I'm gonna be happy. One day a flower will open for me, The way will always be open to me. It's always a fun day I will be happy, believe me. Spring will surely come for me, Trees bloom early in the morning. You can also have lunch at a glance at the flowers I will be happy, believe me. A rose will soon grow for me Honey is really the happiest Summer is a big work for me I will be happy, believe me. Ilhomova Mohichehra 7th grade student of Zarafshan city, Navoi region, school No. 9.
Echoes of Eternity: A Comparative Study of Greek and Roman Mythology
Parichita Saha
B.A.(H), B.Ed student, Kolkata Teacher’s Training College, Panpur,
Kankinara-743126
Keywords: Greek Mythology, Roman Mythology, Gods and Goddesses, Epic Narratives, Cultural Exchange, Influence on Western Culture.
Abstract:
Greek and Roman mythologies serve as cornerstones of Western thought, art, and culture. Greek myths are chronicled in works like Homer’s Iliad and Odyssey, contrast with Roman myths centred around Romulus and Remus and immortalised in Virgil’s Aeneid. Both mythologies feature gods and goddesses embodying human attributes, with Greek deities often personifying traits and Roman gods representing societal roles. Epic poems like the Iliad and the Aeneid reflect the intricate cultural exchange between these civilizations. This interchange extends to language, art, and philosophy, highlighting the profound interconnectedness and enduring legacy of Greek and Roman cultures on Western civilization.
Introduction:
Myths are not mere stories; they are the bedrock of civilizations, offering insight into human condition and the cosmos. Both Greek and Roman mythologies have profoundly influenced Western thought, art and culture. Greek mythology, rooted in a rich oral tradition, was eventually chronicled in texts like Homer’s Iliad and Odyssey and Hesiod’s Theogony. Conversely, Roman mythology centres around the birth of Romulus and Remus, the mythical founders of Rome and is immortalised in Virgil’s epic, The Aeneid. Thus, Greek and Roman mythology stand as two pillars of ancient storytelling, shaping beliefs, values and cultural identities of their respective civilization. Despite originating from distinct societies, separated by time and geography, the parallels between these mythologies are striking. From their gods and goddesses to epic narrative of heroism and tragedy, Greek and Roman mythology share a profound interconnectedness that reflects the intricate relation between these ancient civilizations.
Pantheon of God and Goddesses:
As the central figures of mythology, the ancient Greek and Roman gods and goddesses embodied an array of human attributes, from fortitude to folly. They were worshipped in temples and exalted in myths recounted by people living ordinary lives. When Rome conquered Greece in the 2nd century B.C.E, many Greek deities were absorbed into the Roman pantheon, often under new names but retaining similar roles and characteristics.
For instance, Jupiter, the Roman sky-god overseeing all aspects of life, originated from the Greek god Zeus, ruler of Mount Olympus and god of thunder and lightning, as well as law and order. Juno, Jupiter’s wife and sister mirrored the Greek goddess and Hera by closely overseeing women and all aspects of their lives. Athena, the Greek goddess of wisdom and warfare, known of her strategic prowess and symbolised by the owl, was transformed into Minerva, who retained these attributes. Poseidon, the Greek god of the sea, horses and earthquakes, wielding a trident, became Neptune in Roman mythology, depicted similarly with a trident chariot drawn by sea creatures. Demeter, the Greek goddess of agriculture and fertility, who presided over the harvest, was represented in Roman mythology by Ceres, also depicted with symbols of agriculture like barley and wheat. Demeter also presided over the fertility of the earth and the natural cycle of life and death.
Greek gods were often personifications of human personality traits and emotion, such as love, hate, honour and dignity. Their myths were shaped by these traits, making them relatable to human experiences. In contrast, Roman gods were more abstract, often embodying objects or actions that were represented in a way that emphasised their roles within Roman society and state religion.
This direct comparison highlights the deep interconnectedness yet distinct adaptations between Greek and Roman deities, showcasing how Rome Incorporated and reinterpreted Greek mythology to suit their cultural societal contexts.
