DOCSLIB.ORG

JOHN PINSENT Ireek

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
JOHN PINSENT Ireek JOHN PINSENT iREEK Mythology was woven closely into the febrtc of the Hie and arts of ancient Greece. Most of the drama, poetry, painting and sculpture of the Qreeks is based on stories of gods and heroes and of the mortal men and women with whom they dealt. The myths nf the early Qreek peoples had a religious "' quasl-sclenllfic meaning and formed ihF- essential background and cultural heritage "I later Qreek civilisations. They played nn important part in the creation of the glory Ihal wai Gropre The author, in addition to narrating familiar and lesser-known stories, traces the development of particular myths from the most primitive times to the sophisticated civilisation that formed the Qolden Age ui Greece He shows that Qreek mythology wiis a dynamic expression of the people's r 'nscious or subconscious desires not a static unvarying canon of stories. The richness 'if Greek myths may be accounted for paniy dv the widely scattered places In which ihey developed on the Qreek mainland, on the Aegean Islands and in the Greek colonies of southern Italy. Some of the myths can be traced back to earlier nature religions. Others can be explained in terms of modern psychological theory The stories of Greek mythology have been a source of Inspiration to artists even since they first gained currency. This book contains a superb selection of the best examples of Qreek vase paintings, sculpture and architecture, many of which have not before been reproduced In books designed for the general reader. The author, John Pinsant, who has made a special study of this subject. Is lecturer In Qreek at the University of Liverpool 24 pages in colour Over 100 illustrations In black and white Index Front jacket: Heracles wrestling with the sea-monster Triton ^' V-^/ P<i^f?^Ay jt' mf^ GREEK MYTHOLOGY IL MYT ini L JOHN PINSENT PAULHAMLYN LONDON NEW YORK SYDNEY TORONTO coiDUR plate; 13 Bronze Core 46 Heracles bringing Cerberus 97 Amazons in battle 17 Temple of Apollo, Corinth to Eurystheus 101 Three-bodied serpent man 20 Temple at Selinus 62 Athena Promachos 101 Medea and Pelias 24 Temple of Aphaea, Aegina 66 Delphi 105 Theseus leaving Ariadne on Naxos 38 Dionysus on a goat 71 Bellerophon and the Chimaera 108 The sacred site at Olympus 38 Female statuette from Locri 76 The Calydonian Boar hunt 123 The judgement of Paris 42 Hermes and fertility goddess 80 Caeneus slain by the Centaurs 126 Temple at Agrigento 42 Wind shown as a running figure 81 Atalanta at the hunt 130 Achilles receiving his armour 42 Athena on coin of Syracuse 84 Man and Centaur 130 The blinding of Polyphemus The Hamlyn Publishing Group Limited Copyright (C) 1969 John Pinsent London/New York/Sydney/Toronto All rights reserved Hamlyn House, Feltham Printed in Italy by O.G.A.M. Verona Middlesex, England i ontent: INTRODUCTION THE CHILDREN OF 10 53 The exploits of Heracles 94 The ancient sources 14 lo 54 The quests of Heracles 95 The daughters of Danaus 56 Battle of gods and giants 99 Cadmus 57 Death of Heracles 100 THE ORIGINS OF THE WORLD 16 The daughters of Cadmus 58 The creation myth 16 The birth of Dionysus 58 ATHENS lOZ The succession myth 16 Midas 63 Tereus and Procne 102 The birth of Zeus 22 Orpheus 63 The Titans 23 The apotheosis of Dionysus 63 THESEUS 104 Typhon 27 Crete 104 AEOLUS THE CHILDREN OF 65 The exploits of Theseus 106 THE FAMILY OF THE GODS 29 Athamas 65 Theseus and Hippolytus 107 68 Zeus and Hera 29 Pelias Sisyphus 69 Ares and Aphrodite 51 THE TROJAN WAR no Endymion 69 Athena 3 Tantalus no Poseidon 32 Pelops, Atreus and Thyestes 112 THE MONSTER-KILLERS 70 Demeter Leda 112 3 3 Bellerophon 70 Leto, Apollo and Artemis Achilles 114 35 Perseus 72 114 Orion 36 Trojan stories The judgement of Paris 117 Otus and Ephialtes 37 THE GREAT EXPLOITS 77 The sack of Troy 119 Hephaestus 57 Communal exploits 77 Hermes 39 The Calydonian Boar hunt 77 THE END OF THE HEROES 129 Pan 40 Melampus 79 The death of Agamemnon 131 Nymphs 40 Admetus 79 Jason and the Argonauts 82 Odysseus Neoptolemus EARLY MAN 45 THEBES 87 The return of the Heraclids 135 The Five Ages 45 Oedipus Prometheus 47 The Seven against Thebes 89 FURTHER READING LIST 136 Pandora 48 Deucalion 49 HERACLES 93 ACKNOWLEDGMENTS 137 Lycaon 49 Amphitryon 93 The flood 51 Birth of Heracles 94 INDEX 158 t^y L« 'd iK?