Greek Mythology: Literature Curriculum, Levels C-D [Grades Three and Four]; Teacher's Guide
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The Hellenic Saga Gaia (Earth)
The Hellenic Saga Gaia (Earth) Uranus (Heaven) Oceanus = Tethys Iapetus (Titan) = Clymene Themis Atlas Menoetius Prometheus Epimetheus = Pandora Prometheus • “Prometheus made humans out of earth and water, and he also gave them fire…” (Apollodorus Library 1.7.1) • … “and scatter-brained Epimetheus from the first was a mischief to men who eat bread; for it was he who first took of Zeus the woman, the maiden whom he had formed” (Hesiod Theogony ca. 509) Prometheus and Zeus • Zeus concealed the secret of life • Trick of the meat and fat • Zeus concealed fire • Prometheus stole it and gave it to man • Freidrich H. Fuger, 1751 - 1818 • Zeus ordered the creation of Pandora • Zeus chained Prometheus to a mountain • The accounts here are many and confused Maxfield Parish Prometheus 1919 Prometheus Chained Dirck van Baburen 1594 - 1624 Prometheus Nicolas-Sébastien Adam 1705 - 1778 Frankenstein: The Modern Prometheus • Novel by Mary Shelly • First published in 1818. • The first true Science Fiction novel • Victor Frankenstein is Prometheus • As with the story of Prometheus, the novel asks about cause and effect, and about responsibility. • Is man accountable for his creations? • Is God? • Are there moral, ethical constraints on man’s creative urges? Mary Shelly • “I saw the pale student of unhallowed arts kneeling beside the thing he had put together. I saw the hideous phantasm of a man stretched out, and then, on the working of some powerful engine, show signs of life, and stir with an uneasy, half vital motion. Frightful must it be; for supremely frightful would be the effect of any human endeavour to mock the stupendous mechanism of the Creator of the world” (Introduction to the 1831 edition) Did I request thee, from my clay To mould me man? Did I solicit thee From darkness to promote me? John Milton, Paradise Lost 10. -
The Cosmic Myths of Homer and Hesiod
Oral Tradition, 2/1 (1987): 31-53 The Cosmic Myths of Homer and Hesiod Eric A. Havelock I HOMER’S COSMIC IMAGERY Embedded in the narratives of the Homeric poems are a few passages which open windows on the ways in which the Homeric poet envisioned the cosmos around him. They occur as brief digressions, offering powerful but by no means consistent images, intruding into the narrative and then vanishing from it, but always prompted by some suitable context. A. Iliad 5.748-52 and 768-69 The Greeks in battle being pressed hard by the Trojans, assisted by the god Ares; the goddesses Hera and Athene decide to equalize the encounter by descending from Olympus to help the Greeks. A servant assembles the components of Hera’s chariot: body, wheels, spokes, axle, felloe, tires, naves, platform, rails, pole, yoke are all itemized in sequence, comprising a formulaic account of a mechanical operation: Hera herself attaches the horses to the car. Athene on her side is provided by the poet with a corresponding “arming scene”; she fi nally mounts the chariot and the two of them proceed: 748 Hera swiftly with whip set upon the horses 749 and self-moving the gates of heaven creaked, which the seasons kept 750 to whom is committed great heaven and Olympus 751 either to swing open the thick cloud or to shut it back. 752 Straight through between them they kept the horses goaded-and-driven. 32 ERIC A. HAVELOCK 768 Hera whipped up the horses, and the pair unhesitant fl ew on 769 in midspace between earth and heaven star-studded. -
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 -
Evidence for Lost Dramatic Hypotheses , Greek, Roman and Byzantine Studies, 29:1 (1988:Spring) P.87
FERRIN SUTTON, DANA, Evidence for Lost Dramatic Hypotheses , Greek, Roman and Byzantine Studies, 29:1 (1988:Spring) p.87 Evidence for Lost Dramatic Hypotheses Dana Ferrin Sutton RIOR TO Virgilio Masciadri's recent study of Euripides' Second P Autolycus, l on the basis of Hyginus' Fabula 20 I the consensus omnium had been that the play dealt with Sisyphus' discovery that his cattle were being stolen. Thanks to a clever ruse, he found that Autolycus was the guilty party, and seduced (or even raped) Autoly cus' daughter Anticlea by way of revenge. But Masciadri points out that Johannes Tzetzes (Chil. 8.435-53) preserves evidence for a dif ferent plot: 2 435 'EpfLoV 7TatS' 0 AVT()'AVKOS', 7TaT~p T€ TOV AaEpTov. , ~ , Oil' 'Il'" " 7Ta7T7TOS' TOV (JVUUEWS' TE, 7TEV7JS' (J V7Tapxwv ayav. EK, TOV~ 'EPfLOV ~ xapL-:.ETaL'I'. T7JV'" KI\E7TnK7JV '" T7JV TEXV7JV, KI\E7TTWV,,' KaL" yap fLET7JfLnI'lEV'Q al\l\a""" (JL(JOVS'Illl" aVT"'"" al\l\wv. 