As is typical of Greek myth in general, there are conflicting versions of the stories of the primordial deities and the roles they play in the creation. I’ll be basing most of this analysis on Hesiod‘s Theogony, with some references from sources like Homer, Aeschylus, and Aristophanes as well.
I am less interested in presenting an ‘accurate’ account of the creation (What is an ‘accurate account’ of it? It’s myth, not science; and as I said above, there are contradictory versions of it.) than I am in exploring possible symbolic and allegorical meanings in it. This is my interpretation of such meanings, for what that’s worth. I’m no expert in mythography or anthropology, so take what I’m writing with a generous grain of salt.
The narration may unfold with the passing of time, that is, from generation to generation in the family tree of the gods; but this allegory here is not about presenting events in a temporal sense. It’s more about understanding the relationships and contrasts between different states of being. Also, I’m not bringing up every single god and goddess, Titan and Titaness; there are simply too many names to enumerate here, and I’m more interested in the direction the narrative takes, and the symbolism and themes I see in it, than I’d be in going over every single detail found in Hesiod, etc.
II: The Nirvana-Void
Hesiod begins, after the customary invocation of the Muses, with Chaos, which in modern English would be better rendered as the Chasm, a void of formless nothingness, the ground from which everything comes. Note the dialectical relationship between nothing and everything (or being), which Hegel sublated as becoming in his Science of Logic (Hegel, Chapter One, ‘Being,’ pages 82-83).
A comparison with other religious and mystical traditions is useful. The void of nothing/everything in Hinduism is Brahman, a union with which is salvation, or liberation from worldly suffering, to the Hindu. It’s interesting in this context to compare the ancient Greek concept of Chaos with the Hindu creation myth, from the Rig Veda, 10.129; both consider everything to have paradoxically arisen from a void (“nothingness was not, nor existence”), resulting in darkness, “unillumined cosmic water,” then “desire descended on [the One].”
For Buddhists, this nothing/everything is the Dharmakāya (“the body of reality”), the Buddha-nature existing in everything; and the void of liberation from samsāra is nirvana. For Taoists, the dialectical interrelation of yin and yang is the Tao.
To return to ancient Greek traditions, the pre-Socratic philosopher Heraclitus said that “everything flows“; so the basic unifying principle behind everything, those particles of which everything is composed and which can also be regarded as waves–Chaos, Brahman, the Tao, Bion‘s O (the thing-in-itself), or in a sense, even Lacan‘s Real Order, can be symbolized as the waves of an infinite ocean.
Small wonder Homer, in Book XIV of The Iliad, had Hera say that all the gods descended from Oceanus: “I go now to the ends of the generous earth, on a visit/to Okeanos, when the gods have risen, and Tethys our mother/who brought me up kindly in their own house, and cared for me/and took me from Rheia, at that time when Zeus of the wide brows/drove Kronos underneath the earth and the barren water.” (Homer, page 299, lines 200-204) Recall also that the gods are personifications of everything, including abstract concepts, hence polytheism‘s tendency towards pantheism.
Now, this oneness behind everything isn’t all sunshine and rainbows. There is no sentimentality to be found here. Bion’s O, and especially Lacan’s Real, have traumatizing aspects, too. The visionary ego death that Aldous Huxley wrote about in the use of drugs in Heaven and Hell has, as his essay’s title suggests, both blissful and terrifying aspects, depending on one’s physical, or especially mental, health (Huxley, pages 88-91). The ocean in Moby-Dick has both good and bad aspects, too, and Melville warns the pantheists not to ignore the dark side of the infinite seas (‘The Mast-Head,’ 35).
So, pantheism is best qualified with dialectical monism in order to avoid a sentimental oversimplification of the truth. The All should not be so naïvely seen as it is in Wordsworth‘s “Tintern Abbey“; Kubrick‘s vision of Chaos (as I interpret it in my analysis) at the beginning of 2001: A Space Odyssey is much more accurate. This is the tohu wa-bohu of Genesis 1:2, the “waste and void” state of the world when God creates heaven and earth.
