Eris (Mythology) - Wikipedia, the Free Encyclopedia
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Solar System Table of Contents Publisher's Note Editors' Introduction List of Contributors Complete List of Contents Archeaostronomy (new) Asteroids Auroras Big Bang Brown Dwarfs Callisto (new) Ceres (new) Comet Halley Comet Shoemaker-Levy 9 (new) Comets Coordinate Systems Coronal Holes and Coronal Mass Ejections (new) Cosmic Rays Cosmology Dwarf Planets (new) Earth-Moon Relations (new) Earth-Sun Relations Earth System Science Earth's Age Earth's Atmosphere Earth's Composition Earth's Core Earth's Core-Mantle Boundary Earth's Crust Earth's Crust-Mantle Boundary(new) Earth's Differentiation Earth's Magnetic Field: Origins Earth's Magnetic Field: Secular Variation Earth's Magnetic Field at Present Earth's Magnetosphere Earth's Mantle Earth's Oceans Earth's Origin Earth's Rotation Earth's Shape Earth's Structure Eclipses Electromagnetic Radiation: Thermal Emissions (new) Electromagnetic Radiation: Nonthermal Emissions (new) Enceladus (new) Eris and Dysnomia (new) Europa Extrasolar Planet Detection Methods (new) Extrasolar Planetary Systems Extraterrestrial Life in the Solar System Gamma-Ray Bursters Ganymede (new) General Relativity Gravity Measurement Greenhouse Effect Habitable Zones (new) Hertzsprung-Russell Diagram Iapetus (new) Impact Cratering Infrared Astronomy Interstellar Clouds and the Interstellar Medium Interplanetary Environment (new) Io Jovian Planets Jupiter's Atmosphere Jupiter's Great Red Spot Jupiter's Interior (new) Jupiter's Magnetic Field and Radiation Belts Jupiter's Ring System (new) Jupiter's Satellites Kuiper Belt -
Chapter 4. Hatred in Hesiod
This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Kilgallon, Silvie Title: Hatred in Hesiod General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. Hatred in Hesiod Silvie Kilgallon A dissertation submitted to the University of Bristol in accordance with the requirements for award of the degree of Doctor of Philosophy in the Faculty of Arts, January 2019. Word Count: 75,322. 2 Abstract: This thesis examines the conception and role of hatred in the Theogony and Works and Days of Hesiod. -
What the Muses Sang: Theogony 1-115 Jenny Strauss Clay
STRAUSS CLAY, JENNY, What the Muses Sang: "Theogony" 1-115 , Greek, Roman and Byzantine Studies, 29:4 (1988:Winter) p.323 What the Muses Sang: Theogony 1-115 Jenny Strauss Clay HE PROEM to the Theogony has often been analyzed both in T terms of its formal structure and in relation to recurrent hym nic conventions;l it has also been interpreted as a fundamental statement of archaic Greek poetics.2 While differing somewhat in its perspective, the present investigation builds on and complements those previous studies. Dedicated to the Muses, the patronesses of poetry, the opening of the Theogony repeatedly describes these divini ties engaged in their characteristic activity, that is, singing. In the course of the proem, the Muses sing four times: once as they descend from Helicon (lines 11-21), twice on Olympus (44-50, 66f), and once as they make their way from their birthplace in Pieria and ascend to Olympus (71-75). In addition, the prologue describes the song the goddesses inspire in their servants, the aoidoi (99-101), as well as the song Hesiod requests that they sing for him, the invocation proper (105-15). My aim here is a simple one: to examine the texts and contexts of each of these songs and to compare them to the song the Muses instruct Hesiod to sing and the one he finally produces. I See, for example, P. Friedlander, "Das Pro6mium von Hesiods Theogonie" (1914), in E. HEITSCH, Hesiod (Darmstadt 1966: hereafter "Heitsch") 277-94; W. Otto, "Hesiodea," in Varia Variorum: Festgabe fUr Karl Reinhardt (Munster 1952) 49-53; P. -
Download Notes 10-04.Pdf
