thesis about greek gods

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Heilbrunn Timeline of Art History Essays

Greek gods and religious practices.

Terracotta aryballos (oil flask)

Signed by Nearchos as potter

Bronze Herakles

Bronze mirror with a support in the form of a nude girl

Terracotta column-krater (bowl for mixing wine and water)

Attributed to Lydos

Terracotta kylix (drinking cup)

Attributed to the Amasis Painter

Terracotta Panathenaic prize amphora

Attributed to the Euphiletos Painter

Terracotta amphora (jar)

Signed by Andokides as potter

Attributed to the Kleophrades Painter

Terracotta statuette of Nike, the personification of victory

Terracotta lekythos (oil flask)

Attributed to the Tithonos Painter

Attributed to the Villa Giulia Painter

Attributed to the Nikon Painter

Terracotta stamnos (jar)

Attributed to the Menelaos Painter

Attributed to the Sabouroff Painter

Attributed to the Phiale Painter

Marble head of a woman wearing diadem and veil

Terracotta oinochoe: chous (jug)

Attributed to the Meidias Painter

Ganymede jewelry

Set of jewelry

Gold stater

Marble head of Athena

Bronze statue of Eros sleeping

Ten marble fragments of the Great Eleusinian Relief

Limestone statue of a veiled female votary

Marble head of a deity wearing a Dionysiac fillet

Marble statue of an old woman

Marble statuette of young Dionysos

Colette Hemingway Independent Scholar

Seán Hemingway Department of Greek and Roman Art, The Metropolitan Museum of Art

October 2003

The ancient Greeks worshipped many gods, each with a distinct personality and domain. Greek myths explained the origins of the gods and their individual relations with mankind. The art of Archaic and Classical Greece illustrates many mythological episodes, including an established iconography of attributes that identify each god. There were twelve principal deities in the Greek pantheon. Foremost was Zeus, the sky god and father of the gods, to whom the ox and the oak tree were sacred; his two brothers, Hades and Poseidon, reigned over the Underworld and the sea, respectively. Hera, Zeus’s sister and wife, was queen of the gods; she is frequently depicted wearing a tall crown, or polos. Wise Athena, the patron goddess of Athens ( 1996.178 ), who typically appears in full armor with her aegis (a goatskin with a snaky fringe), helmet, and spear ( 07.286.79 ), was also the patroness of weaving and carpentry. The owl and the olive tree were sacred to her. Youthful Apollo ( 53.224 ), who is often represented with the kithara , was the god of music and prophecy. Judging from his many cult sites, he was one of the most important gods in Greek religion. His main sanctuary at Delphi, where Greeks came to ask questions of the oracle, was considered to be the center of the universe ( 63.11.6 ). Apollo’s twin sister Artemis, patroness of hunting, often carried a bow and quiver. Hermes ( 25.78.2 ), with his winged sandals and elaborate herald’s staff, the kerykeion, was the messenger god. Other important deities were Aphrodite, the goddess of love; Dionysos, the god of wine and theater ; Ares, the god of war ; and the lame Hephaistos, the god of metalworking. The ancient Greeks believed that Mount Olympus, the highest mountain in mainland Greece, was the home of the gods.

Ancient Greek religious practice, essentially conservative in nature, was based on time-honored observances, many rooted in the Bronze Age (3000–1050 B.C.), or even earlier. Although the Iliad and the Odyssey of Homer, believed to have been composed around the eighth century B.C., were powerful influences on Greek thought, the ancient Greeks had no single guiding work of scripture like the Jewish Torah, the Christian Bible, or the Muslim Qu’ran. Nor did they have a strict priestly caste. The relationship between human beings and deities was based on the concept of exchange: gods and goddesses were expected to give gifts. Votive offerings, which have been excavated from sanctuaries by the thousands, were a physical expression of thanks on the part of individual worshippers.

The Greeks worshipped in sanctuaries located, according to the nature of the particular deity, either within the city or in the countryside. A sanctuary was a well-defined sacred space set apart usually by an enclosure wall. This sacred precinct, also known as a temenos, contained the temple with a monumental cult image of the deity, an outdoor altar, statues and votive offerings to the gods, and often features of landscape such as sacred trees or springs. Many temples benefited from their natural surroundings, which helped to express the character of the divinities. For instance, the temple at Sounion dedicated to Poseidon, god of the sea, commands a spectacular view of the water on three sides, and the Parthenon on the rocky Athenian Akropolis celebrates the indomitable might of the goddess Athena.

The central ritual act in ancient Greece was animal sacrifice, especially of oxen, goats, and sheep. Sacrifices took place within the sanctuary, usually at an altar in front of the temple, with the assembled participants consuming the entrails and meat of the victim. Liquid offerings, or libations ( 1979.11.15 ), were also commonly made. Religious festivals, literally feast days, filled the year. The four most famous festivals, each with its own procession, athletic competitions ( 14.130.12 ), and sacrifices, were held every four years at Olympia, Delphi, Nemea, and Isthmia. These Panhellenic festivals were attended by people from all over the Greek-speaking world. Many other festivals were celebrated locally, and in the case of mystery cults , such as the one at Eleusis near Athens, only initiates could participate.

Hemingway, Colette, and Seán Hemingway. “Greek Gods and Religious Practices.” In Heilbrunn Timeline of Art History . New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/grlg/hd_grlg.htm (October 2003)

Additional Essays by Seán Hemingway

Hemingway, Seán. “ Art of the Hellenistic Age and the Hellenistic Tradition .” (April 2007)
Hemingway, Seán. “ Greek Hydriai (Water Jars) and Their Artistic Decoration .” (July 2007)
Hemingway, Seán. “ Hellenistic Jewelry .” (April 2007)
Hemingway, Seán. “ Intellectual Pursuits of the Hellenistic Age .” (April 2007)
Hemingway, Seán. “ Mycenaean Civilization .” (October 2003)
Hemingway, Seán. “ Africans in Ancient Greek Art .” (January 2008)
Hemingway, Seán. “ Ancient Greek Colonization and Trade and their Influence on Greek Art .” (July 2007)
Hemingway, Seán. “ The Art of Classical Greece (ca. 480–323 B.C.) .” (January 2008)
Hemingway, Seán. “ Athletics in Ancient Greece .” (October 2002)
Hemingway, Seán. “ The Rise of Macedon and the Conquests of Alexander the Great .” (October 2004)
Hemingway, Seán. “ The Technique of Bronze Statuary in Ancient Greece .” (October 2003)
Hemingway, Seán. “ Cyprus—Island of Copper .” (October 2004)
Hemingway, Seán. “ Music in Ancient Greece .” (October 2001)
Hemingway, Seán. “ Etruscan Art .” (October 2004)
Hemingway, Seán. “ Prehistoric Cypriot Art and Culture .” (October 2004)
Hemingway, Seán. “ Minoan Crete .” (October 2002)

Additional Essays by Colette Hemingway

Hemingway, Colette. “ Art of the Hellenistic Age and the Hellenistic Tradition .” (April 2007)
Hemingway, Colette. “ Greek Hydriai (Water Jars) and Their Artistic Decoration .” (July 2007)
Hemingway, Colette. “ Hellenistic Jewelry .” (April 2007)
Hemingway, Colette. “ Intellectual Pursuits of the Hellenistic Age .” (April 2007)
Hemingway, Colette. “ Mycenaean Civilization .” (October 2003)
Hemingway, Colette. “ Retrospective Styles in Greek and Roman Sculpture .” (July 2007)
Hemingway, Colette. “ Africans in Ancient Greek Art .” (January 2008)
Hemingway, Colette. “ Ancient Greek Colonization and Trade and their Influence on Greek Art .” (July 2007)
Hemingway, Colette. “ Architecture in Ancient Greece .” (October 2003)
Hemingway, Colette. “ The Art of Classical Greece (ca. 480–323 B.C.) .” (January 2008)
Hemingway, Colette. “ The Labors of Herakles .” (January 2008)
Hemingway, Colette. “ Athletics in Ancient Greece .” (October 2002)
Hemingway, Colette. “ The Rise of Macedon and the Conquests of Alexander the Great .” (October 2004)
Hemingway, Colette. “ The Technique of Bronze Statuary in Ancient Greece .” (October 2003)
Hemingway, Colette. “ Women in Classical Greece .” (October 2004)
Hemingway, Colette. “ Cyprus—Island of Copper .” (October 2004)
Hemingway, Colette. “ Music in Ancient Greece .” (October 2001)
Hemingway, Colette. “ Ernest Hemingway (1899–1961) and Art .” (October 2004)
Hemingway, Colette. “ Etruscan Art .” (October 2004)
Hemingway, Colette. “ Prehistoric Cypriot Art and Culture .” (October 2004)
Hemingway, Colette. “ Sardis .” (October 2004)
Hemingway, Colette. “ Medicine in Classical Antiquity .” (October 2004)
Hemingway, Colette. “ Southern Italian Vase Painting .” (October 2004)
Hemingway, Colette. “ Theater in Ancient Greece .” (October 2004)
Hemingway, Colette. “ The Kithara in Ancient Greece .” (October 2002)
Hemingway, Colette. “ Minoan Crete .” (October 2002)

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Home — Essay Samples — Literature — Literature Review — Greek Gods Mythology

Greek Gods Mythology

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Published: Mar 16, 2024

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The origins of the gods, the complex relationships of the gods, the impact on art, literature, and society.

