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Very Short Introductions #167
Classical Mythology: A Very Short Introduction
From Zeus and Europa, to Diana, Pan, and Prometheus, the myths of ancient Greece and Rome seem to exert a timeless power over us. But what do those myths represent, and why are they so enduringly fascinating? Why do they seem to be such a potent way of talking about our selves, our origins, and our desires? This imaginative and stimulating Very Short Introduction goes beyond a simple retelling of the stories to explore the rich history and diverse interpretations of classical mythology. It is a wide-ranging account, examining how classical myths are used and understood in both high art and popular culture, taking the reader from the temples of Crete to skyscrapers in New York, and finding classical myths in a variety of unexpected places: from Arabic poetry and Hollywood films, to psychoanalysis, the Bible, and New Age spiritualism.
#167
#167
160 pages, Paperback
First published August 23, 2007
74 people are currently reading
1752 people want to read
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Displaying 1 - 30 of 116 reviews
October 7, 2018
"Classical mythology only happens when the stories become active agents; when people use them."
- Helen Morales, VSI Classical Mythology
An interesting take on Classical Mythology. Just like Mary Beard begins and ultimately frames her examination of the Classics for VSI by exploring the British Museum's Bassae room and the Temple of Bassae in Greece, Helen Morales uses Europa on the Bull (on the Euro and on a 3rd Century Roman coin) to BEGIN to examine how myth is used and transformed by cultures, governments, etc., as emblems and powerful statements. While she travels beyond the myth of Zeus (as Bull) and Europa (and beyond governments), she will often return again and again to this myth to explain and illuminate other aspects of classical myths.
In the book Morales looks at the context of Classical myths, Gods and heros, the metaphorphoses of mythology (muthos to logos), she looks at Freud's role in our modern view of Classical Myths (how myth impacted analysis and analysis impacted Classical myths), the sexual politics of myth, and myths and the New Age.
I liked it. I'm always interested how scholars will attempt to tackle the distilation process of VSI. Some cram, some thin, some find creative ways to obliquely tackle and introduce their subjects to amateurs. It is a venture that is (for many subjects) a challenge worthy of a mental Hercules (Heracles).
- Helen Morales, VSI Classical Mythology
An interesting take on Classical Mythology. Just like Mary Beard begins and ultimately frames her examination of the Classics for VSI by exploring the British Museum's Bassae room and the Temple of Bassae in Greece, Helen Morales uses Europa on the Bull (on the Euro and on a 3rd Century Roman coin) to BEGIN to examine how myth is used and transformed by cultures, governments, etc., as emblems and powerful statements. While she travels beyond the myth of Zeus (as Bull) and Europa (and beyond governments), she will often return again and again to this myth to explain and illuminate other aspects of classical myths.
In the book Morales looks at the context of Classical myths, Gods and heros, the metaphorphoses of mythology (muthos to logos), she looks at Freud's role in our modern view of Classical Myths (how myth impacted analysis and analysis impacted Classical myths), the sexual politics of myth, and myths and the New Age.
I liked it. I'm always interested how scholars will attempt to tackle the distilation process of VSI. Some cram, some thin, some find creative ways to obliquely tackle and introduce their subjects to amateurs. It is a venture that is (for many subjects) a challenge worthy of a mental Hercules (Heracles).
July 22, 2023
I love Greek Mythology but gave up on this one. Couldn't get into it, was a bit too abstract for me.
September 23, 2022
This book examines the mythology of ancient Greece and Rome, reflects upon how these myths have come to be understood and used in the modern world, and proposes how these understandings may represent partial or incorrect views – in some cases. This approach can be seen from the book’s opening chapter, which investigates how Europa (a figure primarily known for being raped by Zeus) came to be namesake of the continent where classical mythology developed. In later chapters, there’s an exploration of how partial or erroneous understandings of Classical Mythology have been applied to psychoanalysis (ch. 5,) sexuality (ch. 6,) and New Age practices such as astrology and goddess worship (ch. 7.)
I learned a great deal from this book. I particularly enjoyed the discussion about what might have been if Freud had picked a different mythological figure to fixate on, other than Oedipus. How the famed psychiatrist might have extracted lessons that better stood the test of time than those that came about in reality.
While there’s not a great deal of room in a book such as this to explore the full scope of classical myths, the author does use a variety of myths – often well-known stories that don’t require a great deal of backstory – to make the book interesting and thought-provoking.
If you’re looking for a book on Classical Mythology, particularly one that discusses how it (for good or ill) appears in today’s world, I’d highly recommend this brief guide.
I learned a great deal from this book. I particularly enjoyed the discussion about what might have been if Freud had picked a different mythological figure to fixate on, other than Oedipus. How the famed psychiatrist might have extracted lessons that better stood the test of time than those that came about in reality.
While there’s not a great deal of room in a book such as this to explore the full scope of classical myths, the author does use a variety of myths – often well-known stories that don’t require a great deal of backstory – to make the book interesting and thought-provoking.
If you’re looking for a book on Classical Mythology, particularly one that discusses how it (for good or ill) appears in today’s world, I’d highly recommend this brief guide.
May 24, 2023
This was interesting but since English is not my mother tongue the text could get hard to understand sometimes. It was fun though. Reminded me of my university days.
“ Many of the heroes of myth were, by modern standards, closer to psychopaths than saints.”
“ Many of the heroes of myth were, by modern standards, closer to psychopaths than saints.”
