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An origin myth is a type of myth that explains the beginnings of a natural or social aspect of the world. One specific kind of origin myth is the creation or cosmogonic myth, which narrates the formation of the universe. However, numerous cultures have stories that take place after the initial origin. These stories aim to explain the origins of natural phenomena or human institutions within an already existing world. In Graeco-Roman scholarship, the terms etiological myth and aition (derived from the Ancient Greek word αἴτιον, meaning "cause") are occasionally used to describe a myth that clarifies an origin, particularly how an object or custom came into existence.
Origin myths are narratives that explain how a particular reality came into existence.[1][full citation needed] They often serve to justify the established order by attributing its establishment to sacred forces[1] (see Social function section below). The line between cosmogonic myths (which describe the origin of the world) and origin myths is not always clear. A myth about the origin of a specific part of the world assumes the existence of the world itself, which often relies on a cosmogonic myth.[1] Therefore, origin myths can be seen as expanding upon and building upon their cultures' cosmogonic myths. In traditional cultures, it is common for the recitation of an origin myth to be preceded by the recitation of a cosmogonic myth.[2]
Within academic circles, the term "myth" is often used specifically to refer to origin and cosmogonic myths. Folklorists, for example, reserve the term "myth" for stories that describe creation. Stories that do not primarily focus on origins are categorized as "legend" or "folk tale," which are distinct from myths according to folklorists.[3]Mircea Eliade, a historian, argues that in many traditional cultures, almost every sacred story can be considered an origin myth. Traditional societies often pattern their behavior after sacred events and view their lives as a cyclical return to a mythical age. As a result, nearly every sacred story portrays events that establish a new framework for human behavior, making them essentially stories of creation.[4]
An origin myth often functions to justify the current state of affairs. In traditional cultures, the entities and forces described in origin myths are often considered sacred. Thus, by attributing the state of the universe to the actions of these entities and forces, origin myths give the current order an aura of sacredness: "Myths reveal that the World, man, and life have a supernatural origin and history, and that this history is significant, precious, and exemplary."[5] Many cultures instil the expectation that people take mythical gods and heroes as their role models, imitating their deeds and upholding the customs they established:
When the missionary and ethnologist C. Strehlow asked the Australian Arunta why they performed certain ceremonies, the answer was always: "Because the ancestors so commanded it." The Kai of New Guinea refused to change their way of living and working, and they explained: "It was thus that the Nemu (the Mythical Ancestors) did, and we do likewise." Asked the reason for a particular detail in a ceremony, a Navaho chanter answered: "Because the Holy People did it that way in the first place." We find exactly the same justification in the prayer that accompanies a primitive Tibetan ritual: "As it has been handed down from the beginning of the earth’s creation, so must we sacrifice. … As our ancestors in ancient times did—so do we now."[6]
Founding myths unite people and tend to include mystical events along the way to make "founders" seem more desirable and heroic. Ruling monarchs or aristocracies may allege descent from mythical founders/gods/heroes in order to legitimate their control. For example: Julius Caesar and his relatives claimed Aeneas (and through Aeneas, the goddess Venus) as an ancestor.
In the founding myth of the Zhou dynasty in China, Lady Yuan makes a ritual sacrifice to conceive, then becomes pregnant after stepping into the footprint of the King of Heaven. She gives birth to a son, Hou Ji, whom she leaves alone in dangerous places where he is protected by sheep, cattle, birds, and woodcutters. Convinced that he is a supernatural being, she takes him back and raises him. When he grows to adulthood, he takes the position of Master of Horses in the court of Emperor Yao, and becomes successful at growing grains, gourds and beans. According to the legend, he becomes founder of the Zhou dynasty after overthrowing the evil ruler of Shang.[9]
Like other civilizations, the Scythians also claimed descent from the son of the god of heaven. One day, the daughter of the god of the Dnieper River stole a young man's horses while he was herding his cattle, and forced him to lie with her before returning them. From this union, she conceived three sons, giving them their father's greatbow when they came of age. The son who could draw the bow would become king. All tried, but only the youngest was successful. On his attempt, three golden objects fell from the sky: a plow and yoke, a sword, and a cup. When the eldest two tried to pick them up, fire prevented them. After this, it was decided the youngest son, Scythes, would become king, and his people would be known as Scythians.[10]
The Torah (or Pentateuch, as biblical scholars sometimes call it) is the collective name for the first five books of the Bible: Genesis, Exodus, Leviticus, Numbers, and Deuteronomy. It forms the charter myth of Israel, the story of the people's origins and the foundations of their culture and institutions, and it is a fundamental principle of Judaism that the relationship between God and his chosen people was set out on Mount Sinai through the Torah, though many stories are adapted from older religions.[citation needed]
A founding myth may serve as the primary exemplum, as the myth of Ixion was the original Greek example of a murderer rendered unclean by his crime, who needed cleansing (catharsis) of his impurity.
