Classical Mythology, 7th Edition - obinfonet: dia logou

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476 THE GREEK SAGAS: GREEK LOCAL LEGENDS The Sack of Troy. Attic red-figure hydria by the Kleophrades painter, ca. 480 B.c.; height of vase I6V2 in., height of painting 6V2 in. In the upper picture Priam sits on the altar with the dead and mutilated Astyanax across his knees, as Neoptolemus rushes forward to kill him. Behind Neoptolemus a Trojan woman attacks with a clublike implement, and behind her, to the right, Aethra is rescued by her grandchildren, Akamas and Demophon (see p. 564 for her being taken to Troy with Helen). In the lower image, Ascanius, on the left, leads the way for Aeneas (helmeted), who carries Anchises on his back (Anchises looks back toward the central scene). In the center Ajax Oileus brutally drags Cassandra from the statue of Athena, whose threatening stance foreshadows his fate. Between the statue and a palm tree Trojan women grieve for their coming fate. (Naples, Museo Nazionale.)
THE TROJAN SAGA AND THE ILIAD 477 murdered with him by Clytemnestra. In Aeschylus' play Agamemnon she foresees her own death in a moving scene (see pp. 475-477); yet her audience, the Chorus in the play, does not believe her. The curse of Apollo remained with her to the end. As Hecuba sailed back to Greece with Odysseus (to whom she had been given as part of the spoils), she landed in Thrace and there recognized the corpse of her son Polydorus when it was washed up on the seashore. He had been murdered by the local king Polymestor (to whom he had been sent for safety during the war) because of the treasure that had been sent with him. Taking advantage of Polymestor's avarice, Hecuba enticed him and his children into her tent, pretending that she knew the whereabouts in Troy of some hidden treasure, while she appeared to know nothing of the murder of Polydorus. Once they were in the tent, Hecuba's women murdered the children before Polymestor's eyes, then blinded him with their brooches. After this, Hecuba was turned into a bitch; when she died, the place of her burial (in Thrace) was called Cynossema, which means the "dog's tomb." THE TROJAN WOMEN OF EURIPIDES In Euripides' tragedy the Trojan Women, the results of the fall are seen through the eyes of Hecuba, Cassandra, and Andromache. The death of Astyanax is a central part of the tragedy, in which he is torn from his mother's embrace to be hurled from the walls. Later his body is brought back on stage and placed by Hecuba on the shield of Hector, a symbol of the defenselessness of Troy once her champion had been killed. The chorus of Trojan captives recalls the entry of the wooden horse (Trojan Women 515-540): f Now I shall sing of Troy, how I was destroyed by the four-wheeled contrivance of the Greeks and made their prisoner, when they left the horse at the gates, echoing to the skies with the clash of armor and caparisoned with gold. And the Trojan people shouted as it stood on the rock of Troy: "Come, the labor of war is over! Bring in this wooden horse as a holy offering to the daughter of Zeus, guar<strong>dia</strong>n of Troy!" Who of the young women did not go, who of the old men stayed at home? Charmed by music, they took hold of the treacherous means of their destruction. All the Phrygian people gathered at the gates, and with ropes of flax they dragged it, like the dark hull of a ship, to the stone temple's floor, bringing death to their city—the temple of the goddess Pallas. THE SACK OF TROY IN THE AENEID The principal source for the fall of Troy is the second book of the Aeneid. Here is how Vergil describes the horror of the end of a city deserted by its divine protectors in Aeneas' vision at the climactic moment of the sack, as his mother Venus allows him a moment of divine insight (Aeneid 2. 602-603, 610-625): 29
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CLASSICAL MYTHOLOGY
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Oxford University Press Oxford New
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PLATES, MAPS, AND FIGURES ix PREFAC
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PLATES, MAPS AND FIGURES COLOR PLAT
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PLATES, MAPS AND FIGURES XI 81 Oedi
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PREFACE This is the seventh edition
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PREFACE XV The Introduction in prev
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ABOUT THE AUTHORS Mark Morford is P
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CHAPTER 1 INTERPRETATION AND DEFINI
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INTERPRETATION AND DEFINITION OF CL
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CHAPTER 2 HISTORICAL BACKGROUND OF
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HISTORICAL BACKGROUND OF GREEK MYTH
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CHAPTER 3 MYTHS OF CREATION There w
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MYTHS OF CREATION 53 Another myth o
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MYTHS OF CREATION 55 wonder to prim
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MYTHS OF CREATION 57 Selene, and Eo
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MYTHS OF CREATION 59 Selene's conti
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MYTHS OF CREATION 61 simply and eff
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MYTHS OF CREATION 63 love, lay on G
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MYTHS OF CREATION 65 after he is de
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MYTHS OF CREATION 67 Gigantomachy.
