Moments of Metanoia Mariah Anne Pickett Louisiana State University and Agricultural and Mechanical College, [email protected]

Total Page:16

File Type:pdf, Size:1020Kb

Moments of Metanoia Mariah Anne Pickett Louisiana State University and Agricultural and Mechanical College, Miahapickett@Gmail.Com Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 6-6-2018 Moments of Metanoia Mariah Anne Pickett Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Fiber, Textile, and Weaving Arts Commons, and the Printmaking Commons Recommended Citation Pickett, Mariah Anne, "Moments of Metanoia" (2018). LSU Master's Theses. 4740. https://digitalcommons.lsu.edu/gradschool_theses/4740 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. MOMENTS OF METANOIA A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Fine Arts in The College of Art and Design by Mariah A. Pickett B.F.A., Bowling Green State University, 2014 August 2018 ACKNOWLEDGEMENTS My Thesis Committee: Mikey thank you for accepting the task of serving as my chair and your boundless tolerance for my perpetual inability to do things on time. Thank you even more for insisting that my audience does want to see the “Miah” in my work; that viewers do want to connect with the artist; and for pushing me to be vulnerable enough to reach for these relationships. Leslie, your excitement for printmaking and genuine interest in the development of my work for the past three years has been a gift which I appreciate so much. Dr. Stannard, one million thanks for welcoming me into the TAM department and opening my eyes to the wonderful world of apparel design and textile art. I have not a clue what I would be making if this had never happened. Kelli, I have so much gratitude and respect for you and your artistic process. Thank you for “adopting” me as my committee chair my second semester and continuing to work with me during the summer after. My mentors: Rick, the discussions you facilitated in our reading seminar in the Fall of 2016 will never leave me. It was you (and my thoughtful classmates) who reminded me of the immeasurable worth of human connection in an increasingly isolating world. Anna Kenar, Janet Ballweg, and Blake Sanders—without your voices in my formative years there would be no “Moments of Metanoia”. Anna, you showed me that timidity imposes the strictest limitations on creation. There is no room for fear of experimentation (or pushing your mark-making) in the pursuit of printmaking. Janet, I never expected much from myself until you expected more. I can’t emphasize enough how much I appreciate the freedom you gave me to come to this realization on my own. Blake, your integrity (as a printmaker and as a human) is in and of itself an inspiration. But without your gentle reminders to “Keep your head down” and to, above all, ii WORK, I would have lost sight of my goals years ago. Furthermore, you can’t ask for a better mentor—it is a rare and special instructor who will gladly facilitate and join in on all-nighters with the ever-energetic and mercurial print kids. We all had so much fun with you and I think I speak for all of us when I say that nights like those gave us the sense of community that we needed. Thank you to all of you. My friends: Dustin, your eternal optimism is the biggest gift you have to offer, and that’s saying a lot because you are also insanely talented. I am so grateful to you and your good-natured positivity. The privilege of watching you grow as a printmaker, artist, and as a human has been a joy—another gift of which I am appreciative. Kelly and Trav, you two have been a very necessary source of comfort the past couple years. Thank you for being my Midwest away from the Midwest. To have you guys to commiserate with has been my mental health’s salvation. I can’t imagine doing this without you. Trav, you deserve some sort of supporting artist award. Kel, I praise all of the higher powers I had a printmaking partner to go through the terrors of thesis with. Thank you so much for being in the same place at the same time and for being such a cool lady. The rest of the print grads, Carlie and David we share a bond that can never be broken. The print grads that relocate and reconfigure a shop together stay together. Clare, you narrowly escaped hell on earth, you lucky devil. Seeing your faces daily has been one of my few sources of happiness down the home stretch. Elizabeth, I really found a kindred spirit in your offbeat humor and that was awesome. Masy (and Joe), thank you for being my Louisiana locals and introducing me to the cool stuff y’all do down here. Also, for sharing my love for hip-hop/rap and being a true source for friendship. I will be eternally grateful for your willingness to offer any possible support and assistance in times of need. MC and Winks for providing so much love iii and encouragement from afar, thank you. I don’t deserve friends like you, but I sure am glad you think I do. My family: how I owe everything I am to every one of you. Thank you, thank you, thank you for being a top notch support team. A lifetime of thesis acknowledgments could only just begin to illuminate the gratitude I have for you guys. Dad and Danielle, Tyr, Grant, Lynn Brenneman, the Rywalskis, the Buchholzes, the Herricks, I love you all. Hannah, I imagine it isn’t uncommon for people to spend their entire lives searching for a ride or die friend like you. You are my joy, my laughter, my comfort, my confidence. Thank you for