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Polemos
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In Greek mythology, Polemos /ˈpɒlɪˌmɒs/ or Polemus /ˈpɒlɪməs/ (Ancient Greek: Πόλεμος Pólemos; "war") was a daemon; a divine personification or embodiment of war.[1] No cult practices or myths are known for him, and as an abstract representation he figures mainly in allegory and philosophical discourse.[2] The Roman counterpart of this figure was Bellum.
Literature
[edit]Pindar says that Polemos is the father of Alala, goddess of the war-cry.[3] According to Quintus Smyrnaeus, Polemos was the brother of the war goddess Enyo.[4] Other Greek personifications of war and the battlefield include Ares, Eris, the Makhai, the Hysminai, the Androktasiai, the Phonoi and the Keres. In Aesop's fable of "War and his Bride", told by Babrius and numbered 367 in the Perry Index,[5] it is related how Polemos drew Hubris (insolent arrogance) as his wife in a marriage lottery. So fond has he become of her that the two are now inseparable. Therefore, Babrius warns, "Let not Insolence ever come among the nations or cities of men, finding favour with the crowd; for after her straightway War will be at hand".[6]
In Aristophanes' Acharnians, it is reported that Polemos is banned from parties for burning vineyards, emptying the wine and disrupting the singing. He is set in opposition to Dicaeopolis, who profitably champions peace and longs for marriage with Diallage, "Reconciliation". Dionysos, god of the life force, uses a vine stake as a weapon to wound the soldier Lamachus for neglecting him in favor of Polemos, but overall Aristophanes seem to be advocating a balance between Dionysos and Polemos, since the interests of the polis are served at times by peace and other times by war.[7]
Polemos even makes a brief speaking appearance at the end of the prologue to Aristophanes' Peace. With Tumult (Kudoimos) as his henchman, he has buried Peace under stones in a cave. Now he makes a speech in which he announces that he is going to grind all the cities of Greece in a mortar, having plagued them for ten years. However, a series of puns on the names of the cities undermines his fearsome threat, making it appear as if he is preparing a relish for a feast.[8] Sending Tumult to obtain a pestle sufficient for the task, he withdraws to the "house of Zeus" and does not reappear, though his potential return is a threat throughout the play. The scenario seems to be an original invention of Aristophanes.[9]
Philosophy
[edit]The pre-Socratic philosopher Heraclitus described Polemos as "both the king and father of all", with the capacity to bring all into existence and to annihilate.[10] For Heraclitus, Polemos "reveals the gods on the one hand and humans on the other, makes slaves on the one hand, the free on the other".[11] The fragment leaves it unclear as to whether Heraclitus thought of Polemos as an abstraction, a god, or a generalization of war, and this ambiguity is perhaps intentional.[12] Heidegger interpreted the polemos of Heraclitus as the principle of differentiation or "setting apart" (German Auseinandersetzung).[13]
References
[edit]- ^ Niall W. Slater, Spectator Politics: Metatheatre and Performance in Aristophanes (University of Pennsylvania Press, 2002), p. 119.
- ^ William Kendrick Pritchett, The Greek State at War (University of California Press, 1979), vol. 3, p. 161.
- ^ Pindar, Dithyrambs fragment 78.
- ^ Quintus Smyrnaeus, Fall of Troy 8. 424 ff
- ^ "War and His Bride". mythfolklore.net. Archived from the original on 2019-08-10. Retrieved 2024-08-25.
- ^ Loeb Classics Library, Babrius I.70 Archived 2017-02-23 at the Wayback Machine
- ^ Richard F. Moorton, Jr., "Dionysus or Polemos? The Double Message of Aristophanes' Acharnians," in The Eye Expanded: Life and the Arts in Greco-Roman Antiquity (University of California Press, 1999), pp. 24, 39, 42, 45.
- ^ Carroll Moulton, Aristophanic poetry, Göttingen 1981, p. 87 Archived 2024-08-25 at the Wayback Machine
- ^ Carlo Ferdinando Russo, Aristophanes: An Author for the Stage (Routledge, 1962, 1994), pp. 135, 139, 143, 145; Slater, Spectator Politics, pp. 120, 280.
