DOCSLIB.ORG

The Theoi “But Let Us Now Go to Bed and Turn to Love­Making

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Theoi “But Let Us Now Go to Bed and Turn to Love­Making The Theoi “But let us now go to bed and turn to love­making. For never before has love for any goddess or woman so melted about the heart inside me, broken it to submission, as now: not that time when I loved the wife of Ixion who bore me Peirithroös, equal of the gods in counsel, nor when I loved Akrisios’ daughter, sweet­stepping Danaë, who bore Perseus to me, pre­eminent among all men, nor when I loved the daughter of far­renowned Phoinix, Europa who bore Minos to me, and Rhadamanthys the godlike; not when I loved Semele, or Alkmene in Thebe, when Alkmene bore me a son, Herakles the strong­hearted, while Semele’s son was Dionysos, the pleasure of mortals; not when I loved the queen Demeter of the lovely tresses, not when it was glorious Leto nor yourself, so much as now I love you, and the sweet passion has taken hold of me.” —Zeus to Hera, The Iliad, Book 14 ​ ​ “Why do I listen to him? Why do I believe him when I know he’s a liar and a cheat? I’ll tell you. It’s because he’s—Hey! Put your brother down this instant, young man! I don’t care what he did, if you drop him off the roof one more time, ​ ​ so help me—” —June Oxnard, incarnation of Hera The World was born of the great chasm, Chaos, from whence arose Gaia, who birthed her equal, Uranus, to enshroud her in the sky. To Uranus, Gaia bore twelve great Titans, the Cyclopes, and the Hundred­Handed—but Uranus, fearful of his children’s power and hateful of their appearance, confined the Cyclopes and the Hundred­Handed in Tartarus, far beneath Gaia, which caused her great pain. She fashioned a knife of flint and bestowed it upon her son, Cronus, who castrated his father and flung his genitals into the sea. Now preeminent, he took his sister Rhea for a wife, and to Cronus she bore six children—three daughters, and three sons. But Cronus, who had learned well the lesson of his father Uranus, had no desire to be overthrown himself. Though at first he freed them, in time he reimprisoned the Hundred­Handed and Cyclopes in Tartarus, fearful of their power. Told he was destined to be overthrown by his own issue, he swallowed each of his six children, three daughters and three sons, as they were born. But Rhea, with the aid of Uranus and Gaia, tricked Cronus—swaddling a great stone that Cronus unthinkingly devoured, she spirited her youngest son, Zeus, to safety. When he was grown, he returned and overcame Cronus, who was made to vomit up his five children and a single stone. Cunning Zeus freed the Hundred­Handed and the Cyclopes from Tartarus, and they in turn gave him thunder and lightning, the greatest of weapons. The terrible decade­long war between the Titans and the Theoi that followed came to be known as the Titanomachy, and when it ended triumphant Zeus imprisoned the Titans in Tartarus, setting the Hundred­Handed to guard its gates that they might never escape. Zeus then drew lots with his brothers, Hades and Poseidon, to determine how to split the rule of the world between them: Zeus drew the sky, Poseidon the sea, and Hades the dread realm of the dead—the earth itself was left in common between them. From high on Olympos, Zeus still reigns over the Theoi, ever­watchful of his many, many children—for after all, he too bears a certain destiny. Gods and Goddesses Aphrodite, Goddess of Love and Beauty Aliases: Venus Aphrodite is by tradition ascribed parentage from Uranus, the sky, whose genitals Cronus threw into the sea, from whence Aphrodite rose fully grown from the foam and spray. From the very moment of her birth, she was indescribably beautiful, and was sought after by men and women alike. She is the goddess of love and of lust, of high­minded devotion and base carnal desire, and while the prudish may call her by two names to try to separate the two, she is but a single goddess. Wedded to Hephaestus by Zeus, she and Ares have carried on an affair for millennia that has more than once resulted in humiliation for all concerned. Eldest of all the Theoi, she does not chafe beneath Zeus’ rule—for after all, does not lust often rule the mind of the greatest among the Theoi? In Rome, she was called Venus, and though little about her changed she was greatly honored as the mother of the Roman people, opposite Ares, here called Mars. Divine mother of the hero Aeneas who was said to have predated even Romulus and Remus, she was also claimed as an