Rosaliya (festival) - Rosalia (festival)

Boshqa maqsadlar uchun qarang Rozaliya.
Rozaliya
Morgantina39.jpg
Mozaik atirgul gulchambarlarini to'qish tasvirlangan.(Villa del Casale, IV asr)
Tomonidan kuzatilganRim imperiyasi
TuriPlyuralistik doirasida Klassik Rim dini va Imperatorlik kulti
SanaTurli xil sanalar asosan may va iyun oylarida
Bog'liq bo'lganRim ajdodlari kulti, Dionisiya, Adoniya, Rim harbiylaridagi din, Azizlarning kulti, Hosil bayrami, Yashil hafta

In Rim imperiyasi, Rozaliya yoki Rosariya ning festivali edi atirgullar turli xil sanalarda nishonlanadi, birinchi navbatda May, lekin iyul oyining o'rtalariga qadar tarqaldi. Kuzatuv ba'zan a deb nomlanadi rosatio ("gul-ziynat") yoki rosationis o'ladi, "atirgullar bilan bezatilgan kun" va shu bilan ham nishonlanishi mumkin edi binafsha rang (buzilish, binafsha rang bilan bezatilgan violae vafot etadi yoki o'lim buzilishi, "kuni binafsha [-bezak]").[1] O'lganlarni xotirlash sifatida rosatio ko'milgan joylarga gul qo'yish odatidan rivojlangan. Bu keng ko'lamli xususiy diniy amaliyotlardan biri edi Rimliklarga urf-odatlarga berilgan qadriyatni aks ettirgan holda, ularning o'liklariga g'amxo'rlik qilishdi (mos maiorum, "ajdodlar yo'li"), oilaviy nasab va oddiy yozuvlardan tortib to katta jamoat ishlariga qadar bo'lgan yodgorliklar. Bir necha sanalar Rim taqvimi bayram kunlari sifatida ajratilgan yoki xotira kunlari o'liklarga bag'ishlangan.[2]

Diniy ifoda sifatida, a rosatio xudoga sig'inadigan haykalga yoki boshqa obro'li narsalarga ham taklif qilinishi mumkin. May oyida Rim qo'shini nishonladi Rosaliae signorum, atirgullar bayramlarini bezashgan harbiy standartlar bilan gulchambarlar. Xususiy uyushmalar va klublarning atirgul festivallari kamida qirq bitta lotin yozuvida va o'n oltita yunon tilida yozuvlar bilan hujjatlashtiriladi, bu erda marosim odatda " rodismos.[3]

Gullar atirgullar va binafsharanglarning qizil va binafsha ranglari nafsning bir shakli sifatida qon rangini keltirib chiqarishi bilan yoshartirish, qayta tug'ilish va xotiraning an'anaviy ramzlari edi.[4] Ularning gullash davri bahor faslini belgilab qo'ydi, atirgullar eng so'nggi gullab-yashnagan va binafsha gullar bilan.[5] Ham bayramona, ham dafn ziyofatlarining bir qismi sifatida atirgullar "bir xil cheksiz, noma'lum jarayonning ikki tomoni sifatida qaraladigan hayot va o'limning g'alati repastini" bezatdi.[6] Imperiyaning ba'zi hududlarida Rosalia bo'lgan o'zlashtirilgan uchun bahor bayramlarining guldor elementlariga Dionis, Adonis va boshqalar, lekin odatdagidek atirgullar bilan bezash bularga bog'lab qo'yilmagan etishtirish yahudiylar va nasroniylar xotirasiga bag'ishlangan.[7] Dastlabki xristian yozuvchilari gulchambarlar va atirgul va binafsha tojlari tasvirlarini ko'chirishgan avliyolarga sig'inish.

Madaniy va diniy ma'lumot

Heliogabalus atirgullari (1888) tomonidan Lourens Alma-Tadema: "erotik zaryadlangan gullar bilan bo'g'ilib qolish" a topos 19-asr oxiri[8]

Yunoniston va Rimda gulchambarlar va gulchambarlar va yashil o'simliklar erkaklar ham, ayollar ham bayramlar uchun kiyib yurishgan.[9] Atirgul va binafsha gulchambarlar birlashtirilgan yoki birma-bir erotik sahnalarni, kelinlar yurishini va boshqalarni bezatadi ichimlik partiyalari yilda Yunon lirikasi dan Arxaik davr oldinga.[10] Yilda Lotin adabiyoti, "atirgul va binafsha rangda" bo'lish beparvo zavqni boshdan kechirishni anglatardi.[11] Gulli gulchambarlar va gulchambarlar "egalarini bayram sifatida nishonlaydilar va ehtimol hayotning o'zi go'zalligi va qisqarishining ifodasi bo'lib xizmat qiladi."[12] Rimdagi gullar va binafshalar gulchambarlar uchun eng mashhur gullar edi, ular ba'zan sovg'a sifatida berilar edi.[13]

Gullar ba'zi xudolarga, xususan ma'buda bilan bog'liq yoki ularga taklif qilingan Afrodita (Rim Venera ), Persephone[14] (Proserpina ) va Xlor[15] (Flora ). Atirgullar va atirlar Afroditaning o'ziga xos xususiyati,[16] va shuningdek Dionis, ayniqsa, imperatorlik davri she'riyatida sharob xudosi sifatida partiyalarni ichish uchun yoki borligi bilan Eros ("Sevgi, istak").[17] The Yunon romantik romani Dafnis va Xlo (Milodiy 2-asr) a tasvirlaydi zavq bog'i, mo'l-ko'l florasi orasida atirgullar va binafshalar bilan Dionis uchun muqaddas makon joylashgan.[18] Rimda Venera bog'lar va sevgi va go'zallik ma'budasi edi.[19] Venera marosimdagi tozalashda atirgullarni oldi (lavatio) kuni 1 aprel va sharob festivalida (Vinaliya ) uning sharafiga 23 aprel kuni nishonlandi.[20]

Gullarning dabdabali namoyishi samimiylik va erkin saxiylikning ifodasi edi. Imperial davr ish xati omon qolish papirus tinchlantirishga urinishlar a kuyov onasi, atirgul hosilining to'y uchun buyurtmasini bajarish uchun etarli emasligidan xafa bo'ldi; etkazib beruvchilar uning so'ragan 2000 o'rniga 4000 narcissus yuborish orqali tovon puli to'lashdi.[21] Gullar Rim to'ylarining bir qismi bo'lgan bo'lsa, kuyov kelindan ko'ra gul tojini kiyish ehtimoli ko'proq edi; Statius (Milodiy 1 asr) kuyovni atirgul, binafsha va kabi gulchambar taqib yurishini tasvirlaydi zambaklar.[22] Qachon imperator rasmiy etib keldi (adventus ) shaharda gullar gulchambarlari kutib olish delegatsiyasi salomlashish imo-ishoralari orasida bo'lishi mumkin.[23] Hisobga ko'ra Tarix Avgusta ("taxminiy xayoliy"), parchalanib ketgan imperator Heliogabalus mehmonlarni o'zining ziyofatlaridan birida gul barglari ko'chkisi ostida ko'mdi.[24] Yunon madaniyatida filloboliya g'alaba qozongan sportchining yoki kelin-kuyovning barglari yoki gul barglari bilan dush bo'lishi edi.[25]

Venera Adonis tanasida atirgul tojini kiyib olgan Venera va Adonis (1637) ning Xose de Ribera

Klassik mifologiya ilohiy metamorfozda qon va gullar bog'langan bir qator hikoyalarni saqlaydi.[26] Qachon Adonis, Afroditaning sevgilisi, ov paytida cho'chqa tomonidan o'ldirilgan, uning qonida gul paydo bo'lgan. Rim marosimlarining markaziy afsonasi Kibele bu uning turmush o'rtog'ining o'zini o'zi kastratsiyasi Attis, uning qonidan binafsha rang gul paydo bo'ldi. In Gnostik matn Dunyoning kelib chiqishi to'g'risida, ehtimol 4-asrning boshlariga to'g'ri keladi,[27] atirgul - bu bokira qonidan yaratilgan, paydo bo'lgan birinchi gul Ruh ("Ruh") Eros bilan jinsiy aloqada bo'lgandan keyin.[28] 4-asr she'rida Cupid xochga mixlangan tomonidan Gallo-rim shoir Ausonius, xudo Cupid (Erosning Rim ekvivalenti) sevgidan hafsalasi pir bo'lgan ma'buda tomonidan er osti dunyosida qiynoqqa solinadi va uning jarohatlaridagi qon atirgullarning o'sishiga sabab bo'ladi.[29]

Yilda Misr dini, dafn marosimining gulchambarlari, kaft, tuklar, papirus yoki qimmatbaho metallar "oqlanish toji "marhum sudda hukm qilinganida olishi kerak edi Yurakni tortish marosimi keyingi hayot. In Imperiya davri ta'sirida gulchambar atirgul bo'lishi mumkin Rimlashtirilgan diniga sig'inish Isis.[30] Isisning haykali atirgullar bilan bezatilgan Navigium Isidis, 5 mart kuni imperatorlik bayrami Isisning "suzib yurishi" ni namoyish etganida.[31] In Metamorfozalar ning Apuleius, bosh qahramon Lusiy eshakka aylanadi va qutqarish sayohatidan so'ng atirgullarni yeyish va tashabbuskorga aylanib inson qiyofasiga qaytadi. Isis sirlari.[26] Uchta yunon papirusida saqlanib qolgan "Rhodophoria" deb nomlangan festival, ehtimol Isis uchun "atirgul ko'taruvchidir" yoki Rozaliyaning yunoncha nomi bo'lishi mumkin.[32]

Dafn gullari sifatida atirgullar va binafshalar

Bir necha marta gul gulchambarlarini tayyorlash Cupidlar va Psyches, dan devor rasmida Pompei: o'ngdagi Psyche a ushlaydi libatsiya kosasi, ko'pincha tasvirlangan diniy taqvodorlik ramzi rozet[33]

Roses Yunonistonda dafn marosimiga ega edi, lekin ayniqsa Rimliklar orasida o'lim va g'azablanish bilan bog'liq edi.[34] Yunonistonda atirgullar dafn marosimida paydo bo'ladi steles va epitafiyalarda ko'pincha qizlar.[35] Imperatorlik davrida yunoncha epitafiyalarda turmushga chiqmagan qizning o'limi bahorda kesilgan guldasta bilan taqqoslanadi; to'y kiyimiga ko'milgan yosh ayol "bog'dagi atirgulga o'xshaydi"; sakkiz yoshli bola atirgulga o'xshaydi, u "bu go'zal gul" Erotes "(" Sevadi "yoki Cupidlar).[36] Ham gullab-yashnayotgan yoshlarning, ham motamning ramzi sifatida, atirgul ko'pincha bevaqt yoki bevaqt hayot kechirgan o'limni anglatadi.[37] In Iliada, Afrodita moylari Hektor bilan jasad "ambrosial atirgul moyi "[38] o'lim paytida suiiste'molga qarshi tanasining butunligini saqlab qolish.[39] Yunon va lotin she'riyatida atirgullar muborak keyingi dunyoda o'sadi Elisiya maydonlari.[40]

O'lganlarni qonsiz qurbon qilish gul gulchambarlari va binafsharanglarni ham o'z ichiga olishi mumkin libatsiyalar sharob,[41] va lotin safsar atirgul va binafsha ranglarning qizil-binafsha ranglarini, ayniqsa o'lim gullari sifatida ifodalagan.[37] Qadimgi etimologiyada, safsar yunoncha bilan bog'liq deb o'ylardi porfiralar jarohatlar yoki jarohatlarda binafsha qon bilan terini yutish ma'nosida.[37] The Avgustan epik shoir Vergil jangda yigitlarning erta va qonli o'limlarini tasvirlash uchun binafsha gul metaforasidan foydalanadi:[42] O'lim Pallas ham Attis binafsharangini, ham gulsavsar ning o'layotgan qonidan hosil bo'lgan Apollon sevikli Hyacinthus.[43] Klaudian Proserpina jinoyatchilik dunyosiga o'g'irlab ketiladigan o'tloqdagi atirgullarning "qonli ulug'vorligi" haqida yozadi, gulsavsar va binafsha gullar o'simliklarga hissa qo'shadi.[44] Atirgullar va tikanlarning dahshatli mavjudligi, hatto sevgi nutqida ham samimiy qon va o'limni keltirib chiqarishi mumkin.[45]

Gulchambar maenad (Dionis xizmatchisi) Kupidni atirgulni uzaytirayotganda, Uyning devoridagi rasmda Lucius Caecilius Iucundus, Pompei

Va aksincha, dafn marosimida atirgullar bayram ziyofatiga ishora qilishi mumkin, chunki Rim oilalari yil davomida bir necha marta dafn marosimlarida dafn marosimlari va birgalikdagi ovqat uchun sevimli o'liklarning xotirasini va oila orqali hayot davomiyligini nishonlagan. chiziq.[46] Rim qabridagi rasmda qizil atirgullar ko'pincha mo'l-ko'l nurli erga to'kiladi.[37] Ushbu yoshsiz gullar abadiy Rosaliyani yaratdi va Rimning qalbning doimiy mavjudligiga bo'lgan e'tiqodining ifodasidir.[47]

Marhumning suyaklari yoki kullari, xuddi shunday yozilgan lotin epitafasida aytilganidek, gullarni yaratadigan deb tasavvur qilinishi mumkin.

