becomes the rule, not the exception. Possibly this has something to do with an idiosyncratic cosmic vision and the fact that she herself transitions from using parthenogenesis to as it were old-fashioned procreation as her method of structuring the cosmic context. By parthenogenesis the Earth Gaia creates Ouranos, the sky, as well as Ourea, or mountains, and Pontos, the sea. However, the authentic power of the sea only emerges when Gaia (earth) mates with Ouranos (sky), producing "deep-whirling Okeanos" (Hesiod, 1987, p. 36), the ocean, and his siblings, all of whom become the Titans, and none of whom, it appears, were children of whom a father could be proud. Indeed, some were monsters, from the one-eyed Kyklopes to the hundred-handed Gyges.
For all who were born from Gaia and Ouranos were the
most terrible of children, and their father hated them
from the first; when any of them first would be born,
he would hide them all away, and not let them come up
The fact that the Titans and monsters are monstrous is bad enough, but their psychophysical character is not the threat to Ouranos; their very existence is. It must be noted that the appearance of offspring is, in the cosmic era, itself a first-time creation, and among the first lords of the universe novelty is not necessarily a cosmic benefit. Gaia, who cannot escape the creative principle of her nature, chooses to see the product of her creativity blossom rather than suppressed by Ouranos. Thus she enables Kronos to attack and castrate (as he thinks) Ouranos, though Ouranos's blood striking her is enough to result in the birth of a race of giants and nymphs on the earth.
Thus far the Greek creation myth. However, the details and personalities of the narrative are not important merely as plot points. Everything these personaliti
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