Schwabe Verlagsgruppe AG

Alcaeus fr. 42: Human Perception and Divine Workings

Author(s): Loukas Papadimitropoulos
Source: Museum Helveticum, Vol. 73, No. 1 (Juni 2016), pp. 11-17
Published by: Schwabe Verlagsgruppe AG
Stable URL: https://www.jstor.org/stable/44744191
Accessed: 19-06-2020 00:33 UTC

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 Alcaeus fr. 42: Human Perception and Divine Workings
Loukas Papadimitropoulos, Livadia

Abstract: In Alcaeus fr. 42 the two opposed female characters, Helen and Thetis, repre-
sent a significant antithesis between the way that reality is perceived by mortals and the
actual modus operandi of the gods and, in particular, Zeus. It is in his person that the op-
positions prevailing in this poem ultimately converge through the implicit connections
that Alcaeus establishes between seeminelv different mvtholoeical realities via an elab-

orate nexus of verbal repetitions and allusions. This convergence also tends to the ethi-
cal exoneration of Helen, thus aligning Alcaeus to Stesichorus and Sappho, and possibly
reflects the poet's own experience from his contemporary political reality.

coç Xóyoç, kcxkcov a[xoç, 7QÀ,ev' epycov

neppápooi Kal rcaiafi cpíXoia' £7ct1À,0ev
£K G£0£V TtÍKpOV, 7t[í)pl S' Û)À,£G£ ZzVÇ
4 "Riov ïpav

o') xeaúxav AiaKÍ8ai[ç ayauoç

mvxaç èç yápov |i(XK[apaç mÀiooaiç
âyex' £K Nrļ[p]Tļoq eXœv [p£À,á0pcov
8 mp0evov aßpav

éç Sópov Xeppcovoç- £À,[i)ae 8' ayvaç

Çcapa mp0evco- cpiXó[xaç 8' e'0aXe
nri^Eoç Kal NīļpE'iScov àpíax[aç.
12 èç 8' evíauxov

mí8a yévvax' aipi0£cov [cpépiaxov,

öXßiov ^áv0av £À,áiT1[pa kgjXcov
oi 8' arccoXovx' àpxp' 'EfXévai Opúyeç te
16 Kal kÓXiç auxcov.1

It has long been acknowledged by modern scholarship that this fragment of Al-
caeus, which constitutes in all probability a complete poem, despite the fact that
it functions through an antithesis between the personages of Helen and Thetis,
in tact implies the contiguity ot opposites through the decisive contribution ot
/venules, mens son, io me aesiruciion oi iroy, wmcn was anegeaiy orougni
about by the fickle Helen.2 What has not been pointed out so far is that the

1 The text is that of D.L. Page from his Lyrica Graeca Selecta (Oxford 1968).
2 See D. Page, Sappho and Alcaeus (Oxford 1955) 280, G.M. Kirkwood, Early Greek Mon
(Ithaca 1974) 89, A. P. Burnett, Three Archaic Poets. Archilochus, Alcaeus , Sappho

