Greek mythology Archives - Tales of Times Forgotten

Everything I Liked and Hated about Uberto Pasolini’s ‘The Return’ (2024)

The Odyssey, an ancient Greek epic poem, is one of the most famous works of world literature. Countless adaptations of it have come out over the years in virtually all forms of media including books, stage plays, films, television series, video games, and musicals—but one thing most of these adaptations have in common is that they focus on one relatively small section of the epic. Although the whole epic consists of twenty-four “books” (which are roughly the length of chapters), most adaptations focus mostly or entirely on Books 9–12, a first-person account by Odysseus of his various adventures while trying to return to his home island of Ithaka. The stories found in these four books have become so iconic that, when one mentions the Odyssey, they are what most people immediately think of: the man-eating Kyklops, the Lotos-eaters, the sorceress Kirke who turns men into pigs, the summoning of the dead, Skylla and Kharybdis, and the Sirens who lure sailors to their deaths.

Many people who haven’t read the original epic don’t realize that Odysseus arrives back on Ithaka in Book 13 and the entire second half of the epic (Books 13–24) describes what happens after he gets back. It’s easy to see why the second half of the epic receives less attention than the first half; the pace is slower, the events described are less fantastic and more mundane, and modern audiences who have been conditioned to see the epic as being about Odysseus’s journey home may assume that the story is over once he arrives on Ithaka’s shore. The second half of the epic, however, is a tour de force of storytelling containing some of the greatest drama and pathos in the whole epic.

This is why I was initially very excited about the film The Return, directed by Uberto Pasolini and starring Ralph Fiennes and Juliette Binoche, which was released on December 6th, 2024. The film is an adaptation of the last twelve books of the Odyssey that begins with Odysseus’s arrival home, omitting his better-known earlier adventures. I promised that I would write a review of the film and now I am coming through on that promise (albeit three months late). Unfortunately, having now seen the film, I have mixed feelings about it. It contains some strong acting and truly great moments (including a twist on the bow scene worthy of the original Odyssey), but the film’s dialogue is weak, it fundamentally mischaracterizes Odysseus in a way that erases his complexity and makes him less interesting, its characterization of Penelope is wildly inconsistent, and certain changes to the plot result in convoluted storytelling.

New Fragments of Euripides Discovered!

As I previously discussed in this post I wrote back in 2021, the vast majority of ancient Greek drama has not survived to the present day. Of the hundreds of Greek tragic playwrights who flourished in antiquity, only three have any plays that have survived to the present day complete under their own names: Aischylos, Sophokles, and Euripides. At least ninety-five plays attributed to Euripides circulated in antiquity. Of these, only nineteen have survived to the present day complete and only eighteen of them are actually his work. (One of the surviving plays attributed to him, Rhesos, is generally agreed by modern scholars to be the work of a different playwright wrongly attributed to Euripides.)

Many of Euripides’s lost plays, however, are not totally lost; fragments of them survive. Some of these fragments are preserved through quotation by later ancient writers in surviving works, while others survive on papyri that have been discovered in Egypt over the past roughly century and a half. Some of these fragments are as long as whole scenes, while others are as short as a single word. A new expansion to Euripides’s surviving corpus, however, has just arrived. On August 1st, 2024, two classics professors at the University of Colorado Boulder announced that they have identified substantial previously unknown sections from two of his lost tragedies on a papyrus recently discovered in Egypt. This is a positively electrifying discovery for the field of classics.

Persephone Is in the Underworld During the Summer, Not the Winter

For those of us who live in the northern hemisphere, winter will soon be upon us. The ancient Greek myth of the goddess Persephone, who spends one third of the year in the underworld and the remaining two thirds of the year with her mother Demeter, is a well-known etiological myth (i.e., a myth that explains how things came to be the way they are) for the changing of the seasons.

Most modern people who know the myth of Persephone think that the ancient Greeks believed that she was in the underworld during the winter and with Demeter for the rest of the year. Even many professional classicists think this. I, however, like some other scholars, am convinced that this is incorrect. The surviving ancient sources for the myth are unclear about which part of the year Persephone spends in the underworld and it makes far more sense given everything we know about the ancient Greek agricultural and religious calendars to conclude that the Greeks believed that she was in the underworld during the summer, not the winter.