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MYTHS OF CREATION 69
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MYTHS OF CREATION 71 for power agai
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MYTHS OF CREATION 73 ing a branch,
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MYTHS OF CREATION 75 8. See the bib
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ZEUS' RISE TO POWER: THE CREATION O
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THE TWELVE OLYMPIANS: ZEUS, HERA, A
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THE NATURE OF THE GODS 129 dition,
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THE NATURE OF THE GODS 131 He argue
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THE NATURE OF THE GODS 133 all the
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THE NATURE OF THE GODS 135
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THE NATURE OF THE GODS 137 solutely
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THE NATURE OF THE GODS 139 group of
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THE NATURE OF THE GODS 141 Croesus,
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THE NATURE OF THE GODS 143 Yet ther
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THE NATURE OF THE GODS 145 and God
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CHAPTER 7 POSEIDON, SEA DEITIES, GR
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POSEIDON, SEA DEITIES, GROUP DIVINI
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CHAPTER 8 ATHENA THE BIRTH OF ATHEN
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ATHENA 159 all honoring Athena, who
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ATHENA 161 brate the festival of th
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ATHENA 163 birth Athena was reared
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ATHENA 165 Athena. Detail from an A
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ATHENA 167 in a more generic and ab
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ATHENA 169 oning progress and the a
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CHAPTER 9 APHRODITE AND EROS As we
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APHRODITE AND EROS 173
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APHRODITE AND EROS 175 The Godhead
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APHRODITE AND EROS 177 The goddess
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APHRODITE AND EROS 179 youth. Obvio
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APHRODITE AND EROS 181 Venus and An
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APHRODITE AND EROS 183 tiful woods
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APHRODITE AND EROS 185 taken his de
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APHRODITE AND EROS 187 honors, alth
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APHRODITE AND EROS 189 able to tell
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APHRODITE AND EROS 191 a feast and
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APHRODITE AND EROS 193 SOCRATES AND
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APHRODITE AND EROS 195 bridegroom v
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APHRODITE AND EROS 197 ¥ Immediate
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APHRODITE AND EROS 199 NOTES 1. in
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ARTEMIS 201 Artemis the Huntress. R
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ARTEMIS 203 of her primary function
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ARTEMIS 205 out "Actaeon am I; obey
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ARTEMIS 207 ana's side nor be the f
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ARTEMIS Artemis of Ephesus. Alabast
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ARTEMIS 211 favorite of Aphrodite,
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ARTEMIS 213 ¥ APHRODITE: I am call
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ARTEMIS 215 stead may they live and
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ARTEMIS 217 her own life. She confi
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ARTEMIS 219 my unhappy mother, O my
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ARTEMIS 221 your enemies. The god o
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ARTEMIS 223 with the last gasps of
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ARTEMIS 225 3. A rock on Mt. Sipylu
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APOLLO 227 peaks of Pelion, Thracia
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APOLLO 229
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APOLLO 231 a she-dragon by the fair
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APOLLO 233 neath or inside the bowl
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APOLLO 235 entrust them to the leav
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APOLLO 237 all-consuming fire and f
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APOLLO 239 Apollo and Daphne, by Gi
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APOLLO 241 APOLLO, CORONIS, AND ASC
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APOLLO 243 that he dared to challen
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APOLLO 245 knows by experience the
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APOLLO 247 mediately the immortals
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APOLLO 249 me his dear and trusting
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APOLLO *mm** 251
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APOLLO 253 to land? This is the rig
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APOLLO 255 4. It is not difficult t
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CHAPTER 12 HERMES THE BIRTH AND CHI
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HERMES 259 seashore, he wove sandal
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HERMES 261 The old man spoke to him
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HERMES 263 and by arguments. But wh
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HERMES 265 uttered sound I hear is
