DOCSLIB.ORG

Greek Mythology

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Greek Mythology Greek Mythology Greek Roman Description Name Name First Generation of Olympians The king of the gods, the ruler of Mount Olympus and the god of the sky, weather, thunder, law, order, and fate. He is the youngest son of Cronus and Rhea, whom he overthrew after Cronus swallowed his brothers and sisters and he is brother-husband Zeus Jupiter to Hera. In artwork, he was depicted as a regal, mature man with a sturdy figure and dark beard. His usual attributes are the royal scepter and the lightning bolt, and his sacred animals are the eagle and the bull. Queen of marriage, women, childbirth, heirs, kings and empires. She is the wife of Zeus and daughter of Cronus and Rhea. She was usually depicted as a beautiful Hera Juno woman wearing a crown and veil and holding a royal, lotus-tipped staff. Her sacred animals are the heifer, the lion, the peacock, and the cuckoo. The god of the sea, rivers, floods, droughts, earthquakes, and the creator of horses; known as the "Earth Shaker". He is a son of Cronus and Rhea and brother to Zeus Poseidon Neptune and Hades. In classical artwork, he was depicted as a mature man of sturdy build with a dark beard, and holding a trident. The horse and the dolphin are sacred to him. The goddess of agriculture, horticulture, grain and harvest. Demeter is a daughter of Cronus and Rhea and sister of Zeus, by whom she bore Persephone. She was Demeter Ceres depicted as a mature woman, often crowned and holding sheaves of wheat and a torch. Her symbols are the Cornucopia (horn of plenty), wheat-ears, the winged serpent and the lotus staff. Her sacred animals are pigs and snakes. King of the Underworld and god of the dead. His consort is Persephone and his attributes are the key of Hades, the Helm of Darkness, and the three-headed dog, Cerberus. The screech owl was sacred to him. Despite being the son of Cronus and Hades Pluto Rhea and the elder brother of Zeus, as a chthonic god he is only rarely listed among the Olympians. The name Pluto became more common in the Classical period with the mystery religions and Athenian literature. Virgin goddess of the hearth, home and cooking. She is a daughter of Rhea and Cronus and sister of Zeus. She was depicted as a modestly veiled woman, whose Hestia Vesta symbols are the hearth and kettle. In some accounts, she gave up her seat as one of the Twelve Olympians to tend to the sacred flame on Mount Olympus for Dionysus. Second Generation of Olympians The goddess of wisdom, warfare, battle strategy, heroic endeavor, handicrafts and reason. According to most traditions, she was born from Zeus's head fully formed Athena Minerva and armored. She was depicted crowned with a crested helm, armed with shield and a spear. Her symbols include the olive tree. She is commonly shown accompanied by her sacred animal, the owl. The god of war, bloodlust, violence, manly courage, and civil order. The son of Zeus Ares Mars and Hera, he was depicted as either a mature, bearded warrior dressed in battle arms, 1 or a nude beardless youth with helm and spear. His attributes are golden armour and a bronze-tipped spear. His sacred animals are the vulture, venomous snakes, alligators, and dogs. The goddess of love and beauty. Although married to Hephaestus she had many lovers, most notably Ares. She was depicted as a beautiful woman usually Aphrodite Venus accompanied by her son Eros. Her symbols include the rose, scallop shell, and myrtle wreath. Her sacred animal is the dove. Crippled god of fire, metalworking, stonemasonry, sculpture and volcanism. The son of, he is the smith of the gods and the husband of the adulterous Aphrodite. He was usually depicted as a bearded man holding hammer and tongs—the tools of a smith. Hephaestus Vulcan His symbols are the hammer, tongs, and anvil. His sacred animals are the donkey, the guard dog and the crane. When he was born, he was thrown off of Mount Olympus by Hera as he was considered ugly. The god of music, healing, plagues, prophecies, poetry, and archery; associated with light, truth and the sun. He is Artemis's twin brother and Hermes elder brother, and son of Zeus and Leto. He was depicted as a handsome, beardless youth with long hair Apollo Apollo and various attributes including a laurel wreath, bow and quiver, raven, and lyre. Animals sacred to Apollo include dolphins, roe deer, swans, cicadas, hawks, ravens, crows and snakes. Virgin goddess of the hunt, wilderness, wild animals, and childbirth. In later times she became associated with the moon. She is the daughter of Zeus and Leto, and twin sister of