"Myths of origin" or ""creation myths" represent an attempt to explain the beginnings of the universe in human language. The most widely accepted version at the time, although a philosophical account of the beginning of things, is reported by "Hesiod, in his "Theogony. He begins with "Chaos, a yawning nothingness. Out of the void emerged "Gaia (the Earth) and some other primary divine beings: "Eros (Love), the "Abyss (the "Tartarus), and the "Erebus. 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 "Hecatonchires 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"), was convinced by Gaia to castrate his father. He did this, and became the ruler of the Titans with his sister-wife Rhea as his consort, and the other Titans became his court.
A motif of father-against-son conflict was repeated when Cronus was confronted by his son, "Zeus. Because Cronus had betrayed his father, he feared that his offspring would do the same, and so each time Rhea gave birth, he snatched up the child and ate it. Rhea hated this and tricked him by hiding Zeus and wrapping a stone in a baby's blanket, which Cronus ate. When Zeus was full grown, he fed Cronus a drugged drink which caused him to vomit, throwing up Rhea's other children and the stone, which had been sitting in Cronus's stomach all along. Zeus then challenged Cronus to "war for the kingship of the gods. At last, with the help of the Cyclopes (whom Zeus freed from Tartarus), Zeus and his siblings were victorious, while Cronus and the Titans were hurled down to imprisonment in "Tartarus.
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.
The earliest Greek thought about poetry considered the theogonies to be the prototypical poetic genre—the prototypical mythos—and imputed almost magical powers to it. "Orpheus, the "archetypal poet, also was the archetypal singer of theogonies, which he uses to calm seas and storms in Apollonius' "Argonautica, and to move the stony hearts of the underworld gods in his descent to "Hades. When "Hermes invents the "lyre in the Homeric Hymn to Hermes, the first thing he does is sing about the birth of the gods. 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.
The first philosophical cosmologists reacted against, or sometimes built upon, popular mythical conceptions that had existed in the Greek world for some time. Some of these popular conceptions can be gleaned from the poetry of Homer and Hesiod. In Homer, the Earth was viewed as a flat disk afloat on the river of "Oceanus and overlooked by a hemispherical sky with sun, moon, and stars. The Sun ("Helios) traversed the heavens as a charioteer and sailed around the Earth in a golden bowl at night. Sun, earth, heaven, rivers, and winds could be addressed in prayers and called to witness oaths. Natural fissures were popularly regarded as entrances to the subterranean house of Hades and his predecessors, home of the dead. Influences from other cultures always afforded new themes.
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 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". Regardless of their underlying forms, the Ancient Greek gods have many fantastic abilities; most significantly, the gods are not affected by disease, and can be wounded only under highly unusual circumstances. The Greeks considered immortality as the distinctive characteristic of their gods; this immortality, as well as unfading youth, was insured by the constant use of "nectar and "ambrosia, by which the divine blood was renewed in their veins.
Each god descends from his or her own genealogy, pursues differing interests, has a certain area of expertise, and is governed by a unique personality; however, these descriptions arise from a multiplicity of archaic local variants, which do not always agree with one another. When these gods are called upon in poetry, prayer or cult, they are referred to by a combination of their name and "epithets, that identify them by these distinctions from other manifestations of themselves (e.g., Apollo Musagetes is ""Apollo, [as] leader of the "Muses"). Alternatively the epithet may identify a particular and localized aspect of the god, sometimes thought to be already ancient during the classical epoch of Greece.
Most gods were associated with specific aspects of life. For example, "Aphrodite was the goddess of love and beauty, "Ares was the god of war, "Hades the ruler of the underworld, and "Athena the goddess of wisdom and courage. Some gods, such as "Apollo and "Dionysus, revealed complex personalities and mixtures of functions, while others, such as "Hestia (literally "hearth") and "Helios (literally "sun"), were little more than personifications. The most impressive "temples tended to be dedicated to a limited number of gods, who were the focus of large pan-Hellenic cults. It was, however, common for individual regions and villages to devote their own cults to minor gods. Many cities also honored the more well-known gods with unusual local rites and associated strange myths with them that were unknown elsewhere. During the heroic age, the cult of heroes (or demi-gods) supplemented that of the gods.
Bridging the age when gods lived alone and the age when divine interference in human affairs was limited was a transitional age in which gods and mortals moved together. These were the early days of the world when the groups mingled more freely than they did later. Most of these tales were later told by Ovid's "Metamorphoses and they are often divided into two thematic groups: tales of love, and tales of punishment.
Tales of love often involve incest, or the seduction or rape of a mortal woman by a male god, resulting in heroic offspring. The stories generally suggest that relationships between gods and mortals are something to avoid; even consenting relationships rarely have happy endings. In a few cases, a female divinity mates with a mortal man, as in the Homeric Hymn to Aphrodite, where the goddess lies with "Anchises to produce "Aeneas.
