Greek mythology is embodied explicitly in a large collection of narratives and implicitly in Greek representational arts, such as vase-paintings and votive gifts. Greek myth attempts to explain the origins of the world and details the lives and adventures of a wide variety of gods, goddesses, heroes, heroines, and mythological creatures. These accounts initially were disseminated in an oral-poetic tradition; today the Greek myths are known primarily from Greek literature.
The oldest known Greek literary sources, the epic poems ''Iliad'' and ''Odyssey'', focus on events surrounding the Trojan War. Two poems by Homer's near contemporary Hesiod, the ''Theogony'' and the ''Works and Days'', contain accounts of the genesis of the world, the succession of divine rulers, the succession of human ages, the origin of human woes, and the origin of sacrificial practices. Myths also are preserved in the Homeric Hymns, in fragments of epic poems of the Epic Cycle, in lyric poems, in the works of the tragedians of the fifth century BC, in writings of scholars and poets of the Hellenistic Age and in texts from the time of the Roman Empire by writers such as Plutarch and Pausanias.
Archaeological findings provide a principal source of detail about Greek mythology, with gods and heroes featured prominently in the decoration of many artifacts. Geometric designs on pottery of the eighth century BC depict scenes from the Trojan cycle as well as the adventures of Heracles. In the succeeding Archaic, Classical, and Hellenistic periods, Homeric and various other mythological scenes appear, supplementing the existing literary evidence.
Greek mythology has exerted an extensive influence on the culture, the arts, and the literature of Western civilization and remains part of Western heritage and language. Poets and artists from ancient times to the present have derived inspiration from Greek mythology and have discovered contemporary significance and relevance in these mythological themes.
Among the earliest literary sources are Homer's two epic poems, the ''Iliad'' and the ''Odyssey''. Other poets completed the "epic cycle", but these later and lesser poems now are lost almost entirely. Despite their traditional name, the "Homeric Hymns" have no direct connection with Homer. They are choral hymns from the earlier part of the so-called Lyric age. Hesiod, a possible contemporary with Homer, offers in his '' Theogony '' (''Origin of the Gods'') the fullest account of the earliest Greek myths, dealing with the creation of the world; the origin of the gods, Titans, and Giants; as well as elaborate genealogies, folktales, and etiological myths. Hesiod's ''Works and Days'', a didactic poem about farming life, also includes the myths of Prometheus, Pandora, and the Four Ages. The poet gives advice on the best way to succeed in a dangerous world, rendered yet more dangerous by its gods.
Lyrical poets often took their subjects from myth, but their treatment became gradually less narrative and more allusive. Greek lyric poets including Pindar, Bacchylides, Simonides and bucolic poets such as Theocritus and Bion, relate individual mythological incidents. Additionally, myth was central to classical Athenian drama. The tragic playwrights Aeschylus, Sophocles, and Euripides took most of their plots from myths of the age of heroes and the Trojan War. Many of the great tragic stories (e.g. Agamemnon and his children, Oedipus, Jason, Medea, etc.) took on their classic form in these tragedies. The comic playwright Aristophanes also used myths, in ''The Birds'' and ''The Frogs''.
Historians Herodotus and Diodorus Siculus, and geographers Pausanias and Strabo, who traveled throughout the Greek world and noted the stories they heard, supplied numerous local myths and legends, often giving little-known alternative versions. Herodotus in particular, searched the various traditions presented him and found the historical or mythological roots in the confrontation between Greece and the East. Herodotus attempted to reconcile origins and the blending of differing cultural concepts.
The poetry of the Hellenistic and Roman ages was primarily composed as a literary rather than cultic exercise. Nevertheless, it contains many important details that would otherwise be lost. This category includes the works of: #The Roman poets Ovid, Statius, Valerius Flaccus, Seneca, and Virgil with Servius's commentary. #The Greek poets of the Late Antique period: Nonnus, Antoninus Liberalis, and Quintus Smyrnaeus. #The Greek poets of the Hellenistic period: Apollonius of Rhodes, Callimachus, Pseudo-Eratosthenes, and Parthenius. #The ancient novels of Greeks and Romans such as Apuleius, Petronius, Lollianus, and Heliodorus.
The ''Fabulae'' and ''Astronomica'' of the Roman writer styled as Pseudo-Hyginus are two important, non-poetical compendiums of myth. The ''Imagines'' of Philostratus the Elder and Philostratus the Younger and the ''Descriptions'' of Callistratus, are two other useful sources that were drawn upon for themes.
Finally, Arnobius and a number of Byzantine Greek writers provide important details of myth, much derived from earlier now lost Greek works. These preservers of myth include a lexicon of Hesychius, the ''Suda'', and the treatises of John Tzetzes and Eustathius. The Christian moralizing view of Greek myth is encapsulated in the saying, / ''en panti muthōi kai to Daidalou musos'' ("In every myth there is also the defilement of Daidalos"). In this fashion, the encyclopedic Sudas reported the role of Daedalus in satisfying the "unnatural lust" of Pasiphaë for the bull of Poseidon: "Since the origin and blame for these evils were attributed to Daidalos and he was loathed for them, he became the subject of the proverb."
Geometric designs on pottery of the eighth century BC depict scenes from the Trojan cycle, as well as the adventures of Heracles. These visual representations of myths are important for two reasons. For one, many Greek myths are attested on vases earlier than in literary sources: of the twelve labors of Heracles, for example, only the Cerberus adventure occurs in a contemporary literary text. In addition, visual sources sometimes represent myths or mythical scenes that are not attested in any extant literary source. In some cases, the first known representation of a myth in geometric art predates its first known representation in late archaic poetry, by several centuries. In the Archaic (c. 750–c. 500 BC), Classical (c. 480–323 BC), and Hellenistic (323–146 BC) periods, Homeric and various other mythological scenes appear, supplementing the existing literary evidence.
Apollo is one of the less known greek gods. Apollo is, while being the god of light and cleanness the god of social occasions, nutrition, cakes and pies.
The earlier inhabitants of the Balkan Peninsula were an agricultural people who, using Animism, assigned a spirit to every aspect of nature. Eventually, these vague spirits assumed human forms and entered the local mythology as gods. When tribes from the north of the Balkan Peninsula invaded, they brought with them a new pantheon of gods, based on conquest, force, prowess in battle, and violent heroism. Other older gods of the agricultural world fused with those of the more powerful invaders or else faded into insignificance.
After the middle of the Archaic period, myths about relationships between male gods and male heroes become more and more frequent, indicating the parallel development of pedagogic pederasty ''(Eros paidikos, παιδικός ἔρως),'' thought to have been introduced around 630 BC. By the end of the fifth century BC, poets had assigned at least one eromenos, an adolescent boy who was their sexual companion, to every important god except Ares and to many legendary figures. Previously existing myths, such as those of Achilles and Patroclus, also then were cast in a pederastic light. Alexandrian poets at first, then more generally literary mythographers in the early Roman Empire, often readapted stories of Greek mythological characters in this fashion.
The achievement of epic poetry was to create story-cycles and, as a result, to develop a new sense of mythological chronology. Thus Greek mythology unfolds as a phase in the development of the world and of humans. While self-contradictions in these stories make an absolute timeline impossible, an approximate chronology may be discerned. The resulting mythological "history of the world" may be divided into three or four broader periods: #''The myths of origin'' or ''age of gods (Theogonies, "births of gods")'': myths about the origins of the world, the gods, and the human race. # ''The age when gods and mortals mingled freely'': stories of the early interactions between gods, demigods, and mortals. #'' The age of heroes (heroic age)'', where divine activity was more limited. The last and greatest of the heroic legends is the story of ''the Trojan War and after'' (which is regarded by some researchers as a separate fourth period).
