Preview of “Microsoft Word

Midas The expression, “the Midas touch,” comes from the myth of Midas. It means that a person is successful at anything they try. Read the myth below to better understand this expression. Clipart: Phillip Martin The Myth of Midas Midas was a king of Phrygia, which is now part of Turkey. He loved life’s pleasures. He spent much of his time admiring the many bounties of his rich kingdom, especially his beautiful roses. One day, some of his farmhands brought him a satyr. A satyr is a creature made of part man and part goat. They had caught this creature napping in the vineyard. He was still groggy and much the worse for wear. He had been thoroughly tied when captured so he wouldn’t escape. Midas immediately recognized him. It was Silenus. He was the right-hand satyr to the god Dionysus. So, he ordered him to be set free. Silenus was grateful to the king for treating him with dignity, and so was Dionysus. The god was so pleased that he offered to grant whatever Midas should wish for. Dionysus warned the king that the wish would ultimately cause him sorrow. But Midas insisted on the wish. And so it was. Midas rushed back home to try it out. Tentatively at first, he laid a trembling fingertip upon a bowl of fruit and then a stool. And when each of these had been turned into purest gold, the king was delighted. King Midas touched the beautiful flowers as they turned toward the sun for light. Suddenly, they stood rigid and gold. Statues in the garden were transformed into gleaming gold figures. Even the rocks in the garden turned to gold as King Midas touched them. "Just look at this!" he crowed, turning his chariot into a glittering mass of priceless-though-worthless transportation. He couldn’t wait to show his young daughter. "Look what I can do!" he cried. He took her by the hand to lead her into the garden to demonstrate his new power. King Midas decided to hold a banquet to celebrate his new prosperous power. As he picked up his food to eat it, the food turned to gold. When he tried to quench his thirst, his drink turned to liquid gold. He called for his daughter to comfort him, but when he reached for her, she turned hard and fast to gold. The king grew hungry and thin. Eventually the king’s bed, clothes, friends, and the whole palace were gold. King Midas begged Dionysus to turn everything back to the way it had been and take back his golden touch. Dionysus instructed the king to wash his hands in the river to be rid of this terrible power. The king did as he was told, giving his gift to the river. Instantly, King Midas was poorer than he had been, but richer, he felt, in the things that really count. For years to come, shimmering deposits of gold could be found in that river. !"#$%&"'()*+'!"#$%&"'()*+,'-./0'1."#2'#/"'%3&'4*5"&/'6*783'#/"'-./0'1."#2'.

Copy Link

Recommended publications

'Stupid Midas'
‘Stupid Midas’ Visualising Musical Judgement and Tim Shephard Patrick McMahon Moral Judgement in Italy ca.1520 University of Sheffield 1. Musical Judgement and Moral Judgement 3. A) Cima da Conegliano, The Judgement Sat at the centre of the painting in contemporary elite of Midas, oil on panel, 1513-17. Statens The Ancient Discourse dress, Midas looks straight at the viewer, caught at the exact moment of formulating his faulty musical judgement. Museum for Kunst, Copenhagen. Harmony is governed by proportion, and so is human tem- perament; thus music can affect human behavior ‘For rhythm and harmony penetrate deeply into the mind and take a most powerful hold on it, and, if education is good, bring an impart grace and beauty, if it is bad, the reverse’ (Plato, Republic) Music should therefore play a role in moral education Suggestive ‘music has indeed the power to induce a certain character of soul, and if it can do that, then An older, more position of clearly it must be applied to education’ (Aristotle, Politics) severe Tmolus, in Pan’s bow more modest makes a direct Good musical judgement engenders good moral judgement contemporary link between ‘the proper training we propose to give will make a man quick to perceive the shortcomings attire, also his musician- of works of art or nature …; anything beautiful he will welcome gladly … and so grow in true goodness of character; anything ugly he will rightly condemn and dislike’ (Plato, Republic) interrogates the ship and his viewer with his sexuality. The Renaissance Discourse gaze.
