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The body of myths, originally narrated by ancient Greeks Scenes from Greek mythology, depicted in ancient art. From left to right, from top to bottom: the birth of Aphrodite, revel in Dionysus and Silenus, Adonis plays kithara for Aphrodite, Hercules murder Of Lernaean Hydra, Colchian dragon spews Jason in the presence of Athena, Hermes with his mother Maya, a Trojan horse, and the ship Odyssey, sailing past the island sirens of greek mythology Deity original titans of Olympians Nymph sea deities of the Earth-divine Heroes and heroism of Hercules / Hercules Works Achilles Hector Trojan WarSseus Odyssey Jason Argonauts Golden Fleece Perseus Medusa Gorgon Oedipus Sphinx Orfix Orfix Orfizm Tesei Minotaur Bellerophon Pegasus Gimera Dadalus Labyrinth Atalanta Hippomenes Golden Apple Cadmus Thebes Aeneas Aeneas Aeneid Trip Tolemus Eleusinian Mysteries Of the Pelops Ancient Olympic Games Piritus Centauromachy Amphitryon Teumessian Fox Narcissiscism Melagher Kalidonese Boar Otrera Otrera Amazon Related Satire Centaurs Demogorgon Religion in Ancient Greece Mycenaean Gods Ancient Greece portal Myths portalvte Greek mythology originally narrated by ancient Greeks and the genre of ancient Greek folklore. These stories relate to the origin and nature of the world, the life and activities of deities, heroes and mythological beings, as well as the origins and meanings of their own cults and ritual practices of the ancient Greeks. Modern scholars study myths in an attempt to shed light on the religious and political institutions of ancient Greece and its civilization and gain an idea of the nature of myth-making. Greek myths were originally propaged in the oral-poetic tradition, most likely Minoan and Mycenaean singers, beginning in the 18th century BC; In the end, the myths about the heroes of the Trojan War and its aftermath became part of the oral tradition of epic poems by Homer, Iliad and Odyssey. Two poems by Homer, close to the modern Hesioda, Theooni and Theooni and Days, contain stories about the genesis of the world, the continuity of divine rulers, the continuity of human ages, the origin of human ills and the origin of sacrificial practices. Myths are also preserved in Chomish hymns, in fragments of epic poems of the Epic Cycle, in lyrical verses, in the works of tragicists and comedians of the fifth century BC, in the works of scholars and poets of the Hellenistic age, as well as in the texts of the Roman Empire by writers such as Plutarch and Pausnias. Aside from this narrative deposit in ancient Greek literature, picturesque representations of gods, heroes and mythical episodes prominently in ancient vase paintings and the decoration of voit gifts and many other artifacts. Geometric drawings of 8th century BC ceramics depict scenes from the Trojan cycle, as well as Hercules's adventures. In subsequent archaic, classical and Hellenistic periods there are Homeric and various other mythological scenes, complementing the existing literary evidence. Greek mythology has a great influence on the culture, art and literature of Western civilization and remains part of Western heritage and language. Poets and artists from ancient times to the present have drawn inspiration from Greek mythology and have discovered modern meaning and relevance in themes. Achilles and Pentesilei Exekias, c. 540 BC, British Museum, London Sources of Greek Mythology is known today primarily from Greek literature and representations of visual media, from the geometric period from 900 BC to 800 BC and beyond. In fact, literary and archaeological sources integrate, sometimes complement each other and sometimes contradict each other; however, in many cases, the presence of this body of data is a strong indication that many elements of Greek mythology have strong factual and historical roots. Literary sources of the Mythical Narrative play an important role in almost every genre of Greek literature. However, the only common mythographic reference book that survived Greek antiquity was the Pseudo-Apollodor Library. This work tries to reconcile the contradictory stories of poets and gives a grandiose summary of traditional Greek mythology and heroic legends. Apollododor of Athens lived from 180 BC to 125 BC and wrote on many of these topics. His writings may have formed the basis of the collection; however, the Library discusses events that took place long after his death, hence the name Pseudo-Apollorus. Prometheus (1868 Gustave Moreau). The myth of Prometheus was first tracked by Hesiod, and then became the basis for a tragic trilogy of plays, perhaps Eshilus, consisting of Prometheus Related, Prometheus Unbound and Prometheus Pirforos. Among the earliest literary sources are two epic poems by Homer, the Iliad and the Odyssey. Other poets have completed the epic cycle, but these later and smaller poems are now lost almost entirely. Despite its traditional name, Homeric Hymns has no direct connection with Homer. The oldest are choral hymns from an earlier part of the so-called Lyric Era. 7 Hesiod, a possible contemporary of Homer, offers in his Theogony (The Origin of the Gods) a complete account of the earliest Greek myths involved in the creation of the world; The origins of gods, titans and giants; as well as complex genealogy, fairy tales and etiological myths. Hesiod's work and days, a didactic poem about farming, also includes the myths of Prometheus, Pandora and the Five Ages. The poet advises the best way to succeed in a dangerous world that is even more dangerous for its gods. poets are often from the myth, but their treatment became progressively less narrative and more allusive. Greek lyric poets, including Pindar, Bacchiides and Simonides, as well as bucolic poets such as the Feoctists and Bion, associate individual mythological incidents. In addition, the myth was central to the classic Athenian drama. Tragic playwrights Eshilus, Sophocles and Euripides took most of their stories from myths about the age of heroes and the Trojan War. Many of the great tragic stories (like Agamemnon and his children, Oedipal, Jason, Medea, etc.) have taken their classic form in these tragedies. Comic playwright Aristophanes also used myths in Birds and Frogs. Historians Herodotus and Diodor Siculus, geographers Pausanias and Strabo, who traveled all over the Greek world and celebrated the stories they had heard, supplied numerous local myths and legends, often giving little-known alternative versions. In particular, he sought out the various traditions presented to him and found historical or mythological roots in the confrontation between Greece and the East. Herodotus tried to reconcile the origins and mixing of different cultural concepts. The poetry of the Hellenistic and Roman centuries was mostly composed as a literary rather than a cult exercise. However, it contains many important details that would otherwise have been