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Medusa in Myth and Literary History
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In Greek Myth
Medusa, one of the three Gorgons, daughter of Phorcys and Ceto. She was the only one of the Gorgons who was subject to mortality. She is celebrated for her personal charms and the beauty of her locks. Neptune became enamoured of her, and obtained her favours in the temple of Minerva. This violation of the sanctity of the temple provoked Minerva, and she changed the beautiful locks of Medusa, which had inspired Neptune’s love to rpents. According to Apollodorus, Medusa and her sisters came into the world with snakes on their heads, instead of hair, with yellow wings and brazen hands. Their bodies were also covered with impenetrable scales, and their very looks had the power of killing or turning to stones. Perus rendered his name immortal by his conquest of Medu
sa. He cut off her head, and the blood that dropped from the wound produced the innumerable rpents that infest Africa. The conqueror placed Medusa's head on the shield of Minerva, which he had ud in his expedition. The head still retained the same petrifying power as before, as it was fatally known in the court of Cepheus. . . . Some suppo that the Gorgons were a nation of women, whom Perus conquered.
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Camille Dumouli�
Medusa's head, an apparently simple motif linked to the myth of Perus, was freed through being vered and cut loo from its 'moorings' by the hero in the remote depths of the world. There is something paradoxical about the story since the monster was all the more indestructible becau it had been killed. Indeed, the figure of Medusa is charac
terized by paradox, both in terms of the actual mythical stare, which turned men to stone, and in the interpretations that have been given to it. The fascination that she exerts aris from a combination of beauty and horror. Her head was ud, in Ancient times, as an apotropaic mask -- a sort of talisman which both killed and redeemed.
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As well as being the very symbol of ambiguity, Medusa's head is also one of the most archaic mythical figures, perhaps an echo of the demon Humbaba who was decapitated by Gilgamesh. Everything implies that it is a 'reprentation' of the most meaningful aspect of the sacred. Insofar as it is the role of literature to assume responsibility for the sacred, each era, when confronted with the mystery of the 'origins', has re-examined Medusa's head with its mesmerizing stare as something which conceals the cret of the sacred.
THE OTHER AND THE MONSTER
If ambiguity is the hallmark of the sacred, the role of myths, as Ren� Gerard purports in his La Violence et le Sacr� (1972) is to generate differences and contrasts, to distinguish
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between the two faces of the sacred. Therefore, from the viewpoint of the oldest texts which are true to the spirit of the myth, Medusa is a reprentation of the Other by virtue of her absolute and terrifying difference. At first sight, her monstrous ugliness and her petrifying stare certainly bear this out.
