Category: Apollo

In The Birth of Tragedy Nietzsche presents his concept of the Apollonian, Dionysian Dichotomy as the driving force behind Greek art. Discussing how this can be used to revive the western modern culture. This essay will provide an overview of his key ideas and problems with them with reference to interact with the philosophical discourse of aesthetics.

In The Birth of Tragedy begins Nietzsche presents an analysis of the Greek tragedy introducing the concept of the Apollonian Dionysian Dichotomy. He then goes on to examine the perceived decadence of modern society and uses the Greek model to understand it and provide a possible rebirth.

Nietzsche believed that the people of ancient Greece were more sensitive than other cultures in their perception of the suffering of the world. Due to this they more seriously strove to combat suffering and so they devised, in Nietzsche’s belief, two modes of art “Apollonian” and “Dionysian.”

First, they developed the Apollonian arts Apollo was the god of light, reason, harmony, and balance, and Nietzsche identifies the Apollonian as a form giving force, characterized by measured restraint and detachment, which reinforces a strong sense of self. Apollonian art embodied analytic distinctions focusing on form or structure. The sculpture was the most Apollonian of the arts since it relies entirely on form for its effect. which he believed could be seen in Doric facades of Greek architecture by geometric and facades. Rational thought is also Apollonian since it is structured and makes distinctions. Nietzsche believed before the influence of Dionysus, Apollonian art was superficial, designed to shield the viewer from the terror and meaninglessness of their existence. The viewer could never be fully engaged with art, as they remained always in quiet contemplation with it, never immersing with.

On the other hand, Dionysus was the Greek god of wine, music, and ecstatic emotion. For Nietzsche Dionysian art involved a frenzy of self-forgetting revelry in which the individual gives way to a primal unity where individuals are at one with others and with nature. The primal unity refers to a place where under the influence of Dionysus we can access to the undercurrent of universal will that flows beneath all appearances where people forget the differences between themselves and act as a community transcending individual suffering for a short time. The influence of Schopenhauer’s world as will and representation is clearly evident here. The Dionysian embodied an unwillingness to make distinctions of form or structure; directly opposed to the Apollonian and Nietzsche uses the duality of Apollo or Dionysus to portray the artistic process.

Apollo and Dionysus can be further symbolized with the terms of intoxication and dreams.” For Nietzsche, dreams represent the realm of beautiful forms and symbols, an orderly place but one of facades or appearances constructed by the human mind. On the other hand, intoxication is a natural state of wild passions where individual perspectives of suffering dissolve into a unified mindset. Here Nietzsche makes the assumption that when experiencing a dream you remain conscious of the fact that you are dreaming and as such are still able to identify appearance from the truth.

It is important to understand that Nietzsche is bending the Greek consciousness to his aesthetic philosophy. Though much of what he says about the ancient beliefs of Apollo and Dionysus are true, he exaggerates their rivalry and impact on artistic practices of the time simplifying the Greek religion and art to suit his philosophical aims. Nietzsche all but ignores the ancient Greek belief in the influences of the Muses. While Dionysus was the patron god of Attic tragedy and Apollo was associated with the music and the lyre the deities first and foremost on any artist’s mind were the Muses. The Greek word mousa was a type of goddess as well as a noun, which directly translates to ‘art.’ The Muses were both the embodiments and sponsors of the arts. this displays how The birth of tragedy is Nietzsche’s own interpretation of Greek beliefs, which focuses on the importance of Apollo and Dionysus.

Nietzsche considers the Greek tragedies of Sophocles and Aeschylus to be the greatest examples of art by perfectly balancing the Dionysian truths with the Apollonian appearances. The Greek tragedy evolved from, in Nietzsche’s belief Dionysian, religious rituals, featuring a chorus of singers and dancers, by adding two or more tragic actors who stood apart from the group.

A Greek tragedy involved a repetition between two contrasting different elements firstly where the tragic actors would talk then leave and the chorus would perform a stasimon or choral ode until the tragic actors returned. For Nietzsche, the actors symbolized the Apollonian appearances and the individual and the chorus a Dionysian revelry. This is what Nietzsche believed was so great about the Greek tragedy its ability to balance the two sides so perfectly and when one or more of these tragic actors would “fall” and join the chorus for the rest of the performance he believed this signifies only the death of the Apollonian appearances, and as the actor joined the chorus his will was reconnected with the primal unity through the music.

Nietzsche saw Music as the highest form of art with its ability to act as a universal language. He argued that it surpassed all other art forms with its power to impact a group emotionally through accessing our will directly. He believes music is not a medium but the embodiment of Dionysus himself. He explains that in Greek tragedy we can experience joy in the annihilation of the individual through the spirit of music as we are carried beyond our individual concerns. The tragic hero, whose annihilation we witness, is an Apollonian phenomenon. His death signifies only the death of the Apollonian appearances, not of the will itself.

Nietzsche disagrees with Schlegel’s idea of the chorus being the “ideal spectator,” arguing that a true spectator must be aware that he is viewing a work of art, whereas the Greek chorus acted from within the world of the tragedy as if they were viewing real events

was brought to an end by the influence of Euripides and Socrates through the crushing of the primal unity induced by the Dionysian and the dreamlike state induced by the Apollonian by morality and rationality in the plays.

A man may not comprehend this truth logically, but he can feel it in the music.

Having established that music is the soul of the tragic myth, Nietzsche then demonstrates how modern German music has the potential to affect a rebirth of tragedy. Music is a central theme in this work, as it is one of the few constants that is able to connect Greek and German cultures. Nietzsche sees music as the key to the soul of a people. Because the German character is still connected to the vital primitive power that precedes civilized life, German music is of necessity a new incarnation of the Dionysian in art.

As a trained philologist, Nietzsche knew the Greek and Roman classics and his ideas in The Birth of Tragedy stem from an analysis of Greek philosophy and aesthetics. Nietzsche rejected the teachings of Aristotle, and Plato and regarded Socrates in a more complex but mostly negative attitude. He favored the pre-Socratic philosopher Heraclitus, namely his ideas on the world’s constant state of flux, such that we cannot make any fixed claims about any aspect of reality. Nietzsche first became fascinated by philosophy when he read Arthur Schopenhauer’s The World As Will and Representation. And he resonated with Schopenhauer’s belief in the will’s role to fight against the meaningless truth behind the world of representation.

While Nietzsche drew some influence from thinkers, such as Heraclitus and Schopenhauer, and drew much negative influence from many other thinkers, most notably Plato, Kant, and the Christian tradition, he does not belong to any tradition. Nietzsche is as much of an oddball as can be found among the great philosophers.

The modern world has inherited Socrates’ rationalistic stance at the expense of losing the artistic impulses related to the Apollonian and the Dionysian. We now see knowledge as worth pursuing for its own sake and believe that all truths can be discovered and explained with enough insight. In essence, the modern, Socratic, rational, scientific worldview treats the world as something under the command of reason rather than something greater than what our rational powers can comprehend. We inhabit a world dominated by words and logic, which can only see the surfaces of things while shunning the tragic world of music and drama, which cuts to the heart of things. Nietzsche distinguishes three kinds of culture: the Alexandrian, or Socratic; the Hellenic, or artistic; and the Buddhist, or tragic. We belong to an Alexandrian culture that’s bound for self-destruction.

