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2017

A Study of Female Agency in The Homeric Hymn

to Demeter through Word and Illustration
Virginia White
[email protected]

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 A Study of Female Agency in The Homeric Hymn to Demeter through Word and Illustration

Virginia Gan Shi White

Submitted in Partial Fulfillment

of the
Prerequisite for Honors
in The Classical Studies Department
under the advisement of Catherine Gilhuly

April 2017

© 2017 Virginia White

1
 Acknowledgements

I would like to thank Professor Gilhuly for all her support and guidance, without her this project
would not have been possible. Also thank you to Professor McGibbon for teaching me so much
about printmaking and for always pushing me artistically.

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 Introduction

This project came out of finding a way to combine Studio Art with Classical Studies. As
someone who has always been interested in storyboards, mapping art onto myth over a series of panels
was a logical choice. I decided to take an ancient Greek story, analyze it, and then make illustrations.
This project on The Homeric Hymn to Demeter is therefore broken into three parts:

Part I – English Translation of The Homeric Hymn to Demeter

Part II – The Influence of a Mother in The Homeric Hymn to Demeter
Part III – A Visual Translation of The Homeric Hymn to Demeter

By first doing a close reading of the myth, in the original Greek, I could extract a more nuanced
understanding of what the myth said. I then chose to focus on Demeter’s agency which revolved around
her role as a mother and her defiance against her husband, motivated by the love of her daughter. Finally,
everything that I learned was filtered into a printmaking project. The goal of my illustrations was to
represent the theories explored in Part I but also bring a new understanding to the myth that could only be
achieved through image.

3
 Part I

English Translation of The Homeric Hymn to Demeter

4
Δήµητρ᾽ ἠύκοµον, σεµνὴν θεόν, ἄρχοµ᾽ ἀείδειν, I begin to sing of Demeter with the lovely hair,
αὐτὴν ἠδὲ θύγατρα τανύσφυρον, ἣν Ἀιδωνεὺς awesome goddess, and her slim-ankled daughter,
ἥρπαξεν, δῶκεν δὲ βαρύκτυπος εὐρύοπα Ζεύς, whom Aidoneus carried off, heavy-sounding
νόσφιν Δήµητρος χρυσαόρου, ἀγλαοκάρπου, thunderous Zeus gave her, unaided by Demeter of
παίζουσαν κούρῃσι σὺν Ὠκεανοῦ βαθυκόλποις golden sword and beautiful fruit, while playing
5 (like a child) with the deep-bosomed daughters of
Oceanus [5]

ἄνθεά τ᾽ αἰνυµένην, ῥόδα καὶ κρόκον ἠδ᾽ ἴα καλὰ Picking flowers—roses, crocuses, and beautiful
λειµῶν᾽ ἂµ µαλακὸν καὶ ἀγαλλίδας ἠδ᾽ ὑάκινθον violets—from the soft meadow. At the same time
νάρκισσόν θ᾽, ὃν φῦσε δόλον καλυκώπιδι κούρῃ irises, and hyacinth, and the narcissus, which Gaia
Γαῖα Διὸς βουλῇσι χαριζοµένη Πολυδέκτῃ, produced as a trap for the blushing girl to gratify
θαυµαστὸν γανόωντα: σέβας τό γε πᾶσιν ἰδέσθαι the Host-to-Many, by the will of Zeus. The
10 marvelous glittering flower, awesome for all to
see, [10]
ἀθανάτοις τε θεοῖς ἠδὲ θνητοῖς ἀνθρώποις: for both immortal gods and mortal men.
τοῦ καὶ ἀπὸ ῥίζης ἑκατὸν κάρα ἐξεπεφύκει: And from its root a hundred blossoming heads
κὦζ᾽ ἥδιστ᾽ ὀδµή, πᾶς τ᾽ οὐρανὸς εὐρὺς ὕπερθεν grew and smelled so sweet that all the wide sky
γαῖά τε πᾶσ᾽ ἐγελάσσε καὶ ἁλµυρὸν οἶδµα above the entire earth and salty wave of the sea
θαλάσσης. laughed. She was astonished and reached out both
ἣ δ᾽ ἄρα θαµβήσασ᾽ ὠρέξατο χερσὶν ἅµ᾽ ἄµφω her hands at once [15]
15
To grab the beautiful toy: but the earth opened
καλὸν ἄθυρµα λαβεῖν: χάνε δὲ χθὼν εὐρυάγυια wide the Nysian plains, where the lord Host-to-
Νύσιον ἂµ πεδίον, τῇ ὄρουσεν ἄναξ Πολυδέγµων Many sprang out on his immortal horses, son of
ἵπποις ἀθανάτοισι, Κρόνου πολυώνυµος υἱός. Kronos, who has many names. Carrying off the
ἁρπάξας δ᾽ ἀέκουσαν ἐπὶ χρυσέοισιν ὄχοισιν unwilling maiden upon his golden chariot he led
ἦγ᾽ ὀλοφυροµένην: ἰάχησε δ᾽ ἄρ᾽ ὄρθια φωνῇ, 20 her as she was wailing. She shouted out with her
voice, [20]

κεκλοµένη πατέρα Κρονίδην ὕπατον καὶ ἄριστον. calling to her father, son of Kronos, the highest and
οὐδέ τις ἀθανάτων οὐδὲ θνητῶν ἀνθρώπων the best. But no one of the immortals or of mortal
ἤκουσεν φωνῆς, οὐδ᾽ ἀγλαόκαρποι ἐλαῖαι† men heard her cry, and neither did the beautiful-
εἰ µὴ Περσαίου θυγάτηρ ἀταλὰ φρονέουσα bearing olive tree, none except the delicate
ἄιεν ἐξ ἄντρου, Ἑκάτη λιπαροκρήδεµνος, 25 daughter of Persaios; being prudent she heard the
cry from a cave, Hekate of the delicate veil. [25]

And lord Helios, the bright son of Hyperion, heard

Ἠέλιός τε ἄναξ, Ὑπερίονος ἀγλαὸς υἱός, the girl calling to her father, son of Kronos. But he
κούρης κεκλοµένης πατέρα Κρονίδην: ὃ δὲ νόσφιν sat idle, apart from the gods far away in a temple
ἧστο θεῶν ἀπάνευθε πολυλλίστῳ ἐνὶ νηῷ, which receives many prayers and welcomes choice
δέγµενος ἱερὰ καλὰ παρὰ θνητῶν ἀνθρώπων. sacrifices from mortal men. Her took her against
τὴν δ᾽ ἀεκαζοµένην ἦγεν Διὸς ἐννεσίῃσι 30 her will, by the suggestion of Zeus, [30]

The father’s brother, the Ruler-of-Many, the Host-

πατροκασίγνητος, Πολυσηµάντωρ Πολυδέγµων, to-Many, on immortal horses, son of Kronos who
ἵπποις ἀθανάτοισι, Κρόνου πολυώνυµος υἱός. has many names. So long as the goddess looked
ὄφρα µὲν οὖν γαῖάν τε καὶ οὐρανὸν ἀστερόεντα upon the earth and sparkling sky and the strong-
λεῦσσε θεὰ καὶ πόντον ἀγάρροον ἰχθυόεντα flowing sea filled with fish and the light of the sun,
αὐγάς τ᾽ ἠελίου, ἔτι δ᾽ ἤλπετο µητέρα κεδνὴν 35 she still hoped to see her dear mother [35]

5
ὄψεσθαι καὶ φῦλα θεῶν αἰειγενετάων, and the race of the eternal gods. In that time hope
τόφρα οἱ ἐλπὶς ἔθελγε µέγαν νόον ἀχνυµένης περ. charmed her strong mind, though she was grieving.
ἤχησαν δ᾽ ὀρέων κορυφαὶ καὶ βένθεα πόντου Both the peaks of the mountains and the deep parts
φωνῇ ὑπ᾽ ἀθανάτῃ: τῆς δ᾽ ἔκλυε πότνια µήτηρ. of the sea echoed with her divine voice. And her
ὀξὺ δέ µιν κραδίην ἄχος ἔλλαβεν, ἀµφὶ δὲ χαίταις queen mother heard her. A sharp pain seized her
40 heart, and from her divine hair [40]
ἀµβροσίαις κρήδεµνα δαΐζετο χερσὶ φίλῃσι, she tore off her veil with her own hands.
κυάνεον δὲ κάλυµµα κατ᾽ ἀµφοτέρων βάλετ᾽ And she threw a dark cloak upon both her
ὤµων, shoulders, and sped like a bird over both dry land
σεύατο δ᾽ ὥστ᾽ οἰωνός, ἐπὶ τραφερήν τε καὶ ὑγρὴν and sea she searched but no one was willing to
µαιοµένη: τῇ δ᾽ οὔτις ἐτήτυµα µυθήσασθαι speak the truth Neither gods nor mortal men, [45]
ἤθελεν οὔτε θεῶν οὔτε θνητῶν ἀνθρώπων, 45 And no true messenger of bird came.
οὔτ᾽ οἰωνῶν τις τῇ ἐτήτυµος ἄγγελος ἦλθεν. Then for nine days queen Deo roamed the earth,
ἐννῆµαρ µὲν ἔπειτα κατὰ χθόνα πότνια Δηὼ holding burning pine wood in her hands
στρωφᾶτ᾽ αἰθοµένας δαΐδας µετὰ χερσὶν ἔχουσα, She did not ever eat ambrosia or drink sweet
οὐδέ ποτ᾽ ἀµβροσίης καὶ νέκταρος ἡδυπότοιο nectar, being in mourning, and not washing her
πάσσατ᾽ἀκηχεµένη, οὐδὲ χρόα βάλλετο λουτροῖς skin with a bath. [50]
50

ἀλλ᾽ ὅτε δὴ δεκάτη οἱ ἐπήλυθε φαινολὶς ἠώς, But then when the tenth light-bringing dawn
ἤντετό οἱ Ἑκάτη, σέλας ἐν χείρεσσιν ἔχουσα arrived, Hekate met her, holding a flame in her
καί ῥά οἱ ἀγγελέουσα ἔπος φάτο φώνησέν τε: hands, to report a message to her, she spoke and
πότνια Δηµήτηρ, ὡρηφόρε, ἀγλαόδωρε, said:
τίς θεῶν οὐρανίων ἠὲ θνητῶν ἀνθρώπων 55 Queen Demeter, bringer of the seasons, who
ἥρπασε Περσεφόνην καὶ σὸν φίλον ἤκαχε θυµόν; bestows gifts, who of the heavenly gods or mortal
φωνῆς γὰρ ἤκουσ᾽, ἀτὰρ οὐκ ἴδον ὀφθαλµοῖσιν, men [55] carried off Persephone and grieved your
ὅστις ἔην: σοὶ δ᾽ ὦκα λέγω νηµερτέα πάντα. dear heart? For I heard a voice, nevertheless I did
not see with my eyes, who it was. But to you I
speak at once the whole truth.

ὣς ἄρ᾽ ἔφη Ἑκάτη: τὴν δ᾽ οὐκ ἠµείβετο µύθῳ Thus Hekate spoke. But she did not reply with a
Ῥείης ἠυκόµου θυγάτηρ, ἀλλ᾽ ὦκα σὺν αὐτῇ 60 single word, the lovely-haired daughter of Rhea,
ἤιξ᾽ αἰθοµένας δαΐδας µετὰ χερσὶν ἔχουσα. but quickly she sped off [60] holding in her hands
Ἠέλιον δ᾽ ἵκοντο, θεῶν σκοπὸν ἠδὲ καὶ ἀνδρῶν, a lighted torch. They came to Helios, the observer
στὰν δ᾽ ἵππων προπάροιθε καὶ εἴρετο δῖα θεάων: of the gods and of men, and stood in front of his
horses and the noblest of the gods asked:

ἠέλι᾽, αἴδεσσαί µε θεὰν σύ περ, εἴ ποτε δή σευ Helios respect me as a god does a goddess, if ever
ἢ ἔπει ἢ ἔργῳ κραδίην καὶ θυµὸν ἴηνα: 65 either in word or in deed I pleased your heart and
κούρην τὴν ἔτεκον, γλυκερὸν θάλος, εἴδεϊ κυδρήν, spirit. [65] The daughter I bore, a sweet shoot
τῆς ἀδινὴν ὄπ᾽ ἄκουσα δι᾽ αἰθέρος ἀτρυγέτοιο noble in form, I hear her voice throbbing through
ὥστε βιαζοµένης, ἀτὰρ οὐκ ἴδον ὀφθαλµοῖσιν. the barren air like she was suffering violence, but I
ἀλλά, σὺ γὰρ δὴ πᾶσαν ἐπὶ χθόνα καὶ κατὰ πόντον did not see her with my eyes. With your light you
αἰθέρος ἐκ δίης καταδέρκεαι ἀκτίνεσσι, 70 look down through the bright air on the entire earth
νηµερτέως µοι ἔνισπε φίλον τέκος, εἴ που ὄπωπας, and sea. [70] Tell me the truth about my child.
ὅστις νόσφιν ἐµεῖο λαβὼν ἀέκουσαν ἀνάγκῃ Have you somewhere seen who seized the
οἴχεται ἠὲ θεῶν ἢ καὶ θνητῶν ἀνθρώπων. unwilling girl by force, who of gods of mortal
men, took her from me and went away?

6
ὣς φάτο: τὴν δ᾽ Ὑπεριονίδης ἠµείβετο µύθῳ: Thus she spoke and the son of Hyperion replied by
Ῥείης ἠυκόµου θύγατερ, Δήµητερ ἄνασσα, 75 speech: Lovely haired daughter of Rhea, queen
εἰδήσεις: δὴ γὰρ µέγα σ᾽ ἅζοµαι ἠδ᾽ ἐλεαίρω Demeter, [75] you will know the truth, for I greatly
ἀχνυµένην περὶ παιδὶ τανυσφύρῳ: οὐδέ τις ἄλλος revere and pity you grieving about your slim-
αἴτιος ἀθανάτων, εἰ µὴ νεφεληγερέτα Ζεύς, ankled daughter. No one else of the immortals is
ὅς µιν ἔδωκ᾽ Ἀίδῃ θαλερὴν κεκλῆσθαι ἄκοιτιν responsible except cloud-gathering Zeus who gave
αὐτοκασιγνήτῳ: ὃ δ᾽ ὑπὸ ζόφον ἠερόεντα 80 her to Hades to call the youthful girl his wife, His
ἁρπάξας ἵπποισιν ἄγεν µεγάλα ἰάχουσαν. own brother. [80] He with his horses snatched her
ἀλλά, θεά, κατάπαυε µέγαν γόον: οὐδέ τί σε χρὴ and led her, lamenting loudly, upon the murky
µὰψ αὔτως ἄπλητον ἔχειν χόλον: οὔ τοι ἀεικὴς darkness. But, goddess, put an end to your great
γαµβρὸς ἐν ἀθανάτοις Πολυσηµάντωρ Ἀιδωνεύς, sadness. You must not to hold this monstrous
αὐτοκασίγνητος καὶ ὁµόσπορος: ἀµφὶ δὲ τιµὴν 85 anger in this manner, for it is in vain. For among
ἔλλαχεν ὡς τὰ πρῶτα διάτριχα δασµὸς ἐτύχθη, the immortals this bridegroom is not shameful, the
τοῖς µεταναιετάειν, τῶν ἔλλαχε κοίρανος εἶναι. Ruler-of-Many, Aidoneus, Zeus’s own brother and
of the same stock. And the honor [85] he obtained
by lot during the first division of three realms, and
he dwells with those ones, the ruler of these men
he obtained by lot.

ὣς εἰπὼν ἵπποισιν ἐκέκλετο: τοὶ δ᾽ ὑπ᾽ ὀµοκλῆς So he spoke and called his horses. Upon rebuke
ῥίµφα φέρον θοὸν ἅρµα τανύπτεροι ὥστ᾽ οἰωνοί. they bore lightly the swift chariot, like long-
Τὴν δ᾽ ἄχος αἰνότερον καὶ κύντερον ἵκετο θυµόν: winged birds. A more terrible and unrestained grief
90 arrived in her heart. [90] She had anger thereafter
χωσαµένη δὴ ἔπειτα κελαινεφέι Κρονίωνι towards the son of Kronos black with clouds.
νοσφισθεῖσα θεῶν ἀγορὴν καὶ µακρὸν Ὄλυµπον She abandoned the assembly of gods and great
ᾤχετ᾽ ἐπ᾽ ἀνθρώπων πόλιας καὶ πίονα ἔργα Olympus, and she went among the cities of men
εἶδος ἀµαλδύνουσα πολὺν χρόνον: οὐδέ τις and the rich fields. She concealed her form for a
ἀνδρῶν long time and no one of man or deep-girdled
εἰσορόων γίγνωσκε βαθυζώνων τε γυναικῶν, 95 women when looking at her came to recognize her
πρίν γ᾽ ὅτε δὴ Κελεοῖο δαΐφρονος ἵκετο δῶµα, [95] until she arrived at the house of wise Keleos
ὃς τότ᾽ Ἐλευσῖνος θυοέσσης κοίρανος ἦεν. who, at the time, was king of fragrant Eleusis.

ἕζετο δ᾽ ἐγγὺς ὁδοῖο φίλον τετιηµένη ἦτορ, There she sat near road, her dear heart held grief,
Παρθενίῳ φρέατι, ὅθεν ὑδρεύοντο πολῖται, by the Maiden’s well, where the citizens drew
ἐν σκιῇ, αὐτὰρ ὕπερθε πεφύκει θάµνος ἐλαίης, 100 water, in the shade, since an olive bush grew from
γρηὶ παλαιγενέι ἐναλίγκιος, ἥτε τόκοιο overhead. [100] Resembling an elderly woman,
εἴργηται δώρων τε φιλοστεφάνου Ἀφροδίτης, who has been shut off from childbirth and the gifts
οἷαί τε τροφοί εἰσι θεµιστοπόλων βασιλήων of garland-loving Aphrodite. Such are the nurses to
παίδων καὶ ταµίαι κατὰ δώµατα ἠχήεντα. the children of governing kings and the
housekeepers to echoing houses.