Bu erda Optatus yotadi, u fidoyilikka mubtalo bo'lgan bola: uning kullari binafsha va atirgul bo'lishini iltimos qilaman va shuni so'rayman: Hozir uning onasi bo'lgan Yer, unga engil bo'ling, chunki bolaning hayoti hech kimga og'ir emas edi.[48]

Ba'zi qabrlarga atirgullar ekilgan va maqbaralar va qo'shni maydonlarni atirgullarni bezash uchun yoki hatto o'stirish uchun bog 'sifatida etishtirish mumkin mahsulot qabristonni saqlash yoki ma'muriy xarajatlar uchun sotish.[49] 19-asrdan 21-asrgacha kesilgan va o'stirilgan gullarning mo'lligi Italiya qabristonlari uchun hanuzgacha ularni ajralib turadigan xususiyat edi. Angliya-Amerika mashq qilish.[50] Bu farq quyidagilardan biridir Rim katolik ba'zilar tomonidan tanqid qilingan amaliyotlar Protestantlar, ayniqsa XIX asrda, kelib chiqishi jihatidan ham "butparast".[51]

Atirgul va binafsha rang festivallar

Silvanus, qo'lida anor, uzum va boshqa mahsulotlar bor, ular it iti qatnashgan (2–3-asrlar)

Atirgul dafn marosimida azaliy an'analarga ega bo'lsa-da,[52] Rim atirgullari festivalining eng qadimgi yozuvlari hukmronlik qilish kunlari Domitian (Milodiy 81-96),[53] va marosimni 20 iyunda o'tkazadi.[54] Yozuv ruhoniylar birlashmasi tomonidan qilingan (kollegiya ) yilda Lucaniya o'rmon xudosiga bag'ishlangan Silvanus. Bu qayd qiladi imperatorning farovonligi uchun qasamyod qiladi va yiliga besh marta Silvanusga qurbonlik buyuradi, ular orasida Rosaliya ham bor. Garchi Silvanus odatda o'rmon va yovvoyi tabiatning xudosi sifatida qaralsa-da, Vergil uni rulman deb ta'riflaydi gulli arpabodiyon va zambaklar.[55] Boshqa yozuvlarda Silvanusning uchta donorlari diniy nomni qabul qilishgan Anthus (Yunoncha anthos, "gul") va to'rtinchi, unchalik aniq bo'lmagan o'qish, lotincha nomga ega bo'lishi mumkin Gul, ning erkak shakli Flora.[56] Daraxtlar ko'pincha Silvanusning timsoli bo'lgan o'simlik hayotining shakli bo'lganligi sababli, uning gullar bilan aloqasi qorong'u. Uning ayol hamkasblari Silvanalar, birinchi navbatda Danubiya viloyatlari, ba'zan gulli idishlar yoki gulchambarlar ko'tarib tasvirlangan.[57] Uning epiteti orqali Dendrofor, "Daraxt ko'taruvchi", uni rimlanganlar bilan bog'lashgan Attis va Kibelaga sig'inish unda bayramchilar chaqirishdi dendrofori ishtirok etdi.[58]

Imkoniyatli odamlar vasiyatnoma yozib, umrining oxiriga tayyorgarlik ko'rsalar, ular xotirasi va g'amxo'rligini saqlash uchun mablag 'ajratishlari mumkin. (kura) o'limdan keyin, shu jumladan gul-bezak. Bitta epitafda erkakning har yili to'rt marotaba uning sharafiga bag'ishlangan marosimi berilganligi yozilgan: Parentalia, o'liklarni sharaflash uchun rasmiy festival 13 fevral; uning tug'ilgan kuni (natalis vafot etadi ); va a Rosariya va Violariya.[59] Gildiyalar va uyushmalar (kollegiya) ko'pincha a'zolari uchun dafn imtiyozlar taqdim, va ba'zi maxsus shu maqsadda tashkil etildi. Xayr-ehson qiluvchilar kollej a'zolari marhumlarni ulug'laydigan jamoat ovqatlari va gullar kunlarini moliyalashtirishi mumkin.[60] The Eskulapius va Gigiya kolleji Rimda 22-mart kuni binafsha ranglar kuni va 11-may kuni atirgullar kuni nishonlandi va bu gul bayramlari ovqatlanish klublari va dafn jamiyatlari tomonidan kuzatiladigan holatlar orasida tez-tez bo'lib turadi.[61]

Rosaliyaning aksariyat dalillari kelib chiqadi Cisalpine Gaul (shimoliy Italiya ), bu erda unga tegishli bo'lgan yigirma to'rtta lotin yozuvlari topilgan. O'nta lotin yozuvlari Italiya yarim oroli, uchta Makedoniya va to'rttasi Frakiya, Illyria va Pannoniya. Oltita yunoncha yozuvlar Bitiniya, uchta Makedoniyadan va bittadan Bolgariya, Skifiya, Misiya, Frigiya, Lidiya, Osiyo va Arkadiya.[62]

Venera uchun gulli hurmat (1690 yoki undan oldingi), ga tegishli Ibrohim Bruegel

Da Pergamon, Rozaliya 24-26 may kunlari "Avgust kuni" dan boshlangan uch kunlik festivalga o'xshaydi (Avgusti vafot etadi, bir kun Imperatorlik kulti tug'ilgan kunni, nikohni yoki imperatorning yoki uning oilasining boshqa yilligini nishonlash).[63] Uch kunlik Rosaliya, 2-asrning boshlarida qurbongohda yunoncha yozuvda yozilgan Imperial sig'inishni nishonlash uchun tashkil qilingan erkak xori gimnodlari guruhi tomonidan kuzatilgan voqealar qatorida bo'lgan. The eukosmos, bir yil davomida guruhga rahbarlik qilgan "yaxshi tartib" xodimi, birini ta'minlashi kerak edi min (pul birligi) va Rosaliyani avgust oyida nishonlash uchun bitta non, bu mahalliy kalendarda Panemos deb nomlangan oyning birinchi kuni edi.[64] Panemosning ikkinchisida guruh ruhoniysi sharob, dasturxon yozish bilan ta'minladi minva Rosaliya uchun uchta non. The grammatus, kotib yoki ma'mur, a uchun javobgardir min, bitta dasturxon sozlamasi dinar va Rosaliyaning uchinchi kuni uchun bitta non.[65] Guruh a kabi ishlagan ko'rinadi kollegiya Rimda va a'zolari uchun ko'milgan jamiyat sifatida.[66]

Yozuvlar Akmiak, yilda Frigiya, tarkibida Rosaliyani ko'rsating diniy plyuralizm Rim imperiyasining. Milodiy 95 yilda Titus Praxias ismli shaxsni har yili eslashni ta'minlash uchun dafn etish jamiyati uchun vasiyat qilingan. Qabr qabridagi jamoat ovqatidan va a'zolarga pul sovg'alaridan tashqari, maqbarani atirgul bilan bezash uchun 12 dinoriy ajratilishi kerak edi. A'zolik majburiyatlari ham qonuniy, ham diniy jihatdan majburiy edi: jamiyat o'ziga xos xususiyatlarga ega edi tutelary xudolar marhumning istaklarini bajarilishini nazorat qilish va ta'minlash uchun chaqirilganlar. Bular edi Theos Sebastos (= Divus Augustus lotin tilida), Zevs mahalliy va noyob epitet ostida Stodmenos, Asklepius The Najotkor (Rim Aeskulapius, xuddi kollegiya yuqorida), va Efes Artemisasi.[67] Akmiak ham sezilarli darajada bo'lgan Yunon tilida so'zlashadigan yahudiylar jamoasi 215–295 yillarda yozilgan yozuvda yahudiy ayolga eri tomonidan qilingan shunga o'xshash tadbirlar yozilgan. Qabristonni har yili qonuniy ravishda tashkil etilgan mahalla yoki jamoat birlashmasi tomonidan atirgullar bilan bezashni tantanali buyrug'i bilan "agar ular har yili atirgul bilan bezashmasa, ular Xudoning odil sudlovi bilan hisoblashishlari kerak".[68] "U Xudo bilan hisoblashishi kerak" formulasi faqat Frigiyadagi yahudiylar va nasroniylar orasida ishlatilgan va yozuv xristian bo'lishi mumkinligi ehtimoli juda past.[69] Yozuv yahudiylik imperatorlik dunyosining umumiy diniy muhitidan ajralib turmaganligining dalillaridan biridir, chunki a rosatio qabrda hamrohlik qilinadigan qurbonliklarsiz qurilishi mumkin edi. Yahudiy er ko'p xudolarning o'rniga, xotinini hurmat qilgan holda, o'zining ilohiy adolatini talab qildi Xudo va jamoatning urf-odatlarida ishtirok etishni tanladi va ularni "uning yahudiy e'tiqodi uchun ma'qul" usullar bilan moslashtirdi.[70]

Kult haykali atirgul bilan gulchambar qo'yilgan Bacchanal tomonidan Sebastiano Richchi (1659–1734)

Yilda Imperatorlik davrida Makedoniya, bir nechta yozuvlarda Rosaliyani a kabi guruhlarga meros qoldirish orqali moliyalashtiriladigan esdalik festivali sifatida eslatib o'tilgan vicianus, qishloq yoki mahalla uyushmasi (dan vicus ); tiyoz, ko'pincha diniy xususiyatga ega bo'lgan, qonuniy ravishda tuzilgan birlashma; yoki simpozium, bu ma'noda ichimlik va ijtimoiy klub. Yilda Salonika, a. ruhoniysi tiyoz atirgul gulchambarlari uchun to'lash uchun uzumzorlarning uchastkasini vasiyat qildi.[71] Agar dionisiyalik bo'lsa tiyoz tarqatib yuborilgan yoki o'z vazifalarini bajarmagan bo'lsa, mulk jamiyatga o'tishi kerak edi Dryophoroi ("Eman ko'taruvchilar"), yoki nihoyat davlatga.[72] Tashabbus uyushmalaridan tashqari Dionis sirlari, Makedoniyadagi yozuvlar va Frakiya gullarni bezash uchun rekord meros tiasoi ning Diana (Artemis) va ozgina tasdiqlangan frakiyalik xudo yoki qahramon Sourogethes va a qabr qazuvchilar gildiya.[73] Mozorchilar Rosaliya uchun har yili qabr yonida olov yoqishlari kerak edi va boshqa sharoitlarda gulchambarlar o'zlarini qurbonlik sifatida yoqib yuborishlari mumkin.[74] Makedoniyadagi esdalik marosimida bir necha marotaba sodir bo'ladigan o'ziga xos kollokatsiya - bu Rosaliyani yozgan yozuv va yengillik ning Trakiyalik otliq.[75]

Ba'zi olimlarning fikriga ko'ra, Rozaliya urf-odatlari Rim harbiylari tomonidan, xususan Makedoniya va Trakiyadagi o'liklarning Bacchic bayramlarida singib ketgan.[76] Miloddan avvalgi 138 yildagi yunoncha yozuvda atirgulni bezash uchun xayr-ehson yozilgan (rodismos) yilda kengashga Gistriya, zamonaviy Dobruja, Trakya tomonidan joylashtirilgan hudud Bessi, ayniqsa Dionisga bag'ishlanganlar.[77] Makedoniya atirgullari bilan mashhur edi, ammo Rozaliya uchun deyarli barcha dalillar Rim davriga tegishli.[78]

Bacchic marosimlari

Qo'shimcha ma'lumotlar: Anthesteriya

Ivy va uzum uzumlari odatdagi vegetativ atributlar bo'lishiga qaramay Dionis, da Afina atirgullar va binafshalar bezaklar bo'lishi mumkin Dionisiyalik bayramlar. A dan parchada dithyramb shoir Dionisni maqtab Pindar (Miloddan avvalgi V asr) fasllarning ochilishi natijasida hosil bo'lgan gullar manzarasini yaratadi (Xora ), qachon bo'lgan vaqt Semele, Dionisning o'lik onasi, sharaflanishi kerak:

Ariadne (1898) tomonidan Rafaelitgacha John William Waterhouse: uxlab yotgan qizil xalatli Ariadne atirgullar bilan o'ralgan, suzib yuradigan fon esa Tesiusning ketishini ham, leoparlar tomonidan oldindan o'ylab topilgan Dionisning paydo bo'lishini ham anglatadi.[79]

... binafsha libosli Horay xonasi ochilayotganda,
nektar beradigan gullar yoqimli hidli bahorni olib keladi.
Keyin, o'lmas erga tashlanadi
binafsha ranglarning yoqimli treslari va sochlarga o'rnatilgan atirgullar
va qo'shiqlarning ovozlari quvurlar sadosida yangraydi
va xorlar aylananing bosh bog'ichi Semelega keladi.[80]

Dionis demokratning tenglashtiruvchi arbobi edi polis uning guruhi boshlanadi (tiyoz) fuqarolik tashkilotlari uchun namuna taqdim etdi.[81] Dioniziyaning avvalgi davrga oid shaklidemokratik Afina yunon tilidan olingan ba'zi bir olimlarning nomi Anthesteriya edi anthos, "gul, gul",[82] yunonlarning o'zlari kabi, uni gul ochgan uzum bilan bog'lashdi.[83] Milodiy VI asrda Vizantiya antikvar Joannes Lydus festival nomi bilan bog'liq AntusaLotin tilining yunoncha ekvivalenti deb aytgan Flora.[84] Qish va bahor oralig'ida bo'lib o'tgan uch kunlik festival, mavzularni qamrab oldi cheklanganlik va "ochilish", ammo Afinaning dastlabki davrlarida ahamiyatiga qaramay, ko'p jihatlar ishonchni chetlab o'tishmoqda. Bu avvalgi kuzgi vintajdan yangi sharobni ochish tantanasi edi.[85] Birinchi kuni "Dionis" jamoat kortejida g'ildirakli "kema" tomonidan ko'tarilib, qirolning xotinining shaxsiy xonasiga olib ketildi.[86] a marosim birlashmasi u bilan; aniq marosimlar noma'lum, ammo afsona bilan bog'liq bo'lishi mumkin Ariadne Afina tomonidan tashlab ketilgandan keyin Dionisning do'stiga aylandi madaniyat qahramoni Teyus.[87]

Bolaning tantanali sharob idishi (chous) Anthesteriya uchun, Erozni aravani tortib, o'z gulchambariga qo'l uzatadigan tombul bola sifatida tasvirlaydi yaxshi (miloddan avvalgi 410 y.)

