►Greek Mythology: “The Golden Apple of Discord” /

►Poetry: “Who is The Fairest?”, by Christy Birmingham:

“The Judgment of Paris” by Guillaume Guillon Lethière (1812).-

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The Garden of the Hesperides was Hera´s  orchard, where either a single tree or a grove of immortality-giving golden apples grew. The apples were planted from the fruited branches that Gaia gave to Hera as a wedding gift when Hera accepted Zeus. The Hesperides were given the task of tending to the grove, but occasionally plucked from it themselves. Not trusting them, Hera also placed in the garden a never-sleeping, hundred-headed dragon named Ladon as an additional safeguard. 

However, in the mythology surrounding “the Judgement of Paris”, the goddess of Discord Eris managed to enter the garden and pluck a golden apple, 

Eris had become  disgruntled after she was excluded from the wedding of Peleus and Tetis (Achilles ‘ parents).

Angered by this snub, Eris arrived at the celebration with a golden apple, which she threw into the proceedings, upon which was the inscription Kallisti ( ‘For the most beautiful one’ or ‘For the Fairest’).

Three goddesses claimed the apple: Hera, Athena and Aphrodite. Prince Paris of Troy as appointed to select the recipient. 

While Paris inspected them, each attempted with her powers to bribe him; Hera offered to make him king of Europe and Asia, Athena offered wisdom and skill in war, and Aphrodite, offered the world’s most beautiful woman.

This was Helen of Sparta, wife of the Greek king Menelaus. Paris accepted Aphrodite’s gift and awarded the apple to her.

Later on, he abducted her, all of Greece declared war against Troy, causing the Trojan War and the eventual destruction of Troy. 

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“The Judgment of Paris” by Claude Lorrain (1645-1646).-

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►A Poem By Christy Birmingham: “Who is the Fairest?”

(Based on the Greek Myth of “The Golden Apple of Discord”): 

If I transported back to mythical times,

Would I be the fairest?

Would I be the one to snatch the

Apple first, savoring the

Fruit, eyes and delight of all?

If so, I would stand above Athena, Hera and

Aphrodite, in this beauty contest that

Judges only our outer skin, revealing nothing of

Our spirits, as though denying us the

Opportunity to reveal our sweet, fruity tastes.

If I transported back to mythical times,

I wonder if I would also bribe Paris to win –

And what would I offer as the winning power?

Would it be savory or sweet?

Indeed, the golden apple caused quite the uproar,

An apple of discord not to be forgotten,

And I only hope that my winning power is

One day revealed,

As it is a blend unlike any other:

It is the ability to connect with you.

 ©2014 Christy Birmingham.-

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The poem “Who is the Fairest” was originally written by Christy Birmingham as a recreation of the Greek myth related to the Judgement of Paris and the Golden Apple of Discord.

►About Christy Birmingham:

Christy is a freelance writer, poet and author. She lives in British Columbia, Canada. 

She writes poetry and short stories to motivate readers and to reach out to struggling women. Her intent is to spread hope and understanding about depression, abuse and other issues.

Christy has written countless poems since childhood. She is the author of the poetry collection “Pathways to Illumination” (2013), available exclusively at Redmund Productions.

You can check out Christy Birmingham´s writer portfolio here. 

She also hosts two great blogs: Poetic Parfait and When Women Inspire.

Feel free to connect with Christy at on social media at Twitter and Google Plus .

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“The Golden Apple of Discord”, labelled Kallisti (“For the Fairest” / “For the Most Beautiful One” ).-

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►Paintings : “The Judgement of Paris”:

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►Links post:

http://en.wikipedia.org/wiki/Apple_(symbolism)

http://www.mythencyclopedia.com/Fi-Go/Fruit-in-Mythology.html

http://www.spiffy-entertainment.com/applediscord.html

http://en.wikipedia.org/wiki/Hesperides

http://www.ehow.com/facts_5452761_paris-golden-apple-greek-myth.html

http://poeticparfait.com/about/

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►Greek Mythology:  “Deucalion and Pyrrha, surviving the Flood”:

“Deucalion and Pyrrha” by
Giovanni Maria Bottalla (1635).-

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Deucalion’s parents were Prometheus, the rebel Titan, and Clymene the Oceanid.

Pyrrha’s parents were Epimetheus (Prometheus’ brother) and Pandora.

Deucalion and Pyrrha had been chosen as the gods’ favorite humans, as they were considered the purest ones.

The story of Deucalion and Pyrrha began during the Bronze Age, when humans were violent and loved to kill.

Because of that reason, Zeus planned to destroy them all. Seeing that Deucalion and Phyrra were teh ebst ones, he decide to spare them, so he sent Prometheus to warn them.

Warned by his father, Prometheus, Deucalion built an ark to survive the coming Bronze Age ending flood that Zeus was sending.

Like the version from the Old Testament, in the Greek version, the flood is a mean to punish mankind.

Deucalion and his cousin-wife, Pyrrha survived for nine days of flooding before landing at Mt. Parnassus.

Only Deucalion and Pyrrha survived for nine days of flooding. They mounted a chest and sailed to the dry peaks of Mount Parnassos.

 Other Greek regions also claimed survivors. 

King Dardanos was said to have sought refuge on Mount Ida in the Troad, Kerambos was carried to the heights of Mount Othrys by the Nymphs, Megaros fled to Mount Gerana, Arkas and Nyktimos were preserved on Mount Kyllene in Arkadia, and the tribe of Parnassos fled to the heights above Delphoi. Io  and her son Epaphos, who lived in Egypt, were also preserved.

After the flood,  Deucalion and Pyrrha found that they were all alone in the world and therefore, wanted company.

In answer to this need, the titan and goddess of prophecy Themis  cryptically told them to throw the bones of their mother behind them. They interpreted this as meaning “throw stones over their shoulders onto Mother Earth” and did so. The stones Deucalion threw became men and those Pyrrha threw became women.

Deucalion and Pyrrha settled in Thessaly where they produced offspring the old-fashioned way.

The age that Deucalion and Pyrrha created was called the heroic age. This age included Demi-gods and heroes. 

Their two sons were Hellen and Amphictyon.

Hellen sired Aeolus (founder of the Aeolians), Dorus (founder of the Dorians), and Xuthus.

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“Pyrrha and Deucalion” by
Giovanni Benedetto Castiglione (1655)

“Deucalion and Pyrrha Repeople the World by Throwing Stones Behind Them”, by Peter Paul Rubens (1636).-

Deucalion and Phyrra, throwing stones over their shoulders to repeople the world, as Goddess Themis told them, after the Flood.-

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►Links Post:

http://en.wikipedia.org/wiki/Deucalion

http://www.theoi.com/Heros/Deukalion.html

http://sobreleyendas.com/2011/04/11/helen-en-el-origen-de-los-griegos/

http://www.greeka.com/sterea/delphi/delphi-myths/deucalion-pyrrha.htm

http://aquileana.wordpress.com/2008/01/28/el-diluvio-universal-en-las-tradiciones-mesopotamica-griega-judeo-cristiana-e-hindu/

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 ►Last but not Least: Three Awards:

I) My blogger friend Kev from Kev´s Blog has nominated me for a Bouquet of Awards. I am picking two of these as it is the first time I receive them. Thank you very much, Kev :P

►Here are the Awards Rules:

1) The nominee shall display the Wonderful Team Member Readership Award logo on her/his blog.

2) The nominee shall nominate ten (10) she/he admires,  by linking to their blogs and informing them about it.

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Community Heart Award.-

►Here are my ten (10) nominees for this award:

1) What a wonderful world 2)All about Birds 3) The Passion Dew 4) Bella Espíritu 5) Cinco Máscaras 6) Fábula Gótica 7) ¿Qué me pongo mañana? 8) Petals unfolding 9) Bluebutterfliesandme 10) Ştefania´s

Love and Kindness Award.-

► My ten (10) nominees for this award are:

1) Jet Eliot 2) Word Dreams  3) The Past, Present and Future  4) Share and Connect 5) Natalia Penchas 6) Dante´s Blog 7) Paroleacapo 8) Jardin 9) Crazy Alice in Wonderland 10) The Blue Polar Bear

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II) My blogger friend Agustín from Agustín Ayala nominated me a Versatile Award. I have already received it. However, I will pass it on to some great bloggers here. Muchas Gracias, Agustín :)

►Here are the Awards Rules:

1) The nominee shall display the Wonderful Team Member Readership Award logo on her/his blog.

2) The nominee shall nominate ten (10) she/he admires,  by linking to their blogs and informing them about it.

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Versatile Blogger (Trophee).

► My ten (10) nominees for this award are:

1. Poetic Parfait 2. My World Wall 3. Graffiti Lux and Murals 4. Filamots 5. John Poet Flanagan 6. Das Wesen (T) liche ist nur mit dem Herzen zu Sehen 7. Ray H to the C 8. Stuff Jeff Reads 9. El Cuento Inacabado 10. Otto

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Thank you very much for dropping by!. 

Best wishes to everyone, Aquileana-Amalia :)

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►Mythology:

“Dionysus, Greek God of Wine and Fertility”:

“The Youth of Bacchus (Dionysus)” by William-Adolphe Bouguereau (1884).-

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Dionysus, also commonly known by his Roman name Bacchus and sometimes Liber, appears to be a god who has two distinct origins.

On the one hand, Dionysus was the god of wine, agriculture, and fertility of nature, who is also the patron god of the Greek stage.

On the other hand, Dionysus also represents the outstanding features of mystery religions, such as those practiced at Eleusis: ecstasy, personal delivery from the daily world through physical or spiritual intoxication, and initiation into secret rites. 

He was son of the king of the Greek gods, Zeus, and Semele, the mortal daughter of Cadmus and Harmonia of Thebes. Dionysus is called “twice born” because of the unusual manner in which he grew: not only in a womb, but also in a thigh.

►Dionysus’ Birth:

Hera, queen of the gods, jealous because her husband was playing around (again), took characteristic revenge: She punished the woman. In this case, Semele.

