Divine Riddles: a Sourcebook for Greek and Roman Mythology March, 2014
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The Hellenic Saga Gaia (Earth)
The Hellenic Saga Gaia (Earth) Uranus (Heaven) Oceanus = Tethys Iapetus (Titan) = Clymene Themis Atlas Menoetius Prometheus Epimetheus = Pandora Prometheus • “Prometheus made humans out of earth and water, and he also gave them fire…” (Apollodorus Library 1.7.1) • … “and scatter-brained Epimetheus from the first was a mischief to men who eat bread; for it was he who first took of Zeus the woman, the maiden whom he had formed” (Hesiod Theogony ca. 509) Prometheus and Zeus • Zeus concealed the secret of life • Trick of the meat and fat • Zeus concealed fire • Prometheus stole it and gave it to man • Freidrich H. Fuger, 1751 - 1818 • Zeus ordered the creation of Pandora • Zeus chained Prometheus to a mountain • The accounts here are many and confused Maxfield Parish Prometheus 1919 Prometheus Chained Dirck van Baburen 1594 - 1624 Prometheus Nicolas-Sébastien Adam 1705 - 1778 Frankenstein: The Modern Prometheus • Novel by Mary Shelly • First published in 1818. • The first true Science Fiction novel • Victor Frankenstein is Prometheus • As with the story of Prometheus, the novel asks about cause and effect, and about responsibility. • Is man accountable for his creations? • Is God? • Are there moral, ethical constraints on man’s creative urges? Mary Shelly • “I saw the pale student of unhallowed arts kneeling beside the thing he had put together. I saw the hideous phantasm of a man stretched out, and then, on the working of some powerful engine, show signs of life, and stir with an uneasy, half vital motion. Frightful must it be; for supremely frightful would be the effect of any human endeavour to mock the stupendous mechanism of the Creator of the world” (Introduction to the 1831 edition) Did I request thee, from my clay To mould me man? Did I solicit thee From darkness to promote me? John Milton, Paradise Lost 10. -
The Argonautica, Book 1;
'^THE ARGONAUTICA OF GAIUS VALERIUS FLACCUS (SETINUS BALBUS BOOK I TRANSLATED INTO ENGLISH PROSE WITH INTRODUCTION AND NOTES BY H. G. BLOMFIELD, M.A., I.C.S. LATE SCHOLAR OF EXETER COLLEGE, OXFORD OXFORD B. H. BLACKWELL, BROAD STREET 1916 NEW YORK LONGMANS GREEN & CO. FOURTH AVENUE AND 30TH STREET TO MY WIFE h2 ; ; ; — CANDIDO LECTORI Reader, I'll spin you, if you please, A tough yarn of the good ship Argo, And how she carried o'er the seas Her somewhat miscellaneous cargo; And how one Jason did with ease (Spite of the Colchian King's embargo) Contrive to bone the fleecy prize That by the dragon fierce was guarded, Closing its soporific eyes By spells with honey interlarded How, spite of favouring winds and skies, His homeward voyage was retarded And how the Princess, by whose aid Her father's purpose had been thwarted, With the Greek stranger in the glade Of Ares secretly consorted, And how his converse with the maid Is generally thus reported : ' Medea, the premature decease Of my respected parent causes A vacancy in Northern Greece, And no one's claim 's as good as yours is To fill the blank : come, take the lease. Conditioned by the following clauses : You'll have to do a midnight bunk With me aboard the S.S. Argo But there 's no earthly need to funk, Or think the crew cannot so far go : They're not invariably drunk, And you can act as supercargo. — CANDIDO LECTORI • Nor should you very greatly care If sometimes you're a little sea-sick; There's no escape from mal-de-mer, Why, storms have actually made me sick : Take a Pope-Roach, and don't despair ; The best thing simply is to be sick.' H. -
The Cambridge Companion to Greek Mythology (2007)
P1: JzG 9780521845205pre CUFX147/Woodard 978 0521845205 Printer: cupusbw July 28, 2007 1:25 The Cambridge Companion to GREEK MYTHOLOGY S The Cambridge Companion to Greek Mythology presents a comprehensive and integrated treatment of ancient Greek mythic tradition. Divided into three sections, the work consists of sixteen original articles authored by an ensemble of some of the world’s most distinguished scholars of classical mythology. Part I provides readers with an examination of the forms and uses of myth in Greek oral and written literature from the epic poetry of the eighth century BC to the mythographic catalogs of the early centuries AD. Part II looks at the relationship between myth, religion, art, and politics among the Greeks and at the Roman appropriation of Greek mythic tradition. The reception of Greek myth from the Middle Ages to modernity, in literature, feminist scholarship, and cinema, rounds out the work in Part III. The Cambridge Companion to Greek Mythology is a unique resource that will be of interest and value not only to undergraduate and graduate students and professional scholars, but also to anyone interested in the myths of the ancient Greeks and their impact on western tradition. Roger D. Woodard is the Andrew V.V.Raymond Professor of the Clas- sics and Professor of Linguistics at the University of Buffalo (The State University of New York).He has taught in the United States and Europe and is the author of a number of books on myth and ancient civiliza- tion, most recently Indo-European Sacred Space: Vedic and Roman Cult. Dr. -
Archaeology and History of Lydia from the Early Lydian Period to Late Antiquity (8Th Century B.C.-6Th Century A.D.)
