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Greek mythology monster
Poseidon‘s influence in greek mythology
Poseidon‘s influence in greek mythology
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The Son of Monsters
Once upon a time, not long after the attempted takeover of Olympus by the gods from Zeus and Apollo’s and Poseidon's temporary banishment, Apollo was still very salty. He decided to torture Zeus by shooting him with an arrow of love to make him love the monstress Echidna. Apollo figured that by inflicting Hera’s wrath Zeus would still get his just desserts. Zeus was entranced by Echidna and threatened, accosted, and raped her until she consented to be his wife. The child they had was not a monster, as Apollo and Echidna had hoped. He was instead a handsome young god who named himself Vroskon, and he became god of monsters. Eventually Echidna sent her son to learn from other monsters, the Nosoi, masters of poison, death,
and pestilence. 100 years later, he left his teachers and claimed godhood of pestilence and poisons as well. Now, 200 years after his birth, Vroskon decided to finally make the journey to Olympus. When he arrived, however, he came to a slight problem. The Olympians only ever had 12 chairs, but he would be the 13th. An argument that almost became a war was eventually settled by none other than Vroskon himself! By his suggestion, Mount Olympus grew to 14 thrones: one for Vroskon, and one returned to Hestia, the eldest goddess, who gave up her throne for Dionysus. Vroskon was the cause of another war among the gods. This time, though, the gods were fighting to decide whether or not he should even be on Olympus. The gods like Ares, Poseidon, and Zeus (crazy, those two working together) were still angry about Typhon and Echidna’s attempted takeover and argued that as he was Echidna’s son he inherited her evil qualities. The gods for his presence were Athena, Demeter, Hephaestus, and Apollo. They argued that Vroskon was no less evil than Ares, and that he could easily assist with defending against monsters. The argument, much to Vroskon’s chagrin, raged into a full-scale war. The gods fought each other for almost a whole millennium until they could fight no more. Somehow, Vroskon and his supporters emerged victoriously. Vroskon, after 1,200 years, had finally earned his place in Mount Olympus!
There is no doubt in mythology that the king of gods, Zeus, is the most supreme and powerful, ruling the sky. He controls the thunderbolt, a symbol of power feared by both gods and mortals. The Greeks and Romans honored Zeus above all other gods. He is without mistake, the god of all gods. Their stories of Zeus are plenty; his designs have molded mythology from his birth. Zeus' victory in outwitting his intelligent wife, Metis, by swallowing her pregnant, was the gateway used by the Greeks and Romans to show Zeus as the greatest god to come since his father and grandfather. However, as the stories of the gods and goddesses unfold, the Greeks and Roman's interpretation of Zeus' characteristics are different. Zeus is always upheld as the king of gods, but his other personal attributes to his godly rein are conflicting. Zeus' characteristics of fearfulness of female deities, cunningness and use of trickery, and lust in Ovid's Metamorphoses compared to the Theogony are opposed due to Hesiod's true respect of Zeus versus Ovid's lack of respect of Jupiter in Roman mythology.
Imagine an eight-foot-tall, misshapen human child. You might complain that this is contradictory - but do it anyway. Imagine some sort of humanoid being with the mind of a human child in an eight-foot body, green with a nail in its head if you want. This is what Frankenstein's creature is. Frankenstein's creature is mentally a child, and we see its evolution through traditional child development in the course of its narrative. But the creature is the only member of its species, and therefore its narrative can be taken to represent the history of an entire species - the creature's first experiences can be viewed as an amalgam of creation myths.
The Monster is a short story that was written by Toby Litt in 1968. From beginning to end, from a third person point of view, we learn bits and pieces of information about a ‘monster’ of sorts, living in a world full of questions. This monster does not know, or understand what, or who, he is, and neither does the reader. The audience is often left wondering just as much as the main character is, resulting in a story that keeps readers hooked. The monster is simply called a monster, and never told if it is, or is not so. The Monster is a short story in which Toby Litt uses experimental story structure, a unique voice, and an unusual theme to challenge conventional story telling.
