Classical Mythology, 7th Edition - obinfonet: dia logou

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680 THE SURVIVAL OF CLASSICAL MYTHOLOGY '*!• - V * ~ r ;/ ^\|H i i -^B w "~. £**.•.*. ^ÉË fc^^; ^Sftfr ok ^ Hew*'* ^ ' ' • ' ' • " BW! >?. * .Â j!&^jBm - •*.-»., J
CLASSICAL MYTHOLOGY IN LITERATURE AND ART 681 SHAKESPEARE, MARLOWE, AND SPENSER English authors in the sixteenth and seventeenth centuries made extensive use of classical mythology, in drama and narrative poems, as ornaments in lyric poetry and by means of mythological allusion in prose and verse works. Allusions were not always explicit. For example, when Ben Jonson addresses the moon as "Queen and huntress, chaste and fair," he is alluding to Artemis (Diana). In William Shakespeare's (1564-1616) Twelfth Night, the Duke imagines himself to be Actaeon as he recalls his first sight of Olivia (1.1. 19-23): t O! When mine eyes did see Olivia first, Methought she purg'd the air of pestilence. That instant was I turn'd into a hart, And my desires, like fell and cruel hounds, E'er since pursue me. Christopher Marlowe's Hero and Leander (1598, completed by Chapman) and Shakespeare's Venus and Adonis (1593) are outstanding examples of narrative poems drawn from Ovid's legends. In drama, history rather than mythology more commonly provided Renaissance authors with material, but one distinguished exception is Marlowe's Doctor Faustus, published in 1604 and, in a revised version, in 1616. Marlowe (1564-1593) makes the mythological Helen a symbol of surpassing sensual beauty, an object of Faustus' desire. Here are the famous lines in which Faustus embraces Helen (Doctor Faustus 1328-1334): t Was this the face that launch'd a thousand ships And burn't the topless towers of Ilium? Sweet Helen, make me immortal with a kiss! Her lips suck forth my soul. See where it flies! Come, Helen, come give me my soul again. Here will I dwell, for heaven be in these lips, And all is dross that is not Helena. Masques were dramatic productions, usually allegorical in nature, in which the characters were drawn from classical mythology. The most distinguished example of the genre is Milton's Comus (1634), which combines a pastoral setting with classical allegory. Another example is the masque in Shakespeare's The Tempest (Act 4, scene 1). The custom of having aristocrats dress up as classical gods and goddesses survived in France and England well into the eighteenth century. -< Ovid's Metamorphosis English'd. By George Sandys, 1632. Engraving for Book 3 by Francis Clein and Salomon Savery. Each book of the poem was prefaced by a full-page illustration, giving a summary representation of the book's legends. Book 3 is devoted to the Theban legends: the death of Semele appears on the upper right; the battle of the Spartoi in the right center; Cadmus, after killing the dragon in the lower right, looking up at Mars [Ares] in the sky; Actaeon in the lower left. (Smith College, Mortimer Rare Book Room.)
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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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CHAPTER 19 THE TROJAN SAGA AND THE
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440 ¥ PARIS: THE GREEK SAGAS: GREE
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i 1 Telamon m. Hesione Teucer 1 lit
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The Building of the Trojan Horse, b
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CHAPTER 20 THE RETURNS AND THE ODYS
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UT. o 00 bya r 5 Danaus Aegyptuj r~
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Zeus m. Danaë I Perseus m. Androme
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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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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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