also possibly older testimony are the two lekythoi vases (c. 500 BC) mentioned above, as well as certain inscriptions from Berezan and Olbia ("possibly as early as the 6th century BC") noted by Jiménez San Cristóbal 2012, p. 127.
Jiménez San Cristóbal 2012, p. 128; Guía, p. 110 n. 46; Liddell & Scott, s.v. Ἴακχος; SudaἼακχος (iota,16). For example see Euripides, The Trojan Women1230: νεκρῶν ἴακχον, where ἴακχον is used to denote a threnody, a lament for the dead, thus Coleridge translates the line as "Wail for the dead"; Cyclops68–71, where the song "Iacchos Iacchos" is sung to Aphrodite; Palamedes fr. 586 Kannicht [apudStrabo, 10.3.13] (= fr. 586 Nauck) (Collard and Cropp, pp. 56, 57), where the word ἰάκχοις, translated by Collard and Cropp as "revel-cries", is used to refer to the sound of Dionysiac tambourines (τυμπάνων).
Jiménez San Cristóbal 2012, p. 128; Guía, p. 110 n. 46; Liddell & Scott, s.v. Ἴακχος; SudaἼακχος (iota,16). For example see Euripides, The Trojan Women1230: νεκρῶν ἴακχον, where ἴακχον is used to denote a threnody, a lament for the dead, thus Coleridge translates the line as "Wail for the dead"; Cyclops68–71, where the song "Iacchos Iacchos" is sung to Aphrodite; Palamedes fr. 586 Kannicht [apudStrabo, 10.3.13] (= fr. 586 Nauck) (Collard and Cropp, pp. 56, 57), where the word ἰάκχοις, translated by Collard and Cropp as "revel-cries", is used to refer to the sound of Dionysiac tambourines (τυμπάνων).
Jiménez San Cristóbal 2013, p. 279, Bowie, A. M., pp. 232–233; Sophocles, Antigone1115–1125, 1146–1154; Versnel, pp. 23–24. Jebb, in his note to line 1146 χοράγ᾽ ἄστρων, understands the Sophoclean use of the name "Iacchus" as specifically denoting the Eleusinian Dionysus.
