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Free Greek Mythology Thesis Statement Sample

Type of paper: Thesis Statement

Topic: Iliad , Athens , Mythology , The Odyssey , God , Homer , Greek , Greece

Published: 03/20/2020

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The Greek mythology as known today is a culmination of the traditions in different parts of the Greek civilization with each region having its own heroes. For examples, the Homer’s Iliad is a regional mythology that strived to appeal to as many cities as possible bringing together a common identity of the Greeks. During the time of Hesiod and Homer, Greece comprised of many cities and islands separated by natural boundaries made by the gods (Works and Days, 167-171). The Iliad mentions almost all the apart of Greece that took part in the Trojan War. The mythology often conflict with each on various matters. However, later, the myths on legends were merged into a single Greek tradition or mythology. For examples, the Mycenaean and the Minoan civilizations that were in the main land and the island of Crete respectively. Homer mentions many part to ensure that there is no regions that are left out to show that his expedition were a pan-Greek expedition. Homer emphasizes on the physical features of the places he visited and gave a detailed explanation of the hypothetical locations to explain about god. Both Homer and Hesiod mention Mt. Olympus so as to appeal to their audiences on the historical aspect of their epics in relation to god. Such also appealed to strangers. Hesiod tends to use symbolic geographical locations as opposed to the actual locations to bring in the myths the concept of God in Mt. Olympus. Hesiod allocates Olympus the sky, Gaia the underworld and the earth, and Poseidon the sea that are all symbolic. Homer’s Iliad is used an almost impossible locations mentioning Athenian statue and troy-a spiritual centre that had very small role during the beginning of the Trojan War. Both homer and Hesiod use the muse of Mt. Helicon. The mentioned places differentiated parts occupied by humans, and the ones occupied by humans. The description of the places was also aimed at advancing personal views. For examples, Homer described many places to ensure that his adventures are continued in generational inheritances making him immortal even when he was not. In the mythologies, the locational descriptions put the narrations in context making them easy for understanding and close association with the readers. Important places mentioned in the Iliad include Troy, Mysia, Arisbe, and many other cities across the region that gave Homer the legitimacy of his poems. Other places mentioned in the Theogony include Kypros, Kythra, Krete, Lyktos, Mt. Aigiaon and also Mekone. The myths are tied to relationships between the actual locations and the hypothetical locations that were mainly the places where god lived. The interaction of these two places forms the fundamental description of the geographical features and how they affected the people.

Hesiod, Works and Days. Trans. Hugh G. Evelyn-White . 1914. people.sc.fsu.edu. web. 30 Nov. 2014.

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Home — Essay Samples — Religion — God — Greek Mythology: Athena

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Greek Mythology: Athena

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Published: Mar 1, 2019

Words: 454 | Page: 1 | 3 min read

Hook Examples for Greek Mythology Essay

  • Mythical Intrigue: Step into the enchanting world of Greek mythology, where gods and goddesses reign supreme. Among them, the formidable Athena, goddess of wisdom and war, stands out as a symbol of intelligence, strategy, and courage. Join me as we embark on a journey through her captivating tale.
  • Mysterious Origins: The birth of Athena, emerging fully grown and armored from the head of her father, Zeus, is a mythological marvel. Explore the enigmatic circumstances surrounding Athena’s creation and her divine lineage that sets her apart among the Greek deities.
  • The Goddess’s Arsenal: Athena’s prowess in war is legendary, and her sacred image reflects her martial might. Delve into the weapons, animals, and symbols associated with Athena, and discover how she wielded her intelligence and valor on the battlefield.
  • Inventive Genius: Beyond her warrior persona, Athena reveals her creative side as an inventor of tools, instruments, and farming implements. Uncover the contributions she made to human civilization and the lasting impact of her innovations.
  • A Complex Character: Athena’s multifaceted personality includes wisdom, kindness, and ruthlessness. Explore the duality of this goddess and the myths that illustrate both her benevolent and uncompromising sides.

