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Daedalus is hailed as one of the most skilled artists and craftsmen in the Ancient Greek world. Said to be the son of the gods Athena and Hephaestus, as well as the son of the mortals Alcippe (daughter to Cecrops, the mythical founder of Athens) and King Erechtheus of Athens, Daedalus’ fame transcended the centuries, with his myths appearing in works by famous authors such as Ovid, Homer, and Pausanius, and appearing in the founding myths of Athens, Crete, and Sicily. His legend also persisted into the later medieval ages, and legends about Daedalus are well known still today.
Daedalus and the Labyrinth
The first mention of Daedalus comes from the works of Homer. In this work he is credited as the creator of the first “dancing-ground” for Ariadne, daughter of King Minos of Crete. In this same myth, he is credited with the creation of the much more well-known labyrinth of Crete, which held the ferocious Minotaur. Said to be a great craftsman, Ovid suggests, in his Metamorphoses, that Daedalus constructed the labyrinth with such cunning that he himself could barely escape once the structure was built. Scholar Robin Lane Fox suggests that Daedalus was known throughout Greece before the works of Homer and as such, he was used as a point of comparison in the story as someone the audience would recognize.
Daedalus is credited with the creation of the labyrinth of Crete, which held the ferocious Minotaur. ‘The Cretan Legend’
The myth of the Minotaur begins with Poseidon, god of the sea, giving a white bull to King Minos of Crete that he was supposed to sacrifice to the gods. Instead, Minos kept it for himself, and as revenge Poseidon made the queen, Pasiphae, lust after the bull. It is claimed that Daedalus built a wooden cow for Pasiphae so that she would be able to mate with the white bull. From this, Pasiphae was impregnated with the minotaur; a beast being half man and half bull. Subsequently, Daedalus was commissioned to build the labyrinth to house the beast. Every nine years, seven Athenian boys and seven girls were sent to Crete, cast into the labyrinth and eaten by the minotaur. One year, the hero Theseus was one of the Athenian youths to be sent to his death. Falling in love with the king’s daughter, Ariadne, he won her heart and she agreed to help him through the labyrinth. Again, with the help of Daedalus, who offered Ariadne magical thread with which to lead Theseus through the labyrinth and back out again, Theseus was able to vanquish the minotaur and make it out of the impossible maze.
‘Theseus and the Minotaur in the Labyrinth’ by Edward Burne-Jones
A continuation of the myth of the minotaur appears in Ovid’s Metamorphoses. Once King Minos commissioned the labyrinth, he shut Daedalus and his son, Icarus, away in a tower on Crete, this way the man could not spread his knowledge of the maze. Daedalus, therefore, was not permitted to leave the isle of Crete and he was kept under strict watch; all of the sea vessels leaving the island would be searched before they could leave. From this imprisonment, Daedalus began working on inventing a pair of wings he could use to leave the tower. He tied feathers together and secured them with wax to a base. Once the wings were completed, and he had tested them out to find he could use them to hover or soar, he set to work building a pair for his son.
Daedalus builds wings for his son Icarus
A Tragedy Unfolds
After learning to fly with the wings, Icarus was warned by his father not to fly too close to the sun, lest the wax in the wings melt. He was also warned not to fly too low as the sea foam would wet the feathers and make them too heavy. Setting out, the two flew far from Crete, over Samos, Delos, and Lebynthos, but after a while the boy forgot himself and flew too close to the sun which caused the wax to melt and he plummeted to his death in the sea. It is said that, because of this, Athena later gifted Daedalus a pair of actual wings.
‘The Lament for Icarus’ by H J Draper
The Death of Minos
Having escaped Crete, Daedalus found himself in the care of King Cocalus of Kamikos, Sicily. It is here that Daedalus built a temple to Apollo and hung up his wings in sacrifice to the god. It is around this time that King Minos discovered the disappearance of Daedalus and set out to find him, searching from city to city. Upon arrival in each location he challenged the people there with a riddle he knew only Daedalus could solve. He presented a seashell and asked the people to pull a piece of string through it. When he reached the kingdom of Cocalus, Daedalus came forward and tied the string to an ant, placing the ant at one end of the shell and honey at the other as bait, thus having the ant pull the thread through the shell. Minos demanded that Daedalus be handed over to him, but Cocalus convinced Minos to take a bath first, and it was in the bath that the daughters of Cocalus murdered the king of Crete. In some versions of this story it is Daedalus, himself, that kills the king by pouring boiling water over him.
