The Metamorphoses is a Latin narrative poem by the Roman poet Ovid, considered his magnum opus. Comprising 11,995 lines, 15 books and over 250 myths, the poem chronicles the history of the world from its creation to the deification of Julius Caesar within a loose mythico-historical framework. Although meeting the criteria for an epic, the poem defies simple genre classification by its use of varying themes and tones. Ovid took inspiration from the genre of metamorphosis poetry, some of the Metamorphoses derives from earlier treatment of the same myths. One of the most influential works in Western culture, the Metamorphoses has inspired such authors as Dante Alighieri, Giovanni Boccaccio, Geoffrey Chaucer, William Shakespeare. Numerous episodes from the poem have been depicted in acclaimed works of sculpture and music. Although interest in Ovid faded after the Renaissance, there was a resurgence of attention to his work towards the end of the 20th century. Today the Metamorphoses continues to be retold through various media.
The work has been the subject of numerous translations into English, the first by William Caxton in 1480. Ovid's decision to make myth the dominant subject of the Metamorphoses was influenced by the predisposition of Alexandrian poetry. However, whereas it served in that tradition as the cause for moral reflection or insight, he made it instead the "object of play and artful manipulation"; the model for a collection of metamorphosis myths derived from a pre-existing genre of metamorphosis poetry in the Hellenistic tradition, of which the earliest known example is Boio' Ornithogonia—a now-fragmentary poem collecting myths about the metamorphoses of humans into birds. There are three examples of Metamorphoses by Hellenistic writers, but little is known of their contents; the Heteroioumena by Nicander of Colophon is better known, an influence on the poem—21 of the stories from this work were treated in the Metamorphoses. However, in a way, typical for writers of the period, Ovid diverged from his models.
The Metamorphoses was longer than any previous collection of metamorphosis myths and positioned itself within a historical framework. Some of the Metamorphoses derives from earlier poetic treatment of the same myths; this material was of varying quality and comprehensiveness—while some of it was "finely worked", in other cases Ovid may have been working from limited material. In the case of an oft-used myth such as that of Io in Book I, the subject of literary adaptation as early as the 5th century BC, as as a generation prior to his own, Ovid reorganises and innovates existing material in order to foreground his favoured topics and to embody the key themes of the Metamorphoses. Scholars have found it difficult to place the Metamorphoses in a genre; the poem has been considered as a type of epic. The poem is considered to meet the criteria for an epic. However, the poem "handles the themes and employs the tone of every species of literature", ranging from epic and elegy to tragedy and pastoral.
Commenting on the genre debate, G. Karl Galinsky has opined that "... it would be misguided to pin the label of any genre on the Metamorphoses."The Metamorphoses is comprehensive in its chronology, recounting the creation of the world to the death of Julius Caesar, which had occurred only a year before Ovid's birth. In spite of its unbroken chronology, scholar Brooks Otis has identified four divisions in the narrative: Book I–Book II: The Divine Comedy Book III–Book VI, 400: The Avenging Gods Book VI, 401–Book XI: The Pathos of Love Book XII–Book XV: Rome and the Deified RulerOvid works his way through his subject matter in an arbitrary fashion, by jumping from one transformation tale to another, sometimes retelling what had come to be seen as central events in the world of Greek mythology and sometimes straying in odd directions, it begins with the ritual "invocation of the muse", makes use of traditional epithets and circumlocutions. But instead of following and extolling the deeds of a human hero, it leaps from story to story with little connection.