- ^ Daniel Chapelle, Nietzsche and Psychoanalysis (State University of New York Press, 1993), p. 53, citing NER 19, frg. 53.
- ^ Gregory Fried, Heidegger's Polemos: From Being to Politics (Yale University Press, 2000), p. 21.
- ^ Fried, Heidegger's Polemos, p. 23.
- ^ Fried, Heidegger's Polemos, p. 17.
External links
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Polemos
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Polemos (Greek: Πόλεμος, meaning "war") was the daimon, or personified spirit, of war and battle in ancient Greek mythology, embodying the abstract force of conflict rather than a fully anthropomorphic deity.[1] Unlike the more prominent god Ares, who represented the chaotic and brutal aspects of warfare, Polemos functioned as a lesser divine entity, often invoked in literary contexts to symbolize the inevitability and destructiveness of armed strife.[2] No dedicated cult practices or temples are attested for Polemos, distinguishing him from major Olympian figures, though he appears in classical texts as a participant in the divine orchestration of battles.[1]
In surviving fragments of ancient literature, Polemos is depicted with familial ties to other war-related entities, underscoring his role within the broader mythological framework of violence. For instance, the fifth-century BCE poet Pindar describes Polemos as the father of Alala, the personification of the war cry, invoked in contexts of martial triumph involving centaurs and daimones. He is also portrayed as the husband of Hybris (Reckless Pride) in Aesop's fables, symbolizing how arrogance fuels endless conflict.[1] In Aristophanes' comedy Peace (fifth century BCE), Polemos emerges as an antagonist who imprisons Eirene (Peace) in a storage jar beneath the earth, plotting the devastation of Greek cities until thwarted by human intervention, highlighting the era's ambivalence toward perpetual war during the Peloponnesian conflict. Later works, such as Quintus Smyrnaeus' Fall of Troy (fourth century CE), associate Polemos with Enyo (War Goddess) and the Makhai (Battles), reinforcing his collective presence in epic narratives of the Trojan War.[1]
Beyond mythology, the concept of Polemos influenced Greek philosophy and cultural thought, where war was not merely a divine attribute but a fundamental cosmic principle. The pre-Socratic philosopher Heraclitus (sixth–fifth century BCE) famously declared that "Polemos is the father of all things," positing strife as the generative force behind change and order in the universe, though this refers more to the abstract notion than the daimon specifically.[3] Academic analyses emphasize that Polemos' limited personification reflects the Homeric view of war as a collaborative divine endeavor involving multiple gods, rather than the domain of a single autonomous figure, which prevented him from evolving into a central mythological hero.[4] This nuanced portrayal underscores the ancient Greeks' complex relationship with warfare, viewing it as both destructive and essential to societal and existential dynamics.
Etymology and Terminology
Linguistic Origins
The etymology of the term polemos (πόλεμος) in Ancient Greek is uncertain and generally considered of Pre-Greek substrate origin, as suggested by phonetic variations like πτόλεμος in some inscriptions and epic forms, according to Robert S. P. Beekes' Etymological Dictionary of Greek (2010).[5] It may be connected to related Greek verbs such as πάλλω (pállō, "to shake or brandish," often a spear in martial contexts) and πελεμίζω (pelemízω, "to struggle or shake violently"), linking the lexical form to physical and metaphorical turbulence associated with warfare.[5] In early Greek dialects, including Mycenaean and Homeric Greek, polemos evolved to specifically denote organized, large-scale warfare or a sustained campaign, contrasting with machē (μάχη), which encompassed more general strife, skirmishes, or hand-to-hand combat. This semantic distinction highlights polemos as a structured societal endeavor, often involving poleis (city-states), while machē retained a broader, more immediate sense of fighting or quarreling, as seen in epic poetry where polemos implies strategic escalation and machē individual clashes. Phonetically, the word shows stability across dialects with initial /p/ retention and vowel harmony in the stem, though variant forms like πτόλεμος (in some inscriptions) suggest substrate influences that underscore its Pre-Greek origins.[5] Morphologically, polemos functions as a masculine o-stem noun, with genitive pólemou preserving the accent on the root syllable, facilitating its adaptation into compound forms denoting types of war.[5]Usage in Ancient Greek
