As a bird with the incredible gift of resurrection, the Phoenix is one of the most enduring symbols of Greek mythology. We, as people, are pretty accustomed to messing things up and the hope of renewal is something we earnestly crave. The Phoenix, when its long life is over, goes up in a burst of flames only to be reborn from its own ashes. Christians early latched onto this poignant symbol, as have many other religions. In origin the Phoenix is likely related to the sun mythos. Isn’t there always a small shadow of fear that somehow it might fail to rise tomorrow morning, plunging us all into interminable darkness? The Phoenix is a harbinger of hope. These are my thoughts as I soar, birdlike, toward Phoenix, Arizona. A city named after the resurrecting bird. I’m not certain what awaits me here—I’ve never been to Arizona before, but I do know it is desert, and that life in the desert is always precarious. I’m glad to have brought my mythology with me.
Phoenix was, appropriately enough for October, first named Pumpkinville. It is difficult to imagine this sixth most populous city in the United States coming to prominence under that moniker. Since it is October, however, there is an aptness to such history. My trip, as most of my travel, relates to business rather than pleasure—there is a kind of hope in resurrection here as well. As a city in the desert, resurrection would seem to be central to those millions who call Phoenix home. Indeed, the concept of the gods as we know them seems to have been conceived and born in the harsh environment of desiccated lands. Some suggest the Phoenix was originally taken from Egyptian lore. Egypt was, outside the Nile delta, a nation only a few miles wide, snaking alongside a life-giving river in the wilderness.
What is it about deserts that brings the spiritual to mind? It always seemed to me that it was an issue of utter dependence. People living in a harsh environment need all the help they can get. It is difficult to suppose that harsh deities might arise in perfect circumstances. Today Phoenix depends more on engineering and control of the environment than on providence. The gods of the desert nevertheless find a home here. Even if they have adapted to an affluent lifestyle. As go the experiences of people, so go the fortune of the gods. And resurrecting birds.
Growing up in a teetotaling family, when I first encountered Greek mythology I paid scant attention to Dionysus. Assuming him to be “just the god of wine,” I had no interest in the wares he was peddling. Of mythology itself there was no end of fascination, and many of the great classics have been toned down to Disney, or even more insipid, for the entertainment of children. What we often fail to appreciate is that this is religion. Mythology that does not address the very real human concerns of sex, intoxication, and false dealing is really of no help at all. If in doubt, read your Bible. (Not the children’s version.) When I came back to Greek mythology as an adult, it became clear that Dionysus differed from other gods in considerable ways. While teaching my mythology classes, I decided to read more about this intriguing god. Well, it was just like the Fates that I would get a new job before reading Walter Otto’s book, Dionysus, but the urge was still strong and I was glad I’d read it.
Otto wrote in the days of Frazer’s technique of comparing sometimes questionable sources, and yet he produced a masterful, and poetic study of Dionysus. What quickly becomes clear is that the popular association of Bacchus with wine is a gross oversimplification. Dionysus is the god of madness, of blurring distinctions, and of losing control. He is the most frequently represented god in Greek art because, like us, he sometimes loses it. Greek society is famed for its rationality and order. It is sometimes overlooked by the reasoning mind that creativity, emotion, wildness are part of the complexity of humanity. Dionysus is the god who understands the need to let go once in a while. This is not hedonism, nor is it debased. Bacchus represents the human in full form. He is the god who comes to humanity, the god of appearing. Dionysus, the friendly god.
In the early days of Christianity in the Greek world, many Greeks supposed that the Jesus preached to them was Dionysus (to the chagrin of many missionaries). The connections, however, are remarkable. Like Jesus Dionysus has a god for a father and a human for a mother. He lives a carefree life and is the god who actually comes down to live with people. He is a god who dies and who is resurrected. Like Jesus, he enjoyed a glass of Bordeaux every now and again. And his followers were fanatical. As Otto makes clear in his dated, but insightful, book, Dionysus left a deep imprint on culture itself that continues to affect us even today. Even if we’re teetotalers, we can appreciate the depth of character and the complex nature of a god like Bacchus. And if we’re honest we’ll admit that there are times when we just have to let it go.