Yangi o'sish va o'zgarish mavzusiga muvofiq,[88] Anthesteriya ham a uchun imkoniyat bo'ldi o'tish marosimi go'daklikdan bolalikka qadar - bu yuqori darajani hisobga olgan holda tantana bolalar o'limi qadimiy dunyoda. Uch yoshdan to'rt yoshgacha bo'lgan bolalar kichik ko'zani oldilar (chous) kattalar faoliyatida o'ynaydigan bolalar sahnalari bilan maxsus bezatilgan. The yaxshi o'zi ba'zan gulchambar bilan bezatilgan idishda tasvirlangan. Keyingi yili bolaga sharobning tantanali ta'mi berildi yaxshi.[89] Ushbu idishlar tez-tez bolalar qabrlarida topiladi, ularni erta o'limdan keyin ularni er osti dunyosiga olib boradi.[90]

Anthesteriya ham Rim bilan taqqoslangan Lemuriya,[91] ikkinchi kun bilan tiriklar va o'liklar dunyosi o'rtasidagi to'siq o'tkazuvchan bo'lib, o'liklarning soyalari er yuzida yurishi mumkin bo'lgan zaif vaqt. Uchinchi kuni arvohlar shahardan haydaldi va Hermes Chthonios ("Underworld" Germes ") qurbonliklar don va urug'lar kostryulkalari shaklida qabul qilindi.[92] Soyalarning kimligi noma'lum bo'lsa-da, odatda tinch bo'lmagan o'liklar bevaqt vafot etganlardir.[93]

Sharob va atirgullar

Xotirasini saqlab qolish uchun uzumzorlarga meros qoldirgan Salonika ruhoniysi atirgul gulchambarini kiyish uchun kelgan har bir Dionisiyalik tashabbuskorni talab qildi.[72] Dionisiylar kontekstida sharob, atirgul va qizil rang zo'ravonlik va dafn marosimlari, shuningdek, quvnoq mashg'ulotlar va shodlikdir. Dionis tomonidan tasvirlangan Filostrat (mil. avv. taxminan 250 y.) Ariadne bilan to'qnashganda atirgul gulchambari va qizil yoki binafsha plash kiygan holda,[94] uning uyqusi - bu o'limning bir turi, uni xudoning sevgisi uyg'otadi va o'zgartiradi.[95]

3-asrda leopard terisini kiygan va gulchambariga gullar qo'ygan Dionisning büstü mozaika

The toj Ariadnning Dionis bilan o'lmas birlashishini ramziy ma'noda metamorfozga uchragan yulduz turkumi, Corona Borealis; ba'zi manbalarda toj zargarlik buyumlari diademi edi, lekin Rim dramaturgiga Seneka[96] va boshqalar bu atirgul gulchambaridir. In Astronomika ning Manilius (Milodiy 1 asr) Ariadnning tojida binafsha va qizil gullar - binafshalar, gulsavsarlar, ko'knorlar va "qon bilan qizil rangga aylangan gullab-yashnayotgan gul" bilan bezatilgan va ijobiy ta'sir ko'rsatadi. astrolojik ta'sir gulzorlarni etishtirish, gulchambar to'qish va atirni distillash bo'yicha.[97]

Dionisiya sahnalari keng tarqalgan edi Rim lahitlari va o'lim oldida muhabbatning qat'iyatliligi xizmatchi Cupids yoki Erotes tomonidan aks ettirilishi mumkin.[98] Vergilda Eneyid, binafsha gullar quyilishi bilan to'kilgan Bacchic libatsiyalar dafn marosimlari paytida qahramon Eneylar o'lgan otasi uchun dirijyorlik qiladi.[99] In Dionisiyaka ning Notus (milodiy IV asr oxiri - V asrning boshlari), Dionis go'zal yoshlarning vafoti munosabati bilan qayg'u chekmoqda Ampelos tanani gullar - atirgullar, zambaklar, anemonlar - va uni yuqtirish ambrosiya. O'lgan bolaning metamorfozi birinchi uzumni hosil qiladi, bu esa o'z navbatida inson foydalanishi uchun sharobning o'zgaruvchan moddasini ishlab chiqaradi.[100]

Adonis marosimlari

"O'lgan Adonisning qoni anemonga aylanadi" (Ovid, Met X. 735) (1609), tomonidan Xendrik Goltsius

Adonisning marosimlari (Adoneia ) imperatorlik davrida Rosaliya sifatida qaraldi.[101] Afsonaning bir versiyasida tikan bilan sanchilgan Afrodita oyog'idan qon Adonisning cho'chqa tomonidan o'ldirilganda tanasidan hosil bo'lgan gullarni bo'yaydi.[102] In Adonis uchun nola ga tegishli Bion (Miloddan avvalgi 2-asr), Afroditaning ko'z yoshlari Adonis tomonidan to'kilgan qonga tomchilab mos keladi,

qon va ko'z yoshlar erga gulga aylanadi. Qondan atirgul, ko'z yoshlaridan esa yosh chiqadi shamol gullari.[103]

Mifga ko'ra, Adonis qarindoshlar ittifoqidan tug'ilgan Mirra va uning otasi. Xayolparast nafs, bu Mirra hafsalam pir bo'lgan Afroditaning jazosi edi. Qiz zulmat va niqob bilan otasini aldadi, lekin u aslida kimligini bilib, uning g'azabi uning insoniy qiyofasini o'zgartirdi va u xushbo'y hid ishlab chiqaruvchiga aylandi mirra daraxti. Adonisning vegetativ tabiati uning daraxtdan tug'ilishida namoyon bo'ladi. Bir urf-odat bo'yicha Afrodita chaqaloqni oldi, uni qutiga yashirdi (Larnaks, ko'pincha bu so'zlar uchun ko'krak qafasini nazarda tutadi kul yoki boshqa odam qoldiqlari) va uni yer osti xudosiga berdi Persephone tarbiyalamoq. U go'zal yoshligida o'sganida, Afrodita ham, Persepon ham sevgi va o'lim sohalarini ifodalaydilar. Zevs Adonis yilning uchdan bir qismini sarflash to'g'risida qaror chiqardi samoviy Afrodita, uchinchisi xtonik Persephone, uchinchisi esa o'lim samolyotida. Mavzu Perseponening er osti dunyosi va yuqoridagi dunyo o'rtasida bo'lingan yiliga o'xshaydi.[104]

Uchun J.G. Frazer, Adonis arxetipal vegetativ xudo edi va H.J.Roz Adonisning marosimlarida "sharqona afsonaning tasavvurlarini ko'rdi Buyuk ona va uning sevgilisi, o'simlik o'lganda o'lsa, lekin yana hayotga qaytadi. "[105] Robert A. Segal Adonisning o'limini "muvaffaqiyatsizlikka uchragan deb tahlil qildi"abadiy bola " (puer ) kattalar hayotiga o'tish marosimini yakunlash shahar-davlat va shu tariqa "qarindoshlararo qotillik, qotillik, litsenziya, egalik, turmush qurmaslik va farzandsizlik" ijtimoiy buzilishlarini o'z ichiga olgan ogohlantiruvchi hikoya sifatida.[106]

O'layotgan Adonis, qirg'oqda oyoqlari gulli naqshlar tushirilgan dafn yodgorligida (miloddan avvalgi III asr) qatnashdi.

Ayollar ijro etdi Adoneia tantanali ravishda nola va dirges, ba'zan bo'lishi mumkin bo'lgan o'lik yoshlarning effigyasi oldida divanga yotqizilgan, atir-upa va ko'katlar bilan bezatilgan.[107] Festival doirasida ular ekishdi "Adonis bog'lari ", konteynerda etishtirilgan bir yillik "tez o'sadigan va tez quriydigan sayoz tuproqqa ekilgan urug'lardan",[108] hayot va o'lim tsiklini siqish.[107] Festival ko'pincha tungi tantanalarda bo'lib o'tadigan rasmiy ta'til taqvimining bir qismi bo'lmagan va xususiy marosim Rosaliyada aniq sanasi bo'lmaganga o'xshaydi.[109] Bayram turli joylarda turlicha bo'lishiga qaramay, odatda ikki bosqichdan iborat edi: Afrodita va Adonis o'rtasidagi muhabbatni nishonlashda nikoh bazmi kabi quvnoq xursandchilik va uning o'limi uchun marosim motamlari. Bayram uchun bezaklar va marosim tuzoqlari, shu jumladan idish-tovoq bog'lari dafn marosimiga o'zgartirildi yoki qurbonlik sifatida yo'q qilindi: gulchambar divan yotoqxonaga aylandi bier (protez ).[110]

Afrodita va Adonisning juftlikdagi ikonografiyasini ko'pincha yunon san'atida Dionis va Ariadne tasvirlaridan farqlash qiyin.[111] Yunoncha juftlik sevgining dabdabasi va zavqidan bahramand bo'lishidan farqli o'laroq, Rim rasmlari va lahzalari deyarli har doim yo'qolgan paytda o'zlarining muhabbatlarini ramkaga soladilar, Afrodita qo'lida Adonisning o'limi bilan bog'liq savol tug'diradi. tirilish.[112] Da Madaba, imperatorlik shahri Arabiston viloyati hozirgi kunda Iordaniya, bir qator mifologik mozaikalarda Afrodita va Adonisning taxtga o'tirgan sahnasi bor, unda oltita Erotes va uchta ishtirok etgan Charites ("Graces"). Ularning yoniga ag'darilgan atirgullar savati Rosaliyani nazarda tutgan deb qaraldi.[113]

Yilda kech antik davr, Rosaliyada tashkil etilgan adabiy asarlar - xoh u voqeani ijro etish uchun mo'ljallangan bo'lsin, xoh bu voqeani xayoliy muhit sifatida ishlatishda - "Adonis uchun nola" ni o'zlarining mavzusi sifatida qabul qilish.[114] Rozaliyaning Rim festivali uchun umumiy til va gullarning gul tomonlari Adoneia o'xshash yoki taqqoslanadigan amaliyotlarni ko'rsatishi mumkin va to'g'ridan-to'g'ri assimilyatsiya qilish shart emas.[115]

Attis binafsha ranglari

Attis bilan yonboshlab tojni yoyish, ushlab turish cho'ponning egri (zararlangan) chap qo'lida va o'ngdagi anorlarda, qarag'ay konuslarida va bug'doyda: uning qisman yalang'ochligi uning to'liq kastratsiyadan o'tganligini ko'rsatadi va unga suyanadigan soqolli bosh katta ehtimol daryo xudosi Sangariusdir.[116] yoki Gallus[117] (dan.) Ostiya, Milodiy II asr)

Hukmronligidan Klavdiy ga Antoninus Pius, a mart oyida "muqaddas hafta" Magna Mater ("Buyuk ona", shuningdek, tanilgan) marosimlari uchun ishlab chiqilgan Mater Deum, "Xudolarning onasi" yoki Kibele ) va Attis.[118] 15 mart kuni o'tkazilgan dastlabki festival cho'ponlar yoki chaqaloq Atisning Kibelasi tomonidan Frigiya daryosi qamishzorlari orasidan topilganligini belgilab berdi. Uzluksiz marosimlar 22 mart kuni Arbor intrat ("Daraxt kiradi") va 27 yoki 28 martgacha davom etdi. Kun uchun Arbor intrat, dendroforlar kolleji ("daraxt ko'taruvchilar") Attitning rasmini bog'lab qo'ygan, "jasad kabi jun bintlarga" o'ralgan va binafsha gulchambarlar bilan bezatilgan qarag'ay daraxtini olib yurishgan.[119] Lucretius (Miloddan avvalgi 1-asr) Magna Materning ekstatik yurishida atirgullar va boshqa nomlanmagan gullarni eslatib o'tadi Megalensiya aprel oyida.[120]

Eng jonli va murakkab hisob[121] Binafsha Attis afsonasidagi zo'ravonlikdan qanday yaratilganligi haqida Christian apolog Arnobius (vaf. taxminan 330),[122] uning versiyasi Rim imperatorligi davridagi diniy amaliyotni eng yaxshi aks ettiradi.[123] Hikoya Frigiyadagi tosh bilan boshlanadi Agdustoshlar odamlarga aylangan Pirra va Deucalion dan keyin dunyoni qayta to'ldirish To'fon. Xudolarning Buyuk Onasi odatdagidek u erda dam oldilar va u erda shahvatparastlar uni o'ldirdilar Yupiter. Maqsadiga erisha olmagan xudolar shohi toshda onanizm bilan o'zini tinchitdi,[124] undan Acdestis yoki tug'ilgan Agdistis, zo'ravon va juda kuchli germafroditik xudo. Maslahatlardan so'ng, xudolar tayinlaydi kura bu jasoratning Liber, Rim xudosi bilan aniqlangan Dionis: kura turli xil "g'amxo'rlik, tashvish, davo, nazorat" degan ma'noni anglatadi.

