The many Epithets of Athena

Blogger URL http://lkkennelly.blogspot.com/

Page Contents

1 Who is Athena?
2 Creation
4 Polytheism
6 Anthropomorphism
8 Athena, Peisistratos and the Chariot
10 Athena and Athens
11 Bibliography

Post 1: Who is Athena?

Athena is known for her role as the goddess of war. She is motherless and
born ready to fight; ‘Zeus gave her birth, arrayed in arms of war.’1 She is
predominantly depicted in the warrior attire she emerged in, wearing her
helmet and carrying spear and shield. Alongside this warlike exterior, she
is also known for her weaving and crafts ability –Athena Ergane (worker)
- and her status as a virgin deity- Athena Parthenos (maiden) – among
other things. Her numerous epithets reflect that she, along with many
other deities, had a variety of roles and responsibilities.

In our modern version of religion, we think of gods as omnipotent,

superior. Christianity has one God; the divine creator and guide to
humanity who embodies all the personalities and duties of the Greek
pantheon- war, love, crafts, power, fertility. However, the Greek deities
were external to the world; ‘they did not create the cosmos or mankind
but were themselves created.’2 Scholars impress the importance of
distancing our preconceptions of religion when studying ancient
Greek religion as they simply do not apply. During a lecture we
considered this and listed what we associated with religion. Faith,
rules, conversion, redemption and fear of eternal damnation were
suggested, none of which were aspects of ancient Greek religion. Athena
Athenian Red figure on Amphora,
C6 BC, Antikenmuseen, Berlin

Zaidman wrote that the gods ‘were not omnipotent (…) but possessed limited powers and
areas of knowledge, they were themselves subject to fate.’3 Myths show Athena boasting
about her superior expertise at weaving and punishing those who dare challenge this fact,

1
Hesiod, translated by White-Evelyn, Hugh G, (2008) Theogony, USA: Digireads.com, 33.
2
Zaidman. B, (1992) Religion in the Ancient Greek City, UK: Cambridge University Press, 3.
3
Ibid.

1
Arachne4 for example, but she is by no means omnipotent, and in fact succumbs to fate when
Hephaistos’ attempted rape forces her to mother a child against her will.

I have chosen to focus this blog on Athena because she encompasses so many roles, but links
to and shares these roles with other gods. Through her I hope to learn more about the
changeable nature of deities in Greek mythology and gain a greater understanding of the
‘religion’ or ‘ta theia'-the things to do with the gods.

Post 2: Creation

‘At first Chaos came to be, but next wide-bosomed Earth, the ever-sure foundation of all.’5
Hesiod’s Theogony is the ancient Greek story of creation. Like the Book of Genesis, it
declares that in the beginning there was a void-Chaos, nothingness. However, Genesis
decrees that the spirit of God was in the void and became the creator of all, while Hesiod tells
of the creation of the gods themselves. This highlights one of the greatest differences between
Judaeo-Christian religion and the ancient Greek gods. God is the omnipotent, just, divine
ruler of humanity, whereas the Greek divinities shared power and were confined to certain
roles. They could fall victim to the powers of other gods, could be tricked, seduced and broke
the rules they set for humankind.
They also were fearful.
In the lecture on Zeus, we discussed his status as head of the pantheon. Was he king of the
gods or a tyrant? Was he confident or insecure?
Zeus only gained his status by overthrowing his father Kronos. Kronos in turn had gained
power through castrating his father Ouranos. Zeus feared being overthrown; when Athena
emerged bedecked in armour and wielding a spear, Zeus and Olympus dreaded what she
could do.
Athena’s significance in the ancient Greek pantheon is immediate. Rhea and Ouranous
prophesised that Zeus’s first wife Metis would bear a son that would overthrow him. Fearing
the prophecy and desperate to prevent it, he swallowed Metis whole whilst she was pregnant
with Athena. Athena was born anyway, armoured and encompassing her mother’s wisdom.
We could also view her as a representation of Zeus’s wisdom as she was born from his head.
Instead of the prophesised superior son, Athena was considered Zeus’ equal, an embodiment
of Zeus’s attributes; ‘she is like her father, with power that can dazzle the universe.’6
Related to the idea of a fearful Zeus, Gelpi wrote that Zeus’s actions towards Prometheus for
stealing fire and giving it to humankind seems like ‘the overreaction of a young and insecure
ruler’7 and also notes that in Prometheus Bound, Aeschylus stresses ‘Zeus’s tyrannical

