Isabel Lucas (Athena) and Daniel Shaman (Ares) stars in Relativity Media’s IMMORTALS.
http://scifi.about.com/od/Immortals-2011/ig/Gallery---Immortals---2011-/Athena-and-Ares.htm
Showing posts with label Athena. Show all posts
Showing posts with label Athena. Show all posts
Friday, November 11, 2011
Films+: Immortals: Athena and Ares
Films+: Immortals: Athena and Ares
Isabel Lucas (Athena) and Daniel Shaman (Ares) stars in Relativity Media’s IMMORTALS.
http://scifi.about.com/od/Immortals-2011/ig/Gallery---Immortals---2011-/Athena-and-Ares.htm
Isabel Lucas (Athena) and Daniel Shaman (Ares) stars in Relativity Media’s IMMORTALS.
http://scifi.about.com/od/Immortals-2011/ig/Gallery---Immortals---2011-/Athena-and-Ares.htm
Thursday, August 8, 2002
Athena (Greek)
Athena
Abode: Mount Olympus
Symbol: Owl, Olive tree
Parents: Zeus and Metis
Siblings: None
Roman equivalent: Minerva
Goddess of wisdom, warfare and crafts
Patron goddess of Athens
Athena (pronounced /əˈθiːnə/) or Athene (/əˈθiːniː/; Attic: Ἀθηνᾶ, Athēnā or Ἀθηναία, Athēnaia; Epic: Ἀθηναίη, Athēnaiē; Ionic: Ἀθήνη, Athēnē; Doric: Ἀθάνα, Athana; Latin: Minerva), also referred to as Pallas Athena (Παλλάς Αθηνά; pronounced /ˈpæləs/), is the goddess of civilization, wisdom, strength, strategy, craft, justice and skill in Greek mythology. Minerva, Athena's Roman incarnation, embodies similar attributes. Athena is also a shrewd companion of heroes and the goddess of heroic endeavour. She is the virgin patron of Athens. The Athenians built the Parthenon on the Acropolis of her namesake city, Athens, in her honour (Athena Parthenos).
Overview
Athena's cult as the patron of Athens seems to have existed from the earliest times and was so persistent that archaic myths about her were recast to adapt to cultural changes. The Greek philosopher, Plato (429–347 BC), identified her with the Libya deity, Neith, the war-goddess and huntress deity of the Egyptians since the ancient predynastic period, also identified with weaving. This is sensible as some Greeks identified Athena's birthplace, in certain mythological renditions, as being beside Libya's Triton River. Classicist Martin Bernal created the "Black Athena Theory" to explain this associated origin by claiming that the conception of Neith was brought over to Greece from Egypt with "an enormous number of features of civilization and culture in the third and second millennia." Athena the goddess as philosophy became a part of the cult in the later fifth century and Classical Greece. She was the patroness of weaving, especially, and other crafts (Athena Ergane); the metalwork of weapons also fell under her patronage. She led battles (Athena Promachos or the warrior maiden Athena Parthenos) as the disciplined, strategic side of war, in contrast to her brother Ares, the patron of violence, bloodlust and slaughter-"the raw force of war". Athena's wisdom includes the cunning intelligence (metis) of such figures as Odysseus. Not only was this version of Athena the opposite of Ares in combat, it was also the polar opposite of the serene earth goddess version, Athena Polias, earning the title Athena Parthenos. A remnant of archaic myth depicts her as the adoptive mother of Erechtheus/Erichthonius by the foiled rape by Hephaestus. Other variants relate that the serpent who accompanied Athena, also called Erichthonius, was born to Gaia when the rape failed and the semen landed on Gaia, impregnating her, and that after the birth he was given to Athena by Gaia.
Though Athena was a goddess of war strategy, she disliked fighting without a purpose and preferred using wisdom to settle predicaments. The goddess would only encourage fighting if it was for a reasonable cause or to solve conflict.
In her role as a protector of the city, many people throughout the Greek world worshiped Athena as Athena Polias ("Athena of the city"). Athens and Athena bear etymologically connected names.
Mythology
Birth
In The Greek Myths (8.a, ff.), Robert Graves notes early myths about the birth of Athena whose worship began in Crete after arriving there as early as 4,000 BC. According to Graves, Hesiod (c. 700 BC) relates that Athena was a parthenogenous daughter of Metis, wisdom or knowledge, a Titan who ruled the fourth day and the planet Mercury. Other variants relate that although Metis was of an earlier generation of the Titans, Zeus became her consort when his cult gained dominance. In order to avoid a prophecy made when that change occurred, that any offspring of his union with Metis would be greater than he, Zeus swallowed Metis to prevent her from having offspring, but she already was pregnant with Athena. Metis gave birth to Athena and nurtured her inside Zeus until Zeus complained of headaches and called for Hephaestus to split open his head with his smithing tools. Athena burst forth from his forehead fully armed with weapons given by her mother. She famously wields the thunderbolt and the Aegis, which she and Zeus share exclusively.
The story of her birth from the head of Zeus was adapted by Christianity to parallel the emergence of arts and inventions from the mind of God. Plato, in Cratylus(407B) gave the etymology of her name as signifying "the mind of god", theou noesis. The Christian apologist of the second century Justin Martyr takes issue with those pagans who erect at springs images of Kore, whom he interprets as Athena:
"They said that Athena was the daughter of Zeus not from intercourse, but when the god had in mind the making of a world through a word (logos) his first thought was Athena"
On the other hand, John Milton's Paradise Lost interprets this myth as a model for the birth of Sin from the head of Satan.
The Olympian version
Although at Mycenaean Knossos Athena appears before Zeus does —in Linear B, as a-ta-na po-ti-ni-ja, "Mistress Athena"— in the Classical Olympian pantheon, Athena was remade as the favorite daughter of Zeus, born fully armed from his forehead. The story of her birth comes in several versions. In the one most commonly cited, Zeus lay with Metis, the goddess of crafty thought and wisdom, but he immediately feared the consequences. It had been prophesied that Metis would bear children more powerful than the sire, even Zeus himself. In order to forestall these dire consequences, after lying with Metis, Zeus "put her away inside his own belly;" he "swallowed her down all of a sudden." He was too late: Metis already conceived.
Eventually Zeus experienced an enormous headache; Prometheus, Hephaestus, Hermes, or Palaemon (depending on the sources examined) cleaved Zeus's head with the double-headed Minoan axe, the labrys. Athena leaped from Zeus's head, fully grown and armed — with a shout, "and pealed to the broad sky her clarion cry of war. And Ouranos trembled to hear, and Mother Gaia..." (Pindar, Seventh Olympian Ode). Plato, in the Laws, attributes the cult of Athena to the culture of Crete, introduced, he thought, from Libya during the dawn of Greek culture.
Classical myths thereafter note that Hera was so annoyed at Zeus producing a child that she conceived and bore Hephaestus by herself.
Other origin tales
Fragments attributed by the Christian Eusebius of Caesarea to the semi-legendary Phoenician historian Sanchuniathon, which Eusebius thought had been written before the Trojan war, make Athena instead, the daughter of Cronus, a king of Byblos who visited 'the inhabitable world' and bequeathed Attica to Athena. Sanchuniathon's account would make Athena the sister of Zeus and Hera, not Zeus' daughter.
