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At ten o'clock on March the 10th 1914, | 0:00:09 | 0:00:13 | |
a suffragette called Mary Richardson walked through the front door | 0:00:13 | 0:00:17 | |
of the National Gallery in London. | 0:00:17 | 0:00:19 | |
A meat cleaver was hidden in her clothing. | 0:00:22 | 0:00:25 | |
For 90 minutes she wandered the museum, | 0:00:30 | 0:00:33 | |
waiting for a lapse in security before making her way | 0:00:33 | 0:00:37 | |
to the gallery's latest acquisition. | 0:00:37 | 0:00:39 | |
The celebrated Rokeby Venus by Velazquez. | 0:00:40 | 0:00:44 | |
The galley had recently raised the princely sum of £45,000 | 0:00:47 | 0:00:51 | |
to save the painting for the nation. | 0:00:51 | 0:00:53 | |
And people had come from all across the country to see it. | 0:00:53 | 0:00:56 | |
But Mary Richardson took the weapon that she'd been hiding in her sleeve | 0:00:57 | 0:01:02 | |
and started to slash furiously at the canvas. | 0:01:02 | 0:01:06 | |
If you look carefully you can just about make out the marks | 0:01:08 | 0:01:12 | |
where it's been repaired. | 0:01:12 | 0:01:14 | |
"I have tried to destroy the picture of the most beautiful woman in | 0:01:18 | 0:01:22 | |
"mythological history," she said. | 0:01:22 | 0:01:24 | |
"I couldn't stand the way men stood and gawped at it all day long." | 0:01:24 | 0:01:29 | |
And you can understand why. | 0:01:31 | 0:01:33 | |
This painting's previous owner, a Yorkshire MP, | 0:01:33 | 0:01:36 | |
described it as his "fine picture of Venus' backside". | 0:01:36 | 0:01:41 | |
This is the deity who led Greek heroes to their deaths, | 0:01:41 | 0:01:45 | |
whom Roman generals honoured with sacrifice before battle, | 0:01:45 | 0:01:49 | |
who was the incarnation of the ecstasy and agony of lust and love, | 0:01:49 | 0:01:56 | |
reduced to a showgirl, bearing herself for a viewing public. | 0:01:56 | 0:02:01 | |
Venus, Aphrodite. | 0:02:03 | 0:02:05 | |
While other gods of the past fade into obscurity, | 0:02:05 | 0:02:09 | |
she's a goddess we think we all know. | 0:02:09 | 0:02:12 | |
We remember her now for her beauty, for Cupid's bow, | 0:02:12 | 0:02:16 | |
words like aphrodisiac and venereal. | 0:02:16 | 0:02:19 | |
But in this film I want to shatter that illusion, | 0:02:21 | 0:02:25 | |
travelling to her haunts both ancient and modern... | 0:02:25 | 0:02:29 | |
Every turn there's a Venus or an Aphrodite. | 0:02:29 | 0:02:32 | |
..to her deep origins as a shape-shifting spirit of creation | 0:02:32 | 0:02:37 | |
and destruction... | 0:02:37 | 0:02:38 | |
They needed her because in most times life was hard. | 0:02:38 | 0:02:43 | |
..the force ancient people saw behind all lusts and urges. | 0:02:43 | 0:02:47 | |
If you violently desire somebody physically, sexually, | 0:02:47 | 0:02:51 | |
that's likely to cause the bad kind of strife. | 0:02:51 | 0:02:55 | |
Her story has far more to offer us today than just the beautiful curve | 0:02:56 | 0:03:02 | |
of her bottom. | 0:03:02 | 0:03:04 | |
Now, I've got no intention whatsoever of being carted off | 0:03:04 | 0:03:08 | |
to prison for vandalising a priceless artwork, | 0:03:08 | 0:03:11 | |
but I do want to take a knife to the idea | 0:03:11 | 0:03:14 | |
of Venus as a bit of divine totty. | 0:03:14 | 0:03:17 | |
It's time to get back to the goddess as the ancients understood her, | 0:03:17 | 0:03:22 | |
an elemental creature whose domain was the complex power | 0:03:22 | 0:03:27 | |
of human desire. | 0:03:27 | 0:03:29 | |
Venus has been called many names through history. | 0:03:39 | 0:03:43 | |
The ancient Greeks knew her as Aphrodite. | 0:03:43 | 0:03:46 | |
It was they who first told the iconic story of her birth, | 0:03:48 | 0:03:52 | |
arising fully formed from the sea. | 0:03:52 | 0:03:55 | |
It happened, they thought, not in some mythical land, | 0:04:02 | 0:04:07 | |
but in a real place, the sea off the island of Cyprus. | 0:04:07 | 0:04:12 | |
These balmy surroundings are at odds | 0:04:15 | 0:04:17 | |
with what's actually a pretty lurid story. | 0:04:17 | 0:04:21 | |
Into the sea, the myth says, | 0:04:23 | 0:04:26 | |
the severed genitals of the sky god, | 0:04:26 | 0:04:29 | |
Uranus, were flung by his son, Chronos. | 0:04:29 | 0:04:32 | |
The god's genitalia landed with a surging splash, | 0:04:33 | 0:04:38 | |
and out of the foam rose an awful and lovely maiden, | 0:04:38 | 0:04:43 | |
the goddess Aphrodite. | 0:04:44 | 0:04:46 | |
What's striking is how violent this imagery is. | 0:04:52 | 0:04:55 | |
The ancient myths are often pretty vivid, but this one | 0:04:58 | 0:05:01 | |
really is extraordinary. | 0:05:01 | 0:05:03 | |
Aphrodite's gruesome origins give her one of her epithets. | 0:05:04 | 0:05:08 | |
She was Philomedes' lover of male genitals. | 0:05:08 | 0:05:13 | |
And, indeed, her name, the Greek word aphros, means foam. | 0:05:13 | 0:05:18 | |
So, Aphrodite was foam born. | 0:05:19 | 0:05:23 | |
When she stepped ashore they believed this elemental creature | 0:05:27 | 0:05:31 | |
brought fertility to the barren earth. | 0:05:31 | 0:05:33 | |
For centuries, those who worshipped her would commemorate | 0:05:37 | 0:05:41 | |
this vivid seaside scene. | 0:05:41 | 0:05:43 | |
Her intimate connection to the sea meant that she was often honoured | 0:05:49 | 0:05:52 | |
with sea shells, scallop shells in particular. | 0:05:52 | 0:05:56 | |
We find them in her temples, | 0:05:56 | 0:05:58 | |
and in graves right across the eastern Mediterranean. | 0:05:58 | 0:06:01 | |
And they're often pierced, | 0:06:01 | 0:06:02 | |
so we think that worshippers would have worn them around their necks, | 0:06:02 | 0:06:06 | |
a representation of female sexuality. | 0:06:06 | 0:06:09 | |
The ancients really believed this Cypriot birth story. | 0:06:14 | 0:06:18 | |
They often called Aphrodite Kypris, the lady of Cyprus. | 0:06:18 | 0:06:22 | |
But what evidence is there that this is where her cult began? | 0:06:23 | 0:06:27 | |
In the Cyprus Museum in Nicosia are stored thousands | 0:06:31 | 0:06:35 | |
of finds unearthed from the island's prehistory. | 0:06:35 | 0:06:38 | |
There are strong hints that sexual potency was in fact venerated here, | 0:06:41 | 0:06:47 | |
long before even the Greeks reached the island, | 0:06:47 | 0:06:50 | |
as far back as 4000 BC. | 0:06:50 | 0:06:54 | |
Right across the south of the island archaeologists and local farmers | 0:06:56 | 0:07:01 | |
kept on turning up these strange figurines, | 0:07:01 | 0:07:04 | |
so far, over 200 of them. | 0:07:04 | 0:07:07 | |
What you can't fail to notice is how sexual they are. | 0:07:07 | 0:07:12 | |
There's focus on the vulva and the neck, and the head is distinctly | 0:07:12 | 0:07:15 | |
phallic. We don't know exactly what these were used for. | 0:07:15 | 0:07:20 | |
Some have suggested they were educational tools. | 0:07:20 | 0:07:23 | |
But I think they were probably a kind of incarnation of the spirit of | 0:07:23 | 0:07:27 | |
fertility that those prehistoric populations | 0:07:27 | 0:07:30 | |
were desperate to keep on side. | 0:07:30 | 0:07:33 | |
Spiritual beliefs must in some sense be the explanation | 0:07:35 | 0:07:39 | |
for these figures, | 0:07:39 | 0:07:40 | |
