Medusa: Difference between revisions
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In a late version of the Medusa myth, related by the Roman poet [[Ovid]] (''Metamorphoses'' 4.770), Medusa was originally a beautiful maiden, "the jealous aspiration of many suitors," priestess in Athena's temple, but when she and the "Lord of the Sea" [[Poseidon]] lay together in [[Athena]]'s temple, the enraged Athena transformed Medusa's beautiful hair to serpents and made her face so terrible to behold that the mere sight of it would turn onlookers to stone. In Ovid's telling, Perseus describes Medusa's punishment by Athena as just and well-deserved. |
In a late version of the Medusa myth, related by the Roman poet [[Ovid]] (''Metamorphoses'' 4.770), Medusa was originally a beautiful maiden, "the jealous aspiration of many suitors," priestess in Athena's temple, but when she and the "Lord of the Sea" [[Poseidon]] lay together in [[Athena]]'s temple, the enraged Athena transformed Medusa's beautiful hair to serpents and made her face so terrible to behold that the mere sight of it would turn onlookers to stone. In Ovid's telling, Perseus describes Medusa's punishment by Athena as just and well-deserved. |
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==Modern interpretations== |
==Modern interpretations== |
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In Greek mythology Medusa (Greek: Μέδουσα (Médousa), "guardian, protectress")[1] was a Gorgon, a chthonic female monster, and a daughter of Phorcys and Ceto;[2] Only Hyginus, (Fabulae, 151) interposes a generation and gives another chthonic pair as parents of Medusa;[3] gazing directly upon her would turn onlookers to stone. She was beheaded by the hero Perseus, who thereafter used her head as a weapon[4] until he gave it to the goddess Athena to place on her shield. In classical antiquity the image of the head of Medusa appeared in the evil-averting device known as the Gorgoneion.
Medusa in classical mythology
The three Gorgon sisters—Medusa, Stheno, and Euryale—were children of the ancient marine deities Phorcys (or Phorkys) and his sister Ceto (or Keto), chthonic monsters from an archaic world. Their genealogy is shared with other sisters, the Graeae, as in Aeschylus's Prometheus Bound who places both trinities of sisters far off "on Kisthene's dreadful plain":
Near them their sisters three, the Gorgons, winged
With snakes for hair— hated of mortal man—
While ancient Greek vase-painters and relief carvers imagined Medusa and her sisters as beings born of monstrous form, sculptors and vase-painters of the fifth century began to envisage her as being beautiful as well as terrifying. In an ode written in 490 BC Pindar already speaks of "fair-cheeked Medusa".[5]
In a late version of the Medusa myth, related by the Roman poet Ovid (Metamorphoses 4.770), Medusa was originally a beautiful maiden, "the jealous aspiration of many suitors," priestess in Athena's temple, but when she and the "Lord of the Sea" Poseidon lay together in Athena's temple, the enraged Athena transformed Medusa's beautiful hair to serpents and made her face so terrible to behold that the mere sight of it would turn onlookers to stone. In Ovid's telling, Perseus describes Medusa's punishment by Athena as just and well-deserved.
