Often, people have asked me to show them my essays on various topics from music to film.Therefore, I decided to post some on my website. I loved the movie, 300, so I decided to do some research based on the Greek historian, Herodotus, and his account of what actually happened. Oh, and by the way, I am still writing for the upcoming CD including scores for the strings and woodwinds:). I hope you like what you read!
Zack Snyder’s 2007 film, “300”, has certainly brought back speculation as well as interest in the events that led to the last stand of 300 Spartans against the innumerable might of King Xerxes’ omnipotent Persian armies in the famous, narrow pass in Greece known as Thermopylae. The Greek historian, Herodotus, gives an historical account in his “Histories” about a three day battle in 480 B.C. that captured the spirit and imagination of a whole nation trodden under the heels of tyranny. Frank Miller, former writer for Marvel Comics (“Spiderman”, “Daredevil”, “The Hulk”, etc.) and director/screenwriter for such films as “Sin City”, was enraptured by the legend ever since he saw the film “300 Trojans” (1962), which is practically unobtainable these days, when he was a boy.
It lead to an eventual graphic novel that he made with Lynn Varley depicting the brief struggle at Thermopylae between two opposing cultures that is still talked about in modern times. Thankfully, both the film and graphic novel have led curious people who yearn for the true story back to Herodotus’ “Histories” in order to discover what actually happened in the battle; however, this does not detract from the contribution of Miller’s and Zacker’s visions in any way: due to their intervention, the legend has truly entered the realm of art; the “300” phenomena has proven, once again, that literature and film do not have to be mutually exclusive forms of human expression: “We are now standing, being should to shoulder, as sister art forms with film and literature” (Miller, 2009).
Of course, there are those who do not choose to explore the true meaning of the story and its historical significance to the advent of Western civilization, and read the graphic novel or watch the film as pure entertainment. Scholars have often derided the Miller-inspired “300” projects as as purveyors of gratuitous violence, but they do not see the overall importance of re-telling the story that may or may not be palatable to the general public; not everyone will automatically go to the public library and read Herodotus, much less be aware that he ever existed at all. This is one of the many purposes of art: to inspire education. Aside from Frank Miller, there have been other artistic tributes to the sacrifice of Leonidas and his troops: Napoleon’s court painter, Jean-Jacques David, painted his vision of the legendary Trojan king “Leonidas at Thermopylae, 480 BC” (1814); “Gates of Fire”, by Steven Pressfield, is a popular novel based upon the historical facts of the Spartan-Persian battle and is even on the recommended reading list for the Marine Corps; the noted science fiction author, Jerry Pournelle, wrote “Go Tell the Spartans” (1991) and “Prince of Sparta (1993) using the principals of the Greek legend as interplanetary names for his worlds. Therefore, it does not really matter that Thermopylae was fought over 2,500 years ago; each example shows war as the ultimate paradox: the process of trying to maintain peace through violence whether it is to fight the outlandish behavior of currentreligious extremists or the arrogance of Xerxes’ and his preoccupation to dominate Greece is the same. War will always transcend time.
Nonetheless, this discussion will focus upon Mr. Miller’s and Mr. Snyder’s contributions to the story and how he preserved more of Herodotus’ account than was given credit by the scholars who were quick to admonish their efforts: “Their greatest crime is that they reduced to a dehumanized video game one of the most moving events of Greek history” (Borza, 2007). Moreover, Mr. Snyder’s film continues dialogue and events from both Miller and Herodotus, giving the story added interest to a modern audience. This triumvirate of art has given rise to a whole new appreciation of early Spartan culture and the discernment of truth from falsehood will be emphasized here in this study of the Battle of Thermopylae. It is not the intention of this discussion to pass off both the film and graphic novel as totally sound representations of history, but as celebrations of it in different ways.
Not even Menelaus, the other famous Spartan king of the ancient world, famous for losing his wife, Helen, to Paris--- thereby starting the Trojan war--- has the same intrigue that follows Leonidas. Both had died in their prospective wars, but it was Leonidas who sacrificed himself for the good of his nation. However, Herodotus’ writing style and choice of subject were not immune to the influence of Homer: “…by choosing a war between east and west, Herodotus was consciously emulating the greatest of Greek poets, Homer, and his narrative of the Greek war against Troy” (Marincola, 2003). Even though the “Histories” are based upon irrefutable facts, its historian was inspired by the heroic deeds of Achilles and Odysseus: “…part of his work, like the Odyssey, is full of adventures and tales, and the historian himself, like Odysseus, is an experienced traveler” (Marincola, 2003). Greek mythological characters are prevalent in Herodotus’ text and the Spartans are said to be the descendants of Heracles (Hercules) himself in Snyder’s film.