Zeus had visited Semele in human form, but claimed to be a god. Hera persuaded her that she needed more than his word that he was divine. Zeus knew the sight of him in all his splendor would prove fatal, but he had no choice, so he revealed himself. His lightning brightness killed Semele, but first, Zeus took the unborn from her womb and sewed it inside his thigh. There it gestated until it was time for birth.

►Companions of Dionysus:

Dionysus is usually shown in the company of others who are enjoying the fruit of the vine. Silenus or multiple sileni and nymphs engaged in drinking, flute-playing, dancing, or amorous pursuits are the most common companions.  

Depictions of Dionysus may also include Maenads, the human women made mad by the wine god. 

Silenus is a woodland creature from Greek mythology who is part man and part animal, and a companion of Dionysus. He is shown with horse ears and sometimes horse legs and tail.

The Nymphs of Nysa raised the infant Dionysus on Mt. Nysa. Later on, they became his followers. They appear in the Homeric Hymn to Dionysus. Unlike the human Maenads, another group of female followers of Dionysus, the nymphs follow him willingly and without madness. 

He is usually ivy-wreathed and wears a chiton and often an animal skin. Other attributes of Dionysus are wine, vines, ivy, panthers, leopards, and theater.

Writers often contrast Dionysus with his half-brother Apollo. Where Apollo personifies the cerebral aspects of mankind, Dionysus represents the libido and gratification.

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Dionysius (details on ancient greek vases).-

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“The Boy Bacchus” Detail of the painting with grapes ornamenting the head of Bacchus (Dionysus), by Guido Reni.-

“Bacchus” by Michelangelo Merisi da Caravaggio (1595).-

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►Links Post:

http://www.pantheon.org/articles/d/dionysus.html 

http://www.theoi.com/Olympios/Dionysos.html 

http://ancienthistory.about.com/library/bl/bl_text_homerhymn_dionysus2.htm

http://ancienthistory.about.com/od/dionysusmyth/g/092509NymphsNysa.htm

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 ►Last but not Least: Two Awards:

I) My italian blogger friend Omar from Ramo Di Parole has nominated me for a Very Inspiring Blogger Award. Tante Grazie, caro Omar :D

►Here are the Awards Rules:

1) The nominee shall display the Very Inspiring Blogger Award logo on her/his blog.

2) The nominee shall nominate fifteen (15) bloggers she/he admires, by linking to their blogs and informing them about it.

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Very Inspiring Blogger Award.-

►Here are my fifteen (15) nominees for this award:

1. Poet Smith 2. Inese Photo 3. The echo of the whole sea 4.  A window into the woods 5. A journey of faith 6. Pavement stories 7. A pondering mind 8. T Ibara Photo 9. Desirée Jiménez 10. A curious gal 11. Not a Punk Rocker 12. The task at hand 13. Taking one day at a time 14. Wing of dreams 15. Crazy guy in Thailand 

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II) Mi amiga blogger Desirée Jiménez desde Atrevo la Palabra me ha nominado para un Premio Dardos. Mil Gracias, Desirée :P

►Aquí están las reglas del Premio:

1) Ubicar el logo del Premio Dardos en el blog.

2) Nominar a otros quince (15) bloggers, enlazando a sus respectivos blogs e informándolos de la nominación.

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Premio Dardos.-

► Mis quince (15) nominados para este premio son:

1. En Humor Arte 2. I lost my lens cap 3.Té con sal 4. A solas con Caronte 5. Sendero blog 6. Bella espíritu 7. Ramo di parole 8. Fábula Gótica 9. Rotze Mardini 10. El tiempo habitado 11. Los sentidos de la vida 12. Arcilla y Fuego 13. Lo que ahora mismo pienso 14. Francisco Javier Tostado 15. Ser nosotros mismos.

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►Greek Mythology and Philosophy:

“The Dichotomy Apollonian -Dionysian”, according to Friedrich Nietzsche:

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Apollonian and Dionysian are terms used by Nietzsche in his book “The Birth of Tragedy” to designate the two central principles in Greek culture. 

Apollo was the son of zeus and Leto. Artemis was her twin sister. He was the greek god of prophecy, music, intellectual pursuits, healing, plague, and sometimes, the sun.

Writers often contrast the cerebral, beardless young Apollo with his half-brother, the hedonistic Dionysus.

As to Dionysus, he was the son of Zeus and Semele. Dionysus was the greek god of wine, agriculture, and fertility of nature. He was also related to mystery religions, such as those practised at Eleusis, being linked to ecstasy and initiation into secret rites.

Apollo, as the sun-god, represents light, clarity, and form, whereas Dionysus, as the wine-god, represents drunkenness and ecstasy.

The Apollonian, which corresponds to Schopenhauer’s principium individuationis (“principle of individuation”), is the basis of all analytic distinctions.

Everything that is part of the unique individuality of man or thing is Apollonian in character; all types of form or structure are Apollonian, since form serves to define or individualize that which is formed; thus, sculpture is the most Apollonian of the arts, since it relies entirely on form for its effect. Rational thought is also Apollonian since it is structured and makes distinctions.

The Dionysian, which corresponds to Schopenhauer’s conception of “Will”, is directly opposed to the Apollonian.

Drunkenness and madness are Dionysian because they break down a man’s individual character; all forms of enthusiasm and ecstasy are Dionysian, for in such states man gives up his individuality and submerges himself in a greater whole: music is the most Dionysian of the arts, since it appeals directly to man’s instinctive, chaotic emotions and not to his formally reasoning mind.

“Dionysian spirit” is defined in the philosophy of Nietzsche, as displaying creative-intuitive power as opposed to critical-rational power.

But, both of them, the Apollonian and the Dionysian are necessary in the creation of art. Without the Apollonian, the Dionysian lacks the form and structure to make a coherent piece of art, and without the Dionysian, the Apollonian lacks the necessary vitality and passion. Although they are diametrically opposed, they are also intimately intertwined.

The Greek tragedies of Aeschylus and Sophocles, which Nietzsche considers to be among humankind’s greatest accomplishments, achieve their sublime effects by taming Dionysian passions by means of the Apollonian. Greek tragedy evolved out of religious rituals featuring a chorus of singers and dancers, and it achieved its distinctive shape when two or more actors stood apart from the chorus as tragic actors. The chorus of a Greek tragedy is not the “ideal spectator,” as some scholars believe, but rather the representation of the primal unity achieved through the Dionysian. By witnessing the fall of a tragic hero, we witness the death of the individual, who is absorbed back into the Dionysian primal unity. Because the Apollonian impulses of the Greek tragedians give form to the Dionysian rituals of music and dance, the death of the hero is not a negative, destructive act but rather a positive, creative affirmation of life through art.

Unfortunately, the golden age of Greek tragedy lasted less than a century and was brought to an end by the combined influence of Euripides and Socrates. Euripides shuns both the primal unity induced by the Dionysian and the dreamlike state induced by the Apollonian, and instead he turns the Greek stage into a platform for morality and rationality.

One of Nietzsche’s concerns in “The Birth of Tragedy” is to address the question of the best stance to take toward existence and the world. He criticizes his own age for being overly rationalistic, for assuming that it is best to treat existence and the world primarily as objects of knowledge, which is for him meaningless.

Greek tragedy as Nietzsche understands it cannot coexist in a world of Socratic rationality.

Tragedy gains its strength from exposing the depths that lie beneath our rational surface, whereas Socrates insists that we become fully human only by becoming fully rational.

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Dionysus (on the right side).-

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Check out: “The Birth of Tragedy (1872), by Friedrich Nietzsche”:

Click on the cover book to read it.-

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“Apollo Playing the Lyre” by Charles Philippe Lariviere (1825/1830).-

“Dionysus drunk by Yannis Tsarouchis (1972).-

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►Links Post:

http://www.sparknotes.com/philosophy/nietzsche/section1.rhtml

http://en.wikipedia.org/wiki/The_Birth_of_Tragedy

http://www.mlahanas.de/Greeks/Mythology/Dionysus.html

http://www.theoi.com/Olympios/Apollon.html

http://ancienthistory.about.com/od/apollomyth/ig/Apollo/Apollo-and-Other-Olympian-Gods.htm

http://mythologian.net/apollo-the-god-of-sun-music-prophecy-and-healing/

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►Mythology / Philosophy: 

“The Lost City of Atlantis”, according to Plato’s dialogues “Timaeus” and “Critias”:

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Plato’s two dialogues pertaining to Atlantis are “Timaeus” and “Critias”, written in 360BC. These are the earliest known written records about the Lost Continent of Atlantis, all other written references to Atlantis have been written since, and have been based on these writings by Plato.

“Timaeus” and “Critias” are actually written in the form of dialogues between four main characters: Socrates (Greek philosopher, and Plato’s teacher), Critias (poet & historian), Timaeus (an Italian astronomer.), and Hermocrates (a general from Syracuse). All were real people.

The dialogue “Timaeus” includes only a passing reference to Atlantis, but the second writing, the Critias, has a much more in depth description of Atlantis leading upto it’s downfall. 

The fabled island-continent derives its name from the Titan Atlas. It was said to be out beyond the western headland where the immortal giant holds up the heavens by means of a pillar on his back.

•The Atlantis, as described by Plato:

Plato told the story of Atlantis around 360 B.C.

According to Plato, Atlantis was the domain of Poseidon, god of the sea. When Poseidon fell in love with a mortal woman, Cleito, he created a dwelling at the top of a hill near the middle of the island and surrounded the dwelling with rings of water and land to protect her.

Cleito gave birth to five sets of twin boys who became the first rulers of Atlantis. The island was divided among the brothers with the eldest, Atlas, first King of Atlantis, being given control over the central hill and surrounding areas.

At the top of the central hill, a temple was built to honor Poseidon which housed a giant gold statue of Poseidon riding a chariot pulled by winged horses. It was here that the rulers of Atlantis would come to discuss laws, pass judgments, and pay tribute to Poseidon.

The founders of Atlantis, he said, were half god and half human. They created a utopian civilization and became a great naval power. Their home was made up of concentric islands separated by wide moats and linked by a canal that penetrated to the center. The lush islands contained gold, silver, and other precious metals and supported an abundance of rare, exotic wildlife. There was a great capital city on the central island.

