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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 Iliad and 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 Iliad is true. For example, the Iliad features 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 Iliad. 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. -
A Bronze Pail of Athena Alalkomenia
A BRONZE PAIL OF ATHENA ALALKOMENIA (PLATES 31-34) T HE remarkable archaic Greek bronze vessel published here (P1. 31, a) was l.4 purchased in Mantinea in Arcadia in the spring of 1957 and donated to the Museum in Tegea where other antiquities from the same region have their abode. It had been found by a local shepherd some distance to the north of the ruins of Man- tinea but, unfortunately, the exact location of the discovery could not be ascertained.' The major part of the vessel is preserved, including about half of its upper profiled edge and one attachment for the handle which passed through its upper ring. The whole of this ring is still filled with iron and it is evident that the missing handle was made of this material. The carefully proportioned body has a height of 0.241 m. to the upper edge of the lip. Its largest diameter, 0.215 m., is slightly smaller than the total height and exactly the same both at the outer edge of the lip and at the greatest width of the body which, in turn, occurs precisely half way between that edge and the bottom of the vessel, 0.12 m. distant from both. The upper face of the lip inclines outward slightly to allow overspilling liquid to run off, as it were, from an architectural cornice. The proportion of diameter to height, the rounded bottom and the contraction of the width under the lip combine to give the impression of an elastic curvilinear rhythm to the generally ovoid form. -
2017 Tsjcl Certamen Novice Division Round 1
2017 TSJCL CERTAMEN NOVICE DIVISION ROUND 1 TU 1 What mythological group was made up of Thalia, Terpsichore, and seven others? THE MUSES B1 Who was the mother of the Muses? MNEMOSYNE B2 In one story, the Muses were said to have been born when what creature touched the Helicon spring? PEGASUS TU 2 From what Latin verb with what meaning do we get the English words overt and aperture? APERIO = TO OPEN, UNCOVER, DISCLOSE B1 From what Latin verb with what meaning do we get the English words augment and auction? AUGEO = TO INCREASE B2 From what Latin verb with what meaning do we get the English word obedience? AUDIO = TO HEAR, LISTEN TO TU 3 For the verb capio, capere give the 3rd person, plural, future, active, indicative CAPIENT B1 Change capient to the future perfect CEPERINT B2 Change ceperint to the passive voice CAPTI ERUNT TU 4 What structure located between the Palatine and Aventine Hills was known for its chariot racing? CIRCUS MAXIMUS B1&B2 The emperor Domitian added two colored factions to the original four. For five points each, name these colors PURPLE & GOLD 1 2017 TSJCL CERTAMEN NOVICE DIVISION ROUND 1 TU 5 Say in Latin: Do you like learning the Latin language? AMASNE / AMATISNE / DILIGISNE / DILIGITISNE DISCERE LINGUAM LATINAM? B1 Say in Latin: You are not going to school tomorrow, are you? NUM CRAS AD SCHOLAM IS / ITIS? // NUM ES ITURUS / ESTIS ITURI AD SCHOLAM CRAS? B2 Say in Latin: You want to win this contest don’t you? NONNE HOC CERTAMEN VIS / VULTIS / CUPIS / CUPITIS VINCERE? [SCORE CHECK] TU 6 What state has the motto “ad astra per aspera”? KANSAS B1 What state has the motto “dum spiro, spero”? SOUTH CAROLINA B2 What is the Latin motto of the state of Missouri? SALUS POPULI SUPREMA LEX (ESTO) TU 7 Give the accusative singular for the phrase solum animal. -
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. -
1-Pgi-Apuleius6634 Finl
Index This online index is a much fuller version than the index that was abbre - viated for print. Like the print index, the online index has a number of goals beyond the location of proper names. For some names and technical terms it serves as a glossary and provides notes; for geograph - ical items it provides references to specific maps. But it is primarily de - signed to facilitate browsing. Certain key terms (sadism/sadistic, salvation/salvific/savior, sticking one’s nose in) can be appreciated for the frequency of their occurrence and have not been subdivided. Certain plot realities have been highlighted (dogs, food, hand gestures, kisses, processions, roses, shackles and chains, slaves, swords); certain themes and motifs have been underlined (adultery, disguise, drama, escape, gold, hair, hearth and home, madness, suicide); some quirks of the translation have been isolated (anachronisms, Misericordia! ); minu - tiae of animals, plants, language have been cataloged (deer, dill, and der - ring-do). The lengthy entry on Lucius tries to make clear the multiplicities of his experience. By isolating the passages in which he ad - dresses himself, or speaks of “when he was Lucius,” I hope to make the difficult task of determining whether the man from Madauros is really the same as Lucius the narrator, or the same as Apuleius the author, a little bit easier. abduction, 3.28–29, 4.23–24, 4.26; Actium (port in Epirus; site of Augus - dream of, 4.27 tus’ naval victory over Antony and Abstinence (Sobrietas, a goddess), 5.30; Cleopatra; Map -
