PENGUIN BOOKS

THE GREEK MYTHS

VOLUME ONE

Robert Graves was born in 1895 in Wimbledon, son of Alfred Percival Graves, the Irish writer, and Amalia Von Ranke. He went from school to the First World War, where he became a captain in the Royal Welch Fusiliers. His principal calling was poetry, and his Selected Poems have been published in Penguin Twentieth-Century Classics. Apart from a year as Professor of English Literature at Cairo University in 1926 he earned his living by writing, mostly historical novels, which include I, Claudius; Claudius the God; Sergeant Lamb of the Ninth; Count Belisarius; Wife to Mr Milton; Proceed, Sergeant Lamb; The Golden Fleece; They Hanged My Saintly Billy; and The Isles of Unwisdom. He wrote his autobiography, Goodbye to All That, in 1929 and it rapidly established itself as a modern classic. The Times Literary Supplement acclaimed it as ‘one of the most candid self-portraits of a poet, warts and all, ever painted’, as well as being of exceptional value as a war document. His two most discussed non-fiction books are The White Goddess, which presents a new view of the poetic impulse, and The Nazarine Gospel Restored (with Joshua Podro), a re-examination of primitive Christianity. He translated Apuleius, Lucan, and Suetonius for the Penguin Classics series, and compiled the first modern dictionary of Greek Mythology, The Greek Myths. His translation of The Rubáiyát of Omar Khayyám (with Omar Ali-Shah) is also published in Penguin. He was elected Professor of Poetry at Oxford in 1961, and made an Honorary Fellow of St John’s College, Oxford, in 1971.

Robert Graves died on 7 December 1985 in Majorca, his home since 1929. On his death The Times wrote of him, ‘He will be remembered for his achievements as a prose stylist, historical novelist and memorist, but above all as the great paradigm of the dedicated poet, “the greatest love poet in English since Donne”.’

ROBERT GRAVES

THE GREEK MYTHS

VOLUME ONE

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PENGUIN BOOKS

PENGUIN BOOKS

Published by the Penguin Group

Penguin Books Ltd, Registered Offices: 80 Strand, London WC2R 0RL, England

www.penguin.com

First published 1955

Copyright © Robert Graves, 1955, 1960

Except in the United States of America, this book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out, or otherwise circulated without the publisher’s prior consent in any form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser

ISBN: 978-0-14-195965-8

CONTENTS OF VOLUME ONE

FOREWORD

INTRODUCTION

1. THE PELASGIAN CREATION MYTH

2. THE HOMERIC AND ORPHIC CREATION MYTHS

3. THE OLYMPIAN CREATION MYTH

4. TWO PHILOSOPHICAL CREATION MYTHS

5. THE FIVE AGES OF MAN

6. THE CASTRATION OF URANUS

7. THE DETHRONEMENT OF CRONUS

8. THE BIRTH OF ATHENE

9. ZEUS AND METIS

10. THE FATES

11. THE BIRTH OF APHRODITE

12. HERA AND HER CHILDREN

13. ZEUS AND HERA

14. BIRTHS OF HERMES, APOLLO, ARTEMIS, AND DIONYSUS

15. THE BIRTH OF EROS

16. POSEIDONS NATURE AND DEEDS

17. HERMESS NATURE AND DEEDS

18. APHRODITES NATURE AND DEEDS

19. ARESS NATURE AND DEEDS

20. HESTIAS NATURE AND DEEDS

21. APOLLOS NATURE AND DEEDS

22. ARTEMISS NATURE AND DEEDS

23. HEPHAESTUSS NATURE AND DEEDS

24. DEMETERS NATURE AND DEEDS

25. ATHENES NATURE AND DEEDS

26. PANS NATURE AND DEEDS

27. DIONYSUSS NATURE AND DEEDS

28. ORPHEUS

29. GANYMEDES

30. ZAGREUS

31. THE GODS OF THE UNDERWORLD

32. TYCHE AND NEMESIS

33. THE CHILDREN OF THE SEA

34. THE CHILDREN OF ECHIDNE

35. THE GIANTSREVOLT

36. TYPHON

37. THE ALOEIDS

38. DEUCALIONS FLOOD

39. ATLAS AND PROMETHEUS

40. EOS

41. ORION

42. HELIUS

43. THE SONS OF HELLEN

44. ION

45. ALCYONE AND CEYX

46. TEREUS

47. ERECHTHEUS AND EUMOLPUS

48. BOREAS

49. ALOPE

50. ASCLEPIUS

51. THE ORACLES

52. THE ALPHABET

53. THE DACTYLS

54. THE TELCHINES

55. THE EMPUSAE

56. IO

57. PHORONEUS

58. EUROPE AND CADMUS

59. CADMUS AND HARMONIA

60. BELUS AND THE DANAIDS

61. LAMIA

62. LEDA

63. IXION

64. ENDYMION

65. PYGMALION AND GALATEA

66. AEACUS

67. SISYPHUS

68. SALMONEUS AND TYRO

69. ALCESTIS

70. ATHAMAS

71. THE MARES OF GLAUCUS

72. MELAMPUS

73. PERSEUS

74. THE RIVAL TWINS

75. BELLEROPHON

76. ANTIOPE

77. NIOBE

78. CAENIS AND CAENEUS

79. ERIGONE

80. THE CALYDONIAN BOAR

81. TELAMON AND PELEUS

82. ARISTAEUS

83. MIDAS

84. CLEOBIS AND BITON

85. NARCISSUS

86. PHYLLIS AND CARYA

87. ARION

88. MINOS AND HIS BROTHERS

89. THE LOVES OF MINOS

90. THE CHILDREN OF PASIPHAË

91. SCYLLA AND NISUS

92. DAEDALUS AND TALOS

93. CATREUS AND ALTHAEMENES

94. THE SONS OF PANDION

95. THE BIRTH OF THESEUS

96. THE LABOURS OF THESEUS

97. THESEUS AND MEDEA

98. THESEUS IN CRETE

99. THE FEDERALIZATION OF ATTICA

100. THESEUS AND THE AMAZONS

101. PHAEDRA AND HIPPOLYTUS

102. LAPITHS AND CENTAURS

103. THESEUS IN TARTARUS

104. THE DEATH OF THESEUS

MAP OF THE GREEK WORLD

A complete index to both volumes and a map showing the sites mentioned in the text will be found at the end of Volume 2

