GREEK MYTHS RETOLD for CHILDREN The
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Hellenic Saga Gaia (Earth)
The Hellenic Saga Gaia (Earth) Uranus (Heaven) Oceanus = Tethys Iapetus (Titan) = Clymene Themis Atlas Menoetius Prometheus Epimetheus = Pandora Prometheus • “Prometheus made humans out of earth and water, and he also gave them fire…” (Apollodorus Library 1.7.1) • … “and scatter-brained Epimetheus from the first was a mischief to men who eat bread; for it was he who first took of Zeus the woman, the maiden whom he had formed” (Hesiod Theogony ca. 509) Prometheus and Zeus • Zeus concealed the secret of life • Trick of the meat and fat • Zeus concealed fire • Prometheus stole it and gave it to man • Freidrich H. Fuger, 1751 - 1818 • Zeus ordered the creation of Pandora • Zeus chained Prometheus to a mountain • The accounts here are many and confused Maxfield Parish Prometheus 1919 Prometheus Chained Dirck van Baburen 1594 - 1624 Prometheus Nicolas-Sébastien Adam 1705 - 1778 Frankenstein: The Modern Prometheus • Novel by Mary Shelly • First published in 1818. • The first true Science Fiction novel • Victor Frankenstein is Prometheus • As with the story of Prometheus, the novel asks about cause and effect, and about responsibility. • Is man accountable for his creations? • Is God? • Are there moral, ethical constraints on man’s creative urges? Mary Shelly • “I saw the pale student of unhallowed arts kneeling beside the thing he had put together. I saw the hideous phantasm of a man stretched out, and then, on the working of some powerful engine, show signs of life, and stir with an uneasy, half vital motion. Frightful must it be; for supremely frightful would be the effect of any human endeavour to mock the stupendous mechanism of the Creator of the world” (Introduction to the 1831 edition) Did I request thee, from my clay To mould me man? Did I solicit thee From darkness to promote me? John Milton, Paradise Lost 10. -
Coexistence of Mythological and Historical Elements
COEXISTENCE OF MYTHOLOGICAL AND HISTORICAL ELEMENTS AND NARRATIVES: ART AT THE COURT OF THE MEDICI DUKES 1537-1609 Contents Introduction ........................................................................................................................................................ 3 Greek and Roman examples of coexisting themes ........................................................................ 6 1. Cosimo’s Triumphal Propaganda ..................................................................................................... 7 Franco’s Battle of Montemurlo and the Rape of Ganymede ........................................................ 8 Horatius Cocles Defending the Pons Subicius ................................................................................. 10 The Sacrificial Death of Marcus Curtius ........................................................................................... 13 2. Francesco’s parallel narratives in a personal space .............................................................. 16 The Studiolo ................................................................................................................................................ 16 Marsilli’s Race of Atalanta ..................................................................................................................... 18 Traballesi’s Danae .................................................................................................................................... 21 3. Ferdinando’s mythological dream ............................................................................................... -
Sons and Fathers in the Catalogue of Argonauts in Apollonius Argonautica 1.23-233
Sons and fathers in the catalogue of Argonauts in Apollonius Argonautica 1.23-233 ANNETTE HARDER University of Groningen [email protected] 1. Generations of heroes The Argonautica of Apollonius Rhodius brings emphatically to the attention of its readers the distinction between the generation of the Argonauts and the heroes of the Trojan War in the next genera- tion. Apollonius initially highlights this emphasis in the episode of the Argonauts’ departure, when the baby Achilles is watching them, at AR 1.557-5581 σὺν καί οἱ (sc. Chiron) παράκοιτις ἐπωλένιον φορέουσα | Πηλείδην Ἀχιλῆα, φίλωι δειδίσκετο πατρί (“and with him his wife, hold- ing Peleus’ son Achilles in her arms, showed him to his dear father”)2; he does so again in 4.866-879, which describes Thetis and Achilles as a baby. Accordingly, several scholars have focused on the ways in which 1 — On this marker of the generations see also Klooster 2014, 527. 2 — All translations of Apollonius are by Race 2008. EuGeStA - n°9 - 2019 2 ANNETTE HARDER Apollonius has avoided anachronisms by carefully distinguishing between the Argonauts and the heroes of the Trojan War3. More specifically Jacqueline Klooster (2014, 521-530), in discussing the treatment of time in the Argonautica, distinguishes four periods of time to which Apollonius refers: first, the time before the Argo sailed, from the beginning of the cosmos (featured in the song of Orpheus in AR 1.496-511); second, the time of its sailing (i.e. the time of the epic’s setting); third, the past after the Argo sailed and fourth the present inhab- ited by the narrator (both hinted at by numerous allusions and aitia). -
