Mystery, in Crete, was made plain to all, no one tried to hide it. The “unnameable things” that abounded in Attica were laid open to everybody. But there was no sense of challenge about this. Crete, with its hundred cities and not a single defensive wall around them, looked like a huge plaything. Only a tidal wave, or dark raiders striking from the sea, could have been its doom, not the recklessness of the sort of civilization that seeks self-knowledge, and in so doing destroys itself.
A few thousand years later, a famous morphologist of civilization was to be baffled by Crete, for, having studied the whole multitude of Cretan remains, he could find not a single indication of any historical, political, or even biographical consciousness, such as had always dominated Egyptian thought. For a man who hungered after the signs of great civilizations, Crete had something childish about it, something elusive, something below par.
The Linear B Tablets include many names of gods: about half were to go on living as Olympian gods, the other half were lost. We know nothing about them: they are mere names that appear alongside those of Zeus, Poseidon, Hera. As if the Olympian gods had once been far more numerous and now carried around with them the shadows of their lost brothers and sisters.
Crete: pots of grain numbered in the storehouses, seals showing beasts half one thing half another, delicate frescoes, ivory knots, lists of offerings, honey, inscribed poppy pods, ox skulls, double-edged axes. Columns of cypress wood, palaces with stairways and shafts of light, nameless tombstones. Tiny idols heaped in piles, not statues, not doubles made of stone. Nothing of the verticality of the divine, no sign of the hallucinatory presence of upright stone.
Stories never live alone: they are the branches of a family that we have to trace back, and forward. In the rapture of her sea crossing on the back of a white bull, Europa conceals within herself, like still undiscovered powers, the destinies of her love-crazed granddaughters Phaedra and Ariadne, who would one day hang themselves out of shame and desperation. And down among the celestial roots of this story tree we come across the wanderings of the mad heifer, the ancestral Io, who again holds within herself the image of another mad heifer, mother of Phaedra and Ariadne: Pasiphaë. And she too hanged herself in shame.
From a rock, Ariadne watches Phaedra on a swing. Lost in thought, she waits. Both are young princesses, in Cnossos. Daughters of Minos and Pasiphaë. They have lots of brothers and sisters. And a half brother too, Asterius. Asterius has a bull’s head, because his father was the big white bull Pasiphaë fell in love with. Asterius has been shut up in a building designed by an Athenian inventor who is on the run because, so rumor has it, he killed somebody. That covered building is strange indeed. The princesses were already familiar with the labyrinth, but in the past it had been out in the open for everybody to see, a broad space for the dance. They didn’t realize—nobody would have told them—that, when their father, Minos, set out to conquer the continent and the Cretans began to have too many dealings with the Greeks, the moment had come for them to cover up their secrets, and ultimately to be ashamed of them. Daedalus, the Athenian, designs a building in Crete that hides behind stone walls both mystery (the pattern of the dance) and shame (Asterius, the Minotaur). From that day on, the mystery is also the thing you are ashamed of.
This development depended, in turn, on the developing history of metamorphoses. Forms would become manifest insofar as they underwent metamorphosis. Each form had its own perfect sharpness, so long as it retained that form, but everybody knew that a moment later it might become something else. At the time of Europa and Io, the veil of epiphany was still operating. The bellowing bull, the crazed cow, would once again appear as god and girl. But as generation followed generation, metamorphosis became more difficult, and the fatal nature of reality, its irreversibility, all the more evident. Only a generation after Europa, Pasiphaë would have to crouch inside a wooden cow, a big toy on wheels, and have herself pushed as far as the meadows of Gortyn, where the bull she desired was grazing. And from their union was born a creature who would never be able to go back to being either beast or man. He would be a hybrid, forever. And just as the craftsman Daedalus had had to invent an inanimate object to allow the mother to love the bull, so now he had to invent another object, the labyrinth, to conceal the son. The Minotaur would be slain, Pasiphaë was to die in captivity and shame. Humans could no longer gain access to other forms and return from them. The veil of epiphany was rent and tattered now. If the power of metamorphosis was to be maintained, there was no alternative but to invent objects and generate monsters.
