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Eurotas
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| Eurotas | |
|---|---|
| Member of the Sparta Royal Family | |
 Eurotas, from the modern monument of Leonidas I, Thermopylae | |
| Predecessor | Myles |
| Successor | Lacedaemon |
| Abode | Laconia |
| Genealogy | |
| Parents | (a) Myles (b) Lelex and Cleocharia (c) Lelex and Taygete |
| Siblings | unknown |
| Consort | ?Clete |
| Children | Sparta and Tiasa |
In Greek mythology, Eurotas (/jʊəˈroʊtəs/; Ancient Greek: Εὐρώτας) was a king of Laconia.
Family
[edit]
Eurotas was the son of King Myles of Laconia and grandson of Lelex, eponymous ancestor of the Leleges.[2] The Bibliotheca gave a slight variant of the mythological generation of Eurotas, who was described as the son of Lelex, born from the ground, by his wife Cleocharia.[3] In some accounts, his mother was called Taygete instead.[4] Eurotas had no male heir but he did have two daughters Sparta and Tiasa[5] by Clete[citation needed].
Mythology
[edit]Eurotas bequeathed the kingdom to Lacedaemon, the son of Zeus and Taygete, after whom Mount Taygetus was named, according to Pausanias.[6] This Lacedaemon married his daughter Sparta and renamed the state after his wife.
Pausanias says: "It was Eurotas who channelled away the marsh-water from the plains by cutting through to the sea, and when the land was drained he called the river which was left running there the Eurotas."[6] The "cutting through" is seen by Pausanias’ translator and commentator, Peter Levy, S.J., as an explanation of Eurotas (or Vrodamas) Canyon, a ravine north of Skala where the river has cut through the foothills of Taygetus after changing direction to the west of the valley.[7]
Eurotas in art
[edit]River gods are typically represented in Greek art, such as coin motifs, as figures with the bodies of bulls and the faces of humans. If only the face appears, they might wear horns and have wavy hair or be accompanied by fish. Claudius Aelianus states that the Eurotas and other rivers are like bulls.[8]
Notes
[edit]- ^ Malkin, Irad (1994). Myth and territory in the Spartan Mediterranean (PDF). Cambridge: Cambridge University Press. p. 6.
- ^ Pausanias, 3.1.1.
- ^ Apollodorus, 3.10.3
- ^ Scholia on Pindar, Pythian Odes 4.15; Olympian Odes 6.46; Scholia ad Lycophron, 886
- ^ Pausanias, 3.18.6
- ^ a b Pausanias, 3.1.2
- ^ Pausanias (1971). Pausanias Guide to Greece. Vol. 2, Southern Greece. Translated by Peter Levi. Penguin Books. p. 10 Note 3.
- ^ Collignon, Maxime; Harrison, Jane E. (Translator, Contributor) (1899). Manual of Mythology in Relation to Greek Art (PDF) (New and Cheaper Revised ed.). London: H. Grevel & Co. p. 204. Archived from the original (PDF) on 2016-03-03. Retrieved 2011-08-23.
{{cite book}}:|first2=has generic name (help)CS1 maint: multiple names: authors list (link) on Aelian, Variae Historiae, 2.33.
References
[edit]- Pausanias, Description of Greece with an English Translation by W.H.S. Jones, Litt.D., and H.A. Ormerod, M.A., in 4 Volumes. Cambridge, MA, Harvard University Press; London, William Heinemann Ltd. 1918. Online version at the Perseus Digital Library
- Pausanias, Graeciae Descriptio. 3 vols. Leipzig, Teubner. 1903. Greek text available at the Perseus Digital Library.
- Pseudo-Apollodorus, The Library with an English Translation by Sir James George Frazer, F.B.A., F.R.S. in 2 Volumes, Cambridge, MA, Harvard University Press; London, William Heinemann Ltd. 1921. Online version at the Perseus Digital Library. Greek text available from the same website.