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The Greek Gods in Modern Scholarship. Interpretation and Belief in Nineteenth and Early Twentieth Century Germany and Britain. Oxford classical monographs

Simon trépanier , university of edinburgh. [email protected].

In certain small circles, that is, in twentieth-century, Anglo-American, post-graduate Classics, the phrase ‘to get to know your German’ functions as an occasional shorthand to denote a double rite of passage. On the one hand, most graduate programmes require you to learn the language, if you have not already done a couple of years of it, enough to cope with a few articles on topics in your field. On the other, getting to know ‘your’ German means that, because pretty much any topic within Classics was put on its modern scholarly footing by some nineteenth-century German, ‘your’ German is whoever that German happens to be. So: get to know him.

This useful survey will make it easier for all students of Greek religion to get to know many of ‘their’ Germans, along with a few British predecessors and one Englishwoman. The French, alas, remain peripheral, but they are not completely ignored. Konaris’ monograph is a revised version of his Oxford PhD thesis, devoted to the modern history of classical scholarship on the Greek gods. The chronological frame of the volume is the nineteenth century down to the first third of the twentieth, though the conclusion also does a quick tour through the most prominent twentieth-century scholars. The volume will be compulsory for all university libraries and the standard reference work for scholars of Greek religion. A history of mostly now-abandoned theories of Greek religion, it is thus closer to a work of reference than an introduction to the discipline. 1 Konaris’ study reminds us that most of these thinkers, our near contemporaries compared to the age of the subject we share with them, are still worlds away from us.

The study opens with a long introductory chapter (pp. 1-51) in which Konaris provides a summary of ancient and enlightenment theories of early religion, followed by an outline of key tensions and pervading attitudes. These include modern idealisations of ancient Greece, rationalist versus romantic readings of the Greek gods and religion, debates on the origins and nature of the Greek gods, complicated Christian attitudes (Protestant or Catholic) to pagan cult and theology, in particular monotheism versus polytheism and the contested boundary between Western culture and ‘the Orient’. These concerns never go away, but new methods and concerns gradually alter the rules of the game. These include the rise of Indo-European linguistics, comparative anthropology and the study of pre-literate cultures and, finally, the advent of archaeology and systematic study of ancient material culture.

In terms of structure, Konaris adopts a biographical mode, but folds it into the doxographic alternative. In other words, we are told about individual thinkers, but they are presented in groups whose members share common approaches. At the same time the central hinge upon which the volume turns is modern nationalities: the volume starts with German scholars (pp. 52-194) and then collects the British responses together in the second half (pp. 195-265). Throughout, Konaris uses Apollo, ‘most Greek’ of the Greek gods, as a standard test-case. By considering how Apollo fares at the hands of different scholars Konaris can compare and contrast them all the better.

Let us now review the content in more detail, starting with the Germans. Konaris’ first class of scholars share a commitment to ‘physical interpretation’ of the gods (pp. 52-130), perpetuating a rationalist interpretation that reaches straight back to antiquity, according to which the gods are primarily or were originally powers of nature. These include P.W. Forchhammer (1801-94) and F. G. Welcker (1784-1868) whose Griechische Götterlehre , published late in his life (1857-63) was reckoned by later scholars as perhaps the most influential single work. Its adherents were among the first scholars to visit modern Greece, where the natural beauty of the landscape inspired sublime sentiments about such natural gods. To turn straightaway to Apollo, for Welcker Apollo was originally the sun and only gradually acquired his later personhood. For L. Preller (1809-61) another advocate of physical interpretation, Apollo is rather the personification of light and order. Although Preller did not oppose Apollo to Dionysus—as Konaris points out, p. 101, Preller’s Dionysus is not essentially different from his Apollo— this general tendency prepared the way for the more famous opposition of Apollo to Dionysus found later in Nietzsche and Rohde. (Preller, I cannot omit mentioning, was co-author with Ritter of perhaps the most widely used textbook of Greek philosophy of all time, a single-volume anthology that went through an astounding 10 editions from 1838 to 1934.) Konaris continues his account of the physical interpreters with F.M. Müller or Max Müller (1823-1900), editor and translator of the Rig-Veda, a German whose entire academic career was in fact spent in Oxford. While a physical interpreter, his contribution to the field was opening up the Indo-European background to ancient Greek and the possibility of retracing through linguistic parallels and historical etymology the earlier history of Greek divine names. The most famous of these discoveries remains the Indo-European sky father, Zeus-pater/Dyaus–Pitar/Jupiter. Konaris offers a nuanced account of Müller’s career and of his political and cultural role in Victorian England. Last of the physical interpreters reviewed by Konaris is W.H. Roscher (1845-1923), a pioneer of the comparative method as applied to Greek and early Roman religion.

Konaris labels his second major class of German scholarship the Historical-Critical approach (pp. 131-179). The two main conceptions of gods advocated in this tradition are Stammesgötter (Family or kinsmen gods) and Universal Gods. In the recurring tension between thinking of the Greek gods as powers or persons, these thinkers plump in the first instance for person over power, but these persons become more universal over time through their integration within a broader pantheon and/or by the accretion of multiple functions. In the case of Apollo, K.O. Müller (1797-1840) attacked the solar-god interpretation and stressed a Dorian connection, while at the same time identifying him with a sense of tranquillity and brightness. At the time, however, his ideas did not find much purchase against the solar-god reading. The cause was taken up by another, unrelated Müller, H.D. Müller (1819-93). Although he accepted the broad Indo-European background of the Greek gods, H.D. Müller criticized the physical approach in order to stress instead the connection of individual deities with specific locales, and considered the construction of the pantheon a historical product. For him, these gods remained at heart manly lords and kings who led their people into battle and granted them victory (p. 159). The third representative of this line is E. Curtius (1814-96). As did the other critics of the physical approach, he stressed the historical contingency of the Greek gods, his own particularity being a greater openness to Oriental influences, especially in the case of female deities such as Aphrodite and Artemis. As for Apollo, Curtius saw him as originating from the Near East, but emphasized his transformation at the hands of the Greeks into the god of purification and, once more, the epitome of the Hellenic spirit.

H. Usener (1834-1905) is harder to classify and gets his own short chapter (pp. 180-94). Although he had a variety of interests, his principal work on religion was his Götternamen of 1896. His approach combined linguistic analysis with historical criticism, but he suggested that the Greek gods arose out of prior multiple and inescapably singular, impersonal power-concepts ( Augenblicksgötter ). These denote highly specific aspects of life or the world, and only gradually coalesce to produce what he called Sondergötter . One way to think of these is to equate them with a stage prior to kinsmen gods ( Stammesgötter ) in the other theorists, before they become universal gods. For example, Usener connected Apollo to the Latin verb pellere and proposed that he originally had an apotropaic function comparable in specificity to Jupiter Depulsor , only becoming universal when the meaning of his name was lost (p. 185). Usener’s theory was not taken up by his distinguished students including no less than Nietzsche, Wilamowitz, Diels, Deubner and Norden and so had a limited influence, but Götternamen still contains many valuable insights.

The empirical British occupy the last third of the volume (pp. 195-265). Konaris starts with a survey of the growth of folklore studies, ethnology and anthropology in the later nineteenth century in both Germany and Britain, before alighting upon the Scottish folklorist and mythologist Andrew Lang (1844-1912). Lang, along with J. G. Frazer ( The Golden Bough first came out in 1890) first dared to compare the Greek gods to the gods of ‘savages’ and put the vast anthropological data flowing in from the British Empire to comparative purposes in exploring Greek religion. Lang did much to displace the earlier physical and linguistic/Indo-European approaches to the Greek gods, but the dominance of anthropology over alternatives was only truly assured by L.R. Farnell (1856-1934) and the ‘Cambridge ritualists’, whose main representative in Konaris is Jane Harrison (1850-1828).

