DOCSLIB.ORG

Power of the Gods

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Power of the Gods Power of the Gods By Jeffrey Smart Performance Rights It is an infringement of the federal copyright law to copy or reproduce this script in any manner or to perform this play without royalty payment. All rights are controlled by Eldridge Publishing Co., Inc. Call the publisher for additional scripts and further licensing information. The authors’ name must appear on all programs and advertising with the notice: “Produced by special arrangement with Eldridge Publishing Company.” PUBLISHED BY ELDRIDGE PUBLISHING COMPANY www.histage.com © 1997 by Jeffrey Smart Download your complete script from Eldridge Publishing http://www.histage.com/playdetails.asp?PID=121 Power of the Gods -2- STORY OF THE PLAY Ashley, a novice dryad, or tree sprite, makes her first visit to Mt. Olympus to meet the powerful pantheon of gods and goddesses of Ancient Greece. She is overwhelmed by the way the Great Olympians live and the power that they wield, and wants to grab a little of the glory for herself. She becomes friends with Persephone, the maiden of spring, who is running away from her brooding husband, Hades. Together the women set off on an ambitious odyssey to steal Zeus’ lightning bolts, Poseidon’s trident, and Hades’ helmet of invisibility and take over Mt. Olympus! They are pursued by the vengeful goddess, Hera, and eventually learn an important lesson about the balance of power. Power of the Gods -3- CAST OF CHARACTERS (4 m, 6 w, many extras) OLYMPIANS ARTEMIS: A goddess of three forms: the hunt (Artemis); the moon (Selene) and of mystery (Hecate). ASHLEY: A dryad. HESTIA: Goddess of the Hearth. ZEUS: God of Thunder. POSEIDON: God of the Ocean. HADES: God of the Underworld. HERA: Goddess of Marriage. HERMES: Messenger of the Gods. PERSEPHONE: Maiden of Spring. OLIVE: Another dryad. LESSER GODS (any number) WOMEN MAENADS DRYADS OREADS NAIADS MEN DACTYLS CORYBANTS TRITONS 4 FEMALE DANCERS (non-speaking) DANAE, EUROPA, LO, and LEDA EXTRAS: Other gods and goddesses may be represented by their appropriate props and serve as background in the crowd scenes (i.e. Apollo, a sun crest or lyre; Athena, an owl and a helmet; Ares a sword and shield; Demeter, a cornucopia or sheaf of wheat.) Power of the Gods -4- SYNOPSIS OF SCENES ACT I Scene 1: The Great Hall of Olympus Scene 2: The Underworld Scene 3: The Sacred Grove Scene 4: Zeus’ bedchamber on Olympus Scene 5: The Sacred Grove Scene 6: Under the sea Scene 7: Upon a shore ACT II Scene 1: The Sacred Grove Scene 2: The Hall of Wonders in the Underworld Scene 3: The Great Hall of Olympus SETTING The basic setting consists of heavily pleated curtains, layered on top of one another at stately angles. In front of them are a few classical columns, some standing, some fallen over. Large doors are on each side. Thrones and other furniture may be brought on as needed. On the curtains are projected appropriate gobos: clouds for Olympus, leaves for the Sacred Grove, etc. Power of the Gods -5- PROPS ZEUS: Thunderbolts. POSEIDON: Flower that squirts water, trident, big flippers. HESTIA: Trays and goblets, nectar and ambrosia. ARTEMIS: Bow and arrows, large crescent moon, lantern, long cloak with hood, knife. HERMES: Several scrolls (one of pink parchment), small casket with golden rose and diamond pendant necklace. OREADS and TRITONS: Bathing caps, swim fins, snorkles. HALL OF WONDERS: Helmet, golden lyre. COSTUMES In general, the characters all wear togas or long tunics of varying lengths (longer for the older gods, shorter for Ashley and the younger demi-gods). Color can be used to separate the groups, or they might simply wear jeans and T-shirts printed with Dryad, Oread, Triton etc. ... with a toga slung over one shoulder. Additional pieces, like Hermes’ sandals and winged helmet, can further delineate characters. These items could be traditional, or modern such as sneakers and a ball cap with wings