The Female Divine the Great Goddess Theory
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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. -
ENGLISH HOME LANGUAGE GRADE 9 Reading a Myth: Persephone
ENGLISH HOME LANGUAGE GRADE 9 Reading a myth: Persephone MEMORANDUM 1. This myth explains the changing of the seasons. Which season is your favourite and why? Learners own response. Winter/Autumn/Spring/Summer✓ + reason.✓ 2. Myths are stories that explain natural occurrences and express beliefs about what is right and wrong. What natural occurrence does the bracketed paragraph explain? The paragraph relates to earthquakes and volcanos✓ that shake the earth’s core. It suggests that “fearful’ fire-breathing giants” presumably volcanos✓, heave and struggle to get free, which causes the earthquakes. ✓ 3. How do the Greeks explain how people fall in love? Eros (Cupid) the god of love✓, shoots people in the heart with a love-arrow✓ that makes them fall in love. 4. Who is Pluto? He is the “dark monarch” king of the underworld✓ otherwise known as hell. 5. A cause is an effect or action that produces a result. A result is called an effect. What effect does Eros’s arrow have on Pluto? Eros’s arrow fills Pluto’s heart with warm emotions. ✓He sees Persephone and immediately falls in love with her. ✓ 6. What is the result of Demeter’s anger at the land? The ground was no longer fertile. ✓ Nothing could grow anymore. Men and oxen worked to grow crops, but they could not. ✓ There was too much rain ✓ and too much sun✓, so the crops did not grow. The cattle died✓ due to starvation. All of mankind would die✓ of starvation. 7. How do the details that describe what happened to the earth explain natural occurrences? The paragraph suggests that drought✓ is caused by Demeter who is angry✓ with the land. -
Greek Religion and the Tradition of Myth Religion
Greek Religion and The Tradition of Myth Religion • Religion • An institutionalized system of rituals. • An institution is a “system of ideas whose object is to explain the world” (Durkheim, 1965: 476). • Spiritualism • A belief in forces that exist outside of space and time but that can act within those domains Culture and Belief • “Religion is sociologically interesting not because, as vulgar positivism would have it, it describes the social order...but because... it shapes it” (Geertz 1973, 119). • “The social function of myth is to bind together social groups as wholes or, in other words, to establish a social consensus” (Halpern 1961, 137). Mythos • Archaic Greek: a story, speech, utterance. • Essentially declarative in nature • Classical Greek: An unsubstantiated claim • Mythographos • Logographos • Logopoios Modern Definitions • “…Myth is defined as a complex of traditional tales in which significant human situations are united in fantastic combinations to form a polyvalent semiotic system which is used in multifarious ways to illuminate reality…” • (Burkert 1985: 120). • “A traditional story with collective importance” • (Powell, 2009: 2) Logos • An argument • A statement or story based on comparative evaluation or collection of data • The result of a process • A study • Bio-logy, Socio-logy, mytho-logy • Powell: • logos is defined by authorship, it has a known origin, • mythos is anonymous, it exists in a social milieu undefined by its origin Truth and Falsehood • “The poet and the historian differ not by writing in verse or in prose… The true difference is that one relates what has happened, the other what may happen. Poetry, therefore, is a more philosophical and a higher thing than history: for poetry tends to express the universal, history the particular.” • (Aristotle Poetics 1451a. -
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. -
Heidegger on Heraclitus: Kosmos/World As Being Itself
Heidegger on Heraclitus: Kosmos/World as Being Itself RICHARD CAPOBIANCO Stonehill College ABSTRACT: This essay draws on texts previously untranslated into English, and in particular Heidegger's brilliant 1943 lecture course on Heraclitus, to show how Hei degger understood kosmos as an early Greek name for Being itself (Sein selbst). The contemporary scholarship has altogether missed the significant role that this Greek Ur-word plays in his later thinking. The "gleaming;' "adorning" kosmos-which the later Heidegger understood to be "world" (Welt) in the fullest and richest sense-is not in the first place any kind of transcendental-phenomenological "projection" ofthe human being; rather, it is the resplendence of the "ever-living" Being-unfolding-way itself from out of which both the gods and human beings come to pass and pass away. The independence ofkosmos/Being itself in relation to the human being is highlighted. An Ode by Pindar and a painting by Andrew Wyeth are also considered. "Beauty belongs to the essential unfolding ofBeing." -Heidegger (GA 73.1: 134) "Kosmos [as physis] shimmers ungraspably through everything." -Heidegger (GA 15: 282) he shining star in the night sky is beautiful. Yet what always struck Heidegger Tas even more beautiful was the "hidden'' motion-the way-wherein and whereby the star comes to shine so brightly. This "way" he named Being in dis tinction from beings (the "ontological difference"), and, as he saw it, Being was named kosmos by Heraclitus. In a number of earlier studies, I have elucidated how Heidegger understood the earliest Greek thinkers to have caught sight of the Being-way and named it as physis, aletheia, and the primordial Logos. -
