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Salii

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Ancient Roman priestly order
This article is about an ancient Roman priestly order. For the Frankish tribe of the fourth century AD, seeSalian Franks.
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TheSalii,Salians, orSalian priests were the "leaping priests" ofMars inancient Roman religion, supposed to have been introduced by KingNuma Pompilius. They were twelvepatrician youths dressed as archaic warriors with an embroideredtunic, abreastplate, a short red cloak (paludamentum), a sword, and a spiked headdress called anapex. They were charged with the twelve bronze shields calledancilia, which—like those of theMycenaeans—resembled a figure eight. One of the shields was said to have fallen from heaven in the reign of King Numa and eleven copies were made to protect the identity of the sacred shield on the advice of the nymphEgeria, consort of Numa, who prophesied that wherever that shield was preserved, the people would be the dominant people of the earth.

Each year in March, the Salii made a procession round the city, dancing and singing theCarmen Saliare.Ovid, who relates the story of Numa and the heavenlyancilia in hisFasti,[1] found the hymn and the Salian rituals outdated and hard to understand. During thePrincipate, by decree of the Senate,Augustus's name was inserted into the song.[2] They ended the day by banqueting. "Table of the Salii" (Saliaris cena) became proverbial in Latin for a sumptuous feast. It is unclear whether the primary aim of the ritual was to protect Rome's army, although this is the traditional view.

KingTullus Hostilius is said to have established anothercollegium of Salii in fulfillment of a vow which he made in thesecond war with Fidenae and Veii.[3] These Salii Collini were also twelve in number, chosen from thePatricians, and appeared to have been dedicated to the service ofQuirinus.

The Salii are sometimes credited with the opening and closing of the war cycle which would last from March to October.[4]

Name

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Saliī is theplural form ofSalius, a noun and adjective that seem to derive fromsalīre ("to jump, to leap") and to be cognate withsaltāre ("to dance, to jump"). They were sometimes known as thePalatine Salii (Salii Palatini) to distinguish them from the priests of Quirinius. They are also known in English as the Salians or the Salian Priests.[5] The Salii Collini were also known as theAgonales orAgonenses.[6]

Origin

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According to legend,Numa Pompilius established the Salii Palatini, which honored the godMars,[7] whileTullus Hostilius established the Salii Collini which honored the godQuirinus.[8]

An origin among the Etruscans is attributed to a founding byMorrius, king ofVeii. The Salii are also given an origin in connection withDardanus and theSamothracianDi Penates, and theSalius who came to Italy with Evander and in theAeneid competed in thefuneral games ofAnchises.[9] Indeed in book VIII ofThe Aeneid, while in the land ofKing EvanderAeneas is entertained by the Salii during a feast, who are commemorating the fame and feasts ofHercules.[10]

Ancient authors quoted byMaurus Servius Honoratus andMacrobius recorded that Salii had existed atTibur,Tusculum andVeii even before their creation in Rome.[11][12]

Role

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The twelveSalii usedsong and dance as part ofreligious ritual. They were state sponsored and considered important for the maintenance of the Roman social order.[13] Their dances were also used to tell religious or historical stories.[14] TheSalii honored the godsJupiter,[15]Janus,[16] andMars.[17][18] This dance was referred to as thetripudium.Horace describes the Salii performing this dance by stamping their feet three times. Their dance was also associated with leaping and jumping.[19]Seneca the Younger wrote that it was a popular dance that required professional training to perform. It is possible that the termtripudium referred to a variety of dances. Alongside dancing, the Salii would sing songs known as theCarmen Saliare.Varro claimed that the Salian priests did not understand the meanings of the lyrics they sang. It is possible they contained older spellings and archaic words.[20]Plutarch describes them chanting and dancing with a quickrhythm. He also wrote that they would beat daggers on shields to create music.[21] These shields were known asancile.[22] Other descriptions stated that used flutes to sing the songs.[23] TheSalii woreembroidered tunics under purpletrabeae with bronze helmets and belts during their festivals. They also wore garlands of white ribbons, a conical cap known as anapex,[24] and wheatsheaves. Some woretogae praetextae around their waists.[25] Their rituals took place inMarch, during theSpring equinox.[26] If aSalius was electedconsul,flamen,pontifex, oraugur, they would resign from their position in theSalii.[27]

Salian virgins

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Sextus Pompeius Festus makes a perplexing reference to "Salian virgins" (Saliae virgines).[28] Wearing thepaludamentum and pointedapex of the Salii, these women were employed to assist theCollege of Pontiffs in carrying out sacrifices in theRegia. It has been suggested[29] that the passage in Festus describes atransvestite initiation.[30] An earlier explanation held that the maidens played the role of absent warriors in some form ofpropitiation.[31] The possibility of their being "hired" is disputed, as is their status, but the use ofvirgines implies that they were freeborn citizens.[32]

