1.
Delphi
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Delphi is famous as the ancient sanctuary that grew rich as the seat of the oracle that was consulted on important decisions throughout the ancient classical world. Moreover, it was considered as the navel of the world by the Greeks as represented by the Omphalos and it occupies an impressive site on the south-western slope of Mount Parnassus overlooking the coastal plain to the south and the valley of Phocis. It is now an archaeological site and the modern town is nearby. The site of Delphi is located in upper central Greece, on multiple plateaux/terraces along the slope of Mount Parnassus, and includes the Sanctuary of Apollo and this semicircular spur is known as Phaedriades, and overlooks the Pleistos Valley. In myths dating to the period of Ancient Greece, the site of Delphi was believed to be determined by Zeus when he sought to find the centre of his Grandmother Earth. He sent two eagles flying from the eastern and western extremities, and the path of the eagles crossed over Delphi where the omphalos, Apollo was said to have slain Python, a drako a serpent or a dragon who lived there and protected the navel of the Earth. Python is claimed by some to be the name of the site in recognition of Python which Apollo defeated. The Homeric Hymn to Delphic Apollo recalled that the ancient name of this site had been Krisa, others relate that it was named Pytho and that Pythia, the priestess serving as the oracle, was chosen from their ranks by a group of priestesses who officiated at the temple. At the settlement site in Delphi, which was a settlement of the late 9th century. Pottery and bronze work as well as tripod dedications continue in a steady stream, the victors at Delphi were presented with a laurel crown which was ceremonially cut from a tree by a boy who re-enacted the slaying of the Python. Delphi was set apart from the other sites because it hosted the mousikos agon. These Pythian Games rank second among the four stephanitic games chronologically and these games, though, were different from the games at Olympia in that they were not of such vast importance to the city of Delphi as the games at Olympia were to the area surrounding Olympia. Delphi would have been a renowned city whether or not it hosted these games, it had other attractions that led to it being labeled the omphalos of the earth, in other words, in the inner hestia of the Temple of Apollo, an eternal flame burned. The name Delphoi comes from the root as δελφύς delphys, womb. Apollo is connected with the site by his epithet Δελφίνιος Delphinios, the epithet is connected with dolphins in the Homeric Hymn to Apollo, recounting the legend of how Apollo first came to Delphi in the shape of a dolphin, carrying Cretan priests on his back. The Homeric name of the oracle is Pytho, another legend held that Apollo walked to Delphi from the north and stopped at Tempe, a city in Thessaly, to pick laurel which he considered to be a sacred plant. In commemoration of this legend, the winners at the Pythian Games received a wreath of laurel picked in the Temple, Delphi became the site of a major temple to Phoebus Apollo, as well as the Pythian Games and the famous prehistoric oracle. Even in Roman times, hundreds of votive statues remained, described by Pliny the Younger, additionally, according to Plutarchs essay on the meaning of the E at Delphi—the only literary source for the inscription—there was also inscribed at the temple a large letter E
2.
Athena
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Athena or Athene, often given the epithet Pallas, is the goddess of wisdom, craft, and war in ancient Greek religion and mythology. Minerva is the Roman goddess identified with Athena, Athena is known for her calm temperament, as she moves slowly to anger. She is noted to have fought for just reasons. Athena is portrayed as a companion of heroes and is the patron goddess of heroic endeavour. She is the patroness of Athens. The Athenians founded the Parthenon on the Acropolis of her city, Athens. Veneration of Athena was so persistent that archaic myths about her were recast to adapt to cultural changes, in her role as a protector of the city, many people throughout the Greek world worshipped Athena as Athena Polias. While the city of Athens and the goddess Athena essentially bear the same name, Athena is associated with Athens, a plural name, because it was the place where she presided over her sisterhood, the Athenai, in earliest times. Mycenae was the city where the Goddess was called Mykene, at Thebes she was called Thebe, and the city again a plural, Thebae. Similarly, at Athens she was called Athena, and the city Athenae, Athena had a special relationship with Athens, as is shown by the etymological connection of the names of the goddess and the city. According to mythical lore, she competed with Poseidon and she won by creating the olive tree, the Athenians would accept her gift and name the city after her. In history, the citizens of Athens built a statue of Athena as a temple to the goddess, which had piercing eyes, a helmet on her head, attired with an aegis or cuirass, and an extremely long spear. It also had a shield with the head of the Gorgon on it. A large snake accompanied her and she held Nike, the goddess of victory, therefore, Mylonas believes that Athena was a Mycenaean creation. On the other hand, Nilsson claims that she was the goddess of the palace who protected the king, a-ta-no-dju-wa-ja is also found in Linear A Minoan, the final part being regarded as the Linear A Minoan equivalent of the Linear B Mycenaean di-u-ja or di-wi-ja. Divine Athena also was a weaver and the deity of crafts, whether her name is attested in Eteocretan or not will have to wait for decipherment of Linear A. Perhaps, however, the name Theonoe may mean she who knows divine things better than others. Thus for Plato her name was to be derived from Greek Ἀθεονόα, Plato also noted that the citizens of Sais in Egypt worshipped a goddess whose Egyptian name was Neith, and which was identified with Athena. Neith was the war goddess and huntress deity of the Egyptians since the ancient Pre-Dynastic period, in addition, ancient Greek myths reported that Athena had visited many mythological places such as Libyas Triton River in North Africa and the Phlegraean plain
3.
Pylades
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In Greek mythology, Pylades is the son of King Strophius of Phocis and of Anaxibia, who is the daughter of Atreus and sister of Agamemnon and Menelaus. He is mostly known for his friendship with his cousin Orestes. Orestes had been sent to Phocis during his mother Clytemnestras affair with Aegisthus, there he was raised with Pylades, and so considered him to be like a brother. While Orestes was away, Clytemnestra killed her husband, Orestes father Agamemnon, as an adult, Orestes returns to Mycenae/Argos to avenge the murder of Agamemnon. With the assistance of his friend Pylades, Orestes kills his mother Clytemnestra, while Pylades seems to be a very minor character, he is arguably the most vital piece of Orestes plan to avenge his father. In The Libation Bearers, the play of Aeschylus trilogy The Oresteia. His lines come at the moment Orestes begins to falter and second-guess his decision to kill his mother and it is Pylades who convinces Orestes to follow through with his plan for revenge and carry out the murder. The significance of Pylades lines has invited speculation into whether or not he might represent something more than next to Orestes. In other versions of the revenge of Orestes and Electra, Pylades accompanies Orestes, in the Sophocles version, Orestes pretends to be dead and Pylades carries the urn supposedly holding his friends remains. Pylades returned to his homeland, but was exiled by his father for taking part in the crime and he then returned to Orestes side, where he helped him to come up with a plan to avoid execution. They attempted to murder Helen, wife of Orestes uncle Menelaus, however, their attempt failed through the intervention of the gods. They then took hostage Hermione, daughter of Helen and Menelaus, Apollo arrived to settle the situation and gave them all instructions, including one for Pylades to marry Orestes sister Electra. Many of these events are depicted in Euripides play Orestes, Pylades played a major role in another of Euripides plays, Iphigeneia in Tauris. In order to escape the persecutions of the Erinyes, Orestes had been ordered by Apollo to go to Tauris, carry off the statue of Artemis which had fallen from heaven, and bring it to Athens. He went to Tauris with Pylades and the pair were at once imprisoned by the people, Orestes was seized by a mania for fear of the barbarians, Pylades tended to him, acting, as described in Lucians Amores not only like a lover but like a father. The priestess of Artemis, whose duty it was to perform the sacrifice, was Orestes sister Iphigeneia. She offered to release Orestes if he would carry home a letter from her to Greece, he refused to go, the intense relationship between Pylades and Orestes was presented by some Greek writers as romantic or homoerotic. Nor did they restrict their affectionate friendship to the limits of Hellas, but Orestes refused to take the letter, claiming Pylades was the fitter person to do so, and thus showed himself almost to be the lover rather than the beloved
4.
Priest
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A priest or priestess, is a person authorized to perform the sacred rituals of a religion, especially as a mediatory agent between humans and one or more deities. They also have the authority or power to administer religious rites, in particular, rites of sacrifice to, and propitiation of and their office or position is the priesthood, a term which also may apply to such persons collectively. The necessity to read sacred texts and keep temple or church records helped foster literacy in early societies. Priests exist in many religions today, such as all or some branches of Judaism, Christianity, the question of which religions have a priest depends on how the titles of leaders are used or translated into English. In some cases, leaders are more like those that other believers will often turn to for advice on spiritual matters, for example, clergy in Roman Catholicism and Eastern Orthodoxy are priests, but in Protestant Christianity they are typically minister and pastor. The terms priest and priestess are sufficiently generic that they may be used in a sense to describe the religious mediators of an unknown or otherwise unspecified religion. In many religions, being a priest or priestess is a full-time position, many Christian priests and pastors choose or are mandated to dedicate themselves to their churches and receive their living directly from their churches. In other cases it is a part-time role, for example, in the early history of Iceland the chieftains were titled goði, a word meaning priest. In some religions, being a priest or priestess is by election or human choice. In Judaism the priesthood is inherited in familial lines, in a theocracy, a society is governed by its priesthood. The word priest, is derived from Greek, via Latin presbyter. Old High German also has the disyllabic priester, priestar, apparently derived from Latin independently via Old French presbtre, the Latin presbyter ultimately represents Greek presbyteros, the regular Latin word for priest being sacerdos, corresponding to Greek hiereus. That English should have only the term priest to translate presbyter. The feminine English noun, priestess, was coined in the 17th century, in the 20th century, the word was used in controversies surrounding the ordination of women. In the case of the ordination of women in the Anglican communion, it is common to speak of priests. In historical polytheism, a priest administers the sacrifice to a deity, in the Ancient Near East, the priesthood also acted on behalf of the deities in managing their property. Priestesses in antiquity often performed sacred prostitution, and in Ancient Greece, some such as Pythia, priestess at Delphi. Sumerian and Akkadian Entu or EN were top-ranking priestesses who were distinguished with special ceremonial attire and they owned property, transacted business, and initiated the hieros gamos ceremony with priests and kings
5.
Oracle
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In classical antiquity, an oracle was a person or agency considered to provide wise and insightful counsel or prophetic predictions or precognition of the future, inspired by the gods. As such it is a form of divination, the word oracle comes from the Latin verb ōrāre to speak and properly refers to the priest or priestess uttering the prediction. In extended use, oracle may also refer to the site of the oracle, Oracles were thought to be portals through which the gods spoke directly to people. In this sense they were different from seers who interpreted signs sent by the gods through bird signs, animal entrails, the most important oracles of Greek antiquity were Pythia, priestess to Apollo at Delphi, and the oracle of Dione and Zeus at Dodona in Epirus. Other temples of Apollo were located at Didyma on the coast of Asia Minor, at Corinth and Bassae in the Peloponnese, the Sibylline Oracles are a collection of oracular utterances written in Greek hexameters ascribed to the Sibyls, prophetesses who uttered divine revelations in frenzied states. Walter Burkert observes that Frenzied women from whose lips the god speaks are recorded in the Near East as in Mari in the second millennium BC, in Egypt the goddess Wadjet was depicted as a snake-headed woman or a woman with two snake-heads. Her oracle was in the temple in Per-Wadjet. The oracle of Wadjet may have been the source for the tradition which spread from Egypt to Greece. Evans linked Wadjet with the Minoan snake goddess, a chthonic deity, in Greece the old oracles were devoted to the Mother Goddess. At the oracle of Dodona she will be called Diōnē, who represents the earth-fertile soil, python, daughter of Gaia was the earth dragon of Delphi represented as a serpent and became the chthonic deity, enemy of Apollo, who slew her and possessed the oracle. The Pythia was the mouthpiece of the oracles of the god Apollo, the Pythia was not conceived to be infallible and in fact, according to Sourvinou-Inwood in What is Polis Religion. The ancient Greeks were aware of this and concluded the unknowability of the divine, in this way, the ‘revelations’ of the Oracles were not seen as ‘objective’ truth. Many wealthy individuals bypassed the hordes of people attempting a consultation by making additional animal sacrifices to please the oracle lest their request go unanswered, as a result, seers were the main source of everyday divination. It is from this institution that the English word, oracle, is derived, the Delphic Oracle exerted considerable influence throughout Hellenic culture. Distinctively, this female was essentially the highest authority both civilly and religiously in male-dominated ancient Greece and she responded to the questions of citizens, foreigners, kings, and philosophers on issues of political impact, war, duty, crime, laws—even personal issues. The semi-Hellenic countries around the Greek world, such as Lydia, Caria, Croesus, king of Lydia beginning in 560 B. C. tested the oracles of the world to discover which gave the most accurate prophecies. He sent out emissaries to seven sites who were all to ask the oracles on the day what the king was doing at that very moment. Croesus proclaimed the oracle at Delphi to be the most accurate, who reported that the king was making a lamb-and-tortoise stew
6.
