Greek mythology

with an attendant, probably her nurse, a fresco from Pompeii, Greek mythology has changed over time to accommodate the evolution of their culture, of which mythology, both overtly and in its unspoken assumptions, is an index of the changes. In Greek mythology's surviving literary forms, as found mostly at the end of the progressive changes, it is inherently political, as Gilbert Cuthbertson (1975) has argued. The earlier inhabitants of the Balkan Peninsula were an agricultural people who, using animism, assigned a spirit to every aspect of nature. Eventually, these vague spirits assumed human forms and entered the local mythology as gods. When tribes from the north of the Balkan Peninsula invaded, they brought with them a new pantheon of gods, based on conquest, force, prowess in battle, and violent heroism. Other older gods of the agricultural world fused with those of the more powerful invaders or else faded into insignificance. Previously existing myths, such as those of Achilles and Patroclus, also then were cast in a pederastic light. Alexandrian poets at first, then more generally literary mythographers in the early Roman Empire, often re-adapted stories of Greek mythological characters in this fashion. The achievement of epic poetry was to create story-cycles and, as a result, to develop a new sense of mythological chronology. Thus, Greek mythology unfolds as a phase in the development of the world and of humans. While self-contradictions in these stories make an absolute timeline impossible, an approximate chronology may be discerned. The resulting mythological "history of the world" may be divided into three or four broader periods: • The myths of origin or age of gods (Theogonies, "births of gods"): myths about the origins of the world, the gods, and the human race. • The age when gods and mortals mingled freely: stories of the early interactions between gods, demigods, and mortals. • The age of heroes (heroic age), where divine activity was more limited. The last and greatest of the heroic legends is the story of the Trojan War and after (which is regarded by some researchers as a separate, fourth period). In the Works and Days, Hesiod makes use of a scheme of Four Ages of Man (or Races): Golden, Silver, Bronze, and Iron. These races or ages are separate creations of the gods, the Golden Age belonging to the reign of Cronos, the subsequent races to the creation of Zeus. The presence of evil was explained by the myth of Pandora, when all of the best of human capabilities, save hope, had been spilled out of her overturned jar. In Metamorphoses, Ovid follows Hesiod's concept of the four ages. Origins of the world and the gods (Love Conquers All''), a depiction of the god of love, Eros. By Michelangelo Merisi da Caravaggio, circa 1601–1602. "Myths of origin" or "creation myths" represent an attempt to explain the beginnings of the universe in human language. Without male assistance, Gaia gave birth to Uranus (the Sky) who then fertilized her. From that union were born first the Titans—six males: Coeus, Crius, Cronus, Hyperion, Iapetus, and Oceanus; and six females: Mnemosyne, Phoebe, Rhea, Theia, Themis, and Tethys. After Cronus was born, Gaia and Uranus decreed no more Titans were to be born. They were followed by the one-eyed Cyclopes and the Hecatoncheires or Hundred-Handed Ones, who were both thrown into Tartarus by Uranus. This made Gaia furious. Cronus ("the wily, youngest and most terrible of Gaia's children") depicting Athena being "reborn" from the head of Zeus, who had swallowed her mother Metis, on the right, Eileithyia, the goddess of childbirth, assists, circa 550–525 BC (Musée du Louvre, Paris) Zeus was plagued by the same concern, and after a prophecy that the offspring of his first wife, Metis, would give birth to a god "greater than he", Zeus swallowed her. She was already pregnant with Athena, however, and she burst forth from his head—fully-grown and dressed for war. Hesiod's Theogony is not only the fullest surviving account of the gods but also the fullest surviving account of the archaic poet's function, with its long preliminary invocation to the Muses. Theogony also was the subject of many lost poems, including those attributed to Orpheus, Musaeus, Epimenides, Abaris, and other legendary seers, which were used in private ritual purifications and mystery-rites. There are indications that Plato was familiar with some version of the Orphic