The Greek gods are in the ascendant again. They seldom disappear completely, but the big movie studios have rediscovered the special effects boon that only gods can deliver. When I first began to teach my Mythology course at Montclair State University, the Clash of the Titans remake and Percy Jackson: The Lightning Thief were both released just as the class was getting underway. It seemed like interest had been lost since the original Clash of the Titans back in 1981 when I was still a student. Special effects then meant Ray Harryhausen. Now they are measured in terabytes and whatever is larger than that. So Immortals was released recently, but I haven’t seen it yet. Picking up on the sometimes forgotten hero Theseus, the Athenian answer to Hercules, the movie promises to bring the divine into the theater.
In the spate of movies showing gods, America is not yet ready for a movie featuring Yahweh. Oh, certainly there have been films where the god of Israel has loomed very large behind the scenes, but with a prohibition of making images—no paparazzi need apply—it seems unlikely that we’ll see a special effects extravaganza featuring the Almighty. Besides, few Americans have reconciled themselves with the mythic nature of many Bible stories. As politicians and televangelists insist, these stories are fact, not entertainment. GCI Yahweh always stops at the somewhat comic George Burns or Morgan Freeman figures. Charleton Heston, where have you gone? Yahweh of the Bible is a gun-toting, hard-talking, pestilence-slinging, American-style deity. And action is where it counts.
Critics say Immortals suffers on the side of story-line at the expense of gore and action. A factor that is often overlooked, however, is mythology’s inherent mutability. “The Classics,” as we grandly call them, do not derive from a super-Scripture of literalist myths. Each writer told his (less often, her) story in his (her) own way. Although there were those who took such stories literally, as Socrates will silently confess, I suspect not a few knew these were stories told to make a point. There is no right way to tell a myth. From Harryhausen’s Jason and the Argonauts to Disney’s Hercules to Singh’s Immortals, mythology transcends the mere mortals telling it. This is the greatest shame of the modern world—we have traded the beauty of myth for a paltry handful of literalism approaches to religion. And the literary (and cinematic) world is much the poorer for it.
Mythology has visited the big screen in many guises, but among the current spate of superhero films a god may rival mere mortals and mutants. Thor opens in theaters today, bringing a Norse god back into the public eye. Like many young boys I owe my early reading predilection to comic books. One of my favorite heroes was Thor (our birthdays were very close) but I couldn’t quite make out how he was a superhero with the unfair advantage of being a god. Why weren’t other gods down here with us? At some level I sensed Thor’s rage, and perhaps even his estrangement from his father. Was there a sadness to this mighty wielder of thunder? When I was a little older Lester del Rey’s Day of the Giants became one of my favorite books. Norse mythology is plaintive compared to the world of the jovial Greek gods. Even the beloved Balder dies.
Thor is the embodiment of one of the most ancient principles of divinity: control of the storm. A generation after Odin, Thor also experiences that generational divide that all ancient people felt marked the lives of the gods. Zeus likely developed as a more civilized form of Hadad (Baal). In Ugaritic mythology Baal is the lord of the storm; he bears a mace where Thor will grasp a hammer. Baal, however, is often described as the son of Dagan, likely an early Mesopotamian storm god. Back to the earliest levels of civilization miniscule humans have quaked in wonder at the power of storm gods. Making Thor into a superhero humanized him a bit, and with classic comic-book biceps he was sure to be a hit among scrawny boys with dreams of grandeur. We would never have been allowed to read comic books featuring Baal.
The salient point, I suppose, is what makes a god a god? In the mythological mindset, deities are quite human except for their immortality and their strength. The might of gods clashes with the might of other gods. Omnipotence takes the fun out of the equation, for a truly all-powerful deity has orchestrated this whole cosmos and we are just pathetic players on the stage. Thor rages against the machine. If a god cannot be defeated, there is no story to tell. It may be difficult to predict how well Thor will perform on the big screen, but if I am not alone in my fascination of watching gods struggle against even greater gods, this may be like the Day of the Giants for grownups and kids alike.