-'^ /X-i INTRODUCTION There is a great deal of Greek mytholo- icides, exiles, quarrels, seductions and gy, and this book does not contain it all. illegitimate births, many of them taking Almost all Greek art and literature either place inside the family circle. Greek took its subjects from mythology or mythology has its share of monsters, made reference to it. The Greeks told sto- but the humanist outlook of the Greeks ries about the family life of the gods, and generally rejected magic. In other re- they had a myth about the creation of the spects the myths do resemble fairy tales. world and how the present dynasty of A label is not, however, an explana- the gods came to power; but most of tion. One of the commonest of such their mythology is concerned with the motifs is the tale of the young man who heroic world. This world joined on to goes on a journey to a far country where the historical world of the Greeks in he is set a number of tasks or quests in time. It came to an end with the return order to win the hand of a maiden who of the children of Heracles to the Pelo- is the daughter either of a king or of an ponnese, the mythological equivalent of enchanter. Success brings him the king- the Dorian invasion, when the last wave dom sometimes at the cost of the death of Greek-speaking peoples entered of the enchanter, and he lives happily Greece and settled in Boeotia and Sparta. ever after. The Spartan kings traced their descent This pattern recurs in Greek mythol- back to these children of Heracles. logy with some significant differences. For the Greeks, heroic mythology The young man usually leaves home was ancient history. They constructed because of a family quarrel or homicide, genealogies which related all the human sometimes provoked by a step-mother. personages of the myths, and prepared The father of the princess is often afraid ABOVE The young Apollo. The central fig schematic mythological handbooks to of death at the hands of his daughter's of the western pediment of the explain references in the older authors. husband, himself engages in a con- and fifth century temple of Zeus at In the earlier periods, writers felt free test with her suitors. In other cases it is Olympia was Apollo, subduing a to improve and even invent myths, his daughter's son that represents the Centaur. Olympia Museum. doubtless maintaining that they were threat, and the child, almost always the simply telling for the first time the real son of a god, is exposed (occasionally LEFT Mount Olympus in Thessaly, truth. Their inventions, however, tended with his mother) to be miraculously the seat of the gods. to follow the patterns of existing myths. preserved and often suckled by wild Such patterns are the first thing that beasts. In the end he brings about his strikes the student of Greek mythology. grandfather's death after having acquired The second is the extraordinary char- a bride in the usual way. acter of its content. It is all about hom- There is little doubt that these stories INTRODUCTION RIGHT Bronze Core. This six-inch statuette of about 480 BC was very possibly identified as a goddess by some emblem, now lost, in the right hand. It is more probable perhaps that it represented the donor perpetually offering whatever it was she held. Traces of silver inlay remain on the fringe of her dress as she holds it aside. At this stage in the development of the art drapery is beautifully handled to suggest clearly the human form beneath, a technique which was more easily handled in bronze than in stone. British Museum. ABOVE continue to be told because they satisfy period either by a new consort or by Bull-leaping. This famous Minoan some psychological need in the minds their daughter's husband, who was, of bronze statuette, until recently in the of their hearers. Psychological explana- course, completely unrelated to them by Spencer-Churchill collection, is part of the meagre evidence for the Cretan tions, usually Freudian, can be found blood. Some myths suggest that the sport of bull-leaping which has left for many myths and some have been king impersonated a god who might its trace in Greek mythology in the proposed in this book. But the familiar- also appear as an animal, and that in the story of Theseus and the Minotaur. ity of the pattern sometimes obscures end he was made immortal by sacrifice, In all representations the human its chief characteristic: that sons never a fate which he could sometimes avoid figure is shown very small and the bull large, but this figure had its feet inherit from fathers. Many of the more by the sacrifice of his son. firmly on the back of the bull unpleasant features of the myths fall into If this state of affairs ever prevailed and might be in the act of landing place if they are seen as descriptions of in Greece it was during, and perhaps from a back somersault after seizing what inheritance in the female line looked early during, the Mycenaean period and the horns of the bull and being tossed upwards.