Pallas Athena
The major competing tradition regarding Athena's parentage involves some of her more mysterious epithets: Pallas, as in Ancient Greek Παλλάς Άθήνη (also Pallantias) and Tritogeneia (also Trito, Tritonis, Tritoneia, Tritogenes). A separate entity named Pallas is invoked—whether Athena's father, sister, foster-sister, companion, or opponent in battle. In every case, Athena kills Pallas, accidentally, and thereby gains the name for herself.
When Pallas is Athena's father the events, including her birth, are located near a body of water named Triton or Tritonis, the result of an etymology of Tritogeneia from Tritonis. When Pallas is Athena's sister or foster-sister, Athena's father or foster-father is Triton, the son and herald of Poseidon. But Athena may be called the daughter of Poseidon and a nymph named Tritonis, without involving Pallas. Likewise, Pallas may be Athena's father or opponent, without involving Triton. On this topic, Walter Burkert says "she is the Pallas of Athens, Pallas Athenaie, just as Hera of Argos is Here Argeie. For the Athenians, Burkert notes, Athena was simply "the Goddess", he thea, certainly an ancient title.
Athena Parthenos: Virgin Athena
Athena never had a consort or lover and thus, also was known as Athena Parthenos, "Virgin Athena". Her most famous temple, the Parthenon, on the Acropolis in Athens takes its name from this title. It was not merely an observation of her virginity, but a recognition of her role as enforcer of rules of sexual modesty and ritual mystery. Even beyond recognition, the Athenians allotted the goddess value based on this pureness of virginity as it upheld a rudiment of female behavior in the patriarchal society. Kerenyi's study and theory of Athena accredits her virginal toponym to be a result of the relationship to her father Zeus and a vital, cohesive piece of her character throughout the ages. This role is expressed in a number of stories about Athena. Marinus reports that when Christians removed the statue of the Goddess from the Parthenon, a beautiful woman appeared in a dream to Proclus, a devotee of Athena, and announced that the "Athenian Lady" wished to dwell with him.
Erichthonius
Hephaestus attempted to rape Athena, but she eluded him. His semen fell on the ground, and Erichthonius was born from the Earth, Gaia. Athena then raised the baby as a foster mother.
Athena put the infant Erichthonius in a small box (cista) which she entrusted to the care of three sisters, Herse, Pandrosus, and Aglaulus of Athens. The goddess did not tell them what the box contained, but warned them not to open it until she returned. One or two sisters opened the cista to reveal Erichthonius, in the form (or embrace) of a serpent. The serpent, or insanity induced by the sight, drove Herse and Pandrosus to throw themselves off the Acropolis. Jane Harrison (Prolegomena) finds this to be a simple cautionary tale directed at young girls carrying the cista in the Thesmophoria rituals, to discourage them from opening it outside the proper context.
Another version of the myth of the Athenian maidens is told in Metamorphoses by the Roman poet Ovid (43 BC – 17 AD); in this late variant Hermes falls in love with Herse. Herse, Aglaulus, and Pandrosus go to the temple to offer sacrifices to Athena. Hermes demands help from Aglaulus to seduce Herse. Aglaulus demands money in exchange. Hermes gives her the money the sisters had already offered to Athena. As punishment for Aglaulus's greed, Athena asks the goddess Envy to make Aglaulus jealous of Herse. When Hermes arrives to seduce Herse, Aglaulus stands in his way instead of helping him as she had agreed. He turns her to stone.
With this mythic origin, Erichthonius became the founder-king of Athens, where many beneficial changes to Athenian culture were ascribed to him. During this time, Athena frequently protected him.
Medusa and Tiresias
In a late myth, Medusa, unlike her two sister-Gorgons, came to be thought of by the Classical Greeks during the fifth century as mortal and extremely beautiful, but she was raped by Poseidon in the temple of Athena and Hephasteus. Upon discovering the desecration of her temple, Athena changed Medusa's form to match that of her sister Gorgons as punishment. Medusa's hair turned into snakes, her lower body was transformed also, and meeting her gaze would turn any living creature to stone. In the earliest of myths there is but one Gorgon and the only snakes were two wrapped around her waist as a belt.
In one version of the Tiresias myth, Tiresias stumbled upon Athena bathing, and she blinded him because she was nude. To compensate him for his loss, she sent serpents to lick his ears, which gave him the gift of prophecy.
Lady of Athens
Athena competed with Poseidon to be the patron deity of Athens, which was yet unnamed, in a version of one founding myth. They agreed that each would give the Athenians one gift and that the Athenians would choose the gift they preferred. Poseidon struck the ground with his trident and a spring sprang up; this gave them a means of trade and water —Athens at its height was a significant sea power, defeating the Persian fleet at the Battle of Salamis— but the water was salty and not very good for drinking. Athena, however, offered them the first domesticated olive tree. The Athenians (or their king, Cecrops) accepted the olive tree and with it the patronage of Athena, for the olive tree brought wood, oil, and food. Robert Graves was of the opinion that "Poseidon's attempts to take possession of certain cities are political myths" which reflect the conflict between matriarchical and patriarchical religions.
Other sites of cult
Athena also was the patron goddess of several other Greek cities, notably Sparta, where the archaic cult of Athena Alea had its sanctuaries in the surrounding villages of at Alea, Mantineia and, notably, Tegea. Tegea was an important religious center of ancient Greece, containing the Temple of Athena Alea. The temenos was founded by Aleus, Pausanias was informed. Votive bronzes at the site from the Geometric and Archaic periods take the forms of horses and deer; there are sealstones and fibulae. In the Archaic period the nine villages that underlie Tegea banded together in a synoecism to form one city. Tegea was listed in Homer's Catalogue of Ships as one of the cities that contributed ships and men for the Achaean assault on Troy.
Counselor
Later myths of the Classical Greeks relate that Athena guided Perseus in his quest to behead Medusa. She instructed Heracles to skin the Nemean Lion by using its own claws to cut through its thick hide. She also helped Heracles to defeat the Stymphalian Birds, and to navigate the underworld so as to capture Cerberus.
In The Odyssey, Odysseus' cunning and shrewd nature quickly won Athena's favour. In the realistic epic mode, however, she largely is confined to aiding him only from afar, as by implanting thoughts in his head during his journey home from Troy. Her guiding actions reinforce her role as the "protectress of heroes" or as mythologian Walter Friedrich Otto dubbed her the "goddess of nearness" due to her mentoring and motherly probing. It is not until he washes up on the shore of an island where Nausicaa is washing her clothes that Athena arrives personally to provide more tangible assistance. She appears in Nausicaa's dreams to ensure that the princess rescues Odysseus and plays a role in his eventual escort to Ithaca.
Athena appears in disguise to Odysseus upon his arrival, initially lying and telling him that Penelope, his wife, has remarried and that he is believed to be dead; but Odysseus lies back to her, employing skillful prevarications to protect himself. Impressed by his resolve and shrewdness, she reveals herself and tells him what he needs to know in order to win back his kingdom. She disguises him as an elderly man or beggar so that he cannot be noticed by the suitors or Penelope, and helps him to defeat the suitors. She also plays a role in ending the resultant feud against the suitors' relatives, although she seems strange to readers. She instructs Laertes to throw his spear and to kill the father of Antinous, Eupeithes. But she must have forgotten her task of bringing peace to Ithaca and wiping the thought of slaughter from the suitors' families, because she suddenly told them to stop fighting.