While the age of gods often has been of more interest to contemporary students of myth, the Greek authors of the archaic and classical eras had a clear preference for the age of heroes, establishing a chronology and record of human accomplishments after the questions of how the world came into being were explained. For example, the heroic ''Iliad'' and ''Odyssey'' dwarfed the divine-focused ''Theogony'' and Homeric Hymns in both size and popularity. Under the influence of Homer the "hero cult" leads to a restructuring in spiritual life, expressed in the separation of the realm of the gods from the realm of the dead (heroes), of the Chthonic from the Olympian. In the ''Works and Days'', Hesiod makes use of a scheme of Four Ages of Man (or Races): Golden, Silver, Bronze, and Iron. These races or ages are separate creations of the gods, the Golden Age belonging to the reign of Cronus, the subsequent races the creation of Zeus. Hesiod intercalates the Age (or Race) of Heroes just after the Bronze Age. The final age was the Iron Age, the contemporary period during which the poet lived. The poet regards it as the worst; the presence of evil was explained by the myth of Pandora, when all of the best of human capabilities, save hope, had been spilled out of her overturned jar. In ''Metamorphoses'', Ovid follows Hesiod's concept of the four ages.
A motif of father-against-son conflict was repeated when Kronos was confronted by his son, Zeus. Because Kronos had betrayed his father, he feared that his offspring would do the same, and so each time Rhea gave birth, he snatched up the child and ate it. Rhea hated this and tricked him by hiding Zeus and wrapping a stone in a baby's blanket, which Kronos ate. When Zeus was full grown, he fed Kronos a drugged drink which caused him to vomit, throwing up Rhea's other children and the stone, which had been sitting in Kronos's stomach all along. Zeus then challenged Kronos to war for the kingship of the gods. At last, with the help of the Cyclopes (whom Zeus freed from Tartarus), Zeus and his siblings were victorious, while Kronos and the Titans were hurled down to imprisonment in Tartarus. Zeus was plagued by the same concern and, after a prophecy that the offspring of his first wife, Metis, would give birth to a god "greater than he"—Zeus swallowed her. She was already pregnant with Athena, however, and they made him miserable until Athena burst forth from his head—fully-grown and dressed for war. This "rebirth" from Zeus was used as an excuse for why he was not "superseded" by a child of the next generation of gods, but accounted for the presence of Athena. It is likely that cultural changes already in progress absorbed the long-standing local cult of Athena at Athens into the changing Olympic pantheon without conflict because it could not be overcome.
The earliest Greek thought about poetry considered the theogonies to be the prototypical poetic genre—the prototypical ''mythos''—and imputed almost magical powers to it. Orpheus, the archetypal poet, also was the archetypal singer of theogonies, which he uses to calm seas and storms in Apollonius' ''Argonautica'', and to move the stony hearts of the underworld gods in his descent to Hades. When Hermes invents the lyre in the ''Homeric Hymn to Hermes'', the first thing he does is sing about the birth of the gods. Hesiod's ''Theogony'' is not only the fullest surviving account of the gods, but also the fullest surviving account of the archaic poet's function, with its long preliminary invocation to the Muses. Theogony also was the subject of many lost poems, including those attributed to Orpheus, Musaeus, Epimenides, Abaris, and other legendary seers, which were used in private ritual purifications and mystery-rites. There are indications that Plato was familiar with some version of the Orphic theogony. A silence would have been expected about religious rites and beliefs, however, and that nature of the culture would not have been reported by members of the society while the beliefs were held. After they ceased to become religious beliefs, few would have known the rites and rituals. Allusions often existed, however, to aspects that were quite public.
Images existed on pottery and religious artwork that were interpreted and more likely, misinterpreted in many diverse myths and tales. A few fragments of these works survive in quotations by Neoplatonist philosophers and recently unearthed papyrus scraps. One of these scraps, the Derveni Papyrus now proves that at least in the fifth century BC a theogonic-cosmogonic poem of Orpheus was in existence. This poem attempted to outdo Hesiod's ''Theogony'' and the genealogy of the gods was extended back to Nyx (Night) as an ultimate female beginning before Eurynome, Uranus, Cronus, and Zeus. Night and Darkness could equate with Chaos.
The first philosophical cosmologists reacted against, or sometimes built upon, popular mythical conceptions that had existed in the Greek world for some time. Some of these popular conceptions can be gleaned from the poetry of Homer and Hesiod. In Homer, the Earth was viewed as a flat disk afloat on the river of Oceanus and overlooked by a hemispherical sky with sun, moon, and stars. The Sun (Helios) traversed the heavens as a charioteer and sailed around the Earth in a golden bowl at night. Sun, earth, heaven, rivers, and winds could be addressed in prayers and called to witness oaths. Natural fissures were popularly regarded as entrances to the subterranean house of Hades and his predecessors, home of the dead. Influences from other cultures always afforded new themes.
In the wide variety of myths and legends that Greek mythology consists of, the gods that were native to the Greek peoples are described as having essentially corporeal but ideal bodies. According to Walter Burkert, the defining characteristic of Greek anthropomorphism is that "the Greek gods are persons, not abstractions, ideas or concepts". Regardless of their underlying forms, the Ancient Greek gods have many fantastic abilities; most significantly, the gods are not affected by disease, and can be wounded only under highly unusual circumstances. The Greeks considered immortality as the distinctive characteristic of their gods; this immortality, as well as unfading youth, was insured by the constant use of nectar and ambrosia, by which the divine blood was renewed in their veins.
Each god descends from his or her own genealogy, pursues differing interests, has a certain area of expertise, and is governed by a unique personality; however, these descriptions arise from a multiplicity of archaic local variants, which do not always agree with one another. When these gods are called upon in poetry, prayer or cult, they are referred to by a combination of their name and epithets, that identify them by these distinctions from other manifestations of themselves (e.g. ''Apollo Musagetes'' is "Apollo, [as] leader of the Muses"). Alternatively the epithet may identify a particular and localized aspect of the god, sometimes thought to be already ancient during the classical epoch of Greece.
Most gods were associated with specific aspects of life. For example, Aphrodite was the goddess of love and beauty, Ares was the god of war, Hades the god of the dead, and Athena the goddess of wisdom and courage. Some gods, such as Apollo and Dionysus, revealed complex personalities and mixtures of functions, while others, such as Hestia (literally "hearth") and Helios (literally "sun"), were little more than personifications. The most impressive temples tended to be dedicated to a limited number of gods, who were the focus of large pan-Hellenic cults. It was, however, common for individual regions and villages to devote their own cults to minor gods. Many cities also honored the more well-known gods with unusual local rites and associated strange myths with them that were unknown elsewhere. During the heroic age, the cult of heroes (or demi-gods) supplemented that of the gods.
Tales of love often involve incest, or the seduction or rape of a mortal woman by a male god, resulting in heroic offspring. The stories generally suggest that relationships between gods and mortals are something to avoid; even consenting relationships rarely have happy endings. In a few cases, a female divinity mates with a mortal man, as in the ''Homeric Hymn to Aphrodite'', where the goddess lies with Anchises to produce Aeneas.
