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Ode to Nitrous Oxide Is It Only the Memory of Being Ten and Being
Ode to Nitrous Oxide Coleridge said that nitrous oxide—laughing gas— provided “the most unmingled pleasure” he ever knew. Is it only the memory of being ten and being driven to Manhattan to see the “dintist,” as the elevator man called him—the one time I can recall being in a building with an elevator—that invokes you? Or is it the pain I feared then or the pain I flee from now— tooth pain, the whirring drill, or the agonizing ache of hearing my husband just having had a housewarming party with another woman in another apartment—the one I don’t have the keys to? Is it about laughing over the pain or about Gonna take you higher, as Sly said in the Sixties when I thought I was too young to smoke yet there I was snorting that sweet stuff up in the dentist’s chair on what must have been the Upper East Side—this Brooklyn girl from East Flatbush—and loving it. It felt like soft rubber wrapping around my face around as the dentist drilled around & around drilled & wiggled his nose & whiskers like a human bunny rabbit. Here I am now, forty years later, asking for it in another East Side building where my name is announced. Asking to be put out of my pain—to feel the numbness flower down my arms into my pelvis. Isn’t it funny how good numb can feel? Is that the experience? Or is it waking up after—lucid but no longer asking (or caring) where it throbs—or when—or why—or because of whom. -
Chaos in the Old World Free
FREE CHAOS IN THE OLD WORLD PDF Fantasy Flight Games | none | 01 Jan 2015 | Fantasy Flight Games | 9781589946514 | English | United States Old Chaos | Dark Souls 2 Wiki Chaos in the Old World makes you a god. Yet, as you and your fellow powers of Chaos seek domination by corruption and conquest, you must vie Chaos in the Old World only against each other, but also against the desperate denizens of the Old World Chaos in the Old World fight to banish you back to the maelstrom of the Realm of Chaos. Chaos in the Old World features three ways to win, and gives you an unparalleled opportunity to reshape the world in your image. Every turn you corrupt the landscape, dominating its inhabitants, and battle with the depraved followers of rival gods. Each god has a unique deck of gifts and abilities, and can upgrade their followers into deadly foes. Summon forth living manifestations of Chaos, debased and hidden cultists, and the horrifying greater daemons - beings capable of destroying near everything in their path. Sign In Don't have an account? Start a Wiki. Chaos in the Old World is a board game for players set in the Warhammer Fantasy setting. Khorne, the Blood God, the Skulltaker, lusts for death and battle. Nurgle, the Plaguelord, the Father of Corruption, luxuriates in filth Chaos in the Old World disease. Tzeentch, the Changer of Ways, the Great Conspirator, plots the fate of the universe. Slaanesh, the Prince of Pleasure and Pain, the Lord of Temptations, lures even the most steadfast to his six deadly seductions. -
Free Script Sample
DANCING WITH THE OLYMPIANS By Lavinia Roberts Copyright © 2011 by Lavinia Roberts, All rights reserved. ISBN: 1-60003-590-6 CAUTION: Professionals and amateurs are hereby warned that this Work is subject to a royalty. This Work is fully protected under the copyright laws of the United States of America and all countries with which the United States has reciprocal copyright relations, whether through bilateral or multilateral treaties or otherwise, and including, but not limited to, all countries covered by the Pan-American Copyright Convention, the Universal Copyright Convention and the Berne Convention. RIGHTS RESERVED: All rights to this Work are strictly reserved, including professional and amateur stage performance rights. Also reserved are: motion picture, recitation, lecturing, public reading, radio broadcasting, television, video or sound recording, all forms of mechanical or electronic reproduction, such as CD-ROM, CD-I, DVD, information and storage retrieval systems and photocopying, and the rights of translation into non-English languages. PERFORMANCE RIGHTS AND ROYALTY PAYMENTS: All amateur and stock performance rights to this Work are controlled exclusively by Brooklyn Publishers, LLC. No amateur or stock production groups or individuals may perform this play without securing license and royalty arrangements in advance from Brooklyn Publishers, LLC. Questions concerning other rights should be addressed to Brooklyn Publishers, LLC. Royalty fees are subject to change without notice. Professional and stock fees will be set upon application in accordance with your producing circumstances. Any licensing requests and inquiries relating to amateur and stock (professional) performance rights should be addressed to Brooklyn Publishers, LLC. Royalty of the required amount must be paid, whether the play is presented for charity or profit and whether or not admission is charged. -
