creation myth story essay

Heilbrunn Timeline of Art History Essays

Mesopotamian creation myths.

Ira Spar Department of Ancient Near Eastern Art, The Metropolitan Museum of Art

Stories describing creation are prominent in many cultures of the world. In Mesopotamia, the surviving evidence from the third millennium to the end of the first millennium B.C. indicates that although many of the gods were associated with natural forces, no single myth addressed issues of initial creation. It was simply assumed that the gods existed before the world was formed. Unfortunately, very little survives of Sumerian literature from the third millennium B.C. Several fragmentary tablets contain references to a time before the pantheon of the gods, when only the Earth (Sumerian: ki ) and Heavens (Sumerian: an ) existed. All was dark, there existed neither sunlight nor moonlight; however, the earth was green and water was in the ground, although there was no vegetation. More is known from Sumerian poems that date to the beginning centuries of the second millennium B.C.

A Sumerian myth known today as “ Gilgamesh and the Netherworld” opens with a mythological prologue. It assumes that the gods and the universe already exist and that once a long time ago the heavens and earth were united, only later to be split apart. Later, humankind was created and the great gods divided up the job of managing and keeping control over heavens, earth, and the Netherworld.

The origins of humans are described in another early second-millennium Sumerian poem, “The Song of the Hoe.” In this myth, as in many other Sumerian stories, the god Enlil is described as the deity who separates heavens and earth and creates humankind. Humanity is formed to provide for the gods, a common theme in Mesopotamian literature.

In the Sumerian poem “The Debate between Grain and Sheep,” the earth first appeared barren, without grain, sheep, or goats. People went naked. They ate grass for nourishment and drank water from ditches. Later, the gods created sheep and grain and gave them to humankind as sustenance. According to “The Debate between Bird and Fish,” water for human consumption did not exist until Enki, lord of wisdom, created the Tigris and Euphrates and caused water to flow into them from the mountains. He also created the smaller streams and watercourses, established sheepfolds, marshes, and reedbeds, and filled them with fish and birds. He founded cities and established kingship and rule over foreign countries. In “The Debate between Winter and Summer,” an unknown Sumerian author explains that summer and winter, abundance, spring floods, and fertility are the result of Enlil’s copulation with the hills of the earth.

Another early second-millennium Sumerian myth, “Enki and the World Order,” provides an explanation as to why the world appears organized. Enki decided that the world had to be well managed to avoid chaos. Various gods were thus assigned management responsibilities that included overseeing the waters, crops, building activities, control of wildlife, and herding of domestic animals, as well as oversight of the heavens and earth and the activities of women.

According to the Sumerian story “Enki and Ninmah,” the lesser gods, burdened with the toil of creating the earth, complained to Namma, the primeval mother, about their hard work. She in turn roused her son Enki, the god of wisdom, and urged him to create a substitute to free the gods from their toil. Namma then kneaded some clay, placed it in her womb, and gave birth to the first humans.

Babylonian poets, like their Sumerian counterparts, had no single explanation for creation. Diverse stories regarding creation were incorporated into other types of texts. Most prominently, the Babylonian creation story Enuma Elish is a theological legitimization of the rise of Marduk as the supreme god in Babylon, replacing Enlil, the former head of the pantheon. The poem was most likely compiled during the reign of Nebuchadnezzar I in the later twelfth century B.C., or possibly a short time afterward. At this time, Babylon , after many centuries of rule by the foreign Kassite dynasty , achieved political and cultural independence. The poem celebrates the ascendancy of the city and acts as a political tractate explaining how Babylon came to succeed the older city of Nippur as the center of religious festivals.

The poem itself has 1,091 lines written on seven tablets. It opens with a theogony, the descent of the gods, set in a time frame prior to creation of the heavens and earth. At that time, the ocean waters, called Tiamat, and her husband, the freshwater Apsu, mingled, with the result that several gods emerged in pairs. Like boisterous children, the gods produced so much noise that Apsu decided to do away with them. Tiamat, more indulgent than her spouse, urged patience, but Apsu, stirred to action by his vizier, was unmoved. The gods, stunned by the prospect of death, called on the resourceful god Ea to save them. Ea recited a spell that made Apsu sleep. He then killed Apsu and captured Mummu, his vizier. Ea and his wife Damkina then gave birth to the hero Marduk, the tallest and mightiest of the gods. Marduk, given control of the four winds by the sky god Anu, is told to let the winds whirl. Picking up dust, the winds create storms that upset and confound Tiamat. Other gods suddenly appear and complain that they, too, cannot sleep because of the hurricane winds. They urge Tiamat to do battle against Marduk so that they can rest. Tiamat agrees and decides to confront Marduk. She prepares for battle by having the mother goddess create eleven monsters. Tiamat places the monsters in charge of her new spouse, Qingu, who she elevates to rule over all the gods. When Ea hears of the preparations for battle, he seeks advice from his father, Anshar, king of the junior gods. Anshar urges Ea and afterward his brother Anu to appease the goddess with incantations. Both return frightened and demoralized by their failure. The young warrior god Marduk then volunteers his strength in return for a promise that, if victorious, he will become king of the gods. The gods agree, a battle ensues, and Marduk vanquishes Tiamat and Qingu, her host. Marduk then uses Tiamat’s carcass for the purpose of creation. He splits her in half, “like a dried fish,” and places one part on high to become the heavens, the other half to be the earth. As sky is now a watery mass, Marduk stretches her skin to the heavens to prevent the waters from escaping, a motif that explains why there is so little rainfall in southern Iraq. With the sky now in place, Marduk organizes the constellations of the stars. He lays out the calendar by assigning three stars to each month, creates his own planet, makes the moon appear, and establishes the sun, day, and night. From various parts of Tiamat’s body, he creates the clouds, winds, mists, mountains, and earth.

The myth continues as the gods swear allegiance to the mighty king and create Babylon and his temple, the Esagila, a home where the gods can rest during their sojourn upon the earth. The myth conveniently ignores Nippur, the holy city esteemed by both the Sumerians and the rulers of Kassite Babylonia . Babylon has replaced Nippur as the dwelling place of the gods.

Meanwhile, Marduk fulfills an earlier promise to provide provisions for the junior gods if he gains victory as their supreme leader. He then creates humans from the blood of Qingu, the slain and rebellious consort of Tiamat. He does this for two reasons: first, in order to release the gods from their burdensome menial labors, and second, to provide a continuous source of food and drink to temples.

The gods then celebrate and pronounce Marduk’s fifty names, each an aspect of his character and powers. The composition ends by stating that this story and its message (presumably the importance of kingship to the maintenance of order) should be preserved for future generations and pondered by those who are wise and knowledgeable. It should also be used by parents and teachers to instruct so that the land may flourish and its inhabitants prosper.

The short tale “Marduk, Creator of the World” is another Babylonian narrative that opens with the existence of the sea before any act of creation. First to be created are the cities, Eridu and Babylon, and the temple Esagil is founded. Then the earth is created by heaping dirt upon a raft in the primeval waters. Humankind, wild animals, the Tigris and Euphrates rivers, the marshlands and canebrake, vegetation, and domesticated animals follow. Finally, palm groves and forests appear. Just before the composition becomes fragmentary and breaks off, Marduk is said to create the city of Nippur and its temple, the Ekur, and the city of Uruk, with its temple Eanna.

“The Creation of Humankind” is a bilingual Sumerian- Akkadian story also referred to in scholarly literature as KAR 4. This account begins after heaven was separated from earth, and features of the earth such as the Tigris, Euphrates, and canals established. At that time, the god Enlil addressed the gods asking what should next be accomplished. The answer was to create humans by killing Alla-gods and creating humans from their blood. Their purpose will be to labor for the gods, maintaining the fields and irrigation works in order to create bountiful harvests, celebrate the gods’ rites, and attain wisdom through study.

Spar, Ira. “Mesopotamian Creation Myths.” In Heilbrunn Timeline of Art History . New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/epic/hd_epic.htm (April 2009)

Additional Essays by Ira Spar

Spar, Ira. “ Flood Stories .” (April 2009)
Spar, Ira. “ Gilgamesh .” (April 2009)
Spar, Ira. “ Mesopotamian Deities .” (April 2009)
Spar, Ira. “ The Gods and Goddesses of Canaan .” (April 2009)
Spar, Ira. “ The Origins of Writing .” (October 2004)

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World History Edu

Religion / World History

13 Creation Myths in World History

by World History Edu · November 7, 2020

Creation myths and stories

Ever since the dawn of civilization, we humans have pondered where everything, including life, came from. It has also been the case of why and how did we and things around come to being. And so, with the passage of time, there have been quite a plethora of creation stories from different cultures and civilizations. Often times, those creation stories formed the foundations of many ancient religions across the globe. The 13 creation myths that we are about to explore are generally regarded as the most amazing creation stories of all time.

Heliopolis creation story – ancient Egypt

Shu (center) separating Geb from Nut

According to the ancient Egyptians , the universe started with a primordial ocean known as Nun. At the center of Nun was a giant pyramid called benben. Deep within benben, came forth Atum (in some cases Ra , the sun deity), the creator deity .

As the physical embodiment of the sun, Atum created life in an asexual manner. He also created the first Egyptian deities – Shu (air) and Tefnut (water/moisture). Together with his children, Atum was able to hold back the destructive forces of chaos and keep the universe in balance. Atum was also supported by Ma’at , the ancient Egyptian goddess of truth and order .

READ MORE: Why did the people of Egypt rebel against Ra?

The union between Shu and Tefnut brought forth Geb (earth) and Nut (sky). Due to the immense love shared between Geb and Nut, the two deities remained inseparable. Atum then instructed Shu to separate Geb (the earth) from Nut (the sky). But just before Shu could carry out the task, Geb and Nut gave birth to famous Egyptian deities such as Osiris , Isis , Seth , and Nephthys .

Atum (or Ra) along with his eight descendants make up the Ennead of Heliopolis in ancient Egypt. Undoubtedly, the Heliopolis creation story is one of the major events found in ancient Egyptian religion.

Read More: 10 Most Famous Ancient Egyptian Gods and Goddesses

Proto-Indo-European Creation Myths

Among many Proto-Indo-European cultures, Ymir was the force that existed in the time before time. This being was also the embodiment of the vast sea of chaos (Ginnungagap) – a region devoid of any life form or structure or order. Thus Ymir was there long before famous Norse gods like Odin , Thor or Freya even came onto the scene.

Due to the absence of any celestial body, sea, land or crops, Ymir is believed to have suckled on a primordial cow called Audhumla.

One time, while suckling on Audhumla, two enormous giants were asexually produced from Ymir’s perspirations. The myth goes on to say that a third giant, equally as large as the first two, also emerged from Ymir’s legs.

With regard to the primordial cow Audhumla, her source of nourishment was from the salt sediments found on the creature called Buri. Norse mythology regards Buri as the first god in the pantheon. As Audhumla licked Buri, the chains that held the god gradually faded away, and the god was free. Buri’s son, Borr, went on to mate with Ymir, producing a being called Bestla.

After Borr and Bestla mated Odin, the all father god in Norse mythology, was born. Envious of his grandfather Ymir, it is believed that Odin and his sibling killed Ymir. Odin then used the dismembered body of Ymir to create the world that we know.

READ MORE: Most Powerful Weapons in Norse Mythology

Each body part of Ymir produced a particular feature of nature. For example, an old Norse collection of poems – the Poetic Edda – state that: The earth was created from Ymir’s flesh; the seas/oceans of the world came from Ymir’s sweat; from his bones emerged the mountains; from his hair came the trees and the greens of the world; and finally, from Ymir’s skull burst out the sky. The poem also states that the clouds we see today emerged from Ymir’s brains. So where did men come from?

The myth goes on to say that Odin and the Norse gods fashioned a realm called Midgard (Earth) from the eyebrows of Ymir. They then used the Midgard to create the first humans, Ask and Embla .

Read More: 10 Most Famous Norse Gods and Goddesses

Mayan creation story

Mayan creation story | image: El Castillo, at Chichen Itza

The Mayan creation story is contained in the Popul Vuh (also known the “Book of the Community” or the “Book of the People”). The text was written in Mayan hieroglyphics. Kind courtesy to the translation that was done later we know what the Mayan creation story is. According to the text, the beginning of time was filled with nothingness devoid of any structure or order.

Tepeu (the maker) and Gucumatz (the feathered spirit) joined their thoughts together to create the universe. They proceeded to create man. In their first attempt, they created man out of wet clay; however, that did not go as planned as the clay crumbled apart.

READ MORE: 11 Principal Maya Gods and Goddesses

In their second attempt, the gods created man out of wood; and just like the first attempt, the creation failed to please the creators. In their third attempt, they created man out of maize dough. It is believed that this form of man thrived and was able to speak, feel and think.

In order to make the earth very habitable for their creation, the gods created the sun, the moon and the stars. Subsequently, they created four kinds of animals – a parrot, a coyote, a fox, and a crow. These animals then went in four different directions to make a home for themselves. Because the animals could not speak, the gods commanded them to forever remain obedient to human beings. The humans were also allowed to feed on the animals.

Read More: Timeline of Maya Civilization

Babylonian creation myth

The ancient Babylonians believed that in the beginning two primordial gods – Aspu and Tiamet (or Tiamat) – existed. Prior to that, the universe was a vast void of nothingness, land and sky had yet formed.

Tiamet and Aspu mated and gave birth to a new crop of gods. It is believed that Tiamet grew enormous amount of hatred toward the new gods. Tiamet set out to destroy them.

However, just before Tiamet could carry out his plan, the gods found out and proceeded to stop him. Led by Marduk , the gods threw a strong, powerful net over Tiamet. Once trapped in the net, the gods beat Tiamet to pulp and cracked her skull.

Tiamet’s body was then dismembered; half of the body was used to create the sky while the other half was used to create human beings, plants, animals, and the creatures that occupy the land today.

READ MORE: Marduk’s Conflict with Tiamat

Creation of mankind according to the ancient Greeks

Prometheus watches as the goddess Athena bestows upon his creation, man, with reason (painting by Christian Griepenkerl, 1877)

In ancient Greece, the predominant creation story was the one that involved the Greek Titan Prometheus , the Titan who created man.

In the beginning, the world was endlessly empty and full of a being known as Nyx – the deity of darkness. The goddess Nyx is believed to have laid a golden egg. After sitting on the egg for eons of years, the egg hatched, producing the deity of love Eros . The broken shells of the egg became the sky and the earth.

The earth was called Gaia , also known as the goddess of the earth. On the other hand, the sky was called Uranus. The goddess Gaia and the god Uranus mated, bringing forth a new generation of gods known as the titans, Hekatonkheires, Cyclopes, etc. Those Greek Titans included the likes of Oceanus, Crius, Iapetus, Tethys , Phoebe , and Kronus .

Kronus, who early on had overthrown his father Uranus, then went on to give birth (with Rhea) to another generation of gods, which included the likes of Hera , Hades , Poseidon , Hestia , Demeter , and Zeus . Similar to the fate that Uranus suffered, Kronus and his siblings were overthrown by his children who were led by Zeus (the King of the Olympians ).