Works Cited

  • Burkert, W. (1985). Greek religion: Archaic and classical. Blackwell Publishing.
  • Carpenter, T. H. (1991). Art and myth in ancient Greece: A handbook. Thames & Hudson.
  • Hamilton, E. (2011). Mythology: Timeless tales of gods and heroes. Grand Central Publishing.
  • Harrison, J. E. (1968). Prolegomena to the study of Greek religion. Princeton University Press.
  • Morford, M. P., & Lenardon, R. J. (2011). Classical mythology (10th ed.). Oxford University Press.
  • Ogden, D. (2009). Athena. Routledge.
  • Pomeroy, S. B., Burstein, S. M., Donlan, W., & Roberts, J. T. (2018). A brief history of ancient Greece: Politics, society, and culture (4th ed.). Oxford University Press.
  • Price, S. R. F. (1999). Religions of the ancient Greeks. Cambridge University Press.
  • Rose, H. J. (2009). Handbook of Greek mythology. Routledge.
  • Tripp, E. J. (1970). The Meridian handbook of classical mythology. Meridian.

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thesis statement on greek mythology

Hercules in Greek Mythology

This essay about the mythological figure Hercules, also known as Heracles in Greek mythology. It explores his life, adventures, and symbolic significance in ancient Greek culture. Hercules’ story reflects themes of heroism, endurance, divine intervention, and redemption. Through his legendary Twelve Labors and other feats, Hercules exemplifies the quintessential hero, overcoming challenges with strength, cunning, and virtue. His journey, from mortal struggles to divine apotheosis, offers insights into ancient Greek values and beliefs, shaping both classical mythology and modern understandings of heroism and virtue.

How it works

Hercules, or Heracles in Greek mythology, stands as one of the most renowned figures in ancient lore, embodying the archetype of the hero. His adventures, trials, and overarching journey not only provide entertainment but also offer deep insights into the values and concerns of ancient Greek culture. This essay explores the life and deeds of Hercules, analyzing how his mythological path reflects broader themes such as heroism, redemption, and the interaction between the divine and the mortal.

Born to Zeus and Alcmene, Hercules was subject to Hera’s wrath throughout his life due to Zeus’s infidelity.

Hera’s vendetta against Hercules began with his name; “Hera’s glory” is a testament to the complexities of his existence, marked by the goddess’s relentless attempts to destroy him. This divine conflict set the stage for Hercules’ life, a narrative defined by struggle and perseverance against overwhelming odds.

Hercules is perhaps best known for the Twelve Labors, a series of tasks imposed on him as penance for killing his wife Megara and their children in a fit of madness, instigated by Hera. These labors were designed to be impossible tasks, yet Hercules, with his superhuman strength and the aid of divine artifacts, successfully completed them, securing his place as the quintessential hero. Each labor—from slaying the invulnerable Nemean Lion and capturing the Golden Hind of Artemis to obtaining the girdle of Hippolyta, the Queen of the Amazons—highlights a facet of his heroism, as well as his cunning, another esteemed trait in Greek heroic narratives.

Beyond physical strength, Hercules’ labors underscore a thematic exploration of struggle and virtue. They symbolize the human condition, encapsulating the idea that real strength lies in the ability to endure suffering and overcome challenges, a reflection of the Greek philosophical appreciation for endurance and effort. Furthermore, the labors reflect the ancient Greek world’s view of the divine’s interaction with humanity, where gods and goddesses directly influenced, and often complicated, the lives of mortals.

After completing the labors, Hercules continued to undertake significant quests and participated in famous battles and adventures, such as aiding the gods in the battle against the Giants in the Gigantomachy and searching for the Golden Apples of the Hesperides. His involvement in these epic stories not only cements his status as a hero but also as a protector of mankind and the Olympian order, often acting as a bridge between the gods and humanity.

Hercules’ death, which also involved a tragic twist of fate through the deception involving the poisoned shirt of Nessus, ultimately led to his apotheosis. Ascending to Olympus upon his mortal death, Hercules was granted immortality, a rare honor for a hero, which symbolizes the ultimate redemption and glorification of his trials on earth. His deification can be interpreted as a narrative closure that reflects the ancient belief in the possibility of overcoming mortal imperfections and achieving a divine state through heroic deeds.

In conclusion, Hercules in Greek mythology serves as a profound symbol of the hero’s journey, characterized by trials, suffering, and eventual transcendence. His story offers a rich tapestry through which to explore themes of heroism, the impact of divine influence, and the moral and philosophical dilemmas of the ancient Greeks. Hercules remains a timeless figure, representing the eternal struggle against adversity and the quest for redemption. His myths not only shaped ancient Greek culture but continue to influence modern interpretations of heroism and virtue.

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Heilbrunn Timeline of Art History Essays

Theseus, hero of athens.