Apollo. In art she was usually depicted as a young woman dressed in a short Artemis Diana knee-length chiton and equipped with a hunting bow and a quiver of arrows. In addition to the bow, her attributes include hunting spears, animal pelts, deer and other wild animals. Her sacred animals are deer, bears, and wild boars. The god of travel, messengers, trade, thievery, cunning wiles, language, writing, diplomacy, athletics, and animal husbandry. He is the messenger of the gods, a psychopomp who leads the souls of the dead into Hades' realm, and the son of Zeus Hermes Mercury and Maia. He was depicted either as a handsome and athletic beardless youth, or as an older bearded man. His attributes include the herald's wand or caduceus, winged sandals, and a traveler's cap. His sacred animals are the tortoise, ram, and hawk. The god of wine, parties and festivals, madness, drunkenness and pleasure at forever young. He was depicted in art as either an older bearded god or a pretty effeminate, long-haired youth. His attributes include the thyrsus (a pinecone-tipped staff), Dionysus Bacchus drinking cup, grape vine, and a crown of ivy. Animals sacred to him include dolphins, serpents, tigers, panthers, and donkeys. A later addition to the Olympians, in some accounts he replaced Hestia. Other Deities The god of sexual love and beauty. He was also worshipped as a fertility deity, son of Eros Cupid Aphrodite and Ares. He was depicted often as carrying a lyre or bow and arrow. She is the daughter of Zeus and Hera. Hebe was the cupbearer for the gods and Hebe Juventas goddesses of Mount Olympus, serving their nectar and ambrosia, until she was married to Heracles. 2 A divine hero, the son of Zeus and Alcmene, and great-grandson (and half-brother) Heracles Hercules of Perseus. He was the greatest of the Greek heroes, a paragon of masculinity and a champion of the Olympian order against chthonic monsters. The god of the wild, shepherds and flocks, of mountain wilds, hunting and rustic Pan Faunus music, as well as the companion of the nymphs. The root of panic comes from the god Pan. Queen of the Underworld and a daughter of Demeter and Zeus. Also goddess of spring time. She became the consort of Hades, the god of the underworld, when he kidnapped her. Demeter, driven to distraction by the disappearance of her daughter, neglected the earth so that nothing would grow. Zeus eventually ordered Hades to Persephone Proserpina allow Persephone to leave the underworld and rejoin her mother. Hades did this, but because Persephone had eaten six of the twelve pomegranate seeds in the underworld when Hades first kidnapped her, she had to spend six months in the underworld each year. This created the seasons when for six months everything grows and flourishes then for the other six months everything wilts and dies. Mythological Creatures Centaurs, a race of half-man, half-horse beings. Cerberus, the three-headed, giant hound that guarded the gates of Hades. Charybdis, a sea monster whose inhalations formed a deadly whirlpool. Chimera, a three headed monster, with the foreparts of a lion, the hind-parts of a goat and goat's-head rising from its back, and the tail of a headed-serpent; slain by Bellerophon. Cyclopes (Elder), three one-eyed giants who forged the lightning-bolts of Zeus. Empusa, a vampire demon with a leg of bronze and a hoofed foot of a donkey; she seduced men in order to feed on their flesh and blood. Gorgons, monstrous sisters with wings of gold, brazen claws and serpents for hair; capable of turning men to stone with their gaze. Harpies, winged monsters with the bodies of birds and the heads and torsos of women. Hippalectryon, a creature with the fore-parts of a rooster and the body of a horse. Hippocampi, sea creatures with the fore-parts of horses and the tails of fish. Minotaur, creature with the head of a bull on the body of a man. He dwelt at the center of the Labyrinth, which was an elaborate maze-like construction designed by the architect Daedalus and his son Icarus, on the command of King Minos of Crete. The Minotaur was eventually killed by the Athenian hero Theseus. Sirens, sea nymphs who lured sailors to their death with their song. Humans Achilles, hero of the Trojan War and a central character in Homer's Iliad. Aegea, a queen of the Amazons. Andromeda, wife of Perseus, who was placed among the constellations after her death. Cassandra, a princess of Troy cursed to see the future but never to be believed. Hector, hero of the Trojan War and champion of the Trojan people. Helen, daughter of Zeus and Leda, whose abduction brought about the Trojan War. Jason, leader of the Argonauts.