In ancient Greek literature, the term polemos frequently appeared in Homeric epics to describe both large-scale battles and smaller skirmishes or even individual combats, as seen in the Iliad where it refers to the single combat between Hector and Ajax (Il. 7.174).[6] This usage emphasized the physical intensity of fighting, distinguishing it from mere quarrels (neikos) while encompassing the chaos of war as a divine or fateful force. In historical narratives like Herodotus' Histories, polemos shifted toward denoting organized, large-scale conflicts between nations, such as the Greco-Persian Wars, where it highlighted strategic confrontations rather than isolated clashes (Hdt. 7.8–18).[7] Across Greek dialects, polemos exhibited minor phonetic variations but retained its core meaning. In the Epic dialect of Homer, influenced by Ionic forms, it often appeared as ptolemos (πτόλεμος), reflecting an older aspirated pronunciation, while in Attic Greek it standardized as polemos (πόλεμος) with a smoother initial consonant. Doric dialects, spoken in regions like Sparta and Sicily, likely employed a form with lengthened vowels such as pōlemo (πόλεμο), though evidence is sparse due to limited inscriptions; nonetheless, the term's semantic consistency allowed cross-dialectal understanding in shared literary and oral traditions. Compounds like polemistēs (πολεμιστής), meaning "warrior" or "fighter," were common in Attic prose and poetry to denote participants in such conflicts, appearing in works by authors like Xenophon to describe skilled combatants (Xen. An. 1.2.3). By the 5th century BCE, polemos began evolving in oratory and historiography from purely literal references to warfare toward metaphorical extensions denoting internal strife or political contention, as evidenced in Thucydides' History of the Peloponnesian War, where it describes not only interstate battles but also the divisive "war" within cities during revolutions (stasis) (Thuc. 3.82).[6] In Athenian oratory, speakers like Demosthenes employed it to evoke the "war" against Macedonian influence as a broader struggle for civic harmony, blending military and ideological dimensions without personifying it as a deity.[8] This shift underscored polemos as a versatile concept for both existential threats and rhetorical persuasion in democratic assemblies.Mythology
Personification of War
In Greek mythology, Polemos was the personified spirit (daimon) of war and battle, embodying the abstract force of conflict rather than a fully anthropomorphic deity.[1] Unlike Ares, the Olympian god of war who possessed a vivid personality, human-like form, and active role in narratives, Polemos represented war as an impersonal, destructive power, often invoked in poetic contexts to denote strife without personal agency.[2] This distinction is evident in classical texts where Polemos appears as a conceptual entity tied to broader divine influences, rather than an independent actor in myths.[1] No dedicated temples, rituals, or organized cult worship are attested for Polemos in ancient Greek sources, reflecting its status as an abstract daimon rather than a figure demanding veneration.[2] Similarly, abstract deities like Nike, the personification of victory, received more prominent cultic attention, such as statues and altars in sanctuaries, whereas Polemos remained largely unritualized, underscoring war's portrayal as an inevitable cosmic element rather than a beneficent or invocable presence.[9] The Roman equivalent, Bellum, mirrored this abstract role as the deified concept of war, appearing in Latin literature without evidence of widespread worship.[1] Polemos features in few major mythological narratives, serving primarily as an allegorical symbol of warfare's chaos and inevitability, as seen in references pairing it with Hybris (Reckless Pride) or opposing Eirene (Peace).[1] For instance, in Pindar's fragments, Polemos is described as the father of Alala, the daimon of the war-cry, briefly linking it to familial ties with other war-related entities like the Makhai (Battles).[1] This scarcity of stories emphasizes Polemos' function as a metaphorical embodiment of war's destructive essence, invoked in poetry and fables to illustrate human strife without developing into a heroic or divine protagonist.[2]Familial and Associative Relations
