Question: What does RGTO read when it’s not reading Greek Tragedy?
Jupiter turns himself into an Amphityron
While the real one wars against the Tele-boys
and takes his wife Alcmene for his own use.
So Mercury puts on the face of the absent Sosia,
his slave and Alcmena falls for these tricks!
When the real Amphitryon and Sosa return,
they are both mocked in wonderful ways.
This makes a fight for the real husband and wife,
until Zeus makes his sound with thunder and lighning
and copes to the adultery himself.”
In faciem uersus Amphitruonis Iuppiter,
dum bellum gereret cum Telobois hostibus,
Alcmenam uxorem cepit usurariam.
Mercurius formam Sosiae serui gerit
apsentis; his Alcmena decipitur dolis.
postquam rediere ueri Amphitruo et Sosia,
uterque deluduntur [dolis] in mirum modum.
hinc iurgium, tumultus uxori et uiro,
donec cum tonitru uoce missa ex aethere
adulterum se Iuppiter confessus est.
Today, Reading Greek Tragedy Online arrives in new territory: ROMAN COMEDY.
To be fair, the story of the Amphitruo is not entirely new. It tells of the night Herakles–well, in this case, Hercules, eheu–was born. It is perfect for the stage: filled with doubles, jokes, misrecognition, and gods sharing the stage with comic slaves. It is everything Roman audiences would have loved.
But how will it translate to the smallest of screens? Tune in to find out.
Cast and Crew
Rene Thornton Jr.
Translator and Special Guest: Toph Marshall
Artistic Director: Paul O’Mahony (Out of Chaos Theatre) Host and Faculty Consultant: Joel Christensen (Brandeis University) Producers: Keith DeStone (Center for Hellenic Studies), Hélène Emeriaud, Janet Ozsolak, and Sarah Scott (Kosmos Society) Director of Outreach: Amy Pistone (Gonzaga University) Poster Illustration Artist: John Koelle
“Do not send me from this land in dishonor,
but as a master of my wealth and the captain of my house.
I have said enough now. Old man, it is your task
to go and safeguard this need.
And the two of us will go: for it is the perfect moment
and the perfect moment is man’s greatest guide in every deed.”
Each week during the pandemic, we selected scenes from a play, actors and experts from around the world, and put them all together for 90 minutes or so to see what will happen. This process was therapeutic for us; and it helped us think about how tragedy may have had similar functions in the ancient world as well.
This year and last we have been experimenting with new formats, appearing twice in person for hybrid events. This performance of Sophocles’ Electra, using Ann Carson’s translation, is sponsored by UIC, Loyola College, and the Center for Hellenic Studies.
Sophocles, Elektra 91-95
“This hateful bed in our painful house
shares the pains of all my nights
how much I mourn for my wretched father…”
At this in-person and online event, we return to one of many plays set around the House of Atreus, Sophokles’ Elektra. This story follows Orestes’ return home to murder his mother (and her lover Aegisthus) for the killing of his father Agamemnon. For fans of tragedy, the tale is famous from our only full trilogy from ancient Athens, Aeschylus’ Oresteia. But it was legendary—and perhaps even paradigmatic—Homer’s Odyssey as well, where Orestes is held up repeatedly as a model of youthful initiative to Telemachus and Clytemnestra’s betrayal of her husband appears as a constant threat to Odysseus’ homecoming.
The story of Orestes is, like the end of the Odyssey, about the cycle of vengeance and the dangerous narrative pull of the call to revenge. In Aeschylus’ Eumenides, Orestes ends up in Athens where he is judged by a jury for his mother’s murder: his story pits the orders of one god (Apollo) against he claims of others (the Furies) and the loyalty of a son to mother or father. The story of the Elektra is a prolonged rumination on the choices made before that crises. This version of the tale is often dated to the end of Sophocles’ life, during the middle of the Peloponnesian War. It features Orestes returning with Pylades in disguise to announce his death. The title character, Electra, has been mourning her father’s murder and longing for her brother’s return. Once she finds out about Orestes’ true identity, the play turns to the murder, but prior to that ever delayed moment of recognition, the audiences witnesses Orestes’ hesitation and Electra’s sorrow.
“No noble person wants
to ruin their good reputation by living badly
namelessly, my child.
So you have accepted for yourself
a life of fame and constant sorrow,
making a weapon from a noble cure–
with one strike you win two prizes
to be called a child excellent and wise.”
“My love–I am hearing a voice
I never hoped to hear,
but still I kept my eagerness quiet.
I heard with no cry in response.
But now, I have you. You are clear as day,
holding the dearest vision before me,
something I never could forget in any troubles.”
“Citizens, this elder pride of Argives,
I will feel not shame at revealing
my spousal love to you. In time, human fear
turns to dust. I will tell you of my own
miserable live, not something I learned from others,
all that time when this man was below the city of Troy.”
This week we trturn to the first play of Aeschylus’ Oresteia, the Agamemnon. How famous is the story of Orestes and his father? So famous that it is the story Zeus contemplates at the beginning of the Homeric Odyssey as he looks down in frustration on the man who murdered Agamemnon. Atreus’ son, Agamemnon, appears in the middle of the epic (book 11) and at its end, complaining at each point bitterly about his disloyal wife, Klytemnestra, and praising the vengeance meted out by his son Orestes.
