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Hera: Greek Goddess of Marriage, Women, and Childbirth

Hera is the queen of the Greek gods and the goddess of marriage, women, childbirth, and family. She is one of the twelve Olympian gods and is married to her brother, Zeus. Together, they rule over Mount Olympus.

Hera is often depicted as a regal and powerful figure, but she is also known for her jealous and vengeful nature.

Despite her complex personality and tendency to seek revenge, Hera is also a patron goddess of marriage and family, and she was often honored in ancient Greek society with temples and festivals.

Table of Contents

Who is Hera?

Hera is the wife of Zeus and Queen of the Greek gods and goddesses . She was feared for her jealous and vengeful nature, while simultaneously celebrated for her zealous protection over marriages and childbirth.

The primary cult center of Hera was in Argos, a fertile region in the Peloponnese, where the great temple of Hera, the Heraion of Argos, was established in the 8th century BCE. Besides being the primary city goddess in Argos, Hera was also worshiped fervently on the Greek island of Samos by her dedicated cult.

Hera’s Appearance

As Hera is known far and wide as a beautiful goddess, popular accounts by famed poets of the era describe the Queen of Heaven as “cow-eyed” and “white-armed” – both of which are epithets of hers ( Hera Boṓpis and Hera Leukṓlenos , respectively). Furthermore, the goddess of marriage was well-known to wear a polos , a high cylindrical crown worn by many other goddesses of the region. More often than not, the polos was viewed as matronly – it not only related Hera back to her mother, Rhea but also to the Phrygian Mother of the Gods, Cybele.

In the Parthenon frieze at the Parthenon in Athens, Hera is seen as a woman lifting her veil towards Zeus , regarding him in a wifely manner.

The Queen’s Epithets

Hera had several epithets, though the most expressive are found in the cult worship of Hera as a triad of aspects focusing on womanhood:

Hera Pais refers to the epithet used in the worship of Hera as a child. In this instance, she is a young girl and worshiped as the virginal daughter of Cronus and Rhea; a temple dedicated to this aspect of Hera had been found in Hermione, a port city in the Argolis region.

Hera Teleia

Hera Teleia is the reference to Hera as a woman and wife. This development occurs after her marriage to Zeus, following the Titanomachy . She is dutiful, with Hera the Wife being the most common variation of the goddess that is depicted in the mythos.

Hera Chḗrē is the less regularly revered aspect of Hera. Referring to Hera as “widowed” or “separated,” the goddess is worshiped in the form of an elderly woman, who by some means lost her husband and youthful gaiety with time.

Symbols of Hera

Naturally, Hera has quite an array of symbols that she has been identified with. While some of them follow a famous myth or two of hers, others are simply motifs that can be traced to other Indo-European goddesses of her time.

The symbols of Hera were used during cult worship, as identifiers in art, and in marking a shrine.

Peacock Feathers

Ever guessed why peacock feathers have an “eye” at the end? Initially made from Hera’s sorrow at the death of her loyal watchman and companion, the creation of the peacock was Hera’s final way to express her gratitude.

As a result, the peacock feather became a symbol of the goddess’ all-knowing wisdom, and a stark warning to some: she saw all.

The cow is another recurring symbol amongst goddesses throughout Indo-European religions, though the wide-eyed creature has been specifically connected to Hera time and time again. Following ancient Greek beauty standards, having large, dark eyes (like that of a cow) was an exceedingly desirable physical trait.

Traditionally, cows are symbols of fertility and motherhood, and in Hera’s case, the cow is a symbolic compliment to Zeus’ bull.

Cuckoo Bird

The cuckoo as a symbol of Hera reflects back to the myths surrounding Zeus’ attempts to woo the goddess. In most renditions, Zeus transformed into an injured cuckoo to gain Hera’s sympathy before he made a move on her.

Otherwise, the cuckoo can be more widely associated with the return of spring, or with just foolish nonsense.

In ancient Greek art , Hera was known to wear a few different articles, depending on the message the artist was attempting to convey. Her golden diadem is a symbol of Hera’s royal authority over the other Olympian gods residing on Mount Olympus.

In Hera’s case, the royal sceptre represents her power as queen. After all, Hera rules over the Heavens with her husband, and besides her personal diadem, the scepter is a vital symbol of her power and influence.

Another Greek god known to wield a royal scepter besides Hera and Zeus is Hades , the god of the Underworld .

As for the white lily flower, Hera is associated with the flora because of the myth surrounding her nursing infant Heracles , who nursed so vigorously that Hera had to pull him off her breast. The breast milk that was released after the fact not only made the Milky Way but the droplets that fell to Earth became lilies.

Hera in Greek Mythology

Although some of the most famous tales in Greek mythology revolve around the actions of men, Hera cements herself as a significant figure in a notable few. Whether seeking revenge on women for her husband’s betrayals, or aiding unlikely heroes in their endeavors, Hera was beloved and revered for her role as a queen, wife, mother, and guardian across the Greek world.

During the Titanomachy

As the eldest daughter of Cronus and Rhea, Hera met the unfortunate fate of being consumed by her father at birth. With her other siblings, she waited and grew in their father’s abdomen while their youngest brother, Zeus, was raised on Mount Ida in Crete.

After Zeus freed the other young gods from Cronus’ stomach, the Titan War began. The war, also known as the Titanomachy, lasted ten bloody years and ended with victory being claimed by the Olympian gods and goddesses.

Unfortunately, there isn’t much detail about the role Cronus and Rhea’s three daughters played during the events of the Titanomachy. While it is widely accepted that Poseidon, the water god and god of the sea , Hades, and Zeus all fought, the other half of the siblings are scarcely mentioned.

Looking to literature, the Greek poet Homer claimed that Hera was sent to live with the Titans Oceanus and Tethys to calm her temper during the war and learn restraint. The belief that Hera was removed from the war is the most common interpretation.

In comparison, the Egyptian-Greek poet Nonnus of Panopolis suggests that Hera partook in the battles and directly aided Zeus.

While the exact role Hera played in the Titanomachy remains unknown, there are some things that can be said about the goddess from both tellings.

One is that Hera has had a history of flying off the handle, which makes her vindictive streak unsurprising. Another is that she had unwavering loyalty to the Olympian cause, and to Zeus in particular – whether or not she held any romantic interest in him, she was said to be able to hold remarkable grudges: supporting the young, formidable Zeus would be a not-so-subtle way to get revenge on their glutenous father.

Hera as the Wife of Zeus

Hera is incredibly loyal. Despite her husband’s serial infidelity, Hera did not waver as the goddess of marriage; she never betrayed Zeus, and there are no records of her having affairs.

That being said, the two deities didn’t have a sunshine and rainbows relationship – honestly, it was entirely toxic most of the time. They competed over power and influence over the Heavens and Earth, including the rule of Mount Olympus. Once, Hera had even staged a coup to overthrow Zeus with Poseidon and Athena , which left the queen suspended from the sky by golden chains with iron anvils weighing down her ankles as punishment for her defiance – Zeus had ordered the other Greek gods to pledge their allegiance to him or have Hera continue to suffer.

Now, no one wanted to anger the Queen of the Gods. That statement absolutely extends to Zeus, whose romantic trysts had been foiled repeatedly by his jealous wife. Multiple myths point to Zeus whisking away a lover, or disguising himself during a rendezvous, to avoid Hera’s wrath.

Hera’s Children

The children of Hera and Zeus include Ares , the Greek god of war , Hebe, Hephaestus , and Eileithyia.

In some popular mythology, Hera actually gave birth to Hephaestus on her own, after she grew angry about Zeus bearing the wise and capable Athena. She prayed to Gaia to grant her a child that is stronger than Zeus himself and ended up giving birth to the ugly god of the forge.

Hera in Famous Myths

As far as roles go, Hera has been cast as both protagonist and antagonist in a plethora of different ancient Greek myths and legends. More often than not, Hera is depicted as an aggressive force which the women involved with Zeus have to face the reckoning of. In less familiar tales, Hera is seen as a helpful, empathetic goddess.

A few of the myths that involve the cow-faced Queen of Heaven are noted below, including the events of the Iliad .

The Leto Incident

The Titaness Leto was described as a hidden beauty that unfortunately gained the attention of the King of Olympus. When Hera discovered the resulting pregnancy, she forbade Leto from giving birth on any terra firma – or, any solid land connected to the earth. According to the Bibliotheca , a first century AD collection of Greek legends, Leto was “hunted by Hera over the whole earth.”

Eventually, Leto found the island of Delos – which was disconnected from the sea floor, therefore not being terra firma – where she was able to give birth to Artemis and Apollo after four strenuous days.

Again, Hera’s vengeful nature is highlighted in this particular Greek tale. Even Leto, known to be an incredibly gentle-natured goddess, was unable to escape punishment by the goddess of marriage. More than anything, the message is that when Hera unleashed the full extent of her anger, not even the most well-intentioned of individuals were spared.

The Curse of Io

So, Zeus fell in love again. Even worse, he fell in love with a priestess of Hera at the Greek goddess’ cult center in the Peloponnese, Argos. The audacity!

To hide his new love from his wife, Zeus transformed the young Io into a cow.

Hera saw through the ruse easily and requested the cow as a gift. None the wiser, Zeus gave the transformed Io to Hera, who then ordered her giant, hundred-eyed servant, Argus (Argos) to watch over her. Exasperated, Zeus ordered Hermes to slay Argus so he could take Io back. Hermes scarcely rejects and kills Argus in his sleep so that Zeus could get the young woman out of the grasp of his vindictive queen.

As can be expected, Hera becomes reasonably upset. She was betrayed twice by her husband, and now the Greek goddess is set into mourning the loss of a trusted friend. Upon seeking revenge for the death of her loyal giant, Hera sent a biting gadfly to pester Io and force her to wander without rest – yes, still as a cow.

Why didn’t Zeus change her back into a human after the slaying of Argus…? Who knows.

After much wandering and pain, Io found peace in Egypt, where Zeus finally changed her back into a human. Hera is believed to have left her alone after that.

Hera in the Iliad

In the Iliad and the accumulated events of the Trojan War , Hera was one of three goddesses – along with Athena and Aphrodite – who fought over the Golden Apple of Discord. Originally a wedding gift, the Golden Apple was thrown by the goddess of chaos, Eris, which created a dispute about who would be considered the most beautiful goddess.

REA MORE: Gods of Chaos: 7 Different Chaos Gods from Around the World

The Greek gods and goddesses collectively refused to decide between the three, and Zeus – quick-thinking as ever – deflected the final decision to a human: Paris, the Prince of Troy.

With the goddesses vying for the title, each bribed Paris. Hera promised the young prince power and wealth, and Athena offered skill and wisdom, but he ultimately opted for Aphrodite’s vow of giving him the most beautiful woman in the world as a wife.

