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dragon, in the mythologies, legends, and folktales of various cultures, a large lizard- or serpent-like creature, conceived in some traditions as evil and in others as beneficent. In medieval Europe, dragons were usually depicted with wings and a barbed tail and as breathing fire. In Greece the word drakōn, from which the English word was derived, was used originally for any large serpent (see sea serpent), and the dragon of mythology, whatever shape it later assumed, remained essentially a snake.
In general, in the Middle Eastern world, where snakes are large and deadly, the serpent or dragon was symbolic of the principle of evil. Thus, the Egyptian god Apepi, for example, was the great serpent of the world of darkness. But the Greeks and Romans, though accepting the Middle Eastern idea of the serpent as an evil power, also at times conceived the drakontes as beneficent—sharp-eyed dwellers in the inner parts of Earth. On the whole, however, the evil reputation of dragons was the stronger, and in Europe it outlived the other. Christianity confused the ancient benevolent and malevolent serpent deities in a common condemnation. In Christian art the dragon came to be symbolic of sin and paganism and, as such, was depicted prostrate beneath the heels of saints and martyrs.
The dragon’s form varied from the earliest times. The Chaldean dragon Tiamat had four legs, a scaly body, and wings, whereas the biblical dragon of Revelation, “the old serpent,” was many-headed like the Greek Hydra. Because they not only possessed both protective and terror-inspiring qualities but also had decorative effigies, dragons were early used as warlike emblems, as indicated in the story of King Agamemnon (from Homer’s Iliad), who had on his shield a blue three-headed snake, and in the practice among Norse warriors of painting dragons on their shields and carving dragons’ heads on the prows of their ships. In England before the Norman Conquest, the dragon was chief among the royal ensigns in war, having been instituted as such, according to Arthurian legend, by Uther Pendragon, King Arthur’s father. In the 20th century the dragon was officially incorporated in the armorial bearings of the prince of Wales.
Chinese New Year: Lantern FestivalLight display of a dragon at a Lantern Festival marking the end of the Chinese New Year.
In East Asian mythologies the dragon retains its prestige and is conceived as a beneficent creature. The Chinese dragon, lung, represents yang, the principle of heaven, activity, and maleness in the yinyang of Chinese cosmology. From ancient times it was the emblem of the imperial family, and until the founding of the republic (1911) the dragon adorned the Chinese flag. The dragon came to Japan with much of the rest of Chinese culture, and there (as ryū or tatsu) it became capable of changing its size at will, even to the point of becoming invisible. Both Chinese and Japanese dragons, though regarded as powers of the air, are usually wingless. They are among the deified forces of nature in Daoism. Dragons also figure in the ancient mythologies of other Asian cultures, including those of Korea, India, and Vietnam.
How the Komodo dragon got its nameMagical creature or real-life lizard?See all videos for this article
The term dragon has no zoological meaning, but it has been applied in the Latin generic name Draco to a number of species of small lizards found in the Indo-Malayan region. The name is also popularly applied to the giant monitor, Varanus komodoensis, discovered on Komodo Island and a few neighbouring islands of the Lesser Sunda Islands of Indonesia.
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myth, a symbolic narrative, usually of unknown origin and at least partly traditional, that ostensibly relates actual events and that is especially associated with religious belief. It is distinguished from symbolic behaviour (cult, ritual) and symbolic places or objects (temples, icons). Myths are specific accounts of gods or superhuman beings involved in extraordinary events or circumstances in a time that is unspecified but which is understood as existing apart from ordinary human experience. The term mythology denotes both the study of myth and the body of myths belonging to a particular religious tradition.
Examine the ways in which mythology functioned for the ancient Greek populationThis 1973 film, produced by Encyclopædia Britannica Educational Corporation, explores Greek myth as early fiction, as history in disguise, and as the outgrowth of prehistoric ritual.(more)See all videos for this article
As with all religious symbolism, there is no attempt to justify mythic narratives or even to render them plausible. Every myth presents itself as an authoritative, factual account, no matter how much the narrated events are at variance with natural law or ordinary experience. By extension from this primary religious meaning, the word myth may also be used more loosely to refer to an ideological belief when that belief is the object of a quasi-religious faith; an example would be the Marxist eschatological myth of the withering away of the state.
