DOCSLIB.ORG

Von Schönen Prinzessinen Und Großen Helden Inhaltsverzeichnis

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Von Schönen Prinzessinen Und Großen Helden Inhaltsverzeichnis Von schönen Prinzessinen und großen Helden Inhaltsverzeichnis 1 Achilleus 1 1.1 Etymologie .............................................. 1 1.2 Elemente des Achilleus-Stoffes .................................... 2 1.2.1 Zeugung ........................................... 2 1.2.2 Unverwundbarkeit und Achillesferse ............................. 2 1.2.3 Erziehung bei Cheiron .................................... 3 1.2.4 Versteck in Skyros ...................................... 3 1.2.5 Telephos ........................................... 4 1.2.6 Die Fahrt nach Troja ..................................... 4 1.2.7 Erste Kriegsjahre ....................................... 5 1.2.8 Achilleus’ Zorn ........................................ 5 1.2.9 Tötung des Memnon und der Penthesilea .......................... 6 1.2.10 Tod .............................................. 6 1.2.11 Nach seinem Tod ....................................... 7 1.3 Interpretation ............................................. 7 1.4 Kult .................................................. 8 1.5 Rezeption ............................................... 9 1.5.1 Antike ............................................ 9 1.5.2 Spätantike und Mittelalter .................................. 10 1.5.3 Moderne Literatur ...................................... 10 1.6 Literatur ............................................... 12 1.7 Weblinks ............................................... 13 1.8 Einzelnachweise ............................................ 13 2 Amazonen 17 2.1 Herkunft des Namens ......................................... 17 2.2 Griechische Mythologie, Geschichtsschreibung und Dichtung .................... 18 2.2.1 Herakles-Mythos ....................................... 19 2.2.2 Theseus-Mythos ....................................... 20 2.2.3 Stadtgründerinnen ...................................... 20 2.2.4 Amazonenköniginnen .................................... 20 2.3 Römische und altägyptische Erzählungen ............................... 21 2.4 Archäologische Funde ........................................ 21 i ii INHALTSVERZEICHNIS 2.4.1 Georgien ........................................... 21 2.4.2 Südrussland und Ukraine ................................... 21 2.5 Theorien zu Amazonenvölkern .................................... 22 2.5.1 Hethiter ............................................ 22 2.5.2 Matriarchale Völker in Kleinasien .............................. 23 2.6 Neuzeitliche Rezeption ........................................ 23 2.7 Siehe auch .............................................. 23 2.8 Ausstellungen ............................................. 23 2.9 Dokumentarfilme ........................................... 24 2.10 Literatur ............................................... 24 2.11 Weblinks ............................................... 24 2.12 Anmerkungen ............................................. 25 3 Danaide 27 3.1 Mythos ................................................ 27 3.2 Die Listen der Danaiden ....................................... 28 3.3 Deutungen .............................................. 28 3.3.1 Die Danaiden als Mondpriesterinnen ............................. 28 3.3.2 Einführung des Ackerbaus .................................. 28 3.4 Darstellung in der Kunst ....................................... 28 3.4.1 Literatur ........................................... 28 3.4.2 Musik ............................................ 29 3.5 Quellen ................................................ 29 3.6 Literatur ............................................... 29 3.7 Weblinks ............................................... 29 3.8 Einzelnachweise ............................................ 29 4 Europa (Mythologie) 30 4.1 Erzählungen .............................................. 30 4.2 Darstellung .............................................. 31 4.3 Verwendung in der zweiten Serie der Eurobanknoten ........................ 31 4.4 Siehe auch .............................................. 31 4.5 Literatur ............................................... 31 4.6 Weblinks ............................................... 32 4.7 Einzelnachweise ............................................ 32 5 Helena (Mythologie) 33 5.1 Die schöne Helena .......................................... 34 5.2 Rezeption ............................................... 34 5.3 Literatur ............................................... 34 5.4 Weblinks ............................................... 35 5.5 Einzelnachweise ............................................ 35 INHALTSVERZEICHNIS iii 6 Iason 36 6.1 Mythos ................................................ 36 6.2 Rezeption ............................................... 