Professional Documents
Culture Documents
Natasha Nagle
Athenian and Theban Mythology
Professor Larson
8 May 2015
We continuously strive to evolve, to become of a mindset, of a body that we had not been
previously. We strive to evolve our world with ourselves, oftentimes ignoring the laws and rules
nature had set out for us millennia ago, using them as a benchmark to judge how far we have
come; how many of these rules we no longer have to abide. We have created many things in
order to help us on this path we choose to tread, the goal we have set for ourselves. With them
we attempt to bend the unbendable to our will, to serve us instead of the original purpose for
which it was placed. This does not make us evil by nature, nor does it make us righteous, oft
caring little for the things in our way destroyed or trampled upon, meant to greet its new master.
That which we create is only as much as we give to it, the balance of good and evil which
threatens to break apart the world as we know it, the very concept that consumes us will consume
the earth upon which we live. Our constant search for the validation of our actions, of this way of
life, seeming superior and acting as though we do not know a single event could bring us to our
knees, in the same position of that which we currently subjugate, leads us to more of our
creations. But rather than creations of the flesh, of that in this physical realm we inhabit, these
are creations of the mind an internal support system built by humanity, for humanity.
In this support system, we project that which we believe we appear to seem. We attempt
to validate our own actions with explanations of others who appear as we do, each one acting as
a separate part of our own consciousness. We attempt to explain the world around us, and the
natural phenomenon occurring within it, however, in doing so we must then also attempt to
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explain and understand ourselves and our own minds, the medium through which this
understanding must come. This is perhaps the scariest thing, to understand that we view the
world unlike any others. As a result we have created a support system in the form of the gods and
goddesses and given them attributes which correspond to separate parts of our own
consciousness. These gods and goddesses are often viewed as singular to their intended natures
within the traditional myths, however, it is within tragedy which we are able to express their
variations upon these natures, and in effect the natures that plague us, within tragedy. This is
perhaps an expression of the uncertainty of the human condition and our initial attempts to
explain why we choose to react to certain stimuli the way in which we do, thus validating our
own actions. This paper will explore how the gods and goddesses which the ancient Greeks
created are more closely connected to themselves than an initial glance might suggest, and how
The gods often come across as otherworldly, especially in the myths which represent the
major portions of the Greek pantheon, however, they are also often represented as appearing
humanlike in many instances in tragedy, where the usual pantheon myths are reinterpreted,
supported, destroyed, or even usurped. In the beginning of the play Ion, Apollo is portrayed as
the promiscuous god he typically is, reeling in beautiful women only to abandon them later. This
is made clear when Hermes states at the beginning of his messenger speech, There shining
Athenas sacred hill/.../Apollo wanted her/to bear the child, but in secret. (Ion 9-14). However,
also through Hermess messenger speech we can determine that Apollo has actually done what
he could for his son without making his parentage known, and has a plan in motion for restoring
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Ion to his rightful place in Athens, My brother Apollo called for me:/Brother, go to the
earthborn children of Athens,/the glorious sacred city. Go to that cave,/get the baby with its
swaddling cloths and cradle,/bring him to my shrine at Delphi, and leave him at the door./He is
my son. I will take care of everything. (Ion 25-30). He saved his, and Kreousas, son before his
true identity had been revealed to her. After she had been convinced to poison him in an attempt
to prevent him from becoming king of Athens instead of the children she hoped to have, he
alerted the boy to the poison in his cup through the misspoken word as a dark omen then sending
a dove to sip what he had poured out onto the ground as libations and had died as a result. By
instructing the Pythia to save the cradle and swaddling cloths in which she found the boy after
Hermes followed Apollos instructions and placed him on the steps of his temple in Delphi, then
giving her permission to reveal them to Ion as he and Kreousa argued inside of the temple he
helped coax Ion out of his rage towards Kreousa on account of her attempted actions, and
Kreousa to realize that the items the Pythia found him with were the ones she left with her son
when she exposed him in the cave all those years before.
