Fateful Attraction

 

Alfred Gilbert - Eros 1893

"Love is Love" or so the slogan goes as if love were trivial, univalent, and self-explanatory. To the contrary, the phenomenon of human attraction remains shrouded in mystery and tangled in complexity. The mythology surrounding love surviving from antiquity is at once comforting, distressing, and paradoxical. Among the ancient Greeks "Eros" arose before the gods, that which emerged out of the primordial chaos; a force of attraction that brought the male and female elements together to generate the cosmos. Yet later Eros is described reborn as a product of that very creation, the progeny of Aphrodite, the embodiment of sexual union. Expanding upon the Greeks, the Roman Cupid becomes but one of the "Erotes", by one account a full sibling of Hermaphroditus, the offspring of Mercury (Hermes) and Venus (Aphrodite), characterised by a bisexuality manifest in the flesh.

Giovanni Maria Benzoni
Hector and Andromache 1871

In Classical antiquity Love was primarily understood as a compelling force of attraction. Nevertheless, it was not considered value neutral, rather Love was laden, pregnant with meaning, much of which was ambiguous. For example, Love was not equated with the "Good". There were certainly fatal attractions for mortal men that ended heroes lives in tragedy and destroyed entire families. The Iliad is perhaps the most prominent example of a devastating act of love, that of Paris of Troy for Helen of Sparta, that serves as the catalyst for war, massacre, and the fall of an entire civilisation. In the same account, the hero Hector's love for his city and his own honour trumps the love of his wife and young son, driving him towards a certain, brutal death. Such mythologised accounts contain fascinating themes quite relevant to contemporary society.

The Greek concept of Love expanded in Hellenistic times, being incorporated into philosophy and ultimately Christianity where it merged with Jewish conceptions. In Western culture we have been thus bequeathed an hierarchy of Loves. Eros, that sexual passionate attraction shared with the animals is often associated with the fallen condition of mankind and beyond its necessity for reproduction has been held to be of questionable virtue. Next there is Storge, described as a familial affection that is likely to exist between parents and offspring. Though not considered sexual in character it describes natural bonds that we see again displayed by animals, in fact a bond that we may even share with an animal such as a pet with whom there is mutual loyalty and affection. The aforementioned "lower" Loves are necessary for procreation and nurturing to maturity. The first of the "higher" loves Philo literally means something like fraternity or brotherly love; however, it can extend to a more general sense of companionship and friendship. It is a voluntary attraction capable of rational agents based on common interests. Nothing is needed from the other party, philo is a love for love's sake, an uniquely human thing. Finally, at the top of the pyramid of Love lies Agape. In Christianity it is considered the highest virtue, a principled love of God for his truth, beauty, and goodness. It is an active, willful love not a passionate one. I have to say there is something a bit disinterested, cold, removed about it. Agape is held as what we "ought" to do, our highest moral obligation. Although active participation in religious practise has waned in the West I would contend that culturally we still hold Love, if in an increasingly muddled understanding, as the highest moral virtue for human beings. If only the world had more love!

All in the Family

That sexual attraction can be generative is uncontroversial, it was after all the very basis for our own conception. Subsequently, another aspect of love makes itself manifest upon birth, motivating parents to nurture their children to maturity. Neither is this love unidirectional; children naturally form strong attractive bonds for their parents. However, there arises difficulties in loving someone. First, the intensity of attraction will not be reciprocal. An imbalance of love leads of feelings of guilt, betrayal, and abandonment. Secondly and very much related, there always exists competition for love. Sons will often vie for the affection of their mother with their father; daughters do the same with their mother or other siblings for the attention of their father. This common pattern of jealousy and resentment betrays a taboo sexual undercurrent to what we want to imagine is nothing more than a "Platonic" love within the family. There are but some of the limitations with loving someone in the flesh. As there's only so much of them to go around, love is destined at some point to go unrequited. That sexual attraction can be destructive is likewise uncontroversial.

Edouard Toudouze - Farewell of Oedipus to the Corpses of His Wife and Sons 1871

All you need is Love?

