Greek Myths Quotes

It'll be dangerous," Nyssa warned him. "Hardship, monsters, terrible suffering. Possibly none of you will come back alive." "Oh." Suddenly Leo didn't look so excited. Then he remembered everyone was watching. "I mean... Oh, cool! Suffering? I love suffering! Let's do this.

You think I'm cute?" He said thinkly, pulling on her hand. She was glad he couldn't see her face. "I think you're..." Beautiful. Breathtaking. Like the person in a Greek myth who makes one of the gods stop caring about being a god.

Gaia visited her daughter Mnemosyne, who was busy being unpronounceable.

THAT Perseus always won. That's why my momhad named me after him, even if he was son of Zeus ann I was son of Posidon. The original Perseus was one of the only heros in the greek myths who got a happy ending. The others died-betrayed, mauled, mutilated, poisoned, or cursed by the gods. My mom hoped i would inherit Perseus's luck. Judging by how my life was going so far, i wasn't too optimistic.

I'd had years of practise looking dumb when people threw out Greek names I didn't know. It's a skill of mine. Annabeth keeps telling me to read a book of Greek myths, but I don't see the need. It's easier just to have folks explain stuff.

For the world seems never to offer anything worthwhile without also providing a dreadful opposite.

Cacus.” I’d had years of practice looking dumb when people threw out Greek names I didn’t know. It’s a skill of mine. Annabeth keeps telling me to read a book of Greek myths, but I don’t see the need. It’s easier just to have folks explain stuff.

Maybe that's why you demonised them, turned them into monsters, because you think monsters are easier to understand than women who say no to you.

The Greeks created gods that were in their image; warlike but creative, wise but ferocious, loving but jealous, tender but brutal, compassionate, but vengeful.

Gaia listened carefully to this wise counsel and - as we all do, whether mortal or immortal - ignored it.

Why would anyone love a monster?' asked Perseus. 'Who are you to decide who is worthy of love?' said Hermes. 'I mean, I wasn't...' 'And who are you to decide who is a monster?' added the messenger god.

When women take up space, there is less available for men. But it means we get a whole story instead of half of one.

But the queen--too long she has suffered the pain of love, hour by hour nursing the wound with her lifeblood, consumed by the fire buried in her heart. [...] His looks, his words, they pierce her heart and cling-- no peace, no rest for her body, love will give her none.

You’re like a god from a Greek myth, Saiman. You have no empathy. You have no concept of the world beyond your ego. Wanting something gives you an automatic right to obtain it by whatever means necessary with no regard to the damage it may do. I would be careful if I were you. Friends and objects of deities’ desires dropped like flies. In the end the gods always ended up miserable and alone." — Kate Daniels

Happy endings are best achieved by keeping the right doors locked

You make the rarest canvas, love

When lust descends, discretion, common sense and wisdom fly off and what may seem cunning concealment to one in the grip of passion looks like transparently clumsy idiocy to everyone else.

There’s comfort in stories which don’t change, even the sad ones.

Keep in mind that in the whole long tradition of storytelling, from Greek myths through Shakespeare through King Arthur and Robin Hood, this whole notion that you can't tell stories about certain characters because someone else owns them is a very modern one - and to my mind, a very strange one.

And if history has taught us anything, it is that women making a noise – whether speaking or shouting – tend to be viewed as intrinsically disruptive.

I sort of fell." "Percy! Six hundred and thirty feet?

She sometimes felt she had been cursed, as if by some malevolent goddess in a Greek myth, to lose everyone she ever loved.

the dank night is sweeping down from the sky and the setting stars incline our heads to sleep.

You read any Greek myths, puppy? The one about the gorgon Medusa, particularly? I used to wonder what could be so terrible that you couldn't survive even looking at it. Until I got a little older and I figured out the obvious answer. Everything.

It is enough to say that the Greeks thought it was Chaos who, with a massive heave, or a great shrug, or hiccup, vomit or cough, began the long chain of creation that has ended with pelicans and penicillin and toadstools and toads, sea-lions, lions, human beings and daffodils and murder and art and love and confusion and death and madness and biscuits.

Painters, poets and philosophers have seen many things in the myth of Sisyphus. They have seen an image of the absurdity of human life, the futility of effort, the remorseless cruelty of fate, the unconquerable power of gravity. But they have seen too something of mankind’s courage, resilience, fortitude, endurance and self-belief. They see something heroic in our refusal to submit.

The seeding of Gaia gave us meaning, a germination of thought into shape. Seminal semantic semiology from the semen of the sky.

What Pandora did not know was that, when she shut the lid of the jar so hastily, she for ever imprisoned inside one last daughter of Nyx. One last little creature was left behind to beat its wings hopelessly in the jar for ever. Its name was ELPIS, Hope.

Eventually, Krysomallos would be skinned for his fleece, which became known as the Golden Fleece, which means I am related to a sheepskin rug. This is why you don't want to think too hard about who you're related to in the Greek myths. It'll drive you crazy.

..and why the winter suns so rush to bathe themselves in the sea and what slows down the nights to a long lingering crawl...

For my mum, who has always thought that a woman with an axe was more interesting than a princess

Because really, how many cannibalistic giants can one Greek plausibly meet as he sails the open seas?

Whatever the truth, science today agrees that everything is destined to return to Chaos. It calls this inevitable fate entropy: part of the great cycle from Chaos to order and back again to Chaos.

Zeus may have been the God of lightning and of thunder. But it was Hera who invented the rain

But these myths are full of violence and we should at least ask why it is the violence against women that is removed in order to make our heroes uncomplicated adventurers.

Here Phaeton lies who in the sun-god’s chariot fared. And though greatly he failed, more greatly he dared.

I should have learned my lesson from Greek myths, really. It so doesn't pay to fall in love with a god. It’s either you get transformed – flower, bull, you name it, the gods can be that petty – or you just get…crushed.

-’Tell me’, he said, ‘who gives better offerings, a miserable man or a happy one’? -’A happy one, of course.’ -’Wrong. A happy man is too occupied with his life. He thinks he is beholden to no one. But make him shiver, kill his wife, cripple his child, then you will hear from him. He will starve his family for a month to buy yo a pure-white yearling calf. If he can afford it, he will buy you a hundred’. -’But surely, I said, you have to reward him eventually. Otherwise he will stop offering’. -’Oh, you would be surprised how long he will go on. But yes, in the end, it’s best to give him something. Then he will be happy again. And you can start over.

Even meaning and destiny themselves can be read in ordinary things, if you have the gift.

What the myth founds is a double existence between the upper world and the underworld: a dimension of death is introduced into life, and a dimension of life is introduced into death.

The Greek word for 'everything that is the case', what we could call 'the universe', is COSMOS. And at the moment - although 'moment' is a time word and makes no sense just now (neither does the phrase 'just now') - at the moment, Cosmos is Chaos and only Chaos because Chaos is the only thing that is the case.

Hero,” he said softly, in a manner that was much like his father’s. “Vengeance and glory are the ways of the Greeks and the Trojans. We are of the Herdsmen.

It is their refusal to see any divine beings as perfect, whole and complete of themselves, whether Zeus, Moros or Prometheus, that makes the Greeks so satisfying.

It is probably best for us not to concentrate in too literal a fashion on the temporal structure of myth.

It is the destiny of children of spirit to soar too close to the sun and fall no matter how many times they are warned of the danger. Some will make it, but many do not.

The forest rose like a dream from the mind of Chaos’s lonely daughter and the sun fell heavy and thick to warm the blood of a world not quite ready to live but so tired of its own imagination

Their stories should be read, seen, heard in all their difficult, messy, murderous detail. They aren’t simple, because nothing interesting is simple.

The signs of the old flame, I know them well. I pray that the earth gape deep enough to take me down or the almighty Father blast me with one bolt to the shades, the pale, glimmering shades in hell, the pit of night, before I dishonor you, my conscience, break your laws.

Poseidon spent almost all his time pursuing a perfectly exhausting quantity of beautiful girls and boys and fathering by the girls an even greater number of monsters, demigods and human heroes - Percy Jackson and Theseus to name but two.