Though Apollo acted according to the nature assigned to him as one of the twelve male
olympian gods and as the Bright One, god of oracles, prophesies, music, and healing, among
many other identities, when he seduced Kreousa and left her to fend for herself afterwards, he
also displayed his cleverness and care for the humans who he had affected with his previous
behavior. His ability to reveal the right amount of information at just the right time in order to
guide events in the direction he determined would achieve the desired result, while revealing the
entire tale only to those who absolutely needed the knowledge to complete his plan, underscores
the commitment and connection he retained with Ion and Kreousa throughout the years needed to
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see his plan come to fruition. This demonstrates long term planning and an attention to the world
in which we live, while successfully taking into account concern over the volatility of the human
condition and our behaviors stemming from it, as can be seen when the tutor convinces Kreousa
to kill the boy out of fear for her own position and those of the children she wishes to have. In
Ion, Apollo represents the person we wish we could be when we make mistakes, the one who can
almost anticipate where the line of events will lead and make the choices necessary in order to
Within the Oresteia by Aeschylus, it is not until The Eumenides that we are truly able to
see how the gods have influenced and manipulated events and those who have created them up to
that point. The knowledge carried through the myth of the family of Atreus and the ancient Greek
belief of a cursed family passing their bad blood, and therefore characteristics, down through the
generations does maintain its importance and weight within the storyline, however, it is now that
we are able to see the fascination which the gods often develop of a single individual or a family
line. In this way, it is demonstrated that to the immortal gods, we mortals on earth, while able to
accomplish great things in our lifetime and leave a legacy behind, are little more than playthings
and kingpins in the lives and entertainment of the gods. Due to this, it can be difficult for them to
withdraw themselves from such earthly concerns, continuing to meddle in our affairs and
oftentimes causing more problems than they might be trying to solve. Even so, they can also
create bonds between themselves and the people whom they are attempting to help, sometimes
even accepting direct responsibility for the aftermath of their decisions and actions, and the
things which they pushed the humans themselves to do. Such is the case when Apollo swears to
protect and aid Orestes in clearing his name, though only after being the direct cause of such a
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necessity, and even declares this directly to Athena during the hearing of Orestes in The
Eumenides. Apollo first declares his support for Orestes when he states, I will not forsake you, I
will protect you until the end,/I will stand by your side even when I am far, far away,/your
enemies will never receive comfort from me. (The Eumenides 64-66) again when he states, He
is in my sacred trust and I will protect him. (The Eumenides 232) and again in front of Athena
when he says, I have come to testify under the law./This man is my suppliant and sought
sanctuary/at my hearth, I purged him of his blood-guilt./I stand as his advocate and share the
blame/for the murder of his mother. I ask you/to decide this case. I seek your judgment. (The
Eumenides 576-581). In doing so Apollo keeps his oath to Orestes and does as much as is in his
power to protect the boy from the wrath of the Furies, bringing attention to his just side and the
importance he places upon protecting those who seek and deserve his protection. Athena herself
in continuing to champion the individual, and occasional group, rationality of humanity, uses the
opportunities presented by Orestess situation in order to establish the tradition of holding the
murder courts of Athens upon the Areopagus, as well as the traditions of their procedures. She
also takes this opportunity to bestow the power affiliated with the right to break a tied vote upon
herself, merely adding to her authority concerning the newly established peer centered justice,
which she also takes this opportunity to implement. This is clear when she states, Now you hear
my decree, people of Athens./You are the first to judge a case of bloodshed./And from this time
on, the race of Aegeus/will forever uphold this judicial assembly. (The Eumenides 681-684) and
later, Now my task is to make the last judgement (The Eumenides 734). In doing so, Athena
appears to begin to recognize that humanity is beginning to no longer blindly accept their role as
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the playthings of the gods and therefore no longer be stubbornly held under the strict and
outdated regulations of godly justice which the Furies were determined to uphold.
