Greek mythology is the body of myths told by the ancient Greeks. These stories concern the origin and the nature of the world, the lives and activities of deities and mythological creatures, the origins and significance of the ancient Greeks' own cult and ritual practices. Modern scholars study the myths in an attempt to shed light on the religious and political institutions of ancient Greece and its civilization, to gain understanding of the nature of myth-making itself; the Greek myths were propagated in an oral-poetic tradition most by Minoan and Mycenaean singers starting in the 18th century BC. Two poems by Homer's near contemporary Hesiod, the Theogony and the Works and Days, contain accounts of the genesis of the world, the succession of divine rulers, the succession of human ages, the origin of human woes, the origin of sacrificial practices. Myths are preserved in the Homeric Hymns, in fragments of epic poems of the Epic Cycle, in lyric poems, in the works of the tragedians and comedians of the fifth century BC, in writings of scholars and poets of the Hellenistic Age, in texts from the time of the Roman Empire by writers such as Plutarch and Pausanias.
Aside from this narrative deposit in ancient Greek literature, pictorial representations of gods and mythic episodes featured prominently in ancient vase-paintings and the decoration of votive gifts and many other 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 and Hellenistic periods and various other mythological scenes appear, supplementing the existing literary evidence. Greek mythology has had an extensive influence on the culture and literature of Western civilization and remains part of Western heritage and language. 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 from Greek literature and representations on visual media dating from the Geometric period from c. 900 BC to c. 800 BC onward. In fact and archaeological sources integrate, sometimes mutually supportive and sometimes in conflict.
Mythical narration plays an important role in nearly every genre of Greek literature. The only general mythographical handbook to survive from Greek antiquity was the Library of Pseudo-Apollodorus; 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 wrote on many of these topics, his writings may have formed the basis for the collection. Among the earliest literary sources are the Iliad and the Odyssey. Other poets completed the "epic cycle", but these and lesser poems now are lost entirely. Despite their traditional name, the "Homeric Hymns" have no direct connection with Homer, they are choral hymns from the earlier part of the so-called Lyric age. Hesiod, a possible contemporary with Homer, offers in his Theogony the fullest account of the earliest Greek myths, dealing with the creation of the world. Hesiod's Works and Days, a didactic poem about farming life includes the myths of Prometheus and the Five Ages.
The poet gives advice on the best way to succeed in a dangerous world, rendered yet more dangerous by its gods. Lyrical poets took their subjects from myth, but their treatment became less narrative and more allusive. Greek lyric poets, including Pindar and Simonides, bucolic poets such as Theocritus and Bion, relate individual mythological incidents. Additionally, myth was central to classical Athenian drama; the tragic playwrights Aeschylus and Euripides took most of their plots from myths of the age of heroes and the Trojan War. Many of the great tragic stories took on their classic form in these tragedies; the comic playwright Aristophanes used myths, in The Birds and The Frogs. Historians Herodotus and Diodorus Siculus, geographers Pausanias and Strabo, who traveled throughout the Greek world and noted the stories they heard, supplied numerous local myths and legends giving little-known alternative versions. Herodotus in particular, searched the various traditions presented him and found the historical or mythological roots in the confrontation between Greece and the East.
Herodotus attempted to reconcile the blending of differing cultural concepts. The poetry of the Hellenistic and Roman ages was composed as a literary rather than cultic exercise, it contains many important details that would otherwise be lost. This category includes the works of: The Roman poets Ovid, Valerius Flaccus and Virgil with Servius's commentary; the Greek poets of the Late Antique period: Nonnus, Antoninus Liberalis, Quintus Smyrnaeus. The Greek poets of the Hellenistic period: Apollonius of Rhodes, Pseudo-Eratosthenes, Parthenius. Prose writers from the same periods who make reference to myths includ
Renaissance Pictures is an American film production and television company. It was founded by director Sam Raimi, producer Rob Tapert and actor Bruce Campbell, with help from publicist Irvin Shapiro, on August 10, 1979 to produce their film The Evil Dead, along with its sequels Evil Dead II and Army of Darkness. Renaissance has produced a large number of films involving the three founders, as well as those made by other entertainment professionals connected with them, including the Joel and Ethan Coen written Crimewave and Josh Becker's Thou Shalt Not Kill... Except. Efforts include big budget action films such as Darkman, Hard Target and Timecop, the television series Hercules: The Legendary Journeys and Xena: Warrior Princess, both of which featured Campbell in various capacities, as well as Raimi's brother Ted as recurring character Joxer. Raimi and Tapert now produce horror films, including Raimi's own Drag Me to Hell, through Ghost House Pictures; the original logo of the company paid homage to the opening of the 1968 film 2001: A Space Odyssey, before it was changed to a Mona Lisa-esque Renaissance painting being torn apart by lightning in 1994.