attached. Poseiden wears jams and a Hawaiian print shirt under his toga, as well as flippers. Hera can have an optional terry cloth toga and towel turban for after she gets drenched. Above all, the costumes should be fun and can be as anachronistic as you can imagine. Power of the Gods -6- ACT I Scene 1 (AT RISE: The Great Hall of Olympus. Three great thrones dominate a dais. ARTEMIS enters trying to control the CROWD behind her.) ARTEMIS: All right, could I have the naiads, the oreads, the maenads, the dryads please stay in your groups. Dactyls, demi-gods, corybants, tritons, could you catch up, please? (GROUPS move appropriately.) Thank you. All right, here we are in the Great Hall of Mt. Olympus. It is here that the twelve Olympians live and love. It’s not every day we lesser deities get to peek inside. Now - are there any question so far? (Silence.) Good. (SHE is about to move on when ASHLEY interrupts.) ASHLEY: Yeah, I have a question. What are these chairs? ARTEMIS: Don’t touch those! Those are the thrones of the Great Olympians. ASHLEY: Which one’s yours? ARTEMIS: Well, I’m second generation. I just sit on the dais. Don’t sit there! ASHLEY: Gee, I thought when you got to be a Great Olympian you at least got a chair. (HESTIA, a plump, motherly goddess, enters.) HESTIA: What’s all the noise? ARTEMIS: Oh! Uh, everyone, this is one of the Great Olympians, Hestia, goddess of the hearth. (Applause.) HESTIA: Oh, stop, stop. Artemis, aren’t you going to introduce them to me? (ARTEMIS looks at THEM all, then at HESTIA, who laughs.) You’re the new gods, aren’t you? ASHLEY: The lesser spirits of the earth, ma’am. HESTIA: Oh, pish-tush. A god is a god. We all have pretty much the same power. Just different ... specialties. Where are the maenads and corybants? (Hands up.) Power of the Gods -7- HESTIA: (Continued.) Lovely. Could you help me with the nectar and ambrosia? The gods are coming and I know how you love to serve! (Buzz: The gods are coming!) ARTEMIS: The gods are coming? HESTIA: (Exiting.) Petition day! (SHE EXITS with some of the CHORUS.) ARTEMIS: All right, everyone, please, move to the back of the Great Hall. Move to the back of the Great Hall. ASHLEY: Why? ARTEMIS: Why? What is your name? ASHLEY: I’m Ashley. I’m a dryad. I’m the spirit of the ash trees. ARTEMIS: Have you ever seen what one of my silver arrows does to an ash tree? ASHLEY: No. ARTEMIS: You don’t want to. Move to the back of the hall. (The Great Olympians, ZEUS, POSEIDON, HADES, HERA, PERSEPHONE and OTHERS, ENTER. UNNAMED GODS should be recognizable by their symbols of power. Zeus stops to talk to one of the more attractive new goddesses.) ZEUS: Hi, there. I’m Zeus, king of the gods. (NEW GODDESS drops her jaw and says nothing.) Trying to catch a few flies? HERA: (Noticing ZEUS’ absence crosses over to him, grabbing him firmly by the arm.) Really! (SHE gives a withering look to the NEW GODDESS as the procession continues to the dais. ZEUS, POSEIDON, and HADES settle into their thrones while the OTHER GREAT GODS stand or sit around the dais.) ZEUS: Hermes! Bring us the petitions of the mortals. HERMES: (Runs in and stops, a little out of breath.) Here you are, my lord. (HE hands petitions to ZEUS.) ZEUS: Thank you. We shall now read the petitions of the mortals and grant them our favor - or not - as we see fit. End of Freeview Download your complete script from Eldridge Publishing http://www.histage.com/playdetails.asp?PID=121 Eldridge Publishing, a leading drama play publisher since 1906, offers more than a thousand full-length plays, one-act plays, melodramas, holiday plays, religious plays, children's theatre plays and musicals of all kinds. For more than a hundred years, our family-owned business has had the privilege of publishing some of the finest playwrights, allowing their work to come alive on stages worldwide. We look forward to being a part of your next theatrical production. Eldridge Publishing... for the start of your theatre experience!.
