Mythology & Folklore│

Mini Module for

BSED English Major

Eden Ann Mariz B. Ratcho (OLSHCO)

Edmar C. Tigulo (DepEd)
George Kevin N. Tomas (ELJMC)
UNIT 1: The Gods, The Creation, and The Earliest Heroes

Learning Outcome

At the end of this unit, I can:

 discuss the stories of Gods, Creation, and earliest heroes of Greek mythology;
 compare and contrast the stories of Gods, Creation, and earliest heroes of Greek mythology in other existing
mythology in the world and/or in any pop culture I know of; and
 design learning activities intended for Junior High School (JHS) students whose curriculum guide (CG) requires
competencies that has something to do with myths using the stories of the gods, the creation, and the earliest
heroes in Greek mythology.

Activate

Narrate your idea of how the world and mankind were created.

How did you learn about your idea written above?

Anticipate

Read the following stories on your reading materials compilation:

 Part 1: Chapter 1 (The Gods)

o The Titans and the Twelve Great Olympians, The Lesser Gods of Olympus, The Gods of the Waters,
The Underworld, The Lesser Gods of Earth, and The Roman Gods
 Part 1: Chapter 2 (The Two Great Gods of Earth)
o Demeter (Ceres), and Dionysus or Bacchus
 Part 1: Chapter 3 (How the World & Mankind Were Created)
 Part 1: Chapter 4 (The Earliest Heroes)
o Prometheus and Io, Europa, The Cyclops Polyphemus, and Flower-Myths: Narcissus, Hyacinth,
Adonis
1
Acquire

Part 1: Chapter 1

Can you help me understand more the Titans and the

Twelve Great Olympians? Please.

The introduction of the Titans and Olympians in this chapter includes a list of these gods and their
domains. The creation story in Part 1, Chapter 2 provides more insight about the relationship
between the Titans and Olympians, which is generally contentious. The Titans, who remain active in
myths after the Olympians take over the world, tend to be associated with natural elements and
phenomena, such as Ocean providing the boundaries of the world and Atlas holding the world on his
shoulders.

The Olympians rule over an assortment of lesser gods who provide essential functions, but the focus
on the Olympians provides a snapshot of the principles and phenomena most important to the
Greeks. Zeus, who rules over thunder and lightning, is positioned as the king of the gods, which
indicates the extent to which the Greeks felt themselves at the mercy of the forces of weather. A
modern news report about the destruction wreaked by a hurricane or blizzard indicates how little
has changed over the centuries; weather patterns have a fundamental influence on human life and
one over which people have no power. The other two central gods are affiliated with similarly
uncontrollable natural phenomena: Poseidon rules the sea and Hades rules death. As a seafaring
people, the Greeks saw the seas as central to commerce and travel. Death is, of course, universal.

The other Olympian gods and goddesses also reflect fundamental elements of human existence.
Zeus's sister Hera represents marriage, and his other sister Hestia represents the home. These
are foundations of an organized society. Apollo is affiliated with light and truth. Hunting was more
central to ancient life than it is today, so Artemis is represented as the goddess of the hunt, but
she is also affiliated with the universal values of youth and innocence. Hermes is associated with
trade and travel—and the thievery that accompanies both these enterprises. Athena represents the
values of wisdom and reason. Aphrodite represents the most influential of human emotions, love, and
it is no accident that her lover Ares is the god of war. The bulk of human history is driven by love
and battle. Hephaestus is the god of smiths, another trade specific to early cultures, but his
presence among the central deities speaks to the human drive to make items that are both useful
and practical.

Oh. I see. Thank you!

2
 I’ve read already the reading material for the lesser gods of the Olympus. But I still
can’t get it. Care to share your thoughts?

The lesser gods of Olympus further illustrate classical values. The presence of Eros, for example,
assigns a second deity to the most important of human emotions. Like the other lesser gods, Eros
seems to take a much more active role with humans than his mother, Aphrodite. Aphrodite may
inspire love, but in most myths, she needs Eros and his arrows to carry out this inspiration. The
Muses and the Graces provide other examples of how these lesser gods have a direct impact on
human lives. The Graces create human joy, while the Muses directly influence human creativity.

How about for the gods of the water?

