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Myths: A Neverending Narrative

Updated: Dec 5

The word myth derives from the Greek term muthos, meaning word, speech or story. The significant difference between the meaning that we attribute to this word today and the meaning that it had for the ancients lies in the fact that we exclusively use it to identify a fictional story. In contrast, for the ancient Greeks and Romans, myths were part of a mythical past which was directly linked to the historical one. That is why many relevant figures, such as those of Caesar and Augustus, have mythical descent. Indeed, having a mythical descent was a way to justify and claim power. Still, it was also a way to give credibility to those stories, link them to the present, and create a continuum where mythical and historical events mingled together with no way of separating them.


Francesco Maffei, Perseus and Medusa, c. 1650, oil on canvas, 130.5 x 160.5 cm. Gallerie dell ’Accademia, Venice. Photo: Didier Descouens. This file is licensed under the Creative Commons Attribution-Share Alike 4.0 International license.


You might still be wondering, however, how myths came about. How did they originate, and what makes a myth a myth? Myths were a way to explain the human condition and account for changes, which might have been cultural or even geographical, in this case, they are defined as aetiological myths - providing an answer to the origin of something or someone. For instance, aetiological myths might have explained how an animal or a river originated. Therefore, myths were a way to understand the natural forces at play that shaped the world as it was known.


Myths originated as oral tales, which might had been passed from mouth to mouth for centuries before they were written down. However, even when written, myths preserved their characteristic malleability, changing depending on who told the story and to whom it was told. In fact, we often have more than one version of the same myth. There are, though, some constant characteristics that myths preserve, such as memorable characters, the dramatic triangle (the victim, the villain and the rescuer), settings that are distant in terms of time and space but that can be located on a map, impossible challenges and quests, supernatural forces and the omnipresent conflict.


Cupid and Psyche, unkown Roman sculptor, 150 - 200 CE, marble, The Uffizi Gallery, Florence. Photo: Gabriella Sentina.


Myths, being malleable, mirrored the social fabric from which they emerged and embodied the ethos of the time in which they were spun. Ovid, for instance, puts Augusts – the first Roman emperor – in relation with Jupiter in 'The Apotheosis of Julius Caesar' (Metamorphoses 15. 745 - 870) by asserting that ‘Jupiter governs the heavenly heights and all the realms of the three-formed universe [while]; earth is under Augustus; and each is ruler and father' (15. 858 - 860). Thus, by putting the two figures in relation, he not only legitimised Augustus’ power, who ruled over Rome during Ovid’s lifetime, but he also mythologised the emperor’s figure, weaving his presence into the fabric of his mythical narrative – the Metamorphoses.


However, if you think that myths are just a thing of the past, you are wrong! Where do you think the World Health Organisation logo comes from? And what about the famous shoe brand - named after the goddess of Victory? Though, myths’ presence in this day and age is not just limited to these few examples. Greek and Roman myths continue to inspire fashion designers, writers, film directors, songwriters, playwrights, and artists. They are so embedded in our culture that we keep referring to them in many fields. Think about priapism – a health condition in which the penis remains partially or fully erect for hours – this was named after Priapus, a minor sylvan deity who was cursed with a permanent erection. Thus, it is apparent that myths are here to stay.


Written by

Gabriella Sentina


References: Ovid (2004) ‘The Apotheosis of Julius Caesar’, Metamorphoses. Translated from Latin by D. Raeburn. London: Penguin, pp. 628 - 636.

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