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The death of the Old Bull of the Year apparently poleaxed, and the birth of the New Year’s Bull-Calf from a date cluster; under the supervision of a Cretan priestess, who identifies herself with the palm-tree. From a Middle-Minoan bead-seal in the author’s collection (diameter enlarged 1½ times). About 1900 B.C.

FOREWORD

SINCE revising The Greek Myths in 1958, I have had second thoughts about the drunken god Dionysus, about the Centaurs with their contradictory reputation for wisdom and misdemeanour, and about the nature of divine ambrosia and nectar. These subjects are closely related, because the Centaurs worshipped Dionysus, whose wild autumnal feast was called ‘the Ambrosia’. I no longer believe that when his Maenads ran raging around the countryside, tearing animals or children in pieces (see 27.f) and boasted afterwards of travelling to India and back (see 27. c), they had intoxicated themselves solely on wine or ivy-ale (see 27. 3). The evidence, summarized in my What Food the Centaurs Ate (Steps: Cassell & Co., 1958, pp. 319–343), suggests that Satyrs (goat-totem tribesmen), Centaurs (horse-totem tribesmen), and their Maenad womenfolk, used these brews to wash down mouthfuls of a far stronger drug: namely a raw mushroom, amanita muscaria, which induces hallucinations, senseless rioting, prophetic sight, erotic energy, and remarkable muscular strength. Some hours of this ecstasy are followed by complete inertia; a phenomenon that would account for the story of how Lycurgus, armed only with an ox-goad, routed Dionysus’s drunken army of Maenads and Satyrs after its victorious return from India (see 27. e).

On an Etruscan mirror the amanita muscaria is engraved at Ixion’s feet; he was a Thessalian hero who feasted on ambrosia among the gods (see 63. b). Several myths (see 102, 126, etc.) are consistent with my theory that his descendants, the Centaurs, ate this mushroom; and, according to some historians, it was later employed by the Norse ‘berserks’ to give them reckless power in battle. I now believe that ‘ambrosia’ and ‘nectar’ were intoxicant mushrooms: certainly the amanita muscaria; but perhaps others, too, especially a small, slender dung-mushroom named panaeolus papilionaceus, which induces harmless and most enjoyable hallucinations. A mushroom not unlike it appears on an Attic vase between the hooves of Nessus the Centaur. The ‘gods’ for whom, in the myths, ambrosia and nectar were reserved, will have been sacred queens and kings of the pre-Classical era. King Tantalus’s crime (see 108. c) was that he broke the taboo by inviting commoners to share his ambrosia.

Sacred queenships and kingships lapsed in Greece; ambrosia then became, it seems, the secret element of the Eleusinian, Orphic and other Mysteries associated with Dionysus. At all events, the participants swore to keep silence about what they ate or drank, saw unforgettable visions, and were promised immortality. The ‘ambrosia’ awarded to winners of the Olympic footrace when victory no longer conferred the sacred kingship on them was clearly a substitute: a mixture of foods the initial letters of which, as I show in What Food the Centaurs Ate, spelled out the Greek word ‘mushroom’. Recipes quoted by Classical authors for nectar, and for cecyon, the mint-flavoured drink taken by Demeter at Eleusis, likewise spell out ‘mushroom’.

I have myself eaten the hallucigenic mushroom, psilocybe, a divine ambrosia in immemorial use among the Masatec Indians of Oaxaca Province, Mexico; heard the priestess invoke Tlaloc, the Mushroom-god, and seen transcendental visions. Thus I wholeheartedly agree with R. Gordon Wasson, the American discoverer of this ancient rite, that European ideas of heaven and hell may well have derived from similar mysteries. Tlaloc was engendered by lightning; so was Dionysus (see 14. c); and in Greek folklore, as in Masatec, so are all mushrooms – proverbially called ‘food of the gods’ in both languages. Tlaloc wore a serpent-crown; so did Dionysus (see 27. a). Tlaloc had an underwater retreat; so had Dionysus (see 27. e). The Maenads’ savage custom of tearing off their victims’ heads (see 27. f and 28. d) may refer allegorically to tearing off the sacred mushroom’s head – since in Mexico its stalk is never eaten. We read that Perseus, a sacred King of Argos, converted to Dionysus worship (see 27. i), named Mycenae after a toadstool which he found growing on the site, and which gave forth a stream of water (see 73. r). Tlaloc’s emblem was a toad; so was that of Argos; and from the mouth of Tlaloc’s toad in the Tepentitla fresco issues a stream of water. Yet at what epoch were the European and Central American cultures in contact?

These theories call for further research, and I have therefore not incorporated my findings in the text of the present edition. Any expert help in solving the problem would be greatly appreciated.

R. G.

Deyá, Majorca,

Spain, 1960.