After the battle with the Titans, Zeus commanded Prometheus and his brother Epimethius to go down to earth and create the first humans. Epimethius created animals. Prometheus grew so fond of his creation – mankind – that he stole fire from the home of the gods and gifted it to mankind. This act of his incurred the wrath of Zeus who bound Prometheus to a stone and allowed an eagle to peck his liver for an eternity.

Read More: 10 Most Powerful Greek Gods and Goddesses

Ainu Creation story

The water wagtail was very important in Ainu creation myth

The Ainu creation myth emerged from Ainu peoples of Japan. In this myth, time can be broken down into three parts – “mosir noskekehe” (“the world’s center”); “Mosir sikah ohta” (“a time when the universe was born”); and “mosir kes” (“end of the world”).

According to the Ainu people, the creator god dispatched his trusted water wagtail to create the land from the cosmic ocean. The bird used its wings to move the water to one side. Subsequently, he created islands for the Ainu people to populate.

Read More: Top 10 Japanese Gods and Goddesses

Raven creation story

In many Native American cultures, the raven is arguably the most powerful creature in the entire cosmos. It is therefore not surprising that many of ancient tribes in the Americas considered the bird the creator of the universe.

In one myth, the raven is believed to have encountered an adult man who he approached to inquire about the man’s whereabouts. The man is believed to have to told the raven that he lived in the inner regions of a pea pod for four days; and on the fifth day, the man came out of the pod a full grown man.

The man also told the raven that he used the vast sea of water in his surrounding to relief the excruciating pain in his abdomen. As the Raven listened to the man attentively, he began to see a striking similarity between the man and himself. Amazed by their shared features, the Raven inquired further.

Finally, the Raven implored the man to wait for him so that could go and fetch some berries. The Raven then commanded the man to eat the berries. Shortly after, the Raven took the Man to creek. At that point, the Raven tapped four objects with his wings, bringing the four objects to life.

READ MORE: 13 Most Famous Trickster Deities in World History

Creation story according to Zoroastrianism

The Zoroastrianism faith states that there existed two opposing deities in the beginning of time. Those beings were Ahura Mazda and Angra Mainya, the deity of light and the deity of darkness respectively. Those two beings existed side by side, with each domineering over an area of the universe.

Being a benevolent force, Ahura Mazda created angels/beings that supported him in spreading the light across the universe. One such being was Amesha Spentas.

Together with his archangels Amesha Spentas (“Holy Immortals”), Ahura Mazda divided the universe into two sections – the spiritual section and the physical section. It is believed that the physical section was created about 3,000 years after the spiritual section. Shortly after the emergence of the physical section, Ahura Mazda created perfect man and a bull.

While Ahura Mazda was creating his perfect beings and man, Angra Mainyu was busily creating all the fiercest demons and evil forces in a bid to counter Ahura Mazda’s creations. It is believed that Angra Mainyu created scary animals such as ants, flies, mosquitoes, snakes, spiders etc. Angra Mainyu’s creations had the power to bring forth pain, diseases, and death.

As time went by, Ahura Mazda’s perfect man and bull died after succumbing to an evil force of Angra Mainyu. From the dead body of the perfect man came forth the first man and woman – Mashya and Mashynag. However, from the dead body of the bull, trees and vegetation sprang out.

5 Most Important Developments in Early Human History

The Sumerian creation myth (the Eridu Genesis)

During an expedition conducted by the University of Pennsylvania in 1893, an ancient Sumerian tablet was unearthed in Nippur (“Enlil City”) – i.e. modern-day Afak, Iraq. The tablet had the Sumerian creation myth – the Eridu Genesis.

The tablet describes how the main deities – An (the sky father), Enlil (the earth and wind god), Enki (god of water, knowledge and mischief), and Ninhursanga (the mother goddess) – created the world. They also create human beings to populate the world.

In one account of the myth, the gods collectively decide that mankind is not worth saving from a massive flood. However, Enki – the god of the waters – proceeds to warn an upright man by the name of Atrahasis. Enki instructs Atrahsis to construct an ark so that he could save humanity from the deluge. The flood is believed to have been caused by rains that fell for seven days and nights.

In another account, the builder of the ark is not Atrahsis; instead, it is Ziusudra, the ruler of Shuruppak. Once the flood ends, the sun god, Utu, appears outside the window of the ark. Ziusudra then bows down before Utu.

Read More: 12 Most Revered Gods of Ancient Mesopotamia

Hindu Creation Story

Hindu creation story | Image: from left to right: Vishnu, Brahma, and Shiva

Hindus have quite a number of creation stories. What runs through most of those creation stories is the cyclical nature of birth, death and rebirth. According to one Hindu creation story, in the beginning there existed a mighty cobra that lived in the vast cosmic ocean. And in the hands of this cobra lay the sleeping Vishnu, the creator god.

As time went by, a lotus began to emerge from the belly button of Vishnu. And inside this sacred lotus was another Hindu god of creation called Brahma (also known as Svayambhu). The Lord of Speech, Brahma, then conceived the idea of creating the universe. But before he could do so, he goes into a deep state of meditation for several eons.

In creating the universe, Brahma – the four-headed god – is believed to have divided the lotus into three parts. The first part turns into the heavens; the second becomes the sky; and the final and third part gives birth to the earth. Pleased by how things are going, Brahma endows the earth with animals and plants of all shapes and sizes. He also creates the first human beings to dwell on the earth.

Now it must be noted that both Vishnu and Brahma are part of the Hindu triumvirate – a group of three very powerful Hindu gods responsible for creating and destroying the universe. The other god in this triumvirate is Lord Shiva , who is responsible for the destruction of the universe so that it could be reborn again. Together, these three gods – Vishnu, Brahma, and Shiva – feature prominently in Hinduism and its creation story.

Read More: Lakshmi – Hindu Goddess of Wealth and Beauty

Genesis creation story

The line – “In the beginning God created the heavens and the earth” – is perhaps one of the most well-known lines in scriptures from the Abrahamic religions (i.e. Christian, Islam and Judaic faiths). In the Genesis creation story , a supreme being, who was hovering over the vast cosmic waters, is believed to have created the world in six days and resting on the seventh day. On day one, God commanded for light to come out before proceeding to separate the light from the darkness. On the second day, God parted the sky from the waters, gathering the waters at one place for it to become the sea. On the third day, the Supreme Being created all the greenery and vegetation on the dry land.

On the fourth day, God created the Sun, moon and all the stars that fill our cosmos. Satisfied with the progress of his creation, God went on to create all the sea and land animals on the fifth day. On the sixth day, God created the first man, Adam, in his own image. And from the rib of Adam, God created the first woman, Eve, to serve as a companion of Adam. Exhausted by the sheer amount of work, God rested on the seventh day.

Regarding the first human beings, the Genesis story states that God placed Adam and Eve in a magnificent garden known as Eden . In that paradise condition Adam and Eve knew no suffering, no death, and no misery. However, that all changed when a serpent in the garden convinced Eve and Adam to eat from the Tree of Knowledge. Angered by their disobedience, God cast Adam and Eve out of Eden and into the world, where they and their descendants were fated to endure pain, sickness and death.

The Yoruba Creation Myth – The Golden Chain myth

Predominantly located in the West African nation of Nigeria, the Yoruba tribe have for centuries believed in the Golden Chain creation story. In the beginning, the gods lived happily in the sky. The king and queen of the gods were Olorun and Olokun, respectively.

In spite of the bliss in the sky, a lesser god known as Obatala was not completely content. Obatala desired to have for beings in addition to the celestial beings in the sky. Therefore, he consulted with Orunmila, the oldest son of Olorun. Orunmila commanded Obatala to forge a golden chain out of a snail shell filled with sand, palm nut, a black cat, and a white hen.

Obatala then descends from the sky down to the earth using his magical golden chain. The god proceeds to create the land and all living things using a white hen, a black cat, a palm nut, and a snail shell filled with sand. He placed the items in a large pit. The palm nut grew into a full palm tree. The god then brewed palm wine from the palm fruits and sat by the tree.

Drunk on so much wine, Obatala started human beings. Owing to the fact that he was intoxicated, Obatala is believed to have created human beings that were imperfect relative to the gods in the sky.

Read More: 12 Most Famous Yoruba Gods and Goddesses

Creation myth of Chinese

Image of the Chinese deity Pangu

In this creation myth, the universe began as a chaotic soup without any structure. In this universe lay a black egg that housed a gargantuan being known as Pangu – a hairy giant with two horns and two tusks.

The giant Pangu is believed to have slept in the egg for more than 18,000 years. All the while that Pangu slept, the universe was kept in perfect balance – i.e. equal amounts of darkness (yin) and light (yang).

Upon waking up from his deep sleep, Pangu proceeded to escape from the egg. By so doing, he broke the force that kept the universe in perfect balance. The top half of the egg shell, which represented yang , turned into the sky; while the bottom half, which represented yin , became the earth.

Standing in the broken shell, Pangu started to push the top part of shell farther away in order to keep yin and yang apart. As he pushes the sky up, he is believed to have grown taller – about ten feet. Aiding him in this task were four celestial creatures – the Qilin, the Phoenix, the Dragon, and the Turtle.

He would do this for close to 18,000 years before dying. Pangu’s body fell to the earth and turned into several earthly things. For example:

His breath turned into the wind and clouds;
His eyes became the sun and the moon;
Pangu’s limbs and head turned into the mountains;
His muscles turned into the fertile land;
Pangu’s thick facial hair became the stars and the galaxy;
And his voice became thunder.
From the parasites that feasted on his body came forth the first human beings.

Did you know : The Daoist Xu Zheng is generally recognized as the first person to record the creation myth of Pangu?

READ MORE: Most Famous Ancient Chinese Gods and Goddesses

Tags: Ainu Ancient Mayans China Creation myths Egypt Religion Sumerian civilization Yoruba

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Glencairn Museum News

Ancient egyptian creation myths: from watery chaos to cosmic egg.

Glencairn Museum News | Number 5, 2021

Front view of brown-spotted faience statuette on the left, reverse view on the right.

In the single column of text on the back of this faience figurine of Ptah, the god is recognized as a creator god and referred to as “the one who made heaven and who gave birth to craftsmanship.” The text further tells us that Ptah will offer life, prosperity, health, and all happiness to the owner/dedicator of the statuette.

Where did we come from and how did our world begin? For thousands of years, people from cultures all around the globe have devised stories to explain the creation of their domains. The ancient Egyptians were no different in this regard. By examining their religious literature and accompanying representations, we can come away with an understanding of how they explained the creation of the world in which they lived. Their beliefs were complex and reflected their natural environment. In this essay for Glencairn Museum News , Dr. Jennifer Houser Wegner, Associate Curator in the Egyptian Section at the Penn Museum, introduces us to the fascinating subject of ancient Egyptian creation myths, including the cosmological context for several objects in Glencairn Museum’s Egyptian gallery.

The Egyptian pantheon was filled with deities who inhabited the heavens but whose influence was experienced on earth. In the Pyramid Texts of the Old Kingdom, which first appeared on the interiors of the pyramids of the kings of the Fifth Dynasty of the Old Kingdom (c. 2500–2350 BCE), we learn that the Egyptians regarded the sky as a dwelling place of their gods and a location connected to the afterlife. Just as their daily life depended upon the Nile River, the Egyptians envisioned this heavenly realm as a landscape that divine beings navigated in sacred boats (Figure 1).

A boat viewed from the side, with eight people (one of whom is sitting) and a scarab beetle inside it. The boat sails toward one standing person who is gesturing a greeting.

Figure 1. A scene of the divine figures in a solar boat from the stela of Pebeh (EA8466). Image © The Trustees of the British Museum.

Figure 2. The falcon-headed sun god Re is adored by the priest Diefankh (UPMAA E2044). Image courtesy of the Penn Museum.

The sun god, Re, was of paramount importance to the ancient Egyptians, and the sun’s daily passage from east to west and its daily rising and setting served as a metaphor for the cycle of life—from birth, to adulthood, to death, to rebirth (Figure 2). The omnipresent sun in what was largely a desert environment may also explain the early Egyptians’ interest in solar concepts. At dusk, the sun god proceeded into the underworld (the Duat). New Kingdom funerary texts (1292–1075 BCE) and the associated images found on the walls of royal tombs record his nighttime journey. The sun god spent the twelve hours of the night traveling in the underworld, ultimately merging with Osiris, the primary funerary deity. The journey was treacherous, and the sun god faced his enemy, Apophis, a serpent who threatened him as he traveled in his solar boat nightly.

Another of Re’s important roles was as a creator god. The sun’s reappearance on the horizon at dawn each day was a symbol of the re-creation of the world. However, Re was not the sole creator god in Egyptian mythology. The Egyptians had several elaborate myths describing the origins of their world. Each of these creation stories was centered at a different city in ancient Egypt (Figure 3).

Figure 3. Map of Upper and Lower Egypt.

The Hermopolitan cosmology arose at the site of Hermopolis in Middle Egypt. Hermopolis was a city sacred to Thoth, the god of wisdom. The ancient Greeks equated Thoth with their god Hermes, which gives us the name Hermopolis, or “city of Hermes.” The ancient Egyptian name for this city was Khemnu, or “Eight-Town.” The number eight in this place-name makes references to the eight deities (the Ogdoad) who are the main characters in this version of the creation story. The Ogdoad consisted of four frog-headed male gods and their serpent-headed female counterparts (Figure 4). This divine group represented the dark, watery, unknown, and eternal state of the cosmos prior to creation. Nun and Naunet represented water. Heh and Hauhet expressed the notion of infinity. Kek and Kauket stood for darkness. Amun and Amaunet reflected the concept of hiddenness. These eight gods existed within the watery chaos of pre-creation.

Arranged in two horizontal rows, each row shows two male and two female masked figures standing as couples and facing each other. An additional figure stands on the far right of each row, facing the couples.

Figure 4. An illustration of the Ogdoad, drawn by Faucher-Gudin from a photograph by Béato.

Within this unchanging “nothingness,” there was the potential for creation. The Egyptians believed that from these eight gods came a cosmic egg that contained the deity responsible for creating the rest of the world, including the primeval mound—the first land to arise out of the waters of pre-creation. In some versions of the myth, the egg was laid by a goose named “the Great Cackler,” while in other versions an ibis, the bird associated with the god Thoth, is responsible for the egg (Figures 5-6). Thoth’s appearance here in the myth is probably the work of the Hermopolitan priesthood, who wanted to recognize the importance of the city’s patron deity. After the mound appeared, a lotus blossom bloomed signaling the birth of the newborn sun god (Figure 7). After the sun made its first appearance, the rest of creation could follow. In some cases, this myth further describes a scarab beetle that emerges from the lotus. The scarab is often a solar symbol, and the texts describe how this beetle transforms into a child. When this child cried, his tears became humankind (Figure 8).

Figure 5. An amulet representing the god Thoth as an ibis-headed man (Glencairn Museum E219).

Figure 6. A bronze statuette representing the god Thoth as an ibis (Glencairn Museum E1121).

Tutankhamun's head comes out of the center of a flower.

