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Showing posts with label Hippodamia. Show all posts
Showing posts with label Hippodamia. Show all posts

Saturday, March 4, 2023

On Writing Women in the Bronze Age

I am not going to try to tell you that the Bronze Age Aegean was some kind of egalitarian utopia. Far from it! We can see that men had significant authority in the names that were recorded, noting who was transacting with the king in those Linear B tablets that provide us with the bulk of contextual archeological knowledge of the period in which I've grounded my stories. And we see it too, reflected again in the myths.

But what I am going to tell you is that even in a society where men have significant authority, that doesn't mean that women have no rights at all over their own lives, no room to exist in public, no role of importance within their own culture. What I am going to tell you is that just because men had documented authority, economically, it does not mean that women did not have authority of their own inside their palaces, their homes, and their communities, still.

What I am going to tell you is that we are not constrained by the historical record to imagine, for those women of the Aegean Bronze Age, a life constrained by the most absolute and extreme interpretation of patriarchy.

Even in later Greece (and the Aegean on the whole), where the lives of women are considerably better documented (though still, we know much more about the lives of men), we see a wide variety of ways of living inside that Patriarchal framework. Is it not possible, even PROBABLE, that there was a wide variety of ways that women lived in the Aegean Bronze Age, too? That not all palace-centers, not all kingdoms, had the same rules? 

For me, what makes the Aegean Bronze Age so fascinating and so attractive as a background to retelling these myths (besides the fact that it makes the most sense to set them in that period, using the Trojan War as a fixed point in history), is that there is so much ROOM to imagine a world where women took part in their own lives and stories.

When you read the Lion of Troezen or Tamer of Horses, Ariadne and the Beast or Helen of Sparta, and encounter the mythic figures of Aethra and Hippodamia and Antiope, Helen and Ariadne, women whose names have endured for literal millennia, does it not make more sense that the reason they were remembered (by so many, many, many men in order to reach us now in the present) might have been, in part, because they were exceptional?

For myself, I would rather err on the side of giving them too much power rather than too little or none. I would rather believe that exceptional women found ways to exercise their power, rather than be stifled and hidden away in a dark, interior room, only allowed out in answer to their father or their husband's summons, meant neither to be seen OR heard. 

There are such tantalizing glimpses of bigger lives inside their own myths! Aethra advising her son, King Theseus of Athens, who listens to and acknowledges her wisdom. Helen standing openly upon the walls of Troy, accepted by Priam as an authority on the Achaean Kings, battling below, and then later welcoming guests into her Spartan palace, presiding over them as the consummate hostess, having clearly taken charge of her husband and her home. Hippodamia, who was said to be kin to the Centaurs, an entirely different and decidedly UN-Greek society; Antiope, an Amazon queen--an even more foreign bride. And Ariadne. Ariadne who was so exceptional, so rare a woman, she was brought to Olympus and made a consort-wife to a god!

These were not meek women, eyes kept downcast, unable to exert any power or authority over their peoples or their lives. These mythic figures are opportunities to see how the women inside a patriarchal society might have MADE space for themselves, through sheer force of personality and will, through the power granted to them by birth or marriage, by the blessings of the very gods. Just like Medea or Circe, like the murderous Clytemnestra, just as women in history, like Hatshepsut and Cleopatra, Zenobia of Palmyra and Empress Aelia Pulcheria of the Eastern Roman Empire, and the Queens Victoria and Elizabeth of England did much, much, much later too.

When opportunities present themselves, even inside a strict patriarchy, people without power can and do find ways to claim it, particularly when they're born on its periphery or adjacent to the structure which grants it. And people have always been people, we know that. So there is no reason at all to think that these women, these mythic figures whose stories we love to tell and retell, couldn't have done so, too.





Tamer of Horses Helen of Sparta By Helen's Hand Daughter of a Thousand Years A Sea of Sorrow: A Novel of Odysseus
Amazon | Barnes&Noble | IndieBound

Monday, January 24, 2022

Bronze Age Greece Hist Fic Reading Order

It occurred to me this past weekend that you all might benefit from a reading order reference for the books all set in the shared world of HELEN OF SPARTA, in Bronze Age Greece, so I'm here to make it happen today!

These books, so far, except for SON OF ZEUS, all take place between the conception of Theseus and Odysseus's return home to Ithaca. That... probably will change, because I'm working on a Heracles book as we speak, and I have a larger Aethra project in the works as well! Something to look forward to, I suppose, and of course I will update this list when/if those titles are completed and released.

