About Greek Goddesses As Mothers Or Would-Be Mothers
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Naming the Extrasolar Planets
Naming the extrasolar planets W. Lyra Max Planck Institute for Astronomy, K¨onigstuhl 17, 69177, Heidelberg, Germany [email protected] Abstract and OGLE-TR-182 b, which does not help educators convey the message that these planets are quite similar to Jupiter. Extrasolar planets are not named and are referred to only In stark contrast, the sentence“planet Apollo is a gas giant by their assigned scientific designation. The reason given like Jupiter” is heavily - yet invisibly - coated with Coper- by the IAU to not name the planets is that it is consid- nicanism. ered impractical as planets are expected to be common. I One reason given by the IAU for not considering naming advance some reasons as to why this logic is flawed, and sug- the extrasolar planets is that it is a task deemed impractical. gest names for the 403 extrasolar planet candidates known One source is quoted as having said “if planets are found to as of Oct 2009. The names follow a scheme of association occur very frequently in the Universe, a system of individual with the constellation that the host star pertains to, and names for planets might well rapidly be found equally im- therefore are mostly drawn from Roman-Greek mythology. practicable as it is for stars, as planet discoveries progress.” Other mythologies may also be used given that a suitable 1. This leads to a second argument. It is indeed impractical association is established. to name all stars. But some stars are named nonetheless. In fact, all other classes of astronomical bodies are named. -
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. -
Lila and Kween and the Turbulent Priest Written by X-22, Based on Characters by Roundersofter
Lila and Kween and the Turbulent Priest Written by x-22, Based on characters by RounderSofter The glorious sun bathed everything in a copper glow. Fanfare blared over the crowd's reverent silence as the giant doors rumbled, light playing over gold plate as they slowly opened. The marble of the magnificent temple shone like precious metal in the sunlight, from towering spire to tendrils of columned wings fanning out to embrace the immense throng. The rapturous followers were crammed together in the vast plaza. They pushed madly to come closer to the polished platform that cleaved through the crowd. Soon the doors were open and the fanfare died down. Out of the mysterious gloom of the sprawling temple and into the pleasant warmth stepped the Blessed One. Mad cheers went up from the crowd for the High Priestess. Sole custodian of the faith, pinnacle of the temple hierarchy. The faithful worshipped her. Kings bowed to her will. She was fat as only the supreme pontiff of Hunger and Feasting could be, but beautiful. Her girth rivalled her height, but her lilac and pink clothes she wore as if she were the Goddess of Beauty herself. Thick, blue hair fell over her shoulders and elegant robes. The high priestess' bulging hips barely cleared the doorway as she waddled slowly towards the gently sloping stairs down to the marble platform below. Her big eyes surveyed her faithful and her heart swelled at the sight. Lila! Lila! Lila! she imagined them chanting, but the din was incomprehensible. A smile spread across the high priestess' broad features. -
Hesiod Theogony.Pdf
Hesiod (8th or 7th c. BC, composed in Greek) The Homeric epics, the Iliad and the Odyssey, are probably slightly earlier than Hesiod’s two surviving poems, the Works and Days and the Theogony. Yet in many ways Hesiod is the more important author for the study of Greek mythology. While Homer treats cer- tain aspects of the saga of the Trojan War, he makes no attempt at treating myth more generally. He often includes short digressions and tantalizes us with hints of a broader tra- dition, but much of this remains obscure. Hesiod, by contrast, sought in his Theogony to give a connected account of the creation of the universe. For the study of myth he is im- portant precisely because his is the oldest surviving attempt to treat systematically the mythical tradition from the first gods down to the great heroes. Also unlike the legendary Homer, Hesiod is for us an historical figure and a real per- sonality. His Works and Days contains a great deal of autobiographical information, in- cluding his birthplace (Ascra in Boiotia), where his father had come from (Cyme in Asia Minor), and the name of his brother (Perses), with whom he had a dispute that was the inspiration for composing the Works and Days. His exact date cannot be determined with precision, but there is general agreement that he lived in the 8th century or perhaps the early 7th century BC. His life, therefore, was approximately contemporaneous with the beginning of alphabetic writing in the Greek world. Although we do not know whether Hesiod himself employed this new invention in composing his poems, we can be certain that it was soon used to record and pass them on. -