Museum Helveticum 73 (2016) 11-17

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12 Loukas Papadimitropoulos

opposed female characters represent a much m

tween the way that reality is perceived by morta
andi of the gods and, in particular, Zeus. It is in
prevailing in this poem ultimately converge thro
that Alcaeus establishes between seemingly differ
an elaborate nexus of verbal repetitions and al
tends to the ethical exoneration of Helen, thus al
and Sappho.
In order to demonstrate the above points, we must first explore the exact na-
ture of the antithesis between Helen and Thetis. Gomme has objected that The-
tis was obviously not a good wife, since she abandoned Peleus after the birth of
Achilles in order to return to her father and sisters; Penelope would have cer-
tainly provided a much better counter-example to Helen.3 However, it must be
noted that it is not the overall qualities of the two women as spouses that are here
contrasted, but only one particular aspect, their marital fidelity. The fact that
Thetis is twice referred to as a virgin (8 and 10) stresses by implication that Helen
did not possess that quality when she was led to Troy by Paris and, thus, serves
to underline her infidelity towards her first husband.4 To this end, the mention
that Peleus received his bride directly from her father's house (7) emphasizes the
legitimacy of their union as opposed to that between Helen and the younger son
of Priam. Presumably, one of the reasons that Peleus is called "illustrious" (5),
if Page's supplement is correct,5 is that his spouse was faithful to him and did not
disgrace his marital bed. On the other hand, if we bear the above observations
in mind, Helen's "bad deeds" (1) refer exclusively to her adultery. Thus, the pre-
cise point of contrast between the two women lies on their marital fidelity; Hel-
en's behavior transgresses the social norms, while that of Thetis does not.
However, Alcaeus associates these two antithetical paradigms in two ways.
Firstly, the phrase mìoi epidoto' ("beloved children", 2), which is used to refer to
Priam's progeny as the victims of Helen's bad deeds, is echoed by the noun
(piÀmaç ("love", 10) and the subsequent application of the word mî8a (13), when
the product of Peleus' and Thetis' love, i.e. Achilles, is mentioned. Therefore, an
implicit connection is established by the poet between the children of the Trojan
king, who suffered from Helen's vile deeds, and the son of Peleus and Thetis.
And it should be remembered not only that Achilles slew Hector, who was the

bridge MA 1983) 194-198, S. Scully, "The Fate of Troy", in M.M. Winkler (ed.), Troy. From
Homer's Iliad to Hollywood Epic (Oxford 2007) 125 and R. Blondell, "Refractions of Homer's
Helen in Archaic Lyric", AJPh 131 (2010) 359.
3 A.W. Gomme, "Interpretations of Some Poems of Alkaios and Sappho", J HS 77 (1957) 258.
Cf. D.A. Campbell, Greek Lyric Poetry (New York 1967) 292 and G.M. Kirkwood, loc. cit. (n.
2 above) 90.
4 Cf. G.M. Kirkwood, loc. cit. (n. 2 above) 89.
5 On the other hand, J.H. Barkhuizen, "Alcaeus 42 LP, 5", Mnemosyne 36 (1983) 151-152 pro-
poses ctKoiTiv instead. The other reason of Peleus' illustriousness was of course that all the gods
attended his wedding.

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 Alcaeusfr. 42 13

bravest of Priam's sons

defender of Troy, but a
other son of the Trojan
will be better understood if we take into consideration the second link between
the two contrasting mythological narratives, which concerns Zeus. Immediately
after the mention of the negative consequences of Helen's adultery on Priam and
his children it is Zeus who is cited by the poet as the ultimate author of the de-
struction of Troy (3-4). And Alcaeus subsequently reminds us that Peleus had
invited all the gods to his wedding (6), including of course Zeus. Thus, it is the
supreme god himself who establishes an additional - and more meaningful -
connection between Helen, Thetis and Achilles. All these mythological charac-
ters are ultimately mere instruments in Zeus' plans.
We might not be far off the mark if we surmise that the precise purpose of
the plans of Zeus, who implicitly connects the two parts of the antithesis that Al-
caeus has established, was the consolidation of his power. This much can be in-
ferred from the characterization of Thetis as "the best of Nereus' daughters"
(NrjpeiScov àpíaxaç, 11). The application of the adjective àpíoxaç to describe
Thetis, preceded as it is by a partitive genitive which further stresses her value,
would appear rather problematic if it was meant to allude to her virginity, which
has already been emphasized adequately, or to her beauty. In all probability, it
is a subtle reminder that her power constituted a threat to Zeus, who, in the past,
had wanted to appropriate her, because it was prophesied that her offspring
would surpass his begetter; the fact that the adjective àpíoxaç corresponds in
sense and in metrical position with the one used to refer to Achilles two lines
later ((pepioxov, 13), as well as the preceding qualification of Achilles' characteri-
zation with another partitive genitive (ccipiGecov, 13), which subtly denotes the
neutralization of the danger that Zeus confronted, since Thetis was married to
a mortal, serves to reinforce the above argument. We should also take into con-
sideration that the mythological tradition connected the wedding of Thetis and
Peleus with the very beginning of the Trojan War, i.e. the contest of beauty be-
tween the three goddesses promoted by Eris, all of whom were present at the
wedding feast. The two mythological narratives are associated by fr. 1 of the
Cypriaf where the stated purpose of Zeus is to reduce the human population.
The Iliad scholia offer the additional information that Gaia makes that appeal
to Zeus because she is burdened not only by the number of mortals, but also by
their impiety.7 Thus, both the marriage of Peleus and Thetis and the Trojan War
are in the interest of Zeus. Alcaeus' audience, familiar as it was with mythology,
needed only a mere hint or allusion to establish the connection between these
two events. And that connection is of course reinforced by the description of
Achilles as a "driver of horses" (e^dtxqpa rccotaov, 14), an image with an agonistic

