{"id":2149,"date":"2024-10-16T14:29:40","date_gmt":"2024-10-16T18:29:40","guid":{"rendered":"https:\/\/trasatlantica.org\/?page_id=2149"},"modified":"2024-11-13T10:25:01","modified_gmt":"2024-11-13T15:25:01","slug":"yordan-arroyo-carvajal-in-english","status":"publish","type":"page","link":"https:\/\/trasatlantica.org\/?page_id=2149","title":{"rendered":"Yordan Arroyo Carvajal (in English)"},"content":{"rendered":"\n
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GREEK MYTHS AS INTERNAL STRUGGLE: NANCY BANARD <\/strong><\/strong>
AND HER YORUBA MEDEA<\/strong> <\/strong><\/h2>\n\n\n\n

Yordan Arroyo Carvajal1<\/a><\/sup>
University of Salamanca
https:\/\/orcid.org\/0000-0002-2509-4918<\/a><\/mark><\/p>\n<\/div><\/div>\n<\/div><\/div>\n\n\n\n

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ABSTRACT<\/strong><\/p>\n\n\n\n

This article develops an analysis, from the perspective of an active reader, of the mythological figure of Medea in the dramatic monologue \u201cMedea: lev\u00e1ntare y anda” (2022) by the writer Nancy Banard. It takes into account the profession of the author, who is a psychoanalyst, her Afro-Costa Rican origins, her reading of Alberto Medina Gonz\u00e1lez\u2019s translation (1977 \/ 1991) of Euripides\u2019 Medea <\/em>and his particular interest in intercultural horizon since his first book Canci\u00f3n negra para ni\u00f1as de cuna (2019), for universal mythopoetics, as such issues have repercussions in the construction of her Yoruba Medea. As part of the results, this new Medea in Hispanic American poetry responds to the most recent literary aesthetics of ethnic vindication and arises from a dialogue between Yoruba, Haitian voodoo, and Judeo-Christian religions, and the reconstruction and use of specific passages of the Euripidean tradition (Med.<\/em>, v. 166-167; v. 187; v. 1342; vv. 1378 ff; v. 1407, ed. 1995), such as filicide, fratricide, the comparison of the princess of the Colchis with a lioness, her statelessness and her flight in a winged car.  
Keywords: Medea, Euripides, African religions, interculturality, classical receptions.<\/em><\/p>\n<\/div><\/div>\n<\/div><\/div>\n\n\n\n

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Introduction<\/strong>

Nancy Banard (b. 1974) is a writer of African descent whose poetic work engages a dialogue between her profession as a psychoanalyst and her interest in ethnic reclamations, among them, the Yoruba religion. From this perspective, her texts reveal her interest in several universal myths, such as the case of her dramatic monologue \u201cMedea: get up and walk\u201d (2022), to which, in this essay we aim to apply the concept of kataphig\u00e9<\/em>, proposed by Arroyo (2024) and originally formulated in Plato\u2019s Phaedo <\/em>(99e). Through this verb kataphe\u00edgo<\/em>, we can observe an internal struggle that seeks refuge through the logic of those who fight against their shadows. In Arroyo\u2019s analysis, Medea, the poetic voice in M\u00eda Gallegos\u2019s poem \u201cLa voz que conduce el coche\u201d (1983), functions as an alter ego that represents personal growth or spiritual transcendence, similar to what happens in the dramatic monologues of Nancy Banard (2022) and \u201cMedea\u201d (2002 \/ 2005) by Claribel Alegr\u00eda. In this regard, Claudia Botero attests to this statement in the first pages of El tigre y el Pavo Real <\/em>(a collection of poems written by two authors and from which the text I analyze here is extracted): <\/p>\n\n\n\n

poetry serves to speak peacefully of the war that exists in our subconscious and to give light and presence to the mother of all darkness that inhabits us […] This war has been forged for millennia, so we must be warriors to confront it […] Both the darkness and light must coexist inside of us. Both Eros and Thanatos or Ying and Yang in perfect conjugation and harmony. (p. 6)<\/p>\n\n\n\n

It is precisely this internal struggle against the shadows that is visible in Banard\u2019s dramatic monologue, in which she uses the disguise of the Princess of the Colchis in a quite unique rewriting of the traditionally known versions of Medea in Hispanic literature2<\/a><\/sup>:<\/p>\n\n\n\n

Medea: get up and walk<\/strong><\/p>\n\n\n\n

What would become of a sorceress
without the alchemy of resurrection 
-Nana kept telling me, 
while forming a circle 
of black pepper with the broom. 

She spread the ashes of eggshells,
and sang:
Blood moon
distills the crows,
soaked in mud
the feet of the corpse.

Old bodies 
with new robes, 
awaken the bones
from the bottom of the sea.

Nana was spitting alcohol that stoked 
the fire of the circle,

as she repeated:
\u201cUnder the unholy land of Nod,
a woman is always marginal
until she ceases to be,
a woman is always stateless
until she ceases to be.\u201d
No Black woman of mine killed her daughter!
She roared.

I collapsed to my knees, 
so that she would know that I was not hiding 
a single truth.

Euripides lies, \u2014 I shouted \u2014, 
Cain\u2019s tongue,
Abraham\u2019s dagger.

Nana,
three lifetimes ago I cut off the hands 
of a man who took me by force 
while I plucked a chicken.
I spit in the face of he who wanted to 
tie my body to a mast at dawn. 

It is true,
I abandoned my father 
after he abandoned me
during the closed pain of the hours.
I killed my brother 
after he sold me three times 
for the golden fleece, 
in a brief sunset.

But my daughters,
I have filled their hair with basil,
of coconut oil and honey.
Pure ginger kisses
tobacco prayers.
Coffee, coconut
and all of Jezebel\u2019s stories.

It was Jason, my God!
He took my life.

Nana looked at Oya\u2019s buffaloes in my pupils,
three times he slammed his staff against the wall.

She bellowed in her tongue the names 
Osh\u00fan 
Yemany\u00e1
Erzulie Dantor
Babba Yaga
Lilith
Kali
And finally San Jos\u00e9.

No Black woman of mine killed her daughter! 
She roared

Light and Sun,
that slept between
the pepper circle on fire
and the dark silken swamp,
they took a big deep breath,
they spit fish out of their eyes, nose and mouth.

Talitha Cumi!
Nana Buruku
She howled.

The three of us left in a carriage
with an inscription that read… 

\u201cMedea:
Never trust again,
in the Father
nor in his Son 
nor in the Holy Spirit, Jason.\u201d 
Amen.<\/p>\n\n\n\n

In: El tigre y el pavorreal, <\/em>2022, pp. 14-16.<\/p>\n\n\n\n

The reconstruction of archetypes through Yoruba religion.<\/strong><\/p>\n\n\n\n

One of the most noteworthy aspects of Nancy Banard\u2019s poem \u201cMedea: Get up and walk\u201d (2022) is the reconstruction of certain archetypes within the narrative frameworks around the myth of Medea that were considered canonical prior to the 20th century, and whose uses, many of which can be found in Hispanic American poetry, are particularly hybrid or mestizo (formation of diasporas). Since approximately 1960 (Miranda, 2014), contemporary works establish relations or dialogisms between Greek, pre-Hispanic, African, and Christian cultures in different contexts. Also, as argued by Arroyo (2024), from the 1980s onwards, the incorporation of elements of mass culture linked to this myth increases: the \u201cVII\u201d tarot card (esotericism), real-life scenarios (Medea syndrome) or allusions to it in films, such as Danish filmmaker Lars Von Trier\u2019s magnificent creation in 1988 and its appearance in the poem \u201cMedea, the adaptation of Lars von Trier\u201d (2015) by the Argentine poet Tania Ganitsky.  <\/p>\n\n\n\n

Regarding the influence of Christianity, starting from the title of the poem there is a direct reference to the Gospel <\/em>(22-23):<\/p>\n\n\n\n

But Jesus, knowing their thoughts well, answered them, saying, What are you thinking in your hearts? Is it easier to say: \u201cYour sins are forgiven,\u201d or to say, \u201cGet up and walk<\/em>\u201d? And well! May you know that the Son of Man has authority on Earth to forgive sins – he said to the paralyzed person: I say to you: get up, take your stretcher and go home (emphasis added).  <\/p>\n\n\n\n

