V) Greek Religion and Mythology
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Mount Olympus, Part I
MMountount Olympus,Olympus, PPartart I 2 Lesson Objectives Core Content Objectives Students will: Explain that the ancient Greeks worshipped many gods and goddesses Identify Mount Olympus as the place the ancient Greeks believed was the home of the gods Language Arts Objectives The following language arts objectives are addressed in this lesson. Objectives aligning with the Common Core State Standards are noted with the corresponding standard in parentheses. Refer to the Alignment Chart for additional standards addressed in all lessons in this domain. Students will: Recount the story of the Olympian gods and goddesses from “Mount Olympus, Part I,” using transition words like fi rst, next, then, and fi nally, and discuss with one or more peers (RL.2.2) Identify the three seas that surrounded ancient Greece using a map of ancient Greece as a guide (RI.2.7) With assistance, categorize and organize facts and information on the ancient Greek civilization (W.2.8) Summarize orally the information contained in “Mount Olympus, Part I” (SL.2.2) Prior to listening to “Mount Olympus, Part I,” identify orally what they know and have learned about the ancient Greek civilization Prior to listening to “Mount Olympus, Part I,” orally predict powers or skills that the gods and goddesses were believed to have and then compare the actual outcome to the prediction The Ancient Greek Civilization 2 | Mount Olympus, Part I 23 © 2013 Core Knowledge Foundation Core Vocabulary delightfully, adv. With great delight or pleasure Example: Jane delightfully helped her mother cook their favorite meal, homemade macaroni and cheese. Variation(s): none longingly, adv. -
Orpheus in the Underworld
Orpheus in the Underworld Music by Jacques Offenbach, French Libretto by Cremieux & Halevy English adaptation by Snoo Wilson & David Pountney THE CAST Orpheus (a musician) ...................................................................... Mikal J. Kraklio Eurydice (his wife) .......................................................................... Jen Christianson Ann Michels (April 1 & 9) Aristaeus / Pluto (a shepherd / the god of the underworld) ............. James Hamilton Public Opinion (guardian of morals) .................................................... Lynne Hicks Jupiter (King of the gods) ......................................................... Waldyn J. Benbenek Juno (his wife) ................................................................................... Judith McClain Venus .................................................................................................... Ann Michels Emily Coates (April 1 & 9) Cupid................................................................................................. Sara Gustafson Diana .............................................................................................. Alyssa K. Lingor Mars ..........................................................................................Christopher Michela Mercury ................................................................................................ Todd Coulter Dr. Morpheus (demi-god of sleep) .................................................... Richard Rames Rhadamanthys (one of the Triple Judges -
Hamilton's Theseus.Pdf
'1 I\!I, 208 Mythology lnstantlysaw his opportunity. He went straight to the pal- ace and entered the hall. As he stood at the entrance, Athena's shining buckler on his breast, the silver wallet at his side, he drew the eyes of every man there. Then before 1\' any could look away he held up the Gorgon's head; and at the sight one and all, the cruel King and his servile courtiers, were turned into stone. There they sat, a row of statues, each, ! as it were, frozen stiff in the attitude he had struck when he first saw Perseus. CHAPTER II When the islanders knew themselves freed from the tyrant it was-easyfot Perseus to find Danae and Dictys. He made Theseus Dictys king of the island, but he and his mother decided that This dearest of heroes to the Athenians engaged the atten- they would go back with Andromeda to Greece and try to tion of many writers. Ovid, who lived in the Augustan Age, be reconciled to Acrisius, to see if the many years that had tells his life in detail and so does Apollodorus, in the first or passed since he had put them in the chest had not softened second century A.D. Plutarch, too, toward the end of the fi·rst century A.D. He is a prominent character in three of Eurip- him so that he would be glad to receive his daughter and ides' plays and in one of Sophocles. There are many allusions grandson. When they reached Argos, however, they found to him in ptose writers as well as poets. -
The Twelve Gods of Mount Olympus
