CHAPTER SEVEN VISUAL PERSONIFICATIONS IN LITERATURE AND ART: ARISTOPHANES ’ EIRENE AND HER ATTENDANTS There is a natural connection between Eirene Polemos (War) and eventually recovered by the (Peace) and Opora (Harvest, Autumn), two per- farmer Trygaios (Aristophanes, Eirene 520-526). sonifications found exclusively in the circle of Theoria, as another peacetime activity (thus Silk’s Dionysos on Attic vases also from the period of translation of Aristophanes’ Theoria as “Holiday” the Peloponnesian War (431-404). Eirene was [Silk, 2000: 240], following Olson ed., 1998 and earlier known as one of the Horai (Seasons), pre- Henderson, 1998: 495) is highly relevant in the sumably the autumn season in which everyone context of Eirene (as also on R 2 , fig. 7.1). was freed from military duties and devoted their Fifth century poets followed the genealogy by attentions to reaping the ripened crops (Simon, which Eirene , Eunomia , and Dike (Justice) were 1986: 700). Opora (ἡ ὀπώρα), which suggests the Horai , daughters of Themis (contra Hesio- the ripened fruit (as in epic, e.g. Homeros, Ilias dos and followers, discussed in chapters 1, 4 and 22.27, and Odysseia 11.192 and 24.343-344) as 6: 6, 46, and 72). An unattributed poetic frag- well as the time at which the fruit becomes ready ment (fr. 1018b.6-8 Page, PMG) connects the for harvest, must be the same general season three with the city, while in the Persai, as noted (LSJ9 s.v. ὀπώρα). In a Dionysiac vein, Stafford above, Timotheos of Miletos prays for Apollon to restricts opora to the grape harvest, which she send Eirene and Eunomia to relieve the populace places in late summer (2000: 187). Michael Silk (of Athens ?). Eirene ’s role as one of the Seasons likewise translates Opora as “Summer” (Silk, is virtually ignored in the visual arts of fifth 2000: 130 n. 74). Erosora, whose name means century Athens (Scheibler, 1984: 39-57; Simon, perhaps Autumn (Weiss, 1988) appears rather 1988) . Simon suggests, however, that if Themis on VP 25 . In deciding whether to translate is the seated woman surrounded by three danc- Opora as Summer or Autumn we are mediat- ing women on the East frieze of the Temple of ing between the three- and four-season view of Athena Nike (after 421), then the dancers might the calendar. Yet Opora is highly relevant to the be her daughters, the Horai —Dike , Eirene , and abstract, political meaning of eirene (ἡ εἰρήνη) as Eunomia (Simon, 1986: 703-704 s.v. Eirene no. 9; the crops could not come to fruition in times of Pemberton, 1972: 309 suggests rather that they war. This was one of the greatest problems for are the Muses ) . The fragmentary state of these the Athenians during the Peloponnesian War: figures compounded by the absence of compara- from its beginning (431/430), Spartan forces ble representations of this group in Athenian art, repeatedly ravaged the Athenian countryside however, makes this identification tenuous. Pau- and crops (Thoukydides 2.19, passim). Because sanias tells us of a group of statues dedicated in of the Spartan assaults, Opora was absent during the Heraion at Olympia , however, which showed most of the Peloponnesian War, and one might Themis with the Horai and Moirai (Pausanias surmise that she would only arrive when Eirene 5.17.1-4; Shapiro, 1993: 216-217, 263 no. 142). A was present. Aristophanes made this connection fragmentary altar at Brauron, R 2 , dating to the in Eirene (produced in 421). In this play, Opora early fourth century (Boardman, 1995: 16), may and Theoria (Spectacle, particularly Festival show Eunomia (rather than Theoria, as discussed Embassy) attend Eirene , who had been buried by above, 73) together with Eirene in a Dionysiac 78 chapter seven procession (fig. 7.1). It is tempting to connect this Although a scholiast comments on these lines as image with epigraphic sources that mention Dio- a reference to the ongoing Peloponnesian War , nysos leading the Horai in dance elsewhere, for