The Golden Apple - Part Two : the Wrath of Achilles Pdf, Epub, Ebook
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The Humour of Homer
The Humour of Homer Samuel Butler A lecture delivered at the Working Men's College, Great Ormond Street 30th January, 1892 The first of the two great poems commonly ascribed to Homer is called the Iliad|a title which we may be sure was not given it by the author. It professes to treat of a quarrel between Agamemnon and Achilles that broke out while the Greeks were besieging the city of Troy, and it does, indeed, deal largely with the consequences of this quarrel; whether, however, the ostensible subject did not conceal another that was nearer the poet's heart| I mean the last days, death, and burial of Hector|is a point that I cannot determine. Nor yet can I determine how much of the Iliadas we now have it is by Homer, and how much by a later writer or writers. This is a very vexed question, but I myself believe the Iliadto be entirely by a single poet. The second poem commonly ascribed to the same author is called the Odyssey. It deals with the adventures of Ulysses during his ten years of wandering after Troy had fallen. These two works have of late years been believed to be by different authors. The Iliadis now generally held to be the older work by some one or two hundred years. The leading ideas of the Iliadare love, war, and plunder, though this last is less insisted on than the other two. The key-note is struck with a woman's charms, and a quarrel among men for their possession. -
Ornithological Approaches to Greek Mythology: the Case of the Shearwater
Ornithological Approaches to Greek Mythology: The Case of the Shearwater In the Odyssey 5.333-337, Ino-Leucothea rescues Odysseus from a terrifying storm while in the shape of an αἴθυια (aithyia) and gives him a magic veil so he can reach the land of the Phaeacians. But what bird is an aithyia, and, perhaps more importantly, can this information help us understand this passage of the Odyssey and other ancient texts where the bird appears? Many attempts at identifying Ino-Leucothea’s bird shape have been made. Lambin (2006) suggests that the name of byne that is occasionally (e.g. Lyc. Al. 757-761) applied to the goddess highlights her kourotrophic functions. In a more pragmatic way, Thompson (1895) suggests that the aithyia is a large gull such as Larus marinus. This identification is based on Aristotle (H.A. 7.542b) and Pliny (10.32) who report that the bird breeds in rocks by the sea in early spring. However, in a response to Thompson’s identification of a different bird, the ἐρωδιός (erôdios) as a heron, Fowler stresses that this bird nests in burrows by the sea (Pliny 10.126-127) and therefore must be Scopoli’s shearwater, Puffinus kuhli, now renamed Calonectris diomedea. The similarities between the aithyia and the erôdios prompted Thompson not only to reconsider his identification of the erôdios as a shearwater but also to argue that other bird names such as aithyia, memnôn, and mergus must also correspond to the shearwater. Thompson (1918) comes to this conclusion by taking a closer look at the mythological information concerning these birds. -
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. -
A Guide to Post-Classical Works of Art, Literature, and Music Based on Myths of the Greeks and Romans
DOCUMENT RESUME ED 112 438 CS 202 298 AUTHOR Smith, Ron TITLE A Guide to Post-Classical Works of Art, Literature, and Music Based on Myths of the Greeks and Romans. PUB DATE 75 NOTE 40p.; Prepared at Utah State University; Not available in hard copy due to marginal legibility of original document !DRS PRICE MF-$0.76 Plus Postage. HC Not Available from EDRS. DESCRIPTORS *Art; *Bibliographies; Greek Literature; Higher Education; Latin Literature; *Literature; Literature Guides; *Music; *Mythology ABSTRACT The approximately 650 works listed in this guide have as their focus the myths cf the Greeks and Romans. Titles were chosen as being (1)interesting treatments of the subject matter, (2) representative of a variety of types, styles, and time periods, and (3) available in some way. Entries are listed in one of four categories - -art, literature, music, and bibliography of secondary sources--and an introduction to the guide provides information on the use and organization of the guide.(JM) *********************************************************************** Documents acquired by ERIC include many informal unpublished * materials not available from other sources. ERIC makes every effort * * to obtain the best copy available. Nevertheless, items of marginal * * reproducibility are often encountered and this affects the quality * * of the microfiche and hardcopy reproductions ERIC makes available * * via the ERIC Document Reproduction Service (EDRS). EDRS is not * responsible for the quality of the original document. Reproductions * * supplied -
