Shedding Light on Some Orphic Gods Stefanie Goodart, S.R.C

Total Page:16

File Type:pdf, Size:1020Kb

Shedding Light on Some Orphic Gods Stefanie Goodart, S.R.C Shedding Light on Some Orphic Gods Stefanie Goodart, S.R.C. eyond the myth of Orpheus and Eurydice, so well known today, is Ba much more complex theology of emanated deities and a detailed cosmology, which Orphism reinterpreted for the Greek world. “Everything comes to be out of One and is resolved into One.” (Musaeus, student of Orpheus1) The subject of the Orphic Mysteries has consumed the majority of my research in recent years, and I have already written Bas-relief of Phanes (2nd Century CE), several articles on the subject. For this partic- Modena Museum, Italy. ular article I have decided against writing a general overview of the Orphic beliefs and Phanes practices and instead intend to focus on The Myth of Phanes:3 In the beginning, two intriguing deities who are mentioned in the Orphic myths, namely Phanes and all was dark, and nothing existed but two winged serpents.4 They mated and produced Zagreus. These two figures are unique in 5 that they are not typically mentioned in a brilliant egg. One serpent wrapped him- popular Greek mythology.2 I also chose self around the egg and squeezed it until it these two deities because they both belong broke open. Emerging from within was the to the line of succession that ends with winged hermaphroditic deity Phanes. Light Dionysos. Some scholars interpret them as radiated from his body that was so bright no previous generations in Dionysos’s family one could see him. He had four eyes, horns, tree, while others, more familiar with meta- and the heads of a bull, ram, a lion, and a physical thinking, view them all as different serpent. From the top half of the shell he incarnations of the same deity. created the heavens and from the bottom portion he created the earth. He mated with In this particular article I intend to first himself and gave birth to the goddess Nyx. give readers a basic outline of the section of He also mated with Nyx and she gave birth the Orphic theogony that involves Phanes. to Gaia and Ouranos. Phanes then began to From there, his attributes and functions create the physical world by assigning a place will be discussed, using numerous ancient for the sun, moon, and stars. authors as source material. We shall then move our attention to Zagreus in much The basic myth is believed to date from the same manner: first there will be a brief at least the end of the archaic period. Aristo- retelling of the appropriate section of the phanes makes reference to it in his comedy 6 myth. Following this, commentary from The Birds, first performed in 414 BCE. ancient as well as modern sources will be Although in the play the myth is altered provided. In the final section of the arti- slightly, the figure of Phanes is still clearly cle I will synthesize the information given identifiable by his glittering golden wings 7 Rosicrucian thus far, and offer an interpretation that and the fact that he is born from an egg. Digest No. 1 brings in ideas of spirituality, philosophy, The name Phanes comes from the Greek 2008 and universality. phainein “to bring light” and phainesthai “to Page 24 shine.” In ancient times, some Orphics Zagreus thought his name should be translated in The Myth of Zagreus:21 Zeus had the active voice as “the bringer of light,” decided to pass his kingdom onto his son, while others believed it should be taken in Zagreus, even though he was just a young 8 the middle voice as “the Glittering One.” child. This inspired jealousy in some of the The Rhapsodies describes him thus: “And other gods, and the Titans plotted revenge all the others marveled when they saw the against the boy. They disguised themselves unlooked-for light in the aither; so richly by whitening their faces and brought several 9 gleamed the body of immortal Phanes.” gifts to Zagreus: a mirror, apples, a ball, Phanes can be described physically as knucklebones, a pinecone, a bull-roarer, Light and metaphysically as Intellect.10 wool, puppets, and a narthex.22 They used Generally, the Platonists view Phanes as rep- these gifts to lure Zagreus far away from resenting the Sun of the Intelligible world.11 the other gods, and once out of sight, they Proclus says Phanes is “the first intelligible attacked him. First they dismembered him, intellect,” and “unfold[s] himself into the cutting him up into seven pieces. The pieces light.”12 Hermeas calls him the “bound- were boiled, then roasted.23 Then they ary of the intelligible,” who “illuminates the feasted. However, Athena came upon them intellectual Gods with intelligible light.”13 and was able to save one piece, the