The story of the family of Agamemnon, however, extends before the Trojan War and then after until the death of Achilles’ son Neoptolemos. it starts back with Tantalos and Pelops in Asia Minor before it moves to the Peloponnese through sacrilegious meals, infanticide and fraternal war, all themes highlighted in the main cause of Klytemnestra’s rage, the killing of their daughter Iphigenia at Aulis.
If this story sounds familiar, it is because it is! In this series, we have heard variations of this tale from Sophocles and Euripides, contemplating both its beginnings and its ends. Indeed, ancient audiences would have been as familiar with the story as Zeus at the beginning of the Odyssey, shaking their heads and wondering how this version will play out.
This play begins with Agamemnon’s return home, but focuses on Klytemnestra’s anger and her power. It features some of the most challenging and memorable choral odes extant from the ancient world. It has a raving, yet lucid Kassandra. And at the core of the play, a murderous king’s bloody return home.
Aeschylus, Agamemnon 914-917
“Child of Leda, guardian of my home,
“You have spoken aptly to my absence,
Since you have gone on at length. But proper praise
Ought to be a prize won from different sources.”
“Whoever pronounced a name
So thoroughly true?
Wasn’t it someone we’d not see
Guiding the tongue with luck
From a foreknowledge of fate?
Who named the spear-bride,
That ship-killer [hele-nas], man-killer [hel-andros]
City-killer [hele-ptolis], sailed
From her fine-spun, curtains
On the breath of great Zephyr
and many-manned bands
Of shield-bearers followed
The vanished journey struck
By the oars to the banks
Of leafy Simois
Artistic Director: Paul O’Mahony (Out of Chaos Theatre) Director of Outreach: Amy Pistone (Gonzaga University) Executive Producer: Allie Marbry (Center for Hellenic Studies) Producers: Keith DeStone (Center for Hellenic Studies), Hélène Emeriaud, Janet Ozsolak, and Sarah Scott (Kosmos Society) Poster Artist: John Koelle Poster Designer: Allie Marbry (Center for Hellenic Studies)
Aristophanes, Assemblywomen 176-183
“[Zeus] puts mortals on
The journey of comprehension.
And made this the powerful law:
We learn by suffering.
Pain-recalling trouble trickles
Through the heart in sleep—
And wisdom comes just so
To the unwilling.
The gods seated on their sacred seats
Bestow a hard grace I think.”
If then in Sophocles the play is concentrated in the figures themselves, and in Euripides is to be retrieved from flashes of poetry and questions far flung and unanswered, Aeschylus makes these little dramas (the Agamemnon has 1663 lines; Lear about 2600) tremendous by stretching every phrase to the utmost, by sending them floating forth in metaphors, by bidding them rise up and stalk eyeless and majestic through the scene. To understand him it is not so necessary to understand Greek as to understand poetry. It is necessary to take that dangerous leap through the air without the support of words which Shakespeare also asks of us. For words, when opposed to such a blast of meaning, must give out, must be blown astray, and only by collecting in companies convey the meaning which each one separately is too weak to express. Connecting them in a rapid flight of the mind we know instantly and instinctively what they mean, but could not decant that meaning afresh into any other words. There is an ambiguity which is the mark of the highest poetry; we cannot know exactly what it means. Take this from the Agamemnon for instance–
ὀμμάτων δ’ ἐν ἀχηνίαις
ἔρρει πᾶσ’ ᾿Αφροδίτα.
The meaning is just on the far side of language. It is the meaning which in moments of astonishing excitement and stress we perceive in our minds without words; it is the meaning that Dostoevsky (hampered as he was by prose and as we are by translation) leads us to by some astonishing run up the scale of emotions and points at but cannot indicate; the meaning that Shakespeare succeeds in snaring.
Aeschylus thus will not give, as Sophocles gives, the very words that people might have spoken, only so arranged that they have in some mysterious way a general force, a symbolic power, nor like Euripides will he combine incongruities and thus enlarge his little space, as a small room is enlarged by mirrors in odd corners. By the bold and running use of metaphor he will amplify and give us, not the thing itself, but the reverberation and reflection which, taken into his mind, the thing has made; close enough to the original to illustrate it, remote enough to heighten, enlarge, and make splendid.
Aeschylus, Agamemnon, 37-39
“This house itself, if it found a voice,
Would be able to speak most clearly. I am talking
Willingly to those who know and forget for those who know nothing.”
The “Children of Herakles”, was performed around 430 BCE, just as the Athenians were beginning their 3 decade war against the Spartans. It may not be Euripides’ most famous play, but it has just about everything you’d ask for in a tragedy: theme of Xenia, suppliancy, noble bloodlines, battle, human sacrifice, gender, a war scene described in a messenger speech, revenge.
Like any good tragedy, it focuses on the choices human beings make outside of their fate and divine meddling. But its end is troubling, perhaps reflecting the world outside of the play, where violence is far from distant and death for many is certain. For while this is the year that Athens repels a Spartan invasion and attacks the Peloponnese, it is also the first year of the famous plague. This play, so focused on the descendants of Herakles and the end of feuds, seems so precariously set at the beginnings of things.
Euripides, Heracleidae 427-430
“Children, we are like sailors who have fled
A savage storm’s blows to touch the land
With their hand only to be pounded back
From the shore to the sea by the winds again.”
Artistic Director: Paul O’Mahony (Out of Chaos Theatre) Director of Outreach: Amy Pistone (Gonzaga University) Producers: Keith DeStone (Center for Hellenic Studies), Hélène Emeriaud, Janet Ozsolak, and Sarah Scott (Kosmos Society) Poster Artist: John Koelle Poster Designer: Allie Marbry (Center for Hellenic Studies)
Euripides, Heracleidae 1016-1017
“Although I don’t long for death,
I wouldn’t be annoyed at leaving life behind.”
