DOCSLIB.ORG

311827-Sample.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
311827-Sample.Pdf Sample file This specialist is available to the artificer. When you adopt this specialization at 3rd level, you gain proficiency with navigator's tools. If you already have this proficiency, you gain proficiency The archimidean is an artificer who uses principles with one other type of artisan’s tools of your choice. of mathematics to develop machines which are as unique as they are precise and deadly. Owing to their engineering expertise, machines created by Starting at 3rd level, when you cast a spell that archimideans are more deadly than similar deals bludgeoning, piercing, slashing, or force weapons created by their colleagues. damage, you can choose to deal extra damage These fantastical inventions so amaze those who equal to your artificer level. see them, that they are virtually indistinguishable from magic. An archimidean is not against social When you reach 5th level, you can lock on a target. engineering, and will sometimes use their At the beginning of your turn, you can use a bonus inventions to impress and gain recognition in social action to triangulate the distance to a target. Make interactions. a ranged weapon attack against the target. Archimidean Features If you hit, you gain advantage on spell attack Artificer Level Features rolls against the target and the target gains 3rd Tool Proficiency, Combat Calculus disadvantage on saving throws against your spells until the target moves from its location. 5th Tracer If you miss, you gain advantage on your next 9th Recalculate, Wings of Icarus ranged weapon attack against the target. 15th Spectacular Invention Once you reach 9th level, when you make an attack Starting at 3rd level, you always have certain spells roll, damage roll, or Constitution saving throw to prepared after you reach particular levels in this maintain concentration on a spell, you can use your class, as shown in the Archimidean Spells table. reaction to reroll 1 die. You can use this feature a These spells count as artificer spells for you, but number of times equal to your Intelligence modifier. they don’t count against the number of artificer You regain all expended uses at the end of a long spells you prepare. rest. Archimidean Spells At 9th level, you gain a fly speed equal to your Artificer movement speed. You fall at the end of your turn if Level Spell you're airborne and the only thing holding you aloft 3rd catapult, Tenser's floating disc is your flying speed. 5th cloud of daggers c, cordon of arrows At 15th level, you no longer fall if you are flying at the end of your turn, unless some other effect 9th conjure barrage, fireball causes you to fall. 15th stone shape, charm monster 17th flame strike, legend lore Starting at 15th level, creatures have disadvantage You can use a mirror as a spellcasting focus for against your spells which require an Intelligence, yourSample artificer spells, such as flame strike. Wisdom, or Charisma savingfile throw. M D k n i Concept, design, and layout by ThinkDM h Art by Leonardo da Vinci - Archimedes' Steam Engine (1400s) T Starting at 6th level, Antiope's Bracers help you This path is available to the barbarian. defend against ranged attacks. You can use your reaction to deflect an attack when you are hit by a ranged weapon attack or a spell targeting you that The amazons are a regal collective of barbarians deals damage. When you do so, the damage you whose fierceness in battle is only eclipsed by their take from the attack is reduced by 1d12 + your magnificence. It is not uncommon for hostile forces Dexterity modifier + your barbarian level. encountering a troupe of amazons to be so awestruck they concede out of fear or admiration. At 10th level, Melianippe's Greaves make you light With heightened focus, amazons exhibit on your feet. You gain the following benefits: incredible reflexes and feats of dexterity while advancing on their foes with lightning fervor. Your speed increases by 10 feet. Amazons can ascend into a graceful rage, glowing Your jump distance is tripled. with power and radiance. They can channel this You gain advantage on acrobatics checks. energy into radiant bursts that disintegrate any enemies who dare approach. As an amazon progresses through their path, When you reach 14th level, Penthesilea's Diadem their ancestors bestow adornments meant to causes your radiance to glare so brightly that you amplify their power and grace in battle. These can force onlookers to avert their eyes. As a bonus unobtrusive fashions are not considered armor, but action, you can stare down one creature within 30 may be combined with any type of armor without feet who can see you. The