INTRODUCTION

THE medieval emissaries of the Catholic Church brought to Great Britain, in addition to the whole corpus of sacred history, a Continental university system based on the Greek and Latin Classics. Such native legends as those of King Arthur, Guy of Warwick, Robin Hood, the Blue Hag of Leicester, and King Lear were considered suitable enough for the masses, yet by early Tudor times the clergy and the educated classes were referring far more frequently to the myths in Ovid, Virgil, and the grammar school summaries of the Trojan War. Though official English literature of the sixteenth to the nineteenth centuries cannot, therefore, be properly understood except in the light of Greek mythology, the Classics have lately lost so much ground in schools and universities that an educated person is now no longer expected to know (for instance) who Deucalion, Pelops, Daedalus, Oenone, Laocoön, or Antigone may have been. Current knowledge of these myths is mostly derived from such fairy-story versions as Kingsley’s Heroes and Hawthorne’s Tanglewood Tales; and at first sight this does not seem to matter much, because for the last two thousand years it has been the fashion to dismiss the myths as bizarre and chimerical fancies, a charming legacy from the childhood of the Greek intelligence, which the Church naturally depreciates in order to emphasize the greater spiritual importance of the Bible. Yet it is difficult to overestimate their value in the study of early European history, religion, and sociology.

‘Chimerical’ is an adjectival form of the noun chimaera, meaning ‘she-goat’. Four thousand years ago the Chimaera can have seemed no more bizarre than any religious, heraldic, or commercial emblem does today. She was a formal composite beast with (as Homer records) a lion’s head, a goat’s body, and a serpent’s tail. A Chimaera has been found carved on the walls of a Hittite temple at Carchemish and, like such other composite beasts as the Sphinx and the Unicorn, will originally have been a calendar symbol: each component represented a season of the Queen of Heaven’s sacred year – as, according to Diodorus Siculus, the three strings of her tortoise-shell lyre also did. This ancient three-season year is discussed by Nilsson in his Primitive Time Reckoning (1920).

Only a small part, however, of the huge, disorganized corpus of Greek mythology, which contains importations from Crete, Egypt, Palestine, Phrygia, Babylonia, and elsewhere, can properly be classified with the Chimaera as true myth. True myth may be defined as the reduction to narrative shorthand of ritual mime performed on public festivals, and in many cases recorded pictorially on temple walls, vases, seals, bowls, mirrors, chests, shields, tapestries, and the like. The Chimaera and her fellow calendar-beasts must have figured prominently in these dramatic performances which, with their iconographic and oral records, became the prime authority, or charter, for the religious institutions of each tribe, clan, or city. Their subjects were archaic magic-makings that promoted the fertility or stability of a sacred queendom, or kingdom – queendoms having, it seems, preceded kingdoms throughout the Greek-speaking area – and amendments to these, introduced as circumstances required. Lucian’s essay On the Dance lists an imposing number of ritual mimes still performed in the second century A.D.; and Pausanias’s description of the temple paintings at Delphi and the carvings on Cypselus’s Chest, suggests that an immense amount of miscellaneous mythological records, of which no trace now remains, survived into the same period.

True myth must be distinguished from:

(1) Philosophical allegory, as in Hesiod’s cosmogony.

(2) ‘Aetiological’ explanation of myths no longer understood, as in Admetus’s yoking of a lion and a boar to his chariot.

(3) Satire or parody, as in Silenus’s account of Atlantis.

(4) Sentimental fable, as in the story of Narcissus and Echo.

(5) Embroidered history, as in Arion’s adventure with the dolphin.

(6) Minstrel romance, as in the story of Cephalus and Procris.

(7) Political propaganda, as in Theseus’s Federalization of Attica.

(8) Moral legend, as in the story of Eriphyle’s necklace.

(9) Humorous anecdote, as in the bedroom farce of Heracles, Omphale, and Pan.

(10) Theatrical melodrama, as in the story of Thestor and his daughters.

(11) Heroic saga, as in the main argument of the Iliad.

(12) Realistic fiction, as in Odysseus’s visit to the Phaeacians.1

Yet genuine mythic elements may be found embedded in the least promising stories, and the fullest or most illuminating version of a given myth is seldom supplied by any one author; nor, when searching for its original form, should one assume that the more ancient the written source, the more authoritative it must be. Often, for instance, the playful Alexandrian Callimachus, or the frivolous Augustan Ovid, or the dry-as-dust late-Byzantine Tzetzes, gives an obviously earlier version of a myth than do Hesiod or the Greek tragedians; and the thirteenth-century Excidium Troiae is, in parts, mythically sounder than the Iliad. When making prose sense of a mythological or pseudo-mythological narrative, one should always pay careful attention to the names, tribal origin, and fates of the characters concerned; and then restore it to the form of dramatic ritual, whereupon its incidental elements will sometimes suggest an analogy with another myth which has been given a wholly different anecdotal twist, and shed light on both.

A study of Greek mythology should begin with a consideration of what political and religious systems existed in Europe before the arrival of Aryan invaders from the distant North and East. The whole of neolithic Europe, to judge from surviving artifacts and myths, had a remarkably homogeneous system of religious ideas, based on worship of the many-titled Mother-goddess, who was also known in Syria and Libya.

Ancient Europe had no gods. The Great Goddess was regarded as immortal, changeless, and omnipotent; and the concept of fatherhood had not been introduced into religious thought. She took lovers, but for pleasure, not to provide her children with a father. Men feared, adored, and obeyed the matriarch; the hearth which she tended in a cave or hut being their earliest social centre, and motherhood their prime mystery. Thus the first victim of a Greek public sacrifice was always offered to Hestia of the Hearth. The goddess’s white aniconic image, perhaps her most widespread emblem, which appears at Delphi as the omphalos, or navel-boss, may originally have represented the raised white mound of tightly-packed ash, enclosing live charcoal, which is the easiest means of preserving fire without smoke. Later, it became pictorially identified with the lime-whitened mound under which the harvest corn-doll was hidden, to be removed sprouting in the spring; and with the mound of sea-shells, or quartz, or white marble, underneath which dead kings were buried. Not only the moon, but (to judge from Hemera of Greece and Grainne of Ireland) the sun, were the goddess’s celestial symbols. In earlier Greek myth, however, the sun yields precedence to the moon – which inspires the greater superstitious fear, does not grow dimmer as the year wanes, and is credited with the power to grant or deny water to the fields.