clearly something to do with the mysteries of sex and procreation. | 0:07:40 | 0:07:44 | |
But one figure above all has attracted particular attention. | 0:07:46 | 0:07:49 | |
Found lying on its back surrounded by other smaller sculptures, | 0:07:51 | 0:07:56 | |
some scholars speculate that this could be the deity him, or herself. | 0:07:56 | 0:08:02 | |
She's 5,000 years old, made of limestone | 0:08:04 | 0:08:07 | |
and is affectionately known as the Lady of Lemba. | 0:08:07 | 0:08:12 | |
And she might just be an early glimpse of the spirit | 0:08:12 | 0:08:16 | |
that eventually becomes the great goddess Aphrodite. | 0:08:16 | 0:08:20 | |
It's a tempting thought that this sexually charged Stone Age figure | 0:08:23 | 0:08:27 | |
was where the whole story of Venus Aphrodite began. | 0:08:27 | 0:08:31 | |
But the goddess was a more mixed-up creature than that. | 0:08:32 | 0:08:35 | |
Her origins lie not only in Cyprus, | 0:08:38 | 0:08:41 | |
but in other places far further afield. | 0:08:41 | 0:08:43 | |
Cyprus sits less than 100 miles from, arguably, | 0:08:47 | 0:08:50 | |
the most creative cultural nexus of prehistory, | 0:08:50 | 0:08:54 | |
the Fertile Crescent... | 0:08:54 | 0:08:56 | |
..the area that stretches from modern-day Iraq | 0:08:57 | 0:08:59 | |
to the eastern shores of the Mediterranean, | 0:08:59 | 0:09:02 | |
a source of much of what would later constitute Greek and Roman culture. | 0:09:02 | 0:09:07 | |
It's for that reason I keep coming back to countries like Jordan. | 0:09:12 | 0:09:15 | |
This region has a special allure for an historian, | 0:09:17 | 0:09:21 | |
the birthplace of so many of the ideas that have shaped civilisation, | 0:09:21 | 0:09:25 | |
agriculture, the city and of course all kinds of religion. | 0:09:25 | 0:09:30 | |
It's a story that goes back further than you'd think. | 0:09:35 | 0:09:38 | |
We're used to the idea that the Middle East gave birth | 0:09:43 | 0:09:45 | |
to the Abrahamic religions - Judaism, Christianity and Islam. | 0:09:45 | 0:09:51 | |
But they're relative newcomers. | 0:09:51 | 0:09:54 | |
Right back at the very birth of civilisation, | 0:09:54 | 0:09:57 | |
around 5,000 years ago, these lands also generated this feisty creature. | 0:09:57 | 0:10:03 | |
She is known as Ishtar, Astarte or Inanna. | 0:10:05 | 0:10:09 | |
Ishtar was the goddess of sexual love, | 0:10:10 | 0:10:13 | |
worshipped in various names and guises | 0:10:13 | 0:10:15 | |
across the ancient Near and Middle East. | 0:10:15 | 0:10:18 | |
Unlike the Stone Age figurines of Cyprus, | 0:10:19 | 0:10:22 | |
her story was written down by the scribes of Sumeria, | 0:10:22 | 0:10:26 | |
Babylon and Akkadia. | 0:10:26 | 0:10:27 | |
It's a story that seems to prefigure Aphrodite's. | 0:10:27 | 0:10:31 | |
We hear from the eastern epics that this regal divinity had a mortal | 0:10:32 | 0:10:36 | |
lover, a shepherd boy called Dumuzid. | 0:10:36 | 0:10:39 | |
Now, Dumuzid died tragically and the goddess was so distraught she was | 0:10:40 | 0:10:46 | |
given permission to bring him back to life | 0:10:46 | 0:10:48 | |
for three months of the year. | 0:10:48 | 0:10:49 | |
It's a fairly clear allegory for the cycle of life, | 0:10:52 | 0:10:56 | |
but it's also fascinating as this is exactly the tale | 0:10:56 | 0:11:00 | |
told later by Greeks about Aphrodite. | 0:11:00 | 0:11:03 | |
Her shepherd boy lover, though, was called Adonis, not Dumuzid. | 0:11:04 | 0:11:08 | |
It's strong evidence for the fact that Ishtar, | 0:11:10 | 0:11:13 | |
Inanna was early source material for Aphrodite. | 0:11:13 | 0:11:17 | |
If that's true, the original Aphrodite wasn't to be messed with. | 0:11:19 | 0:11:24 | |
Just listen to what one of her priestesses wrote about her. | 0:11:26 | 0:11:29 | |
"Lady of blazing dominion, clad in dread. Riding on fire-red power. | 0:11:30 | 0:11:37 | |
"Flood, storm, hurricane adorned. | 0:11:37 | 0:11:41 | |
"Battle planner, foe smasher." | 0:11:41 | 0:11:44 | |
Ishtar and Inanna were warrior goddesses, | 0:11:49 | 0:11:52 | |
often pictured in military attire, | 0:11:52 | 0:11:55 | |
formidable queens of heaven and earth. | 0:11:55 | 0:11:57 | |
Archaeologists now know that the story of Ishtar reached the island | 0:12:02 | 0:12:05 | |
of Cyprus in the boats of travellers and traders. | 0:12:05 | 0:12:08 | |
And there, she merged with the sexually charged ancient deity | 0:12:11 | 0:12:15 | |
they already worshipped. | 0:12:15 | 0:12:17 | |
When Eastern and Cypriot influences are combined, | 0:12:23 | 0:12:27 | |
this is how the ancestor of Aphrodite ends up | 0:12:27 | 0:12:29 | |
being represented on the island. | 0:12:29 | 0:12:33 | |
She is a strange mixture of bird, beast and woman, | 0:12:33 | 0:12:37 | |
a creature of both day and night. | 0:12:37 | 0:12:40 | |
And just amazing to think of the world that those clay eyes | 0:12:41 | 0:12:45 | |
would have looked out on. | 0:12:45 | 0:12:46 | |
It's hard to pin down exactly who the sublime creature was | 0:12:51 | 0:12:54 | |
so early in her history, but it's easy to read into these features | 0:12:54 | 0:12:59 | |
a figure who combined exaggerated feminine sexuality | 0:12:59 | 0:13:04 | |
with potential to inflict fear and terror on human beings. | 0:13:04 | 0:13:09 | |
How was it that this ferocious figure became the heavenly beauty | 0:13:12 | 0:13:16 | |
we picture as the classical Aphrodite? | 0:13:16 | 0:13:18 | |
From the 12th century BC, | 0:13:25 | 0:13:27 | |
Greeks from the mainland began arriving in Cyprus. | 0:13:27 | 0:13:30 | |
The island became the linchpin in an intercontinental exchange | 0:13:33 | 0:13:37 | |
of goods and ideas. | 0:13:37 | 0:13:38 | |
The Greeks, wowed by the great Cypriot goddess, adopted her | 0:13:41 | 0:13:45 | |
into their own divine system... | 0:13:45 | 0:13:47 | |
..eventually giving her the name Aphrodite. | 0:13:48 | 0:13:52 | |
"Aphrodite, who loves laughter and smiles, | 0:13:54 | 0:13:58 | |
"went to Paphos on Cyprus and her precinct there. | 0:13:58 | 0:14:01 | |
"The Graces bathed her and rubbed her with ambrosial oil | 0:14:01 | 0:14:05 | |
"that glistens on the skin of the immortal gods, | 0:14:05 | 0:14:09 | |
"and then they dressed her in beautiful clothes. | 0:14:09 | 0:14:12 | |
"A wonder to see." | 0:14:12 | 0:14:14 | |
Epic poems by Homer, the very first works of European literature, | 0:14:14 | 0:14:19 | |
describe her vividly. | 0:14:19 | 0:14:21 | |
And where there were inscrutable figurines, | 0:14:21 | 0:14:24 | |
there is now a character with a story. | 0:14:24 | 0:14:27 | |
Aphrodite is part of a family of gods, with Zeus at the head. | 0:14:33 | 0:14:37 | |
She is married to Hephaestus, the lame blacksmith god, | 0:14:38 | 0:14:42 | |
but in an adulterous affair with the God of War, Aries. | 0:14:42 | 0:14:47 | |
She has mortal lovers, too, | 0:14:50 | 0:14:52 | |
most notably the doomed shepherd boy Adonis. | 0:14:52 | 0:14:55 | |
Her son is called Eros, which literally means desire. | 0:14:56 | 0:15:01 | |
His Latin name is Cupid. | 0:15:01 | 0:15:03 | |
While other goddesses are virgins or mother figures, | 0:15:04 | 0:15:08 | |
Aphrodite is seductive, unpredictable, disruptive. | 0:15:08 | 0:15:13 | |
