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Further etymologies, both modern and ancient, may shed light on Faunus’ nature. In the past, scholars have suggested that the name Faunus appears to be linked to wolves. In the article, “Daunus/Faunus in Aeneid 12,” J.D. Noonan argues that the mythological names Daunus and Faunus share the root, dhau-. This root implies a meaning of “to throttle or strangle” and has been taken to mean “wolf or jackal” since these are two animals that throttle their prey. 305 Noonan is not alone. G. Radke, R. Coleman, and F. Bömer are among those who support this assertion. 306 Two further attempts at explaining the meaning of the name, Faunus, are possible. Neither of these seems to take away from the identification of Faunus as a wolf-man but instead adds to a general description of the god. The name Faunus may have been linked to the verb favere, to favor, in antiquity. We cannot be sure whether to take this as a “positive qualifier or a euphemistic expression.” 307 In either case, this association could be used to tame this god much as many other chthonic gods were. In Greece, the Furies become the Eumenides in an attempt to make the avenging spirits into a force for good. In Rome, the Di Manes are considered “the Good Gods” a euphemistic term used to describe the formless, shapeless mass of dead spirits inhabiting the underworld. 308 This euphemistic etymology leads to a kinder, gentler Faunus. Faunus’ shift from wolf-man to goat-man may be another occurrence of a complex, dualistic nature of therianthropic deities as mentioned earlier in this chapter in relation to Apollo. A rustic divinity is turned from the ravager of the flock into the protector of the flock by changing his name or associating him with a new divinity. Either way, the shepherds would have prayed to him for the same reason, the well being of their livestock. This could perhaps be related to the ritual of the Lupercalia and the rites of Lycaean Pan. The priests of Faunus and Pan are sometimes interpreted as those who avert the evil of the wolf and protect the flock. This transition in iconography, and perhaps ritual meaning, had completed its course by the Augustan 305 Noonan 1993, 112-3. 306 Radke 1965, 119-21; Schilling 1992, 126; Holleman 1974, 56, n. 29. Coleman (1977, 182 n. 27) sums up Faunus’ nature as follows. “In origin Faunus, whose name is cognate with Greek thos ‘jackal’, thaunon ‘wild beast’, seems to have been an Italian forest-god, part man part wolf; hence his connection with the Lupercalia… In humanized form he appears in legend as Faunus king of Latium and Daunus king of Apulia. The god was assimilated to Pan and the satyrs, the goat replaced the wolf in his iconography, his more sinister aspects were suppressed and he was pluralized. Fauni were often associated with nymphs. Besides their patronage of country life and hunting they posses the power of prophecy.” 307 Schilling 1992, 127. 308 Phillips 1996, 916. 63
Period in Rome as can be seen in art and in literature such as the Odes of Horace and much of Ovid’s work. 309 The name of the god may also have been derived from the verb to speak, fari. 310 This etymology offered by Varro, relates to the prophetic powers of the god and the great noises he makes. In the Aeneid Book VII, Latinus seeks oracular advice from his father, Faunus, concerning the wedding of his daughter Lavinia. 311 According to Cicero in the De Divinatione, the fauni were also often heard making noise in the woods, particularly during battles. 312 Varro, Vergil, and Cicero all point to the prophetic power of Faunus and the Fauni. 313 It may be that the howls of wolves heard in the night were the strange noises that partly inspired this etymology. Wolves are quite vocal at different times of the year and would, no doubt, have left more of an impression on a listener than the bleating of goats. 314 This last reference is important for demonstrating the link between Faunus and Silvanus. Livy’s account of the battle near the Arsian forest between the Etruscans and Romans records the prodigy of a voice heard from the forest announcing that the Etruscans had lost one more man than the Romans, who should be declared the victors. 315 Livy records this voice as belonging to Silvanus, but here Silvanus is performing a function ascribed to the fauni by Cicero in the De Divinatione. 316 These two pieces of evidence would not be enough to identify Faunus with Silvanus by themselves, but there are other literary sources to support the identification. For example, the Origo gentis Romanae of Pseudo-Aurelius Victor states, “The majority have said that Faunus is the same as Silvanus from the woods, also the god Inuus, who is certainly Pan.” 317 309 The Odes of Horace that contain references to Faunus as the patron of shepherds are I.4, I.17, I.22, III.18. In these poems, Faunus is mentioned as warding away wolves and sending the omen of the peaceful wolf. Noonan (1993, 113) takes these references to mean that the god was inherently lupine in nature. Perhaps we can interpret the peaceful wolf as an epiphany of the god. 310 Varro Ling. VII.36. 