Terracotta amphora (jar)

Terracotta amphora (jar)

Signed by Taleides as potter

Terracotta kylix: eye-cup (drinking cup)

Terracotta kylix: eye-cup (drinking cup)

Terracotta lekythos (oil flask)

Terracotta lekythos (oil flask)

Attributed to the Diosphos Painter

Terracotta kylix (drinking cup)

Terracotta kylix (drinking cup)

Attributed to the Briseis Painter

Terracotta calyx-krater (bowl for mixing wine and water)

Terracotta calyx-krater (bowl for mixing wine and water)

Attributed to a painter of the Group of Polygnotos

Terracotta Nolan neck-amphora (jar)

Terracotta Nolan neck-amphora (jar)

Attributed to the Dwarf Painter

Terracotta lekythos (oil flask)

Attributed to the Eretria Painter

Marble sarcophagus with garlands and the myth of Theseus and Ariadne

Marble sarcophagus with garlands and the myth of Theseus and Ariadne

Andrew Greene Department of Greek and Roman Art, The Metropolitan Museum of Art

August 2009

In the ancient Greek world, myth functioned as a method of both recording history and providing precedent for political programs. While today the word “myth” is almost synonymous with “fiction,” in antiquity, myth was an alternate form of reality . Thus, the rise of Theseus as the national hero of Athens, evident in the evolution of his iconography in Athenian art, was a result of a number of historical and political developments that occurred during the sixth and fifth centuries B.C.

Myth surrounding Theseus suggests that he lived during the Late Bronze Age, probably a generation before the Homeric heroes of the Trojan War. The earliest references to the hero come from the Iliad and the Odyssey , the Homeric epics of the early eighth century B.C. Theseus’ most significant achievement was the Synoikismos, the unification of the twelve demes, or local settlements of Attica, into the political and economic entity that became Athens.

Theseus’ life can be divided into two distinct periods, as a youth and as king of Athens . Aegeus, king of Athens, and the sea god Poseidon ( 53.11.4 ) both slept with Theseus’ mother, Aithra, on the same night, supplying Theseus with both divine and royal lineage. Theseus was born in Aithra’s home city of Troezen, located in the Peloponnesos , but as an adolescent he traveled around the Saronic Gulf via Epidauros, the Isthmus of Corinth, Krommyon, the Megarian Cliffs, and Eleusis before finally reaching Athens. Along the way he encountered and dispatched six legendary brigands notorious for attacking travelers.

Upon arriving in Athens, Theseus was recognized by his stepmother, Medea, who considered him a threat to her power. Medea attempted to dispatch Theseus by poisoning him, conspiring to ambush him with the Pallantidae Giants, and by sending him to face the Marathonian Bull ( 56.171.48 ).

Likely the most famous of Theseus’ deeds was the slaying of the Minotaur ( 64.300 ; 47.11.5 ; 09.221.39 ). Athens was forced to pay an annual tribute of seven maidens and seven youths to King Minos of Crete to feed the Minotaur, half man, half bull, that inhabited the labyrinthine palace of Minos at Knossos. Theseus, determined to end Minoan dominance, volunteered to be one of the sacrificial youths. On Crete, Theseus seduced Minos’ daughter, Ariadne, who conspired to help him kill the Minotaur and escape by giving him a ball of yarn to unroll as he moved throughout the labyrinth ( 90.12a,b ). Theseus managed to flee Crete with Ariadne, but then abandoned her on the island of Naxos during the voyage back to Athens. King Aegeus had told Theseus that upon returning to Athens, he was to fly a white sail if he had triumphed over the Minotaur, and to instruct the crew to raise a black sail if he had been killed. Theseus, forgetting his father’s direction, flew a black sail as he returned. Aegeus, in his grief, threw himself from the cliff at Cape Sounion into the Aegean, making Theseus the new king of Athens and giving the sea its name.

There is but a sketchy picture of Theseus’ deeds in later life, gleaned from brief literary references of the early Archaic period , mostly from fragmentary works by lyric poets. Theseus embarked on a number of expeditions with his close friend Peirithoos, the king of the Lapith tribe from Thessaly in northern Greece. He also undertook an expedition against the Amazons, in some versions with Herakles , and kidnapped their queen Antiope, whom he subsequently married ( 31.11.13 ; 56.171.42 ). Enraged by this, the Amazons laid siege to Athens, an event that became popular in later artistic representations.