The bird heads and the phalluses are gone. | 0:15:17 | 0:15:20 | |
Aphrodite, the beautiful goddess, has arrived. | 0:15:21 | 0:15:26 | |
One site, more than any other, is associated with that moment | 0:15:29 | 0:15:33 | |
of rebirth, The Sanctuary of Paphos. | 0:15:33 | 0:15:37 | |
Hello. Is that Jacqueline? | 0:15:38 | 0:15:39 | |
-Hello. -Hello! | 0:15:39 | 0:15:41 | |
So pleased to meet you. | 0:15:41 | 0:15:43 | |
So pleased to see you. | 0:15:43 | 0:15:45 | |
Thank you so much. | 0:15:45 | 0:15:47 | |
French archaeologist Jacqueline Karageorghis | 0:15:47 | 0:15:50 | |
has spent a lifetime working here. | 0:15:50 | 0:15:52 | |
It is wonderful to have you decode it for me. | 0:15:52 | 0:15:55 | |
Why is this sanctuary so important in understanding the story | 0:15:55 | 0:15:59 | |
of Aphrodite? | 0:15:59 | 0:16:01 | |
Because it is here that the Goddess became Aphrodite. | 0:16:01 | 0:16:04 | |
When the Greeks came in the 12th century BC from mainland Greece | 0:16:06 | 0:16:10 | |
and settled in Paphos, they may have already found a previous goddess | 0:16:10 | 0:16:15 | |
who was the goddess of fertility. | 0:16:15 | 0:16:18 | |
They transformed her by giving her different qualities. | 0:16:18 | 0:16:23 | |
The Greeks added to the primitive goddess of sex and fertility, | 0:16:23 | 0:16:29 | |
who had violence in her, | 0:16:29 | 0:16:32 | |
they added more refined qualities of tenderness, of love, | 0:16:32 | 0:16:37 | |
of desire and especially the added beauty. | 0:16:37 | 0:16:40 | |
This sanctuary became little by little very important | 0:16:42 | 0:16:47 | |
and it was considered as important as Delphi. | 0:16:47 | 0:16:51 | |
It is amazing when you come here just to think | 0:16:51 | 0:16:53 | |
of what this place meant to the men and women | 0:16:53 | 0:16:56 | |
who worshipped Aphrodite. | 0:16:56 | 0:16:57 | |
Yes, she was called Theia, the goddess. | 0:16:57 | 0:17:01 | |
Or Aphaea, the goddess from Paphos. | 0:17:01 | 0:17:05 | |
There was no other in the place and she was helpful | 0:17:05 | 0:17:09 | |
in every field of life, in the fertility, for men, for nature. | 0:17:09 | 0:17:17 | |
Some people came here to worship her, bringing incense. | 0:17:17 | 0:17:22 | |
But bloody sacrifices were forbidden here because she was essentially | 0:17:22 | 0:17:28 | |
a goddess protecting life. | 0:17:28 | 0:17:30 | |
For the men and women of those days, | 0:17:32 | 0:17:33 | |
this was also important because she was absolutely real, | 0:17:33 | 0:17:37 | |
they had to worship her and adore her to get her protection. | 0:17:37 | 0:17:42 | |
Yes. Without her, I think they felt helpless. | 0:17:42 | 0:17:47 | |
And they needed her, because in those times, life was hard, | 0:17:47 | 0:17:52 | |
full of dangers, full of diseases, | 0:17:52 | 0:17:55 | |
with agriculture giving not so abundant crops, | 0:17:55 | 0:18:01 | |
so they really needed help from somewhere. | 0:18:01 | 0:18:05 | |
And this goddess was providing hope. | 0:18:05 | 0:18:09 | |
And she added to the primitive act of generation, | 0:18:09 | 0:18:14 | |
feeling and beauty and care. | 0:18:14 | 0:18:18 | |
And this is the basis of our European civilisation | 0:18:18 | 0:18:22 | |
and I think this is why Aphrodite is very important. | 0:18:22 | 0:18:27 | |
She teaches us the possibility of love. | 0:18:27 | 0:18:30 | |
All this was made in Cyprus. | 0:18:32 | 0:18:34 | |
In this site, we start to get a sense of the scale and significance | 0:18:40 | 0:18:44 | |
of Aphrodite's cult here on Cyprus. | 0:18:44 | 0:18:47 | |
The sanctuary at Paphos allows us to jigsaw-puzzle together the evidence. | 0:18:50 | 0:18:55 | |
Ancient sources tell us that it was protected by wonderful golden gates | 0:18:55 | 0:18:59 | |
and shaded by fruit trees, | 0:18:59 | 0:19:02 | |
that you could hear the sound of ritual purification | 0:19:02 | 0:19:05 | |
and that the air was heavy with the smell of perfume and incense. | 0:19:05 | 0:19:10 | |
Being here, you really do feel close to those thousands of worshippers | 0:19:11 | 0:19:17 | |
who came to the sanctuary to seek the power, | 0:19:17 | 0:19:20 | |
the protection and the pity of the goddess. | 0:19:20 | 0:19:24 | |
And nearby, we can lay eyes on further evidence of how Aphrodite | 0:19:32 | 0:19:37 | |
was worshipped by the man, and critically the woman, on the street. | 0:19:37 | 0:19:42 | |
Beautiful. What's the date of this vase? | 0:19:44 | 0:19:46 | |
It's eighth century BC. | 0:19:46 | 0:19:48 | |
So it's a very animated scene here. | 0:19:48 | 0:19:51 | |
Yes. It's one of the rarest pictorial representations, | 0:19:51 | 0:19:55 | |
compositions, of a ritual dance. | 0:19:55 | 0:19:58 | |
There are some women dancing, and they are holding flowers. | 0:19:58 | 0:20:02 | |
In the middle, there is a lyre player, he is playing music. | 0:20:02 | 0:20:06 | |
And there is a tree, a kind of tree of life. | 0:20:06 | 0:20:10 | |
So you can see the symbolism as well as the ritual dance. | 0:20:11 | 0:20:16 | |
It is just fabulous to see this, | 0:20:16 | 0:20:18 | |
because then you think of this site at Paphos and just imagine it filled | 0:20:18 | 0:20:22 | |
with this kind of activity. | 0:20:22 | 0:20:24 | |
And you can imagine that this was happening in every sanctuary. | 0:20:24 | 0:20:27 | |
And if you come round to this side, there's more to see. | 0:20:27 | 0:20:30 | |
Oh, yes. | 0:20:30 | 0:20:34 | |
-What is this curious creature at the end? -It's a sphinx. | 0:20:34 | 0:20:38 | |
It's a mythical animal. | 0:20:38 | 0:20:41 | |
Which, in this case, she is smelling a flower. | 0:20:41 | 0:20:43 | |
And so this, together with the bull mask, | 0:20:45 | 0:20:47 | |
shows that we are perhaps in a cultic environment. | 0:20:47 | 0:20:50 | |
And you can see this lady holding several jugs | 0:20:51 | 0:20:54 | |
and attending to another lady who is sitting high up on this, | 0:20:54 | 0:20:59 | |
maybe throne or high chair, her feet on a stool, | 0:20:59 | 0:21:04 | |
and she is getting ready to drink some kind of liquid from a straw, | 0:21:04 | 0:21:09 | |
from this jar here. | 0:21:09 | 0:21:11 | |
Maybe wine, maybe an alcoholic drink, we don't know. | 0:21:11 | 0:21:14 | |
Because they made beer, as well. | 0:21:14 | 0:21:16 | |
They made wine, yes, they made alcoholic drinks. | 0:21:16 | 0:21:19 | |
And who do we think this lady is? | 0:21:19 | 0:21:21 | |
Well, she might be representing a priestess or even the deity herself, | 0:21:21 | 0:21:25 | |
we don't know exactly. | 0:21:25 | 0:21:27 | |
But the fact that we have some symbolic elements in this scene | 0:21:27 | 0:21:32 | |
allows us to hypothesise, to infer, that perhaps | 0:21:32 | 0:21:36 | |
it wasn't an ordinary person. | 0:21:36 | 0:21:38 | |
It must have been either a priestess or the deity. | 0:21:38 | 0:21:41 | |
Fascinatingly, she is being worshipped, | 0:21:44 | 0:21:46 | |
not just by bearded priests but by priestesses | 0:21:46 | 0:21:51 | |
and crowds of devoted women. | 0:21:51 | 0:21:53 | |
It is a tantalising glimpse of who it was back then | 0:21:55 | 0:21:58 | |
who helped Aphrodite's cult flourish. | 0:21:58 | 0:22:01 | |
The early Aphrodite was worshipped by everyone in the community | 0:22:09 | 0:22:13 | |