τὴν δὲ ἴδον Κελεοῖο Ἐλευσινίδαο θύγατρες 105 The daughters of Keleos, son of Eleusis, saw her
ἐρχόµεναι µεθ᾽ ὕδωρ εὐήρυτον, ὄφρα φέροιεν [105] They came to fetch easy-to-draw water, in
κάλπισι χαλκείῃσι φίλα πρὸς δώµατα πατρός, order to bring it in bronze pitchers to the dear halls
τέσσαρες, ὥστε θεαί, κουρήιον ἄνθος ἔχουσαι, of their father. Four of them, like goddesses, in the
Καλλιδίκη καὶ Κλεισιδίκη Δηµώ τ᾽ ἐρόεσσα flower of youth, Kallidike and Kleisidike,
Καλλιθόη θ᾽, ἣ τῶν προγενεστάτη ἦεν ἁπασῶν:110 charming Demo and Kallithoe, who was the first
οὐδ᾽ ἔγνον: χαλεποὶ δὲ θεοὶ θνητοῖσιν ὁρᾶσθαι. born of them all. [110] They did not know her,
ἀγχοῦ δ᾽ ἱστάµεναι ἔπεα πτερόεντα προσηύδων: gods are difficult for mortals to recognize.
Standing near her, they spoke winged words:

7
τίς πόθεν ἐσσί, γρῆυ, παλαιγενέων ἀνθρώπων;
τίπτε δὲ νόσφι πόληος ἀπέστιχες, οὐδὲ δόµοισι
πίλνασαι; ἔνθα γυναῖκες ἀνὰ µέγαρα σκιόεντα 115 “Who are you old woman, are you of those born
τηλίκαι, ὡς σύ περ ὧδε καὶ ὁπλότεραι γεγάασιν, long ago, and from where? Why have you gone far
αἵ κέ σε φίλωνται ἠµὲν ἔπει ἠδὲ καὶ ἔργῳ. from the city, and do not come near the houses?
ὣς ἔφαν: ἣ δ᾽ ἐπέεσσιν ἀµείβετο πότνα θεάων: There are very old women among the great
shadowy houses, [115] both like you and like the
ones born younger, who would care for you both in
word and in deed.” Thus they spoke and the
τέκνα φίλ᾽, αἵ τινές ἐστε γυναικῶν θηλυτεράων, noblest of goddesses replied with words:
χαίρετ᾽: ἐγὼ δ᾽ ὑµῖν µυθήσοµαι: οὔ τοι ἀεικὲς 120
ὑµῖν εἰροµένῃσιν ἀληθέα µυθήσασθαι. “Dear children, whoever you are of female women,
Δωσὼ ἐµοί γ᾽ ὄνοµ᾽ ἐστί: τὸ γὰρ θέτο πότνια greetings. I will relate my story to you all. [120] It
µήτηρ. is not shameful to tell true things, for you have
νῦν αὖτε Κρήτηθεν ἐπ᾽ εὐρέα νῶτα θαλάσσης asked. I am called Doso, which my august mother
ἤλυθον οὐκ ἐθέλουσα, βίῃ δ᾽ ἀέκουσαν ἀνάγκῃ gave to me. Now again from Crete, on the wide
ἄνδρες ληιστῆρες ἀπήγαγον. οἳ µὲν ἔπειτα 125 back of the sea, I came not wanting to, but by force
νηὶ θοῇ Θόρικόνδε κατέσχεθον, ἔνθα γυναῖκες and constraint pirate men carried me against my
ἠπείρου ἐπέβησαν ἀολλέες ἠδὲ καὶ αὐτοί, will. [125] Then they sailed to Thorikos by mean
δεῖπνόν τ᾽ ἐπηρτύνοντο παρὰ πρυµνήσια νηός: of their swift ship, once there the women
embarked upon land all together and the men
put together a meal at the stern of the ship.
ἀλλ᾽ ἐµοὶ οὐ δόρποιο µελίφρονος ἤρατο θυµός:
λάθρη δ᾽ ὁρµηθεῖσα δι᾽ ἠπείροιο µελαίνης 130
φεύγου ὑπερφιάλους σηµάντορας, ὄφρα κε µή µε But my heart did not desire a delicious dinner,
ἀπριάτην περάσαντες ἐµῆς ἀποναίατο τιµῆς. and rushing secretly through the dark land [130] I
οὕτω δεῦρ᾽ ἱκόµην ἀλαληµένη, οὐδέ τι οἶδα, escaped the overbearing captors, so that they could
ἥ τις δὴ γαῖ᾽ ἐστι καὶ οἵ τινες ἐγγεγάασιν. not sell me, yet unpaid for, having a use for my
ἀλλ᾽ ὑµῖν µὲν πάντες Ὀλύµπια δώµατ᾽ ἔχοντες 135 honor. In this way I came wandering hither, and
δοῖεν κουριδίους ἄνδρας, καὶ τέκνα τεκέσθαι, know nothing, neither what land this is nor which
ὡς ἐθέλουσι τοκῆες: ἐµὲ δ᾽ αὖτ᾽ οἰκτείρατε, people have been born here. But may all who dwell
κοῦραι. on Olympus [135] give to you men to wed and
children to bear, such as parents desire. But on the
other hand, feel pity for me, oh maidens.
[τοῦτο δέ µοι σαφέως ὑποθήκατε, ὄφρα πύθωµαι,]*
προφρονέως, φίλα τέκνα, τέων πρὸς δώµαθ᾽
ἵκωµαι Tell me dear children, whose house I might go
ἀνέρος ἠδὲ γυναικός, ἵνα σφίσιν ἐργάζωµαι towards, a man’s or a woman’s, so that I might do
πρόφρων, οἷα γυναικὸς ἀφήλικος ἔργα τέτυκται: for them, eagerly, the sort of work that is done by
140 an elderly woman. [140]
καὶ κεν παῖδα νεογνὸν ἐν ἀγκοίνῃσιν ἔχουσα I might even nurse a newborn child, holding it in
καλὰ τιθηνοίµην καὶ δώµατα τηρήσαιµι my bent arms, and watch over the house. And I
καί κε λέχος στορέσαιµι µυχῷ θαλάµων εὐπήκτων could spread out on the master’s bed by the
δεσπόσυνον καί κ᾽ ἔργα διδασκήσαιµι γυναῖκας. innermost part of the well-built room and I could
φῆ ῥα θεά: τὴν δ᾽ αὐτίκ᾽ ἀµείβετο παρθένος ἀδµής, teach the women their work.” So the goddess
145 spoke. But quickly the unwed maiden replied,

*
Corrupted text has been italicized

8
Καλλιδίκη, Κελεοῖο θυγατρῶν εἶδος ἀρίστη: Kallidike, the best in beauty of Keleos’ daughters.
µαῖα, θεῶν µὲν δῶρα καὶ ἀχνύµενοί περ ἀνάγκῃ “Good mother, though it distresses us, by necessity
τέτλαµεν ἄνθρωποι: δὴ γὰρ πολὺ φέρτεροί εἰσι. we humans endure the gifts of the gods, for they
ταῦτα δέ τοι σαφέως ὑποθήσοµαι ἠδ᾽ ὀνοµήνω are much stronger. I will clearly demonstrate these
ἀνέρας οἷσιν ἔπεστι µέγα κράτος ἐνθάδε τιµῆς 150 things and name the men in whom there is great
δήµου τε προὔχουσιν ἰδὲ κρήδεµνα πόληος power and honor. [150] The first of the people,
εἰρύαται βουλῇσι καὶ ἰθείῃσι δίκῃσιν: they guard the walls of the city with their counsel
ἠµὲν Τριπτολέµου πυκιµήδεος ἠδὲ Διόκλου and straight judgements. There is shrewd
ἠδὲ Πολυξείνου καὶ ἀµύµονος Εὐµόλποιο Triptolemos and Dioklos and Polyxenos and
καὶ Δολίχου καὶ πατρὸς ἀγήνορος ἡµετέροιο, 155 blameless Eumolopos and Dilochos and our own
noble father. The wives of all these men tend to the
houses. [155]
εἶδος ἀτιµήσασα δόµων ἀπονοσφίσσειεν, Not one of these people at first sight would disdain
ἀλλά σε δέξονται: δὴ γὰρ θεοείκελός ἐσσι. your appearance or deny you a home, but they will
εἰ δ᾽ ἐθέλεις, ἐπίµεινον, ἵνα πρὸς δώµατα πατρὸς receive you, for indeed you are godlike. If you
160 want, remain here, until we come to the house of
ἔλθωµεν καὶ µητρὶ βαθυζώνῳ Μετανείρῃ our father [160] and we say to our deep-girded
εἴπωµεν τάδε πάντα διαµπερές, αἴ κέ σ᾽ ἀνώγῃ mother, Metaneira, all these things straight
ἡµέτερόνδ᾽ ἰέναι µηδ᾽ ἄλλων δώµατ᾽ ἐρευνᾶν. through, in case she might bid you to come to our
τηλύγετος δέ οἱ υἱὸς ἐνὶ µεγάρῳ εὐπήκτῳ house and not seek the house of others. For the
ὀψίγονος τρέφεται, πολυεύχετος ἀσπάσιός τε. 165 darling child, her only son raised in a large well-
εἰ τόν γ᾽ ἐκθρέψαιο καὶ ἥβης µέτρον ἵκοιτο, built room, he is late-born, both prayed for and
ῥεῖά κέ τίς σε ἰδοῦσα γυναικῶν θηλυτεράων cherished. [165] If you could raise him he might
ζηλώσαι: τόσα κέν τοι ἀπὸ θρεπτήρια δοίη. even come to the measure of youth, anyone of
female women seeing you would easily become
jealous, she would give so many things to you for
nourishing him.”
ὣς ἔφαθ᾽: ἣ δ᾽ ἐπένευσε καρήατι: ταὶ δὲ φαεινὰ Thus she spoke and Demeter inclined her head.
πλησάµεναι ὕδατος φέρον ἄγγεα κυδιάουσαι. 170 They carried the shining jars filled with water,
ῥίµφα δὲ πατρὸς ἵκοντο µέγαν δόµον, ὦκα δὲ [170] bearing themselves proudly and swiftly
µητρὶ arriving to the great house of their father,
ἔννεπον, ὡς εἶδόν τε καὶ ἔκλυον. ἣ δὲ µάλ᾽ ὦκα immediately they told their mother the things they
ἐλθούσας ἐκέλευε καλεῖν ἐπ᾽ ἀπείρονι µισθῷ. saw and heard. She urged them go very quickly to
αἳ δ᾽ ὥστ᾽ ἢ ἔλαφοι ἢ πόρτιες εἴαρος ὥρῃ offer a boundless wage. Just like deer or calves in
ἅλλοντ᾽ ἂν λειµῶνα κορεσσάµεναι φρένα φορβῇ, any period of the spring leaping through a meadow
175 having a belly satiated with food, [175] so they
ὣς αἳ ἐπισχόµεναι ἑανῶν πτύχας ἱµεροέντων held the folds of their lovely robes. They darted
ἤιξαν κοίλην κατ᾽ ἀµαξιτόν: ἀµφὶ δὲ χαῖται down the hollow wagon track, and the flowing hair
ὤµοις ἀίσσοντο κροκηίῳ ἄνθει ὁµοῖαι. danced around their shoulders resembling a crocus
bloom.

τέτµον δ᾽ ἐγγὺς ὁδοῦ κυδρὴν θεόν, ἔνθα πάρος περ They found the stately goddess near the road,
κάλλιπον: αὐτὰρ ἔπειτα φίλου πρὸς δώµατα where they had left her. Thereupon they led the
πατρὸς 180 way to the house of their dear father [180]
ἡγεῦνθ᾽: ἣ δ᾽ ἄρ᾽ ὄπισθε φίλον τετιηµένη ἦτορ But she, having sorrow in her dear heart, marched
στεῖχε κατὰ κρῆθεν κεκαλυµµένη: ἀµφὶ δὲ πέπλος behind, having concealed her head, and a cloak
κυάνεος ῥαδινοῖσι θεᾶς ἐλελίζετο ποσσίν. swirled around the slender feet of the goddess.
αἶψα δὲ δώµαθ᾽ ἵκοντο διοτρεφέος Κελεοῖο, Quickly they arrived at the house of Keleos,
βὰν δὲ δι᾽ αἰθούσης, ἔνθα σφίσι πότνια µήτηρ 185 cherished by Zeus, they walked through the
ἧστο παρὰ σταθµὸν τέγεος πύκα ποιητοῖο verandah, there their queen mother

9
ἧστο παρὰ σταθµὸν τέγεος πύκα ποιητοῖο sat by a pillar of the thickly built roof,
παῖδ᾽ ὑπὸ κόλπῳ ἔχουσα, νέον θάλος: αἳ δὲ πὰρ she held the child upon her lap, a young shoot.
αὐτὴν They ran to her. But the goddess stepped upon the
ἔδραµον: ἣ δ᾽ ἄρ᾽ ἐπ᾽ οὐδὸν ἔβη ποσὶ καὶ ῥα threshold with her foot and her head chanced upon
µελάθρου the roof and she flooded the door with divine light.
κῦρε κάρη, πλῆσεν δὲ θύρας σέλαος θείοιο. Reverence, awe, and pale green fear seized
τὴν δ᾽ αἰδώς τε σέβας τε ἰδὲ χλωρὸν δέος εἷλεν:190 Metaneira. [190] She gave up her chair and urged
εἶξε δέ οἱ κλισµοῖο καὶ ἑδριάασθαι ἄνωγεν. the goddess to be seated. But Demeter, bringer of
ἀλλ᾽ οὐ Δηµήτηρ ὡρηφόρος, ἀγλαόδωρος, seasons and bestower of gifts, did not want to be
ἤθελεν ἑδριάασθαι ἐπὶ κλισµοῖο φαεινοῦ, seated upon the shining chair Instead she silently
ἀλλ᾽ ἀκέουσ᾽ ἀνέµιµνε κατ᾽ ὄµµατα καλὰ waited, her beautiful eyes cast down,
βαλοῦσα, Until the time when diligent Iambe knowingly
πρίν γ᾽ ὅτε δή οἱ ἔθηκεν Ἰάµβη κέδν᾽ εἰδυῖα 195 placed a solid seat, [195] down from above and she
πηκτὸν ἕδος, καθύπερθε δ᾽ ἐπ᾽ ἀργύφεον βάλε threw upon it a silver fleece.
κῶας.
Seated there she took hold her veil with her hands
ἔνθα καθεζοµένη προκατέσχετο χερσὶ καλύπτρην: and for a long time, she sat mute upon the seat,
δηρὸν δ᾽ ἄφθογγος τετιηµένη ἧστ᾽ ἐπὶ δίφρου, having sorrow. She addressed no one, neither in
οὐδέ τιν᾽ οὔτ᾽ ἔπεϊ προσπτύσσετο οὔτε τι ἔργῳ, words nor with some deed. But she was grave, not
ἀλλ᾽ ἀγέλαστος, ἄπαστος ἐδητύος ἠδὲ ποτῆτος 200 partaking in meat or drink. [200] She sat wasting
ἧστο πόθῳ µινύθουσα βαθυζώνοιο θυγατρός, away with longing for her deep-girded daughter
πρίν γ᾽ ὅτε δὴ χλεύῃς µιν Ἰάµβη κέδν᾽ εἰδυῖα until the time when diligent Iambe knowingly
πολλὰ παρασκώπτουσ᾽ ἐτρέψατο πότνιαν ἁγνήν, teased her and jesting with many jokes the holy
µειδῆσαι γελάσαι τε καὶ ἵλαον σχεῖν θυµόν: queen turned about to smile and laugh and to carry
ἣ δή οἱ καὶ ἔπειτα µεθύστερον εὔαδεν ὀργαῖς. 205 a gracious heart. Iambe thereafter pleased her
Demeter through her disposition. [205]

τῇ δὲ δέπας Μετάνειρα δίδου µελιηδέος οἴνου Metaneira offered a goblet, filled with honey-sweet
πλήσασ᾽: ἣ δ᾽ ἀνένευσ᾽: οὐ γὰρ θεµιτόν οἱ ἔφασκε wine. But Demeter refused, for it was not righteous
πίνειν οἶνον ἐρυθρόν: ἄνωγε δ᾽ ἄρ᾽ ἄλφι καὶ ὕδωρ she said to drink red wine; then she commanded
δοῦναι µίξασαν πιέµεν γλήχωνι τερείνῃ. that they mix both barley and water and soft mint
ἣ δὲ κυκεῶ τεύξασα θεᾷ πόρεν, ὡς ἐκέλευε: 210 and give her to drink. Metaneira offered this, after
δεξαµένη δ᾽ ὁσίης ἕνεκεν πολυπότνια Δηώ preparing the potion for the goddess, just as she
... τῇσι δὲ µύθων ἦρχεν ἐύζωνος Μετάνειρα: had commanded. [210] Deo, queen-of-many,
accepted on account of the rite. And well-girded
Metaneira spoke first
χαῖρε, γύναι, ἐπεὶ οὔ σε κακῶν ἄπ᾽ ἔολπα τοκήων Greetings, woman, I expect that your parents are
ἔµµεναι, ἀλλ᾽ ἀγαθῶν: ἐπί τοι πρέπει ὄµµασιν not base but noble. Modesty shines forth through
αἰδὼς your eyes, also grace, you are just like kings
καὶ χάρις, ὡς εἴ πέρ τε θεµιστοπόλων βασιλήων. administering justice. [215] But by necessity we
215 mortals endure the gifts of the gods, though it hurts
ἀλλὰ θεῶν µὲν δῶρα καὶ ἀχνύµενοί περ ἀνάγκῃ us. For the yoke is laid upon the neck of mankind.
τέτλαµεν ἄνθρωποι: ἐπὶ γὰρ ζυγὸς αὐχένι κεῖται. But now, since you have come here, all of my
νῦν δ᾽, ἐπεὶ ἵκεο δεῦρο, παρέσσεται ὅσσα τ᾽ ἐµοί things will be presented to you.
περ.