The moon’s three phases of new, full, and old recalled the matriarch’s three phases of maiden, nymph (nubile woman), and crone. Then, since the sun’s annual course similarly recalled the rise and decline of her physical powers – spring a maiden, summer a nymph, winter a crone – the goddess became identified with seasonal changes in animal and plant life; and thus with Mother Earth who, at the beginning of the vegetative year, produces only leaves and buds, then flowers and fruits, and at last ceases to bear. She could later be conceived as yet another triad: the maiden of the upper air, the nymph of the earth or sea, the crone of the underworld – typified respectively by Selene, Aphrodite, and Hecate. These mystical analogues fostered the sacredness of the number three, and the Moon-goddess became enlarged to nine when each of the three persons – maiden, nymph, and crone – appeared in triad to demonstrate her divinity. Her devotees never quite forgot that there were not three goddesses, but one goddess; though, by Classical times, Arcadian Stymphalus was one of the few remaining shrines where they all bore the same name: Hera.

Once the relevance of coition to child-bearing had been officially admitted – an account of this turning-point in religion appears in the Hittite myth of simple-minded Appu (H. G. Güterbock: Kumarbi, 1946) – man’s religious status gradually improved, and winds or rivers were no longer given credit for impregnating women. The tribal Nymph, it seems, chose an annual lover from her entourage of young men, a king to be sacrificed when the year ended; making him a symbol of fertility, rather than the object of her erotic pleasure. His sprinkled blood served to fructify trees, crops, and flocks, and his flesh was torn and eaten raw by the Queen’s fellow-nymphs – priestesses wearing the masks of bitches, mares, or sows. Next, in amendment to this practice, the king died as soon as the power of the sun, with which he was identified, began to decline in the summer; and another young man, his twin, or supposed twin – a convenient ancient Irish term is ‘tanist’ – then became the Queen’s lover, to be duly sacrificed at midwinter and, as a reward, reincarnated in an oracular serpent. These consorts acquired executive power only when permitted to deputize for the Queen by wearing her magical robes. Thus kingship developed, and though the Sun became a symbol of male fertility once the king’s life had been identified with its seasonal course, it still remained under the Moon’s tutelage; as the king remained under the Queen’s tutelage, in theory at least, long after the matriarchal phase had been outgrown. Thus the witches of Thessaly, a conservative region, would threaten the Sun, in the Moon’s name, with being engulfed by perpetual night.

There is, however, no evidence that, even when women were sovereign in religious matters, men were denied fields in which they might act without female supervision, though it may well be that they adopted many of the ‘weaker-sex’ characteristics hitherto thought functionally peculiar to man. They could be trusted to hunt, fish, gather certain foods, mind flocks and herds, and help defend the tribal territory against intruders, so long as they did not transgress matriarchal law. Leaders of totem clans were chosen and certain powers awarded them, especially in times of migration or war. Rules for determining who should act as male commander-in-chief varied, it appears, in different matriarchies: usually the queen’s maternal uncle, or her brother, or the son of her maternal aunt was chosen. The most primitive tribal commander-in-chief also had authority to act as judge in personal disputes between men, in so far as the queen’s religious authority was not thereby impaired. The most primitive matrilineal society surviving today is that of the Nayars of Southern India, where the princesses, though married to child-husbands whom they immediately divorce, bear children to lovers of no particular rank; and the princesses of several matrilineal tribes of West Africa marry foreigners or commoners. The royal women of pre-Hellenic Greece also thought nothing of taking lovers from among their serfs, if the Hundred Houses of Locris and Epizephyrian Locri were not exceptional.

Time was first reckoned by lunations, and every important ceremony took place at a certain phase of the moon; the solstices and equinoxes not being exactly determined but approximated to the nearest new or full moon. The number seven acquired peculiar sanctity, because the king died at the seventh full moon after the shortest day. Even when, after careful astronomical observation, the solar year proved to have 364 days, with a few hours left over, it had to be divided into months – that is, moon-cycles – rather than into fractions of the solar cycle. These months later became what the English-speaking world still calls ‘common-law months’, each of twenty-eight days; which was a sacred number, in the sense that the moon could be worshipped as a woman, whose menstrual cycle is normally twenty-eight days, and that this is also the true period of the moon’s revolutions in terms of the sun. The seven-day week was a unit of the common-law month, the character of each day being deduced, it seems, from the quality attributed to the corresponding month of the sacred king’s life. This system led to a still closer identification of woman with moon and, since the 364-day year is exactly divisible by twenty-eight, the annual sequence of popular festivals could be geared to these common-law months. As a religious tradition, the thirteen-month years survived among European peasants for more than a millennium after the adoption of the Julian Calendar; thus Robin Hood, who lived at the time of Edward II, could exclaim in a ballad celebrating the May Day festival:

How many merry months be in the year?

There are thirteen, I say…

which a Tudor editor has altered to‘… There are but twelve, I say…’ Thirteen, the number of the sun’s death-month, has never lost its evil reputation among the superstitious. The days of the week lay under the charge of Titans: the genii of sun, moon, and the five hitherto discovered planets, who were responsible for them to the goddess as Creatrix. This system had probably been evolved in matriarchal Sumeria.

