Persephone

Proserpine, depicted with her pomegranate, by Dante Gabriel Rossetti, 1874) (Tate Gallery, London)

In Greek mythology, Persephone (also known as Kore or Cora ("Young maiden")) was the embodiment of the Earth's fertility and the Queen of the Underworld, the korē (or young maiden). She has an ambivalent place in ancient Greek mythology: On the one hand, the story of Persephone has great emotional power: an innocent maiden, a mother's grief over her abduction, and subsequent joy after the return of her daughter. It is also cited frequently as a paradigm of myths that explain natural processes, with the descent and return of the goddess bringing about the change of seasons. In this light, Persephone symbolizes new life alike to the secret garden. Inspired by James Frazer, Jane Ellen Harrison, and modern mythologers, some scholars have labeled Persephone a life-death-rebirth deity.

On the other hand, she was also seen as a frightening goddess who helped rule the dead and could ensnare the living. In this light, she was the terrible Queen of the Dead, whose name was not safe to speak aloud, who was euphemistically named, simply as, Kore, "The Maiden," a vestige of her archaic role as the deity ruling the underworld.

In Greek art, Persephone is usually portrayed as wearing a robe. She may be carrying a sheaf of grain and smiling demurely with the "Archaic smile" of the Kore of Antenor.

Persephone is the name of a Main belt asteroid with a diameter of 49.1km, discovered by Max Wolf in 1895 in Heidelberg.

Her name

"Persephone" (Greek: Περσεφόνη, Persephonē) is her name in the Ionic Greek of epic literature. The Homeric form of her name is Persephonea ( Περσεφονηία, Persephonēia). In other dialects she was known under various other names: Persephassa (Περσεφασσα), Persephatta (Περσεφαττα), or simply [Core] (Κόρη, Korē, "girl, maiden" ) (when worshipped in the context of "Demeter and Core"). Plato calls her Pherepapha (Φερέπαφα) in his Cratylus, "because she is wise and touches that which is in motion."

The Romans first heard of her from the Aeolian and Dorian cities of Magna Graecia, who used the dialectal variant Proserpine (Προσερπινη, Proserpinē). Hence, in Roman mythology she was called Proserpina, and as a revived Roman Proserpina, she became an emblematic figure of the Renaissance. At Locri, perhaps uniquely, Persephone was the protector of marriage, a role usually assumed by Hera; in the iconography of votive plaques at Locri, her abduction and marriage to Hades served as an emblem of the marital state; children at Locri were dedicated to Proserpina, and maidens about to be wed brought her their peplos to be blessed.

In a text ascribed to Empedocles, (c. 490–430 B.C.E.), the name Nestis for water apparently refers to Persephone. "Now hear the fourfold roots of everything: enlivening Hera, Hades, shining Zeus. And Nestis, moistening mortal springs with tears".

Of the four deities of Empedocles's elements, it is the name of Persephone alone that is taboo—Nestis is a euphemistic cult title— for the Greeks knew another face of Persephone as well. She was also the terrible [Queen of the Dead], whose name was not safe to speak aloud, who was euphemistically named, simply as, Kore, "The Maiden," a vestige of her archaic role as the deity ruling the underworld.

The Abduction Myth

Originally, Persephone was the parthenogenic daughter of Demeter but in later Classical myths, she became a daughter of Demeter and Zeus. In the Olympian version, she also becomes the consort of Hades when he becomes the deity that governs the underworld.

In the later Olympian pantheon of Classical Greece, Persephone is given a father: according to Hesiod's Theogony, Persephone was the daughter produced by the union of Demeter and Zeus. "And he [Zeus] came to the bed of bountiful Demeter, who bore white-armed Persephone, stolen by Hades from her mother's side."

