Sisyphus & Tantalus

Total Page:16

File Type:pdf, Size:1020Kb

Sisyphus & Tantalus Name _______________________________________ DIRECTIONS: Your job is to read and annotate -- show evidence of a close reading! The best way is to look for the writer’s “moves.” Don’t just underline/highlight; instead, show what you’re thinking as you do so. Then, you will write a three paragraph full-page minimum response. (See ​ directions at end.) Sisyphus & Tantalus Adapted from Greek Gods, Heroes, and Men by Caroline H. and Samuel B. Harding ​ ​ Hades, the god of the underworld, was also a brother of Zeus; but the Greeks did not think of him as being bright and beautiful like the other gods. They believed that he helped make the seeds sprout and push their leaves above the surface of the earth, and that he gave men the gold and silver which they dug out of their mines. But more often they thought of him as the god of the bleak world of the dead; so they imagined that he was dark and grim in appearance, and they feared him more than they did the other gods, although he was not the one to punish those who were corrupt. The spirits who had lived bad lives in the world above were horribly punished in the world of the dead, and a few were so evil that they were directly punished by Zeus himself. One such soul was King Sisyphus, who had been cruel all his life, constantly trying to outsmart the gods. One day, Sisyphus made the mistake of angering Zeus, the king of all the gods.”How dare you interfere in my life!” roared Zeus. “I condemn you to spend an eternity in Tartarus, suffering in torment and despair.” Tartarus was a place of punishment for the most evil people. It was located in the deepest, darkest part of the Underworld where all people went when they died. Hades, the god of death, led Sisyphus away to serve his punishment. Sisyphus’ mind worked furiously as he tried to figure a way out of his predicament. He watched Hades take out a heavy set of chains. Each metal rung looked as if it weighed a ton. Sisyphus saw an opportunity to turn the tables on his captor. “I’ve never seen chains like those before, O mighty King of the Underworld,” said Sisyphus. “Perhaps you can show me how they work.” “It’s quite simple,” replied Hades. “There is a circle of metal at the end that clasps around your wrist like this.” Before he realized what he had done, Hades had chained himself in place. Sisyphus couldn’t believe how clever he had been or how foolish Hades had been. He celebrated his victory, but his freedom didn’t last long because Zeus had discovered what had happened. Hades was freed and Sisyphus was once again sentenced to Tartarus. “Your insolence is unbearable,” said Zeus. “I decree that your punishment shall be excessively difficult and laborious. I’m sure Hades will have no problem finding a punishment that fits your crime against the gods. Hades led Sisyphs back to Tartarus and said, “Gaze upon your new home and the task I have set before you.” Sisyphus stood in front of an enormous boulder as Hades pointed to a nearby hill. “You will roll that boulder to the top of the hill, no matter how long it takes,” explained Hades. “Let’s see if your wits can save you this time.” Sisyphus leaned his shoulder against the giant rock and pushed as hard as he could. The rock barely moved, but Sisyphus knew he could not give up. He groaned as he struggled to move the boulder inch by inch up the hill. His spirits started to lift as he saw the top of the hill edge into sight, but suddenly the rock rolled back down to the bottom. “NO!” he pleaded in agony and despair. Sisyphus started his task anew, but each time the result was the same. He was doomed to repeat his frustrating, difficult, and pointless task forever. ************************************************************************************************************* There was once another king, named Tantalus, who was wealthy and fortunate upon earth, and had been loved by the gods of heaven as he was one of Zeus’ sons. Zeus had even invited him to sit at his table once, and had told him the secrets of the gods. But Tantalus had not proved worthy of all this honor. He had not been able to keep the secrets that had been trusted to him, but had told them to all the world. He also stole some ambrosia and nectar, the food of the gods, to give to his human friends. Not only that, but he invited Zeus and the other gods to a feast, where he took his son Pelops and prepared him for their meal. Tantalus wanted to see if the gods were omniscient. Zeus indeed found it out, collected the limbs, and asked Clotho, one of the fates, to restore the boy to life, but one guest, Demeter, had been so distracted, that she had eaten one shoulder, and Zeus had Hephaestus (god of fire and metalworking) fashion him an ivory one instead. So when his soul came before the judge of the dead, he, too, was given a horrible punishment. He was chained in the middle of a sparkling little lake where the water came up almost to his lips. He was always burning with thirst; but whenever he bent down to drink from the lake, the water sank into the ground below him. He was always hungry, and branches loaded with delicious fruits hung just over him. But whenever he raised his hand to grab them, the breeze swung them just out of his reach. Food and drink would forever elude him. In this way the Greeks thought that Tantalus was to be punished forever because he had betrayed the gods. Reflection: 1. Summarize both stories. Do not include direct quotes. 2. Analyze: note and discuss THREE moves the writer makes 3. THEME: What is the message of these stories and why is it still important/relevant today? Consider relating to real life events. .