The only way to rescue modern culture from self-destruction is to resuscitate the spirit of tragedy.

By attacking Socrates, Nietzsche effectively attacks the entire tradition of Western philosophy. While a significant group of Greek philosophers predates Socrates, philosophy generally identifies its start as a distinctive discipline in Socrates’ method of doubt, dialogue, and rational inquiry. While Nietzsche acknowledges that Socrates gave birth to a new and distinctive tradition, he is more interested in the tradition that Socrates managed to replace. Greek tragedy as Nietzsche understands it cannot coexist in a world of Socratic rationality. Tragedy gains its strength from exposing the depths that lie beneath our rational surface, whereas Socrates insists that we become fully human only by becoming fully rational. From Socrates onward, philosophy has been the pursuit of wisdom by rational methods. In suggesting that rational methods cannot reach to the depths of human experience, Nietzsche suggests that philosophy is a shallow pursuit. True wisdom is not the kind that can be processed by the thinking mind, according to Nietzsche. We find true wisdom in the Dionysian dissolution of the self that we find in tragedy, myth, and music.

Bibliography

1. Brennan, Katie. ‘The Wisdom of Silenus: Suffering in The Birth of Tragedy.’ Journal of Nietzsche Studies 49, no. 2 (2018)
2. Calvert Watkins, ed., The American Heritage Dictionary of Indo-European Roots, no. 3
3. Friedrich Nietzsche. The Birth of Tragedy. Translated by Ian. C. Johnston http:// http://www.russoeconomics.altervista.org/Nietzsche.pdf (accessed june 11, 2019)
4. Strabo, Geography Translated by H.C. Hamilton http://www.perseus.tufts.edu(accessed june 5, 2019)

The priestesses of Ancient Greece

It is my belief that since the beginning of times from Adam and Eve to our modern civilized and innovative technological society, women appear to have risen from the brut tyranny of men to the force of nature that is praised by many. While it could be considered that many women are still considered the property of men, it could be argued that women have achieved the goal of equality set by their ancestors. Furthermore, history indicates the lack of morality and ethics toward women, as well as the abundance of restraints and control of men on every aspect of their lives. However, religion was the silver lining of being a woman. The history books and scholars provide a gateway to the ancient world and enlightenment on the civilization of our primogenitors. During the period of Athens and the dominant worshiping of the twelve Olympians, women were not deemed to be citizens but were praised and adored as the goddess and patron of the city and received honor and respect as they served the role of priestesses. Delphi was the center of religion in the Classical Age of Athens as one of the richest city-states due to its popularity. Many priestesses served during this period; nevertheless, the priestesses from the oracle of Apollo were the most prominent. Through Delphi and the oracle of the sun god, Apollo, one will understand the value and roles these women played as a priestess.

Approximately, six miles from the Gulf of Corinth in the region of Phoics, Greece, Delphi is located between the two rocks of Mount Parnassus PhaidriadesRocks. Delphi was an especially important site. Here, the Greeks believed, the Earth was attached to the sky by its navel. Greeks considered Delphi the center (or navel) of the world. According to the Greek mythology of History.com,” Zeus sent out two eagles, one to the east and the other to the west, to find the navel of the world. The eagles met at the future site of Delphi — Zeus marked the spot with a sacred stone called the omphalos (meaning navel), which was later held at the sanctuary of Apollo.”

Delphi as well had its notoriety for being a holy spot all over Greece and was an autonomous city-state that often did not favor one side with other city-states. In any case, regardless it had an extraordinary effect on different states because of numerous fundamental choices, both political and financially, were taken after an interview with the Oracle. Additionally, new settlements were not permitted to be established without an understanding of the asylum at Delphi. The developing impact over rising Greece empowered the settlement at Delphi to develop from a little town to a noteworthy structural compound of compelling artwork. The Greeks were believers of many things; they believed that the site was initially hallowed and the possession of Gaea, or Mother Earth, and was protected by Gaea’s snake tyke, Python. However, Apollo executed Python and established his place of worship there.

Apollo was part of the twelve Olympians that ruled over Ancient Greece. According to Greek mythology.com, he was the product of the love affair between Zeus, the king of all other gods and men, and Leto, the Titan goddess in Greek mythology. He is the Olympian divine force of the sun and light, music and verse, recuperating and torment, prescience and information, request and magnificence, arrow-based weaponry, and agribusiness. An encapsulation of the Hellenic perfect of kalokagathia, a word to those of a perfect courteous individual, particularly in a military setting. He is congruity, reason, and control represented, an ideal mix of physical prevalence and goodness.

The oracle and sanctuary of the Greek god Apollo at Delphi were known as the center or naval to the gods of the ancient world for more than one thousand years. Individuals ranging from city leaders, citizens, and kings from all over the regions, and further beyond, have traveled to see and consult Delphi’s oracle priestess. The oracle at Delphi was a priestess, known as Pythia.

Michael Scott, author of Delphi-A history of the Center of the Ancient World, discovered through the writing of Plutarch, a first-century priest who served at the Temple of Apollo, that “The Pythia had to be a Delphian, and during his time the chosen one had to come from the “ soundest and most respected families to be found in Delphi”. However, that did not mean a noble family living in riches. Whereas, Plutarch’s Pythia “always led an irreproachable life; although, having been brought up in the homes of the poor peasants, when she fulfills her prophetic role she does not so quite artlessly and without any special knowledge or talent.” One can understand that even during the age of Athens, the underdog was the one winning. Once chosen, the Pythia served Apollo for life and committed herself to strenuous exercise and chastity. During the oracle’s history, around the fourth century BC and by AD 100, she was given a house, a free-living accommodation because it was paid for by the sanctuary. The first-century priest complained that while in previous centuries the sanctuary was so busy that they had to use three Pythia, versus the traditional one Pythia, at one time, two prophesied while the third one served as an understudy or assistant. Originally, according to Diodorus Siculus, the women picked to become

Pythia had to be a young virgin. Having said that said, this tradition changed with the Echecrates of Thessaly, who came with the intention to consult the Pythia, fell in love with her at first sight, then carried her off and rape. Thus, the Delphian order decided that in the future Pythia should be a woman in her mid-age, fifty years or older, but should continue as Pythia, to wear the dress of a maiden in the memory of the original virgin prophetess. Many scholars suggest that this type of garb would have been an indication of her emphasized asexuality.