1981: The Evil Dead 1986: Crimewave 1985: Stryker's War 1987: Evil Dead II 1990: Darkman 1991: Lunatics: A Love Story 1992: Army of Darkness 1993: Hard Target 1994: Darkman II: The Return of Durant 1994: Hercules and the Amazon Women 1994: Hercules and the Lost Kingdom 1994–1995: M. A. N. T. I. S. 1994: Timecop 1994: Hercules and the Circle of Fire 1994: Hercules in the Underworld 1994: Hercules in the Maze of the Minotaur 1995–1999: Hercules: The Legendary Journeys 1995–2001: Xena: Warrior Princess 1995–1996: American Gothic 1996: Darkman III: Die Darkman Die 1997: Spy Game 1998: Hercules and Xena – The Animated Movie: The Battle for Mount Olympus 1998–1999: Young Hercules 2000: Jack of All Trades 2000–2001: Cleopatra 2525 2002: Xena: Warrior Princess - A Friend in Need 2008–2010: Legend of the Seeker 2015–2018: Ash vs. Evil Dead Warren, Bill; the Evil Dead Companion, ISBN 0-312-27501-3. Renaissance Pictures on IMDb
Éire is Irish for "Ireland", the name of an island and a sovereign state. The modern Irish Éire evolved from the Old Irish word Ériu, the name of a Gaelic goddess. Ériu is believed to have been the matron goddess of Ireland, a goddess of sovereignty, or a goddess of the land. The origin of Ériu has been traced to the Proto-Celtic reconstruction *Φīwerjon-; this suggests a descent from the Proto-Indo-European reconstruction *piHwerjon- related to the adjectival stem *piHwer-. This would suggest a meaning of "abundant land"; this Proto-Celtic form became Īveriū in Proto-Goidelic. It is likely that explorers borrowed and modified this term. During his exploration of northwest Europe, Pytheas of Massilia called the island Ierne. In his book Geographia, Claudius Ptolemaeus called the island Iouernia. Based on these historical accounts, the Roman Empire called the island Hibernia; the evolution of the word would follow as such: Proto-Celtic *Φīwerjon- Proto-Goidelic *Īweriū or *Īveriū Old Irish Ériu Modern Irish ÉireA 19th century proposal, which does not follow modern standards of etymology, derives the name from Scottish Gaelic: ì + thairr + fónn, which together give ì-iar-fhónn, or "westland isle"This is similar in meaning to the Norse name for Irish people, "west men", which subsequently gave its name to the Icelandic island of Vestmannaeyjar.
While Éire is the name for the island of Ireland in the Irish language, sometimes used in English, Erin is a common poetic name for Ireland, as in Erin go bragh. The distinction between the two is one of the difference between cases of nouns in Irish. Éire is the nominative case, the case, used for nouns that are the subject of a sentence, i.e. the noun, doing something as well as the direct object of a sentence. Erin derives from Éirinn, the Irish dative case of Éire, which has replaced the nominative case in Déise Irish and some non-standard sub-dialects elsewhere, in Scottish Gaelic and Manx, where the word is spelled "Nerin," with the initial n- representing a fossilisation of the preposition in/an "in"; the genitive case, Éireann, is used in the Gaelic forms of the titles of companies and institutions in Ireland e.g. Iarnród Éireann, Dáil Éireann, Poblacht na hÉireann or Tuaisceart Éireann Article 4 of the Irish constitution adopted in 1937 by the government under Éamon de Valera states that Éire is the name of the state, or in the English language, Ireland.