This reference, rather than responding to the Judeo-Christian context as commonplace, is reformulated within the paradigms of the Yoruba religion, a space in which Banard seems to manage finding refuge, or \u03ba\u03b1\u03c4\u03b1\u03c6\u03c5\u03b3<\/em>\u03ae. For this reason, it is necessary for an active reader to have previous knowledge about the Aw\u00f3 <\/em>religion (referring to the unknown and mysterious world), which, although it resists and persists today, is one of the most attacked belief systems by Christianity and Islam3<\/a><\/sup>.<\/p>\n\n\n\n

The ideas explained above help us understand v. 1 of Banard\u2019s poem, in which we can identify one of the main archetypes of Medea, that of sorcery, which is reinforced previously by Pindar in Pythias <\/em>(IV)4<\/a><\/sup>. From the first stanza of this Costa Rican text, through the rhetorical device of the question, the negative connotations around magic aim to be reverted to African cosmovisions: \u201cWhat would become of a sorceress5<\/a><\/sup> \/ without the alchemy of resurrection (2022, vv. 1-2). This question is articulated by Nana, a goddess of the Yoruba religion6<\/a><\/sup> who is typically known as the great mother or grandmother. Therefore, in line with the contributions of Lleonart, Thompson, B\u00e1rcenas and Llorente (2014) -although they do not mention her explicitly-, she can be considered a kind of Orisha<\/em>: an expression of Olodumare <\/em>and a good force of nature that is part of the Yoruba pantheon. In fact, each person has their own Orisha<\/em> that is in charge of marking their identity. Nana represents the most important mechanism of \u03ba\u03b1\u03c4\u03b1\u03c6\u03c5\u03b3\u03ae <\/em>in Banard\u2019s poem, because she serves as a motif to expel her version of Medea (the author\u2019s beneficent alter ego) from the shadows. <\/p>\n\n\n\n

According to Fernandez (2008), the elders are the bridge of communication between orun <\/em>(the world of spirits and divinities) and society. In addition, magic is very important in African religions, for without it there would be no communication between humans and nature: an expression of Olodumare<\/em>. In turn, it allows the development of the Iwa Pel\u00e9, <\/em>which is achieved by:<\/p>\n\n\n\n

practicing patience, composure, wisdom, peace and truth, chastity, hospitality, kindness, lack of selfishness and evil, righteousness, honesty, protection of women and respect for elders, and integrity, in order to achieve both internal balance and balance with the universe, and fulfill the destiny on Earth agreed to by Olodumare before reincarnation. (Fern\u00e1ndez, 2008, p. 98)<\/p>\n\n\n\n

Note that the anthropological tradition in writer and psychoanalyst Nancy Banard\u2019s poetry refers the reader to African religions, known as religions of lineage. For example, in the Yoruba religion there is a belief in reincarnation into some other relative considered to be good. The person never dies, because in addition to being part of the family, the ancestor reappears deified, offering advice, taking the shape of any living matter (without believing in animism: inanimate objects can also be inhabited by spirits. What the object represents is worshiped, not the object itself), and therefore, the reincarnated should be worshiped because they were grateful beings with Olodumare<\/em>, they worked their \u201cmoral\u201d or \u201chumanist\u201d character of good coexistence, regeneration of energies, balance, harmony with the environment and quality of life, becoming and reappearing in some exemplary being or in several exemplary beings of the family.7<\/a><\/sup><\/p>\n\n\n\n

Moreover, in this context, the words \u201calchemy\u201d and \u201cresurrection\u201d in v. 2 refer to a transformation that is part of a ritual and also to the Yoruba religion, which, according to Fern\u00e1ndez (2008), holds the belief that everything has life8<\/a><\/sup>, even the dead. Furthermore, it was vital to worship the ancestors since death is not the end of life, but the separation between orun <\/em>and ay\u00e9 <\/em>(the spiritual world and the material world). The idea that he who survives in memory does not die is one of the main features of the \u03ba\u03b1\u03c4\u03b1\u03c6\u03c5\u03b3\u03ae <\/em>in this poem and has parallels with literary works within the mystical tradition. Thus, worship is indispensable. Alchemy refers to the metamorphosis from the material to the spiritual (the essence of life). <\/p>\n\n\n\n

In this regard, for the babalawo <\/em>(a priest, father of mystery) If\u00e1 Arem\u00fa, interviewed by Fern\u00e1ndez (2008), in his grandmother\u2019s rituals (If\u00e1<\/em>), he saw a source of primitive knowledge, of thought, of philosophy, something that was (according to scholars) even more complex and profound than that of many other cultures, which has been connected with Egyptian knowledge traditions. For this very reason, for him to move away from this world was to contaminate himself with civilization, where true darkness is found.9<\/a><\/sup><\/p>\n\n\n\n

It is quite clear that Nana\u2019s protagonism works to protect this Hispanic version of Medea and as such, reaffirms that sorcery has sacred semantics, especially in African religions of lineage. Even the poetic voice says that Nana \u201cformed a circle of black pepper with the broom\u201d (vv. 4-5). Pijoan (2004) argues that pepper is a very important condiment in food as well as part of the rituals in the Yoruba religion. Likewise, the use of the broom refers to the traditional imaginary of the witch, although not based in an evil and western archetype but rather as a kind of priestess or sacred counselor.  <\/p>\n\n\n\n

On the other hand, if there are still doubts that the first stanza presents the preparation of a ceremony of worship or ritual for the dead, which is very typical in traditional African religions (Fern\u00e1ndez, 2008, p. 86), the second stanza proves it, since the poetic voice expresses how the goddess Nana continued to use food, eggshells this time, and sings: \u201cMoon of blood \/ distills the crows, \/ soaked in mud \/ the feet of the corpse\u201d (vv. 8-11). And in the following verses she asks to awaken \u201cthe bones \/ from the bottom of the sea\u201d (vv. 14-15). <\/p>\n\n\n\n

In this case, within the same religious aesthetic (the African diaspora), Fern\u00e1ndez (2008) suggests that song is vital because music in the Yoruba religion is the primitive language that manages to communicate with the living and the dead (use of symbolic language: \u201ccrows,\u201d \u201ccorpse,\u201d \u201cbones from the bottom of the sea\u201d). In other words, it is the ceremonial pathway to acquire ancestral knowledge10<\/a><\/sup> through cyclical rituals. It is for this reason that the word \u201ccircle\u201d appears three times in the poem, specifically in v. 4, v.17 and v. 69. In addition to the symbolism of the number three, a perfect number according to Gauding (2009) in that it represents the communication between heaven, earth and the underworld. For Lurker (1973 \/ 1998), the number three projects the three lunar phases that happen a process is fulfilled. Thus, the song delves into the most primitive part of being and clings to the primitive nature to achieve that essential point of contact between the material and the spiritual in order to free itself from the shadows. <\/p>\n\n\n\n

However, according to Fern\u00e1ndez (2008), this religious ontology has caused many churches in the United States, fraught with total ignorance and excessive prejudice, to consider the Yoruba religion a Satanic religion. This idea has formed part of the logic that has annihilated many Africans, among them, the more than ten million slaves and their descendants11<\/a><\/sup>, who were brought to the so-called \u201cNew World\u201d to suffer strong and violent campaigns of racism12<\/a><\/sup>. And despite this philosophical, religious, epistemic, linguistic and cultural extermination, African religions have syncretized with Western religions, like Greek mythology itself with other mythologies and cultures. Likewise, this religious syncretism that has given way to santer\u00eda<\/em> is not only noticeable in the poem analyzed here, but also in the spiritual, mythological, anthropological and psychic maneuvering in much of Banard\u2019s poetry. <\/p>\n\n\n\n

This is evident in the fifth stanza, where the reader is referred to the land of Nod, which appears for the first time in \u201cGenesis\u201d chapter 4, verse 16 of the Bible<\/em>: \u201cThen Cain went away from the presence of the Lord, and dwelt in the land of Nod, east of Eden.\u201d According to this passage, he was located to the east of Eden, which was thought to have been Cain\u2019s refuge after Yahv\u00e9 (God in the Christian religion) was angry and punished him with exile for Abel\u2019s murder (Cain\u2019s brother in the Judeo-Christian genealogy). <\/p>\n\n\n\n

