Levaniouk, Olga. 2011. Eve of the Festival: Making Myth in Odyssey 19. Hellenic Studies Series 46. Washington, DC: Center for Hellenic Studies. http://nrs.harvard.edu/urn-3:hul.ebook:CHS_Levaniouk.Eve_of_the_Festival.2011.
Chapter 5. Minos
ἐννέωρος βασίλευε Διὸς μεγάλου ὀαριστής.
where Minos was king in nine-year periods and conversed with great Zeus.
It remains unclear what exactly is meant by ἐννέωρος βασίλευε, ‘ruled in nine-year periods’, and why Minos is designated by the highly unusual term ὀαριστής. Plato apparently took ἐννέωρος, ‘nine-year-long’, with ὀαριστής, ‘conversation partner’, rather than with βασίλευε, ‘ruled’, and explained that Minos went to talk with Zeus every ninth year, and brought back laws for the cities. [1] Nine-year cycles have been attested for Greek festivals and religious observances, the early Pythian games being one obvious example. [2] In the case of Minos’ visits with Zeus, in Plato’s version, this nine-year period seems to be implicitly connected with renewal of a social order through law. In later sources, Minos converses with Zeus in the Idaean cave, presumably the one {82|83} where the god was born. [3] This, again, suggests periodic renewal, since renewal in general is associated with the birth cave of Zeus. For example, according to a myth preserved in Antoninus Liberalis (19), on Crete there is a sacred cave in which Zeus is reported to be born and which is inhabited by the ‘sacred bees’, the nurses of the god. Every year a great fire is seen blazing out of the cave and it is said that this happens when Zeus’ birth-blood ‘boils out’ (ἐκζέῃ). A yearly event in the cave seems to re-enact the birth of the god.
ποικίλον, ἔνθα δέ οἱ θελκτήρια πάντα τέτυκτο·
ἔνθ’ ἔνι μὲν φιλότης, ἐν δ’ ἵμερος, ἐν δ’ ὀαριστὺς
πάρφασις, ἥ τ’ ἔκλεψε νόον πύκα περ φρονεόντων.
ornate, with all manner of charms in it:
it contains affection, and desire, and seductive conversation,
the kind that deceives the mind even of clever men.
The erotic connotation of oaristus is only one side of its meaning, however, and an optional one. It is certainly not present in every word derived from the same root, and even oaristus itself is not always primarily erotic. In the passage just cited, oaristus undoubtedly has to do with love, but it seems to be something more particular than simply an amorous conversation. Instead, it is a dangerous kind of discourse which leads to the loss of one’s mind and therefore delivers one defenseless into the opponent’s hands. Πάρφασις, {83|84} the word with which oaristus is paired, usually designates a speech aimed at winning over the interlocutor and pressing him into a particular course of action. [5] Parphasis, and no doubt oaristus too, can be truthful or not, spoken in love or in hate, but in either case it is a question of one person prevailing over another. This suggests that the type of discourse contained in Aphrodite’s waistband has to do with power and control, in other words, that it is agonistic as well as erotic.
ΔΑ. μὴ καυχῶ· τάχα γάρ σε παρέρχεται ὡς ὄναρ ἥβη.
[Daphnis] Don’t brag. Youth will quickly flee from you, like a dream.
The whole poem consists of a dialogue equally divided between the two: one line from the boy, one line from the girl. In ancient Greece, most genres of speech and song are either male or female, but in this poem both speakers have equal parts. It is certainly an amorous conversation, but also an antagonistic one: the two are not yet lovers and jostle for a favorable position in their future relationship.
τῷ ὀαριζέμεναι, ἅ τε παρθένος ἠΐθεός τε
παρθένος ἠΐθεός τ’ ὀαρίζετον ἀλλήλοιιν.
the way a girl and a lad,
a girl and a lad talk together.
Lines 127–128 are an exercise in symmetry: not only is the expression παρθένος ἠΐθεός repeated, but it is put in a chiastic arrangement with two oar-words, ὀαριζέμεναι and ὀαρίζετον, and the whole construction is concluded with the dual ἀλλήλοιιν, ‘to each other’, which expresses the idea of mutuality not only semantically but iconically, being a doubling of allos and reflecting this origin in its repetitive phonetics. The idea of two equal opponents seems to be just as present in Hektor’s syntax as it is evident in Pseudo-Theocritus’ poem, and goes well with the setting of his musings: the confrontation between Achilles and Hektor is contrasted not simply with a love-chat, but, being an agonistic encounter, with an agonistic situation that is its extreme opposite. The logic behind Hektor’s sudden foray into an apparent pastoral is also reflected in the formulaic system itself. The agonistic potential of the genre of oaristus is probably what accounts for its metaphorical use in the Iliad of hand-to-hand combat: πολέμου ὀαριστύς, ‘amorous converse of war’ (17.228), and προμάχων οαριστύν, ‘amorous converse of front-rank fighters’ (13.291). For Hektor and Achilles, however, the evocation of oaristus is especially meaningful because it is a premarital genre. Hektor’s death in the Iliad is pictured as a negation of his marriage, so that it even becomes an occasion for a direct recollection of his wedding. When Andromakhe sees Hektor’s dead body, she faints and loses her headband, which she received specifically on their wedding day:
ἄμπυκα κεκρύφαλόν τε ἰδὲ πλεκτὴν ἀναδέσμην
κρήδεμνόν θ’, ὅ ῥά οἱ δῶκε χρυσῆ Ἀφροδίτη {85|86}
ἤματι τῷ ὅτε μιν κορυθαίολος ἠγάγεθ’ Ἕκτωρ
ἐκ δόμου Ἠετίωνος, ἐπεὶ πόρε μυρία ἕδνα.
the diadem and the cap and the plaited band,
and the head-band golden Aphrodite gave her
on that day when Hector of the shining helmet led her in marriage
from Eetion’s house, after giving countless gifts.