Daedalus and Perdix
From the 5 th century BCE onwards, Athens claimed Daedalus as one of their own, thus replacing Crete as his birthplace and Sicily as his final destination. It is in Athens that he becomes the tutor of his nephew, sometimes referred to as Perdix, Talus, or Calos. This myth claims that one day Perdix was wandering on the beach and picked up an old fish bone. He was inspired by the jagged nature of the spine of the fish, and from this he invented the saw. Along with the saw Perdix is credited with numerous other inventions, rivaling his uncle in ingenuity and craftsmanship. As Perdix gained renown Daedalus grew jealous. Seeing an opportunity one day Daedalus threw Perdix from the acropolis, killing the boy. Subsequently, Athena turned Perdix into a partridge and left a partridge shaped scar on the right shoulder of Daedalus as a reminder.
Daedalus, the Skilled Craftsman
Daedalus is credited with having first conceived of masts and sails for ships of the Navy of Crete under the rule of Minos. Pausanius credits him with numerous archaic wooden statues. He is said to have carved statues so masterfully that they looked alive and would move around were it not for the chain that held them to the wall. Pliny, in his Natural History , credits Daedalus with the invention of carpentry, and later the Romans made him the patron of carpenters. In the medieval and early modern period of Romanticism, Daedauls became a popular subject. He came to denote the classic artists, a skilled craftsman, while his son symbolized the new romantic artist, passionate and rebellious.
In Greek mythology, Daedalus (/ˈdɛdələs ˈdiːdələs ˈdeɪdələs/ Greek: Δαίδαλος Latin: Daedalus Etruscan: Taitale) was a skillful architect and craftsman, seen as a symbol of wisdom, knowledge, and power. He is the father of Icarus, the uncle of Perdix, and possibly also the father of Iapyx. Among his most famous creations are the wooden bull for Pasiphaë, the Labyrinth for King Minos of Crete which imprisoned the Minotaur, and wings that he and his son Icarus used to escape Crete. It was during this escape that Icarus did not heed his father's warnings and flew too close to the sun the wax holding his wings together melted and Icarus fell to his death.
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Great Dionysia, also called City Dionysia, ancient dramatic festival in which tragedy, comedy, and satyric drama originated it was held in Athens in March in honour of Dionysus, the god of wine. Tragedy of some form, probably chiefly the chanting of choral lyrics, was introduced by the tyrant Peisistratus when he refounded the festival (534/531 bc ), but the earliest tragedy that survives, Aeschylus’ Persai, dates from 472.
The festivals were attended by all Athenian citizens (likely women as well as men) and visitors from throughout Greece. In the tragic competition, each of three tragic poets wrote, produced, and probably acted in three tragedies on a single theme. Each poet also presented a satyr play, which treated some heroic subject in burlesque fashion. Judges, chosen by lot, awarded a prize to the best poet. In comedy, introduced in 486, five poets competed for the prize, each with one play. The satyr play was always the work of a tragic poet, and the same poet never wrote both tragedies and comedies. In 440 comedy was also introduced into the Lenaea, the minor festival of Dionysus held in January, and tragedy was added 10 years later.
This article was most recently revised and updated by Chelsey Parrott-Sheffer, Research Editor.
The Dramatic and Tragic Life of Ancient Greek Legend Daedalus - History
“They sit at the feet of Socrates
Till they can’t distinguish the wood from the trees,
And tragedy goes to pot
They don’t care whether their plays are art
But only whether the words are smart
They waste our time with quibbles and quarrels,
Destroying our patience as well as our morals,
And making us all talk rot.”
Jason and Medea – as depicted by John William Waterhouse, 1907
“Euripides died in the following manner. There was a town in Macedonia called the village of the Thracians because Thracians had once settled there. At some point, a female Molossian hound belonging to Archelaus had strayed into the village. This dog the Thracians, as is their custom, sacrificed and ate. Accordingly, Archelaus fined them one talent. Since they did not have the money, they asked Euripides to get them released from their debt to the king.
As was his tendency, Zeus had been shacking up with a Greek woman. Her name was Semele. Naturally, Hera found out and just as naturally, she set about doing something nasty about it. She disguised herself as an old woman and befriended the pregnant Semele until a young woman admitted to Hera that her lover was Zeus. Hera planted doubt in Semele’s mind, so when Semele went back to Zeus, she was skeptical. She asked for Zeus to grant her a boon. Eager to please, Zeus agreed and promised on the River Styx to give her whatever she wanted. She demanded that he reveal himself to her in all his godly glory to prove he was Zeus. Zeus begged her to change her mind, but she did not, and he could not go back on his promise.
