Encyclopædia Britannica, Eleventh Edition
The Encyclopædia Britannica, Eleventh Edition is a 29-volume reference work, an edition of the Encyclopædia Britannica. It was developed during the encyclopaedia's transition from a British to an American publication; some of its articles were written by the best-known scholars of the time. This edition of the encyclopedia, containing 40,000 entries, is now in the public domain, many of its articles have been used as a basis for articles in Wikipedia. However, the outdated nature of some of its content makes its use as a source for modern scholarship problematic; some articles have special value and interest to modern scholars as cultural artifacts of the 19th and early 20th centuries. The 1911 eleventh edition was assembled with the management of American publisher Horace Everett Hooper. Hugh Chisholm, who had edited the previous edition, was appointed editor in chief, with Walter Alison Phillips as his principal assistant editor. Hooper bought the rights to the 25-volume 9th edition and persuaded the British newspaper The Times to issue its reprint, with eleven additional volumes as the tenth edition, published in 1902.
Hooper's association with The Times ceased in 1909, he negotiated with the Cambridge University Press to publish the 29-volume eleventh edition. Though it is perceived as a quintessentially British work, the eleventh edition had substantial American influences, not only in the increased amount of American and Canadian content, but in the efforts made to make it more popular. American marketing methods assisted sales; some 14% of the contributors were from North America, a New York office was established to coordinate their work. The initials of the encyclopedia's contributors appear at the end of selected articles or at the end of a section in the case of longer articles, such as that on China, a key is given in each volume to these initials; some articles were written by the best-known scholars of the time, such as Edmund Gosse, J. B. Bury, Algernon Charles Swinburne, John Muir, Peter Kropotkin, T. H. Huxley, James Hopwood Jeans and William Michael Rossetti. Among the lesser-known contributors were some who would become distinguished, such as Ernest Rutherford and Bertrand Russell.
Many articles were carried over from some with minimal updating. Some of the book-length articles were divided into smaller parts for easier reference, yet others much abridged; the best-known authors contributed only a single article or part of an article. Most of the work was done by British Museum scholars and other scholars; the 1911 edition was the first edition of the encyclopædia to include more than just a handful of female contributors, with 34 women contributing articles to the edition. The eleventh edition introduced a number of changes of the format of the Britannica, it was the first to be published complete, instead of the previous method of volumes being released as they were ready. The print type was subject to continual updating until publication, it was the first edition of Britannica to be issued with a comprehensive index volume in, added a categorical index, where like topics were listed. It was the first not to include long treatise-length articles. Though the overall length of the work was about the same as that of its predecessor, the number of articles had increased from 17,000 to 40,000.
It was the first edition of Britannica to include biographies of living people. Sixteen maps of the famous 9th edition of Stielers Handatlas were translated to English, converted to Imperial units, printed in Gotha, Germany by Justus Perthes and became part this edition. Editions only included Perthes' great maps as low quality reproductions. According to Coleman and Simmons, the content of the encyclopedia was distributed as follows: Hooper sold the rights to Sears Roebuck of Chicago in 1920, completing the Britannica's transition to becoming a American publication. In 1922, an additional three volumes, were published, covering the events of the intervening years, including World War I. These, together with a reprint of the eleventh edition, formed the twelfth edition of the work. A similar thirteenth edition, consisting of three volumes plus a reprint of the twelfth edition, was published in 1926, so the twelfth and thirteenth editions were related to the eleventh edition and shared much of the same content.
However, it became apparent that a more thorough update of the work was required. The fourteenth edition, published in 1929, was revised, with much text eliminated or abridged to make room for new topics; the eleventh edition was the basis of every version of the Encyclopædia Britannica until the new fifteenth edition was published in 1974, using modern information presentation. The eleventh edition's articles are still of value and interest to modern readers and scholars as a cultural artifact: the British Empire was at its maximum, imperialism was unchallenged, much of the world was still ruled by monarchs, the tragedy of the modern world wars was still in the future, they are an invaluable resource for topics omitted from modern encyclopedias for biography and the history of science and technology. As a literary text, the encyclopedia has value as an example of early 20th-century prose. For example, it employs literary devices, such as pathetic fallacy, which are not as common in modern reference texts.
