12–13; see also Ainoi, Logoi, Mythoi: Fables in Archaic, Classical, and Hellenistic Greek by Gert-Jan van Dijk and History of the Graeco-Latin Fable by Francisco Rodríguez Adrados.
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Thus the word mythology entered the English language before the word myth. Johnson's Dictionary, for example, has an entry for mythology, but not for myth. Indeed, the Greek loanword mythos (pl. mythoi) and Latinate mythus (pl.
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The Babylonian, Finnish, nonhuman, and Sumerian content were removed to allow room for expansion of the remaining mythoi. In 1992, Monster Mythology was published as a sourcebook for the second edition of Dungeons & Dragons. This work re-introduced detailed information on the deities of several non-human pantheons. The Faerûnian pantheon for the Forgotten Realms campaign setting was more fully detailed in 1996–1998 with the publication of Faiths & Avatars, Powers & Pantheons and Demihuman Deities.
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Mythical theology (theologica mythica) is one of three types of theology defined by the Roman scholar Marcus Terentius Varro (116-27 BC) in his lost work Antiquitates rerum humanarum et divinarum. The other two are political theology (theologia civilis) and natural theology (theologia naturalis). Mythical theology is practiced by story-tellers, especially poets, based on narratives (mythoi) pertaining to divine matters. Divine revelation was claimed or implied by some of these story-tellers, or their disciples.
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Ainoi, Logoi, Mythoi, Leiden, p. 57 In them could be found talking animals and plants, although humans interacting only with humans figure in a few. Typically they might begin with a contextual introduction, followed by the story, often with the moral underlined at the end. Setting the context was often necessary as a guide to the story's interpretation, as in the case of the political meaning of The Frogs Who Desired a King and The Frogs and the Sun.
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The earliest mention of the fable is a brief reference in The Myrmidons, a lost tragedy of Aeschylus written in the 5th century BCE. Here it is said to be of Libyan origin and is generally supposed to refer to the personal blame felt by Achilles for the death of his friend Patroclus.G.J. van Dyck, Ainoi, Logoi, Mythoi, Brill 1997, pp.169 ff ::So the eagle, pierced by the bow-sped shaft, looked :: At the feathered device and said, “Thus, not by others, ::But by means of our own plumage are we slain”.
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Monsters of Myth & Legend is a supplement describing over 100 monsters drawn from the American Indian, Australian Aborigine, Chinese, Greek, Irish Celtic, and Norse mythoi. Each includes game statistics and legendry; most are illustrated. Monsters of Myth & Legend is a sourcebook play aid containing encyclopedic listings of dozens of creatures and deities to add to an existing fantasy campaign or to help designers in coming up with their own adventures. Norse and Greek mythologies are covered, along with the legends of Ireland, China, the Australian Aborigines, and the American Indians.
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G. J. Van Dijk, Ainoi, Logoi, Mythoi, Brill 1997 p.280-3 Significantly, the fable is interpreted there as a warning against ever letting down one's guard where an enemy is concerned and Aphthonius too comments that "If you follow the advice of your enemies, you will run into danger". By the time the fable reappeared in Europe after the Renaissance it was being reinterpreted as a caution against being led astray by passion. The Neo-Latin poem Leo procus of Hieronymus Osius ends with the reflection "By love the cleverest , sometimes, / are led astray, the strongest tamed".
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Geert van Dijk, Ainoi, logoi, mythoi: fables in archaic, classical, and Hellenistic Greek, Brill NL 1997, p.320 Many Latin versions of the fable also existed and eventually the story became incorporated into mediaeval animal lore. The Aberdeen Bestiary, written and illuminated in England around 1200 (see above), asserts that "If a dog swims across a river carrying a piece of meat or anything of that sort in its mouth, and sees its shadow, it opens its mouth and in hastening to seize the other piece of meat, it loses the one it was carrying".Aberdeen University Library MS 24, Folio 19v.
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Present-day view of Ano Viannos. Amiras memorial designed by sculptor Yiannis Parmakelis. Amiras memorial - detail. The exact number of Greek victims remains unknown but most sources agree that the number exceeds 500, consisting of inhabitants of the villages of Kefalovryssi, Kato Simi, Amiras, Pefkos, Vachos, Agios Vassilios, Ano Viannos, Sykologos, Krevatas, Kalami and Loutraki (in Greek: Κεφαλοβρύσι, Κάτω Σύμη, Αμιράς, Πεύκος, Βαχός, Άγιος Βασίλειος, Άνω Βιάννος, Συκολόγος, Κρεβατάς, Καλάμι, και Λουτράκι) in east Viannos as well as those of Myrtos, Gdochia, Riza, Mournies, Mythoi, Malles, Christos and Parsas (present day Metaxochori) (Μύρτος, Γδόχια, Ρίζα, Μουρνιές, Μύθοι, Μάλλες, Χριστός and Παρσάς - Μεταξοχώρι) in east Ierapetra.
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Aristotle mentions in his Meteorologica how Aesop once teased a ferryman by relating to him a myth concerning Charybdis. With one gulp of the sea she brought the mountains to view; islands appeared after the next. The third is yet to come and will dry the sea altogether, thus depriving the ferryman of his livelihood.Gert-Jan van Dijk, Ainoi, logoi, mythoi: fables in archaic, classical, and Hellenistic Greek literature, Brill NL 1997,; pp.351-3 Aristotle’s reason for reporting this was in connection with the belief of the pre-Socratic philosopher Democritus that the sea’s level was gradually lowering and that it would eventually disappear.
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The first edition Manual of the Planes by Jeff Grubb describes Yggdrasil as an astral landmark, noting that it is normally encountered by travelers from worlds that worship the Norse mythoi, but travelers from other Prime Material worlds can encounter the tree. It is a long-standing conduit from the Outer Planes to alternate prime worlds that was created by a group of deities and worshippers in the Prime Material plane. Yggdrasil is the "World Ash" that links several outer planes to the Prime Material plane, in the Norse mythos. It runs from Gladsheim, home of most of the Norse mythos, to Nifflheim, the center layer of the three Glooms of Hades and the dwelling place of the goddess of the same name.
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These statistics are presented in a fashion similar to that of the Monster Manual, and the statistics are accompanied by illustrations, as well as a short descriptive piece that details under what circumstances the god will appear, what the god might do if he does appear, and what his responsibilities and penchants may be. The book also details the mythoi of these religions, as well as how their clerics should behave, and describes the known planes of existence and how the afterlife applies to characters. Interior illustrations were submitted by Jeff Dee, Eymoth (Kenneth Rahman), Paul Jaquays, Dave S. LaForce, Jeff Lanners, Erol Otus, Darlene Pekul, Jim Roslof, David C. Sutherland III, and D.A. Trampier. The original Deities & Demigods contains 17 categories of mythos for use with AD&D.
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Afrofuturism is a cultural aesthetic, philosophy of science and philosophy of history that explores the developing intersection of African diaspora culture with technology. It was coined by Mark Dery in 1993 and explored in the late 1990s through conversations led by Alondra Nelson. Afrofuturism addresses themes and concerns of the African diaspora through technoculture and science fiction, encompassing a range of media and artists with a shared interest in envisioning black futures that stem from Afrodiasporic experiences. Seminal Afrofuturistic works include the novels of Samuel R. Delany and Octavia Butler; the canvases of Jean-Michel Basquiat and Angelbert Metoyer, and the photography of Renée Cox; the explicitly extraterrestrial mythoi of Parliament-Funkadelic, the Jonzun Crew, Warp 9, Deltron 3030, Kool Keith, Sun Ra and the Marvel Comics superhero Black Panther.
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