DOCSLIB.ORG

As the Princess' Eyes Remain Fixated Upon the Mirror Whilst the Bristles Of

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
As the Princess' Eyes Remain Fixated Upon the Mirror Whilst the Bristles Of Snake As the princess’ eyes remain fixated upon the mirror whilst the bristles of her comb tickled each strand of her luminescent hair, even the mirror would have wanted to step out of its discrete structure to touch such a complexion; as if handcrafted by Aphrodite herself. Born into a four-wall castle room enriched with the presence of golden ornaments, the worth of Glauce has always been weighted higher than that of gold… but Glauce had never thought of exceeding her world sheathed with walls. The commoners— that Glauce was oblivious to — say that the astonishing princess bathes in goat’s milk to maintain the permanent glow of her fair skin. However, if the princess ever left her chambers to find out about this banter, she would still verify their statements although they were not true. But if only her lustful heart was as fair as her skin. Glauce is not one that needs more love than she already has, yet the ability to thieve any man’s heart is a palpitating passion for this temperamental princess. The kingdom lies beneath her feet, as the princess is aware that the almighty Creon, the ruler of Corinth, is a slave for all the demands of this princess who is enveloped in the mindset that lacks of any reason. She does not feel the absence of her father’s affection, regardless of being born a daughter to a king whom rules a kingdom dominated by men. Simultaneously, Glauce does not feel the lack of love from men in which she takes interest in; those who do not fall for her looks are guaranteed to be magnetised to Glauce’s status and the thought of the wealth a man can pursue by marrying her. This was how she was able to capture the heart of the married man Jason — the claimer of the Golden Fleece— by her side. Her lust for this man of his status was too blinding for her to see that she may be subjected to an unheard-of scheme. For once, the self-centred Glauce slips her gaze away from her beloved mirror and over to her husband whom crawls with the agony and regret of choosing a life of rich banquets whilst his sons lived a life of exile. As Jason repetitively gasps “oh, my children!” in distress throughout his sleep, the young and jealous blood of Glauce boiled. Glauce reflected upon their recent argument, as Jason pleaded for his children’s continued stay… however her feelings of anger towards the children was solid as concrete. Having sons —or heirs— in the land of Greece equalled to the ensured the prosperity of a man in the future. But the thought of Jason’s sons with a sorceress growing up with her and Jason’s future sons irritated this vain princess. Each of Jason's gasps pierces through the sensitive heart of Glauce, wounding her pride and passion. Confused, the princess asks why her husband is living in disappointment with her by his side… why does he need the scraps of his old marriage? The princess rises from her seat in front of the mirror abruptly and storms out of her and Jason’s chamber that is misted with the essence of anything but love. The thought of Jason still loving his children proves the princess as a selfish being for Jason’s passion. Hastily, Glauce stomps towards her father’s chambers, each stomp more vicious with fury than before; maybe Creon’s fatherly love can fill in the gap of the absence of Jason’s passion. As Glauce entered into her father’s spacious domain, Creon’s eyes are instantaneously fixated onto his beloved angel. His face transforms into that of a puppy, looking at his owner Glauce as she rushes to her father’s knees and bursts into a sea of tears. The puppy’s only mission is to bring a smile to his owner’s face, which is Creon’s only mission at this point. Perhaps the old man had nothing to lose other than the fruit of his union with his late wife. Quite maternal he is, unlike the rest of Athenian men; only Creon’s one and only daughter would win more love from him than his divine country. Glauce looked up to her dad’s complexion to explain her worries, but words were not needed for her to explain her sorrows as her affliction was recognisable to a parent’s eye anyway…he was aware of the reason why she was not beside her husband as midnight approached. The cry “banish all those that he loves, do whatever it takes!” from Glauce echoed audibly in the palace corridors, as the king simplistically responded with a nod. Little did the king know that he would be drowning his daughter and himself in dangerous seas… with just a simple nod. He caressed his demure daughter that ached from her vengeance for Jason’s love. Creon, a man of his word, assured the princess that Medea and her children would be exiled into an abyss the following morning; perhaps robbed into their last breath if they refused to do so. The foolish even knew the error in showing sympathy to his daughter… as he is often one to invite disaster after granting wishes. However he was aware that Medea had been making death threats upon the holy household, and his daughter’s worries added fuel to the monstrous deed Creon was about to commit. Glauce regained her tall composure as she rose back onto her feet and departed from her father’s chambers with an emotion perpendicular to what she had entered it with. She doesn't know what to celebrate first: successfully manipulating her father into committing a dangerous deed of dealing with a sorceress or finally being able to attract the lacking passion of Jason by removing the children from the portrait of their family. The cynical princess emerged back into her love chamber and sat back in front of her horrified mirror. She pierced through the mirror with her eyes coloured in a mesmerising blue upon a glance. Yet the mirror did not fail to strike back a pitiful glare upon the princess, after seeing the heartlessness beyond the blue of her eyes. There was only Glauce and her golden belongings within the portrait of the mirror, reflecting that her life was central to nothing else other than a few scraps of metal and herself. The mirror wished it could touch Glauce’s conscience, but preferred that it had the mouth to tell Jason to run away from the grip of this princess… …From this snake. .
