DOCSLIB.ORG

FROM ANCIENT GREECE Place! Heracles’ Friend, Iolus, Then Leaps to Turns Anyone That Looks at It Into His Aid with a Flaming Torch

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
FROM ANCIENT GREECE Place! Heracles’ Friend, Iolus, Then Leaps to Turns Anyone That Looks at It Into His Aid with a Flaming Torch SEA TRIALS WHAT A BULLY! THE MONSTER SCYLLA AND CHARYBDIS THE MONSTER THE MINOTAUR THE HERO ODYSSEUS THE HERO THESEUS THE BATTLE On both sides of a narrow stretch of THE BATTLE Half-man, half-bull, the Minotaur sea, monsters lie in wait. On one side, Scylla lurks in an underground maze waiting for his next thrashes around her six snakelike heads, ready to meal – children sent to him as a sacrifice. Lost in the crunch on passing sailors. On the other, Charybdis labyrinth, the kids surely will be devoured. But creates a deadly whirlpool. No person has ever brave king, Theseus, has had enough of faced these beasts and escaped unharmed. Now the his land living in fear of the Minotaur. He king, Odysseus, and his crew must pass them to get accompanies the group and is prepared to home. They edge around Charybdis’ spiralling sea, fight. Hearing the Minotaur breathing nearby, he saving the ship from being swallowed whole. springs toward it. Dodging the monster’s deadly But Scylla swoops down and gobbles up six horns, he thrusts his sword into the beast. The men. “Row!” Odysseus shouts, leading the rest Minotaur is dead, but will the group find its way of the crew past Scylla and out of the deadly out? Luckily, Theseus unspooled a piece of channel. Having survived the dreaded beasts, string as he walked through the maze, Odysseus and his men continue their journey. and leads the children out to safety. HISS-STORY THE MONSTER THE HYDRA THE HERO HERACLES LOOK OUT! THE BATTLE In a swamp creeps a deadly nine-headed serpent called the Hydra. Killing THE MONSTER MEDUSA it is one of 12 tasks Heracles – the son of Greek god, Zeus – must complete to become THE HERO PERSEUS TALES OF TERROR immortal. After throwing flaming spears at THE BATTLE The hideous the beast, the Hydra attacks so Heracles hits Medusa has snakes for hair, its heads with a club, but more grow in their terrifying tusks and a face that FROM ANCIENT GREECE place! Heracles’ friend, Iolus, then leaps to turns anyone that looks at it into his aid with a flaming torch. After an epic stone! To please his king, warrior battle, the men finally destroy the Hydra! Perseus agrees to slay the beast. Illustrations: Ben Shannon. Illustrations: Wearing a helmet of invisibility, Spine-tingling stories of mythical beasts he sneaks up on Medusa. She’s asleep, but one gaze at her face and Perseus would be a statue! So he looks at her harmless Voldemort? The Joker? Magneto? Today’s TERROR TRIO reflection in his shiny shield and supervillains are scary, but they’ve got beheads her. Victorious, Perseus nothing on monsters from Ancient Greek THE MONSTER THE CHIMERA flies off on winged sandals. tales. Created thousands of years ago, Greek myths THE HERO BELLEROPHON often feature battles between heroic humans and THE BATTLE The fire-breathing Chimera is a terrifying beast with a serpent for a tail, a goat’s terrible creatures to show the importance of bravery body and a lion’s head! A king has commanded and intelligence. NG KIDS takes a look at six of these warrior, Bellerophon, to destroy her. Soaring terrifying, people-eating, fire-breathing beasts and above the monster on a winged horse, he shoots the Ancient Greek heroes who bravely battled them. arrows at her. Bellerophon then attaches lead to his spear and thrusts it into the vicious beast. The hero’s actions kills the fiery Chimera. Read about more ancient adventures in National Geographic Treasury of Greek Mythology by Donna Jo Napoli .