In 1917, using the pseudonym of S. S. Van Dine, the US art critic and author Willard Huntington Wright published Misinforming a Nation, a 200+
Orpheus is a legendary musician and prophet in ancient Greek religion and myth. Some ancient Greek sources note Orpheus' Thracian origins. According to Tzeztes, his home was the Odrysian city of Bisaltia; the major stories about him are centered on his ability to charm all living things and stones with his music, his attempt to retrieve his wife, from the underworld, his death at the hands of those who could not hear his divine music. As an archetype of the inspired singer, Orpheus is one of the most significant figures in the reception of classical mythology in Western culture, portrayed or alluded to in countless forms of art and popular culture including poetry, opera and painting. For the Greeks, Orpheus was a prophet of the so-called "Orphic" mysteries, he was credited with the composition of the Orphic Argonautica. Shrines containing purported relics of Orpheus were regarded as oracles. Several etymologies for the name Orpheus have been proposed. A probable suggestion is that it is derived from a hypothetical PIE root *h₃órbʰos "orphan, slave" and the verb root *h₃erbʰ- "to change allegiance, ownership".
Cognates could include Greek ὄρφνη "darkness", Greek ὀρφανός "fatherless, orphan", from which comes English "orphan" by way of Latin. Fulgentius, a mythographer of the late 5th to early 6th century AD, gave the unlikely etymology meaning "best voice," "Oraia-phonos"; the earliest literary reference to Orpheus is a two-word fragment of the sixth-century BC lyric poet Ibycus: onomaklyton Orphēn. He is not mentioned in Hesiod. Most ancient sources accept his historical existence. Pindar calls Orpheus "the father of songs" and identifies him as a son of the Thracian king Oeagrus and the Muse Calliope. Greeks of the Classical age venerated Orpheus as the greatest of all musicians. Poets such as Simonides of Ceos said that Orpheus' music and singing could charm the birds and wild beasts, coax the trees and rocks into dance, divert the course of rivers. Orpheus was one of the handful of Greek heroes to visit the return; some sources credit Orpheus with further gifts to mankind: medicine, more under the auspices of Aesculapius or Apollo.
Orpheus was an seer. Pindar and Apollonius of Rhodes place Orpheus as the harpist and companion of Jason and the Argonauts. Orpheus had a brother named Linus, who became a Theban, he is claimed by Aristophanes and Horace to have taught cannibals to subsist on fruit, to have made lions and tigers obedient to him. Horace believed, that Orpheus had only introduced order and civilization to savages. Strabo presents Orpheus as a mortal, who died in a village close to Olympus. "Some, of course, received him willingly, but others, since they suspected a plot and violence, combined against him and killed him." He made money as a musician and "wizard" – Strabo uses agurteúonta used by Sophocles in Oedipus Tyrannus to characterize Teiresias as a trickster with an excessive desire for possessions. Agúrtēs most meant charlatan and always had a negative connotation. Pausanias writes of an unnamed Egyptian who considered Orpheus a mágeuse, i. e. magician. According to Apollodorus and a fragment of Pindar, Orpheus' father was Oeagrus, a Thracian king, or, according to another version of the story, the god Apollo.
His mother was the muse Calliope, her sister Polymnia, a daughter of Pierus, son of Makednos or lastly of Menippe, daughter of Thamyris. His birthplace and place of residence was in Pimpleia close to the Olympus. Strabo mentions. According to the epic poem Argonautica, Pimpleia was the location of Oeagrus' and Calliope's wedding. While living with his mother and her eight beautiful sisters in Parnassus, he met Apollo, courting the laughing muse Thalia. Apollo, as the god of music, taught him to play it. Orpheus' mother taught him to make verses for singing, he is said to have studied in Egypt. Orpheus is said to have established the worship of Hecate in Aegina. In Laconia Orpheus is said to have brought the worship of Demeter Chthonia and that of the Kóres Sōteíras. In Taygetus a wooden image of Orpheus was said to have been kept by Pelasgians in the sanctuary of the Eleusinian Demeter. According to Diodorus Siculus, Musaeus of Athens was the son of Orpheus; the Argonautica is a Greek epic poem written by Apollonius Rhodius in the 3rd century BC.
