Mythological Creatures
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Mark of Athena Olympic Event
The Mark of Athena OLYMPIC EVENT KIT in celebration of new york times #1 best-selling series | heroesofolympus.com Greetings, Demigods! In The Heroes of Olympus, Book Three: The Mark of Athena, the Greeks and Romans are coming together, and the results are bound to be epic! As Jason, Percy, and friends unite, they soon find themselves on a quest . and the Prophecy of Seven will begin to unfold. Bring a little Greek and Roman magic to your local bookstore or library with The Mark of Athena Olympic Event Kit! Inside this kit you’ll find party ideas, reproducible activity sheets, discussion questions, and more to make for the ultimate Heroes of Olympus celebration. So prepare your lucky laurel wreath, practice your Aphrodite charmspeak, and get ready to party with The Heroes of Olympus! Have fun, | heroesofolympus.com 2 Table of Contents Throw a Demigod Fiesta .................................................4 Getting a Proper Demigod Education .............................6 Determine Your Greek or Roman Allegiance ...................7 Uncover a New God ........................................................8 Joining the Heroes of Olympus Quest .............................9 Greek and Roman God Challenge ................................. 10 Who Did What When? .................................................. 12 Giving the Girls Their Due ............................................ 14 Who Said What Now? ................................................... 16 Great Beasts of Greek Mythology ................................. 17 What Comes -
Dragonewts: a Guide to the Eravssarr
Credits and Contents DRAGONEWTS A GUIDE TO THE ERAVSSARR Credits Contents Author Interior Illustrations Credits & Contents 1 Lawrence Whitaker Nathan Furman, Claudio Pozas, Phil Renne Introduction 2 Editor Nick Robinson Publications Manager Essence of Dragonewts 4 Ian Belcher Cover Art Myths 14 Tony Parker Playtesting Dragonewts in the World 23 Lucas MacKay Cover Design Dragonewt Characters 54 Bob Cram, Dan Howard & Jeff Special Thanks Koch Carl Pates, Jeff Richard, Jeff Kyer, Dragonewt Cults 71 Dan Barker, Shannon Appelcline, RuneQuest Logo Colin Driver, Roderick Robertson & Dragonewt Magic 84 Anne Stokes Greg Stafford Dinosaurs & Dream Dragons 100 Proofreading ‘The Six Dragons and the War Against Scribendi Chaos’ written by Greg Stafford and Dragonewt Voices 111 reproduced by kind permission. Index 116 Copyright Information Eravssarr: A Guide to Dragonewts ©2007 Mongoose Publishing. All rights reserved. Reproduction of of this work by any means without the written permission of the publisher is expressly forbidden. All significant characters, names, places, items, art and text herein are copyrighted by Mongoose Publishing subject to its licence from Issaries, Inc. This game product contains no Open Game Content. No portion of this work may be reproduced in any form without written permission. To learn more about the Open Game License, please go to www.mongoosepublishing.com. This material is protected under the copyright laws of the United Kingdom. This product is a work of fiction. Any similarity to actual people, organisations, places or events is purely coincidental. RuneQuest is a trademark (TM) of Issaries, Inc. Produced under license from Issaries. All rights reserved. Printed in the UK. 1 INTRODUCTION understand their place in Time and they understand their destinies with absolute clarity. -
Meet the Heroes by Duane Damon
