Lucian Judgment of the Goddesses
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Athena from a House on the Areopagus
ATHENA FROM A HOUSE ON THE AREOPAGUS (PLATES 107-112) E XCAVATIONS in 1970 and 1971 in the Athenian Agora revealed a remarkablecol- lection of sculpture from one of the largest of the late Roman houses on the slopes of the Areopagus.1This house, now called House C, was built in the 4th century after Christ with a spaciousplan includingtwo peristylecourts, and it was filled with Greek and Roman marble sculpturesof exceptional quality.2Two significantworks from the house have been I It is a pleasure to acknowledgethe cooperationof H. A. Thompson, T. L. Shear,Jr., and J. McK. Camp II of the Agora Excavationsand Museum, M. Brouskariof the AkropolisMuseum, N. Peppa-Delmouzouof the Epigraphical Museum, and K. Krystalli-Votsi of the National ArchaeologicalMuseum in Athens for allowing me to study and photograph the sculptures included here. I am especially grateful to Evelyn B. Harrison for her continuing encouragementand for permission to publish the Agora material, and to the AmericanSchool of Classical Studies at Athens for its friendly assistance. Works frequentlycited are abbreviatedas follows: Bieber, Copies = M. Bieber, Ancient Copies: Contributionsto the History of Greek and Roman Art, New York 1977 Boardman,GSCP = J. Boardman,Greek Sculpture: The ClassicalPeriod, New York 1985 Karouzou = S. Karouzou, National ArchaeologicalMuseum: Collection of Sculpture. A Cata- logue, Athens 1968 Lawton = C. L. Lawton, Attic Document Reliefs of the Classicaland Hellenistic Periods, diss. PrincetonUniversity, 1984 Leipen = N. Leipen, Athena Parthenos:A Reconstruction,Toronto 1971 Meyer = M. Meyer, Die griechischen Urkundenreliefs,AM Beiheft 13, Berlin 1989 Richter, SSG4 = G. M. A. Richter, The Sculptureand Sculptorsof the Greeks,4th ed., New Haven 1970 Ridgway, FCS = B. -
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. -
Music, Ritual, and Self-Referentiality in the Second Stasimon of Euripides’ Helen the Dionysian Necessity
Greek and Roman Musical Studies 6 (2018) 247-264 brill.com/grms Music, Ritual, and Self-Referentiality in the Second Stasimon of Euripides’ Helen The Dionysian Necessity Barbara Castiglioni Università di Torino [email protected]/[email protected] Abstract The imagery of Dionysiac performance is characteristic of Euripides’ later choral odes and returns particularly in the Helen’s second stasimon, which foregrounds its own connections with the mimetic program of the New Music and its emphasis on the emancipation of feelings. This paper aims to show that Euripides’ deep interest in con- temporary musical innovations is connected to his interest in the irrational, which made him the most tragic of the poets. Focusing on the musical aspect of the Helen’s second stasimon, the paper will examine how Euripides conveys a sense of the irratio- nal through a new type of song, which liberates music’s power to excite and disorient through its colors, ornament and dizzying wildness. Just as the New Musicians pres- ent themselves as the preservers of cultic tradition, Euripides, far from suppressing Dionysus as Nietzsche claimed, deserves to rank as the most Dionysiac and the most religious of the three tragedians. Keywords Euripides – tragedy – New Music – Dionysus – religion – choral self-referentiality Introduction The choral odes of tragedy regularly involve the Chorus reflecting upon an ear- lier moment in the play or its related myths. In Euripides’ Helen, all three sta- sima are distanced from the action by their mood. The first choral ode follows © koninklijke brill nv, leiden, 2018 | doi:10.1163/22129758-12341322Downloaded from Brill.com09/23/2021 09:44:20AM via free access 248 Castiglioni the successful persuasion of the prophetess, Theonoe, the working out of a good escape plan and high optimism on the part of Helen and Menelaus, but seems to ignore the progress of the play’s action and takes the audience back to the ruin caused by the Trojan war. -
Ritual Performance As Training for Daughters in Archaic Greece Author(S): Wayne B