ancestress by none other than Julius Caesar himself—a claim that his heir, Augustus, played to the hilt in the struggle to become Rome’s first Emperor. The modern World reveres Aphrodite in a thousand different ways each and every day. The symbol of Venus may be found on labels for cosmetics, used in advertising, even used to denote women as a whole (something which frustrates the other goddesses to no end). Beauty is king in the world of fashion & film, and if it is not the same beauty that was celebrated long ago, Aphrodite is more than able to adapt. She is beloved, if by proxy, and Aphrodite in turns loves the World back. Callings: Lover, Leader, Trickster ​ Purviews: Deception, Fertility, Fortune, Passion (Desire) ​ Apollo, God of Music, Prophecy, and Healing Aliases: Phoebus Son of Zeus, brother of Artemis, Apollo is defined by his youth—vigorous, active, ambitious. Like his sister, he wields the bow and arrow with deadly accuracy, and where his arrows lands plague fells those mortals who have displeased him—but when called upon to heal, Apollo’s powers are no less great, and he exchanges his deadly bow for a lyre, his favored instrument of all in the musical realm (of which he is also the primary patron among the Theoi). More than any of the Theoi, Apollo is given to prophecy, inspiring a kind of controlled madness in mortal seers and priestesses—many of the most famous oracles in the ancient World served him. Unlike the other Theoi, Apollo took on no new name among Romans—tradition holds that they were consulting his oracle at Delphi as far back as the kings of distant antiquity, who were overthrown in favor of the republic that collapsed into empire. It is Apollo’s way to kill from afar; mortals have learned well from the young god, pleasing him little. The modern World teems with means of dealing death from a great distance, from cruise missiles to tailored pathogens. Little angers Apollo more than the idea of biological warfare, for he sees it as hubristic intrusion upon his domain, and has been known to punish mortals for it—perhaps this, more than anything else, has kept it from ever being used on a large scale. The World has given him one thing to be glad for, though—far more music, and of a greater diversity, is being created than ever before in human history, and Apollo is in the thick of it. One of the easiest ways to get his attention is to invoke him following a really amazing guitar solo. Callings: Healer, Leader, Sage ​ Purviews: Artistry (Music), Epic Dexterity, Health, Sun ​ Ares, God of War Aliases: Mars Son of Zeus and Hera, and least beloved of all the sons of the Lord of Olympus, Ares commands the wild and bloody chaos of the thick of war, madness and noise and death alike. He is not a wise general, nor is he a reserved soldier—he is a warrior, brilliant and terrifying in his art. Mortals rarely propitiate him, and if they do, it is to beg him to restrain his gifts, for a soldier who sees red is far less likely to live through the battle. To the Romans, who called him Mars, Ares embodies the Legions, stern and unyielding, the very engine of war that brought greatness to Rome. He is respected and propitiated more than any other god save Jupiter, and attributed with the ultimate parentage of the Roman people, through Romulus and Remus. In this aspect, he is less the brute and more the cog, or rather the sum of all cogs, finely oiled and precise in his application of force—yet still, Minerva is his superior in the realm of strategy, and it rankles Ares to this day. Bearing twin Mantles, the God of War acts thus upon the World—when chaos and strife run rampant, Ares is there hacking and slashing; and when war becomes a thing of industry and precision, Mars watches over it all with a cool gaze. Though he still disdains the higher realms of strategy and thought, and holds a particular hatred for armed drones, he is nonetheless the most accomplished warrior among the Theoi, and when the Titanomachy comes to Olympus, he will stand before the enemy with a smile on his face. Callings: Warrior, Lover, Guardian ​ Purviews: Epic Stamina, Epic Strength, Passion (Valor), War ​ Artemis, Goddess of the Hunt Aliases: Diana Sister of Apollo, daughter of Zeus and Leto, Artemis stands forever between the wilderness she so loves and the women of the World whom she is sworn to defend. Disdaining the love of men, she has never married, and by the assent of Zeus she never shall. She surrounds herself with maidens to serve her, guarding her hunting dogs and bow as she rests.