Mortals cannot look upon Zeus in his full glory and survive. Semele burst into flame and perished. Zeus barely managed to save the fetal Dionysus by sewing the baby onto his own thigh.
“The Organon” (Latin for “instrument”) is a series of Aristotle’s works on logic (what he himself would call analytics) put together around 40 B.C. by Andronicus of Rhodes and his followers. The set of six books includes tegories,” “On Interpretation,” “Prior Analytics,” “Posterior Analytics,” “Topics,” and “On Sophistical Refutations.” The Organon contains Aristotle’s worth on syllogisms (from the Greek syllogismos, or 𠇌onclusions”), a form of reasoning in which a conclusion is drawn from two assumed premises. For example, all men are mortal, all Greeks are men, therefore all Greeks are mortal.
Paired Texts > On Tragedy
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The Myth of Daedalus and Icarus
Ovid (43 BCE – 17/18 CE), or Publius Ovidius Naso, was a Roman poet best known for the Metamorphoses, which now remains an important source of classical mythology. In this classic myth, Daedalus attempts to escape imprisonment on the island of Crete by crafting a pair of wax wings for himself and his son, Icarus.
Pair “From Poetics: Aristotle on Tragedy” with “The Myth of Daedalus and Icarus” for students to develop a better understanding of tragedy, especially as classical thinking conceived of it.
The Bright Side of Sadness
In this article from Science News, author Bruce Bower explores the results of several recent studies suggesting that feelings of sadness can be beneficial in different aspects of everyday life.
Pair "Excerpt from Aristotle's Poetics, On Tragedy" with "The Bright Side of Sadness" to spark a discussion about why tragedy is a popular literary genre. What do we gain from reading tragedy?
The Legend of Oedipus
The legend of Oedipus is a telling myth about the perils of testing fate.
Pair the excerpt from “The Legend of Oedipus” with “On Tragedy” and ask students to evaluate if the legend aligns with Aristotle’s definition of tragedy.
Excerpts from Three Sisters
In Anton Chekhov’s play “Three Sisters,” the Prózorov siblings struggle to find happiness in a rural Russian village.
Pair “Excerpts from Three Sisters” with “On Tragedy” and ask students to determine to what extent the play satisfies the requirements Aristotle outlines for “a perfect tragedy.” Ask students to evaluate whether or not the characters from the play align with Aristotle’s definition for a tragic character. To what extent does Chekhov’s work include the necessary elements of “a perfect tragedy”? Does Chekhov’s work illuminate any additional aspects of the tragedy genre, and if so, how?
In “Greek Philosophy,” this informational text recounts the development of ancient Greek philosophy, including its notable schools and philosophers, and the impact it has had on Western history and culture.
Pair “On Tragedy” with “Greek Philosophy” and ask students to discuss the ideas and writing of Aristotle. Is Aristotle’s definition of the perfect tragedy still relevant today? Based on both of these readings, what impact did Aristotle have on Western culture? How do his philosophies affect our society and culture today?
'To Be Or Not To Be' Soliloquy
In this famous soliloquy from Shakespeare's Hamlet, Hamlet contemplates suicide and poses the most important question one can ask: "To be or not to be?"
Pair Hamlet's "'To Be or Not to Be' Soliloquy" with "On Tragedy" from Aristotle's Poetics to spark an in-depth discussion about literary tragedy. Based on this passage, does Shakespeare's Hamlet appear to fit Aristotle's definition of tragedy?
“Three Types of Friendship” — Excerpt from The Nicomachean Ethics
In the philosophical text “‘Three Types of Friendship’ — Excerpt from The Nicomachean Ethics,” Aristotle describes three types of friendship and their differences.
Pair “On Tragedy” with “‘Three Types of Friendship’ — Excerpt from The Nicomachean Ethics” and ask students to discuss how Aristotle portrays virtue in the two texts. How does the role that virtue plays in literature compare to its role in friendship? How do both texts explore how people respond to others and to certain situations? Is there a difference between what people desire to read in literature and what they desire to experience in real life? If so, what is the difference?
