Acclaim for
ROBERTO CALASSO’S
The Marriage of Cadmus and Harmony
“Vivid … a serious entertainment meant to leave the reader with some lingering sense that what seemed remote and forgotten is very much a part of his own very different world.”
—The New York Times Book Review
“Calasso draws on a vast array of variant myths and stories and molds them into a single text … which may be one of the most comprehensive and comprehensible modern attempts at re-creating this vanished world. Part narrative, part meditation, this marvelously engrossing work plunges the reader right into the thick of the mythological action.… Calasso’s concise, straightforward style of storytelling untangles the most complicated plots.… A work of power and grace.”
—Christian Science Monitor
“Strange and alluring … gnomic and down to earth, colloquial and abstract, brilliantly focused and digressive … [A] provocative celebration of the Greek myths.”
—Newsday
“The Marriage of Cadmus and Harmony is a masterpiece, in the original sense of that word.… His style skims over the sea of myth with the swiftness and grace of the goddess on her half-shell.… A wonderfully fashioned work of art.”
—John Banville, Irish Times
“Roberto Calasso’s aim in his startling and beautiful book is to make us understand, once more, the necessity of myth, not just as fable and fantasy but as a way of comprehending our own nature.… It will be read and re-read not as treatise but as story: one of the most extraordinary that has ever been written of the origins of Western self-consciousness.”
—Simon Schama
“The Greeks would have recognized Roberto Calasso as one of their own … in the same way as they would have recognized Ovid.… This is the kind of book that comes out only once or twice in one’s lifetime.”
—Joseph Brodsky
“Learned, sensuous, dazzlingly intelligent … The Marriage of Cadmus and Harmony reads like a novel packed with violent, erotic, multifariously beautiful or resonant stories, held together by a lucidly unsentimental authorial voice. There is no neo-classical flummery here, just the workings of an exhilaratingly vigorous intellect and a vivid appreciation of the world of appearances.… Calasso set himself a formidable task.… He has succeeded absolutely.”
—Lucy Hughes-Hallet, The Sunday Times (London)
“An affirmation of what still lives in the heritage of the Greek religion, this book is not a scholarly treatise but a celebration by a visionary working in the tradition of Ovid—not just to tell us what the myths are but to teach us how to think in myths’ terms, how to look up at a sky and see more than astronomical data and intimidating light-years of empty space.”
—Chicago Tribune
“The Marriage of Cadmus and Harmony transcends scholarship, literature and even history.… Mr. Calasso … is a worthy successor of the great mythologists of the past: Homer, Pindar, Euripides, Ovid, Fraser, Robert Graves.”
—Washington Times
ROBERTO CALASSO
The Marriage of Cadmus and Harmony
Roberto Calasso was born in Florence in 1941. He lives in Milan, where he is publisher of Adelphi Edizioni. The Marriage of Cadmus and Harmony, his third book, has been translated into twelve languages.
(photo credit fm1)
FIRST VINTAGE INTERNATIONAL EDITION, FEBRUARY 1994
Copyright © 1993 by Alfred A. Knopf Inc.
All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by Vintage Books, a division of Random House, Inc., New York, and simultaneously in Canada by Random House of Canada Limited, Toronto. Originally published in Italy as Le Nozze di Cadmo e Armonia by Adelphi Edizioni S.p.A., Milan, in 1988.
Copyright © 1988 by Adelphi Edizioni S.p.A. This translation originally published in the United States by Alfred A. Knopf, Inc., New York, in 1993.
Library of Congress Cataloging-in-Publication Data
Calasso, Roberto.
[Nozze di Cadmo e Armonia. English]
The marriage of Cadmus and Harmony / Roberto Calasso; translated from the Italian by Tim Parks. — 1st Vintage International ed.
p. cm.
Previously published: New York: Knopf, 1993.