[Show full text]
The Judgement of Midas Adapted from Old Greek Folk-Stories, by Josephine Preston Peabody
The Judgement of Midas Adapted from Old Greek Folk-Stories, by Josephine Preston Peabody The Greek God Pan, the god of the wood crouched still as stone; the trees kept open air, was a great musician. He every leaf from rustling; earth and air played on a pipe of reeds. And were silent as a dream. To hear the sound of his reed-pipe was such music cease was like bid- so sweet that he grew proud, ding farewell to father and and believed himself greater mother. than the chief musician of When the charm was the gods, Apollo, the sun- broken, the hearers fell god. So he challenged at Apollo’s feet and pro- great Apollo to make bet- claimed the victory his. ter music than he. All but Midas. He alone Apollo consented to would not admit that the test, for he wished to the music was better than punish Pan’s vanity, and they Pan’s. chose the mountain Tmolus “If thine ears are so dull, for judge, since no one is so old mortal,” said Apollo, “they shall and wise as the hills. take the shape that suits them.” When Pan and Apollo came before And he touched the ears of Midas. And Tmolus, to play, their followers came with them, straightway the dull ears grew long, pointed, and to hear, and one of those who came with Pan was furry, and they turned this way and that. They a mortal named Midas. were the ears of an donkey! First Pan played; he blew on his reed-pipe, For a long time Midas managed to hide the and out came a tune so wild and yet so coaxing tell-tale ears from everyone; but at last a servant that the birds hopped from the trees to get near; discovered the secret.
[Show full text]
Agricultural Practices in Ancient Macedonia from the Neolithic to the Roman Period
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by International Hellenic University: IHU Open Access Repository Agricultural practices in ancient Macedonia from the Neolithic to the Roman period Evangelos Kamanatzis SCHOOL OF HUMANITIES A thesis submitted for the degree of Master of Arts (MA) in Black Sea and Eastern Mediterranean Studies January 2018 Thessaloniki – Greece Student Name: Evangelos Kamanatzis SID: 2201150001 Supervisor: Prof. Manolis Manoledakis I hereby declare that the work submitted is mine and that where I have made use of another’s work, I have attributed the source(s) according to the Regulations set in the Student’s Handbook. January 2018 Thessaloniki - Greece Abstract This dissertation was written as part of the MA in Black Sea and Eastern Mediterranean Studies at the International Hellenic University. The aim of this dissertation is to collect as much information as possible on agricultural practices in Macedonia from prehistory to Roman times and examine them within their social and cultural context. Chapter 1 will offer a general introduction to the aims and methodology of this thesis. This chapter will also provide information on the geography, climate and natural resources of ancient Macedonia from prehistoric times. We will them continue with a concise social and cultural history of Macedonia from prehistory to the Roman conquest. This is important in order to achieve a good understanding of all these social and cultural processes that are directly or indirectly related with the exploitation of land and agriculture in Macedonia through time. In chapter 2, we are going to look briefly into the origins of agriculture in Macedonia and then explore the most important types of agricultural products (i.e.
[Show full text]
Home Learning: Year 3 Maths Year 3 Day 1 Day 2 Day 3 Day 4 Day 5
Home Learning: Year 3 Maths We have set out each week's learning as a series of suggested daily activities. However, the time may look very different for each family. Building in time to look after each other, be physical, creative and relax is as important as completing the set activities. You need to decide what works for you and your family. You could do more of the activities on one day and fewer on another, or you may find it helpful to have a more structured approach. It may help to give clear times for doing activities and clear times for breaks. You will also notice that some of the science, history and DT activities are the same and therefore can be done as a family. Year 3 Day 1 Day 2 Day 3 Day 4 Day 5 Factual Fluency https://www.topmark https://www.topmarks. https://www.topmarks. https://www.topmarks. https://phet.colorado.edu/ s.co.uk/maths- co.uk/maths- co.uk/maths- co.uk/maths- sims/html/fractions- games/hit-the-button games/mental-maths- games/mental-maths- games/mental-maths- intro/latest/fractions- Halves from 10-20 train Select ÷, then ÷3 train Select ÷, hen ÷5 train Select ÷, then ÷4 intro_en.html Can you make the fraction of the given shape? Four Days of Summer Term Week 5 Click onto the link each day. There is a video to watch for each day and then activities Reasoning (Wk commencing to complete. White Rose is an excellent resource and one often used by teachers in 18/5) (Monday- https://whiterosemat our schools.
