The Role of Women in Greek Mythology

The Role of Women in Greek Mythology

Women are portrayed many ways in Greek mythology, but there is still a role that they must play. Whether it’s the smart woman who bides her time or the evil woman that kills her children, there’s an expectation that women will either act as ancient Greek women should or be seen as a monster. Since there are many plays in which a woman steps outside of her role, an opportunity arises to explore how the Greeks truly felt about women, what exactly their role was, why they might stray from that role, and if, in certain situations, this was acceptable. What was it that made poets write these plays? What was their purpose in Greek society?

The first character to examine is Antigone. She is a prime example of a woman who acted against the norm. Although some today may view her as noble, Creon had a few choice words for her. When he is discussing the situation with Ismene and Antigone, he says, “one of these girls has shown her lack of sense just now. The other had it from birth” (Euripides 42). This is only one of many times that this sentiment is expressed. Women are often judged for being irrational. In Antigone’s case, she is perhaps even seen as rash and thoughtless as well. This is certainly not the way for a good Greek woman to be, and is a problem for many women in these plays.

However, there is one woman who does not have this problem. Her name is Penelope, and she is smart but also subtle. As seen with Medea, women should not let their smarts be too public, lest they be seen as untrustworthy or conniving. No, Penelope is the penultimate good woman. There is one such instance in the Odyssey that her judgement is called into question, which is when she devises a plan to stave off the suitors. Homer writes, “so she spoke, and the proud heart in us was persuaded… So for three years she was secret in her design, convincing the Achaians…” (Homer 42). However, a woman biding her time is a common motif, and she is still incredibly respected despite this plot. One of the last things said of Penelope is, “she spoke, and still more roused in him the passion for weeping. He wept as he held his lovely wife, whose thoughts were virtuous” (Homer 341). This is a much different reception than Antigone got for her plans. Penelope was subtle and went about it the Greek way, Antigone did not.

So, then, why are these two women so different? The divergence between them can be seen in the two women’s thoughts and actions. Antigone is extreme in her feelings and her words, saying: “for me, the doer, death is best. Loving, I shall lie with him, yes, with my loved one, when I have dared the crime of piety” (Sophocles 24). Penelope is always put-together, at least in front of the men. This contrast can be seen when she enters the feast, “when she, shining among women, came near the suitors… holding her shining veil in front of her face, to shield it, and a devoted attendant was stationed on either side of her” (Homer 35).

This idea that a woman must keep her composure leads nicely into the next character. Phaedra, the poor woman cursed to fall in love with her step-son, valued her reputation above all, even if maintaining it meant death. She struggled with her feelings because she knew that acting on them would bring her shame. Phaedra thought about several ways to deal with her problem. Finally, she says to herself, “next, I believed that I could conquer love, conquer it with discretion and good sense. And when that too failed me, I resolved to die… I want to have my virtues known and honored…” (Euripides 209). Here three elements of the good Greek woman are combined- she must be subtle (discretion), and rational (good sense), and she must, no matter what, maintain her honor. Women hanging themselves is not uncommon, and seems to be an acceptable “out” for a woman stuck in a bad situation. Antigone, after being trapped in the cave for her crimes, hung herself rather than die a slow and demoralizing death. This shows that having a positive reputation as a sensible woman is the most important thing- this will be seen with Medea as well. Hippolytus is so angered by the sins of women that he says, “so you, vile woman, came here to me to bargain…I’ll hate you women… but eternal, too, is woman’s wickedness. Either let someone teach them to be temperate, or allow me to trample on them forever” (Euripides 220). Hippolytus hates the “wickedness” of women so much that he’d rather they didn’t exist- and in this case, Phaedra complies.

Medea, because she herself is not a Greek woman, acts in many ways which are not okay in their culture. She could almost be a guide of what not to do as a Greek woman. First, she is too clever. Although women should be sensible, they should not be too smart- and if they are, they should weave their plans in secrecy like Penelope did. Medea is judged for her cleverness, as she says, “because I’m clever, I am resented by some people, and in some eyes I’m idle and in others opposite to that, and for others I’m a nuisance” (Euripides 85).

When Medea decides the best plan is to kill her children, the chorus begs her not to, saying, “you would become the wretchedest of women” (Euripides 107). She is certainly seen as wretched, however there is a moment when she questions her choice. The thing that resolves her commitment to her evil plan is her reputation. She says to herself, “but stop, what’s wrong with me? Do I want to be the laughing-stock, and let my enemies get off scot-free? I must endure” (Euripides 117). Even the lives of her own children are not enough for her to let her reputation be marred. Another theme throughout these myths that is shown in Medea is when, just like Hippolytus, Jason declares, “I say it