Ghanima Atreides (![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
atreideslioness) wrote in ![[community profile]](https://www.dreamwidth.org/img/silk/identity/community.png)
fandomhigh2010-02-01 09:12 am
atreideslioness) wrote in fandomhigh2010-02-01 09:12 am
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World Mythology -- Third Period -- Monday
Papers papers everywhere, along with large leather-bound volumes that seemed to tower over Ghanima's desk. Ghanima herself, however, was for once not holding piles of handouts.
"Today, class, we journey back to the Classical era, to visit the land of myth that many of you from this planet are perhaps most familiar with. Today, we meet the Greeks."
"Greek mythology is the body of stories belonging to the Ancient Greeks concerning their gods and heroes, the nature of the world and the origins and significance of their own cult and ritual practices. Modern scholars refer to the myths and study them in an attempt to throw light on the religious and political institutions of Ancient Greece and on the Ancient Greek civilization, and to gain understanding of the nature of myth-making itself."
Hopping off her desk, Ghanima began pacing the room as she talked, not bothering to refer to any notes. "Greek mythology has had extensive influence on the culture, the arts and the literature of Western civilization and remains part of Western heritage and language. Poets and artists from ancient times to the present have derived inspiration from Greek mythology and have discovered contemporary significance and relevance in classical mythological themes. "
"It is important to understand that mythology was at the heart of everyday life in ancient Greece, " she said. "Greeks regarded mythology as a part of their history. They used myth to explain natural phenomena, cultural variations, traditional enmities and friendships. It was a source of pride to be able to trace one's leaders' descent from a mythological hero or a god. Few ever doubted that there was truth behind the account of the Trojan War in the Iliad and Odyssey. Homer was considered the "education of Greece", and his poetry "the Book".
"All eras must end, however. After the rise of philosophy, and history, prose and rationalism in the late 5th century BC the fate of myth became uncertain, and mythological genealogies gave place to a conception of history which tried to exclude the supernatural, such as the Thucydidean history. While poets and dramatists were reworking the myths, Greek historians and philosophers were beginning to criticize them." Ghanima shook her head sadly. "Everyone's a critic. A few radical philosophers like Xenophanes of Colophon were already beginning to label the poets' tales as blasphemous lies in the 6th century BC; Xenophanes had complained that Homer and Hesiod attributed to the gods "all that is shameful and disgraceful among men; they steal, commit adultery, and deceive one another". This line of thought found its most sweeping expression in Plato's Republic and Laws. Plato created his own allegorical myths, such as the vision of Er in the Republic, attacked the traditional tales of the gods' tricks, thefts and adulteries as immoral, and objected to their central role in literature. Plato's criticism was the first serious challenge to the Homeric mythological tradition. Nevertheless, even Plato did not manage to wean himself and his society from the influence of myth. The old myths were kept alive in local cults; they continued to influence poetry, and to form the main subject of painting and sculpture, and they continue to influence people today."
Returning to the front of the room, Ghanima perched on the edge of her desk. "Now, I'd like you to pair up. On your desks are handouts talking about House Atreus and the tale of the Oresteia. This gruesome sequence of events is only the last installment in a long litany of abhorrent crimes. The story begins with Tantalus, who hubristicly decides to test the gods' omniscience by killing, cooking and serving his own son, Pelops, to them. The gods detect the ghastly plot and resurrect Pelops, who, being of exceptional beauty, acquires the god Poseidon as his lover. Poseidon's favors secure Pelops the royal bride Hippodamia, at the expense of causing the death of her father, King Oinomaos. Pelops and Hippodamia beget two sons, Atreus and Thyestes, but Pelops favors Chrysippos, a son he already had by a nymph. The brothers, aided by their mother, then kill their half-brother, whose patrimony they covet. Banished for their crime, they usurp the throne of Argos as joint kings, but soon Thyestes seduces Atreus' wife. Atreus then kills Thyestes' sons and serves them to their father as dinner. Thyestes flees in despair, and is advised by Apollo to father a son by his own daughter: only such a son (Aegisthus) could exact vengeance against Atreus' son, Agamemnon. This succession of five generations of horrid intrafamilial crime is the emotional and juridical load that the Trilogy must resolve."
"I'd like you to discuss whether or not Orestes can be held accountable for his actions. This is the first ever recorded case of 'extenuating circumstances', and the Gods play a large role. Under orders, or under a curse? Does it even matter? You decide."
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