heart, Phanes brings light into the darkness and which was still beating. She quickly brought order out of chaos.14 His birth is the first it to Zeus, who was furious at the Titans. step taken by the Divine who is unformed In his anger, Zeus hurled his thunderbolts and without qualities. at the Titans, which immediately destroyed them. Zeus then took the heart of Zagreus Phanes as a hermaphroditic being rep- and used it to restore him to life. From the resents his role as the definitive creator soot left from the Titans, Zeus fashioned god.15 He has within him “the seed of all human beings, animals, and birds. the gods.”16 His wings and numerous heads can be simply explained as representing an The name Zagreus, often translated as extremely powerful and mind-boggling deity. “great hunter,” seems to be a contraction It is likely that the imagery is influenced, even of za– “very” and –agreus “hunter.” Zagre, borrowed, from mythological figures from an Ioian word, means “a pit for capturing 24 other ancient Mediterranean cultures.17 animals.” Perhaps the name refers to some myth of this god that has unfortunately Phanes has many heads and eyes, been lost to us. It is rather ironic that here but does not have a body. This symbol- Zagreus seems to be the hunted and not izes that the lower physical world has not the hunter! yet been made manifest.18 Hermeas sug- As for his physical appearance, Zagreus gests that his four eyes represent that he 25 unites the original monad with the issuing has horns. This serves to further connect 19 Zagreus with Phanes, who you will recall is triad. Pythagoras believed the monad 26 was the source of all other numbers. Three also said to have horns. represented completeness because it had a The Titans cut Zagreus up into seven beginning, middle, and end. The number pieces. Each of the seven pieces represent four symbolized perfection, and its corre- the seven heavenly bodies, and the heart, sponding shape was the square.20 Regardless which we think of as the seat of the soul of the particular interpretation, Phanes of the individual, represents the intellect certainly is the anthro pomorphic represen- of the World-Soul.27 This World-Soul, tation of the solution to the One-Many of course, cannot be divided. Zagreus, problem that so troubled the early Orphics who may be thought of as another incar- and pre-Socratic philosophers. nation of the earlier Phanes, is also an Page 25 The figure of Zagreus does not so much represent a unification of opposites as Phanes does, but his myth results in the synthesis of opposites. The mirror in the myth rep- resents a false counterpart to our reality; quite literally a mirror image is the opposite of what is reflected in the mirror. Zagreus is distracted by his image,32 which here symbolizes the physical world as a reflec- tion of the spiritual realm. Olympiodorus explained that the essence of Zagreus was assumed into all of creation by virtue of looking into the mirror and pursuing his image.33 As Mead wrote, the myth “is a dramatic history of the wanderings of the ‘Pilgrim-Soul’.”34 He must pass through “the trial of separation and fragmentation through the process of differentiation.”35 Titanic Underworld, Victoria Franck-Wetsch, S.R.C. This is another common theme in world mythology, and is similar to many of the anthropomorphic representation of the later Alchemical texts. It is only through One-Many problem. He begins as one being seemingly destroyed that we come full being who is then separated into many circle to be whole. Thus we have the cycle of pieces, boiled, roasted, and ingested. How- thesis, antithesis, and synthesis in an evolv- ever, from the heart, the one piece that is ing form in the Zagreus myth. saved, Zeus is able to restore the body of Phanes is the source of light and intelli- Zagreus, thus completing the cycle from gence for the cosmos, and Zagreus provides one to many back to one again. Because of the soul by which to spiritualize all of this teaching, Harrison writes that Zagreus creation.36 Phanes begins the cycle of is “especially an Orphic name. Zagreus is creation, and Zagreus puts it into eternal the god of the mysteries, and his full con- motion. The myth emphasizes that One tent can only be understood in relation to becomes many and becomes One again Orphic rites.”28 by virtue of the divine link between the Discussion Universe, the Divine, and human beings Within the egg, Phanes represents the through this eternal cycle. union (perfection) of opposites.29 When the egg splits, the upper portion becomes the heavens, and the lower the earth. Some ancient writers commented that the The Titans cut Zagreus heavenly portion was made from gold, up into seven pieces.