Load more

Recommended publications
  • 1186 B.C.E. the Trojan War Greece
    1186 B.C.E. The Trojan War Greece The events in the myth of The Judgement of Paris started a period of war called the Trojan War, in which the city of Troy and its allies fought the city­state of Sparta and its allies. Most of what we know of the Trojan War comes from epics such as Homer’s I​liad a​nd O​ dyssey,​ but there is evidence that the Trojan War was a real event; the problem is that we don’t know exactly how much of what is described in the I​liad ​is true. For example, the I​liad f​eatures Gods and Goddesses not present in modern society or belief, as well as people that may have been idealized as war heroes. The following is what we know about the events of the Trojan War from the I​liad.​ Menelaus, the king of Sparta, was so angry that Paris had taken his wife that he set out to wage war with Paris and the city of Troy. To do so, he sent out for certain people to help, such as Odysseus, the hero of the Odyssey,​ and Achilles, who a seer said the war would not be won without. The Greeks first attacked nearby kingdoms that were supplying Troy, destroying the Trojan economy, killing Trojan hero Hector and looting spoils of war. However, the Greeks couldn’t break down the wall that surrounded Troy, so Odysseus devised a plan now known as the Trojan Horse. The Greeks hid inside a giant wooden horse that they tricked the Trojans to let inside their walls.
    [Show full text]
  • (Leviticus 10:6): on Mourning and Refraining from Mourning in the Bible
    1 “Do not bare your heads and do not rend your clothes” (Leviticus 10:6): On Mourning and Refraining from Mourning in the Bible Yael Shemesh, Bar Ilan University Many agree today that objective research devoid of a personal dimension is a chimera. As noted by Fewell (1987:77), the very choice of a research topic is influenced by subjective factors. Until October 2008, mourning in the Bible and the ways in which people deal with bereavement had never been one of my particular fields of interest and my various plans for scholarly research did not include that topic. Then, on October 4, 2008, the Sabbath of Penitence (the Sabbath before the Day of Atonement), my beloved father succumbed to cancer. When we returned home after the funeral, close family friends brought us the first meal that we mourners ate in our new status, in accordance with Jewish custom, as my mother, my three brothers, my father’s sisters, and I began “sitting shivah”—observing the week of mourning and receiving the comforters who visited my parent’s house. The shivah for my father’s death was abbreviated to only three full days, rather than the customary week, also in keeping with custom, because Yom Kippur, which fell only four days after my father’s death, truncated the initial period of mourning. Before my bereavement I had always imagined that sitting shivah and conversing with those who came to console me, when I was so deep in my grief, would be more than I could bear emotionally and thought that I would prefer for people to leave me alone, alone with my pain.