Religion is a demanding taskmaster, often completely at odds with the lifestyles of even its most staunch practitioners. Having spent my entire lifetime trying to understand it, I marvel at its imperiousness. In a story reminiscent of the unlikely hit film of 1981, Chariots of Fire, a recent Verizon human interest story highlights how religion sometimes impedes people, particularly children, from achieving what they may believe God put them here for. The story focuses on aspiring gymnast Amalya Knapp, yet to see 10, who has been prevented from full competition potential because of observing the Sabbath. As the article points out, this is not an issue limited to Orthodox Judaism, since “She isn’t the only young athlete faced with reconciling her passion for sports with religious obligation. Experts say the issue arises in all faiths, in nearly every sport, and at all levels of competition.” In one of the great ironies of human psychological development, we have engineered religions to prevent us from reaching our full potential.
In a way that few can appreciate today, the Sabbath rest was originally an unexpected gift. Ancient people had no concept of a weekend, a harrowing thought for most frantic people today who live their lives for the brief respite from insanity that the weekend offers. The recognition that a mandatory day off might actually improve the human condition was as prescient as it was radical. Time off to improve productivity? Today we know it to be true. But the more a religion gives its adherents, the more it seeks to take away. The God who gives you that free time wants to take it back. It is not really your time after all. “I believe God made me for a purpose, but he also made me fast. And when I run I feel His pleasure.” So says Eric Liddell in Chariots of Fire. He will also refuse to feel his pleasure on the Sabbath.
Religions disagree on the fine details of why the divine put us here. They are united in the belief that such a reason exists, but the terms of the contract differ widely. For reasons that the divine alone can comprehend, many human activities are subject to heavenly hegemony. The classical Greeks called it hubris when a mere mortal excelled to a point that embarrassed the gods. In response a human who wanted the most out of life knew not to show the gods what you are truly made of. For even the kindest of gods are jealous of divinity. And as all religions repeatedly demonstrate, despite divine demands for us mortals to share, gods are in no way obligated by their own rules.
I’m suffering from mythology overload. Last night I watched the mediocre 2010 version of Clash of the Titans on DVD. Since I’ve been grading students papers on mythology non-stop for over a week now, I felt that I needed to see what all the fuss was about. Again. I saw the movie in a theater earlier this year and wrote a post on the post-modern perspective the film has on the gods. To get a better sense of a movie, however, a repeated viewing is awful helpful. The fact is that the public exposure to mythology is often limited to the movies. Students frequently ask if something they saw in the Disney version of Hercules is the way it really happened in the myths. Nothing really happened in the myths.
Meanwhile angry letters have been pouring into the New Jersey Star-Ledger. Rounding out a new losing season, Rutgers University football coach Greg Schiano remains the highest paid employee of the state of New Jersey. Academic voices are feeble, but economics makes people sit up and pay attention. Money talks. Brains are lazy when it comes to rigorous thought. As the collection of heroes gathered in the forest of Calydon to chase the great boar Artemis let loose on the city, the academic world has also chased the glory of the pig-skin. And poor Meleager paid the price of the public outcry when it was over. Even though his team won the biggest college bowl ever.
It is hard to tell the real villain in Clash of the Titans. The writers suggest it might be Zeus, or Hades, Medusa, the “Kraken,” Acrisius, Cephus, or even the “fire priest.” Everybody’s looking for someone to blame. Things aren’t right in Argos. Others blame state legislators, the president of Rutgers University, or the football coach himself. The fact is in both the movie and in the university priorities have been skewed. Nobody is driving except the money, no matter which box office it goes into.
Newspapers and the Internet have been abuzz with Pope Benedict XVI’s leaked proclamation that condoms may be useful for male prostitutes in preventing the spread of AIDS. Many are astonished, and not a few heads have been scratched at the declaration from the stalwart bastion of “sex is only for procreation” Christianity. The announcement, while humanitarian, is deeply troubling. From ancient times it was recognized that human sexual behavior had more than procreational importance. The matter has been investigated by psychologists since the nineteenth century and the same conclusion was drawn: people engage in sexual practices for a variety of reasons. Meanwhile, the church has been holding out with a Hebrew Bible viewpoint enhanced by the personal outlook of Paul.
