High and Low: Xerxes' Desire of Thessalian Heights and Tempe Gorge 1. Hist. 7. 128 128 [1] Ξέρξης Δὲ Ὁρέων Ἐ
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Flowers in Greek Mythology
Flowers in Greek Mythology Everybody knows how rich and exciting Greek Mythology is. Everybody also knows how rich and exciting Greek Flora is. Find out some of the famous Greek myths flower inspired. Find out how feelings and passions were mixed together with flowers to make wonderful stories still famous in nowadays. Anemone:The name of the plant is directly linked to the well known ancient erotic myth of Adonis and Aphrodite (Venus). It has been inspired great poets like Ovidius or, much later, Shakespeare, to compose hymns dedicated to love. According to this myth, while Adonis was hunting in the forest, the ex- lover of Aphrodite, Ares, disguised himself as a wild boar and attacked Adonis causing him lethal injuries. Aphrodite heard the groans of Adonis and rushed to him, but it was too late. Aphrodite got in her arms the lifeless body of her beloved Adonis and it is said the she used nectar in order to spray the wood. The mixture of the nectar and blood sprang a beautiful flower. However, the life of this 1 beautiful flower doesn’t not last. When the wind blows, makes the buds of the plant to bloom and then drifted away. This flower is called Anemone because the wind helps the flowering and its decline. Adonis:It would be an omission if we do not mention that there is a flower named Adonis, which has medicinal properties. According to the myth, this flower is familiar to us as poppy meadows with the beautiful red colour. (Adonis blood). Iris: The flower got its name from the Greek goddess Iris, goddess of the rainbow. -
The Common Wine Cult of Christ and the Orphic Dionysos: the Wine and Vegetation Saviour Deity Dionysos As Model for the Dying and Rising Christ
REL 4990, MA thesis. Culture and Ideas, History of Religion. Autumn 2010. Maritha E. Gebhardt. Page: 1 The common wine cult of Christ and the Orphic Dionysos: the wine and vegetation saviour deity Dionysos as model for the dying and rising Christ. MA Thesis, Master's Programme in Culture and Ideas, History of Religion, Department of Culture and Oriental Languages, Autumn 2010, by Maritha Elin Gebhardt. Synopsis: In 2005 the Hebrew University Excavation Project unearthed a small incense burner from the fourth century C.E. in the Jewish capital of the Galilee, Sepphoris, depicting a crucified figure, Bacchic satyrs and maenads, and the Christian representation of the sacrifice of Isaac in symbolic form as a ram caught in the thicket of a bush. Five years later the book Orphism and Christianity in Late Antiquity, by Herrero de Jáuregui, refers to two large funerary cloths, one depicts a Dionysiac scene similar to the murals from the Villa dei Misteri and the other one show scenes from the life of Jesus and Mary, both found in the same tomb in Egypt. Both of these depictions testify to the continued syncretism of the Orphic and the Christian symbols and that people in the Hellenistic era found the figure of Christ similar to the Bacchic Orpheus. In my thesis I claim that the dying and rising saviour deity of Dionysos is the forerunner to the dying and rising saviour deity of Christ. I claim that I will prove this by showing that the cult of Christ is a wine cult. The epiphany of Jesus was as a human guest at a party, turning water into wine at the wedding-feast at Cana in John 2:1-11, likewise the epiphany of the wine-god Dionysos is in a similar scene as the Cana-miracle, where he turns water into wine (Achilleus Tatius' De Leucippes et Clitophontis amoribus 2.2:1-2.3:1). -
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. -
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. -
Sympathy for Apollo Before the Advent of Writing, Myth Was the Main Method for Providing Wisdom and Guidance to the Young, Servi
“Where all my layers can become reeds, all my limbs can become trees.” ~Daughter (“Smother”) “Leave me where you found me.” ~Bad Bad Hats (“Midway”) Sympathy for Apollo Before the advent of writing, myth was the main method for providing wisdom and guidance to the young, serving also to pass down collective wisdom. Since myth was an oral tradition, everything’s in question about how it was done. With no evidence of how it worked, we can only assume it did. But it is likely that the basic goal was the continued growth and thriving of a society, and this outcome expressed itself through the health and happiness of its members. So to guide someone with myth was to entertain them while subtly pruning their inclinations like a tree. If a person possessed too much of a certain trait but not enough of another, myth could inspire them to develop in the right direction, to eventually become the balanced and fully-formed person they’d wish themselves to be. With this theme in mind, there is a myth I’d like to retell involving Apollo and his failed encounter with a nymph named Daphne. It’s a sweet story, but it’s one which could have ended better. The lesson relates to how hard it can be for two people to meet and begin to get to know each other. Or maybe the theme is to learn when it’s time to quit trying. Here is my version of the myth: One day, Apollo was making his way through the woods in pursuit of inspiration. -