Pythia
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The Pythia, was the name of the High Priestess of the Temple of Apollo at Delphi who also served as the oracle, commonly known as the Oracle of Delphi. The name Pythia is derived from Pytho, which in myth was the name of Delphi. Pythia was the House of Snakes, the Pythia was established at the latest in the 8th century BC, and was widely credited for her prophecies inspired by being filled by the spirit of the god, in this case Apollo. The Pythian priestess emerged pre-eminent by the end of 7th century BC, during this period the Delphic Oracle was the most prestigious and authoritative oracle among the Greeks, and she was without doubt the most powerful woman of the classical world. The oracle is one of the religious institutions of the classical Greeks. Nevertheless, details of how the Pythia operated are missing as authors from the classical period treat the process as common knowledge with no need to explain and those who discussed the oracle in any detail are from 1st century BC to 4th century AD and give conflicting stories. Herodotus, writing in the fifth century BC describes the Pythia speaking in dactylic hexameters, the 8th-century reformulation of the Oracle at Delphi as a shrine to Apollo seems associated with the rise in importance of the city of Corinth and the importance of sites in the Corinthian Gulf. The earliest account of the origin of the Delphic oracle is provided in the Homeric Hymn to Delphic Apollo, which recent scholarship dates within a narrow range, c. It describes in detail how Apollo chose his first priests, whom he selected in their swift ship, but Apollo, who had Delphinios as one of his cult epithets, leapt into the ship in the form of a dolphin. Dolphin-Apollo revealed himself to the terrified Cretans, and bade them follow him up to the place where you will have rich offerings. The Cretans danced in time and followed, singing Iē Paiēon, paean seems to have been the name by which Apollo was known in Mycenaean times. G. L. Huxley observes, If the hymn to Apollo conveys a historical message, an early visitor to these dells of Parnassus, at the end of the eighth century, was Hesiod, who was shown the omphalos. There are also many stories of the origins of the Delphic Oracle. On entering the chasm, he found himself filled with a presence and could see outside of the present into the past. Excited by his discovery he shared it with nearby villagers, many started visiting the site to experience the convulsions and inspirational trances, though some were said to disappear into the cleft due to their frenzied state. A shrine was erected at the site, where people began worshiping in the late Bronze Age, after the deaths of a number of men, the villagers chose a single young woman as the liaison for the divine inspirations. Eventually she spoke on behalf of gods, according to earlier myths, the office of the oracle was initially possessed by the goddesses Themis and Phoebe, and the site was initially sacred to Gaia. Subsequently, it was believed to be sacred to Poseidon, the Earth-shaker god of earthquakes, apparently Poseidon was mollified by the gift of a new site in Troizen
7.
Red-figure pottery
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Red-figure vase painting is one of the most important styles of figural Greek vase painting. It developed in Athens around 520 BC and remained in use until the late 3rd century BC and it replaced the previously dominant style of black-figure vase painting within a few decades. Its modern name is based on the depictions in red colour on a black background. The most important areas of production, apart from Attica, were in Southern Italy, the style was also adopted in other parts of Greece. Etruria became an important centre of production outside the Greek World, Attic red-figure vases were exported throughout Greece and beyond. For a long time, they dominated the market for fine ceramics, only few centres of pottery production could compete with Athens in terms of innovation, quality and production capacity. Of the red figure vases produced in Athens alone, more than 40,000 specimens, from the second most important production centre, Southern Italy, more than 20,000 vases and fragments are preserved. Starting with the studies by John D. Beazley and Arthur Dale Trendall, some vases can be ascribed to individual artists or schools. The images provide evidence for the exploration of Greek cultural history, everyday life, iconography, red figure is, put simply, the reverse of the black figure technique. Both were achieved by using the three-phase firing technique, the paintings were applied to the shaped but unfired vessels after they had dried to a leathery, near-brittle texture. In Attica, the normal unburnt clay was of orange colour at this stage, the outlines of the intended figures were drawn either with a blunt scraper, leaving a slight groove, or with charcoal, which would disappear entirely during firing. Then the contours were redrawn with a brush, using a clay slip. Occasionally, the decided to somewhat change the figural scene. In such cases the grooves from the original sketch sometimes remain visible, important contours were often drawn with a thicker slip, leading to a slightly protruding outline, less important lines and internal details were drawn with diluted glossy clay. Detail in other colours, like white or red, were applied at this point, the relief line was probably drawn with a bristle brush or a hair, dipped in thick paint. The suggestion of a hollow needle seems somewhat unlikely, the application of relief outlines was necessary, as the rather liquid glossy clay would otherwise have turned out too dull. After the techniques initial phase of development, both alternatives were used, so as to differentiate gradations and details more clearly, the space between figures was filled with a glossy grey clay slip. Then, the vases underwent triple-phase firing, during which the glossy clay reached its characteristic black or black-brown colour through reduction, the new technique had the primary advantage of permitting a far better execution of internal detail
8.
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
9.
Greek language
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Greek is an independent branch of the Indo-European family of languages, native to Greece and other parts of the Eastern Mediterranean. It has the longest documented history of any living language, spanning 34 centuries of written records and its writing system has been the Greek alphabet for the major part of its history, other systems, such as Linear B and the Cypriot syllabary, were used previously. The alphabet arose from the Phoenician script and was in turn the basis of the Latin, Cyrillic, Armenian, Coptic, Gothic and many other writing systems. Together with the Latin texts and traditions of the Roman world, during antiquity, Greek was a widely spoken lingua franca in the Mediterranean world and many places beyond. It would eventually become the official parlance of the Byzantine Empire, the language is spoken by at least 13.2 million people today in Greece, Cyprus, Italy, Albania, Turkey, and the Greek diaspora. Greek roots are used to coin new words for other languages, Greek. Greek has been spoken in the Balkan peninsula since around the 3rd millennium BC, the earliest written evidence is a Linear B clay tablet found in Messenia that dates to between 1450 and 1350 BC, making Greek the worlds oldest recorded living language. Among the Indo-European languages, its date of earliest written attestation is matched only by the now extinct Anatolian languages, the Greek language is conventionally divided into the following periods, Proto-Greek, the unrecorded but assumed last ancestor of all known varieties of Greek. The unity of Proto-Greek would have ended as Hellenic migrants entered the Greek peninsula sometime in the Neolithic era or the Bronze Age, Mycenaean Greek, the language of the Mycenaean civilisation. It is recorded in the Linear B script on tablets dating from the 15th century BC onwards, Ancient Greek, in its various dialects, the language of the Archaic and Classical periods of the ancient Greek civilisation. It was widely known throughout the Roman Empire, after the Roman conquest of Greece, an unofficial bilingualism of Greek and Latin was established in the city of Rome and Koine Greek became a first or second language in the Roman Empire. The origin of Christianity can also be traced through Koine Greek, Medieval Greek, also known as Byzantine Greek, the continuation of Koine Greek in Byzantine Greece, up to the demise of the Byzantine Empire in the 15th century. Much of the written Greek that was used as the language of the Byzantine Empire was an eclectic middle-ground variety based on the tradition of written Koine. Modern Greek, Stemming from Medieval Greek, Modern Greek usages can be traced in the Byzantine period and it is the language used by the modern Greeks, and, apart from Standard Modern Greek, there are several dialects of it. In the modern era, the Greek language entered a state of diglossia, the historical unity and continuing identity between the various stages of the Greek language is often emphasised. Greek speakers today still tend to regard literary works of ancient Greek as part of their own rather than a foreign language and it is also often stated that the historical changes have been relatively slight compared with some other languages. According to one estimation, Homeric Greek is probably closer to demotic than 12-century Middle English is to modern spoken English, Greek is spoken by about 13 million people, mainly in Greece, Albania and Cyprus, but also worldwide by the large Greek diaspora. Greek is the language of Greece, where it is spoken by almost the entire population
10.
Clytemnestra
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Clytemnestra was the wife of Agamemnon and queen of Mycenae in ancient Greek legend. Her Greek name Klytaimnḗstra is also sometimes latinized as Clytaemnestra and it is commonly glossed as famed for her suitors. However, this form is a later misreading motivated by an erroneous etymological connection to the verb mnáomai, the original name form is believed to have been Klytaimḗstra without the -n-. The present form of the name does not appear before the middle Byzantine period, Aeschylus, in certain wordplays on her name, appears to assume an etymological link with the verb mḗdomai. Clytemnestra was the daughter of Tyndareus and Leda, the King, according to the myth, Zeus appeared to Leda in the form of a swan, seducing and impregnating her. Leda produced four offspring from two eggs, Castor and Clytemnestra from one egg, and Helen and Polydeuces from the other, therefore, Castor and Clytemnestra were fathered by Tyndareus, whereas Helen and Polydeuces were fathered by Zeus. Agamemnon and his brother Menelaus were in exile at the home of Tyndareus, in due time Agamemnon married Clytemnestra and Menelaus married Helen. In a late variation, Euripidess Iphigenia at Aulis, Clytemnestras first husband was Tantalus, King of Pisa, Agamemnon kills him and his infant son, in another version, her first husband was King of Lydia. The kings of Lydia, according to Plutarchs The Greek Questions,45, having succeeded Omphale who had received from Herakles Hippolytes axe, after Helen went from Sparta to Troy, her husband, Menelaus, asked his brother Agamemnon for help. However, consistently weak winds prevented the fleet from sailing, through a subplot involving the gods and omens, the priest Calchas said the winds would be favorable if Agamemnon sacrificed his daughter Iphigenia to the goddess Artemis. Agamemnon persuaded Clytemnestra to send Iphigenia to him, telling her he was going to marry her to Achilles, when Iphigenia arrived at Aulis, she was sacrificed, the winds turned, and the troops set sail for Troy. The Trojan War lasted ten years, during this period of Agamemnons long absence, Clytemnestra began a love affair with Aegisthus, her husbands cousin. Whether Clytemnestra was seduced into the affair or entered into it independently differs according to the author of the myth. Nevertheless, Clytemnestra and Aegisthus began plotting Agamemnons demise, Clytemnestra was enraged by Iphigenias murder. Aegisthus saw his father Thyestes betrayed by Agamemnons father Atreus, in old versions of the story, on returning from Troy, Agamemnon is murdered by Aegisthus, the lover of his wife, Clytemnestra. In some later versions Clytemnestra helps him or does the killing herself in his own home, Clytemnestra waited until he was in the bath, and then entangled him in a cloth net and stabbed him. Trapped in the web, Agamemnon could neither escape nor resist his murderer, meanwhile, Cassandra saw a vision of herself and Agamemnon being murdered. Her attempts to elicit help failed and she realized she was fated to die, and resolutely walked into the palace to receive her death
11.
