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Greek view of pride
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Daphne was Apollo's first love. It was not brought about by accident, but by the malice of Cupid. Apollo saw the boy playing with his bow and arrows; and being himself elated with his recent victory over Python, he said to him, "What have you to do with warlike weapons, saucy boy? Leave them for hands worthy of them, Behold the conquest I have won by means of them over the vast serpent who stretched his poisonous body over acres of the plain! Be content with your torch, child, and kindle up your flames, as you call them, where you will, but presume not to meddle with my weapons." Venus's boy heard these words, and rejoined, "Your arrows may strike all things else, Apollo, but mine shall strike you." So saying, he took his stand on a rock of Parnassus, and drew from his quiver two arrows of different workmanship, one to excite love, the other to repel it. The former was of gold and sharp pointed, the latter blunt and tipped with lead. With the leaden shaft he struck the nymph Daphne, the daughter of the river god Peneus, and with the golden one Apollo, through the heart. Forthwith the god was seized with love for the maiden, and she abhorred the thought of loving. Her delight was in woodland sports and in the spoils of the chase. lovers sought her, but she spurned them all, ranging the woods, and taking no thought of Cupid nor of Hymen. Her father often said to her, "Daughter, you owe me a son-in-law; you owe me grandchildren." She, hating the thought of marriage as a crime, with her beautiful face tinged all over with blushes, threw her arms around her father's neck, and said, "Dearest father, grant me this favour, that I may always remain unmarried, like Diana." He consented, but at the same time said, "Your own face will forbid ...
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...ll her limbs; her bosom began to be enclosed in a tender bark; her hair became leaves; her arms became branches; her foot stuck fast in the ground, as a root; her face became a tree-top, retaining nothing of its former self but its beauty, Apollo stood amazed. He touched the stem, and felt the flesh tremble under the new bark. He embraced the branches, and lavished kisses on the wood. The branches shrank from his lips. "Since you cannot be my wife," said he, "you shall assuredly be my tree. I will wear you for my crown; I will decorate with you my harp and my quiver; and when the great Roman conquerors lead up the triumphal pomp to the Capitol, you shall be woven into wreaths for their brows. And, as eternal youth is mine, you also shall be always green, and your leaf know no decay." The nymph, now changed into a Laurel tree, bowed its head in grateful acknowledgment
Comparing the Demeter of the Homeric Hymn to Hesiod’s portrayal of Pandora, each representation may, at first glance, appear as two entirely separate characterizations of an archaic wife’s role. A closer look at each story, however, suggests that the two women are actually made from the same substance, and each fulfills the same functions expected of women at the time.
In the 1930s, who would have perpetrated violent acts against women in the name of sexual gratification yet still hold expectations that women take care of them? By making men in general the placeholder for “you” in the poem, it creates a much stronger and universal statement about the sexual inequality women face. She relates to women who have had “a god for [a] guest” yet it seems ironic because she is criticising the way these women have been treated (10). It could be argued, instead, that it is not that she sees men as gods, but that it is the way they see themselves. Zeus was a god who ruled Olympus and felt entitled to any woman he wanted, immortal or otherwise.
The opening speech of the Eumenides is a prayer uttered by the priestess Pythia, which gives a history sanctuary at Delphi. The myth Aeschylus has chosen to use here is not the standard one of Apollo's battle with the serpent, or Poseidon or Herakles but seems to be motivated by issues of gender. The myth charts a transition from female to ma...
From the very start we see Apuleius using references to Roman myths as similes to everyday occurrences. When Fotis, the slave, enters his bedroom to make love to him, he remarks that "she stood, transformed into a living statue: the Love-goddess rising from the sea. The flushed hand with which she pretended to screen her mount of Venus showed that she was well aware of the resemblance; certainly it was not held there from modesty." He describes a slave girl trying to seduce him as Venus rising out of the sea. Some of this description may be a hyperbole for Lucius' love of Fotis. However, Apuleius goes beyond this by linking Fotis directly to Venus. Thus, the most beautiful goddess in the Pantheon is easily seen in a slave girl. Similarly, Thelyphron, when telling the story how members of a household attacked him, describes himself as feeling "like Adonis mauled by the wild boar, or Orpheus torn in pieces by the Thracian women." This...
Yet, despite the fact that no two women in this epic are alike, each—through her vices or virtues—helps to delineate the role of the ideal woman. Below, we will show the importance of Circe, Calypso, Nausicaa, Clytaemestra, and Penelope in terms of the movement of the narrative and in defining social roles for the Ancient Greeks. Before we delve into the traits of individual characters, it is important to understand certain assumptions about women that prevailed in the Homeric Age. By modern standards, the Ancient Greeks would be considered a rabidly misogynistic culture. Indeed, the notoriously sour Boetian playwright Hesiod-- who wrote about fifty years before Homer-- proclaimed "Zeus who thunders on high made women to be evil to mortal men, with a nature to do evil (Theogony 600).