Religion and Reconciliation in Greek Cities (2010)
Religion and Reconciliation in Greek Cities AMERICAN PHILOLOGICAL ASSOCIATION american classical studies volume 54 Series Editor Kathryn J. Gutzwiller Studies in Classical History and Society Meyer Reinhold Sextus Empiricus The Transmission and Recovery of Pyrrhonism Luciano Floridi The Augustan Succession An Historical Commentary on Cassius Dio’s Roman History Books 55 56 (9 B.C. A.D. 14) Peter Michael Swan Greek Mythography in the Roman World Alan Cameron Virgil Recomposed The Mythological and Secular Centos in Antiquity Scott McGill Representing Agrippina Constructions of Female Power in the Early Roman Empire Judith Ginsburg Figuring Genre in Roman Satire Catherine Keane Homer’s Cosmic Fabrication Choice and Design in the Iliad Bruce Heiden Hyperides Funeral Oration Judson Herrman Religion and Reconciliation in Greek Cities The Sacred Laws of Selinus and Cyrene Noel Robertson Religion and Reconciliation in Greek Cities The Sacred Laws of Selinus and Cyrene NOEL ROBERTSON 1 2010 3 Oxford University Press, Inc., publishes works that further Oxford University’s objective of excellence in research, scholarship, and education. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Copyright q 2010 by the American Philological Association Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press. 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, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. -
A Dictionary of Mythology —
Ex-libris Ernest Rudge 22500629148 CASSELL’S POCKET REFERENCE LIBRARY A Dictionary of Mythology — Cassell’s Pocket Reference Library The first Six Volumes are : English Dictionary Poetical Quotations Proverbs and Maxims Dictionary of Mythology Gazetteer of the British Isles The Pocket Doctor Others are in active preparation In two Bindings—Cloth and Leather A DICTIONARY MYTHOLOGYOF BEING A CONCISE GUIDE TO THE MYTHS OF GREECE AND ROME, BABYLONIA, EGYPT, AMERICA, SCANDINAVIA, & GREAT BRITAIN BY LEWIS SPENCE, M.A. Author of “ The Mythologies of Ancient Mexico and Peru,” etc. i CASSELL AND COMPANY, LTD. London, New York, Toronto and Melbourne 1910 ca') zz-^y . a k. WELLCOME INS77Tint \ LIBRARY Coll. W^iMOmeo Coll. No. _Zv_^ _ii ALL RIGHTS RESERVED INTRODUCTION Our grandfathers regarded the study of mythology as a necessary adjunct to a polite education, without a knowledge of which neither the classical nor the more modem poets could be read with understanding. But it is now recognised that upon mythology and folklore rests the basis of the new science of Comparative Religion. The evolution of religion from mythology has now been made plain. It is a law of evolution that, though the parent types which precede certain forms are doomed to perish, they yet bequeath to their descendants certain of their characteristics ; and although mythology has perished (in the civilised world, at least), it has left an indelible stamp not only upon modem religions, but also upon local and national custom. The work of Fruger, Lang, Immerwahr, and others has revolutionised mythology, and has evolved from the unexplained mass of tales of forty years ago a definite and systematic science. -
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. -
The Degeneration of Ancient Bird and Snake Goddesses Into Historic Age Witches and Monsters
The Degeneration of Ancient Bird and Snake Goddesses Miriam Robbins Dexter Special issue 2011 Volume 7 The Monstrous Goddess: The Degeneration of Ancient Bird and Snake Goddesses into Historic Age Witches and Monsters Miriam Robbins Dexter An earlier form of this paper was published as 1) to demonstrate the broad geographic basis of “The Frightful Goddess: Birds, Snakes and this iconography and myth, 2) to determine the Witches,”1 a paper I wrote for a Gedenkschrift meaning of the bird and the snake, and 3) to which I co-edited in memory of Marija demonstrate that these female figures inherited Gimbutas. Several years later, in June of 2005, the mantle of the Neolithic and Bronze Age I gave a lecture on this topic to Ivan Marazov’s European bird and snake goddess. We discuss class at the New Bulgarian University in who this goddess was, what was her importance, Sophia. At Ivan’s request, I updated the paper. and how she can have meaning for us. Further, Now, in 2011, there is a lovely synchrony: I we attempt to establish the existence of and have been asked to produce a paper for a meaning of the unity of the goddess, for she was Festschrift in honor of Ivan’s seventieth a unity as well as a multiplicity. That is, birthday, and, as well, a paper for an issue of although she was multifunctional, yet she was the Institute of Archaeomythology Journal in also an integral whole. In this wholeness, she honor of what would have been Marija manifested life and death, as well as rebirth, and Gimbutas’ ninetieth birthday. -
