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Marsyas in the Garden?
http://www.diva-portal.org This is the published version of a paper published in Opuscula: Annual of the Swedish Institutes at Athens and Rome. Citation for the original published paper (version of record): Habetzeder, J. (2010) Marsyas in the garden?: Small-scale sculptures referring to the Marsyas in the forum Opuscula: Annual of the Swedish Institutes at Athens and Rome, 3: 163-178 https://doi.org/10.30549/opathrom-03-07 Access to the published version may require subscription. N.B. When citing this work, cite the original published paper. Permanent link to this version: http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-274654 MARSYAS IN THE GARDEN? • JULIA HABETZEDER • 163 JULIA HABETZEDER Marsyas in the garden? Small-scale sculptures referring to the Marsyas in the forum Abstract antiquities bought in Rome in the eighteenth century by While studying a small-scale sculpture in the collections of the the Swedish king Gustav III. This collection belongs today Nationalmuseum in Stockholm, I noticed that it belongs to a pre- to the Nationalmuseum in Stockholm. It is currently being viously unrecognized sculpture type. The type depicts a paunchy, thoroughly published and a number of articles on the col- bearded satyr who stands with one arm raised. To my knowledge, four lection have previously appeared in Opuscula Romana and replicas exist. By means of stylistic comparison, they can be dated to 3 the late second to early third centuries AD. Due to their scale and ren- Opuscula. dering they are likely to have been freestanding decorative elements in A second reason why the sculpture type has not previ- Roman villas or gardens. -
Title: Midas, the Golden Age Trope, and Hellenistic Kingship in Ovid's
Title: Midas, the Golden Age trope, and Hellenistic Kingship in Ovid’s Metamorphoses Abstract: This article proposes a sustained politicized reading of the myth of Midas in Ovid’s Metamorphoses. It argues that Midas stands, first, as the embodiment of failed, Hellenistic kingship, with its ostentatious display of wealth and heralding of a new Golden Age, and, second, as a warning against the infectious “love of gold”, to which Roman politicians are far from immune. While the capture of Silenus and the golden touch episode link Midas with the tropes of Hellenistic kingship, his involvement in the competition between Pan and Apollo raises questions about the tropes of Roman imperial power itself. 0 Midas, the Golden Age trope, and Hellenistic Kingship in Ovid’s Metamorphoses It might be heaven, this static Plenitude: apples gold on the bough, Goldfinch, goldfish, golden tiger cat stock - Still in one gigantic tapestry – Sylvia Plath, In Midas' Country Ovid provides the fullest and most elaborate account of the myth of Midas that has come down to us from Classical Antiquity. His version conflates what must have been three different myths involving the legendary Phrygian king: first, his encounter with or capture of Silenus, second, the gift of the golden touch, which turned into a curse, and third, his acquisition of ass’s ears –– in Ovid’s version as a punishment by Apollo for his musical preferences. Throughout the narrative (11.85-193) Midas emerges as a figure of ridicule, a man unable to learn from his mistakes1. Despite the amount of criticism that has focused on the Metamorphoses, this episode has attracted remarkably little attention. -
Greek Mythology
Greek mythology Mythical characters Gods and goddesses Zeus is the king of the gods, ruler of Mount Olympus and god of the sky. His name means ‘bright’ or ‘sky’. His royal animals are the eagle and bull. Zeus’s favourite weapon is a lightning bolt made for him by the Cyclops. Zeus can be a greedy and dishonest god. If he desires something, he is unlikely to let anything stop him from gaining it. Because of this, he often lies about his behaviour to Hera, his wife. Hera is the queen of the gods and wife of Zeus. She is the goddess of women, marriage, childbirth, heirs, kings and empires. She often carries a lotus- tipped staff. Hera never forgets an insult or injury and can be cruel or vengeful. Poseidon is the god of rivers, seas, floods, droughts and earthquakes. Brother to