Orpheus used his skills to aid his companions. Chiron told Jason that without the aid of Orpheus, the Argonauts would never be able to pass the Sirens—the same Sirens encountered by Odysseus in Homer's epic poem the Odyssey; the Sirens lived on three small, rocky islands called Sirenum scopuli and sang beautiful songs that enticed sailors to come to them, which resulted in the crashing of their ships into the islands. When Orpheus heard their voices, he drew his lyre and played music, louder and more beautiful, drowning out the Sirens' bewitching songs. According to 3rd century BC Hellenistic
In ancient Greek religion and mythology, the Muses are the inspirational goddesses of literature and the arts. They are considered the source of the knowledge embodied in the poetry, lyric songs, myths that were related orally for centuries in these ancient cultures. In current English usage, "muse" can refer in general to a person who inspires an artist, musician, or writer; the word "Muses" came from the o-grade of the Proto-Indo-European root *men- or from root *men- since all the most important cult-centres of the Muses were on mountains or hills. R. S. P. Beekes suggests a Pre-Greek origin; the earliest known records of the Nine Muses are from the homeland of Hesiod. Some ancient authorities thought. There, a tradition persisted. In the first century BC, Diodorus Siculus cited Homer and Hesiod to the contrary, observing: Writers disagree concerning the number of the Muses. Diodorus states that Osiris first recruited the nine Muses, along with the satyrs, while passing through Ethiopia, before embarking on a tour of all Asia and Europe, teaching the arts of cultivation wherever he went.
According to Hesiod's account followed by the writers of antiquity, the Nine Muses were the nine daughters of Zeus and Mnemosyne, figuring as personifications of knowledge and the arts literature and music. The Roman scholar Varro relates that there are only three Muses: one born from the movement of water, another who makes sound by striking the air, a third, embodied only in the human voice, they were called Melete or "Practice", Mneme or "Memory" and Aoide or "Song". Three ancient Muses were reported in Plutarch's Quaestiones Convivales. However, the classical understanding of the Muses tripled their triad and established a set of nine goddesses, who embody the arts and inspire creation with their graces through remembered and improvised song and mime, traditional music, dance, it was not until Hellenistic times that the following systematic set of functions was assigned to them, then there was some variation in both their names and their attributes: Calliope, Euterpe, Melpomene, Erato and Urania.
According to Pausanias in the second century AD, there were three Muses, worshipped on Mount Helicon in Boeotia: Aoide and Mneme. Together, these three form the complete picture of the preconditions of poetic art in cult practice. In Delphi three Muses were worshiped as well, but with other names: Nete and Hypate, which are assigned as the names of the three chords of the ancient musical instrument, the lyre. Alternatively they were called Cephisso and Borysthenis, names which characterize them as daughters of Apollo. In a tradition, a set of four Muses were recognized: Thelxinoë, Archē, Melete, said to be daughters of Zeus and Plusia or of Ouranos. One of the people associated with the Muses was Pierus. By some he was called the father of a total of seven Muses, called Neilṓ, Tritṓnē, Asōpṓ, Heptápora, Achelōís, Tipoplṓ, Rhodía. According to Hesiod's Theogony, they were daughters of Zeus, king of the gods, Mnemosyne, Titan goddess of memory. For Alcman and Mimnermus, they were more primordial, springing from the early deities Ouranos and Gaia.
Gaia is Mother Earth, an early mother goddess, worshipped at Delphi from prehistoric times, long before the site was rededicated to Apollo indicating a transfer to association with him after that time. Sometimes the Muses are referred to as water nymphs, associated with the springs of Helicon and with Pieris, it was said that the winged horse Pegasus touched his hooves to the ground on Helicon, causing four sacred springs to burst forth, from which the Muses were born. Athena tamed the horse and presented him to the Muses. Classical writers set Apollo as Apollon Mousagetēs. In one myth, the Muses judged a contest between Marsyas, they gathered the pieces of the dead body of Orpheus, son of Calliope, buried them in Leivithra. In a myth, Thamyris challenged them to a singing contest, they punished Thamyris by blinding him and robbing him of his singing ability. According to a myth from Ovid's Metamorphoses—alluding to the connection of Pieria with the Muses—Pierus, king of Macedon, had nine daughters he named after the nine Muses, believing that their skills were a great match to the Muses.