4
Ovid, (c. 1st century AD) Arachne and Minerva, from Metamorphoses, Available from
http://www.perseus.tufts.edu/hopper/text?doc=Ov.+Met.+6&fromdoc=Perseus%3Atext%3A1999.02.0028
(accessed 19.10.11)
5 th
Hesiod, (c. 8 Century BC) Theogony. Available from:
http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0130%3Acard%3D104 (accessed
22.11.11.)
6
Deacy, Susan, (2008) Athena, UK: Routledge, 27.
Gelpi, B. C, (1992) Shelley’s Goddess: Maternity, Language, Subjectivity, UK: OUP, 139.
7

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 misuse of power.’8 If we associate insecurity with Zeus, perhaps it stems from his fear of a
divine rebellion and that leadership was not solely his. Aeschylus’s emphasis that Zeus
wrongly used his power to punish Prometheus could be read as Zeus cementing his position
as head of pantheon, showing his strength and warning possible insurgents that he is in
charge.
Interestingly, Athena is a virgin goddess; Athena Parthenos’s
(maiden) chastity satiates the fear of her producing the son that
could overthrow Zeus, although she does foster the child
Erichthonios – Hephaistos is unsuccessful in his rape attempt,
but his semen is wiped to the ground and Erichthonios is born.
The colossal statue of Athena Parthenos that stood in the
Parthenon venerated her virgin status, but also emphasised her
role as Athena Polias (of the city) protector of Athenians. She
held Nike (victory); ‘Indeed the two deities were sometimes
combined into a single figure, Athena Nike’9 which could
symbolise Athens’ success. Also, as can be seen in this image
of the ancient replica of Athena Parthenos, protected behind her
shield is a snake. Erichthonios was associated with serpents and
often depicted as half man, half snake.10 The hidden snake
Athena Parthenos could be seen as Athena Polias guarding her both child
C2 AD, Erichthonios and Athens.
National Archaeological Museum
of Athens ‘The maiden bright-eyed Tritogeneia, equal to her father in
strength and in wise understanding.’11

This quote from Theogony illustrates my earlier point; Athena was considered Zeus’s equal,
unlike any other in the Greek pantheon. But scholars disagree about why Athena was referred
as Tritogeneia. In fact, Cox wrote that ‘it is strange that this god (…) should have so far
disappeared from the memory of the Greeks as to leave them at a loss to account for the
epithet.’12 Not only do we not fully understand its meaning, but the ancient Greeks couldn’t
define it! Hesiod’s account of Athena’s birth story says that she emerged from Zeus’s head
on the banks of the river Trito. But Cox argues that this could have referred to more than one
place, so therefore every stream became the birth place of Athena.13 Another possible
meaning is that Tritogeneia comes from ‘Trito,’ the Aeolian word for ‘head,’14 relating to her
birth from Zeus. A popular translation is ‘third-born,’ referring to Zeus, Metis and herself.
Third born could also mean that she was Zeus’s third child. With what I now know about her

8
Ibid, 140.
9
Littleton, Scott, (2005) Gods, Goddesses, and Mythology, Volume 11, USA: Marshall Cavendish Corporation,
975.
10
Littleton, Scott, (2005) Gods, Goddesses, and Mythology, Volume 4, USA: Marshall Cavendish Corporation,
486.
11 th
Hesiod, (c. 8 Century BC) Theogony. Available from:
http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0130%3Acard%3D886 (accessed
22.11.11)
12
Cox, William, (1870) The Mythology of the Aryan Nations, Germany: Longman, Greens, 440.
13
Ibid.
14
Westmoreland, Perry, (2007) Ancient Greek Beliefs, USA: Lee and Vance Publishing and Co, 47.

