Giants: Legends & Lore of Goliaths
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Book by Vera Morris Music and lyrics by Bill Francoeur © Copyright 1991, Pioneer Drama Service, Inc., Under the title of Jack and the Giant Performance License The amateur and professional acting rights to this play are controlled by Pioneer Drama Service, Inc., PO Box 4267, Englewood, Colorado 80155, without whose permission no performance, reading or presentation of any kind may be given. On all programs and advertising this notice must appear: 1. The full name of the play 2. The full name of the playwright and composer/arranger 3. The following credit line: “Produced by special arrangement with Pioneer Drama Service, Inc., Englewood, Colorado.” COPYING OR REPRODUCING ALL OR ANY PART OF THIS BOOK IN ANY MANNER IS STRICTLY FORBIDDEN BY LAW. All other rights in this play, including those of professional production, radio broadcasting and motion picture rights, are controlled by Pioneer Drama Service, Inc. to whom all inquiries should be addressed. For preview only FEE, FI, FO, FUM! Adapted and dramatized from the Benjamin Tabart version of the English folktale, “The History of Jack Spriggins and the Enchanted Bean” Book by VERA MORRIS Music and Lyrics by BILL FRANCOEUR CAST OF CHARACTERS (In Order Of Appearance) # of lines JACK ................................................brave young lad; loves 149 adventure SUSAN .............................................his sister 53 JACK’S MOTHER .............................about to lose her farm 65 VILLAGE WOMAN #1 ......................lives in fear of the Giant 11 VILLAGE WOMAN #2 ......................more -
Tradition and Innovation in Olympiodorus' "Orphic" Creation of Mankind Radcliffe .G Edmonds III Bryn Mawr College, [email protected]
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Greek, Latin, and Classical Studies Faculty Research Greek, Latin, and Classical Studies and Scholarship 2009 A Curious Concoction: Tradition and Innovation in Olympiodorus' "Orphic" Creation of Mankind Radcliffe .G Edmonds III Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/classics_pubs Part of the Classics Commons Custom Citation Edmonds, Radcliffe .,G III. "A Curious Concoction: Tradition and Innovation in Olympiodorus' 'Orphic' Creation of Mankind." American Journal of Philology 130, no. 4 (2009): 511-532. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/classics_pubs/79 For more information, please contact [email protected]. Radcliffe G. Edmonds III “A Curious Concoction: Tradition and Innovation in Olympiodorus' ‘Orphic’ Creation of Mankind” American Journal of Philology 130 (2009), pp. 511–532. A Curious Concoction: Tradition and Innovation in Olympiodorus' Creation of Mankind Olympiodorus' recounting (In Plat. Phaed. I.3-6) of the Titan's dismemberment of Dionysus and the subsequent creation of humankind has served for over a century as the linchpin of the reconstructions of the supposed Orphic doctrine of original sin. From Comparetti's first statement of the idea in his 1879 discussion of the gold tablets from Thurii, Olympiodorus' brief testimony has been the -
Giant Hogweed Please Destroy Previous Editions
MSU Extension Bulletin E-2935 June 2012 Giant Hogweed Please destroy previous editions An attractive but dangerous federal noxious weed. Have you seen this plant in Michigan? Hogweed is hazardous Wash immediately with soap and water if skin exposure occurs. If pos- Giant hogweed is a majestic plant sible, keep the contacted area cov- that can grow over 15 feet. Although ered with clothing for several days to attractive, giant hogweed is a public reduce light exposure. Giant hogweed health hazard because it can cause se- (Heracleum mantegazzianum) is a vere skin irritation in susceptible people. federal noxious weed, so it is unlaw- The plant exudes a clear, watery sap that ful to propagate, sell or transport this causes photodermatitis, a severe skin plant in the United States. The U.S. reaction. Skin contact followed by ex- Department of Agriculture (USDA) posure to sunlight may result in painful, has been surveying for this weed since burning blisters and red blotches that 1998 and several infestations have later develop into purplish or blackened been identified in Michigan. For more USDA APHIS PPQ Archive, USDA APHIS PPQ, Bugwood.org Archive, USDA APHIS PPQ USDA scars. The reaction can happen within information about giant hogweed, visit It’s a tall majestic plant, 24 to 48 hours after contact with sap, the Michigan Department of Agricul- and scars may persist for several years. ture and Rural Development at www. but DON’T TOUCH IT! Contact with the eyes can lead to tempo- michigan.gov/exoticpests. rary or permanent blindness. Use common sense around giant hogweed Don’t touch or handle plants using Don’t transplant or give away your bare hands. -
Into the Woods Character Descriptions
