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The Erotics of Imperialism: 5Th Century Literary Representations of Helen & Alcibiades

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The Erotics of Imperialism: 5Th Century Literary Representations of Helen & Alcibiades The Erotics of Imperialism: 5th Century Literary Representations of Helen & Alcibiades Sarah Elizabeth Gonzalez Submitted in Partial Fulfillment of the Prerequisite for Honors in The Classical Studies Department under the advisement of Kate Gilhuly May 2020 © 2020 Sarah Elizabeth Gonzalez Contents Acknowledgements………………………………………………………………………………..3 Introduction………………………………………………………………………………………..5 Eros Unleashed Translation Note………………………………………………………………………………….10 Chapter 1…………………………………………………………………………………………11 The Literary History of Helen Chapter 2…………………………………………………………………………………………40 Imperialistic Intent and Genre Play in Euripides’ Helen Chapter 3…………………………………………………………………………………………80 Political Eroticism in Book 6 of The History of the Peloponnesian War Conclusion……………………………………………………………………………………...121 Eros Interrupted Bibliography……………………………………………………………………………………135 2 Acknowledgements This thesis was a labor of love -- and not the chaotic love I discuss in this thesis! While I was piloting this thesis ship, there were numerous crew mates behind the scenes helping me keep this project afloat. Without you, this ship would not have reached the harbor with as much ease or grace. First, to my thesis committee: Kate Gilhuly, Carol Dougherty and William Cain. To my thesis advisor and volunteer life coach, Kate Gilhuly: Thank you for taking on this project with me, and for having faith in the final product from the very beginning. Under your supervision, I have grown as both an academic and an adult. I cannot envision my time at Wellesley without your guidance and friendship. To my second reader, Carol Dougherty: Thank you for your helpful insight and encouragement throughout the composition of this thesis. As a result of your mentorship over the years, I have learned to think boldly and challenge myself to proudly vocalize my thoughts. If I had not enrolled in your Beginning Greek course my first year, this thesis might have been very different. To my visiting honors reader, William Cain: Thank you for agreeing to embark on yet another research project with me. Although you were on leave during the beginnings of this thesis process, you still checked in on my progress and offered encouragement from afar -- and for that I am grateful. To the faculty and staff of the Department of Classical Studies: Thank you for taking me under your wing and helping me identify my passion for the Classics. I like to think I’ve incorporated pieces from each of your courses into this thesis. Also, thank you for allowing me access to the staff coffee supply, which made my morning shift in the office much easier after a long night at my thesis carrel. To my Beta Readers, Olivia Fennell and Danielle Leibu: To Olivia: Thank you for showing interest in this project from its preliminary stages. As one of my peer readers, you offered constant encouragement and intelligent insight that strengthened the final product. Although I wish we could have discussed Alcibiades at the Wellesley Starbucks, our Zoom calls and homemade coffee did the trick. To Danielle: The Arya to my Sansa, my Baked Ziti, my “Sun and Stars,” I cannot find enough ways to express how grateful I was to have you beside me from Day 1 on this project. You were my cheerleader. You both challenged and motivated me to make this product the best it could be. Thank you for listening to my crazy theories (Quentin Tarantino is totally a modern day Euripides, right??), and sending me all of the Game of Thrones GIFs. We will celebrate soon at a fancy pub across the pond. To the Jerome A. Schiff Fellowship Committee: Thank you for the generous funding of my thesis research during Winter Session 2020. 3 To CLCV 202: Thank you for giving me the opportunity to share my preliminary thesis research with you. On a deeper note, thank you for helping me realize that I wanted to pursue teaching at the collegiate level. I think I always had a sense, but that November morning with your class made things crystal clear. To the East Side BEASTSIDE Residential Staff: I love you all. Thank you for listening to my constant rambles about my thesis and thinking this project was cool. A special shout out to my Res- Wife and fellow thesis comrade, Paige Calvert, and my fearless community director, Stacie Allen. To the members of Bates Res-Staff (Katharine Conklin, Ashley Bisram, Chloe Larkin, and Sarah Gladstone): Thank you for being the best team imaginable. Your support, especially during the final stages of this project, meant volumes to me. To the residents of Bates Hall: Thank you for making my tenure as your House President a genuine pleasure. Thank you for giving me such a wonderful space of positivity and encouragement to compose the first half of my thesis. I would walk 500 miles for all of you. To the Guild of Carillonneurs: Thank you for offering me an outlet to release the stress this thesis often incited, and for reigniting my love for musical performance. Many thanks to the students of Wellesley who did not tire of hearing the Game of Thrones theme every time I had a significant thesis breakthrough. A special shoutout to Margaret Angelini, who always reminded me to play, and write, boldly. To the Wellesley friends who entered my life this year (Sophia DeCubellis, Katharine Gavitt, Sydney Meve, Cassie Potter, the 1st Floor Bates Crew, among many others!). To Abby Webster: You have shown an enthusiasm for this project parallel to my own since I drafted my thesis proposal. Thank you for your friendship this past year. I cannot imagine writing this thesis without your infectious energy and support. To Maggie Roberts: Thank you for having faith in me and this thesis even when I doubted it. To Christine Arumainayagam, Sarah Gladstone and Louisa Oppenheim: You were my “Day Ones” at Wellesley. I value our friendship immensely -- it is one for life. Many thanks to Louisa for reminding us to “make it work” with all the gravitas of Tim Gunn. To Spotify and your amazing student premium discount: Music often inspires and informs my writing. Consult the companion playlist for this thesis here to listen to the music that helped me better understand the chaos of Alcibiades and the voice of Helen. And finally, to my parents, Ralph and Donna Gonzalez: You have filled my life with books, music, and joy. You laid the foundations for my academic success, and love of it, and I will be eternally grateful. Although I never expected to finish my thesis at home, you provided the hugs, laughter, and coffee that helped me cross the finish line. This thesis is dedicated to my father, Ralph Gonzalez, who catalyzed my passion for the Classics. Perhaps, it was fate or pure coincidence that you were reading Thucydides during the months leading up to my birth. Either way, I couldn’t be prouder to list that edition of The History of the Peloponnesian War in my bibliography -- the one you have kept safe for 22 years. 4 Introduction: Eros Unleashed Her face launched a thousand ships. His voice drove an armada across the sea. From the eroticized language used to describe these figures to their inherent tendency to break the standards set by literary genre, the similarities between Helen and Alcibiades are undeniable. The intrinsic beauty of both Helen and Alcibiades provides the most compelling association between the two figures. However, this beauty extends well beyond their physical appearances. Akin to the sirens who drew men to their deaths, the voices of both figures have a seductive quality of their own. While Helen’s voice can capture the essence of every single Greek soldier’s wife in Book 4 of the Odyssey, Alcibiades’ masterful art of persuasion urges the Athenian polis towards an expansionist foreign policy. Beyond these qualities, both Alcibiades and Helen have ever-shifting political loyalties. Like chameleons, Helen and Alcibiades could adapt to whatever setting they found themselves in — whether it be within the Trojan court or deep within the council of Sparta. The fact that many believe Helen is a mythological character while Alcibiades is a historical figure should not deter this association in the slightest. Much like the rich mythological background of Helen, Alcibiades arose within the Athenian polis as a quasi-mythological figure in his own right. Alcibiades luxuriated in his extravagant lifestyle. There were numerous public displays of his fortune, such as his chariot race victories and his sponsorship of theatrical productions (Thuc. 6.16.3). These displays led to the cultivation of a surreal reputation among his peers. Plutarch recounts many of the myths formulated around the politician in his Life of Alcibiades. In addition to Alcibiades’ swagger, other stories show his conspicuous consumption. Such stories include Alcibiades’ purchase of a dog worth 70 minas on account of its gorgeous tail 5 (Vit. Alc. 8.1) and his flamboyant adornments: flowing purple robes and a golden shield with the insignia of Eros (Vit. Alc. 16.2). Parallels such as these were already on the minds of ancient writers. Plutarch draws the most conspicuous parallel between Helen and Alcibiades when the historian recounts Alcibiades’ momentous arrival in Sparta. In spite of his Athenian heritage, Alcibiades adopts the dress and mannerisms customary in Spartan society. On account of his seamless adaptation and his ever striking appearance and eloquence, the Spartans grant him the epithet: ‘ἔστιν ἡ πάλαι γυνή’ (“The same woman still,” Vit. Alc. 23.6). Plutarch derives this phrase from Euripides’ Orestes, in which Electra elicits the same response to Helen after she has cut her hair (Or. 129). While not as obvious as Plutarch’s parallel, other authors made more subtle comparisons between Helen and Alcibiades. In Aristophanes’ The Frogs, the play’s characters attempt to resolve the problem Alcibiades poses to Athens.
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