Roman fable of Arachne
The fable of Arachne is a late Roman addition to Classical Greek mythology but does not appear in the myth repertoire of the Attic vase-painters. Arachne's name simply means spider (αράχνη). Arachne was the daughter of a famous dyer in Tyrian purple in Hypaipa of Lydia, and a weaving student of Athena. She became so conceited of her skill as a weaver that she began claiming that her skill was greater than that of Athena herself.
Athena gave Arachne a chance to redeem herself by assuming the form of an old woman and warning Arachne not to offend the deities. Arachne scoffed and wished for a weaving contest, so she could prove her skill.
Athena wove the scene of her victory over Poseidon that had inspired her patronage of Athens. According to the Latin narrative, Arachne's tapestry featured twenty-one episodes of the infidelity of the deities, including Zeus being unfaithful with Leda, with Europa, and with Danaë. Athena admitted that Arachne's work was flawless, but was outraged at Arachne's disrespectful choice of subjects that displayed the failings and transgressions of the deities. Finally, losing her temper, Athena destroyed Arachne's tapestry and loom, striking it with her shuttle. Athena then struck Arachne with her staff, which changed her into a spider.
The fable suggests that the origin of weaving lay in imitation of spiders and that it was considered to have been perfected first in Asia Minor.
Cult and attributes
Athena's epithets include Άτρυτώνη, Atrytone (= the unwearying), Παρθένος, Parthénos (= virgin), and Ή Πρόμαχος, Promachos (the First Fighter, i. e. she who fights in front).
In poetry from Homer, an oral tradition of the eighth or seventh century BC, onward, Athena's most common epithet is glaukopis (γλαυκώπις), which usually is translated as, bright-eyed or with gleaming eyes. The word is a combination of glaukos (γλαύκος, meaning gleaming, silvery, and later, bluish-green or gray) and ops (ώψ, eye, or sometimes, face). It is interesting to note that glaux (γλαύξ, "owl") is from the same root, presumably because of the bird's own distinctive eyes. The bird which sees well in the night is closely associated with the goddess of wisdom: in archaic images, Athena is frequently depicted with an owl perched on her head. This pairing evolved in tangent so that even in present day the owl is upheld as a symbol of perspicacity and erudition. Unsurprisingly, the owl became a sort of Athenian mascot. The olive tree is likewise sacred to her. In earlier times, Athena may well have been a bird goddess, similar to the unknown goddess depicted with owls, wings, and bird talons on the Burney relief, a Mesopotamian terracotta relief of the early second millennium BC.
Other epithets include: Aethyta under which she was worshiped in Megara. The word aithyia (αίθυια) signifies a diver, and figuratively, a ship, so the name must reference Athena teaching the art of shipbuilding or navigation. In a temple at Phrixa in Elis, which was reportedly built by Clymenus, she was known as Cydonia.
The various Athena subgroups, or cults, all branching from the central goddess herself often proctored various initiation rites of Grecian youth. For example, the passage into citizenship by young men and for women the elevation to the status of citizen wife. Her various cults were portals of a uniform socialization, even beyond mainland Greece.
Epithets
In the Iliad (4.514), the Homeric Hymns, and in Hesiod's Theogony, Athena is given the curious epithet Tritogeneia. The meaning of this term is unclear. It seems to mean "Triton-born", perhaps indicating that the sea-deity was her parent according to some early myths, In Ovid's Metamorphoses Athena is occasionally referred to as "Tritonia."
Another possible meaning may be triple-born or third-born, which may refer to a triad or to her status as the third daughter of Zeus or the fact she was born from Metis, Zeus, and herself; various legends list her as being the first child after Artemis and Apollo, though other legends identify her as Zeus' first child. The latter would have to be drawn from Classical myths, however, rather than earlier ones.
In her role as judge at Orestes' trial on the murder of his mother, Clytemnestra (which he won), Athena won the epithet Athena Areia.
Other epithets were Ageleia and Itonia.
Athena was given many other cult titles. She had the epithet Athena Ergane as the patron of craftsmen and artisans. With the epithet Athena Parthenos ("virgin")she was especially worshipped in the festivals of the Panathenaea and Pamboeotia where both militaristic and athletic displays took place. With the epithet Athena Promachos she led in battle. With the epithet Athena Polias ("of the city"), Athena was the protector of not only Athens but also of many other cities, including Argos, Sparta, Gortyn, Lindos, and Larisa.
She was given the epithet Athena Hippeia or Athena Hippia, horse as the inventor of the chariot, and was worshipped under this title at Athens, Tegea and Olympia. As Athena Hippeia she was given an alternative parentage: Poseidon and Polyphe, daughter of Oceanus. In each of these cities her temple frequently was the major temple on the acropolis.
Athena often was equated with Aphaea, a local goddess of the island of Aegina, located near Athens, once Aegina was under Athenian's power. The Greek historian Plutarch (46 AD–120 AD) also refers to an instance during the Parthenon's construction of her being called Athena Hygieia ("healer"):
A strange accident happened in the course of building, which showed that the goddess was not averse to the work, but was aiding and co-operating to bring it to perfection. One of the artificers, the quickest and the handiest workman among them all, with a slip of his foot fell down from a great height, and lay in a miserable condition, the physicians having no hope of his recovery. When Pericles was in distress about this, the goddess [Athena] appeared to him at night in a dream, and ordered a course of treatment, which he applied, and in a short time and with great ease cured the man. And upon this occasion it was that he set up a brass statue of Athena Hygeia, in the citadel near the altar, which they say was there before. But it was Phidias who wrought the goddess's image in gold, and he has his name inscribed on the pedestal as the workman of it.
In classical times the Plynteria, or “Feast of Adorning”, was observed every May, it was a festival lasting five days. During this period the Priestesses of Athena, or “Plyntrides”, performed a cleansing ritual within “the Erecththeum”, the personal sanctuary of the goddess. Here Athena's statue was undressed, her clothes washed, and body purified.
In Arcadia, she was assimilated with the ancient goddess Alea and worshiped as Athena Alea.
http://en.wikipedia.org/wiki/Athena
National Museum of Rome – Palazzo Altemps, Rome, Italy
Artist/Maker: Antiochos (signed), copy of Phidias
Description: Athena of the Parthenos Athena type. Pentelic marble, Greek copy from the 1st century BC after the original from the 5th century BC. Some 17th-century restorations: arms, ends of the belt, some folds of the peplos, aegis, tip of the nose.
Athena | Attic mythology | Crafts goddesses | Deities in the Iliad | Greek goddesses | Greek mythology | National personifications | Offspring of Zeus | Smithing goddesses | Twelve Olympians | War goddesses | Wisdom goddesses
Abode: Mount Olympus
Symbol: Owl, Olive tree
Parents: Zeus and Metis
Siblings: None
Roman equivalent: Minerva
Goddess of wisdom, warfare and crafts
Patron goddess of Athens
Athena (pronounced /əˈθiːnə/) or Athene (/əˈθiːniː/; Attic: Ἀθηνᾶ, Athēnā or Ἀθηναία, Athēnaia; Epic: Ἀθηναίη, Athēnaiē; Ionic: Ἀθήνη, Athēnē; Doric: Ἀθάνα, Athana; Latin: Minerva), also referred to as Pallas Athena (Παλλάς Αθηνά; pronounced /ˈpæləs/), is the goddess of civilization, wisdom, strength, strategy, craft, justice and skill in Greek mythology. Minerva, Athena's Roman incarnation, embodies similar attributes. Athena is also a shrewd companion of heroes and the goddess of heroic endeavour. She is the virgin patron of Athens. The Athenians built the Parthenon on the Acropolis of her namesake city, Athens, in her honour (Athena Parthenos).
