Metis: Mother of Wisdom

by Meagan Logsdon

The ancient world often portrayed its wisdom figures—whether literal divinity or personification of virtue—as feminine. The Greeks gravitated toward this in the form of Athena, wisdom-warrior goddess, and later in the form of Sophia, one of Plato’s four cardinal virtues. Yet before these two more renowned figures was Metis.

Housefly_-_Project_Gutenberg_eText_18050Hesiod’s Theogany[1] places Metis among the second generation of Titans. She is the daughter of Oceanus and Tethys, and her siblings numbered in the thousands. Hesiod calls her the wisest among both gods and mortals. Zeus took her as his first wife, perhaps desiring to have constant access to her counsels as he was establishing his rule. However, Metis was prophesied to bear children who would inherit her great wisdom and who could potentially overthrow Zeus. To prevent this, Zeus deceived Metis into transforming herself into a fly, whereupon he swallowed her, unaware that Metis had already conceived a child. For Zeus, it was enough that he had corralled Metis in such a way that she would never bear her fated children but would still “devise for him both good and evil.”

Lodged in the belly of her husband, Metis did not sit idle. She crafted weapons and armor for her daughter, Athena, and when she sprang from Zeus’s head on the banks of the river Trito, she was fully matured and battle-ready. Pindar, in his Seventh Olympian Ode[2], tells further that Hephaestus split Zeus’s head with an axe so that Athena could emerge, perhaps because the smithing of Metis was so painfully cacophonous to the thunder god.

Pallas_Athena_by_Franz_von_Stuck
Pallas Athena by Franz von Stuck (1898)

Neither Hesiod nor Pindar shed any light on how Zeus was able to trick Metis, and so here we enter the realm of speculation. Could it be that Metis perceived her husband’s fears in light of the prophecy and, rather than leaving him and risk the world crumbling into chaos in her absence, altered herself to perpetuate the effects of her own wisdom in Zeus’s rule? She knew his might alone would not be sufficient to maintain order. Into his depths she went, creating a somewhat blurred symbiosis of masculinity and femininity from which issued Athena, out of her mother’s womb first but then her father also—a womb containing a womb.

This dependence of rulers on feminine wisdom is carried over into Plato’s Republic[3], where he envisions the head of his utopia as a philosopher king, a friend to the feminine embodiment of Wisdom or Sophia. Plato also calls Sophia the noblest of the parts of virtue in his Protagoras.[4]

A similar personification of Divine Wisdom as feminine can be found in the Hebrew scriptures. The first chapter of Proverbs entreats the hearer to heed Wisdom’s voice and avoid disaster.[5] Some of the early Christian Fathers, including Justin Martyr and Origen, would eventually attempt to marry Platonic philosophy with these passages, describing the Divine Wisdom (Hagia Sophia) as an aspect of the Logos—the pre-incarnated, cosmic Christ—from John 1.[6] Here in Christianity, too, is the universe born and sustained through the partnership of masculinity and femininity.

Thus, when vehicles change—Greek mythology to philosophy to Christianity—Divine Wisdom, following in Metis’s metamorphosing footsteps, changes with them. Yet always, in whatever form, she persists as a creative force, a vital bulwark against disorder.

Jacques_Louis_Dubois_-_Minerva
Minerva by Jacques Louis Dubois

[1] http://www.theoi.com/Text/HesiodTheogony.html#n30

[2] http://www.bartleby.com/library/prose/4043.html

[3] http://classics.mit.edu/Plato/republic.html

[4] http://classics.mit.edu/Plato/protagoras.html

[5] https://www.biblegateway.com/passage/?search=Proverbs+1%3A20-33&version=NRSV

[6] https://www.biblegateway.com/passage/?search=John+1%3A1-5&version=NRSV

Wondrous Odyssey Weaver

by Patricia Jakovich VanAmburg

The ancient Greeks credited their goddess, Athena, with several inventions of civilization including the ship, the harness, and the loom. According to myth, the first mortal weaver became so proud of her skills that she challenged Athena to a weaving contest. Of course 330px-Velazquez-las_hilanderasthe goddess won, but rather than depriving young Arachne of life or talent, she merely turned her into a spider. Athena actually knew many a weaver, and in Homeric legend, she encountered several when she mentored the hero Odysseus on his long voyage home from the Trojan War.

