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The Erinyes (/ɪˈrɪniˌiːz/; sing.Erinys/ɪˈrɪnɪs/, /ɪˈraɪnɪs/; Greek: Ἐρινύες, pl. of Ἐρινύς, Erinys), also known as the Furies, were female chthonicdeities of vengeance in ancient Greek religion and mythology. A formulaic oath in the Iliad invokes them as "the Erinyes, that under earth take vengeance on men, whosoever hath sworn a false oath". Walter Burkert suggests they are "an embodiment of the act of self-cursing contained in the oath". They correspond to the Dirae in Roman mythology. The Roman writer Maurus Servius Honoratus wrote (ca. 600 AD) that they are called "Eumenides" in hell, "Furiae" on earth, and "Dirae" in heaven.
According to Hesiod's Theogony, when the TitanCronus castrated his father, Uranus, and threw his genitalia into the sea, the Erinyes (along with the Giants and the Meliae) emerged from the drops of blood which fell on the earth (Gaia), while Aphrodite was born from the crests of sea foam. According to variant accounts, they emerged from an even more primordial level—from Nyx ("Night"), or from a union between air
and mother earth, in Virgil's Aeneid, they are daughters of Pluto (Hades) and Nox (Nyx). Their number is usually left indeterminate. Virgil, probably working from an Alexandrian source, recognized three: Alecto or Alekto ("endless anger"), Megaera ("jealous rage"), and Tisiphone or Tilphousia ("vengeful destruction")[1], all of whom appear in the Aeneid. Dante Alighieri followed Virgil in depicting the same three-character triptych of Erinyes; in Canto IX of the Inferno they confront the poets at the gates of the city of Dis. Whilst the Erinyes were usually described as three maiden goddesses, the Erinys Telphousia was usually a by-name for the wrathful goddess Demeter, who was worshipped under the title of Erinys in the Arkadian town of Thelpousa.
The Erinyes live in Erebus and are more ancient than any of the Olympian deities. Their task is to hear complaints brought by mortals against the insolence of the young to the aged, of children to parents, of hosts to guests, and of householders or city councils to suppliants—and to punish such crimes by hounding culprits relentlessly. The Erinyes are crones and, depending upon authors, described as having snakes for hair, dog's heads, coal black bodies, bat's wings, and blood-shot eyes. In their hands they carry brass-studded scourges, and their victims die in torment.
The Erinyes are commonly associated with night and darkness. With varying accounts claiming that they are the daughters of Nyx, the goddess of night, they're also associated with darkness in the works of Aeschylus and Euripides in both their physical appearance and the time of day that they manifest. [2]
According to Hesiod, the Furies sprang forth from the spilled blood of Uranus when he was castrated by his son Cronus[3]. According to Aeschylus' Oresteia, they are the daughters of Nyx, in Virgil's version, they are daughters of Pluto(Hades) and Nox(Nyx). In some accounts, they were the daughters of Euonymè (a name for Earth) and Cronus, or of Earth and Phorkys (i.e. the sea)
Pausanias describe a sanctuary in Athens dedicated to the Erinyes under the name Semnai:
Shrine of Erinyes under Areopagus, Athens.
Hard by [the Areopagos the murder court of Athens] is a sanctuary of the goddesses which the Athenians call the August, but Hesiod in the Theogony calls them Erinyes (Furies). It was Aeschylus who first represented them with snakes in their hair. But on the images neither of these nor of any of the under-world deities is there anything terrible. There are images of Pluto, Hermes, and Earth, by which sacrifice those who have received an acquittal on the Hill of Ares; sacrifices are also offered on other occasions by both citizens and aliens.