Recommended publications
  • The Titanic Origin of Humans: the Melian Nymphs and Zagreus Velvet Yates
    The Titanic Origin of Humans: The Melian Nymphs and Zagreus Velvet Yates HE FIRST PART of this paper examines a minor mystery in Hesiod’s Theogony, centering around the Melian Nymphs, Tin order to assess the suggestions, both ancient and modern, that the Melian Nymphs were the mothers of the human race. The second part examines the afterlife of Hesiod’s Melian Nymphs over a thousand years later, in the allegorizing myths of late Neoplatonism, in order to suggest that the Hesiodic myth in which the Melian Nymphs primarily figure, namely the castration of Ouranos, has close similarities to a central Neoplatonic myth, that of Zagreus. Both myths depict a “Titanic” act of destruction and separation which leads to the birth of the human race. Both myths furthermore seek to account for a divine element which human nature retains from its origins. The Melian Nymphs in Hesiod ˜ssai går =ayãmiggew ép°ssuyen aflmatÒessai, pãsaw d°jato Ga›a: periplom°nou d' §niautoË ge¤nat' ÉErinËw te krateråw megãlouw te G¤gantaw, teÊxesi lampom°nouw, dol¤x' ¶gxea xers‹n ¶xontaw, NÊmfaw y' ìw Mel¤aw kal°ous' §p' épe¤rona ga›an. Gaia took in all the bloody drops that spattered off, and as the seasons of the year turned round she bore the potent Furies and the Giants, immense, dazzling in their armor, holding long spears in their hands, and then she bore the Melian Nymphs on the boundless earth.1 1 Theog. 183–187. Translations of Hesiod adapted from A. Athanassakis, Hesiod: Theogony, Works and Days, Shield (Baltimore 1983).
    [Show full text]
  • Persephone: Symbol of Rebirth
    SECTION II CHAPTER 7 PERSEPHONE: SYMBOL OF REBIRTH PAPER CONTENTS INTRODUCTION MYTHIC TALE: SYNOPSIS LORD HADES: ARCHETYPE OF THE DEATH FORCE DEMETER: ARCHETYPE OF THE LIFE FORCE THE UNDERWORLD: WORLD OF SHADOWS AND SOULS PERSEPHONE: THE WAY OF THE FEMININE Name and Origins Daughterhood Abduction and Marriage Pomegranate Judgment of Seasons Motherhood Queenhood Deep Feminine Caretaker of Souls RETURN AND REBIRTH FEMININE INDIVIDUATION CLOSING COMENTS 1 INTRODUCTION The mythic tale of Persephone’s abduction by Hades, the personification of the Death Force, and the unremitting search by her mother, Demeter, Goddess exemplar of the Life Force, relates a fascinating account of how Death and Life Forces interact with each other. In the tale, Persephone holds the tension between Life and Death Forces and in doing so produces a new alterative, Rebirth. As maiden she is ever ready to birth, to give Life. Although Persephone's name means 'Bringer of Destruction', as Queen of the Underworld she regenerates the Souls that come to her realm. The mythic tale suggests that the resolution of the tension between Life and Death leads to the transcendent third. The prior two chapters focus on transformation that is needed for the feminine to carry out the “return” from its suppressed state. The chapter on Pele and Hi’iaka brought attention to feminine transformation that occurred when relationship based on fertility gave way to relationship based on personal encounter. The chapter on The Goose Girl addresses the transformation that leads to feminine personhood when daughter separates from the mother. In this chapter attention is given to the transformation that rebirth brings about, namely, enabling and revitalizing the Individuation Process.
    [Show full text]
  • Defining Orphism: the Beliefs, the Teletae and the Writings
    Defining Orphism: the Beliefs, the teletae and the Writings Anthi Chrysanthou Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Languages, Cultures and Societies Department of Classics May 2017 The candidate confirms that the work submitted is his/her own and that appropriate credit has been given where reference has been made to the work of others. I This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. © 2017 The University of Leeds and Anthi Chrysanthou. The right of Anthi Chrysanthou to be identified as Author of this work has been asserted by her in accordance with the Copyright, Designs and Patents Act 1988. II Acknowledgements This research would not have been possible without the help and support of my supervisors, family and friends. Firstly, I would like to express my sincere gratitude to my supervisors Prof. Malcolm Heath and Dr. Emma Stafford for their constant support during my research, for motivating me and for their patience in reading my drafts numerous times. It is due to their insightful comments and constructive feedback that I have managed to evolve as a researcher and a person. Our meetings were always delightful and thought provoking. I could not have imagined having better mentors for my Ph.D studies. Special thanks goes to Prof. Malcolm Heath for his help and advice on the reconstruction of the Orphic Rhapsodies. I would also like to thank the University of Leeds for giving me the opportunity to undertake this research and all the departmental and library staff for their support and guidance.
