The Gorgon Whom Perseus 1
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
The Hellenic Saga Gaia (Earth)
The Hellenic Saga Gaia (Earth) Uranus (Heaven) Oceanus = Tethys Iapetus (Titan) = Clymene Themis Atlas Menoetius Prometheus Epimetheus = Pandora Prometheus • “Prometheus made humans out of earth and water, and he also gave them fire…” (Apollodorus Library 1.7.1) • … “and scatter-brained Epimetheus from the first was a mischief to men who eat bread; for it was he who first took of Zeus the woman, the maiden whom he had formed” (Hesiod Theogony ca. 509) Prometheus and Zeus • Zeus concealed the secret of life • Trick of the meat and fat • Zeus concealed fire • Prometheus stole it and gave it to man • Freidrich H. Fuger, 1751 - 1818 • Zeus ordered the creation of Pandora • Zeus chained Prometheus to a mountain • The accounts here are many and confused Maxfield Parish Prometheus 1919 Prometheus Chained Dirck van Baburen 1594 - 1624 Prometheus Nicolas-Sébastien Adam 1705 - 1778 Frankenstein: The Modern Prometheus • Novel by Mary Shelly • First published in 1818. • The first true Science Fiction novel • Victor Frankenstein is Prometheus • As with the story of Prometheus, the novel asks about cause and effect, and about responsibility. • Is man accountable for his creations? • Is God? • Are there moral, ethical constraints on man’s creative urges? Mary Shelly • “I saw the pale student of unhallowed arts kneeling beside the thing he had put together. I saw the hideous phantasm of a man stretched out, and then, on the working of some powerful engine, show signs of life, and stir with an uneasy, half vital motion. Frightful must it be; for supremely frightful would be the effect of any human endeavour to mock the stupendous mechanism of the Creator of the world” (Introduction to the 1831 edition) Did I request thee, from my clay To mould me man? Did I solicit thee From darkness to promote me? John Milton, Paradise Lost 10. -
Land of Myth Odyssey Players
2 3 ἄνδρα µοι ἔννεπε, µοῦσα, πολύτροπον, ὃς µάλα πολλὰ πλάγχθη, ἐπεὶ Τροίης ἱερὸν πτολίεθρον ἔπερσεν· πολλῶν δ᾽ ἀνθρώπων ἴδεν ἄστεα καὶ νόον ἔγνω, πολλὰ δ᾽ ὅ γ᾽ ἐν πόντῳ πάθεν ἄλγεα ὃν κατὰ θυµόν, ἀρνύµενος ἥν τε ψυχὴν καὶ νόστον ἑταίρων. Homer’s Odyssey, Book 1, Lines 1-5 (ΟΜΗΡΟΥ ΟΔΥΣΣΕΙΑ, ΡΑΨΟΔΙΑ 1, ΣΤΙΧΟΙ 1-5) CREDITS INDEX Credits – The Land of Myth™ Team Written & Designed by: John R. Haygood Art Direction: George Skodras, Ali Dogramaci Who We Are .............................................................................................. 6 Cover Art: Ali Dogramaci What is this Product ................................................................................. 6 Proofreading & Editing: Vi Huntsman (MRC) This is a product created by Seven Thebes in collaboration with the Getty Museum Introduction ................................................................................................ 7 in Los Angeles, USA. Special thanks for the many hours of game testing and brainstorming: Safety and Consent .................................................................................. 10 Thanasis Giannopoulos, Alexandros Stivaktakis, Markos Spanoudakis The Land of Myth Mechanics: A Rules-Light Version ...................... 12 First Edition First Release: November 2020 Telemachos and His Quest ................................................................... 24 Character Sheets ...................................................................................... 26 Playtest Material V0.3 Please note that this game is still -
The Myth of the Messenger Jules Cashford
ARAS Connections Issue 3, 2011 Figure 1 The Etruscan Hermes. Terracotta statue head. Museo Nazionale di Villa Giulia, Rome. C. 500 BC. The Myth of the Messenger Jules Cashford The images in this paper are strictly for educational use and are protected by United States copyright laws. Unauthorized use will result in criminal and civil penalties. 1 ARAS Connections Issue 3, 2011 The German novelist Thomas Mann, in his address on the occasion of Freud’s 80 th birthday, spoke of myth as offering a “smiling knowledge of eternity” – such, perhaps, as is evoked by this Etruscan Hermes of 500 BC (1936, p. 89) It is impossible to define Imagination since the only definition we can make is that we are far from it when we talk about it. It is perhaps a power so ultimate that only its own numinous images can call it forth, as though we have, as it were, to ask the Imagination to imagine itself. We might say that whenever there is numinosity – a coming alive of divine presence – literally, the “nod” or “beckoning” of a god – whenever an image becomes translucent to a reality beyond itself, we are in the presence of Imagination. The images that come towards us – as divinities, daimons, soul-birds, angels, geniuses, muses – are all figures who bring messages from afar or beyond, from the heights or the depths – the realms where consciousness may not go, yet on which it rests and through which it grows. “Wisdom first speaks in images,” W. B. Yeats, says (1961, p. 95). The role of “the messenger” is to go between, and so to connect, two terms – gods or persons or worlds or states of being. -