Moreover, the mention of this land in Banard\u2019s poem is necessary because the biblical passage reminds us that human beings are condemned to a life of exile and foreignness13<\/a><\/sup>. In this regard, the condition of marginality is one of the archetypes used by various authors thinking through the myth of Medea (starting with Euripides\u2019 version she already appears as a foreigner and stateless person). Such is also the case of Medea Stimmen <\/em>(1996) by Christa Wolf. This text also incorporates the theme of racism in Germany14<\/a><\/sup> and, from this point of view, Nod represents the land of the one who is condemned to live, perhaps eternally, as an Other. And here the use of the adverb \u201cperhaps\u201d is necessary, because as Banard\u2019s poem puts it, \u201cIn the unholy land of Nod, \/ a woman is always marginal \/ until she ceases to be, \/ a woman is always stateless \/ until she ceases to be.\u201d (vv. 19-23). <\/p>\n\n\n\n

In the aforementioned verses, the poetic voice has an eagerness to denounce those grotesque spaces where women are called marginal and stateless (Medea, in the Greek tradition, outside of Colchis). Undoubtedly, they question these places and invite us to depopulate them. Which is why, in the following verse, in reference to one of the most frequent archetypes, that of the filicidal woman, the identity of the Black woman as a subject free of \u201cguilt\u201d is vindicated, and thus breaks with the commonly known and perhaps more accepted imaginary prior to the 20th century: \u201cNo Black woman of mine killed her daughter!\u201d \u201cEuripides lies -I shouted-,\u201d (v. 29). Moreover, as can be seen, in order to bring the poem closer to reality (the anthropological field), and with the intention of denunciation, she refers directly to the author of Greek tragedies, who is, according to Pausanias (II, 3 6-8), responsible for framing the figure of Medea as a murderous character15<\/a><\/sup>.<\/p>\n\n\n\n

But what\u2019s more, immediately after v. 23, Euripides\u2019 comparison of Medea with a lioness is directly invoked (Med<\/em>., v. 187; v. 1342; v. 1407, ed. 1995), since the poetic voice rejects her characterization as a murderer by roaring and therefore instantiates, as in v. 29, a dialogue. This allows the rhetorical devices to be even more diverse and the poem acquires a stronger, closer and more realistic sense of confrontation. In the same tune of unfolding archetypes, v. 26 refers to a very typical act within the Judeo-Christian religion: kneeling to beg for forgiveness. And again, in reference to the Judeo-Christian world, in vv. 30-31, Cain and Abraham (the murderer and the victim) appear again. These aspects of the text solidify the intentions of situating the archetype of Medea as a murderer, making it clear that it seems she has been judged because she is a female figure that derives from a Greek mythological tradition rather than a Judeo-Christian one.  <\/p>\n\n\n\n

At the end of the biblical myth, Abraham ends up sacrificing a lamb, which he was tasked to do by Yahv\u00e9 himself. His obedience resulted in his God\u2019s happiness. Nevertheless, Banard\u2019s verses are meant to invite the public reader to question certain things, similar to what happens in Chantal Maillard\u2019s lengthy poem Medea <\/em>(2020), whose philosophical purpose, according to her own interpretation, is to rethink the concept of \u201cguilt.\u201d In the case of Banard\u2019s poem, her intention to denounce certain Judeo-Christian traditions, rife with murder, is notable. But the fact that those responsible are men, as is the case with Abraham, has allowed her, unlike Medea, to escape censorship and prejudice and include the angels, who free her from the label of \u201cmurderer,\u201d to consider him, according to Royston (1951), within a list of exemplary men of faith who are loyal to God.  <\/p>\n\n\n\n

At this point in the poem, from v. 32 to v. 37, Banard changes her style and replaces it with writing from the self (taking off one mask to put on another), presumably to feel closer to Nana, her protector, and to tell her how much she has had to suffer. The poetic voice, immersed in an interesting aesthetic proposal, makes a series of confessions, among them, having freed herself from a rapist. In this regard, breaking away from the common archetype typical in the work of Hispanic-Roman author, Seneca, of Medea as mad and vengeful, for this Medea the only way to defend herself was to cut off his hands, since they were the main weapon the rapist used to attack her body. She had to protect herself. Moreover, the hands make us think of writing as a vehicle for words, now in the voice of Medea (an alter ego) and from the perspective of a woman (Nancy Banard, no longer Euripides). <\/p>\n\n\n\n

On the other hand, the female self confesses to having spat in the face of a man who tried to tie her to a mast. This signals a notable intertextual link with canto XII of Homer\u2019s Odyssey<\/em>, where Odysseus, in one of the possible readings (the one Banard is most probably applying here through a process of interculturality), is tied to a mast in order not to be overcome by his impulsiveness, his desire to go after some supposedly seductive siren. The reference to the most celebrated Greek epic seems intentional in order to provoke an intercultural effect, since, according to Luna (2020), Yemay\u00e1 is the African siren. She is considered the goddess of the ocean that gives life to all things (an idea primarily known as an attribute of the Thales of Miletus: everything derives from water), the highest Orisha <\/em>(Saldivar, 2010 and Fern\u00e1ndez Mu\u00f1iz, 1993)16<\/a><\/sup>. She is a divinity full of love and protection, but when she gets angry she becomes a fierce and violent being, like a sea storm. We also know that there are several variants based on the type of worship. <\/p>\n\n\n\n

Based on the above data, in Banard\u2019s poem we can appreciate a variant that differs from that of the Greek tradition. This African siren, Yemaya, is not necessarily fierce or malignant, except when angered. She is conditioned, as is Medea, for in Euripides she acts on impulse after Jason\u2019s infidelity. However, by creating an intertextual dialogue between the image of Odysseus tied to a mast and a Medea, who did not want to be tied to a mast, the poem constructs an image of a woman empowered by her body and her desires who will not allow any man to chain her. From a stoic perspective, she has enough freedom to choose when to allow herself to be carried away or not by her impulsive desires. She even presents more mastery of her being than Odysseus. The unpacking of archetypes from Greek and Christian traditions serve as the driving force of \u03ba\u03b1\u03c4\u03b1\u03c6\u03c5\u03b3<\/em>\u03ae, as it unveils a logic of sisterhood around what is not right for her and other women. <\/p>\n\n\n\n

It is not a coincidence that, from v. 38 to v. 45, this Yoruba Medea continues to make confessions to the goddess Nana, who is her ancestral spirit, her grandmother and, with respect to the archetype of the treacherous woman, she who abandons her father and her homeland. She says: \u201cIt is true, \/ I abandoned my father \/ after he abandoned me \/ during the closed pain of the hours (vv. 38-41). As we can see, the story reproduced by the most established Greek tradition is rewritten through Euripides, where we already see the abandonment of her father Aeetes and therefore the flight from her homeland, Colchis (Eur., Med., <\/em>v. 166-167, ed. 1995). This Yoruba Medea no longer leaves behind a man (Jason) because her father left her an orphan17<\/a><\/sup>. She only wants to rebuild her life, which also implies the rupture of the traditional Judeo-Christian concept of the family (father-mother-children). <\/p>\n\n\n\n

And now, in relation to the archetype of the woman assassin, but in this case not the filicidal, but the fratricidal18<\/a><\/sup> (Eur., Med<\/em>., vv. 166-167), the lyric voice says: \u201cI killed my brother \/ after he sold me three times \/ for the golden fleece, \/ in a brief sunset\u201d (vv. 42-45). Again, like in the verses previously analyzed, this Yoruba Medea reverses the mythical story as it is typically told and presents her brother as a traitor who put her life at risk. Likewise, in the same verses the myth of the golden fleece appears, but through a mythical setting, as L\u00e9vi-Strauss (1996) might call it; that is, without a dialogic function and lacking any merit for analysis. <\/p>\n\n\n\n

Although it is true that at the beginning of the poem reference is made to certain foods, the poetic voice uses this device again from a religious point of view, but now through the use of the first person \u201cI\u201d and to present them as spiritual objects used to protect her daughters not her sons, as the Greek tradition goes19<\/a><\/sup>: \u201cBut to my daughters, \/ I have filled their hair with basil, \/ with coconut oil and honey. \/ Pure ginger kisses \/ tobacco prayers \/ Coffee, coconut \/ and all of Jezebel\u2019s stories\u201d (vv. 46-52).  <\/p>\n\n\n\n