Meet the Heroes by Duane Damon Over time, the exact number of heroes aboard Jason’s ship, the Argo, has been widely disputed. Some say there were precisely 50, while others insist it was 53. Still others list 84. Whatever the number, there were a few who appear on every list. The Harpies and The Sons of Boreas The Argonauts Zetes and Calais were the sons of Boreas, the god of the north wind. The brothers were said to travel through the air faster than an arrow could fly, and their powers were about to be put to the test. The Argonauts had heard tales of the Symplegades, the deadly Clashing Rocks. These high, solid walls of rock at the entrance to the Bosporus Channel that led into the Black Sea stood ready to crush any vessel sailing between them. But the helmsman Tiphys recalled the one man who held the secret of safe passage. That man was the blind and aging Phineas, king of Salmydessus, a city near the channel. Phineas had committed the unpardonable act of striving to achieve wisdom equal to that of the gods. For this they had taken his eyes. Arriving in the city, the Argonauts could sense an atmosphere of great foreboding among the townspeople and even the king’s servants. When Jason and his band confronted the troubled monarch in his palace, he promised to tell them the secret of the Clashing Rocks. But first, the Argonauts had to overcome another punishment that the gods had given the unhappy Phineas. This document may not be printed, saved, or otherwise used outside of the Odysseyware system. -
Rick Riordan ( Is the Author of fi Ve RICK RIORDAN at Sam Houston State University
This guide was created by Dr. ABOUT THE AUTHOR Rose Brock, an assistant professor Rick Riordan (www.rickriordan.com) is the author of fi ve RICK RIORDAN at Sam Houston State University. New York Times #1 best-selling series with millions of copies sold Dr. Brock holds a PhD in library throughout the world: Percy Jackson and the Olympians, the science, specializing in children’s Kane Chronicles, the Heroes of Olympus, the Trials of Apollo, and young adult literature. and Magnus Chase and the Gods of Asgard. His collections of Greek myths, Percy Jackson’s Greek Gods and Percy Jackson’s Greek Many more guides can be found Heroes, were New York Times #1 best sellers as well. His novels Michael Frost Michael on the Disney • Hyperion website for adults include the hugely popular Tres Navarre series, winner at www.disneybooks.com. of the top three awards in the mystery genre. He lives in Boston, Massachusetts, with his wife and two sons. Books by Rick Riordan The Trials of Apollo BOOK ONE BOOK TWO BOOK THREE BOOK FOUR BOOK FIVE THE HIDDEN THE DARK THE BURNING THE TYRANT’S THE TOWER ORACLE PROPHECY MAZE TOMB OF NERO Hardcover Hardcover Hardcover Hardcover Hardcover 978-1-4847-3274-8 978-1-4847-4642-4 978-1-4847-4643-1 978-1-4847-4644-8 978-1-4847-4645-5 $19.99 $19.99 $19.99 $19.99 $19.99 Paperback Paperback Paperback Paperback Paperback 978-1-4847-4641-7 978-1-4847-8064-0 978-1-4847-8065-7 978-1-4847-8066-4 978-1-4847-8067-1 $9.99 $9.99 $9.99 $9.99 $9.99 Other Series Available This guide is aligned with the College and Career Readiness (CCR) anchor standards for Literature, Writing, Language, and Speaking and Listening. -
British Royal Banners 1199–Present
British Royal Banners 1199 – Present Geoff Parsons & Michael Faul Abstract The presentation begins with the (accepted) date of 1199, the death of King Richard I, the first king known to have used the three gold lions on red. It continues to show how King Edward III added the French Royal Arms, consequent to his claim to the French throne. There is then the change from “France Ancient” to “France Modern” by King Henry IV in 1405, which set the pattern of the arms and the standard for the next 198 years. The story then proceeds to show how, over the ensuing 234 years, there were no fewer than six versions of the standard until the adoption of the present pattern in 1837. The presentation includes pictures of all the designs, noting that, in the early stages, the arms appeared more often as a surcoat than a flag. There is also some anecdotal information regarding the various patterns. Anne (1702–1714) Proceedings of the 24th International Congress of Vexillology, Washington, D.C., USA 1–5 August 2011 © 2011 North American Vexillological Association (www.nava.org) 799 British Royal Banners 1199 – Present Figure 1 Introduction The presentation begins with the (accepted) date of 1199, the death of King Richard I, the first king known to have used the three gold lions on red. Although we often refer to these flags as Royal Standards, strictly speaking, they are not standard but heraldic banners which are based on the Coats of Arms of the British Monarchs. Figure 2 William I (1066–1087) The first use of the coats of arms would have been exactly that, worn as surcoats by medieval knights. -