As things stand right now, if you'd like to read these works in chronological order inside the Bronze Age, here's where to start:



1) The Lion of Troezen (Novelette--launching on Patreon, January 2023) 
More than 40 years before Helen of Sparta, this novelette retells the myth of Theseus's conception, focusing on Aethra's extremely intimate relationship with Poseidon, and how that relationship alters the course of her life.
 
2) Ariadne and the Beast: A Short Story 
A little more than 25 years before Helen of Sparta. I guesstimate Theseus is in his late teens during the events of this story!
 
3) Tamer of Horses
~20 years before Helen of Sparta. Theseus and Pirithous are both kings of their respective domains, but still learning what that means.
 
4) Helen of Sparta
Theseus and Pirithous are both in their 40s and Heracles is older, still. 
 
5) By Helen's Hand 
Picks up right where Helen of Sparta leaves off. Pirithous's son by Hippodamia, Polypoetes, is of age to take over for his father as king of the Lapiths.
 
5a) A Broken Horse 
This novel is written but not yet published--I'm looking for an agent!--and follows both Paris and Polypoetes as they navigate the Trojan War.
 
6) The Siren's Song/A Sea of Sorrow
Takes place after the close of the Trojan War, as a retelling of The Odyssey. A Sea of Sorrow is in continuity with A Song of War, History 360's retelling of The Iliad, but my revised author's cut edition of The Siren's Song novella does exist within the same world as Helen of Sparta.
 
7) Son of Zeus
~3000 years or so after Helen of Sparta, this novel takes place in our modern world, and Pirithous is still in his 40s after being trapped in the chair of forgetfulness for millennia.

 All these titles, with the exception of Helen of Sparta and By Helen's Hand, were written to stand alone. You don't need to have read Tamer of Horses to enjoy Son of Zeus (I wrote Son of Zeus immediately after I finished writing Helen of Sparta, actually, before I had even written Tamer of Horses or By Helen's Hand.) And you don't need to read Ariadne to enjoy Helen of Sparta, though Theseus appears in both. 

You probably DO want to have read Helen of Sparta before you pick up By Helen's Hand, though, as they were written as a duology of Helen's life leading up to the Trojan War. And if you did happen to read Tamer of Horses before or after Helen of Sparta, it might enrich the experience of both books! If I've done my job right, you shouldn't need to have read either of Helen's books before A Broken Horse, either, when/if that makes it out into the wider world. Do I think you'll enjoy it more if you have? Yeah, of course. And even more again if you've read Tamer of Horses as well, since that's the story of Polypoetes's parents. But it shouldn't be a necessity. 

Consider them all just--companion novels, that allow you to travel a little deeper into the world and the stories of the characters you've met, either in reading Helen of Sparta, or in your own exploration of the myths themselves.

Tamer of Horses, Son of Zeus, and Ariadne and the Beast are all available in wide release through the digital retailer of your choice. Tamer of Horses and Son of Zeus are also both available in paperback for your physical reading pleasure--you should be able to order them from pretty much anywhere. (Here's a bookshop.org link to prove it! Alas, the Son of Zeus hardcover is Amazon Exclusive.) 

Ah! and before you go, The Siren's Song is going wide this week! Look for it in your library apps and available from non-amazon vendors at this link very soon!!!


Thursday, March 11, 2021

Son of Zeus: The Modern Adventures of Pirithous

It's been pretty quiet over here because--well, social media and also pandemic plague times, and my Amalia Carosella stuff got a little lost in the excitement of launching a third entire pen name last year, Amalia Theresa, for sexy romcom style contemporary romances.  

But it's 2021 now, and for you, that means: MORE PIRITHOUS!

Goodreads


If you've been following me on social media, you might already know that SON OF ZEUS was released exclusively to Patreon Patrons in a serialized format beginning in 2019. This summer, it's coming out in wide release for everyone else to read in paperback or the ebook format of their choice! Which means I have a goodreads link for you in preparation, even if I haven't quiiiite settled on the exact release day yet. (Right now it's looking May-ish?)

It also means that the first two chapters are available for you to read over on patreon as a teaser, and so is the rest of the book for as little as a dollar a month, if you want to get your read on in advance! 

You'll notice, too, that this book is authored by BOTH Amalia Dillin and Amalia Carosella--that's because while Pirithous is an Amalia Carosella character--the same Pirithous you all loved in HELEN OF SPARTA and TAMER OF HORSES--the contemporary setting and his adventures as a fish out of water in upstate New York felt a little bit like an Amalia Dillin story at the same time (in fact, it was written well before Amalia Carosella was even invented!) 