Atalanta and the Golden Apples
AAtalantatalanta aandnd tthehe GGoldenolden ApplesApples 10 Lesson Objectives Core Content Objectives Students will: Explain that the ancient Greeks worshipped many gods and goddesses Identify Mount Olympus as the place the ancient Greeks believed to be the home of the gods Identify Greek myths as a type of f ction Demonstrate familiarity with “Atalanta and the Golden Apples” Identify the elements of character, setting, plot, and supernatural beings and events in “Atalanta and the Golden Apples” Identify common characteristics of Greek myths (i.e., they try to explain mysteries of nature and humankind, include supernatural beings or events, give insight into the ancient Greek culture) Describe some of the many different types of mythical creatures and characters in Greek myths, such as Atlas, Pan, Cerberus, Pegasus, and centaurs Language Arts Objectives The following language arts objectives are addressed in this lesson. Objectives aligning with the Common Core State Standards are noted with the corresponding standard in parentheses. Refer to the Alignment Chart for additional standards addressed in all lessons in this domain. Students will: Recount information from “Atalanta and the Golden Apples,” a Greek myth, and determine the central message of the myth (RL.2.2) 136 Greek Myths 10 | Atalanta and the Golden Apples © 2013 Core Knowledge Foundation Describe how Atalanta and Hippomenes respond to challenges in “Atalanta and the Golden Apples” (RL.2.3) Describe the characters and plot of “Atalanta and the Golden Apples,” including -
Greek and Roman Mythology and Heroic Legend
G RE E K AN D ROMAN M YTH O LOGY AN D H E R O I C LE GEN D By E D I N P ROFES SOR H . ST U G Translated from th e German and edited b y A M D i . A D TT . L tt LI ONEL B RN E , , TRANSLATOR’S PREFACE S Y a l TUD of Greek religion needs no po ogy , and should This mus v n need no bush . all t feel who ha e looked upo the ns ns and n creatio of the art it i pired . But to purify stre gthen admiration by the higher light of knowledge is no work o f ea se . No truth is more vital than the seemi ng paradox whi c h - declares that Greek myths are not nature myths . The ape - is not further removed from the man than is the nature myth from the religious fancy of the Greeks as we meet them in s Greek is and hi tory . The myth the child of the devout lovely imagi nation o f the noble rac e that dwelt around the e e s n s s u s A ga an. Coar e fa ta ie of br ti h forefathers in their Northern homes softened beneath the southern sun into a pure and u and s godly bea ty, thus gave birth to the divine form of n Hellenic religio . M c an c u s m c an s Comparative ythology tea h uch . It hew how god s are born in the mind o f the savage and moulded c nn into his image . -
The Linguistic Case for the Aiolian Migration 433
HESPERIA JJ (2OO8) THE LINGUISTIC Pages43I~4^4 CASE FOR THE AIOLIAN MIGRATION RECONSIDERED ABSTRACT Ascribingthe presence of speakers of Lesbian in thenortheast Aegean dur- inghistorical times to themigration of Aiolian tribes from mainland Greece receivesno supportfrom linguistics. Migration is notthe only or even primary wayin whichlanguages and dialectsmay spread. Moreover, on reexamina- tion,the idea of an Aiolicdialect group falls apart. Boiotian, separated by the FirstCompensatory Lengthening from Lesbian and Thessalian, appears as a conservativedialect, most closely related to WestGreek. In turn,Lesbian andThessalian are both archaic branches of Greek that share no demonstrable commoninnovations. They are bestviewed as twoseparate relic areas of a relativelyunaltered early Greek. - To pass fromthis legendary world an aggregateof streamsdis- tinctand heterogeneous,which do notwillingly come intoconflu- ence,and cannotbe forcedto intermix- intothe vision afforded by Herodotus,we learnfrom him that in the500s B.C.the whole coast-regionfrom Dardanus southward to thepromontory of Lektum(including the town of Ilium),and fromLektum eastward to Adramyttium,had been Aeolised,or was occupiedby Aeolic - Greeks likewisethe inland towns of Skepsisand Kebren.1 This papergrew out of the researchof BrianRose, as set out in the pre- cedingarticle in thisissue of Hesperia?As head of the post-BronzeAge excavationsat Troy,Rose had long acceptedthe scholarlyconsensus in 1. Grote 1888, vol. 1, p. 305, refer- mightexpect fromthe rulesbut does markany (or an unknown) representa- = ringto Hdt. 1.149-151. not occur.The sign > means "develops tive of that class. So C any consonant; = - 2. Rose 2008. My thanksare due to to" (and the sign < means "develops H any laryngeal;Kw any labiovelar; = = Brian Rose, Don Ringe, Ronald Kim, from")an earlierform by regularsound P any labial; R any resonant(I, r, and the anonymousreviewers for Hes- changes.The sign -> means "is replaced myn); T= any dental; V= anyvowel. -
Vergil's Aeneid: a Homeric Dichotomy?