Includes bibliographical references.
eISBN: 978-0-8041-5134-4
1. Cadmus (Creek mythology)—Fiction. 2. Harmonia (Greek mythology)—Fiction. I. Title.
[PQ4863.A3818N6913 1994]
853’.914—dc20 93-6331
Author photograph © Giorgio Magister
v3.1
These things never happened, but are always
Saloustios, Of Gods and of the World
Contents
Cover
About the Author
Title Page
Copyright
Chapter I
Chapter II
Chapter III
Chapter IV
Chapter V
Chapter VI
Chapter VII
Chapter VIII
Chapter IX
Chapter X
Chapter XI
Chapter XII
Sources
Illustration Credits
I
(photo credit 1.1)
ON A BEACH IN SIDON A BULL WAS APING a lover’s coo. It was Zeus. He shuddered, the way he did when a gadfly got him. But this time it was a sweet shuddering. Eros was lifting a girl onto his back: Europa. Then the white beast dived into the sea, his majestic body rising just far enough above the water to keep the girl from getting wet. There were plenty of witnesses. Triton answered the amorous bellowing with a burst on his conch. Trembling, Europa hung on to one of the bull’s long horns. Boreas spotted them too as they plowed through the waves. Sly and jealous, he whistled when he saw the young breasts his breath had uncovered. High above, Athena blushed at the sight of her father bestraddled by a girl. An Achaean sailor saw them and gasped. Could it be Tethys, eager to see the sky? Or just some Nereid with clothes on her back for a change? Or was it that trickster Poseidon carrying off another wench?
Europa, meantime, could see no end to this crazy sea crossing. But she guessed what would happen to her when they hit land again. And she shouted to wind and water: “Tell my father Europa has been carried off by a bull—my kidnapper, my sailor, my future bedmate, I imagine. Please, give this necklace to my mother.” She was going to call to Boreas too, ask him to lift her up on his wings, the way he’d done with his own bride, Oreithyia, from Athens. But she bit her tongue: why swap one abductor for another?
But how did it all begin? A group of girls were playing by the river, picking flowers. Again and again such scenes were to prove irresistible to the gods. Persephone was carried off “while playing with the girls with the deep cleavages.” She too had been gathering flowers: roses, crocuses, violets, irises, hyacinths, narcissi. But mainly narcissi, “that wondrous, radiant flower, awesome to the sight of gods and mortals alike.” Thalia was playing ball in a field of flowers on the mountainside when she was clutched by an eagle’s claws: Zeus again. Creusa felt Apollo’s hands lock around her wrists as she bent to pick saffron on the slopes of the Athens Acropolis. Europa and her friends were likewise gathering narcissi, hyacinths, violets, roses, thyme.
All of a sudden they find themselves surrounded by a herd of bulls. And one of those bulls is dazzling white, his small horns flashing like jewels. There’s nothing in the least threatening about him. So much so that, though shy at first, Europa now brings her flowers to his white muzzle. The bull whines with pleasure, like a puppy, slumps down on the grass, and offers his little horns to the ga
rlands. The princess makes so bold as to climb, like an Amazon, on his back. At which, the herd moves discreetly away from the dry riverbed and off toward the beach. With a show of nervousness, the bull approaches the water. And then it’s too late: the white beast is already breasting the waves with Europa up on top. She turns to look back, right hand hanging on to a horn, left leaning on the animal’s hide. As they move, the breeze flutters her clothes.
But how did it all begin? Shortly before dawn, asleep in her room on the first floor of the royal palace, Europa had had a strange dream: she was caught between two women; one was Asia, the other was the land facing her, and she had no name. The two women were fighting over her, violently. Each wanted her for herself. Asia looked like a woman from Europa’s own country, whereas the other was a total stranger. And in the end it was the stranger whose powerful hands dragged her off. It was the will of Zeus, she said: Europa was to be an Asian girl carried off by a stranger. The dream was extremely vivid, as though happening in broad daylight, and on waking Europa was afraid and sat silent on her bed for a long time. Then she went out, the way she always did, with her friends. They walked down to the mouth of the river, and Europa wandered about between the roses and the breaking waves, her golden basket in one hand.
