8 Tales of Lovers.Pdf

Total Page:16

File Type:pdf, Size:1020Kb

8 Tales of Lovers.Pdf NAME ________________________________________________ PAGE 1 Complete this handout as you read “Eight Brief Tales of Lovers” on p.135-159. Pyramus and Thisbe (pronounced PEER-uh-mus and THIZ-bee) What separates Pyramus and Thisbe? How do they plan to be together? How does their plan fail? What natural phenomenon is explained through this story? Does this tale remind you of another famous love story? Hmmm... Orpheus and Eurydice (pronounced OR-fee-us and your-ID-ih-see) What special talent/gift does Orpheus possess? Why? How do these two lovers meet? What happens to Eurydice? What must Orpheus do / where must he go? Is Orpheus successful? Explain. What happens to Orpheus? What natural phenomenon is explained through this story? Can you name a biblical story that has a similar plot? Ceyx and Alcyone (pronounced SEE-iks and al-SIGH-un-ee) What kind of journey must Ceyx undertake? Why is Alcyone concerned? Why is Ceyx happy as he dies? How does Juno (Hera) answer Alcyone’s prayers? Who assists Hera? What natural phenomenon is explained through this story? Pygmalion and Galatea (pronounced pig-MALE-yun and gal-uh-TEE-uh) What is Pygmalion’s occupation? How does he feel about women? Which goddess pities Pygmalion? What does she do? How does this story relate to the musical My Fair Lady? Baucis and Philemon (pronounced BAW-sis and fill-EE-mun) PAGE 2 Describe this couple. Which gods play a role in this tale? How? What becomes of the people in the countryside? What is the couple’s only wish? What lesson can be learned from this tale? What objects are significant in this story? Does this story remind you of a certain Nicholas Sparks novel and film? Endymion (pronounced en-DIH-mee-un) / Selene (pronounced sul-EE-nee) What is Endymion’s occupation? Who admires him? How does she keep him under her loving gaZe? Daphne (pronounced DAFF-nee) Why does Daphne want to avoid the affectionate attention of a god? Who is her father? What does he wish for? Which goddess does Daphne emulate? What is her Greek name? Which god desires her? What becomes of her? How – who helps her? Alpheus and Arethusa (pronounced AL-fee-us and arr-uh-THOOZE-uh) Who does Arethusa emulate? Which god desires her? What becomes of her? How – who helps her? Which geographic phenomenon does this story explain? .
Recommended publications
  • Classic Collection Extrait De Parfum
    classic collection Extrait de Parfum Here they are, inspired by travel notes in a TTPROF/ARE TTPROF/LAU Extrait de Parfum ROUND Extrait de Parfum SQUARE as ancient and well-worn as the knowledge of leather-bound notebook 100 ml - 3,4 fl. oz. 100 ml - 3,4 fl. oz. our craft (passed down for three generations): two new creations, perfumes with notes 66 mm h 97 mm 56x56 mm h 97 mm of memory and soul, perfectly capturing the emotions. These perfumes represent two 2,60 in h 3,82 in 2,20x2,20 in h 3,82 in more steps in this marvellous and ongoing journey, towards the magnificence of fire and emotions of fantastical experiences and encounters. The most carefree and joyful stop on this incredible journey is the beautiful Sicily, where History, Art and Nature are intertwined The most bohemian stop on this unforgettable journey is the mythical Paris during a rainy autumn day, but warm with winding in an enchanting sea of emotions. Wild beaches, ancient ruins and squares surrounded by baroque buildings frame this Mediterranean watercolours, blended as in painting by Renoir. The smell of the rain beating on the slate roof mixes with the stone streets lit by place that embodies one of the most mysterious and, at the same time, oldest of Italian beauties. All the colourful sounds of Sicily dim lights. A small fire at a crossroads of Montmartre heats musicians and acrobats that await tourists after the rain. The magical are enclosed in this exquisite perfume extract. You will find delicious fruits paired with sublime smelling flowers, before reverberating atmosphere is seeped with precious and rare scents that echo the mysterious art of a timeless place.
    [Show full text]
  • Dissertation Master
    APOSTROPHE TO THE GODS IN OVID’S METAMORPHOSES, LUCAN’S PHARSALIA, AND STATIUS’ THEBAID By BRIAN SEBASTIAN A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2013 1 © 2013 Brian Sebastian 2 To my students, for believing in me 3 ACKNOWLEDGMENTS A great many people over a great many years made this possible, more than I could possibly list here. I must first thank my wonderful, ideal dissertation committee chair, Dr. Victoria Pagán, for her sage advice, careful reading, and steadfast encouragement throughout this project. When I grow up, I hope I can become half the scholar she is. For their guidance and input, I also thank the members of my dissertation committee, Drs. Jennifer Rea, Robert Wagman, and Mary Watt. I am very lucky indeed to teach at the Seven Hills School, where the administration has given me generous financial support and where my colleagues and students have cheered me on at every point in this degree program. For putting up with all the hours, days, and weeks that I needed to be away from home in order to indulge this folly, I am endebted to my wife, Kari Olson. I am grateful for the best new friend that I made on this journey, Generosa Sangco-Jackson, who encouraged my enthusiasm for being a Gator and made feel like I was one of the cool kids whenever I was in Gainesville. I thank my parents, Ray and Cindy Sebastian, for without the work ethic they modeled for me, none of the success I have had in my academic life would have been possible.