To have a hero there must be a monster to vanquish. Monsters in Greco-Roman mythology are often portrayed as: irrational, nearly impossible to communicate with, often a compound of animal parts or some form of mutation, and are set upon human destruction. “Monsters in the language of mythology were beings of unnatural proportions or parts, usually regarded with terror, as possessing immense strength and ferocity, which they employed for the injury and annoyance of men” (Bullfinch Pg. 143). Mythological monsters are a way for man to explain what he doesn’t understand. They are an attempt to explain ‘why’ to things such as: storms, droughts and other unseasonable weather, unexplained deaths, birth defects, disease, and mental illness. Generally those are associated with fear, and nothing is more fearsome than a monster. Yet, on the other hand, is hope. Man’s need to remain hopeful gives cause to the creation of heroes. Monsters are essential to the existence of heroes. “[…] the mythical monster is present in any number of shapes - Gorgons and Hydras and Chimaeras dire - but they are there only to give the hero his meed of glory” (Hamilton 12). Without a great foe, there’s no need for the greater good. “Myth provides us with absolutes in the place of ephemeral values and with a comforting perception of the world that is necessary to make the insecurity and terror of existence bearable” (Morford 4).
One of the most interesting qualities of Greek mythology is probably the depiction of monsters in the myths. However, these monsters are not all unique. In fact, they all fall into very distinct categories, making them almost the same. Most monsters in Greek mythology look and act in the same ways. Several monsters from these myths look the same in that they have very similar qualities such as being large, snake or human like. However, they are also very alike in that they behave in very similar ways, from guarding something or roaming freely and causing chaos. Generally, the monsters in Greek mythology follow this outline and are depicted in a way to show these qualities.
Examine the Concept of Monsters and the Monstrous in Mary Shelley’s Frankenstein Miss Hutton “Frankenstein” has a variety of monsters and monstrous things/incidents within it, however I am jus going to focus on some main aspects of the monsters and monstrous. Shelley got the idea for “Frankenstein” whilst she was on holiday. AS well as being challenged by Lord Byron to produce a horror novel, she was also influenced death many times; she was abandoned and had a literacy upbringing. Shelley relates her story to fears which were carried by many humans at that time.
After the birth of her sixth and last child, Rhea tricked Cronos into swallowing a rock and then hid the child -- Zeus -- on earth. Zeus grew up on earth and was brought back to Mount Olympus as a cupbearer to his unsuspecting father. Rhea and Zeus connived against Cronos by mixing a noxious drink for him. Thinking it was wine, Cronos drank the mixture and promptly regulated his five other children, fully grown.
Peter Brooks' essay "What Is a Monster" tackles many complex ideas within Mary Shelley's Frankenstein, and the main concept that is the title of the essay itself. What is the definition of a monster, or to be monstrous? Is a monster the classic representation we know, green skin, neck bolts, grunting and groaning? A cartoon wishing to deliver sugary cereal? or someone we dislike so greatly their qualities invade our language and affect our interpretation of their image and physical being? Brooks' essay approaches this question by using Shelley's narrative structure to examine how language, not nature, is mainly accountable for creating the idea of the monstrous body.
Zeus the god of the sky who was married to his sister Hera the goddess of marriage and ultimately jealousy. Another one of Zeus’s roles was that of being the lord of justice for the gods. This goes back to the story of Oedipus Rex with the Priest of Zeus represented the people of the plight of Thebes and him asking for justice to be done for the people. Though he is known by being the Lord of Justice he is also known for being very unfaithful to his wife. This unfaithfulness can reverberate back to the way that Oedipus Rex had a love for his mom almost in the way that it relates to inbreeding. In a way that Zeus had many affairs though his most famous was Leto. Leto was one of his first relationships apparently before Zeus was married to Hera. Leto was the...
