Jason and the Golden Fleece
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Myth Made Fact Lesson 8: Jason with Dr
Myth Made Fact Lesson 8: Jason with Dr. Louis Markos Outline: Jason Jason was a foundling, who was a royal child who grew up as a peasant. Jason was son of Eason. Eason was king until Pelias threw him into exile, also sending Jason away. When he came of age he decided to go to fulfill his destiny. On his way to the palace he helped an old man cross a river. When Jason arrived he came with only one sandal, as the other had been ripped off in the river. Pelias had been warned, “Beware the man with one sandal.” Pelias challenges Jason to go and bring back the Golden Fleece. About a generation or so earlier there had been a cruel king who tried to gain favor with the gods by sacrificing a boy and a girl. o Before he could do it, the gods sent a rescue mission. They sent a golden ram with a golden fleece that could fly. The ram flew Phrixos and Helle away. o The ram came to Colchis, in the southeast corner of the Black Sea. Helle slipped and fell and drowned in the Hellespont, which means Helle’s bridge (between Europe and Asia). o Phrixos sacrificed the ram and gave the fleece as a gift to the people of Colchis, to King Aeetes. o The Golden Fleece gives King Aeetes power. Jason builds the Argo. The Argonauts are the sailors of the Argo. Jason and the Argonauts go on the journey to get the Golden Fleece. Many of the Argonauts are the fathers of the soldiers of the Trojan War. -
Greek Mythology: Heroes
Greek Mythology: Heroes Baldwin’s Mythology Heroes ● Odysseus ● Heracles (Hercules) ● Jason ● Theseus ● Achilles ● Perseus Odysseus ● Legendary Hero in Greek Mythology ● King of the island of Ithaca and the protagonist in Homer’s epic The Odyssey ● It all started over a woman... Odysseus (continued) ● Odysseus was one of the suitors that wanted to marry Helen, step-daughter of king Tyndareus of Sparta. However, there suitors, so they drew straws. As a result, Menelaus drew the lucky straw, while Odysseus married Penelope. ● Helen was abducted by Prince Paris of Troy, so all suitors were summoned to help Menelaus in his quest to bring her back. ● After the Greeks reached Troy and the war started, Odysseus played a particularly influential role as an advisor. He maintained the morale of the Greeks in a high level and managed to keep everyone sane. Odysseus (continued) ● Odysseus was most famous in the war for his contribution to create the Trojan Horse, a huge wooden horse that was supposed to be a gift to the Trojans by the retreating Greeks. The Trojans accepted the gift joyfully and started celebrating around it. When the night fell and everyone was drunk, the Greek warriors, who had hidden in the hollow body of the horse, revealed themselves and slew the Trojans, winning the war. Hercules ● Heracles (or Hercules) is best known as the strongest of all mortals, and even stronger than many gods. ● He was the last mortal son of Zeus, and the only man born of a mortal woman to become a god upon his death. ● Terrible things happened to him because of Hera's hatred, a hatred that he was not responsible for. -
Jason and the Golden Fleece by Max I
Jason and the Golden Fleece By Max I. A long time ago, a child named Jason was born in the small kingdom of Iolcus, which was in Northern Greece. He was born before actual Greek history, in a time where Gods and heroes still existed. He was the son of King Aeson, who ruled Iolcus fairly and justly. His mother was descended from Poseidon, the god of the sea. Therefore, Jason had royal blood and divine blood as well. Jason grew up to be a good looking and good-natured boy. He was polite to everybody and everybody liked him. And everybody knew that Jason would inherit the throne of Iolcus. He was a good friend of Max, who was a foreigner from Colchis. In fact, he was one of the most valuable people on the journey because he was from where the Golden Fleece was hidden. 10 years before Jason was born, a king and queen called Athamas and Nephele ruled in Northern Greece. However, king Athamas grew tired of his kind, virtuous queen, and sent her away so he could marry a cruel woman named Ino. However, Ino was so cruel she resolved to murder the king’s children, as she was mad after a argument with Athamas. Queen Nephele rushed back to save her children and enlisted the help of the God Hermes. Hermes created a massive golden ram to carry the two children to safety. Their names were Phrixus and Helle. The Ram carried them all the way to Colchis, where they could seek shelter. However, as they were flying over a great river that separates Europe from Asia, Helle fell off the Ram to her death. -
FAVORITE GREEK MYTHS VARVAKEION STATUETTE Antique Copy of the Athena of Phidias National Museum, Athens FAVORITE GREEK MYTHS
