Helen of Troy: Beauty, Myth, Devastation by Ruby Blondell (review)

This is a welcome study of the most charismatic and at the same time the most enigmatic character in all of Greek literature. We call this person Helen of Troy but we should more correctly call her Helen of Sparta, since Sparta was in fact her home. We could also call her Helen of Egypt since, according to one ancient story, she was never in Troy at all but was sequestered in Egypt while the Greeks and Trojans fought for ten years over her mere image (her eidōlon). This ambiguity about where Helen belonged is but the topmost layer of the aura of perplexity surrounding this famous persona.

Blondell’s first chapter, “The Problem of Female Beauty,” gives us the social context in ancient Greece as a necessary introduction to Helen’s place in Greek literature. The problem of beauty versus character was deeply inscribed in the very definition of every female. Several strong women in ancient Greek myth represent the problem from one aspect or another, but Helen somehow embodies all various problems in a single person.

In her second chapter, Blondell examines the mystery of Helen as the daughter of Zeus. Whether she was a human or a goddess is an issue never resolved. In fact, she was both. Helen seems to be the only figure in ancient Greek burdened with this dubious privilege. The inability of the Greek imagination to resolve this problem affects Helen with layer upon layer of duplicity.

In the subsequent chapters, Blondell examines Helen’s place in the literary works of ancient Greece, with one chapter on the Iliad, one on the Odyssey, then a series of chapters on Helen in archaic lyric, in Aeschylus, Herodotus, Gorgias, Euripides, and finally in Isocrates. This is an excellent compilation of the various Helens into a single study, showing the perennial problem that Helen presented to the Greeks, in genre after genre, century after century.

Probably readers will be most interested in Blondell’s two chapters on the Helen in the Homeric epics, since they focus on the Helen who has captured the imagination of generations of readers over many centuries. Blondell gives us a very supple reading of this Homeric Helen. The Helen of the Iliad and the Odyssey is a veritable kaleidoscope of personas. She makes several appearances in both poems, and other characters make pejorative allusions to her. Most of her appearances are in brief episodes and in every episode she seems a different person. We might suppose this was a synthetic persona compiled from several Helens and over several centuries in the oral culture. But so skillfully is this chameleon-like character fitted into the Homeric narratives that we are convinced that she is indeed one and the same person through all the paradoxes and contradictions that are made essential to her character.

Blondell’s two chapters on Euripides’ representation of Helen may be the most interesting to readers after her chapters on Homer, since Euripides’ two plays, Trojan Women and Helen, are the only occasions after the epic when Helen is given her own voice. In the Iliad, whenever she speaks Helen excoriates herself. In Euripides’ Trojan Women, however, Helen is given to speak in her own defense. The Trojan women—Hecuba, Cassandra, Andromache—are first given their voice to vent their hatred of Helen and then Helen herself appears to plead her case, nearly 900 lines into the play.

Helen’s speech, addressed to her husband and countering all the arguments of the women, is staged as if she were the defendant in a court of law of fifth-century Athens. Her arguments, Blondell writes, are an “intellectually and morally vacuous tissue of sophistries” (195). Even so, the Trojan women’s charges against Helen cannot prevail against her charisma. Helen will be victorious, “not because of her sophistic arguments but in spite of them” (197). This play, she writes, “dramatizes the conquest of rational speech by the...