Figure 7. In this statuette from the tomb of Tutankhamun, the boy king is shown as the newborn sun god emerging from a lotus flower at the moment of creation (Cairo Museum JE 60723). Image courtesy of the Griffith Institute.

Figure 8. On this bracelet of Nimlot, the newborn sun god is shown as a child seated atop a lotus flower (EA14595). Image © The Trustees of the British Museum.

The importance of the sun in the creation of the world is highlighted in another creation myth that makes reference to a collective of gods known as the Heliopolitan Ennead (Figure 9). These nine deities (the Ennead) are mentioned in the Old Kingdom Pyramid Texts. This myth seems to have originated at the city of Iunu (or Heliopolis, meaning “City of the Sun” in Greek). Here, the creation of the world begins with a creator god named Atum (or Re-Atum). Just as we see with the Hermopolitan version of creation, there is a chaotic, watery state of pre-creation, in which Atum resides before he is born. Atum is self-created and arises in the shape of an obelisk-like pillar (the benben ) in Heliopolis. He engenders by means of his own bodily fluids. To begin the creation of the world, Atum spits out a pair of divine beings: Shu, the god of air, and Tefnut, his female counterpart, the goddess of moisture (Figure 10).

Twelve male and female figures stand in two horizontal lines on the left, separated from a seated Amun Re on the right by an open space partially filled with columns of hieroglyphs.

Figure 9. An illustration of a relief from the mortuary temple of Hatshepsut at Deir el Bahri showing the members of the Ennead before Amun Re. This drawing appears in E. Naville, The Temple of Deir el Bahari , volume 2, London: Egypt Exploration Fund, 1896, pl. xlvi.

Figure 10. A faience amulet of the god Shu shown with upraised arms lifting up the sky (Glencairn Museum E453).

Shu and Tefnut in turn produce a second generation of gods. Their son, Geb, is the god of the earth, and his sister-wife, Nut, is the sky goddess. With this second generation, the Egyptian cosmos comes into existence and all the elements necessary for life on earth—the sun, air, moisture, land, and sky—are now in place. The iconography of Geb and Nut together is particularly evocative (Figure 11). Geb appears as a human male lying on the ground. Arched above him, separated by their father Shu, stretches the figure of his sister-wife Nut, often shown as a nude female whose body is covered in stars. The Egyptians envisioned her arms and legs as the pillars of the sky and each of her limbs as indicators of the four cardinal points. Before their separation by their father, Geb and Nut were able to produce another generation of gods: Isis, Osiris, Seth, and Nephthys. Isis (Figure 12) and Osiris (Figure 13) in turn produced Horus. (It is interesting to consider that the Heliopolitan genealogy can also be viewed as the family tree of the Egyptian king (Figure 14). Each king was considered a representative of Horus while he was alive, and was then associated with the god Osiris, the king of the dead, after his death.)

Figure 11. The Egyptian version of the cosmos as seen on this drawing from the Book of the Dead of Nestanebetisheru. Here Shu, the god of air, separates the earth god Geb from the sky goddess Nut (EA10554,87). Image © The Trustees of the British Museum.

Isis sits on a yellow stone throne, with Horus on her lap.

Figure 12. Figurine of Isis, member of the Heliopolitan Ennead, suckling Horus (Glencairn Museum E1164).

Osiris stands with his arms crossed across his chest.

Figure 13. Figurine of Osiris, member of the Heliopolitan Ennead (Glencairn Museum E74).

Five generations of the Heliopolitan Ennead, beginning with Atum, the creator god, and ending with Horus.

Figure 14. The family tree of the Heliopolitan Ennead.

In addition to their roles in the creation of the cosmos, members of the Ennead are involved in other cycles of life and rebirth. For example, the sky goddess Nut is believed to give birth to the sun each day, and in some traditions she also gives birth to the stars. When observing the nighttime sky, the Egyptians may have noticed that the outer arm of the Milky Way resembled a female form and identified this celestial feature with the goddess Nut. As a goddess responsible for the sun’s daily rebirth, Nut was also accorded a role in the resurrection of the dead. Representations of Nut on the ceilings of New Kingdom (1539–1075 BCE) royal tombs show the goddess with the sun entering her mouth and passing through her star-covered body during the night, to be reborn in the morning. She often appears on the inside lids of sarcophagi, protecting the deceased until he or she, like the sun god Re, would be reborn. Nut can also appear on the lids of coffins as a woman with wings spread protectively across the chest of the deceased (Figure 15).

Nun wears green and kneels while looking to the right, colorful wings held wide on her splayed arms.

Figure 15. The goddess Nut on the lid of the coffin of Sema-tawy-iirdis (Glencairn Museum E1267).

A third version of the creation of the cosmos can be found in a text known as the Memphite Theology. Memphis was one of the most important cities in ancient Egyptian history. Situated along the Nile at the point where the Nile River branches out into the Nile Delta, Memphis was Egypt’s first capital city. Throughout Egypt’s long history, Memphis remained an important religious and administrative center even during times when its status as the country’s capital city had shifted. According to the historian Manetho, Memphis was founded by the legendary king Menes around 3200 BCE. The divine triad who protected the city consisted of Ptah, his consort Sekhmet, and their child, Nefertem (Figure 16). Ptah was the patron deity of craftsmen, and in the Memphite version of creation he plays the role of the primary creator god (see also lead photo above).

Three dark brown statuettes of varying heights.

Figure 16. Members of the Memphite triad, the patron deities of Memphis (Glencairn Museum E113, E967, E905).

Unlike the versions of creation expressed in the Hermopolitan and Heliopolitan creation myths, which have been reconstructed from various ancient religious texts, the Memphite creation myth is preserved on a single document known as the Shabaka Stone, which is now preserved in the British Museum (Figure 17). The text inscribed on this monument relates how King Shabaka, a Nubian pharaoh of Egypt’s 25th Dynasty (705–690 BCE), found a worm-eaten papyrus in the library of the Temple of Ptah at Memphis. Realizing how important the damaged document was, Shabaka purportedly ordered that the words be carved anew in stone to preserve them. In this text Ptah (Figure 18) is credited with the creation of the world. He creates by means of thought and words: “Sight, hearing, breathing—they report to the heart, and it makes every understanding come forth. As to the tongue, it repeats what the heart has devised. Thus all the gods were born and his Ennead was completed. For every word of the god came about through what the heart devised and the tongue commanded.” The text describes how Ptah was responsible for the creation of all the gods and the establishment of their worship throughout Egypt:

“He gave birth to the gods. He made the towns, He established the nomes, He placed the gods in their shrines, He settled their offerings, He established their shrines, He made their bodies according to their wishes. Thus the gods entered into their bodies, Of every wood, every stone, every clay, Everything that grows upon him In which they came to be. Thus were gathered to him all the gods and their kas, Content, united with the Lord of the Two Lands.”

A grey rectangle stone, covered in hieroglyphic text. Eleven mostly straight carved lines radiate out from a square divot in the center, obscuring some of the text.

Figure 17. The Shabaka Stone, a basalt slab inscribed with the text of the Memphite Theology. The stone was later used as a millstone, which explains some of the damage to its surface (EA498). Image © The Trustees of the British Museum.

Ptah sits on a throne facing left. A person kneels before him with raised hands. Hieroglyphic text is above the supplicant.

Figure 18. A representation of the god Ptah on the stela of Maienhekau (Glencairn Museum E1266). Ptah is shown with his characteristic skull cap.

Reference to the moment of creation is not only seen in Egyptian texts. Most temples have architectural features that mimic elements of the cosmos at the beginning of creation. A large gateway called a pylon usually fronts a temple (Figure 19). The form of the pylon consists of two tapering towers joined by a lower section. The shape of the pylon imitates the hieroglyph for the word “horizon” ( akhet ), represented as two hills with a sun disk in the center. Further adding to the solar imagery, a pair of obelisks often stands before the entrance to the temple. An obelisk is a four-sided standing stone that tapers as it rises and ends in a small pyramid called a “pyramidion.” Obelisks were sacred to the sun god and were a symbol of the sun related to the benben , which calls to mind the primordial mound described in the Heliopolitan and Hermopolitan creation myths.

People walk around the outside of a large, sand-colored building.

Figure 19. A view of the temple pylon at Philae Temple. Photo courtesy of Marc Ryckaert.

Two sand-colored columns stand before the backdrop of a deep blue sky and more temple remains.

Figure 20. A view of papyriform and lotiform columns in the temple of Kom Ombo. Photo courtesy of Marie Thérèse Hébert & Jean Robert Thibault.

Each temple was a microcosm of the world wherein the creation was repeated on a daily basis. Beyond the entrance pylon, the typical temple contained one or more open courts, a hypostyle hall, and, at the innermost space, the sanctuary. The columns found throughout the temple often had capitals that are papyriform or lotiform in design, echoing the marshy plants that emerged on the primeval mound (Figure 20). The dark sanctuary or shrine that housed the image of the temple’s resident god imitated the mound upon which creation began. When priests carried out the morning rituals and opened the god’s shrine, they reenacted the very moment of creation, and the temple’s resident deity took the position of the creator god. Many temple precincts are also bounded by walls whose bricks are laid in a wavy design, perhaps symbolizing the chaotic waters of pre-creation which are held at bay by the creation of the (primordial) mound upon which the temple structure was built.

In addition to the creator gods depicted in the three main creation myths, there are other deities who were also considered creator gods such as Min, Amun, Khnum, and the Aten. One of Egypt’s earliest known deities was the god Min (Figure 21). Depictions of him appear as early as the Predynastic Period. Three colossal statues of Min dating to around 3300 BCE were excavated by W.M.F. Petrie at the site of Coptos. These statues, while fragmentary, originally depicted this god with the erect phallus that became standard for his representations. As a god connected with fertility and creation, Min is usually shown in this distinctive ithyphallic pose. He grasps a flail in one upraised arm and wears a tall plumed crown very similar to that of Amun-Re.

A statuette of Min, his right arm raised and holding a flail, and wearing a headdress that is approximately two thirds his height.

Figure 21. The god Min (EA60045). Image © The Trustees of the British Museum.

A member of the Hermopolitan Ogdoad, Amun’s name means “the hidden one.” During the Middle Kingdom (c. 1945-1640 BCE) this god became increasingly important, and by the New Kingdom he rose to prominence as a state god and was given the epithet “king of the gods.” Amun, together with his consort Mut, and their child, Khonsu, comprise the Theban triad, the patron deities of the city of Thebes (Figure 22). At the same time, Amun (or his combined form, Amun-Re) became thought of as a creator god in his own right. Amun was usually shown as a human, and when he was in the form of Amun-Re he wore a crown with two tall plumes. The ram and the goose were animals sacred to him.

Figure 22. A bronze statuette of the god Amun (right, Glencairn Museum E1165) and his consort Mut (Glencairn Museum E1145).

The ram-headed god Khnum is described in the Coffin Texts, a collection of funerary spells composed around 1991-1786 BCE, as a creator of humans and animals (Figure 23). By the reign of the female pharaoh Hatshepsut (reigned 1479-1458 BCE), Khnum is described as a god who is responsible for fashioning gods, humans, and animals on a potter’s wheel (Figure 24).

Figure 23. Relief showing the ram-headed god Khnum (EA635). Image © The Trustees of the British Museum.

Khnum sits at a potter’s wheel, while a masked person kneels opposite her. Hieroglyphic text fills the space above them.

Figure 24. An illustration of a relief from the mortuary temple of Hatshepsut at Deir el Bahri showing Khnum creating Hatshepsut and her ka on a potter’s wheel. This drawing appears in E. Naville, The Temple of Deir el Bahari , volume 2, London: Egypt Exploration Fund, 1896, pl. xlviii.

Figure 25. The Aten appears at the top of this relief fragment above a figure of King Akhenaten. Unlike other Egyptian deities, the Aten does not take a human or animal form. This deity is shown as a sun disk with rays that end in tiny hands (UPMAA E16230). Image courtesy of the Penn Museum.

During the Amarna Period, when the pharaoh Akhenaten (reigned 1353-1336 BCE) changed the religious system from a polytheistic one to one that approached monotheism, his chosen deity, the Aten, naturally took position as creator god (Figure 25). The Aten was a solar deity, and his role in creation is celebrated in hymns composed during this period. In one version, the Aten is praised and described as follows. (It is interesting to note that scholars have long observed the similarity of this hymn to the phraseology of Psalm 104 in the Bible): “How numerous are your works, though hidden from sight. Unique god, there is none beside him. You mold the earth to your wish, you and you alone. All people, herds and flocks, All on earth that walk on legs, All on high that fly with their wings. And on the foreign lands of Khar and Kush, the land of Egypt You place every man in his place, you make what they need, so that everyone has his food, his lifespan counted.”

This religious experiment did not last long beyond the death of Akhenaten. By the beginning years of the reign of Tutankhamun, the traditional religious system with its many gods had been restored and the Aten returned to being just one of many solar deities in the Egyptian pantheon.

As we can see, there was no one single creation story in Egyptian religious tradition. There were several different ways in which the Egyptians explained the origin of the world. These various traditions were not mutually exclusive. They often complimented and intersected each other, yet distinctions can be drawn amongst the various creation myths, which helps to distinguish one from the other.

Jennifer Houser Wegner, PhD Associate Curator, Egyptian Section, Penn Museum University of Pennsylvania

Select Bibliography

Andrews, Carol. 1994. Amulets of ancient Egypt . London: The British Museum Press.

Lichtheim, Miriam. 1976. Ancient Egyptian literature: a book of readings. Vol. 2. The New Kingdom . Berkeley/London.

O’ Rourke, Paul. 2001. “Khnum.” In Donald B. Redford (ed.). The Oxford Encyclopedia of Ancient Egypt , vol. 2: 231-232. Oxford: Oxford University Press.

Romanosky, Eugene. 2001. “Min.” In Donald B. Redford (ed.). The Oxford Encyclopedia of Ancient Egypt , vol. 2: 413-415. Oxford: Oxford University Press.

Schlögl, Hermann A. 2001. “Aten.” In Donald B. Redford (ed.). The Oxford Encyclopedia of Ancient Egypt , vol. 1: 1156-158. Oxford: Oxford University Press.

Simpson, William Kelly (ed.) 2003. The literature of ancient Egypt: an anthology of stories, instructions, stelae, autobiographies, and poetry , third ed. New Haven; London: Yale University Press.

Tobin, Vincent A. 2001. “Amun and Amun-Re.” In Donald B. Redford (ed.). The Oxford Encyclopedia of Ancient Egypt , vol. 1: 82-85. Oxford: Oxford University Press.

Tobin, Vincent A. 2001. “Myths: Creation Myths.” In Donald B. Redford (ed.). The Oxford Encyclopedia of Ancient Egypt , vol. 2: 469-472. Oxford: Oxford University Press.

Wilkinson, Richard H. 2003. The complete gods and goddesses of ancient Egyp t. London: Thames & Hudson.

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Introduction

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Creation by a supreme being
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Table Of Contents

creation myth , philosophical and theological elaboration of the primal myth of creation within a religious community . The term myth here refers to the imaginative expression in narrative form of what is experienced or apprehended as basic reality ( see also myth ). The term creation refers to the beginning of things, whether by the will and act of a transcendent being, by emanation from some ultimate source, or in any other way.

