DOCSLIB.ORG

Peter Von Kant ARCADIA Curated by Barbie Chatsworth Released Online

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Peter Von Kant ARCADIA Curated by Barbie Chatsworth Released Online Peter von Kant +44 (0)7958 492687 [email protected] www.petervonkant.com ARCADIA curated by Barbie Chatsworth Released online 1 December 2020 Arcadia One. Arcadia, what’s that? It’s a region of Greece, part of the administrative region of the Peloponnese. An attractive area, pastoral and mountainous. Arcadia is historically secluded and known (whether rightly or not) as having being peopled by simple herdsmen leading unsophisticated, happy lives. In the 20th century, economic woes led many an Arcadian to emigrate, plenty of them to the mythic dream that America held. It’s that historical isolation which lends body to something of Arcadia’s mythic character as an idyllic paradise. Wikipedia, over there in California, will tell you too as much. As a mythic idyll, a paradise, Arcadia can’t be compared to a utopia. It’s not a constructed place of the future, but a place One, a first place, a first place prior to what? A first place prior to the depredations, the corruptions, but at least the discontents, of civilization. A most fitting idea for Greece, known as the cradle of European civilization. In this sense whilst Arcadia may be part of an administrative region of Greece, Arcadia is the opposite of that, a region prior to administration. The myth of Arcadia is a myth of a place which is contented, since it is not civilized, and lends itself to another myth, that if only we could undo what is troubling of civilization, we might find some contentedness. Civilization, with all the sordid compromises and the problems of how people get on in an organised way, might somehow be corrected, if only we might return anew something of the One of the original scene. Perhaps the most famous painting of Arcadia is Nicolas Poussin’s Et in Arcadia ego (I too in Arcadia), held in the Louvre, although Chatsworth House has an earlier version of the scene by Poussin. These paintings show a tomb in idyllic Arcadia, stumbled upon by some of Arcadia’s peasant folk. There too, can be found death, the titular ego, and these paintings are known as memento mori, marks of death. It might be said of the idea of nature, that it is real insofar as there is always a return there to the same, a natural consistency, not moved here and there as of the deeds of civilized men. But even there, in that ideal of a natural place, there is the depredation of death. Indeed the idea of a natural consistency is of a real which always leads to death. The place of Arcadia in Greek mythology is quite rich, and being peopled by gods for whom death was not so inevitable, is not necessarily so natural. Arcadia is named for the hunter Arcas. Arcas had been born of Zeus, a god of great horror, since there was no limit for him, with Callisto, a nymph in the retinue of Artemis (a daughter of Zeus, and goddess of hunting). Zeus had disguised himself as Artemis in order to rape Callisto, with Arcas resulting from this deed. Zeus’ sister and wife Hera became jealous of Callisto, and transformed her into a bear, and fearing what Hera would do to his son Arcas, Zeus placed him in remote Arcadia. Arcas, unhappy with his father, and at a feast of his maternal grandfather king Lycaon placed himself on a burning altar to be sacrificed, and calling on his father to make him whole again if he is such a great god. Zeus indeed made his son whole, but in anger at Lycaon, he was transformed into a lycanthrope, a werewolf, with Arcas as the new king of Arcadia. Arcas one day saw a bear who, being a hunter, he wishes to kill, and so he cast an arrow her way. The bear, being Arcas’ mother Callisto, had seen her son and moved joyfully towards him to reunite their family. Zeus, seeing this scene, caught Arcas’ arrow, mid-flight, and seeing the horror of their disunity made Arcas too into a bear and placed them both into the stars as the constellations Ursa Major and Ursa Minor. This business enraged Hera who took out her fury in arranging that they should never dip below the horizon to receive water. Arcas’ bones were buried in Arcadia, and who knows if it might perhaps be his tomb depicted by Poussin. Arcadia was also the principal seat of the worship of the minor god Pan, who was born and lived in Arcadia. Pan is said to have given Artemis her hunting dogs, the same Artemis whose apparition Zeus had taken to father her half brother Arcas. Pan was a god of the wild, of shepherds and flocks, of mountains, fields, groves and woods, and of fertility, and springtime. Pan is associated with phallic display. A creature of wit and mischief. Part man part goat, Pan was known for his musical pipe made from the hollow reeds which remained of the lovely wood- nymph Syrinx, her sister having transformed her thus that she may escape Pan’s interest. The subject of Pan was taken up by Plutarch who claimed Pan to be the only god who died. This theme being taken up by Christian scholars who took advantage of the pun of the pan of pandemic, or pantheism, meaning all (perhaps Pan’s place as a god of theatrical criticism has a relation to this pan-pun in association with pantomime). That Pan is dead was taken to indicate that all the old gods died, and the death of the old gods