It was a normal day when the Horae were dancing about the gates of Olympus, like youthful children. Their radiance blessed the heavens and the world beneath them as they brought all things desirable for everyone. Eiar, Theros, Phthiniphoron and Kheima obeyed Zeus and Hera, but this caused impediment when Zeus and Hera didn’t see eye to eye.
The four women were at Olympus with obeisance to Hera and Zeus, for they were preparing their next transition, it was Phthiniphoron’s turn to be sent down to earth to let the grapes grow and leaves fall.
“Our sister Theros is nearing the end of her service, she has fulfilled her duties in the harvest of corn and wheat. I will be descending soon, with your permission King and Queen.”, said Phtiniphoron.
“Your permission is granted my children, you have performed your duties with utmost excellence.”, replied Zeus. “Hera?”
“I couldn’t give the least bit concern what’s going on down there with those foolish mortals. Since you care so much, why don’t you accompany Phtiniphoron and come back with a new mortal child?”, exclaimed Hera sarcastically.
“There’s no need to overreact, Hera, your maidens have done an exceptional job and are here for their continual transition.”, responded Zeus.
“I will overreact, it’s always one mortal woman or another! Niobe, Alcmena, Callisto, Europa, Semele and plenty more! It never ends Zeus, and it’s time you show some loyalty. In fact, leave Theros on earth, let them suffer from endless heat. May all your mortal lovers and illegitimate children scorch in agony! Maybe you’ll come to your senses and stay on Olympus as a faithful husband for once!”, screamed Hera. “Leave, Horae, continue guarding the doors but leave Theros where she needs to be.”
The Horae were frightened by Hera’s wrath and scurried outside. Before Zeus could intervene, Hera slammed the doors behind them and stormed away. The Horae were in terror, their sister Theros was forced to stay on earth for longer than her duration, while Eiar, Phthiniphoron and Kheima were stuck on Olympus for what felt like an eternity. One by one they each missed their turn to descend to earth.
Theros, with a grain in one hand and a sickle in another, danced on earth with sorrow and never-ending isolation. With her extended stay she brought with her dry lands, wildfires, melted ice-caps and several horrors that were ruining mother Gaia and mankind. Her sisters watched in grief.
But enough was enough. The three sisters could not endure watching earth fall apart and Theros in pain because of the selfishness of Hera. After years that went by without the Horae, they finally confronted Zeus and Hera on their ruthlessness and for once, instead of obeying them, they fought back and transformed into Dice, Irene and Eunomia, powerful goddesses that brought upon justice, peace and good order on earth and Olympus once again. Together, they ensured that nobody, not even the most powerful of gods could cause such devastation ever again.
Analysis
The Horrors of the Horae is an aetiological myth that accounts for the phenomenon of global warming. The Horae are the personifications and goddesses of the seasons (Hom, Od. 2.107), described as Eiar (spring), Theros (summer), Phthiniphoron (autumn) and Kheima (winter) (Nonnus, Dion. 38.268). They are ministers of Zeus and Hera, who are dancing about the gates of Olympus. It can be observed that ancient sources also mention the Horae as ministers of Zeus since he has the power of gathering and dispersing the clouds, and sometimes also ministers of Hera (Paus. 5.11.2). The dance of the Horae is symbolic for the change in seasons, that is usually accompanied with Apollo’s play on the lyre (Hom, Hymn in Apoll. Pyth. 16). As seen in the Illiad, the Horae in this myth are also described as kind and generous, bringing the gods and men “good and desirable things” (Hom, Il. 21.450). They are generally loved and blessed by all, they offer humans the seasons and promote fertility for earth, and also guard the gates of Olympus for the gods (Hom, Od. 24.343).
The main conflict of the myth arises when Eiar, Phthiniphoron and Kheima visit Hera and Zeus in preparing for their next transition. The myth states that it was Phthiniphoron’s turn to be sent down to earth to let the grapes grow and the leaves fall, inspired from ancient texts where she is depicted as holding grapes and promoting their growth (Ov, Met. 2.34). As they are ministers to Zeus and Hera, they seek their permission before their next transition from summer to autumn, or from Theros to Phthiniphoron. While Zeus is accepting and encouraging in their routine rotation, Hera has other motives. The characterization of Hera in the Horrors of the Horae is heavily influenced from Homer. In the myth, she disregards the Horae and uses the opportunity to retaliate against Zeus for his infidelity and wrongdoings. She mentions several occasions of his disloyalty, specifically mortal women such as Niobe, Alcmena, Callisto, Europa, Semele. These can also be accounted for in ancient sources, along with their offspring: Niobe and their son Argus, Alcmena and their son Heracles, Callisto and their son Arcas, Europa and their son Rhadamanthus and Semele and their son Dionysus (Hyg, Fab. 155). The mention of these women in particular may be those that appear to have great impact on Hera, such as Niobe who was the very first mortal woman to be loved by Zeus (Apollod, Bibl. 2.2), and Alcmena whom she despised so much she sent serpents to kill their son Heracles (Apollod, Bibl . 2.4.8). Furthermore, as an act of vengeance, she denies the transition between Phtiniphoron and Theros, encouraging Theros to remain on earth so that the mortal women that Hera so despised could suffer in immense and elongated heat. Her outrage regarding Zeus’ actions along with her reprisal leading to the suffering of humanity describes her character as similar to Homer’s narrative. Throughout the Illiad, she is described to be jealous and has a quarrelling disposition, which at times even makes Zeus fearful (Hom, Il. 1.522). Zeus’ fright is shown during the myth too, he was not able to take control of Hera’s rage and could not intervene to side with the Horae and natural ordering of the seasons. The Horrors of the Horae highlights the theme of power and the obstinacy of Hera, which on this occasion prevailed over Zeus himself, even though this is not too common among ancient myth. This choice in the myth could be due to the fact that the Horae are also depicted as Hera’s maidens in ancient sources (Paus. 2.13.3), and also in this myth as Zeus refers to them as “your maidens” in the conversation with Hera. Therefore, Hera saw this opportunity to overpower Zeus’ decision for her own agenda as she sees the Horae as more her ministers than his.