The myth of creation is the symbolic narrative of the beginning of the world as understood by a particular community. The later doctrines of creation are interpretations of this myth in light of the subsequent history and needs of the community. Thus, for example, all theology and speculation concerning creation in the Christian community are based on the myth of creation in the biblical book of Genesis and of the new creation in Jesus Christ . Doctrines of creation are based on the myth of creation, which expresses and embodies all of the fertile possibilities for thinking about this subject within a particular religious community.

Myths are narratives that express the basic valuations of a religious community. Myths of creation refer to the process through which the world is centred and given a definite form within the whole of reality. They also serve as a basis for the orientation of human beings within the world. This centring and orientation specify humanity’s place in the universe and the regard that humans must have for other humans, nature, and the entire nonhuman world; they set the stylistic tone that tends to determine all other gestures, actions, and structures in the culture . The cosmogonic (origin of the world) myth is the myth par excellence. In this sense, the myth is akin to philosophy, but, unlike philosophy, it is constituted by a system of symbols; and because it is the basis for any subsequent cultural thought, it contains rational and nonrational forms. There is an order and structure to the myth, but this order and structure is not to be confused with rational, philosophical order and structure. The myth possesses its own distinctive kind of order.

Myths of creation have another distinctive character in that they provide both the model for nonmythic expression in the culture and the model for other cultural myths. In this sense, one must distinguish between cosmogonic myths and myths of the origin of cultural techniques and artifacts . Insofar as the cosmogonic myth tells the story of the creation of the world, other myths that narrate the story of a specific technique or the discovery of a particular area of cultural life take their models from the stylistic structure of the cosmogonic myth. These latter myths may be etiological (i.e., explaining origins); but the cosmogonic myth is never simply etiological, for it deals with the ultimate origin of all things.

The cosmogonic myth thus has a pervasive structure; its expression in the form of philosophical and theological thought is only one dimension of its function as a model for cultural life. Though the cosmogonic myth does not necessarily lead to ritual expression, ritual is often the dramatic presentation of the myth. Such dramatization is performed to emphasize the permanence and efficacy of the central themes of the myth, which integrates and undergirds the structure of meaning and value in the culture. The ritual dramatization of the myth is the beginning of liturgy, for the religious community in its central liturgy attempts to re-create the time of the beginning.

From this ritual dramatization the notion of time is established within the religious community. To be sure, in most communities there is the notion of a sacred and a profane time. The prestige of the cosmogonic myth establishes sacred or real time. It is this time that is most efficacious for the life of the community. Dramatization of sacred time enables the community to participate in a time that has a different quality than ordinary time, which tends to be neutral. All significant temporal events are spoken of in the language of the cosmogonic myth, for only by referring them to this primordial model will they have significance.

In like manner, artistic expression in archaic or “ primitive ” societies, often related to ritual presentation, is modelled on the structure of the cosmogonic myth. The masks, dances, and gestures are, in one way or another, aspects of the structure of the cosmogonic myth. This meaning may also extend to the tools that people use in the making of artistic designs and to the precise technique they employ in the craft.

Mention has been made above of the fact that the cosmogonic myth situates humankind in a place, in space. This centring is at once symbolic and empirical : symbolic because through symbols it defines the spatiality of human beings in ontological terms (of being) and empirical because it orients them in a definite landscape. Indeed, the names given to the flora and fauna and to the topography are a part of the orientation of humans in a space. The subsequent development of language within a human community is an extension of the language of the cosmogonic myth.

The initial ordering of the world through the cosmogonic myth serves as the primordial structure of culture and the articulation of the embryonic forms and styles of cultural life out of which various and differing forms of culture emerge. The recollection and celebration of the myth enable the religious community to think of and participate in the fundamentally real time, space, and mode of orientation that enables them to define their cultural life in a specific manner.

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The Importance of Creation Myths

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Historical and cultural significance, psychological and sociological implications, understanding cultural diversity, contemporary relevance.

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The Creation

In the beginning, there was only Chaos , the gaping emptiness. Then, either all by themselves or out of the formless void, sprang forth three more primordial deities: Gaea (Earth), Tartarus (the Underworld), and Eros (Love). Once Love was there, Gaea and Chaos – two female deities – were able to procreate and shape everything known and unknown in the universe.

The Children of Chaos and Gaea

Erebus and nyx.

Chaos gave birth to Erebus (Darkness) and Nyx (Night). Erebus slept with his sister Nyx , and out of this union Aether , the bright upper air, and Hemera , the Day, emerged. Afterward, feared by everyone but her brother, Night fashioned a family of haunting forces all by herself. Among others, her children included the hateful Moros (Fate), the black Ker (Doom), Thanatos (Death), Hypnos (Sleep), Oneiroi (Dreams), Geras (Old Age), Oizus (Pain), Nemesis (Revenge), Eris (Strife), Apate (Deceit), Philotes (Sexual Pleasure), Momos (Blame), and the Hesperides (the Daughters of the Evening).

Gaea and Uranus

Meanwhile, Gaea gave birth to Uranus , the Starry Sky. Uranus became Gaea's husband, surrounding her from all sides. Together, they produced three sets of children: the three one-eyed Cyclopes , the three Hundred-Handed Hecatoncheires , and the twelve Titans .

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The Castration of Uranus

However, Uranus was a cruel husband and an even crueler father. He hated his children and didn’t want to allow them to see the light of day. So, he imprisoned them into the hidden places of the earth, Gaea's womb. This angered Gaea, and she plotted with her sons against Uranus. She made a harpe , a great adamant sickle, and tried to incite her children to attack Uranus. All were too afraid, except the youngest Titan, Cronus .

Cronus Revenge

Gaea and Cronus set up an ambush for Uranus. As he was preparing to lay with Gaea, Cronus castrated him with the sickle, throwing his severed genitals into the ocean. It is unclear as to what happened to Uranus afterward; he either died, withdrew from the earth, or exiled himself to Italy. From the blood that was spilled on the earth due to his castration, emerged the Giants , the Meliae (the Ash Tree Nymphs ), and the Erinyes (the Furies ). From the sea foam that was produced when his genitals fell into the ocean, arose Aphrodite , the Goddess of Beauty.

Cronus Devouring His Children

A new ruler.

Cronus became the next ruler. He imprisoned the Cyclopes and the Hecatoncheires in Tartarus and set the dragoness Campe to guard them. He married his sister, the Titaness Rhea , who bore him five children. However, Gaea and Uranus had both prophesied that Cronus would eventually be overthrown by one of his sons. So much like his father, Cronus maltreated his children, devouring each of them at the time of birth. Rhea was distressed by Cronus’ treatment of her children and, just like Gaea before him, plotted against her husband. On the advice of her mother, when it was time to give birth to her sixth child, Rhea hid herself on Crete , leaving the new-born child to be raised by the nymphs of the island. To conceal her act, she wrapped a stone in swaddling clothes and passed it off as the supposed baby to Cronus, who, unaware of her intentions, swallowed it yet again.

The Return of Zeus

The child was Zeus . Raised by the nymphs Adrasteia and Ida, and the she-goat Amalthea , he quickly grew into a handsome youth in a cave on the Cretan Mount Ida. When the time came, he left Crete to ask his future wife, the Titaness Metis (Wisdom), for an advice on how to defeat Cronus. She answered by preparing a drink indistinguishable from Cronus’ favorite wine but designed to make him vomit for ages. Zeus disguised himself as the gods’ cupbearer and, after a while, successfully slipped Metis ’ drink to Cronus. The plan worked perfectly: Cronus started vomiting and spilled out all of Zeus’ five siblings, but only after throwing up the stone. Called Omphalos, or the Navel, the stone was later set up at Delphi by two eagles Zeus sent to meet at the center of the world. Overwhelmed with gratitude, Rhea’s children – Hestia , Demeter , Hera , Hades , and Poseidon – recognized Zeus as their leader.

The Titanomachy

Gods vs titans.

However, Cronus was still in command – and yet to be defeated. He was too old to protect himself from the attacks of his progeny, but he enlisted the help of the faithful Titans , who also feared the new generation of gods. This led to a decade-long war between the Titans and the Olympians , remembered by generations hence as the Titanomachy . Atlas became the Titans’ leader and led his armies to many victories. At one point, it even seemed that Zeus would be defeated. However, at the advice of Gaea, he went to Tartarus and released the Cyclopes and the Hecatoncheires. In gratitude, the Cyclopes provided Zeus with his signature thunderbolt; they also made a trident for Poseidon and a helmet of invisibility for Hades . The tables had turned.

The Winning Trick

However, as so many times before, the final victory would not be the result of brute force, but it would happen due to a cunning little trick, possibly devised by Prometheus , who deserted from the Titans’ army beforehand. Armed with boulders, Hecatoncheires set an ambush for the Titans. At the right time, Zeus retreated his forces, drawing the Titans into the Hecatoncheires’ trap. The Hundred-Handed ones started raining down hundreds of boulders, with such a fury that the Titans thought the mountains were falling down upon them. They ran away, and Zeus could finally consider himself the King of the Universe.

Tartarus and Atlas

Zeus exiled the Titans who had fought against him into Tartarus. He made an exception with Atlas , though: being the leader of the opposing force, he was punished to hold the universe on his shoulders.

The Final Challenge

Zeus and typhon.

Zeus’ power would be challenged on few occasions afterward. Just after the Titanomachy , his grandmother Gaea, outraged by the imprisonment of her children, issued forth one last child of her, the monstrous Typhon . He was so fearsome that most of the gods fled the second they saw him; however, Zeus didn’t hesitate. He faced the monster and using the power of his lightning bolts, he was able to defeat it. Typhon was subsequently buried under Mount Etna in Sicily.

They say that you can still hear him growling under the volcano. And that someday in the distant future, he will return to challenge Zeus once again.

The Creation Sources

There’s no better place to read about the Creation than Hesiod’s “Theogony,” a book whose title can be literally translated as “The Birth of the Gods.”

See Also: Chaos, Creation II , Uranus, Cronus, Zeus, Titanomachy, Typhon

The Creation Associations

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The Creation Myth in Different Cultures Essay

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Myths can be discussed as the important elements of each culture because ancient people expressed their vision of the world and its laws in the form of mythological stories as the attempt to explain the unfamiliar objects and processes.

Thus, myths included the description of the processes which nature was rather difficult to be understood by the ancient people. That is why, a lot of myths which are presented in different cultures are based on the similar topics, but the details of the myth can be various.

From this point, the theme of the world creation is one of the most popular topics of myths, and the creation myth is typical for different cultures.

To understand the significance of the creation story for different cultures and explore the particular features of the myth, it is necessary to focus on the Mesopotamian myth known as the Enuma Elish, on the Pelasgian myth characteristic for the Greek culture, and on the Egyptian myth about Atum.

Although the Mesopotamian, Egyptian, and Greek cultures developed their own mythological stories based on the topic of the world creation, these myths have a lot of similarities which accentuate the common form of the creation myth and its significance for different cultures.

The problem of the world’s beginnings is one of the most controversial points for the discussion today. Furthermore, it is the central idea of many ancient myths. According to Murtagh, “at the foundation of nearly every culture is a creation myth that explains how the wonders of the earth came to be” (Murtagh).

The ancient people could not understand the world processes and explained them with the help of mythological imagery. Different cultures used their own approaches to explaining the birth of the Universe, but the basic aspects of the process are similar because they depend on the people’s beliefs, values, and expectations.

According to people’s visions, the world can have its origin from the chaos or water, and the myths where the earth emerges out of water are known as diver myths (Murtagh). For instance, the story of creating the world out of water as a result of the struggle with the chaos is depicted in the Mesopotamian Enuma Elish.

The role of the water and chaos is also significant for the Pelasgian creation myth. Furthermore, the watery chaos Nu is accentuated in the Egyptian creation myth as the roots of the Universe.

The role of water in the creation stories can be explained with references to the role of water in the ancient people’s everyday life as it was in Egypt or in the Mesopotamian territories.

Nevertheless, it is possible to determine various actors as the world creators in different cultures. It is stated in the Enuma Elish that the Universe was organized as a result of the struggle between the body of water Tiamat who lost her husband Apsu and the god Marduk (“The Babylonian Creation Story”).

The bodies of water have definite gender features, and they are perceived as the god and the goddess. When Marduk killed Tiamat in the struggle for superiority, the heavens and the earth were made from her body. Thus, it is possible to speak about the origin of the Universe from the water body of Tiamat.

In the Pelasgian creation myth, the main actors are Eurymone and Ophion, and the major symbol is the Cosmic Egg after breaking which the Universe was made (“Greek Creation Story”). The Egyptians focused on their sun-god Ra or Atum and his children as the gods creating the world (Hagin).

In spite of the fact different gods and creators of the world depicted in various creation myths have different names and characteristics, there are a lot of similar features in their portraying. The Enuma Elish and the Pelasgian creation myth are similar in depicting female powers of Tiamat and Eurymone known as the Goddess of All Things.

According to the Enuma Elish, the world was made out of Tiamat, and Eurymone who was born from the chaos divided the water and heavens to dance on the sea waves in the Pelasgian myth.

In the Egyptian creation myth, the accents are made on the role of male gods, but the goddess Tefnut as the daughter of Atum plays the important role in creating the other gods.

It is necessary to pay attention to the fact that those myths the central idea of which is to present the story of the Universe creation include definite elements which are typical for all the myths on the topic.

The creation myth should include not only the mentioned images of the world’s creators and describe the process of creating the earth and sky but also present the processes of creating the other gods and the man.

Moreover, the Universe can be created by the definite god who is alone as it is in the story about Atum, by the god with assistants or by the active and passive creators as it is in the myth about Eurynome, or as a result of the gods’ struggle as it is in the Enuma Elish. From this point, the processes of creating the earth and sky, the gods and the man can be discussed as the mythemes of creation stories.

The water and the chaos are two important symbols which are used in all the studied myths as the source for the other parts of the Universe. However, the birth of the man is the next important mytheme. According to the Mesopotamian myth Enuma Elish, people are created from the blood of Kingu, the henchman of Tiamat.

It is stated in the Pelasgian creation myth that the first man is made from the dust of Arcadia. The usage of dust or dirt as the source for creating the man is typical for many myths and religious traditions. Nevertheless, the Egyptians were inclined to think that the first man was made out of Atum’s tears of joy when the Universe was created.

However, there are similar stories about the birth of new gods. According to the Enuma Elish, there were several gods, and they fought with each other before the Universe was created, but the emergence of gods in the Egyptian and Greek traditions is a result of the main gods’ unions.

Thus, Shu and Tefnut became the parents of Geb and Nut who became the parents of the other gods in relation to the Egyptian myth. Moreover, Eurynome gave the birth to Eros, also known as Protagonus or ‘firstborn’, and then to the seven Powers which also became the gods (“Greek Creation Story”).

Those myths which are based on the topic of the world creation have a lot of specific details characteristic for different cultures, but there are many similarities in the basic symbols of these myths.