was associated by some with the birth of Christ, and a new civilization. In fact the pan, all, of pandemonium is not etymologically related to the god Pan, however the word panic is, such was the effect of pan’s noisy, uncivilised mischief. In the modern myth that if only we were to lift the sexual repressions which civilisation has placed upon us, such as to allow us to live alongside one another, we would be closer to an idyllic state, better off, happier - to the extent that we are not living in a world of great repression any more, we can see perhaps the folly of this proposition, panic being closer to the result. And so you may see that Arcadia was not at all so calm and placid, nature among the gods was marked by brutal flux, of horror, of distress, not of a natural balance towards death, but of the horror of life without limit. The Arcadia of Greek myth is a far cry from its romantic revival since the Renaissance from which Poussin drew. In fact there was no idyllic place One, there is no point of origin, and so the ideal of a return lacks the dignity to which it aspires. What is lost was never there. And so we find ourselves here, on-line, among this art put together in a show relating to Arcadia. We might here consider an old idea of art as sublimation - we replace what was unspeakable in life with what can be revered as a work of art, we raise what must be covered over with the dignity of what shows that unspeakable by hiding it. Indeed we can see the whole panoply of the Greek myth surrounding Arcadia as a way to cover and at the same time raise the horror which civilization was created to treat, to a new dignity. Indeed if there is a horror there, in the place of the origin, is it not more likely the horror that there is only a void there in the place of an origin, the myth as such is a device which covers by giving a being to what did not exist, which lends it a being in myth. Perhaps we see this aspect of art still sometimes, and perhaps you may find it among the work which Barbie Chatsworth has selected for this show, a selection by which Barbie perhaps veils a certain barbarism, whilst displaying it quite beautifully by means of that veil. But if there was never a moment One, a good foundation, a foundation of a good, or of long lost goods, there may be bits and pieces, one by one, collage, bricolage, by which art may at times find dignity, anew each time. There is a point or register in which this patch of colour, scrap of material, mark, isn’t reducible to an equivalence with comparable others. A given artwork isn’t entirely reduced to a type of art. If there is meaning, perhaps there are scraps which escape it, and perhaps something singular which is not reducible to a value which is determined relative to the rest. There might be odd aspects which being useless in relation to value, are amenable to find their own singular use, an obscure use One, aside from the value inscribed vis-à-vis the Other. A use One with whom there is no moment One, and not entirely reducible to a good, imagined as a value One. In this sense, and not aside from the lived world, from which it draws, we can find something in these bits and pieces, these scraps, from which the art happens, something of the offer which Arcadia makes, and which Arcadia cannot offer. Alasdair Duncan 2020 For all further information please contact the gallery. © Peter von Kant 2020 Peter von Kant Limited, Registered in England and Wales Company No. 08267692. Registered office, 16 Beaufort Court, Admirals Way, Docklands, London E14 9XL.
Load more

Recommended publications
  • Constellation Myths Has Exciting and Sometimes Tragic Guides for Gods and Heroes
    TEACHER’S GUIDE TEACHER’S GUIDE TEACHER’S GUIDE Follow-up Activities • www.pantheon.org Encyclopedia Mythica supplies definitions, images, and pronunciation • This collection of constellation myths has exciting and sometimes tragic guides for gods and heroes. events happening at the beginning, middle, and endings of their stories. • www.mythweb.com/encyc/index.html Pretend you are a news reporter called to the scene of one of these Look up your favorite Greek character in this encyclopedia of Greek events. Develop a list of “who,”“what,”“where,”“why” and “how” ques- mythology. tions to ask one of the characters.With a partner, take turns asking and • www.mythman.com recording answers about the tragic or exciting event.Write it up as a A humorous homework help site for students with classical myth “breaking news” story. retellings. • There are many variations and mythological beings in constellation and nature myths. Have students research, compare, and contrast other ver- Suggested Print Resources sions of these tales. Use Bulfinch’s Mythology by Thomas Bulfinch • Andrews,Tamra. Dictionary of Nature Myths: Legends of the Earth, Sea, (Random House, 1998) to discover alternate stories. and Sky. Oxford University Press, Oxford, NY; 2000. • Students can research other stars and planets named after characters in • D’Aulaire, Ingri and Edgar Parin D’Aulaire. Ingri and Edgar Parin Greek mythology. Have them find out why the beautiful Pleiades, the D’Aulaire’s Book of Greek Myths. Doubleday, Garden City, NY; 1962. One CONSTELLATION MYTHS seven daughters of Atlas, are placed as stars in front of the Orion con- of the best-loved classical collections of Greek mythology.