I think this book will have a lot of appeal to BOTH audiences, and I wanted to make sure readers of Amalia Dillin and Amalia Carosella could find it!

A NOTE FOR PATREON PATRON READERS: The Wide Release edition of SON OF ZEUS will have some small edits and expansions--nothing that makes a big difference to the story and mostly just places where the wording felt like it could be stronger or I needed another line to clarify Thalia's thoughts or Pirithous's intentions.

BUT WAIT, THERE'S MORE!

In celebration of SON OF ZEUS's much belated release, TAMER OF HORSES is also going wide! No longer will you only be able to enjoy Pirithous's wedding to Hippodamia and the war with the centaurs that follows on kindle alone (and also everywhere in paperback already) but very shortly, you'll be able to grab it from apple books, for nook, kobo, and request the digital edition for your local library! 

I hit publish just this morning and will update this post and Tamer's home page with the new links once they start going live.

Taking TAMER OF HORSES wide has always been kind of a huge, terrifying leap for me with HELEN OF SPARTA and BY HELEN'S HAND as Amazon exclusive titles, but with SON OF ZEUS coming--it finally makes business sense to share this story with a potentially wider retail ecosystem, too. 

I hope you'll all enjoy BOTH of Pirithous's adventures now that they're going to be available outside of the kindle sphere!

As always, if  you've already enjoyed any of my books, do consider leaving a review wherever you bought it or like to review your reads. 


Wednesday, August 3, 2016

A Sneak Peek from TAMER OF HORSES

Those of you already following along on Goodreads know I've been (hopefully) final proofing TAMER OF HORSES, and one of the things I love to do is work in small nods to pieces of mythology that aren't part of the immediate narrative I'm retelling, and because it's my birthday, I thought I'd share! This is one of those small moments which takes place shortly after Hippodamia and Pirithous meet. She's still pretty unsure of him, and I'm pretty sure you won't blame her for it! Pirithous is... very Pirithous.

“I have bread, cheese, and fruit enough for both of us. And a skin of water for you, steeped with mint.” He guided her through the central courtyard. “My physician tells me it is quite good for stomach ailments, but I find the mint clears my head if I have not slept well.”

He had thought of everything, and now he held her hand, it was clear he had no intention of letting her go. Her fingers twitched, but he only threaded her arm through his, smiling down at her as if he did not hold her trapped at his side.

“I hope you had a pleasant night, my lady.”

She flushed, her gaze falling to his bare shoulder, and the glint of scattered golden hairs across the expanse of his chest. “I fear I slept poorly.”

“That has ever been my own experience beneath a strange roof,” he said, leading her between the tall columns and down the wide porch steps. The palace walls loomed over them, but Pirithous turned away from the gates. He frowned slightly. “I much prefer to sleep upon the porch, or a balcony, where I might see the stars. As long as I can see the sky, I know myself free.”

“Free of what?” she asked, in spite of herself. There was something about his expression that drew her, and a distance in his eyes she did not like. “I cannot imagine any man imprisoning a son of Zeus.”

“No,” he agreed. “But it is a dream which haunts me all the same. Blackness and unbreakable restraints.” His frown deepened, then he shook his head and laughed, his eyes warming again when they found hers. “It is nothing, I am sure. Just a child’s fear of the dark, poorly remembered. The night has ever been my friend.”

TAMER OF HORSES will be available October 3, 2016, and you DON'T need to have read HELEN OF SPARTA or BY HELEN'S HAND to enjoy it, but you'll definitely see some familiar faces if you have! :)


And those of you wondering -- the cover art went out YESTERDAY to newsletter subscribers, and you can pre-order it NOW for kindle!



Tamer of Horses Helen of Sparta By Helen's Hand Daughter of a Thousand Years
Amazon | Barnes&Noble | IndieBound

Wednesday, June 15, 2016

Musing On: Amazon Abductions

Sometimes I wonder how much of the raping and abduction of Amazons is the boasting of later writers/descendants/cultures looking to justify their then-current patriarchal way of life, because to suggest these heroes met their equals and recognized a woman as a PERSON by falling in love didn't fit their cultural agenda/understanding of the world.

Is it wrong to turn a mythic abduction into a romance in which the woman has agency? In which the woman has choice, and the man recognizes her as his equal, and offers her a place at his side without violence? Or is this the natural evolution of what these myths should become, now that women are not simply seen (or only seen) as property and prizes?