but she seems to have had a particular following amongst women. | 0:22:13 | 0:22:16 | |
We know this not just from pictures on pots, | 0:22:17 | 0:22:20 | |
but from the first named woman writer in European history, Sappho. | 0:22:20 | 0:22:27 | |
This enigmatic figure lived on the island of Lesbos | 0:22:28 | 0:22:32 | |
in the seventh century BC. | 0:22:32 | 0:22:33 | |
It's from her that we get our terms lesbian and Sapphic, | 0:22:33 | 0:22:37 | |
because her sensual love poetry was addressed | 0:22:37 | 0:22:41 | |
not to men but to other women. | 0:22:41 | 0:22:44 | |
And she attributed that passion to her patron goddess, Aphrodite. | 0:22:44 | 0:22:49 | |
I just love Sappho because she deals with Aphrodite | 0:22:52 | 0:22:56 | |
in such an intimate, personal way. | 0:22:56 | 0:22:59 | |
She describes one of the goddess's temples with real joy, | 0:22:59 | 0:23:03 | |
talking about it being surrounded by fruit trees and roses | 0:23:03 | 0:23:06 | |
and spring flowers. | 0:23:06 | 0:23:08 | |
And she turns the deity into someone you can pray to directly | 0:23:08 | 0:23:12 | |
for help. This is one of Sappho's hymns to Aphrodite. | 0:23:12 | 0:23:17 | |
"O golden one. | 0:23:19 | 0:23:20 | |
"You come down from the heavens, | 0:23:20 | 0:23:22 | |
"my blessed goddess with a smile on your deathless face. | 0:23:22 | 0:23:26 | |
"And you ask me what the matter was this time, | 0:23:26 | 0:23:29 | |
"why I had called for you." | 0:23:29 | 0:23:30 | |
Sappho's poetry brings vividly to life a world | 0:23:32 | 0:23:35 | |
where women and young girls are joined in the worship | 0:23:35 | 0:23:38 | |
of Aphrodite, and enjoying the pleasures of desire, | 0:23:38 | 0:23:42 | |
but also confronting the pain and suffering that desire can generate. | 0:23:42 | 0:23:48 | |
If I had my way, I think I'd have Sappho's hymns to Aphrodite | 0:23:51 | 0:23:54 | |
taught in all schools, because she gets the experience of first love | 0:23:54 | 0:23:59 | |
so perfectly. | 0:23:59 | 0:24:00 | |
She describes fire creeping under your skin and the fact that you feel | 0:24:00 | 0:24:04 | |
as if you are possessed, and she is actually the first person ever | 0:24:04 | 0:24:08 | |
to describe love as being bittersweet. | 0:24:08 | 0:24:11 | |
Although she's a bit more honest and she says that it's sweet, | 0:24:11 | 0:24:15 | |
and then bitter. | 0:24:15 | 0:24:16 | |
Through Sappho, we can hear the intimate agonies | 0:24:20 | 0:24:23 | |
and the yearning of a woman who lived 2,500 years ago. | 0:24:23 | 0:24:28 | |
A rare and poignant portrait of Aphrodite in action. | 0:24:29 | 0:24:33 | |
She reveals a deity with whom women felt a special connection | 0:24:35 | 0:24:40 | |
and a driver of their intense homoerotic relationships. | 0:24:40 | 0:24:44 | |
Because the ancients knew that desire wasn't confined | 0:24:47 | 0:24:51 | |
to one gender. | 0:24:51 | 0:24:52 | |
This figurine was found here at Amathus. | 0:24:54 | 0:24:56 | |
The original dates from the sixth century BC | 0:24:56 | 0:24:59 | |
and it seems to show a bearded Aphrodite. | 0:24:59 | 0:25:02 | |
The goddess has got a woman's body and a man's face and facial hair. | 0:25:04 | 0:25:08 | |
Now this is really interesting because there is a historian | 0:25:09 | 0:25:13 | |
from Amathus called Paeon of Amathus who tells us | 0:25:13 | 0:25:16 | |
that the Cypriot goddess sometimes took on the form of a man. | 0:25:16 | 0:25:21 | |
Evidence like this has led some archaeologists and historians | 0:25:22 | 0:25:26 | |
to suggest that the worshippers of Aphrodite were androgynous | 0:25:26 | 0:25:30 | |
or sexually ambivalent. | 0:25:30 | 0:25:31 | |
Well, maybe. | 0:25:33 | 0:25:34 | |
But what this says to me is that by being both male and female, | 0:25:34 | 0:25:40 | |
Aphrodite was nourishing sexuality in whatever form | 0:25:40 | 0:25:45 | |
as a surging life force. | 0:25:45 | 0:25:48 | |
And the bearded lady was by no means the oddest Aphrodite on Cyprus. | 0:25:52 | 0:25:57 | |
There is another from the same time that reminds us | 0:25:57 | 0:26:00 | |
that the ancients still saw Aphrodite as something dark | 0:26:00 | 0:26:04 | |
and ineffable. | 0:26:04 | 0:26:05 | |
This volcanic rock is the form that the goddess was worshipped in | 0:26:10 | 0:26:13 | |
here at Paphos. Access to the stone was highly restricted, | 0:26:13 | 0:26:18 | |
it was originally painted in white, | 0:26:18 | 0:26:20 | |
and it would be oiled and decorated with flowers. | 0:26:20 | 0:26:23 | |
It does feel very primordial and otherworldly, almost sci-fi | 0:26:24 | 0:26:29 | |
and, frankly, a bit weird. | 0:26:29 | 0:26:31 | |
But it's not just us who feel that way. | 0:26:31 | 0:26:34 | |
The Roman author Tacitus, when he visited the site, | 0:26:34 | 0:26:37 | |
said that the origins of the worship of Aphrodite | 0:26:37 | 0:26:41 | |
in this form are obscure. | 0:26:41 | 0:26:43 | |
The Greek poets might have made Aphrodite sensual and beautiful, | 0:26:47 | 0:26:52 | |
but they had not extinguished the sometimes sinister ways | 0:26:52 | 0:26:56 | |
that people imagined her. | 0:26:56 | 0:26:57 | |
She is adored in a myriad of different forms... | 0:27:05 | 0:27:07 | |
..as Aphrodite Homonoia, Aphrodite of union, | 0:27:08 | 0:27:13 | |
Aphrodite Harmonia, Aphrodite of harmony, | 0:27:13 | 0:27:17 | |
but also as Aphrodite Epistrophia, Aphrodite the deceiver, | 0:27:17 | 0:27:23 | |
and Aphrodite Melainis, Aphrodite of the dark night. | 0:27:23 | 0:27:27 | |
She was a creature of summer and winter, of life and of death. | 0:27:31 | 0:27:37 | |
In the minds of the ancients, | 0:27:40 | 0:27:41 | |
her power pulsed through the natural and supernatural world, | 0:27:41 | 0:27:46 | |
creating and destroying at will. | 0:27:46 | 0:27:48 | |
They saw her in the miracle of human and animal reproduction, | 0:27:51 | 0:27:55 | |
the glue of mutual love and respect that holds societies together, | 0:27:55 | 0:27:59 | |
but also the malignant desires that can destroy lives | 0:27:59 | 0:28:04 | |
and pull communities apart. | 0:28:04 | 0:28:06 | |
One example was the disturbing story of the Cypriot hero Cinyras. | 0:28:14 | 0:28:19 | |
Cinyras was a priest and a king, and somehow his daughter | 0:28:19 | 0:28:24 | |
offended Aphrodite, and in retribution, she punished her | 0:28:24 | 0:28:28 | |
in the most awful way, by making her fall in love with her own father. | 0:28:28 | 0:28:33 | |
Cinyras was tricked into sleeping with his daughter | 0:28:33 | 0:28:38 | |
and, learning the horrific truth, | 0:28:38 | 0:28:41 | |
he then advanced on her in a murderous rage. | 0:28:41 | 0:28:45 | |
Just as he was about to kill her, | 0:28:45 | 0:28:47 | |
Aphrodite took pity on the young girl and intervened | 0:28:47 | 0:28:50 | |
and turned her into a tree. | 0:28:50 | 0:28:53 | |
Now, this does something very typical of the classical myths, | 0:28:53 | 0:28:57 | |
it makes men and women face up to the more troubling aspects | 0:28:57 | 0:29:00 | |
of human society, to deal head-on with the darker | 0:29:00 | 0:29:05 | |
and disturbing issues of being human. | 0:29:05 | 0:29:09 | |
The myth of Cinyras is no exception. | 0:29:12 | 0:29:15 | |
Aphrodite was more often than not a menacing figure | 0:29:15 | 0:29:19 | |