Circe was a weaver who was also a witch. Odysseus men approached her house:

Presently they reached the gates of the goddess’s house, and as they stood there, they could hear Circe within, singing most beautifully as she worked at her loom, making a web so fine, so soft, and of such dazzling colours as no one but a goddess could weave (Odyssey book X).

Athena sent a potion to keep Odysseus immune to Circe’s charms, but his men were turned into pigs. Maybe they were already pigs, and Circe returned them to their true nature? In any event, Odysseus was not adverse to Circe’s hospitality—enjoying her bed by night and only weeping for his men at dawn. Once Circe noticed Odysseus’ grief, she took her wand and returned the pigs to humanity. Odysseus and his men enjoyed Circe’s food and drink for another twelve months, proving her a most merciful, generous, and resilient witch.

Like Circe, Calypso was a weaver:

There was a large fire burning on the hearth, and one could smell from far the fragrant reek of burning cedar and sandal wood. As for herself, she was busy at her loom, shooting her golden shuttle through the warp and singing beautifully (book V).

Despite missing Penelope, Odysseus stayed with Calypso for seven years, until Athena e4ae508b0322e4a50a54b60a23ada622convinced Zeus to fetch him home. Calypso trembled with rage: “You gods, she exclaimed, ought to be ashamed of yourselves. You are always jealous and hate seeing a goddess take a fancy to a mortal man, and live with him in open matrimony” (V).

Despite her anger, Calypso released Odysseus once she realized his sorrow:

His eyes [were] ever filled with tears, and dying of sheer home-sickness; for he had got tired of Calypso, and though he was forced to sleep with her in the cave by night, it was she, not he, that would have it so. As for the day time, he spent it on the rocks and on the sea-shore, weeping, crying aloud for his despair, and always looking out upon the sea” (V).

Calypso bade Odysseus leave her:

My poor fellow, you shall not stay here grieving and fretting your life out any longer. I am going to send you of my own free will; so go, cut some beams of wood, and make yourself a large raft with an upper deck that it may carry you safely over the sea. I will put bread, wine, and water on board to save you from starving. I will also give you clothes, and will send you a fair wind to take you home, if the gods in heaven so will it, for they know more about these things, and can settle them better than I can (V).

Even if Zeus was responsible for Odysseus’ departure, no hard feelings spoiled Calypso’sWeb most generous farewell.

Eventually, Odysseus returned to the spider-like Penelope who had saved his kingdom by moving her shuttle back and forth. She was as sharp witted as her husband, and knew that as soon as the suitors began to fill Odysseus’ hall, they wanted far more than her hand in marriage. The suitors complained to her son:

…there was that other trick she played us. She set up a great tambour frame in her room, and began to work on an enormous piece of fine needlework. ‘Sweet hearts,’ said she, ‘Odysseus is indeed dead, still do not press me to marry again immediately; wait, for I would not have skill in needlework perish unrecorded until I have completed a pall for the hero Laertes, to be in readiness against the time when death shall take him’ (XIX).

The suitors granted the favor and watched her “working on her great web all day long, but at night she would unpick the stitches again by torchlight…using the accomplishments Athena taught her” (XIX). Athena was so proud of Penelope that she cast a spell making the queen look as young as she had twenty years earlier when Odysseus first left for Troy. We don’t know if she did this to reward the hero or his wife, but it was a nice gesture.

Silk from spiders has always been one of the most resilient materials on earth; no wonder the women of the Odyssey were wondrous weavers. Their skill and patience equaled that of spiders, but their wisdom reflected another of Athena’s mascots.

 

Her Resilience

The bird in my house

Is not trapped—

Is not always a

Bad luck omen orpenelope_weaving

Magic crow on the

Witch’s shoulder –

Sometimes she is

My sister the owl

Medicine woman

Her Belly full of

Eggs and bones

Spreading her wings

Rising like Phoebus—

Rising like Phoenix

Like Shiva—

Nesting, nesting

_____________________________________________________________________________________

Work Cited

Odyssey. Compiled c. 800 B.C.E. Trans. Samuel Butler. Internet Classics Archive. Cambridge: Massachusetts Institute of Technology. 1994. April 2017.Online.

Persephone’s Side of the Story

by Kaitlin Bevis

The Persephone myth has resonated with women generation after generation. I can think of no other myth with more retellings, ranging from Disney classics like Beauty and the Beast, to classic literature-turned-Broadway shows like Phantom of the Opera, to dozens of contemporary retellings like my novel, Persephone.