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HERMES 267 messenger to Hades, who,
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HERMES 269 THE MUTILATION OF THE HE
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HERMES 271 uous exercise of the hun
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HERMES 273 3. As he walks along, He
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DIONYSUS, PAN, ECHO, AND NARCISSUS
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CHAPTER 14 DEMETER AND THE ELEUSINI
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DEMETER AND THE ELEUSINIAN MYSTERIE
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VIEWS OF THE AFTERLIFE: THE REALM O
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ORPHEUS AND ORPHISM: MYSTERY RELIGI
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INTRODUCTION Universal themes are p
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374 THE GREEK SAGAS: GREEK LOCAL LE
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CHAPTER 18 THE MYCENAEAN SAGA The l
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o CD Dioscuri Zeus Tyndareus 1^ Hel
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C HAPTER 23 THESEUS AND THE LEGENDS
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Dionysus and Ariadne. Marble sarcop
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Aeolus 3 I I I I I Salmoneus Alcyon
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CHAPTER 25 MYTHS OF LOCAL HEROES AN
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The François Vase. Attic black-fig
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C HAPTER 26 ROMAN MYTHOLOGY AND SAG
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ROMAN MYTHOLOGY AND SAGA 625 ALPES
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ROMAN MYTHOLOGY AND SAGA 627 Mars i
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ROMAN MYTHOLOGY AND SAGA 629 archai
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ROMAN MYTHOLOGY AND SAGA 631 The se
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ROMAN MYTHOLOGY AND SAGA 633 obscur
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ROMAN MYTHOLOGY AND SAGA 635 famous
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ROMAN MYTHOLOGY AND SAGA 637 on the
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ROMAN MYTHOLOGY AND SAGA 639 f Guar
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ROMAN MYTHOLOGY AND SAGA 641 with s
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ROMAN MYTHOLOGY AND SAGA 643 same p
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ROMAN MYTHOLOGY AND SAGA 645 Map 26
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ROMAN MYTHOLOGY AND SAGA 647 who fo
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ROMAN MYTHOLOGY AND SAGA 649 Underw
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ROMAN MYTHOLOGY AND SAGA 651 Dido a
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ROMAN MYTHOLOGY AND SAGA 653 hersel
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ROMAN MYTHOLOGY AND SAGA 655 Ennius
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ROMAN MYTHOLOGY AND SAGA 657 f "Go,
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ROMAN MYTHOLOGY AND SAGA 659 The Oa
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ROMAN MYTHOLOGY AND SAGA Rape of Lu
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ROMAN MYTHOLOGY AND SAGA 663 8. See
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CHAPTER 27 CLASSICAL MYTHOLOGY IN L
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CLASSICAL MYTHOLOGY IN LITERATURE A
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CHAPTER 28 CLASSICAL MYTHOLOGY IN M
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CLASSICAL MYTHOLOGY IN MUSIC, DANCE
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SELECT BIBLIOGRAPHY Only a few of t
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GLOSSARY OF MYTHOLOGICAL WORDS AND
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THE GREEK SPELLING OF NAMES 777 Che
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CAPTIONS FOR COLOR PLATES 1-10 1. J
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PLATE 2 Dionysus, kylix by Exekias.
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? & & * |£ ^^H v \i\à ' PLATE 6 T
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PLATE 8 The Discovery of the Infant
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s PLATE 10 Las Manderas (The Weaver
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CAPTIONS FOR COLOR PLATES 11-21 11.
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PLATE 13 The Triumph of Neptune and
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PLATE 15 Earth: Vertumnus and Pomon
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IPSBKTIÎHB S'Y ;.--:«r.i. m&Z
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PLATE 20 Hector and Andromache, by
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INDEXES INDEX OF AUTHORS, ARTISTS,
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INDEXES 1-3 Bruch, Max, 711 Brueghe
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INDEXES 1-5 Erechtheus (Euripides),
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INDEXES 1-7 Hymn to Apollo (Bliss),
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INDEXES 1-9 Mourning Becomes Electr
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INDEXES 1-11 Rapp, Michael, 730 Rec
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INDEXES 1-13 Villa-Lobos, Hector, 7
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INDEXES Alcaeus (al-së' us), fathe
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INDEXES 1-17 Baucis (baw' kis), she
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INDEXES 1-19 from the earth, who lo
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INDEXES 1-21 Eurybië (u-rib' i-e),
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INDEXES 1-23 Icarius (i-kar' i-us):
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INDEXES 1-25 Melpomene (mel-pom' e-
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INDEXES 1-27 Periclymenus (per-i-kl
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INDEXES 1-29 Sphinx (sfinks), "Stra
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