Tragedy is born of myth, not morality. Prometheus and Icarus are tragic heroes. Yet none of the myths in which they appear has anything to do with moral dilemmas. Nor have the greatest Greek tragedies. If Euripides is the most tragic of the Greek playwrights, it is not because he deals with moral conflicts but because he understood that reason cannot be the guide of life.

A name can be in lots of places at once, she replies. A person can’t.

Hermes, the Psychopomp.

It is easier to be hated than to face not being loved Easier to be angry than accept sadness

Whoever takes me captive won't live long enough to enjoy it

Medusa wasn't always a monster, Helen of Troy wasn't always an adulterer, Pandora wasn't ever a villain.

A beautiful woman whom men find all the more alluring because she is essentially mute? I know, I always think the shock will kill me too.

But the verb in Pandora’s name is active, not passive: literally she is all-giving rather than all-gifted.

The moon’s three phases of new, full, and old recalled the matriarch’s three phases of maiden, nymph (nubile woman), and crone.

Brooding, simmering and raging in the ground, deep beneath the earth that once loved him, Ouranos compressed all his fury and divine energy into the very rock itself, hoping that one day some excavating creature somewhere would mine it and try to harness the immortal power that radiated from within. That could never happen, of course. It would be too dangerous. Surely the race had yet to be born that could be so foolish as to attempt to unleash the power of uranium?

It seemed to me I was living in an insane asylum of my own making. I went about with all these fantastic figures: centaurs, nymphs, satyrs, gods and goddesses, as though they were patients and I was analyzing them. I read a Greek or Negro myth as if a lunatic were telling me his anamnesis.

What we believe affects our choices, our actions, and subsequently, our lives. The Greeks believed in thier gods, and this belief affected everything else. History is written according to what men believe, whether or not it's true. As the writer of your own history, what you believe influences the paths you take. Do you believe in something that may be a myth? I'm not talking about religious beliefs, per se. I'm talking about things you've told yourself, or things you've been told for so long that you just assume that they are true.

Matters of immense import may depend on such issues, but we can never do more than guess the outcomes of the roads we do not take.

I know,” said Helen. “Like all sacred and truly precious objects it is very plain. Only profane things are beautiful.

It was probably true that he objectified women. He thought about them all the time, didn't he? He looked at them a lot. And didn't all this thinking and looking involve their breasts and lips and legs? Female human beings were objects of the most intense interest and scrutiny on Mitchell's part. And yet he didn't think that a word like objectification covered the way these alluring - but intelligent! - creatures made him feel. What Mitchell felt when he saw a beautiful girl was more like something from a Greek myth, like being transformed, by the sight of beauty, into a tree, rooted on the spot, forever, out of pure desire. You couldn't feel about an object the way Mitchell felt about girls.

Carved on the temple [at Delphi] were the exhortations "Know yourself" and "Nothing too much," mottoes with a similar meaning: You are only human, so don't try more than you are able (or you will pay the price). A recurring theme in Greek myth is the man or woman who loses sight of human limitations and acts arrogantly and with violence, as if immortal. And pays a terrible price.

She loved him, in fact; his violence and strength appealed to some deep part of her. He in turn grew to love her, so far as such a violent brute was capable of the emotion. Love and war, Venus and Mars, have always had a strong affinity. No one quite knows why, but plenty of money has been made trying to find an answer.

We don't worship Satan, we worship ourselves using the metaphorical representation of the qualities of Satan. Satan is the name used by Judeo-Christians for that force of individuality and pride within us. But the force itself has been called by many names.We embrace Christian myths of Satan and Lucifer, along with Satanic renderings in Greek, Roman, Islamic, Sumerian, Syrian, Phrygian, Egyptian, Chinese or Hindu mythologies, to name but a few. We are not limited to one deity, but encompass all the expressions of the accuser or the one who advocates free thought and rational alternatives by whatever name he is called in a particular time and land. It so happens that we are living in a culture that is predominantly Judeo-Christian, so we emphasize Satan. If we were living in Roman times, the central figure, perhaps the title of our religion, would be different. But the name would be expressing and communicating the same thing. It's all context.

Priapus became the god of male genitalia and phalluses; he was especially prized by the Romans as the minor deity of the major boner.

Goodness me. You don’t ask for the moon, do you?” “Oh, what a good idea! The moon. Yes, I’d love the moon, please. That will be all. I’ll never ask for anything ever again ever.

The message is simple: women are stronger together than apart, even ones with superpowers.

Amazons – even when one is exceptional – are a team, a tribe, a gang, and it is this which Buffy captured so perfectly: an ensemble of women fighting to save us all.

Pandora’s imprisonment of it was a triumphant act that saved us from Zeus’s worst cruelty. With hope, Nietzsche argued, we are foolish enough to believe there is a point to existence, an end and a promise.

I took the sheep and cut their throats over the pit, and let the dark blood flow. Then there gathered the spirits of the dead, brides and unwed youths, old men worn out by labour, and tender maidens with hearts still new to sorrow.

Kronos had seen by now that his wife was expecting and he readied himself for the happy day when he could consume the sixth of his children. He was taking no chances.

You will not find the truth but the truth will find you,’ ‘Seek not to know, but know to seek,’ ‘You don’t make mistakes, mistakes make you

Every myth contains multiple timelines within itself: the time in which it is set, the time it is first told, and every retelling afterwards. Myths may be the home of the miraculous, but they are also mirrors of us. Which version of a story we choose to tell, which characters we place in the foreground, which ones we allow to fade into the shadows: these reflect both the teller and the reader, as much as they show the characters of the myth. We have made space in our storytelling to rediscover women who have been lost or forgotten. They are not villains, victims, wives and monsters: they are people.

Pandora’s role as the ancestor of all women was far more important than her disputed role in opening the world to incessant evil. Even if, for Hesiod, these two amount to much the same thing.

According to the Greek myth, Narcissus was a hunter who was exceptionally beautiful and proud. He was so proud, in fact, that he rejected anyone who tried to love him. Nemesis, the goddess of revenge, decided to punish Narcissus. She lured him to a pool of water where he was able to see his own reflection. He fell madly in love with himself and stared at his reflection until he died.

Dreams were told to priests on the morning after an overnight stay (known as an 'incubation') and Asclepius himself often manifested to patients. Especially, I believe, to those who paid the most.

Apparently the book says that at certain times in your life everything goes wrong and you don’t know which way to turn and it is as if everywhere around you stainless steel doors are clamping shut like in Star Trek. What you have to do is be a heroine and stay brave, without sinking into drink or self-pity and everything will be OK. And that all the Greek myths and many successful movies are all about human beings facing difficult trials and not being wimps but holding hard and thus coming out on top. The

Have faith in what music can do.

Could they remember the first time they felt the sweeping rush of love? Love came to peasants, kings, and even gods. Love made all equal. Love deified, yet love leveled.

Eurynome (wide wandering) was the goddess’s title as the visible moon; her Sumerian name was Iahu (‘exalted dove’), a title which later passed to Jehovah as the Creator.

the trope of the jealous husband is less pervasive in Greek myth than that of the jealous wife.

If you hurt her, she will make you regret it. Her revenge will exceed your original wrong and no one will ever be able to say of her that she let her enemies get away with something.

The Graeae’s names, as so often in Greek myth, have meanings. Pemphredo is “she who guides the way,” Enyo “warlike,” and Dino “terrible” (as in dinosaur, which means “terrible lizard”).

There is even an opposing theory to the Gaia thesis: that instead of a Mother Earth which nourishes and cherishes us, we instead inhabit a planet that is determined to extinguish us. It is called the Medea hypothesis.

If Morris and his contemporaries were possessed by the medieval Christian imagination and the ancient sagas, the moderns looked further back to the ancient world, and rewrote the Greek myths and legends to suit their own ideas about society and history.

The word 'clue' derives from 'clew', meaning a ball of thread or yarn. It had come to mean 'that which points the way' because of the Greek myth in which Theseus uses a ball of yarn, given to him by Ariadne, to find his way out of the Minotaur's labyrinth.

