The Weaver's Destiny

Total Page:16

File Type:pdf, Size:1020Kb

The Weaver's Destiny Name: Date: The Weaver's Destiny Characters Arachne - a shepherd's daughter Old Shepherd - Arachne's father Athena - Goddess of Wisdom Hecate - Goddess of Magic Zeus - God of the Olympians A crowd Scene 1 (Outside a shepherd's cottage on a hillside, a young woman sits at a basic loom, weaving precisely, happily and industriously. Even to the untrained eye, it is obvious that she is very talented. She lives to weave and is most comfortable when working at her loom. Her father, the old shepherd, comes out of the cottage and approaches her.) OLD SHEPHERD: Ah, there you are my child. I have been looking for you, but I should have known you'd be here, weaving at your loom. ARACHNE: Hello father. Yes, I'm here again. Can I help you with something? Are you hungry? OLD SHEPHERD: No, no, my child, you continue with your work. Although, you should take a break if you've been working for a long time. Are you hungry? I could get you something to eat. How about some bread and cheese? As you know, we've never been wealthy and our lifestyle has been a simple one. However, I've been blessed to have you as my daughter. We've managed to sell some of your beautiful creations, and we are no longer so poor. ARACHNE: There is no need to thank me, father. I'm just happy to be able to weave every day. OLD SHEPHERD: (Looking in the distance) It looks like more people are on their way here to visit us and to see you at work. I am happy for you, Arachne, but I also worry. Your skills and your ability have caught the attention of many others. I worry that other people's interest may bring you misfortune. You must remember to cherish your talent and show humility when people praise you. ARACHNE: I will father, I will. But I do want people to know how good I am. Name: Date: Scene 2 The Goddess Athena approaches the cottage but is unseen by Arachne and her father. ATHENA: (Aside)There she is, the one who has meant to have superpower when she weaves. The one who can create beauty. I heard so much about her I decided to come and see this artist in person. It's best that I disguise myself as an old lady so that I can witness her as she is. Athena transforms herself into an old lady. The old lady approaches the old shepherd outside his cottage. Arachne sits in the same position as before, still busy weaving. ATHENA: Are you the old shepherd? I have heard about your daughter, and I've come to see her incredible gift inaction. OLD SHEPHERD: Of course! Welcome. Arachne, this old lady has heard of your talents and would like to watch you work. ARACHNE: Of course. She isn't the first and she won't be the last. OLD SHEPHERD: (Sharply)Arachne! Don't be boastful! Athena approaches Arachne and looks at the woven cloth around her feet. She is amazed and can't disguise her admiration for Arachne's work. ATHENA: This is incredible! It's so beautiful and skillful. And yet you are so young. Where did you learn to weave like this? Did your father teach you? ARACHNE: I love my father dearly, and he has always looked after me.However, I was born with my talent, and I have nurtured it. ATHENA: But this can't be true! That someone so young could create such art! Who taught you? Did one of the Gods assist you? ARACHNE: The Gods? Don't make me laugh. What have they ever done for poor people like us? OLD SHEPHERD: Arachne! Don't say something you will regret! Name: Date: Scene 3 A crowd of excited people stand around Athena (no longer in disguise) and Arachne, who are both sitting at looms. The crowd includes simple village people, as well as the Gods, Zeus and Hecate. The old shepherd stands nervously. ATHENA: (Angrily) You have all come here because you have heard about the contest between Athena, the Goddess of Wisdom, and this shepherd's daughter. A contest to find the best weaver. I came to see her talent, and she dared to insult me. Now she will pay. ARACHNE: (Anxiously, but confident) I was wrong to boast, but I am confident I will win this competition. I want only one thing in life, and that is to weave. ATHENA: Your wish may come true ... ZEUS: Let the competition begin! The crowd watch in wonder as both Arachne and Athena work swiftly at their looms. Gradually, the crowd begins to wander away from Athena to admire Arachne's work. OLD SHEPHERD: (Excitedly) It's clear. Arachne is the best! ZEUS: I agree. But what stories have they created? Athena's cloth shows the power of the Gods as they punish humans for their pride. Arachne's cloth tells a differents tory, a story of the Gods misusing their powers! (Athena is furious) ATHENA: That is an insult! She must be taught a lesson! ARACHNE: But I won! ATHENA: Yes, and you shall have your prize. You shall be able to weave forever! Hecate - the poison please! (Athena grabs Arachne. Hecate hands Athena a small vial of poison. She pours it on Arachne. The crowd gasps as Arachne shrinks and becomes a spider.) OLD SHEPHERD: Arachne! (To Athena) Why have you done this? ATHENA: She has her wish. She can weave forever. This will teach others not to dare compare themselves to the Gods. The End .
