Gender and the divine
actions, 38 Zeus reneges on the plan but Aïdoneus, unable to relinquish his aforementioned desires, enacts his trick 39 which results in a new customs and honours 40 in the heavens but the regime once more functioning 41 .
The Hymn to Aphrodite, unlike its counterparts, confronts us with direct, defiant threat to Zeus’ order almost akin to the struggles for dominance experienced in the early days of the Olympian Order when Zeus set out to establish his primacy. Certainly, Allan concurs, establishing that ‘ Zeus … curbs Aphrodite’s (sexual) power by turning it back on the goddess herself.’ The resulting trick of Zeus leads to a ‘ diminution of her powers ’ . 42 The Hymn begins by expressing the power of Aphrodite’s τιμαι (sexual desire), accurately disclosing the threat she poses to the current world order: the ἐ ργα (deeds) of Aphrodite are experienced πασιν (by all). Bergren, A.L.T (1989, pp.3 -4) observes that great note is made in the opening six lines to explore that she affects the established cosmos on three levels: the gods, on whom she ‘ sends sweet desire ’ (line 2) , men and beasts, whom she ‘ ἐδαμασσατο ’ (tames). 43 When combined with the ‘πασιν’ , we can see that the powers of Aphrodite threaten to reduce these three distinct levels of hierarchy to one, that of beasts, eternally disrupting the established order, with Aphrodite’s ‘γλυκυν ἱ μερον’ (sweet desire) easily subdueing all. This is only enhanced by information revealed in lines 34-5. The hymn recounts how even Zeus is ensnared by her – for he is ‘ led astray by her ’ (line 37) and commits adultery with mortal women. This is, in fact, how Aphrodite has used her powers to affect Zeus’ cosmos – making the immortal gods mix 44 with mortals for her own amusement, uncaring of the havoc she is causing. 45 Zeus, however, seeing the threat posed to him, takes matters into his own hands to suppress Aphrodite’s unravelling of his order and reassert his dominion: he ‘ usurps the role of Aphrodite – himself now wielding γλυκυν ἱ μερον [sweet desire] – and puts her in his place among divinities subject to sexual desire ’. 46 Hence, Aphrodite, acting under the divinely apportioned ἐρως ( desire), falls passionately in love with a mortal named Ankhises. She prepares herself to entice him – dressing up, applying perfume and wearing dazzling jewellery. Once she appears before him, she discards her divine form, taking on the appearance of a beautiful ‘ maiden as yet untamed ’ (line 87). 47 Ankhises is quickly seduced, and it does not take long for the two to be joined in love. While Ankhises continues to sleep post-coitus, Aphrodite awakes, lucid now, having sated her desire. Her disgust at the act is immediately conveyed through the discarding of her mortal form – having regained her divine appearance, she awakens Ankhises. 38 Alderink 1982: 4 notes that ‘mediation is required to satisfy the demands of the various deities’. 39 Sowa 1984: 122: ‘the final outcome of a Rape story is achieved only at the cost of something. Hades’ trick has forced Persephone’s elevation to adulthood by their marriage and takes Persephone away for a third of the year.’ 40 Clay 2006: 261: ‘Demeter shows forth and reveals her rites [rites: alternate translation of τιμας (honours)]’. Demeter’s new function is the harvest goddess. 41 As Alderink 1982: 6 notes ‘[referring to line 466] what Zeus has declared shall be’. 42 Allan 2006: 29. 43 Bergren 1989: 3-4. 44 Mix is the literal Greek word used but is really a euphemism for have sex with. 45 Lines 49-52: The destabilizing element being the new class of children: demigods. 46 Bergren 1989: 7. 47 Bergren 1989: 11 indicates a connection between Pandora and Aphrodite, but I would advance it to include the link between the two: both are used by Zeus to further establish control over his order.
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