Overview
Athena's cult as the patron of Athens seems to have existed from the earliest times and was so persistent that archaic myths about her were recast to adapt to cultural changes. The Greek philosopher, Plato (429–347 BC), identified her with the Libya deity, Neith, the war-goddess and huntress deity of the Egyptians since the ancient predynastic period, also identified with weaving. This is sensible as some Greeks identified Athena's birthplace, in certain mythological renditions, as being beside Libya's Triton River. Classicist Martin Bernal created the "Black Athena Theory" to explain this associated origin by claiming that the conception of Neith was brought over to Greece from Egypt with "an enormous number of features of civilization and culture in the third and second millennia." Athena the goddess as philosophy became a part of the cult in the later fifth century and Classical Greece. She was the patroness of weaving, especially, and other crafts (Athena Ergane); the metalwork of weapons also fell under her patronage. She led battles (Athena Promachos or the warrior maiden Athena Parthenos) as the disciplined, strategic side of war, in contrast to her brother Ares, the patron of violence, bloodlust and slaughter-"the raw force of war". Athena's wisdom includes the cunning intelligence (metis) of such figures as Odysseus. Not only was this version of Athena the opposite of Ares in combat, it was also the polar opposite of the serene earth goddess version, Athena Polias, earning the title Athena Parthenos. A remnant of archaic myth depicts her as the adoptive mother of Erechtheus/Erichthonius by the foiled rape by Hephaestus. Other variants relate that the serpent who accompanied Athena, also called Erichthonius, was born to Gaia when the rape failed and the semen landed on Gaia, impregnating her, and that after the birth he was given to Athena by Gaia.
Though Athena was a goddess of war strategy, she disliked fighting without a purpose and preferred using wisdom to settle predicaments. The goddess would only encourage fighting if it was for a reasonable cause or to solve conflict.
In her role as a protector of the city, many people throughout the Greek world worshiped Athena as Athena Polias ("Athena of the city"). Athens and Athena bear etymologically connected names.
Mythology
Birth
In The Greek Myths (8.a, ff.), Robert Graves notes early myths about the birth of Athena whose worship began in Crete after arriving there as early as 4,000 BC. According to Graves, Hesiod (c. 700 BC) relates that Athena was a parthenogenous daughter of Metis, wisdom or knowledge, a Titan who ruled the fourth day and the planet Mercury. Other variants relate that although Metis was of an earlier generation of the Titans, Zeus became her consort when his cult gained dominance. In order to avoid a prophecy made when that change occurred, that any offspring of his union with Metis would be greater than he, Zeus swallowed Metis to prevent her from having offspring, but she already was pregnant with Athena. Metis gave birth to Athena and nurtured her inside Zeus until Zeus complained of headaches and called for Hephaestus to split open his head with his smithing tools. Athena burst forth from his forehead fully armed with weapons given by her mother. She famously wields the thunderbolt and the Aegis, which she and Zeus share exclusively.
The story of her birth from the head of Zeus was adapted by Christianity to parallel the emergence of arts and inventions from the mind of God. Plato, in Cratylus(407B) gave the etymology of her name as signifying "the mind of god", theou noesis. The Christian apologist of the second century Justin Martyr takes issue with those pagans who erect at springs images of Kore, whom he interprets as Athena:
"They said that Athena was the daughter of Zeus not from intercourse, but when the god had in mind the making of a world through a word (logos) his first thought was Athena"
On the other hand, John Milton's Paradise Lost interprets this myth as a model for the birth of Sin from the head of Satan.
The Olympian version
Although at Mycenaean Knossos Athena appears before Zeus does —in Linear B, as a-ta-na po-ti-ni-ja, "Mistress Athena"— in the Classical Olympian pantheon, Athena was remade as the favorite daughter of Zeus, born fully armed from his forehead. The story of her birth comes in several versions. In the one most commonly cited, Zeus lay with Metis, the goddess of crafty thought and wisdom, but he immediately feared the consequences. It had been prophesied that Metis would bear children more powerful than the sire, even Zeus himself. In order to forestall these dire consequences, after lying with Metis, Zeus "put her away inside his own belly;" he "swallowed her down all of a sudden." He was too late: Metis already conceived.
Eventually Zeus experienced an enormous headache; Prometheus, Hephaestus, Hermes, or Palaemon (depending on the sources examined) cleaved Zeus's head with the double-headed Minoan axe, the labrys. Athena leaped from Zeus's head, fully grown and armed — with a shout, "and pealed to the broad sky her clarion cry of war. And Ouranos trembled to hear, and Mother Gaia..." (Pindar, Seventh Olympian Ode). Plato, in the Laws, attributes the cult of Athena to the culture of Crete, introduced, he thought, from Libya during the dawn of Greek culture.
Classical myths thereafter note that Hera was so annoyed at Zeus producing a child that she conceived and bore Hephaestus by herself.
Other origin tales
Fragments attributed by the Christian Eusebius of Caesarea to the semi-legendary Phoenician historian Sanchuniathon, which Eusebius thought had been written before the Trojan war, make Athena instead, the daughter of Cronus, a king of Byblos who visited 'the inhabitable world' and bequeathed Attica to Athena. Sanchuniathon's account would make Athena the sister of Zeus and Hera, not Zeus' daughter.
Pallas Athena
The major competing tradition regarding Athena's parentage involves some of her more mysterious epithets: Pallas, as in Ancient Greek Παλλάς Άθήνη (also Pallantias) and Tritogeneia (also Trito, Tritonis, Tritoneia, Tritogenes). A separate entity named Pallas is invoked—whether Athena's father, sister, foster-sister, companion, or opponent in battle. In every case, Athena kills Pallas, accidentally, and thereby gains the name for herself.
When Pallas is Athena's father the events, including her birth, are located near a body of water named Triton or Tritonis, the result of an etymology of Tritogeneia from Tritonis. When Pallas is Athena's sister or foster-sister, Athena's father or foster-father is Triton, the son and herald of Poseidon. But Athena may be called the daughter of Poseidon and a nymph named Tritonis, without involving Pallas. Likewise, Pallas may be Athena's father or opponent, without involving Triton. On this topic, Walter Burkert says "she is the Pallas of Athens, Pallas Athenaie, just as Hera of Argos is Here Argeie. For the Athenians, Burkert notes, Athena was simply "the Goddess", he thea, certainly an ancient title.
Athena Parthenos: Virgin Athena
Athena never had a consort or lover and thus, also was known as Athena Parthenos, "Virgin Athena". Her most famous temple, the Parthenon, on the Acropolis in Athens takes its name from this title. It was not merely an observation of her virginity, but a recognition of her role as enforcer of rules of sexual modesty and ritual mystery. Even beyond recognition, the Athenians allotted the goddess value based on this pureness of virginity as it upheld a rudiment of female behavior in the patriarchal society. Kerenyi's study and theory of Athena accredits her virginal toponym to be a result of the relationship to her father Zeus and a vital, cohesive piece of her character throughout the ages. This role is expressed in a number of stories about Athena. Marinus reports that when Christians removed the statue of the Goddess from the Parthenon, a beautiful woman appeared in a dream to Proclus, a devotee of Athena, and announced that the "Athenian Lady" wished to dwell with him.
