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Adikia
Adikia
Adikia
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In Greek mythology, Adicia or Adikia (Ἀδικία) was the goddess and personification of injustice and wrong-doing.[1]

Representation

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An image of Dike, the goddess of justice, overcoming Adikia appears in two archaic vase paintings.[2] The scene was also shown on the chest of Cypselus, in which Adikia was portrayed as a hideous, barbaric woman covered in tattoos being dragged by Dike with one hand, while in the other she held a staff which she beat her with or she is depicted being throttled by Dike.[3]

A beautiful woman is punishing an ugly one, choking her with one hand and with the other striking her with a staff. It is Justice (Dike) who thus treats Injustice (Adikia).[3]

Literature

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She likely appeared in the now-lost Orphic Rhapsodies (a theogony attributed to Orpheus), in which she seems to have been the antithesis of Dike.[4]

References

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Adikia

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Adikia (: Ἀδικία) was the daimōn, or personified spirit, of injustice and wrong-doing in ancient Greek mythology and religion, serving as the direct antagonist and counterpart to Dike, the representing , moral order, and fair judgment. Depicted in Archaic as an ugly, barbaric woman with tattooed skin, wild hair, and ragged clothing—often shown being beaten or restrained by a staff-wielding Dike—Adikia symbolized the chaos and that followed corrupt leadership, , and social disorder. In literature, particularly Hesiod's (ca. 700 BCE), adikia is portrayed not only as an abstract vice but as a pervasive force that corrupt rulers foster through crooked judgments and exploitation, ultimately provoking Zeus's punishment and the restoration of dike; for instance, the poem describes how bribe-devouring lords who pervert will face and retribution, emphasizing its role in eroding communal prosperity. As a minor deity or allegorical figure, Adikia appears infrequently in surviving texts but underscores broader themes in early Greek thought, where and were intertwined with cosmic balance and human ethics, influencing later philosophical discussions in works by and . Her visual representations, such as on a late sixth-century BCE vase fragment from showing Dike overpowering her, highlight the cultural ideal of triumphing over barbarism and moral decay, reflecting Athenian values during the rise of .

Etymology

Name Meaning

The name Adikia derives from the ancient Greek noun ἀδικία (adikia), meaning "injustice" or "wrong-doing." This feminine abstract noun is formed by combining the privative prefix a- (ἀ-), denoting absence or negation, with dikē (δίκη), which signifies "justice," "right," "custom," or "order." The etymological structure thus literally conveys the state or act of being without justice, highlighting a fundamental opposition within Greek conceptual frameworks. In thought, the name encapsulates the notion of moral and legal imbalance, representing deviations from established norms that disrupt social harmony and ethical equilibrium. It embodies not merely legal violations but also broader ethical wrongs, such as deceit or harm contrary to communal expectations. This conceptual significance underscores Adikia's role as a counterforce to , often invoked to critique actions that undermine fairness in human affairs. The term's roots appear in archaic , including Hesiod's Works and Days, where adika erga (unjust deeds) describe violations of moral and social norms, and extend into classical usage in epic, philosophical, and legal texts to denote unfairness or unrighteousness.

Linguistic Connections

The term adikia derives from the Greek ἀδικία, formed by prefixing the privative a- to dikē (δίκη), denoting , right, or custom, thereby signifying "absence of justice" or . The root of dikē traces to the Proto-Indo-European deik- (or deyk-), meaning "to show" or "pronounce formally," which connects it to early concepts of pointing out boundaries, judgment, and social order across . This etymological link underscores how adikia embodies the of pronounced right or equitable decree. In early Greek dialects as reflected in the Homeric epics, adikia primarily refers to concrete acts of , such as violations of oaths, , or communal norms, often carrying a moral dimension intertwined with hybris or excessive behavior. By the classical period, its usage in prose—exemplified in works by historians like and philosophers such as —expands to encompass both specific unjust deeds and the broader abstract principle of unrighteousness, marking a shift toward more nuanced ethical and legal discourse. Related terms include the adjective adikos (ἄδικος), describing an unjust person or action, which shares the same privative structure and appears frequently alongside adikia in legal and moral contexts from onward. The Greek concept of adikia exerted influence on Latin philosophical vocabulary, where it was rendered as injustitia in translations and adaptations by authors like , facilitating the transmission of Greek ideas on equity and wrong to Roman thought.

Mythological Role

Personification of Injustice

In , Adikia was the personified spirit, or , embodying and wrongdoing, representing violations of moral, legal, and social norms within the human and divine spheres. As a , she functioned as an abstract force rather than a fully anthropomorphic , manifesting the consequences of unfair actions and ethical lapses that undermined societal harmony. Adikia symbolized chaos and , serving as a counterforce to the orderly (kosmos) established and upheld by through principles of and equity. Her presence evoked the disruption of natural and social balance, illustrating how could lead to ruin and conflict, in opposition to the structured world governed by the Olympian gods. No surviving ancient texts provide details on Adikia's birth, parentage, or specific myths, underscoring her primarily allegorical role as a of that contrasts with Dike, the of , who actively suppresses such disorder to maintain cosmic order.

Relationship to Dike

In , Adikia serves as the direct to Dike, the of , embodying the fundamental opposition between wrongdoing and moral order. Dike is frequently portrayed as subduing Adikia through physical or symbolic means to reestablish balance, underscoring the necessity of prevailing over injustice in the cosmic and human spheres. This dynamic highlights Adikia's role as the disruptive force that justice must continually counteract. The relationship between Adikia and Dike symbolizes the eternal struggle between (injustice) and () within the ancient Greek worldview, where moral equilibrium is maintained through the triumph of order over chaos. This thematic antagonism reflects broader philosophical concerns in Greek thought, such as those explored in Hesiod's works, where dike represents rightful custom and adikia its violation, perpetuating a cycle of conflict essential to societal and divine harmony. This conceptual opposition reinforces the intertwined nature of opposites in Greek cosmology, positioning Adikia not merely as an adversary but as an integral counterpart to Dike's virtuous domain.

