[© 최광민] 예수 vs. 디오니소스 #4: 물고기 잡는 디오니소스?

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© 최광민, Kwangmin Choi, 2009-11-05
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예수 vs. 디오니소스 #4: 물고기를 잡는 디오니소스?

순서

1. 어떤 주장
2. 디오니소스와 해적

§ 어떤 주장

우연히 다음과 같은 주장을 하는 블로그를 방문하게 되었다 (링크). 

아마도 다른 곳에서 자료를 가져온 곳으로 보이는 이 블로그는 "예수설화가 디오니소스 설화에서 복사/증보된 것이다"라고 주장하는 프리크/갠디의 "결정적" 증거들을 정리했다고 주장한다. (그러나 프리크/갠디의 책에 등장하지 않는 내용과 도상들이 상당부분 섞여있다.)

비 전문가가 읽으면 "엄청난 충격"을 받게 될 지도 모른다. 그런데 조금이라도 디오니소스 설화의 내용을 아는 사람이라면 즉시 실소하게 될 것이다.  사실 프리크/갠디의 {예수는 신화다}에 등장하는 많은 도상들에 대한 프리크/갠디의 해석들은, 거의 대부분 역사학 및 고고학 혹은 미술사학의 "정설"로 충분히 반박될 수 있다.

싸이트에 정리된 잘못된 도상의 해석이 워낙 많아서 한번에 하나씩 설명하겠다.

링크의 블로그 글 중반부에서 위에 소개한 포도주 희석용 그리스 그릇에 그려진 그림을 어떻게 설명하고 있는지 읽어보자.  아래 그릇에 그려진 장면이다.

그 주장을 정리하면 다음과 같다.

1. 디오니소스는 포도와 물고기의 수확을 관장했다.
2. 즉, 그래서 도상 속에 포도와 물고기가 그려져 있다.
3. 포도는 풍성히 열렸고, 물고기가 배 주위에 가득 몰려왔다.
4. 폭풍이 불고 있는데 디오니소스는 자고 있다.
5. 디오니소스는 바다와 밀접하다.
6. 따라서 "갈릴리 호수에서 배를 타고 있을 때 폭풍이 일었으나 예수는 자고 있었다"는 {복음서}의 한 기록은 바로 이 디오니소스 이야기를 베낀 것이다.

매우 당혹스런 주장이다. 전혀 엉뚱한 설명이기 때문이다.



§ 디오니소스와 해적

우선 저 도자기에 그려진 도상은 그런 뜻이 아니다. 위 그림과 연관된 도상을 하나 더 제시하겠다.

Jar VI-V c. BC (Toledo Museum of Art), BC 4-5세기

 

이 두 도상은 디오니소스 설화의 한 테마에서 온 것이며, 예수가 (1) "제자들과 갈릴리 바다에서 고기를 잡"고 (2) "폭풍 속 배 위에서 잠잤다"는 {복음서}의 테마와는 전혀 상관없는 내용이다. 게다가 디오니소스가 "바다와 밀접"하다면, 그것은 그가 "물고기의 수확을 관장하는 신"이라서가 아니라 그를 귀찮게 한 "해적" 때문이다.

게다가 여기 그려진 건 "물고기"조차 아니다. 이 생물은 "돌고래"다. 그림에서도 보다시피 물에 빠진 해적이 점차 돌고래로 변하는 장면이 그려져 있다.

이 설화는 매우 유명해서 {디오니소스 찬가} 뿐 아니라 필로스트라투스, 히기누스, 오비디우스, 세네카 등 고대의 여러 유명작가들이 기록해 놓았다. 그럼 해당되는 디오니소스 설화를 정리해 보겠다.

원전에 해당하는 그리스/로마 작가들의 글들은 이 글의 아래 부분에 전문을 인용하겠다.

우선 오비디우스의 {메타몰포시스 / 변신이야기}를 들여다보자.