Can you kill a god? Can he feel pain? Can you make him bleed? What do gods eat? Does Zeus delegate authority? Why does Zeus get together with Hera? Which gods are really the children of Zeus and Hera? Anthropomorphic Egyptian Greek ἡ ἀμβροσία ambrosia τὸ νέκταρ nectar ὁ ἰχώρ ichor Games and Traditions epichoric = local tradition Panhellenic = common, shared tradition Dumézil’s Three Functions of Indo-European Society (actually Plato’s three parts of the soul) religion priests τὀ λογιστικόν sovereignty 1 kings (reason) justice τὸ θυμοειδές warriors military 2 (spirit, temper) craftsmen, production τὸ ἐπιθυμητικόν farmers, economy 3 (desire, appetite) herders fertility Gaia Uranus Iapetus X Cœus Phœbe Rhea Cronos Atlas Pleione Leto gods (next slide) Maia Rhea Cronos Aphrodite? Hestia Hades Demeter Poseidon Hera Zeus Ares (et al.) Maia Leto Hephæstus Hermes Apollo Artemis Athena ZEUS Heaven POSEIDON Sea HADES Underworld ἡ Ἐστία HESTIA Latin: Vesta ἡ Ἥρα HERA Latin: Juno Boōpis Cuckoo Cow-Eyed (Peacock?) Scepter, Throne Argos, Samos Samos (Heraion) Argos Heraion, Samos Not the Best Marriage the poor, shivering cuckoo the golden apples of the Hesperides (the Daughters of Evening) honeymoon Temenos’ three names for Hera Daidala Athena Iris Hera Milky Way Galaxy Heracles Hera = Zeus Hephæstus Ares Eris? Hebe Eileithyia ὁ Ζεύς, τοῦ Διός ZEUS Latin: Juppiter Aegis-bearer Eagle Cloud-gatherer Lightning Bolt Olympia, Dodona ἡ ξενία xenia hospitality ὁ ὅρκος horcus ἡ δίκη oath dicē justice Dodona Olympia Crete Dodona: Gaia, Rhea, Dione, Zeus Olympia: -
Nagy Commentary on Euripides, Herakles
Informal Commentary on Euripides, Herakles by Gregory Nagy 97 The idea of returning from Hades implies a return from death 109f The mourning swan... Cf. the theme of the swansong. Cf. 692ff. 113 “The phantom of a dream”: cf. skias onar in Pindar Pythian 8. 131f “their father’s spirit flashing from their eyes”: beautiful rendition! 145f Herakles’ hoped-for return from Hades is equated with a return from death, with resurrection; see 297, where this theme becomes even more overt; also 427ff. 150 Herakles as the aristos man: not that he is regularly described in this drama as the best of all humans, not only of the “Greeks” (also at 183, 209). See also the note on 1306. 160 The description of the bow as “a coward’s weapon” is relevant to the Odysseus theme in the Odyssey 203 sôzein to sôma ‘save the body’... This expression seems traditional: if so, it may support the argument of some linguists that sôma ‘body’ is derived from sôzô ‘save’. By metonymy, the process of saving may extend to the organism that is destined to be saved. 270 The use of kleos in the wording of the chorus seems to refer to the name of Herakles; similarly in the wording of Megara at 288 and 290. Compare the notes on 1334 and 1369. 297 See at 145f above. Cf. the theme of Herakles’ wrestling with Thanatos in Euripides Alcestis. 342ff Note the god-hero antagonism as expressed by Amphitryon. His claim that he was superior to Zeus in aretê brings out the meaning of ‘striving’ in aretê (as a nomen actionis derived from arnumai; cf. -
OCR Document
Abelmoschus-Allium 1 Abelmoschus manihot white-yellow to 2m 110 69 Agastache pallidiflora ssp neomexicana lavender-pink 2 Abies koreana yellow dwarf 50 x 20cm 161 45-75cm 258 3 Acaena myriophylla greenish 15-25cm 106 70 rugosa rose/violet to 120cm 253 4 sericea purple fls/silver lvs 6-25cm 62 242 71 rugosa 'Golden Jubilee' blue-purple/chartreuse lvs 100cm 236 5 Acantholimon araxanum pink 15-20cm 243 72 rugosa 'Honey Bee Blue' blue 60-90cm 130 6 armenum pink/white 10-20cm 233 73 rugosa 'Liquorice Blue' deep blue 60-75cm 130 7 capitatum pink 4-18cm 242 74 rupestris pink-orange 60cm 205 8 halophilum light pink 5-10cm 233 75 rupestris 'Apache Sunset' dp orange/rose purple 45-60cm 149 9 hohenackeri pink 5-10cm 243 76 Ageratum houstonianum white 30-80cm 227 10 kotschyi pink 5-10cm 67 77 Agoseris glauca yellow 5-60cm 67 11 litvinovii pale pink 5-15cm 242 78 grandiflora yellow 25-60cm 227 12 saxifragiforme deep pink 5-10cm 6 79 Agrimonia pilosa v pilosa yellow 30-120cm 256 13 sp white 5cm 6 80 Akebia quinata 'Variegata' cream marbled lvs to 12m 259 14 sp ex Ala Dag pink 5cm 6 81 Albuca humilis white/green 15cm 140 15 venustum pink 10-15cm 233 82 shawii yellow 30-45cm > 16 Acanthus hungaricus pink/mauve to 1.5m 56 83 sp ex JCA 15856 white/green 15cm 105 17 Acer griseum to 12m 229 84 Alcea rosea mix 2-3m 34 18 palmatum 'Sango-kaku' 6-7.5m 198 85 rosea pink 2-3m 238 19 palmatum v dissectum 'Crimson Queen' to 3m 149 86 rosea 'Nigra' dark maroon 1.5-2m 34 20 Achillea clavennae white to 25cm 51 87 rosea spp ficifolia yellow/orange to 2.25m 34 21 millefolium -
Hesiod Theogony.Pdf
