Showing posts with label Aphrodite. Show all posts
Showing posts with label Aphrodite. Show all posts

Tuesday, October 13, 2015

3rd Annual #NameThatButt: Round 2

(Need a refresher on the rules of #NAMEthatBUTT? Klikk klikk!)

And Last Week's Butt Belonged To:

VENUS VICTORIOUS
(by Pierre-Auguste Renoir and Richard Guino)
(And the better than usual photography of this spectacular sculpture
must be credited to my aunt, Tommi Lou Carosella --
please do not use the images of Venus Victorious without her permission!)
And now for Round Two:

(A butt I, personally, am very excited about.)


Your Clues:

  1. This butt is featured in the #1 bestselling book of all time, according to Guiness. 
  2. This backside is guilty of a very ORIGINAL sin!
And you'll also get a Bonus Clue over at blog.amaliacarosella.com tomorrow, so be sure to check over there for a brief quote, and Name that Book for 2 extra points. But in the meantime, drop your guesses in the (moderated!) comments, and good luck Naming that Butt!

Forged by Fate (Fate of the Gods, #1) Tempting Fate (Fate of the Gods, #1.5) Fate Forgotten (Fate of the Gods, #2) Taming Fate (Fate of the Gods, #2.5) Beyond Fate (Fate of the Gods, #3)
Postcards from Asgard * Honor Among Orcs (Orc Saga, #1) Blood of the Queen (Orc Saga, #2) * Helen of Sparta
Buy Now:
Amazon | Barnes&Noble

Tuesday, March 04, 2014

Inspiration of Mythic Proportions Part I (from Kristina Wojtaszek)

Amazon | B&N
This is part one of a two part series from Kristina Wojtaszek, author of OPAL. Her novella is part of the winter romance anthology, A Winter's Enchantment, alongside my own contribution, TAMING FATE. Part two will be posting Thursday, March 6th! --Amalia



Nothing is written that hasn't been told before, or so it's said.  And when you begin reading the oldest fairy tales you can find, those firstborns sired by folkloric fathers and mythical mothers, you realize it must be true.  There is always something older, something that came before.  Even the gods and goddesses of myth have parents; even they have some unfathomable beginning.  So it shouldn't surprise us when we find a Beauty in the Beast in the story of Persephone and Hades, or that East of the Sun, West of the Moon is so like the tale of Cupid and Psyche.  Ever wondered if Pandora was really married to Bluebeard, or if Snow White's vain stepmother had any relation to Aphrodite?

As I began to reacquaint myself with Greek mythology, I kept finding scattered seeds of fairy tales within the fruit of their stories.  Even the infamous Hans Christian Andersen and Charles Perrault, who are celebrated as fathers of many well-known fairy tales, gained inspiration from older folklore.  But how much mythology did they know, and did it play any part in the creation of their fairy tales?  Here I explore two of their fairy tales that have quite striking mythological equivalents, which may or may not be coincidental.

1) Hephaestus pounds out a Steadfast Tin Soldier  

Biographer Jackie Wullschlager tells us that Hans Christian Andersen's Steadfast Tin Soldier “is the first tale he wrote which has neither a folk tale source nor a literary model, but comes straight out of his imagination…"  Now that I have begun reading Wullschlager's stunning biography of Andersen, I cannot help but see a bit of his own life story in this beloved tale of a little soldier who is pushed along on many a journey by fate, and who never quite fits in or finds an equal in love, but sacrifices himself wholly to his art, being ultimately steadfast in the vision of his future.  So I think the connection I've made between The Steadfast Tin Soldier and the Greek god of metallurgy is really one of my own imagining.

Still, the resemblance is remarkable between the disfigured godling who is cast from his mother, Hera, at the sight of his ugly, twisted, and useless leg, and that of the tin soldier whose maker ran out of tin and left him with but a single leg to stand on.  Whether Hera exiled Hephaestus from Olympus due to his birth defect, or Zeus exiled him for coming between he and Hera (and his throwing Hephaestus down from Olympus caused his leg to become injured and lame), Hephaestus was the only exiled god to return to Olympus, where he worked (steadfastly!) hammering out the powerful weapons and armor of the gods.  He was an outcast who was literally cast out, just as the tin soldier was blown, or thrown, from his place out the window.  And Hephaestus journeyed to earth, just as the soldier journeyed through many realms, and yet both returned to serve; Hephaestus at work in his special place in Olympus, and the soldier at the side of his love, the little paper dancer, even as she fell into the fire.