Load more

Recommended publications
  • 1 Visual Aid: Teaching H.D.'S Imagist Poetry with the Assistance Of
    Teaching American Literature: A Journal of Theory and Practice Winter 2008 (2:1) Visual Aid: Teaching H.D.'s Imagist Poetry with the Assistance of Henri Matisse Christa Baiada, Borough of Manhattan Community College, CUNY The mantra of the modernist movement, articulated by Ezra Pound, was "make it new." Unfortunately, students don't always know how to approach "new" styles of literature, especially poetry that itself daunts many students. As we've all observed, if not experienced for ourselves, modernist poetry, upon first encounter, can be especially intimidating. In the spirit of making it new, this poetry often appears obscure in its density, perspective, and complexity. Students may look at a poem like "The Red Wheel Barrow" and ask "how is this poetry?" Of course, this is precisely the question we want to work through with them, so this is good. On the other hand, the initial discomfort of students with modernism can develop into a resistance hard to tackle. This is a challenge I found especially difficult to address in my early attempts to teach the poems of H.D. at a small, suburban music college in Long Island, NY. For my first lesson at the start of a unit on modernism in an undergraduate 200-level, Introduction to Literature class, I would devote the entire period to H.D. because I believe that her work beautifully encapsulates many of the principles of modernism laid out by Pound in his seminal essay "A Retrospect." Though several of my students have been fans, or even writers, of poetry and most had artistic sensibilities, many were disconcerted in their first encounter with modernist poetry via H.D., and the malaise they felt would linger in the following weeks as we read additional modernist poets.
    [Show full text]
  • 'Myth' and 'Religion'
    THOUGHTS ON MYTH AND RELIGION IN EARLY GREEK HISTORIOGRAPHY Robert L. FOWLER University of Bristol [email protected] RESUMEN: El artículo examina el nacimiento del concepto de mythos/mito en el contexto de la historiografía y la mitografía de la Grecia arcaica. La posibilidad de oponerse a relatos tradicionales es un factor crítico en este proceso y se relaciona estrechamente con los esfuerzos de los autores por fijar su autoridad. Se compara la práctica de Heródoto con la de los primeros mitógrafos y, aunque hay amplias similitudes, hay diferencias cruciales en el tratamiento de los asuntos religiosos. Los escrúpulos personales de Heródoto responden en parte a su bien conocida reserva en lo referente a los dioses, pero es también relevante su actitud acerca de la tarea del historiador y su noción de cómo los dioses intervienen en la historia. Mientras que los mitógrafos tratan de historicizar la mitología, Heródoto trata de modo notable de desmitologizar la historia, separando ambas, pero al mismo tiempo definiendo con más profundidad que nunca sus auténticas interconexiones. Esta situación sugiere algunas consideraciones generales acerca de la relación entre mito y ritual en Grecia. ABSTRACT: The article examines the emerging concept of mythos/myth in the context of early Greek historiography and mythography. The possibility of contesting traditional stories is a critical factor in this process, and is closely related to the efforts of writers to establish their authority. Herodotos’ practice is compared with that of the early mythographers, and though there are some broad similarities, there are crucial differences in their approach to religious matters.
    [Show full text]
  • H.D., Daughter of Helen: Mythology As Actuality
    University of Pennsylvania ScholarlyCommons Departmental Papers (Classical Studies) Classical Studies at Penn 2009 H.D., Daughter of Helen: Mythology as Actuality Sheila Murnaghan University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/classics_papers Part of the Classics Commons Recommended Citation (OVERRIDE) Murnaghan, Sheila. “H.D., Daughter of Helen: Mythology as Actuality,” in Gregory A. Staley, ed., American Women and Classical Myths, Waco: Baylor University Press, 2009: 63-84. This paper is posted at ScholarlyCommons. https://repository.upenn.edu/classics_papers/84 For more information, please contact [email protected]. H.D., Daughter of Helen: Mythology as Actuality Abstract For H.D., classical mythology was an essential means of expression, first acquired in childhood and repossessed throughout her life. H.D.’s extensive output of poems, memoirs, and novels is marked by a pervasive Hellenism which evolved in response to the changing conditions of her life and art, but remained her constant idiom. She saw herself as reliving myth, and she used myth as a medium through which to order her own experience and to rethink inherited ideas. If myth served H.D. as a resource for self-understanding and artistic expression, H.D. herself has served subsequent poets, critics, and scholars as a model for the writer’s ability to reclaim myth, to create something new and personal out of ancient shared traditions. Disciplines Arts and Humanities | Classics This book chapter is available at ScholarlyCommons: https://repository.upenn.edu/classics_papers/84 Gregory A. Staley, editor, American Women and Classical Myths (Waco, Tex.: Baylor University Press, 2009) © Baylor University Press.