Erichthonius
Hephaestus attempted to rape Athena, but she eluded him. His semen fell on the ground, and Erichthonius was born from the Earth, Gaia. Athena then raised the baby as a foster mother.
Athena put the infant Erichthonius in a small box (cista) which she entrusted to the care of three sisters, Herse, Pandrosus, and Aglaulus of Athens. The goddess did not tell them what the box contained, but warned them not to open it until she returned. One or two sisters opened the cista to reveal Erichthonius, in the form (or embrace) of a serpent. The serpent, or insanity induced by the sight, drove Herse and Pandrosus to throw themselves off the Acropolis. Jane Harrison (Prolegomena) finds this to be a simple cautionary tale directed at young girls carrying the cista in the Thesmophoria rituals, to discourage them from opening it outside the proper context.
Another version of the myth of the Athenian maidens is told in Metamorphoses by the Roman poet Ovid (43 BC – 17 AD); in this late variant Hermes falls in love with Herse. Herse, Aglaulus, and Pandrosus go to the temple to offer sacrifices to Athena. Hermes demands help from Aglaulus to seduce Herse. Aglaulus demands money in exchange. Hermes gives her the money the sisters had already offered to Athena. As punishment for Aglaulus's greed, Athena asks the goddess Envy to make Aglaulus jealous of Herse. When Hermes arrives to seduce Herse, Aglaulus stands in his way instead of helping him as she had agreed. He turns her to stone.
With this mythic origin, Erichthonius became the founder-king of Athens, where many beneficial changes to Athenian culture were ascribed to him. During this time, Athena frequently protected him.
Medusa and Tiresias
In a late myth, Medusa, unlike her two sister-Gorgons, came to be thought of by the Classical Greeks during the fifth century as mortal and extremely beautiful, but she was raped by Poseidon in the temple of Athena and Hephasteus. Upon discovering the desecration of her temple, Athena changed Medusa's form to match that of her sister Gorgons as punishment. Medusa's hair turned into snakes, her lower body was transformed also, and meeting her gaze would turn any living creature to stone. In the earliest of myths there is but one Gorgon and the only snakes were two wrapped around her waist as a belt.
In one version of the Tiresias myth, Tiresias stumbled upon Athena bathing, and she blinded him because she was nude. To compensate him for his loss, she sent serpents to lick his ears, which gave him the gift of prophecy.
Lady of Athens
Athena competed with Poseidon to be the patron deity of Athens, which was yet unnamed, in a version of one founding myth. They agreed that each would give the Athenians one gift and that the Athenians would choose the gift they preferred. Poseidon struck the ground with his trident and a spring sprang up; this gave them a means of trade and water —Athens at its height was a significant sea power, defeating the Persian fleet at the Battle of Salamis— but the water was salty and not very good for drinking. Athena, however, offered them the first domesticated olive tree. The Athenians (or their king, Cecrops) accepted the olive tree and with it the patronage of Athena, for the olive tree brought wood, oil, and food. Robert Graves was of the opinion that "Poseidon's attempts to take possession of certain cities are political myths" which reflect the conflict between matriarchical and patriarchical religions.
Other sites of cult
Athena also was the patron goddess of several other Greek cities, notably Sparta, where the archaic cult of Athena Alea had its sanctuaries in the surrounding villages of at Alea, Mantineia and, notably, Tegea. Tegea was an important religious center of ancient Greece, containing the Temple of Athena Alea. The temenos was founded by Aleus, Pausanias was informed. Votive bronzes at the site from the Geometric and Archaic periods take the forms of horses and deer; there are sealstones and fibulae. In the Archaic period the nine villages that underlie Tegea banded together in a synoecism to form one city. Tegea was listed in Homer's Catalogue of Ships as one of the cities that contributed ships and men for the Achaean assault on Troy.
Counselor
Later myths of the Classical Greeks relate that Athena guided Perseus in his quest to behead Medusa. She instructed Heracles to skin the Nemean Lion by using its own claws to cut through its thick hide. She also helped Heracles to defeat the Stymphalian Birds, and to navigate the underworld so as to capture Cerberus.
In The Odyssey, Odysseus' cunning and shrewd nature quickly won Athena's favour. In the realistic epic mode, however, she largely is confined to aiding him only from afar, as by implanting thoughts in his head during his journey home from Troy. Her guiding actions reinforce her role as the "protectress of heroes" or as mythologian Walter Friedrich Otto dubbed her the "goddess of nearness" due to her mentoring and motherly probing. It is not until he washes up on the shore of an island where Nausicaa is washing her clothes that Athena arrives personally to provide more tangible assistance. She appears in Nausicaa's dreams to ensure that the princess rescues Odysseus and plays a role in his eventual escort to Ithaca.
Athena appears in disguise to Odysseus upon his arrival, initially lying and telling him that Penelope, his wife, has remarried and that he is believed to be dead; but Odysseus lies back to her, employing skillful prevarications to protect himself. Impressed by his resolve and shrewdness, she reveals herself and tells him what he needs to know in order to win back his kingdom. She disguises him as an elderly man or beggar so that he cannot be noticed by the suitors or Penelope, and helps him to defeat the suitors. She also plays a role in ending the resultant feud against the suitors' relatives, although she seems strange to readers. She instructs Laertes to throw his spear and to kill the father of Antinous, Eupeithes. But she must have forgotten her task of bringing peace to Ithaca and wiping the thought of slaughter from the suitors' families, because she suddenly told them to stop fighting.
Roman fable of Arachne
The fable of Arachne is a late Roman addition to Classical Greek mythology but does not appear in the myth repertoire of the Attic vase-painters. Arachne's name simply means spider (αράχνη). Arachne was the daughter of a famous dyer in Tyrian purple in Hypaipa of Lydia, and a weaving student of Athena. She became so conceited of her skill as a weaver that she began claiming that her skill was greater than that of Athena herself.
Athena gave Arachne a chance to redeem herself by assuming the form of an old woman and warning Arachne not to offend the deities. Arachne scoffed and wished for a weaving contest, so she could prove her skill.
Athena wove the scene of her victory over Poseidon that had inspired her patronage of Athens. According to the Latin narrative, Arachne's tapestry featured twenty-one episodes of the infidelity of the deities, including Zeus being unfaithful with Leda, with Europa, and with Danaë. Athena admitted that Arachne's work was flawless, but was outraged at Arachne's disrespectful choice of subjects that displayed the failings and transgressions of the deities. Finally, losing her temper, Athena destroyed Arachne's tapestry and loom, striking it with her shuttle. Athena then struck Arachne with her staff, which changed her into a spider.
The fable suggests that the origin of weaving lay in imitation of spiders and that it was considered to have been perfected first in Asia Minor.
Cult and attributes
Athena's epithets include Άτρυτώνη, Atrytone (= the unwearying), Παρθένος, Parthénos (= virgin), and Ή Πρόμαχος, Promachos (the First Fighter, i. e. she who fights in front).
