The Roots of the Laurel Crown
How does someone show they won? With a medal, with a dance, with a trophy? But what can a trophy be? Flowers, a crown, a flower crown? For the ancient Greeks and Romans, the symbol of victory was the laurel crown and it continues to mean this to the modern day. It shows up in statues and mosaics and paintings of war victorors, emperors, gods and goddesses, those with the most power. It was a way to attract the god’s attention to bless and legitimize a leader’s power. But, where did it start, in myth, in real life? How has it evolved to the place it is in today where it is still a main symbol of the Olympic Games? Does it matter what it meant? Does its disturbing mythological connotations hurt the purpose it holds now? Or should we accept that the orators and writers had their agendas and so the more troubling aspects had their audience in a particular time and place and we can see the wreath crown for what it is? Yes, we can see the merit in that, but maybe bringing the issues to light means that we can continue to evolve our perceptions now.
The laurel crown, which represents victory and glory in ancient Greek and Roman cultures, has a long history associated with mythology and real-life achievements, such as its origins in ancient Greece, where it was used to crown triumphant athletes during the Olympic and Pythian Games, honoring their athletic achievements. Beyond its relationship with athletic skill, the laurel crown held symbolic significance in ancient Rome, where it was presented as a mark of honor for military commanders, emperors, and scholars for their accomplishments and services to society. In Roman culture, the laurel wreath symbolizes wisdom, accomplishment, and immortality, as well as the concept of eternal glory for those who were judged to be deserving. In Greek mythology, the laurel, which began as a sacred plant associated with the god Apollo the god of music, poetry, and sunlight, rose into prominence as a symbol of respect, power, and divine favor. Its use as a crown for war victors, monarchs, and deities was intended to invoke divine benefits and legitimize the power of kings and emperors.
The laurel crown evolved into a revered emblem of success that outlasted its legendary origins. Its employment in a variety of art forms, including sculptures, mosaics, and paintings, heightened its association with greatness, and this symbolism persisted throughout history, culminating in its prominent role as a symbol of achievement in even modern contexts such as the Olympic Games (Figure 1). While the laurel crown retains elements of its complex mythological history, such as its association with Apollo's doomed and troubled love for Daphne, its modern interpretation is always based on its image of victory and glory. Recognizing the laurel crown's historically diverse meanings allows us to comprehend its historical worth, while also acknowledging its roots as a symbol of victory, even if we disagree.
Figure 1. Part of the US softball team - From left: Kelly Kretschman, Lisa Fernandez, Leah Amico and Lori Harrigan wave to the crowd after defeating Australia to win the gold medal on Aug. 23, 2004 during the Athens 2004 Summer Olympic Games (Robert Hanashiro/USA TODAY File).
Etymology
The name Daphne, in Greek Δάφνη, means “laurel” as suggested by Dutch linguist R. S. P. Beekes in his 2014 book Pre-Greek: phonology, morphology, lexicon (Vol. 2). While the story of Daphne is traditionally connected with the bay laurel (Laurus nobilis), almost 90 species of evergreen shrubs noted for their scented flowers and poisonous berries are grouped under the genus Daphne. In the bible, the name Daphne is said to mean victory, and this just causes the question to come up again. Which came first, the name in the myth or the name of the plant, but as it seems they are derived from one another we’re looking at a chicken and the chicken-egg situation.
Bay leaves - sacred, medicinal, or drug?
The olive tree and bay laurel have both played significant roles in ancient cultures, particularly in the Mediterranean region (Figures 2 & 3). Bay leaves are commonly used in culinary practices across different cuisines such as Turkish, Indian, Italian, and French cuisines (Figure 4)(Singletary 2021). While the olive tree held emblematic status in the Levant and Athens through biblical times, the bay laurel gained prominence in Roman culture as a symbol of glory and knowledge long after it became a staple across the Greek Islands (Canhoto et al. 1999, Kaniewski et al. 2012). The use of bay laurel has an extremely long history shown with archaeological evidence from the Early Neolithic site of La Draga in Spain (5300-4700 cal BCE) suggests an intentional selection and woodland management of laurel trees, indicating its importance even in prehistoric times (López-Bultó et al., 2023). The tree's leaves, rich in monoterpenes and sesquiterpenes, have been and continue to be used for flavoring food and in potential pharmaceutical applications (Yahyaa et al. 2015). This use highlights the cultural and practical significance of the bay laurel across different civilizations and time periods. The tree native to the Mediterranean, has spread to various parts of the world, including the Middle East where certain trees, including the laurel, are considered sacred (Singletary 2021).
