What Is Greek Religion?
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Zeus: Greek God of the Sky
Zeus: Greek God of the sky. His symbols were lightning bolts and the eagle. Zeus was the ruler of the Olympian Gods. Poseidon: Poseidon was the God of the sea. He could create floods and tidal waves when angered. The Olympian brothers each received a weapon to battle the titans: Zeus received the lightning bolt, Poseidon received the trident and Hades received the helmet of invisibility -- after they defeated the Titans they drew lots to see who would rule what -- Zeus the sky, Poseidon the seas and Hades the underworld. Hades: Hades was the God of the underworld and the older brother of Zeus. The weapon he used in the battle against the Titans was the helmet of invisibility. Hers: The Greek Goddess of marriage and childbirth. Hera was the wife of Zeus and the Queen of the Olympians. Her sacred animals are the cow and the peacock. Hestia: The sister of Zeus. The Goddess of hearth and home. Aphrodite: Aphrodite is the Goddess of love, desire, and beauty. She was also the protector of sailors. She is the wife of Hephaestus. Her symbols are the dove, myrtle tree, sparrow, and swan. Athena: Athena is the Goddess of reason, intelligent activity, arts, and literature. Her symbol is the owl. Athena was said to have sprang forth from Zeus’ head complete with helmet, armor, and spear. Athena preferred to settle disagreements peacefully using her wisdom, but she was a valiant warrior when necessary. Her symbols are the olive tree and the owl. Ares: Ares is the God of War. He enjoys battle and slaughter. -
Ancient Religions: Public Worship of the Greeks and Romans by E.M
Ancient Religions: Public worship of the Greeks and Romans By E.M. Berens, adapted by Newsela staff on 10.07.16 Word Count 1,250 Level 1190L TOP: The temple and oracle of Apollo, called the Didymaion in Didyma, an ancient Greek sanctuary on the coast of Ionia (now Turkey), Wikimedia Commons. MIDDLE: The copper statue of Zeus of Artemision in the National Archaeological Museum, Athens, Greece. BOTTOM: Engraving shows the Oracle of Delphi, bathed in shaft of light atop a pedestal and surrounded by cloaked figures, Delphi, Greece. Getty Images. Temples Long ago, the Greeks had no shrines or sanctuaries for public worship. They performed their devotions beneath the vast and boundless canopy of heaven, in the great temple of nature itself. Believing that their gods lived above in the clouds, worshippers naturally searched for the highest available points to place themselves in the closest communion possible with their gods. Therefore, the summits of high mountains were selected for devotional purposes. The inconvenience of worshipping outdoors gradually suggested the idea of building temples that would offer shelter from bad weather. These first temples were of the most simple form, without decoration. As the Greeks became a wealthy and powerful people, temples were built and adorned with great splendor and magnificence. So massively were they constructed that some of them have withstood the ravages of This article is available at 5 reading levels at https://newsela.com. time. The city of Athens especially contains numerous remains of these buildings of antiquity. These ruins are most valuable since they are sufficiently complete to enable archaeologists to study the plan and character of the original structures. -
Heracles's Weariness and Apotheosis in Classical Greek Art
Dourado Lopes, Antonio Orlando Heracles's weariness and apotheosis in Classical Greek art Synthesis 2018, vol. 25, nro. 2, e042 Dourado Lopes, A. (2018). Heracles's weariness and apotheosis in Classical Greek art. Synthesis, 25 (2), e042. En Memoria Académica. Disponible en: http://www.memoria.fahce.unlp.edu.ar/art_revistas/pr.10707/pr.10707.pdf Información adicional en www.memoria.fahce.unlp.edu.ar Esta obra está bajo una Licencia Creative Commons Atribución-NoComercial-CompartirIgual 4.0 Internacional https://creativecommons.org/licenses/by-nc-sa/4.0/ ARTÍCULO / ARTICLE Synthesis, vol. 25, nº 2, e042, diciembre 2018. ISSN 1851-779X Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación. Centro de Estudios Helénicos Heracles's weariness and apotheosis in Classical Greek art Agotamiento físico y apoteosis de Heracles en el arte clásico griego Antonio Orlando Dourado Lopes Universidad Federal de Minas Gerais, Brasil [email protected] Resumen: Este estudio propone una interpretación general de las imágenes realizadas en Grecia, a partir del siglo V a. C. en monedas, joyas, pinturas de vasijas y esculturas, que muestran el agotamiento físico de Heracles y su apoteosis divina. Luego de una extendida consideración de los principales trabajos académicos que abordaron el tema desde finales del siglo XIX, procuro mostrar que la representación iconográfica del agotamiento de Heracles y de su apoteosis da testimonio de la influencia de nuevas concepciones religiosas y filosóficas en su mito, fundamentalmente del pitagorismo, del orfismo y de los cultos mistéricos, así como del fuerte intelectualismo de la Atenas del siglo V a. C. -
