Dveoieii 'Sorres {Ro1k Llrlds Oq} Lnoqv

Total Page:16

File Type:pdf, Size:1020Kb

Dveoieii 'Sorres {Ro1k Llrlds Oq} Lnoqv wa;1-uollDrls a\D I srolB/!\ orll Jo rlrlds oql dvEoIeII 'sorres {ro1K llrlds oq} lnoqv ',ftesso1g 'lerousD ur sl€luetuelg rols (\Jo 'g role I Eurnlonur suorleJodg lecrEery'V rele I lecr8ery;o sed,(1 'g 'deEolelggo s8uqro^N pu€ ornleN oLlL'7, 'srote 11 oqlJo tprdg eqt :deEolelg 'I SINflINOJ 'e;11 rnod PUB l{llBaq rnor{ errordrut oJ 'elnteu leuortorue rnoL af,ueque o1 lacuer{o JrEIJ puu suorsn 'saqsed\ pue sqreq por8eur 'sqraq gtlrn Surryozn ur eJuetsrsse lsralel6 ro; eqt Jo slurds ressel Jo suorlernfuoc ur 8ur>1onul JoC 'peep eq] Jo sllrtds eqr pue plrol!\rapun eqr Jo sJelqC aqr 'spog lerrlserreJ pue lerlseleC aql SurnBtuof, ur :srele4\ eqt Jo rprdg &.{8tlt E }o ef,uetsrsse eqt roC 'a.nourr"c an.LI aqt;o tlrrdS e 'rale4l SururacuoJ sJeDBtu IIE suJe oB oqm rprdg eqr qtr{\ 3uqro16 SUEJV1)A. EHJ CO JIUIdS IIHJ dVCOIE'IE ELELOGAP, THE SPIRIT OF THE \TATERS Elelogap is a spirit of the True Grimoire, and of the Key o/Solomon delivered by Armadel. The first part of the spirit's name comes from ancient roots meaning'elevated, exalted, high, praised'. It can be seen in the Greek Eleleu, 'praised'whence comes Eleleus, a title of Bacchus (the praised). The equivalent Hebrew root gives us 'Haltelujah': 'God be praised'. It can be seen also in Helel, a Hebrew title of Venus as Morning Star, which is to say Lucifer. An important spirit in several Grimoires is 'Gaap', also called Gap, Goap and even Tap. In some classifications Gaap is one of the Elemental Kings, in others he is the 'guide [the word used can also mean the leader] of the four '!7hi1e principal kings, as mighty as Bileth'. Bileth is counted the first and greatest King among 77 princes of demons in these sources, he is also the first 'V7ater minister of the King of in'The Sworn Book of Honourius the Maglcian' . The Four Elemental Kings were not included among the 77, who indeed answer to them. This permits an interpretation of Bileth as a secondary King 'Water, of to whom Gaap is equal or equivalent. Although references to these Kings are extremely complex and muddled in the late Grimoires, enough is 'S7ater. known to identifi' Gaap as a King of It is likely too that he is descended from the Egyptian god Hapi, also called Hep or Hup. Hap was the God of the Nile and an extremely popular god among Egyptians of all classes with many household shrines. He was worshipped at Nilopolis, and also at the shrines which marked the boating stages, about a hundred in number. The Nile represented also the Celestial 'Waters or'World Ocean in which all existence is afloat, and upon which the stabiliry of all things depends. His name also resembles the Egyptian Qebh, 'cool and refreshing water', which is also a title of the rejuvenated magician. From this it is possible to translate Elelogap as: 'the Higher'Waters', 'Praise be King of the \Taters' or 'Praise the Cool Refreshing'Water', or perhaps most simply: 'Holy'Water'. Hep or Hapi is always represented as a man, but his breasts are those of a woman, indicating the god's powers of fertility and nourishment. The two kingdoms of Egypt, North and South, each had a form of Hapi, that of the South being Hap-Reset, and of the North HapMeht. It is a possibility that the androgynous image of Baphomet was partly inspired bv Hapi of the North. Hapi of the North also appears in the splendid Zodiac of the Ptolemaic temple at Denderah, bearing t'wo vases, representing the Zodiacal Sign of Aquarius. 