In Greek mythology, Polemos, the personified spirit of war, is described as the father of Alala, the goddess or daimon of the war cry, in the works of the lyric poet Pindar.[1] This parentage underscores Polemos' role in generating the auditory chaos of battle, with Alala embodying the shrill shouts that accompany combat.[10] No explicit parentage for Polemos himself is detailed in surviving classical texts, positioning him as a primordial force rather than a descendant within the Olympian genealogy. Polemos is further characterized as the brother of Enyo, the goddess of destructive war and bloodshed, according to the epic poet Quintus Smyrnaeus in his Posthomerica.[11] This sibling relationship highlights a shared domain in the violent aspects of conflict, with Enyo often depicted spurring warriors onward in tandem with her brother.[1] Polemos maintains close associations with other deities embodying strife and battle, including Ares, the Olympian god of war, whom he parallels as a daimon of warfare and the Makhai (battles).[1] He appears alongside Eris, the personification of strife and discord, as well as Phobos (fear) and Deimos (terror), the sons of Ares who accompany their father into combat, forming a collective of forces that amplify the horrors of war in Homeric and post-Homeric traditions.[12] These links integrate Polemos into the broader martial entourage, often invoked in epic descriptions of battle frenzy. Unlike the prominent Olympian Ares, who receives cult worship and narrative prominence as a fully anthropomorphic deity, Polemos holds a more subordinate and symbolic status as a daimon, representing the abstract essence of war rather than its personalized embodiment.[13] This distinction emphasizes Polemos' role as a lesser spirit within the pantheon, invoked poetically to evoke the inexorable nature of conflict without the heroic or divine agency attributed to major war gods.[2]Literature
References in Fables and Allegory
In the Aesopic tradition, Polemos appears prominently in a fable attributed to Babrius, numbered 70 in his collection and 367 in the Perry Index, where the gods draw lots for marriage partners. As the last bachelor, Polemos, the personification of war, is paired with Hybris, the embodiment of insolence and reckless pride, who becomes his wife. The narrative concludes with the observation that Polemos pursues Hybris devotedly, serving as a cautionary tale that war inevitably trails arrogance in human affairs.[14] This fable imparts moral lessons central to ancient fabulist traditions, emphasizing how hubris precipitates conflict and destruction. By depicting Polemos as the devoted spouse of Hybris, the story illustrates the destructive consequences of pride, warning that excessive arrogance invites war's devastation upon individuals, cities, and nations. In broader ethical teachings within the Aesopic corpus, such pairings underscore the cyclical nature of strife, where unchecked insolence begets violence, perpetuating a loop of moral downfall and societal turmoil that fabulists used to instruct on humility and restraint. In later Greco-Roman fable traditions, allegorical interpretations of Polemos portrayed him as a symbol of inevitable strife inherent to human society, often critiquing the interplay between personal vices and communal discord. These readings, evident in popular moralistic literature, treated Polemos not merely as a mythological figure but as an allegory for the social forces that arise from hubris, reinforcing ethical narratives that war represents the unavoidable outcome of moral failings in an imperfect world.Role in Dramatic Works
In Aristophanes' Acharnians (425 BCE), Polemos is invoked by the chorus during the second parabasis as a disruptive and unwelcome figure who hinders the joys of peace and communal celebration. The choregus declares Polemos banned from symposia, portraying him as an unruly guest who quarrels incessantly, empties wine jars, burns vineyards, and ruins the festive mood, thereby symbolizing war's interference with social harmony and negotiations for truce. This choral rejection, articulated in lines 977–979 where the Acharnians refuse to welcome Polemos home or sing in his presence, underscores a thematic pivot from wartime chaos to peaceful symposia, with the chorus associating him with violent disorder that contrasts the play's advocacy for individual peace treaties amid the Peloponnesian War.[15] In Peace (421 BCE), Polemos emerges as a fully personified antagonist, directly opposing Eirene (Peace) in a vivid allegorical confrontation that critiques Athenian warmongering. The daimon appears onstage hauling a massive mortar to grind captured Greek cities—such as Prasiae (represented by leeks), Megara (garlic), and Sicily (cheese)—into a destructive paste, an image of war's insatiable consumption and return from temporary restraint, as he had previously buried Eirene in a deep pit on the gods' orders due to humanity's preference for conflict. Trygaeus, the comic hero, and the chorus thwart Polemos by misdirecting his pestle, enabling Eirene's rescue and symbolizing the potential for peace to overcome war's captivity, with Polemos lamenting the loss of his tools in a humorous yet pointed display of martial frustration. This personification draws on the recent Peace of Nikias, blending slapstick with allegory to lampoon the war's origins in policies like the Megarian Decree.[16] Through these depictions, Aristophanes employs Polemos in Old Comedy to theatricalize the Peloponnesian War's political follies, using choral invocations and personified antagonists to merge humorous exaggeration with anti-war satire that urges audiences toward reconciliation without philosophical abstraction.[17]Philosophy