Interpretations of the rituals

[edit]

There is no single overreaching description of the Salii's rituals throughout the month of March from any of the ancient authors, and facts have to be reconstructed from multiple mentions in diverse works; however, there are strong indications that the procession may actually have lasted a full 24 days, from March 1st which opened the festival until March 24th, which closed it, with the procession moving from one station to another each day, and with revels being held each evening; a complete assessment can be found in Smith, Wayte, & Marindin (1890).[33]

ClassicalphilologistGeorg Wissowa maintained that the ritual of the Salii is awar dance or asword dance, with their costumes clearly indicating their military origin.[34]Georges Dumézil interpreted the rituals of the Salii as marking the opening and the closing of the yearly war season. The opening would coincide with the day of theAgonium Martiale on March 17,[35] and the closing with the day of theArmilustrium on October 19. The first date was also referred to asancilia movere, "to move theancilia," and the second asancilia condere, "to store (or hide) theancilia." Dumezil views the two groups of Salii — one representing Mars and the other Quirinus — as a dialectic relationship, showing the interdependency of the military and economic functions in Roman society.[36][37][38][39] Wissowa compares the Salii with the noble youth who dance theLusus Troiae:[40] thus, the ritual dance of the Salii would be a coalescence of aninitiation into adulthood and war, with a scapegoat ritual (see alsopharmakos). Other 19th-century scholars have compared the rituals of the Salii with theVedic myths ofIndra and theMaruts.[41][42][43]

Because the earliestRoman calendar had begun with the month of March,Hermann Usener thought the ceremonies of theancilia movere were a ritual expulsion of the old year, represented by the mysterious figure ofMamurius Veturius, to make way for the new god Mars, born on March 1.[44] On theIdes of March, a man ritually named as Mamurius Veturius was beaten with long white sticks in thesacrum Mamurii; in Usener's view, this was a form ofscapegoating. Mamurius was the mythic blacksmith who forged eleven replicas of the original divine shield that had dropped from the sky.[45] According to Usener andLudwig Preller,[46] Mars would be a god of war and fertility while Mamurius Veturius would mean "Old Mars". Mars is himself a dancer,[47] and the head of the Salian dancers, patrician young men whose parents were both living (patrimi andmatrimi).

Nomenclature

[edit]
Ceremonial headgear of the Salii andflamens
  • Numa'sSalii Palatini were dedicated to Mars surnamedGradivus (meaning "he who walks into battle"), and were quartered on thePalatine Hill.
  • Tullus'Salii Collini were dedicated toQuirinus, and were quartered on theQuirinal Hill.[48]Rosinus called them[citation needed]Agonenses Salii. The second group of Salii may in fact have been created during an Augustan reorganization of the priesthood. Paulus ex Festo p. 10 M reads:... Agones dicebant montes, Agonia sacrificia quae fiebant in monte; hinc Romae mons Quirinalis Agonus et Collina Porta Agonensis: "Agones were called the mounts, Agonia the sacrifices that took place on the mounts; hence in Rome the Quirinal mount (is named) Agonus and the Porta Collina Agonensis".

