Ithyphallic

The title ΣΟΤΗΡ ΚΟΣΜΟΥ upon the composite priapic figure published by La Chausse is well known; and it is probable that the ithyphallic ceremonies, which the gross flattery of the degenerate Greeks sometimes employed to honor the Macedonian princes, had the same meaning as this title of Saviour, which was frequently conferred upon, or assumed by them.

In late classical and Hellenistic times the theatre could be the site of a prolonged and climactic performance by phallic choruses: Hyperides mentions the ithyphalloi dancing in the orchestra and Semos' account of both ithyphalloi and phallophoroi focuses on the moment that the choruses enter the theatre. But the ithyphalloi remained primarily processional and non-theatrical, as is clear from Demochares' account of the ithyphallic procession to meet Demetrius the Besieger.

Phthas, the inscription in phonetic hieroglyphs Ptah, in close-fitting dress, with the feet joined together, leaning on the platform consisting of four steps[…]. Also dwarfish and ithyphallic as in the temple at Memphis[…].

Hence the ubiquity of Priapus himself as a sculptural representative of the generative principle, populated the Roman gardens, assertive in ithyphallic pose.

In a symbolism which does justice to the biologically sexual phase of life but which quickly transcends it, we find ithyphallic deities such as Thoth in Egypt and Hermes in Greece, as the spiritual messengers necessary to guide the souls of the dead to their resting place.

The phallic symbolism of the finger has long been popularly used. The middle finger is commonly held up as an ithyphallic insult, as is the thumb in the sign of the fig. The ancient Romans called the middle finger impudicus, "lewd."

We have already referred to a stone sculpture suggestive of an ithyphallic dancer found at Harappa, a prototype of the Shiva at Nataraja. […] The sculptures of Shiva as an ithyphallic dancer are found in Orissa. At Asanpat in Keonjhar district an eight-armed ithyphallic sculpture of a dancing Shiva was found.

[I]t is specially desirable to be able to discern the difference […] between the "εὐνῇ καὶ φιλότητι" or "φιλότητι καὶ εὐνῇ μιγῆναι" of the Iliad and Odyssey, and an ithyphallic audacity that insults what is most sacred and decent among men.