Dokuz Eylül University – DEU The Research Center for the Archaeology of Western Anatolia – EKVAM Colloquia Anatolica et Aegaea Congressus internationales Smyrnenses IX Archaeology and history of Lydia from the early Lydian period to late antiquity (8th century B.C.-6th century A.D.). An international symposium May 17-18, 2017 / Izmir, Turkey ABSTRACTS Edited by Ergün Laflı Gülseren Kan Şahin Last Update: 21/04/2017. Izmir, May 2017 Websites: https://independent.academia.edu/TheLydiaSymposium https://www.researchgate.net/profile/The_Lydia_Symposium 1 This symposium has been dedicated to Roberto Gusmani (1935-2009) and Peter Herrmann (1927-2002) due to their pioneering works on the archaeology and history of ancient Lydia. Fig. 1: Map of Lydia and neighbouring areas in western Asia Minor (S. Patacı, 2017). 2 Table of contents Ergün Laflı, An introduction to Lydian studies: Editorial remarks to the abstract booklet of the Lydia Symposium....................................................................................................................................................8-9. Nihal Akıllı, Protohistorical excavations at Hastane Höyük in Akhisar………………………………10. Sedat Akkurnaz, New examples of Archaic architectural terracottas from Lydia………………………..11. Gülseren Alkış Yazıcı, Some remarks on the ancient religions of Lydia……………………………….12. Elif Alten, Revolt of Achaeus against Antiochus III the Great and the siege of Sardis, based on classical textual, epigraphic and numismatic evidence………………………………………………………………....13. Gaetano Arena, Heleis: A chief doctor in Roman Lydia…….……………………………………....14. Ilias N. Arnaoutoglou, Κοινὸν, συμβίωσις: Associations in Hellenistic and Roman Lydia……….……..15. Eirini Artemi, The role of Ephesus in the late antiquity from the period of Diocletian to A.D. 449, the “Robber Synod”.……………………………………………………………………….………...16. Natalia S. Astashova, Anatolian pottery from Panticapaeum…………………………………….17-18. Ayşegül Aykurt, Minoan presence in western Anatolia……………………………………………...19. -
Gods of the Silver Screen: Cinematic Representations of Myth and Divinity Lloyd Llewellyn-Jones
Ogden / Companion to Greek Religion 1405120541_4_027 Final Proof page 421 17.11.2006 4:50pm A Companion to Greek Religion Edited by Daniel Ogden Copyright © 2007 by Blackwell Publishing Ltd PART IX Epilogue Ogden / Companion to Greek Religion 1405120541_4_027 Final Proof page 423 17.11.2006 4:50pm A Companion to Greek Religion Edited by Daniel Ogden Copyright © 2007 by Blackwell Publishing Ltd CHAPTER TWENTY-SEVEN Gods of the Silver Screen: Cinematic Representations of Myth and Divinity Lloyd Llewellyn-Jones Ever since cinema’s infancy, myth – and Greek mythology in particular – has been a mainstay of cinematic output, in that films either incorporate mythological names or characters in their titles – The Andromeda Strain (dir. Wise, 1971), The Poseidon Adventure (dir. Neame, 1972), Black Narcissus (dir. Powell, 1947) – or else recreate episodes from classical mythology. Jon Solomon estimates that there have been over eighty mythological movies made by American and European film studios to date, proving that movie producers are keen to mine the depths of classical myth for screen materials (Solomon 2001:101). The release of films like Disney’s animated feature Hercules (dir. Clements and Musker, 1997) and the blockbuster Troy (dir. Petersen, 2004) demonstrates that Greek mythology continues to play a significant role in the construction of ancient history in mass popular culture. As Martin Winkler puts it: Ancient myths and archetypes recurring in films attest to the vitality of our own cultural tradition. Retellings of classical stories on film show that filmmakers have used the ancient material consciously in order to comment on their own times or that they unconsciously reflect cultural trends. -
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. -
1 Divine Intervention and Disguise in Homer's Iliad Senior Thesis
Divine Intervention and Disguise in Homer’s Iliad Senior Thesis Presented to The Faculty of the Undergraduate School of Arts and Sciences Brandeis University Undergraduate Program in Classical Studies Professor Joel Christensen, Advisor In partial fulfillment of the requirements for the degree of Bachelor of Arts By Joana Jankulla May 2018 Copyright by Joana Jankulla 1 Copyright by Joana Jankulla © 2018 2 Acknowledgements First and foremost, I would like to thank my advisor, Professor Joel Christensen. Thank you, Professor Christensen for guiding me through this process, expressing confidence in me, and being available whenever I had any questions or concerns. I would not have been able to complete this work without you. Secondly, I would like to thank