From the ontology of the Yoruba religion under which this poem is inscribed, there is a marked connection between the poetic voice and nature. This allows us to notice a high degree of As\u00e9 <\/em>(spirit of all that is expressed in nature) that helps the poetic voice keep her daughters protected, because she loves them as much as she loves all that is feminine. Similarly, there is another reference to a biblical character \u2014 Jezebel \u2014 within the same aesthetic of mythical reversions of femme fatale <\/em>or evil woman. But she is not only a female biblical character, she hides many syncretisms in her relation to the realms of Phoenician religion and Mesopotamian religion more broadly20<\/a><\/sup>.<\/p>\n\n\n\n

According to No\u00ebl (2003), Jezebel can be the \u201cdivinity of the Canaanites, the Babylonians, the Sidonians and the Israelites\u201d (p. 201), she can also appear as Ball-Berith for the Carthaginians and Phoenicians, Baal Feor, Baalfegor, Beelfefor or Belfegor for the Moabites, Baal-Semen for the Phoenicians, Baal-Tsephon for the Egyptians (she was one of the few Egyptian statues that were not destroyed which increased her worship and power), Baal-Tis for the Phoenicians (goddess that is usually called sister of Astarte). In short, almost all of these cultures referred to her as the greatest divinity and linked her with the sun; she was a star of light.<\/p>\n\n\n\n

This makes Jezebel\u2019s religious significance clear as a universal feminine figure. She was the priestess of one of the most important divinities in many cultures, her name and identity were associated with aristocracy, in modern terms. Therefore, here, the most important thing to mention is that in the Judeo-Christian tradition this woman is associated with another of the traditional and historical archetypes of evil and sin, since in I Kings: 21-25 she is blamed for being responsible for leading Ahab into sin. Also in the Bible<\/em>, a text full of passages of violence and misogyny, something quite normal yet not very evident for the time period, the following passages are mentioned in unfavorable ways: 3 Kings 16: 31; 4 Kings 9: 22; 3 Kings 18: 19; 3 Kings 18: 4, 13; 3 Kings 21: 7, 13; Revelation 2: 26 and in the most violent of all, 3 Kings 21-23. <\/p>\n\n\n\n

However, despite the unscrupulous denigration against this Mesopotamian mythological figure, tainted over the years by means of a \u201csacred\u201d text that places her as \u201cimpious,\u201d a \u201cwitch\u201d [in its pejorative sense and from a more modern conception], \u201cmurderess,\u201d \u201cwrathful,\u201d a \u201cprostitute [from a modern conception],\u201d \u201cdog\u2019s meat,\u201d Banard\u2019s poem breaks these grotesque imaginaries and presents her as a beneficent woman and protector of her daughters. <\/p>\n\n\n\n

Banard seems to know the \u201cprimitive\u201d tradition of this priestess. In her dramatic monologue, the full weight of the imaginary of \u201cguilt\u201d is firmly thrown on Jason, (the use of exclamation marks heightens this intent of the message), and this Medea denounces, \u201cIt was Jason, my mother! \/ He took my life from me.\u201d (vv. 53-54). After the poetic voice confesses the truths to her ancestor (Nana), she acquires more strength and power because she manages to unravel many imaginaries to which she was trapped. And precisely, this acquisitive force allows the poetic voice to switch from the personal pronoun \u201cI\u201d and return to a narrative tone that is more frequent in dramatic monologues. This allows her to give a more leading role to both her mother Nana and the gods of the Yoruba religion: \u201cNana looked at the buffaloes of Oya in my pupils, \/ she crashed her staff three times against the wall\u201d (vv. 55-56). <\/p>\n\n\n\n

In the above verses we find one of the climaxes of the poem, a mother upset by the harm done to her daughter through lies. And it should be said that, also through the gaze of the Yoruba religion, this daughter is not just any victim, she is a woman who represents a very high degree of Iw\u00e1 Pel\u00e9 <\/em>and As\u00e9<\/em>, which is why Nana saw in the pupils of her child the buffaloes of Oya. <\/em>The girl must awaken her inner fury and be reborn, and fly away as a symbol of transformation.<\/p>\n\n\n\n

In this regard, according to Fern\u00e1ndez (2008), based on Johnson (1921 \/ 2006, pp. 26-37), Oya<\/em>21<\/a><\/sup> is one of the most adored Orishas <\/em>in the Yoruba religion. She was one of the most unknown and little understood by Christianity. Among her characteristics is occasional anger, but when she isn\u2019t, she rests in one of the rivers of Africa, which is why \u201cOyas<\/em>\u201d was one of the names the Yoruba use to refer to themselves. Since it is a religion of lineages, they are closer to the familiar spirits, who exist in nature. On the other hand, according to notes by Fern\u00e1ndez (2008), Oy\u00e1 <\/em>is usually representative of fury, hence her linkage with the strong winds, similarly to the anger that dominated Medea, which was Euripides\u2019 reason for calling her a lioness. Both she and her child live inside the poetic voice. <\/p>\n\n\n\n

However, in her first collection, Canci\u00f3n negra para ni\u00f1as de cuna <\/em>(2019)22<\/a><\/sup>, Banard doesn\u2019t only call on African myths. She uses mythical structures from universal planes and with deep psychological grounding, that is, as heterogeneous and anthropological discourses, and which, in turn, represent the syncretisms African culture has gone through upon contact with the West. This is more emphatic and notorious in the following verses: \u201cHe bellowed in his tongue the names \/ Osh\u00fan \/ Yemany\u00e1 \/ Erzulie Dantor \/ Babba Yaga \/ Lilith \/ Kali \/ And lastly Saint Joseph\u201d (Banard, 2022, vv. 57-63). <\/p>\n\n\n\n

To get into the details, the first two references of the quotation, according to Fern\u00e1ndez (2008), based on Gonz\u00e1lez-Wipler (1989, p. 268), are part of the Orishas <\/em>that were limited in the Americas within the realm of santer\u00eda, as a reference to the seven African provinces: \u201cChang\u00f3, Yemay\u00e1, Obatal\u00e1, Eleggu\u00e1, Orula, Och\u00fan and Ogg\u00fan\u201d (p. 96). More precisely, for Fern\u00e1ndez (2008), Och\u00fan <\/em>is a polysemic Orisha <\/em>that symbolizes the mulatto (a relevant piece of Banard\u2019s poem, along with the protective character and ethnic vindication (African diaspora)) and is associated, among others, with fluids and liquid23<\/a><\/sup>, beauty, love, pleasures and sexual desire, particularly of women24<\/a><\/sup>; therefore, some versions introduce her as the sister of Yemay\u00e1 (Castellanos and Castellanos, 1992).  <\/p>\n\n\n\n

Along similar lines, with respect to the feminine world, according to data offered by Dayan (1994), Erzulie Dantor <\/em>is a great divinity of love in Haitian voodoo and is very important for femininities. She is usually represented with a child in her arms and sometimes as an avenging and fearsome Black woman, since she is associated with both love and pain. In addition, several of her visual representations depict analogies with the Virgin Mary, which may have caught Banard\u2019s attention due to her intercultural interests. <\/p>\n\n\n\n

According to Johns (2004), we can speak of Baba Yaga as a female figure who has undergone different morphological variations (as a mother, a woman who helps young people or as a witch who eats humans (a cannibal)), depending on the context and \u201cleiv motiv<\/em>\u201d of the writer. However, it is interesting to propose an analogy with the goddess Babia, who according to No\u00ebl (2003) was revered in Syria, but mainly in Damascus. She was mainly considered the goddess of children, with those who, in the beneficent sense, were \u201cdestined for the priesthood\u201d (p. 202). <\/p>\n\n\n\n

But, to get deeper into the possible relationship, and to discuss its dark counterpart, which gives Baba Yaga a certain ambiguity, it is necessary to say that the English \u201ccalled children of tender age Babies <\/em>and Italians called them bambini<\/em>\u201d (No\u00ebl, 2003, p. 202). Similarly, in Le\u00f3n, Spain, the region of Babia is used to express being distracted (\u201cestar en babia\u201d), like small children tend to be. In addition, there is also a connection with \u201clanguage or bable<\/em>, similar to babbling<\/em>: bla – ble… from the baby\u201d (No\u00ebl, 2003, p. 202), which refers increasingly to children\u2019s talk, reminds us of this goddess inhumanely sacrificing those infants, who through their \u201ctantrums\u201d or \u201cscreams\u201d did not let their mothers live a peaceful life.<\/p>\n\n\n\n