Into The Woods Character Descriptions Narrator/Mysterious Man: This role has been cast. Cinderella: Female, age 20 to 30. Vocal range top: G5. Vocal range bottom: G3. A young, earnest maiden who is constantly mistreated by her stepmother and stepsisters. Jack: Male, age 20 to 30. Vocal range top: G4. Vocal range bottom: B2. The feckless giant killer who is ‘almost a man.’ He is adventurous, naive, energetic, and bright-eyed. Jack’s Mother: Female, age 50 to 65. Vocal range top: Gb5. Vocal range bottom: Bb3. Browbeating and weary, Jack’s protective mother who is independent, bold, and strong-willed. The Baker: Male, age 35 to 45. Vocal range top: G4. Vocal range bottom: Ab2. A harried and insecure baker who is simple and loving, yet protective of his family. He wants his wife to be happy and is willing to do anything to ensure her happiness but refuses to let others fight his battles. The Baker’s Wife: Female, age: 35 to 45. Vocal range top: G5. Vocal range bottom: F3. Determined and bright woman who wishes to be a mother. She leads a simple yet satisfying life and is very low-maintenance yet proactive in her endeavors. Cinderella’s Stepmother: Female, age 40 to 50. Vocal range top: F#5. Vocal range bottom: A3. The mean-spirited, demanding stepmother of Cinderella. Florinda And Lucinda: Female, 25 to 35. Vocal range top: Ab5. Vocal range bottom: C4. Cinderella’s stepsisters who are black of heart. They follow in their mother’s footsteps of abusing Cinderella. Little Red Riding Hood: Female, age 18 to 20. -
Management Plan for the Giant Land Crab (Cardisoma Guanhumi) in Bermuda
Management Plan for the Giant Land Crab (Cardisoma guanhumi) in Bermuda Government of Bermuda Ministry of Home Affairs Department of Environment and Natural Resources 1 Management Plan for the Giant Land Crab (Cardisoma guanhumi) in Bermuda Prepared in Accordance with the Bermuda Protected Species Act 2003 This management plan was prepared by: Alison Copeland M.Sc., Biodiversity Officer Department of Environment and Natural Resources Ecology Section 17 North Shore Road, Hamilton FL04 Bermuda Contact email: [email protected] Published by Government of Bermuda Ministry of Home Affairs Department of Environment and Natural Resources 2 CONTENTS CONTENTS ........................................................................................................................ 3 LIST OF FIGURES ............................................................................................................ 4 LIST OF TABLES .............................................................................................................. 4 DISCLAIMER .................................................................................................................... 5 ACKNOWLEDGEMENTS ................................................................................................ 6 EXECUTIVE SUMMARY ................................................................................................ 7 PART I: INTRODUCTION ................................................................................................ 9 A. Brief Overview .......................................................................................................... -
Walking with Giants
Journal of Agricultural Education, 55(1), 1-7. doi: 10.5032/jae.2014.01001 Walking With Giants George W. Wardlow1 Abstract Dr. George W. Wardlow presented the 2013 AAAE Distinguished Lecture at the Annual Meeting of the American Association for Agricultural Education in Columbus, Ohio in May, 2013. While the focus of the article is on the importance of research to the profession, it is intended as a philosophical work. There were giants in the earth in those days; and also after that, when the sons of God came in unto the daughters of men, and they bare children to them, the same became mighty men which were of old, men of renown (American Bible Society, 1985, p. 6). Every culture from the beginning of human civilization has some reference to “giants” of old, or as Genesis refers to them, “men of renown.” The Bible refers to these individuals as Nephilim, a result of human genetic crosses with angels; and we accept the notion that this did not necessarily result in a positive outcome. In Greek mythology the giants who roamed the Earth were, according to the poet Hesiod, the children of Uranus and Gaea (spirits of the sky and the earth) (“Giants (Greek Mythology),” 2013). Indeed, references are made to “giants” among many cultures of the world. In Native American lore such as Paiute oral history, the Si-Te-Cah or Sai'i are a legendary tribe of red- haired cannibalistic giants (“Giants (Mythology),” 2013). In Norse mythology existed the Jotun, or jötnar in Old Norse (“Jotunn,” 2013). Megalithic construction in South America among Inca and even Aztec legend is, at times, attributed to ancient giants. -
Chapter Five: Cupid and Psyche