He thus challenged the Muses to a match, resulting in his daughters, the Pierides, being turned into chattering magpies for their presumption. Pausanias records a tradition of two generations of Muses. Another, rarer genealogy is that they are daughters of Harmonia
Apollo is one of the most important and complex of the Olympian deities in classical Greek and Roman religion and Greek and Roman mythology. The national divinity of the Greeks, Apollo has been variously recognized as a god of music and prophecy, the sun and light, plague and more. Apollo is the son of Zeus and Leto, has a twin sister, the chaste huntress Artemis. Seen as the most beautiful god and the ideal of the kouros, Apollo is considered to be the most Greek of all gods. Apollo is known in Greek-influenced Etruscan mythology as Apulu; as the patron of Delphi, Apollo was an oracular god—the prophetic deity of the Delphic Oracle. Medicine and healing are associated with Apollo, whether through the god himself or mediated through his son Asclepius, yet Apollo was seen as a god who could bring ill-health and deadly plague. Apollo is the god of archery and the invention of archery is credited to him and his sister Artemis, he had a quiver of golden arrows. He is said to have never missed his aim, his arrows could inflict harm by causing sudden deaths or deadly plague.
As the leader of the Muses and director of their choir, Apollo functions as the patron god of music and poetry. He is the inventor of string-music; the Cithara and the lyre are said to be his inventions. The lyre is a common attribute of Apollo. Hymns sung to Apollo were called paeans. Apollo delights in the foundation of towns and the establishment of civil constitution. Hence is associated with dominion over colonists. Additionally, he is the god of the protector of fugitives and refugees. Apollo is the interpreter of laws, he presides over the divine law and custom along with Zeus and Themis. As the protector of young, Apollo is concerned with the health of children, he brings them out of their adolescence. Boys in Ancient Greece, upon reaching their adulthood, dedicated it to Apollo. Apollo is the patron of protector of herds and flocks, he is causes abundance in the milk produced by cattle, is connected with their fertility. As an agricultural deity, Apollo protects the crops from diseases the rust in corns and grains.
He is the controller and destroyer of pests that infect plants and plant harvests. Apollo is the god who wards off evil, he delivered men from the epidemics. Various epithets call him the "averter of evil". In Hellenistic times during the 5th century BCE, as Apollo Helios he became identified among Greeks with Helios, Titan god of the sun. In Latin texts, there was no conflation of Apollo with Sol among the classical Latin poets until 1st century AD. Apollo and Helios/Sol remained separate beings in literary and mythological texts until the 5th century CE. Apollo The name Apollo—unlike the related older name Paean—is not found in the Linear B texts, although there is a possible attestation in the lacunose form ]pe-rjo--[) on the KN E 842 tablet; the etymology of the name is uncertain. The spelling Ἀπόλλων had superseded all other forms by the beginning of the common era, but the Doric form, Apellon, is more archaic, as it is derived from an earlier *Ἀπέλjων, it is a cognate to the Doric month Apellaios, the offerings apellaia at the initiation of the young men during the family-festival apellai.
According to some scholars, the words are derived from the Doric word apella, which meant "wall," "fence for animals" and "assembly within the limits of the square." Apella is the name of the popular assembly in corresponding to the ecclesia. R. S. P. Beekes rejected the connection of the theonym with the noun apellai and suggested a Pre-Greek proto-form *Apalyun. Several instances of popular etymology are attested from ancient authors. Thus, the Greeks most associated Apollo's name with the Greek verb ἀπόλλυμι, "to destroy". Plato in Cratylus connects the name with ἀπόλυσις, "redemption", with ἀπόλουσις, "purification", with ἁπλοῦν, "simple", in particular in reference to the Thessalian form of the name, Ἄπλουν, with Ἀειβάλλων, "ever-shooting". Hesychius connects the name Apollo with the Doric ἀπέλλα, which means "assembly", so that Apollo would be the god of political life, he gives the explanation σηκός, "fold", in which case Apollo would be the god of flocks and herds. In the ancient Macedonian language πέλλα means "stone," and some toponyms may be derived from this word: Πέλλα and Πελλήνη.