With Theros unable to return to the heavens, years of extended “summer” are brought upon the earth. She is described to have continued dancing on earth with despair, holding a grain on one hand and a sickle on another. This is inspired by the Imperial Roman mosaic of Theros, in which she is depicted holding grain and sheaf of grain and a sickle (Virginia Museum of Fine Arts, 51.13). The rest of the sisters, Eiar, Phthiniphoron and Kheima, have no choice but to continue guarding the gates of heaven, which is their alternate role also described in ancient sources (Hom, Il. 5.750). With her sorrowful dance, she brings upon earth far bigger consequences than imaginable - the myth states phenomena of dry lands, wildfires and melted ice-caps, which are all known effects of global warming. Additionally, the prolonged summer and disappearance of other seasons in itself is a notable outcome of global warming. Today, many regions of the earth face shortened winters and extended summers and shifting seasons are directly linked to warmer global temperatures. In the case of the myth, the denial of Phtiniphoron’s descent and as a result no transition to autumn or any other seasons resulted in over-heating and negative consequences for earth. This is in stark contrast to Theros’ original role on earth in promoting fertility for mankind, especially by aiding farmers in corn-tending, wheat bearing and harvest with her hot beams (Nonnus, Dion. 38.268), which is also mentioned in the myth during Phtiniphoron’s dialogue of Theros who completed her duties on earth. The role of the Horae in giving everyone all that is desirable and radiating the earth with positivity had turned into a role of destruction and pain for the sisters, due to the selfishness, authority and irrationality of Hera.
The Horae, who were known to be providing, peaceful and abiding to their ministers, decided to take control of the catastrophe and defy their Queen Hera near the end of the myth. During this confrontation, they transformed into Dice, Irene and Eunomia as they took back control of earth and its seasons. Inspired by ancient sources, the Horae made a transition from purely physical to ethical notions of justice, peace and good order (Hes, Theog. 901). The reasoning behind this transition however as described by the myth the Horrors of the Horae, are for the goddesses to be seen as more than compliant and peaceful providers – they are transformed into powerful entities who possess the same virtues but stand up for the good order of the earth and everyone around them. With their transformation, they bring back the natural ordering of the seasons, and also ensured that nobody could break apart their cycle and the wellbeing of the planet again, not even the recklessness of Zeus and Hera. The Horae as the goddesses of the seasons but also justice, peace and good order is described in ancient myth as not separate ideas, but rather their physical and ethical representations are mixed with each other (Orph, Hymn. 42). Their ethical notions represent the conditions required for earth’s prosperity, which they provide through their physical representations. This myth takes parallel to this idea by highlighting that the physical representations of the Horae as the goddesses of the seasons were not enough to promote fertility on earth, they further required a transformation into these ethical notions that took power over people’s selfishness as well to ensure the earth’s wellbeing and balance.
Through the story of the Zeus, Hera and the Horae, the myth explains the important phenomenon of global warming that is currently occurring throughout the world. The themes, characterization and overall plot are also symbolic for the reasons behind the phenomenon and what needs to be done to stop it. For instance, Hera’s wrath and selfish vengeance for Zeus’ wrongdoings hurt the entire human civilization, just like many corporations today and their selfish need for wealth end up having drastic impact on our global temperatures through their mass production and release of emissions. Additionally, the transformation of the Horae into ethical notions that are working towards the wellbeing of the planet is also symbolic of international bodies and peacemakers such as the UN and environmentalists that are lobbying for earth’s sustainability and holding relevant corporations accountable. The theme of the myth is power and the struggle between Hera and the Horae, and similarly today the power struggle between large corporations and activists in combating global warming is evident. The aim of the Horae is to promote peace and balance between all, and we can learn from this myth that there is a much-needed balance between both the sustainable production from corporations and environmental action to stop the negative effects of global warming and create a sustainable planet for future generations to thrive.
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