Konaris devotes a full treatment to Farnell (pp. 209-37). Farnell had studied in Germany and was initially sympathetic to physical approaches, but in his mature work he renounced reducing Greek mythology to ‘highly figurative conversations about the weather’ and aimed instead to offer a comprehensive description of the public names, ideas and full external manifestations of Greek religion. With Farnell’s eventual five volumes of The Cults of the Greek States (1896-1909) we reach the edges of the contemporary discipline in the sense that The Cults are works one could still put on a bibliography. Konaris’ liking of Farnell comes through clearly (p. 209). Farnell sought to give an exhaustive account of Greek religion in its public posture, at the expense of its more private, diffuse and mystic side. He never denied it this side, but actively chose not to delve into it. This emphasis provides a first contrast with Harrison, to whom Konaris devotes pp. 237-65, and whose main aim was precisely to explore these ‘neglected aspects’ of Greek religion. Following E. Rohde’s Psyche (1890) she considered the private and mystic side of Greek religion the more primitive and genuine stratum, rather than the Olympian overlay. Compared to the more prosaic Farnell, of whom she was dismissive, her work is more speculative and has not aged as well. Both however started out with an interest in material culture that is often lacking in earlier work. Harrison in particular integrated the findings of archaeology and the discovery of Bronze Age civilisations into her work. Her 1903 Prolegomena to the Study of Greek Religion (3rd ed. 1922) is simultaneously the strongest statement of the thesis that a male Olympian order supplanted an older chthonian, matriarchal order, and of the primacy of Dionysiac-Orphic mysticism as the object of more genuine religious devotion (p. 260). What of Apollo then? Farnell’s Apollo was a complex historical aggregate of functions but at his peak remained, ‘a brilliant and clearly outlined figure of the genuinely national religion’ (Farnell 1907a quoted by Konaris at p. 233). Harrison’s early view links him to the sun, light and order, while her later views of Apollo are a positively reactionary revival of the sun-god theory of the earlier physical interpreters. As Konaris points out, however, in her more popular writings she presented a much more traditional picture of Apollo (p. 262).

The conclusion (pp. 266-88) gives an outline of the twentieth-century figures and methods, followed by an appendix on Apollo in twentieth- and twenty-first-century scholarship (pp. 289-97) and various indices.

It is time to try a general assessment. Thanks to Konaris, students of ancient Greek religion now have a first map of the modern development of their discipline, while intellectual historians of the period will have a better handle of the uses to which ancient Greece and the Greek gods were put. The selection of figures is judicious and representative, although, as noted above, the French get rather short shrift, and other nationalities next to nothing. Many other figures and aspects could have been considered, but this was inevitable: first forays through a topic cannot hope to be exhaustive. The focus on the gods themselves seems narrow now, but it is justified given the concerns of the discipline at these earlier stages. In terms of current debates, the book presents itself as part of a broader movement to put the gods back at the centre of the study of Greek religion. I am sympathetic, but I am not sure that such an effort to argue for the gods’ relevance is needed. The subject is interesting in its own right. As an aid to scholarship, as I said above, it is not a teaching tool. If scholarship is what helps us make sense of a subject, in this case Greek religion, a history of earlier scholarship is necessarily at two removes from the primary evidence. In any case, students who want an introductory survey are already well served. Yet for those who already have some familiarity with the topic, this history of the discipline will not only allow you to ‘get to know your German’ and a few others, but in doing so you will sharpen and deepen your understanding of the Greek gods and Greek religion. It can be warmly recommended.

1 . For a complimentary assessment of the current state of the art, see T. Harrison, Review Article: Beyond the Polis? New Approaches to Greek Religion. JHS 135 (2015) 165-180. For a more advanced introductory survey to mythology, E. Csapo, Theories of Myth , Blackwell 2004.

Tragic Tales and Epic Adventures: Essay Topics in Greek Mythology

Table of contents

1 Tips on Writing an Informative Essay on a Greek Mythical Character
2.1 Titles for Hero Essays
2.2 Ancient Greece Research Topics
2.3 Common Myth Ideas for Essays
2.4 Topics about Greek Gods
2.5 Love Topics in the Essay about Greek Mythology

With its rich pantheon of gods, heroes, and timeless tales, Greek mythology has been a source of inspiration and fascination for centuries. From the mighty exploits of Hercules to the cunning of Odysseus, these myths offer a window into ancient Greek culture, values, and understanding of the world. This exploration delves into various aspects of Greek mythology topics, providing a wealth of ideas for a captivating essay. How do myths impact today’s society? Whether you’re drawn to the legendary heroes, the powerful gods, or the intricate relationships within these stories, there’s a trove of ideas to explore in Greek mythology research topics.

Tips on Writing an Informative Essay on a Greek Mythical Character

Crafting an informative essay on a Greek mythical character requires a blend of passionate storytelling, rigorous research, and insightful analysis. Yet, there are some tips you can follow to reach the best result. Read this student essay written about the Greek mythology guide.

Select a Fascinating Character. Choose a Greek mythical character that genuinely interests you. Your passion for the character will enhance your writing and engage your readers.
Conduct Thorough Research. Dive into the character’s background, roles in various myths, and their significance in Greek mythology. Use reliable sources such as academic papers, respected mythology books, and scholarly articles to gather comprehensive and accurate information.
Analyze Characteristics and Symbolism. Explore the deeper meanings behind your character’s actions and traits. Discuss what they symbolize in Greek culture and mythology.
Use a Clear Structure. Organize your essay logically. Ensure each paragraph flows smoothly to the next, maintaining a coherent and compelling narrative.
Incorporate Quotes and References. Use quotes from primary sources and reference key scholars to support your points. This adds credibility and depth to your essay.
Edit and Revise. Finally, thoroughly revise your essay for clarity, coherence, and grammatical accuracy. A well-edited essay ensures your ideas are conveyed effectively.

By following these tips, you can create a compelling essay that recounts famous myths and explores the rich symbolic and cultural significance of these timeless tales.

Greek Mythology Topics for an Essay

Explore the rich tapestry of Greek mythology ideas with these intriguing essay topics, encompassing legendary heroes, ancient gods, and the timeless themes that have captivated humanity for millennia. Dive into the stories of Hercules, the wisdom of Athena, the complexities of Olympian deities, and the profound lessons embedded in these ancient tales. Each topic offers a unique window into the world of Greek myths, inviting a deep exploration of its cultural and historical significance.

Titles for Hero Essays

Hercules: Heroism and Humanity
Achilles: The Warrior’s Tragedy
Odysseus: Cunning over Strength
Theseus and the Minotaur: Symbolism and Society
Perseus and Medusa: A Tale of Courage
Jason and the Argonauts: The Quest for the Golden Fleece
Atalanta: Challenging Gender Roles
Ajax: The Unsung Hero of the Trojan War
Bellerophon and Pegasus: Conquest of the Skies
Hector: The Trojan Hero
Diomedes: The Underrated Warrior of the Iliad
Heracles and the Twelve Labors: A Journey of Redemption
Orpheus: The Power of Music and Love
Castor and Pollux: The Gemini Twins
Philoctetes: The Isolated Warrior

Ancient Greece Research Topics

The Trojan War: Myth and History. Examining the blending of mythological and historical elements in the story of the Trojan War.
The Role of Oracles in Ancient Greek Society. Exploring how oracles influenced decision-making and everyday life in Ancient Greece.
Greek Mythology in Classical Art and Literature. Analyzing the representation and influence of Greek myths in classical art forms and literary works.
The Historical Impact of Greek Gods on Ancient Civilizations. Investigating how the worship of Greek gods shaped the societal, cultural, and political landscapes of ancient civilizations.
Mythology’s Influence on Ancient Greek Architecture. Studying the impact of mythological themes and figures on the architectural designs of Ancient Greece.
Athenian Democracy and Mythology. Exploring the connections between the development of democracy in Athens and the city’s rich mythological traditions.
Minoan Civilization and Greek Mythology. Delving into the influence of Greek mythology on the Minoan civilization, particularly in their art and religious practices.
The Mycenaean Origins of Greek Myths. Tracing the roots of Greek mythology back to the Mycenaean civilization and its culture.
Greek Mythology and the Development of Theater. Discuss how mythological stories and characters heavily influenced ancient Greek plays.
Olympic Games and Mythological Foundations. Examining the mythological origins of the ancient Olympic Games and their cultural significance.
Maritime Myths and Ancient Greek Navigation. Investigating how Greek myths reflected and influenced ancient Greek seafaring and exploration.
The Impact of Hellenistic Culture on Mythology. Analyzing how Greek mythology evolved and spread during the Hellenistic period.
Alexander the Great and Mythological Imagery. Studying the use of mythological symbolism and imagery in portraying Alexander the Great.
Greek Gods in Roman Culture. Exploring how Greek mythology was adopted and adapted by the Romans.
Spartan Society and Mythological Ideals. Examining Greek myths’ role in shaping ancient Sparta’s values and lifestyle.