The recurring theme, as with nearly all of Ovid's work, is love—be it personal love or love personified in the figure of Amor. Indeed, the other Roman gods are perplexed and made ridiculous by Amor, an otherwise minor god of the pantheon, the closest thing this putative mock-epic has to a hero. Apollo comes in for particular ridicule as Ovid shows how irrational love can confound the god out of reason; the work as a whole inverts the accepted order, elevating humans and human passions while making the gods and their desires and conquests objects of low humor. The Metamorphoses ends with one of only two surviving Latin epics to do so; the ending acts as a declaration that everything except his poetry—even Rome—must give way to change: "Now stands my task accomp
Pelias was king of Iolcus in Greek mythology. The son of Tyro and the god Poseidon, he was the one who sent Jason on the quest for the Golden Fleece. Pelias was the son of Poseidon, his wife is recorded as daughter of Bias, or Phylomache, daughter of Amphion. He was the father of Acastus, Alcestis, Hippothoe, Evadne, Asteropeia and Medusa. Tyro was married to King Cretheus of Iolcus, with whom she had three sons, Pherês, Amythaon, but she loved Enipeus, a river god, she pursued Enipeus. One day, filled with lust for Tyro, disguised himself as Enipeus and lay with her - from their union were born twin sons and Neleus. Tyro exposed her sons on a mountain to die, but they were found by a herdsman who raised them as his own, as one story goes, or they were raised by a maid; when they reached adulthood and Neleus found Tyro and killed her stepmother Sidero for having mistreated her. Pelias was power-hungry and he wished to gain dominion over all of Thessaly. To this end, he banished Neleus and Pherês, locked Aeson in the dungeons in Iolcus.
While in the dungeons, Aeson married and had several children, most famously, Jason. Aeson sent Jason away from Iolcus in fear that Pelias would have him killed as a potential heir to the throne. Jason grew in the care of Chiron the centaur, on the slopes of Mount Pelion, to be educated while Pelias, fearing that he would be overthrown, was warned by an oracle to beware a man wearing one sandal. Many years Pelias offered a sacrifice by the sea in honor of Poseidon. Jason, summoned with many others to take part in the sacrifice, lost one of his sandals in the flooded river Anaurus while rushing to Iolcus. In Virgil's Aeneid and Hyginus' Fabulae, Hera/Juno disguised herself as an old woman, whom Jason helped across the river when he lost his sandal; when Jason entered Iolcus, he was announced as a man wearing one sandal. Fearful, Pelias asked Jason. Jason responded. Pelias sent him to retrieve the Golden Fleece, it would be found in a grove sacred to Ares, the god of war. Though the Golden Fleece hung on an oak tree, this was a impossible task, as an ever-watchful dragon guarded it.
Jason made preparations by commanding the shipwright Argus to build a ship large enough for fifty men, which he would call the Argo. These heroes who would join his quest were known as the Argonauts. Upon their arrival, Jason requested the Golden Fleece from the king of Aeëtes. Aeëtes demanded that Jason must first yoke a pair of fire-breathing bulls to a plough and sow dragon's teeth into the earth. Medea, daughter of Aeëtes, fell in love with Jason, being endowed with magical powers, aided him in his completion of the difficult task, she cast a spell to put the dragon to sleep, enabling Jason to obtain the Golden Fleece from the oak tree. Jason and the Argonauts fled Colchis and began their journey home to Thessaly. During Jason's absence, Pelias thought the Argo had sunk, this was what he told Aeson and Promachus, who committed suicide by drinking poison. However, it is possible that the two were both killed directly by Pelias; when Jason and Medea returned, Pelias still refused to give up his throne.
Medea conspired to have Pelias' own daughters kill him. She told them she could turn an old ram into a young ram by boiling it. During the demonstration, a live, young ram jumped out of the pot. Excited, the girls cut their father into pieces and threw them into a pot, in the expectation that he would emerge rejuvenated. Pelias, of course, did not survive; as he was now an accessory to a terrible crime, Jason was still not made king. Pelias' son Acastus banished Jason and Medea, to Corinth, so reclaimed the kingdom. An alternate telling of the story has Medea slitting the throat of Jason's father Aeson, who she really does revive as a much younger man. Media related to Pelias at Wikimedia Commons
The Iliad is an ancient Greek epic poem in dactylic hexameter, traditionally attributed to Homer. Set during the Trojan War, the ten-year siege of the city of Troy by a coalition of Greek states, it tells of the battles and events during the weeks of a quarrel between King Agamemnon and the warrior Achilles. Although the story covers only a few weeks in the final year of the war, the Iliad mentions or alludes to many of the Greek legends about the siege; the epic narrative takes up events prophesied for the future, such as Achilles' imminent death and the fall of Troy, although the narrative ends before these events take place. However, as these events are prefigured and alluded to more and more vividly, when it reaches an end the poem has told a more or less complete tale of the Trojan War; the Iliad is paired with something of a sequel, the Odyssey attributed to Homer. Along with the Odyssey, the Iliad is among the oldest extant works of Western literature, its written version is dated to around the 8th century BC.
