One of my favorite ancient Greek songs is a choral ode by Sophocles from his Antigone. Following typical naming conventions using the first words, it’s called ‘Polla ta deina,’ ‘Many the Terrible Wonders.’
I’ve realized that what I love about this is that it’s a narrative for the Anthropocene, composed over 2,400 years ago.
Text and Translation
πολλὰ τὰ δεινὰ κοὐδὲν ἀν-
θρώπου δεινότερον πέλει.
τοῦτο καὶ πολιοῦ πέραν
πόντου χειμερίῳ νότῳ
χωρεῖ, περιβρυχίοισιν
περῶν ὑπ᾽ οἴδμασιν, θεῶν
τε τὰν ὑπερτάταν, Γᾶν
ἄφθιτον, ἀκαμάταν ἀποτρύεται,
ἰλλομένων ἀρότρων ἔτος εἰς ἔτος,
ἱππείῳ γένει πολεύων.
κουφονόων τε φῦλον ὀρ-
νίθων ἀμφιβαλὼν ἄγει
καὶ θηρῶν ἀγρίων ἔθνη
πόντου τ᾽ εἰναλίαν φύσιν
σπείραισι δικτυοκλώστοις,
περιφραδὴς ἀνήρ· κρατεῖ
δὲ μηχαναῖς ἀγραύλου
θηρὸς ὀρεσσιβάτα, λασιαύχενά θ᾽
ἵππον ὑπαγάγετ' ἀμφίλοφον ζυγόν
οὔρειόν τ᾽ ἀκμῆτα ταῦρον.
καὶ φθέγμα καὶ ἀνεμόεν
φρόνημα καὶ ἀστυνόμους
ὀργὰς ἐδιδάξατο, καὶ δυσαύλων
πάγων ὑπαίθρεια καὶ
δύσομβρα φεύγειν βέλη
παντοπόρος· ἄπορος ἐπ᾽ οὐδὲν ἔρχεται
τὸ μέλλον· Ἅιδα μόνον
φεῦξιν οὐκ ἐπάξεται,
νόσων δ᾽ ἀμηχάνων φυγὰς
ξυμπέφρασται.
σοφόν τι τὸ μηχανόεν
τέχνας ὑπὲρ ἐλπίδ᾽ ἔχων
τοτὲ μὲν κακόν, ἄλλοτ᾽ ἐπ᾽ ἐσθλὸν ἕρπει·
νόμους γεραίρων χθονὸς
θεῶν τ᾽ ἔνορκον δίκαν
ὑψίπολις· ἄπολις ὅτῳ τὸ μὴ καλὸν
ξύνεστι τόλμας χάριν·
μήτ᾽ ἐμοὶ παρέστιος
γένοιτο μήτ᾽ ἴσον φρονῶν
ὃς τάδ᾽ ἔρδει.
Many the terrible wonders but nothing as
man is more wondrously terrible.
This one across even the gray
sea moves with the stormy south
wind, crossing beneath
engulfing swells, and of the gods
the highest, Gaia
inexhaustible untiring, he wears her down,
his plows moving to and fro year after year,
turning her over with the equestrian tribe.
The light-minded tribe of birds
he carries off ensnaring them
and the races of wild beasts
and the marine life of the sea
by the net's meshy coils,
exceptionally clever man: he rules
with contrivances the field-dwelling
mountain-roaming beast; the shaggy-necked
horse he leads under the neck-encompassing yoke
along with the unwavering mountainous bull.
Both speech and breezy
thought and city-ordering
passions they taught each other, and to escape
the open air of inhospitable frosts
and stormy shafts,
all-resourced; resourceless, he comes to naught,
no future. From Hades alone
will he procure no escape,
yet an escape from irremediable sickness
he’s contrived.
Holding the ingenuity of invention
as something clever beyond expectation,
now to the bad he goes, other times to the good.
Reverencing the laws of earth’s surface
and the oath-bound justice of the gods,
he is high in his city; uncitied, he shares in
the no good thanks to daring.
