Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Power is one of the most coveted forms of supremacy in “Theogony” and the “Enuma Elish”, which establish similar terms of divine hierarchical order by exalting a supreme ruler. Both poems tell us how important power was to the Gods and the subjects worshiping them. In these works the “rulers of the Gods”, Zeus and Marduk, earn and display dominant powers which are similar in many ways. To gain power, you have to earn it. Which is what both Zeus and Marduk do as accounted for in “Theogony” and the “Enuma Elish.” The succession myths in both works are strong preoccupations that play a pivotal role in allotting power. In both cases, the text highlights the dilemmas of unkind fathers, vengeful mothers, and aspiring sons who obtain the power they seek. In “Theogony” the succession myth starts with the superior deities, Ouranos and Gaia. Promptly, his own son, Cronos, making this the first instance of a shift in power, castrates Ouranos. After this, Cronos becomes paranoid that his son will overthrow him one day. Cronos was right to be paranoid because Zeus bested his father in the war of the Titans and Olympians. Because Zeus spearheaded this coup, this overthrow served as his primary …show more content…
claim to the power that had been passed down as “Theogony” played out. Similarly, in the “Enuma Elish” the primeval waters, Apsu and Tiamat, come to the forefront of the creation story. As time passes a younger god, Ea, puts Apsu in a coma diminishing his power. Tiamat responds to this problem by giving her new husband, Kingu, the tablet of destinies furthering the theme of moving power down a lineage of supreme Gods. Later Ea’s son, Marduk, challenged Tiamat and Apsu in a great theomachy, much like the Titans vs. Olympian war seen in the text of Hesiod, and emerges triumphantly. Within the succession myth in “Theogony”, the passage of power from father to son is one that accounts for why it was such a sought-after trait. The desire for power in the text is on such a magnitude that two generations of supreme Gods get wiped out before things start to settle in the cosmos. Since Zeus arrived triumphantly on top, power lies with him. Hesiod tells us that Zeus is “King in the sky, He holds the vajra thunder and flashing lightning.” (Line 72). By succeeding his fathers, Zeus rose to be king encompassing the sky as his domain. The sky is significant in “Theogony” because it was above everything: the terrestrial realm, the oceans, and even the underworld. Because Zeus gained control of the sky and its resources, thunder and lighting, he becomes entitled to use them to rule, justifying his power throughout the text. Marduk stumbles upon his basis of power in a similar way, he too triumphed over his predecessors in a great theomachy. Gaining power by these means allow for the generation of gods he was leading to respect him. With respect comes praise, which entitles power to the receiver. The “Enuma Elish” expresses its inherent value in supremacy being tightly woven with power when Kingu had received the tablet of destinies from Tiamat. In Marduk’s case he earned his own power, “Marduk, thou art our avenger; To thee we have given kingship over the totality of the whole universe.” (Heidel Tablet IV 13-14). Marduk did something the rest of the Gods in the “Enuma Elish” deemed worthy which designated more significance to his imperial power. In “Theogony” and the “Enuma Elish” both supreme gods are given multiple names and titles to assert their superiority. By tying many weighty names to one Supreme Being the writings allow for that Being to be perceived as all powerful. The Gods like Zeus and Marduk were given a dominant meaning as well as many symbolic meanings to further strengthen their hold on power among the Gods. It is prevalent that both texts are preoccupied with establishing power by emphasizing the naming of characters. Zeus is often introduced in many different forms throughout Hesiod’s work, “The Olympian Muses, daughters of Zeus Aegisholder.” (Hesiod 26). Here Zeus is distinguished in many ways: As Zeus himself, as the father of the muses, and as the Aegisholder. All three associations hold the strength of identification and give immense power to Zeus’ being. This theme of naming is also represented in the “Enuma Elish”, in which Marduk is excessively glorified by being given fifty significant names. Asaralim, who carries weight in the house of counsel, on whom the gods did wait, for fear had taken hold on them. Asuralimnunna, the mighty one, the light of the father of his begetter. (Heidel Tablet VII 3-5) In this instance Marduk is named as Asaralim and Asuralimnunna. Asaralim is recognized as a leader whose word carries significant weight in any judicial debate. Asuralimnunna is also seen as a mighty ruler who has succeeded his father and taken over supreme power. Marduk was commemorated as an authority figure in council and for overthrowing his superiors, as cited above, and in addition to that he was also seen as the God who allowed for flourishing crops and the administer of justice among