Jason: Quest for the Golden Fleece, a Greek Myth Free
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Phrixus and Helle
Phrixus and Helle In Orchomenus, a site in ancient Boeotia, king Athamas lived happily with his wife and their two children, Phrixus and Helle. Alas, the queen’s death put an abrupt end to their happiness. Athamas could not stand being alone for long, so he took a second wife, Ino. The new queen was terribly jealous of Phrixus and Helle and laid out an evil plan. She summoned the women of the land and gave them the following advice: “Here’s how you can make your husbands happy and secure their love and respect: take the seeds they are about to sow and bake them in the kiln. Your crops will double and your men will be forever grateful to you!” 6 The women believed the queen’s words and did as they were told. That year the fields yielded absolutely nothing. “Some god is punishing us,” the men muttered to themselves in despair. Athamas decided to ask the oracle of Delphi for help. His envoys, already bought off by Ino, brought back a terrible answer: “The gods are very angry at us! Our fields will remain barren unless you sacrifice your firstborn to Zeus!” “How could I ever do such a thing to my child?” cried out the desperate king and shut himself in his palace. But the news spread quickly and soon the famished people gathered outside his doors. Angry voices came from the mob. “O, king, obey the oracle, otherwise we are all going to starve to death!” Athamas had to give in to pressure. He took his unsuspecting son to Zeus’s altar. -
Jason and the Golden Fleece by Max I
Jason and the Golden Fleece By Max I. A long time ago, a child named Jason was born in the small kingdom of Iolcus, which was in Northern Greece. He was born before actual Greek history, in a time where Gods and heroes still existed. He was the son of King Aeson, who ruled Iolcus fairly and justly. His mother was descended from Poseidon, the god of the sea. Therefore, Jason had royal blood and divine blood as well. Jason grew up to be a good looking and good-natured boy. He was polite to everybody and everybody liked him. And everybody knew that Jason would inherit the throne of Iolcus. He was a good friend of Max, who was a foreigner from Colchis. In fact, he was one of the most valuable people on the journey because he was from where the Golden Fleece was hidden. 10 years before Jason was born, a king and queen called Athamas and Nephele ruled in Northern Greece. However, king Athamas grew tired of his kind, virtuous queen, and sent her away so he could marry a cruel woman named Ino. However, Ino was so cruel she resolved to murder the king’s children, as she was mad after a argument with Athamas. Queen Nephele rushed back to save her children and enlisted the help of the God Hermes. Hermes created a massive golden ram to carry the two children to safety. Their names were Phrixus and Helle. The Ram carried them all the way to Colchis, where they could seek shelter. However, as they were flying over a great river that separates Europe from Asia, Helle fell off the Ram to her death. -
The Golden Fleece: Essays Free
FREE THE GOLDEN FLEECE: ESSAYS PDF Muriel Spark,Penelope Jardine | 248 pages | 01 Apr 2014 | Carcanet Press Ltd | 9781847772510 | English | Manchester, United Kingdom Carcanet Press - The Golden Fleece: Essays Goodreads helps you keep track of books you want to read. Want to Read saving…. Want to Read Currently Reading Read. Other editions. Enlarge cover. Error rating book. Refresh and try again. Open Preview See a Problem? The Golden Fleece: Essays if other :. Thanks for telling us about the problem. Return to Book Page. Get A Copy. Paperbackpages. Published March 27th by Carcanet Press Ltd. More Details Other Editions 5. Friend Reviews. To see what your friends thought of this book, please sign up. To ask other readers questions about The Golden Fleeceplease sign up. Lists with This Book. This book is not yet featured on Listopia. Community Reviews. Showing Average rating 3. Rating details. All Languages. More filters. Sort order. Start your review of The Golden Fleece: Essays. Indu Muralidharan rated it liked it Dec 20, Judith rated it The Golden Fleece: Essays it Nov 26, Angie rated it liked it Nov 22, D rated it it was amazing Aug 14, Mar 25, Helen rated it really liked it. Mary Ann rated it liked it Nov 01, Frances Ainslie rated it really liked it Oct 07, Nadene rated it it was ok Apr 25, Gray Eveleigh rated it liked it Mar 22, Jenny rated it really liked it Apr 18, Iona rated it really liked it Jan 12, Diarmaid rated it did not like it Apr 05, Nicola Fantom marked it as to-read Feb 27, Betty marked it as to-read Feb 27, Cristina -
Euripides and Gender: the Difference the Fragments Make