Sue Blundell, in her book Women in Ancient Greece, states that priestesses assigned to male divine beings occurred at Dodona and Delphi, oracular shrines where the Pythia answered to queries addressed to a god were transmitted via a female speaker. In both asylums, the priestesses were abstinent. Even though deep-rooted abstinence was not a condition generally forced by the Greek religion; as a transitory state, it appears to have been viewed as significant when a human female was called upon to go about as the voice for a divine being. As a woman who had no sexual relations with a human man, she was saving herself for god alone. Dodona, in northwest Greece, was an oracle of Zeus, and in the Classical period enquiries were presented to the god in writing, scratched onto a lead strip question from the jar along with a symbol which indicated whether the answer was “yes” or “no.’ At Delphi, the sanctuary of Apollo which in The Classical Age was the most important of the Greek oracular shrines, the god’s possession of the priestess was more dramatic and obvious. Here, the strategy for divination was uplifting; the priestess who was known as the Pythia went into a stupor, and the words which she articulated while in this state were believed to be those of Apollo himself. According to Marguerite Rigoglioso, author of Cult of Divine Birth in Ancient Greece, Diodorus Siculus, Pausanias, and Plutarch declared that “the Delphians said their oracle was founded when local people noticed that breathing vapors from a particular chasm granted anyone the ability to prophesy freely.” There were repeated instances of people leaping into euphoria; therefore, the residents chose a single woman to serve as a prophetess. As a matter of her safety, the residents built her a special cauldron-like seat with three legs, known as a tripod, so that she could sit safely while intrance without falling into the hole. The Pythia went through many traditional rituals before prophesying; nevertheless, three days before she delivered her prophecy, the Pythia prepared by fasting and bathing in the Castilian spring in order to be freed from distractions and upset so that she could deliver the god’s messages as accurately as possible and not cause herself harm in the process. The male officials of Delphi and inquirers were also required to do the same before participating in the solemnities. Unlike Dodona, women, as well as men, could petition the Pythia. Moreover, before meeting the petitioner in the temple, the Pythia chewed the leaves of the sacred laurel and drank from the Cassotis spring. Thereafter, she “descended “into the small sanctuary. In this the location, there was a golden statue of Apollo which stood, with the sacred “navel” stone or omphalos, and the tomb of Dionysus. On the altar of the eternal flame, she burned the laurel leaves and barley, and perhaps myrrh. At some point during these rituals, she prayed to Pallas Athena, the Corycian Nymphs, the streams of Pleitus, and the gods Bromius, Poseidon, and Zeus.

In addition, these women seemed to have a considerable amount of political authority. For Delphi, she was often consulted by the representatives of Greek states on matters of the highest importance. In classical Athens, where a woman could only hold the position of the priestess as public office, more than forty, cults had a priestess. Prominent among these was the priestess of Athens Polias, the city’s patron deity. This post was always occupied by a female member of the aristocratic clan of the Eteobutadae, who claimed to be descendants of the original royal family of Athens. The priestess officiated at many religious rites and celebrations, including the Great Panathenaea, the most important of the state festivals. The fact that she was the only respectable Athenian woman who could be referred to by her personal name in public was an indication of her quasi-masculine status. Despite the fact of being a member of the non-dominant sex, she seemed to have exerted political influence. Sue Blundell explains that in 480 BC when the Persian army was advancing on Athens, the priestess’s announcement that the cake offered to the sacred snake on the Acropolis have been left untouched helped to determine the decision to evacuate the city (Herodotus 8.4I). Within the history of the Oracle of Apollo, there were rumors of the Pythia being corrupted. Based on the evidence given from Matthew Dillion in his book Girls and Women in classical Greek Religion, “Demosthenes could accuse the Pythia of ‘philippizing’, of serving the needs of Philip II, king of Macedon. More difficult to ascertain is the role Pythia’s role before the Persian War of 480-479 BC, in which she, either genuinely or perhaps advised by the priests, gave a series of oracles which hardly recommended resistance to the invader.”

Furthermore, priestesses enjoyed some special privileges, such as housing within the sanctuary, chairs, or thrones within temples, and access to restricted areas. By the Hellenistic period, portrait statues, gold crowns, and reserved seats in the city theater were the three principal public honors that priestesses across the Greek world enjoyed. The high honor of public burial, complete with processions, commemoration, and impressive grave monuments were given to some priestesses at the end of their lives. According to the book Worshiping Women, Ritual, and Reality in Classical Athens “ In return for their service, priestesses were paid salaries in cash and in kind, including valuable skins, hides, and meat from sacrificial victims, grains, fruits, cakes, bread, wine, oil, and honey.” Also, as stated by Joan Breton Connelly in Portrait of a Priestess, Women and Rituals in Ancient Greece“Emoluments are variously called hierosyna and Apometra. Hierosyna are generally understood to be sums charged to the per making the sacrifice and appropriated for the sacrifices themselves. Apometra represents a share paid to the priest or priestess, which could come in form of cash, or a portion of the sacrificial victim, or other offerings.” Additionally, they had the lifesaving luxury of being spared the cruel enslavement, alongside with male priests, of Alexander the Great during his great invasion.

To conclude, priestesses were the messengers of the gods who served and obeyed their god for the moment they were chosen until death. It is quite humorous to acknowledge that the ancient world made decisions based on the answers from an individual in a very intoxicated state. However, they were aware of the vapors and still chose to believe in the prophecies of the priestess. While it is true that through the remains of Delphi and scriptures written by those of the Oracle of Apollo, one can appreciate the power, respect, and strength of these women; however, we would never know their entire story. Nevertheless, these women were one of the many highlights of the Golden Age and shall forever remain unforgettable.

Work cited

1. History.com Editors. “Delphi.” History.com, A&E Television Networks, 9 May 2018, www.history.com/topics/ancient-greece/delphi.
2. “Apollo:: Greek God of the Sun and Light.” Greek Mythology, www.greekmythology.com/Olympians/Apollo/apollo.html.
3. Scott, Michael. Delphi: a History of the Center of the Ancient World. Princeton University Press, 2016.
4. Blundell, Sue. Women in Ancient Greece. British Museum Press, 1995.
5. RIGOGLIOSO, Marguerite. CULT OF DIVINE BIRTH IN ANCIENT GREECE. PALGRAVE MACMILLAN, 2015.
6. Dillon, Matthew. Girls and Women in Classical Greek Religion. Routledge, 2008.
7. Kaltsas, Nikolaos, and Harvey Alan. Shapiro. Worshiping Women: Ritual and Reality in Classical Athens. Athenai, 2008.
8. Connelly, Joan Breton. Portrait of a Priestess: Women and Ritual in Ancient Greece. Princeton University Press, 2010.

The mythological studies of Greek and Rome were filled with stories about the gods and how mighty some of them were. These are stories that are passed down through generations. The divinity and power that most characters portray have been a subject of study and interpretation for many scholars around the world. Movies have been produced, and stories are written about both the Roman and the Greek gods and their influence in different spheres of life, be it fertility, war, or a mere expression of power manifested in nature like thunder. The immortal nature of the gods in these myths can be fictitious, but the reality is that both the Greeks and the Romans took these stories with high regard. This paper will do a comparative analysis of two hymns, the Hymn to Apollo and the Hymn to Demeter, by looking at how they present their ideologies about the mysterious gods of the Romans and the Greeks.