TThehe TTwelvewelve GGodsods ooff MountMount OlympusOlympus 1 Lesson Objectives Core Content Objectives Students will: Explain that the ancient Greeks worshipped many gods and goddesses Explain that the gods and goddesses of ancient Greece were believed to be immortal and to have supernatural powers, unlike humans Identify the Greek gods and goddesses in this read-aloud Identify Mount Olympus as the place believed by the ancient Greeks to be the home of the gods Identify Greek myths as a type of f ction Language Arts Objectives The following language arts objectives are addressed in this lesson. Objectives aligning with the Common Core State Standards are noted with the corresponding standard in parentheses. Refer to the Alignment Chart for additional standards addressed in all lessons in this domain. Students will: Orally compare and contrast Greek gods and humans (RL.2.9) Interpret information pertaining to Greece from a world map or globe and connect it to information learned in “The Twelve Gods of Mount Olympus” (RI.2.7) Add drawings to descriptions of the Greek god Zeus to clarify ideas, thoughts, and feelings (SL.2.5) Share writing with others Identify how Leonidas feels about going to Olympia to see the races held in honor of Zeus Greek Myths: Supplemental Guide 1 | The Twelve Gods of Mount Olympus 13 © 2013 Core Knowledge Foundation Core Vocabulary glimpse, n. A brief or quick look Example: Jan snuck into the kitchen before the party to get a glimpse of her birthday cake. Variation(s): glimpses sanctuary, n. A holy place; a safe, protected place Example: Cyrus went to the sanctuary to pray to the gods. -
Ancient Narrative Volume 1
History into fiction: the metamorphoses of the Mithras myths ROGER BECK Toronto Dedicated to Reinhold Merkelbach, whose explorations of ancient narra- tive and the mystery cults have always seemed to me profoundly well oriented, even when I would not follow the same path in detail. This article is neither about a particular ancient novel nor about the genre of the ancient novel in general. But it is about story-telling in the ancient world, and about the metamorphosis which stories undergo when they pass through the crucible of religious invention. Its subject, then, is narrative fiction — narrative fiction as the construction of sacred myth and of myth’s dramatic counterpart, ritual performance. The fictions I shall explore are the myths and rituals of the Mithras cult. Some of these fictions, I shall argue, are elaborations of events and fantasies of the Neronian age: on the one hand, events in both Italy and the orient cen- tred on the visit of Tiridates of Armenia to Rome in 66; on the other hand, the heliomania of the times, a solar enthusiasm focused on, and in some measure orchestrated by, the emperor himself. What I am not offering is an explanation of Mithraism and its origins. In the first place, our subject is story and the metamorphosis of story, not relig- ion. In the second place, I would not presume to ‘explain’ Mithraism, or any other religion for that matter, by Euhemeristic reduction to a set of historical or pseudo-historical antecedents. In speaking of the ‘invention’ of Mithraism and of its ‘fictions’, moreover, I intend no disrespect. -
IMPLEMENTATION of TRIDENT: a DISCOVERY-CLASS MISSION to TRITON. K. L. Mitchell1 , L. M. Prockter2, W. E. Frazier1, W. D. Smythe1, B
50th Lunar and Planetary Science Conference 2019 (LPI Contrib. No. 2132) 3200.pdf IMPLEMENTATION OF TRIDENT: A DISCOVERY-CLASS MISSION TO TRITON. K. L. Mitchell1 , L. M. Prockter2, W. E. Frazier1, W. D. Smythe1, B. M. Sutin1, D. A. Bearden1, and the Trident Team. 1Jet Propulsion Laboratory ([email protected]), Pasadena, CA 91109-8099, United States, 2Lunar and Planetary Insti- tute/USRA, Houston, TX, United States. Overview: Trident is an exciting mission concept to Why Now?: By launching during 2026, Trident investigate Neptune’s large moon Triton, an exotic can- takes advantage of a rare, efficient gravity-assist align- didate ocean world at 30 AU (Prockter et al., this meet- ment, to capitalize on a narrow – but closing – observa- ing). The concept is responsive to recommendations of tional window that enables assessment of changes in the recent NASA Roadmap to Ocean Worlds study Triton’s plume activity and surface characteristics since (Hendrix et al., 2019), and to the 2013 Planetary Deca- Voyager 2’s encounter one Neptune-Triton season ago. dal Survey’s habitability and workings themes (Squyres Conclusion: This mission design allows Trident to et al., 2011). A rare, low Δv trajectory (Fig. 1) enables accomplish a scientifically rich yet radically cost-effec- an MMRTG-powered spacecraft fitting under the Dis- tive investigation of an unusual icy world, dramatically covery cost cap. The spacecraft has a robust design and expanding the horizons of NASA’s Discovery Program. uses high heritage instruments (table 1) with minimal References: [1] Prockter L. M. et al. (2019) LPS L, development costs. -
Bacchylides 17: Singing and Usurping the Paean Maria Pavlou