Common Myth Ideas for Essays

The Concept of Fate and Free Will in Greek Myths. Exploring how Greek mythology addresses the tension between destiny and personal choice.
Mythological Creatures and Their Meanings. Analyzing the symbolism and cultural significance of creatures like the Minotaur, Centaurs, and the Hydra.
The Underworld in Greek Mythology: A Journey Beyond. Delving into the Greek concept of the afterlife and the role of Hades.
The Role of Women in Greek Myths. Examining the portrayal of female characters, goddesses, and heroines in Greek mythology.
The Transformation Myths in Greek Lore. Investigating stories of metamorphosis and their symbolic meanings, such as Daphne and Narcissus.
The Power of Prophecies in Greek Myths. Discussing the role and impact of prophetic declarations in Greek mythological narratives.
Heroism and Hubris in Greek Mythology. Analyzing how pride and arrogance are depicted and punished in various myths.
The Influence of Greek Gods in Human Affairs. Exploring stories where gods intervene in the lives of mortals, shaping their destinies.
Nature and the Gods: Depictions of the Natural World. Examining how natural elements and phenomena are personified through gods and myths.
The Significance of Sacrifice in Greek Myths. Investigating the theme of voluntary and forced sacrifice in mythological tales.
Greek Mythology as a Reflection of Ancient Society. Analyzing how Greek myths mirror ancient Greek society’s social, political, and moral values.
Mythical Quests and Adventures. Exploring the journeys and challenges heroes like Jason, Perseus, and Theseus face.
The Origins of the Gods in Greek Mythology. Tracing the creation stories and familial relationships among the Olympian gods.
Lessons in Morality from Greek Myths. Discussing the moral lessons and ethical dilemmas presented in Greek mythology.
The Influence of Greek Myths on Modern Culture. Examining how elements of Greek mythology continue to influence contemporary literature, film, and art.

Topics about Greek Gods

Zeus: King of Gods. Exploring Zeus’s leadership in Olympus, his divine relationships, and mortal interactions.
Athena: Goddess of Wisdom and War. Analyzing Athena’s embodiment of intellect and battle strategy in myths.
Apollo vs. Dionysus: Contrast of Sun and Ecstasy. Comparing Apollo’s rationality with Dionysus’s chaotic joy.
Hera: Marriage and Jealousy. Examining Hera’s multifaceted nature, focusing on her matrimonial role and jealous tendencies.
Poseidon: Ruler of Seas and Quakes. Investigating Poseidon’s dominion over the oceans and seismic events.
Hades: Lord of the Underworld. Delving into Hades’s reign in the afterlife and associated myths.
Aphrodite: Essence of Love and Charm. Exploring Aphrodite’s origins, romantic tales, and divine allure.
Artemis: Protector of Wilderness. Discussing Artemis’s guardianship over nature and young maidens.
Hephaestus: Craftsmanship and Fire. Analyzing Hephaestus’s skills in metallurgy and his divine role.
Demeter: Goddess of Harvest and Seasons. Investigating Demeter’s influence on agriculture and seasonal cycles.
Ares: Embodiment of Warfare. Delving into Ares’s aggressive aspects and divine relations.
Hermes: Divine Messenger and Trickster. Exploring Hermes’s multifaceted roles in Olympian affairs.
Dionysus: Deity of Revelry and Wine. Analyzing Dionysus’s cultural impact and festive nature.
Persephone: Underworld’s Queen. Discussing Persephone’s underworld journey and dual existence.
Hercules: From Hero to God. Examining Hercules’s legendary labors and deification.

Love Topics in the Essay about Greek Mythology

Orpheus and Eurydice’s Tragedy. Analyzing their poignant tale of love, loss, and music.
Aphrodite’s Influence. Exploring her role as the embodiment of love and beauty.
Zeus’s Love Affairs. Investigating Zeus’s romantic escapades and their effects.
Eros and Psyche’s Journey. Delving into their story of trust, betrayal, and love’s victory.
Love and Desire in Myths. Discussing the portrayal and impact of love in Greek myths.
Hades and Persephone’s Love. Analyzing their complex underworld relationship.
Paris and Helen’s Romance. Examining their affair’s role in sparking the Trojan War.
Pygmalion and Galatea’s Tale. Exploring the theme of transcendent artistic love.
Alcestis and Admetus’s Sacrifice. Investigating the implications of Alcestis’s self-sacrifice.
Apollo’s Unrequited Love for Daphne. Discussing unreciprocated love and transformation.
Hercules and Deianira’s Tragic Love. Exploring their love story and its tragic conclusion.
Jason and Medea’s Turmoil. Analyzing their intense, betrayal-marred relationship.
Cupid and Psyche’s Resilience. Delving into the strength of their love.
Baucis and Philemon’s Reward. Exploring their love’s reward by the gods.
Achilles and Patroclus’s Bond. Discussing their deep connection and its wartime impact.

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122 Greek Mythology Essay Topics & Examples

Welcome to our list of Greek mythology essay topics! In you need good title ideas for your history paper or project, look no further. Here, you will find Greek mythology research topics that will help you learn more about gods like Zeus and Aphrodite. Check them out!

🔝 Top 10 Greek Mythology Essay Topics

🏆 best greek mythology topic ideas & essay examples, 📌 simple & easy greek mythology essay topics, 👍 good greek mythology topics for essays, 🔍 greek mythology research topics, ✅ greek mythology topics for presentation, ❓ research questions about greek mythology.