There are certain aspects of the myth of Theseus that were clearly modeled on the more prominent hero Herakles during the early sixth century B.C. Theseus’s encounter with the brigands parallels Herakles’ six deeds in the northern Peloponnesos. Theseus’ capture of the Marathonian Bull mirrors Herakles’ struggle with the Cretan Bull. There also seems to be some conflation of the two since they both partook in an Amazonomachy and a Centauromachy. Both heroes additionally have links to Athena and similarly complex parentage with mortal mothers and divine fathers.

However, while Herakles’ life appears to be a string of continuous heroic deeds, Theseus’ life represents that of a real person, one involving change and maturation. Theseus became king and therefore part of the historical lineage of Athens, whereas Herakles remained free from any geographical ties, probably the reason that he was able to become the Panhellenic hero. Ultimately, as indicated by the development of heroic iconography in Athens, Herakles was superseded by Theseus because he provided a much more complex and local hero for Athens.

The earliest extant representation of Theseus in art appears on the François Vase located in Florence, dated to about 570 B.C. This famous black-figure krater shows Theseus during the Cretan episode, and is one of a small number of representations of Theseus dated before 540 B.C. Between 540 and 525 B.C. , there was a large increase in the production of images of Theseus, though they were limited almost entirely to painted pottery and mainly showed Theseus as heroic slayer of the Minotaur ( 09.221.39 ; 64.300 ). Around 525 B.C. , the iconography of Theseus became more diverse and focused on the cycle of deeds involving the brigands and the abduction of Antiope. Between 490 and 480 B.C. , interest centered on scenes of the Amazonomachy and less prominent myths such as Theseus’ visit to Poseidon’s palace ( 53.11.4 ). The episode is treated in a work by the lyric poet Bacchylides. Between 450 and 430 B.C. , there was a decline in representations of the hero on vases; however, representations in other media increase. In the mid-fifth century B.C. , youthful deeds of Theseus were placed in the metopes of the Parthenon and the Hephaisteion, the temple overlooking the Agora of Athens. Additionally, the shield of Athena Parthenos, the monumental chryselephantine cult statue in the interior of the Parthenon, featured an Amazonomachy that included Theseus.

The rise in prominence of Theseus in Athenian consciousness shows an obvious correlation with historical events and particular political agendas. In the early to mid-sixth century B.C. , the Athenian ruler Solon (ca. 638–558 B.C. ) made a first attempt at introducing democracy. It is worth noting that Athenian democracy was not equivalent to the modern notion; rather, it widened political involvement to a larger swath of the male Athenian population. Nonetheless, the beginnings of this sort of government could easily draw on the Synoikismos as a precedent, giving Solon cause to elevate the importance of Theseus. Additionally, there were a large number of correspondences between myth and historical events of this period. As king, Theseus captured the city of Eleusis from Megara and placed the boundary stone at the Isthmus of Corinth, a midpoint between Athens and its enemy. Domestically, Theseus opened Athens to foreigners and established the Panathenaia, the most important religious festival of the city. Historically, Solon also opened the city to outsiders and heightened the importance of the Panathenaia around 566 B.C.

When the tyrant Peisistratos seized power in 546 B.C. , as Aristotle noted, there already existed a shrine dedicated to Theseus, but the exponential increase in artistic representations during Peisistratos’ reign through 527 B.C. displayed the growing importance of the hero to political agenda. Peisistratos took Theseus to be not only the national hero, but his own personal hero, and used the Cretan adventures to justify his links to the island sanctuary of Delos and his own reorganization of the festival of Apollo there. It was during this period that Theseus’s relevance as national hero started to overwhelm Herakles’ importance as Panhellenic hero, further strengthening Athenian civic pride.

Under Kleisthenes, the polis was reorganized into an even more inclusive democracy, by dividing the city into tribes, trittyes, and demes, a structure that may have been meant to reflect the organization of the Synoikismos. Kleisthenes also took a further step to outwardly claim Theseus as the Athenian hero by placing him in the metopes of the Athenian treasury at Delphi, where he could be seen by Greeks from every polis in the Aegean.