target cannot attack you compromise. or target you with spells for 1 minute. These effects end if you attack the target, the target ends its turn Path of the Amazon Features out of your line of sight, or you use this feature on Barbarian another creature. Level Features You can use this feature a number of 3rd Hippolyta's Girdle times equal to your Charisma modifier (minimum of once). You regain 6th Antiope's Bracers all expended uses when you 10th Melianippe's Greaves finish a long rest. 14th Penthesilea's Diadem When you choose this path at 3rd level, Hippolyta's Girdle shrouds you in a gentle radiant light. Your rage causes you to shine with radiant energy. On each of your turns while your rage is active, you can use a bonus action to cause a burst of radiant light to emanate from you, dealing radiant damage equal to your rage damage to alSamplel hostile creatures within 5 feet. file M D k n i Concept, design, and layout by ThinkDM Art by Peter Paul Rubens - Battle of the Amazon (1615) h Watercolor borders by Jared Ondricek T This college is available to the bard. When you join this college at 3rd level, you choose a genre which represents your theatrical aptitude. You gain different benefits based on your chosen The College of Theater is a bardic tradition that genre: centers their performances on drama. Drawing Comedy. You learn the hideous laughter spell. from different genres—such as comedy, tragedy, Tragedy. You learn the ray of sickness spell. romance, thriller, and absurd—enables these bards Romance. You learn the charm person spell. to create myriad effects to draw reactions from Thriller. You learn the cause fear spell. their audiences. Absurd. You learn the grease spell. When you cast a spell from your chosen genre, College of Theater Features you can expend one use of Bardic Inspiration to Bard Level Features have that spell affect additional targets (or points) 3rd Costume Artist, Theatrical Genre up to your proficiency bonus. You can select an additional genre at 7th, 11th, 6th Stagehand, Stagecraft, Fake Blood 15th, and 19th level. 14th The Show Must Go On Starting at 6th level, when a hostile creature fails a At 3rd level, you learn the disguise self spell, which saving throw against a spell you cast that deals no counts as a bard spell for you. You can cast disguise damage, that creature takes damage equal to your self as a ritual spell without expending a spell slot. Bardic Inspiration die plus half your bard level. In addition, you gain proficiency in the performance skill, if you did not already have it. At 6th level, you learn the unseen servant spell, If you already knew the disguise self spell, you which counts as a bard spell for you. You can cast may choose a new 1st level bard spell. If you unseen servant as a ritual spell without expending a already had proficiency in the performance skill, spell slot. you may choose a new proficiency. By the time you reach 6th level, your acting is so good that you can imitate death. When you are hit with a weapon attack, you can use a reaction to fake your own death. You fall prone. The creature who hit you cannot attack you again until it succeeds on an Intelligence (Investigation) check against your spellcasting DC, or until you stand from prone or attack the creature. Once you use this feature, you can’t do so again until you finish a short or long rest. Starting at 14th level, when an ally of yours is reduced to 0 hit points, you can use your reaction and spend one use of Bardic Inspiration to revive them. When you do so, the creature regains half its Samplehit points and automat ically filestands from prone. M D k n Concept, design, and layout by ThinkDM i Background Art by John Galen Howard - Hearst Greek Theater (c. 1903) Art by Armand-Charles Caraffe - Metellus Raising the Siege (c. 1805) h Watercolor borders by Jared Ondricek T This domain is available to the cleric. Psychopomp Spells Cleric Level Spell 1st ceremony, hellish rebuke Psychopomps are responsible for guiding the souls 3rd augury, pass without trace c of the living to the afterlife. In fulfilling this role, 5th erupting earth, revivify psychopomps also assume responsibility for c selecting which souls are prepared to pass to the 7th aura of life , divination hereafter and ferrying them to their destination. In 9th infernal calling c, raise dead fulfilling this duty, a psychopomp might hasten or delay the onset of death for a soul whose fate is not yet destined to separate from its body. Starting at 2nd level, you can use Channel Divinity Psychopomps have been known in many cultures to set death upon a foe. by different names: Anubis, Charon, Valkyrie, Yama, As an action, present your holy symbol and Vanth, Hermes, Mercury.