Recommended publications
  • The Darkness of Man: a Study of Light and Dark Imagery in Seneca's
    The Darkness of Man: A Study of Light and Dark Imagery in Seneca’s Thyestes and Agamemnon A Senior Thesis in Classics The Colorado College In Partial Fulfillment of the Requirements for the Degree Bachelor of Arts By Emily Kohut May 2016 Kohut 1 Acknowledgments I would like to give my deepest and heartfelt thanks to Colorado College’s Classics department. Thank you Owen Cramer, Sanjaya Thakur, Marcia Dobson, and Richard Buxton for all of your help, edits, and advice throughout the course of my time here at CC and especially while working on this project. Thank you to my family and friends for supporting me through this whole process and to the many others who have been involved in my time here at CC. This has been an amazing experience and I could not have done it without all of you. Thank you very much. Kohut 2 The Darkness of Man: A Study of Light and Dark Imagery in Seneca’s Thyestes and Agamemnon Seneca’s Thyestes and Agamemnon are texts in which light rarely presents itself, instead it is dark that is present from start to finish. Throughout the course of these texts, I take note of the use and presence, or lack, of light. There appear to be two specific uses of light that serve specific purposes in Thyestes and Agamemnon: natural light (generally indicated with primarily die- or luc-1 based words), and artificial light (referenced by words related to/derived from flamma or ardeo2). Natural light is prominently used only when discussing its being consumed by darkness, while artificial light appears in passages saturated with destruction and chaos.
    [Show full text]
  • Wonder, Space, and Place in Pausanias' Periegesis
    Axion Theas: Wonder, Space, and Place in Pausanias’ Periegesis Hellados by Jody Ellyn Cundy A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Classics University of Toronto © Copyright by Jody Ellyn Cundy 2016 Axion Theas: Wonder, Space, and Place in Pausanias’ Periegesis Hellados Jody Ellyn Cundy Doctor of Philosophy Department of Classics University of Toronto 2016 Abstract The Periegesis Hellados presents a description of the sites and sights of Roman Greece in ten carefully constructed books. These books present the fruits of author’s extensive travels and careful textual research over the course of several decades (between the 130’s and ca. AD 175-80) and compiled into a unified composite itinerary. There is no doubt that Pausanias travels through an “already written landscape,” and his travel experience is necessarily informed by and sometimes clearly motivated by his literary encounters. This project investigates Pausanias’ engagement with literary antecedents, with a particular focus on the antiquarian impulse to excerpt and compile anecdotes in thematic catalogues, which broadly resemble wonder-texts (paradoxographies). The organizing principle of these thematic catalogues contrasts with the topographical (spatial) structure of the frame narrative of the Periegesis. In part, this study aims to resolve the perceived tension between the travel account and the antiquarian mode in Pausanias’ project in order to show that they serve complementary rather than competing ends. Resolution of these competing paradigms allows in turn for a more coherent understanding of the Periegesis as unified subject. This study argues that wonder (thauma) is a unifying theme ii of Periegesis Hellados.
    [Show full text]
  • Sisyphus Can One Live a Meaningful Life in a Meaningless World?
    Introduction to Philosophy prc Cheyne Camus: The Myth of Sisyphus Can one live a meaningful life in a meaningless world? ACTIVITIES BEFORE HANDING OUT PAGE 1 OF THE TEXT 1. Listening scan (page 1). Directions (for teacher): Read the first paragraph of the text to the students. Ask the class the scanning questions that correspond to paragraph #1. Tell them not to say the answer out loud, but merely to raise their hands if they think they know the answer. Keep track of the total number of hands up for each question on the board. Reread para. #1 to the class and ask the scanning questions again, again noting the number of ss who have their hands up. This exercise can lead into a discussion about the value of questioning and repetition with regards to understanding and retaining information. Don't tell them the answers and don't show them the text yet. Paragraph 1 1. Who wrote 'The Myth of Sisyphus'? -Albert Camus, 2. What is one of the most important questions of philosophy? What is the meaning of life?” 3. What is Sisyphus? -ancient Greek myth 4. How did the gods punish Sisyphus? -by forcing him to roll a rock to the top of a mountain 5. What happened every time Sisyphus rolled the heavy rock to the top of the mountain? -->it would roll back down 6. How long was Sisyphus forced to roll the rock? -had to do this forever 7. What did the gods think was the most terrible punishment? - meaningless and hopeless labour 2.
