ATHENA Booksares in Thishades Series Artemis Hera Athena Poseidon Demeter Zeus
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The Contest Between Athena and Poseidon. Myth, History and Art
ANDRÁS PATAY-HORVÁTH The Contest between Athena and Poseidon. Myth, History and Art The myth was a well-known one in antiquity, and it is well-known even to- day. There are many versions in various extant literary sources1 and even some depictions in sculpture, vase painting and minor arts2. Surprisingly enough, the famous myth has not attracted much scholarly interest3. The modern commen- taries simply list the relevant passages, but hardly attempt a thorough comparative analysis4. The present paper (an updated, revised and abbreviated version of Patay-Horváth 2002a) would like to present a study, suggesting strong intercon- nections between Athenian history and the evolution of the myth. Beside the many familiar texts and works of art, I will also introduce a new piece of evidence, which has never been considered in this context and hope that it will become ap- parent, that the role of Poseidon and the sea is much more important in this myth than has generally been acknowledged. It is appropriate to begin with a fairly detailed version of the myth from the mythological textbook of Apollodorus (Bibl. III 14). It can serve as a very practi- cal introduction to the subject because it contains not only one version but some alternatives as well. Cecrops, a son of the soil, with a body compounded of man and serpent, was the first king of Attica, and the country which was formerly called Acte he named Cecropia after himself. In his time, they say, the gods resolved to take possession of cities in which each of them should receive his own peculiar wor- ship. -
Aspects of the Demeter/Persephone Myth in Modern Fiction
Aspects of the Demeter/Persephone myth in modern fiction Janet Catherine Mary Kay Thesis presented in partial fulfilment of the requirements for the degree of Master of Philosophy (Ancient Cultures) at the University of Stellenbosch Supervisor: Dr Sjarlene Thom December 2006 I, the undersigned, hereby declare that the work contained in this thesis is my own original work and that I have not previously in its entirety or in part submitted it at any university for a degree. Signature: ………………………… Date: ……………… 2 THE DEMETER/PERSEPHONE MYTH IN MODERN FICTION TABLE OF CONTENTS PAGE 1. Introduction: The Demeter/Persephone Myth in Modern Fiction 4 1.1 Theories for Interpreting the Myth 7 2. The Demeter/Persephone Myth 13 2.1 Synopsis of the Demeter/Persephone Myth 13 2.2 Commentary on the Demeter/Persephone Myth 16 2.3 Interpretations of the Demeter/Persephone Myth, Based on Various 27 Theories 3. A Fantasy Novel for Teenagers: Treasure at the Heart of the Tanglewood 38 by Meredith Ann Pierce 3.1 Brown Hannah – Winter 40 3.2 Green Hannah – Spring 54 3.3 Golden Hannah – Summer 60 3.4 Russet Hannah – Autumn 67 4. Two Modern Novels for Adults 72 4.1 The novel: Chocolat by Joanne Harris 73 4.2 The novel: House of Women by Lynn Freed 90 5. Conclusion 108 5.1 Comparative Analysis of Identified Motifs in the Myth 110 References 145 3 CHAPTER 1 INTRODUCTION The question that this thesis aims to examine is how the motifs of the myth of Demeter and Persephone have been perpetuated in three modern works of fiction, which are Treasure at the Heart of the Tanglewood by Meredith Ann Pierce, Chocolat by Joanne Harris and House of Women by Lynn Freed. -
Julius Firmicus Maternus: De Errore Profanarum Religionum
RICE UNIVERSITY JULIUS FIRMICUS MATERNUS: DE ERRORE PROFANARUM RELIGIONUM. INTRODUCTION, TRANSLATION AND COMMENTARY by Richard E. Oster, Jr. A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS Thesis Director's Signature: Houston, Texas May 1971 ABSTRACT JULIUS FIRMICUS MATERNUS: DE ERRORE PROFANARUM RELIGIONUM. INTRODUCTION, TRANSLATION AND COMMENTARY BY Richard E. Oster, Jr. B.A. Texas Technological College M.A. Rice University Julius Firmicus Maternus, author of De Errore Profanarum Religiomm. and Mathesis, is an important but oftentimes over¬ looked writer from the middle of the fourth century. He is known to us only from the two works which he left behind, the former being a Christian polemic against pagan religion and the latter, a work he wrote while still a pagan, being on the subject of astrology. It is his Christian work which is the topic of this thesis. The middle of the fourth century when Firmicus wrote his work, A.D. 346-350, was a time of religious change and struggle in the Roman Empire. Within Christianity there were still troubles over the issues which precipitated the Council of Nicea. Outside of the church, paganism, though on the defensive, was still strong. Legislation had been passed against the pagan cults but it was not being enforced. So, about A.D. 348, a Roman Senator, Julius Firmicus Maternus, wrote a letter Concerning the Error of Profane 1 2 Religions to the Emperors Constans and Constantius. The first section of this work, chapters 1-17, presents the various gods of antiquity. Firmicus ridicules these by de¬ picting the crimes and immorality of the gods, by showing that the pagan gods were nothing more than personified elements or processes of nature. -