Greco-Roman Gods and Goddesses
GRECO -ROMAN GODS AND GODDESSES THE OLYMPIANS : THE “T WELVE ” Of the many major and minor gods in the Olympian dynasty the most important are the Twelve, a group chosen by the Greeks themselves as the key figures in the Olympian group and the basis for most of their religious observances. Greek law is also to some extent derived from the concept of the Twelve, and Greeks in both court proceedings and in ordinary conversation took their oath “by the Twelve.” The divinities constituting this group were: Zeus (Jupiter, Jove) Leader of the Olympians, god of lightening, and representative of the power principle. Hera (Juno) Wife of Zeus and goddess of marriage and domestic stability. Poseidon (Neptune) God of the sea. Often called “the earth shaker,” possibly because the Greeks attributed earthquakes to marine origin. Hades (Pluto, Dis) God of the Underworld and presider over the realm of the dead. Also connected with the nature myth by his marriage to Persephone (Proserpine), who spent half of her time on earth (the growing season) and half in the underworld (the winter period). Hades does not represent death itself, that function being relegated to a lesser divinity Thanatos. Pallas Athena, Athena (Minerva) Goddess of wisdom, but also associated with many other concepts from warfare to arts and crafts. Her birth was remarkable, since she sprang fully-armed from the forehead of Zeus. She was the patron goddess of Athens and to the Athenians represented the art of civilized living. Phoebus Apollo Son of Zeus and Leto, daughter of the Titans Krios and Phoebe. -
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. -
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 -
For a Falcon
New Larousse Encyclopedia of Mythology Introduction by Robert Graves CRESCENT BOOKS NEW YORK New Larousse Encyclopedia of Mythology Translated by Richard Aldington and Delano Ames and revised by a panel of editorial advisers from the Larousse Mvthologie Generate edited by Felix Guirand and first published in France by Auge, Gillon, Hollier-Larousse, Moreau et Cie, the Librairie Larousse, Paris This 1987 edition published by Crescent Books, distributed by: Crown Publishers, Inc., 225 Park Avenue South New York, New York 10003 Copyright 1959 The Hamlyn Publishing Group Limited New edition 1968 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, electronic, mechanical, photocopying, recording or otherwise, without the permission of The Hamlyn Publishing Group Limited. ISBN 0-517-00404-6 Printed in Yugoslavia Scan begun 20 November 2001 Ended (at this point Goddess knows when) LaRousse Encyclopedia of Mythology Introduction by Robert Graves Perseus and Medusa With Athene's assistance, the hero has just slain the Gorgon Medusa with a bronze harpe, or curved sword given him by Hermes and now, seated on the back of Pegasus who has just sprung from her bleeding neck and holding her decapitated head in his right hand, he turns watch her two sisters who are persuing him in fury. Beneath him kneels the headless body of the Gorgon with her arms and golden wings outstretched. From her neck emerges Chrysor, father of the monster Geryon. Perseus later presented the Gorgon's head to Athene who placed it on Her shield. -
The Greek Anthology with an English Translation by W
|^rct?c^tc^ to of the Univereitp of Toronto JScrtrani 1I-1. iDavit^ from the hoohs? ot the late Hioncl Bavie, Hc.cT. THE LOEB CLASSICAL LIBRARY EDITED BY E. CAl'PS, Ph.D., LL.D. T. E. PAGE, Lut.D. W. H. D. IWUSE, LnT.D. THE CiREEK ANTHOLOGY III 1 *• THE GREEK ANTHOLOGY WITH AN ENGLISH TRANSLATION BY W. R. PA TON IN FIVE VOLUMES III LONDON : WILLIAM HEINEMANN NEW YORK : G. P. PUTNAM S SONS M CM XV 1 CONTENTS BOOK IX. —THE DECLAMATORY EPICRAMS 1 GENERAL INDEX 449 INDEX OF AUTHORS INCLUDED IN THIS VOLUME . 454 GREEK ANTHOLOGY BOOK IX THE DECLAMATORY AND DESCRIPTIVE EPIGRAMS This book, as we should naturally expect, is especially rich in epigrams from the Stephanus of Philippus, the rhetorical style of epigram having been in vogue during the period covered by that collection. There are several quite long series from this source, retaining the alphabetical order in which they were arranged, Nos. 215-312, 403-423, 541- 562. It is correspondingly poor in poems from Meleager s Stephanus (Nos. 313-338). It contains a good deal of the Alexandrian Palladas, a contemporary of Hypatia, most of wliich we could well dispense with. The latter part, from No. 582 07iwards, consists mostly of real or pretended in- scriptions on works of art or buildings, many quite unworthy of preservation, but some, especially those on baths, quite graceful. The last three epigrams, written in a later hand, do not belong to the original Anthology. ANeOAOriA (-) EnirPAM.M ATA RTIIAEIKTIKA 1.— 110ATAIX(;T :::a1'A1AN()T AopKuSo^; upTiroKoio Ti6i]i')]T)'ipioi' ovdap efjLTrXeov r)p.vaav ^ 7rifcp6<i erv^ev e)(i<;.