While the outline of myths from a past period or from a society other than one’s own can usually be seen quite clearly, to recognize the myths that are dominant in one’s own time and society is always difficult. This is hardly surprising, because a myth has its authority not by proving itself but by presenting itself. In this sense the authority of a myth indeed “goes without saying,” and the myth can be outlined in detail only when its authority is no longer unquestioned but has been rejected or overcome in some manner by another, more comprehensive myth.
The word myth derives from the Greek mythos, which has a range of meanings from “word,” through “saying” and “story,” to “fiction”; the unquestioned validity of mythos can be contrasted with logos, the word whose validity or truth can be argued and demonstrated. Because myths narrate fantastic events with no attempt at proof, it is sometimes assumed that they are simply stories with no factual basis, and the word has become a synonym for falsehood or, at best, misconception. In the study of religion, however, it is important to distinguish between myths and stories that are merely untrue.
The first part of this article discusses the nature, study, functions, cultural impact, and types of myth, taking into account the various approaches to the subject offered by modern branches of knowledge. In the second part, the specialized topic of the role of animals and plants in myth is examined in some detail. The mythologies of specific cultures are covered in the articles Greek religion, Roman religion, and Germanic religion.
The nature, functions, and types of myth
Myth has existed in every society. Indeed, it would seem to be a basic constituent of human culture. Because the variety is so great, it is difficult to generalize about the nature of myths. But it is clear that in their general characteristics and in their details a people’s myths reflect, express, and explore the people’s self-image. The study of myth is thus of central importance in the study both of individual societies and of human culture as a whole.
Relation of myths to other narrative forms
In Western culture there are a number of literary or narrative genres that scholars have related in different ways to myths. Examples are fables, fairy tales, folktales, sagas, epics, legends, and etiologic tales (which refer to causes or explain why a thing is the way it is). Another form of tale, the parable, differs from myth in its purpose and character. Even in the West, however, there is no agreed definition of any of these genres, and some scholars question whether multiplying categories of narrative is helpful at all, as opposed to working with a very general concept such as the traditional tale. Non-Western cultures apply classifications that are different both from the Western categories and from one another. Most, however, make a basic distinction between “true” and “fictitious” narratives, with “true” ones corresponding to what in the West would be called myths.
If it is accepted that the category of traditional tale should be subdivided, one way of doing so is to regard the various subdivisions as comparable to bands of colour in a spectrum. Within this figurative spectrum, there will be similarities and analogies between myth and folktale or between myth and legend or between fairy tale and folktale. In the section that follows, it is assumed that useful distinctions can be drawn between different categories. It should, however, be remembered throughout that these classifications are far from rigid and that, in many cases, a given tale might be plausibly assigned to more than one category.
The word fable derives from the Latin word fabula, which originally meant about the same as the Greek mythos. Like mythos, it came to mean a fictitious or untrue story. Myths, in contrast, are not presented as fictitious or untrue.
Fables, like some myths, feature personified animals or natural objects as characters. Unlike myths, however, fables almost always end with an explicit moral message, and this highlights the characteristic feature of fables—namely, that they are instructive tales that teach morals about human social behaviour. Myths, by contrast, tend to lack this directly didactic aspect, and the sacred narratives that they embody are often hard to translate into direct prescriptions for action in everyday human terms. Another difference between fables and myths relates to a feature of the narratives that they present. The context of a typical fable will be unspecific as to time and space—e.g., “A fox and a goose met at a pool.” A typical myth, on the other hand, will be likely to identify by name the god or hero concerned in a given exploit and to specify details of geography and genealogy—e.g., “Oedipus was the son of Laius, the king of Thebes.”
