Helen and Menelaus: Menelaus intends to strike Helen; struck by her beauty, he drops his sword. A flying
Eros and
Aphrodite (on the left) watch the scene. Detail of an Attic
red-figure krater, c. 450–440 BC (
Paris,
Louvre)
In Greek mythology, Helen of Troy (in Greek, Ἑλένη, Helénē), also known as Helen of Sparta, was the daughter of Zeus and Leda (or Nemesis), step-daughter of King Tyndareus, wife of Menelaus and sister of Castor, Polydeuces and Clytemnestra. Her abduction by Paris brought about the Trojan War.
The etymology of Helen's name has been a problem to scholars until the present. Georg Curtius related Helen (Ἑλένη) to the moon (Selene Σελήνη). Émile Boisacq considered Ἑλένη from the noun ἑλένη meaning "torch".[1] It has also been suggested that the λ of Ἑλένη arose from an original ν, and thus the etymology of the name is connected with the root of Venus. Linda Lee Clader, however, says that none of the above suggestions offers much satisfaction.[2]
If the name has an Indo-European etymology, it is possibly a suffixed form of a root *wel- "to turn, roll",[3] or of *sel- "to flow, run".[4] The latter possibility would allow comparison to the Vedic Sanskrit Saraṇyū, a character who is abducted in Rigveda 10.17.2. This parallel is suggestive of a Proto-Indo-European abduction myth. Saraṇyū means "swift" and is derived from the adjective saraṇa ("running", "swift"), the feminine of which is saraṇā; this is in every sound cognate with Ἑλένα, the form of her name that has no initial digamma.[5] The possible connection of Helen's name to ἑλένη ("torch"), as noted above, may also support the relationship of her name to Vedic svaranā ("the shining one").[6][7]
Map of the Homeric Greece; Menelaus and Helen reign over Laconia.
The origins of Helen's myth date back to the Mycenaean age.[8] The first record of her name appears in the poems of Homer, but scholars assume that such myths invented or received by the Mycenaean Greeks made their way to Homer. Her mythological birthplace was the Sparta of the Age of Heroes, which features prominently in the canon of Greek myth: in later ancient Greek memory, the Mycenaean Bronze Age became the age of the Greek heroes. The kings, queens, and heroes of the Trojan Cycle are often related to the gods, since mythic origins gave stature to the Greeks' heroic ancestors. The fall of Troy came to represent a fall from an illustrious heroic age, remembered for centuries in oral tradition before being written down.[9] Recent archaeological excavations in Greece suggest that modern-day Laconia was a distinct territory in the Late Bronze Age, while the poets narrate that it was a rich kingdom. Archaeologists have unsuccessfully looked for a Mycenaean palatial complex buried beneath present-day Sparta.[10] An important Mycenaean site at the Menelaion was destroyed by c. 1200 BC, and most other Mycenaean sites in Lakonia also disappear. There is a shrinkage from fifty sites to fifteen in the early twelfth century, and then to fewer in the eleventh century.[11]
Leda and the Swan by
Cesare da Sesto (c. 1506–1510,
Wilton). The artist has been intrigued by the idea of Helen's unconventional birth; she and Clytemnestra are shown emerging from one egg; Castor and Pollux from another.
In most sources, including the Iliad and the Odyssey, Helen is the daughter of Zeus and Leda, the wife of the Spartan king Tyndareus.[12] Euripides' play Helen, written in the late 5th century BC, is the earliest source to report the most familiar account of Helen's birth: that, although her putative father was Tyndareus, she was actually Zeus' daughter. In the form of a swan, the king of gods was chased by an eagle, and sought refuge with Leda. The swan gained her affection, and the two mated. Leda then produced an egg, from which Helen emerged.[13] The First Vatican Mythographer introduces the notion that two eggs came from the union: one containing Castor and Pollux; one with Helen and Clytemnestra. Nevertheless, the same author earlier states that Helen, Castor and Pollux were produced from a single egg.[14] Pseudo-Apollodorus states that Leda had intercourse with both Zeus and Tyndareus the night she conceived Helen.[15]
On the other hand, in the Cypria, one of the Cyclic Epics, Helen was the daughter of Zeus and the goddess Nemesis.[16] The date of the Cypria is uncertain, but it is generally thought to preserve traditions that date back to at least the 7th century BC. In the Cypria, Nemesis did not wish to mate with Zeus. She therefore changed shape into various animals as she attempted to flee Zeus, finally becoming a goose. Zeus also transformed himself into a goose and mated with Nemesis, who produced an egg from which Helen was born.[17] Presumably, in the Cypria, this egg was somehow transferred to Leda.[18] Later sources state either that it was brought to Leda by a shepherd who discovered it in a grove in Attica, or that it was dropped into her lap by Hermes.[19]
Asclepiades[disambiguation needed 
] and Pseudo-Eratosthenes related a similar story, except that Zeus and Nemesis became swans instead of geese.[20] Timothy Gantz has suggested that the tradition that Zeus came to Leda in the form of a swan derives from the version in which Zeus and Nemesis transformed into birds.[21]
Pausanias states that in the middle of the 2nd century AD, the remains of an egg-shell, tied up in ribbons, were still suspended from the roof of a temple on the Spartan acropolis. People believed that this was "the famous egg that legend says Leda brought forth". Pausanias traveled to Sparta to visit the sanctuary, dedicated to Hilaeira and Phoebe, in order to see the relic for himself.[22]
Theseus pursuing a woman, probably Helen. Side A from an Attic red-figure bell-krater, c. 440–430 BC (
Louvre, Paris).