The second type (tales of punishment) involves the appropriation or invention of some important cultural artifact, as when Prometheus steals fire from the gods, when Tantalus steals nectar and ambrosia from Zeus' table and gives it to his own subjects—revealing to them the secrets of the gods, when Prometheus or Lycaon invents sacrifice, when Demeter teaches agriculture and the Mysteries to Triptolemus, or when Marsyas invents the aulos and enters into a musical contest with Apollo. Ian Morris considers Prometheus' adventures as "a place between the history of the gods and that of man". An anonymous papyrus fragment, dated to the third century, vividly portrays Dionysus' punishment of the king of Thrace, Lycurgus, whose recognition of the new god came too late, resulting in horrific penalties that extended into the afterlife. The story of the arrival of Dionysus to establish his cult in Thrace was also the subject of an Aeschylean trilogy. In another tragedy, Euripides' ''The Bacchae'', the king of Thebes, Pentheus, is punished by Dionysus, because he disrespected the god and spied on his Maenads, the female worshippers of the god. In another story, based on an old folktale-motif, and echoing a similar theme, Demeter was searching for her daughter, Persephone, having taken the form of an old woman called Doso, and received a hospitable welcome from Celeus, the King of Eleusis in Attica. As a gift to Celeus, because of his hospitality, Demeter planned to make his son Demophon a god, but she was unable to complete the ritual because his mother Metanira walked in and saw her son in the fire and screamed in fright, which angered Demeter, who lamented that foolish mortals do not understand the concept and ritual.
After the rise of the hero cult, gods and heroes constitute the sacral sphere and are invoked together in oaths and prayers which are addressed to them. In contrast to the age of gods, during the heroic age the roster of heroes is never given fixed and final form; great gods are no longer born, but new heroes can always be raised up from the army of the dead. Another important difference between the hero cult and the cult of gods is that the hero becomes the centre of local group identity.
The monumental events of Heracles are regarded as the dawn of the age of heroes. To the Heroic Age are also ascribed three great events: the Argonautic expedition, the Theban Cycle and the Trojan War.
Heracles also entered Etruscan and Roman mythology and cult, and the exclamation "mehercule" became as familiar to the Romans as "Herakleis" was to the Greeks. In Italy he was worshipped as a god of merchants and traders, although others also prayed to him for his characteristic gifts of good luck or rescue from danger.
Heracles attained the highest social prestige through his appointment as official ancestor of the Dorian kings. This probably served as a legitimation for the Dorian migrations into the Peloponnese. Hyllus, the eponymous hero of one Dorian phyle, became the son of Heracles and one of the ''Heracleidae'' or ''Heraclids'' (the numerous descendants of Heracles, especially the descendants of Hyllus — other Heracleidae included Macaria, Lamos, Manto, Bianor, Tlepolemus, and Telephus). These Heraclids conquered the Peloponnesian kingdoms of Mycenae, Sparta and Argos, claiming, according to legend, a right to rule them through their ancestor. Their rise to dominance is frequently called the "Dorian invasion". The Lydian and later the Macedonian kings, as rulers of the same rank, also became Heracleidae.
Other members of this earliest generation of heroes, such as Perseus, Deucalion, Theseus and Bellerophon, have many traits in common with Heracles. Like him, their exploits are solitary, fantastic and border on fairy tale, as they slay monsters such as the Chimera and Medusa. Bellerophon's adventures are commonplace types, similar to the adventures of Heracles and Theseus. Sending a hero to his presumed death is also a recurrent theme of this early heroic tradition, used in the cases of Perseus and Bellerophon.
The only surviving Hellenistic epic, the ''Argonautica'' of Apollonius of Rhodes (epic poet, scholar, and director of the Library of Alexandria) tells the myth of the voyage of Jason and the Argonauts to retrieve the Golden Fleece from the mythical land of Colchis. In the ''Argonautica'', Jason is impelled on his quest by king Pelias, who receives a prophecy that a man with one sandal would be his nemesis. Jason loses a sandal in a river, arrives at the court of Pelias, and the epic is set in motion. Nearly every member of the next generation of heroes, as well as Heracles, went with Jason in the ship ''Argo'' to fetch the Golden Fleece. This generation also included Theseus, who went to Crete to slay the Minotaur; Atalanta, the female heroine; and Meleager, who once had an epic cycle of his own to rival the ''Iliad'' and ''Odyssey''. Pindar, Apollonius and Apollodorus endeavor to give full lists of the Argonauts.
Although Apollonius wrote his poem in the 3rd century BC, the composition of the story of the Argonauts is earlier than ''Odyssey'', which shows familiarity with the exploits of Jason (the wandering of Odysseus may have been partly founded on it). In ancient times the expedition was regarded as a historical fact, an incident in the opening up of the Black Sea to Greek commerce and colonization. It was also extremely popular, forming a cycle to which a number of local legends became attached. The story of Medea, in particular, caught the imagination of the tragic poets.
The Theban Cycle deals with events associated especially with Cadmus, the city's founder, and later with the doings of Laius and Oedipus at Thebes; a series of stories that lead to the eventual pillage of that city at the hands of the Seven Against Thebes and Epigoni. (It is not known whether the Seven Against Thebes figured in early epic.) As far as Oedipus is concerned, early epic accounts seem to have him continuing to rule at Thebes after the revelation that Iokaste was his mother, and subsequently marrying a second wife who becomes the mother of his children — markedly different from the tale known to us through tragedy (e.g. Sophocles' ''Oedipus the King'') and later mythological accounts.
Greek mythology culminates in the Trojan War, fought between the Greeks and Troy, and its aftermath. In Homer's works, such as the ''Iliad'', the chief stories have already taken shape and substance, and individual themes were elaborated later, especially in Greek drama. The Trojan War also elicited great interest in the Roman culture because of the story of Aeneas, a Trojan hero whose journey from Troy led to the founding of the city that would one day become Rome, as recounted in Virgil's ''Aeneid'' (Book II of Virgil's Aeneid contains the best-known account of the sack of Troy). Finally there are two pseudo-chronicles written in Latin that passed under the names of Dictys Cretensis and Dares Phrygius.
The Trojan War cycle, a collection of epic poems, starts with the events leading up to the war: Eris and the golden apple of Kallisti, the Judgement of Paris, the abduction of Helen, the sacrifice of Iphigenia at Aulis. To recover Helen, the Greeks launched a great expedition under the overall command of Menelaus' brother, Agamemnon, king of Argos or Mycenae, but the Trojans refused to return Helen. The ''Iliad'', which is set in the tenth year of the war, tells of the quarrel between Agamemnon and Achilles, who was the finest Greek warrior, and the consequent deaths in battle of Achilles' beloved comrade Patroclus and Priam's eldest son, Hector. After Hector's death the Trojans were joined by two exotic allies, Penthesilea, queen of the Amazons, and Memnon, king of the Ethiopians and son of the dawn-goddess Eos. Achilles killed both of these, but Paris then managed to kill Achilles with an arrow in the heel. Achilles' heel was the only part of his body which was not invulnerable to damage by human weaponry. Before they could take Troy, the Greeks had to steal from the citadel the wooden image of Pallas Athena (the Palladium). Finally, with Athena's help, they built the Trojan Horse. Despite the warnings of Priam's daughter Cassandra, the Trojans were persuaded by Sinon, a Greek who feigned desertion, to take the horse inside the walls of Troy as an offering to Athena; the priest Laocoon, who tried to have the horse destroyed, was killed by sea-serpents. At night the Greek fleet returned, and the Greeks from the horse opened the gates of Troy. In the total sack that followed, Priam and his remaining sons were slaughtered; the Trojan women passed into slavery in various cities of Greece. The adventurous homeward voyages of the Greek leaders (including the wanderings of Odysseus and Aeneas (the ''Aeneid''), and the murder of Agamemnon) were told in two epics, the Returns (the lost ''Nostoi'') and Homer's ''Odyssey''. The Trojan cycle also includes the adventures of the children of the Trojan generation (e.g. Orestes and Telemachus).
