Apollo / Artemis Crossword Puzzle
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MYTHOLOGY MAY 2018 Detail of Copy After Arpino's Perseus and Andromeda
HOMESCHOOL THIRD THURSDAYS MYTHOLOGY MAY 2018 Detail of Copy after Arpino's Perseus and Andromeda Workshop of Giuseppe Cesari (Italian), 1602-03. Oil on canvas. Bequest of John Ringling, 1936. Creature Creation Today, we challenge you to create your own mythological creature out of Crayola’s Model Magic! Open your packet of Model Magic and begin creating. If you need inspiration, take a look at the back of this sheet. MYTHOLOGICAL Try to incorporate basic features of animals – eyes, mouths, legs, etc.- while also combining part of CREATURES different creatures. Some works of art that we are featuring for Once you’ve finished sculpting, today’s Homeschool Third Thursday include come up with a unique name for creatures like the sea monster. Many of these your creature. Does your creature mythological creatures consist of various human have any special powers or and animal parts combined into a single creature- abilities? for example, a centaur has the body of a horse and the torso of a man. Other times the creatures come entirely from the imagination, like the sea monster shown above. Some of these creatures also have supernatural powers, some good and some evil. Mythological Creatures: Continued Greco-Roman mythology features many types of mythological creatures. Here are some ideas to get your project started! Sphinxes are wise, riddle- loving creatures with bodies of lions and heads of women. Greek hero Perseus rides a flying horse named Pegasus. Sphinx Centaurs are Greco- Pegasus Roman mythological creatures with torsos of men and legs of horses. Satyrs are creatures with the torsos of men and the legs of goats. -
The Hercules Story Pdf, Epub, Ebook
THE HERCULES STORY PDF, EPUB, EBOOK Martin W. Bowman | 128 pages | 01 Aug 2009 | The History Press Ltd | 9780752450810 | English | Stroud, United Kingdom The Hercules Story PDF Book More From the Los Angeles Times. The god Apollo. Then she tried to kill the baby by sending snakes into his crib. Hercules was incredibly strong, even as a baby! When the tasks were completed, Apollo said, Hercules would become immortal. Deianira had a magic balm which a centaur had given to her. July 23, Hercules was able to drive the fearful boar into snow where he captured the boar in a net and brought the boar to Eurystheus. Greek Nyx: The Goddess of the Night. Eurystheus ordered Hercules to bring him the wild boar from the mountain of Erymanthos. Like many Greek gods, Poseidon was worshiped under many names that give insight into his importance Be on the lookout for your Britannica newsletter to get trusted stories delivered right to your inbox. Athena observed Heracles shrewdness and bravery and thus became an ally for life. The name Herakles means "glorious gift of Hera" in Greek, and that got Hera angrier still. Feb 14, Alexandra Dantzer. History at Home. Hercules was born a demi-god. On Wednesday afternoon, Sorbo retweeted a photo of some of the people who swarmed the U. Hercules could barely hear her, her whisper was that soft, yet somehow, and just as the Oracle had predicted to herself, Hera's spies discovered what the Oracle had told him. As he grew and his strength increased, Hera was evermore furious. -
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. -
Honey Plays a Significant Role in the Mythology and History of Many
Rhododendron Ponticum Rhodora! if the sages ask thee why This charm is wasted on the earth and sky, Tell them, dear, that if eyes were made for seeing, Then beauty is its own excuse for being R.W. Emerson, ‘The Rhodora’ "The Delphic priestess in historical times chewed a laurel leaf but when she was a Bee surely she must have sought her inspiration in the honeycomb." Jane Ellen Harrison, Prologemena to Greek Religion Thy Lord taught the Bee To build its cells in hills, On trees and in man’s habitations; Then to eat of all The produce of the earth . From within their bodies comes a drink of varying colors, Wherein is healing for mankind. The Holy Koran 1 Mad Honey Contents Point of View and Introduction 4 A summary of the material 5 What the Substance is 7 A History of Honey a very short history of the relationship of humans and honey A Cultural History of Toxic Honey 9 mad honey in ancient Greece Mad Honey in the New World 10 the Americas and Australasia How the substance works 11 Psychopharmacology selected outbreaks symptoms external indicators and internal registers substances neurophysiological action medical treatment How the substance was used 13 Honied Consciousness: the use of toxic honey as a consciousness altering substance ancient Greece Daphne and Delphi Apollo and Daphne Rhododendron and Laurel Appendix 1 21 Classical References (key selections from the texts) -Diodorus Siculus -Homeric Hymns -Longus -Pausanias -Pliny The Elder -Xenephon Appendix II 29 More on Mellissa Appendix lll 30 Source of the Substances Botany and Sources of Grayanotoxin 2 Appendix lV 32 Honey and Medicine Ancient and Modern Appendix V 34 The Properties of Ethelyne Appendix Vl 36 Entrances: Food, Drink and Enemas Bibliography 39 3 Mad Honey Point of View and Introduction It’s no surprise to discover that honey, and the bees that produce it, play a notable role in mythology and religion throughout the world. -