In the ancient world, the microscopic world of reproduction was unknown. What was actually happening in conception was misunderstood. Judeo-Christian sexual mores were based on faulty information, from a biological point of view. In such a view, the all-potent male gamete (inappropriately called “seed,” as if a womb were just a place for pre-formed humans to grow) was capable of producing life on its own. Reading a handful of Greek myths will demonstrate this principle nicely (since the Bible has a more demure and blushing way of discussing the idea). The concomitant concept that seed should not be wasted led to the faulty idea that, in the unforgettable words of Monty Python, “every sperm is sacred.” That mental construct has been used by the church to make women subservient to their biology in a way that never applied to males. The Pope’s declaration underscores this double standard.
If male prostitutes may use condoms with the church’s blessing to prevent the spread of AIDS, the only motivation left for heterosexual birth control is female control. The “lost cause” of male reproductive potential in male prostitutes does not apply in heterosexual unions? God holds married couples to a different standard than male prostitutes – why? Is the sperm in these two cases unequal? The Pope is undoubtedly on the right track by endorsing the use of condoms, but the church still has a profound distance to go before it can look women in the eye and say, “we believe you are truly equal with men.” Oh yes, and not blink while saying it.
Ancient goddesses have long been a fascination with me. After writing my Edinburgh dissertation on Asherah, and taking employment at an Anglo-Catholic seminary that venerated the BVM – Blessed Virgin Mary, and not some underwear brand, as I had supposed – I realized that male-dominated religions still recognize the need for the sacred feminine. In my recent post on Halloween, I mentioned the Roman goddess Pomona. Roman religion is generally not treated with the finesse of classical Greek mythology, but it represents an important part of our western heritage. Pomona is an etiological goddess. Etiologies are stories of origins, and like other goddesses of the ancient world Pomona was used to explain the mysterious ways of nature.
The story that best describes Pomona is preserved by Ovid in his Metamorphoses. Pomona is one of the virgin goddesses, specifically the goddess of fruit. She has no known Greek antecedents. The myth involves her devoted chastity and her commitment to ripening fruit, particularly apples (and sometimes pears). Shunning all lovers, she was eventually wooed by Vertumnus, the god of changing seasons. Disguising himself as an old woman, Vertumnus visits Pomona and tells her of the wonders of love and of the attributes of Vertumnus especially. Eventually Vertumnus reveals himself, and Pomona, delighted at what she sees, loves him. Of course, apples ripen and seasons change. Winter is soon to come once the apples fall from the tree. The goddess has been subdued by masculine designs.
So it often is with goddesses. Men recognize the need for the divine feminine, but fear it and attempt to tame it. Pomona, however, survives. One of the memorable objets d’art at Nashotah House, where I sat in that chapel for over a dozen long years, was a frieze of the BVM. More technically, a Madonna and Child. The frieze hung over an altar in a side chapel behind the choir, so most people didn’t spend much time looking at it. Mary, holding Jesus, was surrounded by a frame of fruit rendered in plaster. Apples were prominent among them. There are those who suggest that apples show how Mary overcame the heinous sin of Eve. I believe, however, that the fruits surrounding the virgin demonstrate that Pomona, the virgin goddess who eventually succumbs to the advances of the male deity, still has a place in the patriarchal world of Christendom.
Having just finished my Mythology course at Montclair, I’ve picked up a few books to delve once again into a sublimated childhood interest. I was first introduced to Greek mythology back in Mrs. MacAlevy’s fifth-grade class in Rouseville Elementary. The story of Perseus, in particular, has stayed with me ever since. Of course, being taught in serious religion classes that this was all silly nonsense, what with the multiplicity of overly amorous deities whimsically whipping thunderbolts at humanity (everyone knew there was really only a single celibate deity whimsically spreading pestilence among humanity), I drifted away. Mythology continued to be an interest, but the Greek variety went the way of the dodo. The occasional Pauline reference to Artemis fanned the old flames, but just a little. I had more serious religion to comprehend.
