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From Lydgate until the 17th or 18th century, "mythology" meant a moral, fable, allegory or a parable, or collection of traditional stories,[14][19] understood to be false. It came eventually to be applied to similar bodies of traditional stories among other polytheistic cultures around the world.[14] Thus "mythology" entered the English language before "myth". Johnson's Dictionary, for example, has an entry for mythology, but not for myth.[22] Indeed, the Greek loanword mythos[24] (pl. mythoi) and Latinate mythus[26] (pl. mythi) both appeared in English before the first example of "myth" in 1830.[29]
In present use, "mythology" usually refers to the collection of myths of a group of people.[61] For example, Greek mythology, Roman mythology, Celtic mythology and Hittite mythology all describe the body of myths retold among those cultures.[62]
Myth criticism, a discipline that studies myths (mythology contains them, like a pantheon its statues), is by nature interdisciplinary: it combines the contributions of literary theory, the history of literature, the fine arts and the new ways of dissemination in the age of communication. Likewise, it undertakes its object of study from its interrelation with other human and social sciences, in particular sociology, anthropology and economics. The need for an approach, for a methodology that allows us to understand the complexity of the myth and its manifestations in contemporary times, is justified.[67]
Mythopoeia (mytho- + -poeia, 'I make myth') was termed by J. R. R. Tolkien, amongst others, to refer to the "conscious generation" of mythology.[68][69] It was notoriously also suggested, separately, by Nazi ideologist Alfred Rosenberg.
Comparative mythology is a systematic comparison of myths from different cultures. It seeks to discover underlying themes that are common to the myths of multiple cultures. In some cases, comparative mythologists use the similarities between separate mythologies to argue that those mythologies have a common source. This source may inspire myths or provide a common "protomythology" that diverged into the mythologies of each culture.[70]
Pattanaik defines mythology as "the subjective truth of people communicated through stories, symbols and rituals."[75] He says, "Facts are everybody's truth. Fiction is nobody's truth. Myths are somebody's truth."[76]
Historically, important approaches to the study of mythology have included those of Vico, Schelling, Schiller, Jung, Freud, Lévy-Bruhl, Lévi-Strauss, Frye, the Soviet school, and the Myth and Ritual School.[89]
Mythological themes were consciously employed in literature, beginning with Homer. The resulting work may expressly refer to a mythological background without itself becoming part of a body of myths (Cupid and Psyche). Medieval romance in particular plays with this process of turning myth into literature. Euhemerism, as stated earlier, refers to the rationalization of myths, putting themes formerly imbued with mythological qualities into pragmatic contexts. An example of this would be following a cultural or religious paradigm shift (notably the re-interpretation of pagan mythology following Christianization).
According to Tylor, human thought evolved through stages, starting with mythological ideas and gradually progressing to scientific ideas.[98] Müller also saw myth as originating from language, even calling myth a "disease of language". He speculated that myths arose due to the lack of abstract nouns and neuter gender in ancient languages. Anthropomorphic figures of speech, necessary in such languages, were eventually taken literally, leading to the idea that natural phenomena were in actuality conscious or divine.[80] Not all scholars, not even all 19th-century scholars, accepted this view. Lucien Lévy-Bruhl claimed that "the primitive mentality is a condition of the human mind and not a stage in its historical development."[99] Recent scholarship, noting the fundamental lack of evidence for "nature mythology" interpretations among people who actually circulated myths, has likewise abandoned the key ideas of "nature mythology".[100][97]
In the 1950s, Barthes published a series of essays examining modern myths and the process of their creation in his book Mythologies, which stood as an early work in the emerging post-structuralist approach to mythology, which recognised myths' existence in the modern world and in popular culture.[74]
Correspondingly, scholars challenged the precedence that had once been given to texts as a medium for mythology, arguing that other media, such as the visual arts or even landscape and place-naming, could be as or more important.[111]
21st-century films such as Clash of the Titans, Immortals and Thor continue the trend of using traditional mythology to frame modern plots. Authors use mythology as a basis for their books, such as Rick Riordan, whose Percy Jackson and the Olympians series is situated in a modern-day world where the Greek deities are manifest.[117]
Myths tell the stories of ancestors and the origin of humans and the world, the gods, supernatural beings (satyrs, nymphs, mermaids) and heroes with super-human, usually god-given, powers (as in the case of the Greek myth of Heracles or Perseus). Myths also describe origins or nuances of long-held customs or explain natural events such as the sunrise and sunset, the cycle of the moon and the seasons, or thunder and lightning storms. Scholars Maria Leach and Jerome Fried define mythology along these lines:
Every culture in the world has had, and still has, some type of mythology. The classical mythology of the ancient Greeks and Romans is the most familiar to people in the west but the motifs found in those stories are echoed in others around the world. The Greek tale of Prometheus the fire-bringer and teacher of humanity is echoed in the Chinese tale of Fuxi. The story of Nuwa and her creation of human beings in China resonates with another from the other side of the world: the story of creation from the Popol-Vuh of the Maya in which humans are created who can do nothing and prove useless but, in the Maya story, are destroyed and the gods then try again. This same motif appears in the mythology of Mesopotamia where the gods struggle in creating humans who keep coming out poorly.