The Constitution's English-language preamble described the population as "We, the people of Éire". Despite the fact that Article 8 designated Irish as the "national" and "first official" language, Éire has to some extent passed out of everyday conversation and literature, the state is referred to as Ireland or its equivalent in all other languages; the name "Éire" has been used on Irish postage stamps since 1922. "Éire" is used on the Seal of the President of Ireland. After 1937 the United Kingdom insisted on using only the name "Eire" and refused to accept the name "Ireland", it adopted the Eire Act 1938 putting in law that position. At the 1948 Summer Olympics in London the organisers insisted that the Irish team march under the banner "Eire" notwithstanding that every other team was marching according to what their name was in English; the UK Government used what some Irish politicians stated were "sneering titles such as Eirish". The UK Government would refer to "Eire Ministers" and the "Eireann Army" and avoid all reference to "Ireland" in connection with the state.
The Ireland Act 1949 changed this to "Republic of Ireland". It was not until after the 1998 Good Friday Agreement that the UK government accepted the preferred name of "Ireland", at the same time as Ireland dropped its territorial claim over Northern Ireland. Before the 1937 Constitution, "Saorstát Éireann" was used. During the Emergency, Irish ships had "EIRE" painted large on their sides and deck, to identify them as neutrals. In the 1947 Sinn Féin Funds case, a co-defendant was cited as the "the Attorney General of Eire" in the High and Supreme Court cases, there were similar cases where "Eire" was used in the late 1940s as a descriptor of the state in English. In 1922–1938 the international plate on Irish cars was "SE". From 1938 to 1962 it was marked "EIR", short for Éire. In 1961 statutory instrument no. 269 allowed "IRL", by 1962 "IRL" had been adopted. Irish politician Bernard Commons TD suggested to the Dáil in 1950 that the government examine "the tourist identification plate bearing the letters EIR... with a view to the adoption of identification letters more associated with this country by foreigners".
"EIR" is shown in other legislation such as the car insurance statutory instrument no. 383 of 1952 and no. 82 of 1958. Under the 1947 Convention Irish-registered aircraft have carried a registration mark starting "EI" for Éire. From January 2007, the Irish government nameplates at meetings of the European Union have borne both Éire and Ireland, following the adoption
Heracles, born Alcaeus or Alcides was a divine hero in Greek mythology, the son of Zeus and Alcmene, foster son of Amphitryon. He was a half-brother of Perseus, he was the greatest of the Greek heroes, a paragon of masculinity, the ancestor of royal clans who claimed to be Heracleidae, a champion of the Olympian order against chthonic monsters. In Rome and the modern West, he is known as Hercules, with whom the Roman emperors, in particular Commodus and Maximian identified themselves; the Romans adopted the Greek version of his life and works unchanged, but added anecdotal detail of their own, some of it linking the hero with the geography of the Central Mediterranean. Details of his cult were adapted to Rome as well. Many popular stories were told of the most famous being The Twelve Labours of Heracles, his figure, which drew on Near Eastern motifs such as the lion-fight, was known. Heracles was the greatest of Hellenic chthonic heroes, but unlike other Greek heroes, no tomb was identified as his.
Heracles was both god, as Pindar says heros theos. The core of the story of Heracles has been identified by Walter Burkert as originating in Neolithic hunter culture and traditions of shamanistic crossings into the netherworld, it is possible that the myths surrounding Heracles were based on the life of a real person or several people whose accomplishments became exaggerated with time. Based on commonalities in the legends of Heracles and Odysseus, author Steven Sora suggested that they were both based on the same historical person, who made his mark prior to recorded history. Heracles' role as a culture hero, whose death could be a subject of mythic telling, was accepted into the Olympian Pantheon during Classical times; this created an awkwardness in the encounter with Odysseus in the episode of Odyssey XI, called the Nekuia, where Odysseus encounters Heracles in Hades: Ancient critics were aware of the problem of the aside that interrupts the vivid and complete description, in which Heracles recognizes Odysseus and hails him, modern critics find good reasons for denying that the verses beginning, in Fagles' translation His ghost I mean... were part of the original composition: "once people knew of Heracles' admission to Olympus, they would not tolerate his presence in the underworld", remarks Friedrich Solmsen, noting that the interpolated verses represent a compromise between conflicting representations of Heracles.
