II. Classical-Medieval 107 6 Vulcan Cuckolded by Mars: Archetypal Adultery and Its Subsequent Undercurrents In Book Eight of the Odyssey we experience a meta-recitation, in which appears the Homer-like blind minstrel (aoidos), Demodokos. The themes of his song are “war and love,” and among the audience we find Odysseus, currently an anonymous guest at the palace of King Alkinoos. The war sung of in this situation of meta-recitation is the Trojan war, still fresh in their memory and inducing tears from Odysseus, among others. It is veritably a miniature epic; the Iliad writ small. Love, the other theme Demodokos sings of, on the other hand, has nothing remotely to do with the whole epic milieu. It is a love affair of an illicit kind, an adul- tery of gods: Mars and Venus, discovered while they are between the sheets together by Vulcan, Venus’s cuckolded husband. Listening to the story, Odysseus, we are told, “found sweet pleasure in the tale.” 1 How and why he finds it sweet is a question we had better leave open for now, but there is no question about its being a sweet piece of work. The whole passage (266–366), as in the case of “the Shield of Achilles” (Book Eigh- teen of the Iliad) has a formal unity, and is even detachable as a work in its own right. 2 And indeed in the subsequent history of Western litera- ture this episode of divine adultery, Ur-soap opera, if you like, has been transmitted and interpreted as if it were an autonomous piece of work; there are innumerable modifications and each of them assumes its auton- omy. 3 As we shall see, Cicero, Virgil, and Ovid all deal with it in their 1. All quotations from Homer (both the Iliad and the Odyssey,), are from R. Fitzgerald’s trans- lation. 2. Homer scholarship long assumed that the whole piece was a later interpolation (cf. Del- court 9, 76–84). For an important refutation of this view, see Burkert. 108 II. Classical-Medieval 6. Vulcan Cuckolded by Mars 109 own several ways, thus paving the way for various pathways of transmis- of wife, and adulterer,. and that of Venus, is similarly dispersed in moth- sion in the Middle Ages and the Renaissance in various forms, ranging er and daughter. Distortion is evident and (pace Serres) one can hardly from adaptation, commentary and moralization to mythological com- reconstruct with any precision an affair of Vulcan in its narrative details. pilation. Transmission, of course, is, always at the mercy of historical And yet, it must be emphasised that one can never deny the relevance contingency, and in the case of our tale historical as well as cultural con- in its essentials of Serres’ reading, which, eloquently reveals the traces of tingency has apparently been exceptionally favorable, with the result that the “registered structure” as it is worked out in a novel written as late as in due course—no one knows specifically when—something approach- the nineteenth century. Obviously, such subtle and complicated modi- ing an invariable structure or type has presumably emerged and at the fication is characteristic of modern times, when mythology and same time registered itself in the liminality of sub-consciousness. As an mythopoesis have inevitably gone underground. But such modification is established archetype structure it is to survive the Renaissance, the last not a monopoly of the post-Renaissance era, either; something similar, epoch of explicity mythological discourse, and can be shown to be as I will argue, was actually practised in the late Middle Ages in such detectable even in some modern writing; e.g., Zola’s L’A ssommoir and, forms as allegorical mythopoesis. D. H. Lawrence’s Lady Chatterley’s Lover. 4 On the former instance here is Odysseus, listening to Demodokos’s song of divine adultery, as men- Michel Serres at his typical best: tioned above, “found sweet pleasure” in it. “Sweet pleasure (hesis)” may be a felicitous expression indeed, to describe a soap-operatic episode, whose the character Gervaise in L’A ssommoir limps: Here is the figure of the light and easy vein marks a sharp contrast to the serious and engrossing hereditary flaw (tare), the word tare meaning, in the first place, an imbal- epic Demodokos recites on the same occasion. But at the same time, the ance. But, in addition, her husband, a roofer, falls from a roof and unconcerned easiness of “sweet pleasure” is also a measure of the moral begins to limp just as she does. Gervaise has fallen to the lower classes, and narrative ambiguity inherent in the story. The very fact of adultery is to the Goutte d’Or slum. She is friendly with a blacksmith, Gueule succinctly presented at the outset; “how hidden in Hephaistos’ house d’Or; she is the