The Hero’s Journey Archetypes
What’s the Meaning of Pandora’s Box?
Love Story of Orpheus and Eurydice
Hades, Persephone, and the Afterlife
The Twelve Olympian Gods and Their Roles
Athena vs. Poseidon: The Contest for Athens
Infidelity and Betrayal in Greek Mythology
The Labors of Heracles and Divine Punishment
The Myth of Narcissus and the Narcissistic Personality
The Complexity of Medea’s Character in Greek Mythology
“The Matrix” Trilogy and Greek Mythology: Comparison One of the exceptions of the previous statements is the Matrix trilogy directed by Larry and Andy Wachowski.”The Matrix”, The Matrix: Reloaded”, and “The Matrix: Revolution”, all of which gained a cult status among fans, […]
Hercules in Greek Mythology The theme of his legends interpretation was to show the power of mythological heroes on the example of one of the most strong and powerful.
The Suffering Women in Greek Mythology Zeus told Hermes to go down to the underworld and bid the lord of it to let his bride to return to Demeter.
Athena and Gender Roles in Greek Mythology According to Eicher and Roach-Higgins, the elements of her dress were important because they immediately communicated specific ideas about her character that was as contradictory as the physical gender of the birthing parent.”In appropriating the […]
Medusa in Greek Mythology So, it should be pointed out that Medusa was the great character of the Ancient mythology and remains to be the significant image in the world of modern literature and art.
The Issue of “Man’s Relationship with the Divine” in Greek Mythology As the reader explores the idea of divinity throughout most of the Greek mythologies and epics, it becomes clear that there is a strong connection between the people of Greece and their gods thus making […]
Roman & Greek Mythology in Pop Culture: Examples, Referenses, & Allusions One of the most famous examples of the use of the characters taken from Greek mythology in pop culture must be the mentioning of the famous goddess, Venus, in advertising, which is, in fact, based […]
Classical Mythology: Rats in Greek Mythology Hephaestus was the son of Zeus and Hera, and was the god of the creative fire, and was the divine artisan who worked with metals.
Perseus: A Hero of Greek Mythology With the protection of Hermes and Athena, Perseus went ahead and beheaded Gorgon Medusa and took her head to the king of the island.
The Dichotomy of Women in Greek Mythology The male competitive spirit pushed women out of public life, and in the private sphere, the freedom of women was subjected to significant restrictions.
Medea in Greek Mythology: Literary Analysis In this case, the position of kingship was the highest in political rankings, equivalent to the presidency in modern-day practices. Most importantly, the element of leadership in Greek mythology was characterized by concessions and plots.
Political Concerns in Greek Mythology In other words, the ritual of killing the ruler to seize the throne is normal; it is the natural order of things for the Greeks and Romans.
Ancient Greek Mythology: Deities of the Universe Hades is the eldest son of Kronos and Rhea, the god and the guardian of the Underworld, the realm of the dead.
Owls in the Greek Mythology. A Lecture for Librarians They also believed that the owl was a keen full watcher of Athens trade, and that is why it was engraved at the back of their coins.
Greek Mythology, Religion, Philosophy, and History The ancient religious stories of the Minoans and the Mycenaean were transmitted orally to the other parts of the Mediterranean region which later fused with the Greek traditions and religious practices.
Greek Mythology: Story of Demeter and Persephone Review For example, Venus was the goddess of love, and her son Cupid was considered as the god of love; Pan was the god of the jungle, while Hymen was attributed to the domain of marriage, […]
Greek Deities in Primary Sources Hades is the god of the underworld, and he is the son of Cronus and Rhea. Dionysus is the god who represents wine-making, the fertility of the soil, drinking, and even theater; he is the […]
Greek Mythology – Medea by Euripides While the character shares certain features with some of the female leads in other Ancient Greek plays, Euripides’ Medea stands on her own as a character and represents a new set of qualities, which used […]
Greek Mythology: Historical and Factual Roots Greek mythology is a body of teachings used in ancient Greek to describe the human environment, the passing of time, and natural phenomena. The picture and the story behind it illustrate in many ways the […]
Greek Mythology Influence In fact, majority of the traditions that people in the modern society carry out have their origin in Greece. One Greek mythology that has influenced the whole world is the celebration of the Olympic Games.
The Struggles And Eventual Perseverance Of The Greek Mythology
Comparing And Contrasting Rouse And Hamilton’s Books On Greek Mythology
The Mysteries Surrounding How Man Was Created in Greek Mythology
The Influence of Ancient Greek Mythology on Modern Society
The Impact of Greek Mythology on the English Language
Zeus’ Tyranny in Greek Mythology
The Opposition Between Gods and Humans in Greek Mythology
Persephone: Greek Mythology and Spring Persephone Returns
An Analysis of Greek Mythology as a God of Wine and Vegetation
The Myth of Atlas, the Strongest Titan in the Greek Mythology
Understanding the Feminist Theory in Greek Mythology
The Amazons, A Tribe Of Ancient Greek Mythology
The Life And Power Of Zeus, King Of The Gods In Greek Mythology
Confronting Death in Greek Mythology: Allegiance to Family or Empire
Female Influence In Greek Mythology
The Important Role of Hades in the History of Greek Mythology
Ritualistic Sacrifice in Ancient Greek Mythology
The Powers and Symbols of Polyphemus in the Greek Mythology
The Role of Oracles in Chaldean and Greek Mythology
Examining Self Exile In Greek Mythology As A Defense Mechanism
The Portrayal of a Popular Greek Mythology in the Play Oedipus the King
The Theme of Prophecy in Greek Mythology and Literature
The Great Influences of Athene and Hermes in Greek Mythology
The Portrait Of The Roman And Greek Mythology
Story of Aphrodite and Her Son Cupid and Their Place in Greek Mythology
The Effects Of Kleos On Greek Mythology
The Role of Fate in Greek Mythology and Its Influence on American Society
The Tragedy of Medea and Jason from Greek Mythology
The Wise Old Man in the Story of Mentor in Greek Mythology
The Relationship of Greek Mythology and Christianity
The Essential Elements of Human Nature Illustrated through the Characters and Their Actions in the Greek Mythology
Chaldean and Greek Mythology and the Roles Played by Oracles and Fate
An Analysis of the Greek Mythology and the Concept of Creationism
Star Wars, Episode II: Relation With Ancient Greek Mythology And Its Heroes
The Elements of Change in Greek Mythology
The Study and Interpretations of Greek Mythology
The Hero of Athens, Theseus in Greek Mythology
The Relationship between Love and Sex in Greek Mythology
Greek Mythology and Immediate Satisfaction
The Impact of Greek Mythology on Western Culture
The Role of the Women in Greek Mythology
Death And Its Personification In Greek Mythology And Other Cultures
Greek Myths in Art and Literature
The Trojan War in Greek Mythology
Love and Desire in Greek Mythology
Heroes and Heroines of Greek Mythology
Greek Creation Myths of Chaos and Titans
Underworld and Afterlife in Greek Mythology
What Are the Moral Lessons of Greek Myths
How Greek Mythology Influences Pop Culture
The Powers and Stories of Greek Gods and Goddesses
Medusa, Cerberus, and Other Monsters in Greek Mythology
Chaoskampf as the Creation Myth
An In-Depth Exploration of Zeus, Hera, and Poseidon
Hercules, Perseus, and Their Legendary Quests
Goddesses of Wisdom and Beauty in Greek Mythology
The Trojan War: Myth and Reality
Mythical Creatures in Greek Folklore
Tragic Fates of Oedipus and Prometheus
The Influence of Greek Mythology on Modern Cinema
Greek Mythology in Sculptures, Pottery, and Temples
Persephone, Orpheus, and the Themes of Death and Resurrection
What Is the Role of Women in Greek Mythology? How Does It Differ From the Role of Women Today?
How Do the Myths Differentiate Between Human and Divine Power?
What Do the Greek Myths Suggest About Tragedy?
How Does Author Publius Ovidius Naso Capture the Spirit of the Greek and Roman Mythology?
Why Is Creon the Tragic Hero in Antigone?
How Does Child Abuse Affect a Hero, a God, and a Monster in Greek Mythology?
What Moral Lessons Do We Learn From the Greek Myths and Ancient Stories?
How Are Egyptian and Greek Culture Reflected Through Their Respective Mythology?
What Caused the Titanomachy War and Who Was Involved in It?
How Did Greek Mythology Influence Christianity?
Did Zeus and Apollo Have Anything in Common?
How Does Fate and Destiny Work According to Greek Mythology?
What Is the Story of Giants in Greek Mythology?
How Was the Stonehenge Made According to the Myth?
What Is the Most Unbelievable Myth You Find in the Greek Mythology?
How Does Zeus Play Into Modern-Day Religion?
What Is Something You Learned by Reading Homer’s Odyssey?
Why Did the Goddess Athena Help the Hero Perseus Defeat Medusa?
What Role Did Eros Play in the Life of Helen?
Who Was the First Mortal to Be Made a God?
Were the Trojan War and the Fall of Troy Necessary?
What Is the Significance of Pandora’s Box?
Did Jason Care for Medea or Exploit Her?
What Was the Significance of Prometheus’ Gift to Man?
Was the Trojan Horse a Clever Trick or an Act of Treachery?
Who Were the Key Figures in the Trojan War, and Why Was It Fought?
How Were Greek Myths Used to Keep Order in Society?
Can We Criticize the Gods, or Are They Always Perfect in Their Actions and Behavior?
Who Were the First Storytellers, and Why Were They Valued in Ancient Societies?
What Is the Difference Between an Epic, a Legend, and a Myth?
Poseidon Topics
Pseudoscience Topics
Medea Topics
Homer Titles
Allegory Essay Titles
Culture Topics
Roman Empire Ideas
Achilles Topics
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MacKin, Ellie. "Echoes of the Underworld : manifestations of death-related gods in early Greek cult and literature." Thesis, King's College London (University of London), 2015. http://kclpure.kcl.ac.uk/portal/en/theses/echoes-of-the-underworld-manifestations-of-deathrelated-gods-in-early-greek-cult-and-literature(d08c5e3a-08f5-451b-a6f0-71d28fa11de0).html.

Zekas, Christodoulos. "The language of the gods : oblique communication and divine persuasion in Homer's Odyssey." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/862.

Petrella, Bernardo Ballesteros. "Divine assemblies in early Greek and Mesopotamian narrative poetry." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:cfd1affe-f74b-48c5-98db-aba832a7dce8.

Trafford, Simon J. "The theology of Aeschylus." Thesis, Swansea University, 2013. https://cronfa.swan.ac.uk/Record/cronfa42603.

Geisser, Franziska. "Götter, Geister und Dämonen Unheilsmächte bei Aischylos : zwischen Aberglauben und Theatralik /." München : Saur, 2002. http://books.google.com/books?id=719iAAAAMAAJ.

Ricozzi, Giuliana. "Gli dèi, il riso e il comico : la rappresentazione del divino nelle fonti litterarie in lingua greca." Thesis, Paris Sciences et Lettres (ComUE), 2019. http://www.theses.fr/2019PSLEP070.

Olivetti, Paola. "Uses and interpretations of ritual terminology : goos, oimoge, threnos and linos in ancient Greek literature." Thesis, University of Birmingham, 2011. http://etheses.bham.ac.uk//id/eprint/3009/.

Criado, Cecilia. "La teología de la Tebaida Estaciana el anti-virgilianismo de un clasicista /." Hildesheim : Georg Olms Verlag, 2000. http://catalog.hathitrust.org/api/volumes/oclc/43944306.html.