Load more

Recommended publications
  • Hesiod Theogony.Pdf
    Hesiod (8th or 7th c. BC, composed in Greek) The Homeric epics, the Iliad and the Odyssey, are probably slightly earlier than Hesiod’s two surviving poems, the Works and Days and the Theogony. Yet in many ways Hesiod is the more important author for the study of Greek mythology. While Homer treats cer- tain aspects of the saga of the Trojan War, he makes no attempt at treating myth more generally. He often includes short digressions and tantalizes us with hints of a broader tra- dition, but much of this remains obscure. Hesiod, by contrast, sought in his Theogony to give a connected account of the creation of the universe. For the study of myth he is im- portant precisely because his is the oldest surviving attempt to treat systematically the mythical tradition from the first gods down to the great heroes. Also unlike the legendary Homer, Hesiod is for us an historical figure and a real per- sonality. His Works and Days contains a great deal of autobiographical information, in- cluding his birthplace (Ascra in Boiotia), where his father had come from (Cyme in Asia Minor), and the name of his brother (Perses), with whom he had a dispute that was the inspiration for composing the Works and Days. His exact date cannot be determined with precision, but there is general agreement that he lived in the 8th century or perhaps the early 7th century BC. His life, therefore, was approximately contemporaneous with the beginning of alphabetic writing in the Greek world. Although we do not know whether Hesiod himself employed this new invention in composing his poems, we can be certain that it was soon used to record and pass them on.
    [Show full text]
  • Child Abuse in Greek Mythology: a Review C Stavrianos, I Stavrianou, P Kafas
    The Internet Journal of Forensic Science ISPUB.COM Volume 3 Number 1 Child Abuse in Greek Mythology: A Review C Stavrianos, I Stavrianou, P Kafas Citation C Stavrianos, I Stavrianou, P Kafas. Child Abuse in Greek Mythology: A Review. The Internet Journal of Forensic Science. 2007 Volume 3 Number 1. Abstract The aim of this review was to describe child abuse cases in ancient Greek mythology. Names like Hercules, Saturn, Aesculapius, Medea are very familiar. The stories can be divided into 3 categories: child abuse from gods to gods, from gods to humans and from humans to humans. In these stories children were abused in different ways and the reasons were of social, financial, political, religious, medical and sexual origin. The interpretations of the myths differed and the conclusions seemed controversial. Archaeologists, historians, and philosophers still try to bring these ancient stories into light in connection with the archaeological findings. The possibility for a dentist to face a child abuse case in the dental office nowadays proved the fact that child abuse was not only a phenomenon of the past but also a reality of the present. INTRODUCTION courses are easily available to everyone. Child abuse may be defined as any non-accidental trauma, On 1860 the forensic odontologist Ambroise Tardieu, neglect, failure to meet basic needs or abuse inflicted upon a referring to 32 cases, made a connection between subdural child by a caretaker that is beyond the acceptable norm of haematoma and abuse. In 1874 a church group in New York childcare in our culture. Abused children found in all 1 City took a child named Mary-Helen from home in which economic, social, ethnic and cultural backgrounds and she was being abused.