Load more

Recommended publications
  • Pindar and Yeats: the Mythopoeic Vision
    Colby Quarterly Volume 24 Issue 4 December Article 3 December 1988 Pindar and Yeats: The Mythopoeic Vision Ann L. Derrickson Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Library Quarterly, Volume 24, no.4, December 1988, p.176-186 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. Derrickson: Pindar and Yeats: The Mythopoeic Vision Pindar and Yeats: The Mythopoeic Vision by ANN L. DERRICKSON ROM THE Greece of Pindar to the Ireland of Yeats, 2,300 years canle Fcoursing down the riverbed of history, washing over the widening delta of poetry, leaving layers of political context and literary convention. Yet a shape emerges, despite the shifts of eras and of nations, a form fun­ damental to the lyric. Thinking about the two poets together, then, helps produce an understanding of what is basic to and defines the genre oflyric poetry. Its nature is not specifically a matter of theme but a relationship of reference; action serves to describe spirit. As in Yeats's phrase from "The Circus Animals' Desertion," the prime concern is "Character isolated by a deed." Because it is on this plane of human spirit that meaning distills from the works of Pindar and Yeats, their writing shares the label "lyric." For both poets the vital creative tension exists between a given occasion and its associated images, rather than between concepts of present and past or fact and fantasy.
    [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]
  • Torresson Umn 0130E 21011.Pdf
    The Curious Case of Erysichthon A Dissertation SUBMITTED TO THE FACULTY OF THE UNIVERSITY OF MINNESOTA BY Elizabeth Torresson IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Advisor: Nita Krevans December 2019 © Elizabeth Torresson 2019 Acknowledgments First, I would like to thank the department for their support and especially the members of my committee: Nita Krevans, Susanna Ferlito, Jackie Murray, Christopher Nappa, and Melissa Harl Sellew. The seeds of this dissertation were planted in my senior year of college when Jackie Murray spread to me with her contagious enthusiasm a love of Hellenistic poetry. Without her genuine concern for my success and her guidance in those early years, I would not be where I am today. I also owe a shout-out to my undergraduate professors, especially Robin Mitchell-Boyask and Daniel Tompkins, who inspired my love of Classics. At the University of Minnesota, Nita Krevans took me under her wing and offered both emotional and intellectual support at various stages along the way. Her initial suggestions, patience, and encouragement allowed this dissertation to take the turn that it did. I am also very grateful to Christopher Nappa and Melissa Harl Sellew for their unflagging encouragement and kindness over the years. It was in Melissa’s seminar that an initial piece of this dissertation was begun. My heartfelt thanks also to Susanna Ferlito, who graciously stepped in at the last minute and offered valuable feedback, and to Susan Noakes, for offering independent studies so that I could develop my interest in Italian language and literature.
    [Show full text]
  • Shen-Yen-I and the Shahnameh and the Possible Influence of the Former Upon the Persian Epic
    Some Parallels Between the Feng- Shen-Yen-I and the Shahnameh and the Possible Influence of the Former Upon the Persian Epic By P a ul G. B rew st er That many of the characters in the Shahnameh have their counterparts in Saka legend has long been known by scholars, as has also the fact that there exist Chinese parallels of many of the apisodes in that epic. That Firdausi was himself aware of these admits of little doubt. It has been noted by students of the Shahnameh that in every legend with a parallel in the Chinese he has invariably included some lines unquestionably referring to China. When the Sakas, whose country originally extended from Bactria to Gandhar, were displaced by the Yueh-chi (c. 160 B.C., according to Chinese sources), they moved in two directions, to the south and east and to the west (the Herat, Seistan, Kash­ gar, and Bactria area). Parts of the former group appear to have wandered down to Northwest India, the main body remain­ ing in the Kashgar and Khotan region. It appears likely that both India and Persia were influenced, at least to some extent, by Saka dialects.1 It was in the west, too, that the Sakas came in contact with the Parthians, two of whose kings were slain in battles against them. There is a strong probability that it was the Parthians who gave to the Shahnameh the basic form in which it was later recorded by the Sassanians and, still later, came into the hands of Firdausi.