Load more

Recommended publications
  • The Cosmic Myths of Homer and Hesiod
    Oral Tradition, 2/1 (1987): 31-53 The Cosmic Myths of Homer and Hesiod Eric A. Havelock I HOMER’S COSMIC IMAGERY Embedded in the narratives of the Homeric poems are a few passages which open windows on the ways in which the Homeric poet envisioned the cosmos around him. They occur as brief digressions, offering powerful but by no means consistent images, intruding into the narrative and then vanishing from it, but always prompted by some suitable context. A. Iliad 5.748-52 and 768-69 The Greeks in battle being pressed hard by the Trojans, assisted by the god Ares; the goddesses Hera and Athene decide to equalize the encounter by descending from Olympus to help the Greeks. A servant assembles the components of Hera’s chariot: body, wheels, spokes, axle, felloe, tires, naves, platform, rails, pole, yoke are all itemized in sequence, comprising a formulaic account of a mechanical operation: Hera herself attaches the horses to the car. Athene on her side is provided by the poet with a corresponding “arming scene”; she fi nally mounts the chariot and the two of them proceed: 748 Hera swiftly with whip set upon the horses 749 and self-moving the gates of heaven creaked, which the seasons kept 750 to whom is committed great heaven and Olympus 751 either to swing open the thick cloud or to shut it back. 752 Straight through between them they kept the horses goaded-and-driven. 32 ERIC A. HAVELOCK 768 Hera whipped up the horses, and the pair unhesitant fl ew on 769 in midspace between earth and heaven star-studded.
    [Show full text]
  • Kretan Cult and Customs, Especially in the Classical and Hellenistic Periods: a Religious, Social, and Political Study
    i Kretan cult and customs, especially in the Classical and Hellenistic periods: a religious, social, and political study Thesis submitted for degree of MPhil Carolyn Schofield University College London ii Declaration I, Carolyn Schofield, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been acknowledged in the thesis. iii Abstract Ancient Krete perceived itself, and was perceived from outside, as rather different from the rest of Greece, particularly with respect to religion, social structure, and laws. The purpose of the thesis is to explore the bases for these perceptions and their accuracy. Krete’s self-perception is examined in the light of the account of Diodoros Siculus (Book 5, 64-80, allegedly based on Kretan sources), backed up by inscriptions and archaeology, while outside perceptions are derived mainly from other literary sources, including, inter alia, Homer, Strabo, Plato and Aristotle, Herodotos and Polybios; in both cases making reference also to the fragments and testimonia of ancient historians of Krete. While the main cult-epithets of Zeus on Krete – Diktaios, associated with pre-Greek inhabitants of eastern Krete, Idatas, associated with Dorian settlers, and Kretagenes, the symbol of the Hellenistic koinon - are almost unique to the island, those of Apollo are not, but there is good reason to believe that both Delphinios and Pythios originated on Krete, and evidence too that the Eleusinian Mysteries and Orphic and Dionysiac rites had much in common with early Kretan practice. The early institutionalization of pederasty, and the abduction of boys described by Ephoros, are unique to Krete, but the latter is distinct from rites of initiation to manhood, which continued later on Krete than elsewhere, and were associated with different gods.
    [Show full text]
  • From the Odyssey, Part 1: the Adventures of Odysseus
    from The Odyssey, Part 1: The Adventures of Odysseus Homer, translated by Robert Fitzgerald ANCHOR TEXT | EPIC POEM Archivart/Alamy Stock Photo Archivart/Alamy This version of the selection alternates original text The poet, Homer, begins his epic by asking a Muse1 to help him tell the story of with summarized passages. Odysseus. Odysseus, Homer says, is famous for fighting in the Trojan War and for Dotted lines appear next to surviving a difficult journey home from Troy.2 Odysseus saw many places and met many the summarized passages. people in his travels. He tried to return his shipmates safely to their families, but they 3 made the mistake of killing the cattle of Helios, for which they paid with their lives. NOTES Homer once again asks the Muse to help him tell the tale. The next section of the poem takes place 10 years after the Trojan War. Odysseus arrives in an island kingdom called Phaeacia, which is ruled by Alcinous. Alcinous asks Odysseus to tell him the story of his travels. I am Laertes’4 son, Odysseus. Men hold me formidable for guile5 in peace and war: this fame has gone abroad to the sky’s rim. My home is on the peaked sea-mark of Ithaca6 under Mount Neion’s wind-blown robe of leaves, in sight of other islands—Dulichium, Same, wooded Zacynthus—Ithaca being most lofty in that coastal sea, and northwest, while the rest lie east and south. A rocky isle, but good for a boy’s training; I shall not see on earth a place more dear, though I have been detained long by Calypso,7 loveliest among goddesses, who held me in her smooth caves to be her heart’s delight, as Circe of Aeaea,8 the enchantress, desired me, and detained me in her hall.
