The cannibalistic consumption of children in Greco-Roman myth is a significant motif that occurs in a range of myths involving both gods and humans. Through an analysis and comparison, the cannibalisation of infants in Greco-Roman myth, it is evident that the eating of children, whether it be a product of revenge or test of the gods’ authority, signifies a threat to the civilised order. Cannibalism, as Christiane Sourvinou-Inwood (1986, p.42) writes: “characterizes beasts in opposition to men, savagery in opposition to civilization and disorder in opposition to order, its practice implies, and threatens society with, reversion to bestiality, savage and disorder.” The cannibalism of children specifically threatens the Greco-Roman social order that relied on the maintenance of the structure of the family unit, with the succession of power passing from father to son. Ultimately, the motif signifies a decent in to disorder and the punishments that follow represent the return to order. Thus, these cyclical myths can be interpreted as reinforcing the importance of maintaining the established structure of the family unit and its succession of power within the myth-telling society.
The divine myth of the titan Cronus’ consumption of his children immediately after they are born is an important succession myth (Hesiod, Theogony
…show more content…
Thus, occurrences of cannibalisation in Greco-Roman myth represents an endangering of the rightful orders. In divine myths this is the cosmic order, while in myths concerning humans it is the human social structure that is disrupted. Specifically, the consumption of children is a threat to the social orders of succession and the family unit, which in turn is a microcosm for all of society. Therefore, the motif of the cannibalisation of children in Greco-Roman myth functions didactically to remind society of the importance of maintaining the family unit and social
For the Greeks, Homer's Odyssey was much more than just an entertaining tale of gods, monsters, and men, it served as cultural paradigm from which every important role and relationship could be defined. This book, much more so than its counter part The Iliad, gives an eclectic view of the Achean's peacetime civilization. Through Odyssey, we gain an understanding of what is proper or improper in relationships between father and son, god and mortal, servant and master, guest and host, and--importantly--man and woman. Women play a vital role in the movement of this narrative. Unlike in The Iliad, where they are chiefly prizes to be won, bereft of identity, the women of Odyssey are unique in their personality, intentions, and relationship towards men. Yet, despite the fact that no two women in this epic are alike, each--through her vices or virtues-- helps to delineate the role of the ideal woman. Below, we will show the importance of Circe, Calypso, Nausicaa, Clytaemestra, and Penelope in terms of the movement of the narrative and in defining social roles for the Ancient Greeks.
Clearly, there is a distinction between the world of the Roman gods and the world that everyday people live in. Man, according to Ovid, has experienced a gold, sil...
In ancient times, the Greeks had absolute and undeniable respect for their gods. They demonstrated their admiration by putting in place many rituals and celebrations to reverence the gods that they loved and feared in order to ensure harmony with them. In particular, the focus will be on the religious beliefs of the Greeks, including prayer and sacrifice, as well as on festivals and the arts, such as the ancient Olympic games and theatre. These aspects of their culture made a significant contribution to their quality of life. Moreover, these topics will be examined in relation to the twelve Olympian gods and their associates.
Grant, M. (1962). Myths of the Greeks and Romans (1st ed.). Cleveland: World Pub. Co.
This paper will discuss the well published work of, Pomeroy, Sarah B. Goddesses, Whores, Wives, and Slaves: Women in Classical Antiquity. New York: Schocken, 1975. Print. Sarah B. Pomerory uses this book to educate others about the role women have played throughout ancient history. Pomerory uses a timeline to go through each role, starting with mythological women, who were called Goddesses. She then talks about some common roles, the whores, wives, and slaves during this time. Pomerory enlightens the audience on the topic of women, who were seen as nothing at the time. Men were seen as the only crucial part in history; however, Pomerory’s focus on women portrays the era in a new light.
Rosenberg, Donna. "The Creation of the Titans and the Gods." World Mythology. 3rd ed. Chicago: NTC/Contemporary Publishing Group, Inc., 1999. 82-89. Print.
The society in which classical myths took place, the Greco-Roman society was a very patriarchal one. By taking a careful gander at female characters in Greco-Roman mythology one can see that the roles women played differ greatly from the roles they play today. The light that is cast upon females in classical myths shows us the views that society had about women at the time. In classical mythology women almost always play a certain type of character, that is to say the usual type of role that was always traditionally played by women in the past, the role of the domestic housewife who is in need of a man’s protection, women in myth also tended to have some unpleasant character traits such as vanity, a tendency to be deceitful, and a volatile personality. If one compares the type of roles that ladies played in the myths with the ones they play in today’s society the differences become glaringly obvious whilst the similarities seem to dwindle down. Clearly, and certainly fortunately, society’s views on women today have greatly changed.