7. Theseus and the Minotaur
In Greek Mythology, Minos' son, Androgeos, has been “treacherously killed” while he was in Athens. Minos immediately sought revenge from the Athenians and as retribution he had them send to Crete several youths every seven or nine years to be devoured by Minotaur, a terrifying monster, half man half bull. The young Athenians were thrown into a dark maze, full of arcades and dead ends, wandering aimlessly, until the Minotaur would find them. Theseus, the son of the king of Athens Aegeus, did not endure this humiliation and demanded to be among the seven young men that were to be sent for the third time to the labyrinth. So, he arrived in Crete and met Minos' daughter, Ariadne, with whom he fell in love.
Ariadne then gave Theseus a lame spinner (known as Ariadne's thread) and advised him to tie his end to the entrance of the labyrinth and unwrap it so that he could find the exit after killing Minotaur. Theseus entered the dark arcades holding the mite and managed to kill the Minotaur by cutting off his head, thus ending Minos' blood rage. Then he managed to return to the exit, following Ariadne’s thread. Theseus took Ariadne with him on his boat and began the journey to Athens. However, they made a stop on the island of Naxos, where they celebrated their love. While on the island, the god Dionysus appeared in Theseus' dream and told him that he had to leave the island without Ariadne since she was meant to stay there and become Dionysus' wife. Ariadne stayed in Naxos and married Dionysus, while Theseus returned to Athens. The two lovers never met again…
Greek mythology is known today primarily from Greek literature and representations on visual media dating from the Geometric period from c. 900 BC to c. 800 BC onward.  : 200 In fact, literary and archaeological sources integrate, sometimes mutually supportive and sometimes in conflict however, in many cases, the existence of this corpus of data is a strong indication that many elements of Greek mythology have strong factual and historical roots. 
Mythical narration plays an important role in nearly every genre of Greek literature. Nevertheless, the only general mythographical handbook to survive from Greek antiquity was the Library of Pseudo-Apollodorus. This work attempts to reconcile the contradictory tales of the poets and provides a grand summary of traditional Greek mythology and heroic legends.  : 1 Apollodorus of Athens lived from c. 180 BC to c. 125 BC and wrote on many of these topics. His writings may have formed the basis for the collection however, the "Library" discusses events that occurred long after his death, hence the name Pseudo-Apollodorus.
Among the earliest literary sources are Homer's two epic poems, the Iliad and the Odyssey. Other poets completed the "epic cycle", but these later and lesser poems now are lost almost entirely. Despite their traditional name, the "Homeric Hymns" have no direct connection with Homer. The oldest are choral hymns from the earlier part of the so-called Lyric age.  : 7 Hesiod, a possible contemporary with Homer, offers in his Theogony (Origin of the Gods) the fullest account of the earliest Greek myths, dealing with the creation of the world the origin of the gods, Titans, and Giants as well as elaborate genealogies, folktales, and etiological myths. Hesiod's Works and Days, a didactic poem about farming life, also includes the myths of Prometheus, Pandora, and the Five Ages. The poet advises on the best way to succeed in a dangerous world, rendered yet more dangerous by its gods. 
Lyrical poets often took their subjects from myth, but their treatment became gradually less narrative and more allusive. Greek lyric poets, including Pindar, Bacchylides and Simonides, and bucolic poets such as Theocritus and Bion, relate individual mythological incidents.  : xii Additionally, myth was central to classical Athenian drama. The tragic playwrights Aeschylus, Sophocles, and Euripides took most of their plots from myths of the age of heroes and the Trojan War. Many of the great tragic stories (e.g. Agamemnon and his children, Oedipus, Jason, Medea, etc.) took on their classic form in these tragedies. The comic playwright Aristophanes also used myths, in The Birds and The Frogs.  : 8
Historians Herodotus and Diodorus Siculus, and geographers Pausanias and Strabo, who traveled throughout the Greek world and noted the stories they heard, supplied numerous local myths and legends, often giving little-known alternative versions.  : xii Herodotus in particular, searched the various traditions presented him and found the historical or mythological roots in the confrontation between Greece and the East.  : 60  : 22 Herodotus attempted to reconcile origins and the blending of differing cultural concepts.
The poetry of the Hellenistic and Roman ages was primarily composed as a literary rather than cultic exercise. Nevertheless, it contains many important details that would otherwise be lost. This category includes the works of:
- The Roman poets Ovid, Statius, Valerius Flaccus, Seneca and Virgil with Servius's commentary.