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 Disputes Between Appion and Clement in the Pseudo-Clementine Homilies: a Narrative and Rhetorical Approach to the Structure of Hom
The Disputes between Appion and Clement in the Pseudo-Clementine Homilies: A Narrative and Rhetorical Approach to the Structure of Hom. 6 BENJAMIN DE VOS Ghent University Introduction This contribution offers, in the first place (1), a structural and rhetorical reading of the debates on the third day between Clement and Appion in the Pseudo-Clem- entine Homilies (Hom. 6) and shows that there is a well-considered rhetorical ring structure in their disputes. Connected with this first point (2), the suggested read- ing will unravel how Clement and Appion use and manipulate their sophisticated rhetoric, linked to this particular structure. This is well worth considering since these debates deal with Greek paideia, which means culture and above all educa- tion, of which rhetorical education forms part. The rhetorical features will be dis- played as a fine product of the rhetorical and even sophistic background in Late Antiquity. Clement, moreover, will present himself as a master in rhetoric against Appion, who is presented as a sophist and a grammarian in the Pseudo-Clemen- tine Homilies. Until now, the Pseudo-Clementine research context concerning Hom. 6 has focused on two aspects. First, several researchers have examined to which tradition of Orphic Cosmogonies the Homilistic version, included in the speech of Appion, belongs. Secondly, according to some scholars, the disputes between Appion and Clement have an abrupt ending. However, they have not looked at the structure and function of the general debate between Clement and Appion and of the whole work. Finally (3), the reappraisal of the rhetorical dy- namics in and the narrative structure of Hom. -
Virgil, Aeneid 11 (Pallas & Camilla) 1–224, 498–521, 532–96, 648–89, 725–835 G
Virgil, Aeneid 11 (Pallas & Camilla) 1–224, 498–521, 532–96, 648–89, 725–835 G Latin text, study aids with vocabulary, and commentary ILDENHARD INGO GILDENHARD AND JOHN HENDERSON A dead boy (Pallas) and the death of a girl (Camilla) loom over the opening and the closing part of the eleventh book of the Aeneid. Following the savage slaughter in Aeneid 10, the AND book opens in a mournful mood as the warring parti es revisit yesterday’s killing fi elds to att end to their dead. One casualty in parti cular commands att enti on: Aeneas’ protégé H Pallas, killed and despoiled by Turnus in the previous book. His death plunges his father ENDERSON Evander and his surrogate father Aeneas into heart-rending despair – and helps set up the foundati onal act of sacrifi cial brutality that caps the poem, when Aeneas seeks to avenge Pallas by slaying Turnus in wrathful fury. Turnus’ departure from the living is prefi gured by that of his ally Camilla, a maiden schooled in the marti al arts, who sets the mold for warrior princesses such as Xena and Wonder Woman. In the fi nal third of Aeneid 11, she wreaks havoc not just on the batt lefi eld but on gender stereotypes and the conventi ons of the epic genre, before she too succumbs to a premature death. In the porti ons of the book selected for discussion here, Virgil off ers some of his most emoti ve (and disturbing) meditati ons on the tragic nature of human existence – but also knows how to lighten the mood with a bit of drag. -
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. -
Greek Gods & Goddesses
Greek Gods & Goddesses The Greek Gods and GodessesMyths https://greekgodsandgoddesses.net/olympians/ The Twelve Olympians In the ancient Greek world, the Twelve great gods and goddesses of the Greeks were referred to as the Olympian Gods, or the Twelve Olympians. The name of this powerful group of gods comes from Mount Olympus, where the council of 12 met to discuss matters. All 12 Olympians had a home on Mount Olympus and that was where they were most commonly found. HADES, the god of the Underworld, preferred to live there, and POSEIDON often chose to stay in his palace under the sea. Most of the other Olympians would be on Mount Olympus year round unless they were travelling. HESTIA used to be one of the Olympians, but the constant fighting and bickering between the gods annoyed her and she eventually gave up her seat to the god of wine, DIONYSUS. Even though she left the council, Hestia still kept a home on Mount Olympus. APHRODITE was on the council but, in most Greek mythological stories, her husband HEPHAESTUS was not. At the famous Parthenon temple in Greece, there is a statue of each of the 12 Olympian gods. Hades does not have a statue, but Hephaestus does. The question of who the 12 Olympians are really depends on who is telling the story. Nobody is truly sure if Hades of Hephaestus can be classed as the Twelfth Olympian. So, because of the way Greek myths were told and retold in different ways, there are actually 14 gods and goddesses who can be considered as an Olympian god. -