Euripides and Gender: The Difference the Fragments Make Melissa Karen Anne Funke A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee: Ruby Blondell, Chair Deborah Kamen Olga Levaniouk Program Authorized to Offer Degree: Classics © Copyright 2013 Melissa Karen Anne Funke University of Washington Abstract Euripides and Gender: The Difference the Fragments Make Melissa Karen Anne Funke Chair of the Supervisory Committee: Professor Ruby Blondell Department of Classics Research on gender in Greek tragedy has traditionally focused on the extant plays, with only sporadic recourse to discussion of the many fragmentary plays for which we have evidence. This project aims to perform an extensive study of the sixty-two fragmentary plays of Euripides in order to provide a picture of his presentation of gender that is as full as possible. Beginning with an overview of the history of the collection and transmission of the fragments and an introduction to the study of gender in tragedy and Euripides’ extant plays, this project takes up the contexts in which the fragments are found and the supplementary information on plot and character (known as testimonia) as a guide in its analysis of the fragments themselves. These contexts include the fifth- century CE anthology of Stobaeus, who preserved over one third of Euripides’ fragments, and other late antique sources such as Clement’s Miscellanies, Plutarch’s Moralia, and Athenaeus’ Deipnosophistae. The sections on testimonia investigate sources ranging from the mythographers Hyginus and Apollodorus to Apulian pottery to a group of papyrus hypotheses known as the “Tales from Euripides”, with a special focus on plot-type, especially the rape-and-recognition and Potiphar’s wife storylines. -
Euripides Scenes in Byzantine Art
EURIPIDES SCENES IN BYZANTINE ART (PLATES 25-36) N EXT to Homer's Odyssey and Iliad no classical text has stimulated the imagina- tion in the representational arts of classical antiquity more than the dramas of Euripides. A few decades after they were written vase painters of the fourth century B.C. depicted significant moments of Euripidean plays, the two Iphigenias, the Medea, the Oenomauas,the HypsipylCe,the Andromeda and many others in complex compositions.1 Hardly a century later, at the beginning of Hellenism, the desire of the artists to represent the content of a single drama more fully than was possible in even the most complex vase paintings led to the invention of narrative picture cycles in which scene follows scene as the narration proceeds with constant repetition of the chief actors. It is significant that even in the earliest group of monuments on which this new principle of pictorial narration can most clearly be studied, the so-called Megarian bowls, illustrations of Euripidean dramas already rival those of Homeric poems for numerical superiority.2 In both methods, the monoscenic and the cyclic, illustrations from Euripides enjoy a rare popularity throughout the Hellenistic and Roman periods. Numerous Pompeian frescoes which seem to copy earlier panel paintings of great masters depict moments of highly dramatic tension such as the sudden recognition of Jason by Pelias, the brooding of Medea before the killing of her children, or Iphigenia's encounter with Orestes and Pylades,' scenes which undoubtedly are dependent on the Peliades, the Medea, and the Iphigenia Among the Taurians of Euripides. -
Pasolini's Medea
Faventia 37, 2015 91-122 Pasolini’s Medea: using μῦθος καὶ σῆμα to denounce the catastrophe of contemporary life* Pau Gilabert Barberà Universitat de Barcelona. Departament de Filologia Clàssica, Romànica i Semítica [email protected] Reception: 01/02/2012 Abstract From Pasolini’s point of view, Medea’s tragedy is likewise the tragedy of the contemporary Western world and cinema is the semiology of reality. His Medea thus becomes an ancient myth pregnant with signs to be interpreted by attentive viewers. The aim of this article is to put forward reasoned interpretations based on a close analysis of the images and verbal discourses (lógoi) of Pasolini’s script, ever mindful of the explanations given by the director himself that have been published in interviews, articles and other texts. Keywords: Pier Paolo Pasolini; Medea; Greek tragedy; classical tradition; cinema; semiology Resumen. La Medea de Pasolini: utilizar μῦθος καὶ σῆμα para denunciar la catástrofe del mundo contemporáneo Desde el punto de vista de Pasolini, la tragedia de Medea equivale a la tragedia del mundo con- temporáneo y el cine es la semiología de la realidad. Su Medea deviene así un mito antiguo repleto de signos que requieren la interpretación de espectadores atentos. El objetivo de este artículo es proponer interpretaciones razonadas basadas en el análisis minucioso de las imágenes y de los dis- cursos verbales (lógoi) del guion de Pasolini, siempre desde el conocimiento de las explicaciones dadas por el mismo director publicadas en entrevistas, artículos y otros textos. Palabras clave: Pier Paolo Pasolini; Medea; tragedia griega; tradición clásica; cine; semiología * This article is one of the results of a research project endowed by the Ministerio de Educación y Ciencia “Usos y construcción de la tragedia griega y de lo clásico” –reference: FFI2009-10286 (subprograma FILO); main researcher: Prof. -
