Posts Tagged ‘ambiguity’

It’s all about the Mysteries? Bacchae lecture 2

June 3, 2011

The danger of basing any analysis of the Bacchae on the assumption that it deals with the tensions inherent in Maenadism is that we have no evidence, barring the trieretic trip of the women of Attica to Mount Parnassus, of Maenadic cult at Athens in the period of Euripides’ composing. If there are cultic allusions in the play, and we know Euripides was fond of these, are they to be found in any other Dionysiac rituals?

Seaford (1981, 2006) sees the play as predicated upon initiation into the Dionysiac mystery cults, of which we do have evidence for the classical period – though of these, our only Athenian evidence comes from Aristophanes’ Frogs, where a chorus of Eleusinian initiates pays homage to the god as Iacchus.

Like Maenadism, these cults seemed to be viewed with suspicion and hostility – the story of the initiation of king Scylas of Scythia in Herodotus 4.79 is akin to that of Pentheus, whose death is seen as a failed initiation: a rite of passage never completed, in which the symbolic death of the initiate pending rebirth to a better state of life becomes actual slaughter as he refuses to accept the divine light and truth promised by Dionysus. In mystic cult, the sparagmos myth articulates the death of Dionysus (as the son of Zeus and Persephone) at the hands of the Titans.

This mythology never features in the Bacchae, so we should be wary of drawing analogies too strongly, or translating, as does Seaford (1996), every instance of teletai as ‘initiation rites’. From the Frogs through the Orphic Gold Leaves and Plutarch’s discussion of his own Dionysiac faith, initiation into this cult posits a blessed life after death – an eschatological element that Euripides seems to ignore. Perhaps it is better to see the ‘initiation’ as does Segal (1997), in terms of general ephebic initiation, in which Pentheus fails to separate himself from the female sphere and achieve his identity as an adult male.

Or, perhaps, to work outwards from this supposition – that the Bacchae, as do many tragedies, articulates the problems of incorporating any marginal group into the community, and the tensions and problems inherent in society’s rhetoric of incorporation.

Greek myth 4: the Theban Cycle

October 21, 2009

Leading on from the story of Heracles in last week’s lecture, this session looked at the beginnings of the story of Thebes – it’s a big enough topic that it has 2 lectures devoted to it: this one, which covered the foundation of the city to the death of Oedipus, and one to follow next week, on the Seven against Thebes to the razing of the city by the Epigonoi.

Oddly enough, the character that students seemed to associate most with Thebes was Theseus, rather than Oedipus. But it was easy enough to lead from that into the main discussion by looking at the opposition between Thebes and Athens; the transgressive House of Labdacus and Theseus as the hero who rights their wrongs (apparent also in Euripides’ Heracles, set in Thebes).

What characterises the Theban line seems to be this issue of transgression, from Cadmus’ slaying of the dragon of Ares (for which expiation is demanded in Euripides’ Phoenician Women) to the mutual murder of the sons of Oedipus. Zeitlin’s (1990) theory of Thebes as the ‘other’ space on the Athenian stage is a good lens through which to view this tendency towards transgression, but although the myth has mostly survived in tragedy, this doesn’t fully explain the use of the theme in epic or other genres.

There seems to be a layering of meaning as the myth develops in the Classical period – not least because there may be 2 different traditions at work here (Cadmus as the founder of Thebes/Amphion and Zethos as the builders of its walls). Folkloric elements (Edmunds 1985) come through and are juxtaposed with the function of the topos in the Athenian psyche. Yet trying to narrate the myth makes it seem somehow simplistic – next week, I think I may try some more detailed textual comparison with the class.

Greek myth 3: Heracles

October 20, 2009

Hearcles, the son of Zeus and Alcmena, seemed like a good figure with which to take the course from tales of the gods to tales of heroes, as he bridges the gap between the two. He is thus a fundamentally ambiguous character, and this is what I wanted to get across in the lecture: that his mythology isn’t all black & white, as in Disney’s ‘Hercules’ (which turned out to be most students’ main source for their knowledge of the myth). It was important, as we went through the major details of his life story, to understand the opposition we see in tales of this hero between the figure of Heracles as a culture hero/founding father and Heracles as a brutish barbarian – within the context of other ambiguities in his representation. And, as with all the myths studies in this course, it was important to look at different versions of the myth in literature and why they are privileged in different texts.

The lecture focused on Heracles’ birth, his labours, his amours, and his death. A number of paradoxes emerged, which seem central to our understanding of the hero: the son of Zeus who spends most of his life labouring as a slave; his persecution by Hera when his very name means ‘glory of Hera’; his function as both a dynastic hero and wild-man fighting monsters on the edges of civilisation; the uncertainty of his fate as chthonic hero/Olympian diety; and his hyper-masculinity vs. the issue of gender ambiguity in his myths (i.e., Omphale).

We discussed several possible interpretations of this phenomenon, but I favour Sergent’s (1987) theory: that two parallel traditions of Heracles existed, one of his ‘cultural’ exploits and one of his labours, which were then conflated (perhaps by the epic tradition?). This is consistent with other mythical cycles (e.g. the Trojan War), in which a number of unconnected myths seem to be drawn into the orbit of a famous character or event by subsequent retellings/poets. The result is a fascinating yet confusing figure, who perhaps can only be truly understood (if even then) within the context of each representation.


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