Learn About Greek Mythology

In this episode of the I Can't Sleep Podcast, fall asleep learning about Greek Mythology. While the greek gods and demigods had interesting and twisted lives, this stuff is just...how do I say...boring! Happy sleeping!

Transcript

Welcome to the I Can't Sleep Podcast,

Where I read random articles from across the web to bore you to sleep with my soothing voice.

I'm your host,

Benjamin Boster.

Today's episode is from a Wikipedia article titled,

Greek Mythology.

Greek mythology is the body of myths originally told by the ancient Greeks,

And a genre of ancient Greek folklore,

Today absorbed alongside Roman mythology into the broader designation of classical mythology.

These stories concern the ancient Greek religion's view of the origin and nature of the world,

The lives and activities of deities,

Heroes,

And mythological creatures,

And the origins and significance of the ancient Greeks' cult and ritual practices.

Modern scholars studied the myths to shed light on the religious and political institutions of ancient Greece,

And to better understand the nature of myth-making itself.

The Greek myths were initially propagated in an oral poetic tradition,

Most likely by Minoan and Mycenaean singers starting in the 18th century BC.

Eventually,

The myths of the heroes of the Trojan War and its aftermath became part of the oral traditions of Homer's epic poems,

The Iliad and The Odyssey.

Two poems by Homer's near-contemporary Hesiod,

The Theogony and The Works and Days,

Contain accounts of the genesis of the world,

The succession of divine rulers,

The succession of human ages,

The origin of human woes,

And the origin of sacrificial practices.

Myths are also preserved in the Homeric hymns,

In fragments of epic poems of the epic cycle,

In lyric poems,

In the works of the tragedians and comedians of the 5th century BC,

In writings of scholars and poets of the Hellenistic age,

And in texts from the time of the Roman Empire by writers such as Plutarch and Pausanias.

Aside from this narrative deposit in ancient Greek literature,

Pictorial representations of gods,

Heroes,

And mythic episodes featured prominently in ancient vase paintings and the decorations of votive gifts and many other artifacts.

Geometric designs on pottery of the 8th century BC depict scenes from the epic cycle as well as the adventures of Heracles.

In the succeeding Archaic,

Classical,

And Hellenistic periods,

Homeric and various other mythological scenes appear,

Supplementing the existing literary evidence.

Greek mythology has had an extensive influence on the culture,

Art,

And literature of Western civilization and remains part of Western heritage and language.

Poets and artists from ancient times to the present have derived inspiration from Greek mythology and have discovered contemporary significance and relevance in the themes.

Greek mythology is known today primarily from Greek literature and representations on visual media dating from the Geometric period from circa 900 BC to circa 800 BC onward.

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.

Apollodorus of Athens lived from circa 180 BC to circa 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.

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 ideological 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 elusive.

Greek lyric poets,

Including Pindar,

Bacchylides,

And Simonides,

And bucolic poets such as Theocritus and Bayan,

Relate individual mythological incidents.

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.

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.

Herodotus in particular searched the various traditions he encountered and found the historical or mythological roots in the confrontation between Greece and the East.

Herodotus attempted to reconcile origins in 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 1.

The Roman poets Ovid,

Statius,

Valerius Flaccus,

Seneca,

And Virgil with Servius' commentary.

2.

The Greek poets of the Late Antique period,

Nannus,

Antionus Liberalis,

And Quintus Smyrnius.

3.

The Greek poets of the Hellenistic period,

Apollonius of Rhodes,

Callimachus,

Pseudo-Aristophanes,

And Parthenius.

Prose writers from the same periods who make reference to myths include Apuleius,

Petronius,

Boleanus,

And Heliodorus.

Two other important non-poetical sources are the Fabulae and Astronomica of the Roman writer,

Styled as Pseudo-Hygienus,

The imagines of Philostratus the Elder and Philostratus the Younger,

And the descriptions of Callistratus.

4.

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 Cetses,

And Eustathius.

They often treat mythology from a Christian moralizing perspective.

5.

The discovery of the Mycenaean civilization by the German amateur archaeologist Heinrich Schliemann in the 19th century and the discovery of the Minoan civilization in Crete by the British archaeologist Arthur Evans in the 20th 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.

6.

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.

7.

Geometric designs on Mycenaean and Minoan sites have been used to describe the Geometric designs on pottery of the 8th 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.

On the twelve labors of Heracles,

For example,

Only the Serbius 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,

Circa 750-500 BC,

Classical,

Circa 400-323 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 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.

The earlier inhabitants of the Balkan peninsula were an agricultural people,

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.

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.

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,

Thought to have been introduced around 630 BC.

Pre-existing myths,

Such as those of Achilles and Patroclus,

Also then were cast in a pederastic light.

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.

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.

1.

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.

2.

The age when gods and mortals mingled freely,

Stories of the early interactions between gods,

Demigods,

And mortals.

3.

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.

