Prucnas (Prucnaś) is an obscure figure in Etruscan mythology whose existence is known from only one engraving on the obverse of a Bronze Etruscan Mirror which is now housed in the Metropolitan Museum of Art in NY.[1] Prucnaś may be a prophetic figure, since he takes part in a scene of prophecy along with Zipuna and Thalna on this mirror. [2] He does not have a known counterpart in Roman or Greek mythology.
The mirror on which Prucnaś is depicted dates to the second half of the fourth century B.C. The 3 figures in the scene are individualized by the artist with steady, sharply etched lines.[3] Bonfante describes the figures as having staring eyes, pouting lips and flaring nostrils that “seem to render an emotional climate of passionate relationships among the figures.”[4] At the center of the image is Zipunu, a divinity known from other mirrors, though usually shown in a minor role.[5] Here she is shown as a matronly figure, wearing a pleated, semi translucent chiton that reveals her breasts and a heavy himation draped over it.[6] A segmented tassel draped over her right shoulder, her laced, pointed boots, her well styled hair and a fine necklace of large beads all mark her as a divinity.[7] She is shown facing left, gazing down towards Prucnaś who meets her gaze. Zipunu’s right arm is gently embracing Prucnaś’ shoulders.
Prucnaś is shown as a handsome, youthful male, with a muscular physique, naked except for the scarf-like mantle which is draped over his shoulders and the laced boots on his feet. [8] His mouth is open and he seems to throw back his head in song. [9] On the other side of Zipunu is Thalna, a figure who appears on several mirrors with Zipunu. [10] Thalna is usually rendered as a female divinity but, as is the case here, he can also be represented as a male divinity. Thalna is represented in a similar manner to Prucnaś: he is youthful and handsome with flowing hair and a muscular body, only partially covered by a mantle draped around his shoulders. [11] He also wears a bracelet with three largue bullae and laced boots, which suggest he may be a hero. [12] Thalna looks toward Prucnaś and Zipunu with one foot propped up on a rock and one of his hands raised in a gesture.
Bonfante interprets this scene as one of adoration, citing other scenes that involve an awesome, older female figure and a smaller, younger male such as those of Turan and Atunis, or Semla and Fufluns. [13] She also points out that Zipunu and Thalna are known as attendants in scenes of toilette or love scenes. [14] De Grummond interprets the scene as one of prophecy wherein, Prucnaś sings prophetic words while Zipunu listens intently. [15] She argues that Thalna, stands in the pose of a soothsayer, with his left leg raised up on a rock, and his right hand raised in a gesture to explain the prophecy. [16] The pose with one leg raised is shown on several scenes where haruspicy is taking place and is likely a ritual motif to show a seer receiving his vision. [17]
All three figures are clearly identified by inscriptions, written in retrograde, with Prucnaś’ name shown downward between his face and Zipunu’s arm, and those of Zipunu and Thalna appearing over their heads. [18] The name “Prucnaś” might have been taken for a family name if it occurred in another context since there are a number of family names that include the root “Pruc”.[19] According to Bonfante, the word “Prucuna,” which occurs on the Zagreb mummy wrappings, probably derives from “prucu” meaning jug and could be related to the name “Prucnaś”. [20] The name “Prucnaś” ends in the letter “s” which is characteristic for divinities and may indicate that the Prucnaś shown on the mirror could be a god. [21] It might also be the case, however, that a wealthy individual wanted to represent himself on a mirror associated with gods and goddesses from the Turan circle. [22]
Notes
edit- ^ De Grummond (2006), 153
- ^ De Grummond (2006), 153
- ^ Bonfante (1997), 59.
- ^ Bonfante (1997), 59.
- ^ Bonfante (1997), 59.
- ^ Bonfante (1997), 59.
- ^ Bonfante (1997), 59.
- ^ Bonfante (1997), 59.
- ^ De Grummond (2006), 153.
- ^ Bonfante and Bonfante (2002), 206.
- ^ Bonfante (1997), 59.
- ^ Bonfante (1997), 60.
- ^ Bonfante (1997), 60.
- ^ Bonfante (1997), 60.
- ^ De Grummond (2006), 153.
- ^ De Grummond (2006), 153.
- ^ De Grummond (2006), 39.
- ^ Bonfante (1997), 60.
- ^ Bonfante (1997), 60.
- ^ Bonfante (1997), 60: TLE 1.
- ^ Bonfante (1997), 60.
- ^ Bonfante (1997), 60.
References
editBonfante, G. and L. Bonfante. The Etruscan Language: An Introduction. Revised edition. Manchester, 2002.
Bonfante, L. “20. U.S.A. New York: The Metropolitan Museum of Art. New York, L’Erma di Bretschneider. 1997.Corpus Speculorum Etruscorum (CSE).
de Grummond, N. T. Etruscan Myth, Sacred History and Legend. Philadelphia, University of Pennsylvania Museum of Archaeology and Anthropology. 2006.
Rix, H. and G. Meiser. Etruskische Texte. Editio minor. 2 vols. Tübingen. 2014.