Epic Narrative:
The stories of these gods and goddesses, along with mortal heroes, came to life in the form of epic poems. Epic, derived from the Greek word ‘Epos’, meaning word or speech. An epic is a long poem, usually composed of lines with six rhythmic measures. Epic poems of Greece throughout antiquity, the most prestigious literary form, the apex of the hierarchy of genres. Through it they articulated their conceptions of war, empire, mortality, religion, gender, the natural order, psychology and cultural identity. Homer, the legendary author of both the Iliad and the Odyssey, is often credited with pioneering this literary form. When Rome began translating Greek works in the 200s B.C., they adopted the epic tradition, infusing it with their own historical narratives. The Greek epics, such the Iliad and the Odyssey by Homer and Argonautica by Apollonius of Rhodes, were mythological epics, inspired by Greece’s legendary past. While Roman epics were modelled on these Greek epics, Roman epics also included stories from recent history. Ancient Roman and Greek literature, while sharing some similarities due to the Roman culture being heavily influenced by Greek culture, also have distinct differences. Greek literature often focused on mythology, philosophy, and the human experience. Roman literature, on the other hand, often emphasised practicality, politics, and historical narratives. Greek literature is known for its development of literary forms such as epic poetry, tragedy, comedy, and lyric poetry but Roman literature, while also including epic poetry (e.g., Virgil’s Aeneid) and drama, is particularly noted for its development of the genre of satire. Thus, epic poetry became a bridge connecting Greek philosophical musing and Roman practically, illustrating the cultural dialogue between these great civilizations.
Cultural Exchange and Adaptation:
This cultural dialogue extended beyond literature and into every facet of life as the Romans absorbed and adapted Greek culture. The Greek civilization, flourishing much earlier than the Roman, laid the groundwork for many of the art, philosophy and architectural advancements that the Romans later embraced. In the Mycenaean era (1500 to 1100 B.C.) the Macedonian Wars (roughly 214 to 168 BCE) resulted in the Roman Empire conquering and absorbing Greece. Greek culture, however, superseded Roman culture. Romans were enthralled by Greek culture and highly influenced by it, especially in areas of art and philosophy. Although Greek culture heavily influenced Roman culture, especially in art. These two civilizations, though distinct in their political structures and societal norms, were deeply intertwined through cultural exchanges that occurred over centuries. This cultural exchange helped the Romans advance in their community to become one of the greatest empires of that time. One of the most significant areas of cultural exchange was language . The Romans adopted the Greek alphabet and many Greek words into their language, resulting in a significant linguistic influence. We know the Romans for their beautiful art, their outstanding architecture. Roman fascination with Greek culture is clearly evident in many Roman works of art, which appropriate heavily from Greek artistic canon. Many surviving statues of Greek origin in museums today are actually Roman copies of the Greek original. Greek statues were typically made of bronze, which, in later centuries, were typically made of bronze, which, in later centuries, were often melted down to make weapons or destroyed by other cultures who saw them as pagan. Marble Roman statues, on the other hand, have mostly survived. Some Roman statues are unique in design, but many others are exact or partial copies of Greek statues. The influence of Greek art also can be seen in Roman temples, theatres, and public buildings, with iconic features such as the use of columns, pediments. As well as art, Greek ideas of philosophy spread to Rome, where they grew and developed as they became popular with the people. For example, stoicism originated in Greece, but became immensely popular and was further developed in Rome. Stoicism is an originally Greek philosophical system founded by Zeno of Citium around 300 BCE in Cyprus; it was introduced to Rome in the second century BCE where it quickly became a popular philosophy among a wide variety of people.
Greek philosophy had a profound impact on Roman intellectual thought. Roman elites were educated in Greek philosophy with Stoicism, Epicureanism, and Neoplatonism gaining popularity among the Roman intelligentsia. Greek philosophers such as Plato and Aristotle were studied and revered in Roman intellectual circles, influencing Roman ethical, metaphysical, and political thought. The enduring legacy of Greek culture in Roman civilization speaks to the richness and complexity of the ancient Mediterranean world, where cultural interchange played a pivotal role in shaping the course of history. Since literature is known to reflect the overview of the socio-economic structure of an era, chronological relevance is evident even in two mostly similar mythological literary patterns. Greek mythology observed more intricate philosophical thinking in character building, whereas Roman mythology celebrated materialistic practicality and historical narratives.
Conclusion:
In conclusion, Greek and Roman mythologies have numerous similarities that show their intertwined cultural and religious histories. Both myths feature a pantheon of gods who rule over various aspects of nature and people’s lives, sometimes with human weaknesses and emotions. The Romans inherited several gods of the Greeks, but were given different names and occasionally modified features as a sign of respect for Greek culture and a desire to take in their strengths. Myths from both traditions serve as foundational stories that explain natural phenomena, human behaviour, and social customs, highlighting the values and beliefs of their respective societies. Furthermore, these mythologies have had an indelible impact on Western literature, art, philosophy which has left an indelible mark in hearts ever since. Studying what they share among them contributes much not only to the better understanding of ancient civilizations but also helps us see how humans seek to interpret the world through narrative discourse. The legacy of shared heritage of Greek and Roman culture endures, a testament to the power of myth to shape and inspire, resonating in our hearts and minds ever since.
References:
Critically examine the postmodern reading of Leda and the Swan by William Butler Yeats.
