Emily Blomquist Blomqst2 Pre-Quiz 5: Vergil’S Description of the Underworld

Total Page：16

File Type：pdf, Size：1020Kb

Emily Blomquist Blomqst2 Pre-Quiz 5: Vergil’s Description of the Underworld 1. There are five rivers that make up the underworld. What is unique about all five is that they all have negative attributes that represent them. The river of woe, Acheron, is the river that Charon would use to make new souls in the underworld. This is where Styx and Cocytus came from. The Cocytus is the river that is known for wailing. Its color is pitch black and wraps around the forests of the underworld. The third river is Styx, which came from Acheron. Styx is the river of hatred and separates the earth from the underworld. The next river is Phlegethon, the river of fire known as the burning river. It is said to flow into Tartarus. The last river in the underworld is Lethe. Lethe is described as where the dead go to drink to forget their past lives in order to begin a new one. The rivers in the underworld created an atmosphere of despair but also a way for the dead to begin a new life if they desired to. 2. Mythological Characters (4): Each punishment is unique and eternal. The gods are very creative when it comes to punishments Tityus: i. Crime: Attempted to rape Leto ii. Punishment: Vultures tear out and eat his liver every day that it grows back. His punishment lasts for the rest of his life until he dies. Ephialtes: i. Crime: Assaulted the heavens to try and tear it down as well as remove Jupiter as their king ii. Punishment: He was sentenced to eternal torment Sisyphus: i. Crime: Being very sneaky, he chained up Thanatos so nobody was able to die ii. Punishment: Has to roll a giant boulder up a hill and watch it roll back down. Has to repeat this for an eternity Tantalus i. Crime: Stole ambrosia and nectar from gods. Wanted to bring it back to his people and also attempted to feed his son to the gods..

Copy Link

Recommended publications

Dionysus, Wine, and Tragic Poetry: a Metatheatrical Reading of P.Koln VI 242A=Trgf II F646a Anton Bierl
BIERL, ANTON, Dionysus, Wine, and Tragic Poetry: A Metatheatrical Reading of a New Dramatic Papyrus , Greek, Roman and Byzantine Studies, 31:4 (1990:Winter) p.353 Dionysus, Wine, and Tragic Poetry: A Metatheatrical Reading of P.Koln VI 242A=TrGF II F646a Anton Bierl EW DRAMATIC PAPYRUS1 confronts interpreters with many ~puzzling questions. In this paper I shall try to solve some of these by applying a new perspective to the text. I believe that this fragment is connected with a specific literary feature of drama especially prominent in the bnal decades of the bfth century B.C., viz. theatrical self-consciousness and the use of Dionysus, the god of Athenian drama, as a basic symbol for this tendency. 2 The History of the Papyrus Among the most important papyri brought to light by Anton Fackelmann is an anthology of Greek prose and poetry, which includes 19 verses of a dramatic text in catalectic anapestic tetrameters. Dr Fackelmann entrusted the publication of this papyrus to Barbel Kramer of the University of Cologne. Her editio princeps appeared in 1979 as P. Fackelmann 5. 3 Two years later the verses were edited a second time by Richard Kannicht and Bruno Snell and integrated into the Fragmenta Adespota in 1 This papyrus has already been treated by the author in Dionysos und die griechische Trag odie. Politische und 'metatheatralische' Aspekte im Text (Tiibingen 1991: hereafter 'Bieri') 248-53. The interpretation offered here is an expansion of my earlier provisional comments in the Appendix, presenting fragments of tragedy dealing with Dionysus. 2 See C.
[Show full text]
Visitor Learning Guide
VISITOR LEARNING GUIDE 1 Produced by The Wilderness Society The Styx Valley of the Giants oers the opportunity to experience one of the world’s most iconic and spectacular forest areas. For decades the Wilderness Society has worked with the broader community to achieve protection for the Styx and we want to share it, and some of its stories, with you. This guide is not meant to be a comprehensive overview of the Styx, Tasmania’s forests or World Heritage. Rather, it is designed to share a cross-section of knowledge through simple stories that follow a common theme on each of the identified walks. With its help, we hope you will learn from this spectacular place, and leave knowing more about our forests, their natural and cultural legacy and some other interesting titbits. The Wilderness Society acknowledges the Tasmanian Aboriginal community as the traditional owners and custodians of all Country in Tasmania and pays respect to Elders past and present. We support eorts to progress reconciliation, land justice and equality. We recognise and welcome actions that seek to better identify, present, protect and conserve Aboriginal cultural heritage, irrespective of where it is located. Cover photo: A giant eucalypt in the Styx Valley, Rob Blakers. © The Wilderness Society, Tasmania 2015. STYX VALLEY OF THE GIANTS - VISITOR LEARNING GUIDE TO ELLENDALE MT FIELD FENTONBURY NATIONAL PARK WESTERWAY B61 TYENNA Tyenna River TO NEW NORFOLK TO LAKE PEDDER & HOBART & STRATHGORDON MAYDENA FOOD & ACCOMMODATION There’s some great accommodation and food options on your way to the Styx. Westerway • Blue Wren Riverside Cottage • Duy’s Country Accommodation Styx River • Platypus Playground Riverside Cottage Styx River .