Niafas, Konstantinos. "Liber Pater and his cult in latin literature until the end of the Augustan period." Thesis, University of Exeter, 1998. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.267211.

Greenham, Ellen Jessica. "Vision and desire Jim Morrison's mythography beyond the death of God /." Connect to thesis, 2008. http://adt.ecu.edu.au/adt-public/adt-ECU2009.0003.html.

Alroth, Brita. "Greek gods and figurines : aspects of the anthropomorphic dedications /." Uppsala : S. Academiae Ubsaliensis, 1989. http://catalogue.bnf.fr/ark:/12148/cb38916220v.

Alroth, Brita Holthoer Rostislav Linders Tullia. "Greek gods and figurines aspects of the anthropomorphic dedications /." Uppsala : Stockholm : Acta Universitatis Upsaliensis ; Almqvist & Wiksell International, 1989. http://catalog.hathitrust.org/api/volumes/oclc/20312256.html.

Aguirre-Sacasa, Roberto. "Food of the Gods." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26715.

Kowalzig, Barbara. "Singing for the gods." Thesis, University of Oxford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.270429.

Erickson, Kyle Glenn. "The early Seleucids, their gods and their coins." Thesis, University of Exeter, 2009. http://hdl.handle.net/10036/95348.

Kisieliute, Ieva. "This war will never be forgotten : A study of intertextual relations between Homer's Iliad and Wolfgang Petersen's Troy ." Thesis, Södertörns högskola, Institutionen för genus, kultur och historia, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-3169.

Konaris, Michael D. "The Greek gods in nineteenth- and early twentieth-century German and British scholarship." Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.519782.

Vieilleville, Claire. "Aspects de la représentation de l'autre dans les romans grecs et les Métamorphoses d'Apulée." Thesis, Lyon, École normale supérieure, 2015. http://www.theses.fr/2015ENSL1059.

Parisinou, Eva. "The light of the gods : the role of light in archaic and classical Greek cult /." London : Duckworth, 2000. http://catalogue.bnf.fr/ark:/12148/cb37216077x.

Jim, Suk Fong. "Gifts to the Gods : Aparchai, Dekatai and related offerings in Archaic and Classical Greece." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:46767d83-0b32-4ebd-8f26-457a785f2478.

Johnston, Jennifer H. "Exploring Queer Possibilities in Jeanette Winterson's The Stone Gods." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1383575341.

Ellis, Boschetti Anthony. "Grudging Gods : theology and characterization in Herodotus, and interpretation from Plutarch to the present." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/17948.

Dandoulakis, G. "The struggle for Greek liberation : The contributions of Greek and English poetry." Thesis, Loughborough University, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.354293.

Kornarou, Eleni. "Kommoi in Greek tragedy." Thesis, King's College London (University of London), 2002. https://kclpure.kcl.ac.uk/portal/en/theses/kommoi-in-greek-tragedy(92dc04a2-5c8a-4fad-85b0-52423cd328bc).html.

Hill, Mark. "Neil Gaiman's American Gods: An Outsider's Critique of American Culture." ScholarWorks@UNO, 2005. http://scholarworks.uno.edu/td/282.

Sekita, Karolina. "The figure of Hades/Plouton in Greek beliefs of the archaic and classical periods." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:010c9cbb-349f-4acb-a687-1fce01c62bc4.

Goodwin, Grant. ""Why Persephone?" investigating the unique position of Persephone as a dying god(dess) offering hope for the afterlife." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1017896.

Nirenburg, Gabriela A. "The Gods Within: Checkhov, Lorca, and the Internalization of Tragic Fate." Oberlin College Honors Theses / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1480884187543559.

Pickering, Peter Edward. "Verbal repetition in Greek tragedy." Thesis, University College London (University of London), 1999. http://discovery.ucl.ac.uk/1318016/.

Amaral, Tiago Kern do. "Intertextuality in Neil Gaiman's American Gods." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/143658.

Basea, Erato. "Literature and the Greek auteur : film adaptations in the Greek cinema d' auteur." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:cab79d67-f602-43f4-96b4-4f017b2b8efa.

Adams, Alison. "Helen in Greek literature : Homer to Euripides." Thesis, Aberystwyth University, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302020.

Christodoulos, Zekas. "The language of the gods : oblique communication and divine persuasion in Homer's 'Odyssey' /." St Andrews, 2009. http://hdl.handle.net/10023/862.

Mathuray, Mark. "Old gods and new worlds : on the sacred in Anglophone African literature." Thesis, University of Cambridge, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.613817.

Adams, Ethan T. "Gods and humans in Ovid's "Metamorphoses" : constructions of identity and the politics of status /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/11479.

Varney, Jennifer. "H.d. And the translation of classical greek literature." Doctoral thesis, Universitat Rovira i Virgili, 2011. http://hdl.handle.net/10803/80714.

Kanavou, Nikoletta. "Studies in speaking names in ancient Greek literature." Thesis, University of Oxford, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.422454.

Badnall, Toni Patricia. "The wedding song in Greek literature and culture." Thesis, University of Nottingham, 2009. http://eprints.nottingham.ac.uk/12089/.

Truscott, John Robertson. "Studies in mimesis in Greek literature before Aristotle." Thesis, University of Southampton, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.236402.

Deutsch, Katherine Ariela. "Platonic Footnotes: Figures of Asymmetry in Ancient Greek Thought." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:26566091.

Leman, Lucia. "Byron's "Manfred" and the Greek imaginary." Thesis, University of Nottingham, 2014. http://eprints.nottingham.ac.uk/13972/.

Papadodima, Efstathia. "The Greek/Barbarian Interaction in Fifth-Century Literature: A reassessment of Greek attitudes to foreigners." Thesis, University of Oxford, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.491224.

Stypinski, Megan Michele. "“'Reinventing the Gods': Bloomian Misprision in the Nietzschean Influence of Jim Morrison.”." Ohio Dominican University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=odu1301258607.

Stepanek, Ellyn. "POP-CULTURE ARTIFACTS: VICE, VIRTUE AND VALUES IN AMERICAN GODS ." Cleveland State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=csu1209741511.

Guast, William Edward. "Greek declamation in context." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:e9c314af-b1e1-45bb-9a14-79791c64ac39.

Kelly, Michael. "Jealousy in love relations in Greek and Roman literature /." [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe18555.pdf.

Fisher, Elizabeth A. "Planudes' Greek translation of Ovid's Metamorphoses." New York : Garland Pub, 1990. http://catalog.hathitrust.org/api/volumes/oclc/21077839.html.

Easton, Yurie Hong. "Gendered conceptions : reproductions of pregnancy and childbirth in Greek literature /." Thesis, Connect to this title online; UW restricted, 2007. http://hdl.handle.net/1773/11464.

Sourbati, Athanassia. "Reading the subversive in contemporary Greek women's fiction." Thesis, King's College London (University of London), 1992. https://kclpure.kcl.ac.uk/portal/en/theses/reading-the-subversive-in-contemporary-greek-womens-fiction(efd7d64a-3180-4982-9c2c-4418ee3879b7).html.

Burer, Michael H. "The gnomic present tense in Johannine literature." Theological Research Exchange Network (TREN), 1998. http://www.tren.com.

Greek Gods & Goddesses

Not many heroes are best known for their use of silk thread to escape a crisis, but it is true of Theseus. The Greek demi-god is known for feats of strength but is even better remembered for divine intelligence and wisdom. He had many great triumphs as a young man, but he died a king in exile filled with despair.

Theseus grew up with his mother, Aethra. She was the daughter of Pittheus, the king of Troezen. Theseus had two fathers. One father was Aegeus, King of Athens, who visited Troezen after consulting the Oracle at Delphi about finding an heir. He married Aethra then left her behind, telling her that if she had a child and if that child could move a boulder and retrieve the sword and sandals he had buried underneath, then she should send that child to Athens. Theseus’ other father was Poseidon , the god of the sea, who joined Aethra for a seaside walk on her wedding night.

When Theseus grew up, he easily picked up the large boulder and found his father’s items, so his mother gave him directions to Athens. Rather than take the safer sea route, he chose to take the land route even though he knew there would be multiple dangers ahead. Along the road he had to fight six battles. He defeated four bandits, one monster pig and one giant, winning every battle through strength and cunning.

When Theseus arrived at Athens, he did not reveal himself to his father. His father had married the sorceress Medea . She recognized Theseus and wanted to kill him. First, she sent him on a dangerous quest to capture the Marathonian bull. When he was successful, she gave him poisoned wine. Medea’s husband knew of her plan. However at the last moment, Aegeus saw Theseus had the sword and sandals he had buried and knocked the cup from his hand. Medea fled to Asia. Aegeus welcomed Theseus and named him as heir to the throne.

