embodied within the Baroque, and its attempt to awe the population back into its fold. Bernini, the mastermind of the Baroque, did exactly that, which says a lot about not only him, but his patrons, the church, and therefore broader society. Apollo and Daphne is exemplary of the emotional manipulation utilized within this movement, which allowed people to emotionally respond and associate it with the divine. It is still within the frame of social context in that, classical influences are still ever-prevalent
preserved in mutated form. In the story of Daphne and Apollo, the chief agent of transformation is love, represented by Venus and her youthful and mischievous son, Cupid. When the god Apollo brags to Cupid of his great might exemplified by his defeat of the python, Cupid humbles him by reducing the great god to a shameless lover with his gold-tipped arrow of love. A transformation of sorts takes place when the Cupid's arrow strikes Apollo. Apollo transforms from a bragging God who claims superiority
This beautiful sculpture was made by the Italian artist, Giovanni Lorenzo Bernini. The title of his piece called Apollo and Daphne, is a life sized sculpture with the dimensions of 96 inches, made strictly out of marble. Bernini used the technique of carving to create his masterpiece, which is the most unforgiving style to use because it is a one way process. Bernini was born in Naples and later moved to Rome where he started his sculpture in 1622 and finished in 1625. When I first glanced at
To start, the first ancient example of Apollo and Daphne story appears in a literary text written by an author named Ovid in the year 8 A.D. The book as a whole is called Metamorphoses and within it contains the myth of the young sun god Apollo and the virgin nymph Daphne. The passage begins with the hubris of Apollo after he defeated Python. When he stumbles upon Cupid, the sun god starts to boast and mock the love god, saying that he is the better archer and that Cupid shouldn’t being playing with
as a myth of Apollo and Daphne. The myth is led by the head of the romance department, Venus, who is closely followed by her troublesome son, Cupid. The Olympian god Apollo shows off to Cupid of his seemingly large achievement of the defeating of the python. Cupid sizes Apollo up by
In Greek Mythology, there are several characters involved. Some are minor characters while others are great heroes. Daphne is among these minor characters. She is a Naiad nymph--nymphs often associated with fountains, wells, springs, and other freshwater bodies. She is said to be the daughter of a river god and plays an ultimately small role in Greek mythology. Her existence, however, explains the appearance of the Laurel Tree. Stories like this were very important to the Greeks because they gave
of two sculptors who use the human form as a basis of their artwork. The first sculpture “Apollo and Daphne” by Gian Lorenzo Bernini was created in 1622 and portrays a Romanian story. Where as “Two Women” by Ron Mueck is a hyper realistic sculpture made by an Australian contemporary artist. Gian Lorenzo Bernini was a traditional sculptor that was born in 1598 and created art pieces such as “Apollo and Daphne” for well-known churches in Rome. On the other hand, Ron Mueck is a contemporary sculptor
better known as Giambologna, in the Mannerism period. The second artwork is “Apollo and Daphne,” by Gian Lorenzo Bernini, and, this artwork was created in the Baroque period. The key connection that puts these two artworks side-by-side for me to compare and contrast is the idea of inviting viewer, not only as an audience, but, also, as a part of the artworks’ itself. “Abduction of the Sabine Women” and “Apollo and Daphne” are two sculptures that share the same vision of connecting art and its viewer
One day Apollo, the god of light, is shot by Cupid’s arrow of intense love. The only downside is that the first person he met eyes with was Daphne, a woman with no means for men. The arrow caused Apollo’s obsessive quality to emerge, making him pursue Daphne in a forceful way. Apollo begins to follow Daphne, attempting to impress her , but she runs from him scared. At the time Apollo catches up to Daphne, she has already prayed to transform into a tree to
fantastic abilities. Apollo is a god that is a perfect personification of every expectation most people have of Greek Gods. The gift of beauty is a gift that Apollo has in abundance, and he is also a very generous god. This characteristic of Apollo is shown in the story of Apollo 's birth. Gods were also prone to having an incredible amount of sexual drive, and Apollo is a god with a list of partners miles long. The most interesting aspect of Apollo is the fact that even though Apollo is a god, he is