Fairy tales
The term fairy tale, if taken literally, should refer only to stories about fairies, a class of supernatural and sometimes malevolent beings—often believed to be of diminutive size—who were thought by people in medieval and postmedieval Europe to inhabit a kingdom of their own; a literary expression of this belief can be found in William Shakespeare’s A Midsummer Night’s Dream. The term fairy tale, however, is normally used to refer to a much wider class of narrative, namely stories (directed above all at an audience of children) about an individual, almost always young, who confronts strange or magical events; examples are “Jack and the Beanstalk,” “Cinderella,” and “Snow White and the Seven Dwarfs.” The modern concept of the fairy tale seems not to be found earlier than the 18th century in Europe, but the narratives themselves have earlier analogues much farther afield, notably in the Indian Katha-saritsagara (The Ocean of Story) and in The Thousand and One Nights.
Like myths, fairy tales present extraordinary beings and events. Unlike myths—but like fables—fairy tales tend to be placed in a setting that is geographically and temporally vague and might begin with the words “Once upon a time there was a handsome prince….” A myth about a prince, by contrast, would be likely to name him and to specify his lineage, since such details might be of collective importance (for example, with reference to issues of property inheritance or the relative status of different families) to the social group among which the myth was told.
There is much disagreement among scholars as to how to define the folktale; consequently, there is disagreement about the relation between folktale and myth. One view of the problem is that of the American folklorist Stith Thompson, who regarded myths as one type of folktale; according to this approach, the particular characteristic of myth is that its narratives deal with sacred events that happened “in the beginning.” Other scholars either consider folktale a subdivision of myth or regard the two categories as distinct but overlapping. The latter view is taken by the British Classicist Geoffrey S. Kirk, who in Myth: Its Meaning and Functions in Ancient and Other Cultures (1970) uses the term myth to denote stories with an underlying purpose beyond that of simple story-telling and the term folktale to denote stories that reflect simple social situations and play on ordinary fears and desires. Examples of folktale motifs are encounters between ordinary, often humble, human beings and supernatural adversaries such as witches, giants, or ogres; contests to win a bride; and attempts to overcome a wicked stepmother or jealous sisters. But these typical folktale themes occur also in stories normally classified as myths, and there must always be a strong element of arbitrariness in assigning a motif to a particular category.
A different and important aspect of the problem of defining a folktale relates to the historical origin of the concept. As with the notion of folklore, the notion of folktale has its roots in the late 18th century. From that period until the middle of the 19th century, many European thinkers of a nationalist persuasion argued that stories told by ordinary people constituted a continuous tradition reaching back into the nation’s past. Thus, stories such as the Märchen (“tales”) collected by the Grimm brothers in Germany are folktales because they were told by the people rather than by an aristocratic elite. This definition of folktale introduces a new criterion for distinguishing between myth and folktale—namely, what class of person tells the story—but it by no means removes all the problems of classification. Just as the distinction between folk and aristocracy cannot be transferred from medieval Europe to precolonial Africa or Classical Greece without risk of distortion, so the importing of a distinction between myth and folktale on the later European model is extremely problematic.
The word saga is often used in a generalized and loose way to refer to any extended narrative re-creation of historical events. A distinction is thus sometimes drawn between myths (set in a semidivine world) and sagas (more realistic and more firmly grounded in a specific historical setting). This rather vague use of saga is best avoided, however, since the word can more usefully retain the precise connotation of its original context. The word saga is Old Norse and means “what is said.” The sagas are a group of medieval Icelandic prose narratives; the principal sagas date from the 13th century and relate the deeds of Icelandic heroes who lived during the 10th and 11th centuries. If the word saga is restricted to this Icelandic context, at least one of the possible terminological confusions over words for traditional tales is avoided.
