Mary Renault, The King Must Die
Aug. 13th, 2013 11:51 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
hawkwing_lbAs promised. (Although I've had to change up the order of things.)
Mary Renault's The King Must Die is the first novel by Mary Renault I've ever read. A re-imagining of the youth of Theseus, it's a work of stunning power and mythic scope. Renault's imagining of gods and of sacrifice is vital, present, humane, and full of the power of divine immanence. And I wouldn't be surprised to find that Renault has influenced many other writers in her time: I was put very much in mind of the tone and some of the thematic resonances - at least with reaction to divinity at work in mortal lives - of Jacqueline Carey's first Kushiel trilogy as I read. Renault's language and sense of rhythm is beautiful; her craft is masterful.
Her historical chronology and her ability to write female characters is not so great.
For all that The King Must Die is billed as a historical novel, it is necessary to read it as a fantasy. For once you pause to consider the impossibility of the Cretan elements existing contemporary to the mainland elements, the entire thing falls apart. The mainland - Troezen, the Corinthia, the Isthmus, Attica - has what seems to be the material culture of early Geometric/"Dark Age"/Homeric Greece, but with extra added literacy.
(While Linear B writes the Greek language, it falls out of use with the crisis and destructions at the end of the Bronze Age, and there is a gap of some three hundred years and more before Greek is written again, this time in alphabetic script. "Dark Age" Greece was illiterate. The first examples of writing in the Greek alphabet are from the cup known as the Cup of Nestor from Pithekoussai, Ischia, Italy, and the Dipylon inscription, from the area of the Kerameikos in Athens. Both of these examples date from no earlier than 750 BCE, which makes them Late Geometric in period. At this time, Euboea and Corinth were the economic powerhouses of Greece, with Athens beginning to rise in pre-eminence, and there is evidence for extensive trade with Italy, Phoenicia, and Asia Minor. Although not, contra Renault, with "Hyperborea." Renault appears to labour under the apprehension that the stone henges were raised contemporary with the Greek "Dark Age." Rather than being at least 1000 years older...)
I base the assumption of "roughly Geometric" as the intended time period in part from the depicted culture, both material culture and the depiction of the warbands, and in part from Renault's depiction of Theseus as beginning the synoikismos of Athens and Attica. While Athens is one of the few sites to have evidence for continued settlement across the divide of the collapse/crisis/depopulation/migrations at the end of the Bronze Age into the Geometric period, it did not during the early and middle Geometric periods rival Euboea for economic activity, and it does not appear - to me, at least - that a movement for Attic synoikismos can really be said to take place much before the 8th century itself.
It might be possible to see the culture of the Greek mainland as plausibly Submycenaean, were it not for the fact that, as we know from the Linear B translations, the Mycenaeans spoke Greek (the work of Chadwick, Kober, and Ventris had already proven this by 1956) and Renault's characters speak of a "Hellene" invasion as having occurred within far fewer generations than it would seem necessary to fit these into an archaeologically-possible chronology. Unless the "Hellene" invasion can be seen as coterminous with the Dorian migrations, but while Classical sources talk about the "Dorian" invasion, it's been impossible to pin down satisfactorily. However, this wouldn't square well with the narrative reality implied by Renault's non-Hellene "indigenous" people, the "Shore People," which she casts as matriarchal and practically autochthonous, and which she connects strongly to the rituals of the Eleusinian mysteries and to the worship of Demeter...
It's confusing.
All that aside, the society of the mainland may work as plausibly Homeric, with some handwaving. But it doesn't work at all as something that could have existed contemporary with "palace"* society on Crete, even in the Late Minoan IIIA-IIIC period, when we have evidence for Mycenaean presence at Knossos and the use of the palace site as a centre for Mycenaean-style administration in the form of Linear B tablets. Bull-leaping (the "Bull Dance," as Renault terms it) is a significant part of The King Must Die's Cretan narrative, but known bull-leaping depictions don't date from later than LM IIIB. Ca. 1200-1100 BCE, all the remaining major centres of Crete suffered destruction events, the population went into decline, and during the Subminoan period, sites are in the main characterised by their small size and defensibility.
After the Bronze Age destructions, Knossos once again grew into a significant centre in the Cretan Iron Age, but by then most of the cities of Crete laid claim to Dorian Greekness. And the Knossos palace complex was long since destroyed. So chronologically that doesn't work too well either, unless Theseus is a time-traveller.
Historicity aside, I'm not really hot on the fact that most of the named women are either manipulative and out for power or passive and happy to be led by a man... but that seems to be Renault's modus operandi. And in characterising "civilised" men as effete and "mincing"... Yeah.
In conclusion: a brilliantly-written Aegean ahistorical fantasy, with a bunch of problematic shit. On the whole, I'm rather glad I read it.
*Several archaeologists prefer the term "court-centred complex" to palace, since it makes fewer assumptions about the function and nature of the structures. But "palace" is the more widespread term.
Further reading on bull-leaping (.pdf):
McInerney
Younger
Mary Renault's The King Must Die is the first novel by Mary Renault I've ever read. A re-imagining of the youth of Theseus, it's a work of stunning power and mythic scope. Renault's imagining of gods and of sacrifice is vital, present, humane, and full of the power of divine immanence. And I wouldn't be surprised to find that Renault has influenced many other writers in her time: I was put very much in mind of the tone and some of the thematic resonances - at least with reaction to divinity at work in mortal lives - of Jacqueline Carey's first Kushiel trilogy as I read. Renault's language and sense of rhythm is beautiful; her craft is masterful.
Her historical chronology and her ability to write female characters is not so great.