Undoubtedly, since Baba Yaga is a figure who is both helpful and a hindrance, Banard calls on her to reinforce not only the interculturality through different religious practices or affiliations and beliefs in folklore, but also to make visible, through a mythopoetic exercise, how many of the female figures in her list still carry a pejorative imaginary, such as Lilith, but now in Judeo-Christianity. <\/p>\n\n\n\n

For No\u00ebl (2003), Lilith derives from Rabbinic mythology and, according to modern Jewish legend, is Adam\u2019s first wife; that is, before Eve. However, in this tradition, she is the unfaithful one since she abandoned him, and almost as if she were a witch, then flew away. For this reason, \u201cshe is considered a nocturnal specter, enemy of childbirth and newborns\u201d (p. 804). Even the denigration of her name reached such limits that many modern Jews have even placed notes on their wives\u2019 beds, and on them they wrote \u201cthe names of Adam and Eve with these words: \u2018Lilith, get out of here\u2019\u201d (p. 804). <\/p>\n\n\n\n

Let\u2019s go deeper into the subject. To get closer to the biblical source, for example, it is necessary to quote the passage from Isaiah 34: 14, which says: \u201c(There) the jackals \/ and the wild beasts of the desert shall meet \/ and the satyr shall call to his fellow \/ Lilith will settle there \/ and she shall find a resting place.\u201d Albeit indirectly, this is the only biblical passage where reference is made to Lilith\u2019s evil and monstrous character, who is possibly being sent to one of the places associated, later, within the Christian imaginary: hell25<\/a><\/sup>. Lilith is perhaps the first mythical figure to carry the image of the woman-demon. <\/p>\n\n\n\n

Later in Banard\u2019s poem, she makes reference to Kali, who according to Shinoda (2001), was a goddess of Hindu mythology. She is part of the list of terrible divinities to whom gods and men only resorted when they could not defeat evil. She resembles the Egyptian goddess Sekhmet although in statues, she is usually represented as a peaceful being, contrary to Kali, who was essentially created to defeat demons. She has a \u201cterrifying inhuman face and a woman\u2019s body with innumerable arms\u201d (Shinoda, 2001, p. 143), and uses one of her two right hands to scare away fear and the other to bless her faithful followers. Her body is full of ornaments and she dances on the white body of the god Shiva. In addition, her skin is black, she has very white teeth, a long tongue, blood dripping from her mouth, she has three eyes (one in the center of her face), four arms, always carries a knife in one of her two left hands, \u201cand the severed and bloody head of a giant in the other\u201d (Shinoda, 2001, p. 151), and is representative of transformative anger, a balance between wisdom and rage. <\/p>\n\n\n\n

Her worshippers typically know her as Kali-Ma or Ma-Kali, sacred mother, fierce protector and wife of Shiva. As mentioned above, Kali has all the traits of a woman-monster. For this reason, according to the mythical framework proposed by Harding (1993), she was born of the terrible anger of the beautiful goddess Durga. Since then, she was often seen riding a lion and carrying a sword. She was an almost invincible being. <\/p>\n\n\n\n

Kali defeated the strongest and most feared beings, who allegorically represent the inner demons of the human being. She is characterized as someone who has lost her mind, which is known, in Jungian terms, as the Kali complex; however, she regains her sanity when she receives help from Shiva. He reminds her that she is not only a being full of rage, but is someone very important to Durga, who keeps her inside, absorbs her when she is not useful to him and makes her reappear when he needs her most. The girl who lives inside the poetic voice in Banard\u2019s poem and who in one way or another will have to come out experiences something similar because she represents many meanings, among them childhood traumas that must be released through, in this case, the myth as \u03ba\u03b1\u03c4\u03b1\u03c6\u03c5\u03b3<\/em>\u03ae, which is a matter linked to this author\u2019s love of archetypal feminine figures and their split personalities.<\/p>\n\n\n\n

Undoubtedly, Kali is the inner warrior woman and some do not necessarily look at her as a terrible being, given that she can balance wisdom and anger, and therefore see in her a figure full of kindness and love. Such characteristics lead her to fight to the death to get ahead and not be dominated by those who try to steal her peace. However, she always appears in difficult moments and where strength and character are most needed. <\/p>\n\n\n\n

The last archetypal reference is to St. Joseph, who, according to Mancuello and Medina (2020), appears for the first time in Matthew <\/em>1:18-25; 2:13-15 and 2:19-23 when the Judeo-Christian God appears before him and he behaves as an exemplary and extremely obedient person, an archetype of excellence and respect. He is a biblical character that makes frequent appearances in Banard\u2019s poetry (as a motif of reversion). For Herran (1982), he has been an almost forgotten figure, and given the delay in his becoming of interest, he was also less referenced in the artistic, theological and academic world. It seems to have been forgotten for a long time that he is known as the holiest of saints, second only to the Virgin Mary, his wife. He had a strong relationship with God, which is why St. Teresa of Avila considered him a Father and Lord who is foundational in the worship of the Holy Family (Mother [Mary]-Father [Joseph]-Son [Jesus Christ]). At the same time, he represents the channel through which the father of Jesus encounters the Holy Spirit through the mediation of Mary.<\/p>\n\n\n\n

In light of the above, the question arises: why does Banard, after referring to six sacred women figures of different religions (or possible origins), refer to a male figure of the Judeo-Christian tradition? Well, this is most probably due to the task that St. Joseph fulfills as a communicative bridge between orun <\/em>and ay\u00e9 <\/em>(mother [wife-material] Jesus [his son and also Yhav\u00e9\u2019s, interception of the holy-spiritual spirit]). That said, leaving him for last could be a strategy to condemn this religion, a point that is ironically reinforced in the closing of his poem.<\/p>\n\n\n\n

From this point of view, the seven archetypes as tools to invert discourses -mentioned by the author, who has an exquisite mastery of mythical categories and Yoruba religion-, allow us to question and unravel certain imaginaries that have been built up in a violent and pejorative way about woman figures, among them, one of the most considerable, and based in the Judeo-Christian religion (imposed on African cultures), is that of Lilith, who was censured for wanting to be free and for being an intelligent woman with rhetorical skills. <\/p>\n\n\n\n

The seven archetypal references in this poem are part of the inner identities of the poetic voice, who sees in figures like Medea scattered pieces of the puzzle of her alter ego. She struggles to reach the expansiveness of the Iw\u00e1 Pel\u00e9<\/em>, the encounter with that inner voice, the warrior and protective spirit of a Nana who roars: \u201cNo Black woman of mine killed her daughter! \/ She roared<\/em>\u201d (vv. 65-6, emphasis added). This verse refers again to one of the key archetypes of Medea as a ferocious animal, in Euripedes\u2019 words (Med., <\/em>v. 1342; v. 1407, ed. 1995), and ultimately leads to her becoming the archetype of the filicidal woman. Likewise, in saying \u201cBlack woman of mine\u201d an ethnic reclamation of Black women dialectically emerges, which is part of an ethical interest that has culminated in the 21st century, as is the case with the publication of the book Black Medea. Adaptations in Modern Plays <\/em>by Kevin Wetmore (2013), and the release of the short film Fluch der Medea<\/em> (2014), where a black Medea appears for the first time in the history of cinema.<\/p>\n\n\n\n

At the same time, this conscious-unconscious discursivity or rational-irrational world under which this poem is inscribed through a process of \u03ba\u03b1\u03c4\u03b1\u03c6\u03c5\u03b3<\/em>\u03ae, is observed in the following passage, \u201cLight and Sun, \/ who slept between \/ the circle of burning pepper \/ and the dark silken swamp, \/ took a deep breath of air, \/ spat fish out of their eyes, nose and mouth\u201d (vv. 67-72). The first verse alludes to the inner strength that, through spiritual struggle, manages to see the light after being asleep for a long time. This refers to a girl, who is about to escape from her cave or prison, words used here as metonyms.<\/p>\n\n\n\n

There is surely the presence of a ritual that refers to a cyclical transformation, and for that reason, Light and Sun, who have been made divine, spit fish, because these are symbols of life and spiritual encounter. In addition, since they come from the sea, we can logically link them with Yemay\u00e1. This brings the poetic voice closer to the inner and spiritual world of that ancestor who inhabits it as an internal animal, which is why it howls: \u201cTalitha Cumi! \/ Nana Buruku \/ -Aull\u00f3<\/em>\u201d (v. 73-75, emphasis added). Moreover, it does so through a process of cultural hybridization, on the one hand, referring to an expression in the Gospel of Mark, chapter 5, verse 41 of the Bible, <\/em>at the precise moment when Yahv\u00e9 tells Jairus\u2019s daughter, a girl who is already dead, to get up, and thus brings her back to life26<\/a><\/sup>. It can also be said that beyond the biblical discourse, this expression has become an icon against human trafficking, an experience suffered by Africans in a very violent way during the Spanish conquest27<\/a><\/sup>. And on the other hand, she says her grandmother\u2019s full name in Yoruba. <\/p>\n\n\n\n