External links
[edit]
Media related to Eurotas at Wikimedia Commons
Eurotas
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Identity and Background
Etymology
The name Eurotas (Ancient Greek: Εὐρώτας) lacks a consensus etymology, with proposals drawing from both Greek linguistic roots and deeper substrates. One proposed interpretation links it to the Greek adjective eurys (εὐρύς), meaning "wide" or "broad," evoking the idea of a "wide-flowing" river, a fitting descriptor for the major waterway in Laconia.[10] A variant suggestion connects it to euros (εὐρώς), denoting "mold" or "mildew," potentially alluding to the river's marshy or fertile banks, though this remains speculative.[10] Many ancient Greek river names, such as Alpheios and Axios, are considered by scholars to originate from a pre-Greek substrate language, predating Indo-European arrivals and characterized by non-Indo-European phonetic patterns such as prenasalization and palatalization. This substrate contributed numerous toponyms for water bodies, often without clear Indo-European cognates, suggesting Eurotas may stem from an indigenous Aegean or Anatolian-influenced term for flowing waters. Scholars identify over 1,300 such pre-Greek loans in Greek, with river names prominently featuring suffixes like *-nt- or -as that resist standard Greek derivation. Primary ancient sources provide no explicit etymological explanation for the name. Pausanias, in his description of Laconia, mentions the Eurotas as a central geographical feature but offers no origin for its nomenclature, focusing instead on its role in local geography and mythology. This absence underscores the name's likely pre-Greek antiquity, integrated into Hellenic lore as the domain of a mythological king associated with the river itself.Mythological Identity
In Greek mythology, Eurotas figures prominently as an early king of Laconia, the ancient region encompassing Sparta, embodying the autochthonous origins of its ruling line before the Dorian migrations. He is regarded as a foundational monarch in Laconian lore, representing the indigenous Lelegid dynasty that traced its roots to the land's earliest mythical inhabitants.[5][11] Eurotas' lineage positions him firmly within this pre-Dorian framework, as the son of King Myles and grandson of Lelex, the eponymous progenitor of the Leleges, an aboriginal Peloponnesian people predating Hellenic settlements. According to Pausanias in his Description of Greece, this descent underscores Eurotas' role in the sequence of native rulers who shaped Laconia's identity prior to external influences.[5] Alternative accounts, such as those in Apollodorus' Bibliotheca, vary slightly by naming Lelex directly as his father, but consistently affirm his place in the autochthonous genealogy.[5] Distinct from the river deity who later bore his name, Eurotas is primarily characterized in ancient sources as a mortal human king, with his deification arising secondarily from eponymous ties to the landscape rather than inherent divinity. This human identity highlights his historical-mythical significance as a symbol of Laconian primacy, evoking the region's self-conception as rooted in pre-invasion antiquity long before the Dorian Heracleid conquests reshaped its narratives.[5][11]Genealogy
Parentage
In Greek mythology, the parentage of Eurotas, the early king of Laconia and eponymous river-god, varies across ancient sources, reflecting inconsistencies in Laconian genealogical traditions. According to Pausanias, Eurotas was the son of Myles, who succeeded Lelex as king of the region originally known as Lelegia; this places Eurotas as the grandson of Lelex, the aboriginal founder of the Leleges.[12] An alternative account in the Bibliotheca attributed to Apollodorus describes Eurotas as the direct son of Lelex—himself an autochthonous figure, born from the earth—and the naiad nymph Cleocharia, wife of Lelex and associated with the waters of Laconia.[13] This version emphasizes a more immediate lineage from the region's primordial inhabitants. A further variant appears in Stephanus of Byzantium's geographical lexicon, where Eurotas is again the son of Lelex, but with Taygete, one of the Pleiades and namesake of Mount Taygetus, as his mother; this tradition links Eurotas more closely to celestial and mountainous elements of the Spartan landscape.[5] These divergent genealogies position Eurotas within the Lelexid dynasty, an autochthonous Laconian royal line tracing back to earth-born origins and predating the Dorian settlers in later myths of Spartan kingship.[14]Offspring and Succession