lost. This category includes works by Roman poets Ovid, Statius, Valery Flakkus, Seneca and Virgil with a commentary by Servius. Greek poets of the late antiquity: Nonnus, Antonin Liberalis, and quint Smyrnaeus. Greek poets of the Hellenistic period: Apollonius of Rhodes, Callimah, Pseudo-Eratosthenes and Parthenius. Prose writers from the same periods who refer to myths include Apuleius, Petronius, Lollianus, and Heliodorus. Two other important non-poetic sources are Fabula and Astronomy of the Roman writer in the style of Pseudo-Hygin, Imagines the Philosopher's Day and Philostrate the Younger, and the Descriptions of Callistrat. Finally, several Byzantine Greek writers provide important details of the myth, much derived from previously lost Greek works. These custodians of the myth include Arnobi, Hesihius, the author of the Court, John Ceces and Eustaphy. They often refer to mythology from a Christian moralizing point of view. The archaeological sources of the Roman poet Virgil, depicted here in the fifth-century manuscript, Virgil Romanus, have preserved the details of Greek mythology in many of his works. The discovery of Mycenaean civilization by the German amateur archaeologist Heinrich Schliemann in the nineteenth century and the discovery of Minoan civilization in Crete by the British archaeologist Arthur Evans in the 20th century helped to explain many of the existing questions about Homer's epics and provided archaeological evidence many mythological details about gods and heroes. Unfortunately, the evidence of myths and rituals at Mycenaean and Minoan sites is completely monumental, as the Linear B scenario (an ancient form of Greek found in both Crete and mainland Greece) was used mainly to record stocks, although some names of gods and heroes were previously identified. Geometric drawings of 8th century BC ceramics depict scenes from the Trojan cycle, as well as the adventures of Hercules. These visual representations of myths are important for two reasons. First, many Greek myths are candlestick on vases earlier than in literary sources: of the twelve works of Hercules, for example, only the adventure of Cerberus takes place in the modern literary text. Secondly, visual sources sometimes represent myths or mythical scenes that are not shining in any of the former literary sources. In some cases, the first known representation of the myth in geometric art precedes its first known representation in late archaic poetry, for several centuries. In the archaic (c. 750 - 500 BC), classical (about 480-323 BC) and Hellenistic (323-146 BC) periods appear Homeric and various other mythological scenes, complementing existing literary evidence. A review of Phaedra's mythical history with a nurse, probably accompanying her, a mural from Pompeii, c. 60 - c. 20 BC Greek mythology has changed over time to accommodate the evolution of their cultures, from which mythology, both apparent and in its unspoken assumptions, is an index of change. In the preserved literary form of Greek mythology, as it was mostly at the end of progressive change, it is inherently political, as Gilbert Cuthbertson (1975) argued. I don't know what to do. The earlier inhabitants of the Balkan Peninsula were an agricultural people who, using animism, embrace the spirit of all aspects of nature. In the end, these vague spirits took human forms and entered 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, strength, valor in battle and violent heroism. Other older gods of the agrarian world fused with those of the more powerful invaders or still faded into insignificance. After the middle of the archaic period, myths about the relationship between male gods and male heroes became more frequent, this is indicative of the parallel development of pedagogical pederasty (παιδικὸς ἔρως, eros platikos), which is believed to have been introduced around 630 BC By the end of the fifth century BC, poets appropriated at least one eromen, a teenage boy who was their sexual companion, to all important gods except Ae and many legendary figures. existing myths, such as the myths of Achilles and Patroclus, have also been cast in pederastic pederastic Alexandrian poets at first, then more generally, literary mythographers in the early Roman Empire, often re-interrupted the stories of Greek mythological characters in this way. The achievement of epic poetry was the creation of plot-cycles and, as a result, the development of a new sense of mythological chronology. Thus Greek mythology opens as a stage in the development of the world and humans. While the contradictions in these stories make an absolute chronology impossible, it is possible to distinguish an approximate chronology. The resulting mythological history of the world can be divided into three or four wider periods: myths about the origin or age of the gods (Theogony, the birth of the gods): myths about the origin of the world, gods and the human race. An era when the gods and mortals were freely mixed: stories of early interactions between gods, demigods and mortals. The Age of Heroes (heroic age), where divine activity was more limited. The last and greatest of heroic legends is the history of the Trojan War and after it (which is considered by some researchers as a separate, fourth period). While the age of the gods is often of greater interest to modern students of myth, the Greek authors of the archaic and classical epochs clearly preferred the age of the characters, establishing a chronology and record of human achievements after the questions about how the world appeared. For example, the heroic Iliad and Odyssey overshadowed the divinely focused Techogons and Homeric Hymns both in size and popularity. Under homer's influence, the cult of the hero leads to a restructuring of the spiritual life expressed in the separation of the kingdom of the gods from the kingdom of the dead (heroes), htonian from the Olympian. In the works and days hesiad uses the scheme of the Four Centuries of Man (or Ras): Golden, Silver, Bronze and Iron. These races or ages are separate creations of the gods, the Golden Age, belonging to the reign of Kronos, the subsequent races to the creation of zeus. The presence of evil was explained by the myth of Pandora, when all the best human possibilities poured out of its upside-down jar, save hope. Ovid's Metamorphosis follows the concept of Hesiod of four ages. Origin of the world and gods Additional information: Greek original gods and Family Tree of Greek gods Amor Vincita Omnia (Love conquers all), image of the god of love, Eros. Michelangelo Merisi da Caravaggio, circa 1601-1602. Myths of origin or creation myths are an attempt to explain the beginning of the universe in human language. The most widely accepted version of the time, albeit a philosophical story about the beginning of things, reports Hesleod in his Temon. It begins with Chaos, yawning is not simple. Gaia (Earth) and some other primary