    [Show full text]
  • Tradition and Innovation in Olympiodorus' "Orphic" Creation of Mankind Radcliffe .G Edmonds III Bryn Mawr College, [email protected]
    Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Greek, Latin, and Classical Studies Faculty Research Greek, Latin, and Classical Studies and Scholarship 2009 A Curious Concoction: Tradition and Innovation in Olympiodorus' "Orphic" Creation of Mankind Radcliffe .G Edmonds III Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/classics_pubs Part of the Classics Commons Custom Citation Edmonds, Radcliffe .,G III. "A Curious Concoction: Tradition and Innovation in Olympiodorus' 'Orphic' Creation of Mankind." American Journal of Philology 130, no. 4 (2009): 511-532. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/classics_pubs/79 For more information, please contact [email protected]. Radcliffe G. Edmonds III “A Curious Concoction: Tradition and Innovation in Olympiodorus' ‘Orphic’ Creation of Mankind” American Journal of Philology 130 (2009), pp. 511–532. A Curious Concoction: Tradition and Innovation in Olympiodorus' Creation of Mankind Olympiodorus' recounting (In Plat. Phaed. I.3-6) of the Titan's dismemberment of Dionysus and the subsequent creation of humankind has served for over a century as the linchpin of the reconstructions of the supposed Orphic doctrine of original sin. From Comparetti's first statement of the idea in his 1879 discussion of the gold tablets from Thurii, Olympiodorus' brief testimony has been the
    [Show full text]
  • Greek Characters
    Amphitrite - Wife to Poseidon and a water nymph. Poseidon - God of the sea and son to Cronos and Rhea. The Trident is his symbol. Arachne - Lost a weaving contest to Athene and was turned into a spider. Father was a dyer of wool. Athene - Goddess of wisdom. Daughter of Zeus who came out of Zeus’s head. Eros - Son of Aphrodite who’s Roman name is Cupid; Shoots arrows to make people fall in love. Demeter - Goddess of the harvest and fertility. Daughter of Cronos and Rhea. Hades - Ruler of the underworld, Tartaros. Son of Cronos and Rhea. Brother to Zeus and Poseidon. Hermes - God of commerce, patron of liars, thieves, gamblers, and travelers. The messenger god. Persephone - Daughter of Demeter. Painted the flowers of the field and was taken to the underworld by Hades. Daedalus - Greece’s greatest inventor and architect. Built the Labyrinth to house the Minotaur. Created wings to fly off the island of Crete. Icarus - Flew too high to the sun after being warned and died in the sea which was named after him. Son of Daedalus. Oranos - Titan of the Sky. Son of Gaia and father to Cronos. Aphrodite - Born from the foam of Oceanus and the blood of Oranos. She’s the goddess of Love and beauty. Prometheus - Known as mankind’s first friend. Was tied to a Mountain and liver eaten forever. Son of Oranos and Gaia. Gave fire and taught men how to hunt. Apollo - God of the sun and also medicine, gold, and music. Son of Zeus and Leto. Baucis - Old peasant woman entertained Zeus and Hermes.
    [Show full text]
  • 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.
    [Show full text]
  • ΤΑΡΤΑΡΟΣ in Greco-Roman Culture, Second Temple Judaism, and Philo of Alexandria* Clint Burnett (Boston College)
    Going Through Hell; ΤΑΡΤΑΡΟΣ in Greco-Roman Culture, Second Temple Judaism, and Philo of Alexandria* Clint Burnett (Boston College) Tis article questions the longstanding supposition that the eschatology of the Second Temple period was solely infuenced by Persian or Iranian eschatology, arguing instead that the litera- ture of this period refects awareness of several key Greco-Roman mythological concepts. In particular, the concepts of Tartarus and the Greek myths of Titans and Giants underlie much of the treatment of eschatology in the Jewish literature of the period. A thorough treatment of Tartarus and related concepts in literary and non-literary sources from ancient Greek and Greco-Roman culture provides a backdrop for a discussion of these themes in the Second Tem- ple period and especially in the writings of Philo of Alexandria. I. Introduction Contemporary scholarship routinely explores connections between Greco- Roman culture and Second Temple Judaism, but one aspect of this investiga- tion that has not received the attention it deserves is eschatology. Te view that the eschatology of the Second Temple period was shaped largely by Persian es- chatology remains dominant in the feld.1 As James Barr has observed, “Many of the scholars of the ‘biblical theology’ period, were very anxious to make it clear that biblical thought was entirely distinct from, and owed nothing to, Greek thought. … Iranian infuence, however, seemed … less of a threat.”2 Tis is somewhat surprising, given that many Second Temple Jewish texts, including the writings of Philo of Alexandria, mention eschatological con- cepts developed in a Greco-Roman context. Signifcant among these are the many references to the Greco-Roman subterranean prison of Tartarus and the related mythology of the Titans and Giants.