    [Show full text]
  • Deviant Origins: Hesiodic Theogony and the Orphica Radcliffe .G Edmonds III Bryn Mawr College, [email protected]
    Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Greek, Latin, and Classical Studies Faculty Research Greek, Latin, and Classical Studies and Scholarship 2018 Deviant Origins: Hesiodic Theogony and the Orphica Radcliffe .G Edmonds III Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: https://repository.brynmawr.edu/classics_pubs Part of the Classics Commons Custom Citation Edmonds, Radcliffe .G 2018. "Deviant Origins: Hesiodic Theogony and the Orphica." In In Oxford Handbook of Hesiod, edited by A. Loney & S. Scully, 225-242. New York/Oxford: Oxford University Press. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. https://repository.brynmawr.edu/classics_pubs/125 For more information, please contact [email protected]. Deviant Origins: Hesiod’s Theogony and the Orphica Oxford Handbooks Online Deviant Origins: Hesiod’s Theogony and the Orphica Radcliffe G. Edmonds III The Oxford Handbook of Hesiod Edited by Alexander C. Loney and Stephen Scully Print Publication Date: Sep 2018 Subject: Classical Studies, Classical Poetry, Classical Religions and Mythologies Online Publication Date: Aug 2018 DOI: 10.1093/oxfordhb/9780190209032.013.43 Abstract and Keywords Hesiod’s Theogony provides one of the most widely authoritative accounts of the origin of the cosmos, but his account has always been challenged by rivals claiming to be older, wiser, and better, and the name of Orpheus has always been privileged in the evidence for ancient rivals to Hesiod. The Orphic accounts play their variations on the Hesiodic themes, riffing in different ways on the idea of the ultimate origin of the cosmos; the processes of reproduction by which subsequent entities were generated; the conflicts between these divinities that created the changes from the original state to the current one; the way in which humans entered the story; and the final resolution of the conflicts and changes that created the current, normal order of Zeus.
    [Show full text]
  • The Beginning of Time: Vedic and Orphic Theogonies and Poetics Kate Alsobrook
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2008 The Beginning of Time: Vedic and Orphic Theogonies and Poetics Kate Alsobrook Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES THE BEGINNING OF TIME: VEDIC AND ORPHIC THEOGONIES AND POETICS By KATE ALSOBROOK A Thesis submitted to the Department of Classics in partial fulfillment of the requirements for the degree of Master of Arts Degree Awarded: Spring Semester, 2008 The members of the Committee approve the thesis of Kate Alsobrook defended on December 3, 2007. ______________________________ James Sickinger Professor Directing Thesis ______________________________ Kathleen Erndl Committee Member ______________________________ John Marincola Committee Member ______________________________ Svetla Slaveva-Griffin Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS List of Tables ..................................................................................................................... v List of Figures................................................................................................................... vi List of Abbreviations ....................................................................................................... vii Abstract..........................................................................................................................
    [Show full text]
  • Hades: a Myth-Critical Approach
    HADES: A MYTH-CRITICAL APPROACH SUPERGIANT GAMES: Hades (Nintendo Switch version). [digital game]. San Francisco, CA : Supergiant games, 2020. Andrea Quero “Imagine that Prince Zagreus experiences some sort of joyous outcome, for a change, in contrast to the arbitrary and unfortunately painful death he shall experience... now.” The Narrator Hades is a roguelike indie game published by Supergiant Games on September 17, 2020, for both PC and the Nintendo Switch. This game follows Zagreus – son of Ha- des – through his attempt to escape from the Underworld. A tale as old as time: men vs fate. The Greek understood destiny as an inescapable lifepath woven by the Moirae for each child prior to or just after their birth.1 Such a vision implied that nobody could ever change fate, no matter how hard they tried. It is worth noting that the game’s core mechanics are intertwined with the narrative that is presented to the player, displaying fulfilling character development through the lens of a genre that fits its narrative like a glove. The gameplay reflects the seemingly endless struggle of fighting against fate: the player must go through the same biomes – the Tartarus, Asphodel, Elysium, and the Temple of Styx – over and over, to help Zagreus overcoming his destiny of staying in the Underworld for eternity. All things considered, it is no coincidence that Zagreus and Sisyphus meet in the Underworld, since their stories mirror each other. There is a mutually reinforcing rela- tionship between the old myth about the man forced to roll a giant boulder up a hill only for it to fall every time, and Zagreus mythical retelling of the son of Hades failing to run away from the Underworld.
