DOCSLIB.ORG

References to the Planets in the "Back Cover" Inscription of the Antikyth

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
References to the Planets in the Greek Text of Front Door Inscription "#$%&'!()*+!()#,+-%.!/0 1-2!$%2$3#.-4!256$*54!37#)#3.-)4 !ȱ "ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̒ȱ #ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̒ȱȱ̇ȱȱ̈ȱȱ̊ȱȱ̒ȱȱ̕ȱȱ $ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̒ȱȱ̕ȱȱ̄ȱȱ̓ȱȱ̒ȱȱ̕ȱȱ̖ȱȱ̊ȱȱ̏ȱȱ̄ȱ %ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̇ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̒ȱȱ̐ȱȱ̈ȱȱ̑ȱȱ̄ȱȱ̔ȱȱ̙ȱȱ̊ȱȱ̕ȱȱ̄ȱȱ &ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̈ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̕ȱȱ̓ȱȱ̒ȱȱ̏ȱȱ̈ȱȱ̐ȱȱ̄ȱȱ̒ȱȱ̇ȱȱ̈ȱ 'ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̒ȱȱ̗ȱȱȱȱȱȱȱ̒ȱȱ̈ȱȱ̕ȱȱ̓ȱȱ̒ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̄ȱȱ̓ȱȱ̒ȱȱ̍ȱȱ̄ȱȱ̖ȱȱ̄ȱȱ̕ȱȱ̖ȱȱ̄ȱȱ̕ȱ References to the planets in the "back cover" inscription of the Antikythera (ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̓ȱȱȱȱȱȱȱȱȱȱȱȱ̄ȱȱ̕ȱȱ̖ȱȱȱ̒ȱȱ̗ȱȱ̇ȱȱȱ̄ȱȱ̓ȱȱ̒ȱȱ̍ȱȱȱȱȱ̒ȱȱȱ̖ȱȱ̄ȱȱ̕ȱȱ̐ȱȱȱȱȱȱ̐ȱȱ̄ȱȱ̖ȱȱ̄ȱȱ̌ȱȱ̕ȱȱ̒ȱȱ )ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̎ȱȱ̒ȱȱ̓ȱȱ̔ȱȱ̒ȱȱ̕ȱȱ̖ȱȱ̒ȱȱ̐ȱȱ̊ȱȱ̎ȱȱ̌ȱȱ̒ȱȱ̐ȱȱ̕ȱȱ̒ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̓ȱȱȱ̒ȱȱ̇ȱȱ̈ȱ Mechanism!*ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̌̄ȱȱ̑ȱȱ̌ȱȱȱȱȱ ȱȱȱȱȱȱȱȱȱȱ̄ȱȱ̎ȱȱ̌ȱȱ̕ȱȱ̄ȱȱ̕ȱȱ̍ȱȱ+̄ȱȱ̌,ȱȱ̓ȱȱ̔ȱȱ̒ȱȱ̕ȱȱ̄ȱȱ̆ȱȱ̈ȱȱ̌ȱȱ̐ȱȱ̈ȱȱ̓ȱȱ+̌,ȱȱ̕ȱȱ̊ȱȱ̕ȱȱ̖ȱȱ̒ȱȱ̐ȱȱ̊ȱȱ̎ȱȱ+̌ȱȱ̒ȱȱ̐,ȱ Alexander Jones, April 13, 2011!!ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ+̓ȱȱ̔,ȱȱ̒ȱȱ̕ȱȱ̄ȱȱ̆ȱȱ̈ȱȱ̖ȱȱ̄ȱȱ̌ȱȱ̈ȱȱ̓ȱȱ̌ȱȱ̖ȱȱ̒ȱȱ̐ȱȱ +̊ȱȱ̎,ȱȱ̌ȱȱ̒ȱȱ̐ȱȱ̈ȱȱ̎ȱȱ̄ȱȱ̕ȱȱ̕ȱȱ̒ȱȱ̐ȱȱ̄ȱȱ̕ȱȱ̖ȱȱ̊ȱȱ̔ȱȱ̌ȱȱ̆ȱȱ̏ȱȱ̒ȱȱ̌ȱȱ̕ȱȱ̖ȱȱ̗ȱȱ̆ȱȱ̙ȱȱ̄ȱȱ̐ȱȱ̊ȱȱ̄ȱȱ̓ȱȱ̒ȱȱ̕ȱȱ !"ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ+̓ȱȱ̔,ȱȱ̒ȱȱ̕ȱȱ̄ȱȱ̆ȱȱ̈ȱȱ̌ȱȱ̓ȱȱ̔ȱȱ̒ȱȱ̕ȱȱ̖ȱȱ̒ȱȱ̐ȱȱȱ+̊,ȱȱ̎ȱȱ̌ȱȱ̒ȱȱ̐ȱȱ̈ȱơ̇̄ȱȱ̕ȱȱȱȱȱȱȱȱȱȱȱȱ̊ȱȱ̕ȱȱ̈ȱȱ̌ȱȱ̒ȱȱ̐ȱȱ̍ȱȱ̄ȱȱ̌ȱȱ̕ȱȱ̗ȱȱ̐ȱȱ̒ȱȱ̇ȱȱ̒ȱȱ̐ȱȱ̄ȱ (Not for circulation or citation.)!#ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̈ȱȱ̓ȱȱ̌ȱȱ̖ȱȱ̒ȱȱ̏ȱȱ̈ȱȱ̆ȱȱ̌ȱȱ̕ȱȱ̖ȱȱ̒ȱȱ̐ȱȱ̈ȱȱ̓ȱȱ̒ȱȱ ̏ȱȱ̈ȱȱ̐ȱȱ̒ȱȱȱȱȱȱȱȱ̒ȱȱ̈ȱȱ̐ȱȱ̄ȱȱ̎ȱȱ̎ȱȱ̄ȱȱ̌ȱȱ̕ȱȱ̊ȱȱ̏ȱȱ̈ȱȱ̔ȱȱ̄ȱȱ̌ȱȱ+̕,ȱ !$ȱȱȱȱȱȱȱȱȱȱȱ+̕ȱȱ̖ȱȱ̊ȱȱ̔ȱȱ̌ȱȱ̆,ȱȱ̏ȱȱ̒ȱȱ̐ȱȱ+̛ȱȱ̕,ȱȱ̒ȱȱ̓ȱȱ̔ȱȱ̒ȱȱ̊ȱȱ̆ȱȱ+̒ȱȱ,̗ȱȱ̏ȱȱ̈ȱȱ̐ȱȱ̒ȱȱ̕ȱȱȱȱȱ̄ȱȱ̓ȱȱ̒ȱȱ̕ȱȱ̖ȱȱȱȱȱȱȱȱ̄ȱȱ̎ȱȱ̋ȱȱ !%ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̄ȱȱ̕ȱȱȱȱȱȱȱȱ̈ȱȱ̐ȱȱ̊ȱȱ̏ȱȱ̈ȱȱ̔ȱȱ̄ȱȱ+̐ȱ,ȱ̓ȱȱ̒ȱȱ̌ȱȱ̈ȱȱ̌ȱȱ̓ȱȱ+̔ȱȱ̒ȱ,̈ȱȱ̐ȱȱ̒ȱȱ̕ȱȱ̈ȱȱ̌ȱȱ̕ȱȱ̖ȱȱ̊ȱȱ+̐ȱȱ,̍ȱȱ̈ȱȱ̓ȱȱ !&ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ+̇ȱȱ̌,ȱȱ̄ȱȱ̕ȱȱ̖ȱȱ̊ȱȱ̏ȱȱ̄ȱȱ̖ȱȱ̒ȱȱ̕ȱȱ̓ȱȱ+̔ȱ,̒ȱȱ̕ȱȱȱ̄ȱȱȱȱȱȱȱȱȱȱ+̒ȱȱ,ȱȱȱ̓ȱȱ̔ȱȱ̒ȱȱ̕ȱȱ̖ȱȱ Geminus offers a brief account of the arrangement of the cosmos as follows:!'ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̍ȱȱȱ̊ȱȱ̕ȱȱȱȱȱȱ̈ȱȱ̌ȱȱ̒ȱȱ̕ȱȱ̙ȱȱ+̈ȱȱ,̓ȱȱ̌ȱȱ̖ȱȱ̈ȱȱ̏ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̙ȱȱ̄ȱ !(ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̒ȱȱ̕ȱȱ̌ȱȱ̊ȱȱ̖ȱȱ̒ȱȱ̐ȱȱ̊ȱȱ̎ȱȱ̌ȱȱ̒ȱȱ̐ȱȱ̊ȱȱ̄ȱȱ̘ȱȱ̔ȱȱ̒ȱȱ+̇ȱȱ̌ȱȱ̖ȱȱ̊,ȱȱȱȱȱȱȱȱȱȱȱȱȱ̊ȱȱ̐ȱȱ̒ȱȱ̌ȱȱ̕ȱȱȱ̐ȱ !)ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̕ȱȱ̖ȱȱ̊ȱȱ̓ȱȱ̔ȱȱ̒ȱȱ̕ȱȱ̄ȱȱ̆ȱȱ̈ȱȱ̌ȱȱ̓ȱȱ̄ȱȱ̕ȱȱ̌ȱȱ̐ȱȱ̆ȱơ̇̄ȱȱ̐ȱȱ̌ȱȱ̄ȱȱ̌ȱȱ̕ȱ "*ȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̒ȱȱHighest of all is the šȱȱȱȱȱȱȱȱȱȱȱȱȱ+̊ȱȱ̏ȱȱ̈ȱȱ̔ȱȱ̄ȱȱ̕,ȱȱȱ̓ȱȱ̔oȱȱ̒ȱȱ̕ȱȱ̄ȱȱ̆ȱȱ̈ȱȱ̌ȱȱ̖ȱȱ̊ȱȱ̐ȱȱ-called sphere of the fixed stars, which contains the ȱȱȱȱ̓ȱȱ̌ȱȱ̓ȱȱ̈ȱȱ̖ȱȱ̄ȱȱȱȱȱȱȱ̐ȱȱ̄ȱȱ̍ȱȱ̄ȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̕ȱȱ̄ȱȱȱȱȱȱȱȱȱ̈ȱ "!ȱȱȱȱȱȱȱȱȱ̈ȱȱ̕ȱȱ̓ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̊ȱȱ̏ȱȱ̈ȱȱ̔ȱȱ̄ȱȱ̕ȱȱ̍ȱȱ̄ȱȱ̌ȱȱ̗ȱȱ̓ȱȱ̒ȱȱ̎ȱȱ̈ȱȱ̌ȱȱ̓ȱȱ̈ȱȱ̖ȱȱ̄ȱȱ̌ȱȱ̏ȱȱ̈ȱȱ̙ȱȱ̔ȱȱ̌ȱȱ̖ȱȱ̊ȱȱ̕ȱȱ̈ȱơ̇̄ȱȱ̌ȱȱ̄ȱȱ̕ȱȱ̕ȱȱ̖ȱȱ ""ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱpicturing [ε̊ȱ+̏ȱȱ̈ȱȱ̔ἰδωλοποιίαν,ȱȱ̄ȱȱ̌ȱȱȱȱ̖ȱȱ̏ȱȱȱ̊ȱȱ̏ȱȱ̈ȱȱ̔ȱȱ̄ȱȱ̕ȱȱ̕ȱȱ] of all the̒ constellations.ȱȱ̐ȱȱ̒ȱȱ̊ȱȱ̒ȱȱ̐ȱȱ̒ȱȱ̖ȱȱ̒ȱȱ̗ȱȱȱȱȱȱ̎ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̄ȱȱ̍ȱȱ̏ȱȱ However, one ought̊ȱȱ not to "#ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱsupposēȱȱ̐ȱȱ̌ȱȱ̕ȱȱ̄ ȱȱ̖ȱȱthat̒ȱȱ̐ȱȱ̈ȱȱ̓ȱȱ̌ȱȱ̕ȱȱ̒ȱȱ̐ȱȱ̈ȱȱ̙ȱȱ all the stars are ̛situatedȱȱ̐ȱȱ̕ȱȱ̖ȱȱ̊ȱȱ̔ȱȱ̌ȱȱ̆ȱȱ̏ȱȱ̒ȱȱ̐ȱȱ̈ȱȱ̓ȱȱ̌ȱȱ̕ȱȱ̙ȱơ̇̄ȱȱ̐ȱȱ̄ȱȱ̓ȱȱ̒ȱȱ̖ on a single surface, but that someȱȱ̒ȱȱ̗ȱȱ̊ȱȱ̎ȱȱ̌ȱȱ̒ȱȱ̗ of themȱȱ̐ȱȱȱȱȱȱ̈ȱȱ̕ȱȱȱ̎ȱȱ̌ȱ "$ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̄ȱȱ̈ȱȱ̕ȱȱȱȱȱȱ̄ȱȱ̌ȱȱ̓ȱȱȱ̌ȱȱ̕ȱȱ̑ȱȱ̈ȱȱȱȱȱȱ̊ȱȱ̎ȱȱ+̌ȱȱ̄,ȱȱ̍ȱȱ̊ȱȱ̐ȱȱ̓ȱȱ̄ȱȱ̔ȱȱ̄ȱȱ̖ȱȱ̈ȱȱ̌ȱȱ̐ȱȱ̈ȱȱ̖ȱȱ+̊ȱȱ̐,ȱȱ̄ȱȱ̓ȱȱ̒ȱȱ̕ȱȱ̖ȱȱ̄ȱȱ̕ȱȱ̌ȱȱ̐ȱȱȱȱȱȱȱȱȱȱ̈ȱȱ̕ȱȱ̄ȱȱ̓ȱȱ̒ȱ "%ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱare̔ ȱȱactuallÿȱȱ̕ȱȱȱȱ̄ȱȱȱȱ̕ȱȱ̑ȱȱ̈ȱȱ̊ȱȱ̎ȱȱ̌ȱȱ̄ȱȱ̍ȱȱ̊ȱȱ̐ȱȱ̈ȱȱ̓ȱȱ̈ȱȱ higher up, and others ̖lowerȱȱ̈ȱȱ̌ȱȱ̐ȱȱ̈ȱȱ̐ȱȱ̖ȱȱ̈ȱȱ̕ȱȱ̕ȱȱ̄ȱȱ̔ȱȱ̄ȱȱ̍ȱȱ down; but because-ȱȱ̈ȱȱ̐ȱȱ̄ȱȱ̈ȱȱ̗ȱȱ̇ȱȱ̒ȱȱ̏ȱȱ̒ȱȱ̐ȱȱ̍ȱȱ̄ȱ the sight travels an "&ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̐ȱȱ̈ȱȱequal [?] distance,̑ȱȱ̊ȱȱ̏ȱȱ̈ȱȱ̔ ȱȱthēȱȱ̕ȱȱ difference̊ȱȱȱȱȱȱȱȱȱ̆ȱȱ̈ȱȱ̐ȱȱ+ ̈in,ȱȱ̕ heightȱȱ̈ȱơ̇̄ȱȱ̕ȱȱ̈ȱȱ̐ȱȱ̈ȱȱ̐ȱȱȱȱȱȱȱȱ̈ȱ̙ȱȱȱȱȱȱȱȱȱ̈ȱơ̇̄ȱȱ̄ȱȱ̐ȱȱ̍ȱȱ̄ȱȱ̖ȱȱ̄ȱȱ̎ȱȱ̒ is imperceptible. Below the sphereȱ of "'ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̈ȱȱ̄ȱȱȱȱȱ̈ȱȱȱȱ̌ȱȱ̐ȱȱȱȱȱȱȱȱȱȱȱȱȱ̓ȱȱȱȱȱȱȱȱȱ̇ȱȱ̌ȱȱ̄ȱȱ̕ȱȱ̖ȱȱ̄ȱȱ̕ȱȱ̌ȱȱ̐ȱȱȱȱ̕ȱȱȱȱȱȱȱȱ̊ȱȱ̏ȱȱ̈ȱȱ̔ȱȱ̄ȱȱ̌ȱȱ̕ȱȱ̏ȱȱ̈ȱȱ̐ȱȱ̏ȱȱ̈ȱȱ̆ȱȱ̄ȱȱ̎ȱȱ̄ȱȱ̌ȱȱ̕ȱ "(ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱthe fixed̄ȱȱ̍ȱȱ ̄starsȱȱ̌ȱȱ̇ȱơ̇̄ isȱȱȱ̇ȱȱ situated̈ȱȱ.