Clytie the Heliotrope by Ovid (Adapted)

Total Page：16

File Type：pdf, Size：1020Kb

Clytie the Heliotrope By Ovid (Adapted) There was once a Nymph named Clytie, who gazed ever at Apollo as he drove his sunchariot through the heavens. She watched him as he rose in the east attended by the rosyfingered Dawn and the dancing Hours. She gazed as he ascended the heavens, urging his steeds still higher in the fierce heat of the noonday. She looked with wonder as at evening he guided his steeds downward to their manycolored pastures under the western sky, where they fed all night on ambrosia. Apollo saw not Clytie. He had no thought for her, but he shed his brightest beams upon her sister the white Nymph Leucothoe. And when Clytie perceived this she was filled with envy and grief. Night and day she sat on the bare ground weeping. For nine days and nine nights she never raised herself from the earth, nor did she take food or drink; but ever she turned her weeping eyes toward the sungod as he moved through the sky. And her limbs became rooted to the ground. Green leaves enfolded her body. Her beautiful face was concealed by tiny flowers, violetcolored and sweet with perfume. Thus was she changed into a flower and her roots held her fast to the ground; but ever she turned her blossomcovered face toward the sun, following with eager gaze his daily flight. In vain were her sorrow and tears, for Apollo regarded her not. And so through the ages has the Nymph turned her dewwashed face toward the heavens, and men no longer call her Clytie, but the sunflower, heliotrope. (from Good Stories for Great Holidays, by Frances Jenkins Olcott) .

Copy Link

Recommended publications

Zeus: Greek God of the Sky
Zeus: Greek God of the sky. His symbols were lightning bolts and the eagle. Zeus was the ruler of the Olympian Gods. Poseidon: Poseidon was the God of the sea. He could create floods and tidal waves when angered. The Olympian brothers each received a weapon to battle the titans: Zeus received the lightning bolt, Poseidon received the trident and Hades received the helmet of invisibility -- after they defeated the Titans they drew lots to see who would rule what -- Zeus the sky, Poseidon the seas and Hades the underworld. Hades: Hades was the God of the underworld and the older brother of Zeus. The weapon he used in the battle against the Titans was the helmet of invisibility. Hers: The Greek Goddess of marriage and childbirth. Hera was the wife of Zeus and the Queen of the Olympians. Her sacred animals are the cow and the peacock. Hestia: The sister of Zeus. The Goddess of hearth and home. Aphrodite: Aphrodite is the Goddess of love, desire, and beauty. She was also the protector of sailors. She is the wife of Hephaestus. Her symbols are the dove, myrtle tree, sparrow, and swan. Athena: Athena is the Goddess of reason, intelligent activity, arts, and literature. Her symbol is the owl. Athena was said to have sprang forth from Zeus’ head complete with helmet, armor, and spear. Athena preferred to settle disagreements peacefully using her wisdom, but she was a valiant warrior when necessary. Her symbols are the olive tree and the owl. Ares: Ares is the God of War. He enjoys battle and slaughter.
[Show full text]
The Art and Artifacts Associated with the Cult of Dionysus
Alana Koontz The Art and Artifacts Associated with the Cult of Dionysus Alana Koontz is a student at University of Wisconsin-Milwaukee graduating with a degree in Art History and a certificate in Ancient Mediterranean Studies. The main focus of her studies has been ancient art, with specific attention to ancient architecture, statuary, and erotic symbolism in ancient art. Through various internships, volunteering and presentations, Alana has deepened her understanding of the art world, and hopes to do so more in the future. Alana hopes to continue to grad school and earn her Master’s Degree in Art History and Museum Studies, and eventually earn her PhD. Her goal is to work in a large museum as a curator of the ancient collections. Alana would like to thank the Religious Studies Student Organization for this fantastic experience, and appreciates them for letting her participate. Dionysus was the god of wine, art, vegetation and also widely worshipped as a fertility god. The cult of Dionysus worshipped him fondly with cultural festivities, wine-induced ritualistic dances, 1 intense and violent orgies, and secretive various depictions of drunken revelry. 2 He embodies the intoxicating portion of nature. Dionysus, in myth, was the last god to be accepted at Mt Olympus, and was known for having a mortal mother. He spent his adulthood teaching the cultivation of grapes, and wine-making. The worship began as a celebration of culture, with plays and processions, and progressed into a cult that was shrouded in mystery. Later in history, worshippers would perform their rituals in the cover of darkness, limiting the cult-practitioners to women, and were surrounded by myth that is sometimes interpreted as fact.