10
παῖδα δέ µοι τρέφε τόνδε, τὸν ὀψίγονον καὶ Raise this child for me, who the gods sent late-born
ἄελπτον and unexpected, and who was much desired by me.
ὤπασαν ἀθάνατοι, πολυάρητος δέ µοί ἐστιν. 220 [220] If you raise him and he comes to the measure
εἰ τόν γε θρέψαιο καὶ ἥβης µέτρον ἵκοιτο, of youth, readily anyone of women seeing you
ῥεῖά κέ τίς σε ἰδοῦσα γυναικῶν θηλυτεράων would be envious, I would give you so many
ζηλώσαι: τόσα κέν τοι ἀπὸ θρεπτήρια δοίην. rewards for rearing him. And in return, well-
τὴν δ᾽ αὖτε προσέειπεν ἐυστέφανος Δηµήτηρ: crowned Demeter responded to her:

καὶ σύ, γύναι, µάλα χαῖρε, θεοὶ δέ τοι ἐσθλὰ And you, woman, warmly welcome, and may the
πόροιεν: 225 gods supply blessings for you. [225] I willingly
παῖδα δέ τοι πρόφρων ὑποδέξοµαι, ὥς µε κελεύεις, receive the child, just as you command me, I will
θρέψω κοὔ µιν, ἔολπα, κακοφραδίῃσι τιθήνης raise him, I expect, not by some folly of the nurse:
οὔτ᾽ ἄρ᾽ ἐπηλυσίη δηλήσεται οὔθ᾽ ὑποτάµνον: neither a bewitching will hurt him nor he be
οἶδα γὰρ ἀντίτοµον µέγα φέρτερον ὑλοτόµοιο, undercut. For I know a great remedy far better than
οἶδα δ᾽ ἐπηλυσίης πολυπήµονος ἐσθλὸν ἐρυσµόν. the cutter, And I know a good safeguard against
230 the woeful curse. [230]

ὣς ἄρα φωνήσασα θυώδεϊ δέξατο κόλπῳ So speaking she took him onto her fragrant bossom
χείρεσσ᾽ ἀθανάτῃσι: γεγήθει δὲ φρένα µήτηρ. with her immortal hands. His mother rejoiced in
ὣς ἣ µὲν Κελεοῖο δαΐφρονος ἀγλαὸν υἱὸν her heart. Thus the shining son of prudent Keleos,
Δηµοφόωνθ᾽, ὃν ἔτικτεν ἐύζωνος Μετάνειρα, Demophoon, who well-girded Metaneira bore,
ἔτρεφεν ἐν µεγάροις: ὃ δ᾽ ἀέξετο δαίµονι ἶσος, 235 Was raised in the great rooms. He grew equal to a
οὔτ᾽ οὖν σῖτον ἔδων, οὐ θησάµενος [γάλα µητρὸς god, [235] neither eating grain, nor suckling [the
ἠµατίη µὲν γὰρ καλλιστέφανος] Δηµήτηρ milk of mother for by day the beautiful-crowned]
χρίεσκ᾽ ἀµβροσίῃ ὡσεὶ θεοῦ ἐκγεγαῶτα Demeter anointed him with ambrosia as though he
ἡδὺ καταπνείουσα καὶ ἐν κόλποισιν ἔχουσα: had been born of a god. Breathing sweetly on the
νύκτας δὲ κρύπτεσκε πυρὸς µένει ἠύτε δαλὸν child and holding him on her lap. At night, she
λάθρα φίλων γονέων: τοῖς δὲ µέγα θαῦµ᾽ ἐτέτυκτο, covered him, like a fire-brand, in the force of the
240 fire, secretly from his dear parents, to whom it was
a great wonder [240]
that he grew like an early grower, for he resembled
ὡς προθαλὴς τελέθεσκε: θεοῖσι γὰρ ἄντα ἐῴκει. the gods. And she would have made him both
καί κέν µιν ποίησεν ἀγήρων τ᾽ ἀθάνατόν τε, ageless and immortal, if not for well-girded
εἰ µὴ ἄρ᾽ ἀφραδίῃσιν ἐύζωνος Μετάνειρα Metaneira’s foolishness. At night, watching from
νύκτ᾽ ἐπιτηρήσασα θυώδεος ἐκ θαλάµοιο the fragrant inner room, she spied. She cried out
σκέψατο: κώκυσεν δὲ καὶ ἄµφω πλήξατο µηρὼ245 and struck both sides [245] in fear of the child
δείσασ᾽ ᾧ περὶ παιδὶ καὶ ἀάσθη µέγα θυµῷ being hurt by the great fire, and wailing she spoke
καί ῥ᾽ ὀλοφυροµένη ἔπεα πτερόεντα προσηύδα: winged words: “Demophoon child, the stranger
τέκνον Δηµοφόων, ξείνη σε πυρὶ ἔνι πολλῷ covered you in the great fire, she set greif in me
κρύπτει, ἐµοὶ δὲ γόον καὶ κήδεα λυγρὰ τίθησιν. and mournful troubles.”

Thus she spoke lamenting. And the heavenly

ὣς φάτ᾽ ὀδυροµένη: τῆς δ᾽ ἄιε δῖα θεάων. 250 goddess heard her. [250] Beautiful-crowned
τῇ δὲ χολωσαµένη καλλιστέφανος Δηµήτηρ Demeter was angry at her. The dear child, who was
παῖδα φίλον, τὸν ἄελπτον ἐνὶ µεγάροισιν ἔτικτε, unexpected and she raised in the great rooms, with
χείρεσσ᾽ ἀθανάτῃσιν ἀπὸ ἕθεν ἧκε πέδονδε, her divine hands she threw him towards the
ἐξανελοῦσα πυρός, θυµῷ κοτέσασα µάλ᾽ αἰνῶς, ground, having taken him out of the fire, being
καί ῥ᾽ ἄµυδις προσέειπεν ἐύζωνον Μετάνειραν: dreadfully angry in her soul, at the same time she
255 addressed well-girded Metaneria [255]

11
νήιδες ἄνθρωποι καὶ ἀφράδµονες οὔτ᾽ ἀγαθοῖο “Men are ignorant and senseless, unable to
αἶσαν ἐπερχοµένου προγνώµεναι οὔτε κακοῖο: recognize destiny, good or bad, coming upon them.
καὶ σὺ γὰρ ἀφραδίῃσι τεῇς νήκεστον ἀάσθης. For you are incurably hurt by your foolishness.
ἴστω γὰρ θεῶν ὅρκος, ἀµείλικτον Στυγὸς ὕδωρ, Know the oath of the gods, the harsh water of Styx,
ἀθάνατόν κέν τοι καὶ ἀγήραον ἤµατα πάντα 260 I would have made the child immortal and undying
παῖδα φίλον ποίησα καὶ ἄφθιτον ὤπασα τιµήν: for all days [260] and given him undying honor.
νῦν δ᾽ οὐκ ἔσθ᾽ ὥς κεν θάνατον καὶ κῆρας ἀλύξαι: But now he cannot avoid death and doom. But
τιµὴ δ᾽ ἄφθιτος αἰὲν ἐπέσσεται, οὕνεκα γούνων undying honor forever will be his, because he sat
ἡµετέρων ἐπέβη καὶ ἐν ἀγκοίνῃσιν ἴαυσεν. on my knees and slept in my arms.

ὥρῃσιν δ᾽ ἄρα τῷ γε περιπλοµένων ἐνιαυτῶν 265 In time as the years turn round [265] the children
παῖδες Ἐλευσινίων πόλεµον καὶ φύλοπιν αἰνὴν of Eleusis, will always come together against one
αἰὲν ἐν ἀλλήλοισιν συνάξουσ᾽ ἤµατα πάντα. another in war and the dread sounds of battle, for
εἰµὶ δὲ Δηµήτηρ τιµάοχος, ἥτε µέγιστον all days. I am honor-bearing Demeter, the greatest
ἀθανάτοις θνητοῖς τ᾽ ὄνεαρ καὶ χάρµα τέτυκται. among immortals and mortals, the source of both
ἀλλ᾽ ἄγε µοι νηόν τε µέγαν καὶ βωµὸν ὑπ᾽ αὐτῷ help and joy. But now come, have all the people
270 build for me a great temple and an altar underneath
τευχόντων πᾶς δῆµος ὑπαὶ πόλιν αἰπύ τε τεῖχος [270 ] upon the sheer city wall on the jutting out
Καλλιχόρου καθύπερθεν ἐπὶ προὔχοντι κολωνῷ. hill above Kallichoron. I myself will lay down the
ὄργια δ᾽ αὐτὴ ἐγὼν ὑποθήσοµαι, ὡς ἂν ἔπειτα rites, so that thereafter righteously offering you
εὐαγέως ἔρδοντες ἐµὸν νόον ἱλάσκοισθε. might appease my mind.

ὣς εἰποῦσα θεὰ µέγεθος καὶ εἶδος ἄµειψε 275 Thus speaking the goddess changed and appeared
γῆρας ἀπωσαµένη: περί τ᾽ ἀµφί τε κάλλος ἄητο: [275] greater, casting away old age. All around
ὀδµὴ δ᾽ ἱµερόεσσα θυηέντων ἀπὸ πέπλων her sides beauty blew and a lovely smell emanated
σκίδνατο, τῆλε δὲ φέγγος ἀπὸ χροὸς ἀθανάτοιο from her fragrant clothes and a light shone from
λάµπε θεᾶς, ξανθαὶ δὲ κόµαι κατενήνοθεν ὤµους, the skin of the immortal goddess, and golden hair
αὐγῆς δ᾽ ἐπλήσθη πυκινὸς δόµος ἀστεροπῆς ὥς: streamed over her shoulders. Sunlight filled the
280 compact house like lightening. [280] She walked
βῆ δὲ διὲκ µεγάρων: τῆς δ᾽ αὐτίκα γούνατ᾽ ἔλυντο, out through the great halls, straightaway
δηρὸν δ᾽ ἄφθογγος γένετο χρόνον, οὐδέ τι παιδὸς Metaneira’s knees buckled. And for a long time
µνήσατο τηλυγέτοιο ἀπὸ δαπέδου ἀνελέσθαι. she remained speechless and did not remember to
pick up her darling child from the ground.

τοῦ δὲ κασίγνηται φωνὴν ἐσάκουσαν ἐλεινήν, But his sisters heard his pitiful cry and lept up from
κὰδ δ᾽ ἄρ᾽ ἀπ᾽ εὐστρώτων λεχέων θόρον: ἣ µὲν their well-spread beds. [285] Then one grabbed the
ἔπειτα 285 child with her hands and placed him to her breast.
παῖδ᾽ ἀνὰ χερσὶν ἑλοῦσα ἑῷ ἐγκάτθετο κόλπῳ: Another lit a fire and another dashed with soft feet
ἣ δ᾽ ἄρα πῦρ ἀνέκαι᾽: ἣ δ᾽ ἔσσυτο πόσσ᾽ ἁπαλοῖσι to rouse her mother from the sweet-smelling
µητέρ᾽ ἀναστήσουσα θυώδεος ἐκ θαλάµοιο. chamber. And gathering together to the side of him
ἀγρόµεναι δέ µιν ἀµφὶς ἐλούεον ἀσπαίροντα they bathed the gasping child and embraced him.
ἀµφαγαπαζόµεναι: τοῦ δ᾽ οὐ µειλίσσετο θυµός: But his heart was not soothed [290] for inferior
290 caretakers and nurses held him. All night long they
χειρότεραι γὰρ δή µιν ἔχον τροφοὶ ἠδὲ τιθῆναι. appeased the illustrious goddess, swaying in fear.
αἳ µὲν παννύχιαι κυδρὴν θεὸν ἱλάσκοντο At the time dawn appeared they explained to wide-
δείµατι παλλόµεναι, ἅµα δ᾽ ἠοῖ φαινοµένηφιν ruling Keleos the truths, just as the goddess
εὐρυβίῃ Κελεῷ νηµερτέα µυθήσαντο, commanded, beautifully-crowned Demeter. [295]
ὡς ἐπέτελλε θεά, καλλιστέφανος Δηµήτηρ. 295

12
αὐτὰρ ὅ γ᾽ εἰς ἀγορὴν καλέσας πολυπείρονα λαὸν Then he called to assembly the innumerable men
ἤνωγ᾽ ἠυκόµῳ Δηµήτερι πίονα νηὸν and ordered them to make a rich temple for lovely-
ποιῆσαι καὶ βωµὸν ἐπὶ προὔχοντι κολωνῷ. haired Demeter and an altar near the projecting
οἳ δὲ µάλ᾽ αἶψ᾽ ἐπίθοντο καὶ ἔκλυον αὐδήσαντος, hill. They obeyed straightaway just as they heard
τεῦχον δ᾽, ὡς ἐπέτελλ᾽. ὃ δ᾽ ἀέξετο δαίµονι ἶσος. him say, and they built the things just as he
300 prescribed. It grew as the goddess said. [300] Yet
αὐτὰρ ἐπεὶ τέλεσαν καὶ ἐρώησαν καµάτοιο, when they finished and rested from their toils, they
βάν ῥ᾽ ἴµεν οἴκαδ᾽ ἕκαστος: ἀτὰρ ξανθὴ Δηµήτηρ walked going each to his house. Nevertheless,
ἔνθα καθεζοµένη µακάρων ἀπὸ νόσφιν ἁπάντων golden Demeter remained sitting there, far apart
µίµνε πόθῳ µινύθουσα βαθυζώνοιο θυγατρός. from all, she stayed wasting away in longing for
her deep-girded daughter.

αἰνότατον δ᾽ ἐνιαυτὸν ἐπὶ χθόνα πουλυβότειραν She made for mortals the most terrible and horrible
305 year upon the all-nourishing land. [305] The earth
ποίησ᾽ ἀνθρώποις καὶ κύντατον: οὐδέ τι γαῖα did not send up any seeds, for well-crowned
σπέρµ᾽ ἀνίει, κρύπτεν γὰρ ἐυστέφανος Δηµήτηρ: Demeter covered them. Many curved plows the
πολλὰ δὲ καµπύλ᾽ ἄροτρα µάτην βόες εἷλκον cows pulled along the tilled lands in vain and many
ἀρούραις: white barley kernels fell on fruitless earth. And
πολλὸν δὲ κρῖ λευκὸν ἐτώσιον ἔµπεσε γαίῃ: altogether she would have destroyed the race of
καί νύ κε πάµπαν ὄλεσσε γένος µερόπων speaking men with painful famine, [310] and the
ἀνθρώπων 310 splendid honor of gifts, and deprived sacrifices
λιµοῦ ὑπ᾽ ἀργαλέης, γεράων τ᾽ ἐρικυδέα τιµὴν from those having houses on Olympus, if Zeus had
καὶ θυσιῶν ἤµερσεν Ὀλύµπια δώµατ᾽ ἔχοντας, not observed [this plight] and considered it in his
εἰ µὴ Ζεὺς ἐνόησεν ἑῷ τ᾽ ἐφράσσατο θυµῷ. heart. First he summoned golden-winged Iris to
Ἶριν δὲ πρῶτον χρυσόπτερον ὦρσε καλέσσαι command lovely-haired Demeter, possessing a
Δήµητρ᾽ ἠύκοµον, πολυήρατον εἶδος ἔχουσαν. 315 beautiful form. [315] Thus he spoke and Iris
ὣς ἔφαθ᾽: ἣ δὲ Ζηνὶ κελαινεφέι Κρονίωνι obeyed Zeus, dark with clouds and son of Kronos,
πείθετο καὶ τὸ µεσηγὺ διέδραµεν ὦκα πόδεσσιν. and ran swiftly by foot between heaven and earth.

ἵκετο δὲ πτολίεθρον Ἐλευσῖνος θυοέσσης, She came to the citadel of fragrant Eleusis, and she
εὗρεν δ᾽ ἐν νηῷ Δηµήτερα κυανόπεπλον found in the temple dark-veiled Demeter. And she
καί µιν φωνήσασ᾽ ἔπεα πτερόεντα προσηύδα: 320 addressed her speaking winged words: [320]
Δήµητερ, καλέει σε πατὴρ Ζεὺς ἄφθιτα εἰδὼς “Demeter, Zeus the father, undying in knowledge,
ἐλθέµεναι µετὰ φῦλα θεῶν αἰειγενετάων. summons you to come be with the race of the
ἄλλ᾽ ἴθι, µηδ᾽ ἀτέλεστον ἐµὸν ἔπος ἐκ Διὸς ἔστω. immortal gods. But go, my command from Zeus is
ὣς φάτο λισσοµένη: τῇ δ᾽ οὐκ ἐπεπείθετο θυµός. not to go unaccomplished. Thus she spoke
αὖτις ἔπειτα πατὴρ µάκαρας θεοὺς αἰὲν ἐόντας 325 beseeching, but Demeter’s heart was not
πάντας ἐπιπροΐαλλεν: ἀµοιβηδὶς δὲ κιόντες persuaded. Then back again the father sent all the
κίκλησκον καὶ πολλὰ δίδον περικαλλέα δῶρα blessed gods that ever were [325] going in
τιµάς θ᾽, †ἅς κ᾽ ἐθέλοιτο† µετ᾽ ἀθανάτοισιν succession They all summoned her and gave
ἑλέσθαι. beautiful gifts and honors, whichever she might
ἀλλ᾽ οὔτις πεῖσαι δύνατο φρένας οὐδὲ νόηµα desire to take from the immortals But no one was
θυµῷ χωοµένης: στερεῶς δ᾽ ἠναίνετο µύθους. able to persuade her mind or thought since she was
330 angry in her heart, she strongly refused their
summons. [330]

13
οὐ µὲν γάρ ποτ᾽ ἔφασκε θυώδεος Οὐλύµποιο For she said never would she walk upon sweet-
πρίν γ᾽ ἐπιβήσεσθαι, οὐ πρὶν γῆς καρπὸν ἀνήσειν, smelling Olympus and no sooner would she send
πρὶν ἴδοι ὀφθαλµοῖσιν ἑὴν εὐώπιδα κούρην. up the fruit of the earth, until she saw with her eyes
αὐτὰρ ἐπεὶ τό γ᾽ ἄκουσε βαρύκτυπος εὐρύοπα her fair-eyed daughter. Yet then heavy-thundering
Ζεύς, and far-sounding Zeus listened, and to Erebos he
εἰς Ἔρεβος πέµψε χρυσόρραπιν Ἀργειφόντην, 335 sent the slayer of Argos, with a wand of gold,
ὄφρ᾽ Ἀίδην µαλακοῖσι παραιφάµενος ἐπέεσσιν [335] in order that he might persuade Hades
ἁγνὴν Περσεφόνειαν ὑπὸ ζόφου ἠερόεντος through gentle words to release chaste Persephone
ἐς φάος ἐξαγάγοι µετὰ δαίµονας, ὄφρα ἑ µήτηρ from under the gloomy nether darkness to the light
ὀφθαλµοῖσιν ἰδοῦσα µεταλήξειε χόλοιο. and join the gods, in order that her mother with her
eyes could see and end her anger.