디오니소스의 모험길에, 그는 한 해적단에게 자신을 아르고스로부터 낙소스로 데려다갈라고 요청한다. 그런데 해적들이 자신을 잡아다가 노예로 팔 계략을 세우고 있던 것을 발견한 디오니소스는, 배 위에 있는 노를 뱀으로 만들고 마스트와 돛을 포도 덩굴과 담쟁이 덩굴로 바꿔놓는다. 이에 놀란 해적들은 바다로 뛰어드는데, 뛰어드는 순간 해적들은 돌고래가 되어버린다.  --- 정리: 최광민

위에 제시된 두번재 도상은 배에서 뛰어내린 해적들이 돌고래가 되는 순간을 그린 도자기 단지의 그림이다. 디오니소스가 "물고기의 풍성한 수확을 관장한 신"이라는 말도 금시초문이거니와, 저 도상이 고기잡이에 대한 암시가 있는 것도 아니며, 게다가 배 주위에 그려진 생물이 물고기도 아니고, 배 위에서 디오니소스가 자고 있는 것도 아니다. 예수처럼 바람과 바다에게 호통을 쳐서 폭풍을 잠재웠다는 모티프는 아예 찾을 수가 없다.



위의 디오니소스 신화를 기록한 그리스/로마 측 원자료들을 인용한다.