    [Show full text]
  • Between Arcadia and Crete: Callisto in Callimachus' Hymn to Zeus The
    Between Arcadia and Crete: Callisto in Callimachus’ Hymn to Zeus The speaker of Callimachus’ Hymn to Zeus famously asks Zeus himself whether he should celebrate the god as “Dictaean,” i.e. born on Mt. Dicte in Crete, or “Lycaean,” born on Arcadian Mt. Lycaeus (4-7). When the response comes, “Κρῆτες ἀεὶ ψεῦσται” (“Cretans are always liars,” 8), the hymnist agrees, and for support recalls that the Cretans built a tomb for Zeus, who is immortal (8-9). In so dismissing Cretan claims to truth, the hymnist justifies an Arcadian setting for his ensuing birth narrative (10-41). Curiously, however, after recounting Zeus’s birth and bath, the hymnist suddenly locates the remainder of the god’s early life in Crete after all (42-54). The transition is surprising, not only because it runs counter to the previous rejection of Cretan claims, but also because the Arcadians themselves held that Zeus was both born and raised in Arcadia (Paus. 8.38.2). While scholars have focused on how the ambiguity of two place names (κευθμὸν... Κρηταῖον, 34; Θενάς/Θεναί, 42, 43) misleads the audience and/or prepares them for the abrupt move from Arcadia to Crete (Griffiths 1970 32-33; Arnott 1976 13-18; McLennan 1977 66, 74- 75; Tandy 1979 105, 115-118; Hopkinson 1988 126-127), this paper proposes that the final word of the birth narrative, ἄρκτοιο (“bear,” 41), plays an important role in the transition as well. This reference to Callisto a) allusively justifies the departure from Arcadia, by suggesting that the Arcadians are liars not unlike the Cretans; b) prepares for the hymnist’s rejection of the Cretan account of Helice; and c) initiates a series of heavenly ascents that binds the Arcadian and Cretan portions of the hymn and culminates climactically with Zeus’s own accession to the sky.
    [Show full text]
  • Homer and Hesiod, Which Ovid Appropriates
    Durham Research Online Deposited in DRO: 14 August 2018 Version of attached le: Published Version Peer-review status of attached le: Peer-reviewed Citation for published item: Ziogas, I. (2018) 'Ovid's Hesiodic voices.', in Oxford handbook to Hesiod. Oxford: Oxford University Press, pp. 377-393. Further information on publisher's website: https://doi.org/10.1093/oxfordhb/9780190209032.013.48 Publisher's copyright statement: Ziogas, Ioannis. Ovid's Hesiodic voices. In The Oxford Handbook of Hesiod. Oxford University Press, August 08, 2018. Oxford Handbooks Online, reproduced by permission of Oxford University Press https://doi.org/10.1093/oxfordhb/9780190209032.013.48 Additional information: Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in DRO • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full DRO policy for further details. Durham University Library, Stockton Road, Durham DH1 3LY, United Kingdom Tel : +44 (0)191 334 3042 | Fax : +44 (0)191 334 2971 https://dro.dur.ac.uk Ovid’s Hesiodic Voices Oxford Handbooks Online Ovid’s Hesiodic Voices Ioannis Ziogas The Oxford Handbook of Hesiod Edited by Alexander C. Loney and Stephen Scully Print Publication Date: Sep 2018 Subject: Classical Studies, Classical Poetry Online Publication Date: Aug 2018 DOI: 10.1093/oxfordhb/9780190209032.013.48 Abstract and Keywords Ovid’s poetry opens a dialogue with the three major Hesiodic works: the Theogony, the Works and Days, and the Catalogue of Women.
