The Golden Apple

Total Page：16

File Type：pdf, Size：1020Kb

The Golden Apple It all started when Eris, the goddess of disagreement, realized that she had not been invited to the marriage of the King Peleus, with the sea Nymph Thetis; a marriage that took place in the Mountain of Pelion in Thessaly (Central Greece). Eris was so furious about her exclusion that she decided to go to the wedding and throw a golden apple, the fruit of temptation, to the banquet table. The apple was supposed to go out to the "Calliste" - that mean the fairest one. Three goddesses claimed the beautiful golden apple: Hera, the goddess of Marriage, Athena, the goddess of Wisdom and Aphrodite, the beautiful goddess of Love, who was born in Cyprus. Zeus had a hard time to decide, since all three were dear to him, so he handled the judgment to the most handsome youth, the Trojan Prince Paris. Hera and Athena did their best to bribe Paris with power and glory. Hera, the queen of the Gods, offered Paris power. She filled his head with images of thrones and conquering, and promised him that he should have all of Asia at his feet. Athena went next. She offered him great wisdom, almost equals her own, and promised him great luck in battle. Aphrodite, on the other hand, seduced him with love, offering him the most beautiful female mortal in the world, Helen of Sparta, the wife of the King of Sparta Menelaus. Paris opted for Aphrodite and so Helen was taken from Sparta to become Helen of Troy. ... And according to mythology, this was the start of the legendary, ten-year Trojan War. mythencyclopedia.com .

Copy Link

Recommended publications

Miscellanea Paris/Alexandros in Homer
MISCELLANEA PARIS/ALEXANDROS IN HOMER AND EURIPIDES The origins of the two names used by Homer for Paris/Alexandros (henceforth 'P/A') have been much discussed by scholars'). The purpose of the present article is not to contribute to the debate about the origins of the two names, but to investigate whether there is any difference in their significance either in Homer or in Euripides. I. J. F. de Jong has argued in a recent issue of this journal that, in the Iliad, Homer consistently uses 'Paris' as P/A's Trojan name and 'Alexan- dros' as his international name2). She writes: "the Greeks and the gods call P/A 'Alexandros', the Trojans 'Paris', except when they are address- ing Greeks. In the narrator text, we find 'Alexandros' when a Greek or divine point of view, 'Paris' when a Trojan point of view is represented. Speaking from his own point of view the narrator mainly uses 'Alexan- dros', but occasionally turns to 'Paris' when he wishes to draw attention to some particular aspect of his character: his Trojan nationality, his per- sonal point of view or his position as son of Priamos"3). The facts are as follows. The name 'Alexandros' is used 45 times altogether in the Iliad, 19 times in direct speech. 'Paris' is used 11 times, twice in direct speech. The compound 'Dusparis' is used twice, both times in direct speech. In direct speech, 'Alexandros' is used ten times by Greeks, six times by Trojans, and three times by gods. All four uses of 'Paris' (including 'Dusparis') in direct speech are by Hector (3.39; 6.280; 13.769; 22.359).
[Show full text]
Trojan Women: Introduction
Trojan Women: Introduction 1. Gods in the Trojan Women Two gods take the stage in the prologue to Trojan Women. Are these gods real or abstract? In the prologue, with its monologue by Poseidon followed by a dialogue between the master of the sea and Athena, we see them as real, as actors (perhaps statelier than us, and accoutered with their traditional props, a trident for the sea god, a helmet for Zeus’ daughter). They are otherwise quite ordinary people with their loves and hates and with their infernal flexibility whether moral or emotional. They keep their emotional side removed from humans, distance which will soon become physical. Poseidon cannot stay in Troy, because the citizens don’t worship him any longer. He may feel sadness or regret, but not mourning for the people who once worshiped but now are dead or soon to be dispersed. He is not present for the destruction of the towers that signal his final absence and the diaspora of his Phrygians. He takes pride in the building of the walls, perfected by the use of mason’s rules. After the divine departures, the play proceeds to the inanition of his and Apollo’s labor, with one more use for the towers before they are wiped from the face of the earth. Nothing will be left. It is true, as Hecuba claims, her last vestige of pride, the name of Troy remains, but the place wandered about throughout antiquity and into the modern age. At the end of his monologue Poseidon can still say farewell to the towers.
