Greek Mythology #23: DIONYSUS by Joy Journeay
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The Hellenic Saga Gaia (Earth)
The Hellenic Saga Gaia (Earth) Uranus (Heaven) Oceanus = Tethys Iapetus (Titan) = Clymene Themis Atlas Menoetius Prometheus Epimetheus = Pandora Prometheus • “Prometheus made humans out of earth and water, and he also gave them fire…” (Apollodorus Library 1.7.1) • … “and scatter-brained Epimetheus from the first was a mischief to men who eat bread; for it was he who first took of Zeus the woman, the maiden whom he had formed” (Hesiod Theogony ca. 509) Prometheus and Zeus • Zeus concealed the secret of life • Trick of the meat and fat • Zeus concealed fire • Prometheus stole it and gave it to man • Freidrich H. Fuger, 1751 - 1818 • Zeus ordered the creation of Pandora • Zeus chained Prometheus to a mountain • The accounts here are many and confused Maxfield Parish Prometheus 1919 Prometheus Chained Dirck van Baburen 1594 - 1624 Prometheus Nicolas-Sébastien Adam 1705 - 1778 Frankenstein: The Modern Prometheus • Novel by Mary Shelly • First published in 1818. • The first true Science Fiction novel • Victor Frankenstein is Prometheus • As with the story of Prometheus, the novel asks about cause and effect, and about responsibility. • Is man accountable for his creations? • Is God? • Are there moral, ethical constraints on man’s creative urges? Mary Shelly • “I saw the pale student of unhallowed arts kneeling beside the thing he had put together. I saw the hideous phantasm of a man stretched out, and then, on the working of some powerful engine, show signs of life, and stir with an uneasy, half vital motion. Frightful must it be; for supremely frightful would be the effect of any human endeavour to mock the stupendous mechanism of the Creator of the world” (Introduction to the 1831 edition) Did I request thee, from my clay To mould me man? Did I solicit thee From darkness to promote me? John Milton, Paradise Lost 10. -
Zeus *God of the Sky and Ruler of the Olympian Gods. He Is Lord of the Sky, the Rain God
Greek Mythology *Myths - Traditional stories about god and heroes. *The Greek people believed in many gods and goddesses. They were thought to have affected people's lives and also thought to shape events. *The gods and goddesses were thought to control nature. Some examples of the control over nature are: Zeus ruled the sky and threw lighting bolts, Demeter made the crops grow, and Poseidon caused earthquakes. *The 12 most important gods and goddesses lived on Mt. Olympus. Mt. Olympus was the highest mountain in Greece. Zeus *God of the Sky and Ruler of the Olympian gods. He is lord of the sky, the rain god. *He is represented as the god of justice and mercy, the protector of the weak, and the punisher of the wicked. Poseidon *God of the sea and protector of all the water. *Widely worshiped by seamen. *His weapon is a trident, which can shake the earth, and shatter any object. *He is second only to Zeus in power amongst the gods. *He was greedy. He had a series of disputes with other gods when he tried to take over their cities. Hades *Hades is the god of the undedrworld and ruler of the dead. *He is also the god of wealth, due to the precious metals mined from the earth. *He is a greedy god who is greatly concerned with increasing his subjects. Hestia *She plays no part in myths. *She is the Goddess of the Hearth, the symbol of the house around which a new born child is carried before it is received into the family. -
The Zodiac: Comparison of the Ancient Greek Mythology and the Popular Romanian Beliefs
THE ZODIAC: COMPARISON OF THE ANCIENT GREEK MYTHOLOGY AND THE POPULAR ROMANIAN BELIEFS DOINA IONESCU *, FLORA ROVITHIS ** , ELENI ROVITHIS-LIVANIOU *** Abstract : This paper intends to draw a comparison between the ancient Greek Mythology and the Romanian folk beliefs for the Zodiac. So, after giving general information for the Zodiac, each one of the 12 zodiac signs is described. Besides, information is given for a few astronomical subjects of special interest, together with Romanian people believe and the description of Greek myths concerning them. Thus, after a thorough examination it is realized that: a) The Greek mythology offers an explanation for the consecration of each Zodiac sign, and even if this seems hyperbolic in almost most of the cases it was a solution for things not easily understood at that time; b) All these passed to the Romanians and influenced them a lot firstly by the ancient Greeks who had built colonies in the present Romania coasts as well as via commerce, and later via the Romans, and c) The Romanian beliefs for the Zodiac is also connected to their deep Orthodox religious character, with some references also to their history. Finally, a general discussion is made and some agricultural and navigator suggestions connected to Pleiades and Hyades are referred, too. Keywords : Zodiac, Greek, mythology, tradition, religion. PROLOGUE One of their first thoughts, or questions asked, by the primitive people had possibly to do with sky and stars because, when during the night it was very dark, all these lights above had certainly arose their interest. So, many ancient civilizations observed the stars as well as their movements in the sky. -