Around the time where Greece was known to be the greatest civilization on earth, many people used myths and stories as an extension of their belief because they were culturally significant and important. Ancient Greece was a male-dominated civilization that created laws which would benefit only those with power, which let to the suffering of those without power. The relationship of the sexes was very important, because it showed how men were more superior and woman were frowned upon because they were treated more like minorities. Aeschylus’ “Agamemnon” is about a Greek king who would do anything, including sacrificing his daughter, because he feels as a man and a king whatever decisions he makes are always just. Sophocles’ “Antigone” is about a girl who goes against the religious values of the society, and get persecuted because state laws restrict her
It was Roman myths of origin which imparted the most quintessentially Roman qualities onto the city and its people. Since Rome’s founders first exhibited the desire for conflict, so too has Rome. The sense of divine protection of such importance to the city’s people, is a direct product of the creation myths. The myths also provided evidence of the honour found within rusticity, giving rise to the value Romans placed on thrift and simple living. The myths of origin also stipulated the nobility of Rome’s founders, who would come to reflect the nobility of later Romans. The broad implications of the creation myths on Roman society, were felt most sharply by women, who were subjugated throughout the city’s history. Rome is deeply reflective of its myths of origin, as it was the myths which shaped the city into what it became.
In the myths of the Centauromachy and the Amazonomachy, the Greeks found a manuscript for moral and disciplinary guidance in their dealings with the women of the time. By assigning the women of Greece hybris, Greek men targeted the women of Greece to intense programs of subjugation and social retribution in order to prevent the emergence of Centaurian or Amazonian traits, which would destroy the patriarchal nature of Archaic Greek culture. Generally, Greek myths tend to exemplify gender profiling as a way to polarize the sexes in order to maintain a stable and workable patriarchy. This is evidenced in the Centauromachy and Amazonomachy, which identify undesirable and inherent qualities in the women of Greece.
Myth provided the framework of drama, which illustrated in a highly concrete and cogent way some important crisis or problem, and that is why Greek tragedy can be called symbolical. The old stories are indeed told again for their own sake, and there is no lack of dramatic tension and human interest, but they also exemplify some far-reaching problem, which is admirably presented in this individual shape (31).
Ancient Roman mythology consisted of a combination of rituals, beliefs, and observances of supernatural occurrences. They were based heavily on the idea of Greek mythology. As legend has it, the gods resembled human figures but they were bigger stronger and much more beautiful than that of the ancient roman gods. Even though the Roman gods were not depicted to be as beautiful they still were thought of with high admiration by roman citizens. The roman’s paid homage to the gods, in doing so they expected protection, fertility, prosperity, and good health in return for their allegiance.
It has been suggested many times (for example, Tokarev 1:12), that mythology was the main instrument for the so-called ‘primitive’ cultures to understand the surrounding world. If this is so, then the world, in a pre-mythic or mythless state, must present itself as dangerous and inconceivable, as it actually does in both plays.
To view the links that are instilled between mortals, immortals, and fate in The Iliad, it is worthwhile to examine each on its own to observe how they connect. The characteristics of the three are inherently unique in relation to each other, though in some areas there is overlap. Man is defined as a mortal, someone who can die from old age and disease. Products from mortal and immortal procreation, such as the hero Achilles, fall into a sort of category all their own, but Achilles himself suggests that he would die from old age if he were to return home (9:502-505). In this weakness of the flesh they differ from the immortal gods, who cannot die from natural causes. Nevertheless, the gods share the imperfections of man: disloyalty, deceit, anger, and even lust. They see themselves as above man, and yet their actions are often as selfi...
Some describe Ovid’s The Metamorphoses as the introduction and development of moral order through the stories of the gods and mortals. Usually in these stories, a mortal commits a grave error, perhaps by being greedy or adulterous, and the gods punish the mortal for his wrongdoing. The story of the hunter, Actaeon, does not fit this mold. The story goes that after a long day’s hunt on a hot mountain, Actaeon stumbled across a pool fed by a waterfall in a hidden cave. Diana, the Goddess of hunting, claimed this cave and its waters as her own sacred sanctuary. Diana transformed Actaeon into a stag when he accidentally found her naked, being bathed by her nymphs. In a reversal of roles, Actaeon’s hunting hounds eat their master, the biggest trophy in a successful day of hunting. Ovid and I agree that Actaeon did not deserve his punishment.