48 pages 1-hour read

Theogony

Fiction | Poem | Adult

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Background

Historical Context

Hesiod’s poems were composed during the Greek Archaic Period, which scholars generally date between the years of 825 and 480 BCE. Immediately following the chaotic Iron Age (1150-825 BCE), in which warfare and natural disasters caused a marked decrease in population, government, and economy in Greece, the Archaic Period saw the rise of many important Greek cultural institutions. Colonization revitalized the languishing sea trade network. The economy was bolstered by the introduction of coinage in the sixth century BCE, providing a fixed, state-guaranteed material for trade. The Archaic Period also introduced Greece’s distinctive military technology, hoplite warfare, and its earliest forms of philosophy (the Pre-Socratics). Monumental architecture and naturalism in art also emerged during this period.


The most transformative of these Archaic innovations, though, was the development of the polis, or Greek city-state (Athens and Sparta were both poleis). A polis consisted of an independent urban settlement and its surrounding territories. In Hesiod’s time, they were ruled by kings. Each polis was politically autonomous (or self-ruled) and socially homogenous; they were populated, by and large, by locals from the area.


The formation of these city centers gave rise to systems of law and concepts of civil rights. Most importantly, the Greek notion of justice becomes directly tied to the polis. For the Greeks, the only place where justice can exist is the polis, a designated place for supporting (and policing) the community. One can only live a good life by taking active part in the polis and behaving justly, as each individual’s behavior affects the entire community. This powerful sense of egalitarianism and mutual obligation represents a marked departure from the more individualistic worldview of the Bronze and Iron Ages (and literary works set in these earlier periods, like Homer’s Iliad and Odyssey). While old heroes like Achilles prized the pursuit of honor, even at the expense of their community, new heroes prioritized the success of the polis, even at great personal expense.


Hesiod’s works reflect these developments by questioning the age-old concept of “might makes right.” As he tells his brother Perses in Works and Days,


But you, Perses, you listen to Justice
And don’t cultivate Violence. […] There’s a better road around the other way
Leading to what’s right. When it comes down to it
Justice beats out Violence. A fool learns this the hard way (Works and Days, Lines 244-47).


In the Theogony, a few “fools,” Ouranos and Kronos, are forced to take this important lesson to heart. They are replaced by Zeus, an ideal leader of the polis who rules with equanimity and wisdom. The violence of the primitive Greek world—the world of Achilles—is supplanted with order and civilization.


As a time capsule of this transitional period in Greek culture, Hesiod’s works represent an important steppingstone to one of ancient Greece’s most important philosophical questions: Should one prioritize the needs of the individual or the polis? From here on out, the answer is clear: One ought to subject himself to the needs of his community.

Literary Context

In antiquity, the Greeks considered Hesiod to be one of the four canonical early poets of their civilization, the others being Orpheus, Mousaios, and Homer. Orpheus is a famous mythological figure. The bard of the hero of Jason’s crew, the Argonauts, Orpheus had the power to sway nature itself with his song. Mousaios, too, is shrouded in lore: He is briefly mentioned by the historian Herodotus in largely legendary terms. Even Homer is now understood by scholars to refer not to an individual but to a composite speaker, a fabricated poetic persona. Homer’s Iliad and Odyssey were likely not composed by a single person. Rather, they developed over time from a nonliterate oral tradition of poetry before being written down later. Given that Hesiod’s three fellow canonical poets were, in modern terms, “fictional,” it is possible that Hesiod, too, should be understood as a poetic persona rather than a man.


Like Homer, Hesiod (or his creators) composed their poetry orally. Oral recitation and expectation of live performance fundamentally shaped their style. As Stanley Lombardo writes in his Translator’s Preface, the art of ancient oral poetry was not unlike modern improvisational jazz. Live performers “played not by rote but by heart, improvising from their common store of melodies, riffs, and chord changes, developing out of the shared tradition their personal styles and transmitting art from one generation to the next” (Hesiod. Works and Days and Theogony. Translated by Stanley Lombardo. Indianapolis, Indiana, Hackett Publishing Company, Inc., 1993, p. 19).


While Hesiod composed his poetry like Homer—orally, without writing it down—his authorial voice is quite distinct. Homer injects nothing of himself in his epics. The Iliad and the Odyssey are impersonal, firmly rooted in the third person in a distant mythical age. Hesiod, on the other hand, injects “himself” into the text by using the authorial “I.” Despite its mythological subject matter, the Theogony opens with a lengthy prologue detailing the poet’s personal encounter with the Muses on Mount Helikon. Works and Days is even more personal—and practical. As a didactic (or educational) text, Works and Days teaches Hesiod’s readers about agriculture, religion, sea-faring, and more. Hesiod’s literary innovation of a personal, even confessional poetic voice was hugely influential on the western canon, giving rise to introspective genres like lyric poetry and elegiac poetry.

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