ȱȱ̄ȱȱȱ̖ȱȱ ̊theȱȱ̏ȱȱ̒ȱȱ̔ȱȱ̌ȱȱ̒ȱȱ̕ȱȱ̍ȱȱ̄ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ sphere of Phainôn, ̄theȱȱ̘ȱȱ̄ȱȱ̌ȱȱ̎ȱȱ̈ȱȱ̖ȱȱ̊ȱȱ̐ȱȱ̗ star called "ofȱȱ̓ȱȱ̒ȱȱ̎ȱȱ̒ȱȱ̌ȱȱ̓ȱȱ̒ȱȱ Kronos" +̐,ȱ ")ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ[Saturn];̄ȱȱ̏ȱȱ̒ thisȱȱ̐ȱȱ̈ ȱȱ̑ȱȱȱȱ̄ȱȱ̓ȱȱ̒ȱȱ̖ȱȱ̒ȱȱ̗ȱȱ̈ȱȱ̕ȱȱtravels through the̓ȱȱ̈ȱȱ̔ȱȱ̌ȱȱ̐ȱȱ̒ȱȱ̗ȱȱ̈ȱȱȱȱȱȱȱȱȱȱ zodiacal circleȱȱȱȱȱȱȱȱȱȱ̈ȱȱ in 30̙ ȱȱȱȱȱ̕ȱȱȱȱ̍ȱȱ̄ȱȱ̌ȱȱyears approximately,̗ȱȱ̓ȱȱ̒ȱȱ̎ȱȱ̒ȱȱ̌ȱȱ̓ȱȱ̒ȱȱ̐ȱ and #*ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̄ȱȱ̐ȱȱ̖ȱȱȱȱȱȱȱȱȱȱȱ̏ȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̊ȱȱ̏ȱȱȱȱȱȱȱ̈ȱȱ̐ȱȱ̙ȱȱ̔ȱȱ̒ȱȱ̐ȱơ̇̄ȱȱȱȱȱ̄ȱȱ̓ȱȱ̄ȱȱ̐ȱȱ̄ȱȱ̌ȱȱ̒ȱȱ̐ȱȱȱȱȱȱȱ̊ȱȱ̏ȱȱ̈ȱȱ̔ȱȱ̄ȱȱ̌ȱȱ̕ȱȱ̖ȱȱ̒ȱȱ #!ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̈ȱȱone zodiacal̄ȱȱȱȱȱ̕ȱȱ̈ȱȱ̓ȱȱ̄ȱȱ̆ȱȱ̈ȱȱ̌ȱȱ̕ȱȱȱȱȱ̔ȱȱ sign in 2 years̎ȱȱ ̋andȱȱȱȱȱ̈ȱȱ̓ȱȱ̌ȱȱ̖ȱȱ̒ȱȱ̐ȱȱ̊ȱȱ̎ȱȱ̌ȱȱ̒ 6 months. Belowȱȱ̐ȱȱ̖ȱȱ̒ȱȱ̐ȱȱ̕ȱȱ̖ȱȱ̊ȱȱ̔ȱȱ̌ȱȱ̆ Phainôn, lowerȱȱ̏ȱȱ̒ȱȱ̐ȱȱȱȱȱȱȱȱȱȱ than it travels+̈,ȱ #"ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱPhaethôn,̒ȱȱȱȱ̒ȱȱ̐ȱȱ̒ȱȱ̏ȱȱ̄ȱȱȱȱ̊ȱȱ̏ȱȱ̈ȱȱ̔ȱȱ̄ȱȱ̕ the star called "of Zeus"ȱȱ̎ȱȱ̄ȱȱ̓ȱȱ̔ȱȱ̒ȱȱ̊ȱȱ̆ȱȱ̈ȱȱ [Jupiter]; ̌ȱȱ̖ȱȱ̄ȱȱ̌ȱȱ̊ȱȱ̏ȱȱ̈ȱȱ̔ȱȱ̄ȱȱ̌ȱȱ̕ȱȱ̖ȱȱthis travels through̒ theȱȱ zodiacal ##ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̐ȱȱ̄ȱȱ̐ȱȱ̄ȱȱ̖ȱȱ̒ȱȱ̎ȱȱ̊ȱȱ̕ȱȱ̈ȱȱ̌ȱȱ̐ȱȱ̄ȱȱ̌ȱȱ̒ȱȱ̊ȱȱ̎ȱȱ̌ȱȱ̒ȱȱ̕ȱȱ̏ȱȱ̊ȱȱ̏ȱȱ̈ȱȱ̔ȱȱ̄ȱȱ̕ȱȱ̓ȱȱ̄ȱȱ̎ȱȱȱȱ̒ȱȱ̐ȱ #$ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱcircle in̄ 12ȱȱ̐ȱȱȱȱȱȱȱ years,̄ȱȱ̊ȱȱ̏ȱȱ̈ȱȱ̔ȱȱ̄ȱȱ̐ȱȱ̆ȱȱ̌ȱȱ̐ȱȱ̈ȱȱ̖ȱȱ̄ȱȱ̌ȱȱ and one zodiacal sign̊ȱȱ̓ȱȱ̈ȱȱ̔ȱȱ̄ȱȱ̌ȱȱȱȱȱȱȱȱ̈ȱȱ̌ȱȱ̕ȱ in a year. Below this is placed Pyroeis, #%ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱthe star+̊ȱȱ̏ of,ȱȱ̈ȱȱ̔ȱȱ̄ȱȱ̕ȱȱ̕ȱȱ Ares [Mars];̈ȱȱ̌ȱȱ̕ȱȱ̄ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̊ȱȱ̏ȱȱ̈ȱȱ this traverses̔ ȱȱ̄ȱȱ̌ȱȱ̄ȱȱ̓ȱȱ̒ȱȱȱȱȱȱȱȱȱȱȱ̒ȱȱ̈ȱthe zodiacal circle in two years and six #&ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̔ȱȱ̄ȱȱ̕ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̌ȱȱ̐ȱmonths, and a zodiacalȱ̈ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̏ȱ sign in two months and a half. The Sun occupies the #'ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ/ȱȱ0ȱ ! enclosed space, travelling through the zodiacal circle in a year, and a zodiacal Greeksig Textn in of approximately Back Door Inscription one month.! Lower than this is situated Phôsphoros, the star 8&#39!