Liber tuzoqni o'rnatadi, Agdistisning sevimli buloq suvi o'rnini bosadi (toshlar ) toza sharob bilan. Vaqt o'tishi bilan zarurat chanqagan Agdistisni ichishga majbur qiladi, tomirlar qonni emiradigan suyuqlikni so'rib oladi. Tuzoq otilib chiqadi: sochlardan to'qilgan ilmoq, Agdistisni jinsiy a'zolar tomonidan to'xtatib turadi va ozod bo'lish uchun kurash o'z-o'zini kastratsiyaga olib keladi. Qondan anor daraxti chiqadi, uning mevasi shunchalik jozibali Nana, daryo xudosining qizi Sangarius, sinu reponit-da, Imperial davridagi tibbiy va nasroniy yozuvlarida "qin ichiga joylashtirilgan" degan evfemizm.[125] Nana otasiga g'azablanib, homilador bo'lib qoladi. U uni shikastlangan mol sifatida qamab qo'yadi va uni ochlikdan o'ldiradi. U Xudoning onasi tomonidan taqdim etilgan mevalar va boshqa vegetarian taomlari bilan tirik saqlanadi. Chaqaloq tug'ilganda, Sangarius shunday bo'lishini buyuradi ta'sirlangan, lekin u tomonidan kashf etilgan va tarbiyalangan echki. Bu bola Attis.

Ion Raqsga tushgan qiz (1902) tomonidan Jon Uilyam Godvard, xuddi shu binafsha rang gulchambarning sherigi Binafsharang gulchambar va za'faron rangidagi xalat bilan, afsonani klassifikatsiyalashga misol Viktoriya rassomi[126]

Ajablanarli darajada chiroyli Attis xudolarning onasi va uning doimiy hamrohi bo'lgan Agdistis tomonidan katta bo'lib o'sadi. Sharobning ta'siri ostida Attis ovchi sifatida erishgan yutuqlari ilohiy marhamat tufayli ekanligini anglab etdi - bu nega sharob dinda taqiqlanganligini tushuntiradi. (nefalar ) uning muqaddas joyida va kiradiganlar uchun ifloslanish deb hisoblagan. Attisning Agdistis bilan munosabati quyidagicha tavsiflanadi infamis, obro'siz va ijtimoiy marginalizatsiya. Frigiya qiroli Midas, bolani qutqarishni istab (puer), qizi bilan turmush quradi va shaharni yopib qo'yadi. The Mater DeumBiroq, Attisning taqdirini biling (fatum): agar u nikoh rishtalaridan qochgan taqdirdagina, u zarardan saqlanib qoladi. Xudoning onasi ham, Agdistis ham ziyofatni buzishadi va Agdistis uyg'un mehmonlar orasida g'azab va jinnilikni tarqatadi. Xristian manbasida faqat og'ir bir parchada paydo bo'lgan tafsilotda,[127] ismli odamga kanizakning qizi Gallus ko'kraklarini kesib tashlaydi. A kabi g'azablanmoqda bakka, Keyin Attis o'zini qarag'ay daraxtining ostiga tashlaydi va Agdistisga qurbonlik sifatida jinsiy a'zolarini kesib tashlaydi. U qon to'kib o'ldi va qon oqimidan binafsha gul tug'ildi.

Xudo Onasi jinsiy a'zolarni "o'liklarning kiyimiga" o'rab oladi va ularni er bilan qoplaydi, bu afsonaning bir jihati, hayvonlar hayvonlarni qurbonlik qilish bilan bog'liq yozuvlar bilan tasdiqlangan. skrota.[128] Bo'lajak kelin, uning ismi Violet (yunoncha) Ia), Attisning ko'kragini jun bantlar bilan qoplaydi va Agdistis bilan motamdan keyin o'zini o'ldiradi. Uning o'layotgan qoni binafsha binafsha rangga o'zgartirildi. Xudo Onasining ko'z yoshlari bodom daraxtiga aylanadi, bu o'limning achchiqlanishini anglatadi. Keyin u qarag'ay daraxtini o'zining muqaddas g'origa olib boradi va Agdistis unga qo'shilib motam tutadi va Yupiterdan Attisni hayotga qaytarishini iltimos qiladi. Bunga yo'l qo'yolmaydi; ammo taqdir tanani hech qachon chirimasligiga, sochlarning o'sib borishiga va kichik barmoq abadiy harakatda yashash va to'lqinlanish.

Arnobius o'z vaqtida Attis sharafiga qilingan marosimlar afsonaning o'zi aytganidek qayta tiklanishini, aksariyati faqat imperatorlik davrida, xususan Dionisiylik kulti bilan to'qnashuv va kesishmalarda rivojlanganligini aniq aytadi.[129] Uchun Arbor intrat 22 mart kuni dendroforlar Attisning binafsha rang gullar daraxtini Magna Mater ibodatxonasiga olib borishdi. Kabi violae vafot etadi, kuni Arbor intrat binafshalar qabrlarga sochilganini esladi Parentalia.[130] Ertasi kuni dendroforlar shovqinli musiqa bilan daraxtga dam qo'yishdi Korybantlar, qurolli raqslar ijro etgan yoshlar va mifologiyada go'dak xudolariga qo'riqchi bo'lib xizmat qilishgan.[131] Uchun Sanguinis o'ladi ("Qon kuni") 24 mart kuni bag'ishlovchilar motam g'azabida o'zlarini yirtib tashladilar, o'liklarning "oziqlanishi" deb istagan qon bilan effigyni sochdilar. Ba'zi izdoshlar, bu kunga kelib o'zlarini kastratsiya qilishlari mumkin edi galli, xizmatkor Kibele ruhoniylari. Attis keyingi "Muqaddas Kecha" uchun uning "qabriga" joylashtirildi.[132]

Ga binoan Sallustius, daraxtni kesish bilan birga edi ro'za, "go'yo biz naslning keyingi taraqqiyotini kesib tashlaganimiz kabi; bundan keyin biz qayta tug'ilgandek sut bilan oziqlanamiz; bu quvonch va gulchambarlar bilan davom etadi va bu xudolarga yangi ko'tarilish edi."[133] Gulchambarlar va xursandchilik (Xilariya ) 25 mart kuni sodir bo'lgan vernal tenglik ustida Julian taqvimi, qachon Attis qaysidir ma'noda "qayta tug'ilgan" yoki yangilangan.[134] Ba'zi dastlabki nasroniy manbalari bu kunni Isoning tirilishi,[135] va Damaskius buni "ozodlik" deb bilgan Hades ".[136] Bir kunlik dam olishdan keyin (Requietio), marosimlarni tozalash (Lavatio) Magna Mater 27 mart kuni amalga oshirildi.[137] 28 mart kuni boshlangan kun bo'lishi mumkin sirlar Magna Mater va Attis Vatikan.[138]

Garchi olimlar Attisni "o'layotgan va o'sayotgan o'simlik xudosi" ning qat'iy sxemasi doirasida ko'rishga moyil bo'lsalar-da, vegetatsiya davri uning marosimlarining dafn marosimida ajralmas bo'lib qolmoqda.[139] Qarag'ay daraxti va qarag'ay konuslari Attisning ikonografiyasiga Rim davrida ularning sig'inish ahamiyati bilan tanishtirildi.[140] Afinadagi Attisning 1 yoki 2 asrlarga oid haykalida anor, qarag'ay konuslari va binafsha binafsharang bo'lgan savat bor.[141]

Bahor bayramlarining vegetativ jihatlari

Perceived connections with older spring festivals that involved roses helped spread and popularize the Rosalia, and the private dies violae yoki violaris of the Romans was enhanced by the public prominence of Arbor intrat marosimlar.[142] The conceptual link between Attis and Adonis was developed primarily in the later Imperial period.[143] The Neoplatonik faylasuf Porfiriya (d. ca. 305 AD) saw both Adonis and Attis as aspects of the "fruits of the earth":

Adonisning uyg'onishi (1900) tomonidan Waterhouse

Attis is the symbol of the blossoms which appear early in the spring, and fall off before the complete fertilization; whence they further attributed castration to him, from the fruits not having attained to seminal perfection: but Adonis was the symbol of the cutting of the perfect fruits.[144]

Porphyry linked Attis, Adonis, Korē (Persephone as "the Maiden", influencing "dry" or grain crops), and Dionysus (who influences soft and shell fruits ) as deities of "seminal law":

For Korē was carried off by Pluton, that is, the sun going down beneath the earth at seed-time; but Dionysus begins to sprout according to the conditions of the power which, while young, is hidden beneath the earth, yet produces fine fruits, and is an ally of the power in the blossom symbolized by Attis, and of the cutting of the ripened corn symbolized by Adonis.

Roses and violets are typically among the flower species that populate the meadow from which Persephone was abducted as Pluton 's bride.[145] The qiyosiy mifolog Mircha Eliade saw divine metamorphosis as a "flowing of life" between vegetal and human existence. When violent death interrupts the creative potential of life, it is expressed "in some other form: plant, fruit, flower". Eliade related the violets of Attis and the roses and anemones of Adonis to legends of flowers appearing on battlefields after the deaths of heroes.[146]

Harbiy Rosaliae

The Eagle of a military standard on a Roman soldier's funerary monument (1st–2nd century AD)

The Rim qo'shini celebrated the Rosaliae signorum, when the military standards (signa) were adorned with roses in a iltijo, on two dates in May. A.H. Hooey viewed the military rose festival as incorporating traditional spring festivals of vegetative deities.[147] The festival is noted in the Feriale Duranum, a papyrus calendar for a kohort joylashgan Dura-Evropa hukmronligi davrida Severus Aleksandr (224–235 AD). The calendar is thought to represent a standard diniy taqvim issued to the military.[148] The day of the earlier of the two Rosaliae is uncertain because of the fragmentary text, but coincided with the period of the Lemuriya, archaic festival days on May 9, 11, and 13[149] for propitiating shades (lemures yoki larvae) of those whose untimely death left them wandering the earth instead of passing into the underworld. The ceremonies of the Lemuria, in the vivid description of Ovid, featured the spitting of black beans as an especially potent apotropaik imo-ishora.[150] Ikkinchisi Rosaliae signorum sodir bo'lgan 31 may, the day before the Kalends of June.[151] The feast day of June 1, devoted to the tenebrous Dea Karna ("Flesh Goddess" or "Food Goddess") and commonly called the "Bean Kalends " (Kalendae Fabariae),[152] may have pertained to rites of the dead[153] and like the days of the Lemuria was marked on the calendar as nefastus, a time when normal activities were religiously prohibited. In the later Empire, the Rosaliae signorum coincided with the third day of the "Bean Games" (Ludi Fabarici) held May 29 – June 1, presumably in honor of Carna.[154] A civilian inscription records a bequest for rose-adornment "on the Carnaria", interpreted by Mommsen as Carna's Kalends.[155]

Sculpture from a 3rd-century military headquarters at Coria, in Roman Britain (Kembrij, Northumberland ), has been interpreted as representing the Rosaliae.[156] A 3rd-century inscription from Mogontiakum (present-day Mainz), in the province of Germaniya Superior, records the dedication of an altar to the Dahiy of the military unit (a senturiya ), on May 10. Although the inscription does not name the Rosaliae, the date of the dedication, made in connection with Imperial cult, may have been chosen to coincide with it.[157]

Military standards are arrayed (top center left) huzurida a lustral sacrifice, a yengillik panel from Trajan ustuni; under the tree are military trumpeters playing tubae va kornua