The specific details accentuate the uniqueness of the cultures and the particular features of the people’s interpretation of the world with references to the geographical and social characteristics. The similar aspects which are depicted in the myths with the help of certain symbols stress the importance of the topic for all the cultures and its universal character.

Works Cited

Greek Creation Story . n.d. Web.

Hagin, Stephen. Egyptian Creation Stories . n.d. Web.

Murtagh, Lindsey. Common Elements in Creation Myths . n.d. Web.

The Babylonian Creation Story (Enuma Elish) . n.d. Web.

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Myths vs. legends, examples of famous myths, step 1: think of a theme, step 2: decide on the moral, step 3: incorporate symbolic elements, step 4: idea summary, step 5: character development, step 6: setting development, step 7: define the conflict, step 8: outline the beginning, step 9: plan the resolution, step 10: develop a plot outline, step 11: write the first draft, step 12: choose a title, step 13: edit and revise, step 14: seek feedback, step 15: final edit, step 16: publish and share, how do i write my own myth, what are the 5 elements of a myth, what is an example of a myth, how do myths start.

What is an example of a kids' myth?

What is a Myth?

Myths are influential fictional stories that have been passed down for generations across different cultures. They have had enduring appeal as they often explore timeless themes about human existence – from birth and love to conflict and death. Myths also offer explanations about our world – why the sun rises, how different languages originated, and what happens after death.

While myths are fictional rather than factual accounts, for ancient civilizations they represented a reality grounded in their unique cultural contexts and belief systems. Myths helped shape worldviews, values and customs within these societies. Modern society may classify myths as fantasy , fairytales or legends but their imaginative power and symbolic meaning still resonates.

The fantastical elements in myths like all-powerful gods, mystical quests or monstrous beings capture our imagination. Talking animals and shape-shifting tricksters teach us moral lessons. Heroes overcoming epic trials represent the universal theme of the underdog defeating mighty opponents against the odds. Myths reveal both human flaws and virtues – jealousy and deception but also courage, ambition and redemption.

So myths continue to have significance and value. Their timeless quality means they can be reinterpreted to explore modern challenges – from ethical issues posed by technology to current social dynamics about gender and race. Myths also inspire contemporary pop culture through comic book heroes on quests to computer games built around mythic themes and imagery. Their metaphorical style adds depth to any form of storytelling across genres and mediums.

Myths come in many forms, serving distinct purposes across cultures and eras. Though myths may intertwine multiple elements, some main categories include:

Creation Myths : Explain the origins of the universe, Earth, and humanity. They often involve gods, goddesses, or supernatural beings.
Heroic Myths: Focus on the adventures and exploits of heroic figures. These myths often follow a hero’s journey , involving challenges, trials, and a transformation.
Trickster Myths: Feature characters who are clever, mischievous, and often disrupt the natural order of things. The trickster figure challenges societal norms and brings about change.
Etiological Myths: Explain the origins of customs, traditions, or natural features. These myths provide cultural explanations for certain practices or phenomena.
Cosmogonic Myths: Similar to creation myths, cosmogonic myths address the origin and order of the cosmos, including the relationships between various celestial bodies.
Didactic Myths: Also known as folktales or fables. Convey moral lessons or teachings. These myths often involve characters facing moral dilemmas and making choices that lead to consequences.
Afterlife Myths: Explore beliefs about what happens after death. They may describe different realms, deities, or rituals associated with the afterlife.
Eschatological myths: Focus on endings/destruction. Like flood or rapture myths depicting world catastrophes.
Apocalyptic Myths: Envision the end of the world or a significant transformation of the existing order. They often involve prophecies, divine judgments, or catastrophic events.
Liminal Myths: Focus on transitions or thresholds, such as rites of passage, initiation ceremonies, or rituals marking significant life changes.
Ancestral Myths: Explain the origins of a particular people, tribe, or community. These myths often involve the creation of the first humans or the founding of a civilization.
Deification Myths: Describe how certain individuals or beings become gods or achieve divine status. This may involve heroic deeds, ascension, or divine intervention.

This list covers some of the major types of myths recorded from civilizations worldwide based on their central themes and messages. The great diversity illustrates myth’s enduring capacity to both explain and explore the human condition in creative ways that still influence how we tell stories today across artistic mediums.

Myths and Legends share similarities in being tales passed down over generations that take on symbolic meaning. However, they have some distinct differences:

Origins : Myths trace back to ancient oral storytelling traditions grounded in religion /spirituality. Legends originate from perceived historical events and may incorporate real people or places.
Timeframes : Myths are set in ancient, timeless settings like the beginnings of Earth or humanity. Legends occur in knowable eras of antiquity but details remain unreliable or obscure.
Characters : Myths utilize archetypal non-human characters like all-powerful gods, magical beasts or the forces of nature in human form. Legends may feature heroic human characters accomplishing exaggerated feats.
Believability : Ancient societies often took myths as literal explanations of divine truths. Legends blur fact and fiction but don’t demand faith in the same way religious myths did.
Functions : Myths cemented ideological belief systems and helped impart cultural values. Legends tend to inspire national/community pride in past heroes and events.

In essence, the distinction depends on whether supernatural, sacred narratives of myths give way to more grounded tales of extraordinary mortal exploits in legends.

There’s certainly overlap – legends borrow mythic tropes while myths may incorporate historical elements. But generally, myths emerge from faith and legends from memories of remarkable deeds. Evaluating the context and purpose behind fantastical tales illuminates how they spread and the significance they held.

Mythology has spawned countless captivating tales across ancient cultures that remain influential. Here are a few iconic myths and their significance:

Icarus and Daedalus: In a Greek myth, there’s a skilled builder named Daedalus. He and his son, Icarus, were stuck on an island called Crete. To escape, Daedalus created wings using feathers and wax. He warned Icarus not to fly too high or too low. Excited, Icarus flew too close to the sun. The sun melted the wax on his wings, and he fell into the ocean and drowned. This story teaches us about the dangers of being overly ambitious without thinking. It also represents how humans strive for greatness and creativity.
Thor vs the Midgard Serpent : In a Norse myth, there’s a big battle between Thor, the thunder god, and the enormous serpent called Jörmungandr. This happens before Ragnarök, a big event where the gods and the world are supposed to be destroyed. Thor goes fishing for the serpent using an ox-head as bait. He hooks the massive serpent, but even with his powerful belt and gloves, he can’t beat it before the line breaks, and he gets thrown backwards. This myth shows the constant struggle between opposing forces in the world, and how they balance each other through their fights for control.
Pandora’s Box: In an ancient Greek story, there’s a woman named Pandora. The gods made her very beautiful and charming. She came with a sealed jar, and she was told not to open it. But Pandora couldn’t resist her curiosity and opened the jar. This let out all kinds of troubles like sorrow, sickness, and plague, which then affected people forever. The only thing left inside the jar was hope. This story tells us that even when faced with difficulties, people can still keep going with hope.
The Buddha: In a story from Hindu and Buddhist traditions, there’s a prince named Siddhartha Gautama who later becomes the Buddha, which means the Awakened One. He leaves behind his comfortable life as a prince, including his wife and son, after seeing how much suffering exists in the world. He goes on a spiritual journey for many years, trying extreme ways to find enlightenment. After a simple meal, he sits under a tree and enters deep meditation. During this time, a demon named Mara tries to distract him with desires and fears, but the Buddha remains focused. He reaches a state called nirvana, gaining profound insights. The teachings of Buddhism come from these insights, suggesting that letting go of material desires and fixed ideas can free people from worldly sorrows. This myth shows that humans can transcend difficulties and reach a state of enlightenment.
Hercules (Heracles): From Greek mythology Hercules, the son of Zeus and a mortal woman named Alcmena, faced a series of challenges known as the Twelve Labors as a punishment for a crime committed in a fit of madness. One of these labours was to clean the Augean stables, which housed an immense number of cattle and had not been cleaned for years. It seemed like an impossible task. Hercules, known for his strength, devised a clever plan. He redirected the rivers Alpheus and Peneus to flow through the stables, cleaning them in a single day. Despite his initial disbelief, King Augeas, who owned the stables, refused to honour his agreement to reward Hercules. This myth illustrates Hercules’ wit and problem-solving skills, showcasing that strength alone is not always the solution. It also highlights the theme of justice as Hercules faced an unfair situation and ultimately demonstrated his capabilities through intelligence and resourcefulness.

These represent just snippets of legendary tales full of symbolic details that have endured for millennia. They remind us of myth’s storytelling power – using fantasy and imagination to probe poignant universals that still compel audiences today.

How To Write A Myth in 16 Steps

Myths have charmed readers for millennia thanks to their imaginative worlds and timeless themes. If you want to join the ranks of storytellers like Homer, the Brothers Grimm, and J.R.R Tolkien, follow these 16 simple steps to learn how to write a myth:

Choosing a theme is the foundational step in crafting a myth. It involves selecting a fundamental concept, value, or message that will serve as the core focus of your narrative. Themes can range from love and courage to justice or any other overarching idea. This choice not only provides direction to your tale but also shapes the underlying philosophy that will resonate with your audience. Consider what profound concept you want to explore and what moral or lesson might emerge from it.

You might want to take a look at our collection of myth ideas for some inspiration on possible themes for your own myth.

Here is a list of common themes found in myths:

Courage: Exploring the inner strength needed to face adversity and overcome fears.
Love and Sacrifice: I nvestigating the transformative power of love and the sacrifices one might make for it.
Justice and Redemption: Delving into the pursuit of justice and the possibility of redemption, even in the face of past mistakes.
Wisdom and Knowledge: Uncovering the value of wisdom, knowledge, and the pursuit of understanding.
Fate and Free Will: Examining the interplay between destiny and the choices individuals make, challenging the concept of fate.
Friendship and Loyalty: Exploring the bonds of friendship and loyalty, and the challenges faced in maintaining them.
Nature and Balance: Reflecting on the interconnectedness of nature and the importance of maintaining balance in the world.
Perseverance and Resilience: Illustrating the power of persistence and resilience in the face of trials and tribulations.
Forgiveness and Reconciliation: Focusing on the themes of forgiveness and reconciliation, exploring the healing power of letting go.
Self-Discovery and Identity: Following characters on a journey of self-discovery, exploring questions of identity and purpose.
Hope and Despair: Investigating the contrast between hope and despair, and the transformative impact of hope in challenging situations.
Duty and Honour: Examining the concepts of duty and honour, and the conflicts that may arise when these principles are tested.

These themes provide a starting point for beginners, offering broad and profound concepts that can be explored in various ways within the structure of a myth. As a beginner, choose a theme that resonates with you and sparks your imagination. Remember, the theme is the soul of your myth, anchoring it with a deeper purpose beyond the surface narrative.

If your theme is “Courage,” your myth might revolve around characters facing daunting challenges and finding inner strength to overcome them. The theme of courage can be expressed through the characters’ actions, decisions, and personal growth throughout the mythic journey.

Once you’ve identified the theme of your myth, the next crucial step is to determine the moral or lesson you want your audience to take away from the narrative. The moral is the guiding principle or truth about living a good life that aligns with your chosen theme. This element gives depth and purpose to your myth, as it imparts meaning beyond the surface storyline.

Here are some key elements to consider in this step:

Alignment with Theme: Ensure that the chosen moral resonates with and complements the theme you’ve selected. It should be a natural extension of the theme, reinforcing the central concept.
Universal Applicability: Aim for a moral that possesses universal appeal, allowing readers to relate to and find personal relevance in the lessons imparted by your myth.
Character Transformation: Consider how the moral will contribute to the transformation of your protagonist. The mythic journey often involves personal growth, and the moral serves as a compass guiding this transformation.

Deciding on the moral is crucial because it gives your myth a purpose beyond entertainment. It elevates the narrative to a realm of meaningful storytelling, allowing readers to connect with the characters and events on a deeper level. The moral provides a guiding light, shaping the overall message you wish to convey and leaving a lasting impact on those who engage with your myth.

Example:

If your theme is “Courage,” your moral might be centred around the idea that true courage is found not in the absence of fear but in the face of it. This moral aligns with the theme and encourages readers to reflect on the nature of courage in their own lives.

Once you’ve established the theme and decided on the moral, the next step involves weaving symbolic elements into your myth. These elements can take various forms, including items, characters, colours, numbers, and more. Symbolism adds depth and layers of meaning to your story, enhancing its richness and reinforcing the themes and messages you wish to convey.

Relevance to Theme and Moral: Ensure that the symbolic elements chosen are relevant to the theme and moral of your myth. They should enhance the narrative rather than feel forced or arbitrary.
Metaphorical Representation: Symbolic elements often carry metaphorical meaning. Consider how they can represent deeper concepts, emotions, or aspects of the human experience.
Consistency and Coherence: Maintain consistency in the use of symbolism throughout your myth. Symbolic elements should contribute to the overall narrative rather than feeling disjointed.
Reader Engagement: Allow room for reader engagement with the symbolism. Some elements may be more clear, while others might be subtle, encouraging readers to interpret and discover meanings on their own.

Incorporating symbolic elements adds layers of meaning to your myth, making it a more immersive and thought-provoking experience for readers. Symbols have the power to evoke emotions, create connections between elements in the story, and reinforce the overarching themes. Well-executed symbolism enhances the myth’s impact, allowing readers to explore deeper levels of interpretation and engage with the narrative on a more profound level.

Example:

For the theme of courage, you might incorporate a symbolic element like a Phoenix feather. The Phoenix, known for its mythical rebirth from its ashes, becomes a symbol of resilience and the ability to rise anew despite challenges. The feather, handed down through generations, represents the legacy of courage within a family or community. As characters face daunting trials, the presence of the Phoenix feather serves as a reminder that courage isn’t the absence of fear but the determination to confront and overcome it, emerging stronger on the other side. In this way, the Phoenix feather becomes a metaphorical representation of the theme, adding layers of meaning to the narrative and reinforcing the message about the nature of courage.

After establishing the theme, deciding on the moral, and incorporating symbolic elements, it’s time to create a concise idea summary for your myth. This summary serves as a condensed version of your myth, outlining the basic premise, main characters, central conflict, supernatural aspects, and the moral message in a paragraph or two.

Protagonist and Basic Arc: Introduce the main character (or characters) and briefly outline their journey or character arc. What challenges do they face, and how do they evolve throughout the myth?
Main Conflict: Identify the central conflict that drives the narrative forward. Is it a moral dilemma, a battle against dark forces, or a quest for self-discovery?
Supernatural Aspects: If your myth involves supernatural or fantastical elements (common in many myths), provide a glimpse of these aspects. This could include gods, magical creatures, or enchanted objects.
Moral Message: Summarize the moral or lesson that readers should take away from your myth. How does the protagonist’s journey and the resolution contribute to this message?

The idea summary serves as a roadmap for your myth, providing a clear and concise overview of its key elements. It acts as a guide for the subsequent steps, ensuring that your narrative remains focused on its core themes and messages. Additionally, having a well-defined idea summary can be a valuable tool for pitching or sharing your myth with others.