creatures: Eros (Love), Abyss (Tartarus) and Erebus. Without men's help, Gaia gave birth to Uranus (Sky), who then fertilized her. From this union first were born titans - six males: Cowes, Crius, Kronus, Hyperion, Japet and Ocean; and six females: Mnomosin, Phoebe, Rheia, Thea, Themis and Tethys. After the birth of Kronus Gaia and Uranus decided that no more titans should be born. They were followed by one-eyed cyclops and hekatonhira or stoils, which were both thrown by Uranus in Tartarus. That angered Guy. Kronus (the cunning, the youngest and the scariest of Guy's children) was convinced by Gaia of his father's castrate. He did so and became the ruler of the Titans with his sister-wife, Rhe, as his wife, and other titans became his court. The motive for the father's conflict against his son was repeated when Kronus confronted his son, zevs. Because Kronus betrayed his father, he feared that his offspring would do the same, so every time Rheya gave birth, he snatched the baby and ate it. Rhea hated it and deceived him by hiding him and wrapping the stone in a child's blanket that Kronus ate. When he was fully grown, he fed Kronus a drug that caused vomiting by feeding Rhe's other children, including Poseidon, Aida, Hestya, Demeter and Hera, and the stone that had been sitting in Cronus's stomach all along. He then challenged Kronus to war for the kingdom of the gods. Finally, with the help of the Cyclops (whom he freed from Tartar), he and his siblings triumphed, while Kronus and the Titans were imprisoned in Tartare. The attic of the black-and-curly amphora depicting Athena, reborn from the head of zeus, which was swallowed by her mother Metis, right, Eileitia, the goddess of childbirth, helps, circa 550-525 BC (Louvre Museum, Paris). He suffered from the same care, and after the prophecy that the offspring of his first wife, Metis, would give birth to God more than he did, he swallowed it. However, she was already pregnant with Athena, and she broke out of his head - fully grown and dressed for war. The earliest Greek idea of poetry considered theoonia a prototype of the poetic genre - a prototype of myths - and implied almost magical powers. Orpheus, the archetypal poet, was also an archetypal singer of theagonia, which he uses to soothe the seas and storms in Apollonia's Argonautica, and move the sunken hearts of the gods of the underworld in his descent into Aid. When Hermes invents the lyra in hermes' homer hymn, the first thing he does is sing about the birth of the gods. Fehoni Hesioda is not only the most complete surviving story about the gods, but also the most complete surviving story about the function of an archaic poet, with its long preliminary muses. Theogons were also the subject of many lost poems, including those attributed to Orpheus, Musayev, Epimenids, Abaris and other legendary scouts, which were used in private ritual cleansing and mysterious rites. There are signs that Plato was familiar with some version of the orphic theogoni. However, one would expect silences about religious rites and beliefs, and that members of society did not report on the nature of culture during the Euway. After they ceased to become religious beliefs, few would know the rites and rituals. However, there are often hints of aspects that are quite public. Images existed on ceramics and religious works of art that were interpreted and most likely misinterpreted in many different myths and fairy tales. Several fragments of these works have been preserved in quotations of neoplathist philosophers and newly discovered papyrus fragments. One of these scraps, Derveny's papyrus, now proves that at least in the fifth century BC there was a feudal- cosmogonical poem by Orpheus. The first philosophical cosmologists reacted to popular mythical concepts that existed in the Greek world for some time, or sometimes were based on popular mythical concepts. Some of these popular concepts can be gleaned from the poetry of Homer and Hesiod. In Homer, the Earth was seen as a flat disk afloat on the Ocean River and overlooked it with a semispheric sky with the sun, moon and stars. The sun (Helios) crossed the heavens like a chariot and swam around the Earth in a golden bowl at night. The sun, earth, sky, rivers and winds could be considered in prayer and called to witness the oaths. Natural cracks in the people were considered as entrances to the underground house of Hades and his predecessors, where the dead will be offended. The influence of other cultures has always been new. The Greek pantheon Additional information: the ancient Greek religion, the Twelve Olympians, the Family Tree of the Greek Gods, and the list of Mycenaean gods, disguised as a swan, seduces Leda, the queen of Sparta. Sixteenth century copy of the lost original michelangelo. According to the mythology of the classical era, after the overthrow of the titans, a new pantheon of gods and goddesses was confirmed. Among the main Greek gods were the Olympians living on Mount Olympus under the eye of zeus. (Limiting their number to twelve seems to have been a relatively modern idea.) In addition to the Olympians, the Greeks worshipped the various gods of the countryside, the satir god Pan, the Nymphs (the spirits of the rivers), Nayad (who lived in the springs), the Dryads (who were the spirits of the trees), the Ureidam (who inhabited the sea), the river gods, the satirists and others. In addition, there were dark underworld forces such as Erinyes (or Furies) said to pursue those guilty of crimes against blood in honor of the ancient Greek pantheon, poets composed gay hymns (a group of thirty-three songs). Gregory Nagy (1992) considers big gay hymns simple preludes (compared to Temogoni), each of which evokes one god. The gods of Greek mythology are described as having essentially bodily but ideal bodies. According to Walter Berkert, the defining characteristic of Greek anthropomorphism is that Greek gods are people, not abstractions, ideas or concepts. 19:182 Regardless of their basic forms, the ancient Greek gods have many fantastic abilities; most importantly, the gods do not suffer from diseases, and can only be injured under very unusual circumstances. The Greeks considered immortality a hallmark of their gods; this immortality, like the unseemly youth, was insured by the constant use of nectar and ambrosia, by which divine blood renewed their veins. 