Zeus, he is the king of the sea and protector of all waters. Poseidon carries a trident: a spear with three points. His sacred animals are the dolphin and the horse. Athena is the goddess of wisdom, intelligence, skill, peace and warfare. According to legend, she was born out of Zeus’s forehead fully formed and fully armoured. She looks over heroes such as Odysseus and Hercules. Athena is often accompanied by a sacred owl. Her symbol is the olive tree. KS2 | Page 1 copyright 2019 Greek mythology Gods and goddesses Aphrodite is the goddess of love and beauty, who can cause gods or mortals to fall in love with whomever she chooses. Aphrodite’s sacred animals include doves and sparrows. -
Naked and Unashamed: a Study of the Aphrodite
Naked and Unashamed: A Study of the Aphrodite Anadyomene in the Greco-Roman World by Marianne Eileen Wardle Department of Art, Art History and Visual Studies Duke University Date:_______________________ Approved: ___________________________ Sheila Dillon, Supervisor ___________________________ Mary T. Boatwright ___________________________ Caroline A. Bruzelius ___________________________ Richard J. Powell ___________________________ Kristine Stiles Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosopy in the Department of Art, Art History and Visual Studies in the Graduate School of Duke University 2010 ABSTRACT Naked and Unashamed: A Study of the Aphrodite Anadyomene in the Greco-Roman World by Marianne Eileen Wardle Department of Art, Art History and Visual Studies Duke University Date:_______________________ Approved: ___________________________ Sheila Dillon, Supervisor ___________________________ Mary T. Boatwright ___________________________ Caroline A. Bruzelius ___________________________ Richard J. Powell ___________________________ Kristine Stiles An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosopy in the Department of Art, Art History and Visual Studies in the Graduate School of Duke University 2010 Copyright by Marianne Eileen Wardle 2010 Abstract This dissertation presents a study of the Aphrodite Anadyomene type in its cultural and physical contexts. Like many other naked Aphrodites, the Anadyomene was not posed to conceal the body, but with arms raised, naked and unashamed, exposing the goddess’ body to the gaze. Depictions of the Aphrodite Anadyomene present the female body as an object to be desired. The Anadyomene offers none of the complicated games of peek-a- boo which pudica Venuses play by shielding their bodies from view. Instead, the goddess offers her body to the viewer’s gaze and there is no doubt that we, as viewers, are meant to look, and that our looking should produce desire. -
Mythology in Poetry
Mythology in AP Poetry Andromeda sorrowing father was close at hand, and her mother too. They were Andromeda was the princess of Ethiopia, daughter of Cepheus and both in deep distress, though the mother had more cause to be so Cassiopeia. Cassiopeia was a boastful woman, and foolishly bragged (Metamorphoses IV 674-692) Perseus said to her parents that he that she was more beautiful than Juno, the queen of the gods, and the would kill the monster if they agree to give him their daughter's hand Nereids. In order to avenge the insult to his nymphs, Neptune sent a in marriage. They of course gave their consent, and Perseus killed the sea monster to ravage the Ethiopian coast. (Some accounts state that monster. (His exact method of doing so varies in different versions of the constellation Cetus represents the sea monster, but a more the myth. Ovid has Perseus stab the monster to death after a drawn- common view of Cetus is that he is a peaceful whale.) out, bloody battle, while other versions have the hero simply hold up the head of Medusa, turning the monster to stone.) Andromeda was The horrified king consulted Ammon, the oracle of Jupiter, who said freed, and the two joyously marry. that Neptune could be appeased only by sacrificing Cassiopeia's *Andromeda is represented in the sky as the figure of a woman with beautiful virgin daughter, Andromeda, to the monster. Andromeda her arms outstretched and chained at the wrists. was duly chained to a rock on the coast, fully exposed to the monster. -
The Cyclops by Euripides File:///D:/Doc/103/Texts/Euripides/Cyclops/CYCLOPS2.HTM
