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The Death of Eurydice Orpheus' Descent Into Hades
Myth #4 Orpheus and Eurydice Name _____________________________________ READ CLOSELY AND SHOW EVIDENCE OF THINKING BY ANNOTATING. Annotate all readings by highlighting the main idea in yellow; the best evidence supporting in blue, and any interesting phrases in green. As it is only fitting, Orpheus, “the father of songs” and the supreme musician in Greek mythology, was the son of one of the Muses, generally said to be Calliope, by either Apollo or the Thracian king Oeagrus. Be that as it may, we know for sure that Orpheus got a golden lyre as a gift from Apollo when just a child, and that it was the god who taught him how to play it in such a beautiful manner. Moreover, his mother showed him how to add verses to the music, and his eight aunts how to polish them to perfection, in every style known to man. So, when Orpheus was a young man, as Shakespeare writes, his “golden touch could soften steel and stones, make tigers tame, and huge leviathans forsake unsounded deeps to dance on sands.” Loved by many, this young man loved only the beautiful Eurydice; and she loved him back. This is the story of their tragic love. The Death of Eurydice Soon after the marriage of Orpheus and Eurydice, Eurydice died of a snake bite. Different authors tell different stories as to what led to the fatal encounter. According to the most repeated story, Eurydice fell into a serpent nest after trying to escape from a certain Aristaeus, a shepherd who began to chase her through the forest as soon as he laid his eyes upon her otherworldly beauty. -
Seriously Playful: Philosophy in the Myths of Ovid's Metamorphoses
Seriously Playful: Philosophy in the Myths of Ovid’s Metamorphoses Megan Beasley, B.A. (Hons) This thesis is presented for the degree of Doctor of Philosophy of Classics of The University of Western Australia School of Humanities Discipline of Classics and Ancient History 2012 1 2 For my parents 3 4 Abstract This thesis aims to lay to rest arguments about whether Ovid is or is not a philosophical poet in the Metamorphoses. It does so by differentiating between philosophical poets and poetic philosophers; the former write poetry freighted with philosophical discourse while the latter write philosophy in a poetic medium. Ovid, it is argued, should be categorised as a philosophical poet, who infuses philosophical ideas from various schools into the Metamorphoses, producing a poem that, all told, neither expounds nor attacks any given philosophical school, but rather uses philosophy to imbue its constituent myths with greater wit, poignancy and psychological realism. Myth and philosophy are interwoven so intricately that it is impossible to separate them without doing violence to Ovid’s poem. It is not argued here that the Metamorphoses is a fundamentally serious poem which is enhanced, or marred, by occasional playfulness. Nor is it argued that the poem is fundamentally playful with occasional moments of dignity and high seriousness. Rather, the approach taken here assumes that seriousness and playfulness are so closely connected in the Metamorphoses that they are in fact the same thing. Four major myths from the Metamorphoses are studied here, from structurally significant points in the poem. The “Cosmogony” and the “Speech of Pythagoras” at the beginning and end of the poem have long been recognised as drawing on philosophy, and discussion of these two myths forms the beginning and end of the thesis. -
1 Reading Athenaios' Epigraphical Hymn to Apollo: Critical Edition And
Reading Athenaios’ Epigraphical Hymn to Apollo: Critical Edition and Commentaries DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Corey M. Hackworth Graduate Program in Greek and Latin The Ohio State University 2015 Dissertation Committee: Fritz Graf, Advisor Benjamin Acosta-Hughes Carolina López-Ruiz 1 Copyright by Corey M. Hackworth 2015 2 Abstract This dissertation is a study of the Epigraphical Hymn to Apollo that was found at Delphi in 1893, and since attributed to Athenaios. It is believed to have been performed as part of the Athenian Pythaïdes festival in the year 128/7 BCE. After a brief introduction to the hymn, I provide a survey and history of the most important editions of the text. I offer a new critical edition equipped with a detailed apparatus. This is followed by an extended epigraphical commentary which aims to describe the history of, and arguments for and and against, readings of the text as well as proposed supplements and restorations. The guiding principle of this edition is a conservative one—to indicate where there is uncertainty, and to avoid relying on other, similar, texts as a resource for textual restoration. A commentary follows, which traces word usage and history, in an attempt to explore how an audience might have responded to the various choices of vocabulary employed throughout the text. Emphasis is placed on Athenaios’ predilection to utilize new words, as well as words that are non-traditional for Apolline narrative. The commentary considers what role prior word usage (texts) may have played as intertexts, or sources of poetic resonance in the ears of an audience. -