[Show full text]
1 IPHIGENIA in TAURIS by Euripides Adapted, Edited, and Rendered Into
IPHIGENIA IN TAURIS by Euripides Adapted, edited, and rendered into modern English for the express purpose of dramatic performance by Louis Markos, Professor in English and Honors Scholar-in-Residence/Robert H. Ray Chair in Humanities Houston Baptist University (Houston, TX) Dramatis Personae IPHIGENIA, daughter of Agamemnon ORESTES, brother of Iphigenia PYLADES, friend of Orestes THOAS, King of the Taurians HERDSMAN MESSENGER ATHENA CHORUS of captive Greek women who serve Iphigenia SCENE Before the temple of Artemis in Tauris. (Iphigenia, dressed as a priestess, enters and stands before the altar.) IPHIGENIA From Asia Pelops came to the shores of Greece; His son was Atreus and from him came Two greater sons, skilled in the arts of war. The eldest, Agamemnon, rules Mycenae While Menelaus holds the throne of Sparta. For Helen’s sake they raised a mighty fleet And set their sails for Troy. But Artemis, Beloved sister of the god Apollo, Sent vexing winds to wrestle with their sails And strand them on the rocky shore of Aulis. Eager to conquer Troy and so avenge His brother’s bed, my father, Agamemnon, Ordered Calchas, prophet of the host, To seek the will of Zeus and to proclaim The cause of their misfortune–and the cure. “O King,” he spoke, “You must fulfill the vow You made to Artemis: to offer up The dearest treasure that the year would bring. 1 The daughter born to you and Clytemnestra— She is the treasure you must sacrifice.” I was and am that daughter—oh the pain, That I should give my life to still the winds! The treacherous Odysseus devised The plot that brought me, innocent, to Aulis.
[Show full text]
Victorian Paintings Anne-Florence Gillard-Estrada
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Archive Ouverte en Sciences de l'Information et de la Communication Fantasied images of women: representations of myths of the golden apples in “classic” Victorian paintings Anne-Florence Gillard-Estrada To cite this version: Anne-Florence Gillard-Estrada. Fantasied images of women: representations of myths of the golden apples in “classic” Victorian paintings. Polysèmes, Société des amis d’inter-textes (SAIT), 2016, L’or et l’art, 10.4000/polysemes.860. hal-02092857 HAL Id: hal-02092857 https://hal-normandie-univ.archives-ouvertes.fr/hal-02092857 Submitted on 8 Apr 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Fantasied images of women: representations of myths of the golden apples in “classic” Victorian Paintings This article proposes to examine the treatment of Greek myths of the golden apples in paintings by late-Victorian artists then categorized in contemporary reception as “classical” or “classic.” These terms recur in many reviews published in periodicals.1 The artists concerned were trained in the academic and neoclassical Continental tradition, and they turned to Antiquity for their forms and subjects.
[Show full text]
The Contest Between Athena and Poseidon. Myth, History and Art
ANDRÁS PATAY-HORVÁTH The Contest between Athena and Poseidon. Myth, History and Art The myth was a well-known one in antiquity, and it is well-known even to- day. There are many versions in various extant literary sources1 and even some depictions in sculpture, vase painting and minor arts2. Surprisingly enough, the famous myth has not attracted much scholarly interest3. The modern commen- taries simply list the relevant passages, but hardly attempt a thorough comparative analysis4. The present paper (an updated, revised and abbreviated version of Patay-Horváth 2002a) would like to present a study, suggesting strong intercon- nections between Athenian history and the evolution of the myth. Beside the many familiar texts and works of art, I will also introduce a new piece of evidence, which has never been considered in this context and hope that it will become ap- parent, that the role of Poseidon and the sea is much more important in this myth than has generally been acknowledged. It is appropriate to begin with a fairly detailed version of the myth from the mythological textbook of Apollodorus (Bibl. III 14). It can serve as a very practi- cal introduction to the subject because it contains not only one version but some alternatives as well. Cecrops, a son of the soil, with a body compounded of man and serpent, was the first king of Attica, and the country which was formerly called Acte he named Cecropia after himself. In his time, they say, the gods resolved to take possession of cities in which each of them should receive his own peculiar wor- ship.