Bacchylides 17: Singing and Usurping the Paean Maria Pavlou ACCHYLIDES 17, a Cean commission performed on Delos, has been the subject of extensive study and is Bmuch admired for its narrative artistry, elegance, and excellence. The ode was classified as a dithyramb by the Alex- andrians, but the Du-Stil address to Apollo in the closing lines renders this classification problematic and has rather baffled scholars. The solution to the thorny issue of the ode’s generic taxonomy is not yet conclusive, and the dilemma paean/ dithyramb is still alive.1 In fact, scholars now are more inclined to place the poem somewhere in the middle, on the premise that in antiquity the boundaries between dithyramb and paean were not so clear-cut as we tend to believe.2 Even though I am 1 Paean: R. Merkelbach, “Der Theseus des Bakchylides,” ZPE 12 (1973) 56–62; L. Käppel, Paian: Studien zur Geschichte einer Gattung (Berlin 1992) 156– 158, 184–189; H. Maehler, Die Lieder des Bakchylides II (Leiden 1997) 167– 168, and Bacchylides. A Selection (Cambridge 2004) 172–173; I. Rutherford, Pindar’s Paeans (Oxford 2001) 35–36, 73. Dithyramb: D. Gerber, “The Gifts of Aphrodite (Bacchylides 17.10),” Phoenix 19 (1965) 212–213; G. Pieper, “The Conflict of Character in Bacchylides 17,” TAPA 103 (1972) 393–404. D. Schmidt, “Bacchylides 17: Paean or Dithyramb?” Hermes 118 (1990) 18– 31, at 28–29, proposes that Ode 17 was actually an hyporcheme. 2 B. Zimmermann, Dithyrambos: Geschichte einer Gattung (Hypomnemata 98 [1992]) 91–93, argues that Ode 17 was a dithyramb for Apollo; see also C. -
Examining the Transference Between Mithraism and Christianity Peter J
\ The Sword and the Cross: Examining the Transference between Mithraism and Christianity Peter J. Decker III Advisor: Dr. Elizabeth Manwell Ph. D .. Kalamazoo College Co-Chair of Classics Department I - A paper submitted in partial fulfillment of the requirements for the degr~e of Bachelor of ~rts at - - Kalamazoo College. 2013 Table of Contents Acknowledgments ......................... ~ .... : ......................................................ii I. The Cult ofMithras: Imagery, Practices, and Beliefs ............................... .1-21 II. Examining the Transference between Mithraism and Christianity ............... ~ .. 23-38 III. Appendix .......................· ............................................................. 39 Bibliography .................... ·................................................................. 40-44 / 11 Acknowledgements I am deeply grateful to my loving parents who made it possible to attend Kalamazoo College and allow me to further my studies in Classics. Without their financial and emotional support I would not have been able to complete this Senior Independent Project (SIP). Love you Mom and Dad! I am also deepl_y thankful to the Todd family and their generous grant, the Todd Memorial Classics Study Abroad Grant, which allowed me to travel to Italy and gain the inspiration for the topic of my SIP. I would like to express aspecial thanks to my SIP advisor Prof. Manwell, for putting up with all my procrastination and my challenging writing. I hope you didn't spend to many nights up late editing my drafts. Without all of you none of this would have been possible. Thank you very much. 1 I. The Cult ofMithras: Imagery, Practices, and Beliefs In the spring of 2011 an American atheist group put up a billboard in downtown New York City which read: "Born of a virgin on December 25th, known to his 12 disciples as "the Son of God, and resurrected three days after his death, we wish a Happy Birthday to Mithras, the mythical Persian god imagined over 600 years before that other guy .. -
Zeus: Father of the Greek Gods 614 the Six-Minute Solution, Sopris West
Curriculum-Based Measurement: Maze Passage: Examiner Copy Student/Classroom: _____________________ Examiner: ____________ Assessment Date: _______ Zeus: Father of the Greek Gods 614 The Six-Minute Solution, Sopris West Gods were important in the ancient Greek religion. The Greeks believed that their gods (lived) in families and that each god (or) goddess had a certain kind of (power). They also thought that each of (the) gods had a distinct personality. Sacred (places) called sanctuaries were built by the (Greeks) to honor their gods. Greeks prayed (to) different gods for different reasons. They (also) made sacrifices to the gods as (a) way to please them. Zeus, the (god) of the sky and of the (weather), was also considered the father of (all) the Greek gods. The Greeks believed (that) Zeus was the absolute master of (all) the Greeks, other gods, and perhaps (the) universe. The Olympic games were actually (created) to honor Zeus. The games were (named) after the highest mountain in Greece, (Mount) Olympus. Ancient Greeks pictured Zeus sitting (in) a golden throne on top of (Mount) Olympus. The Greeks believed that Zeus (would) take pleasure from watching athletes compete (in) the Olympic games. All Greeks, regardless (of) where they lived, worshiped Zeus and (the) other gods in his family. Zeus’(s) wife, Hera, was known as the (goddess) of marriage. His brother, Poseidon, was (the) god of the sea. Zeus himself (was) thought to control the weather. In (the) Greek people’s minds, thunder and (lightning) occurred as a punishment when Zeus (was) very angry. One of Zeus’s (sons), Apollo, was the god of light (and) health. -
5.5 X 10 Long Title.P65