'Il' Il" ", Q '"" " Q' , " E(JOKOVV (J OL l\afLl'laVTES Ta U.,.,.WV~ l\afLl'lavnv 7TaI\LV ~.n' , "Q ' 445 OVK" 7J7TaT7]uuaL TOVT'!l TE KaL ETEpa<, l\ap.l'laVELV. tl \ \ I " " "" "- II' I L7T7TOV yap KI\E7TTWV apLUTOV ovov TWV 'I'WOPLWVTWV (JL(JOVS'Illl" E7TOLn'Il' (JOK7JULV EKnvov'~Illl' (JEuWKEvaL. KaL" KOp7JV VVfL.,.,.7JV, "" VEapav''I. KI\E7TTWV, ' EuLuOV, Il 'Il 7Tal\LV' " 7]'" unl\7]vov" ' 7]'" uaTVpov,, YEpovnov, ua7Tpov, n 450 uLfL6v, vwMv, Kat cf>a'AaKp6v, P.V[WaES', TWV avup.6pcf>wv. KaL" 0 7TaT7Jp"'I'. EVOfLL-:.E TOVTOV~ WS''jl uvyaTEpa. -
Worksheet 4. Orpheus and Eurydice (Teacher)
Ovid’s Metamorphoses: A Common Core Exemplar Worksheet 4. Orpheus and Eurydice (teacher) Comparing two versions of the Orpheus and Eurydice story (teacher version) Directions: Use the space below to identify the main similarities of the Orpheus and Eurydice story in the accounts by Ovid and H.D. The basic plot is the same: Orpheus has gone down to the underworld to rescue his wife Eurydice. Because he looks back as they are climbing up, contrary to the mandate of the god, she must return. Now list their differences, using the criteria in the chart below. Under the column headed “So What?” explain why each difference is significant. Additional cells have been included to allow students room to add their own criteria. Ovid’s “Orpheus and Criterion Eurydice” H.D.’s “Eurydice” So What? Begins with the wedding Begins with Eurydice’s Ovid tells the full story Opening of the poem and failure of Hymen to bitter anger at Orpheus from beginning to end. bless it for his arrogance Hymen’s appearance and actions are a foreshadowing of what will happen. H.D. is more focused, telling only a few minutes of the story. Ovid is the omniscient Eurydice speaks in first Ovid is classical, Narrator narrator, telling the story person, clearly expressing relatively restrained in in a measured, her anger and frustration emotion, even in a tale unemotional tone. and using elaborate, involving the underworld, heartfelt descriptions. death, and lost love. H.D. exhibits more of a modern, romantic tone, bursting with resentment and feeling. Orpheus is loving and Orpheus’s personality is Good example of how Attitude of Eurydice brave; he even declares only conveyed through point of view can radically his willingness to die Eurydice’s eyes, and she alter the interpretation of himself if he can’t have views him as “arrogant” a narrative. -
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. -
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. -
7 Butchering Girls
7 BUTCHERING GIRLS Red Riding Hood and Bluebeard For heroines of the ‘innocent slandered maiden’ type we can expect a murder attempt, but the tale does not really centre on the murder episode as such, and the heroine for her part does not do a great deal to avert her fate, although she may show considerable initiative in variants where she is disguised as a man. Other tale-plots are, however, considerably more inclined to indulge an appetite for ghoulish horror, at times apparently for its own sake, and the ‘compassionate executioner’ is not likely to be on standby either. Tales of plucky young girls who elude being devoured or murdered by an animal or human predator are well entrenched in the modern repertoire. The best known are Little Red Riding Hood (Little Redcap) and Bluebeard; both are often felt to be tales of relatively limited distribution and obscure early history. Once more there is a great deal of further exploration still to be done. Red Riding Hood (AT Type 333)1 The Perrault version of Little Red Riding Hood is the first available example of the modern tale, and also the best known: The girl in the red cape has to cross the wood on an errand to her grandmother. In conversation the wolf elicits details of her errand, comes to the grandmother’s house by a different route, and swallows both. Not until the Grimms does there appear to be a happy ending, in which the wolf is forced to disgorge the victims still alive and is then himself killed by having his belly weighted with stones; a second wolf in a clumsy doublet attack is then drowned in a water butt. -
Why Are There Seven Sisters?