Heraclitus' Interpretation
Heraclitus of Ephesus, active during the late sixth and early fifth centuries BCE, integrated Polemos into his philosophical framework as a core element of cosmic order, reflecting the turbulent intellectual and political environment of Ionian Greece.[18] In this context, Ephesus served as a hub of trade and cultural exchange under Persian influence, where Heraclitus critiqued prevailing views of stability and unity.[19] His doctrine emphasized perpetual change and conflict as essential to reality, positioning Polemos not merely as armed warfare but as a broader principle of strife that drives the world's generation and differentiation. Central to this interpretation is fragment DK 53: "Πόλεμος πάντων μὲν πατήρ ἐστι, πάντων δὲ βασιλεύς, καὶ τοὺς μὲν θεοὺς ἔδειξεν τοὺς δὲ ἀνθρώπους, τοὺς μὲν δούλους ἐποίησεν τοὺς δὲ ἐλευθέρους" (Polemos is father of all things, and king of all; and some he manifested as gods, others as men; some he made slaves, others free).[20] Here, Polemos acts as the generative force that produces opposites and hierarchies through ongoing conflict, originating the distinctions between divine and human, free and bound. This strife is not destructive chaos but a creative process that reveals and sustains the cosmos's multiplicity, underscoring Heraclitus' view that conflict underlies all becoming. Within Heraclitean cosmology, Polemos functions as the logos of tension, embodying a unity forged from opposition—exemplified in the interplay of war and peace, where apparent contraries cohere in dynamic balance.[20] Unlike the static harmony envisioned by earlier thinkers like Pythagoras, who sought unchanging numerical proportions, Heraclitus portrayed the universe as an ever-living fire kindled by strife, where stability emerges from flux rather than immutability.[20] Polemos thus encapsulates the principle of becoming over static being, ensuring the cosmos's vitality through ceaseless tension and transformation.[20]Post-Ancient Developments
In the Hellenistic period, Stoic philosophers adapted Heraclitus' concept of Polemos, interpreting strife not as chaotic discord but as an essential tension within the rational order of the cosmos governed by the logos. They viewed opposition and conflict as maintaining the balance of nature, where apparent strife contributes to the periodic renewal and stability of the universe, echoing Heraclitus' foundational idea that "all things come to pass through the compulsion of strife."[21] This adaptation emphasized strife's role in cosmic harmony rather than mere destruction, aligning it with Stoic ethics of living in accordance with nature.[22] During the Roman era and in Neoplatonism, Plotinus drew on Heraclitean fragments about opposites and flux in the Enneads to describe the soul's cyclical ascent and descent between the material and intelligible worlds.[23] This framework incorporated ideas of dynamic processes in cosmic emanation, influencing later esoteric traditions.[23] In medieval Christian theology, early Church Fathers like Hippolytus engaged deeply with Heraclitus' Polemos, quoting it as the "progenitor of all things" that distinguishes gods from men and slaves from free, while critiquing its heretical misapplications to argue for divine unity amid opposites.[24] This laid groundwork for reinterpretations where strife was reconciled with providential order, viewing conflict as part of God's justice in creation, though subordinated to Christian doctrines of peace and redemption. During the Renaissance, figures like Marsilio Ficino revived Heraclitean ideas within Christian Neoplatonism, integrating concepts of opposites into discussions of divine harmony, bridging pagan philosophy with theological frameworks.[25] In the 19th century, Friedrich Nietzsche echoed Polemos in his vitalist philosophy, celebrating Heraclitus' strife as creative destruction essential to the will to power and eternal recurrence, where opposition generates life's affirmative energy and cultural renewal.[26] Nietzsche praised Heraclitus as a "tragic" thinker who understood war not as mere violence but as the generative force of becoming, influencing his critique of decadence and advocacy for Dionysian vitality.[27] Similarly, G.W.F. Hegel referenced Heraclitean dialectics in his Lectures on the History of Philosophy, viewing strife and the unity of opposites as driving historical and conceptual progress toward absolute spirit.[28] In the 20th century, Martin Heidegger extensively interpreted Heraclitus' Polemos as a primordial confrontation or strife that allows beings to emerge and come into presence, central to his ontology of Being and influencing existential phenomenology.[29] These 19th- and 20th-century developments positioned Polemos as a philosophical archetype for tension and transformation, extending its ancient roots into modern existential and historical thought.Legacy and Modern Views