2 'serSolorusof, snorEIIaJ pue IB)rFBtu ur puts 'saltt snot8rlar uI eloJ ]uelrodur uts seq JeIEA\'uortrppe u1 'sasodrnd relnclrrud ro; ,i,laftullap tsour puu 'sr(uzu, relnorlrud ur Jo 'saculd relnrrlred ruog pefJelloJ JoIBA\ !8upds B Jo tuuarls B 'r{"1 ts 'JaNJ B ruog JelBAl, 'relemuas 'lalelrurel :seJJnos PIo eql;o cr8eru uo sPuErl 'etull IInJ eqr ur asrJB sJslt€tu qJns ,{uuw '(JelE/!\ qrl^\ peuJef,uof, sJaDBru suranoS, oqd\ 'lurds eql ol palrpeJJJu raznod eLIl tB 1ool B rllrllr Suruur8ag 'acuu18 puores B e{Er s(lal oS 'qrnqezleg;o drndap (aqceurqrrul) IBUrrlrrEI puu 'rayltnl .Io ,irndap 'rdarerlSy aru esaqJ 's;elqO ruaralllp o/t\t ol elqlsuodseJ ere oq^r sarlndap oru rapun auo,(1uo eql sr de3o1a1E ]at.lC B Jo saltndap oanr eql Jo euo repun eJE slllds aleurproqns pellur-os eql 'sllelaP Jo lsolu sBeJaq/n\. IBTIIIJJEJaIq aql ul lts Pafulq uBql sJotu st ,arue18 puoJes u, 'de8o1elfl Je o ,(1ry1lts sassed [lruareddu aJrotulJC eqr t13noq1 '11 slnd r{ltcutcrns lEq1lraluos sJIotuIJC aql sE ',Jettsun gllm pelf,auuoJ sJe]tutu surano8, de3o1a1g Suuaprsuoc tlSnoua ,(laturrdordde 'sluet ur spue ,lleraua8 tlcuorddu splJ '(anouu"g puDrD eqt BIA elBlolou a8n;lcnl {eas ro 'qllearn Jo qrrBas ur rlf,elrnBl] grlan lruls Allensn otl,l\) snolJsuor a8eur Jo IErJrJJadns sr slurds esoql ur lsaJatur asoq^\ asoqr dq ,llsue sl eH 'ailouuil} anr,l srurds eql 8urryo^r prBrl puB Pa>loolreno "qt;o IIB;o luulrodul lsotu eqrJo auo sr de3o1a1E 'pootsrapundpadord 'teplooq qql ur ralul pulloJ eq IIIIn aureu aqr Jo Surueeur pue sur8rJo eql Jo uorssnJsrp JequnC THE NATURE AID \TORKINGS OF ELELOGAP There is a traditional classification of spirits, developed in ancient times and reformulated in the Middle Ages, that is very much suited to the spirits of the True Grimoire. This is the classification by Elements. The most familiar form of this is the late medieval reformulation by Agrippa and others. In their thinking the Elementals were comparatively lowly creatures dwelling in the sublunary region (beneath the Moon). In this system Spirits of Fire are 'Water referred to as Salamanders, those of Air as Sylphs, of as Undines, and those of the Earth as Gnomes. Collectively all are referred to as Elementals. In more ancient times the Elemental classification was quite different in many important respects; it extended to entities that others might refer to as gods and angels. So for example, the Spirits of Fire were formed from the fire of the starry region in which they principally dwelt. Similarly the other Elemental spirits were seen as more exalted in nature, and this status has never entirely departed in magic or folklore, despite the classification systems in vogue at any given time. As you may have guessed, Elelogap is no Salamander, but an Undine, and a very powerful and important one. For a practical magician alliance with such a Governor is of enormous advantage, and their relationship will be important and ongoing. Their alliance will assist a great many types of magic, not to mention alchemy, and many aspects of ritual, besides more 'routine' magical activities from purification baths to the making of inks. 