Two Athenians, Theseus and Pirithous, thought that since they were both sons of Gods, both should have divine wives; they thus pledged to help each other abduct two daughters of Zeus. Theseus chose Helen, and Pirithous vowed to marry Persephone, the wife of Hades. Theseus took Helen and left her with his mother Aethra or his associate Aphidnus at Aphidnae or Athens. Theseus and Pirithous then traveled to the underworld, the domain of Hades, to kidnap Persephone. Hades pretended to offer them hospitality and set a feast, but, as soon as the pair sat down, snakes coiled around their feet and held them there. Helen's abduction caused an invasion of Athens by Castor and Pollux, who captured Aethra in revenge, and returned their sister to Sparta.[23]
In most accounts of this event, Helen was quite young; Hellanicus of Lesbos said she was seven years old and Diodorus makes her ten years old.[24] On the other hand, Stesichorus said that Iphigeneia was the daughter of Theseus and Helen, which obviously implies that Helen was of childbearing age.[25] In most sources, Iphigeneia is the daughter of Agamemnon and Clytemnestra, but Duris of Samos and other writers followed Stesichorus' account.[26]
Ovid's Heroides give us an idea of how ancient and, in particular, Roman authors imagined Helen in her youth: she is presented as a young princess wrestling naked in the palaestra; an image alluding to a part of girls' physical education in classical (and not in Mycenaean) Sparta. Sextus Propertius imagines Helen as a girl who practices arms and hunts with her brothers:[27]
[...] or like Helen, on the sands of Eurotas, between Castor and Pollux, one to be victor in boxing, the other with horses: with naked breasts she carried weapons, they say, and did not blush with her divine brothers there.
When it was time for Helen to marry, many kings and princes from around the world came to seek her hand, bringing rich gifts with them, or sent emissaries to do so on their behalf. During the contest, Castor and Pollux had a prominent role in dealing with the suitors, although the final decision was in the hands of Tyndareus.[28] Menelaus, her future husband, did not attend but sent his brother, Agamemnon, to represent him.
There are three available and not entirely consistent lists of suitors, compiled by Pseudo-Apollodorus (31 suitors), Hesiod (11 suitors), and Hyginus (36 suitors), for a total of 45 distinct names. There are only fragments from Hesiod's poem, so his list would have contained more. Achilles' absence from the lists is conspicuous, but Hesiod explains that he was too young to take part in the contest.[29] Taken together, the list of suitors matches well with the captains in the Catalog of Ships from the Iliad; however, some of the names may have been placed in the list of Helen's suitors simply because they went to Troy. It is not unlikely that relatives of a suitor may have joined the war.
Six Suitors listed in all three sources[30]
Nineteen Suitors listed by both Apollodorus and Hyginus
- Agapenor - Son of Ancaeus, King of Arcadia. Takes 60 ships of men to Troy. Returns home.
- Ajax (AKA Ajax the Lesser or Locrian Ajax) - Son of Oileus. Led 40 ships to Troy, drowned on the way home when Poseidon split the rock he was on.
- Amphimachus - Son of Cteatus. With Polyxenus and Thalpius, he led 40 ships from Elis to Troy. Killed by Hector.
- Antilochus - Son of Nestor. Went with his father and 90 ships to Troy. Killed in battle while protecting his father from Memnon.
- Ascalaphus - Son of Ares and King of Orchemenus. Led 30 ships to Troy. Killed in battle by Deiphobus.
- Diomedes - Son of Tydeus. Diomedes was one of the Epigoni and King of Argos. He led 80 ships to Troy. His wife took a lover and Diomedes lost his kingdom, so after the war he settled in Italy.
- Eumelus - Son of Admetus and King of Pherae. Led 11 ships to Troy.
- Eurypylus - Son of Euaemon. Led 40 ships from Thessaly to Troy.
- Leonteus - Son of Coronos. With Polypoetes he led 40 ships of the Lapiths to Troy.
- Machaon - Son of Asclepius, brother of Podalirius. An Argonaut and physician. Led 30 ships. Killed in battle by Eurypylus (the son of Telephus).
- Meges - Son of Phyleus. Led 40 ships to Troy.
- Patroclus - Son of Menoetius. His younger cousin Achilles went with him to Troy. Killed by Hector.
- Peneleus - Son of Hippalcimus. An Argonaut. He went with the Boetian force of 50 ships to Troy. Killed in battle by Eurypylus (the son of Telephus).
- Philoctetes - Son of Poeas. Led 7 ships from Thessaly to Troy, he was an archer and killed Paris.
- Podalirius - Son of Asclepius, brother of Machaon. A physician. After the war he founded a city in Caria.
- Polypoetes - Son of Pirithous. With Leonteus, he led 40 ships of the Lapiths to Troy.
- Polyxenus - Son of Agasthenes. With Amphimachus, and Thalpius, he led 40 ships from Elis to Troy.
- Sthenelus - Son of Capaneus. One of the Epigoni, he went with Diomedes to Troy.
- Thalpius - Son of Eurytus. With Amphimachus and Polyxenus, he led 40 ships from Elis to Troy.
One Suitor listed by Apollodorus and Hesiod
One Suitor listed by Hesiod and Hyginus
Three Suitors listed only by Hesiod
Ten Suitors listed only by Hyginus
Five Suitors listed only by Apollodorus
Tyndareus was afraid to select a husband for his daughter, or send any of the suitors away, for fear of offending them and giving grounds for a quarrel. Odysseus was one of the suitors, but had brought no gifts because he believed he had little chance to win the contest. He thus promised to solve the problem, if Tyndareus in turn would support him in his courting of Penelope, the daughter of Icarius. Tyndareus readily agreed, and Odysseus proposed that, before the decision was made, all the suitors should swear a most solemn oath to defend the chosen husband against whoever should quarrel with him. After the suitors had sworn not to retaliate, Menelaus was chosen to be Helen's husband. As a sign of the importance of the pact, Tyndareus sacrificed a horse.[31] Helen and Menelaus became rulers of Sparta, after Tyndareus abdicated.
