Land of Myth Odyssey Players
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The Hellenic Saga Gaia (Earth)
The Hellenic Saga Gaia (Earth) Uranus (Heaven) Oceanus = Tethys Iapetus (Titan) = Clymene Themis Atlas Menoetius Prometheus Epimetheus = Pandora Prometheus • “Prometheus made humans out of earth and water, and he also gave them fire…” (Apollodorus Library 1.7.1) • … “and scatter-brained Epimetheus from the first was a mischief to men who eat bread; for it was he who first took of Zeus the woman, the maiden whom he had formed” (Hesiod Theogony ca. 509) Prometheus and Zeus • Zeus concealed the secret of life • Trick of the meat and fat • Zeus concealed fire • Prometheus stole it and gave it to man • Freidrich H. Fuger, 1751 - 1818 • Zeus ordered the creation of Pandora • Zeus chained Prometheus to a mountain • The accounts here are many and confused Maxfield Parish Prometheus 1919 Prometheus Chained Dirck van Baburen 1594 - 1624 Prometheus Nicolas-Sébastien Adam 1705 - 1778 Frankenstein: The Modern Prometheus • Novel by Mary Shelly • First published in 1818. • The first true Science Fiction novel • Victor Frankenstein is Prometheus • As with the story of Prometheus, the novel asks about cause and effect, and about responsibility. • Is man accountable for his creations? • Is God? • Are there moral, ethical constraints on man’s creative urges? Mary Shelly • “I saw the pale student of unhallowed arts kneeling beside the thing he had put together. I saw the hideous phantasm of a man stretched out, and then, on the working of some powerful engine, show signs of life, and stir with an uneasy, half vital motion. Frightful must it be; for supremely frightful would be the effect of any human endeavour to mock the stupendous mechanism of the Creator of the world” (Introduction to the 1831 edition) Did I request thee, from my clay To mould me man? Did I solicit thee From darkness to promote me? John Milton, Paradise Lost 10. -
Greek Characters
Amphitrite - Wife to Poseidon and a water nymph. Poseidon - God of the sea and son to Cronos and Rhea. The Trident is his symbol. Arachne - Lost a weaving contest to Athene and was turned into a spider. Father was a dyer of wool. Athene - Goddess of wisdom. Daughter of Zeus who came out of Zeus’s head. Eros - Son of Aphrodite who’s Roman name is Cupid; Shoots arrows to make people fall in love. Demeter - Goddess of the harvest and fertility. Daughter of Cronos and Rhea. Hades - Ruler of the underworld, Tartaros. Son of Cronos and Rhea. Brother to Zeus and Poseidon. Hermes - God of commerce, patron of liars, thieves, gamblers, and travelers. The messenger god. Persephone - Daughter of Demeter. Painted the flowers of the field and was taken to the underworld by Hades. Daedalus - Greece’s greatest inventor and architect. Built the Labyrinth to house the Minotaur. Created wings to fly off the island of Crete. Icarus - Flew too high to the sun after being warned and died in the sea which was named after him. Son of Daedalus. Oranos - Titan of the Sky. Son of Gaia and father to Cronos. Aphrodite - Born from the foam of Oceanus and the blood of Oranos. She’s the goddess of Love and beauty. Prometheus - Known as mankind’s first friend. Was tied to a Mountain and liver eaten forever. Son of Oranos and Gaia. Gave fire and taught men how to hunt. Apollo - God of the sun and also medicine, gold, and music. Son of Zeus and Leto. Baucis - Old peasant woman entertained Zeus and Hermes. -
Chaining Bellerophon: on Ethics and Pride