4. Older Olympians.Key
The Older Olympians LVV4U1 - GRADE 12 CLASSICAL CIVILIZATION - MR. A. WITTMANN UNIT 2 – LECTURE 4 1 6 children of Kronos and Rhea are the first Olympians… Zeus, Hera, Poseidon, Demeter, Hestia, Hades Aphrodite born of his severed genitals of Uranus 2 God Competence God Competence 1. Zeus Storms 6. Apollo Wisdom 2. Hera Family 7. Artemis Hunt 3. Hestia Hearth 8. Hephaestus Forge 4. Demeter Harvest 9. Athena Knowledge Hades Underworld 10. Ares War 5. Poseidon Sea 11. Hermes Trade 12. Aphrodite Sex 3 Zeus, Lord of the Sky Evolved from Indo-European sky god Dyeus pater (Sky Father) Dyaus pitar (Indian) Dyeus (Iranian) Ju-pitar or Jove (Roman) Tues (Germanic) Sky, high places, thunder/lighting, Bull, eagle, oak, aegis (goat skin) epithets: Nephelegereta (cloud gatherer), Kataibates (descending) 4 5 Zeus, King of Gods & Men Father of all Xenia (guest/host, friendship/ hospitality) Justice, tradition, custom not modern justice heiros gamos sacred marriage with Hera… 1. Uranus + Gaea 2. Kronos + Rhea 3. Zeus + Hera 6 7 Zeus, King of Gods & Men Infidelity with goddess allegorizes the Indo- European male sky god’s triumph over local indigenous female earth goddesses Also illustrates how he organized the natural universe & est. human customs & traditions Metis (cleverness) = Athena (strength and judgment) Themis (established law) = Horae (seasons) Moerae (fates) Eurynomê (Custom) = Eirenê (Peace), Dikê (justice), 3 Graces 8 Zeus, King of Gods & Men Infidelity with mortals explains the origins of heroes & kings Legitimizes local kings and rulering families -
Persephone – Daughter & Goddess of the Underworld
Persephone – Daughter & Goddess of the Underworld These researches are based on Jean Bolen's book 'Goddesses in everywoman' I start this journey into the Feminine Archetypes with Persephone, the Maiden & Mother’s Daughter as she represents an image that most women have to deal with from very early childhood on and throughout life: to be a good girl and please others. Persephone’s positive qualities, such as being attentive, receptive, quiet, flexible, adaptable and innocent still determine the image in many cultures of how a “perfect woman´ should be. This pretty, yet incomplete image of a woman’s nature has caused immense suffering to numerous women who do not feel these attributes are natural to them. Persephone's image may also bring melancholic memories of the past days for women who repress their playfulness and girlish innocence in adulthood to avoid vulnerability and being manipulated by others, . Let’s have a closer look to this Goddess who has much more to offer than just innocence and passivity. Mythology Persephone is the only daughter of Zeus & Demeter. After years of a carefree childhood while gathering flowers and playing with her friends, she was kidnapped by Hades, God of the Underworld. Through the persistent efforts of her mother, she was released from the Underworld and came back to be joyfully reunited with her parents, where she continued to have a very close bond with her mother. However, she had eaten some Pomegranate seeds before being set free which tethered her to the Underworld. An important part of her soul stays deeply connected to the Underworld where she now becomes a guide for those who are looking for her. -
The Hecate of the Theogony Jenny Strauss Clay
STRAUSS CALY, JENNY, The Hecate of the "Theogony" , Greek, Roman and Byzantine Studies, 25:1 (1984) p.27 The Hecate of the Theogony Jenny Strauss Clay EAR THE MIDDLE of the Theogony, Hesiod appears to drop N everything in order to launch into an extended encomium of Hecate (411-52). Because of its length and apparent lack of integration into its context, but above all because of the peculiar terms of praise reserved for the goddess, the so-called "Hymn to Hecate" has often been dismissed as an intrusion into the Hesiodic text.l To be sure, voices have also been raised in defense,2 and, at present, the passage stands unbracketed in the editions of Mazon, Solmsen, and West.3 But questions remain even if the authenticity of the lines is acknowledged. Why does Hesiod devote so much space to so minor a deity? What is the origin and function of Hesiod's Hecate, and what role does she play in the poem ?4 1 Most notably by U. von Wilamowitz-Moellendorff, Der Glaube der Hellenen I (Berlin 1931) 172. Wilamowitz is followed by M. P. Nilsson, Geschichte der griechischen Re/igion 3 I (Munich 1969) 723. Condemnation is fairly universal among earlier editors. Cf 0. Gruppe, Ueber die Theogonie des Hesiod (Berlin 1841) 72; G. Schoemann, Die He siodische Theogonie (Berlin 1868) 190, who, after many good observations, concludes that the passage is a later interpolation; H. Flach, Die Hesiodische Theogonie (Berlin 1873) 81; A. Fick, Hesiods Gedichte (Gottingen 1887) 17 ("Der Verfasser war ein Or phiker"); F. -
The Myth of Persephone: Greek Goddess of the Underworld Original