For all that The King Must Die is billed as a historical novel, it is necessary to read it as a fantasy. For once you pause to consider the impossibility of the Cretan elements existing contemporary to the mainland elements, the entire thing falls apart. The mainland - Troezen, the Corinthia, the Isthmus, Attica - has what seems to be the material culture of early Geometric/"Dark Age"/Homeric Greece, but with extra added literacy.
(While Linear B writes the Greek language, it falls out of use with the crisis and destructions at the end of the Bronze Age, and there is a gap of some three hundred years and more before Greek is written again, this time in alphabetic script. "Dark Age" Greece was illiterate. The first examples of writing in the Greek alphabet are from the cup known as the Cup of Nestor from Pithekoussai, Ischia, Italy, and the Dipylon inscription, from the area of the Kerameikos in Athens. Both of these examples date from no earlier than 750 BCE, which makes them Late Geometric in period. At this time, Euboea and Corinth were the economic powerhouses of Greece, with Athens beginning to rise in pre-eminence, and there is evidence for extensive trade with Italy, Phoenicia, and Asia Minor. Although not, contra Renault, with "Hyperborea." Renault appears to labour under the apprehension that the stone henges were raised contemporary with the Greek "Dark Age." Rather than being at least 1000 years older...)
I base the assumption of "roughly Geometric" as the intended time period in part from the depicted culture, both material culture and the depiction of the warbands, and in part from Renault's depiction of Theseus as beginning the synoikismos of Athens and Attica. While Athens is one of the few sites to have evidence for continued settlement across the divide of the collapse/crisis/depopulation/migrations at the end of the Bronze Age into the Geometric period, it did not during the early and middle Geometric periods rival Euboea for economic activity, and it does not appear - to me, at least - that a movement for Attic synoikismos can really be said to take place much before the 8th century itself.
It might be possible to see the culture of the Greek mainland as plausibly Submycenaean, were it not for the fact that, as we know from the Linear B translations, the Mycenaeans spoke Greek (the work of Chadwick, Kober, and Ventris had already proven this by 1956) and Renault's characters speak of a "Hellene" invasion as having occurred within far fewer generations than it would seem necessary to fit these into an archaeologically-possible chronology. Unless the "Hellene" invasion can be seen as coterminous with the Dorian migrations, but while Classical sources talk about the "Dorian" invasion, it's been impossible to pin down satisfactorily. However, this wouldn't square well with the narrative reality implied by Renault's non-Hellene "indigenous" people, the "Shore People," which she casts as matriarchal and practically autochthonous, and which she connects strongly to the rituals of the Eleusinian mysteries and to the worship of Demeter...
It's confusing.
All that aside, the society of the mainland may work as plausibly Homeric, with some handwaving. But it doesn't work at all as something that could have existed contemporary with "palace"* society on Crete, even in the Late Minoan IIIA-IIIC period, when we have evidence for Mycenaean presence at Knossos and the use of the palace site as a centre for Mycenaean-style administration in the form of Linear B tablets. Bull-leaping (the "Bull Dance," as Renault terms it) is a significant part of The King Must Die's Cretan narrative, but known bull-leaping depictions don't date from later than LM IIIB. Ca. 1200-1100 BCE, all the remaining major centres of Crete suffered destruction events, the population went into decline, and during the Subminoan period, sites are in the main characterised by their small size and defensibility.
After the Bronze Age destructions, Knossos once again grew into a significant centre in the Cretan Iron Age, but by then most of the cities of Crete laid claim to Dorian Greekness. And the Knossos palace complex was long since destroyed. So chronologically that doesn't work too well either, unless Theseus is a time-traveller.
Historicity aside, I'm not really hot on the fact that most of the named women are either manipulative and out for power or passive and happy to be led by a man... but that seems to be Renault's modus operandi. And in characterising "civilised" men as effete and "mincing"... Yeah.
In conclusion: a brilliantly-written Aegean ahistorical fantasy, with a bunch of problematic shit. On the whole, I'm rather glad I read it.
*Several archaeologists prefer the term "court-centred complex" to palace, since it makes fewer assumptions about the function and nature of the structures. But "palace" is the more widespread term.
Further reading on bull-leaping (.pdf):
McInerney
Younger
![[identity profile]](https://www.dreamwidth.org/img/silk/identity/openid.png){kind=small}
no subject
Date: 2013-08-13 11:52 pm (UTC)In other news, how much do you think Mary was deliberately mashing contradictory elements together to make her story as rich as she did, and how much could you justify what she does as consonant with then-scholarship, however much now-scholarship would repudiate it? It has been sixty years, and understanding in the field must have changed significantly in that time. Tho' I imagine even scholars then were throwing up their hands at that whole Gravesian I-know-the-song-the-Sirens-sang schtick, and she was avowedly caught up in that school of thought. (I suspect that I just loved her too much too young, and I kind of want to defend her regardless; but accusations of unscholarliness would have distressed her out of hand, for all that she had never been a scholar.)
no subject
Date: 2013-08-14 12:07 am (UTC)Mrff. Ask a hard question. It's an excellent fantasy. That we shall never argue over. But it is a fantasy, and it should never have been billed as historical, because even in 1958 enough was understood about chronology of the Bronze Age -> Iron Age transition, as I understand it, to make some of the connections Renault draws strongly implausible. It's a story she could have told within a Bronze Age setting, leaving aside Attic synoikismos, or left off non-Greek Cretans and told it in a Dark Age setting, but never the twain shall meet, see.
I mean, it's not that *either* the Cretan stuff or the mainland stuff is intrinsically implausible* (although I'm inclined to side-eye "matriarchy swept away by patriarchy" scenery), it's just putting them together leaves me scratching my head and saying, But... no... but... what?
ETA: *From a cultural/material culture POV. If that makes sense.