“Until you make the unconscious conscious, it will direct your life and you will call it fate.”
Carl Jung
“What does he mean by ‘the Fates’ … ?” a student asked me this week. It was while I was helping her to learn the opening of this year’s Virgil set text, which contains the line with which I have titled this blog post.
It was quite the question, and I fear that the explanation I gave at the time was somewhat inadequate. The concept of fate occupied a central place in the intellectual, religious and cultural life of the Romans and the Greeks, so it’s pretty difficult to sum it up in a few words.
To the ancient Greeks, fate was an inexorable power, both mysterious and inevitable and superior even over the will of Zeus himself. For the Romans, who inherited and transformed much of Greek thought, fate was deeply connected to the popular Stoic vision of a rational, ordered cosmos; they also saw it more as synonymous with the will of Jupiter (the Roman counterpart of Zeus). In both civilisations, fate also represented the tension between divine or natural necessity and human free will, raising the perennial and still-relevant question of the extent to which humans have individual agency.
Greek mythology presents fate as a divine force, which governs both gods and mortals, personified as the Moirai. One of the Moirai, named Clotho, spins the thread of life; Lachesis measures it, and Atropos cuts it, ending a life at its appointed time. The Moirai possess these powers beyond the will of Zeus, who may alter much but cannot contravene what has already been “spun” by the Fates. In Homer’s Iliad, Zeus wishes to save his son Sarpedon from death, but his wife Hera reminds him that to do so would be to disrupt the cosmic order by going against the Fates. Zeus reluctantly yields to fate and allows Sarpedon to die, thereby preserving the balance of the universe. The Moirai represent a worldview in which destiny is fixed, human freedom is constrained and even divine will has its limits. Similar beliefs are expressed by the writers of Dr. Who. In the episode entitled “The Fires of Pompeii” (2008), the 10th Doctor explains to his companion that some points in time are fixed (meaning that he is not allowed to change them), while others are in flux (these are events he is allowed to alter). He cites the destruction of Pompeii as a fixed point that cannot be interfered with, contrasting it with other events in which he is allowed to intervene. When his companion asks him how he knows which events are fixed and which are not, he replies, “Because that’s how I see the universe. Every waking second, I can see what is, what was, what could be, what must not … That’s the burden of the Timelord.” This, according to the Greeks, was also how Zeus and the other Olympian gods understood the universe.
The Homeric epics are saturated with such references to fate. In the Iliad, heroes such as Achilles and Hector know that their deaths are inevitable and even foretold, yet the glory they attain depends on how they respond to this certainty. Achilles was told that he could choose between a short, glorious life or a long, obscure one — yet even this choice existed within the framework of a predetermined destiny: would a man such as Achilles ever make a choice other than the one that he did? Was he even capable of doing anything differently? In 2012, the popular atheist thinker Sam Harris wrote a book entitled Free Will. He doesn’t believe that free will exists, and his argument is based on the fact that we act according to our nature and life experiences, both of which are beyond our control.
Sophocles’ Oedipus Rex was the quintessential exploration of fate in Greek thought and I have written about it before. The play dramatises the life of Oedipus, King of Thebes, who attempts to escape a prophecy that he will kill his father and marry his mother. In his efforts to avoid his fate, Oedipus unwittingly fulfills it, thereby bringing plague and ruin to his city. The tragedy lies not simply in the events but in their inevitability. From the beginning, the audience knows the prophecy and it understands that Oedipus’ attempts at escape will be futile: the entire point of the play is to underscore the futility man’s attempts to resist fate.
Oedipus Rex shows how human intelligence, agency and hubris all in fact drive our destiny. The play also raises profound questions about knowledge and ignorance. Oedipus is a solver of riddles — he famously defeated the Sphinx by answering its riddle — but he cannot solve the riddle of his own life. His relentless pursuit of the truth, motivated by noble intent, leads him to self-destruction. This suggests that fate operates not only through external events but also through the very character and choices of individuals. Oedipus’ determination to know ensures the fulfillment of his destiny. Thus, fate is not an external imposition but an immanent necessity, woven into the fabric of human identity and action. Just as Achilles by his very nature cannot choose anything other than his glorious, short life.
Early Greek philosophy began to transfer the mythological sense of fate into a subject for rational inquiry. Early thinkers such as Heraclitus (for whom we have only fragmentary evidence) reportedly spoke of a universal logos, a rational principle that orders the cosmos, suggesting that he viewed fate as a kind of cosmic law. The Presocratic philosopher Anaximander, likewise known to us only in fragments, saw existence as governed by a principle of necessity, whereby beings pay “penalty and retribution” for their existence in accordance with a cosmic order. The early philosophers thus sought to reconcile human agency with the necessity of fate, a notion that modern philosophers are still wrestling with.