1 Reading Athenaios' Epigraphical Hymn to Apollo: Critical Edition And
Reading Athenaios’ Epigraphical Hymn to Apollo: Critical Edition and Commentaries DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Corey M. Hackworth Graduate Program in Greek and Latin The Ohio State University 2015 Dissertation Committee: Fritz Graf, Advisor Benjamin Acosta-Hughes Carolina López-Ruiz 1 Copyright by Corey M. Hackworth 2015 2 Abstract This dissertation is a study of the Epigraphical Hymn to Apollo that was found at Delphi in 1893, and since attributed to Athenaios. It is believed to have been performed as part of the Athenian Pythaïdes festival in the year 128/7 BCE. After a brief introduction to the hymn, I provide a survey and history of the most important editions of the text. I offer a new critical edition equipped with a detailed apparatus. This is followed by an extended epigraphical commentary which aims to describe the history of, and arguments for and and against, readings of the text as well as proposed supplements and restorations. The guiding principle of this edition is a conservative one—to indicate where there is uncertainty, and to avoid relying on other, similar, texts as a resource for textual restoration. A commentary follows, which traces word usage and history, in an attempt to explore how an audience might have responded to the various choices of vocabulary employed throughout the text. Emphasis is placed on Athenaios’ predilection to utilize new words, as well as words that are non-traditional for Apolline narrative. The commentary considers what role prior word usage (texts) may have played as intertexts, or sources of poetic resonance in the ears of an audience. -
AND DID THOSE HOOVES Pan and the Edwardians
1 AND DID THOSE HOOVES Pan and the Edwardians By Eleanor Toland A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Arts in English Literature Victoria University of Wellington 2014 2 “….a goat’s call trembled from nowhere to nowhere…” James Stephens, The Crock of Gold, 1912 3 Contents Abstract………………………………………………………………………………………...4 Acknowledgements……………………………………………………………………………..5 Introduction: Pan and the Edwardians………………………………………………………….6 Chapter One: Pan as a Christ Figure, Christ as a Pan Figure…………………………………...17 Chapter Two: Uneasy Dreams…………………………………………..…………………......28 Chapter Three: Savage Wildness to Garden God………….…………………………………...38 Chapter Four: Culminations….................................................................................................................48 Chapter Five: The Prayer of the Flowers………………...…………………………………… 59 Conclusion…………………………………………………………………………………….70 Works Cited…………………………………………………………………………………...73 4 Acknowledgements My thanks to Lilja, Lujan, Saskia, Thomas, Emily, Eve, Mehdy, Eden, Margie, Katie, Anna P, the other Anna P, Hannah, Sarah, Caoilinn, Ronan, Kay, Angelina, Iain et Alana and anyone else from the eighth and ninth floor of the von Zedlitz building who has supplied a friendly face or a kind word. Your friendship and encouragement has been a fairy light leading me out of a perilous swamp. Thank you to my supervisors, Charles and Geoff, without whose infinite patience and mentorship this thesis would never have been finished, and whose supervision went far beyond the call of duty. Finally, thank you to my family for their constant support and encouragement. 5 Abstract A surprisingly high number of the novels, short stories and plays produced in Britain during the Edwardian era (defined in the terms of this thesis as the period of time between 1900 and the beginning of World War One) use the Grecian deity Pan, god of shepherds, as a literary motif. -
Athena ΑΘΗΝΑ Zeus ΖΕΥΣ Poseidon ΠΟΣΕΙΔΩΝ Hades ΑΙΔΗΣ
