In ancient myth – and novels by authors from Neil Gaiman to Toni Morrison – these ambiguous figures are sometimes repressive, sometimes inspiring
The Mabinogion, translated by Sioned Davies
In You Goddess! we use “supernatural female” as a definition of goddess and this allows us to include the story of Blodeuwedd, who was created out of flowers by a wizard as a wife for his friend, but who kicks over the traces and finds her own partner. Bloeuwedd appears in this medieval collection of Welsh stories. The first English translation was published in the 19th century by the linguist, go-getter and driver of the Welsh renaissance, Lady Charlotte Guest. This 2007 translation by Sioned Davies is a fantastic contemporary version. In the past Blodeuwedd has been taken as a cautionary tale about adultery, but to modern readers she appears as a floral rebel breaking free from male control. Sadly things don’t end well for her and her metamorphosis from vegetable to human ends with her wizard enemy turning her into an owl. She lives on as the inspiration for Alan Garner’s The Owl Service. ❧
This has been on my list for a bit. I’m also reminded that I ought to get back to The Celtic Myths: A Guide to the Ancient Gods and Legends by Miranda Aldhouse-Green
Annotated on September 09, 2020 at 10:09PM
Circe by Madeline Miller
This magnificent story of the famous witch goddess from Homer’s Odyssey was shortlisted for the 2019 Women’s prize for fiction. It is both hugely enjoyable, showing the very male classical epic from a female point of view, and profoundly affecting in its depictions of the trials of immortality. This book is the closest you can get to experiencing what it might really be like to be a goddess, with all its benefits and sacrifices. ❧
This book keeps popping up with positive reviews of an intriguing sort. I’ll add it to my list of books to read.
If books about mermaids aren’t really your thing and you’re looking for something a bit earthier, you might be interested in selkie lore. For the uninitiated, selkies come from Scottish folklore, stemming particularly from the Northern Isles of Orkney and Shetland. Selkies, a kind of mythical creature that shapeshifts from a seal to a human form. In many examples of selkie legends, part of the lore typically involves a woman selkie who loses her pelt to a man of the land. When this happens, she is tied to him so long as she is unable to find her pelt, and therefore unable to return to her seal form and her ocean habitat. These six YA books about selkies drop readers into stormy seaside towns, sparkling ocean depths, and treacherous rocky crags.
Apparently this is a “thing”? I’m going to download a sample of one and give it a try.
The Brothers Grimm (die Brüder Grimm or die Gebrüder Grimm, German: [diː ɡəˈbʁyːdɐ ɡʁɪm] (About this soundlisten)), Jacob Ludwig Karl Grimm (1785–1863) and Wilhelm Carl Grimm (1786–1859), were German academics, philologists, cultural researchers, lexicographers and authors who together collected and published folklore during the 19th century. They were among the first and best-known collectors of German and European folk tales, and popularized traditional oral tale types such as "Cinderella" ("Aschenputtel"), "The Frog Prince" ("Der Froschkönig"), "The Goose-Girl" ("Die Gänsemagd"), "Hansel and Gretel" ("Hänsel und Gretel"), "Rapunzel", "Beauty and the Beast", "Little Red Riding Hood", "The Wolf and the Seven Young Goats", "The Three Little Pigs", "Rumpelstiltskin" ("Rumpelstilzchen"), "Sleeping Beauty" ("Dornröschen"), and "Snow White" ("Schneewittchen"). Their classic collection, Children's and Household Tales (Kinder- und Hausmärchen), was published in two volumes—the first in 1812 and the second in 1815.
In Greek mythology, Lethe/ˈliːθiː/ (Greek: Λήθη, Lḗthē; Ancient Greek: [lɛ́:tʰɛː], Modern Greek: [ˈliθi]) was one of the five rivers of the underworld of Hades. Also known as the Ameles potamos (river of unmindfulness), the Lethe flowed around the cave of Hypnos and through the Underworld where all those who drank from it experienced complete forgetfulness. Lethe was also the name of the Greek spirit of forgetfulness and oblivion, with whom the river was often identified.
In Classical Greek, the word lethe (λήθη) literally means "oblivion", "forgetfulness", or "concealment".[1] It is related to the Greek word for "truth", aletheia (ἀλήθεια), which through the privative alpha literally means "un-forgetfulness" or "un-concealment".
The fascinating untold story of how the ancients imagined robots and other forms of artificial life—and even invented real automated machines
The first robot to walk the earth was a bronze giant called Talos. This wondrous machine was created not by MIT Robotics Lab, but by Hephaestus, the Greek god of invention. More than 2,500 years ago, long before medieval automata, and centuries before technology made self-moving devices possible, Greek mythology was exploring ideas about creating artificial life—and grappling with still-unresolved ethical concerns about biotechne, “life through craft.” In this compelling, richly illustrated book, Adrienne Mayor tells the fascinating story of how ancient Greek, Roman, Indian, and Chinese myths envisioned artificial life, automata, self-moving devices, and human enhancements—and how these visions relate to and reflect the ancient invention of real animated machines.