who destroyed lives by inflicting perverse infatuations. | 0:29:19 | 0:29:23 | |
I've come to meet Professor Paul Cartledge to try to thrash out | 0:29:31 | 0:29:35 | |
what the Greeks meant by these disquieting stories. | 0:29:35 | 0:29:40 | |
Well, she embodies a kind of love which isn't necessarily bad, | 0:29:40 | 0:29:43 | |
but it has a risk of becoming divisive. | 0:29:43 | 0:29:47 | |
And the Greeks were very conscious that Aphrodite and aphrodisia, | 0:29:47 | 0:29:50 | |
sexual activity, was potentially dangerous, as well as profitable. | 0:29:50 | 0:29:55 | |
Because they talk about Aphrodite's love as being maddening, | 0:29:55 | 0:30:00 | |
creating this limb-loosening desire. And as you say, | 0:30:00 | 0:30:02 | |
that is not a good thing because you are losing control. | 0:30:02 | 0:30:04 | |
That's right. I mean, the basic Greek word for lust or desire | 0:30:04 | 0:30:09 | |
we sometimes mistranslate as love, | 0:30:09 | 0:30:12 | |
it is eros, and it is where we get erotic from. | 0:30:12 | 0:30:14 | |
But for them, eros was potentially quite damaging. If you lose control, | 0:30:14 | 0:30:20 | |
if you direct your lust at the wrong object, | 0:30:20 | 0:30:23 | |
if you violently desire somebody physically, sexually, | 0:30:23 | 0:30:27 | |
that's likely to cause the bad kind of strife. | 0:30:27 | 0:30:31 | |
So Greeks tended to have a slightly, you could say, | 0:30:31 | 0:30:34 | |
realistic or you could say a rather pessimistic notion | 0:30:34 | 0:30:37 | |
of the relationship between love and hate. | 0:30:37 | 0:30:40 | |
Really fascinating, | 0:30:40 | 0:30:41 | |
because neuroscientists tell us now the boundary between love and hate | 0:30:41 | 0:30:44 | |
is very, very slim, but the Greeks got there 2,500 years ago. | 0:30:44 | 0:30:49 | |
Yeah. Aphrodite is a wonderful teacher, | 0:30:49 | 0:30:52 | |
that is to say in her myths, all the various versions of her, | 0:30:52 | 0:30:56 | |
you can learn that love is not any one simple thing. | 0:30:56 | 0:31:00 | |
She herself, in Homer, is actually married. | 0:31:00 | 0:31:03 | |
And not many gods and goddesses, | 0:31:03 | 0:31:05 | |
apart from Hera and Zeus, are actually married to anybody. | 0:31:05 | 0:31:08 | |
So it is quite interesting. There is almost a contradiction, | 0:31:08 | 0:31:11 | |
that on the one hand, she is a free spirit, she commits adultery, | 0:31:11 | 0:31:15 | |
she's a very bad girl. | 0:31:15 | 0:31:16 | |
But on the other hand, she also is, if a couple are happy, | 0:31:16 | 0:31:21 | |
sexually as well as others, | 0:31:21 | 0:31:22 | |
then she also can be there, part of the household. | 0:31:22 | 0:31:25 | |
And that seems to me why Aphrodite's story is so helpful, | 0:31:25 | 0:31:28 | |
because it can help us all decode our lives and our world | 0:31:28 | 0:31:33 | |
-in the 21st century. -I agree with that. | 0:31:33 | 0:31:35 | |
I would like to think that we would privilege the gentle, | 0:31:35 | 0:31:39 | |
the harmonious, the unanimity aspects of Aphrodite, | 0:31:39 | 0:31:43 | |
rather than the eristic, that's to say the strife-torn version. | 0:31:43 | 0:31:47 | |
But, yes, it certainly should be a shaping force. | 0:31:47 | 0:31:51 | |
I sometimes wonder whether Aphrodite is the wound and bandage. | 0:31:51 | 0:31:55 | |
Well, actually, that's a very ancient Greek thought, | 0:31:55 | 0:31:57 | |
that the same god who causes damage is also the one that cures it. | 0:31:57 | 0:32:00 | |
In our own society we're used to thinking in terms of good and evil, | 0:32:06 | 0:32:10 | |
but the Greeks saw the world in a different way | 0:32:12 | 0:32:15 | |
as the push and pull of multiple different forces, | 0:32:15 | 0:32:19 | |
which could be good and bad, each represented by a god. | 0:32:19 | 0:32:24 | |
In Aphrodite's case, that was the double-edged sword of humans' desire | 0:32:24 | 0:32:28 | |
for one another. | 0:32:28 | 0:32:29 | |
The ancients understood something about desire and lust | 0:32:31 | 0:32:33 | |
that we can pussyfoot around a bit today. | 0:32:33 | 0:32:35 | |
We celebrate desire when it gives us our first kiss, | 0:32:38 | 0:32:41 | |
or a passionate relationship, or hot sex. | 0:32:41 | 0:32:45 | |
But if you think about it, | 0:32:45 | 0:32:47 | |
these are the same forces that can result in unrequited love, | 0:32:47 | 0:32:51 | |
or abusive obsessive relationships, or sex crimes like rape and incest. | 0:32:51 | 0:32:58 | |
Desire lures us into doing crazy things that can really wreck lives, | 0:32:59 | 0:33:05 | |
and the Greeks didn't pretend that this bad stuff didn't happen. | 0:33:05 | 0:33:09 | |
Instead, they gave these urges, both malign and benign, | 0:33:13 | 0:33:17 | |
a name and a face, Aphrodite. | 0:33:17 | 0:33:21 | |
Human relationships are hard. | 0:33:24 | 0:33:26 | |
The Greeks got that. | 0:33:26 | 0:33:28 | |
They didn't romanticise desire. | 0:33:28 | 0:33:30 | |
Arguably, they challenge us to think more honestly about the problems | 0:33:32 | 0:33:36 | |
that come with trying to live together. | 0:33:36 | 0:33:39 | |
But the Greeks also set in train a kind of prejudice | 0:33:43 | 0:33:47 | |
that proved worryingly tenacious. | 0:33:47 | 0:33:50 | |
Increasingly in Greek myth Aphrodite was turned into a | 0:33:59 | 0:34:04 | |
kind of home-breaker, inciting women in particular, and men, | 0:34:04 | 0:34:09 | |
to do dark deeds. | 0:34:09 | 0:34:10 | |
As the divine ally of Helen of Troy, | 0:34:10 | 0:34:13 | |
she was blamed for the dread suffering of the Trojan War. | 0:34:13 | 0:34:16 | |
It was said that Aphrodite was desperate to be declared the fairest | 0:34:17 | 0:34:22 | |
of all the goddesses | 0:34:22 | 0:34:23 | |
and so she offered the most beautiful woman in the world, | 0:34:23 | 0:34:26 | |
Helen, to the Prince of Troy, Paris. | 0:34:26 | 0:34:30 | |
Suffusing Helen with himeros, desire, she persuaded her | 0:34:30 | 0:34:34 | |
to leave her home, her husband and her daughter and to run off | 0:34:34 | 0:34:37 | |
with Paris with his glistening love locks. | 0:34:37 | 0:34:40 | |
A hero race of godlike men were destroyed by rich-tressed Helen, | 0:34:42 | 0:34:47 | |
Aphrodite's plaything. | 0:34:48 | 0:34:49 | |
There is an implication that sexual union with women | 0:34:55 | 0:34:58 | |
is an inescapable curse that weakens men. | 0:34:58 | 0:35:02 | |
Aphrodite and her son, Eros, drive men mad with their entrapping nets | 0:35:06 | 0:35:10 | |
and poisoned arrows... | 0:35:10 | 0:35:12 | |
..and mortal women are credited with dangerous sexual appetites. | 0:35:14 | 0:35:19 | |
Sex, or Ta Aphrodisia, | 0:35:22 | 0:35:26 | |
the things of Aphrodite, as it was called in the ancient world, | 0:35:26 | 0:35:29 | |
was increasingly thought to be an inconvenient distraction | 0:35:29 | 0:35:32 | |
from the manly business of fighting and empire building, | 0:35:32 | 0:35:37 | |
and a woman's fault. | 0:35:37 | 0:35:38 | |
The root of much of the denigration of Aphrodite, and then Venus, | 0:35:42 | 0:35:47 | |
lies in the ancient world itself. | 0:35:47 | 0:35:49 | |
It was in ancient Greece that the goddess first became an object | 0:35:50 | 0:35:55 | |
to ogle at, as well as idolise. | 0:35:55 | 0:35:58 | |