A blondish bull appeared in the meadow, a white circle on his forehead. The animal had a sweet scent, which drowned the smell of the flowers. He came up to Europa and licked her neck. She stroked him, at the same time drying the saliva that dribbled freely from the animal’s mouth. The bull knelt down in front of her, offering her his back. And the moment she climbed up, he made a dash for the sea. Terrified, Europa looked back toward the beach, shouted to her friends, one arm waving in the air. Then, already out in the waves, she hung on to a big horn with one hand and held the hem of her tunic up tight against her breast with the other. Behind her, the tunic billowed out in a purple sail.
But how did it all begin? Europa was out walking with her friends, a shining gold basket in her hand. Hephaestus had made it two generations before to give to Libye. And Libye had given it to her daughter Telephassa, who had given it to her daughter Europa. It was the family talisman. On the side, embossed in gold, was a stray heifer apparently swimming in an enamel sea. Two mysterious men were standing on the shore watching. And there was a golden Zeus too, his hand just skimming the bronze-colored animal. In the background, a silver Nile. The heifer was Io, Europe’s great-great-grandmother.
Her story too was one of abduction and metamorphosis. Tormented by a gadfly, she crossed and recrossed sea after sea in a state of constant mental anguish. She even gave her name to the sea that led to Italy. Zeus’s love for her had brought her to madness and disaster. It all began with some strange dreams, when Io was priestess in the Heraion near Argos, the oldest of all shrines and the place that gave the Greeks their way of measuring time; for centuries they numbered their years with reference to the succession of priestesses in the Heraion. Io’s dreams whispered of Zeus’s passionate love for her and told her to go to the fields of Lerna, where her father’s sheep and oxen grazed. From now on she would no longer be a priestess consecrated to the goddess but an animal consecrated to the god, like the ones that wandered freely about the sanctuary grounds. Thus her dreams insisted. And so it was.
But one day the sanctuary grounds would expand to become the whole world, with its boundless seas, which she was to ford one after the other without respite, forever goaded by that relentless gadfly. And the vaster the landscape about her, the more intense her suffering became. By the time she came across another victim, Prometheus, what she wanted most of all was to die, not realizing that she had found another sufferer like herself who could not hope to die. But for Io, as for Prometheus, release from obsession did come at last. One day, after she had crossed to Egypt, Zeus skimmed his hand lightly over her. At which the crazed young cow became a girl again and was united with the god. In memory of that moment she called her son Epaphus, which means “a hand’s light touch.” Epaphus later became king of Egypt, and rumor had it he was also the ox called Apis.
As she walked down toward the flowery meadows near the sea, what Europa was carrying, embossed in precious metals, was her destiny. As in a piece of music, her own tune was the melodic inversion of her ancestor, Io’s. A bull would carry her off from Asia toward the continent that was to be called Europe, just as years before the desperate sea wandering of a young cow who had first grazed in Greek pastures was to end in Egypt with the light touch of Zeus’s hand. And one day the gift of the golden basket would be handed down to Europa. She carried it along, without thinking.
But how did it all begin? If it is history we want, then it is a history of conflict. And the conflict begins with the abduction of a girl, or with the sacrifice of a girl. And the one is continually becoming the other. It was the “merchant wolves,” arriving by ship from Phoenicia, who carried off the tauropárthenos from Argos. Tauropárthenos means “the virgin dedicated to the bull.” Her name was Io. Like a beacon signaling from mountain to mountain, this rape lit the bonfire of hatred between the two continents. From that moment on, Europe and Asia never stopped fighting each other, blow answering blow. Thus the Cretans, “the boars of Ida,” carried off Europa from Asia. They sailed back to their home country in a ship shaped like a bull, offering Europa as a bride to their king, Asterius. One of Europa’s grandchildren was to have the same celestial name. He was a young man with a bull’s head, and he lived in the middle of a labyrinth, awaiting his victims. What they usually called him, though, was the Minotaur.