In Greek mythology, Eurotas is said to have had two daughters, Sparta and Tiasa, though he lacked any male heirs. Sparta, named after the region and later the city she inspired, married Lacedaemon, the son of Zeus and the nymph Taygete.[15] This union facilitated the succession, as Lacedaemon assumed the throne following Eurotas' death, adopting the role of ruler in the absence of direct male descendants.[15] Tiasa, the other daughter, is eponymous for the river Tiasa in Laconia, located between Sparta and Amyclae, where a sanctuary to the Graces Phaenna and Cleta stood nearby—names drawn from Alcman's poetry and associated with Lacedaemon's foundations.[16] Some traditions identify Clete (or Cleta), one of the Graces, as the mother of Eurotas' daughters, linking the family to divine graces in Laconian lore.[17] The succession through Lacedaemon marked a pivotal transition in Spartan foundation myths, renaming the land Lacedaemonia after the new king and its people the Lacedaemonians, while the city retained the name Sparta in honor of his wife.[15] This arrangement bridged the autochthonous lineage of Eurotas—traced either to the indigenous king Myles or the primordial Lelex—with the Olympian descent of Lacedaemon, son of Zeus, thereby legitimizing the divine origins of Spartan kingship in mythological narratives.[15][13]Role in Laconian Mythology
Kingship and Deeds
Eurotas ascended to the throne of Laconia following the death of his father, Myles, thereby continuing the line of early rulers in the region.[15] His reign marked a pivotal phase in the mythological development of Laconia, where he is depicted as actively shaping the landscape to support human habitation and societal growth. One of Eurotas' most notable deeds was the drainage of the extensive marshlands that dominated the Laconian plain. By constructing a trench to divert the stagnant waters toward the sea, he transformed previously uninhabitable terrain into arable land suitable for settlement and agriculture.[15] This engineering accomplishment, as recounted in ancient accounts, not only established the practical boundaries of the emerging Laconian territory but also symbolized broader civilizing initiatives that laid the groundwork for regional prosperity. In the context of pre-Dorian Spartan history, Eurotas embodies a foundational figure untainted by later Dorian migrations, rooted in the aboriginal Leleges tradition initiated by his grandfather Lelex.[15] As the last male ruler in this indigenous line, he bequeathed the kingdom to Lacedaemon, his daughter's husband, ensuring continuity in Laconian governance.[15]Association with the River
In Laconian mythology, King Eurotas is credited with the creation of the Eurotas River through an act of engineering that transformed the region's landscape. Succeeding his father Myles, Eurotas drained the stagnant waters accumulated in the Laconian plain by digging a trench that channeled them to the sea, thereby forming the river which he named after himself.[15] This mythological deed, described by Pausanias in the second century CE, underscores Eurotas's role in reclaiming arable land from marshy terrain, enabling settlement and agriculture in what became the core of Spartan territory. The Eurotas River emerged as a defining geographical and symbolic element of Laconia, originating in the springs of the Taygetus mountain range and flowing south-southeast for approximately 82 kilometers through the narrow Spartan valley before reaching the Laconian Gulf.[5] Its course irrigated the fertile alluvial plain surrounding Sparta, supporting vital agricultural productivity and embodying fertility in the arid Peloponnesian context. In Spartan cult and worldview, the river also signified natural boundaries, delineating the protected heartland of Laconia hemmed in by the Taygetus to the west and Parnon mountains to the east, while serving as a conduit for religious reverence—Spartans honored Eurotas as a river-god through dedications including bovine statues, reflecting associations with strength and life-giving waters.[18] Later euhemeristic interpretations recast the mortal king Eurotas as a personification of the river's deified spirit, rationalizing the myth as a historical memory of human ingenuity deified to explain the waterway's enduring significance in Laconian identity.[5]Depictions and Legacy
In Ancient Art
Depictions of Eurotas in ancient Greek art are rare, reflecting his status as a localized Laconian river deity rather than a panhellenic figure like the major Olympians, with surviving examples confined primarily to Spartan and regional artifacts that emphasize his fluvial identity through hybrid human-divine and zoomorphic traits.[5] One notable representation is the bronze statue crafted by the sculptor Eutychides in the late 4th or early 3rd century BCE, commissioned for Sparta, which portrayed Eurotas as a dynamic, youthful swimmer emerging from the water, his form described as "more flowing than the waters" of the river itself, with limbs pliant and liquid to evoke the undulating motion of currents. This innovative iconography, lacking traditional river god attributes like a jug or cornucopia, highlighted Eurotas's essence as a vital, meandering stream through wavy, fluid contours in the figure's pose and drapery, distinguishing it from more static depictions of bearded, reclining river gods such as the Nile or Tiber.