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. -
7Th Grade Lesson Plan: It's Greek to Me: Greek Mythology
7th grade Lesson Plan: It’s Greek to me: Greek Mythology Overview This series of lessons was designed to meet the needs of gifted children for extension beyond the standard curriculum with the greatest ease of use for the edu- cator. The lessons may be given to the students for individual self-guided work, or they may be taught in a classroom or a home-school setting. This particular lesson plan is primarily effective in a classroom setting. Assessment strategies and rubrics are included. The lessons were developed by Lisa Van Gemert, M.Ed.T., the Mensa Foundation’s Gifted Children Specialist. Introduction Greek mythology is not only interesting, but it is also the foundation of allusion and character genesis in literature. In this lesson plan, students will gain an understanding of Greek mythology and the Olympian gods and goddesses. Learning Objectives Materials After completing the lessons in this unit, students l D’Aulaires’ Book of Greek Myths by Ingri and will be able to: Edgar Parin D’Aulaire l Understand the Greek view of creation. l The Gods and Goddesses of Olympus by Aliki l Understand the terms Chaos, Gaia, Uranus, Cro- l The Mighty 12: Superheroes of Greek Myths by nus, Zeus, Rhea, Hyperboreans, Ethiopia, Mediter- Charles Smith ranean, and Elysian Fields. l Greek Myths and Legends by Cheryl Evans l Describe the Greek view of the world’s geogra- l Mythology by Edith Hamilton (which served as a phy. source for this lesson plan) l Identify the names and key features of the l A paper plate for each student Olympian gods/goddesses. -
MYTHOLOGY MAY 2018 Detail of Copy After Arpino's Perseus and Andromeda
HOMESCHOOL THIRD THURSDAYS MYTHOLOGY MAY 2018 Detail of Copy after Arpino's Perseus and Andromeda Workshop of Giuseppe Cesari (Italian), 1602-03. Oil on canvas. Bequest of John Ringling, 1936. Creature Creation Today, we challenge you to create your own mythological creature out of Crayola’s Model Magic! Open your packet of Model Magic and begin creating. If you need inspiration, take a look at the back of this sheet. MYTHOLOGICAL Try to incorporate basic features of animals – eyes, mouths, legs, etc.- while also combining part of CREATURES different creatures. Some works of art that we are featuring for Once you’ve finished sculpting, today’s Homeschool Third Thursday include come up with a unique name for creatures like the sea monster. Many of these your creature. Does your creature mythological creatures consist of various human have any special powers or and animal parts combined into a single creature- abilities? for example, a centaur has the body of a horse and the torso of a man. Other times the creatures come entirely from the imagination, like the sea monster shown above. Some of these creatures also have supernatural powers, some good and some evil. Mythological Creatures: Continued Greco-Roman mythology features many types of mythological creatures. Here are some ideas to get your project started! Sphinxes are wise, riddle- loving creatures with bodies of lions and heads of women. Greek hero Perseus rides a flying horse named Pegasus. Sphinx Centaurs are Greco- Pegasus Roman mythological creatures with torsos of men and legs of horses. Satyrs are creatures with the torsos of men and the legs of goats. -
Aspects of the Demeter/Persephone Myth in Modern Fiction