The Rosaliae signorum were part of devotional practices characteristic of the army surrounding the military standards. The Imperial historian Tatsitus says that the army venerated the standards as if they were gods, and inscriptions record dedications (vota ) made on their behalf.[158] The day on which a legion marked the anniversary of its formation was the natalis aquilae, "the Eagle's birthday," in reference to the Rim burguti of the standard.[159] All Roman military camps, shu jumladan yurish lagerlari, were constructed around a central altar where daily sacrifices were made, surrounded by the standards planted firmly into the ground[160] and by images of emperors and gods.[161] Decorated units displayed gold and silver wreaths on their standards that represented the bestowal of living wreaths, and the Eagles and other signa were garlanded and anointed for nafslar, ceremonies for beginning a campaign, victories, crisis rituals, and Imperial holidays.[162] Among these occasions was the wedding of the emperor Honorius in 398 AD, described in an epitalamium tomonidan Klaudian: the military standards are said to grow red with flowers, and the standart tashuvchilar and soldiers ritually shower the imperial bridegroom with flowers purpureoque ... nimbo, in a purple halo.[163] In recounting a mutiny against Klavdiy in 42 AD, Suetonius avers that divine agency prevented the Eagles from being adorned or pulled from the earth to break camp by the legionerlar who had violated their oath (sacramentum ); reminded of their religious obligation, they were turned toward repentance (in paenitentiam religione conversis).[164] Xristian apologlari saw the veneration of the signa as central to the religious life of the Roman military va Minucius Felix tried to demonstrate that because of the xoch shaklida shape, the soldiers had been worshipping the Xristian xoch without being aware of it.[165]

Most evidence of the Rosalia from the Empire of the 1st–3rd centuries points toward festivals of the dead. Soldiers commemorated fallen comrades,[166] and might swear an oath on the erkaklar (deified spirits) of dead brothers-in-arms.[167] Hooey, however, argued against interpreting the Rosaliae signorum as a kind of "poppy day". Roman rose festivals, in his view, were of two distinct and mutually exclusive kinds: the celebratory and licentious festivals of spring, and the somber cult of the dead. Transferred from the civilian realm, the old festivals of vegetative deities were celebrated in the Eastern Empire in a spirit of indulgence and luxury that was uniquely out of keeping with the public and Imperial character of other holidays on the Feriale Duranum.[168] Bu "karnaval " view of the Rosaliae signorum was rejected by Uilyam Seston, who saw the May festivals as celebratory lustrations after the first battles of the military campaigning season, coordinate with the Tubilustrium that fell on May 23 between the two rose-adornments.[169]

Corybantes accompanying Cybele and Attis (detail from the Parabiago plate; embossed silver, ca. 200–400 AD, found in a tomb near Milan, hozir Milan arxeologik muzeyi )

The Tubilustrium was itself a purification ritual. Attested on calendars for both March 23 and May 23, it was perhaps originally monthly. The lustration (lustrum ) was performed regarding the annunciatory trumpets (tubi yoki tubae, a long straight trumpet, and kornua, which curved around the body) that were used to punctuate sacral games and ceremonies, funerals,[170] and for signals and timekeeping in the military.[171] The March 23 Tubilustrium coincided in the city of Rome with a procession of Mars ' armed priests the Salii, who clanged their sacred shields. In the later Empire, it had become assimilated into the "holy week" of Attis, occurring on the day when the tree rested at the Temple of the Magna Mater. As a pivotal point in the cycle of death/chaos and (re)birth/order, the day brought together noise rituals of wind and percussion instruments from different traditions, the clamor of the Korybantlar yoki Kurset who attended Cybele and Attis, and Roman ceremonies of apotropaic trumpet blasts or the beating of shields by the Salian priests,[172] who were theologically identified with the Kurset miloddan avvalgi I asrdayoq.[173]

Tacitus records the performance of noise rituals on the trumpets by the military in conjunction with a oy tutilishi.[174] The practice is found in other sources in a civilian context.[175] Yorg Rüpke conjectures that the tubae were played monthly "to fortify the ozayib borayotgan oy (Luna )", one nundinal tsikl keyin to'linoy ning Ides, since the Roman calendar was originally oy.[176] The signa and the trumpets were closely related in Roman military culture, both ceremonially and functionally, and on Trajan ustuni the trumpets are shown pointing toward the standards during lustrations.[177] Although Latin lustratio is usually translated as "purification", lustral ceremonies should perhaps be regarded as realignments and restorations of good order: "lustration is another word for maintaining, creating or restoring boundary lines between the centric order and the ex-centric disorder".[178] The Rosaliae of the standards in May were contingent on yolvorishlar, a broad category of propitiatory ritual that realigned the community, in this case the army, with the pax deorum, the "treaty" or peace of the gods, by means of a procession, public prayers, and offerings. The military calendar represented by the Feriale Duranum belgilangan yolvorishlar also for March 19–23, the period that began with the Quinquatria, an ancient festival of Minerva and Mars, and concluded with a Tubilustrium. The Uchinchi asr inqirozi prompted a revival and expansion of the archaic practice of iltijo in connection with military and Imperial cult.[179]

Kalendarda

Illustration of the month of May based on the Calendar of Filocalus (354 AD), which places the Rosalia on May 23[180]

In the later Empire, rose festivals became part of the iconography for the month of May. The date would vary locally to accommodate the blooming season.[181] For month allegories in mozaika, May is often represented with floral wreaths, the filetkalar or ribbons worn for sacrifice, and wine amforalar.[182] May (Latin Mayus ) began in the middle of the Ludi Florae, a series of games in honor of the goddess Flora that opened April 28 of the Julian taqvimi and concluded May 3. Flora was a goddess of flowers and blooming, and her festivities were enjoyed with a notable degree of sexual liberty. In the 2nd century AD, Philostratus connects rose garlands with Flora's festival.[183] A Greek epigram from the Palatin antologiyasi has May personified announce "I am the mother of roses".[184]

Among explanations for the month's name was that it derived from Maia, a goddess of growth or increase whose own name was sometimes said to come from the adjective maius, "greater". Maia was honored in May with her son Merkuriy (Greek Hermes), a god of boundaries and commerce, and a conductor of souls to the afterlife. The theological identity of Maia was capacious; she was variously identified with goddesses such as Terra Mater ("Mother Earth"), the Good Goddess (Bona Dea ), the Great Mother Goddess (Magna Mater, a title also for Cybele), Ops ("Abundance, Resources"), and Carna, the goddess of the Bean Kalends on June 1.[185] Roses were distributed to the Arval birodarlar, an archaic priesthood of Rome, after their banquets for the May festival of Dea Dia.[186]

The Soul of the Rose (1908), Psyche in the garden of Cupid by Waterhouse

Although the month opened with the revelry of Flora, in mid-May the Romans observed the three-day Lemuria for propitiating the wandering dead.[187] The season of roses thus coincided with traditional Roman festivals pertaining to blooming and dying. The demand for flowers and perfumes for festal and funerary purposes made gulchilik an important economic activity, especially for the rich estates of Rim Afrika.[188] One Roman tomb painting shows vendors displaying floral garlands for sale.[189] Following the Lemuria, Mercury and Maia received a joint sacrifice during a merchants' festival on the Ides of May (the 15th). The Calendar of Filocalus (354 AD) notes a flower fair on May 23, when the roses come to market (macellus ).[190] The month is illustrated for this calendar with a king of roses: a young man, wearing the long-sleeved robe called a dalmatika, carries a basket of roses on his left arm while holding a single flower in his right hand to smell.[182] In other pictorial calendars, the Rose King or related imagery of the rose festival often substitutes for or replaces the traditional emblem of Mercury and his rites to represent May.[191]

Ovidda Fasti, a poem about the Roman calendar, Flora as the divine representative of May speaks of her role in generating flowers from the blood of the dead: "through me glory springs from their wound".[192] Ovid shows how her mythology weaves together themes of "violence, sexuality, pleasure, marriage, and agriculture."[193] The Romans considered May an unpropitious month for weddings, a postponement that contributed to the popularity of June as a bridal month. Each day of the Lemuria in mid-May was a Religiosus vafot etadi, when it was religiously prohibited to begin any new undertaking, specifically including marriage "for the sake of begetting children".[194]

In the 4th century, the Rosalia was marked on the official calendar as a public holiday at the amphitheater with games (ludi ) and theatrical performances. Dan taqvim Capua dating to 387 AD notes a Rosariya at the amphitheater on May 13.[195]

Xristianlashtirish

Our Lady in a Garland of Roses (mid-17th century) by Giovanni Battista Salvi da Sassoferrato, tasvirlangan Madonna ikkalasi bilan crown of stars and a rose wreath

In the 6th century, a "Day of Roses" was held at G'azo, ichida Sharqiy Rim imperiyasi, as a spring festival that may have been a Christianized continuation of the Rosalia.[196] John of Gaza ikkitasini yozdi anakreontik poems that he says he presented publicly on "the day of the roses", and deklaratsiyalar by the Christian rhetorician Prokopiy[197] and poetry by G'azolik Xorius are also set at rose-days.[198]

Roses were in general part of the imagery of Early Christian funerary art,[199] as was ivy.[200] Shahidlar were often depicted or described with flower imagery, or in ways that identified them with flowers.[29] Nolalik Paulinus (d. 431) reinterpreted traditions associated with the Rosalia in Christian terms for his natal poem (natalicium) haqida Saint Felix of Nola, set January 14:[201]

Sprinkle the ground with flowers, adorn the doorways with garlands. Let winter breathe forth the purple beauty (purpureum) of spring; let the year be in flower before its time, and let nature submit to the holy day. For you also, earth, owe wreaths to the martyr’s tomb. But the holy glory of the doorway to the heavens encircles him, flowering with the twin wreaths of war and peace.[202]

At one of the earliest extant martyr shrines, endi qismi Sant'Ambrogio bazilikasi in Milan, a mosaic portrait dating perhaps as early as 397–402 depicts Aziz Viktor within a classically inspired wreath of lilies and roses, wheat stalks, grapes on the vine, and olive branches: the circular shape represents eternity, and the vegetation the four seasons.[203] In the Christian imagination, the blood-death-flower pattern is often transferred from the young men of Classical myth—primarily Adonis and Attis—to female virgin martyrs.[204] Meridalik Eulaliya tomonidan tasvirlangan Prudentius (d. ca. 413) as a "tender flower" whose death makes her "a flower in the Church's garland of martyrs": the flow of her purple blood produces purple violets and blood-red crocuses (purpureas violas sanguineosque crocos), which will adorn her yodgorliklar.[205] The rose can also symbolize the blood shed with the loss of virginity in the sacrament of marriage.[206]

Drawing on the custom of floral crowns as awards in the Classical world, Kipriy (d. 258) described heavenly crowns of flowers for the faithful in the afterlife: lilies for those who did good works, and an additional crown of roses for martyrs.[207] In one early ehtiros narrative, a martyr wears a rose crown (corona rosea) at a heavenly banquet.[208] Uchun Ambrose (d. 397), lilies were for virgins, violets for confessors of the faith, and roses for martyrs;[209] of these, the imagery of the violet has no biblical precedent.[210] In a passage influenced by Vergilian imagery, Ambrose enjoins young women who are virgins to "Let the rose of modesty and the lily of the spirit flourish in your gardens, and let banks of violets drink from the spring that is watered by the sacred blood."[211] In the description of Jerom (d. 420), "a crown of roses and violets" is woven from the blood of Avliyo Paula shahidlik.[212] Dante later entwines Classical and Christian strands of imagery in his Paradiso, linking the garland of saints with the rose toj of Ariadne, whom he imagines as translated to the heavens by it.[213] "Atamasidan foydalanishtasbeh "(Lotin rosarium, a crown or garland of roses) for Marian namoz munchoqlari was objected to by some Christians, including Alanus de Rupe, because it evoked the "profane" rose wreath of the Romans.[214]

Yodgorlik Lisieuxning Terezi, inscribed with her motto "After my death, I will let fall a shower of roses"; she wears a floral wreath[215]

Miracles involving roses are ascribed to some female saints, while roses are a distinguishing attribute of others ranging from Rim Sesiliyasi (d. 230 AD) to Lisieuxning Terezi (vafot etgan 1897).[216] The floral iconography of Saint Cecilia includes a rose or floral wreath, a palm branch, and a "tall sprig of almond leaves and flowers in her hand".[217] Roses are among the most characteristic attributes of Maryam, Isoning onasi, who became associated with the month of May,[218] replacing goddesses such as Maia and Flora in the popular imagination.[219] Mary is described in early Christian literature as a rosa pudoris, "rose of modesty",[220] and a rose among thorns.[221] In O'rta yosh, roses, lilies and violets become the special flowers of Mary.[222] In some Catholic cultures, offerings of flowers are still made to Mary, notably in Mexican devotional practices uchun Bizning Gvadalupa xonimimiz.[223] Orolida Pollap, yilda Mikroneziya, offerings of flowers before the cult statue of Mary are added to ceremonies of the rosary especially for May; the concept of the rosary as a "crown of roses" complements local traditions of wearing a flower wreath on the head.[224] Latin hymns and litanies from the earliest Christian era name Mary as the "Mystical Rose" and by an array of rose epithets, or as a garden that bore Masih in the image of the rose.[225] Ambrose declared that the blood of Christ in the Eucharist, isbotlangan from wine, was to be perceived as a rose.[226] The five-petaled rose became a symbol of the Masihning beshta jarohati and hence of the Tirilish.[227]