    [Show full text]
  • Classical Mythology in the Victorian Popular Theatre Edith Hall
    Pre-print of Hall, E. in International Journal of the Classical Tradition, (1998). Classical Mythology in the Victorian Popular Theatre Edith Hall Introduction: Classics and Class Several important books published over the last few decades have illuminated the diversity of ways in which educated nineteenth-century Britons used ancient Greece and Rome in their art, architecture, philosophy, political theory, poetry, and fiction. The picture has been augmented by Christopher Stray’s study of the history of classical education in Britain, in which he systematically demonstrates that however diverse the elite’s responses to the Greeks and Romans during this period, knowledge of the classical languages served to create and maintain class divisions and effectively to exclude women and working-class men from access to the professions and the upper levels of the civil service. This opens up the question of the extent to which people with little or no education in the classical languages knew about the cultures of ancient Greece and Rome. One of the most important aspects of the burlesques of Greek drama to which the argument turned towards the end of the previous chapter is their evidential value in terms of the access to classical culture available in the mid-nineteenth century to working- and lower- middle-class people, of both sexes, who had little or no formal training in Latin or Greek. For the burlesque theatre offered an exciting medium through which Londoners—and the large proportion of the audiences at London theatres who travelled in from the provinces—could appreciate classical material. Burlesque was a distinctive theatrical genre which provided entertaining semi-musical travesties of well-known texts and stories, from Greek tragedy and Ovid to Shakespeare and the Arabian Nights, between approximately the 1830s and the 1870s.
    [Show full text]
  • LATIN RECITATION LEVEL III and IV 2016
    Latin Recitation – LEVEL III and IV — 2016 Language Fair LATIN RECITATION (BOYS) LEVEL III and IV – HIGH INTERMEDIATE LEVEL Language Fair 2016 The Death of Tiberius Gracchus Tiberius Gracchus, tribūnus plēbis creātus, ā senātū dēscīvit; populī favōrem profūsus largītiōnibus sibi conciliāvit; agrōs plēbī dīvidēbat, prōvinciās novīs colōniīs replēbat. Cum autem tribūnīciam potestātem sibi prōrogārī vellet, viam sibi ad rēgnum parāre vidēbātur. Cum convocātī patrēs dēlīberārent quidnam faciendum esset, statim Tiberius Capitōlium petit, manum ad caput referēns, quō signō salūtem suam populō commendābat. Hoc nōbilitās ita accēpit, quasi diadēma posceret. Segniter cessante cōnsule, Scīpiō Nāsīca sublātā dextrā prōclāmāvit, “Quī rempūblicam salvam esse volunt, mē sequantur!” Dein optimātēs, senātus atque equestris ōrdinis pars maior in Gracchum irruunt, quī fugiēns dēcurrēnsque clīvō Capitōlīnō frāgmentō subselliī ictus, vītam, quam glōriōsissimē dēgere potuerat, immātūrā morte fīnīvit. Fābulae Rōmānae (1993) p. 123 (abridged) Tiberius Gracchus, created tribune of the plebeians, broke away from the Senate; extravagant with gifts, he won over the favor of the people for himself; he divided the fields for the plebeians, he refilled provinces with new settlements. But when he wanted his tribunician power to be extended for himself, he seemed to be preparing a path toward kingship for himself. When the gathered senators were deliberating what should be done, Tiberius immediately headed for the Capitolium, raising his hand to his head, by which signal he entrusted his safety to the people. The nobility took this as if he were demanding a crown. Because the consul was feebly hesitating, Scipio Nasica raised his right hand and shouted, “All those who want the state to be safe should follow me!” Then the upper class, the senate, and the greater part of the equestrian order rushed upon Gracchus, who, fleeing and running down the Capitoline slope, was struck by a piece of a senatorial chair, and ended the life (which he could have spent very well) in an untimely death.
