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OBDOBJA 44 5 Mythology as subversion: the archetypal prison of womanhood Hergold’s classical erudition—teaching Daphnis and Chloe before Tristan and Isolde—frames Herta’s plight as mythic inevitability. Nonetheless, her classroom becomes a site of haunted pedagogy: even though she dares discuss love, fascism, and democracy with her students, a narrowminded, malignant neighbor that envies Herta’s intellectual freedom, the housewife Pamela Palestra, a domestic icon of everything Herta fears becoming, laughs with the bitter delight of those that chain others to their own limitations, mocking her in “Quarter Past Eleven”: “Well, well . . . you’re afraid, aren’t you?” Palestra’s petitbourgeois cruelty mirrors Herta’s dread of institutional judgment, of becoming jobless, unable to earn her own bread in a system demanding ideological conformity. Her lessons, like her diary, are acts of frail courage. Even as she provokes critical thought, she smells the “raw blood” of her own vulnerability, her body sweating through the “damp, uninhabited house” of her professional identity. The diary’s twentyfour entries mirror The Iliad’s twentyfour books, echoing Walter Siti’s observation about Western literature originating in gendered violence (Siti 2021: 3). When Tanja describes “women locked in boxes” (Hergold 2019: 106), she recasts Herta’s trapped existence as a historical constant—from antiquity’s enslaved women to modern hausfraus. The school hallway, where “potbellied censors” (male colleagues wielding institutional power) brandish their “winnowing forks” of judgment, becomes an Iliadic battlefield. Here, Herta stands as both Cassandra and a captive, her knowledge rendered “currency without exchange rate” in an economy of intellectual conformity. This systemic suffo cation manifests in her hallucinatory train station—visibly close yet perpetually unreachable or without trains. The thief’s taunt (“Only twenty minutes away!”) after violating her space embodies the cruel paradox of her struggle: myth elevates her suf fering to archetype only to condemn her to its inevitability. Windows yawn open, but Herta’s prison has been internalized; Konrad’s brutality (“A fuck is a fuck”) reduces her to a phantom even when physically present (“I was standing there”). Her Delphic quest for selfknowledge becomes pathological in this climate. The more she searches for footprints of her authentic self (“At Nine a.m.”), the more she becomes a spectator in her own life. In a world that demands compliance, authenticity is diagnosed as malad justment—her trembling hands during lessons and disembodied sexual encounters are proof of her failed adaptation. Each fractured moment of being—whether Pamela’s mockery or the classroom’s intellectual battleground, the violated home or the elusive station—becomes a cipher in Herta’s emotional lexicon: Herta’s emotional epistemolo gy. When the diary’s “I” erupts through its thirdperson cage (“I have firm thighs . . . I am I”), it does more than assert existence: it transforms raw feeling into evidence against erasure. The knife and apple, now heavy with accumulated meaning, prepare their final reckoning. If myth condemns Herta to archetypal suffering (Section 5), her emotional responses become both rebellion and revelation—a duality explored in Section 6. 324