    [Show full text]
  • Iamus Son of Apollo and Evadne, Daughter of Poseidon; the Mythical
    I Iacchus (Ἴακχος). A minor deity who was honoured with Demeter and Persephone at the Eleusinian mysteries and the festival of the Lernaea. Initiates travelling along the Sacred Way from Athens to Eleusis, would utter a rhythmic chant of Iacch’ O Iache, and this may have suggested that a god called Iacchus was being invoked. So Iacchus was supposed to be a son of Demeter, or her consort; or a son of Persephone who was sometimes identified with *Zagreus. Alternatively, because his name resembles *Bacchus he was thought to have been a son of Dionysus, or even the god himself. Iacchus was depicted in works of art as an adolescent leading the initiates with a torch in his hand. [Aristophanes Frogs 398; Herodotus 8.65; Ovid Met 4.15; Vergil Ecl 7.61, Georg 1.166]For a late account of his birth, see Aura. Ialmenus (Ἰάλμενος). Son of Ares and Astyoche; he and his brother Ascalaphus led the Minyans of Boeotia to Troy in thirty ships. In the late epic of Quintus of Smyrna, he was one of the warriors in the wooden horse. He settled by the Black Sea after the war, or, according to another account which implies that he returned home, he was buried with his brother in Boeotia. [ps.Aristotle Peplos 19; Homer Il 2.511-16; Q Smyrna 12.322; Strabo 9.2.42] Iambe (Ἰάμϐη). Daughter of Pan and Echo, and, with *Baubo, a slave-woman in the house of Celeus and Metanira. Along with Baubo she succeeded in raising a smile from *Demeter when the grieving goddess rested with Metanira in the search for her daughter *Persephone.
    [Show full text]
  • Matthew W. Dickie, Magic and Magicians in the Greco-Roman World
    MAGIC AND MAGICIANS IN THE GRECO- ROMAN WORLD This absorbing work assembles an extraordinary range of evidence for the existence of sorcerers and sorceresses in the ancient world, and addresses the question of their identities and social origins. From Greece in the fifth century BC, through Rome and Italy, to the Christian Roman Empire as far as the late seventh century AD, Professor Dickie shows the development of the concept of magic and the social and legal constraints placed on those seen as magicians. The book provides a fascinating insight into the inaccessible margins of Greco- Roman life, exploring a world of wandering holy men and women, conjurors and wonder-workers, prostitutes, procuresses, charioteers and theatrical performers. Compelling for its clarity and detail, this study is an indispensable resource for the study of ancient magic and society. Matthew W.Dickie teaches at the University of Illinois at Chicago. He has written on envy and the Evil Eye, on the learned magician, on ancient erotic magic, and on the interpretation of ancient magical texts. MAGIC AND MAGICIANS IN THE GRECO-ROMAN WORLD Matthew W.Dickie LONDON AND NEW YORK First published in hardback 2001 by Routledge First published in paperback 2003 by Routledge 11 New Fetter Lane, London EC4P 4EE Simultaneously published in the USA and canada by Routledge 29 West 35th Street, New York, NY 10001 Routledge is an imprint of the Taylor & Francis Group This edition published in the Taylor & Francis e-Library, 2005. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” © 2001, 2003 Matthew W.Dickie All rights reserved.
    [Show full text]
  • Constantinou2014.Pdf
    This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: • This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. • A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. • This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. • The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. • When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Demeter in Hellenistic Poetry: Religion and Poetics Maria Constantinou A thesis submitted for the degree of Doctor of Philosophy to Classics Department School of History, Classics and Archaeology The University of Edinburgh 2014 Declaration This thesis has been composed by the candidate, the work is the candidate’s own and the work has not been submitted for the award of any other degree or professional qualification. ii Abstract The thesis examines the presence of Demeter in Hellenistic poetry, while it also considers the way contemporary Demeter cult informs the poetic image of the goddess. My research focuses on certain poems in which Demeter is in the foreground, that is, Philitas’ Demeter, Callimachus’ Hymn to Demeter, Theocritus’ Idyll 7, and Philicus’ Hymn to Demeter, supplemented by the epilogue of Callimachus’ Hymn to Apollo and Philicus’ Hymn to Demeter.