The Theosophical Path
0 my Divinity! thou dost blend with the earth and fashion for thyself Temples of mighty power. 0 my Divinity! thou livest in the heart-life of all things and dost radiate a Golden Light that shineth forever and doth illumine even the darkest corners of the earth. 0 my Divinity! blend thou with me that from the corruptible I may become Incorruptible; that from imperfection I may become Perfection; that from darkness I may go forth in Light - Katherine Tinaleg THE THEOSOPHICAL PATH G. DE PURUCKER, EDITOR Vol. XLllI, No. 1 JULY, 1933 THEOSOPHY, THE MOTHER OF RELIGIONS, PHILOSOPHIES, AND SCIENCES G. DE PURUCKER, D. LITT. ARE LIFE AND DEATH THE SAME - OR DIFFERENT? FRIENDS at a distance and here in this our Temple of Peace: this afternoon I am going to talk to you on a question which will in terest every thinking man and woman - the question whether death be the same as life, or whether they be two distinct things which co operate or work together, and produce the various phenomena which we see in the Universe around us. Now you know that the old idea always has been that they are two different things entirely. I cannot tell you how this idea arose in the world, but it has existed for many ages, to wit: that death and life are [Stenographic report of the thirty-seventh of a series of lectures on the above subject. These were delivered at the request of Katherine Tingley (the then Theosophical Leader and Teacher) in the Tem ple of Peace, International Theosophical Headquarters, Point Loma, California, at the regular Sunday THE THEOSOPHICAL ATH afternoon services. -
Greek Religious Thought from Homer to the Age of Alexander
'The Library of Greek Thought GREEK RELIGIOUS THOUGHT FROM HOMER TO THE AGE OF ALEXANDER Edited by ERNEST BARKER, M.A., D.Litt., LL.D. Principal of King's College, University of London tl<s } prop Lt=. GREEK RELIGIOUS THOUGHT FROM HOMER TO THE AGE OF ALEXANDER BY F. M. CORNFORD, M.A. Fellow and Lecturer of Trinity College, Cambridge MCMXXIII LONDON AND TORONTO J. M. DENT & SONS LTD. NEW YORK: E. P. DUTTON tf CO. HOTTO (E f- k> ) loUr\ P. DOTTO/U TALKS ) f^op Lt=. 7 yt All rights reserved f PRINTED IN GREAT BRITAIN TO WALTER DE LA MARE INTRODUCTION The purpose of this book is to let the English reader see for himself what the Greeks, from Homer to Aristotle, thought about the world, the gods and their relations to man, the nature and destiny of the soul, and the significance of human life. The form of presentation is prescribed by the plan of the series. The book is to be a compilation of extracts from the Greek authors, selected, so far as possible, without prejudice and translated with such honesty as a translation may have. This plan has the merit of isolating the actual thought of the Greeks in this period from all the constructions put upon it by later ages, except in so far as the choice of extracts must be governed by some scheme in the compiler's mind, which is itself determined by the limits of his knowledge and by other personal factors. In the book itself it is clearly his business to reduce the influence of these factors to the lowest point; but in the introduction it is no less his business to forewarn the reader against some of the consequences. -
Duke Certamen 2018 Intermediate Division Round 1
