Visit Website Later Greek writers and artists used and elaborated upon these sources in their own work. For instance, mythological figures and events appear in the 5th-century plays of Aeschylus, Sophocles and Euripides and the lyric poems of Pindar. Writers such as the 2nd-century BC Greek mythographer Apollodorus of Athens and the 1st-century BC Roman historian Gaius Julius Hyginus compiled the ancient myths and legends for contemporary audiences. The Olympians At the center of Greek mythology is the pantheon of deities who were said to live on Mount Olympus, the highest mountain in Greece.
Myths and legends number among the most creative and abundant contributions of Christianity to the history of human culture. They have inspired artists, dramatists, clerics, and others to contemplate the wondrous effects of Christian salvation on the cosmos and its inhabitants.
They… The nature, functions, and types of myth Myth has existed in every society. Indeed, it would seem to be a basic constituent of human culture. Because the variety is so great, it is difficult to generalize about the nature of myths.
The study of myth is thus of central importance in the study both of individual societies and of human culture as a whole. Relation of myths to other narrative forms In Western culture there are a number of literary or narrative genres that scholars have related in different ways to myths.
Examples are fables, fairy tales, folktales, sagas, epics, legendsand etiologic tales which refer to causes or explain why a thing is the way it is. Another form of tale, the parable, differs from myth in its purpose and character. Even in the West, however, there is no agreed definition of any of these genres, and some scholars question whether multiplying categories of narrative is helpful at all, as opposed to working with a very general concept such as the traditional tale.
Non-Western cultures apply classifications that are different both from the Western categories and from one another. If it is accepted that the category of traditional tale should be subdivided, one way of doing so is to regard the various subdivisions as comparable to bands of colour in a spectrum.
Within this figurative spectrum, there will be similarities and analogies between myth and folktale or between myth and legend or between fairy tale and folktale. In the section that follows, it is assumed that useful distinctions can be drawn between different categories.
It should, however, be remembered throughout that these classifications are far from rigid and that, in many cases, a given tale might be plausibly assigned to more than one category. Fables The word fable derives from the Latin word fabula, which originally meant about the same as the Greek mythos.
Like mythos, it came to mean a fictitious or untrue story. Myths, in contrast, are not presented as fictitious or untrue.
Fables, like some myths, feature personified animals or natural objects as characters. Unlike myths, however, fables almost always end with an explicit moral message, and this highlights the characteristic feature of fables—namely, that they are instructive tales that teach morals about human social behaviour.
Myths, by contrast, tend to lack this directly didactic aspect, and the sacred narratives that they embody are often hard to translate into direct prescriptions for action in everyday human terms.
Another difference between fables and myths relates to a feature of the narratives that they present. The context of a typical fable will be unspecific as to time and space—e. Like myths, fairy tales present extraordinary beings and events. Folktales There is much disagreement among scholars as to how to define the folktale; consequently, there is disagreement about the relation between folktale and myth.
The latter view is taken by the British Classicist Geoffrey S. Kirk, who in Myth: Its Meaning and Functions in Ancient and Other Cultures uses the term myth to denote stories with an underlying purpose beyond that of simple story-telling and the term folktale to denote stories that reflect simple social situations and play on ordinary fears and desires.
Examples of folktale motifs are encounters between ordinary, often humble, human beings and supernatural adversaries such as witches, giants, or ogres; contests to win a bride; and attempts to overcome a wicked stepmother or jealous sisters. But these typical folktale themes occur also in stories normally classified as myths, and there must always be a strong element of arbitrariness in assigning a motif to a particular category.
A different and important aspect of the problem of defining a folktale relates to the historical origin of the concept. As with the notion of folklore, the notion of folktale has its roots in the late 18th century. This definition of folktale introduces a new criterion for distinguishing between myth and folktale—namely, what class of person tells the story—but it by no means removes all the problems of classification.
Just as the distinction between folk and aristocracy cannot be transferred from medieval Europe to tribal Africa or Classical Greece without risk of distortion, so the importing of a distinction between myth and folktale on the later European model is extremely problematic.
Sagas and epics The word saga is often used in a generalized and loose way to refer to any extended narrative re-creation of historical events.
A distinction is thus sometimes drawn between myths set in a semidivine world and sagas more realistic and more firmly grounded in a specific historical setting.
This rather vague use of saga is best avoided, however, since the word can more usefully retain the precise connotation of its original context.
If the word saga is restricted to this Icelandic context, at least one of the possible terminological confusions over words for traditional tales is avoided.
While saga in its original sense is a narrative type confined to a particular time and place, epics are found worldwide. Examples can be found in the ancient world the Iliad and Odyssey of Homerin medieval Europe the Nibelungenliedand in modern times the Serbo-Croatian epic poetry recorded in the s.
Epic is similar to saga in that both narrative forms look back to an age of heroic endeavour, but it differs from saga in that epics are almost always composed in poetry with a few exceptions such as Kazak epic and the Turkish Book of Dede Korkut.If you are a teacher searching for educational material, please visit PBS LearningMedia for a wide range of free digital resources spanning preschool through 12th grade.
Aug 21, · Watch video · “Myth has two main functions,” the poet and scholar Robert Graves wrote in “The first is to answer the sort of awkward questions that children ask, such Shows. 1 INTRODUCTION. The Bible begins with the famous line “In the beginning God created the heavens and the earth.”This sentence asserts an essential belief of Jewish and Christian faith, the belief that the deity of Jews and Christians is the creator of the world.
The rejection by the framework-hypothesis of the historicity of Genesis implies the mythical character of the more detailed description of Adam and Eve in Genesis ff., the mythical character of the account of the fall in Genesis 3, and the mythical character of the rest of Genesis , which depends upon Genesis about ,, years ago early seaweed formed..
Molecular clock methods indicate that red and green algae arose around 1,,, years ago, and the secondary symbiosis that eventually led to the chromists occurred around 1,,, years ago during the late Mesoproterzoic era, after the earth's transition to a more highly .
I. THE WHOLE TRINITY, each in His separate office, though all in unity, addressed themselves to the work of creation. 1. The Holy Spirit brooded over the watery chaos. 2. The Son, the Lord Jesus Christ, was that power, or "Arm of the Lord," by which the whole work was executed.