Founding myths feature prominently in Greek mythology. "Ancient Greek rituals were bound to prominent local groups and hence to specific localities", Walter Burkert has observed,[11] "i.e. the sanctuaries and altars that had been set up for all time". Thus Greek and Hebrew founding myths established the special relationship between a deity and local people, who traced their origins from a hero and authenticated their ancestral rights through the founding myth. Greek founding myths often embody a justification for the ancient overturning of an older, archaic order, reformulating a historical event anchored in the social and natural world to valorize current community practices, creating symbolic narratives of "collective importance"[12] enriched with metaphor in order to account for traditional chronologies, and constructing an etiology considered to be plausible among those with a cultural investment.[13]
In the Greek view, the mythic past had deep roots in historic time, its legends treated as facts, as Carlo Brillante has noted,[14] its heroic protagonists seen as links between the "age of origins" and the mortal, everyday world that succeeded it. A modern translator of Apollonius' Argonautica has noted, of the many aitia embedded as digressions in that Hellenistic epic, that "crucial to social stability had to be the function of myths in providing explanations, authorization or empowerment for the present in terms of origins: this could apply, not only to foundations or charter myths and genealogical trees (thus supporting family or territorial claims) but also to personal moral choices."[15] In the period after Alexander the Great expanded the Hellenistic world, Greek poetry—Callimachus wrote a whole work simply titled Aitia—is replete with founding myths. Simon Goldhill employs the metaphor of sedimentation in describing Apollonius' laying down of layers "where each object, cult, ritual, name, may be opened... into a narrative of origination, and where each narrative, each event, may lead to a cult, ritual, name, monument."[16]
A notable example is the myth of the foundation of Rome—the tale of Romulus and Remus, which Virgil in turn broadens in his Aeneid with the odyssey of Aeneas and his razing of Lavinium, and his son Iulus's later relocation and rule of the famous twins' birthplace Alba Longa, and their descent from his royal line, thus fitting perfectly into the already established canon of events. Similarly, the Old Testament's story of the Exodus serves as the founding myth for the community of Israel, telling how God delivered the Israelites from slavery and how they therefore belonged to him through the Covenant of Mount Sinai.[17]
During the Middle Ages, founding myths of the medieval communes of northern Italy manifested the increasing self-confidence of the urban population and the will to find a Roman origin, however tenuous and legendary. In 13th-century Padua, when each commune looked for a Roman founder – and if one was not available, invented one—a legend had been current in the city, attributing its foundation to the Trojan Antenor.[18]
Larger-than-life heroes continue to bolster the origin-myths of many newer nations and societies. In modern-era colonial contexts, waves of individuals and groups come to the fore in popular history as shaping and exemplifying the ideals of a group: explorers followed by conquerors followed by developers/exploiters. Note for example the conquistadors of the Iberian empires, the bandeirantes in Brazil, the coureurs des bois in Canada, the Cossacks and the promyshlenniki in Siberia and in Alaska, the bands of pioneers in the central and western United States, and the voortrekkers in Southern Africa.
Foundation stories
Foundational stories are accounts of the development of cities and nations. A foundational story represents the view that the creation of the city is a human achievement. Human control and the removal of wild, uncontrolled nature is underlined. There are two versions of foundational stories: civilization story and degradation story.[19]
Civilization stories take a view of nature as dangerous and wild. The development of the city is seen as a successful distancing of humans from nature. Nature is locked out, and humans take pride in doing so successfully. In 1984 the geographer Yi-Fu Tuan suggested ranking cities according to their distance to natural rhythms and cycles.
Degradation stories (also called pollution stories) take a different stance. The city is seen as spoiling the landscape of the ecological relations that existed before the city was established. There is a sense of guilt for degrading the intact system of nature. In degradation stories true nature only exists outside the city.
A creation myth or cosmogonic myth is a type of cosmogony, a symbolic narrative of how the world began and how people first came to inhabit it. While in popular usage the term myth often refers to false or fanciful stories, members of cultures often ascribe varying degrees of truth to their creation myths. In the society in which it is told, a creation myth is usually regarded as conveying profound truths – metaphorically, symbolically, historically, or literally. They are commonly, although not always, considered cosmogonical myths – that is, they describe the ordering of the cosmos from a state of chaos or amorphousness.