In Mary Shelley’s Frankenstein, Victor Frankenstein, the protagonist, produces a monster and instead of teaching his monster the mannerisms and norms of society, he abandons him. Victor expects his monster to make it in the harsh, critical society without being taught correct demeanors because he believes that having correct mannerisms is intuitive. A common viewpoint of the book is that Frankenstein’s monster should receive the blame, because he should have had proper nature, but in reality, society nurtured him to act out. Victor isolated the monster, and other members of society followed in Victor’s example and also treated him as so; which made the creature’s actions monstrous. Frankenstein played God, causing society to view his creature as a monster and as a risk to the public, but Frankenstein did not intend to create the monster as dangerous in nature; society nurtured him to act as a beast.
Mary Shelley's book, Frankenstein, deals with the major dilemma of the creation of man. Rousseau deals with the topic of abandonment in Emile, which stemmed the thoughts of creation for Shelley in 1816 upon reading Rousseau's opinions. Rousseau blames the problems that children inhibit solely upon the parents shoulders (Mellor). Mary Shelley is able to relate to this statement on a personal level due to the parenting (or lack of) within her life. This in turn leads to a broader question concerning Shelley's Frankenstein; is the monster really the sole person to blame for his murderous actions? According to Rousseau's theory, the monster is not the sole problem. Victor Frankenstein is his creator or "father" figure thus giving him the responsibility of his monster.
allowed her to have Ares. Zeus really didn't care for Ares, once during infancy Ares had been
We live in a world where creatures have abilities that can blow our minds, however we are ignorant of this. We live in a world where a constant power struggle is occurring between these secret species, a struggle that most human beings have no inclination of. We live in a world where people who know the truth are sworn to secrecy, and those proclaim this truth are considered crazy and locked away; to be sane is to be ignorant. Well, that is what I would love to be true. In actuality, I am fascinated with the topic of monsters; I love them all: lycanthropes, Frankenstein’s monster, witches, fae, necromancers, zombies, demons, mummies, and my favorite: vampires. This fetish has been manifested in the movies I view, the televisions shows I watch, and the books I read. When my obsession with reading is crossed with my obsession with monsters the result is a bookshelf containing more vampire novels than most people would consider healthy. I have discovered that every vampire novel varies vastly; no two books are ever alike. For example, the Twilight Series, the Anita Blake Series and the Vampire Chronicles Series have different legends and lore, different relationships between vampires and society, and different genres, theme, and purpose; this array of novels display most clearly the range of audience for vampire genre can cater.
Zeus was not always the gray haired muscular man that he is seen as today. The first conception of the sky god did not have any form at all. The sky god was created by nomadic hunters in the Russian steppes, a treeless expanse above the Black Sea and the Caucasus Mountains (Stone, 8). Each tribe had a different name for him including Dyaus, Dies, Dios, Deus, and Deu Pater. Although the names changed they all referred to the brightness of the sky. The name Zeus was not used until the migration to Greece (Stone, 8). These proto-Greeks are believed to have migrated and taken over this land around 1700 B.C. (Stone, 10). The people already living there did not put up much of a fight. These natives worshipped small clay and wooden figures which was there goddess, an earth mother whom they called Ge and later Gaia (Stone, 11). The Greeks could not believe that a god could be reduced to the form of a man. It was not long before they realized they used these figures to pray for rain (Stone, 12). The natives also told elaborate stories about their gods as well as the creation of the earth. The Greeks were very envious of these stories and wanted Zeus to have stories of his own. A...
In Mary Shelley’s novel Frankenstein, Victor Frankenstein and the monster are connected in a complex relationship. Frankenstein’s monster is submissive to his creator, Victor, who is the only man with the knowledge of creating another of his kind. On the other hand, Frankenstein is passive to his creation, because physically, it is stronger than he and has the capability of murdering his entire circle of family and friends, and it doesn’t take much effort for him to do so. Their relationship is not marked by a “Super-Hero” pattern.