Theogony/Cosmogony As Genre

Total Page：16

File Type：pdf, Size：1020Kb

Theogony/Cosmogony as Genre Myth : A Traditional Tale Retold to meet the needs of succeeding generations: tales explain or describe or model the cosmos, nature, social structures, and human nature Philosophy and Science develop in Greece when myth no longer satisfactorily defines or explains the world and human life Hesiod’s Hymn to the Muses, Theogony, 1-115 • Themes: • Honor to Major Deities • Primary Position of Zeus • Zeus as Arbitrator, Model for good kings • Importance of Muses • Development from the beginning Theogony as Cosmogony Our Cosmos Was Not Built in a Day Theogony, ll. 233-370 From the Castration Blood Falling to Earth Genitals Falling into Sea • Furies • Giants • Meliae, • Nymphs of the • Mountain Ash Cronus, His Children, and Zeus Threats to Zeus 1. Superior Wisdom • Prometheus and Pandora Metis and the Birth of Athena • 507-615 891-905 Threats to Zeus 2. Superior Force Titanomachy 621-725 Typhoios 826-885 New Order in Cosmos Theogony Zeus in Power 886-890 • Opening Hymn – 72-75 • Gaia suggests Zeus be king and • Hekate 413-455 rule the immortals, distributing • Zeus enlists enemies of Cronus their privileges and rights. • • Threat of cosmic destruction Balance in good and evil, 695-709 balance in cosmos, balance in distribution, reciprocity as • Development of Tartaros after protection against • Titans’ defeat 726-825*** transgression • Battle with Typhoios threatens cosmic destruction 844-859 • Typhoios blasted to Tartarus where he can only threaten mortals with fierce winds 875- 885, but cannot destroy cosmos Zeus as Arbitator, Not Antagonist to Siblings and Children Who Model Potential and Perils of Life The Divine Family Lesser Children: 906-928, Personifications of Order, Graces The Older Generation of Olympian Family Brothers Sisters • Zeus Poseidon Hades Hera Demeter Hestia Offspring with Unusual Births Athena , 891-905 Hephaistos, 929-934 Zeus’ Most Important Divine Sons Ares Apollo Hermes Dionysus Zeus’ Most Important Divine Daughters Athena Aphrodite Artemis Persephone Semi-Divine Offspring Who Slay Monsters Perseus Heracles Jason Semi-Divine Participants in Trojan War Achilles Aineias Explanation 1. for Bad Aspects of Life Prometheus’ Theft of Fire , Works and Days, 47-105 Explanation 2, Works and Days, 106-200 Degeneration from Golden Age to Silver, Bronze, Heroes, and Iron Explanation 3: Imperfect Material Orpheus and Mystery Religions.

Copy Link

Recommended publications

The Cambridge Companion to Greek Mythology (2007)
P1: JzG 9780521845205pre CUFX147/Woodard 978 0521845205 Printer: cupusbw July 28, 2007 1:25 The Cambridge Companion to GREEK MYTHOLOGY S The Cambridge Companion to Greek Mythology presents a comprehensive and integrated treatment of ancient Greek mythic tradition. Divided into three sections, the work consists of sixteen original articles authored by an ensemble of some of the world’s most distinguished scholars of classical mythology. Part I provides readers with an examination of the forms and uses of myth in Greek oral and written literature from the epic poetry of the eighth century BC to the mythographic catalogs of the early centuries AD. Part II looks at the relationship between myth, religion, art, and politics among the Greeks and at the Roman appropriation of Greek mythic tradition. The reception of Greek myth from the Middle Ages to modernity, in literature, feminist scholarship, and cinema, rounds out the work in Part III. The Cambridge Companion to Greek Mythology is a unique resource that will be of interest and value not only to undergraduate and graduate students and professional scholars, but also to anyone interested in the myths of the ancient Greeks and their impact on western tradition. Roger D. Woodard is the Andrew V.V.Raymond Professor of the Clas- sics and Professor of Linguistics at the University of Buffalo (The State University of New York).He has taught in the United States and Europe and is the author of a number of books on myth and ancient civiliza- tion, most recently Indo-European Sacred Space: Vedic and Roman Cult. Dr.