Figure 4. Bistek With Onion and Bay Leaves (bonappetit.com).
In the dry climates of ancient Egypt and Persia another species of laurel tree, the Persea (Balanites aegyptica) also called the bito tree, is native to the Near East and Africa as a wild laurel (Figures 5 & 6). This species was sacred to the ancient Egyptians and was revered as a symbol of everlasting fame (Figure 7). Thoth, the scribe of the Egyptian gods, the deity of science, arts and numbers, recorder of deeds, and Safekh, the goddess of writing, learning, and knowledge, together inscribed the names and deeds of kings, heroes, and high priests on its leaves, securing their names to their to the symbolic pages of the “Book of History” granting them a level of immortality.
Muslim people are also known to associate sacred trees with righteous figures' souls, while Druze people purportedly connect them to events in the lives of prophets and religious leaders (Dafni n.d.). This cultural and religious significance has likely contributed to the ongoing use and cultivation of laurel trees in the Middle East, which continues to be widely cultivated for culinary purposes (Singletary 2021). In addition to culinary applications, bay leaves and their oil are still used in traditional and folk medicines in the region to treat respiratory disorders, gastrointestinal discomfort, and other ailments and infections (Singletary 2021). Bay Laurel is purported by doctors to be an antioxidant, analgesic, antiepileptic, anti-inflammatory, anticonvulsant natural remedy (Awada, et al. 2023). Laurel oil was extensively used in medicine, as well as against head lice (Caputo et al. 2017). Even heads of falcons are said to have been rubbed with it, though I could only find this point in Rogić’s (2012) paper. In ancient times, the laurel tree was believed to grant prophets visions with its intoxicating effects and the Pythian priestess at Delphi chewed laurel leaves to induce oracular powers (Figures 8 & 9).
Figure 8. Lycurgus Consulting the Pythia by Eugène Delacroix.
Figure 9. Priestess of Delphi (1891) by John Collier, shows the Pythia sitting on a tripod with vapor rising from a crack in the earth beneath her.
The use and meaning of the wreath
According to Pliny the Elder, the laurel brought peace, like the olive branch, and it is thought to be the sign of cessation of hostilities, victory, fidelity, and strength (Grašar & Nikolić 2004). Of course, Pliny (who lived in the 1st century BCE) was writing hundreds of years after the first Olympics, which was started in 776 BCE, and he is likely one of the influences as to why the olive branches came to have the same meanings as the laurel. The Olympics were originally held as ceremonial and ritualistic feats of heroics to honor Zeus, the head of the Gods. The Olympics got its name from where it was held in the olive tree groves of Olympia, around the base of Mt. Olympus, home of the Gods, by the city-state of Elis in the northwestern Peloponnese (Abrahams & Young 2024). Victors were said to receive an olive wreath as their prize, symbolizing the highest honor, however, the reality of ancient sports prizes was more complex (Pleket 2004, Rhizopoulou 2004, Mann 2018). Many competitions offered valuable objects or cash with these prizes serving both economic and symbolic functions, strengthening networks in the Greek world (Mann 2018).
In any case, the Pythian Games, founded sometime in the 6th century BCE were held every four years in Delphi in honour of Apollo. A wreath of laurel gathered from the Vale of Tempe in Thessaly was given as a prize. Hence it later became customary to award prizes in the form of laurel wreaths to victorious generals, athletes, poets and musicians, worn as a chaplet on the head. And as an evergreen with intoxicating properties, it could symbolise poetic inspiration and immortal fame (Mattioli’s Commentaires, Lyons, 1579 in Lehner & Lehner 2003).
While the Olympic Games originally used an olive wreath (kotinos) as the victor’s crown for Zeus and the laurel wreath was associated with the Pythian Games (Yiannaki 2008). These wreaths symbolized excellence, immortal fame, and victory, and the laurel was specifically to be associated with Apollo's glory after capturing Daphne, his defeating the Python, and represented the transformation of violence into cultural capital (Stuligrosz, 2023, Pandey 2018, Crews & Sène 2003). This myth existing solidified the laurel's connection to Apollo and, by extension, to victory and prestige. In Athens, victors of theatrical contests were officially crowned in the theatre, followed by unofficial rituals such as being carried on friends' shoulders (periagermos), showered with flowers (phyllobolia), and adorned with ribbons (tainiosis) (Csapo 2020). These crowning rituals symbolized the recipient's readiness to transcend the mundane and enter a morally and spiritually superior realm (Syrkou 2019).