37 6.3 Quellen ................................................ 37 6.4 Literatur ............................................... 38 6.5 Weblinks ............................................... 38 6.6 Einzelnachweise ............................................ 38 7 Ikarus 39 7.1 Mythos ................................................ 39 7.2 Rezeption ............................................... 39 7.3 Siehe auch .............................................. 40 7.4 Quellensammlung ........................................... 40 7.5 Literatur ............................................... 40 7.6 Weblinks ............................................... 40 7.7 Einzelnachweise ............................................ 40 8 Minos 41 8.1 Historisches .............................................. 41 8.2 Mythisches .............................................. 41 8.2.1 Minos und Britomartis .................................... 41 8.2.2 Minos und Prokris ...................................... 41 8.2.3 Minos und der Stier ..................................... 42 8.2.4 Minos und die Athener .................................... 42 8.2.5 Minos und das Labyrinth ................................... 42 8.2.6 Minos im Hades ....................................... 42 8.3 Minos als Namensgeber ........................................ 42 8.4 Siehe auch .............................................. 43 8.5 Literatur ............................................... 43 8.6 Weblinks ............................................... 43 8.7 Einzelnachweise ............................................ 43 9 Ödipus 44 9.1 Sagenkreis .............................................. 44 9.1.1 Der Fluch ........................................... 44 9.1.2 Ödipus in Korinth ...................................... 44 9.1.3 Ödipus tötet seinen Vater ................................... 44 9.1.4 Ödipus besiegt die Sphinx .................................. 45 9.1.5 Die Seuche .......................................... 45 9.1.6 Tod des Ödipus ........................................ 45 9.2 Fortwirken des Mythos in der Kunst ................................. 46 9.3 Aufnahme des Mythos in Psychoanalyse und Philosophie ...................... 46 iv INHALTSVERZEICHNIS 9.4 Siehe auch .............................................. 46 9.5 Literatur ............................................... 47 9.6 Weblinks ............................................... 47 9.7 Einzelnachweise ............................................ 47 10 Odysseus 48 10.1 Name ................................................. 48 10.2 Jugendjahre und Heirat mit Penelope ................................. 48 10.3 Vorbereitungen zum Trojanischen Krieg ............................... 49 10.4 Rolle im Trojanischen Krieg ..................................... 50 10.4.1 Tötung des Palamedes .................................... 50 10.4.2 Darstellung in der Ilias .................................... 50 10.4.3 Waffenstreit mit Aias ..................................... 50 10.4.4 Beitrag zum Fall Trojas .................................... 51 10.5 Irrfahrten auf der Heimreise ..................................... 52 10.5.1 Kikonen, Lotophagen, Polyphem ............................... 52 10.5.2 Aiolos, Laistrygonen, Kirke ................................. 53 10.5.3 Hades, Sirenen, Charybdis und Skylla, Rinder des Helios .................. 53 10.5.4 Kalypso, Phaiaken ...................................... 54 10.6 Kampf gegen Penelopes Freier .................................... 55 10.7 Spätere Schicksale und Tod ...................................... 56 10.8 Datierungsansätze ........................................... 57 10.8.1 Sonnenfinsternis-Theorie ................................... 57 10.8.2 Baikouzis und Magnasco ................................... 57 10.8.3 Gainsford ........................................... 58 10.9 Rezeption ............................................... 58 10.10Literatur ............................................... 59 10.11Weblinks ............................................... 59 10.12Einzelnachweise ............................................ 59 11 Orpheus 63 11.1 Die Sage ............................................... 63 11.2 Deutung Orpheus’ in der frühchristlichen Apologetik und Kunst ................... 64 11.3 Der Mythos in der Kunst ....................................... 64 11.3.1 Musik ............................................ 64 11.3.2 Literatur ........................................... 66 11.3.3 Bildende Kunst ........................................ 66 11.3.4 Film und Fernsehen ..................................... 67 11.4 Literatur ............................................... 67 11.4.1 Die Sage ........................................... 67 11.4.2 Der Mythos in der bildenden Kunst ............................
Load more

Recommended publications
  • 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.