While saga in its original sense is a narrative type confined to a particular time and place, epics are found worldwide. Examples can be found in the ancient world (the Iliad and Odyssey of Homer), in medieval Europe (the Nibelungenlied), and in modern times (the Serbo-Croatian epic poetry recorded in the 1930s). Among the many non-European examples are the Indian Mahabharata and the Tibetan Gesar epic. Epic is similar to saga in that both narrative forms look back to an age of heroic endeavour, but it differs from saga in that epics are almost always composed in poetry (with a few exceptions such as Kazak epic and the Turkish Book of Dede Korkut). The relation between epic and myth is not easy to pin down, but it is in general true that epics characteristically incorporate mythical events and persons. An example is the ancient Mesopotamian Epic of Gilgamesh, which includes, among many mythical episodes, an account of the meeting between the hero Gilgamesh and Utnapishtim, the only human being to have attained immortality and sole survivor (with his wife) of the flood sent by the gods. Myth is thus a prime source of the material on which epic draws.
In common usage the word legend usually characterizes a traditional tale thought to have a historical basis, as in the legends of King Arthur or Robin Hood. In this view, a distinction may be drawn between myth (which refers to the supernatural and the sacred) and legend (which is grounded in historical fact). Thus, some writers on the Iliad would distinguish between the legendary aspects (e.g., heroes performing actions possible for ordinary humans) and the mythical aspects (e.g., episodes involving the gods). But the distinction between myth and legend must be used with care. In particular, because of the assumed link between legend and historical fact, there may be a tendency to refer to narratives that correspond to one’s own beliefs as legends, while exactly comparable stories from other traditions may be classified as myths; hence a Christian might refer to stories about the miraculous deeds of a saint as legends, while similar stories about a pagan healer might be called myths. As in other cases, it must be remembered that the boundaries between terms for traditional narratives are fluid, and that different writers employ them in quite different ways.
The term myth is not normally applied to narratives that have as their explicit purpose the illustration of a doctrine or standard of conduct. Instead, the term parable, or illustrative tale, is used. Familiar examples of such narratives are the parables of the New Testament. Parables have a considerable role also in Sufism (Islamic mysticism), rabbinic (Jewish biblical interpretive) literature, Hasidism (Jewish pietism), and Zen Buddhism. That parables are essentially non-mythological is clear because the point made by the parable is known or supposed to be known from another source. Parables have a more subservient function than myths. They may clarify something to an individual or a group but do not take on the revelatory character of myth.
Etiologic tales are very close to myth, and some scholars regard them as a particular type of myth rather than as a separate category. In modern usage the term etiology is used to refer to the description or assignment of causes (Greek aitia). Accordingly, an etiologic tale explains the origin of a custom, state of affairs, or natural feature in the human or divine world. Many tales explain the origin of a particular rock or mountain. Others explain iconographic features, such as the Hindu narrative ascribing the blue neck of the god Shiva to a poison he drank in primordial times. The etiologic theme often seems to be added to a mythical narrative as an afterthought. In other words, the etiology is not the distinctive characteristic of myth.
Approaches to the study of myth and mythology
The importance of studying myth to provide a key to a human society is a matter of historical record. In the middle of the 19th century, for instance, a newly appointed British governor of New Zealand, Sir George Grey, was confronted by the problem of how to come to terms with the Maori, who were hostile to the British. He learned their language, but that proved insufficient for an understanding of the way in which they reasoned and argued. In order to be able to conduct negotiations satisfactorily, he found it necessary to study the Maori’s mythology, to which they made frequent reference. Other government officials and Christian missionaries of the 19th and 20th centuries made similar efforts to understand the mythologies of nations or peoples so as to facilitate communication. Such studies were more than a means to an end, whether efficient administration or conversion. They amounted to the discovery that myths present a model or charter for human behaviour and that the world of myth provides guidance for crucial elements in human existence—war and peace, life and death, truth and falsehood, good and evil. In addition to such practically motivated attempts to understand myth, theorists and scholars from many disciplines have interested themselves in the study of the subject. A close study of myth has developed in the West, especially since the 18th century. Much of its material has come from the study of the Greek and Roman classics, from which it has also derived some of its methods of interpretation.