Thus the sun passed through thirteen monthly stages, beginning at the winter solstice when the days lengthen again after their long autumnal decline. The extra day of the sidereal year, gained from the solar year by the earth’s revolution around the sun’s orbit, was intercalated between the thirteenth and the first month, and became the most important day of the 365, the occasion on which the tribal Nymph chose the sacred king, usually the winner of a race, a wrestling match, or an archery contest. But this primitive calendar underwent modifications: in some regions the extra day seems to have been intercalated, not at the winter solstice, but at some other New Year – at the Candlemas cross-quarter day, when the first signs of spring are apparent; or at the spring equinox, when the sun is regarded as coming to maturity; or at midsummer; or at the rising of the Dog Star, when the Nile floods; or at the autumnal equinox, when the first rains fall.

Early Greek mythology is concerned, above all else, with the changing relations between the queen and her lovers, which begin with their yearly, or twice-yearly sacrifices; and end, at the time when the Iliad, was composed and kings boasted: ‘We are far better than our fathers!’, with her eclipse by an unlimited male monarchy. Numerous African analogues illustrate the progessive stages of this change.

A large part of Greek myth is politico-religious history. Bellerophon masters winged Pegasus and kills the Chimaera. Perseus, in a variant of the same legend, flies through the air and beheads Pegasus’s mother, the Gorgon Medusa; much as Marduk, a Babylonian hero, kills the she-monster Tiamat, Goddess of the Sea. Perseus’s name should properly be spelled Pterseus, ‘the destroyer’; and he was not, as Professor Kerenyi has suggested, an archetypal Death-figure but, probably, represented the patriarchal Hellenes who invaded Greece and Asia Minor early in the second millennium B.C., and challenged the power of the Triple-goddess. Pegasus had been sacred to her because the horse with its moon-shaped hooves figured in the rain-making ceremonies and the instalment of sacred kings; his wings were symbolical of a celestial nature, rather than speed. Jane Harrison has pointed out (Prolegomena to the Study of Greek Religion, chapter v) that Medusa was once the goddess herself, hiding behind a prophylactic Gorgon mask: a hideous face intended to warn the profane against trespassing on her Mysteries. Perseus beheads Medusa: that is, the Hellenes overran the goddess’s chief shrines, stripped her priestesses of their Gorgon masks, and took possession of the sacred horses – an early representation of the goddess with a Gorgon’s head and a mare’s body has been found in Boeotia. Bellerophon, Perseus’s double, kills the Lycian Chimaera: that is, the Hellenes annulled the ancient Medusan calendar, and replaced it with another.

Again, Apollo’s destruction of the Python at Delphi seems to record the Achaeans’ capture of the Cretan Earth-goddess’s shrine; so does his attempted rape of Daphne, whom Hera thereupon metamorphosed into a laurel. This myth has been quoted by Freudian psychologists as symbolizing a girl’s instinctive horror of the sexual act; yet Daphne was anything but a frightened virgin. Her name is a contraction of Daphoene, ‘the bloody one’, the goddess in orgiastic mood, whose priestesses, the Maenads, chewed laurel-leaves as an intoxicant and periodically rushed out at the full moon, assaulted unwary travellers, and tore children or young animals in pieces; laurel contains cyanide of potassium. These Maenad colleges were suppressed by the Hellenes, and only the laurel grove testified to Daphoene’s former occupancy of the shrines: the chewing of laurel by anyone except the prophetic Pythian Priestess, whom Apollo retained in his service at Delphi, was tabooed in Greece until Roman times.

The Hellenic invasions of the early second millennium B.C., usually called the Aeolian and Ionian, seem to have been less destructive than the Achaean and Dorian ones, which they preceded. Small armed bands of herdsmen, worshipping the Aryan trinity of gods – Indra, Mitra, and Varuna – crossed the natural barrier of Mount Othrys, and attached themselves peacefully enough to the pre-Hellenic settlements in Thessaly and Central Greece. They were accepted as children of the local goddess, and provided her with sacred kings. Thus a male military aristocracy became reconciled to female theocracy, not only in Greece, but in Crete, where the Hellenes also gained a foothold and exported Cretan civilization to Athens and the Peloponnese. Greek was eventually spoken throughout the Aegean and, by the time of Herodotus, one oracle alone spoke a pre-Hellenic language (Herodotus: viii. 134–5). The king acted as the representative of Zeus, or Poseidon, or Apollo, and called himself by one or other of their names, though even Zeus was for centuries a mere demi-god, not an immortal Olympian deity. All early myths about the gods’ seduction of nymphs refer apparently to marriages between Hellenic chieftains and local Moon-priestesses; bitterly opposed by Hera, which means by conservative religious feeling.

When the shortness of the king’s reign proved irksome, it was agreed to prolong the thirteen-month year to a Great Year of one hundred lunations, in the last of which occurs a near-coincidence of solar and lunar time. But since the fields and crops still needed to be fructified, the king agreed to suffer an annual mock death and yield his sovereignty for one day – the intercalated one, lying outside the sacred sidereal year – to the surrogate boy-king, or interrex, who died at its close, and whose blood was used for the sprinkling ceremony. Now the sacred king either reigned for the entire period of a Great Year, with a tanist as his lieutenant; or the two reigned for alternate years; or the Queen let them divide the queendom into halves and reign concurrently. The king deputized for the Queen at many sacred functions, dressed in her robes, wore false breasts, borrowed her lunar axe as a symbol of power, and even took over from her the magical art of rain-making. His ritual death varied greatly in circumstance; he might be torn in pieces by wild women, transfixed with a sting-ray spear, felled with an axe, pricked in the heel with a poisoned arrow, flung over a cliff, burned to death on a pyre, drowned in a pool, or killed in a pre-arranged chariot crash. But die he must. A new stage was reached when animals came to be substituted for boys at the sacrificial altar, and the king refused death after his lengthened reign ended. Dividing the realm into three parts, and awarding one part to each of his successors, he would reign for another term; his excuse being that a closer approximation of solar and lunar time had now been found, namely nineteen years, or 325 lunations. The Great Year had become a Greater Year.