Anthós (1990-1996) Volume 1 Number 1 Article 3 1990 Vergil's Aeneid: A Homeric Dichotomy? David Dysert Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/anthos_archives Part of the Ancient History, Greek and Roman through Late Antiquity Commons Let us know how access to this document benefits ou.y Recommended Citation Dysert, David (1990) "Vergil's Aeneid: A Homeric Dichotomy?," Anthós (1990-1996): Vol. 1 : No. 1 , Article 3. Available at: https://pdxscholar.library.pdx.edu/anthos_archives/vol1/iss1/3 This open access Article is distributed under the terms of the Creative Commons Attribution-NonCommercial- ShareAlike 4.0 International License (CC BY-NC-SA 4.0). All documents in PDXScholar should meet accessibility standards. If we can make this document more accessible to you, contact our team. Vergil~s Aeneid: A Homeric Dichotomy? Twinkle, twinkle little star. How I wonder what you are. !l1ttl1f1rt Ah VollS Dirai-je lIdaman, K.265, is a timeless' series of variations on the children's classic "Twinkle, Twinkle Little Star," a pervasive melody in Western culture. Mozart brilliantly manipulates the previous work creating an entirely different musical statement while retaining elements of the original throughout. Beginning with a nearly exact copy of the original, the composer moves to a somewhat melancholy tone and then concludes with a race to the finish. The listener is delighted by Mozart's use of the common melody. Vergil's contemporaries were probably equally, if not more, delighted with his work, the Aeneid. Vergil, like Mozart, (or should we say Mozart, like Vergil!) . -
Homer – the Iliad
HOMER – THE ILIAD Homer is the author of both The Iliad and The Odyssey. He lived in Ionia – which is now modern day Turkey – between the years of 900-700 BC. Both of the above epics provided the framework for Greek education and thought. Homer was a blind bard, one who is a professional story teller, an oral historian. Epos or epic means story. An epic is a particular type of story; it involves one with a hero in the midst of a battle. The subject of the poem is the Trojan War which happened approximately in 1200 BC. This was 400 years before the poem was told by Homer. This story would have been read aloud by Homer and other bards that came after him. It was passed down generation to generation by memory. One can only imagine how valuable memory was during that time period – there were no hard drives or memory sticks. On a tangential note, one could see how this poem influenced a culture; to be educated was to memorize a particular set of poems or stories which could be cross-referenced with other people’s memory of those particular stories. The information would be public and not private. The Iliad is one of the greatest stories ever told – a war between two peoples; the Greeks from the West and the Trojans from the East. The purpose of this story is to praise Achilles. The two worlds are brought into focus; the world of the divine order and the human order. The hero of the story is to bring greater order and harmony between these two orders. -
Pausanias' Description of Greece
BONN'S CLASSICAL LIBRARY. PAUSANIAS' DESCRIPTION OF GREECE. PAUSANIAS' TRANSLATED INTO ENGLISH \VITTI NOTES AXD IXDEX BY ARTHUR RICHARD SHILLETO, M.A., Soiiii'tinie Scholar of Trinity L'olltge, Cambridge. VOLUME IT. " ni <le Fnusnnias cst un homme (jui ne mnnquo ni de bon sens inoins a st-s tlioux." hnniie t'oi. inais i}iii rn>it ou au voudrait croire ( 'HAMTAiiNT. : ftEOROE BELL AND SONS. YOUK STIIKKT. COVKNT (iAKDKX. 188t). CHISWICK PRESS \ C. WHITTINGHAM AND CO., TOOKS COURT, CHANCEKV LANE. fA LC >. iV \Q V.2- CONTEXTS. PAGE Book VII. ACHAIA 1 VIII. ARCADIA .61 IX. BtEOTIA 151 -'19 X. PHOCIS . ERRATA. " " " Volume I. Page 8, line 37, for Atte read Attes." As vii. 17. 2<i. (Catullus' Aft is.) ' " Page 150, line '22, for Auxesias" read Anxesia." A.