Theogony : Gaia As A Source Of Creation

Throughout the two different stories “The Origin Myth of Acoma” and “Genesis” showed a common relation between men and women. In “The Origin Myth of Acoma” the relationship between men (father) and women (daughters) is shown by the father giving multiple gifts to his daughters throughout the story. As the father is giving the gifts to the daughters, it is showing that the “men” is the head of the world in this case but in general the assumption that men are in charge of our society. Moreover, it also shows a belief that civilization men believe that women cannot take care of themselves and always need someone leading them into the right direction, in this case the light from above underground. Throughout Genesis, in 1 they speak of emphasizing

The biblical metanarrative touches the storyline of the main book, the Bible, from the beginning from Genesis to the end of Revelation. Throughout the bible there are many stories that have a message and come across to Christians that relate to their life. The bible is one book with many events that tells one big story. There are five acts of the biblical metanarrative consists of which are, Act I: The God of Creation, Act II: Sin Enters the World, Act III: God Covenants with Israel, Act IV: Jesus and the New Covenant, and Act V: The Fellowship of believers. Each of these Acts have stories about the life of Jesus that has a meaning Christians relate to.

Demeter’s inability to rescue her daughter from Hades’ clutches diminishes the power of female will. She is unable to even discover where her daughter is until Helius, a male god, takes pity on her and tells her what has happened (The Homeric Hymn to Demeter 70-77). The image of the matriarchy is not good enough to solve her own problems and must rely on a man to do so for her. Again, this sentiment is echoed towards the end of the story, when Zeus is the one to rescind his order to Hades. This order is given under duress, but the fact that Demeter must once again rely on a male god to rescue her child is an obvious depiction of male dominance

Hesiod’s versions of the Prometheus/Pandora story and the book of Genesis’s story of Eve’s act of eating the forbidden fruit both introduce a female figure whose actions are connected with the seeming introduction of evil into the world. At first glance, it appears that the Genesis story is more compelling than Hesiod’s account at explaining the origin of evil because its monotheistic structure makes the logic behind the evils far more clear and straightforward than Hesiod’s logic. The act of disobedience by Eve seems fully her own fault while God (Yahweh) is faultless. However, Genesis is too simple because the story of Prometheus/Pandora is far more complex. The Hesiod story of Prometheus/Pandora is more compelling than Genesis because the conflict allowed disputes between the gods in its polytheistic worldview rather than one god making Hesiod more compelling at explaining the evils of the world.

The women in Agamemnon are as powerful as men but slaves to the divine. Clytemnestra’s early sacrifices parallel her vengeful slaughter of Agamemnon. After Clytemnestra makes sacrifices in celebration of Greece’s victory, the chorus cries, “hope glows through your victims” (Agamemnon, 658). They reference both hope for Greece 's victory and hope for avenging Iphigenia 's death. Sacrifices of thanksgiving make Clytemnestra an ambassador of victory and the sacrifice of Agamemnon makes her an ambassador of Justice. Agamemnon’s slaughter is an act in the name of heavenly Justice; it is a retributive sacrifice to Fate. Despite its moral significance, the murder of the war hero invokes a cycle of death within the house of Agamemnon. Like the

The Epic of Gilgamesh follows a tale of two brothers tasked with defeating an all-powerful beast, yet they aren’t the most important characters in this story. Without their wisdom and guidance, Gilgamesh and Enkidu’s journey would have ended a lot sooner, and Gilgamesh would have still rampaged in Uruk, never bringing peace to those who were below him. Aruru, Shamhat, Ninsun, Ishtar, Siduri, and Utanapishtim’s wife all contribute to Gilgamesh’s journey, and in the end, provide Gilgamesh with the necessary tools in order to transform his character. These women in The Epic of Gilgamesh are essential to the plot, and provide both wisdom and perfection, but can also bring temptation and destruction if given the power to do so.

The Epic of Gilgamesh chronicles the life of the great warrior and hero Gilgamesh. Gilgamesh is not great hero because he is moral. In fact he is feared because "a goddess made him, strong as a savage bull, none can withstand his arms" (1). This phrase underlines the terrible power of femininity, in the view of the Mesopotamian culture that produced the text. On one hand, the female principle is responsible for creation. On the other hand, the female principle also has the ability to destroy: the epic takes a largely dim perspective of humanity, and often, by extension of women, because the source of all creation is a goddess, Aruru. Aruru creates but she also generates suffering.

One similarity that is present between the Theogony and Genesis is that both have women in a central role when it comes to the pitfalls of man. In Genesis it is Eve who eats the fruit from the Garden of Eden and eventually forces God to banish them from the Garden. In the Theogony, it is made clear that by the creation of Pandora from Zeus that the race of women is considered a curse to men and an “infestation” that is evil for them (Theogony ln, 375-385). In a similar vein to the above example, another major similarity is how in both creation stories, the deity plays an active role in shaping the lives of man through intervention or punishment. In Genesis, God does this by creating other wildlife as helpmates which Adam then names, by creating Eve, and also eventually punishing man for disobeying the order to not eat from the Garden. In the Theogony,

