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Theomachy in Greek and Roman epic

From the book Structures of Epic Poetry

  • T. J. Bolt

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.

© 2019 Walter de Gruyter GmbH, Berlin/Munich/Boston
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