I am going to take a break and take a seat right here
And talk through how I will tell them things they believe, even the smarter ones.
“You seem wholly right and righteous to pray to the gods
But if you will only consider in what way
I risked so many things going where you ordered
How I took on sufferings away from this safety
And faced danger after danger to earn divine kleos,
Entering the enemy’s camp to learn clearly and well
To return unharmed to report back all the secrets
to the glorious Achaeans And the dear son of Atreus…”
“Who can get a doctor for me and which one?
Who is an expert in the art of assholes?
Is it Amunôn? Perhaps he will decline.
Have someone call Antisthenes by any means.
For this man knows why an asshole wants
To shit thanks to the groaning.
Queen Eleithuia, don’t you ignore me
When I am breaking but all stopped up,
Don’t let me be the comic chamberpot!”
“There are many wonders and none
is more awe-inspiring than humanity.
This thing that crosses the sea
as it whorls under a stormy wind
finding a path on enveloping waves.
It wears down imperishable Earth, too,
the oldest of the gods, a tireless deity,
as the plows trace lives from year to year
drawn by the race of horses….”
In our third season of the series, we are returning to plays we have performed before from different angles. We started a few weeks ago with a live, in-person performance at Harvard.
Sophocles, Antigone 737
“The state which belongs to one man is no state at all.”
πόλις γὰρ οὐκ ἔσθ᾽ ἥτις ἀνδρός ἐσθ᾽ ἑνός.
This week we return to Sophocles’ Antigone, arguably one of the most famous plays from antiquity. Alongside Sophocles’ Oedipus Tyrannos and Euripides’ Bacchae, Antigone is one of the most re-interpreted and translated plays in the last generation. Our performance will be bilingual in Modern Greek and English.
Sophocles, Antigone 1056
“The race of tyrants loves shameful profit.”
τὸ δ᾽ ἐκ τυράννων αἰσχροκέρδειαν φιλεῖ.
Sophocles, Antigone 141-145
“The seven leaders appointed to their seven gates
dedicated their bronze arms
to Zeus who turns the battle
except for only those two born
of a singer mother and father
who faced each other’s spears
each with a share of victory and death.”
Artistic Director: Paul O’Mahony (Out of Chaos Theatre) Director of Outreach: Amy Pistone (Gonzaga University) Executive Producer: Allie Marbry(Center for Hellenic Studies) Producers: Keith DeStone (Center for Hellenic Studies), Hélène Emeriaud, Janet Ozsolak, and Sarah Scott (Kosmos Society) Poster Artist: John Koelle Poster Designer: Allie Marbry (Center for Hellenic Studies)
Sophocles, Antigone 72–77
“It is noble for me to do this and then die.
I will lie with him because I belong to him, with him,
Once I have completed my sacred crimes. There’s more time
When I must please those below than those here,
Since I will lie there forever. You? Go head,
Dishonor what the gods honor if it seems right.”
“Stop speaking before you fill me with rage!
And you’re revealed as a fool as well as an old man.
You speak of unendurable things, claiming that the gods
Have some plan for this corpse.
Did they do it to honor him so greatly for his fine work,
Concealing him, the man who came here
To burn their temples and their statutes,
To ruin their land and their laws?
Do you see the gods honoring evil people?”
“The word of Pherecrates: if our husbands despise us, then it is necessary to use dildos and to flog the flogged shaft. Pherecrates said this in a drama where the proverb is applied to those who are suffering something else in addition to what they have suffered.
Olisbos: Genitals made from leather which the Milesian women used to use as tribades(!) and shameful people do. Widowed women also use them. Aristophanes writes “I did not see an eight-fingered dildo*/ which might be our leathered aid.”** This second part is drawn from the proverb “fig-wood aid” applied to weak people.
“Courtesanizers: The women who are called ‘rubbers’” [or ‘grinders’? i.e. Lesbians] Ἑταιρίστριαι: αἱ καλούμεναι τριβάδες. See also Hesychius s.v. dietaristriai: “Women who rub themselves against girls in intercourse the way men do. For example, tribades.”
The Lexicographer Photius repeats only the following definition:
Olisboi: Leather dicks
῎Ολισβοι: δερμάτινα αἰδοῖα.
The Scholia to Aristophanes’ Lysistrata 109-110 basically presents the same information:
Olisbon: A leather penis. And that is for the Milesian women. He is joking that they use dildos. The next part, “leathery aid” plays upon the proverb “fig-tree aid”, used for the weak. He has changed it to “leathery” because dildos are made of leather. They are leather-made penises which widowed women use.”
Epopopoi popoi popopopoi popoi, here, here, quick, quick, quick, my comrades in the air; all you who pillage the fertile lands of the husbandmen, the numberless tribes who gather and devour the barley seeds, the swift flying race that sings so sweetly. And you whose gentle twitter resounds through the fields with the little cry of tiotiotiotiotiotiotiotio; and you who hop about the branches of the ivy in the gardens; the mountain birds, who feed on the wild olive-berries or the arbutus, hurry to come at my call, trioto, trioto, totobrix; you also, who snap up the sharp-stinging gnats in the marshy vales, and you who dwell in the fine plain of Marathon, all damp with dew, and you, the francolin with speckled wings; you too, the halcyons, who flit over the swelling waves of the sea, come hither to hear the tidings; let all the tribes of long-necked birds assemble here; know that a clever old man has come to us, bringing an entirely new idea and proposing great reforms. Let all come to the debate here, here, here, here. Torotorotorotorotix, kikkabau, kikkabau, torotorotorolililix.