4 Every god comes from his genealogy, pursues different interests, has a certain area of knowledge and is governed by a unique personality; however, these descriptions arise from a multiplier of archaic local variants that do not always agree with each other. When these gods are called in poetry, prayer, or cult, they are called a combination of their name and epithets that identify them by these differences from other manifestations of themselves (e.g., Apollo Musagets is Apollo as the leader of the Moose). In addition, the epithet can identify a specific and localized aspect of God, sometimes considered ancient in the classical era of Greece. Most of the gods were associated with specific aspects of life. For example, Aphrodite was the goddess of love and beauty, Ares was the god of war, Aides was the ruler of the underworld, and Athena was the goddess of wisdom and courage. Some gods, such as Apollo and Dionysus, identified complex personalities and mixtures of functions, while others, such as Hestya (literally the hearth) and Helios (literally sun), were nothing more than impersonation. The most impressive temples were usually dedicated to a limited number of gods, which were the focus of large Pan-Hellenic cults. However, individual regions and villages usually dedicate their own cults to minor gods. Many cities were also honored with more famous gods by unusual local rites and associated with them strange myths that were unknown elsewhere. In the heroic age, the cult of heroes (or demigods) complemented the cult of the gods. The age of the gods and mortals, overcoming an era when the gods lived alone, and the age when divine intervention in human affairs was limited was a transitional age in which the gods and mortals moved together. These were the early days in the world when groups mingled more freely than later. Most of these tales were later Ovid metamorphosis, and they are often divided into two thematic groups: stories of love, and stories about punishment. Dionysus with satire. The interior of the cup, painted by the artist Brigos, the Cabinet of Medal. Tales of love are often associated with incest, or seduction or rape of a mortal woman by a male god, leading to heroic offspring. Stories tend to suggest that the relationship between gods and mortals is something to avoid; even consenting relationships rarely have a happy ending. In some cases, female divinity mates with a mortal, as in the homeric Anthem of Aphrodite, where the goddess lies with Ankhiz to produce Eneas. 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 ragweed from the table of zevs and gives it to his subjects, revealing to them the mysteries of the gods, when Prometheus or Licauon invents the sacrifice, when Demeter teaches agriculture and mysteries, or when TheOrth is taught by the Ian Morris considers Prometheus's adventures a place between the history of the gods and the history of man. An anonymous fragment of papyrus, dated to the third century, vividly depicts the punishment of Dionysus to the king of Thrace, Likurgus, whose recognition by the new god came too late, which led to terrible punishments that spread to the afterlife. The story of Dionysus's arrival to create his cult in Thrace was also the subject of the Eschilea trilogy. In another tragedy, Euripides Baccha, king of Thebes, Pentey, is punished by Dionysus because he did not respect God and spied on his Maenads, the worshippers of God. Demeter and Metanira are detailed on the Puglian red figure, circa 340 BC (Altes Museum, Berlin). In another story, based on an old folk motif, and echoing a similar theme, Demeter searched for her daughter, Persephone, by picking up the form of an old woman named Doso, and received a hospitable welcome from Seleus, King Eleus in Attica. As a gift to Celeus, because of his hospitality, Demeter planned to make his son Demofon a god, but she could not complete the ritual because his mother Metanira came in and saw her son on fire and screamed with fear, which angered Demeter, who lamented that stupid mortals did not understand the concepts and rituals. The heroic age of the Age in which the heroes lived is known as the heroic age. Epic and genealogical poetry created cycles of stories grouped around specific characters or events, and established family relationships between the characters of different stories; thus they arranged the stories in sequence. According to Ken Dowden (1992), there is even a saga We can monitor the fate of some families in future generations. After the cult of the hero, the gods and heroes make up the sacred sphere and together refer to the oaths and prayers addressed to them. Great gods are no longer born, but new heroes can always be raised from the army of the dead. Another important difference between the cult of the hero and the cult of the gods is that the hero becomes the center of the local group identity. Monumental events Hercules are considered the dawn of the era of heroes. The heroic age is also credited with three great events: the Argonaut Expedition, the Theban Cycle and the Trojan War. Some scholars believe 40'10 that behind the heracles complicated mythology was probably the real man, perhaps the chief-vassal of the kingdom of Argos. Some scholars suggest that the history of Hercules is an allegory for the annual passage of the Sun through the twelve constellations of the zodiac. Others point to earlier myths from other cultures, showing the history of Hercules as a local adaptation of myths about heroes that are already well known. Traditionally, Hercules was the son of zeus and Alkmen, the granddaughter of Perseus. His fantastic solitary exploits, with their many folk-fabulous themes, provided a lot of material for the popular legend. According to Berkert (2002), he is depicted as a sacrifice, is mentioned as the founder of the altars, and is imagined as an insatiable eater himself; it is in this role he appears in comedy. While its tragic end provided a lot of material for the tragedy - Hercules is seen by Talia Papadopoulou as a game, a game, a game, a game, a game, a game of great importance when considering other Euripides dramas. In art and literature, Hercules was presented as an extremely strong man of moderate stature; his characteristic weapon was the bow, but often the clubhouse. Paintings of the vase demonstrate unparalleled popularity of Hercules, his struggle with the lion is depicted many hundreds of times. Hercules also entered Etruscan and Roman mythology and cult, and the exclamation of meherkul became as familiar to the Romans as Heracles to the Greeks. In Italy he was worshipped as the god of merchants and merchants, although others also prayed to him for his characteristic gifts of good luck or salvation from danger. Hercules achieved the highest social prestige due to his appointment as the official ancestor of the Dorian kings. This probably served as a legitim for dorian migrations to the Peloponnese. Hyllus, the eponymous hero of a certain Dorian Philae, became the son of Hercules and one of the or Heraclinids (numerous descendants of Hercules, especially descendants of Hill-other Heraclides included Makaria, Lamos, Manto, Bianor, Tlepolem and Telef). These geraklias conquered the Peloponnese kingdoms of Mycenae, Sparta and Argos, asserting, according to legend, the right to rule them through their ancestor. Their rise to domination is often referred to as the Dorian invasion. The Lydian and then Macedonian kings, as rulers