For generations the Atlanteans lived simple, virtuous lives. But slowly they began to change. Greed and power began to corrupt them. When Zeus saw the immorality of the Atlanteans he gathered the other gods to determine a suitable punishment and destroy them.

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•Destruction of the Atlantis:

The most popular theories as to the destruction of Atlantis are exactly what Plato described, earthquakes and floods. The floods more than likely attributable to the tidal waves that would have been caused by the earthquakes. 

Another theory is that there was a volcano on the island that errupted with such force that the island was buried in molten lava. 

For Plato, Atlantis was an island, supposedly the size of Libya and Asia Minor combined, located in the Atlantic beyond Gibraltar and due to its central position a stepping stone by which travelers could reach other islands and the opposing land mass.

•Where was the city of Atlantis placed?:

There are many theories about where Atlantis was—in the Mediterranean: Thera,  Chales Pellegrino and Walter Friedrich, Cyprus (Robert Sarmast ), Central or South America (Ivar Zapp and George Erikson ) even under what is now Antarctica (Colin Wilson). [Note: You can check out ten possible locations here].

Many believe that Plato was basing his account of Atlantis on the history of the Minoan civilization, which would coincide well with these new dates. The history of the Minoan civilization and the description of Atlantis have a suspicious amount in common at any rate.

Ballard says, the legend of Atlantis is a “logical” one since cataclysmic floods and volcanic explosions have happened throughout history, including one event that had some similarities to the story of the destruction of Atlantis. About 3,600 years ago, a massive volcanic eruption devastated the island of Santorini in the Aegean Sea near Greece. At the time, a highly advanced society of Minoans lived on Santorini. The Minoan civilization disappeared suddenly at about the same time as the volcanic eruption.

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►”The Atlantis: Hypothetical Locations” (Map Gallery):

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►The Atlantis in Plato’s dialogues “Timaeus” and “Critias”.

(Read the relevant excerpts):

►Check out “Timaeus” excerpts with regard to the Atlantis: Click Here.

►Check out “Critias”‘ excerpt with regard to the Atlantis: Click Here.

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►Bonustrack: Video: “Atlantis by artist Monsu Desiderio”:

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►Links Post:

http://www.mythweb.com/encyc/entries/atlantis.html

http://science.nationalgeographic.com/science/archaeology/atlantis/

http://www.mcmillinmedia.com/atlantean-geography/

http://unxplained-factor.com/critias.htm

http://unxplained-factor.com/timaeus.htm

●▬▬▬▬▬▬๑۩۩๑▬▬▬▬▬▬●

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►Last but not Least: Two Awards: 

Kolytyi from “Trifles” nominated me  for a Liebster Award. Thank you very much, dear blogger friend :D

►Here are the Award Rules:

1) The nominee shall display the Liebster Award logo on her/his blog.

2) The nominee shall nominate eleven (11)  bloggers she/he admires, by linking to their blogs and informing them about it.

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Liebster Award.-

 These are my eleven nominees for this award:

1) Kev´s Blog  2) En Humor arte 3) Autonomía en las formas 4) Jet Eliot 5) London Senior 6) Unclee Tree 7) Brushespapers 8) The Passion Dew 9) A solas con Caronte 10) Animasmundi11) Blog de Javier

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My  blogger friend, Caronte Moratalla from “A solas con Caronte” and my dear friend Verónica from “En Humor Arte” have both nominated me for the same award. Thanks a lot :)

►Here are the Award Rules:

1) The nominee shall display the Premio sin premio logo on her/his blog.

2) The nominee shall nominate ten (10)  bloggers she/he admires, by linking to their blogs and informing them about it.

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Premio Sin Premio.-

  These are my ten nominees for this award:

1) Chesterton Blog 2) Sweet as a picture 3) Isaspi 4) Word Musing 5) A little bird tweets 6) Angelart Star 7) Imaginecontinua 8) Cruz del Sur 9) Diwata in Lalaland 10) Si vis pacem para bellum.

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Thanks for dropping by, fellow bloggers. Happy Thursday and best wishes, Aquileana/Amalia :D

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►Greek Mythology:

“Demeter, Goddess of the Harvest / Persephone, Queen of the Underworld”:

“Persephone and Demeter Reunite” by Frederic Leighton, (1891).-

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Demeter (Roman equivalent: Ceres) is often described as the greek goddess of the harvest, but she presided also over the sacred law, and the cycle of life and death.

She and her daughter Persephone were the central figures of the Eleusinian Mysteries of the Olympian pantheon.

Demeter’s greatest gifts to humankind were agriculture, particularly of cereals, and the Mysteries which give the initiate higher hopes in this life and the afterlife.

These two gifts were intimately connected in Demeter’s myths and mystery cults. In Homer’s “Odyssey” she is the blond-haired goddess who separates the chaff from the grain. Demeter’s emblem is the poppy.

Demeter’s virgin daughter was called Persephone (Roman equivalent: Proserpine) .

Zeus’s was not only Demeter’s father  but also Demeter, Poseidon and Hades‘ brother.

In one ocassion, Persephone was abducted to the underworld by Hades. Demeter searched for her for nine days and nights, preoccupied with her loss.

The seasons halted; living things ceased their growth, then began to die. Faced with the extinction of all life on earth, Zeus sent his messenger Hermes  to the underworld to bring Persephone back.

Hades agreed to release her, but gave her a pomegranate. When she ate the pomegranate seeds, she was bound to him for one third of the year, either the dry Mediterranean summer, when plant life is threatened by drought, or the autumn and winter. This myth explains the yearly cycle of growth, harvest, and winter. Persephone is related here to the sprouting seeds of springtime.

After her abduction by Hades she became his wife and Queen of the Underworld, six months of each year. The mint and pomegranate is sacred to her.

Persephone raised Aphrodite’s child Adonis. She was also known as Kore, “the Maiden”.∼

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“The rape of Proserpina” by Hans von Aachen (1586).-

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►Gallery: “Persephone, Demeter and Other Godess of the Underworld”:

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On the left: Greek Goddess Demeter. Roman equivalent: Ceres
On The right: Greek Goddess Persephone. Roman equivalent: Proserpine.-

Demether, Persephone and Adonis (Aphrodite’ son, who was raised by Persephone).-

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►Links Post:

http://gogreece.about.com/cs/mythology/a/blmythdemeter.htm

 http://gogreece.about.com/cs/mythology/a/mythpersephone.htm

http://ancienthistory.about.com/cs/grecoromanmyth1/g/persephone.htm

 http://en.wikipedia.org/wiki/Pomegranate

http://ancienthistory.about.com/cs/demeterceresmyth/a/demeterbrothers.htm

http://www.greekmythology.com/Other_Gods/Persephone/persephone.html

http://www.classics.upenn.edu/myth/php/tools/dictionary.php?regexp=PERSEPHONE&method=standard

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►Last but not Least: Three Awards: 

I) Mi amiga blogger Bella@Espíritu desde su blog homónimo me ha nominado para un Premio Dardos. Mil Gracias, Bella  :P

►Aquí están las reglas del Premio:

1) Ubicar el logo del Premio Dardos en el blog.

2) Nominar a otros quince (15) bloggers, enlazando a sus respectivos blogs e informándolos de la nominación.

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Premio Dardos.-

Mis quince (15) nominados para este premio son:

1. Literariedad 2. Cronopia vacía 3. El Mundo de Timeo 4. La gran belleza 5. La piedra translatofal 6. Rafael Carpintero 7. Ivan Ortíz 8. Dinelia 9. Jaque al arte 10. Deimos y Phobos 11. Yakuza Webzine 12. Fiore Rouge 13. Pensamientos complejos 14. Variedad Asimétrica 15. Diario de un  perdedor.

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II) Dinelia from “Palabras sosegadas” nominated for a Versatile Blogger Award. Thanks a lot, Dinelia :D

►Here are the Award Rules:

1) The nominee shall display the Liebster Award logo on her/his blog.

2) The nominee shall nominate ten (10)  bloggers she/he admires, by linking to their blogs and informing them about it.

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Versatile Blogger Award.-

And these are my ten (10) nominees for this award:

1. Elizabeth Melton Parsons 2. Inesemjphotography 3. Shehanne Moore 4. Enrico Garrou 5. 6. Teagan’s books 7. Stockreserach52′s blog 8. En Humor Arte 9. Autumn of Life 10. yabakientelbaki

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III) My blogger friend Inese from “Inesemjphotography” nominated for a Very Inspiring Blogger Award. Thank you dear Inese :)

►Here are the Award Rules:

1) The nominee shall display the Liebster Award logo on her/his blog.

2) The nominee shall nominate ten (10)  bloggers she/he admires, by linking to their blogs and informing them about it.

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Very Inspiring Blogger Award.-

►My ten (10) nominees for this award are:

1. Author Miranda Stone 2. Bella@Espíritu 3. Margaret Lynette Sharp 4. The Journal of Wall Grimm 5. Behind the white coat 6. Life in Kawagoe 7. Espace perso Monick 8. Tales of Love and Life 9. Marie Jeanne 10. Acasadisimi 

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Thanks for dropping by. Best wishes to everyone, Aquileana :D

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►Greek Mythology: “The Eleusinian Mysteries”:

“Proserpine / Persephone” (three-quarter portrait holding a pomegranate), by Dante Gabriel Rossetti (1874).-

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The Eleusinian Mysteries are related to a greek religious festival held each year at Eleusis, fourteen miles northwest of Athens. It  was celebrated in honor of the grain and fertility goddess Demeter (whose name means “spelt mother” being “spelt” is a variety of wheat.)

The festivity took place each year, when it was time for the crops to be sown, in the month of Boedromion (September).

It all stems from the myth of Demeter and her daughter Persephone. 

Demeter was the Greek Goddess of the Harvest, while Persephone was the Goddess of  wheats.

The conflict was originated when Hades, God of the Underworld, abducted Persephone and took her down into the underworld. 

