The Parthenon, a majestic temple perched atop the Acropolis, has captivated the world for centuries. Its intricate sculptures and imposing architecture speak to a rich history steeped in mythology and ritual. This article delves into the fascinating connection between the Parthenon, marriage oaths, and ancient Greek mythology, exploring the “Autel Des Serments Mariage Mythologie” (altar of oaths, marriage, mythology) theme.
Joan Breton Connelly’s book, The Parthenon Enigma, offers a compelling reinterpretation of the Parthenon’s narrative, linking it to the tragic myth of Erechtheus and his daughters. Connelly suggests that the Parthenon commemorates the ultimate sacrifice: the death of Erechtheus’ daughter to save Athens. This sacrifice, she argues, forms the core of the Parthenon’s mythological significance, tying it to themes of civic duty and patriotism.
Connelly’s central argument revolves around Euripides’ play Erechtheus, which recounts the mythical sacrifice of the king’s daughter, known simply as Parthenos. The play features Athena decreeing the construction of two temples: one for Erechtheus and another for Parthenos, to honor her sacrifice. Connelly posits that the Parthenon is the temple dedicated to Parthenos, linking its name and purpose to the tragic myth.
This interpretation challenges traditional understandings of the Parthenon. While the temple is generally associated with Athena Parthenos, the virgin goddess, Connelly’s reading shifts the focus to the human sacrifice that supposedly ensured Athens’ survival. She further identifies the central scene of the Parthenon frieze as depicting the preparations for this sacrifice, rather than the Panathenaic procession.
Alt: A detailed section of the Parthenon Frieze depicting figures in procession, potentially related to the Panathenaic festival or, as Connelly suggests, the myth of Erechtheus.
Connelly’s analysis extends to the west pediment of the Parthenon, suggesting that it depicts the mythical figures associated with the Erechtheus story, including Cecrops and the river gods. This interpretation reinforces her argument for the centrality of the Erechtheus myth in the Parthenon’s overall iconographic program. Furthermore, she suggests that the very name “Parthenon” derives not from the goddess Athena, but from the sacrificed daughter of Erechtheus, whose tomb supposedly lay beneath the temple.
Alt: Fragmentary sculptures from the west pediment of the Parthenon, possibly representing figures from Athenian mythology like Cecrops and river gods.
While Connelly’s theory is intriguing, it remains controversial among scholars. The lack of direct evidence linking the Parthenon to the Parthenos sacrifice, the problematic identification of figures on the frieze, and the unconventional interpretation of the term abaton in Euripides’ play all raise questions about her conclusions.
Despite the debate, Connelly’s work offers a valuable contribution to our understanding of the Parthenon. Her exploration of the “autel des serments mariage mythologie” theme sheds light on the complex interplay of myth, ritual, and political ideology in ancient Athens. By connecting the Parthenon to the deeply resonant themes of sacrifice and civic duty, she invites us to reconsider the meaning of this iconic monument.
The Parthenon, whether dedicated to a goddess or commemorating a human sacrifice, stands as a testament to the enduring power of myth and the profound connection between religious belief and civic identity in ancient Greece.