The Cyclops by Euripides file:///D:/doc/103/texts/euripides/cyclops/CYCLOPS2.HTM The Cyclops By Euripides Written ca. 408 B.C.E Translated by E. P. Coleridge Dramatis Personae SILENUS, old servant of the CYCLOPS CHORUS OF SATYRS ODYSSEUS THE CYCLOPS Scene Before the great cave of the CYCLOPS at the foot of Mount Aetna. SILENUS enters. He has a rake with him, with which he cleans up the ground in front of the cave as he soliloquizes. SILENUS O Bromius, unnumbered are the toils I bear because of thee, no less now than when I was young and hale; first, when thou wert driven mad by Hera and didst leave the mountain nymphs, thy nurses; next, when in battle with earth-born spearmen I stood beside thee on the right as squire, and slew Enceladus, smiting him full in the middle of his targe with my spear. Come, though, let me see; must I confess 'twas all a dream? No, by Zeus! since I really showed his spoils to the Bacchic god. And now am I enduring to the full a toil still worse than those. For when Hera sent forth a race of Tyrrhene pirates against thee, that thou mightest be smuggled far away, I, as soon as the news reached me, sailed in quest of thee with my children; and, taking the helm myself, I stood on the end of the stern and steered our trim craft; and my sons, sitting at the oars, made the grey billows froth and foam as they sought thee, my liege, But just as we had come nigh Malea in our course, an east wind blew upon the ship and drove us hither to the rock of Aetna, where in lonely caverns dwell the one-eyed children of ocean's god, the murdering Cyclopes. -
Aphrodite in the Terracottas of Pella
Aphrodite in the terracottas of Pella Zamioudi Anastasia SCHOOL OF HUMANITIES A thesis submitted for the degree of Master of Arts (MA) in The Classical Archaeology and the History of Ancient Macedonia February 2018 Thessaloniki – Greece 2 3 Student Name: Zamioudi Anastasia SID: 2204150029 Supervisor: Prof. I.M Akamatis. I hereby declare that the work submitted is mine and that where I have made use of another’s work, I have attributed the source(s) according to the Regulations set in the Student’s Handbook. February 2018 Thessaloniki - Greece 4 ABSTRACT This dissertation was written as part of the MA in the Classical Archaeology and the Ancient History of Macedonia at the International Hellenic University. The paper discusses the worship of Aphrodite and the clay figurines found in different positions in the city of Pella. The several types of clay figurines are described and an attempt to give an interpretation for their use is made. The study of the material led to the identification of eight types. The objective was to explore the variations within the different types of the figurines and find parallels of each type separately. Special focus is attempted on the interaction between the worship of the goddess and the local community, in a way that Aphrodite played an important role in the daily religious activities of the city’s population. For example, the mortal ladies of Pella offered themselves to the chthonian deities in order to favour the deceased. Beyond her chthonic character, Aphrodite was worshipped as Aphrodite Pandemos in the Sanctuary of Pella. This aspect of Aphrodite is bound up with the commoners of Pella in a sense that the deity unites its people socially and politically. -
The Ears of Hermes
The Ears of Hermes The Ears of Hermes Communication, Images, and Identity in the Classical World Maurizio Bettini Translated by William Michael Short THE OHIO STATE UNIVERSITY PRess • COLUMBUS Copyright © 2000 Giulio Einaudi editore S.p.A. All rights reserved. English translation published 2011 by The Ohio State University Press. Library of Congress Cataloging-in-Publication Data Bettini, Maurizio. [Le orecchie di Hermes. English.] The ears of Hermes : communication, images, and identity in the classical world / Maurizio Bettini ; translated by William Michael Short. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8142-1170-0 (cloth : alk. paper) ISBN-10: 0-8142-1170-4 (cloth : alk. paper) ISBN-13: 978-0-8142-9271-6 (cd-rom) 1. Classical literature—History and criticism. 2. Literature and anthropology—Greece. 