Aspects of the Demeter/Persephone myth in modern fiction Janet Catherine Mary Kay Thesis presented in partial fulfilment of the requirements for the degree of Master of Philosophy (Ancient Cultures) at the University of Stellenbosch Supervisor: Dr Sjarlene Thom December 2006 I, the undersigned, hereby declare that the work contained in this thesis is my own original work and that I have not previously in its entirety or in part submitted it at any university for a degree. Signature: ………………………… Date: ……………… 2 THE DEMETER/PERSEPHONE MYTH IN MODERN FICTION TABLE OF CONTENTS PAGE 1. Introduction: The Demeter/Persephone Myth in Modern Fiction 4 1.1 Theories for Interpreting the Myth 7 2. The Demeter/Persephone Myth 13 2.1 Synopsis of the Demeter/Persephone Myth 13 2.2 Commentary on the Demeter/Persephone Myth 16 2.3 Interpretations of the Demeter/Persephone Myth, Based on Various 27 Theories 3. A Fantasy Novel for Teenagers: Treasure at the Heart of the Tanglewood 38 by Meredith Ann Pierce 3.1 Brown Hannah – Winter 40 3.2 Green Hannah – Spring 54 3.3 Golden Hannah – Summer 60 3.4 Russet Hannah – Autumn 67 4. Two Modern Novels for Adults 72 4.1 The novel: Chocolat by Joanne Harris 73 4.2 The novel: House of Women by Lynn Freed 90 5. Conclusion 108 5.1 Comparative Analysis of Identified Motifs in the Myth 110 References 145 3 CHAPTER 1 INTRODUCTION The question that this thesis aims to examine is how the motifs of the myth of Demeter and Persephone have been perpetuated in three modern works of fiction, which are Treasure at the Heart of the Tanglewood by Meredith Ann Pierce, Chocolat by Joanne Harris and House of Women by Lynn Freed. -
Bacchylides 17: Singing and Usurping the Paean Maria Pavlou
Bacchylides 17: Singing and Usurping the Paean Maria Pavlou ACCHYLIDES 17, a Cean commission performed on Delos, has been the subject of extensive study and is Bmuch admired for its narrative artistry, elegance, and excellence. The ode was classified as a dithyramb by the Alex- andrians, but the Du-Stil address to Apollo in the closing lines renders this classification problematic and has rather baffled scholars. The solution to the thorny issue of the ode’s generic taxonomy is not yet conclusive, and the dilemma paean/ dithyramb is still alive.1 In fact, scholars now are more inclined to place the poem somewhere in the middle, on the premise that in antiquity the boundaries between dithyramb and paean were not so clear-cut as we tend to believe.2 Even though I am 1 Paean: R. Merkelbach, “Der Theseus des Bakchylides,” ZPE 12 (1973) 56–62; L. Käppel, Paian: Studien zur Geschichte einer Gattung (Berlin 1992) 156– 158, 184–189; H. Maehler, Die Lieder des Bakchylides II (Leiden 1997) 167– 168, and Bacchylides. A Selection (Cambridge 2004) 172–173; I. Rutherford, Pindar’s Paeans (Oxford 2001) 35–36, 73. Dithyramb: D. Gerber, “The Gifts of Aphrodite (Bacchylides 17.10),” Phoenix 19 (1965) 212–213; G. Pieper, “The Conflict of Character in Bacchylides 17,” TAPA 103 (1972) 393–404. D. Schmidt, “Bacchylides 17: Paean or Dithyramb?” Hermes 118 (1990) 18– 31, at 28–29, proposes that Ode 17 was actually an hyporcheme. 2 B. Zimmermann, Dithyrambos: Geschichte einer Gattung (Hypomnemata 98 [1992]) 91–93, argues that Ode 17 was a dithyramb for Apollo; see also C. -
Antigone by Sophocles Scene 4, Ode 4, Scene 5, Paean and Exodos
Antigone by Sophocles Scene 4, Ode 4, Scene 5, Paean and Exodos By: Anmol Singh, Kesia Santos, and Yuri Seo Biographical, Cultural, and Historical Background The Greek Theater - Sophocles was one of the prominent figures in Greek theater. - Plays were performed in outdoor areas. - There were a limited number of actors and a chorus.6 - Antigone was mostly likely performed in the same fashion. AS Family Tree YS What do Scene 4, Ode 4, Scene 5, Paean and Exodos of Antigone focus on? - Family Conflict (internal and external) - Death (tragedy) - Poor judgment - Feeling and thinking - Fate - Loyalty - Love YS Genres & Subgenres Tragedy - Not completely like modern tragedies (ex. sad & gloomy). - Tragedies heavily used pathos (Greek for suffering). - Used masks and other props. - Were a form of worship to Dionysus.7 AS Tragic Hero - Antigone and Creon are both like tragic heros. - Each have their own hamartia which leads to their downfalls.8,9 AS Family Conflict & Tragedy in Antigone - Antigone hangs herself - Haimon stabs himself - Eurydice curses Creon and blames him for everything - Eurydice kills herself YS Dominant Themes Family: The story of Niobe - Antigone relates her story to the story of Niobe. - Antigone says “How often have I hear the story of Niobe, Tantalus’s wretched daughter…” (18) - Chorus tells Antigone that Niobe “was born of heaven,” but Antigone is a woman. YS Womanhood - Antigone defies the place a woman is supposed to have during this time period - Antigone and Ismene contrast each other - Creon is the prime example of the beliefs that males hold during this period KS Power and Corruption: Dryas and Lycurgus - A character the chorus compares to Antigone is Lycurgus. -
Bulletin of the John Rylands Library