    [Show full text]
  • The Theosophical Path
    0 my Divinity! thou dost blend with the earth and fashion for thyself Temples of mighty power. 0 my Divinity! thou livest in the heart-life of all things and dost radiate a Golden Light that shineth forever and doth illumine even the darkest corners of the earth. 0 my Divinity! blend thou with me that from the corruptible I may become Incorruptible; that from imperfection I may become Perfection; that from darkness I may go forth in Light - Katherine Tinaleg THE THEOSOPHICAL PATH G. DE PURUCKER, EDITOR Vol. XLllI, No. 1 JULY, 1933 THEOSOPHY, THE MOTHER OF RELIGIONS, PHILOSOPHIES, AND SCIENCES G. DE PURUCKER, D. LITT. ARE LIFE AND DEATH THE SAME - OR DIFFERENT? FRIENDS at a distance and here in this our Temple of Peace: this afternoon I am going to talk to you on a question which will in­ terest every thinking man and woman - the question whether death be the same as life, or whether they be two distinct things which co­ operate or work together, and produce the various phenomena which we see in the Universe around us. Now you know that the old idea always has been that they are two different things entirely. I cannot tell you how this idea arose in the world, but it has existed for many ages, to wit: that death and life are [Stenographic report of the thirty-seventh of a series of lectures on the above subject. These were delivered at the request of Katherine Tingley (the then Theosophical Leader and Teacher) in the Tem­ ple of Peace, International Theosophical Headquarters, Point Loma, California, at the regular Sunday THE THEOSOPHICAL ATH afternoon services.
    [Show full text]
  • Eurydice Without Orpheus
    Bard College Bard Digital Commons Senior Projects Spring 2011 Bard Undergraduate Senior Projects Spring 2011 Eurydice without Orpheus Nora E. Offen Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2011 Part of the Feminist, Gender, and Sexuality Studies Commons Recommended Citation Offen, Nora E., "Eurydice without Orpheus" (2011). Senior Projects Spring 2011. 5. https://digitalcommons.bard.edu/senproj_s2011/5 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. 1 Eurydice without Orpheus Senior Project submitted to The Division of Languages and Literature of Bard College by Nora Offen Annandale-on-Hudson, NY May 2011 2 “The love that consists in this: that two solitudes protect and border and greet each other.” For Mike Porter and Luisa Lopez. Acknowledgments I am grateful beyond words to my advisor, Joan Retallack, whose support has made work on this project possible, exhilarating, and deeply gratifying. And to my parents, Neil and Carol Offen, for providing their daughter with a house full of books, and a truly humbling depth of unconditional love. 3 Preface What follows is a poetic and critical reckoning with the Orpheus and Eurydice myth.
    [Show full text]
  • Origin of the Slavs
    ORIGIN OF THE SLAVS II Their Language, Institutions And Native Tribes by RA Goryn Table of Contents Origins of Slavonic Language In ancient times when people had to migrate they took with them their most precious possessions, the means to eke their livelihood, their cattle, the seeds to sow in the new country, and above all their gods and sacred objects to sustain their spirit and faith in the new place. The migrations from Central Asia and India to Syria, Anatolia and Europe were caused as far as we know by a natural disaster. The rise of the Himalayas, Hindu Kush and the Pamirs caused the rise of the level of the surrounding country, drying up the rivers and seas, causing drought and desiccation. The tectonic clash of the earth's crusts that produced the mountains forced several massive migrations from the area. The first civilisation in the Nile valley is identified as the product of Central Asian culture. Sumerians maintained long-standing connections between Central Asia and the Nile valley before the second known massive migration c. 5000 B.C. to Mesopotamia. The invasions of 2150 B. C. that brought the Phrygian culture to Anatolia and the Danube valley is identifiable with the first such invasion described in Greek mythology as the invasions of Osiris or Dionysus, the worshippers of Arna, and the culture that brought the Amazons to Syria, Anatolia and the Balkans. Colonisation of the Nile valley started considerably earlier than the reign of the gods and demi-gods in Egypt. The proto-Slavs are seen to have emerged out of the population that came in the third massive migration and are linked firmly by culture and religious ties to Dionysiac religious beliefs and rituals.
