The following is an Epicurean meleta (deliberation or commentary) on an African fairy tale, which is here placed before the eyes and treated as a philosophical parable about Divine Pleasure as the Guide of Life. In this myth, Oshún heroically smears herself in honey and dances seductively in order to lure Ogún out of the jungle and back into civilization, and save human society from collapse.

I’ve heard many Oriki (chants) for Oshún (Yoruba Goddess of sweetness, a form of the Venus-archetype) which I’ve found beautiful and enchanting, but if I was to choose a soundtrack for this essay (after all, Venus is associated with music, art, and aesthetics), I would choose either La India’s prelude to Yemayá y Ochún or, better yet, the magical Mongo Santamaría song Ye Ye.

When we studied the Prometheus myth at Eikas, we discussed a bit about some of the ethical problems related to technology (personified as Hephaistos), when it answers to power entanglements rather than to ethical guidance and personal loyalty. Today, I’d like to discuss a bit about how a parallel character (Ogún, the artisan and smith of the Yoruba Gods) was lured back into civilization by Oshún (the Yoruba version of Venus).

Concerning the archetype of Ogún, the story is that he was one of the first Orisha who made a path through the jungle. He was a scout, a hunter, and a perceptive tracker. But most importantly he “makes a path” where no one else has made a path yet. He is a creative force, and quite introverted by all accounts (even in the Greek version of this archetype, Hephaistos), being quite socially awkward in both traditions, and often preferring to remain in his workshop all day. He is the God of iron, of the forge, and of technology. Without Ogún, Yorubas believe that civilization simply cannot progress.

Yoruba myths are known in Cuba as patakís, and this one is found in this page, although many versions of it exist in oral tradition (and now on YouTube). For reasons explained in other myths, Ogún was “cursed” with constant toil, and part of his social contract involved the demands caused by the societal need for his particular skillset. In reality, Ogún represents men (and women) who are by their natural constitution hard-working and active in productive labor. In the myth, Ogún decided to take a break from all his work. The way it’s explained in the OrishaNet page, he did this because “his heart always remained in the forest”, but some may interpret this as a labor strike; others may interpret this as an episode of depression. This last interpretation is probably the most useful, ethically speaking, and also because when people are depressed they lose the pleasure derived from doing many things, which they normally desire to do.

The point is that “once upon a time” Ogún disappeared from the city and went into the forest, and very soon (since he is the Orisha or spirit of industriousness) civilization came to a halt. No tools can be built without him, since he is the smith. No trains may run. No wheels constructed, and no machines. No one can plow the fields. No construction. There’s no progress, no civilization.

Once they realized that Ogún went into hiding, many of the divine powers tried to convince him to return, but (after a long series of attempts) no one succeeded until a young Orisha, Oshún, offered to try to lure him back into the city. This worried the other Orishas, who did not think she would succeed. However, absent other options, she was allowed by wise old Obatalá (the Orisha of the head, where decisions are made) to go on this mission.

How did she do this? Oshún is the Goddess of sex, an enchantress. By singing and dancing semi-naked, and by seducing and entrancing Ogún with her charms, from time to time pouring honey over herself–and when she saw that Ogún was ogling her, placing some honey on his lips–she slowly got him to move out of his forest refuge and slowly lured him out, danced him out, seduced him out of the forest and back into the city. She probably did this following the path of some spring or river, as Oshún is a river-goddess of fresh waters and her role in the universe is to “cool” the other Orisha and to refresh the world with her sweet waters. The story ends:

And all learned that sweetness (is) sometimes the most powerful weapon of all, and that Oshún was much more powerful than she appeared and was to be respected.

… which immediately reminds me of our meleta on the Lucretian passage where Venus subdues Mars. I must here note a parallel between this patakí and another one where Oshún saves the world once again, this time during times of famine and by bringing rains. In that other myth, we also see that the other Orishas from the onset underestimated Oshún. Stories about Oshún seem to be an ongoing commentary in Yoruba mythos about the status of women, and a warning to not underestimate them but to allow them to be leaders and to prove themselves, because without their gifts there is no possibility of successful human civilization.

That Oshún is sexually emancipated, adds to her role as an empowering Orisha for women. One merely needs to look at the high levels of involvement of women at all levels of society in southern Nigeria, where Oshún is still revered, versus the horrible oppression that women suffer in the Islamic north of Nigeria, where women are constantly targeted for rape, violence, and abduction, and are routinely denied basic human rights.

This might give us some ideas about why Epicurean philosophy was not historically favored, unlike Platonism, Stoicism, and other philosophies. Epicureanism has always suffered the fate of enjoying the same reputation as that of the Goddess of sex and pleasure, who embodies our ethical ideals, and this reputation and respectability greatly diminished under patriarchal hegemony.

Going back to the role of Hephaistos in the Promethean cycle, during our meleta on The Betrayal and Passion of Prometheus, we had discussed:

Hephaistos (The God of Technology) had been closely related to both Prometheus and Athena, and in fact they were all three worshiped together (they are all tied to progress, civilization and science). However, in Prometheus Bound, Hephaistos betrays his friend and–even while expressing sadness for his friend–he’s the one who built the chains and bound Prometheus, against his own will, out of obedience (and/or fear?) of Zeus.

Throughout Prometheus Bound we see Zeus impiously referred to as a tyrant. The ethical problem of blind obedience to tyranny (the problem of the “good German” during the Nazi era), and the remorseless cruelty it produces, is seen in the Prometheus myth.

Hephaistos’ role also raises questions about the ethical utility of science and technology. In Principal Doctrines 10-13, Epicurus establishes an ethical purpose for science, however Prometheus Bound raises questions about what can happen when Technology serves the interests of power rather than ethical values.

In the Yoruba myth, Ogún is set right by Oshun’s sweetness, represented by the honey she smears on herself.

From the perspective of the psychological interpretation, where Ogún suffers from depression, she uses pleasure / honey / sweetness as medicine for depression and heals him.

From the perspective of refusal to work, she made him productive by using the powerful appeal and the seduction of pleasure, of sweetness. She would have made work agreeable.

From the literal perspective, he simply goes back to being himself and performing his role in the world … but what is going on inside? As when I studied Taoism, I am here reminded of Epicurean Saying 21:

We must not force Nature, but gently persuade her.

What were the Yoruba ancestors trying to teach when they articulated this particular myth? Notice the contrast between how the Greeks warned us that Zeus (associated with Power) corrupts Hephaistos, whereas the Yoruba warned us that the Yoruba Venus (associated with sweetness, Pleasure) saves and redeems both the Yoruba Hephaistos and the world.

Power corrupts, but Pleasure saves and heals.