Other than in military victories, the laurel crown was used to crown poets and heroes, representing knowledge and achievement (Canhoto et al. 1999). The laurel continued to play a significant role in Roman imperial iconography, particularly during Augustus' reign, where it was used alongside other symbols to legitimize his rule and transform military might into sociopolitical authority and civic virtue, his own cultural capital by invoking the ancient legends Apollo (Pandey 2018). In Rome, the Corona triumphalis held sacred significance, serving both purifying and protective functions for military triumphs for the general, his army and his family, and was one of the highest military honors (Karczewska 2019).
Interestingly, Macedonian kings adopted the olive/oleaster wreath of Zeus Olympios of Elis on their coinage, despite traditionally using oak wreaths as symbols of kingship (Figure 13)(Santagati 2023). The use of plant motifs in ancient Greek poetry further emphasized the importance of these wreaths in celebrating athletic achievements and immortalizing the victor’s fame (Stuligrosz 2023). These motifs have endured through centuries with the symbolism of plants in antiquity that is deeply rooted in myths, representing timeless cultural values and ideals, with these symbolic plants native to the Mediterranean region exhibiting convergent functional characteristics (Rhizopoulou 2004, Yiannaki 2008).
Figure 13. Silver tetradrachma from Pyrrhos, Epirus, depicting Zeus Dodonaeus wearing an oak wreath ca. 280-278 BCE (Alpha Bank)(image from https://www.hellenic.org.au/post/wreaths-of-glory).
The practice extended beyond military contexts to include athletic, musical, and dramatic competitions. This symbolic importance of the laurel persisted throughout Roman history and continues to be recognized today. Some artists and poets, like John La Farge and Roman writers Vergil and Ovid, explored deeper, more enigmatic meanings of wreaths in their works, often connecting them to themes of love, death, and the ethical implications of victory (Figure 14 & 15)(Shields 1997, Pandey 2018).
Crowning ART-chievements
Laurel, a symbol of victory, loyalty, and dedication, is often associated with specific deities or heroes through its representation, which may be similar to that of myrtle and olive, when on Greek vases (Figures )(Eichberger et al. 2004). Wreaths, created by braiding flowers, leaves, or branches, symbolize eternity, completeness, perfection, wholeness, time, and sky. The circle is a universal symbol of unity, wholeness, spirit, various goddesses and female power. It can represent the Mother Earth (Mother Nature) and the sacred space (Gerbran & Ševalije 2004: 444-448). It is similar meaning to that of the ouroboros (uroboros), the serpent eating its own tail, an ancient symbol of eternity (Eire 2010: 29, Hunter 2000: 4). The tradition of wreath-making can be traced back to ancient Persians, who used circular diadems to express the kingdom's importance and honor. Wreaths have been used in various applications, including wedding ceremonies, festivals, dances, rituals, and funerals. Crowns on rulers' heads demonstrated sovereignty and signified their profession, rank, status, and achievements. Wreaths also served mediating roles, helping bearers connect with specific gods.
Plants braided in wreaths could be dedicated to various deities, such as oak to Zeus, laurel to Apollo, herbs to Ceres, vine to Dionysus, and myrtle to Venus. Priests bore wreaths on the head or around the neck to signify important dates and celebrate religious festivals. Wreaths had a dual role, spreading spirituous scents, cooling, causing stupor, acting as analgesic, and trilling. They were also used during the deceased's sending-off to attract divine protection or to honor the departed. Aside from circular wreaths, this phrase also refers to garlands and festoons. Corona Longa was used to embellish tombs, curule seats, triumphal chariots, and building interiors (Rich 1875: 362).
*Aside. Sella curulis is a seat with curved legs forming a wide X, and during the ancient Roman period, it represented the symbol of power (Figure 11)(Rich, 1875, 363).
Figure 16. Trajan. AD 98-117. AR Denarius (19mm, 3.31 g, 7h). Rome mint. Struck circa AD 112-115. Laureate bust right, with drapery on far shoulder Divus Pater Traiani (Trajan’s deified father–Marcus Ulpius Traianus) seated left on curule chair, holding patera and sceptre. (Classical Numismatic Group, Inc.)