The marriage of Helen and Menelaus marks the beginning of the end of the age of heroes. Concluding the catalog of Helen's suitors, Hesiod reports Zeus' plan to obliterate the race of men and the heroes in particular. The Trojan War, caused by Helen's elopement with Paris, is going to be his means to this end.[32]
El Juicio de Paris by
Enrique Simonet, c. 1904. This painting depicts Paris' judgement. He is inspecting Aphrodite, who is standing naked before him. Hera and Athena watch nearby.
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In western painting, Helen's journey to Troy is usually depicted as a forced abduction. The Rape of Helen by Francesco Primaticcio (left, c. 1530–1539, Bowes Museum) is representative of this tradition. In Guido Reni's homonymous painting (right, 1631, Louvre, Paris), however, Paris holds Helen by her wrist, and leave together for Troia. |
Some years later, Paris, a Trojan prince, came to Sparta to claim Helen, in the guise of a supposed diplomatic mission. Before this journey, Paris had been appointed by Zeus to judge the most beautiful goddess; Hera, Athena, or Aphrodite. In order to earn his favour, Aphrodite promised Paris the most beautiful woman in the world. Swayed by Aphrodite's offer, Paris chose her as the most beautiful of the goddesses, earning the wrath of Athena and Hera.
Although Helen is sometimes depicted as being raped by Paris, Ancient Greek sources are often elliptical and contradictory. Herodotus states that Helen was abducted, but the Cypria simply mentions that, after giving Helen gifts, "Aphrodite brings the Spartan queen together with the Prince of Troy."[33] Sappho argues that Helen willingly left behind Menelaus and Hermione, her nine-year-old daughter, to be with Paris:
- Some say a host of horsemen, others of infantry and others
- of ships, is the most beautiful thing on the dark earth
- but I say, it is what you love
- Full easy it is to make this understood of one and all: for
- she that far surpassed all mortals in beauty, Helen her
- most noble husband
- Deserted, and went sailing to Troy, with never a thought for
- her daughter and dear parents.[35]
Dio Chrysostom gives a completely different account of the story, questioning Homer's credibility: after Agamemnon had married Helen's sister, Klytaemnestra, Tyndareus sought Helen's hand for Menelaus on account of political reasons. However, Helen was sought by many suitors, who came from far and near, among them Paris who surpassed all the others and won the favor of Tyndareus and his sons. Thus he won her fairly and took her away to Troia, with the full consent of her natural protectors.[36] Cypria narrate that in just three days Paris and Helen reached Troy. Homer narrates that during a brief stop-over in the small island of Kranai, where, according to Iliad, the two lovers consummated their passion. On the other hand, Cypria note that this happened the night before they left Sparta.[37]
At least three Ancient Greek authors denied that Helen ever went to Troy; instead, they suggested, Helen stayed in Egypt during the duration of the Trojan War. Those three authors are Euripides, Stesichorus, and Herodotus.[38] In the version put forth by Euripides in his play Helen, Hera fashioned a likeness of Helen (eidolon, εἴδωλον) out of clouds at Zeus' request, Hermes took her to Egypt, and Helen never went to Troy, spending the entire war in Egypt. Eidolon is also present in Stesichorus' account, but not in Herodotus' rationalizing version of the myth.
Herodotus adds weight to the "Egyptian" version of events by putting forward his own evidence—he traveled to Egypt and interviewed the priests of the temple of (Foreign Aphrodite, ξείνης Ἀφροδίτης) at Memphis. According to these priests, Helen had arrived in Egypt shortly after leaving Sparta, because strong winds had blown Paris's ship off course. King Proteus of Egypt, appalled that Paris had seduced his host's wife and plundered his host's home in Sparta, disallowed Paris from taking Helen to Troy. Paris returned to Troy without a new bride, but the Greeks refused to believe that Helen was in Egypt and not within Troy's walls. Thus, Helen waited in Memphis for ten years, while the Greek and the Trojans fought. Following the conclusion of the Trojan War, Menelaus sailed to Memphis, where Proteus reunited him with Helen.[39]
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Helen on the Ramparts of Troy was a popular theme in the late 19th century art. Both Frederick Leighton (left), and Gustave Moreau (right) depict an expressionless Helen; a blank or anguished face.
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When he discovered that his wife was missing, Menelaus called upon all the other suitors to fulfill their oaths, thus beginning the Trojan War. The Greek fleet gathered in Aulis, but the ships could not sail, because there was no wind. Artemis was enraged with a sacrilegious act of the Greeks, and only the sacrifice of Agamemnon's daughter, Iphigenia, could appease her. In Euripides Iphigenia in Aulis, Clytemnestra, Iphigenia's mother and Helen's sister, begs her husband to reconsider his decision, calling Helen a "wicked woman". Clytemnestra (unsuccessfully) warns Agamemnon that sacrificing Iphigenia for Helen's sake is, "buying what we most detest with what we hold most dear".[40]
Before the opening of hostilities, the Greeks dispatched a delegation to the Trojans under Odysseus and Menelaus; they endeavored to persuade Priam to hand Helen back without success. A popular theme, The Request of Helen (Helenes Apaitesis, Ἑλένης Ἀπαίτησις) was the subject of a drama by Sophocles, now lost.[41]
Homer paints a poignant, lonely picture of Helen in Troy. She is filled with self-distaste and regret for what she has caused; by the end of the war, the Trojans have come to hate her. When Hector dies, she is the third mourner at his funeral, and she says that, of all the Trojans, Hector and Priam alone were always kind to her:[42]
- Wherefore I wail alike for thee and for my hapless self with grief at heart;
- for no longer have I anyone beside in broad Troy that is gentle to me or kind;
- but all men shudder at me.
The Love of Helen and Paris by
Jacques-Louis David (oil on canvas, 1788, Louvre, Paris); a love that soon faded, when Helen realized that Paris is not a man of courage and strong character.