Ἑρµῆς δ᾽ οὐκ ἀπίθησεν, ἄφαρ δ᾽ ὑπὸ κεύθεα γαίης Hermes did not disobey, straightaway under the
340 depths of the land [340] he eagerly rushed, leaving
ἐσσυµένως κατόρουσε λιπὼν ἕδος Οὐλύµποιο. his seat on Olympus. He found the lord inside his
τέτµε δὲ τόν γε ἄνακτα δόµων ἔντοσθεν ἐόντα, house, sitting on a bed with his venerable wife,
ἥµενον ἐν λεχέεσσι σὺν αἰδοίῃ παρακοίτι, unwilling with lots of longing for her mother. But
πόλλ᾽ ἀεκαζοµένῃ µητρὸς πόθῳ: 345 still Demeter far away devised a terrible plan for
ἀγχοῦ δ᾽ ἱστάµενος προσέφη κρατὺς Ἀργειφόντης: the deeds of the blessed gods. [345] Standing near,
the strong slayer of Argos addressed him:

Ἅιδη κυανοχαῖτα, καταφθιµένοισιν ἀνάσσων, “Dark-haired Hades, master of those wasting away,
Ζεύς µε πατὴρ ἤνωγεν ἀγαυὴν Περσεφόνειαν Zeus the father ordered me to lead noble
ἐξαγαγεῖν Ἐρέβευσφι µετὰ σφέας, ὄφρα ἑ µήτηρ Persephone up from Erebos to join us, so that her
ὀφθαλµοῖσιν ἰδοῦσα χόλου καὶ µήνιος αἰνῆς 350 mother might see with her eyes and abate the anger
ἀθανάτοις λήξειεν: ἐπεὶ µέγα µήδεται ἔργον, and dread wrath against the immortals. [350] Since
φθῖσαι φῦλ᾽ ἀµενηνὰ χαµαιγενέων ἀνθρώπων, she intends a great deed, to destroy the powerless
σπέρµ᾽ ὑπὸ γῆς κρύπτουσα, καταφθινύθουσα δὲ race of earth-born men, she is covering the seeds
τιµὰς under the earth, and ruining honors of the
ἀθανάτων: ἣ δ᾽ αἰνὸν ἔχει χόλον, οὐδὲ θεοῖσι immortals. She has terrible anger, and does not
µίσγεται, ἀλλ᾽ ἀπάνευθε θυώδεος ἔνδοθι νηοῦ mingle with the gods, but she sits far away within
355 the temple [355] of sweet-smelling Eleusis,
ἧσται Ἐλευσῖνος κραναὸν πτολίεθρον ἔχουσα. keeping the rocky citadel.”

Thus he spoke. And Aidoneus, lord of those

ὣς φάτο: µείδησεν δὲ ἄναξ ἐνέρων Ἀιδωνεὺς beneath the earth, smiled with his eyebrows, and
ὀφρύσιν, οὐδ᾽ ἀπίθησε Διὸς βασιλῆος ἐφετµῇς: did not disobey king Zeus’ commands. Quickly he
ἐσσυµένως δ᾽ ἐκέλευσε δαΐφρονι Περσεφονείῃ: commanded thoughtful Persephone: “Go,
µηδέ τι δυσθύµαινε λίην περιώσιον ἄλλων: Persephone, to the side of your dark-veiled mother
οὔ τοι ἐν ἀθανάτοισιν ἀεικὴς ἔσσοµ᾽ ἀκοίτης, Carrying the force and spirit in your breast kind,
αὐτοκασίγνητος πατρὸς Διός: ἔνθα δ᾽ ἐοῦσα And do not be very immensely sad compared to
δεσπόσσεις πάντων ὁπόσα ζώει τε καὶ ἕρπει, 365 the others. I am not a shameful husband among the
τιµὰς δὲ σχήσησθα µετ᾽ ἀθανάτοισι µεγίστας. immortals I am the brother of father Zeus, and
τῶν δ᾽ ἀδικησάντων τίσις ἔσσεται ἤµατα πάντα, being here You will be lord of all as many as lives
οἵ κεν µὴ θυσίῃσι τεὸν µένος ἱλάσκωνται and moves. [365] And you will possess the greatest
εὐαγέως ἔρδοντες, ἐναίσιµα δῶρα τελοῦντες. honors among all the gods, you will have payment
of those who are unjust for all days, those who
might not appease your power by righteously
offering sacrifices, executing proper offerings.”

14
ὣς φάτο: γήθησεν δὲ περίφρων Περσεφόνεια, 370 Thus he spoke and thoughtful Persephone rejoiced,
καρπαλίµως δ᾽ ἀνόρουσ᾽ ὑπὸ χάρµατος: αὐτὰρ ὅ γ᾽ [370] swiftly leaping up with joy, Nevertheless he
αὐτὸς ῥοιῆς κόκκον ἔδωκε φαγεῖν µελιηδέα λάθρῃ, gave her a honey-sweet pomegranate seed to eat
ἀµφὶ ἓ νωµήσας, ἵνα µὴ µένοι ἤµατα πάντα secretly distributing it, lest she might not stay for
αὖθι παρ᾽ αἰδοίῃ Δηµήτερι κυανοπέπλῳ. all days there by the side of dark-veiled noble
ἵππους δὲ προπάροιθεν ὑπὸ χρυσέοισιν ὄχεσφιν Demeter. He attached the horses before the golden
375 chariot, [375] immortal Aidoneus Ruler-of-Many.
ἔντυεν ἀθανάτους Πολυσηµάντωρ Ἀιδωνευς. She boarded the chariot, and the strong slayer of
ἣ δ᾽ ὀχέων ἐπέβη, πάρα δὲ κρατὺς Ἀργειφόντης Argos grabbed the reins and whip and with his
ἡνία καὶ µάστιγα λαβὼν µετὰ χερσὶ φίλῃσι own hands he drove out through the great hall, they
σεῦε διὲκ µεγάρων: τὼ δ᾽ οὐκ ἀέκοντε πετέσθην. flew unrestrained.

ῥίµφα δὲ µακρὰ κέλευθα διήνυσαν: οὐδὲ θάλασσα Swiftly they finished the long journey, and not sea
380 [380] nor water of the rivers nor grassy hollows,
οὔθ᾽ ὕδωρ ποταµῶν οὔτ᾽ ἄγκεα ποιήεντα nor mountain peaks slowed the immortal horses
ἵππων ἀθανάτων οὔτ᾽ ἄκριες ἔσχεθον ὁρµήν, and as they went they cut the deep air. He made
ἀλλ᾽ ὑπὲρ αὐτάων βαθὺν ἠέρα τέµνον ἰόντες. them stand having led them to where well-girdled
στῆσε δ᾽ ἄγων, ὅθι µίµνεν ἐυστέφανος Δηµήτηρ, Demeter stood, in front of the sweet-smelling
νηοῖο προπάροιθε θυώδεος: ἣ δὲ ἰδοῦσα 385 temple. But she ran having seen her, [385] as a
ἤιξ᾽, ἠύτε µαινὰς ὄρος κάτα δάσκιον ὕλῃ. maenad would down a mountain shaded with
Περσεφόνη δ᾽ ἑτέρ[ωθεν ἐπεὶ ἴδεν ὄµµατα καλὰ] forest. Persephone went to her side after seeing the
µητρὸς ἑῆς κατ᾽ [ἄρ᾽ ἥ γ᾽ ὄχεα προλιποῦσα καὶ beautiful eyes of her mother she abandoned the
ἵππους] carriage and horses and lept to run falling upon her
ἆλτο θέει[ν, δειρῇ δέ οἱ ἔµπεσε ἀµφιχυθεῖσα:] neck and embracing. Holding the dear child with
τῇ δὲ [φίλην ἔτι παῖδα ἑῇς µετὰ χερσὶν ἐχούσῃ] her hands Straightaway her heart sensed a trick,
390 [390] and fearfully she withdrew ending the
α[ἶψα δόλον θυµός τιν᾽ ὀίσατο, τρέσσε δ᾽ ἄρ᾽ affection, and quickly she asked with words:
αἰνῶς]
παυοµ[ένη φιλότητος, ἄφαρ δ᾽ ἐρεείνετο µύθῳ:]

Child, tell me did you did not eat food while you
τέκνον, µή ῥά τι µοι σ[ύ γε πάσσαο νέρθεν ἐοῦσα] were below? Speak, and do not hide, so that we
βρώµης; ἐξαύδα, µ[ὴ κεῦθ᾽, ἵνα εἴδοµεν ἄµφω:] both know. For since being at the side of
ὣς µὲν γάρ κεν ἐοῦσα π[αρὰ στυγεροῦ Ἀίδαο] 395 loathsome Hades [395] And then at my side and
καὶ παρ᾽ ἐµοὶ καὶ πατρὶ κελ[αινεφέϊ Κρονίωνι] the father, black with clouds son of Kronos
ναιετάοις πάντεσσι τετιµ[ένη ἀθανάτοι]σιν. honored by all the immortals, you might dwell if
εἰ δ᾽ ἐπάσω, πάλιν αὖτις ἰοῦσ᾽ ὑπ[ὸ κεύθεσι γαίης] you ate anything going back to the city under the
οἰκήσεις ὡρέων τρίτατον µέρ[ος εἰς ἐνιαυτόν,] depths of the earth you will dwell for a third
τὰς δὲ δύω παρ᾽ ἐµοί τε καὶ [ἄλλοις ἀθανά]τοισιν. portion of the year there, but two parts at my side
400 and the side of the other immortals. [400]

ὁππότε δ᾽ ἄνθεσι γαῖ᾽ εὐώδε[σιν] εἰαρινο[ῖσι] But when the earth flourishes with the fragrant
παντοδαποῖς θάλλῃ, τόθ᾽ ὑπὸ ζόφου ἠερόεντος blossoms of spring of all kinds, then from under
αὖτις ἄνει µέγα θαῦµα θεοῖς θνητοῖς τ᾽ ἀνθρώποις. the misty darkness you rise up again, a great
[εἶπε δὲ πῶς σ᾽ ἥρπαξεν ὑπὸ ζόφον ἠερόεντα] marvel to gods and mortal men. Then how did he
καὶ τίνι σ᾽ ἐξαπάτησε δόλῳ κρατερὸς carry you off into the murky darkness? And by
Πολυδέγµων; what way did the strong Host-of-Many deceive
τὴν δ᾽ αὖ Περσεφόνη περικαλλὴς ἀντίον ηὔδα: 405 you by trick? In turn, very beautiful Persephone
replied: [405]

15
τοιγὰρ ἐγώ τοι, µῆτερ, ἐρέω νηµερτέα πάντα: “Accordingly mother, I will tell the whole truth.
εὖτέ µοι Ἑρµῆς ἦλθ᾽ ἐριούνιος ἄγγελος ὠκὺς When Hermes luck-bringer and swift messenger
πὰρ πατέρος Κρονιδαο καὶ ἄλλων Οὐρανιώνων, came to me from my father, son of Kronos, and the
ἐλθεῖν ἐξ Ἐρέβευς, ἵνα ὀφθαλµοῖσιν ἰδοῦσα other heavenly ones, to leave from Erebos, so that
λήξαις ἀθανάτοισι χόλου καὶ µήνιος αἰνῆς, 410 with your eyes you might see me and stop your
αὐτίκ᾽ ἐγὼν ἀνόρουσ᾽ ὑπὸ χάρµατος: αὐτὰρ ὃ anger and dread wrath at the gods, [410]
λάθρῃ straightaway I leapt up out of joy, but he secretly
ἔµβαλέ µοι ῥοιῆς κόκκον, µελιηδέ᾽ ἐδωδήν, gave a pomegranate seed to me, a honey-sweet
ἄκουσαν δὲ βίῃ µε προσηνάγκασσε πάσασθαι. food, and by strength he forced me, unwilling, to
ὡς δέ µ᾽ ἀναρπάξας Κρονίδεω πυκινὴν διὰ µῆτιν eat it. Thus he snatched me, through cunning of
ᾤχετο πατρὸς ἐµοῖο, φέρων ὑπὸ κεύθεα γαίης, 415 shrewd son of Kronos my father, bringing me
ἐξερέω, καὶ πάντα διίξοµαι, ὡς ἐρεείνεις. under the depths of the earth, [415] I will speak,
and recount all, just as you ask:
ἡµεῖς µὲν µάλα πᾶσαι ἀν᾽ ἱµερτὸν λειµῶνα,
Λευκίππη Φαινώ τε καὶ Ἠλέκτρη καὶ Ἰάνθη We all were in the beautiful meadow: Leukippe,
καὶ Μελίτη Ἰάχη τε Ῥόδειά τε Καλλιρόη τε Phaino, Elektra and Ianthe And Melite, Iache,
Μηλόβοσίς τε Τύχη τε καὶ Ὠκυρόη καλυκῶπις 420 Rhodeia, and Kallirhoe, Melibosis, Tyche, and
Χρυσηίς τ᾽ Ἰάνειρά τ᾽ Ἀκάστη τ᾽ Ἀδµήτη τε flower-faced Okyrhoe, [420] Khryseis, Ianeira,
καὶ Ῥοδόπη Πλουτώ τε καὶ ἱµερόεσσα Καλυψὼ Akaste, Admete, Rhodope, Plouto, and charming
καὶ Στὺξ Οὐρανίη τε Γαλαξαύρη τ᾽ ἐρατεινὴ Kalypso and Styx, Ourania, and lovely Galaxaura,
Παλλάς τ᾽ ἐγρεµάχη καὶ Ἄρτεµις ἰοχέαιρα, Pallas rouser of battles, and Artemis arrow-pourer,
παίζοµεν ἠδ᾽ ἄνθεα δρέποµεν χείρεσσ᾽ ἐρόεντα, We played and picked beautiful flowers with our
425 hands [425] gentle crocus and irises and hyacinth
µίγδα κρόκον τ᾽ ἀγανὸν καὶ ἀγαλλίδας ἠδ᾽ and roses and lilies, a wonder to see, and narcissus,
ὑάκινθον which the wide earth produced like a crocus.
καὶ ῥοδέας κάλυκας καὶ λείρια, θαῦµα ἰδέσθαι,
νάρκισσόν θ᾽, ὃν ἔφυσ᾽ ὥς περ κρόκον εὐρεῖα
χθών.

αὐτὰρ ἐγὼ δρεπόµην περὶ χάρµατι: γαῖα δ᾽ ἔνερθε As I picked it with joy, the earth from below gave
χώρησεν: τῇ δ᾽ ἔκθορ᾽ ἄναξ κρατερὸς way and the strong lord Host-to-Many lept out.
Πολυδέγµων: 430 [430] He carried me under the earth in a golden
βῆ δὲ φέρων ὑπὸ γαῖαν ἐν ἅρµασι χρυσείοισι chariot, very much against my will. But I shouted a
πόλλ᾽ ἀεκαζοµένην: ἐβόησα δ᾽ ἄρ᾽ ὄρθια φωνῇ. straight sound. These things I mourn for I speak
ταῦτά τοι ἀχνυµένη περ ἀληθέα πάντ᾽ ἀγορεύω. the whole truth.”

ὣς τότε µὲν πρόπαν ἦµαρ ὁµόφρονα θυµὸν Then all day, they carried agreement in their heart,
ἔχουσαι they cheered each other in heart and spirit in many
πολλὰ µάλ᾽ ἀλλήλων κραδίην καὶ θυµὸν ἴαινον ways embracing in love and she stopped grieving
435 in her soul. [435] They received and gave joys to
ἀµφαγαπαζόµεναι: ἀχέων δ᾽ ἀπεπαύετο θυµός. each other. Hekate with a bright headband
γηθοσύνας δ᾽ ἐδέχοντο παρ᾽ ἀλλήλων ἔδιδόν τε. approached them from nearby and many times
τῇσιν δ᾽ ἐγγύθεν ἦλθ᾽ Ἑκάτη λιπαροκρήδεµνος: embraced the holy daughter of Demeter. From then
πολλὰ δ᾽ ἄρ᾽ ἀµφαγάπησε κόρην Δηµήτερος on, she became an attendant and follower to the
ἁγνήν: queen. [440]
ἐκ τοῦ οἱ πρόπολος καὶ ὀπάων ἔπλετ᾽ ἄνασσα. 440

16
ταῖς δὲ µέτ᾽ ἄγγελον ἧκε βαρύκτυπος εὐρύοπα To them heavy-sounding thunderous Zeus sent a
Ζεὺς messenger, lovely-haired Rhea, to summon dark-
Ῥείην ἠύκοµον, Δηµήτερα κυανόπεπλον veiled Demeter to join the race of the gods, and the
ἀξέµεναι µετὰ φῦλα θεῶν, ὑπέδεκτο δὲ τιµὰς honors she undertook he would give to her, the
δωσέµεν, ἅς κεν ἕλοιτο µετ᾽ ἀθανάτοισι θεοῖσι: ones she might choose of the immortal gods. But
νεῦσε δέ οἱ κούρην ἔτεος περιτελλοµένοιο 445 he agreed that the maiden would spend [445]
τὴν τριτάτην µὲν µοῖραν ὑπὸ ζόφον ἠερόεντα, A third part of the year, as it turns about, under the
τὰς δὲ δύω παρὰ µητρὶ καὶ ἄλλοις ἀθανάτοισιν. murky darkness and two thirds with her mother
ὣς ἔφατ᾽: οὐδ᾽ ἀπίθησε θεὰ Διὸς ἀγγελιάων. and the other gods. Thus, he spoke and the goddess
ἐσσυµένως δ᾽ ἤιξε κατ᾽ Οὐλύµποιο καρήνων, did not disobey Zeus's orders. Eagerly she darted
ἐς δ᾽ ἄρα Ῥάριον ἷξε, φερέσβιον οὖθαρ ἀρούρης down the peaks of Olympus, she came to Rarus,
450 once the life-bearing breast of the earth, [450]
τὸ πρίν, ἀτὰρ τότε γ᾽ οὔτι φερέσβιον, ἀλλὰ ἕκηλον however at this time it was barren, and stands idle
ἑστήκει πανάφυλλον: ἔκευθε δ᾽ ἄρα κρῖ λευκὸν and leafless since she hid the white barley through
µήδεσι Δήµητρος καλλισφύρου: αὐτὰρ ἔπειτα the plan of beautiful-ankled Demeter. But then
µέλλεν ἄφαρ ταναοῖσι κοµήσειν ἀσταχύεσσιν Spring might grow quickly to wave with tall ears
ἦρος ἀεξοµένοιο, πέδῳ δ᾽ ἄρα πίονες ὄγµοι 455 of corn and the abundant furrows weigh heavily on
βρισέµεν ἀσταχύων, τὰ δ᾽ ἐν ἐλλεδανοῖσι the ground [455] with ears of corn, which are
δεδέσθαι. bound with bands. There she first set foot from the
ἔνθ᾽ ἐπέβη πρώτιστον ἀπ᾽ αἰθέρος ἀτρυγέτοιο: barren heaven. They were happy to see one another
ἀσπασίως δ᾽ ἴδον ἀλλήλας, κεχάρηντο δὲ θυµῷ. and rejoiced in their heart. And so Rhea with the
τὴν δ᾽ ὧδε προσέειπε Ῥέη λιπαροκρήδεµνος: bright headband addressed her:
δεῦρο τέκος, καλέει σε βαρύκτυπος εὐρύοπα Ζεὺς “Hither child, heavy-thundering and wide-voiced
460 Zeus [460] summoned you to come join the race of
ἐλθέµεναι µετὰ φῦλα θεῶν, ὑπέδεκτο δὲ τιµὰς the gods, he has offered to give the honors, the
[δωσέµεν, ἅς κ᾽ ἐθέλῃσθα] µετ᾽ ἀθανάτοισι θεοῖσι. ones you desire from the immortal gods. He agreed
[νεῦσε δέ σοι κούρην ἔτεος π]εριτελλοµένοιο that his daughter be as the year turned one third
[τὴν τριτάτην µὲν µοῖραν ὑπὸ ζόφον ἠ]ερόεντα, under the murky darkness and two thirds at my
[τὰς δὲ δύω παρὰ σοί τε καὶ ἄλλοις] ἀθανάτοισιν. side and the side of the other immortals. [465] So
465 he spoke for these things to be accomplished, and
[ὣς ἄρ᾽ ἔφη τελέ]εσθαι: ἑῷ δ᾽ ἐπένευσε κάρητι. he nodded his head. But come my child, and obey,
[ἀλλ᾽ ἴθι, τέκνον] ἐµόν, καὶ πείθεο, µηδέ τι λίην but do not exceedingly and continuously rage at
ἀ[ζηχὲς µεν]έαινε κελαινεφέι Κρονίωνι. the son of Kronos dark with clouds.
α[ἶψα δὲ κα]ρπὸν ἄεξε φερέσβιον ἀνθρώποισιν.