Water is essential to human life, and Greece remains a country whose fortunes are closely tied to
the sea. Islands make up much of the geography of Greece, and the mainland contains many rivers,
bays, and inlets. Fishing and trade remain part of the Greek economy, as has been the case for
thousands of years. Poseidon is second only to Zeus in importance among the Olympians, but water is
sufficiently important to require an entire sub-pantheon of lesser sea-gods, river-gods, and water
nymphs.

How about for the underwater?

Most mythologies and religions of the world have, at their center, an elaborate concept of what
happens to the human body and soul after it dies. Most also incorporate descriptions of elaborate
rituals and customs associated with the burials of the dead. The underworld in classical mythology
presents a detailed realization of the realm spirits enter after the body dies, complete with a long
and dangerous journey to this realm, a judgment of each person's actions in life, and an ultimate
assignment to an eternity of bliss in the Elysian Fields or an eternity of punishment in Hades. Later
myths emphasize the importance of a proper burial on earth to facilitate the soul's journey to the
underworld, including supplying coins to pay the ferryman. Without these rituals, souls wander in
oblivion.

You’re such a big help! Thank you.

3
 Can I also ask your thoughts about the lesser gods of Earth?

In Greek mythology, the earth is populated with a variety of monsters and threatening creatures
with the capacity to upend human life. Centaurs and Satyrs represent sexual desire and urges run
amok, sometimes to the point of violence. These creatures show the importance of self-control and
the dangers inherent in losing this control. Gorgons are grotesque to the point of being able to turn
men to stone with a single look. It is important to note that the Gorgons are female, which indicates
a fear of unconstrained female power, while reinforcing the value of beauty in Greek culture.
Ugliness can literally be deadly.

The presence of lesser gods who protect sailors along with gods who represent the four winds
provides further evidence of the importance of sailing and navigation in Greek society. The Fates
also reveal a belief in destiny and inevitability that, paradoxically, indicates how human action and
interaction with the other gods may ultimately prove futile.

Thank you!

Part 1: Chapter 2

Hey there! Will you help me understand better the two great gods of
Earth?

The story of Demeter is the clearest use of myth creation used as an explanation of a natural
phenomenon. In an agricultural society, the change of seasons would be an event demanding
explanation and predictability. When Demeter's daughter Persephone is kidnapped and taken to
the world of the dead, her grief causes all the plants and crops to die. The yearly cycle of death
and rebirth is established with Persephone's death and return each year.

The story of Demeter, Persephone, and Hades also reveals some disturbing truths about the role
and value of women in mythology and in classical society. Hades kidnaps Persephone. He takes her
as his bride without her, or her mother's, permission. An illustrated panel in the chapter is
captioned "The rape of Persephone (Proserpine)," which indicates the disturbing reality of what
happens to the young goddess. Hades’ use of force against Persephone extends to making her eat
a pomegranate seed that binds her to him and his realm for all eternity. The other gods find
these actions, more or less, acceptable.

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Hades is not reprimanded or punished for these actions, showing how women are subjected to the
whims and desires of powerful men. Demeter does not get her daughter back or force Zeus to
mandate a compromise on the merits of the case; Demeter is only able to get justice because she
threatens to starve all of mankind if Zeus does not intervene. It is notable that Persephone, as a
young woman, has no agency of her own in any of these events. In this culture, women have little
recourse when wronged unless they happen to have some kind of specific leverage over those who
wrong them; justice is a matter of might between men and women, not a matter of principle.

The story of Dionysus's birth also illustrates how powerful women can attack and destroy other
women when they are wronged, perhaps because other women are easier targets for revenge than
powerful men. Semele is one of many women Zeus seduces and impregnates outside his marriage to
Hera, yet Hera never directs her revenge at her husband, the king of the gods. Invariably, Hera
seeks revenge against the mortal women Zeus loves. Semele's child—a powerless infant—must be
hidden from Hera's revenge as well. Hera could never hope to defeat Zeus, the master of lightning
and thunder, so she must channel her anger and humiliation toward his lovers and the innocent
offspring of his dalliances. Ironically, Zeus also fears his wife's retaliation toward his lovers and
children, which leads him to conceal them, but he never confronts his wife to protect Semele or
Dionysus. He knows his association with Semele and Dionysus places them in danger, yet he pursues
Semele anyway, which victimizes her twice, in a sense.