The living bodies and corpses of saints were said to exude a floral "odor of sanctity" as one of the most notable signs of their holiness.[228] Papa Gregori I described the fragrance and luminosity of the rose as issuing from the blood of martyrs.[229] Herman of Steinfeld exhaled a fragrance "like a garden full of roses, lilies, violets, poppies and all kinds of fragrant flowers" as he prayed.[230] The bedridden virgin Lydwine of Schiedam was said to consume nothing but spiced wine, and wept "fragrant tears of blood" which she called her roses; when these dried on her cheeks overnight, they were gathered and kept in a box. The omen of her death was the opening of roses on a mystical rosebush, and when she was buried the bag of rose blood-tears was used as her pillow.[231] Flowers, blood, and relics were interwoven in the imagery of Christian literature from the earliest period.[232]

Rose Sundays

Roziyning bayrami (1506) tomonidan Dyurer, an qurbongoh for a rosary birodarlik: a whole community is joined together in receiving white and red rose crowns[233]

Two days of the liturgik taqvim have been called "Rose Sundays". The fourth Sunday of Ro'za sifatida ham tanilgan Dominica de rosa ("Rose Sunday"), when gul rangli kiyimlar may replace the purple or violet penitentsial vestments of the season. Shu kuni Papa blesses the Oltin atirgul, a marvarid in the shape of a rose.[234] Benedict, a kanon ning Aziz Pyotr Bazilikasi in the mid-12th century, recorded a ceremony on this day when the Pope carried a moss-wrapped rose in the Xoch stantsiyalari.[235] A 19th-century ecclesiastical leksikograf saw the Golden Rose as having functions analogous to the Golden Bough, with Mary assuming attributes of Persephone.[236]

In medieval texts, Hosil bayrami ba'zan deyiladi Rozaliya yoki Rosata Pascha.[237] An'anaviy Rumin name for Pentecost is Rusalii, deb o'ylagan Rozaliya.[238] Yilda medieval Rome, a Dominica de Rosis (Sunday of Roses) or Pascha rosarum yoki rosatum was celebrated for the oktava ning Osmonga ko'tarilish bayrami, the Sunday before Hosil bayrami. The Pope delivered a sermon about the Muqaddas Ruh on this day at the Santa Maria Rotunda, bazilika dan aylantirildi ancient Pantheon. Rose petals were showered through the okulus in the dome to represent the descent of the tongues of flame.[239] After dinner, a ludus Carnelevaris was celebrated with drinking among the knights and soldiers, followed by performances which featured the killing of animals that symbolized various sins.[240] The custom of scattering roses for Pentecost spread, and continued to the modern era, as reflected in feast names such as the Pasqua di rose yoki Pâques rosées.[241] Churches might be built with a "Holy Ghost hole " in the ceiling for the release of rose petals or white doves.[242] Some sources from the 19th and early-20th centuries saw Rose Sundays as a Christianized form of Rosalia.[243]

