The Theosophical Path
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1 Reading Athenaios' Epigraphical Hymn to Apollo: Critical Edition And
Reading Athenaios’ Epigraphical Hymn to Apollo: Critical Edition and Commentaries DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Corey M. Hackworth Graduate Program in Greek and Latin The Ohio State University 2015 Dissertation Committee: Fritz Graf, Advisor Benjamin Acosta-Hughes Carolina López-Ruiz 1 Copyright by Corey M. Hackworth 2015 2 Abstract This dissertation is a study of the Epigraphical Hymn to Apollo that was found at Delphi in 1893, and since attributed to Athenaios. It is believed to have been performed as part of the Athenian Pythaïdes festival in the year 128/7 BCE. After a brief introduction to the hymn, I provide a survey and history of the most important editions of the text. I offer a new critical edition equipped with a detailed apparatus. This is followed by an extended epigraphical commentary which aims to describe the history of, and arguments for and and against, readings of the text as well as proposed supplements and restorations. The guiding principle of this edition is a conservative one—to indicate where there is uncertainty, and to avoid relying on other, similar, texts as a resource for textual restoration. A commentary follows, which traces word usage and history, in an attempt to explore how an audience might have responded to the various choices of vocabulary employed throughout the text. Emphasis is placed on Athenaios’ predilection to utilize new words, as well as words that are non-traditional for Apolline narrative. The commentary considers what role prior word usage (texts) may have played as intertexts, or sources of poetic resonance in the ears of an audience. -
The Theosophical Path
0 my Divinity! thou dost blend with the earth and fashion for thyself Temples of mighty power. 0 my Divinity! thou livest in the heart-life of all things and dost radiate a Golden Light that shineth forever and doth illumine even the darkest corners of the earth. 0 my Divinity! blend thou with me that from the corruptible I may become Incorruptible; that from imperfection I may become Perfection; that from darkness I may go forth in Light - Katherine Tinaleg THE THEOSOPHICAL PATH G. DE PURUCKER, EDITOR Vol. XLllI, No. 1 JULY, 1933 THEOSOPHY, THE MOTHER OF RELIGIONS, PHILOSOPHIES, AND SCIENCES G. DE PURUCKER, D. LITT. ARE LIFE AND DEATH THE SAME - OR DIFFERENT? FRIENDS at a distance and here in this our Temple of Peace: this afternoon I am going to talk to you on a question which will in terest every thinking man and woman - the question whether death be the same as life, or whether they be two distinct things which co operate or work together, and produce the various phenomena which we see in the Universe around us. Now you know that the old idea always has been that they are two different things entirely. I cannot tell you how this idea arose in the world, but it has existed for many ages, to wit: that death and life are [Stenographic report of the thirty-seventh of a series of lectures on the above subject. These were delivered at the request of Katherine Tingley (the then Theosophical Leader and Teacher) in the Tem ple of Peace, International Theosophical Headquarters, Point Loma, California, at the regular Sunday THE THEOSOPHICAL ATH afternoon services. -
Von Schönen Prinzessinen Und Großen Helden Inhaltsverzeichnis
Von schönen Prinzessinen und großen Helden Inhaltsverzeichnis 1 Achilleus 1 1.1 Etymologie .............................................. 1 1.2 Elemente des Achilleus-Stoffes .................................... 2 1.2.1 Zeugung ........................................... 2 1.2.2 Unverwundbarkeit und Achillesferse ............................. 2 1.2.3 Erziehung bei Cheiron .................................... 3 1.2.4 Versteck in Skyros ...................................... 3 1.2.5 Telephos ........................................... 4 1.2.6 Die Fahrt nach Troja ..................................... 4 1.2.7 Erste Kriegsjahre ....................................... 5 1.2.8 Achilleus’ Zorn ........................................ 5 1.2.9 Tötung des Memnon und der Penthesilea .......................... 6 1.2.10 Tod .............................................. 6 1.2.11 Nach seinem Tod ....................................... 7 1.3 Interpretation ............................................. 7 1.4 Kult .................................................. 8 1.5 Rezeption ............................................... 9 1.5.1 Antike ............................................ 9 1.5.2 Spätantike und Mittelalter .................................. 10 1.5.3 Moderne Literatur ...................................... 10 1.6 Literatur ............................................... 12 1.7 Weblinks ............................................... 13 1.8 Einzelnachweise ............................................ 13 2 Amazonen 17 2.1 Herkunft des Namens -
