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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. -
The Marriage of Peleus & Thetis
The Marriage of Peleus & Thetis [Groton & May, Chapter 18] Peleus Thetis m. was a mortal man, the son was a sea nymph, one of of Endeis and Aeacus, king the fifty daughters of of Aegina. As a young Nereus, termed Nereids, Achilles man, Peleus and his described by Homer as, brother, Telemon were “silver-footed.” involved in the murder of their half-brother, Phocus. In exile, he married Antigone, then accidentally killed her father, Eurytion. After Antigone killed herself, Peleus again went into exile Portrait of Achilles from a Greek Black-figure vase, c. 530 BC where he met his next wife. The Nuptials The wedding was planned by Zeus (Jupiter) himself and took place on Mt. Pelion. Mortals and immortals alike were invited and all were required to bring gifts. Poseidon (Neptune) gave Peleus a pair of immortal horses, named Balius & Xanthus. The wedding is described by the Greek playwright, Euripides, in “Iphigenia at Aulis” and by the Latin poet, Catullus in poem 64. Discordia [Greek, Ερισ] The goddess of discord and the personification of strife, Discord was the only immortal not invited to the wedding of Peleus and Thetis. Angered, she threw out a golden apple inscribed with the words, “For the Fairest.” Three goddesses, Hera (Juno), Aphrodite (Venus), and Athena (Minerva), immediately begin to quarrel over the apple. Jupiter handed the decision over to the Trojan, Paris, who awards the apple to Aphrodite. Venus in turn offers him the golden apple Helen, wife of Menelaus, King of Sparta. created by Jessica Fisher, 2007 . -
Thetis-Hebrew.Pdf
Thetis Not be confused with the sea-goddess Tethys, or Themis, 1 Thetis as goddess the embodiment of law. For other uses, see Thetis (dis- ambiguation) Most extant material about Thetis concerns her role as “Thetys” redirects here. For the animal genus, see Thetys mother of Achilles, but there is some evidence that as the (salp). sea-goddess she played a more central role in the religious Thetis (/ˈθɛtɪs/; Ancient Greek: Θέτις, [tʰétis]), is en- beliefs and practices of Archaic Greece. The pre-modern etymology of her name, from tithemi (τίθημι), “to set up, establish,” suggests a perception among Classical Greeks of an early political role. Walter Burkert[3] considers her name a transformed doublet of Tethys. In Iliad I, Achilles recalls to his mother her role in de- fending, and thus legitimizing, the reign of Zeus against an incipient rebellion by three Olympians, each of whom has pre-Olympian roots: You alone of all the gods saved Zeus the Darkener of the Skies from an inglorious fate, when some of the other Olympians—Hera, Poseidon, and Pallas Athene—had plotted to throw him into chains... You, goddess, went and saved him from that indignity. You quickly summoned to high Olympus the monster of the hundred arms whom the gods call Briareus, but mankind Aegaeon,[4] a giant more power- ful even than his father. He squatted by the Son Head of Thetis from an Attic red-figure pelike, c. 510–500 BC, of Cronos with such a show of force that the Louvre. blessed gods slunk off in terror, leaving Zeus countered in Greek mythology mostly as a sea nymph or free known as the goddess of water, one of the fifty Nereids, —E.V. -
Symbolism of the Apple in Greek Mythology Highgate Private School Nicosia, CYPRUS
Symbolism of the Apple in Greek Mythology Highgate Private School Nicosia, CYPRUS Apples appear throughout numerous world religions and mythologies as a common symbol and motif. It is important to note though that in Middle English as late as the 17th century, the word ‘apple’ was used as a generic term to describe all fruit other than berries, so the appearance of apples in ancient writings may not actually be the apples known today. The etymology of 'apple' is an interesting one. That aside, Greek mythology presents several notable apples: the Golden Apples in the Garden of Hesperides, different golden apples associated with Atalanta, and of course the golden Apple of Discord. Each appearance of apples presents unique examples of symbolism. The Golden Apples in the Garden of Hesperides were a wedding gift to Hera from Gaia and were protected by a great serpent called Ladon. The Apples as well as the rest of the life in the Garden were tended by the Hesperides, minor earth goddesses or nymphs and daughters of the Titan, Atlas. The Garden itself rested in an inaccessible spot near the edge of the world under the power of the Olympians. For his Eleventh Labor, Hercules was sent to the Garden to retrieve three Golden Apples for King Eurystheus. The exact location of the Garden and the Apples was unknown and Hercules had to pry the information from Nereus, the Old Man of the Sea. Along the way, he also encountered and freed Prometheus who told not to try pick the Golden Apples himself, but to ask Atlas. -
