DOCSLIB.ORG

New Cyclops Folder.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
New Cyclops Folder.Pdf Wrol c llfrl The on+eyed giairB that OdySseus encoun. tered were unrelated to the nearly divine beings who forged thunder- My, lilhot o Big Eye you Havel bolts for Zeus durlng the war Odysseus with the Titans Chapter next put in at a wooded island lperhaps Sicily). {see Unknown 5). Thts race of Cyclops was to Odysseus and his men, the savage, one_eyed entfu ely uncivilized. They giants known as Cyclops lived here. never plowed, sowed, or With_a dozen men, Odysseus climbed planted the soil. They never to a cave where they found a bounty of cheese, left the island trecause none lambs, and kids. Though the crew wanted to take of them had ever leamed how these spoils and run, Odysseus oriered them to build a boat And they had to wait and see who lived there. A giant Cyctops named no reveience fot Zeus-*or his Polyphemus returned with his flocks at dusk, irapping everyone laws, inside when he closed off the entranc" to fri, .ulre with a massive boulder. odysseus appealed for kindness under the laws of hospitality. But polyphemus, who recognized neither gods nor laws, demonstrated his idea of irospitatrty by devouring two of odysseus's men. odysseus kept his wits about him. He knew he could not kill the c,rcloqs because only Polyphemus was strong enough to reopen the cave,s mouth. So he ploned their escape throughout the night. when morning came, polyphemus ate two more Greeks, then left to tend to his flocks_ but not until he had again closed off the entrance to the cave with the giant boulder. The Cyclops returned that night and devoured two more men. Odysseus, who cleverly introduced himself to the ,,Nobody" Cyclops as (Outis), filled his host with Maron's delicious wine that night. When the giant passed out in a drunken stupor, Odysseus droie a heated stake through his eye. polyphemus roared with pain, which brought his fellow Cyclopes running to the entrance of his cave. But when they asked *iut *u, ,,Nobody wrong, Polyphemus screamed, has blinded a man naured Odyssepr would. mel Nobody is killing me!,, The Cyclopes, simulta_ bltnd him. But polyphemus neously relieved and annoyed by this news, told him to w*rtrioh€artbrokentopay l be quiet and go back to sleep. attention to thls oracte- The gmteqoecydoFshadloved l polyphemus The next morning, shoved the boulder the sea nynph Galatea, but aside, but blocked the entrance with his own body, she only had.eyes fe tJrr. ,. hoping to catch the remaining seven men as they tried handsome human youth Acir to leave. But during the night, Odysseus had tied Polyphemus had crushed his rival under giant himself and his men to the undersides of rams in the a rocL But polyphemus Galatea only hated him ogre's flock. As sent the animals out to more after this murder, whi.le Ads- graze, he stroked each on its back to make sure it was in aruwer to h€r pnyers-wru indeed a sheep. But because he failed to stroke their changed tnto a rlver god. underbellies, the Cyclops never discovered their passengers. Once safely outside, Odysseus and his men quickly led the flocks to their ship. The Poseidon f,dventgres After the ships had reft the shore, odysseus shouted taunts at the giant, proudry revealing his true-name. porlphemus norrecated the prophery of relemus] Th".igt hu io"ra punish his tormenters himself, the cyclops pi"y.d to'hir father poseidon'for rru.rg.ur,.".'