Commentary MICHAEL CAVENDISH Chaining Bellerophon: On Ethics and Pride THE TALE FROM Greek mythology about able, intractable monsters of injustice. And, to retreat further into the figurative, we have lawyers in gener- Bellerophon proceeds like this. Bellerophon al, who, finding themselves in what is often the zero- was the greatest warrior of his age. He rode Pe- sum universe of the criminal and the civil law—one side does usually fare better than the other—feel the gasus, the winged flying horse. Bellerophon flush of success and the subsequent Bellerophonic wielded a great spear and slayed an unbeat- impulse to move on to some feat that is even larger than the one that came before. Lawyers need able, intractable monster: the Chimera. Return- Bellerophon, because the lesson to be learned from ing home, the warrior quickly became bored, Bellerophon’s story is the imperiling nature of hubris (a billowing pride) specifically and pride more gen- then—much to his regret—decided to ride Pe- erally. Pride and lessons following even mild humiliation gasus up to the peak of Mount Olympus to rub or embarrassment catalyzed by pride-based vignettes elbows with his equals—the gods. But the peak are an inescapable part of the human experience. The last such incident for me occurred when I trav- was too far for him, and his successes came to eled to a mixed meeting of potentates and peons (I an end: Bellerophon died. was the peon) who were presiding over an audit of a large and rich state government agency during my home state’s gubernatorial transition. -
Classical Images – Greek Pegasus
Classical images – Greek Pegasus Red-figure kylix crater Attic Red-figure kylix Triptolemus Painter, c. 460 BC attr Skythes, c. 510 BC Edinburgh, National Museums of Scotland Boston, MFA (source: theoi.com) Faliscan black pottery kylix Athena with Pegasus on shield Black-figure water jar (Perseus on neck, Pegasus with Etrurian, attr. the Sokran Group, c. 350 BC Athenian black-figure amphora necklace of bullae (studs) and wings on feet, Centaur) London, The British Museum (1842.0407) attr. Kleophrades pntr., 5th C BC From Vulci, attr. Micali painter, c. 510-500 BC 1 New York, Metropolitan Museum of ART (07.286.79) London, The British Museum (1836.0224.159) Classical images – Greek Pegasus Pegasus Pegasus Attic, red-figure plate, c. 420 BC Source: Wikimedia (Rome, Palazzo Massimo exh) 2 Classical images – Greek Pegasus Pegasus London, The British Museum Virginia, Museum of Fine Arts exh (The Horse in Art) Pegasus Red-figure oinochoe Apulian, c. 320-10 BC 3 Boston, MFA Classical images – Greek Pegasus Silver coin (Pegasus and Athena) Silver coin (Pegasus and Lion/Bull combat) Corinth, c. 415-387 BC Lycia, c. 500-460 BC London, The British Museum (Ac RPK.p6B.30 Cor) London, The British Museum (Ac 1979.0101.697) Silver coin (Pegasus protome and Warrior (Nergal?)) Silver coin (Arethusa and Pegasus Levantine, 5th-4th C BC Graeco-Iberian, after 241 BC London, The British Museum (Ac 1983, 0533.1) London, The British Museum (Ac. 1987.0649.434) 4 Classical images – Greek (winged horses) Pegasus Helios (Sol-Apollo) in his chariot Eos in her chariot Attic kalyx-krater, c. -
Eumaeus, Evander, and Augustus: Dionysius and Virgil on Noble Simplicity*
Eumaeus, Evander, and Augustus: Dionysius and Virgil on Noble Simplicity* Casper C. de Jonge Introduction Eumaeus might not be the first character to come to mind when we think of Homeric epic as Princes’ Mirror. To be sure, Eumaeus is of royal descent: his father was Ctesius, son of Ormenus, king of the island Syria.1 But Eumaeus is also a slave: as a child he was sold to Laertes and, having been raised together with Odysseus’ sister Ctimene, he became the family’s swineherd.2 Eumaeus is one of the lower-status figures to which the Odyssey pays more attention than the Iliad. Like Eurycleia, the other prominent lowly character, Eumaeus is portrayed as a loyal servant. During Odysseus’ absence he takes good care of his master’s animals (Od. 14.5–28, 524–533), although he is defenceless against the suitors, who continually force him to send in pigs for their feasts (Od. 14.17– 20). The detailed description of Eumaeus’ pig-farm (Od. 14.7–22) brings out its modesty in comparison with the luxurious palaces of kings like Menelaus, Alcinous, and Odysseus. But with its vestibule (πρόδομος), courtyard (αὐλή), and defensive wall the farm adequately fulfils its function.3 When Odysseus arrives in Ithaca, Eumaeus gives him hospitality and offers him a double meal (Od. 14.72–111 and 14.410–454) and a bed (Od. 14.454–533), not yet knowing that his guest is actually his master. The next day the host and his guest share * The research for this paper was funded by a grant awarded by the Netherlands Organization for Scientific Research (nwo). -
