HYADES Star and Rain Nymphs | Greek Mythology
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Mythic Metamorphosis: Re-Shaping Identity in the Works of H.D. Sarah Lewis Mitchem Thesis Submitted to the Faculty of the Virgin
Mythic Metamorphosis: Re-shaping Identity in the Works of H.D. Sarah Lewis Mitchem Thesis submitted to the faculty of the Virginia Polytechnic Institute and State University in partial fulfillment of the requirements for the degree of Master of Arts in English Thomas Gardner, Chair Frederick M. D’Aguiar Paul Sorrentino April 13, 2007 Blacksburg, Virginia Keywords: H.D., Imagism, Mythic Metamorphoses, Asklepios Copyright (Optional) Mythic Metamorphosis: Re-shaping Identity in the Works of H.D. Sarah Lewis Mitchem Abstract In section fifteen of the poem The Walls Do Not Fall author Hilda Doolittle (H.D.) address her audience and articulates the purpose of the poet in the following lines: “we are the keepers of the secret,/ the carriers, the spinners/ of the rare intangible thread/ that binds all humanity/ to ancient wisdom,/ to antiquity;/…every concrete object/ has abstract value, is timeless/ in the dream parallel” (Trilogy 24). H.D. mined her own life for charged relationships which she then, through writing, connected to the mythic characters of antiquity whose tales embodied the same struggles she faced. Reading concrete objects as universal symbols which transcend time, her mind meshed the 20th century with previous cultures to create a nexus where the questions embedded in the human spirit are alive on multiple planes. The purpose of this research project is not to define her works as “successful” or “unsuccessful,” nor to weigh the works against each other in terms of “advancement.” Rather it is to describe the way she manipulates this most reliable of tools, mythic metamorphosis, in works stretching from her early Imagist poetry, through her long poem Trilogy, and finally into her last memoir End To Torment, taking note of the way she uses this tool to form beauty from harsh circumstances and help heal her shattered psyche. -
Succeeding Succession: Cosmic and Earthly Succession B.C.-17 A.D
Publication of this volume has been made possiblej REPEAT PERFORMANCES in partj through the generous support and enduring vision of WARREN G. MOON. Ovidian Repetition and the Metamorphoses Edited by LAUREL FULKERSON and TIM STOVER THE UNIVE RSITY OF WI S CON SIN PRE SS The University of Wisconsin Press 1930 Monroe Street, 3rd Floor Madison, Wisconsin 53711-2059 Contents uwpress.wisc.edu 3 Henrietta Street, Covent Garden London WC2E SLU, United Kingdom eurospanbookstore.com Copyright © 2016 The Board of Regents of the University of Wisconsin System Preface Allrights reserved. Except in the case of brief quotations embedded in critical vii articles and reviews, no part of this publication may be reproduced, stored in a retrievalsystem, transmitted in any format or by any means-digital, electronic, Introduction: Echoes of the Past 3 mechanical, photocopying, recording, or otherwise-or conveyed via the LAUREL FULKERSON AND TIM STOVER Internetor a website without written permission of the University of Wisconsin Press. Rightsinquiries should be directed to rights@>uwpress.wisc.edu. 1 Nothing like the Sun: Repetition and Representation in Ovid's Phaethon Narrative 26 Printed in the United States of America ANDREW FELDHERR This book may be available in a digital edition. 2 Repeat after Me: The Loves ofVenus and Mars in Library of Congress Cataloging-in-Publication Data Ars amatoria 2 and Metamorphoses 4 47 BARBARA WElDEN BOYD Names: Fulkerson, Laurel, 1972- editor. 1 Stover, Tim, editor. Title: Repeat performances : Ovidian repetition and the Metamorphoses / 3 Ovid's Cycnus and Homer's Achilles Heel edited by Laurel Fulkerson and Tim Stover. PETER HESLIN Other titles: Wisconsin studies in classics. -
The Zodiac: Comparison of the Ancient Greek Mythology and the Popular Romanian Beliefs
THE ZODIAC: COMPARISON OF THE ANCIENT GREEK MYTHOLOGY AND THE POPULAR ROMANIAN BELIEFS DOINA IONESCU *, FLORA ROVITHIS ** , ELENI ROVITHIS-LIVANIOU *** Abstract : This paper intends to draw a comparison between the ancient Greek Mythology and the Romanian folk beliefs for the Zodiac. So, after giving general information for the Zodiac, each one of the 12 zodiac signs is described. Besides, information is given for a few astronomical subjects of special interest, together with Romanian people believe and the description of Greek myths concerning them. Thus, after a thorough examination it is realized that: a) The Greek mythology offers an explanation for the consecration of each Zodiac sign, and even if this seems