“Since it is the custom in Crete for the women to take part in the games, Ariadne was there with the others, and she was amazed when she saw Theseus, and admired his skill as, one after another, he overcame all adversaries.” While Ariadne gazes at the Stranger, Crete crumbles. Before being betrayed herself, Ariadne chose to betray her island.
Dionysus courts her, then accuses her, then kills her, then rediscovers her, then transforms her into the crown of the northern sky, Corona Borealis. But this is a different Dionysus from the one Ariadne knew in her childhood. He wasn’t even called Dionysus then. He was the Bull: the total Bull, who descends from the heavens like Zeus, rises from the sea like Poseidon, grazes under the plane trees of Gortyn. He encompassed all things: he was in the honey and blood offered to the gods, he was in the slender horns at each side of the altars, in the ox skulls painted along the walls of the palace. Youths with armbands, loincloths, and wavy hair gripped him by the horns at a run. The Bull had always followed Ariadne about, right from the start, always accompanied her, always kept his eye on her.
Now the Bull steps aside and the Athenian hero moves in. They would appear to be enemies, but they swap places very smoothly. The scene is already set. No more monster business now, but sordid affairs. That is Ariadne’s destiny. No more the childish, the regal palace, but the porticoes and public squares where tough, clever men take the first opportunity to stab each other in the back, where the word, which in Crete had served to take inventories of goods in warehouses, would become sovereign, vibrant, revered. Ariadne would not live to see all this: she stopped halfway, caught on another island, rocky and inhospitable. She closed her eyes, so as never to have to see again either the god or the man who of their natures could do nothing more than appear and disappear.
Theseus transformed the divine habit of carrying off young maidens into a human pastime. Every adventure he sets out on he carries off a woman, whether it be the Cretan Ariadne when he goes south or the Amazon Antiope when he heads north. There was always something playful and even reckless about these adventures. And some of them hardly finished in noble fashion, for no sooner had Theseus conquered a trophy than he was in a hurry to be rid of it, so as to go after another. At fifty he was still at it, carrying off a certain Helen who danced in the shrine of Artemis Orthia. On that occasion he was assisted by the only being to whom he would be faithful to the end: his friend Peirithous.
They first met as enemies and were supposed to fight to the death. But, when they saw each other, just as they were about to fight their duel, each found he was admiring his adversary. Each was attracted to the beauty and strength of the other. From that moment they became companions in adventure. And Theseus was never so happy as when he was with Peirithous, inventing irreverent adventures, going through with them, talking about them afterward. They knew the world, these two, they had seen it all, had killed mythical beasts, carried off princesses. Nothing could separate them, least of all a woman.
One day Peirithous felt lonely; his wife, Hippodamia, had recently died. He thought he’d go and see his friend Theseus in Athens. And the widower found another widower: Phaedra had hung herself. As so often before, they talked and talked, and pretty soon they fell to talking about new adventures. There was a girl in Sparta, Peirithous said, ten years old and more beautiful than any woman. Her name was Helen. Why not carry her off? When they had captured her, they shook a die to see who would have her. Theseus won.<
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And one day, together as always, during one of those coded conversations that were their greatest pleasure in life (neither the women nor the adventures in themselves could offer so much in the end)—one day it occurred to them that, having roamed more or less the whole world, the only thing left for them to do was to violate the underworld. They had carried off earthly princesses, so why not carry off divine queens? They’d managed to trick living kings, so why couldn’t they do the same in the kingdom of the dead? Thus Peirithous and Theseus went down to Hades to carry off its queen.
Theseus is he who gets up and goes. Not even Helen can hold him, happy prisoner as she is. And, while fears of reprisals are mounting and the abductor’s friends are closing ranks to protect her, Peirithous comes up with his idea: head off even farther down the Peloponnese, as far as Cape Taenarum, where you can climb down into Hades, and carry off the most powerful of queens. And off Theseus goes. This time it isn’t a question of abducting a twelve-year-old (or had she been ten?), dancing in the shrine of Artemis, nor is it a matter of learning the dances of the labyrinth from a ravishing girl. This time the project is tougher: “these two tried to snatch Dis’s bride from her marriage bed.”