#%2!of Aphrodite6&5-!&-..-)4!#)-!6-&$-:-2!.*!6-!,**2;! [Venus]; this moves approximately)-2!#%2!*)#%,-! with equal#)-!256$*540!8&#39!#%2! speed to the Sun. )-2!#)-!()*+!()#,+-%.4!<!#%2!8;!Below this is situated Stilbôn,6&5- the!#%2! star*)#%,- of Hermes!()*+!()#,+-%.!=0!! [Mercury], and it too moves >7-!4-3*%2!3*&5+%!$%!&$%-!%5+6-)$%,!$%!?)with equal speed to the Sun. Below all$3-!@ABCDE!)-(-)-%3-! travels the Moon, travellingA!*(!+#$%!F#F-)G! through the ȱ zodiacal circle in 27 1/3 days, and a zodiacal sign in 2 1/4 days approximately. !ȱȱȱȱ!ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̖ȱȱ̄ȱȱ̗ȱȱ̖ȱȱ̊ȱȱ̐ȱȱ̇ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ I quote this passage not only because it delineates the kind of post"ȱȱȱȱ"ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̇ȱȱȱȱ̌ȱȱ̇ȱȱ̗ȱȱ̓ȱȱ̒ȱȱ̎ȱȱ̎ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ -Aristotelian cosmology that I believe was portr#ȱȱȱȱ#ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̗ȱȱ̓ȱȱ̒ȱȱ̇ȱȱ̈ȱȱ̖ȱȱ̒ȱȱ̐ȱȱȱȱ̖ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱayed in the front display of the Mechanism, but also because Geminus designates the planets by twofold names: the more familiar $ȱȱȱȱ$ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̄ȱȱ̖ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ "theophoric" names ("star of Ares") and their alternative descriptive names %ȱȱȱȱ%ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̈ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ &ȱȱȱȱ&ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ (Phainôn = "shining", Phaethôn = "radiant", Pyroeis 'ȱȱȱȱ'ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̒ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ = "fiery", Phôsphoros = "light- bringing", Stilbôn = "glittering"). In ancient Greek texts, the planets are sometimes (ȱȱȱȱ(ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̌ȱȱ̔ȱȱ̏ȱȱ̒ȱȱ̕ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ informally named simply by the names of the gods with which they were associated, )ȱȱȱȱ)ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̄ȱȱ̍ȱȱ̔ȱȱ̒ȱȱ̗ȱȱ̇ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ thus !*ȱȱ!*Ἄȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̏ȱȱ̈ȱȱ̐ȱȱρης meaning Mars, but more̒ȱȱ commonlyȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ one used the more formal expression "the star!!