Recommended publications
  • Aspects of the Demeter/Persephone Myth in Modern Fiction
    Aspects of the Demeter/Persephone myth in modern fiction Janet Catherine Mary Kay Thesis presented in partial fulfilment of the requirements for the degree of Master of Philosophy (Ancient Cultures) at the University of Stellenbosch Supervisor: Dr Sjarlene Thom December 2006 I, the undersigned, hereby declare that the work contained in this thesis is my own original work and that I have not previously in its entirety or in part submitted it at any university for a degree. Signature: ………………………… Date: ……………… 2 THE DEMETER/PERSEPHONE MYTH IN MODERN FICTION TABLE OF CONTENTS PAGE 1. Introduction: The Demeter/Persephone Myth in Modern Fiction 4 1.1 Theories for Interpreting the Myth 7 2. The Demeter/Persephone Myth 13 2.1 Synopsis of the Demeter/Persephone Myth 13 2.2 Commentary on the Demeter/Persephone Myth 16 2.3 Interpretations of the Demeter/Persephone Myth, Based on Various 27 Theories 3. A Fantasy Novel for Teenagers: Treasure at the Heart of the Tanglewood 38 by Meredith Ann Pierce 3.1 Brown Hannah – Winter 40 3.2 Green Hannah – Spring 54 3.3 Golden Hannah – Summer 60 3.4 Russet Hannah – Autumn 67 4. Two Modern Novels for Adults 72 4.1 The novel: Chocolat by Joanne Harris 73 4.2 The novel: House of Women by Lynn Freed 90 5. Conclusion 108 5.1 Comparative Analysis of Identified Motifs in the Myth 110 References 145 3 CHAPTER 1 INTRODUCTION The question that this thesis aims to examine is how the motifs of the myth of Demeter and Persephone have been perpetuated in three modern works of fiction, which are Treasure at the Heart of the Tanglewood by Meredith Ann Pierce, Chocolat by Joanne Harris and House of Women by Lynn Freed.
    [Show full text]
  • 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.
    [Show full text]
  • The Hecate of the Theogony Jenny Strauss Clay
    STRAUSS CALY, JENNY, The Hecate of the "Theogony" , Greek, Roman and Byzantine Studies, 25:1 (1984) p.27 The Hecate of the Theogony Jenny Strauss Clay EAR THE MIDDLE of the Theogony, Hesiod appears to drop N everything in order to launch into an extended encomium of Hecate (411-52). Because of its length and apparent lack of integration into its context, but above all because of the peculiar terms of praise reserved for the goddess, the so-called "Hymn to Hecate" has often been dismissed as an intrusion into the Hesiodic text.l To be sure, voices have also been raised in defense,2 and, at present, the passage stands unbracketed in the editions of Mazon, Solmsen, and West.3 But questions remain even if the authenticity of the lines is acknowledged. Why does Hesiod devote so much space to so minor a deity? What is the origin and function of Hesiod's Hecate, and what role does she play in the poem ?4 1 Most notably by U. von Wilamowitz-Moellendorff, Der Glaube der Hellenen I (Berlin 1931) 172. Wilamowitz is followed by M. P. Nilsson, Geschichte der griechischen Re/igion 3 I (Munich 1969) 723. Condemnation is fairly universal among earlier editors. Cf 0. Gruppe, Ueber die Theogonie des Hesiod (Berlin 1841) 72; G. Schoemann, Die He­ siodische Theogonie (Berlin 1868) 190, who, after many good observations, concludes that the passage is a later interpolation; H. Flach, Die Hesiodische Theogonie (Berlin 1873) 81; A. Fick, Hesiods Gedichte (Gottingen 1887) 17 ("Der Verfasser war ein Or­ phiker"); F.