References

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  1. ^Ovid,Fasti, 3, ll. 259–392.
  2. ^Res Gestae Divi Augusti, 10.
  3. ^Livy,Ab urbe condita, 1:27
  4. ^Le Glay, Marcel. (2009).A history of Rome. Wiley-Blackwell.ISBN 978-1-4051-8327-7.OCLC 760889060.
  5. ^"Salian,adj.¹ andn.¹",Oxford English Dictionary, Oxford: Oxford University Press, 2022.
  6. ^Smith, William, ed. (1875),"Salii",Dictionary of Greek and Roman Antiquities, London: John Murray.
  7. ^Livy,Ab Urbe Condita, 1, Sect. 20.
  8. ^Woodard, Roger D. (2012-10-26),"Salii", in Bagnall, Roger S.; Brodersen, Kai; Champion, Craige B.; Erskine, Andrew (eds.),The Encyclopedia of Ancient History, Oxford, UK: Blackwell Publishing Ltd, pp. wbeah17407,doi:10.1002/9781444338386.wbeah17407,ISBN 978-1-4051-7935-5, retrieved2022-11-07
  9. ^Joseph Rykwert,The Idea of a Town: The Anthropology of Urban Form in Rome, Italy and the Ancient World (MIT Press, 1988), p. 96.
  10. ^"The Aeneid Book VIII".Poetry in Translation.
  11. ^Servius.Aenead. VIII 285.
  12. ^Macrobius.Saturnalia. III 12, 1-9.
  13. ^Foster, Margaret (2015)."The Double Chorus of Horace "Odes" 4.1: A Paeanic Performance "In Morem Salium"".The American Journal of Philology.136 (4):607–632.ISSN 0002-9475.JSTOR 24560608.
  14. ^Fernández, Zoa Alonso (2021), Curtis, Lauren; Weiss, Naomi (eds.),"Incorporating Memory in Roman Song and Dance: The Case of the Arval Cult",Music and Memory in the Ancient Greek and Roman Worlds, Cambridge: Cambridge University Press, pp. 101–120,ISBN 978-1-108-83166-6, retrieved2022-11-06{{citation}}: CS1 maint: work parameter with ISBN (link)
  15. ^Holford-Strevens, Leofranc (2015-12-22)."Carmen Saliare".Oxford Research Encyclopedia of Classics.doi:10.1093/acrefore/9780199381135.013.1379.ISBN 978-0-19-938113-5. Retrieved2022-11-07.
  16. ^Poma, Gabriella (2015-03-04),"Religions: Republic", in Le Bohec, Yann (ed.),The Encyclopedia of the Roman Army, Chichester, UK: John Wiley & Sons, Ltd, pp. 806–842,doi:10.1002/9781118318140.wbra1277,ISBN 978-1-118-31814-0, retrieved2022-11-06
  17. ^Hardie, Philip (2022-03-01). "2. Classical Antiquity".Classical Antiquity. Princeton University Press. pp. 30–105.doi:10.1515/9780691233307-004.ISBN 978-0-691-23330-7.
  18. ^Scopacasa, Rafael (2012-10-26),"Mars", in Bagnall, Roger S; Brodersen, Kai; Champion, Craige B; Erskine, Andrew (eds.),The Encyclopedia of Ancient History, Hoboken, NJ, USA: John Wiley & Sons, Inc., pp. wbeah17258,doi:10.1002/9781444338386.wbeah17258,ISBN 978-1-4443-3838-6, retrieved2022-11-06
  19. ^Thomas, Richard F; Ziolkowski, Jan M, eds. (2014-01-24),"dance",The Virgil Encyclopedia, Oxford, UK: John Wiley & Sons, Ltd, pp. 333–334,doi:10.1002/9781118351352.wbve0608,ISBN 978-1-118-35135-2, retrieved2022-11-06
  20. ^Hickson Hahn, Frances (2012-10-26),"Carmen Saliare", in Bagnall, Roger S; Brodersen, Kai; Champion, Craige B; Erskine, Andrew (eds.),The Encyclopedia of Ancient History, Hoboken, NJ, USA: John Wiley & Sons, Inc., pp. wbeah17082,doi:10.1002/9781444338386.wbeah17082,ISBN 978-1-4443-3838-6, retrieved2022-11-06
  21. ^Fless, Friederike; Moede, Katja (2007-08-24), Rüpke, Jörg (ed.),"Music and Dance: Forms of Representation in Pictorial and Written Sources",A Companion to Roman Religion (1 ed.), Wiley, pp. 249–262,doi:10.1002/9780470690970.ch18,ISBN 978-1-4051-2943-5, retrieved2022-11-06{{citation}}: CS1 maint: work parameter with ISBN (link)
  22. ^Thomas, Richard F; Ziolkowski, Jan M, eds. (2013-12-31),"ancile",The Virgil Encyclopedia, Oxford, UK: John Wiley & Sons, Ltd, pp. 76–77,doi:10.1002/9781118351352.wbve0153,ISBN 978-1-118-35135-2, retrieved2022-11-06
  23. ^Patzelt, Maik (2022), Geertz, Armin W.; Eidinow, Esther; North, John (eds.),"Chanting and Dancing into Dissociation: The Case of the Salian Priests at Rome",Cognitive Approaches to Ancient Religious Experience, Ancient Religion and Cognition, Cambridge: Cambridge University Press, pp. 118–142,ISBN 978-1-316-51533-4, retrieved2022-11-06{{citation}}: CS1 maint: work parameter with ISBN (link)