The Trojan War provided a variety of themes and became a main source of inspiration for Ancient Greek artists (e.g. metopes on the Parthenon depicting the sack of Troy); this artistic preference for themes deriving from the Trojan Cycle indicates its importance to the Ancient Greek civilization. The same mythological cycle also inspired a series of posterior European literary writings. For instance, Trojan Medieval European writers, unacquainted with Homer at first hand, found in the Troy legend a rich source of heroic and romantic storytelling and a convenient framework into which to fit their own courtly and chivalric ideals. 12th century authors, such as Benoît de Sainte-Maure (''Roman de Troie'' [Romance of Troy, 1154–60]) and Joseph of Exeter (''De Bello Troiano'' [On the Trojan War, 1183]) describe the war while rewriting the standard version they found in ''Dictys'' and ''Dares''. They thus follow Horace's advice and Virgil's example: they rewrite a poem of Troy instead of telling something completely new.
A few radical philosophers like Xenophanes of Colophon were already beginning to label the poets' tales as blasphemous lies in the 6th century BC; Xenophanes had complained that Homer and Hesiod attributed to the gods "all that is shameful and disgraceful among men; they steal, commit adultery, and deceive one another". This line of thought found its most sweeping expression in Plato's ''Republic'' and ''Laws''. Plato created his own allegorical myths (such as the vision of Er in the ''Republic''), attacked the traditional tales of the gods' tricks, thefts and adulteries as immoral, and objected to their central role in literature. Plato's criticism was the first serious challenge to the Homeric mythological tradition, referring to the myths as "old wives' chatter". For his part Aristotle criticized the Pre-socratic quasi-mythical philosophical approach and underscored that "Hesiod and the theological writers were concerned only with what seemed plausible to themselves, and had no respect for us ... But it is not worth taking seriously writers who show off in the mythical style; as for those who do proceed by proving their assertions, we must cross-examine them".
Nevertheless, even Plato did not manage to wean himself and his society from the influence of myth; his own characterization for Socrates is based on the traditional Homeric and tragic patterns, used by the philosopher to praise the righteous life of his teacher:
Hanson and Heath estimate that Plato's rejection of the Homeric tradition was not favorably received by the grassroots Greek civilization. The old myths were kept alive in local cults; they continued to influence poetry and to form the main subject of painting and sculpture.
More sportingly, the 5th century BC tragedian Euripides often played with the old traditions, mocking them, and through the voice of his characters injecting notes of doubt. Yet the subjects of his plays were taken, without exception, from myth. Many of these plays were written in answer to a predecessor's version of the same or similar myth. Euripides mainly impugns the myths about the gods and begins his critique with an objection similar to the one previously expressed by Xenocrates: the gods, as traditionally represented, are far too crassly anthropomorphic.
Rationalizing hermeneutics of myth became even more popular under the Roman Empire, thanks to the physicalist theories of Stoic and Epicurean philosophy. Stoics presented explanations of the gods and heroes as physical phenomena, while the Euhemerists rationalized them as historical figures. At the same time, the Stoics and the Neoplatonists promoted the moral significations of the mythological tradition, often based on Greek etymologies. Through his Epicurean message, Lucretius had sought to expel superstitious fears from the minds of his fellow-citizens. Livy, too, is skeptical about the mythological tradition and claims that he does not intend to pass judgement on such legends (fabulae). The challenge for Romans with a strong and apologetic sense of religious tradition was to defend that tradition while conceding that it was often a breeding-ground for superstition. The antiquarian Varro, who regarded religion as a human institution with great importance for the preservation of good in society, devoted rigorous study to the origins of religious cults. In his ''Antiquitates Rerum Divinarum'' (which has not survived, but Augustine's ''City of God'' indicates its general approach) Varro argues that whereas the superstitious man fears the gods, the truly religious person venerates them as parents. In his work he distinguished three kinds of gods: # The gods of nature: personifications of phenomena like rain and fire. # The gods of the poets: invented by unscrupulous bards to stir the passions. # The gods of the city: invented by wise legislators to soothe and enlighten the populace.
Roman Academic Cotta ridicules both literal and allegorical acceptance of myth, declaring roundly that myths have no place in philosophy. Cicero is also generally disdainful of myth, but, like Varro, he is emphatic in his support for the state religion and its institutions. It is difficult to know how far down the social scale this rationalism extended. Cicero asserts that no one (not even old women and boys) is so foolish as to believe in the terrors of Hades or the existence of Scyllas, centaurs or other composite creatures, but, on the other hand, the orator elsewhere complains of the superstitious and credulous character of the people. ''De Natura Deorum'' is the most comprehensive summary of Cicero's line of thought.
In Ancient Roman times, a new Roman mythology was born through syncretization of numerous Greek and other foreign gods. This occurred because the Romans had little mythology of their own and inheritance of the Greek mythological tradition caused the major Roman gods to adopt characteristics of their Greek equivalents. The gods Zeus and Jupiter are an example of this mythological overlap. In addition to the combination of the two mythological traditions, the association of the Romans with eastern religions led to further syncretizations. For instance, the cult of Sun was introduced in Rome after Aurelian's successful campaigns in Syria. The Asiatic divinities Mithras (that is to say, the Sun) and Ba'al were combined with Apollo and Helios into one Sol Invictus, with conglomerated rites and compound attributes. Apollo might be increasingly identified in religion with Helios or even Dionysus, but texts retelling his myths seldom reflected such developments. The traditional literary mythology was increasingly dissociated from actual religious practice.
The surviving 2nd century collection of Orphic Hymns and Macrobius's ''Saturnalia'' are influenced by the theories of rationalism and the syncretizing trends as well. The Orphic Hymns are a set of pre-classical poetic compositions, attributed to Orpheus, himself the subject of a renowned myth. In reality, these poems were probably composed by several different poets, and contain a rich set of clues about prehistoric European mythology. The stated purpose of the ''Saturnalia'' is to transmit the Hellenic culture Macrobius has derived from his reading, even though much of his treatment of gods is colored by Egyptian and North African mythology and theology (which also affect the interpretation of Virgil). In Saturnalia reappear mythographical comments influenced by the Euhemerists, the Stoics and the Neoplatonists.
Sigmund Freud introduced a transhistorical and biological conception of man and a view of myth as an expression of repressed ideas. Dream interpretation is the basis of Freudian myth interpretation and Freud's concept of dreamwork recognizes the importance of contextual relationships for the interpretation of any individual element in a dream. This suggestion would find an important point of rapprochment between the structuralist and psychoanalytic approaches to myth in Freud's thought. Carl Jung extended the transhistorical, psychological approach with his theory of the "collective unconscious" and the archetypes (inherited "archaic" patterns), often encoded in myth, that arise out of it. According to Jung, "myth-forming structural elements must be present in the unconscious psyche". Comparing Jung's methodology with Joseph Campbell's theory, Robert A. Segal concludes that "to interpret a myth Campbell simply identifies the archetypes in it. An interpretation of the ''Odyssey'', for example, would show how Odysseus’s life conforms to a heroic pattern. Jung, by contrast, considers the identification of archetypes merely the first step in the interpretation of a myth". Karl Kerényi, one of the founders of modern studies in Greek mythology, gave up his early views of myth, in order to apply Jung's theories of archetypes to Greek myth.