    [Show full text]
  • Year 8 English Summer Term: Myths, Legends, Heroes and Villains Structural Figurative Grammar: the Key Figures in Mythology Techniques Language Structural Features
    Year 8 English Summer Term: Myths, Legends, Heroes and Villains Structural Figurative Grammar: The Key Figures in Mythology Techniques Language Structural Features Exposition – start of the Simile – comparing one Noun – naming word Izanami and Izanagi – From the Japanese creation myth, these story introducing the thing to another using Noun Phrase – a group two gods created land and the seas that make up the earth, characters and setting like or as. of words that act like a using a powerful spear. Denouement – the Metaphor - where noun ending/resolution. something becomes Verb – doing word Zeus is the Olympian god of the sky and the thunder, the king Shift – a change in the something else Prepositional Phrases of all other gods and men, and, consequently, the chief figure direction of the text Personification - giving - a group f words in Greek mythology. Position – where something inanimate starting with a something is placed in a (not human) human preposition and Medusa – In Greek mythology, Medusa was a monster, a text characteristics ending with a noun Gorgon, generally described as a winged human female with Digression – heading Alliteration – using the Adverbs – describe a living venomous snakes in place of hair. Gazers upon her face away from the main Onomatopoeia – words verb (how something would turn to stone. focus of the text that sound like they are is done). Flashback – going back said aloud Adjectives – describe Apollo is one of the most important and complex of the in time Imagery – creating a a noun Olympian gods in Greek and mythology. Apollo has been Flash forward – going picture in your mind variously recognised as a god of music, truth and prophecy, forward in time.
    [Show full text]
  • Hekate : Her Role and Character in Greek Literature from Before the Fifth
    HEKATE : HER ROLE AND CHARACTER IN GREEK LITERATURE FROM BEFORE THE FIFTH CENTURY B.C. HEKATE : HER ROLE AND CHARACTER IN GREEK LITERATURE FROM BEFORE THE FIFTH CENTURY B.C. by CAROL M. MOONEY, B.A. A Thesis Submitted to the Faculty of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Master of Arts McMaster University February, 1971 MASTER OF ARTS (1971) McMASTER UNIVERSITY (Classics) Hamilton, Ontario TITLE: Hekate: Her Role and Character in Greek Literature from before the Fifth Century B.C. AUTHOR: Carol M. Mooney, B.A. (Bishop's University) SUPERVISOR: Dr. T. F. Hoey NUMBER OF PAGES: iv; 96 SCOPE ~~ CONTENTS: This is a discussion of Hekate as she is repre­ sented in the Theogony and the Homeric Hymn to Demeter. In it I attempt to demonstrate that the more familiar sinister aspects of the goddess are not present in her early Greek form, as the literary evidence of the period reveals. This involves an inquiry into the problem of Hekate's original homeland and, as far as can be determined, her character there, as well as the examination of her role in each of the above mentioned poems and a discussion of the possi­ bility that the passages dealing with Hekate are interpolated. ii Acknowledgements I wish to express my warmest thanks to Dr. T. F. Hoey, my supervisor, for his helpful guidance and encouragement throughout the writing of this thesis and to Professor H. F. Guite for reading the script and offering many valuable suggestions and comments. Also I would like to thank Alan Booth for his assistance in the reading of German texts and Miss E.
    [Show full text]
  • Hecate and Her Dogs
    Hecate and Her Dogs Postdoc, Ph.D. Bjarne Simmelkjær Sandgaard Hansen Department of Nordic Studies and Linguistics, UCPH Copenhagen, 11 October 2019 Indo-European Religion and Poetics (University of Copenhagen) 11 Oct. 2019 2 What’s it all about? • The Greek goddess Hecate • Three existing etymologies • Pre-Greek (Carian) origin • Abbreviated form of epithet ἑκατηβόλος ‘shooting from afar’ or ‘striking with hundreds’ • ‘She who works her will’ with ἑκ- < PIE *u̯eḱ ‘wish’ • A new etymology based on her appearance with dogs • < PIE *su̯é-ḱu̯n̥t-eh2- ‘possessing her own dog(s)’ Richard Cosway (1742–1821): Statuette of Triple-bodied Hekate. Pen, ink and light brown and grey wash. British Museum Indo-European Religion and Poetics (University of Copenhagen) 11 Oct 2019 3 Contents • Existing etymologies • Hecate: Origin, relations and attributes • Towards a new etymology • Summary and questions • Literature Indo-European Religion and Poetics (University of Copenhagen) 11 Oct 2019 4 Existing etymologies • Existing etymologies • Hecate: Origin, relations and attributes • Towards a new etymology • Summary and questions • Literature Indo-European Religion and Poetics (University of Copenhagen) 11 Oct 2019 5 Existing etymologies • Pre-Greek (Carian) origin • References: Beekes (2010: 396-398), Kraus (1960: 41-54) and Nilsson (1961: 78) • Based on Wilamowitz-Moellendorf (1931: 325): Anatolian origin and subsequent adoption by the Greeks to the known Apollonian epithets ἑκατηβόλος or ἑκηβόλος • E.g. Hom.Il. 1.370: ἑκατηβόλου Ἀπόλλωνος ‘of Apollo who strikes from afar’ • Abbreviated form of epithet ἑκατηβόλος ‘shooting from afar’ or ‘striking with hundreds’ • References: Chantraine (2009: 313) • Starting point in the ancient etymology: ‘shooting from afar’ (to ἑκάς ’afar, far off’) or ‘striking with hundreds’ (to ἑκατόν ’hundred’, cf.