III: Darkness, Light, and Desire
In keeping with the darker side of Chaos, it gives birth to Erebus (“darkness”), Tartarus (“hell”), and the goddess Nyx (“night”). This begetting of negativity is comparable to Otto Rank‘s notion of birth trauma, after which the frustrated baby experiences psychological splitting as a defence mechanism against a scary world of suffering it cannot understand.
This splitting will in turn result in the antitheses of those dark deities, namely Aether (“light,” “upper sky”) and Hemera (“day”). According to a passage in Aristophanes‘ comedy, The Birds, Nyx laid an egg in Erebus, giving birth to Eros (“love,” but more accurately rendered “desire”):
“First, Void, and the Night. No glimmer of light pierced Tartarus’ boundless dominions;
Nor Earth nor Air nor Firmament there. Then Night of the ebony pinions
Brought forth in her nest within Erebus’ breast an Egg, by the Whirlwind sired;
From whence was born, as the months rolled on, great Eros, the ever desired,
With wings on his shoulders of scintillant gold, as swift as the storm in his flying,
Who mated with Space in a darkling embrace, in the bosom of Tartarus lying.
‘Twas thus that our breed was engendered, the seed hatched out by this epochal union,
No gods were above us till turbulent Love had effected a cosmic communion.
From mystic espousals, atomic carousals–a vast, cataclysmic commotion–
Arose the Divinities, Heaven’s infinities, Earth, and the billows of Ocean.
So, nothing can be as primeval as we. Our sonship to Eros, moreover,
Is proved by our flight and our constant delight in befriending a passionate lover.”
(Aristophanes, The Birds, starting from about line 690, pages 255-256)
Soon comes Gaea, the earth-mother goddess who gives birth to Ouranos (“heaven”). Mother and son become wife and husband. This incestuous union, seen in light of my analogy of the above-mentioned gods of darkness and light with a baby’s use of psychological splitting, can thus also be seen as analogous with the fulfillment of the infantile Oedipal fantasy.
The point of all my allegorizing is to show how this creation myth can be seen to represent changing psychological states. We go from the peace of mind of the Chasm, that restful embryonic state in the dark womb, what Romain Rolland called–in his correspondence with Freud–the “oceanic feeling” of bliss, to the trauma of entering the physical world–birth.
The dark deities can also be seen to represent the unconscious, with Chaos representing the collective unconscious. The mythographers’ and poets’ narrations can thus be seen as dramatizations of unconscious urges and strivings, feelings that can be traced back to primal, archaic, infantile emotional states.
The splitting into dark vs. light, night vs. day, etc., all these separations indicate a lack, in one half in a realm, of the other, opposite half (as opposed to the original unity in Chaos), a lack (manque à être) that gives rise to desire, as Lacan observed, a desire personified by Eros.
Note how the descendants of Nyx tend to be of dark, gloomy, negative things–not all of them, of course, but most of them, in varying degrees: Moros (“doom”), Thanatos (“death”), Momus (“blame,” “reproach,” “disgrace,” “satire,” and “mockery”), Oizys (“pain,” “misery,” “anxiety,” “grief,” and “depression”), Nemesis (“retribution”), Apate (“deceit,” “fraud”), Geras (“old age”), and Eris (“strife,” “discord”). The rest of Nyx’s offspring are mostly neutral, at best; only Philotes “(“love,” “affection,” “friendship”) is positive.
Eris’ offspring in turn are also generally negative: Ponos (“hardship,” “toil”), Lethe (“forgetfulness,” “oblivion,” “concealment,” “unmindfulness”), Limos (“starvation”), the Algea (“physical and mental pains”), the Hysminai (“battles,” “conflicts,” “combats”), the Machai (“wars”), the Phonoi (“murders”), the Androktasiai (“manslaughters”), the Neikea (“quarrels,” “arguments”), the Pseudea (“lies”), the Amphillogiai (“disputes”), Dysnomia (“lawlessness”), and Atë (“ruin,” “mischief,” “delusion,” “folly”).