Why are there Seven Sisters? Ray P. Norris1,2 & Barnaby R. M. Norris3,4,5 1 Western Sydney University, Locked Bag 1797, Penrith South, NSW 1797, Australia 2 CSIRO Astronomy & Space Science, PO Box 76, Epping, NSW 1710, Australia 3 Sydney Institute for Astronomy, School of Physics, Physics Road, University of Sydney, NSW 2006, Australia 4 Sydney Astrophotonic Instrumentation Laboratories, Physics Road, University of Sydney, NSW 2006, Australia 5 AAO-USyd, School of Physics, University of Sydney, NSW 2006, Australia Abstract of six stars arranged symmetrically around a seventh, and is There are two puzzles surrounding the therefore probably symbolic rather than a literal picture of Pleiades, or Seven Sisters. First, why are the Pleiades. the mythological stories surrounding them, In Greek mythology, the Seven Sisters are named after typically involving seven young girls be- the Pleiades, who were the daughters of Atlas and Pleione. ing chased by a man associated with the Their father, Atlas, was forced to hold up the sky, and was constellation Orion, so similar in vastly sep- therefore unable to protect his daughters. But to save them arated cultures, such as the Australian Abo- from being raped by Orion the hunter, Zeus transformed them riginal cultures and Greek mythology? Sec- into stars. Orion was the son of Poseidon, the King of the sea, ond, why do most cultures call them “Seven and a Cretan princess. Orion first appears in ancient Greek Sisters" even though most people with good calendars (e.g. Planeaux , 2006), but by the late eighth to eyesight see only six stars? Here we show that both these puzzles may be explained by early seventh centuries BC, he is said to be making unwanted a combination of the great antiquity of the advances on the Pleiades (Hesiod, Works and Days, 618-623). -
Mecoptera: Meropeidae): Simply Dull Or Just Inscrutable?
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Center for Systematic Entomology, Gainesville, Insecta Mundi Florida 8-24-2007 Etymology of the earwigfly, Merope tuber Newman (Mecoptera: Meropeidae): Simply dull or just inscrutable? Louis A. Somma University of Florida, [email protected] James C. Dunford University of Florida, Gainesville, FL Follow this and additional works at: https://digitalcommons.unl.edu/insectamundi Part of the Entomology Commons Somma, Louis A. and Dunford, James C., "Etymology of the earwigfly, Merope tuber Newman (Mecoptera: Meropeidae): Simply dull or just inscrutable?" (2007). Insecta Mundi. 65. https://digitalcommons.unl.edu/insectamundi/65 This Article is brought to you for free and open access by the Center for Systematic Entomology, Gainesville, Florida at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Insecta Mundi by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. INSECTA MUNDI A Journal of World Insect Systematics 0013 Etymology of the earwigfly, Merope tuber Newman (Mecoptera: Meropeidae): Simply dull or just inscrutable? Louis A. Somma Department of Zoology PO Box 118525 University of Florida Gainesville, FL 32611-8525 [email protected] James C. Dunford Department of Entomology and Nematology PO Box 110620, IFAS University of Florida Gainesville, FL 32611-0620 [email protected] Date of Issue: August 24, 2007 CENTER FOR SYSTEMATIC ENTOMOLOGY, INC., Gainesville, FL Louis A. Somma and James C. Dunford Etymology of the earwigfly, Merope tuber Newman (Mecoptera: Meropeidae): Simply dull or just inscrutable? Insecta Mundi 0013: 1-5 Published in 2007 by Center for Systematic Entomology, Inc. P. O. Box 147100 Gainesville, FL 32604-7100 U. -