After that, Demeter searched the world looking for her daughter, and while doing this, she neglected her duties and let the earth go barren. 

As she couldn’ t find her, she finally decided to rest by a well in the city of Eleusis. 

There, disguised as an old woman, she cared for the queen’s son, baptizing him nightly in fire so that he would be immortal. 

Demeter later on  taught the queen’s son, who was called Triptolemos, the art of agriculture.

As a reward for having protected the prince Triptolemos, eleusian citizens began to build a temple in their city, as a tribute to Demeter.

Demeter’s attempts to find her daughter were in vain. Besides Demeter’s grief, and plants were dried, the crops died and the earth turn out into something sterile

The gods were worried and Zeus, who had witnessed the abduction, finally intervened. 

He did by persuading his brother, Hades to return Persephone to her mother. Hades agreed but before that he made sure to tricked Persephone into eating some pomegranate seeds and, if one ate in the land of the dead, one remained with the dead. 

As she had only eaten some, however, it was agreed she would spend half the year with Hades in the underworld and half with her mother on earth. 

That’s why while Demeter remained on earth with her mother Demeter, she caused the world to be fruitful while when she was in the underworld with Hades, the plants withered and died; thus the seasons were explained.

Another interesting detail is that when Persephone was abducted by Hades in the underworld, her name was changed to Kore. When she emerged from the underworld she recovered her original name,  Persephone (“she who brings doom”).-

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•The Ceremonies: The Mysteries began with the march of the mystai (initiates) in solemn procession from Athens to Eleusis. The rites that they then performed in the Telesterion, or Hall of Initiation, were and remain a secret. 

Those who were to be initiated into the Eleusinian mysteries had to go through preliminary rites of purification and instruction before they would be allowed to participate in the final revelations at Eleusis. 

 The mysteries were divided into the Lesser and Greater mysteries.  

The Lesser mysteries were preparatory to the Greater, involving purifications and perhaps some instruction or other rites, and they were celebrated near Athens,  in the month of Anthesterion (March).

The initial stages involved physical rites which were preparatory for the spiritual rites at Eleusis  After a series of further ritual actions, the initiate was ready for the myesis, the first level of initiation.

The Greater Mysteries began on 14^th Boedromion (September/October), when the “sacred things,” carried in baskets, were brought from Eleusis to Athens by the Eleusinian priestesses escorted by epheboi (young Athenians of military age).  The following day, the hierophant opened the festival, making an announcement (prorrhesis) that those “who are not of pure hands or speak an incomprehensible tongue,” that is, those stained by human blood and non-Greek speaking barbarians, were not permitted to participate.  Other than these exclusions, anyone–including slaves, foreigners, men and women–could participate in the mysteries. A procession, named the Sacred Way , began at Athens on the morning of 19^th of Boedromion and ended that evening in Eleusis.

Priestesses brought back the sacred things, with a procession of dancing and chanting initiates, perhaps almost in state of ecstasy

Only the initiates were allowed to proceed further into the cult area, which was dedicated to Hades.  The mysteries took place in the Telestrion, a large building which could hold a few thousand people.  The only ones permitted to enter were the mystai, those entering for the first time, and the epoptai, for whom it would be at least their second experience.

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•Literary Sources and Philosophical Notes:

The mythical basis for many of the mystery rites are accounted for in the “Hymn to Demeter”, which is part of the Homeric Hymns collection of poems

Those ones are thirty-three anonymous ancient greek Hymns celebrating individual gods. The hymns are “Homeric” in the sense that they employ the same epic meter as “the Iliad“, use many similar formulas and are couched in the same dialect.

In Plato’s dialogue “The Symposium” he overtly establishes an analogy to the mysteries at Eleusis near the end of Diotima’s speech (as relayed by Socrates), when he has her say that “even you, Socrates, could probably come to be initiated [myētheiēs] into these rites of love [erōtika].  But as for the purpose of these rites when they are done correctly–that is the final and highest mystery” (209e-210a). 

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“Blessed is the mortal on earth who has seen these rites / But the uninitiated who has no share in them never / Has the same lot once dead in the dreary darkness”. (“Hymn To Demeter”. Lines 480/482).-

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 ►Gallery: “The Eleusinian Mysteries, held  in honor of the grain and fertility goddess Demeter”:

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Triptolemos.-

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►Links Post:

http://en.wikipedia.org/wiki/Eleusinian_Mysteries

http://www.ancient.eu.com/article/32/

http://www.classics.upenn.edu/myth/php/hymns/index.php?page=eleusis

http://www.theoi.com/Georgikos/EleusiniosTriptolemos.html

http://www.theoi.com/Gallery/O28.2.html

http://www.sacred-texts.com/cla/ebm/ebm05.htm#page_31

http://www.lsu.edu/artsci/groups/voegelin/society/2005%20Papers/Steven%20McGuire.shtml

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►Greek Mythology: “Dionysian Mysteries”:

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Dionysus is best known in Greek mythology as the god of wine, but he has also been associated with peace, agriculture, law, civilization, and most especially, the theatre. In Thrace he was known as Eleutherios, “the Liberator,” or Liber Pater, “the Free One,” because he freed people through drunken ectasy

The place of origin of the Hellenic Dionysian Mysteries is unknown, but they almost certainly first came to Greece with the importation of wine, which is widely believed to have originated, in the West, around 6000 BC in one of two places, either in the Zagros Mountains (the borderlands of Mesopotamia and Persia, both with their own rich wine culture since then) or from the ancient wild vines on the mountain slopes of Libya / North Africa (the source of early Egyptian wine from around 2500 BC, and home of many ecstatic rites), quite probably from both

Wine probably also entered Greece over land from Asia Minor. But it was most likely in Minoan Crete that the eclectic ‘wine cult’, that would become the Dionysian Mysteries, first emerged

The basic principle beneath the original initiations, other than the seasonal death-rebirth theme supposedly common to all vegetation cults (such as the Osirian, which closely parallels the Dionysian), was one of spirit possession and atavism. This in turn was closely associated with the effects of the wine. The spirit possession involved the invocation of spirits by means of the bull roarer, followed by communal dancing to drum and pipe, with characteristic movements (such as the backward head flick) found in all trance inducing cults.

Unlike many trance cults however, the Dionysian rites were primarily atavistic, that is the participant was possessed by animal spirits and bestial entities, rather than intelligible divinities, and may even “transform into animals”. A practise preserved by the riteof the “goat and panther men” of the “heretical” Aissaoua Sufi cult of North Africa, and remembered in the satyrs and sileni of the Dionysian procession, and perhaps even the “bull man”, or Minotaur, of the chthonic Minoan labyrinth.

The purpose of this atavism is controversial, some see it simply as a Greek saturnalian catharsis, a ritualised release of repressed elements of civilised psychology, and temporary inversion, in order to preserve it, others see it as a return to the “chaotic” sources of being and essentially a reaction against civilisation, while yet others regard it as a magical connection with chthonic powers

In the late 1800s A.D., the philosopher Friedrich Nietzsche elaborated the dichotomy Apollonian- Dionysian in his book “The Birth of Tragedy”, arguing that the Apollonian principal corresponded to the principium individuationis, the principal of individualization, a concept coined by German philosopher Arthur Schopenhauer. This is because rational thought defines and thus compartmentalizes forms into different structures.

Nietzsche rather identified with the Dionysian principal that corresponded to Schopenhauer’s conception of Will, the principal of submerging oneself into a greater whole. Music, drunkenness, dancing, and madness were considered Dionysian characteristics because they apply to the instinctive, chaotic, and ecstatic side of the human mind. 

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“The Initiation Chamber”. Villa of The Mysteries. Pompeii. (79 CE).-

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►”Dyonisiac Frieze, Villa of Mysteries, Pompeii” (In English):

►”Pompeii: Villa dei Misteri” (In Italian):

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•Further Information: “The Villa of the Mysteries” or “Villa dei Misteri” is a well preserved ruin of a Roman Villa which lies some 400 metres northwest of Pompeii, southern Italy.

The Villa is named for the paintings in one room of the residence. This space is decorated with very fine frescoes, dated 79 CE. Although the actual subject of the frescoes is hotly debated, the most common interpretation of the images is scenes of the initiation of a woman into a special cult of Dionysus, mystery cult  hat required specific rites and rituals to become a member.

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►Gallery: “Dionysian Mysteries”:

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►Links Post:

http://www.mlahanas.de/Greeks/LX/DionysianMysteries.html

http://www.lost-history.com/mysteries.php

http://en.wikipedia.org/wiki/Villa_of_the_Mysteries

http://smarthistory.khanacademy.org/dionysiac-frieze-villa-of-the-mysteries.html

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►Philosophy / Art:

“Evolution of the Concept of Beauty and Examples in Greek Sculpture”:

“The Diskobolus of Myron”. Nude male discus-thrower. Classical Period. Roman copy of 450 B.C bronze original. British Museum-

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Plato considered beauty to be the Idea (Form) above all other Ideas. 

Plato’s account in the “Symposium” connect beauty to a response of love and desire, but locate beauty itself in the realm of the Forms, and the beauty of particular objects in their participation in the Form.

In this platonic dialogue, beauty is at least as objective as any other concept, or indeed takes on a certain ontological priority as more real than particular Forms: it is a sort of Form of Forms.

Plato maintained that in addition to being able to identify a beautiful person or a beautiful painting, we also have a general conception of Beauty itself.

In other words, the beautiful things we can see are beautiful only because they participate in the more general Form of Beauty. This Form of Beauty is itself invisible, eternal, and unchanging, unlike the things in the visible world that can grow old and lose their beauty. 

The universal elements of beauty according to Aristotle in his book “Metaphysics” are : order, symmetry, and definiteness or determinateness.

In “Poetics” he added another essential, namely, a certain magnitude, it being desirable, for a synoptic and single view of the parts, that the object should not be too large, while clearness of perception requires that it should not be too small.