Collection of Hesiod Homer and Homerica
COLLECTION OF HESIOD HOMER AND HOMERICA Hesiod, The Homeric Hymns, and Homerica This file contains translations of the following works: Hesiod: "Works and Days", "The Theogony", fragments of "The Catalogues of Women and the Eoiae", "The Shield of Heracles" (attributed to Hesiod), and fragments of various works attributed to Hesiod. Homer: "The Homeric Hymns", "The Epigrams of Homer" (both attributed to Homer). Various: Fragments of the Epic Cycle (parts of which are sometimes attributed to Homer), fragments of other epic poems attributed to Homer, "The Battle of Frogs and Mice", and "The Contest of Homer and Hesiod". This file contains only that portion of the book in English; Greek texts are excluded. Where Greek characters appear in the original English text, transcription in CAPITALS is substituted. PREPARER'S NOTE: In order to make this file more accessable to the average computer user, the preparer has found it necessary to re-arrange some of the material. The preparer takes full responsibility for his choice of arrangement. A few endnotes have been added by the preparer, and some additions have been supplied to the original endnotes of Mr. Evelyn-White's. Where this occurs I have noted the addition with my initials "DBK". Some endnotes, particularly those concerning textual variations in the ancient Greek text, are here ommitted. PREFACE This volume contains practically all that remains of the post- Homeric and pre-academic epic poetry. I have for the most part formed my own text. In the case of Hesiod I have been able to use independent collations of several MSS. by Dr. -
Constellation Legends
Constellation Legends by Norm McCarter Naturalist and Astronomy Intern SCICON Andromeda – The Chained Lady Cassiopeia, Andromeda’s mother, boasted that she was the most beautiful woman in the world, even more beautiful than the gods. Poseidon, the brother of Zeus and the god of the seas, took great offense at this statement, for he had created the most beautiful beings ever in the form of his sea nymphs. In his anger, he created a great sea monster, Cetus (pictured as a whale) to ravage the seas and sea coast. Since Cassiopeia would not recant her claim of beauty, it was decreed that she must sacrifice her only daughter, the beautiful Andromeda, to this sea monster. So Andromeda was chained to a large rock projecting out into the sea and was left there to await the arrival of the great sea monster Cetus. As Cetus approached Andromeda, Perseus arrived (some say on the winged sandals given to him by Hermes). He had just killed the gorgon Medusa and was carrying her severed head in a special bag. When Perseus saw the beautiful maiden in distress, like a true champion he went to her aid. Facing the terrible sea monster, he drew the head of Medusa from the bag and held it so that the sea monster would see it. Immediately, the sea monster turned to stone. Perseus then freed the beautiful Andromeda and, claiming her as his bride, took her home with him as his queen to rule. Aquarius – The Water Bearer The name most often associated with the constellation Aquarius is that of Ganymede, son of Tros, King of Troy. -
Tales from Greek Mythology
This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. http://books.google.com 600078481Y ". By the same Author. TALES OF THE GODS AND HEROES. With 6 Landscape Illustrations engraved on Wood from Drawings by the Author. Ecp. 8vo. price 5*. AMONG the tales supplied by the vast stores of Greek legend, some are exceedingly simple in their character, while others are very complicated. In the series entitled Tales from Greek Mytho logy -, care was taken not to include any tales involving ideas which young children would not readily understand ; but most of the stories given in this volume cannot be told without a distinct reference to deified heroes and the successive dynasties of the Hellenic gods. The present work consists of tales, many of which are among the most beautiful in the mythology common to the great Aryan family of nations. The simplicity and tenderness of many of these legends suggest a comparison with the general cha racter of the Northern mythology ; while others tend in a great measure to determine the question of a patriarchal religion, of which the mythical tales of Greece are supposed to have preserved only the faint and distorted conceptions. * The tales are recounted with a ■ Mb. Cox's first set of stories were scholarly ease and grace which entitle told in such a way that every child de them to high commendation as a book for lighted to hear them, and at the same time youthful students. -