The decision to not select Hera as the most beautiful goddess led to the queen’s support of the Greeks during the Trojan War, which was the direct consequence of Paris wooing the beautiful (and very much already married) Helen, Queen of Sparta .

The Myth of Heracles

Born from the union of Zeus and a mortal woman, Alcmene, Heracles (then named Alcides) was left to die by his mother to avoid Hera’s wrath. As the patron of Greek heroes, the goddess Athena took him to Olympus and presented him to Hera.

As the tale goes, the queen took pity on infant Heracles, and unaware of his identity, nursed him: the apparent reason that the demi-god received superhuman abilities. Afterward, the goddess of wisdom and war returned the empowered baby to his parents, who then raised him. It would be later that Alcides became known as Heracles – meaning “Hera’s Glory” – in an attempt to soothe the enraged goddess after she found out his parentage.

Upon discovering the truth, Hera sent snakes to kill Heracles and his mortal twin, Iphicles: a death evaded by the 8-month old demi-god’s fearlessness, ingenuity, and strength.

Years later, Hera induced madness that drove Zeus’ illegitimate son to kill his wife and children. The punishment for his crime became known as his 12 Labours, exacted on him by his enemy, Eurystheus, King of the Tiryns. After he was redeemed, Hera incited another madness that caused Heracles to kill his best friend, Iphitus.

The story of Heracles shows Hera’s rage on full display. She torments the man throughout all stages of his life, from late infancy into maturity, causing him unimaginable torment for the actions of his father. Outside of this, the story also makes it known that the queen’s grudges don’t last into eternity, as Hera eventually allows the hero to marry her daughter, Hebe.

Whence Came the Golden Fleece

Hera ends up playing on the hero’s side in the story of Jason and the Golden Fleece . Though, her aid is not without her own personal reasons. She had a vendetta against Pelias, King of Iolcus, who had slain his grandmother in a temple that worshiped the goddess of marriage, and she favored Jason’s noble cause to save his mother with the Golden Fleece of legend and regain his rightful throne. Also, Jason already had a blessing lined up for him when he aided Hera – then disguised as an elderly woman – in crossing a flooded river.

For Hera, aiding Jason was the perfect way to exact revenge on King Pelias without directly dirtying her hands.

READ MORE: Jason and the Argonauts: The Myth of the Golden Fleece

Is Hera Good or Evil?

As a goddess, Hera is complex. She isn’t necessarily good, but she isn’t evil either.

One of the most compelling things about all the gods of the Greek religion is their intricacies and realistic flaws. They’re vain, jealous, (occasionally) spiteful, and make poor decisions; on another hand, they fall in love and can be kind, selfless, and humorous.

There is no exact mold to fit all the gods into. And, just because they are literally divine beings doesn’t mean they can’t do foolish, very human-like things.

Hera is known to be jealous and possessive – character traits that, although toxic, are reflected in many people today.

A Hymn for Hera

Given her significance in the society of ancient Greece , there is no surprise that the goddess of marriage would be venerated in many literature of the time. The most famous of this literature dates back to the 7th century BCE.

“ To Hera” is a Homeric hymn that was translated by Hugh Gerard Evelyn-White (1884-1924) – an established classicist, egyptologist, and archeologist known for his translations of various ancient Greek works.

Now, a Homeric hymn isn’t really written by the famous poet of the Greek world, Homer. In fact, the known collection of 33 hymns are anonymous, and are only known as being “Homeric” because of their shared use of the epic meter that is also found in Iliad and Odyssey.

Hymn 12 is dedicated to Hera:

“I sing of golden-throned Hera whom Rhea bare. Queen of the Immortals is she, surpassing all in beauty: she is the sister and the wife of loud-thundering Zeus – the glorious one whom all the blessed throughout high Olympus – reverence and honor even as Zeus who delights in thunder.”

From the hymn, it can be garnered that Hera was one of the most revered of the Greek gods. Her rule in Heaven is highlighted by the mention of the golden throne and her influential relationships with Zeus; here, Hera is acknowledged as a sovereign in her own right, by both divine lineage and by her own ultimate grace.

Earlier in the hymns, Hera also makes an appearance in Hymn 5 dedicated to Aphrodite as “the grandest far in beauty among the deathless goddesses.”

Hera and the Roman Juno

The Romans identified the Greek goddess Hera with their own goddess of marriage, Juno . Worshiped throughout the Roman Empire as the protector of Roman women and noble wife to Jupiter (the Roman equivalent to Zeus), Juno was oftentimes presented to be both militaristic and matronly.

As with many Roman gods , there are Greek gods and goddesses that they can be compared to. This is the case with many other Indo-European religions of the time, with a large number sharing common motifs in their legends while adding their own society’s unique commentaries and structure.

However, note that the similarities between Hera and Juno are more intrinsically linked, and surpasses their shared aspects with other religions of the time. Specifically, the adoption (and adaptation) of Greek culture came about during the Roman Empire’s expansion in Greece around 30 BCE. By roughly 146 BCE, most of the Greek city-states were under Rome ’s direct rule. The unification of Greek and Roman cultures came about from occupation.

Interestingly, there was not a full societal collapse in Greece, as would happen in most areas under occupation. In fact, the conquests of Alexander the Great (356-323 BCE) helped spread Hellenism, or Greek culture, to other regions outside of the Mediterranean, the primary reason why so much of Greek history and mythology remains so relevant today.

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The Powerful Symbols of Hera: Exploring Ancient Greek Mythology

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Hera - Queen of the Gods in Greek Mythology

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In Greek mythology , the beautiful goddess Hera was queen of the Greek gods and the wife of Zeus , the king. Hera was goddess of marriage and childbirth. Since Hera's husband was Zeus, king not only of gods, but of philanderers, Hera spent a lot of time in Greek mythology angry with Zeus. So Hera is described as jealous and quarrelsome.

Hera's Jealousy

Among the more famous victims of Hera's jealousy is Hercules (aka "Heracles," whose name means the glory of Hera). Hera persecuted the famous hero from before the time he could walk for the simple reason that Zeus was his father, but another woman -- Alcmene -- was his mother. Despite the fact that Hera was not Hercules' mother, and despite her hostile actions -- such as sending snakes to kill him when he was a newborn baby, she served as his nurse when he was an infant.

Hera persecuted many of the other women Zeus seduced, in one way or another.

" The anger of Hera, who murmured terrible against all child-bearing women that bare children to Zeus.... " Theoi Hera : Callimachus, Hymn 4 to Delos 51 ff (trans. Mair) " Leto had relations with Zeus, for which she was hounded by Hera all over the earth. " Theoi Hera : Pseudo-Apollodorus, Bibliotheca 1. 21 (trans. Aldrich)

Hera's Children

Hera is usually counted single parent mother of Hephaestus and the normal biological mother of Hebe and Ares. Their father is usually said to be her husband, Zeus, although Clark ["Who Was the Wife of Zeus?" by Arthur Bernard Clark; The Classical Review , (1906), pp. 365-378] explains the identities and births of Hebe, Ares, and Eiletheiya, goddess of childbirth, and sometimes named child of the divine couple, otherwise.

Clark argues that the king and queen of the gods had no children together.

Hebe may have been fathered by a lettuce. The association between Hebe and Zeus may have been sexual rather than familial.
Ares might have been conceived via a special flower from the fields of Olenus. Zeus' free admission of his paternity of Ares, Clark hints, may be only to avoid the scandal of being a cuckold.
On her own, Hera gave birth to Hephaestus.

Parents of Hera

Like brother Zeus, Hera's parents were Cronos and Rhea, who were Titans .

In Roman mythology, the goddess Hera is known as Juno.

Meet Hera, the Queen of the Greek Gods
Goddesses of Greek Mythology
Drawings of the Greco-Roman Gods and Goddesses
Genealogy of the Olympic Gods
Who Was Hercules?
The Twelve Olympian Gods and Goddesses of Greek Mythology
Genealogy of the First Gods
Gods and Goddesses in Homer's Epic Poem The Iliad
Birth of the Olympian Gods and Goddesses
What You Need to Know About the Greek God Zeus
Hephaestus, the Greek God of Fire and Volcanoes
Aphrodite, the Greek Goddess of Love and Beauty
Profile of the Roman God Jupiter
Who Are the Nymphs in Greek Mythology?
The 10 Greatest Heroes of Greek Mythology

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Seeing hera in the iliad.

Citation with persistent identifier:

Ali, Seemee. “Seeing Hera in the Iliad .” CHS Research Bulletin 3, no. 2 (2015). http://nrs.harvard.edu/urn-3:hlnc.essay:AliS.Seeing_Hera_in_the_Iliad.2015

https://www.youtube.com/watch?v=kFEtZF1TKHw

§1 Hera’s name appears early in the Iliad . Well before she herself speaks or even appears in the epic, she acts. Quietly and seemingly imperceptibly, she places an idea directly in Achilles’ phrénes :

ἐννῆμαρ μὲν ἀνὰ στρατὸν ᾤχετο κῆλα θεοῖο, τῇ δεκάτῃ δ’ ἀγορὴν δὲ καλέσσατο λαὸν Ἀχιλλεύς· τῷ γὰρ ἐπὶ φρεσὶ θῆκε θεὰ λευκώλενος Ἥρη κήδετο γὰρ Δαναῶν, ὅτι ῥα θνήσκοντας ὁρᾶτο. Nine days up and down the host ranged [Apollo’s] arrows, On the tenth, Achilleus called the people into assembly, A thing put into his [ phrénes ] by the goddess of the white arms, Hera: Who had pity on the Danaans when she saw them dying. (I 53-56) [1]

Hera’s final action in the epic, like her first, is similarly subtle and gentle; it is likewise easy to miss. Again, her gesture involves the phrén, a term more commonly found in the plural ( phrénes , as above), which signifies a realm of experience that is at once physiological, intellectual, and emotional. [2] In Iliad XXIV when Achilles’ divine mother, Thetis, ascends to Olympus, Hera offers her hospitality and speaks tender words to comfort Thetis’ phrén : [3]

Ἥρη δὲ χρύσεον καλὸν δέπας ἐν χερὶ θῆκε καί ῥ’ εὔφρην’ ἐπέεσσι: Θέτις δ’ ὤρεξε πιοῦσα. Hera put into her hand a beautiful golden goblet and spoke to her to comfort her [ phrén ] , and Thetis accepting drank from it. (XXIV 101-102)

Hera’s first and last actions in the Iliad are deeply interior. In the first instance, she moves the mind and heart of a young warrior to introduce civil discussion to a panicked army. In the last, she offers genuine solace to a goddess mourning the imminent death of her mortal child. The intense interiority of Hera’s divine influence, her action upon the phrénes , means that her role in an epic of such monumental scale as the Iliad can be difficult to discern. Moreover, Hera can be purposely elusive. As she herself declares, “It is hard for gods to be shown in their true shape” (χαλεποὶ δὲ θεοὶ φαίνεσθαι ἐναργεῖς, XXI, 131).