'Working with Elelogap involves any magical work concerning water whatsoever. The idea is to adapt your magical work so in future, whenever you take a ritual bath or use water in any occult fashion, Elelogap will be actively assisting you. The precise details of this work will depend on various factors in your life and magical work. Spirit work is ongoing, like any other relationship, and as water forms a large part of much magical work Elelogap will be a spirit you work with regularly. In this way he is one of the best spirits to learn from concerning relationships with spirits, with a complementary effect on relationships with people. This is in accord with the astrological connection of water with the emotional realm. So besides enhancing the effectiveness of 'routine' magical work, working with Elelogap will also have a positive effect on your emotional life. The simplest way to begin this work is by drinking water. This is something many'Westerners do not do enough of anyway, with consequences for their 4 E {Joln un8aq Surnepl 'JeqrJn} acueuadxa arup qleq rno.{. Sunueque ur lseJetur letrads ou e^Eq pue 'paruoor8 11a,r.,i,ra'r ag rq8ru no1 'uortf,eJrp eures aqt ur 'os sa8rn 1n;ranod apnllur 11am r(eru tprds eqr Jo ef,uelsrsse ar{J sr srqr ,{q,r 'esues dpeelo ,{ran uenr8eu aqr s^\oqs de8o1a1fl qtyy\ 11016. pnturds peepur pue eNlISod Lrarr e ur 'esnoq u€elJ ,(ran e daa>1 suortrpeJl eseqt Jo sreuorlpcerd InlsseJJns {lensn 'saprseq eJoru pue 'sereld4ro^ro, pue setuog 'sda}sroop 'Lpoq eqr JoJ 'stuaty IBrurr roJ (seqsen, lecr8eru lenads;o,{tauen a8rul E eAIoAur oopoon sE qJns suortrpeJr 'dpellurrs 'suolrlpBJr Jaqro puB saJrorurJC ur palatunoJue ,\uouruor ore sr{req IEnllU 'a;11 /,11ep Jo ro IErurr 1o rradse uE sE raq}eq^\ 'ssaurlueelr se^lo^ur de3o1a1E gty*r {ro1r\to lradse pre^\roJlq8rerts reqtouv 'no/. ot esolJ uosrad potsnn E ol sE ',lrsauoq pue Lpealc leedg 'reqlre IEruroJ Aleuranxa eq lou paeu pue 'Lyqsrerl prES eq rou 'uo plnoqs slqJ os pue (tJE cr8eru to slesse^ esoql Suruealc ur, Jo ',uorlecgund Jo lrolr\ srqt ur, 'papaau dpq Jo pul{ aqr ,flcads ol alBrrdordde s1 tr q8noua uarJo 'uorlernfuor B ro 'ssarppe aldurs B r{trlr\ reqlra ef,uetsrsse JoJ de3o1a1E >1se '*om' 1erI'eu;o tredse r(ue ut ler'd\ t;f,*H::-Tiin:i'":1u#,"r, ,{laratu sr ro 'rpleaq rnoL enordur noL dlaq or pepllep sBq rllds aqr ag [eur l1 'asuodseJ B Surna8 {a{ll are no,{, 'leJezn Jo} eJrsep rnol, seseerf,ur de3o1a1E grlm Furryorvr pug nol ]I 'pe{o^ur sr deSolelg ereqd\ Ientrr B ur relel\ eqr Sursn esr^\Jer{lo ro SunlurJp eAIoAul pue 'lelezn pue lesse^ aql aredard l,11enru 'sruro; xaldruoc eroru uI 'tI Sur4uup q8norgr JeDeq rueql l\ou{ ol errsap eql ssardxa pue 'ricualod Surrnnar gllrtt Jete^l eqt anqul o1 lurds eqr 4se 'uuo; lsaldurs eqr uI 'ateudordde ro peJrsep se xalduof, sE ro alduls sB aq UBJ srqJ 'du3o1a1E gryn Surryom ul ple 1n;renod E sr relB/y\ arnd Jo Iurrp aldurs y sPoqley{ 'de8o1ayg uo snJoJ sn tal 'ranemog fi\ou Jo{ 'spunoq pue sdeal l,g ryo,r s,uercr8eru aql eJuE^pE III^\ reqr uorleurqurof, lnpamod rtlauranxe uE sr sturds eseLll qloq gllrn 3uqro16'leerueroH tllds legreq eqr pue de3o1a1g qtoq ureruof, suorlerederd IEqJaq aser{l 1Jolv\ r1r1ds Jo sruret uI 'suorlJooep pue suorsn}ul 'sear pqraq :Jotelr\ oAIoAur sarpeueJ IEqJarl tsaldrurs agr 'os1y 'eJII Jo slelluasse eqt Jo euo sr raleA ef,urs 'q8noua snorngo q slql 'r{tleeq Surpre8ar 1n;d1ag osle sr de3o1e1E gllzlt IJo^r.