Liquids in Temple Ritual
UCLA UCLA Encyclopedia of Egyptology Title Liquids in Temple Ritual Permalink https://escholarship.org/uc/item/7gh1n151 Journal UCLA Encyclopedia of Egyptology, 1(1) Author Poo, Mu-Chou Publication Date 2010-09-25 Peer reviewed eScholarship.org Powered by the California Digital Library University of California LIQUIDS IN TEMPLE RITUAL السوائل بطقوس المعابد Mu-chou Poo EDITORS WILLEKE WENDRICH Editor-in-Chief Area Editor Material Culture University of California, Los Angeles JACCO DIELEMAN Editor University of California, Los Angeles ELIZABETH FROOD Editor University of Oxford JOHN BAINES Senior Editorial Consultant University of Oxford Short Citation: Poo 2010, Liquids in Temple Ritual. UEE. Full Citation: Poo, Mu-chou, 2010, Liquids in Temple Ritual. In Willeke Wendrich (ed.), UCLA Encyclopedia of Egyptology, Los Angeles. http://digital2.library.ucla.edu/viewItem.do?ark=21198/zz0025dxbr 1088 Version 1, September 2010 http://digital2.library.ucla.edu/viewItem.do?ark=21198/zz0025dxbr LIQUIDS IN TEMPLE RITUAL السوائل بطقوس المعابد Mu-chou Poo Flüssigkeiten im Tempelritual Les liquides utilisés dans les rituels du temple In ancient Egypt the liquids most commonly used in temple rituals included wine, beer, milk, and water. The meaning of the ritual act was intimately related to the nature of the liquid employed, as well as to whatever religious and mythological associations the liquid was known to possess. With the exception of beer, all the ritual offerings of liquids were connected in some way with the idea of rejuvenation. كانت أكثر السوائل المستخدمة بالطقوس بالمعابد ھي النبيذ والجعة والحليب والماء، فكان مغزى الطقسه مرتبط بطبيعة السائل المستخدم وأيضاً متعلق باﻹرتباطات الدينية واﻷسطورية المعروفة عن ھذا السائل. -
The Cosmic Myths of Homer and Hesiod
Oral Tradition, 2/1 (1987): 31-53 The Cosmic Myths of Homer and Hesiod Eric A. Havelock I HOMER’S COSMIC IMAGERY Embedded in the narratives of the Homeric poems are a few passages which open windows on the ways in which the Homeric poet envisioned the cosmos around him. They occur as brief digressions, offering powerful but by no means consistent images, intruding into the narrative and then vanishing from it, but always prompted by some suitable context. A. Iliad 5.748-52 and 768-69 The Greeks in battle being pressed hard by the Trojans, assisted by the god Ares; the goddesses Hera and Athene decide to equalize the encounter by descending from Olympus to help the Greeks. A servant assembles the components of Hera’s chariot: body, wheels, spokes, axle, felloe, tires, naves, platform, rails, pole, yoke are all itemized in sequence, comprising a formulaic account of a mechanical operation: Hera herself attaches the horses to the car. Athene on her side is provided by the poet with a corresponding “arming scene”; she fi nally mounts the chariot and the two of them proceed: 748 Hera swiftly with whip set upon the horses 749 and self-moving the gates of heaven creaked, which the seasons kept 750 to whom is committed great heaven and Olympus 751 either to swing open the thick cloud or to shut it back. 752 Straight through between them they kept the horses goaded-and-driven. 32 ERIC A. HAVELOCK 768 Hera whipped up the horses, and the pair unhesitant fl ew on 769 in midspace between earth and heaven star-studded. -
The Apotheosis of He#Rakle#S on Olympus and the Mythological Origins of the Olympics
The apotheosis of He#rakle#s on Olympus and the mythological origins of the Olympics The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Nagy, Gregory. 2019.07.12. "The apotheosis of He#rakle#s on Olympus and the mythological origins of the Olympics." Classical Inquiries. http://nrs.harvard.edu/ urn-3:hul.eresource:Classical_Inquiries. Published Version https://classical-inquiries.chs.harvard.edu/the-apotheosis-of- herakles-on-olympus-and-the-mythological-origins-of-the- olympics/ Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:41364811 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Classical Inquiries Editors: Angelia Hanhardt and Keith Stone Consultant for Images: Jill Curry Robbins Online Consultant: Noel Spencer About Classical Inquiries (CI ) is an online, rapid-publication project of Harvard’s Center for Hellenic Studies, devoted to sharing some of the latest thinking on the ancient world with researchers and the general public. While articles archived in DASH represent the original Classical Inquiries posts, CI is intended to be an evolving project, providing a platform for public dialogue between authors and readers. Please visit http://nrs.harvard.edu/urn-3:hul.eresource:Classical_Inquiries for the latest version of this article, which may include corrections, updates, or comments and author responses. Additionally, many of the studies published in CI will be incorporated into future CHS pub- lications. -
Poetic Authority and Oral Tradition in Hesiod and Pindar