Throughout these successive stages, reflected in numerous myths, the sacred king continued to hold his position only by right of marriage to the tribal Nymph, who was chosen either as a result of a foot race between her companions of the royal house or by ultimogeniture – that is to say, by being the youngest nubile daughter of the junior branch. The throne remained matrilineal, as it theoretically did even in Egypt, and the sacred king and his tanist were therefore always chosen from outside the royal female house; until some daring king at last decided to commit incest with the heiress, who ranked as his daughter, and thus gain a new title to the throne when his reign needed renewal.

Achaean invasions of the thirteenth century B.C. seriously weakened the matrilineal tradition. It seems that the king now contrived to reign for the term of his natural life; and when the Dorians arrived, towards the close of the second millennium, patrilineal succession became the rule. A prince no longer left his father’s house and married a foreign princess; she came to him, as Odysseus persuaded Penelope to do. Genealogy became patrilineal, though a Samian incident mentioned in the Pseudo-Herodotus’s Life of Homer shows that for some time after the Apatoria, or Festival of Male Kinship, had replaced that of Female Kinship, the rites still consisted of sacrifices to the Mother Goddess which men were not eligible to attend.

The familiar Olympian system was then agreed upon as a compromise between Hellenic and pre-Hellenic views: a divine family of six gods and six goddesses, headed by the co-sovereigns Zeus and Hera and forming a Council of Gods in Babylonian style. But after a rebellion of the pre-Hellenic population, described in the Iliad as a conspiracy against Zeus, Hera became subservient to him. Athene avowed herself ‘all for the Father’ and, in the end, Dionysus assured male preponderance in the Council by displacing Hestia. Yet the goddesses, though left in a minority, were never altogether ousted – as they were at Jerusalem – because the revered poets Homer and Hesiod had ‘given the deities their titles and distinguished their several provinces and special powers’ (Herodotus: ii. 53), which could not be easily expropriated. Moreover, though the system of gathering all the women of royal blood together under the king’s control, and thus discouraging outsiders from attempts on a matrilineal throne, was adopted at Rome when the Vestal College was founded, and in Palestine when King David formed his royal harem, it never reached Greece. Patrilineal descent, succession, and inheritance discourage further myth-making; historical legend then begins and fades into the light of common history.

The lives of such characters as Heracles, Daedalus, Teiresias, and Phineus span several generations, because these are titles rather than names of particular heroes. Yet myths, though difficult to reconcile with chronology, are always practical: they insist on some point of tradition, however distorted the meaning may have become in the telling. Take, for instance, the confused story of Aeacus’s dream, where ants, falling from an oracular oak, turn into men and colonize the island of Aegina after Hera has depopulated it. Here the main points of interest are: that the oak had grown from a Dodonian acorn; that the ants were Thessalian ants; and that Aeacus was a grandson of the River Asopus. These elements combined to give a concise account of immigrations into Aegina towards the end of the second millennium B.C.

Despite a sameness of pattern in Greek myths, all detailed interpretations of particular legends are open to question until archaeologists can provide a more exact tabulation of tribal movements in Greece, and their dates. Yet the historical and anthropological approach is the only reasonable one: the theory that Chimaera, Sphinx, Gorgon, Centaurs, Satyrs and the like are blind uprushes of the Jungian collective unconscious, to which no precise meaning had ever, or could ever, have been attached, is demonstrably unsound. The Bronze and early Iron Ages in Greece were not the childhood of mankind, as Dr Jung suggests. That Zeus swallowed Metis, for instance, and subsequently gave birth to Athene, through an orifice in his head, is not an irrepressible fancy, but an ingenious theological dogma which embodies at least three conflicting views:

(1) Athene was the parthenogenous daughter of Metis; i.e. the youngest person of the Triad headed by Metis, Goddess of Wisdom.

(2) Zeus swallowed Metis; i.e. the Achaeans suppressed her cult and arrogated all wisdom to Zeus as their patriarchal god.

(3) Athene was the daughter of Zeus; i.e. the Zeus-worshipping Achaeans spared Athene’s temples on condition that her votaries accepted his paramount sovereignty.

Zeus’s swallowing of Metis, with its sequel, will have been represented graphically on the walls of a temple; and as the erotic Dionysus – once a parthenogenous son of Semele – was reborn from his thigh, so the intellectual Athene was reborn from his head.