THE ORIGIN OF THE CULT OF DIONYSOS.1 . , BY J. RENDEL HARRIS, M.A., O.LITT., U...D., O.THEOL., ETC •• HON. FELLOW OF CLARE COLLECE, CAMBRIDGE ; DIRECTOR OF STUDIF.S AT THE WOODBROOKE SETTLEMENT, BIRMINGHAM. ODERN research is doing much to resolve the complicated and almost interminable riddles of the Greek and Latin M Mythologies. In another sense than the religious interpre tation, the gods of Olympus are fading away : as they fade from off the ethereal scene, the earlier forms out of which they were evolved come up again into view ; the Thunder-god goes back into the Thunder-man, or into the Thunder-bird or Thunder-tree ; Zeus takes the stately ~~ in vegetable life, of the Oak-tree, or if he must be Besh and blood he comes back as a Red-headed Woodpecker. Other ud similar evolutions are discovered and discoverable ; and the gods acquire a fresh interest when we have learnt their parentage. Sometimes, in the Zeus-worship at all events, we can see two forms of deity standing side by side, one coming on to the screen before the other has moved off ; the zoomorph or animal form co-existing and hardly displacing the phytomorph or plant fonn. One of the prettiest instances of this co-existence that I have dis covered came to my notice in connection with a study that I war. making of the place of bees in early religion. It was easy to see that the primitive human thinker had assigned a measure of sanctity to the bee, for he had found it in the hollows of his sacred tree : at the same time he had noticed that bees sprang from a little white larva. -
Hebe and Liminality in Catullus 68 Don M. Burrows
Hebe and Liminality in Catullus 68 Don M. Burrows (University of Minnesota) Many recent treatments of the Heracles exemplum in Catullus 68B have been offered, pointing out its problematic connection with the rest of the poem and to the poet in particular. Vandiver has shown how Heracles and his funeral pyre make more than one appearance in 68A-B, yet she sees the hero’s death/apotheosis and marriage to Hebe as “bleaker, since in it Heracles serves as a foil” to Laodamia (and also the poet), “whose thwarted passion for her incomplete marriage led to her actual death, not to any apotheosis.”1 Steiner has also turned her attention to the Heracles exemplum and its use in 68B to discuss notions of immortality. Yet again, when talk turns to the marriage of Heracles and Hebe, the subject of focus is the hero’s immortality contrasted with Catullus’ frustrated romance with Lesbia.2 In this paper, I will argue that the focus on Heracles only as a direct comparison with Catullus and the overall themes of 68A and 68B misses a far more applicable comparison: that of the poet with Hebe, whose maidenhood in 68B.116 is on the verge of ending with her pending nuptials. I intend, as others, to connect this mythological exemplum to the wider scope of the poem, most notably the poet’s discussion of his youth at 68A.15-18, where an anaphora seems to connect the reader to the later exemplum. This, coupled with a study of the treatment of Hebe in Archaic and Hellenistic poetry and a reticence among some to accept the account of her marriage to Heracles as legitimate, adds weight to 68B.116 (Hebe nec longa virginitate foret) that is largely overlooked: i.e., a liminality that illuminates themes of youth, death and marriage that punctuate the remainder of the poem. -
Studies in Early Mediterranean Poetics and Cosmology
The Ruins of Paradise: Studies in Early Mediterranean Poetics and Cosmology by Matthew M. Newman A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Classical Studies) in the University of Michigan 2015 Doctoral Committee: Professor Richard Janko, Chair Professor Sara L. Ahbel-Rappe Professor Gary M. Beckman Associate Professor Benjamin W. Fortson Professor Ruth S. Scodel Bind us in time, O Seasons clear, and awe. O minstrel galleons of Carib fire, Bequeath us to no earthly shore until Is answered in the vortex of our grave The seal’s wide spindrift gaze toward paradise. (from Hart Crane’s Voyages, II) For Mom and Dad ii Acknowledgments I fear that what follows this preface will appear quite like one of the disorderly monsters it investigates. But should you find anything in this work compelling on account of its being lucid, know that I am not responsible. Not long ago, you see, I was brought up on charges of obscurantisme, although the only “terroristic” aspects of it were self- directed—“Vous avez mal compris; vous êtes idiot.”1 But I’ve been rehabilitated, or perhaps, like Aphrodite in Iliad 5 (if you buy my reading), habilitated for the first time, to the joys of clearer prose. My committee is responsible for this, especially my chair Richard Janko and he who first intervened, Benjamin Fortson. I thank them. If something in here should appear refined, again this is likely owing to the good taste of my committee. And if something should appear peculiarly sensitive, empathic even, then it was the humanity of my committee that enabled, or at least amplified, this, too.