Archilochus wore this persona as well, believed to have gone through an initiation brought on by the muses (Heller “Greek Lyric Overview”). For Archilochus, the function that he was putting forward the muses’s words can serve as a blurred line that helps to separate his work from his own individual poetic agendas. Yet, his individual agency cannot be circumvented. In “To An Ex-Mistress” we see Archilochus’s own qualms come to bare, “such was the lust for sex that, worming in under my heart, quite blinded me and robbed me of my young wits…” (fr. 191W). Reminiscent of Sappho, Archilochus brings in sexuality as a topic of investigation and one can only imagine what social setting Archilochus might have chosen to degrade his ex-lover. Was this piece presented for humor or was this piece a serious analysis of man’s own fragility to his sexual desires? Here, we see how social context can certainly illuminate the impact of the poet’s
The poetry of Sappho, and the speeches in Plato’s Symposium both deal primarily with homoerotic love, although Sappho, one of the only female poets in Ancient Greece, speaks from the female perspective, while Plato’s work focuses on the nature of this love between men. There are several fundamental elements that are common to both perspectives, including similar ideals of youth and beauty, and the idea of desire as integral to both views on love. Despite these similarities, however, there is an important distinction, which can be understood in terms of Pausanias’ concepts of Common versus Celestial Love, where Sappho’s view represents Common Love, and the larger view of Symposium represents Celestial Love. While Sappho’s work is very much grounded in the physical realm, Plato emphasizes that true love is centralized in the mind, and that it is an intellectual and philosophical phenomenon.
Pausanias believed that there was two different goddesses of love; the more prevalent of the two being Pandemos, or Common Aphrodite. Pandemos, as described by Pausanias, is the young, and is associated with the love between men and women, so she is more inclined to be involved with vulgar love (Cohen, pg.327). Though there are both right ways, and wrong ways
There are many essential emotions that form the building blocks of our lives. These emotions help to shape the people that we are. These feelings are emotional necessities to ultimately keep us happy. No piece of literature these feelings more evident than the Odyssey by Homer. Throughout the course of this book there is one major emotional theme: love.
And here Pygmalion, old sculptor of heathen times now passed, flames of frosted fires that cast the black light upon the shadows of a starless night. For in his scalding pit where once was heart, burns the curded kindling of perverse pleasures and impious passions. He toils at his foul forge, and there in the blistering bowels of Earth's volcanic throats, in the snarling jaws of his flaming furnace, there stands the lustful sculptor Pygmalion's greatest labour: there stands a woman. Though a sculpture, she effortlessly bleeds sensuality in every carved tendon, the polished pinnacle of a chiseled beauty. She poses with her fixed yearning gaze, her unmoving sinuous locks of hair and inert firmed breasts. And perhaps most remarkable of all, breath is drawn from those delicately crafted lips. For to Pygmalion's iniquitous delight, he has brought life upon his beloved ivory sculpted woman. Imprisoned in that hellish chasm of warm swelling nightmares and streams of wet lunar lust, she stands, to be admired and to be perpetually loved by her master. And neither shall confess the love is not real. For does that gentle rapping of her crimson ruby heart serve her to live, or for her to live to serve? Though Pygmalion's supposed love for his living sculpted woman may be purely the stuff of antiquity lore, its enlightening commentary of love itself is not. Many partners have constructed relationships around a cruel imbalance of power. Indeed, just as Pygmalion believed he loved his perfected, though enslaved ivory lady, so too has myriads of men mistaken an intricate misconception of love for what in actuality is no more than a sculptor admiring his sculpture. This somber reality of love was perhaps most astutely realized in Henrik's Ibsen N...
She places in people the desire to have sexual relations and causes fear in men of the power of seduction by women. Her marriage to her husband was ignored as she had affairs with immortal and mortal men. Her infidelity in her marriage places her on the side with Greek men, rather than Greek women because only Greek men were able to cheat on their wives; not the other way around. In conclusion, the three important rules discussed in this paper that Greek women were required to obey, can be seen in the myths of the goddesses Hera, Athena, and Aphrodite. Whether or not the Greek goddesses obeyed or did not obey these rules, their importance to the Greek culture is ever strong.
In addition of praising the Countess and her daughter, Lanyer also covertly alludes to her own worth as a poet by making use of references to Greek mythology to show to the Countess, as well as potential patrons who might have read her poetry, that despite her low class, she is educated. Though Lanyer does not explicitly state this, by using such references she is suggesting her education is great though her status may not be. Lanyer makes reference to Phoebus-Apollo, the Greek god of light, in the lines:
There was also a tragic story also coming from the royal house of Athens. Procne and Philomela were two sisters, Procne being the older sister and they were aunts of Cecrops. Procne was married to Tereus of Thrace. They had a son together, named Itys. One day, Procne begged Tereus to let her invite her sister, Philomela, to visit her. He agreed and said he would go to Athens himself and bring her. He then set out to Athens. When he got there and saw Procne’s sister, he instantly fell in love. She was as beautiful as a nymph or a naiad. Her father let her go on the voyage and she was also very happy. The voyage went quite smoothly for the most part. However, when they embarked and started overland to the palace, Tereus told Philomela that he had received news that her sister
Walcot, P. “Greek Attitudes towards Women: The Mythological Evidence.” Greece & Rome 2nd ser. 31.1 (Apr., 1984): 37-47. Cambridge University Press on Behalf of The Classical Association Article Stable. Web.
Although written in the olden times, one of Apuleius’s story collections in the book of Metamorphoses entitled "The Tale of Cupid and Psyche" relates to the modern age issue of marriage and relationship. It reflects and gives hope to some relationships that started wrong but ended up good. I will examine the story of “The Tale of Cupid and Psyche” and will relate its relevance to the modern times. “The Tale of Cupid and Psyche” is a tale about the relationship that the God of Love, Cupid, has with a mortal named Psyche. Venus, the Goddess of beauty and the mother of Cupid, was offended when people believed in a rumour that Psyche, the most beautiful of the three daughters of the king and queen, is Venus’s daughter from a union with a mortal.