October 1, 2017
When I have taught mythology in the past (specifically Greek mythology), too often students asked the wrong questions. Regrettably, they were preoccupied with notions of accuracy and validity. That is to say, they adhered too closely to notions of rightness and wrongness, and they could not move beyond thinking of mythology as not historical. All of this is to say, they could not fully conceptualize mythology as mythology. To be fair, this may not reflect a lack of imagination on their part. It seems history has supplanted mythology as the predominant mode of understanding the past, and deriding an adaptation for not "being like the original" has become a fashionable way of engaging with adaptations. This is precisely why Helen Morales' Classical Mythology: A Very Short Introduction is so interesting. She pivots from two essential characteristics of mythology--the fact that myth is a "slippery term" and that myths help us understand "our selves, our liberties, and our lies"--and builds a compelling case that explores why myths matter (2; 4). The idea that ties this book together is simple but profound: what myths do is more interesting than what myths are. Morales writes, "This book will discuss various definitions of myth...but it is interested in myth as a process as much as a thing...the best way to answer the question of what classical mythology is is to look at what classical mythology does" (2).
Chapters 5 and 6 will be attractive to any reader interested in learning how myths shape two aspects of contemporary thought: psychology and sexuality. In Chapter 5, Morales challenges psychoanalysis while also affirming it. She suggests that psychoanalysis would be a fundamentally different discipline if Freud had selected another myth from classic mythology, but her larger point hangs on the notion that Freud's choice established a set of ideological expectations and prejudices that psychoanalysis had to grapple with, and to some degree, continues to grapple with today. However, Morales confirms psychoanalysis by suggesting that it facilitates in "Connecting people to classical myths, and the ideas within them that can give life meaning, [which] is one way of anchoring them to their common lost culture" (80-81).
Chapter 6 explores the ubiquity of rape and sexual assault in mythology and argues that mythology's malleability renders those moments less problematic when they are subjected to cultural reappropriations, such as the queering of certain myths.
Too often entries in the A Very Short Introduction series are dry and clinical. Morales is a welcomed change. She writes with enthusiasm, conviction, and erudition, but at no point is she impenetrable.
Chapters 5 and 6 will be attractive to any reader interested in learning how myths shape two aspects of contemporary thought: psychology and sexuality. In Chapter 5, Morales challenges psychoanalysis while also affirming it. She suggests that psychoanalysis would be a fundamentally different discipline if Freud had selected another myth from classic mythology, but her larger point hangs on the notion that Freud's choice established a set of ideological expectations and prejudices that psychoanalysis had to grapple with, and to some degree, continues to grapple with today. However, Morales confirms psychoanalysis by suggesting that it facilitates in "Connecting people to classical myths, and the ideas within them that can give life meaning, [which] is one way of anchoring them to their common lost culture" (80-81).
Chapter 6 explores the ubiquity of rape and sexual assault in mythology and argues that mythology's malleability renders those moments less problematic when they are subjected to cultural reappropriations, such as the queering of certain myths.
Too often entries in the A Very Short Introduction series are dry and clinical. Morales is a welcomed change. She writes with enthusiasm, conviction, and erudition, but at no point is she impenetrable.
July 19, 2022
Morales looks less at myth than its reception. Her foci are heroes, allegory, psychoanalysis, feminism, new age.
August 5, 2015
This book is not quite the book it looks like it might be, that is, a description of the stories of classical mythology. Since such a book would be exceptionally dull and pointless - why not read the myths themselves? - this is not a bad thing. Neither is it an account of the themes and motifs of classical literature - such a book would come under the title 'classical literature', not 'classical mythology'. It is instead, something of a history of the reception of the stories that get grouped together under that title, and to that extent is quite interesting, if not altogether illuminating.
August 2, 2017
I'd recommend this book if you want to learn more about how classical mythology has evolved in meaning and application throughout history, and how it has been interpreted by academics and pop culture alike. I liked the section on classical mythology and new age religion.
This was interesting enough to dip in and out of while travelling to Uni on the train, and it gets points for being small enough to fit in my coat pocket, but I'm not completely enamoured with the writing style and some of the topics discussed.
This was interesting enough to dip in and out of while travelling to Uni on the train, and it gets points for being small enough to fit in my coat pocket, but I'm not completely enamoured with the writing style and some of the topics discussed.
December 30, 2017
This book should be re-titled 'to 'Interpretation of classical mythology: a very short introduction'. This VSI is about how mythology of Ancient Greece and Rome has been interpreted over the last 2,000+ years (which I did not find interesting at all). If you're after an introduction to the stories and characters of ancient mythology, this is not the book you want.
August 13, 2025
This was a quick, engaging dip into the myths of ancient Greece and Rome — not just the usual Zeus, Europa, and Prometheus retellings, but also how those myths have travelled through history, changing shape in art, literature, and even pop culture. I especially enjoyed learning how the same gods were known by different names in different cultures, and how folklore evolved as it moved across regions.
However… I found the recurring theme of men rationalising rape as romance in myths (and the suggestion that women “wanted it”) deeply disturbing. Even more unsettling was realising how those ideas have echoed forward into modern works — Seven Brides for Seven Brothers, for example, is barely 70 years old. It’s a stark reminder that these narratives don’t just belong to the distant past. 😧
Fascinating for the history and cultural connections, but I left with mixed feelings about the subject matter.
However… I found the recurring theme of men rationalising rape as romance in myths (and the suggestion that women “wanted it”) deeply disturbing. Even more unsettling was realising how those ideas have echoed forward into modern works — Seven Brides for Seven Brothers, for example, is barely 70 years old. It’s a stark reminder that these narratives don’t just belong to the distant past. 😧
Fascinating for the history and cultural connections, but I left with mixed feelings about the subject matter.
