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Demeter and Dionysos: Connections in Literature, Cult and Iconography Kathryn Cook April 2011
Demeter and Dionysos: Connections in Literature, Cult and Iconography Kathryn Cook April 2011 Demeter and Dionysos are two gods among the Greek pantheon who are not often paired up by modern scholars; however, evidence from a number of sources alluding to myth, cult and iconography shows that there are similarities and connections observable from our present point of view, that were commented upon by contemporary authors. This paper attempts to examine the similarities and connections between Demeter and Dionysos up through the Classical period. These two deities were not always entwined in myth. Early evidence of gods in the Linear B tablets mention Dionysos as the name of a deity, but Demeter’s name does not appear in the records until later. Over the centuries (up to approximately the 6th century as mentioned in this paper), Demeter and Dionysos seem to have been depicted together in cult and in literature more and more often. In particular, the figure of Iacchos in the Eleusinian cult seems to form a bridging element between the two which grew from being a personification of the procession for Demeter, into being a Dionysos figure who participated in her cult. Literature: Demeter and Dionysos have some interesting parallels in literature. To begin with, they are both rarely mentioned in the Homeric poems, compared to other gods like Hera or Athena. In the Iliad, neither Demeter nor Dionysos plays a role as a main character. Instead they are mentioned in passing, as an example or as an element of an epic simile.1 These two divine figures are present even less often in the Odyssey, though this is perhaps a reflection of the fewer appearances of the gods overall, they are 1 Demeter: 2.696. -
Poseidon Family - Manual HW Group
Poseidon family - Manual HW group Poseidon family www.HW-group.com 1 / 105 Poseidon family - Manual HW group First steps with Poseidon 1) Configure or verify (DHCP) the IP address using IP Config. IP Config is available for free at www.HW-group.com and on the supplied CD. 2) The main web page displays the product overview: 3) Detailed configuration is accessible via the Flash Setup link. See the next sections for details. www.HW-group.com 2 / 105 Poseidon family - Manual HW group Connecting the sensors 1-Wire / 1-Wire UNI (RJ11) Connect the sensor before powering up the Poseidon – the connector must click in. Maximum total distance on each active port is 60m. Sensors can be daisy-chained. Sensors can be also connected using a star topology with the T- Box (TBox2) hub. If you change the sensor topology, the sensors must be auto-detected again. (Web interface > Flash Setup > Sensor Setup > Autodetect Sensors) www.HW-group.com 3 / 105 Poseidon family - Manual HW group Industrial Bus sensors (RS-485) Industrial bus for connecting sensors over long distances Connect the sensors before powering up the unit. Sensors can be daisy-chained, or connected to a virtual star using the “S-Hub” unit. Terminate the RS485 line with a 120 Ω to 470 Ω terminator. Some sensors contain a built-in terminator, controlled with a jumper or a DIP switch. See the sensor manual. Check or set the sensor address. Each sensor on the RS-485 bus must have a unique address. The address (ID) is expressed as a letter (A..Z / a..z) or a number (65..122). -
Greek Mythology at the Service of the Portuguese Inquisition: the Case of Hercules and the Hydra of Lerna
Athens Journal of Mediterranean Studies- Volume 1, Issue 1 – Pages 25-44 Greek Mythology at the Service of the Portuguese Inquisition: The Case of Hercules and the Hydra of Lerna By Milton Dias Pacheco Greek mythology has been along the centuries a fruitful source of inspiration to artists and writers, as it possesses the strength of expressing symbolically the most common circumstances of life. Regarding the threats that in every age put in danger human life the most popular figure was maybe the Hydra that infested the region of the Lake of Lerna, in Argolis. This mythical figure may still have an older origin as it is connected with chthonic dangers. Because of its terrifying aspect, reptilian traits and poisonous breath, it was related to the evil and the domains of Hell. Later the Hydra significance became larger and deeper as it represented the heresies that could affect the Christian orthodoxy. According to this point of view, every defender of the Catholic Faith was immediately compared to Hercules, the Greek hero who succeeded in killing the mythological Hydra monster. In this way, it is easy to understand why this representation was often used in connection with the Iberian Habsburg Kings, as it worked as a political strategy of this dynasty, in which the Spanish Habsburgs were faced as the guardians and defenders of the Church of Rome, mainly in times when the Inquisition developed a determinative role. An illustrative example of this was the decoration of the arch built by the Inquisition in Lisbon, when King Philip II of Portugal visited the Portuguese Empire capital. -