The central message in Dionysus's story is a cautionary tale about the nature of drinking wine,
providing an explanation of the natural phenomena that occur when humans consume alcohol. Wine is
an essential part of Greek social life, and Dionysus inspires many festivals and celebrations—known
as Bacchanals in reference to his Roman name—that bring people together. The sharing of wine and
food is integral to the Greek principle of hospitality; plus, it allows drinkers to create the songs and
poetry prized in Greek culture. However, the Greeks understand the danger of excess, so these
myths also feature stories of men and women driven to madness by overconsumption. They commit
gruesome acts of murder. In the story of Pentheus, the women don't just kill him—they tear him
apart with their bare hands. The acts of violence wine can inspire are directly proportional to the
amount of wine consumed. More wine equals more mayhem. While classical culture values community,
joy, creativity, and hospitality, its values self-control and moderation even more.

I really was enlightened. Thank you very much!

Part 1: Chapter 3

I find the way how the world and the mankind were created very interesting. Do
you have more to share about it?

5
 At its core, the creation story in Greek mythology is a celebration of progress and an affirmation
of its inevitability. The first inhabitants of earth in this story are hideous monsters. Three of them
are enormous, each with "a hundred hands and fifty heads." Three others are Cyclopes. These
monsters are "devastating in their power" and represent little improvement over the Chaos that
preceded their parents. Symbolically, these monsters represent the hostile world that existed
before civilizations began to take shape, where "monsters" in the form of inexplicable creatures
and phenomena would have run rampant.

The Titans are a step forward in terms of evolution. They are gigantic and strong like the monsters,
but they have redeeming features. One of them, Prometheus, is even recognized as the "savior of
mankind," although his benevolence comes at a steep cost to him. Prometheus is instrumental in
Zeus's defeat of his father, Cronus—the first character, but not the last, in Greek mythology to
learn that destiny is inescapable—yet his service to Zeus is not sufficient to allow him to evade the
punishment he receives. Ultimately, Zeus must defeat and/or banish all the monsters and Titans in
order to assume his role as lord of the universe. Symbolically, Zeus's victory over the Titans
represents the triumph of civilization and order over the primitive violence and hostility that has
come before him. This is the march of progress.

The stories of man's origins reveal a bleak view of human nature. Either humans are creatures
tormented by forces of misery unleashed by their own curiosity, or the current race of humans is
inherently flawed and constructed of inferior materials compared to the generations that came
before. In the story of the flood, Zeus's power and propensity for vengeance is central, and human
loyalty to the gods is presented as the highest of virtues and the saving grace for the human race.

Interestingly, the creation stories center around the presence of neglectful or malicious fathers
who must be defeated by their sons. Uranus hates his monstrous sons, which leads Gaea to enlist
Cronus in fighting against his father. In turn, Cronus eats his children, which leads his son Zeus to
overthrow him. In one sense, these stories indicate how bad fathers must be punished for their
neglect or hostility. Parenthood is an enterprise requiring some level of focus. In another sense, this
aspect of the creation story sets up an inherent competition between fathers and sons that emerges
in later myths and establishes a pattern, indicating that progress often involves the younger
generation surpassing the older one, in a literal sense.

What an explanation. Thank you!

6
 Part 1: Chapter 4

Do you have more about the earliest heroes?

For Prometheus and Io...

Io's story is an illustration of how Zeus's actions result in terrible consequences for the mortal
women who get involved with him. Hera's thirst for revenge is bottomless. The story acts as a
deterrent for marital cheating by illustrating how severely the participants might be punished, but
it also places the bulk of responsibility for infidelity on the women involved. The wife is responsible
for seeking revenge, and the mistress is the object of this revenge, even if her role in the actual
seduction is relatively passive. Zeus pursues Io, but Io is the one who suffers. She is hardly in the
position to refuse the attentions of a god, but the story shows the suffering likely to arise for
humans who involve themselves too closely with gods. However, if a woman is prepared to endure
such suffering, she may also reap great rewards in the long term, as Io does. Io's story illustrates
how myths can provide both moral lessons and natural explanations by providing the backstory for
the "eyes" on a peacock's tail serving as a memorial to Hera's trusted friend and watchman, Argus.