How much misogyny do we read back into the myths because we're expecting it to be there, or even assuming that it is the only possible interpretation? For Classical Athens, yes, there certainly was a good bit of it -- but these stories predate Classical Athens. Is it possible the Mycenaeans with their imagery of women seated upon thrones accepting offerings, their goddesses accepting gifts, their daughters through which kingdoms were inherited, might have lived differently?

One of the things I loved about writing Tamer of Horses after Helen of Sparta and By Helen's Hand was the difference in upbringing between Hippodamia and Helen -- Hippodamia, as a foundling child raised by centaurs, did not have to be Greek the way that Helen was. She wasn't raised in a palace, she isn't bound by the same kind of cultural restrictions we would expect of an ancient Greek civilization. And while I found for Helen some amount of agency even writing within those strictures, Hippodamia was a woman whose agency didn't have to be carved out or shoehorned into a pre-existing mythic structure that demands her passivity.

I'm going to keep carving and shoehorning. I'm going to keep spinning agency and equality into my retellings of myth. I'm going to keep fighting the idea that the Amazon must be Abducted as a metaphor for the triumph of "natural order" over the chaotic force of women leading their own lives, and opt instead for a narrative of recognition and understanding. Because in the end, I still believe that these myths are living things -- and in order to keep them relevant to our world today, they need that kind of bending and stretching. But also because, completely honestly, those are the stories I want to read.


We're blogtouring May 16-June 24th to celebrate the release of BY HELEN'S HAND (Helen of Sparta #2) -- available NOW in paperback, audio (cd, mp3, and audible), and for kindle. I hope you'll join us by sharing your own reviews on Amazon, Goodreads, or wherever you like to talk books!

And if you enjoyed my take on Helen, don't forget to subscribe to THE AMALIAD for a free short story prequel to HELEN OF SPARTA: Ariadne and the Beast!

Wednesday, April 20, 2016

Heroes of BY HELEN'S HAND: Pirithous and Polypoetes

Since it's been a while, and most of my posts relating to the research and reading I did to write HELEN OF SPARTA and BY HELEN'S HAND are buried in the archives, I thought it might be a good idea to bring some of them back to your attention, hero by hero and topic by topic, so when May 10th rolls around, you'll be as ready to read as I was to write!  

NB: The Myths are the Myths, but most of these posts will include my perspectives and approaches to them, which could be spoiler-ish, so proceed with caution! 


I hope it isn't too much of a spoiler to admit, but Pirithous isn't really in BY HELEN'S HAND. He's mentioned, and referenced, but he's more of a ghost between the pages than anything else. If you know anything about his mythology -- well, I'm sure you know why.

HOWEVER.

Pirithous's son does just happen to make an appearance. Polypoetes, it turns out, is one of the many men listed as one of Helen's suitors. Which gives me an excuse to talk about BOTH of them, maybe, for old time's sake, and to give some extra context to Pirithous's son before you meet him on the page in BHH.

One of my favorite myths is the the story of how Theseus and Pirithous meet for the first time. Somehow, the idea of the young King Theseus, making a name for himself as a hero and an upstanding individual -- a king of great wisdom and honor -- being tested by Pirithous the most piratey of rapscallions, just tickles me. (Mild spoilers for Helen of Sparta if you're not familiar with the myths.)

Pirithous, Theseus, and that Ill-Advised Trip to the Underworld (Part I and Part II)
The story goes that Pirithous and Theseus made a pact that they should both marry daughters of Zeus, because they were demigods and as such deserving of marriage to women of divine lineage. Leaving aside the fact that a daughter of Zeus would also be Pirithous' half-sister and the marriage slightly incestuous, a demigod deciding he deserves some kind of honor or another for himself is never really a good idea. Hubris is never, ever, ever a recipe for success for any demigod or mortal. The gods just do not put up with it. (Definitely a spoiler for Helen of Sparta)

The Centauromachy, the war with the centaurs, doesn't seem to me to be something that can be overlooked for either of them. I can't get around the idea that the abduction of Hippodamia by the centaurs (her kin!) on her wedding day, of all days, and the subsequent bloodshed at the wedding feast, would be emotionally traumatizing not just for Hippodamia and Pirithous, but for the rest of the community as well, centaur and human alike. (This myth takes place maybe 20-30 years before Helen of Sparta, so Spoiler Free, but it's a very influential event both for Pirithous and, I believe, his son. Polypoetes is the son of Hippodamia, after all.)