In poetry from Homer, an oral tradition of the eighth or seventh century BC, onward, Athena's most common epithet is glaukopis (γλαυκώπις), which usually is translated as, bright-eyed or with gleaming eyes. The word is a combination of glaukos (γλαύκος, meaning gleaming, silvery, and later, bluish-green or gray) and ops (ώψ, eye, or sometimes, face). It is interesting to note that glaux (γλαύξ, "owl") is from the same root, presumably because of the bird's own distinctive eyes. The bird which sees well in the night is closely associated with the goddess of wisdom: in archaic images, Athena is frequently depicted with an owl perched on her head. This pairing evolved in tangent so that even in present day the owl is upheld as a symbol of perspicacity and erudition. Unsurprisingly, the owl became a sort of Athenian mascot. The olive tree is likewise sacred to her. In earlier times, Athena may well have been a bird goddess, similar to the unknown goddess depicted with owls, wings, and bird talons on the Burney relief, a Mesopotamian terracotta relief of the early second millennium BC.
Other epithets include: Aethyta under which she was worshiped in Megara. The word aithyia (αίθυια) signifies a diver, and figuratively, a ship, so the name must reference Athena teaching the art of shipbuilding or navigation. In a temple at Phrixa in Elis, which was reportedly built by Clymenus, she was known as Cydonia.
The various Athena subgroups, or cults, all branching from the central goddess herself often proctored various initiation rites of Grecian youth. For example, the passage into citizenship by young men and for women the elevation to the status of citizen wife. Her various cults were portals of a uniform socialization, even beyond mainland Greece.
Epithets
In the Iliad (4.514), the Homeric Hymns, and in Hesiod's Theogony, Athena is given the curious epithet Tritogeneia. The meaning of this term is unclear. It seems to mean "Triton-born", perhaps indicating that the sea-deity was her parent according to some early myths, In Ovid's Metamorphoses Athena is occasionally referred to as "Tritonia."
Another possible meaning may be triple-born or third-born, which may refer to a triad or to her status as the third daughter of Zeus or the fact she was born from Metis, Zeus, and herself; various legends list her as being the first child after Artemis and Apollo, though other legends identify her as Zeus' first child. The latter would have to be drawn from Classical myths, however, rather than earlier ones.
In her role as judge at Orestes' trial on the murder of his mother, Clytemnestra (which he won), Athena won the epithet Athena Areia.
Other epithets were Ageleia and Itonia.
Athena was given many other cult titles. She had the epithet Athena Ergane as the patron of craftsmen and artisans. With the epithet Athena Parthenos ("virgin")she was especially worshipped in the festivals of the Panathenaea and Pamboeotia where both militaristic and athletic displays took place. With the epithet Athena Promachos she led in battle. With the epithet Athena Polias ("of the city"), Athena was the protector of not only Athens but also of many other cities, including Argos, Sparta, Gortyn, Lindos, and Larisa.
She was given the epithet Athena Hippeia or Athena Hippia, horse as the inventor of the chariot, and was worshipped under this title at Athens, Tegea and Olympia. As Athena Hippeia she was given an alternative parentage: Poseidon and Polyphe, daughter of Oceanus. In each of these cities her temple frequently was the major temple on the acropolis.
Athena often was equated with Aphaea, a local goddess of the island of Aegina, located near Athens, once Aegina was under Athenian's power. The Greek historian Plutarch (46 AD–120 AD) also refers to an instance during the Parthenon's construction of her being called Athena Hygieia ("healer"):
A strange accident happened in the course of building, which showed that the goddess was not averse to the work, but was aiding and co-operating to bring it to perfection. One of the artificers, the quickest and the handiest workman among them all, with a slip of his foot fell down from a great height, and lay in a miserable condition, the physicians having no hope of his recovery. When Pericles was in distress about this, the goddess [Athena] appeared to him at night in a dream, and ordered a course of treatment, which he applied, and in a short time and with great ease cured the man. And upon this occasion it was that he set up a brass statue of Athena Hygeia, in the citadel near the altar, which they say was there before. But it was Phidias who wrought the goddess's image in gold, and he has his name inscribed on the pedestal as the workman of it.
In classical times the Plynteria, or “Feast of Adorning”, was observed every May, it was a festival lasting five days. During this period the Priestesses of Athena, or “Plyntrides”, performed a cleansing ritual within “the Erecththeum”, the personal sanctuary of the goddess. Here Athena's statue was undressed, her clothes washed, and body purified.
In Arcadia, she was assimilated with the ancient goddess Alea and worshiped as Athena Alea.
http://en.wikipedia.org/wiki/Athena
National Museum of Rome – Palazzo Altemps, Rome, Italy
Artist/Maker: Antiochos (signed), copy of Phidias
Description: Athena of the Parthenos Athena type. Pentelic marble, Greek copy from the 1st century BC after the original from the 5th century BC. Some 17th-century restorations: arms, ends of the belt, some folds of the peplos, aegis, tip of the nose.
Athena | Attic mythology | Crafts goddesses | Deities in the Iliad | Greek goddesses | Greek mythology | National personifications | Offspring of Zeus | Smithing goddesses | Twelve Olympians | War goddesses | Wisdom goddesses
Tuesday, September 4, 1990
Judgement of Paris
Judgement of Paris
The Judgement of Paris is a story from Greek mythology, which was one of the events that led up to the Trojan War and (in slightly later versions of the story) to the foundation of Rome.
Sources of the episode
As with many mythological tales, details vary depending on the source. The brief allusion to the Judgement in the Iliad (24.25–30) shows that the episode initiating all the subsequent action was already familiar to its audience; a fuller version was told in the Cypria, a lost work of the Epic Cycle, of which only fragments (and a reliable summary) remain. The later writers Ovid (Heroides 16.71ff, 149–152 and 5.35f), Lucian (Dialogues of the Gods 20), Apollodorus (Epitome E.3.2) and Hyginus (Fabulae 92), retell the story with skeptical, ironic or popularizing agendas. But it appeared wordlessly on the ivory and gold votive chest of the 7th-century tyrant Cypselus at Olympia, which was described by Pausanias as showing:
Hermes bringing to Alexander the son of Priam the goddesses of whose beauty he is to judge, the inscription on them being: 'Here is Hermes, who is showing to Alexander, that he may arbitrate concerning their beauty, Hera, Athena and Aphrodite. (Description of Greece, LXV.9.5).
The subject was favoured by painters of Red-figure pottery as early as the sixth century BC, and remained popular in Greek and Roman art, before enjoying a significant revival, as an opportunity to show three female nudes, in the Renaissance.
Mythic narrative
It is recounted that Zeus held a banquet in celebration of the marriage of Peleus and Thetis (parents of Achilles). However, Eris, goddess of discord, was uninvited. Angered by this snub, Eris arrived at the celebration, where she threw a golden apple (the Apple of Discord) into the proceedings, upon which was the inscription καλλίστῃ ("for the fairest one").
Three goddesses claimed the apple: Hera, Athena and Aphrodite. They asked Zeus to judge which of them was fairest, and eventually Zeus, reluctant to favour any claim himself, declared that Paris, a Phrygian mortal, would judge their cases, for he had recently shown his exemplary fairness in a contest in which Ares in bull form had bested Paris's own prize bull, and the shepherd-prince had unhesitatingly awarded the prize to the god.