theogony. A silence would have been expected about religious rites and beliefs, however, and that nature of the culture would not have been reported by members of the society while the beliefs were held. After they ceased to become religious beliefs, few would have known the rites and rituals. Allusions often existed, however, to aspects that were quite public. Images existed on pottery and religious artwork that were interpreted and more likely, misinterpreted in many diverse myths and tales. A few fragments of these works survive in quotations by Neoplatonist philosophers and recently unearthed papyrus scraps. One of these scraps, the Derveni Papyrus now proves that at least in the fifth-century BC a theogonic-cosmogonic poem of Orpheus was in existence. Influences from other cultures always afforded new themes. Greek pantheon , seduces Leda, the Queen of Sparta. A sixteenth-century copy of the lost original by Michelangelo. According to Classical-era mythology, after the overthrow of the Titans, the new pantheon of gods and goddesses was confirmed. Among the principal Greek gods were the Olympians, residing on Mount Olympus under the eye of Zeus. (The limitation of their number to twelve seems to have been a comparatively modern idea.) Besides the Olympians, the Greeks worshipped various gods of the countryside, the satyr-god Pan, Nymphs (spirits of rivers), Naiads (who dwelled in springs), Dryads (who were spirits of the trees), Nereids (who inhabited the sea), river gods, Satyrs, and others. In addition, there were the dark powers of the underworld, such as the Erinyes (or Furies), said to pursue those guilty of crimes against blood-relatives. In order to honor the Ancient Greek pantheon, poets composed the Homeric Hymns (a group of thirty-three songs). Gregory Nagy (1992) regards "the larger Homeric Hymns as simple preludes (compared with Theogony), each of which invokes one god." The gods of Greek mythology are described as having essentially corporeal but ideal bodies. According to Walter Burkert, the defining characteristic of Greek anthropomorphism is that "the Greek gods are persons, not abstractions, ideas or concepts." The second type (tales of punishment) involves the appropriation or invention of some important cultural artifact, as when Prometheus steals fire from the gods, when Tantalus steals nectar and ambrosia from Zeus' table and gives it to his subjects—revealing to them the secrets of the gods, when Prometheus or Lycaon invents sacrifice, when Demeter teaches agriculture and the Mysteries to Triptolemus, or when Marsyas invents the aulos and enters into a musical contest with Apollo. Ian Morris considers Prometheus' adventures as "a place between the history of the gods and that of man." An anonymous papyrus fragment, dated to the third century, vividly portrays Dionysus' punishment of the king of Thrace, Lycurgus, whose recognition of the new god came too late, resulting in horrific penalties that extended into the afterlife. The story of the arrival of Dionysus to establish his cult in Thrace was also the subject of an Aeschylean trilogy. In another tragedy, Euripides' The Bacchae, the king of Thebes, Pentheus, is punished by Dionysus, because he disrespected the god and spied on his Maenads, the female worshippers of the god. and Metanira in a detail on an Apulian red-figure hydria, circa 340 BC (Altes Museum, Berlin) In another story, based on an old folktale motif and echoing a similar theme, Demeter was searching for her daughter, Persephone, having taken the form of an old woman called Doso, and received a hospitable welcome from Celeus, the King of Eleusis in Attica. As a gift to Celeus, because of his hospitality, Demeter planned to make his son Demophon a god, but she was unable to complete the ritual because his mother Metanira walked in and saw her son in the fire and screamed in fright, which angered Demeter, who lamented that foolish mortals do not understand the concept and ritual. Heroic age The age in which the heroes lived is known as the Heroic Age. The epic and genealogical poetry created cycles of stories clustered around particular heroes or events and established the family relationships between the heroes of different stories; they thus arranged the stories in sequence. According to Ken Dowden (1992), "there is even a saga effect: we can follow the fates of some families in successive generations." Heracles and the Heracleidae with