If some myths are baffling at first sight, this is often because the mythographer has accidentally or deliberately misinterpreted a sacred picture or dramatic rite. I have called such a process ‘iconotropy’, and examples of it can be found in every body of sacred literature which sets the seal upon a radical reform of ancient beliefs. Greek myth teems with iconotropic instances. Hephaestus’s three-legged workshop tables, for example, which ran by themselves to assemblies of the gods, and back again (Iliad xviii. 368 ff.), are not, as Dr Charles Seltman archly suggests in his Twelve Olympian Gods, anticipations of automobiles; but golden Sun-disks with three legs apiece (like the emblem of the Isle of Man), apparently representing the number of three-season years for which a ‘son of Hephaestus’ was permitted to reign in the island of Lemnos. Again, the so-called ‘Judgement of Paris’, where a hero is called upon to decide between the rival charms of three goddesses and awards his apple to the fairest, records an ancient ritual situation, outgrown by the time of Homer and Hesiod. These three goddesses are one goddess in triad: Athene the maiden, Aphrodite the nymph, and Hera the crone – and Aphrodite is presenting Paris with the apple, rather than receiving it from him. This apple, symbolizing her love bought at the price of his life, will be Paris’s passport to the Elysian Fields, the apple orchards of the west, to which only the souls of heroes are admitted. A similar gift is frequently made in Irish and Welsh myth; as well as by the Three Hesperides, to Heracles; and by Eve, ‘the Mother of All Living’, to Adam. Thus Nemesis, goddess of the sacred grove who, in late myth, became a symbol of divine vengeance on proud kings, carries an apple-hung branch, her gift to heroes. All neolithic and Bronze Age paradises were orchard-islands; paradise itself means ‘orchard’.

A true science of myth should begin with a study of archaeology, history, and comparative religion, not in the psycho-therapist’s consulting-room. Though the Jungians hold that ‘myths are original revelations of the pre-conscious psyche, involuntary statements about unconscious psychic happenings’, Greek mythology was no more mysterious in content than are modern election cartoons, and for the most part formulated in territories which maintained close political relations with Minoan Crete – a country sophisticated enough to have written archives, four-storey buildings with hygienic plumbing, doors with modern-looking locks, registered trademarks, chess, a central system of weights and measures, and a calendar based on patient astronomic observation.

My method has been to assemble in harmonious narrative all the scattered elements of each myth, supported by little-known variants which may help to determine the meaning, and to answer all questions that arise, as best I can, in anthropological or historical terms. This is, I am well aware, much too ambitious a task for any single mythologist to undertake, however long or hard he works. Errors must creep in. Let me emphasize that any statement here made about Mediterranean religion or ritual before the appearance of written records is conjectural. Nevertheless, I have been heartened, since this book first appeared in 1955, by the close analogues which E. Meyrowitz’s Akan Cosmological Drama (Faber & Faber) offers to the religious and social changes here presumed. The Akan people result from an ancient southward emigration of Libyo-Berbers – cousins to the pre-Hellenic population of Greece – from the Sahara desert oases (see 3. 3) and their inter-marriage at Timbuctoo with Niger River negroes. In the eleventh century A.D. they moved still farther south to what is now Ghana. Four different cult-types persist among them. In the most primitive, the Moon is worshipped as the supreme Triple-goddess Ngame, clearly identical with the Libyan Neith, the Carthaginian Tanit, the Canaanite Anatha, and the early Greek Athene (see 8. 1). Ngame is said to have brought forth the heavenly bodies by her own efforts (see 1. 1), and then to have vitalized men and animals by shooting magical arrows from her new-moon bow into their inert bodies. She also, it is said, takes life in her killer aspect; as did her counterpart, the Moon-goddess Artemis (see 22. 1). A princess of royal line is judged capable, in unsettled times, of being overcome by Ngame’s lunar magic and bearing a tribal deity which takes up its residence in a shrine and leads a group of emigrants to some new region. This woman becomes queen-mother, war-leader, judge, and priestess of the settlement she founds. The deity has meanwhile revealed itself as a totem animal which is protected by a close tabu, apart from the yearly chase and sacrifice of a single specimen; this throws light on the yearly owl-hunt made by the Pelasgians at Athens (see 97. 4). States, consisting of tribal federations, are then formed, the most powerful tribal deity becoming the State-god.

The second cult-type marks Akan coalescence with Sudanese worshippers of a Father-god, Odomankoma, who claimed to have made the universe single-handedly (see 4. c); they were, it seems, led by elected male chieftains, and had adopted the Sumerian seven-day week. As a compromise myth, Ngame is now said to have vitalized Odomankoma’s lifeless creation; and each tribal deity becomes one of the seven planetary powers. These planetary powers – as I have presumed also happened in Greece when Titan-worship came in from the East (see 11. 3) – form male-and-female pairs. The queen-mother of the state, as Ngame’s representative, performs an annual sacred marriage with Odomankoma’s representative: namely her chosen lover whom, at the close of the year, the priests murder, skin, and flay. The same practice seems to have obtained among the Greeks (see 9. a and 21. 5).

In the third cult-type, the queen-mother’s lover becomes a king, and is venerated as the male aspect of the Moon, corresponding with the Phoenician god Baal Haman; and a boy dies vicariously for him every year as a mock-king (see 30. 1). The queen-mother now delegates the chief executive powers to a vizier, and concentrates on her ritual fertilizing functions.

In the fourth cult-type, the king, having gained the homage of several petty kings, abrogates his Moon-god aspect and proclaims himself Sun-king in Egyptian style (see 67. 1 and 2). Though continuing to celebrate the annual sacred marriage, he frees himself from dependence on the Moon. At this stage, patrilocal supersedes matrilocal marriage, and the tribes are supplied with heroic male ancestors to worship, as happened in Greece – though sun-worship there never displaced thunder-god worship.

Among the Akan, every change in court-ritual is marked by an addition to the accepted myth of events in Heaven. Thus, if the king has appointed a royal porter and given his office lustre by marrying him to a princess, a divine porter in Heaven is announced to have done the same. It is likely that Heracles’s marriage to the Goddess Hebe and his appointment as porter to Zeus (see 145. i and j) reflected a similar event at the Mycenaean Court; and that the divine feastings on Olympus reflected similar celebrations at Olympia under the joint presidency of the Zeus-like High King of Mycenae and Hera’s Chief Priestess from Argos.