    [Show full text]
  • Medea by Euripides Comprehensive Summary Euripedes' Medea Opens in a State of Conflict. Jason Has Abandoned His Wife, Medea
    Medea by Euripides Comprehensive Summary Euripedes' Medea opens in a state of conflict. Jason has abandoned his wife, Medea, along with their two children. He hopes to advance his station by remarrying with Glauce, the daughter of Creon, king of Corinth, the Greek city where the play is set. All the events of play proceed out of this initial dilemma, and the involved parties become its central characters. Outside the royal palace, a nurse laments the events that have lead to the present crisis. After a long series of trials and adventures, which ultimately forced Jason and Medea to seek exile in Corinth, the pair had settled down and established their family, achieving a degree of fame and respectability. Jason's recent abandonment of that family has crushed Medea emotionally, to the degree that she curses her own existence, as well as that of her two children. Fearing a possible plot of revenge, Creon banishes Medea and her children from the city. After pleading for mercy, Medea is granted one day before she must leave, during which she plans to complete her quest for "justice"--at this stage in her thinking, the murder of Creon, Glauce, and Jason. Jason accuses Medea of overreacting. By voicing her grievances so publicly, she has endangered her life and that of their children. He claims that his decision to remarry was in everyone's best interest. Medea finds him spineless, and she refuses to accept his token offers of help. Appearing by chance in Corinth, Aegeus, King of Athens, offers Medea sanctuary in his home city in exchange for her knowledge of certain drugs that can cure his sterility.
    [Show full text]
  • The Case of Medea - a View of Fetal-Maternal Conflict
    Journal ofMedical Ethics 1997; 23: 19-25 J Med Ethics: first published as 10.1136/jme.23.1.19 on 1 February 1997. Downloaded from The case of Medea - a view of fetal-maternal conflict Matthew C Reid and Grant Gillett University of Otago Medical School, New Zealand Abstract Golden Fleece and flees her homeland. They settle Medea killed her children to take away the smilefrom in Corinth and have two children. However, Jason her husband's face, according to Euripides, an offence scorns and abandons Medea in order to marry (for against nature and morality. What ifMedea had still political motives) Glauce, the daughter of Creon, been canying her two children, perhaps due to give birth King of Corinth. Stateless and alone Medea wreaks within a week or so, and had done the same? If this a terrible revenge. To repay Jason for his betrayal would also have been morally reprehensible, would that and cold-hearted defection, the incensed Medea, be a judgment based on her motives or on her action? having made a pact with Aegeus, King of Athens for We argue that the act has multiple and holistic moral safe refuge, poisons Glauce, Jason's newly-wed wife, features and that, in fact, there is no absolute principle, and her father, Creon. Finally Medea kills her own such as the right ofthefetus to life, which governs our children crying, "I who gave them life will kill moraljudgments aboutfetal-maternal conflicts. We them".3 suggest that they illustrate a pervasive feature ofhuman Medea's act is shocking and violent.
    [Show full text]
  • ARGONAUTIKA the VOYAGE of JASON and the ARGONAUTS March 20–May 5, 2019
    THE S. MARK TAPER FOUNDATION PRESENTS A NOISE WITHIN’S REPERTORY THEATRE SEASON AUDIENCE GUIDE Mary Zimmerman’s ARGONAUTIKA THE VOYAGE OF JASON AND THE ARGONAUTS March 20–May 5, 2019 Pictured: Erika Soto. Photo by Craig Schwartz. TABLE OF CONTENTS Character Map ......................................3 Synopsis ...........................................5 About the Author: Apollonius of Rhodes ..................6 About the Adaptor: Mary Zimmerman ................... 7 History of Jason and the Argonauts: A Timeline ............8 Oral Traditions and Epic Poetry .........................9 Ancient Greek Society ...............................10 Mythical Figures: Gods and Monsters in Greek Tales ....... 11 The Hero’s Journey ..................................12 After the Golden Fleece: Medea .......................14 Themes ...........................................15 Glossary .......................................... 17 Additional Resources ................................19 A NOISE WITHIN’S EDUCATION PROGRAMS MADE POSSIBLE IN PART BY: Ann Peppers Foundation The Jewish Community Capital Group Companies Foundation Michael J. Connell Foundation Kenneth T. and Eileen L. Norris Foundation The Dick and Sally Roberts Coyote Foundation Ralph M. Parsons Foundation Edison International Steinmetz Foundation The Green Foundation Dwight Stuart Youth Fund 3 A NOISE WITHIN 2018/19 REPERTORY SEASON | Spring 2019 Audience Guide Argonautika CHARACTER MAP GODS AND CREATURES Hera Queen of the gods. Vows to always love Jason Athena Aphrodite The goddess of The goddess of love and beauty. wisdom and courage. Helps Hera in a scheme to make She watches over Jason Medea fall in love with Jason Boreas Rumor Eros The god and personification The goddess and personification Aphrodite’s minion. of the North Wind of a spreading rumor or false tale Also known as Cupid Amycus Fury Ghost Dryope Poseidon’s son and an Goddess of vengeance Arrives to tell Alcimede A water nymph infamous boxer of Jason’s journey ARGONAUTS Jason The leader of the Argonauts.
