Mohini Banerjee, Roll No. 16
History, Literature and Criticism
Abstract:
Classical and Greek mythology is a subject that is still taught all over the world. On the surface, they might appear to be outdated stories, but these myths are relevant even today. Beneath the surface lies major life lessons, eternal truths and undiscovered metaphors. In order to preserve the magic of old Greek myths, many modern writers took up the task of infusing them with new life.
Rick Riordan, in his series ‘Percy Jackson and the Olympians’, brings alive the ancient Greek Gods and creates an entirely new crew of demigods to fight evil. The paper attempts to trace the development, and assess the similarities and the differences between the gods of antiquity and their modern forms in this series by Riordan.
Introduction:
The term ‘myth’ refers to a folklore genre which compiles a series of narratives and stories that can play an important role in shaping society. Mythology is often used to enlighten readers and help them develop a connection between the present and the past. It helps them to trace their roots back to ancient times and learn something valuable.
‘Percy Jackson and the Olympians’, the famous pentalogy written by Rick Riordan is a golden example of how myths can be retold in a modern context. Riordan has incorporated both the major and the minor characters from Greek mythology to create a parallel universe that is based in contemporary times.
According to Riordan, he got the idea of writing this series because of his experience as a parent. His son encouraged him to create new stories with his familiar characters once Rick ran out of myths to narrate during his bedtime.
In ‘Percy Jackson and the Olympians’, Riordan tries to create an alternate reality where all the characters exist on a modern timeline. He pictures that the characters have evolved with the times to suit the needs of the current generation.
Ancient Greek mythology has undergone its fair share or adaptations. Their cultural relevance till date shows that there is an element of truth and relatability in these stories which, on the surface, appear to be based on traditional Gods and heroes. Myths are supposed to adapt as they are handed down from generation to generation. The epics, as told by earliest poets, may not appeal to all sections of readers in the current day as they did before. Riordan is on a quest to preserve the treasures of ancient Greek mythology through his works. Not only does he try to entertain them, but he also tries to teach his readers and make them more conscious about the time gone by.
The Setting:
Riordan imagines a democratic-republic and questions contemporary class conflict rather than creating a clear demarcation between the Gods and everyone else. Riordan argues that while the Gods are powerful, they know that they exist in the current era only because they have been kept alive in the Western thought. He refrains from creating heroes who are only interested in their selfish interests. His heroes are young, relatable and meant to show that everybody can be a hero if the situation beckons. He also makes the Gods more accessible, unlike the ancient myths where they were elusive and whimsical. Riordan also talks about doomed characters and gives them a fresh storyline. For example, in ‘The Battle of the Labyrinth’, we come across Daedalus and Calypso. Riordan also gives a fresh take on older adventures and recreates myths with recurrent objects in the Greek myth universe. To cite an example, ‘The Sea of Monsters’ sees a renewed quest for the Golden Fleece.
Percy Jackson is not the kind of hero one would read about in classical texts. He was a regular kid who goes to school and fights against bullies until he discovers that he is a demigod, a son of Poseidon. He has a strong urge to fight for what he believes in, and he carries through because his teenage rebellious nature allows him to challenge both the gods and his foes as he tries to navigate through the complex world. Riordan preserves the concept of the ‘fatal flaw’ in these novels, and in Percy’s case it is shown that it is his tendency to care too much about the people he loves. What makes Percy even more interesting is that he suffers from ADHD and dyslexia because of his demigod abilities. He empowers the impaired instead of creating a stereotypical hero.
One can trace the beginning of Greek mythology to the works of Hesiod and Homer who immortalised the Greek Gods and heroes. According to Herodotus, they were the original creators of the Greek myths. It is likely that there were several poets and authors at the time who wrote on similar subjects, but Hesiod and Homer tell their stories from a unique perspective and build a cohesive reality. Hesiod, in ‘Theogony’, traces the creation of the gods from the very beginning. Homer bases his stories on heroes like Odysseus, Achilles, and Agamemnon. Both of them explore the Gods’ anthropomorphic identities, but they uphold the existing social hierarchies in their works.
