An Analysis Of Eric Csapo's Theory Of Mythology

In his research on mythology, Eric Csapo examines its large role in the ancient Mediterranean. He begins with a rejection to begin his argument with a definition of myth. He states that “it [the definition] is rather always the final precipitate of an already elaborate theory” so he starts at the basis of any theoretical interpretation, he asks what we mean by “myth.” Csapo immediately addresses the flaw of selectivity in the vocabulary used to describe a story. Most commonly the words myth, folktale, and legend are confused and misappropriated. One delineation he discusses is that myths, in theory, are based on ritual and as a product of humans, are received as true accounts of the past. He continues with the discrepancy of the word truth that anthropologists struggle with. This said, Csapo ultimately rejects these confining definitions for their cross-cultural differences and ends with the notion that myth is a social ideology that stresses the reception over the content.

Taking a different approach to defining myth, Lowell Edmunds focusses on the practice and purpose of mythos and logos, synonymous terms used in antiquity that translate to story. He

As popular mythical characters such as Ajax, Antigone, and Queen Dido aimed to destigmatize suicide, by the time of the late republic suicide became very popular in the Roman courts. Two of the most famous suicides from the era include the Roman politician and general Marc Antony (r. 83–30 BC) and Cleopatra VII Philopater (r. 69-30 BC). Along with the myths presented above, the suicides of Antony and Cleopatra are exemplary of scapegoats of the struggles of man. As myths functioned as guidelines for life, Antony and Cleopatra’s poetic justification for their deaths out of honor, defiance, and love is a reflection of the suicides that the myths grappled