The Routledge Handbook of Greek Mythology the Rise of Zeus And
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The Myth of the Messenger Jules Cashford
ARAS Connections Issue 3, 2011 Figure 1 The Etruscan Hermes. Terracotta statue head. Museo Nazionale di Villa Giulia, Rome. C. 500 BC. The Myth of the Messenger Jules Cashford The images in this paper are strictly for educational use and are protected by United States copyright laws. Unauthorized use will result in criminal and civil penalties. 1 ARAS Connections Issue 3, 2011 The German novelist Thomas Mann, in his address on the occasion of Freud’s 80 th birthday, spoke of myth as offering a “smiling knowledge of eternity” – such, perhaps, as is evoked by this Etruscan Hermes of 500 BC (1936, p. 89) It is impossible to define Imagination since the only definition we can make is that we are far from it when we talk about it. It is perhaps a power so ultimate that only its own numinous images can call it forth, as though we have, as it were, to ask the Imagination to imagine itself. We might say that whenever there is numinosity – a coming alive of divine presence – literally, the “nod” or “beckoning” of a god – whenever an image becomes translucent to a reality beyond itself, we are in the presence of Imagination. The images that come towards us – as divinities, daimons, soul-birds, angels, geniuses, muses – are all figures who bring messages from afar or beyond, from the heights or the depths – the realms where consciousness may not go, yet on which it rests and through which it grows. “Wisdom first speaks in images,” W. B. Yeats, says (1961, p. 95). The role of “the messenger” is to go between, and so to connect, two terms – gods or persons or worlds or states of being. -
Macedonian Kings, Egyptian Pharaohs the Ptolemaic Family In
Department of World Cultures University of Helsinki Helsinki Macedonian Kings, Egyptian Pharaohs The Ptolemaic Family in the Encomiastic Poems of Callimachus Iiro Laukola ACADEMIC DISSERTATION To be publicly discussed, by due permission of the Faculty of Arts at the University of Helsinki in auditorium XV, University Main Building, on the 23rd of September, 2016 at 12 o’clock. Helsinki 2016 © Iiro Laukola 2016 ISBN 978-951-51-2383-1 (paperback.) ISBN 978-951-51-2384-8 (PDF) Unigrafia Helsinki 2016 Abstract The interaction between Greek and Egyptian cultural concepts has been an intense yet controversial topic in studies about Ptolemaic Egypt. The present study partakes in this discussion with an analysis of the encomiastic poems of Callimachus of Cyrene (c. 305 – c. 240 BC). The success of the Ptolemaic Dynasty is crystallized in the juxtaposing of the different roles of a Greek ǴdzȅǻǽǷȏȄ and of an Egyptian Pharaoh, and this study gives a glimpse of this political and ideological endeavour through the poetry of Callimachus. The contribution of the present work is to situate Callimachus in the core of the Ptolemaic court. Callimachus was a proponent of the Ptolemaic rule. By reappraising the traditional Greek beliefs, he examined the bicultural rule of the Ptolemies in his encomiastic poems. This work critically examines six Callimachean hymns, namely to Zeus, to Apollo, to Artemis, to Delos, to Athena and to Demeter together with the Victory of Berenice, the Lock of Berenice and the Ektheosis of Arsinoe. Characterized by ambiguous imagery, the hymns inspect the ruptures in Greek thought during the Hellenistic age. -
Athena from a House on the Areopagus
ATHENA FROM A HOUSE ON THE AREOPAGUS (PLATES 107-112) E XCAVATIONS in 1970 and 1971 in the Athenian Agora revealed a remarkablecol- lection of sculpture from one of the largest of the late Roman houses on the slopes of the Areopagus.1This house, now called House C, was built in the 4th century after Christ with a spaciousplan includingtwo peristylecourts, and it was filled with Greek and Roman marble sculpturesof exceptional quality.2Two significantworks from the house have been I It is a pleasure to acknowledgethe cooperationof H. A. Thompson, T. L. Shear,Jr., and J. McK. Camp II of the Agora Excavationsand Museum, M. Brouskariof the AkropolisMuseum, N. Peppa-Delmouzouof the Epigraphical Museum, and K. Krystalli-Votsi of the National ArchaeologicalMuseum in Athens for allowing me to study and photograph