The punishment reserved for Theseus by the king of the underworld is a subtle one, answering mockery with mockery. Hades listens to the two friends politely. He asks how he can help them, he invites them to make themselves comfortable on two golden chairs set into the rock. But an invisible bond glues the friends to those chairs. They can’t get up. Peirithous, “he who wanders in circles,” and Theseus, the abductor, must forget their very selves, sitting still in the kingdom of the dead. When Heracles saves Theseus, dragging him from the chair by force, he leaves strips of flesh behind. Which is why, they say, Athenian boys have such small, lean buttocks.
All around Athens, before it was called Athens, the country was full of brigands and wild beasts who attacked and tormented travelers. One day a herald arrived from the sea with the news that a young man had made the rounds of all the roads and slain all the troublemakers: Sinis and Phaea, Sciron, Cercyon, and Procrustes, to name but a few. But what was this young man like? people asked. He had a sword with an ivory hilt slung over one shoulder and two shining javelins, one in each hand. He wore a Spartan cap over tawny curls and a purple jersey on his chest under a woolen cloak from Thessaly. A wicked light flashed in his eyes.
Theseus wore his hair short in front—so that nobody could grab it in a fight, he said—and long and plaited behind. The curls that fell on his forehead he had dedicated to Apollo in Delphi. When first he appeared in the vicinity of Athens, he was sixteen years old and wore a long Ionian tunic. His hair had been twisted into a handsome plait behind. The laborers working on the temple of Delphinian Apollo—they only had the roof to go—jeered and shouted jokes. What on earth was a marriageable young girl doing wandering about beneath the Acropolis on her own? Theseus didn’t answer them. He went up to a cart with a bull yoked to it, freed the bull, and tossed it in the air. They saw it fly up above their still unfinished roof. It was the first time Theseus had had dealings with a bull.
But how many more were to cross his path! The Minotaur in Crete, into whose boy’s body he would bury his sword. The bull he would capture at Marathon to the joy of the Athenians. Then a bull would rise from the sea to kill his son, Hippolytus. And on many other and more obscure occasions Theseus would find himself up against the bull. So close was his relationship with the beast that he put a bull’s head on the first coins he minted in his city, the sacred Athens. It was Theseus who chose the name.
There is something blasphemous about Theseus, an indomitable insolence that looks forward to Alcibiades. When he and his friend Peirithous embark on their trip to the underworld to snatch back Persephone, an adventure that smacks of parody, one thinks of Alcibiades, whose critics accused him of celebrating religious mysteries with prostitutes and vagabonds. And just as Alcibiades would one day with great solemnity lead a procession along the Sacred Way toward Eleusis, so Theseus presided over the city’s most secret rites. He played with those secrets because he knew them so well, because they had belonged to him from birth.
Theseus has no particular reason for deserting Ariadne. There wasn’t another woman. It was just that she slipped his mind for a moment, a moment that might be any moment. And when Theseus gets distracted, someone is lost. Ariadne had helped the Stranger kill her half brother with the bull’s head, she had left the family palace, she was ready to wash Theseus’s feet in Athens, like a slave. But Theseus has forgotten, he is already thinking of something else. And the place where Ariadne gets left behind becomes, once and for all, the landscape of abandoned love. Theseus isn’t cruel because he leaves Ariadne. If that were the case, his cruelty would be no different from that of so many others. No, Theseus is cruel because he leaves Ariadne on the island of Naxos. Not the home where she was born, and certainly not the home she hoped to be welcomed in, nor even some country in between. Just a beach lashed by thundering waves, an abstract place where only the seaweed moves. It is the island where no one lives, the place where obsession turns round and round on itself, with no way out. A constant flaunting of death. This is a place of the soul.
Ariadne has been left behind. The clothes fall from her body one by one. It is a scene of mourning. Awake now, but still as the statue of a Bacchant, Minos’s daughter gazes into the distance toward the eternal absentee, for Theseus’s swift ship has already disappeared over the horizon, and her mind rises and falls with the waves. The thin ribbon that held her blond hair slips off, her cloak falls away leaving her chest bare, her breasts are no longer supported by their sash. One after another, the clothes in which she left Crete forever fall and scatter at her feet. The waves toy with them in the sand and seaweed.