[Show full text]
Robert Graves the White Goddess
ROBERT GRAVES THE WHITE GODDESS IN DEDICATION All saints revile her, and all sober men Ruled by the God Apollo's golden mean— In scorn of which I sailed to find her In distant regions likeliest to hold her Whom I desired above all things to know, Sister of the mirage and echo. It was a virtue not to stay, To go my headstrong and heroic way Seeking her out at the volcano's head, Among pack ice, or where the track had faded Beyond the cavern of the seven sleepers: Whose broad high brow was white as any leper's, Whose eyes were blue, with rowan-berry lips, With hair curled honey-coloured to white hips. Green sap of Spring in the young wood a-stir Will celebrate the Mountain Mother, And every song-bird shout awhile for her; But I am gifted, even in November Rawest of seasons, with so huge a sense Of her nakedly worn magnificence I forget cruelty and past betrayal, Careless of where the next bright bolt may fall. FOREWORD am grateful to Philip and Sally Graves, Christopher Hawkes, John Knittel, Valentin Iremonger, Max Mallowan, E. M. Parr, Joshua IPodro, Lynette Roberts, Martin Seymour-Smith, John Heath-Stubbs and numerous correspondents, who have supplied me with source- material for this book: and to Kenneth Gay who has helped me to arrange it. Yet since the first edition appeared in 1946, no expert in ancient Irish or Welsh has offered me the least help in refining my argument, or pointed out any of the errors which are bound to have crept into the text, or even acknowledged my letters.
[Show full text]
Defining Orphism: the Beliefs, the Teletae and the Writings
Defining Orphism: the Beliefs, the teletae and the Writings Anthi Chrysanthou Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Languages, Cultures and Societies Department of Classics May 2017 The candidate confirms that the work submitted is his/her own and that appropriate credit has been given where reference has been made to the work of others. I This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. © 2017 The University of Leeds and Anthi Chrysanthou. The right of Anthi Chrysanthou to be identified as Author of this work has been asserted by her in accordance with the Copyright, Designs and Patents Act 1988. II Acknowledgements This research would not have been possible without the help and support of my supervisors, family and friends. Firstly, I would like to express my sincere gratitude to my supervisors Prof. Malcolm Heath and Dr. Emma Stafford for their constant support during my research, for motivating me and for their patience in reading my drafts numerous times. It is due to their insightful comments and constructive feedback that I have managed to evolve as a researcher and a person. Our meetings were always delightful and thought provoking. I could not have imagined having better mentors for my Ph.D studies. Special thanks goes to Prof. Malcolm Heath for his help and advice on the reconstruction of the Orphic Rhapsodies. I would also like to thank the University of Leeds for giving me the opportunity to undertake this research and all the departmental and library staff for their support and guidance.
[Show full text]
(1756- 1791) Apollo Et Hyacinthus, K.38
WOLFGANG AMADEUS MOZART (1756-1791) APOLLO ET HYACINTHUS, K.38 Latin intermedium in three parts (1767) Libretto by RUFINUS WIDL (1731-1798) OEBALUS King of Laconia ANDREW KENNEDY tenor MELIA daughter of Oebalus KLARA EK soprano HYACINTHUS son of Oebalus SOPHIE BEVAN soprano APOLLO guest of Oebalus LAWRENCE ZAZZO countertenor ZEPHYRUS friend of Hyacinthus CHRISTOPHER AINSLIE countertenor TWO PRIESTS OF APOLLO MARCUS FARNSWORTH baritone DAVID SHIPLEY bass THE MOZARTISTS Leader: Matthew Truscott Continuo: Steven Devine (harpsichord), Joseph Crouch (cello), Cecelia Bruggemeyer (double bass) IAN PAGE conductor MOZART / APOLLO ET HYACINTHUS 3 8536_CLA_Apollo_Signum_BOOKLET_134x122_TEXT PAGES_FINAL.indd 3 16/04/2019 15:26 4 MOZART / APOLLO ET HYACINTHUS 8536_CLA_Apollo_Signum_BOOKLET_134x122_TEXT PAGES_FINAL.indd 4 16/04/2019 15:26 APOLLO ET HYACINTHUS, K.38 PROLOGUS Page 1 Intrada 2’41 23 2 Recitativo: Amice! iam parata sunt omnia (Hyacinthus, Zephyrus, Oebalus, Melia) 2’53 23 3 No. 1, Chorus: Numen o Latonium (Chorus, Oebalus) 4’26 25 4 Recitativo: Heu me! periimus! (Melia, Oebalus, Hyacinthus, Zephyrus) 