The want of an interesting work on Greek and Roman mythology, suitable for the requirements of both boys and girls, has long been recognized by the principals of our advanced schools. The study of the classics themselves, even where the attainments of the pupil have rendered this feasible, has not been found altogether successful in giving to the student a clear and succinct idea of the religious beliefs of the ancients, and it has been suggested that a work which would so deal with the subject as to render it at once interesting and instructive would be hailed as a valuable introduction to the study of classic authors, and would be found to assist materially the labours of both master and pupil.
In endeavouring to supply this want I have sought to place before the reader a lifelike picture of the deities of classical times as they were conceived and worshipped by the ancients themselves, and thereby to awaken in the minds of young students a desire to become more intimately acquainted with the noble productions of classical antiquity.
Classical Mythology In Context.epub
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It is hardly necessary to dwell upon the importance of the study of Mythology: our poems, our novels, and even our daily journals teem with classical allusions; nor can a visit to our art galleries and museums be fully enjoyed without something more than a mere superficial knowledge of a subject which has in all ages inspired painters, sculptors, and poets. It therefore only remains for me to express a hope that my little work may prove useful, not only to teachers and scholars, but also to a large class of general readers, who, in whiling away a leisure hour, may derive some pleasure and profit from its perusal.
In the study of Grecian mythology we meet with some [9]curious, and what may at first sight appear unaccountable notions. Thus we hear of terrible giants hurling rocks, upheaving mountains, and raising earthquakes which engulf whole armies; these ideas, however, may be accounted for by the awful convulsions of nature, which were in operation in pre-historic times. Again, the daily recurring phenomena, which to us, who know them to be the result of certain well-ascertained laws of nature, are so familiar as to excite no remark, were, to the early Greeks, matter of grave speculation, and not unfrequently of alarm. For instance, when they heard the awful roar of thunder, and saw vivid flashes of lightning, accompanied by black clouds and torrents of rain, they believed that the great god of heaven was angry, and they trembled at his wrath. If the calm and tranquil sea became suddenly agitated, and the crested billows rose mountains high, dashing furiously against the rocks, and threatening destruction to all within their reach, the sea-god was supposed to be in a furious rage. When they beheld the sky glowing with the hues of coming day they thought that the goddess of the dawn, with rosy fingers, was drawing aside the dark veil of night, to allow her brother, the sun-god, to enter upon his brilliant career. Thus personifying all the powers of nature, this very imaginative and highly poetical nation beheld a divinity in every tree that grew, in every stream that flowed, in the bright beams of the glorious sun, and the clear, cold rays of the silvery moon; for them the whole universe lived and breathed, peopled by a thousand forms of grace and beauty.
In order to exemplify this, let us suppose that Orpheus, the son of Apollo, so renowned for his extraordinary musical powers, had existed at the present day. We should no doubt have ranked him among the greatest of our musicians, and honoured him as such; but the Greeks, with their vivid imagination and poetic license, exaggerated his remarkable gifts, and attributed to his music supernatural influence over animate and inanimate nature. Thus we hear of wild beasts tamed, of mighty rivers arrested in their course, and of mountains being moved by the sweet tones of his voice. The theory here advanced may possibly prove useful in the future, in suggesting to the reader the probable basis of many of the extraordinary accounts we meet with in the study of classical mythology.
And now a few words will be necessary concerning the religious beliefs of the Romans. When the Greeks first settled in Italy they found in the country they colonized a mythology belonging to the Celtic inhabitants, which, according to the Greek custom of paying reverence to all gods, known or unknown, they readily adopted, selecting and appropriating those divinities which had the greatest affinity to their own, and thus they formed a religious belief which naturally bore the impress of its ancient Greek source. As the primitive Celts, however, were a less civilized people than the Greeks, their mythology was of a more barbarous character, and this circumstance, combined with the fact that the Romans were not gifted with the vivid imagination of their Greek neighbours, leaves its mark on the Roman mythology, which is far less fertile in fanciful conceits, and deficient in all those fairy-like stories and wonderfully poetic ideas which so strongly characterize that of the Greeks.