* Poseidon, who hated odysseus from that day forward, would plague odysseus utli., urra again, transforming his return to Ithl:alnto a long, lonely, u"O ."orUy ,.;;;;;-*' r ! i Fi!: Ancient Greeks and Romans told stories about one-eyed giants called Cyclopes (sye-KloH-peez).In some stories, Cyclopes made lightning bolts for the Greek god Zeus (ZOOS). In other stories, Cyclopes threw large rocks at ships and attacked sailors. People told about the Cyclopes in myths. These stories said the Cyclopes were extremely ugly. Even the gods did not like to look at them. The Cyclopes stood as tall as mountains and were very strong. They also had mean tempers. In one myth, a Cyclops (SYE-klahpss) dropped part of a mountain on a man who made him angry. Polyphemus (pahl-i-FEE-muhss) is the most well-known Cyclops. FIe trapped the Greek hero Odysseus (oh-DlSS-ee-uhss) in a cave. Polyphemus ate several of Odysseus' companions before the hero found a way to escape. f lF *c k .i; . !., t,t. ... :,.:,,i ..lr.i:.,:.,,rt,.-,.,",,:l;, .: 'i..:a: ,,t: lFrt I?'*dry : #._5t-! ]:i,1""'s ,.r 1i i:i Long ago, people used myths to explain natural events that they did not understand. Ancient Greeks and Romans did not know what caused thunder and lightning. So, people told stories to explain their cause. Myths said the Cyclopes helped create thunder and lightning. The first three Cyclopes were children of Gaea (GAY-uh) and Uranus (YUR-uh-nuhss). Gaea was the goddess of the earth. uranus was the first god of the sky. The three Cyclopes were skilled builders and blacksmiths. They made a magic weapon called a thunderbolt for Zeus. The Cyclopes also made lightning bolts. Zeus used the thunderbolt to throw lightning bolts at his enemies. Ancient Greeks and Romans believed Zeus caused thunder and lightning. The sound of thunder happened when Zeus used his thunderbott. Lightning was one of Zeus' lightning bolts streaking across the sky. 7 $l*," o'i :#it affi:|pir ir,{;"hr""' i;,'" ,1"'j Caea and Uranus had 12 children called Titans. J'hcse giarrts were gods of nafure. The Titans controlled the wirrds and the seas. The Titan Cronus (KRoFl-nuhss) ruled the sky and the gods. Cronus was not a kind ruler. He trapped the Cyclopes under the earth. FIe also imprisoned his own children. Cronus worried that they might grow stronger than he was and overthrow him. Cronus/ youngest child, Zeus, got away. Zeus then helped his sisters and brothers escape . Zeus and his siblings fled to Mount Olympus in Greece and became known as the olympians. zeus knew cronus might imprison the olympians again. So, he decided to overthrow Cronus and the other Titans. Zeus freed the Cyclopes and asked them to help overthrow Cronus. The Cyclopes helped by making magic weapons for the Olympians. For Zeus, they made the thunderbolt. With their magic weapons, the Olympians defeated Cronus. Then, Zeus became ruler of the sky and the gods. I Apollo was the god of light, music, and healing. He had a human son named Asclepius (ahs-KlEE-pee-uhss). Asclepius was a skilled healer like his father. Myths say Asclepius knew how to bring the dead back to life. Zeus did not want a human to have this power. He killed Asclepius with a lightning bolt. Apollo was angry at Zeus, but he knew he was not strong enough to harm Zeus. So, Apollo killed the three Cyclopes. They had made the lightning bolt Zeus used to kill Apollo's son. Zeus punished Apollo for killing the Cyclopes. He made Apollo take care of King Admetus' (ad-MEE-tuhss) cattle for one year. This task embarrassed Apollo. Late{, Zeus felt sorry that he had killed Asclepius. Asclepius had performed many good deeds by healing people who were sick. Zeus brought Asclepius back to life and made him a god of healing and medicine. 