hyperbolic in almost most of the cases it was a solution for things not easily understood at that time; b) All these passed to the Romanians and influenced them a lot firstly by the ancient Greeks who had built colonies in the present Romania coasts as well as via commerce, and later via the Romans, and c) The Romanian beliefs for the Zodiac is also connected to their deep Orthodox religious character, with some references also to their history. Finally, a general discussion is made and some agricultural and navigator suggestions connected to Pleiades and Hyades are referred, too. Keywords : Zodiac, Greek, mythology, tradition, religion. PROLOGUE One of their first thoughts, or questions asked, by the primitive people had possibly to do with sky and stars because, when during the night it was very dark, all these lights above had certainly arose their interest. So, many ancient civilizations observed the stars as well as their movements in the sky. -
Winter Constellations
Winter Constellations *Orion *Canis Major *Monoceros *Canis Minor *Gemini *Auriga *Taurus *Eradinus *Lepus *Monoceros *Cancer *Lynx *Ursa Major *Ursa Minor *Draco *Camelopardalis *Cassiopeia *Cepheus *Andromeda *Perseus *Lacerta *Pegasus *Triangulum *Aries *Pisces *Cetus *Leo (rising) *Hydra (rising) *Canes Venatici (rising) Orion--Myth: Orion, the great hunter. In one myth, Orion boasted he would kill all the wild animals on the earth. But, the earth goddess Gaia, who was the protector of all animals, produced a gigantic scorpion, whose body was so heavily encased that Orion was unable to pierce through the armour, and was himself stung to death. His companion Artemis was greatly saddened and arranged for Orion to be immortalised among the stars. Scorpius, the scorpion, was placed on the opposite side of the sky so that Orion would never be hurt by it again. To this day, Orion is never seen in the sky at the same time as Scorpius. DSO’s ● ***M42 “Orion Nebula” (Neb) with Trapezium A stellar nursery where new stars are being born, perhaps a thousand stars. These are immense clouds of interstellar gas and dust collapse inward to form stars, mainly of ionized hydrogen which gives off the red glow so dominant, and also ionized greenish oxygen gas. The youngest stars may be less than 300,000 years old, even as young as 10,000 years old (compared to the Sun, 4.6 billion years old). 1300 ly. 1 ● *M43--(Neb) “De Marin’s Nebula” The star-forming “comma-shaped” region connected to the Orion Nebula. ● *M78--(Neb) Hard to see. A star-forming region connected to the Orion Nebula. -
Continuity in Color: the Persistence of Symbolic Meaning in Myths, Tales, and Tropes
Georgia Southern University Digital Commons@Georgia Southern University Honors Program Theses 2016 Continuity in Color: The eP rsistence of Symbolic Meaning in Myths, Tales, and Tropes McKinley May Georgia Southern University Follow this and additional works at: https://digitalcommons.georgiasouthern.edu/honors-theses Part of the Children's and Young Adult Literature Commons Recommended Citation May, McKinley, "Continuity in Color: The eP rsistence of Symbolic Meaning in Myths, Tales, and Tropes" (2016). University Honors Program Theses. 170. https://digitalcommons.georgiasouthern.edu/honors-theses/170 This thesis (open access) is brought to you for free and open access by Digital Commons@Georgia Southern. It has been accepted for inclusion in University Honors Program Theses by an authorized administrator of Digital Commons@Georgia Southern. For more information, please contact [email protected]. Continuity in Color: The Persistence of Symbolic Meaning in Myths, Tales, and Tropes An Honors Thesis submitted in partial fulfillment of the requirements for Honors in the Department of Literature and Philosophy. By McKinley May Under the mentorship of Joe Pellegrino ABSTRACT This paper examines the symbolism of the colors black, white, and red from ancient times to modern. It explores ancient myths, the Grimm canon of fairy tales, and modern film and television tropes in order to establish the continuity of certain symbolisms through time. In regards to the fairy tales, the examination focuses solely on the lesser-known stories, due to the large amounts of scholarship surrounding the “popular” tales. The continuity of interpretation of these three major colors (black, white, and red) establishes the link between the past and the present and demonstrates the influence of older myths and beliefs on modern understandings of the colors. -
THE ARGONAUTIKA He'd Gone on His Vain Quest with Peirithoos: That Couple Would Have Made Their Task's Fulfillment Far Easier for Them All