May 13, 2019
Classical Mythology will not be a guide to classical myths or a guide to Roman and Greek mythology but it will show you how myths can be altered throughout history to serve different purposes. The same myth has lived a thousand lives from its origin to the present day and that's what you'll find in this book - it will entertain you in the same way that you'll learn something about the power of myths and the place they have in our present day - in politics, in songs and other areas of knowledge.
I enjoy these Very Short Introductions. You can easily become acquainted with different areas of knowledge in a succinct, clear and concise manner. An interesting collection with a variety of books on many different subjects that have accompanied me throughout college and will continue to do so.
I enjoy these Very Short Introductions. You can easily become acquainted with different areas of knowledge in a succinct, clear and concise manner. An interesting collection with a variety of books on many different subjects that have accompanied me throughout college and will continue to do so.
October 19, 2024
Great, unique, interesting, short tidbits of facts about Greek mythology, read by Julia Whelan. Honestly, I would listen to the phone book listing if it were read by Julia Whelan.
April 16, 2025
The book is mostly a discussion of how other scholars have analyzed or interpreted myths, which is not what I was hoping for. I wanted a deeper discussion of how ancient myths are reflective of the human experience, and how myths have continued to influence more recent media and storytelling.
It's also mistitled, as this discusses almost solely Greek and Roman myths, not mythology around the world.
It's also mistitled, as this discusses almost solely Greek and Roman myths, not mythology around the world.
July 12, 2021
Horrible. One chapter into the audio version of this Very Short Introduction, and the author begins by fixating on ’The Rape of Europa’ myth, in which Zeus disguised himself as a white heifer to seduce the beautiful Europa. From this, she draws parallels to the foundations of modern-day Europe and even the etchings on the Euro coinage itself; all to contrive some nebulous, and seemingly, pointless argument. Why did she hone in on this theme to start? To express her disgust and indignation of course.
Next, she proceeds to tell us how the entirety of Greek myth is of dubious origins; insinuating that in fact, almost every element of these myths have contributed towards a bigoted collective mindset. She gives tacit approval to a controversial piece that suggested goddess Athena was actually black and then goes on to cast further aspersions on all hitherto historicisation of the myths as being the conjurings of an “Aryan” derivation. Dropping such terms in this context alone should give you an indication of where this woman’s mind is at.
All of this in the first chapter alone mind you, without even mentioning the creation stories of Gaia, Uranus, Cronus, the Titanomachy, the Twelve Olympians; no, no, no, all you need to know my budding, classical dilettante, is that everything attributed to Western culture is inherently racist, and Helen Morales has written a little book about it all so that you can bask in her misguided, pernicious and progressivist worldview. God forbid a young, impressionable mind picks this up thinking it would be a gateway to understanding the basics of Greek myth.
This book is a radical left-wing polemic disguised as an introductory text on Greek Mythology. Morales is the scholastic progeny of that insufferable harpy Mary Beard, who has been instrumental in spreading her cultural Marxism into the domain of the classics under the auspices of the BBC for over a decade now.
Trash.
Next, she proceeds to tell us how the entirety of Greek myth is of dubious origins; insinuating that in fact, almost every element of these myths have contributed towards a bigoted collective mindset. She gives tacit approval to a controversial piece that suggested goddess Athena was actually black and then goes on to cast further aspersions on all hitherto historicisation of the myths as being the conjurings of an “Aryan” derivation. Dropping such terms in this context alone should give you an indication of where this woman’s mind is at.
All of this in the first chapter alone mind you, without even mentioning the creation stories of Gaia, Uranus, Cronus, the Titanomachy, the Twelve Olympians; no, no, no, all you need to know my budding, classical dilettante, is that everything attributed to Western culture is inherently racist, and Helen Morales has written a little book about it all so that you can bask in her misguided, pernicious and progressivist worldview. God forbid a young, impressionable mind picks this up thinking it would be a gateway to understanding the basics of Greek myth.
This book is a radical left-wing polemic disguised as an introductory text on Greek Mythology. Morales is the scholastic progeny of that insufferable harpy Mary Beard, who has been instrumental in spreading her cultural Marxism into the domain of the classics under the auspices of the BBC for over a decade now.
Trash.
March 6, 2017
This book wasn't exactly what I was expecting, but as it turns out, was the better for it.
Rather than paraphrasing the myths themselves, in this book Morales instead introduces the reader to Greek and Roman mythology by discussing how myths have been used throughout history. Covering many subjects, including art, literature, psychoanalysis and Freud, allegory, the European Union, and even advertising, the reader is introduced to mythology as a living, breathing subject in its own right, rather than a series of ancient tales that are set in stone.
I'm not a newcomer to classical mythology, and I found this book an incredibly interesting and rewarding read. Highly recommended.
Rather than paraphrasing the myths themselves, in this book Morales instead introduces the reader to Greek and Roman mythology by discussing how myths have been used throughout history. Covering many subjects, including art, literature, psychoanalysis and Freud, allegory, the European Union, and even advertising, the reader is introduced to mythology as a living, breathing subject in its own right, rather than a series of ancient tales that are set in stone.
I'm not a newcomer to classical mythology, and I found this book an incredibly interesting and rewarding read. Highly recommended.
March 1, 2016
A brief and interesting look at how Classical Myth has affected society across the ages. It didn't just retell the stories (which personally I'm glad for) so it's not worth a read if that is what you're after. Instead it discusses myth's dominance and importance to Western society, and it made an interesting and thought-provoking read.
April 13, 2022
Excellent overview, but my favorite part was when she eviscerated Robert Graves by calling his essays “astonishingly self-serving.”
February 20, 2022
In this VSI, Morales tells us how myths worked. They are not just static stories, but act in different social contexts for different purposes and evolve as needed.