ὣς ἔφατ᾽. οὐδ᾽ ἀπίθησεν ἐυστέφανος Δηµήτηρ: Thus she spoke and well-girded Demeter did not
470 disobey. [470] Straightaway she sent up fruit from
αἶψα δὲ καρπὸν ἀνῆκεν ἀρουράων ἐριβώλων: the fertile fields and the whole wide earth was
πᾶσα δὲ φύλλοισίν τε καὶ ἄνθεσιν εὐρεῖα χθὼν laden with leaves and flowers. She went to the
ἔβρισ᾽: ἣ δὲ κιοῦσα θεµιστοπόλοις βασιλεῦσι kings who administer law and she revealed to
δεῖξεν Τριπτολέµῳ τε Διοκλεῖ τε πληξίππῳ Triptolemos and Diokles, driver of horses, and
Εὐµόλπου τε βίῃ Κελεῷ θ᾽ ἡγήτορι λαῶν 475 Eumolpos and strong Keleos commander of the
people [475] and she consecrated the holy rites and
δρησµοσύνην θ᾽ ἱερῶν καὶ ἐπέφραδεν ὄργια πᾶσι, showed the mysteries to all, the holy things, which
σεµνά, τά τ᾽ οὔπως ἔστι παρεξίµεν οὔτε πυθέσθαι were neither to be transgressed nor pried into nor
οὔτ᾽ ἀχέειν: µέγα γάρ τι θεῶν σέβας ἰσχάνει said aloud. For some great awe of the gods holds
αὐδήν. the voice. Blest, is the one of earthly men who has
ὄλβιος, ὃς τάδ᾽ ὄπωπεν ἐπιχθονίων ἀνθρώπων: seen these things. [480] But the one who is
480 unaccomplished in the dedication and is without a
ὃς δ᾽ ἀτελὴς ἱερῶν ὅς τ᾽ ἄµµορος, οὔποθ᾽ ὁµοίων share, never has a lot of those passed away under
αἶσαν ἔχει φθίµενός περ ὑπὸ ζόφῳ ἠερόεντι. the murky nether darkness.

17
αὐτὰρ ἐπειδὴ πάνθ᾽ ὑπεθήκατο δῖα θεάων, When the heavenly goddess established these
βάν ῥ᾽ ἴµεν Οὔλυµπόνδε θεῶν µεθ᾽ ὁµήγυριν things, she set off to go to Olympus and the
ἄλλων. assembly of the other gods. There they all dwell
ἔνθα δὲ ναιετάουσι παραὶ Διὶ τερπικεραύνῳ 485 with Zeus delighting in thunder [485] both holy
σεµναί τ᾽ αἰδοῖαι τε: µέγ᾽ ὄλβιος, ὅν τιν᾽ ἐκεῖναι and revered. The one greatly blessed, who of
προφρονέως φίλωνται ἐπιχθονίων ἀνθρώπων: earthly men those women earnestly love,
αἶψα δέ οἱ πέµπουσιν ἐφέστιον ἐς µέγα δῶµα straightaway they send him to the fireside of the
Πλοῦτον, ὃς ἀνθρώποις ἄφενος θνητοῖσι δίδωσιν. great house Ploutos, who gives wealth to mortal
ἀλλ᾽ ἄγ᾽ Ἐλευσῖνος θυοέσσης δῆµον ἔχουσα 490 men. But come, supported in the land of fragrant
καὶ Πάρον ἀµφιρύτην Ἀντρῶνά τε πετρήεντα, Eleusis [490] and seagirt Paros and rocky Antron,
πότνια, ἀγλαόδωρ᾽, ὡρηφόρε, Δηοῖ ἄνασσα, the queen, bestower of gifts, leader of seasons,
αὐτὴ καὶ κούρη περικαλλὴς Περσεφόνεια: lady Deo, and her daughter very beautiful
πρόφρονες ἀντ᾽ ᾠδῆς βίοτον θυµήρε᾽ ὄπαζε. Persephone. My song gladly grants a pleasing life.
αὐτὰρ ἐγὼ καὶ σεῖο καὶ ἄλλης µνήσοµ᾽ ἀοιδῆς. 495 And I will remember both you and another song.
[495]

18
 Part II

The Influence of a Mother in The Homeric Hymn to Demeter

19
 Many people are familiar with the basic plotline of The Homeric Hymn to Demeter:

Hades abducts Persephone which results in her becoming queen of the underworld and provides

an etiology for the recurring seasons. This brief synopsis, however, fails to account for the

bargaining, defiance, and reconciliation that take up the majority of the Hymn. The poem

revolves around conflicting agendas and specifically follows Demeter’s course of reaction. The

Hymn begins with the poet invoking the goddess.

Δήµητρ᾽ ἠύκοµον, σεµνὴν θεόν, ἄρχοµ᾽ ἀείδειν,

αὐτὴν ἠδὲ θύγατρα τανύσφυρον, ἣν Ἀιδωνεὺς
ἥρπαξεν, δῶκεν δὲ βαρύκτυπος εὐρύοπα Ζεύς,
νόσφιν Δήµητρος χρυσαόρου, ἀγλαοκάρπου,
παίζουσαν κούρῃσι σὺν Ὠκεανοῦ βαθυκόλποις

I begin to sing of Demeter with the lovely hair, awesome goddess,

and her slim-ankled daughter, whom Aidoneus2
carried off. Heavy-sounding thunderous Zeus gave her away,
unaided by Demeter of golden sword and beautiful fruit,
while she [Persephone] was playing with the deep-bosomed daughters of Oceanus

In the first five lines of the poem we are introduced to the four divinities who play an

active role in the narrative arc of the story: Demeter is addressed first because she is the

protagonist. The poet then refers to Persephone, although not by name, but through her identity

as an object— Demeter’s daughter and the maiden whom Hades abducts. Finally, Zeus is

identified as the giver of Persephone, his daughter, and he alone permits this act of force without

Demeter’s knowledge or consent. The first stanza begins with the goddess, then moves to the

plot, and finally reveals the instigator.

The adverb νόσφιν in this sentence is especially important. I take νόσφιν Δήµητρος to

mean “unaided by Demeter” where νόσφιν means “apart” in the sense of both knowledge and

authorization. The idea of separation, or being “apart” in mind, relates to a goal or desire. Here

2
Another name for Hades.

20
lies the crux of the poem and the focus of my investigation. Zeus does not consult Demeter, his

wife and the mother of the child he gives away in marriage. The Hymn goes on to explore the

ramifications of disregarding a mother’s wishes in a social contract like marriage. Demeter

exerts her influence over the earth’s fertility, a power which Zeus does not have and cannot

control. This power ultimately forces Zeus to rearrange his agreement with Hades to placate

Demeter and accommodate her desires. The poem shows the significance of a mother’s

consenting role and its centrality in the success of a marriage. That is why it is important to

distinguish νόσφιν as “unaided” as opposed to merely “unbeknownst.” Demeter needs to be a

willing participant in her daughter’s sendoff for the marriage to be successful; mere awareness

will not suffice.

Marriage as a Contract

When Zeus gives Persephone to Hades he is giving her as a bride. The first lines of the

Hymn suggest that at the point of abduction Persephone is a nameless commodity in an exchange

between her father and her uncle. Before delving into the particulars of this story I want to look

at how gift-giving is understood in abstract terms. The idea of “giving” sets up a relationship

between the giver and receiver which creates a system of debt. Here Zeus gives his daughter, the

commodity, to Hades with the intention of placing him in Zeus’s debt. There is intrinsic value in

the thing given away and so the action merits a reciprocation of like value.3 When gifts are

given with intention the giver is not being altruistic but is using a tool to reinforce social bonds.

Likewise, by refusing to take part in gift exchange4 the would-be recipient invites hostility.5

3
Mauss, Marcel The Gift says that for many cultures contracts take place in the form of a gift. On the
surface, the gift is voluntary but in reality, it is a system of obligation. p. 3
The gift is infused with the essence of the giver and so must be returned to the giver in one for or another.
Mauss p. 12
4
Mauss p. 38 With each instance of obligation there is a need to give, receive, and reciprocate.
5
Mauss p. 13

21
Reimbursement cannot take place immediately6 but it is understood by both parties that at some

point in the future the exchange must be completed through reciprocity. As time elapses the

weight of the debt grows and so trust is necessary for such a contract to be made. This trust is

either trust in the receiver or belief that other external means exist to ensure repayment. For

these reasons gift exchange is the fabric of society, binding people to one another in obligation.7

This particular exchange between Zeus and Hades is not the transfer of a mere common

object, but instead a person, a woman, specifically Zeus’s daughter. In economic and social

terms the exchange of a woman in marriage serves as an investment in the future, due to the

expectation of grandchildren, and so naturally affirms long-term commitments between the bride

and groom’s extended families. Giving away daughters is one way for a man to create new

social bonds with people outside his current sphere of influence.8 The guise of erotic

heterosexual interest hides a “male homosocial desire” that seeks fulfilment.9 Marriage allows

two families to form a physical bond, with the production of children, creating a shared

interest— a blood-relation. It is advantageous for any group to broaden its social circle and

increase its options for future exchange, options made possible by the continuous nature of a

marital relationship.10 More than simply fostering a shared commitment, marriage opens up

pathways of communication and serves as a means to negotiate change. For these reasons

6
Mauss p. 35 -36 The two parties assure reciprocity but understand there is a temporal limit: “time is
needed in order to perform any counter-service.”
7
Mauss p. 33 Gift giving is the “symbol of social life—the permanence of influence over things
exchanged.” Gift giving was a way to structure society and maintain social bonds before specialized
governmental institutions were around.
8
Levi-Strauss suggests that marriage is one of the most basic forms of gift exchange. p. 59-60 He
reconstructs how the incest taboo works, not as a means of avoiding genetic malfunctions, but as a way of
imposing social aspirations onto procreation. p. 481
9
In Eve Kosofsky Sedgwick’s Between Men: English Literature and Male Homosocial Desire she talks
about how at the surface it seems like heterosexual eros motivates marriage but underneath is a more
profound desire for homosocial connections. Wohl xxvii
10
Levi-Strauss p. 60

22
marriage can be categorized as an amicable trade.11 Depending on the status of the families, an

agreement made via marriage can influence the larger society of which the husband and wife are

members. In this case the two actors are Zeus, omnipotent and divine, and Hades, a near equal,

so the ramifications felt by the other gods are great. Marriage’s high stakes and roots in tradition

make this gift more than just a simple favor: it becomes a social contract infused with obligation.

In a system of bartering it is necessary for the two people making an exchange to have set

goals for the transaction. Unlike money, which can stand in for anything and will never lose

utility no matter the time that has elapsed, bartering requires two people to come to an

agreement, at the moment of exchange, about the value of the gifts being traded. What goes into

this calculation is both the object’s current value and its value over time. In a social contract like

marriage a wife provides continuing dividends through children and social status. A proper

husband would provide proportional benefits to the wife and her parents. This particular

marriage sets the value of Persephone equal to influence and access to the underworld,

essentially social and spatial dominance.

Zeus is using Persephone as a bridge to the underworld,12 a place that is usually cut off

from both mortals and gods. There is a sharp distinction among the three realms: heaven, earth,

and the underworld.13 The path between heaven and earth is fluid.14 Spatially earth is accessible

to all of the gods; they frequently come down and meddle in earthly affairs, though heaven is

inaccessible to most men. Heaven-earth communication is achieved by gods through oracles and

by men through prayer and sacrifice. But the underworld is shut off from most gods; only

11
Wohl explains that there are both amicable and hostile trades. The hostile trade of women would
include spoils of war, a prize in a contest of strength, or perhaps an instance of rape in which a woman is
stolen. p. xiv
12
Jenny Strauss Clay “Homeric Hymn to Demeter” The Politics of Olympus p. 211
13
Clay provides a helpful visual aid in “Homeric Hymn to Demeter” The Politics of Olympus p. 266
14
Clay gives examples of the earth and sky acting as one entity, delighting in the flowers Persephone
picks etc. p. 211 Rudhardt (1978) p. 8

23
Hermes, the messenger-god, can travel back and forth. With few exceptions, mortals may go to

the underworld only after they have permanently left earth. Only extraordinary circumstances

permit living men to converse with the dead. The objective of Persephone’s marriage is to grant

Zeus access to the underworld.15 This “object” up for trade is intangible and largely symbolic.

Zeus and Hades are taking part in an elite ritual that deals with symbolic rather than commercial

exchange.16 As noted previously, Hades and Zeus are exceptional in their power and status,

therefore it is appropriate that they engage in the highest form of exchange.

This understanding of Zeus’s motives rests on the already established narrative of the

Olympian gods.17 Hesiod’s Theogony explains the mythical time that proceeds the Homeric

Hymns take place and Zeus’s rise to power. There is a noticeable pattern of violent power

dynamics between each generation. The surrender of power from generation to generation, from

Uranus to Cronus to Zeus, was only accomplished by deceit or violence, but the next generation

only succeeds with the aid of previous generations, often Gaia, a universal mother figure. When

Zeus comes to power it is imperative, for the success of his rule, that everyone be loyal to him

and him alone. In the famous tripartition of the world among the three brothers, each took a

domain. Zeus was to reign over the heavens while Poseidon received the oceans and Hades was

to rule the underworld. Now that the three brothers hold comparable power Zeus must establish

that he is the chief god. As mentioned previously, heaven and earth are closely linked. Zeus

therefore has no problem exerting his dominance over the oceans which are located on earth.

15
Clay talks about the poet’s ostentatious move to add Zeus in many elements of the poem, making the
story fit within an Olympic model, which places Zeus at its head. This is a move away form local cult
practices and toward a larger Panhellenic religious system. p. 211. She also focuses on how the marriage
will reorder of the realms in terms of movement and communication, ultimately benefiting Zeus p. 208
16
“When economic wealth is euphemized as symbolic wealth, the material basis of social differences is in
turn obscured, so that the power of the elite, like the value of the gifts they exchange, comes to appear
inherent and unalienable.” Bourdieu from Wohl p. xxviii
17
The Hymn to Demeter can “preserve traditions older than the hymn itself.” Clay references both the
Theogony and the story of Demeter and Kore to make that point. p. 205

24
The underworld however is completely cut off from him. By using Persephone as a bridge to the

underworld Zeus absolves Hades of exclusive access to the underworld, reducing the threat of a

potential male competitor. For similar reasons Zeus is concerned with the threat of his sisters.

An entire seventy lines of the Theogony are devoted to how Zeus reduces the threat of powerful

women by taking them as wives. In this instance, he uses erotic desire as a tool to exert

dominance.18 In Hesiod’s Theogony we learn of Zeus and Demeter’s marriage:

And he came to the bed of bountiful Demeter,

Who bore white-armed Persephone, stolen by Hades
From her mother’s side. But wise Zeus gave her away.
(Theogony 917-919 transl. Lombardo)

In the Theogony, Zeus successfully establishes himself as the ultimate ruler but the text conveys

a broader cultural anxiety about threats presented by those in the same generation, both male and

female, and threats through succession, particularly sons. By comparing the Hymn to older texts,

we can see how it fits into an Olympic framework and fully appreciate what Zeus has to gain.

While Hades is trading an abstract good, Zeus offers up a woman, a sentient being.