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birthplace being one or every stream, ruled over by the sea god, and Pausanias's reference to
the Libyan legend - ‘the Goddess is the daughter of Poseidon and Lake Tritonis, and for this
reason has blue eyes like Poseidon' 15 - I suggest that perhaps the three involved are Athena,
Zeus and Poseidon, or even Zeus, Metis and Poseidon; three parents to create one goddess to
equal the power and wisdom of Zeus.

Post 3: Polytheism

Ancient Greek religion was not only compromised of a diverse pantheon, but of deities who
were diverse themselves. As I mentioned in my first post, Greek gods were external to
creation, yet could be found in every aspect of life. For example, Hestia was the goddess of
the hearth, but was also the hearth itself, and was present in every dwelling place. However,
she was also the protector of orphans and lost children and patroness of marriage.16 Mortals
attributed everything to the gods; fertility, protection, victory, war, hunting, craftsmanship-
with so many roles to fulfil gods had to take on numerous responsibilities and therefore had
numerous epithets to represent them.

Epithets also signified the personalities and circumstances of the gods.

Athena is Athena Parthenos-the maiden goddess. She maintains her chastity
and refuses men; similarly Hestia refused the proposals of Apollo and
Poseidon and Artemis was fiercely protective of her virginity, punishing
any who pursued her or even accidentally witnessed her naked form.17 A
woman’s duty in life was to marry, provide children and perform domestic
duties for the family, so the choice of these female deities is unusual. While
Hestia is still performing a feminine role by being in every home, Athena’s
duties are more masculine; she is Athena Polias (of the city) –the protector
of Athens, and Athena Promachos (champion) –the leader in war. This role
was highly important, and praised in ancient Greek literature:

Homeric Hymn 11: To Athena

‘With Pallas Athena, protectress of cities, my song begins,
With that fearsome goddess who cares with Ares for warlike works-
The sacking of cities, the scream of battle, the clash of the fray-
And also ensures the army’s safe parting and homeward return.
Farewell to you, goddess! Grant us success and prosperous life’.18

Athena Promachos.
Bronze, C480 BC,
Athens National Arch Museum

15
Pausanias, (c. 2nd Century AD) Description of Greece. Available from
http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0160%3Abook%3D1%3Achapter
%3D14%3Asection%3D6 (accessed 28.11.11)
16
Evslin, Bernard, (2006) Gods, Demigods and Demons, UK: I.B Taurus & Co Ltd, 94.
17
‘Artemis.’ Encyclopedia Mythica from Encyclopedia Mythica Online, Available from
http://www.pantheon.org/articles/a/artemis.html (accessed 17.11.11.)
18
Crudden, Michael, (2001) The Homeric Hymns, UK: Oxford University Press, 80.

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 This links to my next point; deities shared their roles. For
example, Athena and Demeter were both associated with
agriculture, and Athena and Poseidon with horsemanship. This
hymn refers to Ares, who is linked to Athena through war. Ares
is the fearsome god of war and, like Hestia, is the personification
of war itself. Associated with the ‘fury of battle,’19 he enjoys the
damage and suffering caused. Alternatively, Athena is the wise
goddess of war, and as seen in the Homeric hymn above, the
guardian of cities and fighters which alludes to a caring, more
feminine side of her personality. This side of Athena - the
maiden protector of men and of Athens- was worshipped in the
Athene and Ares Parthenon.
Attic Black figure on
Amphora,
C510-500,
Tampa Museum of Art

A note about the pictures included:

