In Greek mythology, Daedalus was a skillful craftsman and artist, was seen as a symbol of wisdom and power. He is the father of Icarus, the uncle of Perdix, also the father of Iapyx, although this is unclear, he invented and built the labyrinth for king Minos of Crete, but shortly after finishing it king Minos had Daedalus imprisoned within the labyrinth. He and his son Icarus devised a plan to escape by using wings made of wax that Daedalus had invented, they escaped. The wax melted and Icarus fell to his death; this left Daedalus heartbroken. Daedalus's parentage was supplied as a addition, providing him with a father in Metion, Eupalamus, or Palamaon, a mother, Iphinoe, or Phrasmede. Daedalus had two sons: Iapyx, along with a nephew either Talos or Perdix. Athenians transferred Cretan Daedalus to make him Athenian-born, the grandson of the ancient king Erechtheus, claiming that Daedalus fled to Crete after killing his nephew Talos. Over time, other stories were told of Daedalus. Daedalus is first mentioned by Homer as the creator of a wide dancing-ground for Ariadne.
He created the Labyrinth on Crete, in which the Minotaur was kept. In the story of the labyrinth as told by the Hellenes, the Athenian hero Theseus is challenged to kill the Minotaur, finding his way with the help of Ariadne's thread. Daedalus' appearance in Homer is in an extended metaphor, "plainly not Homer's invention", Robin Lane Fox observes: "He is a point of comparison and so he belongs in stories which Homer's audience recognized." In Bronze Age Crete, an inscription da-da-re-jo-de has been read as referring to a place at Knossos, a place of worship. In Homer's language, daidala refers to finely crafted objects, they are objects of armor, but fine bowls and furnishings are daidala, on one occasion so are the "bronze-working" of "clasps, twisted brooches and necklaces" made by Hephaestus while cared for in secret by the goddesses of the sea. Ignoring Homer writers envisaged the Labyrinth as an edifice rather than a single dancing path to the center and out again, gave it numberless winding passages and turns that opened into one another, seeming to have neither beginning nor end.
Ovid, in his Metamorphoses, suggests that Daedalus constructed the Labyrinth so cunningly that he himself could escape it after he built it. Daedalus built the labyrinth for King Minos; the story is told that Poseidon had given a white bull to Minos so that he might use it as a sacrifice. Instead, Minos kept it for himself. For Pasiphaë, as Greek mythologers interpreted it, Daedalus built a wooden cow so she could mate with the bull, for the Greeks imagined the Minoan bull of the sun to be an actual, earthly bull, the slaying of which required a heroic effort by Theseus; this story thus encourages others to consider the long-term consequences of their own inventions with great care, lest those inventions do more harm than good. As in the tale of Icarus' wings, Daedalus is portrayed assisting in the creation of something that has subsequent negative consequences, in this case with his creation of the monstrous Minotaur's impenetrable Labyrinth, which made slaying the beast an endeavour of legendary difficulty.
The most familiar literary telling explaining Daedalus' wings is a late one, that of Ovid: in his Metamorphoses Daedalus was shut up in a tower to prevent the knowledge of his Labyrinth from spreading to the public. He could not leave Crete by sea, as the king kept a strict watch on all vessels, permitting none to sail without being searched. Since Minos controlled the land and sea routes, Daedalus set to work to fabricate wings for himself and his young son Icarus, he tied feathers together, from smallest to largest so as to form an increasing surface. He secured the feathers at their midpoints with string and at their bases with wax, gave the whole a gentle curvature like the wings of a bird; when the work was done, the artist, waving his wings, found himself buoyed upward and hung suspended, poising himself on the beaten air. He next equipped his son in the same manner, taught him how to fly; when both were prepared for flight, Daedalus warned Icarus not to fly too high, because the heat of the sun would melt the wax, nor too low, because the sea foam would soak the feathers.