Shuningdek qarang

Adabiyotlar

  1. ^ C.R. Phillips, Oksford klassik lug'ati, edited by Simon Hornblower and Anthony Spawforth (Oxford University Press, 1996, 3rd edition), p. 1335; CIL 6.10264, 10239, 10248 and others. Boshqa ismlar kiradi dies rosalis, dies rosae va dies rosaliorum: CIL 3.7576, 6.10234, 6.10239, 6. 10248.
  2. ^ Peter Toohey, "Death and Burial in the Ancient World," in Qadimgi Yunoniston va Rimning Oksford Ensiklopediyasi (Oxford University Press, 2010), pp. 366–367.
  3. ^ Christina Kokkinia, "Rosen für die Toten im griechischen Raum und eine neue Rodismos Bithynien," Museum Helveticum 56 (1999), pp. 209–210, noting that rhodismos bilan tasdiqlangan nashrida ga teng rosaliya.
  4. ^ Patricia Cox Miller, The Corporeal Imagination: Signifying the Holy in Late Ancient Christianity (University of Pennsylvania Press, 2009), p. 74.
  5. ^ Krister Henriksen, A Commentary on Martial, Epigramlar 9-kitob (Oksford universiteti matbuoti, 2012), p. 59, citing Pliniy, Tabiiy tarix 21.64–65 and Harbiy, Epigramma 9.11.1.
  6. ^ Marcu Beza, Paganism in Romanian Folklore (J.M. Dent, 1928), p. 43.
  7. ^ A.S. Hooey, "Rosaliae signorum," Garvard diniy sharhi 30.1 (1937), p. 30; Kathleen E. Corley, Marantha: Women's Funerary Rituals and Christian Origins (Fortress Press, 2010), p. 19; Kokkinia, "Rosen für die Toten," p. 208; on Jewish commemoration, Paul Trebilco, Jewish Communities in Asia Minor (Cambridge University Press, 1991, 1994 reprint), pp. 78–81.
  8. ^ Cristina Mazzoni, Saint Hysteria: Neurosis, Mysticism, and Gender in European Culture (Cornell University Press, 1996), p. 142.
  9. ^ Mireille M. Lee, "Clothing," in The Oxford Encyclopedia of Ancient Greece and Rome, p. 231.
  10. ^ C. M. Bowra, Greek Lyric Poetry: From Alcman to Simonides pp. 108, 191, 264; Patrisiya A. Rozenmeyer, The Poetics of Imitation: Anacreon and the Anacreontic Tradition (Cambridge University Press, 1992), passim.
  11. ^ Henriksen, A Commentary on Martial, p. 59, citing Tsitseron, Tusculan Disputations 5.73.
  12. ^ Karen K. Xersch, Rim to'yi: antik davrda marosim va ma'no (Kembrij universiteti matbuoti, 2010), p. 91.
  13. ^ Henriksen, A Commentary on Martial, p. 256, citing Harbiy 9.60; Pliniy, Tabiiy tarix 21.14; Ovid, Metamorfozalar 12.410; Statius, Silva 1.2.22. Lyudvig Fridlender, Roman Life and Manners under the Early Empire, translated by A.B. Gough (Routledge,1913), vol. 4, pp. 144–145, notes that Roman violae may at times refer to the devor gullari yoki Aksiya as well as violets.
  14. ^ Monica S. Cyrino, Afrodita (Routledge, 2010), p. 36; Corinth. The Sanctuary of Demeter and Kore: Terracotta Figurines of the Classical, Hellenistic, and Roman Periods (ASCSA, 2000), vol. 18, pt. 4, pp. 124–125.
  15. ^ Ada Cohen, "Mythic Landscapes of Greece," in The Cambridge Companion to Greek Mythology (Kembrij universiteti matbuoti, 2007), p. 316.
  16. ^ Cyrino, Aphrodite, pp. 35–39; Ian Du Quesnay, "Three Problems in Poem 66," in Catullus: Poems, Books, Reader (Cambridge University Press, 2012), pp. 165–166.
  17. ^ M.L. G'arb, "The Anakreontea, "ichida Hellenica: Selected Papers on Greek Literature and Thought. Volume II: Lyric and Drama (Oxford University Press, 2013), vol. 2, pp. 388–389; Laura Miguélez-Cavero, Poems in Context: Greek Poetry in the Egyptian Thebaid 200–600 AD (Walter de Gruyter, 2008), pp. 130–134 (on the wine of Dionysus as having a potent fragrance that competes with that of flowers such as roses); Xaver Riu, Dionizm va Komediya (Rowman & Littlefield, 1999), p. 108; Edoarda Barra-Salzédo, En soufflant la grâce: Âmes, souffles et humeurs en Grèce ancienne (Jérôme Villon, 2007), p. 178.
  18. ^ A.R. Littlewood, "Ancient Literary Evidence for the Pleasure Gardens of Roman Country Villas," in Ancient Roman villa Gardens, Dumbarton Oaks Colloquium on the History of Landscape Architecture 10 (Dumbarton Oaks, 1987), p. 28.
  19. ^ Maykl Lipka, Rim xudolari: kontseptual yondashuv (Brill, 2009), p. 42.
  20. ^ Ovid, Fasti 4.138 and 869f.; Hooey, "Rosaliae signorum," p. 27.
  21. ^ Oxyrhynchus papirus 331.1–21; The Oxford Encyclopedia of Ancient Greece and Rome, p. 30.
  22. ^ Statius, Silva 1.20; Hersch, The Roman Wedding, p. 90.
  23. ^ "Triumph," in The Oxford Encyclopedia of Ancient Greece and Rome, p. 123.
  24. ^ Klassik an'ana, edited by Anthony Grafton, Glenn W. Most, Salvatore Settis (Harvard University Press, 2010), p. 524.
  25. ^ Stiven G. Miller, The Berkeley Plato (Kaliforniya universiteti matbuoti, 2009), p. 43; Bruno Currie, Pindar va Qahramonlar Kulti (Oxford University Press, 2005), p. 141; John H. Oakley and Rebecca H. Sinos, The Wedding in Ancient Athens (University of Wisconsin Press, 1993), p. 27.
  26. ^ a b Miller, The Corporeal Imagination, p. 74.
  27. ^ Hans-Gebhard Bethge, Bentley Layton, Societas Coptica Hierosolymitana, "Dunyoning kelib chiqishi to'g'risida (II,5 and XIII,2)," in The Nag Hammadi Library in English: The Definitive New Translation of the Gnostic Scriptures Complete in One Volume (Brill, 1977, rev. ed. 1996), p. 170.
  28. ^ The examples of Attis, Adonis, Dunyoning kelib chiqishi to'g'risida from Miller, The Corporeal Imagination, p. 74.
  29. ^ a b Miller, The Corporeal Imagination, p. 75.
  30. ^ Lorelei H. Corcoran and Marie Svoboda, Herakleides: A Portrait Mummy from Roman Egypt (Getty Publications, 2010), p. 32.
  31. ^ Apuleius, Metamorfozalar 11.6.1; Miller, The Corporeal Imagination, p. 74.
  32. ^ J. Gvin Griffits, Apuleius of Madaurus: The Isis-Book: (Metamorphoses, Book XI) (Brill, 1975), pp 160–161.
  33. ^ Rabun Taylor, "Roman Oscilla: An Assessment," RES: Anthropology and Aesthetics 48 (2005), p. 92.
  34. ^ Frederick E. Brenk, Clothed in Purple Light: Studies in Vergil and in Latin Literature (Franz Steiner, 1999), pp. 87, 102.
  35. ^ Brenk, Clothed in Purple Light p. 87.
  36. ^ Brenk, Clothed in Purple Light, p. 87, note 2.
  37. ^ a b v d Brenk, Clothed in Purple Light, p. 88.
  38. ^ Tarjima qilinganidek Robert Fagles.
  39. ^ Iliada 23.185–187; Cyrino, Aphrodite, pp. 63, 94. Wooden cult statues might be anointed periodically with rose oil as a preservative, according to Pausanias (9.41.7): Barbara Breitenberger, Afrodita va eroz: yunoncha erotik mifologiyaning rivojlanishi (Routledge, 2007), p. 60.
  40. ^ Brenk, Clothed in Purple Light, pp. 102–104, 113, citing Pindar, frg. 129 (edition of Snell); Propertius 4.7.59–62.
  41. ^ Hersch, The Roman Wedding, p. 91, citing Ovid.
  42. ^ Vergil, Eneyid 6.884 and 9.434–437; Brenk, Clothed in Purple Light, pp. 89–90, 112–113.
  43. ^ Jid Rid, Virgil's Gaze: Nation and Poetry in the Aeneid (Princeton University Press, 2007), p. 22.
  44. ^ Klaudian, De rapto Proserpina 2.92–93: sanguineo splendore rosas.
  45. ^ Rosenmeyer, The Poetics of Imitation, 211-212 betlar.
  46. ^ J.M.C. Toynbee, Rim dunyosida o'lim va dafn (Johns Hopkins University Press, 1971, 1996), pp. 62–63; Regina Gee, "From Corpse to Ancestor: The Role of Tombside Dining in the Transformation of the Body in Ancient Rome," in The Materiality of Death: Bodies, Burials, Beliefs, Bar International Series 1768 (Oxford, 2008), pp. 59–68.
  47. ^ Toynbee, Rim dunyosida o'lim va dafn, p. 63.
  48. ^ Toynbee, Rim dunyosida o'lim va dafn, p. 37.
  49. ^ Toynbee, Rim dunyosida o'lim va dafn, pp. 97–98; Claire Holleran, Qadimgi Rimda xarid qilish: kech respublikada chakana savdo va printsip (Oksford universiteti matbuoti, 2012), p. 119; John S. Kloppenborg and Richard S. Ascough, Greco-Roman Associations: Texts, Translations, and Commentary. I: Attica, Central Greece, Macedonia, Thrace (Walter de Gruyter, 2011), vol. 1, p.327 (a'zolik uchun foyda olish uchun ortiqcha daromaddan foydalanishi mumkin bo'lgan uyushmalarga berilgan meros to'g'risida).
  50. ^ Jek Gudi va Sezare Poppi, "Gullar va suyaklar: Angliya-Amerika va Italiya qabristonlarida o'liklarga yaqinlashish", Taqqoslash usullari: nazariya va amaliyot (Michigan universiteti nashri, 2006), 420–456 betlar; Optatus epitafiyasi an epigraf maqola uchun. Qarang: p. 451, 60-eslatma, Rosaliyaning ulanishi mumkinligi to'g'risida Rumin festivali Rusalii da Whitsuntide, Geyl Kligmanning so'zlari bilan, Călus: Ruminiya marosimidagi ramziy o'zgarish (Chicago Universiteti Press, 1981), shuningdek Beza-ga qarang, Ruminiya folkloridagi butparastlik, 42-43 betlar.
  51. ^ Gudi va Poppi, "Gullar va suyaklar", p. 442.
  52. ^ Carole E. Newlands, Statius. Silvae kitobi II (Kembrij universiteti matbuoti, 2011), p. 94.
  53. ^ CIL 10.444.
  54. ^ Robert E.A. Palmer, "Silvanus, Silvestr va Aziz Petrning kafedrasi" Amerika falsafiy jamiyati materiallari 122.4 (1978), p. 226.
  55. ^ Vergil, Eklog 10.25.
  56. ^ Palmer, "Silvanus, Silvestr va Aziz Petrning kafedrasi", p. 226.
  57. ^ Piter F. Dorsi, Silvanus kulti: Rim xalq dinini o'rganish (Brill, 1992), p. 44.
  58. ^ Dorsi, Silvanus kulti, 17, 19, 31, 82 betlar.
  59. ^ ILS 8366; Regina Gee, "Jasaddan ajdodgacha: Qadimgi Rimda tanani o'zgartirishdagi qabrda ovqatlanishning roli", O'limning mohiyati: jasadlar, dafnlar, e'tiqodlar, Bar xalqaro seriyasi 1768 (Oksford, 2008), p. 64.
  60. ^ Jon F. Donaxu, Printsipial davrda Rim jamoati (Michigan universiteti nashri, 2004), p. 132.
  61. ^ Donaxu, Rim hamjamiyati stolda, 129-133 betlar.
  62. ^ Kokkiniya, "Rosen für die Toten", p. 209.
  63. ^ Stiven J. Frizen, Imperatorlik kultlari va Yuhanno apokalipsisi: Xarobalarda Vahiyni o'qish (Oksford universiteti matbuoti, 2001), p. 129.
  64. ^ Frizen, Imperatorlik kultlari va Yuhannoning apokalipsisi, p. 108. Panemosning zamonaviy oy nomi bilan identifikatsiyasi u paydo bo'lgan qadimiy taqvimlarda o'zgarib turadi; Alan E. Samuelga qarang, Yunon va Rim xronologiyasi: Kalendarlar va klassik antik davrdagi yillar (C.H.Bek, 1972).
  65. ^ Frizen, Imperatorlik kultlari va Yuhannoning apokalipsisi, p. 112.
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  68. ^ Trebilko, Kichik Osiyodagi yahudiy jamoalari, 78-81-betlar.
  69. ^ Trebilko, Kichik Osiyodagi yahudiy jamoalari, p. 79. Yozuv mulkka oid huquqiy unvonlarga bag'ishlangan bo'lib, hozirgi paytda nasroniylardan farqli o'laroq, yahudiylar Rim fuqarolari sifatida mulkka egalik qilish huquqiga ega edilar.
  70. ^ Trebilko, Kichik Osiyodagi yahudiy jamoalari, 80-81 betlar. Yahudiylarning ba'zi to'y marosimlari, shu jumladan kuyov yoki kelinning gul tojlarini kiyishlari ham umuman imperatorlik jamiyatiga mos yoki o'zlashtirilgan. Maykl L. Satlou, "Sacrament tomon siljish: yahudiylar, nasroniylar va nikoh" Xristian Rim imperiyasi tasarrufidagi yahudiylar madaniyati va jamiyati (Peeters, 2002), p. 74.
  71. ^ Yozuvlar Graecae X / 2 260; Richard S. Ascough, "Pavlusning" apokolyptikizmi "va Salonika va Korinfdagi Iso uyushmalari", Pavlus va Korinfliklarni qayta tasvirlash (Injil adabiyoti jamiyati, 2011), p. 164.
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  74. ^ Kloppenborg va Ascough, Yunon-rum uyushmalari, 372-374 betlar.
  75. ^ Kloppenborg va Ascough, Yunon-rum uyushmalari, 327–329 betlar.
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  77. ^ Beza, Ruminiya folkloridagi butparastlik, p. 43.
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  80. ^ Pindar, frg. Uchun tarjima qilingan 75 SnM Loeb klassik kutubxonasi (1997) Uilyam H. Race tomonidan yozilgan va ushbu kontekstda Riu tomonidan keltirilgan, Dionizm va Komediya, p. 108, 58-eslatma va Valter Fridrix Otto, Dionis: afsona va kult, Robert B. Palmer tomonidan tarjima qilingan (Indiana University Press, 1965, dastlab 1960 yilda nemis tilida nashr etilgan), p. 159.
  81. ^ Richard Seaford, Kosmologiya va polis: Esxil fojialarida makon va vaqtning ijtimoiy qurilishi (Kembrij universiteti matbuoti, 2012), 101–102 betlar.
  82. ^ D. Felton, "O'lik", yilda Yunon diniga sherik (Blekuell, 2010), p. 89; Jenifer Nil, "Bolalar va yunon dini" Qadimgi Yunonistonda yoshning kelishi: Klassik o'tmishdan bolalik tasvirlari (Yel universiteti matbuoti, 2003), p. 145; Karl Kerenyi, Dionisos: buzilmas hayotning arxetipik qiyofasi (Princeton University Press, 1976), p. 300.
  83. ^ Valter Burkert, Homo Necans p. 214.
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  85. ^ Noel Robertson, "Afinaning yangi sharob festivali" Garvard Klassik filologiya bo'yicha tadqiqotlar 95 (1993), p. 197ff. Robertson, Anthesteriya o'liklarning bayrami emasligini ta'kidlaydi va bu elementlar unga noto'g'ri kiritilgan deb hisoblaydi.
  86. ^ "Qirol" so'zi basileus, marosim Afinada demokratiya bo'lganidan bir muncha vaqt oldin paydo bo'lganligidan dalolat beradi; Seaford, Kosmologiya va Polis, 87-88 betlar.
  87. ^ Seaford, Kosmologiya va Polis, Apollodorusga asoslanib 85-87, 101, 133-betlar, Tabiatga qarshi 73; Burkert, Yunon dini 109, 164, 239 betlar.
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  92. ^ Burkert, Yunon dini, 218, 222-betlar.
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  94. ^ Filostrat, Tasavvur qiladi 1.15; Terens g'ori, Retrospektivlar: Adabiyot, she'riyat va madaniyat tarixi esselari (Zamonaviy gumanitar tadqiqotlar uyushmasi, 2009), p. 73.
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  96. ^ Seneka, Fedra Maykl Kofi va Roland Mayer ta'kidlaganidek, 769 yil, Seneka: Fedra (Cambridge University Press, 1990), 159-160 betlar; va Gerkules Furens 18, Jon G. Fitch ta'kidlaganidek, Senekaning Gerkules Furens: Kirish va sharh bilan tanqidiy matn (Cornell University Press, 1987), 125–126 betlar.
  97. ^ Manilius, Astronomika 251–269 (nashr.) Uy egasi ), Maykl Murrin ta'kidlaganidek, "Petrarkadan Spensergacha bo'lgan Uyg'onish allegori", Kembrijning Allegoryga sherigi (Kembrij universiteti matbuoti, 2010), p. 172, parchaning ta'siriga ishora qilib Edmund Spenser, Feri Kuin 6.10.14.
