It is exhausting to constantly probe through these male-dominated ideas, but these myths are so much more entrancing when we can. It is important to remember the patriarchal context in which these myths are retold because a patriarchal society depends in part on women distrusting and competing with one another so as not to move up in the ranks toward that of the society’s male authorities. If we focus on Medusa’s ugly, monstrous appearance, we miss an opportunity to examine the roles of men and rape culture in her story. After all, Athena gave Medusa the ultimate power against men: the power to both punish and avoid the male gaze regardless of the rank or status of the man daring to look at her. Athena’s curse was not a punishment for Medusa, but a punishment for the gods and men who intended to harm her. Medusa’s name derives from an ancient Greek verb that means “to protect and guard,” which may be a nod to Athena’s attempt to guard and protect Medusa from further abuse at the hands of Poseidon and other men. What if Athena’s curse on Medusa wasn’t a punishment at all, but an act of kindness and protection? Athena was aware of Poseidon’s hunger for Medusa and knew of Medusa’s vow of celibacy.
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In examining the myth of Athena and Medusa further, the story also seems to be a suggestive fable, slyly teaching women how to look out for and protect one another in a society dominated by men, where rape is a constant threat. The portrayal of Medusa as a monster becomes the central sexist device of the myth, used to scare women off from casting a harsh gaze on their oppressors for fear of seeming monstrous as well But Medusa’s rape is glossed over, mentioned once at the beginning of the tale, if at all. This retelling sweeps the original violence against Medusa under the rug to center the violence she commits against men.Īthena turning Medusa’s hair into snakes is almost always percieved as a punishment, and the theme of revenge is emphasized in different versions of the myth. As the Medusa myth is retold in a patriarchal and male-dominated society, the fact that she was a victim of rape is overshadowed by her terrifying appearance and ability to turn men into stone. She was also the most powerful, killing more men than either of her sisters, which also made her the most threatening and the most feared. Medusa, however, was the only mortal and the most attractive of the three. Medusa, along with her two immortal sisters, was one of three Gorgons, which comes from the Greek word gorgós, meaning “fierce, terrible, and grim.” All three sisters were seen as monstrous for having the power to kill men. After catching word of Poseidon’s attack on Medusa, a supposedly jealous Athena turned Medusa’s lovely hair into snakes and cursed her with the ability to turn men who looked at her into stone. Poseidon, god of the sea, lusted after Medusa and raped her in Athena’s temple. She had long, golden locks of hair, and is described as being exceptionally beautiful. Though there are different versions of the Medusa myth, Roman poet Ovid’s Medusa was a mortal woman who had sworn to a life of celibacy. Whether in competition for affection or authority, women in patriarchies are repeatedly pitted against each other, but a feminist analysis of the myth of Medusa reclaims her curse as a powerful protection against the male gaze. Many believe her story to be one of revenge and torment, but in rereading the myth of Medusa and Athena, a new mythological world in which women are protective of each other in a patriarchal society and their relationships are meant to serve as a lesson for others reveals itself. But the story of Medusa is often seen as a tragedy: she is known for being powerless against Athena and Poseidon, doomed to a lonely life as a monstrous Gorgon, which most renditions describe as punishment. It’s my favorite and most visible tattoo, a constant reminder to be unapologetic in casting a harsh gaze against the patriarchy. Last spring, I had a minimalist portrait of Medusa tattooed on my forearm. This article was published in Revenge Issue #78 | Spring 2018 Subscribe »