his works. During the development of MSND, Shakespeare utilized Ovid’s Metamorphosis. Through his work in MSND, influence taken from Ovid’s Metamorphosis is illustrated through the plot and characters. The four lovers in MSND closely resemble Apollo and Daphne with their personas and objectives. MSND’s plot resembles that of Ovid’s through the play’s use of allusion. Love is explored through its capriciousness and changeability by means of the plot driven by a character in the course of both works
Greek mythology has the title of Apollo. He is the son of Zeus and Leto, and the father of Asclepius. Believe it or not, Apollo is also said to have a twin sister named Artemis. This god is known to be the god of sun, prophecy, divination, music, poetry, disease, and healing as well. Apollo is described as being a beardless, handsome youth with very long hair, and is known as one of the most handsome gods. There are many sources that back this fact up. Therefore, Apollo is an important part of Greek
The cult classic movie The Princess Bride has a connection to the Greek myth of Pomona and Vertumnus and to Apollo and Daphne’s tale. They share a similar theme of disguised seduction that is crucial to the plot. This being one using deceit or a disguise to make the one they are after fall in love with them. These are not the only stories that use this theme, but they are the most notable. The similarities of The Princess Bride and the Greek myth of Pomona and Vertumnus are plentiful
contributing to the project of exploring the potential for an asexual reading to generate new understandings of canonical texts” (4). Likewise, I will take Arkenberg’s method of reading and apply it to Daphne; first to identify her as an asexual, and then to go on and interpret her encounter with
Apollo is one of the most widely renowned Greek god in ancient history, and one of the few gods to have both the same Greek and Roman name (Apollo). An online article, “Apollo,” said that he started out as the god of herdsmen, and “Apollo's identification as god of music, archery, and medicine came after his oracle was established at Delphi” ( “Apollo”). The article on GaleNet also mentioned that much later, he was commemorated as the god of the sun. Apollo is known for his powers in prophesying
Apollo Apollo's Appearance: A young man with curly golden hair. Symbol or Attribute: The Sun itself, the lyre (a type of musical instrument), the bow, and the chariot he drives across the sky daily. Apollo's Strengths: Creative, handsome, supportive of all the arts of civilization. Weaknesses: Like his father Zeus, Apollo is all too happy to enjoy the charms of nymphs, as well as the occasional youth, and his conquests number in the dozens. Birthplace of Apollo: On the sunny Greek island of
sculptures and painting by Gian Lorenzo Bernini and Lucas Cranach were no different. In Bernini’s The Ecstasy of St. Teresa, and Apollo and Daphne, and Cranach’s Judith, the sexualities of the women depicted are emphasized in the subject matter being portrayed and the poses of the women themselves. While St. Teresa is shown in a religious ecstasy comparable to sexual pleasure, Daphne is being completely transformed in order
examples of unrequited love. But four of his finest show a god, a nymph, a cyclops, and a minor goddess being rejected and each dealing with rejection their own way. The first story of unrequited love is in the first book. It is the story of Apollo and Daphne, showing that even the gods can
the Daphne and Phoebus analogy, the provisos themselves, and how the scene ends. The proviso scene opens, "-Like Daphne (Millamant) as lovely and as coy." alluding to a Grecian myth about a woman resisting love. Even as the first line, the mention of Daphne reveals the foreshadowing of Millamant's loss in power. In the book, Great Figures of Greek Mythology, the god Apollo loves Daphne but she does not want to be caught and calls out to her father to save her. Her father transforms Daphne into
I lines 452 – 567, the two protagonists, the gods Apollo and Cupid, are both portrayed as arrogant and powerful deities. However, Ovid’s true characterization of these immortals extends far beyond their obviously shared traits of arrogance and dominance. In reality, Ovid’s characterization of Apollo and Cupid is such that they represent completely different, but equally significant, symbols in the story. More specifically, one should read Apollo and Cupid’s respective characterizations as the former