1: The World of Ancient Greece and Mycenae
- Page ID
- 249987
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)Why, exactly, does history matter to the study of Classical Mythology? History shows us where humans as a species have been and how we got to where we are now, as a long chain of causal analysis: this led to that, and that led to some other event, which begat yet another event in the timeline. But this isn’t new information to students. History matters because it gives us an insight into what occurred to the people who created these myths, and how they saw the world–including natural and spiritual forces (religion, if you like)--around them. The literary theory of New Historicism asserts that interpretations of literature should be framed around the historically significant events the civilization encountered, and it takes all such events as necessary illuminations to understanding the literature (Schape 123). Having an understanding, or at least a general awareness, of the numerous wars that led to the Trojan War is useful in better understanding The Iliad, and the stakes for Greeks, their allies, and those previous suitors of Helen who owed loyalty to Menelaus. Likewise, when we see the character of King Minos appear in multiple heroic episodes, it’s helpful to place the kingdom of Minos and the Minoan era in context.
External reasons point to the long macro lens of world history and human interaction. Internal reasons cause us to acknowledge that we study literature because it is a window into who we are as a human species, and history is also a micro lens to give us a better perspective into that study.
The origins of Greek mythology begin with the Archaic period (c. 800-480 BCE). A narrative history is provided on the next page to better frame the events and show their effects on the evolving landscape of literature and the means to record it.
- 1.1: A Timeline of Ancient Greece
- A linear timeline is helpful to place impactful events in historical context, starting from the Bronze Age through the foundation of the Roman Empire, which concludes the Classical Greek era.
- 1.2: A Condensed Outline of Greek History (to CE 1453)
- This page offers a narrative overview of the major eras leading up to the Classical Greek.?? It provides historical context of the events that influenced Greek myths and legends.
- 1.3: The Topography and Monuments of Athens- A Brief Introduction
- This page introduces topography--the geographical and natural resources of a country--and how that serves as a basis for the Ancient Greek cultural, their temples, monuments and idolatry.
- 1.4: Ancient Greek Models of Marriage and Family
- The concepts and definitions of family was nuanced in Classical Athens. Understanding the structures and hierarchies within familial units is useful in appreciating the dynamics of the Ancient Greek pantheon of gods.
- 1.5: Myth, Legend and Folklore
- Not all folklore is myth, and not all legend is folklore.?? While there is some crossover between the genres of myth, folkore, legend and saga, each one carries its own unique distinctions.
- 1.6: Comparisons (and Contrasts) Within Greek and Roman Myths
- This page explores Greek myths, focusing on the individualism and heroic feats of semi-divine characters, notably Herakles, and their quest for immortality through fame. It contrasts Greek and Roman interpretations, highlighting Roman adaptations as seen in Ovid's "Metamorphoses" and Virgil's "Aeneid," which infused Roman values like duty and seriousness into the myths.
- 1.7: The Function of Myth in Ancient Greece
- Apart from serving as engaging stories for future generations to study and enjoy, many of these myths contained a ceremonial function which Ancient Greeks viewed as essential to their physical and social survival, especially agricultural fertility.?? Additionally, appealing to the beneficial aspects of each of the gods worked both for insurance and for building political stability, a core element to the success of the empire.
- 1.8: Temples and Churches
- While churches serve important religious functions, they differ from ancient temples in an important aspect. Temples served as the physical home of the god or goddess for which they were constructed. Thus, they allowed for a more direct experience and communion with the deity.
- 1.9: Socio-Political Value of Myths
- Charter myths, such as the contest between Athene and Poseidon for patronage of Athens, provide basis for the social foundations and the archeological and recorded evidence that links historical figures to the mythic past.
- 1.10: Communal Rituals--The Panathenaea and the City Dionysia
- The city-wide Panathenaea and City Dionysia festivals served not only to unite citizens through ritual parades, recitations and sacrificial tributes, but also to celebrate the creative arts through dramatic competitions. Such competitions introduced Sophocles' Oedipal Cycle and other notable plays and poems.
- 1.11: Reading Response Prompt
- Reading responses are a way to reflect and interact with the text, allowing students to demonstrate their ability to move beyond simple summary and demonstrate critical insight into the text.
- 1.12: Study Questions
- Study questions offer an opportunity for individual or group interaction with the text.
- 1.13: Bibliography
- The following bibliography contains books and resources referenced and/or adapted for Chapter 1.