In Christian circles a Euhemerist reading of the widespread Heracles cult was attributed to a historical figure, offered cult status after his death. Thus Eusebius, Preparation of the Gospel, reported that Clement could offer historical dates for Hercules as a king in Argos: "from the reign of Hercules in Argos to the deification of Hercules himself and of Asclepius there are comprised thirty-eight years, according to Apollodorus the chronicler: and from that point to the deification of Castor and Pollux fifty-three years: and somewhere about this time was the capture of Troy." Readers with a literalist bent, following Clement's reasoning, have asserted from this remark that, since Heracles ruled over Tiryns in Argos at the same time that Eurystheus ruled over Mycenae, since at about this time Linus was Heracles' teacher, one can conclude, based on Jerome's date—in his universal history, his Chronicon—given to Linus' notoriety in teaching Heracles in 1264 BCE, that Heracles' death and deification occurred 38 years in 1226 BCE.
The ancient Greeks celebrated the festival of the Heracleia, which commemorated the death of Heracles, on the second day of the month of Metageitnion. What is believed to be an Egyptian Temple of Heracles in the Bahariya Oasis dates to 21 BCE. A reassessment of Ptolemy's descriptions of the island of Malta attempted to link the site at Ras ir-Raħeb with a temple to Heracles, but the arguments are not conclusive. Several ancient cities were named Heraclea in his honor. Although the Athenians were among the first to worship Heracles as a god, there were Greek cities that refused to recognize the hero's divine status. There are several polis that provided two separate sanctuaries for Heracles, one recognizing him as a god, the other only as a hero; this ambiguity helped create the Heracles cult when historians and artists encouraged worship such as the painters during the time of the Peisistratos, who presented Heracles entering Olympus in their works. Some sources explained that the cult of Heracles persisted because of the hero's ascent to heaven and his suffering, which became the basis for festivals, ritual and the organization of mysteries.
There is the observation, for example, that sufferings gave rise to the rituals of grief and mourning, which came before the joy in the mysteries in the sequence of cult rituals. Like the case of Apollo, the cult of Hercules has been sustained through the years by absorbing local cult figures such as those who share the same nature, he was constantly invoked as a patron for men the young ones. For example, he was considered the ideal in warfare so he presided over gymnasiums and the ephebes or those men undergoing military training. There were ancient towns and cities that adopted Hera
The Horror Channel is a British television channel showing Horror films and television series and some science fiction. It is broadcast in the Ireland. Specialized programming includes cult films, classic horror, comedy, B movies, modern thrillers, home-produced specials and documentaries; the Horror Channel is available as a free-to-air service on Astra 2F and, since Friday the 13th of March 2015, on Freeview channel 70. The launch on the Freeview platform increased its viewership by some 300%; the Horror Channel was created by Tony Hazell. The Horror Channel went into administration on 21 September 2004; the original management team formed a second company and purchased the channel on 22 September 2004, writing off the £200,000 investment made in the channel by venture capital firm, Northern Enterprise. Zone Vision Networks Ltd. agreed to acquire the Horror Channel for an undisclosed sum on 17 June 2005. In June 2006, the Horror Channel was renamed "Zone Horror" after Zone Vision Networks was renamed Zonemedia.
It became a part of the Chellomedia content division of Liberty Global in 2005. Zone Horror +1 was launched on Sky on 1 July 2008 replaced Zone Reality Extra. On 30 October 2006, Zonemedia launched Zone Horror in the Netherlands. On 1 July 2009, the channel was dropped from cable in the Netherlands. On 14 September 2009, it was revealed that the international arm of CBS, CBS Studios International, struck a joint venture deal with Chellomedia to launch six CBS-branded channels in the UK during 2009; the new channels would replace Zone Romantica, Zone Thriller, Zone Horror and Zone Reality, timeshift services Zone Horror +1 and Zone Reality +1. On 5 April 2010, Zone Horror was renamed "Horror Channel", following the renaming of the portfolio’s other three channels in November 2009. On-air the channel name appears as Horror; the rebrand was produced by Chello Zone’s in-house creative services team. As of May 2014 the channel's pre-show idents incorporated a prominent CBS eye though CBS does not appear in the channel's name.