Recommended publications
  • HOMERIC-ILIAD.Pdf
    Homeric Iliad Translated by Samuel Butler Revised by Soo-Young Kim, Kelly McCray, Gregory Nagy, and Timothy Power Contents Rhapsody 1 Rhapsody 2 Rhapsody 3 Rhapsody 4 Rhapsody 5 Rhapsody 6 Rhapsody 7 Rhapsody 8 Rhapsody 9 Rhapsody 10 Rhapsody 11 Rhapsody 12 Rhapsody 13 Rhapsody 14 Rhapsody 15 Rhapsody 16 Rhapsody 17 Rhapsody 18 Rhapsody 19 Rhapsody 20 Rhapsody 21 Rhapsody 22 Rhapsody 23 Rhapsody 24 Homeric Iliad Rhapsody 1 Translated by Samuel Butler Revised by Soo-Young Kim, Kelly McCray, Gregory Nagy, and Timothy Power [1] Anger [mēnis], goddess, sing it, of Achilles, son of Peleus— 2 disastrous [oulomenē] anger that made countless pains [algea] for the Achaeans, 3 and many steadfast lives [psūkhai] it drove down to Hādēs, 4 heroes’ lives, but their bodies it made prizes for dogs [5] and for all birds, and the Will of Zeus was reaching its fulfillment [telos]— 6 sing starting from the point where the two—I now see it—first had a falling out, engaging in strife [eris], 7 I mean, [Agamemnon] the son of Atreus, lord of men, and radiant Achilles. 8 So, which one of the gods was it who impelled the two to fight with each other in strife [eris]? 9 It was [Apollo] the son of Leto and of Zeus. For he [= Apollo], infuriated at the king [= Agamemnon], [10] caused an evil disease to arise throughout the mass of warriors, and the people were getting destroyed, because the son of Atreus had dishonored Khrysēs his priest. Now Khrysēs had come to the ships of the Achaeans to free his daughter, and had brought with him a great ransom [apoina]: moreover he bore in his hand the scepter of Apollo wreathed with a suppliant’s wreath [15] and he besought the Achaeans, but most of all the two sons of Atreus, who were their chiefs.
    [Show full text]
  • Provided by the Internet Classics Archive. See Bottom for Copyright
    Provided by The Internet Classics Archive. See bottom for copyright. Available online at http://classics.mit.edu//Homer/iliad.html The Iliad By Homer Translated by Samuel Butler ---------------------------------------------------------------------- BOOK I Sing, O goddess, the anger of Achilles son of Peleus, that brought countless ills upon the Achaeans. Many a brave soul did it send hurrying down to Hades, and many a hero did it yield a prey to dogs and vultures, for so were the counsels of Jove fulfilled from the day on which the son of Atreus, king of men, and great Achilles, first fell out with one another. And which of the gods was it that set them on to quarrel? It was the son of Jove and Leto; for he was angry with the king and sent a pestilence upon the host to plague the people, because the son of Atreus had dishonoured Chryses his priest. Now Chryses had come to the ships of the Achaeans to free his daughter, and had brought with him a great ransom: moreover he bore in his hand the sceptre of Apollo wreathed with a suppliant's wreath and he besought the Achaeans, but most of all the two sons of Atreus, who were their chiefs. "Sons of Atreus," he cried, "and all other Achaeans, may the gods who dwell in Olympus grant you to sack the city of Priam, and to reach your homes in safety; but free my daughter, and accept a ransom for her, in reverence to Apollo, son of Jove." On this the rest of the Achaeans with one voice were for respecting the priest and taking the ransom that he offered; but not so Agamemnon, who spoke fiercely to him and sent him roughly away.
    [Show full text]
  • Wulf: Libretto
    WULF: LIBRETTO compiled by Vic Hoyland [Since most of this score uses modern English, it will be acceptable to perform this work using a translation in the country of performance, as well as using segments in the original French, Icelandic, Anglo‐Saxon, Latin, ancient Greek and Scottish Gaelic. Please contact UYMP to discuss any translation of the English text.] Iliad, chapter 18 (of 24): Patroclus, Achilles’ companion, is killed in battle. Achilles’ emotional reaction is extreme. His screams are heard by his mother, Thetis, from the depths of the sea. She calls on her nymphs (Nereids) to come to her son’s aid. “With these the bright cave was filled, and the nymphs all alike, beat their breasts, and Thetis led the lament.” The names of ancient Greek sea nymphs are recalled throughout the work. Part I – WULF 1. Glauke te Thaleia te Kymodoke te Nesaie Speio te Thoe Halia te Kymothoe te kai Actaee kai Limnoreia Kai Melite kai Iera kai Amphithoe kai Agave Doto te Proto te Pherusa Dynamene te Dexamene te Amphinome kai Kallineira Doris kai Panope kai te Galateia Nemertes te kai Apseudes kai Kallinassa Te Klymene Ianeira te kai Ianassa Maera kai Oreithyia te Amatheia.1 5. Protesilaus, Echepolus, Elephenor, Simoisius, Leukos, Democoon, Diores, Pirous, Phegeus, Idaeus, Odios, Phaestus, Scamandrius, Pherecles, Pedaeus, Hypsenor, Astynoos, Hyperion, Abas, Polyidos, Xanthus, Thoon, Echemmnon, Chromius, Pandarus, Deicoon.2 6. Sigmund took his weapons, but Skarphedinn waited the while. Skyolld turned against Grim and Helgʹ, and they fought violently. Sigmund had a helmet on his head and a shield at his side and was girt with a sword, his spear was in his hand; he turns against Skarphedinn, and thrusts at him with his spear, and the thrust struck the shield.
