Tyr
Alternative names: Týr
Tyr (pronounced /ˈtɪər/; Old Norse: Týr [tyːr]) is the god of single combat, war, victory and heroic glory in Norse mythology, portrayed as a one-handed man. Corresponding names in other Germanic languages are Gothic Teiws, Old English Tīw and Old High German Ziu, all from Proto-Germanic *Tîwaz (*Tē₂waz).
In the late Icelandic Eddas, Tyr is portrayed, alternately, as the son of Odin (Prose Edda) or of Hymir (Poetic Edda), while the origins of his name and his possible relationship to Tuisto (see Tacitus' Germania) suggest he was once considered the father of the gods and head of the pantheon, since his name is ultimately cognate to that of *Dyeus (cf. Dyaus), the reconstructed chief deity in Indo-European religion. It is assumed that Tîwaz was overtaken in popularity and in authority by both Odin and Thor at some point during the Migration Age.
He was the only god who is brave enough to put his hand in Fenris' mouth so the gods could bind it. Fenris, a wolf bit off his right hand. There is much debate about his left handedness. In the Norse culture the right hand was given for a pledge, which could be why the right hand was placed in the wolf's mouth. It has also been noted, however, that the offering of the right hand is to show that it is free of weapons. A left handed person was sometimes considered evil because he could use a weapon with his left hand even though he shook with his right hand.
Tuesday is named for Tyr who was known as Tiw, or Tiu, by the Anglo-Saxons. He must have been an important god in the pantheon prior to the mythology we were handed down in the eddas to have one of the days of the week named after him.
Since Tuesday is the English name given in place of the name of the day of the week sacred to Mars for the Romans, we know that the old English men thought of Tyr as being smiliar to Mars.
Name
Proto-Germanic *Tē₂waz continues Proto-Indo-European, *deywos "celestial being, god" (whence also Latin deus and Sanskrit deva). The oldest records of the word in Germanic are Gothic *teiws (/tiːws/), attested as tyz (as the name of the Gothic letter ��), in the 9th century Codex Vindobonensis 795 and Old High German *ziu, attested as cyo- in the A Wessobrunn prayer ms. of 814. The Negau helmet inscription (2nd century BC) may actually record the Proto-Germanic form, as teiva, but this interpretation is uncertain.
The Old Norse name Tyr in origin was a generic noun meaning "god" (cf. Hangatyr, the "god of the hanged" as one of Odin's names; probably inherited from Tyr in his role as judge).
The Old Norse name became Norwegian Ty, Swedish Tyr, Danish Tyr, while it remains Týr in Modern Icelandic and Faroese.
http://en.wikipedia.org/wiki/Tyr
http://commons.wikimedia.org/wiki/Category:T%C3%BDr
Sunday, December 26, 2010
Tyr (Norse)
Labels:
Combat,
Day of the Week,
Glory,
God,
Norse Myth,
Tuesday,
Tyr,
Victory,
War
Sunday, December 12, 2010
Ull (Norse)
Ull, god of archery
Old Norse Ullr
A god of archery and the hunt, according to some he was a god of winter, skiers and the snowshoe. His weapon was a longbow made out of Yew and he lived in Ydal [Yew Dales]. He was called upon for help in duels. He was the son (or step-son) of Thor and Sif (or Ovandrill, depending on the source). His name, which means glorious, is a part of many place names, therefore, he is considered to be an ancient god who was widely worshipped. It is believed that at one time he was one of the highest gods.
Old Norse Ullr
A god of archery and the hunt, according to some he was a god of winter, skiers and the snowshoe. His weapon was a longbow made out of Yew and he lived in Ydal [Yew Dales]. He was called upon for help in duels. He was the son (or step-son) of Thor and Sif (or Ovandrill, depending on the source). His name, which means glorious, is a part of many place names, therefore, he is considered to be an ancient god who was widely worshipped. It is believed that at one time he was one of the highest gods.
Tuesday, June 15, 2010
Eros (Greek)
Eros (Greek)
Alternative Names:
에로스, Cupid(Roman), 쿠피드, 큐피드
Eros
Eros (Ancient Greek: Ἔρως, "Intimate Love"), in Greek mythology, was the primordial god of sexual love and beauty. He was also worshipped as a fertility deity. His Roman counterpart was Cupid ("desire"), also known as Amor ("love"). In some myths, he was the son of the deities Aphrodite and Ares, but according to Plato's Symposium, he was conceived by Poros (Plenty) and Penia (Poverty) at Aphrodite's birthday. Like Dionysus, he was sometimes referred to as Eleutherios, "the liberator".
He was often represented blindfolded because love was often blind. His "weapon" was darts or arrows. In either case the tips had been magically treated to produce either uncontrollable love or insurmountable disinterested in the first person seen be Eros's victim after wounding.
Conception myths
Throughout Greek thought, there appear to be two sides to the conception of Eros. In the first, he is a primeval deity who embodies not only the force of love but also the creative urge of ever-flowing nature, the firstborn Light for the coming into being and ordering of all things in the cosmos. In Hesiod's Theogony, the most famous Greek creation myth, Eros sprang forth from the primordial Chaos together with Gaea, the Earth, and Tartarus, the underworld; according to Aristophanes' play The Birds (c. 414 BC), he burgeons forth from an egg laid by Nyx (Night) conceived with Erebus (Darkness). In the Eleusinian Mysteries, he was worshiped as Protogonus, the first-born.
Alternately, later in antiquity, Eros was the son of Aphrodite and either Ares (most commonly), Hermes or Hephaestus, or of Porus and Penia. Rarely, he was given as the son of Iris and Zephyrus; this Eros was an attendant of Aphrodite, harnessing the primordial force of love and directing it into mortals.
Worship of Eros was uncommon in early Greece, but eventually became widespread. He was fervently worshiped by a fertility cult in Thespiae, and played an important role in the Eleusinian Mysteries. In Athens, he shared a very popular cult with Aphrodite, and the fourth day of every month was sacred to him.
Eros and Psyche
The story of Eros and Psyche has a longstanding tradition as a folktale of the ancient Greco-Roman world long before it was put to print; first seen in Apuleius' Latin novel, The Golden Ass, this is apparent and an interesting intermingling of character roles. The novel itself is picaresque Roman style, yet Psyche and Aphrodite retain their Greek parts. It is only Eros whose role hails from his part in the Roman pantheon.
The story is told as a digression and structural parallel to the main storyline of Apuleius' novel. It tells of the struggle for love and trust between Eros and Psyche. Aphrodite is jealous of the beauty of mortal Psyche, as men are leaving her altars barren to worship a mere human woman instead, and so commands her son Eros to cause Psyche to fall in love with the ugliest creature on earth. Eros falls in love with Psyche himself and spirits her away to his home. Their fragile peace is ruined by a visit of Psyche's jealous sisters, who cause Psyche to betray the trust of her husband. Wounded, Eros departs from his wife and Psyche wanders the earth, looking for her lost love.
In Apuleius's The Golden Ass Psyche bears Eros a daughter, Voluptas, whose name means "pleasure" or "bliss".
http://en.wikipedia.org/wiki/Eros
Fertility gods | Greek gods | Greek mythology | Love and lust gods | Mythological Greek archers | Offspring of Aphrodite | Offspring of Ares | Sexuality in ancient Rome
Alternative Names:
에로스, Cupid(Roman), 쿠피드, 큐피드
Eros
Eros (Ancient Greek: Ἔρως, "Intimate Love"), in Greek mythology, was the primordial god of sexual love and beauty. He was also worshipped as a fertility deity. His Roman counterpart was Cupid ("desire"), also known as Amor ("love"). In some myths, he was the son of the deities Aphrodite and Ares, but according to Plato's Symposium, he was conceived by Poros (Plenty) and Penia (Poverty) at Aphrodite's birthday. Like Dionysus, he was sometimes referred to as Eleutherios, "the liberator".
