Janie Bill has posted a great description of the sirens of Greek mythology over at Fantasy-Faction. I didn’t realize they got their human legs back.
Alice Leiper has posted a introduction to the phoenix of Greek mythology over at Mythic Scribes. Hurray!
The rebirth from the ashes has become a fundamental part of the modern perception of the phoenix. It is the reason that cities like Chicago – which suffered from several large destructive fires in the 19th century and most famously in 1906 – and Coventry – which was bombed heavily in World War Two – use the phoenix as an emblem; these cities and many others were literally turned to ash, and the people of them then rebuilt, were reborn into a modern era. The rebirth from ashes has become central to the phoenix myth, while elements which were fundamental to the ancients were left behind – the nest filled the spices, the dedication of the parent’s body on the altar of the sun god. Even the phoenix’s uniqueness is discarded by some, making it a species instead of a singular bird that is eternally alone.
This is one of my favourite things about mythology: the way it changes. In the ancient world, the phoenix was about the sun, about dealing with the body of a parent appropriately, and about cycles that repeat. It came from the sun (or at least, from the east) and returned its parent body to the sun god at his altar, every five hundred years. Pope Clement I brought two elements mentioned in different accounts, frankincense and myrrh, to draw a parallel to Jesus, who had received these spices as gifts upon his birth and who had risen from his grave. The idea of the phoenix being reborn not merely from its parent’s body, but from ashes, was added at a time when the Roman empire was tearing itself apart with civil wars, coups, assassination attempts on successive emperors, and was repeated as the Roman empire continued to decline. This imagery was also used in the modern world by cities which had quite literally burned to the ground as a result of wars and natural disasters.
Apparently a companion piece to Percy Jackson’s Greek Gods will be arriving next summer. According to Rick Riordan,
During the Blood of Olympus tour, we announced Percy Jackson’s Greek Heroes, which will be published on Percy’s birthday, Aug. 18, 2015. This is very much like Greek Gods, except about (you guessed it) the Greek heroes like Hercules, Theseus, Atalanta, Perseus, Orpheus, and all the rest. Filled with Percy’s snark and sass. Illustrated with full-color art by John Rocco. So heavy you won’t be able to lift it. Yes, it will be awesome!
So, there you go.
Alice Leiper has written a nice introduction to the Greek myth of the Minotaur over at Mythic Scribes:
The story of the Minotaur was never forgotten, but it wasn’t just in modern stories that it has been reused. Dante’s Inferno contains mention of the Minotaur, where Dante and Virgil encounter it guarding the entrance to the Seventh Circle of hell, the circle of violence. The Minotaur is here seen as representing all three rings of the circle: violence against others, for he ate people; violence against oneself, whereby in Dante’s version the Minotaur is seen as biting itself; and violence against nature, for what could be more unnatural than the product of a human mating with an animal?
More recently, CS Lewis used the Minotaur not as a single individual but a whole species, aligned with the White Witch and thereby retaining the evilness of their origins, albeit without the myth behind it. And from there, minotaurs became a fantasy race, used as monsters to battle in Dungeons & Dragons and various games stemming from it. In World of Warcraft the Minotaur’s appearance has inspired the Tauren race, but their temperament is quite a contrast to the angry, flesh-eating Minotaur of the Greek myth.
The Minotaur has been reimagined in other ways too. In the slightly bizarre fantasy webcomic Gunnerkrigg Court by Tom Siddell, there is a minotaur called Basil, who lives peacefully in a labyrinth hidden behind a secret door in the library of the Court. Basil gives his version of events in which Theseus is a drunk, party-crashing jerk.
Adrienne Mayor a number of names of Amazons from the classical world in a post at Wonders and Marvels, and points to many more available in an appendix to her new book, The Amazons: Lives and Legends of Warrior Women across the Ancient World.
Properly speaking, dwarves are a feature of Norse mythology. They are a race of subterranean smiths and craftsmen noted for their arcane knowledge and especially their skill in fashioning powerful magical items.
