I taught the story of Phaethon in my Myth as Lit class last
week. In some ways, it’s become
trite: Young Phaethon gets caught up in
his desire to drive his father’s car, to step in to his shoes too soon, and
ends up literally going down in flames.
Phaethon’s dad happens to drive the sun, not just a Camaro, so when he
goes too high he scorches the heavens, and when he drops too low he sets the
world on fire.
Jove, his grandfather, has to shoot him out of the sky with
a thunderbolt. Apollo, his father, mourns so that the world is sunk in to
darkness, for he is too distraught to go to work. The only light comes from the
burning wreckage of the earth. This sounds pretty dramatic as I write, but still
the story of Phaethon taking on his dad’s role before he’s ready is pretty well
known, and can feel obvious.
I classify it in class as one of the 18-year-old-itis tales—one
where the only “tragic flaw” is youth. He is in that period of life when boys
(girls too, but statistics bear out mostly boys) start taking big risks without
realizing the consequences. When they feel bullet proof. But they’re not. And they die.
Icarus falls here too, of course, and for similar reasons—flying too
high, too fast.
So that’s why it feels overused, I suppose, because it is.
There are lots of stories of young men dying because they underestimate laws of
physics and overestimate their own abilities. But reading it this time, I was
struck not so much by that lesson, but more by the grieving family he left
behind.
In Ovid’s tale, Apollo mourns his son with a depth and a
humaneness that staggers me. When he
refuses to show up to work, he cries, “Let someone else/ now guide the chariot that
bears the light!/ If none will do that, and the gods confess/ they can't, let
Jove himself take on that task!/ And when he plies my reins, at least for once/
he'll have to set aside the thunderbolts/ he uses to strip others of their
sons." He is devastated, and he is a god. What chance, then, have
the mortals who love Phaethon?
His mother mourns. She
wanders the world looking for a sign of him, any trace of his lost body. When she finds the grave that nymphs have
made for him, she throws herself on it and bathes it in tears. His sisters follow, and in their grief, they
transform in to poplar trees. The mother
loses more children, as she tries to tug at the branches to free them, only to
be told the branches are their arms, and she’s hurting them more by holding
on.
A cousin, too, transforms in his sorrow, this time to a swan. (His name is Cycnus, which means ‘swan,’ and we still have ‘cygnet’ in English, meaning a baby swan.) Ovid uses this and other opportunities to show that we have an underlying nature that can be revealed by transformation. Cycnus wails for Phaethon as a swan, while his sisters are rendered immobile by their grief. Paralyzed. They are able only to cry tears of sap, which, beautifully, transform in to amber. Those who could not abide the pain of grief gave themselves over completely.
This message seems clear to me: grief is transfiguring. If we let it, it can undo us. It always changes us. In the context of Apollo and his creed--Know thyself; and Nothing in excess—we can come to see even grief can be excessive, but the gods also grieve, so there must be something noble in feeling loss so profoundly.
In the larger context of Ovid’s Metamorphoses, it anticipates the story of Proserpina’s (Persephone) marriage to Pluto, which bonds life to death in an unbreakable union, promising that death will never just be death; there will always be life attending—following in sequence as the seasons follow one another, and living together with death, so we can bear death more easily.
[image from touristorama.com]
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