    [Show full text]
  • The Will of Zeus in the Iliad 273
    Kerostasia, the Dictates of Fate, and the Will of Zeus in the Iliad 273 KEROSTASIA, THE DICTATES OF FATE, AND THE WILL OF ZEUS IN THE ILIAD J. V. MORRISON Death speaks: There was a merchant in Baghdad who sent his servant to market to buy provisions and in a little while the servant came back, white and trembling, and said, “Master, just now when I was in the market-place I was jostled by a woman in the crowd and when I turned I saw it was Death that jostled me. She looked at me and made a threatening gesture; now, lend me your horse, and I will ride away from this city and avoid my fate. I will go to Samarra and there Death will not find me.” The merchant lent him his horse, and the servant mounted it, and he dug his spurs in its flanks and as fast as the horse could gallop he went. Then the merchant went down to the market- place and he saw me standing in the crowd and he came to me and said, “Why did you make a threatening gesture to my servant when you saw him this morning?” “That was not a threatening gesture,” I said, “it was only a start of surprise. I was astonished to see him in Baghdad, for I had an appointment with him tonight in Samarra.”1 The atmosphere of inevitability—most importantly meeting or avoiding death—pervades the Iliad. One encounter seemingly intertwined 1 As told by W. Somerset Maugham, facing the title page of O’Hara 1952.
    [Show full text]
  • Cultic Connections in Pindar's Nemean 1
    Cultic Connections in Pindar’s Nemean 1 This paper argues that Pindar’s evocation of Ortygia as the “hallowed breath of Alpheos” in the opening of Nemean 1 for Chromios of Aitna should be understood as an allusion to a wider network of the cult of the river god, Alpheos, shared by the Syracusans and the Peloponnesians. When Hieron founded Aitna, he recruited 5,000 Peloponnesians and 5,000 Syracusans as its new citizens (Diod. 11.49). Peloponnesian mercenaries moreover served in the armies of Gelon and Hieron and were likely granted Syracusan citizenship (Asheri). Recent scholarship has shown that myths in Pindar can unite communities (Foster), foment political change or maintain the status quo (Kowalzig), and advertise a city’s merits to panhellenic audiences (Hubbard). Understood in a context of Peloponnesian immigration to Sicily, the opening of Nemean 1 refers to Syracusan traditions connecting the Sicilian city not only to Olympia but also to a system of cult worship of Artemis Alpheioa in the Peloponnese. This cultic system emphasizes the shared tradition of the two populations Hieron in particular sought to unite. Interpreters who explain the opening line of Nemean 1 as a reference to Arethusa base their readings on the tradition that the Peloponnesian river Alpheos mixed its waters with the spring of Arethusa on the island of Ortygia in Syracuse (Dougherty, Foster). Literary evidence (Ibycus PMG 323, Paus. 5.7.3) and early Syracusan coinage confirm that Arethusa was an important civic symbol, and suggest that by the late 470s when Pindar composed Nemean 1, the bond between river and spring functioned as a metaphor for the city’s original foundation from Peloponnesians (Dougherty).
    [Show full text]
  • The Ovidian Soundscape: the Poetics of Noise in the Metamorphoses
    The Ovidian Soundscape: The Poetics of Noise in the Metamorphoses Sarah Kathleen Kaczor Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2019 © 2019 Sarah Kathleen Kaczor All rights reserved ABSTRACT The Ovidian Soundscape: The Poetics of Noise in the Metamorphoses Sarah Kathleen Kaczor This dissertation aims to study the variety of sounds described in Ovid’s Metamorphoses and to identify an aesthetic of noise in the poem, a soundscape which contributes to the work’s thematic undertones. The two entities which shape an understanding of the poem’s conception of noise are Chaos, the conglomerate of mobile, conflicting elements with which the poem begins, and the personified Fama, whose domus is seen to contain a chaotic cosmos of words rather than elements. Within the loose frame provided by Chaos and Fama, the varied categories of noise in the Metamorphoses’ world, from nature sounds to speech, are seen to share qualities of changeability, mobility, and conflict, qualities which align them with the overall themes of flux and metamorphosis in the poem. I discuss three categories of Ovidian sound: in the first chapter, cosmological and elemental sound; in the second chapter, nature noises with an emphasis on the vocality of reeds and the role of echoes; and in the third chapter I treat human and divine speech and narrative, and the role of rumor. By the end of the poem, Ovid leaves us with a chaos of words as well as of forms, which bears important implications for his treatment of contemporary Augustanism as well as his belief in his own poetic fame.