The development of naturalistic sculpture offered human forms | 0:36:01 | 0:36:05 | |
that you could lust after. | 0:36:05 | 0:36:07 | |
In the fourth century BC, | 0:36:12 | 0:36:13 | |
Praxiteles of Athens carved the legendary Aphrodite of Knidos. | 0:36:13 | 0:36:19 | |
The original is lost, but it was the first full-sized | 0:36:21 | 0:36:26 | |
naked female stone sculpture in Greek history. | 0:36:26 | 0:36:30 | |
It was so intensely sensuous that it became emblematic | 0:36:30 | 0:36:34 | |
and was copied in its own time and for centuries after. | 0:36:34 | 0:36:37 | |
The original statue is said to have attracted countless pilgrims, | 0:36:39 | 0:36:43 | |
but also those with less high-minded intentions. | 0:36:43 | 0:36:47 | |
The story goes that a young man broke into the sanctuary | 0:36:50 | 0:36:53 | |
where the statue was standing and copulated with it, | 0:36:53 | 0:36:57 | |
permanently staining the marble thigh with his passion. | 0:36:57 | 0:37:01 | |
I actually think this is a horrible story, | 0:37:02 | 0:37:05 | |
because it disrespects and downgrades the goddess | 0:37:05 | 0:37:09 | |
at a time when pretty much the same thing was happening | 0:37:09 | 0:37:12 | |
to the flesh-and-blood women of the ancient world, | 0:37:12 | 0:37:15 | |
because there is no doubt that by now real Greek women | 0:37:15 | 0:37:20 | |
were second-class citizens. | 0:37:20 | 0:37:23 | |
They were fed half-rations, | 0:37:23 | 0:37:25 | |
they were restricted indoors during daylight hours | 0:37:25 | 0:37:28 | |
and they were encouraged to be silent and restrained. | 0:37:28 | 0:37:32 | |
The Aphrodite of Knidos started a craze for seductive nudity | 0:37:35 | 0:37:39 | |
that became the basis for all depictions of the goddess. | 0:37:39 | 0:37:42 | |
It was as if Aphrodite's multifaceted personality | 0:37:44 | 0:37:47 | |
had been stripped to focus on physical beauty alone. | 0:37:47 | 0:37:52 | |
But Aphrodite's warrior past was set to rise again. | 0:37:57 | 0:38:01 | |
The Romans, the new masters of the ancient world, | 0:38:03 | 0:38:06 | |
would take the goddess and transform her | 0:38:06 | 0:38:09 | |
into one of the most powerful deities in their pantheon. | 0:38:09 | 0:38:13 | |
In ancient Rome, they had once worshipped a goddess of their own, | 0:38:22 | 0:38:26 | |
Venus, who also governed desire and fertility. | 0:38:26 | 0:38:30 | |
But the Greeks had such a cultural influence on Rome | 0:38:36 | 0:38:39 | |
that by the end of the third century BC, | 0:38:39 | 0:38:42 | |
Venus and Aphrodite were officially declared to be one and the same. | 0:38:42 | 0:38:47 | |
To the Romans, Venus was a key figure. | 0:38:49 | 0:38:51 | |
She was the mother of Aeneas, | 0:38:53 | 0:38:55 | |
Trojan hero and the founding father of Rome. | 0:38:55 | 0:38:59 | |
So, highborn Romans traced their lineage right back to the goddess. | 0:38:59 | 0:39:04 | |
One highborn Roman in particular. | 0:39:05 | 0:39:07 | |
Julius Caesar made a point of publicising and amplifying the fact | 0:39:09 | 0:39:12 | |
that Venus had birthed Aeneas, | 0:39:12 | 0:39:15 | |
and that his own family were descended from Aeneas | 0:39:15 | 0:39:18 | |
and therefore from the goddess. | 0:39:18 | 0:39:21 | |
He actually had this coin minted with Venus on one side | 0:39:21 | 0:39:25 | |
and his name Caesar there, | 0:39:25 | 0:39:27 | |
and the picture is of Aeneas carrying his father Anchises, | 0:39:27 | 0:39:31 | |
who was Venus's lover, as they escaped from Troy. | 0:39:31 | 0:39:34 | |
Here in Rome, he pushed the point even further. | 0:39:38 | 0:39:41 | |
The year that Caesar was made dictator, | 0:39:43 | 0:39:45 | |
he built this massive temple for Venus Genetrix, | 0:39:45 | 0:39:49 | |
Venus the mother or ancestor. | 0:39:49 | 0:39:52 | |
Venus Aphrodite was becoming a political tool. | 0:39:53 | 0:39:56 | |
Caesar was also the first Roman | 0:40:00 | 0:40:02 | |
to give the goddess martial iconography. | 0:40:02 | 0:40:05 | |
Because Aphrodite was the mother of Rome, she couldn't be a meek, | 0:40:06 | 0:40:10 | |
gentle goddess, and so she was armed. | 0:40:10 | 0:40:13 | |
She appears dressed in armour on coins and on an engraved ring | 0:40:14 | 0:40:18 | |
that Caesar always wore. | 0:40:18 | 0:40:20 | |
It feels as though Caesar's Aphrodite is a bit more | 0:40:21 | 0:40:25 | |
like those ferocious Middle Eastern goddesses Inanna and Ishtar, | 0:40:25 | 0:40:29 | |
who are there right at the beginning of Aphrodite's story. | 0:40:29 | 0:40:33 | |
And there was another connection with the East. | 0:40:36 | 0:40:39 | |
In the first century BC, Cleopatra, Queen of Egypt, | 0:40:39 | 0:40:43 | |
lived in Rome as Caesar's lover. | 0:40:43 | 0:40:45 | |
Already associated with the Egyptian goddess of fertility, Isis, | 0:40:45 | 0:40:49 | |
she was immediately identified with Aphrodite Venus, | 0:40:49 | 0:40:53 | |
and a statue of her erected in the Temple of Venus Genetrix. | 0:40:53 | 0:40:58 | |
After the assassination of Julius Caesar, | 0:40:58 | 0:41:01 | |
Mark Antony gave Cyprus as a love token to Cleopatra. | 0:41:01 | 0:41:06 | |
The living embodiment of Aphrodite was given Aphrodite's isle. | 0:41:06 | 0:41:11 | |
Cleopatra blatantly exploited her connection to the goddess of sex | 0:41:13 | 0:41:17 | |
and fertility. | 0:41:17 | 0:41:19 | |
She dressed as Venus Aphrodite right down to the golden sandals | 0:41:19 | 0:41:24 | |
and perfumed oils, | 0:41:24 | 0:41:26 | |
and she even had coils of golden hair tendrilling down her neck. | 0:41:26 | 0:41:31 | |
Actually that became so popular that Roman ladies would replicate it, | 0:41:31 | 0:41:35 | |
although, rather gruesomely, | 0:41:35 | 0:41:38 | |
they used the hair of captive Germanic slaves. | 0:41:38 | 0:41:41 | |
Now, I'm sure that Cleopatra, | 0:41:42 | 0:41:45 | |
who genuinely believed that she was the embodiment of Isis and of the | 0:41:45 | 0:41:48 | |
fertility of Egypt, wasn't doing any of this cynically. | 0:41:48 | 0:41:53 | |
But there's a problem, | 0:41:53 | 0:41:54 | |
because once looking like Aphrodite becomes a high-end fashion choice, | 0:41:54 | 0:42:00 | |
inevitably the goddess acquires the characteristics of a pin-up. | 0:42:00 | 0:42:04 | |
By the time of Caesar's successor, Augustus, | 0:42:11 | 0:42:14 | |
Aphrodite Venus had once again come to symbolise sex, | 0:42:14 | 0:42:19 | |
passion and excess, but this began to sit uncomfortably | 0:42:19 | 0:42:22 | |
with Roman society. | 0:42:22 | 0:42:24 | |
Emperor Augustus publicly venerated Venus | 0:42:29 | 0:42:31 | |
because of her links to Caesar, | 0:42:31 | 0:42:33 | |
but privately she symbolised all he claimed to despise. | 0:42:33 | 0:42:38 | |
He introduced a new moral code, | 0:42:38 | 0:42:41 | |
encouraging Romans to be modest and to live within their means. | 0:42:41 | 0:42:44 | |
Venus Aphrodite was being pushed into the shadows. | 0:42:45 | 0:42:49 | |
This is just a small thing, | 0:43:04 | 0:43:06 | |
but it's a brilliant bit of evidence for what was going on. | 0:43:06 | 0:43:10 | |
It's a fragment of a wall painting that would originally have been | 0:43:10 | 0:43:14 | |
in a fancy Roman villa. | 0:43:14 | 0:43:16 | |