    [Show full text]
  • ARGONAUTIKA the VOYAGE of JASON and the ARGONAUTS March 20–May 5, 2019
    THE S. MARK TAPER FOUNDATION PRESENTS A NOISE WITHIN’S REPERTORY THEATRE SEASON STUDY GUIDE Mary Zimmerman’s ARGONAUTIKA THE VOYAGE OF JASON AND THE ARGONAUTS March 20–May 5, 2019 Pictured: Erika Soto. Photo by Craig Schwartz. STUDY GUIDES FROM A NOISE WITHIN A rich resource for teachers of English, reading, arts, and drama education. Dear Reader, We’re delighted you’re interested in our study guides, designed to provide a full range of information on our plays to teachers of all grade levels. A Noise Within’s study guides include: • General information about the play (characters, synopsis, timeline, and more) • Playwright biography and literary analysis • Historical content of the play • Scholarly articles • Production information (costumes, lights, direction, etc.) • Suggested classroom activities • Related resources (videos, books, etc.) • Discussion themes • Background on verse and prose (for Shakespeare’s plays) Our study guides allow you to review and share information with students to enhance both lesson plans and pupils’ theatrical experience and appreciation. They are designed to let you extrapolate articles and other information that best align with your own curricula and pedagogic goals. More information? It would be our pleasure. We’re here to make your students’ learning experience as rewarding and memorable as it can be! All the best, Alicia Green DIRECTOR OF EDUCATION Pictured: Geoff Elliott, Man of La Mancha, 2017. PHOTO BY CRAIG SCHWARTZ. Lead Sponsors TABLE OF CONTENTS Dick and Sally Roberts Character Map ......................................4 Special thanks to our Dinner On Stage donors who kept the arts thriving this year by Synopsis ...........................................6 supporting our Student Matinees (SMATs): About the Author: Apollonius of Rhodes .................
    [Show full text]
  • Divine Riddles: a Sourcebook for Greek and Roman Mythology March, 2014
    Divine Riddles: A Sourcebook for Greek and Roman Mythology March, 2014 E. Edward Garvin, Editor What follows is a collection of excerpts from Greek literary sources in translation. The intent is to give students an overview of Greek mythology as expressed by the Greeks themselves. But any such collection is inherently flawed: the process of selection and abridgement produces a falsehood because both the narrative and meta-narrative are destroyed when the continuity of the composition is interrupted. Nevertheless, this seems the most expedient way to expose students to a wide range of primary source information. I have tried to keep my voice out of it as much as possible and will intervene as editor (in this Times New Roman font) only to give background or exegesis to the text. All of the texts in Goudy Old Style are excerpts from Greek or Latin texts (primary sources) that have been translated into English. Ancient Texts In the field of Classics, we refer to texts by Author, name of the book, book number, chapter number and line number.1 Every text, regardless of language, uses the same numbering system. Homer’s Iliad, for example, is divided into 24 books and the lines in each book are numbered. Hesiod’s Theogony is much shorter so no book divisions are necessary but the lines are numbered. Below is an example from Homer’s Iliad, Book One, showing the English translation on the left and the Greek original on the right. When citing this text we might say that Achilles is first mentioned by Homer in Iliad 1.7 (i.7 is also acceptable).
    [Show full text]
  • MEDEA: Heroine?