§2 Indeed, throughout the Iliad , Hera is subtle and manifold in her self-presentation. Within an instant, she can tremble like a dove (V 778) and then immediately transform herself into the bronze-voiced warrior, Stentor, whose cry has the force of fifty men’s (V 784-6). Hera’s bibliography is astonishingly slight, however; [4] her depth and complexity seem to have passed unnoticed. Her critics, particularly those writing in English, most often characterize her as a divine shrew. One recent study of Hera’s Iliadic character denounces her as “savage” and argues that the Iliad intentionally presents her as a figure of “demonic degeneracy.” [5] Another recent critic characterizes Hera as “a needy, dependent spouse.” [6]

§3 This essay departs emphatically from the communis opinio. I hope to show here that Hera in the Iliad is a seeing goddess, one who also bestows insight. Indeed, Hera’s creative vision enlarges the imaginative scope of the epic––for her noetic mode of seeing brings unity to what is otherwise disparate and heterogeneous, including the community of gods themselves.

§4 Ruth Padel defines the phr é nes as part of the “equipment of consciousness” in ancient Greek poetics . [7] Both concrete and abstract in signification, the phr é nes , she writes, “contain emotion, practical ideas, and knowledge. . . . Phr é nes are containers: they fill with menos ‘anger,’ or thūmós , ‘passion.’ . . . They are the holding center, folding the heart, holding the liver.” [8] Hera’s divine work in the Iliad focuses directly and insistently upon these vessels of mental and physical consciousness. Wherever the goddess appears, the word phr é n and its cognates also seem reliably to attend her – words such as φρονέω, “have understanding; think; comprehend”; πρόφρων, “with forward mind”; εὐφραίνω, “cheer, gladden, comfort”; and, perhaps more tangentially, φράζω, “understanding, explaining”; φράζομαι, “take counsel with.” [9]

§5 In Iliad I 53-56 (quoted above), the language describing Hera’s action is noteworthy: ἐπὶ φρεσὶ θῆκε. The verb θῆκε here means to “set, put, place.” Hera’s gesture of setting or placing clearly happens in Achilles’ phrénes . To revise only slightly Nietzsche’s formulation, the hero’s thought comes to him not when he wants, in this case, but when Hera wants. [10]

§6 What Hera places in Achilles’ phrénes is a political idea: to summon an assembly. This Hera-inspired gathering is the first deliberative assembly that takes place in the Iliad ; it is at this meeting, called to discover the cause of the devastating plague, that Agamemnon fatefully insults Achilles. Hera sees the mortal dispute and once again decisively determines its outcome from afar. Once more, the goddess quietly shapes Achilles’ calculated and reasoned response in order to avert catastrophe; she prevents Achilles from killing Agamemnon. In this instance, however, instead of remaining the invisible and anonymous author of Achilles’ thoughts and feelings, Hera begins to move into the foreground of the epic action. Thus at I 193-196, the master narrator of the Iliad shows Achilles contemplating in his phrénes and his thūmós (ὥρμαινε κατὰ φρένα καὶ κατὰ θυμόν, I 193) whether he should kill Agamemnon immediately, or, rather, whether he should check his anger (χόλον, I 192). “This is a fundamentally political decision,” David Elmer observes. [11] Because it is a political decision, one that requires deliberation and self-control, Hera intervenes.

§7 At the crucial moment, just as Achilles begins to draw his sword (I 194), Hera sends Athena to urge restraint:

ἕως ὃ ταῦθ’ ὥρμαινε κατὰ φρένα καὶ κατὰ θυμόν , ἕλκετο δ’ ἐκ κολεοῖο μέγα ξίφος, ἦλθε δ’ Ἀθήνη οὐρανόθεν: πρὸ γὰρ ἧκε θεὰ λευκώλενος Ἥρη ἄμφω ὁμῶς θυμῷ φιλέουσά τε κηδομένη τε: Now as he weighed in [ phrénes ] and [ thūmós ] these two courses and was drawing from its scabbard the great sword, Athene descended from the sky. For Hera the goddess of the white arms sent her, who loved both men equally in her heart and cared for them. (I 193-196)

The epic deliberately emphasizes Hera’s role by repeating these lines when Athena explains her sudden appearance to Achilles (I 195-6):

ἦλθον ἐγὼ παύσουσα τὸ σὸν μένος, αἴ κε πίθηαι, οὐρανόθεν: πρὸ δέ μ’ ἧκε θεὰ λευκώλενος Ἥρη ἄμφω ὁμῶς θυμῷ φιλέουσά τε κηδομένη τε: ‘I have come down to stay your anger––but will you obey me?–– from the sky; and the goddess of the white arms Hera sent me, who loves both of you equally in her heart and cares for you. (I.207-209)

Here, once again, Hera acts without being seen. We can now observe a pattern established early in the epic: In the first passage (I 53-56), Hera manifests invisibly in Achilles’ phrénes . Meanwhile, in the second and third passages quoted above (I 193-196 and I 207-209), Hera decisively intervenes in the internal drama unfolding, invisibly, within Achilles’ phrénes and in his thūmós – both in his mind and in his heart, we might say . It appears that Achilles learns of Hera’s involvement in his own interior life only when Athena explicitly tells him. [12]

§8 In each of these passages, Hera enters into the hero’s internal deliberations to instigate expressly political action. The goddess shapes Achilles’ imagination in order to achieve ends that are not obviously for his own good. Indeed, the master narrator of the epic repeatedly stresses that Hera acts through Achilles not because she loves or pities him, particularly. Rather, Hera intervenes for the Danaans and through Achilles because she pities the Greeks, generally (κήδετο γὰρ Δαναῶν, ὅτι ῥα θνήσκοντας ὁρᾶτο I 56), or, in what may amount to the same, because she loves Achilles and Agamemnon equally (ἄμφω ὁμῶς θυμῷ φιλέουσά I 196, I 207). The thoughts and feelings Hera inspires in Achilles aim at some larger, communal good––an end, moreover, that may not necessarily be good for Achilles himself, even though he is the chosen bearer of Hera’s messages. Hera’s aims are collective, political in the fundamental sense.

§9 Hera’s first intervention in Achilles’ phrénes –motivated by her care for the Greek army as a whole–necessarily illuminates her second intervention, when she prevents him from killing Agamemnon, the commander of the army. What does it mean, after all, to love equally men who are as different as Achilles and Agamemnon? In the latter event, Hera’s love for Agamemnon seems to have less to do with who Agamemnon is as an individual than with what Agamemnon represents , namely the Greek host as a whole. (Notably neither Hera nor Athena offer any reasons why Achilles himself should love Agamemnon.) Despite his manifest failings, Agamemnon is the single, unifying leader of the heterogeneous Argive host; as the lord of men, ἄναξ ἀνδρῶν (I 5), he folds many disparate constituencies into one–clumsily, to be sure, as his haplessness in Iliad II makes abundantly clear. [13] If Hera loves the leader of all the Greeks, Agamemnon, as much as she loves the one who represents what is best in all of them, Achilles, it is because she loves Greeks as such , that is, as a people, rather than as individuals.

§10 In Book II, Hera again sends Athena as her proxy to change the will of angry men by means of persuasive words. When the Greek host begins a massive, frantic retreat, it is Hera who turns them around:

ἔνθά κεν Ἀργείοισιν ὑπέρμορα νόστος ἐτύχθη εἰ μὴ Ἀθηναίην Ἥρη πρὸς μῦθον ἔειπεν: Then for the Argives a homecoming beyond fate might have been accomplished, had not Hera spoken a word to Athene (II 155-156)

Hera directs Athena to speak gentle words (ἀγανοῖς ἐπέεσσιν II 164) to each Greek soldier in order to draw him back from the ships. As in the earlier intervention with Achilles, Athena reports Hera’s words verbatim to Odysseus (II 174-181); Odysseus then effectively restores order to the troops.

§11 In Book VIII, Hera once more protects the Greeks from disaster by placing a political idea in the phrénes of a hero. This time, it is Agamemnon:

καί νύ κ’ ἐνέπρησεν πυρὶ κηλέῳ νῆας ἐΐσας, εἰ μὴ ἐπὶ φρεσὶ θῆκ’ Ἀγαμέμνονι πότνια Ἥρη αὐτῷ ποιπνύσαντι θοῶς ὀτρῦναι Ἀχαιούς. And now [Hektor] might have kindled their balanced ships with the hot flame, had not the lady Hera set it in Agamemnon’s [ phrénes ] to rush in with speed himself and stir the Achaians. (VIII 217-219)

Again, Hera’s quiet intrusion into a hero’s phrénes keeps disaster at bay for the Greek army, collectively. Agamemnon effectively rallies his men in this scene. Agamemnon’s efficacy here, with Hera’s active, if invisible, aid, stands in stark contrast to his miserable failure to rally the troops earlier, in Book II, when he is motivated by an evil dream sent by Zeus. (As we will see below, that dream presents a false image of Hera as supplicant.)

§12 Consistently in these passages, Hera’s action suggests an overlooked dimension of her character–her ability to contain and channel the passions of an army. The goddess exerts her restraining force by engaging a singular individual (Achilles at I 53-6, Odysseus at II 155-6, Agamemnon at VIII 217-219) through his phrénes . In each of the instances we have examined above, the Greek army remains an army rather than devolving into a mob, because Hera sees what is happening and knowingly, creatively acts.

§13 The hero Achilles, for his part, is well aware of Hera’s potency. In his understanding, however, she appears as a dangerous, destabilizing force on Olympus. After he breaks with Agamemnon and quits the war, Achilles reminds his divine mother, Thetis, of a story she has told him many times (πολλάκι, I 396). He recalls that Thetis once averted cosmic disaster by coming between Hera and Zeus; he now wants her to come between them once more, although he does not say so explicitly. Instead, Achilles recalls:

πολλάκι γάρ σεο πατρὸς ἐνὶ μεγάροισιν ἄκουσα εὐχομένης ὅτ’ ἔφησθα κελαινεφέϊ Κρονίωνι οἴη ἐν ἀθανάτοισιν ἀεικέα λοιγὸν ἀμῦναι, ὁππότε μιν ξυνδῆσαι Ὀλύμπιοι ἤθελον ἄλλοι Ἥρη τ’ ἠδὲ Ποσειδάων καὶ Παλλὰς Ἀθήνη: ἀλλὰ σὺ τόν γ’ ἐλθοῦσα θεὰ ὑπελύσαο δεσμῶν . . . many times in my father’s halls I have heard you making claims, when you said you only among the immortals beat aside shameful destruction from Kronos’ son the dark-misted, that time when all the other Olympians sought to bind him, Hera and Poseidon and Pallas Athene. Then you, goddess, went and set him free from his shackles . . . (I. 396-401)

Thetis has told and retold this story in Peleus’ house; now, Achilles cannily repeats it, perhaps to arouse a predictable reaction from his mother. In the story, Hera, together with Poseidon and Athena, almost succeeds in overthrowing Zeus. The ruler of the cosmos is already in shackles when Thetis arrives to liberate him. A cosmic revolution is thus forestalled.