Zone Fantasy got rebranded by Horror Channel in Italy on 6 September 2011. Horror Channel closed in Italy on 1 July 2015. On 21 August 2012, a pre-watershed simulcast of the Horror Channel began broadcasting in Sky's Entertainment genre on channel 198, followed by three hours of Psychic Today after 9.00 pm. This version of the channel was replaced by Reality TV, a simulcast of CBS Reality with a Psychic Today block, on 20 May 2013. On 9 March 2015, the Horror Channel appeared on Freeview channel 70 as a placeholder channel, on 13 March 2015 Horror Channel started broadcasting and is the third of the CBS family to move to Freeview in under a year. Horror Channel airs a wide range of films; as The Horror Channel, it premiered a number of classic films including Carnival of Souls, The City of the Dead, The Killer Shrews, Lady of Burlesque, while it became known for its showing of B movie classics such as Bloody Birthday, Troll 2, Brian Damage, Mistress of the Dark and Slugs. European cinema became notable during the early years of the channel with films including The Devil's Nightmare, Nude for Satan, Black Magic Rites, The Sinful Nuns of Saint Valentine and several films from French director Jean Rollin like Requiem for a Vampire, The Iron Rose, The Grapes of Death and The Living Dead Girl which were shown as part of "The Jean Rollin Season".
Additional early films consisted of the Troma films Mother's Day and The Toxic Avenger film series, with others such as the Sleepaway Camp trilogy, the Hellraiser trilogy, Flowers in the Attic and Turkey Shoot. When the channel was renamed in 2006 as Zone Horror, most of the older films became phased out and were replaced with more recent low-budget and independent films which are less known, such as, Drive-Thru, Berserker: Hell's Warrior and Blood Ranch, while classic films were shown only on a sporadic basis. Rebranded as Horror Channel in 2010, a number of classic horror films began to premiere on the channel, some of which included The Evil Dead, The Texas Chain Saw Massacre, Happy Birthday to Me and The Incredible Melting Man. Many films were screened as part of horror seasons, with 2011's highlights including "Horror Horreur" for September, "Hammer Horror" for October and "Season of the Banned" for November. Notable inclusions consisted of the films of European directors Lucio Fulci and Dario Argento, screenings of released films by home entertainment company Arrow Films, which includes Savage Streets and Street Trash.
Following this, Horror Channel has premiered many popular films. Note: See List of films broadcast by Horror Channel for all films, including television films. Official website
Hera is the goddess of women, marriage and childbirth in ancient Greek religion and myth, one of the Twelve Olympians and the sister-wife of Zeus. She is the daughter of the Titans Rhea. Hera rules over Mount Olympus as queen of the gods. A matronly figure, Hera served as both the patroness and protectress of married women, presiding over weddings and blessing marital unions. One of Hera's defining characteristics is her jealous and vengeful nature against Zeus' numerous lovers and illegitimate offspring, as well as the mortals who cross her. Hera is seen with the animals she considers sacred including the cow and the peacock. Portrayed as majestic and solemn enthroned, crowned with the polos, Hera may hold a pomegranate in her hand, emblem of fertile blood and death and a substitute for the narcotic capsule of the opium poppy. Scholar of Greek mythology Walter Burkert writes in Greek Religion, "Nevertheless, there are memories of an earlier aniconic representation, as a pillar in Argos and as a plank in Samos."Her Roman counterpart is Juno.