11 ;,", i.ii, Myths tell about another group of Cyclopes. They lived in mountain caves on Sicily. Sicily is an island near ltaly. Some myths say the Cyclopes on Sicily were related to the first three Cyclopes. But they were not as skilled as the first three Cyclopes. The island Cyclopes were neither blacksmiths nor builders. Instead, they raised sheep and goats. The Cyclops Polyphemus was the son of the sea god Poseidon (poh-SYE-duhn). Polyphemus was the biggest and strongest of the island Cyclopes. Myths say that he liked to sink ships and eat sailors. One day, Telemus (TE-1i-muhss) visited Sicily. Telemus was a seer and told people about their future. He told Polyphemus that a great hero would come to Sicily and blind him. At the time, Polyphemus did not listen to Telemus' warning. All Polyphemus thought about was a beautiful sea nymph named Galatea (gah-luh-TEE-uh). 41l-J Polyphemus loved Galatea, but he worried that she thought he was an ugly monster. So, he combed his messy hair and trimmed his shaggy beard. Polyphemus even sang a love song to impress Calatea. Galatea did not love Polyphemus. She loved a young man named Acis (UH-siss). Acis was the son of a sea nymph. As Polyphemus sang, Galatea and Acis hid together behind a rock. After Polyphemus' song was over, Calatea and Acis thought it was safe to come out from their hiding place. But Polyphemus saw them together. He became very angry. Galatea and Acis tried to flee from Polyphemus. Galatea dived into the ocean, but Acis did not escape. Polyphemus picked up a piece of a mountain and dropped it on Acis. Acis'blood flowed from under the mountain. Myths say his blood slowly turned to water. Acis'blood became a river that flows from the foot of Mount Etna in Sicily. 15 Myths hcl1"'' l"tr'(!ltlr'lr',rt'tr ,rlrrrrrI ilrrr'irrtl euItures. Historians are nOt Surc wlt\, lrt'rlrlt' tllt,t;-,irtt'rl llttill*tt'l's t,r'itI One eye.The idea may hat,t'c'()rrrt'It'rrrrl *ur{'irlrl l,},rt.ksrrrit}rs.
Load more

Recommended publications
  • The Beautiful Galatea [Opéra Comique, in Two Acts; Text by Zell and Genée
    The Beautiful Galatea [Opéra comique, in two acts; text by Zell and Genée. First produced in Vienna, 1865.] PERSONAGES. Galatea, the statue. Ganymede, Greek boy. Pygmalion, sculptor. Midas, art patron. [Chorus of Grecians.] The scene is laid in Greece; time, mythological. The opera of "Die Schöne Galatea" ("The Beautiful Galatea"), though of slight construction, is one of Suppé's most melodious works, while the story is a clever setting of the familiar mythological romance in a somewhat modern frame, in which respect it resembles the stories of Helen of Troy and Orpheus and Eurydice, which Offenbach so cleverly travestied. The first act opens with a graceful chorus of Grecians on their way to worship at the temple of Venus, at dawn ("Aurora is awaking in Heaven above"). Ganymede, Pygmalion's servant, declines to go with them, preferring to sleep, and bids them good-by with a lullaby ("With Violets, with Roses, let the Temple be decked"). His master, Pygmalion, who has finished a statue of Galatea, his ideal, also goes to the temple, and Ganymede decides to take a nap. His slumbers are interrupted, however, by Midas, a professional art patron, who has heard of the statue and informs Ganymede that he is ready to buy it, but first wishes to see it. The servant declares it is impossible, as his master is in love with it. Midas makes a further appeal to him in a long descriptive arietta ("My Dear Father Gordias") in which he boasts of his abilities, his patronage, and his conquests. He finally bribes Ganymede to show it to him, and as he stands gazing at it and praising its loveliness, Pygmalion, who has suddenly returned, enters and upbraids them.