[Show full text]
Dionysus and Ariadne in the Light of Antiocheia and Zeugma Mosaics
Anatolia Antiqua Revue internationale d'archéologie anatolienne XXIII | 2015 Varia Dionysus and Ariadne in the light of Antiocheia and Zeugma Mosaics Şehnaz Eraslan Electronic version URL: http://journals.openedition.org/anatoliaantiqua/345 DOI: 10.4000/anatoliaantiqua.345 Publisher IFEA Printed version Date of publication: 1 June 2015 Number of pages: 55-61 ISBN: 9782362450600 ISSN: 1018-1946 Electronic reference Şehnaz Eraslan, « Dionysus and Ariadne in the light of Antiocheia and Zeugma Mosaics », Anatolia Antiqua [Online], XXIII | 2015, Online since 30 June 2018, connection on 18 December 2020. URL : http://journals.openedition.org/anatoliaantiqua/345 ; DOI : https://doi.org/10.4000/anatoliaantiqua. 345 Anatolia Antiqua TABLE DES MATIERES Hélène BOUILLON, On the anatolian origins of some Late Bronze egyptian vessel forms 1 Agneta FRECCERO, Marble trade in Antiquity. Looking at Labraunda 11 Şehnaz ERASLAN, Dionysus and Ariadne in the light of Antiocheia and Zeugma Mosaics 55 Ergün LAFLI et Gülseren KAN ŞAHİN, Middle Byzantine ceramics from Southwestern Paphlagonia 63 Mustafa AKASLAN, Doğan DEMİRCİ et Özgür PERÇİN en collaboration avec Guy LABARRE, L’église paléochrétienne de Bindeos (Pisidie) 151 Anaïs LAMESA, La chapelle des Donateurs à Soğanlı, nouvelle fondation de la famille des Sképidès 179 Martine ASSENAT et Antoine PEREZ, Localisation et chronologie des moulins hydrauliques d’Amida. A propos d’Ammien Marcellin, XVIII, 8, 11 199 Helke KAMMERER-GROTHAUS, »Ubi Troia fuit« Atzik-Köy - Eine Theorie von Heinrich Nikolaus Ulrichs (1843)
[Show full text]
Petrarch (1304-74) Wreath', from Laurus 'Laurel'.] Leaves Are Also Like the Medium of the Poet—L’Aura Put on Paper
Themes: “Love at first sight, obsessive yearning and love sickness, frustration, love as parallel to feudal service; the lady as ideally beautiful, ideally virtuous, miraculous, beloved in Heaven and destined to earthly death; love as virtue, love as idolatry, love as sensuality; the god of love with his arrows, fires, whips, and chains; war within the self—hope, fear, joy, sorrow.” Approaches: “Conceits, wit, urbane cleverness; disputations and scholastic precision; allegory, personification; wooing, exhortation, outcry; praise, blame; self-examination, self-accusation, self- defense; repentance and farewell to love” [from Robert M. Durling’s Petrarch’s Lyric Poems] Laura: Laura was idealized in 366 poems (one for every day of the year) in his Rime Sparse (Scattered Rhymes). Petrarch claimed she was real, but her name, played upon in Italian in the poems, also epitomizes poetic ideals (Laud = praise; L’aura = breath, spirit; L’oro = gold; Laurel = laureate: (n.) a person who is honoured with an award for outstanding creative or intellectual achievement: a Nobel Laureate or Poet Laureate. (adj.) wreathed with laurel as a mark of honor; (of a crown or wreath) consisting of laurel. [ORIGIN: from Latin laureatus, from laurea 'laurel Petrarch (1304-74) wreath', from laurus 'laurel'.] Leaves are also like the medium of the poet—l’aura put on paper. “Daphne and Apollo” Gian Lorenzo Bernini (1622-25) “Daphne and Apollo” J.W. Waterhouse (1908) Apollo and Daphne: Daphne was Apollo's first love. It was not brought about by accident, but by the malice of Cupid. Apollo saw the boy playing with his bow and arrows; and he said to him, "What have you to do with warlike weapons, saucy boy? Leave them for hands worthy of them.” Venus's boy [Cupid] heard these words, and rejoined, "Your arrows may strike all things else, Apollo, but mine shall strike you." So saying, he drew from his quiver two arrows of different workmanship, one to excite love, the other to repel it.