Unlike in the Oresteia, Athena is portrayed as exhibiting the negative, or darker, side of
the gods throughout the tragedy Aias. Oftentimes characterized as the champion of humanity,
placing her support behind our own champions, the demigods and heroes we placed on pedestals,
she is instead represented as being the powerful and vengeful beings the gods were often
depicted as within mythology. Throughout the play, her response to Aiass disrespect towards
her, through his starkly apparent belief that he was better than the goddess herself and could be
successful against the Trojans without her support, was to drive him into a bloody rage in which
he believed the animals he was brutally slaughtering were the Greeks under Odysseus,
Agamemnon, and Menelaus who had previously denied him Achilless armor. This highlights the
wavering and volatile egos of the gods which can and does parallel our own. In Aias the true
power and influence of the gods is explored, with the clear message that no matter how much the
gods may seem to be our friends, fortune is fickle and so is their nature, and if they are not given
the proper respect and deference they can turn on those who they at first supported. Athenas
obvious enjoyment over Aias essentially creating his own destruction at her bidding, not only of
his body and mind, but also of the legacy which he would leave behind for it is this foray into
madness and gory death which others would remember, making his battle prowess only a faint
memory comparatively, effectively shuts her out of the role as the protectress of all mankind
which she had filled in the Eumenides. Especially when she states, I stopped him. Spinning
illusions/of his most deadly joy. (Aias 60-61), and when she tries to force Odysseus to revel in
how far Aias had sunk, But I want you to see this sickness/with your own eyes and proclaim it/
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aloud to all the Greeks./Stay! Face him! What he has become/is no threat to you. (Aias 79-83)
later asking him, And is any laughter sweeter/than laughter at an enemy? (Aias 93-94). In
siding with strength instead of wisdom she manifests the perpetual struggle within ancient Greek
belief and action between mental and physical strength, the positive aspects of both, and which
would be victorious if pitted directly against one another. In Aias, the concept of the gods and
goddesses being both the supporters of humans, as well as their reckoning through doling out
punishment and their form of vengeful godly justice where they see fit is explored. Here, humans
are clearly in the submissive role, with those hastily making assumptions that they are as good as
the gods themselves being turned into their own worst enemy. The gods are seen as being placed
on a level similar to that of humans in their behaviors as they use their wrath to invoke what they
deem to be justice upon the transgressors, instead of the fair and even keeled peer justice they
champion amongst humans elsewhere in tragedy, as within the Oresteia. There they represent
humanitys wish to have the ability to take emotion out of the equation and make decisions based
solely on fact and the evidence provided, yet within the tragedy of Aias the goddess embodies
the worst aspects of human nature in encouraging the violence we so often resort to when we are
frustrated or beaten. This is also similar to the way in which the god Dionysus treats the Thebans
after their initial refusal to recognize him as a true god in the play Bacchae.
The play Bacchae by Euripides is interesting because throughout the god Dionysus
returns to his homeland of Thebes so as to acclimate the people of Thebes to the rites associated
with his worship and to punish them for refusing to officially recognize him as the son of Zeus,
and, therefore, a god. However, he does so while presenting himself as a human. Despite the
reasoning for this disguise being so that the people of Thebes do not recognize him as the god
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himself, passing for a supplicant of his he is able to confront Pentheus and attempt to convince
him of the necessity and importance of worshiping Dionysus, he allows himself to be seen as
such, and in doing so acknowledges the power which appearing the same within a group of
humans can have, often stemming from their inherent fear of the unknown and that which they
do not fully understand. Here humanity is seen as a tool, one through which a lesson is imparted
and one through which Dionysus will finally be able to obtain the respect and reverence he
And I have a longing o see him jeered in Thebes,/as hes led through the city looking
like a woman -/in return for those threats he made, trying/to be formidable. Now Im off
to get the fine clothes I will fit to Pentheus for his trip to Hades when/his mother kills
him. Then he will know the son of Zeus,/Dionysus, and realize that he was born a god,
bringing/terrors for initiation, and to the people, gentle grace. (Bacchae 854-861).