ȱȱ !!ofȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̏ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ Ares" or the adjectival name "Pyroeis"ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ or the combined expression "Pyroeis, the star!"ȱȱ !"ofȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ Ares". ̒ȱȱ̎ȱȱȱȱ̐ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ !#ȱȱ!#ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̗ȱȱ̓ȱȱ̒ȱȱ̎ȱȱ̄ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ !$ȱȱ!$ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̒ȱȱ̗ȱȱȱȱ̇ȱȱȱȱȱȱȱȱ̕ȱȱ̘ȱȱ̄ȱȱ̌ȱȱ̔ȱȱ̌ȱȱ̒ȱȱ̐ȱȱ̘ȱȱ̈ȱȱ̔ȱȱ̈ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ When!%ȱȱ!%ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ̓ȱȱ̔ȱȱ̒ȱȱ̈ȱȱ̙ȱȱ̒ȱȱ̐ȱȱ̄ȱȱ̗ȱȱ̖ȱȱ̒ȱȱ̗ȱȱ̆ȱȱ I first saw the transcription of the "back̐ȱơ̇̄ȱȱ cover"̏ȱȱ̒ȱȱ̐ȱȱ inscriptioňȱȱ̒ȱȱ̐ȱȱ̕ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱ
Load more

Recommended publications
  • Saturn As the “Sun of Night” in Ancient Near Eastern Tradition ∗
    Saturn as the “Sun of Night” in Ancient Near Eastern Tradition ∗ Marinus Anthony van der Sluijs – Seongnam (Korea) Peter James – London [This article tackles two issues in the “proto-astronomical” conception of the planet Saturn, first attested in Mesopotamia and followed by the Greeks and Hindus: the long-standing problem of Saturn’s baffling association with the Sun; and why Saturn was deemed to be “black”. After an extensive consideration of explanations offered from the 5th century to the 21st, as well as some new “thought experiments”, we suggest that Saturn’s connection with the Sun had its roots in the observations that Saturn’s course appears to be the steadiest one among the planets and that its synodic period – of all the planets – most closely resembles the length of the solar year. For the black colour attributed to Saturn we propose a solution which is partly lexical and partly observational (due to atmospheric effects). Finally, some thoughts are offered on the question why in Hellenistic times some considered the “mock sun” Phaethon of Greek myth to have been Saturn]. Keywords: Saturn, planets, Sun, planet colour. 1. INTRODUCTION Since the late 19th century scholars have been puzzled by a conspicuous peculiarity in the Babylonian nomenclature for the planet Saturn: a number of texts refer to Saturn as the “Sun” ( dutu/20 or Šamaš ), instead of its usual astronomical names Kayam ānu and mul UDU.IDIM. 1 This curious practice was in vogue during the period c. 750-612 BC 2 and is not known from earlier periods, with a single possible exception, discussed below.
