Father and son power struggles in Greek mythology are life and death matters. In the Greek Mythology God and Goddesses Documentary and Hesiod, Theogony this subject is brought up two specific times. Coincidentally these two power struggles were present within the same family lineage. The first power struggle occurs with Ouranos (Heaven) and his children. The documentary recalls that Gaia (Earth Goddess) sleeps with Ouranos. Ouranos, threatened by his children prevents their birth. Gaia, who does want children, conspires with one of her unborn children Cronos, who castrates his father from the womb. Ouranos genitals fall into the sea from which Aphrodite (Goddess of love) emerges. Hesiod, Theogony states that “Earth first bore starry Heaven”, meaning Ouranos was Gaia’s son. Similarly, to the documentary, she sleeps with him and carries many children, one in particular by the name of Cronos. Cronos the youngest who hates his father was devious, and the most terrible of her children. As soon as each child was conceived Ouranos hid his children in secret places in the Earth and rejoices in his evil doings. Earth had enough, so she came up with an evil plan. She attempts to persuade her sons to punish Heaven, no one but Cronos was courageous enough to help his mother. Earth provides Cronos with a …show more content…
jagged sickle while he is still within the womb. Cronos chops off his father members and they fall from his hand and are swept into the surging sea, from which emerges Aphrodite (Goddess of love). After the following series of events, the documentary states that Cronos frees his brothers and sisters and they are classified as the titans. Cronos later falls in love with Rhea (his sister), leading to the second power struggle. Mentioned in both the documentary and Hesiod, Theogony each time Rhea and Cronos have kids Cronos swallows the children. The Hesiod, Theogony states that this is to prevent them from taking his rightful place as king as he heard from Earth and Heaven that his destiny was to be overcome by his own son. The documentary explains how Rhea decides to hide one of her kids in a cave and tricks Cronos by presenting him with a wrapped up stone instead of a baby for Cronos to swallow. Hesiod, Theogony mentions that Rhea asks her parents, Earth and Heaven to help set up a plan to conceal the birth of her baby. They help her and tell her what was destined to happen to Cronos and his son. They sent her to Crete, where she births Zeus, who Earth hides in a cave. Similarly, in the Hesiod, Theogony, Cronos is tricked with a wrapped stone unaware of the whole situation. Hesiod, Theogony remarks that Cronos was later vanquished by Zeus and vomited the stone that was used to trick him. After Zeus attacks his father in both the documentary and Hesiod, Theogony he rescues his brothers and sisters. Hesiod, Theogony explains that his siblings were grateful to him for his kindness, and gave him thunder and the glowing thunderbolt and lightning, which before this incident Earth had hidden. Through this power, Zeus rules over the mortals and immortals. The documentary mentions that the freedom of Zeus and his siblings resulted in the Olympian Gods, who take over Mount Olympus. It is interesting that the power struggles happen to be between Cronos and Ouranos and then Cronos and Zeus.
Cronos fights against his father, Ouranos, because of his evil ways, yet ironically mirror his father's actions almost identically to his own children. It is also interesting to note that the fathers, as seen in the above two scenarios, do not seem to be the victors in the power struggles but rather the young sons. They are both easily defeated as well; one by a child still within his mother's womb and the other is tricked with a stone. Although these are the two power struggles mentioned, the documentary reveals that this was actually a common theme for the
Greeks.
While reading Theogony, it becomes apparent that Hesiod shows a bias for the eventual “fathers-sons” outcome, as the male sky-god Zeus is the literary equivalent of a “godmodding” character, or when character has the ability to do practically anything without limits or boundaries. As the story progresses, it becomes a pattern that last-born sons are trouble for their fathers. This pattern is consistent until Zeus takes over, when a potential first-born son becomes the problem. There is also something to be said about how often that the last-born sons are trouble for their fathers. The pattern is consistent until Zeus takes over, when a first-born son becomes the
The Odyssey tells the story of Odysseus and his both literal and figurative journey home to Ithaka. When the great king, Odysseus travels to Troy on the account of war, many obstructions hinder him from returning home. During his absence, his deprivation of being a father to his son, Telemachus, causes great disappointment. Without a father, his son strives to grow and mature yet he has not the slightest idea of where to. However, as Telemachus struggles to reach manhood and his father struggles to return to Ithaka, their seemingly separate journeys are connected. They both learn values that turn a boy into a man and a great man even greater. In the epic poem the Odyssey, Homer uses parallel rites of passage with Odysseus and Telemachus to develop the importance of the father son-bond.