The one-hundred-and-thirteen elaborate wooden panels that make up the Damascus Room at the Dresden Museum of Ethnology testify to the immense wealth of the era, at the beginning of the 19th century when wood and ceiling panels adorned the reception room of Damascene houses in Ottoman Syria. A detailed composition of city landscapes, bouquets of flowers, bowls of fruits and Arabic calligraphy was executed around a main framework in which vertical panels, niches, wall closets, doors and windows were integrated, often aggrandized by the use of mirrors in a sophisticated painting technique known as ‘ajamī (Persian). This pastiglia style involved preparation of the wood with a rough white ground layer, followed by more colorful paint layers, underdrawing, transfer of patterns, then followed by application of ornaments, metal leaf and dyed glazes.
Scholar Anke Scharrahs interviewed Damascene artists revealing that knowledge about this intricate painting technique of the 17th and 18th centuries (rich in organic pigments and animal resins) was subsequently lost to modern pigments and European influences. In fact the panels were often washed down, restored and repainted every few generations, therefore only a few original interiors remain in Syria itself, so that the preservation state of the Damascus Room is nothing short of astonishing (only four such interiors exist in the Western world).
But the journey of the Damascus Room to its present splendor took two centuries, and is as protracted as the history of the museum housing it. The Dresden Museum of Ethnology dates back to 1560 with the cabinet of curiosities established by Augustus, the elector of Saxony, and was subsequently transformed into different museums, under different names, as European ideas about culture were being shaped by both science and colonialism.
It was the year 1898 when a German art collector, Karl Ernst Osthaus, known primarily for his interest in the avant-garde movement, traveled throughout the Ottoman Empire, collecting artifacts from bazaars and workshops. But there was one treasure hunt that couldn’t be completed: The search for an Oriental interior. Although he traveled far and wide in all the major cities of the empire, it was to no avail, and at the end of his journey, he passed on the responsibility to the German consulate in Damascus. The consulate in turn assigned photographer Hermann Burchardt to the task, who had been living in Damascus since 1893. A suitable interior was found (dated 1810-11), purchased, disassembled and sent to Germany. Osthaus was then very involved in modern art, so when the pieces arrived at his estate in Hagen, they were kept in an attic and quickly forgotten.
After Osthaus’ death in 1921, the panels were discovered and donated to the Dresden Museum of Ethnology in 1930, and the collections of the museum were about to go on show at the Zwinger palatial complex (dating back to the 18th century Baroque), but the space provided for the Damascus Room proved too small – the surface area of the room is 4 x 5.5 m and 5.4 m high. This mismatch turned out to be a fortunate event, because the room would have been completely destroyed during the bombing of Dresden in 1945.
Once again forgotten, it was rediscovered in 1997, but by then no one knew how to assemble it together. How do the one-hundred-and-thirteen pieces fit together? Two students from Dresden, Ulrike Siegel and Antje Werner, took up the challenge of putting the puzzle back together, measuring every single piece, meticulously documenting each item and following the number coding written onto the backsides.
But then it needed to be restored. 200 years hadn’t passed in vain, and many of the wooden pieces had been eaten by worms, damaged by dampness, large flakes of paint fell off and the entire thing was covered in dust and mold. A restoration began that wouldn’t be completed until the end of 2019. The following year, in the autumn of 2020, amidst the raging pandemic, as if continuing the trail of oblique historical journeys, it met a peculiar contemporary artistic intervention coming from the place where it all had begun, modern Syria and Turkey.
An installation consisting of colorful glass swallows with their heads tilted downwards, placed on the floor of the lavish room, would tell a story where the different pasts and presents of these interiors would meet: Improbable journeys and the (im)possibility of travel, exile, migration, uncertainty, memory and the feeling of having fallen out of the world, whilst living in the presence of all its traces.
2. Birds Without Wings
Three years earlier, in 2017, Turkish glass artist Felekşan Onar arrived in Berlin from Istanbul with the intention to work at a glass studio, and blow into plaster moulds closed winged birds for her project “Perched”, without knowing at the time its final destination. The wingless swallows with their heads tilted downwards, resembled for Onar, the millions of Syrian refugees stranded in Istanbul, not knowing where to go, or what is going to happen next. In Onar’s words, “Simply perched on sidewalks, like birds without wings”.
This reflection however, was interlocked with an earlier metaphor: She began thinking about the birds after a reading of Louis de Bernières’ novel “Birds Without Wings” (published in 2004); set in the era of population exchanges between Greece and Turkey, in the period following World War First; the novel chronicles an era of intolerance and forced migration, still consequential to this day for both countries.
The plot of de Bernières’ novel revolves around the tragic love story between Philothei, a beautiful Greek woman, and Ibrahim, her Muslim suitor, who loses his mind halfway through the novel after returning from the trenches of war, vividly recounted. The novel is set in the fictional village of Eskibahçe, based upon Kayaköy, a Greek village in the Turkish province of Fethiye, deserted after 1923, when a series of agreements that would define the present-day borders between Greece and Turkey meant the forced migration of all Christian Greeks from Anatolia to the Greek mainland, and Muslims in Greece to Anatolia.