    [Show full text]
  • AND DID THOSE HOOVES Pan and the Edwardians
    1 AND DID THOSE HOOVES Pan and the Edwardians By Eleanor Toland A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Arts in English Literature Victoria University of Wellington 2014 2 “….a goat’s call trembled from nowhere to nowhere…” James Stephens, The Crock of Gold, 1912 3 Contents Abstract………………………………………………………………………………………...4 Acknowledgements……………………………………………………………………………..5 Introduction: Pan and the Edwardians………………………………………………………….6 Chapter One: Pan as a Christ Figure, Christ as a Pan Figure…………………………………...17 Chapter Two: Uneasy Dreams…………………………………………..…………………......28 Chapter Three: Savage Wildness to Garden God………….…………………………………...38 Chapter Four: Culminations….................................................................................................................48 Chapter Five: The Prayer of the Flowers………………...…………………………………… 59 Conclusion…………………………………………………………………………………….70 Works Cited…………………………………………………………………………………...73 4 Acknowledgements My thanks to Lilja, Lujan, Saskia, Thomas, Emily, Eve, Mehdy, Eden, Margie, Katie, Anna P, the other Anna P, Hannah, Sarah, Caoilinn, Ronan, Kay, Angelina, Iain et Alana and anyone else from the eighth and ninth floor of the von Zedlitz building who has supplied a friendly face or a kind word. Your friendship and encouragement has been a fairy light leading me out of a perilous swamp. Thank you to my supervisors, Charles and Geoff, without whose infinite patience and mentorship this thesis would never have been finished, and whose supervision went far beyond the call of duty. Finally, thank you to my family for their constant support and encouragement. 5 Abstract A surprisingly high number of the novels, short stories and plays produced in Britain during the Edwardian era (defined in the terms of this thesis as the period of time between 1900 and the beginning of World War One) use the Grecian deity Pan, god of shepherds, as a literary motif.
    [Show full text]
  • Athena ΑΘΗΝΑ Zeus ΖΕΥΣ Poseidon ΠΟΣΕΙΔΩΝ Hades ΑΙΔΗΣ
    gods ΑΠΟΛΛΩΝ ΑΡΤΕΜΙΣ ΑΘΗΝΑ ΔΙΟΝΥΣΟΣ Athena Greek name Apollo Artemis Minerva Roman name Dionysus Diana Bacchus The god of music, poetry, The goddess of nature The goddess of wisdom, The god of wine and art, and of the sun and the hunt the crafts, and military strategy and of the theater Olympian Son of Zeus by Semele ΕΡΜΗΣ gods Twin children ΗΦΑΙΣΤΟΣ Hermes of Zeus by Zeus swallowed his first Mercury Leto, born wife, Metis, and as a on Delos result Athena was born ΑΡΗΣ Hephaestos The messenger of the gods, full-grown from Vulcan and the god of boundaries Son of Zeus the head of Zeus. Ares by Maia, a Mars The god of the forge who must spend daughter The god and of artisans part of each year in of Atlas of war Persephone the underworld as the consort of Hades ΑΙΔΗΣ ΖΕΥΣ ΕΣΤΙΑ ΔΗΜΗΤΗΡ Zeus ΗΡΑ ΠΟΣΕΙΔΩΝ Hades Jupiter Hera Poseidon Hestia Pluto Demeter The king of the gods, Juno Vesta Ceres Neptune The goddess of The god of the the god of the sky The goddess The god of the sea, the hearth, underworld The goddess of and of thunder of women “The Earth-shaker” household, the harvest and marriage and state ΑΦΡΟΔΙΤΗ Hekate The goddess Aphrodite First-generation Second- generation of magic Venus ΡΕΑ Titans ΚΡΟΝΟΣ Titans The goddess of MagnaRhea Mater Astraeus love and beauty Mnemosyne Kronos Saturn Deucalion Pallas & Perses Pyrrha Kronos cut off the genitals Crius of his father Uranus and threw them into the sea, and Asteria Aphrodite arose from them.