The oligarch Kimon (ca. 510–450 B.C. ) can be considered the ultimate patron of Theseus during the early to mid-fifth century B.C. After the first Persian invasion (ca. 490 B.C. ), Theseus came to symbolize the victorious and powerful city itself. At this time, the Amazonomachy became a key piece of iconography as the Amazons came to represent the Persians as eastern invaders. In 476 B.C. , Kimon returned Theseus’ bones to Athens and built a shrine around them which he had decorated with the Amazonomachy, the Centauromachy, and the Cretan adventures, all painted by either Mikon or Polygnotos, two of the most important painters of antiquity. This act represented the final solidification of Theseus as national hero.

Greene, Andrew. “Theseus, Hero of Athens.” In Heilbrunn Timeline of Art History . New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/thes/hd_thes.htm (August 2009)

Further Reading

Barber, Elizabeth Wayland, and Paul T. Barber. When They Severed Earth from Sky: How the Human Mind Shapes Myth . Princeton: Princeton University Press, 2005.

Boardman, John "Herakles." In Lexicon Iconographicum Mythologicae Classicae , vol. V, 1. Zürich: Artemis, 1981.

Camp, John McK. The Archaeology of Athens . New Haven: Yale University Press, 2001.

Gehrke, Hans-Joachim. "Myth, History, and Collective Identity: Uses of the Past in Ancient Greece and Beyond." In The Historian's Craft in the Age of Herodotus , edited by Nino Luraghi, pp. 286–313. New York: Oxford University Press, 2001.

Harrison, Evelyn B. "Motifs of the City Siege of Athena Parthenos." American Journal of Archaeology 85, no. 3 (July 1981), pp. 281–317.

Hornblower, Simon, and Antony Spawforth, eds. The Oxford Classical Dictionary . 3d ed., rev. New York: Oxford University Press, 2003.

Neils, Jenifer. "Theseus." In Lexicon Iconographicum Mythologicae Classicae , vol. VII, 1, pp. 922–51. Zürich: Artemis, 1981.

Servadei, Cristina. La figura di Theseus nella ceramica attica: Iconografia e iconologia del mito nell'Atene arcaica e classica . Bologna: Ante Quem, 2005.

Shapiro, H. A. "Theseus: Aspects of the Hero in Archaic Greece." In New Perspectives in Early Greek Art , edited by Diana Buitron-Oliver, pp. 123–40. Washington, D.C.: National Gallery of Art, 1991.

Shapiro, H. A. Art and Cult under the Tyrants in Athens . Mainz am Rhein: Philipp von Zabern, 1989.

Simon, Erika. Festivals of Attica . Madison: University of Wisconsin Press, 1983.

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How to Write a Thesis in Mythology

Shara jj cooper.

Norse mythology is one topic for a thesis.

Writing a thesis is required by most post-secondary institutions when you complete a master's degree. The thesis is a dissertation, or large research paper, that summarizes the work you have done in a specific area. Many humanity programs, such as English and history, allow you to write about mythology. This topic is varied and can include topics like Greek or Egyptian mythology. Greek mythology in popular culture is an example of a thesis topic. In order to write a thesis you need to do in-depth research on the topic, focus your findings to a specific topic and write a thesis about this topic. Writing a thesis can take weeks to finish. The length of thesis papers varies greatly but can be 50 to 400 pages.

Determine the thesis statement for your topic. This statement is usually one, concise sentence that shows what you are going to prove in your thesis. It will summarize your main point and the results of your research. Read your thesis statement out loud, write it out by hand and tape it to your computer or a bulletin board. This statement will keep you on track throughout your thesis. The thesis statement is usually placed at the last line of the introducing paragraph. For example, Greek mythology can be found in every genre of popular culture. Refer to your thesis statement as you write. All points made in the thesis should work to prove your thesis statement.

Draw up an outline for your thesis. Include an introduction, paragraphs for your main points and room for all of the supporting evidence. Design the thesis so it follows a logical flow, with each thought expanding on or backing up the previous thought. Add graphics such as charts, time graphs or pictures from the type of mythology you are writing about. Note where you will include them in your outline. For example, outline the different aspects of popular culture like TV, movies, video games and literature and where Greek mythology shows up.

Write the thesis by starting with the body of the paper. Write the thesis last. By the time you finish the body of the thesis you will know exactly what the paper looks like and the introduction will be easier to write. Follow your outline as you write the body of the thesis but allow yourself to make changes if the flow doesn't feel right. Craft each section so you introduce an idea, back up your ideas and then make a conclusion when possible. For example, start by talking about Greek mythology in TV and some of the characters that stem from it like the maenads in "True Blood."