    [Show full text]
  • Greek Mythology Gods and Goddesses
    Greek Mythology Gods and Goddesses Uranus Gaia Cronos Rhea Hestia Demeter Hera Hades Poseidon Zeus Athena Ares Hephaestus Aphrodite Apollo Artemis Hermes Dionysus Book List: 1. Homer’s the Iliad and the Odyssey - Several abridged versions available 2. Percy Jackson’s Greek Gods by Rick Riordan 3. Percy Jackson and the Olympians series by, Rick Riordan 4. Treasury of Greek Mythology by, Donna Jo Napoli 5. Olympians Graphic Novel series by, George O’Connor 6. Antigoddess series by, Kendare Blake Website References: https://www.greekmythology.com/ https://en.wikipedia.org/wiki/Family_tree_of_the_Greek_gods https://www.history.com/topics/ancient-history/greek-mythology King of the Gods God of the Sky, Thunder, Lightning, Order, Law, Justice Married to: Hera (and various consorts) Symbols: Thunderbolt, Eagle, Oak, Bull Children: MANY, including; Aphrodite, Apollo, Ares, Artemis, Athena, Dionysus, Hermes, Persephone, Hercules, Helen of Troy, Perseus and the Muses Interesting Story: When father, Cronos, swallowed all of Zeus’ siblings (Hestia, Demeter, Hera, Hades and Poseidon) Zeus was the one who killed Cronos and rescued them. Roman Name: Jupiter God of the Sea Storms, Earthquakes, Horses Married to: Amphitrite (various consorts) Symbols: Trident, Fish, Dolphin, Horse Children: Theseus, Triton, Polyphemus, Atlas, Pegasus, Orion and more Interesting Story: Has a hatred of Odysseus for blinding Poseidon’s son, the Cyclops Polyphemus. Roman Name: Neptune God of the Underworld The Dead, Riches Married to : Persephone Symbols: Serpent, Cerberus the Three Headed Dog Children: Zagreus, Macaria, possibly others Interesting Story: Hades tricked his “wife” Persephone into eating pomegranate seeds from the Underworld, binding her to him and forcing her to live in the Underworld for part of each year.
    [Show full text]
  • Aletheia: the Orphic Ouroboros
    Edith Cowan University Research Online Theses : Honours Theses 2020 Aletheia: The Orphic Ouroboros Glen McKnight Edith Cown University Follow this and additional works at: https://ro.ecu.edu.au/theses_hons Part of the Classics Commons, Philosophy Commons, and the Poetry Commons Recommended Citation McKnight, G. (2020). Aletheia: The Orphic Ouroboros. https://ro.ecu.edu.au/theses_hons/1541 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses_hons/1541 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Aletheia: The Orphic Ouroboros Glen McKnight Bachelor of Arts This thesis is presented in partial fulfilment of the degree of Bachelor of Arts Honours School of Arts & Humanities Edith Cowan University 2020 i Abstract This thesis shows how The Orphic Hymns function as a katábasis, a descent to the underworld, representing a process of becoming and psychological rebirth.
    [Show full text]
  • Apokatanidis Katerina.Pdf (669.1Kb)
    Gender Interplay in Nonnos’ Dionysiaka The cases of Deriades and Aura by Katerina Apokatanidis A thesis presented to the University of Waterloo in fulfilment of the thesis requirement for the degree of Master of Arts in Classical Studies Waterloo, Ontario, Canada, 2018 © Katerina Apokatanidis 2018 Author’s Declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. ii Abstract This thesis presents the relation between the gendered language of Nonnos and the ironic undertones he employs to describe two main plot points in the Dionysiaka. I focus on Dionysos’ battle with Deriades, the Indian king, and Aura, the titan goddess of the breeze. In my first section, I argue that the irony employed to describe the death of Deriades is based on misperceptions of gender identity as he understands the world. Due to his fixity on the masculine extreme of the gender spectrum, Deriades has created a skewed view of the world which led to his demise by the gender-fluid Dionysos. His false perception is reflected in the text when Athena disguises herself as Morrheus, Deriades’ son-in-law, and comes to taunt him for fleeing the battle with Dionysos. Athena is herself a gender-fluid goddess as the masculine virgin goddess of Truth/Wisdom. Her disguise symbolises the loss of true understanding. For my second section, I examine the implications of the total loss of gender identity as experienced by Aura.