Synoikism, Urbanization, and Empire in the Early Hellenistic Period Ryan
Synoikism, Urbanization, and Empire in the Early Hellenistic Period by Ryan Anthony Boehm A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Ancient History and Mediterranean Archaeology in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Emily Mackil, Chair Professor Erich Gruen Professor Mark Griffith Spring 2011 Copyright © Ryan Anthony Boehm, 2011 ABSTRACT SYNOIKISM, URBANIZATION, AND EMPIRE IN THE EARLY HELLENISTIC PERIOD by Ryan Anthony Boehm Doctor of Philosophy in Ancient History and Mediterranean Archaeology University of California, Berkeley Professor Emily Mackil, Chair This dissertation, entitled “Synoikism, Urbanization, and Empire in the Early Hellenistic Period,” seeks to present a new approach to understanding the dynamic interaction between imperial powers and cities following the Macedonian conquest of Greece and Asia Minor. Rather than constructing a political narrative of the period, I focus on the role of reshaping urban centers and regional landscapes in the creation of empire in Greece and western Asia Minor. This period was marked by the rapid creation of new cities, major settlement and demographic shifts, and the reorganization, consolidation, or destruction of existing settlements and the urbanization of previously under- exploited regions. I analyze the complexities of this phenomenon across four frameworks: shifting settlement patterns, the regional and royal economy, civic religion, and the articulation of a new order in architectural and urban space. The introduction poses the central problem of the interrelationship between urbanization and imperial control and sets out the methodology of my dissertation. After briefly reviewing and critiquing previous approaches to this topic, which have focused mainly on creating catalogues, I point to the gains that can be made by shifting the focus to social and economic structures and asking more specific interpretive questions. -
FAVORITE GREEK MYTHS VARVAKEION STATUETTE Antique Copy of the Athena of Phidias National Museum, Athens FAVORITE GREEK MYTHS
FAVORITE GREEK MYTHS VARVAKEION STATUETTE Antique copy of the Athena of Phidias National Museum, Athens FAVORITE GREEK MYTHS BY LILIAN STOUGHTON HYDE YESTERDAY’S CLASSICS CHAPEL HILL, NORTH CAROLINA Cover and arrangement © 2008 Yesterday’s Classics, LLC. Th is edition, fi rst published in 2008 by Yesterday’s Classics, an imprint of Yesterday’s Classics, LLC, is an unabridged republication of the work originally published by D. C. Heath and Company in 1904. For the complete listing of the books that are published by Yesterday’s Classics, please visit www.yesterdaysclassics.com. Yesterday’s Classics is the publishing arm of the Baldwin Online Children’s Literature Project which presents the complete text of hundreds of classic books for children at www.mainlesson.com. ISBN-10: 1-59915-261-4 ISBN-13: 978-1-59915-261-5 Yesterday’s Classics, LLC PO Box 3418 Chapel Hill, NC 27515 PREFACE In the preparation of this book, the aim has been to present in a manner suited to young readers the Greek myths that have been world favorites through the centuries, and that have in some measure exercised a formative infl uence on literature and the fi ne arts in many countries. While a knowledge of these myths is undoubtedly necessary to a clear understanding of much in literature and the arts, yet it is not for this reason alone that they have been selected; the myths that have appealed to the poets, the painters, and the sculptors for so many ages are the very ones that have the greatest depth of meaning, and that are the most beautiful and the best worth telling. -
Greek Myths and Legends Pdf Free Download