Archaeology and mythography, on the other hand, have revealed that the Greeks were inspired by some of the civilizations of Asia Minor and the Near East. Adonis seems to be the Greek counterpart — more clearly in cult than in myth — of a Near Eastern "dying god". Cybele is rooted in Anatolian culture while much of Aphrodite's iconography springs from Semitic goddesses. There are also possible parallels between the earliest divine generations (Chaos and its children) and Tiamat in the ''Enuma Elish''. According to Meyer Reinhold, "near Eastern theogonic concepts, involving divine succession through violence and generational conflicts for power, found their way ... into Greek mythology". In addition to Indo-European and Near Eastern origins, some scholars have speculated on the debts of Greek mythology to the pre-Hellenic societies: Crete, Mycenae, Pylos, Thebes and Orchomenus. Historians of religion were fascinated by a number of apparently ancient configurations of myth connected with Crete (the god as bull, Zeus and Europa, Pasiphaë who yields to the bull and gives birth to the Minotaur etc.) Professor Martin P. Nilsson concluded that all great classical Greek myths were tied to Mycenaen centres and were anchored in prehistoric times. Nevertheless, according to Burkert, the iconography of the Cretan Palace Period has provided almost no confirmation for these theories.
The widespread adoption of Christianity did not curb the popularity of the myths. With the rediscovery of classical antiquity in the Renaissance, the poetry of Ovid became a major influence on the imagination of poets, dramatists, musicians and artists. From the early years of Renaissance, artists such as Leonardo da Vinci, Michelangelo, and Raphael, portrayed the Pagan subjects of Greek mythology alongside more conventional Christian themes. Through the medium of Latin and the works of Ovid, Greek myth influenced medieval and Renaissance poets such as Petrarch, Boccaccio and Dante in Italy.
In Northern Europe, Greek mythology never took the same hold of the visual arts, but its effect was very obvious on literature. The English imagination was fired by Greek mythology starting with Chaucer and John Milton and continuing through Shakespeare to Robert Bridges in the 20th century. Racine in France and Goethe in Germany revived Greek drama, reworking the ancient myths. Although during the Enlightenment of the 18th century reaction against Greek myth spread throughout Europe, the myths continued to provide an important source of raw material for dramatists, including those who wrote the libretti for many of Handel's and Mozart's operas. By the end of the 18th century, Romanticism initiated a surge of enthusiasm for all things Greek, including Greek mythology. In Britain, new translations of Greek tragedies and Homer inspired contemporary poets (such as Alfred Lord Tennyson, Keats, Byron and Shelley) and painters (such as Lord Leighton and Lawrence Alma-Tadema). Christoph Gluck, Richard Strauss, Jacques Offenbach and many others set Greek mythological themes to music. American authors of the 19th century, such as Thomas Bulfinch and Nathaniel Hawthorne, held that the study of the classical myths was essential to the understanding of English and American literature. In more recent times, classical themes have been reinterpreted by dramatists Jean Anouilh, Jean Cocteau, and Jean Giraudoux in France, Eugene O'Neill in America, and T. S. Eliot in Britain and by novelists such as James Joyce and André Gide.
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Coordinates | 34°03′″N118°15′″N |
---|---|
name | Eddie Izzard |
birth name | Edward John Izzard |
birth date | February 07, 1962 |
birth place | Colony of Aden, Aden Protectorate (now Aden, Yemen) |
medium | Stand-up, Television, Film, Stage |
nationality | British |
active | 1987–present |
genre | Improvisational comedy,Observational comedy |
subject | World history, Celebrities, Religion, Language, Sex |
influences | Monty Python, Billy Connolly, Lenny Bruce, Steve Martin, Richard Pryor, Spike Milligan |
influenced | Harry Hill, Dara Ó Briain, Demetri Martin, Hal Sparks |
notable work | ''Live at the Ambassadors'' ''Definite Article'' ''Dress to Kill'' ''Glorious'' ''Circle'' ''Lenny Bruce'' in ''Lenny'' ''Wayne Malloy/Doug Rich'' in ''The Riches'' ''Roman Nagel'' in ''Ocean's Thirteen'' ''Erich Fellgiebel'' in ''Valkyrie'' ''Mr. Kite'' in ''Across the Universe'' |
website | eddieizzard.com |
Edward John "Eddie" Izzard (born 7 February 1962) is an English stand-up comedian and actor. His comedy style takes the form of rambling, whimsical monologue and self-referential pantomime.
Izzard's works include stand-up sets ''Unrepeatable'', ''Definite Article'', ''Glorious'', ''Dress to Kill'', ''Circle'', ''Sexie'' and ''Stripped''. He had a starring role in the television series ''The Riches'' as Wayne Malloy and has appeared in many motion pictures such as ''Ocean's Twelve'', ''Ocean's Thirteen'', ''Mystery Men'', ''The Cat's Meow'', ''Across the Universe'', The Chronicles of Narnia: Prince Caspian, and ''Valkyrie''.
He has cited his main comedy role model as Monty Python, and John Cleese once referred to him as the "Lost Python". In 2009, he completed 43 marathons in 51 days for Sport Relief in spite of having no prior history of long distance running.
He is also known for his transvestism.
In 1996, he got a part in his first United States-produced film, ''The Secret Agent,'' where he met and befriended Robin Williams. Williams already knew of Izzard's act, and discussed bringing his act to the United States. As a result, Izzard took ''Definite Article'' on a successful stint in New York City in the same year, and as a support act to Williams took ''Dress to Kill'' to San Francisco in 1998. His U.S. breakthrough came in 1999, when ''Dress to Kill'' was shown on the American television channel HBO, about a year or so after he performed the show on tour in the USA, UK and France. Suddenly, America was aware of Izzard, and the show went on to earn him two Emmy Awards in 2000 (for performance and writing).
In 1999, after complaints that his act recycled jokes appearing on his DVDs, the BBC's consumer programme ''Watchdog'' investigated Izzard's live act. Izzard explained that like most comedy performers, he used some of his most successful routines in each show. Nonetheless, Izzard was issued a warning by the Department of Trade and Industry. Since then, Izzard has rarely performed his stand-up act on television, saying that it uses up material at too high a rate, whereas stage material can be continually re-used in front of different audiences for several months.
In 2005, Izzard used his rambling style to provide the voice-over for the British government's television advertisements promoting recycling. The tagline of the ads was "Recycle. The possibilities are endless!" Izzard also performed on stage with Scottish musician Midge Ure at Live8 in Edinburgh, Scotland. He played the piano on the song "Vienna".
In January 2006, the U.S. television network FX announced the production of a new drama series called ''The Riches'' (formerly ''Low Life''). Izzard and British actress Minnie Driver star as a married couple, Wayne and Dahlia Malloy, who have been part of a caravan of con-artist Irish travellers swindling their way across the U.S. with their children. After finding another family killed in a car accident, the Malloys assume their identities and start a new life as law-abiding suburbanites in Baton Rouge, Louisiana. The youngest son has shown a preference for wearing girls' clothing, leading to some speculation that the role was based upon Izzard's experiences. Izzard has stated in several interviews that the character of Sam had been given transvestite tendencies long before he was cast as Wayne Malloy, but he has contributed his perspective to keep the character believable.