Load more

Recommended publications
  • The Herodotos Project (OSU-Ugent): Studies in Ancient Ethnography
    Faculty of Literature and Philosophy Julie Boeten The Herodotos Project (OSU-UGent): Studies in Ancient Ethnography Barbarians in Strabo’s ‘Geography’ (Abii-Ionians) With a case-study: the Cappadocians Master thesis submitted in fulfilment of the requirements for the degree of Master in Linguistics and Literature, Greek and Latin. 2015 Promotor: Prof. Dr. Mark Janse UGent Department of Greek Linguistics Co-Promotores: Prof. Brian Joseph Ohio State University Dr. Christopher Brown Ohio State University ACKNOWLEDGMENT In this acknowledgment I would like to thank everybody who has in some way been a part of this master thesis. First and foremost I want to thank my promotor Prof. Janse for giving me the opportunity to write my thesis in the context of the Herodotos Project, and for giving me suggestions and answering my questions. I am also grateful to Prof. Joseph and Dr. Brown, who have given Anke and me the chance to be a part of the Herodotos Project and who have consented into being our co- promotores. On a whole other level I wish to express my thanks to my parents, without whom I would not have been able to study at all. They have also supported me throughout the writing process and have read parts of the draft. Finally, I would also like to thank Kenneth, for being there for me and for correcting some passages of the thesis. Julie Boeten NEDERLANDSE SAMENVATTING Deze scriptie is geschreven in het kader van het Herodotos Project, een onderneming van de Ohio State University in samenwerking met UGent. De doelstelling van het project is het aanleggen van een databank met alle volkeren die gekend waren in de oudheid.
    [Show full text]
  • Naming the Extrasolar Planets
    Naming the extrasolar planets W. Lyra Max Planck Institute for Astronomy, K¨onigstuhl 17, 69177, Heidelberg, Germany [email protected] Abstract and OGLE-TR-182 b, which does not help educators convey the message that these planets are quite similar to Jupiter. Extrasolar planets are not named and are referred to only In stark contrast, the sentence“planet Apollo is a gas giant by their assigned scientific designation. The reason given like Jupiter” is heavily - yet invisibly - coated with Coper- by the IAU to not name the planets is that it is consid- nicanism. ered impractical as planets are expected to be common. I One reason given by the IAU for not considering naming advance some reasons as to why this logic is flawed, and sug- the extrasolar planets is that it is a task deemed impractical. gest names for the 403 extrasolar planet candidates known One source is quoted as having said “if planets are found to as of Oct 2009. The names follow a scheme of association occur very frequently in the Universe, a system of individual with the constellation that the host star pertains to, and names for planets might well rapidly be found equally im- therefore are mostly drawn from Roman-Greek mythology. practicable as it is for stars, as planet discoveries progress.” Other mythologies may also be used given that a suitable 1. This leads to a second argument. It is indeed impractical association is established. to name all stars. But some stars are named nonetheless. In fact, all other classes of astronomical bodies are named.