Among the men listed as suitors of Helen, and those named as leading ships to Troy, we find the footnote of Polypoetes, the son of Pirithous. I've done a lot of THINKING (and writing!) about Pirithous, and Polypoetes's mother, Hippodamia -- but until I started writing BHH, I hadn't really considered their son. (Definite Spoilers for Helen of Sparta and mild spoilers --primarily of motivation for BHH!)

There's a goodly sum of other... interesting? posts regarding Pirithous over at ye olde Good to Begin Well (again.) Including a small scene from a paranormal romance novel I've been poking at which features Pirithous in the modern day (because I guess I can't help myself). And of course you can find MOUNTAINS more on Hippodamia and the Centaurs by clicking through the appropriate tags on this blog, from when I was working on my Hippodamia/Centauromachy book. So feel free to explore, but just know there is a risk of happening upon the spare spoiler in plain sight!



By Helen's HandIf you enjoyed Helen of Sparta don't forget to pre-order your copy of BY HELEN'S HAND -- available May 10th in paperback, audio (cd, mp3, and audible), and for kindle! Or maybe just mark it to-read on Goodreads in the meantime :) And don't forget to subscribe to THE AMALIAD for a free short story prequel to HELEN OF SPARTA: Ariadne and the Beast!

Wednesday, May 20, 2015

Writing Polypoetes, son of Pirithous

Perithoos Hippodameia BM VaseF272
Pirithous and Hippodamia
© Marie-Lan Nguyen / Wikimedia Commons
Among the men listed as suitors of Helen, and those named as leading ships to Troy, we find the footnote of Polypoetes, the son of Pirithous. Those of you who have been reading this blog for any length of time know that I've done a lot of THINKING (and writing!) about Pirithous, and Polypoetes's mother, Hippodamia -- but until I started writing my last manuscript, I hadn't really considered their son.

It's funny how you can write two or three books about a character just for your own pleasure or entertainment, and then realize after the fact how desperately important it was for you to write those other books, so that when you sit down to write the thing you are writing at that moment, you have the background you need to tackle it. And that's kind of what happened for me with Polypoetes and this last manuscript. Because I was so caught up in the more familiar names and characters -- Odysseus, Ajax the Great, Menelaus, Agamemnon, Penelope, Castor and Pollux -- that I had overlooked Polypoetes as a part of the story I was writing. Until he was on top of me.

And I couldn't help but explore his perspective, just a little bit. Because here was the son of Theseus's best friend, Pirithous the instigator. Here was the son of the man who, by some accounts, provoked the entire Kidnap-of-Helen-and-Persephone adventures. Here was the son of the man who, one might argue, cost Theseus EVERYTHING, and by extension for my narrative, cost HELEN everything too. What kind of courage did it take him to march or sail himself to Sparta and present himself as a suitor to Helen? Or was it a matter of honor, itself? Was he there because of Helen's beauty, or was Helen's beauty just a happenstance, because he felt there was a debt that must be paid?

And what does he think about his father's adventures?  Or his father's reputation, generally, for that matter? What does he know, and how closely is he bound up in the affairs of Athens, and Theseus's family? Certainly he was old enough by the time HELEN OF SPARTA takes place that he could be left in Thessaly to rule in his father's place -- I imagine he was of a similar age to Hippolytus, Theseus's oldest (deceased) son. Were they friends? Does he grieve?

Fortunately for me, I knew Polypoetes's early history. I knew Pirithous and Hippodamia's story already, because I'd written their book just before. And I think that made giving Polypoetes a voice that much more attractive and inspiring. Because having known his parents, I wanted desperately now, to know their son.

I hope someday you'll get a chance to know him too!




Available Now!
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Long before she ran away with Paris to Troy, Helen of Sparta was haunted by nightmares of a burning city under siege. These dreams foretold impending war—a war that only Helen has the power to avert. To do so, she must defy her family and betray her betrothed by fleeing the palace in the dead of night. In need of protection, she finds shelter and comfort in the arms of Theseus, son of Poseidon. With Theseus at her side, she believes she can escape her destiny. But at every turn, new dangers—violence, betrayal, extortion, threat of war—thwart Helen’s plans and bar her path. Still, she refuses to bend to the will of the gods.

A new take on an ancient myth, Helen of Sparta is the story of one woman determined to decide her own fate.