But how did it all begin? When they arrived in Argos, the Phoenician merchants spent five or six days selling the wares they’d brought from the Red Sea, Egypt, and Assyria. Their ship lay at anchor while on the shore the local people gazed at, touched, and bargained over those objects from so far away. There were still some last things to be sold when a group of women arrived. One of them was Io, the king’s daughter. The bargaining and buying went on. Until all of a sudden, the seafaring merchants leaped on the women. Some of them managed to escape. But Io and a number of others were carried off. This was the abduction the Cretans were revenging when they carried off the Phoenician king’s daughter, Europa. But the Phoenicians have a different version: Io was in fact in love with the captain of the foreign ship. She was already pregnant and ashamed, and so left with the Phoenicians of her own free will.
Out of these events history itself was born: the abduction of Helen, the Trojan War, and, before that, the Argonauts’ expedition and the abduction of Medea—all are links in the same chain. A call to arms goes back and forth between Asia and Europe, and every back and forth is a woman, a woman and a swarm of predators, going from one shore to the other. Nevertheless, Herodotus did note a difference between the two sides in the dispute: “To abduct women,” he writes, “is considered the action of scoundrels, but to worry about abducted women is the reaction of fools. The wise man does not give a moment’s thought to the women who have been abducted, because it is clear that, had they not wanted to be abducted, they would not have been.” The Greeks did not behave wisely: “For one Spartan woman they gathered together a great army and, arriving in Asia, laid low the power of Priam.” Since then, the war between Europe and Asia has never ceased.
They landed on a large island but didn’t stop. Instead they pushed on into the hills. Only when they’d reached Gortyn, under a huge, shady plane tree, did Zeus and Europa make love. Zeus was an eagle. Afterward he disappeared. But left his loved one with a guardian. In the silent heat, Europa heard the clopping of bronze hooves coming from far away. Someone was riding flat out. It must be a machine, or a being from another age, a child of the ash nymphs. It was both: Talos, another bull, the guardian bull, sentry of the island; or alternatively, as some said, a mechanical giant put together by Hephaestus. A long vein stood out on his body, running from neck to hooves—or perhaps feet. And there a bronze nail stopped the gush of blood and sent it bubbling back inside. That nail was the
secret of the creature’s life, and likewise of the art of casting. Talos would gallop about and hurl stones all over the place: at nothing mostly, or at approaching strangers. Back in the Palace of Sidon, Europa had been used to waking to the sound of friendly voices, the companions she went down to the sea with; here she woke to silence, and in the depth of that silence a distant sound, which would gradually become deafening. But she saw no one. She knew that Talos went on running up and down the coasts of the large island: Crete, Europe.
Io, Telephassa, Europa, Argiope, Pasiphaë, Ariadne, Phaedra: the names evoke a broad, pure, shining face that lights things up at a distance, that lights up all of us, like the moon. “Huge, pale figures, tremendous, lonely, dark and desolate, fatal, mysterious lovers condemned to titanic infamies. What will become of you? What will your destiny be? Where can you hide your fearful passions? What terrors, what compassion you inspire, what immense and awesome sadness you arouse in those mortals called to contemplate so much shame and horror, so many crimes, such great misfortune.” So said Gustave Moreau.
Diodorus Siculus: “They also say that the honors given to the gods and the sacrifices and rites of the mysteries originally came down to other men from Crete, and in making this claim they offer what they believe is an extremely strong argument. The initiation rite that the Athenians celebrate in Eleusis, the most illustrious, one might say, of all rites, and again the Samothracians’ rite and the rite begun by Orpheus in Thrace among the Cicones, all these rites are passed on from one initiate to another in secret. But in Cnossos, Crete, it has always been the custom to practice such initiation rites in broad daylight and to let everybody know about them. What is considered unnameable among other peoples is available for all who want to hear in Crete.”
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