311 Verg. Aen. VII.80-6. 312 Cic. Div. I.101. 313 Palmer (1974, 79-83) notes that Faunus may also have granted his worshippers prophecies through the practice of incubation, which was tied to chthonic powers. 314 For the details of wolf communication see Harrington and Asa 2003, 66-103. 315 Livy Peri. II.VII.2. 316 Cic. Div. I.XLV.101. 317 Pseudo-Aurelius Victor Origo Gentis Romanae III.6. Latin Text taken from Pseudo-Aurelius Victor, Les Origines du Peuple Romain, edited by Jean-Claude Richard, Paris: Budé/Belles Lettres, 1983. (Translation by Author.) “Hunc Faunum plerique eundem Silvanum a silvis, Inuum deum, quidam etiam Pana esse dixerunt.” The name Inuus presents its own complications. Holleman (1974, 96) notes that nightmares are characterized as hairy demons that strangle their victims in their sleep. 64
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THE FLORIDA STATE UNIVERSITY COLLEG
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This work is dedicated to my loving
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TABLE OF CONTENTS List of Figures v
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Fig. II.8. Rear Wall of the Tomb of
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Fig. III.13. Etruscan Bronze Ash Ur
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Fig. V.7. Etruscan Bronze Mirror De
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ABSTRACT This dissertation is an in
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physiognomy was discovered at Hohle
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or for the death of someone else, w
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left with an incomplete appraisal o
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presentation of the Battle of Actiu
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are more distinct mirrors by the na
Page 25 and 26: its prerogatives and its essence ar
Page 27 and 28: Given the importance of the cult of
Page 29 and 30: In general, theriomorphic and theri
Page 31 and 32: paradoxical, as the loss of a valua
Page 33 and 34: metaphor that could be used by man
Page 35 and 36: students of comparative religion in
Page 37 and 38: there is not a wealth of literary n
Page 39 and 40: Faunus and Silvanus are also associ
Page 41 and 42: CHAPTER 2: THE SERPENT The serpent
Page 43 and 44: Corinthian vase painting.) In this
Page 45 and 46: used as decorative support elements
Page 47 and 48: Phersipnai, but these heads are bad
Page 49 and 50: creature of the earth, and even his
Page 51 and 52: of Aesculapius’ birth, a goat nur
Page 53 and 54: II.11). On this medallion, a person
Page 55 and 56: serpent chooses both the time and p
Page 57 and 58: household divinities such as the Pe
Page 59 and 60: Vergil’s statement that Aeneas wa
Page 61 and 62: CHAPTER 3: THE WOLF AND CANINES Dow
Page 63 and 64: P. Defosse proposes that the connec
Page 65 and 66: are not alone on this vessel, and o
Page 67 and 68: y reference to his barking, 253 and
Page 69 and 70: Finally seizing the moment, Arruns
Page 71 and 72: the shape of a man, from that of a
Page 73 and 74: passage, 280 which would accord wit
Page 75: history of the Lupercalia and the w
Page 79 and 80: Pan or Faunus, 327 but Inuus seems
Page 81 and 82: had been devastated at the time whe
Page 83 and 84: Ovid takes place at a water source
Page 85 and 86: figure has been identified as a wol
Page 87 and 88: suggestion is plausible, but due to
Page 89 and 90: narrative and alternative iconograp
Page 91 and 92: eproduction of animals. 376 These a
Page 93 and 94: Mars in line nine. Similarly, Turca
Page 95 and 96: anch, 397 objects that likely stres
Page 97 and 98: appear as Juno Sospita, clad in a g
Page 99 and 100: Lanuvium, and indeed there is one l
Page 101 and 102: SISPITE and demonstrates the variat
Page 103 and 104: that it may be Greek. 433 Gordon st
Page 105 and 106: the etymology of her name indicates
Page 107 and 108: of Faunus in poetry and art, which
Page 109 and 110: probably derives from Sumerian mode
Page 111 and 112: A bull therianthrope identified as
Page 113 and 114: efers to the bull-headed man as Dio
Page 115 and 116: ecent discussion of the perception
Page 117 and 118: The rites of Bacchic cult practice
Page 119 and 120: was likely difficult even for the a
Page 121 and 122: Layed me out in the deep sand. That
Page 123 and 124: Perhaps we are meant to interpret t
Page 125 and 126: CHAPTER 6: AVIANS Gods and birds sh
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for the Romans, and it may be that
