greek mythology extended essay

A Summary and Analysis of the Myth of Sisyphus

By Dr Oliver Tearle (Loughborough University)

The poster-boy of existentialism, Sisyphus has become associated with laborious and pointless tasks, because he was condemned to roll a boulder up a hill, only for the boulder to roll back down to the bottom just as he was about to complete the task. He was thus doomed to repeat this action forever.

However, there’s a lot more to the story of Sisyphus than this snapshot, so let’s take a closer look at the Sisyphus myth, who he was, and why he was so important to ancient Greek civilisation.

Summary of the Sisyphus myth

Although he’s best-known now for rolling a stone up a hill, Sisyphus did lots before he was doomed to repeat that (literal) uphill struggle. He was the mythical founder of the city-state of Corinth (called Ephyra at the time) and was viewed as the successor to Medea – she of the doomed relationship with Jason, of Argonauts fame.

He was also credited with founding the Isthmian games, which were held both the year before and the year after the Olympic Games (the second and fourth years of an Olympiad), from around 582 BC (nearly two centuries after the first Olympic games were held).

Sisyphus is credited with siring, among others, Glaucus, Bellerophon, and even – in one version – wily Odysseus himself. The story goes that Autolycus had stolen Sisyphus’ flock, but Sisyphus, viewed by many as the most cunning of all men, had taken the precaution of branding his name onto his animals, so he could prove the stolen flock was his.

Autolycus’ daughter Anticleia was due to marry Laertes the next day after this thwarted act of farmyard theft took place, and Sisyphus, to get his revenge, slipped into Anticleia’s bed the night before her wedding and seduced her. She conceived Odysseus as a result.

But because Autolycus was impressed by Sisyphus’ cleverness, he happily gave up his daughter to Sisyphus, because he wanted to have a wily and quick-thinking grandson. Odysseus certainly grew up to be just that, as Homer’s Odyssey attests. Laertes, in this version of the Odysseus’ story, wasn’t Odysseus’ biological father, then.

But how did Sisyphus end up being condemned to roll a boulder up a hill, for all eternity? That, too, depends on which version of the myth you read.

For instance, according to one account, Sisyphus ended up rolling that rock uphill because he snitched on Zeus during one of the god’s various acts of abduction involving young and beautiful women. When Zeus made off with Aegina, Sisyphus saw him. Aegina’s father, Asopus, found out that Sisyphus had witnessed it and he asked Sisyphus to tell him who had taken his daughter.

Sisyphus, ever the wily man, made him a deal: he’d tell Asopus who had made off with his daughter if Asopus made a spring gush onto the citadel of Corinth. Asopus agreed to this, and Sisyphus dropped Zeus right in it.

Zeus, whose short temper was as legendary as his penchant for running off with maidens, wasn’t too happy about Sisyphus dobbing him in like this, so he struck Sisyphus down with a thunderbolt. Transported to the Underworld, Sisyphus was condemned to roll a boulder up a hill, for all eternity.

Homer, however, tells the story quite differently. Here, Sisyphus’ ‘crime’ was refusing to die when the gods decreed it. So, Zeus sent Thanatos, the spirit of Death, to carry the stubborn Sisyphus off to the Underworld. But Zeus had underestimated how wily Sisyphus was, and Sisyphus was waiting for Thanatos when he arrived, chained up this deathly agent, and in doing so, suspended death across all of the world. With Thanatos in captivity, nobody – including Sisyphus himself – could die.

But you cannot cheat death forever, and Sisyphus was forced, by Zeus, to unchain Thanatos so that the daily business of death could resume.

Unfortunately for Sisyphus, his name was first on the list.

But once again, Sisyphus tricked his way out of it. He hatched a plan with his wife, telling her that when they carried him off to the Underworld, she shouldn’t observe the funeral rites usually accorded a dead person. When Sisyphus arrived before Hades in the Underworld, he complained that his wife had refused to honour him when he died, and Hades agreed to let him go back and chastise his rude widow. The trick worked, and Sisyphus somehow got away with living for many more years.

When he did eventually die, the gods made sure he couldn’t trick his way out of the Underworld again, by setting him the endless task with which he is now so closely associated: rolling that massive rock forever up a hill, only to find – when he reached the top of the hill – that the rock rolled all the way back down to the bottom and he had to start all over again.

Analysis of the Sisyphus myth

Not all Greek myths have a ‘moral’ as such, but it’s clear, when we look at a fuller summary of the story (or stories) of Sisyphus, that his punishment – rolling that rock endlessly up a hill – was contrived by the gods in response to Sisyphus’ legendary craftiness and cunning. You really can be too clever for your own good: Sisyphus was.

The story of Sisyphus is so well-known in modern times thanks to Albert Camus, whose essay ‘ The Myth of Sisyphus ’ (1942) is an important text about the absurdity of modern life (although it’s often described as being ‘Existentialist’, Camus’ essay is actually closer to Absurdism).