mother of Nana Mouche d’Or, whose career begins they played at love together, and the gifts of Ares dishonoring Hephais- when she plays the part of a blond Venus in a Parisian theatre. Thus, tos’ bed.” It is perhaps one of those rare universal truths that for the act by following the trace of the golden legend, one can reconstitute the of adultery, be it divine or human, the place of assignation does matter affair of Vulcan, whose lair is precisely reconstituted on stage. Gervaise more than anything else, and it was in the marriage bed of Venus that it limps because of her flaw (tare); she is lame because of her fall… And took place. This clandestine pleasure, however, was destined to be dis- it is mythology that reveals why the lame woman becomes a laundress covered sooner or later as the all-seeing Sun (Helios), we are told, bore through an original fault, flaw or fall, filth or crack, that must be washed witness to the deed. The complicity of Mars and Venus in the act of away or sewn together, that she fails to whiten or mend. (Serres 41) adultery is emphasised: Mars was expectantly on the lookout for Vulcan’s leaving home, and upon his leaving, Venus in her turn lost no time in Here the figure and function of Vulcan is disseminated among the roles inviting Mars to come to her (“Come, and lie down, my darling, and be happy”). But, eventually, as it turned out, they were caught in Vulcan’s 3. Perhaps one of the earliest instances of this transmission is Plato’s Republic (390), where net and shamefully exposed to the curious eyes of the other Olympian ironically the myth is used to exemplify material which is unsuitable for the moral education gods. Now, had the tale been concluded at this juncture it would have of the young. For the medieval transmission of the myth in general, see Wood (108–41). been one of those moral fables which purport to show that adultery will Seznec, a classic in this genre, is surprisingly taciturn in this respect, referring to it but once inevitably be punished with disgrace. It would have been morally sim- (172). 4. See Hintz & Teunisse, “War, Love, and Industrialism: the Ares/Aphrodite/Hephaistus ple and straightforward to end with the humiliating capture of the Complex in Lady Chatterley’s Lover.” adulterous pair in the net of retributive vengeance. Hephasistos, too, 110 II. Classical-Medieval 6. Vulcan Cuckolded by Mars 111 would then have been in a position to enjoy full sympathy from the These forces, desires, or (to use a pertinent recent formula) “flows” of the Olympian audience when he appealed, “Aphrodite, Zeus’s daughter, libido, 6 could express themselves only in transgression under the equiv- caught in the act, cheating me, her crippled husband, with Ares—dev- ocal repressive norm, be it psychological, moral, or social. The point, at astating Ares. Clean-limbed beauty is her joy, not these bandy legs I came any event, must be made that the Olympian sense of truth did not into the world with.” The structure of the narrative, however, does not repress the reality of divine adultery but supplied it with a suitable form. allow of such moral straightforwardness and simple retributive, poetic In the narrative in question we can see the existence of justice in the fig- justice. It turned out that an irrepressible laughter arose among the ure of the Sun, from whom nothing could be concealed, even what had Olympian gods gazing at the entrammelled and surprised lovers—laugh- been done and was going on in the hidden quarters of Lemnos, which ter which can be interpreted as a scourge of justice. Along with the probably includes the rightful marriage of Vulcan and Venus. And yet laughter an insidious view, equally irrepressible, gave itself away in a con- (or perhaps accordingly), there must needs lurk “flows of the libido.” versation between Apollo and Hermes. To the former’s question as to While there is a sense in which Vulcan’s wrath and crafty vengeance are whether he would accept a coverlet of chain if he could lie by Aphrodite’s justified, there remains equally, a sense in which the seductive beauty of side, Hermes replied thus: “Wrap me in chains three times the weight of Venus is so irresistible and spontaneous that what it entails, libidinal these, come goddesses and gods to see the fun: only let me lie beside the flows/flaws and subsequent transgressions, can be considered somehow pale-golden one!” This provoked further hilarious laughter among the natural or as much given as the flaw of crippled Vulcan. gods—laughter which can be understood, this time, to act as a virtual We are still far from being able to decide what kind of “sweet plea- nullification of retributive justice.