Unlike every other offspring of an Olympian pairing of deities, Persephone has no stable position at Olympus. Persephone used to live far away from the other deities, a goddess within Nature herself before the days of planting seeds and nurturing plants. In the Olympian telling, the gods Hermes, Ares, Apollo, and Hephaestus, had all wooed Persephone, but Demeter rejected all their gifts and hid her daughter away from the company of the Olympian deities. Thus, Persephone lived a peaceful life before she became the goddess of the underworld, which, according to Olympian mythographers, did not occur until Hades abducted her and brought her into the underworld. She was innocently picking flowers with some nymphs—, Athena, and Artemis, the Homeric hymn says—, or Leucippe, or Oceanids— in a field in Enna when Hades came to abduct her, bursting through a cleft in the earth; the nymphs were changed by Demeter into the Sirens for not having interfered. Life came to a standstill as the devastated Demeter, goddess of the Earth, searched everywhere for her lost daughter. Helios, the sun, who sees everything, eventually told Demeter what had happened.

The Return of Persephone by Frederic Leighton (1891)

Finally, Zeus, pressured by the cries of the hungry people and by the other deities who also heard their anguish, could not put up with the dying earth and forced Hades to return Persephone. But before she was released to Hermes, who had been sent to retrieve her, Hades tricked her into eating pomegranate seeds, which forced her to return to the underworld for a season each year. In some versions, Ascalaphus informed the other deities that Persephone had eaten the pomegranate seeds. When Demeter and her daughter were united, the Earth flourished with vegetation and color, but for four months each year, when Persephone returned to the underworld, the earth once again became a barren realm. This is an origin story to explain the seasons.

In an earlier version, Hecate rescued Persephone. On an Attic red-figured bell krater of ca 440 B.C.E. in the Metropolitan Museum of Art, Persephone is rising as if up stairs from a cleft in the earth, while Hermes stands aside; Hecate. holding two torches, looks back as she leads her to the enthroned Demeter.

In the earliest known version the dreaded goddess, Persephone, was herself Queen of the Underworld (Burkert or Kerenyi).

In some versions, Demeter forbids the earth to produce, in others she is so busy looking for Persephone that she neglects the earth, or her duties as the Earth which she represents, and in some the depth of her despair causes nothing to grow.

This myth also can be interpreted as an allegory of ancient Greek marriage rituals. The Classical Greeks felt that marriage was a sort of abduction of the bride by the groom from the bride's family, and this myth may have explained the origins of the marriage ritual. The more popular etiological explanation of the seasons may have been a later interpretation.

The tenth-century Byzantine encyclopedia Suda, s.v. "Macaria," introduces a goddess of a blessed afterlife assured to Orphic mystery initiates. This Macaria is asserted to be the daughter of Hades, and Persephone, though there is no previous mention of her.

Sculpture Persephone, created by Carl Max Kruse.

The Queen of the Underworld

There is an archaic role for Persephone as the dread queen of the Underworld, whose very name it was forbidden to speak. In the Odyssey, commonly dated circa 800 to 600 C.E., when Odysseus goes to the Underworld, he refers to her as the Iron Queen. Her central myth, for all its emotional familiarity, also was the tacit context of the secret initiatory mystery rites of regeneration at Eleusis, which promised immortality to their awe-struck participants—an immortality in her world beneath the soil, feasting with the heroes who dined beneath her dread gaze (Kerenyi 1960, 1967).

File:Greekstatueofpersephone.jpg

Seated goddess, probably Persephone on her throne in the underworld, Severe style ca 480-60, found at Tarentum, Magna Graecia (Pergamon Museum, Berlin)

Persephone, the Iron Queen

In one version of the myth, Persephone, as Queen of Hades, only mercifully relinquished a subject once; because the music of Orpheus was so hauntingly sad, she allowed Orpheus to bring his wife Eurydice back to the land of the living, as long as she walked behind him and he never tried to look at her face until they reached the surface. Orpheus agreed, but failed, looking back at the very end to make sure his wife was following, and he lost Eurydice forever.

