Zeus

“He was a sky god, associated with wind, rain, thunder, and lightning, and was the master of spiritual phenomena, since it was the spirit realm that was signified by the sky and the manifestations of the weather. He was a carrier of justice and judgment, an embodiment of law and the punisher of transgression of the law, accomplished by the hurling of the thunderbolt. He was the personification of creative energy, which constantly spilled out and had an unceasing urge to impregnate, hence his perpetual love affairs.” Edward Edinger, The Eternal Drama: The Inner Meaning of Greek Mythology

In Edinger’s description of Zeus, we see the image of a powerful masculine ruler of the heavens. Although Zeus is still one of many gods, he is both leader and creator of the pantheon. And just as importantly, we see Zeus’ engagements with his wife, Hera, not as his compliment, but as a shadowy cohort. And although Zeus and Hera are said to be married, the relationship seems less relational and more pro-generative. Zeus is much less interested in a relationship with Hera, but rather a preoccupation with the power to endlessly create through the continual love affairs outside of his marriage. In the realm of the gods, we may see these creative urges as saying less about the familial, and more about the archetypal urge towards expansion through creative reproduction, or differentiating and articulating the One through the diversity of the Many.

Edinger’s own words, in which he declares Zeus as he who “…comes closest of all the members of the Pantheon to embodying the whole Self,” we see an obvious bias, still with us today, towards a preference for a more masculine style of consciousness. Hera, on the other hand, as the feminine divine, is somehow a necessary accomplice and more of a saturnine threat of imprisonment that spurs on Zeus’ impulse for freedom. If the stories of the gods are expressions of particular styles of consciousness, we are glimpsing the ways in which Western civilization values the initiatory force of masculine power, while reducing the value of the feminine, as that which induces fear in the masculine, of time-bound constraint, and the threat of limitation. Is then, the masculine impulse a prerequisite for creative action that requires an abandoned shadowy feminine? If so, is this dynamic the springboard from which Western Civilization arose?

We might pause here to remind ourselves when considering ideas about mythology to see them not so much as literal figures representing male and female, or even as ways to understand male and femaleness, but as powers of the psyche whose dynamics take hold of the cultural imagination and live through us, sanctified, although sometimes shadowy collective influences. As dynamics, these traits persist, even where individuals themselves may more or less incorporate them within a particular lifetime.

“There are long lists of the lovers of Zeus, and by and large they had an unhappy time of it. Hera, personifying the feminine embodiment of the Self, was fiercely opposed to these dalliances, and would often punish Zeus’ lovers. For example, Zeus fell in love with the beautiful Io and then turned her into a white cow so that she could escape Hera’s detection. This ruse failed and Hera set gadflies after her which, stinging, pursued her around the world.”

Edinger, Edward F.. The Eternal Drama: The Inner Meaning of Greek Mythology

Rather than the separate dynamics of masculine and feminine, aren’t we though, seeing a syzygy  within the relationship between Zeus and Hera? And, in what ways do these dynamics reassemble within our own modes of modern day consciousness? Although there’s no denying that the archetypes play out between actual men and women, and that men and women are afforded different degrees of power by virtue of their physical nature and social-political norms, can we also see the ways in which all of us have inherited a portion of Zeus’ quest for power, and Hera’s jealous ploys to address or balance the excess? For if as Jung states, the gods have become diseases, surely this syzygy is one of them! The more a Zeus-like excess threatens to destroy the world as we know it, the more outrageous the response of Hera’s house-holding economics becomes.

Where Edinger sees Zeus as the bold exhort of creativity, bringing the endless gifts of light and expanding consciousness, perhaps through the shadowy side of that light we see an insatiable desire for power accompanied by a complete disregard for consequences, desperately in need of Hera’s restraint. Does he then, not attempt to appease her with the riches of the household and all the distraction and substitution for feminine creativity it might contain?

Hera

“There are long lists of the lovers of Zeus, and by and large they had an unhappy time of it. Hera, personifying the feminine embodiment of the Self, was fiercely opposed to these dalliances, and would often punish Zeus’ lovers.” Edward Edinger

Within the syzygy, isn’t this just a little too lopsided a view of Hera’s role? While she remains that which shadows Zeus, the syzygy is deprived of the feminine aspect of creative urges. Perhaps we see in Hera the opportunity to imagine the qualities of a divine feminine as that embodiment of containment and restriction necessary for the creative powers of Zeus to be of actual service. But as the keeper of the household, amassing possessions to appease her, we see only opportunity missed.

It bears noting that if we are in the midst of an era of a lopsided patriarchal power, and that power has become the exploitative grandiosity of “too much of a good thing” that underlies so much of what is going wrong, the story of Zeus and Hera might help us to see in what ways Hera’s feminine resistance is not only missing, but could be a necessary correction. And how interesting it might be to see Hera’s plea as the desire for a more relational mode of being. It might help us too, to train the eyes for images of the masculine and feminine in syzygy that do appear in a relational dynamic in which excess and constraint are bound together, reflecting the necessity for each other.

In James Hillman’s, Mythic Figures, he echoes Edinger’s idea of the necessity for Zeus to go off on his heroic quest of never-ending expansion. Although Hillman is looking the phenomenon straight in the eye, he doesn’t apply the myth to our current cultural mess.

If we don’t know the myths, we don’t understand what fantasies we have when we go into a union. When we go into the bedroom we don’t know which myth we are enacting. He goes into the cave with the fantasy of a child of Venus. For him this is a pleasurable, delightful experience. But she is under the guidance of Juno. She goes in with the marriage fantasy of deep coupling. Soon after he gets a message from Hermes that he must get on with his job which is to go found Rome, and so he sets sail. She’s absolutely destroyed. Desertion, betrayal. For him it’s not a betrayal because he came with a different fantasy. For her, it is a radical violation of the laws of the universe, the very Queen of Heaven. And she never forgives him, because she appears in the Underworld still enraged, embittered forever.

Hillman, James. Mythic Figures. Spring Publications, Inc.. Kindle Edition.

He does goes on to imply that Hera might find consolation through domestication in the care and maintenance of the household which has become her domain; a place where she can invest her powers as an “upholder of civilization,” but where her creative impulse remains outwardly directed inside the house.

Society is intimately connected in Hera to the psyche and to biological laws. In that way she is the upholder of civilization, of providing the homestead, the economy, the household, the domestication, the husbandry of civilization, so that marriage becomes something dedicated to service to principles higher than personal happiness. The house stands for both civil society and my personal property.

Hillman, James. Mythic Figures. Spring Publications, Inc.. Kindle Edition.

Where Zeus and Hera provide an archetypal background for both marriage and economy as the primary structures that uphold Western Civilization, we can perhaps begin to recognize the correlative loss of the riches once known through pagan and tribal cultures, where, although the creative impulse may never have given us the bounty that the West provided, but provided a more direct experience of the divine in its rituals and recognition of the value of the collective. Through Zeus, Hera and much of the mythology of the Greek pantheon, we get a glimpse of what truly distinguishes us, but also of what ultimately keeps us heroically driven, outwardly expanding, inwardly impoverished, all in response to the creative impulse gone wildly independent and outside of relationship. Perhaps there is a middle way that could flourish if we survive the current tests of our time.