Thus it happened that, with Hermes as their guide, all three of the candidates appeared to Paris on Mount Ida, in the climactic moment that is the crux of the tale. After bathing in the spring of Ida, each attempted with her powers to bribe Paris; Hera offered to make him king of Europe and Asia, Athena offered wisdom and skill in war, and Aphrodite, who had the Charites and the Horai to enhance her charms with flowers and song (according to a fragment of the Cypria quoted by Athenagoras), offered the love of the world's most beautiful woman (Euripides, Andromache, l.284, Helena l. 676). This was Helen of Sparta, wife of the Greek king Menelaus. Paris accepted Aphrodite's gift and awarded the apple to her, receiving Helen as well as the enmity of the Greeks and especially of Hera. The Greeks' expedition to retrieve Helen from Paris in Troy is the mythological basis of the Trojan War.
According to a tradition suggested by Alfred J. Van Windekens, "cow-eyed" Hera was indeed the most objectively beautiful, not Aphrodite. Hera was the goddess of the marital order and of cuckolded wives, amongst other things. Hera was often portrayed as the shrewish, jealous wife of Zeus, who himself often escaped from her controlling ways by cheating on her with mortal and immortal women. Her beauty was checked by her commitment to marital fidelity and chastity, for which Paris had no taste.
Aphrodite, though not as beautiful as Hera, was effortlessly sexual and charming; thus her ability to sway Paris and her position as Goddess of Physical Love were more palatable to Paris.
Athena's beauty is rarely commented upon in the myths, perhaps because Greeks held her up as an asexual being, being able to "overcome" her "womanly weaknesses" in order to become both wise and talented in war (both considered male domains by the Greeks). Her rage at losing makes her join the Greeks in the battle against Paris's Trojans, a key event in the turning point of the war.
Seen purely as a story, such as is recounted in Bulfinch's Mythology, the Judgement of Paris is simply an amoral episode in which Paris' skill for sound judgement (for which the gods approved him) is overcome by appeals to his lust; thus a lengthy and blood-soaked war revolves upon a series of apparently trivial episodes, each adding to the inertia that drives events to their inevitable and tragic conclusions.
Alternatively, the narrative can be seen as a rationalized series of episodic causes and consequences that has been developed to embed within a human timeframe, and to explain, a moment of epiphany that occurs in a suspended moment out of time that artists endeavor to recapture in an icon (illustration): a blissfully fortunate mortal is confronted by a trinity of goddesses and a transcendent gift, the "apple", is exchanged. The story appears to be the result of an interpretation of an archaic iconic image representing such an ecstatic moment, which logically must have preceded the narrative invented to explicate it.
In the archaic prototypical stories antedating the Judgement of Paris, the gift is imparted by the deity, like the pomegranate that the Goddess offers on Minoan seal-impressions, and the mortal the recipient. As such, the classic telling of the Judgement of Paris is an example of mythic inversion, in which the apple becomes his to award.
The mytheme of the Judgement of Paris naturally offered artists the opportunity to portray three ideally lovely women in undress, as a sort of beauty contest, but the myth, at least since Euripides, rather concerns a choice among the gifts that each goddess embodies: a subtext of the bribery involved is ironic, and a late ingredient.
In each allusion to the Judgement of Paris or narrative account, an aspect of Paris' sojourn as a shepherd-exile that is never linked to the explication of the central moment is his connection with the nurturing nymph of Mount Ida, Oenone.
Kallistē(i)
Kallistē(i) is the word of the Ancient Greek language inscribed on the Golden Apple of Discord by Eris. In Greek, the word is καλλίστῃ (the dative singular of the feminine superlative of καλος, beautiful). Its meaning can be rendered "to the fairest one".
In post-Classical art
The subject became popular in art from the late Middle Ages onwards, with the three goddesses usually shown nude, following the classical literary sources, although in ancient art it is only Venus who appears nude, and that not always. The opportunity for three female nudes was a large part of the attraction of the subject. It appeared in illuminated manuscripts and was popular in decorative art, including 15th century Italian inkstands and other works in maiolica, and cassoni. As a subject for easel paintings, it was more common in Northern Europe, although Marcantonio Raimondi's engraving of ca. 1515, probably based on a drawing by Raphael, and using a composition derived from a Roman sacrophagus, was a highly influential treatment, which made Paris's Phrygian cap an attribute in most later versions. The subject was painted many times by Lucas Cranach the Elder. Rubens painted several compositions of the subject at different points in his career. Later artists painting the subject include Renoir and Salvador Dalí.
Use in Discordianism
The word Kallisti (Modern Greek) written on a golden apple, has become a principal symbol of Discordianism, a post-modernist religion. In non-philological texts (such as Discordian ones) the word is usually spelled as καλλιστι. Most versions of Principia Discordia actually spell it as καλλιχτι, but this is definitely incorrect; in the afterword of the 1979 Loompanics edition of Principia, Gregory Hill says that was because on the IBM typewriter he used, not all Greek letters coincided with Latin ones, and he didn't know enough of the letters to spot the mistake. Zeus' failure to invite Eris is referred to as The Original Snub in Discordian mythology.
Dramatizations
The Judgement of Paris was burlesqued to great effect in the 1954 musical The Golden Apple. In it, the three goddesses have been reduced to three town biddies in smalltown Washington state. They ask Paris, a traveling salesman, to judge the cakes they have made for the church social. Each woman (the mayor's wife, the schoolmarm, and the matchmaker) makes appeals to Paris, who chooses the matchmaker. The matchmaker, in turn, sets him up with Helen, the town floozy. And she runs off with him.
The Judgement of Paris is featured in the 2003 TV miniseries Helen of Troy.
The story is the basis of an opera, The Judgement of Paris, with a libretto by William Congreve, that was set to music by four composers in London, 1700-1701. Thomas Arne composed a highly successful score to the same libretto in 1742. The opera Le Cinesi (The Chinese Women) by Christoph Willibald Gluck (1754) concludes with a ballet, The Judgment of Paris, sung as a vocal quartet. Francesco Cilea's 1902 opera Adriana Lecouvreur also includes a Judgment of Paris ballet sequence.
Links and References
http://en.wikipedia.org/wiki/Judgement_of_Paris
The Judgement of Paris
Explore paintings that depict the Judgement of Paris, including Rubens, de Clerck
Discordianism | Greek mythology | Trojan War
The Judgement of Paris is a story from Greek mythology, which was one of the events that led up to the Trojan War and (in slightly later versions of the story) to the foundation of Rome.
The Judgment of Paris, Peter Paul Rubens, ca 1636
(National Gallery, London)
(National Gallery, London)
Sources of the episode
As with many mythological tales, details vary depending on the source. The brief allusion to the Judgement in the Iliad (24.25–30) shows that the episode initiating all the subsequent action was already familiar to its audience; a fuller version was told in the Cypria, a lost work of the Epic Cycle, of which only fragments (and a reliable summary) remain. The later writers Ovid (Heroides 16.71ff, 149–152 and 5.35f), Lucian (Dialogues of the Gods 20), Apollodorus (Epitome E.3.2) and Hyginus (Fabulae 92), retell the story with skeptical, ironic or popularizing agendas. But it appeared wordlessly on the ivory and gold votive chest of the 7th-century tyrant Cypselus at Olympia, which was described by Pausanias as showing:
Hermes bringing to Alexander the son of Priam the goddesses of whose beauty he is to judge, the inscription on them being: 'Here is Hermes, who is showing to Alexander, that he may arbitrate concerning their beauty, Hera, Athena and Aphrodite. (Description of Greece, LXV.9.5).