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. -
Greek Mythology and Genesis
Greek Mythology and Genesis Agenda • Overview of Early Genesis • World Cultures and Early Genesis • Greek Art/Greek Mythology – Noah/Nereus in Greek Art – Herakles/Nimrod – Zeus/Adam – Athena/Naamah • East Pediment of Parthenon – Understanding – Characters 2 Genesis (1-10) • Days of Creation (resting on the 7th) • The Creation of Adam and Eve • The Fall of Man • Cain and Abel – Cain’s descendants • Descendants of Adam • The Corruption of Mankind • The Flood • The Flood Subsides • Covenant of the Rainbow • Descendants of Noah – Shem – Japheth – Ham -Cush -Nimrod 3 Genesis in Cultures from Around the World Sagaiye Ottawa Lake of Llion Shang Ti Choctaw Gilgamesh Santal Tanzania Inca (Peru) Bunjil 4 ADAM AND EVE (ZEUS AND HERA) KAIN SETH (ARES) (HEPHAISTOS) Noah (Nereus) 5 ZEUS HERA Noah to Nimrod Shem Japheth 6 7 Did the Greeks Know Who Noah Was? 8 9 10 11 Noah’s Flood 12 13 HERAKLES’ REBELLION AGAINST NOAH 14 On this vase-painting, Herakles threatens Noah with his club. 15 Here, Herakles pushes Noah aside. And here, the vase-artist depicts Herakles bringing Noah and his rule to a halt. 16 17 18 Herakles’ first 11 labors and his other battles all had one objective—embodied in his 12th and final labor—getting back to the serpent-entwined tree in the ancient garden for another bite of 19 the serpent’s apple. Athena Nereus Kentaur Herakles 20 And Athena rewarded the great hero after he had pushed Noah and his God out of the picture and reestablished the way of Kain. 21 12 Labors of Herakles Temple of Zeus 22 Herakles Herakles Athena Geryon Atlas 23 Zeus/Adam at Olympia 24 Parthenon 26 27 • Displays the Greek ―story‖ of Genesis • Man’s ―triumph‖ over God • Reflection of Eden • Triumph of the Serpent • Deifies real people of history 28 29 30 31 Chrysothemis Lipara Hygeia Asterope The Greek poets and playwrights traced Zeus and Hera back to an ancient paradise they called the Garden of the Hesperides. -
Lecture 18 Good Morning and Welcome to LLT121 Classical Mythology
Lecture 18 Good morning and welcome to LLT121 Classical Mythology. In the next two or three class periods, we will be considering the goddess Artemis and her twin brother Apollo, two deities who, to a greater or lesser, extent represent this idea that the ancient Greeks must bow down before the divine. If you will recall from our last few class meetings, we talked about Dionysus, the god who was the externalization of partying, wine, and ecstatic possession, feel the power, feel the god inside you, feel the burn, and tear a few live animals apart. We also discussed the goddess Aphrodite, that wild and crazy goddess who is the externalization of the power of love, the power that, if you are lucky, at some point or another in your life, turns your mind to Jell-o and turns you into a love automaton. I wish you all such good luck. This is one half of the Greek psyche and this is one half of everybody’s psyche. The other half is represented by Artemis and Apollo, a goddess and a god who stand for getting a grip. Artemis is a virgin. She guards her virginity jealously. We’re going to go over a few stories this morning talking about what a bad career move it is to try to put the moves on the goddess Artemis. The god Apollo is not exactly chased. He is a bundle of contradictions, which represents, in and of himself, the full range of contradictions located, again, in the human psyche. When I believe it was Nietzsche who wanted to formulate his idea of the cosmic, he didn’t take out, oh, say, Artemis and Aphrodite. -
Yeats's Reception of Apollo and Daphne in “A Prayer for My Daughter”
Yeats’s Reception of Apollo and Daphne in “A Prayer for my Daughter” By Will LaMarra Yeats incorporates the Apollo and Daphne story from Ovid’s Metamorphoses as a pretext for his “A Prayer for my Daughter,” and while it is clear from the poem that Yeats’s daughter, whom he likens to a laurel tree, serves as a stand-in for Daphne, there is debate as to what this source text reveals about Yeats himself. While Daniel Harris, in his book Yeats: Coole Park & Ballylee, claims that Yeats, in this poem, assumes the role of Apollo in pursuit of Anne as his Daphne (142), Elizabeth Butler Cullingford, in her chapter, “Yeats and Women: Michael Robertes and the Dancer,” refutes this claim, stating that Yeats stands in for Peneus, Daphne’s father (250). The Apollo-Peneus dichotomy, however, is a false one. In his poem, Yeats sees himself taking up aspects