The ‘Percy Jackson’ series does not require readers to know about all the existing myths and their relevance. The advantage of Riordan writing the series from Percy’s perspective is that we get to discover this world along with him. However, for readers who are already aware of the old texts, the pentalogy serves as a unique comparison. In some cases, Riordan captures the Iliadic personality of the characters, but in other cases, he portrays them as completely different from their past selves because he believes that the Western culture has a strong influence on these characters.
In the series, Mount Olympus is situated on the 600th floor of the Empire State Building which is considered to be an American cultural icon and a center of capitalism. It is only fitting that the mighty Gods would choose the Empire State Building as their residence as a symbol of their dominance. Chiron, the instructor of Camp Half-Blood which is the camp where all demigods come to train, summarises it beautifully:
“Come now, Percy. What you call Western Civilization… is a living force, collective consciousness that has burned bright for thousands of years. The gods are part of it. You might even say that they are the source of it, or at least, they are tied so tightly to it that they couldn’t possibly fade, not unless all of Western civilization were obliterated…The heart of the fire moved to Rome, and so did the gods… wherever the flame was brightest, the gods were there. They are now in your United States. Look at your symbol, the eagle of Zeus. Look at the statue of Prometheus in Rockfeller Center… like it or not—America is now the heart of the flame. It is the great power of the west. And so Olympus is here.“
One can look at the series through a Marxist lens because the Gods are representatives of the bourgeoisie class while the demigods represent the Proletariat. The remains of the ancient feudal society have given rise to a modern society with its own struggles and conditions of oppression.
The Gods are still just as selfish and view their demigod children as the means to an end. Just like the bourgeoisie appeal to the proletariat in times of need and utilise their labour to fulfill their own purposes, the Gods also call upon the demigods when they need to get something done. For example, in ‘Percy Jackson and the Lightning Thief’, Percy is given the task of retrieving Zeus’s lost thunderbolt as a result of which he gets caught up in the sibling rivalry among Zeus, Poseidon and Hades.
In the series, the Gods are meant to claim their children so they can be taken to the safety of Camp Half-Blood where they will be safe from monsters. However, the Gods fail to be efficient, and not all demigods are given their own identities presumably because the Gods are too caught up in their lives. They are schooled by Percy at the end of the ‘The Last Olympian’ when he asks them to ‘properly recognise the children of the Gods.’ It is interesting that the Gods admit their fault only in the light of the fact that ignoring their children proved to be a ‘strategic weakness’ in the war they just fought.
The tension between the Gods and their demigod children becomes clearer as the series progresses. Since the Gods are almost three millennia old, they believe in conservative ways and are not very willing to change for their heroes. The heroes are represented as representatives of their own time. This equation is similar to that which existed in the olden times between Homer’s heroes and the Gods. However, the difference lies in the fact that Percy decides not to stand for it. He knows that living in the past cannot lead to anything good and tries his best to make the gods understand why modern heroes are the way they are. He succeeds in impressing them to an extent which is demonstrated when the Gods give him the opportunity to become a minor God as a reward for his contribution to the victory.
Unlike the ancient stories which are narrated by an omniscient narrator, Riordan uses Percy’s voice to give us a better insight as to how we will perceive the Gods. They appear to be just like any dysfunctional family with a constant struggle for power.
On a deeper level, the Gods are shown to be fighting between their ancient inclinations and their new American personality. It almost acts like a split personality disorder as they try to figure out who they are really supposed to be. They know that they need the help of their demigod children, but are too proud to admit it just like olden times. Due to their egotistic nature, they refuse to rely on their children openly. However, one has to admit that the Gods are much more at peace with the concept of having a family than their classical counterparts. They are partial and not the best at parenting, but they tend to show their affection depending on the circumstances. The relationship between Percy and Poseidon is a great example. Over the course of the series, the latter somewhat manages to become a good parent to Percy and guides him through different hurdles. According to Hermes, being a Godly parent can be tough as Gods often have to act indirectly. They cannot intervene every time their children ran into problems because that would only create more resentment. ‘Immortal families are eternally messy.’