FAVORITE GREEK MYTHS VARVAKEION STATUETTE Antique copy of the Athena of Phidias National Museum, Athens FAVORITE GREEK MYTHS BY LILIAN STOUGHTON HYDE YESTERDAY’S CLASSICS CHAPEL HILL, NORTH CAROLINA Cover and arrangement © 2008 Yesterday’s Classics, LLC. Th is edition, fi rst published in 2008 by Yesterday’s Classics, an imprint of Yesterday’s Classics, LLC, is an unabridged republication of the work originally published by D. C. Heath and Company in 1904. For the complete listing of the books that are published by Yesterday’s Classics, please visit www.yesterdaysclassics.com. Yesterday’s Classics is the publishing arm of the Baldwin Online Children’s Literature Project which presents the complete text of hundreds of classic books for children at www.mainlesson.com. ISBN-10: 1-59915-261-4 ISBN-13: 978-1-59915-261-5 Yesterday’s Classics, LLC PO Box 3418 Chapel Hill, NC 27515 PREFACE In the preparation of this book, the aim has been to present in a manner suited to young readers the Greek myths that have been world favorites through the centuries, and that have in some measure exercised a formative infl uence on literature and the fi ne arts in many countries. While a knowledge of these myths is undoubtedly necessary to a clear understanding of much in literature and the arts, yet it is not for this reason alone that they have been selected; the myths that have appealed to the poets, the painters, and the sculptors for so many ages are the very ones that have the greatest depth of meaning, and that are the most beautiful and the best worth telling. -
Greek Gods & Goddesses
Greek Gods & Goddesses The Greek Gods and GodessesMyths https://greekgodsandgoddesses.net/olympians/ The Twelve Olympians In the ancient Greek world, the Twelve great gods and goddesses of the Greeks were referred to as the Olympian Gods, or the Twelve Olympians. The name of this powerful group of gods comes from Mount Olympus, where the council of 12 met to discuss matters. All 12 Olympians had a home on Mount Olympus and that was where they were most commonly found. HADES, the god of the Underworld, preferred to live there, and POSEIDON often chose to stay in his palace under the sea. Most of the other Olympians would be on Mount Olympus year round unless they were travelling. HESTIA used to be one of the Olympians, but the constant fighting and bickering between the gods annoyed her and she eventually gave up her seat to the god of wine, DIONYSUS. Even though she left the council, Hestia still kept a home on Mount Olympus. APHRODITE was on the council but, in most Greek mythological stories, her husband HEPHAESTUS was not. At the famous Parthenon temple in Greece, there is a statue of each of the 12 Olympian gods. Hades does not have a statue, but Hephaestus does. The question of who the 12 Olympians are really depends on who is telling the story. Nobody is truly sure if Hades of Hephaestus can be classed as the Twelfth Olympian. So, because of the way Greek myths were told and retold in different ways, there are actually 14 gods and goddesses who can be considered as an Olympian god. -
Structural Analysis of Jason and Medeia: an Interlocking Pair—Sisyphus Embodied Samuel Glaser-Nolan
Vassar College Digital Window @ Vassar Senior Capstone Projects 2015 A (Post) Structural Analysis of Jason and Medeia: An Interlocking Pair—Sisyphus Embodied Samuel Glaser-Nolan Follow this and additional works at: http://digitalwindow.vassar.edu/senior_capstone Recommended Citation Glaser-Nolan, Samuel, "A (Post) Structural Analysis of Jason and Medeia: An Interlocking Pair—Sisyphus Embodied" (2015). Senior Capstone Projects. Paper 412. This Open Access is brought to you for free and open access by Digital Window @ Vassar. It has been accepted for inclusion in Senior Capstone Projects by an authorized administrator of Digital Window @ Vassar. For more information, please contact [email protected]. A (Post) Structural Analysis of Jason and Medeia: An Interlocking Pair—Sisyphus Embodied Senior Thesis in Greek and Roman Studies Vassar College, Spring 2015 By Samuel Glaser-Nolan 1 “The struggle itself toward the heights is enough to fill a man’s heart. One must imagine Sisyphus happy.” -Albert Camus, The Myth of Sisyphus Introduction This project is concerned with the study of the myth of Jason and Medeia. Its specific aim is to analyze the myths of both protagonists in unison, as an interlocking pair, each component essential to understanding the other. Reading Jason and Medeia together reveals that they are characters perpetually struggling with the balance between the obligations of family and those of being a hero. They are structurally engaged with the tension between these two notions and can best be understood by allusion to other myths that provide precedents and parallels for their actions. The goal is to not only study both characters together but to do so across many accounts of the myth and view the myth in its totality, further unifying the separate analyses of the two characters. -
Mythological and Cultural Elements That Bring Euripides’ Medea’S Tragic End