Book I Starting from you, Phoibos, the deeds ofthose old-time mortals I shall relute, who by way ofthe Black Sea's mouth and through the cobalt-dark rocks, at King Pelias 's commandment, in search of the Golden Fleece drove tight-thwarted Argo. For Pelias heard it voiced that in time thereafter a grim fate would await him, death at the prompting of the man he saw come, one-sandaled, from folk in the country: and not much later-in accordance with your word-Jason, fording on foot the Anauros's wintry waters, saved from the mud one sandal, but left the other stuck fast in the flooded estuary, pressed straight on to have his share in the sacred feast that Pelias was preparing for Poseidon his father, and the rest of the gods, though paying no heed to Pelasgian Hera. The moment Pelias saw him, he knew, and devised him a trial of most perilous seamanship, that in deep waters or away among foreign folk he might lose his homecoming. ,\row singers before 7ny time have recounted how the vessel was fashioned 4 Argos with the guidance of Athena. IW~cctIplan to do now is tell the name and farnib of each hero, describe their long voyage, all they accomplished in their wanderings: may the Muses inspire mnj sinpng! First in our record be Orpheus, whom famous Kalliope, after bedding Thracian Oikgros, bore, they tell us, 44 THE XRGONAUTIKA hard by Pimpleia's high rocky lookout: Orpheus, who's said to have charmed unshiftable upland boulders and the flow of rivers with the sound of his music. -
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. -
Studies in Early Mediterranean Poetics and Cosmology
The Ruins of Paradise: Studies in Early Mediterranean Poetics and Cosmology by Matthew M. Newman A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Classical Studies) in the University of Michigan 2015 Doctoral Committee: Professor Richard Janko, Chair Professor Sara L. Ahbel-Rappe Professor Gary M. Beckman Associate Professor Benjamin W. Fortson Professor Ruth S. Scodel Bind us in time, O Seasons clear, and awe. O minstrel galleons of Carib fire, Bequeath us to no earthly shore until Is answered in the vortex of our grave The seal’s wide spindrift gaze toward paradise. (from Hart Crane’s Voyages, II) For Mom and Dad ii Acknowledgments I fear that what follows this preface will appear quite like one of the disorderly monsters it investigates. But should you find anything in this work compelling on account of its being lucid, know that I am not responsible. Not long ago, you see, I was brought up on charges of obscurantisme, although the only “terroristic” aspects of it were self- directed—“Vous avez mal compris; vous êtes idiot.”1 But I’ve been rehabilitated, or perhaps, like Aphrodite in Iliad 5 (if you buy my reading), habilitated for the first time, to the joys of clearer prose. My committee is responsible for this, especially my chair Richard Janko and he who first intervened, Benjamin Fortson. I thank them. If something in here should appear refined, again this is likely owing to the good taste of my committee. And if something should appear peculiarly sensitive, empathic even, then it was the humanity of my committee that enabled, or at least amplified, this, too. -
THE DIONYSIAN PARADE and the POETICS of PLENITUDE by Professor Eric Csapo 20 February 2013 ERIC CSAPO
UCL DEPARTMENT OF GREEK AND LATIN HOUSMAN LECTURE UCL Housman Lecture THE DIONYSIAN PARADE AND THE POETICS OF PLENITUDE by Professor Eric Csapo 20 February 2013 ERIC CSAPO A.E. Housman (1859–1936) Born in Worcestershire in 1859, Alfred Edward Housman was a gifted classical scholar and poet. After studying in Oxford, Housman worked for ten years as a clerk, while publishing and writing scholarly articles on Horace, Propertius, Ovid, Aeschylus, Euripides and Sophocles. He gradually acquired such a high reputation that in 1892 he returned to the academic world as Professor of Classics at University College London (1892–1911) and then as Kennedy Professor of Latin at Trinity College, Cambridge (1911–1936). Housman Lectures at UCL The Department of Greek and Latin at University College London organizes regular Housman Lectures, named after its illustrious former colleague (with support from UCL Alumni). Housman Lectures, delivered by a scholar of international distinction, originally took place every second year and now happen every year, alternating between Greek and Roman topics (Greek lectures being funded by the A.G. Leventis Foundation). The fifth Housman lecture, which was given by Professor Eric Csapo (Professor of Classics, University of Sydney) on 20 February 2013, is here reproduced with minor adjustments. This lecture and its publication were generously supported by the A.G. Leventis Foundation. 2 HOUSMAN LECTURE The Dionysian Parade and the Poetics of Plenitude Scholarship has treated our two greatest Athenian festivals very differently.1 The literature on the procession of the Panathenaea is vast. The literature on the Parade (pompe) of the Great Dionysia is miniscule. -
