I have this now on Kindle, I come across this book constantly referenced in other books, so got my own copy.

Moreover, the one thing I expect at the very least from an encyclopedia of mythology is a good overview. Such an overview MUST include immensely important classics like the Gilgamesh epos! However, this book does not. Other cultures aren't even referenced. If she had titled her book correctly, I really wouldn't mind. It's a nice book about the very much related mythology of the Greeks and the Romans. However, I really need to point this out again: this is supposed to be a comprehensive work of mythology as a whole! Fortunately, Edith Hamilton is no prude. Her enthusiasm for the stories in "Mythology" is evident throughout the book. At times, she comes across as a woman on a mission - her conviction about the importance of these myths in Western culture is so passionate that she is determined to spread the message to a broader audience. She is scrupulous about identifying her source materials (on this point Bulfinch is, sadly, more dilettante than scholar). She knows how to structure a narrative. Her prose is clear and reasonably accessible - slightly dated, but largely unburdened by archaic language or academic jargon. "Mythology" even comes with a bunch of nifty illustrations, done by someone with the improbable name of Steele Savage (with a great fondness for winged horses, apparently). Though her first book wasn't published until she was in her sixties, her work achieved great popular success. Book-of-the-Month Club selection in 1957, honorary citizenship of Athens, a highly laudatory obit in the New York Times when she finally died at age 95 - what's not to love? Niobe, daughter of Tantalus, disrespected the Goddess Leto by exclaiming to the people that they should worship and burn incense to her and not to the Goddess. Leto’s children, Artemis and Apollo avenged their mother by killing all 14 of Niobe’s children. Story after story of this kind, of vengeful acts and lust for power are what you can expect here. This is not the Disney adaptation, folks! What I’m not sure about is if I would have found this easy to read when I knew a very tiny amount about Greek and Roman Mythology and Norse Mythology. Though the explanations are clear, I found I got more from this this time as I am more receptive now to the chapters that have more of an encyclopaedic feel. This is not the fault of the book, it’s just the way these myths are, where there are loads of them that are not connected to a myth that is part of bigger story, for example one of the families like the House of Thebes. Greatly he failed, but he had greatly dared. And how Edith Hamilton tells Phaëthon’s story is just as engrossing.The terrifying irrational has no place in classical mythology. Magic ... is almost nonexistent. Ghosts never appear on earth in any Greek story." Edith Hamilton, an educator, writer and a historian, was born August 12, 1867 in Dresden, Germany, of American parents and grew up in Fort Wayne, Indiana, U.S.A. Her father began teaching her Latin when she was seven years old and soon added Greek, French and German to her curriculum. Hamilton's education continued at Miss Porter's School in Farmington, Connecticut and at Bryn Mawr College near Philadelphia, Pennsylvania, from which she graduated in 1894 with an M.A. degree. The following year, she and her sister Alice went to Germany and were the first women students at the universities of Munich and Leipzich. This story, along with a few others, got me wondering why no one has created any horror adaptations of the Greek Myths. Some of the tales have a really insidious tone that I think could make for some chilling cinematics. One that stood out was the Wine God, Dionysus, and his Bacchantes/Maenads (Wine-maddened/berserker women). Pentheus, a King of Thebes, questions Dionysus’ divinity and Dionysus satiates his need for vengeance by placing the women of Thebes into a Frenzy and, long-story-short, Pentheus’ Mother and Aunties tear him limb from limb only to be awakened from their frenzy to look in horror at what they’ve done. Horrifying stuff. If you’re aware of any Greek Myth Horror adaptations, let me know! Intelligence did not figure largely in anything he did and was often conspicuously absent." (about Hercules)

I like how Edith Hamilton represents the gods, she’s clearly not a fan of most of them, also her explanation of the Eleusinian Mysteries is the clearest I have come across so far. What stood out for me in this audiobook was the transparency of its sources as it retold the Greek myths. I found this helpful to help me continue to get a handle on how this vast subject is connected to Ancient History and Human History; as I was listening to it I had so many moments where small scraps made a few more things a little bit clearer for me. How can you have any pudding, if you don’t eat your kids?” I mean, you can’t fault the logic, dessert’s delicious but not nearly as nutritious as human flesh. Cronus (Saturn), father of Zeus, learned from Gaia and Uranus that one of his own children would overthrow him as he did his own father. So, he devoured them all as soon as they were born to prevent the prophecy, as you would. Anyway, Zeus escaped the same fate as his siblings for… reasons, the prophecy was fulfilled, the kids were regurgitated etc. etc.Anyways, mythology is always something I was interested in and loved, it's in so much of our everyday life still in the stories we tell and our history. I know most of my real life friends read this in the 10th grade, but my class read The Odyssey only and I've always meant to get to this book but didn't until now. We hear the tales of Jason and the Golden Fleece, Cupid and Psyche, and mighty King Midas. We discover the origins of the names of the constellations. And we recognize reference points for countless works of art, literature, and cultural inquiry--from Freud's Oedipus complex to Wagner's Ring Cycle of operas to Eugene O'Neill's Mourning Becomes Electra.

Greek and Roman myths involving love and adventure, including the tales of Eros and Psyche and Jason's quest for the Golden Fleece Most wanted for crimes against humanity are Aphrodite, Hera, Athena, Poseidon and Apollo. Nevertheless, none of the Olympians could be considered Angels and they’ve all got blood on their hands by the closing of this book. Fellow Demi-Gods, heed my words! If I speak falsely, may Zeus’ thunderbolt strike me down where I stand! May Poseidon thrust upon me an irrational desire to undertake coital alignment with a bovine beauty (a horny heifer/arousable angus/titillated toro, if you'd be so kind)! May I dream a most splendid dream in which my lips meet those of the blessed Aphrodite herself, only to awaken and find, in horror, that I am merely tongue-wrestling the three heads of Cerberus! Alas! None of that should be necessary, as I think you’ll find what I have to say most agreeable.I really liked how Edith Hamilton starts her book with a detailed intro to Greek and Roman myths and talking about some of the ancient writers before telling the creation myth, which covers the breakdown of the gods, leading to the heroic and moral stories including Prometheus, Madea and the Trojan heroes. I also like how it slips in some Norse mythology at the end. It's almost as bad as Bulfinch telling the readers which myths are Christian enough to be included and which had to be shortened/changed for his "genteel" readers. It is precisely the original stories I want to be told about or at least I want a thorough comparison! One thing became clear to me as I read these books. Although the myths remain unchanged, the way that we think about them has evolved considerably over the last 150 years. This is one reason why the bowdlerized myths presented to us by Bulfinch, in which each story is rendered moribund by being stripped of all reference to sex, violence, or any hint of unpleasantness, are so unsatisfactory to a 21st century reader. Pindar in the early fifth century tells the tale about the feast Tantalus made the gods and protests that it is not true. The punishment of Tantalus is described often, first in the Odyssey, from which I have taken it. Amphion's story, and Niobe's, I have taken from Ovid, who alone tells them in full. For Pelops winning the chariot race I have preferred Apollodorus, of the first or second century A.D., who gives the fullest account that has come down. The story of Atreus' and Thyestes' crimes and all that followed is taken from Aeschylus' Oresteia.