The Cambridge Companion to Greek Mythology (2007)
P1: JzG 9780521845205pre CUFX147/Woodard 978 0521845205 Printer: cupusbw July 28, 2007 1:25 The Cambridge Companion to GREEK MYTHOLOGY S The Cambridge Companion to Greek Mythology presents a comprehensive and integrated treatment of ancient Greek mythic tradition. Divided into three sections, the work consists of sixteen original articles authored by an ensemble of some of the world’s most distinguished scholars of classical mythology. Part I provides readers with an examination of the forms and uses of myth in Greek oral and written literature from the epic poetry of the eighth century BC to the mythographic catalogs of the early centuries AD. Part II looks at the relationship between myth, religion, art, and politics among the Greeks and at the Roman appropriation of Greek mythic tradition. The reception of Greek myth from the Middle Ages to modernity, in literature, feminist scholarship, and cinema, rounds out the work in Part III. The Cambridge Companion to Greek Mythology is a unique resource that will be of interest and value not only to undergraduate and graduate students and professional scholars, but also to anyone interested in the myths of the ancient Greeks and their impact on western tradition. Roger D. Woodard is the Andrew V.V.Raymond Professor of the Clas- sics and Professor of Linguistics at the University of Buffalo (The State University of New York).He has taught in the United States and Europe and is the author of a number of books on myth and ancient civiliza- tion, most recently Indo-European Sacred Space: Vedic and Roman Cult. Dr. -
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. -
Chaining Bellerophon: on Ethics and Pride
Commentary MICHAEL CAVENDISH Chaining Bellerophon: On Ethics and Pride THE TALE FROM Greek mythology about able, intractable monsters of injustice. And, to retreat further into the figurative, we have lawyers in gener- Bellerophon proceeds like this. Bellerophon al, who, finding themselves in what is often the zero- was the greatest warrior of his age. He rode Pe- sum universe of the criminal and the civil law—one side does usually fare better than the other—feel the gasus, the winged flying horse. Bellerophon flush of success and the subsequent Bellerophonic wielded a great spear and slayed an unbeat- impulse to move on to some feat that is even larger than the one that came before. Lawyers need able, intractable monster: the Chimera. Return- Bellerophon, because the lesson to be learned from ing home, the warrior quickly became bored, Bellerophon’s story is the imperiling nature of hubris (a billowing pride) specifically and pride more gen- then—much to his regret—decided to ride Pe- erally. Pride and lessons following even mild humiliation gasus up to the peak of Mount Olympus to rub or embarrassment catalyzed by pride-based vignettes elbows with his equals—the gods. But the peak are an inescapable part of the human experience. The last such incident for me occurred when I trav- was too far for him, and his successes came to eled to a mixed meeting of potentates and peons (I an end: Bellerophon died. was the peon) who were presiding over an audit of a large and rich state government agency during my home state’s gubernatorial transition. -
The Greek and the Roman Novel. Parallel Readings