    [Show full text]
  • The Liminal and Universal: Changing Interpretations of Hekate
    The Liminal and Universal: Changing Interpretations of Hekate Adrienne Ou University of California, Los Angeles Political Science and Classical Civilization Class of 2016 Abstract: Hekate is considered one of the most enigmatic figures of Greek religion. In the Theogony, she is referred to as a universal goddess. Nevertheless, her figure transforms into that of a chthonic figure, associated with witchcraft and the restless dead. This paper examines how Hekate’s role in the Greek pantheon has changed over time, and with what figures she has been syncretized or associated with in order to bring about such changes. In doing so, three images of the same goddess emerge: Hekate the universal life-bringing deity, Hekate the liminal goddess of the crossroads, and Hekate the chthonic overseer of witchcraft and angry spirits. INTRODUCTION Hekate is an enigmatic figure in Greco-Roman mythology, having evolved over the centuries from a universal deity to a chthonic figure. Due to the Greco-Roman practice of religious syncretism, her figure has taken on aspects of other gods. Likewise, other gods have absorbed some aspects originally attributed to her. Consequentially, she has many aspects and is associated with different deities. This is emphasized by the fact that as a goddess of liminality, she not only separates realms lorded over by different gods, but serves as a transition goddess for said realms. Therefore she links gods together, functioning as the sinew of the cosmos. Ergo, Hekate should not be viewed as a single figure but rather as a tripartite figure that has evolved over time. I will first discuss her origins and her role as an all-giving universal deity in Asia Minor, in the Theogony, and in the Chaldean Oracles.
    [Show full text]
  • The Female Divine the Great Goddess Theory
    The Female Divine The Great Goddess Theory • What the proponents say: – Look at the art! • Figures found in shrines – Universal religion focused Venus of Laussel Venus of Willendorf 20,000-18,000 BCE on Life, Death, and 24,000-22,000 BCE Regeneration • Represent at minimum a matrifocal society – Product of a morally superior society • Superseded by violent men eventually Venus of Dolni Vestonice Venus of Lespugue 26,000-24,000 BCE 25,000-18,000 BCE Get into groups • The “Great Goddess” in patriarchal myths – Go back and identify the “Great Goddess” in the Enuma Elish and Hesiod’s Theogony – Cite specific events/actions/behaviors which illustrate the influence of the Great Goddess The Great Goddess Theory • Enuma Elish – Tiamat • Primordial mother, gives birth to the gods • (Initially) defends her children from Apsu’s murderous intentions • Theogony – Gaia • Mother Earth – Female Titans • Theia – Goddess of Light • Phoebe – Full Moon • Rhea – Mountains • Tethys – Waves The Great Goddess Theory • What the critics say: – “Ugh, feminists” – Proponents are using the evidence to fit their theory, not making a theory based off the evidence Classifications of Female Divine • Jungian Archetypes – Three “Goddess Dyads” • Based off of Jung’s theory on extraversion and introversion • Two goddesses, each representing one side of the extroversion/introversion spectrum • Uses Greek goddesses as language to describe driving forces behind women’s actions Classifications of Female Divine • Goddess Dyads – Athena/Artemis (Fierce Independence) • Athena: Warrior
    [Show full text]
  • {FEMALE} DEITIES of MODERN PAGANISM Marguerite
    DRAWING DOWN THE GODDESS: THE ANCIENT {FEMALE} DEITIES OF MODERN PAGANISM Marguerite Johnson The rise of neo-Paganism and its scholarly analysis is now an established fi eld of academic enquiry, yet there is a paucity of analysis as to the ancient (Greek and Roman) origins of this multifaceted religion.1 This paper is an attempt to begin to rectify this under-researched area of neo-Pagan studies and to offer some possibilities as to the infl uences of ancient religious and magical traditions on modern spiritualities. The focus is on the societies of Greece and Rome, which were imbued with magical and occult sensibilities that permeated many facets of day-to- day life, and it is the female deities of the ancients that are of chief consideration. Therefore, the modern practitioners discussed are, in the main, followers of non-Celtic paths, non-Druidic paths (among others) but are, rather, Pagans from the United States, writers and public fi gures who have openly chronicled their experiences with such goddesses. A much discussed topic in the study of ancient magic is the extent to which magic and religion were interchangeable. While I would posit that on a public level the ancients differentiated between the two,2 existing evidence concerning the multifarious magical traditions in operation in antiquity indicates that practitioners and, in particular, their clients, were not concerned with the distinction but recognised the difference in approach to the deities and the intentions that motivated this. There was a consistent incorporation of a variety of deities from the Greek and Roman pantheons into spells, magical invocations and related activities.