    [Show full text]
  • Treasury of Olympus
    IONIA Treasury of Olympus A Supplement for ZENOBIA by Günter D'Hoogh Written by Günter D'Hoogh © 2004 Additional material and assistance from Paul Elliott. Illustrations by Paul Elliott Acknowledgements It was a pleasure working on this project, being a history teacher it’s a fantastic feeling that it’s quite well possible to merge history and roleplaying together. I hope that the reader as much enjoys playing it as I enjoyed writing this little “Campaign Guide”. I especially want to thank Paul Elliott, the creator of the wonderful ZENOBIA. He has been my mentor, my great help and especially a very good friend who encouraged me when the spirit was low. Thanks Paul for letting me take part in your great adventure, for the editting work, for the maps and drawings, and for the fine articles you wrote in this book! I really hope we’ll see each other someday face-to-face my friend! Günter D’Hoogh 2 THE CONTENTS I INTRODUCTION II THE WORLD OF IONIA III CHARACTER CREATION IV GODS OF OLYMPUS V THE THESSALIAN WITCH VI MONSTERS & WILD ANIMALS VII PHILOSOPHY VIII TREASURES IX LABYRINTHS OF IONIA 3 I INTRODUCTION Ionia is a sleepy mountainous land steeped in history, a land of ancient cities that are home to philosophers, academics, poets and playwrights. Lost and forgotten beneath Ionia are the artefacts and treasures of the Olympian gods, harkening back to the Age of Heroes when Zeus, Ares and Athena walked the earth in disguise, when heroes like Achilles fought with magical invulnerability, when witches like Medea ruled secret enchanted islands.
    [Show full text]
  • Homer the Iliad
    1 Homer The Iliad Translated by Ian Johnston Open access: http://johnstoniatexts.x10host.com/homer/iliadtofc.html 2010 [Selections] CONTENTS I THE QUARREL BY THE SHIPS 2 II AGAMEMNON'S DREAM AND THE CATALOGUE OF SHIPS 5 III PARIS, MENELAUS, AND HELEN 6 IV THE ARMIES CLASH 6 V DIOMEDES GOES TO BATTLE 6 VI HECTOR AND ANDROMACHE 6 VII HECTOR AND AJAX 6 VIII THE TROJANS HAVE SUCCESS 6 IX PEACE OFFERINGS TO ACHILLES 6 X A NIGHT RAID 10 XI THE ACHAEANS FACE DISASTER 10 XII THE FIGHT AT THE BARRICADE 11 XIII THE TROJANS ATTACK THE SHIPS 11 XIV ZEUS DECEIVED 11 XV THE BATTLE AT THE SHIPS 11 XVI PATROCLUS FIGHTS AND DIES 11 XVII THE FIGHT OVER PATROCLUS 12 XVIII THE ARMS OF ACHILLES 12 XIX ACHILLES AND AGAMEMNON 16 XX ACHILLES RETURNS TO BATTLE 16 XXI ACHILLES FIGHTS THE RIVER 17 XXII THE DEATH OF HECTOR 17 XXIII THE FUNERAL GAMES FOR PATROCLUS 20 XXIV ACHILLES AND PRIAM 20 I THE QUARREL BY THE SHIPS [The invocation to the Muse; Agamemnon insults Apollo; Apollo sends the plague onto the army; the quarrel between Achilles and Agamemnon; Calchas indicates what must be done to appease Apollo; Agamemnon takes Briseis from Achilles; Achilles prays to Thetis for revenge; Achilles meets Thetis; Chryseis is returned to her father; Thetis visits Zeus; the gods con-verse about the matter on Olympus; the banquet of the gods] Sing, Goddess, sing of the rage of Achilles, son of Peleus— that murderous anger which condemned Achaeans to countless agonies and threw many warrior souls deep into Hades, leaving their dead bodies carrion food for dogs and birds— all in fulfilment of the will of Zeus.