Achilles.Pdf
ffi ffi Achilles : GreeP Mythology By: English For Students Introduction Achilles, in Greek mytholo_gy, greafesl of the Greek warriors in the Troian Wor. He was the son of the seo nymph Thetis and Peleus, king of the Myrmidons of Thessoly. When the Fates prophesied that Achiltes would die in the Trojon War, Thetis aitempted to make her infant son immortal. In one version of the story, Thetis rubbed Achiltes with ombrosia and placed him in the hearth fire to moke him immortat. According to a later legend, she bothed him in the River Styx. The waiers made him invulnerable except for fhe heel by which his mother hetd him. The term Achilles heel has become popularized to refer to someone's or something's key weakness. Youth White Achitles wos growing up, the Greek armies were preparing for their assoult on Troy in Asia Minor. Knowing thot her son wos fated to die if he took pari in the war, Achiltes's mother dressed him in women's clothing ond sent him to Skyros io live omong ihe young women in the court of King Lycomedes. Warned that they coutd not conquer Troy without the aid of Achilles, the Greeks sent Odysseus, king of Ithaca, to find him. Disguised as a peddler, Odysseus went to Skyros bearing o shield and o speor dmong his goods. When Achitles betrayed his identity by seizing the weopons, Odysseus persuaded him to join the GreeR expedition to Troy. The Trojon Wor Achiltes fought mony baftles during the Greeks' len-yeor siege of Troy. When ihe Mycenoean king Agomemnon seized the capiive slave Briseis from him during the wor, Achitles withdrew the Myrmidons from baftte ond sulked in his tent. -
Greek God Pantheon.Pdf
Zeus Cronos, father of the gods, who gave his name to time, married his sister Rhea, goddess of earth. Now, Cronos had become king of the gods by killing his father Oranos, the First One, and the dying Oranos had prophesied, saying, “You murder me now, and steal my throne — but one of your own Sons twill dethrone you, for crime begets crime.” So Cronos was very careful. One by one, he swallowed his children as they were born; First, three daughters Hestia, Demeter, and Hera; then two sons — Hades and Poseidon. One by one, he swallowed them all. Rhea was furious. She was determined that he should not eat her next child who she felt sure would he a son. When her time came, she crept down the slope of Olympus to a dark place to have her baby. It was a son, and she named him Zeus. She hung a golden cradle from the branches of an olive tree, and put him to sleep there. Then she went back to the top of the mountain. She took a rock and wrapped it in swaddling clothes and held it to her breast, humming a lullaby. Cronos came snorting and bellowing out of his great bed, snatched the bundle from her, and swallowed it, clothes and all. Rhea stole down the mountainside to the swinging golden cradle, and took her son down into the fields. She gave him to a shepherd family to raise, promising that their sheep would never be eaten by wolves. Here Zeus grew to be a beautiful young boy, and Cronos, his father, knew nothing about him. -
Iliad Book I