I am deeply grateful to Janet Seymour-Smith and Kenneth Gay for helping me to get this book into shape, to Peter and Lalage Green for proof-reading the first few chapters, to Frank Seymour-Smith for sending scarce Latin and Greek texts from London, and to the many friends who have helped me to amend the first edition.

R. G.

Deyá, Majorca,

Spain.

NOTE

Each myth is first recounted as a narrative, the paragraphs being identified by italic letters (a, b, c,…). Next follows a list of sources, numbered in accordance with the references in the text. Then comes an explanatory comment, divided into paragraphs identified by italic numbers (1, 2, 3,…). Cross-references from one explanatory section to another are made by giving the myth number and paragraph number, thus: (43. 4) directs the reader to par. 4 of the third (explanatory) section of myth 43.

1. See 4; 69; 83; 84; 87; 89; 99; 106; 136; 161; 162–5; 170.

1

THE PELASGIAN CREATION MYTH

IN the beginning, Eurynome, the Goddess of All Things, rose naked from Chaos, but found nothing substantial for her feet to rest upon, and therefore divided the sea from the sky, dancing lonely upon its waves. She danced towards the south, and the wind set in motion behind her seemed something new and apart with which to begin a work of creation. Wheeling about, she caught hold of this north wind, rubbed it between her hands, and behold! the great serpent Ophion. Eurynome danced to warm herself, wildly and more wildly, until Ophion, grown lustful, coiled about those divine limbs and was moved to couple with her. Now, the North Wind, who is also called Boreas, fertilizes; which is why mares often turn their hind-quarters to the wind and breed foals without aid of a stallion.1 So Eurynome was likewise got with child.

b. Next, she assumed the form of a dove, brooding on the waves and, in due process of time, laid the Universal Egg. At her bidding, Ophion coiled seven times about this egg, until it hatched and split in two. Out tumbled all things that exist, her children: sun, moon, planets, stars, the earth with its mountains and rivers, its trees, herbs, and living creatures.

c. Eurynome and Ophion made their home upon Mount Olympus, where he vexed her by claiming to be the author of the Universe. Forthwith she bruised his head with her heel, kicked out his teeth, and banished him to the dark caves below the earth.2

d. Next, the goddess created the seven planetary powers, setting a Titaness and a Titan over each. Theia and Hyperion for the Sun; Phoebe and Atlas for the Moon; Dione and Crius for the planet Mars; Metis and Coeus for the planet Mercury; Themis and Eurymedon for the planet Jupiter; Tethys and Oceanus for Venus; Rhea and Cronus for the planet Saturn.3 But the first man was Pelasgus, ancestor of the Pelasgians; he sprang from the soil of Arcadia, followed by certain others, whom he taught to make huts and feed upon acorns, and sew pig-skin tunics such as poor folk still wear in Euboea and Phocis.4

1. Pliny: Natural History iv. 35 and viii. 67; Homer: Iliad xx, 223.

2. Only tantalizing fragments of this pre-Hellenic myth survive in Greek literature, the largest being Apollonius Rhodius’s Argonautica i. 496–505 and Tzetzes: On Lycophron 1191; but it is implicit in the Orphic Mysteries, and can be restored, as above, from the Berossian Fragment and the Phoenician cosmognies quoted by Philo Byblius and Damascius; from the Canaanitish elements in the Hebrew Creation story; from Hyginus (Fabula 197 – see 62. a); from the Boeotian legend of the dragon’s teeth (see 58. 5); and from early ritual art. That all Pelasgians were born from Ophion is suggested by their common sacrifice, the Peloria (Athenaeus: xiv. 45. 639–40), Ophion having been a Pelor, or ‘prodigious serpent’.

3. Homer: Iliad v. 898; Apollonius Rhodius: ii 1232; Apollodorus: i.1.3; Hesiod: Theogony 113; Stephanus of Byzantium sub Adana; Aristophanes: Birds 692 ff.; Clement of Rome: Homilies vi. 4. 72; Proclus on Plato’s Timaeus ii. p. 307.

4. Pausanias: viii. 1. 2.

image

1. In this archaic religious system there were, as yet, neither gods nor priests, but only a universal goddess and her priestesses, women being the dominant sex and man her frightened victim. Fatherhood was not honoured, conception being attributed to the wind, the eating of beans, or the accidental swallowing of an insect; inheritance was matrilineal and snakes were regarded as incarnations of the dead. Eurynome (‘wide wandering’) was the goddess’s title as the visible moon; her Sumerian name was Iahu (‘exalted dove’), a title which later passed to Jehovah as the Creator. It was as a dove that Marduk symbolically sliced her in two at the Babylonian Spring Festival, when he inaugurated the new world order.

2. Ophion, or Boreas, is the serpent demiurge of Hebrew and Egyptian myth – in early Mediterranean art, the Goddess is constantly shown in his company. The earth-born Pelasgians, whose claim seems to have been that they sprang from Ophion’s teeth, were originally perhaps the neolithic ‘Painted Ware’ people; they reached the mainland of Greece from Palestine about 3500 B.C., and the early Hellads – immigrants from Asia Minor by way of the Cyclades – found them in occupation of the Peloponnese seven hundred years later. But ‘Pelasgians’ became loosely applied to all pre-Hellenic inhabitants of Greece. Thus Euripides (quoted by Strabo v. 2.4) records that the Pelasgians adopted the name ‘Danaans’ on the coming to Argos of Danaus and his fifty daughters (see 60. f). Strictures on their licentious conduct (Herodotus: vi. 137) refer probably to the pre-Hellenic custom of erotic orgies. Strabo says in the same passage that those who lived near Athens were known as Pelargi(‘storks’); perhaps this was their totem bird.

3BC67. 243. 477. 1