    [Show full text]
  • Naming the Extrasolar Planets
    Naming the extrasolar planets W. Lyra Max Planck Institute for Astronomy, K¨onigstuhl 17, 69177, Heidelberg, Germany [email protected] Abstract and OGLE-TR-182 b, which does not help educators convey the message that these planets are quite similar to Jupiter. Extrasolar planets are not named and are referred to only In stark contrast, the sentence“planet Apollo is a gas giant by their assigned scientific designation. The reason given like Jupiter” is heavily - yet invisibly - coated with Coper- by the IAU to not name the planets is that it is consid- nicanism. ered impractical as planets are expected to be common. I One reason given by the IAU for not considering naming advance some reasons as to why this logic is flawed, and sug- the extrasolar planets is that it is a task deemed impractical. gest names for the 403 extrasolar planet candidates known One source is quoted as having said “if planets are found to as of Oct 2009. The names follow a scheme of association occur very frequently in the Universe, a system of individual with the constellation that the host star pertains to, and names for planets might well rapidly be found equally im- therefore are mostly drawn from Roman-Greek mythology. practicable as it is for stars, as planet discoveries progress.” Other mythologies may also be used given that a suitable 1. This leads to a second argument. It is indeed impractical association is established. to name all stars. But some stars are named nonetheless. In fact, all other classes of astronomical bodies are named.
    [Show full text]
  • Naiad: a Timely Dataflow System
    Naiad: A Timely Dataflow System Derek G. Murray Frank McSherry Rebecca Isaacs Michael Isard Paul Barham Mart´ın Abadi Microsoft Research Silicon Valley {derekmur,mcsherry,risaacs,misard,pbar,abadi}@microsoft.com Abstract User queries Low-latency query are received responses are delivered Naiad is a distributed system for executing data parallel, cyclic dataflow programs. It offers the high throughput Queries are of batch processors, the low latency of stream proces- joined with sors, and the ability to perform iterative and incremental processed data computations. Although existing systems offer some of Complex processing these features, applications that require all three have re- incrementally re- lied on multiple platforms, at the expense of efficiency, Updates to executes to reflect maintainability, and simplicity. Naiad resolves the com- data arrive changed data plexities of combining these features in one framework. A new computational model, timely dataflow, under- Figure 1: A Naiad application that supports real- lies Naiad and captures opportunities for parallelism time queries on continually updated data. The across a wide class of algorithms. This model enriches dashed rectangle represents iterative processing that dataflow computation with timestamps that represent incrementally updates as new data arrive. logical points in the computation and provide the basis for an efficient, lightweight coordination mechanism. requirements: the application performs iterative process- We show that many powerful high-level programming ing on a real-time data stream, and supports interac- models can be built on Naiad’s low-level primitives, en- tive queries on a fresh, consistent view of the results. abling such diverse tasks as streaming data analysis, it- However, no existing system satisfies all three require- erative machine learning, and interactive graph mining.
    [Show full text]
  • The Rhythm of the Gods' Voice. the Suggestion of Divine Presence
    T he Rhythm of the Gods’ Voice. The Suggestion of Divine Presence through Prosody* E l ritmo de la voz de los dioses. La sugerencia de la presencia divina a través de la prosodia Ronald Blankenborg Radboud University Nijmegen [email protected] Abstract Resumen I n this article, I draw attention to the E ste estudio se centra en la meticulosidad gods’ pickiness in the audible flow of de los dioses en el flujo audible de sus expre- their utterances, a prosodic characteris- siones, una característica prosódica del habla tic of speech that evokes the presence of que evoca la presencia divina. La poesía hexa- the divine. Hexametric poetry itself is the métrica es en sí misma el lenguaje de la per- * I want to thank the anonymous reviewers and the editors of ARYS for their suggestions and com- ments. https://doi.org/10.20318/arys.2020.5310 - Arys, 18, 2020 [123-154] issn 1575-166x 124 Ronald Blankenborg language of permanency, as evidenced by manencia, como pone de manifiesto la litera- wisdom literature, funereal and dedicatory tura sapiencial y las inscripciones funerarias inscriptions: epic poetry is the embedded y dedicatorias: la poesía épica es el lenguaje direct speech of a goddess. Outside hex- directo integrado de una diosa. Más allá de ametric poetry, the gods’ special speech la poesía hexamétrica, el habla especial de los is primarily expressed through prosodic dioses es principalmente expresado mediante means, notably through a shift in rhythmic recursos prosódicos, especialmente a través profile. Such a shift deliberately captures, de un cambio en el perfil rítmico.