Agamemnon in the realm of Hades goes on to reveal how, “ There is no being more fell, more bestial than a wife in such an action, and what an action that one planned! The murder of her husband and her lord. Great god, I thought my children and my slaves at least would give me welcome. But that woman, plotting a thing so low, defiled herself and all her sex, all women yet to come, even those few who may be virtuous,” (Homer 6.496-504). This had been spoken by Agamemnon to Odysseus in the Underworld after his wife had plotted his murder along with one of her servants. Readers had been past exposed with Telemachus to this situation , “ But the Lady Klytaimnestra, in the first days, rebuffed him, being faithful still; then, too, she had at hand as her companion a minstrel Agamemnon left attending her, charged with her care, when he took ship for Troy,”(Homer 3.285-289). This had been discussed by Nestor to Telemachus when he inquired about the events after the Trojan War. While Agamemnon was revealed as an honorable man his wife was portrayed as a scheming backstabber or adding to the foil between husband and wife The Odyssey experiences.

While Genesis in the bible and The Epic of Gilgamesh have striking similarities in the sense of creation and the great flood, the interactions between the divine beings and humans differ greatly. One matter that impacts the entire relationship between gods and humans in both accounts is that the gods in the epic are not almighty beings like God in Genesis since they cannot control each other’s domain. Because of this, they must travel from place to place and work with other gods to carry out a certain task. The gods in The Epic of Gilgamesh act very much like humans and interfere more with their daily lives. In contrast, the all-powerful god in Genesis seems distant and far from having human-like characteristics and does not need to interact with other gods. At the same time, both stories display the reverence and fear humans have for the supreme beings because of their authoritative qualities.

While frantically celebrating her appalling marriage to King Agamemnon, giving praise to Hymen, the god of marriage, she says, “O Mother, crown my triumph with a wreath” (I, i, 361). Here she does not show signs of terrible heartache about being sent to a bridal bed that will ruin her life’s work and sacrifice her virginity. Until she begins to tell her mother how she will try to take revenge for her family does she show pain by saying, “I shall kill [Agamemnon] mother, lay his house as low as he laid ours, make him pay for all he made my father suffer, brothers . . .”(I, i, 367-369). Raving, she prophecies, “If Apollo lives, my marriage will be bloodier than Helen’s,” and in time we see that she is right with the fall of Greece (I, i, 364-365). She also makes an interesting point on the defeat of Troy. She explains that the Greeks are just there to fight and conquer, and that their families are not there to soften their hearts. The Trojans fight as a family for their people. The Trojans have lost, but they died with great honor trying to save and protect their country and kinsmen. Cassandra refers to those soldiers, her family, who fought with a final divination, “Brothers, in Troy’s earth laid, my father, a little time and I am with you. You dead, I shall come to you a victor. Those ruined by my hand who ruined us” (I, i, 469-472). Even though she is portrayed as mad, the evidence of her wisdom, whether it be given to her by the god she has devoted her life, or just insane predictions, shows us that women could be intelligent and know of things to come just as men. Giving us our second example of feminism, Cassandra shows her intellect equivalent to

Euripides and Sophocles wrote powerful tragedies that remain influential to this day. The vast majority of work recovered from this time is by male authorship. What remains about women of this time is written through the lens of male authors’ perspective and beliefs about the role of women in Greek culture. The works of these two playwrights frequently characterize women as unstable and dangerous. Agave, Antigone, and Medea are all undoubtedly the driving force behind the tragic action in these plays. It is their choices that lead to the pain and death of the people around them. Through an examination of the evidence from three separate works, Antigone, The Bacchae, and The Medea, the role of women in ancient Greek tragedy becomes clear. The actions of Agave, Antigone, and Medea repeatedly prove their characters instability and danger.

Athena shows sympathy for the agony mortals suffer through in life. Athena exposes the reader to this idea by confessing her concerns to Zeus in the beginning of the story, “but my own heart is broken for Odysseus” (book 1 line 67). We learn from this line that the gods are more than beings of vengeance,

The first play, Agamemnon, tells about the return of the King from the Trojan wars and how his wife has chosen to react to the reunion. Clytemnestra is the queen who was angered by the fact that Agamemnon was away for a decade and that the King sacrificed their daughter Iphigenia to one of the gods. In one part of the play, the Chorus of Elders chants "Zeus who hath paved a way for human thought, by ordaining this firm law 'He who learns, suffers'" (Aeschylus, trans. 1893, 1.176-179) which speaks to the law that was formed by the words. The people of Greece followed the law that a person who commits a crime, whether that be a recognized law or one that the punisher deemed appropriate, is subject to some form of punishment. In Agamemnon's case, Clytemnestra believed that his actions justified his death. She did not believe that it was murder because his actions justified her actions.

When Medea kills her children, audiences react with shock and horror. Any sympathy viewers have built for the woman is, in the words of Elizabeth Vandiver, “undercut” by this act (15). Since Medea is the protagonist, we question why Euripides chose to make her a child murderer. Most scholars agree that he invented this part of the myth. He also lessened her role as witch by drawing attention to her human qualities. This only highlights the infanticide (14) because we cannot excuse her ruthless act as monstrous and non-human. However, Medea remains very human until after she kills her sons. Appearing at the end of the play in the deus ex machina, she takes over not only the position but also the