    [Show full text]
  • 2010 Njcl Certamen Novice Division Round One
    2010 NJCL CERTAMEN NOVICE DIVISION ROUND ONE 1. What effect did the flower of the lotus have upon the men of Odysseus? STOPPED CARING ABOUT HOME / DID NOT WANT TO GO BACK HOME / WANTED TO STAY IN LOTUS-EATER LAND / WEEP BITTERLY AS ODYSSEUS FORCED THEM BACK TO SHIPS B1: Who ate six of Odysseus' crewmen at another stop? POLYPHEMUS B2: What race of giant man-eaters crushed all but one of Odysseus' ships at another stop? LAESTRYGONIANS 2. From what Latin verb do we derive “adroit,” “dress,” “escort,” and “director”? REGŌ B1: Which one of these English words is also derived from regō: reciprocal, ruler, unrequited, rigidity? RULER B2: What English derivative of regō is a noun meaning “the denotation of a place where a person is located”? ADDRESS/REGION 3. Whose arrow was the first to strike the Calydonian boar? ATALANTA’S B1: What son of Oeneus, the king of Calydon, subsequently killed the boar? MELEAGER B2: What deity inflicted the monstrous boar upon Calydon after being offended by Oeneus? ARTEMIS 4. Give the vocative singular of the Latin noun meaning “son.” FĪLĪ B1: Give the vocative singular of the Latin noun meaning “poet.” POĒTA B2: Give the vocative of the phrase “my good friend.” MĪ AMĪCE BONE 5. What emperor lived a life of leisure while his father ruled the empire, and continued to do so in Campania after he was deposed by Odoacer? ROMULUS AUGUST(UL)US B1: What year was that overthrow of Romulus Augustulus? 476 AD B2: Who was Romulus Augustulus’ father, a name shared with a matricide in Greek tragedy? ORESTES 6.
    [Show full text]
  • From the Odyssey, Part 1: the Adventures of Odysseus
    from The Odyssey, Part 1: The Adventures of Odysseus Homer, translated by Robert Fitzgerald ANCHOR TEXT | EPIC POEM Archivart/Alamy Stock Photo Archivart/Alamy This version of the selection alternates original text The poet, Homer, begins his epic by asking a Muse1 to help him tell the story of with summarized passages. Odysseus. Odysseus, Homer says, is famous for fighting in the Trojan War and for Dotted lines appear next to surviving a difficult journey home from Troy.2 Odysseus saw many places and met many the summarized passages. people in his travels. He tried to return his shipmates safely to their families, but they 3 made the mistake of killing the cattle of Helios, for which they paid with their lives. NOTES Homer once again asks the Muse to help him tell the tale. The next section of the poem takes place 10 years after the Trojan War. Odysseus arrives in an island kingdom called Phaeacia, which is ruled by Alcinous. Alcinous asks Odysseus to tell him the story of his travels. I am Laertes’4 son, Odysseus. Men hold me formidable for guile5 in peace and war: this fame has gone abroad to the sky’s rim. My home is on the peaked sea-mark of Ithaca6 under Mount Neion’s wind-blown robe of leaves, in sight of other islands—Dulichium, Same, wooded Zacynthus—Ithaca being most lofty in that coastal sea, and northwest, while the rest lie east and south. A rocky isle, but good for a boy’s training; I shall not see on earth a place more dear, though I have been detained long by Calypso,7 loveliest among goddesses, who held me in her smooth caves to be her heart’s delight, as Circe of Aeaea,8 the enchantress, desired me, and detained me in her hall.
    [Show full text]
  • A Guide to Post-Classical Works of Art, Literature, and Music Based on Myths of the Greeks and Romans