[Show full text]
Folktale Types and Motifs in Greek Heroic Myth Review P.11 Morphology of the Folktale, Vladimir Propp 1928 Heroic Quest
Mon Feb 13: Heracles/Hercules and the Greek world Ch. 15, pp. 361-397 Folktale types and motifs in Greek heroic myth review p.11 Morphology of the Folktale, Vladimir Propp 1928 Heroic quest NAME: Hera-kleos = (Gk) glory of Hera (his persecutor) >p.395 Roman name: Hercules divine heritage and birth: Alcmena +Zeus -> Heracles pp.362-5 + Amphitryo -> Iphicles Zeus impersonates Amphityron: "disguised as her husband he enjoyed the bed of Alcmena" “Alcmena, having submitted to a god and the best of mankind, in Thebes of the seven gates gave birth to a pair of twin brothers – brothers, but by no means alike in thought or in vigor of spirit. The one was by far the weaker, the other a much better man, terrible, mighty in battle, Heracles, the hero unconquered. Him she bore in submission to Cronus’ cloud-ruling son, the other, by name Iphicles, to Amphitryon, powerful lancer. Of different sires she conceived them, the one of a human father, the other of Zeus, son of Cronus, the ruler of all the gods” pseudo-Hesiod, Shield of Heracles Hera tries to block birth of twin sons (one per father) Eurystheus born on same day (Hera heard Zeus swear that a great ruler would be born that day, so she speeded up Eurystheus' birth) (Zeus threw her out of heaven when he realized what she had done) marvellous infancy: vs. Hera’s serpents Hera, Heracles and the origin of the MIlky Way Alienation: Madness of Heracles & Atonement pp.367,370 • murders wife Megara and children (agency of Hera) Euripides, Heracles verdict of Delphic oracle: must serve his cousin Eurystheus, king of Mycenae -> must perform 12 Labors (‘contests’) for Eurystheus -> immortality as reward The Twelve Labors pp.370ff.
[Show full text]
Book 10 – the Kingdom of the Dead Hades (1) God of the Dead, Ruler of the Underworld, Which Was Accordingly Known As Hades
Book 10 – The Kingdom of the Dead Hades (1) God of the dead, ruler of the Underworld, which was accordingly known as Hades. In various adventures, Hades abducted the maiden Persephone, tricked the heroes Theseus and Peirithous and managed to get himself handcuffed by Sisyphus. The god Hades was a dread figure to the living, who were quite careful how they swore oaths in his name. To many people, simply to utter the word "Hades" was a frightening proposition. Realm of the dead, either underground or in the far West of the world known to the early Greeks - or both. Named for the god Hades, its ruler. Hades (2) As is not surprising, the ancient Greeks did not know what to expect after death. Notions of the afterlife were various and conflicting. Some thought that great heroes lucked out by traveling to the Elysian Fields, where they could hunt and feast and socialize in pleasant company for eternity, while commoners were consigned to a lifeless and boring abode in the Fields of Asphodel. First they'd drink the waters of Lethe, which caused them to lose all memory of their former lives and thus lack anything to talk about. In its earlier depictions, the underworld kingdom of Hades was such a dank and dark and moldering place that were it laid open to the heavens, the gods themselves would turn away in disgust. Persephone Beautiful daughter of Zeus and Demeter; sometimes considered an Olympian. While gathering flowers in a field one day, Persephone was abducted to the Underworld by Hades, who arose in his chariot from a fissure in the ground.