Wednesday, April 15, 2015

Mycenaean and Homeric Burial Practices

Dying Centaur
(photo by me!)
I've been doing a LOT of reading regarding funerary and burial practices of Mycenaean Greeks, and particularly those living in Bronze Age Thessaly, and I have learned a great many things -- the most important being, while Homer makes much of the funeral pyre and cremation of the dead, there is little to no evidence of cremation taking place in Mainland Greece during the period (LH IIIB ish) of the Trojan War.

There's evidence for it elsewhere, sure. Other cultures absolutely honored their dead with cremation via the funeral pyre. But in Mycenaean Greece? Cremation doesn't seem to show up until the Early Iron Age, and even then, it's not at all widespread. But as someone writing historical fiction built off the mythic traditions and heroes of Homer -- this presents a bit of a quandary to me, as the author.

Historically speaking, the inhumation of the dead into tombs (of varying size and style) or simple graves is more correct. But is the reader more familiar with the funeral pyre? Will they be expecting it? And if I don't make use of it, how do I reconcile or explain the difference between the practices of these heroes before they set out to war, and their sudden alteration while afield?

Ultimately, while the difference between cremation and inhumation APPEARS to be large, it seems that the burial and funerary practices of Mycenaean Greeks are not entirely different from what occurs within the pages of the Iliad. In fact, according to Mylonas (who, I will grant you, was doing his research in the 40s -- which was a very long time ago in terms of Archaeological practices, technology, and the vast amount of new information available to us today), it seems that apart from the actual disposal of the body itself, the practices and rites surrounding that ultimate disposal are VERY much the same, and the Homeric accounts of things like gifts of jars of oil and honey set around the bier for the dead, and even the funeral games and the feasting, seem to be holdovers from the earlier tradition of inhumation, when the shade might have lingered during the much longer process of decomposition of the flesh, and could appreciate the supplies and honors bestowed upon his corpse.

But ultimately, the novel I'm revising is a book in which no one passes peacefully into death. The Centauromachy is a violent slaughter, and the bodies certainly would have piled up. And in my reading and research I have yet to find a reference to any kind of mass burial due to war -- no large numbers of people all entombed together. And I wonder if that might have made a difference in how the bodies of the dead were honored or addressed.

I haven't decided yet how I'll work through this particular challenge -- if Homer or the Archaeological record will rule in this particular novel. But it's a fascinating problem, all the same! And I have to admit, I kind of love the learning along the way.

Wednesday, September 11, 2013

The Bromance of Theseus and Pirithous

One of my favorite myths is the the story of how Theseus and Pirithous meet for the first time. Somehow, the idea of the young King Theseus, making a name for himself as a hero and an upstanding individual -- a king of great wisdom and honor -- being tested by Pirithous the most piratey of rapscallions, just tickles me.

The story goes that Pirithous, having heard of Theseus' prowess in battle, wanted proof of his courage and strength, and so, as all good heroes do, he went out to rustle some of Theseus' cattle in order to test him. A time honored tradition among demigods, and second only to stealing women-folk! Plutarch tells the rest of the story in his essay on Theseus:

[...]when the news was brought that Theseus pursued him in arms, he did not fly, but turned back and went to meet him. But as soon as they had viewed one another, each so admired the gracefulness and beauty, and was seized with such respect for the courage of the other, that they forgot all thoughts of fighting; and Pirithous, first stretching out his hand to Theseus, bade him be judge in this case himself, and promised to submit willingly to any penalty he should impose.

And that, as they say, was the beginning of a beautiful friendship. From that day forth, Theseus and Pirithous were like brothers, allies in everything and according to Ovid's Heroides, inseparable to the point of neglecting their other relationships, including their own sons (but then too, Phaedre isn't the most reliable of narrators, either, and bespelled by the gods in her lust for Theseus' son, besides).

Perithoos Hippodameia BM VaseF272
© Marie-Lan Nguyen / Wikimedia Commons
Which is Pirithous and which is Theseus
I couldn't tell you, honestly.
Of Pirithous alone, we have very little information. Most of what is preserved is only in relation to his adventures with Theseus, in which, to my prejudiced readings, he comes off as the instigator of some foolish adventures, inevitably resulting in trouble for both of them, the primary example being, as we have discussed on multiple occasions, the abduction of Helen, and the subsequent trip to Hades so that Pirithous might steal Persephone, because that is just the kind of overconfident, arrogant piece of work that Pirithous was. And we've also touched on the Centauromachy, and his wedding to Hippodamia, which was so rudely interrupted by lustful centaurs trying to molest, if not steal outright, his bride.