CHAPTER SIX POETIC AUTHORITY AND ORAL TRADITION IN HESIOD AND PINDAR Ruth Scodel Elsewhere, I have discussed the distinction Homer makes, especially in the Odyssey, between the songs of bards and other storytelling.1 This argument rests especially on three recent insights that appear to point in quite opposite directions. First, Andrew Ford shows in Homer: the Poetry of the Past how the Odyssey evades the reality of the transmission of poetic tradition as well as that of bardic contests. The Muses simply replace poets’ teachers; the narrative content of per- formance has no naturalistic source.2 S. Douglas Olson has shown in Blood and Iron how richly the same epic depicts the workings of everyday oral tradition, its considerable interest in how news gets around.3 Third, Louise Pratt argues convincingly that the truth-claims of early Greek poetry need to be interpreted relative to their rhetor- ical functions in context. While only fables are truly fiction, for most poetic narrative historical accuracy is not the primary concern.4 Homer, then, shows how people in reality create and spread kleos, but he seems to want to avoid facing the obvious implication that poetic performances depend on what earlier storytellers have trans- mitted. The proem to the Catalogue of Ships perfectly demonstrates this peculiarity in its distinction between the Muses, who see and hear everything, and poet and audience, who only hear the kleos and know nothing (Il. 2.484–93). So in asking why Homer does not acknowledge openly that his stories depend on tradition, I looked at what distinguishes bardic performances from other storytelling prac- tices in Homer, and concluded that the most important distinctions 1 R. -
Bacchylides 17: Singing and Usurping the Paean Maria Pavlou
Bacchylides 17: Singing and Usurping the Paean Maria Pavlou ACCHYLIDES 17, a Cean commission performed on Delos, has been the subject of extensive study and is Bmuch admired for its narrative artistry, elegance, and excellence. The ode was classified as a dithyramb by the Alex- andrians, but the Du-Stil address to Apollo in the closing lines renders this classification problematic and has rather baffled scholars. The solution to the thorny issue of the ode’s generic taxonomy is not yet conclusive, and the dilemma paean/ dithyramb is still alive.1 In fact, scholars now are more inclined to place the poem somewhere in the middle, on the premise that in antiquity the boundaries between dithyramb and paean were not so clear-cut as we tend to believe.2 Even though I am 1 Paean: R. Merkelbach, “Der Theseus des Bakchylides,” ZPE 12 (1973) 56–62; L. Käppel, Paian: Studien zur Geschichte einer Gattung (Berlin 1992) 156– 158, 184–189; H. Maehler, Die Lieder des Bakchylides II (Leiden 1997) 167– 168, and Bacchylides. A Selection (Cambridge 2004) 172–173; I. Rutherford, Pindar’s Paeans (Oxford 2001) 35–36, 73. Dithyramb: D. Gerber, “The Gifts of Aphrodite (Bacchylides 17.10),” Phoenix 19 (1965) 212–213; G. Pieper, “The Conflict of Character in Bacchylides 17,” TAPA 103 (1972) 393–404. D. Schmidt, “Bacchylides 17: Paean or Dithyramb?” Hermes 118 (1990) 18– 31, at 28–29, proposes that Ode 17 was actually an hyporcheme. 2 B. Zimmermann, Dithyrambos: Geschichte einer Gattung (Hypomnemata 98 [1992]) 91–93, argues that Ode 17 was a dithyramb for Apollo; see also C. -
The Imperial Cult and the Individual
THE IMPERIAL CULT AND THE INDIVIDUAL: THE NEGOTIATION OF AUGUSTUS' PRIVATE WORSHIP DURING HIS LIFETIME AT ROME _______________________________________ A Dissertation presented to the Faculty of the Department of Ancient Mediterranean Studies at the University of Missouri-Columbia _______________________________________________________ In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy _____________________________________________________ by CLAIRE McGRAW Dr. Dennis Trout, Dissertation Supervisor MAY 2019 The undersigned, appointed by the dean of the Graduate School, have examined the dissertation entitled THE IMPERIAL CULT AND THE INDIVIDUAL: THE NEGOTIATION OF AUGUSTUS' PRIVATE WORSHIP DURING HIS LIFETIME AT ROME presented by Claire McGraw, a candidate for the degree of doctor of philosophy, and hereby certify that, in their opinion, it is worthy of acceptance. _______________________________________________ Professor Dennis Trout _______________________________________________ Professor Anatole Mori _______________________________________________ Professor Raymond Marks _______________________________________________ Professor Marcello Mogetta _______________________________________________ Professor Sean Gurd DEDICATION There are many people who deserve to be mentioned here, and I hope I have not forgotten anyone. I must begin with my family, Tom, Michael, Lisa, and Mom. Their love and support throughout this entire process have meant so much to me. I dedicate this project to my Mom especially; I must acknowledge that nearly every good thing I know and good decision I’ve made is because of her. She has (literally and figuratively) pushed me to achieve this dream. Mom has been my rock, my wall to lean upon, every single day. I love you, Mom. Tom, Michael, and Lisa have been the best siblings and sister-in-law. Tom thinks what I do is cool, and that means the world to a little sister. -