    [Show full text]
  • The Cambridge Companion to Greek Mythology (2007)
    P1: JzG 9780521845205pre CUFX147/Woodard 978 0521845205 Printer: cupusbw July 28, 2007 1:25 The Cambridge Companion to GREEK MYTHOLOGY S The Cambridge Companion to Greek Mythology presents a comprehensive and integrated treatment of ancient Greek mythic tradition. Divided into three sections, the work consists of sixteen original articles authored by an ensemble of some of the world’s most distinguished scholars of classical mythology. Part I provides readers with an examination of the forms and uses of myth in Greek oral and written literature from the epic poetry of the eighth century BC to the mythographic catalogs of the early centuries AD. Part II looks at the relationship between myth, religion, art, and politics among the Greeks and at the Roman appropriation of Greek mythic tradition. The reception of Greek myth from the Middle Ages to modernity, in literature, feminist scholarship, and cinema, rounds out the work in Part III. The Cambridge Companion to Greek Mythology is a unique resource that will be of interest and value not only to undergraduate and graduate students and professional scholars, but also to anyone interested in the myths of the ancient Greeks and their impact on western tradition. Roger D. Woodard is the Andrew V.V.Raymond Professor of the Clas- sics and Professor of Linguistics at the University of Buffalo (The State University of New York).He has taught in the United States and Europe and is the author of a number of books on myth and ancient civiliza- tion, most recently Indo-European Sacred Space: Vedic and Roman Cult. Dr.
    [Show full text]
  • Ovid Book 12.30110457.Pdf
    METAMORPHOSES GLOSSARY AND INDEX The index that appeared in the print version of this title was intentionally removed from the eBook. Please use the search function on your eReading device to search for terms of interest. For your reference, the terms that ap- pear in the print index are listed below. SINCE THIS index is not intended as a complete mythological dictionary, the explanations given here include only important information not readily available in the text itself. Names in parentheses are alternative Latin names, unless they are preceded by the abbreviation Gr.; Gr. indi- cates the name of the corresponding Greek divinity. The index includes cross-references for all alternative names. ACHAMENIDES. Former follower of Ulysses, rescued by Aeneas ACHELOUS. River god; rival of Hercules for the hand of Deianira ACHILLES. Greek hero of the Trojan War ACIS. Rival of the Cyclops, Polyphemus, for the hand of Galatea ACMON. Follower of Diomedes ACOETES. A faithful devotee of Bacchus ACTAEON ADONIS. Son of Myrrha, by her father Cinyras; loved by Venus AEACUS. King of Aegina; after death he became one of the three judges of the dead in the lower world AEGEUS. King of Athens; father of Theseus AENEAS. Trojan warrior; son of Anchises and Venus; sea-faring survivor of the Trojan War, he eventually landed in Latium, helped found Rome AESACUS. Son of Priam and a nymph AESCULAPIUS (Gr. Asclepius). God of medicine and healing; son of Apollo AESON. Father of Jason; made young again by Medea AGAMEMNON. King of Mycenae; commander-in-chief of the Greek forces in the Trojan War AGLAUROS AJAX.
    [Show full text]
  • Sons and Fathers in the Catalogue of Argonauts in Apollonius Argonautica 1.23-233
    Sons and fathers in the catalogue of Argonauts in Apollonius Argonautica 1.23-233 ANNETTE HARDER University of Groningen [email protected] 1. Generations of heroes The Argonautica of Apollonius Rhodius brings emphatically to the attention of its readers the distinction between the generation of the Argonauts and the heroes of the Trojan War in the next genera- tion. Apollonius initially highlights this emphasis in the episode of the Argonauts’ departure, when the baby Achilles is watching them, at AR 1.557-5581 σὺν καί οἱ (sc. Chiron) παράκοιτις ἐπωλένιον φορέουσα | Πηλείδην Ἀχιλῆα, φίλωι δειδίσκετο πατρί (“and with him his wife, hold- ing Peleus’ son Achilles in her arms, showed him to his dear father”)2; he does so again in 4.866-879, which describes Thetis and Achilles as a baby. Accordingly, several scholars have focused on the ways in which 1 — On this marker of the generations see also Klooster 2014, 527. 2 — All translations of Apollonius are by Race 2008. EuGeStA - n°9 - 2019 2 ANNETTE HARDER Apollonius has avoided anachronisms by carefully distinguishing between the Argonauts and the heroes of the Trojan War3. More specifically Jacqueline Klooster (2014, 521-530), in discussing the treatment of time in the Argonautica, distinguishes four periods of time to which Apollonius refers: first, the time before the Argo sailed, from the beginning of the cosmos (featured in the song of Orpheus in AR 1.496-511); second, the time of its sailing (i.e. the time of the epic’s setting); third, the past after the Argo sailed and fourth the present inhab- ited by the narrator (both hinted at by numerous allusions and aitia).