(Black and white pencil drawing of a naked human entwined with a winged bird and her egg)
Leda’s virgin femininity is at stake by the perilous encroachment of anthropomorphic Zeus. The masculinized possession upon the staggering girl by caressing her frail thighs symbolizes helplessness. This helplessness manifests emblematic relinquishment of virginity to the amorous conquest of Zeus. Love and war are supposedly antithetical paradoxes and fruits in reproduction of offsprings and therefore vindictive of the polarization between supernatural immortality and mortal beings or bonded and free..
Seduction and rape of Leda the Queen of Sparta, by the God of Heavens and King of the Olympics, in disguise of Swan in Greek, mythologizes the fantastical narration of Helen of Troy and the cloned brothers Castor and Pollux. Orgasm and ejaculation implicates shudder in the loins with impregnation of Leda by Swan while engendering the broken wall, burning roof and tower alike architectural landmarks and milestones. Later this climatic Homeric allusion pontificates toward Agamemnon’s bereavement. Historical cycle of Helen’s and Clytemnestra’s seeds are planted and fertilized by Leda. Rhetorical questions become justifiable with the explanatory statements: “The feathered glory from her loosening thighs?/ But feel the strange heart beating where it lies?” Herein, succumbent of Leda’s virginity to the supremacy of the mightier and loftiest God has been decreed as consummation of sexual gratification. Allegorically colonial hegemonic culture of England reigning with superpower supremacy over colonized Ireland has been satirically implicated.
William Butler Yeats examines the consequences of the rape intimating the eventual defeat of Troy and triumph of Greece and the restoration of Western history. These mythic puns and sublime images are a testament to the legacy of Celtic Anglo Irish poetic cult amidst the traumatic outbreak of World War I, inviting readers toward imaginary resistance to oppression. “He holds her helpless breasts upon his breasts” furthermore implicates the political turmoil of historical Irish landscapes as implied metaphorically in Leda’s succumbing to the temptation of Zeus’s busty demeanor. The invasion of Ireland by Britain is allegorically manifested by this dialectic. Yeats revisits mythological fiction through fragmentation of Leda and this case spotlights metaphorical fragmentation of a country, nation, tribe and culture.
The act of Leda and the Swan is a bright marbled sculpture of apopsiopesis that is constantly resurrected from the microcosmic everyday acts, released from the ravages of delusory time. “Did she put on his knowledge with his power /Before the indifferent beak could let her drop?” These lines succinctly projects the rebellious spirit of the nationalistic freedom movement and the aftereffects of post revolution in accord with the domain of England’s imperial regime. Ireland’s defeminization and emasculation afterthoughts foreshadowed by the rhetorical questions indeed.
Further Reading
Textual/Sexual Politics in Yeats’s “Leda and the Swan”, William Johnsen, Yeats and Postmodernism, Leonard Orr, Sycrause University Press. 
Love left in the depths of the void The night is plunged into darkness. The quiet city was disturbed by the rushing sound of a car moving with flashing lights in the distance. The door was opened and a young man was brought in who was seriously injured in a car accident. Doctors immediately ordered someone to find a donor to give him a kidney and blood. They called the number that was made after the bloodied phone of the young man and informed them that they would come to the hospital immediately. In no time, a beautiful girl with bowed eyebrows, bright eyes, and plump lips came rushing in. Doctors: - Who will you be to the patient? - His future wife. What happened? - His condition is serious. A kidney and blood donor is needed. Time is very little. The girl’s color was pale, blood was running out of her face. She leaned against the wall, deep in thought, and left a letter in the patient’s room around dawn. After some time, a donor was found and the young man was operated on. By God’s grace, everything went well. The next day, when the young man opened his eyes, «didn’t anyone come?» he asked. One of the doctors said «she left you a letter». The young man opened the letter and read: «I was very sad to hear. But this accident separated us from each other. It’s a pity. Now our paths are different. Take care,» it was written. The young man was deep in thought, thinking that maybe she didn’t want to stay with me in this state. Days passed. The young man’s condition improved, and when he left the hospital, he said «thank you» to the doctors. When the doctor was coming back following the young man, the faces inside the door were pale, the eyes were filled with sadness, the girl’s delicate hands were showing the doctor a sign of silence on her dry lips. While doctor was watching with tears to girl, doctor felt deep in her heart that the calm sea was flooding today and becoming colorless….. Nosirova Gavhar was born on August 16, 2000 in the city of Shahrisabz, Kashkadarya region of Uzbekistan. Today, she is a third-year student of the Faculty of Philology of the Samarkand State University of Uzbekistan. Being a lover of literature, she is engaged in writing stories and poems. Her creative works have been published in Uzbek and English. In addition, she is a member of «All India Council for Development of Technical Skills», «Juntosporlasletras» of Argentina, «2DSA Global Community». Winner of the «Korablznaniy» and «TalentyRossii» contests, holder of the international C1 level in the Russian language, Global Education ambassador of Wisdom University and global coordinator of the Iqra Foundation in Uzbekistan. «Magic pen holders» talented young group of Uzbekistan, «KayvaKishor», «Friendship of people», «Raven Cage», «The Daily Global Nation», Argentina;s «Multi Art-6», Kenya’s «Serenity: A compilation of art and literature by women» contains creative works in the magazine and anthology of poets and writers.