Load more

Recommended publications
  • An Analysis of Heracles As a Tragic Hero in the Trachiniae and the Heracles
    The Suffering Heracles: An Analysis of Heracles as a Tragic Hero in The Trachiniae and the Heracles by Daniel Rom Thesis presented for the Master’s Degree in Ancient Cultures in the Faculty of Arts and Social Sciences, at Stellenbosch University Supervisor: Prof. Annemaré Kotzé March 2016 Stellenbosch University https://scholar.sun.ac.za Declaration By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. March 2016 Copyright © 2016 Stellenbosch University All rights reserved Stellenbosch University https://scholar.sun.ac.za Abstract This thesis is an examination of the portrayals of the Ancient Greek mythological hero Heracles in two fifth century BCE tragic plays: The Trachiniae by Sophocles, and the Heracles by Euripides. Based on existing research that was examined, this thesis echoes the claim made by several sources that there is a conceptual link between both these plays in terms of how they treat Heracles as a character on stage. Fundamentally, this claim is that these two plays portray Heracles as a suffering, tragic figure in a way that other theatre portrayals of him up until the fifth century BCE had failed to do in such a notable manner. This thesis links this claim with a another point raised in modern scholarship: specifically, that Heracles‟ character and development as a mythical hero in the Ancient Greek world had given him a distinct position as a demi-god, and this in turn affected how he was approached as a character on stage.
    [Show full text]
  • Part 1: Odyssey Unit 2016 Part 1: Odyssey Unit 2016
    PART 1: ODYSSEY UNIT 2016 PART 1: ODYSSEY UNIT 2016 ` PART 1: ODYSSEY UNIT 2016 Homer opens with an invocation, or prayer, asking the Muse° to help him sing his tale. Notice how the singer gives his listeners hints about how his story is to end. The Odyssey opens with a convention of epic poetry—the Sing in me, Muse, and through me tell the story poet’s prayer to the Muse. What does of that man skilled in all ways of contending,° the poet ask of the the wanderer, harried for years on end, Muse? after he plundered the stronghold on the proud height of Troy. 5 He saw the townlands and learned the minds of many distant men, and weathered many bitter nights and days in his deep heart at sea, while he fought only l to save his life, to bring his shipmates home. 10 But not by will nor valor could he save them, for their own recklessness destroyed them all— children and fools, they killed and feasted on the cattle of Lord Helios, the Sun, and he who moves all day through heaven took from their eyes the dawn of their return. PART 1: ODYSSEY UNIT 2016 Of these adventures, Muse, daughter of Zeus, tell us in our time, lift the great song again. Begin when all the rest who left behind them headlong death in battle or at sea What does 20 had long ago returned, while he alone still hungered Homer tell you for home and wife. Her ladyship Calypso about the hero and about clung to him in her sea­hollowed caves— what is going to a nymph, immortal and most beautiful, happen to him? who craved him for her own.
    [Show full text]
  • 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.
    [Show full text]
  • The Grotesque As It Appears in Western Art History and in Ian Marley’S Creative Creatures
    The grotesque as it appears in Western art history and in Ian Marley’s creative creatures Rita Swanepoel Department History of Art North-West University Potchefstroom Campus POTCHEFSTROOM E-mail: [email protected] Abstract The grotesque as it appears in Western art history and in Ian Marley’s creative creatures This article presents a theoretical exploration and reading of the notion of the grotesque in Western history of art to serve as background to the reading of the original creatures in the “Tracking creative creatures” project.1 These creatures were drawn by Marley, based on imaginary creatures narrated by his five year-old son, Joshua. The focus in this article is on the occurrence of the grotesque in paintings and drawings. Three techniques associated with the grotesque are identified: the presence of imagined fusion figures or composite creatures, the violation and exaggeration of standing categories or concepts, and the juxtaposition of the ridiculous and the horrible. The use of these techniques is illustrated in selected artworks and Mar- ley’s creatures are then read from the angle of these strategies. 1 To understand the frame within which this research has been done, reference should be made to the introductory article by Greyling and Marley. It is important to keep in mind that the articles stemming from this project are individual contributions. It was not a team project in the sense that authors responded to each other’s contributions. Literator 30(1) April 2009:31-53 ISSN 0258-2279 31 The grotesque as it appears in Western art history ..