Personally, I think the bromance of Pirithous and Theseus belongs up there with Achilles and Patroclus, and it's a real shame they don't get more press in pop culture. That um, might account for their continued and repeated presence on my blog. If you were wondering.

Wednesday, August 21, 2013

Pirithous, Theseus, and that Ill-advised Trip to the Underworld (I)

Ceres/Demeter searching for Persephone
The story goes that Pirithous and Theseus made a pact that they should both marry daughters of Zeus, because they were demigods and as such deserving of marriage to women of divine lineage. Leaving aside the fact that a daughter of Zeus would also be Pirithous' half-sister and the marriage slightly incestuous, a demigod deciding he deserves some kind of honor or another for himself is never really a good idea. Hubris is never, ever, ever a recipe for success for any demigod or mortal. The gods just do not put up with it.

BUT, I can certainly see the appeal a demigod daughter of Zeus might have had for Pirithous and Theseus, both of whom suffered from a certain amount of bad luck when it came to their wives. Pirithous's wife, Hippodamia was assaulted during their wedding feast; and Theseus' lost his Amazon Queen, Antiope, to the war with the amazons, and his second wife, Phaedra to the curse of the gods, after she fell in love with his son, Hippolytus, accused him of raping her (which resulted in *his* death) and then killed herself. I could see Theseus and Pirithous both feeling that they'd like a wife who was a little bit more hardy -- of stronger stock, so to speak.

Just making off with Helen wasn't really such a terrible thing for the times. Abducting women was a pretty normal activity for demigods, and provided they didn't break the laws of hospitality by doing so, didn't normally result in any extreme consequences. At the time of her abduction by Theseus, Helen was still unpromised, and we know that even stealing wives isn't unheard of or unsurprising, because later on, Helen was so desired, that her suitors were required to swear an oath not to kill the man who won her, or steal her from her rightful husband after the fact. Raiding was an accepted part of life, be it for gold, goods, food, cattle, or women. And of course we can't forget that Hades himself carried Persephone off to the Underworld to be his bride in the first place, which resulted in Persephone spending 6 months in Hades, and Demeter's joy which results in the shift in season to spring when Persephone returns to the world and her mother's arms again. (To say nothing of Zeus and Poseidon's myriad woman-stealing adventures.)

A demigod stealing a demigod or a normal woman isn't news, just as a god stealing a woman isn't anything shocking, but when Theseus and Pirithous traveled to the Underworld for Persephone, they seem to have crossed the line. Not only were they stealing a goddess, they were stealing the consort of a god, and as we all know, those gods? They weren't all that forgiving.

It seems simple, then. A clear-cut case of a demigod overreaching -- of Hubris, even.

But the sources don't all agree and next week, we'll touch on why.

Wednesday, May 29, 2013

The Centauromachy

A Dying Centaur
Normally I'm not so big into mythological monsters, but in delving into both Hippodamia and Pirithous's mythologies, I've had to make an exception for the centaurs. The Centauromachy, the war with the centaurs, doesn't seem to me to be something that can be overlooked for either of them.I can't get around the idea that the abduction of Hippodamia by the centaurs (her kin!) on her wedding day, of all days, and the subsequent bloodshed at the wedding feast, would be emotionally traumatizing not just for Hippodamia and Pirithous, but for the rest of the community as well, centaur and human alike.

Hippodamia was not the only victim on that day. Other Lapith women were abducted, too. Guests died fighting off the centaurs, and centaurs died fighting off the guests. And what about the centaurs who weren't involved? The females, colts, and fillies? There's little mention of their fates in the wedding feast brouhaha (Ovid's Metamorphoses give by far the most detailed account) , and while it's possible that only males had been invited to the celebration, but I sincerely doubt that those not guilty escaped the prejudices and anger of those who bore witness to that day. And I doubt, too, that some of the newly widowed centauresses didn't attempt to take their own revenge for the loss of their mates.