of the same rank, also became Heraclide. Other members of this very early generation of heroes, such as Perseus, Deuce, Thies and Bellerophon, have many similarities with Hercules. Like him, their exploits are solitary, fantastic and bordering on fairy tales, as they kill monsters such as Chimera and Medusa. Bellerophon's adventures are banal types, similar to the adventures of Hercules and Hesay. Sending the hero to his supposed death is also a recurring theme of this early heroic tradition used in the cases of Perseus and Bellerophon. Argonauts Additional information: Argonauts The only surviving Hellenistic epic, Argonautica Apollonia of Rhodes (epic poet, scientist and director of the Alexandria Library) tells the myth of the journey of Jason and argonauts to get the Golden Rune from the mythical land of Kohlha. In Argonautice, Jason is begs King Pelias, who receives a prophecy that a man with one sandal will be his sworn enemy. Jason loses his sandals in the river, arrives at the court of Pelias, and epic in motion. Almost every member of the next generation of heroes, as well as Hercules, went with Jason on the ship Argo to bring the Golden Fleece. This generation also included Hes, who went to Crete to kill the Minotaur; Atalanta, a female heroine, and Meleger, who once had an epic cycle of his rival Iliad and Odyssey. Pindar, Apollonius and the Library are eager to give full lists of argonauts. Although Apollonius wrote his poem in the 3rd century BC, the composition of the history of the Argonauts is earlier than the Odyssey, which reveals familiarity with Jason's exploits (Odyssey's journey may have been based in part on it). In ancient times, the expedition was regarded as a historical fact, an incident with the discovery of the Black Sea for Greek trade and colonization. It was also extremely popular, forming a cycle to which a number of local legends are attached. Medea's history, in particular, captured the imagination of tragic poets. Asrey's House and Fiona Cycle Extras: Theban Cycle and Seven Against Thebes In Between the Argo and Trojan War, was a generation known mainly for its horrific crimes. This includes the cases of Atreus and Thyestes in Argos. Behind the myth of Atrea's house (one of the two heroic dynasties with the house of Labdakus) is the problem of the transfer of power and the way of joining sovereignty. The twins Atreus and Tiesta and their descendants played a leading role in the tragedy of the transfer of power in Mycenae. Theban Cycle is dedicated to events related, in particular, to Kadmus, the founder of the city, and then to the affairs of Lay and Oedipus in Thebes; a series of stories that lead to the Sevens war against Thebes and, ultimately, the plundering of this city at the hands of Epigoni. (It is not known whether the Seven featured in the early epic.) As for Oedipus, the early epic stories seem to make him continue to rule in Thebes after the revelation that Iokast was his mother and then marry his second wife, who becomes the mother of his children, markedly different from the fairy tale known to us through tragedy (e.g. Oedip Rex Sophocles) and then mythological stories. The Trojan War and the Aftermath of El Skicio de Paris by Enrique Simone, 1904. Paris holds a golden apple on his right hand while shooting goddesses in a calculating manner. In The Fury of Achilles by Giovanni Battista Thiepolo (1757, Fresco, 300 x 300 cm, Villa Valmarana, Vicenza) Achilles is indignant that Agamemnon threatened to take over his war, Breeze, and he draws his sword to kill Agamemnon. The sudden appearance of the goddess Athena, who in this fresco grabbed Achilles by the hair, prevents the act of violence. Read more: The Trojan War and the epic cycle of Greek mythology culminate in the Trojan War, fought between Greece and Troy, and its aftermath. In Homer's works, such as the Iliad, the main stories are already well-established and content, and individual themes were developed later, especially in Greek drama. The Trojan War also generated a great deal of interest in Roman culture because of the story of Aeneus, a Trojan hero whose journey from Troy led to the founding of the city that would one day become Rome, as described in Virgil's Eneida (the book II Eneida Virgil contains the most famous story about the bag of Troy). Finally, there are two Latin-written pseudochronics that have passed under the names of Diantis Critens and Dares Frigis. The cycle of the Trojan War, a collection of epic poems, begins with the events leading up to the war: Eris and the golden apple of Callisti, the Paris court, the abduction of Elena, the victim of Iphigynia in Aulis. To restore Elena, the Greeks embarked on a large expedition under the general command of Menely's brother, Agamemnon, King Argos or Mycenae, but the Trojans refused to return Elena. Iliad, which is set in the tenth year of the war, tells the story of a quarrel between Agamemnon and Achilles, who was the best Greek warrior, and the subsequent death in the battle of beloved comrade Achilles and Priam's eldest son, Hector. After Hector's death, the Trojans were joined by two exotic allies, Pentesilia, the queen of the Amazons, and Memnon, the king of the Ethiopians and the son of the dawn goddess Eosa. Achilles killed both, but then Paris managed to kill Achilles with an arrow in the heel. The Achilles heel was the only part of his body that was not invulnerable to human weapons. Before they could take Troy, the Greeks had to steal from the citadel a wooden image of Athena Pallas (palladium). Finally, with the help of Athena, they built a Trojan horse. Despite the warnings of Priam Cassandra's daughter, the Trojans were persuaded by Cynon, a Greek who feigned desertion, to take a horse within the walls of Troy as an offering to Athena; Priest Laokun, who was trying to destroy the horse, was killed by sea snakes. At night the Greek fleet returned, and the Greeks opened the gates of Troy with a horse. In the common bag that followed, Priam and his remaining sons were killed; Trojan women have been enslaved in various Greek cities. The adventures of the Greek leaders (including the journeys of Odysseus and Aeneja (Aeneida) and the murder of Agamemnon were narrated in two epics: The Return (lost by Nosta) and Homer's Odyssey. The Trojan cycle also includes the adventures of the children of the Trojan generation (e.g. Oreste and Telemach). The Trojan War provided a variety of themes and became the main source of inspiration for ancient Greek artists (e.g. methopes on the Parthenon, depicting the bag of Troy); this artistic preference for themes emanating from the Trojan cycle indicates its importance to ancient Greek civilization. The same mythological cycle also inspired a number of back European literary writings. For example, Trojan medieval European writers, not familiar with Homer first hand, found in the legend of Troy a rich source of heroic and romantic storytelling and a convenient basis in which one could fit into their court and chivalrous ideals. The authors of the twelfth century, such as Benoit de Saint-Mor (Roman de Troy (Romantics of Troy, 1154-1160)) and Joseph Exeter (De Bello Troiano On the Trojan War, 1183) describe the war, rewriting the standard version they found in Dikti and Dara. Thus, they follow horace's advice and Virgil's example: they rewrite Troy's poem instead of saying something completely new. Some of the most 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 Greek and Roman concepts the myth of mythology was at the center of everyday life in ancient Greece. 