He was often represented blindfolded because love was often blind. His "weapon" was darts or arrows. In either case the tips had been magically treated to produce either uncontrollable love or insurmountable disinterested in the first person seen be Eros's victim after wounding.
Conception myths
Throughout Greek thought, there appear to be two sides to the conception of Eros. In the first, he is a primeval deity who embodies not only the force of love but also the creative urge of ever-flowing nature, the firstborn Light for the coming into being and ordering of all things in the cosmos. In Hesiod's Theogony, the most famous Greek creation myth, Eros sprang forth from the primordial Chaos together with Gaea, the Earth, and Tartarus, the underworld; according to Aristophanes' play The Birds (c. 414 BC), he burgeons forth from an egg laid by Nyx (Night) conceived with Erebus (Darkness). In the Eleusinian Mysteries, he was worshiped as Protogonus, the first-born.
Alternately, later in antiquity, Eros was the son of Aphrodite and either Ares (most commonly), Hermes or Hephaestus, or of Porus and Penia. Rarely, he was given as the son of Iris and Zephyrus; this Eros was an attendant of Aphrodite, harnessing the primordial force of love and directing it into mortals.
Worship of Eros was uncommon in early Greece, but eventually became widespread. He was fervently worshiped by a fertility cult in Thespiae, and played an important role in the Eleusinian Mysteries. In Athens, he shared a very popular cult with Aphrodite, and the fourth day of every month was sacred to him.
Eros and Psyche
The story of Eros and Psyche has a longstanding tradition as a folktale of the ancient Greco-Roman world long before it was put to print; first seen in Apuleius' Latin novel, The Golden Ass, this is apparent and an interesting intermingling of character roles. The novel itself is picaresque Roman style, yet Psyche and Aphrodite retain their Greek parts. It is only Eros whose role hails from his part in the Roman pantheon.
The story is told as a digression and structural parallel to the main storyline of Apuleius' novel. It tells of the struggle for love and trust between Eros and Psyche. Aphrodite is jealous of the beauty of mortal Psyche, as men are leaving her altars barren to worship a mere human woman instead, and so commands her son Eros to cause Psyche to fall in love with the ugliest creature on earth. Eros falls in love with Psyche himself and spirits her away to his home. Their fragile peace is ruined by a visit of Psyche's jealous sisters, who cause Psyche to betray the trust of her husband. Wounded, Eros departs from his wife and Psyche wanders the earth, looking for her lost love.
In Apuleius's The Golden Ass Psyche bears Eros a daughter, Voluptas, whose name means "pleasure" or "bliss".
http://en.wikipedia.org/wiki/Eros
Fertility gods | Greek gods | Greek mythology | Love and lust gods | Mythological Greek archers | Offspring of Aphrodite | Offspring of Ares | Sexuality in ancient Rome
Wednesday, June 9, 2010
Eris (Greek)
Eris (Greek)
Alternative Names:
에리스, Discordia(Roman), 디스코디아
Eris is the daughter of Zeus and Hera. Eris (Greek Ἔρις, "Strife") is the Greek goddess of strife, her name being translated into Latin as Discordia. In addition to her main activity of sowing discord, she frequently accompanies her brother Ares to battles. On these occasions she rides his chariot and brings her son Strife. Her Greek opposite is Harmonia, whose Latin counterpart is Concordia. Homer equated her with the war-goddess Enyo, whose Roman counterpart is Bellona. Eris, the solar system's largest known dwarf planet, is named after the goddess.
Eris is unpopular and frequently snubbed as a guest by the other gods and mankind. This was not always a safe thing to do. The most dramatic example being the Trojan War, which was an indirect result of not inviting Eris to a wedding.
Characteristics in Greek mythology
In Hesiod's Works and Days 11–24, two different goddesses named Eris "Strife" are distinguished:
So, after all, there was not one kind of Strife alone, but all over the earth there are two. As for the one, a man would praise her when he came to understand her; but the other is blameworthy: and they are wholly different in nature.
For one fosters evil war and battle, being cruel: her no man loves; but perforce, through the will of the deathless gods, men pay harsh Strife her honour due.
But the other is the elder daughter of dark Night (Nyx), and the son of Cronus who sits above and dwells in the aether, set her in the roots of the earth: and she is far kinder to men. She stirs up even the shiftless to toil; for a man grows eager to work when he considers his neighbour, a rich man who hastens to plough and plant and put his house in good order; and neighbour vies with his neighbour as he hurries after wealth. This Strife is wholesome for men. And potter is angry with potter, and craftsman with craftsman, and beggar is jealous of beggar, and minstrel of minstrel.
In Hesiod's Theogony, (226–232) Strife, the daughter of Night is less kindly spoken of as she brings forth other personifications as her children:
But abhorred Eris ('Strife') bare painful Ponos ('Toil/Labor'), Lethe ('Forgetfulness') and Limos ('Famine') and tearful Algea (Pains/Sorrows), Hysminai ('Fightings/Combats') also, Makhai ('Battles'), Phonoi ('Murders/Slaughterings'), Androctasiai ('Manslaughters'), Neikea ('Quarrels'), Pseudea ('Lies/Falsehoods'), Amphillogiai ('Disputes'), Dysnomia ('Lawlessness') and Ate ('Ruin/Folly'), all of one nature, and Horkos ('Oath') who most troubles men upon earth when anyone wilfully swears a false oath.
The other Strife is presumably she who appears in Homer's Iliad Book IV; equated with Enyo as sister of Ares and so presumably daughter of Zeus and Hera:
Strife whose wrath is relentless, she is the sister and companion of murderous Ares, she who is only a little thing at the first, but thereafter grows until she strides on the earth with her head striking heaven. She then hurled down bitterness equally between both sides as she walked through the onslaught making men's pain heavier. She also has a son whom she named Strife.
Enyo is mentioned in Book 5, and Zeus sends Strife to rouse the Achaeans in Book 11, of the same work.
The most famous tale of Eris recounts her initiating the Trojan War. The goddesses Hera, Athena and Aphrodite had been invited along with the rest of Olympus to the forced wedding of Peleus and Thetis, who would become the parents of Achilles, but Eris had been snubbed because of her troublemaking inclinations.
She therefore (in a fragment from the Kypria as part of a plan hatched by Zeus and Themis) tossed into the party the Apple of Discord, a golden apple inscribed Kallisti – "For the most beautiful one", or "To the Fairest One" – provoking the goddesses to begin quarreling about the appropriate recipient. The hapless Paris, Prince of Troy, was appointed to select the most beautiful by Zeus. Each of the three goddesses immediately attempted to bribe Paris to choose her. Hera offered political power; Athena promised skill in battle; and Aphrodite tempted him with the most beautiful woman in the world: Helen, wife of Menelaus of Sparta. While Greek culture placed a greater emphasis on prowess and power, Paris chose to award the apple to Aphrodite, thereby dooming his city, which was destroyed in the war that ensued.
In Nonnus' Dionysiaca, 2.356, when Typhon prepares to battle with Zeus:
Eris ('Strife') was Typhon's escort in the melée, Nike ('Victory') led Zeus to battle.