The first image is of a bronze statuette of Athena Promachos. It shows Athena in full armour
with her hand raised (she would have been wielding her spear) ready to defend Athens. This
statuette is a replica of Phidias’s great statue.
The second picture depicts Athena and Ares dressed for battle. Their bodies are mirrored,
representing their shared role. However, it is interesting to note that they are facing each
other as in myth Athena and Ares were often on different sides. Ares was often supporting
the losing side, with Athena triumphant – the favourite of Zeus and Athenians, she never lost,
and those who had her support would emerge victorious. Burkert and Raffen discuss the
contrast between the two deities in Homer’s Iliad and portray Athena as rather cruel in her
treatment of Ares; ‘she treats him even more shamefully in the Diomedes Aristeia’20 by
removing his armour and later wounding him. I don’t agree; instead I would argue she is
portrayed as cunning and obedient to her father, a crucial trait in women, whereas Ares is
foolish. He rushes into battle and when pitted against Athena he strikes her aegis-her
protective device- ineffectively. Athena is not acting cruelly, she is outwitting Ares.

19
Deacy, Susan and Alexandra Villing, eds, (2001) Athena in the Classical World, UK: Brill, 309.
20
Burkert, W. and J. Raffen, (1987) Greek Religion: Archaic and Classical, UK: Wiley-Blackwell, 169.

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Post 4: Anthropomorphism

The tendency to anthropomorphise gods throughout history is intriguing.

Why, when humanity looks to gods as superior beings, who provide guidance and an
explanation for existence, we envision them as human? Why do we limit their capabilities – if
we cannot do the things we rely on the gods for, how will they succeed?
Despite asking these questions, I consistently picture them in human form without really
thinking about why I am doing so. I’ve learnt that Athena and Ares are figureheads of war,
but are also war itself, and that Zeus’ true form is lightening, too powerful to be witnessed by
human eyes, as portrayed in the story of Semele in Apollodorus’s Library and Epitome.21 But
when I envisage these divine forces, I restrict them to a human form. I want to confront the
representation of these diverse divinities, and question why these gods – so powerful and
very much inhuman – are depicted in the same form as mortals. Perhaps it says less about the
gods themselves and more about humans who struggle to worship something so daunting and
other.

Athena's anthropomorphic portrayal is unusual. Unlike Zeus, whose supremacy and strength
is mirrored in his masculine human form, Athena is a female virgin, clad in armour. This
doesn’t fit the mortal female stereotype and highlights her difference from humanity. Athena
is not the docile, domestic woman, she’s formidable, Glaukopis. Glaukopis has been
translated in many ways, including darting/gleaming-eyed, grey/blue-eyed and owl-eyed.
Like Zeus’ eagle, the owl (the glaux-hence glaukopis being translated as owl-eyed) was
Athena’s key attribute. Athena was often depicted holding an owl, or manifesting as one and
they embodied the same qualities, for example wisdom. Athena Polymetis (wise in many
ways) absorbed the wisdom of Metis whilst inside Zeus. Even now, the owl is recognised as a
symbol of wisdom, and both Athena and the owl’s darting eyes suggest awareness and are
unnerving and potentially fearsome:

Homeric Hymn 28: To Athena

‘Golden, all-gleaming; every immortal was gripped with awe

(…)At the might of the bright-eyed goddess Olympus reeled.’22

21
Apollodorus, (c. 2th Century BC) Library and Epitome, found of Perseus Digital Library, available from
http://www.perseus.tufts.edu/hopper/text?doc=Perseus:text:1999.01.0022:text=Library:book=3:chapter=4&high
light=semele (accessed 19.11.11.)
22
Crudden, Micheal, (2001) The Homeric Hymns, UK: Oxford University Press, 88.

6
Athena is portrayed as powerful, awesome,
Glaukopis. This image is of an Athenian
Tetradrachm, depicting Athena on one side and
an owl on the other. In our lecture the
anthropomorphic image on this coin raised the
question ‘why is Athena ugly?’ Her features are
pronounced; her large nose and wide eyes could
be compared to the eyes and beak of her owl.
Perhaps the use of anthropomorphism to Athena Tetradrachm.
comprehend the gods goes further-animals are
used to understand individual traits. This is true Athens, approx 450 BC.
for other deities, for example, Hera is referred to British Museum
as Bo-Opis (Doe-eyed,) suggesting her femininity
and demure, modest nature.23 Perhaps what is construed as Athena’s ugliness in images like
this accurately reflects her attributes. As Athena Glaukopis, her gaze was formidable and
uncomfortable.24 The goddess of war was fearsome and intimidating.