    DOCUMENT RESUME ED 112 438 CS 202 298 AUTHOR Smith, Ron TITLE A Guide to Post-Classical Works of Art, Literature, and Music Based on Myths of the Greeks and Romans. PUB DATE 75 NOTE 40p.; Prepared at Utah State University; Not available in hard copy due to marginal legibility of original document !DRS PRICE MF-$0.76 Plus Postage. HC Not Available from EDRS. DESCRIPTORS *Art; *Bibliographies; Greek Literature; Higher Education; Latin Literature; *Literature; Literature Guides; *Music; *Mythology ABSTRACT The approximately 650 works listed in this guide have as their focus the myths cf the Greeks and Romans. Titles were chosen as being (1)interesting treatments of the subject matter, (2) representative of a variety of types, styles, and time periods, and (3) available in some way. Entries are listed in one of four categories - -art, literature, music, and bibliography of secondary sources--and an introduction to the guide provides information on the use and organization of the guide.(JM) *********************************************************************** Documents acquired by ERIC include many informal unpublished * materials not available from other sources. ERIC makes every effort * * to obtain the best copy available. Nevertheless, items of marginal * * reproducibility are often encountered and this affects the quality * * of the microfiche and hardcopy reproductions ERIC makes available * * via the ERIC Document Reproduction Service (EDRS). EDRS is not * responsible for the quality of the original document. Reproductions * * supplied
    [Show full text]
  • 2021 WFMT Opera Series Broadcast Schedule & Cast Information —Spring/Summer 2021
    2021 WFMT Opera Series Broadcast Schedule & Cast Information —Spring/Summer 2021 Please Note: due to production considerations, duration for each production is subject to change. Please consult associated cue sheet for final cast list, timings, and more details. Please contact [email protected] for more information. PROGRAM #: OS 21-01 RELEASE: June 12, 2021 OPERA: Handel Double-Bill: Acis and Galatea & Apollo e Dafne COMPOSER: George Frideric Handel LIBRETTO: John Gay (Acis and Galatea) G.F. Handel (Apollo e Dafne) PRESENTING COMPANY: Haymarket Opera Company CAST: Acis and Galatea Acis Michael St. Peter Galatea Kimberly Jones Polyphemus David Govertsen Damon Kaitlin Foley Chorus Kaitlin Foley, Mallory Harding, Ryan Townsend Strand, Jianghai Ho, Dorian McCall CAST: Apollo e Dafne Apollo Ryan de Ryke Dafne Erica Schuller ENSEMBLE: Haymarket Ensemble CONDUCTOR: Craig Trompeter CREATIVE DIRECTOR: Chase Hopkins FILM DIRECTOR: Garry Grasinski LIGHTING DESIGNER: Lindsey Lyddan AUDIO ENGINEER: Mary Mazurek COVID COMPLIANCE OFFICER: Kait Samuels ORIGINAL ART: Zuleyka V. Benitez Approx. Length: 2 hours, 48 minutes PROGRAM #: OS 21-02 RELEASE: June 19, 2021 OPERA: Tosca (in Italian) COMPOSER: Giacomo Puccini LIBRETTO: Luigi Illica & Giuseppe Giacosa VENUE: Royal Opera House PRESENTING COMPANY: Royal Opera CAST: Tosca Angela Gheorghiu Cavaradossi Jonas Kaufmann Scarpia Sir Bryn Terfel Spoletta Hubert Francis Angelotti Lukas Jakobski Sacristan Jeremy White Sciarrone Zheng Zhou Shepherd Boy William Payne ENSEMBLE: Orchestra of the Royal Opera House,
    [Show full text]
  • The Odyssey Homer Translated Lv Robert Fitzç’Erald
    I The Odyssey Homer Translated lv Robert Fitzç’erald PART 1 FAR FROM HOME “I Am Odysseus” Odysseus is in the banquet hail of Alcinous (l-sin’o-s, King of Phaeacia (fë-a’sha), who helps him on his way after all his comrades have been killed and his last vessel de stroyed. Odysseus tells the story of his adventures thus far. ‘I am Laertes’ son, Odysseus. [aertes Ia Men hold me formidable for guile in peace and war: this fame has gone abroad to the sky’s rim. My home is on the peaked sea-mark of Ithaca 4 Ithaca ith’. k) ,in island oft under Mount Neion’s wind-blown robe of leaves, the west e ast it C reece. in sight of other islands—Dulichium, Same, wooded Zacynthus—Ithaca being most lofty in that coastal sea, and northwest, while the rest lie east and south. A rocky isle, but good for a boy’s training; I (I 488 An Epic Poem I shall not see on earth a place more dear, though I have been detained long by Calypso,’ 12. Calypso k1ip’sö). loveliest among goddesses, who held me in her smooth caves, to be her heart’s delight, as Circe of Aeaea, the enchantress, 15 15. Circe (sür’së) of Aeaea e’e-). desired me, and detained me in her hail. But in my heart I never gave consent. Where shall a man find sweetness to surpass his OWfl home and his parents? In far lands he shall not, though he find a house of gold.