1’24 26 5 No. 2, Aria: Saepe terrent Numina (Hyacinthus) 7’48 27 6 Recitativo: Ah Nate! vera loqueris (Oebalus, Apollo, Hyacinthus, Melia, Zephyrus) 3’04 27 7 No. 3, Aria: Iam pastor Apollo (Apollo) 3’46 30 CHORUS I 8 Recitativo: Amare numquid Filia (Oebalus, Melia) 1’49 31 9 No. 4, Aria: Laetari, iocari (Melia) 6’39 32 10 Recitativo: Rex! de salute Filii (Zephyrus, Oebalus, Melia) 5’22 33 11 No. 5, Aria: En! duos conspicis (Zephyrus) 3’08 37 12 Recitativo: Heu! Numen! ecce! (Zephyrus, Melia, Apollo) 2’05 37 13 No. 6, Duetto: Discede crudelis! (Melia, Apollo) 6’22 39 CHORUS II 14 Recitativo accompagnato: Non est – Quis ergo Nate! (Hyacinthus, Oebalus) 2’35 40 15 No.
[Show full text]
Pyanepsia – 7Th Pyanepsion
Ritual for the Olympieia 19 Mounukhion Ritual washing Ritual washing with invocation: Orphic Hymn 83 to Okeanos Okeanos whose nature ever flows, from whom at first both Gods and men arose; sire incorruptible, whose waves surround, and earth’s all-terminating circle bound: hence every river, hence the spreading sea, and earth’s pure bubbling fountains spring from thee. Hear, mighty sire, for boundless bliss is thine, greatest cathartic of the powers divine: earth’s friendly limit, fountain of the pole, whose waves wide spreading and circumfluent roll. Approach benevolent, with placid mind, and be forever to thy mystics kind. Translation by Thomas Taylor Purification – khernips (holy water) sprinkled from a bay branch – “Be gone all corruption and evil” (three times). “Blessed Okeanos, may your bright waters purify this space, and prepare both me, and it, for the rites that are about to unfold.” Euphemia sto, euphemia sto, eukhomai tois Theois pasi kai pasais. (Let there be words of good omen, Let there be words of good omen, pray to the Gods and Goddesses.) Who is present? Those attending answer: All good people! Lighting of the lamp for Hestia with invocation: Daughter of Kronos, You whose eternal flame illumines all our worship, come to this oikos with blessings . Lighting of the sacrificial fire Libation of honey sweet wine Homeric Hymn 24 to Hestia To Hestia Hestia, you that tend the far-shooting lord Apollo’s sacred house at holy Pytho, from your locks the oozing oil ever drips down. Come to this house in kindly (?) heart, together with Zeus the resourceful, and bestow beauty on my singing.
[Show full text]
The Castrated Gods and Their Castration Cults: Revenge, Punishment, and Spiritual Supremacy
Digital Commons @ CIIS International Journal of Transpersonal Studies Advance Publication Archive 2019 The aC strated Gods and their Castration Cults: Revenge, Punishment, and Spiritual Supremacy Jenny Wade Follow this and additional works at: https://digitalcommons.ciis.edu/advance-archive Part of the Feminist, Gender, and Sexuality Studies Commons, Philosophy Commons, Religion Commons, and the Transpersonal Psychology Commons The Castrated Gods and their Castration Cults: Revenge, Punishment, and Spiritual Supremacy Jenny Wade California Institute of Integral Studies San Francisco, CA Voluntary castration has existed as a religious practice up to the present day, openly in India and secretively in other parts of the world. Gods in a number of different cultures were castrated, a mutilation that paradoxically tended to increase rather than diminish their powers. This cross-cultural examination of the eunuch gods examines the meaning associated with divine emasculation in Egypt, Asia Minor, Greece, the Roman Empire, India, and northern Europe to the degree that these meanings can be read from the wording of myths, early accounts, and the castration cults for some of these gods. Three distinct patterns of godly castration emerge: divine dynastic conflicts involving castration; a powerful goddess paired with a weaker male devotee castrated because of his relationship with her; and magus gods whose castration demonstrates their superiority. Castration cults associated with some of these gods—and other gods whose sexuality was ambiguous, such as Jesus—some of them existing up to the present day, illuminate the spiritual powers associated with castration for gods and mortals. Keywords: castration, eunuch, Osiris, Kumarbi, Ouranos, Cybele, Attis, Adonis, Combabus, Indra, Shiva, Odin, Hijra, Skoptsky astration traditionally refers to the removal Mack, 1964; Wilson & Roehrborn, 1999).