These peoples left behind their homelands, becoming refugees in newly established countries, shattering an ancient multicultural geography. Kayaköy is today a derelict ghost town after many failed attempts of the Turkish government to lure Muslims from Greece to occupy the abandoned houses.
This story was familiar to Onar: Born in the Aegean region of Turkey, in the town of Söke–some hundred kilometers from Izmir, the ancient Greek Anaia, renamed Soka in the Byzantine era–it was impossible for her not to be immersed in the cultural world of the population exchanges: A housekeeper from her childhood, Nazmiye Hanım, had come from Crete to Söke as a result of this population exchange, and often told mesmerizing tales about her homeland in the heavily accented Turkish of a native Greek speaker. Therefore, years later Onar identified Nazmiye Hanım with many of the characters in de Bernières’ narrative.
At the height of the Syrian crisis, Onar saw in these birds without wings, part of “Perched” (there are ninety-nine birds in total), a slow meditation not only on the present circumstances but on the permanent waves of migration and spatial redistribution of peoples that form of the core of Mediterranean history since antiquity.
In the words of Nadania Idriss, the founder of Berlin Glassworks (herself of Syrian background) where Onar completed blowing the swallows, “The pigments and surface texture of each unique sculpture recall the multitude of hues that hold in Syrian daily life; and yet these swallows sit patiently, heads tilted downward as they try to understand the situation that has befallen them.”
It was Idriss who facilitated a conversation with the Museum of Islamic Art at the Pergamon Museum, and as a result the first stop in the journey of the wingless birds was the famous Aleppo Room at Pergamon in 2018. In fact, this might be the most spectacular of all Syrian interiors in the world, dated as far back as the early 17th century, and acquired in 1912 by German orientalist and archaeologist Friedrich Sarre in Aleppo. A conservator at the museum, Anke Scharrachs, then encouraged Onar to connect with other museums in possession of Damascene interiors (Scharrachs was involved in the restoration of the Dresden panels).
And that’s how “Perched” traveled then to the Damascus Room in Dresden, and the year prior, to the Islamic Galleries at the Victoria & Albert Museum in London. A double metaphor grew out of the Aleppo Room at Pergamon with its spectacular colorful panels, laden with rich ornamental fauna, according to Stefan Weber, director of the Islamic Museum: “The lively, colorful peacocks, ducks and pigeons on the wall panels stand in almost oppressive contrast to the small, fragile birds with clipped wings seated on the ground. Not only does the installation resonate with the sad fate of a once flourishing metropolis – now destroyed by the civil war – but it also picks on the reality of Syrian refugees in modern Turkey.”
From ambers, to amethysts and greys and blues, greens and pinks, the iridescent colored glass swallows hint at the archetypal role of birds in the ancient Mediterranean as both messengers and mediators, rather than silent spectators in the drama of mankind.
3. The Debt to the Birds
When “Perched” opened at the Dresden Museum of Ethnology (part of the Staatliche Kunstsammlungen Dresden, one of the largest and oldest art and artifacts collections in the world), it was already September 2020, at the height of the pandemic, and it was no longer possible for anyone in Turkey, and not only refugees, to fly anywhere in Europe, so that the metaphor came home to roost: The artist Felekşan Onar was unable to travel for the exhibition.
At the time a monograph about the entire journey of “Perched” was in preparation, which saw the light in December, and was supposed to be launched at the museum, but with the closure of cultural institutions in Germany due to the pandemic this wasn’t possible either. For this monograph, de Bernières contributed a short story, “The Debt to the Birds” (Onar and de Bernières met for a public conversation at the Victoria & Albert), that sets the story and trajectory of Onar’s birds, on a different, much more complex itinerary.
“The Debt to the Birds” is a deceptively simple tale about a boy that was given a gun by his father on a promise: “You must promise me never to shoot a bird that you do not intend to eat, nor ever shoot a man unless you’re at war. Do you promise?” The young boy, like his father before him, was tempted by his father’s words and shot a sparrow, watching it die in the grass. Three years later, he found a young jackdaw with a broken wing, and brought it home to cure it, in order to repay his debt to the birds. The bird healed quickly and became his loyal companion, perched on his shoulder, and then he was instructed by his father to teach it how to fly, at the risk that it might fly away. When it flew off with a posse of jackdaws, never to return, both father and boy thought that they had finally repaid their debt to the birds. The boy became a father and passed on the gun to his son, but yet he did not tempt him by telling him not to shoot the birds.
Distant from the historical world of de Bernières’ “Birds Without Wings”, there happen to be a number of uncanny parallels between “The Debt to the Birds” and Aristophanes’ play “The Birds”, performed in 414 BC at the Dionysia festival in Athens.
These parallels ground the spatiotemporal framework of Onar’s “Perched” in a larger, aporetic logic, allowing the viewer (as if the audience of a live, theatrical performance) to move in between different temporalities, depending not only on the context. The Oriental interiors function here also as a springboard that releases the audience away from the historical context onto a nondescript area, free of allegory and actually also free of debt (I will return to this at the end). They are both are interrogative texts, set specifically against interpretation, by taking place outside any context whatsoever. One couldn’t name a specific timeframe in which the events unfold.
This is in fact an anomaly in Aristophanes’ surviving plays, and by all means an innovation, although it is written in the conventional style of old comedy. “The Birds” contains no direct reference to the Peloponnesian War, and hardly any references to Athenian politics (although much has been theorized about political allegory in the play), and in the manner of Aesop’s Greek tales, it is set in remote, but undefined times.