many other things. In Zeus’ case, he was known by titles associated with lesser deities like the father of the muses. By doing this, Hesiod allowed connections between Zeus and the muses to be made, in turn, asserting Zeus’ superiority over that of the muses whom were already glorified figures in the text. Being seen as begetter of the muses, it connotes that Zeus holds power over them and all of their designated power. The meticulous naming created a chain of power to which Zeus would succeed to the top in any situation. Zeus is also repeatedly celebrated as the Aegisholder. The Aegis was the shield Zeus carried with the head of the Gorgon at its center. (Levine 2014) To establish Zeus as the bearer of a sacred shield alludes to his symbolic meaning in “Theology.” A shield has the power to support a warrior and protect them. Zeus, being seen as the Aegisholder suggests that it is destined in him to lead and protect his subjects. Establishing Zeus as a dominant leader fundamentally ties into why he is hoisted into a position of so much power and authority. He is the one who has shown his worth to be able to carry such a shield, so his powers must equate to that of divine greatness. In the “Enuma Elish”, Marduk’s power is exceptionally recognized by the many titles he embodies. It seems as if the intent behind repeatedly listing more and more associations to Marduk is to ascertain that it is him that is viewed as the almighty. By setting out all the bounds that Marduk oversees (with different names associated with each) the text stresses the importance of recognition. To have Marduk be recognized in any way, be it by the name of Asaralim, Asuralimnunna, or another of his fifty, was enough to justify bestowing him with power. Another significant form of power Zeus and Marduk seem to both embody is their authority to give rise to tangible constructs be it populations or celestial/terrestrial realms. The act of creation is one reserved to the almighty in both “Theogony” and the “Enuma Elish.” By creating facets of life, each supreme deity brought order out of chaos, which is an inherent value prevalent in both of these etiological texts, and it gives the creator the power to rule. Zeus’ Power is established after the theomachy between the Titans and the Olympians. After which, He was given command of the sky and all the other Olympian Gods. Zeus then begat many children to populate his domain in which he ruled. In “Theogony”, Zeus is the first of the Gods to have the power to bring to life a plethora of offspring. This idea of fatherhood holds significant value to the idea of power automatically being given to the one who begat. Marduk draws power from, essentially, re-creating creation. He does this like Zeus, after a theomachy, which he won on behalf of the younger generations of Gods. Marduk then uses the vanquished corpse of Tiamat to reconsolidate earth as a landmass. In addition to establishing ground, Marduk then uses the blood from the veins of Kingu to populate the earth with the race of mankind. In the “Enuma Elish” Marduk one-ups Zeus in this front of power by creating both a landmass and residents to inhabit it rather than just a pedigree of gods. In “Theogony”, after the Olympians cast the Titans down to Tartaros, an emphasis on lineage emerges in which Zeus becomes the father of seemingly everything else.
He divided up the universe to bring order from chaos. Hesiod writes, “He ordained Laws for the gods and assigned them their rights.” (74-75). By taking many wives, and lovers, Zeus asserts himself as the master of creation. To be father of the muses, the graces, and the fates holds immense responsibility in itself because they control so much of the universe with only their father to instruct them. The responsibilities Zeus creates for himself (his children) are a key contributor to his power. Being as the succession myth stopped when Zeus began fathering children justifies how the text exemplifies his almighty power to
rule. Marduk takes his claim to power passionately, and violently. “Punishment they inflicted upon him [Kingu] by cutting the arteries of his blood. With his blood they created mankind;” (Heidel Tablet VI 32-33). In order to ascertain Marduks power, the “Enuma Elish” is fixated on creating a fervent image for him. He rips Tiamat’s corpse to create land and spills Kingu’s blood to produce mankind. The connotation behind his actions implies that Marduk is mighty warrior whom deserves his position in council. This is something the “Enuma Elish” continually does by reinforcing the idea that Marduk becomes the ultimate creator because he has re-created creation after his ancestors demise. References: Bruce Almightly. Dir. Tom Shadyac. Perf. Jim Carrey. Universal Studios and Spyglass Entertainment, 2003. Film. Heidel, A. “The Babylonian Genesis; The Story of Creation.” Chicago: The University of Chicago Press (1951) Hesiod. “Works and Days and Theogony.” Trans. Stanley Lombardo. Hackett Publishing, 1993. Levine, D. “Theogony: Birth of the Gods.” Hillside Auditorium, University of Arkansas. 02 September 2014. H2P lecture.