Eurydice Without Orpheus
Bard College Bard Digital Commons Senior Projects Spring 2011 Bard Undergraduate Senior Projects Spring 2011 Eurydice without Orpheus Nora E. Offen Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2011 Part of the Feminist, Gender, and Sexuality Studies Commons Recommended Citation Offen, Nora E., "Eurydice without Orpheus" (2011). Senior Projects Spring 2011. 5. https://digitalcommons.bard.edu/senproj_s2011/5 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. 1 Eurydice without Orpheus Senior Project submitted to The Division of Languages and Literature of Bard College by Nora Offen Annandale-on-Hudson, NY May 2011 2 “The love that consists in this: that two solitudes protect and border and greet each other.” For Mike Porter and Luisa Lopez. Acknowledgments I am grateful beyond words to my advisor, Joan Retallack, whose support has made work on this project possible, exhilarating, and deeply gratifying. And to my parents, Neil and Carol Offen, for providing their daughter with a house full of books, and a truly humbling depth of unconditional love. 3 Preface What follows is a poetic and critical reckoning with the Orpheus and Eurydice myth. -
Origin of the Slavs
ORIGIN OF THE SLAVS II Their Language, Institutions And Native Tribes by RA Goryn Table of Contents Origins of Slavonic Language In ancient times when people had to migrate they took with them their most precious possessions, the means to eke their livelihood, their cattle, the seeds to sow in the new country, and above all their gods and sacred objects to sustain their spirit and faith in the new place. The migrations from Central Asia and India to Syria, Anatolia and Europe were caused as far as we know by a natural disaster. The rise of the Himalayas, Hindu Kush and the Pamirs caused the rise of the level of the surrounding country, drying up the rivers and seas, causing drought and desiccation. The tectonic clash of the earth's crusts that produced the mountains forced several massive migrations from the area. The first civilisation in the Nile valley is identified as the product of Central Asian culture. Sumerians maintained long-standing connections between Central Asia and the Nile valley before the second known massive migration c. 5000 B.C. to Mesopotamia. The invasions of 2150 B. C. that brought the Phrygian culture to Anatolia and the Danube valley is identifiable with the first such invasion described in Greek mythology as the invasions of Osiris or Dionysus, the worshippers of Arna, and the culture that brought the Amazons to Syria, Anatolia and the Balkans. Colonisation of the Nile valley started considerably earlier than the reign of the gods and demi-gods in Egypt. The proto-Slavs are seen to have emerged out of the population that came in the third massive migration and are linked firmly by culture and religious ties to Dionysiac religious beliefs and rituals. -
An Inventory of Archaic and Classical Poleis
An offprint from AN INVENTORY OF ARCHAIC AND CLASSICAL POLEIS An Investigation Conducted by The Copenhagen Polis Centre for the Danish National Research Foundation MOGENS HERMAN HANSEN and THOMAS HEINE NIELSEN OXFORD UNIVERSITY PRESS MAKEDONIA Μ. Β. HATZOPOULOS (with the collaboration of Paschalis Paschidis) I. The Region the Makedonian power, and,Upper Makedonia—that is to say all Makedonian territories west of theAxios—and (b) an The name of the region is Μακεδονία, -η (Hdt. 5.17.1; Thuc. eastern part consisting of the new territories between the 1.58.1; Hatzopoulos (1996Ì?) ii. no. 1.B9). It is derived from the Axios and the plain of Philippoi, which were incorporated ethnic Μακεδών (Hdt. 5.18.2; Thuc. 1.57.2; IG ι3 89.26), in the into Makedonia proper by Philip II and his successors. The Thessalian dialect Μακετούν (SEG 27 202.10); the feminine former areas had been almost entirely settled by form is normally Μακέτα {IG u2 9258 (C3)). As Makedonia Makedonians (who had subjected and mostly driven out or is simply the land of the Makedones, its extent followed exterminated the indigenous populations), at least since the Makedonien expansion. By the time of Alexander's acces end of the Archaic period, whereas the latter were colonised sion, it ranged from the foothills of the Pierian mountains to in later times, and their former inhabitants had in most the whole region between Mt. Pindos and the Strymon val cases been permitted to remain in their old homes. Both of ley, and between the Peneios and roughly the present Greek these parts, however, were integrated into a unified state, the frontier. -