DUKE CERTAMEN 2018 INTERMEDIATE DIVISION ROUND 1 1. Which emperor reformed the Praetorian Guard, replacing it with his loyal provincial troops upon his ascension? SEPTIMIUS SEVERUS B1: At which city did his troops declare Severus emperor? CARNUNTUM B2: Which of his two main rivals did Severus defeat first? PESCENNIUS NIGER 2. Differentiate in meaning between lupus and lepus. WOLF and HARE / RABBIT B1: Give a synonym for the animal bōs. VACCA / VITULA B2: Give either Latin animal from which we derive “porpoise.” PORCUS or PISCIS 3. Europa, Minos, Procris, and Amphitryon all owned what infallible hunting hound? LAELAPS B1: What husband of Procris tried to use Laelaps to hunt the Teumessian vixen? CEPHALUS B2: According to Hyginus, Cephalus was the father of what Ithacan man? LAERTES 4. Give the Latin and English for the abbreviation Rx. RECIPE – TAKE B1: If your prescription label tells you to take your medication prn., how often should you take it? AS NEEDED B2: Give the Latin and English for the abbreviation gtt. GUTTAE – DROPS 5. Translate the following sentence from Latin to English: Mulierēs quae ducēs factae erant fortiōrēs quam omnēs erant. THE WOMEN WHO HAD BECOME / BEEN MADE LEADERS WERE STRONGER / BRAVER THAN ALL B1: Translate this sentence: Hannibal ipse cum hīs mulieribus pūgnāre nōluit. HANNIBAL HIMSELF DID NOT WANT TO FIGHT (WITH) THESE WOMEN B2: Finally translate: Urbe servātā dūcibus triumphī ā cīvibus datī sunt. AFTER THE CITY WAS SAVED / WITH THE CITY HAVING BEEN SAVED, TRIUMPHS WERE GIVEN TO/FOR THE LEADERS BY THE CITIZENS 6. What son of Cephissus and Liriope fell in love with his own reflection, died of starvation, and was turned into a flower? NARCISSUS B1. -
Von Schönen Prinzessinen Und Großen Helden Inhaltsverzeichnis
Von schönen Prinzessinen und großen Helden Inhaltsverzeichnis 1 Achilleus 1 1.1 Etymologie .............................................. 1 1.2 Elemente des Achilleus-Stoffes .................................... 2 1.2.1 Zeugung ........................................... 2 1.2.2 Unverwundbarkeit und Achillesferse ............................. 2 1.2.3 Erziehung bei Cheiron .................................... 3 1.2.4 Versteck in Skyros ...................................... 3 1.2.5 Telephos ........................................... 4 1.2.6 Die Fahrt nach Troja ..................................... 4 1.2.7 Erste Kriegsjahre ....................................... 5 1.2.8 Achilleus’ Zorn ........................................ 5 1.2.9 Tötung des Memnon und der Penthesilea .......................... 6 1.2.10 Tod .............................................. 6 1.2.11 Nach seinem Tod ....................................... 7 1.3 Interpretation ............................................. 7 1.4 Kult .................................................. 8 1.5 Rezeption ............................................... 9 1.5.1 Antike ............................................ 9 1.5.2 Spätantike und Mittelalter .................................. 10 1.5.3 Moderne Literatur ...................................... 10 1.6 Literatur ............................................... 12 1.7 Weblinks ............................................... 13 1.8 Einzelnachweise ............................................ 13 2 Amazonen 17 2.1 Herkunft des Namens -
Durham E-Theses
Durham E-Theses Rethinking mythology in Greek museums through contemporary culture Antonopoulou, Marina How to cite: Antonopoulou, Marina (2010) Rethinking mythology in Greek museums through contemporary culture, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2511/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk lml'Hlm:ING MYTHOLOGY IN <mEEK »KUSE{]Ml$ THROUGH CONTEMPORARY ClJL1UllB MARINAANTONOPOULOU Appendices The copyright of this thesis rests with the author or the university to which it was submitted. No quotation from it, or information derived from it may be published without the prior written consent of the author or university, and any information derived from it should be acknowledged. 2 6 MAY 2010 Appendix 1 Socratis Malamas Date: 15/01/2005 Venue: Hotel'Olympia', Thessaloniki. Q: Could you tell me what is the first thing that comes to mind when you hear the words 'Greek mythology'? A: The usual, what we learned in school. -
Eurydice Without Orpheus
Bard College Bard Digital Commons Senior Projects Spring 2011 Bard Undergraduate Senior Projects Spring 2011 Eurydice without Orpheus Nora E. Offen Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2011 Part of the Feminist, Gender, and Sexuality Studies Commons Recommended Citation Offen, Nora E., "Eurydice without Orpheus" (2011). Senior Projects Spring 2011. 5. https://digitalcommons.bard.edu/senproj_s2011/5 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. 1 Eurydice without Orpheus Senior Project submitted to The Division of Languages and Literature of Bard College by Nora Offen Annandale-on-Hudson, NY May 2011 2 “The love that consists in this: that two solitudes protect and border and greet each other.” For Mike Porter and Luisa Lopez. Acknowledgments I am grateful beyond words to my advisor, Joan Retallack, whose support has made work on this project possible, exhilarating, and deeply gratifying. And to my parents, Neil and Carol Offen, for providing their daughter with a house full of books, and a truly humbling depth of unconditional love. 3 Preface What follows is a poetic and critical reckoning with the Orpheus and Eurydice myth. -