A number of non-Greek etymologies have been suggested for the name, The Hittite form Apaliunas is attested in the Manapa-Tarhunta letter related to Hurrian Aplu, a god of plague, in turn from Akkadian Aplu Enlil meaning "the son of Enlil", a title, given to the god Nergal, linked to Shamash, Babylonian god of the sun. The role of Apollo as god of plague is evident in the invocation of Apollo Smintheus by Chryses, the Trojan priest of Apollo, with the purpose of sending a plague against the Greeks (the reasoning behind a god of the plague becoming a god of healing is
Mount Olympus is the highest mountain in Greece. It is located in the Olympus Range on the border between Thessaly and Macedonia, between the regional units of Pieria and Larissa, about 80 km southwest from Thessaloniki. Mount Olympus has 52 peaks, deep gorges, exceptional biodiversity; the highest peak, meaning "nose", rises to 2,919 metres. It is one of the highest peaks in Europe in terms of topographic prominence. Olympus is notable in Greek mythology on Mytikas peak. Mount Olympus is noted for its rich flora, it has been a National Park, the first in Greece, since 1938. It is a World Biosphere Reserve; every year, thousands of people visit Olympus to admire its fauna and flora, tour its slopes, reach its peaks. Organized mountain refuges and various mountaineering and climbing routes are available to visitors who want to explore it; the usual starting point for climbing Olympus is the town of Litochoro, on the eastern foothills of the mountain, 100 km from Thessaloniki. The shape of Olympus was formed by rain and wind, which produced an isolated tower 3,000 metres above the sea, only 18 kilometres away at Litochoro.
Olympus has many peaks and an circular shape. The mountain has a circumference of 150 kilometres, an average diameter of 26 kilometres, 500 square kilometres of area. To the northwest lies the Vlach village of Kokkinoplou; the Makryrema stream separates Olympus from the massif of Voulgara. The villages Petra and Dion lie to the northwest, while on the eastern side there is the town of Litochoro, where Enipeas bisects the massif of Olympus. On its southeastern side, the Ziliana gorge divides Mount Olympus from Kato Olympos, while on its southwestern foothills, there are the villages Sykaminea and Karya; the Agia Triada Sparmou Monastery and the village Pythion lie to the west. Olympus' dry foothills, known as the Xirokampi, are covered in chaparral and provides habitat for animals such as wild boar. Further east, the plain of Dion watered by the streams which originate on Olympus. Mount Olympus is formed of sedimentary rock laid down 200 million years ago in a shallow sea. Various geological events that followed caused the emergence of the sea.
Around one million years ago glaciers created its plateaus and depressions. With the temperature rise that followed, the ice melted and the streams that were created swept away large quantities of crushed rock in the lowest places, forming the alluvial fans, that spread out all over the region from the foothills of the mountain to the sea; the Geological Museum of Mount Olympus, located in Leptokarya, provides detailed information about the geological structure of the mountain. The complicated geological past of the region is obvious from the morphology of Olympus and its National Park. Features include deep gorges and dozens of smooth peaks, many of them in altitude of more than 2,000 metres, including Aghios Antonios, Kalogeros and Profitis Ilias. However, it is the central vertical, rocky peaks, that impress the visitor. Over the town of Litochoro, on the horizon, the relief of the mountain displays an apparent V, between two peaks of equal height; the left limb is the peak named Mytikas. It is Greece's highest peak.
On the right is Stefani, which presents the most impressive and steep peak of Olympus, with its last rising 200 meters presenting the greatest challenge for climbers. Further south, Skolio completes an arc of about 200 degrees, with its steep slopes forming on the west side, like a wall, an impressive precipitous amphitheatrical cavity, 700 metres in depth and 1,000 metres in circumference, the'Megala Kazania'. On the east side of the high peaks the steep slopes form zone like parallel folds, the'Zonaria'. Narrower and steeper scorings, the'Loukia', lead to the peak. Οn the north side, between Stefani and Profitis Ilias, extends the Muses' Plateau, at 2,550 metres, while further south in the center of the massif, extends the alpine tundra region of Bara, at an altitude of 2,350 metres. Olympus has numerous gullies. Most distinguishable of the ravines are those of Mavrologos-Enipeas and Mavratzas-Sparmos near Bara and'cut' the massif in two oval portions. On the southern foothills the great gorge of Ziliana, 13 km long, consists of a natural limit that separates the mountain from Lower Olympus.