    [Show full text]
  • On the Months (De Mensibus) (Lewiston, 2013)
    John Lydus On the Months (De mensibus) Translated with introduction and annotations by Mischa Hooker 2nd edition (2017) ii TABLE OF CONTENTS Abbreviations .......................................................................................... iv Introduction .............................................................................................. v On the Months: Book 1 ............................................................................... 1 On the Months: Book 2 ............................................................................ 17 On the Months: Book 3 ............................................................................ 33 On the Months: Book 4 January ......................................................................................... 55 February ....................................................................................... 76 March ............................................................................................. 85 April ............................................................................................ 109 May ............................................................................................. 123 June ............................................................................................ 134 July ............................................................................................. 140 August ........................................................................................ 147 September ................................................................................
    [Show full text]
  • (11) Mq Images.Pub
    page © 2001 21 www.lochnessproductions.com Single panel images 16. Mustabarru 1. Horus 31. Title logo 1 46. Death name 2. Horus name 17. Lohitanga 32. Title logo 2 47. Mars war god 18. Lohitanga 3. Morning Star 33. Title logo 3 48. Galileo name 49. Mars 4. Morning Star 19. Pyroeis 34. Title logo 4 telescope view name blurry 50. Mars 5. Nabu 20. Pyroeis name 35. Title logo 5 telescope view markings 51. Early Mars 6. Nabu name 21. Mirikha 36. Title logo 6 drawings 7. Nirgal 22. Mirikha name 37. Title logo 7 52. Schiaparelli 53. Schiaparelli 8. Nirgal name 23. Artagnes 38. Title logo 8 book 24. Artagnes 9. Urbarra 39. Title logo 9 54. Lowell book name 55. Lowell 10. Urbarra name 25. Angares 40. Homage title (vertical) 11. Salbatanu 26. Angares name 41. Comet 56. Martian 1 12. Salbatanu 27. Ares 42. Meteors 57. Martian 2 name 13. Verethragna 28. Ares name 43. Bolide 58. Martian 3 14. Verethragna 29. Mars god 44. Disruption 59. W.O.W. title name 30. Mars god 15. Mustabarru 45. War 60. W.O.W. 1 name page © 2001 22 www.lochnessproductions.com Single panel images 61. W.O.W. 2 76. HST Mars 91. Earth axis 106. Mars 3 craft (vertical) 97-2 62. W.O.W. 3 77. HST Mars 92. Inner planets 107. 60s missions (vertical) 97-3 orbits 78. HST Mars 93. Hubble Space 63. Thuvia title 108. 70s missions 97-4 Telescope 64. Chessmen 79. Mars 94. Earth chord 1 109. 80s missions book (vertical) binocular view 65.
    [Show full text]
  • The Poetics of Science: Intertextual and Metatextual Themes in Ovid's Depiction of Cosmic and Human Origins
    Provided by the author(s) and NUI Galway in accordance with publisher policies. Please cite the published version when available. Title The poetics of science: intertextual and metatextual themes in Ovid's depiction of cosmic and human origins Author(s) Kelly, Peter Publication Date 2016-09-09 Item record http://hdl.handle.net/10379/6075 Downloaded 2021-09-28T20:42:11Z Some rights reserved. For more information, please see the item record link above. The Poetics of Science Intertextual and Metatextual Themes in Ovid’s Depiction of Cosmic and Human Origins By Peter M. J. Kelly A Thesis Submitted to the National University of Ireland, Galway in the College of Arts, Social Sciences and Celtic Studies for the degree of Doctor of Philosophy in Classics September 2016 Supervisor: Prof. Michael Clarke ii Preface This work explores ancient views of cosmogony and the material structure of the universe in Ovid’s Metamorphoses. In particular it focuses on the way in which Ovid problematizes how we define myth and poetry versus science and philosophy. It examines how Ovid generates a parallel between the form and content of the text in order to depict a world where abstract scientific principles can become personified deities. This work will seek to reevaluate the impact of Greek Philosophy on Roman poetry through extending the series of intertexts which we may observe Ovid alluding to. Through following and analysing these sets of allusions this work will seek to gain an insight into Ovid’s depiction of the metatextual universe. iii iv For my Parents The scientist’s demand that nature shall be lawful is a demand for unity.
    [Show full text]
  • 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.