Reverence for the old ways is not placated; the presence of Heracles is felt strongly throughout the books of the “Histories” and can be associated with the origin of the name Thermopylae which means “Hot springs”: “There are hot springs in the pass---known locally as the Basins---with an altar over them dedicated to Heracles” (Herodotus,440 BCE). Miller’s graphic novel calls them the “Hot Gates” as does the Snyder film. The reason is clear: they consist of sulphurous waters that give off a smell of burning even to this very day. So far, the accuracy of information is consistent all around in this part of the storytelling. Yet, there are inaccuracies abound which shall be told later.
At the beginning of Miller and Snyder’s storytelling which are almost synonymous with each other, a Spartan child is scrutinized at the top of a cliff: “If they judged the crying baby to be unworthy of carrying a Spartan shield it would be taken immediately to a nearby cliff off Mt. Taygetos and thrown over the edge” (Eger, 2007). This screening process led to the system known as agoge: an intensely rigorous military training regimen of Spartan youths from age seven: “They were fed, but it was a weak broth and in quantities only enough to exist. It was expected that the young, starving boys would steal or otherwise find enough food to keep them strong” (Eger, 2007); young Leonidas in the “300” projects must have been caught at one point which would explain why he was brutally punished during one scene; he must have been caught and if so, suffered from the usual punishment.
The agoge discipline instilled in Spartan youth the ultimate physical and mental conditioning of the human body in war, including stealth and cunning in the face of death. The famous scene where the young king slays a demonic wolf in a narrow rock opening indicates his skill acquired by his stoic mentors. “His form is perfect” (Miller, 2006) as he impales the wolf through the mouth. The wolf head is a motivic film device appearing on walls occasionally and the wolf tooth necklace is an expression of the connection between Leonidas and his wife. Ironically, what differs in reality is that the heir apparents to Spartan kingship were not allowed to undergo the agoge program normally; however, Leonidas was the exception; he was third son of his father, Anaxandridas; Cleomenes was the first-born child: “Thus while Cleomenes trained for kingship, Leonides learned to endure hardship and pain, and literally stole food side-by-side with all the other Spartan boys of his generation” (Schrader, 2010).
Therefore, Leonidas could identify with his Spartan troops much more than his other brothers (there were four boys in all). According to Herodotus, Cleomenes eventually went mad, “poking his staff in the face of every Spartiate he met” (Herodotus, 440 BCE) and paved the way for Leonidas’ eventual rule in a rather drastic fashion: “As the result of this lunatic behavior his relatives put him in the stocks. As he was lying there, fast bound, he asked his jailer, when no one else was there, to give him a knife.”(Herodotus, 440 BCE).
Herodotus then proceeds to give a graphic description of how Cleomenes, co-king of Sparta with another brother, Demaratus, mutilated himself to death. It is important to mention Cleomenes because Leonidas married his daughter, Gorgo, who was prominent in the film but had a very limited role in Miller’s original graphic novel (Demaratus, by the way, later defected to Xerxes’ side). Zack Snyder apparently decided to ignore the fact in his film that the king was the husband to his own niece. She is the one who says an important line that described the mentality of Spartan women sending their men off to war: “Come back with your shield or on it”. When the Persian messenger appeared at the steps of Leonidas’ court mentioning “Earth and water”, this statement is straight out of Herodotus as well. Here is one example of its use by the Scythian king Idanthyrsos in response to Xerxes’ father, King Darius: “…I acknowledge no masters but Zeus from whom I sprang, and Hestia the Scythian queen. I will send you no gifts of earth and water, but others more suitable; and your claim to be my master is easily answered---be damned to you!” (Herodotus, 440 BCE).
Perhaps it was through pure sardonic humor that Miller wrote in his narrative the messenger’s famous descent into the well with help from Leonidas’ foot while hearing the film’s most quoted line, “This is Sparta!” After all, one cannot blame the king’s response; he merely represented the Spartan ideal: “The citizens, or Spartiates, were a relatively small group, perhaps numbering some 9,000 men. They were forbidden to be traders or manual workers; instead they were full-time warriors” (Morkot, 1996). Yet, “tradition was something that even Leonidas could not defy”, according to Dilios, the film’s narrator. The “300” projects had to include the magistrates of the day known as ephors which had an agenda other than the acquisition of gold pieces: “The ephors formed a check on the power of the kings, swearing an oath to support them, but only if the kings kept the constitution” (Morkot, 1996).
They were portrayed in Miller’s work as lecherous old priests who succumbed to the ravages of leprosy, as well as in Snyder’s film, and their obstinate refusal to grant Leonidas to take the Spartan armies to war was based upon superstition: the festival of Carneia should not be interrupted because it would have been a serious offense to the Gods. It was celebrated for nine days in tribute of the god Apollo where sacrifices were made and males were only supposed to devote themselves to the idea of purity; this prevented any further Greek troops from participating in the Persian conflict before its end. The Oracle, a beautiful woman under the influence of a drugged trance, replaces Herodotus’ Delphian oracle who prophesied: “Pray to the winds…” (Herodotus, 440 BCE).