Persephone moves from an autonomous individual to simply the means to an end. Using women

as the object of exchange entails a certain amount of risk. The success of the exchange relies on

women maintaining their status as objects rather than actors.19 If Persephone were to become

recalcitrant she would jeopardize her father’s arrangement. For this reason, she is given no

warning or choice, she is abducted. Throughout the poem she is described as ἀέκων, unwilling,

in spirit, but passive in action. Just as she is heading back to heaven to rejoin the gods Hades

makes Persephone a tempting offer:

18
Rubin says society imposes gender and in doing so it insures heterosexual relationships. p. 180 In this
case Zeus cannot enter into a commercial exchange with Demeter, for she has no ability to give herself
away in marriage, and Demeter’s father, Cronos, who would be the one with which to make such an
exchange, is someone Zeus has no interest in forming a social bond with. Therefore, he solves this
problem by taking Demeter, and his other sisters, as wives without the social formalities of gift exchange.
19
Wohl p. xv

25
 οὔ τοι ἐν ἀθανάτοισιν ἀεικὴς ἔσσοµ᾽ ἀκοίτης,
αὐτοκασίγνητος πατρὸς Διός: ἔνθα δ᾽ ἐοῦσα
δεσπόσσεις πάντων ὁπόσα ζώει τε καὶ ἕρπει,
τιµὰς δὲ σχήσησθα µετ᾽ ἀθανάτοισι µεγίστας.
τῶν δ᾽ ἀδικησάντων τίσις ἔσσεται ἤµατα πάντα,
οἵ κεν µὴ θυσίῃσι τεὸν µένος ἱλάσκωνται
εὐαγέως ἔρδοντες, ἐναίσιµα δῶρα τελοῦντες.

I am not a shameful husband among the immortals

I am the brother of father Zeus, and being there
You will be lord of all as many as lives and moves.
And you will possess the greatest honors among all the gods,
You will have payment of those who are unjust for all days,
Who might not appease your force
righteously offering sacrifices, executing proper gifts.
(Homeric Hymn to Demeter 363-369)

She then considers what she has to gain from marrying him and leaving her mother. Here is an

example of Hades, one party to the original agreement, attempting to sway Persephone in his and

Zeus’s their favor. They both understand that her cooperation will help validate their transaction.

This is why we see Zeus bypass Demeter and Hades convince Persephone. If the marriage is

successful, Zeus secures his dominance, Hades gains a wife and the possibility of children, and

Persephone profits from increased freedom, status, and wealth. As a wife, Persephone has just as

much to gain from this negotiation as the men.

Here I wonder how Demeter, as a mother, benefits from this exchange. I’ve suggested

that all the other participants have something to gain by the success of the marriage. Demeter

inadvertently enabled the marriage since her status as one of the twelve Olympian gods increases

her daughter’s value and made Persephone a suitable choice for Hades’ wife. If Persephone

were to transition from daughter to wife then Demeter’s status changes as well. Her powers are

not increased in the way that Zeus’s are and she loses a daughter to the underworld, a place she

cannot access, effectively ending her role as a mother. On all accounts, Demeter loses out in this

deal. Moreover she symbolically represents all mortal mothers who face the inevitable problem

26
of aging. Ancient Greek wives would have been charged with the economics of the house,

occasionally taking part in religious rituals, and most essentially bearing and rearing children.

Marriage liberates the child from control of the mother and in doing so concludes the function of

the mother. Once past childbearing age a wife stands to lose a significant amount of her societal

value. It is clear that Demeter forfeits a large part of her identity when Persephone marries. For

these reasons it is understandable that Demeter resists any progression towards marriage. It can

also explain why Zeus tries to avoid her involvement in his exchange with Hades.

Although she is both a parent and a woman Demeter is neither a subject nor an object of

this marriage in the way that Persephone is. Despite having delivered the object of the trade,

making the exchange possible, Demeter is completely excluded and must involuntarily take on a

role that is one step removed from the negotiation. This distancing is both in relation to time—

Demeter finds out about the abduction long after Zeus and Hades have made their pact— and

agency— Demeter cannot negotiate with Zeus or Hades but must find some other means to force

their attention. Unlike Persephone, who remains a silent object for better part of the poem,

Demeter immediately takes action. The poet follows her struggle to become an active part of the

exchange process despite her peripheral position. Demeter is motivated to become a subject

because she refuses to accept the consequences of inaction: permanent separation from her

daughter.20

In this transaction there are two ways to define marriage. First, a marriage can mean the

actual legal relationship, starting at the ceremony and continuing until death.21 The relationship

is where the long-term benefits— children and social gains— are enjoyed by both parties. This

20
Clay draws upon a passage from Rudhardt (1978) p. 8 which emphasizes that this marriage stands apart
from other divine marriages due to the acute separation of heaven and the underworld. Politics of
Olympus p. 221
21
Mauss p. 3

27
understanding of a marriage is what motivates the exchange in the first place. Marriage can also

indicate a singular event, the marriage ceremony, a ritual in which the agreement becomes valid

and legally binding. For the latter definition to hold, it is paramount that the ritual be a

publically recognized commitment, a performance.22 One of the common motivations behind a

social exchange like marriage, one that is present in this story, is an opportunity to rearrange the

existing social hierarchy. The benefits of the new arrangement can only be reaped when the new

arrangement is firmly established among the social group which necessitates transparency.

Public knowledge and acceptance help to validate the marriage and strengthen the social

alliances that were formed. Persephone’s abduction is not a celebrated event and her relationship

with Hades goes unrecognized as a marriage for most of the poem. The other gods and goddess

stay detached from the narrative until Zeus calls on them to help pacify Demeter, at line 326.

The lack of transparency between husband and wife and between Zeus and the other gods makes

this marriage unusual. The exchange was done covertly to avoid the mother’s involvement,

which is further reason to suspect that a mother’s consent is necessary for the success of a

marriage. Demeter must in some way be part of the exchange process, and so must become an

active subject.

Demeter’s Limitations

After the abduction, the rest of the poem is dedicated to examining the range of

Demeter’s powers, her ingenuity, and how she measures up against Zeus. On her own, Demeter

has a difficult time figuring out exactly what happened to Persephone even though she could

sense something was amiss. After searching for nine days she receives help. Hekate and Helios

give Demeter the information she needs to discover what Zeus and Hades have done. Demeter

cannot go down to the underworld to retrieve her daughter, bid another to go for her, or convince
22
Levi Strauss p. 496

28
Hades to violate his contract with Zeus. The divide between heaven and the underworld is so

great that she cannot contact her daughter once they have been separated.23 This arrangement is

seemingly so insurmountable that Demeter can do nothing but hold anger in her heart (θυµῷ

χωοµένης) and mourn the loss of her daughter. Persephone is alive but her relocation to the land

of the dead alludes to a more permanent loss. For the rest of the poem Demeter addresses her

grief and works to undo what Zeus has done.

She travels to Eleusis disguised as an old woman who is past the age of childbearing, a

particularly ironic disguise for the goddess of fertility.24

γρηὶ παλαιγενέι ἐναλίγκιος, ἥτε τόκοιο

εἴργηται δώρων τε φιλοστεφάνου Ἀφροδίτης,

Resembling an elderly woman, who

Has been shut off from childbirth and the gifts of garland-loving
Aphrodite
(Homeric Hymn to Demeter 101-102)

This change in her appearance accentuates her connection to all mortal women who no longer fit

the role of a mother. The mention of Aphrodite also alludes to the contention between Demeter

and Zeus since Aphrodite is known for bringing husband and wife together. This physical

transformation suggests that Demeter is renouncing her association with the immortals,

especially her relationship with Zeus, who represents them. Her physical relocation to Eleusis, a

place in the earth realm, also denotes her withdrawl from the gods. By aging herself Demeter is

bringing herself closer to death, and by extension closer to her daughter, as well as expressing

her solidarity with mortal women as they face the inevitable. The poet describes these older

women, whom Demeter now resembles, as “nurses to governing kings” (line 103). They are not

23
Again, the circumstances surrounding the Hymn are such that there are no pathways of communication
between heaven and the underworld. Clay Politics of Olympus p. 208
24
Clay point out the by aging herself Demeter is attempting to elicit pity, something that is extremely
ungodlike. p. 227

29
equal in social standing to the wife of a king, and nurses do not take care of their own children.

By assuming this new identity Demeter rejects her role as goddess and immortal bringer of life in

favor of this lower position in service to humans. Even so Demeter does not lend her talents to

just anyone; instead she becomes the nurse to Demophoon, a young boy and son of the king.

Here we see the threat Demeter poses. This male child with the help of an older female

guide, as described in Hesiod, has the potential to overthrow the current ruler. Caring for

Demophoon is Demeter’s way of grooming a child to challenge Zeus and get her revenge.25

Unlike most nurses who rear other people’s children Demeter attempts to make Demophoon her

own and raises him to differ from his parents. She endeavors to make Demophoon immortal,

which would allow him to join the gods.

ὃ δ᾽ ἀέξετο δαίµονι ἶσος,

οὔτ᾽ οὖν σῖτον ἔδων, οὐ θησάµενος [γάλα µητρὸς
ἠµατίη µὲν γὰρ καλλιστέφανος] Δηµήτηρ
χρίεσκ᾽ ἀµβροσίῃ ὡσεὶ θεοῦ ἐκγεγαῶτα
ἡδὺ καταπνείουσα καὶ ἐν κόλποισιν ἔχουσα:
νύκτας δὲ κρύπτεσκε πυρὸς µένει ἠύτε δαλὸν
λάθρα φίλων γονέων: τοῖς δὲ µέγα θαῦµ᾽ ἐτέτυκτο,
ὡς προθαλὴς τελέθεσκε: θεοῖσι γὰρ ἄντα ἐῴκει.
καί κέν µιν ποίησεν ἀγήρων τ᾽ ἀθάνατόν τε,
εἰ µὴ ἄρ᾽ ἀφραδίῃσιν ἐύζωνος Μετάνειρα

He grew equal to a god,

Neither eating grain, nor suckling [the milk of mother
For by day the beautiful-crowned] Demeter
Anointed him with ambrosia as though he had been born of a god
Breathing on the sweet child and holding him on her lap.
At night, she covered him, life a fire-brand, in the force of the fire,
Secretly from his dear parents, to whom it was a great wonder
that he grew like an early grower, for he resembled the gods.
And she would have made him both ageless and immortal,
If not for well-girded Metaneira’s foolishness.
(Homeric Hymn to Demeter 235-241)

25
Clay says, “the opposition of a powerful female deity to presumed tyrannical action on the part of the
supreme male divinity generally follows this [exemplified in the Theogony] paradigm.” p. 226

30
By placing him in the fire26 and making him immortal she is symbolically becoming his mother

by giving him a new life as a god. This is the threat illustrated in the Theogony and shows what

happens when Zeus fails to appease his siblings. Demeter’s initial plan fails because

Demophoon’s biological mother, Metaneira, interferes. Demeter tried to covertly hijack

Demophoon, someone else’s child, to use for her own purposes. In essence, she tried to replicate

Zeus’s actions but, like him, failed to consult the biological mother and obtain her consent. The

repeating situation again shows how critical the mother’s role is in the success of her child.

Metaneira disrupts Demeter’s plan to the detriment of her child. Moreover, by making

Demophoon immortal, Demeter robs Hades of a human life, just as Hades took an immortal life

from her.27 If this plan had succeeded she would have angered both Hades and Zeus.

Demeter fails to give Demophoon immortality and thwart death, a mark of the human

condition. Her failure relates to her epithet, “bringer of seasons and bestower of gifts.” While at

Eleusis Demeter tries to make a single person immortal, suspending one person’s life cycle, his

seasons. She has overlooked the other way to confer immortality: reproduction. The

distinguishing feature of reproduction, as opposed to immortality, is the fact of death, with a new

generation that replaces rather than joins the old generation. Demeter’s influence in the human

realm only works through the reproductive sense of immortality and so she is limited to work in

conjunction with her τιµή. Reproduction is not unique to Demeter but can be true of all women,

mortal and divine. Another way to think about this is how time is manipulated. If one thing

becomes immortal, like the gods, time is of no importance and almost doesn’t exist. Immortality

expressed as a direction is an endless linear path. For mortal men, life is also linear but with a

distinct endpoint, therefore time is meaningful. Through their role in procreation, women can

26
The fire is reminiscent of Heracles's apotheosis in the pyre. Clay p. 239
27
Clay p. 239

31
turn time over and make human life cyclical, and therefore endless. While individual members

may die, a family or society can continue into eternity. It follows that men obsess over this

unique potential and attempt to either appropriate or control this female ability.28

The scene with Demophoon points to the disparity of power between husband, uncle, and

wife. The husband and uncle seem to have social advantages, as they control public discourse

and can form social bonds and initiate contracts. In contrast, the wife is physically apart from

society,29 often staying in the home. Her identity is enveloped in the family and in the oikos.

However, the wife, unlike the husband and the uncle, has the power to create life and ensure the

success of the family’s future. I say wife because the legitimacy of the child is of the utmost

importance, both in securing the idea of citizenship and the status of the family. The wife can

produce children and in doing so create relationships where none previously existed,

relationships which threaten the husband, as can be seen in the Theogony. The children

themselves are both desired and necessary but are greeted with apprehension until they prove

loyal to the father. In this case, Demeter attempts to steal a surrogate male child, a defiant move

against Zeus. She supplants her daughter, who has the potential to consolidate power and

preserve the family line, with a son who has the potential to fracture the current Olympic regime

and bring Zeus’s rule to an end. Demeter not only chooses a male child; she generates this child

independently from her husband. In Greek literature, when a woman reproduces through

parthenogenesis she cuts the child off from bonding with the father and creates problems for the

entire family.

28
Of course, it takes both man and women to reproduce but the ancient Greeks coded this ability with the
female sex. Laqueur talks about this opposition when he says that differentiation of the sexes largerly
comes from that understanding that one sex gives birth and the other does not. p. 9
29
This separation often depicted in literature, for example Penelope in the Odyssey stands alone in a sea
of suitors.

32
 We have already seen the Hymn refer to the Theogony but this particular scene calls to

mind Hera’s role in the Homeric Hymn to Apollo.30 After Athena is born out of Zeus’s head

Hera reacts out of jealousy. She first produces Hephaestus, the lame god whose physical

limitations keep him from being a threat to Zeus. Hera later spawns Typhaon, a horrible beast,

who is sent to live with the monstrous Pytho (lines 305-374). Typhaon and his surrogate mother,

Pytho, wreak havoc on mankind. Apollo, the quintessential good son, eventually steps in to

vanquish Pytho, thereby removing a dangerous female threat. By looking at what Typhaon and

Hephaestus represent, we can tease out a basic understanding of how Greek ideology shapes

literary representations of reproduction, specifically how it differs between men and women.

When a man begets a child on his own the child is often shown as having exclusively virtuous

characteristics (e.g. Athena). When a woman reproduces by herself, particularly out of

vengeance, her child is either inadequate or disastrous for society. By assuming both male and

female roles in reproduction Hera renders male virility obsolete. She also becomes an active

subject in a way that being a “good wife” prevents. In the absence of men, she is the subject,

standing in defiance and in competition31 with Zeus child-bearing abilities—both woman and

child become competitors. The notion that women could control even symbolically the

reproductive course of Greek society was a threatening thought for men. In a male-dominated

society, with literature written by men for men,32 we see multiple myths explore this anxiety

about the female subject. The anxiety expresses itself by alienating a solitary female subject and

by exaggerating the damage she may cause over the course of the myth. Often these stories are

resolved by men— in this case Apollo— and concludes by neutralizing the threat through the

30
Clay p. 226
31
Competition is something Wohl categorizes as a “hostile exchange.” p. xiv
32
Wohl points to how frequently literature constructs the female to fit a male understanding of the world.
p. xxi

33
death of the parthenogenic child. This resolution is used in the Homeric Hymn to Apollo and in

the Hymn to Demeter.

This is where it becomes critical that the Hymn to Demeter ultimately circulates around a

mother and a daughter, as opposed to a mother-son relationship like Demeter and Demophoon.

To alleviate the anger in her heart Demeter cannot abandon her daughter. On her own she cannot

procure a suitable champion for her cause. She must move beyond the vengeful wife motif and

find a different way to force Zeus to listen.

Demeter’s Success

After Demophoon “dies”33 Demeter tries again to undo what Zeus has done. In her

second attempt she embraces her role as a goddess and uses her τιµή. There is a physical

transformation just as before but this time Demeter increases in size and beauty. Having

addressed the women of the house she γῆρας ἀπωσαµένη, cast away old age and her ties to the

mortal realm. Instead of working in service of humans, the renewed Demeter instills fear and

commands their respect. She establishes the sacred rites of the Eleusinian Mysteries and

demands that the king construct a temple in her honor. Now Demeter is acting according to the

hierarchal system: gods over men. Even so the poet explains that in the temple Demeter sat far

apart from everyone, ἔνθα καθεζοµένη µακάρων ἀπὸ νόσφιν ἁπάντων (line 303). The temple is

the place where heaven and earth meet and where gods and humans interact. It is in this liminal

space that she dwells.

As a reestablished goddess, she can take advantage of her role as a fertility goddess and

her ability to stop the earth from producing.34 Instead of disrespecting Hades’ authority by

33
It is implied that Demophoon has died but it is not explicitly stated in the Hymn. Clay p. 243.
34
There is not a terribly significant difference between Demeter, Gaia, and Rhea in terms of them being
associated with the earth and fertility. Gaia and Rhea both appear in the Hymn and they are Zeus’s
accomplices. The two older women are willing to help Zeus maintain order. But the current Olympic

34
granting immortality to mortals, she takes an alternate approach. Demeter generates a global

famine which places mankind on the verge of extinction. Instead of forcing humans into a linear

timeframe she halts the cycle. Demeter is bringing aspects of the underworld— the death of all

living things and the insignificance of time— to earth, symbolically bringing her daughter

closer. By merging earth with the underworld, she makes the impenetrable realm present and

accessible to all mankind and since the famine is on earth this imitation-underworld is accessible

to all the gods, not just Zeus. Her actions partially achieve the goal Zeus had when he initiated

the exchange with Hades, but Demeter’s means of reaching the underworld does not maintain

exclusivity and thus her plan successfully undermines Zeus’s deal, although to the detriment of

humans.

In causing the famine, Demeter is not killing vegetal life but is simply stalling its

germination.