One of the most popular types of wreaths is made of laurel. Romans took it over from the Greek tradition as a symbol of peace, eternity, victory, unrequited love and the supreme ruler. The highest medal was the corona triumphalis as it was granted by the Senate, to victors coming back from wars (Pliny, XV, III-V). As an integral part of the composition of triumph, the laurel was an element always present in the hands of the goddess Victoria. The goddess was often shown at the moment of crowning of gods or emperors. Imperial portrait busts, statues, and reliefs show laurel wreaths as attributes of priests, worshippers, artists, and children. For male Imperial household members, the laurel wreath signified the privileged position of Triumphator and emperor. Julius Caesar broke with the Roman tradition of wearing the his coronet only on the day of a triumph, and Augustus appropriated the wreath of the victorious general as a personal attribute (Figures )(Flory 1995). This kind of glorification became a model, not only for the combination of the wreath together with a few generally accepted symbols of power, but implied the idea of terrestrial and celestial power (Charlesworth, 1943, 1-10). Once adopted as the main pivot of triumph the laurel wreath's meaning was transmitted to different areas of human activity, such as art and even death – where the most important thing was the victory over it.
Ancient sources mention laurel as an outstanding attribute of dignity, with two main types: from the Delphi and the Cyprus. The Delphi laurel was green with larger reddish-green fruitage, while the Cyprus laurel consisted of short black wrinkled leaves that curved upward. Sources also mention a very leafy Pelasgian laurel belonging to the daphnoides of which the crown of Alexander the Great was made (Sebesta & Bonfante 2001, 82). Though Pliny wrote about different sorts of laurels (Pliny XV, XXXIX; Pliny XV, XL) the laurel dedicated to Daphne was the big tree, with large leaves and berries (Pliny XV, XXXIX), so one who was crowned with such a wreath was named daphnephoros.
Laurel bushes were planted by a man to protect houses from thunderstorms. After hearing this Emperor Tiberius wore a laurel wreath during a storm to get protection from lightning and thunder (Pliny, XV, XXXIX). In 27 B.C., two laurel bushes became a permanent fixture on either side of Augustus's house entrance, suggesting analogies between his house and other sacred areas (Flory 1995). A well-known depiction of Emperor Tiberius from the monument in the Kelfkensbos museum in Nijmegen, Holland, celebrates the emperor's victories in the Germanic wars, where he is represented with the laurel wreath on his head, at the moment when goddess Victory crowns him (Panhuysen 2002: 6, 11-17, 32-38).
Laurel wreaths represented the medium through which divine power was transferred (Gerbran, Ševalije, 2004, 511). They grew inside the Delphi shrine, supplied clergy with chewing leaves before prophecy, and were used for cleaning sacred places. Laurel branches were held by priests during prayers and parades, and used to decorate houses and portals. Laurel wreaths were granted to winners of the Pythian Games (as stated), but also to poets and physicians specifically because it was thought that the laurel was the most salutary plant.
Figure 24. Fresco from Herculaneum of the centaur Chiron teaching a young Achilles while wearing a laurel wreath, 1st century CE (75 CE) (9109. Museo Archeologico Nazionale di Napoli).
Even throughout Christianity, coins featuring the emperor adorned with laurel wreaths appeared in Rome. From the Octavian August coinage to the first Christian emperor Constantine the Great, and even during emperor Justinian's Christian-defined rule. Victoria (the goddess Victor/Nike) was depicted as a laurel wreath bearer. Victoria was converted into an angel who continued to act as a mediator in the coronation of monarchs with God-given power beginning with Constantine (Pohlsander 1969: 597). Gracanica painters would continue this tradition by painting two angels placing the laurel crown on the heads of Serbian medieval Queen Simonida and King Milutin (ToANH 1988:171 sp.).
In Christian art, a laurel wreath represents the triumph of the deceased over death and resurrection. So was worn by Jesus after the crown of thorns.
In the light of imperial ideology, Napoleon wore a wreath on his head, as Roman emperors did.
Figures 27-30. Napoleon Bonaparte (1769-1821) wearing the laurel crown and crowning himself (photo compilation courtesy of Kristen at An Olympic Emblem: The Glory Of The Laurel Leaf).
In (more) modern art, a laurel wreath symbolizes peace and victory and therefore monuments dedicated to the victims of World War I are marked with the laurel wreath.