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 own 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.
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.
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, "There is even a saga effect: We can follow the fates of some families in successive generations".
After the rise of the hero cult, gods and heroes constitute the sacral sphere and are invoked together in oaths and prayers which are addressed to them. Burkert notes that "the roster of heroes, again in contrast to the gods, is never given fixed and final form. Great gods are no longer born, but new heroes can always be raised up from the army of the dead." Another important difference between the hero cult and the cult of gods is that the hero becomes the centre of local group identity.
The monumental events of Heracles are regarded as the dawn of the age of heroes. To the Heroic Age are also ascribed three great events: the "Argonautic expedition, the "Theban Cycle and the "Trojan War.
Some scholars believe that behind Heracles' complicated mythology there was probably a real man, perhaps a chieftain-vassal of the kingdom of "Argos. Some scholars suggest the story of Heracles is an allegory for the sun's yearly passage through the twelve constellations of the zodiac. 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, "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, while his tragic end provided much material for tragedy — "Heracles is regarded by Thalia Papadopoulou as "a play of great significance in examination of other Euripidean dramas". In art and literature Heracles was represented as an enormously strong man of moderate height; his characteristic weapon was the bow but frequently also the club. Vase paintings demonstrate the unparalleled popularity of Heracles, his fight with the lion being depicted many hundreds of times.
Heracles also entered Etruscan and Roman mythology and cult, and the exclamation "mehercule" became as familiar to the Romans as "Herakleis" was to the Greeks. In Italy he was worshipped as a god of merchants and traders, although others also prayed to him for his characteristic gifts of good luck or rescue from danger.
Heracles attained the highest social prestige through his appointment as official ancestor of the "Dorian kings. This probably served as a legitimation for the Dorian migrations into the "Peloponnese. "Hyllus, the eponymous hero of one Dorian "phyle, became the son of Heracles and one of the Heracleidae or Heraclids (the numerous descendants of Heracles, especially the descendants of "Hyllus — other Heracleidae included "Macaria, Lamos, "Manto, "Bianor, "Tlepolemus, and "Telephus). These Heraclids conquered the "Peloponnesian kingdoms of "Mycenae, "Sparta and "Argos, claiming, according to legend, a right to rule them through their ancestor. Their rise to dominance is frequently called the ""Dorian invasion". The Lydian and later the Macedonian kings, as rulers of the same rank, also became Heracleidae.
Other members of this earliest generation of heroes such as Perseus, "Deucalion, "Theseus and "Bellerophon, have many traits in common with Heracles. Like him, their exploits are solitary, fantastic and border on "fairy tale, as they slay monsters such as the "Chimera and "Medusa. Bellerophon's adventures are commonplace types, similar to the adventures of Heracles and Theseus. Sending a hero to his presumed death is also a recurrent theme of this early heroic tradition, used in the cases of Perseus and Bellerophon.
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. It was also extremely popular, forming a cycle to which a number of local legends became attached. The story of Medea, in particular, caught the imagination of the tragic poets.
In between the Argo and the Trojan War, there was a generation known chiefly for its horrific crimes. This includes the doings of "Atreus and "Thyestes at Argos. Behind the myth of the house of Atreus (one of the two principal heroic dynasties with the house of "Labdacus) lies the problem of the devolution of power and of the mode of accession to sovereignty. The twins Atreus and Thyestes with their descendants played the leading role in the tragedy of the devolution of power in Mycenae.
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 eventual pillage of that city at the hands of the Seven Against Thebes and "Epigoni. (It is not known whether the Seven Against Thebes figured in early epic.) As far as Oedipus is concerned, early epic accounts seem to have him continuing to rule at Thebes after the revelation that "Iokaste was his mother, and subsequently marrying a second wife who becomes the mother of his children — markedly different from the tale known to us through tragedy (e.g. Sophocles' "Oedipus Rex) and later mythological accounts.
Greek mythology culminates in the Trojan War, fought between Greece and "Troy, and its aftermath. In Homer's works, such as the Iliad, the chief stories have already taken shape and substance, and individual themes were elaborated later, especially in Greek drama. The Trojan War also elicited great interest in the "Roman culture because of the story of "Aeneas, a Trojan hero whose journey from Troy led to the founding of the city that would one day become Rome, as recounted in Virgil's "Aeneid (Book II of Virgil's Aeneid contains the best-known account of the sack of Troy). 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' 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. Achilles killed both of these, but Paris then managed to kill Achilles with an arrow in the heel. Achilles' heel was the only part of his body which was not invulnerable to damage by human weaponry. Before they could take Troy, the Greeks had to steal from the citadel the wooden image of Pallas Athena (the "Palladium). Finally, with Athena's help, they built the "Trojan Horse. Despite the warnings of Priam's daughter "Cassandra, the Trojans were persuaded by "Sinon, a Greek who feigned desertion, to take the horse inside the walls of Troy as an offering to Athena; the priest Laocoon, who tried to have the horse destroyed, was killed by sea-serpents. At night the Greek fleet returned, and the Greeks from the horse opened the gates of Troy. In the total sack that followed, Priam and his remaining sons were slaughtered; the Trojan women passed into slavery in various cities of Greece. The adventurous homeward voyages of the Greek leaders (including the wanderings of "Odysseus and Aeneas (the Aeneid), and the murder of Agamemnon) were told in two epics, the Returns (the lost "Nostoi) and Homer's Odyssey. The Trojan cycle also includes the adventures of the children of the Trojan generation (e.g., "Orestes and "Telemachus).