    [Show full text]
  • Agorapicbk-15.Pdf
    Excavations of the Athenian Agora Picture Book No. 1s Prepared by Fred S. Kleiner Photographs by Eugene Vanderpool, Jr. Produced by The Meriden Gravure Company, Meriden, Connecticut Cover design: Coins of Gela, L. Farsuleius Mensor, and Probus Title page: Athena on a coin of Roman Athens Greek and Roman Coins in the Athenian Agora AMERICAN SCHOOL OF CLASSICAL STUDIES AT ATHENS PRINCETON, NEW JERSEY 1975 1. The Agora in the 5th century B.C. HAMMER - PUNCH ~ u= REVERSE DIE FLAN - - OBVERSE - DIE ANVIL - 2. Ancient method of minting coins. Designs were cut into two dies and hammered into a flan to produce a coin. THEATHENIAN AGORA has been more or less continuously inhabited from prehistoric times until the present day. During the American excava- tions over 75,000 coins have been found, dating from the 6th century B.c., when coins were first used in Attica, to the 20th century after Christ. These coins provide a record of the kind of money used in the Athenian market place throughout the ages. Much of this money is Athenian, but the far-flung commercial and political contacts of Athens brought all kinds of foreign currency into the area. Other Greek cities as well as the Romans, Byzantines, Franks, Venetians, and Turks have left their coins behind for the modern excavators to discover. Most of the coins found in the excavations were lost and never recovered-stamped into the earth floor of the Agora, or dropped in wells, drains, or cisterns. Consequently, almost all the Agora coins are small change bronze or copper pieces.
    [Show full text]
  • The Dawn in Erewhon"
    University of Pennsylvania ScholarlyCommons CUREJ - College Undergraduate Research Electronic Journal College of Arts and Sciences December 2007 Dimensions of Erewhon: The Modern Orpheus in Guy Davenport's "The Dawn in Erewhon" Patrick Dillon [email protected] Follow this and additional works at: https://repository.upenn.edu/curej Recommended Citation Dillon, Patrick, "Dimensions of Erewhon: The Modern Orpheus in Guy Davenport's "The Dawn in Erewhon"" 10 December 2007. CUREJ: College Undergraduate Research Electronic Journal, University of Pennsylvania, https://repository.upenn.edu/curej/23. Revised version, posted 10 December 2007. This paper is posted at ScholarlyCommons. https://repository.upenn.edu/curej/23 For more information, please contact [email protected]. Dimensions of Erewhon: The Modern Orpheus in Guy Davenport's "The Dawn in Erewhon" Abstract In "The Dawn in Erewhon", the concluding novella of Tatlin!, Guy Davenport explores the myth of Orpheus in the context of two storylines: Adriaan van Hovendaal, a thinly veiled version of Ludwig Wittgenstein, and an updated retelling of Samuel Butler's utopian novel Erewhon. Davenport tells the story in a disjunctive style and uses the Orpheus myth as a symbol to refer to a creative sensibility that has been lost in modern technological civilization but is recoverable through art. Keywords Charles Bernstein, Bernstein, Charles, English, Guy Davenport, Davenport, Orpheus, Tatlin, Dawn in Erewhon, Erewhon, ludite, luditism Comments Revised version, posted 10 December 2007. This article is available at ScholarlyCommons: https://repository.upenn.edu/curej/23 Dimensions of Erewhon The Modern Orpheus in Guy Davenport’s “The Dawn in Erewhon” Patrick Dillon Introduction: The Assemblage Style Although Tatlin! is Guy Davenport’s first collection of fiction, it is the work of a fully mature artist.