your advice, loyalty, and spirit uplifting pep talks. Mama, this is all for you as is everything good I ever do. For raising me to have even a modicum of the strength and intelligence that you have; for being an ideal example of independence, of integrity, of patience, of humility; for teaching me the true value of education and family; for instilling me with an unceasing desire for more knowledge, more understanding; for the positive aspects of my person which could have only come from you; for all of this, I will gladly spend forever in your gratitude. And I will never stop trying to make you proud. Thank you for always reminding me that I need to try to love and respect myself more and that the fulfillment of basic human needs is, actually, important. Forever and ever, I lava you. iv And my Eternal Muse—thank you. You are Electricity. You are Gravity. You are Magnetism. You are the Storm—before which there is nothing and after which there is nothing. You are every Butterfly and the rhythm of all the world’s wings fluttering like heartbeats. You are the entire Universe in one body. You are reality and fantasy and limitless in every dimension. You are the Beginning, the End, and the profound intermediate. Your existence is my inspiration. Endlessly. v TABLE OF CONTENTS Acknowledgments………...............................................................................................................ii List of Figures……........................................................................................................................vii Abstract…….................................................................................................................................viii Introduction……..............................................................................................................................1 Primordiality: Greek Mythology as the Original Expression of the Human Condition.....................5 Mythological Moments of Metanoia................................................................................................8 The Marriage of Persephone................................................................................................8 Atlas, The Enduring............................................................................................................10 The Anxiety of Orpheus......................................................................................................12 Endymion Succumbing.......................................................................................................15 Clytia, In Bloom.................................................................................................................17 Material Longings: The Aesthetics of Collage...............................................................................19 The Process of Constructing Moments of Metanoia: A Brief Inquiry.............................................21 Bibliography..................................................................................................................................23 Appendix: Exhibition Images.........................................................................................................24 Vita.................................................................................................................................................29 vi LIST OF FIGURES Figure 1: Detail of The Marriage of Persephone (Floral Symbols)...................................................7 Figure 2: The Marriage of Persephone.............................................................................................8 Figure 3: Atlas, The Enduring.........................................................................................................11 Figure 4: The Anxiety of Orpheus...................................................................................................14
Recommended publications
  • 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]
  • The Return of Handel's Giove in Argo
    GEORGE FRIDERIC HANDEL 1685-1759 Giove in Argo Jupiter in Argos Opera in Three Acts Libretto by Antonio Maria Lucchini First performed at the King’s Theatre, London, 1 May 1739 hwv a14 Reconstructed with additional recitatives by John H. Roberts Arete (Giove) Anicio Zorzi Giustiniani tenor Iside Ann Hallenberg mezzo-soprano Erasto (Osiri) Vito Priante bass Diana Theodora Baka mezzo-soprano Calisto Karina Gauvin soprano Licaone Johannes Weisser baritone IL COMPLESSO BAROCCO Alan Curtis direction 2 Ouverture 1 Largo – Allegro (3:30) 1 2 A tempo di Bourrée (1:29) ATTO PRIMO 3 Coro Care selve, date al cor (2:01) 4 Recitativo: Licaone Imbelli Dei! (0:48) 5 Aria: Licaone Affanno tiranno (3:56) 6 Coro Oh quanto bella gloria (3:20) 7 Recitativo: Diana Della gran caccia, o fide (0:45) 8 Aria: Diana Non ingannarmi, cara speranza (7:18) 9 Coro Oh quanto bella gloria (1:12) 10 Aria: Iside Deh! m’aiutate, o Dei (2:34) 11 Recitativo: Iside Fra il silenzio di queste ombrose selve (1:01) 12 Arioso: Iside Vieni, vieni, o de’ viventi (1:08) 13 Recitativo: Arete Iside qui, fra dolce sonno immersa? (0:23) 14 Aria: Arete Deh! v’aprite, o luci belle (3:38) 15 Recitativo: Iside, Arete Olà? Chi mi soccorre? (1:39) 16 Aria: Iside Taci, e spera (3:39) 17 Arioso: Calisto Tutta raccolta ancor (2:03) 18 Recitativo: Calisto, Erasto Abbi, pietoso Cielo (1:52) 19 Aria: Calisto Lascia la spina (2:43) 20 Recitativo: Erasto, Arete Credo che quella bella (1:23) 21 Aria: Arete Semplicetto! a donna credi? (6:11) 22 Recitativo: Erasto Che intesi mai? (0:23) 23 Aria: Erasto