gods ΑΠΟΛΛΩΝ ΑΡΤΕΜΙΣ ΑΘΗΝΑ ΔΙΟΝΥΣΟΣ Athena Greek name Apollo Artemis Minerva Roman name Dionysus Diana Bacchus The god of music, poetry, The goddess of nature The goddess of wisdom, The god of wine and art, and of the sun and the hunt the crafts, and military strategy and of the theater Olympian Son of Zeus by Semele ΕΡΜΗΣ gods Twin children ΗΦΑΙΣΤΟΣ Hermes of Zeus by Zeus swallowed his first Mercury Leto, born wife, Metis, and as a on Delos result Athena was born ΑΡΗΣ Hephaestos The messenger of the gods, full-grown from Vulcan and the god of boundaries Son of Zeus the head of Zeus. Ares by Maia, a Mars The god of the forge who must spend daughter The god and of artisans part of each year in of Atlas of war Persephone the underworld as the consort of Hades ΑΙΔΗΣ ΖΕΥΣ ΕΣΤΙΑ ΔΗΜΗΤΗΡ Zeus ΗΡΑ ΠΟΣΕΙΔΩΝ Hades Jupiter Hera Poseidon Hestia Pluto Demeter The king of the gods, Juno Vesta Ceres Neptune The goddess of The god of the the god of the sky The goddess The god of the sea, the hearth, underworld The goddess of and of thunder of women “The Earth-shaker” household, the harvest and marriage and state ΑΦΡΟΔΙΤΗ Hekate The goddess Aphrodite First-generation Second- generation of magic Venus ΡΕΑ Titans ΚΡΟΝΟΣ Titans The goddess of MagnaRhea Mater Astraeus love and beauty Mnemosyne Kronos Saturn Deucalion Pallas & Perses Pyrrha Kronos cut off the genitals Crius of his father Uranus and threw them into the sea, and Asteria Aphrodite arose from them. -
Lecture 9 Good Morning and Welcome to LLT121 Classical Mythology
Lecture 9 Good morning and welcome to LLT121 Classical Mythology. In our last exciting class, we were discussing the various sea gods. You’ll recall that, in the beginning, Gaia produced, all by herself, Uranus, the sky, Pontus, the sea and various mountains and whatnot. Pontus is the Greek word for “ocean.” Oceanus is another one. Oceanus is one of the Titans. Guess what his name means in ancient Greek? You got it. It means “ocean.” What we have here is animism, pure and simple. By and by, as Greek civilization develops, they come to think of the sea as ruled by this bearded god, lusty, zesty kind of god. Holds a trident. He’s seriously malformed. He has an arm growing out of his neck this morning. You get the picture. This is none other than the god Poseidon, otherwise known to the Romans as Neptune. One of the things that I’m going to be mentioning as we meet the individual Olympian gods, aside from their Roman names—Molly, do you have a problem with my drawing? Oh, that was the problem. Okay, aside from their Roman names is also their quote/unquote attributes. Here’s what I mean by attributes: recognizable features of a particular god or goddess. When you’re looking at, let’s say, ancient Greek pottery, all gods and goddesses look pretty much alike. All the gods have beards and dark hair. All the goddesses have long, flowing hair and are wearing dresses. The easiest way to tell them apart is by their attributes. -
Words: Dragon, Andromeda, Medusa, Perseus, Myth
Athens Journal of Mediterranean Studies - Volume 7, Issue 3, July 2021 – Pages 201-232 Medusa Must Die! The Virgin and the Defiled in Greco-Roman Medusa and Andromeda Myths By Sharon Khalifa-Gueta* Andromeda and Medusa are two types within the same motif—that of the motif of ―the woman and the dragon‖. This article positions a mythical hero between these two women and contrasts their relationship with dragons, along with a further fresh investigation of women and dragons in ritual and cultural context. The complexity of this motif, in contrast to the dragon-slayer topos, is explored, shedding light on social views, desires, and fears toward women in the ancient Greco-Roman cultural context. These female figures are contrasted within one mythical sequence, elucidating their educational role for men. This investigation also confronts the ―good‖ versus the ―defiled‖ woman and clarifies why a ―holy-defiled‖ woman, such as Medusa, cannot exist in patriarchal cultures, and therefore must be isolated, killed, or otherwise controlled by patriarchal society. Keywords: dragon, Andromeda, Medusa, Perseus, myth Introduction The myth sequence of Perseus is well studied, mostly as part of the dragon- slayer topos. This article aims to shift the attention from Perseus to his two encounters with females, Andromeda and Medusa, and suggest that by placing them together in the same myth sequence a motif with binary visualisations emerges. While Medusa‘s image has already been broadly investigated, Andromeda has mostly been neglected, with Perseus‘s figure gaining the most attention in this myth. Focusing on the artistic manifestation of the syntagm ―the woman and the dragon‖ reveals a Greco-Roman cultural binary of the ―good‖ versus the ―bad‖ woman. -
Bacchylides 19 and Eumelus' Europia
