1.
Helius Eobanus Hessus
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Helius Eobanus Hessus was a German Latin poet born at Halgehausen in Hesse-Kassel. His family name is said to have been Koch, Eoban was the name of a saint, Hessus indicates the land of his birth. He visited a Latin school in Frankenberg, Hesse, in 1504 he entered the university of Erfurt, and soon after his graduation was appointed rector of the school of St Severus. This post he soon lost, and spent the years 1509–1513 at the court of the bishop of Riesenburg, returning to Erfurt, he was reduced to great straits by his drunken and irregular habits. At length he was appointed professor of Latin in the university, the university was seriously weakened by the growing popularity of the new University of Wittenberg, and Hessus endeavoured to gain a living by the practice of medicine. Through the influence of Camerarius and Melanchthon, he obtained a post at Nuremberg, but it was not the Erfurt he had known, his old friends were dead or had left the place, the university was deserted. A lengthy poem gained him the favor of the Landgrave of Hesse, by whom he was summoned in 1536 as professor of poetry and history to Marburg, where he died. Hessus, who was considered the foremost Latin poet of his age, was a facile verse-maker and he wrote what be thought was likely to pay or secure him the favor of some important person. He wrote local, historical and military poems, idylls, epigrams and occasional pieces and his most popular works were translations of the Psalms into Latin distichs and of the Iliad into hexameters. His most original poem was the Heroides in imitation of Ovid, consisting of letters from women, from the Virgin Mary down to Kunigunde. His Epistolae were edited by his friend Camerarius, who wrote his life. There are later accounts of him by M. Hertz, G. Schwertzell, krause, see also D. F. Strauss, Ulrich von Hutten. This article incorporates text from a now in the public domain, Chisholm, Hugh. Harry Vredeveld Hessus, Eobanus The Oxford Encyclopedia of the Reformation
2.
Sky
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The sky is everything that lies above the surface of the Earth, including the atmosphere and outer space. In the field of astronomy, the sky is called the celestial sphere. This is viewed from Earths surface as a dome where the Sun, stars, planets. The celestial sphere is divided into regions called constellations. Usually, the sky is used informally as the point of view from the Earths surface, however. In some cases, such as in discussing the weather, the sky refers to only the lower, during daylight, the sky appears to be blue because air scatters blue sunlight more than it scatters red. At night, the sky appears to be a dark surface or region scattered with stars. During the day, the Sun can be seen in the sky obscured by clouds. In the night sky the Moon, planets and stars are visible in the sky, some of the natural phenomena seen in the sky are clouds, rainbows, and aurorae. Lightning and precipitation can also be seen in the sky during storms, birds, insects, aircraft, and kites are often considered to fly in the sky. Due to human activities, smog during the day and light pollution during the night are often seen above large cities. Except for light that directly from the sun, most of the light in the day sky is caused by scattering. The scattering due to molecule sized particles is greater in the forward and backward directions than it is in the lateral direction. Scattering is significant for light at all visible wavelengths but is stronger at the end of the visible spectrum, meaning that the scattered light is bluer than its source. The remaining sunlight, having lost some of its wavelength components. Scattering also occurs more strongly in clouds. Individual water droplets exposed to light will create a set of colored rings. If a cloud is thick enough, scattering from water droplets will wash out the set of colored rings
3.
Aureole
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An aureola or aureole is the radiance of luminous cloud which, in paintings of sacred personages, surrounds the whole figure. In the earliest periods of Christian art it was confined to the figures of the persons of the Christian Godhead, the aureola, when enveloping the whole body, generally appears oval or elliptical in form, but occasionally depicted as circular, vesica piscis, or quatrefoil. When it appears merely as a luminous disk round the head, it is called specifically a halo or nimbus, while the combination of nimbus and aureole is called a glory. This is not to be confused with the motif in art of the Infant Jesus appearing to be a source of light in a Nativity scene. These depictions derive directly from the accounts given by Saint Bridget of Sweden of her visions, the nimbus in Christian art first appeared in the 5th century, but practically the same motif was known from several centuries earlier, in pre-Christian Hellenistic art. Its use has also traced through the Egyptians to the ancient Greeks and Romans, representations of Trajan. Roman emperors were sometimes depicted wearing a radiant crown, with pointed rays intended to represent the rays of the sun, from this early astrological use, the form of glory or nimbus has been adapted or inherited under new beliefs. A mandorla is a vesica piscis shaped aureola which surrounds the figures of Christ and it is commonly used to frame the figure of Christ in Majesty in early medieval and Romanesque art, as well as Byzantine art of the same periods. The term refers to the almond like shape, mandorla means almond nut in Italian, in icons of the Eastern Orthodox Church, the mandorla is used to depict sacred moments which transcend time and space, such as the Resurrection, Transfiguration, and the Dormition of the Theotokos. These mandorla will often be painted in several patterns of color which grow darker as they come close to the center. This is in keeping with the use of Apophatic theology, as described by Dionysius the Areopagite. As holiness increases, there is no way to depict its brightness, in a famous romanesque fresco of Christ in Glory at Sant Climent de Taüll, the inscription Ego Sum Lux Mundi is incorporated in the Mandorla design. The tympanum at Conques has Christ, with a carved in romanesque sculpture. Six surrounding stars, resembling blossoming flowers, indicate the known planets including the Moon, here the symbolism implies Christ as the Sun. In one special case, at Cervon, Christ is seated surrounded by eight stars, at Conques the flowers are six-petalled. Here one is tempted to seek for reference in the symbolism of the nine branched Chanukkiyah candelabrum, in the 12th century a great school of Judaic thought radiated from Narbonne, coinciding with the origins of the Kabbalah. The aureole is often the visible part of the corona and has the appearance of a bluish-white disk which fades to reddish-brown towards the edge. Aura Aureole effect Crown of Immortality Five Crowns Glory Halo Heiligenschein Velificatio Timmers J. J. M, a Handbook of Romanesque Art New York London 1969 Icon Editions, Harper and Row Gérard de Champéaux, Dom Sébastièn Sterckx o. s. b
4.
Heliotropium
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Heliotropium /ˌhiːliəˈtroʊpiəm, -lioʊ-/ is a genus of flowering plants in the borage family, Boraginaceae. There are 250 to 300 species in genus, which are commonly known as heliotropes. The name heliotrope derives from the old idea that the inflorescences of these plants turned their rows of flowers to the sun, Ἥλιος is Greek for sun, τρέπειν means to turn. The Middle English name turnsole has the same meaning, several heliotropes are popular garden plants, most notably garden heliotrope. Some species are weeds, and many are hepatotoxic if eaten in large due to abundant pyrrolizidine alkaloids. There have been cases of death due to over-ingestion of this toxic plant. Caterpillars of the jewel, a gossamer-winged butterfly, feed on H. strigosum. The sap of heliotrope flowers, namely of European heliotrope, was used as a coloring in Middle Ages. One of the most famous ragtime piano melodies is Heliotrope Bouquet, composed in 1907 by Louis Chauvin, garden heliotrope is grown in Southern Europe as an ingredient for perfume. The purplish facial rash of dermatomyositis is called heliotrope rash because it resembles E. arborescens, Heliotropium amplexicaule Vahl – clasping heliotrope, summer heliotrope, blue heliotrope Heliotropium anderssonii Heliotropium angiospermum Heliotropium anomalum Hook. – European heliotrope, European turnsole Heliotropium fasciculatum R. Br, Heliotropium foertherianum Diane & Hilger – tree heliotrope, velvet soldierbush, octopus bush Heliotropium foliatum R. Br. Heliotropium heteranthum Ewart & O. B. Davies Heliotropium indicum L. – Indian turnsole Heliotropium kuriense Heliotropium laceolatum Loefg, Heliotropium pannifolium – St. Helena heliotrope Heliotropium pauciflorum R. Br. Heliotropium ramosissimum Heliotropium riebeckii Heliotropium shoabense Heliotropium sinuatum I. M. Johnst, Heliotropium socotranum Heliotropium stenophyllum Heliotropium strigosum Willd. Heliotropium wagneri Heliotropium aff. wagneri Chrozophora tinctoria Tournefortia gnaphalodes R. Br, turnsole Heliotrope Everitt, J. H. Lonard, R. L. Little, C. R. Weeds in South Texas and Northern Mexico, a Heliotrope at Gardeners Path Picture of Heliotropium chenopodiaceum at Chileflora
5.