Poets and Places: Sites of Literary Memory in the Hellenistic World
Durham E-Theses Poets and places: sites of literary memory in the Hellenistic world TARETTO, ERIKA How to cite: TARETTO, ERIKA (2017) Poets and places: sites of literary memory in the Hellenistic world, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/12223/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk Erika Taretto Poets and places: sites of literary memory in the Hellenistic world. Material abstract This dissertation argues for the existence of a widespread yet underexplored Hellenistic habit of linking the memory of archaic and classical Greek poets to specific places. Through a combination of in-depth case studies and a panoramic overview of Hellenistic sites of literary memory, the dissertation establishes the significance of literary geographies and explores the means through which they were established. The first chapter focuses on the house of Pindar and its alleged treatment on the part of Alexander the Great. -
The “Double Orpheus”: Between Myth and Cult Il “Doppio Orfeo”: Tra Mito E Culto
Mythos Rivista di Storia delle Religioni 14 | 2020 Varia The “Double Orpheus”: between Myth and Cult Il “doppio Orfeo”: tra mito e culto Tomasz Mojsik Electronic version URL: https://journals.openedition.org/mythos/1674 DOI: 10.4000/mythos.1674 ISSN: 2037-7746 Publisher Salvatore Sciascia Editore Electronic reference Tomasz Mojsik, “The “Double Orpheus”: between Myth and Cult”, Mythos [Online], 14 | 2020, Online since 31 December 2020, connection on 31 May 2021. URL: http://journals.openedition.org/mythos/ 1674 ; DOI: https://doi.org/10.4000/mythos.1674 This text was automatically generated on 31 May 2021. Mythos The “Double Orpheus”: between Myth and Cult 1 The “Double Orpheus”: between Myth and Cult Il “doppio Orfeo”: tra mito e culto Tomasz Mojsik 1 Orpheus, as we are told, was “the son of Oeagrus” and “a Thracian musician”. This is what we read in textbooks and encyclopedias. But what does it mean in the case of Greek myths? Was the figure of the hero borrowed from Thracian religious tradition, as some claim? Or, alternatively, was his Thracian origin a comment on the role of the Thracians in the history of Greek music, as others believe? Thus, were the Muses, one of whom was his mother, also of Thracian origin?1 And maybe Orpheus, being Thracian, should be treated as a construct expressing the idea of the alien nature of poetry and music, a personification of “otherness not quite congruent with the daily life of the polis”?2 2 In his influential 1987 article F. Graf asserted that: “Orpheus is always a Thracian” (p. -
Orpheus As an Argonaut in Apollonius Rhodius' Argonautica
Inside Orpheus’ Songs: Orpheus as an Argonaut in Apollonius Rhodius’ Argonautica Andromache Karanika RPHEUS WAS KNOWN to be part of the Argonauts’ crew from at least the sixth century, to judge from a Ometope in Delphi.1 Pindar in his fourth Pythian ode, the first extant, non-fragmentary version in European literature of the famous myth of Jason and the Argonauts, presents Orpheus as an active participant, sent by Apollo, the father of song (Pyth. 4.176–177).2 His part in the expedition is high- lighted further in Apollonius’ Argonautica.3 In the narrative he is 1 The metope of the Sikyonian monopteros: M.-X. Garezou, LIMC 7.1 (1994) 81–105, at 84; G. N. Szeliga, “The Composition of the Argo Met- opes from the Monopteros at Delphi,” AJA 90 (1986) 297–305. For an overview of early literary accounts that include Orpheus in the expedition see W. K. C. Guthrie, Orpheus and Greek Religion2 (London 1952) 27. For Simonides fr.62 (Page, PMG) as referring to the expedition see E. Robbins, “Famous Orpheus,” in John Warden (ed.), Orpheus: The Metamorphoses of a Myth (Toronto 1982) 3–23, at 21. A possible reference by Ibycus: fr.25 PMG. 2 Cf. E. Robbins, “Jason and Cheiron: The Myth of Pindar’s Fourth Pythian,” Phoenix 29 (1975) 205–213, at 205; C. Segal, Orpheus: The Myth of the Poet (Baltimore 1989) 12–13. The ode commemorated the victory of King Arcesilas of Cyrene in the chariot race at the games of 462 B.C.E.; Arcesilas claimed descent from one of the Argonauts. -
