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Theomachy in Greek and Roman epic

  • T. J. Bolt
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Structures of Epic Poetry
This chapter is in the book Structures of Epic Poetry

Abstract

Theomachy (a combat with or between gods) is an important structural element of epic poetry from Homer’s Iliad through Roman imperial epic. Theomachy can be divided into two categories: intradivine theomachy (combat amongst gods such as the Gigantomachy) and human-versus-divine theomachy (combat between humans and gods such as the fight between the Scamander and Achilles in Iliad 21). Despite its diverse manifestations, at its core theomachy represents an assault on the established order, whether that be Olympian rule, as is the case with the Gigantomachy, or the divine-mortal hierarchy, as is the case with human-versusdivine battles. Nevertheless, no theomachy is successful after Zeus’ usurpation of Cronos, so it becomes synonymous with futility or impious overreaching. This contribution provides an overview of the major theomachies in Greek and Roman literature from Homer’s Iliad to Silius’ Punica and traces common elements, such as formulaic language (τρίς ... / τρίς ... / τὸ τέταρτον or ter ... quarter/quatro), epithets (ἴσος δαίμονι or contemptor superum/deum), and settings (the river or thewall). Thematically, theomachy always meditates on excess, distinction, and the relationship between the divine and mortals by prompting reflection on the difference between larger than life mortals and the divine. Theomachy is also a versatile structural element and authors can use it for different purposes. Some poets forego physical combat entirely and instead turn theomachy into a debate about gods and their knowability by drawing on contemporary philosophical debates. The structural element also changes in response to historical context. In the early imperial period, theomachy becomes freighted with political undertones as the principate identifies itself closely with the divine and as imperial cult becomes enmeshed with contemporary politics. Simultaneously, then, theomachy becomes a structural element with which writers can think about impiety and opposition to established systems of power. Given theomachy’s affiliation with high subject matter, the structural element is tangled up in discourses about fame (κλέος/fama), the sublime, and literary aesthetics. Furthermore, one of theomachy’s prime functions is as a site of literary self-styling. Poets can use their theomachic hero to represent their own literary ambitions and directly compete against epic’s prototypical theomach, Homer’s Achilles.

Abstract

Theomachy (a combat with or between gods) is an important structural element of epic poetry from Homer’s Iliad through Roman imperial epic. Theomachy can be divided into two categories: intradivine theomachy (combat amongst gods such as the Gigantomachy) and human-versus-divine theomachy (combat between humans and gods such as the fight between the Scamander and Achilles in Iliad 21). Despite its diverse manifestations, at its core theomachy represents an assault on the established order, whether that be Olympian rule, as is the case with the Gigantomachy, or the divine-mortal hierarchy, as is the case with human-versusdivine battles. Nevertheless, no theomachy is successful after Zeus’ usurpation of Cronos, so it becomes synonymous with futility or impious overreaching. This contribution provides an overview of the major theomachies in Greek and Roman literature from Homer’s Iliad to Silius’ Punica and traces common elements, such as formulaic language (τρίς ... / τρίς ... / τὸ τέταρτον or ter ... quarter/quatro), epithets (ἴσος δαίμονι or contemptor superum/deum), and settings (the river or thewall). Thematically, theomachy always meditates on excess, distinction, and the relationship between the divine and mortals by prompting reflection on the difference between larger than life mortals and the divine. Theomachy is also a versatile structural element and authors can use it for different purposes. Some poets forego physical combat entirely and instead turn theomachy into a debate about gods and their knowability by drawing on contemporary philosophical debates. The structural element also changes in response to historical context. In the early imperial period, theomachy becomes freighted with political undertones as the principate identifies itself closely with the divine and as imperial cult becomes enmeshed with contemporary politics. Simultaneously, then, theomachy becomes a structural element with which writers can think about impiety and opposition to established systems of power. Given theomachy’s affiliation with high subject matter, the structural element is tangled up in discourses about fame (κλέος/fama), the sublime, and literary aesthetics. Furthermore, one of theomachy’s prime functions is as a site of literary self-styling. Poets can use their theomachic hero to represent their own literary ambitions and directly compete against epic’s prototypical theomach, Homer’s Achilles.