Clytie (Oceanid)
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Clytie, or Clytia was a water nymph, daughter of Oceanus and Tethys in Greek mythology. Helios, having loved her, abandoned her for Leucothoe and left her deserted and she was so angered by his treatment that she told Leucotheas father, Orchamus, about the affair. Since Helios had defiled Leucothea, Orchamus had her put to death by burial alive in the sands, Clytie intended to win Helios back by taking away his new love, but her actions only hardened his heart against her. She stripped herself and sat naked, with neither food nor drink, for nine days on the rocks, staring at the sun, Helios, and mourning his departure. After nine days she was transformed into the turnsole, also known as heliotrope, the episode is most fully told in Ovid, Metamorphoses iv. Modern traditions substitute the turnsole with a sunflower, which according to folk wisdom turns in the direction of the sun, one sculpture of Clytie is a Roman marble in the collection of Charles Townley. The bust was created between 40 and 50 AD, Townley acquired it from the family of the principe Laurenzano in Naples during his extended second Grand Tour of Italy, the Laurenzano insisted it had been found locally. The identity of the subject, a woman emerging from a calyx of leaves, was discussed among the antiquaries in Townleys circle. At first referred to as Agrippina, and later called by Townley Isis in a lotus flower, it is now accepted as Clytie. Some modern scholars claim the bust is of eighteenth century date. Another famous bust of Clytie was by George Frederick Watts, instead of Townleys serene Clytie, Wattss is straining, looking round at the sun. Images of Clytie in the Warburg Institute Iconographic Database
6.
Leucothea
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In Greek mythology, Leucothea was one of the aspects under which an ancient sea goddess was recognized, in this case as a transformed nymph. In the more familiar variant, Ino, the daughter of Cadmus, sister of Semele and she was a local nymph and one of the aboriginal Telchines of the island. Thus the Rhodians traced their descent from Rhodos and the Sun god Helios. Homer makes her the transfiguration of Ino, in Laconia, she has a sanctuary, where she answers peoples questions about dreams. This is her form of the oracle, Leucothea is mentioned by Robert Graves in The White Goddess. In Ezra Pounds Cantos, she is one of the figures who comes to the poets aid in Section. Leucothea appears twice in Dialoghi con Leucò by Cesare Pavese, leucothoé was the first work by the Irish playwright Isaac Bickerstaffe published in 1756. Leucothea becomes a metaphor, in Marcel Prousts In the Shadow of Young Girls in Flower, a similar name is carried by two other characters in Greek mythology. Leucothoë, a princess, daughter of Orchamus and sister of Clytia, Leucothoë was loved by Helios, Clytia, jealous of her sister because she wanted Helios for herself, told Orchamus the truth, betraying her sisters trust and confidence in her. Enraged, Orchamus ordered Leucothoë, who claimed Helios had forced her to succumb to his desires, Helios changed Leucothoës lifeless body into an incense plant. Helios refused to forgive Clytia for betraying his beloved, and a grieving Clytia wilted and slowly turned into a heliotrope, the Gods of the Greeks,1951
7.
Charites
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In Greek mythology, a Charis or Grace is one of three or more minor goddesses of charm, beauty, nature, human creativity, and fertility, together known as the Charites /ˈkærᵻtiːz/ or Graces. The usual list, from youngest to oldest is Aglaea, Euphrosyne, in Roman mythology they were known as the Gratiae, the Graces. In some variants, Charis was one of the Graces and was not the form of their name. The Charites were usually considered the daughters of Zeus and Eurynome, though they were said to be daughters of Dionysus and Aphrodite or of Helios. Other possible names of their mother by Zeus are Eurydome, Eurymedousa, Homer wrote that they were part of the retinue of Aphrodite. The Charites were also associated with the Greek underworld and the Eleusinian Mysteries, the river Cephissus near Delphi was sacred to them. An ancient vase painting attests the following names as five, Antheia, Eudaimonia, Paidia, Pandaisia, Pannychis - all referring to the Charites as patronesses of amusement and festivities. Moreover, they are aware that he established three as the number of the Graces, but they have no tradition of the names he gave them. The Lacedaemonians, however, say that the Graces are two, and that they were instituted by Lacedaemon, son of Taygete, who gave them the names of Cleta and Phaenna. These are appropriate names for Graces, as are given by the Athenians. It was from Eteocles of Orchomenus that we learned the custom of praying to three Graces, and Angelion and Tectaus, sons of Dionysus, who made the image of Apollo for the Delians, set three Graces in his hand. Again, at Athens, before the entrance to the Acropolis, pamphos was the first we know of to sing about the Graces, but his poetry contains no information either as to their number or about their names. Homer makes one the wife of Hephaestus, giving her the name of Charis and he also says that Sleep was a lover of Pasithea, and in the speech of Sleep there is this verse, Verily that he would give me one of the younger Graces. Hence some have suspected that Homer knew of older Graces as well, hesiod in the Theogony says that the three Graces are daughters of Zeus and Eurynome, giving them the names of Aglaia, Euphrosyne and lovely Thalia. The poem of Onomacritus agrees with this account, antimachus, while giving neither the number of the Graces nor their names, says that they are daughters of Aegle and the Sun. The elegiac poet Hermesianax disagrees with his predecessors in that he makes Persuasion also one of the Graces, nonnus gives their three names as Pasithea, Peitho and Aglaia. Sostratus gives the names as Pasithea, Cale and Euphrosyne, Pasithea for Aglaia and Cale for Thalia, on the representation of the Graces, Pausanias wrote, Who it was who first represented the Graces naked, whether in sculpture or in painting, I could not discover. During the earlier period, certainly, sculptors and painters alike represented them draped
8.
Horae
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In Greek mythology the Horae or Horai or Hours were the goddesses of the seasons and the natural portions of time. They were originally the personifications of nature in its different seasonal aspects and they bring and bestow ripeness, they come and go in accordance with the firm law of the periodicities of nature and of life, Karl Kerenyi observed, Hora means the correct moment. Traditionally, they guarded the gates of Olympus, promoted the fertility of the earth, the course of the seasons was also symbolically described as the dance of the Horae, and they were accordingly given the attributes of spring flowers, fragrance and graceful freshness. For example, in Hesiods Works and Days, the fair-haired Horai, together with the Charites, in Argos, two Horae, rather than three, were recognised presumably winter and summer, Auxesia and Damia. In late euhemerist interpretations, they were seen as Cretan maidens who were worshipped as goddesses after they had been stoned to death. The earliest written mention of Horai is in the Iliad where they appear as keepers of Zeuss cloud gates, hardly any traces of that function are found in the subsequent tradition, Karl Galinsky remarked in passing. They were daughters of Zeus and Themis, half-sisters to the Moirai, Auxo or Auxesia was worshipped in Athens as one of their two Charites, Auxo was the Charis of spring and Hegemone was the Charis of autumn. One of the Horae, and the goddess and personification of the season of summer, she is the protector of vegetation and plants and she was an attendant to Persephone, Aphrodite and Hera, and was also associated with Dionysus, Apollo and Pan. At Athens, two Horae, Thallo and Carpo, also appear in rites of Attica noted by Pausanias in the 2nd century AD. Thallo, Auxo and Carpo are often accompanied by Chione, an Aurae, a daughter of Boreas and Orithyia/Oreithyia, along with Chione, Thallo, Auxo and Carpo were a part of the entourage of the goddess of the turn of the seasons, Persephone. Of the second triad associated to Themis and Zeus for law and order, Diké was the goddess of justice, she ruled over human justice. Eunomia was the goddess of law and legislation, the same or a different goddess may have been a daughter of Hermes and Aphrodite. Eirene or Irene, was the personification of peace and wealth, and was depicted in art as a young woman carrying a cornucopia, scepter. Hyginus identifies a set of Horae, Pherusa, Euporie or Euporia. Nonnus in his Dionysiaca mentions a distinct set of four Horae, quintus Smyrnaeus also attributes the Horae as the daughters of Helios and Selene, and describes them as the four handmaidens of Hera. The Greek words for the four seasons of year, Eiar, Theros, Phthinoporon, finally, a quite separate suite of Horae personified the twelve hours, as tutelary goddesses of the times of day. List of Greek mythological figures Hora Grimal, Pierre, The Dictionary of Classical Mythology, Wiley-Blackwell,1996, Horae p.217 Smith, William, Dictionary of Greek and Roman Biography and Mythology, London. Horae The dictionary definition of Horae at Wiktionary Media related to Horae at Wikimedia Commons Theoi Project, Horai Theoi Project, Twelve Horae
9.