They had passed Samos and Lebynthos by the time the boy, forgetting himself, began to soar upward toward the sun. The blazing sun softened the wax that held the feathers together and they came off. Icarus fell in the sea and drowned, his father cried, bitterly lamenting his own arts, called the island near the place where Icarus fell into the ocean Icaria in memory of his child. Some time the goddess Athena visited Daedalus and gave him wings, telling him to fly like a god. An early image of winged Daedalus appears on an Etruscan jug of ca 630 BC found at Cerveteri, where a winged figure captioned Taitale appears on one side of the vessel, paired on the other side, with Metaia, Medea: "its linking of these two mythical figures is unparalleled," Robin Lane Fox observes: "The link was based on their wondrous, miraculous art. Magically, Daedalus could fly, magically Medea was able to rejuvenate the old"; the image
Pausanias was a Greek traveler and geographer of the second-century AD, who lived in the time of Roman emperors Hadrian, Antoninus Pius, Marcus Aurelius. He is famous for his Description of Greece, a lengthy work that describes ancient Greece from his first-hand observations; this work provides crucial information for making links between classical literature and modern archaeology. Andrew Stewart assesses him as: A careful, pedestrian writer...interested not only in the grandiose or the exquisite but in unusual sights and obscure ritual. He is careless or makes unwarranted inferences, his guides or his own notes sometimes mislead him, yet his honesty is unquestionable, his value without par. Pausanias was born in 110 AD into a Greek family and was a native of Lydia. Before visiting Greece, he had been to Antioch and Jerusalem, to the banks of the River Jordan. In Egypt, he had seen the pyramids. While at the temple of Ammon, he had been shown the hymn once sent to that shrine by Pindar. In Macedonia, he appears to have seen.
Crossing over to Italy, he had seen something of the wonders of Rome. He was one of the first known to write of seeing the ruins of Troy, Alexandria Troas, Mycenae. Pausanias' Description of Greece is in each dedicated to some portion of Greece, he begins his tour in Attica, where the city of its demes dominate the discussion. Subsequent books describe Corinthia, Messenia, Achaea, Boetia and Ozolian Locris; the project is more than topographical. Pausanias digresses from the description of architectural and artistic objects to review the mythological and historical underpinnings of the society that produced them; as a Greek writing under the auspices of the Roman empire, he was in an awkward cultural space, between the glories of the Greek past he was so keen to describe and the realities of a Greece beholden to Rome as a dominating imperial force. His work bears the marks of his attempt to navigate that space and establish an identity for Roman Greece, he is not a naturalist by any means, although from time to time, he does comment on the physical realities of the Greek landscape.
He notices the pine trees on the sandy coast of Elis, the deer and the wild boars in the oak woods of Phelloe, the crows amid the giant oak trees of Alalcomenae. It is in the last section that Pausanias touches on the products of nature, such as the wild strawberries of Helicon, the date palms of Aulis, the olive oil of Tithorea, as well as the tortoises of Arcadia and the "white blackbirds" of Cyllene. Pausanias is most of Delphi, yet in the most secluded regions of Greece, he is fascinated by all kinds of depictions of deities, holy relics, many other sacred and mysterious objects. At Thebes he views the shields of those who died at the Battle of Leuctra, the ruins of the house of Pindar, the statues of Hesiod, Arion and Orpheus in the grove of the Muses on Helicon, as well as the portraits of Corinna at Tanagra and of Polybius in the cities of Arcadia. Pausanias has the instincts of an antiquary; as his modern editor, Christian Habicht, has said, In general, he prefers the old to the new, the sacred to the profane.
Some magnificent and dominating structures, such as the Stoa of King Attalus in the Athenian Agora or the Exedra of Herodes Atticus at Olympia are not mentioned. Unlike a Baedeker guide, in Periegesis Pausanias stops for a brief excursus on a point of ancient ritual or to tell an apposite myth, in a genre that would not become popular again until the early nineteenth century. In the topographical part of his work, Pausanias is fond of digressions on the wonders of nature, the signs that herald the approach of an earthquake, the phenomena of the tides, the ice-bound seas of the north, the noonday sun that at the summer solstice, casts no shadow at Syene. While he never doubts the existence of the deities and heroes, he sometimes criticizes the myths and legends relating to them, his descriptions of monuments of art are unadorned. They bear the impression of reality, their accuracy is confirmed by the extant remains, he is frank in his confessions of ignorance. When he quotes a book at second hand he takes pains to say so.