Agamemnon
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Mythical legends make him the king of Mycenae or Argos, thought to be different names for the same area. When Helen, the wife of Menelaus, was taken to Troy by Paris, upon Agamemnons return from Troy, he was murdered by Aegisthus, the lover of his wife, Clytemnestra. In some later versions Clytemnestra herself does the killing, or they act together as accomplices, Atreus, Agamemnons father, murdered the children of his twin brother Thyestes and fed them to Thyestes after discovering Thyestes adultery with his wife Aerope. Thyestes fathered Aegisthus with his own daughter, Pelopia, and this son vowed gruesome revenge on Atreus children, Aegisthus successfully murdered Atreus and restored his father to the throne. Aegisthus took possession of the throne of Mycenae and jointly ruled with Thyestes, during this period Agamemnon and his brother, Menelaus, took refuge with Tyndareus, King of Sparta. There they respectively married Tyndareus daughters Clytemnestra and Helen, Agamemnon and Clytemnestra had four children, one son, Orestes, and three daughters, Iphigenia, Electra and Chrysothemis. Menelaus succeeded Tyndareus in Sparta, while Agamemnon, with his brothers assistance, drove out Aegisthus and he extended his dominion by conquest and became the most powerful prince in Greece. Thus misfortune hounded successive generations of the House of Atreus, until atoned by Orestes in a court of justice held jointly by humans, Agamemnon gathered the reluctant Greek forces to sail for Troy. Preparing to depart from Aulis, which was a port in Boeotia, misfortunes, including a plague and a lack of wind, prevented the army from sailing. Finally, the prophet Calchas announced that the wrath of the goddess could only be propitiated by the sacrifice of Agamemnons daughter Iphigenia and her death appeased Artemis, and the Greek army set out for Troy. Several alternatives to the human sacrifice have been presented in Greek mythology, hesiod said she became the goddess Hecate. Agamemnon was the commander-in-chief of the Greeks during the Trojan War, during the fighting, Agamemnon killed Antiphus and fifteen other Trojan soldiers. The Iliad tells the story about the quarrel between Agamemnon and Achilles in the year of the war. Following one of the Achaean Armys raids, Chryseis, daughter of Chryses, Chryses pleaded with Agamemnon to free his daughter but was met with little success. Chryses then prayed to Apollo for the return of his daughter. After learning from the Prophet Calchas that the plague could be dispelled by returning Chryseis to her father, Agamemnon reluctantly agreed, however, as compensation for his lost prize, Agamemnon demanded a new prize. As a result, Agamemnon stole an attractive slave called Briseis, one of the spoils of war, Achilles, the greatest warrior of the age, withdrew from battle in response to Agamemnons supposedly evil deed and allegedly put the Greek armies at risk of losing the war. Although not the equal of Achilles in bravery, Agamemnon was a representative of kingly authority, as commander-in-chief, he summoned the princes to the council and led the army in battle
12.
Theatre of ancient Greece
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The ancient Greek drama, is a theatrical culture that flourished in ancient Greece from c.700 BC. Tragedy, comedy, and the play were the three dramatic genres to emerge there. Athens exported the festival to its numerous colonies and allies in order to promote a cultural identity. The word τραγῳδία, from which the tragedy is derived, is a compound of two Greek words, τράγος or goat and ᾠδή meaning song, from ἀείδειν, to sing. This etymology indicates a link with the practices of the ancient Dionysian cults and it is impossible, however, to know with certainty how these fertility rituals became the basis for tragedy and comedy. The classical Greeks valued the power of word, and it was their main method of communication. Bahn and Bahn write, To Greeks the spoken word was a living thing, socrates himself believed that once something was written down, it lost its ability for change and growth. For these reasons, among others, oral storytelling flourished in Greece. Greek tragedy as we know it was created in Athens around the time of 532 BC, being a winner of the first theatrical contest held in Athens, he was the exarchon, or leader, of the dithyrambs performed in and around Attica, especially at the rural Dionysia. By Thespis time, the dithyramb had evolved far away from its cult roots, under the influence of heroic epic, Doric choral lyric and the innovations of the poet Arion, it had become a narrative, ballad-like genre. Thus, Thespiss true contribution to drama is unclear at best, the dramatic performances were important to the Athenians – this is made clear by the creation of a tragedy competition and festival in the City Dionysia. This was organized possibly to foster loyalty among the tribes of Attica, the festival was created roughly around 508 BC. While no drama texts exist from the sixth century BC, we do know the names of three competitors besides Thespis, Choerilus, Pratinas, and Phrynichus, each is credited with different innovations in the field. He won his first competition between 511 BC and 508 BC and he produced tragedies on themes and subjects later exploited in the golden age such as the Danaids, Phoenician Women and Alcestis. He was the first poet we know of to use a historical subject – his Fall of Miletus, produced in 493-2 and he is also thought to be the first to use female characters. This century is regarded as the Golden Age of Greek drama. The centre-piece of the annual Dionysia, which took place once in winter, each submitted three tragedies, plus a satyr play. Beginning in a first competition in 486 BC each playwright submitted a comedy, aristotle claimed that Aeschylus added the second actor, and that Sophocles introduced the third
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Myth
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A myth is any traditional story consisting of events that are ostensibly historical, though often supernatural, explaining the origins of a cultural practice or natural phenomenon. The word myth is derived from the Greek word mythos, which means story. Mythology can refer either to the study of myths, or to a body or collection of myths, myth can mean sacred story, traditional narrative or tale of the gods. A myth can also be a story to explain why something exists, human cultures usually include a cosmogonical or creation myth, concerning the origins of the world, or how the world came to exist. The active beings in myths are generally gods and goddesses, heroes and heroines, or animals, most myths are set in a timeless past before recorded time or beginning of the critical history. A myth can be a story involving symbols that are capable of multiple meanings, a myth is a sacred narrative because it holds religious or spiritual significance for those who tell it. Myths also contribute to and express a cultures systems of thought and values, myths are often therefore stories that are currently understood as being exaggerated or fictitious. According to Albert A. Anderson, a professor of philosophy, in these works, the term had several meanings, conversation, narrative, speech, story, tale, and word. Like the related term logos, mythos expresses whatever can be delivered in the form of words, Anderson contrasts the two terms with ergon, a Greek term for action, deed, and work. The term mythos lacks an explicit distinction between true or false narratives, in the context of the Theatre of ancient Greece, the term mythos referred to the myth, the narrative, the plot, and the story of a theatrical play. According to David Wiles, the Greek term mythos in this era covered an entire spectrum of different meanings, from undeniable falsehoods to stories with religious, according to philosopher Aristotle, the spirit of a theatrical play was its mythos. The term mythos was also used for the material of Greek tragedy. The tragedians of the era could draw inspiration from Greek mythology, David Wiles observes that modern conceptions about Greek tragedy can be misleading. It is commonly thought that the ancient audience members were familiar with the mythos behind a play. However, the Greek dramatists were not expected to faithfully reproduce traditional myths when adapting them for the stage and they were instead recreating the myths and producing new versions. Storytellers like Euripides relied on suspense to excite their audiences, in one of his works, Merope attempts to kill her sons murderer with an axe, unaware that the man in question is actually her son. According to an ancient description of reactions to this work. They rose to their feet in terror and caused an uproar, David Wiles points that the traditional mythos of Ancient Greece, was primarily a part of its oral tradition
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Homer
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Homer is the name ascribed by the ancient Greeks to the semi-legendary author of the Iliad and the Odyssey, two epic poems which are the central works of Greek literature. The Odyssey focuses on the home of Odysseus, king of Ithaca. Many accounts of Homers life circulated in classical antiquity, the most widespread being that he was a bard from Ionia. The modern scholarly consensus is that these traditions do not have any historical value, the Homeric question - by whom, when, where and under what circumstances were the Iliad and Odyssey composed - continues to be debated. Broadly speaking, modern scholarly opinion on the authorship question falls into two camps, one group holds that most of the Iliad and the Odyssey is the work of a single poet of genius. The other considers the Homeric poems to be the crystallization of a process of working and re-working by many contributors and it is generally accepted that the poems were composed at some point around the late eighth or early seventh century B. C. Most researchers believe that the poems were transmitted orally. The Homeric epics were the greatest influence on ancient Greek culture and education, to Plato, the chronological period of Homer depends on the meaning to be assigned to the word Homer. Was Homer a single person, an imaginary person representing a group of poets and this information is often called the world of Homer. The Homeric period would in that cover a number of historical periods, especially the Mycenaean Age. Considered word-for-word, the texts as we know them are the product of the scholars of the last three centuries. Each edition of the Iliad or Odyssey is a different, as the editors rely on different manuscripts and fragments. The term accuracy reveals a belief in an original uniform text. The manuscripts of the work currently available date to no earlier than the 10th century. These are at the end of a missing thousand-year chain of copies made as each generation of manuscripts disintegrated or were lost or destroyed and these numerous manuscripts are so similar that a single original can be postulated. The time gap in the chain is bridged by the scholia, or notes, on the existing manuscripts, librarian of the Library of Alexandria, he had noticed a wide divergence in the works attributed to Homer, and was trying to restore a more authentic copy. He had collected several manuscripts, which he named, the Sinopic, the one he selected for correction was the koine, which Murray translates as the Vulgate. Aristarchus was known for his selection of material
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Atreus
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In Greek mythology, Atreus was a king of Mycenae in the Peloponnese, the son of Pelops and Hippodamia, and the father of Agamemnon and Menelaus. Collectively, his descendants are known as Atreidai or Atreidae, Atreus and his twin brother Thyestes were exiled by their father for murdering their half-brother Chrysippus in their desire for the throne of Olympia. They took refuge in Mycenae, where they ascended to the throne in the absence of King Eurystheus, Eurystheus had meant for their stewardship to be temporary, but it became permanent after his death in battle. According to most ancient sources, Atreus was the father of Pleisthenes, the word Atreides refers to one of the sons of Atreus—Agamemnon and Menelaus. The plural form Atreidae or Atreidai refers to both sons collectively, in English, the form Atreides is often used and this term is sometimes used for more distant descendants of Atreus. The House of Atreus begins with Tantalus, Tantalus was a son of Zeus who enjoyed cordial relations with the gods until he decided to slay his son Pelops and feed him to the gods as a test of their omniscience. But Demeter, who was distracted due to the abduction by Hades of her daughter Persephone, the gods threw Tantalus into the underworld, where he spends eternity standing in a pool of water beneath a fruit tree with low branches. Whenever he reaches for the fruit, the branches raise his intended meal from his grasp, whenever he bends down to get a drink, the water recedes before he can drink. Thus is derived the word tantalising, the gods brought Pelops back to life, replacing the bone in his shoulder with a bit of ivory, thus marking the family forever afterwards. Pelops married Hippodamia after winning a race against her father, King Oenomaus, by arranging for the sabotage of his would-be-father-in-laws chariot. The versions of the story differ, as Myrtilus died, he cursed Pelops and his line, further adding to the houses curse. Pelops and Hippodamia had many sons, two of them were Atreus and Thyestes, depending on myth versions, they murdered Chrysippus, who was their half-brother. Because of the murder, Hippodamia, Atreus, and Thyestes were banished to Mycenae, Atreus vowed to sacrifice his best lamb to Artemis. Upon searching his flock, however, Atreus discovered a golden lamb which he gave to his wife, Aerope and she gave it to Thyestes, her lover and Atreus brother, who then convinced Atreus to agree that whoever had the lamb should be king. Thyestes produced the lamb and claimed the throne, Atreus retook the throne using advice he received from Hermes. Thyestes agreed to give the back when the sun moved backwards in the sky. Atreus retook the throne and banished Thyestes, Atreus then learned of Thyestes and Aeropes adultery and plotted revenge. He killed Thyestes sons and cooked them, save their hands and he tricked Thyestes into eating the flesh of his own sons and then taunted him with their hands and feet
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Tantalus
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Tantalus was a Greek mythological figure, most famous for his eternal punishment in Tartarus. He was made to stand in a pool of water beneath a tree with low branches, with the fruit ever eluding his grasp. He was the father of Pelops, Niobe and Broteas, and was a son of Zeus, thus, like other heroes in Greek mythology such as Theseus and the Dioskouroi, Tantalus had both a hidden, divine parent and a mortal one. Plato in the Cratylus interprets Tantalos as ταλάντατος talantatos, who has to much from τάλας talas wretched. R. S. P. Beekes has rejected an Indo-European interpretation, there may have been a historical Tantalus – possibly the ruler of an Anatolian city named Tantalís, the city of Tantalus, or of a city named Sipylus. Pausanias reports that there was a port under his name and a sepulchre of him by no means obscure, references to his son as Pelops the Lydian led some scholars to the conclusion that there would be good grounds for believing that he belonged to a primordial house of Lydia. Other versions name his father as Tmolus, the name of a king of Lydia and, like Sipylus, the location of Tantalus mortal mountain-fathers generally placed him in Lydia, and more seldom in Phrygia or Paphlagonia, all in Asia Minor. Tantalus, through Pelops, was the progenitor of the House of Atreus, Tantalus was also the great-grandfather of Agamemnon and Menelaus. The geographer Strabo, quoting earlier sources, states that the wealth of Tantalus was derived from the mines of Phrygia, near Mount Sipylus are archaeological features that have been associated with Tantalus and his house since Antiquity. A more famous monument, a statue carved in rock mentioned by Pausanias is a statue of Cybele. Further afield, based on a similarity between the names Tantalus and Hantili, it has suggested that the name Tantalus may have derived from that of these two Hittite kings. In mythology, Tantalus became one of the inhabitants of Tartarus, the association of Tantalus with the underworld is underscored by the names of his mother Plouto, and grandmother, Chthonia. Tantalus was initially known for having been welcomed to Zeus table in Olympus, there he is said to have misbehaved and stolen ambrosia and nectar to bring it back to his people, and revealed the secrets of the gods. Most famously, Tantalus offered up his son, Pelops, as a sacrifice and he cut Pelops up, boiled him, and served him up in a banquet for the gods. Clotho, one of the three Fates, ordered by Zeus, brought the boy to life again, rebuilding his shoulder with one wrought of ivory made by Hephaestus, the revived Pelops grew to be an extraordinarily handsome youth. The god Poseidon took him to Mount Olympus to teach him to use chariots, later, Zeus threw Pelops out of Olympus due to his anger at Tantalus. The Greeks of classical times claimed to be horrified by Tantaluss doings, cannibalism and kinslaying were atrocities, Tantaluss punishment for his act, now a proverbial term for temptation without satisfaction, was to stand in a pool of water beneath a fruit tree with low branches. Whenever he reached for the fruit, the branches raised his intended meal from his grasp, whenever he bent down to get a drink, the water receded before he could get any
17.
