In the Hymn to Demeter, Demeter, the goddess of fertility, and her daughter the self, about the mother-daughter relationship is produced and reproduced in. If, however, we take into account Hyvrard's idea of the mother- daughter relationship as one Gaia, Rhea, and Demeter are all associated with the earth. represents the mother-daughter relation: that of Persephone, abducted from her [Demeter] veut dire aussi les epis murs, la moisson sur pied et meme le pain' (C 39). my marriage. My adaptation of the Demeter-Persephone myth holds practice implications for social marriage, family, and the mother-daughter bond to guard against the reductionism that equates. “women‟s . Lowinsky quotes Adrienne.
However, because its Zeus no one expects any better. Hades is not the worst guy in Greek mythology. Which is both not saying a lot and saying a lot. Hades, compared to his brothers, cousins, nephews, etc. He just sits in the Underworld enjoys his wealth and all his subjects. In addition to not being malicious towards people, he also is one of the few deities to not cheat on their spouse, although some have tried R.
Still, that does not erase the fact that he violently kidnapped Persephone in an action that could easily be seen as traumatic.
Fidelity can only get you so far. However, in every version of the story, Hades kidnaps her—violently, and that is abusive, even if she forgives him for it.
For one, Persephone was kind of a big deal. The Eleusinian Mysterie s were one of the biggest and most well known secret religious rites of ancient Greece, which initiated people into the Cult of Demeter and Persephone.
For Real Friday: Demeter the Helicopter Parent
Not to mention the image of Persephone being taken by Hades is also viewed as the male gods taking power away from older, female deities. She is tied to her mother completely and there is a sense that Demeter would want to keep her in perpetual childhood.
Persephone, as we know her in Greek myth, does not exist until she becomes Queen of the Underworld.Lana Del Rey and the Myth of Persephone ✼ Born to Die
Persephone comes into herself as a woman and as queen through this story and instead of framing it as a violation on top of a violation, there is a desire to transform Persephone into more than just a victim.
Allowing Persephone to take control of her own destiny is a better ending to that story than her just being tricked. Why did Jocasta have to be killed off? What if she denied the prophecy because she knew the truth but did not wish to relinquish her desire? All that matters is that this destructive figure be silenced so that order can be reestablished.
The Cultural Reinvention of Persephone | The Mary Sue
The second myth whose archetypes have informed our thinking is that of Electra, daughter of Clytemnestra and Agamemnon and sister of Iphigenia and Orestes. Further, it is her brother Orestes, not Electra, who kills Clytemnestra, so that order can be restored — Electra exercises no agency here.
What has most troubled critics in this story, however, is that the mother-daughter relationship is, by definition, one of hatred and misunderstanding: Nowhere in the stories of Oedipus and Electra is there a maternal legacy of life, happiness, or efficacy. These critics draw on a third, much less often cited myth, one that has been crucial to current re-interpretations of female development. I am referring to the story of Demeter and Persephone.
- Demeter and Persephone: A Mother-Daughter Tale of Spiritual Evolution
In the Hymn to Demeter, Demeter, the goddess of fertility, and her daughter Persephone, enjoy a life of warmth and closeness together until Hades, the god of the underworld and brother of Zeus, erupts above ground. He abducts the adolescent girl and marries her. In the end, she crafts a compromise with Zeus in which Persephone is to spend two-thirds of the year with her mother and one-third with Hades.
First, this extra-ordinarily rich mother-daughter paradigm recognizes and expresses the robust full range of maternal emotions. Second, it presents a mother who is powerful and effective. Third, it gives precedence to the initial mother-daughter intimacy that is broken by the violent intervention of a man, Hades.
Fourth, it reunites mother and daughter who, at the end, maintain their closeness but are two different women with distinct identities. Finally, the principal structure of this story is a circle: I hope you see how useful this myth can be for rethinking the mother-daughter relation in our own lives, as well as in fiction.
Mothers & Daughters: The Myths We Live By
To give you a sampling of the many frameworks in which critics are currently working, I draw on three thinkers whose ideas I find especially illuminating. Irigaray rejects the traditional psychoanalytic model in which the foundational opposition between the masculine and the feminine — between self and other, between subject and object, between the paternal and the maternal — aligns the absent or passive term of the binary with the feminine.
To put this all another way: For that reason, says Irigaray, it is essential that women express their desire, thereby liberating this repressed voice. By writing and speaking fully as themselves, women will not only recognize maternal power, they will redefine relations between women, and between women and men, as life-affirming.
Mothers & Daughters: The Myths We Live By | Mount Holyoke College
One less well-known critic I would like to mention is the British sociologist Steph Lawler. To be a daughter? Throughout western history, women have been held responsible for the physical and emotional development of their offspring. For Lawler, to resist cultural prescriptions cannot be simply to reject current social codes governing female behavior.
When read through the prism of these re-visionings of motherhood and daughterhood, these fictions offer models of female strength and efficacy. In that way, they contest not only the enduring negative myths about women but also the constricting attitudes toward female development of the societies from which they arose.
Children were sent away to convents or pensions when young and did not return until the age of marriage. As a result, intimacy in families was rare. Except for some widows and artistic patrons, women generally did not function in the public realm from which written stories and histories arose.