Professor Ann Olga Koloski-Ostrow and Professor Cheryl Walker for reading my thesis and providing me with feedback. The Classics Department at Brandeis University has been an instrumental part of my growth in my four years as an undergraduate, and I am eternally thankful to all the professors and staff members in the department. Thank you to my friends, specifically Erica Theroux, Sarah Jousset, Anna Craven, Rachel Goldstein, Taylor McKinnon and Georgie Contreras for providing me with a lot of emotional support this year. I hope you all know how grateful I am for you as friends and how much I have appreciated your love this year. Thank you to my mom for FaceTiming me every time I was stressed about completing my thesis and encouraging me every step of the way. Finally, thank you to Ian Leeds for dropping everything and coming to me each time I needed it. -
Studies in Early Mediterranean Poetics and Cosmology
The Ruins of Paradise: Studies in Early Mediterranean Poetics and Cosmology by Matthew M. Newman A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Classical Studies) in the University of Michigan 2015 Doctoral Committee: Professor Richard Janko, Chair Professor Sara L. Ahbel-Rappe Professor Gary M. Beckman Associate Professor Benjamin W. Fortson Professor Ruth S. Scodel Bind us in time, O Seasons clear, and awe. O minstrel galleons of Carib fire, Bequeath us to no earthly shore until Is answered in the vortex of our grave The seal’s wide spindrift gaze toward paradise. (from Hart Crane’s Voyages, II) For Mom and Dad ii Acknowledgments I fear that what follows this preface will appear quite like one of the disorderly monsters it investigates. But should you find anything in this work compelling on account of its being lucid, know that I am not responsible. Not long ago, you see, I was brought up on charges of obscurantisme, although the only “terroristic” aspects of it were self- directed—“Vous avez mal compris; vous êtes idiot.”1 But I’ve been rehabilitated, or perhaps, like Aphrodite in Iliad 5 (if you buy my reading), habilitated for the first time, to the joys of clearer prose. My committee is responsible for this, especially my chair Richard Janko and he who first intervened, Benjamin Fortson. I thank them. If something in here should appear refined, again this is likely owing to the good taste of my committee. And if something should appear peculiarly sensitive, empathic even, then it was the humanity of my committee that enabled, or at least amplified, this, too. -
Astrocladistics of the Jovian Trojan Swarms
MNRAS 000,1–26 (2020) Preprint 23 March 2021 Compiled using MNRAS LATEX style file v3.0 Astrocladistics of the Jovian Trojan Swarms Timothy R. Holt,1,2¢ Jonathan Horner,1 David Nesvorný,2 Rachel King,1 Marcel Popescu,3 Brad D. Carter,1 and Christopher C. E. Tylor,1 1Centre for Astrophysics, University of Southern Queensland, Toowoomba, QLD, Australia 2Department of Space Studies, Southwest Research Institute, Boulder, CO. USA. 3Astronomical Institute of the Romanian Academy, Bucharest, Romania. Accepted XXX. Received YYY; in original form ZZZ ABSTRACT The Jovian Trojans are two swarms of small objects that share Jupiter’s orbit, clustered around the leading and trailing Lagrange points, L4 and L5. In this work, we investigate the Jovian Trojan population using the technique of astrocladistics, an adaptation of the ‘tree of life’ approach used in biology. We combine colour data from WISE, SDSS, Gaia DR2 and MOVIS surveys with knowledge of the physical and orbital characteristics of the Trojans, to generate a classification tree composed of clans with distinctive characteristics. We identify 48 clans, indicating groups of objects that possibly share a common origin. Amongst these are several that contain members of the known collisional families, though our work identifies subtleties in that classification that bear future investigation. Our clans are often broken into subclans, and most can be grouped into 10 superclans, reflecting the hierarchical nature of the population. Outcomes from this project include the identification of several high priority objects for additional observations and as well as providing context for the objects to be visited by the forthcoming Lucy mission. -
2 the Muse “Former Poets,” and the Problem of the Past