  24. ^Bailey, Cyril; North, John (2016-03-07)."Salii, 'to dance'".Oxford Research Encyclopedia of Classics.doi:10.1093/acrefore/9780199381135.013.5673.ISBN 978-0-19-938113-5. Retrieved2022-11-07.
  25. ^Stone, Shelley C. (2012-10-26),"Cult clothing, Roman", in Bagnall, Roger S; Brodersen, Kai; Champion, Craige B; Erskine, Andrew (eds.),The Encyclopedia of Ancient History, Hoboken, NJ, USA: John Wiley & Sons, Inc., pp. wbeah17103,doi:10.1002/9781444338386.wbeah17103,ISBN 978-1-4443-3838-6, retrieved2022-11-06
  26. ^Gianni, Giovanna Bagnasco (2022), Potts, Charlotte R. (ed.),"Architectural Choices in Etruscan Sacred Areas: Tarquinia in Its Mediterranean Setting",Architecture in Ancient Central Italy: Connections in Etruscan and Early Roman Building, British School at Rome Studies, Cambridge: Cambridge University Press, pp. 148–173,ISBN 978-1-108-84528-1, retrieved2022-11-06{{citation}}: CS1 maint: work parameter with ISBN (link)
  27. ^Balsdon, J. P. V. D. (1966)."The Salii and Campaigning in March and October".The Classical Review.16 (2):146–147.doi:10.1017/S0009840X00320984.ISSN 1464-3561.S2CID 162880749 – viaCambridge Core.
  28. ^Festus (439 L) citesAelius Stilo andCincius as his sources.
  29. ^Versnel, H.S. (1994).Inconsistencies in Greek and Roman Religion: Transition and reversal in myth and ritual. Vol. 2 (2nd ed.). Brill. pp. 158, especially note 104.ISBN 9004092676. citing the prior but independent conclusions ofTorelli, M. (1984).Lavinio e Roma. Riti iniziatici e matrimonio tra acheologia e storia. Rome. pp. 76 ff and 106 ff.{{cite book}}: CS1 maint: location missing publisher (link)
  30. ^On the aspect of initiation, see alsoHabinek, Thomas (2005).The World of Roman Song: From ritualized speech to social order. Johns Hopkins University Press. p. 17.ISBN 978-0-8018-8105-3.
  31. ^L. Deubner, "Zur römischen Religionsgeschichte,"Rheinisches Museum 36–37 (1921–22) 14 ff., as cited by Versnel.
  32. ^Beard, Mary (1990). "Priesthood in the Roman Republic".Pagan Priests: Religion and power in the ancient world. Cornell University Press. pp. 19 and 22.
  33. ^Smith, William, LLD; Wayte, William; Marindin, G. E. (1890).A Dictionary of Greek and Roman Antiquities. Albemarle Street, London, UK: John Murray – via Tufts U. / Perseus.{{cite book}}: CS1 maint: multiple names: authors list (link)
  34. ^Wissowa, Georg (1912).Religion und Kultus der Römer. Munich: C. H. Beck'sche. pp. 480ff.
  35. ^Varro.Lingua Latina. VI 14.Liberalia ... In libris Saliorum quorum cognomen Agonensium, forsitan hic dies ideo appellatur Agonia
    [Liberalia ... In the books of the Salii they are named of the Agonenses, perhaps this day is thence rather named Agonia.]
  36. ^Servius.Aenead. VIII 663.
  37. ^Statius.Silvae. V 128 ff.
  38. ^Dionysius of Halicarnassus.Roman Antiquities. II 70, 2.
  39. ^Dumezil, G. (1974).La religion romaine archaique. It. tr. Milano 1974 p. 248-249. Paris, FR. 2nd part 1 chapt. 6.{{cite book}}: CS1 maint: location missing publisher (link)
  40. ^Wissowa 1912, p. 382.
  41. ^L. von SchoederMysterium und Mimus im RigVeda 1908, pp. 126 and 329-330
  42. ^A. HillebrandtVedische Mythologie 1902 III p. 323; killer of his own father at the same time of his birth II p. 517, III p. 162; father of Indra isTvastar the divine blacksmith (cf. Mamurius Veturius)
  43. ^OldenburgDie Religion d. Veda 1894 p. 233
  44. ^Old calendars name the dayCaesus Ancili orNatalis Martis: Calend. Philocali et Constantini Feriae Martis, Calend. Praen. CIL I p. 387; OvidFasti III 1 ff.; L. PrellerRoemische Mythologie 1858 p.319 n. 5
  45. ^H. UsenerKleine Schriften IV Bonn, 1913 p. 122 and 135 citing Iohannes Lydusde Mensibus IV 36, 71; Properce V 2, 61; Minucius FelixOctav. 243; VarroLingua Latina VI 45: "Itaque Salii quod cantant: "Mamuri Veturi" significant memoriam veterem". "Thus the Salii when they sing "Mamuri Veturi" mean memories of the past"
  46. ^H. UsenerKleine Schriften IV Bonn, 1913, p. 193; L. PrellerRoemische Mythologie 1858 p. 297
  47. ^Catullus 17, 6 Salisubsulus
  48. ^Antonia Traiana Severa."God Mars".religiioromana.net.{{cite web}}:|archive-url= is malformed: timestamp (help)
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