In “The Debt to the Birds”, there are two oblique references to war, ‘never shoot another man unless at war’ in the promise, and the father having been a soldier himself. But we know nothing about when or where the events take place. There seems to be a search for redemption in both texts which ultimately fails, by means of different strategies: In Aristophanes, the conclusion of the play is the instauration of a human-led tyranny after the defeat of the gods, and in de Bernières a potential cycle of return to debt with the birds.
In the larger scheme of Aristophanes’ play we know that it is a narrative about the foundation of a political community, but in such terms, so fantastic (two elderly Athenians convince the birds to create a walled city in the air, to prevent the aromas of sacrificial offerings from reaching the Olympian gods), that the cloud-cuckoo-land becomes less than a metaphor, offering something alien to the pattern of problem-and-solution of the comic universe, namely, a suspension.
For de Bernières, on the other hand, the smoothed out but always latent cycle of repetition between violence, debt and settlement, indicates a species of non-linear time, more akin to myth than to history. This time out of joint that cannot be put back together, resembles simultaneously the chaotic temporality of the ancients, marked only by events and decay, and the timelessness of Onar’s swallows, head tilted down, waiting and waiting, still at the Damascus Room.
4. Unfamiliar Futures
The resemblances between the ancient comedy and the contemporary tale do not end with the site of temporality. There’s a crucial passage in de Bernières: “The essence of man is to be a prisoner, but the essence of a bird is to be free. A bird shows no passport at the borders. It pays no taxes. A bird has no pockets and when it dies it has no shroud.”
Not only is this passage immediately connected to a key fragment in his novel “Birds Without Wings” (“Man is a bird without wings, and a bird is a man without sorrows”) but also to Aristophanes’ play, when the starring humans, Euelpides and Pisthetaerus, ask the Hoopoe, formerly King Tereus who metamorphosed into a bird, what is it like to live with the birds? The idea of a utopian, moneyless, political community, resonates strongly in both authors, and the impossibility to realize this fantasy reveals in its aporias a tension that remains without offering resolution.
Aristophanes, Birds, 154-161
I would not be Opuntian for a talent. But come, what is it like to live with the birds? You should know pretty well.
Why, it’s not a disagreeable life. In the first place, one has no purse.
That does away with a lot of roguery.
For food the gardens yield us white sesame, myrtle-berries, poppies and mint.
Why, ‘tis the life of the newly-wed indeed.
Yet, the most interesting parallel between them, concerns the antiquity of birds, thus, once again, the question of the origins and new beginnings (and therefore of foundations) returns. In “The Debt to the Birds”, the father explains to the boy, “Did you know that dinosaurs are not extinct after all? We were all completely wrong. They’re beginning to think that the little dinosaurs survived, so now we have lizards and amphibians, and birds […] We look out of our windows and see the trees full of little dinosaurs!”
The story continues later, with a moving passage on the boy: “That evening the boy sat his jackdaw on its perch and looked into its face. He recognized the extreme antiquity of its being, and said to it ‘Your soul is millions of years more ancient than mine. My soul is young compared to yours.’ The bird looked back into his eyes and shook its wings a little, just as fledging does when hoping to be fed.” And furthermore: “That evening the boy repeated to the bird on its perch in his bedroom ‘Your soul is more ancient than mine.'”
In these apparently innocuous passages, de Bernières is enlarging the historical space of Onar’s birds, breaking down the repetitive cycle of timelessness: Trapped inside an infinitely expanding present, these refugees moving across the world, but particularly visible in both Turkey and Germany, cannot articulate stories that narrate either past or future; they’re rooted in the presentism of despair that quickly devours the future as a temporal index, while at the same time not being entirely free from the immediate past. All recollection is fragmented. These birds, caged by traumatic events, acquiesce to a type of memory-work, structured by repetition and transitoriness, rather than a series of checkpoints in reality to orient yourself in the world.
The introduction of a primeval consciousness of time, a time before time, of unquantifiable properties, preceding the uniformity of historical experience, opens up a dialogue between de Bernières and Aristophanes, on a crucial passage from “The Birds”. In the one-sided agon of the play (there’s no antagonist, and the formal argument is constructed around convincing an already eager audience) a political cosmogony is laid out, by means of which the realization of a utopian city in the sky acquires legitimacy. The birds are now endowed with a new, previously unknown, master narrative. Enlarging the past works here in two directions: At first it provides a lasting consciousness of duration by probing the depth of origin, and then, it brings out an invented, alternative future, on which the past itself can be re-inscribed back, without the horizon of continuity losing its template.
Aristophanes, Birds 465-485
By Zeus, no! But I am hunting for fine, tasty words to break down the hardness of their hearts. To the Chorus. I grieve so much for you, who at one time were kings…
Leader of the Chorus
We kings? Over whom?
…of all that exists, firstly of me and of this man, even of Zeus himself. Your race is older than Saturn, the Titans and the Earth.
Leader of the Chorus
What, older than the Earth!
By Phoebus, yes.
Leader of the Chorus
By Zeus,but I never knew that before!
That’s because you are ignorant and heedless, and have never read your Aesop. He is the one who tell us that the lark was born before all other creatures, indeed before the Earth; his father died of sickness, but the Earth did not exist then; he remained unburied for five days, when the bird in its dilemma decided, for want of a better place, to entomb his father in its own head.
So that the lark’s father is buried at Cephalae.