    [Show full text]
  • JOURNAL of LANGUAGE and LINGUISTIC STUDIES ISSN: 1305-578X Journal of Language and Linguistic Studies, 14(2), 173-182; 2018
    Available online at www.jlls.org JOURNAL OF LANGUAGE AND LINGUISTIC STUDIES ISSN: 1305-578X Journal of Language and Linguistic Studies, 14(2), 173-182; 2018 Intertextuality in Albert Camus‟s philosophy: “Let us imagine Sisyphus happy” Tuğçe Elif Taşdan a * a Ondokuz Mayıs University, Kurupelit Kampüsü YDYO, Samsun 55200, Turkey APA Citation: Taşdan, T. E. (2018). Intertextuality in Albert Camus‟s philosophy: “Let us imagine Sisyphus happy”. Journal of Language and Linguistic Studies, 14(2), 173-182. Submission Date: 13/03/2018 Acceptance Date:29/05/2018 Abstract Intertextuality, the term defining the relationship and the similarity of a newly-produced text with previous ones, has provided a broad array of subjects to be studied especially in social sciences. Firstly, literary works have been analyzed within the framework of intertextuality, and striking similarities have been found among literary texts. Nevertheless, the world cannot be limited to the literature since there are numerous ways and possibilities for human beings to express themselves. Philosophy, for instance, is the deepest version of humans‟ self- expressions and understandings; therefore, it has been inevitably influenced by external sources such as myths, literature, politics, economics or society. Although the intertextuality in philosophy has been mostly analyzed through the written philosophical works, there is a more basic and evident relationship in philosophers‟ perspectives: the intertextuality in the philosophy itself. Accordingly, this study aims to illustrate the role of the intertextual references in the formation of philosophical approaches. For this purpose, the study will focus on Albert Camus‟s “absurd” philosophy, and the intertextual relationship between Camus‟s philosophy and the myth of Sisyphus will be examined from a comparative perspective.
    [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]
  • The Pleiades: the Celestial Herd of Ancient Timekeepers
    The Pleiades: the celestial herd of ancient timekeepers. Amelia Sparavigna Dipartimento di Fisica, Politecnico di Torino C.so Duca degli Abruzzi 24, Torino, Italy Abstract In the ancient Egypt seven goddesses, represented by seven cows, composed the celestial herd that provides the nourishment to her worshippers. This herd is observed in the sky as a group of stars, the Pleiades, close to Aldebaran, the main star in the Taurus constellation. For many ancient populations, Pleiades were relevant stars and their rising was marked as a special time of the year. In this paper, we will discuss the presence of these stars in ancient cultures. Moreover, we will report some results of archeoastronomy on the role for timekeeping of these stars, results which show that for hunter-gatherers at Palaeolithic times, they were linked to the seasonal cycles of aurochs. 1. Introduction Archeoastronomy studies astronomical practices and related mythologies of the ancient cultures, to understand how past peoples observed and used the celestial phenomena and what was the role played by the sky in their cultures. This discipline is then a branch of the cultural astronomy, an interdisciplinary field that relates astronomical phenomena to current and ancient cultures. It must then be distinguished from the history of astronomy, because astronomy is a culturally specific concept and ancient peoples may have been related to the sky in different way [1,2]. Archeoastronomy is considered as a quite new interdisciplinary science, rooted in the Stonehenge studies of 1960s by the astronomer Gerald Hawkins, who tested Stonehenge alignments by computer, and concluded that these stones marked key dates in the megalithic calendar [3].