Plato presented a cosmos governed by necessity, but also shaped by the rational will of the divine craftsman. In the Myth of Er at the end of the Republic, souls choose their next lives, but only within the framework of a cosmic order in which the Fates play a central role. Human responsibility remains, but choice occurs within the constraints determined by destiny. Aristotle emphasised causality and the principle of necessity: every event follows from prior causes. He allowed room for contingency and human deliberation, particularly in ethics, where rational choice plays a central role; but even so, Aristotle’s universe is governed by what he calls the Unmoved Mover, and necessity prevails.
The Romans inherited the Greek concept of fate but adapted it to their own religious and political culture. For them, fatum literally meant “what has been spoken,” reflecting its origin in divine speech or decree. Fate was not only the domain of the Parcae, the Roman equivalents of the Moirai, but was also closely tied to Jupiter, the supreme god. Unlike the Greek Zeus, who often appears to be constrained by fate, Jupiter was more frequently depicted as the very source and guarantor of fate in Roman literature. He embodied the sovereignty of divine order, and fate was his will, which was expressed in the unfolding of history. When Jupiter nods his head, stuff happens.
The close link between Jupiter and fate is perhaps as a result of the Roman mindset. The Romans viewed themselves as destined to rule the world. Virgil’s Aeneid, Rome’s great epic of self-definition and indeed the origin of my client’s question, presents the destiny of Rome as the ruling nation as ordained by Jupiter. Aeneas, the dutiful hero, is guided not by personal desire but by obligation to his fated mission, which was to found the Roman race, the future governors of the world. Whenever Aeneas hesitates, wavers from or questions his path, Jupiter and the gods remind him of his destiny, which cannot be avoided. Thus, Roman self-definition entwined the concept of fate with their own historical power, giving it a collective and political dimension absent from the primarily individual focus of fate as viewed by the Greeks. One can only imagine what it must have been like to be a Roman reading Virgil, being told that you are quite literally destined to rule the world.
The Stoics, the Greek philosophers most popular among Roman intelligentsia, gave the most systematic philosophical account of fate in antiquity, one that deeply influenced Roman intellectual life. Fate for the Stoics was synonymous with the rational order of the cosmos, governed by divine reason (logos). Everything that happens is determined by an unbreakable chain of cause and effect, which is itself the expression of divine providence. Fate, then, is not blind necessity but rational order. Chrysippus defined fate as “a rational principle of the things that happen in the world, or the chainlike connection of causes”: nothing occurs by chance; all events follow from prior causes, and the entire universe unfolds according to divine reason. Perhaps strangely, this did not imply fatalism in the sense of resignation; for the Stoics, freedom consisted in aligning one’s will with fate, embracing what happens as necessary and good because it proceeds from divine reason. The Stoics believed that individuals could not control fate but they also argued that individuals had free will. So an individual person is like a dog tied to the back of a wagon. Whatever the dog’s actions, the wagon will go on its way. So how does the dog have free will? Well, he can resist the wagon and be dragged along, impeding the wagon’s progress and damaging himself along the way. Alternatively, he can trot along like a good dog and help the wagon to proceed smoothly. Or, as Sam Harris puts it in his 21st century book on free will that I mentioned earlier, “a puppet is free, as long as he loves his strings.”
Roman Stoics like Seneca, Epictetus, and Marcus Aurelius elaborated on the vision of the dog tied to the wagon. Seneca famously wrote, “Fate leads the willing and drags the unwilling.” The wise person accepts fate willingly, finding peace in conformity with necessity. Epictetus, a former slave (let’s think about that for a moment, in the context of free will!), emphasised that while external events are determined by fate, individuals retain freedom in their judgments, attitudes and responses. Thus, freedom exists within fate: we cannot change events, but we can choose how to face them. Marcus Aurelius, in his Meditations, repeatedly counsels acceptance of the order of nature, viewing fate as part of a benevolent cosmic plan. For him, to rebel against fate is to rebel against the universe itself. This approach to life has had a profund influence that resonates to this day and is used by psychologists when working with clients to help them understand what is and is not within their control. It is also expressed rather beautifully in the serenity prayer still used by Christians today and also used by the addiction support group, Alcoholics Anonymous: “God, grant me the serenity to accept the things I cannot change, the courage to change the things I can change, and the wisdom to know the difference.”