MONEY and the EARLY GREEK MIND: Homer, Philosophy, Tragedy
This page intentionally left blank MONEY AND THE EARLY GREEK MIND How were the Greeks of the sixth century bc able to invent philosophy and tragedy? In this book Richard Seaford argues that a large part of the answer can be found in another momentous development, the invention and rapid spread of coinage, which produced the first ever thoroughly monetised society. By transforming social relations, monetisation contributed to the ideas of the universe as an impersonal system (presocratic philosophy) and of the individual alienated from his own kin and from the gods (in tragedy). Seaford argues that an important precondition for this monetisation was the Greek practice of animal sacrifice, as represented in Homeric epic, which describes a premonetary world on the point of producing money. This book combines social history, economic anthropology, numismatics and the close reading of literary, inscriptional, and philosophical texts. Questioning the origins and shaping force of Greek philosophy, this is a major book with wide appeal. richard seaford is Professor of Greek Literature at the University of Exeter. He is the author of commentaries on Euripides’ Cyclops (1984) and Bacchae (1996) and of Reciprocity and Ritual: Homer and Tragedy in the Developing City-State (1994). MONEY AND THE EARLY GREEK MIND Homer, Philosophy, Tragedy RICHARD SEAFORD cambridge university press Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo Cambridge University Press The Edinburgh Building, Cambridge cb2 2ru, UK Published in the United States of America by Cambridge University Press, New York www.cambridge.org Information on this title: www.cambridge.org/9780521832281 © Richard Seaford 2004 This publication is in copyright. -
The Fragmentation of Being and the Path Beyond the Void 2185 Copyright 1994 Kent D
DRAFT Fragment 48 THE HOUSE OF BAAL Next we will consider the house of Baal who is the twin of Agenor. Agenor means the “manly,” whereas Baal means “lord.” In Baal is Belus. Within the Judeo- Christian religious tradition, Baal is the archetypal adversary to the God of the Old Testament. No strange god, however, is depicted more wicked, immoral and abominable than the storm god Ba’al Hadad, whose cult appears to have been a great rival to Yahwism at certain times in Israel’s history. In the bible we read how the prophets of Ba’al and Yahweh persecuted and killed one another, and how the kings of Israel wavered in their attitudes to these gods, thereby provoking the jealousy of Yahweh who tolerated no other god beside him. Thus, it appears that the worship of Ba’al Hadad was a greater threat to Yahwism than that of any other god, and this fact, perhaps more than the actual character of the Ba’al cult, may be the reason for the Hebrew aversion against it. The Fragmentation of Being and The Path Beyond The Void 2185 Copyright 1994 Kent D. Palmer. All rights reserved. Not for distribution. THE HOUSE OF BAAL Whereas Ba’al became hated by the true Yahwist, Yahweh was the national god of Israel to whose glory the Hebrew Bible is written. Yahweh is also called El. That El is a proper name and not only the appelative, meaning “god” is proven by several passages in the Bible. According to the Genesis account, El revealed himself to Abraham and led him into Canaan where not only Abraham and his family worshiped El, but also the Canaanites themselves. -
Apollonius Rhodius, the Argonautica
i EB CLASSICA BRAR 1 1 APOLLONIUS RHODIUS ARGONAUTICA Translated by R. C. SEATON mmmmm]mmm\m[mmmm[^[r^\[f^\[r^\i7^\[?^\[?D\[fD\\o] Complete list of Loeb titles can be found at the end of each volume APOLLONIUS Of Rhodes' was a Greek grammarian and epic poet of Alexandria in Egypt and lived late in the 3rd century and early in the 2nd century [ES B.C. While still young he composed his extant epic poem of four books on the story of the Argonauts. When this work failed to win acceptance he went to Rhodes where he not only did well as a rhetorician but also made a success of his epic in a revised form, for which the Rhodians gave him the 'freedom' of their city; hence his surname. On returning to Alexandria he recited his poem again, with applause. In 196 Ptolemy Epiphanes made him the librarian of the Museum (the University) at Alexandria. His Argonautica is one oi the better minor epics, remarkable for originality, powers of observation, sincere feeling, and de- piction of romantic love. His Jason and Medea are natural and interesting, and did much to inspire Virgil (in a very different setting) in the fourth book of the Aeneid. L• ^' % Sb ^" ^ Ak- THE LOEB CLASSICAL LIBRARY EDITED BY li. CAPPS, Ph.D., LL.D. T. E. PAGE, Litt.D. W. II. D. ROUSE, Lirr.D. APOLLONTUS RHODIUS Digitized by tine Internet Arciiive in 2011 witii funding from University of Toronto littp://www.arcliive.org/details/apolloniusrliodiuOOapol APOLLONIUS RHODIUS THE ARGONAUTICA WITH AN ENGLISH TRANSLATION BY 11. -