of both figures and, indeed, collapses each of their roles into one. This collapse not only reveals Yeats’s conflicted desire to simultaneously preserve his daughter’s innocent and achieve romantic satisfaction vicariously through her, but it also provides us an insight into Yeats’s artistic impulse, one which leads to Anne Yeats’s lignification and transformation into a monument of “custom and ceremony” from which beauty emerges. Yeats’s most apparent role in his “A Prayer for my Daughter” is that of a father, and so, given his incorporation of Ovid as a source-text, one might first think to conflate him with the river god, Peneus. Yet beyond the obvious connection to Peneus’s paternal role (the fact that Yeats is addressing his daughter), Yeats weaves Peneus’s two main actions in the Apollo and Daphne story into the fabric of his poem: his wish to sequester his daughter into married life and his transformation of his daughter into a tree. -
Snakes, Dragons and Cultures
Nagapanchami 081/070816 nag PanChmi: snakes, dragons and Cultures Jawhar Sircar Ananda Bazar Patrika, 7th August 2016 (English Version) The month of Shravan brings joy to poets and also to farmers, but it also brings numerous snakes out of their flooded homes, triggering both fear and worship. This explains why many Indians celebrate Naga Panchami on Shravan Shukla Panchami, on the 7th of August this year. The snake is more than just an awe-inspiring creature: it actually marks different stages in the gradual evolution of the Indian mind, over centuries and millennia. We could begin from Janamejaya who personified the Western-Aryan hatred for the serpent, but we will reach a stage when the same animal found veneration, as Naga-raja or Manasa. The two, incidentally, are quite different, as one is a male snake and the other is surely a female deity. One can forgive this mistake, because it is not very safe to get too close to examine a snake's gender, even while worshipping. The serpent bears evidence of many conflicts, like the one between the wheat-eating Indo-Europeans of the West and the rice-loving civilisations of the East. After all, rice cultivation was hardly possible without water and this necessitated a better adjustment with eco-systems where snakes lived in plenty, but were not usually aggressive or venomous, unless attacked. In its legends are traces of the perennial struggle between ‘formal’ and ‘folk’ cultures. Manasa in Bengal was primarily folk, but later formalized as Padmavati, who was born from Shiva’s semen that fell on a lotus plant. -
![Petrarch (1304-74) Wreath', from Laurus 'Laurel'.] Leaves Are Also Like the Medium of the Poet—L’Aura Put on Paper](https://docslib.b-cdn.net/cover/6591/petrarch-1304-74-wreath-from-laurus-laurel-leaves-are-also-like-the-medium-of-the-poet-l-aura-put-on-paper-1256591.webp)
Petrarch (1304-74) Wreath', from Laurus 'Laurel'.] Leaves Are Also Like the Medium of the Poet—L’Aura Put on Paper
Themes: “Love at first sight, obsessive yearning and love sickness, frustration, love as parallel to feudal service; the lady as ideally beautiful, ideally virtuous, miraculous, beloved in Heaven and destined to earthly death; love as virtue, love as idolatry, love as sensuality; the god of love with his arrows, fires, whips, and chains; war within the self—hope, fear, joy, sorrow.” Approaches: “Conceits, wit, urbane cleverness; disputations and scholastic precision; allegory, personification; wooing, exhortation, outcry; praise, blame; self-examination, self-accusation, self- defense; repentance and farewell to love” [from Robert M. Durling’s Petrarch’s Lyric Poems] Laura: Laura was idealized in 366 poems (one for every day of the year) in his Rime Sparse (Scattered Rhymes). Petrarch claimed she was real, but her name, played upon in Italian in the poems, also epitomizes poetic ideals (Laud = praise; L’aura = breath, spirit; L’oro = gold; Laurel = laureate: (n.) a person who is honoured with an award for outstanding creative or intellectual achievement: a Nobel Laureate or Poet Laureate. (adj.) wreathed with laurel as a mark of honor; (of a crown or wreath) consisting of laurel. [ORIGIN: from Latin laureatus, from laurea 'laurel Petrarch (1304-74) wreath', from laurus 'laurel'.] Leaves are also like the medium of the poet—l’aura put on paper. “Daphne and Apollo” Gian Lorenzo Bernini (1622-25) “Daphne and Apollo” J.W. Waterhouse (1908) Apollo and Daphne: Daphne was Apollo's first love. It was not brought about by accident, but by the malice of Cupid. Apollo saw the boy playing with his bow and arrows; and he said to him, "What have you to do with warlike weapons, saucy boy? Leave them for hands worthy of them.” Venus's boy [Cupid] heard these words, and rejoined, "Your arrows may strike all things else, Apollo, but mine shall strike you." So saying, he drew from his quiver two arrows of different workmanship, one to excite love, the other to repel it. -
Apollo's Gallic Muses?