Iliad Book I 1. Who were the sons of Atreus? 2. Who asked Apollo to curse the Greeks and why? 3. Did the Achaeans know why Apollo plagued them at first? 4. What had to be done to stop the plague? 5. Why did Agamemnon refuse? 6. What are Myrmidons? 7. What did Agamemnon take and from whom to replace Chryseis? 8. Who stopped Achilles from killing Agamemnon? 9. Which Achaean leader claimed to know Theseus? Extra: Find Pylos on a map and read the story of Theseus and the Minotaur. 10. What did Agamemnon do instead of giving back Chryseis? 11. To whom did Achilles turn for help when he lost Briseis? Extra: Read the story of the marriage of Peleus and Thetis and the story of Achilles’ birth. 12. Why did Achilles think she could persuade Zeus? 13. What did Achilles want? 14. Where was Zeus? Extra: Find modern Ethiopia on a map. 15. What three actions did the Achaeans take at the temple to appease Apollo? 1. 2. 3. 16. How did Zeus indicate he would do as Thetis asked? 17. Who tried to change Zeus’ mind? 18. How did Hephaestus become injured? Iliad Book II 1. The evil or false dream was sent to Agamemnon by _______________. Extra: Keep a list of the gods/goddesses on each side of the war. 2. The dream came to Agamemnon as who? 3. Agamemnon’s staff had been made by whom? And how was it acquired? 4. When the Achaean troops assemble Agamemnon tells them that Zeus wanted them to do what? 5. -
Greek Mythology Greek Creation Myth
Name: __________________________________________ Date: ___________________ Block: ________ Greek Mythology What are myths and if they aren’t real, why do we study them in history class? A “myth” is a traditional story about gods and heroes that societies use to explain their history, culture, beliefs, and the natural world around them. For the Ancient Greeks, their gods and goddesses were immortal beings who looked like people, acted like people, and lived on Mount Olympus (a tall mountain in northern Greece). The Greek gods controlled the universe and occasionally would come down to earth in their own shapes, or sometimes disguised as humans or animals. The Greek myths and gods teach us about their history, like how the story of the Iliad teach us about the Trojan War. Myths also teach us about their culture, including their values and what they belief about humans and humanity. Lastly, myths explain natural phenomena. For example, the Greeks explained why the seasons changed through the story of Demeter, the goddess of fertility. The goddess Demeter had a daughter named Persephone [per-sef-uh-nee] who brought her much joy. But when Persephone married Hades, the God of the Underworld, she had to live with him for half of the year in the Underworld. Then would return to Mount Olympus for the other half of the year. Demeter, as the goddess of fertility, caused things on Earth to grow, but only when she was happy and with Persephone. Therefore, half the year (summer) is bright and plants grow fruitfully, while the other half of the year (winter, when Persephone and Demeter are apart) is dark and lifeless. -
Three Women Sharing a Mantle in 6Th Century BCE Greek Vase-Painting: Plurality, Unity, Family, and Social Bond
arts Article Three Women Sharing a Mantle in 6th Century BCE Greek Vase-Painting: Plurality, Unity, Family, and Social Bond Valérie Toillon Département d’histoire de l’art et d’études cinématographiques, Université de Montréal, Montréal, QC H3T 1J4, Canada; [email protected] Received: 30 May 2019; Accepted: 22 October 2019; Published: 25 October 2019 Abstract: The motif of three women sharing the same mantle is pictured on about a dozen vases dating from the first half of the sixth century BCE. Among these vases, the so-called “François Vase” and a dinos signed by Sophilos (now in London, British Museum) are of particular interest. The wedding of Thetis and Peleus is pictured on both vases. This theme is well-adapted to the representation of a procession of deities in which the Charites, Horai, Moirai, and Muses take part. The main feature of these deities is a shared mantle, which covers and assembles them, emphasizing that these deities are plural by definition. The main study on this iconographical theme remains that by Buchholz, who documented most of the depictions of the “shared-mantle” in ancient Greek vase-painting and small terracottas. The shared-mantle motif has been interpreted successively as a reference to the sacred peplos (in relation to the wedding), a simplification from the painter to avoid painting all the mantles, a sign of emotional/sexual union, a religious gesture, and a depiction of choruses. The present study aims to consider in more detail the “shared-mantle” as an iconographic sign that involves the idea of community, shared identity, and emotional bond. -
Artemis, Venus: the Largest Tectonomagmatic Feature in the Solar System?