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When we speak of totemism we actual
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One curious example of an avian the
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votive 592 (Fig. VI.7) and decorati
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hyta. 611 On the other hand, the sw
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of a lost Apulian drinking cup form
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labeled, These, the Etruscan Theseu
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image was also used as an indicator
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The imagery used to represent hybri
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god or goddess or the popularity of
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Fig. I.2. Roman Fresco Depicting a
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Fig. II.2. Sculpture of the so-call
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Fig. II.4. Etruscan Black Figure Hy
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Fig. II.6. Detail of an Etruscan Fr
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Fig. II.8. Rear Wall of the Tomb of
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Fig. II.10. Roman Marble Statue of
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Fig. II.12. Detail of a Roman Marbl
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Fig. II.14. Drawing of a Roman Fres
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Fig. III.2. Reconstruction of an Et
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Fig. III.4. Detail of an Etruscan P
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Fig. III.6. Etruscan Bucchero Oinoc
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Fig. III.8. Etruscan Painted Terrac
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Fig. III.10. Line Drawing of an Etr
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Fig. III.12. Etruscan Terracotta Ci
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Fig. III.14. Pontic Plate by the Ti
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Fig. III.16. Etruscan Bronze Statue
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Fig. IV.2. Roman Bronze Statuette o
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Fig. IV.4. Latin Painted Terracotta
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Fig. IV.6. Etruscan Bronze Mirror C
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Fig. IV.8. Imperial Roman Bronze Co
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Fig. IV.10. Etruscan Bronze Statuet
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Fig. V.1. Etruscan Engraved Bronze
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Fig. V.3. Etruscan Red-Figure Plate
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Fig. V.5. Roman Terracotta Revetmen
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Fig. V.7. Etruscan Bronze Mirror De
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Fig. V.9. Etruscan Gold Pendant Rep
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Fig. V.11. Etruscan Bucchero Oinoch
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Fig. VI.2. Line Drawing of an Engra
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Fig. VI.4. Terracotta Antefix from
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Fig. VI.6. Monumental Stone Relief
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Fig. VI.8. Etruscan Bronze Statuett
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Fig. VI.10. Line Drawing of the Ton
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Fig. VI.12. Water Color Rendition o
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Serv. Ad. Aen. VII, 761. 37 Val. Ma
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Bare, C.P. 2001. “The Iconography
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Buxton, R. 1994. “The Wolf and We
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_____. 2000b. “Mirrors and Mantei
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Felton, D. 1999. Haunted Greece and
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Harrington, F.H. and C.S. Asa. 2003
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Kirk, G.S. 1970. Myth: Its Meaning
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Mannhardt, W. 1884. Mythologische F
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_____. 1975. The Etruscans. Transla
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_____. 1982. “A Mirror in the Duk
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Simon, E. 1973. “Die Tomba dei To
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_____. 2000. The Etruscans. Trans.
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Winter, N. 2006. “Gorgons, Minota
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