Mustafa Kemal Üniversitesi Sosyal Bilimler Enstitüsü Dergisi Mustafa Kemal University Journal of Social Sciences Institute Yıl/Year: 2018 ♦ Cilt/Volume: 15 ♦ Sayı/Issue: 41 s. 240-252 MYTHOLOGICAL AND CULTURAL ELEMENTS THAT BRING EURIPIDES’ MEDEA’S TRAGIC END Meltem UZUNOĞLU ERTEN Pamukkale Üniversitesi, Yabancı Diller Yüksek Okulu Orcid ID: 0000-0002-9022-7983 Makale Geliş Tarihi: 12.10.2017 Makale Kabul Tarihi: 10.04.2018 Abstract Euripides’ Medea is one of the tragedies of the ancient Greece that has survived. Based on a mythological background, the play focuses on the final part of Medea and Jason’s marriage, which is catastrophical not only for the couple alone but also for their families. As well as being an ancient classic, one significant point about Euripides’ Medea is that this psychological tragedy refers to the mythological factors that foreshadow and prepare the bloody final approaching. Another outstanding point is how Euripides deals with the Greek attitude towards foreigners and women, what gives Euripides’ Medea an authenticity. Therefore, the purpose of this paper is to analyze how the mythological histories of both Medea and Jason, and the cultural realities of the ancient Greek world make Medea’s happieness impossible and bring her tragic end. Keywords: Medea, mythology, Ancient Greece, foreigner, woman EURIPIDES’İN MEDEA’SININ TRAJİK SONUNU GETİREN MİTOLOJİK VE KÜLTÜREL UNSURLAR Öz Euripides’in Medea’sı Antik Yunan’dan günümüze ulaşan trajedilerden biridir. Mitolojik bir arka plana sahip olan oyun, yalnızca çiftin kendisi için değil aynı zamanda aileleri için de yıkıcı etkilere sahip olan evliliklerinin son bölümüne odaklanır. Antik döneme ait bir klasik olmasının yanı sıra Euripides’in Medea adlı eseriyle ilgili önemli noktalardan biri de, bu psikolojik trajedinin yaklaşmakta olan kanlı sonu öngören ve hazırlayan mitolojik unsurlara yaptığı göndermelerdir. -
Emasculating Jason: Narratology and Gender in Apollonius’ Argonautica 3-4
Emasculating Jason: Narratology and Gender in Apollonius’ Argonautica 3-4 That Apollonius constantly reworks details, scenes, vocabulary, and more from the Homeric poems has long been established. The specific Homeric echoes of the confrontation between Jason and Medea in Book 3 of Apollonius’ Argonautica have not gone unnoticed, either. In particular, Richard Hunter’s notes reworkings of the confrontation between Hector and Achilles of Iliad 22 in Argonautica 3 (Hunter, 1989). The focus on Apollonian connections to the Homeric tradition, however, has largely been based on linguistic similarities, whereas other points of connection, especially thematic relationships, between Apollonius and the Homeric epics have gone unremarked (Lennox, 1980). A detailed analysis of Apollonius’ reworking of Homeric type-scenes in general, and of how Apollonius does this in the confrontation between Jason and Medea, has yet to be accomplished. Campbell’s commentary, while noting the similarities between this section and the meeting of Odysseus and Nausicaa in Odyssey 6—certainly an important connection—does not note the connections to Homeric aristeiai (Campbell 1983). Beye has noted that “Jason’s meeting with Medea has the climactic tension of an aristeia,” but delves no deeper and moves on to discussing Jason’s contest as the aristeia “truer to the epic tradition,” (Beye 1982). Apollonius tends to portray Homeric elements in quite unusual ways, and so he does here: Jason begins an aristeia, entering not a battle of swords and spears, but a contest of wits and words with Medea. The scene contains the tropes commonly found in such type-scenes in the Homeric epics, and certain elements draw specific comparisons to aristeiai in the Iliad. -
Constellation Legends
Constellation Legends by Norm McCarter Naturalist and Astronomy Intern SCICON Andromeda – The Chained Lady Cassiopeia, Andromeda’s mother, boasted that she was the most beautiful woman in the world, even more beautiful than the gods. Poseidon, the brother of Zeus and the god of the seas, took great offense at this statement, for he had created the most beautiful beings ever in the form of his sea nymphs. In his anger, he created a great sea monster, Cetus (pictured as a whale) to ravage the seas and sea coast. Since Cassiopeia would not recant her claim of beauty, it was decreed that she must sacrifice her only daughter, the beautiful Andromeda, to this sea monster. So Andromeda was chained to a large rock projecting out into the sea and was left there to await the arrival of the great sea monster Cetus. As Cetus approached Andromeda, Perseus arrived (some say on the winged sandals given to him by Hermes). He had just killed the gorgon Medusa and was carrying her severed head in a special bag. When Perseus saw the beautiful maiden in distress, like a true champion he went to her aid. Facing the terrible sea monster, he drew the head of Medusa from the bag and held it so that the sea monster would see it. Immediately, the sea monster turned to stone. Perseus then freed the beautiful Andromeda and, claiming her as his bride, took her home with him as his queen to rule. Aquarius – The Water Bearer The name most often associated with the constellation Aquarius is that of Ganymede, son of Tros, King of Troy. -
