Why was Astour’s work considered so...offensive? First, it offended at a formal level, because it challenged… — Martin Bernal
Why was Astour’s work considered so...offensive? First, it offended at a formal level, because it challenged the academic hierarchy; this was a reflection of the relative power of the two disciplines. Although Classicists had previously discussed Eastern parallels to Hellenic mythology, it was entirely different and unacceptable for Orientalists to pronounce on Greece.There were also fundamental objections to the content of Astour’s work. Scholars like Fontenrose and Walcot had made broad sweeps of world mythology – including India, Iran and so on – and they gave preference, if possible, to the less offensive sources. By contrast, Astour’s derivation of Greek names from Semitic not only poached on the sacred ground of language, but also made the connections between West Semites and Greeks disturbingly close and specific. Furthermore, two of the myth cycles he treated – those of Kadmos and Danaos – were concerned with Near Eastern colonization in Greece, and he made a plausible case for their having a historical kernel of truth. The fourth section of Hellenosemitica was even more provocative in that it went into the sociology of knowledge, and its sketch of the history and ideology of Classics and Classical archaeology has been the basis of all later writings on this subject, this volume included. In doing this Astour injected relativism into subjects that had previously been impervious to the forces of probabilism and uncertainty that have transformed other disciplines since the 1890s.
p. 420Source: Wikiquote · CC BY-SA 4.0
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The same social and intellectual forces that had brought down the Ancient Model in the 1820s were even more intense in the 1840s and 50s, and they clearly played a role in the increasingly ‘northern’ picture of Ancient Greece that developed in the late 19th century. At the same time, the sense that only 19th-century men knew how to think ‘scientifically’ gave the – mainly German – scholars the confidence both to dismiss ancient descriptions of early Greek history and to invent new ones of their own without any regard to the Ancients.
p. 441
The Greek War of Independence...united all Europeans against the traditional Islamic enemies from Asia and Africa.This War – and the philhellenic movement, which supported the struggle for independence – completed the already powerful image of Greece as the epitome of Europe. The Ancient Greeks were now seen as perfect, and as having transcended the laws of history and language. Thus it was now thought profane to study any aspect of their culture as one would the culture of other peoples. Moreover, with the rise of a passionate and systematic racism in the early 19th century, the ancient notion that Greece was a mixed culture that had been civilized by Africans and Semites became not only abominable but unscientific. Just as one had to discount the ‘credulous’ Greeks’ stories about sirens and centaurs, so one had to reject legends of their having been colonized by inferior races. Paradoxically, the more the 19th century admired the Greeks, the less it respected their writing of their own history.
p. 441
This view of Egyptian religion played a central role in the two major ‘novels’ of the 2nd century AD, Heliodoros’ Aithiopika and Apuleius’ Metamorphoses or The Golden Ass. In his morally elevating and romantic story with a beautiful and virtuous Ethiopian – but not black – heroine, Heliodoros expressed great admiration for the Ethiopians and their gymnosophists (naked philosophers or gurus), but Aithiopika is focused on Egypt and the moral superiority of its religion. It also stresses the passionate interest taken in it by Greek priests, who saw it as the key to their own cults. When talking about the priests of Delphi bombarding a visiting Egyptian with questions, the author wrote: "In short, they forgot none of the interesting features of Egypt, for there is no country in the world which Greeks prefer to hear about."
p. 119