Chapters in this book

  1. Frontmatter I
  2. Acknowledgements V
  3. Contents IX
  4. Introduction 1
  5. Part I: Theories of epic
  6. Ancient and modern theories of epic 25
  7. The narrative forms and mythological materials of classical epic 51
  8. Learning the epic formula 81
  9. Narratology and classical epic 99
  10. Epic and rhetoric 115
  11. Alexandrian book division and its reception in Greek and Roman epic 133
  12. Part II: Classification and genre
  13. Intergeneric influences and interactions 167
  14. History and myth in Graeco-Roman epic 193
  15. Didactic and epic: origins, continuity, and interactions 213
  16. Ovid’s Metamorphoses: the naughty boy of the Graeco-Roman epic tradition 275
  17. Epic fragments 317
  18. Narrative patterns and structural elements in Greek epyllia 357
  19. Epic structures in classical and post-classical Roman epyllia 443
  20. Part III: Core structures
  21. The invocation of the Muses and the plea for inspiration 489
  22. Closure and segmentation: endings, medial proems, book divisions 531
  23. ‘Almost-episodes’ in Greek and Roman epic 565
  24. Aetiology and genealogy in ancient epic 609
  25. Epic catalogues 653
  26. Similes and comparisons in the epic tradition 727
  27. Artefact ekphrasis and narrative in epic poetry from Homer to Silius 773
  28. Indices 807
  29. Front Matter 2 I
  30. Contents V
  31. Part I: Battle scenes
  32. Battle scenes in ancient epic – a short introduction 3
  33. Arming scenes, war preparation, and spoils in ancient epic 13
  34. Simply the best? Epic aristeiai 39
  35. Single combat in ancient epic 77
  36. Mass combat in ancient epic 111
  37. Chain-combats in ancient epic 159
  38. Teichoscopies in classical and late antique epic 207
  39. Nyktomachies in Graeco-Roman epic 245
  40. Theomachy in Greek and Roman epic 283
  41. Naval battles in Greek and Roman epic 317
  42. River battles in Greek and Roman epic 355
  43. Flight, pursuit, breach of contract, and ceasefire in classical epic 391
  44. Epic games: structure and competition 409
  45. Death, wounds, and violence in ancient epic 447
  46. Death, ritual, and burial from Homer to the Flavians 483
  47. Indices 523
  48. Front Matter 3 I
  49. Contents V
  50. Part II: Journeys and related scenes
  51. Epic journeys and related scenes – a short introduction 3
  52. Arrival and reception scenes in the epic tradition from Homer to Silius 13
  53. Banquet scenes in ancient epic 55
  54. Scenes of departure by sea in the epic tradition from Homer to Silius 89
  55. Sea-storms in ancient epic 125
  56. Part III: Time
  57. Time in ancient epic – a short introduction 171
  58. Time in Greek epic 183
  59. ‘Time as such’: chronotopes and periphrases of time in Latin epic 215
  60. Part IV: Space
  61. An introduction to the concept of space in ancient epic 245
  62. Cities in ancient epic 261
  63. Landscapes in Greek epic 303
  64. Landscapes in Latin epic 325
  65. Mythical places in ancient epic 361
  66. Abodes of the gods in ancient epic 409
  67. Abodes of the dead in ancient epic 433
  68. Part V: Communication
  69. Principles of communication in Greek and Roman epic-a short introduction 471
  70. Messenger scenes in Greek epic 481
  71. Messenger scenes in Roman epic 501
  72. Dream scenes in ancient epic 563
  73. Prophecies in Greek epic 597
  74. Prophecies in Roman epic 615
  75. Apparition scenes in ancient epic 685
  76. Divine council scenes in ancient epic 719
  77. Necromancies in ancient epic 747
  78. Indices 799
  79. Front Matter 4 I
  80. Contents V
  81. The origin, tradition, and reinvention of epic structures – a short introduction 1
  82. Poetic form and narrative theme in early Greek and Akkadian epic 7
  83. The transformation of the epic genre in Late Antiquity 25
  84. Greek biblical epic: Nonnus’ Paraphrase and Eudocia’s Homerocentones 53
  85. Between imitation and transformation: the (un)conventional use of epic structures in the Latin biblical poetry of Late Antiquity 79
  86. Epic forms and structures in late antique Vergilian centos 135
  87. The tradition of epic poetry in Byzantine literature 175
  88. Medieval epicity and the deconstruction of classical epic 211
  89. Narrative structures in Neo-Latin epic from 1440 to 1500 257
  90. Narrative structures in Neo-Latin epic: 16th–19th century 301
  91. Experiments in digital publishing: creating a digital compendium 331
  92. Overview: Graeco-Roman epyllia and epics from Homer to Late Antiquity 349
  93. Core bibliography 357
  94. Indices 389
  95. List of contributors 417
https://doi.org/10.1515/9783110492590-031