So now, decades later, I find myself needing to catch up on the classics. To rejuvenate my interests, I once again turned to Perseus. My brother and I forked out the extra cash for 3-D to see the remade Clash of the Titans this spring, and I found myself even watching the 1981 version in a Harryhausen-induced haze to refresh my memory. The original movie realized the deficiencies of the classic story on the big screen and embellished shamelessly to wow the critics. One of the most memorable scenes was Perseus in the lair of Medusa. So I found myself reading Stephen Wilk’s Medusa: Solving the Mystery of the Gorgon.
Wilk is a physicist and a member of a prominent optical society. He brings the fresh insights of a non-classics specialist to the story of Medusa (I should know, since I too am a non-classics specialist). This study raised my limited level of awareness in several respects, particularly in the repeated emphasis on eyes in the book. What really struck me the most, however, was how it became clear that Medusa was yet again an embodiment of female power ruthlessly struck down by a virile young man with nothing better to do than slay her. Medusa is the victim in the story, cut down for simply being what she is – a strong female figure. I could not agree with all of Wilk’s assessments, but this provocative book brought many interesting concepts to light.
Medusa, like Lilith, is the symbol of fear for a threatened manhood; women who are true femmes fatale – preying on male pretensions for sport. Until society willingly accords true equality, such figures will remain necessary to remind us that gender should never be the factor by which an individual’s contribution is to be judged. I suspect Mrs. MacAlevy knew something that the Greeks had also realized: repression only increases the ferocity of the repressed.
Over the weekend I joined the thousands flocking to theaters to see Clash of the Titans. I first met Perseus in fifth grade and have been intrigued by classical mythology ever since. I tried not to believe that it was nearly three decades ago that I sat in the single screen theater back in Oil City, Pennsylvania watching a film with the same title and Ray Harryhausen’s famous stop-motion animated creatures. I was anticipating great things. While the new Clash is visually stunning at several points, the post-modern story line primarily demanded my attention. While there are gods galore in the film, the message is maybe not atheistic, but, to coin a word, anolatric – denying worship to the gods. Time and again Perseus refuses the help of the gods and when he finally meets Zeus, his absentee father, he shows him anything but respect.
Who let the trogs out?
The Greeks, like all ancient peoples, primarily feared the gods. Not offending deities was a societal expectation since an infraction on the part of any citizen might lead to divine repercussions. Dictys, Perseus’ adopted father, rails against the gods for allowing the degeneration of society, a trait that Perseus takes to extremes in the movie. In battling the monsters, Perseus is storming Olympus itself. In a nod to the Easter weekend crowds, Perseus defeats death himself by banishing Hades to an incongruously fiery underworld. I left the theater slightly stunned; here had been a hero standing before the very gods but refusing to worship. Clash of the Titans indeed.
While my family was off winning the Connecticut Regional First Robotics competition in Hartford (go Team 102!), I had consoled myself the night before seeing Clash by watching the cheesy 1968 Japanese giant monster classic, Wrath of Daimajin (also known as Return of the Giant Majin). I had seen the original Giant Majin some time ago, but here was a “monster” movie where the destructive colossus was himself a god. The Giant Majin is a protective mountain deity who, when injustice grows unchecked, breaks free of his rocky home and destroys the wicked. The Wrath of Daimajin included startling biblical imagery: as the Majin stomps through the sea the waters part as if Moses were on the god’s shoulder. The faithful female protagonist is being executed on a cross (burned at the stake, but tied to a cross), and the Majin breaks the gibbet and holds her aloft, the very tableau of the evil-banishing crucifix. As always, the Giant Majin vanishes at the end, leaving the oppressed to build their own, better future.
I dream of Majin with a dark green face
Such movies are benchmarks of public theology. Made by laypersons trying to express their ideas about the divine world, I find them a crucial measure for any teacher of religion to watch, mark and inwardly digest. In just 24 hours I saw a Shinto god go Christian and a Greek polytheist lose his faith. The world just can’t figure out if the gods are for us or against us.