This species, the mute swan, became holy to Apollo. In remembrance of the death of the beloved Phaeton the bird is silent all its life until the very moment of its death, when it sings with terrible melancholy its strange and lovely goodbye, its swan song. In honour of Cygnus the young of all swans are called ‘cygnets’.

Perhaps narcissism is best defined as a need to look on other people as mirrored surfaces who satisfy us only when they reflect back a loving or admiring image of ourselves. When we look into another’s eyes, in other words, we are not looking to see who they are, but how we are reflected in their eyes. By this definition, which of us can honestly disown our share of narcissism?

Perhaps it’s a little reminder that the word museum means ‘home of the Muses’.

Yet, in my heart of hearts, I know I have never in my life wanted to eat anything so much as a sachet of silica gel, on which someone has stamped the words ‘Do Not Eat’.

Euripides was an astonishing writer of women. He wrote more and better female roles than almost any other male playwright who has ever lived.

Real hot, fierce, flickering, flaming fire to enable them to melt, smelt, roast, toast, boil, broil, fashion and forge;

as with almost all human practices, there are those who have the mysterious ability to raise the everyday and ordinary to the level of art.

Some are born with a beauty that seems to turn people mad. Fortunately there are very few of us like that, but our power can be unsettling and even eruptive.

They say a fool and his gold are soon parted, but they ought to say too that those who refuse ever to be parted from gold are the greatest fools of all.

It felt as if a kind of pestilence, a plague, were spreading through the college—as in a Greek myth, the sickness that destroyed Thebes; an invisible airborne poison drifting through the courtyards—and these ancient walls, once a refuge from the outside world, no longer offered any protection.

Now keep in mind that the typical Greek myth goes something like this: innocent shepherd boy is minding his own business, an overflying god spies him and gets a hard-on, swoops down and rapes him silly; while the victim is still staggering around in a daze, that god’s wife or lover, in a jealous rage, turns him–the helpless, innocent victim, that is–into let’s say an immortal turtle and e.g. power-staples him to a sheet of plywood with a dish of turtle food just out of his reach and leaves him out in the sun forever to be repeatedly disemboweled by army ants and stung by hornets or something. So if Arachne had dissed anyone else in the Pantheon, she would have been just a smoking hole in the ground before she knew what hit her.

If your mind and spirit are directed to your task, everything else will follow. Relax.” “But focus,” said Hermes. “Relaxation without focus leads to failure.” “Focus without relaxation leads to failure just as surely,” said Athena. “So concentrate . . .” said Perseus. “Exactly.” “. . . but calmly?” “Concentrate calmly. You have it.

In its place welled up that same dismay she'd known on her first viewing, some ten months past, of a naked man. Whose idea of good design was this? Why those awkward angles, and what could be the necessity for all that hair? If one believed, as the Bible and the Greek myths had it, that man had been created first and woman after, then one must conclude there had been some dramatic improvement in the process following that amateurish first attempt.

We have 18 or 19 plays by Euripides, for example, yet he is known to have written almost 100. Only 7 of Aeschylus’s 80 remain, while just 7 plays of Sophocles have come down to us out of 120 known titles. Almost every character you come across when reading the Greek myths had a play about them written by one, other, or all three of the great Athenian masters. The loss of so many of their works might be regarded as the greatest Greek tragedy of them all.

Indeed, we’re hard-pushed to find an asexual depiction of Medusa in contemporary culture, although The Lego Movie manages it beautifully, if briefly.45 Her Lego snake hair is particularly good.

It is the fate of the young never to learn,” the centaur sighed. “I suppose it is arrogance and unwavering self-belief that propels them to their triumphs, just as surely as it is arrogance and unwavering self-belief that unseats them and sends them plummeting to their ends.

When the question arises – why retell greek myths with women at their core? – it is loaded with a strange assumption. The underpinning belief is that women are and always have been on the margins of these stories. That the myths have always focused on men and that women have only ever been minor figures. This involves ignoring the fact that there is no ‘real’ or ‘true’ version of any myth, because they arise from multiple authors across multiple locations over a long period.

Still, Hermes says, 'But here's the thing/To know how it ends/And still begin to sing it again/As if it might turn out this time.' There's comfort in the stories which don't change, even the sad ones.

The Greek gods had personalities like those of humans and struggled with one another for position and power. They did not love humans (although some had favorites) and did not ask to be loved by them. They did not impose codes of behavior. They expected respect and honor but coud act contrary to human needs and desires.

From Pandora's box, where all the ills of humanity swarmed, the Greeks drew out hope after all the others, as the most dreadful of all. I know no more stirring symbol; for contrary to the general belief, hope equals resignation. And to live is not to resign oneself.

...we do not lend the hearth quite the importance that our ancestors did, Greek or otherwise. Yet, even for us, the word stands for something more than just a fireplace. We speak of 'hearth and home'. The word 'hearth' shares its ancestry with 'heart', just as the modern Greek for 'hearth' is kardia, which also means 'heart'. In Ancient Greece the wider concept of hearth and home was expressed by the oikos, which lives on for us today in economics and ecology. The Latin for hearth is focus - with speaks for itself. It is a strange and wonderful thing that out of the words for fireplace we have spun "cardiologist', 'deep focus' and 'eco-warrior'. The essential meaning of centrality that connects them also reveals the great significance of the hearth to the Greeks and Romans, and consequently the importance of Hestia, its presiding deity.

As is always the way with Ovid, his capacity for irony is so subtle and comprehensive that it is difficult to know how sincere or cheeky he is being at any given moment.

She is the protectress of little children, and of all sucking animals, but she also loves the chase, especially that of the stag.

It is not easy to soothe the immortal gods from their vengeance.

What could you possibly write at Gates of Hades?” Cadmus asked. “Keep your spirits up.” Lycon sheathed the dagger he’d used to chisel the trunk. Cadmus shook his head. “Idiot.

Achilles shook him. "Just come back.

I am Atalanta. I belong to this mountain, to the clan of mountain bears.” “I am Meleager,” he said. “I belong to Atalanta.

It is the ultimate story about the power of music to change hearts and minds.

It seems that Clytemnestra seals her own fate when she values her daughter’s life equally to the life of a king.

Anger at the loss of a fellow warrior – and revenge killing of the man responsible – motivates heroes throughout epic poetry.

Pan’s sudden shout which terrified the Titans became proverbial and has given the word ‘panic’ to the English language

Not for the first time, we see that an accurate translation has been sacrificed in the pursuit of making women less alarming (and less impressive) in English than they were in Greek.

Every trauma provides an opportunity for authentic transformation. Trauma amplifies and evokes the expansion and contraction of psyche, body, and soul. It is how we respond to a traumatic event that determines whether trauma will be a cruel and punishing Medusa turning us into stone, or whether it will be a spiritual teacher taking us along vast and uncharted pathways. In the Greek myth, blood from Medusa’s slain body was taken in two vials; one vial had the power to kill, while the other had the power to resurrect. If we let it, trauma has the power to rob our lives of vitality and destroy it. However, we can also use it for powerful self-renewal and transformation. Trauma, resolved, is a blessing from a greater power.

We can’t just stand here in the rain with our backs to the town,’ said Baucis. ‘I’ll look if you will.’ ‘I love you Philemon, my husband.’ ‘I love you Baucis, my wife.’ They turned and looked down. They were just in time to see the great flood inundating Eumeneia before Philemon was turned into an oak tree and Baucis into a linden. For hundreds of years the two trees stood side by side, symbols of eternal love and humble kindness, their intertwining branches hung with the tokens left by admiring pilgrims.

The meaning of the word "trauma," in its Greek origin is "wound." Whether we realize it or not, it is out woundedness, or how we cope with it, that dictates much of our behavior, shapes our social habits, and informs out ways of thinking about the world. It can even determine whether or not we are capable or rational thought at all in matters of the greatest importance to our lives.