    [Show full text]
  • Silvae III 1: HERCULES SURRENTINUS POLLI! FELLCLS
    Silvae III 1: HERCULES SURRENTINUS POLLI! FELLCLS BIBLIOGRAFÍA Silv. ni 1: Hardie, Stat. & Silv. 125-28. Newland.s, The iocus amoenus' \52-(~ÌQ. Newmyer, Silv. of Stat. 100-5. Vollmer 384-93. Descripciones de villae en las Silvas: Pavlov.slcis, Artificial Landscape ì-2\ (Silv. Ili 1 en 12-13). Van Dam 187-93. La villa de Polio Félix y sus inmediaciones: Argeni(5, «Villa Surrent.» (sobre II 2 y la villa de Polio), d' Arms, Romans on the Bay of Naples. Beloch, Campanien 269-74. Buchner, «Fonti-. Cancik, «11 2- (.sobre II 2 y la villa de Polio). Nisbet, .II 2» (.solare II 2 y la villa de Polio). Pugliese, «Napoli». Rostagni, «Cultura di Napoli-. CONTENIDO Y ESTRUCTURA La Silva se inicia con un proemio de Estacio (1-22), en el que alude al año de interrupción del culto de Hércules, cau.sado por la reconstrucción de .su templo (1-4). Tras ponderar la belleza de la nueva construcción (5-7), inci• de en el contra.ste entre el antiguo edificio y el nuevo (8-11), la velocidad de las obras (12-15a) y la intervención del propio Hércules (15b-22). Pronuncia a continuación un himno clético a Hércules (23-48). Tras men• cionar paraderos akernativos del dios (23-27) lo invoca formalmente (28). Ha• ce una apología de la piedad de la familia de Polio (29-33) y pide al dios una actitud propicia (34-6) y festiva (40-43a), aduciendo los argumentos del lujo del templo (37-38), los Juegos atléticos que acompañarán la dedicación (43b- 118 COMENTARIO 45) y el dato sentimental de que el «sacerdote» oficiante es el propio nieto de Polio (46-48).
    [Show full text]
  • Caeneus and Heroic (Trans)Masculinity in Ovid's
    Caeneus and Heroic (Trans)Masculinity in Ovid’s Metamorphoses Charlotte Northrop Arethusa, Volume 53, Number 1, Winter 2020, pp. 25-41 (Article) Published by Johns Hopkins University Press DOI: https://doi.org/10.1353/are.2020.0000 For additional information about this article https://muse.jhu.edu/article/762106 [ This content has been declared free to read by the pubisher during the COVID-19 pandemic. ] CAENEUS AND HEROIC (TRANS)MASCULINITY IN OVID’S METAMORPHOSES CHARLOTTE NORTHROP Caeneus is a problematic figure among Ovid’s heroes in the Meta- morphoses:1 he aspires to an epic heroism that makes him unique among transgender characters elsewhere in the poem.2 This incongruity forms the basis of the taunts from his centaur opponents. However, instead of just being an aberration among Ovid’s hero characters, Caeneus is actually emblem- atic of the traits that define heroism in the Metamorphoses. Ovid does not shy away from questions of gender identity or generic congruity but makes these questions fundamental to the Caeneus episode and its metatextual relationship with the poem and its poetic tradition. This article argues that Ovid’s treatment of Caeneus is comparable to his treatment of other hero figures, and that his version of Caeneus problematizes the traditional epic relationship between gender identity and genre. Ovid presents a vision of transmasculinity that is innovative when compared with earlier versions of Caeneus and similar mythical figures. His Caeneus narrative is, therefore, a locus for reflection on the nature of heroism within Ovid’s “little Iliad.” To begin, it is necessary to define “transgender” and “transmas- culinity” in terms applicable to Augustan literature.