Where might all of that unrecompensed attraction get directed? Obviously, children do grow up and in the normal course of life tend to fall in love and repeat the aforementioned cycle. However, if only that powerful, motivating attractive force could be harnessed and redirected! If only the object of love could be separated from the constraints of flesh and bone and made communal, psychological, spiritual even. Then perhaps it could serve as a limitless reservoir for an infinite amount of people! Such untapped potential has not been lost on savvy minds. And so we've a plethora of institutions that stand as gateways to love of God, love of country, love of ideology, love of love itself.  

As a brief aside, I should reiterate that humans aren't entirely unique as animals share a limited capacity for love. They'll almost always defend themselves, sometimes they'll fight for their mate, more often than not they'll sacrifice themselves for their young. Yet, humans have exponentially more capacity for love than any other creature that exists. Our love includes all of the above yet extends to concepts that prompt us to give much of our lives over to beliefs, to the extreme that we're often willing to sacrifice the natural bonds of family for them in a way that other animals lack the ability to even consider. Ironically the key to redirecting our attractive force towards a concept is that it must rematerialise. We need an idol, an avatar recipient for our love to flow. The receiving vessel can be a candidate, a guru, a revolutionary, a god. They can be alive or dead, real or imagined. What matters is that we believe. 

Clearly, that intangible sentiment we call Love is very powerful; moreover, it's potentially quite dangerous. I'd advise a cautious approach in its handling: be careful towards what and upon whom you bestow your love.

Contributed by Patrick Webb

The Mythological Craftsman ― Part II, Classical Greece

Alexander Rothaug - The Three Fates

"Chaos was first of all, but next appeared broad-bosomed Earth, sure standing-place for all the Gods who live on snowy Olympus peak, and misty Tartarus, in a recess of broad-pathed earth and Love, most beautiful of all the deathless gods." ― Hesiod, Theogony

Quite different from the Christian conception of a God who creates the physical universe ex-nihilo (out of nothing) or the strikingly similar (some might say compatible) scientific theory of a Big Bang, the ancient Greek view held that matter is eternal, that it always existed. The primal state of matter was personified as Chaos, literally a chasm or abyss to indicate something infinite, shadowy, alive, and perhaps even conscious. A number of primal entities, powerful yet primitive deities were said to emerge from her into independent being. There was an initial bringing into an orderly arrangement of the unformed matter originating in Chaos by these primal entities. Notable among these figures are the Moirai or Fates, depicted as weavers who through their craft set limits thereby imposing a natural law and order that formalises a "cosmos" to which even the Titan and Olympian gods were subject.

The Demiurge

Constantin Hansen - Prometheus

It is into this existing cosmos that the Olympian gods make their debut. Chief among them is Zeus (Jupiter), also known as "Zeu pater" exalting his role as both father and pattern maker. Zeus was not a creator of things ex-nihilo, instead he was depicted as an artificer of existing material that continued the project of increasing physical order in the cosmos as well as in human activity through law and justice. Plato in the Timaeus describes this activity as the work of the "demiurge", literally meaning a working man or craftsman. The later neoplatonist philosopher Plotinus directly identifies this demiurge fashioner of the world with Zeus. At times Zeus' interventions were direct; however, more commonly he would command other gods and titans to do his bidding. A preeminent example of this is the creation or fashioning of men and women.

William Bouguereau

Pandore

Zeus had commanded the titan brothers Prometheus and Epimethus to fashion mortal creatures to fill the earth. Epimethus took the lead with the animals whereas Prometheus held a particular interest in man whom he sculpted in his own image out of a mixture of elements of the very earth, smoothing the contours with his own tears. His handiwork complete, Prometheus called upon Athena to animate the clay so that it became a living man. Prometheus was very proud of and jealous for mankind, famously stealing the divine fire from Zeus on their behalf. Furthermore, he raided the workshops of Hephaistos and Athena to supply man with all the tools for craftsmanship. Displeased with Prometheus' actions, Zeus subsequently commanded Hephaistos to fashion woman which he sculpted from the earth following Promethus' example. Once again, Athena breathed life into her; the Olympians in turn all provided her with a parting gift, hence her name "Pandora" meaning many gifts. Thus both man and woman are presented in Greek myth as artefacts, crafted objects made by and separate from the divine.