There are many precipices and a number of caves nowadays unexplored. The form and layout of the rocks favor the emergence of numerous springs lower than 2,000 m, of small seasonal lakes and streams and of a small river, with its springs in the site Prionia and its estuary in the Aegean Sea; the origin of the name Όλυμπος Olumpos is unknown and considered of "pre-Greek" origin. In Homeric Greek, the variant Οὔλυμπος Oulumpos occurs. Homer appears to be using οὔλυμπος as a common noun, as a synonym of οὐρανός ouranos "sky". Mt Olympus was also known as Mount Belus, after Iliad 1.591, where the seat of the gods is referred to as βηλ θεσπεσίο "heavenly threshold". In Ancient Greek religion and myth
In Greek mythology, Cyrene or Kyrene, was a Thessalian princess, the queen and ruler of the North African city of Cyrene. According to the myth, the city was named after her by Apollo; as recorded in Pindar's ninth Pythian ode, Cyrene was the daughter of Hypseus, king of the Lapiths, although some myths state that her father was the river-god Peneus and she was a nymph rather than a mortal. According to Apollonius Rhodius, she had a sister called Larissa. By the god Apollo she bore Idmon. Aristaeus became the god of animal husbandry, cheese making. Idmon became a famed seer, killed by a boar. Apollonius Rhodius states that the couple had another son called Autuchus. Cyrene was a fierce huntress, called by Nonnus a "deer-chasing second Artemis, the girl lionkiller." Pindar describes her in his Pythian Ode: But she loved not the pacing tread this way and that beside the loom, nor the delights of merry feasts with her companions in the household. But the bronze-tipped javelin and the sword called her to combat and slay the wild beasts of the field.
When a lion attacked her father's sheep, Cyrene wrestled with the lion. Apollo, present, admired her bravery and skills, he wonders if it would be right to make her his bride. But after consulting and getting an approval by Chiron, he carried her away to North Africa in his golden car. Aphrodite was present to welcome them both, and Aphrodite of the silver feet welcomed this guest from Delos, laying the touch of her light hand upon his god-built car, o'er the sweet bliss of their bridal she spread love's shy and winsome modesty, plighting in joint wedlock the god and maiden daughter of wide-ruling Hypseus. In North Africa, Apollo founded the city Cyrene in the region of Cyrenaica, both named after his new love, he made Cyrene the ruler of the city. Together and Apollo had two sons: Aristaeus, the demigod who invented beekeeping, Idmon, the Argonaut seer. Another son, Autuchus is mentioned by Apollonuis of Rhodes. According to the poet Acestor, when Eurypylus was still ruling Libya, a monstrous lion was created, a great terror to the citizens.
So Apollo sent Cyrene to kill the beast. After she succeeded, she was made the ruler of the city Cyrene. After she gave birth to their sons, Apollo transformed her into a nymph, so that she can have a long life and keep hunting as much as she desired. Aristaeus was entrusted to Chiron, Idmon was brought up and educated by Apollo. Other stories say that Cyrene was not wrestling with a lion but instead tending her sheep along the marsh-meadow of the river Pineios. Cyrene is mentioned in the second and third hymns of Callimachus as well as in The Poet and the Women whence Mnesilochus comments that he "can't see a man there at all - only Cyrene" when setting eyes upon the poet Agathon who emerges from his house to greet Euripides and himself dressed in women's clothing
Mount Ossa (Greece)
Mount Ossa, alternative Kissavos, is a mountain in the Larissa regional unit, in Thessaly, Greece. It is 1,978 metres high and is located between Pelion to the south and Olympus to the north, separated from the latter by the Vale of Tempe. In Greek mythology, the Aloadaes are said to have attempted to pile Mount Pelion on top of Mount Ossa in their attempt to scale Olympus. Ossa cave List of European ultra prominent peaks Greek Mountain Flora "Óros Óssa, Greece" on Peakbagger This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed.. "Pelion". Encyclopædia Britannica. Cambridge University Press; this article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed.. "Ossa". Encyclopædia Britannica. Cambridge University Press