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Persephone is a fascinating figure in mythology. She goes from a nameless maiden (Kore) picking flowers in a meadow, to Hades’s queen (Persephone), to the terrifying ruler of the Underworld (The Iron Queen). But through the entire transition, she never gets to tell her own story. The myth goes into Hades’s motivations, his negotiations with Zeus, Demeter’s panic, Ascalaphus’s trickery to get Persephone to eat the pomegranate seeds, random nymph bystanders, and villagers seen along Demeter’s quest. Every person in the story gets a voice except Persephone.

Her lack of her voice, her thoughts, and fears, and feelings, plucks at our subconscious, insisting there is more to the story. Is it any wonder there are so many retellings trying to fix that problem?

It’s a story that demands to be told.

 

And for too many years it was told wrong. Her role reduced to that of a victim. Very few versions of the myth go into her role in the Underworld afterward. How it was widely acknowledged throughout Greece that Hades was a bit of a pushover, but do not mess with his wife. She was feared, revered, and had entire cults dedicated to worshiping her name.

It’s a common problem for women in history, mythological and otherwise. Look at Helen Keller. If you walk up to a random person off the street, they can likely tell you she was blind and deaf, they can probably tell you her first sign, and the name of her teacher, but what they aren’t likely to know are the legion of accomplishments to her name. Like Persephone’s story ends when she emerges from hell for a portion of each year, reunited with her mother, Helen’s story often ends with her ability to communicate unlocked.

Greek mythology is a very good microcosm for the way women are treated in history. Though the women in Greek mythology were powerful and complex, they were often reduced to a single, definable (often passive) trait. In popular culture, Athena isn’t known as the war goddess she was, but the goddess of wisdom, known for popping up and giving heroes advice. Persephone is a victim, not a queen, Hera is a jealous lunatic, not the God-Queen, Aphrodite is painted as a whore. That’s it. That’s her entire role. While Zeus and Poseidon somehow get left off the hook for their ridiculous levels of promiscuity. If mentioned, it’s never their sole defining trait.

I figured it’s about time the stories of these amazing, powerful, flawed, and complex mythological figures got told right. So, I wrote the Daughters of Zeus series, starting with Persephone’s myth. I take Persephone from the innocent maiden picking flowers all the way to her rise as one of the most feared goddesses in the Pantheon. My next trilogy tackles Aphrodite. The other gods and goddesses make appearances all throughout the series in their full complexity. I took liberties transitioning the myths to modern day, but I remained true to the spirit of the original myths. I am not the only author envisioning these myths for a modern audience, nor are my versions perfect. But they are full of powerful women with different flaws and strengths, leaning on each other as they navigate the horrors of a pantheon steeped in patriarchy.

You should check it out.

To learn more about Kaitlin Bevis, click here. Or go here to order your own copy of Persephone.

 

Unequivocal Voices: The Sacred Feminine Challenges Authority

by K.P. Kulski

As so many things do, this begins with a story… 

Many stories in fact, but I’m going to start out with just the one.

In 508 BCE, the great Spartan King Cleomenes joined forces with the exiled family of Cleisthenes in the hope of overthrowing Hippias, the tyrant of Athens. (Take a breath, I know that was lot of ancient Greek names.)

victorian-engraving-of-the-ancient-interior-of-the-parthenon-athens-efn0e4King Cleomenes managed to get himself to the acropolis, the central and most important part of the ancient Athenian polis, also the location of the holy temple of Athena. Weary and looking for a moment of spiritual reflection, Cleomenes, King of Sparta enters to the holiest place in the city of Athens, to pray. I imagine he opened the temple door, ready to step into the welcome cool dim within when he heard an angry female voice. An angry and powerful female voice, accustomed to being obeyed.

An Athenian priestess rose from her seat within and is said to have shouted, “Spartan stranger, go back. Do not enter the holy place.”1

She harnesses the power of the divine and exists in liminality, between the living and the dead.

This Athenian priestess is not given a name, not like the males in the story. She doesn’t stick out individually, but her strength, conviction and divine authority is enough to get King Cleomenes thrown out of the temple. She, like many women throughout history harnessed a special mystique, a voice that does not sway to the demands and wants of a king, conqueror or the greater society.

She harnesses the power of the divine and exists in liminality, between the living and the dead. With mere words she has toppled kingdoms, flicked away the pride of overzealous politicians and directed the focus of entire civilizations. She accomplishes these things with no significant wealth or army at her disposal. Through the authority of her own female divinity she is the sacred vessel of supernatural knowledge. What she has to say, whether a king likes it or not, holds the weight of powers more significant and more powerful.