    [Show full text]
  • 2. Artemis/Diana Artemis at a Glance Name | Artemis Role | Goddess of The
    2. Artemis/Diana Artemis at a Glance name | Artemis role | goddess of the hunt and protector of children symbols | bow, deer The goddess Artemis played an intriguing role in Greek mythology and religion. She was known as the "Mistress of Animals" and the protectress of children, but she was also a huntress and the goddess who could bring death with her arrows. Myths such as the one about Niobe show Artemis as a strong willed and powerful goddess, a female who could punish injustices against the gods with ferocious and deadly accuracy. Artemis was the daughter of Leto and Zeus (the ruler of the Greek gods). Together with her twin brother Apollo she enjoyed the status and privileges of an Olympian. And as an Olympian goddess, Artemis was free to pursue her interests, and was often found frolicking in the forests, accompanied by a band of nymphs. Myths of the Maiden Goddess Myths and legends show that the goddess Artemis was aloof and free-spirited, and not constrained by husband or hearth. Her independent nature is further reinforced in a very important way, for in mythology and religion, the goddess remained eternally a virgin. Indeed, those who in some way compromised her strict requirements for chastity were severely punished by the maiden goddess. There are several tales that describe the swift and terrible retribution of Artemis. One of the most revealing of these stories involves the youth Actaeon. In addition, Artemis was also responsible for punishing the nymph Callisto. In myth, Callisto was at one point a follower of the virgin goddess, but when she became involved in an affair with the god Zeus, Artemis had her revenge on the unfortunate nymph.
    [Show full text]
  • Hecate-Goddess-Of-Witches.Pdf
    Hecate ~ Goddess of the Witches Hecate is a powerful goddess representing the aspects of the Triple Goddess: goddess of fertility and plenty; goddess of the moon; and goddess of the night and the underworld, which led to her evolving as the patroness of magic and Witchcraft. She mixed fertility with death to be used as earth power. She has been called supreme, both in heaven and hell. It is believed that even Zeus called on her whenever he wished to grant something to someone. Hecate is portrayed as the most powerful - who could give aplenty or destroy totally. She is said to have the power to bestow on or withhold from mortals any gifts she chose. All the secret powers of Nature were at her command. She had control over birth, life, and death. Because of her power in the three areas of nature, heaven and earth she was represented as a triple form. She is most known as an underworld goddess; the Goddess of the Dark of the Moon, the nights that there is no moon and the world above is as dark as the world below. She was the overseer of the world of the dead. At night she traveled roaming the earth accompanied by her dogs, Hermes, and dead souls. Some say she sent demons from the lower world at night and that she causes nightmares and insanity, and was called "the Nameless One." Goddess of Fertility Hecate was looked upon as a goddess of fertility, whose torch was carried over freshly sown fields to symbolize the fertilizing power of moonlight.
    [Show full text]
  • [PDF]The Myths and Legends of Ancient Greece and Rome
    The Myths & Legends of Ancient Greece and Rome E. M. Berens p q xMetaLibriy Copyright c 2009 MetaLibri Text in public domain. Some rights reserved. Please note that although the text of this ebook is in the public domain, this pdf edition is a copyrighted publication. Downloading of this book for private use and official government purposes is permitted and encouraged. Commercial use is protected by international copyright. Reprinting and electronic or other means of reproduction of this ebook or any part thereof requires the authorization of the publisher. Please cite as: Berens, E.M. The Myths and Legends of Ancient Greece and Rome. (Ed. S.M.Soares). MetaLibri, October 13, 2009, v1.0p. MetaLibri http://metalibri.wikidot.com [email protected] Amsterdam October 13, 2009 Contents List of Figures .................................... viii Preface .......................................... xi Part I. — MYTHS Introduction ....................................... 2 FIRST DYNASTY — ORIGIN OF THE WORLD Uranus and G (Clus and Terra)........................ 5 SECOND DYNASTY Cronus (Saturn).................................... 8 Rhea (Ops)....................................... 11 Division of the World ................................ 12 Theories as to the Origin of Man ......................... 13 THIRD DYNASTY — OLYMPIAN DIVINITIES ZEUS (Jupiter).................................... 17 Hera (Juno)...................................... 27 Pallas-Athene (Minerva).............................. 32 Themis .......................................... 37 Hestia
    [Show full text]