As for Achilles, he is pictured as an ideal bridegroom in traditions outside of the Iliad, such as in Sappho (F 105b V), [6] and the Iliad itself envisages an impossible future in which Achilles will marry Briseis in Phthia (19.295–300). He is also a doomed bridegroom, destined never to become a husband. There are indications both in the Iliad itself and in what survives of the Epic Cycle that Achilles’ identity as a perfect but doomed bridegroom was no less important than his identity as a perfect warrior, and moreover it has been argued that this identity as bridegroom is a matching counterpart to his identity as warrior. [7] If this is so, then the glimpse of oaristus that precedes the duel in Iliad 22 is as meaningful for Achilles as it is for Hektor, since it invites thoughts of marriage at the moment when Achilles is about to seal his fate to die an untimely death at war.
τῷ ἴκελον οἷόν ποτ’ ἐνὶ Κνωσῷ εὐρείῃ
Δαίδαλος ἤσκησεν καλλιπλοκάμῳ Ἀριάδνῃ.
ἔνθα μὲν ἠΐθεοι καὶ παρθένοι ἀλφεσίβοιαι
ὀρχεῦντ’ ἀλλήλων ἐπὶ καρπῷ χεῖρας ἔχοντες.
like the one that Daidalos once made for Ariadne in broad Knossos,
where lads and girls who attract bride-gifts of oxen
dance holding each other by the wrists.
This dance is a parallel to an oaristus: most dances and choruses are either male or female, but here the girls and the boys are together, holding hands, and seem to play equal parts. This feature, along with the mention of Ariadne, brings to mind the famous geranos dance. According to Plutarch, when Theseus sailed back from Crete to Athens with the ‘boys and girls’ rescued from the Minotaur, they performed this dance on Delos, after Theseus dedicated an aphrodision he had received from Ariadne. [8] It is a mysterious story: Ariadne has already been abandoned at Naxos, and yet the dedication of the aphrodision suggests that the dance celebrates her love with Theseus. In an attempt to untangle the contradictions of the myth, Calame has suggested that an earlier setting for geranos was in fact not Delos, but Crete itself. [9] This would bring the geranos dance even closer to the dance on the shield, although Calame himself resists the identification of the two proposed by the scholia as worthless on the grounds that the geranos is danced without armor, while the dancers on the shield have daggers. Be that as it may, the two dances, even if they are not the same, are morphologically similar: both have something to do with Crete and Ariadne and both bring together boys and girls. In fact, a scholion on this passage even claims that Theseus’ geranos was the first occasion on which males and females ever danced together:
It is noteworthy that the scholiast uses exactly the same words for boys and girls, ἠΐθεοι καὶ παρθένοι, as Hektor does when he thinks of an oaristus before his confrontation with Achilles. Like the geranos, the dance on the shield of Achilles looks like an erotic and premarital genre. The emphasis is on the physical beauty and ornate attire of the dancers, the dancing floor belongs to Ariadne, the elders stand on the sides and admire the young, and the girls are described as ἀλφεσίβοιαι, ‘attracting bride-gifts of oxen’ (18.593), an epithet that applies to them only when they marry. [10]
μοῖραν ἐν ἀνθρώποισι καὶ ἀθανάτοισι θεοῖσι,
παρθενίους τ’ ὀάρους μειδήματά τ’ ἐξαπάτας τε
τέρψίν τε γλυκερὴν φιλότητά τε μειλιχίην τε.
her share among men and immortal gods:
girlish conversations and smiles and deceits,
and sweet pleasure and honey-sweet affection.
Like oaristus, oaros is associated with deceit, which suggests that it too is first and foremost a self-interested and manipulative way of speaking. Overtly erotic connotations, however, are optional in the case of oaros, and a more persistent connotation associates it more generally with the young and especially with coming to maturity. Pindar uses this term to refer to a song, and in three occurrences out of four in the victory odes it is a song performed {88|89} by young men. [12] In Pythian 1, for example, Phalaris will never be welcomed, in contrast to a victor at the games, by the ‘oaroi of the boys’:
μαλθακὰν παίδων ὀάροισι δέκονται
in gentle companionship with songs [oaroi] of the boys.
Especially interesting is the use of oaros in Pythian 4, where it refers to a challenging speech Jason addresses to Pelias. The subject is the coming of the new generation. After a period of lawless rule by the usurper Pelias, Jason returns to take the place of his exiled father as rightful king. He addresses Pelias with an oaros:
μαλθακᾷ φωνᾷ ποτιστάζων ὄαρον
βάλλετο κρηπῖδα σοφῶν ἐπέων·
letting fall gentle words [oaros] in a soft voice,
laid the foundation of wise speech.
Jason proceeds to say that he lays no claim to Pelias’ wealth, but has come to take his position as king (139–156), his ancestral scepter (σκᾶπτον μόναρχον καὶ θρόνος, ‘sole ruler’s scepter and throne’, 152–153). His demand is based on his descent, which he measures and finds equal to that of Pelias.
Footnotes