But these aren’t the only wise and secretive earth-spirits in world mythology, although they are probably the most frequently encountered in fantasy fiction. Here is a list of five fantastic races that combine (in various proportions) affinities for (1) the underground world, including associations with mining, metals, and precious stones and (2) secret skills or knowledge—craftsmanship, magic, the healing arts, etc.—which they may or may not share with mortals.
Let’s proceed roughly from the north and west to the south and east. We begin, therefore, with the dwarves of Scandinavia and their cousins in other Germanic cultures. The dwarves of northern England’s Simonside Hills, for example, are of this sort. These dwarves formed the basis for J. R. R. Tolkien’s depiction of dwarves. In fact, the dwarves in The Hobbit all have names drawn from Norse mythology. They are also seen in characters such as Alberich the dwarf in the Middle High German Nibelungenlied. As already stated, these dwarves are renowned metalworkers and blacksmiths. In Norse mythology, they fashioned many of the magical items used by gods and heroes, including Thor’s magic hammer Mjölnir and the chain that bound the great wolf Fenrir. In some later legends, they are also accomplished healers. They can, however, be highly distrusting of outsiders. They also have a reputation for being greedy.
Dvergar are ill-tempered, greedy, miserly, and grudging. They are known to curse objects they are forced to make or that are stolen from them. They almost never willingly teach their magical knowledge. At the same time, they can be surprisingly friendly and loyal to those who treat them kindly. Contrary to popular misconceptions, dvergar are not particularly illustrious warriors—although their strength and overall hardiness suggest they would generally be able to hold their own in a fight.
Like trolls, Norse dwarves are sometimes depicted as turning to stone if exposed to direct sunlight.
Karliki (singular, karlik) are fiendish dwarves from eastern Europe, inhabitants of the lowest recesses of the underground world. In Polish, the appropriate terms are krasnal, karzeł, or karzełek, although they are sometimes called Skarbnik, “the Treasurer.” These beings are very similar to dvergar, living in mines and guarding hoards of metals, gems, and crystals. Apparently they are even more prone to malicious behavior than their Nordic cousins. According to Slavic Christian folk beliefs, these beings are, in fact demonic. One source relates, “When Satan and all his hosts were expelled from heaven, says a popular legenda, some of the exiled spirits fell into the lowest recesses of the underground world, where they remain in the shape of Karliki or dwarfs” (see Ralston, The Songs of the Russian People, 106–107).
Karliki can be helpful toward miners, willing to lead them to rich veins of ore and protect them from danger. To those who offend them, however, they can be deadly, sending tunnels crashing down upon them or pushing them into dark chasms.
The daktyloi or dactyls are the dwarves of Greece and the Aegean. They are renowned smiths and healing magicians. In some legends, they taught metalworking, mathematics, and the alphabet to humans. The sisters of the dactyls are called hekaterides (singular, hekateris).
- Cretan dactyls are especially adept at healing magic, but they are also known for working in copper and iron.
- Idean (or Phrygian) dactyls may be the oldest tribe of dwarves in the Mediterranean region. They are rustic creatures from around Mount Ida in Phrygia and perhaps have their origin in earlier Hittite or Pelasgian earth-spirits. They claim to have invented the art of metalworking and even to have discovered iron.
- Kabeiroi are an offshoot of the Idean tribe that settled at Lemnos, Samothrace, and Thebes. They are divine craftsmen said to be descended from the god Hephaestus. They have an association with the sea and sailors that is quite unusual for dwarfkind. In some accounts, they are raucous wine-drinkers.
- Rhodian dactyls are dangerous underworld smiths and magicians sometimes called telkhines.
Dwarves have an esteemed place in Egyptian mythology. Mundane dwarfs or little people apparently suffered little or no prejudice in ancient Egypt. Some gods, most notably Bes, were depicted as dwarfs. These gods were originally protectors of households.