Aristotle saw a relationship between the beautiful (to kalon) and virtue, arguing that “Virtue aims at the beautiful”.  Aristotle also said that when the good person chooses to act virtuously, he does so for the sake of the “kalon”—a word that can mean “beautiful,” “noble,” or “fine. (Nicomachean Ethics. 1106b5–14)

Aristotle distinguished between the good and the beautiful. The good implies an action or conduct, while the beautiful is found only in motionless objects. “Beauty is a bodily excellence and produces many other good things.” Because “beautiful things are effects of mathematical sciences,” Aristotle viewed beautiful forms to have order, symmetry, and definiteness.

Aristotle says in the “Poetics” that “to be beautiful, a living creature, and every whole made up of parts, must present a certain order in its arrangement of parts” (Aristotle, “Poetics”, volume II, 2322).

Plato and Aristotle both regard beauty as objective in the sense that it is not localized in the response of the beholder. 

The classical conception is that beauty consists of an arrangement of integral parts into a coherent whole, according to proportion, harmony, symmetry, and similar notions. This is a primordial Western conception of beauty, and is embodied in classical and neo-classical architecture, sculpture, literature, and music wherever they appear.

The Pythagorean school saw a strong connection between mathematics  and beauty. In particular, they noted that objects proportioned according to the golden ratio seemed more attractive.

Ancient Greek Sculpture and Architecture are based on this view of symmetry and proportion.

Classical and Hellenistic sculptures of men and women produced according to the Greek philosophers’ tenets of ideal human beauty were rediscovered in Renaissance Europe, leading to a re-adoption of what became known as a “classical ideal”.

In his book, “Observations on the Feeling of the Beautiful and Sublime” (1764),  Immanuel Kant describes the feeling of the sublime and the feeling of the beautiful.

Some of his examples of feelings of the beautiful are the sight of flower beds, grazing flocks, and daylight.  

As to Kant, they “occasion a pleasant sensation but one that is joyous and smiling.”

Feelings of the sublime are the result of seeing mountain peaks, raging storms, and night. These ones, according to Kant, “arouse enjoyment but with horror”.

Beauty and the sublime can be joined or alternated. Kant claimed that tragedy, for the most part, stirs the feeling of the sublime. Comedy arouses feelings for beauty.

Kant subdivided the sublime into three kinds. The feeling of the terrifying sublime is sometimes accompanied with a certain dread or melancholy. The feeling of the noble sublime is quiet wonder. Feelings of the splendid sublime are pervaded with beauty.

For Kant, judgments of taste rest on something universal in human nature. So, correct judgments of taste, like the capacity to do the morally right thing, are available to all.

Friedrich Nietzsche disputes Kant’s view. He thinks that beauty may be highly personal, elusive, and not universally available, and perhaps is available only to aristocratic souls in unusual enhanced ecstatic experiences.

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►Beauty as it appears in Classical and Hellenistic Greek Sculptures:

►I) Greek Sculptures from the Classic Period (480 / 323 B.C):

During the Classical Period (480 /323 B.C.) the Greek artists replaced the stiff vertical figures of the archaic period with three-dimensional snap shots of figures in action.

While the archaic sculptures appeared static the classical statues held dynamic poses bursting with potential energy.

Figures become sensuous and appear frozen in action; it seems that only a second ago they were actually alive. Faces are given more expression and whole figures strike a particular mood. Clothes too become more subtle in their rendering and cling to the contours of the body in what has been described as “wind-blown”.

The concept of dialectics began to take shape. The world became understood as a series of opposing forces that created a certain synthesis and a transient balance that always shifted to accommodate the movement of the opposing forces. So in sculpture the human figure became understood as a universe of opposing forces which created a perfect aesthetic entity the moment they achieved balance.

It was clear to an artist of the Classical period of Greece that the beauty of the whole depends on the harmony of the parts which comprise it, and that each part depends on the others in order to create a harmonious group.

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Zeus of Artemision. Dated 450 B.C. Classical Period. Found Found in the sea near cape Artemision. National Archaeological Museum of Athens.-

‘”Doryphorus”, or Spear Bearer, done in the style of a Greek school in about 450-40 B.C (Classical Period), was probably by Polyclitus. A marble Roman copy pictured, now in the National Museum in Naples, Italy, was modeled on the bronze Greek original.-

Praxiteles” “Hermes with the Infant Dionysus'”is the only known original by an early Greek master from the Classical Period. Unearthed in 1877 at Olympia, Greece, it is in the Olympia Museum. The missing arm probably held a bunch of grapes, toward which the child is reaching.-

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►II) Greek Sculptures from the Hellenistic Period (323/31 B.C):

The Hellenistic period begins in 323 with the death of Alexander the Great and ends with the battle of Actio in 31 BC.

During this period, the Idealism of classical art gave way to a higher degree of Naturalism. While the interest in deities and heroic themes was still of importance, the emphasis of Hellenistic art shifted from religious and naturalistic themes towards more dramatic human expression, psychological and spiritual preoccupation, and theatrical settings. The sculpture of this period abandons the self-containment of the earlier styles and appears to embrace its physical surroundings with dramatic groupings and creative landscaping of its context. 

Eroticism gained popularity during this period and statues of Aphrodite, Eros, Satyrs, Dionysus, Pan, and even hermaphrodites are depicted in a multitude of configurations and styles. Statues of female nudes became popular in Hellenistic art and statues of Venus in various poses and attitudes adorn the halls of many museums around the world.-

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The Nike of Samothrace (Unknown Greek artist) is a 2nd century B.C (Hellenistic Period) marble sculpture of the Greek goddess Nike (Victory). Unknown Greek artist Since 1884, it has been displayed at the Louvre.-

“Venus or Aphrodite of Milo”, greek ancient statue of Aphrodite, now in Paris at the Louvre. Carved by Alexandros, a sculptor of Antioch on the Maeander River in about 150 B.C, Hellenistic Period. It was found on the Aegean island of Melos in 1820.-

“Aphrodite (Venus), Pan, and Eros”. Circa 100 B.C. (Hellenistic Period). National Archaeological Museum of Athens. Found at Delos.-

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 ►Ancient Greek Sculpture: 

“The three main periods: Archaic, Classical and Hellenistic”:

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►Last but not least: I would like to thank Maria from The Tropical Flowering Zone for her help as regard to searching the information for this post and for the discussions we had as to the main points on it :D

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►Links Post:

http://lyceumphilosophy.com/?q=node/50

http://plato.stanford.edu/entries/plato-aesthetics/

http://public.wsu.edu/~kimander/teraray.htm

http://www.hull.ac.uk/php/465848/HOMEPAGE/PDFs/05_Zangwill_HPQ_30_1.pdf

http://www.1902encyclopedia.com/A/AES/aesthetics-09.html

http://www.greeklandscapes.com/greece/athens_museum_hellenistic.html

http://en.wikipedia.org/wiki/Observations_on_the_Feeling_of_the_Beautiful_and_Sublime

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►Greek Mythology: “Aphrodite, Goddess of Love and Beauty”:

“Venus Verticordia” (“Venus the Changer of Hearts”) by Dante Gabriel Rossetti (1868).-

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Aphrodite (In ancient greek Ἀφροδίτη”arisen from the foam”. Roman equivalent: Venus) was the goddess of Love, Beauty and Eternal Youth, arousing desire to gods and humans. In addition, she was connected to the death/rebirth of nature and was also considered a protectress of sailors.

Aphrodite’s symbols were the girdle. the seashell and the mirror. Her sacred animal was the dove.

According to Hesiod’s “Theogony”, she was created from the foam of the waters of the sea, in the fragrant island of Cyprus, when the Titan Cronos  slew his father, the major Titan Ouranos, and threw then his genitals into the sea.

Hesiod’s reference to Aphrodite’s having been born from the sea inspired the Renaissance artist Botticelli’s famous painting of the goddess on a giant scallop shell. 

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“The Birt of Venus” by Sandro Botticelli (1486).-

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Homer, on the other hand, said that she was the daughter of Zeus and Dione.

When the Trojan prince Paris was asked to judge which of three Olympian goddesses was the most beautiful, he chose Aphrodite over Hera and Athena and gave her the Golden Apple which was labeled “To the Fairest”.

The latter two had hoped to bribe him with power and victory in battle, but Aphrodite offered the love of the most beautiful woman in the world.

This was Helen of Sparta, who became infamous as Helen of Troy when Paris subsequently eloped with her. In the ensuing Trojan War, Hera and Athena were implacable enemies of Troy while Aphrodite was loyal to Paris and the Trojans.

In Homer’s “Iliad”, Aphrodite saves Paris when he is about to be killed in single combat by Menelaus. The goddess wraps him in a mist and spirits him away, setting him down in his own bedroom in Troy. She then appears to Helen in the guise of an elderly handmaiden and tells her that Paris is waiting for her.

Helen recognizes the goddess in disguise and asks if she is being led once more to ruin. For Aphrodite had bewitched her into leaving her husband Menelaus to run off with Paris. She dares to suggest that Aphrodite go to Paris herself.

Suddenly furious, the goddess warns Helen not to go too far, lest she be abandoned to the hatred of Greeks and Trojans alike.

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“Venus induces Helen to fall in love with Paris” (detail)  by Angelica Kauffman (1790).-

“The Judgment of Paris” by Luca Giordano (1681-1683).-

”Golden Apple of Discord” by Jacob Jordaens (1633).-

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Another case in which Aphrodite came to the aid of a mortal hero also happened to involve golden apples. When the heroine Atalanta agreed to wed who beat her in a foot race, Aphrodite favored Hippomenes with a peck of golden fruit.

By strewing these apples on the race course, Hippomenes caused Atalanta to become distracted, reason why she lost the race.

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“Atlanta and Hippomenes” by Willem van Herp (1632).-

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In a different ocassion, Zeus punished Aphrodite for beguiling her fellow gods into inappropriate romances.

He caused her to become infatuated with the mortal Anchises. That’s how she came to be the mother of Aeneas. She protected this hero during the Trojan War and its aftermath, when Aeneas quested to Italy and became the mythological founder of a line of Roman emperors.

A minor Italic goddess named Venus became identified with Aphrodite, and that’s how she got her Roman name. It is as Venus that she appears in the “Aeneiad”, Virgil’s epic of the founding of Rome.

