Gender and the divine
Poseidon’s claim, that the honours (τιμαι) belonging to the gods do not include the Earth , allowing him to act despite Zeus’ decree, encapsulates the true reason for Hermes and Apollo’s conflict : τιμη (honour).
Hermes’ indifference results in Apollo whisking him away to a council on Olympus to be tried in front of Zeus. Bungard argues that Apollo’s decisions can be understood in terms of ε ἰ δεναι (to have known), past knowledge, whereas Hermes acts in terms of νοος (mind), new knowledge and flexibility of learning: Apollo is rigid in processing new information whereas Hermes is of an ever-changing shape and thought pattern. Hence, after Zeus asks for an explanation of the matter at hand, Apollo accuses Hermes of stealing his cattle, yet he cannot definitively connect Hermes to the actual theft. 25 Hermes appeals to logic – he professes his innocence on the grounds of his age and hides behind his infantile façade. Bungard then observes that Hermes uses his defence not to invalidate Apollo’s accusation, a task that would require specific detail of the past, but to build a future connection to his father, the one capable of providing the ‘τιμη’ he so craves. 26 Zeus’ judgement ties the dispute altogether. In response to both appeals, Zeus laughs. He then resolves to send the two to search for the cows, aware of Hermes’ culpability. Bungard, C. (2012, p464) sees this as the pivotal moment in which the two contrast ing outlooks on the world are brought together by Zeus’ design, reaffirming his power, as Apollo symbolizes the old cosmos, while Hermes is its future, in a symbiotic relationship under Zeus’ authority. 27 Zeus allows Hermes his honours by triggering a reconciliation on the search for the cows, which grants him both his honours and Apollo’s recognition of him as an Olympian. 28 What is clear is that the Hymn to Hermes tells us of the fraternal quarrel over honour that results, after the quarrel’s resolution, in a stronger Olympus for Zeus , due to the newly forged friendship that adds an Olympian to the heavens. The Homeric Hymn to Demeter is perhaps the most famous Homeric Hymn. Indeed, the central myth is the most widely well-known: the Rape of Persephone. 29 Here I argue that it is desire for a wife by Aïdoneus (a euphemistic name for Hades) and the permission granted by his bnorther Zeus that erupt into a divine conflict that threatens the existence of all plains of existence. Clay agrees with my view, proposing that the consequences of the narrative will lead not only to a modification of the τιμαι of the gods but will also inaugurate a new era in the relations of gods and men. 30 Likewise, Alderink notes that what is at play are the demands of divine entities in the Hymn: Demeter wants her daughter, Aïdoneus wants a wife and Zeus must keep order in his universe. 31 What occurs in the hymn is as follows: the scene is set with Persephone playing among the flowers in a meadow; she is enticed by a ναρκισσος 25 Bungard 2012: 462. Apollo cannot comprehend how Hermes has accomplished the theft. Hermes earlier in the hymn invents the sandal to aid his theft. With Apollo having never seen it before, he cannot ‘know’ it and so struggles to identify the footprints left behind. 26 Bungard 2012: 463. The eloquence with which Hermes speaks is another exhibition of νοος capability: that though he is insisting of his infancy, Hermes speaks with the skill of an older man. 27 Bungard 2012: 464. 28 Allan 2006: 29. 29 All uses of the term rape when discussing this Homeric Hymn refer to the archaic definition of the word: the act seizing and carry off by force. 30 Clay 2006: 207. 31 Alderink 1982: 4.
36
Made with FlippingBook flipbook maker