Greek Creation Myth in the Beginning There Was Only the Infinite Space Known As Chaos. Inside This Void Was a Single Creature, N
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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. -
The Legend About Phaethon
The legend about Phaethon As the myth implies, there lived a young man named Phaethon, the son of the god Helios and the nymph Clymene. Every day the Sun rises above the Earth---this is the great god Helios drives his golden Chariot of the Sun across the sky. Once Phaethon wanted to proof his high blood and went to the palace of the god Helios. Helios saw Phaethon and asked him: – What brought you to my palace, my son? – Oh, the great and radiant Helios! - Please, establish your paternity. – It is true. You are my son indeed. Ask me everything you want to dispel your doubts. And Phaethon asked his father to allow him to drive the Chariot of the Sun instead of him. Helios was fearful at his son's request: - Bethink yourself, madman! It is above your strength, a mortal, to manage my Chariot of the Sun. Even the mighty Zeus cannot stay on the Chariot of the Sun and who is greater than he? But Phaethon insisted that Helios kept his promise and Helios had to agree. He put holy ointments on his son's face, so that hot rays would not burn it and led him to fiery horses who hoofed already. - Listen to my advice. Do not hurry the horses, they will run themselves, they are difficult to control. Keep the reins firmer, do not release them and try not to deviate from the route. Your way lies just between the Snake and the Altar. Do not go too low to the Earth, so as not to burn it, and do not go too high, or else you'll burn the sky. -
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. -
Myth and Origins: Men Want to Know
Journal of Literature and Art Studies, October 2015, Vol. 5, No. 10, 930-945 doi: 10.17265/2159-5836/2015.10.013 D DAVID PUBLISHING Myth and Origins: Men Want to Know José Manuel Losada Université Complutense, Madrid, Spain Starting with a personal definition of “myth”, this paper seeks to substantiate the claim that every myth is essentially etiological, in the sense that myths somehow express a cosmogony or an eschatology, whether particular or universal. In order to do that, this study reassesses Classical and Judeo-Christian mythologies to revisit and contrast the narratives of origin—of the cosmos, of the gods and of men—found in ancient polytheism and in Judeo-Christian monotheism. Taking into consideration how these general and particular cosmogonies convey a specific understanding of the passage of time, this article does not merely recount the cosmogonies, theogonies, and anthropogonies found in the Bible and in the works of authors from Classical Antiquity, but it also incorporates a critical commentary on pieces of art and literature that have reinterpreted such mythical tales in more recent times. The result of the research is the disclosure of a sort of universal etiology that may be found in mythology which, as argued, explains the origins of the world, of the gods, and of men so as to satisfy humankind’s ambition to unveil the mysteries of the cosmos. Myth thus functions in these cases as a vehicle that makes it possible for man to return the fullness of a primordial age, abandoning the fleeting time that entraps him and entering a time still absolute. -
Chaos (Cosmogony)
Chaos (cosmogony) Chaos (Ancient Greek: χάος, romanized: khaos) refers to the void state preceding the creation of the universe or cosmos in the Greek creation myths, or to the initial "gap" created by the original separation of heaven and earth.[1][2][3] Contents Etymology Greco-Roman tradition Chaoskampf Biblical tradition Alchemy and Hermeticism Modern usage See also Notes References Etymology Greek χάος means "emptiness, vast void, chasm,[4] abyss", from the verb χαίνω, "gape, be wide open, etc.", h [5] [6] from Proto-Indo-European *ǵ eh2n-, cognate to Old English geanian, "to gape", whence English yawn. It may also mean space, the expanse of air, the nether abyss or infinite darkness.[7] Pherecydes of Syros (fl. 6th century BC) interprets chaos as water, like something formless which can be differentiated.[8] Greco-Roman tradition Hesiod and the Pre-Socratics use the Greek term in the context of cosmogony. Hesiod's Chaos has been interpreted as either "the gaping void above the Earth created when Earth and Sky are separated from their primordial unity" or "the gaping space below [9] the Earth on which Earth rests". Chaos by George Frederic Watts In Hesiod's Theogony, Chaos was the first thing to exist: "at first Chaos came to be" (or was)[10] but next (possibly out of Chaos) came Gaia, Tartarus and Eros (elsewhere the son of Aphrodite).[11] Unambiguously "born" from Chaos were Erebus and Nyx.[12] For Hesiod, Chaos, like Tartarus, though personified enough to have borne children, was also a place, far away, underground and "gloomy", beyond which lived the Titans.[13] And, like the earth, the ocean, and the upper air, it was also capable of being affected by Zeus' thunderbolts.[14] Passages in Hesiod's Theogony suggest that Chaos was located below Earth but above Tartarus.[15] Primal Chaos was sometimes said to be the true foundation of reality, particularly by philosophers such as Heraclitus. -