6 As R. Blondell, loc. cit. (n. 2 above) 352 reminds us.

7 See T. Gantz, Early Greek Myth (Baltimore 1993) 567.

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14 Loukas Papadimitropoulos

context which almost certainly alludes to his par

if we bear in mind that this war is mentioned imm
But if the ultimate purpose of Alcaeus' poem is
the antithesis between the unfaithful Helen and
such strong terms (ou teccútccv, 5) and why does
of the poem, thus creating a ring composition? T
provided by the very first phrase of the fragmen
for coç Àóyoç (1) from modern commentators lea
meaning that the Lesbian poet intends to impart
mon talk" and/or "tradition".8 Alcaeus emphaticall
ing what is commonly believed about the case of
der to indirectly subvert this belief. The way that
war is imparted is, in this regard, of major signif
caeus addresses Helen, he does not make her the su
he uses a subjective genitive (ëpyœv, 1) and he imp
Zeus undertakes in the destruction of Troy (œÀ,e
(7QXev' 1) in an elaborate word play that remin
(èXivaç ëA,av8poç èX,é-/7CToX.iç, 689-70). Therefo
as a mere instrument in the plan of Zeus and her
reduced. The only problem that presents itself is
sider the second sentence of the poem (rcúpi 8' &
subordinate in sense from coç Xóyoq or not. Muc
that the particle 8' is conjunctive or antithetical.
tentionally creates this ambivalence with his phr
differentiates himself from the mythical tradition
as well hint that this tradition partially encompa
view. Helen and her part in the Trojan War are t
poem. But now the poet not only has alluded by t
cal narrative concerning Thetis and Achilles and b
that concerning Helen at the contiguity of opposit
verb (cf. (oXeoe, 3 to ànco^ovi', 15), suggesting thu
with Zeus. In this sense, it is not a coincidence tha
to Priam and his children, but to Troy and its in
content of the second sentence of the first stanza
connection with Zeus, at the same time broad
quences paid for the fulfillment of his plans, wh
was not just the king and his kin, but an entire cit

8 See D.A. Campbell, loc. cit. (n. 3 above) 292 and A.D. Sk
1981) 256. Cf. C.M. Bowra, Greek Lyric Poetry (Oxford
Thetis and Helen", Hermes 114 (1986) 260.
9 That is why I am not inclined to accept E. Hall's reading o
Into Phrygians? Alcaeus 42.15", ZPE 73 (1988) 15-18, w
KaKiaxa instead of Opúyeç; the emphasis must be given, I

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 Alcaeusfr. 42 15

the phrase àpcp' 'EXivai

"in the name of Helen".
tial claim is not merely
meaning which is almos
What Alcaeus here sug
is often regulated throu
norms and behaviors, in
their plans. Not only w
necessary for the produ
at a steep price, as it is
of Achilles' valor (14-16)
gard on the part of the
bly mixed with "bad". O
judgments on antithetic
proven unsustainable.
Helen can ultimately be
adjectives used to refer
might well serve as poin
On the one hand, Helen
öAßiov might be taken
despite the fact that it i
the hero resides in the U
in general was not happy
and created a special aft
lect group of heroes to
preserved by Pausanias,
les in the Isles of the B
caeus might allude to th
adjective oAßiov, which
death at the Trojan batt
tion, but also by the re