These bitter words reveal that Helen gradually realized Paris' weaknesses, and she decided to ally herself with Hector. There is an affectionate relationship between the two of them, and Helen has harsh words to say for Paris, when she compares the two brothers:[43]
- Howbeit, seeing the gods thus ordained these ills, would that I had been wife to a better man,
- that could feel the indignation of his fellows and their many revilings. [...]
- But come now, enter in, and sit thee upon this chair, my brother,
- since above all others has trouble encompassed thy heart because of shameless me, and the folly of Alexander.
During the fall of Troy, Helen's role is ambiguous. In Virgil's Aeneid, Deiphobus gives an account of Helen's treacherous stance: when the Trojan Horse was admitted into the city, she feigned Bacchic rites, leading a chorus of Trojan women, and, holding a torch among them, she signaled to the Greeks from the city's central tower. In Odyssey, however, Homer narrates a different story: Helen circled the Horse three times, and she imitated the voices of the Greek women left behind at home—she thus tortured the men inside (including Odysseus and Menelaus) with the memory of their loved ones, and brought them to the brink of destruction.[44]
After the death of Hector and Paris, Helen became the paramour of their younger brother, Deiphobus; but when the sack of Troy began, she hid her new husband's sword, and left him to the mercy of Menelaus and Odysseus. In Aeneid, Aeneas meets the mutilated Deiphobus in Hades; his wounds serve as a testimony to his ignominious end, abetted by Helen's final act of treachery.[45]
However, Helen's portraits in Troy seem to contradict each other. From one side, we read about the treacherous Helen who simulated Bacchic rites and rejoiced over the carnage of Trojans. On the other hand, there is another Helen, lonely and helpless; desperate to find sanctuary, while Troy is on fire. Stesichorus narrates that both Greeks and Trojans gathered to stone her to death.[46] When Menelaus finally found her, he raised his sword to kill her. He had demanded that only he should slay his unfaithful wife; but, when he was ready to do so, she dropped her robe from her shoulders, and the sight of her beauty caused him to let the sword drop from his hand.[47] Electra wails:[48]
Alas for my troubles! Can it be that her beauty has blunted their swords?
Helen returned to Sparta and lived for a time with Menelaus, where she was encountered by Telemachus in The Odyssey. According to another version, used by Euripides in his play Orestes, Helen had long ago left the mortal world by then, having been taken up to Olympus almost immediately after Menelaus' return.
According to Pausanias the geographer (3.19.9–10): "The account of the Rhodians is different. They say that when Menelaus was dead, and Orestes still a wanderer, Helen was driven out by Nicostratus and Megapenthes and came to Rhodes, where she had a friend in Polyxo, the wife of Tlepolemus. For Polyxo, they say, was an Argive by descent, and when she was already married to Tlepolemus, shared his flight to Rhodes. At the time she was queen of the island, having been left with an orphan boy. They say that this Polyxo desired to avenge the death of Tlepolemus on Helen, now that she had her in her power. So she sent against her when she was bathing handmaidens dressed up as Furies, who seized Helen and hanged her on a tree, and for this reason the Rhodians have a sanctuary of Helen of the Tree."[49]
Tlepolemus was a son of Heracles and Astyoche. Astyoche was a daughter of Phylas, King of Ephyra who was killed by Heracles. Tlepolemus was killed by Sarpedon on the first day of fighting in the Iliad. Nicostratus was a son of Menelaus by his concubine Pieris, an Aetolian slave. Megapenthes was a son of Menelaus by his concubine Tereis, no further origin.
In Simonianism, it was taught that Helen of Troy was one of the incarnations of the Ennoia in human form.
Zeuxis et les Filles de Crotone (
François-André Vincent, 1789, Paris, Louvre). The scene tells the story of the painter Zeuxis who was commissioned to produce a picture of Helen for the temple of Hera at
Agrigentum,
Sicily. To realize his task, Zeuxis chose the five most beautiful maidens in the region.
[50]
From Antiquity, depicting Helen would be a remarkable challenge. The story of Zeuxis deals with this exact question: how would an artist immortalize ideal beauty?[51] He eventually selected the best features from five virgins. The ancient world starts to paint Helen's picture or inscribe her form on stone, clay and bronze by the 7th century BC.[52] Helen is frequently depicted on Athenian vases as being threatened by Menelaus and fleeing from him. This is not the case, however, in Laconic art: on an Archaic stele depicting Helen's recovery after the fall of Troy, Menelaus is armed with a sword but Helen faces him boldly, looking directly into his eyes; and in other works of Peloponnesian art, Helen is shown carrying a wreath, while Menelaus holds his sword aloft vertically. In contrast, on Athenian vases of c. 550–470, Menelaus threateningly points his sword at her.[53]
The abduction by Paris was another popular motive in ancient Greek vase-painting; definitely more popular than the kidnapping by Theseus. In a famous representation by the Athenian vase painter Makron, Helen follows Paris like a bride following a bridegroom, her wrist grasped by Paris' hand.[54] The Etruscans, who had a sophisticated knowledge of Greek mythology, demonstrated a particular interest in the theme of the delivery of Helen's egg, which is depicted in relief mirrors.[55]
In Renaissance painting, Helen's departure from Sparta is usually depicted as a scene of forcible removal (rape) by Paris. This is not, however, the case with certain secular medieval illustrations. Artists of the 1460s and 1470s were influenced by Guido delle Colonne's Historia destructionis Troiae, where Helen's abduction was portrayed as a scene of seduction. In the Florentine Picture Chronicle Paris and Helen are shown departing arm in arm, while their marriage was depicted into Franco-Flemish tapestry.[56]
In Christopher Marlowe's Doctor Faustus (1604), Faust conjures the shade of Helen. Upon seeing Helen, Faustus speaks the famous line: "Was this the face that launch'd a thousand ships, / And burnt the topless towers of Ilium." (Act V, Scene I.) Helen is also conjured by Faust in Goethe's Faust.