    [Show full text]
  • “But Their Faces Were All Looking Up”: Author and Reader in the Protevangelium of James
    “BUT THEIR FACES WERE ALL LOOKING UP”: AUTHOR AND READER IN THE PROTEVANGELIUM OF JAMES by Eric M. Vanden Eykel, B.A., M.A., M.Div. A Dissertation submitted to the Faculty of the Graduate School, Marquette University, in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Milwaukee, Wisconsin May 2014 UMI Number: 3620184 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMI 3620184 Published by ProQuest LLC (2014). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, MI 48106 - 1346 ABSTRACT “BUT THEIR FACES WERE ALL LOOKING UP”: AUTHOR AND READER IN THE PROTEVANGELIUM OF JAMES Eric M. Vanden Eykel, B.A., M.A., M.Div. Marquette University, 2014 This is a study about the Protevangelium of James (PJ), an “infancy gospel” that recounts the birth and childhood of Mary, the mother of Jesus. It is also a study about authors, readers, texts, meaning, and how they are interrelated. In it I aim to take seriously the insights of “intertextuality,” not as a matter of source criticism but as an approach to literature that is concerned with the reader’s active role in determining meaning in a text.
    [Show full text]
  • Who's Who in Classical Mythology
    Who’s Who in Classical Mythology The Routledge Who’s Who series Accessible, authoritative and enlightening, these are the definitive biographical guides to a diverse range of subjects drawn from literature and the arts, history and politics, religion and mythology. Who’s Who in Ancient Egypt Michael Rice Who’s Who in the Ancient Near East Gwendolyn Leick Who’s Who in Christianity Lavinia Cohn-Sherbok Who’s Who in Classical Mythology Michael Grant and John Hazel Who’s Who in Contemporary Gay and Lesbian History Edited by Robert Aldrich and Garry Wotherspoon Who’s Who in Contemporary Women’s Writing Edited by Jane Eldridge Miller Who’s Who in Contemporary World Theatre Edited by Daniel Meyer-Dinkegräfe Who’s Who in Dickens Donald Hawes Who’s Who in Europe 1450–1750 Henry Kamen Who’s Who in Gay and Lesbian History Edited by Robert Aldrich and Garry Wotherspoon Who’s Who in the Greek World John Hazel Who’s Who in Jewish History Joan Comay, revised by Lavinia Cohn-Sherbok Who’s Who in Military History John Keegan and Andrew Wheatcroft Who’s Who in Modern History Alan Palmer Who’s Who in Nazi Germany Robert S.Wistrich Who’s Who in the New Testament Ronald Brownrigg Who’s Who in Non-Classical Mythology Egerton Sykes, revised by Alan Kendall Who’s Who in the Old Testament Joan Comay Who’s Who in the Roman World John Hazel Who’s Who in Russia since 1900 Martin McCauley Who’s Who in Shakespeare Peter Quennell and Hamish Johnson Who’s Who of Twentieth-Century Novelists Tim Woods Who’s Who in Twentieth-Century World Poetry Edited by Mark Willhardt
    [Show full text]
  • The Seer in Ancient Greece / Michael Attyah Flower
    © 2008 UC Regents Buy this book University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing scholar- ship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 2008 by The Regents of the University of California Library of Congress Cataloging-in-Publication Data Flower, Michael Attyah, 1956–. The seer in ancient Greece / Michael Attyah Flower. p. cm. Includes bibliographical references and index. isbn 978-0-520-25229-5 (cloth : alk. paper) 1. Oracles, Greek. 2. Prophets — Greece. 3. Divination — Greece. 4. Greece — Religious life and customs. I. Title. BF1765.F56 2008 133.30938 —dc22 2007004264 Manufactured in the United States of America 16 15 14 13 12 11 10 09 08 07 10987654321 This book is printed on Natures Book, which contains 50% post-consumer waste and meets the minimum requirements of ansi/niso z39.48-1992 (r 1997) (Permanence of Paper). one . Problems, Methods, and Sources Surprising as it may seem, the oracle’s replies to questions are rarely vague. But I suppose that it would be difficult for any scientific investigation either to prove or disprove conclusively the validity of his pronouncements. His Holiness the 14th the Dalai Lama Tenzin Gyatso, Freedom in Exile One of the reasons for this neglect [by Assyriologists] is perhaps the extraordinary monotony of the treatises on divination that make up the principal pieces of the dossier.