Europa is the only woman who consorts with Zeus and finds only glory, no punishment. It is the
first of several stories featuring Zeus assuming different shapes and forms to seduce mortal
women; in this case, a beautiful bull. An illustration in the chapter is captioned "The rape of
Europa," which indicates Zeus's neglect of Europa's consent in taking her to Crete. The
presumption appears to be that a mortal woman would not refuse the love of a god, and Europa
clearly benefits from her association with Zeus. She has two sons who become great kings and are
honored in life and in death. Europa herself is commemorated in the name of her home continent,
Europe.

Both aspects of the story of the Cyclops Polyphemus provide strong evidence against angering the
gods by harming their children. The Cyclopes' island is one of the first stops for Odysseus and his
men in the Odyssey (see Part 4, Chapter 3). On one hand, Polyphemus meets his fate—blinded with
a stake—because he fails to show Odysseus and his men proper hospitality. It is possible that
Poseidon might have accepted Odysseus's actions as self-defense and a natural punishment to
Polyphemus for eating travelers. Odysseus's ego gets in the way, though, and he taunts
Polyphemus, which angers Poseidon. Odysseus might have avoided a decade of wandering had he not
gloated about besting the son of a god.

Galatea fares little better. While in later versions of her story she seems to respect the fact that
she is beloved by the son of a god (even though she does not reciprocate these feelings), she is
still punished for not loving Polyphemus when the Cyclops murders her groom. In this story,
Polyphemus is a grotesque and pitiful creature in his unrequited love, but the story also shows how
little room there is in Greek mythology for those who are not beautiful and who, ultimately, lack a
sense of kindness.

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 The myth of Narcissus shows how the justice of the gods is swift, merciless, and sometimes
misguided. Echo, the nymph who loves Narcissus, is an innocent bystander to Hera's bottomless
jealousy. Echo already suffers from her unrequited love for the self-absorbed Narcissus, but Hera
punishes her further because she suspects Zeus is in love with Echo. There is no evidence in the
story that Zeus and Echo have even met, which also reveals how the gods are not omniscient and
are capable of mistakes—very different from gods in other pantheons. Any slim chance Echo might
have had with Narcissus, or in finding love with someone else, is destroyed when she loses her
voice. In contrast, Narcissus's punishment fits his sins perfectly. He is consumed by the self-love
that has caused him to hurt so many women, and he suffers as they have suffered.

The stories of Hyacinth and Adonis reveal the hazards of consorting with gods. Apollo
accidentally kills Hyacinth in a sporting event, the result of his superior strength. A discus thrown
by a mortal might have injured Hyacinth, but the injury would not necessarily have been lethal.
Adonis dies in a hunting accident without Aphrodite's protection. Had Hyacinth consorted only
with other mortals, he might have kept himself out of harm's way. Adonis usually hunts with
Aphrodite's protection, which likely inflates his confidence as a hunter and results in his death.
Although both men are memorialized in flowers, this form of immortality hardly compensates for
young and beautiful lives cut short.

You never disappoint. Thank you!

Apply

As future teacher of English language and literature, you will be expected to be creative thinkers of how to engage your students to
your topics. So, today… we will be practicing your skills in planning, monitoring, assessing, and reporting learning processes and
outcomes highlighting the innovative language and literature teaching approaches, methodologies, and strategies.

Worksheet Making Activity

DIRECTIONS: Design one learning activity (or worksheet) intended for Junior High School (JHS) students using your chosen story of
Gods, Creation, and earliest heroes of Greek mythology. You can use the blank page provided and make your worksheet
hand written. Poor
(See Appendix
(4 points)A for the sample worksheet.)
Fair (8 points) Good (12 points) Excellent (16 points)
Required Components Missing three or more of the Missing two of the required Missing one of the required Worksheet is typed with answer key
required components components components Chapter and Section title listed
Space for student name
Neat, with correct spelling, grammar
and punctuation
Number of Questions Worksheet has less than 6 Worksheet has 6 questions Worksheet has 7 - 8 questions Worksheet has 9 - 10 questions
questions
Question Relevance Two or questions are not relevant One question is not relevant to the All the questions are relevant to All the questions are relevant to
to the section. section the sections and most of them are the section AND are key points to
key points to master master on the topic.
Question complexity Worksheet has 5 or more of the Worksheet has 4 of the questions Worksheet has four questions at a Worksheet has three questions at a
questions at a low level of at a low level of intellect low level of intellect low level of intellect.
intellect. Ex: "list", "define",
"identify". "what is?"
Challenging Questions Worksheet does not pose highest Worksheet includes 1 question Worksheet includes 2 questions
intellect level questions of that requires the students to that require the students to
"predict", "analyze", or "predict", "analyze" or "predict", "analyze" or
"summarize". "summarize" "summarize"
Answers Answer key has more than half of Answer key has many answers that are All of the answers on the key are
the answers incorrect incorrect or that are very minimal accurate, but not all of them are as
answers thorough as they could be
8
for worksheet making activity
Assess