As a maiden, she did not need to be beautiful. Llewellyn-Jones argues that ‘she takes no
pleasure in her own nudity; she is born clothed and armed and presumably only removes her
clothing for her first bath.’25 Although the body of the virgin is attractive to men, Athena’s
primary purpose was not as a sexualised goddess. However, that said, sexualisation of the
goddess did occur from the fourth century BC onward. Eithne, Quelin and I saw Immortals
directed by Tarsem Singh; a film based on the adventures of Theseus and the battle of the
gods to prevent the release of the titans. In this, the representation of Athena really struck me.
(Athena in Immortals: http://www.youtube.com/watch?v=sCFJ2HsD9sA) Obviously the
silver screen demands beautiful people, but at first we thought her to be Aphrodite; she was
delicate, blonde, feminine, wore none of her typical attire - the aegis, her armour - and was
dressed in provocative golden fabric instead. As she fights, her skin is on display, and in
particular her legs are revealed which links to a point raised by Llewellyn-Jones regarding the
aforementioned rape by Hephaistos. He comments that as Athena tries to escape, she lifts her
skirt for ease; ‘it is this gesture that enables Hephaistos to ejaculate over (her) otherwise
decently covered leg.’26 Bare flesh is associated with sexuality, and the portrayal of Athena in
Immortals reflects this.

In contrast to my confusion over Athena's beauty, Ritter reflects on Aphrodite's warlike

appearance on Corinthian coins which concludes that 'the helmeted goddess could only be
Aphrodite.'27 As can be seen in all the images of Athena included in my blog, the helmet,
signifying readiness for war, is Athena's attribute. But Blomberg argues that the Corinthians
wouldn't choose Athena over their patron deity and that perhaps the helmet had different
associations in Corinth. As Athena's portrayal becomes more sexual in both ancient
representations and modern cinema, Aphrodite could potentially gain a more masculine
dimension through Corinthian coinage.

23
Deacy, Susan, (2008) Athena, UK: Routledge, 84.
24
Morrison, Lesley, (2011) The Healing Wisdom of Birds: An everyday guide to their spiritual songs and
symbolism, USA: Llewellyn Worldwide, 14.
25
Deacy, Susan and Alexandra Villing, eds, (2001) Athena in the Classical World, Leiden: Brill, 247.
26
Ibid, 257.
27
Ritter, S. in Deacy, Susan and Alexandra Villing, eds, (2001) Athena in the Classical World, Leiden: Brill, 144.

7
In Greek myth, the presence of gods was usually kept hidden from mortals; they were
dangerous, formidable, and indeed other. Anthropomorphising deities made them familiar,
easier to understand. As I mentioned, humanity fears that which is unknown and different so
making the gods appear human made them more accessible. Quoting De Visser, Buxton
wrote in his study of Greek metamorphosis that ‘nowhere did anthropomorphism achieve a
greater state of completion than among the Greeks.’28 Images of the deities in human form
are distinguishable to us and would have been recognisable in ancient Greece through
clothing and facial features. Furthermore, not only were these human forms depicted on vase
paintings, but also on currency, in the same way we have our leaders and monarchs. I agree
with De Visser – anthropomorphic images of the gods were as important as the gods
themselves, and worshipped as such.

Lefkowitz wrote that ‘many Greeks traced their own families back to a god or hero.’29 For
example, Spartans believed they were directly descended from the demigod Heracles. In
Christianity, Jesus was the human son of God. Anthropomorphic deities are convenient-they
look human so can therefore be the parent of a human child.