Apollo’s Gallic Muses? In book three of the Chorographia (3.48), Pomponius Mela describes an oracular cult overseen by nine maritime priestesses (the Gallizenae: the Gauls of Sena). The nine women serve a Gallic divinity off the Ossismican coasts at the island of Sena (Sein, Pointe du Raz, Finistère, off the coast of Brittany), a known hazard for mariners owing to the currents for which the area is notorious (raz is Brettanic for “sea-current”) together with reefs that extend thirty or so miles westward from the island into the Chaussée de Sein. Remarkable for their virginity and purity, the priestesses are able to rouse the seas and winds with their chants, and they can transmogrify into “whatever animals they wish.” In addition, they allegedly can heal “whatever is incurable among other peoples.” Furthermore, the unnamed Gallic deity, to whom the Gallizenae are devoted, oversees a pilgrim cult to which sailors and others come in order to consult the priestesses. The Gallizenae subsequently share their proprietary knowledge only with pilgrims who make the dangerous journey by sea to their abode. Mela’s maritime priestesses are otherwise unattested (Silberman 1988: ad loc.). Attempts to link the Gallizenae with Druidism, however, have been posited but uniformly lack documentation and are unconvincing (e.g. MacKillop 2004: s.v. Gallizenae). Their number and chastity, nonetheless, evoke the tradition of Apollo, the poetic god closely associated with the nine muses, minor deities of poetic inspiration, who accompany him at Mt. Helicon. Like the god of Sena, Apollo was an oracular deity who spoke through undefiled women (e.g., the Pythia at Delphi, the Cumaean Sibyl, and Cassandra). -
Some Letters of the Cambridge Ritualists Robert Ackerman
Some Leters of the Cambridge Ritualists Ackerman, Robert Greek, Roman and Byzantine Studies; Spring 1971; 12, 1; ProQuest pg. 113 Some Letters of the Cambridge Ritualists Robert Ackerman I Introduction HILE working in Great Britain in 1968 and 1969 on the Cam W bridge Ritualists (or Ritual Anthropologists, or more simply the Cambridge Group)-Jane Ellen Harrison (1850-1928), Gilbert Murray (1866-1957), Francis Macdonald Cornford (1874-1943), and Arthur Bernard Cook (1868-1952)-1 came upon a small archive of unpublished letters written by and to the members of the group that are of interest not only to historians of classical scholarship but as well to those interested in the many im portant subjects on which these eminent scholars worked. The letters illustrate the remarkable way in which the Ritualists in fact did func tion as a group, working closely together on many of their major efforts, and of course they provide important biographical data on all concerned. Such data have hitherto derived mainly from three sources: obitu ary notices in the Proceedings ofthe British Academy;1 Gilbert Murray, An Unfinished Autobiography (London 1960), which unhappily breaks off before Murray came to know Miss Harrison and the others; and Jessie Stewart'sjane Ellen Harrison: A Portrait from Letters (London 1959 -hereafter Stewart), which is invaluable in that it contains many letters that Miss Harrison wrote to Murray over the quarter century they worked together, but is unreliable in that it is unfortunately filled with errors of fact and typography. Thus the letters presented below will supplement these more or less public and 'official' sources with important and interesting new material, and will thus shed light on one of the more noteworthy scholarly collaborations of our century.