the sculptures included here. I am especially grateful to Evelyn B. Harrison for her continuing encouragementand for permission to publish the Agora material, and to the AmericanSchool of Classical Studies at Athens for its friendly assistance. Works frequentlycited are abbreviatedas follows: Bieber, Copies = M. Bieber, Ancient Copies: Contributionsto the History of Greek and Roman Art, New York 1977 Boardman,GSCP = J. Boardman,Greek Sculpture: The ClassicalPeriod, New York 1985 Karouzou = S. Karouzou, National ArchaeologicalMuseum: Collection of Sculpture. A Cata- logue, Athens 1968 Lawton = C. L. Lawton, Attic Document Reliefs of the Classicaland Hellenistic Periods, diss. PrincetonUniversity, 1984 Leipen = N. Leipen, Athena Parthenos:A Reconstruction,Toronto 1971 Meyer = M. Meyer, Die griechischen Urkundenreliefs,AM Beiheft 13, Berlin 1989 Richter, SSG4 = G. M. A. Richter, The Sculptureand Sculptorsof the Greeks,4th ed., New Haven 1970 Ridgway, FCS = B. -
The Birds and Plato's Symposium.Pdf
Baquerizo 1 Olivia M. Baquerizo ([email protected]) CAMWS 2021, Plato Panel Fordham Univeristy Friday, April 9 Aetiologies of Eros: The Birds and Plato’s Symposium abstract: https://camws.org/sites/default/files/meeting2021/abstracts/2389AetiologiesofEros.pdf Ephialtes and Otus in the Platonic Aristophanes’ Speech 1. Ephialtes and Otus in the Symposium (190b.5-190c) trans. Nehamas and Woodruff ἦν οὖν τὴν ἰσχὺν δεινὰ καὶ τὴν ῥώμην, καὶ τὰ In strength and power, therefore, they were φρονήματα μεγάλα εἶχον, ἐπεχείρησαν δὲ τοῖς θεοῖς, terrible, and they had great ambitions. They καὶ ὃ λέγει Ὅμηρος περὶ Ἐφιάλτου τε καὶ Ὤτου, περὶ made an attempt on the gods, and homer’s ἐκείνων λέγεται, τὸ εἰς τὸν οὐρανὸν ἀνάβασιν story about Ephiatles and Otus was ἐπιχειρεῖν ποιεῖν, ὡς ἐπιθησομένων τοῖς θεοῖς originally about them: how they tried to make an ascent to heaven so as to attack the gods. 2. Ephialtes and Otus in the Odyssey (11.306-20) trans. A. S. kline τὴν δὲ μετ᾽ Ἰφιμέδειαν, Ἀλωῆος παράκοιτιν Next I saw Iphimedeia, Aloeus’ wife, who εἴσιδον, ἣ δὴ φάσκε Ποσειδάωνι μιγῆναι, claimed she had slept with Poseidon. She καί ῥ᾽ ἔτεκεν δύο παῖδε, μινυνθαδίω δ᾽ ἐγενέσθην, too bore twins, short-lived, godlike Otus and Ὦτόν τ᾽ ἀντίθεον τηλεκλειτόν τ᾽ Ἐφιάλτην, famous Ephialtes, the tallest most handsome οὓς δὴ μηκίστους θρέψε ζείδωρος ἄρουρα men by far, bar great Orion, whom the καὶ πολὺ καλλίστους μετά γε κλυτὸν Ὠρίωνα: 310 fertile Earth ever nourished. They were ἐννέωροι γὰρ τοί γε καὶ ἐννεαπήχεες ἦσαν fifteen feet wide, and fifty feet high at nine εὖρος, ἀτὰρ μῆκός γε γενέσθην ἐννεόργυιοι. -
Myth and Reality in the Battle Between the Pygmies and the Cranes in the Greek and Roman Worlds
ARTÍCULOS Gerión. Revista de historia Antigua ISSN: 0213-0181 http://dx.doi.org/10.5209/GERI.56960 Myth and Reality in the Battle between the Pygmies and the Cranes in the Greek and Roman Worlds Asher Ovadiah1; Sonia Mucznik2 Recibido: 19 de septiembre de 2016 / Aceptado: 23 de marzo de 2017 Abstract. Ancient writers, such as Homer, Aesop, Hecataeus of Miletus, Herodotus, Aristotle, Philostratus, Pliny the Elder, Juvenal and others have often referred to the enmity and struggle between the Pygmies and the Cranes. It seems that this folk-tale was conveyed to the Greeks through Egyptian sources. Greek and Roman visual works of art depict the Pygmies fighting against the vigorous and violent attack of the birds, which in some cases was vicious. This article sets out to examine the reasons for the literary and artistic portrayals of the Battle between the Pygmies and the Cranes (Geranomachy) in the context of the migration of the cranes in the autumn from the Caucasus (Scythian plains) to Central (Equatorial) Africa. In addition, an attempt will be made to clarify whether the literary sources and visual works of art reflect myth and/or reality. Keywords: Egypt; Ethiopia; Geranomachy; Migration; Nile; Scythia; Trojans. [en] Mito y realidad en la batalla entre los pigmeos y las grullas en el mundo griego y romano Resumen. Escritores antiguos, tales como Homero, Esopo, Hecateo de Mileto, Herodoto, Aristóteles, Filóstrato, Plinio el Viejo, Juvenal y otros se refirieron frecuentemente a la enemistad y guerra entre los pigmeos y las grullas. Es posible que este cuento popular fuese transmitido a los griegos a través de fuentes egipcias. -