    [Show full text]
  • Catharsis Discussion Circle, We Have Prepared This List of Frequently Asked Questions to Assist Participants with Common Concerns
    Frequently Asked Questions Thank you for your help in this important research project! In order to facilitate a successful Catharsis discussion circle, we have prepared this list of Frequently Asked Questions to assist participants with common concerns. Q: Do I need to make any special preparations before the session? A: No, you can follow your normal routine. There is no need to avoid food or drink before the session. Q: Is there any physical discomfort associated with channeling? A: No. However, as you may be sitting for long periods, we recommend taking breaks to stand and stretch from time to time. Q: Will I get to pick which entity I am channeling? A: Yes, with some limitations. Hera is always present in a Catharsis session. If the person channeling her leaves the group or chooses another entity to channel, she will "jump" to another random person; if that person is already channeling, the entity already present will be expelled, either to withdraw or to find another willing channeler. Q: What if I arrive at the session late? A: Catharsis sessions are designed to be unstructured and participant-led, so it's fine if you don't arrive at the same time as everyone else. We recommend that before joining in the conversation, you take a few minutes to consider personality of the entity you have decided to channel, and their relation to the others present. Then, just relax and allow them to speak through you. Q: What if I need to leave early? A: No problem! Simply relax and wait a moment for the entity you are channeling to separate from you, then quietly leave the circle.
    [Show full text]
  • 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]
  • Robert Graves the White Goddess
    ROBERT GRAVES THE WHITE GODDESS IN DEDICATION All saints revile her, and all sober men Ruled by the God Apollo's golden mean— In scorn of which I sailed to find her In distant regions likeliest to hold her Whom I desired above all things to know, Sister of the mirage and echo. It was a virtue not to stay, To go my headstrong and heroic way Seeking her out at the volcano's head, Among pack ice, or where the track had faded Beyond the cavern of the seven sleepers: Whose broad high brow was white as any leper's, Whose eyes were blue, with rowan-berry lips, With hair curled honey-coloured to white hips. Green sap of Spring in the young wood a-stir Will celebrate the Mountain Mother, And every song-bird shout awhile for her; But I am gifted, even in November Rawest of seasons, with so huge a sense Of her nakedly worn magnificence I forget cruelty and past betrayal, Careless of where the next bright bolt may fall. FOREWORD am grateful to Philip and Sally Graves, Christopher Hawkes, John Knittel, Valentin Iremonger, Max Mallowan, E. M. Parr, Joshua IPodro, Lynette Roberts, Martin Seymour-Smith, John Heath-Stubbs and numerous correspondents, who have supplied me with source- material for this book: and to Kenneth Gay who has helped me to arrange it. Yet since the first edition appeared in 1946, no expert in ancient Irish or Welsh has offered me the least help in refining my argument, or pointed out any of the errors which are bound to have crept into the text, or even acknowledged my letters.
    [Show full text]
  • A Dictionary of Mythology —
    Ex-libris Ernest Rudge 22500629148 CASSELL’S POCKET REFERENCE LIBRARY A Dictionary of Mythology — Cassell’s Pocket Reference Library The first Six Volumes are : English Dictionary Poetical Quotations Proverbs and Maxims Dictionary of Mythology Gazetteer of the British Isles The Pocket Doctor Others are in active preparation In two Bindings—Cloth and Leather A DICTIONARY MYTHOLOGYOF BEING A CONCISE GUIDE TO THE MYTHS OF GREECE AND ROME, BABYLONIA, EGYPT, AMERICA, SCANDINAVIA, & GREAT BRITAIN BY LEWIS SPENCE, M.A. Author of “ The Mythologies of Ancient Mexico and Peru,” etc. i CASSELL AND COMPANY, LTD. London, New York, Toronto and Melbourne 1910 ca') zz-^y . a k. WELLCOME INS77Tint \ LIBRARY Coll. W^iMOmeo Coll. No. _Zv_^ _ii ALL RIGHTS RESERVED INTRODUCTION Our grandfathers regarded the study of mythology as a necessary adjunct to a polite education, without a knowledge of which neither the classical nor the more modem poets could be read with understanding. But it is now recognised that upon mythology and folklore rests the basis of the new science of Comparative Religion. The evolution of religion from mythology has now been made plain. It is a law of evolution that, though the parent types which precede certain forms are doomed to perish, they yet bequeath to their descendants certain of their characteristics ; and although mythology has perished (in the civilised world, at least), it has left an indelible stamp not only upon modem religions, but also upon local and national custom. The work of Fruger, Lang, Immerwahr, and others has revolutionised mythology, and has evolved from the unexplained mass of tales of forty years ago a definite and systematic science.