The Myth of Persephone: Greek Goddess of the Underworld Original Story and Interpretation by Laura Strong, PhD http://www.mythicarts.com/writing/Persephone.html ©2000-2014 Laura Strong It was a beautiful day like all the others in this land, the sun shone brightly in the sky, the hills were lush and green, and flowers blossomed from the earth. The lovely young maiden, Persephone, frolicked with her friends upon the hillside, as her mother Demeter sat near by, and her father Zeus peered down from the sky above. Laughter could be heard in between the young girls' whispered secrets, as they gathered handfuls of purple crocuses, royal blue irises and sweet-smelling hyacinths. Persephone thought to bring some to her mother, but was soon distracted by a vision of the most enchanting flower she had ever seen. It was a narcissus, the exact flower her father hoped that she would find. As she reached down to pluck it from its resting place, her feet began to tremble and the earth was split in two. Life for Persephone would never be the same again. From this gaping crevice in the ground emerged the awe-inspiring God of the Underworld, Hades, and before Persephone could even think to utter a word, she was whisked off her feet onto the God's golden chariot. As the crack of the whip upon his majestic horses brought her to her senses, she realized she was about to taken into the black depths from which he'd come. The thought of this brought terror to her heart, yet any screams of protest were soon lost within the darkness, as they descended quickly into the Underworld below. -
THE ELEUSINIAN MYSTERIES of DEMETER and PERSEPHONE: Fertility, Sexuality, Ancl Rebirth Mara Lynn Keller
THE ELEUSINIAN MYSTERIES OF DEMETER AND PERSEPHONE: Fertility, Sexuality, ancl Rebirth Mara Lynn Keller The story of Demeter and Persephone, mother and daugher naturc goddesses, provides us with insights into the core beliefs by which earl) agrarian peoples of the Mediterranean related to “the creative forces of thc universe”-which some people call God, or Goddess.’ The rites of Demetei and Persephone speak to the experiences of life that remain through all time< the most mysterious-birth, sexuality, death-and also to the greatest niys tery of all, enduring love. In these ceremonies, women and inen expressec joy in the beauty and abundance of nature, especially the bountiful harvest in personal love, sexuality and procreation; and in the rebirth of the humail spirit, even through suffering and death. Cicero wrote of these rites: “Wc have been given a reason not only to live in joy, but also to die with bettei hope. ”2 The Mother Earth religion ceIebrated her children’s birth, enjoyment of life and loving return to her in death. The Earth both nourished the living and welcomed back into her body the dead. As Aeschylus wrote in TIic Libation Bearers: Yea, summon Earth, who brings all things to life and rears, and takes again into her womb.3 I wish to express my gratitude for the love and wisdom of my mother, hlary 1’. Keller, and of Dr. Muriel Chapman. They have been invaluable soiirces of insight and under- standing for me in these studies. So also have been the scholarship, vision atdot- friendship of Carol €! Christ, Charlene Spretnak, Deem Metzger, Carol Lee Saiichez, Ruby Rohrlich, Starhawk, Jane Ellen Harrison, Kiane Eisler, Alexis Masters, Richard Trapp, John Glanville, Judith Plaskow, Jim Syfers, Jim Moses, Bonnie blacCregor and Lil Moed. -
Year 8 English Summer Term: Myths, Legends, Heroes and Villains Structural Figurative Grammar: the Key Figures in Mythology Techniques Language Structural Features
Year 8 English Summer Term: Myths, Legends, Heroes and Villains Structural Figurative Grammar: The Key Figures in Mythology Techniques Language Structural Features Exposition – start of the Simile – comparing one Noun – naming word Izanami and Izanagi – From the Japanese creation myth, these story introducing the thing to another using Noun Phrase – a group two gods created land and the seas that make up the earth, characters and setting like or as. of words that act like a using a powerful spear. Denouement – the Metaphor - where noun ending/resolution. something becomes Verb – doing word Zeus is the Olympian god of the sky and the thunder, the king Shift – a change in the something else Prepositional Phrases of all other gods and men, and, consequently, the chief figure direction of the text Personification - giving - a group f words in Greek mythology. Position – where something inanimate starting with a something is placed in a (not human) human preposition and Medusa – In Greek mythology, Medusa was a monster, a text characteristics ending with a noun Gorgon, generally described as a winged human female with Digression – heading Alliteration – using the Adverbs – describe a living venomous snakes in place of hair. Gazers upon her face away from the main Onomatopoeia – words verb (how something would turn to stone. focus of the text that sound like they are is done). Flashback – going back said aloud Adjectives – describe Apollo is one of the most important and complex of the in time Imagery – creating a a noun Olympian gods in Greek and mythology. Apollo has been Flash forward – going picture in your mind variously recognised as a god of music, truth and prophecy, forward in time.