§14 Achilles further reminds Thetis that she freed Zeus easily with the help of the hundred-handed monster Briareus. He describes Briareus (presumably just as Thetis has described him in earlier recitations) as a son who “is greater in strength than his father” (ὃ γὰρ αὖτε βίῃ οὗ πατρὸς ἀμείνων, I 404). But, in the story, Briareus actively does nothing. He simply stands next to Thetis and Zeus and rejoices in his own glory (κύδεϊ γαίων, I 405). His menacing physicality, juxtaposed with Thetis’ far less tangible power, her intelligence, deters Hera and her rebellious allies from overthrowing an otherwise impotent Zeus.

§15 As Laura Slatkin shows, [14] Thetis’ oft-repeated story is a displacement of a myth preserved by Pindar. According to a prophecy, an immortal son born to Thetis will be stronger than his immortal father; this mighty, immortal son will overthrow his no-longer-mighty father. To avert such catastrophe–which would end their cosmic power–the Olympian gods force Thetis into marriage with the mortal Peleus. [15] It seems that the tale that Thetis repeats “many times” (I 396)–a tale in which she upholds the rule of Zeus against all odds–here appears as a refracted version of her own autobiography. Briareus figures as “a sort of nightmarish variant of Achilles himself,” as Gregory Nagy observes, [16] the son who might have been stronger than his father. As with Briareus, Achilles’ mere presence is a sign that the Olympians can “read” clearly, since his mortal condition signifies Thetis’ surrender to Zeus.

§16 The cosmic truce among the gods at the beginning of the Iliad is hardly stable, it appears. Thetis’ concession to Zeus’ rule was never entirely voluntary, after all. Her cooperation with the Olympian regime remains always precarious. In the dream-logic of the story Thetis tells Achilles so many times, and which Achilles now mirrors back to her, it is Hera who rebels against Zeus. But this Hera, the Hera of Thetis’ imagination, also serves as a nightmare version of Thetis herself. Like Hera, even after Thetis concedes to Zeus’ power, she (Thetis) remains near at hand. Thetis, like Hera, does not disappear; nor does the threat she poses to Zeus vanish, either. As a goddess, Thetis is always fertile, always capable of bearing another child–even a divine one, mightier than his father. Thus Thetis, like Hera, still remains a threat to Zeus; the threat she poses is just as ominous as Hera’s in the tale Thetis repeats so “many times” to her son. She too can summon the power to overthrow Zeus. In Achilles imagination, perhaps, as well as in his mother’s, this fantasy-Hera easily transmutes into a fictive double, or twin, to Thetis. Humiliated, she still simmers with resentment; her divine power is not (or, is not yet) what it could be.

§17 The doubling of Hera and Thetis will necessarily frame the terms of Zeus’ plan to honor Achilles. Zeus cannot plausibly remember his debt to Thetis without simultaneously thinking of Hera; indeed, on both occasions when he articulates his plan, he directs his speech specifically to Hera (VIII 470-484 and XV 49-77). When Thetis comes to Olympus to plead her son’s cause, she herself is too discreet to name her opposite, Hera. But Zeus understands immediately that her appeal requires his direct confrontation with his divine spouse. Even so, as if reconciling a zero-sum account, Zeus simply cannot take into account one goddess’ (Thetis’) appeal for timē , honor, without accounting for the response of the other–Hera. [17]

§18 Zeus therefore responds to Thetis’ supplication, first, with a long and pregnant silence (I 511-512). Then, he offers his first speech in the epic. He names Hera prominently:

τὴν δὲ μέγ’ ὀχθήσας προσέφη νεφεληγερέτα Ζεύς: ἦ δὴ λοίγια ἔργ’ ὅτε μ’ ἐχθοδοπῆσαι ἐφήσεις Ἥρῃ ὅτ’ ἄν μ’ ἐρέθῃσιν ὀνειδείοις ἐπέεσσιν: ἣ δὲ καὶ αὔτως μ’ αἰεὶ ἐν ἀθανάτοισι θεοῖσι νεικεῖ, καί τέ μέ φησι μάχῃ Τρώεσσιν ἀρήγειν. σὺ μὲν νῦν αὖτις ἀπόστιχε μή σε νοήσῃ Ἥρη : ἐμοὶ δέ κε ταῦτα μελήσεται ὄφρα τελέσσω: Deeply disturbed Zeus who gathers the clouds answered her: ‘This is a disastrous matter when you set me in conflict with Hera , and she troubles me with recriminations. Since even as things are, forever among the immortals she is at me and speaks of how I help the Trojans in battle. Even so, go back again now, go away, for fear [ Hera ] see [νοήσῃ] us. I will look to these things that they be accomplished. (I 517-523)

Previously Achilles reminded Thetis of her claim that she not only saved Zeus from Hera, she saved the cosmos itself from disaster (λοιγὸν, I 398). Here, Zeus pointedly repeats Achilles’ language in describing Hera’s potential reaction to Thetis’ request as itself disastrous (λοίγια, I 518). [18] Hera’s anger, Zeus implies, will be disastrous, cosmic in its scale should she discover Zeus and Thetis together. Indeed, Zeus urges Thetis to leave Olympus before Hera sees them. The verb Zeus uses is νοήσῃ (I 532), from νοέω; it signifies mental perception or insight as well as physical seeing. At this moment, Zeus’ concern is hardly the banal anxiety of an errant husband worried that he has been discovered in a dalliance. Rather, it is a political concern, a concern for the future of his rule. And because Zeus is the ruler of the universe, it is also a cosmic concern. He wants very much to control what Hera sees and knows.

§19 The ongoing threat Hera poses to Zeus, in the “now” of the Iliad ’s story, becomes vividly clear in Book I. In the immediate instant following Thetis’ departure from Olympus, Hera makes her first appearance in propria persona . Before Hera speaks, however, the master narrator establishes the full force of her presence by means of a careful–and witty– grammatical construction:

. . . οὐδέ μιν Ἥρη ἠγνοίησεν ἰδοῦσ’ ὅτι οἱ συμφράσσατο βουλὰς ἀργυρόπεζα Θέτις θυγάτηρ ἁλίοιο γέροντος. . . . yet Hera was not ignorant, having seen how [Zeus] had been plotting counsels with Thetis the silver-footed, the daughter of the sea’s ancient, (I 536-538)

Here, once again, the epic suggests an interiority, a knowingness particular to Hera well before the audience of the epic sees or hears her. The verse first negates (with οὐδέ) the negative verb “ἠγνοίησεν” (I 537, from ἀγνοέω, “to be ignorant”; “not to perceive”) and then juxtaposes the double negative with an affirming verb of perception, ἰδοῦσ (I 537, from εἶδον, “to see, to perceive”). As with the language of phrénes and noesis above, the verb εἶδον conflates the physical and cerebral; it can mean both to see with the eyes and to perceive with the mind. Thus, before Hera speaks or acts, the master narrator makes clear that the goddess understands what is happening, in every way possible, both mentally and physically. Decidedly and emphatically, Hera is not ignorant; the language suggests that it is laughable even to imagine that she could be. She sees fully–she knows –that Zeus deliberately excludes her from his planning, even as (she reveals later) she also knows exactly what he has planned.

§20 As she addresses Zeus with her first words in the epic, Hera claims that it is the secrecy of Zeus’ planning that offends her. Hera is angry, she announces to Zeus and the assembled gods, because Zeus does not himself share with her what he thinks (νοήσῃς I 543). Throughout the epic, as we have observed, Hera works as a powerful agent in the phrénes . In the first words she utters, however, she complains to Zeus that he is thinking without her. The specific verb she uses is φρονέοντα, another phrén cognate :

τίς δ’ αὖ τοι δολομῆτα θεῶν συμφράσσατο βουλάς; αἰεί τοι φίλον ἐστὶν ἐμεῦ ἀπονόσφιν ἐόντα κρυπτάδια φρονέοντα δικαζέμεν: οὐδέ τί πώ μοι πρόφρων τέτληκας εἰπεῖν ἔπος ὅττι νοήσῃς . [Crafty] one, what god has been plotting [συμφράσσατο] counsels with you? Always it is dear to your heart in my absence to think [φρονέοντα] of secret things and decide upon them. Never have you patience frankly [πρόφρων] to speak forth to me the thing that you purpose [νοήσῃς].’ (I 540-3)

This passage is typical of those involving Hera. Again, as in the earlier scenes involving Achilles, words signifying thought and perceptivity cluster around the goddess’s name as they do in her own speech. This short passage offers συμφράσσατο (from συμ – φράζομαι, “take counsel with”) φρονέοντα (from φρονέω, to “have understanding”; to “think”; to “comprehend”); πρόφρων (“with forward mind”); νοήσῃς (“perceive, think”). [19]

§21 It is Hera’s noetic capacity that Zeus clearly resists in the opening scene of confrontation between them. Despite his secrecy, Hera nonetheless knows exactly what Zeus has in mind; she summarizes precisely his plan to honor Achilles (I 558-559). Nor does she evince any particular grudge against Thetis, as it is well worth clarifying. Rather, her own phrén (φρένα I 555) alerts her that Zeus has been persuaded to do something of great consequence without consulting her.