Another story of Eris includes Hera, and the love of Polytekhnos and Aedon. They claimed to love each other more than Hera and Zeus were in love. This angered Hera, so she sent Eris to rack discord upon them. Polytekhnos was finishing off a chariot board, and Aedon a web she had been weaving. Eris said to them, "Whosoever finishes thine task last shall have to present the other with a female servant!" Aedon won. But Polytekhnos was not happy by his defeat, so he came to Khelidon, Aedon's sister, and raped her. He then disguised her as a slave, presenting her to Aedon. When Aedon discovered this was indeed her sister, she chopped up Polytekhnos' son and fed him to him. The gods were not pleased, so they turned them all into birds.
Cultural influences
Discordianism
Eris has been adopted as the matron deity of the modern Discordian religion, which was begun in the late 1950s by Gregory Hill and Kerry Wendell Thornley under the pen names of "Malaclypse the Younger" and "Omar Khayyam Ravenhurst". The Discordian version of Eris is considerably lighter in comparison to the rather malevolent Graeco-Roman original. A quote from the Principia Discordia, the first holy book of Discordianism, attempts to clear this up:
One day Mal-2 consulted his Pineal Gland and asked Eris if She really created all of those terrible things. She told him that She had always liked the Old Greeks, but that they cannot be trusted with historic matters. "They were," She added, "victims of indigestion, you know."
The story of Eris being snubbed and indirectly starting the Trojan War is recorded in the Principia, and is referred to as the Original Snub. The Principia Discordia states that her parents may be as described in Greek legend, or that she may be the daughter of Void. She is the Goddess of Disorder and Being, whereas her sister Aneris (called the equivalent of Harmonia by the Mythics of Harmonia) is the goddess of Order and Non-Being. Their brother is Spirituality.
The concept of Eris as developed by the Principia Discordia is used and expanded upon in the science fiction work The Illuminatus! Trilogy by Robert Shea and Robert Anton Wilson (in which characters from Principia Discordia appear). In this work, Eris is a major character in the book, taking the form of virtually every other female character who appears before her true nature is revealed in the final volume.
Sleeping Beauty
The classic fairy tale Sleeping Beauty is partly inspired by Eris's role in the wedding of Peleus and Thetis. Like Eris, a malevolent fairy curses a princess after failing to be invited to the princess' christening.
http://en.wikipedia.org/wiki/Eris_(mythology)
Greek mythology | Greek goddesses | Trickster goddesses | Discordianism | War goddesses | Deities in the Iliad | Divine women of Zeus
Alternative Names:
에리스, Discordia(Roman), 디스코디아
Eris is the daughter of Zeus and Hera. Eris (Greek Ἔρις, "Strife") is the Greek goddess of strife, her name being translated into Latin as Discordia. In addition to her main activity of sowing discord, she frequently accompanies her brother Ares to battles. On these occasions she rides his chariot and brings her son Strife. Her Greek opposite is Harmonia, whose Latin counterpart is Concordia. Homer equated her with the war-goddess Enyo, whose Roman counterpart is Bellona. Eris, the solar system's largest known dwarf planet, is named after the goddess.
Eris is unpopular and frequently snubbed as a guest by the other gods and mankind. This was not always a safe thing to do. The most dramatic example being the Trojan War, which was an indirect result of not inviting Eris to a wedding.
Characteristics in Greek mythology
In Hesiod's Works and Days 11–24, two different goddesses named Eris "Strife" are distinguished:
So, after all, there was not one kind of Strife alone, but all over the earth there are two. As for the one, a man would praise her when he came to understand her; but the other is blameworthy: and they are wholly different in nature.
For one fosters evil war and battle, being cruel: her no man loves; but perforce, through the will of the deathless gods, men pay harsh Strife her honour due.
But the other is the elder daughter of dark Night (Nyx), and the son of Cronus who sits above and dwells in the aether, set her in the roots of the earth: and she is far kinder to men. She stirs up even the shiftless to toil; for a man grows eager to work when he considers his neighbour, a rich man who hastens to plough and plant and put his house in good order; and neighbour vies with his neighbour as he hurries after wealth. This Strife is wholesome for men. And potter is angry with potter, and craftsman with craftsman, and beggar is jealous of beggar, and minstrel of minstrel.
In Hesiod's Theogony, (226–232) Strife, the daughter of Night is less kindly spoken of as she brings forth other personifications as her children:
But abhorred Eris ('Strife') bare painful Ponos ('Toil/Labor'), Lethe ('Forgetfulness') and Limos ('Famine') and tearful Algea (Pains/Sorrows), Hysminai ('Fightings/Combats') also, Makhai ('Battles'), Phonoi ('Murders/Slaughterings'), Androctasiai ('Manslaughters'), Neikea ('Quarrels'), Pseudea ('Lies/Falsehoods'), Amphillogiai ('Disputes'), Dysnomia ('Lawlessness') and Ate ('Ruin/Folly'), all of one nature, and Horkos ('Oath') who most troubles men upon earth when anyone wilfully swears a false oath.
The other Strife is presumably she who appears in Homer's Iliad Book IV; equated with Enyo as sister of Ares and so presumably daughter of Zeus and Hera:
Strife whose wrath is relentless, she is the sister and companion of murderous Ares, she who is only a little thing at the first, but thereafter grows until she strides on the earth with her head striking heaven. She then hurled down bitterness equally between both sides as she walked through the onslaught making men's pain heavier. She also has a son whom she named Strife.
Enyo is mentioned in Book 5, and Zeus sends Strife to rouse the Achaeans in Book 11, of the same work.
The most famous tale of Eris recounts her initiating the Trojan War. The goddesses Hera, Athena and Aphrodite had been invited along with the rest of Olympus to the forced wedding of Peleus and Thetis, who would become the parents of Achilles, but Eris had been snubbed because of her troublemaking inclinations.
She therefore (in a fragment from the Kypria as part of a plan hatched by Zeus and Themis) tossed into the party the Apple of Discord, a golden apple inscribed Kallisti – "For the most beautiful one", or "To the Fairest One" – provoking the goddesses to begin quarreling about the appropriate recipient. The hapless Paris, Prince of Troy, was appointed to select the most beautiful by Zeus. Each of the three goddesses immediately attempted to bribe Paris to choose her. Hera offered political power; Athena promised skill in battle; and Aphrodite tempted him with the most beautiful woman in the world: Helen, wife of Menelaus of Sparta. While Greek culture placed a greater emphasis on prowess and power, Paris chose to award the apple to Aphrodite, thereby dooming his city, which was destroyed in the war that ensued.
In Nonnus' Dionysiaca, 2.356, when Typhon prepares to battle with Zeus:
Eris ('Strife') was Typhon's escort in the melée, Nike ('Victory') led Zeus to battle.
Another story of Eris includes Hera, and the love of Polytekhnos and Aedon. They claimed to love each other more than Hera and Zeus were in love. This angered Hera, so she sent Eris to rack discord upon them. Polytekhnos was finishing off a chariot board, and Aedon a web she had been weaving. Eris said to them, "Whosoever finishes thine task last shall have to present the other with a female servant!" Aedon won. But Polytekhnos was not happy by his defeat, so he came to Khelidon, Aedon's sister, and raped her. He then disguised her as a slave, presenting her to Aedon. When Aedon discovered this was indeed her sister, she chopped up Polytekhnos' son and fed him to him. The gods were not pleased, so they turned them all into birds.