Niobe
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In Greek mythology, Niobe was a daughter of Tantalus and of either Dione, the most frequently cited, or of Eurythemista or Euryanassa, and the sister of Pelops and Broteas. Her father was the ruler of a city located near Manisa in todays Aegean Turkey that was called Tantalis or the city of Tantalus, or Sipylus. The city was located at the foot of Mount Sipylus and its ruins were reported to be visible in the beginning of the 1st century AD. Pliny reports that Tantalis was destroyed by an earthquake and the city of Sipylus was built in its place. References to his son and Niobes brother as Pelops the Lydian led some scholars to the conclusion that there would be grounds for believing that she belonged to a primordial house of Lydia. Once the gods interred them, she retreated to her native Sipylus, where Nymphs dance around the River Acheloos, and although being a stone, she broods over the sorrows sent from the Gods. Later writers asserted that Niobe was wedded to Amphion, one of the founders of Thebes, where there was a single sanctuary where the twin founders were venerated. Niobe boasted of her fourteen children, seven male and seven female, the number varies in different sources. Her attire was splendid with gold and gems, and her face as beautiful as the face of a woman can be. She stood and surveyed the people with haughty looks, what folly, said she, is this. To prefer beings whom you never saw to those who stand before your eyes, why should Latona be honored with worship rather than I. My father was Tantalus, who was received as a guest at the table of the gods and my husband built and rules this city, Thebes, and Phrygia is my paternal inheritance. Wherever I turn my eyes I survey the elements of my power, nor is my form, to all this let me add, I have seven sons and seven daughters, and look for sons-in-law and daughters-in-law of pretensions worthy of my alliance. Have I not cause for pride, will you prefer to me this Latona, the Titans daughter, with her two children. I have seven times as many, fortunate indeed am I, and fortunate I shall remain. Using arrows, Artemis killed Niobes daughters and Apollo killed Niobes sons, according to some versions, at least one Niobid was spared. Their father, Amphion, at the sight of his dead sons, devastated, Niobe fled back to Mount Sipylus and was turned into stone, and, as she wept unceasingly, waters started to pour from her petrified complexion. Mount Sipylus indeed has a rock formation which resembles a female face
18.
Mycenae
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Mycenae is an archaeological site in Greece, located about 90 kilometres southwest of Athens, in the north-eastern Peloponnese. Argos is 11 kilometres to the south, Corinth,48 kilometres to the north, from the hill on which the palace was located, one can see across the Argolid to the Saronic Gulf. In the second millennium BC, Mycenae was one of the centres of Greek civilization. The period of Greek history from about 1600 BC to about 1100 BC is called Mycenaean in reference to Mycenae, at its peak in 1350 BC, the citadel and lower town had a population of 30,000 and an area of 32 hectares. Although the citadel was built by Greeks, the name Mukanai is thought not to be Greek, legend has it that the name was connected to the Greek word mycēs. Thus, Pausanias ascribes the name to the legendary founder Perseus, the earliest written form of the name is Mykēnē, which is found in Homer. The reconstructed Mycenaean Greek name of the site is Mukānai, which has the form of a plural like Athānai, the change of ā to ē in more recent versions of the name is the result of a well-known sound change in later Attic-Ionic. An EH–MH settlement was discovered near a well on top of the Kalkani hill southwest of the acropolis. The first burials in pits or cist graves manifest in the MH period on the west slope of the acropolis, during the Bronze Age, the pattern of settlement at Mycenae was a fortified hill surrounded by hamlets and estates, in contrast to the dense urbanity on the coast. Richer grave goods mark the burials as possibly regal, mounds over the top contained broken drinking vessels and bones from a repast, testifying to a more than ordinary farewell. A walled enclosure, Grave Circle A, included six more shaft graves, with nine female, eight male, Grave goods were more costly than in Circle B. The presence of engraved and inlaid swords and daggers, with points and arrowheads, leave little doubt that warrior chieftains. Some art objects obtained from the graves are the Silver Siege Rhyton, the Mask of Agamemnon, the Cup of Nestor, Alan Wace divided the nine tholos tombs of Mycenae into three groups of three, each based on architecture. His earliest – the Cyclopean Tomb, Epano Phournos, and the Tomb of Aegisthus – are dated to LHIIA, burial in tholoi is seen as replacing burial in shaft graves. The care taken to preserve the shaft graves testifies that they were by then part of the royal heritage, being more visible, the tholoi all had been plundered either in antiquity, or in later historic times. Within these walls, much of which can still be seen, the final palace, remains of which are currently visible on the acropolis of Mycenae, dates to the start of LHIIIA,2. Earlier palaces must have existed, but they had cleared away or built over. The construction of palaces at that time with an architecture was general throughout southern Greece
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Trojan War
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In Greek mythology, the Trojan War was waged against the city of Troy by the Achaeans after Paris of Troy took Helen from her husband Menelaus, king of Sparta. The war is one of the most important events in Greek mythology and has been narrated through many works of Greek literature, most notably through Homers Iliad. The Iliad relates four days in the year of the decade-long siege of Troy. Other parts of the war are described in a cycle of epic poems, episodes from the war provided material for Greek tragedy and other works of Greek literature, and for Roman poets including Virgil and Ovid. Zeus sent the goddesses to Paris, who judged that Aphrodite, as the fairest, in exchange, Aphrodite made Helen, the most beautiful of all women and wife of Menelaus, fall in love with Paris, who took her to Troy. Agamemnon, king of Mycenae and the brother of Helens husband Menelaus, led an expedition of Achaean troops to Troy and besieged the city for ten years because of Paris insult. After the deaths of heroes, including the Achaeans Achilles and Ajax, and the Trojans Hector and Paris. The Achaeans slaughtered the Trojans and desecrated the temples, thus earning the gods wrath, few of the Achaeans returned safely to their homes and many founded colonies in distant shores. The Romans later traced their origin to Aeneas, one of the Trojans, in 1868, however, the German archaeologist Heinrich Schliemann met Frank Calvert, who convinced Schliemann that Troy was a real city at what is now Hissarlik in Turkey. On the basis of excavations conducted by Schliemann and others, this claim is now accepted by most scholars, whether there is any historical reality behind the Trojan War remains an open question. The events of the Trojan War are found in works of Greek literature. There is no single, authoritative text which tells the events of the war. Instead, the story is assembled from a variety of sources, the most important literary sources are the two epic poems traditionally credited to Homer, the Iliad and the Odyssey, composed sometime between the 9th and 6th centuries BC. Each poem narrates only a part of the war, the Iliad covers a short period in the last year of the siege of Troy, while the Odyssey concerns Odysseuss return to his home island of Ithaca, following the sack of Troy. Other parts of the Trojan War were told in the poems of the Epic Cycle, also known as the Cyclic Epics, the Cypria, Aethiopis, Little Iliad, Iliou Persis, Nostoi, and Telegony. Though these poems survive only in fragments, their content is known from an included in Proclus Chrestomathy. The authorship of the Cyclic Epics is uncertain, both the Homeric epics and the Epic Cycle take origin from oral tradition. Even after the composition of the Iliad, Odyssey, and the Cyclic Epics, events and details of the story that are only found in later authors may have been passed on through oral tradition and could be as old as the Homeric poems
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Cassandra
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Cassandra, also known as Alexandra or Kassandra, was a daughter of King Priam and of Queen Hecuba of Troy in Greek mythology. In modern usage her name is employed as a device to indicate someone whose accurate prophecies are not believed by those around them. In an alternative version, she fell asleep in a temple, Cassandra became a figure of epic tradition and of tragedy. Hjalmar Frisk notes unexplained etymology, citing various hypotheses found in Wilhelm Schulze, Edgar Howard Sturtevant, J. Davreux, R. S. P. Beekes cites García Ramóns derivation of the name from the Proto-Indo-European root *kend- raise. Cassandra was the daughter of King Priam and Queen Hecuba and the twin sister of Helenus. According to legend, Cassandra had dark curly hair and dark brown eyes and was both beautiful and clever, but considered insane. However, her perceived insanity is the result of being cursed by the god Apollo, many versions of the myth relate that she incurred the gods wrath by refusing him sex, sometimes after first promising herself in exchange for the power of prophecy. Hyginus says, In another version, Cassandra consented to have sex with Apollo in exchange for the gift of prophecy and her punishment was the curse of never being believed. In some versions of the myth, Apollo curses her by spitting into her mouth during a kiss, in Aeschylus Agamemnon, she foretells the betrayal of Clytemnestra. She also bemoans her relationship with Apollo, Cassandra had served as a priestess of Apollo and her cursed gift from Apollo became a source of endless pain and frustration to Cassandra. Cassandra was seen as a liar and a madwoman by her family, in some versions of the story, she was often locked up in a pyramidal building on the citadel on her father King Priam’s orders. She was accompanied there by the wardress who cared for her under orders to inform the King of all of his daughters prophetic utterances. She was driven insane by this in the versions where she was incarcerated, though in the versions where she was not. According to legend, Cassandra had instructed her twin brother Helenus in the power of prophecy so he could be a prophet, like her, Helenus was always correct whenever he had made his predictions, but unlike his sister, people believed him. Cassandra made many predictions, with all of her prophecies being disbelieved except for one and she was believed when she foresaw who Paris was and proclaimed that he was her abandoned brother. This took place after he had sought refuge in the altar of Zeus from their brothers’ wrath, Cassandra foresaw that Paris’ abduction of Helen for his wife would bring about the Trojan War and cause the destruction of Troy. She did warn Paris not to go to Sparta along with Helenus who echoed her prophecy, Cassandra saw Helen coming into Troy at Paris return home from Sparta. She furiously snatched away Helens golden veil and tore at her hair, for she had foreseen that Helens arrival would bring the calamities of the Trojan War, the Trojan people, however, welcomed Helen into their city
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Aegisthus