In Pre-Raphaelite art, Helen is often shown with shining curly hair and ringlets. Other painters of the same period depict Helen on the ramparts of Troy, and focus on her expression: her face is expressionless, blank, inscrutable.[57] In Gustave Moreau's painting, Helen will finally become faceless; a blank eidonon in the middle of Troy's ruins.
Helen of Troy by
Evelyn de Morgan (1898, London); Helen admiringly displays a lock of her hair, as she gazes into a mirror decorated with the nude Aphrodite.
The major centers of Helen's cult were in Laconia. At Sparta, the urban sanctuary of Helen was located near the Platanistas, so called for the plane-trees planted there. Ancient sources associate Helen with gymnastic exercises or/and choral dances of maidens near the Evrotas River. Theocritus conjures up the epithalamium Spartan women sung at Platanistas commemorating the marriage of Helen and Menelaus:[58]
- We first a crown of low-growing lotus
- having woven will place it on a shady plane-tree.
- First from a silver oil-flask soft oil
- drawing we will let it drip beneath the shady plane-tree.
- Letters will be carved in the bark, so that someone passing by
- may read in Doric: "Reverence me. I am Helen's tree."
Helen's worship was also present on the opposite bank of Eurotas at Therapne, where she shared a shrine with Menelaus and the Dioscuri. The shrine has been known as "Menelaion" (the shrine of Menelaus), and it was believed to be the spot where Helen was buried alongside Menelaus. Despite its name, both the shrine and the cult originally belonged to Helen; Menelaus was added later as her husband.[59] Isocrates writes that at Therapne Helen and Menelaus were worshiped as gods, and not as heroes. Clader argues that, if indeed Helen was worshiped as a goddess at Therapne, then her powers should be largely concerned with fertility.[60] There is also evidence for Helen's cult in Hellenistic Sparta: rules for those sacrificing and holding feasts in their honor are extant.[61]
Helen was also worshiped in Attica along with her brothers, and on Rhodes as Helen Dendritis (Helen of the Trees, Έλένα Δενδρῖτις); she was a vegetation or a fertility goddess.[62] Martin F. Nilsson has argued that its cult in Rhodes has its roots to the Minoan, pre-Greek era, when Helen was allegedly worshiped as a vegetation goddess.[63] Claude Calame and other scholars try to analyze the affinity between the cults of Helen and Artemis Orthia, pointing out the resemblance of the terracotta female figurines offered to both deities.[64]
- Helen appears in various versions of the Faust Myth, such as Marlowe's play The Tragical History of Doctor Faustus - of which Faustus' summoning Helen and courting her is one of the most well-known scenes, and which contributed the line "Was this the face that launched a thousand ships...?" which inspired many later references to Helen (see below).
- German poet and polymath Johann Wolfgang von Goethe re-envisioned the meeting of Faust and Helen. In Faust: The Second Part of the Tragedy, the union of Helen and Faust becomes a complex allegory of the meeting of the classical-ideal and modern worlds.
- In 1928, Richard Strauss wrote the German opera Die ägyptische Helena, The Egyptian Helena, which is the story of Helen and Menelaus's troubles when they are marooned on a mythical island.
- In 1928, a silent film The Private Life of Helen of Troy, was made.
- In 1956, a British-Italian epic titled Helen of Troy was released, directed by Oscar-winning director Robert Wise and starring Italian actress Rossana Podestà in the title role. It was filmed in Italy, and featured well-known British character actors such as Harry Andrews, Cedric Hardwicke, and Torin Thatcher in supporting roles.
- In 1971, Michael Cacoyannis directed a film version of The Trojan Women in which Helen is played by Irene Papas.
- A 2003 television version of Helen's life up to the fall of Troy, Helen of Troy, in which she was played by Sienna Guillory.
- Helen was portrayed by Diane Kruger in the 2004 film Troy. In this adaptation she does not return to Sparta with Menelaus but leaves Troy with Aeneas when the city falls.
- Appeared in the episode 12 of Season 1 called "Beware Greeks Bearing Gifts" in Xena: Warrior Princess. Played by Galyn Görg, Helen was supposedly a close friend of Xena's and sent out a messenger to fetch her during the Trojan War.
- Helen of Troy is referenced in the climactic scene of The Truth About Cats & Dogs.
- Margaret George wrote an epic adult novel, Helen of Troy, in 2006, told through Helen's first-person narrative.
- Esther Friesner wrote a young-adult novel, Nobody's Princess, published in 2007, of Helen's childhood and early life, and its sequel, Nobody's Prize.
- Caroline B. Cooney also wrote a young-adult novel, Goddess of Yesterday, where Helen is one of the main characters.
- Kimberly-Clark's 2010 TV campaign for Poise adult underwear with Whoopi Goldberg as Helen.[65]
- Josephine Angelini wrote a young adult novel, Starcrossed about Helen of Troy.
- Irish poet William Butler Yeats compared Helen to his lover, Maude Gonne, in his poem "No Second Troy".[66]
- Canadian novelist and poet Margaret Atwood re-envisioned the myth of Helen in modern, feminist guise in her poem "Helen of Troy Does Countertop Dancing".[67]
- Henry Rider Haggard wrote a novel, The World's Desire in which Odysseus finds Helen in Egypt as a priestess and they wed.
- Inspired by the above-mentioned line "Was this the face that launched a thousand ships...?" from Marlowe's Faustus, Isaac Asimov jocularly coined the unit "millihelen" to mean the amount of beauty that can launch one ship.[68]
- Also inspired by the same Marlowe quotation is "If a face could launch a thousand ships, then where am I to go?", a line from the song "If" by David Gates and Bread.
- The modernist poet H.D. wrote an epic poem Helen in Egypt from Helen's perspective.<
- Jacob M. Appel's play, Helen of Sparta, retells Homer's Iliad from Helen's point-of-view.[69]
- The Memoirs of Helen of Troy by Amanda Elyot is about the life of Helen.