Cultural influences
Discordianism
Eris has been adopted as the matron deity of the modern Discordian religion, which was begun in the late 1950s by Gregory Hill and Kerry Wendell Thornley under the pen names of "Malaclypse the Younger" and "Omar Khayyam Ravenhurst". The Discordian version of Eris is considerably lighter in comparison to the rather malevolent Graeco-Roman original. A quote from the Principia Discordia, the first holy book of Discordianism, attempts to clear this up:
One day Mal-2 consulted his Pineal Gland and asked Eris if She really created all of those terrible things. She told him that She had always liked the Old Greeks, but that they cannot be trusted with historic matters. "They were," She added, "victims of indigestion, you know."
The story of Eris being snubbed and indirectly starting the Trojan War is recorded in the Principia, and is referred to as the Original Snub. The Principia Discordia states that her parents may be as described in Greek legend, or that she may be the daughter of Void. She is the Goddess of Disorder and Being, whereas her sister Aneris (called the equivalent of Harmonia by the Mythics of Harmonia) is the goddess of Order and Non-Being. Their brother is Spirituality.
The concept of Eris as developed by the Principia Discordia is used and expanded upon in the science fiction work The Illuminatus! Trilogy by Robert Shea and Robert Anton Wilson (in which characters from Principia Discordia appear). In this work, Eris is a major character in the book, taking the form of virtually every other female character who appears before her true nature is revealed in the final volume.
Sleeping Beauty
The classic fairy tale Sleeping Beauty is partly inspired by Eris's role in the wedding of Peleus and Thetis. Like Eris, a malevolent fairy curses a princess after failing to be invited to the princess' christening.
http://en.wikipedia.org/wiki/Eris_(mythology)
Greek mythology | Greek goddesses | Trickster goddesses | Discordianism | War goddesses | Deities in the Iliad | Divine women of Zeus
Erinyes (Greek)
Erinyes (Greek)
Alternative Names:
에리네스, 에리녜스, Furies, 퓨리에
In Greek mythology the Erinýes (Ἐρινύες, pl. of Ἐρινύς, Erinýs; literally "the angry ones") or Eumenídes (Εὐμενίδες, pl. of Εὐμενίς; literally "the gracious ones" but also translated as "Kind-hearted Ones" or "Kindly Ones") or Furies or Dirae in Roman mythology were female chthonic deities of vengeance or supernatural personifications of the anger of the dead. They represent regeneration and the potency of creation, which both consumes and empowers. A formulaic oath in the Iliad (iii.278ff; xix.260ff) invokes them as "those who beneath the earth punish whosoever has sworn a false oath". Burkert suggests they are "an embodiment of the act of self-cursing contained in the oath".
When the mighty Titan Cronus castrated his father Uranus and threw his genitalia into the sea, the Erinyes emerged from the drops of blood, while Aphrodite was born from the crests of seafoam. According to a variant account, they issued from an even more primordial level—from Nyx, "Night". Their number is usually left indeterminate. Virgil, probably working from an Alexandrian source, recognized three: Alecto ("unceasing", who appeared in Virgil's Aeneid), Megaera ("grudging"), and Tisiphone ("avenging murder"). Dante followed Virgil in depicting the same three-charactered triptych of Erinyes; in Canto IX of the Inferno they confront the poets at the gates of the city of Dis. The heads of the Erinyes, whom the two poets met in Canto IV, were wreathed with serpents (compare Gorgon) and their eyes dripped with blood, rendering their appearance rather horrific. Sometimes they had the wings of a bat or bird and the body of a dog.
In Aeschylus's "Eumenides", The Erinyes chase Orestes to avenge Clytemnestra, his mother. Orestes killed Clytemnestra to avenge the murder of his father, Agamemnon. The Erinyes chase Orestes to Athens where Athena then intervenes. She and the Athenians judge whether Orestes deserves the wrath of Erinyes and rule in favor of Orestes. Athena, in order to appease the Erinyes, gives them the love of Athens and renames them the Eumenides. The Eumenides are given red robes to replace the black robes they wore for most of the play, drawing an end to the red color scheme that is evident throughout the play.
http://en.wikipedia.org/wiki/Erinyes
Chthonic deities
Demeter, Erinyes, Gaia, Hades, Hecate, Iacchus, Melinoe, Persephone, Triptolemus, Trophonius
Greek goddesses | Triune gods | Vengeance goddesses
Alternative Names:
에리네스, 에리녜스, Furies, 퓨리에
In Greek mythology the Erinýes (Ἐρινύες, pl. of Ἐρινύς, Erinýs; literally "the angry ones") or Eumenídes (Εὐμενίδες, pl. of Εὐμενίς; literally "the gracious ones" but also translated as "Kind-hearted Ones" or "Kindly Ones") or Furies or Dirae in Roman mythology were female chthonic deities of vengeance or supernatural personifications of the anger of the dead. They represent regeneration and the potency of creation, which both consumes and empowers. A formulaic oath in the Iliad (iii.278ff; xix.260ff) invokes them as "those who beneath the earth punish whosoever has sworn a false oath". Burkert suggests they are "an embodiment of the act of self-cursing contained in the oath".
When the mighty Titan Cronus castrated his father Uranus and threw his genitalia into the sea, the Erinyes emerged from the drops of blood, while Aphrodite was born from the crests of seafoam. According to a variant account, they issued from an even more primordial level—from Nyx, "Night". Their number is usually left indeterminate. Virgil, probably working from an Alexandrian source, recognized three: Alecto ("unceasing", who appeared in Virgil's Aeneid), Megaera ("grudging"), and Tisiphone ("avenging murder"). Dante followed Virgil in depicting the same three-charactered triptych of Erinyes; in Canto IX of the Inferno they confront the poets at the gates of the city of Dis. The heads of the Erinyes, whom the two poets met in Canto IV, were wreathed with serpents (compare Gorgon) and their eyes dripped with blood, rendering their appearance rather horrific. Sometimes they had the wings of a bat or bird and the body of a dog.
In Aeschylus's "Eumenides", The Erinyes chase Orestes to avenge Clytemnestra, his mother. Orestes killed Clytemnestra to avenge the murder of his father, Agamemnon. The Erinyes chase Orestes to Athens where Athena then intervenes. She and the Athenians judge whether Orestes deserves the wrath of Erinyes and rule in favor of Orestes. Athena, in order to appease the Erinyes, gives them the love of Athens and renames them the Eumenides. The Eumenides are given red robes to replace the black robes they wore for most of the play, drawing an end to the red color scheme that is evident throughout the play.
http://en.wikipedia.org/wiki/Erinyes
Chthonic deities
Demeter, Erinyes, Gaia, Hades, Hecate, Iacchus, Melinoe, Persephone, Triptolemus, Trophonius
Greek goddesses | Triune gods | Vengeance goddesses
Friday, June 4, 2010
Urðr (Norse)
Urðr
In Norse mythology, Urðr (Old Norse "fate",) is a Norn. Along with Verðandi (possibly "happening" or "present") and Skuld (possibly "debt" or "future"), Urðr makes up a trio of Norns that are described as deciding the fates of people. Urðr is attested in stanza 20 of the Poetic Edda poem Völuspá and the Prose Edda book Gylfaginning.
Urðr is sometimes anglicised as Urd or Urth. In some English translations her name is glossed with the Old English form of urðr; Wyrd.
http://en.wikipedia.org/wiki/Ur%C3%B0r
A poster for the Norwegian women's magazine Urd. The magazine was published between 1897 and 1958.