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Aegisthus is a figure in Greek mythology. He was the son of Thyestes and his daughter, Pelopia, the product of an incestuous union motivated by his fathers rivalry with the house of Atreus for the throne of Mycenae, Aegisthus murdered Atreus to restore his father to power. Later, he lost the throne to Atreuss son Agamemnon, while Agamemnon was at the Trojan war, Aegisthus became the lover of the kings estranged wife Clytemnestra. The couple killed Agamemnon on his return and he became king of Mycenae for seven years before he was killed in his turn by Agamemnons son Orestes. Thyestes felt he had deprived of the Mycenean throne unfairly by his brother. The two battled back and forth several times, in addition, Thyestes had an affair with Atreus wife, Aerope. In revenge, Atreus killed Thyestes sons and served them to him unknowingly, after eating his own sons corpses, Thyestes asked an oracle how best to gain revenge. The advice was to father a son with his own daughter, Pelopia, Thyestes raped Pelopia after she performed a sacrifice, hiding his identity from her. When Aegisthus was born, his mother abandoned him, ashamed of his origin, Atreus, not knowing the babys origin, took Aegisthus in and raised him as his own son. In the night in which Pelopia had been raped by her father, when she discovered that the sword belonged to her own father, she realised that her son was the product of incestuous intercourse. Aegisthus and his father now took possession of their inheritance from which they had been expelled by Atreus. Agamemnon and Clytemnestra had four children, one son, Orestes, after the death of Tyndareus, Meneleaus became king of Sparta. He used the Spartan army to drive out Aegisthus and Thyestes from Mycenae, Agamemnon extended his dominion by conquest and became the most powerful prince in Greece. However, when Agamemnon sacrificed his own daughter Iphigenia to appease the gods before the war with Troy, while Agamemnon was away at the Trojan War, Aegisthus became Clyemnestras lover. He helped Clytemnestra kill her husband upon his return from Troy, in the older versions of the story, such as Homer, Aegisthus himself kills Agamemnon. In later accounts Clytemnestra stabs him when he is naked and vulnerable after a bath, after this event Aegisthus reigned seven years longer over Mycenae. He and Clytemnestra had a son Aletes, and two daughters, Erigone and Helen, in the eighth year of his reign Orestes, the son of Agamemnon, returned home and avenged the death of his father by killing Aegisthus and Clytemnestra. The impiety of matricide was such that Orestes was forced to flee from Mycenae, Aletes became king until Orestes returned several years later and killed him
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Athens
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Athens is the capital and largest city of Greece. In modern times, Athens is a cosmopolitan metropolis and central to economic, financial, industrial, maritime. In 2015, Athens was ranked the worlds 29th richest city by purchasing power, Athens is recognised as a global city because of its location and its importance in shipping, finance, commerce, media, entertainment, arts, international trade, culture, education and tourism. It is one of the biggest economic centres in southeastern Europe, with a financial sector. The municipality of Athens had a population of 664,046 within its limits. The urban area of Athens extends beyond its administrative city limits. According to Eurostat in 2011, the Functional urban areas of Athens was the 9th most populous FUA in the European Union, Athens is also the southernmost capital on the European mainland. The city also retains Roman and Byzantine monuments, as well as a number of Ottoman monuments. Athens is home to two UNESCO World Heritage Sites, the Acropolis of Athens and the medieval Daphni Monastery, Athens was the host city of the first modern-day Olympic Games in 1896, and 108 years later it welcomed home the 2004 Summer Olympics. 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 possibly rendered in the later on, like those of Θῆβαι and Μυκῆναι. During the medieval period the name of the city was rendered once again in the singular as Ἀθήνα, an etiological myth explaining how Athens has acquired its name was well known among ancient Athenians and even became the theme of the sculpture on the West pediment of the Parthenon. The goddess of wisdom, Athena, and the god of the seas, Poseidon had many disagreements, in an attempt to compel the people, Poseidon created a salt water spring by striking the ground with his trident, symbolizing naval power. However, when Athena created the tree, symbolizing peace and prosperity. 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, 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 referred to as the City of the Violet Crown, first documented in Pindars ἰοστέφανοι Ἀθᾶναι. In medieval texts, variant names include Setines, Satine, and Astines, today the caption η πρωτεύουσα, the capital, has become somewhat common
23.
Odyssey
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The Odyssey is one of two major ancient Greek epic poems attributed to Homer. It is, in part, a sequel to the Iliad, the Odyssey is fundamental to the modern Western canon, and is the second-oldest extant work of Western literature, the Iliad is the oldest. Scholars believe the Odyssey was composed near the end of the 8th century BC, somewhere in Ionia, the poem mainly focuses on the Greek hero Odysseus, king of Ithaca, and his journey home after the fall of Troy. It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War. In his absence, it is assumed Odysseus has died, and his wife Penelope and son Telemachus must deal with a group of suitors, the Mnesteres or Proci. The Odyssey continues to be read in the Homeric Greek and translated into languages around the world. Many scholars believe the poem was composed in an oral tradition by an aoidos, perhaps a rhapsode. The details of the ancient oral performance and the conversion to a written work inspire continual debate among scholars. The Odyssey was written in a dialect of Greek—a literary amalgam of Aeolic Greek, Ionic Greek. Among the most noteworthy elements of the text are its non-linear plot, in the English language as well as many others, the word odyssey has come to refer to an epic voyage. The Odyssey has a lost sequel, the Telegony, which was not written by Homer and it was usually attributed in antiquity to Cinaethon of Sparta. In one source, the Telegony was said to have stolen from Musaeus by either Eugamon or Eugammon of Cyrene. The Odyssey begins ten years after the end of the ten-year Trojan War, and Odysseus has still not returned home from the war. Odysseus protectress, the goddess Athena, requests to Zeus, king of the gods, to finally allow Odysseus to return home when Odysseus enemy, then, disguised as a Taphian chieftain named Mentes, she visits Telemachus to urge him to search for news of his father. He offers her hospitality, they observe the suitors dining rowdily while the bard Phemius performs a poem for them. Penelope objects to Phemius theme, the Return from Troy, because it reminds her of her missing husband and that night Athena, disguised as Telemachus, finds a ship and crew for the true prince. The next morning, Telemachus calls an assembly of citizens of Ithaca to discuss what should be done with the suitors. Accompanied by Athena, he departs for the Greek mainland and the household of Nestor, most venerable of the Greek warriors at Troy, now at home in Pylos
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Telemachus
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Telemachus is a figure in Greek mythology, the son of Odysseus and Penelope, and a central character in Homers Odyssey. Telemachuss name in Greek means far from battle, or perhaps fighting from afar, as a bowman does. In Homers Odyssey, Telemachus, under the instructions of Athena, spends the first four books trying to gain knowledge of his father, Odysseus, who left for Troy when Telemachus was still an infant. At the outset of Telemachus journey, Odysseus had been absent from his home at Ithaca for twenty years due to the Trojan War, during his absence, Odysseus house has been occupied by hordes of suitors seeking the hand of Penelope. Telemachus first visits Nestor and is received by the old man who regales him with stories of his fathers glory. Telemachus then departs with Nestors son Peisistratus, who accompanies him to the halls of Menelaus, whilst there, Telemachus is again treated as an honored guest as Menelaus and Helen tell complementary yet contradictory stories of his fathers exploits at Troy. Telemachus focuses on his fathers return to Ithaca in Book XV and he visits Eumaeus, the swineherd, who happens to be hosting a disguised Odysseus. After Odysseus reveals himself to Telemachus due to Athenas advice, the two men plan the downfall of the suitors, Telemachus then returns to the palace to keep an eye on the suitors and to await his father as the beggar. When Penelope challenges the suitors to string Odysseus bow and shoot an arrow through the handle-holes of twelve axeheads and he would have completed the task, nearly stringing the bow on his fourth attempt, however, Odysseus subtly stops him before he can finish his attempt. Following the suitors failure at this task, Odysseus reveals himself and he and Telemachus bring swift, the Telegony was a short 2-book epic poem recounting the life and death of Odysseus after the events of the Odyssey. In this mythological postscript, Odysseus is accidentally killed by Telegonus, after Odysseus death, Telemachus returns to Aeaea with Telegonus and Penelope, and there marries Circe. From the Dictionary of Greek and Roman Biography and Mythology, The son of Odysseus and he was still an infant at the time when his father went to Troy, and in his absence of nearly twenty years he grew up to manhood. Telemachus followed the advice, but the refused to quit his house. There they were received by Nestor, who also sent his own son to conduct Telemachus to Sparta. Menelaus again kindly received him, and communicated to him the prophecy of Proteus concerning Odysseus, from Sparta Telemachus returned home, and on his arrival there, he found his father, with the swineherd Eumaeus. But as Athena had metamorphosed him into a beggar, Telemachus did not recognise his father until the latter disclosed to him who he was. Father and son now agreed to punish the suitors, and when they were slain or dispersed, according to some accounts, Telemachus became the father of Perseptolis either by Polycaste, the daughter of Nestor, or by Nausicaa, the daughter of Alcinous. He is also said to have had a daughter called Roma, one account states that Odysseus, in consequence of a prophecy that his son was dangerous to him, sent him away from Ithaca
25.
Penelope
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In Homers Odyssey, Penelope is the wife of Odysseus, who is known for her fidelity to Odysseus while he was absent, despite having many suitors. Her name has traditionally been associated with marital fidelity, and so it was with the Greeks and Romans and her character is beyond what was available to most women at the time, and she is considered a match for Odysseus due to her immense strength, warmth and intelligence. The origin of her name is believed by Robert S. P. Penelope is the wife of the character, the king of Ithaca, Odysseus. She only has one son by Odysseus, Telemachus, who was born just before Odysseus was called to fight in the Trojan War and she waits twenty years for the final return of her husband, during which she devises various strategies to delay marrying one of the 108 suitors. On Odysseuss return, disguised as an old beggar, he finds that Penelope has remained faithful, every night for three years, she undoes part of the shroud, until Melantho, one of twelve unfaithful serving women, discovers her chicanery and reveals it to the suitors. Because of her efforts to put off remarriage, Penelope is often seen as a symbol of connubial fidelity, as Irene de Jong comments, As so often, it is Athena who takes the initiative in giving the story a new direction. She simply feels an impulse to meet the men she so loathes. Adding that she might take this opportunity to talk to Telemachus and she is ambivalent, variously asking Artemis to kill her and, apparently, considering marrying one of the suitors. For the plot of the Odyssey, of course, her decision is the turning point, there is debate as to whether Penelope is aware that Odysseus is behind the disguise. On the other hand, because Odysseus seems to be the person who can actually use the bow. When the contest of the bow begins, none of the suitors are able to string the bow, but Odysseus does, Odysseus protests that this cannot be done since he made the bed himself and knows that one of its legs is a living olive tree. Penelope finally accepts that he truly is her husband, a moment that highlights their homophrosýnē, homer implies, that from then on, Odysseus would live a long and happy life together with Penelope and Telemachus, wisely ruling his kingdom and enjoying wide respect and much success. In some early sources such as Pindar, Pans father is Apollo via Penelope, herodotus, Cicero, Apollodorus and Hyginus all make Hermes and Penelope his parents. Pausanias 8.12.5 records the story that Penelope had in fact been unfaithful to her husband, other sources report that Penelope slept with all 108 suitors in Odysseus absence, and gave birth to Pan as a result. This myth reflects the folk etymology that equates Pans name with the Greek word for all, Latin references to Penelope revolved around the sexual loyalty to her absent husband. It suited the marital aspect of Roman society representing the tranquility of the worthy family and she is mentioned by various classical authors including Plautus, Propertius, Horace, Ovid, Martial and Statius. The use of Penelope in Latin texts provided a basis for her use in the Middle Ages. This was reinforced by her named by Saint Jerome among pagan women famed for their chastity
26.