his baby Telephus (Louvre Museum, Paris) Some scholars believe Others point to earlier myths from other cultures, showing the story of Heracles as a local adaptation of hero myths already well established. Traditionally, Heracles was the son of Zeus and Alcmene, granddaughter of Perseus. His fantastic solitary exploits, with their many folk-tale themes, provided much material for popular legend. According to Burkert (2002), "He is portrayed as a sacrificer, mentioned as a founder of altars, and imagined as a voracious eater himself; it is in this role that he appears in comedy. Argonauts The only surviving Hellenistic epic, the Argonautica of Apollonius of Rhodes (epic poet, scholar, and director of the Library of Alexandria) tells the myth of the voyage of Jason and the Argonauts to retrieve the Golden Fleece from the mythical land of Colchis. In the Argonautica, Jason is impelled on his quest by king Pelias, who receives a prophecy that a man with one sandal would be his nemesis. Jason loses a sandal in a river, arrives at the court of Pelias, and the epic is set in motion. Nearly every member of the next generation of heroes, as well as Heracles, went with Jason in the ship Argo to fetch the Golden Fleece. This generation also included Theseus, who went to Crete to slay the Minotaur; Atalanta, the female heroine, and Meleager, who once had an epic cycle of his own to rival the Iliad and Odyssey. Pindar, Apollonius and the Bibliotheca endeavor to give full lists of the Argonauts. Although Apollonius wrote his poem in the 3rd century BC, the composition of the story of the Argonauts is earlier than Odyssey, which shows familiarity with the exploits of Jason (the wandering of Odysseus may have been partly founded on it). In ancient times, the expedition was regarded as a historical fact, an incident in the opening up of the Black Sea to Greek commerce and colonization. The Theban Cycle deals with events associated especially with Cadmus, the city's founder, and later with the doings of Laius and Oedipus at Thebes; a series of stories that lead to the war of the Seven against Thebes and the eventual pillage of that city at the hands of the Epigoni. Finally there are two pseudo-chronicles written in Latin that passed under the names of Dictys Cretensis and Dares Phrygius. The Trojan War cycle, a collection of epic poems, starts with the events leading up to the war: Eris and the golden apple of Kallisti, the Judgement of Paris, the abduction of Helen, the sacrifice of Iphigenia at Aulis. To recover Helen, the Greeks launched a great expedition under the overall command of Menelaus's brother, Agamemnon, king of Argos, or Mycenae, but the Trojans refused to return Helen. The Iliad, which is set in the tenth year of the war, tells of the quarrel between Agamemnon and Achilles, who was the finest Greek warrior, and the consequent deaths in battle of Achilles' beloved comrade Patroclus and Priam's eldest son, Hector. After Hector's death, the Trojans were joined by two exotic allies, Penthesilea, queen of the Amazons, and Memnon, king of the Ethiopians and son of the dawn-goddess, Eos. Some of the more famous heroes noted for their inclusion in the Trojan War were: On the Trojan side: • Aeneas • Hector • Paris On the Greek side: • Ajax (there were two Ajaxes) • Achilles • King Agamemnon • Menelaus • Odysseus • Diomedes ==Greek and Roman conceptions of myth==

Mythology was at the heart of everyday life in Ancient Greece. Philosophy and myth 's The School of Athens After the rise of philosophy, history, prose and rationalism in the late 5th century BC, the role of myth became less certain, and mythological genealogies gave place to a conception of history which tried to exclude the supernatural (such as the Thucydidean history). While poets and dramatists were reworking the myths, Greek historians and philosophers were beginning to criticize them. By the 6th century BC, a few radical philosophers were already beginning to label the poets' tales as blasphemous lies: Xenophanes of Colophon complained that Homer and Hesiod attributed to the gods "all that is shameful and disgraceful among men; they steal, commit adultery, and deceive one another." For his part, Aristotle criticized the pre-Socratic quasi-mythical philosophical approach and underscored that "Hesiod and the theological writers were concerned only with what seemed plausible to themselves, and had no respect for us ... But it is not