    [Show full text]
  • Report from the Fourth Artemis Project
    FOR A PREVENTIVE BREAST CANCER VACCINE Fourth Annual Meeting March 7-10, 2014 I. INTRODUCTION A. BACKGROUND The National Breast Cancer Coalition (NBCC) is dedicated to ending breast cancer through the power of grassroots action and advocacy. In 2010, NBCC launched Breast Cancer Deadline 2020® to focus resources and efforts to the areas that will lead to the knowledge needed to end breast cancer. The research component of Breast Cancer Deadline 2020® includes the Artemis Project®, an advocate led mission driven approach of strategic summits, catalytic workshops, research action plans and collaborative efforts among various stakeholders. The Artemis Project ® focuses on two areas: Primary Prevention: How do we stop people from getting breast cancer? Prevention of Metastasis: How do we stop people from dying of breast cancer? Artemis Project®: Preventive Vaccine The 2011 report from the first annual meeting provides an overview of the project and a description of the focus areas. After the first annual meeting in March, 2011, NBCC contracted with Science Application International Corporation (SAIC) to help prepare a detailed strategic plan for the Artemis Project®, based on the outcomes of the annual meeting and follow-up interviews with attendees. This Project Plan was completed in December, 2011. Subsequently, NBCC issued a call for proposals to address initial steps in antigen identification. The report from the second annual meeting outlines the refined strategies developed for the early stages of the project, particularly around antigen identification and evaluation. Discussion during the third annual meeting focused on the specific tasks required within the next two years to remain on track for a vaccine product ready for clinical trials.
    [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]
  • Free Script Sample
    DANCING WITH THE OLYMPIANS By Lavinia Roberts Copyright © 2011 by Lavinia Roberts, All rights reserved. ISBN: 1-60003-590-6 CAUTION: Professionals and amateurs are hereby warned that this Work is subject to a royalty. This Work is fully protected under the copyright laws of the United States of America and all countries with which the United States has reciprocal copyright relations, whether through bilateral or multilateral treaties or otherwise, and including, but not limited to, all countries covered by the Pan-American Copyright Convention, the Universal Copyright Convention and the Berne Convention. RIGHTS RESERVED: All rights to this Work are strictly reserved, including professional and amateur stage performance rights. Also reserved are: motion picture, recitation, lecturing, public reading, radio broadcasting, television, video or sound recording, all forms of mechanical or electronic reproduction, such as CD-ROM, CD-I, DVD, information and storage retrieval systems and photocopying, and the rights of translation into non-English languages. PERFORMANCE RIGHTS AND ROYALTY PAYMENTS: All amateur and stock performance rights to this Work are controlled exclusively by Brooklyn Publishers, LLC. No amateur or stock production groups or individuals may perform this play without securing license and royalty arrangements in advance from Brooklyn Publishers, LLC. Questions concerning other rights should be addressed to Brooklyn Publishers, LLC. Royalty fees are subject to change without notice. Professional and stock fees will be set upon application in accordance with your producing circumstances. Any licensing requests and inquiries relating to amateur and stock (professional) performance rights should be addressed to Brooklyn Publishers, LLC. Royalty of the required amount must be paid, whether the play is presented for charity or profit and whether or not admission is charged.
    [Show full text]
  • ANSWER KEY: the Early Years: Mercury to Apollo-Soyuz Math
    ANSWER KEY: The Early Years: Mercury to Apollo-Soyuz Math Directions: Using The Early Years: Mercury to Apollo-Soyuz Information Summaries (pages 8 & 9), fill out the tables and complete the graphs below. Project Mercury 1. Complete the table below. Manned Height Max Diameter Weight Habitable Volume Spacecraft (meters) (meters) (kilograms) (cubic meters) Mercury 2.9 1.9 1,451 1.02 Gemini 5.5 3.0 3,402 1.56 Apollo 18.0 3,4280 10.45 2. Reference the data provided in the Information Summaries to build a graph for each of the specifications. Each graph needs to have an appropriate heading. Use the numbers you entered in the above table to label the y-coordinates. Use the name of the vehicle to label the x-coordinates. 3. Complete the table below. Round Height to the nearest whole number and round Weight and Thrust to the nearest thousand. Manned Height Weight Thrust Spacecraft (meters) (kilograms) (Newtons) Mercury-Redstone 25 28,000 347,000 Mercury-Atlas 29 118,000 1,601,000 Gemini-Titan II 33 136,000 1,913,000 Apollo-Saturn IB 68 544,000 7,117,000 Apollo-Saturn V 110 2,812,000 38,698,000 A ratio is a comparison between numbers and it is often written as a fraction. Example: The height of the Mercury-Redstone vehicle is about 33 meters if we round to the nearest whole number. The height of the Apollo-Saturn IB is 68 meters. The ratio of height between the Apollo-Saturn IB and 68 the Mercury-Redstone is 68 to 33, or /33.