Latest 1917, the year of Bloch's death, though considering it was in the Jugendstil exhibition, 1900-1905 is a fair guess. The Norwegian National Library says the poster is undated.
Anime and Manga
Oh My Goddess!, Ah! My Goddess : Urd
Urd (ウルド Urudo) is a character in the popular Oh My Goddess! manga and anime, voiced by Toma Yumi (冬馬由美). In the series, her character is only loosely based on the deity Urðr from Norse mythology. Visually, her character design shows influences from shoujo and art nouveau.
http://en.wikipedia.org/wiki/Urd_(Oh_My_Goddess!)
Time and fate goddesses | Norse deities | Norse mythology stubs | Oh My Goddess!
In Norse mythology, Urðr (Old Norse "fate",) is a Norn. Along with Verðandi (possibly "happening" or "present") and Skuld (possibly "debt" or "future"), Urðr makes up a trio of Norns that are described as deciding the fates of people. Urðr is attested in stanza 20 of the Poetic Edda poem Völuspá and the Prose Edda book Gylfaginning.
Urðr is sometimes anglicised as Urd or Urth. In some English translations her name is glossed with the Old English form of urðr; Wyrd.
http://en.wikipedia.org/wiki/Ur%C3%B0r
A poster for the Norwegian women's magazine Urd. The magazine was published between 1897 and 1958.
Latest 1917, the year of Bloch's death, though considering it was in the Jugendstil exhibition, 1900-1905 is a fair guess. The Norwegian National Library says the poster is undated.
Anime and Manga
Oh My Goddess!, Ah! My Goddess : Urd
Urd (ウルド Urudo) is a character in the popular Oh My Goddess! manga and anime, voiced by Toma Yumi (冬馬由美). In the series, her character is only loosely based on the deity Urðr from Norse mythology. Visually, her character design shows influences from shoujo and art nouveau.
http://en.wikipedia.org/wiki/Urd_(Oh_My_Goddess!)
Time and fate goddesses | Norse deities | Norse mythology stubs | Oh My Goddess!
Friday, May 14, 2010
Venus, Cupid, Folly and Time
Venus, Cupid, Folly and Time
Artist: Angelo Bronzino (1503–1572)
Title: Venus, Cupid, Folly and Time [Allegory of the Triumph of Venus]
Deutsch: Allegorie des Triumphes der Venus
Français : Allégorie du triomphe de Vénus
Italiano: Allegoria del trionfo di Venere
Year: 1540-1545
Technique:
Deutsch: Öl auf Holz
Français : Oil on wood
Français : Huile sur bois
Italiano: Olio su tavola
Dimensions: 146 × 116 cm (57.48 × 45.67 in)
Current location: National Gallery, London
Venus, Cupid, Folly, and Time - also referred to as An Allegory of Venus and Cupid and A Triumph of Venus - is an allegorical painting by the Florentine artist Agnolo Bronzino now in the National Gallery, London.
Around 1546, Bronzino was commissioned to create a painting which has come to be known as Venus, Cupid, Folly, and Time. It displays the ambivalence, eroticism and obscure imagery which is characteristic of the Mannerist period, and of Bronzino's master Pontormo.
The painting may have been commissioned by Cosimo I de' Medici, Grand Duke of Tuscany or by Francesco Salviati, to be presented by him as a gift to Francis I of France. Vasari wrote that it was sent to King Francis, though he does not specify by whom. The erotic imagery would have appealed to the tastes prevalent in both the Medici and French courts at this time. The attention to texture and wealth is also consistent with Bronzino's aristocratic patronage. The figure of Venus can be likened to a precious object (such as a marble statue) in a luxurious setting, desirable because of her unavailability.
Crowded into the claustrophobic foreground of the painting are several figures whose identities have been the subject of extensive scholarly debate. The themes of the painting appear to be lust, deceit, and jealousy. At times it has also been called A Triumph of Venus. Its meaning, however, remains elusive. Cupid, along with his mother Venus and the nude putto to the right, are all posed in a typical Mannerist figura serpentinata form.
The two central figures are easily identified by their attributes as Venus and Cupid. For example, she holds the golden apple she won in the Judgement of Paris, while he sports the characteristic wings and quiver. Both figures are nude, illuminated in a radiant white light. Cupid fondles his mother's bare breast and kisses her lips. Even more bizarre is the subtle element of Venus's tongue; she appears to be on the verge of slipping it into Cupid's mouth. This tiny detail was evidently the most scandalous aspect of all and at least one previous owner had it painted out over the years. Cupid appears to be nearing adolescence—notably older than the cherubic Cupid who appears in other works, and edging into the age where he might be old enough to make love to his mother—while Venus is portrayed as a beautiful young woman in her twenties. It has been suggested that Venus' legs appear to be slightly spread, possibly to indicate she is ready to receive Cupid sexually. Venus is shown holding Cupid's arrow which perhaps implies that she is in control of their lovemaking. As the couple seem on verge of a sexual tryst, they are also about to be showered from behind with rose petals by a naked boy, believed to represent jest, folly or pleasure. Another meaning that could be derived, would be through the detail of cupid's hand on his mother's crown, as if to say Be careful of who you love, you never know if they have honorable intentions.
The bearded, bald figure to the upper right of the scene is believed to be Time, in view of the hourglass behind him. He sweeps his arm forcefully out to his right. Again, it is difficult to interpret his gesture with any certainty; it could be to prevent the figure at the far left of the picture from shielding the incestuous transgressions of Venus and the adolescent Cupid with the billowing blue fabric that provides a screen between the figures in the fore and background. Many believe that his gesture seems to say, Time is fleeting, and you never know when it may be all over. The figure opposite time, and also grasping at the drapery, is usually referred to as Oblivion due to the lack of substance to his form--notice the eyeless sockets and the mask-like head. The mask-like face of this figure is echoed by the image of two actual masks in the lower right-hand corner.
The identity of the remaining figures is even more ambiguous. The old woman rending her hair has been called Jealousy—though some believe her to represent the ravaging effects of syphilis (result of unwise intercourse). The creature at the right hand side behind Folly, with a girl's face and grotesque body, extending a honeycomb with her left hand attached to her right arm, may represent Pleasure and Fraud. There is, however, no consensus on these identifications.
Links and References
http://en.wikipedia.org/wiki/Venus,_Cupid,_Folly_and_Time
Essay on this painting from the book Beauty and Terror by Brian A. Oard
http://en.wikipedia.org/wiki/File:Angelo_Bronzino_001.jpg
Mannerist paintings | Collections of the National Gallery, London | 1545 paintings | Bronzino paintings | Paintings of Venus
Artist: Angelo Bronzino (1503–1572)
Title: Venus, Cupid, Folly and Time [Allegory of the Triumph of Venus]
Deutsch: Allegorie des Triumphes der Venus
Français : Allégorie du triomphe de Vénus
Italiano: Allegoria del trionfo di Venere
Year: 1540-1545
Technique:
Deutsch: Öl auf Holz
Français : Oil on wood
Français : Huile sur bois
Italiano: Olio su tavola
Dimensions: 146 × 116 cm (57.48 × 45.67 in)
Current location: National Gallery, London
Venus, Cupid, Folly, and Time - also referred to as An Allegory of Venus and Cupid and A Triumph of Venus - is an allegorical painting by the Florentine artist Agnolo Bronzino now in the National Gallery, London.