Though it is doubtful that Hephaestus had any influence on the tale of the Steadfast Tin Soldier, his ability to create animistic statues, as those that guard the gates of Olympus, and his steady dedication to his work despite all that debilitated him, is very like Hans Christian Andersen himself, who was one of the first children's authors to give animation to toys and voices to everyday objects, in order to tell in some small way the greater story of his life.


Tune in Thursday for Part Two, Featuring Perrault, Little Red Riding Hood, and Cronus!

Friday, September 20, 2013

Name that Butt: Stage Two, Round 4 REVEAL!

Stage Two Rules:

  • I post a butt and TWO clues, you guess who that butt belongs to in the comments. If you guess right, you get 5 points. (No bonus for being first.)
  • Comments are moderated, which means they sit in my inbox quietly until I choose to publish them, so you won't see anyone else's guesses.
  • HOWEVER, if you CORRECTLY identify the artistic work in question, you earn a bonus 5 points. (Provided of course, that it differs from the subject's name alone and the artist is known at all)
  • The following Friday, I reveal the subject, along with the full backside image of the sculpture in question! If at this point you can correctly identify artist/title of the piece, you can earn an additional 2.5 points, and you may guess artist/title until the next round of NAME THAT BUTT begins.
  • I'll keep a running tally of correct answers/points, with occasional updates of who is "winning."
  • For Olympians, Greek AND Roman names are acceptable, because half of these sculptures were probably titled with their Roman names but in my head, they immediately translate to the Greek, and that's how I remember them when I'm organizing my photos.
  • The game will continue for as long as I have photographs of backsides to share, but a new NAME THAT BUTT may not be posted every week, depending on Things. 

And this week's Butt belongs to...

*drumroll*


Aphrodite!!

There are no bonus points for naming this work, but thanks to Kevin Kanellakis (owner of the above image, p.s.) and his photographic diligence, we have the plaque from the museum to tell us a little bit about this piece! Hooray!

















Tune in TUESDAY, the 24th of September, for the very special Name that Butt Double-Butt FINALE!

Friday, December 07, 2012

Fairy Tales and Greek Myths

We're all familiar, of course, with the basic fairy tales. Most of us are probably far more accustomed to the Disney versions, which while they preserve something of the story, sometimes miss a bit of the meat and all of the horror -- you'll never see a Disney movie about The Maiden Without Hands. Thankfully, I have a copy of The Complete Fairy Tales of the Brothers Grimm, Translated by Jack Zipes (Bantam, 1992), from which to refresh your memories of the important bits for the purposes of this post.

I'd like to start with an excerpt from the fairy tale of Brier Rose AKA Sleeping Beauty.

[...] the queen gave birth to a girl who was so beautiful that the king was overjoyed and decided to hold a great feast. Not only did he invite his relatives, friends, and acquaintances, but also the wise women, in the hope that they would be generous and kind to his daughter. There were thirteen wise women in his kingdom, but he had only twelve golden plates from which they could eat. Therefore, one of them had to remain home.

[...] When eleven of them had offered their gifts, the thirteenth suddenly entered the hall. She wanted to get revenge for not having been invited, and without greeting anyone or looking around, she cried out with a loud voice, "In her fifteenth year the princess shall prick herself with a spindle and fall down dead!"

And maybe we should throw in an excerpt from Snow White as well? Just to make it interesting. Same edition.

Franz Jüttner Schneewittchen 6

She had a magic mirror and often she stood in front of it, looked at herself, and said:
"Mirror, mirror, on the wall,
who in this realm is the fairest of all?"
Then the mirror would answer:
"You, my queen, are the fairest of all."
That reply would make her content, for she knew the mirror always told the truth.
I wouldn't actually recommend to anyone that they sit down to read the Complete Fairy Tales of the Brothers Grimm all at once. Ever. The redundancy is incredible, and it gets really tiresome well before you hit the half-way point. The Grimm's Fairy Tales are best read in small doses, with some space in between. I was assigned to read it for an English class once and made the mistake of reading it all at the last minute, and while I like having the book sitting on my shelf, I doubt I'll ever pick it up for leisure. So what made me pick it up now? Not only pick it up, but start quoting passages to you, gentle readers? Greek Mythology, of course.