    [Show full text]
  • Literaturliste.Pdf
    A# Mark B. Abbe, A Roman Replica of the ‘South Slope Head’. Polychromy and Identification, Source. Notes in Abbe 2011 History of Art 30, 2011, S. 18–24. Abeken 1838 Wilhelm Abeken, Morgenblatt für gebildete Stände / Kunstblatt 19, 1838. Abgusssammlung Bonn 1981 Verzeichnis der Abguss-Sammlung des Akademischen Kunstmuseums der Universität Bonn (Berlin 1981). Abgusssammlung Göttingen Klaus Fittschen, Verzeichnis der Gipsabgüsse des Archäologischen Instituts der Georg-August-Universität 1990 Göttingen (Göttingen 1990). Abgusssammlung Zürich Christian Zindel (Hrsg.), Verzeichnis der Abgüsse und Nachbildungen in der Archäologischen Sammlung der 1998 Universität Zürich (Zürich 1998). ABr Paul Arndt – Friedrich Bruckmann (Hrsg.), Griechische und römische Porträts (München 1891–1942). Michael Abramić, Antike Kopien griechischer Skulpturen in Dalmatien, in: Beiträge zur älteren europäischen Abramić 1952 Geschichte. FS für Rudolf Egger I (Klagenfurt 1952) S. 303–326. Inventarium Von dem Königlichen Schloße zu Sanssouci, und den neuen Cammern, so wie solches dem Acta Inventur Schloss Castellan Herr Hackel übergeben worden. Aufgenommen den 20 Merz 1782, fol. 59r-66r: Nachtrag Mai Sanssouci 1782−1796 1796, in: Acta Die Inventur Angelegenheiten von Sanssouci betreffend. Sanssouci Inventar 1782-1825, vol. I. (SPSG, Hist. Akten, Nr. 5). Acta betreffend das Kunst- und Raritaeten-Cabinet unter Aufsicht des Herrn Henry 1798, 1799, 1800, 1801. Acta Kunst-und Königliche Akademie der Wissenschaften, Abschnitt I. von 1700–1811, Abth. XV., No. 3 die Königs Cabinette Raritätenkabinett 1798–1801 a[?] des Kunst-Medaillen u. Nat. Cab. Acta Commissionii Reclamationen über gestohlene Kunstsachen. 1814, vol. 1, fol. 4r–33v: Bericht Rabes über gestohlene Kunstsachen an Staatskanzler von Hardenberg, 12. Februar 1814, fol. 81r–82r: Brief Acta Kunstsachen 1814 Henrys an Wilhelm von Humboldt, 26.
    [Show full text]
  • An Inventory of Archaic and Classical Poleis
    An offprint from AN INVENTORY OF ARCHAIC AND CLASSICAL POLEIS An Investigation Conducted by The Copenhagen Polis Centre for the Danish National Research Foundation MOGENS HERMAN HANSEN and THOMAS HEINE NIELSEN OXFORD UNIVERSITY PRESS MAKEDONIA Μ. Β. HATZOPOULOS (with the collaboration of Paschalis Paschidis) I. The Region the Makedonian power, and,Upper Makedonia—that is to say all Makedonian territories west of theAxios—and (b) an The name of the region is Μακεδονία, -η (Hdt. 5.17.1; Thuc. eastern part consisting of the new territories between the 1.58.1; Hatzopoulos (1996Ì?) ii. no. 1.B9). It is derived from the Axios and the plain of Philippoi, which were incorporated ethnic Μακεδών (Hdt. 5.18.2; Thuc. 1.57.2; IG ι3 89.26), in the into Makedonia proper by Philip II and his successors. The Thessalian dialect Μακετούν (SEG 27 202.10); the feminine former areas had been almost entirely settled by form is normally Μακέτα {IG u2 9258 (C3)). As Makedonia Makedonians (who had subjected and mostly driven out or is simply the land of the Makedones, its extent followed exterminated the indigenous populations), at least since the Makedonien expansion. By the time of Alexander's acces­ end of the Archaic period, whereas the latter were colonised sion, it ranged from the foothills of the Pierian mountains to in later times, and their former inhabitants had in most the whole region between Mt. Pindos and the Strymon val­ cases been permitted to remain in their old homes. Both of ley, and between the Peneios and roughly the present Greek these parts, however, were integrated into a unified state, the frontier.
    [Show full text]
  • A Brief History of the Study of Greek Mythology
    CHAPTER TWENTY-EIGHT A Brief History of the Study of Greek Mythology Jan N. Bremmer The History of Mythology The study of Greek mythology has a long history, of about 2,500 years. The first mythological ‘handbooks’ were already written around 500 BC (see CH. 3),1 and interest has rarely ever disappeared. Yet each time has its own interests and approaches, depending on the social and cultural circumstances of the day. It is the function of this chapter briefly to present that history. Naturally, it is impossible to treat every period in detail, and I will strictly concentrate on the history of Greek myth rather than the study of mythology in general. This history has, of course, been described before, and I have gratefully profited from earlier histories.2 Yet there is room for a new version, as our knowledge of the study and collecting of mythology in antiquity itself, which we usually call ‘mythography’, has recently been the subject of a fresh approach by Alan Cameron.3 Moreover, as the scholars who dominated the study of mythology in the second half of the twentieth century are gradually passing away, it becomes easier to look back at what has been a fascinating era in the study of Greek mythology. Antiquity In the Golden Age of Roman poetry, Roman poets often took material from their learned Greek sources, such as Callimachus and Apollonios of Rhodes. Parthenios of Nikaia, a Greek poet who had been brought to Rome in the A Companion to Greek Mythology, First Edition. Edited by Ken Dowden and Niall Livingstone.