Around 1546, Bronzino was commissioned to create a painting which has come to be known as Venus, Cupid, Folly, and Time. It displays the ambivalence, eroticism and obscure imagery which is characteristic of the Mannerist period, and of Bronzino's master Pontormo.
The painting may have been commissioned by Cosimo I de' Medici, Grand Duke of Tuscany or by Francesco Salviati, to be presented by him as a gift to Francis I of France. Vasari wrote that it was sent to King Francis, though he does not specify by whom. The erotic imagery would have appealed to the tastes prevalent in both the Medici and French courts at this time. The attention to texture and wealth is also consistent with Bronzino's aristocratic patronage. The figure of Venus can be likened to a precious object (such as a marble statue) in a luxurious setting, desirable because of her unavailability.
Crowded into the claustrophobic foreground of the painting are several figures whose identities have been the subject of extensive scholarly debate. The themes of the painting appear to be lust, deceit, and jealousy. At times it has also been called A Triumph of Venus. Its meaning, however, remains elusive. Cupid, along with his mother Venus and the nude putto to the right, are all posed in a typical Mannerist figura serpentinata form.
The two central figures are easily identified by their attributes as Venus and Cupid. For example, she holds the golden apple she won in the Judgement of Paris, while he sports the characteristic wings and quiver. Both figures are nude, illuminated in a radiant white light. Cupid fondles his mother's bare breast and kisses her lips. Even more bizarre is the subtle element of Venus's tongue; she appears to be on the verge of slipping it into Cupid's mouth. This tiny detail was evidently the most scandalous aspect of all and at least one previous owner had it painted out over the years. Cupid appears to be nearing adolescence—notably older than the cherubic Cupid who appears in other works, and edging into the age where he might be old enough to make love to his mother—while Venus is portrayed as a beautiful young woman in her twenties. It has been suggested that Venus' legs appear to be slightly spread, possibly to indicate she is ready to receive Cupid sexually. Venus is shown holding Cupid's arrow which perhaps implies that she is in control of their lovemaking. As the couple seem on verge of a sexual tryst, they are also about to be showered from behind with rose petals by a naked boy, believed to represent jest, folly or pleasure. Another meaning that could be derived, would be through the detail of cupid's hand on his mother's crown, as if to say Be careful of who you love, you never know if they have honorable intentions.
The bearded, bald figure to the upper right of the scene is believed to be Time, in view of the hourglass behind him. He sweeps his arm forcefully out to his right. Again, it is difficult to interpret his gesture with any certainty; it could be to prevent the figure at the far left of the picture from shielding the incestuous transgressions of Venus and the adolescent Cupid with the billowing blue fabric that provides a screen between the figures in the fore and background. Many believe that his gesture seems to say, Time is fleeting, and you never know when it may be all over. The figure opposite time, and also grasping at the drapery, is usually referred to as Oblivion due to the lack of substance to his form--notice the eyeless sockets and the mask-like head. The mask-like face of this figure is echoed by the image of two actual masks in the lower right-hand corner.
The identity of the remaining figures is even more ambiguous. The old woman rending her hair has been called Jealousy—though some believe her to represent the ravaging effects of syphilis (result of unwise intercourse). The creature at the right hand side behind Folly, with a girl's face and grotesque body, extending a honeycomb with her left hand attached to her right arm, may represent Pleasure and Fraud. There is, however, no consensus on these identifications.
Links and References
http://en.wikipedia.org/wiki/Venus,_Cupid,_Folly_and_Time
Essay on this painting from the book Beauty and Terror by Brian A. Oard
http://en.wikipedia.org/wiki/File:Angelo_Bronzino_001.jpg
Mannerist paintings | Collections of the National Gallery, London | 1545 paintings | Bronzino paintings | Paintings of Venus
Labels:
1545,
Angelo Bronzino,
Cupid,
Paintings,
Roman Myth,
Venus
Friday, April 9, 2010
Epimetheus (Greek)
Epimetheus
In Greek mythology, Epimetheus (Greek: Ἐπιμηθεύς) ("hindsight", literally "afterthought," but in the manner of a fool looking behind, while running forward) was the brother of Prometheus ("foresight", literally "fore-thought"), a pair of Titans who "acted as representatives of mankind" (Kerenyi 1951, p 207). They were the inseparable sons of Iapetus, who in other contexts was the father of Atlas. While Prometheus is characterized as ingenious and clever, Epimetheus is depicted as foolish.
According to Plato's use of the old myth in his Protagoras (320d-322a), the twin Titans were entrusted with distributing the traits among the newly-created animals; Epimetheus was responsible for giving a positive trait to every animal, but when it was time to give man a positive trait, lacking foresight he found that there was nothing left. Prometheus decided that mankind's attributes would be the civilizing arts and fire, which he stole from the gods. Prometheus later stood trial for his crime. In the context of Plato's dialogue, "Epimetheus, the being in whom thought follows production, represents nature in the sense of materialism, according to which thought comes later than thoughtless bodies and their thoughtless motions."
According to Hesiod, who related the tale twice (Theogony, 527ff; Works and Days 57ff), Epimetheus was the one who accepted the gift of Pandora from the gods. Their marriage may be inferred (and was by later authors), but it is not made explicit in either text.
In later myths, the daughter of Epimetheus and Pandora was Pyrrha, who married Deucalion and was one of the two who survived the deluge.
Epimetheus plays a key role in the philosophy of Bernard Stiegler, and in particular in terms of his understanding of the relation between technogenesis and anthropogenesis. According to Stiegler, it is significant that Epimetheus is entirely forgotten in the philosophy of Martin Heidegger. Les Amis, in his book Commemorating Epimetheus (2009), reinstates the value of Epimetheus. He is credited with bringing to the world our knowledge of dependency on each other described phenomenologically in terms of sharing, caring, meeting and dwelling and loving.
Titan deities
Titanes: Oceanus · Hyperion · Coeus · Cronus · Crius · Iapetus
Titanides: Tethys · Theia · Phoebe · Rhea · Mnemosyne · Themis
Hyperionides: Helios · Selene · Eos
Koionides: Leto · Asteria
Krionides: Astraios · Pallas · Perses
Iapetionides: Atlas · Prometheus · Epimetheus · Menoetius
http://en.wikipedia.org/wiki/Epimetheus_(mythology)
Greek gods | Greek mythology | Titans
In Greek mythology, Epimetheus (Greek: Ἐπιμηθεύς) ("hindsight", literally "afterthought," but in the manner of a fool looking behind, while running forward) was the brother of Prometheus ("foresight", literally "fore-thought"), a pair of Titans who "acted as representatives of mankind" (Kerenyi 1951, p 207). They were the inseparable sons of Iapetus, who in other contexts was the father of Atlas. While Prometheus is characterized as ingenious and clever, Epimetheus is depicted as foolish.
According to Plato's use of the old myth in his Protagoras (320d-322a), the twin Titans were entrusted with distributing the traits among the newly-created animals; Epimetheus was responsible for giving a positive trait to every animal, but when it was time to give man a positive trait, lacking foresight he found that there was nothing left. Prometheus decided that mankind's attributes would be the civilizing arts and fire, which he stole from the gods. Prometheus later stood trial for his crime. In the context of Plato's dialogue, "Epimetheus, the being in whom thought follows production, represents nature in the sense of materialism, according to which thought comes later than thoughtless bodies and their thoughtless motions."
