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Challenges to the Power of Zeus in Early Greek Poetry

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Challenges to the Power of Zeus in Early Greek Poetry Noriko Yasumura Thesis submitted for the degree of Doctor of Philosophy University College London London University 2003 ProQuest Number: U643385 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest U643385 Published by ProQuest LLC(2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Abstract Challenges to the Power of Zeus in Early Greek Poetry In the earliest extant works of Greek literature, Zeus reigns supreme in the Olympian hierarchy. However, throughout the early Greek portrayals of him, there are allusions — scattered and scanty as they may be — to threats of rebellion which challenge Zeus' supremacy. This thesis examines these passages, dravm from Homer, Hesiod and the Homeric Hymns, to offer new interpretations of these texts. While focusing on the theme of cosmic/divine strife, I also reveal hidden logic and lost legends underlying these texts: discoveries of significance to the improved understanding of early Greek poetry. Chapter one, focusing on Thetis' supplication, examines the crisis of Zeus in Iliad 1. I analyse the (mythological) theme of the son who is mightier than his father, interpreting Achilles and Peleus' relationship in terms of succession myth. Chapter two explores the Golden Chain of Hera in Iliad 15. Retracing a lost Gigantomachia epic, I view the incident from the perspective of cosmic strife, discussing Hera's rebellion and the role of Heracles in this rebellion. Drawing on the re-evaluation of the Gigantomachia, Chapter three investigates the war between the gods in the Iliad, concentrating on antagonism between Zeus and Poseidon, which reaches its end with Zeus' reordering of the universe. Chapter four reinterprets the Hesiodic account of Athena's birth, offering solutions as to how and why Zeus achieves his final conquest in the succession story. Chapter five considers the Typhon-story in the Homeric Hymn to Apollo. Examining this hymn from the broad perspective of the struggle for cosmic power, I re-integrate this story into the hymn. Chapter six focuses on the love of Aphrodite and Anchises in the Hymn to Aphrodite. I explore the dual themes of mortality and the bitter sorrow of Aphrodite - defeated by Zeus and diminished in power. Table of Contents Acknowledgements 6 Introduction 7 Chapter I The Threat of Thetis 24 1. The supplication of Thetis 25 2. Generational Strife. 35 3. Peleus and Achilles 46 Chapter II The Golden Chain of Hera 66 1. The 86crp.6s* of the gods in the Iliad . 67 2. The golden chain of Hera . 77 3. Heracles: the motive for the golden chain 85 Chapter III The Reordering of the Universe 101 1. The 'tug of war' between Zeus and Poseidon . 102 2. The wrath of Zeus and Poseidon 112 3. The Reordering of the universe 124 Chapter IV The Birth of Athena 133 1. Near Eastern succession myth and Hesiod's Theogony 133 2. The Hesiodic accounts: the route to Zeus' victory 140 3. The birth of Athena 150 Chapter V Typhon, the son of Hera 171 1. The dragon ..... 172 2. The Arrangement of the motifs of the dragon and Typhon 174 3. Typhon ..... 176 4. Hera .... 181 5. Telphousa .... 193 Chapter VI The Bitter Sorrow of Aphrodite . 198 1. Human limitation and irony .... 200 2. The sorrow of Aphrodite ..... 220 Conclusion . ...... 246 Abbreviations . ...... 250 Bibliography . ...... 252 Acknowledgements I could not have completed this thesis without generous support from a large number of people, who generously spared me their time and offered me invaluable insights and advice. I am especially grateful to Professor Richard Janko, my supervisor, who kept me on the right track. He always had time to read and comment on my work; his support and encouragement were generous and for this I will always be grateful. I am indebted beyond measure to Professor Pat Easterling. From the time I first met her in Cambridge in 1994, her exceptional intellectual guidance has been as unfailing as the spirit of her moral support. It has been my privilege to know her and enjoy all the benefits of her generous nature. I would like to acknowledge the financial support provided by Kanazawa University in Japan, which enabled me to complete this work. I also express my deep gratitude to my colleagues at Kanazawa University, who generously took on all of my duties while I was on sabbatical in 2001-2002. Special thanks are due to my many friends, in particular to Dr Natalie Tchemetska who have always sustained me on this long journey. Above all, I would like to thank Dr Victoria Jennings and Dr Andrea Katsaros, who read my manuscripts carefully, tirelessly corrected