THE RAPE OF EUROPA IN ANCIENT LITERATURE By BRIDGET T. REEVES B.A. (pSYCHOLOGy), B.A. (ARCHAEOLOGy), . MA. (ARCHAEOLOGy), M.A. (pHILOLOGy) A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Doctor of Philosophy McMaster University © Copyright by Bridget T. Reeves, October 2003 THE RAPE OF EUROPA IN ANCIENT LITERATURE DOCTOR OF PHILOSOPHY (2003) McMaster University (Classics) Hamilton, Ontario TITLE: The Rape of Europa in Ancient Literature AUTHOR: Bridget T: Reeves, B.A., B.A., M.A., M.A. (McMaster University) SUPERVISOR: Professor P. Murgatroyd NUMBER OF PAGES: viii, 319 ii ABSTRACT This thesis considers how ancient authors narrate the story of Europa's rape in such a way as to "place their own mark" on the myth. In chapter one, I explore aspects of the Europa myth that often do not appear in the larger extant works such as Europa's function in religion, the archaeological representations ofher rape, and the rationalisation ofthe myth etc. Chapter two provides the audience with the basic outline of the story so that it will be equipped to appreciate the changes each writer makes to the story. As well, the development of the Europa myth over time is considered here. Outlined in chapter three is the approach (i.e. the use of traditional and new tools ofliterary criticism) I take to investigate the works offered by the ancient writers, beginning first with Moschus' account. An appreciation ofthe techniques Moschus incorporates is presented in chapter three while in chapter four the poet's elaboration ofthe ekphrasis and the inclusion of an embedded narrative are examined. The next three chapters (5, 6 and 7) look at Horace's and Ovid's (two) treatments of the rape of Europa, and chapter eight focusses on the versions of later Greek writers, Achilles Tatius, Lucian and Nonnos. Finally, in chapter nine conclusions are made about the various rape narratives of Europa, especially about trends in the myth's treatments, links and contrasts between versions, and the variety which each wtiter adds with regard to form, description, tone and characterisation. This investigation sheds new light on how ancient authors, when faced with a long tradition of myth telling, go about creating a fresh and entertaining story. 111 ACKNOWLEDGMENTS There are several people I wish to thank who have helped me throughout the writing of this dissertation. First of all, many thanks go to my supervisor, Paul Murgatroyd, who took me under his wing and taught me much more than how to write a thesis. I consider you a teacher, friend, and a mentor, a person whom I will always respect. I extend my thanks to my committee members, Pete Kingston, a man who questioned my approach every step of the way and made me think in ways that I would never have considered, and Howard Jones, who often shared with me his appreciation of the artistic representations of Europa throughout antiquity. I do not think that my family and friends understand how much I appreciated their support during this long ordeal; they inspired me with endless questions like "when is your thesis going to be finished?". Finally, I would like to thank my husband, Brian, my selfless and greatest supporter. IV Table of Contents ABBREVIATIONS VU-Vlll CHAPTER ONE: INTRODUCTION TO EUROPA 1 (Europa Defined, Genealogy, Etymology of the Name Europa, Archaeology and Art, Festivals, cults and worship of Europa as a goddess, Rationalisation of the Myth as History, Europe the Continent) CHAPTER TWO: THE MYTH OF EUROPA: AN OVERVIEW FROM 26 THE 8TH CENTURY B.C.E. - 5TH CENTURY A.C.E. (Outline of the Myth, Survey of Ancient Literary References to Europa, 8th century B.C.E. '- end of the 6th century B.C.E., The Classical Period at Athens, The Hellenistic Period in Greece, Republican Period, The Age of Augustus, The Imperial Period after Augustus, Later Greek and Latin Literature) CHAPTER THREE: MOSCHUS' EUROPA 45 (Skimming and Omissions of Functions, Significant Expansion, Patterning of Functions, Fleshing out of Functions, Manipulation of Dramatis Personae, Opening, Closure, The Debate, Effectiveness of the Ending, Stealth, Deception, Humour and Gullibility in Moschus' Characters: Cypris, Zeus, Europa) CHAPTER FOUR 98 (Ekphrasis, The Basket of Europa, Structure, Style, Vividness, Ending, Possible Point of the Ekphrasis, Narrative Embedding, Placement, Chronology, Narrative Technique, Impact, Tone, Links and Contrasts between the Inner and Outer Narratives, Mise en Abyme, Foreshadowing) CHAPTER FIVE: HORACE'S ODES 3.27 129 (Who is Galatea?, Point of the Propemptikon, Is the Propemptikon Serious or Not?, Functions: Expansion with a Purpose, Skimming and Omissions of Functions, Significant Expansions, Fleshing out of Functions, ManipUlation of Dramatis Personae: Emphasis on Europa, Opening, Characterisation: Pity, Callousness and a touch of Humour, Europa, The Bull, Closure, Concluding Remarks) v CHAPTER SIX: OVID'S METAMORPHOSES 2.833-3.9 157 (New Aspects, Opening, Passage in Context, Mercury and Herse, 2.708-832, Cadmus and the Founding of Thebes, 3.9-137, Functions: Focussing on Humour, Skimming and