Circe
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Circe (/ˈsɜːrsiː/, is a goddess of magic or sometimes a nymph, witch, enchantress or sorceress in Greek mythology. By most accounts, she was the daughter of the sungod Helios, and Perse and her brothers were Aeetes, keeper of the Golden Fleece, and Perses. Her sister was Pasiphaë, the wife of King Minos and mother of the Minotaur, other accounts make her the daughter of Hecate, the goddess of witchcraft. Circe was renowned for her vast knowledge of potions and herbs, through the use of these and a magic wand or staff, she transformed her enemies, or those who offended her, into animals. Some say she was exiled to the island of Aeaea by her subjects and her father Helios for killing her husband. Later traditions tell of her leaving or even destroying the island and moving to Italy, in Homers Odyssey, Circe is described as living in a mansion that stands in the middle of a clearing in a dense wood. Around the house prowled strangely docile lions and wolves, the victims of her magic, they were not dangerous. Circe worked at a huge loom, thus so she turned them all into swine with her magic wand or staff after they gorged themselves on it. Only drunken Eurylochus, suspecting treachery from the outset, escaped to warn Odysseus, Odysseus set out to rescue his men, but was intercepted by the messenger god, Hermes, who had been sent by Athena. Hermes told Odysseus to use the holy herb moly to protect himself from Circes wizardry and, having resisted it, to draw his sword, from there, Circe would ask him to bed, but Hermes advised caution, for even there the goddess would be treacherous. She would take his manhood unless he had her swear by the names of the gods that she would not, Odysseus followed Hermes advice, freeing his men and then remained on the island for one year, feasting and drinking wine. She also advised Odysseus to go to the Underworld and gave him directions, towards the end of Hesiods Theogony, it is stated that Circe bore Odysseus three sons, Ardeas or Agrius, Latinus, and Telegonus, who ruled over the Tyrsenoi, that is the Etruscans. The Telegony, a now lost, relates the later history of the last of these. Circe eventually informed him who his absent father was and, when he set out to find Odysseus, with this he killed his father unknowingly. Telegonus then brought back his fathers corpse, together with Penelope and Odysseus other son Telemachus, after burying Odysseus, Circe made the others immortal. According to Lycophrons Alexandra and John Tzetzes scholia on the poem, however, Odysseus then gave Telemachus to Circes daughter Cassiphone in marriage. Some time later, Telemachus had a quarrel with his mother-in-law and killed her, on hearing of this, Odysseus died of grief. In a very late Alexandrian epic from the 5th century AD, in the 3rd century BC epic, the Argonautica, Apollonius Rhodius relates that Circe purified the Argonauts for the death of Absyrtus, maybe reflecting an early tradition
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Theia
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In Greek mythology, Theia, also called Euryphaessa wide-shining, is a Titaness. Her brother/ consort is Hyperion, a Titan and god of the sun, and together they are the parents of Helios, Selene, the name Theia alone means simply goddess or divine, Theia Euryphaessa brings overtones of extent and brightness. Hesiods Theogony gives her an equally primal origin, said to be the eldest daughter of Gaia, robert Graves also relates that later Theia is referred to as the cow-eyed Euryphaessa who gave birth to Helios in myths dating to Classical Antiquity. Theias alternate name Euryphaessa has been adopted for a species of Australian leafhoppers Dayus euryphaessa, Greek mythology in popular culture Smith, William, Dictionary of Greek and Roman Biography and Mythology, London
11.
Eos
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In Greek mythology, Ēōs is a Titaness and the goddess of the dawn, who rose each morning from her home at the edge of the Oceanus. Eos had a brother and a sister, Helios, god of the sun, Eos is cognate to the Vedic goddess Ushas, Lithuanian goddess Austrine, and Roman goddess Aurora, all three of whom are also goddesses of the dawn. All four are considered derivatives of the Proto-Indo-European stem *h₂ewsṓs, dawn and this agreement leads to the reconstruction of a Proto-Indo-European dawn goddess. The dawn goddess Eos was almost always described with rosy fingers or rosy forearms as she opened the gates of heaven for the Sun to rise, but soon as early Dawn appeared, the rosy-fingered, then gathered the folk about the pyre of glorious Hector. Hesiod wrote, And after these Erigeneia bore the star Eosphoros, thus Eos, preceded by the Morning Star, 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. Eos is the daughter of Hyperion, a bringer of light and her brother was the Sun god Helios, and her sister was Selene, the Moon goddess. Her team of horses pull her chariot across the sky and are named in the Odyssey as Firebright and Daybright. Eos is the daughter of Hyperion and Theia and sister of Helios the sun and Selene the moon, the generation of Titans preceded all the familiar deities of Olympus, who largely supplanted them. According to Pseudo-Apollodorus, Eos consorted with the war god Ares and was cursed with unsatisfiable sexual desire by the jealous Aphrodite. This caused her to abduct a number of young men, most notably Cephalus, Tithonus, Orion. The good-looking Cleitus was made immortal by her and she also asked for Tithonus to be made immortal, but forgot to ask for eternal youth, which resulted in him living forever as a helpless old man. 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 are icons that inspired the Christian Pietà, 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, 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, on an Etruscan mirror Thesan is shown carrying off a young man, whose name is inscribed as Tinthu. The Roman equivalent of Eos is Aurora, also a cognate showing the characteristic Latin rhotacism, Dawn became associated in Roman cult with Matuta, later known as Mater Matuta. She was also associated with the sea harbors and ports, and 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 during their first marriage. Tithonus Memnon Aurora Mater Matuta Zorya Dawn goddess Grimal, Pierre, The Dictionary of Classical Mythology, Wiley-Blackwell,1996, smith, William, Dictionary of Greek and Roman Biography and Mythology, London
12.