worth taking seriously writers who show off in the mythical style; as for those who do proceed by proving their assertions, we must cross-examine them." Hanson and Heath estimate that Plato's rejection of the Homeric tradition was not favorably received by the grassroots Greek civilization. Greek mythographer Euhemerus established the tradition of seeking an actual historical basis for mythical beings and events. Although his original work (Sacred Scriptures) is lost, much is known about it from what is recorded by Diodorus and Lactantius. Through his Epicurean message, Lucretius had sought to expel superstitious fears from the minds of his fellow-citizens. Livy, too, is skeptical about the mythological tradition and claims that he does not intend to pass judgement on such legends (fabulae). Roman Academic Cotta ridicules both literal and allegorical acceptance of myth, declaring roundly that myths have no place in philosophy. but, on the other hand, the orator elsewhere complains of the superstitious and credulous character of the people. De Natura Deorum is the most comprehensive summary of Cicero's line of thought. In Ancient Roman times, a new Roman mythology was born through syncretization of numerous Greek and other foreign gods. This occurred because the Romans had little mythology of their own, and inheritance of the Greek mythological tradition caused the major Roman gods to adopt characteristics of their Greek equivalents. For instance, the cult of Sun was introduced in Rome after Aurelian's successful campaigns in Syria. The Asiatic divinities Mithras (that is to say, the Sun) and Ba'al were combined with Apollo and Helios into one Sol Invictus, with conglomerated rites and compound attributes. Apollo might be increasingly identified in religion with Helios or even Dionysus, but texts retelling his myths seldom reflected such developments. The traditional literary mythology was increasingly dissociated from actual religious practice. The worship of Sol as special protector of the emperors and the empire remained the chief imperial religion until it was replaced by Christianity. The surviving 2nd-century collection of Orphic Hymns (second century AD) and the Saturnalia of Macrobius Ambrosius Theodosius (fifth century) are influenced by the theories of rationalism and the syncretizing trends as well. The Orphic Hymns are a set of pre-classical poetic compositions, attributed to Orpheus, himself the subject of a renowned myth. The stated purpose of the Saturnalia is to transmit the Hellenic culture Macrobius has derived from his reading, even though much of his treatment of gods is colored by Egyptian and North African mythology and theology (which also affect the interpretation of Virgil). In Saturnalia reappear mythographical comments influenced by the Euhemerists, the Stoics and the Neoplatonists. ==Modern interpretations==

The genesis of modern understanding of Greek mythology is regarded by some scholars as a double reaction at the end of the eighteenth century against "the traditional attitude of Christian animosity", in which the Christian reinterpretation of myth as a "lie" or fable had been retained. In Germany, by about 1795, there was a growing interest in Homer and Greek mythology. In Göttingen, Johann Matthias Gesner began to revive Greek studies, while his successor, Christian Gottlob Heyne, worked with Johann Joachim Winckelmann, and laid the foundations for mythological research both in Germany and elsewhere. Comparative and psychoanalytic approaches is regarded as one of the founders of comparative mythology. In his Comparative Mythology (1867) Müller analysed the "disturbing" similarity between the mythologies of "savage races" with those of the early Europeans. The development of comparative philology in the 19th century, together with ethnological discoveries in the 20th century, established the science of myth. Since the Romantics, all study of myth has been comparative. Wilhelm Mannhardt, James Frazer, and Stith Thompson employed the comparative approach to collect and classify the themes of folklore and mythology. In 1871 Edward Burnett Tylor published his Primitive Culture, in which he applied the comparative method and tried to explain the origin and evolution of religion. Tylor's procedure of drawing together material culture, ritual and myth of widely separated cultures influenced both Carl Jung and Joseph Campbell. Max Müller applied the new