[Show full text]
Candidatus Phytoplasma Meliae’ (Isolate Chtyxiii)
bioRxiv preprint doi: https://doi.org/10.1101/2021.05.31.446484; this version posted June 1, 2021. The copyright holder for this preprint (which was not certified by peer review) is the author/funder, who has granted bioRxiv a license to display the preprint in perpetuity. It is made available under aCC-BY-NC-ND 4.0 International license. 1 Genome characterization of ‘Candidatus Phytoplasma meliae’ (isolate ChTYXIII) 2 3 Franco Daniel Fernández1,2,*, Luis Rogelio Conci1,2, 4 5 1. Instituto Nacional de Tecnología Agropecuaria (INTA), Centro de Investigaciones 6 Agropecuarias (CIAP), Instituto de Patología Vegetal (IPAVE). Camino 60 cuadras km 5 ½ 7 (X5020ICA), Córdoba. Argentina 8 2. Consejo Nacional de Investigaciones Científicas y Técnicas (CONICET). Unidad de 9 Fitopatología y Modelización Agrícola (UFYMA). Camino 60 cuadras km 5 ½ (X5020ICA), 10 Córdoba. Argentina 11 * Corresponding author: Franco Daniel Fernández, e-mail: [email protected], tel. 12 +5493514973636 13 14 Keywords: Phytoplasma, genome, syntheny, effector protein, chinaberry, MPV, orthologues 15 16 17 18 19 20 21 22 23 24 25 26 27 bioRxiv preprint doi: https://doi.org/10.1101/2021.05.31.446484; this version posted June 1, 2021. The copyright holder for this preprint (which was not certified by peer review) is the author/funder, who has granted bioRxiv a license to display the preprint in perpetuity. It is made available under aCC-BY-NC-ND 4.0 International license. 28 Abstract 29 ‘Candidatus Phytoplasma meliae’ (subgroups 16SrXIII-G and XIII-C) has been reported in 30 association to chinaberry yellowing disease in Argentina, Bolivia and Paraguay.
[Show full text]
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).
[Show full text]
Apollo Et Hyacinthus
APOLLO ET HYACINTHUS CLASSICAL OPERA IAN PaGE (CONDUCTOR) Performance Material: New Mozart Edition (NMA) by kind permission of Bärenreiter-Verlag Kassel · Basel · London · New York · Praha Recorded at Blackheath Halls, London, UK from 13th to 15th August 2011 Produced and engineered by Philip Hobbs Post-production by Julia Thomas, Finesplice, UK Design by Nick Trivuncic Cover image by Debbie Coates Recording session photography by Dr Stephen Page, www.fatkoala.biz Latin consultant and English translation of libretto: Dennis Flynn German translations: Barbara Lester, Wiebke Thormählen French translations: Mireille Ellington, Michèle Fajtmann Italian translations: Dr Alice Bellini The cello realisations in the recitatives are a result of Joseph Crouch’s research fellowship at The University of Southampton, funded by the Arts and Humanities Research Council. Orchestra playing on period instruments at A = 430 Hz We are immensely grateful to the ‘Apollo et Hyacinthus recording syndicate’: George & Efthalia Koukis, Michael & Harriet Maunsell, Anthony Simpson & Susan Boster, Michael & Rosemary Warburg, Ian & Juliet Odgers, Bob & Laura Cory, Tony Wingate, Kevin Lavery, Kate Bingham & Jesse Norman, Joanne Koukis & Samuel Robinson, Georgios Koukis-Robinson, Stefano D’Anna, David & Hilary Watson and Janet Street-Porter. We would also like to thank the members of The Amadeus Society, and all the other individuals who generously gave to this project. Special thanks to: George & Efthalia Koukis, Sir Vernon & Lady Ellis, Malcolm Greenhalgh, Dennis Flynn,
[Show full text]
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter free, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Ifigher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zed) Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 THE ANCIENT QUAREIEL BETWEEN POETRY AND PHILOSOPHY IN CALLIMACHUS' HYMN TO ZEUS DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Stephanie J.