This is not unique to the polytheistic world. As Christianity rose to predominance, it brought with it the identity of sacred women as powerful figures. If you think about it, Mary’s pregnancy was a rebellion. While married to Joseph, Mary gives birth to the son of the divine, instead of her husband’s offspring. Her own immaculate conception further cements the concept of her sacred feminine before she even conceives Jesus. She exists outside the normal conventions of society and gender restrictions simply do not apply to her.

As Christianity rose to predominance, it brought with it the identity of sacred women as powerful figures.

Classical works, embraced by medieval Europe created a natural dilemma for the Christian devout. If these works were to be celebrated and revered, scholars could not ignore the blatant references to pagan gods. Taking one of their favorite classical writers, medieval thinkers harnessed the prophetic presence of the Cumae Sibyl in Virgil’s Elcogue. The Sibyls, an extension of the classical Greek oracle tradition, played a similar and significant prophetic role in ancient Rome. Virgil’s mention of the Sibyl’s words, most likely meant as a propaganda outlet for Augustus, were interpreted by medieval scholars to have been

180px-SibylCumae.jpgoracular visions of the coming of Jesus Christ and the ultimate establishment of Christendom. Yet it is interesting to note that Christians of this age viewed the prophesy of the Cumae Sibyl as a frightening example of female paganism. This is a fascinating conflict, despite rejecting paganism itself, they acknowledged the power of the female prophetess. Christian scholars were convinced that Sibyl, by divine power, had foreseen the birth of Jesus and through extension rejected Roman pagan authority.“By Destiny’s unalterable decree. Assume thy greatness, for the time draws night, Dear child of gods, great progeny of Jove!”2 While the Sibyl represented a pagan belief system, medieval scholars recognized that she held a special power, especially if she foresaw the coming of their Lord.

Even from the lowest rungs of society, she commands with the voice of the gods and becomes a goddess herself.

In 1492, the Maid of Heaven, Joan of Arc met with the Dauphin of France, Charles VII. France was at this time, a shadow of itself, a kingdom on the verge of complete annexation. English ambitions to rule over France seemed only a hair’s breadth away from realization. Charles himself was not in a strong position. But something about Joan, a commoner who somehow managed to obtain a chance to meet with him, the Dauphin, moved Charles to invest in her rebellion. It was of course, in his interest and whether Charles himself was religious moved or inspired by Joan, cannot be definitively decided. Nonetheless, if Joan was a mere political gambit for Charles, she still appealed to a multitude as a figure of French resistance. This is in great part because of the figure she cut into the collective French identity – a virgin girl in direct communication with God.

As seen above, this model is quite familiar, a female who is a conduit to the divine which can only be achieved because of her gender. This embodiment goes beyond divine inspiration, but to the very pores of her being. She is symbolic of the divine and therefore cannot be ignored. Even from the lowest rungs of society, she commands with the voice of the gods and becomes a goddess herself.

We can see those connections of female divinity to the very dawn of civilization, where Ancient_Akkadian_Cylindrical_Seal_Depicting_Inanna_and_Ninshubursacred womanhood is not to be underestimated. This is reflected in the very stories of the divine, contained with the feminine— a sacred looming power.

So, I leave you with these powerful and daring words of the first known author, Sumerian priestess Enheduana as she exalts her goddess Inana:

Burney-Relief“At your battle-cry, my lady, the foreign lands bow low. When humanity comes before you in awed silence at the terrifying radiance and tempest, you grasp the most terrible of all the divine powers. Because of you, the threshold of tears is opened, and people walk along the path of the house of great lamentations. In the van of battle, all is struck down before you. With your strength, my lady, teeth can crush flint. You charge forward like a charging storm. You roar with the roaring storm.”3

Endnotes

1. Herodotus, The Histories, trans. Aubrey De Selincourt (London: Penguin, 2003), 337-338.

2. Virgil, “The Eclogues,” The Internet Classics Archive, http://classics.mit.edu/Virgil/eclogue.4.iv.html.

3. Enheduana, “The Exaltation of Inana,” The Electronic Text Corpus of Sumerian Literature, http://etcsl.orinst.ox.ac.uk/cgi-bin/etcsl.cgi?text=t.4.07.2&display=Crit&charenc=gcirc&lineid=t4072.p7#t4072.p7.