Everyday Reminders
Figure 33. The angel is depicted holding a laurel crown, a symbol traditionally associated with triumph and honor. This gesture adds a layer of deep meaning to the marble statue of an angel holding a laurel crown, for celebrating life achievements or as a symbol of eternal peace at Schwerin Castle in Schwerin (Photo from https://www.angkingsculpture.com/).
Figure 34. A skull as an allegory of the nature of life, representing “Memento mori” (“Remember you are going to die”). The skull is also associated with melancholy but, when wearing a laurel wreath, it conveys that virtue and fame will outlive death (Eguiguren “Memento Mori”).
Figure 35. A depiction of Torquato Tasso from a German encyclopedia, 1905. Note the laurel crown.
The Poet Laureate is a well-known example of such a prize-winner, dating from the early Renaissance in Italy. A poet laureate (plural: poets laureate) is a poet officially appointed by a government or conferring institution, typically expected to compose poems for special events and occasions. The practice of crowning poets was revived from ancient Greece in Padua for Albertino Mussato of Padua followed by Francesco Petrarca (Petrarch) of Arezzo’s crowning ceremonies in the audience hall of the medieval senatorial palazzo on the Campidoglio (Capitolium or Capitoline Hill) respectively in 1315 and 1342 (Weiss 1969, Wilkins 1951). Because the Renaissance figures who were attempting to revive the Classical tradition lacked detailed knowledge of the Roman precedent they were attempting to emulate, these ceremonies took on the character of doctoral candidatures (Weiss 1969).
Since the office of poet laureate has become widely adopted, the term "laureate" has come to signify recognition for preeminence or superlative achievement (Nobel laureate). A royal degree in rhetoric, poet laureate was awarded at European universities in the Middle Ages. The term therefore may refer to the holder of such a degree, which recognized skill in rhetoric, grammar, and language. Today there are laurates from all different fields, representing all different countries, genders, sexes, and backgrounds, which could be where we get the word baccalaureate, though this direct connection is not confirmed by scholars (while researching there are so many options for it’s “true” etymology).
The Myth
The laurel wreath held significant symbolic meaning in ancient Greek and Roman cultures. It was primarily associated with Apollo, who used laurel leaves as a crown after the nymph Daphne was transformed into a laurel tree to escape his pursuit (Crews & Sène 2003). Most artistic depictions of the myth focus on the moment of Daphne's transformation.
But, there are two major versions of the myth of Daphne's transformation into a laurel tree to escape Apollo's pursuit which have remained popular to this day. One, the rewritten version by Ovid in Book I of the Metamorphoses (Latin: Metamorphōsēs, from Ancient Greek: μεταμορφώσεις: "Transformations") in the 8 century CE (Crews & Sène, 2003). This story, along with other tree-related myths, reflects the symbolic connection between humans and trees in various cultures (Crews & Sène, 2003). In Ovid's Metamorphoses, the story of Daphne portrays Apollo's love, Daphne's escape, and her transformation, however, versions of this story existed before Ovid's rendition (Williams, 1999).
*Another aside. Interestingly, some interpretations suggest a shift in sacred trees in Greek mythology, where the olive tree or Athena replaces the palm tree in Apollo's birth story on Delos, possibly driven by political and economic motives in the ancient Greek world (Valtierra, 2023). Contemporary works like Ted Hughes' "Tales from Ovid" continue to revisit and reinterpret these ancient tales (Nagle et al., 1997). This tradition of alteration and later revisitation is reflected in the Olympic story as the laurel wreath/crown is said to be an olive branch instead and seems to more reflect the idyllic modern wish for peace rather than the spirit and need for competition. [For more on this, listen to episodes 207 and 208 of the Our Fake History podcast. The 1st episode of the Olympic Trilogy (207) inspired this deep dive.]
