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From Sacrilege to Violence

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From Sacrilege to Violence From Sacrilege to Violence The Rape of Cassandra on Attic Vases c. 575-400 BCE by Janke du Preez Thesis presented in fulfilment of the requirements for the degree of Master of Arts in the Faculty of Arts and Social Sciences at Stellenbosch University Supervisor: Dr Samantha Masters March 2020 Stellenbosch University https://scholar.sun.ac.za Declaration By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. March 2020 Copyright © 2020 Stellenbosch University All rights reserved ii Stellenbosch University https://scholar.sun.ac.za Abstract The Sack of Troy or Ilioupersis, is a lost epic of ancient Greek literature which tells of the violent and ruthless Greeks that pillaged the city of Troy. It was a prevalent theme in ancient Attic art, and in the fifth century BCE evolved onto the platform of Athenian drama. The Rape of Cassandra episode is one of the most recurring scenes in Attic vase-painting. The iconography, however, dramatically changes between 575-400 BCE. Both Archaic black-figure and Classical red-figure examples show Cassandra, in a vulnerable position, being attacked by Ajax. However, there are significant differences between the iconography of scenes from these two periods. In Archaic black-figure vase-painting the figure of Cassandra appears small, insignificant and in some instances completely hidden from view as she is obscured by the huge shield of Athena. In contrast, in Classical red-figure scenes the figure of Cassandra becomes more conspicuous and commands more attention from the viewer. In red-figure versions the figure of Cassandra also appears far more sensual in comparison to the black-figure examples, as her undressed, or even naked body is explicitly exposed, suggesting not only an attack, but, more specifically, a rape. Athena, on the other hand, is now portrayed smaller in relation to her black-figure counterpart, and in the form of a cult statue, rather than the goddess herself. These differing portrayals of Cassandra and the goddess in Attic black-figure and red-figure vase-painting suggest a change in emphasis in the subtext of this scene-type. While the narrative details that emerge are similar, the iconographic details – including gesture, clothing (or the lack thereof), weaponry, relative positions and sizes of the figures – suggest the change in emphasis from the attack as sacrilege to one that includes sacrilege but foregrounds rape and violence. Therefore, in this regard, although violence and sacrilege are two fundamental themes in both periods, the changing iconography suggests a noticeable shift in focus. Using the iconographic approach, 46 black-figured vases and 26 red-figured vases representing the Rape of Cassandra scenes from the Beazley Archive and LIMC encyclopedic collection are catalogued, studied and contextualized during the course of this thesis. Studying the iconography of these vase images in their appropriate contexts illustrates the changing perceptions of the suffering and violated woman in a violent and patriarchal society. iii Stellenbosch University https://scholar.sun.ac.za Opsomming Die Verwoesting van Troje of Ilioupersis, is 'n verlore epos in die antieke Griekse literatuur wat die narratief van geweldadige en genadelose Grieke wat die stad Troje geplunder het, lewer. Dit was 'n algemene tema in antieke Attiese kuns, en het in die vyfde eeu v.C. op die platform van Atheense drama ontwikkel. Die episode van die verkragting van Kassandra is een van die mees herhalende tonele in die Attiese vaas. Die ikonografie verander egter dramaties tussen 575-400 v.C. Beide Argaïese swart-figuur- en Klassieke voorbeelde van rooi-figuur wys waar Kassandra in ‘n weerlose toestand deur Ajax aangeval word, maar daar is beduidende verskille tussen die ikonografie van tonele uit hierdie twee periodes. In die Argaïese vaas met swart-figure is die figuur van Kassandra klein, onbeduidend en soms heeltemal vir die oog verborge terwyl sy verberg word deur die groot skild van Athena. In Klassieke tonele met 'n rooi-figuur vertoon die figuur van Kassandra egter meer opvallend en eis dus meer aandag van die kyker. In voorbeelde met die rooi-figure lyk die figuur van Kassandra ook veel meer sensueel in vergelyking met diè van die swart-figuur. Haar ontklede, of selfs naakte liggaam word eksplisiet ontbloot en dus suggereer dit nie net ‘n aanval nie, maar meer spesifiek verkragting. Verder word Athena kleiner uitgebeeld in verhouding tot haar eweknie in die swart- figuur, en in die vorm van 'n kultusbeeld, eerder as die godin self. Hierdie uiteenlopende voorstellings van Kassandra