Calliope - Wikipedia, the Free Encyclopedia
Calliope - Wikipedia, the free encyclopedia https://en.wikipedia.org/wiki/Calliope Calliope From Wikipedia, the free encyclopedia In Greek mythology, Calliope (/kəˈlaɪ.əpiː/ kə-LY -ə-pee ; Ancient Greek: Καλλιόπη , Kalliop ē "beautiful-voiced") was the muse of epic poetry,[1] daughter of Zeus and Mnemosyne, and is believed to be Homer's muse for the Iliad and the Odyssey . [2] One account says Calliope was the lover of the war god Ares, and bore him several sons: Mygdon, Edonus, Biston, and Odomantus (or Odomas), respectively the founders of Thracian tribes known as the Mygdones, Edones, Bistones, and Odomantes. Calliope also had two famous sons, Orpheus [3] and Linus,[4] by either Apollo or the king Oeagrus of Thrace. She taught Orpheus verses for singing. [5] According to Hesiod, she was also the wisest of the Muses, as well as the most assertive. Calliope married Oeagrus close to Pimpleia,[6] Olympus. She is said to have defeated the daughters of Pierus, king of Thessaly, in a singing match, and then, to punish their Detail of painting The Muses Urania presumption, turned them into magpies. (see Ovid, Metamorphoses and Calliope by Simon Vouet, in 6.294-340,662-78) which she is holding a copy of the Odyssey Calliope is usually seen with a writing tablet in her hand. At times, she is depicted as carrying a roll of paper or a book or as wearing a gold crown. The Italian poet, Dante Alighieri, in his Divine Comedy, makes reference to Calliope, "Here rise to life again, dead poetry! Let it, O holy Muses, for I am yours, And here Calliope, strike a higher key, Accompanying my song with that sweet air which made the wretched Magpies feel a blow that turned all hope of pardon to despair." (Dante, Purgatorio, Canto I,l.7 to 12) References 1. -
Index of Passages Cited
Cambridge University Press 978-1-107-18065-9 — A Historical and Topographical Guide to the Geography of Strabo Duane W. Roller Index More Information Index of Passages Cited Greek and Latin Authors 5.58 929 Aelian 5.59 929 Historical Miscellany 5.61 928 1.20 237 5.62 932 3.24 492 5.70 931 3.37 625 5.85b 927 4.15 415, 944 5.95 933 8.18 291 5.97–8 933 9.8 297 5.103 934 11.13 306 F5 934 12.10 476 F20 6 12.18 592 Agathemeros 12.28 507 1.24, 11, 54, 104 13.16 375 Airs, Waters, and Places 13.24 297 5–794 14.17 404 7–9 855 On the Characteristics of Animals 13–24 974 3.33 571 14.1 670 5.1 745 17–23 633 10.46 966 18 347, 361 10.48 401 Aischines 13.25 866 Against Ktesiphon 14.8 221 171 636 14.23 362 171–2 365 14.26 362 On the Embassy 16.13 863 116 523, 570 16.17–18 852 132 557 16.21 866 138 557 16.31 928 Aischylos 17.8 931 Agamemnon 17.22–3 871 112 762 17.25 858 293 521 17.40 928 361 362 Aetios 892 679 3.17.29, 95 1130 13 4.1.129 Eumenides Agatharchides of Knidos 1–8 545 5.47 929 9–19 546 5.51 927 39–45 542 5.53 928 681 497 1031 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-18065-9 — A Historical and Topographical Guide to the Geography of Strabo Duane W. -
Lyric Cities: Poet, Performance, and Community
LYRIC CITIES: POET, PERFORMANCE, AND COMMUNITY A DISSERTATION SUBMITTED TO THE DEPARTMENT OF CLASSICS AND THE COMMITTEE OF GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Nicholas Boterf June 2012 © 2012 by Nicholas Owen Boterf. All Rights Reserved. Re-distributed by Stanford University under license with the author. This work is licensed under a Creative Commons Attribution- Noncommercial 3.0 United States License. http://creativecommons.org/licenses/by-nc/3.0/us/ This dissertation is online at: http://purl.stanford.edu/sj539hc7564 ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Richard Martin, Co-Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Anastasia-Erasmia Peponi, Co-Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Josiah Ober I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Susan Stephens Approved for the Stanford University Committee on Graduate Studies. Patricia J. Gumport, Vice Provost Graduate Education This signature page was generated electronically upon submission of this dissertation in electronic format.