The Hymn to Demeter has brought out a storyline that deals with Demeter, Zeus, and Persephone. Demeter is the wife of Zeus with whom they gave birth to Persephone, their daughter. While on a walk picking flowers, Persephone gets tricked into a forceful marriage to Hades, the god of the underworld. Zeus who is mentioned to be aware of the plot did not hear the cry of her daughter as the earth opened up and swallowed her. Demeter, who was not aware of this plot by Zeus and his brother embarks on a mission to find her missing daughter who was long gone into Hades. Her pursuit leads her to Hades by disguising herself as an older woman who needed work. Demeter is the goddess of the harvest, and by her power, the ground can bring forth fruits and good tidings. However, her descent to the land of the mortals leads to severe consequences upon the inhabitants of the land. Demeter did not know of the plan of Zeus to give off her daughter to his brother Hades. She became worried for days going without food because her beautiful, loving daughter was missing. She did not even drink the nectar a much-favored drink among the gods (Shelmerdine 49). The writer of the songs paints a troubling mother who is pained by the loss of her daughter and would go to any length to ensure that she gets her. The love of Demeter has led her to carry out roles that do not befit that of a god but rather a servant in the house of Koleos. Her interaction with the mortals almost made her turn the son of Keleos into an immortal (Shelmerdine 242) being but was rather stopped by the mother’s intervention. Demeter is then forced to reveal herself to the mortals, after which she orders a temple to be built form her. She reveals herself by saying that “humans are foolish and without the sense to know their destiny ahead of time” (HHDem. 47).

On the contrary, the Hymn to Apollo begins by the writer acknowledging the might of Apollo, the son of Zeus. Apollo is described to be feared by many, and his mother Leto takes pride in giving birth to such a reckoning figure among the gods. As Apollo approaches the gathering of the gods’ everyone is taken by awe at the sheer expression of power he wields. Zeus, the god of thunder, is delighted in his son and offers him the famous drink among the gods, the nectar. The writer of the hymn decided to focus on the birth of Apollo in Delos. His mother, Leto roamed the earth looking for places to give birth to her son, but many places did not allow her until she came to the rocky Delos. Leto made a promise to Delos that they would put up a temple for Apollo in Delos if Delos agreed to the birth of Apollo. Let swore san oath, and after that, she went it labor which has been mentioned took place for nine days and nine nights. The labor was more painful and disturbing for Leto until Eileithyia, and the other goddesses intervened. Apollo was born and weaned with nectar (HHAp.69) to announce the birth of the mighty one. All the goddesses rejoiced at this marvelous sight that “the earth below Smiled.” The birth of Apollo was a show of power and fertility one that is common among the gods that even the earth itself flourished. More striking is the fact that Apollo was born and right away expressed his might and power by making a declaration that he will serve the will of Zeus through “bow, lyre and prophecy would be in his domain” (Shelmerdine 131-132). The writer has mentioned that indeed, worshippers came to Delos to worship at the temple built for Apollo. They came with all kinds of gifts and sacrifices to offer them the gods.

Comparing the two hymns, there are many similarities though not under the same concept. In both hymns, Zeus is involved as the king of the gods. His wives, though under different circumstances have been portrayed to traverse the world of the gods. Leto was looking for a place to give birth while Demeter was looking for her daughter. Both women were goddesses and therefore were highly regarded among the mortals and immortals alike. It is said that Demeter did not eat nor drink anything for close to 10 days as she grieved for her lost daughter. On the contrary, Leto had to go through 9 days and nights of intense labor. The pain was unbearable, but her joy came when the son was born. Moreover, nectar has been mentioned as a famous drink among the gods, as can be seen in the introductory part of the Hymn to Apollo. This drink is highly regarded among the gods and from it they get fortification of their bodies and soul. Therefore, when Apollo was born the goddesses gave him nectar as an introduction to the world of immortals, the divine beings. Moreover, the baby Apollo was fed with the food of the gods, ambrosia and he grew fast. In the Hymn to Demeter, it is recorded that Demeter, during her babysitting duties, secretly fed the Keleos’ baby with ambrosia, and the baby grew faster without relying on the breast milk from its mother (HHDem. 46). In both instances, ambrosia has been mentioned to be the cause of a speedy growth among children meaning that the gods’ food had some divine power, which fortified the soul with divinity.

Another comparison that can be drawn from the two hymns is the influence of the gods among mortals. When Demeter traveled searching for her daughter, she came to the house of Koleos and worked as a maid. The author says that her divine influence was manifest when she attempted to turn the son of Keleos into an immortal being. She had to identify herself as the goddess of harvest and ordered the people to build her a temple and offer sacrifice in her name. Demeter promised to teach them how to worship and do rituals. On the contrary, Leto promised Delos a temple so that Delos could allow Apollo to be born on that rocky island (HHAp. 65). She promised Delos that even though the land was barren and there were no harvests or fruits that could sprout from the rocky ground, building a temple for Apollo was all that Delos needed so that mortals could throng the Island bringing in all manner of gifts and sacrifices in the name of Apollo (Shelmerdine 2012). The dwelling places for the gods are temples from where mortals come to worship and pay reverence to them. Therefore, in the two hymns of Apollo and Demeter, the temple has been used to signify the presence of a divine being. Apollo is quoted saying that he will build a beautiful temple so that people could bring him complete hecatombs as well as consult the oracle. Additionally, the construction of the two temples, both in Eleusis and Delos took place in rocky areas. Demeter had the temple built in the rocky city from where she spent her days waiting for her child to be returned to her. On the contrary, Apollo had the sailors build a temple for him in the rocky Island by the sea, and from it, many could come by to offer sacrifices and gifts to the gods. Hence looking at the significance of the temples in these two cases, it can be deduced that the gods fancied temples because the mortals brought all manner of gifts and sacrifices to them. When Demeter overstayed among the mortals had to be concerned because the god would also be affected by her wrath by not receiving gifts among the mortals (Shelmerdine 354).

Moreover, Apollo, the arch-shooter is depicted in the hymn as a liberator of men as he killed a serpent, which had caused chaos to the people who lived by the spring. Any disturbance that would hinder the people from serving his father Zeus, he dealt with swiftly, and nobody was going to stand in his way- not even the gods themselves. Through his bow and arrows, Apollo takes a violent demeanor that causes fear even unto his mother, Leto. The character of Apollo can be described as both tough and loyal which makes Zeus a delighted father. His toast with Apollo is a clear indication Zeus had high regard for his son Apollo. On the contrary, Demeter, the goddess is rather kind and soft. She lowers herself to the level of a mortal in sheer humility. It can be deduced that her daughter’s love had made her desperate to work as a babysitter. She graciously blesses the land with fertility upon recovering her daughter from Hades, signifying her undying love and care for the immortals.