While researching the Trojan War, I found a number of references to The Judgment of Paris, one within Apollodorus's The Libraries -- a fairly excellent catalog of myths and stories about the Olympian gods and demigods. It was an annotated translation, and I read this within the notes:

The story ran that all the gods and goddesses, except Strife, were invited to attend the marriage of Peleus and Thetis, and that Strife, out of spite at being overlooked, threw among the wedding guests a golden apple inscribed with the words, “Let the fair one take it,” or “The apple for the fair.” Three goddesses, Hera, Athena, and Aphrodite, contended for this prize of beauty, and Zeus referred the disputants to the judgment of Paris.

We know that Rome did a lot to spread the influence of the original Greek Myths and heroes, and we also know that Rome's influence reached all the way from Africa in the south to Britain in the North, and certainly the Germanic tribes absorbed a good deal of Roman culture. But until this moment, looking at the Judgment of Paris and reflecting on the fairy tales collected by the brothers Grimm, it never occurred to me how much of it stuck.

At this point, Strife has become the thirteenth fairy, and Paris, poor Paris, the Magic Mirror on the wall. Unfortunately, Paris doesn't possess the impartiality of the mirror. He can be bribed, and the goddesses (I'm sure Hercules would tell us that Hera is the definitive evil step-mother) go about taking advantage of that weakness at once.

I wonder if the Brothers Grimm, educated men that they were, realized the parallels of what they were recording?

***Originally posted on GeekaChicas.com, January 7, 2010.

Tuesday, February 07, 2012

Affairs of the Gods: Hades and Persephone

Hi, Followers-of-Amalia! I’m thrilled to be guest blogging here today. For those of you who don’t know me, I’m Diana Paz, longtime friend of the spectacularly talented and adorably wonderful, Amalia. [Note From Amalia: Part One, which discusses Hades and Persephone individually, is over yonder on Diana's blog!]

I’m here today to discuss the topic of my current work-in-progress, the Greek myth most commonly known as The Rape of Persephone. I’m excited to share some of my FINDINGS, and indulge in the glorious research that, in part, makes writing such a joy for me. Onward we go, into the Underworld!

Hades and Persephone: A Match Made in the Underworld
Persephone krater Antikensammlung Berlin 1984.40
NFA: Hades and Persephone are in the HORSE drawn chariot.
I'd guess that's Dionysus above them with the leopards.

In my mind, there could hardly be a more opposite goddess for the harsh and austere Hades than Persephone, goddess of innocence and springtime. Maybe that’s part of what makes this match so appealing to me. Whoever Hades married would be elevated to the status of queen, and the sheltered Persephone seemed hardly prepared to rule. Her life had been spent doing little more than growing flowers and creating beauty. But maybe that’s all Hades really needed.

So. How did this match come about? There are a few variations explaining how she was whisked off. Sometimes Eros shoots Hades with an arrow when he notices him near Persephone, just for kicks. Sometimes Aphrodite was the mastermind behind this, because Persephone was following in Athena’s and Artemis’ footsteps in becoming another virgin goddess, and Aphrodite wasn’t too pleased about having any more mortals taking vows of chastity. But sometimes Hades is the one who asks Zeus about finding a bride, feeling in need of companionship down in the Underworld. And sometimes it’s Zeus who is depicted as orchestrating the whole affair, because he believes his big brother could use a queen.

Whatever the case, Persephone is usually shown gathering flowers when she wanders away from the protection of the nymphs. She’s often out of earshot, which indicates she’s ventured rather far. Most sources tell of an earthquake, which caused a chasm to open up. Again, whether this happened naturally or because of some kind of planning is unclear, but Hades noticed the chasm, and “left his dark domains to and fro, drawn in his chariot and sable steeds, inspected the foundations of the isle. His survey done, and no point found to fail, he put his fears aside” (Ovid, METAMORPHOSES).  The details of what happened next are arguable, but whether by arrow or design, one thing is certain: the sheltered Persephone’s life would never be the same.