    MEDEA: heroine? Richard P. Martin April 5 2018 1. Ideas of hero –cult: celebrity, seasonal, sacrifices/offerings, tombs (Mycenaean-era re-use), power to hurt or help. See Nagy Best of the Achaeans. 2. Medea and heroization –suggestive evidence cf. Sarah Hitch (CHS site): https://chs.harvard.edu/CHS/article/display/5009 [1.1. Hero Cult in the Argonautica] “The possibility of heroization, both in terms of a blessed afterlife and as cult honors among the living, is made conspicuous for the external audience throughout the journey of the Argo in numerous descriptions of life after death. In the “Catalogue of Heroes,” Caeneus’ living descent under the earth is the subject of epic song (κλείουσιν ἀοιδοί ‘poets tell’, 1.59–64) and Theseus cannot join the crew because he is held under the earth (1.101–104).[14] The apotheosis of Herakles is explicitly explained to the Argonauts, a paradigm for heroization after long struggles for the Argonauts themselves (1.1315– 1320).[15] The prominence given to Orpheus in the “Catalogue of Heroes” and throughout the poem as a sort of religious leader, although never explicitly associated with his famous katabasis, is a tantalizing allusion to his widespread cult status and associations with life after death.[16] Further examples of blessed afterlives are demonstrated to the external audience in Hera’s prediction of the marriage of Achilles {135|136} and Medea in the Elysian Fields, the traditional abode of the blessed (4.811–815), and the narrator’s references to Ganymede (3.115–117) and the failed attempt of Thetis to immortalize Achilles (4.869–880).[17]” ApRhod 4.807-816 (3rd c BC)( Hera to Thetis) I invited all the gods together to the wedding feast and with my own hands raised the marriage torch, in return for that kindhearted respect of yours.
    [Show full text]
  • Homeric Catalogues Between Tradition and Invention
    31 DOI:10.34616/QO.2019.4.31.54 Quaestiones Oralitatis IV (2018/2019) Isabella Nova Università Cattolica di Milano [email protected] ORCID: 0000-0002-7880-4856 HOMERIC CATALOGUES BETWEEN TRADITION AND INVENTION Abstract This contribution aims at showing how a traditional list of names could be varied by poets with the addition of new ones sharing the same features, with a special focus on the Nereids’ names. A compari- son between the catalogue of Nereids in the Iliad (XVIII 39–49) and the one in the Theogony (Theog. 243–264) shows that whilst some names are traditional and some others seem to be invented ad hoc, they all convey relaxing images (sea, nature, beauty, or gifts for sailors). This list of names did not become a fixed one in later times either: inscriptions on vase-paintings of the 5th century preserve names different than the epic ones. Even Apollodorus (I 2, 7) gives a catalogue of Nereids derived partly from the Iliad and partly from the Theogony, with the addition of some names belonging to another group of deities (the Oceanids) and other forms unattested elsewhere but with the same features of the epic ones. A further comparison between a catalogue of Nymphs in the Georgics (IV 333–356) and its reception in the work of Higynus proves that adding new names to a traditional list is a feature not only of oral epic poetry, but also of catalogues composed in a literate culture. Keywords: Homer, Iliad, Hesiod, Theogony, Apollodorus, Virgil, Hyginus, reception of Homer, vase-paintings, catalogues, Nereids, speaking-names, oral culture, orality 32 Isabella Nova This paper will consider the ancient lists of the Nereids’ names, making a comparison between catalogues in epic po- etry, which were orally composed, and their reception in clas- sical times.
    [Show full text]
  • [PDF]The Myths and Legends of Ancient Greece and Rome
    The Myths & Legends of Ancient Greece and Rome E. M. Berens p q xMetaLibriy Copyright c 2009 MetaLibri Text in public domain. Some rights reserved. Please note that although the text of this ebook is in the public domain, this pdf edition is a copyrighted publication. Downloading of this book for private use and official government purposes is permitted and encouraged. Commercial use is protected by international copyright. Reprinting and electronic or other means of reproduction of this ebook or any part thereof requires the authorization of the publisher. Please cite as: Berens, E.M. The Myths and Legends of Ancient Greece and Rome. (Ed. S.M.Soares). MetaLibri, October 13, 2009, v1.0p. MetaLibri http://metalibri.wikidot.com [email protected] Amsterdam October 13, 2009 Contents List of Figures .................................... viii Preface .......................................... xi Part I. — MYTHS Introduction ....................................... 2 FIRST DYNASTY — ORIGIN OF THE WORLD Uranus and G (Clus and Terra)........................ 5 SECOND DYNASTY Cronus (Saturn).................................... 8 Rhea (Ops)....................................... 11 Division of the World ................................ 12 Theories as to the Origin of Man ......................... 13 THIRD DYNASTY — OLYMPIAN DIVINITIES ZEUS (Jupiter).................................... 17 Hera (Juno)...................................... 27 Pallas-Athene (Minerva).............................. 32 Themis .......................................... 37 Hestia
    [Show full text]