Battle with the Minotaur

Sometime later came Theseus’ greatest challenge. Every seven years King Minos of Crete forced Athens to send seven courageous young men and seven beautiful young women to sacrifice to the Minotaur , a half-man, half-bull creature that lived in a complicated maze under Minos’ castle. This tribute was to prevent Minos starting a war after Minos’ son, Androgens, was killed in Athens by unknown assassins during the games. Theseus volunteered to be one of the men, promising to kill the Minotaur and end the brutal tradition. Aegeus was heartbroken, but made Theseus promise to change the ship’s flags from black to white before he returned to show that he had succeeded.

When Theseus arrived in Crete, King Minos’ daughter Ariadne fell in love with him and promised to help him escape the labyrinth if he agreed to take her with him and marry her. He agreed. Ariadne brought him a ball of silk thread, a sword and instructions from the maze’s creator Daedalus – once in the maze go straight and down, never to the left or right.

Theseus and the Athenians entered the labyrinth and tied the end of the thread near the door, letting out the string as they walked. They continued straight until they found the sleeping Minotaur in the center. Theseus attacked and a terrible battle ensued until the Minotaur was killed. They then followed the thread back to the door and were able to board the ship with the waiting Ariadne before King Minos knew what had happened.

That night Theseus had a dream – likely sent by the god Dionysus – saying he had to leave Ariadne behind because Fate had another path for her. In the morning, Theseus left her weeping on the Island of Naxos and sailed to Athens. Heartbroken, perhaps cursed by Ariadne, Theseus forgot to change the ship’s flags from black to white.

His father, seeing the black flags on the approaching ship, assumed Theseus was dead . Aegeus threw himself off the cliffs and into the sea to his death. The sea east of Greece is still called the Aegean Sea.

Ariadne would later marry Dionysus.

King of Athens

Theseus became King of Athens after his father’s death. He led the people well and united the people around Athens. He is credited as a creator of democracy because he gave up some of his powers to the Assembly. He continued to have adventures.

During one of his adventures, he travelled to the Underworld with his friend Pirithous, who was pursuing Persephone . Both friends sat on rocks to rest and found that they could not move. Theseus remained there for many months until he was rescued by his cousin Heracles , who was in the Underworld on his 12th task. Pirithous had been led away by Furies in the meantime and was not rescued.

On another adventure with Heracles, he set out to rescue the Amazon Queen Hippolyta’s girdle. After the quest, Theseus married her and they had a son named Hippolytus. When Hippolytus was a young man, he caused a fit of jealousy between the goddesses Aphrodite and Artemis .

Aphrodite, the goddess of love, caused Phaedra, who was Theseus’ second wife and Ariadne’s younger sister, to fall in love with her stepson. Phaedra killed herself and left a note blaming Hippolytus’ bad treatment of her for her actions.

When Theseus saw the note, he called on his father Poseidon to take revenge on Hippolytus. A sea monster frightened the horses of Hippolytus’ chariot so that he was thrown from it, got tangled in the reins and dragged. Then Artemis let Theseus know he had been deceived and he ran to find his son, who died in his arms.

Due to his despair over losing his wife and his son, Theseus quickly lost popularity and the support of his people. He fled Athens for the Island of Skyros, where the king feared Theseus was plotting to overthrow him and pushed him off a cliff and into the sea to this death.

After His Death

Some ancient Greeks believed Theseus was a historical king of Athens. During the Persian Wars from 499 to 449 B.C., Greek soldiers reported seeing Theseus’ ghost on the battlefield and believed it helped lead them to victory. In 476 B.C., the Athenian Kimon is said to have found and returned Theseus’ bones to Athens and then built a shrine that also served as a sanctuary for the defenseless.

The ship Theseus used to sail to Crete was also believed to have been preserved in the city harbor until about 300 B.C. As wooden boards rotted they were replaced to keep the ship afloat. In time, people questioned whether any of the boards could have been from the original ship, which led to a question philosophers debate called the Ship of Theseus Paradox: “Is an object that has had all of its parts replaced still the original object?”

Quick Facts about Theseus

— Semigod ( demigod ) with two fathers, including the sea god Poseidon — Defeated the Minotaur — King of Athens credited with development of democracy — Lost his throne after the death of his wife and son — Aegean Sea is named for his human father — Frequently depicted in ancient and Romantic art — Experienced six tasks on his journey to Athens — Some believed him to be based on a historic kin

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Frank Bruni

Contributing Opinion Writer

Pope Francis’ Remarkable Act of Contrition

I’m not accustomed to apologies from popes. Aren’t they infallible?

Yes, I know, that term doesn’t have practical, colloquial application — it doesn’t mean that they never bungle math problems or lose track of where they hung their robes. But the general notion or mythology of infallibility reflects a kind of papal authority and aloofness that discourages any real-time revisiting of false steps, any open regret for errant syllables.

“I’m sorry” belongs to the political realm (or at least did until Donald Trump came along). Popes inhabit a higher plane.

So a Vatican statement on Tuesday that Pope Francis “extends his apologies” to anyone offended by something he recently said is a big and surprising deal. It’s all the bigger and more surprising because Francis was apologizing for insulting gay people, and for most of my 59 years, Roman Catholic leaders were more concerned with condemning or converting or chiding or hiding us than with making sure our feelings weren’t hurt.

In a closed-door meeting with Italian bishops last week, Francis reportedly responded to a question about whether openly gay men should be admitted to seminaries by saying that those training grounds for future priests were already too crowded with “frociaggine,” a crude Italian slur.

I’m disappointed that he used it, contradicting past statements of his that urged respect for gay people and his decision last year to allow priests to bless same-sex couples . I don’t know whether he was disclosing his own lingering bigotry or trying to curry favor with the conservatives around him.

But I know this: Another pope in a prior era wouldn’t have been so quick to do damage control. Another pope in a prior era mightn’t have felt that any damage was done.

And even Francis could have decided simply to ignore the media attention to his offensive language until it died down. Popes are expected to worry not about the news cycle but about eternity. What’s more, he would have pleased some of his sternest critics by moving on. They complain that he has done too much outreach to L.G.B.T.Q. people and been too indulgent of them.

His apology speaks to the kind of pope that he, at his best, has been: one who means to heal wounds. But it says even more about an altered church in a changed world, where gay people still endure taunts aplenty but also encounter unexpected moments of grace.

Jonathan Alter

The Trump Team’s Inept Closing Argument Blew Up

If Donald Trump becomes a felon in the coming days, he and his defense team can partly blame themselves. Throughout the trial they offered implausible arguments against the prosecution’s case, and on Tuesday Trump’s lead attorney, Todd Blanche, slipped an I.E.D. into the end of his closing argument that blew up in his face.

“You cannot send someone to prison based on the words of Michael Cohen,” Blanche said, in a bid to make jurors think it was their role to decide if a president should be incarcerated.

“Saying that was outrageous,” Justice Juan Merchan told Blanche after the jury left for lunch. Mentioning sentencing to gain sympathy with jurors who have no say in punishment “is simply not allowed,” he said, and that it was “hard for me to imagine how that was not intentional.”

The defense got more than a tongue-lashing. After lunch, Merchan turned to the jurors and told them why they had to ignore this sneaky move — not a good final look for the defense.

In his three-hour closing argument, Blanche gave jurors a few places to explore reasonable doubt but mostly swung wildly and set up the prosecution for better arguments in the afternoon.

My favorite dumb moment: “Guess who else you did not hear from in this trial?” Blanche asked. “Don and Eric. Is there some allegation that they are part of a conspiracy?” No, counselor, but the jury will likely wonder why the defense called Robert Costello, who was destroyed on cross-examination, instead of Trump’s own sons.

Blanche huffed and puffed to discredit the two possible “smoking guns” offered by the prosecution. The first consists of the scrawled notes of Allen Weisselberg, former financial head of the Trump Organization, breaking down the $420,000 that Trump paid Cohen in 2017. Weisselberg wrote “gross it up” in reference to doubling the $130,000 in hush money for tax purposes. That “is a lie,” Blanche said, using a word he would employ more than 30 times in his closing argument, to diminishing effect.

But it wasn’t a lie. The former controller of the Trump Organization had confirmed on the stand that the numbers and “gross it up” were in Weisselberg’s own hand.

The other smoking gun involves a call Cohen taped, during which Trump said “150” in reference to the hush money for Karen McDougal. While trying and — to my mind — failing to establish that Cohen’s phone was tampered with, Blanche played the tape and challenged the idea that Trump even said “150” and that Trump saying “cash” on the tape had anything to do with hush money. Jurors will presumably listen to the tape and decide for themselves. Believe me, you can hear “150.”