Homer's Iliad: a Discussion Guide
Homer’s Iliad: A Discussion Guide By David Bruce SMASHWORDS EDITION Copyright 2013 by Bruce D. Bruce Thank you for downloading this book. You are welcome to share it with your friends. This book may be reproduced, copied and distributed for non-commercial purposes, provided the book remains in its complete original form. If you enjoyed this book, please return to Smashwords.com to discover other works by this author. Thank you for your support. Preface The purpose of this book is educational. I have read, studied and taught Homer’s Iliad, and I wish to pass on what I have learned to other people who are interested in studying Homer’s Iliad. In particular, I think that the readers of this introduction to Homer’s Iliad will be bright high school seniors and college first-year students, as well as intelligent adults who simply wish to study the Iliad despite not being literature majors. This book uses a question-and-answer format. It poses, then answers, relevant questions about Homer, background information, and the Iliad. This book goes through the Iliad book by book. I recommend that you read the relevant section of the Iliad, then read my comments, then go back and re-read the relevant section of the Iliad. However, do what works for you. Teachers may find this book useful as a discussion guide for the epic poem. Teachers can have students read books from the epic poem, then teachers can ask students selected questions from this study guide. It helps to know something about Homer’s Odyssey, Virgil’s Aeneid, Greek and Roman mythology, and Ovid’s Metamorphoses, but this background reading is not strictly necessary. -
Homer's Use of Myth Françoise Létoublon
Homer’s Use of Myth Françoise Létoublon Epic and Mythology The Homeric Epics are probably the oldest Greek literary texts that we have,1 and their subject is select episodes from the Trojan War. The Iliad deals with a short period in the tenth year of the war;2 the Odyssey is set in the period covered by Odysseus’ return from the war to his homeland of Ithaca, beginning with his departure from Calypso’s island after a 7-year stay. The Trojan War was actually the material for a large body of legend that formed a major part of Greek myth (see Introduction). But the narrative itself cannot be taken as a mythographic one, unlike the narrative of Hesiod (see ch. 1.3) - its purpose is not to narrate myth. Epic and myth may be closely linked, but they are not identical (see Introduction), and the distance between the two poses a particular difficulty for us as we try to negotiate the the mythological material that the narrative on the one hand tells and on the other hand only alludes to. Allusion will become a key term as we progress. The Trojan War, as a whole then, was the material dealt with in the collection of epics known as the ‘Epic Cycle’, but which the Iliad and Odyssey allude to. The Epic Cycle however does not survive except for a few fragments and short summaries by a late author, but it was an important source for classical tragedy, and for later epics that aimed to fill in the gaps left by Homer, whether in Greek - the Posthomerica of Quintus of Smyrna (maybe 3 c AD), and the Capture of Troy of Tryphiodoros (3 c AD) - or in Latin - Virgil’s Aeneid (1 c BC), or Ovid’s ‘Iliad’ in the Metamorphoses (1 c AD). -
Euripides and Gender: the Difference the Fragments Make
Euripides and Gender: The Difference the Fragments Make Melissa Karen Anne Funke A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee: Ruby Blondell, Chair Deborah Kamen Olga Levaniouk Program Authorized to Offer Degree: Classics © Copyright 2013 Melissa Karen Anne Funke University of Washington Abstract Euripides and Gender: The Difference the Fragments Make Melissa Karen Anne Funke Chair of the Supervisory Committee: Professor Ruby Blondell Department of Classics Research on gender in Greek tragedy has traditionally focused on the extant plays, with only sporadic recourse to discussion of the many fragmentary plays for which we have evidence. This project aims to perform an extensive study of the sixty-two fragmentary plays of Euripides in order to provide a picture of his presentation of gender that is as full as possible. Beginning with an overview of the history of the collection and transmission of the fragments and an introduction to the study of gender in tragedy and Euripides’ extant plays, this project takes up the contexts in which the fragments are found and the supplementary information on plot and character (known as testimonia) as a guide in its analysis of the fragments themselves. These contexts include the fifth- century CE anthology of Stobaeus, who preserved over one third of Euripides’ fragments, and other late antique sources such as Clement’s Miscellanies, Plutarch’s Moralia, and Athenaeus’ Deipnosophistae. The sections on testimonia investigate sources ranging from the mythographers Hyginus and Apollodorus to Apulian pottery to a group of papyrus hypotheses known as the “Tales from Euripides”, with a special focus on plot-type, especially the rape-and-recognition and Potiphar’s wife storylines. -