    [Show full text]
  • A Collection of Curricula for the STARLAB Greek Mythology Cylinder
    A Collection of Curricula for the STARLAB Greek Mythology Cylinder Including: A Look at the Greek Mythology Cylinder Three Activities: Constellation Creations, Create a Myth, I'm Getting Dizzy by Gary D. Kratzer ©2008 by Science First/STARLAB, 95 Botsford Place, Buffalo, NY 14216. www.starlab.com. All rights reserved. Curriculum Guide Contents A Look at the Greek Mythology Cylinder ...................3 Leo, the Lion .....................................................9 Introduction ......................................................3 Lepus, the Hare .................................................9 Andromeda ......................................................3 Libra, the Scales ................................................9 Aquarius ..........................................................3 Lyra, the Lyre ...................................................10 Aquila, the Eagle ..............................................3 Ophuichus, Serpent Holder ..............................10 Aries, the Ram ..................................................3 Orion, the Hunter ............................................10 Auriga .............................................................4 Pegasus, the Winged Horse..............................11 Bootes ..............................................................4 Perseus, the Champion .....................................11 Cancer, the Crab ..............................................4 Phoenix ..........................................................11 Canis Major, the Big Dog
    [Show full text]
  • Bears in the Sky
    Bears in the Sky Background The constellations have been the sources of legends for thousands of years, almost as long as humans have been looking to the night skies. Ursa Major and Ursa Minor, the Latin names for “Great Bear” and “Lesser Bear,” are among the best known Lori Korzen constellations. Also home to the groups of stars known as the Big Dipper and the Little Dipper, they are relatively bright and easy to find in the sky. Summary Students explore the Finding the Great Bear isn’t hard. Summer is the best time to look, when these stars are night sky’s constellations higher in the sky. On a clear night, look north. You should see a huge dipper-shaped and learn the use of constellation. The bowl stars of the Big Dipper form the bear in bears in mythology and Native American legend, while the stars in the handle are hunters chasing it. Native American lore. Alternatively, the “handle” is the tail of the bear and the “bowl” is part of the hindquarters. Grade Level 3-8 If you look at the two stars forming the beginning of the “bowl” and follow along the Subjects line that they make, you will see the North Star, Polaris. The star forms part of the tail Science, writing of the Lesser Bear, and was always used by sailors as a guide to finding north. In fact, the phrase, “getting your bearings” comes from the practice of using the Great Bear to Skills find the North Star. Description, analysis, observation, comparison Procedure Learning Objectives Students will be able to: 1.
    [Show full text]
  • Body, Identity, and Narrative in Titian's Paintings
    Winter i WITTENBERG UNIVERSITY BODY, IDENTITY, AND NARRATIVE IN TITIAN’S PAINTINGS AN UNDERGRADUATE THESIS SUBMITTED TO DR. ALEJANDRA GIMENEZ-BERGER BY LESLIE J. WINTER IN PARTIAL FULFILLMENT OF THE DEGREE BACHELOR OF ARTS WITH HONORS IN ART HISTORY APRIL 2013 Winter ii Table of Contents Pages Abstract iii. 1. Introduction 1. 2. The Painted Parts of the Whole Individual 4. 3. Istoria and The Power of the Figure in Renaissance Art 16. 4. Titian’s Religious Paintings 29. 5. Titian’s Classicizing Paintings 38. 6. Conclusion 48. Endnotes 49. Figure List 55. Figures 57. Bibliography 70. Winter iii Abstract: In the Renaissance, the bodies of individuals were understood as guides to their internal identities, which influenced the public understanding of the figure represented in art—be it in terms of politics, personal life, or legacy. The classicizing and religious paintings by Titian (c. 1488/90-1576) show the subject’s state of being, at a particular moment in a story, through the use of body language. The body is a vehicle for narrative that demonstrates the sitter’s identity, relating the intricacies of the body to both the mind and the story. By exploring the humanist combination of philosophical theories regarding the relationship between the soul and the body, it is clear that Titian used these concepts to elevate the human figures in his narrative paintings. Formal analysis and Renaissance artistic theories by Alberti and others suggest that Renaissance artists operated under the assumption that how their sitters appeared was tantamount to representing their identities. Current scholarship has not yet considered this particular relationship in Titian’s works.