“Myth” comes from Greek “muthos” meaning roughly story, in contrast to ”logos” meaning account (presumably less fictional). Myths raise moral questions for people to think about. In classical mythology, Gods’ power have limit (if Zeus saves his son, other gods would want to save theirs). It’s the interaction of Gods that give meaning. A hero becomes hero when he is larger than life and captures the zeitgeist and embodies the fantasies of the people. Myth can also be read allegorically, which gave deeper meaning. Ares and Aphrodites were not just enjoying a licentious episode: it can be read allegorically as strife (Ares) and love (Aphrodites) create harmony (gods’ laughter). Myths can also be read as exaggerated gloss on history. This is referred to as euhemerism (after Sicilian explorer Euhemerus). The “rape of Europa” myth is seen by some as evidence for Greece’s Afroasiatic root. Aristotle highlights the congruence — rather than conflict — of myth with philosophy. He suggests that they both capture man’s wonder about the world.
Myths are not static. They are retold, revised. They are a process. During the time of Alexander the Great, there is immense vibrant pluralism and exchange. Gods are fused, equated in complex process called “syncretism”. Take one of the most disturbing stories from Ovid: Myrrha, who desires her father and helped by nurse to steal into his bed in darkness 3 times, discovered, fled, and became a tree which cracked open to produce the son Adonis. Myrrha is later remythologized as virgin Marry, Adonis Christ.
Myths can be overtly racist or misogynist. Take ”Europa on a bull”: its image appears on many coins, often as a symbol for Europe. The story “rape of Europa” is that Zeus disguised as a bull and took Europa (Phoenician princess) to Crete and became mother of Minos. Cadmus (brother of Europa) was sent looking for her and settling down in Thebe. This is a thoroughly Athenian myth as the Athenians are proud of their indigenous root and use the myth to differentiate them from the Theban who were descendants of. And even the word rape has a different connotation in antiquity: the issue wasn’t the lack of the consent from woman as much as the insult to her male guardians. The misogynist angle is clear.
With Freud treating mythology as case studies, psychoanalysis was born. To Freud, Medusa’s hair symbolizes female genitalia that men fear. Oedipus’s story was a recurring theme in Greek tragedy about self knowledge. But to Freud, it allow drawing universal conclusion of human. Jung’s theory is that there are several archetypes (behavior patterns hardwired in us), hence the common patterns in myths. Mythology also provides goddesses for the New Ager to worship. (However, ancient astrologers differ from their modern variants in that they enjoy intellectual respectability. And there was significant overlap of astrologer with philosophy.
“Myth” comes from Greek “muthos” meaning roughly story, in contrast to ”logos” meaning account (presumably less fictional). Myths raise moral questions for people to think about. In classical mythology, Gods’ power have limit (if Zeus saves his son, other gods would want to save theirs). It’s the interaction of Gods that give meaning. A hero becomes hero when he is larger than life and captures the zeitgeist and embodies the fantasies of the people. Myth can also be read allegorically, which gave deeper meaning. Ares and Aphrodites were not just enjoying a licentious episode: it can be read allegorically as strife (Ares) and love (Aphrodites) create harmony (gods’ laughter). Myths can also be read as exaggerated gloss on history. This is referred to as euhemerism (after Sicilian explorer Euhemerus). The “rape of Europa” myth is seen by some as evidence for Greece’s Afroasiatic root. Aristotle highlights the congruence — rather than conflict — of myth with philosophy. He suggests that they both capture man’s wonder about the world.
Myths are not static. They are retold, revised. They are a process. During the time of Alexander the Great, there is immense vibrant pluralism and exchange. Gods are fused, equated in complex process called “syncretism”. Take one of the most disturbing stories from Ovid: Myrrha, who desires her father and helped by nurse to steal into his bed in darkness 3 times, discovered, fled, and became a tree which cracked open to produce the son Adonis. Myrrha is later remythologized as virgin Marry, Adonis Christ.
Myths can be overtly racist or misogynist. Take ”Europa on a bull”: its image appears on many coins, often as a symbol for Europe. The story “rape of Europa” is that Zeus disguised as a bull and took Europa (Phoenician princess) to Crete and became mother of Minos. Cadmus (brother of Europa) was sent looking for her and settling down in Thebe. This is a thoroughly Athenian myth as the Athenians are proud of their indigenous root and use the myth to differentiate them from the Theban who were descendants of. And even the word rape has a different connotation in antiquity: the issue wasn’t the lack of the consent from woman as much as the insult to her male guardians. The misogynist angle is clear.
With Freud treating mythology as case studies, psychoanalysis was born. To Freud, Medusa’s hair symbolizes female genitalia that men fear. Oedipus’s story was a recurring theme in Greek tragedy about self knowledge. But to Freud, it allow drawing universal conclusion of human. Jung’s theory is that there are several archetypes (behavior patterns hardwired in us), hence the common patterns in myths. Mythology also provides goddesses for the New Ager to worship. (However, ancient astrologers differ from their modern variants in that they enjoy intellectual respectability. And there was significant overlap of astrologer with philosophy.
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January 4, 2022Picks out a few themes to help define classical mythology: its malleability and openness to reinterpretation, for example. The quotations are interesting since Morales brings in secondary sources from many places and times to comment on myths. I feel that my understanding of classical myth has been slightly expanded: a few more facts slotted into place, my definitions colored in a bit more. That kind of modest gain in detail surely must be the minimal viable product for an Oxford V.S.I.
To those IDENTITY EVROPA types complaining about the 'wokeness' of this book: perhaps you would be happier in the bronze age. If we ever figure out time-travel, or even just holodecks, we ought to send these naive conservatives back to their fantasy Rome --- they have to pick straws to see who gets to be emperor, though. Nine out of ten straws are going to be galley slaves and washer women.