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. -
Greek Characters
Amphitrite - Wife to Poseidon and a water nymph. Poseidon - God of the sea and son to Cronos and Rhea. The Trident is his symbol. Arachne - Lost a weaving contest to Athene and was turned into a spider. Father was a dyer of wool. Athene - Goddess of wisdom. Daughter of Zeus who came out of Zeus’s head. Eros - Son of Aphrodite who’s Roman name is Cupid; Shoots arrows to make people fall in love. Demeter - Goddess of the harvest and fertility. Daughter of Cronos and Rhea. Hades - Ruler of the underworld, Tartaros. Son of Cronos and Rhea. Brother to Zeus and Poseidon. Hermes - God of commerce, patron of liars, thieves, gamblers, and travelers. The messenger god. Persephone - Daughter of Demeter. Painted the flowers of the field and was taken to the underworld by Hades. Daedalus - Greece’s greatest inventor and architect. Built the Labyrinth to house the Minotaur. Created wings to fly off the island of Crete. Icarus - Flew too high to the sun after being warned and died in the sea which was named after him. Son of Daedalus. Oranos - Titan of the Sky. Son of Gaia and father to Cronos. Aphrodite - Born from the foam of Oceanus and the blood of Oranos. She’s the goddess of Love and beauty. Prometheus - Known as mankind’s first friend. Was tied to a Mountain and liver eaten forever. Son of Oranos and Gaia. Gave fire and taught men how to hunt. Apollo - God of the sun and also medicine, gold, and music. Son of Zeus and Leto. Baucis - Old peasant woman entertained Zeus and Hermes. -
Big Love by Charles Mee: a Bit of Background
Big Love by Charles Mee: A Bit of Background About ‘the (re)making project’ All of Chuck Mee’s plays are available online, for free, and in the spirit of his collage style of playwriting, he welcomes artists borrow The Love Trilogy from, steal and transform his scripts into new projects. He also en- courages, possibly even requires, the artists working on his scripts to Big Love is the third play in a thematic trilogy of plays by become creators themselves, completing the work he has laid out Charles Mee. While the plots of the plays do not connect, with their own performance and interpretation. the subject, themes and elements of the plays intersect. The Love Trilogy was written during Mee’s love affair “There is no such thing as an original play. with Laurie Williams that “burst suddenly into flame and None of the classical Greek plays were original: they were all based then, a few years later, was just as suddenly doused.” on earlier plays or poems or myths. And none of Shakespeare's plays are original: they are all taken from earlier work. As You Like It is First Love taken from a novel by Thomas Lodge published just 10 years before Shakespeare put on his play without attribution or acknowledgment. Two people in their seventies fall in love—for the first Chunks of Antony and Cleopatra are taken verbatim, and, to be sure, time in their lives. And, as they work their way toward without apology, from a contemporary translation of Plutarch's one another through the accumulated baggage of their Lives. -
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. -
IMPLEMENTATION of TRIDENT: a DISCOVERY-CLASS MISSION to TRITON. K. L. Mitchell1 , L. M. Prockter2, W. E. Frazier1, W. D. Smythe1, B
50th Lunar and Planetary Science Conference 2019 (LPI Contrib. No. 2132) 3200.pdf IMPLEMENTATION OF TRIDENT: A DISCOVERY-CLASS MISSION TO TRITON. K. L. Mitchell1 , L. M. Prockter2, W. E. Frazier1, W. D. Smythe1, B. M. Sutin1, D. A. Bearden1, and the Trident Team. 1Jet Propulsion Laboratory ([email protected]), Pasadena, CA 91109-8099, United States, 2Lunar and Planetary Insti- tute/USRA, Houston, TX, United States. Overview: Trident is an exciting mission concept to Why Now?: By launching during 2026, Trident investigate Neptune’s large moon Triton, an exotic can- takes advantage of a rare, efficient gravity-assist align- didate ocean world at 30 AU (Prockter et al., this meet- ment, to capitalize on a narrow – but closing – observa- ing). The concept is responsive to recommendations of tional window that enables assessment of changes in the recent NASA Roadmap to Ocean Worlds study Triton’s plume activity and surface characteristics since (Hendrix et al., 2019), and to the 2013 Planetary Deca- Voyager 2’s encounter one Neptune-Triton season ago. dal Survey’s habitability and workings themes (Squyres Conclusion: This mission design allows Trident to et al., 2011). A rare, low Δv trajectory (Fig. 1) enables accomplish a scientifically rich yet radically cost-effec- an MMRTG-powered spacecraft fitting under the Dis- tive investigation of an unusual icy world, dramatically covery cost cap. The spacecraft has a robust design and expanding the horizons of NASA’s Discovery Program. uses high heritage instruments (table 1) with minimal References: [1] Prockter L. M. et al. (2019) LPS L, development costs. -