Blanche ended his closing argument by telling jurors that if they focus on the evidence, “this is a very easy and quick not-guilty.” Insulting the jury’s intelligence? Not smart.

Michelle Goldberg

Opinion Columnist

The Trump Team’s Big Lie About the ‘Access Hollywood’ Tape

In his closing argument on Tuesday, Donald Trump’s lead defense attorney, Todd Blanche, repeatedly tried to sell a revisionist history of the infamous “Access Hollywood” tape, in which Trump was recorded boasting of his penchant for sexual assault. In the felony case against Trump, the “Access Hollywood” tape is important because, in the story the prosecution is telling, it’s the reason Trump was desperate to quash Stormy Daniels’s story.

“The government wants you to believe that the release of that tape from 2005 was so catastrophic to that campaign that it provided a motive for President Trump to do something criminal,” he said.

Attempting to undercut that narrative, Blanche insisted that it really wasn’t that big of a deal. It caused, he said, a “couple days of frustration and consternation, but that happens all the time during campaigns.” He added: “The ‘Access Hollywood’ tape is being set up in this trial to be something that it is not.”

This is insultingly and obviously untrue. As the longtime Trump aide Hope Hicks testified about that moment in the 2016 campaign, “I think there was consensus among us all that the tape was damaging, and this was a crisis.”

We now know that a critical mass of voters doesn’t care about Trump’s misogyny and predation, but we didn’t know that then. One job of the prosecution, which begins closing arguments Tuesday afternoon, will be to take the jury back to a more innocent time before Trump’s election, when people still imagined there were Republicans with a capacity for shame.

There’s Nothing Simple or Obvious About Trump’s Trial Defense

During closing arguments in Donald Trump’s felony trial on Tuesday morning, his lawyer Todd Blanche said, “There’s a reason why, in life, usually the simplest answer is the right one.”

I found this an odd approach, because to believe his theory of the case requires accepting several improbable things. First, although it’s not legally germane, Blanche reiterated, perhaps at the insistence of his client, that Trump “has unequivocally and repeatedly denied” any encounter with Stormy Daniels. And rather than simply arguing that Trump didn’t know about the scheme to reimburse Michael Cohen for the payoff to Daniels, he appears to be arguing that no such scheme existed.

Cohen, said Blanche, had a verbal retainer agreement in 2017 to serve as Trump’s personal attorney, and that’s why he was paid $420,000. If that’s the case, it’s hard to imagine why Cohen pleaded guilty and served prison time in connection with the hush-money payment.

Blanche’s argument has been internally inconsistent. First, he insisted that Trump, being busy as president, didn’t always look at the checks he signed. Then, trying to discredit the idea that Trump would reimburse Cohen $420,000 for a $130,000 payment — which Cohen has claimed was grossed up to include taxes and a bonus — Blanche pointed to “all the evidence you heard about how closely President Trump watches his finances.”

During a long digression about the National Enquirer’s practice of “catching and killing” stories, he insisted that there had never been a “catch and kill” plot involving the Playboy model Karen McDougal, implying, I think, that her deal with the publication was on the level. “She wanted to be on the cover of magazines, she wanted to write articles,” Blanche, said and that’s what she did.

Obviously, I have no idea what the jury is thinking. But given the implausibility of the narrative that Trump’s defense is spinning, it just seems weird that Blanche is invoking Occam’s razor.

Patrick Healy

Deputy Opinion Editor

How Quickly Would a Trump Verdict Sink In for Voters?

Each week on The Point, we kick things off with a tipsheet on the latest in the presidential campaign. Here’s what we’re looking at this week:

The most consequential week of Donald Trump’s criminal trial in Manhattan has arrived: The jury could begin deliberating in the next two days. We’ll also get insight shortly about Justice Juan Merchan’s instructions to jurors — basically, a clearer picture of what options they have for a verdict. As for the political impact of any decision by the jury, I think that will take weeks to become clear as Americans learn and absorb the news — as suburban women outside Philadelphia, for instance, weigh the verdict and their feelings about Trump against their views on the economy or abortion rights.

It takes time for voters to process big news, and opinions can shift with time. Part of why James Comey’s Oct. 28, 2016, letter about Hillary Clinton’s classified email was so politically damaging to her was that it came as many people were casting early votes and others were making up their minds ahead of the Nov. 8 election. The Trump verdict will be historic, but the election is five months away. How voters feel about the verdict could surely change in that time.

We’ll also start getting a clearer picture this week about whether Robert F. Kennedy Jr. will qualify to join the June 27 debate between President Biden and Trump. There’s a good explainer here boiling down how Kennedy needs to make the November ballot in a bunch more states first to make the cut for the debate. Given the various rules, I don’t think there’s much time for him to make the June debate; he may have a better shot at the September debate. Either way, I can’t see the Biden and Trump campaigns eager to have him onstage — they don’t want anything distracting voters from seeing the flaws and fumbles in the other guy, and R.F.K. Jr. will be one big distraction.

I’m preoccupied with the Biden-Trump fight for Pennsylvania and whether Biden can borrow from the winning political playbook of Gov. Josh Shapiro, who won a 15-point landslide in 2022. Biden is trailing Trump by a couple of points in the state polling average. As in other swing states, Biden needs to do far better than he’s currently polling with young voters and nonwhite voters, and with voters in Philadelphia and its suburbs. So keep an eye on Biden’s campaign trip to Philadelphia on Wednesday and his pitch for why Americans should want another four years of his presidency.

Trips like Biden’s Philadelphia event are planned weeks in advance, but as it happens, this one will probably happen just as the Trump jury is deliberating on Trump’s fate (or returning with a verdict). The split screen of Biden heralding Ben Franklin and Trump attacking jurors is a news cycle the Biden campaign badly wants.

Bret Stephens

What’s Spanish for ‘Chutzpah’?

This week’s announcements by the governments of Ireland, Norway and Spain that they will recognize a Palestinian state are drawing predictable reactions from predictable quarters. Some see them as useful rebukes to Prime Minister Benjamin Netanyahu’s war strategy in Gaza that will further isolate Israel. Others, including me, view them as feckless gestures that reward Hamas’s terrorism.

That’s a column for another day. For now, it’s enough to note the Spanish government’s sheer nerve.

Though Spanish public opinion overwhelmingly supports swift recognition of Palestinian statehood, it’s another story when it comes to Spain’s own independence movements. In 2017 the regional government of Catalonia held a referendum, declared illegal by Spain’s Constitutional Court , on the question of Catalan independence. Though turnout was low — in part because Spanish police forcibly blocked voting — the Catalan government said nearly 90 percent of voters favored independence.

The central government in Madrid responded by dismissing the Catalan government, imposing direct rule. Two years later, under the current left-wing government of Pedro Sánchez, Spain sentenced nine Catalan independence leaders to prison on charges of sedition, though they were later pardoned. This year the lower house of the Spanish Parliament voted to grant amnesty to those involved in the 2017 campaign as part of a deal to prop up Sánchez’s government, despite a Senate veto. Seventy percent of the Spanish public opposes the amnesty .

Catalans aren’t the only ethnic minority in Spain that has sought independence, only to encounter violent suppression. In the 1980s the Spanish Interior Ministry under a socialist government responded to the long-running Basque separatist movement with state-sponsored death squads, notoriously responsible for a string of kidnappings, tortures and assassinations. The Spanish government called the separatists terrorists — as indeed some were — though their tactics look tame compared with Hamas’s. By the time the conflict ended in 2011, it had claimed more than 1,000 lives.

Spain possesses two cities on the African continent, Ceuta and Melilla, both of which are claimed by Morocco and have been stormed by African migrants seeking entry into the European Union. They are protected by extensive border fences and fortifications strikingly reminiscent of Israel’s breached border fence with Gaza.

There are many other independence movements throughout Europe, from Scotland to Flanders to Corsica and the Balkans. Many of these movements tend to have affinities with Palestinians, for reasons that are obvious. More difficult to explain are governments that suppress independence seekers at home while applauding those abroad. Some might call it deflection. To others, it looks like hypocrisy.

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Bronze mirror with a support in the form of a nude girl

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Terracotta amphora (jar)

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Terracotta stamnos (jar)

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Bronze statue of Eros sleeping

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The Point Conversations and insights about the moment.

Pope Francis’ Remarkable Act of Contrition

The Trump Team’s Inept Closing Argument Blew Up

The Trump Team’s Big Lie About the ‘Access Hollywood’ Tape

There’s Nothing Simple or Obvious About Trump’s Trial Defense

How Quickly Would a Trump Verdict Sink In for Voters?

What’s Spanish for ‘Chutzpah’?

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