For some reason, the theme of the past two weeks in my life has been space and time, particularly the latter, so much so that it is perhaps better to name the theme “time and bodies”.
With respect to Athena, Hephaestus and Ares, I think that we ought to say that in some way Athena is to Hephaestus with respect to technology as She is to Ares with respect to war. That is, just as She embodies whatever it is about warfare that can be civilized or righteous, while Ares is concerned instead with the sheer physicality of combat, which brings Him naturally into proximity with Aphrodite's own, different carnality, so too, She brings technological innovation into the social domain from which Hephaestus tends rather to withdraw—and yet, there is an eros between Athena and Hephaestus, albeit one-sided, whereas between Athena and Ares there is a different sort of one-sided physicality, in that She incites Her devotee Diomedes to wounding both Ares and Aphrodite.
One thing that has been bothering me a bit is Hephaestus’ relationship with Aphrodite herself. Sometimes It seems like this trio might be better understood as a Quad.
The structure is interesting, one is almost tempted to try a diagram. Athena is one of those upon whom Aphrodite's power is prevented from acting directly, and Hephaestus' thwarted expression of His eros toward Athena seems to measure this zone of exclusion somehow. Hephaestus' association with the sea also evokes Aphrodite's pelagic character, the maritime gestation of Ouranos' seed being a kind of almost technological mediation—Greeks always emphasized the biological analogy of the salt sea churned to foam (compare, perhaps, the churning of the sea of milk in Hindu theology).
With respect to Athena, Hephaestus and Ares, I think that we ought to say that in some way Athena is to Hephaestus with respect to technology as She is to Ares with respect to war. That is, just as She embodies whatever it is about warfare that can be civilized or righteous, while Ares is concerned instead with the sheer physicality of combat, which brings Him naturally into proximity with Aphrodite's own, different carnality, so too, She brings technological innovation into the social domain from which Hephaestus tends rather to withdraw—and yet, there is an eros between Athena and Hephaestus, albeit one-sided, whereas between Athena and Ares there is a different sort of one-sided physicality, in that She incites Her devotee Diomedes to wounding both Ares and Aphrodite.
One thing that has been bothering me a bit is Hephaestus’ relationship with Aphrodite herself. Sometimes It seems like this trio might be better understood as a Quad.
The structure is interesting, one is almost tempted to try a diagram. Athena is one of those upon whom Aphrodite's power is prevented from acting directly, and Hephaestus' thwarted expression of His eros toward Athena seems to measure this zone of exclusion somehow. Hephaestus' association with the sea also evokes Aphrodite's pelagic character, the maritime gestation of Ouranos' seed being a kind of almost technological mediation—Greeks always emphasized the biological analogy of the salt sea churned to foam (compare, perhaps, the churning of the sea of milk in Hindu theology).
Ares then is the one who is able to finally bridge Aphrodite and Athena, since he is successful in romantic advances to both of them?
There's no romance between Ares and Athena, you must be confused.
Thanks. I must be mixing it up with something else.