    [Show full text]
  • Herakles Iconography on Tyrrhenian Amphorae
    HERAKLES ICONOGRAPHY ON TYRRHENIAN AMPHORAE _____________________________________________ A Thesis presented to the Faculty of the Graduate School University of Missouri-Columbia _____________________________________________ In Partial Fulfillment Of the Requirements for the Degree Master of Arts ______________________________________________ by MEGAN LYNNE THOMSEN Dr. Susan Langdon, Thesis Supervisor DECEMBER 2005 ACKNOWLEDGEMENTS I would like to thank my thesis advisor, Dr. Susan Langdon, and the other members of my committee, Dr. Marcus Rautman and Dr. David Schenker, for their help during this process. Also, thanks must be given to my family and friends who were a constant support and listening ear this past year. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS………………………………………………………………ii LIST OF ILLUSTRATIONS……………………………………………………………..v Chapter 1. TYRRHENIAN AMPHORAE—A BRIEF STUDY…..……………………....1 Early Studies Characteristics of Decoration on Tyrrhenian Amphorae Attribution Studies: Identifying Painters and Workshops Market Considerations Recent Scholarship The Present Study 2. HERAKLES ON TYRRHENIAN AMPHORAE………………………….…30 Herakles in Vase-Painting Herakles and the Amazons Herakles, Nessos and Deianeira Other Myths of Herakles Etruscan Imitators and Contemporary Vase-Painting 3. HERAKLES AND THE FUNERARY CONTEXT………………………..…48 Herakles in Etruria Etruscan Concepts of Death and the Underworld Etruscan Funerary Banquets and Games 4. CONCLUSION………………………………………………………………..67 iii APPENDIX: Herakles Myths on Tyrrhenian Amphorae……………………………...…72 BIBLIOGRAPHY………………………………………………………………………..77 ILLUSTRATIONS………………………………………………………………………82 iv LIST OF ILLUSTRATIONS Figure Page 1. Tyrrhenian Amphora by Guglielmi Painter. Bloomington, IUAM 73.6. Herakles fights Nessos (Side A), Four youths on horseback (Side B). Photos taken by Megan Thomsen 82 2. Tyrrhenian Amphora (Beazley #310039) by Fallow Deer Painter. Munich, Antikensammlungen 1428. Photo CVA, MUNICH, MUSEUM ANTIKER KLEINKUNST 7, PL. 322.3 83 3. Tyrrhenian Amphora (Beazley #310045) by Timiades Painter (name vase).
    [Show full text]
  • The Ideal of Lucretia in Augustan Latin Poetry
    University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2013-05-07 The Ideal of Lucretia in Augustan Latin Poetry Waters, Alison Waters, A. (2013). The Ideal of Lucretia in Augustan Latin Poetry (Unpublished doctoral thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/28172 http://hdl.handle.net/11023/705 doctoral thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY The Ideal of Lucretia in Augustan Latin Poetry by Alison Ferguson Waters A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF GREEK AND ROMAN STUDIES CALGARY, ALBERTA MAY 2013 © Alison Ferguson Waters 2013 ii Abstract This study concerns the figure of Lucretia as she is presented by the Roman historian Livy in the first book of Ab Urbe Condita, where she is intended as an example of virtue, particularly in terms of her attention to woolworking. To find evidence for this ideal and how it was regarded at the time, in this study a survey is made of woolworking references in the contemporary Augustan poets Vergil, Tibullus, Propertius and Ovid. Other extant versions of the Lucretia legend do not mention woolworking; Livy appears to have added Lucretia’s devotion to wool, a tradition in keeping with Augustan propaganda.
    [Show full text]
  • Ovid Book 12.30110457.Pdf
    METAMORPHOSES GLOSSARY AND INDEX The index that appeared in the print version of this title was intentionally removed from the eBook. Please use the search function on your eReading device to search for terms of interest. For your reference, the terms that ap- pear in the print index are listed below. SINCE THIS index is not intended as a complete mythological dictionary, the explanations given here include only important information not readily available in the text itself. Names in parentheses are alternative Latin names, unless they are preceded by the abbreviation Gr.; Gr. indi- cates the name of the corresponding Greek divinity. The index includes cross-references for all alternative names. ACHAMENIDES. Former follower of Ulysses, rescued by Aeneas ACHELOUS. River god; rival of Hercules for the hand of Deianira ACHILLES. Greek hero of the Trojan War ACIS. Rival of the Cyclops, Polyphemus, for the hand of Galatea ACMON. Follower of Diomedes ACOETES. A faithful devotee of Bacchus ACTAEON ADONIS. Son of Myrrha, by her father Cinyras; loved by Venus AEACUS. King of Aegina; after death he became one of the three judges of the dead in the lower world AEGEUS. King of Athens; father of Theseus AENEAS. Trojan warrior; son of Anchises and Venus; sea-faring survivor of the Trojan War, he eventually landed in Latium, helped found Rome AESACUS. Son of Priam and a nymph AESCULAPIUS (Gr. Asclepius). God of medicine and healing; son of Apollo AESON. Father of Jason; made young again by Medea AGAMEMNON. King of Mycenae; commander-in-chief of the Greek forces in the Trojan War AGLAUROS AJAX.