May he not be my hearthmate
nor think equal with me,
whoever does this.
Commentary
deina: the adjective denotes a terrifying but awe-inspiring quality, like when Galadriel temporarily looses her cool in The Fellowship of the Ring, ‘and in her place, you shall have a queen more beautiful and terrible…’ She turns deinē there. Just so our works are a marvel to behold, and yet the terrible costs of our contrivances are only just beginning to come due.
Overall, Sophocles is laying out a narrative of humans taking power over Gaia, just as Hesiod’s Theogony tracks the redistribution of power from Gaia into the order established by Zeus in which we live.
The sea was a barrier overcome millennia ago and from there things have devolved into the present moment—‘exceptionally clever man’.
Textiles: In Women’s Work: The First 20,000 Years: Women, Cloth, and Society in Early Times [publisher link], Elizabeth Barber argues, persuasively, that weaving and the other textile arts were every bit as impactful as crop/livestock domestication, if not more so. She calls it the String Revolution. Sophocles attests to that here: by means of woven nets we learned to trap the animals of the sea, the sky and the earth’s surface. Some we ate, others we tamed, and for those we tamed we built further contrivances to harness their capacities for our benefit.
Culture is one of our most impactful tools, that which education produces in youth. K-12 is not so much about picking up essential skills as it is about learning to get on within the world as it is at any moment. The facts imparted are not the end themselves; they are the means. The end goal is incorporation within a community, in fact the perpetuation of the community through its youth.
Pantopóros and áporos both come from póros a ‘path’ or a ‘way.’ Áporos is the a-privative + póros, ‘without a way,’ and pantoporos is pant– ‘all’ + póros, so ‘with all ways.’ Póros takes on a figurative meaning, ‘means’ or ‘resources,’ which is also in play in Sophocles’ song. To be áporos is still to this day called aporia, as in ‘I’m in aporia about…,’ meaning I’m at a total loss about something; I’m stumped, baffled, flummoxed.
Notice the juxtaposed opposites in the third and fourth strophes: pantopóros and áporos answered in the antistrophe by hypsípolis and ápolis, which are both curious compound forms. Hypsi– means ‘lofty’ and polis means ‘city’ (typically regarded as the community of people and the relations between them), so together they describe a lofty-city’d person, someone held in high repute within their community. Apolis means the opposite: a person without a community, an outcast.
These pairs are nearly synonymous: a well-resourced person is invariably regarded as well-positioned within their community; just as the person without community is truly without resources.
While the final line of the translation is hopelessly anticlimactic, ‘whoever does this,’ there is a sort of appropriate power in the original Greek: at the end of this song of humanity the final word is érdei, ‘does’ ‘acts’ ‘works,’ it is the verbal form of érga, ‘works,’ as in ‘the works of Athena,’ those products of her craft that are characteristic of the goddess. Just as we tend to prefer what someone does rather than what they say to form a conception of who they are, so our érga, our ‘works,’ are useful characterizing tools. It is the verb of our species: we are ‘doers.’ Moreover this line answers ‘he’s contrived’ at the end of the previous strophe, xumpéphrastai, expressive of a cunning, contriving, strategic thinking. These are our gifts.
The same idea is found in Aeschylus’ Choephoroi (585-652) and Homer’s Odyssey (18.130-137), both begin with the same construction ‘nothing is more X than humans.’ More to come on these.
When did the Anthropocene begin?
Shifting into a new geological epoch [The Guardian] in our earth’s history is no small thing. Previously we were in the Holocene, but the scale of human-induced change is so huge at this point that it has become part of the geological record as a distinct shift.
But there is a bit of controversy here [Nature]: When did the Anthropocene begin? [Scientific American] Was it the late 1800s when we began industrializing with fossil fuels? Or was it farther back? Or is this new epoch only a few decades old, when the effects in the geological record began to appear unambiguously—perhaps with the Trinity Test (July 16, 1945)?