Puppets Tell the Tale
Jason Exam Material Puppets Tell the Tale This exercise reinforces information from pages 162-175 of “The Golden Fleece” in d’Aulaires’ Book of Greek Myths. Create a cooperative class puppet show to tell the story of “Jason and the Argonauts.” 1. Divide up the class into groups so that the number of characters in each act equals the number of students in the group. Exception: Some students will need to make two puppets since many of the parts are small. Suggestions for two-puppet assignments are listed at the beginning of each act. 2. Students can create the puppets by drawing their character on a piece of tag board 6 inches by 3 inches. Using tape, attach these puppets to one end of a ruler so that the characters can pop up from behind a tabletop while the children sit on the floor. 3. Each group should determine the props needed for its act, e.g. the golden fleece, a tree, tail feathers, a cloud, clashing rocks. Students who finish their puppets quickly may then create props. 4. Students will need to prepare dialogue based on the synopsis of each act. This component of the puppet project will require much effort on the part of the students since there is no “narrator” to provide background or to describe the action. Every detail must be conveyed through the dialogue. Students will probably want to write out a script. 5. Each group should plan to rehearse its act a number of times so that the props are introduced at the right moment and the action flows smoothly. -
Apollonius Rhodius Argonautica 4 and the Epic Gaze: There and Back Again
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Nottingham ePrints Helen Lovatt Apollonius Rhodius Argonautica 4 and the epic gaze: There and back again The visuality of Apollonius Argonautica is complex and fascinating, and impor- tant for understanding that of later Greek and Roman epic.1 The Argonautica features in The Epic Gaze as the epic that wouldn’t, a refusenik of the epic genre, a counterexample.2 This chapter explores the particular visuality of Apollonius in more depth, by focusing on book 4 and its continuities and diver- gences from the previous books.3 William Thalmann, using the poetics of space, produces a reading of the Argonauts as a force for order, a representa- tion of Greekness, closely interlinked with Greek colonisation.4 Although he is careful to bring out the negatives, the difficulties and the confusions, this is an unusually positive reading of the Argonautica, rather in the same vein as Tim Stover’s reading of Valerius Flaccus.5 Space and visuality are closely relat- ed, and Thalmann illuminates processes of gazing in Apollonius, partly draw- ing on, or parallelling, the work of Alex Purves.6 In contrast Sistakou’s evoca- tion of the Argonautica as “dark epic” calls up a different visuality, one centred on darkness, fantasy and horror.7 In this chapter I re-examine gaze and vision in Apollonius by thinking about the difference between the explorers’ gaze and 1 See also Kampakoglou, this volume. On the importance of Apollonius for Virgil, see Nelis 2001. Apollonius in Lucan: Murray 2011; in Valerius (two recent interventions): Finkmann 2014, Seal 2014; in Claudian: Schindler 2005. -
University of Groningen the Myth of the Golden Fleece Bremmer, Jan N
University of Groningen The Myth of the Golden Fleece Bremmer, Jan N. Published in: Journal Ancient Near Eastern Religions IMPORTANT NOTE: You are advised to consult the publisher's version (publisher's PDF) if you wish to cite from it. Please check the document version below. Document Version Publisher's PDF, also known as Version of record Publication date: 2007 Link to publication in University of Groningen/UMCG research database Citation for published version (APA): Bremmer, J. N. (2007). The Myth of the Golden Fleece. Journal Ancient Near Eastern Religions, 6, 9-38. Copyright Other than for strictly personal use, it is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), unless the work is under an open content license (like Creative Commons). The publication may also be distributed here under the terms of Article 25fa of the Dutch Copyright Act, indicated by the “Taverne” license. More information can be found on the University of Groningen website: https://www.rug.nl/library/open-access/self-archiving-pure/taverne- amendment. Take-down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Downloaded from the University of Groningen/UMCG research database (Pure): http://www.rug.nl/research/portal. For technical reasons the number of authors shown on this cover page is limited to 10 maximum. Download date: 30-09-2021 XV THE MYTH OF THE GOLDEN FLEECE One of the best known Greek myths is that of Jason and his Argonauts, who sailed to Colchis to fetch the Golden Fleece.