Christian mythology is the body of myths associated with Christianity. The term encompasses a broad variety of legends and narratives, especially those considered sacred narratives. Mythological themes and elements occur throughout Christian literature, including recurring myths such as ascending a mountain, the axis mundi, myths of combat, descent into the Underworld, accounts of a dying-and-rising god, a flood myth, stories about the founding of a tribe or city, and myths about great heroes of the past, paradises, and self-sacrifice.
Religion and mythology differ in scope but have overlapping aspects. Both are systems of concepts that are of high importance to a certain community, making statements concerning the supernatural or sacred. Generally, mythology is considered one component or aspect of religion. Religion is the broader term: besides mythological aspects, it includes aspects of ritual, morality, theology, and mystical experience. A given mythology is almost always associated with a certain religion such as Greek mythology with Ancient Greek religion. Disconnected from its religious system, a myth may lose its immediate relevance to the community and evolve—away from sacred importance—into a legend or folktale.
In Greek mythology, the naiads are a type of female spirit, or nymph, presiding over fountains, wells, springs, streams, brooks and other bodies of fresh water.
In Greek mythology, the Cabeiri or Cabiri, also transliterated Kabeiri or Kabiri, were a group of enigmatic chthonic deities. They were worshipped in a mystery cult closely associated with that of Hephaestus, centered in the north Aegean islands of Lemnos and possibly Samothrace—at the Samothrace temple complex—and at Thebes. In their distant origins the Cabeiri and the Samothracian gods may include pre-Greek elements, or other non-Greek elements, such as Thracian, Tyrrhenian, Pelasgian, Phrygian or Hittite. The Lemnian cult was always local to Lemnos, but the Samothracian mystery cult spread rapidly throughout the Greek world during the Hellenistic period, eventually initiating Romans.
Mircea Eliade was a Romanian historian of religion, fiction writer, philosopher, and professor at the University of Chicago. A leading interpreter of religious experience, he established paradigms in religious studies that persist to this day. His theory that hierophanies form the basis of religion, splitting the human experience of reality into sacred and profane space and time, has proved influential. One of his most instrumental contributions to religious studies was his theory of eternal return, which holds that myths and rituals do not simply commemorate hierophanies, but actually participate in them.
Religious practices in ancient Greece encompassed a collection of beliefs, rituals, and mythology, in the form of both popular public religion and cult practices. The application of the modern concept of "religion" to ancient cultures has been questioned as anachronistic. The ancient Greeks did not have a word for 'religion' in the modern sense. Likewise, no Greek writer known to us classifies either the gods or the cult practices into separate 'religions'. Instead, for example, Herodotus speaks of the Hellenes as having "common shrines of the gods and sacrifices, and the same kinds of customs."
Classical mythology, also known as Greco-Roman mythology or Greek and Roman mythology, is the collective body and study of myths from the ancient Greeks and ancient Romans. Mythology, along with philosophy and political thought, is one of the major survivals of classical antiquity throughout later Western culture. The Greek word mythos refers to the spoken word or speech, but it also denotes a tale, story or narrative.
Comparative mythology is the comparison of myths from different cultures in an attempt to identify shared themes and characteristics. Comparative mythology has served a variety of academic purposes. For example, scholars have used the relationships between different myths to trace the development of religions and cultures, to propose common origins for myths from different cultures, and to support various psychoanalytical theories.
Homo Necans: The Anthropology of Ancient Greek Sacrificial Ritual and Myth is a 1972 book on ancient Greek religion and mythology by the classicist Walter Burkert. It won the Weaver Award for Scholarly Literature, awarded by the Ingersoll Foundation, in 1992.
Chinese creation myths are symbolic narratives about the origins of the universe, earth, and life. Myths in China vary from culture to culture. In Chinese mythology, the term "cosmogonic myth" or "origin myth" is more accurate than "creation myth", since very few stories involve a creator deity or divine will. Chinese creation myths fundamentally differ from monotheistic traditions with one authorized version, such as the Judeo-Christian Genesis creation narrative: Chinese classics record numerous and contradictory origin myths. Traditionally, the world was created on Chinese New Year and the animals, people, and many deities were created during its 15 days.
The "eternal return" is an idea for interpreting religious behavior proposed by the historian Mircea Eliade; it is a belief expressed through behavior that one is able to become contemporary with or return to the "mythical age"—the time when the events described in one's myths occurred. It should be distinguished from the philosophical concept of eternal return.
Myth and ritual are two central components of religious practice. Although myth and ritual are commonly united as parts of religion, the exact relationship between them has been a matter of controversy among scholars. One of the approaches to this problem is "the myth and ritual, or myth-ritualist, theory," held notably by the so-called Cambridge Ritualists, which holds that "myth does not stand by itself but is tied to ritual." This theory is still disputed; many scholars now believe that myth and ritual share common paradigms, but not that one developed from the other.