The Orphic Hymns, a collection of 87 religious poems as translated by Thomas Taylor, contains two stanzas regarding the Erinyes. Hymn 68 refers to them as the Erinyes, while hymn 69 refers to them as the Eumenides. The hymns come from Orphism, a religious belief held by a cult from the late Hellenistic era, that claimed to be descended from the hero Orpheus. [4]
Hymn 68, to the Erinyes:
Vociferous Bacchanalian Furies [Erinyes], hear! Ye, I invoke, dread pow'rs, whom all revere; Nightly, profound, in secret who retire, Tisiphone, Alecto, and Megara dire: Deep in a cavern merg'd, involv'd in night, near where Styx flows impervious to the sight; Ever attendant on mysterious rites, furious and fierce, whom Fate's dread law delights; Revenge and sorrows dire to you belong, hid in a savage veil, severe and strong, Terrific virgins, who forever dwell endu'd with various forms, in deepest hell; Aerial, and unseen by human kind, and swiftly coursing, rapid as the mind. In vain the Sun with wing'd refulgence bright, in vain the Moon, far darting milder light, Wisdom and Virtue may attempt in vain; and pleasing, Art, our transport to obtain Unless with these you readily conspire, and far avert your all-destructive ire. The boundless tribes of mortals you descry, and justly rule with Right's [Dike's] impartial eye. Come, snaky-hair'd, Fates [Moirai] many-form'd, divine, suppress your rage, and to our rites incline.[5]
Hymn 69, to the Eumenides:
Hear me, illustrious Furies [Eumenides], mighty nam'd, terrific pow'rs, for prudent counsel fam'd; Holy and pure, from Jove terrestrial [Zeus Khthonios] born and Proserpine [Phersephone], whom lovely locks adorn: Whose piercing sight, with vision unconfin'd, surveys the deeds of all the impious kind: On Fate attendant, punishing the race (with wrath severe) of deeds unjust and base. Dark-colour'd queens, whose glittering eyes, are bright with dreadful, radiant, life-destroying, light: Eternal rulers, terrible and strong, to whom revenge, and tortures dire belong; Fatal and horrid to the human sight, with snaky tresses wand'ring in the night; Either approach, and in these rites rejoice, for ye, I call, with holy, suppliant voice.[6]
Myth fragments dealing with the Erinyes are found among the earliest extant records of ancient Greek culture. The Erinyes are featured prominently in the myth of Orestes, which recurs frequently throughout many works of ancient Greek literature.
Featured in ancient Greek literature, from poems to plays, the Erinyes form the Chorus and play a major role in the conclusion of Aeschylus's dramatic trilogy the Oresteia. In the first play, Agamemnon, King Agamemnon returns home from the Trojan War, where he is slain by his wife, Clytemnestra, who wants vengeance for her daughter Iphigenia, who was sacrificed by Agamemnon in order to obtain favorable winds to sail to Troy. In the second play, The Libation Bearers, their son Orestes has reached manhood and has been commanded by Apollo's oracle to avenge his father's murder at his mother's hand. Returning home and revealing himself to his sister Electra, Orestes pretends to be a messenger bringing the news of his own death to Clytemnestra. He then slays his mother and her lover Aegisthus. Although Orestes' actions were what Apollo had commanded him to do, Orestes has still committed matricide, a grave sacrilege. Because of this, he is pursued and tormented by the terrible Erinyes, who demand yet further blood vengeance.
Two Furies, from a nineteenth-century book reproducing an image from an ancient vase.
In The Eumenides, Orestes is told by Apollo at Delphi that he should go to Athens to seek the aid of the goddess Athena. In Athens, Athena arranges for Orestes to be tried by a jury of Athenian citizens, with her presiding. The Erinyes appear as Orestes' accusers, while Apollo speaks in his defense. The trial becomes a debate about the necessity of blood vengeance, the honor that is due to a mother compared to that due to a father, and the respect that must be paid to ancient deities such as the Erinyes compared to the newer generation of Apollo and Athena. The jury vote is evenly split. Athena participates in the vote and chooses for acquittal. Athena declares Orestes acquitted because of the rules she established for the trial. Despite the verdict, the Erinyes threaten to torment all inhabitants of Athens and to poison the surrounding countryside. Athena, however, offers the ancient goddesses a new role, as protectors of justice, rather than vengeance, and of the city. She persuades them to break the cycle of blood for blood (except in the case of war, which is fought for glory, not vengeance). While promising that the goddesses will receive due honor from the Athenians and Athena, she also reminds them that she possesses the key to the storehouse where Zeus keeps the thunderbolts that defeated the other older deities. This mixture of bribes and veiled threats satisfies the Erinyes, who are then led by Athena in a procession to their new abode. In the play, the "Furies" are thereafter addressed as "Semnai" (Venerable Ones), as they will now be honored by the citizens of Athens and ensure the city's prosperity.