The Shocking True Origin of Dionysos

The ancient Greeks from at least the fifth century BCE onward commonly believed that the worship of the god Dionysos originated in Asia and was introduced to the Greek world relatively late. For most of the twentieth century, scholars simply accepted this belief at face value and deemed the elements of Dionysos’s cult that they perceived as strange and exotic as definitive marks of his cult’s eastern origin. If you pick up any book about Greek religion that was published before around 1960, it will almost certainly claim that Dionysos was a late addition to the Greek pantheon. Even today, people online still commonly repeat this claim as though it were fact.

For at least the past thirty years, though, scholars of ancient Greek religion have known for certain that Dionysos was not, in fact, a late entry to the Greek pantheon from the east at all. Instead, extremely ancient clay tablets written in a very early form of Greek definitively attest that the Greeks were already worshipping Dionysos as early as the fourteenth century BCE—a thousand years before Plato was even born. In light of this fact, the fact that the ancient Greeks believed that Dionysos was a recent addition to their pantheon takes on new meaning and potentially reveals much about how the Greeks thought about foreignness.

What Was the “Epic Cycle” Really?

If you’re at all familiar with early ancient Greek literature, there’s a very strong likelihood that you’ve heard at some point that some ancient authors considered the Iliad and the Odyssey to belong to something called the “Epic Cycle.” This term refers to a particular group of eight epic poems in dactylic hexameter verse that originated from oral tradition during the Greek Archaic Period (lasted c. 800 – c. 490 BCE) and that all tell stories about the Trojan War and the mortal heroes who are said to have fought in it.

The poems that are included in the Epic Cycle are, in narrative order of the events they describe: the Kypria, the Iliad, the Aithiopis, the Little Iliad, the Iliou Persis or Sack of Ilion, the Nostoi or Homecomings, the Odyssey, and the Telegoneia. Sadly, of these poems, only the Iliad and the Odyssey have survived to the present day complete. Only a few tiny fragments of the other epics, preserved through quotation by later authors, and prose summaries of their contents remain.

Unfortunately, very few explanations of the Epic Cycle for a general audience exist and the vast majority of the ones that do exist are misleading and written by non-classicists. As a result, most people who are not classics specialists aren’t aware that it existed and most of those who are aware have some serious misunderstandings about what it was. That is why, in this post, I am going to discuss what the Epic Cycle was and—just as importantly—what it wasn’t. For the purposes of this post, I will assume that my readers have some basic knowledge about Greek myths of the Trojan War and at least a vague awareness of the Iliad and the Odyssey, but I will not assume that they have any familiarity with Greek literature, philology, or history beyond this.

The Shocking Ancient Pagan Origin of the Legend of Stingy Jack

Halloween is upon us once again. As I have mentioned many times before on this blog, the popular notion that Halloween is a superficially Christianized ancient pagan holiday and that the practices associated with it today are of ancient pagan origin is largely a misconception. In reality, there is very little about Halloween as it is celebrated in the United States in the twenty-first century that can reliably be traced back to any ancient pre-Christian culture or belief system. There are, however, a few concepts and stories associated with Halloween that do have genuine, well-attested, pre-Christian, pagan origins.

Notably, as I discuss in this blog post I made in October 2021, many of the monsters that have become associated with the holiday—including ghosts, werewolves, and revenants—are really of ancient pre-Christian origin. In this post, I will discuss another such example: the traditional Irish Halloween legend of Stingy Jack, which is a Christianized version of a very ancient and widely attested folktale in which a clever human trickster manages to trap a malevolent or threatening supernatural being who has come to take him away to an undesirable afterlife location. Older, expressly pagan versions of this legend are attested as far back as ancient Greece in sixth century BCE.

No, Athena Didn’t Turn Medusa into a Monster to Protect Her

One of the most famous stories in all of ancient Greek and Roman mythology and literature is the tale of the origin of the Gorgon Medusa that the Roman poet Publius Ovidius Naso (lived 43 BCE – c. 17 CE), who is better known in English simply as “Ovid,” tells in his long narrative poem Metamorphoses, which he composed in the Latin language in dactylic hexameter verse in around the year 8 CE or thereabouts.