Omissions of Functions, Expansion of Functions, Manipulation of Dramatis Personae, Characterisation: Jupiter as an Instrument of Humour; Europa as a Silent Figure, Literary Allusions to Moschus and Horace, Literary Allusions to Other Poetry in General, Closure: Ovid's Endless Trickery, Conclusion) CHAPTER SEVEN: OVID'SFASTI5.603-20 200 (The Taurus Constellation, New Aspects and their Influence on Aetiology, Functions, Skimming and Omissions of Functions, Expansion of Functions, Openings, Closure, Manipulation of Dramatis Personae, Characterisation: Prominence and Purpose, Europa, Jupiter, Three Versions of the Rape of Europa according to Ovid, Similarities, Contrasts, Concluding Remarks) CHAPTER EIGHT: LATER LITERATURE 232 (Achilles Tatius: Leukippe and Kleitophon, Integration, Structure, Style and Sound, Vividness, Achilles Tatius' Myth of Europa and its Effect on Mood, The Point of the Ekphrasis, Concluding Remarks; Lucian: Dialogi Marini 15, Reinventing the Myth of Europa, The Dialogue; Nonnos' . Dionysiaca, Nonnos and Earlier Authors' Treatments of the Europa Myth, Additional Problems, Fullness ofNonnos' Version - Functions Revisited, Structure, Humour, Concluding R~arks) CONCLUSION 294 (Functions, Other Literary Aspects, the Role of Protagonists, Speeches, Descriptions, Tone, Form, A Feminist Slant) BmLIOG~HY 308 VI Abbreviations Barber Barber, E.A., Carmina Sexti Properti (Oxford 1960). Bond Bond, G.W. (ed.), Euripides: Hypsipyle (London 1963). Breysig Breysig, A. (ed.), Germanici Caesaris Aratea cum scholiis (Hildesheim 1831- .1902). Rude Vian, F., Nonnos de Panopolis: Les Dionysiaques vol. 1 (paris 1976). CAF Kock, T., Comicorum Atticorum Fragmenta (1880-6). EM Gaisford, T., Etymologicum Magnum (Amsterdam 1962). Foerster Foerster, R, Libanius: Opera (Hildesheim 1843-1922). FHG Muller, C., Fragmenta Historicorum Graecorum (1841-70). LIMC Lexicon Icongraphicum Mythologiae Classicae (1981-). LSJ9 Liddell, H.G. and Scott, R (eds.), Greek-English Lexicon 9th edition (Oxford 1996). Miller Miller, E., Melanges de litterature grecque contenant un grand nombre de textes in edits (Amsterdam 1965) OCD Hornblower, S. and Spawforth, A. (eds.) The Oxford Classical Dictionary 3rd edition. (Oxford 1996). OCT The Oxford Classical Text (Oxford). OLD Glare, P.G.W. (ed.), Oxford Latin Dictionary (Oxford 1982). Pfeiffer Pfeiffer, R (ed.) Callimachus 2 vols. (Oxford 1949-53). PMG Page, D.L., Poetae Melici Graeci (Oxford 1962). VII P.Oxy Egypt Exploration Society and British Academy (eds.), Oxyrhynchus Papyri (London 1898-). RE Paulys Real-Encyclopiidie der classischenAltertumswissenschaft (Stuggart). Spengel Spengel, L., Rhetores Graeci (Frankfurt 1803-1880). Teubner Bibliotheca Scriptorum Graecorum et Romanorum Teubneriana (1849-). TGF (Nauck) A., Nauck, Tragicorum Graecorum Fragmenta 2nd edition (1889). TrGF (Radt) Radt, S., Snell, B., and Kannicht, R, (eds.), Tragicorum Graecorum Fragmenta 4 vols. (1971-85). TLL Thesaurus Linguae Latinae (Lipsiae 1900-). Vilborg Vilborg, E. (ed.), Achilles Tatius: Leukippe and Kleitophon (Stockholm 1955). West West, M.L., Hesiodi Theogonia; Opera et dies; Scutum (Oxford 1983). YIll Chapter 1 Introduction to Europa This chapter is a survey of different aspects of Europa which cannot be examined exhaustively in this thesis as the primary aim ofmy work is to consider the literary treatment of the myth by ancient authors. A review of elements such as the genealogy of the heroine, the etymology of Europa's name, the rationalisation of the story, and the naming of the continent after the heroine should provide a useful background for the literary study. Europa Defined There were several Europas in antiquity. In his lexicon, Roscher maintains that the name Europa was applied to ten different individuals. These are 1) Demeter at Lebadeia, who has the name as an epithet, 2) the daughter of Tityos and mother of Euphemos by Poseidon, 3) the daughter of Oceanos and Thetys or of Oceanos and Parthenope, 4) an Oceanid after whom a part of the Earth was named, 5) a Thracian woman after whom the northern part of the Earth was named, 6) the wife of Phoroneus and mother of Niobe, on whom Zeus fathered Argos and Pelasgos, 7) the daughter of Neilos, wife of Danaos, 8) Atreus' wife whom Thyestes seduced, 9) the bacchante from a relief in the Villa Albani, and 10) the daughter ofPhoenix or Agenor. 1 Escher notes most ofthe same Europas as Roscher, except that he omits Roscher's #9 and he places Roscher's #5 in a distinct section devoted 1 ROSCHER, 1409-10. Each entry, with the exception of#9, is supported by ancient sources. In my opinion, the bacchante from a relief in the Villa Albani was identified incorrectly. 1 solely to the naming of the land Europe.2 Escher distinguishes the daughter of Oceanos and Thethys from the daughter of Oceanos and Parthenope, unlike Roscher, who thinks this Europa was one individual. When he refers to the Europas who are the wives of Argive heroes (the wives of Atreus, Danaos, and Phoroneus), Escher adds two other Europas to this list, the wife of Aigyptos and the wife ofPelops.