- The anthology Of Other Worlds by C. S. Lewis includes "After Ten Years". In Egypt after the Trojan War, Menelaus is allowed to choose between the real, disappointing Helen and an ideal Helen conjured by Egyptian magicians. As it stands, it recalls "The Lady, or the Tiger?". Which would Menelaus choose?
- The band Glass Wave entitled a song on their 2010 album "Helen". In the song, Helen remembers her life before the Trojan War.
- Star Trek: The Original Series produced an episode that is called "Elaan of Troyius" in which a woman's beauty causes problems for the crew of the Enterprise.
- In the movie English dubbed version of Kung Fu Hustle, The Beast asks if they are the fated Lovers, to which the Landlord and Landlady refer to themselves as Paris and Helen of Troy.
- Her cuff bracelet is briefly mentioned in a Warehouse 13 episode as having seductive properties.
- In the novel "Faust Among Equals" by Tom Holt, the relationship between Faust and Helen of Troy is a central theme.
- ^ Liddell, Henry George; Scott, Robert (1940). A Greek-English Lexicon. http://artflx.uchicago.edu/cgi-bin/philologic/getobject.pl?c.21:8:173.LSJ.
- ^ Clader, Helen, 63–64; Skutsch, Helen, 191
- ^ or "to cover, enclose" (compare Varuna, Veles)
- ^ The American Heritage Dictionary, "Indo-European roots: wel₂"
- ^ The name of Helen as worshipped at Sparta and Therapne began with a digamma. On the other hand, at Corinth, there is evidence of Helen without a digamma. Scutsch (Helen, 189, 190 and passim) suggests that we have to make do "with two different names, two different mythological Helens".
- ^ Scutsch, Helen, 190–191, 192
- ^ Compare Proto-Indo-European *sa(e)wol: Greek helios, Latin sol, Sanskrit suryah -from *sawel=to shine. The relation with Selene is quite possible.
- ^ Nilsson, The Mycenaean Origin, 41
- ^ Meagher, The Meaning of Helen, 14–15; Thompson, The Trojan War, 20
- ^ Hughes, Helen of Troy, 29
- ^ Whitby, Sparta, 7
- ^ Homer, Iliad, III, 199, 418, 426; Odyssey, IV, 184, 219; XXIII, 218.
- ^ Euripides, Helen 16–21, 257–59
- ^ First Vatican Mythographer, VM I 204.
* Gantz, Early Greek Myth, 320–321; Hughes, Helen of Troy, 350; Moser, A Cosmos of Desire, 443–444
- ^ Pseudo-Apollodorus, Bibliotheca, III, 10.7
- ^ Cypria, fr. 9 PEG.
- ^ Athenaeus 8.334b-d, quoting the Cypria; Cypria, fr. 10 PEG.
- ^ In the 5th century comedy "Nemesis" by Cratinus, Leda was told to sit on an egg so that it would hatch, and this is no doubt the egg that was produced by Nemesis (Cratinus fr. 115 PCG; Gantz, Early Greek Myth, ibid).
- ^ Pseudo-Apollodorus, Bibliotheca, III, 10.7
* Hard & Rose, The Roudlegde Handbook, 438–439
- ^ Asclepiades 12F11, Pseudo-Eratosthenes Catast. 25.
- ^ Gantz, Early Greek Myth, ibid
- ^ Pausanias, Description of Greece, III, 16.1
* Hughes, Helen of Troy, 26–27
- ^ The most complete accounts of this narrative are given by Apollodorus, Diodorus 4.63.1-3, and Plutarch, Theseus 31-34. For a collection of ancient sources narrating Helen's abduction by Theseus, see Hughes, Helen, 357; Mills, Theseus, 7–8
- ^ Hellanicus 4F134; Diodorus 4.63.1-3.
- ^ Stesichorus, fr. 191 PMG.
- ^ Gantz, pp. 289, 291.
- ^ Ovid, Heroides, 16.149–152; Propertius, 3.14
* Cairns, Sextus Propertius, 421–422; Hughes, Helen of Troy, 60; Pomeroy, Spartan Women, 28: "In the Roman period, because Sparta was a destination for tourists, the characteristics that made Sparta distinctive were emphasized. The athleticism of women was exaggerated."
- ^ In the Hesiodic Catalogue of Women fr. 198.7–8, and 199.0–1, they are the recipients of the bridal presents. For further details, see A Catalog within a Catalog, 133–135
- ^ Hesiod, Catalogs of Women and Eoiae, fr. 196–204; Hyginus, Fables, 81; Pseudo-Apollodorus, Bibliotheca II, 10.8
* Cingano, A Catalog within a Catalog, 124; Clader, Helen, 10
- ^ Carlos Parada's website Greek Mythology Link
- ^ Hesiod, Catalogs of Women and Eoiae, fr. 204; Hyginus, Fables, 78; Pausanias, Description of Greece, 3.20.9; Pseudo-Apollodorus, Bibliotheca, 3.10.9
* Cingano, A Catalog within a Catalog, 128; Hughes, Helen of Troy, 76
- ^ Cypria, fr. 1; Hesiod, Catalogs of Women and Eoiae, fr. 204.96–101
* Edmunds, Helen's Divine Origins, 7–8
- ^ Cypria, fr. 1; Herodotus, Histories, 113–119
- ^ Kimmelman, Michael (March 1 2007). "Lights! Darks! Action! Cut! Maestro of Mise-en-Scène". The New York Times. http://www.nytimes.com/2007/03/01/arts/design/01tint.html. Retrieved July 11, 2009.
* Schjeldahl, Peter (February 12 2007). "Venetial Brass". The New Yorker. http://www.newyorker.com/arts/critics/artworld/2007/02/12/070212craw_artworld_schjeldahl. Retrieved July 11, 2009.