ORPHEUS and EURYDICE Being His Music and His Deep Yearning for Her
Educational Calliope Kyrdi material included and Eu eus ryd ph ice Or The world was born out of love, and it was out of love that it almost perished. Not just once. At the dawn of time, the love that gods and mortals felt for each other Illustrated by was so strong and powerful that it could defy the laws of Sandra nature. Such was the love Orpheus felt for his sweetheart Eleftheriou Euridice, who died an untimely death. So he ventured to the world of the dead to bring her back, his only weapons ORPHEUS AND EURYDICE being his music and his deep yearning for her. This series offers a new reading of the ancient Greek myths. They are not old, worn-out stories, but gripping tales of timeless human adventures, containing all the fears and joys that have marked and continue to mark the human soul. Calliope Kyrdi L O ISBN: 978-618-03-1455-7 V E S AUXIL. COMPU. CODE 81455 T ORIES 9748_orfeas k eyridiki_CV.indd 1 15/03/2018 15:25 nce upon a time, Calliope the OMuse, a minor deity who in- spired poets with beautiful words and ideas to write the greatest po- ems, fell in love with Oeagrus, the handsome and powerful King of Thrace. They had a love child, Orpheus, who grew up in the leafy forests and evergreen mountains of Thrace. Now Orpheus was a child blessed by the Fates with many gifts and talents. He lis- tened to the wind, the waves, the rustling leaves, the birdsong, and all the secret sounds of nature and turned ev- erything into enchanting melo- dies. -
Greek Mythology / Apollodorus; Translated by Robin Hard
Great Clarendon Street, Oxford 0X2 6DP Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Athens Auckland Bangkok Bogotá Buenos Aires Calcutta Cape Town Chennai Dar es Salaam Delhi Florence Hong Kong Istanbul Karachi Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Paris São Paulo Shanghai Singapore Taipei Tokyo Toronto Warsaw with associated companies in Berlin Ibadan Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York © Robin Hard 1997 The moral rights of the author have been asserted Database right Oxford University Press (maker) First published as a World’s Classics paperback 1997 Reissued as an Oxford World’s Classics paperback 1998 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organizations. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this book in any other binding or cover and you must impose this same condition on any acquirer British Library Cataloguing in Publication Data Data available Library of Congress Cataloging in Publication Data Apollodorus. [Bibliotheca. English] The library of Greek mythology / Apollodorus; translated by Robin Hard. -
Origin of the Slavs
ORIGIN OF THE SLAVS II Their Language, Institutions And Native Tribes by RA Goryn Table of Contents Origins of Slavonic Language In ancient times when people had to migrate they took with them their most precious possessions, the means to eke their livelihood, their cattle, the seeds to sow in the new country, and above all their gods and sacred objects to sustain their spirit and faith in the new place. The migrations from Central Asia and India to Syria, Anatolia and Europe were caused as far as we know by a natural disaster. The rise of the Himalayas, Hindu Kush and the Pamirs caused the rise of the level of the surrounding country, drying up the rivers and seas, causing drought and desiccation. The tectonic clash of the earth's crusts that produced the mountains forced several massive migrations from the area. The first civilisation in the Nile valley is identified as the product of Central Asian culture. Sumerians maintained long-standing connections between Central Asia and the Nile valley before the second known massive migration c. 5000 B.C. to Mesopotamia. The invasions of 2150 B. C. that brought the Phrygian culture to Anatolia and the Danube valley is identifiable with the first such invasion described in Greek mythology as the invasions of Osiris or Dionysus, the worshippers of Arna, and the culture that brought the Amazons to Syria, Anatolia and the Balkans. Colonisation of the Nile valley started considerably earlier than the reign of the gods and demi-gods in Egypt. The proto-Slavs are seen to have emerged out of the population that came in the third massive migration and are linked firmly by culture and religious ties to Dionysiac religious beliefs and rituals.