To those IDENTITY EVROPA types complaining about the 'wokeness' of this book: perhaps you would be happier in the bronze age. If we ever figure out time-travel, or even just holodecks, we ought to send these naive conservatives back to their fantasy Rome --- they have to pick straws to see who gets to be emperor, though. Nine out of ten straws are going to be galley slaves and washer women.
July 1, 2022
I loved this book! It's not perfect, but I found it really interesting and enlightening. Morales makes no attempt to be objective, and you know what, I'm here for it. There is no true objectivity in this field, and her unabashed expression of her opinions is honestly refreshing.
It's difficult to say whether you can call this book "accessible." Its brevity certainly helps, and the style is mostly informal, which I think a lot of people will like. Still, there are a lot of complex ideas being discussed here, and with a book this short, there's sometimes not much background given. In particular, I think the chapter "The sexual politics of myth" might be difficult for readers without at least some basic background in gender studies and feminism.
Overall I thought the book had a lot of great insights into how we think and teach about myth and the role that it plays in different societies.
It's difficult to say whether you can call this book "accessible." Its brevity certainly helps, and the style is mostly informal, which I think a lot of people will like. Still, there are a lot of complex ideas being discussed here, and with a book this short, there's sometimes not much background given. In particular, I think the chapter "The sexual politics of myth" might be difficult for readers without at least some basic background in gender studies and feminism.
Overall I thought the book had a lot of great insights into how we think and teach about myth and the role that it plays in different societies.
March 6, 2018
This book, while starting on a wholly interesting foot, managed to transcend into the boring literary pit that is feminist rewriting of history. It raises many interesting points about myth in modern culture, but feels as if it glosses over the most important part of the subject: CLASSICAL mythology and its role in the CLASSICAL world.
I do recommend this book for any one who is merely looking for a very short introduction to modern “goddess cults”, but not for anyone interested in classical mythology itself.
I do recommend this book for any one who is merely looking for a very short introduction to modern “goddess cults”, but not for anyone interested in classical mythology itself.
December 28, 2019
One of the best books on classical mythology I have read so far. This book is not about retelling the myths (although it gives a short summary of myths being discussed), but putting them into a context: how the myths were and still are influencing our daily life and the societies around us.
November 15, 2019
As with many books in this series, it's important to know what this Very Short Introduction will, and will not be dealing with before you start to read it, to avoid disappointment; something that is not always apparent from the title alone. This is not a compendium of Greek and Roman mythology, or a retelling of its main stories, although it does contain a surprising amount of detail about some of the main mythological characters and episodes; nor it is a guide to the evolution of the mythological framework of the classical world. It is an examination of how classical mythology has been interpreted and transmitted in various forms and in various times and places, from ancient Greek and Rome, to our day; and also of how that mythology has been itself constructed by those interpretations and transmissions. In other words, this book is an account of how classical mythology is as much context as it is content—and a very good, although necessarily brief one. Morales's argument is clear, convincing, and well illustrated throughout, and her writing interesting and enthusiastic (if a bit pushy in places towards the end, perhaps). I feel that I have come away from this book both knowing more about its subject, and equipped with a more sophisticated way of thinking about it. Certainly one of the best Very Short Introductions that I have read so far.
January 27, 2013
Expected an enthralling read, considering my love for mythology, but even that could not prevent this book from boring me. I like forming my own opinions about things, not having the author's dictated to me (I found it inexpressibly annoying.)
Not so much 'Classical Mythology' after all.
Not so much 'Classical Mythology' after all.
July 11, 2023
I listened to this as an audiobook right after I finished comps. I had downloaded it to my phone through my library’s app, but for some reason, right before I set off for a long drive to a distant retreat, the app refreshed and removed all the downloaded audiobooks from my phone, so I ended up listening to music the whole trip, which was perhaps a good thing because my brain felt almost non-functional having just completed my comps exam the same day. I ended up listening to a good portion of the audiobook on the drive back though. Again my brain was still half-functional at that point and I’m not sure how much I really absorbed.
I read this book bc the person I’m dating is into Greek mythology and I am very ignorant about this stuff. I feel like I can’t keep up whenever we go to the ROM lmao. I told myself a couple years ago that I would learn more about this stuff because Marx was into Prometheus and other philosophers (like Deleuze) were always alluding to it, but I never did make any progress on this front.
The opening chapter explains the constituitive way classical mythology became entangled in European identity in a strangely mistaken way, that even Herodotus noted. Morales writes:
“The very first reference to Europe as an area clearly distinguishable from the Peloponnesian islands and peninsula is found in the Homeric Hymn to Apollo, a song composed in the late 7th or early 6th century BC. At the time when Herodotus was writing, a century or so later, both the idea and the geography of Europe were rather vague. In fact, Herodotus was among the first Greeks to sketch out some boundaries for the continent, placing its western limit at the Adriatic, and its eastern near the Black Sea at the River Phasis (now Ruini in Georgia) or the River Tanais (now Don in Georgia). He is less clear about its northern and southern limits. Herodotus considers, but explicitly rejects, the idea that Europe was named after Europa:
‘As for Europe ... the origin of its name is uncertain, as is the identity of whoever first named the region – unless we say that Europa, the Tyrian princess, gave it her name, and that before her time it was just as nameless as the other continents. But it is plain that this Europa came from Asia and never set foot in what the Greeks now call Europe: she merely travelled from Phoenicia to Crete.’