In the modern vulgate, the Iliad contains 15,693 lines. According to Michael N. Nagler, the Iliad is a more complicated epic poem than the Odyssey. Note: Book numbers are in parentheses and come before the synopsis of the book. After an invocation to the Muses, the story launches in medias res towards the end of the Trojan War between the Trojans and the besieging Greeks. Chryses, a Trojan priest of Apollo, offers the Greeks wealth for the return of his daughter Chryseis, held captive of Agamemnon, the Greek leader. Although most of the Greek army is in favour of the offer, Agamemnon refuses. Chryses prays for Apollo's help, Apollo causes a plague to afflict the Greek army. After nine days of plague, the leader of the Myrmidon contingent, calls an assembly to deal with the problem. Under pressure, Agamemnon agrees to return Chryseis to her father, but decides to take Achilles' captive, Briseis, as compensation. Achilles furiously will go home. Odysseus takes a ship and returns Chryseis to her father, whereupon Apollo ends the plague.
In the meantime, Agamemnon's messengers take Briseis away. Achilles becomes upset, sits by the seashore, prays to his mother, Thetis. Achilles asks his mother to ask Zeus to bring the Greeks to the breaking point by the Trojans, so Agamemnon will realize how much the Greeks need Achilles. Thetis does so, Zeus agrees. Zeus sends a dream to Agamemnon. Agamemnon heeds the dream but first decides to test the Greek army's morale, by telling them to go home; the plan backfires, only the intervention of Odysseus, inspired by Athena, stops a rout. Odysseus confronts and beats Thersites, a common soldier who voices discontent about fighting Agamemnon's war. After a meal, the Greeks deploy in companies upon the Trojan plain; the poet takes the opportunity to describe the provenance of each Greek contingent. When news of the Greek deployment reaches King Priam, the Trojans respond in a sortie upon the plain. In a list similar to that for the Greeks, the poet describes their allies; the armies approach each other, but before they meet, Paris offers to end the war by fighting a duel with Menelaus, urged by his brother and head of the Trojan army, Hector.
While Helen tells Priam about the Greek commanders from the walls of Troy, both sides swear a truce and promise to abide by the outcome of the duel. Paris is beaten, but Aphrodite rescues him and leads him to bed with Helen before Menelaus can kill him. Pressured by Hera's hatred of Troy, Zeus arranges for the Trojan Pandaros to break the truce by wounding Menelaus with an arrow. Agamemnon rouses the Greeks, battle is joined. In the fighting, Diomedes kills many Trojans, including Pandaros, defeats Aeneas, whom Aphrodite rescues, but Diomedes attacks and wounds the goddess. Apollo warns him against warring with gods. Many heroes and commanders join in, including Hector, the gods supporting each side try to influence the battle. Emboldened by Athena, Diomedes wounds puts him out of action. Hector prevents a rout. Hector enters the city, urges prayers and sacrifices, incites Paris to battle, bids his wife Andromache and son Astyanax farewell on the city walls, rejoins the battle. Hector duels with Ajax, but nightfall interrupts the fight, both sides retire.
The Greeks agree to burn their dead, build a wall to protect their ships and camp, while the Trojans quarrel about returning Helen. Paris offers to return the treasure he took and give further wealth as compensation, but not Helen, the offer is refused. A day's truce is agreed for burning the dead, during which the Greeks build their wall and a trench; the next morning, Zeus prohibits the gods from interfering, fighting begins anew. The Trojans prevail and force the Greeks back to their wall, while Hera and Athena are forbidden to help. Night falls, they camp in the field to attack at first light, their watchfires light the plain like stars. Meanwhile, the Greeks are desperate. Agamemnon admits his error, sends an embassy composed of Odysseus, Ajax and two heralds to offer Briseis and extensive gifts to Achilles, who has be
The Ancient Greek language includes the forms of Greek used in Ancient Greece and the ancient world from around the 9th century BCE to the 6th century CE. It is roughly divided into the Archaic period, Classical period, Hellenistic period, it is succeeded by medieval Greek. Koine is regarded as a separate historical stage of its own, although in its earliest form it resembled Attic Greek and in its latest form it approaches Medieval 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 and philosophers, it has contributed many words to English vocabulary and has been a standard subject of study in educational institutions of the Western world since the Renaissance. This article contains information about the Epic and Classical periods of the language. Ancient Greek was a pluricentric language, divided into many dialects; the main dialect groups are Attic and Ionic, Aeolic and Doric, many of them with several subdivisions.