in which the Athenians had not persuaded the example, at Paros (IG XII 5.445; see also IG II/III2 Spartans to make peace (Sch. Euripides, Orestes 4877) and other historical sources that associate 1682-1683), the words of Euripides and Aristo- Dionysos Orthos with the Horai and the nymphs phanes cannot be taken as evidence that Eirene (Philokhoros 328 F 5b FGrH; see Larson, 2001: had achieved cult status at this time. They are, 128-129). Neither the extant inscriptions nor the however, strong indications that some Athenians reconstruction of the altar, however, allow room already revered her. for Dike and Themis . Eirene is only represented twice on fifth cen- tury vases. In both instances, as on the Brauron altar, R 2 (fig. 7.1), she is one of the maenads Eirene who follow Dionysos (Smith, 2005a: 218-222). She appears on a calyx krater in Vienna, VP 22 A mature Eirene receives worship as early as the (fig. 7.2), attributed to the Dinos Painter (420- fourth century (as I will discuss in chapter 10, 410). In this scene Eirene exchanges glances with a 110) yet the evidence for her fifth-century cult satyr named Hedyoinos (Sweet Wine), and offers is inferential. Her companions in later fifth cen- him a drink from a rhyton. This image, which tury comedies, especially Opora and Georgia recalls Aristophanes ’ characterisation of eirene as (Agriculture), however, suggest her role as a fer- a bottle of wine in Akharneis (1052), produced in tility deity (fr. 294 KA [from another play named 425, may have been painted shortly after the pro- Eirene] actually names Georgia as her sister). She duction of Aristophanes ’ Eirene and the peace of is certainly worshipped as such by Aristophanes ’ Nikias (421). Eirene and Dionysos, who is seated farmers (in Akharneis 26 and Eirene 360) and in the centre, turn their backs on each other; this may have been worshipped by actual Athenians, may reflect the Athenian complaint that the gods at the Dionysia (festival to Dionysos ). Even had abandoned the Greeks’ prayers for peace (e.g. Euripides envisioned her as a civic goddess, in Aristophanes , Eirene 207-209). When the Athe- an ode from Kresphontes (fr. 453 N2), probably nians renewed their optimism (in vain) a decade produced between 430 and 424: later (410-400), however, Eirene and Dionysos come together as lovers, on a pelike once in Paris, Very wealthy Eirene , most beautiful of the blessed attributed to the Group of Naples 3235 , VP 35 gods, I long for you, for you tarry. I am afraid that old age may overcome me with toil before (fig. 7.3). This image corresponds to Euripides ’ I behold your charming youth, and your songs latest and most cheerful representation of Eirene , with their beautiful dances, and your crown- in Bakkhai (produced in 406): “He [Dionysos] loving revels. Come to my city, mistress, but loves the goddess Eirene, generous of good, pre- keep hateful Stasis [Dissention] away from the server of the young” (419-420). It also suggests house, and mad Eris [Strife], who delights in the Eirene ’s maternal instincts, to which Euripides sharpened sword. alludes in Hiketides: “Eirene . delights in good Aristophanes parodied the beginning of this children and rejoices in Ploutos (Wealth)” (490). ode in Georgoi (fr. 111 KA), probably produced Both references clearly foreshadow the kourotro- in 424 (Harder, 1985: 3). Euripides connects phos image of Eirene that reappears in fourth Eirene with the success of cities in another ode century arts. to Eirene, Herakles 371-380 and, at the end of We should not be surprised to find little of a later play, Orestes (produced in 408), Apollon Eirene in the arts of Athens during the Pelopon- orders Orestes, Menelaos , and the others to “go nesian War . Many Athenians were hopeful that on your way now, honouring the most beautiful they could win the war, rather than submit to an goddess, Eirene” (Euripides, Orestes 1682-1683). equivocal peace. The prevailing democratic ideal .