This is a good example of the complexity of the tradition. Already in the 5th century BC, when the idea that Europe was named after Europa was first being aired, we find a major Greek historian expressing scepticism about the idea.
It was Phoenicia, a civilization whose heartland was in the coastal plains of what is now modern Lebanon, that was the land most commonly associated by Greek writers with Europa, not Europe. Most took her to be the daughter of the Phoenician king Agenor, and sister of Cadmus and Phoenix, although others, including Homer and the unnamed scholar quoted at the beginning of this chapter, said she was the daughter of Phoenix (the ambiguity of the Greek word ‘Phoinix’ as meaning both the name ‘Phoenix’ and the term ‘Phoenician’ further complicates the picture).”
The only allusion Morales makes to the influence on Marxists was this comment: “Shelley’s Prometheus, born of the failure of the French Revolution, was ‘the saviour and the strength of the suffering man’. Since Shelley, Prometheus has been treated as, in one Marxist’s memorable phrase, ‘the patron saint of the proletariat’."
There’s a whole chapter on the role of Greek mythology on psychoanalysis though (Chapter 5). She traces the Oedipal narrative’s influence on Freud, Lacan, Irigaray, Judith Butler, as well as Cixcous in the next chapter (which is about artistic depictions of these myths).
Having finished this, I’m not sure if I have really made any more progress towards feeling confident about discussing classical mythology. My brain finds it difficult to absorb these types of mythic narratives and structures for some reason. Perhaps the biggest thing that came out of this was it got me to read some Hesiod, and provided a renewed conviction to read Homer. Who knows if anything will come out of that though.
The other side effect of reading this was a realization that the French names for the days of the week corresponded to the names of the Roman gods: Luna, Mars, Mercury, Jupiter, Venus, and Saturn (in English). I weirdly never realized that until I read this book, though it never actually came up in the book. I just had a moment where I realized I had not observed something very obvious for my whole life. I find the Norse and Germanic versions of the names that characterize the English day names very confusing and the Romance designations/connections seem a lot easier to remember.
I read this book bc the person I’m dating is into Greek mythology and I am very ignorant about this stuff. I feel like I can’t keep up whenever we go to the ROM lmao. I told myself a couple years ago that I would learn more about this stuff because Marx was into Prometheus and other philosophers (like Deleuze) were always alluding to it, but I never did make any progress on this front.
The opening chapter explains the constituitive way classical mythology became entangled in European identity in a strangely mistaken way, that even Herodotus noted. Morales writes:
“The very first reference to Europe as an area clearly distinguishable from the Peloponnesian islands and peninsula is found in the Homeric Hymn to Apollo, a song composed in the late 7th or early 6th century BC. At the time when Herodotus was writing, a century or so later, both the idea and the geography of Europe were rather vague. In fact, Herodotus was among the first Greeks to sketch out some boundaries for the continent, placing its western limit at the Adriatic, and its eastern near the Black Sea at the River Phasis (now Ruini in Georgia) or the River Tanais (now Don in Georgia). He is less clear about its northern and southern limits. Herodotus considers, but explicitly rejects, the idea that Europe was named after Europa:
‘As for Europe ... the origin of its name is uncertain, as is the identity of whoever first named the region – unless we say that Europa, the Tyrian princess, gave it her name, and that before her time it was just as nameless as the other continents. But it is plain that this Europa came from Asia and never set foot in what the Greeks now call Europe: she merely travelled from Phoenicia to Crete.’
This is a good example of the complexity of the tradition. Already in the 5th century BC, when the idea that Europe was named after Europa was first being aired, we find a major Greek historian expressing scepticism about the idea.
It was Phoenicia, a civilization whose heartland was in the coastal plains of what is now modern Lebanon, that was the land most commonly associated by Greek writers with Europa, not Europe. Most took her to be the daughter of the Phoenician king Agenor, and sister of Cadmus and Phoenix, although others, including Homer and the unnamed scholar quoted at the beginning of this chapter, said she was the daughter of Phoenix (the ambiguity of the Greek word ‘Phoinix’ as meaning both the name ‘Phoenix’ and the term ‘Phoenician’ further complicates the picture).”
The only allusion Morales makes to the influence on Marxists was this comment: “Shelley’s Prometheus, born of the failure of the French Revolution, was ‘the saviour and the strength of the suffering man’. Since Shelley, Prometheus has been treated as, in one Marxist’s memorable phrase, ‘the patron saint of the proletariat’."
There’s a whole chapter on the role of Greek mythology on psychoanalysis though (Chapter 5). She traces the Oedipal narrative’s influence on Freud, Lacan, Irigaray, Judith Butler, as well as Cixcous in the next chapter (which is about artistic depictions of these myths).
Having finished this, I’m not sure if I have really made any more progress towards feeling confident about discussing classical mythology. My brain finds it difficult to absorb these types of mythic narratives and structures for some reason. Perhaps the biggest thing that came out of this was it got me to read some Hesiod, and provided a renewed conviction to read Homer. Who knows if anything will come out of that though.
The other side effect of reading this was a realization that the French names for the days of the week corresponded to the names of the Roman gods: Luna, Mars, Mercury, Jupiter, Venus, and Saturn (in English). I weirdly never realized that until I read this book, though it never actually came up in the book. I just had a moment where I realized I had not observed something very obvious for my whole life. I find the Norse and Germanic versions of the names that characterize the English day names very confusing and the Romance designations/connections seem a lot easier to remember.
December 21, 2017
Not quite the book that I expected from the title (author already needed to explain in intro that what this book is not about, maybe the title should have been changed to avoid confusion). There was no overview of classical mythology, primary focus was on defining what is considered classical mythology, how the term has evolved over time and how it has impacted culture today. Probably I should read much more actual classical mythology before I could truly appreciate this book. Interesting part for me was describing what role classical mythology had in the life and work of Sigmund Freud and how his theories relate to mythology.