Chapter Five: Cupid and Psyche
Chapter Five: Cupid and Psyche (from Mythology for Today Hamilton’s Mythology) 1. Venus becomes jealous because Psyche’s surpassing beauty has transfixed all the mortals, so that they forget Venus, and neglect her temples and altars. 2. Venus plans to have her son, Cupid, shoot Psyche with a love arrow, so that Psyche will fall in love with a hideous creature. Venus’ plan fails because Cupid himself falls in love with the beautiful Psyche. 3. Psyche’s father believes that he must leave her on the summit to be claimed by her serpent‐husband, for this is what he has been told by the Oracle of Apollo. However, the truth is that Cupid has arranged this himself, so that he can carry Psyche away as his own bride. 4. Her sisters become jealous of Psyche’s superior riches and treasures. 5. Psyche is torn between her love for and her faith in her husband, and the doubt and fear her sisters cause her to feel. She is unable to live with the uncertainty of not knowing the truth. 6. When Psyche sees that her husband is a beautiful youth, she feels too ashamed of her suspicion that she is about to plunge the knife intended for him into her own breast. However, her hand trembles and the knife falls. This faltering saves her own life, but also causes her to drip some lamp oil on Cupid, who sees that she has betrayed him and runs away. 7. Psyche is made to separate by kind a huge mixed mass of tiny grains; ants separate them for her. -
Names of Botanical Genera Inspired by Mythology
Names of botanical genera inspired by mythology Iliana Ilieva * University of Forestry, Sofia, Bulgaria. GSC Biological and Pharmaceutical Sciences, 2021, 14(03), 008–018 Publication history: Received on 16 January 2021; revised on 15 February 2021; accepted on 17 February 2021 Article DOI: https://doi.org/10.30574/gscbps.2021.14.3.0050 Abstract The present article is a part of the project "Linguistic structure of binomial botanical denominations". It explores the denominations of botanical genera that originate from the names of different mythological characters – deities, heroes as well as some gods’ attributes. The examined names are picked based on “Conspectus of the Bulgarian vascular flora”, Sofia, 2012. The names of the plants are arranged in alphabetical order. Beside each Latin name is indicated its English common name and the family that the particular genus belongs to. The article examines the etymology of each name, adding a short account of the myth based on which the name itself is created. An index of ancient authors at the end of the article includes the writers whose works have been used to clarify the etymology of botanical genera names. Keywords: Botanical genera names; Etymology; Mythology 1. Introduction The present research is a part of the larger project "Linguistic structure of binomial botanical denominations", based on “Conspectus of the Bulgarian vascular flora”, Sofia, 2012 [1]. The article deals with the botanical genera appellations that originate from the names of different mythological figures – deities, heroes as well as some gods’ attributes. According to ICBN (International Code of Botanical Nomenclature), "The name of a genus is a noun in the nominative singular, or a word treated as such, and is written with an initial capital letter (see Art. -
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. -
Epigraphic Bulletin for Greek Religion 2011 (EBGR 2011)
Kernos Revue internationale et pluridisciplinaire de religion grecque antique 27 | 2014 Varia Epigraphic Bulletin for Greek Religion 2011 (EBGR 2011) Angelos Chaniotis Electronic version URL: http://journals.openedition.org/kernos/2266 DOI: 10.4000/kernos.2266 ISSN: 2034-7871 Publisher Centre international d'étude de la religion grecque antique Printed version Date of publication: 1 November 2014 Number of pages: 321-378 ISBN: 978-2-87562-055-2 ISSN: 0776-3824 Electronic reference Angelos Chaniotis, « Epigraphic Bulletin for Greek Religion 2011 (EBGR 2011) », Kernos [Online], 27 | 2014, Online since 01 October 2016, connection on 15 September 2020. URL : http:// journals.openedition.org/kernos/2266 This text was automatically generated on 15 September 2020. Kernos Epigraphic Bulletin for Greek Religion 2011 (EBGR 2011) 1 Epigraphic Bulletin for Greek Religion 2011 (EBGR 2011) Angelos Chaniotis 1 The 24th issue of the Epigraphic Bulletin for Greek Religion presents epigraphic publications of 2011 and additions to earlier issues (publications of 2006–2010). Publications that could not be considered here, for reasons of space, will be presented in EBGR 2012. They include two of the most important books of 2011: N. PAPAZARKADAS’ Sacred and Public Land in Ancient Athens, Oxford 2011 and H.S. VERSNEL’s Coping with the Gods: Wayward Readings in Greek Theology, Leiden 2011. 