    [Show full text]
  • Eros and Psyche
    UC-NRLF 111 *B 15 ft 33b EROS AND PSYCHE ROBERT BRIDG 8 1 l^w^^^i^^^^ EX LIBRIS r El ..... _ fefg^M -. 7S3 ] |L ^ __J Digitized by the Internet Archive in 2007 with funding from Microsoft Corporation http://www.archive.org/details/erospsycheOObridrich EROS fe? PSYCHE L'anima semplicetta che sa nulla. Dante. O latest-born, O loveliest vision far Of all Olympus' faded hierarchy. Keats. EROS & PSYCHE > ,> » » > BY >\ i ROBERT BRIDGES // LONDON GEORGE BELL AND SONS 1894 CHISWICK PRESS:—CHARLES WHITTINGHAM AND CO. TOOKS COURT, CHANCERY LANE, LONDON. NOTE This poem was first published in 1885. It has now- been revised throughout, and parts of the first and second cantos rewritten. It is printed in the form originally intended, the divisions corresponding to seasons, months and days. At the end of the volume a note will be found explaining the spelling. , R. B. Yattendon, 1894. 804741 FIRST QUARTER Spring % Tsyche s earthly parentage. Worshipped by men and persecuted by ^Aphrodite, she is loved and carried off by 6ros. r ; EROS & PSYCHE MARCH IN midmost length of hundred-citied Crete, The land that cradl'd Zeus, of old renown, Where grave Demeter nurseried her wheat, And Minos fashion'd law, ere he went down To judge the quaking hordes of HelPs domain, There dwelt a King on the Omphalian plain Eastward of Ida, in a little town. Three daughters had this King, of whom my tale Time hath preserved, that loveth to despise The wealth which men misdeem of much avail, Their glories for themselves that they devise For clerkly is he, old hard-featured Time, And poets' fabPd song, and lovers' rhyme He storeth on his shelves to please his eyes.
    [Show full text]
  • Àrtemis Ortígia
    ÀRTEMIS ORTÍGIA: CULTES, NIMFES I ADVOCACIONS A SIRACUSA JÚLIA ROCAS SUMOY TREBALL DE FI DE GRAU ESTUDIS DE CATALÀ I CLÀSSIQUES (UAB) CURS: 2017/2018 TUTOR: JORDI PÀMIAS Júlia Rocas Sumoy Àrtemis Ortígia: Cultes, Nimfes i Advocacions a Siracusa Treball de Fi de Grau 2018 A TOTS AQUELLS QUE M’HAN AJUDAT A ARRIBAR FINS AQUÍ 1 Júlia Rocas Sumoy Àrtemis Ortígia: Cultes, Nimfes i Advocacions a Siracusa Treball de Fi de Grau 2018 ÍNDEX 1. PREFACI _____________________________________________________________P.3 2. CONTEXTUALITZACIÓ HISTÒRICA____________________________________________P.5 2.1. HISTÒRIA DE LA FUNDACIÓ DE SIRACUSA 2.2. ESTRUCTURA DE LA CIUTAT I RESTES ARQUEOLÒGIQUES 3. ÀRTEMIS A ORTÍGIA______________________________________________________P.8 3.1. MITES DE NAIXEMENT I JOVENTUT 3.2. ADVOCACIONS, CULTES I FESTIVITATS RITUALS 3.3. ESPAIS CONSAGRATS A ÀRTEMIS 3.4. ÀRTEMIS I LES NIMFES 4. LA NIMFA ARETUSA ____________________________________________________P.21 4.1. QÜESTIONS GENERALS 4.2. EL MITE D‟ALFEU I ARETUSA 4.3. ESPAIS CONSAGRATS A ARETUSA 4.4. CULTE I RITUALS DEDICATS A LES NIMFES 5. CONCLUSIONS________________________________________________________P.27 6. ANNEXES____________________________________________________________P.31 6.1. FONTS LITERÀRIES 6.2. FONTS ICONOGRÀFIQUES 6.3. FONTS NUMISMÀTIQUES 7. BIBLIOGRAFIA________________________________________________________P.113 2 Júlia Rocas Sumoy Àrtemis Ortígia: Cultes, Nimfes i Advocacions a Siracusa Treball de Fi de Grau 2018 1. PREFACI Pretendre tractar qualsevol aspecte de la cultura i religió gregues suposa enfrontar-se a una gran quantitat de fonts d‟informació que, o bé presenten dades de l‟època interpretables –d‟acord amb algunes pautes i coneixements previs del tema– a criteri personal, o bé recullen aquestes dades per organitzar-les i teoritzar al seu voltant de manera més o menys concreta.