Gods, Planets, Astrology
Roman and Greek Mythology Names: Gods, Planets, Astrology By J. Aptaker Roman & Greek Mythology Names: Gods, Planets This page will give the Roman and Greek mythology names of gods after whom planets were named, and will explain how those planets came to be named after them. It will also give pictures of these gods, and tell their stories. By extension, these gods’ planets, in the minds of the ancients, influenced the personality traits of people born at various times of the year. Thus, the connection between gods, planets, and astrology. In the Beginning Was Chaos The ancients perceived that although most stars maintained a relatively fixed position, some of them seemed to move. Five such “wandering stars”--the word “planet” comes from a Greek word meaning “to wander or stray”--were obvious to the naked eye. These were Mercury, Venus, Mars, Jupiter, and Saturn. In fact, it is thought that both the seven- day week and the overall sacredness of the number seven within many mystical/religious traditions may have begun with the observation of seven heavenly bodies which moved: the five visible planets, the sun, and the moon. Each of these seven heavenly bodies is associated with a particular day of the week. According to Greek mythology, the first god was Chaos. While the word Chaos brings certain images of mayhem and disorderliness to the English-speaking mind, the Greek god Chaos was just a big, empty, black, Nothing. Chaos was Nothingness, the Void, or empty space. After Chaos came the goddess Earth, who was known to the Greeks as Ge (or Gaia), and to the Romans as Terra. -
Ourea Company Profile
OUREA PROFILE +91 999 555 7091 [email protected] +91 999 555 7259 www.oureacorp.com Ourea is a one-stop-shop for all your business needs, from Branding & Marketing, Website Design to SEO, Interior Design, HR & Training along with IT services and lots more!!! Ourea’s business model is built around a unique system representing the 7 primordial deities of the Greek mythology: Nysa | Athena | Kithairon | Oreus | Olympus | Helicon | Athos These 7 entities represent 7 human traits or personas that are embodied in our culture and work philosophy. An these entities are further split into our 7 core domains that serve specific business functions: Sargaa | Prayagaa | Raaga | Drishyaa | Mantraa Kalisthaa | Nirvanaa Your Pathway To Greater Recognition In The Industry! Our motto is “Helping companies gain a foothold in the industry” Being unique is our specialty, as we believe that an idea is all there to stand out from the pack and we here are to make that idea of yours evolve & to evolve with you. We focus on influence, experience, and inspiration. We are here to march with you guiding in the talent search, recruiting, training, digital brand, marketing, strategic implementation, and business growth. We are here to understand you, making your strengths stronger and your vulnerability the strongest. We are bunch of creative people who collaborate their technical expertise along with creative skill set to deliver the top notch services” We assist companies for hiring and recruiting the perfect candidates for the well built system. We train and coach employees and students by transforming their talents into skills bringing out their best performance. -
Papyrus Bodmer XXVIII : a Satyr-Play on the Confrontation of Heracles and Atlas
Papyrus Bodmer XXVIII : a satyr-play on the confrontation of Heracles and Atlas Autor(en): Turner, Eric G. Objekttyp: Article Zeitschrift: Museum Helveticum : schweizerische Zeitschrift für klassische Altertumswissenschaft = Revue suisse pour l'étude de l'antiquité classique = Rivista svizzera di filologia classica Band (Jahr): 33 (1976) Heft 1 PDF erstellt am: 11.10.2021 Persistenter Link: http://doi.org/10.5169/seals-26396 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch MUSEUM HELVETICUM Vol. 33 1976 Fasc.l Papyrus Bodmer XXVIII: A Satyr-Play on the Confrontation of Heracles and Atlas By Eric G. Turner, London Dedicated to Bruno Snell, 80 years old June 1976 The fragments of a papyrus roll published and discussed in this paper were first seen by me in November 1972. -