Whilst considering the importance of anthropomorphic depictions, I can’t help

but liken Zeus to the Judaeo-Christian God. Zeus, head of the pantheon can
manifest in various ways but is frequently depicted as a man. God is
omnipotent, the sole ruler and the creator of the universe but is restricted to the
normality of the human form and worshipped in this state. Conjure an image of
an older man; strong, bearded, robed, deep voice. Is this God, Zeus, or is it
both? Ancient Greek statues depict this image, the Romans took elements from
it and in turn Christianity developed; the gods remained similar.

Zeus
Marble, n.d, Altes
Museum, Berlin

God
Michelangelo,
Sistine Chapel, Vatican City
1508-1512

Post 5: Athena, Peisistratos and the Chariot

Greek deities consistently crossed the boundary between gods and mortals; they manifested
in different forms, including human, to ensure justice and satisfy their desires. We picture the
ancient Greek people as respectful and god-fearing, and they were. However some, such as
the tyrant Peisistratos, breached this fragile boundary and used the image of a deity for his
own benefit. But is it significant? Herodotus describes the tyrant Peisistratos riding into
Athens on a chariot, accompanied by a woman named Phye who was dressed as Athena, the

28
Buxton, R.G.A, (2009) Forms of Astonishment: Greeks Myths of Metamorphosis, UK: Oxford University
Press, 189.
29
Lefkowitz, Mary, (2003) Greek Gods, Human Lives, USA: Yale University Press, 31.

8
city’s patron deity.30 He appears disbelieving that the pious Athenians would be tricked but in
class we suggested that perhaps they were not duped but willing participants in Phye’s
elevation to divine status. I want to look at the significance of the chariot in relation to
mortals crossing this boundary.
Athena Hippia (goddess of the horse), and sometimes her son Erichthonios31, are credited
with inventing the chariot and harnessing Poseidon’s horses to enable their use by humanity.
However, due to Greece’s rocky terrain, chariots were rarely used in war.32 Instead they were
important in weddings, funerals and processions. After being welcomed back into power,
Peisistratos reorganised the Panathenaia to include music, games and a chariot race.33 The
inclusion of chariots alludes to Peisistratos’s return; Fredal suggests that the Panathenaic
procession became ‘a re-enactment of the tyrant’s triumphant march (…) and thus an annual
endorsement of Peisistrastid rule.’34 The procession could also be considered a renewal of the
bond between Peisistratos and Athena.
Through my studies, I’m realising that the links between Athena and Poseidon are prevalent.
As I said, Poseidon was the father of horses;35 Pausanias wrote about a shared altar for the
deities at a place named the Hill of Horses.36 They also competed to become the patron deity
of Athens. Furthermore, as I discussed in my ‘Creation’ post when looking at Athena
Tritogeneia, some myths place Poseidon as Athena’s father. Souidas notes that the deities
share the Hippios/Hippia epithet, and wrote ‘she was the daughter of Poseidon and Polyphe
(…) she was called Hippeia from having first constructed a chariot (…) the war-cart, like
poseidon, passed from Libye in to Greece.’37
In ancient Greece, chariots elevated the rider above ordinary mortals; departing warriors and
valiant heroes became godlike. This picture shows Athena taking Heracles to heaven in her
chariot after his apotheosis. After being exiled, Peisistratos wanted to win back the support of
the Athenians. By riding in the chariot with Athena the vehicle creator and patron of Heroes,
he echoes Heracles’ and his ascent to heaven and he asserts himself as superior to normal
mortals; he transcends the divine/mortal boundary and he too becomes godlike.