    [Show full text]
  • The Encyclopedia of Quantavolution And
    A Written lower case as 'a, 'A' is first letter of English alphabet, also Greek (Alpha) and Hebrew (Aleph); originally in English as in Latin and Romanic tongues it is the sign for making the lowbackwide sound with jaws, pharynx, and lips open. Its prime position indicates importance of the sound, which has several meanings as an exclamation of wonder, approval, and worship. Ancient name of the Moon in several Near East cultures was "A" or kindred sounds and syllables, "Aa", "Ah", "Ai". "A" to Babylonians signified the Great Mother of the wise and "Akshara." Greek myth regarded "A" as the beginning of birth and creation, the entrance to the river Styx that wound about in the womb of the world, finally returning to Alpha. Aku, the Sumerian Moon, was also "the Measurer." The name "Abram" or "Abraham" might have originated as a combining of the Moon (Ab), Sun (ra) and Mercury (ram or raham). The letter has other uses as a word, as an indefinite article ("a bird"), in Latin languages, as an article and also as a preposition ("to" and "by")and feminine ending ("femina"); pragmatic uses as a vowel and word and exclamation in communication are thus known; ultimate significance is unknown, as, e.g., whether all languages must utter the full Asound in a certain range of frequencies or whether the sound preponderates in sacred utterance, etc. aa Form of lava which solidifies as a mass of blocklike fragments with a rough surface. Also called block lava. Aar Gorge A 1.6 kmlong cut through a limestone ridge near Meiringen, Switzerland, carrying the torrent of the Aar River that arises from the Aar Glacier.
    [Show full text]
  • John Lydus, De Mensibus (Book 2)
    John Lydus, De Mensibus (Book 2) [18] 1. …It seems necessary to speak about the months—whence and how each one of them received their appellation, and what religious observances the Romans practiced in each of them, at least as far as I have learned from the Roman histories.1 In addition to this [I must speak] beforehand about the distinction of years, eras and times, and the first principle of days. This too might possibly serve as a kind of relish for many people's hearing. 2. The natural day is understood to be from the rising of the sun until its setting—but [it is] not so [understood] by everyone.2 The Babylonians, indeed, understand it to be from the rising of the sun until the setting [19] itself; they make no mention at all of night, as though it comes about not as an actual entity but rather as a contingent consequence. The Egyptians and Hebrews reckon the coming of the day from the beginning of evening, until the following evening, combining, that is, the foregoing night with the following day and calling both together one day. They begin from the night on account of the fact that the darkness is more primal than the light, and that the cosmographers set down Erebus and Darkness prior to the ordering of the universe,3 and call Night the Mother of all. For this reason too, the mythographers represent Artemis and Apollo as having been born from Leto—and Artemis first, that is, "air-cleaving" [aerotemis]4 Moon, after her the Sun.
    [Show full text]
  • Alchemy and Exegesis from Antioch to Constantinople, 11Th Century By
    Matter Redeemed: Alchemy and Exegesis from Antioch to Constantinople, 11th century by Alexandre Mattos Roberts A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Maria Mavroudi, Chair Professor Susanna Elm Professor Asad Ahmed Professor Michael Cooperson Spring 2015 © 2015 by Alexandre M. Roberts Abstract Matter Redeemed: Alchemy and Exegesis from Antioch to Constantinople, 11th century by Alexandre Mattos Roberts Doctor of Philosophy in History University of California, Berkeley Professor Maria Mavroudi, Chair This dissertation examines how scholars in eleventh-century Constantinople and Antioch (un- der Byzantine rule, 969-1084) understood matter and its transformation. It argues that matter, a concept inherited from ancient philosophy, continued to be a fertile and malleable idea-complex endowed with cultural and religious meaning in medieval thought-worlds of the Eastern Mediter- ranean. The first three chapters form a case study on the unpublished Arabic translations oflatean- tique Christian texts by the 11th-century Byzantine Orthodox deacon ʿAbdallāh ibn al-Faḍl of An- tioch (fl. c.1052). They proceed by increasing specificity: chapter 1 surveys Ibn al-Faḍl’s Greek- to-Arabic translations; chapter 2 turns to one of these translations, of a famous and highly influ- ential commentary on the first chapter of the Book of Genesis by Basil of Caesarea (c.330–?379), his Homilies on the Hexaemeron; and chapter 3 reads Ibn al-Faḍl’s marginalia to his translation of Basil’s Hexaemeron. Together, they provide insight into a culturally Byzantine milieu in which the primary language of communication was Arabic, exploring how intellectuals in that context understood matter, where this understanding came from, and why it resonated in this cityatthe edge of the empire.
    [Show full text]
  • The Routledge Handbook of Greek Mythology