Gods of Craft

"As when a man adds gold to a silver vessel, a craftsman taught by Hephaistos and Athena to master his art through all its range, so that everything that he makes is beautiful." ― Homer, The Odyssey

Theodoor van Thulden

The Forge of Vulcan

All of the Olympians at one time or another are shown to be capable craftsmen and artists, reflective of the value placed on craft and the respect accorded the craftsman in ancient Greece. Nevertheless, Hephaistos and Athena are particularly renown for both their skill as well as their generosity with mankind. Hephaistos was considered primarily as a metalsmith of bronze; his eternal forge located within Mount Etna. Additionally, the arts of carpentry and stonework are likewise credited to him. Hephaistos was a lover of philosophy and the arts that helped to civilise mankind by bringing him forth from the cave, equipping him for a societal life in houses of his own construction.

Athena was likewise known by the title "Ergane", meaning "worker" thereby highlighting her role as mistress and patron of architecture, the arts and crafts. She was particularly skilled in weaving, an echo of the Moirai who weave the very cosmos. Likewise she held great expertise in carpentry, instructing a number of men in shipbuilding and famously in the building of the wooden horse that led to Greek victory in the Trojan war. Athena was quite generous with her skills and had the reputation of being the most personal of the gods with mankind, always seeking their enculturation and betterment. Though a virgin goddess, she was the one to endow life to the first man and woman and thus has been rightly construed as a mother figure who perhaps elides the sharp distinction between god and man. Naturally, she was the patron goddess of ancient Athens and the Parthenon dedicated to her was the centrepiece and crowning jewel of the acropolis temple complex.

The Heroic Craftsman

Frederic Leighton

Icarus and Daedalus 1869

The Parthenon is widely acknowledged as among the mostly finely crafted buildings in human history as contemporary restoration attempts are bearing out. It was constructed under the direction of Iktinos‎ and Callicrates, two architects each of whom quite literally was an arch (master) tektōn (craftsman) that is to say master masons. They were assisted by significant contributions of the great sculptor Phidias placed in charge of the carved decorations. The Athenian philosopher Socrates would have witnessed the erection of the Parthenon from start to finish in his lifetime. Socrates' father was a stone carver and he proudly claimed descent from the hero craftsman Daidalos so ultimately Hephaestus himself! Daidalos was by far the greatest craftsman of mythical antiquity credited with initiating the tradition of humanistic lifelike statuary. He was commissioned by King Minos of Crete to design the labyrinth containing the Minotaur who subsequently locked him up within so its secrets could not be revealed. Undaunted, Daidalos proceeded to fashion wings for he and his son Ikaros by which they make their escape, tragically so for Ikaros. Burying his grief, Daidalos continued on to Sicily where he constructed a temple to Apollo.

Unfortunately, this crowning zenith of admiration for the craftsman ensconced in religion, myth, and culture was not to endure in waning Classical Greek or for that matter Western civilisation. The craftsman possessing skills such as the tektōn or ergos were initially distinguished from the thetes (foreign day labourers) or dmoes (slaves and serfs). Yet, the distinction collapses a mere two generations later as Aristotle makes his case for why banausoi (a derogatory term for so-called vulgar artisans) should never be allowed citizenship: "Now we speak of several forms of slave; for the sorts of work are several. One sort is that done by menials: as the term indicates, these are persons who live by their hands; the vulgar artisan is among them...those who provide necessaries for an individual are slaves, and those who provide them for society are handicraftsmen." Aristotle further expounds on why craftsmen should be considered the very lowest form of subhuman, even below slaves as he offers his justificaiton: "For a slave shares his master’s life, whereas a vulgar craftsman is at a greater remove."

In our next essay in the series we'll explore Judaic cosmological foundation stories and biblical perspectives on the role and value of the craftsman.


Contributed by Patrick Webb