The name of Hera has several mutually exclusive etymologies. According to Plutarch, Hera was an anagram of aēr. So begins the section on Hera in Walter Burkert's Greek Religion. In a note, he records other scholars' arguments "for the meaning Mistress as a feminine to Heros, Master." John Chadwick, a decipherer of Linear B, remarks "her name may be connected with hērōs, ἥρως,'hero', but, no help, since it too is etymologically obscure." A. J. van Windekens, offers "young cow, heifer", consonant with Hera's common epithet βοῶπις. R. S. P. Beekes has suggested a Pre-Greek origin, her name is attested in Mycenaean Greek written in the Linear B syllabic script as e-ra, appearing on tablets found in Pylos and Thebes. Hera may have been the first deity to whom the Greeks dedicated an enclosed roofed temple sanctuary, at Samos about 800 BCE, it was replaced by the Heraion of Samos, one of the largest of all Greek temples. There were many temples built on this site so evidence is somewhat confusing and archaeological dates are uncertain.
The temple created by the Rhoecus sculptors and architects was destroyed between 570–560 BCE. This was replaced by the Polycratean temple of 540–530 BCE. In one of these temples we see a forest of 155 columns. There is no evidence of tiles on this temple suggesting either the temple was never finished or that the temple was open to the sky. Earlier sanctuaries, whose dedication to Hera is less certain, were of the Mycenaean type called "house sanctuaries". Samos excavations have revealed votive offerings, many of them late 8th and 7th centuries BCE, which show that Hera at Samos was not a local Greek goddess of the Aegean: the museum there contains figures of gods and suppliants and other votive offerings from Armenia, Iran, Egypt, testimony to the reputation which this sanctuary of Hera enjoyed and to the large influx of pilgrims. Compared to this mighty goddess, who possessed the earliest temple at Olympia and two of the great fifth and sixth century temples of Paestum, the termagant of Homer and the myths is an "almost... comic figure", according to Burkert.
Though greatest and earliest free-standing temple to Hera was the Heraion of Samos, in the Greek mainland Hera was worshipped as "Argive Hera" at her sanctuary that stood between the former Mycenaean city-states of Argos and Mycenae, where the festivals in her honor called Heraia were celebrated. "The three cities I love best," the ox-eyed Queen of Heaven declares in the Iliad, book iv, "are Argos and Mycenae of the broad streets." There were temples to Hera in Olympia, Tiryns and the sacred island of Delos. In Magna Graecia, two Doric temples to Hera were constructed at Paestum, about 550 BCE and about 450 BCE. One of them, long called the Temple of Poseidon was identified in the 1950s as a second temple there of Hera. In Euboea, the festival of the Great Daedala, sacred to Hera, was celebrated on a sixty-year cycle. Hera's importance in the early archaic period is attested by the large building projects undertaken in her honor; the temples of Hera in the two main centers of her cult, the Heraion of Samos and the Heraion of Argos in the Argolis, were the earliest monumental Greek temples constructed, in the 8th century BCE.
According to Walter Burkert, both Hera and Demeter have many characteristic attributes of Pre-Greek Great Goddesses. According to Homeric Hymn III to Delian Apollo, Hera detained Eileithyia to prevent Leto from going into labor with Artemis and Apollo, since the father was Zeus; the other goddesses present at the birthing on Delos sent Iris to bring her. As she stepped upon the island, the divine birth began. In the myth of the birth of Heracles, it is Hera herself who sits at the door, delaying the birth of Heracles until her protégé, had been born first; the Homeric Hymn to Pythian Apollo makes the monster Typhaon the offspring of archaic Hera in her Minoan form, produced out of herself, like a monstrous version of Hephaestus, whelped in a cave in Cilicia. She gave the creature to Python to raise. In the Temple of Hera, Hera's seated cult figure was older than the warrior figure of Zeus that accompanied it. Homer expressed her relationship with Zeus delicately in the Iliad, in which she declares to Zeus, "I am
Ares (Hercules: The Legendary Journeys and Xena: Warrior Princess)
Ares is a character, one of the main antagonists on the television shows Xena: Warrior Princess, Hercules: The Legendary Journeys and Young Hercules. He was portrayed by New Zealand actor Kevin Tod Smith. Ares is a significant recurring antagonist during the first three seasons, makes a guest appearance in the "coda" episode of season four and was Xena's main love interest during seasons five and six, he is the primary antagonist of Season 5, wishing to derail the Twilight of the Gods, but changes once he realizes Xena's life is more important to him. Suave, witty, yet ruthless and amoral, Ares represents in the early seasons, the seductive power of war and the dark side, he attempts to lure Xena away from her quest for redemption alongside Gabrielle, to win her over as his Warrior Queen. He offers her huge armies and historic victories, great wealth and great power, in seasons his love, offers which she rejects despite being sometimes tempted. Much of Ares' relationship with Xena remains ambiguous, including whether he is at least redeemed by his love for Xena, or to what extent Xena reciprocates his feelings.