Some dialects are found in standardized literary forms used in literature, while others are attested only in inscriptions. There are several historical forms. Homeric Greek is a literary form of Archaic Greek used in the epic poems, the "Iliad" and "Odyssey", in poems by other authors. Homeric Greek had significant differences in grammar and pronunciation from Classical Attic and other Classical-era dialects; 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, they differ in some of the detail. The only attested dialect from this period is Mycenaean Greek, but its relationship to the historical dialects and the historical circumstances of the times imply that the overall groups existed in some form. Scholars assume that major Ancient Greek period dialect groups developed not than 1120 BCE, at the time of the Dorian invasion—and that their first appearances as precise alphabetic writing began in the 8th century BCE.
The invasion would not be "Dorian" unless the invaders had some cultural relationship to the historical Dorians. The invasion is known to have displaced population to the Attic-Ionic regions, who regarded themselves as descendants of the population displaced by or contending with the Dorians; the Greeks of this period believed there were three major divisions of all Greek people—Dorians and Ionians, each with their own defining and distinctive dialects. Allowing for their oversight of Arcadian, an obscure mountain dialect, Cypriot, far from the center of Greek scholarship, this division of people and language is quite similar to the results of modern archaeological-linguistic investigation. One standard formulation for the dialects is: West vs. non-west Greek is the strongest marked and earliest division, with non-west in subsets of Ionic-Attic and Aeolic vs. Arcadocypriot, or Aeolic and Arcado-Cypriot vs. Ionic-Attic. Non-west is called East Greek. Arcadocypriot descended more from the Mycenaean Greek of the Bronze Age.
Boeotian had come under a strong Northwest Greek influence, can in some respects be considered a transitional dialect. Thessalian had come under Northwest Greek influence, though to a lesser degree. Pamphylian Greek, spoken in a small area on the southwestern coast of Anatolia and little preserved in inscriptions, may be either a fifth major dialect group, or it is Mycenaean Greek overlaid by Doric, with a non-Greek native influence. Most of the dialect sub-groups listed above had further subdivisions equivalent to a city-state and its surrounding territory, or to an island. Doric notably had several intermediate divisions as well, into Island Doric, Southern Peloponnesus Doric, Northern Peloponnesus Doric; the Lesbian dialect was Aeolic Greek. All the groups were represented by colonies beyond Greece proper as well, these colonies developed local characteristics under the influence of settlers or neighbors speaking different Greek dialects; the dialects outside the Ionic group are known from inscriptions, notable exceptions being: fragments of the works of the poet Sappho from the island of Lesbos, in Aeolian, the poems of the Boeotian poet Pindar and other lyric poets in Doric.
After the conquests of Alexander the Great in the late 4th century BCE, a new international dialect known as Koine or Common Greek developed based on Attic Greek, but with influence from other dialects. This dialect replaced most of the older dialects, although Doric dialect has survived in the Tsakonian language, spoken in the region of modern Sparta. Doric has passed down its aorist terminations into most verbs of Demotic Greek. By about the 6th century CE, the Koine had metamorphosized into Medieval Greek. Ancient Macedonian was an Indo-European language at least related to Greek, but its exact relationship is unclear because of insufficient data: a dialect of Greek; the Macedonian dialect (or l
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
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
Poseidon was one of the Twelve Olympians in ancient Greek religion and myth. He was god of other waters. In pre-Olympian Bronze Age Greece, he was venerated as a chief deity at Thebes, his Roman equivalent is Neptune. Poseidon was protector of seafarers, of many Hellenic cities and colonies. In Homer's Iliad, Poseidon supports the Greeks against the Trojans during the Trojan War. In the Odyssey, during the sea-voyage from Troy back home to Ithaca, the Greek hero Odysseus provokes Poseidon's fury by blinding his son, the Cyclops Polyphemus, resulting in Poseidon punishing him with storms, the complete loss of his ship and companions, a ten-year delay. Poseidon is the subject of a Homeric hymn. In Plato's Timaeus and Critias, the island of Atlantis was Poseidon's domain; the earliest attested occurrence of the name, written in Linear B, is Po-se-da-o or Po-se-da-wo-ne, which correspond to Ποσειδάων and Ποσειδάϝονος in Mycenean Greek. The form Ποτειδάϝων appears in Corinth. A common epithet of Poseidon is Ἐνοσίχθων Enosichthon, "Earth-shaker", an epithet, identified in Linear B, as, E-ne-si-da-o-ne, This recalls his epithets Ennosidas and Ennosigaios indicating the chthonic nature of Poseidon.