Hesiod (8th or 7th c. BC, composed in Greek) The Homeric epics, the Iliad and the Odyssey, are probably slightly earlier than Hesiod’s two surviving poems, the Works and Days and the Theogony. Yet in many ways Hesiod is the more important author for the study of Greek mythology. While Homer treats cer- tain aspects of the saga of the Trojan War, he makes no attempt at treating myth more generally. He often includes short digressions and tantalizes us with hints of a broader tra- dition, but much of this remains obscure. Hesiod, by contrast, sought in his Theogony to give a connected account of the creation of the universe. For the study of myth he is im- portant precisely because his is the oldest surviving attempt to treat systematically the mythical tradition from the first gods down to the great heroes. Also unlike the legendary Homer, Hesiod is for us an historical figure and a real per- sonality. His Works and Days contains a great deal of autobiographical information, in- cluding his birthplace (Ascra in Boiotia), where his father had come from (Cyme in Asia Minor), and the name of his brother (Perses), with whom he had a dispute that was the inspiration for composing the Works and Days. His exact date cannot be determined with precision, but there is general agreement that he lived in the 8th century or perhaps the early 7th century BC. His life, therefore, was approximately contemporaneous with the beginning of alphabetic writing in the Greek world. Although we do not know whether Hesiod himself employed this new invention in composing his poems, we can be certain that it was soon used to record and pass them on. -
The Shield of Heracles (Hes
chapter 4 The Shield of Heracles (Hes. Sc. 139–320) 4.1 Introduction The next extant ekphrasis in ancient Greek Literature is found in the pseudo- Hesiodic Shield. The Shield is a small-scale epic poem of 480 hexameters, named after its central section which deals with Heracles’ shield. The poem is usually dated to the first third of the sixth century BC. It narrates an episode from the life of Heracles: the killing of Cycnus, a son of Ares. Heracles is por- trayed throughout the poem in a positive light: Zeus has fathered Heracles as a protector against ruin for gods and for men (ὥς ῥα θεοῖσιν / ἀνδράσι τ’ ἀλφηστῇσιν ἀρῆς ἀλκτῆρα φυτεύσαι, 28–29).1 By killing Cycnus, who robs travellers on their way to Delphi, Heracles lives up to this purpose. The poem is generally regarded as a product of an oral tradition.2 The fact that the Shield is oral poetry has consequences for its understanding. Thus, the idea that the Shield is a mere imitation of Achilles’ shield in Il. 18.478–608— a verdict that goes back to Aristophanes of Byzantium—must be rejected.3 It is doubtful whether in the sixth century BC fixed texts of the Iliad existed, to which another text, that of the Shield, could refer.4 This is very much a Hellenis- tic point of view. Rather, it is more plausible that both texts came into being in a still-fluid oral tradition, which contained certain stock formulae and themes.5 One common element in the tradition might well have been a shield ekphrasis, which could serve as a showpiece of the poet.6 The poet of the Shield has indeed composed his shield ekphrasis as a show- piece: Heracles’ shield is noisier, more sensational, more gruesome, but above all bigger than Achilles’ shield. -
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. -
Comments on Comparative Mythology 7, Finding a Cure for the Anger of Hērā
Comments on Comparative Mythology 7, Finding a Cure for the Anger of Hērā The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Nagy, Gregory. 