However, in most cases, the demigods only called upon the Gods only if they needed help on a quest. Demigods are not especially fond of having Godly parents because they feel like they are missing out on a normal parent-child relationship. In olden times, divine lineage was something to be proud of but currently, the demigods are open to the idea of developing their own individual identities.
The Olympian family is extremely competitive, and there are some enmities in particular which stand out. For example, Athena and Ares do not get along at all. However, Riordan wants everyone to work together, and that is how he framed the series bringing them all together in order to restore order.
Percy is a driving force in helping the Gods learn to work together. He restores some hope that change is not completely out of the question. However, immortals do not adapt to change well and Hermes admits that, “But we gods have never been good at keeping oaths…Eventually we’ll become forgetful. We always do.”
Portrayal of the Gods:
The Gods have certain physical characteristics and supernatural powers which they pass down to their children. This helps to identify the parent of a demigod. Riordan is not restricted by the rules of poetry, and he gives a definite form to the Gods. He makes sure that they all have at least one aspect which does not change so that there is continuity.
Zeus always wears a pinstriped suit and sports a neatly trimmed grey beard. His eyes are stormy, representing the sky and its various moods. He spends most of time brooding in his throne room in the Empire State Building. He retains his interest of travelling the world in disguise. His persona is more of a CEO than a king in the current era. He no longer gets involved in feuds, but he has become more insecure with time. Now that he has recognised the potential of other Gods, he fears for this throne more than ever.
On the other hand, Poseidon’s attire consists of a ‘Hawaiian shirt, shorts and flip flops’, which is fitting since he is the God of the Sea. He likes to take long walks on the beaches of Florida. Unlike Zeus, he does not mind interacting with human beings and communicates with fishermen and tourists. Poseidon was always rather moody, and he still is. If he wants to throw a temper tantrum, he causes a hurricane which is a sign that his Godly insensitivity is still at play.
Hades has changed very little over the centuries. He still has a rather evil smile and likes to sit on a throne made with bones. More often than not, he is shrouded in the helm of darkness which suits his personality. His black robes are made by sewing together the souls of the damned, which shows his inherently sadistic nature. Just like before, Hades does not like leaving the Underworld. According to Riordan, his workload has increased over time, and he is not too happy about it. Hades feels like he does not belong in the Olympian family and holds a grudge against both this brothers.
The depiction of Hermes is perhaps one of the most interesting ones in the series. The god is portrayed as a busy bee who is always rushing from one place to another trying to get work done. He can be extremely difficult to get hold of. He also runs various businesses like a telecommunication company, an express delivery service along with serving the Gods. Always dressed in comfortable jogger’s clothes and winged athletic shoes, he carries a cell phone all the time. The phone transforms into the caduceus. Always a troublemaker, it seems like Hermes has become more responsible and wiser with age.
Dionysus is portrayed as an alcoholic who wears a ‘leopard-skin shirt, walking shorts, purple socks and sandals.’ After a hundred years of ‘rehab’, he has been assigned as a caretaker of Camp Half-Blood, and he is no good at the job. His current drink of choice is Diet Coke and he likes to play pinochle in his spare time.
Aphrodite is now the goddess of love and romance because that is what modern perception dictates. She has the ability to alter her appearance based on what the person opposite her finds beautiful. She loves shopping and partying. Depicted as an elite high-society young woman, she is still extremely charming. Her husband, Hephaestus is traditionally regarded to be ugly and he has a scraggly beard. He wears a mechanic’s uniform and has powerful hands which can craft almost anything, from cars to innovative inventions. Hephaestus has retained his asocial nature. He is jealous of Ares who has caught Aphrodite’s eyes, and he tries to catch them together on Hephaestus TV in ‘The Lightning Thief’. Ares, for his part, wears biker leathers and sunglasses all the time. He rides a Harley Davidson all around Los Angeles. He is crass, rude and can pick a fight with just about anyone. The love triangle between Aphrodite, Hephaestus, and Ares serves as comic relief in the series.