- The Greek poets of the Late Antique period: Nonnus, Antoninus Liberalis, and Quintus Smyrnaeus.
- The Greek poets of the Hellenistic period: Apollonius of Rhodes, Callimachus, Pseudo-Eratosthenes, and Parthenius.
Prose writers from the same periods who make reference to myths include Apuleius, Petronius, Lollianus, and Heliodorus. Two other important non-poetical sources are the Fabulae and Astronomica of the Roman writer styled as Pseudo-Hyginus, the Imagines of Philostratus the Elder and Philostratus the Younger, and the Descriptions of Callistratus.
Finally, several Byzantine Greek writers provide important details of myth, much derived from earlier now lost Greek works. These preservers of myth include Arnobius, Hesychius, the author of the Suda, John Tzetzes, and Eustathius. They often treat mythology from a Christian moralizing perspective. 
The discovery of the Mycenaean civilization by the German amateur archaeologist Heinrich Schliemann in the nineteenth century, and the discovery of the Minoan civilization in Crete by the British archaeologist Arthur Evans in the twentieth century, helped to explain many existing questions about Homer's epics and provided archaeological evidence for many of the mythological details about gods and heroes. Unfortunately, the evidence about myths and rituals at Mycenaean and Minoan sites is entirely monumental, as the Linear B script (an ancient form of Greek found in both Crete and mainland Greece) was used mainly to record inventories, although certain names of gods and heroes have been tentatively identified. 
Geometric designs on pottery of the eighth-century BC depict scenes from the Trojan cycle, as well as the adventures of Heracles.  These visual representations of myths are important for two reasons. Firstly, many Greek myths are attested on vases earlier than in literary sources: of the twelve labors of Heracles, for example, only the Cerberus adventure occurs in a contemporary literary text.  Secondly, visual sources sometimes represent myths or mythical scenes that are not attested in any extant literary source. In some cases, the first known representation of a myth in geometric art predates its first known representation in late archaic poetry, by several centuries.  In the Archaic (c. 750 – c. 500 BC ), Classical (c. 480 –323 BC), and Hellenistic (323–146 BC) periods, Homeric and various other mythological scenes appear, supplementing the existing literary evidence. 
Greek mythology has changed over time to accommodate the evolution of their culture, of which mythology, both overtly and in its unspoken assumptions, is an index of the changes. In Greek mythology's surviving literary forms, as found mostly at the end of the progressive changes, it is inherently political, as Gilbert Cuthbertson (1975) has argued. [i] 
The earlier inhabitants of the Balkan Peninsula were an agricultural people who, using Animism, assigned a spirit to every aspect of nature. Eventually, these vague spirits assumed human forms and entered the local mythology as gods.  : 17 When tribes from the north of the Balkan Peninsula invaded, they brought with them a new pantheon of gods, based on conquest, force, prowess in battle, and violent heroism. Other older gods of the agricultural world fused with those of the more powerful invaders or else faded into insignificance.  : 18
After the middle of the Archaic period, myths about relationships between male gods and male heroes became more and more frequent, indicating the parallel development of pedagogic pederasty ( παιδικὸς ἔρως , eros paidikos), thought to have been introduced around 630 BC. By the end of the fifth-century BC, poets had assigned at least one eromenos, an adolescent boy who was their sexual companion, to every important god except Ares and many legendary figures.  Previously existing myths, such as those of Achilles and Patroclus, also then were cast in a pederastic light.  : 54 Alexandrian poets at first, then more generally literary mythographers in the early Roman Empire, often re-adapted stories of Greek mythological characters in this fashion.
The achievement of epic poetry was to create story-cycles and, as a result, to develop a new sense of mythological chronology. Thus Greek mythology unfolds as a phase in the development of the world and of humans.  : 11 While self-contradictions in these stories make an absolute timeline impossible, an approximate chronology may be discerned. The resulting mythological "history of the world" may be divided into three or four broader periods:
- The myths of origin or age of gods (Theogonies, "births of gods"): myths about the origins of the world, the gods, and the human race.
- The age when gods and mortals mingled freely: stories of the early interactions between gods, demigods, and mortals.