This remains the essential difference between a sermon and an individual experience with religious mythology; within one's cultural belief system a sermon can only encourage or reinforce common belief while a myth, though it might do the same, has the potential to elevate and transform individual understanding through the potency of symbolic landscape, character, image, and theme. The ancient myths still resonate with a modern audience precisely because the ancient writers crafted them toward individual interpretation, leaving each person who heard the story to recognize the meaning in the tale for themselves and respond to it accordingly.
Ancient Greek mythology is a vast group of legends about gods and goddesses, heroes and monsters, warriors and fools, that were an important part of everyday life in the ancient world. Greek myths explained everything from religious rituals to the weather, and gave meaning to the world that people saw around them. While many of these myths are fanciful tales, such as the legends of greedy King Midas or heroic Hercules, other stories like the Trojan War epic have a basis in historical fact.
The world-renowned classic that has enthralled and delighted millions of readers with its timeless tales of gods and heroes.
Edith Hamilton's Mythology succeeds like no other book in bringing to life for the modern reader the Greek, Roman, and Norse myths that are the keystone of Western culture--the stories of gods and heroes that have inspired human creativity from antiquity to the present. We meet the Greek gods on Olympus and Norse gods in Valhalla. We follow the drama of the Trojan War and the wanderings of Odysseus. We hear the tales of Jason and the Golden Fleece, Cupid and Psyche, and mighty King Midas. We discover the origins of the names of the constellations. And we recognize reference points for countless works of art, literature, and cultural inquiry--from Freud's Oedipus complex to Wagner's Ring Cycle of operas to Eugene O'Neill's Mourning Becomes Electra. Praised throughout the world for its authority and lucidity, Mythology is Edith Hamilton's masterpiece--the standard by which all other books on mythology are measured.
Welcome to the Theoi Project, a site exploring Greek mythology and the gods in classical literature and art. The aim of the project is to provide a comprehensive, free reference guide to the gods (theoi), spirits (daimones), fabulous creatures (theres) and heroes of ancient Greek mythology and religion.
The Theoi Project profiles each deity and creature of Greek mythology on a separate page, incorporating an encyclopedia summary, quotations from a wide selection of ancient Greek and Roman texts, and illustrations from ancient art. Analysis of the texts and interpretation of the stories of myth is currently beyond the scope of the project. For such detailed analysis, I would suggest consulting some of the good books available on the subject.
The Theoi Classical Texts Library contains an extensive collection of classical literature on the theme of Greek mythology, including the works of many of the lesser known poets which are not available online elsewhere. Please note, that these are not the same texts which are quoted on the biography pages of Theoi.com, which are listed separately on the Bibliography page.
Summaries of the most important of the Greek gods, as well as classes of divinity can be found on the Pantheon and Greek Gods pages. The fabulous creatures, tribes and monsters of Greek mythology are listed in the Bestiary.
Covering all aspects of mythology, this Companion includes essays on the world's major mythological traditions (Greek, Native American, Indian, Japanese, Sumerian, Egyptian), along with retellings of better-known myths, and entries on mythological types, motifs, and figures (such as the Descent to the Underworld, the Hero, Creation, Odysseus, Spider Woman, and Inanna), and related subjects (such as fairly tales and legends). The Companion locates myth firmly in our lives today by exploring language patterns, psychology, religion, politics, art, and gender attitudes.
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