αἰνότατον δ᾽ ἐνιαυτὸν ἐπὶ χθόνα πουλυβότειραν

ποίησ᾽ ἀνθρώποις καὶ κύντατον: οὐδέ τι γαῖα
σπέρµ᾽ ἀνίει, κρύπτεν γὰρ ἐυστέφανος Δηµήτηρ:
πολλὰ δὲ καµπύλ᾽ ἄροτρα µάτην βόες εἷλκον ἀρούραις:
πολλὸν δὲ κρῖ λευκὸν ἐτώσιον ἔµπεσε γαίῃ:

She made for mortals the most terrible and horrible year upon the all-nourishing
land
The earth did not send up any seeds,
For well-crowned Demeter hid them.
Many curved plows the cows pulled along the tilled lands in vain
And many white barley kernels fell on fruitless earth.
(Homeric Hymn to Demeter 305-309)

The word κρύπτεν is used to describe how Demeter regulates the earth. I translate this word as

“hid” which indicates that the seeds are covered and remain inactive. This whole scene is a

metaphor for human sexual relations. The seeds (or semen) are present, not rejected but merely

order, which Demeter is a part of, is more powerful which is why the two older mother-earth-goddesses
cannot do anything to stop the famine Demeter created.

35
inhibited, meaning Demeter is using her τιµή to override male fertility. I think it is crucial that

this time (unlike her stint with Demophoon) she acknowledges the presence of men and their

contribution to reproductive success, but simultaneously maintains her own agenda. At this

point, Demeter does not dismiss Zeus’s plan but instead imposes her own will in a way that

demands his attention.

Demeter is associated with agriculture, productivity, and abundance and so has a special

bond with humankind. Agriculture separates men from gods since men must work continuously

to survive. Demeter’s strategy is very similar to that of Prometheus in that she provides mankind

with a gift that allows them to thwart Zeus and the order he imposes.35 In Hesiod’s Works and

Days Prometheus gives men fire, the means of life and a secret hidden (κρύπτεν) by the gods

(lines 42-53). The difference between gods and men diminishes when men possess fire since

men will no longer have to work but are able to sit idle for much of the year.36 The boundary

between heaven and earth is blurred. As a result, Zeus unleashes Pandora, a prototype for all

women, and her jar full of afflictions. With women and evils to deal with mankind is once more

forced to constantly toil, reestablishing the hierarchy of realms and the superiority of the gods.

Demeter has given to mankind the gift of agriculture, allowing them to establish a stationary

home and domesticate wild growth. Agriculture is a mechanism by which men control the earth,

a female entity whose growth was prolific and previously untamable. Demeter’s gift offers

stability and order to the lives of humans. Older versions of Persephone’s abduction culminate

35
Clay p. 241 Demeter’s gift of agriculture only benefits men and not the gods.
36
The logic is not entirely clear but the understanding is that mankind would no longer be subject to
manual labor: “For the gods keep hidden from men the means of life. Else you would easily do work
enough in a day to supply you for a full year even without working;” Works and Days lines 42-44

36
in Demeter passing on the secrets of agriculture to man.37 In the Homeric version it is clear that

agriculture has already been established. By giving men a gift Demeter has, in the past, been the

subject in an exchange. She has exchanged the gift of agriculture for the gift of authority. Men

are reliant on agriculture, and this makes her gift dangerous, since the famine is a direct

consequence of that human dependence.38 Both Prometheus and Demeter weaken the gods,

specifically Zeus, because they have provided a vital piece of the human condition.

Demeter uses her powers of fertility over the land so the earth no longer sustains life.

The famine will result in the death of the current generation, and the circumstances will prevent a

new generation from taking its place. Through these processes, Demeter can essentially stop

time, both linear and cyclical. The end of mankind means the end of the gods, who rely on

humans for sacrifices and prayers. Because Zeus’s rule depends on the survival of man, Demeter

is able to force an ultimatum on him: either reestablish the original order, Persephone returning

to live among the gods as an unmarried maiden, or witness the demise of the gods. Hermes

delivers this prediction when he relays Zeus’s message to Hades:

ἐπεὶ µέγα µήδεται ἔργον,

φθῖσαι φῦλ᾽ ἀµενηνὰ χαµαιγενέων ἀνθρώπων,
σπέρµ᾽ ὑπὸ γῆς κρύπτουσα, καταφθινύθουσα δὲ τιµὰς
ἀθανάτων:

Since she intends a great deed,

To destroy the powerless race of earth-born men,
She is covering the seeds under the earth, and ruining the honors
Of the immortals.
(Homeric Hymn to Demeter 351-354)

37
Clay suggests that the poet rejects the agrarian myth in favor of an Olympic narrative. The other story
features Triptolemus who disseminates the gift of grain from Eleusis to the rest of the world and
references a local cult story. p. 231
38
Wohl p. xvi

37
This is the climax of the Hymn and is Demeter’s final stand. The potential to end both cyclical

and linear time I think shows the ultimate power women have over men. Wives39 are

disproportionately powerful because of their ability to reproduce or not reproduce properly. This

obliges men to listen to their opinions and ensures they are taken seriously when it comes to the

success of a marriage and the future of a family.

The seeds that have been sown by men are unfruitful and inaccessible but they are not

dead; similarly, Zeus’ plan is derailed but not forsaken. Zeus can do nothing in retaliation so he

must bargain, sending Iris and the rest of the gods to try to appease Demeter. Zeus approaches

her indirectly, through the other gods, and attempts to make an exchange with her:

αὖτις ἔπειτα πατὴρ µάκαρας θεοὺς αἰὲν ἐόντας

πάντας ἐπιπροΐαλλεν: ἀµοιβηδὶς δὲ κιόντες
κίκλησκον καὶ πολλὰ δίδον περικαλλέα δῶρα
τιµάς θ᾽, †ἅς κ᾽ ἐθέλοιτο† µετ᾽ ἀθανάτοισιν ἑλέσθαι.
ἀλλ᾽ οὔτις πεῖσαι δύνατο φρένας οὐδὲ νόηµα
θυµῷ χωοµένης: στερεῶς δ᾽ ἠναίνετο µύθους.
οὐ µὲν γάρ ποτ᾽ ἔφασκε θυώδεος Οὐλύµποιο
πρίν γ᾽ ἐπιβήσεσθαι, οὐ πρὶν γῆς καρπὸν ἀνήσειν,
πρὶν ἴδοι ὀφθαλµοῖσιν ἑὴν εὐώπιδα κούρην.

Then back again the father sent all the blessed gods that ever were
going in succession
They all summoned her and gave beautiful gifts
And honors, whichever she might desire to take from the immortals
But no one was able to persuade her mind or thought
Since she was angry in her heart, she strongly refused their summons.
For she said not ever would she walk upon sweet-smelling Olympus
And no sooner could she send up the fruit of the earth,
Until she saw with her eyes her fair-eyed daughter.
(Homeric Hymn to Demeter 325-333)

Demeter’s demands point back to the formal understanding of exchange. By indirectly coming

to her, Zeus is retaining his air of dominance while also acknowledging Demeter’s position in his

39
I say wives instead of women because of the unique status of a wife. Only wives can produce
legitimate heirs. Other women in Athenian society, such as prostitutes or concubines, would not have had
children who were entitled to the same rights as their fathers. That is partially why Demeter’s status as an
Olympian god is so important, she shares the same title as Zeus.

38
system of exchange. In this final confrontation, Demeter is in some ways assuming the role of a

man but bargaining in feminine terms. She has become a subject in her own right. Out of the

three possible roles she could play— subject, object of exchange, or outsider— Demeter

transitions from an outsider to a subject and can negotiate an outcome that is favorable for her.

As a subject, Demeter can assess the situation and actively place value on the items being traded.

Her compliance comes with gifts and honors but it weighs against getting her daughter back. In

a public way, she is exposing the economic considerations that go into a social exchange.40

Persephone’s marriage is now a public transaction. Demeter is belatedly being consulted about

the value of her daughter and her opinion is both acknowledged and respected. In doing these

calculations she transforms from Zeus’s opponent to his collaborator in the resolution of the

transaction. Demeter determines that nothing is worth the price of her daughter. She refuses all

that the gods offer and continues to deny Zeus’s summons. It is unusual to defy Zeus but

because of the threat she poses, Demeter has the final say. Eventually, Zeus relents and sends

Hermes down to the underworld to retrieve Persephone.

The resolution is only a partial success. When mother and daughter are reunited,

Demeter asks if Persephone has eaten the food of the dead. Demeter knows that if her daughter

has accepted food she will have to return to the underworld. As mentioned previously, Hades

has made an appeal to Persephone and explained to her the benefits of being a married woman.

Since Demeter was cut off from the underworld she was unable to make a counterargument or

influence her daughter’s actions. Hades makes more than just a verbal appeal. He secretly offers

Persephone pomegranate seed, which she accepts, symbolically consummating their marriage.

40
Wohl p. xxviii “To disenchant the symbolic gift exchange, then, is to expose it as no more than an
idealized form of commodity exchange and to lay bare the power relations that lie concealed beneath it, is
to challenge the social prerogatives built upon it.”

39
The text clearly says ῥοιῆς κόκκον ἔδωκε41 to mean Hades gave her the pomegranate seed as she

was leaving the underworld. Later as Persephone recounts her experience to Demeter she says

that Hades coerced her using the words: ἄκουσαν δὲ βίῃ µε προσηνάγκασσε πάσασθαι42 which,

translated, mean “And by strength he forced me, unwilling, to eat it.” Persephone’s deviation

from the poet’s version hints at her maturation and desire for independence. She took steps

towards validating the marriage and obtained some control over her situation.43 Persephone’s

assertiveness elevates her to the role of partial-subject despite the fact that her desires align with

those of the men who made her an object. Of the two women, Demeter is the only one who

openly opposes Zeus’s plan. Demeter became Zeus’s equal and was an active subject in the

negotiations over her daughter. In spite of these efforts, Persephone’s duplicity undermines any

leverage Demeter had with Zeus. Because she consumed the pomegranate seeds, Persephone

must remain in the underworld for one third of the year instead of permanently rejoining the

gods. Zeus proposes a compromise and sends Rhea, Demeter’s mother, to relay the message:

[νεῦσε δέ σοι κούρην ἔτεος π]εριτελλοµένοιο

[τὴν τριτάτην µὲν µοῖραν ὑπὸ ζόφον ἠ]ερόεντα,
[τὰς δὲ δύω παρὰ σοί τε καὶ ἄλλοις] ἀθανάτοισιν.
[ὣς ἄρ᾽ ἔφη τελέ]εσθαι: ἑῷ δ᾽ ἐπένευσε κάρητι.
[ἀλλ᾽ ἴθι, τέκνον] ἐµόν, καὶ πείθεο, µηδέ τι λίην
ἀ[ζηχὲς µεν]έαινε κελαινεφέι Κρονίωνι.
α[ἶψα δὲ κα]ρπὸν ἄεξε φερέσβιον ἀνθρώποισιν.
ὣς ἔφατ᾽οὐδ᾽ ἀπίθησεν ἐυστέφανος Δηµήτηρ:

He [Zeus] agreed that your daughter be, as the year turned,

One third under the murky darkness
And two thirds at your side and the side of the other immortals.
So he spoke for these things to be accomplished, and he nodded his head.

41
Hymn to Demeter Line 372
42
Hymn to Demeter Line 413
43
Rubin piggybacks off Levi Strauss and says that “because women are for men to dispose of, they are in
no position to give themselves away.” p. 175 I disagree, I think that resistance is a formidable obstacle
and that women like Persephone have the choice of being amicable or not. In this way, women are not
just for men to dispose of but they are people men must placate or bribe. While this doesn’t empower her
completely it does give her choices, something a complete object would not have.

40
 But come my child and obey, but do not exceedingly
and continuously rage at the son of Kronos dark with clouds.
And straightaway make the life-giving fruit grow for men
Thus Rhea spoke and well-girded Demeter did not disobey.
(Homeric Hymn to Demeter 461-470)

Oddly, Zeus calls on Demeter’s mother to help her come to terms with the new arrangement.

Rhea can be empathetic in a way that only other mothers can be; for this reason she is the ideal

liaison. Rhea serves as a reminder of the natural rotation in which daughters grow up and

become mothers. One of the peculiarities about this marriage was that Persephone would have

been permanently separated from her mother.44 With the modified terms of the compromise

Demeter will maintain her relationship with Persephone, the marriage can proceed, and Zeus will

have access to the underworld. The third of the year Persephone stays with Hades reflects the

original division of the three realms. For the other two thirds, the majority of the year, Demeter

retains her status a mother. Since the separation is now temporary Demeter is satisfied and

upholds her end of the bargain, releasing the earth from famine. Only after husband and wife

come to an agreement can the compromise be enacted.

Persephone’s Infertility

There is no literary evidence that Persephone and Hades have children. It is ironic that

the descendant of the fertility goddess fails to produce her own children. There are several ways

to explain this inconsistency of character. First, as queen of the underworld Persephone

embodies death. On the one hand the underworld, where she resides, is where time stops. On the

other hand, birth is a way of prolonging life while progressing through time; naturally the two do

not mix. Second, she spends much of the year with Demeter and in that time she is physically

cut off from her husband.

44
Clay p. 221 Typical marriages don’t permanently separate mother and daughter. Rudhardt p. 8 1978

41
 Throughout the Hymn Persephone combines lust and loss.45 She is the object of desire

around which the poem is centered. Persephone herself is never without desire because she is

either with her husband or with her mother, central relationships that form her identity, but never

the two together. In lying to Demeter, Persephone discloses that she is invested in staying with

Hades and achieving the status that comes with being queen of the underworld. As she speaks

the audience is reminded of her relationship with Demeter.46 Despite just having accepted the

pomegranate seeds from Hades and sexually matured, Demeter addresses Persephone as child,

τέκνον. Persephone replies: τοιγὰρ ἐγώ τοι, µῆτερ, ἐρέω νηµερτέα πάντα, “Accordingly mother, I

will tell the whole truth.”47 She is assuming her former status as a child before telling the lie that

reveals her new status as a woman. Persephone is simultaneously willing and unwilling to

embrace change. She wants to avoid the loss of her connection to Demeter and fulfill her erotic

desire with Hades. By prioritizing her lust Persephone also prioritizes gaining political power.48

She sets aside the possibility of children by choosing to be a political actor.

By accepting the pomegranate seeds Persephone symbolically has sex with Hades, death

in god form, and her own body becomes a terminus for life. Her acceptance and consumption of

the pomegranate seeds is an implantation of death. The fruit’s red color evokes the imagery of

blood which is associated with both death and menstruation. In this moment, Persephone comes

of age49 and is no longer a virgin. The sheer volume of seeds50 in a pomegranate suggest

45
Carson, Anne Eros the Bittersweet Carson talks about the dual nature of love.
46
Suter, Ann The Narcissus and the Pomegranate p. 40
47
Homeric Hymn to Demeter Line 406
48
Erotic desire is often associated with male dominance, in other words phallic agency.
49
Agha-Jaffar Demeter and Persephone: Lessons from a Myth p. 67 references Barbara Smith’s work,
The Feminist Companion to Mythology p. 89
50
This also calls to mind the narcissus with the many heads that intruged Persephone at the beginning of
the poem.

42
abundance and fertility.51 The seeds themselves can then be a substitute for semen and the

pomegranate, a sex organ. The word kakkos used in ῥοιῆς κόκκον ἔδωκε φαγεῖν µελιηδέα

λάθρῃ52 has multiple meanings: seed, berry, or testicle.53 The pomegranate seed, and by

association, male virility and death, gets absorbed into Persephone’s identity and by choosing to

accept the seeds she welcomes her new position in the underworld. Persephone is death, is

embedded with death, and lives in the world of the dead; these things make her body

inhospitable to life.

When Persephone is not with Hades she is with her mother in the world of the gods. The

underworld is the telos for all mankind and marks the end of linear time. When she is with

Demeter Persephone loses autonomy and status, returning to a state much like that of

adolescence. Therefore, Persephone symbolically reverts to being a child when she rejoins her

mother and gets physically cut off from her husband. For that reason, Persephone fluctuates

between time that stands still and a cycle of regression. She is not sexually active when she is

with Demeter and she is infertile when she is with Hades. Persephone is unable to fulfill her

wifely duties by producing offspring. Through the deal made with Zeus, Demeter continues to

exercise her control over Persephone, maintaining her role as a mother, and in some ways,

getting her ultimate revenge on Hades. This is an atypical marriage because of whom

Persephone marries and the secrecy with which the marriage was conducted. Since Demeter was

not involved sooner the marriage did not develop normally and it led to female infertility, both in

the mother briefly and in the child permanently.

51
Foley The Homeric Hymn to Demeter: Translation and Commentary p. 57 Foley also reminds us that
Hermes later finds Persephone in Hades’s bed, a more direct reference to sexual activity.
52
Homeric Hymn to Demeter Line 372
53
Agha-Jaffar p. 68 references Bruce Lincoln Emerging from the Chrysalis: Rituals of Women’s Initiation
p. 85

43
 Demeter has succeeded in keeping her daughter young and so maintains her role as a

mother despite the marriage. By refusing to be left out of the exchange Demeter has become a

permanent fixture in her daughter’s life. Moreover, in terms of a social contract, the marriage

leaves Hades with an unfavorable result since he has ceded power to Zeus in exchange for a

barren wife.

Conclusion

While the Hymn, relating supernatural events by divine actors, does not prescribe

behavior for those hearing it, it addresses cultural concerns commonly driving the ancient Greek

narrative. Power dynamics among the gods educate the mortal audience: the Hymn was a

performance written by men for men. The portrayal of women is undoubtably compromised by

this fact.

The Hymn addresses male interest in maintaining and increasing male power, with

wariness toward and intentional control over the younger generation which threatens that power

and over women whose possible defiance must be thwarted. From that general theme comes the

specific issue of excluding the mother from any knowledge of, or role in, the marital contract for

her daughter. In the male-dominated Greek society women were ideally either used as

bargaining chips to cement social bonds or left out of socio-economic transactions altogether.

But women are not commodities. They are living, thinking, speaking beings who are unwilling

to be controlled by the male agenda and who can vocalize these feelings. The Hymn’s teaching

is that a successful marriage contract cannot be negotiated without the knowledge and consent of

multiple women, minimally the bride and the mother of the bride.

The power of women, which stems from both the need for and the threat of women’s

fertility, plays a central role in both Demeter’s and Persephone’s ability to get what they want

44
and to defy the wishes of others. Both absent mother and passive daughter progress

transformatively to action. Their transformation allows them to permanently alter the narrative.