    [Show full text]
  • Homer – the Iliad
    HOMER – THE ILIAD Homer is the author of both The Iliad and The Odyssey. He lived in Ionia – which is now modern day Turkey – between the years of 900-700 BC. Both of the above epics provided the framework for Greek education and thought. Homer was a blind bard, one who is a professional story teller, an oral historian. Epos or epic means story. An epic is a particular type of story; it involves one with a hero in the midst of a battle. The subject of the poem is the Trojan War which happened approximately in 1200 BC. This was 400 years before the poem was told by Homer. This story would have been read aloud by Homer and other bards that came after him. It was passed down generation to generation by memory. One can only imagine how valuable memory was during that time period – there were no hard drives or memory sticks. On a tangential note, one could see how this poem influenced a culture; to be educated was to memorize a particular set of poems or stories which could be cross-referenced with other people’s memory of those particular stories. The information would be public and not private. The Iliad is one of the greatest stories ever told – a war between two peoples; the Greeks from the West and the Trojans from the East. The purpose of this story is to praise Achilles. The two worlds are brought into focus; the world of the divine order and the human order. The hero of the story is to bring greater order and harmony between these two orders.
    [Show full text]
  • Child Abuse in Greek Mythology: a Review C Stavrianos, I Stavrianou, P Kafas
    The Internet Journal of Forensic Science ISPUB.COM Volume 3 Number 1 Child Abuse in Greek Mythology: A Review C Stavrianos, I Stavrianou, P Kafas Citation C Stavrianos, I Stavrianou, P Kafas. Child Abuse in Greek Mythology: A Review. The Internet Journal of Forensic Science. 2007 Volume 3 Number 1. Abstract The aim of this review was to describe child abuse cases in ancient Greek mythology. Names like Hercules, Saturn, Aesculapius, Medea are very familiar. The stories can be divided into 3 categories: child abuse from gods to gods, from gods to humans and from humans to humans. In these stories children were abused in different ways and the reasons were of social, financial, political, religious, medical and sexual origin. The interpretations of the myths differed and the conclusions seemed controversial. Archaeologists, historians, and philosophers still try to bring these ancient stories into light in connection with the archaeological findings. The possibility for a dentist to face a child abuse case in the dental office nowadays proved the fact that child abuse was not only a phenomenon of the past but also a reality of the present. INTRODUCTION courses are easily available to everyone. Child abuse may be defined as any non-accidental trauma, On 1860 the forensic odontologist Ambroise Tardieu, neglect, failure to meet basic needs or abuse inflicted upon a referring to 32 cases, made a connection between subdural child by a caretaker that is beyond the acceptable norm of haematoma and abuse. In 1874 a church group in New York childcare in our culture. Abused children found in all 1 City took a child named Mary-Helen from home in which economic, social, ethnic and cultural backgrounds and she was being abused.
    [Show full text]
  • Lecture 9 Good Morning and Welcome to LLT121 Classical Mythology
    Lecture 9 Good morning and welcome to LLT121 Classical Mythology. In our last exciting class, we were discussing the various sea gods. You’ll recall that, in the beginning, Gaia produced, all by herself, Uranus, the sky, Pontus, the sea and various mountains and whatnot. Pontus is the Greek word for “ocean.” Oceanus is another one. Oceanus is one of the Titans. Guess what his name means in ancient Greek? You got it. It means “ocean.” What we have here is animism, pure and simple. By and by, as Greek civilization develops, they come to think of the sea as ruled by this bearded god, lusty, zesty kind of god. Holds a trident. He’s seriously malformed. He has an arm growing out of his neck this morning. You get the picture. This is none other than the god Poseidon, otherwise known to the Romans as Neptune. One of the things that I’m going to be mentioning as we meet the individual Olympian gods, aside from their Roman names—Molly, do you have a problem with my drawing? Oh, that was the problem. Okay, aside from their Roman names is also their quote/unquote attributes. Here’s what I mean by attributes: recognizable features of a particular god or goddess. When you’re looking at, let’s say, ancient Greek pottery, all gods and goddesses look pretty much alike. All the gods have beards and dark hair. All the goddesses have long, flowing hair and are wearing dresses. The easiest way to tell them apart is by their attributes.
    [Show full text]