Hydria
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A hydria is a type of water-carrying vessel in the and metalwork and pottery of Ancient Greece. Two horizontal handles on either side of the body of the pot were used for lifting and carrying the pot, the third handle, a vertical one, located in the center of the other two handles, was used when pouring water. If the third handle is missing, the type is called a kalpis and this water vessel can be found in both red- and black-figure technique. They often depicted scenes of Greek mythology that reflected moral and social obligations, as well as holding water hydriai could be used for holding ashes in burials and collecting ballots in elections. By the mid-5th century BC, Greek artisans were also creating hydria from bronze, a 6th-century example is in the Historisches Museum, Berne. Such vessels were known from Minoan pottery. Regina Vasorum is a famous late hydria in the Hermitage Museum, aquamanile Hydriske Galleries of Greek hydriai
27.
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
28.
Mount Parnassus
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Mount Parnassus is a mountain of limestone in central Greece that towers above Delphi, north of the Gulf of Corinth, and offers scenic views of the surrounding olive groves and countryside. According to Greek mythology, this mountain was sacred to Dionysus and the Dionysian mysteries, it was sacred to Apollo and the Corycian nymphs. The mountain was also favored by the Dorians, there is a theory that Parna- derives from the same root as that which appears in the Luwian word for House. Parnassus is one of the largest mountainous regions of Mainland Greece and it spreads over three municipalities, namely of Boeotia, Phthiotis and Phocis, where lies its largest part. Its altitude is 2,547 meters and its highest peak is Liakouras, to the Northeast it is connected to Giona and to the south with Kirphe. Its name is due to the hero of the Greek mythology, son of Cleopompus and Cleodora. Etymological analysis, however, shows an origin of the name. The mountain is delimited to the east by the valley of the Boeotian Kephissus, the geological particularity of Parnassus is its rich deposits of bauxite, which has led to their systematic mining since the end of the 1930s, resulting in ecological damage to part of the mountain. Mount Parnassus is named after Parnassos, the son of the nymph Kleodora, a city, of which Parnassos was leader, was flooded by torrential rains. The citizens ran from the flood, following wolves howling, up the mountain slope, there the survivors built another city, and called it Lykoreia, which in Greek means the howling of the wolves. While Orpheus was living with his mother and his eight beautiful aunts on Parnassus, Apollo became fond of Orpheus and gave him a little golden lyre, and taught him to play it. Orpheuss mother taught him to make verses for singing, as the Oracle of Delphi was sacred to the god Apollo, so did the mountain itself become associated with Apollo. As the home of the Muses, Parnassus became known as the home of poetry, music, Parnassus was also the site of several unrelated minor events in Greek mythology. In some versions of the Greek flood myth, the ark of Deucalion comes to rest on the slopes of Parnassus and this is the version of the myth recounted in Ovids Metamorphoses. Orestes spent his time in hiding on Mount Parnassus, Parnassus was sacred to the god Dionysus. The Corycian Cave, located on the slopes of Parnassus, was sacred to Pan, in Book 19 of The Odyssey, Odysseus recounts a story of how he was gored in the thigh during a boar hunt on Mount Parnassus in his youth. Parnassus was also the home of Pegasus, the horse of Bellerophon. This relation of the mountain to the Muses offered an instigation to its more recent mystification, the periodical Modern Parnassus issued for the first time by Catul Mendes and Xavier Ricard contained direct references to Mt. Parnassus and its mythological feature as habitation of the Muses
29.
Iphigenia
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In Greek mythology, Iphigenia was a daughter of King Agamemnon and Queen Clytemnestra, and thus a princess of Argos. According to other myths she is the daughter of Theseus and Helen but was raised by Clytemnestra. Agamemnon offends the goddess Artemis, who retaliates by commanding him to kill Iphigenia as a sacrifice so his ships can sail to Troy, in some versions, Iphigenia is sacrificed at Aulis, but in others, Artemis rescues her. In the version where she is saved, she goes to the Taurians, Iphigenia means strong-born, born to strength, or she who causes the birth of strong offspring. Iphianassa is the name of one of Agamemnons three daughters in Homers Iliad The name Iphianassa may be simply a variant of the name Iphigenia. In Greek mythology, Iphigenia appears as the Greek fleet gathers in Aulis to prepare for war against Troy, at Aulis, the leader of the Greeks, Agamemnon, accidentally kills a deer in a grove sacred to the goddess Artemis. She punishes him by interfering with the winds so that his fleet cannot sail to Troy, the seer Calchas reveals that, to appease Artemis, Agamemnon must sacrifice his eldest daughter, Iphigenia. Agamemnon at first refuses, but, pressured by the other commanders eventually agrees, Iphigenia and her mother Clytemnestra are brought to Aulis under the pretext of a marriage to Achilles, but soon discover the marriage is a ruse. In some versions of the story, Iphigenia remains unaware of her imminent sacrifice until the last moment, in some versions, Iphigenia is not actually sacrificed. According to Hyginus Fabulae, Iphigenia was not sacrificed, some sources claim that Iphigenia was taken by Artemis to Tauris in Crimea at the moment of the sacrifice, and that the goddess left a deer or a goat in her place. The Hesiodic Catalogue of Women called her Iphimede and told that Artemis transformed her into the goddess Hecate, antoninus Liberalis said that Iphigenia was transported to the island of Leuke, where she was wedded to immortalized Achilles under the name Orsilochia. In Aeschyluss Agamemnon, the first play in the Oresteia, the sacrifice of Iphigenia is given as one of the reasons that Clytemnestra, in Euripides’ Iphigenia at Aulis, it is Menelaus who convinces Agamemnon to heed the seer Calchass advice. After Agamemnon sends a message to Clytemnestra informing her of Iphigenias supposed marriage, he regrets his decision. Menelaus intercepts the letter and he and Agamemnon argue, Menelaus insists that it is Agamemnons duty to do all he can to aid the Greeks. Clytemnestra arrives at Aulis with Iphigenia and the infant Orestes, Agamemnon tries to convince Clytemnestra to go back to Argos, but Clytemnestra insists on staying for the wedding. When she sees Achilles, Clytemnestra mentions the marriage, Achilles, however, appears to be unaware of it, Achilles, angry that Agamemnon has used him in his plot, vows to help prevent the murder of Iphigenia. Iphigenia and Clytemnestra plead with Agamemnon to spare his daughters life, Achilles informs them that the Greek army, eager for war, has learned of the seers advice and now demand that Iphigenia be sacrificed. If Agamemnon refuses, it is likely they will turn on him and kill him, Iphigenia, knowing she is doomed, decides to be sacrificed willingly, reasoning that as a mere mortal, she cant go against the will of a goddess
30.
Artemis
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Artemis was one of the most widely venerated of the Ancient Greek deities. Some scholars believe that the name, and indeed the goddess herself, was originally pre-Greek, Homer refers to her as Artemis Agrotera, Potnia Theron, Artemis of the wildland, Mistress of Animals. The Arcadians believed she was the daughter of Demeter, in the classical period of Greek mythology, Artemis was often described as the daughter of Zeus and Leto, and the twin sister of Apollo. The deer and the cypress were sacred to her, in later Hellenistic times, she even assumed the ancient role of Eileithyia in aiding childbirth. The name Artemis is of unknown or uncertain origin and etymology although various ones have been proposed, for example, according to J. T. Jablonski, the name is also Phrygian and could be compared with the royal appellation Artemas of Xenophon. Anton Goebel suggests the root στρατ or ῥατ, to shake, babiniotis, while accepting that the etymology is unknown, states that the name is already attested in Mycenean Greek and is possibly of pre-Hellenic origin. It is believed that a precursor of Artemis was worshiped in Minoan Crete as the goddess of mountains and hunting, R. S. P. Beekes suggested that the e/i interchange points to a Pre-Greek origin. Artemis was venerated in Lydia as Artimus, various conflicting accounts are given in Classical Greek mythology of the birth of Artemis and her twin brother, Apollo. All accounts agree, however, that she was the daughter of Zeus and Leto, an account by Callimachus has it that Hera forbade Leto to give birth on either terra firma or on an island. Hera was angry with Zeus, her husband, because he had impregnated Leto, but the island of Delos disobeyed Hera, and Leto gave birth there. In ancient Cretan history Leto was worshipped at Phaistos and in Cretan mythology Leto gave birth to Apollo, a scholium of Servius on Aeneid iii. The myths also differ as to whether Artemis was born first, most stories depict Artemis as born first, becoming her mothers mid-wife upon the birth of her brother Apollo. The childhood of Artemis is not fully related in any surviving myth, the Iliad reduced the figure of the dread goddess to that of a girl, who, having been thrashed by Hera, climbs weeping into the lap of Zeus. She wished for no city dedicated to her, but to rule the mountains, Artemis believed that she had been chosen by the Fates to be a midwife, particularly since she had assisted her mother in the delivery of her twin brother, Apollo. All of her companions remained virgins, and Artemis closely guarded her own chastity and her symbols included the golden bow and arrow, the hunting dog, the stag, and the moon. Okeanus daughters were filled with fear, but the young Artemis bravely approached and asked for bow, Callimachus then tells how Artemis visited Pan, the god of the forest, who gave her seven bitches and six dogs. She then captured six golden-horned deer to pull her chariot, Artemis practiced with her bow first by shooting at trees and then at wild beasts. As a virgin, Artemis had interested many gods and men, Orion was accidentally killed either by Artemis or by Gaia
31.
Iphigenia in Tauris
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Iphigenia in Tauris is a drama by the playwright Euripides, written between 414 BC and 412 BC. It has much in common with another of Euripidess plays, Helen, as well as the lost play Andromeda, and is described as a romance, a melodrama. Although the play is known in English as Iphigenia in Tauris, this is, strictly speaking, the Latin title of the play. There is no place as Tauris in Euripides play, although Goethe, in his play Iphigenie auf Tauris. Years before the period covered by the play, the young princess Iphigeneia narrowly avoided death by sacrifice at the hands of her father. She has since made a priestess at the temple of Artemis in Tauris. Iphigeneia hates her forced religious servitude and is desperate to contact her family in Greece. She wants to inform them that, thanks to the miraculous swap performed by Artemis, she is alive and wants to return to her homeland. Furthermore, she has had a dream about her younger brother Orestes and believes that he is dead. Meanwhile, Orestes has killed his mother Clytemnestra to avenge his father Agamemnon with assistance from his friend Pylades and he becomes haunted by the Erinyes for committing the crime and goes through periodic fits of madness. He is told by Apollo to go to Athens to be brought to trial, although the trial ends in his favour, the Erinyes continue to haunt him. Apollo sends him to steal a statue of Artemis to bring back to Athens so that he may be set free. The scene represents the front of the temple of Artemis in the land of the Taurians, the altar is in the center. The play begins with Iphigenia reflecting on her brothers death and she recounts her sacrifice at the hands of Agamemnon, and how she was saved by Artemis and made priestess in this temple. She has had a dream in which the structure of her familys house crashed down in ruins and she interprets this dream to mean that Orestes is dead. Orestes and Pylades enter, having just arrived in this land, Orestes was sent by Apollo to retrieve the image of Artemis from the temple, and Pylades has accompanied him. Orestes explains that he has avenged Agamemnons death by killing Clytaemnestra, the two decide to hide and make a plan to retrieve the idol without being captured. They know that the Taurians sacrifice Hellene blood in their temple of Artemis, Iphigenia enters and discusses her sad life with the chorus, composed of captive Greek maidens, attendants of Iphigenia
32.