As Ariadne gazed naked into the empty distance and thought how much she would like to be in Athens, as Theseus’s bride, and to prepare his bed for him, though she would never lie in it, and to serve another who would lie in it, and to offer Theseus a bowl of water to wash his hands in after the banquet—as, in short, she was making a mental inventory of all the most minute demonstrations of servility she would have liked to show her vanished lover, a new thought occurred to her: perhaps another woman had had feelings like her own; her dedication and degradation were not unique, as she had at first liked to think. But who was that other woman? The queen, the all-splendid, shameless Pasiphaë, her mother. In the end she too, shut up in her wooden cow, that awkward, clumsy, colored toy on wheels, had agreed to play servant to a mere herdsman. She had bent her neck to let them put her in the yoke, she had whispered words of love to a dumb bull chomping grass. Hidden in the suffocating dark, in the smell of the wood, the herdsman’s pipes got on her nerves, because there was only one sound she wanted to hear: the lowing of that white bull.
Then another thought occurred to Ariadne, a thought that followed from the first: if she, Ariadne, had done nothing more than repeat the passion of her mother, Pasiphaë, if she herself was Pasiphaë, then Theseus was the bull. But Theseus had killed the bull, her half brother, and killed him with her help. So had she been helping Theseus to kill himself? Or were the only people to get killed in this story themselves: Pasiphaë, who hung herself, Ariadne, who was preparing to hang herself, and her sister, Phaedra, who would hang herself some time later. While the bulls and their victors just seem to swap places, over and over, as if for them the process of killing and being killed was as simple an alternation as undressing and getting dressed again. The bull didn’t experience the ultimate perpendicular death of hanging, the being lifted away from this earth.
When the enamel blue prow of the Athenian ship arrived in Crete, when Theseus stopped King Minos from laying his hands, as he always would, on one of the Athenian girls, when during the games Theseus beat the hateful, imposing General Bull, who used to trounce everybody, then Ariadne began to think that this irreverant stranger might be strong enough to break the bull-obsessed circle in which her
family was imprisoned. So she betrayed the divine bull who had dazzled her in a cave, betrayed her brother bull, the Minotaur, betrayed her mother, who had gone mad for a bull, and betrayed her father, who had chosen not to sacrifice the white bull from the sea but to put it out to pasture because it was too beautiful to be killed. At the end of all these betrayals, she found herself on a deserted beach, abandoned by Theseus. But she hadn’t managed to escape the bull.
When Dionysus appeared, sham and seductive, too punctual, too merry, Ariadne sensed that somehow Dionysus and Theseus weren’t rivals at all, but accomplices. Amid the clamor of flutes and tambourines, Dionysus suffocated such thoughts. Ariadne was dazzled by the divine glory the god offered her. And secretly she sneered at Theseus, who had brought that glory on her by his very treachery. She sensed the deviousness of the affair: if Theseus hadn’t broken his word (but he had taken an oath to Athena, she remembered with a start, and Athena scorned marriage), Dionysus wouldn’t have raised her to himself. No point in crying like a peasant girl, when you have a god next to you. But Dionysus doesn’t stay next to anyone. A god is never a constant presence. And off Dionysus went with his noisy followers, to India. Ariadne was alone again.
When the god reappeared, loaded with treasures and slaves, Ariadne observed his triumph and caught the passionate glance Dionysus threw at a young Indian girl, a princess, just one among his many Oriental spoils. Soon Ariadne would find herself crying on a beach again, her hair loose in the wind. With his overwhelming lightness, Dionysus had saved her from what Theseus had done to her, only to repeat the crime himself a short while later, thus making it at once more awful and more splendid. The Indian concubine polluted their bed. Ariadne cried and was constantly obsessed by the fear that Theseus should never come to hear of it! But how ingenuous … Hadn’t she realized yet that Dionysus and Theseus were not really enemies? Those two opposed figures were both manifestations of the same man who went on betraying her, while she went on letting herself be betrayed. “I have grown used to loving the same man forever.” That capacity to love forever was her death sentence, it destroyed any hope of escaping from her obsessive circle, her resplendent crown.
The Marriage of Cadmus and Harmony Page 2
