Inspired by the words of Kyriakos Charalampidis: "I write being curious to see where the myth will take me" and since, according to Solomos: "there are parts that are visible and parts that are hidden," Louiza Christodoulidou captures in her study the increasingly frequent resort of the poet to myth, posing fundamental questions: Why the ancient Greek myth in the poetry of Charalampidis? How does the central core of myths intrude and transform in the poetic transtext? Above all, she is interested in exploring what is the deeper essence that lies behind the superficial outline of the myth, given that Charalampidis's dialogue with ancient Greek literature, as "transformative transmission," shifts to another level with deep reflections and reconsiderations.

The author illuminates the significant core of the concentric circles of ancient myths and Charalampidis's ancient-themed poems, which emerge through the bipolar shapes: truth/lie, life/death, love/soul, love/death, beauty/perishing, youth/age, but also dream/existence. Charalampidis moves between the multiple readings of the personalities of his heroes and heroines, in order to capture the primordial tragic sense of things. On one side are Helen, Clytemnestra, and Penelope, who were tested in the endurance of their marital faith and bore corresponding burdens, and on the other side is the "terrible goddess" Aphrodite, who symbolizes "beauty" in both earthly and celestial terms.

The mythical handling contributes to the redefinition of their character, as through modern inventions, reversals, inverted images, anachronisms, and paradoxes, the archetypal heroines free themselves from guilt with anti-myths – to imply the poet's reflections on the vagaries of history and life.

By adopting opposing versions of the myth, the poet artfully poses the urgent question: “what is ultimately poetic truth?” to arrive at the conclusion that the "fragile" truth of the primordial myth is not one but many. However, the absolute signpost, which "marks the path" for the poet's immersion in the mystery of death, as a "measure of life," is Aphrodite – inherently a dramatic character. Nevertheless, the vulnerability of the "copper-skinned goddess of our land" leads associatively to the vulnerable body of bleeding Cyprus. The "woman pregnant with metals" constitutes an inexhaustible goddess, therefore we can consider her from different perspectives, just as we can with Poetry itself, the Great Horned One, because poetry is also inexhaustible and enigmatic.