For Camus, Sisyphus is the poster-boy for Absurdism, because he values life over death and wishes to enjoy his existence as much as possible, but is instead thwarted in his aims by being condemned to carry out a repetitive and pointless task. Such is the life of modern man: condemned to perform the same futile daily rituals every day, working without fulfilment, with no point or purpose to much of what he does.

However, for Camus – and again, this part is generally misunderstood by people who haven’t read Camus’ essay but only heard about its ‘argument’ at second hand – there is something positive in Sisyphus’ condition, or rather his approach to his rather gloomy fate. When Sisyphus sees the stone rolling back down the hill and has to march back down after it, knowing he will have to begin the same process all over again, Camus suggests that Sisyphus would come to realise the absurd truth of his plight, and treat it with appropriate scorn.

In a sense, he is ‘free’: not from having to perform the task, but from performing it unquestioningly or in the vain hope that it will end. He has liberated his own mind by confronting the absurdity of his situation, and can view it with the appropriate contempt and good humour. As the old line has it, ‘you have to laugh …’

Of course, the Greek gods were capricious, and weren’t always justified when meting out their punishments to mortals, but Sisyphus’ determination to cheat death is obviously doomed to failure, in the long run.

Indeed, the ancient Greeks knew, as every civilisation worthy of the name has known, that death is an inevitable and even desirable part of life: for people to live forever would be unbearable, a hell on earth, with no room being made for the next generation. In all the various versions of the myth of Sisyphus, he is not merely cunning (a quality we can applaud), but self-interested .

He sleeps with Laertes’ bride-to-be as revenge for Autolycus’ attempted theft of his flock, and, one suspects, because he fancied the girl himself. He dropped Zeus in it with Asopus, not because he believed it the morally right thing to do, but because there was something in it for him. And he tried to cheat death because he didn’t want to face his own end.

We might admire Sisyphus for his quick-thinking skills and his guile, but what makes him a compelling Greek ‘hero’ – if we can use that word of him – is his selfish streak that makes him flawed, and, therefore, more human to us.

About Greek mythology

The Greek myths are over two thousand years old – and perhaps, in their earliest forms, much older – and yet many stories from Greek mythology, and phrases derived from those stories, are part of our everyday speech. So we describe somebody’s weakness as their Achilles heel , or we talk about the dangers of opening up Pandora’s box . We describe a challenging undertaking as a Herculean task , and speak of somebody who enjoys great success as having the Midas touch .

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145 Ancient Greece Research Topics and Essay Ideas

🏆 best greek topics to write about, 💡 most interesting ancient greece topics for research, 📌 simple & easy topics about ancient greece, 👍 good ancient greece writing prompts, ❓ research questions about ancient greece.

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Home — Essay Samples — Literature — Hercules — Hercules: The Legendary Greek Mythical Hero

Hercules: The Legendary Greek Mythical Hero

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Chapter 1: origins and parentage, chapter 2: twelve labors of hercules, chapter 3: beyond the labors, chapter 4: hercules' legacy, conclusion: hercules - a hero for the ages.

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The Influence of the Nine Muses in Greek Mythology

This essay is about the Nine Muses of Greek mythology, who symbolize artistic inspiration and intellectual pursuits. Originating from the union of Zeus and Mnemosyne, each Muse presides over a specific domain: Calliope (epic poetry), Clio (history), Erato (love poetry), Euterpe (music), Melpomene (tragedy), Polyhymnia (sacred poetry), Terpsichore (dance), Thalia (comedy), and Urania (astronomy). They played a crucial role in ancient Greek culture, inspiring poets, historians, musicians, and scholars. The essay highlights their significance in preserving culture, evoking emotional expression, and fostering the link between creativity and knowledge. The enduring legacy of the Muses underscores the timeless importance of the arts and sciences in human civilization.

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Entwined within the chronicles of Greek mythology, the Nine Muses endure as timeless embodiments of artistic ingenuity and intellectual pursuit. These celestial beings, each presiding over a distinct realm of the arts and sciences, held a paramount significance in ancient Greek society. They transcended mere symbols of creativity; they were venerated as divine benefactors of humanity’s loftiest endeavors, from epic poetry to celestial observation.

The genesis of the Muses can be traced to the union of Zeus, the sovereign deity of Olympus, and Mnemosyne, the personification of memory.

This celestial lineage underscores their role in bridging creativity and erudition, as memory serves as the linchpin for the preservation and dissemination of cultural heritage. Each Muse laid claim to a specific sphere: Calliope for epic poetry, Clio for historiography, Erato for lyrical verse, Euterpe for melodic harmony, Melpomene for tragic drama, Polyhymnia for sacred hymnody, Terpsichore for rhythmic dance, Thalia for comedic theater, and Urania for celestial observation. Collectively, they constituted a comprehensive embodiment of artistic and scientific pursuits, underscoring their intrinsic value to human existence.