30
Herodotus. (c. 5th Century BC) The Histories, Available from:
http://www.perseus.tufts.edu/hopper/text?doc=Hdt.+1.60.4&fromdoc=Perseus%3Atext%3A1999.01.0126
(accessed 30.11.11.)
31
Neils, Jenifer, (1996) Worshipping Athena: Panathenaia and Parthenon, USA: University of Wisconsin, 61.
32
Pritchett, W. K, (1974) The Greek State at War, Volume 4, USA: University of California Press, 14.
33
Deacy, S in Ogden, D, (2010) A companion to Greek Religion, UK: John Wiley and Sons, 230
34
Fredal, James, (2006) Rhetorical Action in Ancient Athens: Persuasive Artistry from Solon to Demosthenes,
USA: SIU Press, 98
35
Deacy, Susan, (2008) Athena, UK: Routledge, 48.
36
Pausanias, (c. 2nd Century AD) Description of Greece. Available from:
http://www.perseus.tufts.edu/hopper/text?doc=Paus.+1.30.4&fromdoc=Perseus%3Atext%3A1999.01.0160
(accessed 30.11.11.)
37
Brown, Robert, (2004) The Great Dionysiak Myth Part 1, USA: Kessinger Publishing, 423.

9
 Apotheosis of Heracles
Attic Red Figure on Pelike, c. 410BC
Antikensammlungen, Munich, Germany

Post 6: Athena and Athens

Who is Athena?
I asked this question at the start of this blog, thinking it would result in a clear, definite
answer. But what I discovered is that Athena cannot be summed up in a sentence. She is
masculine and feminine, the virgin warrior, Zeus’s single parented or ‘third born’ daughter,
ugly and sexual, the vengeful punisher and the leader of heroes. Athena is a contradiction;
she breaks social and gender specific boundaries, but is venerated as the patron and role
model of Athenian citizens.
With regard to Athena and Athens, their shared name illustrates a shared history; they can be
studied together in a way that other gods and cities cannot. I would argue that, despite being
largely considered an outsider to Greece38 and being widely venerated in other cities, for
example Athena Poliouchos (city protector) of Sparta, she was much more closely linked to
Athens than other places, and of more importance to Athens than other patrons to their cities.
Athens was unusual in Greece; it was monocentric – the Acropolis was the physical centre of
the city, and was both the political and religious centre. In comparison, Hera’s cult site in
Argos - the Argive Heraion – was situated on the outskirts of the city; religion and politics
was kept separate.
Eller reflects on Athena and Athens’ shared name, and links the myth of Athena

Contest between Athena and

Poseidon to become
Patron of Athens
West pediment of Parthenon,
440-432 BC

38
Farnell, L. R. (2010) The Cults of the Greek State, Volume 1, UK: Cambridge University Press, 268.

10
and Poseidon’s battle to be patron deity, referred to in my last post, with the notion of pre-
history matriarchal leadership, something we touched upon in class. Because of the vote of
one more woman, Athena was victorious. But Poseidon was furious and ‘Apollo
recommended that (…) to assuage Poseidon’s anger (…) men should take away women’s
right to vote, refuse to call them Athenians and stop the practice if naming children after their
mothers.’39 So the female goddess won over a male figure, but with her victory came the
oppression of mortal women. I called Athena the vengeful punisher and leader of heroes; this
can be seen throughout my blog – in my introduction I referred to the punishment of Arachne
for claiming to be more skilled at weaving than Athena, and in my last entry I included an
image of Athena guiding Heracles to heaven. Despite her own female victory over a male,
Athena punishes women and glorifies men.

So who is this changeable goddess? In my first entry for this blog, I talked about Zaidman’s
idea that the gods were creations, not creators. Athena was not an omniscient, perfect ruler of
the cosmos; she had humanlike flaws, is one of a collection of deities and was subject to fate.
I’ve mentioned that some myths and cultures consider her an outsider to Greece; Athena
Xenia (protector of strangers) is other, different and she protects those like her.40 Her
masculine roles further emphasise her otherness – she is Athena Ariea (of war), Promachos
(champion) and Eryma (defender.) She does not fit the Athenian stereotype, but as Athena
Parthenos (maiden), Athena Nike (victory) and Athena Polias (of the city) they venerated her
as she was.
Through my study of this complex goddess and her epithets in relation to topics arising from
my Ancient Greek Religion lectures, I have seen that her diverse nature encompasses more
than I originally thought, and through this diversity, she is intertwined with the myths, roles
and relationships of other deities; she is at the heart of Athenian culture and highly significant
in the Olympic Pantheon.