Eros and Aphrodite on the North Slope of the Acropolis in Athens
EROS AND APHRODITE ON THE NORTH SLOPE OF THE ACROPOLIS IN ATHENS IN most books on the topography of Athens reference is made to the numerous small niches cut in rock at various points on the North Slope of the Acropolis,' but hitherto only in the case of one group of niches has it been possible to connect them definitely with a known sanctuary. This is the cave of Apollo where most of the niches are found and where some of the votive plaques that once occupied the niches have been discovered. From this cave as far east as the underground ascent into the citadel west of the Ereclitheum the North Slope has been carefully investigated ;2 but the eastern part is less well known. Some of the earlier topographers, however, notably Carl Boetticher,3 called attention to the niches; and in Curtius' and Kaupert's Atlas4 a plan of the North Slope is given with the several groups of niches numbered and described. The results of these investigations are restated in Judeich's Topographie von Athe;n,5 where the statement is made that so far (new edition published 1931) it has not been possible to assign the niches to any definite sanctuary. In view of these facts it seemed unlikely that any new light would be thrown on the subject without excavating, and it was not without surprise that I discovered, while looking at the architectural material built into the north wall of the Acropolis, two inscriptions cut in rock among a large number of votive niches. These inscriptions made certain, what seemed already obvious from the presence of the niches, that an ancient shrine had existed at this place, and furthermore furnished us with the information that the deities worshiped were Eros and Aphrodite. -
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APOLLO in ASIA MINOR and in the APOCALYPSE Abstract
Title: CHAOS AND CLAIRVOYANCE: APOLLO IN ASIA MINOR AND IN THE APOCALYPSE Abstract: In the Apocalypse interpreters acknowledge several overt references to Apollo. Although one or two Apollo references have received consistent attention, no one has provided a sustained consideration of the references as a whole and why they are there. In fact, Apollo is more present across the Apocalypse than has been recognized. Typically, interpreters regard these overt instances as slights against the emperor. However, this view does not properly consider the Jewish/Christian perception of pagan gods as actual demons, Apollo’s role and prominence in the religion of Asia Minor, or the complexity of Apollo’s role in imperial propaganda and its influence where Greek religion was well-established. Using Critical Spatiality and Social Memory Theory, this study provides a more comprehensive religious interpretation of the presence of Apollo in the Apocalypse. I conclude that John progressively inverts popular religious and imperial conceptions of Apollo, portraying him as an agent of chaos and the Dragon. John strips Apollo of his positive associations, while assigning those to Christ. Additionally, John’s depiction of the god contributes to the invective against the Dragon and thus plays an important role to shape the social identity of the Christian audience away from the Dragon, the empire, and pagan religion and rather toward the one true God and the Lamb who conquers all. ASBURY THEOLOGICAL SEMINARY CHAOS AND CLAIRVOYANCE: APOLLO IN ASIA MINOR AND IN THE APOCALYPSE SUBMITTED TO THE FACULTY OF ASBURY THEOLOGICAL SEMINARY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR DOCTOR OF PHILOSOPHY IN BIBLICAL STUDIES BY ANDREW J. -
Poseidon and Hades by Brian Clark