• "I will tell of Dionysos, the son of glorious Semele, how he appeared on a jutting headland by the shore of the fruitless sea, seeming like a stripling in the first flush of manhood: his rich, dark hair was waving about him, and on his strong shoulders he wore a purple robe. Presently there came swiftly over the sparkling sea Tyrsenoi pirates on a well- decked ship - a miserable doom led them on. When they saw him they made signs to one another and sprang out quickly, and seizing him straightway, put him on board their ship exultingly; for they thought him the son of heaven-nurtured kings. They sought to bind him with rude bonds, but the bonds would not hold him, and the withes fell far away from his hands and feet: and he sat with a smile in his dark eyes. Then the helmsman understood all and cried out at once to his fellows and said: `Madmen! What god is this whom you have taken and bind, strong that he is? Not even the well-built ship can carry him. Surely this is either Zeus or Apollon who has the silver bow, or Poseidon, for he looks not like mortal men but like the gods who dwell on Olympos. Come, then, let us set him free upon the dark shore at once: do not lay hands on him, lest he grow angry and stir up dangerous winds and heavy squalls.' So said he: but the master chided him with taunting words: `Madman, mark the wind and help hoist sail on the ship: catch all the sheets. As for this fellow we men will see to him: I reckon he is bound for Aigyptos (Egypt) or for Kypros or to the Hyperboreoi or further still. But in the end he will speak out and tell us his friends and all his wealth and his brothers, now that providence has thrown him in our way.' When he had said this, he had mast and sail hoisted on the ship, and the wind filled the sail and the crew hauled taut the sheets on either side. But soon strange things were seen among them. First of all sweet, fragrant wine ran streaming throughout all the black ship and a heavenly smell arose, so that all the seamen were seized with amazement when they saw it. And all at once a vine spread out both ways along the top of the sail with many clusters hanging down from it, and a dark ivy-plant twined about the mast, blossoming with flowers, and with rich berries growing on it; and all the thole-pins were covered with garlands. When the pirates saw all this, then at last they bade the helmsman to put the ship to land. But the god changed into a dreadful lion there on the ship, in the bows, and roared loudly: amidships also he showed his wonders and created a shaggy bear which stood up ravening, while on the forepeak was the lion glaring fiercely with scowling brows. And so the sailors fled into the stern and crowded bemused about the right-minded helmsman, until suddenly the lion sprang upon the master and seized him; and when the sailors saw it they leapt out overboard one and all into the bright sea, escaping from a miserable fate, and were changed into dolphins. But on the helmsman Dionysos had mercy and held him back and made him altogether happy, saying to him: `Take courage, good [text missing]; you have found favour with my heart. I am loud-crying Dionysos Eribromos (loud-cyring) whom Kadmos' daughter Semele bare of union with Zeus.' Hail, child of fair-faced Semele!" - Homeric Hymn 7 to Dionysus
• Philostratus the Elder, Imagines 1. 19 (trans. Fairbanks) (Greek rhetorician C3rd A.D.) : "[Ostensibly a description of an ancient Greek painting at Neapolis (Naples) :] A mission ship and a pirate’s ship. Dionysos steers the former, on board the latter are Tyrrhenians, pirates who ravage their own sea. The one is a sacred ship; in it Dionysos revels and the Bakkhai cry out in response to him, and orgiastic music resounds over the sea, which yields its broad surface to Dionysos as readily as does the land of the Lydians; on the other ship they go mad and forget to row and already the hands of many of them are gone. What does the painting mean? Tyrrhenian sailors, my boy, are lying in wait for Dionysos, as word has come to them that he is effeminate and a vagabond and a mine of gold so far as his ship is concerned, because of the wealth it carries, and that he is accompanied only by Lydian women and Satyroi and fluteplayers, and an aged narthex-bearer [i.e. Seilenos], and Maronian wine, and by Maron himself. Hearing that Panes sail with him in the form of goats, they planned to carry off the Bakkhai for themselves and to turn over to the Pans she-goats, such as are raised in the land of the Tyrrhenians. Now the pirate ship sails with warlike mien; for it is equipped with prow-beams and beak, and on board are grappling-irons and spears and poles armed with scythes. And, in order that it may strike terror into those they meet and may look to them like some sort of monster, it is painted with bright colours, and it seems to see with grim eyes set into its prow, and the stern curves up in a thin crescent like the end of a fish’s tail. As for the ship of Dionysos, it has a weird appearance in other respects, and it looks as if it were covered with scales at the stern, for cymbals [i.e. in place of the shields of a warship] are attached to it in rows, so that, even if the Satyroi are overcome by wine and fall asleep, Dionysos may not be without noise on his voyage; and its prow is drawn out in the semblance of a golden leopardess. Dionysos is devoted to this animal because it is the most exciteable of animals and leaps lightly like a Bakkhe. At any rate you see the very creature before you; it sails with Dionysos and leaps against the Tyrrhenians without waiting for his bidding. And the thyrsos here has grown in the midst of the ship