Artistic Depictions

Iconographic Features

In ancient Greek art, Adikia, the personification of injustice, is consistently portrayed as an ugly and barbaric woman, embodying moral and social disorder through her grotesque features. Her skin is covered in tattoos, a marker typically associated with non-Greek "barbarian" peoples, which visually signifies otherness and ethical corruption. This depiction underscores her role as the antithesis to civilized order, with her disheveled and knotted hair further emphasizing savagery. Adikia's posture and attire starkly contrast with those of her counterpart, Dike, the embodiment of , who is shown as a graceful and beautiful figure. While Dike often appears upright and authoritative, wielding a staff or , Adikia is rendered in defensive or fleeing poses, cowering or recoiling under . These iconographic elements—tattoos, wild hair, and absence of adornments—serve as symbols of chaos and moral ugliness, reinforcing Adikia's representation of wrongdoing in opposition to Dike's harmony. The tattoos, in particular, evoke the perceived barbarism of outsiders, linking physical appearance to ethical deviance in Greek visual semiotics.

Specific Artworks

One of the earliest and most prominent artistic representations of Adikia is found on an bilingual neck-amphora produced around 520 B.C., housed in the in (inventory number IV 3722). The red-figure scene on the vessel's body depicts Dike striking Adikia with a hammer, while the other side shows Ajax carrying the body of Achilles; Adikia is iconographically rendered as an ugly, tattooed barbarian woman, marked as non-Greek—possibly Thracian—with identifying inscriptions confirming the allegorical figures. A second key depiction appears on the Chest of , an archaic cedar-wood chest crafted in the late 7th or early B.C. and dedicated by the Cypselid family in the Temple of Hera at Olympia. As described by Pausanias in his (5.18.2), the carved ivory, gold, and wood relief on the chest illustrates Dike—a beautiful woman—choking Adikia with one hand while striking her with a staff in the other, portraying Adikia as an ugly figure in a scene of punitive justice; the chest itself, no longer extant, served as a monumental votive object tied to Corinthian history. Surviving and attested depictions of Adikia remain limited to a small number of archaic artifacts, such as the Vienna amphora and the Olympia chest relief, highlighting her specialized role in visual allegories of moral order rather than widespread narrative scenes in Greek art.

Literary References

Pausanias and Visual Descriptions

In his Description of Greece (5.18.2), Pausanias provides a vivid account of a scene depicted on the Chest of Cypselus, where a beautiful woman—identified as Dike, the personification of justice—punishes an ugly woman representing Adikia, injustice, by throttling her with one hand and striking her with a staff held in the other. This textual description, drawn from Pausanias' second-century AD periegesis of ancient Greek sites, captures the dynamic confrontation between the two figures without elaborating on additional artistic details. The Chest of itself was a cedar-wood artifact adorned with , gold, and carved figures, dating to the late seventh or early sixth century BC and housed in the Heraion temple at Olympia as a by the Cypselid family of . According to tradition recorded by Pausanias, the chest served as a hiding place for the infant , the tyrant of (r. 657–627 BC), when his enemies, the Bacchiadae, sought to eliminate him shortly after his birth. Dedicated either by himself or his son , the chest's mythological reliefs, including the Dike-Adikia scene, reflected broader Corinthian artistic and historical narratives, blending legend with moral symbolism in a sanctuary central to panhellenic worship. Scholars interpret Pausanias' as a illustrating the triumph of over , with Dike's physical dominance over Adikia embodying the cosmic and upheld by divine forces against disorder. This personified opposition underscores Adikia's role as the to Dike, reinforcing ethical themes prevalent in archaic Greek thought.

Orphic and Other Traditions

In the Orphic Rhapsodies, a lost Hellenistic-era attributed to the mythical poet , Adikia emerges as a monstrous principle of disorder and proliferating in the cosmic narrative following Athena's birth from Zeus's head without maternal intervention. This depiction positions Adikia as an antithesis to Dike, representing the chaotic forces that disrupt the emerging order of the universe, including associations with , violence, and retribution in the divine family dynamics. Such elements underscore Adikia's role in illustrating the tensions between and the establishment of cosmic in Orphic cosmology. References to Adikia in Hesiodic traditions are sparse and primarily conceptual rather than fully personified, appearing in contexts of decline within human society. In the Works and Days, describes the as dominated by adikia, where pervades assemblies, corruption erodes communal bonds, and the just are oppressed by the wicked, signaling a broader ethical deterioration from earlier golden eras. Although Adikia is not explicitly anthropomorphized here as in later art, these allusions frame as a pervasive societal force antithetical to dike, influencing the didactic tone of Hesiod's poetry on righteous living. Adikia's influence extends into later philosophical traditions, particularly in Platonic dialogues where it functions as a metaphorical force embodying the soul's disharmony and ethical vice. In the Republic, Plato explores adikia as the tyrannical soul's lawlessness, where unchecked desires lead to pleonexia (greed) and ultimate self-destruction, contrasting it with the balanced justice of the well-ordered psyche. Similarly, in the Nicomachean Ethics, Aristotle treats adikia as the vice of particular injustice, involving pleonexia or grasping more than one's share, which harms others and disrupts the equitable distribution central to justice (dikaiosyne). This elevates Adikia beyond mythological personification to a psychological and political metaphor, informing discussions of injustice as an internal malaise that corrupts both individuals and the ideal state.
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