Calliope, often depicted wielding a scriptural tablet, reigned supreme among her peers. Her association with epic poetry situated her at the epicenter of Greek narrative traditions, inspiring compositions that conveyed heroic sagas and ethical precepts. Homer, the legendary bard behind the “Iliad” and the “Odyssey,” purportedly invoked Calliope’s muse for inspiration, a testament to her esteemed stature within the Muse pantheon.

Clio, the Muse of historiography, typically portrayed clutching a parchment scroll or a casket of manuscripts, symbolized the chronicling of events and the imperative of drawing wisdom from antiquity. In a culture that prized oral traditions, Clio’s custodianship was indispensable in ensuring the perpetuation of narratives and annals for posterity. Her influence transcended mere archival duties; she impelled historians and scholars to pursue truth and enlightenment amidst the tapestry of human experience.

Erato, the Muse of lyrical poetry, and Euterpe, the Muse of musical harmony, epitomized the emotive and melodious facets of human expression. Erato’s dominion over poetry exploring themes of ardor and intimacy underscored the profound nexus between emotion and artistic creation. Euterpe, bearing her flute, epitomized the euphoria and solace evoked by music, underscoring its capacity to stir and uplift the human spirit.

Melpomene and Thalia, the Muses of tragic and comic drama respectively, personified the dualistic nature of the human condition. Melpomene, often depicted donning a tragic mask, served as a poignant reminder of the cathartic potency of sorrow and the enlightening insights gleaned from adversity. Thalia, brandishing a comedic visage, evoked mirth and levity, offering respite from life’s tribulations through humor. Together, they harmonized the emotional spectrum of theatrical performance, mirroring the intricacies of existence.

Polyhymnia, the Muse of sacred hymnody, stood as a testament to the ethereal and divine dimensions of artistic expression. Frequently portrayed in contemplative repose, she epitomized the communion between the mortal and the celestial, inspiring hymns and devotional chants that uplifted the soul. Her influence underscored the notion that art could serve as a conduit for worship and a means of communion with higher realms.

Terpsichore, the Muse of dance, encapsulated the elegance and dynamism of corporeal movement. Dance, as an art form, transcended cultural boundaries as a universal language, and Terpsichore’s inspiration permeated rhythmic expressions of joy, sorrow, and every sentiment in between. Her presence underscored the corporeal manifestation of artistic expression.

Lastly, Urania, the Muse of celestial observation, bridged the realms of art and science. Often portrayed with a celestial globe or navigational instrument, she symbolized the quest for cosmic understanding. Urania’s influence extended to all who gazed skyward in pursuit of enlightenment, amalgamating the awe of the cosmos with the precision of scientific inquiry.

The Nine Muses were not mere figments of mythological lore; they constituted the very essence of the cultural and intellectual tapestry of ancient Greece. Their imprint resonates across the spectrum of artistic and scholarly endeavors that have shaped human civilization. By inspiring creativity, preserving history, and instilling wonder about the cosmos, the Muses serve as enduring exemplars of the intrinsic potency of the arts and sciences. In a world ceaselessly questing for meaning and inspiration, the legacy of the Nine Muses endures as profoundly relevant today as it was in antiquity.

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Eng A1 EE-Greek Mythology in Modern Literature

By NightWings January 11, 2011 in Extended Essay

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I've decided to do my EE in English A1. I wanted to look at Greek mythology in modern literature, in particular pop culture literature, but I need some advice with the details.

The books I have come up with so far are

- the Harry Potter series,

- Percy Jackson series.

I'd like a third book but I dont know what else to use. I was thinking of Narnia, but I dont know if it counts as modern literature as it was written during WWI. Any ideas on similar books I could look at?

Also I'm not really sure how to narrow down my topic. I know its really broad right now, I'm just not sure what particular aspects I could look at. Any ideas?

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My friend analyzed the witches in Narnia about 4 years ago... so I think you can use Narnia

You'll definitely have to narrow down your topic. You could right thousands of pages on mythology in the books. Maybe you could narrow it down to analyzing the Greek mythology is specific characters, creatures/animals that appear, setting/surroundings... and than analyze how each authors literary devices or whatever that they use corresponds to typical Greek mythology?

I'd also be careful about how many books you're analysing. Either they're poor examples of Greek Mythology being in books or you're setting yourself a very high target. The EE is about quality, mostly, so it's better to pull out and thoroughly analyse EVERY thing related to greek mythology in one book than overwhelm yourself and miss things when doing loads of books. Especially when it comes to a series, that's an epic amount of material to go through. I don't know if you could treat the subject thoroughly enough in just 4000 words and make excellent points, missing out nothing, in such a vast number of books.

Also if you do more than one book it's a good idea to have a bit of compare and contrast. What you don't want to do is write too much of a narrative EE, just picking out examples of Mythology in book A and in book B, it'd be better if you had some points to tie them together. So it might be an idea to try and think of those when deciding which texts to use.

Not really mythology so to speak, but greek literature: Penelopiad by Margaret Atwood. The Odyssey from Penelope's perspective. Could compare with Ulysses.

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