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Familial and Intergenerational conflict are closely related. Zeus’s rule arose from intergenerational conflict, as he overthrew his Titan father, Cronus. However, Zeus attempts to foster relations amongst the different gods of the pantheon. In other words, he functions as a mediator instead of an oppressive ruler. He accomplishes this by birthing his own children, who are therefore likenesses of their father.
Despite his efforts, however, several of Zeus’s offspring pose a threat to his rule, most notably Apollo and Athena. As the eldest and most powerful son, Apollo could threaten Zeus’s rule and his established order. Apollo’s authority is evident even when he first enters Olympus; “All gods but one shake while he is striding toward them / Through Zeus’s house, drawing his glittering bow” (19). The other gods present at Apollo’s arrival realize the young god’s great strength, yet Zeus exercises his authority by remaining seated. But while the tense scene could have given way to a fight, Zeus offers Apollo “nectar in a gold cup” and greets his “cherished son” (19). Once Zeus establishes a reciprocal relationship with his son, Apollo’s place within the pantheon is solidified, and the other gods can finally sit.
Athena’s birth garners a similar reaction amongst the gods, as even Helios stops his golden chariot in the sky: “Olympus spun / Frighteningly from the gray-eyed young girl’s power” (91). Yet her palpable power does not threaten her father, and her birth out of Zeus’s skull symbolizes both her connection to him and her embodiment to wisdom. Much like her brother Apollo, Athena is the “joy of wise Zeus” (91), and the two share the aegis shield. By sharing the aegis shield, Zeus recognizes Athena’s power and establishes a reciprocal relationship with his daughter. All of Zeus’s actions, whether resolving conflict or integrating a new god, are done with the goal of preserving the entire pantheon.
Hera’s jealousy is also closely linked with familial and intergenerational conflict. Angry about her husband’s infidelity and ability to produce children without her, Hera creates her own heir to the throne, Typhaon. She does so with the hope that Typhaon would be stronger than Zeus: “Give me a child apart / From Zeus, but just as strong—no, even stronger, / As Zeus was stronger than his father Cronus” (30). Her wording here is important, as she specifically asks for a child apart from Zeus—a child who is not an extension of Zeus and with whom he cannot establish a reciprocal relationship. Further, she recalls Zeus’s overthrowing of Cronus, directly referencing intergenerational conflict. Her wording condemns Typhaon to death, as he will never be fully integrated into the pantheon and will always pose a threat to Zeus’s rule. Typhaon’s earthly and monstrous appearance further underscores his isolation from the other gods. Pytho, the serpent to whom Hera gives Typhaon to raise, comes to embody Hera’s own rebellion against Zeus. Therefore, Apollo’s defeat of Pytho simultaneously asserts his allegiance to Zeus and puts an end to Hera’s rebellion.
The intersection of the mortal and immortal worlds undergirds the majority of the hymns in three primary ways: the subjugation of mortals to the will of the gods, a god’s fall from divinity, and gifts from gods to mortals.
The reader sees mortals’ subjugation to the will of the gods in the hymns to Apollo, specifically when he leads a crew of Cretan sailors to the isle of Crisa. He transforms into a dolphin, using his divine power for the sake of trickery. However, once it comes time to dictate his temple’s sacred rites to the sailors, he reveals that he is Apollo and tells the men:
Strangers who lived near richly wooded Cnossos,
You forfeit the return you once expected
To your lovely mansions,
And much loved wives. Here you will keep my temple:
It will be rich and great crowds will revere it.
I am the son of Zeus, the proud Apollo” (35).
Apollo isolates the Cretan men from their homes and their families, and his word condemns them to a life of servitude. Mortal and immortal intersections rarely end well.
A god’s fall from divinity (and partly into the mortal world) plays out numerous times throughout the hymns. This first occurs in the hymn to Demeter. Distraught over the loss of her daughter Persephone to marriage with Hades, she forgoes her divine connection to motherhood. Demeter presents herself as a mortal woman to a group of girls, and she makes this decision before crossing the threshold into a mortal home: “Now she stood on the threshold / Head at the ceiling, aura in the doorway” (9). She refuses to reclaim her place on Olympus until she is reunited with her daughter. While Demeter struggles with her identity as a goddess and with her divine connection to motherhood, Hermes and Aphrodite struggle with mortal temptations. Hermes fights to control his desire for meat so much so that he crosses the threshold into Apollo’s territory and steals his brother’s cattle; “[Hermes] crossed the threshold of the high-roofed cavern” (39). By crossing the threshold, Hermes resolves to indulge his appetite and, thus, forgo his divine nature. Aphrodite also struggles with her desire for a mortal when Zeus causes her to fall in love with the man Anchises. After goddess and mortal sleep together, the resulting child—Aeneas—embodies Aphrodite’s shame from crossing the threshold into the mortal world. Whenever a god crosses this threshold, they forgo their divine nature.
Lastly, gifts are a way for gods to cross the threshold into mortality without forfeiting divinity. Many of the hymns praise gods for having blessed mortals with their talents and gifts—music from Apollo, engineering from Hephaestus, inspiration from the Muses, and much more. In these instances, the gods become perfect personifications of their powers and respective domains of authority within the mortal world.
Each god personifies an ideal or an archetypal force, but it is Zeus’s established order that allows for harmony between the pantheon’s conflicting powers. Therefore, the hymns often place gods with opposing powers into conflict with one another; these oppositions’ resolution presents an image of cosmic equipoise, using poetic narrative to render the world sensible to the human imagination. So much of ancient mythology symbolically imparts order and form to chaos and formlessness, but the Greek pantheon is especially famous for presenting a constellation of warring psychological traits that nevertheless hang in perfect balance. The hymns depict this balance partly through the reconciliation—and even unity—of opposites.
The dynamic of reconciled opposites plays out in the hymn to Demeter, where the goddess of fertility is opposed to Hades, god of the Underworld and death. This metaphysical duality is incarnate in the pomegranate seed: The seed traditionally symbolizes life and fertility, but when Hades feeds it to Persephone while she is still in the Underworld, it binds her to his deathly realm. The seed then represents the inherent tension between life and death. Because Zeus has given Persephone to Hades in marriage, and because he declares that Persephone will spend one-third of the year with Hades and two-thirds of the year with Demeter, it is Zeus who facilitates the full resolution of opposites. The hymn is a commentary on life and death and the intrinsic connection between the two; one cannot dominate the other. A sense of justice or ethics, in the modern Western sense, is largely absent from the story, as the criterion of cosmic balance is paramount.
The resolution of opposites also appears in the first hymn to Hermes. The young god is patron over thieves and travelers, or those who cross boundaries and disrupt the natural separation of power and authority—but the hymn soon introduces his foil Apollo, the champion of Zeus’s will, who strives to preserve this order. When Hermes steals Apollo’s cattle, Hermes refuses to acknowledge Apollonian order, but the two reestablish order by gifting each other items from their own domain of power; Apollo gives Hermes his herding whip, and Hermes gives Apollo his lyre. Once more, Zeus creates unity, bringing the brothers together as he tells his sons they must cooperate to find Apollo’s herd. The Olympian king is a unifying, organizing force in both the pantheon and the Classical cosmos.
By Anonymous