    [Show full text]
  • Olympische Götter – Wikipedia
    Olympische Götter – Wikipedia http://de.wikipedia.org/wiki/Olympische_Götter aus Wikipedia, der freien Enzyklopädie Als Olympische Götter (auch Olympier, Olympioi oder Zwölfgötter) werden die (meist zwölf) Hauptgötter in der griechischen Mythologie bezeichnet. In engerem Sinne werden als olympische Götter jene Götter bezeichnet, die auf dem Olymp residieren - daher zählen Hades, der in der Unterwelt herrscht, und seine Gemahlin Persephone nicht zu den Olympiern. Auch Hebe, die als Mundschenk wirkt, und Eileithyia werden nicht dazu gezählt. Herakles und Dionysos, die erst später in den Olymp aufgenommen wurden, werden ebenfalls meist nicht mitgerechnet. So ergibt sich eine Gesamtzahl von zwölf „Zwölf Götter-Altar“ im Louvre olympischen Göttern im engeren Sinn (griech. τὸ Δωδεκάθεον to Dōdekatheon von griech. δώδεκα dōdeka = zwölf). Diese sind: Zeus, Poseidon, Hera, Demeter, Apollon, Artemis, Athene, Ares, Aphrodite, Hermes, Hephaistos und Hestia. Zu den Olympiern nicht nach dem Wohnsitz auf dem Olymp, sondern als Göttergeschlecht, das nach dem Sturz des Kronos und der Titanen die Weltherrschaft antrat, werden die Geschwister und Kinder des Zeus gerechnet. Das sind: Zeus selbst die fünf Geschwister des Zeus (Hera, Hades, Hestia, Poseidon und Demeter) die zehn göttlichen Kinder des Zeus mit Hera: Ares, Hephaistos, Hebe, Eileithyia mit Leto: Artemis und Apollon mit Maia: Hermes mit Metis: Athene mit Demeter: Persephone sowie mit Dione die (jüngere) gewöhnliche Aphrodite. zwei Kinder des Zeus von sterblichen Frauen, die später in den Olymp aufgenommen wurden: mit Alkmene: Herakles mit Semele: Dionysos Wie bei den Griechen, gab es auch bei den Etruskern und Römern eine Zwölfzahl von Göttern, die mit den griechischen Göttern weitgehend identifiziert wurden. Siehe Dei Consentes.
    [Show full text]
  • Poets and Places: Sites of Literary Memory in the Hellenistic World
    Durham E-Theses Poets and places: sites of literary memory in the Hellenistic world TARETTO, ERIKA How to cite: TARETTO, ERIKA (2017) Poets and places: sites of literary memory in the Hellenistic world, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/12223/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk Erika Taretto Poets and places: sites of literary memory in the Hellenistic world. Material abstract This dissertation argues for the existence of a widespread yet underexplored Hellenistic habit of linking the memory of archaic and classical Greek poets to specific places. Through a combination of in-depth case studies and a panoramic overview of Hellenistic sites of literary memory, the dissertation establishes the significance of literary geographies and explores the means through which they were established. The first chapter focuses on the house of Pindar and its alleged treatment on the part of Alexander the Great.
    [Show full text]
  • The “Double Orpheus”: Between Myth and Cult Il “Doppio Orfeo”: Tra Mito E Culto
    Mythos Rivista di Storia delle Religioni 14 | 2020 Varia The “Double Orpheus”: between Myth and Cult Il “doppio Orfeo”: tra mito e culto Tomasz Mojsik Electronic version URL: https://journals.openedition.org/mythos/1674 DOI: 10.4000/mythos.1674 ISSN: 2037-7746 Publisher Salvatore Sciascia Editore Electronic reference Tomasz Mojsik, “The “Double Orpheus”: between Myth and Cult”, Mythos [Online], 14 | 2020, Online since 31 December 2020, connection on 31 May 2021. URL: http://journals.openedition.org/mythos/ 1674 ; DOI: https://doi.org/10.4000/mythos.1674 This text was automatically generated on 31 May 2021. Mythos The “Double Orpheus”: between Myth and Cult 1 The “Double Orpheus”: between Myth and Cult Il “doppio Orfeo”: tra mito e culto Tomasz Mojsik 1 Orpheus, as we are told, was “the son of Oeagrus” and “a Thracian musician”. This is what we read in textbooks and encyclopedias. But what does it mean in the case of Greek myths? Was the figure of the hero borrowed from Thracian religious tradition, as some claim? Or, alternatively, was his Thracian origin a comment on the role of the Thracians in the history of Greek music, as others believe? Thus, were the Muses, one of whom was his mother, also of Thracian origin?1 And maybe Orpheus, being Thracian, should be treated as a construct expressing the idea of the alien nature of poetry and music, a personification of “otherness not quite congruent with the daily life of the polis”?2 2 In his influential 1987 article F. Graf asserted that: “Orpheus is always a Thracian” (p.