The Roman Virtues
An Introduction to the Roman Deities Hunc Notate: The cultural organization, the Roman Republic: Res publica Romana, and authors have produced this text for educational purposes. The Res publica Romana is dedicated to the restoration of ancient Roman culture within the modern day. It is our belief that the Roman virtues must be central to any cultural restoration as they formed the foundation of Romanitas in antiquity and still serve as central to western civilization today. This text is offered free of charge, and we give permission for its use for private purposes. You may not offer this publication for sale or produce a financial gain from its distribution. We invite you to share this document freely online and elsewhere. However, if you do share this document we ask that you do so in an unaltered form and clearly give credit to the Roman Republic: Res publica Romana and provide a link to: www.RomanRepublic.org 1 Roman Republic: Res publica Romana| RomanRepublic.org An Introduction to the Roman Deities The existence of the gods is a helpful thing; so let us believe in them. Let us offer wine and incense on ancient altars. The gods do not live in a state of quiet repose, like sleep. Divine power is all around us - Publius Ovidius Naso Dedicated to anyone who desires to build a relationship with the Gods and Goddesses of Rome and to my friends Publius Iunius Brutus & Lucia Hostilia Scaura 2 Roman Republic: Res publica Romana| RomanRepublic.org An Introduction to the Roman Deities Who are the Roman Gods and Goddesses? Since the prehistoric period humans have pondered the nature of the gods. -
The Art and Artifacts Associated with the Cult of Dionysus
Alana Koontz The Art and Artifacts Associated with the Cult of Dionysus Alana Koontz is a student at University of Wisconsin-Milwaukee graduating with a degree in Art History and a certificate in Ancient Mediterranean Studies. The main focus of her studies has been ancient art, with specific attention to ancient architecture, statuary, and erotic symbolism in ancient art. Through various internships, volunteering and presentations, Alana has deepened her understanding of the art world, and hopes to do so more in the future. Alana hopes to continue to grad school and earn her Master’s Degree in Art History and Museum Studies, and eventually earn her PhD. Her goal is to work in a large museum as a curator of the ancient collections. Alana would like to thank the Religious Studies Student Organization for this fantastic experience, and appreciates them for letting her participate. Dionysus was the god of wine, art, vegetation and also widely worshipped as a fertility god. The cult of Dionysus worshipped him fondly with cultural festivities, wine-induced ritualistic dances, 1 intense and violent orgies, and secretive various depictions of drunken revelry. 2 He embodies the intoxicating portion of nature. Dionysus, in myth, was the last god to be accepted at Mt Olympus, and was known for having a mortal mother. He spent his adulthood teaching the cultivation of grapes, and wine-making. The worship began as a celebration of culture, with plays and processions, and progressed into a cult that was shrouded in mystery. Later in history, worshippers would perform their rituals in the cover of darkness, limiting the cult-practitioners to women, and were surrounded by myth that is sometimes interpreted as fact. -
Women's Studies in the History of Religions
1 Women’s Studies in the History of Religions DAVID KINSLEY On the most archaic levels of culture, living as a human being is in itself a religious act, for alimentation, sexual life, and work have a sacramental value. In other words, to be— or rather, to become—a man means to be “religious.” —Mircea Eliade, A History of Religious Ideas o appreciate the radical impact women’s studies has had on the discipline Tof history of religions, it is necessary first to describe briefly how the his- tory of religions understands its task. The history of religions, which claims to be the objective, scientific study of religion, sets as its task nothing less than the study, in historical and cross- cultural perspective, of all human religious phenomena. It includes in its pur- view, not only sophisticated, literate, philosophical, and theological materials, but also popular expressions of human religiosity such as festivals, life cycle rituals, myths, and practices that are found only in oral traditions. The history of religions seeks to avoid an approach to human religiosity that privileges cer- tain materials as “higher” and others as “lower.” It assumes that all expres- sions of human religiosity are worthy of study. In the words of Mircea Eliade: “For the historian of religions, every manifestation of the sacred is important: every rite, every myth, every belief or divine figure reflects the experience of the sacred and hence implies the notions of being, of meaning, and of truth.”1 History of religions does not seek to evaluate one religion (or religious expression) vis-à-vis another with a view to declaring one superior to the other.