- ^ Sappho, fr. 16. See an analysis of the poem by Gumpert, Grafting Helen, 92
- ^ Dio Chrysostom, Discourses, 1.37–53
* Hughes, Helen of Troy, 128–129
- ^ Cypria, fr. 1; Homer, Iliad, III, 443–445
* Cyrino, "Helen of Troy", 133–134
- ^ Alan, Introduction, 18–28
- ^ Herodotus, Histories, 113–120; Kim, Homer, poet and historian, 30–35 ; Alan, Introduction, 22–24 ; Lindsay, Helen in the Fifth Century, 135–138
- ^ Euripides, Iphigenia in Aulis, 1166–1170; Hughes, Helen of Troy, 195–196
- ^ Ancient writers do not agree on whether the embassy was dispatched before the gathering of the Greek army in Aulis or after it reached Tenedos or Troia. In Herodotus' account the Trojans swore to the Greek envoys that Helen was in Egypt, not in Troy; but the Greeks did not believe them, and laid siege to the city, until they took it (Cypria, fr. 1; Herodotus, Histories, II, 118.2–4; Homer, Iliad, III, 205; Pseudo-Appolodorus, Epitome, 28–29). About Euripides lost drama, see Hughes, Helen of Troy, 191.
- ^ Homer, Iliad, XXIV, 773–775
* Hughes, Helen of Troy, 219; Redfold, The Tragedy of Hector, 122
- ^ Homer, Iliad, VI, 349–351, 354–356
* Hughes, Helen of Troy, 219; Redfold, The Tragedy of Hector, 122; Suzuki, Metamorphoses of Helen, 36
- ^ Homer, Odyssey, IV, 277–289; Virgil, Aeneid, 515&ndASH;519.
* Hughes, Helen of Troy, 220; Suzuki, Metamorphoses of Helen, 99–100.
- ^ Virgil, Aeneid, 494&ndASH;512.
* Suzuki, Metamorphoses of Helen, 101–102.
- ^ Stesichorus, fr. 201 PMG.
- ^ According to the ancient writers, it was the sight of Helen's face or breasts that made Menelaus drop his sword. See, inter allia, Aristophanes, Lysistrata, 155; Little Iliad, fr. 13 EGF.
* Maguire, Helen of Troy, 52
- ^ Euripides, Orestes, 1286
- ^ Pausanias, Description of Greece
- ^ Pliny, National History, 35.64–66. Cicero (De Inventione, 2.1–3) sets the story in Croton.
- ^ Mansfield, Too Beautiful to Picture, 29
- ^ Hughes, Helen of Troy, 1–2
- ^ Pomeroy, Spartan Women, 169
- ^ Anderson, The Fall of Troy, 257; Matheson, Polygnotos and Vase Painting, 225
- ^ Caprino, Etruscan Italy, 66–71
- ^ David, Narrative in Context, 136; Hughes, Helen of Troy, 181–182
- ^ Maguire, Helen of Troy, 39–43, 47
- ^ Theocritus, The Epithalamium of Helen, 43–48
* Edmunds, Helen's Divine Origins, 12
- ^ Herodotus, Histories, VI, 61.3
* Hughes, Helen of Troy, 30–31; Lynn Budin, The Ancient Greeks, 286
- ^ Isocrates, Helen, 63
* Clader, Helen, 70; Jackson, The Transformations of Helen, 52. For a criticism of the theory that Helen was worshiped as a goddess in Therapne, see Edmunds, Helen's Divine Origins, 20–24
- ^ Pausanias, Description of Greece, III, 15.3, and 19.9
* Allan, Introduction, 14–16; Calame, Choruses of Young Women, 192–197; Pomeroy, Spartan Women, 114–118
- ^ A shared cult of Helen and her brothers in Attica is alluded to in Euripides, Helen, 1666–1669. See also, Edmunds, Helen's Divine Origins, 26–29. Concerning Helen Dendritis, Gumpert (Grafting Helen, 96), and Skutsch (Helen, 109) support that she was a vegetation goddess. Meagher (The Meaning of Helen, 43–44) argues that her cult in Rhodes reflects an ancient fertility ritual associated with Helen not only on Rhodes but also at Dendra, near Sparta. Edmunds (Helen's Divine Origins, 18) notes that it is unclear what an ancient tree cult might be.
- ^ Cited by Gumpert, Grafting Helen, 96, Edmunds, Helen's Divine Origins, 15–18, and Skutsch, Helen, 109. See critical remarks on this theory by Edmunds, Helen's Divine Origins, 16.
- ^ Calame, Choruses of Young Women, 201; Eaverly, Archaic Greek Equestrian Sculpture, 9; Pomeroy, Spartan Women, 162–163
- ^ "Whoopi Goldberg as Helen of Troy" youtube.com', April 23, 2010
- ^ bartleby.com
- ^ poemhunter.com
- ^ The Humanism of Isaac Asimov
- ^ Horwitz, Jane. Washington Post, December 16, 2008. P. C08.
- Aristophanes, Lysistrata. For an English translation see the Perseus Project.
- Cicero, De inventione II.1.1-2
- Cypria, fragments 1, 9, and 10. For an English translation see the Online Medieval and Classical Library.
- Dio Chrysostom, Discourses. For an English translation, see Lacus Curtius.
- Euripides, Helen. For an English translation, see the Perseus Project.
- Euripides, Iphigenia in Aulis. For an English translation, see the Perseus project.
- Euripides, Orestes. For an English translation, see the Perseus Project.
- Herodotus, Histories, Book II. For an English translation, see the Perseus Project.
- Hesiod, Catalogs of Women and Eoiae. For an English translation see the Online Medieval and Classical Library.
- Homer, Iliad, Book III; Odyssey, Books IV, and XXIII.
- Hyginus, Fables. Translated in English by Mary Grant.
- Isocrates, Helen. For an English translation, see the Perseus Project.