Zeus is depicted in both hymns as the king of all gods and goddesses. However, there is a similar trend in the way in which he is mentioned in both hymns. According to the Hymn to Demeter, Zeus was involved in the plan to give off her daughter to Hades, his brother (Shelmerdine 1-11). He plotted this plan without engaging Demeter, which led to Demeter developing a bitter feeling towards him upon the realization that he consented to the marriage of Demeter’s daughter. Upon realizing his mistake Zeus embarks on a mission to beg Demeter to stop pouring her wrath upon the land by sending in messengers to beg her to get back to Olympus – the land of the gods. In the Hymn to Apollo, Zeus is still the overall ruler among the gods. Referred to as the god who delights in thunder, Zeus is considered all-powerful to the extent that he gave birth to Athena via his head. This birth angered Hera, who feels that Zeus had dishonored her by making her his wife. Perhaps Hera was bitter that Zeus was able to give birth to Athena, who was highly regarded among the gods, yet her son could not even stand on his two feet. Hera had to sermon the gods and goddesses to express her displeasure in what Zeus was capable of.

The journey that Apollo took by the sea, taking the form of a dolphin and steering the sailors to shore, is an expression of the power that he had. He could bend men to do his bidding, as can be seen when he takes the sailors and charges them to look after the temple that he built. Upon reaching the shore Apollo led the Cretans in music and dance. After all, Apollo was the god of the lyre. They rejoiced and danced, pouring out food as a libation to the gods, which signaled sacrificial worship. On the contrary, Demeter initiated the building of the temple and encouraged the people in Eleusis to always worship by bringing in sacrifices to her, and in return, she blessed them by making their lands fertile and full of food.

The discussion above has highlighted the analysis based on the two hymns, the Hymn to Apollo and the Hymn to Demeter. In both hymns, the authors have used features that were similar and at the same time, different in describing the two gods-Apollo and Demeter. Apollo is depicted as a powerful god right away from his birth. His birth occurred under unfavorable circumstances, being born on the rocky island of Delos. Demeter, on the other hand, is a mother pained by the loss of her child and is forced to leave the godly dwellings and travel to the mortal world in pursuit of her daughter. In both hymns, the use of the temple has been brought out clearly as the dwelling place of the gods. Hence mortals come to the temples to give offerings and sacrifices to the gods. Zeus has been mentioned as the supreme god of the gods, and his role in the two hymns justify his jurisdiction among the gods.

Work Cited

1. Shelmerdine, Susan C. The Homeric Hymns. Hackett Publishing, 2012.

“I will remember, nor could I forget, far-shooting Apollo, whom gods tremble before as in Zeus’s abode he is striding— then as he comes up close to the place they are sitting, they leap up, all of them, out of their seats, as he stretches his glittering bow back.“ There are many Gods and Goddess in Greek myth. They had their different stories, believers, and temples. The governors of the Greek cities worship Zeus, the king of all Gods; virgins went to Artemis’s temple asking for protection, and soldiers prayed for victory toward Ares. But among all of these Gods, one of the most influential ones is Apollo, the first son of Zeus. He is the son of Zeus and Leto, twin brother of Artemis. As the God of son and light, music and poetry, healing and plagues, prophecy and knowledge, order and beauty, archery and agriculture, the story of his birth is recorded in many ancient Greek mythological materials, such as the Library, the Song of Delos and Homer’s Ode.”

The first and most direct reason is that Apollo shares one of the biggest numbers of believers and temples. Ancient Greece originated a wide range of religions and was influenced by various city-states and different political and economical forms from Asia that are difficult to be unified. Thus, the sources of gods are numerous and the stories of gods are complex and different. As a result, ancient Greece became the land of pantheism. In keeping with polytheism, ancient Greek temples were omnipresent, there were many centers of worship, and the number of religious festivals reached an astonishing level. Due to these reasons, it was hard for a God to have a large number of believers.

However, at the late time of ancient Greek, the number of Apollo’s believers reaches the utmost and even Zeus’s cannot compare to it. Since many years have passed and people have burned most of the books that record Greek religion; it is extremely hard to find out the exact numbers of Apollo’s followers. But there is still something could prove that Apollo shares the biggest number of believers and temples. People believed that Apollo controls light and sun which they need every day, sickness that no one would like to have, and art and music that play a huge part in their daily life. Therefore, worshipping him is necessary. Cities worship him because he is the God of law and justice, and his prophecy is the hope for them to win a war. Moreover, many celebrities believed in Apollo, such as Socrates and Hippocrates. And many famous Greeks even have claimed that they are the offspring of Apollo. Julius Caesar is the most outstanding one of them, a fanatic of Apollo. He claimed that Apollo is his father; therefore, Greek culture speared everywhere that he conquered.

Another approve is that predictions have significant effects on ancient Greek culture. Apollo is the God of prediction and who issues oracles of Zeus. in the temple of Delphi. The ancient Greeks believed that Delphi was the center of the earth, the ‘belly button of the earth.’ The temple, which harmoniously integrated harmoniously with the landscapes, has been the religious center of ancient Greece and the symbol of Greek unity since the 6th century BC. The prophecies and instructions of Delphi profoundly influenced the culture and history of ancient Greece and countries around. Its oracle was involved in many famous battles, such as the hippo war. The kings of different cities sent ambassadors to Delphi before wars; they believed that Apollo can predict their feats in the battle. And the three proverbs of the temple: know yourself, nothing in excess, and commitment brings misfortune, are still influencing today’s society.

At last, of all the Olympian gods, Apollo was the most highly regarded. Not like other Gods have been characterized as jealous, lustful and temperamental. He has been worship as the symbol of ancient Greek culture and spirit, which is the “harmony, reason and moderation personified. His worship of him appeared as the antithesis of the Dionysian spirit. M.P.Nelson, author of Greek Gods and Religious Practices, pointed out: ‘it was Apollo who overpowered the popular Dionysian worship at that time not only through struggle and suppression but also through permission and regulation, thus making this regulated mania lose its budding danger.”

Greeks view Apollo as a perfect blend of physical superiority and moral virtue. For this reason, Apollo’s worship is inextricably linked to male culture. He was often pictured as a handsome and energetic young man who has flowing golden hair hanging over his shoulders. On his head was a crown woven from the branches of the laurel, the love tree, the olive, or the water lily. He held the Lyre, which is the symbol of the God of Arts and music, and sacrificed with swans, eagles, wolves, and cicadas. His body was in accordance with certain rules of proportion, and he was the representative of rational beauty. Therefore, when making art in the image of Apollo, everything must be very clear and mathematical. What Apollo brought to people was mainly the pursuit of civilization and spiritual sustenance.

Greek myth is the most important part of Greek culture; their different Gods built the diversities of its society. As the reasons show, Apollo is the one that influenced ancient Grace more than any other God. His divine character is just like the heart of Greek culture: liberty, natural and rational. As the light that leads ancient Greek citizens walk through the dark time. Just like Socrates prayed to his God right before his execution, the faith they had in Apollo influences every part in their life.

The term mythology refers to the body of myths originally told by the ancient Greeks. While we recognize elements of ancient mythology as an essential component to Greek history, myths are perennial, as myth presides in everyday art and human function, and the various archetypes might be used as mirrors for identity and self-discovery. While there are many gods and goddesses of ancient Greece, we learn that two gods define Greek culture. This essay will discuss the inevitable presence and role of Apollo and Dionysus in our lives, and in The Iliad.