Aria, a young girl from the mystical land of Eldoria, finds an ancient prophecy about a looming darkness that will consume the world. She is chosen by the gods to stop it, armed with a Phoenix feather inherited from her ancestors. Along her perilous quest, she encounters mythical creatures and faces moral dilemmas that test her courage. She learns that courage is not the lack of fear, but the will to act despite it. In the final showdown, she faces the source of the darkness, a monstrous entity that feeds on fear. She musters all her courage and stabs the Phoenix feather into its core willing to sacrifice herself, triggering a massive blast of light and heat. The darkness is burned away, and the land is restored to its natural beauty. She realizes that the Phoenix feather symbolizes courage, a powerful force that can overcome any evil.

Character development is a crucial aspect of crafting a compelling myth. In this step, you’ll outline your characters, delving into their backgrounds, motivations, flaws, and the growth they undergo throughout the mythic journey.

Here are the key components of developing characters:

Protagonist : Introduce your main character—the protagonist—who will navigate the challenges of the myth. What makes them unique? What are their strengths and weaknesses?
Backstories : Provide backgrounds for your characters. What events or experiences have shaped them into who they are at the beginning of the myth?
Motivations : Explore the motivations driving your characters. What do they desire, fear, or hope to achieve? Motivations often propel characters forward in the face of adversity.
Flaws : Characters with flaws are relatable and dynamic. What imperfections or internal struggles do your characters grapple with? How do these flaws contribute to their arcs?
Character Arc : Consider how the challenges and trials of the myth will lead to the growth and transformation of your characters. What lessons will they learn, and how will they evolve?
Supporting Characters: You should also consider introducing supporting characters who complement and challenge the protagonist. These characters can provide additional layers to the narrative and contribute to the growth of the protagonist.

Well-developed characters contribute to the emotional appeal of your myth. Readers connect with characters who feel real and undergo meaningful transformations. Character development adds depth, authenticity, and relatability to your narrative, making the myth more engaging and impactful.

Aria is a young and determined girl from Eldoria.
Background: Her background reveals a lineage of courageous ancestors, instilling in her a sense of responsibility.
Weakness: Aria struggles with self-doubt and the fear of not living up to her family’s legacy.
Motivation : Her motivation stems from a deep desire to prove her courage and protect Eldoria from the impending darkness.
Character Arc: As Aria faces mythical creatures and moral dilemmas, her flaws become apparent. She must confront her self-doubt and overcome her fear, learning that courage is not about being fearless but about acting despite fear. Through the challenges, Aria experiences significant character growth. By the end of the myth, she emerges as a resilient and self-assured individual, having discovered the true meaning of courage.
Cyrus, a wise elder and mentor, becomes a pivotal supporting character in Aria’s journey.
Background: With a mysterious past tied to ancient prophecies, Cyrus possesses knowledge crucial to Eldoria’s survival.
Motivation: His motivations are rooted in a deep sense of duty to guide and protect the realm.
Weakness: Despite his wisdom, Cyrus grapples with a past mistake that haunts him, serving as a reminder that even the wise have imperfections.
Character Arc: Throughout the myth, Cyrus serves as both guide and challenge to Aria. He imparts valuable lessons about courage, sacrifice, and the interconnectedness of all things. As Aria faces the trials ahead, Cyrus’s guidance becomes instrumental in her growth. In turn, Aria’s courage inspires Cyrus to confront his own lingering fears.

Setting development is the process of creating and detailing the world in which your myth unfolds. The setting encompasses not only the physical locations but also the cultural, historical, and magical elements that contribute to the overall atmosphere of the narrative.

Here are the key elements for this step:

Primary Setting: Define the primary location or realm where the events of your myth take place. Is it a fantastical land, an ancient city, or a mythical kingdom? Consider the geography, climate, weather patterns , and overall ambience.
Crucial Locations: Identify specific locations within the primary setting that play a key role in the narrative. These could be sacred sites, enchanted forests, mythical caves, or significant landmarks.
Cultural Elements: Explore the cultural aspects of your setting. What beliefs, traditions, and customs shape the characters’ lives? Cultural elements add depth and authenticity to the world you’re creating.
Historical Backstory: Develop a historical backstory for your setting. What events have shaped the world, and how do they influence the characters and conflicts in the present? A rich history can enhance the myth’s sense of depth.
Magical Aspects: If your myth involves magic or supernatural elements, detail how these aspects manifest in the setting. Are there magical creatures, artefacts, or ley lines that influence the characters’ journeys?

Setting development establishes the backdrop against which your characters’ journeys unfold. A well-crafted setting immerses readers in the world of your myth, making it more striking and captivating. Additionally, the setting can influence the characters’ beliefs and actions, contributing to the overall atmosphere and thematic appeal of the narrative.

Eldoria, the mystical land in which our myth unfolds, is a realm steeped in magic and ancient prophecies. The primary setting consists of diverse landscapes, from sprawling enchanted forests to majestic mountain ranges. Eldoria is governed by the principles of balance, with natural forces and magical energies interwoven into the fabric of everyday life. Crucial locations include the Sacred Grove, where prophecies are whispered by ancient trees, and the Luminous Falls, a source of magical energy that sustains the land. The cultural elements of Eldoria centre around a deep reverence for nature and a belief in the interconnectedness of all living things. Eldorians celebrate seasonal festivals that honour the cycles of nature. The historical backstory reveals a time when Eldoria faced a similar threat of darkness, and a legendary hero emerged to restore balance. This hero’s legacy echoes through the ages, influencing the characters’ beliefs and motivations. Magical aspects include mythical creatures like the ethereal Moonlight Stags and the elusive Starlight Foxes, both guardians of ancient secrets.

In Step 7, you will define the central conflict that drives the narrative of your myth. The conflict is the driving force that moves the characters forward, creating tension, drama, and opportunities for growth. This step involves determining what challenges, obstacles, or moral dilemmas your characters will face as they embark on their mythic journey.

Here are the key elements of defining the conflict:

Nature of the Conflict: Clearly state the central conflict that forms the core of your myth. Is it a physical threat, a moral dilemma, an internal struggle, or a combination of these elements? Define what the characters are up against.
Stakes: Outline the stakes involved in the conflict. What is at risk if the characters fail to overcome the challenges they face? Stakes add urgency and significance to the narrative.
Antagonistic Forces: Identify the antagonistic forces that oppose the protagonist. These could be external entities, internal struggles, or even the consequences of their own choices. Antagonistic forces create opposition and obstacles.
Moral Complexity: If your conflict involves moral dilemmas, explore the ethical complexities surrounding the choices your characters must make. This adds depth and nuance to the narrative.

The conflict is the driving force behind your myth, shaping the characters’ journeys and providing a narrative arc. A well-defined conflict creates suspense, engages readers emotionally, and sets the stage for the characters’ growth and transformation. It establishes the challenges that must be overcome, making the myth compelling and resonant.

Self-Doubt: Aria doubts her magical abilities, fearing that she lacks the strength to combat the darkness. This self-doubt hinders her from fully embracing her role as the chosen one.
Moral Dilemmas: Aria encounters a village torn between two factions, each seeking her assistance. The moral dilemma forces her to choose between conflicting values, challenging her understanding of justice.
Fear of Failure: Aria envisions the consequences of failing in her mission, haunted by the idea of Eldoria succumbing to eternal darkness. This fear propels her forward but also tests her resilience.
Corrupted Mythical Creatures: Aria faces a once-gentle unicorn corrupted by the darkness. Overcoming the creature requires both physical combat and a demonstration of empathy to restore its purity.
Monstrous Entity: The monstrous entity, fueled by fear, creates illusions that prey on Aria’s deepest fears. Overcoming this external threat demands Aria to confront her personal demons while battling the monster.
Isolation: Aria finds herself alone in the eerie Whispering Woods, where shadows play tricks on the mind. The isolation intensifies her internal struggles and challenges her ability to trust her instincts.
Environmental Hazards: Eldoria’s magical landscape shifts unpredictably, creating illusions and mirages. Aria must discern reality from illusion, adding an external layer of challenge to her journey.

In Step 8, you will outline the beginning scenes of your myth. This involves crafting the opening moments that introduce readers to the world, characters, and central conflict. The beginning sets the tone for the entire narrative, hooking readers and drawing them into the mythic journey.

Here are the key elements to consider:

Introduction of the Protagonist: Establish the main character, providing essential details about their identity, background, and current situation. Create a connection between the protagonist and the readers.
Introduction of the World: Describe the setting and the mystical elements of the world in which the myth takes place. Transport readers to a realm filled with magic, wonder, and potential challenges.
Foreshadowing: Drop subtle hints or clues about the impending conflict or challenges the protagonist will face. Foreshadowing adds intrigue and anticipation, encouraging readers to delve deeper into the narrative.
Establishing the Normal World: Present the protagonist’s everyday life before the call to adventure. This normal world provides a baseline against which readers can measure the transformative journey that lies ahead.
Introduction of Key Elements: Introduce any key elements, symbols, or objects that will play a significant role in the myth. These elements may include magical artifacts, prophecies, or mythical creatures.

The beginning of the myth serves as the narrative’s foundation, establishing the characters, world, and conflict. A well-crafted beginning captivates readers, prompting them to invest emotionally in the protagonist’s journey. It also sets the stage for the transformation that will unfold as the myth progresses.

The myth begins with Aria, a young girl from Eldoria, going about her daily life in the quaint village of Lumara. The sun-dappled streets and the laughter of children provide a sense of the normal world. Aria is introduced as a relatable character, known for her kindness and curiosity. As Aria practices her magical abilities in a secluded grove, readers witness the first hint of foreshadowing—an ancient prophecy etched into the bark of an ancient tree. The words speak of a looming darkness and a chosen one who will stand against it. Aria, unaware of her destiny, continues her routine. The normal world is disrupted when mysterious shadows start encroaching on Eldoria. Aria witnesses the corruption of once-gentle creatures and feels an unexplained calling. The call to adventure begins as Aria discovers the Phoenix feather, a family heirloom that glows with newfound intensity. This sets the stage for her journey to confront the darkness and fulfil the prophecy.

In Step 9, you will plan the resolution of your myth. This step involves scripting the conclusion of the narrative, determining how the central conflict will be resolved, and outlining the fate of the characters. The resolution should bring closure to the story while imparting the moral lesson or universal truth you want readers to take away.

Here are the key elements of this step:

Climax: Identify the highest point of tension in the story, often referred to as the climax. This is the moment of greatest conflict or confrontation between the protagonist and the antagonist.
Resolution of the Central Conflict: Determine how the central conflict will be resolved. Will the protagonist succeed in overcoming the challenges, or will there be a tragic outcome? The resolution should align with the overarching theme of the myth.
Character Arc Completion: Ensure that the resolution reflects the growth and transformation of the protagonist. Characters should undergo significant changes, learning important lessons or discovering newfound strengths.
Impact on the World: Consider how the resolution will impact the world of the myth. Will there be a restoration of balance, a transformation of the realm, or a lasting change in the characters’ lives?
Moral Message: Clarify the moral or universal truth that the resolution will convey. This is the lesson or insight that readers should take away from the mythic journey.

The resolution is the culmination of the mythic journey, providing a sense of closure and fulfilment. It is the moment where the themes, conflicts, and characters come together to deliver a powerful message. A well-planned resolution leaves a lasting impression on readers and reinforces the moral or universal truth embedded in the myth.

As Aria confronts the monstrous entity fueled by fear in the climactic showdown, the Phoenix feather becomes the key to the resolution. The entity, representing the embodiment of darkness, is relentless in its attempt to consume Aria’s courage. The climax unfolds as Aria, drawing strength from within, stabs the Phoenix feather into the entity’s core killing herself in the process. This courageous act triggers a blinding blast of light and intense heat, burning away the darkness that had threatened to engulf Eldoria. The world is restored to its natural beauty, and the once-corrupted mythical creatures regain their purity. Aria, however, is presumed dead in the aftermath. In a poignant twist, Aria’s soul emerges from the light, having absorbed the darkness into the Phoenix feather. Aria is transformed, now radiating with a brilliant glow like a phoenix rising from the ashes. Aria’s character arc is complete, as she learns that true courage involves self-sacrifice and that even the darkest aspects can be transformed into light. The resolution leaves a lasting impact on Eldoria, symbolizing the triumph of courage over fear. The realm is forever changed, and Aria’s sacrifice becomes a legendary tale told across generations.

In Step 10, you will develop a comprehensive plot outline for your myth. This involves mapping out the narrative structure, key events, and character developments from the beginning to the resolution. The plot outline serves as a roadmap, guiding your writing process and ensuring a coherent and engaging story.

Here are the key elements of outlining the plot:

Hooking Opening: Craft an engaging opening that captures the readers’ attention and introduces the world of your myth. This could involve an intriguing event, a mysterious prophecy, or the introduction of a compelling character.
Rising Action: Outline the series of events that build tension and propel the story forward. This includes challenges, conflicts, and discoveries that the protagonist faces on their journey.
Climax: Identify the highest point of tension in the story, where the central conflict reaches its peak. The climax is a pivotal moment that often involves a confrontation between the protagonist and antagonist.
Falling Action: Detail the events that follow the climax, showing the aftermath of the central conflict. This phase may include resolutions to secondary conflicts and the beginning of the resolution.
Resolution: Script the conclusion of the narrative, bringing closure to the central conflict and showcasing the transformation of the characters and the world. The resolution should align with the overarching theme and moral message.

Developing a plot outline provides a structured framework for your myth, ensuring a cohesive and engaging narrative. It helps you visualize the entire story, identify key beats, and maintain a sense of direction throughout the writing process. A well-crafted plot outline serves as a valuable tool for both planning and executing a compelling mythic journey.

Aria discovers an ancient prophecy foretelling a darkness threatening Eldoria.
Introduction of Aria’s normal world in Lumara, a village filled with magical beings.
Aria finds the Phoenix feather, setting her on the path of the chosen one.
Encounters corrupted mythical creatures and faces moral dilemmas.
Discovers the nature of the darkness and her role in stopping it.
Confrontation with the monstrous entity fueled by fear.
Aria’s self-sacrifice with the Phoenix feather to burn away the darkness.
Eldoria transforms as the darkness recedes.
Reveal of Aria’s presumed death and the impact on the realm.
Aria’s soul emerges, transformed into a radiant figure
Symbolic restoration of Eldoria’s purity and balance.
The Phoenix feather becomes a beacon of courage and hope.

In Step 11, you embark on the actual writing process, crafting the first draft of your myth. This step involves translating your plot outline, character developments, and key themes into the myth. The primary goal is to get the narrative flow down on paper without obsessing over perfection.