§22 Zeus’ imperious reply to Hera’s complaint–in which he summarily exiles her from his thinking–widens the chasm forming between them in Iliad I. Hera will see and know (εἰδήσειν) his pronouncements (μύθους), Zeus announces, when he wishes and only then:

Ἥρη μὴ δὴ πάντας ἐμοὺς ἐπιέλπεο μύθους εἰδήσειν : χαλεποί τοι ἔσοντ’ ἀλόχῳ περ ἐούσῃ: ἀλλ’ ὃν μέν κ’ ἐπιεικὲς ἀκουέμεν οὔ τις ἔπειτα οὔτε θεῶν πρότερος τόν γ’ εἴσεται οὔτ’ ἀνθρώπων: ὃν δέ κ’ ἐγὼν ἀπάνευθε θεῶν ἐθέλοιμι νοῆσαι μή τι σὺ ταῦτα ἕκαστα διείρεο μηδὲ μετάλλα . Hera, do not go on hoping that you will [know, εἰδήσειν ] all my [words, μύθους], since these will be too hard for you, though you are my wife. Any thought that it is right for you to listen to, no one neither man nor any immortal shall [know] it before you. But anything that apart from the rest of the gods I wish to plan [ νοῆσαι ], do not always question [ διείρεο ] each detail nor probe [ μετάλλα ] me. (I 545-550)

In granting Hera only limited access even to his μύθους (I 545), his most public thoughts and declarations, [20] Zeus here does not concede much to Hera, even in the way of wifely privilege. Rather, he demands that she must not insist on questioning (διείρεο, δια- + -εἴρομαι) or probing (μετάλλα) him.

§23 Hera, for her part, finds the premises of Zeus’ argument patently flawed. In her reply to him, she repeats the offending verbs, εἴρομαι (to ask, inquire) and μεταλλῶ (to search carefully) that Zeus employs at I 550. She counters that, in fact, her inquiries do not limit Zeus’ thinking (φράζεαι) in the least:

αἰνότατε Κρονίδη ποῖον τὸν μῦθον ἔειπες; καὶ λίην σε πάρος γ’ οὔτ’ εἴρομαι οὔτε μεταλλῶ , ἀλλὰ μάλ’ εὔκηλος τὰ φράζεαι ἅσσ’ ἐθέλῃσθα. [Dread] son of Kronos, what sort of thing have you spoken? Truly too much in time past I have not questioned nor probed you, but you are entirely free to think out [φράζεαι] whatever pleases you. (I 552-554)

This argument between Hera and Zeus is, in its essence, an argument about thinking . Zeus wants to think in splendid isolation, majestically, abstractly, without interruption. He experiences questioning – particularly Hera’s questioning – as a chafing and irksome limitation on his sovereignty. Hera, on the other hand, objects profoundly to Zeus’ insistence on thinking apart from her (ἀπονόσφιν, I 541) and in secret (κρυπτάδια, I 542). Zeus’ aloofness impinges upon her role as bringer of thoughts, questions, hesitations. [21]

§24 Desperately, perhaps, Zeus threatens violence against Hera if she continues to oppose him (I 566-567). In response to his threats Hera withdraws. The narrator reports that she “bends” her heart in silence.

καί ῥ’ ἀκέουσα καθῆστο ἐπιγνάμψασα φίλον κῆρ: and [she] went and sat down in silence [bending] her [dear] heart (I 569)

The participle ἐπιγνάμψασα signifies Hera’s self-control in this scene; she here restrains herself, just as she has restrained Achilles earlier as he curbs his violent response to Agamemnon. The verb ἐπιγνάμτω (bend, curve) is extremely unusual in the Homeric corpus, appearing only in six times in the Iliad and never in the Odyssey . [22] This highly unusual word will recur again in Zeus’ strange fantasy involving Hera at the opening of Book II (examined below).

§25 Hera’s concession to Zeus at the conclusion of Iliad I suggests the possibility of a reconciliation between the divine couple. As the sun sets, the two lie down in bed together, but Zeus does not sleep. Rather, as Zeus lies next to Hera, he ponders nightlong how he can fulfill the promise he has made to Thetis. Zeus is clear: he wants to think and act alone, autonomously, even autocratically. But his capacity for autonomy is already belied by his immediate response to Thetis’ supplication. Whatever he wishes, it seems, he must first account for Hera.

§26 As he lies awake next to his wife, Zeus contrives a “destructive dream” (οὖλον ὄνειρον, II 6) with which to trick Agamemnon. The dream suggests an impossible fantasy in which Hera and Thetis exchange roles:

. . . οὐ γὰρ ἔτ’ ἀμφὶς Ὀλύμπια δώματ’ ἔχοντες ἀθάνατοι φράζονται: ἐπέγναμψεν γὰρ ἅπαντας Ἥρη λισσομένη, Τρώεσσι δὲ κήδε’ ἐφῆπται. . . . For no longer are the gods who live on Olympos arguing the matter, since Hera [bent] them . . . by her supplication, and evils are in store for the Trojans.’ (II 13-15)

This ruinous dream conflates and turns upside-down Zeus’ two most recent encounters with Thetis and Hera. Hera, not Thetis, becomes the supplicant. Instead of facing her rebuke in front of all the Olympian gods (as he did only moments ago, when he was fully awake), Zeus now imagines his sovereign wife Hera kneeling humbly before him and indeed all the Olympian gods in supplication. [23] It is a preposterous vision. (Agamemnon, the intended receiver of this peculiar delusion, is for his own reasons, perhaps, particularly gullible. He too may fantasize that his sovereign wife would bow before him in supplication.) The rare verb ἐπιγνάμπτω (“curve, bend”), seen just above at I 569, appears once again here at II 14 to signify that the whole community of gods bends (ἐπέγναμψεν) its will to Hera’s solicitous appeal. Earlier, it was Hera who, under threat of violence, bent her heart, at least momentarily, to Zeus’ will. Now, as Zeus encourages Agamemnon to dream, the gods bow to Hera.

§27 Zeus’ vision of the supplicant Hera captures a certain truth. Certainly, Hera wants Zeus to think with her, collaboratively and consensually; she persistently reminds him of what “all the gods” approve or not. [24] Ultimately, her vision represents something fundamentally new in the divine modus vivendi . Zeus intuits rightly that Hera seeks change on Olympus. When Hera addresses her husband as “son of Kronos” (I 552) she invokes not only their common father, Kronos, but also the whole narrative of their shared genealogy. [25] Kronos and his father Ouranos, like Zeus, imagined themselves to be wholly autonomous, oppressing their divine partners, “burying” their offspring, either literally or figuratively. But they were not in fact autonomous, as the mythic history makes plain. Kronos and Ouranos were overthrown by the collusion of their oppressed spouses and children, as Zeus, son of Kronos, knows all too well. The present agon between Hera and Zeus in Iliad I thus reverberates powerfully with–and against–this shared genealogical and political inheritance. The tension between them is only the latest iteration of the old, mythic conflict between the patriarch’s desire for absolute autonomy and his partner’s desire to be recognized, to be seen, as “other.” [26] Zeus cannot simply engulf and assimilate Hera into himself, as if she were another Metis. In order to end the ancestral curse of the Theogony , the married gods must actually come to terms with each other as others .

§28 In some sense, it is possible to say (although not adequately in this limited essay), that the narrative of the Iliad absorbs the tumultuous mythic history of the Theogony precisely in order to transform it. Hera and Zeus will change the model of divine partnership they have inherited–mainly through Hera’s efforts. It is Hera who repeatedly insists that Zeus cannot simply act as he alone wills. It is she who reminds him, repeatedly, “not all the rest of us gods will approve” (IV 29, XVI 443). Athena, Hera’s handmaiden throughout the Iliad , picks up Hera’s phrase and echoes it herself (XXII 181) when Zeus hesitates over the imminent death of Hektor. [27] In sum, Hera alone is forceful enough, wily enough, and seductive enough to keep Zeus from repeating his forefathers’ political blunders.

§29 It is indeed possible to see the entire action of the Iliad as a working out of new politics for Olympus, a system that David Elmer calls a “poetics of consent.” Hera is essential to the creation of this new divine order–which is to say, a stable and functional form of polytheism. The form of thought and feeling she awakens in her epiphanies induces a recognition of a reality that is larger than even a god’s ego. Thus, after Hera seduces her husband Zeus in Book XIV, he too imagines a new possibility, a vision of godhood that is larger than autocratic rule:

εἰ μὲν δὴ σύ γ’ ἔπειτα βοῶπις πότνια Ἥρη ἶσον ἐμοὶ φρονέουσα μετ’ ἀθανάτοισι καθίζοις, τώ κε Ποσειδάων γε, καὶ εἰ μάλα βούλεται ἄλλῃ, αἶψα μεταστρέψειε νόον μετὰ σὸν καὶ ἐμὸν κῆρ. If even you, lady Hera of the ox eyes, hereafter were to take your place among the immortals thinking [equally with me] , then Poseidon, hard though he may wish it otherwise, must at once turn his mind so it follows your heart, and my heart. (XV 49-52)

Zeus here proposes that unity of thought (ἶσον. . . φρονέουσα, XV 50) between himself and Hera may also change the mind (νόον, XV 52) of a different rival, Poseidon. After Hera, Poseidon is the god who most openly resists being absorbed into the mind of Zeus (Διὸς . . . φρεσίν, XV 194). In their post-coital rapprochement, Zeus and Hera begin to forge for the first time, it seems, a new Olympian unity, a comity of purpose and thought, one that is rooted in the same-mindedness of the goddess and her husband. Zeus now accepts the influence of Hera in his phrénes ; she may enter there when she wills.

§30 Immediately following this scene of rapprochement, Hera travels from Ida to Olympus in order to bend the communal will to Zeus’ vision. A simile expresses Hera’s exultation:

ὡς δ’ ὅτ’ ἂν ἀΐξῃ νόος ἀνέρος, ὅς τ’ ἐπὶ πολλὴν γαῖαν ἐληλουθὼς φρεσὶ πευκαλίμῃσι νοήσῃ ἔνθ’ εἴην ἢ ἔνθα, μενοινήῃσί τε πολλά, ὣς κραιπνῶς μεμαυῖα διέπτατο πότνια Ἥρη. As the thought flashes in the mind of a man who, traversing much territory, thinks of things in the mind’s awareness ‘I wish I were this place, or this’, and imagines many things; so rapidly in her eagerness winged Hera, a goddess. (XV 80-83)

The simile suggests that Hera’s distinctive mode of being is an epiphanic one, in which she manifests herself as an uncanny and rapidly arriving thought in the phrénes (XV 81) . So, as we have already observed, she exerted her influence in the phrénes of Achilles at I 55 and of Agamemnon at VIII 218. So, too, she enters the communal phrénes of Olympus.

§31 From this point forward in the Iliad ’s narrative , Zeus no longer rules unilaterally. Hera thinks with him in all the crucial divine action that follows. Thus, she clearly presides with Zeus over the death of Sarpedon (XVI 431-461); she negotiates with him, likewise, the divine response to Achilles’ desecration of Hektor’s corpse (XXIV 55-76), even as she offers comfort to Thetis’ phrén (XXIV 101-102).

Bibliography

Aloni-Ronen, N. 2013. Marrying Hera: Incomplete Integration in the Making of the Pantheon . Centre Pour l’édition électronique Ouverte (Cléo).