“If ‘myth’ is a slippery term, so is ‘classical’. It is common shorthand for ‘ancient Greek and Roman’. But this shorthand has a history, and a bias.”
“This book aims to capture, and explore, the outrageousness,
inventiveness, and sheer fun that characterize classical mythology.
But it is also born of the conviction that myth matters. It mattered for the ancient Greeks and Romans, and it matters for us in understanding who we are: our selves, our liberties, and our lies.”
“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.”
“What makes someone mythic is not whether or not he lived, or lived well, but whether or not he was larger than life. Mythic heroes were – and are – outrageous and outstanding. They are phenomenal. They distil some collective ideal or fantasy. That’s why we can speak of ‘the myth of John Lennon’, but not ‘the myth of John Major’. And it’s also why Theseus made it and Lycurgus didn’t.”
“If ‘myth’ is a slippery term, so is ‘classical’. It is common shorthand for ‘ancient Greek and Roman’. But this shorthand has a history, and a bias.”
“This book aims to capture, and explore, the outrageousness,
inventiveness, and sheer fun that characterize classical mythology.
But it is also born of the conviction that myth matters. It mattered for the ancient Greeks and Romans, and it matters for us in understanding who we are: our selves, our liberties, and our lies.”
“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.”
“What makes someone mythic is not whether or not he lived, or lived well, but whether or not he was larger than life. Mythic heroes were – and are – outrageous and outstanding. They are phenomenal. They distil some collective ideal or fantasy. That’s why we can speak of ‘the myth of John Lennon’, but not ‘the myth of John Major’. And it’s also why Theseus made it and Lycurgus didn’t.”
February 27, 2021
This was pretty good in the first few chapters. Some interesting ideas on the perception of myth through the ages, and an exploration of a couple of famous myths, like Apollo and Hyacinth, and Zeus and Leda.
The exploration of religion and myth was less successful. The links between Christianity and classical myth took about a page and a half, and only went into detail about allegory. It would have been interesting, for example, to compare the resurrection myths of Christ and the Roman cult of Mithras, or resurrection in Greek myth.
The real failure was the author's attitude to some New Age spirituality. She actually suggested one person's belief is another person's emetic! Though these aren't my beliefs, I thought this really offensive. And the negativity also continued in discussion over feminist spirituality. The author cites the text "Womanspirit Rising," which I read back in the 1980s when I read widely in the topicand even then, it was mostly uninspiring rubbish! And she is very critical of M Gimbutas, who is actually one of my archaeological heroines. Gimbutas postulates an early mother goddess/matriarchal society, which the author seemed to dislike. Barber's exploration of the development of thread and cloth by women, with its weaver myths and positioning of women as persons of status in early societies, adds value to the hypothesis.
By way of balance, male society developed hunting rituals, religious activities and bonding practices (Herne, Woden, etc) just as significant to male society. Male spirituality also finds expression in some men's groups. #respect
For a real perspective on female spirituality and classical/world mythology, read the massive, quirky and occasionally bonkers, but always inspiring Encyclopaedia of Goddesses and Heroines!
The exploration of religion and myth was less successful. The links between Christianity and classical myth took about a page and a half, and only went into detail about allegory. It would have been interesting, for example, to compare the resurrection myths of Christ and the Roman cult of Mithras, or resurrection in Greek myth.
The real failure was the author's attitude to some New Age spirituality. She actually suggested one person's belief is another person's emetic! Though these aren't my beliefs, I thought this really offensive. And the negativity also continued in discussion over feminist spirituality. The author cites the text "Womanspirit Rising," which I read back in the 1980s when I read widely in the topicand even then, it was mostly uninspiring rubbish! And she is very critical of M Gimbutas, who is actually one of my archaeological heroines. Gimbutas postulates an early mother goddess/matriarchal society, which the author seemed to dislike. Barber's exploration of the development of thread and cloth by women, with its weaver myths and positioning of women as persons of status in early societies, adds value to the hypothesis.
By way of balance, male society developed hunting rituals, religious activities and bonding practices (Herne, Woden, etc) just as significant to male society. Male spirituality also finds expression in some men's groups. #respect
For a real perspective on female spirituality and classical/world mythology, read the massive, quirky and occasionally bonkers, but always inspiring Encyclopaedia of Goddesses and Heroines!
November 3, 2020
An interesting read on the influence of myths on culture and politics throughout the years.It focuses on the Greek and Roman myths,because they were the ones used to enforce opinions and dogmas in the western world.
It’s a light book that doesn’t bore you with heavy explanations or goes to tangents.
Favourite quotes:
“When we are living with,through,and around myths,we are too close to them to recognise them as ‘mythology’.Some distance is needed to see mythology as a separate body of knowledge.”
“I believe that the rendering of useful service is the common duty of mankind and that only in the purifying fire of sacrifice is the dross of selfishness consumed and the greatness of the human soul set free.”
“Heroes were heroes because they captured the Zeitgeist and embodied the fantasies of the people.The heroes of classical mythology were figures from the past.But what made them heroes,their mythism,if you like,always came from their importance to the present.”
“The history of classical mythology is also a history of resistance,courage,and empowerment through an insistence that stories can and should be told differently.”
“Classical mythology only happens when the stories become active agents:when people use them.As such,classical myth is not an object or series of objects to be known.Rather,it is a continual process of telling and retelling,of provoking and responding,of critiquing and revising.It is process,rather than an event.”