Sol (mythology)
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Sol was the solar deity in Ancient Roman religion. It was long thought that Rome actually had two different, consecutive sun gods, the first, Sol Indiges, was thought to have been unimportant, disappearing altogether at an early period. Only in the late Roman Empire, scholars argued, did solar cult re-appear with the arrival in Rome of the Syrian Sol Invictus, perhaps under the influence of the Mithraic mysteries. The Latin sol for Sun is the continuation of the PIE heteroclitic *Seh2ul- / *Sh2-en-, cognate to Germanic Sol, Sanskrit Surya, Greek Helios, also compare Latin sol to Etruscan usil. Today, sol is still the word for sun in Romance languages. Sol is used in contemporary English by astronomers and many science fiction authors as the name of the Sun to distinguish it from other stars which may be suns for their own planetary systems. A shrine to Sol stood on the banks of the Numicius, in Rome Sol had an old temple in the Circus Maximus according to Tacitus, and this temple remained important in the first three centuries AD. There was also an old shrine for Sol on the Quirinal, the Roman ritual calendars or fasti also mention a feast for Sol Indiges on December 11, and a sacrifice for Sol and Luna on August 28. Neither the epithet indiges nor the epithet invictus are used with any consistency however, tertullian writes that the Circus Maximus was dedicated primarily to Sol. During the reign of Aurelian, a new college of pontiffs for Sol was established, there is some debate over the significance of the date December 21 for the cult of Sol. According to a single, late source, the Romans held a festival on December 21 of Dies Natalis Invicti, most scholars assume Sol Invictus was meant, although our source for this festival does not state so explicitly. December 25 was commonly indicated as the date of the winter solstice, there were also festivals on other days in December, including the 11th, as well as August. Gordon points out that none of other festivals are linked to astronomical events. When the festival on December 25 was instituted is not clear, the official status of the cult of Sol after Aurelian was significant, but there is no evidence that it was the supreme cult of the state. Hoey exaggerates the importance of an inscription from Salsovia that supposedy indicates an official empire-wide cult-prescription for Sol on December 19 and this simply means that Licinius accepted the erection of the statue in his honour. Throughout the 4th century the cult of Sol continued to be maintained by high-ranking pontiffs, the Greek assimilation of Apollo and Helios was already established in Rome by the end of the republic. Various Roman philosophers speculated on the nature of the sun, without arriving at any consensus, a typical example is Nigidius, a scholar of the 1st century BC. His works have not survived, but writing five centuries later, Macrobius reports that Nigidius argued that Sol was to be identified with Janus and that he had a counterpart, Jana, who was Moon
13.
Surya
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Surya means the Sun in Nepal and India. Synonyms of Surya in ancient Indian literature include Aditya, Arka, Bhanu, Savitr, Pushan, Ravi, Martanda, Mitra and Vivasvan. Surya also connotes the solar deity in Hinduism, particularly in the Saura tradition found in such as Rajasthan, Gujarat, Madhya Pradesh, Bihar, Uttar Pradesh, Jharkhand. He is one of the five deities considered as equivalent aspects and his iconography is often depicted riding a chariot harnessed by horses, often seven in number which represent the seven colour rays of the rainbow. In medieval Hinduism, Surya is also an epithet for the major Hindu gods Shiva, in some ancient texts and arts, Surya is presented syncretically with Indra, Ganesha or others. Surya as a deity is found in the arts and literature of Buddhism and Jainism. Surya is one of the nine houses in the zodiac system of Hindu astrology. Surya or Ravi is the basis of Ravivara, or Sunday, major festivals and pilgrimages in reverence of Surya include Makar Sankranti, Pongal and Kumbh Mela. However, the usage is context specific, in some hymns, the word Surya simply means sun as an inanimate object, a stone or a gem in the sky, while in others it refers to a personified deity. The Vedas assert Sun to be the creator of the material universe, in the Brahmanas layer of Vedic literature, Surya appears with Agni in the same hymns. Surya is revered for the day, while Agni for its role during the night, the idea evolves, states Kapila Vatsyayan, where Surya is stated to be Agni as the first principle and the seed of the universe. It is in the Brahmanas layer of the Vedas, and the Upanishads that Surya is explicitly linked to the power of sight, to visual perception and knowledge. In the Ramayana, Surya is described as father of the King Sugriva, the Suryavanshi dynasty of kings, Rama being one of them, also claims descent from Surya. Eastern kingdom of mahabharta and ramayana are called to be of Suryas potential, in the Mahabharata, Karna is the son of Surya and unmarried princess Kunti. The epic describes Kuntis trauma as a mother, then abandonment of Karna. Baby Karna is found, adopted and grows up to one of the central characters in the great battle of Kurukshetra where he fights his step brothers. Surya is celebrated as a deity in Buddhist artwork, such as the ancient works attributed to Ashoka, for example, Surya appears in Mahabodhi temple in Bodhgaya, riding in a chariot pulled by four horses. Sun is a deity is ancient and medieval cultures found in South America, Europe, Africa
14.
Ancient Greek
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Ancient Greek includes the forms of Greek used in ancient Greece and the ancient world from around the 9th century BC to the 6th century AD. It is often divided into the Archaic period, Classical period. It is antedated in the second millennium BC by Mycenaean Greek, the language of the Hellenistic phase is known as Koine. Koine is regarded as a historical stage of its own, although in its earliest form it closely resembled Attic Greek. Prior to the Koine period, Greek of the classic and earlier periods included several regional dialects, Ancient Greek was the language of Homer and of fifth-century Athenian historians, playwrights, and philosophers. It has contributed many words to English vocabulary and has been a subject of study in educational institutions of the Western world since the Renaissance. This article primarily contains information about the Epic and Classical phases of the language, Ancient Greek was a pluricentric language, divided into many dialects. The main dialect groups are Attic and Ionic, Aeolic, Arcadocypriot, some dialects are found in standardized literary forms used in literature, while others are attested only in inscriptions. There are also several historical forms, homeric Greek is a literary form of Archaic Greek used in the epic poems, the Iliad and Odyssey, and in later poems by other authors. Homeric Greek had significant differences in grammar and pronunciation from Classical Attic, the origins, early form and development of the Hellenic language family are not well understood because of a lack of contemporaneous evidence. Several theories exist about what Hellenic dialect groups may have existed between the divergence of early Greek-like speech from the common Proto-Indo-European language and the Classical period and they have the same general outline, but differ in some of the detail. The invasion would not be Dorian unless the invaders had some relationship to the historical Dorians. The invasion is known to have displaced population to the later Attic-Ionic regions, the Greeks of this period believed there were three major divisions of all Greek people—Dorians, Aeolians, and Ionians, each with their own defining and distinctive dialects. Often non-west is called East Greek, Arcadocypriot apparently descended more closely from the Mycenaean Greek of the Bronze Age. Boeotian had come under a strong Northwest Greek influence, and can in some respects be considered a transitional dialect, thessalian likewise had come under Northwest Greek influence, though to a lesser degree. Most of the dialect sub-groups listed above had further subdivisions, generally equivalent to a city-state and its surrounding territory, Doric notably had several intermediate divisions as well, into Island Doric, Southern Peloponnesus Doric, and Northern Peloponnesus Doric. The Lesbian dialect was Aeolic Greek and this dialect slowly replaced most of the older dialects, although Doric dialect has survived in the Tsakonian language, which is spoken in the region of modern Sparta. Doric has also passed down its aorist terminations into most verbs of Demotic Greek, by about the 6th century AD, the Koine had slowly metamorphosized into Medieval Greek
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Latin
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Latin is a classical language belonging to the Italic branch of the Indo-European languages. The Latin alphabet is derived from the Etruscan and Greek alphabets, Latin was originally spoken in Latium, in the Italian Peninsula. Through the power of the Roman Republic, it became the dominant language, Vulgar Latin developed into the Romance languages, such as Italian, Portuguese, Spanish, French, and Romanian. Latin, Italian and French have contributed many words to the English language, Latin and Ancient Greek roots are used in theology, biology, and medicine. By the late Roman Republic, Old Latin had been standardised into Classical Latin, Vulgar Latin was the colloquial form spoken during the same time and attested in inscriptions and the works of comic playwrights like Plautus and Terence. Late Latin is the language from the 3rd century. Later, Early Modern Latin and Modern Latin evolved, Latin was used as the language of international communication, scholarship, and science until well into the 18th century, when it began to be supplanted by vernaculars. Ecclesiastical Latin remains the language of the Holy See and the Roman Rite of the Catholic Church. Today, many students, scholars and members of the Catholic clergy speak Latin fluently and it is taught in primary, secondary and postsecondary educational institutions around the world. The language has been passed down through various forms, some inscriptions have been published in an internationally agreed, monumental, multivolume series, the Corpus Inscriptionum Latinarum. Authors and publishers vary, but the format is about the same, volumes detailing inscriptions with a critical apparatus stating the provenance, the reading and interpretation of these inscriptions is the subject matter of the field of epigraphy. The works of several hundred ancient authors who wrote in Latin have survived in whole or in part and they are in part the subject matter of the field of classics. The Cat in the Hat, and a book of fairy tales, additional resources include phrasebooks and resources for rendering everyday phrases and concepts into Latin, such as Meissners Latin Phrasebook. The Latin influence in English has been significant at all stages of its insular development. From the 16th to the 18th centuries, English writers cobbled together huge numbers of new words from Latin and Greek words, dubbed inkhorn terms, as if they had spilled from a pot of ink. Many of these words were used once by the author and then forgotten, many of the most common polysyllabic English words are of Latin origin through the medium of Old French. Romance words make respectively 59%, 20% and 14% of English, German and those figures can rise dramatically when only non-compound and non-derived words are included. Accordingly, Romance words make roughly 35% of the vocabulary of Dutch, Roman engineering had the same effect on scientific terminology as a whole