[Show full text]
MYTHOLOGY MAY 2018 Detail of Copy After Arpino's Perseus and Andromeda
HOMESCHOOL THIRD THURSDAYS MYTHOLOGY MAY 2018 Detail of Copy after Arpino's Perseus and Andromeda Workshop of Giuseppe Cesari (Italian), 1602-03. Oil on canvas. Bequest of John Ringling, 1936. Creature Creation Today, we challenge you to create your own mythological creature out of Crayola’s Model Magic! Open your packet of Model Magic and begin creating. If you need inspiration, take a look at the back of this sheet. MYTHOLOGICAL Try to incorporate basic features of animals – eyes, mouths, legs, etc.- while also combining part of CREATURES different creatures. Some works of art that we are featuring for Once you’ve finished sculpting, today’s Homeschool Third Thursday include come up with a unique name for creatures like the sea monster. Many of these your creature. Does your creature mythological creatures consist of various human have any special powers or and animal parts combined into a single creature- abilities? for example, a centaur has the body of a horse and the torso of a man. Other times the creatures come entirely from the imagination, like the sea monster shown above. Some of these creatures also have supernatural powers, some good and some evil. Mythological Creatures: Continued Greco-Roman mythology features many types of mythological creatures. Here are some ideas to get your project started! Sphinxes are wise, riddle- loving creatures with bodies of lions and heads of women. Greek hero Perseus rides a flying horse named Pegasus. Sphinx Centaurs are Greco- Pegasus Roman mythological creatures with torsos of men and legs of horses. Satyrs are creatures with the torsos of men and the legs of goats.
[Show full text]
Aspects of the Demeter/Persephone Myth in Modern Fiction
Aspects of the Demeter/Persephone myth in modern fiction Janet Catherine Mary Kay Thesis presented in partial fulfilment of the requirements for the degree of Master of Philosophy (Ancient Cultures) at the University of Stellenbosch Supervisor: Dr Sjarlene Thom December 2006 I, the undersigned, hereby declare that the work contained in this thesis is my own original work and that I have not previously in its entirety or in part submitted it at any university for a degree. Signature: ………………………… Date: ……………… 2 THE DEMETER/PERSEPHONE MYTH IN MODERN FICTION TABLE OF CONTENTS PAGE 1. Introduction: The Demeter/Persephone Myth in Modern Fiction 4 1.1 Theories for Interpreting the Myth 7 2. The Demeter/Persephone Myth 13 2.1 Synopsis of the Demeter/Persephone Myth 13 2.2 Commentary on the Demeter/Persephone Myth 16 2.3 Interpretations of the Demeter/Persephone Myth, Based on Various 27 Theories 3. A Fantasy Novel for Teenagers: Treasure at the Heart of the Tanglewood 38 by Meredith Ann Pierce 3.1 Brown Hannah – Winter 40 3.2 Green Hannah – Spring 54 3.3 Golden Hannah – Summer 60 3.4 Russet Hannah – Autumn 67 4. Two Modern Novels for Adults 72 4.1 The novel: Chocolat by Joanne Harris 73 4.2 The novel: House of Women by Lynn Freed 90 5. Conclusion 108 5.1 Comparative Analysis of Identified Motifs in the Myth 110 References 145 3 CHAPTER 1 INTRODUCTION The question that this thesis aims to examine is how the motifs of the myth of Demeter and Persephone have been perpetuated in three modern works of fiction, which are Treasure at the Heart of the Tanglewood by Meredith Ann Pierce, Chocolat by Joanne Harris and House of Women by Lynn Freed.