3. Literature and anthropology—Rome. 4. Hermes (Greek deity) in literature. I. Short, William Michael, 1977– II. Title. PA3009.B4813 2011 937—dc23 2011015908 This book is available in the following editions: Cloth (ISBN 978-0-8142-1170-0) CD-ROM (ISBN 978-0-8142-9271-6) Cover design by AuthorSupport.com Text design by Juliet Williams Type set in Adobe Garamond Pro Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American Na- tional Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48–1992. 9 8 7 6 5 4 3 2 1 CONTENTS Translator’s Preface vii Author’s Preface and Acknowledgments xi Part 1. Mythology Chapter 1 Hermes’ Ears: Places and Symbols of Communication in Ancient Culture 3 Chapter 2 Brutus the Fool 40 Part 2. -
Amymone Is Sent out to Find Water, As Poseidon Has Dried up All the Rivers
The fourth play in the tetralogy was a satyr- play, containing farcical elements thematically related to the first three plays. One of the Danaids, Amymone is sent out to find water, as Poseidon has dried up all the rivers. She falls asleep and is molested by satyrs. Poseidon hurls his trident, which scares them off. She sleeps with him, and he creates a spring for her which will never run dry. AMYMONE A re-imagining of Aeschylus’ lost play By Andrew Wilson For Juliet 1 THE DANAID TETRALOGY IV AMYMONE A Satyr Play This tale appears in the Bibliotheca of Pseudo-Apollodorus (1st or 2nd century AD) Since the land [of Argos] was waterless, because Poseidon had dried up the springs in anger with Inachos because he had testified that the land belonged to Hera. [Danaos] sent out his daughters to fetch water. One of them, Amymone, while searching for water, threw a javelin at a deer and hit a sleeping satyr, and the satyr rose and was eager to have intercourse with her. She appealed for the help of Poseidon, and when Poseidon appeared the satyr took to flight and Amymone lay with Poseidon and Poseidon revealed to her the springs at Lerna. 2 The Characters AMYMONE CHORUS OF SATYRS SILENUS, Leader of the Chorus POSEIDON Text in red is by Aeschylus, fragments 13, 14, 15 3 Scene: The Argolid. Somewhere. Not far from the sea. Enter Amymone, carrying a pitcher Amymone Phew! I’m exhausted. What a task! What is my task, I hear you ask? My task, my job, my occupation? It doesn’t need much education! This is my pot, my ewer, jug Which I’ve been told I have to lug Around this country till I find – No one asked me if I mind – A stream of water or a brook: Alas, I don’t know where to look! - Because I’m ordered, seems I must - The river-beds are dry as dust. -
Divine Riddles: a Sourcebook for Greek and Roman Mythology March, 2014
Divine Riddles: A Sourcebook for Greek and Roman Mythology March, 2014 E. Edward Garvin, Editor What follows is a collection of excerpts from Greek literary sources in translation. The intent is to give students an overview of Greek mythology as expressed by the Greeks themselves. But any such collection is inherently flawed: the process of selection and abridgement produces a falsehood because both the narrative and meta-narrative are destroyed when the continuity of the composition is interrupted. Nevertheless, this seems the most expedient way to expose students to a wide range of primary source information. I have tried to keep my voice out of it as much as possible and will intervene as editor (in this Times New Roman font) only to give background or exegesis to the text. All of the texts in Goudy Old Style are excerpts from Greek or Latin texts (primary sources) that have been translated into English. Ancient Texts In the field of Classics, we refer to texts by Author, name of the book, book number, chapter number and line number.1 Every text, regardless of language, uses the same numbering system. Homer’s Iliad, for example, is divided into 24 books and the lines in each book are numbered. Hesiod’s Theogony is much shorter so no book divisions are necessary but the lines are numbered. Below is an example from Homer’s Iliad, Book One, showing the English translation on the left and the Greek original on the right. When citing this text we might say that Achilles is first mentioned by Homer in Iliad 1.7 (i.7 is also acceptable). -
Olympus the Musician in Greek Literature and Art: Mythology and Music History
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