The distinction that only sciences are useful and only arts are spirit-enhancing is a nonsensical one. I couldn't write much without scientists designing my computer. And some of them must want to read about Greek myth after a long day at work. These Muses always remind me that scientists and artists should disregard the idiotic attempts to separate us. We are all nerds, in the end.

I read Greek myths. I read about far off places, Venice and Paris. I read about men who searched for things they could not find at home, and women who fell in love with the wrong person and waited for the arrival of their beloved for so long that a year was no different from a single day. The same thing was happening to me. Years were passing. I was already a woman, and I still wasn't done reading.

The “catharsis hypothesis”—that aggression builds up inside us until it’s healthily released—dates back to the Greeks, was revived by Freud, and gained steam during the “let it all hang out” 1960s of punching bags and primal screams. But the catharsis hypothesis is a myth—a plausible one, an elegant one, but a myth nonetheless. Scores of studies have shown that venting doesn’t soothe anger; it fuels it.

But I can’t help wondering if there is some sort of recognition for the idea that female gods–who held power and autonomy that female humans were not permitted to have–might well not want a male partner.

The Greek myth of Narcissus is directly concerned with a fact of human experi­ence, as the word Narcissus indicates. It is from the Greek word narcosis, or numb­ness. The youth Narcissus mistook his own reflection in the water for another person. This extension of himself by mirror numbed his perceptions until he became the servomechanism of his own extended or repeated image. The nymph Echo tried to win his love with fragments of his own speech, but in vain. He was numb. He had adapted to his extension of himself and had become a closed system. Now the point of this myth is the fact that men at once become fascinated by any extension of themselves in any ma­terial other than themselves. There have been cynics who insisted that men fall deep­est in love with women who give them back their own image. Be that as it may, the wisdom of the Narcissus myth does not convey any idea that Narcissus fell in love with anything he regarded as himself. Obviously he would have had very different feelings about the image had he known it was an extension or repetition of himself. It is, perhaps, indicative of the bias of our intensely technological and, therefore, narcotic culture that we have long interpreted the Narcissus story to mean that he fell in love with himself, that he imagined the reflection to be Narcissus!

It is enough to say that the Greeks thought it was Chaos who, with a massive heave, or a great shrug, or hiccup, vomit or cough, began the long chain of creation that has ended with pelicans and penicillin and toadstools and toads, sea-lions, seals, lions, human beings and daffodils and murder and art and love and confusion and death and madness and biscuits.

I have myself eaten the hallucinogenic mushroom, psilocybe, a divine ambrosia in immemorial use among the Masatec Indians of Oaxaca Province, Mexico; hear the priestess invoke Tlaloc, the Mushroom-god, and seen transcendental visions. Thus I wholeheartedly agree with R. Gordon Wasson, the American discoverer of this ancient rite, that European ideas of heaven and hell may well have derived from similar mysteries.

Creation at this time, peopled as it was by primal deities whose whole energy and purpose seems to have been directed towards reproduction, was endowed with an astonishing fertility. The soil was blessed with such a fecund richness that one could almost believe that if you planted a pencil it would burst into flower.

What they teach you as history is mythology, and true mythology is far from fantasy - every kind reveals true fragments of our real history. A bulk of our real history can be found in Egyptian and Greek mythology. Yes, myths reveal to us worlds of other dimensions that make up our true reality. History books teach us that the minds of the past operated on the same frequency, dimension, or level of consciousness as we do now. Not true at all.

Eurynome and Ophion made their home upon Mount Olympus, where he vexed her by claiming to be the Author of the Universe. Forthwith she bruised his head, kicked out his teeth, and banished him to the dark caves below the earth.

Frank grabbed a tourist brochure stuck under the napkin dispenser. He began to read it. Piper patted Leo’s arm, like she couldn’t believe he was really here. Nico stood at the edge of the group, eyeing the passing pedestrians as if they might be enemies. Coach Hedge munched on the salt and pepper shakers. Despite the happy reunion, everybody seemed more subdued than usual—like they were picking up on Leo’s mood. Jason had never really considered how important Leo’s sense of humor was to the group. Even when things were super serious, they could always depend on Leo to lighten things up. Now, it felt like the whole team had dropped anchor. “So then Jason harnessed the venti,” Hazel finished. “And here we are.” Leo whistled. “Hot-air horses? Dang, Jason. So basically, you held a bunch of gas together all the way to Malta, and then you let it loose.” Jason frowned. “You know, it doesn’t sound so heroic when you put it that way.” “Yeah, well. I’m an expert on hot air. I’m still wondering, why Malta? I just kind of ended up here on the raft, but was that a random thing, or—” “Maybe because of this.” Frank tapped his brochure. “Says here Malta was where Calypso lived.” A pint of blood drained from Leo’s face. “W-what now?” Frank shrugged. “According to this, her original home was an island called Gozo just north of here. Calypso’s a Greek myth thingie, right?” “Ah, a Greek myth thingie!” Coach Hedge rubbed his hands together. “Maybe we get to fight her! Do we get to fight her? ’Cause I’m ready.” “No,” Leo murmured. “No, we don’t have to fight her, Coach.” Piper frowned. “Leo, what’s wrong? You look—” “Nothing’s wrong!” Leo shot to his feet. “Hey, we should get going. We’ve got work to do!” “But…where did you go?” Hazel asked. “Where did you get those clothes? How—” “Jeez, ladies!” Leo said. “I appreciate the concern, but I don’t need two extra moms!” Piper smiled uncertainly. “Okay, but—” “Ships to fix!” Leo said. “Festus to check! Earth goddesses to punch in the face! What are we waiting for? Leo’s back!” He spread his arms and grinned. He was making a brave attempt, but Jason could see the sadness lingering in his eyes. Something had happened to him…something to do with Calypso.

Poseidon spent almost all his time pursuing a perfectly exhausting quantity of beautiful girls and boys and fathering by the girls an even greater number of monsters, demigods and human heroes – Percy Jackson and Theseus to name but two.

As Yoda had expressed it a long time ago in a galaxy far, far away: “Do. Or do not. There is no try.

Know this: we are a long time dead. Life may be short, but it is sweet.”53

What walks on four feet in the morning, two feet at noon, and three in the evening?

The plans of the immortals, however, are as subject to the cruel tricks of Moros as are the plans of mortals.

Chaos that began everything is also the Chaos that will end everything.

A new stage was reached when animals came to the substituted for boys at the sacrificial altar, and the king refused death after his lengthened reign ended.

Thanatos, the grim, forbidding figure of Death.

Every myth contains multiple timelines within itself: the time in which it is set, the time it is first told, and every retelling afterwards.

Yet myths, though difficult to reconcile with chronology, are always practical: they insist on some point of tradition, however distorted the meaning may have become in the telling.

kingship developed, and though the Sun became a symbol of male fertility once the king’s life had been identified with its seasonal course, it still remained under the Moon’s tutelage; as the king remained under the Queen’s tutelage, in theory at least, long after the matriarchal phase had been outgrown.

The familiar Olympian system was then agreed upon as a compromise between Hellenic and pre-Hellenic views: a divine family of six gods and six goddesses, headed by the co-sovereigns Zeus and Hera and forming a Council of Gods in Babylonian style.

I had a disturbing dream last night. Most disturbing. Would you like to hear it?” “Absolutely,” lies Zeus, who has, in common with us all, a horror of hearing the details of anyone else’s dreams.

When people ask why tell the stories that we know best from the Odyssey from Penelope’s perspective, or Circe’s perspective, they presuppose that the story ‘should’ be told from Odysseus’ point of view. Which means the answer to this question should always be: because she’s in the damn story. Why wouldn’t we want to hear from her?

Psychoanalysis and Greek mythology are two sides of the same medallion. To put it differently: without classical mythology, there would be no psychoanalysis. If that seems like too bold a statement, this chapter aims to show that it is not. It will look at the dynamic relationship forged between psychoanalysis and classical myth, and the impacts, positive and negative, that each has made upon the other. There are numerous psychoanalytic theorists, but Freud necessarily takes centre stage. Like many in 19th-century Germany, Freud was passionate about ancient Greece and its myths. He was both an analyst of the psyche, or mind (using Greek myth) and of Greek myth (using the psyche). As a result, he initiated a radical new method of enquiry, psychoanalysis, and wrote a momentous chapter in the history of classical mythology.

