
A corpse for a curse<\/strong> <\/h2>\n\n\n\nWhy deposit a curse in a grave? In many cases, the deceased was unknown to the ritual practitioner. The corpse simply served as a vehicle for conveying the curse to the powers of the underworld, who would then bring it to pass. There is also evidence from the fourth century BCE that some practitioners understood the spirit of the dead person, an entity which could linger and remain active around the grave after burial, to enact the malediction. In both scenarios, the dead were understood as agents that could affect the curse when ritually harnessed, either as purveyors to chthonic underworld powers, or as unquiet forces themselves capable of intervening in the affairs of the living. <\/p>\n\n\n\n
Certain types of dead persons held particular appeal in curse rituals, as their souls were deemed exceptionally restless and volatile; the graves of such individuals were especially ripe for supernatural exploitation. Among these groups were a\u014droi, <\/em>individuals who died before their time (examples could include infants, children, and women who died before childbirth), and biaiothanatoi, <\/em>those who died by force or violence. For both groups, the abrupt time or manner of death meant that they had perished unfulfilled, falling short of a standard life cycle; their ghosts were thus particularly agitated and vengeful. One small child\u2019s grave from the Cycladic island of Paros yielded a lead curse effigy<\/a> dating from around 400 BCE. The figurine was pierced with seven iron nails, the arms were bound behind the back, and a lead collar shackled the neck. Inscriptions on the body in the local Parian alphabet suggest that the object targeted a man named Theophrastos (figure 2). <\/p>\n\n\n\t\n\t\t\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\tFour photographs of a dark grey sculpted figurine of a man, each from a different angle. The figure\u2019s hands are tied behind its back, and it is pierced with pins in several places. \t\t\t\t\t<\/span>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\tCredit: <\/span>\n\t\t\t\t\t\t\tJessica L. Lamont<\/span>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t
\t\t\t\t\t\t\n\t\t\t\t\t\t\tCurse effigy from Paros, Greece, targeting one Theophrastos. From c.400 BCE. \t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n\t\n\n\nA second, larger grave in the Athenian Kerameikos contained a lead figurine<\/a>, the right side of which was inscribed with the name Mnesimachos. The figurine\u2019s arms were twisted behind the back, and the object had been encased in a small lead coffin inscribed with nine personal names and the concluding phrase \u201cand anyone else who is either a legal advocate or a witness with him,\u201d revealing that this assemblage was created on account of litigation in the Athenian law courts. The grave selected for deposition was striking, according to archaeologist Jutta Stroszeck. Ceramic roof tiles were used to cover an adult<\/a> whose thighs, pelvis, left arm, chest, and spine had been severed and placed at the head of the deceased: a rare type of burial (maschalismos<\/em>) in which the extremities of the deceased were severed and, at least in theory, placed under the corpse\u2019s armpits to prevent the dead from mobilizing to take vengeance. The effigy of Mnesimachos emerged at the detached pelvis of the corpse. Here the violent death and interment of the deceased afforded an ideal context for the deposition of an inscribed curse assemblage. <\/p>\n\n\n\t\n\t\t\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\tA photograph of a thin piece of dark grey metal, dimpled, with ragged edges in places, and roughly oblong in shape. A faded inscription is visible running horizontally across the object. \t\t\t\t\t<\/span>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\tCredit: <\/span>\n\t\t\t\t\t\t\tJessica L. Lamont<\/span>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t
\t\t\t\t\t\t\n\t\t\t\t\t\t\tFolded, nailed curse tablet from Classical Athens. From c.375 BCE. \t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n\t\n\n\nA cache of five Greek curse tablets was found in an Athenian pyre grave containing the cremated remains of a young girl, another individual who had perished before her time. Created around 375 BCE, the five tablets attack male-female couples, and were inscribed with similar binding curses<\/a>. One of the texts, which is representative of the other four, reads as follows (figure 3): <\/p>\n\n\n\n\nHekate Chthonia, Artemis Chthonia, Hermes Chthonios: envy Euphiletos, himself and his wife, and their property and household! I bind my enemy in blood\u2014Euphiletos\u2014and ashes, together with all the dead. Nor will the next four-year cycle release you. I bind you in such a bind, Euphiletos, as strongly as possible, and I strike in a kynoton<\/em> up\u03bfn [your] tongue! <\/p>\n<\/blockquote>\n\n\n\nThese curses open by addressing Hekate, Artemis, and Hermes as a chthonic or sub-earthly triad. Deities with underworld associations were appealed to in binding curses, especially for tablets deposited in underground conduits such as graves and wells. The agent then commanded these deities to do their bidding, to bind, debilitate, or harm their enemies. Some parts of these binding spells are metrical, which suggests that they once circulated orally<\/a>. The clear, crisp script, careful handwriting, dactylic hexameter, epic language, and repeated formulae suggests that this cache of spells was composed by a ritual professional, someone quite literate and skilled in the craft of curse writing.<\/p>\n\n\n\nAn abundance of curse tablets stemming from law court cases shows that they were also performing curse rituals to increase their chances of success. <\/p><\/blockquote><\/figure>\n\n\n\n
