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Joan Marler Biography

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“The fascination with Medusa did not diminish at the end of the Greek Classical Era. She continued to function as a lightning rod for prevailing cultural attitudes. During the Greco-Roman period, images of Medusa were reproduced for wealthy patrons on mosaics and sculptural reliefs as mostly young and beautiful rather than disturbingly ferocious. Nevertheless, Christian zealots, who were rising in prominence, considered all pagan images abominations to be destroyed, especially of the Gorgon Medusa. During the Medieval period in Europe, Christian scholars considered the beheading of Medusa by Perseus to be an allegory of the virtuous son of god destroying the manifestation of evil, intrinsic to all women, that threatens men's souls.”

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“According to Greek mythology, Medusa is a Triple Goddess, one of three gorgon sisters—Sthenno, Euryale, and Medusa—representing past, present, and future. Only Medusa exists as mortal in present time. Her complex lineage composed of multiple myths and stories, combined with cross-cultural influences, is masterfully presented in this volume by the linguist and archaeomythologist Miriam Robbins Dexter. She rightly points out that the typical emphasis on Medusa's fearsome features are the result of extreme Greek bias against female powers, which masks her life-giving and regenerative capacities.”

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“Renaissance artists, inspired by Greek mythological themes, created frighteningly realistic portrayals of decapitated women with snakes for hair. The elegantly crafted sculpture by Benvenuto Cellini of a youthful Perseus holding Medusa's head aloft while he stands on her decapitated body was erected in the center of Florence in the mid-16th century. This popular theme was emblematic of the Inquisitional murders of women taking place in many areas of Europe during that time, considered necessary to protect civil society from the dangers of uncontrolled female powers. Later, during the 18th-19th centuries, Romantic artists, poets, and Decadents recast Medusa as a beautiful victim, not a monster. In their view, She represented the ecstatic discord between pain and pleasure, beauty and horror, and divinely forbidden sexuality.”

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“Athena placed the apotropaic image of Medusa's severed head on her aegis or breastplate and on Zeus's shield. Other gorgoneia (images of Medusa's head) were installed on temples and other places to benefit from her protection, even after death. Ironically, gorgoneia were placed on heroes' shields, armor, and chariots to protect the Greek warriors engaged in destroying all threats to the new social order, including her own.”

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“But as the 20th century dawned, Freudian psychology promoted the regressive notion that women suffer an intrinsic deficiency resulting in “penis envy.” Freud wrote that the “depreciation of women, horror of women, and a disposition to homosexuality are derived from the final conviction that women have no penis.” In his view, Medusa's face represents a “vagina dentata”—a hideous toothed vagina—surrounded by the writhing phalluses of castrated men.”

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“When Medusa was killed, her powers were plundered. She was pregnant with her son Chrysaor and the winged horse Pegasus who were born from her severed neck. Pegasus was immediately captured and made to bring Zeus Medusa's roar and the flash of her eyes, which he used as his thunder and lightning. In book three of the Bibliotheca (3.10.3) Apollodorus describes how Athena drains the blood from Medusa's veins and gives it to Asclepius, Greek god of medicine and healing. The blood from her left side is deadly poisonous, while the blood from her right side brings life. Asclepius's powers to cure and raise the dead were thereby stolen from Medusa.”

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