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By Christopher A. Faraone, David Dodd

Students of classical background and literature have for greater than a century accredited `initiation' as a device for knowing numerous vague rituals and myths, starting from the traditional Greek marriage ceremony and adolescent haircutting rituals to initiatory motifs or buildings in Greek fable, comedy and tragedy.

In this books a global team of specialists together with Gloria Ferrari, Fritz Graf and Bruce Lincoln, critique a lot of those previous experiences, and problem strongly the culture of privileging the idea that of initiation as a device for learning social performances and literary texts, within which alterations in prestige or crew club happen in strange methods. those new modes of study mark a tremendous turning aspect within the smooth research of the faith and myths of historic Greece and Rome, making this a beneficial assortment throughout a couple of classical matters.

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The funeral procession and the marriage cortege, however, are not analogous, but one the reversal of the other, moving, as it were, in opposite directions: the first follows the uncovering, the ``bringing out'' of the woman, the latter moves toward her burial. Fundamentally, the conceit of the marriage in Hades relies on a root metaphor, which is frequent in Greek, that of the grave as a thalamos, the place of sleep. This image is employed in the case of the maiden ready for marriage with a particular twist.

Athena promises to augment the fortunes of those who hold them in awe. When the chorus ask if this will be forever, they use the expression engueª n these, will you set, lay down, or deposit, as in a bank, an engueª of all the time to come? I believe that the image of laying valuables in store in a vault, or an underground vault, is the one that structures the sense of engueª as ``deposit'', one that suits its use both as guarantee and betrothal. 29 For an understanding of the way in which engueª and ekdosis follow one another as stages of one and the same process, I rely on Benveniste's explanation of the peculiar semantic development connecting the expressions for hiding, burying, on the one hand, and giving out and lending, on the other, in Gothic.

28). 225^278. g. Preuss (1933) and, of course, Eliade (1958), who transfers it to the mystery rites as well; for a protest, see Burkert (1987) 99^ 101. '' p. 94). Mauss and Hubert (1909) 144. Schurtz, Webster and Hubert-Mauss are cited by Harrison (1927), 19 n. 1, together with Van Gennep, L. Le¨ vy-Bruhl ``and especially'' Frazer's chapter in Balder the Beautiful, see note 8. She herself feels obliged to W. R. Halliday for partial inspiration, see Harrison (1927) 22 n. 3; Halliday in turn followed Frazer, see Allen et al.

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