According to Hesiod, who related the tale twice (Theogony, 527ff; Works and Days 57ff), Epimetheus was the one who accepted the gift of Pandora from the gods. Their marriage may be inferred (and was by later authors), but it is not made explicit in either text.
In later myths, the daughter of Epimetheus and Pandora was Pyrrha, who married Deucalion and was one of the two who survived the deluge.
Epimetheus plays a key role in the philosophy of Bernard Stiegler, and in particular in terms of his understanding of the relation between technogenesis and anthropogenesis. According to Stiegler, it is significant that Epimetheus is entirely forgotten in the philosophy of Martin Heidegger. Les Amis, in his book Commemorating Epimetheus (2009), reinstates the value of Epimetheus. He is credited with bringing to the world our knowledge of dependency on each other described phenomenologically in terms of sharing, caring, meeting and dwelling and loving.
Titan deities
Titanes: Oceanus · Hyperion · Coeus · Cronus · Crius · Iapetus
Titanides: Tethys · Theia · Phoebe · Rhea · Mnemosyne · Themis
Hyperionides: Helios · Selene · Eos
Koionides: Leto · Asteria
Krionides: Astraios · Pallas · Perses
Iapetionides: Atlas · Prometheus · Epimetheus · Menoetius
http://en.wikipedia.org/wiki/Epimetheus_(mythology)
Greek gods | Greek mythology | Titans
Friday, March 19, 2010
Eos ( Ἠώς, Greek)
Eos ( Ἠώς, Greek)
Eos (Greek Ἠώς, or Ἕως "dawn") is, in Greek mythology, the Titan goddess of the dawn, who rose from her home at the edge of Oceanus, the Ocean that surrounds the world, to herald her brother Helios, the sun.
The Greek worship of the dawn as a goddess is believed to be inherited from Indo-European times. The name Eos is cognate to Latin Aurora, to Vedic Ushas.
Eos in Greek literature
Greek deities
The dawn goddess, Eos with "rosy fingers" opened the gates of heaven so that Apollo could ride his chariot across the sky every day. In Homer, her saffron-colored robe is embroidered or woven with flowers; rosy-fingered and with golden arms, she is pictured on Attic vases as a supernaturally beautiful woman, crowned with a tiara or diadem and with the large white-feathered wings of a bird.
From The Iliad:
Now when Dawn in robe of saffron was hastening from the streams of Oceanus, to bring light to mortals and immortals, Thetis reached the ships with the armor that the god had given her.
—Iliad xix.1
But soon as early Dawn appeared, the rosy-fingered, then gathered the folk about the pyre of glorious Hector.
—Iliad xxiv.776
Quintus Smyrnaeus pictured her exulting in her heart over the radiant horses (Lampos and Phaithon) that drew her chariot, amidst the bright-haired Horae, the feminine Hours, climbing the arc of heaven and scattering sparks of fire.
Eos in her chariot flying over the sea, red-figure krater from South Italy, 430–420 BC, Staatliche Antikensammlungen
She is most often associated with her Homeric epithet "rosy-fingered" (rhododactylos), but Homer also calls her Eos Erigeneia:
That brightest of stars appeared, Eosphoros, that most often heralds the light of early-rising Dawn (Eos Erigeneia).
—Odyssey xiii.93
Hesiod wrote:
And after these Erigeneia ["Early-born"] bore the star Eosphoros ("Dawn-bringer"), and the gleaming stars with which heaven is crowned.
—Theogony 378-382
Thus Eos, preceded by the Morning Star (Venus), is seen as the genetrix of all the stars and planets; her tears are considered to have created the morning dew, personified as Ersa or Herse.
Genealogy
Eos is the daughter of Hyperion and Theia (or Pallas and Styx) and sister of Helios the sun and Selene the moon, "who shine upon all that are on earth and upon the deathless Gods who live in the wide heaven" Hesiod told in Theogony (371-374). The generation of Titans preceded all the familiar deities of Olympus, who supplanted them.
Children
According to Hesiod by Tithonus Eos had two sons, Memnon and Emathion. Memnon fought among the Trojans in the Trojan War and was slain. Her image with the dead Memnon across her knees, like Thetis with the dead Achilles and Isis with the dead Osiris, are icons that inspired the Christian Pietà.
The abduction of Cephalus had special appeal for an Athenian audience because Cephalus was a local boy, and so this myth element appeared frequently in Attic vase-paintings and was exported with them. In the literary myths Eos kidnapped Cephalus when he was hunting and took him to Syria. The second-century CE traveller Pausanias was informed that the abductor of Cephalus was Hemera, goddess of Day. Although Cephalus was already married to Procris, Eos bore him three sons, including Phaeton and Hesperus, but he then began pining for Procris, causing a disgruntled Eos to return him to her — and put a curse on them. in Hyginus' report telling Cephalus accidentally killed Procris some time later after he mistook her for an animal while hunting; in Ovid's Metamorphoses vii, Procris, a jealous wife, was spying on him and heard him singing to the wind, "Aura", but thought he was serenading his ex-lover Aurora (Eos).
Etruscan interpretations
Among the Etruscans, the generative dawn-goddess was Thesan. Depictions of the dawn-goddess with a young lover became popular in Etruria in the fifth century, probably inspired by imported Greek vase-painting. Though Etruscans preferred to show the goddess as a nurturer (Kourotrophos) rather than an abductor of young men, the late Archaic sculptural acroterion from Etruscan Cære (Cerveteri), now in Berlin, showing the goddess in archaic running pose adapted from the Greeks, and bearing a boy in her arms, has commonly been identified as Eos and Cephalus. On an Etruscan mirror Thesan is shown carrying off a young man, whose name is inscribed TINTHU[N].
Roman interpretation
Her Roman equivalent is Aurora. The Dawn became associated in Roman cult with Matuta; later known as Mater Matuta she was also associated with the sea harbors and ports. She had a temple on the Forum Boarium. On June 11, the Matralia was celebrated at that temple in honor of Mater Matuta; this festival was only for women in their first marriage.
List of consorts and children
The following are lovers of Eos, described in various myths, and her children by them.
Orion-killed by Artemis over jealousy
With Astraios-married
Boreas-north wind
Eurus-east wind
Notus-south wind
Zephyrus-west wind
Eosphoros-morning star
Hesperos-evening star
Phainon-Saturn
Phaethon-Jupiter
Pyroeis-Mars
Stilbon-Mercury
With Tithonus-kidnapped
Emathion
Memnon
With Cephalus-kidnapped
Phaëton
Tithonos
With Zeus
Ersa
Carae
Popular Culture
In the re-imagined Battlestar Galactica, it is strongly suggested that the character Kara Thrace is the re-incarnation or at least enacts the role of the goddess Aurora / Eos as a fictional Lord of Kobol/ Angel in the service of a higher power.
Greek mythology | Greek goddesses | Solar goddesses | Titans | Divine women of Zeus
Eos (Greek Ἠώς, or Ἕως "dawn") is, in Greek mythology, the Titan goddess of the dawn, who rose from her home at the edge of Oceanus, the Ocean that surrounds the world, to herald her brother Helios, the sun.
The Greek worship of the dawn as a goddess is believed to be inherited from Indo-European times. The name Eos is cognate to Latin Aurora, to Vedic Ushas.
Eos in Greek literature
Greek deities
The dawn goddess, Eos with "rosy fingers" opened the gates of heaven so that Apollo could ride his chariot across the sky every day. In Homer, her saffron-colored robe is embroidered or woven with flowers; rosy-fingered and with golden arms, she is pictured on Attic vases as a supernaturally beautiful woman, crowned with a tiara or diadem and with the large white-feathered wings of a bird.
