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 6. Crete and the Poetics of Renewal
ἱέμενον Τροίηνδε, παραπλάγξασα Μαλειῶν·
στῆσε δ’ ἐν Ἀμνισῷ, ὅθι τε σπέος Εἰλειθυίης,
ἐν λιμέσιν χαλεποῖσι, μόγις δ’ ὑπάλυξεν ἀέλλας.
though he wished to go to Troy, and drove him off course past Malea.
He put in at Amnisos, where there is a cave of Eileithyia,
in a difficult harbor, and he barely escaped the stormwinds.
τὴν τότε δὴ τόκος εἷλε, μενοίνησεν δὲ τεκέσθαι. {96|97}
ἀμφὶ δὲ φοίνικι βάλε πήχεε, γοῦνα δ’ ἔρεισε
λειμῶνι μαλακῷ, μείδησε δὲ γαῖ’ ὑπένερθεν·
ἐκ δ’ ἔθορε πρὸ φόως δέ, θεαὶ δ’ ὀλόλυξαν ἅπασαι.
then labor seized her [Leto], and she desired to give birth.
She threw her arms around a palm tree, and planted her knees
on the soft meadow and the earth beneath her smiled,
and [the child] sprung forth into the light, and all the goddesses cried out.
οὔτ’ ἄνδρ’ οὔτε γυναῖκα· σέβας μ’ ἔχει εἰσορόωντα.
Δήλῳ δή ποτε τοῖον Ἀπόλλωνος παρὰ βωμῷ
φοίνικος νέον ἔρνος ἀνερχόμενον ἐνόησα.
neither a man nor a woman, and wonder takes hold of me as I look on.
Once on Delos I saw a young palm sapling like this shooting up by the altar of Apollo.
It has been observed that the poem’s botany is imprecise here, as young palms are not slender but squat, and that this could not be the same palm that Leto used for support, since it would have aged and grown by the time of Odysseus’ visit. [15] There is no reason, however, to adopt such a positivistic way of looking at the myth. The fact is that the mythology of Delos demands that it have a palm, and a Delian palm, young or old, can always be the tree under which Apollo was born. Like the indestructible olive tree at the Erechtheum, the Delian palm was still there and apparently a tourist attraction when Cicero visited the island (De legibus 1.1). Although Apollo never appears in the Odyssey {97|98} in person, his presence is felt with Odysseus’ return. It is following Apollo’s calendar and with Apollo’s weapon that Odysseus regains his home, and it can hardly be an accident that a radiant vision of Delos marks the beginning of this process on Skheria. It seems that the Odyssey is tapping into old religious and mythic associations that link Delos and its palm and altar of Apollo with return and renewal. Theseus’ return from Crete, which I have had occasion to mention above, is also punctuated by a visit to Delos and a dance around the altar, and it too has to do with the end of a dark period and a new beginning, coinciding with the rise of a new generation. Moreover, similar imagery is associated with female coming of age. Sourvinou-Inwood has argued that in Attic iconography, especially of the fifth century, “altar and palm tree” is an established sign that points to “this important iconographical and semantic category: altar/sanctuary/realm of Artemis in her persona as overseer of unmarried girls and of their preparation for marriage and transition to womanhood through marriage.” [16] Altars and palms appear on vases in scenes of erotic pursuit and abduction which Sourvinou-Inwood interprets as pertaining to Artemis in her role as the protector of parthenoi as they transition into marriage and womanhood, a variation on a prenuptial theme “girls abducted from sanctuaries or choruses of Artemis.” [17] Moreover, such scenes appear on vases otherwise associated with female maturation and marriage, such as krateriskoi from Artemis’ sanctuaries at Brauron and Mounikhia and alabastra, which were used for storing perfumes and therefore associated with the world of women.
παῖδες Ἐλευσινίων πόλεμον καὶ φύλοπιν αἰνὴν
αἰὲν ἐν ἀλλήλοισι συνάξουσ’ ἤματα πάντα.
the sons of the Eleusinians will always join war
and dreadful battle with one another, forever.
The mock battles in question are probably what is known from other sources as balletus, a ritual battle that involved stone throwing and was part of the Eleusinian games. [34] Since it is established to compensate for the fate of baby Demophoon, who fails to grow up, the battle probably has to do with the growing of a new generation, especially since the combatants are παῖδες, ‘youths’. [35] There are other examples of mock battles as the activity of the rising generation, the most famous perhaps being the battles of Spartan youths at Platanistas. [36]
εἴα ἵστασθαι, χαλεπὸς δέ τις ὤρορε δαίμων.
and a man could not even stand on earth. Some harsh divinity roused it. {107|108}
The cave of Eileithyia points to birth and life but does not offer decisive salvation within the framework of the Cretan tale, which ends in a pointedly open-ended way, with Odysseus and his companions embarking to continue their journey:
Footnotes