[Show full text]
Macedonia from the Iron Age to the Death of Philip Ii
ANCIENT MACEDONIA VII MACEDONIA FROM THE IRON AGE TO THE DEATH OF PHILIP II PAPERS READ AT THE SEVENTH INTERNATIONAL SYMPOSIUM HELD IN THESSALONIKI, OCTOBER 14-18, 2002 280 – INSTITUTE FOR BALKAN STUDIES – 280 THESSALONIKI 2007 APXAIA MAKE∆ONIA VII H MAKE∆ONIA AΠO THN EΠOXH TOY ΣI∆HPOY EΩΣ TO ΘANATO TOY ΦIΛIΠΠOY B ANAKOINΩΣEIΣ KATA TO EB∆OMO ∆IEΘNEΣ ΣYMΠOΣIO ΘEΣΣAΛONIKH, 14-18 OKTΩBPIOY 2002 280 – I∆PYMA MEΛETΩN XEPΣONHΣOY TOY AIMOY – 280 ΘEΣΣAΛONIKH 2007 Zã ¢IE£NE™ ™YM¶O™IO VII INTERNATIONAL SYMPOSIUM °IA THN APXAIA MAKE¢ONIA ON ACIENT MACEDONIA OP°ANøTIKH E¶ITPO¶H ORGANISING COMMITTEE ¶ÚfiÂ‰ÚÔ˜: B. KfiÓÙË˜ President: V. Kontis AÓÙÈÚfiÂ‰ÚÔ˜: M. TÈ‚¤ÚÈÔ˜ Vice-president: M. Tiverios M¤ÏË: E. BÔ˘Ù˘Ú¿˜ Members: E. Voutiras M. §ÈÏÈÌ¿ÎË-AÎ·Ì¿ÙË M. Lilimbaki-Akamati I. MÔ˘Ú¤ÏÔ˜ I. Mourelos ¶. N›Á‰ÂÏË˜ P. Nigdelis °Ú·ÌÌ·ÙÂ›·: ¢. K·Ï·Ó›‰Ô˘ Secretariat: D. Kaplanidou BÔËıÔ›: A. MÔ˘˙·Î›ÙË, ™. K·ÓfiÔ˘ÏÔ˜ Assistants: A. Mouzakiti, S. Kanopoulos I¢PYMA ME§ETøN INSTITUTE XEP™ONH™OY TOY AIMOY FOR BALKAN STUDIES ¢IOIKHTIKO ™YMBOY§IO BOARD OF DIRECTORS ¶ÚfiÂ‰ÚÔ˜: B. KfiÓÙË˜ President: V. Kontis AÓÙÈÚfiÂ‰ÚÔ˜: I. KÔÏÈfiÔ˘ÏÔ˜ Vice-president: I. Koliopoulos M¤ÏË: A. AÁÁÂÏfiÔ˘ÏÔ˜ Members: I. Angelopoulos E. BÔ˘Ù˘Ú¿˜ E. Voutiras A. K·Ú·ı·Ó¿ÛË˜ I. Karathanassis K. KˆÊfi˜ K. Kofos X. ¶··ÛÙ¿ıË˜ Ch. Papastathis ¢ÈÂ˘ı˘ÓÙ‹˜: I. MÔ˘Ú¤ÏÔ˜ Director: I. Mourelos EÈÌ¤ÏÂÈ· ¤Î‰ÔÛË˜: Copy Editors: ¢·Ó¿Ë K·Ï·Ó›‰Ô˘, EÈÚ‹ÓË XÈÒÙË Danai Kaplanidou, Irini Chioti ISBN: 978-960-7387-42-4 © Copyright 2007 by the Institute for Balkan Studies, Thessaloniki.