my English, and offering much valuable advice. Their patience and support were indispensable for the completion of this thesis. Finally, I would like to thank my family for their unlimited empathy, understanding and patience. Introduction In this dissertation I offer an innovative interpretation of a number of early Greek epic texts in which I have found common compositional connections through the theme of the accomplishment and maintenance of Zeus' Olympian supremacy in the face of the challenges and challengers for cosmic domination. This study examines the traces - the legacy of predecessors in the poetic tradition - contained in early Greek poetry. In the earliest extant works of Greek literature, Zeus reigns supreme in the Olympian hierarchy. By the eighth century, the concept of the Olympian 'family' had crystallised: they are the principal mythical figures in epic, and Zeus' power over them is already secure. However, there are indications that before this time, Zeus faced and overcame challenges which threatened his rule over the universe. In the Iliad, Poseidon and Hera always appear in alliance against Zeus; and his son and daughters, Apollo, Aphrodite and Athena, are also problematic figures deserving of consideration for their roles in familial internecine conflicts. There is no indication of Zeus' supremacy in the Mycenaean documents. The religious tablets from Pylos contain a great number of what appear to be the names of gods,^ among whom Poseidon is clearly the most significant. For example, in Pylos tablet ’ It is surprising that there are so many deities on the Pylos tablets who are unknown in the classical period; for example,manasa, dopota, and dirimijo (Tn 316). This seems to indicate that Mycenaean society, at least in Pylos, allowed variety in religious devotion, although Poseidon is undoubtedly the most important among the gods listed. Because of the scanty evidence, it is difficult to get much of the religious information at the Mycenaean sites other than Pylos. Chadwick (1976) 15 points out that 'the homogeneity of Mycenaean culture is so marked, that it would be strange if other parts of Greece behaved very differently. ' If this holds true, we might be able to think that it was a general phenomena that a variety of gods were worshipped in the Mycenaean cites. Tn 316,^ thirteen divine names are present, including Zeus, Hera, Poseidon, Hermes, and Potnia (the other eight names remain uncertain). A golden vessel is dedicated to each of these figures, and some of them are also offered a human dedication.^ Poseidon's prestigious position in Pylos is attested by the fact that the shrine of Poseidon is listed at the top of the tablet and offered, specifically and exceptionally, two women. He is also an important deity on the other Pylos tablets: in the Es group of tablets, he receives annual contributions of grain (with three other uncertain figures),"^ and his offerings are by far the largest; in Un 718 he is the recipient of a long list of offerings including oxen, sheep, goats, pigs, wheat, wine, honey, unguents, wool and cloth.^ From the perspective offered by these documents, Poseidon appears to be the strongest of all the gods in Pylos. This picture fits well with Odyssey 3. 43, which narrates how Telemachus and Athena (disguised as Mentor) join in celebrating the festival of Poseidon at Pylos. Compared with the importance of Poseidon, Zeus does not appear as particularly consequential in the tablet documents. Tablet Tn 316 records his ostensibly unexceptional nature: he is just an ordinary god, receiving the same quantity of offerings ^ Palmer (1963) 265-6 suggests that the operation recorded in this tablet might be human sacrifice at the New Year festival for the purpose of the removal of the previous year's guilt and defilement. Chadwick (1976) 89-90 submits that this document might have been written in the last days of the existence of the palace o f Pylos, since it is 'the most disgraceful piece of hastily compiled record of offerings.' One of the significant features of this tablet is that Zeus and Hera are mentioned together. ^ The content of tablet Tn 316 is as follows (see Ventris and Chadwick (1956) 286-9; Gallavotti ed., Inscriptiones Pyliae ad Mycenaeam Aetatem Pertinentes, 1961; Palmer (1963) 261-8): those who get one golden vessel and two women: the precinct of Poseidon; one golden vessel and a man: Zeus, Hermes; one golden vessel and a woman: potinija (Potnia), the Dove-goddess,manasa, posidaeja (the feminine form of Poseidon?),diuja (the feminine form of Zeus?), Hera; one golden vessel only:tiriseroe (Trishero?), dopota, ipemedeja (Iphimedeia, the mother of Otos and Epialtes by Poseidon in Od.
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