Hubris in the context of "Marsyas"

Menoetius or Menoetes (/məˈniːʃiəs/; Ancient Greek: Μενοίτιος, Μενοίτης Menoitios), meaning doomed might, is a name that refers to three distinct persons from Greek mythology:

• Menoetius, a second generation Titan, son of Iapetus and Clymene or Asia, and a brother of Atlas, Prometheus and Epimetheus. Menoetius was killed by Zeus with a flash of lightning in the Titanomachy, and banished to Tartarus. His name means "doomed might", deriving from the Ancient Greek words menos ("might, power") and oitos ("doom, pain"). Hesiod described Menoetius as hubristic, meaning exceedingly prideful and impetuous to the very end. From what his name suggests, along with Hesiod's own account, Menoetius was perhaps the Titan god of violent anger and rash action.
• Menoetes, guard of the cattle of Hades. During Heracles twelfth labor, which required him to steal the hound Cerberus from the Underworld, he slays one of Hades' cattle. A certain Menoetes, son of Keuthonymos, challenges Heracles to a wrestling match, during which Heracles hugs him and breaks his ribs before Persephone intervenes.
• Menoetius from Opus was one of the Argonauts, and son of Actor and Aegina. He was the father of Patroclus and Myrto by either Damocrateia, Sthenele, Philomela Polymele, or Periopis. Among the settlers of Locris, Menoetius was chiefly honored by King Opus II, son of Zeus and Protogeneia.

Atlantis (Ancient Greek: Ἀτλαντὶς νῆσος, romanized: Atlantìs nêsos, lit. 'island of Atlas') is a fictional island mentioned in Plato's works Timaeus and Critias as part of an allegory on the hubris of nations. Purposely creating a literary contrast with the Achaemenid Empire, the great land-based power that ruled the east (what the Greeks called Asia), Plato describes Atlantis as a naval empire from the west that had conquered most of Europe and Libya, but then loses divine favor after an ill-fated campaign against a fictionalized Athens and subsequently submerges into the Atlantic Ocean. By portraying the victorious Athens in the image of his ideal state from the Republic, Plato intended the Atlantis story to bear witness to the superiority of his concept of a state.

Despite its minor importance in Plato's work, the Atlantis story has had a considerable impact on literature. The allegorical aspect of Atlantis was taken up in utopian works of several Renaissance writers, such as Francis Bacon's New Atlantis and Thomas More's Utopia. On the other hand, nineteenth-century amateur scholars misinterpreted Plato's narrative as historical tradition, most famously Ignatius L. Donnelly in his Atlantis: The Antediluvian World. Plato's vague indications of the time of the events (more than 9,000 years before his time) and the alleged location of Atlantis ("beyond the Pillars of Hercules") gave rise to much pseudoscientific speculation. As a consequence, Atlantis has become a byword for any and all supposed advanced prehistoric lost civilizations and continues to inspire contemporary fiction, from comic books to films.

In ancient Greek religion and myth, Nemesis (/ˈnɛməsɪs/ ; Ancient Greek: Νέμεσις, romanized: Némesis), also called Rhamnousia (or Rhamnusia; Ancient Greek: Ῥαμνουσία, romanized: Rhamnousía, lit. 'the goddess of Rhamnous'), was the goddess who personified retribution for the sin of hubris: arrogance before the gods.

In Greek mythology, a satyr (Ancient Greek: σάτυρος, romanized: sátyros, pronounced [sátyros]), also known as a silenus or silenos (Ancient Greek: σειληνός, romanized: seilēnós [seːlɛːnós]), and sileni (plural), is a male nature spirit with ears and a tail resembling those of a horse, as well as a permanent, exaggerated erection. Early artistic representations sometimes include horse-like legs, but, by the sixth century BC, they were more often represented with human legs. Comically hideous, they have mane-like hair, bestial faces, and snub noses and they always are shown naked. Satyrs were characterized by their ribaldry and were known as lovers of wine, music, dancing, and women. They were companions of the god Dionysus and were believed to inhabit remote locales, such as woodlands, mountains, and pastures. They often attempted to seduce or rape nymphs and mortal women alike, usually with little success. They are sometimes shown masturbating or engaging in bestiality.

In classical Athens, satyrs made up the chorus in a genre of play known as a "satyr play", which was a parody of tragedy and known for its bawdy and obscene humor. The only complete surviving play of this genre is Cyclops by Euripides, although a significant portion of Sophocles's Ichneutae has also survived. In mythology, the satyr Marsyas is said to have challenged the god Apollo to a musical contest and been flayed alive for his hubris. Although superficially ridiculous, satyrs were also thought to possess useful knowledge, if they could be coaxed into revealing it. The satyr Silenus was the tutor of the young Dionysus, and a story from Ionia told of a silenos who gave sound advice when captured.

In Greek mythology, Alcyone (or dubiously Halcyone) (/ælˈsaɪəˌni, hælˈsaɪəˌni/; Ancient Greek: Ἀλκυόνη, romanized: Alkyónē) and Ceyx (/ˈsiːɪks/; Ancient Greek: Κήυξ, romanized: Kḗux) were a wife and husband who incurred the wrath of the god Zeus for their romantic hubris.

Leda and the Swan is a story and subject in art from Greek mythology in which the god Zeus, in the form of a swan, seduces Leda, a Spartan queen. According to later Greek mythology, Leda bore Helen and Polydeuces, children of Zeus, while at the same time bearing Castor and Clytemnestra, children of her husband Tyndareus, the King of Sparta. According to many versions of the story, Zeus took the form of a swan and slept with Leda on the same night she slept with her husband King Tyndareus. In some versions, she laid two eggs from which the children hatched. In other versions, Helen is a daughter of Nemesis, the goddess who personified the disaster that awaited those suffering from the pride of Hubris.

Especially in art, the degree of consent by Leda to the relationship seems to vary considerably; there are numerous depictions, for example by Leonardo da Vinci, that show Leda affectionately embracing the swan, as their children play.

The mad scientist (also mad doctor or mad professor) is a stock character of a scientist who is perceived as "mad, bad and dangerous to know" or "insane" owing to a combination of unusual or unsettling personality traits and the unabashedly ambitious, taboo or hubristic nature of their experiments. As a motif in fiction, the mad scientist may be villainous (evil genius) or antagonistic, benign, or neutral; may be insane, eccentric, or clumsy; and often works with fictional technology or fails to recognise or value common human objections to attempting to play God. Some may have benevolent intentions, even if their actions are dangerous or questionable, which can make them accidental antagonists.

A brazen head, brass, or bronze head was a legendary automaton in the Middle Ages to the early modern period whose ownership was ascribed to late medieval scholars, such as Roger Bacon, who had developed a reputation as wizards. Made of brass or bronze, the male head was variously mechanical or magical. Like Odin's head of Mimir in Norse paganism, it was reputed to be able to correctly answer any question put to it, although it was sometimes restricted to "yes" or "no" answers. In the seventeenth century, Thomas Browne considered them to be misunderstanding of the scholars' alchemical work, while in modern times, Borlik argues that they came to serve as "a metonymy for the hubris of Renaissance intellectuals and artists". Idries Shah devotes a chapter of his book The Sufis to providing an interpretation of this "head of wisdom" as well as the phrase making a head, stating that at its source the head "is none other than the symbol of the [Sufic] completed man."