Classical Association of Canada Ritual Performance as Training for Daughters in Archaic Greece Author(s): Wayne B. Ingalls Reviewed work(s): Source: Phoenix, Vol. 54, No. 1/2 (Spring - Summer, 2000), pp. 1-20 Published by: Classical Association of Canada Stable URL: http://www.jstor.org/stable/1089087 . Accessed: 31/03/2012 18:35 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Classical Association of Canada is collaborating with JSTOR to digitize, preserve and extend access to Phoenix. http://www.jstor.org RITUAL PERFORMANCE AS TRAINING FOR DAUGHTERS IN ARCHAIC GREECE WAYNEB. INGALLS INTRODUCTION THE PUBLICATION OF THE REVISION AND ENGLISH TRANSLATION of Claude Calame's Les choeursdejeunes filles en Grecearchaique (1997) has again focused attention on the participationof girls in traditionallyric choruses. One aspect of choral activitywhich Calame discusses is education (1977: 1.385-420; 1997: 221-244). In this treatment Calame deals with the chorus as the place of education, the instruction given to the chorus, the metaphoricalrepresentation of education and marriage, and the homoerotic elements -
Pausanias' Description of Greece
BONN'S CLASSICAL LIBRARY. PAUSANIAS' DESCRIPTION OF GREECE. PAUSANIAS' TRANSLATED INTO ENGLISH \VITTI NOTES AXD IXDEX BY ARTHUR RICHARD SHILLETO, M.A., Soiiii'tinie Scholar of Trinity L'olltge, Cambridge. VOLUME IT. " ni <le Fnusnnias cst un homme (jui ne mnnquo ni de bon sens inoins a st-s tlioux." hnniie t'oi. inais i}iii rn>it ou au voudrait croire ( 'HAMTAiiNT. : ftEOROE BELL AND SONS. YOUK STIIKKT. COVKNT (iAKDKX. 188t). CHISWICK PRESS \ C. WHITTINGHAM AND CO., TOOKS COURT, CHANCEKV LANE. fA LC >. iV \Q V.2- CONTEXTS. PAGE Book VII. ACHAIA 1 VIII. ARCADIA .61 IX. BtEOTIA 151 -'19 X. PHOCIS . ERRATA. " " " Volume I. Page 8, line 37, for Atte read Attes." As vii. 17. 2<i. (Catullus' Aft is.) ' " Page 150, line '22, for Auxesias" read Anxesia." A.-> ii. 32. " " Page 165, lines 12, 17, 24, for Philhammon read " Philanimon.'' " " '' Page 191, line 4, for Tamagra read Tanagra." " " Pa ire 215, linu 35, for Ye now enter" read Enter ye now." ' " li I'aijf -J27, line 5, for the Little Iliad read The Little Iliad.'- " " " Page ^S9, line 18, for the Babylonians read Babylon.'' " 7 ' Volume II. Page 61, last line, for earth' read Earth." " Page 1)5, line 9, tor "Can-lira'" read Camirus." ' ; " " v 1'age 1 69, line 1 , for and read for. line 2, for "other kinds of flutes "read "other thites.'' ;< " " Page 201, line 9. for Lacenian read Laeonian." " " " line 10, for Chilon read Cliilo." As iii. 1H. Pago 264, " " ' Page 2G8, Note, for I iad read Iliad." PAUSANIAS. BOOK VII. ACIIAIA. -
Zeus in the Greek Mysteries) and Was Thought of As the Personification of Cyclic Law, the Causal Power of Expansion, and the Angel of Miracles
Ζεύς The Angel of Cycles and Solutions will help us get back on track. In the old schools this angel was known as Jupiter (Zeus in the Greek Mysteries) and was thought of as the personification of cyclic law, the Causal Power of expansion, and the angel of miracles. Price, John Randolph (2010-11-24). Angels Within Us: A Spiritual Guide to the Twenty-Two Angels That Govern Our Everyday Lives (p. 151). Random House Publishing Group. Kindle Edition. Zeus 1 Zeus For other uses, see Zeus (disambiguation). Zeus God of the sky, lightning, thunder, law, order, justice [1] The Jupiter de Smyrne, discovered in Smyrna in 1680 Abode Mount Olympus Symbol Thunderbolt, eagle, bull, and oak Consort Hera and various others Parents Cronus and Rhea Siblings Hestia, Hades, Hera, Poseidon, Demeter Children Aeacus, Ares, Athena, Apollo, Artemis, Aphrodite, Dardanus, Dionysus, Hebe, Hermes, Heracles, Helen of Troy, Hephaestus, Perseus, Minos, the Muses, the Graces [2] Roman equivalent Jupiter Zeus (Ancient Greek: Ζεύς, Zeús; Modern Greek: Δίας, Días; English pronunciation /ˈzjuːs/[3] or /ˈzuːs/) is the "Father of Gods and men" (πατὴρ ἀνδρῶν τε θεῶν τε, patḕr andrōn te theōn te)[4] who rules the Olympians of Mount Olympus as a father rules the family according to the ancient Greek religion. He is the god of sky and thunder in Greek mythology. Zeus is etymologically cognate with and, under Hellenic influence, became particularly closely identified with Roman Jupiter. Zeus is the child of Cronus and Rhea, and the youngest of his siblings. In most traditions he is married to Hera, although, at the oracle of Dodona, his consort is Dione: according to the Iliad, he is the father of Aphrodite by Dione.[5] He is known for his erotic escapades. -