Trial and execration<\/strong> <\/h2>\n\n\n\nThe largest numbers of Greek curse tablets hail from Athens (more than 520 lead curse tablets are known today), and the majority date from the fourth century BCE. Many relate to trials in the law courts. We know from literary sources, namely the Attic orators, that Athenians were hiring speech writers to help persuade and sway juries to their side in trials; an abundance of curse tablets stemming from law court cases shows that they were also performing curse rituals to increase their chances of success. Another curse tablet from fourth-century Athens, for example, curses chefs (figure 4): <\/p>\n\n\n\n
\nTheagenes the cook. I bind his tongue, his soul and the speech he is practicing. Pyrrhias. I bind his tongue, his soul and the speech he is practicing. I bind the wife of Pyrrhias, her tongue and soul. I also bind Kerkion, the cook, and Dokimos, the cook, their tongues, their souls and the speech they are practicing. I bind Kineas, his tongue, his soul and the speech he is practicing with Theagenes. And Pherekles. I bind his tongue, his soul and the evidence that he gives for Theagenes. All these [i.e., their names] I bind, I hide, I bury, I nail down. If they lay any counterclaim before the arbitrator or the court, let them seem to be of no account, either in word or deed. <\/p>\n<\/blockquote>\n\n\n\n
This curse tablet was occasioned by a conflict between professional, popular cooks (ancient celebrity chefs), which had progressed to trial in the law courts. It aimed to impede the legal opposition by binding the rival litigants, their tongues (shorthand for their faculties of speech), souls, and testimonies in court. The curse even took care to target the wife of one of the opposing litigants ahead of the trial. <\/p>\n\n\n\t
\n\t\t\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\tA line drawing of an object, with ragged edges and roughly a rounded square in shape. It is inscribed with Greek text running horizontally across the object.\t\t\t\t\t<\/span>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\tCredit: <\/span>\n\t\t\t\t\t\t\tJaime Curbera, Berlin-Brandenburgische Akademie der Wissenschaften, Inscriptiones Graecae<\/span>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t
\t\t\t\t\t\t\n\t\t\t\t\t\t\tDrawing of Athenian curse tablet targeting rival cooks, all of whom were involved in a lawsuit in the Athenian courts. From c. 300 BCE.\u00a0\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n\t\n\n\nEffigy of desire<\/strong> <\/h2>\n\n\n\nAnother effort to bind and curse someone is represented by a small clay effigy of a woman, which has been dated to the fourth century CE (figure 5). The ensemble probably came from somewhere in middle Egypt and was purchased by the Louvre Museum (Inv. 27145a). The clay effigy was discovered inside a ceramic vessel; as though a captive, the figurine kneels with her arms tied behind her back and her feet bound together. The figure\u2019s body had been pierced with 13 pins: one in the mouth and each eye, one in the head, one each in the vagina and anus, one in the chest, one in each ear, and one in each hand and foot. An inscribed lead curse tablet was then wrapped around the nailed figurine, and both were sealed in the pot. The inscription reveals that this elaborate curse was created to erotically attract a woman named Ptolemais to Sarapammon, a man who was obsessed and infatuated with her. Sarapammon\u2019s curse sought to prevent Ptolemais from eating, sleeping, and having intercourse with anyone other than him; the curse violently demands: <\/p>\n\n\n\n
\nDo not allow her to have intercourse with another man, except me alone. Drag her by her hair, by her guts, until she does not stand apart from me! <\/p>\n<\/blockquote>\n\n\n\n
By binding the arms and legs of her effigy and then piercing it over and over again, Sarapammon seeks, through sympathetic or analogistic magic, to bind her and command her, and to control her mind and body. Combined with texts from the Greek and Egyptian magical handbooks, some of which also carry recipes for creating such effigies and curse tablets, we can begin to understand how someone in Greco-Roman Egypt went about casting an erotic spell, and addressed feelings of intense desire, lust, and exasperation over 1,800 years ago. <\/p>\n\n\n\t
\n\t\t\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\tA photograph of a grey sculpted figurine of a woman. The figure\u2019s arms and hands are bound behind the back, and it is pierced by pins in several places including the head, chest, and vagina. \t\t\t\t\t<\/span>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\tCredit: <\/span>\n\t\t\t\t\t\t\tImage \u00a9 Marie-Lan Nguyen\/Wikimedia Commons\/CC-BY 2.5<\/span>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t