    [Show full text]
  • Olympian Gods, Olympian Pantheon Ken Dowden
    Ogden / Companion to Greek Religion 1405120541_4_002 Final Proof page 41 17.11.2006 4:49pm CHAPTER TWO Olympian Gods, Olympian Pantheon Ken Dowden The Nature of Gods Amongst the many creations of Greek culture, the Olympian gods have a particular interest. As with anything in the ancient world, we have various types of information about them. Some comes from archaeology, some from texts, some concerns history, some concerns thought. But whereas the great sanctuary of Apollo at Delphi was, and is, real, and we discover about the same sanctuary from our various sources of information, it is different with the individual gods. The ancient gods are not real – at least, that is the general supposition – and what our evidence leads us to is pictures that peoples created in their minds and shared in their imaginations. The gods are in fact the most powerful work of art created by the Greeks. And they live in different, but intersecting, dimensions, which combine to create the illusion of a single personality. The primary dimension is that of cult (religious practice). Greeks prayed, sacrificed, poured libations, held festivals, demarcated places which would be precincts, built altars and temples, gave gifts and built ‘‘treasuries’’ to hold them all. In doing all this they represented themselves as performing acts to, for, or at least with an audience of, gods. It is far from unusual to have many gods (‘‘polytheism’’) or to think of them somehow as persons. But by the standards of other nations, Greek gods were exceptionally anthropomorphic – they were ‘‘shaped like people.’’ The focus of Greek worship tended not to be mighty stones or trees (‘‘aniconic,’’ non-representational, objects of worship), though they admired those too, but stone or wood shaped into statues of personal gods.
    [Show full text]
  • A COMPANION to GREEK RELIGION Ogden / Companion to Greek Religion 1405120541 1 Pretoc Final Proof Page Ii 22.11.2006 11:20Am
    Ogden / Companion to Greek Religion 1405120541_1_pretoc Final Proof page i 22.11.2006 11:20am A COMPANION TO GREEK RELIGION Ogden / Companion to Greek Religion 1405120541_1_pretoc Final Proof page ii 22.11.2006 11:20am BLACKWELL COMPANIONS TO THE ANCIENT WORLD This series provides sophisticated and authoritative overviews of periods of ancient history, genres of classical literature, and the most important themes in ancient culture. Each volume comprises between twenty-five and forty concise essays written by individual scholars within their area of specialization. The essays are written in a clear, provocative, and lively manner, designed for an international audience of scholars, students, and general readers. ANCIENT HISTORY Published A Companion to the Roman Army A Companion to the Classical Greek World Edited by Paul Erdkamp Edited by Konrad H. Kinzl A Companion to the Roman Republic A Companion to the Ancient Near East Edited by Nathan Rosenstein and Edited by Daniel C. Snell Robert Morstein-Marx A Companion to the Hellenistic World A Companion to the Roman Empire Edited by Andrew Erskine Edited by David S. Potter In preparation A Companion to Ancient History A Companion to Late Antiquity Edited by Andrew Erskine Edited by Philip Rousseau A Companion to Archaic Greece A Companion to Byzantium Edited by Kurt A. Raaflaub and Hans van Wees Edited by Elizabeth James A Companion to Julius Caesar Edited by Miriam Griffin LITERATURE AND CULTURE Published A Companion to Catullus A Companion to Greek Rhetoric Edited by Marilyn B. Skinner Edited by Ian Worthington A Companion to Greek Religion A Companion to Ancient Epic Edited by Daniel Ogden Edited by John Miles Foley A Companion to Classical Tradition A Companion to Greek Tragedy Edited by Craig W.
    [Show full text]