POSEIDON and HADES: UNCONSCIOUS and UNDERWORLD Gods of the Deep We can no longer deny that the dark stirrings of the unconscious are active powers and that psychic forces exist which cannot be fitted into rational order. The layman can hardly conceive how much his inclinations, moods and decisions are influences by the dark forces of his psyche, and how dangerous or helpful they may be in shaping his destiny.1 - Carl Jung Poseidon and Hades are brothers, sons of Cronus and Rhea, devoured by their fearful father and then released to battle and overthrow him. Hades is the lord of the underworld while his brother Poseidon rules the vast domain of the sea. Both spheres are symbolic of the worlds below consciousness and therefore both gods are daimons of the unconscious representing powerful hidden archetypal forces. Both brothers rule a vast expanse of the world but most of the inhabitants of their world are shadow images of the humans dwelling aboveground. Hades population is filled with shades and ghosts while Poseidon’s realm is populated with monsters and shape-shifting prophets. As brothers and custodians of these places they are united in their rulership of the unconscious realms. Once the Titans had been defeated it is the three brothers who divide the resources and inheritance amongst themselves. They drew lots as to who would inherit the various spheres. It is not chance, but the hand of fate that oversees the choice of their dominions. Poseidon, speaking through the voice of the poet Homer in the Iliad tells us how this was accomplished: Since we are three brothers born by Rheia to Kronos, Zeus, and I, and the third is Hades, lord of the dead men. -
Who Let the Gods Out? Chapter 17
Who Let The Gods Out? Chapter 17 – Family Matters Zeus was barely halfway through his explanation of Thanatos’s escape when Aphrodite had pulled the keys to her sports car out of her handbag. ‘I’m in,’ she squealed. ‘Sounds like fun!’ But Athene was going to take more persuading. Zeus, Elliot and Aphrodite were in Athene’s office at St Brainiac College, Oxford, where Athene was an esteemed professor of politics, philosophy, economics, English, French, Spanish, Classics, natural sciences and basket- weaving. It was a delicate negotiation. ‘YOU ARE SUCH A BORING-BRAINED, LIBRARY- LAME- O, BOFFIN-BUM!’ Aphrodite shouted at her sister across the grand mahogany desk. ‘I see you’ve been studying the Big Book of Intelligent Insults,’ Athene shot back over the top of her tortoiseshell glasses. Zeus looked at Elliot with raised eyebrows. See what I mean? Elliot could hear him say. ‘I can’t believe you’d rather sit here with your big pointy nose stuck in a book than be out finding the Chaos Stones,’ Aphrodite pouted. ‘Just because you look like a pensioner doesn’t mean that you have to act like one.’ Painful as it was to disagree with Aphrodite, Elliot could see that she was being very hard on her sister. Athene would normally be the most beautiful woman in the room: she was slender, with ebony hair piled into an elegant knot, her deep brown eyes radiating intelligence and grace over the rims of her glasses. But Elliot was convinced that all other girls looked like snotty warthogs next to Aphrodite. -
MTO 10.3: Latham, Binary Oppositions
Volume 10, Number 3, September 2004 Copyright © 2004 Society for Music Theory Edward D. Latham KEYWORDS: Whittall, analysis, criticism, aesthetics, Modernism, Schoenberg, Moses ABSTRACT: Arnold Whittall’s Exploring Twentieth-Century Music (Cambridge, 2003) posits a set of binary oppositions (Tradition-Innovation, Apollo-Dionysus) as foundational for twentieth-century compositional thought. The relationships between these oppositions are examined, and four implications for analysis are discussed, including the need to combine structuralism and hermeneutics, undertake comparative analysis, examine source documents, and place discontinuity on equal footing with organicism and coherence. An analysis of Act 1, Scene 2 of Arnold Schoenberg’s Moses und Aron (1933) is offered as one example of the ways in which Whittall’s perspective might be incorporated into a close reading. Received April 2004 [1] In his recent book, Exploring Twentieth-Century Music, Arnold Whittall gathers together six lectures he gave in London, revising and supplementing them with additional chapters meant to flesh out a central theme—namely, that twentieth- century compositional thought was predominantly influenced by the centrifugal pull of opposing forces: tradition and innovation, Classicism and Modernism, Apollonianism and Dionysianism. Over a span of eleven chapters, Whittall discusses or refers to over two hundred and thirty pieces in varying styles and genres by fifty different composers from over fourteen countries, from Debussy to Andriessen, situating works and composers in relationship to a continuum between the aesthetic “counterpoles” (page 23) established in his introduction.(1) [2] Notwithstanding Whittall’s caveat in the preface that “while striving to resist presumptions of absolute authority, I cannot deny that my chosen materials are the result of value judgments preceding, and therefore influencing, analysis” (page vii), there are certain composers who are conspicuous in their absence.