    [Show full text]
  • Dante Alighieri's Divine Comedy – Inferno
    DIVINE COMEDY -INFERNO DANTE ALIGHIERI HENRY WADSWORTH LONGFELLOW ENGLISH TRANSLATION AND NOTES PAUL GUSTAVE DORE´ ILLUSTRATIONS JOSEF NYGRIN PDF PREPARATION AND TYPESETTING ENGLISH TRANSLATION AND NOTES Henry Wadsworth Longfellow ILLUSTRATIONS Paul Gustave Dor´e Released under Creative Commons Attribution-Noncommercial Licence. http://creativecommons.org/licenses/by-nc/3.0/us/ You are free: to share – to copy, distribute, display, and perform the work; to remix – to make derivative works. Under the following conditions: attribution – you must attribute the work in the manner specified by the author or licensor (but not in any way that suggests that they endorse you or your use of the work); noncommercial – you may not use this work for commercial purposes. Any of the above conditions can be waived if you get permission from the copyright holder. English translation and notes by H. W. Longfellow obtained from http://dante.ilt.columbia.edu/new/comedy/. Scans of illustrations by P. G. Dor´e obtained from http://www.danshort.com/dc/, scanned by Dan Short, used with permission. MIKTEXLATEX typesetting by Josef Nygrin, in Jan & Feb 2008. http://www.paskvil.com/ Some rights reserved c 2008 Josef Nygrin Contents Canto 1 1 Canto 2 9 Canto 3 16 Canto 4 23 Canto 5 30 Canto 6 38 Canto 7 44 Canto 8 51 Canto 9 58 Canto 10 65 Canto 11 71 Canto 12 77 Canto 13 85 Canto 14 93 Canto 15 99 Canto 16 104 Canto 17 110 Canto 18 116 Canto 19 124 Canto 20 131 Canto 21 136 Canto 22 143 Canto 23 150 Canto 24 158 Canto 25 164 Canto 26 171 Canto 27 177 Canto 28 183 Canto 29 192 Canto 30 200 Canto 31 207 Canto 32 215 Canto 33 222 Canto 34 231 Dante Alighieri 239 Henry Wadsworth Longfellow 245 Paul Gustave Dor´e 251 Some rights reserved c 2008 Josef Nygrin http://www.paskvil.com/ Inferno Figure 1: Midway upon the journey of our life I found myself within a forest dark..
    [Show full text]
  • Symbolism of the Apple in Greek Mythology Highgate Private School Nicosia, CYPRUS
    Symbolism of the Apple in Greek Mythology Highgate Private School Nicosia, CYPRUS Apples appear throughout numerous world religions and mythologies as a common symbol and motif. It is important to note though that in Middle English as late as the 17th century, the word ‘apple’ was used as a generic term to describe all fruit other than berries, so the appearance of apples in ancient writings may not actually be the apples known today. The etymology of 'apple' is an interesting one. That aside, Greek mythology presents several notable apples: the Golden Apples in the Garden of Hesperides, different golden apples associated with Atalanta, and of course the golden Apple of Discord. Each appearance of apples presents unique examples of symbolism. The Golden Apples in the Garden of Hesperides were a wedding gift to Hera from Gaia and were protected by a great serpent called Ladon. The Apples as well as the rest of the life in the Garden were tended by the Hesperides, minor earth goddesses or nymphs and daughters of the Titan, Atlas. The Garden itself rested in an inaccessible spot near the edge of the world under the power of the Olympians. For his Eleventh Labor, Hercules was sent to the Garden to retrieve three Golden Apples for King Eurystheus. The exact location of the Garden and the Apples was unknown and Hercules had to pry the information from Nereus, the Old Man of the Sea. Along the way, he also encountered and freed Prometheus who told not to try pick the Golden Apples himself, but to ask Atlas.