The Journey of Kratos - Pilot by Supabryanryan Brian Richardson
The Journey of Kratos - Pilot By SupaBryanRyan Brian Richardson Based on Greek Mythology, with my own OC’s (Original Character). It tells a story about a young angel named Kratos that is destined to bring the world back to it’s proper balance from the reign of his evil father (Toru),¯ with the help from his friends Aurora, and the Greek Gods/Goddesses that comes his way. He goes to mythical places like Ancient Athens, Atlantis, Mount Olympus, and many more to come. WGA Registration Number: 4299 Spring St. Apt.#32 1757620 San Diego, CA 91941 (619) 251-2425 [Text Message (Preferred)] [email protected] [Preferred] supabryanryan.wix.com/brian-richardson [For More Info] CARD: One who is injured ought not to return the injury, for on no account can it be right to do an injustice; and it is not right to return an injury, or to do evil to any man, however much we have suffered from him. - Socrates FADE OUT EXT. ROTATION OF WORLD - DAY & NIGHT The World is rotating, while the narrator is talking... NARRATOR In the 19th Century, when the Earth was still in order and developing into a peaceful state. Gods and Mortal lived separate to keep all things in order. While Narrator is talking; little bits of darkness is sprouting, but FADES OUT... NARRATOR What the world didn’t know that there was a unweighted chaos reaching towards it. Views of Angels FADE IN/OUT behind the World, and also God/Goddesses FADE IN/OUT in the background, while Narrator is talking... NARRATOR It started with a disease that plagued angels--it made them either die/had temporary memory loss/or placed in different regions around the world. -
Greek Gods and Myths – Overview Gaia and Uranus to Reign of the Olympians
GREEK GODS AND MYTHS – OVERVIEW GAIA AND URANUS TO REIGN OF THE OLYMPIANS ERA SUMMARY – GREEK GODS AND MYTHS The myths and legends of Ancient Greece are such an essential part of Greek culture that the first three units of the Ancient Greece Classical Curriculum are dedicated entirely to myth and folklore. Greek mythology is important, not only because it reflects the pagan religion of the Ancient world, but also because it gives great insight into Greek thought and expression. References to Greek Gods and folklore are present throughout the recorded history of the ancient world, in religious symbols and ceremonies, in literature, in poetry, in art, in archeological artifacts, and in day to day life. The Greeks worshiped Pagan gods but did not credit them with the same qualities of omniscience and goodness that Christians associate with their God. Greeks Gods shared many human foibles so the legends that arose concerning them were almost invariably dramas involving jealousy, indulgence, revenge, debauchery, and misunderstandings. Greek myths were often quite humorous and frequently involved morals applicable to human relations. The myths, heroes and legends of Ancient Greece are too numerous to list, but a few general categories of the types of heroes and stories can be given. The first category of Greek myths involves the Gods, or immortals, who have a human form, and decidedly human personality traits, but possess enormous powers over the earth. The twelve Olympians are the most ATHENE CHANGES ARACHNE INTO A SPIDER important, and they include Zeus, Poseidon, and Hades who rule over the heaven, Sea, and Underworld respectively. -
“How Athens Got Its Name” Retelling by Joanna Davis-Swing
HOw AThEnS GOt ITs NAmE Retelling by Joanna Davis-Swing In ancient times, when the world was young, Cecrops was born 1 of the earth. Half man, half snake, he roamed rugged mountains, wooded valleys, and rocky shores. He traveled wide before venturing into the region of Attica in Greece. Here lived goat farmers and bee keepers in peaceful tranquility, and Cecrops became their king. He planned a beautiful city, set atop a large rock that rose 2 from the plains. Fertile land spread out below, and the nearby sea boasted two open harbors. The gods on Olympus watched Cecrops and approved of his plans. They could foresee that his city would rise to fame and fortune in the world, and they wanted a share of the glory. Indeed, the gods fought over who was to be the patron of the city. Zeus, who deplored fighting on Mount Olympus, declared a contest between Poseidon, god of the sea, and Athena, goddess of wisdom. Each would give Cecrops a gift, and Cecrops himself would decide who would be patron of his city. On the appointed day, Poseidon and Athena gathered with 3 Cecrops and his people on top of the rock. Poseidon carried his trident and stood proudly surveying the land. Modest Athena wore her golden helmet and carried her spear. Cecrops signaled for the contest to begin, and Poseidon immediately raised his trident high, then struck it mightily into the ground. The rock shook and the earth trembled. A great crack appeared in the rock and spread wide, filling with water.