Medusa in classical mythologyEdit
The three Gorgon sisters—Medusa, Stheno, and Euryale—were all 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, which 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".
In a late version of the Medusa myth, related by the Roman poet Ovid (Metamorphoses 4.770), Medusa was originally a ravishingly beautiful maiden, "the jealous aspiration of many suitors," priestess in Athena's temple, but when she and the "Lord of the Sea" Poseidon were caught together by 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 Minerva (Athena) as just and well earned.
In most versions of the story, she was beheaded by the hero Perseus, who was sent to fetch her head by King Polydectes of Seriphos. In his conquest, he received a mirrored shield from Athena, gold, winged sandals from Hermes, a sword from Hephaestus and Hades' helm of invisibility. Medusa was the only one of the three Gorgons who was mortal, so Perseus was able to slay her while looking at the reflection from the mirrored shield he received from Athena. During that time, Medusa was pregnant by Poseidon. When Perseus beheaded her, Pegasus, a winged horse, and Chrysaor, a golden-sworded giant, sprang from her body.
Jane Ellen Harrison argues that "her potency only begins when her head is severed, and that potency resides in the head; she is in a word a mask with a body later appended... the basis of the Gorgoneion is a cultus object, a ritual mask misunderstood."
Harrison's translation states "the Gorgon was made out of the terror, not the terror out of the Gorgon."
According to Ovid, in northwest Africa, Perseus flew past the Titan Atlas, who stood holding the sky aloft, and transformed him into stone. In a similar manner, the corals of the Red Sea were said to have been formed of Medusa's blood spilled onto seaweed when Perseus laid down the petrifying head beside the shore during his short stay in Ethiopia where he saved and wed his future wife, the lovely princess Andromeda. Furthermore the poisonous vipers of the Sahara, in the Argonautica 4.1515, Ovid's Metamorphoses 4.770 and Lucan's Pharsalia 9.820, were said to have grown from spilt drops of her blood.
Perseus then flew to Seriphos, where his mother was about to be forced into marriage with the king. King Polydectes was turned into stone by the gaze of Medusa's head. Then Perseus gave the Gorgon's head to Athena, who placed it on her shield, the Aegis.
Some classical references refer to three Gorgons; Harrison considered that the tripling of Medusa into a trio of sisters was a secondary feature in the myth: Template:Quote
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." Psychoanalysis 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.
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. 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." 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."
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." 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." Some have interpreted the image as representing narcissistic rage.
Medusa has sometimes appeared as representing notions of scientific determinism and nihilism, especially in contrast with romantic idealism. 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: Template:Quote
Medusa in artEdit
- Main article: Cultural depictions of Medusa and Gorgons
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)
- Medusa column bases of Basilica Cistern in Constantionople.
- 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)
- Medusa (marble bust) by Gianlorenzo Bernini (1630s)
- Medusa is played by a countertenor in Jean-Baptiste Lully and Philippe Quinault's opera, Persée (1682). She sings the aria "J'ay perdu la beauté qui me rendit si vaine."
- 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 (oil on canvas) by James Miller (2010)
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.
In flags and emblemsEdit
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 cultureEdit
- Main article: Greek mythology in popular culture#Medusa
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.
Notes and referencesEdit
- ↑ 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... "
- ↑ Template:Cite web
- ↑ (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.)
- ↑ 6.0 6.1 Harrison, p. 187.
- ↑ Roger Lancelyn Green suggests in his Tales of the Greek Heroes written for children that Athena used the aegis against Atlas.
- ↑ Smith, "Perseus".
- ↑ 9.0 9.1 Template:Cite web
- ↑ 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, p. 7.
- ↑ Garber, p. 1.
- ↑ 16.0 16.1 16.2 Wilk, pp. 217-218.
- ↑ Johnson, B. 'The feminist difference: literature, psychoanalysis, race, and gender'. Cambridge, Mass. Harvard University Press, 1998
- ↑ Petersen, Per Serritslev. "Jack London's Medusa of Truth." Philosophy and Literature 26.1 (2002). pp. 43-56.
- ↑ London, p. 121.
- ↑ Wilk, p. 200.
- Servius, In Aeneida vi.289
- Lucan, Bellum civile ix.624–684
- Ovid, Metamorphoses iv.774–785, 790–801
- Garber, Marjorie, Vickers, Nancy, The Medusa Reader, Routledge; 1 edition (February 26, 2003), ISBN 978-0415900997.
- Harrison, Jane Ellen (1903) 3rd ed. 1922. Prolegomena to the Study of Greek Religion,: "The Ker as Gorgon"
- Template:Cite book
- Smith, William; Dictionary of Greek and Roman Biography and Mythology, London (1873). "Perseus"
- Wilk, Stephen R, Medusa: Solving the Mystery of the Gorgon, Oxford University Press, 2007, ISBN 978-0195341317
- Walker, Barbara G., The Women's Encyclopedia of Myths & Secrets
- 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
- Animated version of the story by children at Dorchester ARTSaf:Medusa
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