December 9, 2013
Alternately a cathedral, a mosque, and an archaeological ruin, the Parthenon atop Athens’s Acropolis was constructed nearly 2,500 years ago (447–432 B.C.E.), on the site of an earlier temple, as a huge, “lavishly decorated” temple of Athena. Here, in contrast to tendencies to project upon it our modern “standards of what it means to be civilized,” archaeologist and NYU classics professor Connelly (Portrait of a Priestess) urges readers “to see the Parthenon and the people who made it as they were.” Using surviving snippets from a long-lost Euripides play, she argues that the Parthenon frieze isn’t a snapshot of contemporary fifth-century B.C.E. Athenians “marching in their annual Panathenaic procession,” but a mythological scene glorifying human sacrifice before a battle between followers of rivals Athena and Poseidon. Within the Parthenon sits a tomb shrine to those sacrificed heroines, whose associated cult was incorporated into the worship of Athena. Connelly’s persuasive reinterpretation of the frieze will spark controversy among academics, as will her advocacy of the return to Greece of the British Museum’s Elgin Marbles. But this detailed, smart, and tantalizing study offers much to savor while immersing readers in a “spirit-saturated, anxious world” at the mercy of mercurial gods. Illus.
November 15, 2013
Get out the dictionary and brush up on your Greek. Classical archaeologist Connelly's (Classics/New York Univ.; Portrait of a Priestess: Women and Ritual in Ancient Greece, 2007, etc.) history and analysis of every square inch of the Parthenon requires close attention. "Never before in human history has there been a structure that is at once so visible to the world, so celebrated, so examined, so invested with authority, and yet, at the same time, so strangely impenetrable at its core," writes the author, who devotes the first third of the book to a deeply detailed history of the gods and myths of the Acropolis. The Parthenon is a portrait of the Athenians, their identity and perception of belonging. Greece had no sacred text and no culture media, but they stressed the importance of myth, landscape and memory. Myth and history were one and the same. When Connelly gets to the story of the founding family of Athens--Erechtheus, his wife, Praxithea, and their three daughters--the book picks up considerable speed. Much more than a sacred space, the Parthenon is the symbol of Athens' democracy, and the East Frieze explains the meaning of that democracy, the language of images paralleling the language of text. It shows how Erechtheus and Praxithea were prepared, even willing, to sacrifice their youngest daughter to avert an impending siege. Unknown to them, their daughters had pledged that if one died, so would they all; thus, the two remaining sisters threw themselves off the Acropolis. When Erechtheus was swallowed by the Earth, Athena instructed Praxithea to build the two temples we now see. It is not their sacrifice that illustrates democracy but the fact that no life is above another or the common good. The carvings of the Parthenon, the greatest masterpiece of Greek art, teach us the meaning of democracy. A book for all who seek direction and are capable of seeing the bigger picture--erudite if esoteric, edifying if somewhat exhausting.
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Starred review from December 1, 2013
In this masterly volume, Connelly (classics, New York Univ., Portrait of a Priestess) delves into the significance of this Athenian wonder and presents a different interpretation of the frieze that encircles it. For centuries, scholars have interpreted the frieze as being of a Panathenaic procession seeking to honor Athena--the city's most important deity. Connelly's exhaustive inquiry into the intricate nature of the artwork, through a deep understanding of fifth-century Hellenic myth, history, and religion leads her to believe that the frieze seeks to tell the tale of King Erechtheus's three maiden daughters who willingly sacrificed themselves--as decreed by an oracle--to save the city-state of Athens from the approaching Eleusinian army. Connelly expertly re-creates the world engendered by the efforts of the great statesman Perikles, one in which the city-state was worthy of any sacrifice. The author suggests that the misreading of this "mirror in marble" has obscured the didactic message the edifice was intended to imbue in Athenians. VERDICT Connelly's depth of knowledge and scholastic effort shine through brilliantly. Her thorough research presents a convincing argument for newly comprehending the Parthenon's frieze and potentially reevaluating long accepted research on the subject. Enthusiastically recommended for all readers interested in ancient Greece.--Brian Renvall, Mesalands Community Coll., Tucumcari, NM
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Starred review from December 1, 2013
Universally recognized as a symbol of Western democracy, the Parthenon emerges in Connelly's bold new analysis as a shrine memorializing myths radically alien to modern politics. Newly recovered classical literary texts and surprising archaeological finds compel readers to acknowledge the implausibility of the usual interpretation of the Parthenon's frieze sculptures as a depiction of fifth-century Athenians celebrating their Panathenaic Festival. To buttress a quite different interpretation, Connelly cites lines from a long-lost Euripides play, so investing the Parthenon statues with mythicalnot historicalsignificance, enshrining the legendary King Erechtheus and Queen Praxithea and the three daughters they heroically sacrifice to save their threatened city. The discovery that Athenians believed their political order originated with virgin sacrifice may shock readers, despite the ubiquity of human sacrifice in the world's prehistory and the centrality of blood sacrifice in Christianity. Yet in Athens' violent founding myth, Connelly sees a reminder of how completely Athenians put community welfare above self-interest. Newly aware of the potent message embedded in the Parthenon frieze as a whole, many readers will endorse Connelly's concluding appeal to British authorities, asking them to return to Greece the priceless pieces of the frieze that have long been held in London. An explosive reinterpretation of a classical icon.(Reprinted with permission of Booklist, copyright 2013, American Library Association.)