    [Show full text]
  • The Classical Mythology of Milton's English Poems
    YALE STUDIES IN ENGLISH ALBERT S. COOK, Editor VIII THE CLASSICAL MYTHOLOGY OF Milton's English poems CHARLES GROSVENOR OSGOOD, Ph.D. NEW YORK HENRY HOLT AND COMPANY igoo Ss9a Copyright, igoo, BY CHARLES GROSVENOR OSGOOD, Ph.D. J^ 7/SS TO PROFESSQR ALBERT S. COOK AND PROFESSOR THOMAS D. SEYMOUR — PREFACE The student who diligently peruses the lines of a great poem may go far toward a realization of its char- acter. He may appreciate, in a degree, its loveliness, strength, and direct hold upon the catholic truth of life. But he will be more sensitive to these appeals, and receive gifts that are richer and less perishable, accord- ing as he comprehends the forces by whose interaction the poem was produced. These are of two kinds the innate forces of the poet's character, and certain more external forces, such as, in the case of Milton, are represented by Hellenism and Hebraism. Their activ- ity is greatest where they meet and touch, and at this point their nature and measure are most easily dis- cerned. From a contemplation of the poem in its gene- sis one returns to a deeper understanding and enjoyment of it as a completed whole. The present study, though it deals with but one of the important cultural influ- ences affecting Milton, and with it but in part, endeav- ors by this method to deepen and clarify the apprecia- tion of his art and teaching. My interest in the present work has found support and encouragement in the opinions of Mr. Churton Collins, as expressed in his valuable book.
    [Show full text]
  • The World of Greek Religion and Mythology
    Wissenschaftliche Untersuchungen zum Neuen Testament Herausgeber/Editor Jörg Frey (Zürich) Mitherausgeber/Associate Editors Markus Bockmuehl (Oxford) ∙ James A. Kelhoffer (Uppsala) Tobias Nicklas (Regensburg) ∙ Janet Spittler (Charlottesville, VA) J. Ross Wagner (Durham, NC) 433 Jan N. Bremmer The World of Greek Religion and Mythology Collected Essays II Mohr Siebeck Jan N. Bremmer, born 1944; Emeritus Professor of Religious Studies at the University of Groningen. orcid.org/0000-0001-8400-7143 ISBN 978-3-16-154451-4 / eISBN 978-3-16-158949-2 DOI 10.1628/978-3-16-158949-2 ISSN 0512-1604 / eISSN 2568-7476 (Wissenschaftliche Untersuchungen zum Neuen Testament) The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbiblio- graphie; detailed bibliographic data are available at http://dnb.dnb.de. © 2019 Mohr Siebeck Tübingen, Germany. www.mohrsiebeck.com This book may not be reproduced, in whole or in part, in any form (beyond that permitt- ed by copyright law) without the publisher’s written permission. This applies particular- ly to reproductions, translations and storage and processing in electronic systems. The book was typeset using Stempel Garamond typeface and printed on non-aging pa- per by Gulde Druck in Tübingen. It was bound by Buchbinderei Spinner in Ottersweier. Printed in Germany. in memoriam Walter Burkert (1931–2015) Albert Henrichs (1942–2017) Christiane Sourvinou-Inwood (1945–2007) Preface It is a pleasure for me to offer here the second volume of my Collected Essays, containing a sizable part of my writings on Greek religion and mythology.1 Greek religion is not a subject that has always held my interest and attention.
    [Show full text]