    [Show full text]
  • Ela Best Standards
    Table of Contents Table of Contents .......................................................................................................................................... 1 Introduction ................................................................................................................................................... 5 Standards Map ............................................................................................................................................ 10 Progression of Foundations Benchmarks .................................................................................................... 11 Spiraled Standards in a Vertical Progression .............................................................................................. 13 Kindergarten ........................................................................................................................................... 26 Foundational Skills ............................................................................................................................. 26 Reading ............................................................................................................................................... 27 Communication ................................................................................................................................... 29 Vocabulary .......................................................................................................................................... 32 Sample texts by
    [Show full text]
  • Greek Color Theory and the Four Elements [Full Text, Not Including Figures] J.L
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Greek Color Theory and the Four Elements Art July 2000 Greek Color Theory and the Four Elements [full text, not including figures] J.L. Benson University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/art_jbgc Benson, J.L., "Greek Color Theory and the Four Elements [full text, not including figures]" (2000). Greek Color Theory and the Four Elements. 1. Retrieved from https://scholarworks.umass.edu/art_jbgc/1 This Article is brought to you for free and open access by the Art at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Greek Color Theory and the Four Elements by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Cover design by Jeff Belizaire ABOUT THIS BOOK Why does earlier Greek painting (Archaic/Classical) seem so clear and—deceptively— simple while the latest painting (Hellenistic/Graeco-Roman) is so much more complex but also familiar to us? Is there a single, coherent explanation that will cover this remarkable range? What can we recover from ancient documents and practices that can objectively be called “Greek color theory”? Present day historians of ancient art consistently conceive of color in terms of triads: red, yellow, blue or, less often, red, green, blue. This habitude derives ultimately from the color wheel invented by J.W. Goethe some two centuries ago. So familiar and useful is his system that it is only natural to judge the color orientation of the Greeks on its basis. To do so, however, assumes, consciously or not, that the color understanding of our age is the definitive paradigm for that subject.
    [Show full text]
  • Humanity and Heroism in Blade Runner 2049 Ridley
    Through Galatea’s Eyes: Humanity and Heroism in Blade Runner 2049 Ridley Scott’s 1982 Blade Runner depicts a futuristic world, where sophisticated androids called replicants, following a replicant rebellion, are being tracked down and “retired” by officers known as “blade runners.” The film raises questions about what it means to be human and memories as social conditioning. In the sequel, Blade Runner 2049, director Denis Villeneuve continues to probe similar questions, including what gives humans inalienable worth and at what point post-humans participate in this worth. 2049 follows the story of a blade runner named K, who is among the model of replicants designed to be more obedient. Various clues cause K to suspect he may have been born naturally as opposed to manufactured. Themes from the Pinocchio story are interwoven in K’s quest to discover if he is, in fact, a “real boy.” At its core Pinocchio is a Pygmalion story from the creature’s point of view. It is apt then that most of 2049 revolves around replicants, with humans as the supporting characters. By reading K through multiple mythological figures, including Pygmalion, Telemachus, and Oedipus, this paper will examine three hallmarks of humanity suggested by Villeneuve’s film: natural birth, memory, and self-sacrifice. These three qualities mark the stages of a human life but particularly a mythological hero’s life. Ultimately, only one of these can truly be said to apply to K, but it will be sufficient for rendering him a “real boy” nonetheless. Although Pinocchio stories are told from the creatures’ point of view, they are still based on what human authors project onto the creature.
    [Show full text]
  • Homer's Odyssey Bingo Myfreebingocards.Com
    Homer's Odyssey Bingo myfreebingocards.com Safety First! Before you print all your bingo cards, please print a test page to check they come out the right size and color. Your bingo cards start on Page 3 of this PDF. If your bingo cards have words then please check the spelling carefully. If you need to make any changes go to mfbc.us/e/q95wuq Play Once you've checked they are printing correctly, print off your bingo cards and start playing! On the next page you will find the "Bingo Caller's Card" - this is used to call the bingo and keep track of which words have been called. Your bingo cards start on Page 3. Virtual Bingo Please do not try to split this PDF into individual bingo cards to send out to players. We have tools on our site to send out links to individual bingo cards. For help go to myfreebingocards.com/virtual-bingo. Help If you're having trouble printing your bingo cards or using the bingo card generator then please go to https://myfreebingocards.com/faq where you will find solutions to most common problems. Share Pin these bingo cards on Pinterest, share on Facebook, or post this link: mfbc.us/s/q95wuq Edit and Create To add more words or make changes to this set of bingo cards go to mfbc.us/e/q95wuq Go to myfreebingocards.com/bingo-card-generator to create a new set of bingo cards. Legal The terms of use for these printable bingo cards can be found at myfreebingocards.com/terms.