The origins of the name "Poseidon" are unclear. One theory breaks it down into an element meaning "husband" or "lord" and another element meaning "earth", producing something like lord or spouse of Da, i.e. of the earth. Walter Burkert finds that "the second element da- remains hopelessly ambiguous" and finds a "husband of Earth" reading "quite impossible to prove."Another theory interprets the second element as related to the word *δᾶϝον dâwon, "water". There is the possibility that the word has Pre-Greek origin. Plato in his dialogue Cratylus gives two alternative etymologies: either the sea restrained Poseidon when walking as a "foot-bond", or he "knew many things". At least a few sources deem Poseidon as a "prehellenic" word, considering an Indo-European etymology "quite pointless". If surviving Linear B clay tablets can be trusted, the name po-se-da-wo-ne occurs with greater frequency than does di-u-ja. A feminine variant, po-se-de-ia, is found, indicating a lost consort goddess, in effect the precursor of Amphitrite.
Poseidon carries the title wa-na-ka in Linear B inscriptions, as king of the underworld. The chthonic nature of Poseidon-Wanax is indicated by his title E-ne-si-da-o-ne in Mycenean Knossos and Pylos, a powerful attribute. In the cave of Amnisos Enesidaon is related with the cult of the goddess of childbirth, she was related with the annual birth of the divine child. During the Bronze Age, a goddess of nature, dominated both in Minoan and Mycenean cult, Wanax was her male companion in Mycenean cult, it is possible that Demeter appears as Da-ma-te in a Linear B inscription, however the interpretetion is still under dispute. In Linear B inscriptions found at Pylos, E-ne-si-da-o-ne is related with Poseidon, Si-to Po-tini-ja is related with Demeter. Tablets from Pylos record sacrificial goods destined for "the Two Queens and Poseidon"; the "Two Queens" may be related with Demeter and Persephone, or their precursors, goddesses who were not associated with Poseidon in periods. The illuminating exception is the archaic and localised myth of the stallion Poseidon and mare Demeter at Phigalia in isolated and conservative Arcadia, noted by Pausanias as having fallen into desuetude.
The violated Demeter was Demeter Erinys. In Arcadia, Demeter's mare-form was worshiped into historical times, her xoanon of Phigaleia shows. A Medusa type with a horse's head with snaky hair, holding a dove and a dolphin representing her power over air and water, it seems that the Arcadian myth is related with the first Greek speaking people who entered the region during the Bronze Age.. Their religious beliefs were mixed with the beliefs of the indigenous population, it is possible that the Greeks did not bring with them other gods except Zeus and the Dioskouroi. The horse was related with the liquid element, with the underworld. Poseidon appears as a beast, the river spirit of the underworld, as it happens in northern-European folklore, not unusually in Greece. Poseidon “Wanax”, is the male companion of the goddess of nature. In the relative Minoan myth, Pasiphaë is mating with the white bull, she bears the hybrid creature Minotaur; the Bull was the old pre-Olympian Poseidon. The goddess of nature and her paredros survived in the Eleusinian cult, where the following words were uttered: " Mighty Potnia bore a strong son"In the sea-dependent Mycenaean culture, there is not sufficient evidence that Poseidon was connected with the sea.
We do not know. H