Most of the centaurs who attended Hippodamia's wedding feast didn't make it back home, after. In
contrast, many of the women were rescued, and far fewer of the men and heroes died. Ovid (from Nestor's perspective) illustrates a terrible bloodbath, including this moment:
In that din [the centaur] Aphidas lay with every vein relaxed in endless sleep, unwoken, undisturbed, sprawled on a shaggy bearskin from Mount Ossa, his wine-filled cup in his unconscious hand, out of the fight--in vain! Observing him lying apart there, Phorbas fingered firm his lance's thong : ‘You'd better mix,’ he cried ‘your wine with Styx's water!’ There and then he hurled his lance and through Aphidas' neck, as he lay sprawled face-up, the iron-tipped ash drove deep. Death came unfelt. Over the couch--into the cup--blood gushed from his full throat. (Metamorphoses, 12.316)

The fact of the matter is, the result of that day was a war, and the centaurs were expelled from their lands, hunted into extinction, in the end (and perhaps the Centauromachy itself is an explanation for why there are no more centaurs, wandering the plains or hunting in the forests). And war is rarely easy on the parties involved. Neither for those doing the fighting, nor for those waiting behind thick walls to learn whether or not their loved ones will be coming home.The Centaurmachy is an event which was never forgotten -- one of the few accounts of Pirithous' life, in fact! -- and I can only imagine, if it was so long remembered, the wounds it left behind.

images © me

Wednesday, May 15, 2013

More Hippodamia (And her Centaurs)

I'm not sure why Hippodamia's abduction by Centaurs is such a popular motif for artists -- just like I'm not sure why Leda and the Swan is even more so -- but this particular sculpture is one of my favorites.

I love the contrast between the grace of Hippodamia's form, all smooth lines and curves, and the emphasis on the Centaur's pure muscle mass, brutish and physically powerful. His shoulders ripple, his flanks and forequarters dimpled and defined. In comparison to Hippodamia, he's massive!

Unlike the centaur in the previous bronze (which was far more Art Deco in style) there isn't anything elfin about his features. Hollow-cheeked and thick-nosed, this centaur is rawly human. A man lost to madness, made all the more clear by the fallen amphorae, spilling wine beneath his hooves.

Hippodamia on the other hand, seems either to have fainted from the shock of her abduction, or else she's flopping like a fish to make herself as awkward to carry as possible. Generally, she's portrayed as helpless -- a damsel in distress. But I can't help but think it must have been more than wine which provoked the centaurs to kidnap one of their own. And I really have a hard time believing that a woman referred to as "kin" to the centaurs and tamer of horses would just give up without a fight.

If the centaurs are uncivilized, brutish and barbaric, how civilized was Hippodamia herself? Why should she have been anything less than wild (by Greek standards), as well?

Maybe that's why I like the myth of Hippodamia -- because there's so much potential there, to build a strong woman from the bare-bones account of her life. What's more, it strikes me as something of an untold story, because the depictions of Hippodamia tend toward the hysterical woman, despairingly throwing herself about while waiting to be rescued by her pirate-hero-king husband, Pirithous.

After all, no "ordinary" woman could really hope to cope with such an outrageous personality as Pirithous possesses, and I'm willing to bet he wouldn't want to be saddled with just any woman for a wife. Hippodamia must be something more, something greater, than what we're given to understand by these works of art, and that is definitely a story worth telling.
Photography in this post © me.

Wednesday, March 27, 2013

Hippodamia and the Centaurs

Centaur and Dryad by Paul Manship
The Centauromachy began, according to most accounts, with the wedding of Hippodamia to Pirithous. Because Hippodamia was kin to the Centaurs, they were invited to the wedding feast -- but apparently Pirithous was a little bit too generous with his wine, and the centaurs, unused to such strong drink, got drunk. And not giggles and daring fun, either. Angry and Lusty drunk. Wild and Violent drunk. So wild and so angry, in fact, that they thought it would be a good idea to make off with the bride herself, along with a fair number of other women, for the purposes of, well, violence and lust.

As you can imagine, Pirithous did not sit still for this, and with Theseus at his side, and the help of a number of other guests as well, they attacked and defeated the centaurs, rescuing the women, and driving the remaining horse-men from the city, and perhaps even the lands of the Lapiths entirely. Hippodamia escaped mostly unscathed, though I can't imagine she looked back on her wedding day fondly after that.

Which brings us to today's terrible photography -- because I happened across this bronze by accident (as usual) at the Wadsworth Atheneum. But the style was both fascinating and beautiful, and definitely inspired me when I started writing about Hippodamia and her marriage to Pirithous (even if this isn't a depiction of her abduction.)

There's a reason that mythology has been a subject of creative endeavors for so long. There's so much room in it for dynamic emotion and beauty. There are so many conflicts waiting to be brought to life and characters to explore. For instance -- how is Hippodamia, a woman, related to the centaurs (bred from mares) at all?

Half the fun, for me, is figuring out the story which leads to an answer.



Images in this post © me.