In the “Iliad”, Homer tells how Aphrodite intervened in battle to save her son Aeneas, who was obviously,  a Trojan ally. 

The Greek hero Diomedes, who had been on the verge of killing Aeneas, attacked the goddess herself, wounding her on the wrist. Aphrodite promptly dropped Aeneas, who was rescued by Apollo, another Olympian sponsor of the Trojan.

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“Venus with Iapis Tending the Wounded Aeneas” by Francesco Solimena (1695).-

“Venus Presenting Arms to Aeneas” by Nicolas Poussin (1639_.-

“Venus Directing Aeneas and Achates to Carthage” by Angelica Kauffmann. (1768).-

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►”The Aphrodite of Cnidos” by Praxiteles and Other Sculptures of Aphrodite based on it:

Coin from Cnidos showing the Aphrodite of Cnidus, by Praxiteles.

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“The Aphrodite of Cnidos” or “Cnidian Aphrodite” was one of the most famous works of the ancient greek sculptor Praxiteles (4th century BC, Classic Period). 

The statue  became famous for its beauty, meant to be appreciated from every angle, and for being the first life-size representation of the nude female form.  

Praxiteles probably used the courtesan Phryne as a model.

The Cnidian Aphrodite has not survived. Possibly the statue was removed to Constantinople and was lost in a fire.

The original statue supposedly depicted Aphrodite as she prepared for the ritual bath that restored her purity (not virginity), discarding her drapery in her left hand, while modestly shielding herself with her right hand.

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►Slideshare: Most Well Known Variations on “The Aphrodite of Cnidos”:

(Note: Click on any sculpture for further technical details on it)

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►Links Post:

http://www.mythweb.com/encyc/entries/aphrodite.html

http://gogreece.about.com/cs/mythology/a/mythaphrodite.htm

http://ancienthistory.about.com/cs/grecoromanmyth1/p/Aphrodite.htm

http://www.greek-gods.info/greek-gods/aphrodite/aphrodite-paintings.php

 http://en.wikipedia.org/wiki/Aphrodite_of_Cnidus

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►Greek Mythology: “Aphrodite and Adonis”:

“Venus and Adonis” by Francois Lemyone. (1729).

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Aphrodite was the Greek goddess of beauty and love. She was born from the sea foam which was created from Uranus’ severed genitalia being thrown into the sea by Cronus. 

She was married to Hephaestus (Greek God of Fire and Metalworking) so that the other gods would not fight over her. Still, she had several other lovers of which Ares, the god of war, and Adonis were the most relevant.

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“Mars (Ares) and Venus (Aphrodite) United by Love” by Paolo Veronese. (1570).

“Venus and Mars” by Luca Giordano (1760).

“Venus (Aphrodite), Mars (Ares), and Vulcan (Hephaestus)” by Jacopo Tintoretto (1551).

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Adonis’s mother was Myrrha, the very beautiful daughter of king Cinyras.

Myrrha’s mother would say that she was even more beautiful than Aphrodite which angered the goddess who cursed Myrrha to fall in love and lust after her father.

She tricked him into sleeping with her and she became pregnant. When her father found out he had been tricked he was so angry that he tried to kill her but the gods took pity on her and turned her into a myrrh tree.

Even so, the goddess of birth helped her give birth to her son. Aphrodite found the baby by a myrrh tree and she gave him to Persephone, the wife of Hades, who was the God of the Underworld. 

When the child grew he became a very beautiful young man. He was named Adonis.

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“Birth of Adonis” by Marcantonio Franceschini (1690).

“Adonis” by Benjamin West (1800).

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Persephone was also taken by Adonis’ beauty and refused to give him back to Aphrodite.

The dispute between the two goddesses was settled by Zeus, the king of the gods: Adonis was to spend one-third of every year with each goddess and the last third wherever he chose. He chose to spend two-thirds of the year with Aphrodite.

Ares, the god of war, grew jealous because Aphrodite spent so much time with Adonis that she had forgotten about him. As a result, Ares turned into a gigantic wild boar and attacked Adonis. Adonis, having forgotten Aphrodite’s warning, attacked the boar but soon found himself being chased by it.

On different versions of the myth, the boar is said to have been sent by Apollo, to punish Aphrodite for blinding his son, Erymanthus who was blinded by Aphrodite because he spied on her making love to Adonis. Or by Artemis, goddess of the haunt, who was jealous of Adonis’ hunting skills.

The boar did catch up to Adonis and castrated him.

Adonis died in Aphrodite’s arms, and she sprinkled his blood with nectar from the anemone. It is said to be Adonis’ blood that turns the Adonis River, or Abraham River, red each spring.

Aphrodite was so distraught that Zeus made Adonis immortal, allowing him to leave Hades, the underworld of the dead, for part of the year to be with Aphrodite.

He always, however, had to return to Hades, where he was Persephone’s lover.

This cycle of death and rebirth was linked with the regeneration of vegetation and the crop seasons in ancient Greece. 

In essence the myth is about the perennial nature of beauty, as Adonis died only to be reborn in the underworld.

Originating in the Near East, the cult of Adonis was introduced to Athens in about 440 B.C. 

Only women celebrated “Adonia”, a festival to mourn the death and resurrection of Adonis.  

The festival was supposed to last two days. On the first day, Greek women observed all the rites customary at funerals. The second day was spent in merriment and feasting; because Adonis was allowed to return to life, and spend eight months of the year with Aphrodite (the other four with Persephone Queen of the Underworld).

The Greek women would also make “Adonis Gardens” by sowing quick-growing seeds into shallow trays or pots. 

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“The blood of the dead Adonis turns into an anemone” (Ovid, Met. X 735) by Hendrick Goltzius (1609).

“Venus and Cupid Lamenting the Dead Adonis’, by Cornelis Holsteyn. (1647).

“The Awakening of Adonis” by John William Waterhouse. (1900).

“The Gardens of Adonis” by John Reinhard Weguelin (1888).

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►Links Post: 

http://en.wikipedia.org/wiki/Aphrodite 

http://en.wikipedia.org/wiki/Adonia

https://www.rijksmuseum.nl/en

http://www.newworldencyclopedia.org/entry/Adonis

http://ancienthistory.about.com/cs/grecoromanmyth1/a/adonisaphrodite.htm 

http://paganroots.com/information/gods/greek-gods-goddesses/adonis/

http://www.greekmyths-greekmythology.com/myth-aphrodite-adonis/

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►Greek Mythology: “Myrrha, Adonis and Persephone”(Myths and Interpretation):

“Myhrra assisted by Lucina, the Goddess of Birth” by Jean de Court (1560).

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As we know from the previous post, Adonis, Myrrha’s son, was raised up for both Goddess Persephone and Aphrodite.

Myrrha’s mother (being more precise, Adonis’ grandmother) had said that her daughter Myrrha was even more beautiful than Aphrodite herself . This was taken as offensive by the goddess of Beauty, who took revenge on that.

And in this case she took revenge of Myrrha’s mother by punishing her daughter, cursing Myrrha to fall in love and lust after her father, Cinyras.

Aphrodite appears here as a trouble maker. It is not the first time that she had looked for acknowledgment of her Beauty.

We must keep in mind here the Judgement of Paris in which Aphrodite offered Helen the most beautiful mortal woman, to Prince Paris of Troy, in exchange of that famous Golden apple labeled for the fairest one.

Retaking the preceding points, roman poet Ovid referred to Myrrha’s story in “Metamorphoses,” Book 10, lines 467-518.

Myrrha was the daughter of King Cinyras and Queen Cenchreis of Cyprus.

Myrrha felt attracted to her father. Knowing the love was forbidden she fought it as hard as she could to avoid her feelings. But as he couldn’t do so, she tried to kill herself. Just before she was goindg to commit suicide, Myrrha was discovered by her nurse who finally dissuaded her.

Myrrha confided her forbidden love to the nurse. The nurse tried to make Myrrha suppress the infatuation, but could not calm the girl. Finally the nurse agreed to help Myrrha get into her father’s bed if she promised that she would not try to kill herself again.

The women got their opportunity during a feast. Myrrha’s father, King Cinyras, was drunk in his bed. The nurse helped Myrrha to get into the bed by telling the King she was a young woman who was deeply in love with him.

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“Myrrha and Cinyras”. Engraving by Virgil Solis for Ovid’s “Metamorphoses”. Book X.

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In this manner, Myrrha and the nurse were able to deceive Cinyras. The affair lasted several nights in complete darkness to conceal Myrrha’s identity. One night, Cinyras wanted to know the identity of the girl with whom he had conducted the affair. Upon bringing in a lamp, and seeing his crime, the king drew his sword and attempted to kill her but she could escape.

After becoming pregnant of her own father Myrrha walked for nine months, lost in her own guilt.

Zeus finally took pity on her and transformed her into a myrrh tree.

When it came time for the birth, the Myrrh tree was somehow assisted by the birth goddess Lucina and six water nymphs. The tree appeared to wrench and finally cracked and delivered a baby boy, who would be later called Adonis.

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“The Birth of Adonis”. Engraving by Bernard Picart for Ovid’s “Metamorphoses”.

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Aphrodite found the baby by the myrrh tree. She sheltered Adonis as a new-born baby and entrusted him to Persephone, the wife of Hades, who was the God of the Underworld. 

Aphrodite fell in love with the beautiful youth (possibly because she had been wounded by Eros’ arrow).

Persephone was also taken by Adonis’ beauty and refused to give him back to Aphrodite.

The dispute between the two goddesses was settled by Zeus 

Adonis was to spend one-third of every year with each goddess and the last third wherever he chose. Thus he decided to spend two-thirds of the year with Aphrodite.

Adonis’ death was tragic. He was killed (castrated) by a wild boar and died in Aphrodite’s arms, who sprinkled his blood with nectar from the anemone.  

It was said that Adonis’ blood turned the Adonis River, or Abraham River, red each spring.

After Adonis’ death, Aphrodite was so sad that Zeus decided to make Adonis immortal, allowing him to leave the underworld, to spend eight months of the year with Aphrodite.