There is a case to be made for tracing it back many millennia. For the perfect example, look to the area currently called Iraq: this was once a lushly fertile place. But the land was salinated over several centuries by farmers greedily irrigating their fields with salty water, because the two great rivers, the Tigris and the Euphrates, carry salt in their water picked up in Türkiye and Northern Iraq, and then that water was spread across the once-fertile crescent. Now it is desert.
And lest you think they didn’t know what they were doing, the anthropologist who spoke of this years ago during a seminar I’d attended emphasized that these farmers knew what was happening because they kept expanding their fields to make up for reduced harvests.
Likewise, long ago around Jericho there was once a massive pine forest, but the residents decided that they needed to whitewash their walls every year. To melt down the lime for that you need tremendous heat, and to get that heat they burned an ancient forest, log by log. What is happening in the Amazon now shows us that there is a tipping point beyond which a forest cannot recover, something we are also witnessing in North American forests that have been appropriated into urban areas.
These actions altered the ecology of entire regions. Do they not count toward the Anthropocene?
Surely there is a case to be made in favor of thinking that the entire swath of human history since the settlement in Mesopotamia, along the Indus River, and along the Yellow River in China, counts for the beginning of the Anthropocene. But I think it is a weak case in the end.
Yes, there are tremendous examples of humans altering their regions, but never until the 1880s when we began to burn coal at an industrial scale has our species altered the entire planet and every system at every scale along with it. Burning fossil fuels at this scale has radically changed the foundations of our climactic systems such that even the least connected tribe cannot but notice the changes.
Geological-scale alterations have tended to play out very slowly, imperceptibly, but now change is occurring over the course of a single generation’s lifetime. If you grew up in the 60s or 70s, you grew up in an impossibly different climactic regime from your children. You knew stability. You knew a world so stable that you never had to try to imagine any part of it changing; that natural world seemed like it would always be there as the background of your life. Even I, growing up in the 90s, knew the last vestiges of the Holocene’s stability. We are so far from even that world I knew only a few decades ago; we are exponentially farther still from the world known three decades before that.
So at least the debate is correctly focused between the 1880s and the (near-)present. The search for any earlier anthropogenic change is not only folly but furthermore serves to excuse the tragic errors of the last 140 years—unbelievable as it is that we’ve been on this planet for hundreds of thousands of years but in only the last 140 years has a portion of our species, namely industrial capitalists (we must name the Devil for what it is), single-handedly destroyed the systems that sustained us.
By the way, there’s another more specific term in circulation: Homogenocene, the epoch of homogeneity, i.e. the epoch of the monoculture and the biodiversity loss that entails. [Link to lecture by Charles C. Mann]
Ingenuity and Community
I’m struck each time I come back to this song by what Sophocles has to say about ingenuity. He’s right. Our own belief in our ingenuity will be our undoing if we are not more critically thoughtful about things.
Holding the ingenuity of invention367-369
as something clever beyond expectation,
now to the bad he goes, other times to the good.
Because you found a way to do something, does that mean you ought to do it exactly that way every time from then on? Obviously not. Yet we have been, and there are no signs of change: the so-called ‘green revolution’ has proven to be every bit as destructive as those other previous ‘revolutions.’ Lithium mining and processing [The Guardian]. Bauxite mining and processing [The Washington Post]. Mining this and mining that, like common dragons. May we only cling to the good, learning to recognize the bad when we see it.
On a final note, Sophocles ends this song at our present need: community. We are a communal species incapable of solitary existence. But our communities are not merely of mortal humans. In La vie des images grecques [publisher link], Tonio Hölscher introduces the idea of ‘conceptual communities,’ incorporating not only gods but also ancestors and heroes, all present through artistic representations alongside living mortal humans. To that list I would include also the other life around us, the other animals and plants and fungi. But anyway it is interesting that Sophocles is making a communitarian claim at the end of his song, connecting actually back to the tragedy around it, in which a solitary girl defies a new authoritarian ruler who conducts himself as if he were the community while the community itself silently supports that lone girl, who is after all only doing what is right according to the gods’ laws, which naturally supersede any human edict. His song also reminds us that our strength is our numbers. “Resourceless he comes to naught.”
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