The she-monster is hardly a new phenomenon. The idea of a female untamed nature which must be leashed or else will wreak havoc closely reflects mythological heroes’ struggles against monsters. Greek myth alone offers a host - of Ceres, Harpies, Sirens, Moirae. Associated with fate and death in various ways, they move swiftly, sometimes on wings; birds of prey are their closest kin - the Greeks didn’t know about dinosaurs - and they seize as in the word raptor. But seizure also describes the effect of the passions on the body; inner forces, looser, madness, arte, folly, personified in Homer and the tragedies as feminine, snatch and grab the interior of the human creature and take possession.

Hope is intrinsically positive in English, but in Greek (and the same with the Latin equivalent, spes) it is not. Since it really means the anticipation of something good or bad, a more accurate translation would probably be ‘expectation’. Before we can worry about whether it’s advantageous to us that it remains in the jar, we first have to decide if it is intrinsically good or bad. This is a genuinely complex linguistic and philosophical puzzle. No wonder it’s easier to just blame Pandora.

Remember,” cautioned the centaur, “modesty. Observance of the gods. In a fight, do not do what you want to do, but what you judge your enemy least wants you to. You cannot control others if you cannot control yourself. Those who most understand their own limitations have the fewest.

(On the myth of Eros) Each time I recall this myth, I wonder: Are we never to be able to see the true face of love? And I understand what the Greeks meant by this: Love is an act of faith and its face should always be covered in mystery. Every moment should be lived with feeling and emotion because if we try to decipher it and understand it, the magic disappears.

it seemed to me I was living in an insane asylum of my own making. I went about with all these fantastic figures: centaurs, nymphs, satyrs, gods and goddesses, as though they were patients and I was analyzing them. I read a Greek or a Negro myth as if a lunatic were telling me his anamnesis.

You see?” said Prometheus. “It is your fate to be Heracles the hero, burdened with labors, yet it is also your choice. You choose to submit to it. Such is the paradox of living. We willingly accept that we have no will.

This poem throbs with rage, as though Eurydice has waited a couple of millennia to get all this off her chest. But it does not end in anger; it ends with a declaration: 'hell must break before I am lost,' she says, in the final stanza. Eurydice may be dead, but she is still triumphantly herself.

An enormous amount of modern feminist energy has been wasted on trying to prove that these Amazons did once exist, with all the seductive possibilities of a historical society that really was ruled by and for women. Dream on. The hard truth is that the Amazons were a Greek male myth. The basic message was that the only good Amazon was a dead one, or – to go back to awful Terry – one that had been mastered, in the bedroom. The underlying point was that it was the duty of men to save civilisation from the rule of women.

From the most ancient days of China to the myths of the Greeks we find the concept of an ideal, heavenly life for men under the hegemony of music. The Glass Bead Game is intimately bound up with this cult of music (“in eternal transmutations the secret power of song greets us here below,” says Novalis).

He has been known to devour men.” “He’s a cannibal?” Cadmus asked in horror. “Well, not really,” Daemon replied. “He is a Cyclops. He does not eat his own kind — just men and only those who challenge him … he does not hunt them.

As you set out on your journey to Ithaca, pray that your journey be a long one, filled with adventure, filled with discovery. Laestrygonians and Cyclopes, the angry Poseidon--do not fear them: you'll never find such things on your way unless your sight is set high, unless a rare excitement stirs your spirit and your body. The Laestrygonians and Cyclopes, the savage Poseidon--you won't meet them so long as you do not admit them to your soul, as long as your soul does not set them before you. Pray that your road is a long one. May there be many summer mornings when with what pleasure, with what joy, you enter harbors never seen before. May you stop at Phoenician stations of trade to buy fine things, mother of pearl and coral, amber and ebony, and voluptuous perfumes of every kind-- buy as many voluptuous perfumes as you can. And may you go to many Egyptian cities to learn and learn from those who know. Always keep Ithaca in your mind. You are destined to arrive there. But don't hurry your journey at all. Far better if it takes many years, and if you are old when you anchor at the island, rich with all you have gained on the way, not expecting that Ithaca will give you wealth. Ithaca has given you a beautiful journey. Without her you would never have set out. She has no more left to give you. And if you find her poor, Ithaca has not mocked you. As wise as you have become, so filled with experience, you will have understood what these Ithacas signify.

Poppy used to share the room with her older sister, and piles of he sister's outgrown clothes still remained spread out in drifts, along with a collection of used makeup and notebooks covered in stickers and scrawled with lyrics. A jumbled of her sister's old Barbies were on top of a bookshelf, waiting for Poppy to try and fix their melted arms and chopped hair. The bookshelves were overflowing with fantasy paperbacks and overdue library books, some of them on Greek myths, some on mermaids, and a few on local hauntings. The walls were covered in posters-Doctor Who, a cat in a bowler hat, and a giant map of Narnia.

These artists tend to show her in the act of opening either a jar or a box, or being about to do so, or in the immediate aftermath of having done so. Their focus is almost always on the destruction which Pandora has wreaked or will imminently wreak, which is surely a consequence of the mingling of the Pandora and Eve narratives. The emphasis in Pandora’s story for centuries has been her single-handed role in the fall of man. Just as Adam and the snake dodge so much of the blame in Eve’s story, so Zeus, Hermes and Epimetheus have been exonerated in almost every later version of Pandora’s. The guiding principle when searching for the cause of everything wrong in the world has been, all too often: cherchez la femme.

By the time he was twenty Asclepius had mastered all the arts of surgery and medicine. He embraced his teacher Chiron in a fond farewell and left to set up on his own as the world’s first physician, apothecary and healer. His fame spread around the Mediterranean with great speed. The sick, lame and unhappy flocked to his surgery, outside which he hung a sign – a wooden staff with a snake twined round it, seen to this day on many ambulances, clinics and (often disreputable) medical websites.

You know, Mac,”Cadmus said still looking out the window. “We may have to work on the way we tell our story …apparently it’s not amusing enough.” “I’ll try to include a joke between ‘he bled to death’and ‘the city burned’.”Machaon responded tersely.

While we might say that we have fallen in love or developed a crush on someone unsuitable, the Greeks tended to externalize the causes of such experiences. We fall in love, they were struck by an arrow shot by the god Eros, for example. A sophisticated language of psychology simply didn’t exist at the time that Euripides was writing, so things which are internalized for us were often launched upon a Greek from without.

Some Hellenes say that Athene had a father named Pallas, a winged goatish giant, who later tried to outrage her, and whose name she added to her own after stripping him of his skin to make the aegis, and of his wings for her own shoulders; if indeed the aegis was not the skin of Medusa the Gorgon, whom she flayed after Perseus had decapitated her.

The failure of his mission is assured from the moment he undertakes it. There is something cripplingly true about this, isn’t there? That we are so often the authors of our own misfortunes because of the same qualities which makes us brave, or hopeful, or loving in the first place. This Orpheus hasn’t been gripped by madness, he has been afflicted by fear. And because the fear eventually overwhelms him, the thing he feared comes true.

As the generations pass they grow worse. A time will come when they have grown so wicked that they will worship power; might will be right to them and reverence for the good will cease to be. At last, when no man is angry any more at wrongdoing or feels shame in the presence of the miserable, Zeus will destroy them too. And yet even then something might be done, if only the common people would rise and put down rulers that oppress them.

Well, there is one thing. Perhaps you could change the child’s name.” “Change his name?” said Amphitryon. “How would that help?” “If you were to call him ‘Hera’s glory’ for instance? ‘Hera’s pride.’” And so it was decided. From now on Alcides would be called Heracles.

The Greeks had the greatest architectonic gifts. Every art has its climax at some point, and here architecture had its high point. Modeling and painting reached their climax elsewhere. Despite the gigantic pyramids, the most wonderful architecture appears in the Greek temple.