The tale of Daphne and Apollo, as recounted in Ovid's Metamorphoses presents a captivating narrative of unrequited love, divine intervention, and ultimate transformation. In this classic form, Daphne, the huntress evaded Apollo's lustful advances by transforming into the bay/luarel tree which thereby acquired her name (Ovid 1. 452-567.1). It begins with a competitive quarrel between the god Eros (now conflated with Cupid even though they are completely different) and his overbearing elder brother Apollo about their respective skills with the bow (lines 452-65). Their respective animosity leads to Eros’ revenge: he fires a golden arrow at Apollo which makes him fall in love with, or rather fuels his desire for, Daphne and then shoots a leaden arrow at Daphne which has the effect of suppressing sexual desire (466-77). Eros’s mischievous and vindictive act of shooting Daphne with a leaden arrow to repel Apollo's advances, juxtaposed with striking Apollo's heart with the golden arrow, sets the stage for a series of events where free will clashes with predetermined fate, which Ovid is seemingly taking a clear stance on by the end (Williams 1999: 1).
As a direct result of the arrow, Daphne devotes herself to virginity and hunting, with the reluctant, but incredibly quick acquiescence of her father, the river-god Peneus. Meanwhile, Apollo falls in love with the nymph, rushes over and gives a lengthy speech of self-praise, which does not impress Daphne and she instead runs away, and he chases her. Unable to outrun him, she prays to her father to transform her to escape Apollo's advances and to destroy the beauty which has brought her such unwelcome attention (543-47). Immediately, her father transforms her into a tree just as Apollo catches up with her. Because Apollo can not possess her sexually [appearantly he has “standards”], he finds consolation in claiming her as HIS sacred tree, a status she appears to accept (548-67) at least according to the translation (Williams 1999: 1).
Before Ovid's retelling, other versions existed, including Parthenius' account in Erotika Pathemata 15 (Williams 1999: 1). Rather than having a brotherly dispute leading to the god of sexual passion dulling her natural desires, Daphne had already held a steadfast commitment to a life of chastity and the defiant chase of Apollo's, showcases her agency and autonomy in the face of unwelcome advances. Her plea to her father, Peneus, to save her from Apollo's grasp culminates in a poignant metamorphosis into a bay tree as a final act of self-preservation in both versions.
The evolution of Daphne into a laurel tree, who is claimed by Apollo as a symbol of his conquest, serves as a reminder of the enduring power dynamics and imbalances between the gods and mortals, and in general the gods and EVERYONE and EVERYTHING else. Both renditions immortalise Daphne's autonomy and agency through her transformation, elevating her into a timeless emblem of resilience and self-determination in the face of adversity.
“This is the story told about Daphne, the daughter of Amyclas. She would never go down into the town, nor even mix with the other girls; instead, she acquired many dogs and would hunt both in Daphne Transformed Laconia and also on occasions going further afield into other mountainous areas of the Peloponnese; for which reason she was a favourite of Artemis, who gave her the gift of shooting accurately. When Daphne was wandering in the hinterland of Elis Leucippus, son of Oenomaus, he fell in love with her; he despaired of winning her by any other approach, but dressed in women's clothes and began to hunt with her, disguised as a girl. He became her favourite, and she would not let him go, embracing him and clinging to him at all times. Apollo, who was himself burning with desire for the maid, felt anger and envy towards Leucippus for being with her and put into her mind the thought of going with all the other girls to a spring and bathing there. When they arrived there, they started to strip; when they saw that Leucippus was reluctant, they tore off his clothes. When they realised how he had deceived them and plotted against them, all of them drove their spears into him. He, by the gods' will, disappeared; but when Daphne espied Apollo coming at her, she began to run away for all she was worth. When Apollo pursued her, she prayed to Zeus to be set free from humanity, and people say she became that tree which is named daphne after her.
Erotika Pathemata 15 Translation by Williams, F. in 1999: 2
As a quicker summary:
Daphne, the daughter of Amyclas, is a symbol of independence and strength in ancient Greek mythology. She is loved by Artemis and is gifted with accuracy in shooting. However, Leucippus, son of Oenomaus, falls in love with her while she is out hunting one day and disguises himself as a girl. Apollo, jealous of how close Daphne has become with her disguised confidant, interferes in their relationship, revealing Leucippus's disguise, leading to his death. Daphne seeks salvation from Apollo by praying to Zeus and undergoes a metamorphosis, becoming the laurel tree named after her.
Ovid transformed Parthenius' story of Daphne:
Different settings: Thessaly, not Peloponnese
Daphne is a river-god's daughter, not a Laconian city hero
Ovid focuses on Apollo's pursuit of Daphne
No mention of Daphne praying to Zeus
Apollo assigns Daphne a role in Rome's state religion, tying the story to Augustus.
Apollo also forces/grants a gift of prophecy for the distant future onto his female victims, which does not happen in Ovid’s version.