Here’s where my curiosity again takes over. A god like Hades, who is foremost about fulfilling his duties and making sure the rules are obeyed, doesn’t seem like the type who would up and decide to abduct Persephone. He could have courted any goddess, and certainly found someone interested in becoming a queen. So perhaps it was Eros’ arrow after all, and Hades was overcome with ARDOR and kidnapped Persephone after all, but considering what I know about Persephone, what exactly led her to stray so far? There are stories of her curious nature, particularly in opening the golden box sent to her by Aphrodite. Could she have been curious about the chasm that opened up? Most likely it was completely different than anything she’d known. 

In my research, I can’t help noticing that the primary focus is often on Demeter’s distress about losing her daughter, not so much on Persephone’s dismay at being carried off by a king among gods. Little is said about her time in the Underworld, with Demeter’s year-long search taking center stage. Add to this the ambiguity about how, exactly, Persephone ate the pomegranate seeds before leaving the Underworld—was it trickery? After an entire year, Hades tricks her? According to the Homeric Hymns, yes:
…but he secretly put in my mouth sweet food, a pomegranate seed, and forced me to taste against my will. (Third Homeric Hymn).
But, why didn’t he trick her into eating the seeds sooner than this? And trickery seems pointedly out of character for a god who is so adamant about RULES. Not to mention, some sources show Persephone eating the seeds herself, without realizing:
…for the girl had broken her fast and wandering, childlike, through the orchard trees from a low branch had picked a pomegranate and peeled the yellow rind and found the seeds and nibbled seven. (Ovid, METAMORPHOSES, Book 5).
There are versions in which Hades offers her the seeds without trickery, and she takes them, supposedly not knowing what they’ll do (Apollodorus, for example), but… what if Persephone took the seeds of her own free will? Persephone, having spent an entire year in the Underworld without eating the food of the dead, might have known that something would happen if she did. It seems possible that when Hermes came to deliver her to the sunlit world, maybe she did something rash. She might have missed her mother, but she didn’t mind her life as queen, either. The Underworld could have been a kind of freedom for Persephone from her mother’s overprotectiveness. I can’t help but wonder if she hoped to return.

Like most mythology, there is a lot of room for speculation. I feel like I’ve covered the bases, but maybe I’m way off. Is this simply the abduction of an unwilling goddess and nothing more? Was she a woeful victim sent to the Underworld each winter, longing for the light, or did she return the unlikely affection of a god who wanted nothing more than to make her his divine queen?
~ ~ ~
Diana Paz is a web content writer and aspiring author. She was born in Costa Rica, grew up on Miami Beach, moved to Los Angeles in high school, and went to college in San Diego. Basically, she's a beach bum, but she did graduate from California State University, San Marcos with a Bachelor's Degree in Liberal Arts. She loves old movies, epic fantasy, all kinds of music, and heading to the beach with a good book. Preferably sipping a caramel frappuccino. Find her at her blog:dianapazwrites.blogspot.com or on Twitter @dianapazwrites

Tuesday, August 30, 2011

The Character of Paris [Ovid]

Paris Palatino Inv12488
Paris always has such a dumb hat.
© Marie-Lan Nguyen / Wikimedia Commons
I haven't talked about him a lot, because I haven't written about him. His story was always supposed to be Helen's sequel, maybe even an independent companion novel. But Paris doesn't hold the same fascination for me that Theseus does, or even Menelaus. His story has been done so many times, and no matter how hard people try -- and it is clear that we have tried VERY hard -- there isn't really any way to make Paris into a real hero. The gods don't allow him to be one. They don't even let him become a proper anti-hero! I've never understood what Helen saw in him (that is not to say he is not brave and valiant in her defense, as far as he's allowed by Aphrodite), and to me, that's maybe the more fascinating and telling element. How bad was Helen's life with Menelaus that she thought running off with Paris and starting a war would be an improvement?

But I do love Ovid's writing of Paris in the Heroides. I know I've talked about it a little bit before, but those exercises of rhetoric are by far the most fascinating illustration of Paris' character that I've come across. He is bold and confident and unafraid. He's determined and conniving. There is absolutely nothing fickle about his desire for Helen. He wants her, and he's willing to employ every dirty trick in the book to get her. However idiotic he might be later, in Ovid's letters, Paris charms me. I can believe, reading his letter to Helen, that she was fighting against someone with an overpowering charisma-- and that she had no real defense against such a man's seduction, especially if her relationship to Menelaus was less than great.

