Wiley-Blackwell, 1st edition

(8) WALTER BURKERT – GREEK RELIGION

If Nietzsche’s The Birth of Tragedy and Robert Graves’ The Greek Myths are my Old Testament of classical mythology, Burkert’s Greek Religion is my New Testament. Alternatively, the three are my holy trinity of classical mythology (which I suppose would make Nietzsche the Father, Graves the Son and Burkert the Holy Spirit of classical mythology).

No, seriously. For me, Nietzsche and Graves are poles at the other end of a thematic spectrum from Burkert – which I suppose would make all three the points of a thematic triangle. Whatever.

The line from Nietzsche to Burkert is perhaps more obvious – both came from a long tradition of German classicists or classical philologists, indeed its most prominent figures in the English-speaking world (or at least authors of its most prominent books), but in some ways diametrically opposed from each other.

Nietzsche essentially extrapolated a recurring dichotomy of the Apollonian and the Dionysian from classical mythology, above all in its literary manifestation in Greek tragedy, hence his title The Birth of Tragedy. He wrote as an eccentric poet-philosopher, or as he himself described it, a ‘rhapsodizer’ (prompting thoughts of Nietzsche as rhap-artist), not unlike his own prophetic ‘madman’ and apostle of the death of God before his time – “I have come too early…my time is not yet”.

Graves strikes me as similar to Nietzsche – probably someone somewhere has studied or written of the influence of Nietzsche on Graves, if any, but I don’t know anything about that subject – writing as a fellow rhapsodizer or poet, but as an apostle of the Goddess rather than of the death of God, extrapolating his monomyth of the Goddess or prehistoric matriarchal religion from classical mythology.

Of course, the historical accuracy of either has been almost universally contested or considered to be idiosyncratic – “of value only as a guide to the author’s personal mythology”. But who cares? They’re fun! And it’s hard to argue with poetry.

Burkert’s The Greek Religion on the other hand, originally published in his native German in 1977 and translated into English in 1985, has been widely accepted as a standard work in the field. And unlike Nietzsche or Graves, Burkert pretty much extrapolates nothing, robustly sticking to the facts of his literary or archaeological sources.

Burkert presents classical polytheism as inherently chaotic in nature, but at the heart of classical religion was sacrificial ritual – “The term gods…remains fluid, whereas sacrifice is a fact”.

His section headings say it all about his comprehensive survey of Greek religion – Prehistory and the Minoan-Mycenaean Age; Ritual and Sanctuary; The Gods (the Olympian dirty dozen and the balance of the pantheon); The Dead, Heroes and Chthonic Gods; Polis and Polytheism; Mysteries and Asceticism; and Philosophical Religion.

“He describes the various rituals of sacrifice and libation and explains Greek beliefs about purification. He investigates the inspiration behind the great temples at Olympia, Delphi, Delos, and the Acropolis―discussing the priesthood, sanctuary, and oracles. Considerable attention is given to the individual gods, the position of the heroes, and beliefs about the afterlife. The different festivals are used to illuminate the place of religion in the society of the city-state. The mystery cults, at Eleusis and among the followers of Bacchus and Orpheus, are also set in that context. The book concludes with an assessment of the great classical philosophers’ attitudes to religion”.

RATING: 4 STARS****
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Art by Simon Bisley for “Slaine: The Horned God” written by Pat Mills for the 2000 AD comic as one of my favorite adaptations of Graves’ Goddess in popular culture, even more so than it was of Frazer – since it essentially adapted Graves, who in turn adapted Frazer

(7) ROBERT GRAVES – THE WHITE GODDESS & THE GREEK MYTHS

Graves saw Frazer’s sacred king and raised it with a queen, his titular White Goddess. For Graves, the monomyth was his theme, or rather the great mythic and poetic Theme:

“The Theme, briefly, is the antique story, which falls into thirteen chapters and an epilogue, of the birth, life, death and resurrection of the God of the Waxing Year; the central chapters concern the God’s losing battle with the God of the Waning Year for love of the capricious and all-powerful Threefold Goddess, their mother, bride and layer-out. The poet identifies himself with the God of the Waxing Year and his Muse with the Goddess; the rival is his blood-brother, his other self, his weird.”