  98. ^ Janet Xuskinson, Rim bolalar sarkofagi: ularni bezatish va uning ijtimoiy ahamiyati (Oksford universiteti matbuoti, 1996), p. 30; Pol Zanker va Byorn C. Evald, Afsonalar bilan yashash: Rim Sarkofagi obrazlari (Oksford universiteti matbuoti, 2012), p. 102 va boshqalar; Newby, "Xudolar va qahramonlar qiyofasida", 201–205 betlar.
  99. ^ Vergil, Eneyid 5.77-81; Brenk, Binafsha nurda kiyingan, p. 88.
  100. ^ Notus, Dionisiyaka 11.241-243; Migulez-Kavero, Kontekstdagi she'rlar, p. 132.
  101. ^ Dominik Perring, "To'rtinchi asr Britaniyasidagi" gnostitsizm ": Frampton mozaikasi qayta ko'rib chiqildi" Britaniya 34 (2003), p. 108.
  102. ^ Rina Talgam, "The Ekphrasis Eikonos G'azoning Prokopiysi: Beshinchi va Oltinchi asrlarda Falastin va Arabistondagi mifologik mavzularni tasvirlash " Oxirgi antik davrda nasroniy G'azo (Brill, 2004), 223-224 betlar.
  103. ^ Brenk, Binafsha nurda kiyingan, p. 87; J.M Edmonds tomonidan tarjima qilingan theoi.com. Pausanias (6.24.7) shuningdek, atirgullarni Afrodita va Adonis hikoyasiga bog'laydi; Kiprino, Afrodita, p. 96.
  104. ^ Djina Salapata, "Riozos Zik: Janubiy Italiyadan Terra-cotta Arulae ning ajoyib juftligi", J. Pol Getti muzeyidan Studia Varia (Getty Publications, 2001), jild. 2, p. 34; J.P.Massaut, "Mystique rhénane et humanisme chrétien d'Eckhart à érasme. Continue, yaqinlashuv va yorilishmi?" yilda Oxirgi O'rta asrlar va Italiya tashqarisida gumanizm tongi (Leuven University Press, 1972), p. 128, misol uchun Ausoniusni keltirib, Epistolarum liberal 4.49.
  105. ^ H.J.Roz, Yunon mifologiyasiga oid qo'llanma (Routledge, 1928, 6-nashr. 1958, 1964 qog'ozli nashr), p. 101.
  106. ^ Robert A. Segal, "Adonis: Yunonistonning abadiy farzandi" Mif va polis (Cornell University Press, 1991), 64-85 betlar.
  107. ^ a b Salapata, "Riozos ςiς", p. 35.
  108. ^ Gul, Yunon mifologiyasiga oid qo'llanma, p. 101.
  109. ^ Salapata, "Riozos ςiς", p. 34.
  110. ^ Salapata, "Ríioz Síz", 35-36 betlar.
  111. ^ Salapata, "Riozos ςiς", p. 36.
  112. ^ Salapata, "Ríricho ἌδωνiἌδων", 38 va 48-betlar (138-eslatma).
  113. ^ Talgam, "The Ekphrasis Eikonos Prokopiyning "223 bet.
  114. ^ Talgam, "The Ekphrasis Eikonos Prokopiy, "223-bet; Devid Vestberg," Bahor marosimi: Erotik bayram Dialeksis va Ethiopoiiai G'azo Prokopiysi " Eros bilan syujetlar: Sevgi she'riyati va o'qish erotikasi haqidagi insholar (Tusculanum Press muzeyi, 2009), p. 189.
  115. ^ Westberg, "Bahor marosimi" Eros bilan chizish, p. 189.
  116. ^ Mariya Graziya Lansellotti, Mif va tarix o'rtasidagi attis: Shoh, ruhoniy va Xudo (Brill, 2002), p.116.
  117. ^ Xayme Alvar, Sharq xudolarini rimlashtirish: Kibel, Isida va Mitralar kultlarida afsona, najot va axloq, Richard Gordon tomonidan tarjima qilingan (Brill, 2008), p. 38.
  118. ^ Lansellotti, Attis, p. 81; Bertran Lancon, Oxirgi antik davrdagi Rim (Routledge, 2001), p. 91; Filipp Borgeaud, Xudolarning onasi: Kibeladan Bokira Maryamgacha, Lysa Xoxrot tomonidan tarjima qilingan (Jons Xopkins universiteti matbuoti, 2004 y.), 51, 90, 123, 164-betlar. Olimlar kuzatishlarning to'liq dasturi Klavdiy davrida amalga oshiriladimi yoki Antonin davrigacha asta-sekin kengayib boradimi, degan savolga ikkiga bo'lingan. Pius: Gari Forsit, Rim dinidagi vaqt: ming yillik diniy tarix (Routledge, 2012), p. 88; Alvar, Sharqiy xudolarni rimlashtirish, p. 286.
  119. ^ Frantsisko R. Adrados, Festival, komediya va fojia: teatrning yunoncha kelib chiqishi, Kristofer Xolme tomonidan tarjima qilingan (Brill, 1975, dastlab 1972 yilda ispan tilida nashr etilgan), p. 395.
  120. ^ Lucretius, De rerum natura 2.627-628.; Hooey, "Rosaliae signorum", p. 27.
  121. ^ Alvar, Sharqiy xudolarni rimlashtirish, p. 65; Gasparao, Soteriologiya, p. 41.
  122. ^ Sicca Arnobius, Adversus Nationes 6-7, manbalarga asoslanib, u "Timotey, ilohiyot masalalarida obro'siz odam" va "Valeriy pontifex ", ehtimol Markus Valerius Messala Miloddan avvalgi 53-yilgi konsul va aniqlovchi risola muallifi Aion bilan Yanus ning etimologik asoslari bo'yicha Ia, Attisning hikoyasidagi "Violet" nomi. Lancelottiga asoslangan xulosa, Attis, 3-5 betlar; Alvar, Sharqiy xudolarni rimlashtirish, 65-67 betlar; va Giulia Sfameni Gasparro (Arnobius va Pausanias versiyalarini birlashtirgan), Kibele va Attis kultidagi soteriologiya va mistik jihatlar (Brill, 1985), 38-41 bet.
  123. ^ Alvar, Sharqiy xudolarni rimlashtirish, p. 64.
  124. ^ Alvar, Sharqiy xudolarni rimlashtirish, p. 65.
  125. ^ J.N. Adams, kirish sinus (muliebris), Lotin jinsiy lug'ati (Johns Hopkins University Press, 1982), 90-91 betlar. Pausaniasda emdiriladigan ovqat bodom bo'lib, keyinchalik Arnobius versiyasida bodom daraxti rol o'ynagan; Gasparro, Soteriologiya, p. 38.
  126. ^ Vern G. Swanson, Jon Uilyam Godvard: Klassitsizmning tutilishi (Antique Collectors Club Limited, 1997), p. 65; Bibariya J. Barrou, Viktoriya rassomlarining mumtoz san'at va adabiyotdan foydalanishi, 1860–1912: Yuqori san'at an'analari bilan uzluksizlikni yaratish. (Mellen Research University Press, 2007), p. 39.
  127. ^ Gasparro, Soteriologiya, tafsilotlarni "a." deb tavsiflovchi 39-40 betlar polemik urg'u ".
  128. ^ Alvar, Sharqiy xudolarni rimlashtirish, p. 275.
  129. ^ Lansellotti, Attis, 89-90, 138ff. va boshqalar; Jan N. Bremmer, Yunoniston dini va madaniyati, Injil va Yaqin Sharq (Brill, 2008), 294-296, 298-betlar.
  130. ^ Ovid, Fasti 2.537-540; Lansellotti, Attis, 90-91 betlar; Gasparro, Soteriologiya, p. 42. Lansellotti dafn marosimini yodga oladigan marosimlarda Attisning o'limining tsiklik bo'lmagan doimiyligini ta'kidlaydi (138-bet).
  131. ^ Mishel Renee Salzman, Rim vaqti to'g'risida: 354 yilgi Kodeks taqvimi va so'nggi antik davrda shahar hayoti ritmlari (Kaliforniya universiteti matbuoti, 1990), 166–167 betlar.
  132. ^ Salzman, Rim vaqti bilan, p. 167; Lansellotti, Attis, 82 va 90-betlar.
  133. ^ Sallustius, Peri Theōn 4.10, Alvar tomonidan keltirilgan, Sharqiy xudolarni rimlashtirish, p. 277.
  134. ^ Makrobiyus, Saturnaliya 1.21.10; Borsayt, Rim dinidagi vaqt, p. 88.
  135. ^ Tertullian, Adversus Iudaeos 8; Laktantiy, De Mortibus Persecutorum 2.1; Borsayt, Rim dinidagi vaqt, p. 88; Salzman, Rim vaqti bilan, p. 168.
  136. ^ Damaskius, Vita Isidori Photio Bibldan olingan ma'lumot. (Kod. 242), R. Genrining nashri (Parij, 1971), p. 131; Salzman, Rim vaqti bilan, p. 168.
  137. ^ Alvar, Sharqiy xudolarni rimlashtirish, 277, 286-287 betlar. The Lavatio Avgust davrida Ovid tomonidan eslatib o'tilgan va boshqa adabiy ma'lumotlarga ko'ra, u tomonidan "yaxshi tasdiqlangan" Flavian davri; Borsayt, Rim dinidagi vaqt, p. 89.
  138. ^ Xususan Gaianum, Kibele bilan bog'liq bo'lgan Frigiyan qo'riqxonasi yaqinida; Salzman, Rim vaqti bilan, 165, 167 betlar. Lourens Richardson, Qadimgi Rimning yangi topografik lug'ati (Jons Xopkins universiteti matbuoti, 1992), p. 180, buni taklif qiladi Initium Caiani o'rniga "Gayusning kirishi" ga murojaat qilishi mumkin (Kaligula ) eramizning 37-yil 28-martida Rimga kirib, u sifatida tan olingan knyazlar. Gaianum Kaligula tomonidan aravalarda mashq qilish uchun foydalaniladigan trek edi. Zaltsman (169-bet) Gaianumni Frigiyanga muqobil joy deb biladi, unga kirish 4-asrda qurilishi bilan to'sqinlik qilgan bo'lar edi. Sankt-Peter.
  139. ^ Gasparro, Soteriologiya, 44-45 betlar; H.S. Versnel, Yunon va Rim dinidagi nomuvofiqliklar: Mif va marosimlarda o'tish va qaytish (Brill, 1993, 1994), jild. 2, p. 154.
  140. ^ Bremmer, Yunoniston dini va madaniyati, 279 va 288-betlar, shuningdek, Rimliklarning daraxti umuman yangilik emas, balki bezatilgan daraxtning omon qolishi yoki tarjimasi, ehtimol bodom, bu daraxtning bir qismi edi. Hitt bahorda yangi yil festivali.
  141. ^ Gasparro, Soteriologiya, p. 48.
  142. ^ Hooey, "Rosaliae signorum", p. 27.
  143. ^ Bremmer, Yunoniston dini va madaniyati, p. 270, Attisning dastlabki kulti va rivojlanishidagi farqlarni ta'kidlab Kechki antik davr (268-bet).
  144. ^ Xristian apologi tomonidan qayd etilganidek Evseviy, Praeparatio evangelica 3.11.12 va 15 va 3.13.14, tarjima qilingan E.H. Gifford (1903), Gasparro tomonidan keltirilgan, Soteriologiya, p. 46. ​​Ovidga berilgan sharhda va Porfiri va Evseviyga asoslanib, XV asr Italiyalik gumanist Paulus Marsus "Atis kastratsiyasi mevadan oldin tushadigan guldan boshqa narsani anglatmaydi"; Rebekka Zorach, Qon, sut, siyoh, oltin: Frantsuz Uyg'onish davridagi mo'llik va ortiqcha narsa (University of Chicago Press, 2005), p. 72.
  145. ^ Koen, "Yunonistonning afsonaviy manzaralari", Yunon mifologiyasining Kembrij sherigi, p. Ga asoslanib, 316 Demeterga homerik madhiya, afsonaning dastlabki davolash usullaridan biri. Ovid Proserpinani binafsha va zambaklar orasida joylashtiradi Metamorfozalar 5.332 va gullarning mo'l-ko'lligi va xilma-xilligi haqida to'xtalamiz - atirgul bilan xizmatchining eng yaxshi tanlovi nimfalar - aprel oyida xuddi shu afsonani davolashda Fasti 4.429-442. Klaudian, De raptu Proserpina 2.92-93, atirgullar, gulsavsarlar va binafshalar ro'yxati.
  146. ^ Mircha Eliade, Qiyosiy dindagi naqshlar, Rozmari Shid tomonidan tarjima qilingan (Nebraska Press universiteti, 1996 y., tarjima dastlab 1958 yilda nashr etilgan), p. 302.
  147. ^ Hooey, "Rosaliae signorum", 27-28 betlar.
  148. ^ Lucinda Dirven, Dura-Evroponing palmirinalari: Rim Suriyasidagi diniy o'zaro aloqalarni o'rganish (Brill, 1999), 184-185 betlar; Nayjel Pollard, Rim Suriyasidagi askarlar, shaharlar va tinch aholi (Michigan universiteti nashri, 2000), 143-bet (ayniqsa, 126-eslatma), 146.
  149. ^ Dunkan Fishvik, "Belgilangan yozuvlar va Feriale Duranum, "ichida Suriya 65 (1988), p. 356; Duglas V. Geyer, Mark Xushxabaridagi qo'rquv, anomaliya va noaniqlik (Qo'rqinchli matbuot, 2002), p. Iqtibos keltirgan holda 138 R.O. Fink, A.S. Hooey va W.S. Snayder, "The Feriale Duranum," Yel klassik tadqiqotlari 7 (1940), p. 115. Stefan Vaynstok, "Yangi yunon taqvimi va Quyosh bayramlari" Rimshunoslik jurnali 38 (1948), p. 38 yoshi, 10-may kuni sanaladi. Stiven K. Drammond va Lin X. Nelson, Imperial Rimning G'arbiy chegaralari (M.E. Sharpe, 1994), p. 203, uni 9-may kuni joylashtiring.
  150. ^ Maykl Lipka, Rim xudolari: kontseptual yondashuv (Brill, 2009), p. 43.
  151. ^ Fillips, Oksford klassik lug'ati, kabi taqvimni keltiradi pridie kal. Iunias ob rosalias signorum supplicatio; ya'ni bir kun oldin sodir bo'lganidek Kalendlar iyun oyi.
  152. ^ Makrobiyus, Saturnaliya 1.12.33.
  153. ^ Taxminida Vissova; Uilyam Uard Fovler, Respublika davridagi Rim bayramlari (London, 1908), 131-bet. Fowler ushbu holatlarning barchasini "o'liklarning marosimlari" sifatida tavsiflovchi dalillarni haddan tashqari talqin qilishga ehtiyotkorlik bilan qaraydi.
  154. ^ Salzman, Rim vaqti bilan, 92, 122, 127 betlar; Makrobiyus, Saturnaliya 1.12.33.
  155. ^ CIL 3.3893; Fowler, Rim bayramlari, p. 131.
  156. ^ Fishwick, "Belgilangan yozuvlar va Feriale Duranum, "351-352 betlar.
  157. ^ CIL 13.6681; Fishwick, "Belgilangan yozuvlar va Feriale Duranum, "356-bet.
  158. ^ CIL 7.1030 - bunday bag'ishlanishning namunasi Rim Britaniya: Drummond va Nelson, Imperial Rimning G'arbiy chegaralari, p. 214; GR. Vatson, Rim askari (Cornell University Press, 1969, 1985), p. 130.
  159. ^ Hooey, "Rosaliae signorum", p. 19; Pat Janubiy, Rim armiyasi: ijtimoiy va institutsional tarix (Oksford universiteti matbuoti, 2006), p. 161; Brayan Kempbell, Rim armiyasi, miloddan avvalgi 31-milodiy 337 yil: Manba kitobi (Routledge, 1994), n.p.
  160. ^ Hooey, "Rosaliae signorum", p. 17; Grem Vebster, Rim imperatori armiyasi: hijriy birinchi va ikkinchi asrlarda. (University of Oklahoma Press, 1979, 3-nashr. 1998), p. 133.
  161. ^ Allen Brent, Kipriy va Rim Karfagen (Kembrij universiteti matbuoti, 2010), p. 182.
  162. ^ Pliniy, Tabiiy tarix 13.3.23; Suetonius, Klavdiy 13; Hooey, "Rosaliae signorum", 17-19 betlar; Vebster, Rim imperatori armiyasi, 106-bet (16-eslatma) va 133.
  163. ^ Hooey, "Rosaliae signorum", 18 va 32-betlar Klaudian 10.187-188 va 295-297.
  164. ^ Vebster, Rim imperatori armiyasi, p. Suetoniusga asoslanib, 106 Klavdiy 13.
  165. ^ Hooey, "Rosaliae signorum", p. 16, xususan, 3-yozuvni keltirgan holda Tertullian Apologeticum 16 va Reklama millatlari 1.12 va Minusius Feliks 29.6-7; p. 206
  166. ^ Hooey, "Rosaliae signorum", 23-25 ​​betlar.
  167. ^ Silius Italicus, Punika 6.113–116; Charlz V. King, "Rim Mens: Xudolar kabi o'lganlar " Jahon dinlaridagi arvohlarni qayta ko'rib chiqish (Brill, 2009), p. 112.
  168. ^ Hooey, "Rosaliae signorum", 23-26, 32-35 betlar. Vebster, Rim imperatori armiyasi, p. 150, Hooeyning "karnaval" talqinini qabul qiladi.
  169. ^ Uilyam Seston, "Feldzeichen", ichida Scripta Varia. Mélanges d'istoire romaine, de droit, d'épigraphie et d'histoire du christianisme (Publications de l'École française de Rome, 1980), p. 273.
  170. ^ Yorg Rüpke, Numadan Konstantingacha bo'lgan Rim taqvimi: vaqt, tarix va Fasti, tarjima qilgan Devid M.B. Richardson (Wiley-Blackwell, 2011, dastlab nemis tilida 1995 yilda nashr etilgan), 28–29 betlar; Pat Janubiy, Rim armiyasi: ijtimoiy va institutsional tarix (Oksford universiteti matbuoti, 2006), p. 159.
  171. ^ Janubiy, Rim armiyasi, p. 159; Yann Le Bohec, Imperator Rim armiyasi (Routledge, 2001, dastlab frantsuz tilida 1989 yilda nashr etilgan), p. 50; Vebster, Rim imperatori armiyasi, p. 140.
  172. ^ Salzman, Rim vaqti bilan,, 166–167-betlar. Alvar, Sharqiy xudolarni rimlashtirish, p. 73, keltiradi Julian, Oratio 5.169c, Attis kastratsiyasidan keyin karnay-surnay sadolarida.
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