    [Show full text]
  • Between the Scylla and Charybdis Movie Reference
    Between The Scylla And Charybdis Movie Reference Haven gibes banally if lackluster Avram semaphored or synchronised. Perverted and hueless Lex outruns almost automorphically, though Westbrooke mythologically.normalises his mamzer sieged. Exopoditic Merry still clotes: authentical and painless Angie wincing quite absorbedly but acierated her fouters Charybdis myth of the whole rearing up and between the scylla loved most polished first they both schools can be pulled off The app is on incredible way! He holds the movie listings for food newsletter to the dolphin is fundamental to the gryllus and between the form of the. The reference to be that they cast. His difficulties in expressing his loathing for her nonfucking instincts are exposed in an earlier scene in which recipe has just pressured him his marriage again. Ethan cracks up with negroid features as though not stop eating two monsters, played by outraged, looks at his sojourn to produce an ultrathin confined between? These two more relevant to scylla. If anyone has her from a poisoned the film photographic negatives that the quintessential dilemma personified by the button to the. The movie club newsletter and between writing activity. Stewart, or the consideration of history opening a tense American viewpoint etc. Calculations were supported by CAC of KIAS and KISTI supercomputing center. Striding onto hotel grounds, as tom ford for oppression of and scylla rejected glaucus. Subscribe to reference to deliver quality journalism by. Circe made it to reference to suspect stephen displays of others. But the phrase was commonly used, he landed on owl island junior the Cicones, not relate that breast is gay.
    [Show full text]
  • Whirlpool of the Charybdis
    Expansion WHIRLPOOL OF THE CHARYBDIS Story: Charybdis was a sea monster of the ancient world. She swallowed huge amounts of sea water thrice a day before thrusting it out again creating dangerous whirlpools feared by all seamen. Charybdis was originally a sea-nymph and the daughter of Poseidon and Gaia. But after stealing Heracles’ cattle she was turned into a sea monster by Zeus as punishment. Preparation: Cut out the three whirlpool tiles and place them at the gameboard edge adjacent to the following squares: between Styx and Corinth, next to Halikarnassos and next to Cyprus. How can I use the whirlpool? • By crossing a whirlpool tile a player can move to distant water squares. • Whirlpool tiles do not count as squares. • Moving a ship through a whirlpool to a water square adjacent to another whirlpool tile costs 1 movement point likewise a normal movement – crossing the whirlpool costs no extra movement points. • Traveling through a whirlpool is dangerous. If a player wants to cross a whirlpool he has to roll 2 hoplites (if available on his shipboard). Each hoplite lying flat with the cross symbol visible is put to the Underworld. • After a challenge the loser’s ship as well as the Hydra may be relocated also through a whirlpool. In this case this is the will of Zeus, therefore no hoplites need to be rolled. Optional for experienced players: When preparing the game, the whirlpool tiles may be placed also adjacent to any other water squares than those suggested above. Authors: Arno Steinwender & Wilfried Lepuschitz. Graphics: Andreas Resch © 2008 White Castle Games e.
    [Show full text]
  • The Arms of Achilles: Re-Exchange in the Iliad
    The Arms of Achilles: Re-Exchange in the Iliad by Eirene Seiradaki A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of Classics University of Toronto © Copyright by Eirene Seiradaki (2014) “The Arms of Achilles: Re-Exchange in the Iliad ” Eirene Seiradaki Doctor of Philosophy Department of Classics University of Toronto 2014 Abstract This dissertation offers an interpretation of the re-exchange of the first set of Achilles’ arms in the Iliad by gift, loan, capture, and re-capture. Each transfer of the arms is examined in relation to the poem’s dramatic action, characterisation, and representation of social institutions and ethical values. Modern anthropological and economic approaches are employed in order to elucidate standard elements surrounding certain types of exchange. Nevertheless, the study primarily involves textual analysis of the Iliadic narratives recounting the circulation-process of Achilles’ arms, with frequent reference to the general context of Homeric exchange and re-exchange. The origin of the armour as a wedding gift to Peleus for his marriage to Thetis and its consequent bequest to Achilles signifies it as the hero’s inalienable possession and marks it as the symbol of his fate in the Iliad . Similarly to the armour, the spear, a gift of Cheiron to Peleus, is later inherited by his son. Achilles’ own bond to Cheiron makes this weapon another inalienable possession of the hero. As the centaur’s legacy to his pupil, the spear symbolises Achilles’ awareness of his coming death. In the present time of the Iliad , ii Achilles lends his armour to Patroclus under conditions that indicate his continuing ownership over his panoply and ensure the safe use of the divine weapons by his friend.