Blizzard Bag 1: Bellerophon and Atlanta
THE MYTH OF BELLEROPHON Bellerophon was a good looking young man, and the master of the winged horse, Pegasus. He was so handsome that a queen fell in love with him, but Bellerophon did not feel the same way about her. The queen was broken hearted, and asked the king to kill Bellerophon. Unable to kill him himself, the king sent Bellerophon to see King Lycia, who he has asked to kill Bellerophon for him. The king of Lycia was unable to kill Bellerophon as well. Instead, he came up with a plan – he decided to send Bellerophon on a very difficult quest, THE MYTH OF BELLEROPHON with the hope of him dying in the process. He asked Bellerophon to kill the Chimera, a ferocious creature with the head of a lion and the body of a goat. Bellerophon accepted the challenge. Because he was master of the mighty Pegasus, he was able to fly high above the Chimera. Because the Chimera was unable to get close to him, Bellerophon was able to kill it with his bow and arrow. After this heroic deed, Bellerophon became quite arrogant. He thought his actions should allow him to sit among the gods at Mount Olympus. Pegasus had no time for his arrogance, and promptly threw him off. As a punishment for his arrogance, Bellerophon was left on Earth alone, and the mighty Pegasus was brought to Mount Olympus to live among the gods. THE MYTH OF BELLEROPHON MYTH SUMMARY WHO WERE THE MAIN CHARACTERS? WHERE DID IT TAKE PLACE? WHAT WERE THE MAIN EVENTS? USE THE INFORMATION YOU GATHERED TO SUMMARIZE THE STORY HERE. -
THE LAND of MYTH MECHANICS: This Adventure Was Designed As a ‘One Shot’ (I.E
2 3 ἄνδρα µοι ἔννεπε, µοῦσα, πολύτροπον, ὃς µάλα πολλὰ πλάγχθη, ἐπεὶ Τροίης ἱερὸν πτολίεθρον ἔπερσεν· πολλῶν δ᾽ ἀνθρώπων ἴδεν ἄστεα καὶ νόον ἔγνω, πολλὰ δ᾽ ὅ γ᾽ ἐν πόντῳ πάθεν ἄλγεα ὃν κατὰ θυµόν, ἀρνύµενος ἥν τε ψυχὴν καὶ νόστον ἑταίρων. Homer’s Odyssey, Book 1, Lines 1-5 (ΟΜΗΡΟΥ ΟΔΥΣΣΕΙΑ, ΡΑΨΟΔΙΑ 1, ΣΤΙΧΟΙ 1-5) CREDITS INDEX Credits – The Land of Myth™ Team Written & Designed by: John R. Haygood Art Direction: George Skodras, Ali Dogramaci Who We Are .............................................................................................. 6 Cover Art: Ali Dogramaci What is this Product ................................................................................. 6 Proofreading & Editing: Vi Huntsman (MRC) This is a product created by Seven Thebes in collaboration with the Getty Museum Introduction ................................................................................................ 7 in Los Angeles, USA. Special thanks for the many hours of game testing and brainstorming: Safety and Consent .................................................................................. 10 Thanasis Giannopoulos, Alexandros Stivaktakis, Markos Spanoudakis About This Adventure Module .............................................................. 12 First Edition First Release: November 2020 Telemachos and His Quest ................................................................... 24 Character Sheets ...................................................................................... 26 Playtest Material V0.3 Please note that this -
The Akroteria of the Nike Temple' (Plates35-37)