DIRECTIONS: Answer the following questions briefly.

CATEGORY 4 points 3 points 2 points 1 point

Content Content is appropriate to
the question. All ideas and
supporting details are well-
stated, engaging, and
insightful.
Mechanics
Organization
Content is appropriate to the
question. All ideas and
supporting details are well-
stated, but not so engaging,
and insightful.
The letter contains no errors in
grammar, usage, or mechanics.
Coherence and unity of
thoughts are observed all
throughout the letter.
Content is somewhat
appropriate to the question.
All ideas and supporting
details are well-stated, but
not so engaging, and
insightful.
The letter contains few
errors in grammar, usage,
or mechanics.
Coherence and unity of
thoughts and observed in
some parts of the letter.
Content is not appropriate to
the question. All ideas and
supporting details are not
clearly stated, engaging, and
insightful.
The letter contains many
and/or serious errors in
grammar.
Coherence and unity of
thoughts are rarely observed in
the letter.

1. In Part 1, Chapter 1 of Mythology, what is significant about the marriage between

Zeus and Hera?

2. In Part 1, Chapter 1 of Mythology, what is significant about Aphrodite's marriage to

Hephaestus and her relationship with Ares?

9
3. In Part 1, Chapter 1 of Mythology, how do the nine Muses illustrate some of the values
of ancient Greek culture?

4. In Part 1, Chapter 2 of Mythology, what does the interaction between Metaneira and
Demeter reveal about the importance of hospitality?

5. What does the story of Dionysus in Part 1, Chapter 2 of Mythology reveal about ancient
fears of female power?

10
 6. What moral lessons can be learned from the example of Prometheus in Part 1, Chapter
3 of Mythology?

7. What does the story of Pandora's box in Part 1, Chapter 3 of Mythology reveal about the
role of women in classical society?

8. In Part 1, Chapter 4 of Mythology, what is revealed about Greek culture when two of
Zeus's lovers are immortalized through geographical names?

11
 9. In Part 1, Chapter 4 of Mythology, how is the story of the Cyclops Polyphemus a
cautionary tale about honoring the principle of hospitality?

10. In Part 1, Chapter 4 of Mythology, how do the flower myths reveal the gods'
inconsistency in dispensing rewards and punishments?

12
Additional Task

Cite another mythological story of another country that shares the same plot with the
one discussed above. Then, using a Venn Diagram below compare and contrast the two
stories. (See Appendix B for the rubrics for Creative Writing).

13
 APPENDIX A

WORKSHEET SAMPLE
 Name:____________________________________________ Date:_________________________
Section:___________________________________________ Score:________________________

Fill in the Blanks

The ancient Greeks believed in many gods, so they were p__l__t__e__s__ic. The battles of the Greek gods reflected the
st__r__s, volcanoes and e__r__h__u__k__s that were a part of ancient Greece. Greek mythology is based on *o______
legends, so some stories do not agree with others. In an epic poem called Theogony, Hesiod wrote that the E__r__h and
the s_y formed the Titans. The Titans were g__a__ts who ruled the earth until their defeat in a great b__t__le with the
O__y__p__an gods.
Zeus was the r__l__r of the p__nt__e__n of Olympian gods. Farmers depended on Zeus because he was the god of
r______, but Zeus could also terrify people with his powerful th__n__e__b__lt. His brothers were P__s__i__on and H__d__s.
Poseidon was the god of the s____. When angered, Poseidon would s__ri__e the g__o__nd with his t__i__e__t to create
e__r__h__u__k__s. Hades ruled the u__d__r__o__d. Athena was the goddess of w__s__om and c__u__a__e. The Greeks
often appealed to A__h__na before going to w____ because she was the g__d__e__s of just w__r__a__e.
The stories and legends of the ancient Greeks explained n__tu__e, taught m__r__l lessons and provided
e__t__r__a__n__e__t. While the b__l__e__s of the ancient Greeks are no longer widely practiced, many people still find
i__s__i__a__i__n in the stories and symbols of Greek m__t__o__ogy.