Finally, while resurrecting the sleeping girl, who was a warrior protected by the voice of eight sacred figures (seven female and one male), the passage referring to the Medea\u2019s flight on a carriage with wings appears (Eur., Med.<\/em>., vv. 1378 ff.), although it is a unique variant: this Yoruba Medea leaves without a corpse or the intention of throwing the bodies against Jason, because the aesthetics of this poem is part of a movement whose spiritual purpose is to condemn the Judeo-Christian religion, which was violently imposed on the Africans, practically forcing them to bury their beliefs. Therefore, this new Medea cries out, ironically, for the death of the Father, the Son and the Holy Spirit (Jason), and then closes with an amen, a canonical clause in Christian prayers.<\/p>\n\n\n\n

Conclusions <\/strong><\/p>\n\n\n\n

In broad terms, Nancy Banard presents us with a long poem in the style of a dramatic monologue that responds to the most recent aesthetics of the African Diaspora and incorporates a spiritual paradigm, an unraveling of mythical themes, interculturality between Christianity and African religions (mainly Yoruba), the combination of poetic styles (the narrative and a more intimate one based on the use of the personal pronoun \u201cI\u201d), rhetorical and pragmatic resources that increase the discursive loads when necessary, an exquisite handling of myths, which is unsurprising from an author who has read, among others, Euripides\u2019 Medea (in translation)28<\/a><\/sup>, <\/sup>been trained as a psychoanalyst, and draws from her experiences as an Afro-Costa Rican woman. <\/p>\n\n\n\n

Another remarkable point in the poem studied here and in several of this author\u2019s poems is the concern for finding an archetypal woman who sleeps inside the psyche. This Yoruba Medea is a kind of spirit that, with struggle and concentration, can awaken as if a birth were taking place, or an ancestral cleansing of the traumas that inhabit the interior of the poetic self. On the other hand, the constant references to sacred figures, to the search for the fullness of the poetic voice through contact with Nanita, archetype of the ancestral voice, who is kept alive in the dialogue and in the memory, and through the reference to the resurrection of the inner girl, who was dead and therefore, when reborn, opens a portal to a spiritual journey, are remarkable. It also highlights the use of transcendence, the mechan\u00e9<\/em>, which recurrent in the end of Euripides\u2019 works and, in addition, has provoked more work on the subject, like for example, the poem \u201cThe woman who drives the car\u201d (1983) by M\u00eda Gallegos, within the Costa Rican mystical tradition. <\/p>\n\n\n\n

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Rodr\u00edguez Adrados, F. (Trad., and com.), (1995). Euripides. Tragedies III: Medea, Hippolytus<\/em>. Madrid: Consejo Superior de Investigaciones Cient\u00edficas. <\/p>\n\n\n\n

Rojas Lleonart, I., Thompson Llorente, S. L., B\u00e1rcenas Ibarra, A., and Llorente P\u00e9rez, D. (2014). Teratology; its history according to the vision of the Yoruba religion. REDVET<\/em>, 15 <\/em>(9), 1-12. https:\/\/www.redalyc.org\/pdf\/636\/63632727006.pdf.<\/a> https:\/\/www.redalyc.org\/pdf\/636\/63632727006.pdf&nbsp<\/a>;<\/p>\n\n\n\n

Royston Pike, E. (1951 \/ 1978). Dictionary of religions <\/em>[E. C. Frost, transl.] Mexico City: Fondo de Cultura Econ\u00f3mica. <\/p>\n\n\n\n

Saldivar, J. (2010). Ibor\u00fa, iboya, ibochich\u00e9: rituals in santer\u00eda, symbolic acts and performance. Revista encrucijada americana (<\/em>3), 148-177. https:\/\/encrucijadaamericana.<\/a>uahurtado.cl\/index.php\/ea\/article\/view\/120\/119 <\/p>\n\n\n\n

Shinoda Bolen, J. (2001). Mature female goddesses. Feminine archetypes from the fifties on <\/em>[S. Alemany, transl.] Barcelona: Kair\u00f3s. <\/p>\n\n\n\n

Smith, R. S. (1980 \/ 1988). Kingdoms of the Yoruba<\/em>. Madison: The University of Wisconsin Press.<\/p>\n\n\n\n

Wetmore, K. J. (Ed.), (2013). Black Medea. Adaptations in Modern Plays. <\/em>New York: Cambria Press.  <\/p>\n\n\n\n

Wolf, C. (1996). Medea. Stimmen<\/em>. Roman, <\/em>Berlin: Suhrkamp.<\/p>\n<\/div><\/div>\n<\/div><\/div>\n<\/div><\/div>\n<\/div><\/div>\n\n\n\n