THE AKROTERIA OF THE NIKE TEMPLE' (PLATES35-37) T HE small Ionic Temple of Athena Nike on the Acropolis was designed by Kalli- krates, an architect of the Parthenon, as a monument to the Greek victory over the Persians. A decree of about 449 B.c. authorized plans to be drawn up, but the temple was not actually begun until after the Propylaea, and probably dates between 427 and 424 B.c.2 When the temple was completed, the bastion on which it stood was enclosed by a parapet of marble decorated with Nikai. Professor Carpenter's interest in these reliefs and his admirable study of them are well known. The sculptural decoration of the temple itself consisted of a frieze depicting an assembly of the gods (east), battle scenes between Greeks and Persians (south), and Greeks against Greeks (north and west).2 The pedimental figures, which were fastened to the floor of the pediment by mneansof round pins, have unfortunately disappearedwithout a trace. The akroteria too are lost, but they are mentioned in a number of fourth century treasury records.4 The most nearly complete of these inscriptions, I.G., 12, 1425, dated 368/7 B.C.,lists gold from the akroteria under the heading ra3&craOh IapEXL/3oEv ypvai-& a"c KcU Tr?7Kra Kaat v1roxa1iXKa (lines 85-86). Clearly the akroteria were made of bronze overlaid either partly or wholly with gold. The reference is as follows (lines 101-106): 1 I wish to express my warm thanks to Professor Evelyn B. Harrison for her sustained and friendly interest in this study; it was she also who took the photographs of the akroterion base (Pls. -
Constellation Legends
Constellation Legends by Norm McCarter Naturalist and Astronomy Intern SCICON Andromeda – The Chained Lady Cassiopeia, Andromeda’s mother, boasted that she was the most beautiful woman in the world, even more beautiful than the gods. Poseidon, the brother of Zeus and the god of the seas, took great offense at this statement, for he had created the most beautiful beings ever in the form of his sea nymphs. In his anger, he created a great sea monster, Cetus (pictured as a whale) to ravage the seas and sea coast. Since Cassiopeia would not recant her claim of beauty, it was decreed that she must sacrifice her only daughter, the beautiful Andromeda, to this sea monster. So Andromeda was chained to a large rock projecting out into the sea and was left there to await the arrival of the great sea monster Cetus. As Cetus approached Andromeda, Perseus arrived (some say on the winged sandals given to him by Hermes). He had just killed the gorgon Medusa and was carrying her severed head in a special bag. When Perseus saw the beautiful maiden in distress, like a true champion he went to her aid. Facing the terrible sea monster, he drew the head of Medusa from the bag and held it so that the sea monster would see it. Immediately, the sea monster turned to stone. Perseus then freed the beautiful Andromeda and, claiming her as his bride, took her home with him as his queen to rule. Aquarius – The Water Bearer The name most often associated with the constellation Aquarius is that of Ganymede, son of Tros, King of Troy. -
Homer's Odyssey (1911)
HOMERS ODTSSET HOMER'S ODYSSEY " Flashing she fell to the earth from THE GLITTERING HEIGHTS OF OlYMI - Eco HOMER'S ODYSSEY A LINE^FOR-LINE TRANSLATION IN THE METRE OF THE ORIGINAL BY H, B, COTTERILL M.A. EDITOR OF "SELECTIONS FROM THE INFERNO" GOETHE'S "1PHIGENIE" MILTON'S " AREOPAGITICA " MORE'S "UTOPIA" VIRGIL'S "AENE1D" I & VI ETC WITH TWENTY-FOUR ILLUSTRATIONS BY PATTEN WILSON %c I 4 y LONDON : GEORGE G. HARRAP & COMPANY 9 PORTSMOUTH STREET KINGSWAY W.C. MCMXI PRINTED BY BALLANTYNE & COMPANY LTD AT THE BALLANTYNE PRESS TAVISTOCK ST. COVENT GARDEN LONDON TO MY WIFE AND DAUGHTER AND TO ALL THOSE WHOSE LOVE FOR HOMER AND FOR WHATEVER ELSE IN ART IS TRUE AND BEAUTI- FUL GAVE ME THE COURAGE TO UNDERTAKE AND THE ENDURANCE TO COMPLETE THIS VERSION OF THE ODYSSEY * dvr<o "Hroi /xef ttoX\o>v embevofiai dXAd fioi aef-ovatv ii >* i 6(oi, a> "Epyuv