However, The White Goddess is not as accessible in its prose as Frazer’s The Golden Bough and is essentially a compilation of poetic musings, which has its shining moments but can often become turgid or bogged down in Graves’ esoteric discussion of the Irish tree alphabet or the poems of Taliesin. And like The Golden Bough, it’s best read as poetry than for factual or historical accuracy.

And he was an apostle of the White Goddess again in his study of Greek mythology. However, it remains my favorite single volume study of Greek mythology.

Essentially it comes in two parts.

The first part is a conventional compendium of Greek mythology – literary retellings of the various myths from their sources – and it is this part that is the basis for the book as my favorite single volume study of Greek mythology, albeit somewhat dense in its prose style.

The second part – his interpretative notes or commentary – is where things get more wild, albeit all in good poetic fun. This is where Graves ‘decodes’ or reconstructs Greek mythology to his monomyth of the Goddess or prehistoric matriarchal religion – “Graves interpreted Bronze Age Greece as changing from a matriarchal society…to a patriarchal one under continual pressure from victorious Greek-speaking tribes. In the second stage local kings came to each settlement as foreign princes, reigned by marrying the hereditary queen, who represented the Triple Goddess, and were ritually slain by the next king after a limited period, originally six months. Kings managed to evade the sacrifice for longer and longer periods, often by sacrificing substitutes, and eventually converted the queen, priestess of the Goddess, into a subservient and chaste wife, and in the final stage had legitimate sons to reign after them”.

So there you go. Of course, the historical accuracy of Graves’ interpretation or commentary has been almost universally contested or considered to be idiosyncratic – “the interpretive notes are of value only as a guide to the author’s personal mythology”. His characteristic rejoinder was to plead poetic privilege, essentially rebuking his critics or classical scholars “You’re not poets!”. And it’s hard to argue with poetry.

RATING: 4 STARS****
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Art by Simon Bisley for “Slaine: The Horned God” written by Pat Mills for the 2000 AD comic as one of my favorite adaptations of Frazer’s sacrificial sacred king in popular culture. Well, that and The Wicker Man (which also features in Slaine)

(6) SIR JAMES GEORGE FRAZER – THE GOLDEN BOUGH

“Who are these coming to the sacrifice?” –
John Keats, Ode on a Grecian Urn

Behold the monomyth of the sacrificial sacred king.

That is – the monomyth of a recurring or universal mythic archetype, as used by Joseph Campbell for his archetypal hero’s journey. But it doesn’t get much more monomythic that one of the original monomyths – Sir James George Frazer’s The Golden Bough.

The Golden Bough proposed the monomyth or recurring mythic archetype of sacrificial sacred kings – or their surrogates once the kings wised up to it – as incarnations of gods or solar deities whose death and resurrection in turn represented fertility. And believe me, Frazer saw these sacred kings or fertility cults everywhere – including Jesus and Christianity, controversially at the time – such that he filled several volumes up with them, although more people (including me) tend to read his abridged single volume.

Now I think that Frazer was always entertaining and occasionally illuminating in The Golden Bough – his discussion of the principles of sympathetic magic, a term coined by himself, seems particularly definitive – but in terms of factual or historical accuracy…not so much as he’s much more mixed at best in this respect. As the old adage goes, when all you have is a hammer, everything begins to look like a nail – and when all you have is a theory of sacred kings, then by god or goddess, everything begins to look like a sacred king, even if you have to hammer everything into shape for it. After all, we all have to make sacrifices…

While Frazer is or was mostly dismissed as a footnote in academic study, The Golden Bough has been highly influential in literary culture, because whether or not it is true, his mythic archetype of the doomed hero or sacrificial sacred king has the elements of a ripping yarn.

Just for starters, there’s his influence on T. S. Eliot, who openly acknowledged the influence of Frazer on The Waste Land, although with the characteristic pessimism of that poem, proposed the cycle might be broken, leaving only violence and death without rebirth – and in which the dying god is just another buried corpse, perhaps even prompting to mind a Nietzschean murder victim or contemporary zombie apocalypse, rising writhing from their own resurrection – “That corpse you planted last year in your garden, has it begun to sprout?”

Or there’s his influence on Campbell’s own monomyth. Or on Sigmund Freud, lending itself to the segue of his influence on Camille Paglia, who described her primary influence as a fusion of Frazer and Freud (although doubling the inaccuracy of the former with that of the latter).

RATING: 4 STARS****
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