Apollodorus, the leading classical authority on Greek myths, records a tradition that the real scene of the poem was the Sicilian seaboard, and in 1896 Samuel Butler, the author of Erewhon, came independently to the same conclusion. He suggested that the poem, as we now have it, was composed at Drepanum, the modern Trapani, in Western Sicily, and that the authoress was the girl self-portrayed as Nausicaa. None of his classical contemporaries, for whom Homer was necessarily both blind and bearded, deigned to pay Butler’s theory the least attention; and since he had, as we now know, dated the poem some three hundred years too early and not explained how a Sicilian princess could have passed off her saga as Homer’s, his two books on the subject are generally dismissed as a good-humoured joke. Nevertheless, while working on an explanatory dictionary of Greek myths, I found Butler’s arguments for a Western Sicilian setting and for a female authorship irrefutable. I could not rest until I had written this novel. It re-creates, from internal and external evidence, the circumstances which induced Nausicaa to write the Odyssey, and suggest how, as an honorary Daughter of Homer, she managed to get it included in the official canon. Here is the story of a high-spirited and religious-minded Sicilian girl who saves her father’s throne from usurpation, herself from a distasteful marriage, and her two younger brothers from butchery by boldly making things happen, instead of sitting still and hoping for the best.

we humans, Prometheus’s creations, controlled fire, Zeus feared we wouldn’t need gods to worship and obey; we could abolish our own creators. Zeus was right. We did. And we are Zeus now. We fear the entities we have created. If a Prometheus amongst us were to give AI consciousness, the divine spark, then humanity could become a mythic memory, an origin story for the machines to tell themselves, while we crumble into broken statuary alongside Zeus and his pantheon before us.

His copy was full of lofty echoes: Greek Tragedy; Damocle's sword; manna from heaven; the myth of Sisyphus; the last of the Mohicans; hydra-headed and Circe-voiced; experiments with truth; discovery of India; biblical resonance; the lessons of Vedanta; the centre does not hold; the road not taken; the mimic men; for whom the bell tolls; a hundred visions and revisions; the power and the glory; the heart of the matter; the heart of darkness; the agony and the ecstasy; sands of time; riddle of the Sphinx; test of tantalus; murmurs of mortality; Falstaffian figure; Dickensian darkness; ...

The king deputized for the Queen at many sacred functions, dressed in her robes, wore false breasts, borrowed her lunar axe as a symbol of power, and even took over from her the magical art of rain-making. His ritual death varied greatly in circumstance; he might be torn in pieces by wild women, transfixed with a sting-ray spear, felled with an axe, pricked in the heel with a poisoned arrow, flung over a cliff, burned to death on a pyre, drowned in a pool, or killed in a pre-arranged chariot crash. But die he must.

The Greeks were so committed to ideas as supernatural forces that they created an entire group of goddesses (not one but nine) to represent creative power; the opening lines of both The Iliad and The Odyssey begin with calls to them. These nine goddesses, or muses, were the recipients of prayers from writers, engineers, and musicians. Even the great minds of the time, like Socrates and Plato, built shrines and visited temples dedicated to their particular muse (or muses, for those who hedged their bets). Right now, under our very secular noses, we honor these beliefs in our language, as the etymology of words like museum ("place of the muses") and music ("art of the muses") come from the Greek heritage of ideas as superhuman forces.

Actually, he says, the opposite is true. People will come to depend on writing, which is external, and stop using memory, which is internal. In fact, writing will make us forgetful. It is typical of Plato–using the character of his tricksy mentor, Socrates–to construct a written argument dismissing the value of writing.

There are two things to note about this: the first is that in every version of her story, Jocasta becomes a more complex, more rounded character with every word she says. In Oedipus Tyrannos, we get a fairly slender portrait of a woman whose life is entirely dictated by the decisions of men. In The Phoenician Women, we finally hear her talk about what that means and how it feels. And here, in the earlier fragment of the Lille Stesichorus, we have a strong political leader, negotiating with warring parties who happen to be her sons.

Zeus may wish us ill, in other words, but that doesn't mean Pandora herself is evil, any more than the lightning which Zeus hurls at those of us who displease him is evil. Lightning is neutral, neither good nor bad, however much we fear it. Perhaps we can accept that Pandora is the same, unless we choose to see her otherwise.

You think I hate men. I guess I do, although some of my best friends...I don't like this position. I mistrust generalized hatred. I feel like one of those twelfth century monks raving on about how evil women are and how they must cover themselves up completely when they go out lest they lead men into evil thoughts. The assumption that the men are the ones who matter, and that the women exist only in relation to them, is so silent and underrunning that ever we never picked it up until recently. But after all, look at what we read. I read Schopenhauer and Nietzsche and Wittgenstein and Freud and Erikson; I read de Montherlant and Joyce and Lawrence and sillier people like Miller and Mailer and Roth and Philip Wylie. I read the Bible and Greek myths and didn't question why all later redactions relegated Gaea-Tellus and Lilith to a footnote and made Saturn the creator of the world. I read or read about, without much question, the Hindus and the Jews, Pythagoras and Aristotle, Seneca, Cato, St.Paul, Luther, Sam Johnson, Rousseau, Swift...well, you understand. For years I didn't take it personally. So now it is difficult for me to call others bigots when I am one myself. I tell people at once, to warn them, that I suffer from deformation of character. But the truth is I am sick unto death of four thousand years of males telling me how rotten my sex is. Especially it makes me sick when I look around and see such rotten men and such magnificent women, all of whom have a sneaking suspicion that the four thousand years of remarks are correct. These days I feel like an outlaw, a criminal. Maybe that's what the people perceive who look at me so strangely as I walk the beach. I feel like an outlaw not only because I think that men are rotten and women are great, but because I have come to believe that oppressed people have the right to use criminal means to survive. Criminal means being, of course, defying the laws passed by the oppressors to keep the oppressed in line. Such a position takes you scarily close to advocating oppression itself, though. We are bound in by the terms of the sentence. Subject-verb-object. The best we can do is turn it around. and that's no answer, is it?

Thalia The finest, funniest, friendliest Muse of all, THALIA supervised the comic arts and idyllic poetry. Her name derives from the Greek verb for ‘to flourish’.fn5 Like her tragic counterpart Melpomene she sports actors’ boots and a mask (hers being the cheerful smiling one of course), but she is wreathed in ivy and carries a bugle and a trumpet.

The Greeks saw the advance of civilization bringing new ills. Their sour parable of technological progress was the familiar myth of Prometheus. Punished for affronting the gods by stealing fire for men’s use, Prometheus was chained to a rock so an eagle could feed on his liver, which grew back each night. According to Lucretius, necessity had led men to invent, and then inventions spawned frivolous needs that equipped and encouraged them to slaughter one another in war.

The oft-repeated assertion that Islam “preserved” classical knowledge and then graciously passed it on to Europe is baseless. Ancient Greek texts and Greek culture were never “lost” to be somehow “recovered” and “transmitted” by Islamic scholars, as so many academic historians and journalists continue to write: these texts were always there, preserved and studied by the monks and lay scholars of the Greek Roman Empire and passed on to Europe and to the Islamic empire at various times.

The first time I heard the bard reach this part of the story I thought he would sing that you built a new ship and began to sail home. This should be where the story ends, shouldn’t it? But that is not what he sang next. I demanded to know why. Do you not know where Ogygia is, he asked, his blind eyes moistening. I did not know. Why would any Ithacan have heard of such a place? It took you nine days to drift there, if the poet tells it rightly. So after all the danger you endured, after all the risks you took, I have it on good authority from the poet that you have never been further away from me than you are at this moment.

The moon’s three phases of new, full, and old recalled the matriarch’s three phases of maiden, nymph (nubile woman), and crone. Then, since the sun’s annual course similarly recalled the rise and decline of her physical powers – spring a maiden, summer a nymph, winter a crone – the goddess became identified with seasonal changes in animal and plant life; and thus with Mother Earth who, at the beginning of the vegetative year, produces only leaves and buds, then flowers and fruits, and at last ceases to bear. She could later be conceived as yet another triad: the maiden of the upper air, the nymph of the earth or sea, the crone of the underworld – typified respectively by Selene, Aphrodite, and Hecate. These mystical analogues fostered the sacredness of the number three, and the Moon-goddess became enlarged to nine when each of the three persons – maiden, nymph, and crone – appeared in triad to demonstrate her divinity. Her devotees never quite forgot that there were not three goddesses, but one goddess; though, by Classical times, Arcadian Stymphalus was one of the few remaining shrines where they all bore the same name: Hera.