fi'if t entfiifJivu). PREFACE 'N his Lectures on Translating Homer Matthew Arnold advises the translator to Preface have nothing to do with side questions—such as the question whether Homer ever existed. I should rather say that, however much interest he may take in antiquarian, or philological, or other side questions, it is best for him to give .a wide berth to theoretics and polemics. Indeed, if the translator is one who ' fulfils Matthew Arnold's requirements by reading Homer perpetually for the ' sake of his poetry — if he has experienced the happiness of long and continuous intimacy with what is so beautiful and so restful—he will shrink with pain the Babel of feel from and the acrimony literary disputation, and will much inclined to say nothing at all, knowing full well that, whatever he may say or may leave unsaid, his work will have to speak for itself. -
The Adventures of Odysseus and the Tales of Troy
The Adventures Of Odysseus And The Tales Of Troy By Padriac Colum The Adventures Of Odysseus And The Tales Of Troy I This is the story of Odysseus, the most renowned of all the heroes the Greek poets have told us of—of Odysseus, his wars and his wanderings. And this story of Odysseus begins with his son, the youth who was called Telemachus. It was when Telemachus was a child of a month old that a messenger came from Agamemnon, the Great King, bidding Odysseus betake himself to the war against Troy that the Kings and Princes of Greece were about to wage. The wise Odysseus, foreseeing the disasters that would befall all that entered that war, was loth to go. And so when Agamemnon's messenger came to the island of Ithaka where he was King, Odysseus pretended to be mad. And that the messenger, Palamedes, might believe he was mad indeed, he did a thing that no man ever saw being done before—he took an ass and an ox and yoked them together to the same plough and began to plough a field. And when he had ploughed a furrow he sowed it, not with seeds that would grow, but with salt. When Palamedes saw him doing this he was nearly persuaded that Odysseus was mad. But to test him he took the child Telemachus and laid him down in the field in the way of the plough. Odysseus, when he came near to where the child lay, turned the plough aside and thereby showed that he was not a mad man. -
University of Groningen the Myth of the Golden Fleece Bremmer, Jan N
University of Groningen The Myth of the Golden Fleece Bremmer, Jan N. Published in: Journal Ancient Near Eastern Religions IMPORTANT NOTE: You are advised to consult the publisher's version (publisher's PDF) if you wish to cite from it. Please check the document version below. Document Version Publisher's PDF, also known as Version of record Publication date: 2007 Link to publication in University of Groningen/UMCG research database Citation for published version (APA): Bremmer, J. N. (2007). The Myth of the Golden Fleece. Journal Ancient Near Eastern Religions, 6, 9-38. Copyright Other than for strictly personal use, it is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), unless the work is under an open content license (like Creative Commons). The publication may also be distributed here under the terms of Article 25fa of the Dutch Copyright Act, indicated by the “Taverne” license. More information can be found on the University of Groningen website: https://www.rug.nl/library/open-access/self-archiving-pure/taverne- amendment. Take-down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Downloaded from the University of Groningen/UMCG research database (Pure): http://www.rug.nl/research/portal. For technical reasons the number of authors shown on this cover page is limited to 10 maximum. Download date: 30-09-2021 XV THE MYTH OF THE GOLDEN FLEECE One of the best known Greek myths is that of Jason and his Argonauts, who sailed to Colchis to fetch the Golden Fleece.