The Judgment of Paris Short Story
The Judgment Of Paris Short Story Tervalent and sociopathic Sherwynd liquors, but Mead evil disbosoms her agriculturists. Unhappier Winifield podding perspectively or disarrays rompingly when Webb is lapidary. Consequential Spiros engrails frivolously and sideward, she revised her isotope checkers prepositionally. For his present here a faint plashing of us held them, in the characteristics of the greek myths, and the judgment paris short of story Helen was already married to King Menelaus of Sparta a fact Aphrodite neglected to approve so Paris had this raid Menelaus's house or steal Helen from him according to some accounts she meet in peel with Paris and left willingly. By its mate, as my home with powder from rouen, if they moved. Prohibition, wine had not been part of his life in the beer and hard liquor America of his youth. It was Mederic coming in bring letters from one town and to carry away those face the village. The girl as well enshrouded in short of story. The Judgement of Paris 163-1639 Painting by Peter Paul Rubens. That is how you amuse you in Normandy on tall wedding day. When Honore returned to breakfast he seemed quite satisfied and even in a bantering humor. And Troy Learn more had the legendary beauty before her story. Tell it, my dear Jean. When your broke, however, I thought now I was cured, and slept peacefully till noon. What sat it, Cacheux? After all, it is only water, just like what is flowing in the sunlight, and we shall learn nothing by looking at it. -
Exhibition "Art and Myth. Gods at the Prado" at Caixaforum Barcelona
Press Release CaixaForum Barcelona From 15 October 2020 to 14 March 2021 Press Release The exhibition Art and Myth. Gods at the Prado was produced under the strategic alliance established between the Prado National Museum and ”la Caixa” Foundation CaixaForum Barcelona invites visitors to the Olympus of the gods Art and Myth. Gods at the Prado takes a wide-ranging look at Greco- Roman mythology and its representation throughout art history in paintings, sculptures and objects from the mid-first century BC to the mid-nineteenth century. Organised diachronically and based on 64 works from the collections of the Prado Museum, the exhibition features such key figures in art history as Rubens, Ribera and Zurbarán, among many others. This journey around the Olympus of the gods is divided into eight thematic sections and presents different representations of gods and interpretations of the same mythological episodes, enabling the visitor to appreciate the iconographic, geographic and chronological wealth of the Prado’s collections. Moreover, a number of elements, including an audiovisual featuring various voices from today’s world, seen in Barcelona for the first time, suggest comparisons between the classical discourse of the works on show with contemporary twenty-first-century myths. Art and Myth. Gods at the Prado. Dates: From 15 October 2020 to 14 March 2021 (open to the public from 4 pm on October 15). Place: CaixaForum Barcelona (Av. de Francesc Ferrer i Guàrdia, 6-8). Organised and produced by: ”la Caixa” Foundation and the Prado National Museum. Curator: Fernando Pérez Suescun, Head of Educational Content, Education Department, Prado National Museum. -
Able Date of Composition: Cf. Wil., 150 N.1; Pu., Notice, 156; Bowra, 407; Wiist, 89-90; Fogelmark, 90
OLYMPIAN 14 Date There is almost general agreement about 488 as being the most prob able date of composition: cf. Wil., 150 n.1; Pu., Notice, 156; Bowra, 407; Wiist, 89-90; Fogelmark, 90. Metre I propose the following analysis: chodim Ia teles ba do reiz dodr chodim Ia 5 do er do cha dodr chodim reiz er gl chodim er chodim 10 Ia ba gl Ia Ia do teles ba The fundamental elements are iambus and choriambus. Wil. ( Versk., 314) forcefully tries to reduce everything to iambics. Del Grande (118) wrongly takes the adonius as a module, because "gl'inni cletici dei poeti eolici sono scritti in strafe saffiche". T. B. L. Webster, The Greek Chorus (London 1970), 87, builds up combinations of 'd s x', but I do not think that such small units explain anything. Problems of metrical correspondence will be discussed in the commen