15:15 The Greeks viewed mythology as part of their history. They used myth to explain natural phenomena, cultural traditional feuds and friendships. It was a source of pride to be able to trace the origins of its leaders from a mythological hero or god. Few doubted that behind the story of the Trojan War in Iliad and Odyssey is the truth. According to Victor Davis Hanson, a military historian, columnist, political essayist and former professor of classics, and John Heath, a professor of classics, a deep knowledge of the Homeric epic was considered by the Greeks to be the basis of their accumulation. Homer was the education of Greece (Ἑλλάδος παίδευσις) and his poetry book. The philosophy and myth of Raphael Plato in the School of Athens frescoes (probably in the likeness of Leonardo da Vinci). The philosopher excluded the study of Homer, tragedies and related mythological traditions from his utopian Republic. After the rise of philosophy, history, prose and rationalism in the late 5th century BC, the fate of the myth became uncertain, and mythological genealogy gave way to the concept of history, which tried to exclude the supernatural (e.g., the story of Thucydidean). While poets and playwrights reworked myths, Greek historians and philosophers began to criticize them. Several radical philosophers, such as Xenophon Colophon, have already begun to call the tales of poets blasphemous lies in the 6th century BC; Xenofans complained that Homer and Hesiod attributed to the gods all that is shameful and shameful among humans; they steal, commit adultery, and deceive each other. 169-70 This line of thought found its broadest expression in the Republic and the Laws of Plato. Plato created his allegorical myths (such as Ayr's vision of the Republic), attacked traditional tales of gods tricks, thefts and adultery as immoral, and objected to their central role in literature. Plato's criticism was the first major challenge to the Gay mythological tradition, calling the myths old wives' chatter. For his part, Aristotle criticized the pre-socratic quasi-mymophistical philosophical approach and stressed that Heciod and theological writers were concerned only with what seemed plausible to them, and did not respect us... But don't take writers who show themselves in a mythical style seriously; As for those who continue to prove their claims, we must review them Yet even Plato has not been able to wean himself and his society against the influence of myth; his own characteristic for Socrates is based on the traditional homeric and tragic patterns used by the philosopher to praise the righteous life of his teacher: But perhaps someone can say, You are not ashamed then, Socrates, to follow such persecution that now you are in danger of being killed as a result? him a simple answer: You don't say well, sir, if you think that a person who has even a small merit should consider the danger of life or death, and not consider it only when he does things, whether it is what he does, right or wrong, and the actions of a good or bad person. For according to your argument all the demigods would be bad, who died in Troy, including the son of Tethys, who so despised the danger, compared to enduring any shame that when his mother (and she was a goddess) told him how he wanted to kill Hector, something like this, I believe my son, if you avenge the death of your friend Patroclus and kill Hector You will die yourself; for a straight path, after Hector, death is assigned to you. (Hom. Il. 18.96) he, upon hearing this, made light of death and danger, and was afraid much more to live as a coward and not to avenge his friends, and said: Straightway can I die, avenging the offender, that I can not stay here, mocked over a number of curved ships, the burden of the earth. According to Hanson and Heath, Plato's rejection of the gothic tradition was not well received by the mass Greek civilization. Old myths have survived in local cults; they continued to influence poetry and shape the basic theme of painting and sculpture. More sportingly, the tragedies of the 5th century BC Euripides often played with old traditions, mocking them, and through the voice of their characters injecting notes of doubt. However, the plots of his plays were taken, without exception, from the myth. Many of these plays were written in response to a version of the predecessor of the same or similar myth. Euripides mostly criticizes myths about the gods and begins his criticism with an objection similar to that previously expressed by Xenocrat: the gods, as traditionally represented, are too crude anthropomorphic. Hellenistic and Roman rationalism Cicero considered himself a defender of the established order, despite his personal skepticism of the myth and the propensity for more philosophical notions of divinity. During the Hellenistic period, mythology assumed the prestige of elite knowledge, which marks its owners as belonging to a certain class. At the same time, the sceptical turn of the classical era has become even more pronounced. The Greek mythographer Euhemerus established the tradition of finding a real historical basis for mythical creatures and events. Although his original work (Sacred Scripture) is lost, much is known about it from what is recorded by Diodor and Lactantius. The rationalization of hermeneutics of myth became even more popular under the Roman Empire, thanks to the physical and physical theories of stoic and epicurean philosophy. The racks presented explanations of gods and heroes as physical phenomena, while eumemerists rationalized them as Numbers. At the same time, stoics and neoplathonists promoted moral signs of a mythological tradition often based on Greek etymology. With his epicurean message Lucretius sought to banish superstitious fears from the consciousness of his fellow citizens. Hvi Livi is also skeptical of the mythological tradition and claims that he does not intend to make judgments about such legends (fabulas). The challenge for Romans with a strong and apologetic sense of religious tradition was to protect this tradition, recognizing that it is often a breeding ground for superstition. Antiquarian Varro, who considered religion a human institution, very important for the preservation of good in society, devoted a thorough study