    [Show full text]
  • Quaestiones Oralitatis II 1 (2016)
    Quaestiones Oralitatis II 1 (2016) QUAESTIONES ORALITATISII 1 (2016) ZMIANY W OBRĘBIE KULTURY ORALNEJ ORAZ PRZY PRZECHODZENIU OD TRADYCJI ORALNEJ DO PIŚMIENNICZEJ Instytut Studiów Klasycznych, Śródziemnomorskich i Orientalnych Pracownia Badań nad Tradycją Oralną Wrocław 2016 Quaestiones Oralitatis Redakcja naukowa II 1 (2016) : Sławomir Torbus Copyright © by Instytut Studiów Klasycznych, Śródziemnomorskich i Orientalnych, Pracowania Badań nad Tradycją Oralną, 2016 ISSN 2449–8181 ISBN 978–83–942433–2–6 Kolegium redakcyjne Karol Zieliński redaktor naczelny Tomasz Mojsik zastępca redaktora naczelnego Ilona Chruściak sekretarz redakcji Redakcja językowa Adjustacja streszczeń angielskich Skład : Małgorzata Zadka Korekta : Ita Hilton : Artur Pacewicz : Alina Seminowicz Adres redakcji Instytut Studiów Klasycznych, Śródziemnomorskich i Orientalnych Pracownia Badań nad Tradycją Oralną ul. Komuny Paryskiej 21, pok. 23 50–451 Wrocław e-mail: [email protected] Wydawca Pracownia Badań nad Tradycją Oralną www.tradycjaustna.uni.wroc.pl SPIS TREŚCI Retoryka i oralność: Od Redakcjiprzypomnienia . 7 Jakub Zdzisław Licha«skiNajstarsze, greckie inskrypcje biesiadne a początki...................................... greckiego alfabetu 11 Marek W¦cowskiIzokrates, pisarz czy mówca? Kilka uwag o kompozycji „Panegiryku” . 27 Joanna Janik, Narratywizacja doświadczenia w historii ustnej przykład „Dziejów” Herodota . 55 Iwona Wie»el, Oralne fundamenty wielkanocnej wiary Kościoła zarys perspektywy . 75 Eligiusz Piotrowski„Historia, Brittonum” między oralnością
    [Show full text]
  • Anihb Opol Ogical Records
    ANI HB OPOL OGICAL RECORDS 11:2 A MOHAVE HISTORICAL EPIC BY A. L. KROEBER UNIVERSITY OF CALIFORNIA PRESS BERKELEY AND LOS ANGELES CALIFORNIA West of River East of River 1 Hamulye-ttieme 2 Amat-kuvataqanye A Miakwa orve 4 Arnata-hotave ........ 5 Hanemo- 'ara 6 Aksam-kusaveve....... 7 &okupita-to8ompove ...... B Avi-kutaparve ..... 8 Avi-itlierqe -+A 18o-kuva'ire. 1 KwilyeE)ki 2 Avi-tutara....... 3 Nyamasave-kwahave C Avi-kwa-'ahwata 6 Aqwer-tunyive SCT 7 Ahtlye~- 'samata 9 Amat-kukyeta.......... B Qara'erve Rc2ry'vile 10 Hukelyeme 10 Aha-kwae)o'ilye lOx Malyko-vet!ierqe 5 11 Huk0ara-tsimanive C Selye'aye-kumitle 12 Ahmo-ke-tlimpape +- D Sukwily-'ihu 2 M 13 Muhunyake 12 Aha-havasu NT QO E Aqwaq-iove 6.0~R 14 Hanyo-kumas8)eve 9........ 15 Kuya-k-aqwaEGa O6 15x Mobilye-halye-tapmevelo D Mat-aqwaE)-kutyepe .-4 F Selye'aye-tumatt ~-Mhv 17 Amai-nye-qotase 18 Aha-kevare E Hokusave G Kamahnulye E, 16 Oyatr-ukyulyuve 17 Akatai-vasalyve \ ............ F Hattioqvatveve -.H (Aha-so8ape 3.0....OO Hx Aha-kuma9)e'e ........ 20 Vanyor-ivava 20a Kamus-huvutatte - 328NAR 20b Akyase-t-EOitlive 21 Aha-tsepuve 23 2la I-x -tulkoro . 8R G Amat-kusayi if-.I Qav-kuivahaX. 35 Ix Hamka-vaaulveX 20 Av'a-eemulye o- 22 TS'ies-ivave 23 Aha-'anya .. ..... H Avi-haly-kwa'ampa -.J Amat-tasilyke .... ji Jx Ae'i-kupome Hbo24F 24 Sa ontlive, Seqwaltiive 4 24a Ahahta 25 Aha-kupinye, -kuminye ...........P5 PO 21 Selye 'aye-ittierqe .0 26 Aqaq-nyi-va 3-.**~~ 22 Amat-kaputior-a, -ilyase 25 Ihne-va'uve~ ~~~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~~~~~~2.