    [Show full text]
  • 7Th Grade Lesson Plan: It's Greek to Me: Greek Mythology
    7th grade Lesson Plan: It’s Greek to me: Greek Mythology Overview This series of lessons was designed to meet the needs of gifted children for extension beyond the standard curriculum with the greatest ease of use for the edu- cator. The lessons may be given to the students for individual self-guided work, or they may be taught in a classroom or a home-school setting. This particular lesson plan is primarily effective in a classroom setting. Assessment strategies and rubrics are included. The lessons were developed by Lisa Van Gemert, M.Ed.T., the Mensa Foundation’s Gifted Children Specialist. Introduction Greek mythology is not only interesting, but it is also the foundation of allusion and character genesis in literature. In this lesson plan, students will gain an understanding of Greek mythology and the Olympian gods and goddesses. Learning Objectives Materials After completing the lessons in this unit, students l D’Aulaires’ Book of Greek Myths by Ingri and will be able to: Edgar Parin D’Aulaire l Understand the Greek view of creation. l The Gods and Goddesses of Olympus by Aliki l Understand the terms Chaos, Gaia, Uranus, Cro- l The Mighty 12: Superheroes of Greek Myths by nus, Zeus, Rhea, Hyperboreans, Ethiopia, Mediter- Charles Smith ranean, and Elysian Fields. l Greek Myths and Legends by Cheryl Evans l Describe the Greek view of the world’s geogra- l Mythology by Edith Hamilton (which served as a phy. source for this lesson plan) l Identify the names and key features of the l A paper plate for each student Olympian gods/goddesses.
    [Show full text]
  • Aspects of the Demeter/Persephone Myth in Modern Fiction
    Aspects of the Demeter/Persephone myth in modern fiction Janet Catherine Mary Kay Thesis presented in partial fulfilment of the requirements for the degree of Master of Philosophy (Ancient Cultures) at the University of Stellenbosch Supervisor: Dr Sjarlene Thom December 2006 I, the undersigned, hereby declare that the work contained in this thesis is my own original work and that I have not previously in its entirety or in part submitted it at any university for a degree. Signature: ………………………… Date: ……………… 2 THE DEMETER/PERSEPHONE MYTH IN MODERN FICTION TABLE OF CONTENTS PAGE 1. Introduction: The Demeter/Persephone Myth in Modern Fiction 4 1.1 Theories for Interpreting the Myth 7 2. The Demeter/Persephone Myth 13 2.1 Synopsis of the Demeter/Persephone Myth 13 2.2 Commentary on the Demeter/Persephone Myth 16 2.3 Interpretations of the Demeter/Persephone Myth, Based on Various 27 Theories 3. A Fantasy Novel for Teenagers: Treasure at the Heart of the Tanglewood 38 by Meredith Ann Pierce 3.1 Brown Hannah – Winter 40 3.2 Green Hannah – Spring 54 3.3 Golden Hannah – Summer 60 3.4 Russet Hannah – Autumn 67 4. Two Modern Novels for Adults 72 4.1 The novel: Chocolat by Joanne Harris 73 4.2 The novel: House of Women by Lynn Freed 90 5. Conclusion 108 5.1 Comparative Analysis of Identified Motifs in the Myth 110 References 145 3 CHAPTER 1 INTRODUCTION The question that this thesis aims to examine is how the motifs of the myth of Demeter and Persephone have been perpetuated in three modern works of fiction, which are Treasure at the Heart of the Tanglewood by Meredith Ann Pierce, Chocolat by Joanne Harris and House of Women by Lynn Freed.