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,

In the Works and Days,

Hesiod makes use of the 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 Kronos,

The subsequent race 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,

Have been spilled out of her overturned jar.

In Metamorphoses,

Ovid follows Hesiod's concept of the four ages.

Myths of origin,

Or creation myths,

Represent an attempt to explain the beginnings of the universe in human language.

The most widely accepted version at the time,

Although a philosophical account of the beginning of things,

Is reported by Hesiod in his Theogony.

He begins with Chaos,

A yawning nothingness.

Next comes Gaia,

Earth,

The ever-sure foundation of all,

And then Tartarus,

In the depth of the wide path to Earth,

And Eros,

Love,

Fairest among the deathless gods.

Without male assistance,

Gaia gave birth to Uranus,

The sky,

Who then fertilized her.

From that union were born first the Titans,

Six males,

Caius,

Creus,

Cronus,

Hyperion,

Hiapetus,

And Oceanus,

And six females,

Mnemosyne,

Phoebe,

Rhea,

Thea,

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 Cyclops and the Hecatonshires of 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' stomach all this time.

Zeus then challenged Cronus to war for the kingship of the gods.

At last was the help of the Cyclops,

Whom Zeus freed from Tartarus.

Zeus and his siblings were victorious,

While Cronus and the Titans were hurled down to imprisonment in Tartarus.

Zeus was plagued by the same concern,

And after a prophecy that the offspring of his first wife Metis would give birth to a god greater than he,

Zeus swallowed her.

She was already pregnant with Athena,

However,

And she burst forth from his head fully grown and dressed for war.

The earliest Greek thought about poetry considered the theogonies to be a 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 and 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 of the muses.

Theogony also was the subject of many lost poems,

Including those attributed to Orpheus,

Meseus,

Epimenides,

Aberys,

And other legendary seers,

Which were used in private ritual purifications and mystery rites.

There are indications that Plato was familiar with some version of the Orphic theogony.

A silence would have been expected about religious rites and beliefs,

However,

And that nature of the culture would not have been reported by members of 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 of Neoplatonists,

Philosophers,

And recently unearthed papyrus scraps.

One of these scraps,

The Derveni papyrus,

Now proves that at least in the 5th century BC,

A theogonic-cosmogonic poem of Orpheus was in existence.

The first philosophical cosmologists reacted against,

Or sometimes built upon,

Popular mythical conceptions that had existed in the Greek world for some time.

Some of these popular conceptions can be gleaned from the poetry of Homer and Hesiod.

In Homer,

The earth was viewed as a flat disk afloat on the river of Oceanus,

And overlooked by a hemispherical sky with sun,

Moon,

And stars.

The sun,

Helios,

Traversed the heavens as a charioteer and sailed around the earth in a golden bowl at night.

Sun,

Earth,

Heaven,

Rivers,

And winds could be addressed in prayers and called to witness oaths.

Natural fissures were popularly regarded as entrances to the subterranean house of Hades and his predecessors,

Home of the dead.

Influences from other cultures always afforded new themes.

According to classical-era mythology,

After the overthrow of the Titans,

The new pantheon of gods and goddesses was confirmed.

Among the principal Greek gods were the Olympians,

Residing on Mount Olympus under the eye of Zeus.

The limitation of their number to twelve seems to have been a comparatively modern idea.

Besides the Olympians,

The Greeks worshiped various gods of the countryside—the satyr god Pan,

Nymphs,

Spirits of rivers,

Naiads,

Who dwelled in springs,

Triads,

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 Aaronides 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.

The gods of Greek mythology are described as having essentially corporeal but ideal bodies.

According to Walter Berkert,

The defining characteristic of Greek anthropomorphism is that the Greek gods are persons,

Not abstractions,

Ideas,

Or concepts.

Regardless of their underlying forms,

The ancient Greek gods have many fantastic abilities.

Most significantly,

The gods are not affected by disease,

And can be wounded only under highly unusual circumstances.

The Greeks considered immortality as the distinctive characteristic of their gods.

This immortality,

As well as unfading youth,

Was ensured by the constant use of nectar and ambrosia,

By which the divine blood was renewed in their veins.

Each god descends from his or her own genealogy,

Pursues differing interests,

Has a certain area of expertise,

And is governed by a unique personality.

However,

These descriptions arise from a multiplicity of archaic local variants,

Which do not always agree with one another.

When these gods are called upon in poetry,

Prayer,

Or cult,

They are referred to by a combination of their name and epithets that identify them by these distinctions from other manifestations of themselves,

E.

G.

Apollo Musagetes is Apollo as leader of the Muses.

Alternatively,

The epithet may identify a particular and localized aspect of the god,

Sometimes thought to be already ancient during the classical epoch of Greece.

Most gods were associated with specific aspects of life.

For example,

Aphrodite was the goddess of love and beauty,

Ares was the god of war,

Hades the ruler of the underworld,

And Athena the goddess of wisdom and courage.