He always, however, had to return to Hades and remain there the other four with Persephone.

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“The Death of Adonis” by Giuseppe Mazzuoli.(1709). The State Hermitage Museum

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Something worth highlighting here. There is a remarkable analogy between Adonis’ stay in both the Underworld and the World of the Living and Persephone’s myth, being also this Goddess one of the women (with Aphrodite) who raised Myrrha’s child, Adonis. 

This is shown specifically by the fact that Persephone (Demeter’s virgin daughter) was abducted by Hades, King of the Underworld.

According to the myth, Hades planted a meadow full of the narcissus flowers in order to entice Persephone. When she pulled on the flower, the Underworld opened up and Hades sprang up, carrying her off.

Later on, he gave Persephone a pomegranate. As she ate it, the fruit somehow cemented her marriage to Hades. Thus, she was bound to Hades for six months of each year, winter and autumn.

Persephone was allowed by his husband to join her mother in the World of Living, but only when summer and springtime arrived. 

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•Myrrha, transformed into a Myrrh Tree: Punishment. Myrrha is transformed and rendered voiceless making her unable to break the Taboo of Incest. The word “myrrh” in Ancient Greek was related to the word μύρον (mýron), which became a general term for perfume.

•Myrrha having sexual relationships with her father: Myrrha’s behavior here might be linked to the hero archetype, known as “The Fall”. It describes a descent in action from a higher to a lower state of being, an experience which might involve defilement, moral imperfection, and/or loss of innocence. This fall is often accompanied by expulsion from a kind of paradise as penalty for disobedience and/or moral transgression.

•Myrrha feeling guilty while she is pregnant: This attitude might be associated with, was is known in the Hero Pattern, an Unhealable Wound. Here, the wound, physical or psychological, cannot be healed fully. This would also indicate a loss of innocence or purity. Often the wounds’ pain drives the sufferer to desperate measures of madness. 

•Adonis, castrated by a Wild Boar: Adonis Castration might be considered equal to a Father-Castration, performed by Cinyras (Myhrra’s father and Adonis’  father and grandfather at the same time).

Castration is here performed as an extreme punishment which leads to death. It also entrains the fact that Adonis won’t be able to have sons or daughters with his substitute mothers (Aphrodite and/or Perspehone).

The symbology of Wild Boar is that of truth, courage and confrontation.

In some native Indian tribes Wild Boar was used as a way to teach young braves how to be honest and find their courage when they told a lie to the tribe.

•Aphrodite sprinkling Adonis’ blood with nectar from the anemone: Anemone blossom stories are mostly about death – that’s why its blossom is often liken with being forsaken or left behind. In the Greek version of Adonis’ death, the Anemone is a plant that symbolizes unfading love. 

For the Christian version of the meaning of anemones, it’s a symbol of the blood that Jesus Christ shed on the cross.  That’s the reason why you’ll see a bunch of anemones on several paintings of the crucifixion.

•Adonis’ death and resurrection: The most common of all situational archetypes, Death and Rebirth grow out of the parallel between the cycle of nature and life. The cycle of death and rebirth was linked with the regeneration of vegetation and the crop seasons in ancient Greece. Besides, this myth is related to the perennial nature of beauty, as Adonis died only to be reborn in the underworld.

•Adonis’ blood, which turned the Adonis River, or Abraham River, red each spring: Red (Blood and river colors) Red represents sacrifice; violent passion, disorder, sunrise, birth, fire, emotion, wounds, death, sentiment, mother. Rivers/Streams: They represent life force and life cycle

•Adonis resurrected, spend his time with both Persephone in the Underworld and Aphrodite in The World of Living: Beyond the fact that both Goddesses raised Adonis, this metaphor might be linked to the double dichotomy Light-Life / Darkness-Death. In which Light usually suggests hope, renewal, life and intellectual illumination; whilst darkness implies the unknown, death, ignorance, or despair.

It might be also related to the opposites Hell (Underworld)/Heaven: Hell represents the diabolic forces that inhabit the universe and heaven the God Forces.

•Persephone eating the pomegranate that Hades gave her: In this myth, the pomegranate is related to the changing of seasons and might be also considered as a symbol of indivisibility of marriage. Seasons: Spring: It represents Birth and New Beginnings. Summer: Associated to maturity and Knowledge. Autumn: Linked to Decline, nearing Death, growing old. Winter: Representing Death, sleep, hibernation.

•Persephone’s realms: The Underworld: Black space. Black color: It represents darkness, chaos, mystery, the unknown, death, the unconscious and evil.

•Persephone released from the Underworld by Hades: As Persephone came back to the Living World to spend six months of each year with her mother Demeter, the flowers and crops grow great. 

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►Links Post:

http://www.uffizi.org/artworks/la-primavera-allegory-of-spring-by-sandro-botticelli/

http://www.iconos.it/le-metamorfosi-di-ovidio/libro-x/venere-e-adone/immagini/21-venere-e-adone/

http://spiritsymbols.blogspot.com.ar/2013/10/wild-boar.html

http://en.wikipedia.org/wiki/Myrrha

http://ancientsites.com/aw/Post/1260902

http://www.squidoo.com/pomegranatesymbolism

http://froggey.wordpress.com/2014/03/27/the-pomegranate-the-righteous-fruit/

http://www.auntyflo.com/flower-dictionary/anemone

http://www.goddessgift.com/goddess-myths/greek_goddess_persephone.htm

http://www.paleothea.com/SortaSingles/Persephone.html

http://mythologyinfo.webs.com/theseasons.htm

http://en.wikipedia.org/wiki/Electra_complex

http://www.muhsd.k12.ca.us/cms/lib5/CA01001051/Centricity/Domain/520/English%203/Unit%201%20–%20Early%20American%20Lit/ArchetypesandSymbols.pdf

►Greek Mythology: “Eros, God of Love and Son of Goddess Aphrodite”:

“Red-Figure Plate with Eros” by Ascoli Satriano (Dated 340-320 BC). Walters Art Museum, Baltimore.

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Eros was the Greek God of Love. His roman equivalent was Cupid.

In Hesiod’ s “Theogony” he is represented as a cosmic force which emerged self-born at the beginning of time to spur procreation.

Hesiod was making reference to the Protogenos (primordial deity) of procreation who emerged self-formed at the beginning of time. He was the driving force behind the generation of new life in the early cosmos.

According to Hesiod, Eros was the fourth god to come into existence, coming after Chaos, Gaia and Tartarus  (the Abyss or the Underworld).

The Orphic and Eleusinian Mysteries featured Eros as an original God, but not quite primordial, since he was one of the sons of Nyx.

The Orphics knew him as Phanes, a primal being hatched from the World Egg at creation. 

Hesiod also describes two love-gods, Eros and Himeros (Desire), accompanying Aphrodite at her birth from the sea-foam.

This second and later sense is related to Younger Eros, a boy-god armed with bow and arrows.

A minion who, according to Ovid, was son of Aphrodite, the Greek Goddess of Beauty and Ares, the Greek God of War, whose love affair represented an allegory of Love and War.

Anteros was also the son of Ares and Aphrodite and therefore Eros’ brother.

Eros and Anteros were related to the notion of “Love returned”. But, originally, Anteros was a being opposed to Eros, and fighting against him. This conflict, however, was also conceived as the rivalry existing between two lovers, and Anteros accordingly punished those who did not return the love of others

Anteros, with Eros, was one of a host of winged love gods called Erotes, the ever-youthful winged gods of love, usually depicted as winged boys in the company of Aphrodite or her attendant goddesses.

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“Venus and Cupid” by Lambert Sustris (1560). In this painting, Venus (Aphrodite) is stroking some doves (her attributes) in the presence of her son Cupid (Eros) as she awaits his lover Mars (or Ares in the background, right) who is on his way to join her.

“Allegory with Venus, Mars, Cupid and Time”. by Guercino (1625). In this painting, winged Time points an accusing finger at baby Cupid, (Eros) held in a net that evokes the snare in which Venus (Aphrodite) and Mars (Ares) were caught by her betrayed husband Vulcan (hephasitos)

“Eros et Anteros” (ou “Deux Amours qui se battent”) by Alessandro Algardi. 17th century.

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►Eros, Greek God of Love: Attributes and Themes:

•Eros (Or Cupid), The Honey Thief: In “Idylls” of Theocritus (3rd century BC), the poet tells the tale of Cupid the honey thief, the child-god is stung by bees when he steals honey from their hive. He cries and runs to his mother, who laughs, and tells him that he also delivers the sting of love.

•Eros and the Dolphin: In later art, Eros is often shown riding a dolphin. This may be a symbol representing how swiftly love moves.

•Eros, the Blinfolded Minion: In the later satirical poets, he is represented as a blindfolded child, and this is a symbol of Love being blinkered and arbitrary.

•Eros, the winged boy: He is also described a winged boy. This may suggest that lovers are flighty and likely to change their minds. He is just a boy, because love is irrational.

•Eros’ symbols: The Arrow and the Torch: His symbols are the arrow and torch, because love is said to wound and inflame the heart”. 

According to Ovid, Cupid carries two kinds of arrows, one with a sharp golden point, and the other with a blunt tip of lead.

A person wounded by the golden arrow is filled with uncontrollable desire, but the one struck by the lead feels aversion and desires only to flee.

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“Cupid, the Honey Thief” by Albrecht Dürer (1514).

“Cupid (Eros) complaining to Venus (Aphrodite)” by Lucas Cranach the Elder (1525).

“Cupid riding a Dolphin” by Peter Paul Rubens (1636).

Mosaic: “Eros riding a dolphin”. Imperial Roman. (1st- 2nd Century). Eros rides across the sea on the back of a dolphin. He holds a whip in one hand, and a pair of reins in the other.

“Blindfolded, armed Cupid” by Piero della Francesca (1452/66).