science of comparative mythology to the study of myth, in which he detected the distorted remains of Aryan nature worship. Bronisław Malinowski emphasized the ways myth fulfills common social functions. Claude Lévi-Strauss and other structuralists have compared the formal relations and patterns in myths throughout the world. Carl Jung extended the transhistorical, psychological approach with his theory of the "collective unconscious" and the archetypes (inherited "archaic" patterns), often encoded in myth, that arise out of it. Comparing Jung's methodology with Joseph Campbell's theory, Robert A. Segal (1990) concludes that "to interpret a myth Campbell simply identifies the archetypes in it. An interpretation of the Odyssey, for example, would show how Odysseus's life conforms to a heroic pattern. Jung, by contrast, considers the identification of archetypes merely the first step in the interpretation of a myth." Karl Kerényi, one of the founders of modern studies in Greek mythology, gave up his early views of myth, in order to apply Jung's theories of archetypes to Greek myth. In other cases, close parallels in character and function suggest a common heritage, yet lack of linguistic evidence makes it difficult to prove, as in the case of the Greek Moirai and the Norns of Norse mythology. It appears that the Mycenaean religion was the mother of the Greek religion and its pantheon already included many divinities that can be found in classical Greece. However, Greek mythology is generally seen as having heavy influence of Pre-Greek and Near Eastern cultures, and as such contains few important elements for the reconstruction of the Proto-Indo-European religion. Consequently, Greek mythology received minimal scholarly attention in the context of Indo-European comparative mythology until the mid-2000s. Archaeology and mythography have revealed influence from Asia Minor and the Near East. Adonis seems to be the Greek counterpart—more clearly in cult than in myth—of a Near Eastern "dying god". Cybele is rooted in Anatolian culture while much of Aphrodite's iconography may spring from Semitic goddesses. There are also possible parallels between the earliest divine generations (Chaos and its children) and Tiamat in the Enuma Elish. According to Meyer Reinhold, "near Eastern theogonic concepts, involving divine succession through violence and generational conflicts for power, found their way…into Greek mythology." In addition to Indo-European and Near Eastern origins, some scholars have speculated on the debts of Greek mythology to the indigenous pre-Greek societies: Crete, Mycenae, Pylos, Thebes and Orchomenus. and concluded that all great classical Greek myths were tied to Mycenaean centres and anchored in prehistoric times. Nevertheless, according to Burkert, the iconography of the Cretan Palace Period has provided almost no confirmation for these theories. ==Motifs in Western art and literature==

c. 1485–1486, oil on canvas, Uffizi, Florence)—a revived Venus Pudica'' for a new view of pagan Antiquity—is often said to epitomize for modern viewers the spirit of the Renaissance. From the early years of Renaissance, artists such as Leonardo da Vinci, Michelangelo, and Raphael, portrayed the Pagan subjects of Greek mythology alongside more conventional Christian themes. The English imagination was fired by Greek mythology starting with Chaucer and John Milton and continuing through Shakespeare to Robert Bridges in the 20th century. Racine in France and Goethe in Germany revived Greek drama, reworking the ancient myths. By the end of the 18th century, Romanticism initiated a surge of enthusiasm for all things Greek, including Greek mythology. In Britain, new translations of Greek tragedies and Homer inspired contemporary poets (such as Alfred Tennyson, Keats, Byron and Shelley) and painters (such as Lord Leighton and Lawrence Alma-Tadema). Christoph Gluck, Richard Strauss, Jacques Offenbach and many others set Greek mythological themes to music. American authors of the 19th century, such as Thomas Bulfinch and Nathaniel Hawthorne, held that the study of the classical myths was essential to the understanding of English and American literature. In more recent times, classical themes have been reinterpreted by dramatists Jean Anouilh, Jean Cocteau, and Jean Giraudoux in France, Eugene O'Neill in America, and T. S. Eliot in Britain and by novelists such as James Joyce and André Gide. ==References==