[Show full text]
The Story of Echo and Narcissus
The Story of Echo and Narcissus When Zeus came to the mountains, the wood nymphs rushed to embrace the jovial god. They played with him in icy waterfalls and laughed with him in lush green glades. Zeus’ wife, Hera, was very jealous, and often she searched the mountainside, trying to catch her husband with the nymphs. But whenever Hera came close to finding Zeus, a charming nymph named Echo stepped across her path. Echo chatted with Hera in a lively fashion and did whatever she could to stall the goddess until Zeus and the other nymphs had escaped. Eventually Hera discovered that Echo had been tricking her, and she flew into a rage. “Your tongue has made a fool of me!” she shouted at Echo. “Henceforth, your voice will be more brief, my dear! You will always have the last word - but never the first. From that day on, poor Echo could only repeat the last words of what others said. One day Echo spied a golden-haired youth hunting deer in the woods. The boy’s name was Narcissus, and he was the most beautiful young man in the forest. All who looked upon Narcissus fell in love with him immediately. But he would have nothing to do with anyone, for he was very conceited. When Echo first laid eyes upon Narcissus, her heart burned like the flame of a torch. She secretly followed him through the woods, loving him more with each step. She got closer and closer until finally Narcissus heard the leaves rustling. He whirled around and cried out, “Who’s here?” From behind a tree, Echo repeated his last word, “Here!” Narcissus looked about in wonder, “Who are you? Come to me!” he said.
[Show full text]
Stellar Symbols on Ancient Greek Coins (Ii)
STELLAR SYMBOLS ON ANCIENT GREEK COINS (II) ELENI ROVITHIS-LIVANIOU1, FLORA ROVITHIS2 1Dept. of Astrophysics-Astronomy & Mechanics, Faculty of Physics, Athens University, Panepistimiopolis, Zografos 157 84, Athens, Greece 2Athens, Greece E-mail: [email protected]; [email protected] Abstract. Continuing the systematic presentation and description of some ancient Greek coins with stellar symbols we represent some with other deities, than these presented at Part I, together with semi-gods, etc. as well as those with animals and objects. Besides, information about the place they were found, the material they are made of as well as the estimated time is also given. Finally, in some cases the Museum in which they are kept is provided. Key words: Ancient Greek coins – ancient Greek cities – ancient Greek colonies – myths – stellar symbols. 1. PROLOGUE In a previous paper, (Rovithis-Livaniou & Rovithis 2011; hereafter refer as Paper I), a systematic presentation of ancient Greek coins with stellar symbols started. In that paper, the principles as well as the basic elements concerning the numismatic system of the ancient Greek cities-countries were also given. So, we do not repeat them here. In Paper I, we limited to the coins where the main gods/goddesses of the Greek Dodekatheon were presented on observe, combined with various themes on reverse, but always showing a stellar symbol on either side. Besides, in Paper I the god-Helios was included together with Apollo who took his place as god of the light. Furthermore, some coins with Dioskouroi were included in Paper I; but, as only those in which one of the main gods/goddesses was the basic subject, we shall complete their presentation here.
[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]
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]
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.