In 1998 Izzard appeared briefly on stage with the Monty Python team in ''The American Film Institute's Tribute to Monty Python'' (also referred to as ''Monty Python Live at Aspen''). He walked on stage with the five surviving Pythons and he was summarily escorted off by Eric Idle and Michael Palin as he attempted to participate in a discussion about how the group got together.
Izzard portrayed comedian Lenny Bruce in the 1999 production of Julian Barry's 1971 play ''Lenny''. In 2001, he replaced Clive Owen in Peter Nichols' 1967 play ''A Day in the Death of Joe Egg'' at the Comedy Theatre. Izzard and Victoria Hamilton then repeated their lead roles when the show was brought to Broadway in 2003, with The Roundabout Theatre Company production. The revival received four Tony Award nominations including Best Revival of a Play, Best Leading Actor and Actress for its stars Izzard and Hamilton in their Broadway debuts, and Best Direction for Laurence Boswell. In June 2010, Izzard replaced James Spader in the role of Jack Lawson in David Mamet's play ''Race'' on Broadway.
Izzard has appeared in numerous films, starting with 1996's ''The Secret Agent''. He has appeared as several real-life individuals, including Charlie Chaplin in ''The Cat's Meow'', actor Gustav von Wangenheim in ''Shadow of the Vampire'' and General Erich Fellgiebel in ''Valkyrie''. Other roles have included Mr. Kite in ''Across the Universe'', Lussurioso in ''Revengers Tragedy'' and criminal expert Roman Nagel in ''Ocean's Twelve'' and ''Ocean's Thirteen''. Voice work has included the titular It in ''Five Children and It'', Nigel in ''The Wild'' and the mouse warrior Reepicheep in ''The Chronicles of Narnia: Prince Caspian.'' He said in 2009 that he would not be reprising his role as Reepicheep and the role was ultimately played by Simon Pegg in ''The Chronicles of Narnia: The Voyage of the Dawn Treader''.
Izzard appeared in the BBC science fiction miniseries ''The Day of the Triffids'' based on the 1951 novel, alongside Jason Priestley, Vanessa Redgrave, Joely Richardson, Dougray Scott and Brian Cox. He played Dr. Hatteras, a skeptical psychology professor, in the Showtime series ''United States of Tara''.
Among Izzard's comic talents are mimicry and mime. He portrays God as an authority figure using the voice of James Mason and casts Sean Connery as Noah; these impersonations appear in many of his performances. Izzard also imitates activities such as sawing wood, vacuum cleaning, and mowing the lawn, anthropomorphising the machines with accents and personalities. Successful impressions, such as his Scottish clarinet teacher, Mrs. Badcrumble, become running gags which recur in different shows. He tackles topics both contemporary and historic, including frequent re-imaginings of historical events which result in scenes like 'Cake or Death: Church of England runs the Inquisition', or 'Jesus Ministers to the Dinosaurs'.
When asked about his comedy style by George Stroumboulopoulos, host of CBC Television's talk show, ''The Hour'', Izzard described his use of history by saying,
"I just talk complete bullshit. The history, the politics, I noticed that no one was using history, so there's a lot of history lying about the place, and it's all free, and it's on Wikipedia! You know, I use Wikipedia like a crazy idiot, now. Then I take all this stuff, and I regurgitate it into a weird angle".
In 2008, in his ''Stripped'' tour, Izzard began using Wikipedia itself as part of his stand-up act, reading from a live copy of an article and mocking Wikipedia's self-referential editorial style.
Traditionally, Izzard has focused on the creative possibilities of thinking through absurd situations in real time. He also turns much of the attention on himself and his personality, including his cross-dressing ("It is my manifest destiny to wear a dress on all seven continents"). Contemporary pop culture (Harry Potter, ''Star Wars'', etc.) is also a frequent subject, brought up both to critique its weaknesses and to enhance his anecdotes.
His bent towards the surreal even went so far as to produce a sitcom called Cows in 1997 for Channel 4, a live action comedy with actors dressed in cowsuits.
He has also campaigned unsuccessfully against the closure of the departments of Drama and Languages, Linguistics and Translation at the University of East Anglia, although the department of Drama was later reprieved. In 1998, Izzard was named in a list of the biggest private financial donors to the Labour Party. He appeared in a party political broadcast for the Labour Party in the run up to the 2005 general election. He donated nearly £10,000 to the party in 2008, appeared again in a party political broadcast for the 2009 European election and again in a 2010 election video entitled 'Brilliant Britain'. Izzard appeared in literature to support changing the British electoral system from first-past-the-post to alternative vote for electing Members of Parliament to the House of Commons in the Alternative Vote referendum in 2011.
On 20 July 2006, he received an honorary doctorate in Letters from the Faculty of Arts at the University of Sheffield, where he spent one year on an Accounting and Financial Management course in the early 80s. During his time at the University he established the now-defunct Alternative Productions Society in the Union of Students with the aim of promoting fringe-based arts. On 4 March 2010 he was elected as the Honorary President of the University of Sheffield Union of Students.
On 7 July 2007, Izzard was one of the presenters from the London leg of Live Earth. During an interview for the 2008 Stripped tour, Izzard spoke about becoming more active in European politics as well as running for political office in Europe within the next decade. Izzard added a stop in New Orleans during his 2008 ''Stripped'' tour. All proceeds from the performance of 23 June 2008 were donated to Neighborhood Housing Services of New Orleans.
Izzard ran his final marathon in five hours and 30 seconds, narrowly outside his projected time. However, had he not stopped and waited 20 minutes for his film crew to catch up with him he could have finished well under his target time. In March 2010, Izzard took part in the Sport Relief Mile event.
Following the completion of the marathon runs, Izzard has started training to take part in an Ironman Triathlon, saying he has become fascinated with fitness "because there's no point in throwing away all that training".
He keeps his romantic life private, saying one of the reasons is due to the wishes of his companions not wanting to become content for his show. Izzard dated Sarah Townsend, the director of the documentary ''Believe: The Eddie Izzard Story'', whom he first met while she was running a Fringe venue at the Edinburgh Festival in 1989.
Izzard speaks French and has performed stand up in French during his shows. He also speaks German and used it in the 2001 film ''All the Queen's Men''.
During the 1999 television special ''It's... the Monty Python Story'', which Izzard hosted, John Cleese said Izzard was the "Lost Python"; Izzard furthered that idea via his substitution for Graham Chapman in public performance of Python material with the rest of the original members of the troupe. He also made a cameo appearance in the Python reunion interview ''Monty Python Live At Aspen''.
In 2008, Izzard received the James Joyce Award of the Literary and Historical Society of UCD, Dublin, Ireland. In March 2010, the Students Union of the University of Sheffield overwhelmingly elected him their honorary President.
He has announced for future tours that a dollar out of each ticket sale will be appropriated to supplying Africa with contraceptives and other means of sexual protection.