Chantraine, P. 1968, 1970, 1975, 1977, 1980. Dictionnaire étymologique de la Langue Grecque I, II, III, IV-1, IV-2. Paris.

Clark, Isabelle. 1998. “The Gamos of Hera: Myth and Ritual.” In The Sacred and the Feminine in Ancient Greece , ed. S. Blundell and M. Williamson. New York.

Cook, Arthur Bernard. 1906. “Who Was the Wife of Zeus?” The Classical Review 20.7:365-78.

———. 1906. “Who Was the Wife of Zeus? (Continued).” The Classical Review 20.8:416-419.

Cowan, Louise. 1995. “Hera.” In The Olympians , ed. Joanne Stroud. Dallas, 15-28.

Downing, Christine. 2007. The Goddess: Mythological Images of the Feminine . New York.

Dutra, John. 1966. Hera: Literary Evidence Of Her Origin And Development As A Fertility Goddess . Dissertation.

Elmer, David F. 2013. The Poetics of Consent: Collective Decision Making and the Iliad . Baltimore.

Frame, Douglas. 1978. The Myth of Return in Early Greek Epic . New Haven.

———. 2010. Hippota Nestor. Cambridge, Mass.

Fridh-Haneson, B. 1988. Hera’s Wedding on Samos: A Change of Paradigms. Svenska Institutet I Athen, Skriftner Utgivna 38:205-213.

Gladstone, W. E. 1888. “The Homeric Herê.” The Contemporary Review 53:181-198.

Homer. Iliad . 1902. Books 1-12, ed. Monro. 3rd ed. Oxford. http://homer.library.northwestern.edu/html/application.html

Homer. Iliad. 1902. Books 13-24, ed. Monro. 3rd ed. Oxford. http://homer.library.northwestern.edu/html/application.html

———. Iliad. 1951/1961. Trans. Richmond Lattimore. Chicago.

Kardara, Chrysoula. 1960. “Problems of Hera’s Cult-Images.” American Journal of Archaeology 64.4:343.

Kerényi, K. 1975. Zeus and Hera: Archetypal Image of Father, Husband, and Wife. Princeton.

Martin, Richard P. 1989. The Language of Heroes: Speech and Performance in the Iliad . Ithaca.

Muellner, Leonard. 1996. The Anger of Achilles: Mēnis in Greek Epic . Ithaca.

Nagy, Gregory. 1979/1999. The Best of the Achaeans . Baltimore.

———. 1990. Greek Mythology and Poetics . Ithaca.

Nietzsche, Friedrich. 1886/2001. Beyond Good and Evil . Trans. Judith Norman. Cambridge.

O’Brien, Joan V. 1991. “Homer’s Savage Hera.” Classical Journal 86:105-205.

———. 1993. The Transformation of Hera: A Study of Ritual, Hero, and the Goddess in the Iliad . Lanham.

Padel, Ruth. 1992. In and Out of the Mind: Greek Images of the Tragic Self . Princeton.

Pirenne-Delforge, V., and Pironti, G. 2009. “La Féminité des Déesses à l’épreuve des épiclèses : Le cas d’Héra.” In La Religion des Femmes en Grèce Ancienne. Mythes, Cultes, Société , ed. L. Bodiou and V. Mehl, 95-109. Rennes.

Renehan, R. 1974. “Hera As Earth-Goddess: A New Piece Of Evidence.” Rheinisches Museum Für Philologie 117 (3/4):193-201.

Slater, P.E. 1971. The Glory of Hera: Greek Mythology and the Greek Family. Boston.

Slatkin, Laura M. 1987. “Genre and Generation in the Odyssey .” ΜΗΤΙΣ 2 (2):259-268.

———. 1991. The Power of Thetis: Allusion and Interpretation in the Iliad . Berkeley.

Waldstein, Charles. 1901. “The Argive Hera of Polycleitus.” The Journal of Hellenic Studies 21:30-44.

Whitman, Cedric H. 1970. “Hera’s Anvils.” Harvard Studies in Classical Philology 74:37-42.

Wright, James C. 1982. The Old Temple Terrace at the Argive Heraeum and the Early Cult of Hera in the Argolid. Journal of Hellenic Studies 102:186-201.

[1] English translations, except when indicated with square brackets, are Lattimore’s.

[2] See Padel 1992, 20-24 for a careful consideration of phrén and phrénes in ancient Greek tragedy and Nagy 1990, 92 for a discussion of these terms in Indo-European myth and poetics more generally.

[3] Chantraine, s.v., φρήν, affirms its relation with εὔφρην.

[4] A more or less complete list of references available in English, only a few of which pertain directly to the Homeric Hera, can be enumerated quickly here, in chronological order: Gladstone 1888, Waldstein 1901; Cook 1906; Kardara 1960; Dutra 1965; Whitman 1970; Renehan 1974; Kerényi 1975; Wright 1982; Fridh-Haneson 1988; O’Brien 1991; Slater 1992; O’Brien 1993; Cowan 1995; Clark 1998; Aloni-Ronen 1998. Refreshing new perspectives on Hera are beginning to appear in French, however. See especially Pirenne and Ponti 2009.

[5] O’Brien 1990-91, 105, 106.

[6] Downing 2007, 20, 21.

[7] Padel 1992, 18.

[8] Padel 1992, 21.

[9] Chantraine, s.v. φρήν, suggests the possibility of an etymological connection between the verb φράζω and the noun φρήν, a word we have seen repeatedly associated with Hera in the earlier verses of Book I (as quoted above). In his notes on the verb φράζω, Chantraine notably qualifies his suggestion, however: “Simple possibilité, mais sémantiquement satisfaisante.” (“Simple possibility, but semantically satisfying.”)

[11] Elmer 2013, 75.

[12] Athena behaves more consistently as Hera’s agent than on her own initiative or as Zeus’ agent in the Iliad ––but space constraints here prohibit further comment.

[13] See especially II 16-270.

[14] Slatkin 1991, 68-70. See also Muellner 1996, 119-122.

[15] Pindar, Isthmian 8.27-55. See also Iliad XVIII 432-434.

[16] Nagy 1979, 346.

[17] My thinking here is influenced by Douglas Frame’s studies of Indo-European twin myths: Myth of Return in Early Greek Epic (1978) and Hippota Nestor (2010).

[18] See Nagy 1979, 74-76 for the correlation of this term, λοίγια, with the mēnis theme .

[19] All but one of these words (νοήσῃς) derives from phrén . (Chantraine, s.v.)

[20] Martin 1989 defines muthos in Homeric epic as a deliberate and public form of speech, “indicating authority, performed at length, usually in public, with a focus on full attention to every detail.” (12). See also his discussion of this scene at 57-58.

[21] See also Louise Cowan 1995.

[22] Muellner 1996, 144-5 (fn 27) notes that its metaphoric uses are always connected to the mēnis theme.

[23] See also VIII 10 where Zeus arrogates to himself the will of all the Olympian gods.

[24] IV 29, IV 62-3, XVI 443

[25] Slatkin 1987 and Muellner 1996 have laid the groundwork for explorations in this vein, in which Hesiod’s Theogony may be read as a “proem” to the Iliad .

[26] Kerényi 1975 proposes that Hera and Zeus, as divine siblings and spouses, occupy a numinous metaphysical threshold, one that links Being with Becoming––or, as he puts it, joins “motionless unity . . . on the one hand, and forward movement by proliferation into children, on the other.” 113.

[27] See Elmer 2013, esp. 148-50.

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Hera and Zeus

Essay by review • February 11, 2011 • Essay • 843 Words (4 Pages) • 1,195 Views

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Throughout the Greek mythology, Zeus has been involved with many women and has faced many resistances from them. Zeus has faced many hurdles not only on his way to become the "king of olympians" but also after that with his relationships with women. Hera, Zeus's last wife , has been directly or indirectly involved in placing most of these hurdles. Of Zeus's seven wives, Hera, also known as Judo, has been the most quarrelsome and mistrustful of her hurband. She was frequently angry and jealous of Zeus's other relationships. In many instances , she has been the source of hurdles in Zeus's relationships with other women.Although described as a sacred marriage, one which was intended to symbolize and promote fertility of crops on earth, since the sky, represented as male, must fertilize the earth through rain in order for life to begin there, their

marriage has never been a smooth one and they have had some bitter fights. In one instance, Zeus hung her out of Olympus with two great weights attached to her feet,and her arms bound by golden chains,as punishment for her having plotted against Hercules.Homer, the author has portrayed

the relationship of Zeus and Hera very much like that between a man and a woman. Homer shows how like men and women, even God's lie and decieve and are gullable. In one instance, he shows how , in order to borrow sexual allure from Aphrodite, Hera lies to Aphrodite about going to visit Oceanus and mother Tethys, not telling her original plan of seducing Zeus and making him fall asleep during the war. Then Hera goes to Sleep and asks her for his help and in return of her daughter Pasithea. Since Sleep has always been in love with Pesithea, the greed makes him give in to Hera's request. In this episode, Homer has shown that like humans, greed makes the immortals do things they would not have otherwise done. When Hera finally reaches Olympos, she lies to Zeus too and Zeus gets duped and falls into the trap of her seduction, this episode shows how the king of olympians gets deceived

and is not able to foresee Hera's plan.

In one potrait which shows Zeus's paranoia towards Hera, Zeus is worried about the quarrel with his wife Hera and tries to resist Thetis's plea to help son Archillis and aid Trojans in the war against the greeks. This image shows Zeus in a firm and decisive mode and trying to resist Thetis as Hera looks on and is a perfect example of Zeus paranoia towards Hera. Another such example is the story of Io, an innocent victim of Zeus's lust. After Zeus has forcably slept with her, he does not come to protect her from Hera, who has found out about the episode. Zeus, in fair of Hera, does not do anything to protect Io from his wife's fury. Hera sends a stinging dragfly who drives Io insane. In Hedoids Theogony, it was shown how Gaia conpires against her husband Uranus and

Greek Gods & Goddesses

Children of Zeus and Hera

Zeus and Hera are two of the most famous Olympian gods. They are also the parents of some of the most famous gods and goddesses in Greek mythology. Hera was the seventh wife of Zeus, and also his sister. Together, they had several children but Zeus also fathered children to other women while married to Hera, which resulted in some pretty well documented vengeance and wrath. Despite her feelings, Hera remained loyal and dedicated, a pure example of mothering strength and nurturing.

In this article, we will take a comprehensive look at their children, including who they are, what they do, and where they fall in terms of the Olympian hierarchy.

The Children of Zeus and Hera

Zeus had many, many children across his various relationships. He had seven wives and was also a bit loose with the mortals too (much to Hera’s vengeful distaste). Between Zeus and Hera however, they had either three or four children (two sons and two daughters) depending on the mythological sources.