[Show full text]
Excerpts from Ovid, Metamorphoses
Ovid, Metamorphoses 1 EXCERPTS FROM OVID, METAMORPHOSES TRANSLATED BY IAN JOHNSON AVAILABLE ON LINE (FULL VERSION OF BOOKS 1-3) AT HTTP://RECORDS.VIU.CA/~JOHNSTOI/OVID/OVID1.HTM (1) APOLLO AND DAPHNE The story begins just after the young god Apollo has established himself as an adult, powerful god by killing the dragon/serpent Python and claiming its former grounds as the site for his most significant sanctuary, Delphi. Apollo’s first love was Daphne, the daughter of Peneus.* It was not blind chance which made him love her, but Cupid’s savage rage. The Delian god, proud of his recent conquest of the snake, saw Cupid flexing his bow, pulling back the string, and said to him:* “Impudent boy, why are you playing with a man’s weapon? Carrying that suits shoulders like my own, since I can shoot wild beasts and never miss and wound my enemy. I am the one who with my countless arrows has just killed that swollen Pytho, whose venomous gut covered so many acres. Stay content kindling any kind of love you fancy with that torch of yours, but do not pre-empt those praises due to me.” The son of Venus then replied to him:* “O Phoebus, your bow may strike all things, but mine can strike at you. Just as all animals are less than gods, so, to the very same extent, your fame is less than mine.” Cupid spoke. Keen to act, he struck the air with beating wings and stood on the shady peak of Mount Parnassus. He pulled out two arrows from his quiver, Ovid, Metamorphoses 2 each with a different force.
[Show full text]
Nereids Naiads New Brides.Pdf
Nereids Naiads New Brides Many are familiar with the rich classical literature inspired by Greek mythology, from Homer’s Iliad and Odyssey to Euripides’ Oedipus Rex. Accounts of ancient myths like these not only gave voice to men’s fears but also justified the patriarchal customs and attitudes prevalent in their society. A deep anxiety among Greek men surrounded women’s sexual passions and the need to control them. Men often viewed unmarried virgins as wild, needing to be tamed through marriage. Men doubted, however, that this would guarantee chastity, and they still feared feminine power through sexuality. Thus, women were bound by strict social expectations that set safeguards for their sexuality through separation and seclusion. The nymph—virginal yet promiscuous, chaste yet hypersexual— embodies this anxiety. The Greek word νύμφη (numphē) not only refers to a mythical being but also a “bride.” The term was used to describe a woman soon to be married or one who had already married but had not yet had her first child. This was a time of transition for girls becoming women, leaving behind their toys for housework and children. Nymphs, too, occupied this transitional space. These sexual females living outside mainstream society represented the sex lives of new brides. This exhibition invites viewers to contemplate the constraints on feminine sexuality in two contexts: in the gynaeceum, or the women’s space of ancient Greece, and in representations of nymphs throughout art history. The gynaeceum illustrates how women were separated from the males of the household, and containing objects that would have populated it in ancient Greece.
[Show full text]
Terrestrial Insects: Odonata
Glime, J. M. 2017. Terrestrial Insects: Hemimetabola – Odonata. Chapt. 12-3. In: Glime, J. M. Bryophyte Ecology. Volume 2. 12-3-1 Bryological Interaction. Ebook sponsored by Michigan Technological University and the International Association of Bryologists. Last updated 19 July 2020 and available at <http://digitalcommons.mtu.edu/bryophyte-ecology2/>. CHAPTER 12-3 TERRESTRIAL INSECTS: HEMIMETABOLA – ODONATA TABLE OF CONTENTS ODONATA – DRAGONFLIES AND DAMSELFLIES ........................................................................................ 12-3-2 Biology ............................................................................................................................................................. 12-3-3 Terrestrial Naiads ............................................................................................................................................. 12-3-3 Emergence ........................................................................................................................................................ 12-3-5 Perching and Mating ........................................................................................................................................ 12-3-8 Oviposition ....................................................................................................................................................... 12-3-9 Sampling .......................................................................................................................................................
[Show full text]