Answer in complete sentences

*2. If you grew up in ancient Greece, how would you have learned the stories of Greek mythology?

3. Who were the Titans? Why did the ancient Greeks believe the Titans lost power?

4. How were Zeus, Poseidon, and Hades related?

*5. Zeus was the most powerful Greek god. What do his powers suggest the people of ancient Greece feared?
 Name:____________________________________________ Date:_________________________
Section:___________________________________________ Score:________________________

2
Directions: Fill in the
3 crossword using the
4
clues below.

5 6

7 8

10 11

12

Across Down
2. Number of labors Hercules had to do for Eurystheus. 1. Greek goddess who caused great trouble for Hercules.
4. A female horse. 3. The father of Hercules.
5. Animals that Hera sent to kill Hercules when he was a 5. A place where animals are kept.
baby.
8. Something found at Delphi. 6. The god who helped Hercules get the apples of
Hesperides.
9. Greek hero with great strength. 7. How many days it took Hercules to clean the Augean
stables.
10. Three-headed dog that guards the gates to Hades. 9. A nine-headed monster that Hercules defeated.
12. Animal skin that Hercules wore. 10. Weapon of Hercules.
11. An animal that Hercules had to captures on
Crete.

APPENDIX B
 Rubrics for Creative Writing

Exceed Standards Meet the Standards Almost meet the Does not meet the
(4 points) (3 points) Standards Standards
(2 points) (1 point)
Creativity Writing is extremely Writing is somewhat Writing contains a few Writing contains
creative. Ideas and creative. Some new and creative ideas but style is many cliché ideas
style are refreshing imaginative ideas. Good mostly uninspired. and an uninspired
and imaginative. writing. style.
Talented writing.
Spelling Proper use of spelling There are a few spelling Poor spelling and There are so many
& and grammar is and grammar errors, grammar muddle the spelling and
Grammar employed however it does not take overall effectiveness of grammar errors that
consistently away from the overall this piece. it is difficult to
throughout the quality of the writing comprehend the
writing assignment. assignment. meaning.
Word Strong, vivid words Some strong words and Some strong words and Poor word choice
Choice and descriptions descriptions. Some above descriptions. Some above and descriptions
throughout. Words average word choices average word choices throughout.
are above average, however, many words are however, many words are Elementary word
and used used inappropriately. used inappropriately. choices and many
appropriately words misused.
throughout the work.
Fluidity Poor word choice There is a rhythm and flow An obvious attempt to No attempt to create
and descriptions of language. Sentence create a rhythm and flow. a rhythm. Sentence
throughout. structure is often varied. Sentence structure not structure not varied.
Elementary word varied.
choices and many
words misused.
Organization & Excellent idea Good idea creativity. Some idea creativity. No creativity, poor
Development creativity. Organization and use of Attempted organization organization and no
Organization and use supporting details evident and use of some attempt to supply
of supporting details in the work. supporting details evident supporting details.
evident in the work. in the work.
 References:

 Apollodorus. The Library of Greek Mythology. Trans. Robin Hard. London: Oxford UP, 2008.
Oxford World's Classics.
 Baker, Peter S. The Beowulf Reader: Basic Readings in Anglo-Saxon England. New York: Garland,
2000.
 Bloom, Harold, ed. Beowulf: Modern Critical Interpretations. New York: Chelsea, 2007.
 Campbell, Joseph, and Bill Moyers. The Power of Myth. New York: Anchor Books, 1991.
 Campbell, Joseph. The Hero with a Thousand Faces. Princeton: Princeton UP, 1972.
 Crossley-Holland, Kevin. The Norse Myths. New York: Pantheon Books, 1980.
 Grigsby, John. Beowulf and Grendel: The Truth Behind England's Oldest Legend. London: Baird,
2006.
 Tolkien, J.R.R. Beowulf: A Translation and Commentary. New York: Mariner, 2015.