\n
\n

NOTES<\/strong><\/p>\n\n\n

  1. Master\u2019s Degree in Classical Antiquity Texts and their Preservation from the University of Salamanca, the same institution where he is a predoctoral researcher. He studied Spanish Language and Literature Teaching, Classical Philology, and Primary Education at the University of Costa Rica. This article was developed thanks to a grant from Banco Santander to pursue doctoral studies at the University of Salamanca between 2024-2025. \u21a9\ufe0e<\/a><\/li>
  2. To support this assertion, we have reviewed the academic scholarship and literary collections on the mythological character of Medea collected in Arroyo (2024), along with personal readings of poems on the subject.\u00a0\u00a0
    \u21a9\ufe0e<\/a><\/li>
  3. According to Fernandez (2008), today, the characteristics of African religions are beginning to spark interest in the rest of the world. Respect for elders and ancestors and the relationship between the living, divinities, and spirits seem particularly well-received, as they fill the gaps of other religions that are no longer so pleasant (see pp. 94-95).
    \u21a9\ufe0e<\/a><\/li>
  4. Here, we do not mean to assert that Banard read Pindar’s Pythias, which is almost impossible. Instead, the qualifier “sorceress” to refer to Medea most likely comes from the introduction to the edition of Medea <\/em>published by Gredos in 1977, with a second reprint of 1991, which we discuss in the last footnote of this article. \u21a9\ufe0e<\/a><\/li>
  5. Within African religions, there is a difference between witchcraft and sorcery. The former seeks to do evil, to take revenge, even though it is usually practiced by a few people (though not necessarily). Sorcery is associated with magic as a beneficial component that allows communication between the living and the dead (relatives) and thus maintains a greater closeness of clans. See Fern\u00e1ndez (2008).
    \u21a9\ufe0e<\/a><\/li>
  6. Castellanos and Castellanos (1992) speak of Nana Buruc\u00fa, whom we should understand as an allegory of the moon. \u21a9\ufe0e<\/a><\/li>
  7. To the extent that “no one wanted someone who died in bad conditions to be reincarnated” (Awolalu 2001, p. 60; quoted by Fern\u00e1ndez, 2008, p. 99).
    \u21a9\ufe0e<\/a><\/li>
  8. For Fern\u00e1ndez (2008), everything that exists in nature is an expression of As\u00e9 <\/em>and is classified by forces and can be lost. Therefore, people must take care of it through harmony with nature. \u21a9\ufe0e<\/a><\/li>
  9. \u201cPeople thought that primitivism has ideas that are too crude, but that\u2019s where the real philosophy is, the real thinking. When you move away from primitivism, you begin to contaminate yourself with civilization. Here the contact is established with the mind\u201d (I).
    \u21a9\ufe0e<\/a><\/li>
  10. A clear example is the importance of the bat\u00e1 <\/em>drum.<\/em> \u21a9\ufe0e<\/a><\/li>
  11. However, slavery seems to be a behavior inherent to humanity. For example, for Fernandez (2008), who relies on Smith (1980 \/ 1988, p.37), Eades (1980, ch. 2:3-8) and Bascom (1984, 12, 14-15):\u00a0
    Slavery in the world dates back to very distant times and few cultures are free from its practice, not even the Yorubas themselves, who at the beginning of the transfer of slaves to America were the ones who captured their neighbors and enemies and sold them to the European traders on the African coast. (p. 81).<\/sub>
    \u21a9\ufe0e<\/a><\/li>
  12. \u00a0See Del Carmen (2002). \u21a9\ufe0e<\/a><\/li>
  13. The theme of foreignness or migration is one of the most frequent in current Hispanic American poetry, one of the most remarkable collections of poems in the last five years is Balam Rodrigo\u2019s Libro Centroamericano de los muertos (<\/em>2018), which provoked, in Spain, much of the creation of the collection of poems Libro Mediterr\u00e1neo de los muertos (<\/em>2023) by Mar\u00eda \u00c1ngeles P\u00e9rez L\u00f3pez. Both books, of course, in dialogue with the Egyptian funerary text Libro de los muertos.\u00a0<\/em>
    \u21a9\ufe0e<\/a><\/li>
  14. See Del Carmen (2002). \u21a9\ufe0e<\/a><\/li>
  15. For further discussion, see Page (1938) and McDermott (1989). \u21a9\ufe0e<\/a><\/li>
  16. \u00a0This explains why, according to Fern\u00e1ndez Mu\u00f1iz (1993, p. 78), she is the wife of Ogg\u00fan, the elder Orisha. \u21a9\ufe0e<\/a><\/li>
  17. \u00a0The abandonment of the father is a frequent theme in current Hispanic-American poetry written by women. The author of this article is in the process of publishing an anthology of current poetry from Latin America and the Caribbean, composed of authors born between 1989 and 2000.
    \u21a9\ufe0e<\/a><\/li>
  18. In reference to Apsirto. \u21a9\ufe0e<\/a><\/li>
  19. Moreover, contrary to Euripides, where it was known that there were two, in Banard\u2019s poem the number is left open to Aw\u00f3 <\/em>(mystery). \u21a9\ufe0e<\/a><\/li>
  20. For more details on names and versions see No\u00ebl (2003). \u21a9\ufe0e<\/a><\/li>
  21. In this case, in the original text it appears without an accent, as in Nancy Banard\u2019s poem, although in most cases we find it with the respective accent: Oy\u00e1<\/em>. However, it is important to cite Fern\u00e1ndez (2008) when referring to Yoruba terms, for whom:\u00a0
    the way they are written is not very important since there is no consensus, neither among believers nor among scholars. The problem lies in the fact that no reference can be obtained from the Yoruba since they did not use writing […] we can see that Cubans write Och\u00fan, Anglo-Saxons and many authors Oshun, Nigerian authors use O\u015fun, and the Dutch write Osjun. (p. 14)\u00a0<\/sub>
    Banard\u2019s poem is a testimony of such lexical variants, it appears as Osh\u00fan, that is, closer to the Anglo-Saxon variant and many others. The same happens with \u201cYemany\u00e1,\u201d since it is most commonly found as Yemay\u00e1. We cannot know if these dialectal variants are deliberate, although they plausibly could be, but from a philological perspective they still capture our attention.\u00a0
    \u21a9\ufe0e<\/a><\/li>
  22. This title provokes relations with the song \u201cDrume negrita\u201d (1949) by the Afro-Cuban composer Bola de Nieve (Ignacio Jacinto Villa Fern\u00e1ndez). I thank my friend Jorge Luis P\u00e9rez Reyes for the suggestion. \u21a9\ufe0e<\/a><\/li>
  23. \u00a0Hence the fact that it is also a river. \u21a9\ufe0e<\/a><\/li>
  24. For a more comprehensive overview of the the polysemy of Och\u00fan<\/em>, see Castellanos (2002). \u21a9\ufe0e<\/a><\/li>
  25. On the other hand, those who provide more data, based on the Talmud, are Graves and Patai (1964). They tell, within the different versions, that Yahweh made Lilith after Adam complained about his loneliness, but not being an obedient and submissive woman, she ended up being condemned. For its part, the reference to Graves, despite the disagreement of certain philologists in the academic field, is due to its particular use, as a reference, by different writers. For example, the Nicaraguan poet Claribel Alegr\u00eda uses The Greek Myths <\/em>(1955) to create her texts of Greco-Latin mythological content and in her poetry book Mitos y delitos (<\/em>2008) she makes a dedication to the British author. Likewise, Costa Rican writer Carlos Villalobos starts from a dialogue with the work The White Goddess <\/em>(1948) to create his collection of poems Altares de ceniza <\/em>(2019). \u21a9\ufe0e<\/a><\/li>
  26. \u201cHe took the girl\u2019s hand and said, \u2018Talitha kum!\u2019 which translates, \u2018Little girl, I command you, get up!\u2019\u201d \u21a9\ufe0e<\/a><\/li>
  27. \u201cBetween 1820 and 1840, the main slave traders (Portuguese, Dutch and French) sold slaves to the Spanish\u201d (Sald\u00edvar, 2009, p. 2). \u21a9\ufe0e<\/a><\/li>
  28. The author of this article shared a digital copy translated by Alberto Medina Gonz\u00e1lez, second reprint of 1991, published by Gredos, with Nancy Banard, in 2020. \u21a9\ufe0e<\/a><\/li><\/ol><\/div><\/div>\n<\/div><\/div>\n","protected":false},"excerpt":{"rendered":"