Here are some elements to consider during this step:

Follow the Plot Outline: Refer to the plot outline you developed in Step 10 as a guide. While writing, allow for creative detours if they enhance the narrative, but ensure that the core structure remains intact.
Establish the Tone: Set the tone of your myth through your writing style. Consider the atmosphere you want to create—whether it’s mysterious, adventurous, or poignant—and infuse your story with appropriate language and imagery.
Character Voices: Give each character a distinct voice and personality. Their dialogue, actions, and internal thoughts should align with their individual traits and arcs.
Show, Don’t Tell : Use descriptive language to evoke vivid imagery and engage readers’ senses. Show character emotions, the magic of the world, and the impact of key events rather than simply stating them.
Build Atmosphere: Create a rich and immersive atmosphere that draws readers into the mythical realm. Pay attention to the details of settings, sounds, and even the cultural nuances that contribute to the world-building.
Maintain Consistency: Ensure consistency in character traits, world-building details, and the overall tone of the myth. This consistency enhances the believability of the fictional world.
Embrace Creativity: Allow your imagination to flourish. Don’t be afraid to explore new ideas or unexpected twists that may enhance the narrative. The first draft is an opportunity to discover the full potential of your myth.
Focus on Narrative Flow: Prioritize the narrative flow over perfection. The goal is to convey the essence of the story, and you’ll have opportunities for refinement in later editing stages.

Writing the first draft is a crucial step in bringing your myth to life. It allows you to explore the narrative in its raw form, discovering variations, character depths, and unexpected turns. The first draft is a creative space where you can experiment, refine your voice, and build the foundation for subsequent editing and polishing stages. It’s an exciting phase that captures the essence of your mythic journey.

Dawn’s rosy fingers stretched across the clear morning sky as Aria awoke, brimming with excitement for the Solstice Fair. She leaned out the window, drinking in the crisp air as the village of Lumara began to stir. Golden light spilled over the cobblestone streets below while the mouth-watering aroma of sweet cakes and pies drifted from the bustling bakery next door. After washing and dressing hurriedly, Aria bounced downstairs where her mother was brewing hot honey-mint tea. She wolfed down a still-warm spice bun, listening with half an ear as her mother fussed over the handwoven shawls they would sell at their fabric stall. The thrill of the annual fair left no room in Aria’s 12-year-old mind to focus on such mundane matters though. The whole village seemed infected by the frenetic energy as Aria skippered down the main thoroughfare. Everywhere colorful banners and Lantern flowers garlanded the buildings in preparation for the legendary nights of feasting ahead. Weaving through the crowds, Aria felt as if the very air tingled with festive magic. Her steps slowed as she passed the looming stone wall shrouded in emerald ivy that marked the edge of the Twilight Grove which held far greater enchantment for Aria than any Solstice Fair. The wall enclosed a forest clearing that called to Aria in a way she had never been able to explain…

Choosing a title is a crucial step in the myth-writing process. The title serves as the first impression and a guiding beacon for readers, encapsulating the essence of your myth. It should be graphic, intriguing, and reflective of the themes or central elements of the story.

Here are some key elements to consider during this step:

Reflect the Essence: The title should capture the core theme, message, or unique elements of your myth. It should give readers a glimpse into what makes your story special.
Evoke Emotion or Curiosity: A compelling title evokes emotion or piques curiosity. It should make potential readers want to explore the mythical world you’ve crafted.
Avoid Spoilers: While the title should provide insight, avoid giving away major plot twists or spoilers. Maintain an element of mystery to engage readers.
Consider Symbolism: If there are symbolic elements, key objects, or motifs in your myth, consider incorporating them into the title. This adds depth and intrigue.
Clarity and Simplicity: Ensure that the title is clear and not overly complex. Simplicity can be powerful, making it easier for readers to remember and relate to.
Check for Availability: Before finalizing the title, check for its availability. Ensure that it’s not already in extensive use by other works to avoid confusion.

Choosing a title is important because it serves as a gateway for readers to enter your mythical world. A well-crafted title not only attracts attention but also sets the tone for the narrative. It becomes a concise representation of the myth’s identity, making it memorable and inviting. The title is the first step in creating a connection between your story and its audience, drawing them into the enchanting realm you’ve created.

Embers of the Eternal Phoenix

The title emphasizes the enduring nature of the Phoenix, suggesting a timeless quality to the myth. The use of “Embers” hints at both the fiery aspect and the remnants of ancient magic. “Embers” also evokes a sense of warmth and sparks curiosity about the Phoenix’s eternal flame, inviting readers to explore the myth’s mystical journey. The title maintains a level of intrigue without revealing specific plot details, leaving room for discovery within the narrative. It is also clear and concise, making it easy to remember while conveying the myth’s focus on the eternal aspect of the Phoenix.

Editing and revising are integral steps in refining your myth, enhancing its overall quality, and ensuring that it resonates effectively with your audience. This step involves a thorough examination of the narrative, language, character development, and overall coherence.

Here are the key elements of editing and revising:

Language Refinement: Scrutinize the language used in your myth. Look for opportunities to elevate descriptions, choose graphic words, and create a more immersive reading experience. Ensure clarity and coherence in your sentences.
Tighten Pacing: Evaluate the pacing of your myth. Ensure that the narrative flows smoothly, building tension where needed and allowing moments of reflection or revelation. Trim unnecessary details or scenes that may slow down the pace.
Character Motivations and Development: Revisit your characters. Ensure that their motivations are clear, their actions align with their personalities, and their development arcs are compelling. Characters should feel authentic and contribute meaningfully to the story.
Emotional Beats: Enhance emotional beats within the story. Whether it’s moments of triumph, tragedy, or self-discovery, make sure these emotional points resonate with readers. Readers should feel connected to the characters and invested in their journeys.
World-Building Consistency: Check for consistency in your world-building. Ensure that the rules of the mythical world are adhered to and that details about locations, magical elements, and cultural elements remain coherent.
Address Plot Gaps: Identify any plot gaps or inconsistencies. Make sure that the sequence of events is logical, and that resolutions align with the established conflicts. Fill in any gaps in the narrative that may leave readers confused.
Balance Descriptive and Action Scenes: Strike a balance between descriptive scenes that establish the atmosphere and action scenes that drive the plot forward. Too much description without progression can lead to pacing issues.
Check for Redundancy: Eliminate redundant or repetitive elements. Ensure that each scene, character trait, or piece of information contributes meaningfully to the overall narrative.
Consistent Tone: Maintain a consistent tone throughout your myth. Ensure that the mood and atmosphere align with the themes you want to convey. Consistency enhances the immersive experience for readers.
Grammar and Syntax: Pay attention to grammar, syntax, and punctuation. Correct any errors to ensure a polished and professional presentation of your myth.

Editing and revising are crucial steps that transform your initial draft into a polished and compelling myth. This process allows you to refine the language, tighten the narrative, and address any inconsistencies or weaknesses in the storytelling. Effective editing ensures that your myth engages readers, conveys its themes effectively, and leaves a lasting impression. It is an opportunity to elevate your work to its fullest potential before sharing it with a wider audience.

Original Sentence: “Aria, feeling the Phoenix feather pulse, bravely uttered words she didn’t know she had.”
Revised Sentence: “Feeling the pulsating warmth of the Phoenix feather, Aria courageously spoke words she never knew resided within her.”

Seeking feedback is a crucial phase in the myth-writing process. It involves sharing your work with others, gathering diverse perspectives, and gaining insights that can help improve and refine your narrative. Constructive feedback provides valuable guidance for enhancing your myth before its finalization.

Here are some elements to consider in this step

Selecting Trusted Readers: Choose individuals whose opinions you value and who can provide constructive criticism. This could include fellow writers, beta readers, or individuals with an interest in mythology and storytelling.
Ask Specific Questions: When sharing your myth, provide specific questions or areas you would like feedback on. This helps readers focus their feedback and ensures you receive insights into the aspects that matter most to you.
Remaining Open-Minded: Approach feedback with an open mind. Be open to various perspectives and consider how different suggestions align with your vision for the myth. Remember that feedback is a tool for improvement, not a directive for rewriting.
Balancing Positive and Constructive Feedback: Acknowledge both positive aspects and areas that need improvement. Positive feedback highlights strengths, while constructive criticism points to areas for refinement. A balanced perspective helps you build on what works well while addressing weaknesses.
Multiple Rounds of Feedback: Consider gathering feedback in multiple rounds. Initial feedback can focus on broad aspects like plot and character development, while subsequent rounds can delve into finer details such as language and pacing.
Implementing Changes Thoughtfully: After receiving feedback, take time to reflect on the suggestions. Decide which recommendations align with your creative vision and make changes thoughtfully. Not all feedback needs to be incorporated, and retaining your unique voice is crucial.

Feedback is a vital tool for refining your myth and ensuring it resonates with your intended audience. Other perspectives can highlight blind spots, offer fresh insights, and identify areas that might need clarification or expansion. Constructive feedback is a collaborative process that contributes to the overall quality of your myth, making it a more compelling and engaging narrative. Embracing feedback is an essential aspect of growth as a writer and contributes to the success of your myth when shared with a broader audience.

When sharing your myth with a trusted reader, you might ask specific questions such as the following:

Did the beginning of the story grab your attention? Why or why not?
What part of the story did you find the most exciting or interesting?
Did you feel like you got to know the characters well? Who was your favourite, and why?
Were there any characters whose actions or feelings you didn’t understand?
Did the story move at a good pace, or were there parts that felt too slow or too fast?
What was your favourite part of the story?
Did the central conflict drive the tension effectively, and was it resolved satisfactorily?
Were there any parts of the story where you felt confused or wanted to know more?
Could you picture the magical world in your mind? Were there things you found confusing?
Did you feel like you understood how the magic worked in the story?
Did the language used in the myth enhance the storytelling, or were there areas where it could be improved?
Were the descriptions of settings, characters, and magical elements detailed enough?
Did you feel emotionally connected to the characters and their journeys? Were there specific moments that stood out emotionally?
What do you think the story was trying to teach or tell you?
Were the symbolic elements effectively woven into the narrative, or were they confusing?
Were there unexpected twists or surprises that you enjoyed?
Did you find any parts of the plot predictable, and if so, did it impact your enjoyment of the story?
What did you enjoy most about the myth?
Is there anything you think could be improved or expanded upon?

The Final Edit is the penultimate step in the process of crafting your myth. During this phase, you focus on thorough polishing, ensuring that your narrative is finely tuned, error-free, and ready to captivate your audience. The Final Edit involves both a macro and micro-level examination of your myth, addressing broader structural elements as well as minute details.

Here are the key elements to consider during this step:

Flow and Pacing: Ensure the overall flow of your myth is smooth and engaging. Check that each scene transitions seamlessly to the next, maintaining a cohesive narrative rhythm.
Consistency: Verify that your story maintains consistency in character traits, world-building rules, and any established magical or mythic elements.
Word Choice: Carefully choose words that enhance the mood, tone, and imagery of your myth. Replace any repetitive or weak language with more vibrant and graphic alternatives.
Sentence Structure: Vary sentence lengths and structures to maintain reader interest. Ensure clarity and avoid overly complex or complicated sentences.
Dialogue : Review and refine character dialogues, ensuring they align with each character’s personality and contribute to the plot. Dialogue should feel natural and authentic.
Character Consistency: Double-check that characters’ actions, motivations, and growth align with their established traits and arcs.
Visual Imagery: Enhance descriptive elements to vividly paint scenes and characters in the reader’s mind. Engage the senses through rich, immersive details.
Show, Don’t Tell: Where possible, use descriptive language to “show” the reader what’s happening, rather than simply “telling” them.
Emotional Connection: Amplify emotional moments by fine-tuning language and expressions. Ensure that readers can connect with the characters on an emotional level.
Pacing of Emotional Beats: Confirm that emotional peaks and valleys are well-paced, allowing readers to experience a range of feelings throughout the myth.
Spelling and Grammar : Conduct a meticulous review for spelling and grammatical errors. Consider using grammar-checking tools, but also manually inspect the text for issues that automated tools might miss.
Consistent Style: Ensure consistency in writing style, whether it’s formal, casual, or a blend of both.
Clarity: Verify that the narrative is clear and easily comprehensible. Address any areas where confusion might arise.
Readability for the Intended Audience: Consider the age group or demographic your myth targets and adjust language and complexity accordingly.
Consistent Theme Weaving: Confirm that the chosen theme is consistently woven throughout the narrative. Every aspect of the myth should contribute to reinforcing the central theme.
Author’s Vision: Evaluate whether the final draft aligns with your initial vision for the myth. Ensure that your unique voice and storytelling style shine through.
Reader’s Experience: Consider how the myth will be perceived by readers. Aim to create an immersive and satisfying experience.

The Final Edit is crucial for presenting a polished and professional myth to your audience. It elevates the overall quality of your storytelling, providing readers with a seamless and enjoyable reading experience. This step is the last opportunity to catch any lingering issues and ensure your myth is ready for publication. The Final Edit reflects your commitment to delivering a well-crafted and thoughtful narrative to your audience.

Sunlight crept over the forested peaks, casting its golden glow over the sleepy village of Lumara. Aria stirred slowly from a night filled with vivid dreams of soaring over emerald treetops. As she rubbed the sleep from her eyes, the scent of baking bread and sweet honey-mint tea beckoned from the kitchen below. After changing out of her nightclothes, Aria drifted downstairs where dawn’s light streamed through the open windows. Her mother, Rhea, was stoking the brick oven’s dying embers while a kettle whistled on the stove. “Good morning, my little owl,” said Rhea. “Ready for some cinnamon spice buns?” Aria seated herself at the hand-carved oak table as Rhea placed a hot mug of fragrant tea and two gooey pastries before her. Famished after her nighttime adventures in the dreaming world, Aria wasted no time devouring her treat. As she licked sticky cinnamon from her fingers, thoughts turned to the annual Solstice Fair which would flood Lumara with visitors and magic unlike any other day. “This year the fair will be more wondrous than ever before,” said Rhea, interrupting Aria’s delicious daydreams. There was joy but also solemnity in her mother’s voice which puzzled Aria. But before she could question it, a knock sounded at the front door…

Step 16 is the completion of your journey as a myth creator — it’s the moment you share your crafted tale with the world. This step involves taking the necessary actions to publish your myth, making it accessible to your intended audience. Here’s a breakdown of the key components within this step:

Here are the elements to consider:

Choose Your Publishing Platform: Decide where and how you want to publish your myth. Options include traditional publishing through literary agents and publishers, or self-publishing through online platforms like Amazon Kindle or other e-book distributors. If you prefer a physical copy, consider print-on-demand services.
Formatting and Presentation: Ensure your myth is formatted appropriately for the chosen publishing platform. Pay attention to font styles, page layouts, and any illustrations or images you plan to include. A polished and professional presentation enhances the reader’s experience.
Cover Design: Create an eye-catching and relevant cover design. The cover is often the first thing potential readers notice, so it should reflect the essence of your myth and entice them to explore further. If you’re not artistically inclined, consider hiring a professional cover designer.
Metadata and Descriptions: Craft compelling metadata and descriptions for your myth. This includes a concise and engaging book description, relevant keywords, and categories. This information is crucial for attracting the right audience and improving the discoverability of your myth.
Distribution Channels: Decide whether you want to make your myth available exclusively on a single platform or distribute it widely across multiple channels. Each distribution choice has its advantages and considerations, so weigh them based on your goals.
Marketing and Promotion: Develop a marketing strategy to promote your myth. Utilize social media, author websites, book blogs, and other platforms to build anticipation and reach potential readers. Consider offering promotional discounts or free giveaways to generate initial interest.
Author Platform: If you haven’t already, establish an author platform. This could be a personal website, social media profiles, or an author page on platforms like Goodreads. An author platform helps you connect with readers and build a community around your work.
Engage with Readers: Actively engage with readers who discover and read your myth. Respond to reviews, participate in discussions, and consider organizing virtual or local events. Building a connection with your audience can foster a loyal readership.
Feedback and Iteration: Remain open to feedback from readers. Use constructive criticism to improve your future works and consider releasing updated editions of your myth based on valuable insights.
Legal Considerations: Be aware of any legal considerations related to publishing, especially if you choose to use traditional publishing contracts or self-publishing platforms. Understand copyright, licensing, and any contractual agreements.
Celebrate Your Achievement: Take a moment to celebrate the completion and publication of your myth. Whether it’s a personal accomplishment or the beginning of a larger writing career, acknowledge the effort and creativity you poured into your work.