The Trojan War provided a variety of themes and became a main source of inspiration for Ancient Greek artists (e.g. "metopes on the "Parthenon depicting the sack of Troy); this artistic preference for themes deriving from the Trojan Cycle indicates its importance to the Ancient Greek civilization. The same mythological cycle also inspired a series of posterior European literary writings. For instance, Trojan Medieval European writers, unacquainted with Homer at first hand, found in the Troy legend a rich source of heroic and romantic storytelling and a convenient framework into which to fit their own courtly and chivalric ideals. Twelfth-century authors, such as "Benoît de Sainte-Maure (Roman de Troie [Romance of Troy, 1154–60]) and "Joseph of Exeter (De Bello Troiano [On the Trojan War, 1183]) describe the war while rewriting the standard version they found in Dictys and Dares. They thus follow "Horace's advice and Virgil's example: they rewrite a poem of Troy instead of telling something completely new.
Some of the more famous heroes noted for their inclusion in the Trojan War were:
On the Trojan side:
On the Greek side:
Mythology was at the heart of everyday life in Ancient Greece. Greeks regarded mythology as a part of their history. They used myth to explain natural phenomena, cultural variations, traditional enmities and friendships. It was a source of pride to be able to trace the descent of one's leaders from a mythological hero or a god. Few ever doubted that there was truth behind the account of the Trojan War in the Iliad and Odyssey. According to "Victor Davis Hanson, a military historian, columnist, political essayist and former "classics professor, and John Heath, a classics professor, the profound knowledge of the Homeric "epos was deemed by the Greeks the basis of their acculturation. Homer was the "education of Greece" (Ἑλλάδος παίδευσις), and his poetry "the Book".
After the rise of philosophy, history, prose and "rationalism in the late 5th century BC, the fate of myth became uncertain, 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.
A few radical philosophers like "Xenophanes of Colophon were already beginning to label the poets' tales as blasphemous lies in the 6th century BC; Xenophanes had 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". This line of thought found its most sweeping expression in "Plato's "Republic and "Laws. Plato created his own allegorical myths (such as the vision of Er in the Republic), attacked the traditional tales of the gods' tricks, thefts and adulteries as immoral, and objected to their central role in literature. Plato's criticism was the first serious challenge to the Homeric mythological tradition, referring to the myths as "old wives' chatter". 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".
Nevertheless, even Plato did not manage to wean himself and his society from the influence of myth; his own characterization 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 might say: "Are you then not ashamed, Socrates, of having followed such a pursuit, that you are now in danger of being put to death as a result?" But I should make to him a just reply: "You do not speak well, Sir, if you think a man in whom there is even a little merit ought to consider danger of life or death, and not rather regard this only, when he does things, whether the things he does are right or wrong and the acts of a good or a bad man. For according to your argument all the demigods would be bad who died at Troy, including the son of "Thetis, who so despised danger, in comparison with enduring any disgrace, that when his mother (and she was a goddess) said to him, as he was eager to slay "Hector, something like this, I believe,
- My son, if you avenge the death of your friend "Patroclus and kill Hector, you yourself shall die; for straightway, after Hector, is death appointed unto you. (Hom. Il. 18.96)
he, when he heard this, made light of death and danger, and feared much more to live as a coward and not to avenge his friends, and said,
- Straightway may I die, after doing vengeance upon the wrongdoer, that I may not stay here, jeered at beside the curved ships, a burden of the earth.
Hanson and Heath estimate that Plato's rejection of the Homeric tradition was not favorably received by the grassroots Greek civilization. The old myths were kept alive in local cults; they continued to influence poetry and to form the main subject of painting and sculpture.
More sportingly, the 5th century BC "tragedian Euripides often played with the old traditions, mocking them, and through the voice of his characters injecting notes of doubt. Yet the subjects of his plays were taken, without exception, from myth. Many of these plays were written in answer to a predecessor's version of the same or similar myth. Euripides mainly impugns the myths about the gods and begins his critique with an objection similar to the one previously expressed by "Xenocrates: the gods, as traditionally represented, are far too crassly "anthropomorphic.