Paris says:
My passion for you I have brought; I did not find it here. It is that which was the cause of so long a voyage, for neither gloomy storm has driven me hither, nor a wandering course; [...] It is you I come for – you, whom golden Venus has promised for my bed; you were my heart’s desire before you were known to me. I beheld your features with my soul ere I saw them with my eyes; rumour, that told me of you, was the first to deal my wound.
and then he boasts!
And as I long for you, so women have longed for me; alone, you can possess the object of many women’s prayers! And not only have the daughters of princes and chieftains sought me, but even the nymphs have felt for me the cares of love.
The Rape of Helen
Paris, Paris, Paris. You sure are full of yourself. And he's so unapologetic about it! I think that's what I like the most -- how he honestly believes that he is doing nothing wrong in seducing another man's wife. He has absolutely no shame, and that's even more well illustrated when he talks about her abduction by Theseus (emphasis mine).
And so Theseus rightly felt love’s flame, for he was acquaint with all your charms, and you seemed fit spoil for the great hero to steal away, [...] His stealing you away, I commend; my marvel is that he ever gave you back. So fine a spoil should have been kept with constancy. Sooner would this head have left my bloody neck that you have been dragged from marriage-chamber of mine. One like you, would ever these hands of mine be willing to let go? One like you, would I, alive, allow to leave my embrace? If you must needs have been rendered up, I should first at least have taken some pledge from you; my love for you would not have been wholly for naught. Either your virgin flower I should have plucked, or taken what could be stolen without hurt to your virgin state.
"His stealing you away, I commend; my marvel is that he ever gave you back." Paris' admissions are kind of alarming, if you ask me. But he is SO confident that she will love him, is meant to love him and can't resist him, he holds nothing back. Not even a confession that if he had been Theseus, he would have raped her, if need be. (And I'm not going to touch the fact that he talks about her like she's furniture-- that wouldn't have been odd to Helen, just as it was totally natural for Ovid.)

Even his bribes are presented in such a matter of fact way that it's obvious he doesn't think he's bribing her so much as stating the facts. The FACTS are that Troy is far wealthier, and she will be showered in riches and kept in splendor. The FACTS are that he can offer her a better life than she'll ever have in Sparta, which is nothing in comparison to his homeland. The FACTS are that Menelaus doesn't deserve her.
I regret my being a guest, when before my eyes that rustic lays his arms about your neck. I burst with anger and envy – for why should I not tell everything? – when he lays his mantle over your limbs to keep you warm. But when you openly give him tender kisses, I take up my goblet and hold it before my eyes; when he holds you closely pressed, I let my gaze fall, and the dull food grows big within my unwilling mouth.
His recklessness, his boldness in addressing her so honestly and so brutally, is what's so appealing. He is SO in love with her that he can't help himself, that he has no fear at all. Here is the bad boy, the anti-hero we're denied. He's completely arrogant, and committed to making the most of the opportunity he's been given (with Menelaus away in Crete) by any means necessary. Sure, he'd prefer her willing, but from the tenor of this letter, it's clear that he won't let her willingness really get in his way if she gives him even the smallest of openings.

Paris is a villain. A stalker, obsessed with his prey. And he will not stop, because he sees encouragement in every polite smile she gives him. He will not stop because the gods have given Helen to him, and in that certainty, there is nothing she can say that will dissuade him from what he perceives as the truth, the facts. She will love him, eventually. Aphrodite herself promised it.

Reading Ovid, I can believe that Helen never had a chance.

Friday, March 11, 2011

Affairs of the Gods: Aphrodite and Adonis

Pierre-Paul Prud'hon 005
Aphrodite/Venus and Adonis
You can't really expect a goddess of love to stay loyal to her husband, whether or not her husband is a crippled Hephaestus or some perfect specimen of manliness. Aphrodite has a history of affairs, and poor Hephaestus probably didn't have any chance of stopping her (not that he didn't engage in his own um, adventures, but Aphrodite seems to have him outnumbered by quite a lot.)