of the origins of religious cults. In his antiquity, Rerum Divinarum (who did not survive, but the City of God Augustine points to his general approach) Varro argues that while a superstitious man is afraid of the gods, a truly religious man reveres them as parents. According to Varro, Roman society had three accounts of deities: a mythical story created by poets for theatre and entertainment, a civil account used by people for veneration, and a city, and a natural account created by philosophers. The best state, adds Varro, where civil theology combines poetic mythical storytelling with philosophical. Roman academic Cotta ridicules both literal and allegorical acceptance of myth, stating that myths have no place in philosophy. Cicero also tends to despise myths, but like Varro, he strongly supports the state religion and its institutions. It is difficult to see how far down the social scale this rationalism has spread. Cicero argues that no one (even the old men and boys) is stupid enough to believe in the horrors of Aida or the existence of Scylla, centaurs or other composite beings, but on the other hand, the speaker elsewhere complains about the superstitious and trusting nature of people. De Natura Deorum is the most complete summary of Cicero's line of thinking. Xxvii Syncretizing trends Apollo (early imperial Roman copy of the Fourth Century Greek original, Louvre Museum). See also: Roman mythology In ancient Roman times, a new Roman mythology was born through the synchronization of numerous Greek and other foreign gods. This was because the Romans had little of their own mythology, and the inheritance of the Greek mythological tradition forced the main Roman gods to accept the characteristics of their Greek equivalents. The gods of zevs and Jupiter are an example of this mythological overlap. In addition to combining the two mythological traditions, the connection between the Romans and the Eastern religions led to a further For example, the cult of the Sun was introduced in Rome after Aurelian's successful campaigns in Syria. The Asian deities Mithras (i.e. the Sun) and Baal were combined with Apollo and Helios into one Sol Invictus, with conglomerate rites and composite attributes. Apollo could be increasingly identified in religion with Helios or even Dionysus, but the texts that retell its myths rarely reflect such events. Traditional literary mythology is increasingly disassociated from real religious practice. The worship of Solu as a special protector of emperors and empires remained the main imperial religion until it was replaced by Christianity. The surviving collections of 2nd century orphic hymns (the second century AD) and the Saturnalia of Macrobius Ambrosius Ambrosius Theodosia (fifth century) are also influenced by rationalism theories and syncretizing tendencies. Orphic Hymns are a set of pre-classical poetic compositions attributed to Orpheus, which is itself the subject of a famous myth. In fact, these verses were probably written by several different poets, and contain a rich set of clues about prehistoric European mythology. The stated purpose of Saturnalia is to convey the Greek culture of Macrobius derived from its reading, although much of its treatment of the gods is painted with Egyptian and North African mythology and theology (which also influence the interpretation of Virgil). In Saturnalia there are mythographic comments under the influence of eumemerists, stoicists and neoplaticists. Contemporary Interpretations Additional: Contemporary understanding of Greek mythology Genesis of modern understanding of Greek mythology is seen by some scholars as a double reaction in the late eighteenth century against the traditional attitude of Christian hostility, in which the Christian rethinking of myth as lies or fables was preserved. By about 1795, interest in Homer and Greek mythology had grown in Germany. In Goettingen, Johann Matthias Gesner began reviving Greek research, while his successor, Christian Gottlob Heine, worked with Johann Joachim Winkelmann and laid the foundations for mythological research in Germany and elsewhere. Max Mueller's comparative and psychoanalytic approaches are considered to be one of the founders of comparative mythology. In his comparative mythology (1867), Mueller analyzed the disturbing similarities between the mythologies of wild races and the mythologies of early Europeans. See also: Comparative Mythology The Development of Comparative Philology in the 19th Century, along with ethnological discoveries in the 20th century, created the science of myth. Since the days of the romantics, all studies of the myth have been comparative. Wilhelm Mannhardt, James Fraser and Stit Thompson used a comparative approach to collect and classify folklore and mythology. In 1871, Edward Burnett Taylor published his Primitive Culture, in which he used a comparative method and tried to explain the origin and evolution of religion. Taylor's procedure for the social culture, rituals, and myths of widely divided cultures influenced both Carl Jung and Joseph Campbell. Max Muller applied the new science of comparative mythology to the study of a myth in which he discovered the distorted remnants of Aryan worship of nature. Bronislaw Malinovsky emphasized how the myth performs common social functions. Claude Levy-Strauss and other structuralists compared formal relationships and patterns in myths around the world. Sigmund Freud presented the transhistorical and biological concept of man and the idea of myth as an expression of repressed ideas. The interpretation of dreams is the basis of freudian interpretation of myth, and freud's dream concept recognizes the importance of contextual relationships for interpreting any single element in a dream. This sentence will find an important moment of convergence of structuralist and psychoanalytic approaches to myth in Freud's thought. Carl Jung expanded the transhistorical, psychological approach with his theory of the collective unconscious and archetypes (inherited archaic patterns), often encoded in the myth that emerge from it. According to Jun, myth-forming structural elements must be present in the unconscious psyche. Comparing Jung's methodology to Joseph Campbell's theory, Robert A. Segal (1990) concludes that to interpret the myth, Campbell simply identifies the archetypes in it. Jun, on the other hand, considers the identification of archetypes only the first step in interpreting the myth. Carl Keranyi, one of the founders of modern studies in Greek mythology, abandoned his early views on myth to apply the theory of Jung's archetypes to Greek myth. Theories of the beginning See. also: The Mycenaean religion; Mycenaean deities; and the similarities between Roman, Greek and Etruscan mythology Max Muller tried to understand the Indo-European religious form by tracking it to the Indo-European (or, in Mueller's time, Aryan) original manifestation. In 1891 