Modern interpretations
Psychoanalysis
In 1940, Sigmund Freud's Das Medusenhaupt (Medusa's Head) was published posthumously. This article laid the framework for his significant contribution to a body of criticism surrounding the monster. Medusa is presented as "the supreme talisman who provides the image of castration — associated in the child's mind with the discovery of maternal sexuality — and its denial."[6][7] Psychoanalysts continue archetypal literary criticism to the present day: Beth Seelig analyzes Medusa's punishment from the aspect of the crime of having been "raped" rather than having willingly consented in Athena's temple as an outcome of the Goddess' unresolved conflicts with her own father, Zeus.[8]
Feminism
In the 20th century, feminists reassessed Medusa's appearances in literature and in modern culture, including the use of Medusa as a logo by fashion company Versace.[9][10][11] The name "Medusa" itself is often used in ways not directly connected to the mythological figure but to suggest the gorgon's abilities or to connote malevolence; despite her origins as a beauty, the name in common usage "came to mean monster."[12] The book Female Rage: Unlocking Its Secrets, Claiming Its Power by Mary Valentis and Anne Devane notes that "When we asked women what female rage looks like to them, it was always Medusa, the snaky-haired monster of myth, who came to mind ... In one interview after another we were told that Medusa is 'the most horrific woman in the world' ... [though] none of the women we interviewed could remember the details of the myth."[13]
Medusa's visage has since been adopted by many women as a symbol of female rage; one of the first publications to express this idea was a 1978 issue of Women: A Journal of Liberation. The cover featured the image of a Gorgon, which the editors explained "can be a map to guide us through our terrors, through the depths of our anger into the sources of our power as women."[13] In a 1986 article for Women of Power magazine called "Ancient Gorgons: A Face for Contemporary Women's Rage," Emily Erwin Culpepper wrote that "The Amazon Gorgon face is female fury personified. The Gorgon/Medusa image has been rapidly adopted by large numbers of feminists who recognize her as one face of our own rage."[13]
Nihilism
Medusa has sometimes appeared as representing notions of scientific determinism and nihilism, especially in contrast with romantic idealism.[6][14] In this interpretation of Medusa, attempts to avoid looking into her eyes represent avoiding the ostensibly depressing reality that the universe is meaningless. Jack London uses Medusa in this way in his novel The Mutiny of the Elsinore:[15]
I cannot help remembering a remark of De Casseres. It was over the wine in Mouquin's. Said he: "The profoundest instinct in man is to war against the truth; that is, against the Real. He shuns facts from his infancy. His life is a perpetual evasion. Miracle, chimera and to-morrow keep him alive. He lives on fiction and myth. It is the Lie that makes him free. Animals alone are given the privilege of lifting the veil of Isis; men dare not. The animal, awake, has no fictional escape from the Real because he has no imagination. Man, awake, is compelled to seek a perpetual escape into Hope, Belief, Fable, Art, God, Socialism, Immortality, Alcohol, Love. From Medusa-Truth he makes an appeal to Maya-Lie."
— Jack London, The Mutiny of the Elsinore
Medusa in art
From ancient times, the Medusa was immortalized in numerous works of art, including:
- Medusa on the breastplate of Alexander the Great, as depicted in the Alexander Mosaic from Pompeii's House of the Faun (c. 200 BC)
- The "Rondanini Medusa", a Roman copy of the Gorgoneion on the aegis of Athena; later used as a model for the Gorgon's head in Antonio Canova's marble Perseus with the Head of Medusa (1798–1801)
- Medusa (oil on canvas) by Leonardo da Vinci
- Perseus with the Head of Medusa (bronze sculpture) by Benvenuto Cellini (1554)
- Medusa (oil on canvas) by Caravaggio (1597).
- Head of Medusa, by Peter Paul Rubens (1618)
- Perseus Turning Phineus and his Followers to Stone (oil on canvas) by Luca Giordano (early 1680s).
- Perseus with the Head of Medusa (marble sculpture) by Antonio Canova (1801)
- Medusa (oil on canvas) by Arnold Böcklin (c. 1878)
- Perseus (bronze sculpture) by Salvador Dalí
Medusa remained a common theme in art in the nineteenth century, when her myth was retold in Thomas Bulfinch's Mythology. Edward Burne-Jones' Perseus Cycle of paintings and a drawing by Aubrey Beardsley gave way to the twentieth century works of Paul Klee, John Singer Sargent, Pablo Picasso, Pierre et Gilles, and Auguste Rodin's bronze sculpture The Gates of Hell.[16]
In flags and emblems
The head of Medusa is featured on some regional symbols. One example is that of the flag and emblem of Sicily, together with the three legged trinacria. The inclusion of Medusa in the center implies the protection of the goddess Athena, who wore the Gorgon's likeness on her aegis, as said above. Another example is the coat of arms of Dohalice village in the Czech Republic.