The work left faint traces in the known Greek corpus. "It was not read", Habicht relates. The only manuscripts of Pausanias are three fifteenth-century copies, full of errors and lacunae, which all appear to depend on a single manuscript that survived to be copied. Niccolò Niccoli had this archetype in Florence in 1418. At his death in 1437, it went to the library of San Marco, Florence it disappeared after 1500; until twentieth-century archaeologists concluded that Pausanias was a reliable guide to the sites they were excavating, Pausanias was la
Athens is the capital and largest city of Greece. Athens dominates the Attica region and is one of the world's oldest cities, with its recorded history spanning over 3,400 years and its earliest human presence starting somewhere between the 11th and 7th millennium BC. Classical Athens was a powerful city-state that emerged in conjunction with the seagoing development of the port of Piraeus, a distinct city prior to its 5th century BC incorporation with Athens. A center for the arts and philosophy, home of Plato's Academy and Aristotle's Lyceum, it is referred to as the cradle of Western civilization and the birthplace of democracy because of its cultural and political impact on the European continent, in particular the Romans. In modern times, Athens is a large cosmopolitan metropolis and central to economic, industrial, maritime and cultural life in Greece. In 2012, Athens was ranked the world's 39th richest city by purchasing power and the 67th most expensive in a UBS study. Athens is a global one of the biggest economic centres in southeastern Europe.
It has a large financial sector, its port Piraeus is both the largest passenger port in Europe, the second largest in the world. While at the same time being the sixth busiest passenger port in Europe; the Municipality of Athens had a population of 664,046 within its administrative limits, a land area of 38.96 km2. The urban area of Athens extends beyond its administrative municipal city limits, with a population of 3,090,508 over an area of 412 km2. According to Eurostat in 2011, the functional urban area of Athens was the 9th most populous FUA in the European Union, with a population of 3.8 million people. Athens is the southernmost capital on the European mainland; the heritage of the classical era is still evident in the city, represented by ancient monuments and works of art, the most famous of all being the Parthenon, considered a key landmark of early Western civilization. The city retains Roman and Byzantine monuments, as well as a smaller number of Ottoman monuments. Athens is home to two UNESCO World Heritage Sites, the Acropolis of Athens and the medieval Daphni Monastery.
Landmarks of the modern era, dating back to the establishment of Athens as the capital of the independent Greek state in 1834, include the Hellenic Parliament and the so-called "architectural trilogy of Athens", consisting of the National Library of Greece, the National and Kapodistrian University of Athens and the Academy of Athens. Athens is home to several museums and cultural institutions, such as the National Archeological Museum, featuring the world's largest collection of ancient Greek antiquities, the Acropolis Museum, the Museum of Cycladic Art, the Benaki Museum and the Byzantine and Christian Museum. Athens was the host city of the first modern-day Olympic Games in 1896, 108 years it welcomed home the 2004 Summer Olympics, making it one of only a handful of cities to have hosted the Olympics more than once. In Ancient Greek, the name of the city was Ἀθῆναι a plural. In earlier Greek, such as Homeric Greek, the name had been current in the singular form though, as Ἀθήνη, it was rendered in the plural on, like those of Θῆβαι and Μυκῆναι.
The root of the word is not of Greek or Indo-European origin, is a remnant of the Pre-Greek substrate of Attica. In antiquity, it was debated whether Athens took its name from its patron goddess Athena or Athena took her name from the city. Modern scholars now agree that the goddess takes her name from the city, because the ending -ene is common in names of locations, but rare for personal names. During the medieval period, the name of the city was rendered once again in the singular as Ἀθήνα. However, after the establishment of the modern Greek state, due to the conservatism of the written language, Ἀθῆναι became again the official name of the city and remained so until the abandonment of Katharevousa in the 1970s, when Ἀθήνα, Athína, became the official name. According to the ancient Athenian founding myth, the goddess of wisdom, competed against Poseidon, the god of the seas, for patronage of the yet-unnamed city. According to the account given by Pseudo-Apollodorus, Poseidon struck the ground with his trident and a salt water spring welled up.
In an alternative version of the myth from Vergil's Georgics, Poseidon instead gave the Athenians the first horse. In both versions, Athena offered the Athenians the first domesticated olive tree. Cecrops declared Athena the patron goddess of Athens. Different etymologies, now rejected, were proposed during the 19th century. Christian Lobeck proposed as the root of the name the word ἄθος or ἄνθος meaning "flower", to denote Athens as the "flowering city". Ludwig von Döderlein proposed the stem of the verb θάω, stem θη- to denote Athens as having fertile soil. In classical literature, the city was sometimes referred to as the City of the Violet Crown, first documented in Pindar's ἰοστέφανοι Ἀθᾶναι, or as τὸ κλεινὸν ἄστυ. In medieval texts, variant names include Setines and Astines, all derivations involving false splitting of p
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