B. L. Gildersleeve on Pindar Nemean 3.74-75
BRIGGS, WARD W., JR, B. L. Gildersleeve on Pindar "Nemean" 3.74-75 , Greek, Roman and Byzantine Studies, 25:3 (1984) p.233 B. L. Gildersleeve on Pindar Nemean 3.74-75 Ward W. Briggs, Jr N 1898 Charles Eliot Norton, the nation's foremost champion of I Dante and a leading Northern literary critic who influenced a host of literary figures from Henry James to T. s. Eliot,l wrote to Basil Lanneau Gildersleeve, the nation's most visible representative of German philological training and a man of considerable critical ability. Named emeritus at Harvard in November 1897, with his duties confined to teaching a small class in Dante, Norton was depressed at the thought of retirement,2 and sought the advice of his Southern near-contemporary on the Greek view of the ages of man and its accompanying virtues, as described in Pindar Nemean 3.70-75. Gil dersleeve's answer, one of his rare letters on purely philological matters, gives considerable insight into his critical method. The poem in question is a hymn on the victory in the pancration by Aristocleides, an Aeginetan. It opens with a picture of the youths standing on the banks of the Asopus waiting for the Muse to arrive with their victory song (1-8). The Muse is to sing of Aegina, which the victor has ennobled by a triumph worthy of the Myrmidons, and he has thus figuratively passed the pillars of Heracles (9-26). The mention of Heracles leads Pindar to digress on the Aeacids, Peleus, Telamon (31-42), and the young Achilles (43-63). -
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. -
1 Divine Intervention and Disguise in Homer's Iliad Senior Thesis
Divine Intervention and Disguise in Homer’s Iliad Senior Thesis Presented to The Faculty of the Undergraduate School of Arts and Sciences Brandeis University Undergraduate Program in Classical Studies Professor Joel Christensen, Advisor In partial fulfillment of the requirements for the degree of Bachelor of Arts By Joana Jankulla May 2018 Copyright by Joana Jankulla 1 Copyright by Joana Jankulla © 2018 2 Acknowledgements First and foremost, I would like to thank my advisor, Professor Joel Christensen. Thank you, Professor Christensen for guiding me through this process, expressing confidence in me, and being available whenever I had any questions or concerns. I would not have been able to complete this work without you. Secondly, I would like to thank Professor Ann Olga Koloski-Ostrow and Professor Cheryl Walker for reading my thesis and providing me with feedback. The Classics Department at Brandeis University has been an instrumental part of my growth in my four years as an undergraduate, and I am eternally thankful to all the professors and staff members in the department. Thank you to my friends, specifically Erica Theroux, Sarah Jousset, Anna Craven, Rachel Goldstein, Taylor McKinnon and Georgie Contreras for providing me with a lot of emotional support this year. I hope you all know how grateful I am for you as friends and how much I have appreciated your love this year. Thank you to my mom for FaceTiming me every time I was stressed about completing my thesis and encouraging me every step of the way. Finally, thank you to Ian Leeds for dropping everything and coming to me each time I needed it. -
8Th Grade ELA Greek Mythology Review 1
Greek Mythology Review 1 It has been quite awhile since we’ve done Greek Mythology in class, so before we can continue with some new myths, we need to do some review. Below are some of the Greek Gods and Goddesses we’ve learned about so far. This will be done as matching. You CAN use the internet to help you with this. If you know who they are without the internet, then just fill the answers in. The purpose of this activity is just to refresh your memories on who the different gods and goddesses are before we learn any new ones. Directions:For each god/goddess, put the letter next to the word “answer” that matches the god/goddesses description/definition. Gods/Goddesses/Beings Answer Chaos Hades Tartarus Rhea Uranus Poseidon Hera Kronos Gaea Eros Titans Zeus Ourea Definitions/Descriptions a. The underworld-creation of chaos b. Earth and the universal mother-creation of chaos c. God of the Underworld. Son to Kronos and Rhea d. Children of Uranus and Gaea, sent to the Underworld by Uranus e. One of the titans-Child of Gaea and Uranus-wife to Kronos f. Goddess of love and marriage. Daughter to Kronos and Rhea. Wife to Zeus g. God of thunder. Son to Kronos and Rhea. h. God of the sea. Son to Kronos and Rhea i. The first thing to exist j. Earth and the universal mother-creation of Chaos k. God of the sky-child of Gaea l. The mountains-child of Gaea m. The ruling Titan-child of Gaea and Uranus .