    [Show full text]
  • A Story of Five Amazons Brunilde S
    Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Classical and Near Eastern Archaeology Faculty Classical and Near Eastern Archaeology Research and Scholarship 1974 A Story of Five Amazons Brunilde S. Ridgway 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/arch_pubs Part of the Classical Archaeology and Art History Commons, and the History of Art, Architecture, and Archaeology Commons Custom Citation Ridgway, Brunilde S. 1974. A Story of Five Amazons. American Journal of Archaeology 78:1-17. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/arch_pubs/79 For more information, please contact [email protected]. A Story of Five Amazons* BRUNILDE SISMONDO RIDGWAY PLATES 1-4 THEANCIENT SOURCE dam a sua quisqueiudicassent. Haec est Polycliti, In a well-knownpassage of his book on bronze proximaab ea Phidiae, tertia Cresilae,quarta Cy- sculpturePliny tells us the story of a competition donis, quinta Phradmonis." among five artists for the statue of an Amazon This texthas been variously interpreted, emended, (Pliny NH 34.53): "Venereautem et in certamen and supplementedby trying to identifyeach statue laudatissimi,quamquam diversis aetatibusgeniti, mentionedby Pliny among the typesextant in our quoniamfecerunt Amazonas, quae cum in templo museums. It may thereforebe useful to review Dianae Ephesiaedicarentur, placuit eligi probatis- brieflythe basicpoints made by the passage,before simam ipsorum artificum, qui praesenteserant examining the sculpturalcandidates. iudicio,cum apparuitearn esse quam omnes secun- i) The Competition.The mention of a contest * The following works will be quoted in abbreviated form: von Bothmer D.
    [Show full text]
  • Faunus and the Fauns in Latin Literature of the Republic and Early Empire
    University of Adelaide Discipline of Classics Faculty of Arts Faunus and the Fauns in Latin Literature of the Republic and Early Empire Tammy DI-Giusto BA (Hons), Grad Dip Ed, Grad Cert Ed Submitted in fulfilment of the requirements for the degree of Master of Philosophy October 2015 Table of Contents Abstract ................................................................................................................... 4 Thesis Declaration ................................................................................................... 5 Acknowledgements ................................................................................................. 6 Introduction ............................................................................................................. 7 Context and introductory background ................................................................. 7 Significance ......................................................................................................... 8 Theoretical framework and methods ................................................................... 9 Research questions ............................................................................................. 11 Aims ................................................................................................................... 11 Literature review ................................................................................................ 11 Outline of chapters ............................................................................................
    [Show full text]
  • Greek Mythology #24: the MAENADS by Joy Journeay
    Western Regional Button Association is pleased to share our educational articles with the button collecting community. This article appeared in the August 2017 WRBA Territorial News. Enjoy! WRBA gladly offers our articles for reprint, as long as credit is given to WRBA as the source, and the author. Please join WRBA! Go to www.WRBA.us Greek Mythology #24: THE MAENADS by Joy Journeay In Greek mythology the maenads were female followers of Dionysus. The word “maenad” means “raving ones” and they are portrayed as frenzied on wine and wild dancing. They carry a stick wrapped in vines and tipped with a pine cone. Plato provides a clear overview of the maenads. He wrote that, “The god- intoxicated celebrants draw milk and honey from the streams. They strike rocks with the thyrsus, and water gushes forth. They lower the thyrsus to the earth, and a spring of wine bubbles up. If they want milk, they scratch up the ground with their fingers and draw up the milky fluid. Honey trickles down from the thyrsus made of the wood of the ivy, they gird themselves with snakes and give suck to fawns and wolf cubs as if they were infants at the breast. Fire does not burn them. No weapon of iron can wound them, and the snakes harmlessly lick up the sweat from their heated cheeks. Fierce bulls fall to the ground, victims to numberless, tearing female hands, and sturdy trees are torn up by the roots with their combined efforts.” In their frenzied state, the maenads were said to have killed Orpheus, Ariadne, and Pentheus, the King of the Thebes.
    [Show full text]