IV: Lack and Desire
As we can see, things go from a blissful (or at least relatively blissful) state to a hellish one rather quickly. It’s like the dialectical relationship between opposites that I’ve symbolized in previous posts with the ouroboros: where the serpent’s biting head is one extreme opposite, its bitten tail is the other extreme, and the coiled middle of its body is every intermediate point on a circular continuum. We thus could see the biting head as blissful Chaos, the bitten tail as the hellish existence of most of Nyx’s and Eris’ children, and the coiled middle, going in the direction towards the head, as the other gods’ and Titans’ striving, through desire, to replace the lack and attain happiness once again.
Now, the nature of the desire felt between Gaea and Ouranos in their sexual union is a transgressive desire (i.e., mother/son incest). Such transgressive indulgence in pleasure is what Lacan called jouissance. It’s transgressive in its excess, a kind of ‘surplus-value‘ of pleasure (to borrow a Marxian term), enjoyment for its own sake.
To use my ouroboros symbolism again, this excessive pleasure is the serpent’s head biting its tail, leading to enjoyment’s extreme opposite, the pain of the bitten tail. The offspring of Gaea’s and Ouranos’ thrilling sexual union are the Titans (Oceanus, Coeus, Crius, Hyperion, Iapetus, Theia, Rhea, Themis, Mnemosyne, Phoebe, Tethys, and Cronus), Cyclopes (who will give Zeus his thunderbolt), and Hecatoncheires (“the hundred-handed ones”)…these latter two trios being an ugly bunch, so Ouranos hates all his children and imprisons them in a secret place in Gaea’s body, angering her.
The earth-mother goddess gives her Titan son, Cronus, a flint-sickle knife with which to attack Ouranos, since Cronus is the only Titan willing to get revenge on his wicked father. Cronus uses the knife to castrate his father: he throws the severed genitals into the sea; a foam grows around them in the water, and Aphrodite emerges nude from the foam.
Is there a more vivid representation of Lacanian lack, through the image of castration, giving rise to desire (as symbolized by the birth of Aphrodite), anywhere in myth, art, or literature? In an interesting reversal, instead of the father threatening the Oedipally-minded son with castration, the son does so to the father.
V: From Blessedness to Suffering
My allegorizing of the mythic narrative here, though, isn’t concerned with time sequence. In fact, I see the process of creation here as happening in reverse order to its allegorical meaning–that is, if that meaning is to be understood as a progression from sinful desire to spiritual liberation. We go from the perfect blessedness (as I interpret it) of Brahman-like Chaos to the world of suffering because, as Blake put it, “Eternity is in love with the productions of time.“
In the Greek narrative, we’re moving away from nirvanic bliss and deeper into the suffering of physical life–in ‘reverse order,’ as it were–so it would seem appropriate to have sons castrating fathers instead of vice versa (an Oedipal wish-fulfillment, with castration anxiety projected onto fathers; and Ouranos, lacking a father as a rival, shares a bed with his mother, Gaea, so we have even more Oedipal wish-fulfillment). Thus, we have the Laius complex instead of the Oedipal one. (I explored these ideas in my analysis of Eraserhead.)
With the beauty and desirability of nude Aphrodite emerging from the foam around Ouranos’ severed genitals, we must juxtapose a dialectical opposite: the vengeful Erinyes, or Furies, which have come from the blood of those genitals, as have the Giants and the Meliae. Desire comes from lack, pleasure comes with pain, and desire causes suffering.
VI: Family Feuding
With Cronus’ ascent to the throne as the new king of heaven comes the same hostility to his children as Ouranos has had. The intergenerational conflict returns in cycles, so we’ll see a wickedness in Cronus similar to that of his father…much worse, actually; for instead of merely imprisoning those who are a threat to his power, or who are a source of loathing and disgust to him, Cronus decides to eat all of his newborn children! Recall the shocking paintings that have depicted this atrocity.