\t\t\t\t\t\t\n\t\t\t\t\t\t\tLouvre curse effigy, from Roman Egypt. Louvre Inv. E 27145a.\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n\t\n\n\nFowl play<\/strong> <\/h2>\n\n\n\nIn the summer of 2006, excavators at the Athenian Agora uncovered an unglazed ceramic cooking pot dating to around 300 BCE buried in the back corner of a workshop in a commercial and industrial building (figure 6). The vessel, inscribed with more than 30 names on the exterior and pierced with an iron spike, was found to contain the head and feet of a chicken<\/a> (figure 7). The object is of interest for the light it sheds on the importance of organic materials within ritualized magic, smack in the heart of ancient Athens. <\/p>\n\n\n\t\n\t\t\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\tA birds-eye-view photograph of a hole in pale brown-yellow ground with stones large and small protruding from the edges. Two picks and two brushes lie on the surface at the top of the image. A small vessel lies at the bottom of the hole and the center of the image. \t\t\t\t\t<\/span>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\tCredit: <\/span>\n\t\t\t\t\t\t\tC. Mauzy, courtesy of Athenian Agora Excavations. Photograph from Lamont 2021 (Hesperia)\u00a0<\/span>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t
\t\t\t\t\t\t\n\t\t\t\t\t\t\tChicken curse pot in situ, as found during excavations of the Athenian Agora. \t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n\t\n\n\nThis binding curse may have stemmed from an impending court case or a conflict between craftsmen; the sheer number of names on the pot intimates that the list could plausibly consist of one party in an Athenian court case, along with witnesses and supporters. The pot\u2019s archaeological context suggests that the circumstances of its burial may have been a conflict between craftsmen associated with the commercial and industrial building. While most binding curses were deposited in graves or bodies of water, some were placed in a location by which the intended victim or victims were likely to pass. The vessel may have been buried in the workshop to harm its occupants, one or more of the people whose names appear on the pot. <\/p>\n\n\n\n
There is no evidence of butchering or burning on the bones, so the chicken seems to have been decapitated and dismembered<\/a> by wringing or twisting while still alive or after its death. Even the smallest bones of the head and feet are present, suggesting that the body parts were still sheathed in skin when they were tossed into the pot. <\/p>\n\n\n\n

A second, larger grave in the Athenian Kerameikos contained a lead figurine<\/a>, the right side of which was inscribed with the name Mnesimachos. The figurine\u2019s arms were twisted behind the back, and the object had been encased in a small lead coffin inscribed with nine personal names and the concluding phrase \u201cand anyone else who is either a legal advocate or a witness with him,\u201d revealing that this assemblage was created on account of litigation in the Athenian law courts. The grave selected for deposition was striking, according to archaeologist Jutta Stroszeck. Ceramic roof tiles were used to cover an adult<\/a> whose thighs, pelvis, left arm, chest, and spine had been severed and placed at the head of the deceased: a rare type of burial (maschalismos<\/em>) in which the extremities of the deceased were severed and, at least in theory, placed under the corpse\u2019s armpits to prevent the dead from mobilizing to take vengeance. The effigy of Mnesimachos emerged at the detached pelvis of the corpse. Here the violent death and interment of the deceased afforded an ideal context for the deposition of an inscribed curse assemblage. <\/p>\n\n\n\t A cache of five Greek curse tablets was found in an Athenian pyre grave containing the cremated remains of a young girl, another individual who had perished before her time. Created around 375 BCE, the five tablets attack male-female couples, and were inscribed with similar binding curses<\/a>. One of the texts, which is representative of the other four, reads as follows (figure 3): <\/p>\n\n\n\n Hekate Chthonia, Artemis Chthonia, Hermes Chthonios: envy Euphiletos, himself and his wife, and their property and household! I bind my enemy in blood\u2014Euphiletos\u2014and ashes, together with all the dead. Nor will the next four-year cycle release you. I bind you in such a bind, Euphiletos, as strongly as possible, and I strike in a kynoton<\/em> up\u03bfn [your] tongue! <\/p>\n<\/blockquote>\n\n\n\n These curses open by addressing Hekate, Artemis, and Hermes as a chthonic or sub-earthly triad. Deities with underworld associations were appealed to in binding curses, especially for tablets deposited in underground conduits such as graves and wells. The agent then commanded these deities to do their bidding, to bind, debilitate, or harm their enemies. Some parts of these binding spells are metrical, which suggests that they once circulated orally<\/a>. The clear, crisp script, careful handwriting, dactylic hexameter, epic language, and repeated formulae suggests that this cache of spells was composed by a ritual professional, someone quite literate and skilled in the craft of curse writing.