2 The Muse “former poets,” and the problem of the past Past and Present in Archaic Greek Poetry “old” and “new” in pindar In this chapter, I consider the ways in which epinician poetry regards and represents the past. The past plays a complicated role in this genre. It is of great significance for the epinician project: contempo- rary athletic victories recall and invite comparison with the deeds of heroes from the distant past. But the primary and immediate function of epinician poetry is to praise contemporaries—men of the present. Because of this, a tension is set up between past and present as epinician themes. In epinician poetry, a besetting concern is that the past should not eclipse the present. Epinician poetry repeatedly emphasizes a focus on the present as part of its formal program. In Nemean 4, the poet says that typically, victors are praised in their own day, and by their peers. The poet declines to celebrate the victor’s dead uncle, a former victor at the Isthmus, because, he says, the victor’s grandfather is better qualified to do so. “For some belong to one generation, others to another; but each person hopes to speak best of what he himself has encountered” (91–92). Pindar’s odes also contain many internal references to the here- and-now aspect of epinician performance. The poet urges that it is necessary to celebrate “today” [σα µερν, O. 6.28; P. 4.1–2], and prom- ises a song “right now” [νυν , O. 11.11]. He exhorts the Muses to shed splendor, or shoot shafts of song “now” (N. -
WRATH of ACHILLES: the MYTHS of the TROJAN WAR “The Feast of Peleus”
SING, GODDESS OF THE WRATH OF ACHILLES: THE MYTHS OF THE TROJAN WAR “The Feast Of Peleus” E. Burne-Jones (1872-81) Eris The Greek Goddess of Chaos Paris and the nymph Oinone happy on Mt. Ida Peter Paul Rubens, “Judgment Of Paris” Salvador Dali, “The Judgment of Paris” (1960-64) “Paris and Helen,” Jacques-Louis David (1788) “The Abduction of Helen” From an illuminated edition of Ovid’s Metamorphosis (late 15th c.) OATH OF TYNDAREUS When Helen reached marriageable age, the greatest kings and warriors from all Greece sought to win her hand. They brought magnificent gifts to her mortal father Tyndareus. The suitors included Ajax, Peleus, Diomedes, Patroclus and Odysseus. In return for Tyndareus’ niece Penelope in marriage, Odysseus drew up an oath to be taken by all the suitors. They would swear to accept the choice of Tyndareus. If any man ever took Helen by force, they would fight to regain her for her lawful husband. Tyndareus selected Menelaus, king of Sparta, who had brought the most valuable gifts. “Odysseus’ Induction,” Heywood Hardy (1874) “Thetis Dips Achilles Into The River Syx” Antoine Borel (18th c.) Achilles taught to play the lyre by Chiron Jan de Bray, “The Discovery of Achilles Among the Daughters of Lycomedes” [1664] Aulis today Achilles wounds Telephus in Mysia Iphigenia, Achilles, Clytemnestra and Agamemnon at Aulis “Sacrifice of Iphigenia at Aulis,” A wall painting from the House of the Tragic Poet at Pompeii 63-70 CE Peter Pietersz Lastman, “Orestes and Pylades Disputing the Altar” (1614) Philoctetes with Heracles’ bow on Lemnos Protesilaus steps ashore at Troy Patroclus separates Briseis from Achilles Briseis and Agamemnon Jean-Auguste Dominique Ingres, “Jupiter and Thetis” (1811) Paris and Menelaus in single combat Aeneas and Aphrodite were both wounded by Diomedes “Achilles Receives Agamemnon’s Messengers,” Jacques-Louis David (1801) “Helen on the Walls of Troy,” -Gustave Moreau, c. -
Greek Mythology
Greek Mythology The Creation Myth “First Chaos came into being, next wide bosomed Gaea(Earth), Tartarus and Eros (Love). From Chaos came forth Erebus and black Night. Of Night were born Aether and Day (whom she brought forth after intercourse with Erebus), and Doom, Fate, Death, sleep, Dreams; also, though she lay with none, the Hesperides and Blame and Woe and the Fates, and Nemesis to afflict mortal men, and Deceit, Friendship, Age and Strife, which also had gloomy offspring.”[11] “And Earth first bore starry Heaven (Uranus), equal to herself to cover her on every side and to be an ever-sure abiding place for the blessed gods. And earth brought forth, without intercourse of love, the Hills, haunts of the Nymphs and the fruitless sea with his raging swell.”[11] Heaven “gazing down fondly at her (Earth) from the mountains he showered fertile rain upon her secret clefts, and she bore grass flowers, and trees, with the beasts and birds proper to each. This same rain made the rivers flow and filled the hollow places with the water, so that lakes and seas came into being.”[12] The Titans and the Giants “Her (Earth) first children (with heaven) of Semi-human form were the hundred-handed giants Briareus, Gyges, and Cottus. Next appeared the three wild, one-eyed Cyclopes, builders of gigantic walls and master-smiths…..Their names were Brontes, Steropes, and Arges.”[12] Next came the “Titans: Oceanus, Hypenon, Iapetus, Themis, Memory (Mnemosyne), Phoebe also Tethys, and Cronus the wily—youngest and most terrible of her children.”[11] “Cronus hated his lusty sire Heaven (Uranus).