His wife and older sister, Rhea (note the incest parallel with Gaea and Ouranos, and later with Zeus and his older sister, Hera…more transgressive jouissance), is as upset with his devouring of their children as Gaea has been with Ouranos’ imprisoning of their children; so Rhea, too, plots with her youngest son, Zeus, to get revenge on Cronus and free the eaten children (by feeding Cronus an emetic and making him throw them all up). Another parallel with the revenge on the first-generation father, noted by Freud (page 469) and John Tzetzes (as Robert Graves noted), is Zeus’ castration of Cronus, often censored from Greek creation mythologies.
So, what we’ve had since the creation of Eros is a whole lot of procreation (since the ancients believed that all things are created through intermingling in the form of sex), leading to a whole lot of family strife, power struggles, and ultimately, war. For in order to depose Cronus and establish Zeus as the new king of heaven, there must be a ten-year war (the Titanomachy) between the Olympian gods (Hestia, Demeter, Hera, Hades, Poseidon, those just regurgitated by Cronus, and Zeus) on the one side, and Cronus and the Titans (including Atlas) on the other side. (Themis and Prometheus are the only Titans who fight on Zeus’ side.)
Zeus gets help from the Cyclopes through their giving him lightning as a weapon, and from the three Hecatoncheires, whose three hundred arms hurl huge rocks at the Titans, ultimately burying them. They’ll all be imprisoned in Tartarus forever (though some accounts say Zeus eventually frees them).
Next comes the Gigantomachy, Zeus’ and the Olympians’ battle with the Giants. Typhon, a huge whirlwind, a serpentine giant, and–according to Hesiod–the son of Gaea and Tartarus (from whom we get the Romanization of the Chinese taifeng>>>typhoon), is the next to challenge, and to be defeated by, Zeus.
VII: Stability and Authority
So Zeus is now the king of heaven, and his brothers–Poseidon and Hades–are respectively the kings of the sea and the underworld, the lower levels of the flat, tiered cosmos as imagined by the ancients. But Zeus has the same fear of being deposed, a fear projected from his own unfilial attitude to Cronus, who in turn has been equally unfilial to Ouranos. Zeus’ solution to the problem is to carry it further than just eating his children. His wife at the time, the wise Titaness Metis, is pregnant with their child, so he eats both child and mother!
This eating of threats to one’s power, this imprisoning of them, is symbolic of repression of unwanted or unacceptable feelings into the unconscious; but as psychoanalysts know, the repressed always returns, though in an unrecognizable form. In Zeus’ case, that return of the symbolic repressed will come in the form of Athena, coming out of his aching skull fully-grown with her armour and weapons. He needn’t fear, though, for she is all for the father, representative of the shift from matrilineal to patrilineal forms of societal organization. Read the Oresteia to see my point about that shift. The following passage from The Eumenides, spoken by Apollo, should clarify it:
“The mother of what is called her child is not its parent, but only the nurse of the newly implanted germ. The begetter is the parent, whereas she, as a stranger for a stranger, doth but preserve the sprout, except God shall blight its birth. And I will offer thee a sure proof of what I say: fatherhood there may be, when mother there is none. Here at hand is a witness, the child of Olympian Zeus–and not so much as nursed in the darkness of the womb, but such a scion as no goddess could bring forth.
“But for my part, O Pallas, as in all things else, as so with this man; for I have sent him as suppliant to thy sanctuary that he might prove faithful for all time to come, and that thou, O Goddess, mightest win him as a new ally, him and his after-race, and it abide everlastingly that the posterity of this people maintain their plighted bond.” –Apollo, Eumenides, pages 335, 337)
All of the myths leading up to Zeus’ accession to the throne have reflected matrilineality: goddesses sometimes bear children through sexual union with a male, other times through parthenogenesis, reflective of the prehistoric ignorance of the male role in reproduction. Since succession is matrilineal at this point, Gaea is free to take on more lovers than just Ouranos; so she has mated with another son of hers, Pontus, a god of the sea (more transgressive, Oedipal pleasure [according to Hesiod, Pontus has no father]!), and has these children: Nereus, Thaumas, Phorcys, Ceto, and Eurybia. Furthermore, god-kings are humiliated, castrated, and deposed, while queen goddesses–though furious with the wickedness of their male consorts–remain bodily intact.