Both sons of Zeus, and different mothers, Olympian gods Apollo and Dionysus help define Greek culture. The allegorical relationship between the two is some of the elementary experiences of each individual, as their influence begins long ago. Today, symbols are present in everyday life and function. We see them in theater, literature, film, etc. As the god of many things, Apollo personified the perfect man. An essential component to ancient mythology, he is one of the most complex archetypes, and arguably the most important. Apollo is represented by light, rational thinking, and order, and appeals to logic, purity, and prudence. However, his brother Dionysus (whose Roman equivalent is Bacchus), also referred to as the “God of the Vine,” is the god of wine and dance, fertility, irrationality, and disorder, and he appeals to emotion and instinct. Born of fire, Dionysus’ existence began. Early versions of the origin of Dionysus suggest that Zeus, the king of the Greek gods, seduced and impregnated Semele, a mortal woman and the princess of Thebes. When Semele demanded that Zeus reveal his true form to her, she burned, leaving only a pile of ash from which Dionysus was formed. According to ancient, Greek myth, of the twelve Olympian gods, and the only god with a mortal mother, Dionysus was the last to arrive, and his unusual birth marked him as an outsider. (Arguably, this might relate to his association with chaos). Apollo, however, was a twin, born on an island to the goddess Leto. While the two gods represent nearly opposing orientations and values, they are entwined by nature, and we recognize them as essential, complementary aspects of human personality and identity; and they enable the world to endure well-balanced entities.

Today, Apollo’s presence is principal in health. He is often referred to as “The Healer”. But while healing and medicine are associated with him, Apollo can also bring ill health and a deadly plague. This relates to his presence in Homer’s account of the Trojan War, The Iliad. The Iliad tells the story of the final year of the Trojan War fought between the Greeks and Troy. According to ancient myth, Apollo is essential to the Trojan War, as he plagued the Greek encampment, and aided Paris by guiding his arrow to kill Achilles. In reference to Dionysus, while is his near absence is well-known in this story, his element is latently present in the Iliad. One might even argue that Dionysus is (subliminally) at the center of The Iliad, as the Trojan war embodied chaos (not to be mistaken for Ares, the god of war). Nevertheless, the myth of Lycurgus tells about a young Dionysus, whose foster mothers were attacked and chased by Lycurgus. Dionysus appears again in the second episode of The Iliad in the deception of Zeus.

As two extreme forces of nature, Apollo and Dionysus are exhibited in the lives of human beings. While their most well-known iteration is as pillars of Greek culture, Greek gods and goddesses are widely considered to be the foundation of modern Western culture, as these archetypes appear in historical events (e.g., disease plagues, festivals, eras of chaos), and as forces and drives within us. Both Apollo and Dionysus are useful conventions for depicting inner conflict, influencing decision-making and rationale-an essential quality to everyday action. For example, Apollo is recognized as conscience, just as a shoulder angel accompanied by a shoulder devil, who in this case represents Dionysus. Other forms of the two are depicted in human behavior like drunkenness. But though the two represent opposing drives, Can these forces be combined?

According to German philosopher Friedrich Wilhelm Nietzsche, the opposition of Apollo and Dionysus is distinct in Greek culture. Uniquely, the Greeks were able to blend the two within their culture, allowing them to function harmoniously. As mentioned, Apollo’s and Dionysus’ presence is not only prevalent in Greek culture, but also in modern life. In fact, as humans, we are all a tantalizing mix of Dionysus and Apollo. In his book, The Birth of Tragedy, Friedrich Nietzsche discusses Apollo and Dionysus as representing dualism, giving rise to one another. Nietzsche explores themes of fate, healing, destruction, chaos, etc., describing them as Dionysian or Apollonian. He concludes that human life is divided into the ‘Apollonian’ (embodying the spirit of Apollo) and the ‘Dionysian’ (representing fleeting pleasure, madness, and passion). While we seek to practice and understand the wisdom and rational behavior, we also lack discipline and are drawn to chaos and frenzy. The Apollonian-Dionysian dichotomy helps us to understand the incredibly complex nature of being human. The influence of these archetypes can also be recognized universally, as they preside in several cultures and belief systems (e.g., the principle of Yin and Yang in Chinese philosophy, or the doctrine of sin and virtue in Christianity). Nietzsche’s theory explains the essentialism of equilibrium, and from this, we can conclude that the two forces are inseparable and that the loss of either can result in disparity.

The absence of the Apollo principle leads to chaos and universal destruction, and without Dionysus, we lack the proper balance to keep a stable universe. In fact, Nietzsche believed that Greek culture began to fade as the Greeks started to forget about Dionysus, embracing only Apollonian attitudes. (Much of this relates to the practice of philosophy and man’s ever-burning desire to learn). While overly Dionysian individuals act without reason, Apollonians reason too much, and act too little. However, Nietzsche proposed that adopting both an Apollonian, and a Dionysian perspective makes for a more healthy and well-balanced society, and while knowledge and wisdom is desirable, true wisdom begins with acknowledging and accepting the Dionysian characteristics we possess. One must also understand that Dionysian characteristics can be pure or positive. For example, while Apollo is recognized as the god of music, some argue that music is a Dionysian artform, as it appeals to emotion. Drunkenness is also suggested as a pure Dionysian state, as this too produces expression. In this sense the two might intertwine, acting as influences upon one another (e.g., drunkenness from Dionysus might help to produce art that is influenced by Apollo). In other words, we need both.

In conclusion, men and women embody these archetypes, and elements can be used as metaphors for the past and will be experienced so in the future. As the god of light or illumination, Apollo can be seen in positive aspects of life and influence, and the same with Dionysus. Both gods have deeply influenced modern thinking and behavior, and without them, the universe would lack balance, and humans would not have a proper perspective and a balanced way of living.

Apollo is considered one of the most important and complex gods in both Roman and Greek mythology as he is usually associated with healing properties but is also blamed for sickness. He is the son of Jupiter and Latona and has a twin sister called Diana. In the first few minutes that Diana was born, she was made to assist her mother in labor in order to successfully produce the second twin child; Apollo.

The story of Apollo begins when he has become a very skilled archer at just the age of 4 days old. In order to quickly prove his skill and talent he killed a Python who had been harassing his mother (Latona) ever since she had become pregnant with the twins. Turns out this Python wasn’t any ordinary snake was actually the famed Oracle of Delphi (greatest prophet of all time). Killing this Python was no small matter, although Jupiter was very proud of his son for killing the Python and saving his mother, he was not pleased. Jupiter would no longer have anyone to resort to when he needed advice. Although Apollo was still Jupiter’s favorite child, he still exiled him to live on Earth as a mortal and help King Admetus.