[Show full text]
Antigone by Sophocles Scene 4, Ode 4, Scene 5, Paean and Exodos
Antigone by Sophocles Scene 4, Ode 4, Scene 5, Paean and Exodos By: Anmol Singh, Kesia Santos, and Yuri Seo Biographical, Cultural, and Historical Background The Greek Theater - Sophocles was one of the prominent figures in Greek theater. - Plays were performed in outdoor areas. - There were a limited number of actors and a chorus.6 - Antigone was mostly likely performed in the same fashion. AS Family Tree YS What do Scene 4, Ode 4, Scene 5, Paean and Exodos of Antigone focus on? - Family Conflict (internal and external) - Death (tragedy) - Poor judgment - Feeling and thinking - Fate - Loyalty - Love YS Genres & Subgenres Tragedy - Not completely like modern tragedies (ex. sad & gloomy). - Tragedies heavily used pathos (Greek for suffering). - Used masks and other props. - Were a form of worship to Dionysus.7 AS Tragic Hero - Antigone and Creon are both like tragic heros. - Each have their own hamartia which leads to their downfalls.8,9 AS Family Conflict & Tragedy in Antigone - Antigone hangs herself - Haimon stabs himself - Eurydice curses Creon and blames him for everything - Eurydice kills herself YS Dominant Themes Family: The story of Niobe - Antigone relates her story to the story of Niobe. - Antigone says “How often have I hear the story of Niobe, Tantalus’s wretched daughter…” (18) - Chorus tells Antigone that Niobe “was born of heaven,” but Antigone is a woman. YS Womanhood - Antigone defies the place a woman is supposed to have during this time period - Antigone and Ismene contrast each other - Creon is the prime example of the beliefs that males hold during this period KS Power and Corruption: Dryas and Lycurgus - A character the chorus compares to Antigone is Lycurgus.
[Show full text]
The Function of Lethe
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Flinders Academic Commons This is an electronic version of an article published in M. Baker and D. Glenn (eds) 2000. ‘Dante Colloquia in Australia: 1982-1999’, Australian Humanties Press: Adelaide. Coassin, Flavia 2000. The Function of Lethe. In M. Baker and D. Glenn (eds). ‘Dante Colloquia in Australia: 1982-1999’, Australian Humanties Press: Adelaide, 95-102. THE FUNCTION OF LETHE FLAVIA COASSIN WHEN, in the last canto of the Purgatorio, Dante-character claims not to remember having ever estranged himself from Beatrice, she reminds him that he has just drunk of Lethe, and adds that his inability to remember is proof of his estrangement, just as from smoke fire is inferred: "E se tu ricordar non te ne puoi," sorridendo rispuose, "or ti rammenta come bevesti di Letè ancoi; e se dal fummo foco sargomenta, cotesta oblivion chiaro conchiude colpa ne la tua voglia altrove attenta". (Purg. XXXIII, 94-99) According to Reggio, l who also quotes Chimenz, the comparison is insubstantial, because there is no logical connection between oblivion and sin as there is between smoke and fire, and thus oblivion does not count as proof, his assumption being that there could be oblivion without sin. This assumption, however, is incorrect. In Dantes poem, as well as in the classical myths concerning the afterlife, we find that the connection between the two is, on the contrary, one of cause and effect. It is not by coincidence that the episode in question (lines 91-129) contains two instances of forgetfulness, namely, of having sinned and of Mateldas previous explanation of the function of the two rivers.
[Show full text]
Rites of Passage: Dionysus and the Chorus of Satyrs1
Universidade de São Paulo, JOHN C. DAWSEY São Paulo, São Paulo, Brazil. RITES OF PASSAGE: DIONYSUS AND THE CHORUS OF SATYRS1 ABSTRACT At the origins of Greek tragedy, in the chorus of satyrs of Dionysian theater, Greeks stared into horror. This observation by Nietzsche is the start- ing point for a discussion of rites of passage and, particularly, of liminal experience. Contribu- tions from contemporary performance and the- ater highlight aspects of this experience. So also, the studies of Julia Kristeva deserve attention. A hypothesis inspired by the writings of Walter Benjamin emerges at the end: vital elements of rites of passage and Dionysian theater have to do with what may be called “margins of margins”. keywords In focus, the double removal of masks (everyday rites of passage, and extraordinary), the subterranean regions of margins of symbols, and the experience of f(r)iction (with margins, f(r)iction, the r between parentheses) in relations between astounding or masks and bodies. Paraphrasing Pascal, the body extraordinary has its reasons of which culture knows not. At everyday margins of margins a double optic is formed: the experience, astounding (or extraordinary) everyday, no sur- corpoiesis prise in the astounding. 1. This article results from research developed as part of the Project “Mother images: drama and montage” (Imagens de mães: drama e montage), Processo CNPq 308691/2012-1. 159 São Paulo, v. 1, n. 1, p. 159 -178, june (2016) I. DIONYSUS AND THE CHORUS OF SATYRS: STARING INTO HORROR I would like to invite listeners on a trip: a discussion about rites of passage.2 Our guide: one of the gods of Ancient Greece, the god of wine Dionysus.