Chapter Five: Cupid and Psyche (from Mythology for Today Hamilton’s Mythology) 1. Venus becomes jealous because Psyche’s surpassing beauty has transfixed all the mortals, so that they forget Venus, and neglect her temples and altars. 2. Venus plans to have her son, Cupid, shoot Psyche with a love arrow, so that Psyche will fall in love with a hideous creature. Venus’ plan fails because Cupid himself falls in love with the beautiful Psyche. 3. Psyche’s father believes that he must leave her on the summit to be claimed by her serpent‐husband, for this is what he has been told by the Oracle of Apollo. However, the truth is that Cupid has arranged this himself, so that he can carry Psyche away as his own bride. 4. Her sisters become jealous of Psyche’s superior riches and treasures. 5. Psyche is torn between her love for and her faith in her husband, and the doubt and fear her sisters cause her to feel. She is unable to live with the uncertainty of not knowing the truth. 6. When Psyche sees that her husband is a beautiful youth, she feels too ashamed of her suspicion that she is about to plunge the knife intended for him into her own breast. However, her hand trembles and the knife falls. This faltering saves her own life, but also causes her to drip some lamp oil on Cupid, who sees that she has betrayed him and runs away. 7. Psyche is made to separate by kind a huge mixed mass of tiny grains; ants separate them for her. -
Names of Botanical Genera Inspired by Mythology
Names of botanical genera inspired by mythology Iliana Ilieva * University of Forestry, Sofia, Bulgaria. GSC Biological and Pharmaceutical Sciences, 2021, 14(03), 008–018 Publication history: Received on 16 January 2021; revised on 15 February 2021; accepted on 17 February 2021 Article DOI: https://doi.org/10.30574/gscbps.2021.14.3.0050 Abstract The present article is a part of the project "Linguistic structure of binomial botanical denominations". It explores the denominations of botanical genera that originate from the names of different mythological characters – deities, heroes as well as some gods’ attributes. The examined names are picked based on “Conspectus of the Bulgarian vascular flora”, Sofia, 2012. The names of the plants are arranged in alphabetical order. Beside each Latin name is indicated its English common name and the family that the particular genus belongs to. The article examines the etymology of each name, adding a short account of the myth based on which the name itself is created. An index of ancient authors at the end of the article includes the writers whose works have been used to clarify the etymology of botanical genera names. Keywords: Botanical genera names; Etymology; Mythology 1. Introduction The present research is a part of the larger project "Linguistic structure of binomial botanical denominations", based on “Conspectus of the Bulgarian vascular flora”, Sofia, 2012 [1]. The article deals with the botanical genera appellations that originate from the names of different mythological figures – deities, heroes as well as some gods’ attributes. According to ICBN (International Code of Botanical Nomenclature), "The name of a genus is a noun in the nominative singular, or a word treated as such, and is written with an initial capital letter (see Art. -
Hesiod Theogony.Pdf
Hesiod (8th or 7th c. BC, composed in Greek) The Homeric epics, the Iliad and the Odyssey, are probably slightly earlier than Hesiod’s two surviving poems, the Works and Days and the Theogony. Yet in many ways Hesiod is the more important author for the study of Greek mythology. While Homer treats cer- tain aspects of the saga of the Trojan War, he makes no attempt at treating myth more generally. He often includes short digressions and tantalizes us with hints of a broader tra- dition, but much of this remains obscure. Hesiod, by contrast, sought in his Theogony to give a connected account of the creation of the universe. For the study of myth he is im- portant precisely because his is the oldest surviving attempt to treat systematically the mythical tradition from the first gods down to the great heroes. Also unlike the legendary Homer, Hesiod is for us an historical figure and a real per- sonality. His Works and Days contains a great deal of autobiographical information, in- cluding his birthplace (Ascra in Boiotia), where his father had come from (Cyme in Asia Minor), and the name of his brother (Perses), with whom he had a dispute that was the inspiration for composing the Works and Days. His exact date cannot be determined with precision, but there is general agreement that he lived in the 8th century or perhaps the early 7th century BC. His life, therefore, was approximately contemporaneous with the beginning of alphabetic writing in the Greek world. Although we do not know whether Hesiod himself employed this new invention in composing his poems, we can be certain that it was soon used to record and pass them on. -
KOERNER S HAVES by BUFFALO N Vv