Phylarchus, Plutarch, Agis and Cleomenes:
Phylarchus, on the other hand, says she was the daughter of Amyclas, called Daphne, who fled from Apollo when he tried to have intercourse with her and turned into the [bay] tree, and was honoured by the god, and received the gift of prophecy.
Or, completely different in Nonnus, Dionysiaca 42. 387-90:
And the daughter of Ladon, the celebrated river, loathed the business of marriage; a Nymph, she became a tree that whispers inspired words; with her prophetic berries, fleeing from Phoebus' bed, she came to crown Phoebus' hair.
Phoebus in this is Apollo, because the name means ‘sun god’, and her transformation came about after not wanting to marry Apollo after sleeping with him. It also seems she just became the tree form of herself, as many nymphs are known to do, while still becoming Apollo’s crown regardless.
And lastly,
Daphne, the Greek nymph and daughter of the river deity Pencus, was one of Athene's attendants, the goddess of wisdom, skill, and war. One day, she was chased by Apollo, and while fleeing, she begged the gods for the ground to yawn and swallow her, or that she would change shape and no longer be prey. Her pleas were fulfilled, and just as Apollo was about to overtake her, Athene changed her into the laurel tree (Daphne laureola). Thus, Apollo chose the laurel tree as his favorite personal tree, and as an evergreen with intoxicating characteristics, it represented lyrical inspiration and immortality.
(Lehner & Lehner 2003: 67)
This story seems to imply that the tree was around prior to Daphne’s transformation, because how else would Apollo know about the properties of a newly created plant? Greek gods are not regularly known for omnipotence.
Reading Into It
Why did Ovid change the myth, what was he trying to get across?
The gods are dangerous? Apollo is a creep?
Ovid may be saying that it’s impossible to circumvent the gods’ will.
In every version, whether explicitly stated or not Daphne is running from an obsessed stalker. She finds that she can’t get away so she has one last chance to escape, one last opportunity to be free. Which is why it is so demoralizing that her branches and leaves, parts of her are taken away to serve as the symbol of her attacker, why would she ever be ok with him using her? Either before or after her transformation, she had no say, it’s horrifying from my modern perspective (whether male or female perspective shouldn’t matter).
Apollo and Daphne, from the triclinium of the House of Marcus Lucretius (National Archaeological Museum of Naples).
Why laurel?
What other symbolic properties or functions does it have?
Was the symbol around before the myth?
How messed up is our continuing to use it as a symbol of victory?
Conclusion
The idiom “don’t rest on your laurels” directly relates to the laurel crown being a symbol of victors, and it preaches to not be content with past successes, to continue working to achieve more. The whole quote is “Resting on your laurels is as dangerous as resting when you are walking in the snow.”
Today, the laurel crown remains a potent symbol in various forms of art, literature, and popular culture, representing victory, achievement, and distinction. It is often used in academic ceremonies to honor scholars and high achievers, connecting back to its historical roots as a symbol of excellence and recognition. The enduring legacy of the laurel crown serves as a reminder of the timeless appeal of honoring success and celebrating human accomplishment across diverse realms of society.
But that is why we need to take a critical look at the symbolism we use today. Not because it should never change, but because IT WILL. Of course the meaning of symbols changes, just like technology, language, and culture itself. I’d say only rocks stay the same, but even they, in time, will weather and shift.
Further Reading
'Laurel boughs' (1981) and 'Augustus and Daphne' (1981); also refer to works by P.E. Knox
The Oxford Guide to Classical Mythology in the Arts, Jane Reid's reference book
E. M. Forster's work "Other Kingdom"
Francese, C. (2004). Daphne, Honor, and Aetiological Action in Ovid's" Metamorphoses". The Classical World, 153-157.
Knox, Peter E. “In Pursuit of Daphne.” Transactions of the American Philological Association (1974-) 120 (1990): 183–386. https://doi.org/10.2307/283985.
Work Cited
Abrahams, H. Maurice and Young, . David C. (2024, July 28). Olympic Games. Encyclopedia Britannica. https://www.britannica.com/sports/Olympic-Games
Awada, F., Hamade, K., Kassir, M., Hammoud, Z., Mesnard, F., Rammal, H., & Fliniaux, O. (2023). Laurus nobilis leaves and fruits: a review of metabolite composition and interest in human health. Applied Sciences, 13(7), 4606.
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