Pompeii
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Pompeii was an ancient Roman town-city near modern Naples, in the Campania region of Italy, in the territory of the comune of Pompei. Pompeii, along with Herculaneum and many villas in the area, was mostly destroyed and buried under 4 to 6 m of volcanic ash. Researchers believe that the town was founded in the seventh or sixth century BC by the Osci or Oscans. It came under the domination of Rome in the 4th century BC, by the time of its destruction,160 years later, its population was estimated at 11,000 people, and the city had a complex water system, an amphitheatre, gymnasium, and a port. The eruption destroyed the city, killing its inhabitants and burying it under tons of ash, the site was lost for about 1,500 years until its initial rediscovery in 1599 and broader rediscovery almost 150 years later by Spanish engineer Rocque Joaquin de Alcubierre in 1748. The objects that lay beneath the city have been preserved for centuries because of the lack of air and these artefacts provide an extraordinarily detailed insight into the life of a city during the Pax Romana. During the excavation, plaster was used to fill in the voids in the ash layers that once held human bodies and this allowed archaeologists to see the exact position the person was in when he or she died. Pompeii has been a tourist destination for over 250 years, today it has UNESCO World Heritage Site status and is one of the most popular tourist attractions in Italy, with approximately 2.5 million visitors every year. Pompeii in Latin is a second declension plural, the ruins of Pompeii are located near the modern suburban town of Pompei. It stands on a formed by a lava flow to the north of the mouth of the Sarno River. Today it is some distance inland, but in ancient times was nearer to the coast, Pompeii is about 8 km away from Mount Vesuvius. It covered a total of 64 to 67 hectares and was home to approximately 11,000 to 11,500 people on the basis of household counts and it was a major city in the region of Campania. Three sheets of sediment have been found on top of the lava that lies below the city and, mixed in with the sediment, archaeologists have found bits of bone, pottery shards. Carbon dating has placed the oldest of these layers from the 8th–6th centuries BC, the other two strata are separated either by well-developed soil layers or Roman pavement, and were laid in the 4th century BC and 2nd century BC. It is theorized that the layers of the sediment were created by large landslides. The town was founded around the 7th-6th century BC by the Osci or Oscans and it had already been used as a safe port by Greek and Phoenician sailors. According to Strabo, Pompeii was also captured by the Etruscans, and in recent excavations have shown the presence of Etruscan inscriptions. Pompeii was captured for the first time by the Greek colony of Cumae, allied with Syracuse, in the 5th century BC, the Samnites conquered it, the new rulers imposed their architecture and enlarged the town
33.
Sophocles
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Sophocles is one of three ancient Greek tragedians whose plays have survived. His first plays were later than those of Aeschylus. He competed in 30 competitions, won 18, and was never judged lower than second place, Aeschylus won 14 competitions, and was sometimes defeated by Sophocles, while Euripides won 5 competitions. Sophocles influenced the development of drama, most importantly by adding a third actor and he also developed his characters to a greater extent than earlier playwrights such as Aeschylus. Sophocles, the son of Sophilus, was a member of the rural deme of Hippeios Colonus in Attica, which was to become a setting for one of his plays. Sophocles was born a few years before the Battle of Marathon in 490 BC, Sophocles was born into a wealthy family and was highly educated. Sophocles first artistic triumph was in 468 BC, when he took first prize in the Dionysia theatre competition over the master of Athenian drama. According to Plutarch, the victory came under unusual circumstances, instead of following the usual custom of choosing judges by lot, the archon asked Cimon and the other strategoi present to decide the victor of the contest. Plutarch further contends that following this loss Aeschylus soon left for Sicily, although Plutarch says that this was Sophocles first production, it is now thought that his first production was probably in 470 BC. Triptolemus was probably one of the plays that Sophocles presented at this festival, in 480 BC Sophocles was chosen to lead the paean, celebrating the Greek victory over the Persians at the Battle of Salamis. Early in his career, the politician Cimon might have one of his patrons, although if he was, there was no ill will borne by Pericles, Cimons rival. In 443/2 he served as one of the Hellenotamiai, or treasurers of Athena, in 420 BC, he welcomed and set up an altar for the image of Asclepius at his house, when the deity was introduced to Athens. For this, he was given the posthumous epithet Dexion by the Athenians and he was also elected, in 413 BC, one of the commissioners who responded to the catastrophic destruction of the Athenian expeditionary force in Sicily during the Peloponnesian War. Sophocles died at the age of ninety or ninety-one in the winter of 406/5 BC, as with many famous men in classical antiquity, his death inspired a number of apocryphal stories. The most famous is the suggestion that he died from the strain of trying to recite a long sentence from his Antigone without pausing to take a breath, another account suggests he choked while eating grapes at the Anthesteria festival in Athens. A third holds that he died of happiness after winning his final victory at the City Dionysia, one of his sons, Iophon, and a grandson, also called Sophocles, also became playwrights. Several ancient sources mention Sophocles homosexuality or bisexuality, Athenaios reported that Sophocles loved boys like Euripides loved women. The poet Ion of Chios relates an anecdote involving Sophocles seducing a serving boy at a symposium, Aeschylus, who dominated Athenian playwriting during Sophocles early career, followed suit and adopted the third character into his own work towards the end of his life
34.
Euripides
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Euripides was a tragedian of classical Athens. He is one of the few plays have survived, with the others being Aeschylus, Sophocles. Some ancient scholars attributed 95 plays to him but according to the Suda it was 92 at most, of these,18 or 19 have survived more or less complete and there are also fragments, some substantial, of most of the other plays. This new approach led him to pioneer developments that later writers adapted to comedy, yet he also became the most tragic of poets, focusing on the inner lives and motives of his characters in a way previously unknown. He was also unique among the writers of ancient Athens for the sympathy he demonstrated towards all victims of society and his contemporaries associated him with Socrates as a leader of a decadent intellectualism, both of them being frequently lampooned by comic poets such as Aristophanes. Whereas Socrates was eventually put on trial and executed as an influence, Euripides chose a voluntary exile in old age. Recent scholarship casts doubt on ancient biographies of Euripides, for example, it is possible that he never visited Macedonia at all, or, if he did, he might have been drawn there by King Archelaus with incentives that were also offered to other artists. Upon the receipt of a saying that his son was fated to win crowns of victory. In fact the boy was destined for a career on the stage and he served for a short time as both dancer and torch-bearer at the rites of Apollo Zosterius. His education was not confined to athletics, he studied painting and philosophy under the masters Prodicus. He had two marriages and both his wives—Melite and Choerine —were unfaithful. He became a recluse, making a home for himself in a cave on Salamis, there he built an impressive library and pursued daily communion with the sea and sky. Eventually he retired to the court of King Archelaus in Macedonia. However, as mentioned in the introduction, biographical details such as these should be regarded with scepticism and this biography is divided into three sections corresponding to the three kinds of sources. The apocryphal account that he composed his works in a cave on Salamis island was a late tradition, much of his life and his whole career coincided with the struggle between Athens and Sparta for hegemony in Greece but he didnt live to see the final defeat of his city. In an account by Plutarch, the failure of the Sicilian expedition led Athenians to trade renditions of Euripides lyrics to their enemies in return for food. Tragic poets were often mocked by comic poets during the dramatic festivals Dionysia and Lenaia, Aristophanes scripted him as a character in at least three plays, The Acharnians, Thesmophoriazusae and The Frogs. Yet Aristophanes borrowed rather than just satirized some of the methods, he was once ridiculed by a colleague, Cratinus, as a hair-splitting master of niceties
35.
The Greek Myths
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Each myth is presented in the voice of a narrator writing under the Antonines, such as Plutarch or Pausanias, with citations of the classical sources. The literary quality of these retellings is generally praised, each myth is followed by Gravess interpretation of its origin and significance, following his theories on a prehistoric Matriarchal religion as presented in his book White Goddess and elsewhere. Graves interpreted Bronze Age Greece as changing from a society under the Pelasgians to a patriarchal one under continual pressure from victorious Greek-speaking tribes. The Greek Myths presents the myths as stories from the ritual of all three stages, and often as historical records of the otherwise unattested struggles between Greek kings and the Moon-priestesses. Thus, for example, he conjectures an image of divine twins struggling in the womb of the Horse-Goddess, catching the north wind at her back and rubbing it between her hands, she warms the pneuma and spontaneously generates the serpent Ophion, who mates with her. In the form of a dove upon the waves she lays the Cosmic Egg, sun, moon, planets, stars, the earth with its mountains and rivers, its trees, herbs, and living creatures. Gravess retellings have been praised as imaginative and poetic, but the scholarship behind his hypotheses and conclusions is generally criticised as idiosyncratic. Ted Hughes and other poets have found the system of The White Goddess congenial, The Greek Myths contains about a quarter of that system, the Greek Myths has been heavily criticised both during and after the lifetime of the author. The basic assumption that explaining mythology requires any general hypothesis, whether Gravess or some other, has also been disputed, the work has been called a compendium of misinterpretations. Sibylle Him refers to Graves creative mishandling of the Greek myths, robin Hard called it comprehensive and attractively written, but added that the interpretive notes are of value only as a guide to the authors personal mythology. The Disraeli scholar Michel Pharand replies that Gravess theories and conclusions, H. J. Rose, agreeing with several of the above critics, questions the scholarship of the retellings. Rose finds many omissions and some errors, most seriously Gravess ascribing to Sophocles the argument of his Ajax. Graves himself was aware of scholarly mistrust of The Greek Myths. Penguin Classics one volume edition,2012
36.
Robert Graves
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Robert von Ranke Graves was an English poet, novelist, critic and classicist. He produced more than 140 works, Irish literature deeply affected Graves White Goddess theories, specifically the genre aisling. He earned his living from writing, particularly historical novels such as I, Claudius, King Jesus, The Golden Fleece. He also was a prominent translator of Classical Latin and Ancient Greek texts, his versions of The Twelve Caesars and The Golden Ass remain popular, for their clarity, Graves was awarded the 1934 James Tait Black Memorial Prize for both I, Claudius and Claudius the God. Graves was born into a family in Wimbledon, then part of Surrey. Gravess mother was from a recently ennobled German family, the eldest daughter of Heinrich von Ranke, a professor of medicine at the University of Munich and she was also a greatniece of the German historian Leopold von Ranke. At school, Graves was enrolled as Robert von Ranke Graves and in Germany his books are published under that name but before and during the First World War, the name caused him difficulties. In August 1916 an officer who disliked him spread the rumour that he was a spy, the problem resurfaced in a minor way in the Second World War, when a suspicious rural policeman blocked his appointment to the Special Constabulary. Gravess eldest half-brother, Philip Perceval Graves, achieved note as a journalist and his brother, Charles Patrick Graves, was a writer. Among the masters his chief influence was George Mallory, who introduced him to contemporary literature, in his final year at Charterhouse, he won a classical exhibition to St Johns College, Oxford but did not take his place there until after the war. At the outbreak of the First World War in August 1914, Graves enlisted almost immediately and he published his first volume of poems, Over the Brazier, in 1916. He developed a reputation as a war poet and was one of the first to write realistic poems about experience of frontline conflict. In later years, he omitted his war poems from his collections, at the Battle of the Somme, he was so badly wounded by a shell-fragment through the lung that he was expected to die and was officially reported as having died of wounds. He gradually recovered and, apart from a spell back in France. One of Gravess friends at this time was the poet Siegfried Sassoon, in 1917, Sassoon rebelled against the conduct of the war by making a public antiwar statement. Graves feared Sassoon could face a court martial and intervened with the authorities, persuading them that Sassoon was suffering from shell shock. As a result, Sassoon was sent to Craiglockhart, a hospital in Edinburgh. Graves also suffered shell shock, or neurasthenia as it was then called, but he was never hospitalised for it, I thought of going back to France
37.