    [Show full text]
  • Akhos and Penthos, Both Meaning 'Grief' Or 'Song of Grief' = 'Lament'
    Dialogue 03 Two key words for this dialogue: akhos and penthos, both meaning 'grief' or 'song of grief' = 'lament' Passage (A) Iliad I 188-191: The son of Peleus [= Achilles] felt grief [akhos], and his heart within his shaggy breast was divided [190] whether to draw his sword, push the others aside, and kill the son of Atreus [= Agamemnon], or to restrain himself and check his anger [kholos]. Passage (B) From an ancient plot-summary of the lost epic Aithiopis (‘Song of the Ethiopians’): "The Amazon Penthesileia, daughter of Ares and Thracian by birth, comes to Troy as an ally of the Trojans. In the middle of her aristeia [= greatest epic moments], Achilles kills her and the Trojans arrange for her funeral. Thersites, reviling and reproaching Achilles by saying that he loved Penthesileia, is killed by Achilles." The name of this Amazon, Penthesileia, means 'penthos for the people [laos]'; it is parallel to the name of Achilles, which is understood in Homeric poetry to mean 'akhos for the people [laos]'. Passage (C) Repetition from Dialogue 02 Passage (D) Iliad IX 550-602: So long as Meleager was in the field things went badly for the Curetes, and for all their numbers they could not hold their ground under the city walls; but in the course of time anger [kholos] entered Meleager in his thinking [noos], as will happen sometimes even to a sensible man. He was incensed with his mother Althaea, and therefore stayed at home with his wife, whom he had courted as a youth, fair Kleopatra, {note 1} who was daughter of Marpessa daughter of Euenus, and of Idēs a man then living.
    [Show full text]
  • A HISTORY of the PELASGIAN THEORY. FEW Peoples Of
    A HISTORY OF THE PELASGIAN THEORY. FEW peoples of the ancient world have given rise to so much controversy as the Pelasgians; and of few, after some centuries of discussion, is so little clearly established. Like the Phoenicians, the Celts, and of recent years the Teutons, they have been a peg upon which to hang all sorts of speculation ; and whenever an inconvenient circumstance has deranged the symmetry of a theory, it has been safe to ' call it Pelasgian and pass on.' One main reason for this ill-repute, into which the Pelasgian name has fallen, has been the very uncritical fashion in which the ancient statements about the Pelasgians have commonly been mishandled. It has been the custom to treat passages from Homer, from Herodotus, from Ephorus, and from Pausanias, as if they were so many interchangeable bricks to build up the speculative edifice; as if it needed no proof that genealogies found sum- marized in Pausanias or Apollodorus ' were taken by them from poems of the same class with the Theogony, or from ancient treatises, or from prevalent opinions ;' as if, further, ' if we find them mentioning the Pelasgian nation, they do at all events belong to an age when that name and people had nothing of the mystery which they bore to the eyes of the later Greeks, for instance of Strabo;' and as though (in the same passage) a statement of Stephanus of Byzantium about Pelasgians in Italy ' were evidence to the same effect, perfectly unexceptionable and as strictly historical as the case will admit of 1 No one doubts, of course, either that popular tradition may transmit, or that late writers may transcribe, statements which come from very early, and even from contemporary sources.