; KOERNER S HAVES BY BUFFALO N Vv ! = \A #1 t : 4 ¢ Jack the Giant=Killer. The Giant Stepped on Jack’s Trap and Fell Headlong into the Pit. [° the days of the renowned King Arthur there lived a Cornishman named Jack, who was famous for his valiant deeds. His bold and warlike spirit showed itself in his boyish days; for Jack took especial delight in listening to the wonderful tales of giants and fairies, and of the extraordinary feats of valor displayed by the knights of King Arthur’s Round Table, which his father would sometimes relate. Jack’s spirit was so fired by these strange accounts, that he determined, if ever he became a man, that he would destroy some of the cruel giants who infested the land. Not many miles from his father’s house there lived, on the top of St. Michael’s Mount, a huge giant, who was the terror of the country round, who was named Cormoran, from his voracious appetite. It is said that he was eighteen feet in height. When he required food, he came down from his castle, and, seizing on the flocks of the poor people, would throw half a dozen oxen over his shoulders, and suspend as many sheep as he could carry, and stalk back to his castle. He had carried on these depredations many years ; and the poor Cornish people were well-nigh ruined. Jack went by night to the foot of the mount and dug a very deep pit, which he covered with sticks and straw, and over which he strewed the earth. -
FAVORITE GREEK MYTHS VARVAKEION STATUETTE Antique Copy of the Athena of Phidias National Museum, Athens FAVORITE GREEK MYTHS
FAVORITE GREEK MYTHS VARVAKEION STATUETTE Antique copy of the Athena of Phidias National Museum, Athens FAVORITE GREEK MYTHS BY LILIAN STOUGHTON HYDE YESTERDAY’S CLASSICS CHAPEL HILL, NORTH CAROLINA Cover and arrangement © 2008 Yesterday’s Classics, LLC. Th is edition, fi rst published in 2008 by Yesterday’s Classics, an imprint of Yesterday’s Classics, LLC, is an unabridged republication of the work originally published by D. C. Heath and Company in 1904. For the complete listing of the books that are published by Yesterday’s Classics, please visit www.yesterdaysclassics.com. Yesterday’s Classics is the publishing arm of the Baldwin Online Children’s Literature Project which presents the complete text of hundreds of classic books for children at www.mainlesson.com. ISBN-10: 1-59915-261-4 ISBN-13: 978-1-59915-261-5 Yesterday’s Classics, LLC PO Box 3418 Chapel Hill, NC 27515 PREFACE In the preparation of this book, the aim has been to present in a manner suited to young readers the Greek myths that have been world favorites through the centuries, and that have in some measure exercised a formative infl uence on literature and the fi ne arts in many countries. While a knowledge of these myths is undoubtedly necessary to a clear understanding of much in literature and the arts, yet it is not for this reason alone that they have been selected; the myths that have appealed to the poets, the painters, and the sculptors for so many ages are the very ones that have the greatest depth of meaning, and that are the most beautiful and the best worth telling. -
Bacchylides 19 and Eumelus' Europia
Gaia Revue interdisciplinaire sur la Grèce archaïque 22-23 | 2020 Varia The Genealogy of Dionysus: Bacchylides 19 and Eumelus’ Europia La généalogie de Dionysos: Bacchylide 19 et l’Europia d’Eumélos Marios Skempis Electronic version URL: http://journals.openedition.org/gaia/512 ISSN: 2275-4776 Publisher UGA Éditions/Université Grenoble Alpes Printed version ISBN: 978-2-37747-199-7 ISSN: 1287-3349 Electronic reference Marios Skempis, « The Genealogy of Dionysus: Bacchylides 19 and Eumelus’ Europia », Gaia [Online], 22-23 | 2020, Online since 30 June 2020, connection on 17 July 2020. URL : http:// journals.openedition.org/gaia/512 This text was automatically generated on 17 July 2020. Gaia. Revue interdisciplinaire sur la Grèce archaïque The Genealogy of Dionysus: Bacchylides 19 and Eumelus’ Europia 1 The Genealogy of Dionysus: Bacchylides 19 and Eumelus’ Europia La généalogie de Dionysos: Bacchylide 19 et l’Europia d’Eumélos Marios Skempis 1 Bacchylides’ relation to the Epic Cycle is an issue under-appreciated in the study of classical scholarship, the more so since modern Standardwerke such as Martin West’s The Epic Cycle and Marco Fantuzzi and Christos Tsagalis’ The Greek Epic Cycle and Its Reception: A Companion are unwilling to engage in discussions about the Cycle’s impact on this poet.1 A look at the surviving Dithyrambs in particular shows that Bacchylides appropriates the Epic Cycle more thoroughly than one expects: Bacchylides 15 reworks the Cypria’s Request for Helen’s Return (arg. 10 W); Bacchylides 16 alludes to Creophylus’ Sack of Oechalia; Bacchylides 17 and 18 are instantiations of mythical episodes plausibly excerpted from an archaic Theseid; Bacchylides 19 opens and ends its mythical section with a circular mannerism that echoes the Thebaid’s incipit (fr.