F-4 Phantom by Frank B. Mormillo

By Frank B. Mormillo

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168 Theseus alludes later to the natural cycle of growth and harvest (205–7), echoing the traditional sentiment (Od. 109–14) that a land governed with justice brings forth abundant crops. However, the arrival and supplication of the mothers of the dead interrupt Aethra’s generative ritual. 170 In the process, we hear of various ways that humans bring forth and cut down, replacing the natural regenerative cycle with ongoing destruction. Theseus ridicules the Theban refusal to bury the dead out of fear that “those covered in the earth / will somehow dig up your land; or that the earth’s dark womb / will bear children, and with them vengeance” (544–46).

In a canceled entry Aethra stands at Demeter’s altar, surrounded by the women of the Chorus who plead for help in recovering the corpses of their unburied sons. The temple background, orchestra altar, and verbal description establish that we are at Eleusis, where Aethra has come to celebrate the Proerosia, an Athenian ritual for the fall plowing. The women “bind” Aethra with suppliant wands, where she remains “imprisoned” (31– 32) at the altar until “freed” (364), at which point the play cuts loose from Eleusis.

164 Moving between Olympian sky and a hero’s earth is the goddess Demeter, whose altar at Eleusis plays a prominent role early in the play. In the Hymn to 32 INTRODUCTION Demeter, she appears at Eleusis both in divine and human form, challenging Zeus and the male gods who allowed Hades to abduct her daughter. Using her power over the earth to withhold its vegetation, Demeter frees Persephone from the underworld and reverses (for two-thirds of the year) the virilocal pattern of her marriage to Hades.

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