But now that Zeus is king of the heavens, having married his older sister, Hera, he can freely do as he pleases without fear of direct retribution against himself, while he hypocritically judges the wickedness of others, especially that of mortals. This reflects the new patrilineal way, and the authoritarianism of the patriarchal family. Zeus is incestuously married, he has castrated and deposed his father, and much to Hera’s annoyance, he seduces and ravishes pretty mortal maidens.
VIII: Conclusion–The Creation as an Allegory for Our Times
We can see, through this narrative, just how far we’ve erred from the blissful, oceanic state of the beginning. From the formless, peaceful oneness of the Void, we’ve gone to the dualism of splitting into the dark and light, then to transgressive indulgence in pleasure leading to jealousy and hate, and from there to violence, war, and the imprisonment of the humiliated and defeated.
Finally, stability is established, but through authoritarian rule, and with all the double standards that allow the ruling classes–be they the masters of slaves in the ancient world, as I described in my Caligula analysis, or the feudal landlords of 500 to 1,000 years ago, or the bourgeoisie today–to indulge in all manner of sinfulness, for which we, the small people, will be punished as soon as we are caught.
How do we regain that primal bliss? I don’t have any definitive answers, of course, but for what it’s worth, I imagine that going backwards in the narrative I just analyzed is going in the right direction. I don’t mean physically or literally going in that direction, of course; I’m talking about revisiting the psychological traumas that the various points in the narrative symbolize. Efforts have been made to reverse the patrilineal double standards against women–efforts far more successful in the socialist states than in the capitalist West, though socialist progress has since been thwarted by imperialism. I would advise reviving that progress.
Added to the sociological healing must also come the needed psychological healing. Optimal frustration (as Heinz Kohut called it) of the narcissistic tendencies (those linked with Oedipal traumas) must be coupled with integration of the split parts of the personality, a shift from what Melanie Klein called the paranoid-schizoid to the depressive position. Bliss is actually a marriage of heaven and hell, of dark with the light.
When heaven and hell are ‘divorced,’ so to speak, as in the case of psychological splitting, one tends to project the hellish part outward in order to avoid a pain we must face. We must feel our trauma if we’re to heal it.
Many would rather escape to a world of pleasure than face that pain. The resulting manic defence means indulgence in sex, drugs, etc., that is, the transgressive, excess pleasure of jouissance, which is a pleasure that spills over into pain, for no two opposites, including pleasure and pain, are permanently, decisively separated.
The Olympian gods of our ruling class may, however, separate pleasure (reserved for themselves alone) from pain (to which only the poor are subjected). The acquisition of wealth is a zero-sum game, coupled with extremes of poverty. In this connection, it’s useful that Lacan was inspired by Marx’s notion of surplus value in expounding on the surplus-pleasure of jouissance, or excess pleasure for its own sake. This pleasure, spilling over into pain, is exploitative.
Zeus rapes maidens, just as the Epsteins and Weinsteins of our world, as well as some Catholic priests, sexually assault the innocent. The oligarchs of today are our gods, living up high on the Mount Olympus of their wealth and power, while we struggle at the bottom of that mountain.
Those up on Olympus must be brought down. Those traumas of ours, repressed and imprisoned in the Tartarus of our unconscious, must be freed by being acknowledged, or else they’ll sneak out, often in surprising and unwelcome forms. The lack that gives rise to desire, that symbolic castration of Ouranos and Cronus, must also be acknowledged, or else desire will fly out of control, leading to more conflicts and wars, both political and psychological.