    [Show full text]
  • Polyphemus in Pastoral and Epic Poetry Grace Anthony Trinity University, [email protected]
    Trinity University Digital Commons @ Trinity Classical Studies Honors Theses Classical Studies Department 5-2017 The aC nnibal’s Cantations: Polyphemus in Pastoral and Epic Poetry Grace Anthony Trinity University, [email protected] Follow this and additional works at: http://digitalcommons.trinity.edu/class_honors Recommended Citation Anthony, Grace, "The aC nnibal’s Cantations: Polyphemus in Pastoral and Epic Poetry" (2017). Classical Studies Honors Theses. 6. http://digitalcommons.trinity.edu/class_honors/6 This Thesis open access is brought to you for free and open access by the Classical Studies Department at Digital Commons @ Trinity. It has been accepted for inclusion in Classical Studies Honors Theses by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. The Cannibal’s Cantations: Polyphemus in Pastoral and Epic Poetry Grace Anthony A DEPARTMENT HONORS THESIS SUBMITTED TO THE DEPARTMENT OF CLASSICAL STUDIES AT TRINITY UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR GRADUATION WITH DEPARTMENTAL HONORS April 17, 2016 Dr. Corinne Pache, Thesis Advisor Dr. Larry Kim, Department Chair Dr. Tim O’ Sullivan, VPAA Student Agreement I grant Trinity University (“Institution”), my academic department (“Department”), and the Texas Digital Library (“TDL”) the non-exclusive rights to copy, display, perform, distribute and publish the content I submit to this repository (hereafter called “work”) and to make the Work available in any format in perpetuity as part of a TDL, Institution or Department repository communication or distribution effort. I understand that once the Work is submitted, a bibliographic citation to the Work can remain visible in perpetuity, even if the Work is updated or removed.
    [Show full text]
  • Bulfinch's Mythology
    Bulfinch's Mythology Thomas Bulfinch Bulfinch's Mythology Table of Contents Bulfinch's Mythology..........................................................................................................................................1 Thomas Bulfinch......................................................................................................................................1 PUBLISHERS' PREFACE......................................................................................................................3 AUTHOR'S PREFACE...........................................................................................................................4 STORIES OF GODS AND HEROES..................................................................................................................7 CHAPTER I. INTRODUCTION.............................................................................................................7 CHAPTER II. PROMETHEUS AND PANDORA...............................................................................13 CHAPTER III. APOLLO AND DAPHNEPYRAMUS AND THISBE CEPHALUS AND PROCRIS7 CHAPTER IV. JUNO AND HER RIVALS, IO AND CALLISTODIANA AND ACTAEONLATONA2 AND THE RUSTICS CHAPTER V. PHAETON.....................................................................................................................27 CHAPTER VI. MIDASBAUCIS AND PHILEMON........................................................................31 CHAPTER VII. PROSERPINEGLAUCUS AND SCYLLA............................................................34
    [Show full text]
  • Proserpine and Midas
    PROSERPINE & MIDAS Mary Wollstonecraft Shelley MYTHOLOGICAL DRAMAS. PROSERPINE. A DRAMA IN TWO ACTS. DRAMATIS PERSONAE Ceres. Proserpine. Ino, Eunoe Nymphs attendant upon Proserpine. Iris. Arethusa, Naiad of a Spring. Shades from Hell, among which Ascalaphus. Scene; the plain of Enna, in Sicily. PROSERPINE. ACT I. Scene; a beautiful plain, shadowed on one side by an overhanging rock, on the other a chesnut wood. Etna at a distance. Enter Ceres, Proserpine, Ino and Eunoe. Pros. Dear Mother, leave me not! I love to rest Under the shadow of that hanging cave And listen to your tales. Your Proserpine Entreats you stay; sit on this shady bank, And as I twine a wreathe tell once again The combat of the Titans and the Gods; Or how the Python fell beneath the dart Of dread Apollo; or of Daphne’s change,— That coyest Grecian maid, whose pointed leaves Now shade her lover’s brow. And I the while Gathering the starry flowers of this fair plain Will weave a chaplet, Mother, for thy hair. But without thee, the plain I think is vacant, Its blossoms fade,—its tall fresh grasses droop, Nodding their heads like dull things half asleep;— Go not, dear Mother, from your Proserpine. Cer. My lovely child, it is high Jove’s command:— The golden self-moved seats surround his throne, The nectar is poured out by Ganymede, And the ambrosia fills the golden baskets; They drink, for Bacchus is already there, But none will eat till I dispense the food. I must away—dear Proserpine, farewel!— Eunoe can tell thee how the giants fell; Or dark-eyed Ino sing the saddest change Of Syrinx or of Daphne, or the doom Of impious Prometheus, and the boy Of fair Pandora, Mother of mankind.