Some gods,

Such as Apollo and Dionysus,

Revealed complex personalities and mixtures of functions,

While others,

Such as Hestia,

Literally earth,

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 to 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.

The origins of humanity were ascribed to various figures,

Including Zeus and Prometheus.

Bridging the age when gods lived alone and the age when divine interference in human affairs was limited,

Was a transitional age in which gods and mortals moved together.

These were the early days of the world when the groups mingled more freely than they did later.

Most of these tales were later told by Ovid's Metamorphoses,

And they are often divided into two thematic groups,

Tales of Love and Tales of Punishment.

Tales of Love often involved incest or the seduction or rape of a mortal woman by a male god,

Resulting in heroic offspring.

The stories generally suggest that relationships between gods and mortals are something to avoid.

Even consenting relationships rarely have happy endings.

In a few cases,

A female divinity mates with a mortal man,

As in the Homeric hymn to Aphrodite,

Where the goddess lies with Enchises 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's 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 Tryptolemus,

Or when Marcius invents the Aulos and enters into a musical contest with Apollo.

Ian Morris considers Prometheus's adventures as a place between the history of the gods and that of man.

An anonymous papyrus fragment dated to the 3rd century vividly portrays Dionysius's punishment of the king of Thrace,

Lycurgus,

Whose recognition of the new god came too late,

Resulting in horrific penalties that extended into the afterlife.

The story of the arrival of Dionysus to establish his cult in Thrace was also the subject of an Asclean trilogy.

In another tragedy,

Euripides the Bacchae,

The king of Thebes,

Pentheus,

Is punished by Dionysus because he disrespected the god in spite of his menads,

The female worshippers of the god.

In another story based on an old folktale motive,

And echoing a similar theme,

Demeter was searching for her daughter,

Persephone,

Who had taken the form of an old woman called Doso,

And received a hospitable welcome from Seleus,

The king of Eleusis,

In Attica.

As a gift to Seleus,

Because of his hospitality,

Demeter planned to make his son Demophon,

The son of Seleus,

The king of Eleusis,

A god,

But she was unable to complete the ritual because her mother Metanira walked in and saw her son in the fire and screamed in fright,

Which angered Demeter,

Who lamented that foolish mortals did 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.

After the rise of the hero cult,

Gods and heroes constitute the sacral sphere and are invoked together in oaths and prayers which are addressed to them.

Burkert,

2002,

Notes that the roster of heroes,

Against 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 center of the local group identity.

The monumental events of Herakles are recorded as the dawn of the Age of Heroes.

To the Heroic Age are also ascribed three great events,

The Argonautic Expedition,

The Theban Cycle,

And the Trojan War.

Some scholars believe that behind Herakles' complicated mythology,

There was probably a real man,

Perhaps a chieftain vassal of the kingdom of Argos.

Some scholars suggest the story of Herakles 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 Herakles as a local adaptation of hero myths already well established.

Traditionally,

Herakles was the son of Zeus and Alcmene,

Granddaughter of Perseus.

His fantastic solitary exploits,

With their many folktale themes,

Provided much material for popular legend.

According to Berker 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,

Herakles is regarded by Talia Papadopoulou as a play of great significance in examination of other European dramas.

In art and literature,

Herakles 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 Herakles,

His fight with the lion being depicted many hundreds of times.

Hercules also entered a trusk in a Roman mythology and cult,

And the exclamation mehicule became as familiar to the Romans as Herakles was to the Greeks.

In Italy,

He was worshipped as a god of merchants and traders,

Although others also prayed to him for his characteristic gifts of good luck or rescue from danger.

Herakles 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.

Hylos,

The eponymous hero of one Dorian phial,

Became the son of Herakles and one of the Heracleidae or Heraclids,

The numerous descendants of Heracles,

Especially the descendants of Hylos.

Other Heracleidae,

Including Macaria,

Lamos,

Manto,

Pionor,

Telepollimus,

And Telephus.

These Heraclids conquered the Peloponnesian kingdoms of Mycenae,

Sparta,

And Argos,

Claiming,

According to legend,

A right to rule them through their ancestor.

Their rise to dominance is frequently called the Dorian invasion.

The Lydian and later the Macedonian kings,

As rulers of the same rank,

Also became Heracleidae.

Other members of the earliest generation of heroes,

Such as Perseus,

Deucalion,

Theseus,

And Bellerophon,

Have many traits in common with Herakles.

Like him,

Their exploits are solitary,

Fantastic,

And border on fairytale,

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 his 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 Peleus,

Who receives a prophecy that a man with one sandal would be his nemesis.

Jason loses a sandal in the river,

Arrives at the court of Peleus,

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.

Atlanta,

The female heroine,

And Meliager,

Who once had an epic cycle of his own to rival the Iliad and Odyssey.

Pindar,

Apollonius,

And the Bibliotheca endeavored to give full lists of the Argonauts.

Although Apollonius wrote his poem in the third 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.

Reviews

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Great -please read more historical narratives. Nice to fall asleep back in itme ..

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