and serves as a mast, and sails dyed purple are attached to it, gleaming as they belly out in the wind, and woven in them are golden Bakkhai on Mount Tmolos and Dionysiac scenes from Lydia. That the ship seems to be embowered with vine and ivy and that clusters of grapes swing above it is indeed a marvel, but more marvelous is the fountain of wine, for the hollow ship pours forth the wine and lets it drain away. But let us turn to the Tyrrhenians while they still remain; for under the maddening power of Dionysos the forms of dolphins are creeping over the Tyrrhenians--not at all the dolphins we know, however, nor yet those native to the sea. One of the men has dark sides, one a slippery breast, on the back of one a fin is growing, one is growing a tail, the head of one is gone but that of another is left, the hand of one is melting away, while another laments over his vanishing feet. Dionysos on the prow of his ship laughs at the scene and shouts orders to the Tyrrhenians as fishes in shape instead of men, and as good in character instead of bad. Soon, at any rate, Palaimon will ride on a dolphin’s back, not awake, but lying prone upon it sound asleep; and the Arion at Taenaron makes it clear that dolphins are the companions of men, and fond of song, and worthy to take the field against pirates in defence of men and the art of music."
• "When he [Dionysos] wanted passage across from Ikaria to Naxos he hired a trireme of Tyrrhenian pirates. But when they had him on board, they sailed past Naxos and headed for Asia where they planned to sell him. He thereupon changed the mast and the oars into snakes, and filled the boat with ivy and the sound of flutes. The men went mad and dove into the sea, where they became dolphins. With events like these, men learned that Dionysos was a god, and they began to honour him." - Apollodorus, The Library 3.37-38"When the Tyrrhenians, later called Tuscans, were on a piratical expedition, Father Liber [Dionysos], then a youth, came on their ship and asked them to take him to Naxos. When they had taken him on and wished to debauch him because of his beauty, Acoetes, the pilot, restrained them, and suffered at their hands. Liber [Dionysos], seeing that their purpose remained the same, changed the oars to thyrsi, the sails to vine-leaves, the ropes to ivy; then lions and panthers leapt out. When they saw them, in fear they cast themselves into the sea, and even in the sea he changed them to a sort of beast. For whoever leaped overboard was changed into dolphin shape, and from this dolphins are called Tyrhhenians, and the sea Tyrrhenian. They were twelve in number with the following names: Aethalides, Medon, Lycabas, Libys, Opheltes, Melas, Alcimedon, Epopeus, Dictys, Simon, Acoetes. The last was the pilot, whom Liber [Dionysos] saved out of kindness." - Hyginus, Fabulae 134
• "Aglaosthenes [Greek poet C7th BC], who wrote the Naxica, says that there were certain Tyrrhenian shipmasters, who were to take Father Liber [Dionysos], when a child, to Naxos with his companions and give him over to the nymphs, his nurses. Both our writers and many Greek ones, in books on the genealogy of the gods, have said that he was reared by them. But, to return to the subject at hand, the shipmates, tempted by love of gain, were going to turn the ship off course, when Liber, suspecting their plan, bade his companions chant a melody. The Tyrrhenians were so charmed by the unaccustomed sounds that they were seized by desire even in their dancing, and unwittingly cast themselves into the sea, and were there made dolphins. Since Liber desired to recall thought of them to men’s memory, he put the image of one of them among the constellations [as Delphinus]." - Hyginus, Astronomica 2.1
• "The men [soldiers of Pentheus King of Thebes] come back spattered with blood, and when he [Pentheus] asks where Bacchus [Dionysos] is, they say Bacchus they did not see, `But this man here, his comrade and his acolyte, we seized’; and hand over a Tyrrhenian, his arms bound behind his back, a follower of the god. Pentheus, with terrible anger in his eyes, glared at the man, and hardly could delay his punishment. `Before you die’, he cried, `And, dying, give a lesson to the rest, tell me your name, your family, your country, and why you practise this new cult of yours.’ He answered undismayed, `My name’s Acoetes, Maeonia’s my country and my parents were humble folk ... I learnt as well the art of helmsmanship ... One day, making for Delos, I put in to Chios; we rowed shrewdly to the shore; a light leap, and I stood on the wet sand. We spent the night there; in the first red glow of dawn I rose and sent my men for water, along a track that led them to a spring. I, myself, climbed a knoll and gazed around to judge the promise of the wind, then called my shipmates, and so back to board the ship. Opheltes, in the lead, crying `Here we are!’ Brought to the beach a prize (or so he thought), discovered on this lonely spot, a boy, as pretty as a girl. He seemed to reel, half-dazed with wine and sleep, and almost failed to follow along. I gazed at his attire, his face, his bearing; everything I saw seemed more than mortal. I felt sure of it, and said to my shipmates `What deity is in that frame, I’m doubtful, but for sure some deity is there. Whoever you are, be gracious, bless our labours, and forgive these fellows!’ `Spare your prayers for us’, said Dictys (no man nimbler to swarm up right to the highest yard and slide back down the stays) and Libys backed him, and Melanthus, our fair-haired prow-man, and Alcimedon, Epopeus too, who called the rowers’time, to pull or pause, and kept their spirits up, and all the others to a man: so blind is greed for booty. `No!’ I cried, `That freight is holy! Never shall I let my ship commit such sacrilege! I’m master here!’ I stood to block the gangway. Lycabas, of all the crew the boldest, was incensed. (He had been banished from a Tuscan town, exiled for a foul murder.) As I stood, he seized me be the throat and would have thrown me overboard, had I not, half-concussed, clung to a rescuing rope. That godless group applauded him and cheered him. Then at last Bacchus [Dionysos] (for it was he), aroused, no doubt, from slumber by the shouting, and his wits regathered from the wine, cried `What’s this noise? What are you doing? How did I come here? Where do you mean to take me?’ `Have no fear’, said Proreus; `Name the port you wish to reach; you shall be landed at the place you choose.’ `Naxos’, said Bacchus [Dionysos], `set your course to Naxos. That is my home, that land will welcome you.’ Then by sea and every god they swore, those swindling rogues, it should be so, and bade me get the painted vessel under sail. Naxos lay on the right, and for the right I set my canvas. `Fool, what are you doing?’ Opheltes said: ‘What lunacy is this? Steer to the left!’ and every man of them supported him. They made their meaning clear by nods and winks and some by whispers. I was staggering. `‘Someone else shall take the helm’, I said - I’d not let my skill serve their crime! All the crew cursed me. ‘So you think your whole safety’, Athalion cried, ‘depends on you!’ He strode and took my duty at the helm, and, turning course from Naxos, steered away. Then the god, making sport of them, as if he’d only just perceived their treachery gazed from the curving poop across the sea and seemed in tears and said ‘That’s not the shore you promised me! That’s not the shore I want! What glory can you gain, if you strong men cheat a small boy, so many against one?’ I had long been in tears. The godless gang laughed at my tears, and rowed on hastily Now, by that god himself (for there’s no god closer than he) I swear I tell what’s true, as true as past belief: the ship stood still upon the sea as fixed as in a dry dock. The crew, bewildered, rowed with dogged strokes and spread the sails, twin means to make her move. But ivy creeping, winding, clinging, bound the oars and decked the sails in heavy clusters. Bacchus [Dionysos] himself, grape-bunches garlanding his brow, brandished a spear that vine-leaves twined, and at his feet fierce spotted panthers lay, tigers and lynxes too, in phantom forms. The men leapt overboard, all driven mad or panic-stricken. Medon’s body first began to blacken and his spine was arched into a curse. `What magic shape is this?’ cried Lycabas, but, even as he spoke, his mouth widened, his nose curved out, his skin turned hard and scaly. Libys, trying to pull the thwarting oars, saw his hands suddenly shrink - hands no longer - fins they might be called. Another, when he meant to clasp his arms around a hawser, had no arms and jumped limbless and bending backwards into the waves. His tail forked to a sickle-shape and curved like a half moon. All round the ship they leapt in showers of splashing spray. Time after time they surfaced and fell back into the sea, playing like dancers, frolicking about in fun, wide nostrils taking in the sea to flow it out again. Of the whole twenty (that was the crew she carried) I alone remained. As I stood trembling, cold with fear, almost out of my wits, the god spoke words of comfort: `Cast your fear aside. Sail on to Dia [Naxos].’ Landing there, I joined his cult and now am Bacchus’ faithful follower.’ `We’ve listened to this rigmarole’, said Pentheus, ‘To give our anger time to lose its force. Away with him, you salves! Rush him away! Rack him with fiendish tortures till he dies and send him down to the black night of Stygia.’ So there an then Acoetes was hauled off and locked in a strong cell; but while the fire, the steel, the instruments of cruel death, were being prepared, all of their own accord the doors flew open, all of their own accord the chains fell, freed by no one, from his arms." - Ovid, Metamorphoses 3.572
• "You, most worshipful [Dionysos] ... consigned the Tyrrhenian sailors to the sea." - Ovid, Metamorphoses 4.22
• "[Dionysos] had power to change those Maeonian mariners and sink them in the sea." - Ovid, Metamorphoses 4.422
• "[Dionysos] the tamer of Lycurgus and the ruddy sea [i.e. the Tyrrhenian pirates], who bears a spear-point hidden beneath his vine-wreathed staff." - Seneca, Hercules Furens 93
• "Thee [Dionysos], O boy, a Tyrrhenian band once captured and Nereus allayed the swollen sea; the dark blue waters he changed to meadows. Thence flourish the plane-tree with vernal foliage and the laurel-grove dear to Phoebus; the chatter of birds sounds loud through the branches. Fast-growing ivy clings to the oars, and grape-vines twine at the mast-head. On the prow an Idaean lion roars; at the stern crouches a tiger of Ganges. Then the frightened pirates swim in the sea, and plunged in the water their bodies assume new forms: the robbers’ arms first fall away; their breasts smite their bellies and are joined in one; a tiny hand comes down at the side; with curving back they dive into the waves, and with crescent-shaped tail they cleave the sea; and now as curved dolphins they follow the fleeing sails." - Seneca, Oedipus 449

대체 누가 "물고기 수확을 관장하는 디오니소스신"이란 식의 엉뚱한 해석을 내린 것이며 그 근거는 무엇인지 나는 도무지 이해하지 못하겠다. 참고삼아, 토마스 아퀴나스의 말을 인용한다.

Cognitum. est in cognoscente secundum modum cognoscentis / 인식은 (그것을) 인식하는 마음의 상태에 달려있다.

즉, 우리는 "보고 싶은 것만" 본다는 뜻이다.

판단은 각자의 몫.


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