[19] Aelian records another Spartan dedication: a statue of Eurotas in the form of an ox, symbolizing the river's role in first ploughing the Laconian land and underscoring bovine associations common to river deities, who were often shown with bull horns to represent fertility and strength in anthropomorphic or theriomorphic guises. Such hybrid traits appear in local votive offerings, where Eurotas might blend human features with watery or animalistic elements, though no fish-tailed forms specific to him are attested, unlike the more prominent Acheloüs.[20] A late example survives in a 4th-century AD Greco-Roman mosaic from Antioch, now in the Hatay Archaeology Museum, depicting Eurotas alongside his consort Lacedaemonia in a fluvial context; he is shown as an anthropomorphic figure in a grey-blue robe evoking river depths, crowned with a wreath of reeds to signify his aquatic domain, while the pair's serene poses emphasize divine harmony with the Laconian landscape. These portrayals, drawn from Spartan sanctuaries and elite commissions, prioritize Eurotas's role as a nurturing yet potent river spirit, with iconography rooted in local cult practices rather than widespread artistic traditions.[21]In Literature and Later Interpretations
In ancient Greek literature, Eurotas features prominently as a foundational figure in Laconian genealogy and landscape formation. Pausanias, in his Description of Greece, draws on local Spartan traditions to position Eurotas as a pivotal ancestor in the pre-Dorian royal line, linking him to the origins of Spartan identity through kinship and environmental legacy.[15] Herodotus and Strabo provide briefer, contextual allusions to Eurotas in discussions of Spartan territorial and mythical foundations. Herodotus references the Eurotas River as a key geographical marker of Laconian boundaries during the Persian Wars, implicitly tying it to the region's ancient inhabitation and the Spartans' claim to autochthonous roots predating Dorian migrations. Strabo, in his Geography, similarly evokes the Eurotas as the lifeblood of Sparta's valley, weaving it into narratives of early settlement and the eponymous naming of the land after Lacedaemon and Sparta, thereby reinforcing Eurotas's role in the mythical etiology of Spartan origins without detailing his personal deeds. Post-antique literature shows significant gaps in medieval and early modern references to Eurotas, reflecting the broader eclipse of pagan Laconian myths amid Christian dominance and the fragmentation of classical texts. Medieval chronicles and vernacular romances, focused on chivalric or biblical themes, largely omit Eurotas, with no substantial mentions in Latin compilations like those of Isidore of Seville or Byzantine histories that prioritize imperial rather than regional Greek lore.[22] This absence persisted into the early modern period until the rediscovery and printing of Pausanias in the 16th century, which revived interest in peripheral Greek figures. Renaissance humanists, inspired by recovering ancient sources, reinterpreted Eurotas as a quasi-historical founder of Spartan civilization, aligning his drainage feat with emerging interests in engineering and civic origins, influencing historiographical views of Sparta as a model polity and embedding him in narratives of classical republicanism. In 19th- and 20th-century scholarship, Eurotas is often analyzed as an euhemerized river spirit, where a primordial water deity was historicized into a human king to explain the Eurotas River's formation and cultic significance in Sparta. H.J. Rose, in his Handbook of Greek Mythology (1928), posits Eurotas as deriving from local animistic beliefs in river personification, later rationalized through royal genealogy to legitimize Spartan claims to the landscape. This interpretation gained traction amid comparative mythology, viewing him as akin to other eponymous hydro-deities, with his "trench" symbolizing mythological canalization of chaotic waters into ordered flow.[5] The figure of Eurotas experienced a modern revival through archaeological excavations along the Eurotas River, which contextualized his mythical deeds within tangible Bronze Age and Classical remains. British School at Athens digs from 1906–1910 at the Sanctuary of Artemis Orthia, adjacent to the riverbank, uncovered votive deposits and hydraulic features suggesting early water management, prompting scholars to link these to Pausanias's narrative of landscape alteration.[23] Subsequent surveys in the Eurotas valley, including Mycenaean settlements and irrigation traces, have reinforced interpretations of Eurotas as a cultural memory of environmental adaptation, bridging myth with prehistoric engineering in Laconian society.[24]References
- https://commons.wikimedia.org/wiki/File:Antakya_Archaeology_Museum_Eurotas_and_Lakedemona_mosaic_sept_2019_5938.jpg