[Show full text]
Proposal Summary/Abstract
Space Archeology Overview at Gordion: 2010 to 2012 In fiscal years 2010, 2011, and 2012, Compton Tucker was the principal investigator of a NASA Space Archaeology project that worked at Gordion, in Central Turkey. Tucker was assisted by an excellent team of co-workers including Joseph Nigro and Daniel Slayback of Science Systems Applications Incorporated, Jenny Strum of the University of New Mexico, and Karina Yager, a post doctoral fellow at NASA/GSFC. This report summaries their research activities at Gordion for the field seasons of 2010, 2011, and 2012. Because of the possible use of our findings at Gordion for tomb robbing there and/or the encouragement of potential tomb robbers using our geophysical survey methods to locate areas to loot, we have not published any of our survey results in the open literature nor placed any of these results on any web sites. These 2010- 2012 survey results remain in the confidential archives of the University of Pennsylvania’s University Museum of Archaeology and Anthropology, the group that leads the Gordion Excavation and Research Project. Excavations are planned for 2013 at Gordion, including several that will be based upon the research results in this report. The site of Gordion in central Turkey, famous as the home of King Midas, whose father’s intricately tied knot gave the site its name, also served as the center of the Phrygian kingdom that ruled much of Central Anatolia in Asia Minor during the early first millennium B.C. Gordion has been a University of Pennsylvania Museum of Archaeology and Anthropology excavation project since 1950, yet the site is incompletely published despite six decades of research.
[Show full text]
10Popular Mythological
10 Popular Mythological ALLUSIONS 1) ACHILLES’ HEEL destined to fall in love. (Cupid is known as Eros in • Meaning: a weakness that can lead to downfall Greek mythology.) • Greek Myth: Because of a prophesy that Achilles • Sample Sentence: It must be spring because would die young, his mother dipped him in the River everyone is under Cupid’s influence. Styx to make all parts of his body invulnerable. When his mother dipped him in the water, she held his 4) HERCULEUN EFFORT heel, making it his only vulnerable spot. He would • Meaning: super human attempt later die by a poisoned arrow to his heel. • Greek Myth: The Roman name for Heracles • Sample Sentence: His love for fast food is one day is Hercules, which is more commonly used. going to prove to be his Achilles’ heel. Heracles was the son of Zeus and a mortal woman. He was required to successfully 2) CAUGHT BETWEEN SCYLLA & CHARYBDIS complete twelve very difficult tasks, called the • Meaning: choice between two evils Labors of Heracles. Any extreme effort deemed • Greek Myth: Along Odysseus’ voyage home, he as heroic or above normal human standards can encountered Scylla and Charybdis. Scylla, a sea be called “Herculean.” monster with many hands and six dog heads, • Sample Sentence: Finishing her first marathon ate men alive. Charybdis, a deadly whirlpool, required Herculean effort. swallowed ships whole. Odysseus had to choose between the routes, selecting the lesser of two 5) HOT AS HADES evils. He chose Scylla, losing six crewmen. • Meaning: sweltering heat • Sample Sentence: With two tests the next day and • Greek Myth: Hades, also called Tarturus, was the only time to study for one, he was stuck between god of the underworld.
[Show full text]
Mythology in Poetry
Mythology in AP Poetry Andromeda sorrowing father was close at hand, and her mother too. They were Andromeda was the princess of Ethiopia, daughter of Cepheus and both in deep distress, though the mother had more cause to be so Cassiopeia. Cassiopeia was a boastful woman, and foolishly bragged (Metamorphoses IV 674-692) Perseus said to her parents that he that she was more beautiful than Juno, the queen of the gods, and the would kill the monster if they agree to give him their daughter's hand Nereids. In order to avenge the insult to his nymphs, Neptune sent a in marriage. They of course gave their consent, and Perseus killed the sea monster to ravage the Ethiopian coast. (Some accounts state that monster. (His exact method of doing so varies in different versions of the constellation Cetus represents the sea monster, but a more the myth. Ovid has Perseus stab the monster to death after a drawn- common view of Cetus is that he is a peaceful whale.) out, bloody battle, while other versions have the hero simply hold up the head of Medusa, turning the monster to stone.) Andromeda was The horrified king consulted Ammon, the oracle of Jupiter, who said freed, and the two joyously marry. that Neptune could be appeased only by sacrificing Cassiopeia's *Andromeda is represented in the sky as the figure of a woman with beautiful virgin daughter, Andromeda, to the monster. Andromeda her arms outstretched and chained at the wrists. was duly chained to a rock on the coast, fully exposed to the monster.