The three uncontested children of Zeus and Hera are Ares, Hebe and Eileithyia. Then there is Hephaestus who was by some accounts a child to both parents, and by others a parthenogenous child of Hera alone.

There are also singular myths that present Angelos as another child of Zeus and Hera but the mythology around this is scarce.

Ares was the son of Zeus and Hera. He was the god of war, violence, and bloodshed. He loved nothing more than to fight, and he was known for his fierce temper and brutal nature. Ares was often depicted as a young man, clad in armor, with a spear or sword in hand.

He is well known as the lover of APHRODITE , who was married to his brother HEPHAESTUS , and though Ares plays a limited role in literature, when he does appear in myths it is typically facing humiliation.

For example, one famous story of Ares and Aphrodite exposes them to ridicule by the gods when her husband Hephaestus trapped them both naked in a bed using a clever device he made. Ares had several children with Aphrodite .

Hebe was the daughter of Zeus and Hera. She was the goddess of youth and cupbearer to the gods. She was often depicted as a young woman, with a jug of nectar (the drink of the gods) in her hand.

In her duties, she was a faithful servant dedicated to the task that had been assigned to her. However, she was at some point down the line cast out from doing the job that she had previously had. She lost that job in a most unusual way when she tripped and her dress came undone. The other Gods were not happy about this at all and decided that they would take her role as cup-bearer away from her.

Hephaestus was the son of Zeus and Hera. He was the god of fire , blacksmiths, and craftsmen. He was often depicted as a bearded man, with a forge and hammer in hand. In some accounts Zeus is not the father, but rather he is the child of Hera alone.

Hephaestus was cast out of Olympus , but there are varying stories as to the reason for this. In one story, he was cast out by his own mother because she found him to be lame and ugly. In another, he was cast out by Zeus for protecting his mother Hera from his unwanted advances.

Hephaestus was an engineer, but he was also stuck in his own workshop because he was lame and hunchbacked. One day, he got his revenge on all who had rejected him by building a magical throne that would trap whoever sat in it. Hera, without realizing the consequences of her actions, took the bait and sit in the throne – only to be incapacitated by it.

In order to free his mother he made that demand that the goddess Aphrodite would become his wife. Aphrodite was known for her allure and her ability to lure men into her bed. She was married to Hephaestus, but she had many affairs with other gods and mortals including his brother Ares.

It was in blacksmithing that Hephaestus was revered as a god, and was renowned for his crafting of the weapons for all the Gods in Olympus.

Eileithyia, is perhaps the least well known of these children of Hera, yet still a significant deity in Greek mythology. She was revered as the goddess of childbirth and labor, with a crucial role in the pantheon. Eileithyia’s godly role was overseeing the most fundamental aspect of human life – the birthing process. Her presence was believed to be essential for the safe delivery of a child, and she was often invoked by expectant mothers and midwives during labor.

Worship of Eileithyia was widespread, with her primary cult centers located in Crete and Olympia where a shrine to her was made. The Cretan city of Amnisos housed one of her most prominent sanctuaries, where evidence of her worship dates back potentially as far as the Minoan era. This ancient connection underscores her longstanding importance in not just Greek, but pre-existing cultures.

Unlike other Olympian gods and goddesses, Eileithyia’s power is not displayed through epic battles or grandiose feats, but through the everyday miracle of birth. She is often depicted as a benevolent figure, easing the pain of labor and safeguarding the lives of both mother and child.

Greek Mythology : Zeus the Greatest God

This essay about Rhea, the mother of Zeus, explores her crucial role in Greek mythology. It details her lineage as a Titaness, her marriage to Cronus, and her pivotal actions that led to the rise of the Olympian gods. The narrative centers on Rhea’s defiance against Cronus, who, fearing a prophecy that he would be overthrown by his child, swallowed each of his offspring. To save Zeus, Rhea tricked Cronus by giving him a rock to swallow instead, allowing Zeus to grow up in secrecy and eventually fulfill the prophecy by leading the Olympian gods to victory in the Titanomachy. The essay highlights Rhea’s impact as a catalyst for change, marking the transition from the rule of the Titans to the new order of the Olympians. It also touches on her association with themes of fertility and motherhood, and her identification with the Phrygian mother goddess Cybele, illustrating her influence beyond Greek mythology into broader cultural and religious contexts. Through Rhea’s story, the essay underscores themes of power, rebellion, and the cyclical nature of mythological narratives.

How it works

Rhea, the progenitor of Zeus, emerges as a central persona within Greek mythology, encapsulating the intricacies of motherhood, rebellion, and the cyclical clash between generations. Her narrative unveils the intricate familial dynamics amidst the Titans, laying the groundwork for the ascendance of the Olympian deities, prominently led by her illustrious offspring, Zeus. This discourse delves into the mythos surrounding Rhea, her significance within the divine hierarchy, and her enduring impact on the Greek mythological narrative.

Rhea, a Titaness born of Uranus (the sky) and Gaia (the Earth), assumes the role of sister-wife to Cronus, the paramount Titan.

The saga of Rhea’s union with Cronus intertwines with themes of dominion and prophecy. Cronus, motivated by a prophetic warning of being dethroned by his own progeny, usurped his father Uranus. To avert the foreseen fate, Cronus devoured each newborn child. Yet, Rhea’s resolve to safeguard her youngest, Zeus, catalyzed a sequence of events destined to fulfill the prophecy that Cronus sought to evade.

Tormented by the loss of her other offspring—Hestia, Hera, Demeter, Poseidon, and Hades—Rhea resolved to safeguard Zeus. Upon Zeus’s clandestine birth on Crete, Rhea presented Cronus with a stone wrapped in swaddling garments, which he ingested, deceived into believing it to be his son. This ruse enabled Zeus’s maturation far from the despotism of his father. The chronicle of Zeus’s upbringing abounds with the involvement of myriad deities and entities who aided in concealing and nurturing the future sovereign of the gods, epitomizing the widespread revolt against Cronus’s tyrannical rule.

Zeus’s eventual resurgence and the ensuing Titanomachy—a cataclysmic clash between Cronus’s Titans and Zeus’s Olympians—epitomized the zenith of Rhea’s influence. Her initial act of maternal defiance proved pivotal in toppling the antiquated regime. Following Zeus’s triumph, Cronus and the Titans were consigned to Tartarus, inaugurating the era of the Olympian pantheon liberated from Cronus’s belly.

Rhea’s mythological legacy looms large. As the maternal progenitor of the Olympians, she embodies the transition from the archaic dominion of the Titans to a novel epoch. Her significance underscores the paramountcy of sagacity and stratagem, traits that Zeus would prominently demonstrate during his reign. Furthermore, Rhea’s narrative intersects with motifs of fecundity and maternity. In subsequent traditions, she became synonymous with Cybele, the Phrygian mother goddess, whose veneration encompassed rituals venerating the fecund and untamed facets of nature. This amalgamation underscores the far-reaching extent of Rhea’s influence beyond Greek mythos into the broader cultural and religious ethos of antiquity.

In summation, Rhea transcends her maternal guise, evolving into an agent of transformation and an emblem of enduring authority. Her deeds forge the backdrop for the ascendancy of pivotal figures within Greek mythology, elucidating the cyclical ebb and flow of power struggles within mythological chronicles. Through Rhea, Greek mythos delves into themes of filial obligation, the inexorability of prophecy, and the intricate interplay between authority, insurgency, and preservation. Her narrative enriches the tapestry of Greek myth, proffering profound insights into the ancient conception of divine and maternal dominion.

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Essay Sample about Hera the Greek Goddess

Hera, goddess of marriage and queen of the gods is the daughter of Cronus and Rhea and is the sister to Zeus, Ares, and Hephaestus. According to the website “14 Interesting Facts about Hera” states that “Hera was born in Samos, but seconds after being born was swallowed by her father Cronus. Years later she was saved from her father's stomach by Zeus”. In the article, Hera was described as a very beautiful goddess with very pretty eyes and soft white skin.

Another website “Geary Schools - Greek Gods & Goddesses” tells us some interesting facts about Hera. It notes that her “sacred animal is the peacock”. Hera also has a symbol which is a “pomegranate”. Some of the other things that the article talks about are Hera’s strengths and weaknesses. One of her most interesting strengths is that she is a “ Determined defender of the sanctity of marriage” while she has a weakness of marrying her brother Zeus. Even though Hera might seem like a very nice sweet goddess according to Ancient Greek Gods for Kids, Hera was very jealous of Zeus because she knew that he was unfaithful and it angered her. Zeus feared Hera because he knew that she could be very rude towards him sometimes.

One of the very interesting myths about Hera that can be found in the article “The Beginnings — Loves of Zeus,” is Zeus tricking Hera into marrying him. The moment that Zeus meet Hera he fell in love with her but Hera had no intention of ever marrying him. Zeus came up with a plan so she would be forced to marry him. Zeus turned himself into a cuckoo bird and waited outside of Hera’s window while it was raining outside. Hera saw the bird and felt bad for it so she decided to help it, by letting the bird in. Then Zeus transformed back to his human form. Zeus then raped her and out of embarrassment Hera had to marry him.

I found Hera to be a very interesting goddess, because I could relate to her. I believe that marriage is of great importance to society and so protesting it is necessary. I also felt sorry for her, because she was tricked into a destructive relationship with her brother which brought her great pain. Hera should be an inspiration to all girls to be strong in the face of adversity, and to never settle for less than they deserve.

Works Cited

“Ancient Greek Gods for Kids, Queen of the Gods - Hera & Juno - Ancient Greek & Roman Gods for Kids.” Mrdonn.org, 2019, greece.mrdonn.org/greekgods/hera.html.

“The Beginnings — Loves of Zeus.” Www.cliffsnotes.com, www.cliffsnotes.com/literature/m/mythology/summary-and-analysis-greek-mythology/the-beginnings-8212-loves-of-zeus#:~:text=When%20Hera%20took%20pity%20on. Accessed 1 Mar. 2022.

“Geary Schools - Greek Gods & Goddesses.” Gearyschools.org, 2013, www.gearyschools.org/vnews/display.v/TP/515babf44bd90.

“14 Interesting Facts about Hera, Queen of the Gods.” Athens and Beyond, 30 Oct. 2021, athensandbeyond.com/facts-about-hera-queen-of-the-gods/. Accessed 25 Feb. 2022.

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Hera Persuasive Speech Essay

Throughout many decades Zeus has been the ruler of Mt. Olympus, he is now ready to leave the throne. The best candidate for the position to become the next ruler of Mt. Olympus is his wife, Hera is the Greek goddess of marriage and childbirth. Hera is a very compassionate, caring, and smart goddess. Hera already has experience ruling over Mt. Olympus ever since she is Zeus wife and his right hand goddess. Hera is a devoted god and gets whatever she wants. Hera is good for the position to become future ruler of Mt. Olympus since she is a very powerful god. Zeus is the ruler of Mt. Olympus and is not scared of anything except for Hera. Hera would be the best candidate for the position since she is a strong and powerful goddess.