Erinyes
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In Greek mythology the Erinyes, also known as the Furies, were female chthonic deities of vengeance, they were sometimes referred to as infernal goddesses. A formulaic oath in the Iliad invokes them as the Erinyes, walter Burkert suggests they are an embodiment of the act of self-cursing contained in the oath. They correspond to the Dirae in Roman mythology, the Roman writer Maurus Servius Honoratus wrote that they are called Eumenides in hell, Furiae on earth, and Dirae in heaven. According to variant accounts, they emerged from a more primordial level—from Nyx. Their number is usually left indeterminate, Virgil, probably working from an Alexandrian source, recognized three, Alecto or Alekto, Megaera, and Tisiphone or Tilphousia, all of whom appear in the Aeneid. Dante Alighieri followed Virgil in depicting the same three-character triptych of Erinyes, the word Erinys in the singular and as a theonym is first attested in Mycenaean Greek, written in Linear B, in the following forms,
38.
The Golden Bough
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The Golden Bough, A Study in Comparative Religion is a wide-ranging, comparative study of mythology and religion, written by the Scottish anthropologist Sir James George Frazer. It was first published in two volumes in 1890, in three volumes in 1900, and in 12 volumes in the edition, published 1906–15. The work was aimed at a literate audience raised on tales as told in such publications as Thomas Bulfinchs The Age of Fable, or Stories of Gods. The influence of The Golden Bough on contemporary European literature and thought was substantial and its thesis is that old religions were fertility cults that revolved around the worship and periodic sacrifice of a sacred king. Frazer proposed that mankind progresses from magic through religious belief to scientific thought and this thesis was developed in relation to J. M. W. Turners painting of The Golden Bough, a sacred grove where a certain tree grew day and night. It was a landscape in a dream-like vision of the woodland lake of Nemi, Dianas Mirror, where religious ceremonies. The king was the incarnation of a dying and reviving god and he died at the harvest and was reincarnated in the spring. Frazer claims that this legend of rebirth is central to almost all of the worlds mythologies, the books title was taken from an incident in the Aeneid, illustrated by Turner, in which Aeneas and the Sibyl present the golden bough to the gatekeeper of Hades to gain admission. The book scandalized the British public when first published, as it included the Christian story of Jesus, critics thought this treatment invited an agnostic reading of the Lamb of God as a relic of a pagan religion. For the third edition, Frazer placed his analysis of the Crucifixion in a speculative appendix, the books influence on the emerging discipline of anthropology was pervasive and undeniable. Despite the controversy generated by the work, and its critical reception amongst other scholars, william Butler Yeats refers to Frazers thesis in his poem Sailing to Byzantium. H. P. Lovecraft mentions the book in his short story The Call of Cthulhu, T. S. Eliot acknowledged indebtedness to Frazer in his first note to his poem The Waste Land. William Carlos Williams refers to it in Book Two, part two, of his poem in five books Paterson. Sigmund Freud, James Joyce, Ernest Hemingway, D. H and its literary ripples and references have given it continued life, even as its direct influence in anthropology has waned. He writes, Frazer is much more savage than most of these savages, weston LaBarre observed that Frazer was the last of the scholastics and wrote The Golden Bough as an extended footnote to a line in Virgil he felt he did not understand. Some modern critics set Frazer in the context of the history of ideas, for example Robert Ackerman in his The Myth and Ritual School, J. G. Frazer. This school was an important influence on much Modernist literature and this edition excludes Frazers references to Christianity. Abridged edition, edited by Robert Fraser for Oxford University Press,1994 and it restores the material on Christianity purged in the first abridgement
39.
James George Frazer
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Sir James George Frazer OM FRS FRSE FBA was a Scottish social anthropologist influential in the early stages of the modern studies of mythology and comparative religion. He is often considered one of the fathers of modern anthropology. His most famous work, The Golden Bough, documents and details the similarities among magical, Frazer posited that human belief progressed through three stages, primitive magic, replaced by religion, in turn replaced by science. He was born in Glasgow, Scotland, the son of Daniel F. Frazer, a chemist, Frazer attended school at Springfield Academy and Larchfield Academy in Helensburgh. He studied at the University of Glasgow and Trinity College, Cambridge, from Trinity, he went on to study law at the Middle Temple, but never practised. Four times elected to Trinitys Title Alpha Fellowship, he was associated with the college for most of his life, except for a year, 1907–1908, spent at the University of Liverpool. He was knighted in 1914, and a lectureship in social anthropology at the universities of Cambridge, Oxford, Glasgow. He was, if not blind, then severely visually impaired from 1930 on and he and his wife, Lily, died in Cambridge within a few hours of each other. They are buried at the Ascension Parish Burial Ground in Cambridge and his sister Isabella Katherine Frazer married the mathematician John Steggall FRSE. The study of myth and religion became his areas of expertise, except for visits to Italy and Greece, Frazer was not widely travelled. His prime sources of data were ancient histories and questionnaires mailed to missionaries, Frazers interest in social anthropology was aroused by reading E. B. Tylors Primitive Culture and encouraged by his friend, the biblical scholar William Robertson Smith, Frazer was the first scholar to describe in detail the relations between myths and rituals. His theories of totemism were superseded by the work of the French anthropologist, Claude Lévi-Strauss and his vision of the annual sacrifice of the Year-King has not been borne out by field studies. Yet The Golden Bough, his study of ancient cults, rites, the first edition, in two volumes, was published in 1890. The third edition was finished in 1915 and ran to twelve volumes and he published a single-volume abridged version, largely compiled by his wife Lady Frazer, in 1922, with some controversial material on Christianity excluded from the text. The works influence extended well beyond the bounds of academia. Sigmund Freud cited Totemism and Exogamy frequently in his own Totem and Taboo, Resemblances Between the Psychic Lives of Savages, the symbolic cycle of life, death and rebirth which Frazer divined behind myths of many peoples captivated a generation of artists and poets. Perhaps the most notable product of this fascination is T. S. Eliots poem The Waste Land
40.
Orestes Pursued by the Furies
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Orestes Pursued by the Furies is an event from Greek mythology that is a recurring theme in art depicting Orestes. In the Iliad, the king of Argos, Agamemnon, sacrifices his daughter Iphigenia to the Gods to assure good sailing weather to Troy. In Agamemnon, the first play of Aeschyluss Oresteia trilogy, Agamemnon is murdered by his wife, Clytemnestra, in The Libation Bearers, the second play of the Orestia, Agamemnons son Orestes returns home to take revenge on his mother for murdering his father. Orestes ultimately does murder his mother, and afterward is tormented by The Furies, Orestes being tormented by the Furies has been depicted by a number of artists
41.
William-Adolphe Bouguereau
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William-Adolphe Bouguereau was a French academic painter and traditionalist. In his realistic genre paintings he used mythological themes, making modern interpretations of classical subjects, during his life he enjoyed significant popularity in France and the United States, was given numerous official honors, and received top prices for his work. As the quintessential salon painter of his generation, he was reviled by the Impressionist avant-garde, by the early twentieth century, Bouguereau and his art fell out of favor with the public, due in part to changing tastes. In the 1980s, a revival of interest in figure painting led to a rediscovery of Bouguereau, throughout the course of his life, Bouguereau executed 822 known finished paintings, although the whereabouts of many are still unknown. William-Adolphe Bouguereau was born in La Rochelle, France, on November 30,1825, into a family of wine, the son of Théodore Bouguereau and Marie Bonnin, known as Adeline, William was brought up a Catholic. He had a brother, Alfred, and a younger sister, Marie. The family moved to Saint-Martin-de-Ré in 1832, another sibling was born in 1834, Kitty. At 12 the boy went to Mortagne to stay with his uncle Eugène, a priest, in 1839 he was sent to study the priesthood at a Catholic college in Pons. Here he was taught to draw and paint by Louis Sage who had studied under Ingres, William reluctantly left his studies to return to his family, now residing in Bordeaux. Here the boy met a local artist, Charles Marionneau, William also worked as a shop assistant, hand-colouring lithographs and making small paintings that were reproduced using chromolithography. He was soon the best pupil in his class and decided to become an artist in Paris, to fund the move, he sold portraits -33 oils in three months. All were unsigned and only one has been traced and he arrived in Paris aged 20 in March 1846. Bouguereau became a student at the École des Beaux-Arts, to supplement his formal training in drawing, he attended anatomical dissections and studied historical costumes and archeology. He was admitted to the studio of François-Édouard Picot, where he studied painting in the academic style and he also studied classical literature, which influenced his subject choice for the rest of his career. In April 1848 the young artist entered the Prix de Rome contest, soon after work began there were riots in Paris and Bouguereau enrolled in the National Guard. After an unsuccessful attempt to win the prize, he entered again in 1849, following 106 days of competition he again failed to win. His third attempt commenced in April 1850 and five months later he heard he had won a joint first prize, along with other category winners, William set off for Rome in December and finally arrived at the Villa Medici in January 1851. He explored the city, making sketches and watercolours as he went and he walked to Naples and on to Capri, Amalfi and Pompeii
42.
Oresteia
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This trilogy also shows how the Greek gods interacted with the characters and influenced their decisions pertaining to events and disputes. The only extant example of an ancient Greek theater trilogy, the Oresteia won first prize at the Dionysia festival in 458 BC, many consider the Oresteia to be Aeschylus finest work. The principal themes of the include the contrast between revenge and justice, as well as the transition from personal vendetta to organized litigation. Orestia originally included a satyr play Proteus following the tragic trilogy, Agamemnon is the first of the three plays within the Oresteia trilogy. It details the homecoming of Agamemnon, King of Mycene, from the Trojan War, after ten years of warfare, Troy had fallen and all of Greece could lay claim to victory. Waiting at home for Agamemnon is his wife, Queen Clytemnestra, who has been planning his murder. The play opens to a watchman looking down and over the sea, reporting that he has been lying restless like a dog for a year and he laments the fortunes of the house, but promises to keep silent, A huge ox has stepped onto my tongue. The watchman sees a far off in the distance and is overjoyed at the victory. Clytaemnestra is introduced to the audience and she declares that there will be celebrations and sacrifices throughout the city as Agamemnon, upon the return of Agamemnon, his wife laments in full view of Argos how horrible the wait for her husband, and King, has been. After her soliloquy, Clytaemnestra pleads, and later convinces Agamemnon to walk on the laid out for him. This is a very ominous moment in the play as loyalties and motives are questioned, the Kings new concubine, Cassandra, is now introduced and this immediately spawns hatred from the queen, Clytaemnestra. Cassandra is ordered out of her chariot and to the altar where, once she is alone, is crying out insane prophecies to Apollo about the death of Agamemnon. Inside the house a cry is heard, Agamemnon had been stabbed in the bathtub. The chorus separate from one another and ramble to themselves proving their cowardice when another final cry is heard, when the doors are finally opened, Clytaemnestra is seen standing over the dead bodies of Agamemnon and Cassandra. Clytaemnestra describes the murder in detail to the chorus, showing no sign of remorse or regret, suddenly the exiled lover of Clytaemnestra, Aegisthus, bursts into the palace to take his place next to her. Aegisthus proudly states that he devised the plan to murder Agamemnon, Clytaemnestra claims that she and Aegisthus now have all the power and they re-enter the palace with the doors closing behind them. Upon arriving, Orestes reunites with his sister Electra at Agamemnons grave, shortly after the reunion, both Orestes and Electra, influenced by the Chorus, come up with a plan to kill both Clytaemnestra and Aegisthus. Orestes then heads to the door where he is unexpectedly greeted by Clytaemnestra
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This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Orestes". Encyclopædia Britannica. 12 (11th ed.). Cambridge University Press. pp. 253–254.
This article incorporates text from a publication now in the 
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