    [Show full text]
  • Orpheus As an Argonaut in Apollonius Rhodius' Argonautica
    Inside Orpheus’ Songs: Orpheus as an Argonaut in Apollonius Rhodius’ Argonautica Andromache Karanika RPHEUS WAS KNOWN to be part of the Argonauts’ crew from at least the sixth century, to judge from a Ometope in Delphi.1 Pindar in his fourth Pythian ode, the first extant, non-fragmentary version in European literature of the famous myth of Jason and the Argonauts, presents Orpheus as an active participant, sent by Apollo, the father of song (Pyth. 4.176–177).2 His part in the expedition is high- lighted further in Apollonius’ Argonautica.3 In the narrative he is 1 The metope of the Sikyonian monopteros: M.-X. Garezou, LIMC 7.1 (1994) 81–105, at 84; G. N. Szeliga, “The Composition of the Argo Met- opes from the Monopteros at Delphi,” AJA 90 (1986) 297–305. For an overview of early literary accounts that include Orpheus in the expedition see W. K. C. Guthrie, Orpheus and Greek Religion2 (London 1952) 27. For Simonides fr.62 (Page, PMG) as referring to the expedition see E. Robbins, “Famous Orpheus,” in John Warden (ed.), Orpheus: The Metamorphoses of a Myth (Toronto 1982) 3–23, at 21. A possible reference by Ibycus: fr.25 PMG. 2 Cf. E. Robbins, “Jason and Cheiron: The Myth of Pindar’s Fourth Pythian,” Phoenix 29 (1975) 205–213, at 205; C. Segal, Orpheus: The Myth of the Poet (Baltimore 1989) 12–13. The ode commemorated the victory of King Arcesilas of Cyrene in the chariot race at the games of 462 B.C.E.; Arcesilas claimed descent from one of the Argonauts.
    [Show full text]
  • Calliope - Wikipedia, the Free Encyclopedia
    Calliope - Wikipedia, the free encyclopedia https://en.wikipedia.org/wiki/Calliope Calliope From Wikipedia, the free encyclopedia In Greek mythology, Calliope (/kəˈlaɪ.əpiː/ kə-LY -ə-pee ; Ancient Greek: Καλλιόπη , Kalliop ē "beautiful-voiced") was the muse of epic poetry,[1] daughter of Zeus and Mnemosyne, and is believed to be Homer's muse for the Iliad and the Odyssey . [2] One account says Calliope was the lover of the war god Ares, and bore him several sons: Mygdon, Edonus, Biston, and Odomantus (or Odomas), respectively the founders of Thracian tribes known as the Mygdones, Edones, Bistones, and Odomantes. Calliope also had two famous sons, Orpheus [3] and Linus,[4] by either Apollo or the king Oeagrus of Thrace. She taught Orpheus verses for singing. [5] According to Hesiod, she was also the wisest of the Muses, as well as the most assertive. Calliope married Oeagrus close to Pimpleia,[6] Olympus. She is said to have defeated the daughters of Pierus, king of Thessaly, in a singing match, and then, to punish their Detail of painting The Muses Urania presumption, turned them into magpies. (see Ovid, Metamorphoses and Calliope by Simon Vouet, in 6.294-340,662-78) which she is holding a copy of the Odyssey Calliope is usually seen with a writing tablet in her hand. At times, she is depicted as carrying a roll of paper or a book or as wearing a gold crown. The Italian poet, Dante Alighieri, in his Divine Comedy, makes reference to Calliope, "Here rise to life again, dead poetry! Let it, O holy Muses, for I am yours, And here Calliope, strike a higher key, Accompanying my song with that sweet air which made the wretched Magpies feel a blow that turned all hope of pardon to despair." (Dante, Purgatorio, Canto I,l.7 to 12) References 1.
    [Show full text]