Adonis is one of the many men who captured Aphrodite's attention and affection. Adonis is, of course, the son of Myrrha/Smyrna by her father, who, discovering it was his daughter coming to him in the night as a lover, would have killed her if she hadn't fled. Ovid tells us (in the Metamorphoses book X) that Myrrha begged the gods to transform her, and she was turned into a tree, from which Adonis was birthed later and described as:

The lovely babe was born with ev'ry grace,
Ev'n envy must have prais'd so fair a face: 
and then later:

A babe, a boy, a beauteous youth appears, 
And lovelier than himself at riper years. 
Now to the queen of love he gave desires, 
And, with her pains, reveng'd his mother's fires. 

The queen of love obviously meaning Aphrodite/Venus, who is described thusly, after falling in love with Adonis:

Ev'n Heav'n itself with all its sweets unsought,
Adonis far a sweeter Heav'n is thought.
On him she hangs, and fonds with ev'ry art,
And never, never knows from him to part. 
 And for a change, we get a romantic, even tender, view of the love between these two, when Ovid goes on to describe one of their particular moments together. Maybe because Aphrodite is a woman, and so it isn't all about the sex, though there is certainly the impression of desire, but this is a far cry from the down and dirty they-got-it-on that we usually get with Zeus and Poseidon:

We may secure delightfully repose.
With her Adonis here be Venus blest;
And swift at once the grass and him she prest.
Then sweetly smiling, with a raptur'd mind,
On his lov'd bosom she her head reclin'd,
And thus began; but mindful still of bliss,
Seal'd the soft accents with a softer kiss. 
Of course, Adonis manages to get himself gored to death in spite of the fact that Aphrodite warns him EXPLICITLY to be careful of boars and other beasts while hunting. (Apollodorus says Artemis had him killed out of anger, but not what in particular infuriated her about him. Probably something to do with how he hunted, considering the rest of the story.) In any event, Adonis was doomed, and Aphrodite was heartbroken.

I imagine however that Adonis didn't have it all that bad in the Underworld since Persephone was in love with him, too. Poor, poor boy, how he suffers!

Tuesday, September 07, 2010

The Defense of Theseus' Honor (Part One)

The other day when I went through tagging Theseus entries, I realized I had yet to do a proper entry on him, as I have for others, and since I started the argument about his character in the post about The Hunger Games, it seemed only right to finish it.

Obviously, I consider Theseus to be a hero. And just as obviously, there are certain pieces of his mythology which do not exactly match with how we might consider a hero to behave in these modern times. But I don't believe that Theseus's character is that of the jerk he is sometimes painted to be, and I absolutely don't think, as I have seen said elsewhere, that he was any kind of serial rapist. In fact, every time I think of that phrase being applied to him, it kind of makes me physically sick.

The major area, which you might have surmised, where Theseus comes under criticism is in his dealings with women. In particular, his relationship and abandonment of Ariadne, and later, the question of his relationship with the Amazon Queen who is named either Hippolyta OR Antiope. Today I'm going to focus on Ariadne and Plutarch's history of Theseus!

As Plutarch himself admits:
There are yet many other traditions about these things, and as many concerning Ariadne, all inconsistent with each other.
And he isn't wrong. In Plutarch's Theseus, he gives us a fair rundown of the differing accounts, and I'll summarize them for you here, because quoting will make this the longest entry of all eternity. Generally, these stories fall into three camps:
  1. Theseus abandons Ariadne on Naxos purposely and with no regret and sails off.
  2. Theseus and his fellows spend the night on Naxos, and for reasons beyond Theseus's control he is forced to leave her behind (usually this means she married a priest of Dionysus, or Theseus's ship was blown back out to see and by the time he got back Ariadne was dead.) 
  3. Theseus never took Ariadne at all, nor did she help him, but merely admired him from a distance.
The third is by far the least well known today, but you can see that these are the same contradictions that accompany the stories of Helen's abduction by Paris. No one really agrees, and different places and different poets had their own interpretations of what happened and who in the party was wronged.