- Servius, In Aeneida I.526, XI.262
- Lactantius Placidus Commentarii in Statii Thebaida I.21.
- Little Iliad, fragment 13. For an English translation, see the Online Medieval and Classical Library.
- Ovid, Heroides, XVI.Paris Helenae. For an English translation, see the Perseus Project.
- Pausanias, Description of Greece, Book III. For an English translation, see the Perseus Project.
- Pseudo-Apollodorus, Bibliotheca, Book III; Epitome.
- Sappho, fragment 16.
- Sextus Propertius, Elegies, 3.14. Translated in English by A.S. Kline.
- Theocritus, Idylls, XVIII (The Epithalamium of Helen). Translated in English by J.M. Edmonds.
- Virgil, Aeneid. Book VI. For an English translation see the Perseus Project.
- Allan, Williams (2008). "Introduction". Helen. Cambridge University Press. ISBN 0-521-83690-5.
- Anderson, Michael John (1997). "Further Directions". The Fall of Troy in early Greek Poetry and Art. Oxford University Press. ISBN 0-19-815064-4.
- Cairns, Francis (2006). "A Lighter Shade of Praise". Sextus Propertius. Cambridge University Press. ISBN 0-521-86457-7.
- Calame, Claude (2001). "Chorus and Ritual". Choruses of Young Women in Ancient Greece (translated by Derek Collins and Janice Orion). Rowman & Littlefield. ISBN 0-7425-1525-7.
- Caprino, Alexandra (1996). "Greek Mythology in Etruria". In Franklin Hall; John. Etruscan Italy. Indiana University Press. ISBN 0-8425-2334-0.
- Chantraine, Pierre (2000). "Ἐλένη" (in French). Dictionnaire Étymologique de la Langue Gercque. Klincksieck. ISBN 2-252-03277-4.
- Cingano, Ettore (2005). "A Catalog within a Catalog: Helen's Suitors in the Hesiodic Catalog of Women". In Hunter; Richard L.. The Hesiodic Catalog of Women. Cambridge University Press. ISBN 0-521-83684-0.
- Clader, Linda Lee (1976). Helen. Brill Archive. ISBN 90-04-04721-2.
- Cyrino, Monica S. (2006). "Helen of Troy". In Winkler; Martin M.. Troy: from Homer's Iliad to Hollywood. Cambridge University Press. ISBN 1-4051-3182-9.
- David, Benjamin (2005). "Narrative in Context". In Jenkens, Lawrence A.. Renaissance Siena. Truman State University. ISBN 1-931112-43-6.
- Eaverly, Mary Ann (1995). "Geographical and Chronological Distribution". Archaic Greek Equestrian Sculpture. University of Michigan Press. ISBN 0-472-10351-2.
- Edmunds, Lowell (May 2007). "Helen's Divine Origins". Electronic Antiquity: Communicating the Classics X (2): 1–44. http://scholar.lib.vt.edu/ejournals/ElAnt/V10N2/. Retrieved 2009-07-07.
- Frisk, Hjalmar (1960). "Ἐλένη" (in German). Griechisches Etymologisches Wörterbuch. I. French & European Pubns. ISBN 0-8288-6839-5.
- Gantz, Timothy (2004). Early Greek Myth. Baltimore, MD and London: The Johns Hopkins University Press. ISBN 0-8018-5362-1.
- Gumpert, Matthew (2001). "Helen in Greece". Grafting Helen. University of Wisconsin Press. ISBN 0-299-17124-8.
- Hard, Robin; Rose, Herbert Jennings (2004). "the Trojan War". The Routledge Handbook of Greek Mythology. Routledge. ISBN 0-415-18636-6.
- Hughes, Bettany (2005). Helen of Troy: Goddess, Princess, Whore. New York: Alfred A. Knopf. ISBN 0-224-07177-7.
- Executive ed.: Joseph P. Pickert... (2000). "Indo-European roots: wel₂". The American Heritage Dictionary of the English Language. Houghton Mifflin Harcourt. ISBN 0-395-82517-2.
- Jackson, Peter (2006). "Shapeshifting Rape and Xoros". The Transformations of Helen. J.H.Röll Verlag. ISBN 3-89754-260-9.
- Kim, Lawrence (2010). "Homer, poet and historian". Homer Between History and Fiction in Imperial Greek Literature. Cambridge University Press. ISBN 978-0-521-19449-5.
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- Mansfield, Elizabeth (2007). "Helen's Uncanny Beauty". Too Beautiful to Picture. University of MinnesotaPress. ISBN 0-8166-4749-6.
- Matheson, Susan B. (1996). "Heroes". Polygnotos and Vase Painting in Classical Athens. University of Wisconsin Press. ISBN 0-299-13870-4.
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- Moser, Thomas C. (2004). A Cosmos of Desire. University of Michigan Press. ISBN 0-472-11379-8.
- Nilsson, Martin Persson (1932). "Mycenaean Centers and Mythological Centers". The Mycenaean Origin of Greek Mythology. Forgotten Books. ISBN 1-60506-393-2.
- Pomeroy, Sarah B. (2002). "Education". Spartan Women. Oxford University Press. ISBN 0-19-513067-7.
- Redfield, James (1994). "The Hero". The Tragedy of Hector. Duke University Press. ISBN 0-8223-1422-3.
- Skutsch, Otto (1987). "Helen, her Name and Nature". The Journal of Hellenic Studies 107: 188–193. DOI:10.2307/630087. JSTOR 630087.
- Suzuki, Mihoko (1992). "The Iliad". Metamorphoses of Helen. Cornell University Press. ISBN 0-8014-8080-9.
- Thompson, Diane P. (2004). "The Fall of Troy – The Beginning of Greek History". The Trojan War. McFarland. ISBN 0-7864-1737-4.
- Whitby, Michael (2002). "Introduction". Sparta. Taylor & Francis. ISBN 0-415-93957-7.
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