Artemis, Venus: The largest tectonomagmatic feature in the solar system? Vicki L. Hansen1 and Anthony Olive2 1Department of Geological Sciences, University of Minnesota Duluth, Duluth, Minnesota 55812, USA 2Department of Geological and Environmental Sciences, Youngstown State University, Youngstown, Ohio 44555, USA ABSTRACT wrinkle ridges parallel the chasma, and fracture New geologic mapping reveals that Artemis, a unique 2400-km-diameter feature on Venus, suites include both concentric and radial orien- is much larger than previously recognized, including a wide outer trough (>5000 km diameter), tations relative to the chasma. a radial dike swarm (12,000 km diameter), and a concentric wrinkle ridge suite (13,000 km diameter). Artemis’s evolution included formation of its interior and chasma, accompanied NIOBE-APHRODITE MAPPING by lateral propagation of radial dikes. The escape of dike magma to the surface formed local We are constructing 1:10,000,000 scale geo- cover deposits that buried parts of the remaining radial fracture suite. Cover deposits are logic maps of the Niobe and Aphrodite regions cut, in turn, by wrinkle ridges that likely formed by coupling of convective mantle fl ow with (57°N–57°S; 60–180°E) that straddle Aphrodite the lithosphere. The outer trough formed late relative to radial fractures, cover deposits, and Terra as part of the National Aeronautics and wrinkle ridges. We suggest that Artemis represents the magmatic signature of a deep mantle Space Administration–U.S. Geological Survey plume acting on relatively thin lithosphere. As such, it appears to represent the largest tec- planetary mapping program. We mapped local tonomagmatic feature in the solar system. -
The Feminist Function of Shape-Shifting in the Thetis Myth
Refusing Restraint: The Feminist Function of Shape-shifting in the Thetis Myth and Faulkner’s Sanctuary Faulkner’s use of Greek myth in his novels is well-known and well-studied; he once described southern light in August as light which is “from back in the old classic times. It might have fauns and satyrs and the Gods and—from Greece, from Olympus in it somewhere” and even tried his hand at that classically originating poetic form, the pastoral, when he was young (Bleikasten, 1986, p. 133). Yet, when scholars such as Gladstein (1986) and Adams (1968) incorporate Greek myth into their understanding of the women in Faulkner’s mythological Yoknapatawpha county, they tend to apply the same classical trope—that of Persephone and Demeter—indiscriminately, therein creating a misleadingly homogeneous mythic prototype for Faulkner’s women, who in fact maintain rich relations to a far greater range of Grecian deities that such a reductionist understanding suggests. This “Persephone” pigeonholing is particularly problematic when we attempt to understand a woman who is, arguably, Faulkner’s most puzzling and problematic female of all— Temple Drake, the kidnapped debutante and protagonist of Sanctuary (1931). Temple has no mother, no qualms about severing family connections, and although she is kidnapped and taken to a 1930s “underworld” of prostitution, by the novel’s end she permanently escapes. In short, the “Persephone” prototype simply doesn’t fit. Moreover, there is no evidence that Faulkner consciously preferred Persephone over other mythological women; as such, I propose that Temple Drake’s story will be better understood if we view her tale as a modern-day iteration of the myth of Thetis and Peleus, by focusing upon the women’s shared status as bodily “shape- shifters” in their respective stories. -
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[PDF]The Myths and Legends of Ancient Greece and Rome
The Myths & Legends of Ancient Greece and Rome E. M. Berens p q xMetaLibriy Copyright c 2009 MetaLibri Text in public domain. Some rights reserved. Please note that although the text of this ebook is in the public domain, this pdf edition is a copyrighted publication. Downloading of this book for private use and official government purposes is permitted and encouraged. Commercial use is protected by international copyright. Reprinting and electronic or other means of reproduction of this ebook or any part thereof requires the authorization of the publisher. Please cite as: Berens, E.M. The Myths and Legends of Ancient Greece and Rome. (Ed. S.M.Soares). MetaLibri, October 13, 2009, v1.0p. MetaLibri http://metalibri.wikidot.com [email protected] Amsterdam October 13, 2009 Contents List of Figures .................................... viii Preface .......................................... xi Part I. — MYTHS Introduction ....................................... 2 FIRST DYNASTY — ORIGIN OF THE WORLD Uranus and G (Clus and Terra)........................ 5 SECOND DYNASTY Cronus (Saturn).................................... 8 Rhea (Ops)....................................... 11 Division of the World ................................ 12 Theories as to the Origin of Man ......................... 13 THIRD DYNASTY — OLYMPIAN DIVINITIES ZEUS (Jupiter).................................... 17 Hera (Juno)...................................... 27 Pallas-Athene (Minerva).............................. 32 Themis .......................................... 37 Hestia