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Sun
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The Sun is the star at the center of the Solar System. It is a perfect sphere of hot plasma, with internal convective motion that generates a magnetic field via a dynamo process. It is by far the most important source of energy for life on Earth. Its diameter is about 109 times that of Earth, and its mass is about 330,000 times that of Earth, accounting for about 99. 86% of the total mass of the Solar System. About three quarters of the Suns mass consists of hydrogen, the rest is mostly helium, with smaller quantities of heavier elements, including oxygen, carbon, neon. The Sun is a G-type main-sequence star based on its spectral class and it formed approximately 4.6 billion years ago from the gravitational collapse of matter within a region of a large molecular cloud. Most of this matter gathered in the center, whereas the rest flattened into a disk that became the Solar System. The central mass became so hot and dense that it eventually initiated nuclear fusion in its core and it is thought that almost all stars form by this process. The Sun is roughly middle-aged, it has not changed dramatically for more than four billion years and it is calculated that the Sun will become sufficiently large enough to engulf the current orbits of Mercury, Venus, and probably Earth. The enormous effect of the Sun on Earth has been recognized since prehistoric times, the synodic rotation of Earth and its orbit around the Sun are the basis of the solar calendar, which is the predominant calendar in use today. The English proper name Sun developed from Old English sunne and may be related to south, all Germanic terms for the Sun stem from Proto-Germanic *sunnōn. The English weekday name Sunday stems from Old English and is ultimately a result of a Germanic interpretation of Latin dies solis, the Latin name for the Sun, Sol, is not common in general English language use, the adjectival form is the related word solar. The term sol is used by planetary astronomers to refer to the duration of a solar day on another planet. A mean Earth solar day is approximately 24 hours, whereas a mean Martian sol is 24 hours,39 minutes, and 35.244 seconds. From at least the 4th Dynasty of Ancient Egypt, the Sun was worshipped as the god Ra, portrayed as a falcon-headed divinity surmounted by the solar disk, and surrounded by a serpent. In the New Empire period, the Sun became identified with the dung beetle, in the form of the Sun disc Aten, the Sun had a brief resurgence during the Amarna Period when it again became the preeminent, if not only, divinity for the Pharaoh Akhenaton. The Sun is viewed as a goddess in Germanic paganism, Sól/Sunna, in ancient Roman culture, Sunday was the day of the Sun god. It was adopted as the Sabbath day by Christians who did not have a Jewish background, the symbol of light was a pagan device adopted by Christians, and perhaps the most important one that did not come from Jewish traditions
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Greek mythology
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It was a part of the religion in ancient Greece. Greek mythology is explicitly embodied in a collection of narratives. Greek myth attempts to explain the origins of the world, and details the lives and adventures of a variety of gods, goddesses, heroes, heroines. These accounts initially were disseminated in a tradition, today the Greek myths are known primarily from ancient Greek literature. The oldest known Greek literary sources, Homers epic poems Iliad and Odyssey, focus on the Trojan War, archaeological findings provide a principal source of detail about Greek mythology, with gods and heroes featured prominently in the decoration of many artifacts. Geometric designs on pottery of the eighth century BC depict scenes from the Trojan cycle as well as the adventures of Heracles, in the succeeding Archaic, Classical, and Hellenistic periods, Homeric and various other mythological scenes appear, supplementing the existing literary evidence. Greek mythology has had an influence on the culture, arts. Poets and artists from ancient times to the present have derived inspiration from Greek mythology and have discovered contemporary significance and relevance in the themes, Greek mythology is known today primarily from Greek literature and representations on visual media dating from the Geometric period from c. Mythical narration plays an important role in every genre of Greek literature. Nevertheless, the only general mythographical handbook to survive from Greek antiquity was the Library of Pseudo-Apollodorus and this work attempts to reconcile the contradictory tales of the poets and provides a grand summary of traditional Greek mythology and heroic legends. Apollodorus of Athens lived from c, 180–125 BC and wrote on many of these topics. His writings may have formed the basis for the collection, however the Library discusses events that occurred long after his death, among the earliest literary sources are Homers two epic poems, the Iliad and the Odyssey. Other poets completed the cycle, but these later and lesser poems now are lost almost entirely. Despite their traditional name, the Homeric Hymns have no connection with Homer. They are choral hymns from the part of the so-called Lyric age. Hesiods Works and Days, a poem about farming life, also includes the myths of Prometheus, Pandora. The poet gives advice on the best way to succeed in a dangerous world, lyrical poets often took their subjects from myth, but their treatment became gradually less narrative and more allusive. Greek lyric poets, including Pindar, Bacchylides and Simonides, and bucolic poets such as Theocritus and Bion, additionally, myth was central to classical Athenian drama
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Titan (mythology)
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In Greek mythology, the Titans and Titanesses were members of the second generation of divine beings, descending from the primordial deities and preceding the Olympian deities. Based on Mount Othrys, the Titans most famously included the first twelve children of the primordial Gaia and they were giant deities of incredible strength, who ruled during the legendary Golden Age, and also comprised the first pantheon of Greek deities. The first twelve Titans comprised the females Mnemosyne, Tethys, Theia, Phoebe, Rhea, and Themis and the males Oceanus, Hyperion, Coeus, Cronus, Crius, like Cronus overthrowing his father Uranus, the Titans were overthrown by Cronus children, in the Titanomachy. The Greeks may have borrowed this mytheme from the Ancient Near East, Greeks of the classical age knew of several poems about the war between the Olympians and Titans. The dominant one, and the one that has survived, was in the Theogony attributed to Hesiod. A lost epic, Titanomachia was mentioned in passing in an essay On Music that was attributed to Plutarch. The Titans also played a prominent role in the poems attributed to Orpheus, although only scraps of the Orphic narratives survive, they show interesting differences with the Hesiodic tradition. Sometimes the elders are supplanted, and sometimes the rebels lose and are either cast out of power entirely or incorporated into the pantheon, the Titanomachy lasted for ten years. The Titans were imprisoned in Tartarus after the war had ended, Tartarus is the deepest spot known in the Underworld, where the most evil beings would be cast into to be tortured for all eternity. Hesiod does not have the last word on the Titans, surviving fragments of poetry ascribed to Orpheus preserve some variations on the myth. In such text, Zeus does not simply set upon his father violently, instead, Rhea spreads out a banquet for Cronus so that he becomes drunk upon fermented honey. Rather than being consigned to Tartarus, Cronus is dragged—still drunk—to the cave of Nyx, another myth concerning the Titans that is not in Hesiod revolves around Dionysus. At some point in his reign, Zeus decides to give up the throne in favor of the infant Dionysus, who like the infant Zeus, is guarded by the Kouretes. The Titans decide to slay the child and claim the throne for themselves, they paint their faces white with gypsum, distract Dionysus with toys, then him and boil. Zeus, enraged, slays the Titans with his thunderbolt, Athena preserves the heart in a gypsum doll and this story is told by the poets Callimachus and Nonnus, who call this Dionysus Zagreus, and in a number of Orphic texts, which do not. Pindar, Plato, and Oppian refer offhandedly to the Titanic nature of humans, according to them, the body is the titanic part, while soul is the divine part of humans. Other early writers imply that humanity was born out of the malevolent blood shed by the Titans in their war against Zeus, Martin Litchfield West also asserts this in relation to shamanistic initiatory rites of early Greek religious practices. Beekes connects the word with τιτώ, burket, Walter, The Orientalizing Revolution, Near Eastern Influence on Greek Culture in the Early Archaic Age, Harvard University Press,1995
19.