The subject was favoured by painters of Red-figure pottery as early as the sixth century BC, and remained popular in Greek and Roman art, before enjoying a significant revival, as an opportunity to show three female nudes, in the Renaissance.
Judgement of Paris by Enrique Simonet
Mythic narrative
It is recounted that Zeus held a banquet in celebration of the marriage of Peleus and Thetis (parents of Achilles). However, Eris, goddess of discord, was uninvited. Angered by this snub, Eris arrived at the celebration, where she threw a golden apple (the Apple of Discord) into the proceedings, upon which was the inscription καλλίστῃ ("for the fairest one").
Three goddesses claimed the apple: Hera, Athena and Aphrodite. They asked Zeus to judge which of them was fairest, and eventually Zeus, reluctant to favour any claim himself, declared that Paris, a Phrygian mortal, would judge their cases, for he had recently shown his exemplary fairness in a contest in which Ares in bull form had bested Paris's own prize bull, and the shepherd-prince had unhesitatingly awarded the prize to the god.
Thus it happened that, with Hermes as their guide, all three of the candidates appeared to Paris on Mount Ida, in the climactic moment that is the crux of the tale. After bathing in the spring of Ida, each attempted with her powers to bribe Paris; Hera offered to make him king of Europe and Asia, Athena offered wisdom and skill in war, and Aphrodite, who had the Charites and the Horai to enhance her charms with flowers and song (according to a fragment of the Cypria quoted by Athenagoras), offered the love of the world's most beautiful woman (Euripides, Andromache, l.284, Helena l. 676). This was Helen of Sparta, wife of the Greek king Menelaus. Paris accepted Aphrodite's gift and awarded the apple to her, receiving Helen as well as the enmity of the Greeks and especially of Hera. The Greeks' expedition to retrieve Helen from Paris in Troy is the mythological basis of the Trojan War.
According to a tradition suggested by Alfred J. Van Windekens, "cow-eyed" Hera was indeed the most objectively beautiful, not Aphrodite. Hera was the goddess of the marital order and of cuckolded wives, amongst other things. Hera was often portrayed as the shrewish, jealous wife of Zeus, who himself often escaped from her controlling ways by cheating on her with mortal and immortal women. Her beauty was checked by her commitment to marital fidelity and chastity, for which Paris had no taste.
Aphrodite, though not as beautiful as Hera, was effortlessly sexual and charming; thus her ability to sway Paris and her position as Goddess of Physical Love were more palatable to Paris.
Athena's beauty is rarely commented upon in the myths, perhaps because Greeks held her up as an asexual being, being able to "overcome" her "womanly weaknesses" in order to become both wise and talented in war (both considered male domains by the Greeks). Her rage at losing makes her join the Greeks in the battle against Paris's Trojans, a key event in the turning point of the war.
Seen purely as a story, such as is recounted in Bulfinch's Mythology, the Judgement of Paris is simply an amoral episode in which Paris' skill for sound judgement (for which the gods approved him) is overcome by appeals to his lust; thus a lengthy and blood-soaked war revolves upon a series of apparently trivial episodes, each adding to the inertia that drives events to their inevitable and tragic conclusions.
Alternatively, the narrative can be seen as a rationalized series of episodic causes and consequences that has been developed to embed within a human timeframe, and to explain, a moment of epiphany that occurs in a suspended moment out of time that artists endeavor to recapture in an icon (illustration): a blissfully fortunate mortal is confronted by a trinity of goddesses and a transcendent gift, the "apple", is exchanged. The story appears to be the result of an interpretation of an archaic iconic image representing such an ecstatic moment, which logically must have preceded the narrative invented to explicate it.
In the archaic prototypical stories antedating the Judgement of Paris, the gift is imparted by the deity, like the pomegranate that the Goddess offers on Minoan seal-impressions, and the mortal the recipient. As such, the classic telling of the Judgement of Paris is an example of mythic inversion, in which the apple becomes his to award.
The mytheme of the Judgement of Paris naturally offered artists the opportunity to portray three ideally lovely women in undress, as a sort of beauty contest, but the myth, at least since Euripides, rather concerns a choice among the gifts that each goddess embodies: a subtext of the bribery involved is ironic, and a late ingredient.
In each allusion to the Judgement of Paris or narrative account, an aspect of Paris' sojourn as a shepherd-exile that is never linked to the explication of the central moment is his connection with the nurturing nymph of Mount Ida, Oenone.
Kallistē(i)
Kallistē(i) is the word of the Ancient Greek language inscribed on the Golden Apple of Discord by Eris. In Greek, the word is καλλίστῃ (the dative singular of the feminine superlative of καλος, beautiful). Its meaning can be rendered "to the fairest one".
In post-Classical art
The subject became popular in art from the late Middle Ages onwards, with the three goddesses usually shown nude, following the classical literary sources, although in ancient art it is only Venus who appears nude, and that not always. The opportunity for three female nudes was a large part of the attraction of the subject. It appeared in illuminated manuscripts and was popular in decorative art, including 15th century Italian inkstands and other works in maiolica, and cassoni. As a subject for easel paintings, it was more common in Northern Europe, although Marcantonio Raimondi's engraving of ca. 1515, probably based on a drawing by Raphael, and using a composition derived from a Roman sacrophagus, was a highly influential treatment, which made Paris's Phrygian cap an attribute in most later versions. The subject was painted many times by Lucas Cranach the Elder. Rubens painted several compositions of the subject at different points in his career. Later artists painting the subject include Renoir and Salvador Dalí.
Use in Discordianism
The word Kallisti (Modern Greek) written on a golden apple, has become a principal symbol of Discordianism, a post-modernist religion. In non-philological texts (such as Discordian ones) the word is usually spelled as καλλιστι. Most versions of Principia Discordia actually spell it as καλλιχτι, but this is definitely incorrect; in the afterword of the 1979 Loompanics edition of Principia, Gregory Hill says that was because on the IBM typewriter he used, not all Greek letters coincided with Latin ones, and he didn't know enough of the letters to spot the mistake. Zeus' failure to invite Eris is referred to as The Original Snub in Discordian mythology.
Dramatizations
The Judgement of Paris was burlesqued to great effect in the 1954 musical The Golden Apple. In it, the three goddesses have been reduced to three town biddies in smalltown Washington state. They ask Paris, a traveling salesman, to judge the cakes they have made for the church social. Each woman (the mayor's wife, the schoolmarm, and the matchmaker) makes appeals to Paris, who chooses the matchmaker. The matchmaker, in turn, sets him up with Helen, the town floozy. And she runs off with him.
The Judgement of Paris is featured in the 2003 TV miniseries Helen of Troy.
The story is the basis of an opera, The Judgement of Paris, with a libretto by William Congreve, that was set to music by four composers in London, 1700-1701. Thomas Arne composed a highly successful score to the same libretto in 1742. The opera Le Cinesi (The Chinese Women) by Christoph Willibald Gluck (1754) concludes with a ballet, The Judgment of Paris, sung as a vocal quartet. Francesco Cilea's 1902 opera Adriana Lecouvreur also includes a Judgment of Paris ballet sequence.
Links and References
http://en.wikipedia.org/wiki/Judgement_of_Paris
The Judgement of Paris
Explore paintings that depict the Judgement of Paris, including Rubens, de Clerck
Discordianism | Greek mythology | Trojan War
Tuesday, August 8, 1972
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