Demeter meddles in the affairs of Zeus and Hades, jeopardizing the current order to such an

extent that Zeus has no choice but to relent. Persephone likewise makes a conscious choice to

ground herself in the underworld and profit from the honors which Hades offers. At the

beginning of the Hymn Persephone and Demeter have a single shared desire: to be reunited.

However, as Persephone grows her outlook shifts to the point where her mother’s wishes conflict

with her own. Again, these choices show that the women of the story have their own ambitions

and the means to achieve those desires. Once the narrative showed their perspectives, through

action, the women became more than objects. That a woman critiques the exchange endows her

with the worth of a subject and the extent to which her perspective necessarily differs from the

male perspective, she amends the previous exclusively male narrative. 54

The Hymn to Demeter follows Demeter’s journey, the experiences of the mother. By

prioritizing Demeter’s actions, the poem recognizes her ultimate role in familial diplomacy. I

believe that from the Hymn we can infer that the wife’s participation in all aspects of marriage,

from the beginning, is both necessary and unavoidable. Demeter’s interests must be considered

because she has the ability to either ensure the well-being of her family or destabilize her

husband’s (the father’s) authority. In the episode of famine, the Hymn further explores the role

and power of the female, in the broader societal context. Of course, the power women wield is

limited, as seen in Demeter’s dealings with Demophoon. For the Greeks, the possibility of

birthing a problematic male heir was so frightening a prospect that a narrative concerning it had

to convey its impossibility and unacceptability, in order to forestall the threat. Zeus represents

the current regime so when he overthrows his father in the Theogony it’s acceptable because
54
Wohl p. xxii

45
Cronus represents an antiquated system. Yet when Demeter creates an heir, it threatens the

current male order she must be stopped. Demeter’s fertility or lack thereof poses a threat, and

her physical capacity to stop reproducing is an even bigger threat and so Zeus must consider her

perspective to negotiate peace. Because a male is in charge of the telling of the Hymn, Zeus will

ultimately be the winner, not matter how much leverage Demeter can bring to bear. By removing

the possibility of Demophoon’s ascension to the gods, the poet reaffirms Zeus’s world order and

effectively disempowers women. It disempowers the women by lessening their fertile

capabilities. By having Metaneira step in and prevent Demeter’s attempted apotheosis of

Demophoon, the poet had a convenient way to remind the audience that direct threat through

lineage will be extirpated. A woman has procreative power whether by infertility, by destroying

the lineage, or by producing a male to directly threaten the current ruler. Either circumstance is a

power which can never be fully understood by men, leading to fear and necessitating control.

This power of women is tested and reevaluated by men within the safe confines of fiction.55 This

particular test concludes that while a mother may have significant control over the success of her

children, a woman could not hope to control that which society holds to be the rights of males.

Bibliography

Agha-Jaffar, Tamara Demeter and Persephone: Lessons from a Myth McFarland & Company
Inc. Jefferson, NC 2002 p. 66-72.

Carson, Anne Eros the Bittersweet Princeton University Press Princeton, NJ 1986.

Clay, Jenny Strauss “Homeric Hymn to Demeter” The Politics of Olympus: Form and Meaning
in the Major Homeric Hymns Princeton University Press Princeton, NJ 1989 p. 202-266.

Foley, Helene P. The Homeric Hymn to Demeter: Translation, Commentary, and Interpretive
Essays. Princeton; New Jersey: Princeton University Press, 1994.
55
Wohl xxiii Ideology, including the understanding of gender roles, is constantly being reformulated and
articulated.

46
Laqueur, Thomas “Of Language and the Flesh” Making Sex: Body and Gender from the Greeks
to Freud Harvard University Press 1992.

Levi-Strauss, Claude The Elementary Structures of Kinship translated from French Beacon Press
Boston, MA 1969.

Hesiod Works & Days and Theogony translated by Stanley Lombardo Hackett Publishing
Company Inc. Indianapolis, IN 1993.

Mauss, Marcel The Gift: The Form and Reason for Exchange in Archaic Societies translated by
W. D. Halls W. W. Notron & Co. New York, NY 1990.

Rubin, Gayle “The Traffic of Women: Notes on the ‘Political Economy’ of Sex” New York 1975
p. 157-210.

Sedgwick, Eve Kosofsky Between Men: English Literature and Male Homosocial Desire
Columbia University Press New York, NY 1985.

Suter, Ann, The Narcissus and the Pomegranate: An Archaeology of the Homeric Hymn to
Demeter. United States, 2002. Web.

Wohl, Victoria Intimate Commerce: Exchange, Gender, and Subjectivity in Greek Tragedy
University of Texas Press Austin, TX 1998.

47
 Part III

A Visual Translation of The Homeric Hymn to Demeter

48
Why illustration and printmaking?

For as long as I can remember I have been fascinated with visual story telling. When I

was younger, I was attracted to the rhythms and predictability of rereading stories and seeing

familiar illustrations. Now, as I’ve gotten older, I am more interested in how image and word

work in harmony. I look to children’s book illustration because the imagery typically covers

over two-thirds of each page and so takes up the dominant portion of the visual field. With

children’s books the words become secondary. Even so, there is an auditory experience

associated with this kind of story. The words are often spoken by a parent to a child, instead of

read silently by oneself. This relationship with audio and visual information intrigues me.

Earlier I discussed how the male control over cultural discourse put women at a

disadvantage when it came to social dominance. Speaking and writing are the two major ways

of communicating ideas and expressing the self as a subject. A story-teller holds this same

power. A story-teller in this sense is both the person who constructs the story, and the person

who relates the story to others through spoken word. For someone who is illiterate, such as a

child or a less privileged member of Greek society, images become a means of communication

and can take the place of writing. The Homeric Hymns were part of an epic poetic tradition that

was passed down verbally and recorded through memory. I take that story, many times removed

by time and medium, and try to digest its meaning and significance. Alongside this oral tradition

came visual representations, although not necessarily sitting adjascent to text. I think of the

audience member’s imaginations as well as material culture. The visual stimuli, in the absence

of text, is what I want to capture in my illustrations. I remember looking at children’s books and

because I was familiar with the story I could turn the pages and follow along without reading the

49
words. I think many non-Classacists know at least some of the Hymn to Demeter and so I think

these images will be clear to them without text.

In my Writing for Children class with Professor Meyers we learned about how authors of

children’s books have a restricted word count and so devote most of their words to plot instead

of description, something the illustrators fill in later. The illustrators respond to the information

given to them by the authors before taking leaps on their own and infusing the story with their

own style and perspective. In the Hymn, there are only a few sections of longer description,56 for

the most part the poet opts for action.

The link between storytelling and mythology is on the surface quite apparent. The extent

to which Classical myth has permeated into Western story telling is too expansive to explain

here. Hirsch and Wallace question the use of the word “illustration” to capture the meaning of

all art in relation to mythology. They make this point to differentiate illustrators from fine

artists, a group of artists whose work is valued for their intellectual and theoretical content and

relevance. I would say that the world of illustration uses its lower-brow commercial status to

reach a broader audience and resonate with average people. I don’t believe that the work

illustrators make are less valuable than fine art. I think it has less to do with how much intellect

the artist puts into her work and more to do with who the intended audience is. I prefer to be in

this second category of artist because I believe that accessibility is paramount to relating

information effectively.

In both my printmaking classes I have unconsciously and consciously explored story-

boarding, images aligned in sequential order based on their subject matter. In my lithography

class I took a limestone, the matrix on which images are created, through three visual phases (see

56
An example of scenes with extended descriptions would be Persephone’s listing of all the flowers that
she picked. This happens twice in the poem and is mainly included to show the earth’s abundance.

50
figures 1-3). While these drawings were not a direct response to a piece of writing, they do show

a continuous theme of renewal.

Figures 1,2, & 3: a triptych that focuses on memory and spring, made in 2015
These images make use to the visual frame, in this case the silhouette in profile. As the image

goes through each phase the frame deteriorates a little bit more. The increasing force of life in

the image bursts out of the frame containing it. I liked the idea that a frame could tell the story

just as much as the content. I think a similar approach to framing can be seen in Greek ceramics.

An example would be a perfume bottle with painted images of a woman weaving to referencing

the owner of that piece of pottery. I find that illustrator Jan Brett does this with her art. She uses

the picture frame to map out the time relationships between each image and the theme of the

story. I think that these visual cues are incredibly useful in getting as much information into an

image as possible.

I later revisited this love of visual story telling in my Advanced Printmaking final

assignment. I did a pronto plate response to Erik Satie’s Gymnopédies (see figure 4). This is the

first time I took someone else’s work and attempted to make it my own. This story had no words

only the haunting and melancholy piano music that I listened to while falling asleep as a child. I

chose to show the journey of a single dandelion fluff which blows away from its home plant,

51
falls into the water, and is gathered by a swan who uses the fluff to add to its feathery down in

preparation for winter. This was a useful project to draw inspiration from since it has similar

themes of seasonality and covering or disturbing seeds.

Figure 4: an accordion book I made in 2016

When thinking about this past work in relation with my thesis art I thought about the size

and physicality of the art. I wanted to be conscious of how the viewer experiences the work,

handing it, flipping pages, etc. As far as the dimensions of the art I wanted a long horizontal

page since I think this elongated size forces the viewer to take in the images left to right, as is

conventional for reading. I thought of this elongated style on the wall as kind of segmented

Chinese hand scroll—it can be continuous while also break into related segments. This

continuous element would lend itself to a gallery wall since the images can wrap around the

room. This kind of display invites the viewer to see the story as cyclical, meant to be revisited

again for continued observation and contemplation. I also wanted the possibility of binding

these images into a book. The fact that the paper dimensions are twice as wide as it is tall allows

52
for this possibility. It can easily be folded in half and bound together. The future of this project

can move from an untouchable gallery piece to a functional product very easily.

Translation

When I wrote my translation of the Hymn it was approached in the strict academic sense.

I tried to get to the meaning of the words, prioritizing clarity over artistic expression. Jane

Hirschfield says that a good translator goes beyond grammar and syntax but tries to capture the

essence and style of the original poet. Although I have studied Ancient Greek for a few years, I

am by no means fluent or comfortable with the language; moreover, I am not an epic poet.

Therefore, my translation is not meant to have strong artistic merit in Hirschfield’s sense. My

translation simply serves as the baseline for my interpretation of the text, giving me a starting

point from which to build a verbal argument. As I worked I thought about how my translation

and interpretation stands against Helene Foley’s translation, which I often turned to when I

needed clarity about some complicated part of the Hymn. She does a much better job of

representing the text in a lyrical way, so that the poem could be enjoyed out loud.

Something that drew me to Classics was how their stories have stood the test of time. I

know that people treat Classics with a special reverence. Classical inventions and philosophy

indisputably shape Western thinking. This is largely because there was history of preserving

classical texts for elite scholars to study, a tradition which builds on itself.57 Translating is an

action that prioritizes the original, a practice that is often conflated with the idea of truth-seeking

and avoiding mistranslation. Even so, very few people get to see the papyrus or parchment that

the text was copied onto and we rely on others to write out and fill in fragmentary writing. So,

most of what we study as classical scholars is somewhat removed from the original. I thought

Hirschfield had some relevant thoughts on this idea of the original:

57
Kilinski p. 26

53
 “When an original grows old, its dated words and syntax serve as a kind of
watermark. Age in itself gives substance—what has lasted becomes a thing worth
keeping”58

By endowing Classical texts with an authoritative educational power, we are also accepting some

of the more subliminal ideas about gender norms. It is the duty of the scholar to continue to be

skeptical of the texts they are presented with. This might be easier with philosophy since

arguments are written with the goal of persuasion and inquiry. Fiction, however, is better at

hiding the assumptions that the author is working under. In the Hymn this assumption is of

restricting female representation and subjectivity for the betterment of society. After testing

these assumptions, or at least illuminating them, I wanted to have a second chance at responding

to the text.

It is in this second part I am embracing the role of translator since I can do this in a

medium that I am more comfortable with and have a strong vocabulary for: studio art. Again,

Hirschfield offers some insight:

“Every translator can offer principles and explanations for having been more or
less literal at this point, choosing one nuance of meaning over another at that,
omitting “the untranslatable” here or adding there some information commonly
understood within a poem’s home culture. In my experience, though, these are
after-the-fact descriptions of a process of choice-making as mysterious and
intuitive as writing itself.”59

This kind of intuitive process is how I feel about producing art. So much of the art making

process is instinctual to me. As I talked about this process with Professor McGibbon I started to

break down the unconscious choices my body makes. I tend to go straight ahead and draw what

is in my head. The lengthy process of a thesis has allowed me to sit with this material longer

than I normally would and think through a scene multiple time, like a cameraman finding the

58
Hirschfield p. 67
59
Hirschfield p. 62

54
best angle. I started to think about threads of inquiry that have held together my work as a

printmaker. I think that as an artist I seek an outlet for my imagination. In this project that is

certainly true but I also wanted to be more conscious of how I present the subject matter. In this

case, I look to my favorite artists and think about why I cam compelling to repreatedly revist

their work.

“The continual remaking of translations may seem like a movement further and
further from the original; it can be seen also as a way of returning a work to the
perennial freshness of its original state.”60

The Hymn, like any captivating art, is worth returning to again and again because it is a

compelling story that presents problems that are still relevant to our society today. The verbal

content offers fresh insight, so too should my art.

Artistic choices/artists I reference:

The first artist I thought of was Ingri d'Aulaire. I grew up reading D'Aulaires' Book of

Greek Myths and it was my first introduction to the world of Classics (see figure 5).

Figure 5: shows Persephone’s abduction

60
Hirschfield p. 68

55
Aside from pulling from my repetior of children’s book illustrators, I wanted to draw on both

older conceptions of illustration and more modern ways of visual story telling. Something I

always look for is the artist’s hand in the final work. I value seeing the artistic process in the

completed work because I feel more connected to the artist when I can see their physical process

of creating. The idea that the original, or mark of the original lies in a unique hand, such as a

signature or an unbroken seal, is paradoxical.61 The translation from lived experience to paper is

unexplainable but the image’s alteration, or deviation from the truth, is what makes the art truly

subjective and alluring. I wanted to make sure my hand was in the final pieces because I think it

instills a sort of authenticity via imperfection.

I also thought about how light plays into the story of the Hymn since light can create such

strong visual contrasts. Demeter carries a torch as she searches for Persephone. She talks to

Helios, Demophoon is held over a fire, and the underworld is a place cut off from the sun; all

these scenes are marked by the presence or lack of a light source. To get some ideas about body

in relation to light I looked at Georges de La Tour’s treatment of candle light in his oil paintings.

He imparts information with dark shapes against a bright background. The purposeful obscuring

of an object in the foreground, a place normally rich in detail, creates a sense of mystery. Also

by crowding scenes around a single light source the images become intimate. In the scene where

Demeter talks to Helios I wanted to focus on Demeter’s face, because in this moment she is torn

between panic and hope. I was able to obscure the male form in favor of the female protagonist

by borrowing La Tour’s style. As I thought about the use of light in illustration, I remembered

an animated film by Caroline Leaf (see figures 6 and 7).

61
Schwartz p. 219 Nothing is completely unique since art always draws on experience.

56
 Figures 6 & 7: two stills from Entre deux soeurs or Two Sisters by Caroline Leaf 1991

The technique Leaf uses of scratch-away pigment simulates how light works; light illuminates

what it touches much like her reductive tool liberates the images from the black backdrop. This

makes each image more dramatic, something that I needed to capture in this story about life and

death.

My work is primary figurative since I don’t like the freedom of interpretation that

abstract art allows. While abstract colors and shapes celebrate ambiguity, I find myself

compelled by concrete figures and symbols because they come with a host of cultural references.

In the past, I have focused on animal forms as stand-ins for human characters since I find the

human body a difficult thing to render. I partly chose to use figural representations because the

characters couldn’t be fully grounded in an animal counterpart. In this project, I wanted to tackle

the human body without the constraints of capturing photo realism. I figured that if I were to

avoid confronting the cliché of the female form its absence would be a disservice to the argument

I make about female subjectivity. The Hymn uses the sexualization and objectification of

women, which is so closely associated with the female form, to further a male agenda. By

reinterpreting the Hymn through my art, I am using the female body to send the message of a

female subject— me, as an artist.

57
 I had a difficult time deciding between a traditional life-like images, reminiscent of

classical marble statues, or to break down the figure into smaller relevant parts. I like the fluidity

of a gesture drawing (see figure 8) and I wanted to capture that sense of movement and purpose

in my characters. I think style hits the idea of “natural movement,” like the draped clothing of

classical sculpture, while highlighting the movement of bodies.

Figure 8: gesture line drawing from a figure drawing class, 2012

I am more compelled by this loose representation of the human form. I think this goes back to

my obsession with the artist’s hand and maintaining control over visual translation. I see it as the

artist taking a stance, making a conscious choice to over-emphasize a body part or to capture

human imperfections that ultimately make the characters interesting. I hope to capture the

interest that a real human body has in my art without being bound to perfection.

Final Thoughts

“Myths are stories whose real subjects lie elsewhere, somehow unbound by the
minor narrative through which deeper meanings are inevitably conveyed. This
invites the reader to interpret or construct meaning which is at the heart of myth’s
enduring appeal.”62

62
Hirsch and Wallace p. 5-6

58
 Art is ultimately informed and enriched through research and I don’t think this

intellectual questioning is unique to fine art. The person who controls the narrative controls what

information gets disseminated. You can see that in Greek literature men control female

representation. In illustrating the Hymn, I have control over what gets emphasized, marking

myself as a subject. Jane Hirshfield said “to control language is to control thought,”63 I think

that’s true but I want to expand that understanding to include imagery. Whoever controls

representation controls thought; and so images, as much as words, have the responsibility to

represent truth.

Bibliography

Hirsch, Jennie and Isabelle Loring Wallace Contemporary Art and Classical Myth Ashgate
Publishing Limited Surrey, England 2011

Hirschfield, Jane “The World is Large and Full of Noise: Thoughts on Translation” Nine Gates:
Entering the Mind of Poetry Harper Perennial New York, NY 1998 p. 54-80.

Kilinski, Karl Greek Myth and Western Art: The Presence of the Past Cambridge University
Press New York , NY 2013

Schwartz, Hillel “Ditto” The Culture of the Copy: Striking Likeness, Unreasonable Facsimiles
Zone Books New York, NY 1996 p. 212-257

63
Hirschfield p. 55

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Image Gallery

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