Cambridge University Press 978-0-521-67827-8 - Euripides: Hippolytus Ben Shaw Excerpt More information List of characters APHRODITE goddess of love (also called Cypris) HIPPOLYTUS son of Theseus HUNTSMEN followers of Hippolytus SERVANT a member of the royal household at Trozen CHORUS women of Trozen NURSE Phaedra’s attendant PHAEDRA wife of Theseus THESEUS king of Athens and Trozen MESSENGER one of Hippolytus’ attendants ARTEMIS goddess of chastity and hunting 1 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-67827-8 - Euripides: Hippolytus Ben Shaw Excerpt More information PROLOGUE (1–117) Euripides’ prologues introduce elements of plot which explain the situation as the play begins. In Hippolytus the goddess Aphrodite, chief architect of the events of the play, delivers a prologue that predicts the future as well as explaining the recent past. Setting Hippolytus, produced in Athens in 428 BC, takes place in Trozen, a coastal town thirty miles south of Athens. The ske-ne- (stage building, see pages 122–3) represents the royal palace. In front of the palace are two statues, one of Aphrodite, the other of Artemis (both statues are directly addressed or referred to in the play – see 66, 98, 112 and 513). The Greek audience would immediately recognise a conflict of interests: Aphrodite stands for sexual love, Artemis for chastity. Aphrodite Aphrodite, the goddess of love, in this play is often called ‘Cypris’ (2) since she was first worshipped on the island of Cyprus, traditionally her birthplace. She represents sexual love, often denounced in Greek literature as an uncontrollable, destructive force that overrides rational, moral conduct (a view strongly expressed in Euripides’ Medea). -
Greek Mythology: Heroes
Greek Mythology: Heroes Baldwin’s Mythology Heroes ● Odysseus ● Heracles (Hercules) ● Jason ● Theseus ● Achilles ● Perseus Odysseus ● Legendary Hero in Greek Mythology ● King of the island of Ithaca and the protagonist in Homer’s epic The Odyssey ● It all started over a woman... Odysseus (continued) ● Odysseus was one of the suitors that wanted to marry Helen, step-daughter of king Tyndareus of Sparta. However, there suitors, so they drew straws. As a result, Menelaus drew the lucky straw, while Odysseus married Penelope. ● Helen was abducted by Prince Paris of Troy, so all suitors were summoned to help Menelaus in his quest to bring her back. ● After the Greeks reached Troy and the war started, Odysseus played a particularly influential role as an advisor. He maintained the morale of the Greeks in a high level and managed to keep everyone sane. Odysseus (continued) ● Odysseus was most famous in the war for his contribution to create the Trojan Horse, a huge wooden horse that was supposed to be a gift to the Trojans by the retreating Greeks. The Trojans accepted the gift joyfully and started celebrating around it. When the night fell and everyone was drunk, the Greek warriors, who had hidden in the hollow body of the horse, revealed themselves and slew the Trojans, winning the war. Hercules ● Heracles (or Hercules) is best known as the strongest of all mortals, and even stronger than many gods. ● He was the last mortal son of Zeus, and the only man born of a mortal woman to become a god upon his death. ● Terrible things happened to him because of Hera's hatred, a hatred that he was not responsible for. -
10 - the Supreme God of Polynesians?
ASIAN AND AFRICAN STUDIES, 2008, 1, 74-89 10 - THE SUPREME GOD OF POLYNESIANS? Martina BUCKOVÁ Institute of Oriental Studies, Slovak Academy of Sciences, Klemensova 19, Bratislava, Slovakia [email protected] This contribution is dealing with the question of faith in a supreme being of Polynesia. Believes in this God, called Io, Ihoiho or Kiho, appear in the written records from the end of the 19th century. The problem consists of the fact they appeared after the first contacts with Christianity and no doubt the informants were already influenced by the new faith. Nowadays the specialists incline more to the concept that the existence of a supreme deity cult is the result of the impact of Christian teaching. Keywords:monotheism, Io, supreme being, Polynesian religion The Polynesian religion has its roots in the cult of ancestors and its nature is polytheistic. This is generally valid for the whole of Polynesia despite the differentiation that has obviously taken place throughout the centuries between its Western and Eastern parts. The pantheon of the Eastern Polynesia is dominated by a tetrad of first class deities including and Tangaroa. In the Western Polynesia, however, we meet only with (or rather with a family of Tangaloas )whose etymology remains questionable and there are attempts to derive it from Melanesia. The origin of Polynesian gods still requires explanation. According to one theory the Polynesian gods may be characterized as deified ancestors while other authors suggest that we are concerned with personified forces of nature. And we cannot exclude that both views are partly true. Perhaps the local minor deities are derived from remarkable and important ancestors - or these deities are present in the relevant natural phenomena.