Origins of Feminism: Hera of Homer's "The Iliad" Versus The Virgin Mary

Feminism often emerges as a response to patriarchal systems within society. In cultures in which religion is a central aspect of life, feminism tends to stem from those religious figures who most impact a woman's role. Both Hera and Mary manage to maintain major positions within largely male dominated religions. Despite their supposedly submissive roles under a masculine head, each has a sweeping influence on women in general. Both promote the idea of female subordination and a willingness to submit to suffering. They also further ingrain a traditional womanly role within the home, and emphasize femininity. Yet, they diverge when defining this idealistic femininity, and ironically, it is Hera's ancient Greek traditions that most epitomize modern feminism. Homer's Hera emerges as one of the most complex characters within the Iliad, bouncing between a mental cunning, a capacity for love, and a strong sexuality. Her inability to balance these characteristics in a stable manner is reflected in her inconsistent personality. Yet, this culmination of traditionally feminine traits and a fiercely independent streak reflect more clearly a modern feminism. It is unlike the original sexual revolution, which is primarily a backlash to ideals imparted by the virginal Mary. The character of Mary has become increasingly controversial, and early feminists attest that the Madonna like image into which she has been molded by the Roman Catholic Church perpetuates a cycle of female inferiority (FitzGerald 232). However, in fighting to overcome the traditional Christian ideals of women, they often wholly reject those very characteristics that are intrinsically feminine. In spite of Hera's instability, in contrast to the steadfast perfection of the Blessed Virgin, it is her contradictory personality that best reflects the entirety of women.

Acknowledged as the "exemplar of feminine genius" by Pope John Paul II, the Virgin Mary is renowned as the symbol of womanly virtue and piety within a Christian context (Kaveny 18). In a world of domineering male perspective, Mary is one of the few women within the Scripture who emerges as a model of Christianity. The Bible essentially places all blame for original sin upon the woman, and the vast majority of females within the text are either whores or gentiles (McDonnell 529). Unlike Mary Magdalene, who is recognized as the most loved by Jesus, Mary promotes complete female obedience and an acceptance of the maternal role. Early congregations actually reverenced Mary Magdalene more than the Virgin Mary, and it was not until the establishment of the Roman Catholic Church that Mary's position of motherly grace and chastity eclipsed that of Mary Magdalene's emphasis on friendship (McDonnell 540). The image of the Virgin Mary has gradually warped over time, and this divergence from the historical Mary is responsible for the creation of traditionally stifling roles for Christian women (Maloney 14). It has a significant impact on the early feminists, who emphasize a mutuality of character traits between genders. Often referenced as "sameness" feminism, the Virgin Mary provokes this intense desire to abandon all of the typically feminine traits (Kaveny 18). Yet, in completely rejecting these characteristics, they actually undermine the idea of female independence.

Hera is a much more complex character than Zeus, who is a relatively simple tyrant ruling by sheer force. She is a paradox of "dark eyes" (Homer 1:661) and "white-arm[s]" (Homer 1:690), and her treacherous behavior is often tempered with a womanly grace and beauty. Although she can, and often does, manipulate others she is also a "loving mother" (Homer 1:689). Homer interjects that she manages to "deceive [Zeus] blind- feminine as she is" (Homer 19:112-113), and emphasizes this juxtaposition of her treachery and womanly grace. Her contradictory personality serves to further entangle this fusion between deceit and beauty that continues throughout history. In a Christian context, Eve is the source of original sin, and becomes a symbol for feminine temptation. Similarly, Hera relies on her abilities as a woman to overpower Zeus's will, and she offers her "enticing body" (Homer 14:209) in her seduction. Christianity has built Mary into a virginal image of near perfection, and virginity has replaced sexuality as a means to rebirth (McDonnell 538). The Catholic image of Mary ignores her internal struggles, and instead focuses on creating this image of chastity and maternal grace (Maloney 13). While Hera's position is confusing, as she often connives her way into mental superiority over Zeus, Mary is forever placed in an accepted position of inferiority.

It is debatable whether Zeus indeed holds complete monopoly over Olympus, and Hera's power is unlike Zeus's in that it derives from a subtle strength of mind, as opposed to his brute force. Homer constantly associates the words "treachery" and "noble" (Homer 14:240), emphasizing yet again Hera's paradoxical personality. Feminine nobility is starkly different from the traditional male sense, and while it is "in the war where men win glory" (Homer 14:190), it is through conniving mental games through which women can gain recognition. The Iliad pays homage to the complexity of women, and despite the deeply patriarchal culture, it distinguishes between the physical and mental prowess of men and women. Unlike the Christian tradition, in which women are subordinate in both a physical and metaphysical world, Hera possesses the ability to "outflank" Zeus (Homer 14). Although Hera acknowledges her cultural inferiority to Zeus, she does not fully accept complete domination. Simone de Beauvoir is oft quoted when he explains that "she freely accepts her inferiority" and that this is "the supreme masculine victory" (McDonnell 532). Although both Hera and Mary are submitted to similar subordination, it is Mary's willingness that pushes feminists towards a complete rejection of her feminine ideals. Hera is stuck within a similar gender based hierarchy, but she continues to promote ideals of female independence, while continuing to embrace her femininity.