“It is myth’s continual dialogue with the past (and anticipation of its future)that makes it so intoxicating,and that makes it transcend its individual articulations.”
It’s a light book that doesn’t bore you with heavy explanations or goes to tangents.
Favourite quotes:
“When we are living with,through,and around myths,we are too close to them to recognise them as ‘mythology’.Some distance is needed to see mythology as a separate body of knowledge.”
“I believe that the rendering of useful service is the common duty of mankind and that only in the purifying fire of sacrifice is the dross of selfishness consumed and the greatness of the human soul set free.”
“Heroes were heroes because they captured the Zeitgeist and embodied the fantasies of the people.The heroes of classical mythology were figures from the past.But what made them heroes,their mythism,if you like,always came from their importance to the present.”
“The history of classical mythology is also a history of resistance,courage,and empowerment through an insistence that stories can and should be told differently.”
“Classical mythology only happens when the stories become active agents:when people use them.As such,classical myth is not an object or series of objects to be known.Rather,it is a continual process of telling and retelling,of provoking and responding,of critiquing and revising.It is process,rather than an event.”
“It is myth’s continual dialogue with the past (and anticipation of its future)that makes it so intoxicating,and that makes it transcend its individual articulations.”
March 29, 2025
Sicuramente non è una introduzione strictu sensu alla mitologia classica, nella misura in cui non è affatto una introduzione alle divinità classiche, alle storie che le legano e ai testi che ne raccontano le gesta. Queste sono conoscenze che l'autrice presuppone già acquisite (per quanto non manchino dei brevi riassuntini per rinfrescare la memoria, là dove indispensabile).
In questo senso, il titolo è molto ingannevole.
Meglio sarebbe stato qualcosa tipo: "Historiography of Classical Mythology: a very Short Introduction", perché quello che fa il manualetto è prendere i miti classici e problematizzarli, con spunti di riflessione che variano dallo stimolante all'incredibilmente affascinante (come razionalizziamo dei miti che parlano di donne stuprate malissimo dalla divinità? Quando e come si sviluppa il fenomeno delle riletture del mito in chiave femminista/queer/etc, e quali basi storiche hanno queste riletture?). Seguono alcuni capitoli di storiografia nel pieno senso del termine, ad analizzare l'evoluzione dell'idea di Dea Madre come divinità primordiale preistorica, e a soffermarsi sull'impatto che la psicanalisi freudiana e junghiana ha avuto sul modo in cui noi moderni diamo valore al mito, e al mito classico in particolar modo.
E, sotto questo punto di vista, il manualetto è un piccolo capolavoro, conciso e denso di informazioni e di rimandi bibliografici per approfondire, esattamente nello stile che ti aspetteresti da un libro della collana delle Very Short Introductions.
In questo senso, il titolo è molto ingannevole.
Meglio sarebbe stato qualcosa tipo: "Historiography of Classical Mythology: a very Short Introduction", perché quello che fa il manualetto è prendere i miti classici e problematizzarli, con spunti di riflessione che variano dallo stimolante all'incredibilmente affascinante (come razionalizziamo dei miti che parlano di donne stuprate malissimo dalla divinità? Quando e come si sviluppa il fenomeno delle riletture del mito in chiave femminista/queer/etc, e quali basi storiche hanno queste riletture?). Seguono alcuni capitoli di storiografia nel pieno senso del termine, ad analizzare l'evoluzione dell'idea di Dea Madre come divinità primordiale preistorica, e a soffermarsi sull'impatto che la psicanalisi freudiana e junghiana ha avuto sul modo in cui noi moderni diamo valore al mito, e al mito classico in particolar modo.
E, sotto questo punto di vista, il manualetto è un piccolo capolavoro, conciso e denso di informazioni e di rimandi bibliografici per approfondire, esattamente nello stile che ti aspetteresti da un libro della collana delle Very Short Introductions.
September 26, 2018
Full review at https://bronzelock619.blogspot.com/2018/09/classical-mythology-very-short.html.
In this introduction to classical mythology, readers were shown that classical mythology is much more than an archive of fantastical tales from the ancient world. Throughout history, it has been used as an ideological tool. Mythic narratives exploited for political purposes, such as the way Greek and Roman cities, as well as their emperors, had claimed mythical ancestors. Different versions of the same myth were also created to tell different messages and suit different political agendas.
It also showed how analyzing mythology should go hand-in-hand with the culture and religion at the time, as the cultural and religious practices at any one place and time give meaning to mythology. The use of mythology in a society also had its downsides too, as shown in the way it promotes the rape of women and also queering sexuality during the Greek and Roman times.
While an intriguing and informative read, it was not what I had expected. It was an introduction to the INTERPRETATION of classical mythology, and not classical mythology itself. The tone was a bit dry, but you will gain a lot of insights on the use of mythology by the people in the past with a little patience.
In this introduction to classical mythology, readers were shown that classical mythology is much more than an archive of fantastical tales from the ancient world. Throughout history, it has been used as an ideological tool. Mythic narratives exploited for political purposes, such as the way Greek and Roman cities, as well as their emperors, had claimed mythical ancestors. Different versions of the same myth were also created to tell different messages and suit different political agendas.
It also showed how analyzing mythology should go hand-in-hand with the culture and religion at the time, as the cultural and religious practices at any one place and time give meaning to mythology. The use of mythology in a society also had its downsides too, as shown in the way it promotes the rape of women and also queering sexuality during the Greek and Roman times.
While an intriguing and informative read, it was not what I had expected. It was an introduction to the INTERPRETATION of classical mythology, and not classical mythology itself. The tone was a bit dry, but you will gain a lot of insights on the use of mythology by the people in the past with a little patience.
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