Streetsweepingmap.Pdf
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Make Your Own Lion and Unicorn Puppets
Scotland’s historic properties feature lots of lions and unicorns – they’re in Scotland’s royal coat of arms. Lions were thought to represent bravery and strength – the king of the animal world. The unicorn has been a Scottish royal symbol for around 600 years and – believe it or not – is Scotland’s national animal. Unicorns symbolised innocence and power. People considered them wild and untamed, so they’re often shown chained around their neck. When James VI of Scotland unified Scotland and England in 1603, he changed his coat of arms to include one unicorn and one lion either side of a shield. TOP TIPS FOR MAKING YOUR PUPPETS This activity ideally needs a printer and some brass paper fasteners. If you don’t have a printer, why not use the templates as inspiration for drawing your own versions! And if you don’t have paper fasteners (split pins), you could experiment with tying a big knot in some string or wool, threading the string through a small hole in your papers (a hole punch would create too big a hole) and tying another big knot on the other side. If you’ve got beads or buttons you could also use these to secure the wire/string/wool either side of the paper body parts you’re attaching together. The lion that greets The unicorn from visitors arriving at the King’s Fountain Edinburgh Castle. at Linlithgow Palace. Resource created for Historic Environment Scotland by artist Hannah Ayre. 1. Print out the template onto 2. Cut out the shapes card or print onto paper, then glue onto card such as a cereal box, then colour in the shapes. -
Greek and Roman Mythology and Heroic Legend
G RE E K AN D ROMAN M YTH O LOGY AN D H E R O I C LE GEN D By E D I N P ROFES SOR H . ST U G Translated from th e German and edited b y A M D i . A D TT . L tt LI ONEL B RN E , , TRANSLATOR’S PREFACE S Y a l TUD of Greek religion needs no po ogy , and should This mus v n need no bush . all t feel who ha e looked upo the ns ns and n creatio of the art it i pired . But to purify stre gthen admiration by the higher light of knowledge is no work o f ea se . No truth is more vital than the seemi ng paradox whi c h - declares that Greek myths are not nature myths . The ape - is not further removed from the man than is the nature myth from the religious fancy of the Greeks as we meet them in s Greek is and hi tory . The myth the child of the devout lovely imagi nation o f the noble rac e that dwelt around the e e s n s s u s A ga an. Coar e fa ta ie of br ti h forefathers in their Northern homes softened beneath the southern sun into a pure and u and s godly bea ty, thus gave birth to the divine form of n Hellenic religio . M c an c u s m c an s Comparative ythology tea h uch . It hew how god s are born in the mind o f the savage and moulded c nn into his image . -
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. -
An Analysis of Heracles As a Tragic Hero in the Trachiniae and the Heracles
The Suffering Heracles: An Analysis of Heracles as a Tragic Hero in The Trachiniae and the Heracles by Daniel Rom Thesis presented for the Master’s Degree in Ancient Cultures in the Faculty of Arts and Social Sciences, at Stellenbosch University Supervisor: Prof. Annemaré Kotzé March 2016 Stellenbosch University https://scholar.sun.ac.za Declaration By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. March 2016 Copyright © 2016 Stellenbosch University All rights reserved Stellenbosch University https://scholar.sun.ac.za Abstract This thesis is an examination of the portrayals of the Ancient Greek mythological hero Heracles in two fifth century BCE tragic plays: The Trachiniae by Sophocles, and the Heracles by Euripides. Based on existing research that was examined, this thesis echoes the claim made by several sources