    — Early Castles of Stone — 1111 2 3 4 5 THE ROUTLEDGE HANDBOOK 6 OF GREEK MYTHOLOGY 7 8 ᇹᇺᇹ 9 11110 11 12 13 14 11115 16 17 18 19 11120 21 22 23 24 25111 26 27 28 29 11130 31 32 33 34 35 36 37 38 39 11140 41 42 43 44 45 11146 1111 2 3 4 5 THE ROUTLEDGE 6 7 HANDBOOK OF GREEK 8 9 11110 MYTHOLOGY 11 ᇹᇺᇹ 12 13 14 11115 Based on 16 17 H.J. Rose’s Handbook of 18 Greek Mythology 19 11120 21 22 23 24 25111 Robin Hard 26 27 28 29 11130 31 32 33 34 35 36 37 38 39 11140 41 42 43 44 45 11146 First published 2004 by Routledge 11 New Fetter Lane, London EC4P 4EE Simultaneously published in the USA and Canada by Routledge 29 West 35th Street, New York, NY 10001 Routledge is an imprint of the Taylor & Francis Group This edition published in the Taylor & Francis e-Library, 2004. © 2004 Robin Hard All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging in Publication Data A catalog record has been requested for this title ISBN 0-203-44633-X Master e-book ISBN ISBN 0-203-75457-3 (Adobe eReader Format) ISBN 0–415–18636–6 (Print Edition) 1111 2 3 4 5 6 7 8 9 11110 11 12 13 14 11115 In Memory of 16 LAUNCELOT FREDERIC HARD 17 18 1916–2002 19 11120 21
    [Show full text]
  • The Poems and Fables of Robert Henryson
    i*r-:LU',. u'"tfi*-*^rr tf - ;JS - . tun , - Qass. THE POEMS ROBERT HENRYSON IN GENTLE HENRTSON S UNLABODR D STRAIN SWEET ARETHUSa's SHEPHERD BREATH'd AGAIN. LAKGHORNE, 1763. THE POEMS AND FABLES OF ROBERT HENRYSON, NOW FIRST COLLECTED. WITH NOTES, AND A MEMOIR OF HIS LIFE. BY DAVID LAING. EDINBURGH: MDCCCLXV. WILLIAM PATERSON, PRINCES STREET. 054S, 02. EDINBURGH: PRINTED BY JOHN HUGHES, THISTLE STREET. TABLE OF CONTENTS. Page Advertisement, VII Memoir of Robert Henryson, IX Appendix, No. I. List of Persons of the name of Henryson, from the middle of the Four- teenth to the end of the Fifteenth Century, xxxvii No. II. The Lands and Barony of Fordell, . xl No. III. The Hendersons of Fordell, . xlvi No. IV. Notices of the chief Persons of the name of Henryson or Henderson during the Six- teenth Century, ... l Miscellaneous Poems. Robene and Makyne, 3 The Garmond of Gude Ladeis, 8 The Bludy Serk, .... 10 The Abbay Walk, . 15 Aganis Haisty Creddance of Titlaris, 18 The Prais of Aige, .... 21 The Ressoning betwixt Aige and Yowth, 23 The Ressoning betwixt Deth and Man, 27 The Three Deid Powis, . 30 The Salutation of the Virgin, . 33 The Want of Wyse Men, . 36 Ane Prayer for the Pest, 39 Sum Practysis of Medecyne, 43 b TABLE OP CONTENTS. Pagb OftPHEUS AND EURYDICE, .... 49 The Testament of Cresseid, . .75 The Complaint of Cresseid, ... 89 The Moral Fables of -^sop in Scottish Metre. The Prologue, ..... 101 The Taill of the Cock and the Jasp, . 104 The Taill of the Uplandis Mous and the Burges Mous, ....
    [Show full text]
  • Chapter Twelve the Laughing Gods
    Q-CD, vol 8: Moon and Mars, Ch. 12: The Laughing Gods 175 CHAPTER TWELVE THE LAUGHING GODS When Hephaestus roared out his anguish and humiliation at being cuckolded, he demanded that "Father Zeus and all you other eternal and blessed gods come here to see for yourself this laughable, this unyielding truth." But not all the gods came to gaze upon the trapped "embedded" couple at his copper-floored house. There came Poseidon, Hermes, and Apollo, all three being important Olympian sky gods. From Father Zeus came only silence. He deigned neither to appear nor to return the bride-price that Hephaestus had paid him. The "gifts of wooing" were unlike the gifts of Ares to Aphrodite; they were injuries received, not injuries given. Most of the gods had "taken their lumps" from the Father, from time to time. To imagine Zeus upon the scene could only occur to the raving Hephaestus. He is not to be called upon for a laughable matter. Indeed, the presumptuousness of calling upon him is comic. The scene would become too heavy, the literary critic would say, if Zeus should appear. Besides, Zeus was in truth absent. In the tragic setting of the Trojan War, Zeus had been engaged, acting to preserve the balance of power so as to work out the preordained plot, arbitrating, mediating. Still he is remarkably aloof, even there, his thunderbolts remembered by gods and men alike, but held in a kind of nuclear-missiles reserve. His deeds were deeply etched upon human memory but physically he was receding into the far skies.
    [Show full text]
  • Cosmic Order and Divine Power
    SAPERE Scripta Antiquitatis Posterioris ad Ethicam REligionemque pertinentia Schriften der späteren Antike zu ethischen und religiösen Fragen Herausgegeben von Rainer Hirsch-Luipold, Reinhard Feldmeier und Heinz-Günther Nesselrath unter der Mitarbeit von Natalia Pedrique, Andrea Villani und Christian Zgoll Band XXIII Cosmic Order and Divine Power Pseudo-Aristotle, On the Cosmos Introduction, Text, Translation and Interpretative Essays by Johan C. Thom, Renate Burri, Clive Chandler, Hans Daiber, Jill Kraye, Andrew Smith, Hidemi Takahashi, and Anna Tzvetkova-Glaser edited by Johan C. Thom Mohr Siebeck SAPERE is a Project of the Göttingen Academy of Sciences and Humanities within the programme of the Union of the German Academies funded by the Federal Republic of Germany and the State of Lower Saxony. e-ISBN PDF 978-3-16-156432-1 ISBN 978-3-16-152809-5 The Deutsche Nationalbibliothek lists this publication in the Deutsche Natio nal- bibliographie; detailed bibliographic data are available in the Internet at http:// dnb.dnb.de. © 2014 by Mohr Siebeck, Tübingen, Germany. www.mohr.de This book may not be reproduced, in whole or in part, in any form (beyond that permitted by copyright law) without the publisher’s written permission. This ap- plies particularly to reproductions, translations, microfilms and storage and pro- cessing in electronic systems. This book was supervised by Reinhard Feldmeier (representing the SAPERE Edi- tors) and typeset by Nils Jäger, Christoph Alexander Martsch, Janjenka Szillat and Andrea Villani at the SAPERE Research Institute, Göttingen. Printed by Gulde- Druck in Tübingen on non-aging paper and bound by Buchbinderei Spinner in Ottersweier. Printed in Germany.
    [Show full text]