From the beginning, the gods emerged from “cosmic forces” and slowly defined their individual personalities and forms, “their functions articulated in relation to each other” (Clay 105). The authority of Zeus forces the rest of the gods to keep their powers balanced by filling certain niches. In the Eumenides, Pythia begins by singing a prayer to honor the gods. Although she first honors Gaia, Pythia spends a few lines talking about Apollo and his relation to Zeus. When she calls on Zeus, she calls him “the Fulfiller, the highest god” (Aeschylus, Eumenides, p. 112, 17-19). Her approval and reverence towards Zeus is made clear immediately. Even before that, Pythia acknowledges that Apollo was “Zeus inspired” and the “spokesman of Zeus,” thus making him higher up in her hierarchy of gods (Aeschylus, Eumenides, p. 112, 17-19). Zeus is known for his many godly offspring who were all “Zeus inspired”. Along with Apollo, god of music and arts, this list also includes Athena, goddess of wisdom and war. Being made from the same cosmic forces, all of the gods developed their own strengths to fulfil certain niches (Clay 106) At the end of this individualization process, there is the “emergence of a stable, ordered, and harmonious cosmos” (Clay 106). As a result, new standards of conforming and being uniform became apparent through the
Even though “The Enuma Elish” and “Theogony” may appear to be similar creation stories, where younger gods overthrow older gods, they actually have a pivotal difference that sets them apart. In the “The Enuma Elish”, the deaths of the gods facilitate creation through the corpses of the deceased. Whereas in “Theogony”, sex enables creation. Throughout the text, Gods give birth either to cultural concepts or to physical aspects of the world. The most significant difference between “The Enuma Elish” and “Theogony” is the driving force of creation.
In a succession myth, the familial relationship between the gods is significant. In the three works: The Babylonian Enuma Elish, The Hittite Illuyanka Myths (version 2) and the Greek Theogony by Hesiod; it can be argued that the succession of the gods is a reflection of their power and that this power eventually leads to a redistribution of position within the gods. In the Babylonian Enuma Elish, each generation of god is proclaimed to be stronger than the last and eventually this culmination of power leads to Marduk killing his great-great grandmother. In the Illuyanka myths (version 2) there is a decrease of power in the line of succession but the power is restored to the Storm God in the form of his heart and his eyes. In the Greek poet Hesiod’s Theogony, gods and monsters (Cyclopes) also become more powerful with each succession, as in the Enuma Elish, and Zeus overthrows his father fulfilling the prophecy given by Heaven and Earth.
In a succession myth, the familial relationship between the gods is significant. In the three works: The Babylonian Enuma Elish, The Hittite Illuyanka Myths (version 2) and the Greek Theogony by Hesiod; it can be argued that the succession of the gods is a reflection of their power and that this power eventually leads to a redistribution of position within the gods. In the Babylonian Enuma Elish, each generation of god is proclaimed to be stronger than the last and eventually this culmination of power leads to Marduk killing his great-great grandmother. In the Illuyanka myths (version 2) there is a decrease of power in the line of succession but the power is restored to the Storm God in the form of his heart and his eyes. In the Greek poet Hesiod’s Theogony, gods and monsters (Cyclopes) also become more powerful with each succession and Zeus overthrows his father fulfilling the prophecy given by Heaven and Earth.
In The Metamorphoses, Ovid’s book six tells us a story about Arachne who is the daughter of Idmon and an incredible weaver, challenged by the goddess Minerva. When Arachne wins the challenge it causes Minerva to strike back with violence. While reading Ovid’s stories, we recognize that he wrote stories based on the way the mind contemplates trauma. Ovid is interested in human awareness, and he helps us comprehend the emotions of the powerful and powerless. The gods express possessiveness, envy, and anger towards each other. At this time, in Ovid’s Roman World the gods have the power to manipulate and use their evil strategies. I will be concentrating on Arachne and Minerva; how their emotions take a big sorrow during the time when the powerful takes over the less powerful and punishes them abusively. I will deliberate primarily on the themes of emotions, power, of the gods to show the powerless.