An ephor said those instead in the Miller/Snyder story, translating from the Oracle’s trance-subdued lip. Throughout the audio commentary of “300”, Snyder consistently mentioned that he wanted to pay homage to Miller’s graphic novel and used it as storyboards for many scenes in the movie. Among the criticisms that the Miller/Snyder re-telling had garnered were that the fantastic creatures and beasts of burden were unnecessary.
Herodotus did mention that Xerxes’ army had more than just troops: “I am not surprised that with so many people and so many beasts the rivers sometimes failed to provide enough water…” (Herodotus, 440 BCE). This can certainly leave room for poetic license on Miller’s part and Snyder took the ball and ran with it. It would do the film a disservice to judge it on mere historical grounds because cinema has the ability to sensationalize actual events and can get away with it if taken in the proper context. Ephialtes, the traitor of the Spartans, could not have been more exaggerated with his massive hunchback and misshapen face. Herodotus only briefly mentioned him in Book seven of the “Histories” but that does not stop the speculation about this important character in the story. He came at the right time because Xerxes was clearly frustrated, according to the historian, since the battle at Thermopylae was not a decisive victory for him right way: “Xerxes was watching the battle from where he sat; and it is said that in the course of the attacks three times, in terror for his army, he leapt to his feet” (Herodotus,440 BCE).
Then the tide had turned in his favor: “…a man from Malis, Ephialtes, the son of Eurydemus, came, in hope of a rich reward, to tell the king about the track which led over the hills to Thermopylae---and thus he was to prove the death of the Greeks who held the pass” (Herodotus, 440 BCE). Miller had Ephialtes follow the Spartan army early in the story to give him more dimension in the story and to explain his betrayal. The malformed traitor is the antithesis of the perfect Spartan warrior; Snyder gave him enhanced deformities such as the inability to raise a spear by Leonidas’ standards to accent the point.
Nothing is mentioned by Herodotus of what “the rich reward” of Ephialtes’ treachery was, but Xerxes must have been very pleased to place an army under his command. The lure of sex and wealth is the promised reward of the Persian king in the Miller/Snyder world. King Leonidas explained to Ephialtes the importance of the Spartan phalanx formation with devastating effect: “We fight as a single, impenetrable unit. That’s the source of our strength” (Miller, 2006).Thus, the hunchback was used as an excuse to explain the Spartans' secret of defense. Actually, Herodotus tells us later on that Ephialtes was later murdered. Perhaps the most famous historical line lies in the words of Dieneces who was not present in either the film or the graphic novel, but in Herodotus’ story: “…if the Persians hide the sun, we shall have our battle in the shade” (Herodotus,440 BCE). Miller changed the origin of those words and had the Persian emissary boast that his army’s arrows would blot out the sun; the heroic Dieneces of the film, Stelios (a Miller character), replied with the latter half of that phrase. Miller’s reiteration of “We march”, in chapter one of the book entitled “Honor”, is matched in the film. The steadfastness of the Spartan army could not be better emphasized. Stelios stumbled from fatigue in the graphic novel and admits in Spartan fashion: “I’m ready for my punishment,sir” Miller, 2006).
Snyder took this out because the punishments suffered under the agoge were already established at the beginning of the film. During the march episodes of the book, Miller draws his characters with tall spears and mountains pointing high to the heavens in defiance of foreign tyranny but at the same time, keeping the overall army always grouped heavily in the horizon; the writer/ artist explained why in a youtube interview: “Mythological lands tend to be horizontal; that’s why when I did “300”, for example, I went for a horizontal format” (Miller, 2009). The major difference between Miller’s book and Snyder’s film is the participation ratio of the different Greek states; only the Arcadians joined the three hundred bodyguards of Leonidas in the film while the book had a more diversified gathering: “ From Tegea and Mantinea they come---from Thespiae and Thebes and Opus and Phocis and Malis. Some by the dozens. Some by the hundreds…” (Miller,2006). This is a more accurate portrayal of the battle than in the film; “The contingents of the various states were under their own officers, but the most respected was Leonidas the Spartan, who was in command of the whole army” (Herodotus, 440 BCE).
Historically, seven thousand men instead of the three hundred Spartans stood against the Persians at the Battle of Thermopylae: Seven thousand strong…we march” (Miller, 2006). The Spartan king did not lack confidence because he “traced his descent directly back to Heracles” (Herodotus, 440 BCE) and the Miller/Snyder stories never failed to mention it. This may have given him the courage to confront the overwhelmingly large Persian army which numbered to approximately 1,700,000 according to the “Histories”. On the Persian side, the Immortals were an impressive fighting force that King Xerxes sent against the world’s greatest warriors. Miller chose to dress them in iron-like masks which hid monstrous features. This caused some controversy: “Tehran reacted furiously to the Hollywood epic, which depicts many of the Persians facing Leonidas at Thermopylae as grotesque monsters and Xerxes as an effete, heavily made-up pervert with numerous body piercings” (Marozzi, 2008).