Phœbus-Apollo, the god of Light, Prophecy, Music, Poetry, and the Arts and Sciences, is by far the noblest conception within the whole range of Greek mythology, and his worship, which not only extended to all the states of Greece, but also to Asia Minor and to every Greek colony throughout the world, stands out among the most ancient and strongly-marked features of Grecian history, and exerted a more decided influence over the Greek nation, than that of any other deity, not excepting Zeus himself.
In the earliest ages of Greek mythology, he merely symbolized the watery element; but in later times, as navigation and intercourse with other nations engendered greater traffic by sea, Poseidon gained in importance, and came to be regarded as a distinct divinity, holding indisputable dominion over the sea, and over all sea-divinities, who acknowledged him as their sovereign ruler. He possessed the power of causing at will, mighty and destructive tempests, in which the billows rise mountains high, the wind becomes a hurricane, land and sea being enveloped in thick mists, whilst destruction assails the unfortunate mariners exposed to their fury. On the other hand, his alone was the power of stilling the angry [102]waves, of soothing the troubled waters, and granting safe voyages to mariners. For this reason, Poseidon was always invoked and propitiated by a libation before a voyage was undertaken, and sacrifices and thanksgivings were gratefully offered to him after a safe and prosperous journey by sea.
Silvanus is represented as a hale old man, carrying a cypress-tree, for, according to Roman mythology, the transformation of the youth Cyparissus into the tree which bears his name was attributed to him.
As Frankenstein's 200th anniversary nears, its use as a shorthand for ethical critique only increases. This article argues, though, that its lessons inhere in its unique structure, which enacts an interpretive process that models the multiplicity and uncertainty constitutive of ethical decision-making. Frankenstein deliberately functions as a modern myth, rewriting classical and Christian mythology to challenge the straightforward moral lessons often ascribed to the text. Complex portrayals of the creature and of Victor Frankenstein in the context of contemporary science make it impossible to read Victor as villain, victim or hero, or to take a consequentialist or nature-based stance in which the outcome of his research dictates its wrongness. The use of Paradise Lost insists on the creature's fundamental humanity. Indeed, the creature's voice frames the entire novel and serves as its structural centrepiece. His experience counters Victor's and vividly expresses the harm in a narrow focus on discovery and in the denial of responsibility for scientific work as it moves beyond the laboratory. Both the creature's and Captain Walton's stories stress the need to hear other voices and honour their distinct lived experiences. While Frankenstein-as-myth (re)produces science as the fundamental explanatory paradigm, it presents a vision of science as passionately personal and societally situated. Repeated disruptions of narrative cohesion question accuracy and causality, producing instead an acute awareness of perspective. Frankenstein argues for a reflective and dialogical narrative ethics: choices must be made and evaluated not according to a priori abstract rules, but within the attached stories.
People with skeletal dysplasias have left traces in art and antiquities through ages and cultures worldwide, in Ancient Egypt, Classical Greece, Sub-Saharan Africa, Asia, and Europe. Such traces record the impact of people with skeletal dysplasia on society and culture-in daily life, religion, and mythology. However, identifying ("diagnosing") skeletal dysplasia in artifacts and interpreting what such depictions meant within the culture in which they were created is extremely challenging and at times impossible. The objectives of this short and necessarily selective survey are to present a few examples of art through different ages and cultures as a springboard for discussion not only on potential medical diagnoses but also on the lives of people with chondrodysplasia and how they were valued in the society in which they lived. The artifacts were selected from Ancient Egypt, Classical Greece, Mesoamerica (Maya), Sub-Saharan Africa (Kingdom of Benin), Tang China, and 17th Century Europe. In some cases, surviving artifacts with likely depictions of skeletal dysplasia are few and their cultural context incompletely understood. Nevertheless, certain themes and attitudes seem to repeat across different times and regions, though some cultures, such as those in Ancient Egypt, appeared to have had a comparatively positive view of people with restricted growth and chondrodysplasia.
The term theology for the first time appears in the writings of the Greek philosophers Plato and Aristotle. Initially, theology and mythology were synonymous. With time, both terms gained distinctive qualities:[10] 2ff7e9595c
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