The civilized man is distinguished from the savage mainly by prudence, or, to use a slightly wider term, forethought. He is willing to endure present pains for the sake of future pleasures, even if the future pleasures are rather distant … True forethought only arises when a man does something towards which no impulse urges him, because his reason tells him that he will profit by it at some future date … the individual, having acquired the habit of viewing his life as a whole, increasingly sacrifices his present to his future.

Apollo taught her to sing and play the lyre. Athene taught her to spin, Demeter to tend a garden. Aphrodite taught her how to look at a man without moving her eyes and how to dance without moving her legs. Poseidon gave her a pearl necklace and promised she would never drown. And finally Hermes gave her a beautiful golden box, which, he told her, she must never, never open. And then Hera gave her curiosity.

When we think of Pandora, we probably have a picture in our minds. She holds a box in her hands, or she’s sitting beside one. She is opening it either because she is curious to see what’s inside, or because she knows what it contains and wants to let it out. Its contents are abstract but terrible: all the evils in the world are now set loose upon us. And, gratifyingly, we know exactly who to blame: the beautiful woman who couldn’t leave well alone.

Kerényi was as aware as anybody today of the territorial limits of Greek myths and of the non-importability of Hermes. He writes: “In his ‘such-ness,’ he is an historical fact that cannot, by strict and honest historical means, be reduced to something else: neither to a concept, to a ‘power,’ nor to a ‘spirit’ – a gravestone or signpost spirit – not even to an idea that would not contain in a nutshell everything that Hermes’ ‘such-ness’ constitutes.” … Working more in Hermes’ own sleight of hand way, Kerényi is soon saying things like this: “If a god is ‘idea’ and ‘world,’ he remains nonetheless in connection with the world that contains all such ‘worlds’; he can only be an ‘aspect of the world,’ while the world of which he is an aspect possesses such idea-aspects.” Now, if you will let Kerényi get away with a statement like that – and I hope you will – you will end up owning the Brooklyn Bridge. … Kerényi’s Hermes is the only one that is going to rob you or enrich you, enlighten you or screw you. … “Guide of Souls” is the usual translation given to the Hermes-epithet “Psychopompos” and it refers to his role as the god who leads souls into the underworld when they die. But πομπóς (still present in every French funeral store’s “Pompes funèbres” description of itself) is more than guide, and even more than guide to the underworld. It means to lead, but Hermes as leader is not quite right either. It means something more like to lead on. Hermes is the god who “leads you on.” … This means he is deceiving you, taking advantage of your gullibility, “taking you for a ride.” That, however, is how Hermes works, and how he gets your soul to move anywhere, how he gets you to budge even a hair off whatever you’re in … . … Go ahead and buy the Brooklyn Bridge from this man. Be had. Be incorrect. Be foolish. You pay with your soul for this kind of reading. And Hermes does not take plastic.

When I read things like, “The foundations of capitalism are shattering,” I’m like, maybe we need some time where we’re walking around with a donkey with pots clanging on the sides. . . . ’Cause now we live in an amazing world, and it’s wasted on the crappiest generation of spoiled idiots. . . . Flying is the worst one, because people come back from flights, and they tell you their story. . . . They’re like, “It was the worst day of my life. . . . We get on the plane and they made us sit there on the runway for forty minutes.” . . . Oh really, then what happened next? Did you fly through the air, incredibly, like a bird? Did you soar into the clouds, impossibly? Did you partake in the miracle of human flight, and then land softly on giant tires that you couldn’t even conceive how they fuckin’ put air in them? . . . You’re sitting in a chair in the sky. You’re like a Greek myth right now! . . . People say there’s delays? . . . Air travel’s too slow? New York to California in five hours. That used to take thirty years! And a bunch of you would die on the way there, and you’d get shot in the neck with an arrow, and the other passengers would just bury you and put a stick there with your hat on it and keep walking. . . . The Wright Brothers would kick us all in the [crotch] if they knew.1

In this city [Tingis] the Libyans say that Antaeus is buried; and Sertorius had his tomb dug open, the great size of which made him disbelieve the Barbarians. But when he came upon the body and found it to be sixty cubits long, as they tell us, he was dumbfounded, and after performing a sacrifice filled up the tomb again, and joined in magnifying its traditions and honours. Now, the people of Tingis have a myth that after the death of Antaeus, his wife, Tinga, consorted with Heracles, and that Sophax was the fruit of this union, who became king of the country and named a city which he founded after his mother; also that Sophax had a son, Diodorus, to whom many of the Libyan peoples became subject, since he had a Greek army composed of the Olbians and Mycenaeans who were settled in those parts by Heracles. But this tale must be ascribed to a desire to gratify Juba, of all kings the most devoted to historical enquiry; for his ancestors are said to have been descendants of Sophax and Diodorus. [The Life of Sertorius]

The satyr, as the Dionysiac chorist, dwells in a reality sanctioned by myth and ritual. That tragedy should begin with him, that the Dionysiac wisdom of tragedy should speak through him, is as puzzling a phenomenon as, more generally, the origin of tragedy from the chorus. Perhaps we can gain a starting point for this inquiry by claiming that the satyr, that fictive nature sprite, stands to cultured man in the same relation as Dionysian music does to civilization. Richard Wagner has said of the latter that it is absorbed by music as lamplight by daylight. In the same manner, I believe, the cultured Greek felt himself absorbed into the satyr chorus, and in the next development of Greek tragedy state and society, in fact everything that separates man from man, gave way before an overwhelming sense of unity that led back into the heart of nature. This metaphysical solace (which, I wish to say at once, all true tragedy sends us away) that, despite every phenomenal change, life is at bottom indestructibly joyful and powerful, was expressed most concretely in the chorus of satyrs, nature beings who dwell behind all civilization and preserve their identity through every change of generations and historical movement. With this chorus the profound Greek, so uniquely susceptible to the subtlest and deepest suffering, who had penetrated the destructive agencies of both nature and history, solaced himself. Though he had been in danger of craving a Buddhistic denial of the will, he was saved through art, and through art life reclaimed him.

A lifetime ago, when I was learning ancient Greek as an eight-year-old, the textbook the school used liked to remind one of the English words that derived from Greek: “graph” and “graphic” from grapho; “telephone” from phonos; that sort of thing. I will never forget my puzzlement when, in a vocabulary list, it presented the verb thaumazo, offering this helpful thought: “thaumazo, I wonder, or marvel at. This is easily remembered by thinking of the English word ‘thaumaturge.’” And I suppose that was true, since I’ve never forgotten it.

Eros was double-sexed and golden-winged and, having four heads, sometimes roared like a bull or a lion, sometimes hissed like a serpent or bleated like a ram. Night, who named him Ericepaius and Protogenus Phaëton, lived in a cave with him, displaying herself in a triad: Night, Order, and Justice. Before this cave sat the inescapable mother Rhea playing on a brazen drum, and compelling man’s attention to the oracles of the goddess. Phanes created earth, sky, sun, and moon, but the triple-goddess ruled the universe, until her sceptre passed to Uranus.

Her uneasy gaze skittered along the length of his arms, which were exposed by his rolled-up shirtsleeves... and stopped at the astonishing sight of a design that had been inked onto his right forearm. It was a small black horse with wings. Noticing her mesmerized stare, Rohan lowered his arm to give her a better view. "An Irish symbol," he murmured. "A nightmare horse, called a pooka." The absurd-sounding word brought a faint smile to Daisy's lips. "Does it wash off?" she asked hesitantly. He shook his head, his lashes half lowering over his remarkable eyes. "Is a pooka like the Pegasus of the Greek myths?" Daisy asked, flattening herself as close to the wall as possible. Rohan glanced down her body, taking a kind of leisurely inventory that no man ever had before. "No. He's far more dangerous. He has eyes of yellow fire, a stride that clears mountains, and he speaks in a human voice as deep as a cave. At midnight, he may stop in front of your house and call out your name if he wants to take you for a ride. If you go with him, he'll fly you across earth and oceans... and if you ever return, your life will never be the same.