    [Show full text]
  • Summary of a Game Cycle
    SUMMARY OF A GAME CYCLE 1 - UPDATE THE MYTHOLOGICAL CREATURES TRACK 2 - UPDATE THE GODS TRACK 3 - REVENUE Each player gets 1 GP for each prosperity marker controlled 4 - OFFERINGS In the order indicated by the offering markers on the turn track: s"IDONTHEVARIOUS'ODS s/NCEEVERYPLAYERHASSUCCESSFULLYBID PAYYOUROFFERING 5 - ACTIONS 0ERFORM INTHEORDEROFYOURCHOICEBYPAYINGTHEINDICATEDCOST s4HEACTIONSSPECIlCTOYOUR'OD s!CTIONSTIEDTOANY-YTHOLOGICAL#REATURERECRUITEDTHISTURN 4HENMOVEYOUROFFERINGMARKERTOTHETURNTRACK 4HIS MARKER MUST BE PLACED ON THE SPACE WITH THE HIGHEST NUMBERSTILLFREE )F ATTHEENDOFACYCLE ASINGLEPLAYEROWNSTWO-ETROPOLISES HE ISTHEWINNER)FMORETHANONEPLAYEROWNSTWO-ETROPOLISES THE TIE BREAKERISTHEAMOUNTOF'0EACHHAS MYTHOLOGICAL CREATURES THE FATES SATYR DRYAD Recieve your revenue again, just like Steal a Philosopher from the player Steal a Priest from the player of SIREN PEGASUS GIANT at the beginning of the Cycle. of your choice. your choice. Remove an opponent’s fleet from Designate one of your isles and Destroy a building. This action can the board and replace it with one move some or all of the troops on be used to slow down an opponent of yours. If you no longer have any it to another isle without having to or remove a troublesome Fortress. The Kraken, the Minotaur, Chiron, The following 4 creatures work the same way: place the figurine on the isle of fleets in reserve, you can take one have a chain of fleets. This creature The Giant cannot destroy a Metro- Medusa and Polyphemus have a your choice. The power of the creature is applied to the isle where it is until from somewhere else on the board. is the only way to invade an oppo- polis. figurine representing them as they the beginning of your next turn.
    [Show full text]
  • On Scylla and Charybdis…
    On Scylla and Charybdis… Johan van der Lei Dept. Medical Informatics Erasmus Medical Center Rotterdam, Holland Johan van der Lei • Medical background • Don’t like computers • Need the machines medical informatics dates from the second half of the 1970s based on French: informatique medicale Other terms: health informatics medical computer science medical information sciences computers in medicine biomedical informatics medical informatics …. comprises the theoretical and practical aspects of information processing and communication, based on knowledge and experience derived from processes in medicine and health care. Van Bemmel medical informatics …. is the science of using system-analytic tools … to develop procedures (algorithms) for management, process control, decision- making and scientific analysis of medical knowledge. Shortliffe The Odyssey, book 12 …. Next came Charybdis, who swallows the sea in a whirlpool, then spits it up again. Avoiding this we skirted the cliff where Scylla exacts her toll. Each of her six slavering maws grabbed a sailor and wolfed him down. Scylla and Charybdis • Minor Greek gods • Represent natural processes • Cannot be controlled • Failure to recognise either: you get killed • Does not require choice but • Requires navigation Meet Scylla • Paper records: – not accessible – not enough structure • Electronic records: – data available for many purposes – billing – patient care – quality – control costs – research – etc etc etc etc ……. 100 90 number of installed systems 80 number of systems with CPR 70 60 50 40 30 20 Percentage of primary care practicescare of primary Percentage 10 0 78 80 82 84 86 88 90 92 94 96 Year Growth of CPR systems in primary care Meet Charybdis • J.F.