    [Show full text]
  • Title Page Echoes of the Salpinx: the Trumpet in Ancient Greek Culture
    Title Page Echoes of the salpinx: the trumpet in ancient Greek culture. Carolyn Susan Bowyer. Royal Holloway, University of London. MPhil. 1 Declaration of Authorship I Carolyn Susan Bowyer hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ______________________ Date: ________________________ 2 Echoes of the salpinx : the trumpet in ancient Greek culture. Abstract The trumpet from the 5th century BC in ancient Greece, the salpinx, has been largely ignored in modern scholarship. My thesis begins with the origins and physical characteristics of the Greek trumpet, comparing trumpets from other ancient cultures. I then analyse the sounds made by the trumpet, and the emotions caused by these sounds, noting the growing sophistication of the language used by Greek authors. In particular, I highlight its distinctively Greek association with the human voice. I discuss the range of signals and instructions given by the trumpet on the battlefield, demonstrating a developing technical vocabulary in Greek historiography. In my final chapter, I examine the role of the trumpet in peacetime, playing its part in athletic competitions, sacrifice, ceremonies, entertainment and ritual. The thesis re-assesses and illustrates the significant and varied roles played by the trumpet in Greek culture. 3 Echoes of the salpinx : the trumpet in ancient Greek culture Title page page 1 Declaration of Authorship page 2 Abstract page 3 Table of Contents pages
    [Show full text]
  • 1 Name 2 Zeus in Myth
    Zeus For other uses, see Zeus (disambiguation). Zeus (English pronunciation: /ˈzjuːs/[3] ZEWS); Ancient Greek Ζεύς Zeús, pronounced [zdeǔ̯s] in Classical Attic; Modern Greek: Δίας Días pronounced [ˈði.as]) is the god of sky and thunder and the ruler of the Olympians of Mount Olympus. The name Zeus is cognate with the first element of Roman Jupiter, and Zeus and Jupiter became closely identified with each other. Zeus is the child of Cronus and Rhea, and the youngest of his siblings. In most traditions he is married to Hera, although, at the oracle of Dodona, his consort The Chariot of Zeus, from an 1879 Stories from the Greek is Dione: according to the Iliad, he is the father of Tragedians by Alfred Church. Aphrodite by Dione.[4] He is known for his erotic es- capades. These resulted in many godly and heroic offspring, including Athena, Apollo, Artemis, Hermes, the Proto-Indo-European god of the daytime sky, also [10][11] Persephone (by Demeter), Dionysus, Perseus, Heracles, called *Dyeus ph2tēr (“Sky Father”). The god is Helen of Troy, Minos, and the Muses (by Mnemosyne); known under this name in the Rigveda (Vedic San- by Hera, he is usually said to have fathered Ares, Hebe skrit Dyaus/Dyaus Pita), Latin (compare Jupiter, from and Hephaestus.[5] Iuppiter, deriving from the Proto-Indo-European voca- [12] tive *dyeu-ph2tēr), deriving from the root *dyeu- As Walter Burkert points out in his book, Greek Religion, (“to shine”, and in its many derivatives, “sky, heaven, “Even the gods who are not his natural children address [10] [6] god”).
    [Show full text]
  • ANCIENT TERRACOTTAS from SOUTH ITALY and SICILY in the J
    ANCIENT TERRACOTTAS FROM SOUTH ITALY AND SICILY in the j. paul getty museum The free, online edition of this catalogue, available at http://www.getty.edu/publications/terracottas, includes zoomable high-resolution photography and a select number of 360° rotations; the ability to filter the catalogue by location, typology, and date; and an interactive map drawn from the Ancient World Mapping Center and linked to the Getty’s Thesaurus of Geographic Names and Pleiades. Also available are free PDF, EPUB, and MOBI downloads of the book; CSV and JSON downloads of the object data from the catalogue and the accompanying Guide to the Collection; and JPG and PPT downloads of the main catalogue images. © 2016 J. Paul Getty Trust This work is licensed under the Creative Commons Attribution 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042. First edition, 2016 Last updated, December 19, 2017 https://www.github.com/gettypubs/terracottas Published by the J. Paul Getty Museum, Los Angeles Getty Publications 1200 Getty Center Drive, Suite 500 Los Angeles, California 90049-1682 www.getty.edu/publications Ruth Evans Lane, Benedicte Gilman, and Marina Belozerskaya, Project Editors Robin H. Ray and Mary Christian, Copy Editors Antony Shugaar, Translator Elizabeth Chapin Kahn, Production Stephanie Grimes, Digital Researcher Eric Gardner, Designer & Developer Greg Albers, Project Manager Distributed in the United States and Canada by the University of Chicago Press Distributed outside the United States and Canada by Yale University Press, London Printed in the United States of America Library of Congress Cataloging-in-Publication Data Names: J.
    [Show full text]