In addition to Bes, there were the khnumu (singular, khnum), subterranean earth-spirits who were helpers of the god Ptah, the creator of the world. Their name means “the modellers.” They are represented with muscular bodies, bent legs, long arms, large broad heads, and intelligent faces. Some wear long mustaches; others have bushy beards. By some accounts, they have the power to reconstruct the decaying bodies of the dead. Other accounts say they were the ones who first taught humans the magical arts.
In later times, khnumu might be called pataikoi (singular, pataikos), “little Ptahs” in Greek. Phoenicians carved images of pataikoi on the prows of their ships. The Greek historian Herodotus compared them to the seafaring kabeiroi.
A similar figure occurs on early Babylonian seal cylinders, where it is given the Sumerian name “the god Nugidda” or “the dwarf.” This figure is sometimes depicted dancing before the goddess Ishtar. It is a matter of speculation whether this Mesopotamian dwarf-figure was the inspiration for the Egyptians and Phoenicians or whether it was the other way around.
Yakshas hail from India. They are found in Hindu, Jain, and Buddhist literature. They are a broad class of nature-spirits and caretakers of treasures hidden in the earth and in tree-roots. Their king is Kubera, the god of wealth and protector of the world. He is often depicted as a fat man holding a money-bag and adorned with jewels.
Yakshas function as stewards of the earth and of the wealth buried beneath it. Depending on the story, yakshas may be either benign nature-spirits associated with woods and mountains or foreboding monsters that ambush travelers.
Male yakshas are portrayed either as warriors or as stout, dwarf-like beings. Female yakshas, called yakshis or yakshinis, are often depicted as young, beautiful, and voluptuous.
Like the Egyptian dwarf-god Bes, yakshas are often protector figures. In Thai Buddhism, yakshas often feature in architecture as guardians of temples. These fearsome yakshas are depicted as green-skinned with bulging eyes and fangs. In Thai folklore, yakshas often figure alongside ogres and giants.
In Jainism, yakshas are often propitiated to bring fertility, health, and prosperity.
Satyrs are associated with forests and mountains in both Greek and Roman mythology. Hesiod (7th cent. BC) considered them the “brothers” of the mountain nymphs and Kouretes. Whatever their genealogy, they are uninhibited children of nature: earthy, reckless, seductive—and dangerous if threatened. They are the quintessential “bad boys” of the faery world, brazenly flouting the norms of civilized society. In keeping with their untamed nature, their traditional garment is a panther pelt.
Despite their wildness, satyrs do have an appreciation for at least some of the gifts of human culture. They love music and dance, for example. In fact, they have a special form of grotesque, vulgar dance called the sikinnis. They are also associated both with Pan, the Greek god of the wild, and Dionysus, the god of wine. They are notably hardy and resistant to fatigue, able to dance for hours on end, for example, or remain (relatively) sober no matter how much alcohol they consume. They are lovers of wine, women, and revels. They have a particular infatuation with nymphs.
There are two common depictions of satyrs in Greco-Roman art. Young satyrs are called satyrisci (singular, satyriscus). They are graceful beings with elfin features and pointed ears. Praxilites’s sculpture “Resting Satyr” depicts a satyriscus.
The earlier depiction of satyrs made them older, more animalistic, but also more powerful. These satyrs are classified as sileni (singular, silenus). Sileni are bearded and strongly built. They have the ears of a horse, a horse-like tail, and sometimes even the hooves (or the entire lower body) of a horse. Sileni are the oldest, wisest, and most magically adept of satyrs.
It should be noted, then, that satyrs are not to be confused with fauns or “goat-men.” As time progressed, Greek satyrs became blended with Roman fauns in the telling of the myths. The two, however, were originally different sorts of beings. Satyrs are, in fact, fully humanoid (at least in their youth). Medieval bestiaries often compared satyrs not to goats but to apes or monkeys.