As Greek governing power was within aristocracy, their gods were also viewed as somewhat of an aristocracy. I say this to elucidate that there is a unique relationship between a leader or ruler and his society’s god – in perception by the people, and by interaction.
The relationships between parents and their sons in the Iliad are not relationships we expect to see in today’s society. The Iliad portrays the relationships between fathers and sons as something more than just physical and emotional. It is based on pride and respect for one another. The expectations of their son are more so to pass on their fathers reputable name and to follow in their father’s footsteps of being noble warriors. These relationships are the driving forces in the Iliad, making each son in the Iliad identifiable first by their father’s name. An outcome of the father–son relationships is ancestral loyalty among the characters which play a prominent role in war. Therefore, not only does the Iliad share a major war story, but the strong relationships among fathers and sons, ancestral loyalty among characters, and relationships between mothers and sons.
The relationship between gods and mortals in mythology has long been a complicated topic. The gods can be generous and supportive, and also devastating and destructive to any group of humans. Mortals must respect the powers above them that cannot be controlled. The gods rule over destiny, nature, and justice, and need to be recognized and worshipped for the powerful beings as they are. Regardless of one's actions, intentions, and thoughts, the gods in Greek myth have ultimate power and the final decision of justice over nature, mortals, and even each other.
On the other hand, Zeus is a strong, albeit authoritarian leader for both the other gods and mortals. Zeus is required to rule, sometimes absolutely, and when someone under his rule commits an act of treason, he is required to address the issue. When Zeus the leader acts forcefully, the rest of those under his reign will get the message. Prometheus’s act of handing o...
As I said before, Zeus is the father of all gods and humans. He represents the idea of an independent moral code that all humans and immortals must obey. If any god or mortal did not follow this moral code, Zeus would enforce justice and watch over the punishment of the wrongdoers (Cunningham and Reich 33). Although Zeus is known for representing a moral code, Zeus’ behavior was far from moral. “Zeus was subject to pleasure, pain, grief, and anger, but he was most susceptible to the power of Eros – love, which often got the objects of his desire in a lot of trouble with his wife, Hera. Zeus wa...
the Gods in the affairs of humanity is much greater in the Iliad then in the
One of the most compelling topics The Iliad raises is that of the intricate affiliations between fate, man and the gods. Many events related by Homer in his epic poem exhibit how these three connections interweave and eventually determine the very lives of the men and women involved in the war. Homer leaves these complex relationships slightly unclear throughout the epic, never spelling out the exact bonds connecting men's fate to the gods and what can be considered the power of fate. The motivation for the ambiguousness present in The Iliad is not easily understood, but it is a question that enriches and helps weave an even greater significance of the results into Homer's masterpiece. I feel that the interaction between man, god, and fate can be shown to be one great fluidity that ultimately leaves life mysterious, giving much more depth and complexity to the bonds between the three.
Homer’s ancient masterpiece, The Iliad, held tremendous religious and otherworldly elements during the time of the Trojan War. Heroes were born from divine beings and warriors, and kings consulted prophets to seek answers and guidance. Gods entered the battlefield to protect their champions by giving advice or taking part in the fighting. Unfortunately, humans were only mere pawns in their game of thrones. In contrast, Kalidasas’ Sakuntala, is a romantic drama between two young lovers, both of noble houses. This story also utilizes the power of the supernatural. However, the Gods intervention did not alter the characters’ destinies, but influenced them through guidance. This aspect is not revealed until the end of the story. Both stories differ from each other in supernatural status, while the Iliad ending is somber, in Sakuntala it prevails blithely.
In this essay, I hope to provide answers to how the actions of Hippolytus and Phaedra relate to the gods, whether or not the characters concern themselves with the reaction of the gods to their behavior, what the characters expect from the gods, how the gods treat the humans, and whether or not the gods gain anything from making the humans suffer. Before we can discuss the play, however, a few terms need to be defined. Most important would be the nature of the gods. They have divine powers, but what exactly makes the Greek gods unique should be explored. The Greek gods, since they are anthropomorphic, have many of the same characteristics as humans.
Zeus is the god of law, justice, morals, thunder, lightning, and rain. It was his job to oversee and make sure laws were being kept. He was worshipped originally as a weather god. He was depicted as a middle-aged man with a youthful appearance; he was regale and was almost always shown ready to throw a lightning bolt (pantheon/zeus).