As early as Homer, Greeks were imagining robotic servants, animated statues, and even ancient versions of Artificial Intelligence, while in Indian legend, Buddha’s precious relics were defended by robot warriors copied from Greco-Roman designs for real automata. Mythic automata appear in tales about Jason and the Argonauts, Medea, Daedalus, Prometheus, and Pandora, and many of these machines are described as being built with the same materials and methods that human artisans used to make tools and statues. And, indeed, many sophisticated animated devices were actually built in antiquity, reaching a climax with the creation of a host of automata in the ancient city of learning, Alexandria, the original Silicon Valley.
A groundbreaking account of the earliest expressions of the timeless impulse to create artificial life, Gods and Robots reveals how some of today’s most advanced innovations in robotics and AI were foreshadowed in ancient myth—and how science has always been driven by imagination. This is mythology for the age of AI.
The modern world is full of technology, and also with anxiety about technology. We worry about robot uprisings and artificial intelligence taking over, and we contemplate what it would mean for a computer to be conscious or truly human. It should probably come as no surprise that these ideas aren’t new to modern society — they go way back, at least to the stories and mythologies of ancient Greece. Today’s guest, Adrienne Mayor, is a folklorist and historian of science, whose recent work has been on robots and artificial humans in ancient mythology. From the bronze warrior Talos to the evil fembot Pandora, mythology is rife with stories of artificial beings. It’s both fun and useful to think about our contemporary concerns in light of these ancient tales.
Adrienne Mayor is a Research Scholar Classics and History and Philosophy of Science at Stanford University. She is also a Berggruen Fellow at Stanford’s Center for Advanced Study in the Behavioral Sciences. Her work has encompasses fossil traditions in classical antiquity and Native America, the origins of biological weapons, and the historical precursors of the stories of Amazon warriors. In 2009 she was a finalist for the National Book Award.
I’d never considered it before, but I’m curious if the idea of the bolt on Talos’ leg bears any influence on the bolts frequently seen on Frankenstein’s monster? Naturally they would seem to be there as a means of charging or animating him, but did they have an powers beyond that? Or was he, once jump-started, to run indefinitely? Bryan Alexander recently called out his diet (of apples and nuts), so presumably once he was brought to life, he was able to live the same way as a human.
Stephen Fry loves words. But he does more than love them. He puts them together in ways that so delight readers, that a blog or a tweet by him can get hundreds of thousands of people hanging on his every keystroke. As an actor, he’s brought to life every kind of theatrical writing from sketch comedy to classics. He’s performed in everything from game shows to the British audiobook version of Harry Potter. And always with a rich intelligence and searching eye. In this conversation with Alan Alda, Stephen explores how myths — sometimes very ancient ones — help us understand and, even guide, our modern selves.
Just a lovely episode here. I particularly like the idea about looking back to Greek mythology and the issues between the gods and humans being overlain in parallel on our present and future issues between humans and computers/robots/artificial intelligence.
There was an unexpected note on page 66 that indicated that J.R.R. Tolkien may have been fascinated by a cursed ring described on a lead tablet in Lydney and a very similar (the same?) gold ring found at the Roman city of Silchester in Hampshire. The text posits that perhaps the Hobbit and the Lord of the Rings were potentially inspired by these archaeological finds from Irish myth.
“It is said that during their training, the Druids learn by heart a great many verses, so many that some people spend 20 years studying the doctrine. The do not think it right to commit their teachings to writing. I suppose this practice began originally for two reasons: they did not want their doctrines to be accessible to the ordinary people, and they did not want their pupils to rely on the written word and so neglect to train their memories.”
–Julius Caesar, De Bello Gallico 6.14
Highlight (yellow) – 2. Myth Spinners > Page 38
An interesting statement about memory and cultural traditions. Added on Monday, January 1, 2018 night
There is something about committing mythic–or any other–stories to physical form that changes them, because such an act codifies them, freezes-frames them and renders them less organic.
Highlight (yellow) – 2. Myth Spinners > Page 38
Added on Monday, January 1, 2018 night
… the San of southern Africa and the Aboriginal peoples of Australia to name just two, chose and still choose to commit their myths to rock-art. Change still occurs, for it is possible to paint over previous art and to add picture-panels.
Highlight (yellow) – 2. Myth Spinners > Page 39
Added on Monday, January 1, 2018 night
Shape-shifters are common protagonists in Celtic myths.
Highlight (yellow) – 2. Myth Spinners > Page 39
Added on Monday, January 1, 2018 night
Another striking custom in the Welsh stories in the way that tenses change, in order to enhance dramatic effect.
Highlight (yellow) – 2. Myth Spinners > Page 39
Added on Monday, January 1, 2018 night
For it usually does happen that if people have the help of written documents, they do not pay as much attention to learning by heart, and so let their memories become less efficient.