[Show full text]
Lynn E. Roller
Lynn E. Roller Professor of Art History Department of Art and Art History University of California, Davis One Shields Avenue Davis, CA 95616 phone: 530-752-7801 e-mail: [email protected] Education University of Pennsylvania, Ph. D., 1977; degree in Classical Archaeology Bryn Mawr College, M. A., 1973; degree in Classical and Near Eastern Archaeology American School of Classical Studies, member, 1969-70 Bryn Mawr College, A. B. cum laude, 1969; degree in Greek University of Heidelberg, student, 1968-69 Teaching Positions University of California, Davis, Assistant Professor of Classics, 1977-1984; Associate Professor of Classics, 1984-1995; Professor of Classics, 1995-2006; Professor of Classics and Art History, 1999-2006; Professor of Art History, 2006-present Ursinus College, Lecturer in Classics, 1976-1977 Administrative Experience Co-Chair, Art History, U. C. Davis, 2005-2007; January2016-June 2017 Program Director, Classics, U. C. Davis, 1997-2000, 2001-2004 Program Director, Women's Studies (now Women, Gender, and Sexuality Studies), U. C. Davis, 1987- 89 Trustee, American Research Center in Sofia, Bulgaria, 2004-present; Interim Board of Trustees Chair, 2016-present Member, Publications Committee, American School of Classical Studies, Athens, 2012-2017 Chair, Publications Committee, American School of Classical Studies, Athens, 2013-2017 Vice-President, San Francisco Chapter of the Archaeological Institute of America, 1980-83 President, Central Pennsylvania Chapter of the Archaeological Institute of America, 1972-74 Fellowships, Grants, and Honors Research Grant, $32,500, from the America For Bulgaria Foundation: Rock-cut Sanctuaries in the eastern Rhodope Mountains: the Gluhite Kamani Cult Complex, 2014-2015 Research Grant, $49,525, from the America For Bulgaria Foundation: Rock-cut Sanctuaries in the eastern Rhodope Mountains: the Gluhite Kamani Cult Complex, 2011-2012 2 Loeb Fellowship in Classical Studies, $30,000, 2007-08.
[Show full text]
The Myth of MIDAS’ GOLDEN TOUCH
The Myth of MIDAS’ GOLDEN TOUCH BY ANASTASIA AMRHEIN, PATRICIA KIM, LUCAS STEPHENS, AND JANE HICKMAN Gold has been used to create objects of beauty across the ages, conferring a high level of status on those who own it. In some cultures, gold has spiritual and even magical qualities. As a raw material or manufactured object, gold also plays an important role in understanding ancient trade. Gold luxury objects and coins provide valuable evidence for cross-cultural contact and the social interaction of elites. At least as early as the beginning of the 2nd millennium BCE, Assyrian merchants were exporting gold from Asia Minor into Assyria and Mesopotamia, although it was only one commodity in a very complicated trade system that encompassed the entire Near East. Te merchants employed standard weights and measures and paid uniform tolls and taxes along well-traveled and guarded routes. By the late 7th century BCE, the kings of Lydia began to strike the ﬁrst coins in electrum, a natural alloy of gold and silver, which revolutionized commercial exchange throughout the region. It is therefore not surprising that myths and An Apulian red-ﬁgure calyx krater (ca. legends have arisen related 330–240 BCE) depicts to the special qualities Jason bringing Pelias of gold, of which the the Golden Fleece. A “Golden Touch of Midas” is winged victory prepares to crown Jason. From probably the most famous the Louvre, Paris. example. Te earliest EXPEDITION Winter 2015 53 THE MYTH OF MIDAS’ GOLDEN TOUCH The Pactolus River was a source of gold in antiquity. © Archaeological Exploration of Sardis/President and Fellows of Harvard College.