GREEK MYTHS AND LEGENDS PDF, EPUB, EBOOK Cheryl Evans | 64 pages | 08 Jan 2008 | Usborne Publishing Ltd | 9780746087190 | English | London, United Kingdom Greek Myths and Legends PDF Book It is thought that she took the Golden Age of Man with her when she left for the heavens in disgust. Eventually, he fell in love with and married Eurydice, but on their wedding day, she was bitten by a snake and died. His wandering lasted for no less than ten years! Next, it was the turn of goddess Athena. Also the trojan war they missed a part. They are naturally drawn to the land. As soon as the bull reached the beach, it ran into the water. While most ancient cultures were taught to fear their gods, the Greeks tried to make their gods relatable by giving them human-like qualities. Leto in ancient myths of Greece was the representation of motherhood. Out of pity, Athena transformed her into a spider, so she could continue weaving without having to break her oath. This tragic story has inspired many painters and it is the basic concept for many operas and songs. Once he came of age he tried to reclaim the throne. Oedipus, upon realizing what he had done and seeing Jocasta's dead body, stabbed his eyes out and was exiled. They are very similar, and Aphrodite and Eros escape from Typhon safely due to the help of two fish. It was Hercules first trial where he was given the task of finding and then killing the Nemean Lion. They have a lot in common. -
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. -
The Enduring Myths of Ancient Greece
NATIONAL ENDOWMENT FOR THE HUMANITIES • VOLUME 5 NUMBER 1 • FEBRUARY 1984 Humanities The Enduring Myths of Ancient Greece The European Renaissance, through throughout because the purpose its rediscovery of the Greek (and was in the main preparation for many of the Latin) classics, estab modern literature; theories of myth, lished for the generations that fol its origins and functions were not lowed a common cultural back the prime concern. This is of course ground for secular literature and no longer the case; mythology as a art: the rich and varied mythology humanistic subject of study is now of ancient Greece. Its themes be concerned at least as much with came familiar not only to those theory as with content. The change who read the Greek classics in the has come about because of develop original but also to a larger audi ments in other fields. Previously ence who knew them through the unknown mythologies, those of medium of the Latin poets and to preliterate peoples, have been re still greater numbers who read corded and investigated by field an avidly the work of the great transla thropologists; archaeologists work tors of the period—Chapman, San- ing in the Middle East have dug up dys, Dryden, to mention only those and deciphered documents that writing in English. Until fairly late revealed forgotten mythologies— in the nineteenth century, a Euro Babylonian, Hittite, Ugaritic; folk pean writer or painter could count lorists have collected the oral nar on recognition of Greek mytholog rative traditions of shepherds and ical themes; Shakespeare, Milton, peasants. A wealth of comparative Pope, Keats, Browning and Tenny material, most of it not literary but son, like Tiepolo, Titian and Pous living and functioning in society, sin, could take for granted an audi has become available for compara ence familiar with the classical gods tive study. -
Classical Mythology in English Renaissance Drama: an Analysis of Romeo and Juliet
CLASSICAL MYTHOLOGY IN ENGLISH RENAISSANCE DRAMA: AN ANALYSIS OF ROMEO AND JULIET Trabado de fin de grado presentado por Gonzalo Carpintero Díez Línea temática: Renaissance literature Prof. Tutor: Francisco Javier Castillo Curso Académico: 2014-2015 Convocatoria: julio 2 TABLE OF CONTENTS 0. ABSTRACT ........................................................................................................................... 5 1. INTRODUCTION .................................................................................................................. 5 2. CLASSICAL MYTHOLOGY IN THE ENGLISH RENAISSANCE: A GENERAL VIEW .................................................................................................................. 7 3. MYTHOLOGY AND ROMEO AND JULIET ....................................................................... 9 4. ANALYSIS OF THE MYTHOLOGICAL REFERENCES IN ROMEO AND JULIET ..... 12 4.1. Aurora ............................................................................................................................ 12 4.2. Cupid ............................................................................................................................. 13 4.3. Diana/Cynthia ................................................................................................................ 17 4.4. Venus ............................................................................................................................. 19 4.5. Vesta ............................................................................................................................. -
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.