Eddie Izzard Category:1962 births Category:People from Aden Category:Drama Desk Award winners Category:English atheists Category:English buskers Category:English comedians Category:English film actors Category:English voice actors Category:English television actors Category:English stand-up comedians Category:Cross-dressers Category:Living people Category:Old Eastbournians Category:Emmy Award winners Category:People educated at Oakleigh House School
ar:إدي آيزارد de:Eddie Izzard es:Eddie Izzard fa:ادی ایزارد fr:Eddie Izzard gv:Eddie Izzard id:Eddie Izzard it:Eddie Izzard he:אדי איזרד hu:Eddie Izzard nl:Eddie Izzard ja:エディー・イザード no:Eddie Izzard nn:Eddie Izzard pl:Eddie Izzard ru:Иззард, Эдди simple:Eddie Izzard fi:Eddie Izzard sv:Eddie Izzard tr:Eddie IzzardThis text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
Coordinates | 34°03′″N118°15′″N |
---|---|
name | Jim Henson |
birth name | James Maury Henson |
birth date | September 24, 1936 |
birth place | Greenville, Mississippi, U.S. |
death date | May 16, 1990 |
death place | New York City, New York, U.S. |
nationality | American |
education | Northwestern High School |
alma mater | University of Maryland, College Park |
home town | Leland, Mississippi |
occupation | PuppeteerFilm directorTelevision producer |
years active | 1954–1990 |
spouse | |
children | Lisa Henson,Brian Henson,John Henson,Cheryl Henson,Heather Henson |
parents | Betty Marcella (nee Brown),Paul Ransom Henson }} |
Henson, who was born in Mississippi, and educated at University of Maryland, College Park, was one of the most widely known puppeteers in history. He created ''Sam and Friends'' as a freshman in College Park. After suffering struggles with programs that he created, he eventually was selected to participate in ''Sesame Street''. During this time, he also participated in the comedy series ''Saturday Night Live''. The success of ''Sesame Street'' spawned ''The Muppet Show'', which featured Muppets created by Henson. He also co-created with Michael Jacobs the television show ''Dinosaurs'' during his final years. In 1992, he posthumously received the Courage of Conscience Award from The Peace Abbey, and on June 16, 2011, he posthumously received the Disney Legends Award.
In 1954, while attending Northwestern High School, he began working for WTOP-TV, creating puppets for a Saturday morning children's show called ''The Junior Morning Show''. After graduating from high school, Henson enrolled at the University of Maryland, College Park, as a studio arts major, thinking he might become a commercial artist. A puppetry class offered in the applied arts department introduced him to the craft and textiles courses in the College of Home Economics, and he graduated in 1960 with a B.S. in home economics. As a freshman, he had been asked to create ''Sam and Friends'', a five-minute puppet show for WRC-TV. The characters on ''Sam and Friends'' were forerunners of Muppets, and the show included a prototype of Henson's most famous character: Kermit the Frog.
In the show, he began experimenting with techniques that would change the way puppetry had been used on television, including using the frame defined by the camera shot to allow the puppeteer to work from off-camera. Believing that television puppets needed to have "life and sensitivity," Henson began making characters from flexible, fabric-covered foam rubber, allowing them to express a wider array of emotions at a time when many puppets were made of carved wood. A marionette's arms are manipulated by strings, but Henson used rods to move his Muppets' arms, allowing greater control of expression. Additionally, Henson wanted the Muppet characters to "speak" more creatively than was possible for previous puppets - which had seemed to have random mouth movements – so he used precise mouth movements to match the dialogue.
When Henson began work on ''Sam and Friends'', he asked fellow University of Maryland freshman Jane Nebel to assist him. The show was a financial success, but after graduating from college, Jim began to have doubts about going into a career as a puppeteer. He wandered off to Europe for several months, where he was inspired by European puppeteers who look on their work as an art form. Upon Henson's return to the United States, he and Jane began dating. They were married in 1959 and had five children, Lisa (b. 1960), Cheryl (b. 1961), Brian (b. 1962), John (b. 1965), and Heather (b. 1970).
Among the most popular of Henson's commercials was a series for the local Wilkins Coffee company in Washington, D.C., in which his Muppets were able to get away with a greater level of slapstick violence than might have been acceptable with human actors. In the first Wilkins ad, a Muppet named Wilkins (with Kermit's voice) is poised behind a cannon seen in profile. Another Muppet named Wontkins (with Rowlf's voice) is in front of its barrel. Wilkins asks, "What do you think of Wilkins Coffee?" and Wontkins responds gruffly, "Never tasted it!" Wilkins fires the cannon and blows Wontkins away, then turns the cannon directly toward the viewer and ends the ad with, "Now, what do ''you'' think of Wilkins?" Henson later explained, "Till then, [advertising] agencies believed that the hard sell was the only way to get their message over on television. We took a very different approach. We tried to sell things by making people laugh." The first seven-second commercial for Wilkins was an immediate hit and was syndicated and reshot by Henson for local coffee companies across the United States; he ultimately produced more than 300 coffee ads. The same setup was used to pitch Kraml Milk in the Chicago, Il., area and Red Diamond coffee.
In 1963, Henson and his wife moved to New York City, where the newly formed Muppets, Inc. would reside for some time. Jane quit muppeteering to raise their children. Henson hired writer Jerry Juhl in 1961 and puppeteer Frank Oz in 1963 to replace her. Henson later credited both writers with developing much of the humor and character of his Muppets. Henson and Oz developed a close friendship and a performing partnership that lasted 27 years; their teamwork is particularly evident in their portrayals of the characters of Bert and Ernie and Kermit and Fozzie Bear.
Henson's sixties talk show appearances culminated when he devised Rowlf, a piano-playing anthropomorphic dog. Rowlf became the first Muppet to make regular appearances on a network show, ''The Jimmy Dean Show''. From 1963 to 1966, Henson began exploring film-making and produced a series of experimental films. His nine-minute ''Time Piece'' was nominated by the Academy of Motion Picture Arts and Sciences for an Oscar for Short Film in 1966. The year 1969 saw the production of the NBC-TV movie ''The Cube'' – another Henson-produced experimental film.
At first, Henson's Muppets appeared separately from the realistic segments on the Street, but after a poor test-screening in Philadelphia, Pennsylvania, the show was revamped to integrate the two, placing much greater emphasis on Henson's work. Though Henson would often downplay his role in ''Sesame Street'''s success, Cooney frequently praised Jim's work and, in 1990, the Public Broadcasting Service called him "the spark that ignited our fledgling broadcast service." The success of ''Sesame Street'' also allowed Henson to stop producing commercials. He later remembered that "it was a pleasure to get out of that world".
In addition to creating and performing Muppet characters, Henson was involved in producing various film and animation insets during the first two seasons. During the first, Henson produced a series of counting films for the numbers 1 through 10, which always ended with a baker (voiced by Henson) falling down the stairs while carrying the featured number of desserts. For seasons two to seven, Henson worked on a variety of inserts for the numbers 2 through 12, in a number of different styles – including film ("Dollhouse", "Number Three Ball Film"), stop-motion ("King of Eight", "Queen of Six"), cut-out animation ("Eleven Cheer"), and computer animation ("Nobody Counts To 10").
Concurrently with the first years of ''Sesame Street'', Henson directed ''Tales From Muppetland'', a short series of TV movie specials – in the form of comedic tellings of classic fairy tales – aimed at a young audience and hosted by Kermit the Frog. The series included ''Hey, Cinderella!'', ''The Frog Prince'', and ''The Muppet Musicians of Bremen''.
Around the time of his characters' final appearances on ''SNL'', Henson began developing two projects featuring the Muppets: a Broadway show and a weekly television series. In 1976 the series was initially rejected by the American networks who believed that Muppets would only appeal to a child audience. Henson was finally able to convince British impresario Lew Grade to finance the show, which would be shot in the United Kingdom and syndicated worldwide. That same year, he abandoned work on his Broadway show and moved his creative team to England, where ''The Muppet Show'' began filming. ''The Muppet Show'' featured Kermit as host, and a variety of other memorable characters, notably Miss Piggy, Gonzo the Great, and Fozzie Bear. Kermit's role on ''The Muppet Show'' was often compared by his co-workers to Henson's role in Muppet Productions: a shy, gentle boss with "a whim of steel" who "[ran] things as firmly as it is possible to run an explosion in a mattress factory." Caroll Spinney, the puppeteer of Big Bird and Oscar the Grouch, remembered that Henson "would never say he didn't like something. He would just go 'Hmm.' That was famous. And if he liked it, he would say, 'Lovely!' " Henson himself recognized Kermit as an alter-ego, though he thought that Kermit was bolder than his creator; he once said of Kermit, "He can say things I hold back."