that there is a conceptual link between both these plays in terms of how they treat Heracles as a character on stage. Fundamentally, this claim is that these two plays portray Heracles as a suffering, tragic figure in a way that other theatre portrayals of him up until the fifth century BCE had failed to do in such a notable manner. This thesis links this claim with a another point raised in modern scholarship: specifically, that Heracles‟ character and development as a mythical hero in the Ancient Greek world had given him a distinct position as a demi-god, and this in turn affected how he was approached as a character on stage. -
Classical Images – Greek Pegasus
Classical images – Greek Pegasus Red-figure kylix crater Attic Red-figure kylix Triptolemus Painter, c. 460 BC attr Skythes, c. 510 BC Edinburgh, National Museums of Scotland Boston, MFA (source: theoi.com) Faliscan black pottery kylix Athena with Pegasus on shield Black-figure water jar (Perseus on neck, Pegasus with Etrurian, attr. the Sokran Group, c. 350 BC Athenian black-figure amphora necklace of bullae (studs) and wings on feet, Centaur) London, The British Museum (1842.0407) attr. Kleophrades pntr., 5th C BC From Vulci, attr. Micali painter, c. 510-500 BC 1 New York, Metropolitan Museum of ART (07.286.79) London, The British Museum (1836.0224.159) Classical images – Greek Pegasus Pegasus Pegasus Attic, red-figure plate, c. 420 BC Source: Wikimedia (Rome, Palazzo Massimo exh) 2 Classical images – Greek Pegasus Pegasus London, The British Museum Virginia, Museum of Fine Arts exh (The Horse in Art) Pegasus Red-figure oinochoe Apulian, c. 320-10 BC 3 Boston, MFA Classical images – Greek Pegasus Silver coin (Pegasus and Athena) Silver coin (Pegasus and Lion/Bull combat) Corinth, c. 415-387 BC Lycia, c. 500-460 BC London, The British Museum (Ac RPK.p6B.30 Cor) London, The British Museum (Ac 1979.0101.697) Silver coin (Pegasus protome and Warrior (Nergal?)) Silver coin (Arethusa and Pegasus Levantine, 5th-4th C BC Graeco-Iberian, after 241 BC London, The British Museum (Ac 1983, 0533.1) London, The British Museum (Ac. 1987.0649.434) 4 Classical images – Greek (winged horses) Pegasus Helios (Sol-Apollo) in his chariot Eos in her chariot Attic kalyx-krater, c. -
Why Are There Seven Sisters?
Why are there Seven Sisters? Ray P. Norris1,2 & Barnaby R. M. Norris3,4,5 1 Western Sydney University, Locked Bag 1797, Penrith South, NSW 1797, Australia 2 CSIRO Astronomy & Space Science, PO Box 76, Epping, NSW 1710, Australia 3 Sydney Institute for Astronomy, School of Physics, Physics Road, University of Sydney, NSW 2006, Australia 4 Sydney Astrophotonic Instrumentation Laboratories, Physics Road, University of Sydney, NSW 2006, Australia 5 AAO-USyd, School of Physics, University of Sydney, NSW 2006, Australia Abstract of six stars arranged symmetrically around a seventh, and is There are two puzzles surrounding the therefore probably symbolic rather than a literal picture of Pleiades, or Seven Sisters. First, why are the Pleiades. the mythological stories surrounding them, In Greek mythology, the Seven Sisters are named after typically involving seven young girls be- the Pleiades, who were the daughters of Atlas and Pleione. ing chased by a man associated with the Their father, Atlas, was forced to hold up the sky, and was constellation Orion, so similar in vastly sep- therefore unable to protect his daughters. But to save them arated cultures, such as the Australian Abo- from being raped by Orion the hunter, Zeus transformed them riginal cultures and Greek mythology? Sec- into stars. Orion was the son of Poseidon, the King of the sea, ond, why do most cultures call them “Seven and a Cretan princess. Orion first appears in ancient Greek Sisters" even though most people with good calendars (e.g. Planeaux , 2006), but by the late eighth to eyesight see only six stars? Here we show that both these puzzles may be explained by early seventh centuries BC, he is said to be making unwanted a combination of the great antiquity of the advances on the Pleiades (Hesiod, Works and Days, 618-623).