For an extensive list of Athena’s epithets, I have included a link to this website:
http://www.theoi.com/Cult/AthenaTitles.html

Bibliography

Ancient Sources

-Apollodorus, (c. 2th Century BC) Library and Epitome, found on Perseus Digital Library,
available from:
http://www.perseus.tufts.edu/hopper/text?doc=Perseus:text:1999.01.0022:text=Library:book=
3:chapter=4&highlight=semele (accessed 19.11.11.)

-Herodotus. (c. 5th Century BC) The Histories, Available from:

http://www.perseus.tufts.edu/hopper/text?doc=Hdt.+1.60.4&fromdoc=Perseus%3Atext%3A1
999.01.0126 (accessed 30.11.11.)
39
ibid.
40
Chrimes, K. M. T. (1949) Ancient Sparta: A Re-examination of the Evidence, UK: Manchester University Press,
155.

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-Hesiod, translated by White-Evelyn, Hugh G, (2008) Theogony, USA: Digireads.com.

-Hesiod, (c. 8th Century BC) Theogony. Available from:

http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0130%3Acard%
3D104 (accessed 22.11.11.)

- Homeric Hymns 11 and 28, in Crudden, Michael, (2001) The Homeric Hymns, UK: Oxford
University Press.

-Ovid. (c. 1st century AD) Arachne and Minerva, from Metamorphoses. Available from
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1999.02.0028 (accessed 19.10.11.)

-Pausanias, (c. 2nd Century AD) Description of Greece. Available from:

http://www.perseus.tufts.edu/hopper/text?doc=Paus.+1.30.4&fromdoc=Perseus%3Atext%3A
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Books

-Brown, Robert, (2004) The Great Dionysiak Myth Part 1, USA: Kessinger Publishing.

-Burkert, W. and J. Raffen, (1987) Greek Religion: Archaic and Classical, UK: Wiley-
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-Buxton, R.G.A, (2009) Forms of Astonishment: Greeks Myths of Metamorphosis, UK:

Oxford University Press.

-Chrimes, K. M. T. (1949) Ancient Sparta: A Re-examination of the Evidence, UK:

Manchester University Press.

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Press.

-Fredal, James, (2006) Rhetorical Action in Ancient Athens: Persuasive Artistry from Solon to
Demosthenes, USA: SIU Press.

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-Gelpi, B. C, (1992) Shelley’s Goddess: Maternity, Language, Subjectivity, UK: OUP.

-Neils, Jennifer, (1996) Worshipping Athena: Panathenaia and Parthenon, USA: University
of Wisconsin Press.

-Lefkowitz, Mary, (2003) Greek Gods, Human Lives, USA: Yale University Press.

-Littleton, Scott, (2005) Gods, Goddesses, and Mythology, Volume 4, USA: Marshall
Cavendish Corporation.

-Littleton, Scott. (2005) Gods, Goddesses, and Mythology, Volume 11, USA: Marshall
Cavendish Corporation.

-Morrison, Lesley, (2011) The Healing Wisdom of Birds: An everyday guide to their spiritual
songs and symbolism, USA: Llewellyn Worldwide.

-Pritchett, W. K, (1974) The Greek State at War, Volume 4, USA: University of California
Press.

-Westmoreland, Perry, (2007) Ancient Greek Beliefs, USA: Lee and Vance Publishing and
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-Zaidman. B, (1992) Religion in the Ancient Greek City. UK: Cambridge University Press.

Websites

-‘Artemis.’ Encyclopedia Mythica from Encyclopedia Mythica Online, Available from

http://www.pantheon.org/articles/a/artemis.html (accessed 17.11.11.)

- http://www.theoi.com (accessed 20.11.11.)

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