[Show full text]
ENGLISH HOME LANGUAGE GRADE 9 Reading a Myth: Persephone
ENGLISH HOME LANGUAGE GRADE 9 Reading a myth: Persephone MEMORANDUM 1. This myth explains the changing of the seasons. Which season is your favourite and why? Learners own response. Winter/Autumn/Spring/Summer✓ + reason.✓ 2. Myths are stories that explain natural occurrences and express beliefs about what is right and wrong. What natural occurrence does the bracketed paragraph explain? The paragraph relates to earthquakes and volcanos✓ that shake the earth’s core. It suggests that “fearful’ fire-breathing giants” presumably volcanos✓, heave and struggle to get free, which causes the earthquakes. ✓ 3. How do the Greeks explain how people fall in love? Eros (Cupid) the god of love✓, shoots people in the heart with a love-arrow✓ that makes them fall in love. 4. Who is Pluto? He is the “dark monarch” king of the underworld✓ otherwise known as hell. 5. A cause is an effect or action that produces a result. A result is called an effect. What effect does Eros’s arrow have on Pluto? Eros’s arrow fills Pluto’s heart with warm emotions. ✓He sees Persephone and immediately falls in love with her. ✓ 6. What is the result of Demeter’s anger at the land? The ground was no longer fertile. ✓ Nothing could grow anymore. Men and oxen worked to grow crops, but they could not. ✓ There was too much rain ✓ and too much sun✓, so the crops did not grow. The cattle died✓ due to starvation. All of mankind would die✓ of starvation. 7. How do the details that describe what happened to the earth explain natural occurrences? The paragraph suggests that drought✓ is caused by Demeter who is angry✓ with the land.
[Show full text]
Dares Phrygius' De Excidio Trojae Historia: Philological Commentary and Translation
Faculteit Letteren & Wijsbegeerte Dares Phrygius' De Excidio Trojae Historia: Philological Commentary and Translation Jonathan Cornil Scriptie voorgedragen tot het bekomen van de graad van Master in de Taal- en letterkunde (Latijn – Engels) 2011-2012 Promotor: Prof. Dr. W. Verbaal ii Table of Contents Table of Contents iii Foreword v Introduction vii Chapter I. De Excidio Trojae Historia: Philological and Historical Comments 1 A. Dares and His Historia: Shrouded in Mystery 2 1. Who Was ‘Dares the Phrygian’? 2 2. The Role of Cornelius Nepos 6 3. Time of Origin and Literary Environment 9 4. Analysing the Formal Characteristics 11 B. Dares as an Example of ‘Rewriting’ 15 1. Homeric Criticism and the Trojan Legacy in the Middle Ages 15 2. Dares’ Problematic Connection with Dictys Cretensis 20 3. Comments on the ‘Lost Greek Original’ 27 4. Conclusion 31 Chapter II. Translations 33 A. Translating Dares: Frustra Laborat, Qui Omnibus Placere Studet 34 1. Investigating DETH’s Style 34 2. My Own Translations: a Brief Comparison 39 3. A Concise Analysis of R.M. Frazer’s Translation 42 B. Translation I 50 C. Translation II 73 D. Notes 94 Bibliography 95 Appendix: the Latin DETH 99 iii iv Foreword About two years ago, I happened to be researching Cornelius Nepos’ biography of Miltiades as part of an assignment for a class devoted to the study of translating Greek and Latin texts. After heaping together everything I could find about him in the library, I came to the conclusion that I still needed more information. So I decided to embrace my identity as a loyal member of the ‘Internet generation’ and began my virtual journey through the World Wide Web in search of articles on Nepos.