Hesiod
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Hesiod was a Greek poet generally thought by scholars to have been active between 750 and 650 BC, around the same time as Homer. He is generally regarded as the first written poet in the Western tradition to regard himself as a persona with an active role to play in his subject. Ancient authors credited Hesiod and Homer with establishing Greek religious customs, modern scholars refer to him as a major source on Greek mythology, farming techniques, early economic thought, archaic Greek astronomy and ancient time-keeping. The dating of his life is an issue in scholarly circles. Epic narrative allowed poets like Homer no opportunity for personal revelations, however, Hesiods extant work comprises didactic poems in which he went out of his way to let his audience in on a few details of his life. There are three references in Works and Days, as well as some passages in his Theogony that support inferences made by scholars. Some scholars have seen Perses as a creation, a foil for the moralizing that Hesiod develops in Works and Days. Gregory Nagy, on the hand, sees both Persēs and Hēsiodos as fictitious names for poetical personae. The family association with Cyme might explain his familiarity with eastern myths, evident in his poems, however, while his poetry features some Aeolisms there are no words that are certainly Boeotian—he composed in the main literary dialect of the time, Ionian. Pausanias asserted that Boeotians showed him an old tablet made of lead on which the Works were engraved. If he did write or dictate, it was perhaps as an aid to memory or because he lacked confidence in his ability to produce poems extempore and it certainly wasnt in a quest for immortal fame since poets in his era had no such notions. However, some suspect the presence of large-scale changes in the text. Possibly he composed his verses during idle times on the farm and he was in fact a misogynist of the same calibre as the later poet, Semonides. He resembles Solon in his preoccupation with issues of good versus evil and how a just and he resembles Aristophanes in his rejection of the idealised hero of epic literature in favour of an idealised view of the farmer. Yet the fact that he could eulogise kings in Theogony and denounce them as corrupt in Works, two different—yet early—traditions record the site of Hesiods grave. This tradition follows a familiar ironic convention, the oracle that predicts accurately after all, the other tradition, first mentioned in an epigram by Chersias of Orchomenus written in the 7th century BC claims that Hesiod lies buried at Orchomenus, a town in Boeotia. Eventually they came to regard Hesiod too as their hearth-founder, later writers attempted to harmonize these two accounts. Greeks in the fifth and early 4th centuries BC considered their oldest poets to be Orpheus, Musaeus, Hesiod
20.
Aureola
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An aureola or aureole is the radiance of luminous cloud which, in paintings of sacred personages, surrounds the whole figure. In the earliest periods of Christian art it was confined to the figures of the persons of the Christian Godhead, the aureola, when enveloping the whole body, generally appears oval or elliptical in form, but occasionally depicted as circular, vesica piscis, or quatrefoil. When it appears merely as a luminous disk round the head, it is called specifically a halo or nimbus, while the combination of nimbus and aureole is called a glory. This is not to be confused with the motif in art of the Infant Jesus appearing to be a source of light in a Nativity scene. These depictions derive directly from the accounts given by Saint Bridget of Sweden of her visions, the nimbus in Christian art first appeared in the 5th century, but practically the same motif was known from several centuries earlier, in pre-Christian Hellenistic art. Its use has also traced through the Egyptians to the ancient Greeks and Romans, representations of Trajan. Roman emperors were sometimes depicted wearing a radiant crown, with pointed rays intended to represent the rays of the sun, from this early astrological use, the form of glory or nimbus has been adapted or inherited under new beliefs. A mandorla is a vesica piscis shaped aureola which surrounds the figures of Christ and it is commonly used to frame the figure of Christ in Majesty in early medieval and Romanesque art, as well as Byzantine art of the same periods. The term refers to the almond like shape, mandorla means almond nut in Italian, in icons of the Eastern Orthodox Church, the mandorla is used to depict sacred moments which transcend time and space, such as the Resurrection, Transfiguration, and the Dormition of the Theotokos. These mandorla will often be painted in several patterns of color which grow darker as they come close to the center. This is in keeping with the use of Apophatic theology, as described by Dionysius the Areopagite. As holiness increases, there is no way to depict its brightness, in a famous romanesque fresco of Christ in Glory at Sant Climent de Taüll, the inscription Ego Sum Lux Mundi is incorporated in the Mandorla design. The tympanum at Conques has Christ, with a carved in romanesque sculpture. Six surrounding stars, resembling blossoming flowers, indicate the known planets including the Moon, here the symbolism implies Christ as the Sun. In one special case, at Cervon, Christ is seated surrounded by eight stars, at Conques the flowers are six-petalled. Here one is tempted to seek for reference in the symbolism of the nine branched Chanukkiyah candelabrum, in the 12th century a great school of Judaic thought radiated from Narbonne, coinciding with the origins of the Kabbalah. The aureole is often the visible part of the corona and has the appearance of a bluish-white disk which fades to reddish-brown towards the edge. Aura Aureole effect Crown of Immortality Five Crowns Glory Halo Heiligenschein Velificatio Timmers J. J. M, a Handbook of Romanesque Art New York London 1969 Icon Editions, Harper and Row Gérard de Champéaux, Dom Sébastièn Sterckx o. s. b
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Solar deity
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A solar deity is a sky deity who represents the Sun, or an aspect of it, usually by its perceived power and strength. Solar deities and sun worship can be found throughout most of recorded history in various forms, the Sun is sometimes referred to by its Latin name Sol or by its Greek name Helios. The English word sun stems from Proto-Germanic *sunnǭ, the Neolithic concept of a solar barge is found in the later myths of ancient Egypt, with Ra and Horus. Predynasty Egyptian beliefs attribute Atum as the sun-god and Horus as a god of the sky, as the Old Kingdom theocracy gained power, early beliefs were incorporated with the expanding popularity of Ra and the Osiris-Horus mythology. Atum became Ra-Atum, the rays of the setting sun, Osiris became the divine heir to Atums power on Earth and passes his divine authority to his son Horus. Early Egyptian myths imply the sun is within the lioness, Sekhmet, at night and is reflected in her eyes, or that it is within the cow, Hathor, during the night, being reborn each morning as her son. Mesopotamian Shamash plays an important role during the Bronze Age, similarly, South American cultures have a tradition of Sun worship, as with the Incan Inti. Proto-Indo-European religion has a chariot, the sun as traversing the sky in a chariot. In Germanic mythology this is Sol, in Vedic Surya, and in Greek Helios, svarog is the Slavic solar deity, represented as a spirit of fire. During the Roman Empire, a festival of the birth of the Unconquered Sun was celebrated on the winter solstice—the rebirth of the sun—which occurred on December 25 of the Julian calendar. In late antiquity, the centrality of the sun in some Imperial religious systems suggest a form of a solar monotheism. The religious commemorations on December 25 were replaced under Christian domination of the Empire with the birthday of Christ, the Tiv people consider the Sun to be the son of the supreme being Awondo and the Moon Awondos daughter. The Barotse tribe believes that the Sun is inhabited by the sky god Nyambi, some Sara people also worship the sun. Even where the sun god is equated with the supreme being, the Ancient Egyptian god of creation, Amun is also believed to reside inside the sun. So is the Akan creator deity, Nyame and the Dogon deity of creation, also in Egypt, there was a religion that worshiped the sun directly, and was among the first monotheistic religions, Atenism. Sun worship was prevalent in ancient Egyptian religion, the earliest deities associated with the sun are all goddesses, Wadjet, Sekhmet, Hathor, Nut, Bast, Bat, and Menhit. First Hathor, and then Isis, give birth to and nurse Horus, Hathor the horned-cow is one of the 12 daughters of Ra, gifted with joy and is a wet-nurse to Horus. From at least the 4th Dynasty of Ancient Egypt, the sun was worshipped as the deity Re, and portrayed as a falcon headed god surmounted by the solar disk, and surrounded by a serpent
