REUNION OF HELEN AND MENELAUS

“Reunion of Helen and Menelaus.” Orleans University, www.univ-orleans.fr/en/expolouvre/les-oeuvres/dancing/reunion-helen-and-menelaus. Accessed 26 July 2024.

Maya Clauson-Nehus

The “Reunion of Helen and Menelaus” is a fresco that was done at the beginning of the twentieth century. We chose this to focus on because our heroine of choice was Helen of Troy, a pivotal player in the Iliad. This fresco depicts the reunion of her and her husband from Greece, Menelaus. I chose to look at this from a personal perspective because I find Helen a fascinating character in Greek myth and the depictions of her vary so heavily.

Helen is touched on briefly in lesson 7, where we talked about the Iliad and Homer in more depth. However, she is talked back in passing and it doesn’t really delve into her interpersonal potential perspectives. I love this fresco because I think it could be read from many different perspectives. It’s unsure in Greek myth if Helen went willingly to Paris, thus starting the Trojan war. In some regards, it was because she was a woman who fell in lust/love and decided to leave her husband in Greece. However, in other perspectives, it can be argued that Helen was under the influence of Aphrodite, who promised Helen to Paris if he had named her the most beautiful of three major goddesses. It could then be suggested that Helen was perfectly fine in her marriage with Menelaus and was whisked away because of divine intervention. Another suggestion is that Helen was kidnapped and went unwillingly completely.

If either of the latter are true, it makes this fresco incredibly interesting to examine. Menelaus believes she has left of her own free will and is coming at her in anger, his stance ready for battle. It begs the question on if Helen is then attempting to flee in this fresco, as it seems her stance suggests, or if she is attempting to reason with him. The introduction of Aphrodite (and Eros) adds the layer suggesting perhaps Aphrodite was using Helen for her benefit. Of course, this fresco has no actual words and unfortunately we’re unable to determine for sure how it was meant to be depicted. The description suggests Menelaus stops because he is struck by Helen’s beauty (the beauty that is godlike, retained from her father Zeus). However, if she is attempting to reason with him, it’s possible he stopped because of that reason, confused by the presence of Aphrodite.

There are so many layers to this, in my personal perspective. We talked about Greek religion in lesson three, the suggestion that everything the Greeks do is divine intervention because it’s technically God's narrative. Of course, that muddies the idea that Helen was intervened by Aphrodite (because then would the decision have been Helens either way but thus Aphrodites because the gods rule all?).

Personally, I believe that Helen was either kidnapped or interrupted by a non planned divine intervention. In the Iliad, it doesn’t seem like she is particularly happy to be at Paris’s side at first. She had a perfectly fine place back in Greece with Menelaus. Only a fool would leave that, risking war, and because of womens interactions back then I can’t imagine Helen would have done it willingly. It could be my own projection onto her but it always seems like Helen is blamed for the Trojan war when there is little questioning her actions and if they were of free will or not. Admittedly, it kills me I’ll never truly know.

Joelle Crilly

This piece presents the depiction of Helen of Troy on an ancient Greek red-figure krater, examining the artistic portrayal of her character and its importance within the broader scope of Greco-Roman mythology. The vase, dated to the late 5th century BCE, captures a pivotal moment from Helen's mythological narrative—her reunion with Menelaus. This scene, frequently depicted in Greek art, symbolizes the resolution of the Trojan War and the complex nature of Helen's character, who is portrayed variously as a victim, a seductress, and a catalyst for one of history's most renowned conflicts.

In this particular artwork, Helen occupies the central position, adorned in traditional Greek attire, her posture and gestures conveying a blend of emotion and movement. To her right stands Menelaus, easily identifiable by his armor and resolute stance, reflecting the tension and drama of their reunion. This moment, intricately detailed on the vase, marks the culmination of Helen's journey; from her abduction by Paris, the prince of Troy, to her return to Sparta with Menelaus. The reunion scene symbolizes both forgiveness and the restoration of order following the chaos of the Trojan War.

The red-figure technique employed on the krater allows for expressive and detailed representation, showcasing the artist's skill in capturing both narrative and emotional depth. This scene not only underscores the mythological significance of Helen's story but also provides insight into the societal values and cultural narratives of ancient Greece, where such myths were crucial to understanding human behavior and morality.

Historically, Helen's portrayal has been complex and multifaceted, reflecting the cultural and moral attitudes of different times. In Homer's "Iliad," she is depicted with a sense of regret and guilt for the war precipitated by her actions, while other accounts portray her as a willing participant or even a pawn of the gods. This vase enriches the tapestry of Helen's myth, illustrating the moment of reconciliation with Menelaus—a scene that could be interpreted as a moment of redemption or a continuation of her ambivalence.

The portrayal of Helen of Troy on the red-figure krater can be compared to the iconic statue of Venus de Milo, believed to depict Aphrodite, the goddess of love and beauty. Both artworks celebrate female beauty and the complex roles of women in mythology, yet they do so in distinct ways. The red-figure krater captures a specific narrative moment, highlighting Helen's emotional journey and her significant role in the Trojan War, focusing on themes of conflict, reconciliation, and the societal implications of beauty and desire.

In contrast, the Venus de Milo, created around the 2nd century BCE, emphasizes the idealized beauty of the goddess Aphrodite. The statue exudes a sense of timeless, serene beauty, capturing the goddess in a moment of repose. Unlike the krater, which is rich in narrative detail, the Venus de Milo emphasizes form and aesthetic perfection, representing the divine and idealized aspects of femininity.

The dialogue between these two pieces highlights different artistic approaches and cultural values: the krater, with its narrative complexity, reflects the human and moral dimensions of myth, while the Venus de Milo celebrates the transcendent and eternal aspects of beauty. Together, they offer a comprehensive view of how ancient Greek art explored the multifaceted nature of women in mythology, from mortal to divine, and the powerful influence of their beauty and actions on human events. This comparison underscores the enduring legacy of these myths and their interpretations across different media and time periods.

In conclusion, the red-figure krater depicting the reunion of Helen and Menelaus provides valuable insight into the ancient Greek perspective on one of their most enduring myths. Through this artwork, we observe the continuing fascination with Helen's story and the various ways it has been interpreted and reinterpreted throughout history. The piece serves as both a cultural artifact and a narrative device, reminding us of the timeless nature of myth and its power to convey profound truths about the human condition.