    GREEK MYTHS AS INTERNAL STRUGGLE: NANCY BANARD AND HER YORUBA MEDEA  Yordan Arroyo CarvajalUniversity of Salamancahttps:\/\/orcid.org\/0000-0002-2509-4918 Introduction Nancy Banard (b. 1974) is a writer of African descent whose poetic work engages a dialogue between her profession as a psychoanalyst and her interest in ethnic reclamations, among them, the Yoruba religion. From this perspective, her texts […]<\/p>\n","protected":false},"author":33188029,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_coblocks_attr":"Times New Roman","_coblocks_dimensions":"","_coblocks_responsive_height":"","_coblocks_accordion_ie_support":"","_crdt_document":"","advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"footnotes":"[{\"content\":\"Master\u2019s Degree in Classical Antiquity Texts and their Preservation from the University of Salamanca, the same institution where he is a predoctoral researcher. He studied Spanish Language and Literature Teaching, Classical Philology, and Primary Education at the University of Costa Rica. This article was developed thanks to a grant from Banco Santander to pursue doctoral studies at the University of Salamanca between 2024-2025.\",\"id\":\"af64502e-3d39-4707-b303-17900e9591e2\"},{\"content\":\"To support this assertion, we have reviewed the academic scholarship and literary collections on the mythological character of Medea collected in Arroyo (2024), along with personal readings of poems on the subject.\u00a0\u00a0
    \",\"id\":\"4c360c2e-b21e-436a-90c1-a2fa26850da6\"},{\"content\":\"According to Fernandez (2008), today, the characteristics of African religions are beginning to spark interest in the rest of the world. Respect for elders and ancestors and the relationship between the living, divinities, and spirits seem particularly well-received, as they fill the gaps of other religions that are no longer so pleasant (see pp. 94-95).
    \",\"id\":\"0311fee9-4161-4371-ab20-cfec38214bc3\"},{\"content\":\"Here, we do not mean to assert that Banard read Pindar's Pythias, which is almost impossible. Instead, the qualifier \\\"sorceress\\\" to refer to Medea most likely comes from the introduction to the edition of Medea <\/em>published by Gredos in 1977, with a second reprint of 1991, which we discuss in the last footnote of this article.\",\"id\":\"16404ed0-b196-48bf-9ee9-2a4472ede1f0\"},{\"content\":\"Within African religions, there is a difference between witchcraft and sorcery. The former seeks to do evil, to take revenge, even though it is usually practiced by a few people (though not necessarily). Sorcery is associated with magic as a beneficial component that allows communication between the living and the dead (relatives) and thus maintains a greater closeness of clans. See Fern\u00e1ndez (2008).
    \",\"id\":\"8592efdf-9fc4-4fa3-8fe1-f70728ea65d0\"},{\"content\":\"Castellanos and Castellanos (1992) speak of Nana Buruc\u00fa, whom we should understand as an allegory of the moon.\",\"id\":\"c2d34fc3-3f81-4074-9837-e43bb73a9547\"},{\"content\":\"To the extent that \\\"no one wanted someone who died in bad conditions to be reincarnated\\\" (Awolalu 2001, p. 60; quoted by Fern\u00e1ndez, 2008, p. 99).
    \",\"id\":\"062d1a30-ffc0-4085-a313-20d01a2a0004\"},{\"content\":\"For Fern\u00e1ndez (2008), everything that exists in nature is an expression of As\u00e9 <\/em>and is classified by forces and can be lost. Therefore, people must take care of it through harmony with nature.\",\"id\":\"5b076d53-e9d2-4543-aabc-7c7bcf73c9e5\"},{\"content\":\"\u201cPeople thought that primitivism has ideas that are too crude, but that\u2019s where the real philosophy is, the real thinking. When you move away from primitivism, you begin to contaminate yourself with civilization. Here the contact is established with the mind\u201d (I).
    \",\"id\":\"736a569a-fa8c-4c21-a18b-8f126616a8a3\"},{\"content\":\"A clear example is the importance of the bat\u00e1 <\/em>drum.<\/em>\",\"id\":\"fb9e1fcb-7007-441f-a3cb-2a41e7a12e5a\"},{\"content\":\"However, slavery seems to be a behavior inherent to humanity. For example, for Fernandez (2008), who relies on Smith (1980 \/ 1988, p.37), Eades (1980, ch. 2:3-8) and Bascom (1984, 12, 14-15):\u00a0
    Slavery in the world dates back to very distant times and few cultures are free from its practice, not even the Yorubas themselves, who at the beginning of the transfer of slaves to America were the ones who captured their neighbors and enemies and sold them to the European traders on the African coast. (p. 81).<\/sub>
    \",\"id\":\"57c72340-181f-4268-8eb9-190e790d5185\"},{\"content\":\"\u00a0See Del Carmen (2002).\",\"id\":\"d792ba74-1ef4-4f37-a563-962018fa5f9c\"},{\"content\":\"The theme of foreignness or migration is one of the most frequent in current Hispanic American poetry, one of the most remarkable collections of poems in the last five years is Balam Rodrigo\u2019s Libro Centroamericano de los muertos (<\/em>2018), which provoked, in Spain, much of the creation of the collection of poems Libro Mediterr\u00e1neo de los muertos (<\/em>2023) by Mar\u00eda \u00c1ngeles P\u00e9rez L\u00f3pez. Both books, of course, in dialogue with the Egyptian funerary text Libro de los muertos.\u00a0<\/em>
    \",\"id\":\"569a49bc-9a50-4a2f-9780-3e7a7e6731bf\"},{\"content\":\"See Del Carmen (2002).\",\"id\":\"9b04178a-3240-440b-a284-4f9284dd188a\"},{\"content\":\"For further discussion, see Page (1938) and McDermott (1989).\",\"id\":\"a2e57e4d-d9ce-49c6-8848-1bd784b66f99\"},{\"content\":\"\u00a0This explains why, according to Fern\u00e1ndez Mu\u00f1iz (1993, p. 78), she is the wife of Ogg\u00fan, the elder Orisha.\",\"id\":\"96b528d4-d1fb-44e8-83c3-598b1a626842\"},{\"content\":\"\u00a0The abandonment of the father is a frequent theme in current Hispanic-American poetry written by women. The author of this article is in the process of publishing an anthology of current poetry from Latin America and the Caribbean, composed of authors born between 1989 and 2000.
    \",\"id\":\"fafcf4df-0ffa-4276-ad37-373347c147db\"},{\"content\":\"In reference to Apsirto.\",\"id\":\"3a711485-9cf1-41eb-8998-dd98401232d9\"},{\"content\":\"Moreover, contrary to Euripides, where it was known that there were two, in Banard\u2019s poem the number is left open to Aw\u00f3 <\/em>(mystery).\",\"id\":\"e70c61f0-fd6a-4e6f-9734-f2d53c82abfd\"},{\"content\":\"For more details on names and versions see No\u00ebl (2003).\",\"id\":\"21c25992-f882-4460-a6de-ce865320de72\"},{\"content\":\"In this case, in the original text it appears without an accent, as in Nancy Banard\u2019s poem, although in most cases we find it with the respective accent: Oy\u00e1<\/em>. However, it is important to cite Fern\u00e1ndez (2008) when referring to Yoruba terms, for whom:\u00a0
    the way they are written is not very important since there is no consensus, neither among believers nor among scholars. The problem lies in the fact that no reference can be obtained from the Yoruba since they did not use writing [...] we can see that Cubans write Och\u00fan, Anglo-Saxons and many authors Oshun, Nigerian authors use O\u015fun, and the Dutch write Osjun. (p. 14)\u00a0<\/sub>
    Banard\u2019s poem is a testimony of such lexical variants, it appears as Osh\u00fan, that is, closer to the Anglo-Saxon variant and many others. The same happens with \u201cYemany\u00e1,\u201d since it is most commonly found as Yemay\u00e1. We cannot know if these dialectal variants are deliberate, although they plausibly could be, but from a philological perspective they still capture our attention.\u00a0
    \",\"id\":\"7054d128-12ed-4255-ac8b-8c7727b7d611\"},{\"content\":\"This title provokes relations with the song \u201cDrume negrita\u201d (1949) by the Afro-Cuban composer Bola de Nieve (Ignacio Jacinto Villa Fern\u00e1ndez). I thank my friend Jorge Luis P\u00e9rez Reyes for the suggestion.\",\"id\":\"071d25e9-4406-43ad-8a21-74550adf1317\"},{\"content\":\"\u00a0Hence the fact that it is also a river.\",\"id\":\"1a2d735e-944b-4637-942f-f603f2427cc8\"},{\"content\":\"For a more comprehensive overview of the the polysemy of Och\u00fan<\/em>, see Castellanos (2002).\",\"id\":\"c8ea69f6-6e1a-475c-bbda-9e7db35fe4c9\"},{\"content\":\"On the other hand, those who provide more data, based on the Talmud, are Graves and Patai (1964). They tell, within the different versions, that Yahweh made Lilith after Adam complained about his loneliness, but not being an obedient and submissive woman, she ended up being condemned. For its part, the reference to Graves, despite the disagreement of certain philologists in the academic field, is due to its particular use, as a reference, by different writers. For example, the Nicaraguan poet Claribel Alegr\u00eda uses The Greek Myths <\/em>(1955) to create her texts of Greco-Latin mythological content and in her poetry book Mitos y delitos (<\/em>2008) she makes a dedication to the British author. Likewise, Costa Rican writer Carlos Villalobos starts from a dialogue with the work The White Goddess <\/em>(1948) to create his collection of poems Altares de ceniza <\/em>(2019).\",\"id\":\"f46bf5bd-677d-40d2-9961-85227220ac36\"},{\"content\":\"\u201cHe took the girl\u2019s hand and said, \u2018Talitha kum!\u2019 which translates, \u2018Little girl, I command you, get up!\u2019\u201d\",\"id\":\"77393915-a60b-46be-a8f9-dc382ee6e421\"},{\"content\":\"\u201cBetween 1820 and 1840, the main slave traders (Portuguese, Dutch and French) sold slaves to the Spanish\u201d (Sald\u00edvar, 2009, p. 2).\",\"id\":\"5c71f155-9134-4f99-a203-8b38ba4fc7ef\"},{\"content\":\"The author of this article shared a digital copy translated by Alberto Medina Gonz\u00e1lez, second reprint of 1991, published by Gredos, with Nancy Banard, in 2020.\",\"id\":\"f2b5bd8e-f461-4307-ba00-668345f52d44\"}]"},"class_list":["post-2149","page","type-page","status-publish","hentry"],"jetpack_likes_enabled":false,"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P2V8if-yF","jetpack-related-posts":[{"id":6151,"url":"https:\/\/trasatlantica.org\/?page_id=6151","url_meta":{"origin":2149,"position":0},"title":"Ensayos\/Essays","author":"Soviet Cuba: Identities in Transition","date":"January 17, 2026","format":false,"excerpt":"Jos\u00e9 Ram\u00f3n Ruis\u00e1nchez Serra: \u201cAma y haz lo que quieras\u201d: sobre la libertad Adonis S\u00e1nchez Cervera: Egun Awole Daniel Escandell-Montiel: T\u00e9cnicas emergentes para contar historias: la narrativa procedimental y su potencial creativo y reactivo en los hipermedios Emergent\u00a0Storytelling Techniques: Procedural Narrative and Its Creative and Reactive Potential in Hypermedia Yordan\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar 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