According to Ovid, Medusa was originally an extraordinarily beautiful mortal woman who was known for her gorgeous hair. Then, however, the god Neptunus (whom the Romans equated with the Greek god Poseidon) raped her in the temple of the goddess Minerva (whom the Romans equated with the Greek goddess Athena) and Minerva punished her by turning her into a hideous monster with snakes entwined in her hair and making it so that any mortal who saw her would instantly turn to stone.

A claim has circulated online for years now claiming that modern people have misunderstood this myth and that, actually, Minerva turned Medusa into a monster and made it so that anyone who saw her would instantly turn to stone in order to protect her so that men would never prey on her again. This claim, however, is not supported by any evidence in any ancient source and, in fact, Ovid’s account expressly says that Minerva cursed Medusa in order to punish her for her involvement in desecrating her temple, even though her involvement was totally nonconsensual. Furthermore, the context in which Ovid tells the story strongly suggests that he intended his readers to sympathize with Medusa and question the justice of Minerva’s punishment.

Men Have Been Finding Weird and Unsettling Ways to Describe Women’s Breasts Since Ancient Times

It is common knowledge that cisgender straight and bisexual men frequently possess an overriding fascination with women’s breasts—to such an extent that they often devote more attention to a woman’s breasts than to any other aspect of her person. As a result of this fixation, some male writers have a habit of throwing in references to or descriptions of breasts in places where they are contextually inappropriate. Sometimes they also describe breasts using goofy or perplexing figurative language.

These sorts of references and descriptions have become a subject of widespread memes and satire. There is even an entire subreddit called r/menwritingwomen, which is dedicated to examples of male authors writing about women in incompetent (and often comical) ways. A significant proportion of the examples discussed in the subreddit are breast references and its satirical headline reads: “She breasted boobily down the stairs…..”

One thing some people may not realize is that gynophilic men have been doing this exact same thing for literally thousands of years. In this post, I will discuss three different examples of goofy, weird, unsettling, or just downright creepy descriptions of women’s breasts in texts from the ancient Mediterranean world in three different languages: Biblical Hebrew, Ancient Greek, and Latin.

Why Are Dragons Obsessed with Treasure?

The trope that dragons are naturally obsessed or infatuated with treasure is absolutely pervasive throughout modern fantasy literature. You can pick up just about any modern book that has dragons in it and, more likely than not, the dragons will be obsessed with hoarding treasure of some kind. In this post, I will discuss where this trope originates from and how it became so ubiquitous.

In ancient Greece and Rome, drakontes (the ancient precursors of dragons) were primarily thought to serve as guardians, sometimes of treasure. The notion that dragons are obsessed with treasure seems to have arisen in classical antiquity or earlier as one of several different explanations for why they guard it. Thanks primarily to the Old English epic poem Beowulf and J. R. R. Tolkien’s 1937 children’s fantasy novel The Hobbit, which drew extensive inspiration from Beowulf, this explanation has now become accepted as standard in western popular culture.

Why Is Justice Personified as a Woman Holding a Set of Scales?

Chances are at some point you’ve seen a statue or painting depicting the personification of the concept of justice as a woman holding a set of scales in one hand (usually her left) and an unsheathed sword in her other hand (usually her right), often wearing a blindfold over her eyes. Statues depicting Justice in this manner often stand outside courthouses across Europe and the Americas. Many people have wondered why she is personified as a woman and some have tried to attribute great allegorical or symbolic significance to her gender. Some have imagined, for instance, that maybe men find women desirable and men created the personification of Justice, so they made her a woman to show that Justice is desirable. This may sound like a compelling and common-sense answer, but it is still wrong.

In reality, Justice is personified as a woman not for any profound allegorical or symbolic reason, but rather simply because the respective nouns denoting the concept of “justice” in the Ancient Greek and Latin languages happen to be grammatically feminine. In this post, I will discuss the origin of the personification Justice and the history of how she came to have the standard iconography that she has today.