Folktale Types and Motifs in Greek Heroic Myth Review P.11 Morphology of the Folktale, Vladimir Propp 1928 Heroic Quest
Mon Feb 13: Heracles/Hercules and the Greek world Ch. 15, pp. 361-397 Folktale types and motifs in Greek heroic myth review p.11 Morphology of the Folktale, Vladimir Propp 1928 Heroic quest NAME: Hera-kleos = (Gk) glory of Hera (his persecutor) >p.395 Roman name: Hercules divine heritage and birth: Alcmena +Zeus -> Heracles pp.362-5 + Amphitryo -> Iphicles Zeus impersonates Amphityron: "disguised as her husband he enjoyed the bed of Alcmena" “Alcmena, having submitted to a god and the best of mankind, in Thebes of the seven gates gave birth to a pair of twin brothers – brothers, but by no means alike in thought or in vigor of spirit. The one was by far the weaker, the other a much better man, terrible, mighty in battle, Heracles, the hero unconquered. Him she bore in submission to Cronus’ cloud-ruling son, the other, by name Iphicles, to Amphitryon, powerful lancer. Of different sires she conceived them, the one of a human father, the other of Zeus, son of Cronus, the ruler of all the gods” pseudo-Hesiod, Shield of Heracles Hera tries to block birth of twin sons (one per father) Eurystheus born on same day (Hera heard Zeus swear that a great ruler would be born that day, so she speeded up Eurystheus' birth) (Zeus threw her out of heaven when he realized what she had done) marvellous infancy: vs. Hera’s serpents Hera, Heracles and the origin of the MIlky Way Alienation: Madness of Heracles & Atonement pp.367,370 • murders wife Megara and children (agency of Hera) Euripides, Heracles verdict of Delphic oracle: must serve his cousin Eurystheus, king of Mycenae -> must perform 12 Labors (‘contests’) for Eurystheus -> immortality as reward The Twelve Labors pp.370ff. -
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. -
1 Divine Intervention and Disguise in Homer's Iliad Senior Thesis
Divine Intervention and Disguise in Homer’s Iliad Senior Thesis Presented to The Faculty of the Undergraduate School of Arts and Sciences Brandeis University Undergraduate Program in Classical Studies Professor Joel Christensen, Advisor In partial fulfillment of the requirements for the degree of Bachelor of Arts By Joana Jankulla May 2018 Copyright by Joana Jankulla 1 Copyright by Joana Jankulla © 2018 2 Acknowledgements First and foremost, I would like to thank my advisor, Professor Joel Christensen. Thank you, Professor Christensen for guiding me through this process, expressing confidence in me, and being available whenever I had any questions or concerns. I would not have been able to complete this work without you. Secondly, I would like to thank Professor Ann Olga Koloski-Ostrow and Professor Cheryl Walker for reading my thesis and providing me with feedback. The Classics Department at Brandeis University has been an instrumental part of my growth in my four years as an undergraduate, and I am eternally thankful to all the professors and staff members in the department. Thank you to my friends, specifically Erica Theroux, Sarah Jousset, Anna Craven, Rachel Goldstein, Taylor McKinnon and Georgie Contreras for providing me with a lot of emotional support this year. I hope you all know how grateful I am for you as friends and how much I have appreciated your love this year. Thank you to my mom for FaceTiming me every time I was stressed about completing my thesis and encouraging me every step of the way. Finally, thank you to Ian Leeds for dropping everything and coming to me each time I needed it. -
"Then Said the Lady Circe: 'So: All Those Trials Are Over. Listen With
5 beauty to ! woe to th( He will nc in ioy, cro the Sirens on their s~ of dead m and flayec keep well with bees should he let the m~ and {oot, so you m shout as your crex and keep What th~ and you plan the tell you, and dart roars ar. the gods Not eve i 30 lies betx piercing dissolvi to sho~ 35 NO toOl as land so shee "Then said the Lady Circe: Midwa ’So: all those trials are over. 2-3 in Circe opens t Listen with care valuable ally, In tl 40 this in lines, she describes in your rr to this, now, and a god will arm your mind. danger that he a~ Square in your ship’s path are Sirens, crying meet on their way home, would UNIT SIX PART 1: THE ODYSSEY 5 beauty to bewitch men coasting by; woe to the innocent who hears that sound! He will not see his lady nor his children in joy, crowding about him~ home from sea; the Sirens will sing his mind away 10 on their sweet meadow lolling. There are bones of dead men rotting in a pile beside them and flayed skins shrivel around the spot. 12 flayed: torn off; stripped. Steer wide; keep well to seaward; plug your oarsmen’s ears with beeswax kneaded soft; none of the rest 14 kneaded (n~’dYd): squeezed and is should hear that song. pressed. But if you wish to listen, 15-21 Circe suggests a way for Odysseus to hear the Sirens safely.