My fascination with goddesses began when I decided to research Asherah. Having grown up in a monotheistic milieu, goddesses were strangely, but not surprisingly, irrelevant. I had, of course, read about them in mythology classes, but they seemed less defined than the gods who had strong, striking characteristics. Now that I’m revisiting many classical goddesses in the course of preparing my class on Mythology, I’m discovering a renewed appreciation for the feminine divine and its contribution to the ancient world.
Athena saves a hero
Athena and Artemis have been on my mind for the past several weeks. Among the Olympian deities they are among the strongest female figures (Aphrodite, of course, provides her own feminine form of power, and Hera, although mighty, remains largely in the background). Perhaps what creates such a striking form for Athena and Artemis is that they blend the traditional masculine and feminine roles in a way that the ancient Greeks were prescient to devise – they both possess weaponry and strength that frequently brings mortal men to their demise. They don’t wile with “feminine charms” like Aphrodite; instead they meet men on their own tuft – hunting and warfare, bravery and muscle. They are virgins, not needing male approval. Together they form the basis of many ancient aspects of divine nobility.
Artemis and her man-dog
Today, however, when we think of Olympians Zeus and Poseidon come to mind almost immediately as the two major figures. No one disputes the unstoppable power of Zeus’ thunderbolt or Poseidon’s earthquake. The goddesses, however, display their power on the human level. They may set the fortunes of armies going to war or individuals out for personal glory or fame. They touch the characters on a more human level. They also have their counterparts, unfortunately often eclipsed, in the world of the ancient Near East. Astarte is still poorly understood, and Anat, although more fully fleshed out at Ugarit, largely remains an enigma. The importance of Athena and Artemis thus stands out in sharper relief for having survived the overly acquisitive masculine ego to remind people everywhere that goddesses also will have their due. Given enough time, perhaps even the gods will understand.
I first became aware of Greek mythology in fifth grade. My teacher in an industrial, rough and yet rural school, believed in the benefits of teaching aspiring drug addicts and laborers the stories of gods and heroes. I immediately adored the stories we heard and read. Raised in a religious household, however, I feared enjoying the tales of what were admittedly pagan gods after all, too much. In the educational topography of my youth, we were on the brink of this brave new electronic world we’ve entered, and mythology was not considered a terribly useful part of the curriculum after that. I left the gods behind. In a class on the Christian Scriptures in college, however, my instructor suggested we all go see Clash of the Titans (the 1981 version) for its appreciative (if a little hokey) presentation of the Greek world. I enjoyed the movie and even took a class in the literature department on mythology.
Over the years I have touched and gone on Greco-Roman mythology while specializing in the mythology of Ugarit. Now that I’m teaching a course on mythology, I’m going back to my classical roots and rereading the stories of times not quite so ancient as the fertile crescent civilizations’, but older than what is considered practical nowadays. While rereading Euripides’ play The Bacchae, the concentration of images, concepts, and actions that recur in the Bible stood out in chiaroscuro. Especially noticeable were references to Paul in the book of Acts.
Like Paul, Dionysus comes to be imprisoned. Not recognized as a divine figure, King Pentheus of Thebes locked him in chains until he could demonstrate that Dionysus is just the wild imaginary figure of repressed women. An earthquake, however, soon rattles the city and Dionysus emerges, chains shed, to the astonishment of Pentheus. The scene reads like Paul and Silas’ escape from jail in Philippi (Acts 16). Admittedly this could be coincidence. A few lines later, however, Dionysus, free from prison, tells Pentheus, “Don’t kick against the goad – a man against a god,” (Act 3, Paul Roche’s translation). Even so, Paul on his way to Damascus sees a vision of a god and is asked, “Why are you persecuting me? It is hard for you to kick against the goads” (Acts 26.14). Perhaps Luke had read his Euripides?
Now I’m no scholar of the Christian Scriptures (although I have taught courses on them a time or two), but when obvious parallels exist it is incumbent upon modern readers to pay attention. The parallels of Dionysus and Jesus were evident to early Christians, so what I noticed was nothing new. When the followers of Dionysus, however, strike a rock with their sticks and water flows out, I wondered if Euripides had read his Torah!