Hence, if they existed before the Earth, before the gods, the kingship belongs to them by right of priority.
Undoubtedly, but sharpen your beak well; Zeus won’t in a hurry to hand over his scepter to the woodpecker.
It was not the gods, but the birds, who were formerly the masters and kings over men; of this I have a thousand proofs. First of all, I will point you to the cock, who governed the Persians, before all other monarchs, before Darius and Megabazus. It’s in memory of his reign that he is called the Persian bird.
Aristophanes, of course, was aware of a double-bind that we have carried over into the modernist imaginary: Cosmogonies are also structures of power and the pendulum can swing in any direction. Narratives can be manipulated as well, as the conclusion of “The Birds” exemplifies, under the new tyranny of Pisthetaerus. But as a mythology of origins, this cosmogony throws the body politic (of the birds) back to a future that is assumed to exist, as if the past had shed light on it (and yet fails).
When Euelpides and Pisthetaerus turned to the birds for help, and yet with a masterplan to create a new city in the sky, what they longed for was more than a political community itself; it was about an impossible political community where utopia and law could coexist. De Bernières subtly touches on this sentiment from the father’s viewpoint: “For us the birds represent all the freedom that we can never have. They give us something to aspire that we cannot reach. And sometimes when you aspire to what you cannot reach, one day after all, you will reach it.”
The long duration translates in de Bernières’ story into a multi-temporality, projected back on the journey of “Perched”: The journey of migrants towards Turkey and Europe contains many other journeys from the past, articulated here through the accumulation of cultural meanings embedded in the glass birds across time, and of which the current predicament is only one among the possible worlds. What emerges here is the possibility of an unfamiliar, yet un-created future, not necessarily the direct consequence of the past.
New foundations and master narratives can be anchored anywhere in the temporal index: It is not only the history of Syrian refugees perched on the streets of Istanbul juxtaposed to the population exchanges between Greece and Turkey, but also the arrival of Byzas of Megara in the 6th century BC to found the city that three political orders later would become Istanbul, and the permanent condition of migration that shaped the Mediterranean cultural space since times before time (no less than the modern world) or the long journey of glass since the 4th millennium BC, appearing simultaneously in Syria, Eastern Mesopotamia and Ancient Egypt, long before it adorned the Ottoman palaces of Istanbul, challenging constantly our ideas about archaeological contexts and mobility networks.
5. Whose Cultural Property?
Yet it is significant that the journey of “Perched” has begun in European encyclopedic museums, and has been decidedly defined by their interiors and galleries. The encyclopedic museum, we recognize today, is deeply rooted in the experience of colonialism and the concept of universal history. This all-encompassing history, with Western mankind at the center, is a politically heliocentric universe, largely flawed, but at the same time, manufacturer of the colonial world-system, which has inflicted infinite violence on large swaths of the Earth.
As large collections of artifacts from all over the world, the Western museums perform what archaeologists Dan Hicks and Sarah Mallet, have called in their work, the weaponization of time: The dispossession of both cultural property (in museums) and peoples (at the borders of nation states) is not simply circumstantial or situational, but ontological. Controlling time, by placing objects outside of everyday historical experience, often destroying complex systems and contexts along the way, suspends the temporality of objects under the unfulfillable promise of permanence. But isn’t the most fundamental reflection underlying “Perched”, the struggle of memory against the destruction of richly layered, pluriversal, complex contexts? An answer is difficult to arrive at.
And thinking about birds, is for us, always thinking also about the museum. Most of our knowledge about birds comes from the collections of encyclopedic natural museums, often mediated by the utilitarian beliefs of 19th century social science. Commenting on the 33,000 years old Water Bird in Flight from the Hohle Fels Cave in south-west Germany, carved in stone during the Upper Paleolithic, John Berger made an important remark for our context: “The supposition that animals entered the human imagination as meat or leather or horn is to project a 19th century attitude backwards across the millennia. Animals first entered the imagination as messengers and promises.” Is there an intrinsic relationship between promises and debts?
If we have a debt with the birds, what does this debt consist of? And if de Bernières is correct, and birds do in fact represent freedom, shouldn’t we be free also from debt? Hannah Arendt was one of the first modern thinkers to treat the faculty of making promises with philosophical seriousness, arguing that they help stabilize the world by making it predictable to the extent that it is humanly possible and that the reality of the space of appearances, where concerted power could arise, is guaranteed only by mutual promise or contract.
But it was David Graeber in his monumental anthropology of debt, who made the connection between debts and promises: “A debt is the perversion of a promise.” All human economies have been heretofore based on a system of debt and credit that boils down to trust between peoples, and not to barter as economic historians have chosen to believe. All revolutionary movements in the ancient world were defined by a single program: The cancellation of all debt.
If the crucial question here is the settlement of a debt, could we try perhaps to free ourselves (this was a fundamental argument in Graeber’s work: we can only be free with each other, not from each other) and cancel our debt through a promise? The promise of time, of giving time, of giving time back, another idea I’m borrowing from Hicks and Mallet. What would it mean to give time back in the context of the birds in the Damascus Room?
All of the Oriental interiors in Germany were legally acquired as per extant documentation, and there’s no restitution claim for them as in the case of say the Benin Bronzes or the Parthenon Marbles (Nigerian artist Emeka Ogboh, recently staged an intervention in Dresden through ‘missing’ posters in the city over one of the Benin Bronzes at the museum) but the question remains whether the grand tour of collecting antiquities in the Near East during the era of the great archaeological discoveries wasn’t embedded in terrible imbalances of power that remain to this day and account for many violent conflicts in the region.