The Heroes PREFACE MY DEAR CHILDREN
The Heroes PREFACE MY DEAR CHILDREN, Some of you have heard already of the old Greeks; and all of you, as you grow up, will hear more and more of them. Those of you who are boys will, perhaps, spend a great deal of time in reading Greek books; and the girls, though they may not learn Greek, will be sure to come across a great many stories taken from Greek history, and to see, I may say every day, things which we should not have had if it had not been for these old Greeks. You can hardly find a well-written book which has not in it Greek names, and words, and proverbs; you cannot walk through a great town without passing Greek buildings; you cannot go into a well-furnished room without seeing Greek statues and ornaments, even Greek patterns of furniture and paper; so strangely have these old Greeks left their mark behind them upon this modern world in which we now live. And as you grow up, and read more and more, you will find that we owe to these old Greeks the beginners of all our mathematics and geometry - that is, the science and knowledge of numbers, and of the shapes of things, and of the forces which make things move and stand at rest; and the beginnings of our geography and astronomy; and of our laws, and freedom, and politics - that is, the science of how to rule a country, and make it peaceful and strong. And we owe to them, too, the beginning of our logic - that is, the study of words and of reasoning; and of our metaphysics - that is, the study of our own thoughts and souls. -
Perseus Son of Zeus, Heroic Vanquisher of Hippodameia
Perseus Son of Zeus, heroic vanquisher of Hippodameia. the Gorgon Medusa. "And I expect every one of my King Acrisius of Argos was loyal subjects to contribute a gift warned by an oracle that he to the bride price," he said, would be killed in time by a son looking meaningfully at Perseus. born to his daughter Danae. So he "What have you to offer?" promptly locked Danae up in a tower and threw away the key. When Perseus did not answer But the god Zeus got in, right away, Polydectes went on: disguised as a shower of gold, "A team of horses? A chariot of with the result that Perseus was intricate devising? Or a coffer of born. So Acrisius straightaway gems perhaps?" stuck daughter and infant into a brazen chest and pushed it out to Perseus fidgeted uncomfortably. sea. Perhaps he expected it to "If it meant you'd leave my sink like a stone, but instead it mother alone, I'd gladly give you floated quite nicely, fetching up anything I owned - which on a beach on the island of unfortunately is precious little. Seriphos. Here a fisherman Horses, chariot, gems, you name named Dictys came upon the it - if I had 'em, they'd be yours. unusual bit of flotsam and The sweat of my brow, the gain adopted a protective attitude of my strong right arm, whatever. toward its contents. Thus Perseus I'd go out and run the marathon if had the advantage of a pure and they were holding the Olympics simple role model as he grew to this year. -
The Story of Perseus and Medusa, an Interpretation of Its Meaning, and the Topos of Decapitation
The Story of Perseus and Medusa 1 Chapter 1 The Story of Perseus and Medusa, An Interpretation of Its Meaning, and the Topos of Decapitation This chapter’s summary of the tale of Perseus and the Gorgon will precede a detailed analysis of the historical evolution of Medusa’s image as a maternal deity and what that image meant to ancient Greece. A subsequent section on the symbolism of the head as a life force will be important to this study’s dis- cussion of the value of Medusa’s head as a symbol of power. The Textual Sources for Cellini’s Perseus and Medusa Books IV and V of Ovid’s Metamorphoses include the version of Perseus’ tale that had the greatest impact upon Cellini. However, Hesiod’s Theogony and Lucan’s Pharsalia contain additional information that would have been impor- tant to the sculptor. Mention of other Greek authors is also due. What follows is Ovid’s account, unless specified otherwise.1 Danae was the daughter of King Acrisius of Argos, who feared an oracle that his future grandson would kill him and therefore become ruler of the land. So one day Acrisius imprisoned Danae to prevent her from meeting suitors. How- ever, Jupiter (Zeus) came to the girl as a shower of gold (he was a sun god) and impregnated Danae with the baby Perseus. For years the princess hid her baby, but it was not long before her father found him out and, according to the 1 Ovid’s, Lucan’s and Hesiod’s versions of Perseus’ tale are the most thorough popular accounts that existed in the Renaissance.