Persephone also figures in the story of Adonis, the Syrian consort of Aphrodite. When Adonis was born, Aphrodite took him under her wing, seducing him with the help of Helene, her friend, and was entranced by his unearthly beauty. She gave him to Persephone to watch over, but Persephone also was amazed at his beauty and refused to give him back. The argument between the two goddesses was settled, either by Calliope, or by Zeus, (depending on the antiquity of the myth), with Adonis spending four months with Aphrodite, four months with Persephone and four months of the year on his own. This later myth placed a god into the position of a goddess in the cycle of the seasons.

When Hades pursued a nymph named Minthe, Persephone turned her into a mint plant.

Persephone was the object of Pirithous's affections. In a late myth, Pirithous and Theseus, his friend, pledged to marry daughters of Zeus. Theseus chose Helen and together they kidnapped her and decided to hold onto her until she was old enough to marry. Pirithous chose Persephone. They left Helen with Theseus' mother, Aethra, and traveled to the underworld, domain of Persephone and her husband, Hades. Hades pretended to offer them hospitality and set a feast; as soon as the pair sat down, snakes coiled around their feet and held them there. Edith Hamilton called it a "Chair of Forgetfulness" that they sat upon. It also should be noted that Heracles was able to save Theseus from this fate when he was in the Underworld, but Hades forced Pirithous to remain seated forever.

Persephone and her mother Demeter were often referred to as aspects of the same Earth goddess, and were called "the Demeters" or simply "the goddesses."

Persephone in modern scholarship

File:Lady of Auxerre Louvre Ma3098 n2.jpg

Lady of Auxerre - this early Archaic ("Daedalic") image from Crete may represent a version of the Minoan goddess that Karl Kerenyi identified with Kore or Persephone. The statue postdates the end of Minoan culture by 700 years.

Persephone before the Greeks?

Some modern scholars have argued that the cult of Persephone was a continuation of Neolithic or Minoan goddess-worship. Among classicists, this thesis has been argued by Gunther Zuntz (Zuntz 1973) and cautiously included by Walter Burkert in his definitive Greek Religion.

More daringly, the mythologist Karl Kerenyi has identified Persephone with the nameless "mistress of the labyrinth" at Knossos from the Bronze Age Minoan civilization on Crete that flourished from 1700 B.C.E.

On the other hand, the hypothesis of an Aegean cult of the Earth Mother has come under some criticism in recent years. For more on both sides of the controversy, see Mother Goddess.

The 1911 Encyclopaedia Britannica account of the myth

"As she was gathering flowers with her playmates in a meadow, the earth opened and Pluto, god of the dead, appeared and carried her off to be his queen in the world below. ... Torch in hand, her sorrowing mother sought her through the wide world, and finding her not she forbade the earth to put forth its increase. So all that year not a blade of corn grew on the earth, and men would have died of hunger if Zeus had not persuaded Pluto to let Persephone go. But before he let her go Pluto made her eat the seed of a pomegranate, and thus she could not stay away from him for ever. So it was arranged that she should spend two-thirds (according to later authors, one-half) of every year with her mother and the heavenly gods, and should pass the rest of the year with Pluto beneath the earth. ... As wife of Pluto, she sent spectres, ruled the ghosts, and carried into effect the curses of men."

References

ISBN links support NWE through referral fees

• Karl Kerenyi (Eleusis: Archetypal Image of Mother and Daughter, 1960, in English 1967)
• Günther Zuntz, Persephone: Three Essays on Religion and Thought in Magna Graecia, 1973
• Walter Burkert, Greek Religion 1985
• Lewis Richard Farnell, The Cults of the Greek States, Volume 3 (1906) (Chapters on: Demeter and Kore-Persephone; Cult-Monuments of Demeter-Kore; Ideal Types of Demeter-Kore).

External links

• Kore Photographs
• Flickr users' photos tagged with Persephone

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