Highlight (yellow) – 2. Myth Spinners > The Druids and Oral Tradition > Page 40
Another snippet on memory Added on Monday, January 1, 2018 night
Late Iron Age bronze figurine of a man holding an egg-like object, perhaps a Druid’s egg, an opject used in prophecy, from Neuvy-en-Suillias, in France.
Highlight (yellow) – 2. Myth Spinners > Page 41
Or an early rugby ball? Added on Monday, January 1, 2018 night
Indeed, it was not until the 17th century, under the relentless onslaught of the English government against the old Irish order and the filidh [teachers, kingly advisers, poets, satirists, and keepers of tradition] disappeared.
Highlight (yellow) – 2. Myth Spinners > The Triplefold Bardic Model > Page 44
Added on Monday, January 1, 2018 night
The Welsh and Irish stories are very different from each other both in content and in timbre. […] It is highly likely that storytellers travelled freely between the courts of Ireland and Wales, and the sharing of storylines between the two countries is not hard to explain.
Highlight (yellow) – 2. Myth Spinners > Page 57
Added on Monday, January 1, 2018 night
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I picked this up the other day while browsing at the library. It’s turned out not to have some of the actual mythological tales I was expecting, but, even better, it has some preparatory history and archaeology which I suspect will make my later reading of them more fruitful and interesting.
Highlights, Quotes, & Marginalia
Prelude & Chapter 1
Myths flourish in societies where such issues are not answerable by means of rational explanation. They are symbolic stories, designed to explore these issues in a comprehensible manner.
Highlight (yellow) – 1. Word of Mouth: Making Myths > Page 15
This makes me think of complex issues of modern science like people (wrongly) believing that vaccines cause autism or in our current political situation where many blindly believe the truth of the existence of “fake news” when spewed by politicians who seem to be modern-day story-tellers. Added on Monday, December 25, 2017 night
Medieval Welsh storytelling was close kin to poetry, and often the poet and the cyfarwydd were one and the same. Of course, modern audiences can only access the tales through their written forms but, even so, their beginnings as orally transmitted tales are sometimes betrayed by various tricks of the trade. Each episode is short and self-contained, as though to help listeners (and the storytellers themselves) remember them. Words and phrases are often repeated, again to aid memory. A third device also points in this direction, and that is the ‘onomastic tag’, the memory-hook provided by explanations of personal and place names.
Highlight (yellow) – 1. Word of Mouth: Making Myths > Page 22-23
This is interestingly relevant to some of my memory research and this passage points out a particular memory trick used by storytellers in the oral tradition. Added on Monday, December 25, 2017 night
The Classical mythic centaur, which melds the forms of man and horse, has its Celtic counterpart in the Welsh horse-woman, Rhiannon.
Highlight (yellow) – 1. Word of Mouth: Making Myths > Page 22-23
Origin of the name Rhiannon Added on Monday, December 25, 2017 night
The weapons used were words and they could literally sandblast a man’s face, raising boils and rashes. The power of words to wound was a recurrent bardic theme in medieval Ireland; […]
Highlight (yellow) – 1. Word of Mouth: Making Myths > Page 34
I can’t help but think of the sharp tongued William Shakespeare or old barbs I’ve read from this period before. Obviously it was culturally widespread and Shakespeare is just a well-known, albeit late, practitioner of the art. Added on Monday, December 25, 2017 night
So gessa [singular geis] acted as a device to keep listeners interested, and one can imagine how, perhaps, a storyteller would break off his tale at a crucial moment, leaving his audience to wonder how it would end, avid for the next episode in the ‘soap opera’.
Highlight (yellow) – 1. Word of Mouth: Making Myths > Page 36
This passage makes me think of the too-oft used device by Dan Brown’s Origins which I read recently. Added on Monday, December 25, 2017 night
… red was the color of the Otherworld.
Highlight (yellow) – 1. Word of Mouth: Making Myths > Page 36
This is a recurring thing in myths. The red flames of Hell spring to mind. Added on Monday, December 25, 2017 night
[…] this took place at the end-of-the-year festival of Samhain, the pagan Irish equivalent of Hallowe’en, at the end of October. Samhain was an especially dangerous time because it took place at the interface between the end of one year and the beginning of the next, a time of ‘not being’ when the world turned upside-down and the spirits roamed the earth among living humans.
Highlight (yellow) – 1. Word of Mouth: Making Myths > Page 36
Cultural basis of Hallowe’en? This also contains an interesting storytelling style of multiple cultural layers being built up within the story to bring things to a head. Added on Monday, December 25, 2017 night
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Adrienne Mayor
Coffin Boffin
Late Iron Age bronze figurine of a man holding an egg-like object, perhaps a Druid’s egg, an opject used in prophecy, from Neuvy-en-Suillias, in France.