[Show full text]
FIRST RECORD of BACTERIAL GALL of CHINABERRY CAUSED by Pseudomonas Meliae in DUHOK, KURDISTAN REGION, IRAQ
Journal of University of Duhok., Vol. 22, No.1 (Agri. and Vet. Sciences), Pp 1-6, 2102 https://doi.org/10.26682/avuod.2019.22.1.1 FIRST RECORD OF BACTERIAL GALL OF CHINABERRY CAUSED BY Pseudomonas meliae IN DUHOK, KURDISTAN REGION, IRAQ. * ** JIVAN M. M. AL-DOSKI and WAZEER A. HASSAN *Dept. of Forestry, College of Agriculture, University of Duhok, Kurdistan Region-Iraq **Dept. of Plant Protection,College of Agriculture, University of Duhok, Kurdistan Region-Iraq (Received: April 10, 2018; Accepted for Publication: November 12, 2018) Abstract The work done in this research is an attempt to through the light on identification and record on bacterial gall caused by Pseudomonas meliae L. for the first time in Iraq. The infected plants clearly showed soft and woody gall symptoms with deformed shoots and young stems. The field survey in Duhok plantations obviously obtained diseased transplants with percentage range between 25-88%. The pathogenic bacteria revealed the high host specification on chinaberry and Neem plants (Melia indica). The bacterial colonies on Mac Conkey’s agar media were white creamy in color, circular in growth, dome shaped shiny, and smooth. Analytical Profile Index API20NE demonstrated that three of eight tests were negatives, Nitrate reduction, Indole production, (Tryptophan) and Urease, whereas capable to hydrolyse arginin but didn’t produce levan and non fluorescent. Assimilation tests of ADIpic acid (ADI) and PhenylACetic acid (PAC) were negative, though the bacterial strains were able to utilize glucose (GLU), ARAbinose (ARA), and MANnitol (MAN). KEY WORD: P. meliae, Chainberry, M. Azedarach INTRODUCTION Pseudomonas meliae Ogimi is a gram negative, non-fluorescent, soil bacterium, and based on elia azedarach L., Meliaceae is a deciduous DNA/DNA hybridization was placed in the same M tree commonly known by several names, group with P.
[Show full text]
Ovid's Ibis and Callimachean Hymn
Ovid’s Ibis and Callimachean Hymn Chiara Battistella (2013) contends that the birth account in Ovid’s Ibis alludes to the Homeric Hymn to Apollo. She argues that Ovid “distorts” a typical hymnic birth account (p. 81), specifically that of the Homeric Hymn, to characterize Ibis as an “anti-model” of the god (p. 82). Battistella does not recognize, however, that the birth account also closely subverts features of Callimachus’ Hymns 1, 2, and 4. In fact, Callimachus is central to the Ibis from the start. Ovid makes clear that Callimachus’ own Ibis, a work now lost to modern scholars, serves as Ovid’s model for his own curse poem (55-56, 449-450). Therefore, it is reasonable to read the Ibis alongside Callimachus’ work. Prior to the birth scene there is evidence that Ovid is subverting traditional elements of Greek hymn, specifically aporia and mimesis. Callimachus uses the “traditional phraseology” of aporia (McLennan 128) in Hymn 1 to acknowledge his inability to sufficiently praise Zeus (92). Ovid subverts a typical instance of aporia to lament his inability to sufficiently curse Ibis (197). Additionally, Callimachus’ Hymn 2 opens (1-7) with a “mimetic epiphany ritual” (Williams 15) wherein the poet presides as priest and Apollo signals his own presence with a singing swan, among other signs. Ovid subverts mimetic ritual by casting Ibis as a sacrificial victim, assuming the role of priest himself (104), and observing a sign of approval from Apollo: a bird that flies from the left (127-128). By using such hymnic devices prior to his account of Ibis’ birth, Ovid invites his audience to examine the Ibis’ birth narrative (221-236) in light of birth accounts featured in Callimachean hymn.
[Show full text]