[Show full text]
The Golden Apple Golden The
2010 © MUELLER C. MARY by MUELLER MARY APPLE GOLDEN THE Project Poems Origami BY The Greek Myths Greek The Graves, obert R the three might be intended. be might three the mine. already is what for tion: ‘To the fairest!’ not knowing which of of which knowing not fairest!’ the ‘To tion: scheme must I Now up, and stood embarrassed by its inscrip- its by embarrassed stood and up, find. to impossible was I golden apple at their feet. Peleus picked it it picked Peleus feet. their at apple golden entwined arms my with perhaps cably together, arm in arm, she rolled a a rolled she arm, in arm together, cably – hand my on alight to [email protected] Athene, and Aphrodite were chatting ami- chatting were Aphrodite and Athene, flight take dove a like THE GOLDEN APPLE GOLDEN THE or email us at:: us email or guests at loggerheads, and while Hera, Hera, while and loggerheads, at guests not did apple that odd How origamipoems.com leus) was determined to put the divine divine the put to determined was leus) Find out about us at: us about out Find invited (to the marriage of Themis and Pe- and Themis of marriage the (to invited But the goddess Eris, who had not been been not had who Eris, goddess the But Apple the on Reflects Aphrodite Please recycle to a friend. a to recycle Please Hera Scorns the Apple Athena Considers the Apple Golden apple? Cherished Honor, are you They have such devious ways, I own a tree with golden apples inscribed in this orb? Does its Must I of cast pure those mortals on which he preys safe in the Hesperides metal carry fair weight? as my helmet and shield, in perverse abnegation of me.
[Show full text]
OCR Document
Abelmoschus-Allium 1 Abelmoschus manihot white-yellow to 2m 110 69 Agastache pallidiflora ssp neomexicana lavender-pink 2 Abies koreana yellow dwarf 50 x 20cm 161 45-75cm 258 3 Acaena myriophylla greenish 15-25cm 106 70 rugosa rose/violet to 120cm 253 4 sericea purple fls/silver lvs 6-25cm 62 242 71 rugosa 'Golden Jubilee' blue-purple/chartreuse lvs 100cm 236 5 Acantholimon araxanum pink 15-20cm 243 72 rugosa 'Honey Bee Blue' blue 60-90cm 130 6 armenum pink/white 10-20cm 233 73 rugosa 'Liquorice Blue' deep blue 60-75cm 130 7 capitatum pink 4-18cm 242 74 rupestris pink-orange 60cm 205 8 halophilum light pink 5-10cm 233 75 rupestris 'Apache Sunset' dp orange/rose purple 45-60cm 149 9 hohenackeri pink 5-10cm 243 76 Ageratum houstonianum white 30-80cm 227 10 kotschyi pink 5-10cm 67 77 Agoseris glauca yellow 5-60cm 67 11 litvinovii pale pink 5-15cm 242 78 grandiflora yellow 25-60cm 227 12 saxifragiforme deep pink 5-10cm 6 79 Agrimonia pilosa v pilosa yellow 30-120cm 256 13 sp white 5cm 6 80 Akebia quinata 'Variegata' cream marbled lvs to 12m 259 14 sp ex Ala Dag pink 5cm 6 81 Albuca humilis white/green 15cm 140 15 venustum pink 10-15cm 233 82 shawii yellow 30-45cm > 16 Acanthus hungaricus pink/mauve to 1.5m 56 83 sp ex JCA 15856 white/green 15cm 105 17 Acer griseum to 12m 229 84 Alcea rosea mix 2-3m 34 18 palmatum 'Sango-kaku' 6-7.5m 198 85 rosea pink 2-3m 238 19 palmatum v dissectum 'Crimson Queen' to 3m 149 86 rosea 'Nigra' dark maroon 1.5-2m 34 20 Achillea clavennae white to 25cm 51 87 rosea spp ficifolia yellow/orange to 2.25m 34 21 millefolium
[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]