It's obviously Aphrodite. | 0:43:17 | 0:43:19 | |
She's there gorgeously naked, | 0:43:19 | 0:43:21 | |
with her goddess halo and her arm in that typically flirtatious gesture, | 0:43:21 | 0:43:27 | |
plucking at her drapery. | 0:43:27 | 0:43:29 | |
But what's really interesting is where this would have been | 0:43:29 | 0:43:34 | |
in the villa. | 0:43:34 | 0:43:35 | |
This would have been painted on the wall of a private backroom, | 0:43:35 | 0:43:39 | |
a bit like a kind of dirty secret, | 0:43:39 | 0:43:43 | |
an escapist, charged symbol of sensual pleasure, | 0:43:43 | 0:43:47 | |
and of the now frowned upon luxury of Roman highlife. | 0:43:47 | 0:43:52 | |
Things only got worse for the once powerful goddess | 0:43:55 | 0:43:57 | |
when Christianity was adopted as the official religion of Rome. | 0:43:57 | 0:44:01 | |
The last bastions of organised worship of Venus and Aphrodite | 0:44:02 | 0:44:06 | |
were eradicated in the fourth century AD, | 0:44:06 | 0:44:10 | |
when the Emperor Theodosius the Great passed a series of decrees | 0:44:10 | 0:44:13 | |
prohibiting any kind of sacrifice, | 0:44:13 | 0:44:16 | |
oracle or chanting in honour of the pagan gods. | 0:44:16 | 0:44:19 | |
All around the Mediterranean, in Africa, Asia and Europe, | 0:44:23 | 0:44:27 | |
Aphrodite's statues, still thought to contain the potent spirit | 0:44:27 | 0:44:31 | |
of the pagan goddess, were watched warily, | 0:44:31 | 0:44:35 | |
or when times were hard, were brought crashing down as scapegoats. | 0:44:35 | 0:44:39 | |
Churches were built on her temple sites, | 0:44:40 | 0:44:43 | |
even here at her once great sanctuary Paphos. | 0:44:43 | 0:44:47 | |
Venus Aphrodite, in all reforms, | 0:44:52 | 0:44:55 | |
had been worshipped across the Mediterranean | 0:44:55 | 0:44:58 | |
for thousands of years. Now her altars were neglected and bare. | 0:44:58 | 0:45:02 | |
It was the end of Venus's worship as a goddess, | 0:45:06 | 0:45:09 | |
but it's by no means the end of her story. | 0:45:09 | 0:45:12 | |
For a millennium and a half, Europe has been living with Christianity, | 0:45:22 | 0:45:26 | |
a religion which has often taken a dim view of sex and sexuality. | 0:45:26 | 0:45:31 | |
But now you can walk around the galleries of the world | 0:45:34 | 0:45:38 | |
surrounded by Venuses. | 0:45:38 | 0:45:40 | |
The Renaissance kindled an ongoing fascination with antiquity. | 0:45:42 | 0:45:46 | |
Venus is back, but as a rather different kind of creature. | 0:45:48 | 0:45:54 | |
And there's one place that I think exemplifies that rebirth. | 0:45:55 | 0:45:59 | |
In one of the great houses of the English aristocracy, | 0:46:12 | 0:46:16 | |
built 1,200 years after Venus worship was banned, | 0:46:16 | 0:46:19 | |
almost every corner is devoted to the goddess of love | 0:46:20 | 0:46:24 | |
and her familiars. | 0:46:24 | 0:46:26 | |
This place is really quite extraordinary, | 0:46:30 | 0:46:33 | |
because at every turn there's a Venus or Aphrodite. | 0:46:33 | 0:46:36 | |
Over there on the wall, I don't know if you can see, there is Aphrodite | 0:46:38 | 0:46:41 | |
nicking one of Cupid's arrows. | 0:46:41 | 0:46:43 | |
And then up here she's teasing Cupid again, stealing his bow, | 0:46:45 | 0:46:49 | |
holding it away from him. | 0:46:49 | 0:46:50 | |
And then if you look up at the ceiling, | 0:46:54 | 0:46:55 | |
it is a celebration of all the stories in Aphrodite's life. | 0:46:55 | 0:47:00 | |
This is West Wycombe Park in Buckinghamshire, | 0:47:06 | 0:47:09 | |
home to the Dashwood family for the past 400 years. | 0:47:09 | 0:47:13 | |
This collection of Venuses is the life's work of Sir Francis Dashwood, | 0:47:15 | 0:47:19 | |
the house's most notorious occupant. | 0:47:19 | 0:47:21 | |
In the 1740s, Sir Francis, like many gentlemen of his age, | 0:47:24 | 0:47:28 | |
had gone on the Grand Tour, | 0:47:28 | 0:47:30 | |
a journey through Europe and across the Ottoman Empire, | 0:47:30 | 0:47:34 | |
and he fell in love with the culture of the classical world. | 0:47:34 | 0:47:38 | |
But there was something else. | 0:47:42 | 0:47:44 | |
Like many other young men of the time, | 0:47:44 | 0:47:46 | |
he also got his first taste of life away from his parents | 0:47:46 | 0:47:49 | |
and schoolteachers. Young and single, with money to burn | 0:47:49 | 0:47:54 | |
in romantic, exotic locations, | 0:47:54 | 0:47:57 | |
Dashwood clearly came to associate the civilisations | 0:47:57 | 0:48:00 | |
that he encountered with sexual freedom and behaviour | 0:48:00 | 0:48:04 | |
well beyond the bounds of polite society. | 0:48:04 | 0:48:08 | |
Sir Francis and others like him found sex and the classics | 0:48:10 | 0:48:13 | |
at one and the same time. | 0:48:13 | 0:48:16 | |
They conceived a vision of the ancient world as a sexual playground | 0:48:16 | 0:48:20 | |
they could imitate shockingly back home. | 0:48:20 | 0:48:24 | |
And, my goodness, he went for it. | 0:48:24 | 0:48:27 | |
He used to like to depict himself as a monk, | 0:48:27 | 0:48:30 | |
although rather than kneeling before God or the Virgin Mary | 0:48:30 | 0:48:34 | |
he'd be paying his respects to the goddess Venus Aphrodite. | 0:48:34 | 0:48:39 | |
It's not just a fantasy. | 0:48:41 | 0:48:43 | |
He formed, we're told, a monastic fraternity | 0:48:43 | 0:48:46 | |
of like-minded dilettantes, | 0:48:46 | 0:48:48 | |
who dressed as monks and held pagan-inspired orgies. | 0:48:48 | 0:48:53 | |
They'd meet twice a week, | 0:48:54 | 0:48:55 | |
on Wednesdays and Saturdays during parliamentary recess, | 0:48:55 | 0:48:59 | |
most of them were MPs, | 0:48:59 | 0:49:01 | |
to engage in orgiastic and hedonistic rituals. | 0:49:01 | 0:49:06 | |
Their motto was "fais ce que tu voudras". | 0:49:06 | 0:49:10 | |
"Do whatever you would like." | 0:49:10 | 0:49:12 | |
And outsiders can only begin to imagine what went on. | 0:49:12 | 0:49:16 | |
Every sacred rite of religion was profaned, said one. | 0:49:18 | 0:49:21 | |
There were rumours of women freely available to members. | 0:49:23 | 0:49:26 | |
Contemporaries knew them as the Hellfire Club. | 0:49:27 | 0:49:30 | |
For these public schoolboys, | 0:49:34 | 0:49:36 | |
wide-eyed with the sensuous pleasures of the Mediterranean, | 0:49:36 | 0:49:40 | |
Aphrodite was being reclaimed, | 0:49:40 | 0:49:42 | |
a patron of the pleasures of the flesh, | 0:49:42 | 0:49:46 | |
a gorgeous antidote to the dour repression of Christianity. | 0:49:46 | 0:49:50 | |
In the grounds of the park, | 0:49:57 | 0:49:59 | |
Dashwood actually erected his own Temple of Venus. | 0:49:59 | 0:50:03 | |
The room underneath it was said by one of the members to be oval, | 0:50:03 | 0:50:06 | |
in imitation of the female sex organs, | 0:50:06 | 0:50:10 | |
which gives you an idea what was really on his mind. | 0:50:10 | 0:50:13 | |
Now, you could argue that the goddess was being rehabilitated. | 0:50:16 | 0:50:20 | |
She's being revered once again, | 0:50:20 | 0:50:22 | |
and she is helping to spearhead a kind of sexual revolution. | 0:50:22 | 0:50:25 | |
There is a big part of me that thinks that the cult of Venus here | 0:50:26 | 0:50:30 | |
was really just a cover-up for something more mundane | 0:50:30 | 0:50:33 | |
and probably even sordid. | 0:50:33 | 0:50:36 | |