[Show full text]
Midas Part 1: the Golden Touch
Midas Part 1: The Golden Touch Dionysus, the god of drinking and drunkenness, wild music and wild dancing, loved to make great processions across the world with his satyrs, men with hairy legs and horses' hooves, singing and drinking and dancing. And among the satyrs would be Dionysus' old teacher, Silenus, white-haired, pot- bellied, with red wine constantly dribbling from the corners of his mouth, but wise beyond wisdom. And during one of those great processions across the world, old Silenus was left behind. And he was found by some people, by some mortals, staggering from one side of a road to another, singing to himself. And they caught the satyr; and they bound him with ropes; and they lifted him onto their shoulders; and they carried him to their king. Now their king was called Midas, King Midas, and he was a worshipper of Dionysus, the god of drinking and drunkenness, and wild music and wild dancing. And when he saw the old satyr bound with ropes, he was furious with his people. He took a knife; he cut the ropes; he sat the old satyr on his own golden throne; and he ordered that a feast be held in honour of Silenus. And when the feast was finished, King Midas himself led the satyr to Dionysus, the great god. And when Dionysus saw his old teacher, his heart was filled with happiness. He ran across. He threw his arms round Silenus' neck. He kissed him on both cheeks and he turned to King Midas and he said, 'I will grant you one wish, one wish and one wish only.
[Show full text]
Two Notes on Hellenistic Poems George Huxley I the Mortar of Leukadian Artemis
The Mortar of Leukadian Artemis Huxley, George Greek, Roman and Byzantine Studies; Fall 1972; 13, 3; ProQuest pg. 309 Two Notes on Hellenistic Poems George Huxley I The Mortar of Leukadian Artemis NE OF THE SUBJECTS discussed by Kallimachos in the Aitia was O the reason why the goavov of Artemis in Leukas wore a mortar on the head. The Diegesis to fr.31b-e Pfeiffer (P.Oxy. 2263 fr.1 ii 9-30) quotes the poet's initial words of enquiry to the Muses and then gives the explanation. "t"w]e EJ.EV lcpl) "t"ae ~. d6cxp EILoe na- 10 AlV dPE"t"O 6uEJ.6c T7]C EV AEV- KaOLaLr:;, I 'APTEJUOOC I '" TO'c' .,;oavov €}T£ T7]C KEcpa>"7]C Ov<o{av €- XEL OL"'. atnav• I TaVTTJv., 'H1T€L- pWTa£ TW .. 7]. [.J .. 7][. J... 15 KaTaTplx[o]VTEC T~V A€VK&• Sa EcvAwv, EMJOVTEC SE Kat €LC, TO" T7]C- 'APTEJUOOC I ~ u=povf " EV-1"- pov T7]V, 0"€OV ECT€fLfL€VTJV, XPVCWL CT€cp&VWL. ToiJTov E1TL- 20 XA€v&cavTEc &cp€tAOV Kat. T~V OV<E>tav EV ~L CKopSa Tp{E}t if;aVT€C €cpayov T7]£ OEWL €1Tl• OTJKav. E1TL. V J. J.. O' ot A€v• K&St[ Ot] .. 0' ~fL[ l]paL €]TEpOV 25 KaT€CK€VaCav"A..." CTE'f'avov Kat &VT£. T7]C Ov<O{a[c] e07]Kav (bo- , "'", '\ 1TECOVTa 0 aUTO v 1TpOCTJI\W- ~ (; , '\ ~, cav TWL ~oavWL. 1Tal\W oE fLE- 0' ~fLl[pac] TP€tC E1TLnOEf-d- 30 vou K~[£'] .
[Show full text]