en die godin in die Attiese swartfiguur- en rooifiguur vaas dui op 'n verandering van die klem in die subteks van hierdie toneeltipe. Die narratiefbesonderhede wat na vore kom, is dieselfde. Die ikonografiese besonderhede - insluitend gebare, kleredrag (of die gebrek daaraan), wapens, relatiewe posisies en groottes van die figure - dui op ‘n onderliggende klemverandering van die aanval as ontheiliging na ‘n tentoonstelling wat verkragting en geweld insluit. Alhoewel geweld en heiligskennis beide twee fundamentele temas in hierdie periodes is, toon die veranderende ikonografie 'n merkbare verskuiwing in fokus. Deur die loop van hierdie tesis is 46 swart -figuurvase en 26 rooi-figuurvase uit die Beazley-Argief en die LIMC-ensiklopediese versameling, wat die verkragting van Kassandra-tonele, verteenwoordig, gekatalogiseer, bestudeer en gekontekstualiseer. Die bestudering van die ikonografie van hierdie vaasbeelde in hul toepaslike kontekste, illustreer veranderende persepsies van die lydende en geskonde vrou in 'n gewelddadige en patriargale samelewing. iv Stellenbosch University https://scholar.sun.ac.za Acknowledgements First of all, I would like to express my sincere gratitude to my supervisor Dr Samantha Masters for her guidance, expertise and patience throughout the process of writing this thesis. Without your assistance and support this thesis would not have been possible. It was an absolute privilege to work under someone with so much passion for the ancient world. I would also like to thank the Ancient Studies Department for always providing an enthusiastic and supportive environment, it has been a real honour to be part of such an amazing department. This journey would not have been possible without the support of my family and friends. To my friends, far and wide, thank you for always being a major source of support when things would get a bit discouraging: Sima, Michelle, Willem, Lisa, Wilma and Karel. Thanks for always being there for me and cheering me on. I am incredibly grateful to my parents, Gert and Janita du Preez, who supported me both emotionally and financially. Thank you for your unconditional trust and endless patience. To my mom, you are one of the strongest people I know and an amazing teacher. You have taught me the value of hard work and most importantly the ability to take on any endeavour with both courage and compassion. To my dad, thank you for always encouraging me and never losing hope. Your gentle soul and your understanding heart have tempered many a tempest. Dad’s concern for the great challenges and insignificant trifles regarding my well-being is always very comforting. To my big brother and best friend, Gerhardus du Preez, thank you for your unconditional support during this process and for always sharing your words of wisdom and encouragement with me. It has given me extra strength and motivation to get things done. Thank you for taking the time to proofread my thesis, even if it was into the early hours of your birthday. Mom, Dad and Boet, this is for you. v Stellenbosch University https://scholar.sun.ac.za Table of Contents Declaration.......................................................................................................................................ii Abstract...........................................................................................................................................iii Opsomming.....................................................................................................................................iv Acknowledgements..........................................................................................................................v List of Figures...............................................................................................................................viii List of Tables...................................................................................................................................xi Chapter 1 Introduction………………………………………………………………………..…1 1.1 Background/Rationale................................................................................................................1 1.1.2 Literature Review Cassandra on Attic Vases.....................................................................................................3 Rape, Violence and Sacrilege in Athenian Society.............................................................6 The Context of War............................................................................................................10 Iliouperis in Fifth-Century Tragedy...................................................................................11
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