    [Show full text]
  • Thebaid 2: Oedipus Descendants of Cadmus
    Thebaid 2: Oedipus Descendants of Cadmus Cadmus = Harmonia Aristaeus = Autonoe Ino Semele Agave = Echion Pentheus Actaeon Polydorus (?) Autonoe = Aristaeus Actaeon Polydorus (?) • Aristaeus • Son of Apollo and Cyrene • Actaeon • While hunting he saw Artemis bathing • Artemis set his own hounds on him • Polydorus • Either brother or son of Autonoe • King of Cadmeia after Pentheus • Jean-Baptiste-Camile Corot ca. 1850 Giuseppe Cesari, ca. 1600 House of Cadmus Hyrieus Cadmus = Harmonia Dirce = Lycus Nycteus Autonoe = Aristaeus Zeus = Antiope Nycteis = Polydorus Zethus Amphion Labdacus Laius Tragedy of Antiope • Polydorus: • king of Thebes after Pentheus • m. Nycteis, sister of Antiope • Polydorus died before Labdacus was of age. • Labdacus • Child king after Polydorus • Regency of Nycteus, Lycus Thebes • Laius • Child king as well… second regency of Lycus • Zethus and Amphion • Sons of Antiope by Zeus • Jealousy of Dirce • Antiope imprisoned • Zethus and Amphion raised by shepherds Zethus and Amphion • Returned to Thebes: • Killed Lycus • Tied Dirce to a wild bull • Fortified the city • Renamed it Thebes • Zethus and his family died of illness Death of Dirce • The Farnese Bull • 2nd cent. BC • Asinius Pollio, owner • 1546: • Baths of Caracalla • Cardinal Farnese • Pope Paul III Farnese Bull Amphion • Taught the lyre by Hermes • First to establish an altar to Hermes • Married Niobe, daughter of Tantalus • They had six sons and six daughters • Boasted she was better than Leto • Apollo and Artemis slew every child • Amphion died of a broken heart Niobe Jacques Louis David, 1775 Cadmus = Harmonia Aristeus =Autonoe Ino Semele Agave = Echion Nycteis = Polydorus Pentheus Labdacus Menoecius Laius = Iocaste Creon Oedipus Laius • Laius and Iocaste • Childless, asked Delphi for advice: • “Lord of Thebes famous for horses, do not sow a furrow of children against the will of the gods; for if you beget a son, that child will kill you, [20] and all your house shall wade through blood.” (Euripides Phoenissae) • Accidentally, they had a son anyway.
    [Show full text]
  • Some Words About the Category of Trickster in Ancient Mythology
    Studia Religiologica 53 (3) 2020, s. 203–212 doi:10.4467/20844077SR.20.014.12754 www.ejournals.eu/Studia-Religiologica Autolycus and Sisyphus – Some Words about the Category of Trickster in Ancient Mythology Konrad Dominas https://orcid.org/0000-0001-5120-4159 Faculty of Polish and Classical Philology Adam Mickiewicz University in Poznań e-mail: [email protected] Abstract The goal of this article is to juxtapose the trickster model suggested by William J. Hynes in the text Mapping the Characteristics of Mythic Tricksters: A Heuristic Guide with the stories of Sisyphus and Autolycus. A philological method proposed in this article is based on a way of understand- ing a myth narrowly, as a narrative with a specific meaning, which can be expressed in any literary genre. According to this definition, every mythology which is available today is an attempt at pre- senting a story of particular mythical events and the fortunes of gods and heroes. Therefore, stories about Sisyphus and Autolycus are myths that have been transformed and which in their essence may have multiple meanings and cannot be attributed to one artist. The philological method is, in this way, based on isolating all fragments of the myth relating to the above protagonists and subse- quently presenting them as a coherent narrative. Keywords: category of trickster, ancient mythology, Autolycus, Sisyphus, ancient literature Słowa kluczowe: kategoria trickstera, mitologia antyczna, Autolykos, Syzyf, literatura antyczna Every academic article should begin with the definition of basic terms connected to the main idea of the subject and included in the discourse suggested by the author.
    [Show full text]
  • Studies in Pausanias' Periegesis Akujärvi, Johanna
    Researcher, Traveller, Narrator : Studies in Pausanias' Periegesis Akujärvi, Johanna 2005 Link to publication Citation for published version (APA): Akujärvi, J. (2005). Researcher, Traveller, Narrator : Studies in Pausanias' Periegesis. Almqvist & Wiksell International. Total number of authors: 1 General rights Unless other specific re-use rights are stated the following general rights apply: Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Read more about Creative commons licenses: https://creativecommons.org/licenses/ 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. LUND UNIVERSITY PO Box 117 221 00 Lund +46 46-222 00 00 Studia Graeca et Latina Lundensia 12 Researcher, Traveller, Narrator Studies in Pausanias’ Periegesis Johanna Akujärvi Lund 2005 Almqvist & Wiksell International Stockholm/Sweden © 2005 Johanna Akujärvi Distributed by Almqvist & Wiksell International P.O. Box 7634 S-103 94 Stockholm Sweden Phone: + 46 8 790 38 00 Fax: + 46 8 790 38 05 E-mail: [email protected] ISSN 1100-7931 ISBN 91-22-02134-5 Printed in Sweden Media-Tryck, Lund University Lund 2005 To Daniel Acknowledgements There are a number of people to whom I wish to express my gratitude.