In Dionysus acting so, he is using the people of Thebes, specifically Pentheus, to teach others
that he is the true son of Zeus and that as such his rites should be honored as much as any other
god or goddesss. This is similar to Athenas use of Orestess situation to establish the murder
courts atop the Athenian Areopagus. Within the Bacchae, Dionysus is intended to be feared and
worshiped as one of the gods, enabling him to take his rightful place within the pantheon, and yet
he needs the people to worship him in order to do so. This demonstrates an interconnected
relationship between the gods and the humans in tragedy, where each needs something from one
another, humans need support, knowledge, and release from Dionysus and he needs them to
participate in the Bacchant rites, thus adding yet another angle to the interwoven successes,
Throughout Athenian mythology, tragedy, and architecture the Athenians belief in their
close connections with their gods is clearly exhibited. The Parthenon Frieze and Architrave
blocks place humans within the sculpture of one of the greatest architectural feats of humankind,
where the space on other temples would be dedicated to the gods and goddesses only. In
addition, the frieze also depicts the gods speaking to one another and adjusting their clothing,
activities usually devoted only to humans and which make the gods seem more like us than had
been previously acceptable, an act bordering on hubris itself. In this way it can be determined
that the Athenians believe themselves to have a much closer connection with the gods than other
states. As a result, it is made clearer that the Athenians created their versions of the gods to
resemble themselves, even to the point of depicting how they wish others to view them. The
tragedies themselves into which the events and the gods were places were often used as a
medium to explore contemporary or historical events with an emphasis upon that which would
otherwise be difficult to discuss and the Athenians would be less willing to confront. This could
include anything from Solons reforms in moving all courts of Athens, except those concerning
murder, from the Areopagus into the Agora and validating these decisions, the colonization
efforts and slavery issues addressed within the concern over the struggle between mental and
physical strength, and Ion acting as the Athenian empire when giving Kreousa his ultimatum as
Athens would do before they forcibly overtook a region. Within these tragedies the events within
the plot act as catalysts for discussion about the actual events they parallel and can even
encourage some to consider different views of the situations than they might have otherwise.
This being said the parts into which the gods are placed serve to mirror the interactions we have
with one another and the viewpoints which are possible for us to hold. Thus, they interact with
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the humans as if they too were humans but with more exaggerated characteristics and reactions,
serving to warn us of the possible repercussions or the successes we could face if we err too far
on one side of the conflict, while constantly bolstering the Athenians claims to being children of
the earth and consequently more important than the citizens of any other Greek polis. Therefore,
the gods, being the creations of humans, are altered to fit the present needs of the humans, rather
than the other way around, and are acting as a tool through which the Greek peoples, particularly
the Athenians, are attempting to enact and explore the motif placed above Apollos temple at
Delphi; Know Thyself.. If the gods are present within their daily activities, then reflections of
themselves are also present, and as a result they are able to learn more about themselves through
Imagination, is not merely the fantastical musings of small children. Without imagination,
the heart and soul are gone. From imagination stems determination, creativity, and conviction.
What can be imagined can be changed, though it might take some work and, at times, a new
approach. The imagination allows humanity to see familiar problems in a different light, in the
hopes of improving. Imagination presents us with constant what ifs, it is a constantly changing
entity which does not allow complacency. Imagination is an invaluable tool, used to overcome
difficult periods within our lives, to share experiences, to encourage others. It opens new worlds,
and presents possibilities previously shrouded by the human unwillingness to accept change.
Through imagination has come humanitys proudest accomplishments. Imagination makes way
for desire, for dreams, for daring advances. Without imagining, there is no drive to better what is.
To imagine is the greatest strength of the human race. It brings to mind the silent grace of a
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shadow, the calm of a winter breeze, the possibilities seen through the existence of the stars.
However, it is also through our imagination that we use the pantheon myths to show how
the gods were created to be like us, uncovering those sides of the human mentality we are
plagued by and wish to hide. Through the medium of myth we are able to explore these sides of
the human condition more closely, while feeling comforted in that the objects whos behavior we
wish to dissect is more of a remote phenomenon through the use of the gods and goddesses as the
subjects. Tragedy displays the many facets to those sides of humanity, showing no one is merely
how they are tended to be portrayed, no matter their commonly ascribed characteristics, and
display that even within those several frames of the human consciousness present in each of the
gods, there are many different interpretations of those frames which change depending on the
situations into which they are placed. In personifying the human condition, and the emotions and
actions which come as a result, we are able to explore the doubts we may hold about ourselves
and the world in which we live while remaining in the safety of the society with which we
already identify. The interactions between the gods and humans within tragedy enables us to
further explore our interactions with one another and thus act as a safety net through which we
Works Cited