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Oceanus
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Strictly speaking, Oceanus was the ocean-stream at the Equator in which floated the habitable hemisphere. Thus, the sun rises from the deep-flowing Oceanus in the east, in Greek mythology, this world-ocean was personified as a Titan, the eldest son of Uranus and Gaia. In Hellenistic and Roman mosaics, this Titan was often depicted as having the body of a muscular man with a long beard and horns. In Roman mosaics, such as that from Bardo he might carry a steering-oar, some scholars believe that Oceanus originally represented all bodies of salt water, including the Mediterranean Sea and the Atlantic Ocean, the two largest bodies known to the ancient Greeks. Oceanus consort is his sister Tethys, and from their union came the ocean nymphs, also referred to as the three-thousand Oceanids, and all the rivers of the world, fountains, and lakes. In most variations of this myth, Oceanus also refused to side with Cronus in the revolt against their father. R. S. P. Beekes has suggested a Pre-Greek proto-form *-kay-an-, when Odysseus and Nestor walk together along the shore of the sounding sea they address their prayers to the great Sea-god who girdles the world. It is to Oceanus, not to Poseidon, that their thoughts are directed, Heracles forced Helios to lend him his golden bowl, in order to cross the wide expanse of the Ocean on his trip to the Hesperides. When Oceanus tossed the bowl about, Heracles threatened him and stilled his waves, the journey of Heracles in the sun-bowl upon Oceanus became a favored theme among painters of Attic pottery. Oceanus appears in Hellenic cosmography as well as myth, cartographers continued to represent the encircling equatorial stream much as it had appeared on Achilles shield. Apollonius of Rhodes calls the lower Danube the Keras Okeanoio in Argonautica, accion in the fourth century Gaulish Latin of Rufus Avienus, Ora maritima, was applied to great lakes. At the end of the Okeanos Potamos, is the island of Alba, sacred to the Pelasgian Apollo. Hecateus of Abdera refers to Apollos island from the region of the Hyperboreans and it was on Leuke, in one version of his legend, that the hero Achilles, in a hilly tumulus, was buried. Leto, the Hyperborean goddess, after nine days and nine nights of labour on the island of Delos gave birth to the god of the antique light. Old Romanian folk songs sing of a monastery on a white island with nine priests, nine singers, nine altars. Oceanid Ogyges Rasā Uranus Aeschylus, Persians, edited and translated by Alan H. Sommerstein. Cambridge, MA, Harvard University Press,2009, online version at Harvard University Press. Apollodorus, Apollodorus, The Library, with an English Translation by Sir James George Frazer, Cambridge, MA, Harvard University Press, London, William Heinemann Ltd.1921
23.
Pindar
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Pindar was an Ancient Greek lyric poet from Thebes. Of the canonical nine lyric poets of ancient Greece, his work is the best preserved and his poems can also, however, seem difficult and even peculiar. The Athenian comic playwright Eupolis once remarked that they are reduced to silence by the disinclination of the multitude for elegant learning. His poetry, while admired by critics, still challenges the casual reader, Pindar was the first Greek poet to reflect on the nature of poetry and on the poets role. A dream of a shadow Is our mortal being, but when there comes to men A gleam of splendour given of heaven, Then rests on them a light of glory And blessed are their days. His poetry illustrates the beliefs and values of Archaic Greece at the dawn of the classical period, five ancient sources contain all the recorded details of Pindars life. One of them is a short biography discovered in 1961 on an Egyptian papyrus dating from at least 200 AD and it has been claimed that biographical interpretations of the poems are due to a fatal conjunction of historicism and Romanticism. In other words, we know almost nothing about Pindars life based on traditional sources or his own poems. However, the pendulum of fashion has begun to change direction again. He was probably born in 522 BC or 518 BC in Cynoscephalae and his fathers name is variously given as Daiphantus, Pagondas or Scopelinus, and his mothers name was Cleodice. It is reported that he was stung on the mouth by a bee in his youth, Pindar was about twenty years old in 498 BC when he was commissioned by the ruling family in Thessaly to compose his first victory ode. He studied the art of poetry in Athens, where his tutor was Lasos of Hermione. The early-to-middle years of Pindars career coincided with the Persian invasions of Greece in the reigns of Darius and it is possible that Pindar spent much of this time at Aegina. Thrasybulus had driven the winning chariot and he and Pindar were to form a lasting friendship, Pindar seems to have used his odes to advance his, and his friends, personal interests. In 462 BC he composed two odes in honour of Arcesilas, king of Cyrene, pleading for the return from exile of a friend, Demophilus. In the latter ode Pindar proudly mentions his own ancestry, which he shared with the king, as an Aegeid or descendent of Aegeus, the historian Herodotus considered the clan important enough to deserve mention. Pindar might not actually claim to be an Aegeid since his I statements do not necessarily refer to himself. He was possibly the Theban proxenos or consul for Aegina and/or Molossia, as indicated in another of his odes, Nemean 7, in which he glorifies Neoptolemus, a national hero of Aegina and Molossia
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Roman mythology
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Roman mythology is the body of traditional stories pertaining to ancient Romes legendary origins and religious system, as represented in the literature and visual arts of the Romans. Roman mythology may also refer to the study of these representations. The Romans usually treated their traditional narratives as historical, even when these have miraculous or supernatural elements, the stories are often concerned with politics and morality, and how an individuals personal integrity relates to his or her responsibility to the community or Roman state. When the stories illuminate Roman religious practices, they are concerned with ritual, augury. Romes early myths and legends also have a relationship with Etruscan religion. In particular, the versions of Greek myths in Ovids Metamorphoses, written during the reign of Augustus, because ritual played the central role in Roman religion that myth did for the Greeks, it is sometimes doubted that the Romans had much of a native mythology. This perception is a product of Romanticism and the scholarship of the 19th century. From the Renaissance to the 18th century, however, Roman myths were an inspiration particularly for European painting, the Roman tradition is rich in historical myths, or legends, concerning the foundation and rise of the city. These narratives focus on human actors, with only occasional intervention from deities, in Romes earliest period, history and myth have a mutual and complementary relationship. As T. P. Wiseman notes, The Roman stories still matter, as they mattered to Dante in 1300 and Shakespeare in 1600, what does it take to be a free citizen. Can a superpower still be a republic, how does well-meaning authority turn into murderous tyranny. Major sources for Roman myth include the Aeneid of Vergil and the first few books of Livys history as well as Dionysius s Roman Antiquities. Other important sources are the Fasti of Ovid, a six-book poem structured by the Roman religious calendar, scenes from Roman myth also appear in Roman wall painting, coins, and sculpture, particularly reliefs. The Aeneid and Livys early history are the best extant sources for Romes founding myths, material from Greek heroic legend was grafted onto this native stock at an early date. By extension, the Trojans were adopted as the ancestors of the Roman people. Rape of the Sabine women, explaining the importance of the Sabines in the formation of Roman culture, numa Pompilius, the Sabine second king of Rome who consorted with the nymph Egeria and established many of Romes legal and religious institutions. Servius Tullius, the king of Rome, whose mysterious origins were freely mythologized. The Tarpeian Rock, and why it was used for the execution of traitors, lucretia, whose self-sacrifice prompted the overthrow of the early Roman monarchy and led to the establishment of the Republic
25.