    [Show full text]
  • Pausanias: Travel and Memory in Roman Greece
    Pausanias: Travel and Memory in Roman Greece SUSAN E. ALOCOCK JOHN F. CHERRY JAS ELSNER, Editors OXFORD UNIVERSITY PRESS Pausanias pausanias Travel and Memory in Roman Greece Edited by Susan E. Alcock, John F. Cherry, & Jas´Elsner 3 2001 1 Oxford New York Athens Auckland Bangkok Bogota´ Buenos Aires Calcutta Cape Town Chennai Dar es Salaam Delhi Florence Hong Kong Istanbul Karachi Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Paris Saˆo Paulo Shanghai Singapore Taipei Tokyo Warsaw and associated companies in Berlin Ibadan Copyright ᭧ 2001 by Oxford University Press Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 Oxford is a registered trademark of Oxford University Press. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data Pausanias : travel and memory in Roman Greece / edited by S.E. Alcock, J.F. Cherry & J. Elsner. p. cm. Includes bibliographical references and index. ISBN 0-19-512816-8 (cloth) 1. Pausanias. Description of Greece. 2. Greece—Description and travel—Early works to 1800. 3. Greece—Antiquities. 4. Greece—Historiography. I. Alcock, Susan E. II. Cherry, John F. III. Elsner, Jas´. DF27.P383 P38 2000 938'.09—dc21 00-022461 Frontispiece: Location of principal places mentioned in the book. 987654321 Printed in the United States of America on acid-free paper For Silvia, Britten, and Bax This page intentionally left blank Preface This volume is dedicated to the principle that Pausanias deserves more—and more ambitious—treatment than he tends to receive.
    [Show full text]
  • Aeschylusaeschylus
    AeschylusAeschylus •The Life and Times of Aeschylus •Aeschylus’ Contributions to Greek Tragedy • Overview of Myth: The House of Atreus •Aeschylus’ Agamemnon AeschylusAeschylus LifeLife andand TimesTimes •after winning both the Persian Wars, the Athenians’ spirits soared •they threw themselves into the arts with unprecedented energy and confidence • tragedy was among those arts, one which received much public attention AeschylusAeschylus LifeLife andand TimesTimes •the first tragedian whose work survives is AeschylusAeschylus (ca. 525 BCE ‐ 456 BCE) • according to his tombstone, Aeschylus fought in the Persian Wars •but it does not mention his drama • according to him, then, his most important achievement in life was fighting for freedom, not writing plays AeschylusAeschylus LifeLife andand TimesTimes •Aeschylus won the Dionysia for the first time in 484 BCE •he produced his last known trilogy in 458 BCE: Oresteia (including Agamemnon) •he wrote and produced over eighty plays during his life •thus, he entered the Dionysia at least twenty times AeschylusAeschylus ContributionsContributions toto DramaDrama •but only seven of his plays have survived •most in school texts, cf. Epic of Gilgamesh • nevertheless, we can see that he was the most important playwright of his day: –he won five or more victories at the Dionysia –later playwrights often referenced and imitated—and satirized!—his work –the audiences of the next generation enjoyed revivals of his drama AeschylusAeschylus ContributionsContributions toto DramaDrama •Aeschylus introduced
    [Show full text]
  • Greek God Pantheon.Pdf
    Zeus Cronos, father of the gods, who gave his name to time, married his sister Rhea, goddess of earth. Now, Cronos had become king of the gods by killing his father Oranos, the First One, and the dying Oranos had prophesied, saying, “You murder me now, and steal my throne — but one of your own Sons twill dethrone you, for crime begets crime.” So Cronos was very careful. One by one, he swallowed his children as they were born; First, three daughters Hestia, Demeter, and Hera; then two sons — Hades and Poseidon. One by one, he swallowed them all. Rhea was furious. She was determined that he should not eat her next child who she felt sure would he a son. When her time came, she crept down the slope of Olympus to a dark place to have her baby. It was a son, and she named him Zeus. She hung a golden cradle from the branches of an olive tree, and put him to sleep there. Then she went back to the top of the mountain. She took a rock and wrapped it in swaddling clothes and held it to her breast, humming a lullaby. Cronos came snorting and bellowing out of his great bed, snatched the bundle from her, and swallowed it, clothes and all. Rhea stole down the mountainside to the swinging golden cradle, and took her son down into the fields. She gave him to a shepherd family to raise, promising that their sheep would never be eaten by wolves. Here Zeus grew to be a beautiful young boy, and Cronos, his father, knew nothing about him.
    [Show full text]