-> ii. 32. " " Page 165, lines 12, 17, 24, for Philhammon read " Philanimon.'' " " '' Page 191, line 4, for Tamagra read Tanagra." " " Pa ire 215, linu 35, for Ye now enter" read Enter ye now." ' " li I'aijf -J27, line 5, for the Little Iliad read The Little Iliad.'- " " " Page ^S9, line 18, for the Babylonians read Babylon.'' " 7 ' Volume II. Page 61, last line, for earth' read Earth." " Page 1)5, line 9, tor "Can-lira'" read Camirus." ' ; " " v 1'age 1 69, line 1 , for and read for. line 2, for "other kinds of flutes "read "other thites.'' ;< " " Page 201, line 9. for Lacenian read Laeonian." " " " line 10, for Chilon read Cliilo." As iii. 1H. Pago 264, " " ' Page 2G8, Note, for I iad read Iliad." PAUSANIAS. BOOK VII. ACIIAIA. -
Homer's Use of Myth Françoise Létoublon
Homer’s Use of Myth Françoise Létoublon Epic and Mythology The Homeric Epics are probably the oldest Greek literary texts that we have,1 and their subject is select episodes from the Trojan War. The Iliad deals with a short period in the tenth year of the war;2 the Odyssey is set in the period covered by Odysseus’ return from the war to his homeland of Ithaca, beginning with his departure from Calypso’s island after a 7-year stay. The Trojan War was actually the material for a large body of legend that formed a major part of Greek myth (see Introduction). But the narrative itself cannot be taken as a mythographic one, unlike the narrative of Hesiod (see ch. 1.3) - its purpose is not to narrate myth. Epic and myth may be closely linked, but they are not identical (see Introduction), and the distance between the two poses a particular difficulty for us as we try to negotiate the the mythological material that the narrative on the one hand tells and on the other hand only alludes to. Allusion will become a key term as we progress. The Trojan War, as a whole then, was the material dealt with in the collection of epics known as the ‘Epic Cycle’, but which the Iliad and Odyssey allude to. The Epic Cycle however does not survive except for a few fragments and short summaries by a late author, but it was an important source for classical tragedy, and for later epics that aimed to fill in the gaps left by Homer, whether in Greek - the Posthomerica of Quintus of Smyrna (maybe 3 c AD), and the Capture of Troy of Tryphiodoros (3 c AD) - or in Latin - Virgil’s Aeneid (1 c BC), or Ovid’s ‘Iliad’ in the Metamorphoses (1 c AD). -
Miscellanea the Wife of Achilles
mnemosyne 69 (2016) 113-118 brill.com/mnem Miscellanea ∵ The Wife of Achilles Thus far, no interpretation has provided an adequate significance to Achilles’ last lines in the Iliad (24.675-676): αὐτὰρ Ἀχιλλεὺς εὗδε μυχῷ κλισίης ἐυπήκτου· τῷ δὲ Βρισηῒς παρελέξατο καλλιπάρῃος.1 Achilles slept in the innermost of the well-built hut and with him slept beautiful-cheeked Briseis. Yet, these two lines express a subtle tragedy in Achilles’ story. By depicting a domestic setting parallel to an earlier scene in Book 9, these two lines convey Achilles’ tragic isolation by expressing his desire for marriage while emphasiz- ing his inability to ever live a happy domestic life at home with a bride.2 The domestic setting of this scene has multiple parallels throughout Homer, and has a direct mirror in Book 9: 1 All Greek text is from Monro and Allen’s OCT, third edition. All translations are my own. 2 To see the importance of marriage in regard to Achilles, it should be noted that the idealized city on Achilles’ shield depicts a wedding celebration (9.492-496). Alden (2000, 55) discusses the significance of the parallel narratives on the shield, such as the blood price image that is parallel with Ajax’s speech in Book 9, but he does not discuss the significance of the wedding scene in regard to Achilles. Nagy (2003, 72-87) also discusses how this juridical scene “lays the conceptual foundations for the beginnings of the polis”, but does not discuss the wedding image. Atchity (1978, 185) likewise notes that the images of two cities on the shield “recalls Homer’s own story”, but does not connect the significance of the marriage scene to Achilles.