Sanskrit
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Sanskrit is the primary liturgical language of Hinduism, a philosophical language of Hinduism, Buddhism, and Jainism, and a literary language and lingua franca of ancient and medieval South Asia. As a result of transmission of Hindu and Buddhist culture to Southeast Asia and parts of Central Asia, as one of the oldest Indo-European languages for which substantial written documentation exists, Sanskrit holds a prominent position in Indo-European studies. The body of Sanskrit literature encompasses a rich tradition of poetry and drama as well as scientific, technical, philosophical, the compositions of Sanskrit were orally transmitted for much of its early history by methods of memorization of exceptional complexity, rigor, and fidelity. Thereafter, variants and derivatives of the Brahmi script came to be used, Sanskrit is today one of the 22 languages listed in the Eighth Schedule of the Constitution of India, which mandates the Indian government to develop the language. It continues to be used as a ceremonial language in Hindu religious rituals and Buddhist practice in the form of hymns. The Sanskrit verbal adjective sáṃskṛta- may be translated as refined, elaborated, as a term for refined or elaborated speech, the adjective appears only in Epic and Classical Sanskrit in the Manusmṛti and the Mahabharata. The pre-Classical form of Sanskrit is known as Vedic Sanskrit, with the language of the Rigveda being the oldest and most archaic stage preserved, Classical Sanskrit is the standard register as laid out in the grammar of Pāṇini, around the fourth century BCE. Sanskrit, as defined by Pāṇini, evolved out of the earlier Vedic form, the present form of Vedic Sanskrit can be traced back to as early as the second millennium BCE. Scholars often distinguish Vedic Sanskrit and Classical or Pāṇinian Sanskrit as separate dialects, although they are quite similar, they differ in a number of essential points of phonology, vocabulary, grammar and syntax. Vedic Sanskrit is the language of the Vedas, a collection of hymns, incantations and theological and religio-philosophical discussions in the Brahmanas. Modern linguists consider the metrical hymns of the Rigveda Samhita to be the earliest, for nearly 2000 years, Sanskrit was the language of a cultural order that exerted influence across South Asia, Inner Asia, Southeast Asia, and to a certain extent East Asia. A significant form of post-Vedic Sanskrit is found in the Sanskrit of Indian epic poetry—the Ramayana, the deviations from Pāṇini in the epics are generally considered to be on account of interference from Prakrits, or innovations, and not because they are pre-Paninian. Traditional Sanskrit scholars call such deviations ārṣa, meaning of the ṛṣis, in some contexts, there are also more prakritisms than in Classical Sanskrit proper. There were four principal dialects of classical Sanskrit, paścimottarī, madhyadeśī, pūrvi, the predecessors of the first three dialects are attested in Vedic Brāhmaṇas, of which the first one was regarded as the purest. In the 2001 Census of India,14,035 Indians reported Sanskrit to be their first language, in India, Sanskrit is among the 14 original languages of the Eighth Schedule to the Constitution. The state of Uttarakhand in India has ruled Sanskrit as its official language. In October 2012 social activist Hemant Goswami filed a petition in the Punjab. More than 3,000 Sanskrit works have been composed since Indias independence in 1947, much of this work has been judged of high quality, in comparison to both classical Sanskrit literature and modern literature in other Indian languages
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Old English
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Old English or Anglo-Saxon is the earliest historical form of the English language, spoken in England and southern and eastern Scotland in the early Middle Ages. It was brought to Great Britain by Anglo-Saxon settlers probably in the mid 5th century, Old English developed from a set of Anglo-Frisian or North Sea Germanic dialects originally spoken by Germanic tribes traditionally known as the Angles, Saxons, and Jutes. As the Anglo-Saxons became dominant in England, their language replaced the languages of Roman Britain, Common Brittonic, a Celtic language, Old English had four main dialects, associated with particular Anglo-Saxon kingdoms, Mercian, Northumbrian, Kentish and West Saxon. It was West Saxon that formed the basis for the standard of the later Old English period, although the dominant forms of Middle. The speech of eastern and northern parts of England was subject to strong Old Norse influence due to Scandinavian rule, Old English is one of the West Germanic languages, and its closest relatives are Old Frisian and Old Saxon. Like other old Germanic languages, it is different from Modern English. Old English grammar is similar to that of modern German, nouns, adjectives, pronouns, and verbs have many inflectional endings and forms. The oldest Old English inscriptions were using a runic system. Old English was not static, and its usage covered a period of 700 years, from the Anglo-Saxon settlement of Britain in the 5th century to the late 11th century, some time after the Norman invasion. While indicating that the establishment of dates is a process, Albert Baugh dates Old English from 450 to 1150, a period of full inflections. Perhaps around 85 per cent of Old English words are no longer in use, Old English is a West Germanic language, developing out of Ingvaeonic dialects from the 5th century. It came to be spoken over most of the territory of the Anglo-Saxon kingdoms which became the Kingdom of England and this included most of present-day England, as well as part of what is now southeastern Scotland, which for several centuries belonged to the Anglo-Saxon kingdom of Northumbria. Other parts of the island – Wales and most of Scotland – continued to use Celtic languages, Norse was also widely spoken in the parts of England which fell under Danish law. Anglo-Saxon literacy developed after Christianisation in the late 7th century, the oldest surviving text of Old English literature is Cædmons Hymn, composed between 658 and 680. There is a corpus of runic inscriptions from the 5th to 7th centuries. The Old English Latin alphabet was introduced around the 9th century, with the unification of the Anglo-Saxon kingdoms by Alfred the Great in the later 9th century, the language of government and literature became standardised around the West Saxon dialect. In Old English, typical of the development of literature, poetry arose before prose, a later literary standard, dating from the later 10th century, arose under the influence of Bishop Æthelwold of Winchester, and was followed by such writers as the prolific Ælfric of Eynsham. This form of the language is known as the Winchester standard and it is considered to represent the classical form of Old English
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Old Norse
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Old Norse was a North Germanic language that was spoken by inhabitants of Scandinavia and inhabitants of their overseas settlements during about the 9th to 13th centuries. These dates, however, are not absolute, since written Old Norse is found well into the 15th century, Old Norse was divided into three dialects, Old West Norse, Old East Norse and Old Gutnish. Old West and East Norse formed a continuum, with no clear geographical boundary between them. For example, Old East Norse traits were found in eastern Norway, although Old Norwegian is classified as Old West Norse, most speakers spoke Old East Norse in what is present day Denmark and Sweden. Old Gutnish, the more obscure dialectal branch, is included in the Old East Norse dialect due to geographical associations. It developed its own features and shared in changes to both other branches. The 12th century Icelandic Gray Goose Laws state that Swedes, Norwegians, Icelanders and Danes spoke the same language, another term used, used especially commonly with reference to West Norse, was norrœnt mál. In some instances the term Old Norse refers specifically to Old West Norse, the Old East Norse dialect was spoken in Denmark, Sweden, settlements in Kievan Rus, eastern England, and Danish settlements in Normandy. The Old Gutnish dialect was spoken in Gotland and in settlements in the East. In the 11th century, Old Norse was the most widely spoken European language, in Kievan Rus, it survived the longest in Veliky Novgorod, probably lasting into the 13th century there. Norwegian is descended from Old West Norse, but over the centuries it has heavily influenced by East Norse. Old Norse also had an influence on English dialects and Lowland Scots and it also influenced the development of the Norman language, and through it and to a smaller extent, that of modern French. Various other languages, which are not closely related, have heavily influenced by Norse, particularly the Norman dialects, Scottish Gaelic. The current Finnish and Estonian words for Sweden are Ruotsi and Rootsi, of the modern languages, Icelandic is the closest to Old Norse. Written modern Icelandic derives from the Old Norse phonemic writing system, contemporary Icelandic-speakers can read Old Norse, which varies slightly in spelling as well as semantics and word order. However, pronunciation, particularly of the phonemes, has changed at least as much as in the other North Germanic languages. Faroese retains many similarities but is influenced by Danish, Norwegian, although Swedish, Danish and the Norwegian languages have diverged the most, they still retain asymmetric mutual intelligibility. Speakers of modern Swedish, Norwegian and Danish can mostly understand each other without studying their neighboring languages, the languages are also sufficiently similar in writing that they can mostly be understood across borders
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