Archaeology has been the main factory of universal history, and as decolonization struggles all over the world inform us, there’s in fact no such a thing as universal heritage, because heritage isn’t a concrete set of parameters for the preservation of a common past, but instead, a notion and symptom of time crises, in order to (re)produce pasts as touristic sites, with the present tense as the boundary event of our world.
Yet there’s something perplexing happening in the journey of Felekşan Onar’s swallows through these stately rooms in Berlin, London and Dresden: The birds, both as metaphor and artifact, imbued with so many blueprints of time, recent and distant, have begun accumulating contexts rather than merely reflecting them. With an eventual journey back from Germany to Istanbul in the horizon (a number of birds have been accessioned to the collection of the V&A Glass Gallery, and the permanent home of “Perched” will be in due course of time at the Dresden collection), they are now also pregnant with unfamiliar, open-ended, contingent futures.
Giving back time to cultural artifacts and peoples means essentially to re-insert them into temporality not only in absolute terms but through the relative durability of institutions and political agency. One can’t help but wonder after a reading of “Perched” through de Bernières and Aristophanes, whether it wouldn’t be possible to create new future-oriented cosmogonies for these artifacts and stories, beyond and outside closed museological systems.
A striking passage in Aristophanes, during the first formal argument between the two elderly Athenians and the hoopoe, brings to mind a poetic spatial metaphor: When Pisthetaerus asks the hoopoe to look up and down and what he has seen, the sky (οὐρανός) the bird says to have seen and the pole (πόλος) of the birds that Pisthetaerus refers to, do not carry identical meaning. The sky is a region of the atmosphere and outer space, a kind of unbounded expanse, whereas a pole, is a vaulted dome, the firmament, that in ancient cosmologies divided the primal sea from the dry land.
This firmament as David Konstan argues, is a bounded space, ‘not everywhere’, which necessarily grounds the utopian city in the sky within the framework of the polis, a community. Pisthetaerus goes on to add that this pole is a place (τόπος), expression which Seferis identifies with a country or fatherland in Mythistorima X. There’s a circumscribed place to stand on, even in the sky.
Aristophanes, Birds, 178-196
What have you seen?
The clouds and the sky.
Very well! is not this the pole of the birds then?
How their pole?
Or, if you like it, their place. And since it turns and passes through the whole universe, it is called ‘pole.’ If you build and fortify it, you will turn your pole into a city. In this way you will reign over mankind as you do over the grasshoppers and you will cause the gods to die of rabid hunger.
The air is between earth and heaven. When we want to go to Delphi, we ask the Boeotians for leave of passage; in the same way, when men sacrifice to the gods, unless the latter pay you tribute, you exercise the right of every nation towards strangers and don’t allow the smoke of the sacrifices to pass through your city and territory.Very well! is not this the pole of the birds then?
By earth! by snares! by network! by cages! I never heard of anything more cleverly conceived; and, if the other birds approve, I am going to build the city along with you.
The gift of time that cancels debt, at the heart of “Perched”, is a with-world, beyond the space of appearances and the realm of objects, which according to Sophie Loidolt, in her study of Arendt’s political intersubjectivity, “emerges through our intersubjective relations and which holds all these dimensions of meaning together in one world where we can exist as humans.” The gift is a promise, the promise of multiple meanings embedded in concrete, actual experienced time, looking backwards and forwards, without the grip of the instant. Where’s eternity then?
“Perched” by Felekşan Onar is on view at the Dresden Museum of Ethnology, September 5, 2020 through February 21, 2021 (the museum is currently closed due to pandemic regulations), the monograph “Perched: Felekşan Onar”, published by Paul Holberton Publishing, with contributions by Felekşan Onar, Nadania Idriss, Stefanie Bach, Louis de Bernières, Stefan Weber, Mariam Rosser-Owen and Glenn Adamson, is currently available, in English and German.
Detail from Felekşan Onar’s “Perched”, V&A Museum, Islamic Galleries, 2019. Photo Credit: Daniel Oduntan.
Arie Amaya-Akkermans is a writer and art critic based in Istanbul. He’s also tweeting about Classics, continental philosophy, contemporary art and Turkey/Greece.
Hannah Arendt, The Human Condition, University of Chicago Press, 1958
Gregory Dobrov, “Aristophanes’ Birds and the Metaphor of Deferral”, in Arethusa, Vol. 3 No. 2 (Fall 1990)
David Graeber, Debt: The First 5000 Years, Melville House, 2012
Francois Hartog, Regimes of Historicity: Presentism and Experiences of Time”, Columbia University Press, 2016
Dan Hicks & Sarah Mallet, Lande: The Calais ‘Jungle’ and Beyond, Bristol University Press, 2019, open access
David Konstan, “A City in the Air: Aristophanes’ Birds”, in Arethusa, Vol. 3, No. 2 (Fall 1990)
Sophie Loidolt, Phenomenology of Plurality: Hannah Arendt on Political Intersubjectivity, Routledge Research in Phenomenology, 2019
Annegret Nippa & Anke Scharrahs, The Damascus Room in Dresden – A Treasure of Ottoman Interior Design in Germany, 2003, online
Anke Scharrahs, “Insight into a Sophisticated Painting Technique: Three Polychrome Wooden Interiors from Ottoman Syria in German Collections and Field Research in Damascus”, in Studies in Conservation, Volume 55, 2010