Influence on Western Thought
The concept of Polemos as a generative force of strife and change, central to Heraclitus' philosophy, has reverberated through Western political theory by framing war not merely as destruction but as a fundamental driver of societal and state dynamics. In Carl von Clausewitz's seminal On War (1832), war is depicted as "a continuation of political intercourse, carried on with other means," underscoring its primal, inescapable role in human affairs. This positions war as an intrinsic element of political evolution, influencing strategic thought on absolute and limited conflict. Christian just war doctrines further adapted classical notions of strife into ethical frameworks for legitimizing violence. Saint Augustine, in City of God (c. 426 CE), argued that war could be just if waged by legitimate authority to correct wrongs or restore peace, tempering the pagan acceptance of inevitable conflict with moral restraint rooted in divine order. Thomas Aquinas built on this in Summa Theologica (1265–1274), outlining criteria such as just cause, right intention, and proportionality, transforming Polemos-like strife into a regulated pursuit of the common good while acknowledging war's disruptive necessity.[30] These principles have shaped international law and ethics. Ethically, Polemos as essential strife has fueled debates between conflict's inevitability and pacifist alternatives, highlighting tensions in human nature and society. Heraclitus' assertion that "strife is justice, and all things come into being through strife" critiques desires for perpetual peace, viewing opposition as vital for harmony and growth.[22] This contrasts sharply with Gandhian non-violence (ahimsa and satyagraha), which rejects strife's dominance by emphasizing moral resistance and self-suffering to achieve truth and reconciliation without aggression, as articulated in Gandhi's writings on ethical action amid oppression.[31] Such oppositions underpin modern pacifism, weighing transformative conflict against the redemptive power of non-violent endurance.[32] Interdisciplinary extensions of Polemos appear in sociology and psychology, where strife informs theories of social and psychic dynamics. Georg Simmel's conflict theory in Sociology (1908) portrays antagonism as a unifying force that fosters group cohesion and innovation, treating opposition as integral to social forms rather than mere pathology.[33] Similarly, Sigmund Freud's death drive (Thanatos), introduced in Beyond the Pleasure Principle (1920), conceptualizes an innate aggressive impulse toward destruction and return to inorganic states, linking war instincts to broader human aggression.[34] These ideas underscore Polemos' enduring role in understanding conflict's dual capacity for creation and ruin across disciplines.Contemporary Cultural References
In the mid-20th century, Martin Heidegger offered a seminal reinterpretation of Polemos in his lecture course Introduction to Metaphysics (delivered in 1935 and published in 1953), framing it not as empirical warfare but as the originary Streit (strife or conflict) essential to the disclosure of being. For Heidegger, Polemos names the dynamic tension through which entities emerge into presence and differentiate themselves, equating it with logos as the unifying yet divisive gathering of opposites; this "being-toward-conflict" or ek-sistence underscores existence as inherently confrontational, far beyond destructive violence.[35][36] Postmodern thinkers extended this philosophical lineage by deconstructing Polemos as a metaphor for pervasive tension in language, history, and power. Jacques Derrida, in seminars and writings engaging Heidegger, critiques the figural entrapment of strife (polemos), repositioning it within différance—the endless play of differences that disrupts binary oppositions and historical narratives without resolution.[37] Contemporary cultural references to Polemos appear in literature and media as symbols of existential or mythological conflict. Albert Camus' The Plague (1947) allegorizes an invisible epidemic as an existential war against absurdity and suffering. In popular media, the God of War video game series (2005–present) personifies war through Kratos' battles against Greek deities like Ares in a modern interactive narrative drawing on mythological themes of battle and chaos.References
- https://en.wiktionary.org/wiki/%CF%80%CF%8C%CE%BB%CE%B5%CE%BC%CE%BF%CF%82