The men involved were politicians and academics and aristocrats. | 0:50:36 | 0:50:42 | |
And the women? | 0:50:42 | 0:50:43 | |
Well, they were call girls and courtesans and prostitutes. | 0:50:43 | 0:50:47 | |
I mean, this was hardly a paradise of free and equal love. | 0:50:47 | 0:50:51 | |
Although for some Aphrodite Venus was definitely once again | 0:50:52 | 0:50:56 | |
the subject of adoration, | 0:50:56 | 0:50:59 | |
I'm pretty sure also what she's doing here | 0:50:59 | 0:51:02 | |
is becoming an agent of exploitation. | 0:51:02 | 0:51:04 | |
With Venus as their figurehead, men like Dashwood across Europe | 0:51:07 | 0:51:11 | |
were indulging in their own kind of sexual liberation. | 0:51:11 | 0:51:15 | |
Venus was back on a pedestal. | 0:51:19 | 0:51:21 | |
But once more she'd become something to leer at. | 0:51:22 | 0:51:26 | |
In many ways, that is now Venus's diminished legacy... | 0:51:36 | 0:51:40 | |
..our own world's obsession with the naked female form. | 0:51:41 | 0:51:46 | |
It began with Botticelli. | 0:51:50 | 0:51:52 | |
Painted in the 1480s, | 0:51:53 | 0:51:55 | |
when classical subjects were coming back into vogue, | 0:51:55 | 0:51:58 | |
this imagining of Venus's Cypriot birth is, in many ways, | 0:51:58 | 0:52:02 | |
the birth of the modern nude. | 0:52:02 | 0:52:04 | |
Other gods and goddesses could be naked, | 0:52:07 | 0:52:09 | |
but Venus was the one who by her nature | 0:52:09 | 0:52:12 | |
was supposed to inspire desire and love. | 0:52:12 | 0:52:15 | |
That challenged artists to produce ever raunchier images. | 0:52:15 | 0:52:19 | |
Take this striking 17th-century painting. | 0:52:31 | 0:52:34 | |
There is Aphrodite Venus, a satyr and her son, Cupid. | 0:52:34 | 0:52:39 | |
But here Aphrodite has become available. | 0:52:39 | 0:52:43 | |
She's little more than a sex object, | 0:52:43 | 0:52:46 | |
with Cupid resting after picking off his mortal victims | 0:52:46 | 0:52:49 | |
with those poisoned arrows. | 0:52:49 | 0:52:51 | |
What has survived from the ancient world is her nakedness, | 0:52:53 | 0:52:56 | |
and that's a very tenacious part of her appeal. | 0:52:56 | 0:52:59 | |
Aphrodite might no longer be regarded as a goddess, | 0:53:00 | 0:53:04 | |
but she was still big box office. | 0:53:04 | 0:53:07 | |
The models from most of these paintings were courtesans, | 0:53:10 | 0:53:14 | |
and so the boundary between an image of Venus and one of a prostitute | 0:53:14 | 0:53:19 | |
was becoming increasingly blurred. | 0:53:19 | 0:53:21 | |
In Velazquez's painting, it's only the Cupid in the corner | 0:53:21 | 0:53:25 | |
that makes the distinction clear. | 0:53:25 | 0:53:27 | |
It was this salacious version of the goddess that angered and frustrated | 0:53:30 | 0:53:34 | |
the suffragette who slashed her painting | 0:53:34 | 0:53:37 | |
in the National Gallery in 1914. | 0:53:37 | 0:53:39 | |
It's a sad fate for a goddess who was originally a protector | 0:53:41 | 0:53:45 | |
and figurehead for women. | 0:53:45 | 0:53:47 | |
Women, long associated with the goddess, | 0:53:48 | 0:53:51 | |
it seems were turning against Aphrodite. | 0:53:51 | 0:53:54 | |
She'd become an object of political frustration, | 0:53:54 | 0:53:58 | |
rather than a subject of adoration. | 0:53:58 | 0:54:00 | |
But the story doesn't end there. | 0:54:06 | 0:54:08 | |
The Venus of sculptures and painters might have become a cipher | 0:54:09 | 0:54:13 | |
for men's fascination with the female body, | 0:54:13 | 0:54:16 | |
but if you know where to look you can find places where Venus, | 0:54:17 | 0:54:21 | |
the sacred figure, has found a way to live on. | 0:54:21 | 0:54:25 | |
In Cyprus, every Easter a festival takes place. | 0:54:34 | 0:54:38 | |
On Good Friday, the women of the community get together and pick | 0:54:42 | 0:54:45 | |
flowers to decorate an empty bier for the crucified Christ, | 0:54:45 | 0:54:49 | |
in the hope that he'll be resurrected on the third day. | 0:54:51 | 0:54:54 | |
But it's a festival that doesn't have its origins in Christianity, | 0:54:56 | 0:55:01 | |
because the women of Cyprus were doing the same thing | 0:55:01 | 0:55:05 | |
for another hero centuries before Christ's birth and death. | 0:55:05 | 0:55:10 | |
Aphrodite, as you may recall, had fallen madly in love with Adonis, | 0:55:13 | 0:55:19 | |
but her passion was unrequited. | 0:55:19 | 0:55:22 | |
And then, to boot, he was gored to death by a wild boar. | 0:55:22 | 0:55:26 | |
Desperate, running to him, thorns tore at her skin as she passed, | 0:55:28 | 0:55:33 | |
colouring roses red. | 0:55:33 | 0:55:35 | |
And then she in turn transformed his blood into anemone flowers. | 0:55:35 | 0:55:40 | |
Wailing and tearing at her chest in distraction, | 0:55:41 | 0:55:45 | |
the intensity of her passion brought Adonis back to life. | 0:55:45 | 0:55:49 | |
And this was a story that was remembered | 0:55:49 | 0:55:51 | |
across the classical world in a yearly festival called the Adonia. | 0:55:51 | 0:55:54 | |
Women would make a wooden image of Adonis, put it on a wooden plank, | 0:55:55 | 0:55:59 | |
and then decorate it in flowers in the hope that they would bring it | 0:55:59 | 0:56:03 | |
back to life. They would wail and beat at their chests | 0:56:03 | 0:56:06 | |
in sympathy with Aphrodite. | 0:56:06 | 0:56:09 | |
When Christianity came to Cyprus, | 0:56:10 | 0:56:13 | |
these themes of resurrection and new life were translated | 0:56:13 | 0:56:16 | |
into the Easter rituals. | 0:56:16 | 0:56:19 | |
So, in many ways the spirit of Aphrodite still lives on. | 0:56:19 | 0:56:24 | |
If Adonis has become Jesus, then Aphrodite, | 0:56:26 | 0:56:30 | |
the divine woman who mourned him, is now the Virgin Mary. | 0:56:30 | 0:56:34 | |
A church to Mary, All-Holy even stands on the site | 0:56:37 | 0:56:39 | |
of the ancient temple to Aphrodite, all-powerful Queen of Heaven. | 0:56:39 | 0:56:44 | |
The goddess has influenced so many archetypes we have of womanhood | 0:56:47 | 0:56:51 | |
today, from the seductive temptress, | 0:56:51 | 0:56:56 | |
even in some places to the Madonna herself. | 0:56:56 | 0:56:59 | |
Whatever we call her, Venus, Aphrodite, Ishtar or Inanna, | 0:57:10 | 0:57:16 | |
somehow this goddess remains alive in our minds, | 0:57:16 | 0:57:19 | |
a figure that embodies for us those feelings inside | 0:57:19 | 0:57:23 | |
that draw us to one another and that pull us apart. | 0:57:23 | 0:57:27 | |
It seems to be a human need, to dwell on and to hold in awe | 0:57:31 | 0:57:36 | |
that immortal, beguiling force that drives us as humans. | 0:57:36 | 0:57:42 | |
The men and women of the ancient world understood | 0:57:49 | 0:57:52 | |
that desire was complex, dangerous, hugely powerful | 0:57:52 | 0:57:57 | |
and worthy of respect. | 0:57:57 | 0:57:59 | |
We insult desire's divine incarnation | 0:58:00 | 0:58:03 | |
if we reduce Venus Aphrodite merely to a patron of physical love. | 0:58:03 | 0:58:09 | |
Instead we should remember, as the ancients did, | 0:58:09 | 0:58:12 | |
that desire is transformative, and not always in a good way, | 0:58:12 | 0:58:18 | |
and that it's down to us to make desire our ally, | 0:58:18 | 0:58:22 | |
not our undoing. | 0:58:22 | 0:58:25 |