<\/p>\n\n\n\n An abundance of curse tablets stemming from law court cases shows that they were also performing curse rituals to increase their chances of success. <\/p><\/blockquote><\/figure>\n\n\n\n The largest numbers of Greek curse tablets hail from Athens (more than 520 lead curse tablets are known today), and the majority date from the fourth century BCE. Many relate to trials in the law courts. We know from literary sources, namely the Attic orators, that Athenians were hiring speech writers to help persuade and sway juries to their side in trials; an abundance of curse tablets stemming from law court cases shows that they were also performing curse rituals to increase their chances of success. Another curse tablet from fourth-century Athens, for example, curses chefs (figure 4): <\/p>\n\n\n\n Theagenes the cook. I bind his tongue, his soul and the speech he is practicing. Pyrrhias. I bind his tongue, his soul and the speech he is practicing. I bind the wife of Pyrrhias, her tongue and soul. I also bind Kerkion, the cook, and Dokimos, the cook, their tongues, their souls and the speech they are practicing. I bind Kineas, his tongue, his soul and the speech he is practicing with Theagenes. And Pherekles. I bind his tongue, his soul and the evidence that he gives for Theagenes. All these [i.e., their names] I bind, I hide, I bury, I nail down. If they lay any counterclaim before the arbitrator or the court, let them seem to be of no account, either in word or deed. <\/p>\n<\/blockquote>\n\n\n\n This curse tablet was occasioned by a conflict between professional, popular cooks (ancient celebrity chefs), which had progressed to trial in the law courts. It aimed to impede the legal opposition by binding the rival litigants, their tongues (shorthand for their faculties of speech), souls, and testimonies in court. The curse even took care to target the wife of one of the opposing litigants ahead of the trial. <\/p>\n\n\n\t Another effort to bind and curse someone is represented by a small clay effigy of a woman, which has been dated to the fourth century CE (figure 5). The ensemble probably came from somewhere in middle Egypt and was purchased by the Louvre Museum (Inv. 27145a). The clay effigy was discovered inside a ceramic vessel; as though a captive, the figurine kneels with her arms tied behind her back and her feet bound together. The figure\u2019s body had been pierced with 13 pins: one in the mouth and each eye, one in the head, one each in the vagina and anus, one in the chest, one in each ear, and one in each hand and foot. An inscribed lead curse tablet was then wrapped around the nailed figurine, and both were sealed in the pot. The inscription reveals that this elaborate curse was created to erotically attract a woman named Ptolemais to Sarapammon, a man who was obsessed and infatuated with her. Sarapammon\u2019s curse sought to prevent Ptolemais from eating, sleeping, and having intercourse with anyone other than him; the curse violently demands: <\/p>\n\n\n\n Do not allow her to have intercourse with another man, except me alone. Drag her by her hair, by her guts, until she does not stand apart from me! <\/p>\n<\/blockquote>\n\n\n\n By binding the arms and legs of her effigy and then piercing it over and over again, Sarapammon seeks, through sympathetic or analogistic magic, to bind her and command her, and to control her mind and body. Combined with texts from the Greek and Egyptian magical handbooks, some of which also carry recipes for creating such effigies and curse tablets, we can begin to understand how someone in Greco-Roman Egypt went about casting an erotic spell, and addressed feelings of intense desire, lust, and exasperation over 1,800 years ago. <\/p>\n\n\n\t In the summer of 2006, excavators at the Athenian Agora uncovered an unglazed ceramic cooking pot dating to around 300 BCE buried in the back corner of a workshop in a commercial and industrial building (figure 6). The vessel, inscribed with more than 30 names on the exterior and pierced with an iron spike, was found to contain the head and feet of a chicken<\/a> (figure 7). The object is of interest for the light it sheds on the importance of organic materials within ritualized magic, smack in the heart of ancient Athens. <\/p>\n\n\n\t This binding curse may have stemmed from an impending court case or a conflict between craftsmen; the sheer number of names on the pot intimates that the list could plausibly consist of one party in an Athenian court case, along with witnesses and supporters. The pot\u2019s archaeological context suggests that the circumstances of its burial may have been a conflict between craftsmen associated with the commercial and industrial building. While most binding curses were deposited in graves or bodies of water, some were placed in a location by which the intended victim or victims were likely to pass. The vessel may have been buried in the workshop to harm its occupants, one or more of the people whose names appear on the pot. <\/p>\n\n\n\n There is no evidence of butchering or burning on the bones, so the chicken seems to have been decapitated and dismembered<\/a> by wringing or twisting while still alive or after its death. Even the smallest bones of the head and feet are present, suggesting that the body parts were still sheathed in skin when they were tossed into the pot. <\/p>\n\n\n\n\t\t\t\t\t\t
\n
Trial and execration<\/strong> <\/h2>\n\n\n\n
\n
\t\t\t\t\t\t
Effigy of desire<\/strong> <\/h2>\n\n\n\n
\n
\t\t\t\t\t\t
Fowl play<\/strong> <\/h2>\n\n\n\n
\t\t\t\t\t\t