You make the mistake of considering Christianity as something that developed over the course of a few years, from the death of Jesus to the time the gospels were written. But Christianity wasn't new. Only the name was new. Christianity was merely a stage in the meeting, cross-fertilization, metamorphosis of Western logic and Eastern mysticism. Look how the religion itself changed over the centuries, reinterpreting itself to meet changing times. Christianity is just a new name for a conglomeration of old myths and philosophies. All the gospels do is retell the sun myth and garble some of the ideas from the Greeks and Romans.

One of the most interesting histories of what comes of rejecting science we may see in Islam, which in the beginning received, accepted, and even developed the classical legacy. For some five or six rich centuries there is an impressive Islamic record of scientific thought, experiment, and research, particularly in medicine. But then, alas! the authority of the general community, the Sunna, the consensus—which Mohammed the Prophet had declared would always be right—cracked down. The Word of God in the Koran was the only source and vehicle of truth. Scientific thought led to 'loss of belief in the origin of the world and in the Creator.' And so it was that, just when the light of Greek learning was beginning to be carried from Islam to Europe—from circa 1100 onward—Islamic science and medicine came to a standstill and went dead....

And when we say also that the Word, who is the first-birth of God, was produced without sexual union, and that He, Jesus Christ, our Teacher, was crucified and died, and rose again, and ascended into heaven, we propound nothing different from what you believe regarding those whom you esteem sons of Jupiter. For you know how many sons your esteemed writers ascribed to Jupiter: Mercury, the interpreting word and teacher of all; Aesculapius, who, though he was a great physician, was struck by a thunderbolt, and so ascended to heaven; and Bacchus too, after he had been torn limb from limb; and Hercules, when he had committed himself to the flames to escape his toils; and the sons of Leda, and Dioscuri; and Perseus, son of Danae; and Bellerophon, who, though sprung from mortals, rose to heaven on the horse Pegasus. For what shall I say of Ariadne, and those who, like her, have been declared to be set among the stars? And what of the emperors who die among yourselves, whom you deem worthy of deification, and in whose behalf you produce some one who swears he has seen the burning Caesar rise to heaven from the funeral pyre? And what kind of deeds are recorded of each of these reputed sons of Jupiter, it is needless to tell to those who already know. This only shall be said, that they are written for the advantage and encouragement of youthful scholars; for all reckon it an honourable thing to imitate the gods. But far be such a thought concerning the gods from every well-conditioned soul, as to believe that Jupiter himself, the governor and creator of all things, was both a parricide and the son of a parricide, and that being overcome by the love of base and shameful pleasures, he came in to Ganymede and those many women whom he had violated and that his sons did like actions. But, as we said above, wicked devils perpetrated these things. And we have learned that those only are deified who have lived near to God in holiness and virtue; and we believe that those who live wickedly and do not repent are punished in everlasting fire.

few years later, Demeter took a vacation to the beach. She was walking along, enjoying the solitude and the fresh sea air, when Poseidon happened to spot her. Being a sea god, he tended to notice pretty ladies walking along the beach. He appeared out of the waves in his best green robes, with his trident in his hand and a crown of seashells on his head. (He was sure that the crown made him look irresistible.) “Hey, girl,” he said, wiggling his eyebrows. “You must be the riptide, ’cause you sweep me off my feet.” He’d been practicing that pickup line for years. He was glad he finally got to use it. Demeter was not impressed. “Go away, Poseidon.” “Sometimes the sea goes away,” Poseidon agreed, “but it always comes back. What do you say you and me have a romantic dinner at my undersea palace?” Demeter made a mental note not to park her chariot so far away. She really could’ve used her two dragons for backup. She decided to change form and get away, but she knew better than to turn into a snake this time. I need something faster, she thought. Then she glanced down the beach and saw a herd of wild horses galloping through the surf. That’s perfect! Demeter thought. A horse! Instantly she became a white mare and raced down the beach. She joined the herd and blended in with the other horses. Her plan had serious flaws. First, Poseidon could also turn into a horse, and he did—a strong white stallion. He raced after her. Second, Poseidon had created horses. He knew all about them and could control them. Why would a sea god create a land animal like the horse? We’ll get to that later. Anyway, Poseidon reached the herd and started pushing his way through, looking for Demeter—or rather sniffing for her sweet, distinctive perfume. She was easy to find. Demeter’s seemingly perfect camouflage in the herd turned out to be a perfect trap. The other horses made way for Poseidon, but they hemmed in Demeter and wouldn’t let her move. She got so panicky, afraid of getting trampled, that she couldn’t even change shape into something else. Poseidon sidled up to her and whinnied something like Hey, beautiful. Galloping my way? Much to Demeter’s horror, Poseidon got a lot cuddlier than she wanted. These days, Poseidon would be arrested for that kind of behavior. I mean…assuming he wasn’t in horse form. I don’t think you can arrest a horse. Anyway, back in those days, the world was a rougher, ruder place. Demeter couldn’t exactly report Poseidon to King Zeus, because Zeus was just as bad. Months later, a very embarrassed and angry Demeter gave birth to twins. The weirdest thing? One of the babies was a goddess; the other one was a stallion. I’m not going to even try to figure that out. The baby girl was named Despoine, but you don’t hear much about her in the myths. When she grew up, her job was looking after Demeter’s temple, like the high priestess of corn magic or something. Her baby brother, the stallion, was named Arion. He grew up to be a super-fast immortal steed who helped out Hercules and some other heroes, too. He was a pretty awesome horse, though I’m not sure that Demeter was real proud of having a son who needed new horseshoes every few months and was constantly nuzzling her for apples. At this point, you’d think Demeter would have sworn off those gross, disgusting men forever and joined Hestia in the Permanently Single Club. Strangely, a couple of months later, she fell in love with a human prince named Iasion (pronounced EYE-son, I think). Just shows you how far humans had come since Prometheus gave them fire. Now they could speak and write. They could brush their teeth and comb their hair. They wore clothes and occasionally took baths. Some of them were even handsome enough to flirt with goddesses.

If we take the trickster as a parallel of the individual shadow, then the question arises whether that trend towards meaning, which we saw in the trickster myth, can also be observed in the subjective and personal shadow. Since this shadow frequently appears in the phenomenology of dreams as a well-defined figure, we can answer this question positively: the shadow, although by definition a negative figure, sometimes has certain clearly discernible traits and associations which point to a quite different background. It is as though he were hiding meaningful contents under an unprepossessing exterior. Experience confirms this; and what is more important, the things that are hidden usually consist of increasingly numinous figures. The one standing closest behind the shadow is the anima,18 who is endowed with considerable powers of fascination and possession. She often appears in rather too youthful form, and hides in her turn the powerful archetype of the wise old man (sage, magician, king, etc.). The series could be extended, but it would be pointless to do so, as psychologically one only understands what one has experienced oneself. The concepts of complex psychology are, in essence, not intellectual formulations but names for certain areas of experience, and though they can be described they remain dead and irrepresentable to anyone who has not experienced them. Thus, I have noticed that people usually have not much difficulty in picturing to themselves what is meant by the shadow, even if they would have preferred instead a bit of Latin or Greek jargon that sounds more “scientific.” But it costs them enormous difficulties to understand what the anima is. They accept her easily enough when she appears in novels or as a film star, but she is not understood at all when it comes to seeing the role she plays in their own lives, because she sums up everything that a man can never get the better of and never finishes coping with. Therefore it remains in a perpetual state of emotionality which must not be touched. The degree of unconsciousness one meets with in this connection is, to put it mildly, astounding. Hence it is practically impossible to get a man who is afraid of his own femininity to understand what is meant by the anima.