Add the introduction when the body of the paper is finished. This is where you make your main points about the mythology you researched and demonstrate what you are going to prove in your thesis. Use attention-catching statements or ideas in the introduction to draw the reader in. End the introduction with your thesis statement. In the Greek mythology example, you can talk about some of the main Greek characters that are frequently used, such as Zeus or Achilles.

Finish the paper with a strong conclusion that recaps the points you were making. This is the time to ensure the reader really remembers what you were trying to demonstrate. Reaffirm the main ideas, especially those that you want the reader to discuss or remember later. The conclusion is your chance to really push an idea home. For example, reword the thesis statement on Greek mythology to show you made your point.

Use any tools available to you to ensure the paper is formatted properly and free of errors. Use online spell checkers, have friends read the paper and take it to an editing service at your university. Many universities offer these services in the library for students. Set the paper aside for a few days and go back and review it with fresh eyes. Rewrite as necessary.

Format the thesis according to the guidelines required by your professor. This usually includes a title page, table of contents and bibliography. Humanities classes usually use the MLA style guide so ensure your work follows this guide.

  • Use in-text citations for any work that isn't your own and to show the professor where you are getting your information from.
  • 1 Indiana University: Writing a Thesis Statement
  • 2 Purdue Online Writing Lab; Tips and Examples for Writing Thesis Statements; Elyssa Tardiff, et al.; February 2011
  • 3 American Historical Association; Practical Advice for Writing Your Dissertation, Book, or Article; Liena Vayzman; December 2006
  • 4 Lamont-Doherty Earth Observatory; How to Write Your Thesis; Kim Kastens, et. al
  • 5 Greek Mythology; Home

About the Author

Shara JJ Cooper graduated with a bachelor's degree in journalism in 2000, and has worked professionally ever since. She has a passion for community journalism, but likes to mix it up by writing for a variety of publications. Cooper is the owner/editor of the Boundary Sentinel, a web-based newspaper.

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Greek Mythology, Religion, Philosophy, and History Essay

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In the history of the World, no other society has had such a rich mix of religion, mythology, philosophy, and history as the ancient Greeks. Some experts claim that the genesis of this intermingling lay in the overtly polytheistic nature of ancient Greek religion which worshipped a pantheon of gods. The Mediterranean region with its diverse seafaring traditions was a birthplace for the intermingling of cultures. Polytheism led to the Greeks adopting a remarkable tolerant attitude towards the viewpoints and beliefs of others.

Over a period of time, such broad attitudes became fertile ground for the exercise of human imagination leading to the birth of great epics steeped in legend, mixed with actual historical facts, and the dawn of modern philosophical thought. The operative utility of this tradition of philosophy gave rise to the Greek city-states, the first form of a democratic society. According to Knierim, “The ancient Greeks viewed the world in a way that one would today perhaps describe as ‘holistic’. Science, philosophy and politics were interwoven and combined into one worldview” (1). This essay attempts to describe the ancient Greek period from 2700 B.C to the 4th century B.C with a view to explain the interrelation between Greek religion, mythology, philosophy, and history.

Greek religion can be classified into four main periods. During the period 2700-1100 B.C, the religion of the Minoan and Mycenaean cultures was practiced in the region of Crete and the Aegean Basin. This religion was predominantly based on female deities. Other figures of animals with human heads suggested that some form of animism was also prevalent. The ancient religious stories of the Minoans and the Mycenaean were transmitted orally to the other parts of the Mediterranean region which later fused with the Greek traditions and religious practices.

As the Greek societies evolved, so did their religion, and the next period 1100-750 B.C is referred to as the ‘Heroic Age’ made famous by Homer and Hesiod. It was during this period that the pantheon of Greek gods attained their fame and acceptance by the Greeks. The third period witnessed a move away from polytheism to the era of rational thinking and skepticism also known as the ‘Golden Age of Athens, spanning from the 6 th century to 4 th century B.C. The final period, Greco-Roman ranged from 2 nd century B.C to 2 nd century A.D which basically led to the export of Greek philosophical thought the world over.