he argued that the most important discovery that was made during the nineteenth century concerning the ancient history of mankind ... was this sample of the equation: Sanskrit Diaus-latar - Greek zevs - Latin Jupiter - Old Scandinavian Tyre. The question of the place of Greek mythology in Indo-European studies since Mueller's time has received a large scholarship. For example, philologist George Dumesil draws a comparison between Greek Uranus and Sanskrit Varura, although there is no hint he believed that they were initially related. In other cases, close parallels in character and function point to a common heritage, but the lack of linguistic evidence makes it difficult to prove, as in the case of Greek Moira and Norcas of Norse mythology. It seems that Mycenaean religion was the mother of the Greek religion, and her pantheon already included many deities that can be found in classical Greece. However, Greek mythology is generally regarded as having a great influence of pre-Greek and Middle Eastern cultures, and as such contains several important elements for the reconstruction of the proto-Indo-European religion. Consequently, Greek mythology received minimal scientific attention in the context of Indo-European comparative mythology until the mid-2000s. Adonis seems to be a Greek colleague - more explicitly in the cult than in the myth-about the Middle East dying god. Cybele is rooted in Anatolian culture, while much of Aphrodite's iconography may originate from Semitic goddesses. There are also possible parallels between the earliest divine generations (Chaos and his children) and Tiamat in El Enum. According to Meyer Reinhold, the near-island ethicist concepts, which incorporate divine continuity through the violence and conflicts of generations for power, have found their way... in Greek mythology. In addition to Indo-European and Middle Eastern origin, some scholars speculated on the debts of Greek mythology to the indigenous dopmies of Greek societies: Crete, Mycenae, Pilos, Thebes and Orhomenus. Historians of religion have been fascinated by the series of seemingly ancient configurations of myth associated with Crete (god, like the bull, zevs and Europe, Pasifash, which gives way to the bull and gives birth to the Minotaur, etc.). Martin. Nilsson argues, based on the notions and common function of the gods, that many Minoan gods and religious concepts were merged into Mycenaean religion. and came to the conclusion that all the great classic Greek myths were associated with Mycenaean centers and anchored in prehistoric times. However, according to Berkert, the iconography of the Cretan palace period provided little confirmation of these theories. Motives in Western Art and Literature Additional: Greek Mythology in Western Art and Literature See also: List of films based on Greco-Roman mythology and Greek mythology in the popular culture of Botticelli The Birth of Venus (c. 1485-1486, oil on canvas, Uffizi, Florence) - a revived Venus Pudica for a new look at the pagan antiquity . The widespread adoption of Christianity does not curb the popularity of myths. With the rebirth of classical antiquity in the Renaissance, Ovid had a great influence on the imagination of poets, playwrights, musicians and artists. From the early years of the Renaissance, artists such as Leonardo da Vinci, Michelangelo and Raphael depicted pagan subjects of Greek mythology along with more traditional Christian themes. Thanks to the Latin language and works of Ovid, Greek myth influenced medieval and Renaissance poets such as Petrarch, Boccaccio and Dante in Italy. Crying by Icarus (1898) by Herbert James Draper in Northern Europe, Greek mythology never took the same fine art, but its influence was very evident on literature. The English imagination was dismissed by Greek mythology, starting with Chaucer and John Milton and continuing through Shakespeare's Robert Bridges in the 20th century. Rasin in France and Goethe in Germany revived the Greek drama by reworking ancient myths. Although the reaction to the Greek myth spread throughout Europe during the 18th century Enlightenment, myths continued to provide an important source of raw materials for playwrights, including those who wrote libretti for many of Handel and Mozart's operas. By the end of the 18th century, Romanticism had initiated a surge of enthusiasm for everything Greek, including Greek mythology. In Britain, new translations of Greek tragedies and Homer inspired contemporary poets (such as Alfred Lord Tennyson, Keats, Byron and Shelley) and artists (such as Lord Leighton and Lawrence Alma-Tadema). Christophe Gluck, Richard Strauss, Jacques Offenbach and many others have put Greek mythological themes to the music. 19th-century American authors such as Thomas Balfinch and Nathaniel Hawthorne believe that the study of classical myths is essential for understanding English and American literature. In later times, classical themes were reinterpreted by playwrights Gene Anuil, Gene Cocteau and Gene Giorow in France, Eugene O'Neill in America and T.S. Eliot in the UK and writers such as James Joyce and Andre Gida. References Notes and Cuthbertson (1975) chooses a wider range of epics, from Gilgamesh to Henriada Voltaire, but its central theme - myths encode the mechanisms of cultural dynamics of the structural community by creating a moral consensus - is a familiar mainstream opinion that relates to Greek myth. Citations : Tom: Ella, article: Greek mythology. Encyclopedia Helios. 1952. - Cartwircht, Mark. Greek mythology. The ancient history of the encyclopedia. Received on March 26, 2018. b c d e f g h i j k l m n Adkins, A. W. H.; Pollard, John R. T. (2002) (1998). Greek mythology. Encyclopedia Britannica. Foley, John Miles (1999). Homeric and the South Slavic epic. Homer's traditional art. Penn State press. ISBN 978-0-271-01870-6. b c d e f Graf, Fritz. 2009 [1993]. Greek Mythology: Introduction, Translation T. Marier. Baltimore: Johns Hopkins University Press. ISBN 9780801846571. Charity, Anthony. 2007. Theology, Trauerspiel, and the conceptual foundations of early German opera. 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(Audio reference Morme colloquial articles) Media related to Greek mythology in the Commons Greek myths about in our time in the Library of Classical Mythology BBC Texts translations of works of classical literature LIMC- France provides databases dedicated to Greco-Roman mythology and its iconography. Martin. Nilsson, the Mycenaean origin of Greek mythology, on Google books of Greek mythology, the age of gods, myths and heroes, Hellenism.Net extracted from the greek mythology stories pdf. greek mythology stories for kids. greek mythology stories book. greek mythology stories tagalog. greek mythology stories wattpad. greek mythology stories in hindi. greek mythology stories about love. greek mythology stories online

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