Helen of Troy
T H E P O E T I C A L WO R K S A N D R E W L A N G I V OL . V TH E P O E T I CAL Wo rm s * W L A 3 ! d i b N E ted y M rs. L A G I N F 0UR VOLUM ES . VOL V . I With Port r ai n m (J r ee o L o g a l s n 63 L . P a te rn oste r R ow n E C . 39 , Lo don , . 4, N ew Y o rk Tor n to , o Bo m ba Ca c u t ta a nd M a a s y , l , d r $3“ k; on( 9 e! TH E PO ET I C AL WO R K S dited N G E by M r s . LA I N F OUR V OLUM ES V O L . I V 8 Ll O 3 \V ith P or tr a i ’ a tc rn ost r R w do n e o Lo n E C . , , . N ew Y r k T r n t o , o o o B m ba C a c u a a n d M a a s o y , l t t , d r fi %L eff M a d e i n! G r ea t TA BLE OF CON TE N TS V OLUM E I V XV H EL EN OF TR OY D edic a t io n : To a ll Old F ri e nd s The Com i ng ofP a ris Th e S p e ll ofAp h rodite Th e F light ofH e l e n Th e D e a th ofCo ry t h u s Th e \V a r Th e S a c k o fT ro T h e R u n o fH n y . -
The Pleiades Maureen Temple Richmond
Summer 2019 The Pleiades Maureen Temple Richmond Abstract tacle of the seven traditional dancers. Modern telescopy has revealed that the Pleiades star his article, written for enthusiasts of the grouping is in fact comprised of some 300 to T esoteric astrology of Alice A. Bailey, ex- 500 individual stars,2 the collective light amines the effects of the constellation of the which produces a luminous cloud appearing to Pleiades, one of several constellations not lo- contain bright sparkles trapped in filmy veils cated in the zodiacal belt but specified by the of transparent mists. Tibetan Master as significant spiritual sources for evolution in our solar system. In order to How this cluster came to be called the Pleiades understand the emanations of this particular is of interest. It appears that the most likely constellation, the author examines two differ- origin resides in the maternal lineage of the ent views of the Pleiades: the mythological and seven maidens classically associated with this the esoteric. Following up on the dictum artic- constellation in Greek mythology. According ulated by the Tibetan Master that there is more to myth, the seven maidens represented by the real occultism contained in exoteric constella- seven stars of the Pleiades are the daughters of tional myth than has previously been thought, Atlas and his wife, Pleione. Since the seven the text looks at Indigenous North American, came forth from the mother Pleione, her off- spring were thus collectively known by a slight Ancient Mediterranean, and Classical Vedic 3 images of the Pleiades as a representative se- adaptation of her name. -
The Staff of Asclepius Or Hermes Eric Vanderhooft, M.D
aduceus Cthe staff of Asclepius or Hermes Eric Vanderhooft, M.D. The author (AΩA, University of Utah, 1988) is clinical assistant professor in the Department of Orthopedics at the University of Utah, and in private practice at the Salt Lake Orthopedic Clinic. He is also the clinical director of the University Orthopedic Rotation and Family Practice Residency Orthopedic Rotation at HCA St. Mark’s Hospital. he staff entwined by a serpent or serpents is ac- cepted as a common symbol of the medical pro- fession and health care industry. Unfortunately, twoT distinct images exist. The staff with a single snake be- longed to Asclepius, father of western medicine. The staff with two entwined snakes belonged to Hermes, the prince of thieves, and is more commonly seen. A review of 527 professional medical academies, asso- ciations, colleges, and societies revealed that 23 organiza- tions use the staff in their symbolism. The staff of Asclepius outnumbered that of Hermes nearly three-fold, 92 versus 3 organizations respectively. Introduction Hippocrates has come to be considered the father of Western medicine, and, in the United States, a modification of the Hippocratic Oath continues to be recited by graduat- ing medical students. It should therefore be no surprise that Roman statue of Asclepius. © Mimmo Jodice/CORBIS. The Pharos/Autumn 2004 our symbol for medicine, the caduceus, similarly is derived from Greek traditions. Greek healers such as Hippocrates be- lieved they were descended from Asclepius, the mythic phy- sician, and came to be known as Asklepiadai or Asclepiads, “sons of Asclepius.”1p6 Represented variously by the snake, cock, dog, and goat,1p28–32, 2, 3p258 the staff entwined by a single snake is the most recognized symbol of Asclepius.