2 A series of new important corpora is included in this issue. Two new IG volumes present the inscriptions of Eastern Lokris (119) and the first part of the inscriptions of Kos (21); the latter corpus is of great significance for the study of Greek religion, as it contains a large number of cult regulations; among the new texts, we single out the ‘sacred law of the tribe of the Elpanoridai’ in Halasarna. -
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 Mythology of the Ara Pacis Augustae: Iconography and Symbolism of the Western Side
Acta Ant. Hung. 55, 2015, 17–43 DOI: 10.1556/068.2015.55.1–4.2 DAN-TUDOR IONESCU THE MYTHOLOGY OF THE ARA PACIS AUGUSTAE: ICONOGRAPHY AND SYMBOLISM OF THE WESTERN SIDE Summary: The guiding idea of my article is to see the mythical and political ideology conveyed by the western side of the Ara Pacis Augustae in a (hopefully) new light. The Augustan ideology of power is in the modest opinion of the author intimately intertwined with the myths and legends concerning the Pri- mordia Romae. Augustus strove very hard to be seen by his contemporaries as the Novus Romulus and as the providential leader (fatalis dux, an expression loved by Augustan poetry) under the protection of the traditional Roman gods and especially of Apollo, the Greek god who has been early on adopted (and adapted) by Roman mythology and religion. Key words: Apollo, Ara, Augustus, Pax Augusta, Roma Aeterna, Saeculum Augustum, Victoria The aim of my communication is to describe and interpret the human figures that ap- pear on the external western upper frieze (e.g., on the two sides of the staircase) of the Ara Pacis Augustae, especially from a mythological and ideological (i.e., defined in the terms of Augustan political ideology) point of view. I have deliberately chosen to omit from my presentation the procession or gathering of human figures on both the Northern and on the Southern upper frieze of the outer wall of the Ara Pacis, since their relationship with the iconography of the Western and of the Eastern outer-upper friezes of this famous monument is indirect, although essential, at least in my humble opinion. -
2 the Muse “Former Poets,” and the Problem of the Past
2 The Muse “former poets,” and the problem of the past Past and Present in Archaic Greek Poetry “old” and “new” in pindar In this chapter, I consider the ways in which epinician poetry regards and represents the past. The past plays a complicated role in this genre. It is of great significance for the epinician project: contempo- rary athletic victories recall and invite comparison with the deeds of heroes from the distant past. But the primary and immediate function of epinician poetry is to praise contemporaries—men of the present. Because of this, a tension is set up between past and present as epinician themes. In epinician poetry, a besetting concern is that the past should not eclipse the present. Epinician poetry repeatedly emphasizes a focus on the present as part of its formal program. In Nemean 4, the poet says that typically, victors are praised in their own day, and by their peers. The poet declines to celebrate the victor’s dead uncle, a former victor at the Isthmus, because, he says, the victor’s grandfather is better qualified to do so. “For some belong to one generation, others to another; but each person hopes to speak best of what he himself has encountered” (91–92). Pindar’s odes also contain many internal references to the here- and-now aspect of epinician performance. The poet urges that it is necessary to celebrate “today” [σα µερν, O. 6.28; P. 4.1–2], and prom- ises a song “right now” [νυν , O. 11.11]. He exhorts the Muses to shed splendor, or shoot shafts of song “now” (N.