tary: see notes on 20 µtAOtV'tEL:)(&Ot, 21 u..8t. Xapt~ and the Charites In the Homeric epics Aphrodite is not surrounded by Erotes but by Charites. They have made her robe (E 338), they wash, anoint and dress her (8 364), and receive her into their dance (cr 194). They bestow beauty on girls (( 18) and apparently excel in this quality themselves. Hera bribes Hypnos by offering him one of the Charites to become his wife (E 26 7 ff.). They are not, however, a mere personification of beauty: their specific gift is to make beauty attractive, especially in an erotic sense. Thus Hypnos says that he has always wanted the girl promised by Hera 104 OLYMPIAN 14 (E 276) 1 . -
Greek Mythology / Apollodorus; Translated by Robin Hard
Great Clarendon Street, Oxford 0X2 6DP Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Athens Auckland Bangkok Bogotá Buenos Aires Calcutta Cape Town Chennai Dar es Salaam Delhi Florence Hong Kong Istanbul Karachi Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Paris São Paulo Shanghai Singapore Taipei Tokyo Toronto Warsaw with associated companies in Berlin Ibadan Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York © Robin Hard 1997 The moral rights of the author have been asserted Database right Oxford University Press (maker) First published as a World’s Classics paperback 1997 Reissued as an Oxford World’s Classics paperback 1998 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organizations. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this book in any other binding or cover and you must impose this same condition on any acquirer British Library Cataloguing in Publication Data Data available Library of Congress Cataloging in Publication Data Apollodorus. [Bibliotheca. English] The library of Greek mythology / Apollodorus; translated by Robin Hard. -
Durham E-Theses
Durham E-Theses The dorian dilemma: Problems and interpretations of social change in late Helladic iii c and dark age Greece with reference to the archaeological and literary evidence Dierckx, Heidi How to cite: Dierckx, Heidi (1986) The dorian dilemma: Problems and interpretations of social change in late Helladic iii c and dark age Greece with reference to the archaeological and literary evidence, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/6880/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 l ABSTRACT Early Greek history, i.e. Greek history prior to about the mid-sixth century B.C., is as obscure to modern historians as it was to the ancient ones. One of the events which has been mentioned and described by ancient sources and is supposed to have happened during this period is the "Dorian Invasion". -
Divine Riddles: a Sourcebook for Greek and Roman Mythology March, 2014
Divine Riddles: A Sourcebook for Greek and Roman Mythology March, 2014 E. Edward Garvin, Editor What follows is a collection of excerpts from Greek literary sources in translation. The intent is to give students an overview of Greek mythology as expressed by the Greeks themselves. But any such collection is inherently flawed: the process of selection and abridgement produces a falsehood because both the narrative and meta-narrative are destroyed when the continuity of the composition is interrupted. Nevertheless, this seems the most expedient way to expose students to a wide range of primary source information. I have tried to keep my voice out of it as much as possible and will intervene as editor (in this Times New Roman font) only to give background or exegesis to the text. All of the texts in Goudy Old Style are excerpts from Greek or Latin texts (primary sources) that have been translated into English. Ancient Texts In the field of Classics, we refer to texts by Author, name of the book, book number, chapter number and line number.1 Every text, regardless of language, uses the same numbering system. Homer’s Iliad, for example, is divided into 24 books and the lines in each book are numbered. Hesiod’s Theogony is much shorter so no book divisions are necessary but the lines are numbered. Below is an example from Homer’s Iliad, Book One, showing the English translation on the left and the Greek original on the right. When citing this text we might say that Achilles is first mentioned by Homer in Iliad 1.7 (i.7 is also acceptable).