He says several times that he has "a thing" for Xena, this seems to prevent him from killing her when pitted against her in deadly combat. Yet he pursues her romantically, their relationship prior to the show's timeline is a mystery. The dialogue in an early episode suggests that this is their first face-to-face meeting, it is stated that Ares gave Xena her signature weapon, the chakram."They had this idea for the God of War," Kevin Smith remembered. "They wanted a foil for Xena - someone who could beat her in battle, a former mentor. The weird thing is there's sympathy for the character, because he's done terrible, terrible things and yet, at the bottom of it all, the only way this works is if you believe he loves Xena. Of course Ares did admit his love for her and Xena never said it but she loved Ares." During season 1, Ares frames her for murdering three villagers in the hope that she will call on him for help when threatened with execution. He takes the shape of her long-lost father Atrius and nearly tricks her into attacking a village.
However, these plans are thwarted by Gabrielle. In a Season 2 episode, Ares joins forces with Xena's now-dead archenemy, Callisto of Cirra, engineers a body switch so that Callisto's soul occupies Xena's body while Xena is trapped in Tartarus, he seems to be grooming Callisto-in-Xena's body to be his new Warrior Queen, has sex with her, but turns away from her, realizing that she is too madly obsessed with revenge against Xena and too uncontrollable. Xena, who persuades Hades to release her, is able to send Callisto back to Tartarus. In the next episode, the audience sees a different side to Ares for the first time. After losing his godhood due to the trickery of king Sisyphus of Corinth, he needs Xena's help to get it back; as a mortal, Ares shows a new humanity and conscience, but after getting his godhood back he seems to revert to his former cold-hearted self. In Season 3, Ares' relationship with Xena grows more complicated. Under threat from Dahak, Ares ends up switching sides until Dahak is defeated by Xena.
Ares makes an unusual appearance in the musical episode where, as the "Emperor" in the fantasy land of Illusia, he personifies the seductive appeal of the dark side. The tango Ares and Xena dance to Ares' song, "Come Melt into Me" highlights the erotic chemistry between the two. Ares' character on Xena: Warrior Princess evolves in Season 5. A major part of the season's storyline involves the Twilight of the Gods and the rise of monotheistic religion. Determined to protect his own power and the rule of the Olympian gods, Ares kills Eli, a Jesus-like prophet who urges the people to abandon the old gods and the old ways. At the same time, Ares becomes less of a villain and more of a romantic interest; the sexual tension between Xena and Ares, the suggestion that he is secretly in love with her, have been there all along. As early as Season 1, it is clear, his obsession with her is evident as well. It is suggested that he might be her father, but this scenario is dropped. In Season 5, the theme of Ares' love for Xena is brought out into the open.
After the Fates prophesy that Xena's child Eve will bring about the end of the Olympian gods, Ares tries to declare his love for Xena, offering to protect her and her baby from the other gods and willingly become mortal if they can be together and have a child of their own and/or raise Eve as their own. Xena rejects his offer; when Xena and Gabrielle fake their deaths to escape the gods' persecution, Ares inadvertently thwarts their plans by burying them in an ice cave where they sleep for 25 years. After mourning Xena for years, Ares unknowingly takes Eve, now the Roman warrior Livia, as his protégée and lover; when Xena returns, he resumes his pursuit of her. Enraged by her continuing rejection, he first encourages Livia to kill her, joins the other Olympians in their effort to kill Eve. However, when Gabrielle and Eve die and Xena temporarily loses her power to kill gods, Ares love for Xena prevails, he gives up his godhood t