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The Classical Reception of the Hybrid Minotaur

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The Classical Reception of the Hybrid Minotaur The Classical Reception of the Hybrid Minotaur by Devon Lohrasbe BA, University of Victoria, 2015 A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS in the Department of Greek and Roman Studies ã Devon Lohrasbe, 2018 University of Victoria All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. ii Supervisory Committee The Classical Reception of the Hybrid Minotaur by Devon Lohrasbe BA, University of Victoria, 2016 Supervisory Committee Dr. Brendan Burke, Supervisor Department of Greek and Roman Studies Dr. Laurel Bowman, Departmental Member Department of Greek and Roman Studies iii Abstract This thesis offers an interpretation of the myth of Theseus and the Minotaur that accounts for its popularity in fifth century Athens. The myth of the Minotaur had particular political resonance in Classical Athens because of the Minotaur’s hybrid character and eastern connotations. In the wake of the Persian wars, Theseus came to embody Athenian democratic and anti-Barbarian ideals. His canonical opponent, the Minotaur, represented the enemy of the Athenian citizen: an eastern hybrid such as the Persian/Carian/Lycian groups of Anatolia and the east. By aligning the Minotaur with his Near Eastern origins, the story of Theseus sailing to confront the Minotaur can be viewed as the story of Greeks, specifically Athenians, facing what was for them, very real threats from the east. By integrating iconographical and mythological evidence for the myths of Theseus and placing the Minotaur myth within the wider historical and political context of fifth century Athens, this thesis shows that the hybrid Minotaur was a stand in for the Persians. iv Table of Contents Supervisory Committee...................................................................................................................ii Abstract...........................................................................................................................................iii Table of Contents............................................................................................................................iv List of Figures..................................................................................................................................v Introduction......................................................................................................................................1 Chapter 1 – The Myths of Theseus .................................................................................................8 Chapter 2 – Heroic Combat...........................................................................................................27 Chapter 3 – Hybrid Enemies .........................................................................................................48 Chapter 4 – The Greek Bull-headed Man .....................................................................................69 Chapter 5 – The Myth of the Minotaur in Fifth Century Athens ..................................................88 Conclusion...................................................................................................................................105 Illustrations..................................................................................................................................108 Bibliography................................................................................................................................125 v List of Figures Figure 1 -Theseus and the Minotaur, Attic Lekythos, Getty Mus. 85.AE.376............................109 Source: LIMC, Minotauros n.10 Figure 2a – Rayet Skyphos..........................................................................................................110 Source: Morris 1992, Plate 10a Figure 2b– Rayet Skyphos...........................................................................................................110 Source: Morris 1992, Plate 10b Figure 3a – François Vase............................................................................................................111 Source: Shapiro, M. Iozzo, and A. Lezzi-Hafter 2013, Plate 4 Figure 3b – Detail of Theseus with a lyre, Francois Vase...........................................................112 Source: Shapiro, M. Iozzo, and A. Lezzi-Hafter 2013, Plate 15 Figure 3c– Detail of Battle of Lapiths and Centaurs, François Vase...........................................112 Source: Shapiro, M. Iozzo, and A. Lezzi-Hafter 2013, Plate 4 Figure 4 – Theseus and Poseidon, Red-figured oenochoe, Yale 1913.143.................................113 Source: Morris 1992, Fig 54 Figure 5 – Theseus in Tyrannicide pose, from British Museum Kylix E84................................114 Source: Kardara 1951, Plate 22 Figure 6 – Drawing of Corinth Gold Plaque, Berlin....................................................................115 Source: Shear 1923, Figure 1 Figure 7a – Shield Strap from Olympia.......................................................................................116 Source: Kunze 1950, Tafel 17 Figure 7b – Group IVe, Olympia Shield Straps..........................................................................117 Source: Kunze 1950, Tafel 18 Figure 7c – Group IIId, Olympia Shield Straps...........................................................................117 Source: Kunze 1950, Tafel 15 Figure 7d – Group VIId, Olympia Shield Straps.........................................................................118 Source: Kunze 1950, Beilage 7 Figure 7e – Group Ve, Olympia Shield Straps............................................................................118 Source: Kunze 1950, Tafel 21 vi Figure 8 – Detail from Relief at Palace of Ashurnasirpal at Nimrud..........................................119 Source: Canby 1971, Plate 14 Figure A Figure 9 – Phoenician Bowl (Cy8) ............................................................................................119 Source: Markoe 177, N. Cy8 Figure 10 – Drawing of seal showing Moon god Nanna, Early Dynastic III Period...................120 Source: Ornan 2001, Fig 3 Figure 11 – Terracotta relief of a goddess on a throne................................................................121 Source: Weiss 1985, n. 163 Figure 12 – Ba’al, limestone stele from Ugarit............................................................................122 Source: Klingbeil 2009, Figure 2 Figure 13 – Bull-headed Ba’al attacking a serpent......................................................................122 Source: Ornan 2001, Figure 16 Figure 14 – Pasiphae with baby Minotaur, Paris Cab. Med. 1066 From Vulci...........................123 Source: LIMC, Pasiphae 25 Figure 15 – Theseus and the Minotaur, Athenian Red-Figure Krater.........................................124 Source: Beazley 206430, LIMC Minos I 21 VI, Pl 313. Figure 16 – Midas on throne, Attic Red-Figured Cup from Vulci..............................................125 Source : Morris 2003, Fig 5 1 Introduction This thesis offers an interpretation of the myth of Theseus and the Minotaur that accounts for its popularity in fifth century Athens. The myth of the Minotaur, a bull-headed hybrid creature who lives in the labyrinth on Crete, has been remarkably enduring and is still well known today: King Minos demands a human tribute of Athenian youths to feed to the Minotaur annually. Theseus, the Athenian hero, puts an end to this bloody custom; he sails to Crete, and with the help of Minos’ daughter, Ariadne, navigates the labyrinth and slays the Minotaur. The slaying of the Minotaur was among the most popular scenes in Greek visual culture (Fig 1). It played a prominent role in Classical Athenian vase painting and public sculpture. This strong visual evidence is in striking contrast to the available evidence for the Minotaur story in contemporary literature and drama where it is relatively scant, yet it is popular in much later periods. Homer does not mention the Minotaur, but does refer to Minos, Theseus, and Ariadne. The most detailed literary source for the Minotaur myth is Plutarch, writing in the first century AD, but visual sources can be traced back to the mid-seventh century BC. In Classical sources, Theseus was also said to have defeated countless foes and promoted democracy in Athens. That these many new achievements did not outshine his earliest deed, the slaying of the Minotaur, is demonstrated by the predominance of this image in Athenian pottery; Athenian vases showing the slaying of the Minotaur outnumber all other representations of Theseus combined.1 Despite the popularity of Theseus versus the Minotaur in Classical sources and its endurance into the Roman era, modern scholars have focused on other legends of Theseus in the late Archaic and Classical periods. These include Theseus’ role as a model citizen, and the tension between his identity as both outsider and archetypal Athenian; as both king and instigator of democracy. In Euripides’ Hippolytus, for example, Theseus’ connection with his divine father, Poseidon, is stressed and he ultimately uses this father-son tie to ruin his relationship with his own son, 1 Morris 1992, 354 2 Hippolytus.2 Theseus and Poseidon shake hands on Athenian fifth century vases, as if forming a contract to guard the seas from pirates.3 On the metopes of the Athenian Treasury at Delphi, which show the hero’s canonical deeds, Theseus is presented as a
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