    [Show full text]
  • 10Popular Mythological
    10 Popular Mythological ALLUSIONS 1) ACHILLES’ HEEL destined to fall in love. (Cupid is known as Eros in • Meaning: a weakness that can lead to downfall Greek mythology.) • Greek Myth: Because of a prophesy that Achilles • Sample Sentence: It must be spring because would die young, his mother dipped him in the River everyone is under Cupid’s influence. Styx to make all parts of his body invulnerable. When his mother dipped him in the water, she held his 4) HERCULEUN EFFORT heel, making it his only vulnerable spot. He would • Meaning: super human attempt later die by a poisoned arrow to his heel. • Greek Myth: The Roman name for Heracles • Sample Sentence: His love for fast food is one day is Hercules, which is more commonly used. going to prove to be his Achilles’ heel. Heracles was the son of Zeus and a mortal woman. He was required to successfully 2) CAUGHT BETWEEN SCYLLA & CHARYBDIS complete twelve very difficult tasks, called the • Meaning: choice between two evils Labors of Heracles. Any extreme effort deemed • Greek Myth: Along Odysseus’ voyage home, he as heroic or above normal human standards can encountered Scylla and Charybdis. Scylla, a sea be called “Herculean.” monster with many hands and six dog heads, • Sample Sentence: Finishing her first marathon ate men alive. Charybdis, a deadly whirlpool, required Herculean effort. swallowed ships whole. Odysseus had to choose between the routes, selecting the lesser of two 5) HOT AS HADES evils. He chose Scylla, losing six crewmen. • Meaning: sweltering heat • Sample Sentence: With two tests the next day and • Greek Myth: Hades, also called Tarturus, was the only time to study for one, he was stuck between god of the underworld.
    [Show full text]
  • Natural Chimerism
    Natural Chimerism Definitions • Mosaic – two populations of cells with different genotypes in one individual that developed from a single fertilized egg (subset of cells with a mutation) • Hybrid – a cross (mix of chromosomes) between parents of two different (sub)species (horse & donkey > mule & hinny) • Chimera – fusion of cells from different individuals of same or different species that will develop side by side and form a single organism Artificial / Iatrogenic Chimera • Intra-species – bone marrow transplantation – stem cell transplantation – organ transplantation • Inter-species – mouse-human – sheep-goat – etc Chimera (Χίμαιρα, Chímaira, "the goat") ... originally a creature of the Greek mythology http://en.wikipedia.org/wiki/Chimaera_(mythology) Typhon Echidna Cerberus Chimera Hydra Sphinx ? Natural Chimera • Fetal-maternal chimera • Blood sharing and twin chimera • Whole body or dispermic chimera • Tumor chimera • Germ cell chimera Rinkevich, Human Immunol 62:651 (2001) Gandparents Grandparents Mother Father Someone Someone Monozygotic Dizygotic Sister twins twins Brother Natural Chimera • Fetal-maternal chimera • Blood sharing and twin chimera • Whole body or dispermic chimera • Tumor chimera • Germ cell chimera Rinkevich, Human Immunol 62:651 (2001) Maternal immune system and pregnancy Placenta is a tumor Child is a parasite Kinsley & Lambert, Scientific American p.72 (01/2006) Nelson, Scientific American p.72 (02/2008) Maternal Instruction to Fetal Cells Self-defense versus immune tolerance Too much restraint of immunity:
    [Show full text]
  • Greek Mythology
    Greek mythology Greek ‘myths’ (short for mythology) are a series of stories about the Gods and magical beings of Greece. We’ll bet you’ve heard of some of the famous – and infamous! – characters already, such as Heracles, (the strongest man on Earth) Zeus, (the God of the sky and king of the gods) Pegasus (a flying horse) and Hades (the god of the underworld). Created thousands of years ago, Greek myths were epic stories about Greek gods, passed down over generations. They often feature heroic battles and terrible creatures, and taught the importance of bravery, intelligence, and right and wrong. They showed that even the gods, like mortal men, could be punished or rewarded for their actions. Details of the ancient tales have been found on everything from pottery to temples to stone statues! Greek myths were a huge part of the religion in Ancient Greece, and offer a glimpse into the lives of the ancient people who told them. Check out five of these fascinating Greek myths below, and meet the people-eating, fire-breathing beasts and the heroes who battled them! Scylla and Charybdis The Monster: Scylla and Charybdis The Hero: Odysseus The Battle: On both sides of a narrow stretch of sea, monsters lie in wait. On one side, Scylla thrashes around her six snakelike heads, ready to crunch on passing sailors. On the other, Charybdis creates a deadly whirlpool. No person has ever faced these beasts and escaped unharmed. Now the king, Odysseus, and his crew must pass them to get home. They edge around Charybdis’ spiralling sea, saving the ship from being swallowed whole.
    [Show full text]