Parallel Cults? Religion and Narrative in Apuleius’ Metamorphoses and Some Greek Novels STEPHEN HARRISON University of Oxford1 1 Introduction In this paper I want to compare the narrative function of the gods, their sanc- tuaries and oracles in the plot of Apuleius’ Metamorphoses with that of simi- lar elements in the plots of Greek novels, and to argue that Apuleius proba- bly knew most of the extant Greek novels and plays with their established literary uses of divine elements. This has additional relevance for the overall interpretation of the Metamorphoses, since it can be used to suggest that the religious element in Apuleius is more likely to have a literary, entertaining function rather than a serious, proselytising role.2 A recent investigation3 gives the following dates for the earlier Greek novels (all CE): Achilles Tatius before 164 Chariton 41–62 Xenophon 65–98 ————— 1 My thanks to the audience at Rethymnon for useful discussion, and to Michael Paschalis and Stavros Frangoulidis for organising a splendid conference. The text and translation of Apuleius are cited from Hanson 1989, the translations of Greek novels from those col- lected in Reardon 1989 (Reardon’s Chariton, Anderson’s Xenophon, Winkler’s Achilles, Gill’s Longus, and Sullivan’s Onos). 2 Here I add to the case made in Harrison 2000, 238–52 and 2000–1. 3 Bowie 2002. The Greek and the Roman Novel: Parallel Readings, 204–218 PARALLEL CULTS? 205 Of the other Greek extant novels, there is no doubt that either the Onos or the lost Greek Metamorphoses from which it derived -
Classical Images – Greek Pegasus
Classical images – Greek Pegasus Red-figure kylix crater Attic Red-figure kylix Triptolemus Painter, c. 460 BC attr Skythes, c. 510 BC Edinburgh, National Museums of Scotland Boston, MFA (source: theoi.com) Faliscan black pottery kylix Athena with Pegasus on shield Black-figure water jar (Perseus on neck, Pegasus with Etrurian, attr. the Sokran Group, c. 350 BC Athenian black-figure amphora necklace of bullae (studs) and wings on feet, Centaur) London, The British Museum (1842.0407) attr. Kleophrades pntr., 5th C BC From Vulci, attr. Micali painter, c. 510-500 BC 1 New York, Metropolitan Museum of ART (07.286.79) London, The British Museum (1836.0224.159) Classical images – Greek Pegasus Pegasus Pegasus Attic, red-figure plate, c. 420 BC Source: Wikimedia (Rome, Palazzo Massimo exh) 2 Classical images – Greek Pegasus Pegasus London, The British Museum Virginia, Museum of Fine Arts exh (The Horse in Art) Pegasus Red-figure oinochoe Apulian, c. 320-10 BC 3 Boston, MFA Classical images – Greek Pegasus Silver coin (Pegasus and Athena) Silver coin (Pegasus and Lion/Bull combat) Corinth, c. 415-387 BC Lycia, c. 500-460 BC London, The British Museum (Ac RPK.p6B.30 Cor) London, The British Museum (Ac 1979.0101.697) Silver coin (Pegasus protome and Warrior (Nergal?)) Silver coin (Arethusa and Pegasus Levantine, 5th-4th C BC Graeco-Iberian, after 241 BC London, The British Museum (Ac 1983, 0533.1) London, The British Museum (Ac. 1987.0649.434) 4 Classical images – Greek (winged horses) Pegasus Helios (Sol-Apollo) in his chariot Eos in her chariot Attic kalyx-krater, c. -
L'indovino Poliido. Eschilo, Le Cretesi. Sofocle, Manteis. Euripide, Poliido (Pleiadi 17; Roma 2014)
Finglass, P. J. (2016). Review of L. Carrara (ed., comm.), L'indovino Poliido. Eschilo, Le Cretesi. Sofocle, Manteis. Euripide, Poliido (Pleiadi 17; Roma 2014). Rivista di Filologia e Istruzione Classica, 144(2), 469–470. Peer reviewed version Link to publication record in Explore Bristol Research PDF-document This is the author accepted manuscript (AAM). The final published version (version of record) is available via Loescher editore . Please refer to any applicable terms of use of the publisher. University of Bristol - Explore Bristol Research General rights This document is made available in accordance with publisher policies. Please cite only the published version using the reference above. Full terms of use are available: http://www.bristol.ac.uk/red/research-policy/pure/user-guides/ebr-terms/ Laura Carrara, L’indovino Poliido. Eschilo, Le Cretesi. Sofocle, Manteis. Euripide, Poliido (Pleiadi 17; Rome 2014). Among all the figures of Greek myth, Polyidus is not exactly a household name. In Apollodorus’ account (Bibl. 3.17-20), he was a seer who came to the aid of Minos, after Minos’ son Glaucus had fallen into a vat of honey while chasing a mouse; Minos was then told by the Curetes that his son would be brought back to life by the person who came up with the best comparison for a three-coloured cow that Minos had in his herds. Polyidus compared it to a blackberry, and was then told by Minos that he had to revivify his son. After being shut up with the corpse, he killed a snake that was making its way towards the dead boy, only to see a second snake bring its fellow back to life by spreading a herb over its body; Polyidus applied the same herb to Glaucus and achieved the same result. -
Blizzard Bag 1: Bellerophon and Atlanta