From The Iliad:
Now when Dawn in robe of saffron was hastening from the streams of Oceanus, to bring light to mortals and immortals, Thetis reached the ships with the armor that the god had given her.
—Iliad xix.1
But soon as early Dawn appeared, the rosy-fingered, then gathered the folk about the pyre of glorious Hector.
—Iliad xxiv.776
Quintus Smyrnaeus pictured her exulting in her heart over the radiant horses (Lampos and Phaithon) that drew her chariot, amidst the bright-haired Horae, the feminine Hours, climbing the arc of heaven and scattering sparks of fire.
Eos in her chariot flying over the sea, red-figure krater from South Italy, 430–420 BC, Staatliche Antikensammlungen
She is most often associated with her Homeric epithet "rosy-fingered" (rhododactylos), but Homer also calls her Eos Erigeneia:
That brightest of stars appeared, Eosphoros, that most often heralds the light of early-rising Dawn (Eos Erigeneia).
—Odyssey xiii.93
Hesiod wrote:
And after these Erigeneia ["Early-born"] bore the star Eosphoros ("Dawn-bringer"), and the gleaming stars with which heaven is crowned.
—Theogony 378-382
Thus Eos, preceded by the Morning Star (Venus), is seen as the genetrix of all the stars and planets; her tears are considered to have created the morning dew, personified as Ersa or Herse.
Genealogy
Eos is the daughter of Hyperion and Theia (or Pallas and Styx) and sister of Helios the sun and Selene the moon, "who shine upon all that are on earth and upon the deathless Gods who live in the wide heaven" Hesiod told in Theogony (371-374). The generation of Titans preceded all the familiar deities of Olympus, who supplanted them.
Children
According to Hesiod by Tithonus Eos had two sons, Memnon and Emathion. Memnon fought among the Trojans in the Trojan War and was slain. Her image with the dead Memnon across her knees, like Thetis with the dead Achilles and Isis with the dead Osiris, are icons that inspired the Christian Pietà.
The abduction of Cephalus had special appeal for an Athenian audience because Cephalus was a local boy, and so this myth element appeared frequently in Attic vase-paintings and was exported with them. In the literary myths Eos kidnapped Cephalus when he was hunting and took him to Syria. The second-century CE traveller Pausanias was informed that the abductor of Cephalus was Hemera, goddess of Day. Although Cephalus was already married to Procris, Eos bore him three sons, including Phaeton and Hesperus, but he then began pining for Procris, causing a disgruntled Eos to return him to her — and put a curse on them. in Hyginus' report telling Cephalus accidentally killed Procris some time later after he mistook her for an animal while hunting; in Ovid's Metamorphoses vii, Procris, a jealous wife, was spying on him and heard him singing to the wind, "Aura", but thought he was serenading his ex-lover Aurora (Eos).
Etruscan interpretations
Among the Etruscans, the generative dawn-goddess was Thesan. Depictions of the dawn-goddess with a young lover became popular in Etruria in the fifth century, probably inspired by imported Greek vase-painting. Though Etruscans preferred to show the goddess as a nurturer (Kourotrophos) rather than an abductor of young men, the late Archaic sculptural acroterion from Etruscan Cære (Cerveteri), now in Berlin, showing the goddess in archaic running pose adapted from the Greeks, and bearing a boy in her arms, has commonly been identified as Eos and Cephalus. On an Etruscan mirror Thesan is shown carrying off a young man, whose name is inscribed TINTHU[N].
Roman interpretation
Her Roman equivalent is Aurora. The Dawn became associated in Roman cult with Matuta; later known as Mater Matuta she was also associated with the sea harbors and ports. She had a temple on the Forum Boarium. On June 11, the Matralia was celebrated at that temple in honor of Mater Matuta; this festival was only for women in their first marriage.
List of consorts and children
The following are lovers of Eos, described in various myths, and her children by them.
Orion-killed by Artemis over jealousy
With Astraios-married
Boreas-north wind
Eurus-east wind
Notus-south wind
Zephyrus-west wind
Eosphoros-morning star
Hesperos-evening star
Phainon-Saturn
Phaethon-Jupiter
Pyroeis-Mars
Stilbon-Mercury
With Tithonus-kidnapped
Emathion
Memnon
With Cephalus-kidnapped
Phaëton
Tithonos
With Zeus
Ersa
Carae
Popular Culture
In the re-imagined Battlestar Galactica, it is strongly suggested that the character Kara Thrace is the re-incarnation or at least enacts the role of the goddess Aurora / Eos as a fictional Lord of Kobol/ Angel in the service of a higher power.
Greek mythology | Greek goddesses | Solar goddesses | Titans | Divine women of Zeus
Thursday, February 25, 2010
Enyo (Ἐνυώ, Greek)
Enyo (Ἐνυώ, Greek)
Enyo (Greek: Ἐνυώ, English translation: "warlike" in Greek mythology), was an ancient goddess of war, acting as a counterpart and companion to the war god Ares. She is also identified as his sister, and daughter of Zeus and Hera[1], in a role closely resembling that of Eris; with Homer (in particular) representing the two as the same goddess. She is also accredited as the mother of Enyalius, a minor war god, by Ares. However, the name Enyalius can also be used as a title for Ares himself.
As goddess of war, Enyo is responsible for orchestrating the destruction of cities, often accompanying Ares into battle, and depicted "as supreme in war". During the fall of Troy, Enyo inflicted horror and bloodshed in the war, along with Eris, and Phobos ("Fear") and Deimos ("Dread"), the two sons of Ares. She was also connected to the Roman goddess of war, Bellona, and the Anatolian goddess Ma.
At Thebes and Orchomenos, a festival called Homolôïa was celebrated in honour of Zeus, Demeter, Athena and Enyo was said to have received the surname of Homoloïus from Homoloïs, a priestess of Enyo. A statue of Enyo, made by the sons of Praxiteles, stood in the temple of Ares at Athens. Among the Graeae in Hesiod there is one called Enyo.
Greek mythology | Destroyer goddesses | Greek goddesses | War goddesses | Offspring of Ares
Enyo (Greek: Ἐνυώ, English translation: "warlike" in Greek mythology), was an ancient goddess of war, acting as a counterpart and companion to the war god Ares. She is also identified as his sister, and daughter of Zeus and Hera[1], in a role closely resembling that of Eris; with Homer (in particular) representing the two as the same goddess. She is also accredited as the mother of Enyalius, a minor war god, by Ares. However, the name Enyalius can also be used as a title for Ares himself.
As goddess of war, Enyo is responsible for orchestrating the destruction of cities, often accompanying Ares into battle, and depicted "as supreme in war". During the fall of Troy, Enyo inflicted horror and bloodshed in the war, along with Eris, and Phobos ("Fear") and Deimos ("Dread"), the two sons of Ares. She was also connected to the Roman goddess of war, Bellona, and the Anatolian goddess Ma.
At Thebes and Orchomenos, a festival called Homolôïa was celebrated in honour of Zeus, Demeter, Athena and Enyo was said to have received the surname of Homoloïus from Homoloïs, a priestess of Enyo. A statue of Enyo, made by the sons of Praxiteles, stood in the temple of Ares at Athens. Among the Graeae in Hesiod there is one called Enyo.
Greek mythology | Destroyer goddesses | Greek goddesses | War goddesses | Offspring of Ares
Subscribe to:
Posts (Atom)