- The age of heroes (heroic age), where divine activity was more limited. The last and greatest of the heroic legends is the story of the Trojan War and after (which is regarded by some researchers as a separate, fourth period).  : 35
While the age of gods often has been of more interest to contemporary students of myth, the Greek authors of the archaic and classical eras had a clear preference for the age of heroes, establishing a chronology and record of human accomplishments after the questions of how the world came into being were explained. For example, the heroic Iliad and Odyssey dwarfed the divine-focused Theogony and Homeric Hymns in both size and popularity. Under the influence of Homer the "hero cult" leads to a restructuring in spiritual life, expressed in the separation of the realm of the gods from the realm of the dead (heroes), of the Chthonic from the Olympian.  : 205 In the Works and Days, Hesiod makes use of a scheme of Four Ages of Man (or Races): Golden, Silver, Bronze, and Iron. These races or ages are separate creations of the gods, the Golden Age belonging to the reign of Cronos, the subsequent races to the creation of Zeus. The presence of evil was explained by the myth of Pandora, when all of the best of human capabilities, save hope, had been spilled out of her overturned jar.  In Metamorphoses, Ovid follows Hesiod's concept of the four ages. 
Origins of the world and the gods
"Myths of origin" or "creation myths" represent an attempt to explain the beginnings of the universe in human language.  : 10 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, including Poseidon, Hades, Hestia, Demeter, and Hera, and the stone, which had been sitting in Cronus's stomach all this time. 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.  : 98 She was already pregnant with Athena, however, and she burst forth from his head—fully-grown and dressed for war.  : 108
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.  : 147 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.  : 236  : 147
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.  : 45 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.)  : 8 Besides the Olympians, the Greeks worshipped various gods of the countryside, the satyr-god Pan, Nymphs (spirits of rivers), Naiads (who dwelled in springs), Dryads (who were spirits of the trees), Nereids (who inhabited the sea), river gods, Satyrs, and others. In addition, there were the dark powers of the underworld, such as the Erinyes (or Furies), said to pursue those guilty of crimes against blood-relatives.  In order to honor the Ancient Greek pantheon, poets composed the Homeric Hymns (a group of thirty-three songs).  Gregory Nagy (1992) regards "the larger Homeric Hymns as simple preludes (compared with Theogony), each of which invokes one god."  : 54
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."  : 182 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.  : 4
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.  : 20ff 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 demigods) supplemented that of the gods.
Age of gods and mortals
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.  : 38
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.  : 39 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 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."  : 291 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.  : 50 The story of the arrival of Dionysus to establish his cult in Thrace was also the subject of an Aeschylean trilogy.  : 28 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.  : 195
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 (1992), "there is even a saga effect: We can follow the fates of some families in successive generations."  : 11
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.  : 205 Burkert (2002) 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.  : 206
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.   : 340
Heracles and the Heracleidae
Some scholars believe  : 10 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 (2002), "He is portrayed as a sacrificer, mentioned as a founder of altars, and imagined as a voracious eater himself it is in this role that he appears in comedy. 
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."   : 211 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.  : 211
Heracles also entered Etruscan and Roman mythology and cult, and the exclamation "mehercule" became as familiar to the Romans [ clarification needed ] as "Herakleis" was to the Greeks.  : 211 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.   : 211
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. 
House of Atreus and Theban Cycle
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 war of the Seven against Thebes and the eventual pillage of that city at the hands of the Epigoni.  : 317 (It is not known whether the Seven 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.  : 311
Trojan War and aftermath
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's brother, Agamemnon, king of Argos, or Mycenae, but the Trojans refused to return Helen. The Iliad, which is set in the tenth year of the war, tells of the quarrel between Agamemnon and Achilles, who was the finest Greek warrior, and the consequent deaths in battle of Achilles' beloved comrade Patroclus and Priam's eldest son, Hector. After Hector's death the Trojans were joined by two exotic allies, Penthesilea, queen of the Amazons, and Memnon, king of the Ethiopians and son of the dawn-goddess Eos.  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:
- Ajax (there were two Ajaxes)
- King Agamemnon
Mythology was at the heart of everyday life in Ancient Greece.  : 15 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". 
Philosophy and myth
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. 