    [Show full text]
  • This Thesis Is an Analysis of Achilles and Andromache in Homer's Iliad
    ACHILLES AND ANDROMACHE: GENDER AMBIGUITY IN MOTIF, NARRATIVE, AND FORMULA BY SEAN NICHOLAS SIGNORE UNDER THE DIRECTION OF NANCY FELSON ABSTRACT This thesis is an analysis of Achilles and Andromache in Homer’s Iliad employing the formulaic theories of Milman Parry, Bakhtin, modern narratology, and deixis. These methodologies illuminate correlations between these seemingly different characters by commonalities within epic diction: the motif of Eetion, the shared narrative sequence of lamentation, and shared paradigmatic formula. In chapter one, Eetion marks a triadic relationship with Achilles, Andromache and Hector, in which if Achilles survived the war, he would have led Andromache off as wife, fulfilling his earlier loss of Briseis. In chapter two, Achilles and Andromache are shown to share the same narrative lament sequence; Achilles’ narrative is borrowed from a traditionally feminine one. In chapter three, Achilles shares the formula daimoni isos with Andromache in the modified mainadi ise, indicating not only parallel poetic descriptions in battle and lamentation, respectively, but also transcendence to a divine status. INDEX WORDS: Greek Poetry, Homer, Achilles, Andromache, Milman Parry, Bakhtin, Narratology, Oral Poetry, Eetion, Lamentation. ACHILLES AND ANDROMACHE: GENDER AMBIGUITY IN MOTIF, NARRATIVE, AND FORMULA BY SEAN NICHOLAS SIGNORE B.A., BRANDEIS UNIVERSITY, 2002 A THESIS SUBMITTED TO THE GRADUATE FACULTY OF THE UNIVERSITY OF GEORGIA IN PARTIAL FULLFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF ARTS ATHENS, GEORGIA AUGUST 2007 © 2007 Sean Nicholas Signore All rights reserved ACHILLES AND ANDROMACHE: GENDER AMBIGUITY IN MOTIF, NARRATIVE, AND FORMULA BY SEAN NICHOLAS SIGNORE Major Professor : Nancy Felson Committee: Jared Klein Nicholas Rynearson Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia August 2007 iv For Nayantara v ACKNOWLEDGEMENTS This thesis would not have come to fruition without the shoulders of giants and the support of many.
    [Show full text]
  • The Iliad of Homer
    THE ILIAD OF HOMER Rendered into English Prose for the use of those who cannot read the original by Samuel Butler BOOK I The quarrel between Agamemnon and Achilles--Achilles withdraws from the war, and sends his mother Thetis to ask Jove to help the Trojans--Scene between Jove and Juno on Olympus. Sing, O goddess, the anger of Achilles son of Peleus, that brought countless ills upon the Achaeans. Many a brave soul did it send hurrying down to Hades, and many a hero did it yield a prey to dogs and vultures, for so were the counsels of Jove fulfilled from the day on which the son of Atreus, king of men, and great Achilles, first fell out with one another. And which of the gods was it that set them on to quarrel? It was the son of Jove and Leto; for he was angry with the king and sent a pestilence upon the host to plague the people, because the son of Atreus had dishonoured Chryses his priest. Now Chryses had come to the ships of the Achaeans to free his daughter, and had brought with him a great ransom: moreover he bore in his hand the sceptre of Apollo wreathed with a suppliant's wreath, and he besought the Achaeans, but most of all the two sons of Atreus, who were their chiefs. "Sons of Atreus," he cried, "and all other Achaeans, may the gods who dwell in Olympus grant you to sack the city of Priam, and to reach your homes in safety; but free my daughter, and accept a ransom for her, in reverence to Apollo, son of Jove." On this the rest of the Achaeans with one voice were for respecting the priest and taking the ransom that he offered; but not so Agamemnon, who spoke fiercely to him and sent him roughly away.
    [Show full text]
  • (Ναϊάδες). Naiads Were Nymphs of Fresh-Water Rivers, Lakes, Wells And
    N Naiads (Ναϊάδες). Naiads were nymphs of fresh-water rivers, lakes, wells and fountains, belonging to the pantheon of nature deities who represented various features of the natural world. The Naiads tended to personify the particular spring or stretch of water which they inhabited, and became inseparably identified with their specific locality; because every town and village honoured its own particular spring or river, the presiding spirits were important to genealogists in the ancient world. Many ruling families claimed legendary descent from a Naiad, emphasising the connection between a noble house and its locale, and thus its entitlement to the land. In Sparta for example the eponymous Lacedaemon married Sparta, a grand-daughter of the Naiad Cleocharia, in Athens Erichthonius married the Naiad Praxithea by whom he had a son Pandion, and in Argos the ill-fated children of *Thyestes were born of a Naiad. Other mythographers used complex stories to explain geographical puzzles, such as the myth of the Naiad *Arethusa which accounted for the identical names of springs as far apart as Elis and Sicily; the Naiad *Cyrene, beloved of Apollo, was the daughter of the river god Peneius in Thessaly, and eventually gave her name to the city in Libya. In Homer the Naiads are given as the daughters of Zeus, whereas other sources explain them as the daughters of Oceanus or of the river with which they are associated. They lived as long as the lakes and springs with which they were associated continued to flow, and, as might be expected of water nymphs, were often represented as sexually dangerous.
    [Show full text]