THE MYTH OF BELLEROPHON Bellerophon was a good looking young man, and the master of the winged horse, Pegasus. He was so handsome that a queen fell in love with him, but Bellerophon did not feel the same way about her. The queen was broken hearted, and asked the king to kill Bellerophon. Unable to kill him himself, the king sent Bellerophon to see King Lycia, who he has asked to kill Bellerophon for him. The king of Lycia was unable to kill Bellerophon as well. Instead, he came up with a plan – he decided to send Bellerophon on a very difficult quest, THE MYTH OF BELLEROPHON with the hope of him dying in the process. He asked Bellerophon to kill the Chimera, a ferocious creature with the head of a lion and the body of a goat. Bellerophon accepted the challenge. Because he was master of the mighty Pegasus, he was able to fly high above the Chimera. Because the Chimera was unable to get close to him, Bellerophon was able to kill it with his bow and arrow. After this heroic deed, Bellerophon became quite arrogant. He thought his actions should allow him to sit among the gods at Mount Olympus. Pegasus had no time for his arrogance, and promptly threw him off. As a punishment for his arrogance, Bellerophon was left on Earth alone, and the mighty Pegasus was brought to Mount Olympus to live among the gods. THE MYTH OF BELLEROPHON MYTH SUMMARY WHO WERE THE MAIN CHARACTERS? WHERE DID IT TAKE PLACE? WHAT WERE THE MAIN EVENTS? USE THE INFORMATION YOU GATHERED TO SUMMARIZE THE STORY HERE. -
EEL Round 3 (Pdf)
EEL Certamen Round 3 Moderator should say: “I will now read one test question for no points. This question does not necessarily reect the diculty of the round that follows.” TU 0: This tossup will be an extremely unique format. These types of tossups can be called "blank" tossups, where any signicant piece of info is replaced with the word "blank" and purely relies on one being able to recognize the entry being read to them without any proper nouns, identiers, and the like. For example if you were to hear: [blank], determined on a dangerous course in order to benet [blank], [blanked] [blank] from [blank] and [blanked] it secretly down to [blank]. [blank], enraged at the [blank's] [blank], ordered [blank] to nail [blank] to a cli in the [blank] [blank]. You might realize that this blank tossup is talking about Prometheus. Using this recently acquired knowledge, answer the following blank tossup by determining whose Tripp entry is being obliquely rendered. [blank] was said by [blank] to be the eldest of the [blanks] of [blank] and [blank]. Most later writers accepted the view of [blank] that he was the youngest, born after his [blank] had swallowed his [blanks], [blank] and [blank], and his [blanks], [blank], [blank], and [blank]. ZEUS B1: Now, answer the following blank bonus by determining whose Conte entry is being obliquely rendered. We do not know [blank's] dates of [blank] and [blank]. He came to [blank] at the end of the war between [blank] and [blank], probably from [blank] and, according to some, in the entourage of [blank blank]. -
Iliad</Italic>
300 Jim Marks Jim Marks Context as Hypertext: Divine Rescue Scenes in the Iliad A number of factors determine the fates of individual characters during battlefield scenes in the Iliad. In terms of sheer body count, most of those that perish in battle seem to have been created simply in order for others to kill them.1 Typical of this group is the Trojan Cleoboulus, who receives neither dying words nor patronymic nor homeland, and appears only long enough to fall to Oileian Ajax (16.330–334). As for the more developed characters, life or death in battle is, to begin with, a function of the plot: major heroes by definition survive through most or all of the narrative, and lesser ones at least until they have performed their subsidiary roles. Hec- tor, for instance, must remain alive until the dramatic climax of the plot in Book 22, while the Trojan ally Pandarus is killed soon after he performs the necessary function of restarting the war following the duel between Menelaus and Paris in Book 3 (4.85–222, 5.243–296). The fates of at least some of these more developed characters are also influenced by the fact that they were already or were becoming established in other contexts at the time when the Iliad was taking shape. Odysseus, to take an obvious example, cannot die in the Iliad because he was a widely recognized figure best known for a successful return from Troy, as is at- tested in the Homeric Odyssey and non-Homeric poetry, artistic represen- tations, cult activity on his native Ithaca, and so on.