Hera, in all her traditional glory, still prefers classic Greek dresses. Description of her physical appearance varies across the series, but she is always elegant and stately. Proud of her status as Zeus’s wife, she wears a simple silver crown. Her feelings towards demigods fluctuate based on her temperament. She shows a tendency to be unnecessarily reckless at times. Like her ancient self, she aspires only for the perfect family and nothing less.
Demeter likes to dress in green or gold when she wants to look regal, but otherwise, she is perfectly content in gardening clothes. She likes to spend most of her time in the upper world growing crops and controlling agriculture, but she likes to visit her daughter Persephone in the Underworld at times. Like most elderly mothers in modern Western pop culture, she nags her daughter about her terrible choice in love.
One of the most revered goddesses in Greek mythology, Athena is still as intelligent and beautiful as ever. She has dark hair and striking grey eyes, and likes to sport casual attire but changes into full body armour when she is heading into war. She favours all her intelligent children. Still proud and cautious, Athena can be intimidating to anyone who is not on good terms with her.
The siblings, Apollo and Artemis, are widely different from each other. Apollo is the poster-boy of the ‘cool guy’ stereotype. With ‘fashionably shabby clothes’ and ‘Ray Ban sunglasses’ and a penchant for drama, Apollo hangs out with the most popular celebrities. He makes no effort to hide his narcissistic nature. His expertise ranges from music to medicine, and he is proud to be the all-rounder. Artemis, on the other hand, appears as a teenager in the series who has no patience for the patriarchy. She has silver eyes and prefers white and silver-hued dresses. She travels with her band, the Hunters of Artemis. Artemis displays her strength in ‘The Titan’s Curse’ when she carries the sky. She is more lenient than before in her dealings with the male gender, but she will not hesitate to target her bow at anyone who crosses her.
Conclusion:
Modern writers like Riordan capture how the Gods evolve depending on how we view them. This raises a philosophical question about whether the existence of Gods is based purely on our beliefs.
While the pentalogy might be meant for young readers, it has a universal appeal because of its simplicity and attention to detail. All the stories are so beautifully written that they will capture the attention of anyone who is interested in Greek and Roman myths. Popular culture appreciates mythology even today because it helps to draw parallels with contemporary American society. Traditionally, mythology was supposed to be deeply philosophical and had the power to provide moral answers and even create social structures. Riordan acknowledges that people are still in awe of magic, and he tries to portray how good can still defeat the bad successfully. At its core, mythology is a form of pure storytelling which explains its relevance in the literary world till date.
Citations:
- https://greece.mrdonn.org/greekgods/12olympians.html
- http://rickriordan.com/extra/meet-the-greek-gods/
- Riordan, Rick. The Battle of the Labyrinth. New York: Disney Hyperion Book, 2008.
- Riordan, Rick. The Last Olympian. New York: Disney Hyperion Book, 2009.
- Riordan, Rick. The Lightning Thief New York: Disney Hyperion Books, 2005.
- Riordan, Rick. The Sea of Monsters. New York: Disney Hyperion Book, 2006.
- Riordan, Rick. The Titan’s Curse. New York: Disney Hyperion Book, 2007.
- Clay, Jenny Strauss. Hesiod’s Cosmos. Cambridge: Cambridge University Press, 2003.
- Mir Md. Fazle Rabbi. Percy Jackson and the Olympians: Reincarnation of Greek Mythology as an Alternate Reality. https://www.academia.edu/30969590/Percy_Jackson_and_the_Olympians_Reincarnation_of_Greek_Mythology_as_an_Alternate_Reality
- Maia Anne Swanson. The Myth Continues in Percy Jackson: A look into mythology and its persistence today. https://digitalcommons.butler.edu/cgi/viewcontent.cgi?referer=https://www.google.com/&httpsredir=1&article=1290&context=ugtheses
- https://en.wikipedia.org/wiki/Percy_Jackson_%26_the_Olympians
History, Literature, Criticism 