During that year of exile, Admetus was very kind to him and treated him very well. Appreciative of this, he decided to tell Admetus his future and fate (i.e. when and how he dies) also warning him that it was reversible if someone would die in his place. Luckily or unluckily, only his wife was willing to die in his place and Admetus lived a regretful life from then on before Hercules brought her back to life (that part was not necessary but thought it was interesting). A famous story relating to Apollo was the story of Apollo and his first love. The story begins with Cupid playing with Apollo’s silver bow and arrows, he chased Cupid around, telling him that they were not toys. Weirdly offended by this comment Cupid decided to shoot Apollo with one of his arrows telling him that they were not toys either, the only problem being that these arrows were dipped in aphrodisiac and made the person who had been shot fall in love with the first person they meet. Right after Apollo had been shot, poor Daphne, the daughter of a river god came strolling down and Apollo was instantly in love.

The cheeky Cupid, however, drew another arrow, this time with a potion that would make love seem repulsive to the victim, and shot Daphne with it. Daphne quickly ran home, with Apollo chasing her, and swore an oath to her father to never get married. Apollo who had been struck by her beauty made a series of pledges of undying love. With Apollo continually trying to chase her around for her hand in marriage, she cried out to mother earth to change her form so that she would be less attractive. Instantly, she changes forms into a laurel tree! Apollo who was clearly heartbroken from this situation, tore off many branches and leaves from the tree telling Daphne that her name would forever be remembered. Like some of the other gods within Apollo’s generation, she never married but seduced many goddesses and mortals (just like his father). He had a good idea of what was right and wrong and was usually calm-headed.

Believing strongly in law and order, he created some laws for the mortals and even was believed to have introduced the civic court so matters were able to be fixed without any bloodshed. He was portrayed as an idealist and had a vision of society that he could live freely and be protected under the law. Although the festivals that the Romans celebrated to worship Apollo were relatively smaller than the festivals to honor the bigger deities such as Jupiter and Minerva, Apollo was still heavily worshipped in Roman culture! The main festival is the Pythian Games (named after the Python he killed) held every four years at Delphi (his assumed birthplace). This festival was also 1 of 4 that were considered part of the Panhellenic games!

Spanning an elemental and violent family conflict, The Oresteia by Aeschylus is a trilogy containing the plays Agamemnon, The Libation Bearers, and The Eumenides. As a whole, the trilogy deals with Agamemnon’s murder at the hands of his wife Clytemnestra, Orestes’ revenge on his father’s killers, and his ultimate trial for matricide. Although not present throughout the whole trilogy and only a supporting character in The Eumenides, Apollo is the character that prompts Orestes to kill his mother and he also tries to save him at the trial by claiming half of the blame. In examining Apollo’s contribution throughout the play, it can be inferred that Aeschylus uses Apollo as a narrative instrument in order to move the plot towards his desired end. This is why Apollo, though only a peripheral character, has such a substantial impact on the storyline.

In The Libation Bearers, Apollo is present only through the words of Orestes, making him an enigmatic character. “The big strength of Apollo’s oracle will not forsake me,” Orestes proudly proclaims as he explains his plans of revenge to his sister Electra. He continues to explain that “the god’s urgency” drives him on. Apollo is used here as a background force that makes Orestes to go on with his revenge and kill his mother. As a god that has the power of prophecy, Apollo is an important instrument in the fulfillment of Orestes’ destiny and the author’s aim of the text. In order to make Orestes heed his prophecy, Apollo also foresees great hardship and punishment for Orestes if he decides not to kill his mother and avenge his father’s death: “He said that else I must myself pay penalty/ with my own life, and suffer grim punishment.” Both the danger of such repercussions and his own desire for revenge then prompt Orestes to kill Clytemnestra. Though Apollo’s words are not heard directly, but are reconstituted through Orestes’ speech, they are powerful and threatening enough to make Orestes commit the ultimate act – matricide. It is surprising for the reader when Apollo makes his physical appearance in The Eumenides, where his first words are directed to Orestes: “I will not give you up.” It is very unusual for a god to be this involved in the humans’ lives and take such a responsibility for a mortal. His words are extremely powerful in this instance and they anticipate his complete involvement in Orestes’ fate and ultimate trial. Apollo continues to reinforce his steadfastness with the following lines: “Through to the end standing/ your guardian, whether by your side or far away, / I shall not weaken towards your enemies.” He is appointing himself as Orestes guardian and he manages to go through with his promise by keeping him safe.

Besides his interaction with Orestes, Apollo is also seen engaging in dialogue with the furies, Athena and the judges. His defense of Orestes is visible throughout the play. When the furies come to make Orestes pay for his matricide, Apollo is very direct and concise in stating his allegiance: “Get out, I tell you, go and leave this house.” His defense of Orestes does not stem only from the fact that Orestes is his suppliant, but also from the fact that Apollo himself is indirectly guilty of the murder of Clytemnestra by urging Orestes to do the deed. The dialogue between Apollo and the furies also serves to show how each of them interpret justice. Apollo agrees that Orestes should have killed his mother to “exact the price for his father,” yet the furies consider Orestes’ murderous acts against his own blood to be even worse than Clytemnestra’s crime against Agamemnon, “Such murder would not be the shedding of kindred blood.” Apollo continues to defend Orestes and even promises repercussions for the furies if they continue with their pursuit: “Keep after him then, and make more trouble for yourselves.” Later, when the trial begins, Apollo makes a surprising appearance and claims half of the blame for the murder. “I come to testify. […] I have also come to help him win his case. I bear/ responsibility for his mother’s murder.” Just as Orestes follows up by directly stating his guilt, “Yes, I killed her,” so does Apollo, claiming a part of the blame for the murder. It is worthy to note the contrast between the fact that although Apollo indirectly urges Orestes to kill him mother, he comes and bears responsibility for the murder in a very direct way. In this instance Aeschylus uses the character of Apollo to give strength to Orestes’ case and to have him ultimately acquitted.

It is also curious to analyze exactly how just and unbiased the trial is, as it is led by Athena. Apollo tries to appeal to her by bringing into discussion her origins and lack of a mother. “There she stands, / the living witness, daughter of Olympian Zeus, / she who was never fostered in the dark of the womb.” Considering the fact that Athene’s vote was the one that changed the course of the trial, Apollo’s choice of words might have won him the favor of the goddess. Apollo also states his arguments in an eloquent manner, like a true lawyer, invoking the name of Zeus to reinforce his power as a prophet and implicitly to buttress the fact that Orestes did nothing wrong by following his prophecy. “This is justice,” Apollo proclaims in front of the judges. As soon as he sees that the judges aren’t moved by his account he resorts to insults “You foul animals,” which serve to show how much winning the case for Orestes means for Apollo. He goes on to use a threatening and somewhat ominous tone while talking with the judges “Watch.” This simple sentence comprised of the verb to watch in the imperative mood serves to show the confidence that Apollo has in the fact the he will win the trial. “I shall win this suit” he continues, which might suggest that as a prophet he has an idea of what the result of the votes is going to be and is playing his hand accordingly, just as he did with Athena, as mentioned above. The same can be inferred from the following lines: “Shake out the votes accurately, Athenian friends. / be careful as you pick them up. Make no mistake. / In the lapse of judgement great disaster comes. The cast / of a single ballot can restore a house entire.” His words are enigmatic and up for interpretation, exactly as a prophecy. There is an ominous undertone, almost like a threat that goes with these lines. As the god of prophecy, this may be interpreted as both a warning and a glimpse of the future that Apollo offers: the fact that Orestes is going to win the suit and his house is going to be restored.