Gaia Revue interdisciplinaire sur la Grèce archaïque 22-23 | 2020 Varia The Genealogy of Dionysus: Bacchylides 19 and Eumelus’ Europia La généalogie de Dionysos: Bacchylide 19 et l’Europia d’Eumélos Marios Skempis Electronic version URL: http://journals.openedition.org/gaia/512 ISSN: 2275-4776 Publisher UGA Éditions/Université Grenoble Alpes Printed version ISBN: 978-2-37747-199-7 ISSN: 1287-3349 Electronic reference Marios Skempis, « The Genealogy of Dionysus: Bacchylides 19 and Eumelus’ Europia », Gaia [Online], 22-23 | 2020, Online since 30 June 2020, connection on 17 July 2020. URL : http:// journals.openedition.org/gaia/512 This text was automatically generated on 17 July 2020. Gaia. Revue interdisciplinaire sur la Grèce archaïque The Genealogy of Dionysus: Bacchylides 19 and Eumelus’ Europia 1 The Genealogy of Dionysus: Bacchylides 19 and Eumelus’ Europia La généalogie de Dionysos: Bacchylide 19 et l’Europia d’Eumélos Marios Skempis 1 Bacchylides’ relation to the Epic Cycle is an issue under-appreciated in the study of classical scholarship, the more so since modern Standardwerke such as Martin West’s The Epic Cycle and Marco Fantuzzi and Christos Tsagalis’ The Greek Epic Cycle and Its Reception: A Companion are unwilling to engage in discussions about the Cycle’s impact on this poet.1 A look at the surviving Dithyrambs in particular shows that Bacchylides appropriates the Epic Cycle more thoroughly than one expects: Bacchylides 15 reworks the Cypria’s Request for Helen’s Return (arg. 10 W); Bacchylides 16 alludes to Creophylus’ Sack of Oechalia; Bacchylides 17 and 18 are instantiations of mythical episodes plausibly excerpted from an archaic Theseid; Bacchylides 19 opens and ends its mythical section with a circular mannerism that echoes the Thebaid’s incipit (fr. -
The Bacchae of Euripides
The Bacchae of Euripides By Wole Soyinka Directed by Prof. Judyie Al-Bilali Dramaturgy by Prof. Megan Lewis STUDY GUIDE Contact: Prof Megan Lewis [email protected] DIRECTOR’S NOTE Dionysus and his magnificent initiates, the Bacchantes, have come back for me. I met them twenty years ago when I directed this same adaptation by distinguished Nigerian Nobel Laureate, Wole Soyinka. I embraced his vision as it foregrounds the social and political transformations inherent to the ancient drama, and now two decades later, Soyinka’s script rings even more true as we face unprecedented environmental, ecological, and spiritual challenges. A play is relevant after 2,400 years because it illuminates primal forces, notable among them, sexuality. Dionysus, called by many names including ‘The Liberator’ has often symbolized gender fluidity. In the rigid caste system of ancient Greece, his devotees included slaves, women, and foreigners -- allowing those usually excluded to participate in the annual Dionysian festivals. Our play is set in 2020, just across the threshold into the upcoming decade, at the pivot point of a new era in human history. Our location is Gaia, the mythological Greek name recognizing our beloved and beleaguered planet Earth as a sentient, living goddess. Right now, Gaia demands our attention. She calls us beyond ideology to unity, a call we must heed for our survival as a species. Myth is how we navigate and ultimately evolve both individual and collective psyches. Myth must change for us to grow. Artists are the antennae for society and we are re-imagining Euripides’ myth of Dionysus to address our need for balance between reason and passion. -
Symbolism of the Apple in Greek Mythology Highgate Private School Nicosia, CYPRUS
Symbolism of the Apple in Greek Mythology Highgate Private School Nicosia, CYPRUS Apples appear throughout numerous world religions and mythologies as a common symbol and motif. It is important to note though that in Middle English as late as the 17th century, the word ‘apple’ was used as a generic term to describe all fruit other than berries, so the appearance of apples in ancient writings may not actually be the apples known today. The etymology of 'apple' is an interesting one. That aside, Greek mythology presents several notable apples: the Golden Apples in the Garden of Hesperides, different golden apples associated with Atalanta, and of course the golden Apple of Discord. Each appearance of apples presents unique examples of symbolism. The Golden Apples in the Garden of Hesperides were a wedding gift to Hera from Gaia and were protected by a great serpent called Ladon. The Apples as well as the rest of the life in the Garden were tended by the Hesperides, minor earth goddesses or nymphs and daughters of the Titan, Atlas. The Garden itself rested in an inaccessible spot near the edge of the world under the power of the Olympians. For his Eleventh Labor, Hercules was sent to the Garden to retrieve three Golden Apples for King Eurystheus. The exact location of the Garden and the Apples was unknown and Hercules had to pry the information from Nereus, the Old Man of the Sea. Along the way, he also encountered and freed Prometheus who told not to try pick the Golden Apples himself, but to ask Atlas.