It's raining. When it rains, I have a lot of questions. Changed inside, Gentle winds. The rain doesn't stop, There is no sleep. Excitement in my mind, It hurts like hell. I wish he would stop now Rustling voices. Lek did not stop crying, Cry like a baby. These noises will stop, Chehra Khan puts flowers. Smallpox, tulip, rubella, Like flowers want.
Here in my home
In my home,
a man’s worth isn’t measured by his strength,
but by his wealth.
A poor man is invisible, his tools useless.
He’s only noticed when he’s singing a sorrowful song,
a dirge that echoes our collective pain.
To be heard,
your voice must be strong enough to shake the earth,
like a call to awaken the future.
For even the smallest creature knows that tomorrow’s survival depends on today’s struggles.
We’re all born from a fractured past,
a broken bond that shapes our present.
I hid my love deep within her heart
like a seed planted in fertile soil.
I confessed that in love, I’m just a child taking my first steps,
stumbling but eager to learn. I admitted that I don’t understand the bond between us,
I asked her to nurture my heart like a garden that blooms flowers,
I remember then when my mother mouthed me
that: loving a girl is different from liking her.
Loving a girl is like cherishing a flower, gently caring for its petals,
And liking her is like picking it – one is forever, the other, fleeting.
So, I ask you, which part of her heart should I nurture
with the metaphors of flowers.
That will zoom her out, of the shadow
POSTCARDS FROM THE ROAD : Venezuela
SEARCHING FOR CARACAS
Between mountains & sea, through jungles, along lagoons, over silted rivers. Sometimes that Caribbean just below my sight, just beyond the vine-draped trees.
*
Long ago the sea disappeared. & now we enter these mountains heavy-green. Along banks of streams, in the folds of land, hand-built homes. Their families sell coconut milk & candies at roadside stands.
* *
I am searching for this city. The shantytowns, the industry, the suburbia that always mark the entry of metropolis.
But all I see is this highway through green.
* * *
Finally nearing the center. Traffic jams the highway of this late afternoon. Yes, the stores, the malls, the houses – but still that verdant range.
* * * *
When will we arrive? We continue going on & on. The canopy of high-rise apartments, skyscrapers & billboards grimed by time towers above the canopy of trees.
ON THE ROAD AGAIN
Soon we leave the high rises of Caracas
& enter the forested high rise of
the mountains. Misting clouds
dampen the morning highway. The
bus stereo playa salsas. A passenger
in back sings along off-key.
We wind towards the Maracay lowlands,
over banana-lined streams, past sugar
cane, through small towns. A white dog
chases another across a field along this
road.
By the time we reach the lower lands, the
slate-grey clouds shatter the cobalt-blue
sky & bright sun. Valencia Lake ripples
white-capped, dully, deep-blue-deep-
green in a bowl-valley of the sierra.
From Valencia to Barquisimeto, larger cities
of this country. Will it be endless urban
scenery now? Or shall I continue to be
dazzled by those emerald mountains,
that sapphire sky draped with bauxite
clouds, these rushing topaz rivers?
Through small towns, past cattle ranches, past
chicken farms – & yes, the verdant
mountains …
SANARE TRIO
At the tip of these Andes, the slopes surrounding Sanare neatly parcel into farms & cafetales. Distant mountains, dryer & rougher, fading to ghostly silhouettes in the warming day.
*
By noon the clouds are descending. The mountains fall into deep shadows. The aroma of roasting coffee wafts on the fresh breeze.
* *
This evening bathed with mist, the sun paints these sierra lands indigo-rose.
My biography
Lorraine Caputo is a wandering troubadour whose writings appear in over 500 journals on six continents, and 24 collections – including In the Jaguar Valley (dancing girl press, 2023) and Santa Marta Ayres (Origami Poems Project, 2024). She also authors travel narratives, articles and guidebooks. Her writing has been honored by the Parliamentary Poet Laureate of Canada (2011) and nominated for the Best of the Net and the Pushcart Prize. Caputo has done literary readings from Alaska to the Patagonia. She journeys through Latin America with her faithful knapsack Rocinante, listening to the voices of the pueblos and Earth. Follow her adventures at www.facebook.com/lorrainecaputo.wanderer or http://latinamericawanderer.wordpress.com.