    [Show full text]
  • Greco-Roman Gods and Goddesses
    GRECO -ROMAN GODS AND GODDESSES THE OLYMPIANS : THE “T WELVE ” Of the many major and minor gods in the Olympian dynasty the most important are the Twelve, a group chosen by the Greeks themselves as the key figures in the Olympian group and the basis for most of their religious observances. Greek law is also to some extent derived from the concept of the Twelve, and Greeks in both court proceedings and in ordinary conversation took their oath “by the Twelve.” The divinities constituting this group were: Zeus (Jupiter, Jove) Leader of the Olympians, god of lightening, and representative of the power principle. Hera (Juno) Wife of Zeus and goddess of marriage and domestic stability. Poseidon (Neptune) God of the sea. Often called “the earth shaker,” possibly because the Greeks attributed earthquakes to marine origin. Hades (Pluto, Dis) God of the Underworld and presider over the realm of the dead. Also connected with the nature myth by his marriage to Persephone (Proserpine), who spent half of her time on earth (the growing season) and half in the underworld (the winter period). Hades does not represent death itself, that function being relegated to a lesser divinity Thanatos. Pallas Athena, Athena (Minerva) Goddess of wisdom, but also associated with many other concepts from warfare to arts and crafts. Her birth was remarkable, since she sprang fully-armed from the forehead of Zeus. She was the patron goddess of Athens and to the Athenians represented the art of civilized living. Phoebus Apollo Son of Zeus and Leto, daughter of the Titans Krios and Phoebe.
    [Show full text]
  • Leonardoimpett Francomoretti Totentanz. Operationalizing Aby
    Totentanz. AB Operationalizing Aby Warburg’s Pathosformeln Leonardo Impett Franco Moretti Literary Lab Pamphlet 16 NovemberN 2017 Pamphlets of the Stanford Literary Lab ISSN 2164-1757 (online version) Leonardo Impett Franco Moretti Totentanz. Operationalizing Aby Warburg’s Pathosformeln 1. Mnemosyne The object of this study is one of the most ambitious projects of twentieth-century in his intellectual biography of Warburg, he compared Mnemosyne to “certain types art history: Aby Warburg’s Atlas Mnemosyne, conceived in the summer of 1926 – of twentieth-century poetry – he must have been thinking of Pound’s Cantos, or El- when the first mention of aBilderatlas , or “atlas of images”, occurs in his journal iot’s Waste Land – where hosts of historical or literary allusions hide and reveal layers – and truncated three years later, unfinished, by his sudden death in October 1929. upon layers of private meanings”.3 An enigmatic work, in other words; often com- Mnemosyne consisted in a series of large black panels, about 170x140 cm., on pared to Benjamin’s Passagenwerk, but in truth much more elusive than that. One which were attached black-and-white photographs of paintings, sculptures, book thread through the labyrinth is however offered by Warburg’s greatest conceptual pages, stamps, newspaper clippings, tarot cards, coins, and other types of images creation: the Pathosformel, or formula for (the expression of) Pathos. Passion, emo- (Figure 1.1). Warburg kept changing the order of the panels and the position of the tion, suffering, agitation –Pathos is a term with many (and perhaps too many) se- images until the very end, and three main versions of the Atlas have been recorded: mantic shades,4 though they all share the “superlative” degree (Warburg’s word) of one from 1928 (the “1-43 version”, with 682 images); one from the early months of the feeling involved.
    [Show full text]
  • The Origin of the Cult of Aphrodite. Illustrated
    THE ORIGIN OF THE CULT OF APHRODITE.1 BY ). RENDEL HARRIS, M.A., LITT.D ., ETC., HON. FELLOW OF CLARE COLLEGE, CAMBRIDGE. E have in previous essays shown that it was possible to dig · W down to the ground form of a number of , the cults of the . divinities which go to make up the Greek pantheon. Dionysus has been traced back to the ivy on the oak, and we can go no further in the direction of origins than this ; we are actually at the starting-point of the cult, whatever other elements, ritual or orgiastic, may be combined with the Ivy Cult. In the same way Apollo has been traced to the mistletoe on the apple-tree, which is a secondary form of the mistletoe on the oak, and we have shown that his skill as a healer and master in wizardry is due to the all-healing powers of his mistletoe and to certain other plants in his medical garden. From these conceptions the Apollo Cult must proceed, and although there is still some unresolved complexity in the cult, the major part of it is translucent enough. Artemis, too, with her woman's medicines, and garden of herbs helpful and of herbs hurtful, is now a much more in­ telligible figure, though still containing perplexities for further study and resolution. She, too, is, in the first instance, personified medicine. We now pass on to the Cult of Aphrodite, and find ourselves face to face with a problem in which our previous investigations ap­ pear not to lend any assistance.
    [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]