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 [[https://onesearch.uark.edu/discovery/fulldisplay?docid=cdi_proquest_ebookcentral_EBC3030739&context=PC&vid=01UARK_INST:01UARK&lang=en&search_scope=MyInst_and_CI&adaptor=Primo%20Central&tab=COMBINED&query=any,contains,Slater,%20Phillip%20Elliot%20The%20Glory%20of%20Hera-%20A%20Greek%20Mythology%20and%20the%20Greek%20Family&offset=0|Library Link]]
+Table of Contents
+Preface
+Acknowledgments
+IX
+xxvn
+PART ONE : ORIGINS AND CONSEQUENCES
+I. The Greek Mother-Son Relationship: Origins
+and Consequences
+{{ :glory_of_hera_-_chapter_1_greek_mother_son.pdf |}}
+"This seems to me to explain adequately the presence of ac
+tive, aggressive women in Greek tragedy. Gomme points to
+the great freedom of action that women have in drama, and
+argues that women like Jocasta and Antigone must have been
+modeled on contemporary women [1937, pp. 93, 96, 107].
+Kitto makes the same point, observing that the women are
+usually more enterprising than the men—that the tragic hero
+ines are striking in their vigor, intelligence, vindictiveness,
+and uncontrollability [i960, pp. 228-29]. But while one may
+agree that these women had contemporary models, one need
+not assume that such modeling extended beyond the narrow
+range of the household. All that a playwright requires for
+drama is a vivid memory for his own childhood and family—
+especially Greek drama, which is most intensely concerned
+with intrafamilial conflict. If this were not true, one would be
+hard put to explain how so many of the great heterosexual
+dramas of Greek, Elizabethan, and modern theater could have
+been written by homosexual playwrights." (10)
+My first hypothesis—one which assumes
+a much earlier change point than that suggested by Feldman
+—was that the constellation derived its impetus from the gradual
+evolution of patriarchy [cf. Levy, n.d., p. 257], or a sudden
+transition from matriarchy to patriarchy. The tradition of a
+patriarchal conquest of a matriarchal society is an ancient one
+in classical scholarship—based on the evidence of early
+matrilineal, matrilocal, goddess-worshiping traditions being
+supplanted by their patriarchal counterparts [Murray, n.d., p.
+; Kitto, i960, pp. 18-23; Briffault, 1959, pp. 84-90]. In
+deed, some authors suggest an almost universal transition of
+this kind for civilized societies, and there is much supporting
+evidence [cf. Briffault, 1959; Campbell, 1959, pp. 315ff.; Neu
+mann, 1955]. This is difficult to evaluate, however, since so
+much is based on mythology and tradition, and the ontoge
+netic experience of primeval matriarchy is universal, and may
+provide the source of much of this tradition. For the Greeks,
+at any rate, the evidence is real enough. Indeed, there seem
+to have been several invasions at various periods by patriarchal
+warriors, who, one can imagine, killed the indigenous males
+and took the females to wife. Since in all cases the women
+probably not only enjoyed a higher status in the older society,
+but also partook of a more advanced and sophisticated culture,
+one might expect to find here the ideal conditions for a brittle
+patriarchy, an anxious and hostile relationship between the
+sexes, and a transferring of libido by the wife from husband
+to child. The repetition of this experience several times over
+a millennium would gradually evolve the kind of cycle I have
+described. (72)
+II. Symbols, the Serpent, and the Oral-Narcissistic
+Dilemma
+PART TWO : MYTHICAL DEFENSES AGAINST
+THE MATERNAL THREAT
+III. Sexual Dominance: Zeus
+IV. Masculine Antisepsis: Apollo
+V. Matricide: Orestes
+{{ :glory_of_hera-_chapter_5_matricide.pdf |}}
+Orestes' matricide is the most fully elaborated. It has often
+been pointed out [cf., e.g., Bunker, 1944, p. 198; Friedman
+and Gassel, 1951, p. 424] that while Oedipus is the concern
+of only three surviving Greek tragedies, Orestes is in seven,
+and is treated by all three of the great dramatists. It could in
+fact be said that the Orestes myth was the most popular sub
+ject in Greek drama, and that the theme of matricide was
+one with which the Greeks were peculiarly preoccupied.(162)
+The immediate issue of this war between the sexes is whether Clytemnestra's murder of Agamemnon or her own
+death at the hands of Orestes was the more heinous crime.
+A modern jury would have had difficulty in convicting
+Clytemnestra,3 but the Greeks were terrified of the statu
+esque, passionate women they portrayed so effectively—
+Medea, Clytemnestra, Hecuba, Alcmene—and this fear obliged
+them to exaggerate and punish Clytemnestra's guilt. (164)
+Why, then, is Medea spared and Clytemnestra murdered
+for her crimes? Clytemnestra kills only her husband and his
+concubine, and cannot bring herself to do away with her
+dangerous offspring; while Medea, with far less provocation,
+slaughters her brother, her children, two kings, and a princess,
+and attempts the life of Athens' most famous hero. Does the
+murder of one's husband, then, outweigh all of these crimes?
+The answer is, of course, that it did. The marital bond was
+the weakest point in the Greek family, and the murderous
+hatred of a wife for her husband was felt to be the greatest
+potential danger and had therefore to be guarded against with
+the most rigid care and punished with the most compulsive
+severity.
+Confirmation of this idea may be found in the horror with which Greeks regarded the myth of the women of Lemnos,
+who murdered all their husbands and ruled the island by
+themselves. To modern readers this is an amusing fancy—one
+which, after all, ends happily with the pleasant sojourn of the
+Argonauts and subsequent repopulation of the island [Apol-
+lonius Rhodius: Argonautica i. 606-909]. Certainly it cannot
+compare in luridness with the cannibalistic and incestuous
+doings of Atreus and Thyestes, with the hideous deaths of
+Pentheus and Heracles, with the crimes and sufferings of
+Procne and Philomela, of Oedipus, Cronus, and a dozen
+others. But how the Greeks themselves felt about it may be
+judged from the following passage:
+But the summit and crown of all crimes is that which
+in Lemnos befell;
+A woe and a mourning it is, a shame and a spitting
+to tell;
+And he that in after time doth speak of his deadliest
+thought,
+Doth say, It is like to the deed that of old time in
+Lemnos was wrought
+[Aeschylus: The Choephori 631-34.
+Morshead trans.]4 (164-165)
+None of the modes of
+response we are examining (with the possible exception of
+Apollo's, with which it is closely allied) will be quite so
+close to the classical Greek norm as this one; and there is no
+character in Greek mythology who seems to epitomize the
+fifth-century Athenian as fully as does the hero of Euripides'
+Orestes. Whatever kind of run-of-the-mill swashbuckler he
+may have been in earlier days, the dramatists molded Orestes
+in their own image, and with his tribulations the Athenians
+must have experienced an emotional empathy unmatched
+even in so powerful a repertory.(192)
+VI. Self-Emasculation: Hephaestus
+VII. Identification with the Aggressor: Dionysus 1,
+The Ritual
+VIII. Identification with the Aggressor: Dionysus 11,
+The Attack in the Womb
+IX. Identification with the Aggressor: Dionysus 111,
+The Attack on the Neonate
+X. Identification with the Aggressor: Dionysus iv,
+The Attack on the Mature God
+XI. Maternal De-Sexualization: Perseus
+XII. The Multiple Defenses of Heracles

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