Jim Henson was the performer for several well known characters, including Kermit the Frog, Rowlf the Dog, Dr. Teeth, The Swedish Chef, Waldorf, Link Hogthrob, and the Muppet Newsman.
A song from the film, "The Rainbow Connection", sung by Henson as Kermit, hit #25 on the Billboard Hot 100 and was nominated for an Academy Award. In 1981, a Henson-directed sequel, ''The Great Muppet Caper'', followed, and Henson decided to end the still-popular ''Muppet Show'' to concentrate on making films. From time to time, the Muppet characters continued to appear in made-for-TV-movies and television specials.
In addition to his own puppetry projects, Henson also aided others in their work. In 1979, he was asked by the producers of the ''Star Wars'' film ''The Empire Strikes Back'' to aid make-up artist Stuart Freeborn in the creation and articulation of enigmatic Jedi Master Yoda. Henson suggested to ''Star Wars'' creator George Lucas that he use Frank Oz as the puppeteer and voice of Yoda. Oz voiced Yoda in ''Empire'' and each of the five subsequent ''Star Wars'' films, and the naturalistic, lifelike Yoda became one of the most popular characters in the ''Star Wars'' films. Lucas even lobbied unsuccessfully to have Oz nominated for a Best Supporting Actor Academy Award.
In 1982, Henson founded the Jim Henson Foundation to promote and develop the art of puppetry in the United States. Around that time, he also began creating darker and more realistic fantasy films that did not feature the Muppets and displayed "a growing, brooding interest in mortality." With 1982's ''The Dark Crystal'', which he co-directed with Frank Oz and also co-wrote, Henson said he was "trying to go toward a sense of realism—toward a reality of creatures that are actually alive [where] it's not so much a symbol of the thing, but you're trying to [present] the thing itself." To provide a visual style distinct from the Muppets, the puppets in ''The Dark Crystal'' were based on conceptual artwork by Brian Froud.
''Crystal'' was a financial and critical success, and, a year later, the Muppet-starring ''The Muppets Take Manhattan'' (directed by Frank Oz) did fair box-office business, grossing $25.5 million domestically and ranking as one of the top 40 films of 1984. However, 1986's ''Labyrinth'', a ''Crystal''-like fantasy that Henson directed by himself, was considered (in part due to its cost) a commercial disappointment. Despite some positive reviews (''The New York Times'' called it "a fabulous film"), the commercial failure of ''Labyrinth'' demoralized Henson to the point that son Brian Henson remembered the time of its release as being "the closest I've seen him to turning in on himself and getting quite depressed." The film later became a cult classic. Henson and his wife also separated the same year, although they remained close for the rest of his life. Jane later said that Jim was so involved with his work that he had very little time to spend with her or their children. All five of his children began working with Muppets at an early age, partly because, Cheryl Henson remembered, "One of the best ways of being around him was to work with him".
In late 1989, Henson entered into negotiations to sell his company to The Walt Disney Company for almost $150 million, hoping that, with Disney handling business matters he would "be able to spend a lot more of my time on the creative side of things." By 1990, he had completed production on a television special, ''The Muppets at Walt Disney World'', and a Disney World (Later Disney's California Adventure as well) attraction, ''Jim Henson's Muppet*Vision 3D'', and was developing film ideas and a television series titled ''Muppet High''.
On May 12, 1990, Henson traveled to Ahoskie, North Carolina, with his daughter Cheryl to visit his father and stepmother. The next day, feeling tired and ill, he consulted a physician in North Carolina, who could find no evidence of pneumonia by physical examination and prescribed no treatment except aspirin. Henson returned to New York on an earlier flight and cancelled a Muppet recording session scheduled for May 14.
Henson's wife Jane, from whom he was separated, came to visit and sat with him talking throughout the evening. At 2 A.M. on May 15, Henson was having trouble breathing and began coughing up blood. He suggested to his wife that he might be dying, but did not want to bother going to the hospital. She later told ''People Magazine'' that it was likely due to his desire not to be a bother to people.
Two hours later, Henson finally agreed to go to New York Hospital. By the time he was admitted at 4:58 A.M., he could no longer breathe on his own and had abscesses in his lungs. He was placed on a mechanical ventilator to help him breathe, but his condition deteriorated rapidly into septic shock despite aggressive treatment with multiple antibiotics. 20 hours and 23 minutes after he was admitted, Henson died on the morning of May 16, 1990 at the age of 53.
The official cause of death was first reported as ''Streptococcus pneumonia'', a bacterial infection. Bacterial pneumonia is usually caused by ''Streptococcus pneumoniae'', an alpha-hemolytic species of ''Streptococcus''. Henson's cause of death, however, was organ failure resulting from ''Streptococcus pyogenes'', a severe Group A streptococcal infection. ''S. pyogenes'' is the bacterial species that causes strep throat, scarlet fever, and rheumatic fever. It can also cause other infections.
On May 21, a public memorial service was held in New York City at the Cathedral of St. John the Divine. Another one was held on July 2 at St. Paul's Cathedral in London. As per Henson's wishes, no one in attendance wore black, and a Dixieland jazz band finished the service by performing "When The Saints Go Marching In". Harry Belafonte sang "Turn the World Around," a song he had debuted on ''The Muppet Show'', as each member of the congregation waved, with a puppeteer's rod, an individual, brightly-colored foam butterfly. Later, Big Bird (performed by Caroll Spinney) walked out onto the stage and sang Kermit the Frog's signature song, "Bein' Green". Henson was cremated at Ferncliff Cemetery. His ashes were scattered in Santa Fe, New Mexico, at his ranch.
In the final minutes of the two-and-a-half hour service, six of the core Muppet performers sang, in their characters' voices, a medley of Jim Henson's favorite songs, culminating in a performance of "Just One Person" that began with Richard Hunt singing alone, as Scooter. "As each verse progressed," Henson employee Chris Barry recalled, "each Muppeteer joined in with their own Muppets until the stage was filled with all the Muppet performers and their beloved characters." The funeral was later described by LIFE as "an epic and almost unbearably moving event." The image of a growing number of performers singing "Just One Person" was recreated for the 1990 television special ''The Muppets Celebrate Jim Henson'' and inspired screenwriter Richard Curtis, who attended the London service, to write the growing-orchestra wedding scene of his 2003 film ''Love Actually''.
Henson's sudden death resulted in an outpouring of public and professional affection. There have since been numerous tributes and dedications in his memory. Henson’s companies, which are now run by his children, continue to produce films and television shows.
On February 17, 2004, it was announced that the Muppets (excluding the ''Sesame Street'' characters, which are separately owned by Sesame Workshop) and the ''Bear in the Big Blue House'' properties had been sold by Henson's heirs to The Walt Disney Company.
The Jim Henson Company retains the Creature Shop, as well as the rest of its film and television library including ''Fraggle Rock'', ''Farscape'', ''The Dark Crystal'', and ''Labyrinth''.
In 2010, it was announced that the first major biography of Henson, sanctioned by the family and the Jim Henson Legacy, was under way.
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