In The Odyssey, the hierarchical relationship between both gods and humans is a key aspect in the overarching unity that is the epic. These can both be in contrast with each other and it can been seen that there are similarities between the types of people we meet in The Odyssey as well as the gods we meet also. Homer uses this theme and system of hierarchy to effectively display aspects of his worlds though The Odyssey. The main features that help prove this point are: that society within The Odyssey is hierarchical, the upper class and the servants (with equivalent gods) are focussed on, (Hierarchy of Greek Gods, 2015) and finally, the gods parallel their respective opposites on earth. These features help to show Homers world of The Odyssey.
The most popular myth about her conceptions is that she was born from the foam of Uranus’ genitals. Uranus was in a fight with son, Cronus, who severed his sex organs and threw them into the ocean. Foam started forming near the island of Cythera and Aphrodite arose from the water. She was carried to Cyprus on a shell with the help of Zephyrus, the west winds. Cyprus is known as her actual hometown. From there the Horae, the goddesses of the hours of the day, dressed Aphrodite, and took her to Mount Olympus. There is also a more traditional story about her birth. It is believed that she might be the daughter of Zeus by his aunt Dione. Aphrodite has many children, both immortal and mortal. “As the goddess of love and beauty, Aphrodite is often seen naked or provocatively draped with her sacred bird, the dove, in her hand” (National Geographic 142). Even though she is the goddess of beauty, Hera is considered to be the most beautiful immortal. But during the Trojan War, Paris deems Aphrodite as the most beautiful deity.
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.
Aphrodite, goddess of love and beauty, later rose from the sea where Uranus's body had been thrown. Now Cronus became king of the universe. Cronos married his sister, Rhea, and they had six children. At the time of Cronos's marriage to Rhea, Gaea prophesied that one of his children would overthrow Cronos, as he had overthrown Uranus. To protect himself, Cronos swallowed each of his first five children -- Hestia, Demeter, Hera, Hades, and Poseidon -- immediatly after birth.
Hamlet's father, Old King Hamlet who he looked up to was recently killed, and his mother married his uncle within a month. He receives a visit from the ghost of his father which urges him to "revenge [Claudius'] foul and most unnatural murder" (I, v, 32) of Old Hamlet. It is only logical that under these circumstances, Hamlet would be under great duress, and it would not be abnormal for him to express grief. Fortnibra and Laertes also have to deal with the avenging their fathers' death.
Why were women treated as minorities compared to men even when they had played major roles in Greek Mythology? Women have always played a very important role in Greek Society, either they were portrayed as a victim, heroine, or villain. Some women that were portrayed as these roles were Antitope, Leda, Athena, Antigone, Clytemnestra, and Medea. Antitope and Leda were portrayed as victims. Athena and Antigone were portrayed as a heroine. Clytemnestra and Medea were portrayed as villains.
What makes the depiction between Athena and Aphrodite interesting is the different ways they are portrayed even sharing the similarity of being born strictly from male only. Athena from the all-powerful king of the gods Zeus and Aphrodite from Ouronos. Though they were both born from man alone, the content of these births caused Athena to be expressed in a more dignified, respected, and superior way. Hesiod’s recount of the births of Athena and Aphrodite in his Theogony reveals the source of Athena’s superiority. According to the Theogony, Ouranos’ genitals are thrown into the sea where they mix with the sea foam to result in Aphrodite (Hesiod 180-192). Aphrodite is said to be called, by Hesiod, “Philommedes, fond of a man’s genitals” ( Hesiod, 200-201). In contrast, Hesiod writes that Athena is born from Zeus’ head (Hesiod 924) after Zeus consumes her mother Metis, the goddess whose name means wisdom, for fear of her giving birth to someone who was destined to be his match in wisdom (Hesiod 894-900).