The genesis of modern understanding of Greek mythology is regarded by some scholars as a double reaction at the end of the 18th century against "the traditional attitude of Christian animosity mixed with disdain, which had prevailed for centuries", in which the Christian reinterpretation of myth as a "lie" or fable had been retained. In Germany, by about 1795, there was a growing interest in Homer and Greek mythology. In Göttingen Johann Matthias Gesner began to revive Greek studies and a new humanistic spirit. His successor, Christian Gottlob Heyne, worked with Johann Joachim Winckelmann, and laid the foundations for mythological research both in Germany and elsewhere. Heyne approached the myth as a philologist and shaped the educated Germans' conception of antiquity for nearly half a century, during which ancient Greece exerted an intense influence on intellectual life in Germany.
Traditional stories, or stories about traditions, differ from both fiction and nonfiction in that the importance of transmitting the story's worldview is generally understood to transcend an immediate need to establish its categorization as imaginary or factual. In the academic circles of literature, religion, history, and anthropology, categories of traditional story are important terminology to identify and interpret stories more precisely. Some stories belong in multiple categories and some stories do not fit into any category.
Jewish mythology is the body of myths associated with Judaism. Elements of Jewish mythology have had a profound influence on Christian mythology and on Islamic mythology, as well as on Abrahamic culture in general. Christian mythology directly inherited many of the narratives from the Jewish people, sharing in common the narratives from the Old Testament. Islamic mythology also shares many of the same stories; for instance, a creation-account spaced out over six periods, the legend of Abraham, the stories of Moses and the Israelites, and many more.
Egyptian mythology is the collection of myths from ancient Egypt, which describe the actions of the Egyptian gods as a means of understanding the world around them. The beliefs that these myths express are an important part of ancient Egyptian religion. Myths appear frequently in Egyptian writings and art, particularly in short stories and in religious material such as hymns, ritual texts, funerary texts, and temple decoration. These sources rarely contain a complete account of a myth and often describe only brief fragments.
Greek mythology is the body of myths originally told by the ancient Greeks, and a genre of ancient Greek folklore, today absorbed alongside Roman mythology into the broader designation of classical mythology. These stories concern the ancient Greek religion's view of the origin and nature of the world; the lives and activities of deities, heroes, and mythological creatures; and the origins and significance of the ancient Greeks' cult and ritual practices. Modern scholars study the myths to shed light on the religious and political institutions of ancient Greece, and to better understand the nature of myth-making itself.
Myth is a folklore genre consisting primarily of narratives that play a fundamental role in a society, such as foundational tales or origin myths. For folklorists, this is very different from the popular use of "myth" simply meaning something that is not true. For folklorists, the truth value of a myth is not a defining criterion.
Roman mythology is the body of myths of ancient Rome as represented in the literature and visual arts of the Romans. One of a wide variety of genres of Roman folklore, Roman mythology may also refer to the modern study of these representations, and to the subject matter as represented in the literature and art of other cultures in any period. Roman mythology draws from the mythology of the Italic peoples and ultimately from Proto-Indo-European mythology.
↑ Myth as "narratives of collective importance" is often part of the definition of myth, both Greek and other; see Walter Burkert, Structure and history in Greek mythology and ritual, 1982:23; Jan N. Bremmer, Interpretations of Greek mythology, "What is a Greek myth?" 1987:1; Mark P. O. Morford and Robert J. Lenardon, Classical Mythology 1999:12.
↑ These structures of Greek foundation myths within their historical and cultural contexts, and the particular example of the founding of Cyrene, are analysed, in terms first laid out by Georges Dumézil, by Claude Calame, Myth and History in Ancient Greece: the symbolic creation of a colony rev. tr. of Mythe et histoire dans l'antiquité grecque, 2003.
↑ Brillante, "Myth and history: the historical interpretation of myth" in L. Edmunds, Approaches to Greek Myth (1991, pp.91–140.
↑ Peter Green, Introduction to Argonautika, expanded ed. 2007, p. 15.
↑ Goldhill, "The paradigms of epic: Apollonius Rhodius and the examples of the past", in The Poet's Voice: Essays on Poetics and Greek Literature (1991), ch. 5, pp.284–333, noted in Peter Green 2007, note on Argonautica I.1070–77, p. 226.
↑ Kenton L. Sparkes, Genre Criticism, in Thomas Dozeman (ed), "Methods for Exodus", CUP, 2010, p.73.
↑ Roberto Weiss, The Renaissance Discovery of Classical Antiquity (Oxford: Blackwell) 1973:18.
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