Publishing and sharing your myth marks the end of your creative endeavour. This step transforms your narrative from a personal project to a piece of art meant to be experienced by others. Sharing your myth with the world allows you to connect with readers, receive feedback, and contribute to the rich tapestry of storytelling. Whether you aim for a wide readership or a niche audience, publishing and sharing are essential steps in the lifecycle of your myth.

Following this straightforward process on how to write a myth will have you conjuring up incredible lands and beloved characters in no time. Soon you’ll be weaving magical narratives that speak to universal truths and capture imaginations for generations to come.

Frequently Asked Questions

If you want to try your hand at crafting an epic mythic tale, the good news is getting started is straightforward. While myths often deal with grand themes tied to a culture’s cosmology, at their core they relate compelling narratives about universal struggles facing heroes and gods.

The first step is to decide on the core concept or message you want to explore through allegory. Think of timeless ideas surrounding morality, the meaning of life, good vs evil. Themes of love, courage, justice, and temptation are mythic staples.

Next, build your wondrous setting and characters who will bring everything to life. Unleash your creativity when conceiving locations, magical elements, immortal beings and the hero’s adventure. Traditionally myths incorporate fantasy tropes like enchanted weapons, supernatural transformations and talking animals.

Outline the sequence of events from the Call to Adventure trigger that disrupts the known world to the climatic showdown. Follow conventions from famous myth cycles but put your unique spin to surprise audiences. Monitor the pace so stakes escalate as the tale builds to an epic showdown settling conflicts in a satisfying way.

While crafting memorable dialogue and vivid imagery, focus on imparting the moral perspective intended to guide mortals. Let symbolic motifs reinforce your themes of choice. Execute revisions until you have a tight, well-structured myth for the ages! Share printed or online and enjoy as readers lose themselves in this new compelling mini-universe.

Myths across cultures and time periods tend to share certain essential ingredients that capture the imagination. If you want to write a compelling mythic tale, make sure to incorporate these 5 essential elements:

Supernatural Beings: Myths typically feature immortal gods, goddesses, magical creatures or humans with extraordinary abilities as characters. Their supernatural feats provide that sense of awe and wonder.
Universal Themes: Fundamental, timeless concepts like love, courage, temptation, jealousy or the battle of good vs evil form the thematic backbone that gives myths appeal.
Symbolic Elements: Metaphors and motifs like special objects, numbers, colours or seasons litter mythic narratives, representing abstract ideas related to their universal themes.
Moral Lesson: A teaching or worldview on how mortals can live just, meaningful lives tend to be imparted. Myths establish cultural values.
Heroic Journeys: The protagonist tends to embark on an adventurous quest or perilous journey of self-discovery that transforms them, allowing them to conquer whatever threatens their world.

By incorporating all these ingredients, you’ll craft a myth capable of enduring for generations as great iconic stories regularly do. So unleash your imagination and get writing!

One famous mythic tale which contains quintessential ingredients from across cultures is the ancient Greek story of Icarus and Daedalus. It features hubris, suspense, sorrow and a moral warning.

The tale goes that skilled inventor Daedalus fashioned wings made of feathers and wax for himself and his son Icarus to escape imprisonment, warning Icarus not to fly too close to the sun. But filled with exhilaration soaring above the azure sea, Icarus ignored his father’s warning and soared higher towards the sun’s warmth. The heat soon melted the wax binding his wings, and young Icarus plunged into the sea where he drowned.

The myth of Icarus incorporates gods, as the imprisonment was by King Minos to punish Daedalus for helping Minos’ wife give birth to the minotaur. It demonstrates man’s temptation to defy the gods and overreach. Beyond just entertainment, it imparts a moral about respecting limits placed on mortals. And it serves as an allegory for hubris or excessive pride leading to downfall.

With its familial love, suspense, tragedy and ominous warning, the legend of Icarus’ doomed flight remains impactful centuries later. All key traits of an unforgettable myth!

Myths take root in civilizations seeking to make sense of the mysteries of nature, life and death. So myths often originate as imaginative explanations of phenomena like storms, illness or conflict that frighten or confuse early humans lacking science.

Gods representing natural forces like thunder, the moon, fertility or the seas feature in nascent creation myths constructed to bring order through storytelling. Likewise, myths emerge accounting for the genesis of mankind and the cosmos featuring supernatural machinations. pantheons of gods, titans clashing or primordial cosmic eggs hatching all aim to elucidate existence.

Myths also arise from ancestors weaving fantastical histories that provide shared identity. Hence national epics like the Hindu Mahabharata or Anglo-Saxon legend Beowulf offer early tribes and dynasties storied lineage and famous deeds to rally around. Veritable characters gain superhuman qualities over centuries of oral retelling before being penned.

Often myths encode guidelines for living through the actions of deities, spirits, heroes and villains. Moral perspectives thus enter the collective consciousness. By dramatizing consequences for vice and virtues myths solidify proper codes of conduct around hospitality, war, infidelity etc.

So while methods differ, mythology always starts with imagination conjuring worlds that resonate enough to endure across generations. The rest is persistent retelling until myths become a tradition.

What is an example of a kids’ myth?

A delightful myth perfect for children is the story of the race between the tortoise and the hare. It’s a fable similar to Aesop’s animal tales, imparting a lesson in a child-friendly way that’s easy to grasp.

As the title suggests, a humble hard-shelled tortoise and an arrogant speedy hare have a contest to settle who’s faster. When they decide to race to a tree and back, the hare sprints ahead swiftly and then lies down napping certain she has won. But steady and determined, the tortoise passes the sleeping hare close to the tree to win while the hare awakes shocked learning a lesson in humility.

The simple story of the race incorporates fun personified animals children adore. It also has suspense – who will triumph? Children can absorb the moral of resilient perseverance defeating complacency or arrogance. And the visualization of a plodding tortoise improbably overtaking the speedy hare stays etched in memories.

So like the best children’s myths, “The Tortoise and the Hare” wraps the fundamental lesson of not underestimating others within an entertaining tale of a sporting rivalry that upset kids find uproariously satisfying. An enduring cautionary myth passed through generations.

We’ve covered the essential ingredients that go into crafting a memorable myth, from incorporating supernatural elements, symbols and heroic arcs to imparting profound themes or cultural values in imaginative ways. Now over to you aspiring myth-makers!

Whether you create a fantastical origin story for your favourite childhood toy or write a tragic saga extolling the virtues of perseverance like the tortoise fable, embrace your boundless creativity. As this guide on how to write a myth has shown, compelling mythology can emerge from any inspiring spark. Once you have brought your new addition to mythology to life through tireless writing and revision, share your remarkable tales far and wide.

Now, we want to hear from you! Have you embarked on your mythical odyssey, or are you inspired to begin one? Share your thoughts, ideas, or questions in the comments below.

Marty the wizard is the master of Imagine Forest. When he's not reading a ton of books or writing some of his own tales, he loves to be surrounded by the magical creatures that live in Imagine Forest. While living in his tree house he has devoted his time to helping children around the world with their writing skills and creativity.

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Creation Myths Essay Examples

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The Two Creations in Genesis

David Bokovoy

The two creation stories in Genesis can be read as separate but complementary literary units that deal with heavenly and then earthly creation.

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The Bible opens with two different creation stories. The accounts are similar in that they both describe the creation of animals, plants, and humans. But they are distinct in several ways and even contradict each other on key issues.

For example, though the stories describe some of the same events, they order them differently. In Gen 1 , God creates plants, then animals, and then simultaneously creates man and woman. In Gen 2 , God creates a human, plants, then animals, and later he divides the human into female and male. Additionally, the two stories employ different names for the deity. The first account uses the Hebrew word Elohim , meaning “God,” whereas the second uses the tetragrammaton, YHWH (often represented by “Lord”).

The stories are also very different in literary style. The first account appears neatly organized into three days of preparation followed by three days of actual formation. Each day concludes with the formulaic expression “and there was X.” By the seventh day, all creation exists in its proper sphere, and God rests. This orderly pattern suggests an orderly universe. The second story (beginning in the second half of Gen 2:4 and continuing through the end of chapter 3) lacks both the structure and the focus of the first creation account. It is much less formulaic; rather, it is a dramatic narrative in a series of seven scenes.

Because of these and other divergences, it is likely that separate authors with distinct theological views and agendas wrote these myths. The differences in the accounts reflect the unique way each author conceptualizes the deity. In Gen 1 , God is distant, creating through speech according to a master plan. This image contrasts with Gen 2 , where the author depicts God as a human-like figure who walks in the garden and, like a potter working with clay, has a hands-on, trial-and-error approach to creation. God in this version seems more accessible than the transcendent creator of Gen 1 .

Yet despite these differences, the two stories have been redacted (edited and combined) in Genesis to read as a literary unit. The first account begins with a superscription introducing the narrative as the time “when God began to create heaven and earth” ( Gen 1:1 ). It concludes with a summary statement that brackets the account: “this is the story of heaven and earth when they were created” ( Gen 2:4 ). The second story begins in the same verse, with a similar clause, “When the Lord God made earth and heaven.” Though both narratives commence with the same word pair, they place the terms in the opposite order.

Perhaps an editor who wanted the first account to depict a “heavenly” creation and the second an “earthly” creation reversed the superscription in Gen 1 to read “heaven and earth.” Such a switch works because the first story is much more cosmic in its orientation than the second. Genesis 1 , for example, depicts the creation of an expanse separating the heavenly from the earthly waters, as well as celestial objects such as the sun, moon, and stars. In contrast, the second story depicts not the creation of the sky or heavenly sphere but the formation of shrubs, fields, earth, and a garden. This difference allowed the stories to be reconciled as a literary unit, since the first text ends where the second begins—the earth. In its present form, the first creation account provides a prologue to the subsequent stories in Genesis describing humankind in the primordial era.

Bibliography

Brettler, Marc Z. How to Read the Bible. Philadelphia: Jewish Publication Society, 2005.
Levenson, Jon D. “Genesis.” Pages 8–18 in The Jewish Study Bible. Edited by Adele Berlin and Marc Z. Brettler. Oxford: Oxford Unviersity Press, 2004.

David Bokovoy holds a PhD in Hebrew Bible and the Ancient Near East and an MA in Jewish Studies both from Brandeis University. He is currently the online professor in Bible and Jewish Studies at Utah State University. David has published articles on the Hebrew Bible in a variety of academic venues, including the Journal of Biblical Literature , Vetus Testamentum , and Studies in the Bible and Antiquity . His academic focus is on source criticism, historical Jesus studies, the divine council, and sexual imagery connected with divinities in Near Eastern and biblical traditions.

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COMMENTS

Mesopotamian Creation Myths
Stories describing creation are prominent in many cultures of the world. In Mesopotamia, the surviving evidence from the third millennium to the end of the first millennium B.C. indicates that although many of the gods were associated with natural forces, no single myth addressed issues of initial creation. It was simply assumed that the gods existed before the world was formed.
53 Creation Myth Essay Topic Ideas & Examples
The Five Standard Types of Creation Myths. The third theory of the world's creation concerns the appearance of the world is connected with world parents for whom the world is the child. Mayan and Egyptian Myth of Creation Comparison. As the creator of humans and gods, he had the initiative to bring order to earth and the heavens.
13 Creation Myths in World History
The water wagtail was very important in Ainu creation myth. The Ainu creation myth emerged from Ainu peoples of Japan. In this myth, time can be broken down into three parts - "mosir noskekehe" ("the world's center"); "Mosir sikah ohta" ("a time when the universe was born"); and "mosir kes" ("end of the world").
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The World on The Turtle's Back: Creation Myth. 2 pages / 690 words. The creation myth of "The World on the Turtle's Back" is a fascinating tale that offers insight into the beliefs and values of the Onondaga people. This myth tells the story of how the world was created by a pregnant sky woman who fell from...
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How To Write A Creation Myth in 10 Steps
Understand their powers, limitations, intentions, and how they shape the narrative. The nature of your creators will significantly influence the tone, themes, and messages conveyed by your myth. Example: In your creation myth, let's say the creators are ancient celestial beings known as the Luminara.
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Creation myth
creation. creation myth, philosophical and theological elaboration of the primal myth of creation within a religious community. The term myth here refers to the imaginative expression in narrative form of what is experienced or apprehended as basic reality (see also myth). The term creation refers to the beginning of things, whether by the will ...
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The creation myth of "The World on the Turtle's Back" is a fascinating tale that offers insight into the beliefs and values of the Onondaga people. This myth tells the story of how the world was created by a pregnant sky woman who fell from the sky and landed on the back of a giant turtle. This myth is rich in symbolism and provides a unique ...
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Myths / Greek Myths / The Creation. In the beginning, there was only Chaos, the gaping emptiness. Then, either all by themselves or out of the formless void, sprang forth three more primordial deities: Gaea (Earth), Tartarus (the Underworld), and Eros (Love). Once Love was there, Gaea and Chaos - two female deities - were able to procreate ...
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In the Pelasgian creation myth, the main actors are Eurymone and Ophion, and the major symbol is the Cosmic Egg after breaking which the Universe was made ("Greek Creation Story"). The Egyptians focused on their sun-god Ra or Atum and his children as the gods creating the world (Hagin). In spite of the fact different gods and creators of ...
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How To Write A Myth in 16 Steps With Examples
Examples of Famous Myths. How To Write A Myth in 16 Steps. Step 1: Think of a Theme. Step 2: Decide on the Moral. Step 3: Incorporate Symbolic Elements. Step 4: Idea Summary. Step 5: Character Development. Step 6: Setting Development. Step 7: Define the conflict.
Creation Myths Essay Examples
Stuck on your essay? Browse essays about Creation Myths and find inspiration. Learn by example and become a better writer with Kibin's suite of essay help services.
Creation Myth Story
Creation Myth Story Genesis and Iroquois Creation Stories God and Iroquois Indians play huge parts into our history which many are familiar with. Genesis from the Bible and Iroquois creation myth share many similarities but also have their differences. Genesis in the Bible tells the story of how God created earth and everything on it.
The Two Creations in Genesis
By the seventh day, all creation exists in its proper sphere, and God rests. This orderly pattern suggests an orderly universe. The second story (beginning in the second half of Gen 2:4 and continuing through the end of chapter 3) lacks both the structure and the focus of the first creation account. It is much less formulaic; rather, it is a ...

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