Perhaps it would be best to begin with the originating source of the goddess. She was not born to any parents but rather came into the universe in a very violent and grotesque manner. She was born from the sea foam surrounding the castrated genitals of Uranus. During a family spat, the agitated Cronus decided to sever his own father’s sexual organs. Certainly this explains the sensuality that was passed down to Aphrodite, as offspring from these disembodied objects. However, it also goes that while she is this emblem of beauty and passion that she should also be a symbol of violent aggression. As it becomes apparent in stories of her various acts and interactions with other gods, goddesses and mortals; Aphrodite is far from innocent. In fact she has the ability to be down right vindictive and cruel.
... children, Zeus, survived and it ultimately led to Cronus’s downfall. In order to uphold his preeminence, Cronus needed to limit the competition, which were his children. Also, in the myth of Medea, Medea assassinated both her children and her younger brother, without any sympathy. To be certain that her younger brother did not rebel against her in the future, she took the necessary steps to eliminate him. Medea as well murders her own children in which she bore to Jason, only to make him suffer. The vicious ways in which parents used to control their children’s lives just sparked a more hostile relationship.
The gods in power, like Zeus, exhibit bias, dishonor, betrayal, deception, and many other humanly characteristics. One memorable scene is when Zeus and Poseidon are in conflict with each other over the Achaens versus the Trojans. Zeus controls the battle by “lifting the famous runner Achilles’ glory higher,” (Homer 13: 404). Zeus plays both sides in this scene, acting like a double agent which is dishonorable. Zeus’s bias is prevalent throughout the poem; specifically, he is “bent on wiping out the Argives, down to the last man,” (Homer 12: 81-82). Just like mortals such as Agamemnon and Achilles view each other with suspicion and intolerance, the gods experience identical emotions of wariness, anger, and irritation. This human-like behavior is not restricted to Zeus. Later in the text, Hera lies to Aphrodite to use her powers to manipulate her own husband Zeus. If one looks at Hera as a heavenly entity, her reaction may not make sense, but when it is viewed as a manifestation of human emotion, it become almost reasonable. Her scheming response to Zeus’s meddling with the war is spurred by her support for the Trojans. Hera’s manipulation and Aphrodite’s ego don’t stand alone as examples of this divine humanity. These instances suggest that the deities are being presented in this unique way to help explain behavior of the humans in The
“Theogony” which means “birth of the gods,” a poem written by Hesiod meant to be sung to tell the story of how the Olympian gods and Zeus came to rule over all of the earth/ heaven and it’s inhabitants. First there was Chaos, a yawning void where Gaia (Earth), Tartaros (Hell) and a few other fundamental chief deities came from. Through parthenogenesis, Ouranos (Heaven) came from Gaia (Earth). Gaia and Ouranos had a sacred marriage, which was a sacred wedding of the heaven and earth. From this sacred marriage came the children of Gaia and Ouranos, better known as the Titans. Ouranos found his offspring to be annoying and monstrousness. He hated his children and decided to hide them away in earth and did not allow them to ever see the light of day. Gaia was not pleased with Ouranos’ actions. Hiding her children within her brought her great discomfort. Gaia tried to have all her hidden children rebel against their father but the only one brav...
In Greek literature, women are commonly assigned traditional gender roles. They are forced, confined, and demoted under the relentless and debilitating categorization of submissive, melodramatic, and obedient. When their position in society is juxtaposed with the role of men, the overwhelming discrepancy in the ability to pursue happiness and rights between men and women are especially apparent. While women are often overlooked and considered weak by societal terms, men are regarded upon in the highest esteem and provided with power and authority correlated with their gender, which automatically qualifies them with the role of the dominant figure in society. For the longest of time, society has constructed the role of women in a restrictive way to
The speech by Pausanius in Plato’s Symposium divides the goddess Aphrodite into two beings, each responsible for a different aspect of love. To prove the existence of her double life he cites her creation. There are two versions of the birth of Aphrodite, one coming from Hesiod’s work, Theogony, where she is borne out of Uranus’ castrated genitals as they splash into the sea; the other is from Homer’s work, the Illiad, where she is said to be the daughter of Zeus and Dione. (Notes on Plato’s Symposium 180e) From these two vastly different creations she takes on two vastly different forms. Pausanius describes one of her forms as “Celestial” love. This type of love springs out of the Aphrodite created from Uranus’ genitals. This form is “wholly male” (Symposium 180c) which inspires men to be a...