In spite of the mental cunning Hera possesses, she is forever placed in a cultural role beneath Zeus. While she crafts her plans against his will, she acknowledges that he is often "without a qualm in the world for [her]" (Homer 1:5). Zeus tells her that she can do "Nothing" (Homer 1:676) about his actions and even as he relents in her seduction, he first compares her to his laundry list of sexual partners. Hera is Queen only through her marriage to Zeus, and it is "wrong to deny [her]… since [she] is the one who lies in the arms of might Zeus" (Homer 14:256). Yet, she has a powerful hold on Zeus, in spite of his seemingly indifferent attitude towards her. He "can never escape [her]" (Homer 1:5), and he is overwhelmed by an "irresistible longing" (Homer 14:394) for her. While Homer continually emphasizes her eyes as "dark" (Homer 1:661) and "wide" (Homer 15:45), Zeus even acknowledges that she has "seduced [him] blind" (Homer 15:44). Despite his physical prowess, it is Hera's mental cunning that gives her sight and Zeus is overwhelmed by her guile. Instead of fighting her sexuality, Hera embraces it as a tool. Christianity portrays Mary as an obedient and passive virgin, resulting in the sexless image of the Christian woman (McDonnell 538). Hera and Mary are thus placed on opposite ends of the spectrum, where virginity is juxtaposition to an almost nonchalant approach to sex. Both extremes reflect a masculine driven world, in which a woman is either chaste and virtuous or enters into the realm of sexual fantasy. Hera may be able to outwit Zeus, but ultimately, in her reliance on her sexuality, she is still succumbing to a patriarchal order.

Zeus's ultimate power has its foundation in the fact that he is simply the most powerful of the gods. He is the "first in strength and power" (Homer 15:133) and Hera calls the gods "fools" (Homer 15:138) for going against his will. Unlike the Christian God, whose rule gains legitimacy through faith, Zeus relies on brute strength. When Zeus awakes from Hera's bewitched seduction, she is in a frenzy to obey his commands, as "his rage" is "rigid" and "unrelenting" (Homer 15:115). Hera lives in constant fear of Zeus, and the diction surrounding him reflects her ceaseless trepidation as she calls him "Dread majesty" (Homer 1:662) and is "terrified" in his presence (Homer 1:685). He threatens to "throttle [her]" (Homer 1:183) for her suspicions, and later reminds her of "the time [he] strung [her] in mid-air" (Homer 15:23) and "lashed" her (Homer 15:25). She is quite literally whipped into submission and continues to obey his commands out of a deep fear. Hera bounces between this frightened submission and a desire to outsmart Zeus, having a difficult time finding a medium between these extremes. While she struggles to fight Zeus through her own means, her deeply rooted fears push her into a role of obedience. Mary is recognized for her complete self sacrifice and willingness to submit to the will of others (McDonnell 532). Yet, the Catholic image fails to capture her inevitable turmoil, and consistently places her into an impossible role of enduring faith, ignoring the internal struggle portrayed in Hera's character.

The Virgin Mary has grown into the Christian image of womanly perfection, taking on an almost divine role within Catholicism. Her maternal affections place her closest of any human to the Holy Trinity and she has become the role model for femininity. Yet, Mary is too perfect, and her portrayal within Catholicism tends to reject any sort of flaws, epitomizing entirely the masculine sense of the ideal woman. She submits willingly to a patriarchal order, and embraces only those traits which perpetuate a traditional female role. Her iconic status has served to promote the most ignorant forms of feminist rebellion, in which they either strive to become totally equal or completely separate from men. Both forms of feminism overlook the inevitable fact that men and women exist in a symbiotic relationship, in which innate differences are necessary. Yet, it is equally difficult to accept characters like Hera as a model for feminism because of the plethora of complexities and flaws with which she is associated. Hera is indubitably imperfect, and even her supposed nobility is only gained through treacherous means. Her paradoxical nature is a reflection of the whole woman, who is a culmination of every innate quality.

Works Cited

FitzGerald, Kyriaki Karidoyanes. "A Person in Communication: The Witness of Mary, the Mother of God" Greek Orthodox Theological Review 46 (2001):229-253.

Homer. The Iliad. Trans. Robert Fagles. New York: Penguin Group, 1998.

Kaveny, Cathleen. "What Women Want: 'Buffy,' the pope and the new feminists." Commonweal 130 (2003): 18-24.

Maloney, Robert P. "The Historical Mary." America 193 (2005): 12-16.

McDonnell, Killian. "Feminist Mariologies: Heteronomy/Subordination and the Scandal of Christology." Theological Studies 66 (2005): 527-567.