In popular culture
The petrifying image of Medusa makes an instantly recognizable feature in market-driven popular culture. Medusa has been featured in several media related topics, including videogames, movies and books. Medusa is featured in the book and movie Percy Jackson & the Olympians: The Lightning Thief and in the 1981 film Clash of the Titans as well as its 2010 remake.
Notes and references
- ^ Probably the feminine present participle of medein, "to protect, rule over" (American Heritage Dictionary; compare Medon, Medea, Diomedes, etc.). If not, it is from the same root, and is formed after the participle. OED 2001 revision, s.v.; medein in LSJ.
- ^ as in Hesiod, Theogony 270, and Pseudo-Apollodorus Bibliotheke, 1.10.
- ^ "from Typhon the giant and Echidna were born Gorgon... Medusa daughter of Gorgon and Neptunus... "
- ^ Bullfinch, Thomas. "Bulfinch Mythology - Age of Fable - Stories of Gods & Heroes". Retrieved 2007-09-07.
...and turning his face away, he held up the Gorgon's head. Atlas, with all his bulk, was changed into stone.
- ^ (Pythian Ode 12). Noted by Marjorie J. Milne in discussing a red-figured vase in the style of Polygnotos, ca. 450–30 BC, in the Metropolitan Museum of Art; Milne noted that "It is one of the earliest illustrations of the story to show the Gorgon not as a hideous monster but as a beautiful woman. Art in this respect lagged behind poetry." (Marjorie J. Milne, "Perseus and Medusa on an Attic Vase" The Metropolitan Museum of Art Bulletin New Series, 4.5 (January 1946, pp. 126–130) 126.p.)
- ^ a b "Medusa in Myth and Literary History". Retrieved 2010-01-06.
- ^ Das Medusenhaupt (Medusa's Head). First published posthumously. Int. Z. Psychoanal. Imago, 25 (1940), 105; reprinted Ges. W., 17,47. The manuscript is dated May 14, 1922, and appears to be a sketch for a more extensive work. Translation, reprinted from Int. J. Psychoanal.,22 (1941), 69; by James Strachey.
- ^ Seelig, B.J. (2002). "The Rape of Medusa in the Temple of Athena: Aspects of Triangulation". International Journal of Psycho-Analysis, 83:895–911.
- ^ Pratt, A. (1994). Archetypal empowerment in poetry: Medusa, Aphrodite, Artemis, and bears : a gender comparison. Bloomington: Indiana University Press. ISBN 0-253-20865-3
- ^ Stephenson, A. G. (1997). "Endless the Medusa: a feminist reading of Medusan imagery and the myth of the hero in Eudora Welty's novels."
- ^ Garber, Marjorie. The Medusa Reader, February 24, 2003, ISBN 0-415-90099-9, Introduction, p. 7.
- ^ Garber, Medusa Reader, Introduction, p. 1.
- ^ a b c Wilk, Stephen R. Medusa: Solving the Mystery of the Gorgon, June 26, 2000, pp. 217–218, ISBN 0-19-512431-6.
- ^ Petersen, Per Serritslev. "Jack London's Medusa of Truth." Philosophy and Literature 26.1 (2002). pp. 43-56.
- ^ Jack London (1914). The Mutiny of the Elsinore. p. 121.
- ^ Wilk, Medusa: Solving the Mystery of the Gorgon, p. 200.
Primary sources
- Servius, In Aeneida vi.289
- Lucan, Bellum civile ix.624–684
- Ovid, Metamorphoses iv.774–785, 790–801
Secondary sources
- Jane Ellen Harrison, (1903) 3rd ed. 1922. Prolegomena to the Study of Greek Religion,: "The Ker as Gorgon"
See also
External links
- Ancient coins depicting Medusa
- "Medusa in Myth and Literary History" - English.uiuc.edu
- On the Medusa of Leonardo Da Vinci in the Florentine Gallery, by Percy Bysshe Shelley
- Theoi Project, Medousa & the Gorgones References to Medusa and her sisters in classical literature and art