2020, April 3. Comments on Comparative Mythology 7, Finding a Cure for the Anger of Hērā. Classical Inquiries. Published Version https://classical-inquiries.chs.harvard.edu/comments-on- comparative-mythology-7-finding-a-cure-for-the-anger-of-hera/ Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:42660032 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Classical Inquiries Editors: Angelia Hanhardt and Keith Stone Consultant for Images: Jill Curry Robbins Online Consultant: Noel Spencer About Classical Inquiries (CI ) is an online, rapid-publication project of Harvard’s Center for Hellenic Studies, devoted to sharing some of the latest thinking on the ancient world with researchers and the general public. While articles archived in DASH represent the original Classical Inquiries posts, CI is intended to be an evolving project, providing a platform for public dialogue between authors and readers. Please visit http://nrs.harvard.edu/urn-3:hul.eresource:Classical_Inquiries for the latest version of this article, which may include corrections, updates, or comments and author responses. Additionally, many of the studies published in CI will be incorporated into future CHS pub- lications. Please visit http://nrs.harvard.edu/urn-3:hul.eresource:CHS.Online_Publishing for a complete and continually expanding list of open access publications by CHS. -
Epigraphic Bulletin for Greek Religion 1998
Kernos Revue internationale et pluridisciplinaire de religion grecque antique 14 | 2001 Varia Epigraphic Bulletin for Greek Religion 1998 Angelos Chaniotis and Joannis Mylonopoulos Electronic version URL: http://journals.openedition.org/kernos/779 DOI: 10.4000/kernos.779 ISSN: 2034-7871 Publisher Centre international d'étude de la religion grecque antique Printed version Date of publication: 1 January 2001 Number of pages: 147-231 ISSN: 0776-3824 Electronic reference Angelos Chaniotis and Joannis Mylonopoulos, « Epigraphic Bulletin for Greek Religion 1998 », Kernos [Online], 14 | 2001, Online since 14 April 2011, connection on 16 September 2020. URL : http:// journals.openedition.org/kernos/779 Kernos Kernos, 14 (2001), p. 147-231. Epigraphie Bulletin for Greek Religion 1998 (EBGR 1998) In this issue we have covered a large part of the publications of 1998, making several additions to previous issues; we still have a long list of articles we should like to present (e.g., from the journal Horos), but this would have delayed the journal's publication substantially. A generous grant from the GISELA UND REINHOLD HXCKER STIFTUNG for our editorial work in 2001 will enable us in EBGR 1999 to close most of the gaps left in this and in earlier issues. In EBGR 1998 we have focused on new epigraphic finds, new interpretations of inscriptions, and epigraphic corpora, but we have also summarized a few archaeological studies which make extensive use of the epigraphic material; for the significant contribu tion of archaeology to the study of Greek religion the reader should consuIt the Chronique archéologique in Kernos. As in earlier issues we have not limited ourselves to epigraphy but have included a few references to important papyro logical sources (nOS 29, 134, 168, 181, 280, 300) and to the evidence provided by the documents in Linear B (nO 50). -
Greek Mythology #23: DIONYSUS by Joy Journeay
Western Regional Button Association is pleased to share our educational articles with the button collecting community. This article appeared in the August 2017 WRBA Territorial News. Enjoy! WRBA gladly offers our articles for reprint, as long as credit is given to WRBA as the source, and the author. Please join WRBA! Go to www.WRBA.us Greek Mythology #23: DIONYSUS by Joy Journeay God of: Grape Harvest, Winemaking, Wine, Ritual Madness, Religious Ecstasy, Fertility and Theatre Home: MOUNT OLYMPUS Symbols: Thyrus, grapevine, leopard skin Parents: Zeus and Semele Consorts: Adriane Siblings: Ares, Athena, Apollo, Artemis, Aphrodite, Hebe, Hermes, Heracles, Helen of Troy, Hephaestus, Perseus, Minos, the Muses, the Graces Roman Counterpart: Bacchus, Liber Dionysus’ mother was mortal Semele, daughter of a king of Thebes, and his father was Zeus, king of the gods. Dionysus was the only Olympian god to have a mortal parent. He was the god of fertility, wine and the arts. His nature reflected the duality of wine: he gave joy and divine ecstasy, or brutal and blinding rage. He and his followers could not be contained by bonds. One would imagine that being the god of “good times” could be a pretty easy and happy existence. Unfortunately, this just doesn’t happen in the world of Greek mythology. Dionysus is called “twice born.” His mother, Semele, was seduced by a Greek god, but Semele did not know which god was her lover. Fully aware of her husband’s infidelity, the jealous Hera went to Semele in disguise and convinced her to see her god lover in his true form.