Chapters in this book

  1. Frontmatter I
  2. Acknowledgements V
  3. Contents IX
  4. Introduction 1
  5. Part I: Theories of epic
  6. Ancient and modern theories of epic 25
  7. The narrative forms and mythological materials of classical epic 51
  8. Learning the epic formula 81
  9. Narratology and classical epic 99
  10. Epic and rhetoric 115
  11. Alexandrian book division and its reception in Greek and Roman epic 133
  12. Part II: Classification and genre
  13. Intergeneric influences and interactions 167
  14. History and myth in Graeco-Roman epic 193
  15. Didactic and epic: origins, continuity, and interactions 213
  16. Ovid’s Metamorphoses: the naughty boy of the Graeco-Roman epic tradition 275
  17. Epic fragments 317
  18. Narrative patterns and structural elements in Greek epyllia 357
  19. Epic structures in classical and post-classical Roman epyllia 443
  20. Part III: Core structures
  21. The invocation of the Muses and the plea for inspiration 489
  22. Closure and segmentation: endings, medial proems, book divisions 531
  23. ‘Almost-episodes’ in Greek and Roman epic 565
  24. Aetiology and genealogy in ancient epic 609
  25. Epic catalogues 653
  26. Similes and comparisons in the epic tradition 727
  27. Artefact ekphrasis and narrative in epic poetry from Homer to Silius 773
  28. Indices 807
  29. Front Matter 2 I
  30. Contents V
  31. Part I: Battle scenes
  32. Battle scenes in ancient epic – a short introduction 3
  33. Arming scenes, war preparation, and spoils in ancient epic 13
  34. Simply the best? Epic aristeiai 39
  35. Single combat in ancient epic 77
  36. Mass combat in ancient epic 111
  37. Chain-combats in ancient epic 159
  38. Teichoscopies in classical and late antique epic 207
  39. Nyktomachies in Graeco-Roman epic 245
  40. Theomachy in Greek and Roman epic 283
  41. Naval battles in Greek and Roman epic 317
  42. River battles in Greek and Roman epic 355
  43. Flight, pursuit, breach of contract, and ceasefire in classical epic 391
  44. Epic games: structure and competition 409
  45. Death, wounds, and violence in ancient epic 447
  46. Death, ritual, and burial from Homer to the Flavians 483
  47. Indices 523
  48. Front Matter 3 I
  49. Contents V
  50. Part II: Journeys and related scenes
  51. Epic journeys and related scenes – a short introduction 3
  52. Arrival and reception scenes in the epic tradition from Homer to Silius 13
  53. Banquet scenes in ancient epic 55
  54. Scenes of departure by sea in the epic tradition from Homer to Silius 89
  55. Sea-storms in ancient epic 125
  56. Part III: Time
  57. Time in ancient epic – a short introduction 171
  58. Time in Greek epic 183
  59. ‘Time as such’: chronotopes and periphrases of time in Latin epic 215
  60. Part IV: Space
  61. An introduction to the concept of space in ancient epic 245
  62. Cities in ancient epic 261
  63. Landscapes in Greek epic 303
  64. Landscapes in Latin epic 325
  65. Mythical places in ancient epic 361
  66. Abodes of the gods in ancient epic 409
  67. Abodes of the dead in ancient epic 433
  68. Part V: Communication
  69. Principles of communication in Greek and Roman epic-a short introduction 471
  70. Messenger scenes in Greek epic 481
  71. Messenger scenes in Roman epic 501
  72. Dream scenes in ancient epic 563
  73. Prophecies in Greek epic 597
  74. Prophecies in Roman epic 615
  75. Apparition scenes in ancient epic 685
  76. Divine council scenes in ancient epic 719
  77. Necromancies in ancient epic 747
  78. Indices 799
  79. Front Matter 4 I
  80. Contents V
  81. The origin, tradition, and reinvention of epic structures – a short introduction 1
  82. Poetic form and narrative theme in early Greek and Akkadian epic 7
  83. The transformation of the epic genre in Late Antiquity 25
  84. Greek biblical epic: Nonnus’ Paraphrase and Eudocia’s Homerocentones 53
  85. Between imitation and transformation: the (un)conventional use of epic structures in the Latin biblical poetry of Late Antiquity 79
  86. Epic forms and structures in late antique Vergilian centos 135
  87. The tradition of epic poetry in Byzantine literature 175
  88. Medieval epicity and the deconstruction of classical epic 211
  89. Narrative structures in Neo-Latin epic from 1440 to 1500 257
  90. Narrative structures in Neo-Latin epic: 16th–19th century 301
  91. Experiments in digital publishing: creating a digital compendium 331
  92. Overview: Graeco-Roman epyllia and epics from Homer to Late Antiquity 349
  93. Core bibliography 357
  94. Indices 389
  95. List of contributors 417
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