Nevertheless, the Immortals “who advanced to the attack in full confidence” (Herodotus, 440 BCE) were no match with their wicker shields against the superior length of Spartan spears and forty-pound shields, much less the impenetrable phalanx; perhaps their inhuman faces symbolized for Miller the inhumanity of trying to subdue a free nation. As for Xerxes, his androgyny was the idea of Miller who inspired Snyder’s cinematic version. The book was careful also to document Leonidas keen military thinking: “Dispatch the Phocians to that goat path---and pray to the Gods that nobody tells the Persians about it” (Miller, 2006); unfortunately, Ephialtes did and the encounter between the Phocians and his contingent was mentioned: “Leaping to their feet, the Phocians were in the act of arming themselves when the enemy was upon them” (Herodotus, 440 BCE). Another historical saying preserved by Miller was “Come and get it”: this alludes to the famous “molon labe” retort to the Persian embassy that promised Leonidas kingship of all Greece if he submitted to Xerxes. Miller combined this Herodotean scene with his own in his book’s fourth chapter, “Combat”. Snyder kept the book’s version for his film which effectively shows Leonidas’ resolve never to accept, to borrow from another classic film, “an offer he can’t refuse”.
There are many other examples of how Miller’s graphic novel seems to best capture the spirit of Herodotus’ original text despite the success of Snyder’s oftentimes inaccurate, but still enjoyable film. The author/writer took the time to really know his subject: “I spent three weeks in the Aegean studying Greek terrain, old Greek battles. I went to the Hot Gates and absorbed it all. I learned that researching history starts out like a chore but quickly turns into a treasure trove” (Miller, 2006).
His personal experiences must have truly worked on his creatively active mind. The mighty power of the Spartan phalanx opens up the “Combat” chapter that expresses the perception of it as something akin to an atom bomb during its day; “we strike” replaces the “we march” announcements; “desert beasts” roam the battlefield; the pomposity of King Xerxes is only dwarfed by his bad temper; the defeat of Xerxes’ father, Darius, and his armies at the Battle of Marathon ten years earlier; Dilios, the film narrator, rallying the assembled troops of all the Greek nations on the plains of Plataea (a true battle that was heroically decisive after Leonidas’ tragic fall): many Herodotean descriptions are alive and well with Miller; however, Snyder’s almost ekphrastic approach to the graphic novel has merit as well.
The Phocian wall mortared with dead soldiers is a striking symbol of Spartan intolerance to Persian dominance; the careful dance between light and shadow, thereby imitating Miller; the inclusion of most of the dialogue captured in the book almost verbatim. In other words, the book and film are perfect compliments to each other as well as to Herodotus’ classic. They both display historical facts in their own way while making the material not necessarily plausible, but interesting enough for the modern audience. As was said before, not everyone has the inclination to discover Herodotus on one’s own; sometimes it takes a little nudge to go in the right direction. Some may disagree with the methods of recounting the events of history, but it is really irrelevant when it comes to honoring the memory of fallen soldiers. In this case, the Spartans’ story must be remembered as a never-ending one that is a testimony to humanity’s need to overcome the worst adverse situations for a better life. Frank Miller and Zack Snyder both read Herodotus and understand that neither of their works are meant to replace the legendary historian’s epic, but instead, to honor its importance forever. One can view the facts from all three works of art collectively.
Bibliography
Borza, Eugene N., 2007. Spartans Overwhelmed at Thermopylae, Again. Archeology.[Online] Available at: http//: www.archeology.org/online/reviews/300.html [Accessed May 25, 2010]
Epstein, Daniel R., 2006. Frank Miller, 300 Interview.UGO.com [Online] Available at: http//: www.ugo.com/ugo/html/article/?id=16424§ionId=106 [Accessed May 25, 2010]
Herodotus, 440 B.C.E. The Histories. Translated by Aubrey de Selincourt and John Marincola, 2003. London, England: Penguin Books
Marozzi, J.,2008. The Way of Herodotus.1st ed. USA: Da Capo Press
Miller, F. & Varney, Lynn, 2006. 300. 3rd ed. Milwaulkie, Oregon: Dark Horse Books
Morkot, R.,1996. The Penguin Historical Atlas of Ancient Greece. 1st ed. London, England: Penguin Books
Schrader, H.,2010. The Smile of Leonidas. EzineArticlescom.[Online] Available at http//: ezinearticles.com/?The-Smile-of-Leonidas&id=3983128 [Accessed May 25, 2010]