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Additional resources for Aphrodite and Eros The Development of Erotic Mythology in Early Greek Poetry and Cult
E. sexuality within marriage. 46 This diverges from her factual role in the context of the Iliad where she, instead of fostering legitimate marriages, supports seduction and illicit affairs. In a passage towards the end of the Iliad (24,25-30), the only allusion to Paris’ judgement, Aphrodite is said to have brought to Paris μαχλοσύνη, “a grievous madness for sex” (Il. 50 Whereas myth illustrates Aphrodite within contexts of more adventurous sexual encounters, her role in cult often relates her to marriage and children.
Homer’s placing of Aphrodite on the battlefield may give an aetiology for armed portrayal of Aphrodite or her predecessor in cult in some regions and places, and Zeus’ reproach seems to draw attention to this. It is entirely consistent with Aphrodite’s image as goddess of love in the Iliad, when Zeus’ rebuke finally denies her association with weapons and war. 28 A mythical reflection of this relationship is attested as early as Hesiod (Theog. ), where they appear as a couple. 32 Pausanias (3,23,1) mentions that “the goddess herself is represented by an armed image of wood” (αὐτὴ δὲ ἡ θεὸϚ ξόανον ὡπλισμένον) on Cythera and at Corinth (2,5,1)—a place which also had affiliations with the East.
17 It has been argued by W. 18 Thus he emphasizes the apparently exclusively amusing character of epic narrative. However, the Homeric representation of Aphrodite is not merely the Greek version of an Oriental model. 19 Beyond its narrative function, it seems that the Homeric version of myths of Aphrodite also reflects the historical development of contemporary cult. The account of Diomedes wounding Aphrodite (Il. 5,311-430) demonstrates that the spheres of narrative and cult must not be considered separately, but as interlocking: Homeric mythologizing seems to comment on realities of cult.
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