Plutarch doesn't relate the stories which are commonly known in his time in any depth. (At which choice, I shake my fist in outrage from 2000 years in the future!) But it's okay, Plutarch isn't our only source on Theseus. He does mention two things I find interesting: firstly, that Ariadne may or may not have born Theseus sons (evidently whilst they were voyaging back from Crete, which is wow pretty fast gestation) who went off to found other cities/places, and secondly, he NEVER states that Ariadne asked for anything in return from Theseus in exchange for her help, only that Theseus takes her with him when he leaves.

Now, I would argue that the same young man, who, seeing the pain of the people in Athens at having to give up their own sons and daughters, volunteers himself to travel to Crete and be part of this tribute to do what he can to lift their suffering would not, after showing such empathy, then callously abandon a woman who mothered his sons (Plutarch tells us that with the other women he may or may not have met along the way previous to this who gave him sons, he then took responsibility for seeing them married.), or callously abandon any woman who might have helped him in general, even without children. After all, hasn't he just risked his life for seven virgin Athenian girls? And the last woman who helped him and offered him kindness on his quest against the Marathon Bull, he repaid by creating what amounts to an annual holiday in her name, to honor her in perpetuity with sacrifices.

Theseus was not raised in Athens. He did not even know who his father (the Aegeus half) was until he was a young man strong enough to lift a boulder. After being made Aegeus's heir it was probably wise of him to make nice to the people he would rule, but to appease them, all he would have needed to do was throw his name into the lottery-- or APPEAR to throw his name into the lottery. Who would have known otherwise? Plutarch specifically states (emphasis mine):
These things sensibly affected Theseus, who, thinking it but just not to disregard, but rather partake of, the sufferings of his fellow-citizens, offered himself for one without any lot.
Now, it would be jerky of me not to admit that Plutarch had his own agenda in writing down the story of Theseus. Plutarch meant to show a parallel between Theseus and Romulus, the founder of Rome, and by doing so, demonstrate Rome's greatness by the greatness of its founder. In this, it behooved Plutarch to show Theseus in a favorable light so that favor would reflect on Romulus and Rome itself. The other bias of Plutarch is his habit of discounting all godly influence, and without the involvement of the gods, these mythologies alter pretty dramatically. A hero's character is made or broken by whether or not the gods compelled him to some behavior or other.

For instance, if Theseus was compelled to leave Ariadne behind that she might be made the bride of Dionysus, and through this, a goddess, that is a different thing entirely than his sailing off into the sunset to abandon her of his own accord, showing no regret. Or, in Paris's case, if Aphrodite swept Paris off the battlefield during that crucial fight with Menelaus against Paris's own wishes to deposit him in Helen's arms, that is a very different story than one in which Paris consciously flees from Menelaus, giving up the fight when he realizes he will die, and hiding in the palace in Helen's bed to let Hector do his fighting for him.

We'll take a look at some other sources on Theseus and Ariadne again, soon!

Tuesday, April 27, 2010

Oh, Aphrodite!

The trouble with writing about mythical figures, is that so often people already have an idea of what they should look like, and when you try to describe them as a writer, you risk putting off your readers by clashing with their already defined mental images. To offset this, I tend to avoid overt description of the major players outside of what is commonly accepted. For example, we don't really have a cultural concept of what Adam and Eve look like (outside perhaps, of a standard white-washing), so I keep my descriptions of them very limited-- to allow my readers to fit their own Adam and Eve into the blanks (and really, Adam and Eve, to my mind, ought to look like everyone at once, and no one at the same time). In regard to Thor, I try to keep to the standard descriptions: Huge, neatly-bearded, muscular, I even hedge my bets by giving him red-gold hair, instead of a true red or a real blond so the Marvel fans won't argue (mythologically speaking, it really should be red, but Marvel's Thor has skewed the cultural impression).

I spent the evening recently trying to find a good reference and source of description for Aphrodite. I hadn't had to do much with her before now, because she's only a tertiary player in my other books, and I hadn't realized she was going to make an appearance in HELEN at all until she literally sat down next to her in the book. And then I started researching. What did Aphrodite look like to the people of Mycenaean Greece? Helen already has blond hair, and it seems to me that this is a key element of her beauty-- that the reason she is so beautiful, is because her coloring is so unusual. If I give Aphrodite blond hair also, does this diminish Helen's uniqueness? Would the Greeks really envision their goddess as a blond, when they were probably dark haired for the most part? Maybe more importantly: How have other people already illustrated Aphrodite? What is our cultural opinion of her coloring?