    [Show full text]
  • Lecture 18 Good Morning and Welcome to LLT121 Classical Mythology
    Lecture 18 Good morning and welcome to LLT121 Classical Mythology. In the next two or three class periods, we will be considering the goddess Artemis and her twin brother Apollo, two deities who, to a greater or lesser, extent represent this idea that the ancient Greeks must bow down before the divine. If you will recall from our last few class meetings, we talked about Dionysus, the god who was the externalization of partying, wine, and ecstatic possession, feel the power, feel the god inside you, feel the burn, and tear a few live animals apart. We also discussed the goddess Aphrodite, that wild and crazy goddess who is the externalization of the power of love, the power that, if you are lucky, at some point or another in your life, turns your mind to Jell-o and turns you into a love automaton. I wish you all such good luck. This is one half of the Greek psyche and this is one half of everybody’s psyche. The other half is represented by Artemis and Apollo, a goddess and a god who stand for getting a grip. Artemis is a virgin. She guards her virginity jealously. We’re going to go over a few stories this morning talking about what a bad career move it is to try to put the moves on the goddess Artemis. The god Apollo is not exactly chased. He is a bundle of contradictions, which represents, in and of himself, the full range of contradictions located, again, in the human psyche. When I believe it was Nietzsche who wanted to formulate his idea of the cosmic, he didn’t take out, oh, say, Artemis and Aphrodite.
    [Show full text]
  • 1 Name 2 Zeus in Myth
    Zeus For other uses, see Zeus (disambiguation). Zeus (English pronunciation: /ˈzjuːs/[3] ZEWS); Ancient Greek Ζεύς Zeús, pronounced [zdeǔ̯s] in Classical Attic; Modern Greek: Δίας Días pronounced [ˈði.as]) is the god of sky and thunder and the ruler of the Olympians of Mount Olympus. The name Zeus is cognate with the first element of Roman Jupiter, and Zeus and Jupiter became closely identified with each other. Zeus is the child of Cronus and Rhea, and the youngest of his siblings. In most traditions he is married to Hera, although, at the oracle of Dodona, his consort The Chariot of Zeus, from an 1879 Stories from the Greek is Dione: according to the Iliad, he is the father of Tragedians by Alfred Church. Aphrodite by Dione.[4] He is known for his erotic es- capades. These resulted in many godly and heroic offspring, including Athena, Apollo, Artemis, Hermes, the Proto-Indo-European god of the daytime sky, also [10][11] Persephone (by Demeter), Dionysus, Perseus, Heracles, called *Dyeus ph2tēr (“Sky Father”). The god is Helen of Troy, Minos, and the Muses (by Mnemosyne); known under this name in the Rigveda (Vedic San- by Hera, he is usually said to have fathered Ares, Hebe skrit Dyaus/Dyaus Pita), Latin (compare Jupiter, from and Hephaestus.[5] Iuppiter, deriving from the Proto-Indo-European voca- [12] tive *dyeu-ph2tēr), deriving from the root *dyeu- As Walter Burkert points out in his book, Greek Religion, (“to shine”, and in its many derivatives, “sky, heaven, “Even the gods who are not his natural children address [10] [6] god”).
    [Show full text]
  • The Story of Callisto in Hesiod
    122 William Sale THE STORY OF CALLISTO IN HESIOD The onIy thorough investigation into the myth of Callisto was done in 1890 by Reinhold Franz, who sought, among other things, to recover a form of the story which he could attribute to Hesiod 1). By "Hesiod" he meant the author of the Eoeae or Catalogue 0/ Women, "and the version of the myth which he 2 considered Hesiodic is tailored to fit this work or works ); "that is, it does not end with the catasterism of Callisto, the familiar scene in which Zeus changes her to the Great Bear. Other scholars have been reluctant to sever the catasterism from the rest, and have therefore argued that the story belongs to the Astronomy, another part of the Hesiodic corpus 3). And in Rzach's edition we find a rather detaiied account of Callisto 4 assigned to the Astronomy as fragment 181 ). Recently J. Schwartz has taken an extremely skeptical position: Callisto was mentioned and her story perhaps told in the Catalogue, but we cannot recover this story; in the Astronomy she was not to be found, and the Great Bear was there called Helice (Schwartz pp. 126n., 258). This view I find unwarrantabIy incredulous; the testimony contains absurdities and contradic- 1) Reinhold Franz, nDe Callistus Fabula", Leipziger Studien 12, part 2 (1890) 237-365. 2) Regarded by Franz as two works (p. 345 n. 1); most modern schol­ ars, correctly as it seems, regard the Eoeae as part of 01', more probably, identical with, the Catalogue. See J. Schwanz, Pseudo-Hesiodeia (Leiden 1960) 13-32.