    [Show full text]
  • Dionysos Mystes" by G
    "Dionysos Mystes" by G. Rizzo; Zagreus, Studi sull' Orfismo by V. Macchioro Review by: E. Douglas van Buren The Journal of Roman Studies, Vol. 9 (1919), pp. 221-225 Published by: Society for the Promotion of Roman Studies Stable URL: http://www.jstor.org/stable/296011 . Accessed: 18/06/2014 02:54 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Society for the Promotion of Roman Studies is collaborating with JSTOR to digitize, preserve and extend access to The Journal of Roman Studies. http://www.jstor.org This content downloaded from 188.72.126.181 on Wed, 18 Jun 2014 02:54:30 AM All use subject to JSTOR Terms and Conditions NOTICES OF RECENT PUBLICATIONS. 221 in the old system was that in its exclusive cult of memory it starved thought to death; the result of all the Virgilian paraphrasing, all the dictiones ethicae and artificial dis- putations, had been an extraordinary dearth of men able to concentrate on any real or new problem. The Church, by forcing men to think, restored a living interest in thought. It also brought history back into an honest connexion with fact; the first ecclesiastical chronicles were dull, but they were history, and neither mythology nor panegyric.
    [Show full text]
  • O Oceanids (Ὠκεανίδες). the 'Holy Company' of Daughters of *Ocean and *Tethys, and Sisters of the River-Gods. Their N
    O Oceanids (Ὠκεανίδες). The 'holy company' of daughters of *Ocean and *Tethys, and sisters of the river-gods. Their number varies, but Apollodorus names seven (Asia, *Styx, Electra, Doris, Eurynome, *Amphitrite, *Metis) and Hesiod forty-one, including, in addition to those mentioned by Apollodorus, *Calypso *Clymene and Philyra. Most of those named mated with gods (Amphitrite with Poseidon, Doris with Nereus for example) and produced important offspring (Athena was born from Metis and Zeus, Philyra mated with Kronos in the form of a horse and produced the centaur Chiron, Clymene was the mother of Prometheus, and also bore Phaethon to Helius the sun-god.). The sons of Ocean were the fresh-water rivers, but some of the daughters were sea-nymphs, others spirits of streams called after a characteristic of their water such as Ocyrrhoe ('swift-flowing') or Xanthe ('brownish-yellow'); Styx, unusually, was a female river deity, personifying the river of Hades. Calypso ruled over the island kingdom of Ogygia (but her parentage as a true Oceanid is disputed). Metis had the ability, common to sea-gods, of being able to change her shape, although she was little more than the personification of wisdom, swallowed by Zeus in order to absorb that wisdom and to contain any threat from the child with whom she was pregnant. Oceanids feature as the chorus in Prometheus Bound, a tragedy which is set at the north-eastern edge of the known world, and at a time before Zeus had consolidated his power. The Oceanids were part of the older, pre-Olympian race of gods, who had a role as consorts or mothers of other divinities, but were more often viewed anonymously as belonging to the vastness of the sea, to be placated in times of storm and turbulence.
    [Show full text]
  • Plato's Orpheus: the Philosophical Appropriation of Orphic Formulae
    University of New Mexico UNM Digital Repository Foreign Languages & Literatures ETDs Electronic Theses and Dissertations 6-9-2016 Plato's Orpheus: The hiP losophical Appropriation of Orphic Formulae Dannu Hütwohl Follow this and additional works at: https://digitalrepository.unm.edu/fll_etds Recommended Citation Hütwohl, Dannu. "Plato's Orpheus: The hiP losophical Appropriation of Orphic Formulae." (2016). https://digitalrepository.unm.edu/fll_etds/20 This Thesis is brought to you for free and open access by the Electronic Theses and Dissertations at UNM Digital Repository. It has been accepted for inclusion in Foreign Languages & Literatures ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. Dannu J. Hutwohl Foreign Languages and Literatures Professor Lorenzo F. Garcia Jr. Professor Monica S. Cyrino Professor Osman Umurhan by THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of The University of New Mexico Albuquerque, New Mexico Acknowledgements I wish to extend a heart felt thanks to all the members of my thesis committee, without whom this project would not have been possible: first and foremost to my brilliant and inspiring advisor and mentor, Dr. Lorenzo F. Garcia Jr., for your endless patience, wisdom, and dedication; Just as the Orphic initiates would have been lost in the darkness of the Underworld without the help of their Gold Tablets, so too would I have been lost in this undertaking without the illuminating light of your golden advice. To Dr. Monica S. Cyrino, for your incredible editing skills and for always believing in and supporting me over the years in countless ways; Just as Demeter moved heaven and earth for Persephone, so too have you nurtured and championed my research.
    [Show full text]