During the "Hellenistic period, mythology took on the prestige of elite knowledge that marks its possessors as belonging to a certain class. At the same time, the skeptical turn of the Classical age became even more pronounced. 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.
Rationalizing "hermeneutics of myth became even more popular under the "Roman Empire, thanks to the physicalist theories of "Stoic and "Epicurean philosophy. Stoics presented explanations of the gods and heroes as physical phenomena, while the Euhemerists rationalized them as historical figures. At the same time, the Stoics and the "Neoplatonists promoted the moral significations of the mythological tradition, often based on Greek etymologies. 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). The challenge for Romans with a strong and apologetic sense of "religious tradition was to defend that tradition while conceding that it was often a breeding-ground for superstition. The antiquarian "Varro, who regarded religion as a human institution with great importance for the preservation of good in society, devoted rigorous study to the origins of religious cults. In his Antiquitates Rerum Divinarum (which has not survived, but "Augustine's "City of God indicates its general approach) Varro argues that whereas the superstitious man fears the gods, the truly religious person venerates them as parents. According to Varro, there have been three accounts of deities in the Roman society: the mythical account created by poets for theatre and entertainment, the civil account used by people for veneration as well as by the city, and the natural account created by the philosophers. The best state is, adds Varro, where the civil theology combines the poetic mythical account with the philosopher's.
Roman Academic Cotta ridicules both literal and allegorical acceptance of myth, declaring roundly that myths have no place in philosophy. "Cicero is also generally disdainful of myth, but, like Varro, he is emphatic in his support for the state religion and its institutions. It is difficult to know how far down the social scale this rationalism extended. Cicero asserts that no one (not even old women and boys) is so foolish as to believe in the terrors of Hades or the existence of "Scyllas, "centaurs or other composite creatures, 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. The gods "Zeus and "Jupiter are an example of this mythological overlap. In addition to the combination of the two mythological traditions, the association of the Romans with eastern religions led to further syncretizations. 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 of 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. In reality, these poems were probably composed by several different poets, and contain a rich set of clues about prehistoric European mythology. 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.
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.
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.
"Sigmund Freud introduced a transhistorical and biological conception of man and a view of myth as an expression of repressed ideas. Dream interpretation is the basis of Freudian myth interpretation and Freud's concept of dreamwork recognizes the importance of contextual relationships for the interpretation of any individual element in a dream. This suggestion would find an important point of rapprochment between the structuralist and psychoanalytic approaches to myth in Freud's thought. "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. According to Jung, "myth-forming structural elements must be present in the unconscious psyche". Comparing Jung's methodology with "Joseph Campbell's theory, Robert A. Segal 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.
Max Müller attempted to understand an "Indo-European religious form by tracing it back to its Indo-European (or, in Müller's time, ""Aryan") "original" manifestation. In 1891, he claimed that "the most important discovery which has been made during the nineteenth century with respect to the ancient history of mankind ... was this sample equation: "Sanskrit "Dyaus-pitar = Greek Zeus = Latin "Jupiter = Old Norse "Tyr". The question of Greek mythology's place in "Indo-European studies has generated much scholarship since Müller's time. For example, philologist "Georges Dumézil draws a comparison between the Greek "Uranus and the Sanskrit "Varuna, although there is no hint that he believes them to be originally connected. 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.
Archaeology and mythography, on the other hand, have revealed that the Greeks were also inspired by some of the civilizations of 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 pre-Hellenic societies: "Crete, Mycenae, "Pylos, "Thebes and "Orchomenus. Historians of religion were fascinated by a number of apparently ancient configurations of myth connected with Crete (the god as bull, Zeus and "Europa, "Pasiphaë who yields to the bull and gives birth to the "Minotaur etc.) Martin P. Nilsson concluded that all great classical Greek myths were tied to Mycenaen centres and were anchored in prehistoric times. Nevertheless, according to Burkert, the iconography of the Cretan Palace Period has provided almost no confirmation for these theories.
The widespread adoption of Christianity did not curb the popularity of the myths. With the rediscovery of classical antiquity in the "Renaissance, the poetry of Ovid became a major influence on the imagination of poets, dramatists, musicians and artists. 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. Through the medium of Latin and the works of Ovid, Greek myth influenced medieval and Renaissance poets such as "Petrarch, "Boccaccio and "Dante in Italy.
In Northern Europe, Greek mythology never took the same hold of the visual arts, but its effect was very obvious on literature. 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. Although during the "Enlightenment of the 18th century reaction against Greek myth spread throughout Europe, the myths continued to provide an important source of raw material for dramatists, including those who wrote the "libretti for many of "Handel's and "Mozart's operas. 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 Lord 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.