    [Show full text]
  • Heracles and the Golden Apples of the Hesperides
    Heracles and the Golden Apples of the Hesperides According to Pseudo-Apollodorus (Bibliotheca, 2.5.11) Heracles completed his ten labors in eight years and one month. However, Eurystheus refused to recognize two: the slaying of the Lernaean Hydra (since Hercules' nephew and charioteer Iolaus had helped him) and the cleansing of the Augean stables (because Hercules accepted payment for the labor). Eurystheus ordered an eleventh labor which consisted of fetching the Golden Apples of the Hesperides. The apples were not located in Libya, “as some have said” but they were on Mount Atlas in the land of the Hyperboreans. Gaia had given them as a wedding gift to Zeus when he married Hera. They were guarded by a serpent with one hundred heads and by the Hesperides: Aegle, Erythia, Hesperia and Arethusa. Heracles traveled through Libya, Egypt, Asia, Arabia and Libya again. He then reached Mount Caucasus where he shot the eagle that was devouring the liver of Prometheus and freed him. Prometheus then told him to let Atlas fetch the apples while holding the heavens for the Titan so Heracles went to the land of the Hyperboreans and offered to hold up the heavens while Atlas got the apples. Upon his return Atlas had three apples. However, Atlas attempted to trick Heracles into carrying the sky permanently by offering to deliver the apples himself, as anyone who purposely took the burden must carry it forever or until someone else took it away. Heracles, suspecting Atlas did not intend to return, pretended to agree to Atlas' offer, asking only that Atlas take the sky again for a few moments so Heracles could put a pad on his head.
    [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]
  • Nereids Naiads New Brides.Pdf
    Nereids Naiads New Brides Many are familiar with the rich classical literature inspired by Greek mythology, from Homer’s Iliad and Odyssey to Euripides’ Oedipus Rex. Accounts of ancient myths like these not only gave voice to men’s fears but also justified the patriarchal customs and attitudes prevalent in their society. A deep anxiety among Greek men surrounded women’s sexual passions and the need to control them. Men often viewed unmarried virgins as wild, needing to be tamed through marriage. Men doubted, however, that this would guarantee chastity, and they still feared feminine power through sexuality. Thus, women were bound by strict social expectations that set safeguards for their sexuality through separation and seclusion. The nymph—virginal yet promiscuous, chaste yet hypersexual— embodies this anxiety. The Greek word νύμφη (numphē) not only refers to a mythical being but also a “bride.” The term was used to describe a woman soon to be married or one who had already married but had not yet had her first child. This was a time of transition for girls becoming women, leaving behind their toys for housework and children. Nymphs, too, occupied this transitional space. These sexual females living outside mainstream society represented the sex lives of new brides. This exhibition invites viewers to contemplate the constraints on feminine sexuality in two contexts: in the gynaeceum, or the women’s space of ancient Greece, and in representations of nymphs throughout art history. The gynaeceum illustrates how women were separated from the males of the household, and containing objects that would have populated it in ancient Greece.
    [Show full text]
  • Pindar and Sicilian Nymphs a Healthy Sense of Our Identity
    Pindar and Sicilian Nymphs A healthy sense of our identity – as individuals and as a group – sits upon a scaffold of collective memory. Our all-important sense of ‘belonging’ to a community comes from sharing memories and stories of the past, with those we grew up with, with friends from university, for example, and with fellow members of a broader collective - a town, a state or a country. Current thinking about this ‘social’ memory stresses the importance of localizing it in a material space. (“Who are you?” merges with “Where are you from?”) We anchor our personal and collective memories in a socially specific spatial framework – where we were born, where we went to school etc., what history we inherited. But this contextualization of the self is in trouble. The French historian Pierre Nora, in Lieux de mémoire, a 3-volume work published in 1992, described a phenomenon in France that is familiar to most of us: a historical deracination, the erosion of a common sense of what came before. Human achievements are disembodied now; road signs no longer reinforce a common understanding of the patria. Without a common stock of memories the past is forgotten, supplanted by the bric à brac of the present. So memory has been replaced by commemoration – plaques, monuments, historical sites, theme parks – all serving as entertainment and education, as much for tourists as for natives. Our modern communities are fractured by social mobility, leaving individuals without the comfort of shared stories, songs, and literature that can shape us from a young age as members of a collective.
    [Show full text]