The effect of Greek mythology on religion and history is so entwined that often it becomes difficult to distinguish the two. The Greek pantheon of Gods presided over by Zeus, made famous by Hesiod and Homer became the focal point of Greek religion. Not only were mythological stories attributed to the Olympiad Gods, but they also became the basis for regulating Greek society too. Lloyd-Jones ( 2006) states that “ The early poet Hesiod explains that “Zeus gave to kings the them es, the principles of justice by which they ruled”(460). The mythologies encouraged the practice of sacrifice to the various gods to achieve defined ends. “Greek armies always made a divinatory sacrifice before going into battle, and the general took the omens after a sacrifice before deciding to go into action”. (Lloyd-Jones,2006, p.461).

The establishment of the Oracle of Delphi in honor of the Greek God Apollo took a political hue when every ruler far and wide consulted the Oracle to determine the course of action for conquest, administration of the state, and a host of other decisions. So popular was its usage that not only did the Greeks use the Oracle, but also other non-Greek kingdoms.

In Greek society, myth and history too were inexorably intertwined. A typical example is exemplified by the Trojan War, which according to many historians and archaeologists, was a real historical event. But the myth surrounding the idea of building the Trojan horse is attributed to the divine intervention of the Greek Goddess Pallas-Athene (Minerva). According to Berens, “She also taught the Greeks how to build the wooden horse by means of which the destruction of Troy was effected”(43).

Homer’s epics Iliad and Odyssey served as a rallying point for the Greek society. The Gods and Goddesses as described by Homer were revered by the Greeks and “these works came to serve as both epic and bible, providing a vivid ideal of manly prowess set in a framework of religious belief” (Time-Life Book, 1988, 53). The Olympic Games founded in 776 BC were dedicated to the God Zeus. The Battle of Marathon in 490 B.C between the Greeks and the Persians was a true historical event.

However, the so-called feat of a messenger running the entire 42 km from the war front to Athens is a legend that has no historical proof but nevertheless is entwined in popular culture leading to the institution of the famous marathon runner in the Olympic Games.

The Greek Philosophers had an undeniably relevant role in the development of Greek History. Solon who was elected as the archon of Athens in 594 B.C laid the framework of a democratic society. Socrates propounded the ‘test of reason’ as a philosophy of rationalism. “Instead of building on the myopic ideas of mythology, he began a rational inquiry into the riddles that nature presents. This inquiry is based on reflection and reason alone, and it may be his greatest achievement” (Knierim, 4).

Reasoning, rationalism, and critical thinking were the natural evolution of a polytheistic creed steeped in intolerance and intellectual inquiry into the nature of things. This tradition of reasoning finally led to the denouncement of the numerous Greek Gods by the Greek philosophers. By the end of the fifth century B.C, Greek philosophy became more scientific in its outlook. “ Plato denounced the immorality of the gods as portrayed by Homer and the other poets”( Lloyd-Jones, 2006 p.463).

Aristotle moderated the harsh critique of Gods propounded by Plato and his brand of ethics was more accommodative to traditional Greek religion. It, therefore, comes as no surprise that Aristotelian logic still finds popular support in these modern times. Despite the onslaught of rationalism and reasoning, traditional Greek gods continued to be worshipped and were supplemented in the Greco-Roman period by Roman Gods. The cults survived for eight centuries after Plato till the 4 th century A.D when the Christian emperor Theodosius banned and persecuted the followers of polytheism leading to their decline.

In conclusion, it can be said that the unique blend of mythology, religion, philosophy, and history in the Greek traditions survived for over a thousand years because of the syncretistic nature of the Greek thought, based on polytheistic processes which yielded an unusual degree of tolerance not to be seen in the later monotheistic creed of Christianity and Islam.

Some historians claim that this ability to assimilate differing thought came not only because of the genius of the Greek people but also because of the influence of Eastern thought which came by through the extensive trade links that Greece had with the East. The rich blend of myth, religion, philosophy and its effect on the history of the western world gave the grounding for the development of modern western philosophical thought of rationalism and reasoning. It also laid foundations for a political system that was soon to dominate the modern world – Democracy.

Works Cited

Berens, E.M. “Myths and Legends of Ancient Greece and Rome”. Project Gutenberg. 2007. Web.

Gillian, Moore and Editors of Time-Life Books. 1988. “ A Soaring Spirit”. A volume of Time-Life Series History of the World. Time-Life Books inc. Time Warner Inc. USA.

Knierim, Thomas. “Pre-Socratic Greek Philosophy”. 2008. Web.

Llyod-Jones, Hugh. 2001. “Ancient Greek Religion”. Proceedings of the American Philosophical Society vol. 145, no. 4. Web.

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