An Exegetical Note on Val. Fl. 1.42 Patrias . . . Aras
Miscellanea / M. Caballero González / Mnemosyne 66 (2013) 477-483 477 An Exegetical Note on Val. Fl. 1.42 patrias . aras At the beginning of his Argonautica, Valerius Flaccus presents the basis of the whole poem, namely the grounds for Jason’s expedition to Colchis and the rea- sons given by Pelias to his nephew for obtaining Phrixus’ Golden Fleece. The context of v. 42 is the pre-history of the Argonauts’ journey, but now told and retold according to the usurper Pelias. If the core of the Argonautica tells the story of the return of the Golden Fleece to Greece, the beginning of the poem speaks about another journey, the one that Phrixus made on the ram to flee with the Fleece from his stepmother’s plot and his sacrificial death on a holy altar: hanc mihi militiam, veterum quae pulchrior actis, 40 adnue daque animum. nostri de sanguine Phrixus 41 Cretheos ut patrias audis effugerit aras. 42 Pelias motivates Jason’s journey by appealing to the much-discussed topic of their common blood, of the clan’s revenge, and of the stained honour of the family.1) In this paper I am only interested in the ambiguous expression of v. 42 patrias . aras. The thesis I would like to present is that the adjective patrias does not need to refer exclusively or primarily to Phrixus’ father, but also and better to a spatial concept of the sacrifice, i.e. to Greece. Pelias tells Jason that Phrixus escaped2) from the patrias altars. Almost all schol- ars have interpreted this word in reference to Athamas. -
University of Groningen the Myth of the Golden Fleece Bremmer, Jan N
University of Groningen The Myth of the Golden Fleece Bremmer, Jan N. Published in: Journal Ancient Near Eastern Religions IMPORTANT NOTE: You are advised to consult the publisher's version (publisher's PDF) if you wish to cite from it. Please check the document version below. Document Version Publisher's PDF, also known as Version of record Publication date: 2007 Link to publication in University of Groningen/UMCG research database Citation for published version (APA): Bremmer, J. N. (2007). The Myth of the Golden Fleece. Journal Ancient Near Eastern Religions, 6, 9-38. Copyright Other than for strictly personal use, it is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), unless the work is under an open content license (like Creative Commons). The publication may also be distributed here under the terms of Article 25fa of the Dutch Copyright Act, indicated by the “Taverne” license. More information can be found on the University of Groningen website: https://www.rug.nl/library/open-access/self-archiving-pure/taverne- amendment. Take-down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Downloaded from the University of Groningen/UMCG research database (Pure): http://www.rug.nl/research/portal. For technical reasons the number of authors shown on this cover page is limited to 10 maximum. Download date: 30-09-2021 XV THE MYTH OF THE GOLDEN FLEECE One of the best known Greek myths is that of Jason and his Argonauts, who sailed to Colchis to fetch the Golden Fleece. -
Divine Riddles: a Sourcebook for Greek and Roman Mythology March, 2014
Divine Riddles: A Sourcebook for Greek and Roman Mythology March, 2014 E. Edward Garvin, Editor What follows is a collection of excerpts from Greek literary sources in translation. The intent is to give students an overview of Greek mythology as expressed by the Greeks themselves. But any such collection is inherently flawed: the process of selection and abridgement produces a falsehood because both the narrative and meta-narrative are destroyed when the continuity of the composition is interrupted. Nevertheless, this seems the most expedient way to expose students to a wide range of primary source information. I have tried to keep my voice out of it as much as possible and will intervene as editor (in this Times New Roman font) only to give background or exegesis to the text. All of the texts in Goudy Old Style are excerpts from Greek or Latin texts (primary sources) that have been translated into English. Ancient Texts In the field of Classics, we refer to texts by Author, name of the book, book number, chapter number and line number.1 Every text, regardless of language, uses the same numbering system. Homer’s Iliad, for example, is divided into 24 books and the lines in each book are numbered. Hesiod’s Theogony is much shorter so no book divisions are necessary but the lines are numbered. Below is an example from Homer’s Iliad, Book One, showing the English translation on the left and the Greek original on the right. When citing this text we might say that Achilles is first mentioned by Homer in Iliad 1.7 (i.7 is also acceptable).