As we fall out of the holiday season into that distinctly chilly and sometimes cheerless February, Cybele comes to mind. Over the past several weeks I have added posts focused on the holidays associated with December and January. In the course of my research for a children’s book on American holidays (not published), I was astonished at how frequently Cybele appeared among the origins of current holiday practices. Having researched ancient Near Eastern mythology long enough to complete a doctorate in the field, and to write a book on an ancient goddess (Asherah), the lack of reference to Cybele in my sources was unexpected. I pushed this question mark to the back of my mind, but as I was reading H. P. Lovecraft’s story “The Rats in the Walls,” I found Cybele once again.
Cybele eventually became a major Roman goddess, although she was never among the Greek Olympians. Her importance shows in her connections with several Roman festivals and practices of antiquity, some of which have survived even to the present. Greco-Roman adherents to Cybele worship considered her to have been of Phrygian origin. Many scholars, however, see in her name and character echoes of a Semitic goddess named after Gebal, or the native name for Byblos in Phoenicia. If so, she is one further piece of the puzzle connecting the classical world with that of the fertile crescent.
Wikipedia Commons Cybele
A standard title for Cybele was Magna Mater, or “great mother.” As such, she was frequently associated with the earth itself, widely considered to have been a primordial female deity in the ancient Near East. In many respects she resembles Asherah, although the two are never explicitly identified. In myths where she is associated with Atys (later Attis), she becomes the spouse of a “dying and rising god.” She is prominent in festivals around mid-March, at the time of the renewal of fertility in the Mediterranean basin. Matronly, stolid, and powerful, Cybele lurks in the background of religious sensibilities. Her association with spring offers something to look forward to as the overly long, yet short, month of February starts to become visible.
Yesterday I decided to take a break from austerity and take my family to see Avatar. Not just on the big screen (a rare enough treat), but in 3-D Imax format. In my zeal I had forgotten about my debilitating congenital problem with motion sickness. I have had trouble since I was a child sitting in the backseat, or riding backward on a train, or even turning my head around too fast. Once I was talked into riding a county fair ride by some high school friends and found myself still getting nauseous two weeks later. I have learned to live with this embarrassing problem, but sometimes I forget that the mere suggestion of motion will send me over the edge. I managed the first twenty minutes of the movie before having to close my eyes and bow my head for the rest of it. It is an interesting experience to listen to a movie. Following the basic plot wasn’t too hard, at least when I wasn’t thinking about all the talk of great special effects and the money I’d spent to see them.
Like most science-fiction movies, Avatar makes substantial use of biblical and mythological themes. The planet is named Pandora, after the “Greek Eve,” and I could hear traces of the hero quest throughout. When the indigenous people were introduced, however, my ears pricked up (as I understand those of the characters do). The Na’vi, it turns out, share the name of the prophets of the Bible. The Hebrew title for prophet is nb’, pronounced the same as the movie characters. I thought about this as I wondered what was going on during the action sequences that I could not see. Those who guard the traditional ways are the prophets, silenced by the grinding machinery of modernization.
Even avatars have their origins in religion. The first I had heard of avatars in science fiction was in Neal Stephenson’s Snow Crash. The idea felt so fresh then that I had to remind myself that Hinduism had given the world avatars as earthly manifestations of deities centuries ago. Placing oneself in another form ultimately stimulates the question of which is the true self, the ultimate reality. It is an inherently religious question.
The morning after, the room is still swaying about me, I can’t scroll down on the computer screen, and I am asking the questions of reality again. It cheers me that Avatar is doing so well at the box office. Any movie, even if unseen, that causes the viewer to question a frequently painful reality is worth the price of admission.
Podcast 17 addresses one of the prevailing orthodoxies of the ancient world: the relative lack of communication between regions. It is clear from evidence that continues to emerge that ancient cultures knew about and borrowed from each other. The most obvious of these exchanges across distinct cultures concerns Hellenistic and Semitic contact. The Greeks clearly borrowed from their Semitic neighbors, as Cyrus Gordon worked so hard to convey. Although still not universally acknowledged, it is becoming increasingly difficult to maintain that ancient societies were singular, isolated, and self-sufficient.