| Phalanx Φάλαγξ | |
|---|---|
| In-universe information | |
| Species | Human, then spider |
| Gender | Male |
| Significantother | Arachne |
| Relatives | Idmon ? (father) Arachne (sister) Closter (nephew) |
| Birthplace | Attica |
| Source | Scholia |
Phalanx (Ancient Greek:Φάλαγξ,romanized: Phálanx,lit. 'spider') is a minor Attic figure inGreek mythology who features in a lesser-known narrative of the myth ofArachne, the girl who enraged the goddessAthena by boasting of being a better weaver than her and was thus transformed into aspider by Athena. In this version of the story, Phalanx is Arachne's brother, and they are both punished by the goddess when they break a societal taboo.
Phalanx does not appear in the version where Arachne challenges the goddessAthena to a weaving contest, which is the most known version of the myth involving Arachne and spider metamorphosis.
InLiddell & Scott the ancient Greek feminine nounφάλαγξ, usually used to mean thephalanx (a clustered mass of infantry),[1] can refer among other things to beams, the bone between joints in fingers and toes, round pieces of wood, trunk or logs and generally beam-shaped objects (like a spider's legs).[2]
It is related to the wordφαλάγγιον (phalángion, literally 'little phalanx') which is the ancient Greek word for the venomousbarrel spider.[3][4] Pliny usedphalangium for the daddy-long-legs.[5] According toRobert Beekes the ending formation in-nx (also found in the wordsφάραγξ,σῆραγξ, andφάρυγξ) points to apre-Greek origin for the word.[6]
Phalanx was the brother ofArachne, thus possibly the son of Arachne's fatherIdmon, a famous purple dyer fromColophon, however Idmon appears in the Lydian versions, which do not include Phalanx. Through his sister he had a nephew namedCloster ("spinner", the son of spider).[7]
In the most known and traditional version of the tale, recorded inOvid'sMetamorphoses, theLydian maidenArachne is the (apparently brotherless) child of Idmon. An exceptional Tyrian purple dyer and weaver, she boasts of being even more talented thanAthena, the goddess of weaving.[8] The goddess appears to her as an old woman, and advises her to respect the gods, but Arachne challenges Athena to a weaving match.[9] Although Arachne's weaving work is without a flaw, Athena is enraged at its subject, as Arachne wove the male gods seducing and tricking mortal women. Athena rips the work to shreds, and Arachne in distress hangs herself. In pity, Athena changes her into a spider, so she can live again, and still practice her art.[10]
But in a much more obscure version, saved by ascholiast onNicander and attributed to Theophilus, a writer of the school ofZenodotus who lived during the third century BC,[11] Arachne was an Attic maiden instead who had a brother named Phalanx.[12] Athena taught Phalanx the art of war, and Arachne the art of weaving.[13][14] But when the two siblings engaged in an incestuous relationship and lay with each other, they disgusted Athena, who turned them into "animals doomed to be eaten by their own young,"[15][16] presumably spiders given the more popular tale and the meaning of Phalanx and Arachne's names.[17][18][19]
Ovid's original Greek source for this tale remains unknown;[20] it is known that he drew a lot from Nicander's now lost works for hisMetamorphoses, but if he had heard of this twist in Arachne's character, he chose to omit it. Perhaps he did so because that particular version of the myth might not have been familiar enough among a predominately Roman audience.[18] That being said, there is no evidence to suggest that Nicander himself knew about this version either.[11]
ScholarSarah Iles Johnston suggested that Ovid might have opted to use a Lydian myth, or perhaps one he made up himself, because in his version Arachne's punishment is directly linked to the weaving of textiles, a form of art that was already in antiquity a metaphor for storytellers, which is how Ovid presents himself in theMetamorphoses. It seems that his narrative of Athena and Arachne's combat serves as a meta-commentary on his own writing. Meanwhile, their tapestries gave Ovid another opportunity to include even more myths of transformation in the text.[21]
This tale, typical of the sort of Nicander's myths thatAntoninus Liberalis collected, explains how a particular animal came to be from a transformed human, but also how some of said animals' most prominent features mirror the behaviour exhibited by the humans before their eventual transformation.[22] The mainaition of this story is the explanation for the old common belief that spiders eat their mothers.[16] Unlike Ovid's telling, which places Arachne inAsia Minor, in this version she is given a home inAttica. This is probably because, whilephalangion was used everywhere to mean 'spider', the non-diminutive formphalanx was applied to spiders only in Attica.[22]
In the story, Phalanx serves as a failed representative of Athenian young men, just as Arachne is a failed representative of Athenian maidens and their potential; weaving and military skills were seen as the proper pursuits for youth of each gender, as was a properly controlled sexual urge. Phalanx and Arachne fail not because of any lack of skill on their parts, but rather because they could not control themselves.[23]
The male sibling being taught about the craft of war provides an aetiological connection to thephalanx (as in the military formation), while the female one being instructed in the art of weaving provides a similar connection to spiders weaving their webs.[11] Salzman-Mitchell suggested that perhaps the moral of this myth is that masculine arts (war) should not be mixed with feminine ones (weaving).[18]
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