[Show full text]
Underworld Radcliffe .G Edmonds III Bryn Mawr College, [email protected]
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Greek, Latin, and Classical Studies Faculty Research Greek, Latin, and Classical Studies and Scholarship 2018 Underworld Radcliffe .G Edmonds III Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: https://repository.brynmawr.edu/classics_pubs Part of the Classics Commons Custom Citation Edmonds, Radcliffe .,G III. 2019. "Underworld." In Oxford Classical Dictionary. New York/Oxford: Oxford University Press. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. https://repository.brynmawr.edu/classics_pubs/123 For more information, please contact [email protected]. Underworld Radcliffe G. Edmonds III In Oxford Classical Dictionary, in Oxford Research Encyclopedia of Classics. (Oxford University Press. April 2019). http://dx.doi.org/10.1093/acrefore/9780199381135.013.8062 Summary Depictions of the underworld, in ancient Greek and Roman textual and visual sources, differ significantly from source to source, but they all draw on a common pool of traditional mythic motifs. These motifs, such as the realm of Hades and its denizens, the rivers of the underworld, the paradise of the blessed dead, and the places of punishment for the wicked, are developed and transformed through all their uses throughout the ages, depending upon the aims of the author or artist depicting the underworld. Some sources explore the relation of the world of the living to that of the dead through descriptions of the location of the underworld and the difficulties of entering it. By contrast, discussions of the regions within the underworld and existence therein often relate to ideas of afterlife as a continuation of or compensation for life in the world above.
[Show full text]
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.
[Show full text]
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.
[Show full text]
ARISTOPHANES' FROGS 172 F. by CW DEARDEN the Problem
WHAT HAPPENED TO THE DONKEY? ARISTOPHANES' FROGS 172 f. BY C. W. DEARDEN The problem of the production of Charon's boat 1) is one of the perennial chestnuts of Aristophanic study, yet one that theore- tically it ought to be fairly easy to solve, for, as Arnott has remark- ed 2), the movements of the characters in the early scenes of the Frogs can be plotted with considerable accuracy and this limits in certain respects the possibilities open to the producer. Dionysus and Xanthias open the play as with donkey and baggage they appear on their way to visit Heracles and then the Underworld. The conclusion that they enter through a parodos and journey across the orchestra seems unavoidable for no starting point is indicated for their journey and the donkey would pose problems elsewhere. At line 35 therefore, when Xanthias dismounts, the two climb onto the stage and approach Heracles' door. A conversation with Heracles occupies the next 130 lines before the two travellers bid him adieu and turn back to the orchestra to continue their journey. Xanthias bidden once more to pick up the baggage, pro- duces his customary complaint, suggests that Dionysus might consider hiring a corpse to take the luggage to Hades (167) and points out that one is being carried in. There is no indication of where the corpse comes from and again it seems reasonable to assume that it is simply carried in through one parodos across the orchestra and out through the other; Dionysus and Xanthias them- 1) For the purposes of this article the conclusions of T.B.L.
[Show full text]
{Download PDF} Greek Gods and Heroes
GREEK GODS AND HEROES PDF, EPUB, EBOOK Robert Graves | 160 pages | 01 Jan 2001 | Bantam Doubleday Dell Publishing Group Inc | 9780440932215 | English | New York, United States List of Greek mythological figures - Wikipedia They are called demi-gods or in modern term semi-gods , because one of their parents were a god or a goddess. However, mortal heroes were no less respected than semi-gods. Some of the mortals even exceeded semi-gods in terms of bravery and reputation. Regardless of their origin, these heroes accomplished many great tasks and even tasks thought being impossible to accomplish. Because of the deeds, they had done and helping humanity to progress, they were favoured by the gods. If enough favours were gained or devotion showed, the gods would even help the heroes by either giving them wisdom or intervening themselves with their powers. The ancients Greeks were polytheistic — that is, they worshipped many gods. Their major gods and goddesses lived at the top of Mount Olympus, the highest mountain in Greece, and myths described their lives and actions. In myths, gods often actively intervened in the day-to-day lives of humans. Myths were used to help explain the unknown and sometimes teach a lesson. For example, Zeus, the king of the gods, carried his favorite weapon, the thunderbolt. When it rained and there was thunder and lightning, the ancient Greeks believed that Zeus was venting his anger. Many stories about how the Greek gods behaved and interacted with humans are found in the works of Homer. He created two epic poems: the Iliad , which related the events of the Trojan War, and the Odyssey , which detailed the travels of the hero Odysseus.
[Show full text]