    [Show full text]
  • G Gaia Or Ge (Γαῖα, Γῆ, Latin 'Tellus', 'Terra'). Mother Earth, Oldest of The
    G Gaia or Ge (Γαῖα, Γῆ, Latin 'Tellus', 'Terra'). Mother earth, oldest of the gods, the personification of the antiquity and fertility of the earth, from which all life emerges, and to which it returns in death. Her main mythology is from Hesiod, who views earth as a flat disk, the first formation from the primeval *Chaos. As the original mother, she gave birth from herself first to Uranus, the sky, and then, with the articulation of her surface, she brought forth hills and Pontus, the sea. In the second phase of generation, she mated with Uranos to produce the twelve *Titans, the first of which was *Oceanus, the freshwater river which then encircled her. Next were the monstrous, one-eyed *Cyclopes, and then, among the most terrible of her children, the three *Hundred- handers. But their father Uranus would not allow them to be born, and to be relieved of the agony of her travail, Gaia plotted with the youngest Titan *Cronus to overthrow his father. She provided Cronus with a sickle, and hid him within her until Uranus spread himself over her in love; the son then castrated his father, and from the drops of blood that fell on the earth were born the *Erinyes, the *Giants, and the *Meliae, nymphs of the ash-tree (who in Hesiod are connected with the origins of the human race); the severed genitals of Uranus fell in the sea, floated to Cythera in Cyprus, and from them arose *Aphrodite. The emergence of sky and sea from earth, the marriage of earth and sky and the violence involved in their separation narrate the stages in the generation and separation of the world masses in the Hesiodic cosmogony.
    [Show full text]
  • A Dictionary of Mythology —
    Ex-libris Ernest Rudge 22500629148 CASSELL’S POCKET REFERENCE LIBRARY A Dictionary of Mythology — Cassell’s Pocket Reference Library The first Six Volumes are : English Dictionary Poetical Quotations Proverbs and Maxims Dictionary of Mythology Gazetteer of the British Isles The Pocket Doctor Others are in active preparation In two Bindings—Cloth and Leather A DICTIONARY MYTHOLOGYOF BEING A CONCISE GUIDE TO THE MYTHS OF GREECE AND ROME, BABYLONIA, EGYPT, AMERICA, SCANDINAVIA, & GREAT BRITAIN BY LEWIS SPENCE, M.A. Author of “ The Mythologies of Ancient Mexico and Peru,” etc. i CASSELL AND COMPANY, LTD. London, New York, Toronto and Melbourne 1910 ca') zz-^y . a k. WELLCOME INS77Tint \ LIBRARY Coll. W^iMOmeo Coll. No. _Zv_^ _ii ALL RIGHTS RESERVED INTRODUCTION Our grandfathers regarded the study of mythology as a necessary adjunct to a polite education, without a knowledge of which neither the classical nor the more modem poets could be read with understanding. But it is now recognised that upon mythology and folklore rests the basis of the new science of Comparative Religion. The evolution of religion from mythology has now been made plain. It is a law of evolution that, though the parent types which precede certain forms are doomed to perish, they yet bequeath to their descendants certain of their characteristics ; and although mythology has perished (in the civilised world, at least), it has left an indelible stamp not only upon modem religions, but also upon local and national custom. The work of Fruger, Lang, Immerwahr, and others has revolutionised mythology, and has evolved from the unexplained mass of tales of forty years ago a definite and systematic science.
    [Show full text]