    [Show full text]
  • Zeus in the Greek Mysteries) and Was Thought of As the Personification of Cyclic Law, the Causal Power of Expansion, and the Angel of Miracles
    Ζεύς The Angel of Cycles and Solutions will help us get back on track. In the old schools this angel was known as Jupiter (Zeus in the Greek Mysteries) and was thought of as the personification of cyclic law, the Causal Power of expansion, and the angel of miracles. Price, John Randolph (2010-11-24). Angels Within Us: A Spiritual Guide to the Twenty-Two Angels That Govern Our Everyday Lives (p. 151). Random House Publishing Group. Kindle Edition. Zeus 1 Zeus For other uses, see Zeus (disambiguation). Zeus God of the sky, lightning, thunder, law, order, justice [1] The Jupiter de Smyrne, discovered in Smyrna in 1680 Abode Mount Olympus Symbol Thunderbolt, eagle, bull, and oak Consort Hera and various others Parents Cronus and Rhea Siblings Hestia, Hades, Hera, Poseidon, Demeter Children Aeacus, Ares, Athena, Apollo, Artemis, Aphrodite, Dardanus, Dionysus, Hebe, Hermes, Heracles, Helen of Troy, Hephaestus, Perseus, Minos, the Muses, the Graces [2] Roman equivalent Jupiter Zeus (Ancient Greek: Ζεύς, Zeús; Modern Greek: Δίας, Días; English pronunciation /ˈzjuːs/[3] or /ˈzuːs/) is the "Father of Gods and men" (πατὴρ ἀνδρῶν τε θεῶν τε, patḕr andrōn te theōn te)[4] who rules the Olympians of Mount Olympus as a father rules the family according to the ancient Greek religion. He is the god of sky and thunder in Greek mythology. Zeus is etymologically cognate with and, under Hellenic influence, became particularly closely identified with Roman Jupiter. Zeus is the child of Cronus and Rhea, and the youngest of his siblings. In most traditions he is married to Hera, although, at the oracle of Dodona, his consort is Dione: according to the Iliad, he is the father of Aphrodite by Dione.[5] He is known for his erotic escapades.
    [Show full text]
  • Collection of Hesiod Homer and Homerica
    COLLECTION OF HESIOD HOMER AND HOMERICA Hesiod, The Homeric Hymns, and Homerica This file contains translations of the following works: Hesiod: "Works and Days", "The Theogony", fragments of "The Catalogues of Women and the Eoiae", "The Shield of Heracles" (attributed to Hesiod), and fragments of various works attributed to Hesiod. Homer: "The Homeric Hymns", "The Epigrams of Homer" (both attributed to Homer). Various: Fragments of the Epic Cycle (parts of which are sometimes attributed to Homer), fragments of other epic poems attributed to Homer, "The Battle of Frogs and Mice", and "The Contest of Homer and Hesiod". This file contains only that portion of the book in English; Greek texts are excluded. Where Greek characters appear in the original English text, transcription in CAPITALS is substituted. PREPARER'S NOTE: In order to make this file more accessable to the average computer user, the preparer has found it necessary to re-arrange some of the material. The preparer takes full responsibility for his choice of arrangement. A few endnotes have been added by the preparer, and some additions have been supplied to the original endnotes of Mr. Evelyn-White's. Where this occurs I have noted the addition with my initials "DBK". Some endnotes, particularly those concerning textual variations in the ancient Greek text, are here ommitted. PREFACE This volume contains practically all that remains of the post- Homeric and pre-academic epic poetry. I have for the most part formed my own text. In the case of Hesiod I have been able to use independent collations of several MSS. by Dr.
    [Show full text]
  • Bulfinch's Mythology
    Bulfinch's Mythology Thomas Bulfinch Bulfinch's Mythology Table of Contents Bulfinch's Mythology..........................................................................................................................................1 Thomas Bulfinch......................................................................................................................................1 PUBLISHERS' PREFACE......................................................................................................................3 AUTHOR'S PREFACE...........................................................................................................................4 STORIES OF GODS AND HEROES..................................................................................................................7 CHAPTER I. INTRODUCTION.............................................................................................................7 CHAPTER II. PROMETHEUS AND PANDORA...............................................................................13 CHAPTER III. APOLLO AND DAPHNEPYRAMUS AND THISBE CEPHALUS AND PROCRIS7 CHAPTER IV. JUNO AND HER RIVALS, IO AND CALLISTODIANA AND ACTAEONLATONA2 AND THE RUSTICS CHAPTER V. PHAETON.....................................................................................................................27 CHAPTER VI. MIDASBAUCIS AND PHILEMON........................................................................31 CHAPTER VII. PROSERPINEGLAUCUS AND SCYLLA............................................................34
    [Show full text]