By the sixth century BC, a few radical philosophers were already beginning to label the poets' tales as blasphemous lies: Xenophanes of Colophon complained that Homer and Hesiod attributed to the gods "all that is shameful and disgraceful among men they steal, commit adultery, and deceive one another."  : 169–70 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.  : 169–70
Hellenistic and Roman rationalism
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.  : 89 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.  : 7
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.  : xxvi Livy, too, is skeptical about the mythological tradition and claims that he does not intend to pass judgement on such legends (fabulae).  : 88 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.  : xxvi 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.  : 87 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.  : 88 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.  : xxvii
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.  : 88 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 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.  : 9
Comparative and psychoanalytic approaches
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.   : 9 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 rapprochement 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 (1990) concludes that "to interpret a myth Campbell simply identifies the archetypes in it. An interpretation of the Odyssey, for example, would show how Odysseus's life conforms to a heroic pattern. Jung, by contrast, considers the identification of archetypes merely the first step in the interpretation of a myth."  Karl Kerényi, one of the founders of modern studies in Greek mythology, gave up his early views of myth, in order to apply Jung's theories of archetypes to Greek myth.  : 38
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 concerning the ancient history of mankind . was this sample equation: Sanskrit Dyaus-pitar = Greek Zeus = Latin Jupiter = Old Norse Tyr".  : 12 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. 
It appears that the Mycenaean religion was the mother of the Greek religion  and its pantheon already included many divinities that can be found in classical Greece.  However, Greek mythology is generally seen as having heavy influence of Pre-Greek and Near Eastern cultures, and as such contains few important elements for the reconstruction of the Proto-Indo-European religion.  Consequently, Greek mythology received minimal scholarly attention in the context of Indo-European comparative mythology until the mid 2000s. 
Archaeology and mythography have revealed influence from Asia Minor and the Near East. Adonis seems to be the Greek counterpart—more clearly in cult than in myth—of a Near Eastern "dying god". Cybele is rooted in Anatolian culture while much of Aphrodite's iconography may spring from Semitic goddesses. There are also possible parallels between the earliest divine generations (Chaos and its children) and Tiamat in the Enuma Elish.   According to Meyer Reinhold, "near Eastern theogonic concepts, involving divine succession through violence and generational conflicts for power, found their way…into Greek mythology." 
In addition to Indo-European and Near Eastern origins, some scholars have speculated on the debts of Greek mythology to the indigenous pre-Greek societies: Crete, Mycenae, Pylos, Thebes and Orchomenus.  : 23 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 asserts, based on the representations and general function of the gods, that a lot of Minoan gods and religious conceptions were fused in the Mycenaean religion.  and concluded that all great classical Greek myths were tied to Mycenaean centres and anchored in prehistoric times.  Nevertheless, according to Burkert, the iconography of the Cretan Palace Period has provided almost no confirmation for these theories.  : 24
Ancient Greek literature refers to literature written in Ancient Greek dialects. These works range from the oldest surviving written works in the Greek language until works from the fifth century AD. The Greek language arose from the proto-Indo-European language roughly two-thirds of its words can be derived from various reconstructions of the tongue. A number of alphabets and syllabaries had been used to render Greek, but surviving Greek literature was written in a Phoenician-derived alphabet that arose primarily in Greek Ionia and was fully adopted by Athens by the fifth century BC. 
Preclassical (800–500 BC) Edit
All ancient Greek literature was to some degree oral in nature, and the earliest literature was completely so.  The Greeks created poetry before making use of writing for literary purposes. Poems created in the Preclassical period were meant to be sung or recited (writing was little known before the 7th century BC). Most poems focused on myths, legends that were part folktale and part religion. Tragedies and comedies emerged around 600 BC. 
At the beginning of Greek literature stand the works of Homer the Iliad and the Odyssey. Though dates of composition vary, these works were fixed around 800 BC or after. Another significant figure was the poet Hesiod. His two surviving works are Works and Days and Theogony.
Classical (500–323 BC) Edit
During the classical period, many of the genres of western literature became more prominent. Lyrical poetry, odes, pastorals, elegies, epigrams dramatic presentations of comedy and tragedy histories, rhetorical treatises, philosophical dialectics, and philosophical treatises all arose in this period. 
The two major lyrical poets were Sappho and Pindar. Of the hundreds of tragedies written and performed during this time period, only a limited number of plays survived. These plays are authored by Aeschylus, Sophocles, and Euripides. 
The comedy arose from a ritual in honor of Dionysus. These plays were full of obscenity, abuse, and insult. The surviving plays by Aristophanes are a treasure trove of comic presentation.
Two influential historians of this age are Herodotus and Thucydides. A third historian, Xenophon, wrote "Hellenica," which is considered an extension of Thucydides's work. 
The greatest prose achievement of the 4th century BC was in philosophy. Greek philosophy flourished during the classical period. Of the philosophers, Socrates, Plato, and Aristotle are the most famous.