APHRODITE
(Herrin des Krieges, Göttin der Liebe, ed. Martina Seifert, Philipp von Zabern, 2009)
Introduction
Aphrodite is one of the most complex goddesses in Greek mythology. In Aphrodite: Herrin des Krieges, Göttin der Liebe, editor Martina Seifert presents her not just as the goddess of love, but as a figure connected to war, sexuality, and cultural exchange. This exhibit pairs Seifert’s research with a Cypriot votive figure to explore how Aphrodite’s identity evolved over time and across regions. Seifert shows that Aphrodite’s influence came from her ability to move across boundaries—between countries, religions, and gender roles.
Mythical Origins and Eastern Influence
Seifert starts with the famous myth of the Judgment of Paris, where Aphrodite wins the golden apple by promising Helen to Paris, leading to the Trojan War (Seifert 7). Hesiod also gives Aphrodite a dramatic origin story—born from sea foam after Kronos cut off Uranos’s genitals (Theogony 188–206). Seifert compares these Greek stories to myths of eastern goddesses like Ishtar, Astarte, and Isis. Based on Herodotus’s claim that Aphrodite’s oldest temple was in Syria (1.105), she argues that the Greek Aphrodite likely has roots in Near Eastern traditions (Seifert 8–9, 20).
Archaeology and Missing Temples
Seifert’s chapters on Cyprus are especially rich. Archaeologists have found Aphrodite temples in cities like Paphos and Amathus that were active well into Roman times (Seifert 8). But on mainland Greece, there are fewer remains. Ancient writer Pausanias only mentions a few small shrines. This contrast shows how myth and material culture don’t always match—Aphrodite was important in stories, but harder to trace in real temples.
Aphrodite as Warrior
One surprising focus in the book is the "armed Aphrodite" (Seifert 20–21). Some statues show her with a sword or armor, far from her usual image as a gentle love goddess. Homer hints at this duality when Aphrodite is romantically involved with Ares, the god of war (Iliad 5.370–417). These sculptures challenge the typical view of Aphrodite and show her as a more powerful and even threatening figure.
Connection to Course Themes
In Lecture 8 and Classical Mythology Chapter 8, we learned how Athena represented wisdom, order, and civic values. Unlike Aphrodite, Athena’s virginity made her a safe and respected figure in Greek society. Seifert shows that Aphrodite offers a contrast—she represents desire, beauty, and emotion. Her many names, like Pandemos (of the people), Porne (prostitute), and Euploia (safe sea travel), show how different cities used her to support different values (Seifert 9–15). Comparing Aphrodite and Athena helps us understand the range of acceptable female roles in myth.
Morality and Social Control
Seifert points out that temples were often places that taught social norms (Seifert 15). While Athena stood for control, Aphrodite’s worship allowed space for emotion and sexuality. She was honored in both marriage rituals and sex work. This shows how Greek society used myth to include contradictory values—order and chaos, reason and desire—all within their pantheon.
Conclusion
Seifert’s book shows how Aphrodite changed over time, from a foreign fertility goddess to a central figure in Greek and Roman myth. By displaying her book next to ancient artifacts, the exhibition allows us to see how Aphrodite’s image was constantly being reinterpreted. Like modern cultural icons, she was shaped by the people who worshipped her—and by the stories they told.
Work Cited
Herodotus. Histories. Translated by Robin Waterfield, Oxford UP, 1998.
Hesiod. Theogony. Translated by Glenn W. Most, Loeb Classical Library, 2018.
Homer. The Iliad. Translated by Caroline Alexander, Ecco, 2015.
Pausanias. Description of Greece. Translated by Peter Levi, Penguin Classics, 1979.
Powell, Barry B. Classical Mythology. 10th ed., Oxford UP, 2020.
Seifert, Martina, editor. Aphrodite: Herrin des Krieges, Göttin der Liebe. Philipp von Zabern, 2009.
http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=017356216