10 As R. Blondell, loc. cit. (n

Thetis' union is also stressed
Cheiron (9), instead of that
Homer as "the most just of t
ing Achilles, Asclepius and
1 1 Cf. W.H. Race, "Sappho,
in Lesbian Lyric", CJ 85 (19
its tragic seriousness.
12 I follow A. P. Burnett, lo
longs to both the hero and
endorsed by R. Blondell (loc
horse Xanthos.

13 See T. Gantz, loc. cit. (n. 7 above) 135.

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16 Loukas Papadimitropoulos

be associated with the previous mention of the

The reference to Achilles' semi-divinity can, fur
cation that he too, like Helen, was part of Zeus'
It goes without saying that, if the opposition
only to be abolished, then Helen is ethically exo
a means for Zeus to carry out his plan. Page was
ment with Stesichorus;14 only I think it is mor
than to his previous Abuse of Helen. Both fragm
in their different ways the standard mythologic
cant word À,óyoç; only Alcaeus' technique is mu
than that of Stesichorus. Furthermore, his conc
for the Trojan War is somewhat analogous to th
Sappho (fr. 16), in that he avoids blaming her; ev
logical version which he subsequently intends to
using any negative adjective to characterize her
about her deeds.
Finally, I would maintain that this fragment is essentially one of Alcaeus'
most profoundly political poems, relevant as it might be considered to a large ex-
tent to his everyday political reality;15 being a member of an hetaireia and being
actively involved in the political struggles of his contemporary Lesbos he must
have realized that oftentimes "good" leads to "bad" and vice versa, that antitheti-
cal states and situations cannot be sharply distinguished and can be confounded,
that nonetheless these simplistic distinctions persist in public opinion, despite
the fact that there are always hints which suggest their arbitrariness.
Relevant, in this sense, is the case of Pittacus: Alcaeus was once co-conspira-
tor with the man who was to be named one of the seven sages of antiquity against
the tyrant Myrsilus, only to be betrayed by him later on;16 the former friend and
ally eventually became the target of a considerable portion of Alcaeus' poetic
invective, despite the fact that many sources testify that Pittacus' subsequent rule
was beneficial to the state of Mytilene. Can this persistence on the part of the
poet be attributed to personal spite fomented by the initial sense of betrayal and
perhaps by his deluded hopes of seizing the power of the state himself or to po-
litical insight aiming solely at the well-being of the people? Even more important
is the fact that one of the main reasons that the power of Mytilene was conceded
by its people to Pittacus was their fear of Alcaeus' faction. The irony of the situ-
ation is patent: the man who actively sought what he considered to be the good

14 D. Page, loc. cit. (n. 2 above) 280-281.

15 On Alcaeus' public life and its reflection in his poetry see H. Martin , Alcaeus (New York 1972)
15-37. See also A. P. Burnett, loc. cit. (n. 2 above) 107-181 and D. Yatromanolakis, "Alcaeus
and Sappho", in F. Budelman (ed.), The Cambridge Companion to Greek Lyric (Cambridge
2009) 206-211.
16 Pittacus became associated with Myrsilus in power after making a marriage alliance with the
aristocratic house of Penthilus.

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 Alcaeus fr. 42 17

of the damos was deeme

(fr. 129). But perhaps th
make major concessions f
he and his faction receiv
litical enterprises, allowin
bos (fr. 69). Throughou
mixed with "good", even
lus - might well serve as

Correspondence:
Loukas Papadimitropoulo
N. Andreadaki 14
GR-32100 Livadia
loukas.papadimitropoulos@yahoo.com

17 1 would like to thank the editors of MH for their helpful suggestions.

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