Hera is the Greek goddess of marriage and childbirth, the daughter of Cronus and Rhea. For many years Hera has been living inside of Cronus ever since he was scared that his kids would defeat him and stop him from taking over the word. Hera is Zeus wife, sister, and right hand goddess. She is a very jealous and vengeful god toward Zeus lovers and the kids that he had in his other relationships. The goddess of childbirth and marriage is also known to be the protector of women. Zeus was not afraid of most things, but he was afraid of his wife Hera. Hera has been through many bad things while she was married to Zeus. Before Hera married Zeus, he “changed himself into a little cuckoo, and, pretended to be in distress, he flew into Hera’s arms for protection. She pitied the wet little bird and hugged it close to keep it warm, but all of a sudden she found herself holding mighty Zeus in her arms” and raped Hera. Hera has been through many things while married to Zeus both good and bad.

Hera is a compassionate, caring, and smart goddess. According to Hera page 5 it states “Slyly Zeus created himself into a little cuckoo, and pretending to be in distress, he flew into Hera’s arm for protection.” This quote shows that Hera is very compassionate because Hera took care of the cuckoo bird even though the bird was only small and Hera protected the bird. Hera is a very smart person ever since she always knew Zeus was tricky. According to Hera, it states “She knew how tricky Zeus could be and kept very close watch over him.” Hera is a very compassionate person and took care of the cuckoo even though it was little and one of a million birds. Hera is smart ever since she always knew what to do to Zeus wives.

Hera is a devoted and dedicated goddess. Hera is devoted ever since she takes her time punishing Zeus wives or kids. According to Hera, it states “She devoted most of her time punishing and prosecuting her husbands lovers” This quote shows that Hera spent most of her time punishing Zeus lovers since she believed that a husband or wife should be loyal to their spouse. Hera is a devoted goddess even since she is the god of marriage. Hera is devoted ever since she is the god of marriage and she works to maintain her marriage with Zeus even if he cheats on Hera. Hera is a very devoted and dedicated god to what she does as the goddess of marriage.

Hera has already had experience of ruling and having power. Hera has power ruling over Mt. Olympus ever since she is Zeus right hand god. “On his right sat his youngest sister, Hera, whom he had chosen from all his wives as queen.” This quote shows that Hera is Zeus right hand god and he married Hera from all his wives. According to Hera, it states “Even Zeus who was afraid of nothing, feared her fits of temper.” This quote shows that Hera was a strong leader , even though Hera was strong enough that she was also one of the many things he feared. “Hera now permitted Zeus to change her back to her human shape” This quote shows that Hera is very powerful.

Hera has done many bad things as she became right hand god of Zeus. Hera is a very evil person due to the fact that she punishes Zeus wives and kids. According to 11 Crazy Punishments from Queen of the Gods Hera it states “When Hera found out about the two of them, she came down to catch them, but Zeus turned Io into a white cow to protect her.” This quote shows that Hera punishes Zeus wives and kids ever since she believes husband or wives should be faithful. Another example of how Hera does bad things is that Hera threw Hephaestus off of a cliff. Although this shows how Hera is a bad goddess but it shows how she would sacrifice her own kids to show she would do anything to show she will do anything for her people.

To conclude Hera is a good candidate to become the next ruler of Mount Olympus since she is a strong leader, has experience ruling with Zeus. Hera takes care of her people ever since she is known to protect women and kids. Hera is a very responsible god and gives the Zeus wives reasonable punishment. Ever since Hera is a strong leader and is responsible and is good enough to become the next ruler of Mt. Olympus

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Zeus and Semele

Dionysus is one of the chief gods of Olympus, but how much do you know about his parents? The story of Zeus and Semele is one of the most tragic in Greek mythology!

Semele’s story started out similarly to that of any other beautiful princess in Greek mythology. Spotted by Zeus, the amorous king of the gods made her his mistress.

Like many of her peers, Semele and her pregnancy were eventually discovered by Hera. Zeus’s jealous wife devised a scheme that would end in Semele’s death at Zeus’s hand.

Zeus was able to save her child, though, and carried the baby in his own thigh until he was ready to be born. Dionysus was born for a second time and welcomed into the pantheon.

The story of Semele is a sad one, but one that the Greeks later reinvented. Through both the unusual beliefs of the mystery cults and a progressively more optimistic view of the afterlife, Semele was given both more authority in her story and the chance to join her grown son on Olympus.

The Tragic Story of Semele

Semele was a Phoenician princess and one of the many mortal lovers of Zeus.

Her own mother was a goddess. Harmonia, the daughter of Aphrodite and Ares, had married the human king Cadmus.

Cadmus was a great hero whose deeds had made him worthy of the hand of a goddess. Together, the couple founded the city of Thebes.

Semele is most often said to have been a priestess in the temple of Zeus in her father’s city. After slaughtering a bull as a sacrifice, she was seen by Zeus as she bathed in the river to wash the animal’s blood off of herself.

Zeus was immediately smitten with the young priestess and flew over her many times as an eagle to see her. Eventually, he made her his mistress and visited her often.

Hera , who was constantly jealous of her husband’s infidelities, found out about his Theban consort and sought revenge against the girl. She was even more enraged when she learned that Semele was carrying her husband’s child.

Rather than resort to violence, however, the goddess used trickery to punish the girl.

Hera disguised herself as an old woman and went to Thebes. Outside of her husband’s temple, she befriended the human girl and soon became one of her closest confidants.

When talking about her pregnancy, Semele admitted to the old woman that the baby’s father was the king of the gods. Hera feigned disbelief and asked the girl how she could be sure it was Zeus and not a lesser god trying to trick her.

Semele had never doubted Zeus before, but Hera’s words made her uncertain. The next time she saw Zeus, she decided to find out the truth.

Semele coyly asked the god if he would grant her a favor. He agreed and even swore a sacred oath on the River Styx that he would do anything she asked of him.

When he agreed, Semele asked him to prove his identity by revealing himself to her in his full glory.

Zeus tried to dissuade her, but Semele was adamant. Bound by a sacred oath, the king of the gods had no choice but to grant her request.

Zeus tried to reveal the smallest possible amount of his power to Semele, but even that was too much. No human can survive being confronted with the full majesty of a god and Semele was instantly incinerated by Zeus’s own thunderbolts.

The girl was dead, but Zeus was able to save the child she carried. He quickly took the fetal child and sewed him into his own thigh until it was time for his birth.

After a few months, Zeus opened his leg and gave birth to Dionysus. The god of wine was sometimes referred to as the twice-born for having been taken from his mother’s body and put into his father’s until he reached full term.

My Modern Interpretation

The story of Zeus and Semele was one of the more tragic of Zeus’s human lovers, but over time Semele became a more triumphant figure.

The first major change to Semele’s character came in the form of the Orphic mystery cults. The cults often had different versions of major myths than the mainstream religion, with a focus on learning the secrets of death.

The mystery cults believed that Semele was not the first mother of Dionysus.

According to their stories, Zeus had seduced Persephone in the form of a snake and she had given birth to a son. The child god was so adored by his father that Zeus allowed the boy to sit on his throne and wield his thunderbolts.

Hera and the Titans were jealous of the child and cut him to pieces. All Athena was able to recover for her father was the boy’s heart.

According to the Orphic tradition, Zeus made the heart of his son into a potion which he gave to Semele to drink. As a result she became pregnant with Dionysus, the reincarnation of Persephone’s murdered child.

Semele was still killed, but this time out of a desire to interrupt the resurrection rather than because of her own relationship with Zeus.

This story separates Semele from the usual archetype of Zeus’s young mistresses. Instead, she became a priestess that worked with her god to allow the rebirth of a beloved god.

The Orphic mysteries may have been influenced by the Egyptian myth of Osirus. Their beliefs made Dionysus not just the god of wine, but a being that had successfully passed into the land of the dead and been reborn.

The beliefs of the Orphic cultists were not widespread in the ancient world, however. Only those who were initiated into the mystery rites would have access to this alternative story of Semele and her son.

In the Hellenistic period, however, a more mainstream belief would see Semele get a happier ending.

Throughout most of Greek history, the underworld had been considered to be a universally dismal place. Over time, however, the Greeks began to believe that those who lived exceptionally good lives would be rewarded with a more pleasant experience.

At the same time, they began to imagine that some of their most popular heroes had been given a better ending as well. For the sons and daughters of the gods, they began to think it was possible for the best among them to have been taken to Olympus and made gods themselves.

Many figures from earlier stories were thus given new endings in which they joined their loved ones as immortal Olympians. One of these was Semele.

While Heracles was allowed to ascend directly after his death, however, Semele had been taken to the underworld as a mortal. Her son Dionysus went to the realm of Hades himself to bring her out and take her to his home among the gods .

Semele was reborn as Thyone, the goddess of her son’s frenzied followers. After thousands of years, Greek mythology had progressed toward a more positive outlook and Zeus’s former mistress was able to spend the rest of time in the company of the son she had never been able to meet.

Semele, the daughter of Harmonia and Cadmus, was a priestess of Zeus in Thebes. When he saw her bathing the god fell in love with her and made her his mistress.

When Hera learned that the Theban priestess was carrying Zeus’s baby, she came up with a scheme to destroy both mother and child. Planting seeds of doubt in the girl’s mind, she convinced Semele to see Zeus in his full divine glory.

Although Zeus tried to spare her, he was not able to conceal his nature enough to keep Semele safe. The girl was burned in an instant, unable as a mortal to withstand seeing the full majesty of a god.

Zeus was able to save his unborn son , though. Sewing the baby into his own thigh until it came to term, he eventually brought Dionysus out of his own body safely.

Semele’s story was a tragic one, but the ever-evolving nature of Greek belief gave the character an opportunity for a happy ending.

The Orphic cults believed that Dionysus was the reincarnation of a previous child of Zeus who had died as a result of Hera’s schemes. Rather than being another in a long line of mistresses, Semele was to them an active participant in the resurrection of a major god.

Later still, new views of the afterlife led to a proliferation of characters who were made immortal after their deaths. Semele became one of these demi-gods when her son went to the underworld himself to bring her out and take her to his home among the gods.

My name is Mike and for as long as I can remember (too long!) I have been in love with all things related to Mythology. I am the owner and chief researcher at this site. My work has also been published on Buzzfeed and most recently in Time magazine. Please like and share this article if you found it useful.

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Cuckoo Bird

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