Considering all of the above evidence, the reader can infer that Apollo is a narrative instrument employed by Aeschylus both in order to give Orestes a push to kill his mother and to conclude the trilogy with Orestes’ victory over the furies. Although he is a minor character, his actions mold and shape the whole narrative. Moreover the fact that he is a god gives him legitimacy to act and also to have a strong influence in the trial, which is very convenient for the plot. His intervention is not only physical but also spiritual in a way, having his words conveyed to the audience through Orestes. Also the fact that he has the power of prophecy makes him the perfect peripheral character to help with the direction of the action and to bring the whole narrative exactly where Aeschylus wanted. Looking closely at his interventions throughout both plays, either by being physically present or not, it is clear that he is used both to lead the action and to offer a “happy ending” to Orestes. Apollo also offers more insight into the character of Orestes, as he refers to him as a “noble man” multiple times. Moreover, his actions themselves speak for Orestes, for example, the fact that he goes to such great lengths to protect him and even appoint himself as Orestes’ guardian. This is very telling of Orestes’ value as a person for he manages to gain the favor of a god and not only that, he manages to have Apollo’s ultimate protection. Apollo has a minor yet a pivotal role not only in Orestes’ journey throughout the plays but also in the fact that his actions drive the plot on and bring forth the conclusion to the trilogy.

Mythology is everywhere. In fact it has such a grip on our world that our lives would be very different without it. Mythology is the subject of myths and legends, normally dealing with imaginary creatures. Myths have been told since the beginning of time. The purpose of these myths is to explain questions mankind has always asked: “Who am I? Why am I here? Is there something else besides me?” (History) Besides answering these fundamental questions, myths were also used to dictate the moral code of early civilizations. Most stories involved a hero learning a valuable lesson such as courage, responsibility, or perseverance. The story was then used to help the believers follow suit and attain a higher moral standard.

Mythology flourished in the ancient kingdoms of Greece and Egypt, but yet it was also strong in Scandinavia, Africa, and Europe. During the time before Christ mythology and the worship of the characters was prevalent. However, it was Greek mythology that captured the world. Egyptian and Norse mythology is fascinating, but not as well known. Everyone knows about the Greeks though. Greek mythology was first started through word of mouth and was passed down through the generations. The first written record of the Greek gods was in 700 BC by the poet Hesiod. He wrote the Theogony, a book which described the origin of the universe and formally introduced the Greek gods to modern scholars. Homer’s Illiad was written a century before but does not name any of the gods; thus it is safe to say Greek mythology is over three thousand years old.

In Greek mythology there are countless gods and mythical creatures. The main gods are known as Olympians. They are known by this name because they dwell on Greece’s tallest mountain, Mount Olympus. Zeus and Hera are the monarchs of the gods, ruling over the other ten. Each god is a patron of something unique. Ares is the god of war, Demeter is the god of agriculture, and Poseidon is the god of the seas. But as for this report, we will focus on the god Apollo.

Apollo was the son of Zeus and Leto and brother to Artemis, the goddess of light and the vulnerable. Before he was born a large python was chasing Leto relentlessly, until she finally found a cave and gave birth to both Artemis and Apollo. Pleased with his children, Zeus gave both of the young infants silver bows and arrows. Zeus became a natural shot with his new bow and at the age of four days he slew the serpent at Delphi. However, the serpent turned out to be an oracle and had previously been the best prophesier in all of Greece. Zeus was pleased with his son’s determination to kill the beast, but was also angry that he could no longer consult it for what the future held. As punishment, he sentenced Apollo to a year among the mortals. Before his temporary exile, Apollo learned the art of prophecy.

While in exile he served King Admetus loyally. Near the end of his servitude he looked into the man’s future and saw his forthcoming death. But he also saw it could be avoided if someone were to die in his place. No one volunteered except the Admetus’s wife. After his exile, his silver bow and arrows would play a large part of his life. Not only had he used them to kill the python early on, but now he became an expert marksmen. But one day they proved to be more of a curse than blessing. On a certain occasion Apollo found Cupid playing with his silver bow. Apollo became quite angry and disciplined Cupid, who then shot Apollo with one of his arrows. Apollo would now fall in love with the next person he saw. A beautiful girl named Daphne suddenly appeared and Apollo fell in love with her. To add to his revenge, Cupid shot Daphne with a lead arrow which would make Daphne hate love and anything related to it. Apollo vainly pursued Daphne, who eventually turned into a laurel tree to escape him. The laurel is now a symbol of Apollo. Possibly due to this incident, Apollo never married, even though he had numerous relationships and affairs.

The rest of Apollo’s eternal life was somewhat boring except for his assistance in the attempted overthrow of Zeus. The overthrow however failed. A last notable fact of Apollo’s life was his morning and evening job. He rode a golden chariot, took the name Helios, and rose and set the sun each day.

Apollo was one of the most competitive gods, as was his sister. He had to be the best at everything he did. Being the best at his passions was his primary goal. In fact, he even beat some of the other gods at sports such as boxing and racing. Thankfully for his contesters, he usually won. Apollo was a sore loser and normally punished the victor severely for winning.

Apollo was an expert in the art of healing. Even though he learned the skill of prophecy and was also a great archer, he was the best healer in the world. He could cure any illness. But even though he was a fantastic healer, he could also cause plagues to befall cities. After the failed coup of Zeus, he was exiled for a year to the building of Troy’s walls. When his wages were refused, he caused a great disease to pester the city and the bodies rose higher than the walls. When the king relented, Apollo cured the illness from the survivors. Because of his amazing powers, he is the patron god of healing.

The god Apollo was also quite a jealous God. His sister Artemis fell in love with a hunter, Orion. Apollo quickly grew jealous and lonesome, so he plotted to kill Orion. One day Orion was swimming far out in the sea and Apollo dared Artemis to shoot the “rock” in the middle of the sea. Artemis was a perfect shot like her brother and unknowingly killed her love. When she found out, she wept and turned Orion into a constellation. On another occasion he left his pregnant lover Coronis. However he suspected she might betray him so he sent a white raven to watch over her. She did indeed betray him, and Apollo killed her. He saved his son though and named him Asclepius.

Order and justice were Apollo’s chiefest desires. He highly dislike the chaos on earth and set up civic courts in multiple cities. He had a high moral sense of right and wrong and envisioned a world without corruption or bloodshed. He envisioned a utopia.

Like most other gods, Apollo had several symbols associated with him. A silver bow and arrow is of course related to him, symbolizing his royal birth and expertness in archery. The swan is also a symbol of his, most likely recognizing the calm healing power he had. The wolf however has the opposite meaning as it realizes the destructive power over disease Apollo has. Finally, gold is also one of Apollo’s symbols. This is most likely a symbol because of Apollo’s handsome features and youth-like features.