MYTHS R, 44ORSE 'MYTHOLOGY ANNA
NOS0-430 ERIC REPORT RESUME ED 010 139 1 a.09.0.67 24 QRE VI NYTHS,..*LAI MATURE ORR ICULUM: STUDENT VERS IOU. it I TZH ABER RaR60230', &.14IVERS ITV OF mesa* =MESE CRP -Pi 449-10 RR- 5.11360-v40 ..45 ED itS C E MP'S Os 13 HC..424i60 cop it SEVENTH GRADE, *STUDY -GUIDES, *CURRIE Cdi.UN GUIDES, -*LITERATURE* *NYTHOLOGY. - ENGLISH C URRI GUM. -LITERATURE PROGRAMS EUGENE, OREGON PROJECT ENGL. UN, NB4 GRAMMAR PRESENTED- HERE WM A ,STUDY t-S_VI OE: FOR.STUDENT USE; A .-SEWENTHGRADE L/ TER ATUR E CURRI CULUNT I NTROOUCTOLir XATER/AL los PaesENTE0 ON GREEK MYTHS r, 44ORSE 'MYTHOLOGY ANNA :. AMERICAN INDIAN r prIfiquisfeatsivoir GUEST IONS SUGGESTED A CT I VItIES9 AND Ass REFERENCE soft of PITIliS VritE PRESENTED. AN ACCONIANY-INS *GUIDE WAS PREPARED FOR TEACfrIERS EL) 010 140I e: UN/ .0) rave:t e PT.PARThMIT EnUCI1.11%; ante wet rA.RE Office of Education mils document has been reproduced exactly as received from the person or organ:zat:on originating it. Points of view or .op':nions stated do not necessarily represent official -Office of Education position or policy. OREGON CURRICULUM,. STUDY CENTER Trri-S"lir" in 11.3 Literature Curriculum I Studait Version The project reported heksinwas supported through the Cooperative Research Program ofthe Office of Education, U, S. Department of Health,Education, and Welfare. 4 4 r 7777*,\C 1,,IYTHS General. Introduction How was the world made? Where did the first people live? Why are we here? To all of these questions people have sought answers for thousands of years. -
Conference Booklet II
Teacher Training For Classical Teachers SAVING WESTERN CIVILIZATION ONE STUDENT AT A TIME THIRD GRADE LESSON PLAN II LESSON II Latin Saying FIRST CONJUGATION Mater Itáliae — Roma the mother of italy — rome 1 Opening Vocabulary Teacher: Salvete, amici Latinae aqua water aquarium, aqueduct (Hello, friends of Latin) glória glory glorify, glorious Students: Salve, magister / magistra Itália Italy (Hello, teacher) memória memory memorial Teacher: Súrgite (Stand up) Roma Rome victória victory victorious Teacher: Oremus (Let us pray) vita life vitamin All: Table Blessing návigo I sail navigate Music: Christus Vincit paro I prepare preparation specto I look at spectator 2 Recitation - cue words amo Grammar Forms 1st Conjugation - Present Tense 3 Latin Saying present stem: voca- Mater Itáliae — Roma Person Singular Plural The mother of Italy — Rome 1st voco I call vocamus we call This saying is from the Roman 2nd vocas you call vocatis you all call historian Florus. The ideals and 3rd vocat he/she/it calls vocant they call language of Rome became the source of unity for the diverse peoples of the Italian peninsula, and eventually the whole Mediterranean world. NOTE: Itáliae is the genitive singular (possessive) of the noun Itália. The first 12 Lesson II declension will be introduced in Lesson 3. 6 Grammar NOTE: You will notice that the student text used amo last lesson and is using voco this lesson. Students began with amo because it is the traditional model verb of the 1st conjugation, with the phrase "amo, amas, amat" being a Latin saying in its own right. However, voco is a superior model verb because it lacks an a in the stem, allowing students to distinguish more clearly between the stem and ending (e.g., amamus vs.