I googled her. After talking to a few Classics-oriented people on twitter, and realizing that I could not for the life of me remember any lines in the Iliad which described Aphrodite's hair color, it seemed the best recourse. But the wiki entry didn't give me anything about her hair-color, and the other less reputable (yeah, I just said that) sources seemed to ignore physical description as well. At that point, I turned to the wiki-commons for the masterworks.

The Masters from the Renaissance may have fooled with their myths, giving Pegasus to Perseus when they don't belong together, and re-interpreting other stories as needed for artistic convenience, but they were influential. Our ideas of these major mythological figures are, like it or not, informed by these pieces of artwork. What I didn't expect to find in my search through the commons was art dating back to antiquity. I'm not sure why it didn't occur to me until I saw it, honestly, but what better reference than art from the culture which spawned the myths? (image: Birth of Venus, by Botticelli from wiki commons.)

There are images of Aphrodite on pottery-- of course, that kind of art is usually fairly stylized, and the red and black Attic style (dated to about 410 BCE) especially seems kind of unhelpful. In that medium, Aphrodite is bound either to have red or black hair, regardless. Still, it's worth noting that her hair was colored black. It seems like if she was a blond, the artist would have gone with the natural red tone of the clay instead. But I'm no art historian, and that's just my personal conjecture. It isn't proof enough to give her dark hair in my book, that's for sure. (Image © Marie-Lan Nguyen / Wikimedia Commons)

So I kept looking. And man, why did I not even think of frescoes?! There are a couple of good ones in the wiki commons where I can clearly identify Aphrodite in the picture. Both of them show her with dark hair, not blonde. One image is from a wall in Pompeii, dated to roughly 79 AD. Aphrodite is the smudged woman in the background, dressed in white. (I'm not posting it here because I feel like I'm going overboard with the pictures here.) This image seems to also be from Pompeii, but wiki information dates it to about 25 BCE. I can't explain the difference in the dates here, as I said I am no art historian, and so I can only give the the information that wiki has given me-- dubious though that may be. Aphrodite, of course is the woman in the blue dress, and I might argue that her hair is almost an auburn color. Certainly, it is a rich shade of brown at the least.

The trouble is, while these older images may be more valid as representations of Aphrodite, giving her dark hair goes against the more recent cultural memory, so to speak. So I'm still left with a choice to make-- do I risk alienating my readers by choosing to give her a darker hair color which might clash with the idea they have of Aphrodite in their mind's eye? Or do I follow the historical images, and hope that my readers absorb it as information they didn't know, or at the very least ignore me if they find it personally problematic? When it comes down to it, is our image of Aphrodite informed MOST by the current perceptions of what is beautiful?

My followers, what about you? When you envision Aphrodite, what color is her hair?

It's almost enough to make me wish she wasn't going to appear in the book. :)

Wednesday, October 21, 2009

On Apollodorus's The Library and Fairy Tales

So I'm reading  The Libraries by Apollodorus, as the Epitome deals with the Trojan war, and those events which lead up to it, and I came across this in the notes:

The story ran that all the gods and goddesses, except Strife, were invited to attend the marriage of Peleus and Thetis, and that Strife, out of spite at being overlooked, threw among the wedding guests a golden apple inscribed with the words, “Let the fair one take it,” or “The apple for the fair.” Three goddesses, Hera, Athena, and Aphrodite, contended for this prize of beauty, and Zeus referred the disputants to the judgment of Paris.
And all of a sudden, I had an ah HA! moment.

Are we looking at the origin of the evil fairy of folklore? The same fairy who becomes Malificent in Disney's version of Sleeping Beauty? The fairy, who overlooked, curses the baby, rather than blessing it? (Something about 12 golden plates, and 13 fairies, wasn't it? It's been a long time since I read my complete Grimm's fairy tales.) And the origin of the evil step-mother we all know from Snow White, with Paris playing the roll of the magic mirror? This does seem to capture interesting elements from both, and I think I can confidently say that these stories pre-date the Germanic folklore which is the source for so much of the old fairy tales.

I knew the story, but I had never seen it put exactly in those terms. Now that I have, I find it difficult to believe it ISN'T the story which resulted in those other interpretations. Very interesting.