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►Links Post:

http://en.wikipedia.org/wiki/Greek_primordial_deities 

http://www.pantheon.org/articles/e/eros.html 

http://en.wikipedia.org/wiki/Eros

 http://www.wga.hu/html_m/r/rubens/7graphic/14sketch.html

 http://gogreece.about.com/od/greekmythology/a/eros.htm 

http://www.theoi.com/Ouranios/Eros.html

http://mythologie-laverite.jimdo.com/ant%C3%A9ros/

http://hubpages.com/hub/Aphrodite-Goddess-of-Love

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►Greek Mythology: “Eros and Psyche”:

“The abduction of Psyche” by William-Adolphe Bouguereau (1894).

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The myth of Eros and Psyche was originally a story by Apuleius, written in the 2nd century BC.

The Greek name for “Butterfly” is “Psyche”, which also means “Soul”. 

Hence Psyche represented the soul, being as she was an extremely beautiful Princess from Sicily.

Being jealous due to men’s admiration for Psyche, Goddess Aphrodite asked her son, Eros, to poison men’s souls in order to kill off their desire for Psyche.

But when he intended in vain to do that, Eros also fell in love with Psyche.

As Psyche was single, her parents became so desperate because of their daughter’s destiny and had no choice but to ask for an oracle, hoping that they would manage to solve the mystery and give a husband to their daughter.

The oracle said that Psyche would marry an ugly beast whose face she would never be able to see, and he would wait for her at the top of the mountain.

Up on the rock, it turned out that the God Eros, invisible in that case, was waiting for Psyche in order to avenge his mother. But instead of punishing Psyche, he unavoidably fell in love with her.  

So he asked the west wind, Zephyr, to waft her to his palace.

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“Psyche Honoured by the People” by Luca Giordano. Series of twelve scenes (1692–1702).

“Psyche Lifted Up by Zephyrs” by Pierre-Paul Prud’hon (1800).

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Thus Psyche was abducted (1) and, once in the palace, the servants told her that new husband, will come to visit her that evening. 

Eros and Psyche consummated their love that night, though in total darkness because Eros has forbidden her to look at him.  

Hence, Psyche’ sisters persuaded her that her lover was an ugly beast (2) who would try to kill her, so she might have to do the first movement.

With the oil lamp and knife in her hands, Psyche one night was ready for murder, but when she enlightened the face of her beast-husband, she saw the beautiful God Eros. Caught by surprise, she spilled the oil on his face.

Eros woke up and flew away telling Psyche that she had betrayed him and that they would never be together again.

Psyche started searching for her lost love, and finally was suggested to beg Eros’ mother, Aphrodite to see him because she had previously imprisoned his son in her palace. Even though, she accepted Psyche’s request, telling her that she had to accomplish some tasks in order to achieve her goal.

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“Cupid and Psyche” by Jacques-Louis David (1817).

“Psyche’s Wedding” by Edward Burne-Jones (1895).

“Amor (Eros) and Psyche” by Jacopo Zucchi (1589).

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The first task was a matter of sorting a huge pile of mixed grains into separate piles.

Eros had secretly arranged for an army of ants to separate the piles.  So she could finally do it. Aphrodite, returning the following morning, accused Psyche of having had help, as indeed she had.

The next task involved getting a snippet of Golden Fleece (3) from each one of a special herd of sheep that lived across a nearby river.  The Gods of River or Potamoi (4) advised Psyche to wait until the sheep sought shade from the midday sun.  As the animals were sleeping, they didn’t attack her. And Psyche could fulfill Aphrodite’s second task. But, Aphrodite, once again, accused her of having had help.

For Psyche’s third task, she was given a crystal vessel in which she had to collect the black water spewed by the source of the rivers of the Underworld Styx and Cocytus (5). During her attempt to accomplish the task, she was daunted by the foreboding air of the place and dragons slithering through the rocks. Fortunately, Zeus took pity on her, and sent an eagle to battle the dragons and bring the water for her.

After accomplishing these three tasks, Psyche had to face the last and most difficult one. This fourth task was to go to the Hades (Underworld) and bring the box with The Elixir of Beauty (6) to Aphrodite, who ordered her not to open the box.

She got the elixir from hands of Persephone, Hades’ wife and Demeter’s daughter.

But Psyche was curious and opened the box (7). Morpheus (the god of sleep and dreams) had introduced a spell on it, and because of that reason, she fell completely asleep (8). 

As Eros missed his lover Psyche, he asked Zeus to help him again. And so did the ruler of the Olympian gods, who woke up Psyche from her everlasting sleep, making her immortal. 

Finally, Psyche and Eros were reunited, and even Aphrodite acknowledged Psyche’s victory.

The God of Love and the Goddesses of the Soul lived happily together and even had a daughter, whose name was Hedone (Goddess of Pleasure).

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“Psyché aux enfers” by Eugène Ernest Hillemacher (1865).

“Psyche Obtaining the Elixir of Beauty from Proserpine” by Charles-Joseph Natoire (1735).

“Psyche” by John Reinhard Weguelin (1890).

“Cupid and Psyche” by Anthony van Dyck (1639).

“Cupid and Psyche” by Jean-Pierre Saint-Ours (1843).

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•References (Corresponding to Numbers in Blue above):

(1) Psyche’s abduction by Eros remind us of Persephone’s abduction by Hades.

(2) In this sense, this myth might have similarities with the tale “The Beauty and the Beast”.

(3) In Greek mythology, the Golden Fleece is the fleece of the gold-hair winged ram. The fleece is a symbol of authority and kingship.

(4) The Greek Gods of river were known as Potamoi. They are the fathers of Naiads and the brothers of the Oceanids, and as such, the sons of Oceanus and Tethys

(5) The rivers Styx, Cocytus, Phlegethon, Acheron, Lethe all converge at the center of the underworld on a great marsh, which is also sometimes called the Styx.

(6) The Elixir of Beauty was potion that Persephone, The Queen of The Underworld owned.

(7) In this sense, this myth reminds us of the famous Pandora’s box. Zeus had given Pandora a box after she married Epimetheus. As Pandora couldn’t avoid her curiosity, she disobeyed and opened a box. As she did, she unleashed all the evils known to mankind.

(8) These facts made me think of “Sleeping Beauty”.

• For an overall, description of the Gods/Goddesses appearing on this myth, click here.

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►Links Post:

http://www.greekmyths-greekmythology.com/psyche-and-eros-myth/

http://greece.mrdonn.org/greekgods/erosandpsyche.html

http://en.wikipedia.org/wiki/Styx

http://en.wikipedia.org/wiki/Golden_Fleece

http://en.wikipedia.org/wiki/Potamoi

http://ancienthistory.about.com/cs/grecoromanmyth1/a/mythslegends_4.htm

http://ancienthistory.about.com/od/cupideros/tp/010811-Cupid-And-Psyche.htm

http://www.madelinemiller.com/myth-of-the-week-psyche-and-eros/

http://www.surlalunefairytales.com/beautybeast/other.html

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►Last but not Least: Five Awards: 

►Here are the Award Rules, which are the same for all the awards:

1) The nominee shall display the respective logo on her/his blog.

•Note: To get the logo just click on the one which corresponds among the ones appearing in the Gallery below.

2) The nominee shall nominate ten (10)  bloggers she/he admires, by linking to their blogs and informing them about it.

►Aquí están las reglas comunes a todos los Premios:

1) Ubicar el logo del Premio que le corresponda en su blog. par

2) Nominar a otros quince (15) bloggers, enlazando a sus respectivos blogs e informándolos de la nominación.

•Nota: Para obtener el logo, hacer click en la imagen que corresponda al mismo, de entre todas las que aparecen debajo.

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I) One Lovely Blogger Award: My blog has been nominated for this award by Inese from Inesemj photography, a mesmerizing blog with wonderful photos, mainly from UK’s landscapes, and mostly from beautiful Ireland.

Also a blogger friend, Non Smoking Lady Bug, from The Happy Quitter nominated me for the same award. Her blog is cool. Some of the categories she writes about are Ex Smoker Humour, Life in General and Quit Smoking… (Which, by the way reminds me I need to put aside the nicotine)….

•This Award requires to point out seven facts about you (nominee). Thus, I will very briefly add them here just to respect the bureaucratic procedure. But  if your blog was nominated you may consider yourself dismissed without prejudice :)

1. My full name is María Pedemonte Velázquez. 2. I live in Buenos Aires Argentina. 3. In a town called San Fernando. 4. My argentine ID has eight numbers. 5. Four of those eight numbers are number six. 6. Two of those numbers are number two. 7. Two of those numbers are nine… (Now guess my ID!) :D

►My nominees for the One Lovely Blogger Award are:

1. The Tropical Flowering Zone 2. Uncle’s Tree House 3. T Ibara Photo 4. John Poet Flanagan 5. Stuff Jeff Reads 6. LaVagabonde 7. Graffiti Lux and Murals 8. Emociones Encadenadas 9. Sue Slaght 10. Avian101.

II) Black Wolf Blogger Award: I have received this award from José Cervera, who hosts a blog in spanish called Ritual de las Palabras (Ritual of Words). Take a peak using the translator. He often posts great reviews of books.

►My nominees for the Black Wolf Blogger Award are:

1. Author Miranda Stone 2. JeriWB Author and Editor 3. A Solas con Caronte 4. Field of Thorns 5.Shehanne Moore 6. Poetic Parfait 7. En Humor Arte 8.Inesemj photography 9. Kev’s Blog 10. Dreamwalker’s Sanctuary

III) Premio Dardos: He sido nominada para este Premio desde Jag, A Solas con Caronte, Emociones Encadenadas y El Beso en el Espejo. Los cuatro excelentes blogs, claro, en castellano.  

Jag es un blog con geniales relatos breves, cuya lectura recomiendo.

En A solas con Caronte me he encontrado con muy buenos relatos breves y otras misceláneas que conviene no perderse.

Gema, desde Emociones Encadenadas nos ofrece grandes posts. El nombre del blog es elocuente, pues las palabras en este caso acarrean sentimientos y siempre es un gusto detenerse a leer este blog.

El Beso en el Espejo, por su parte, es un  muy buen blog, con primacía literaria. Sus contenidos incluyen once capítulos de una novela intempestiva, citas y poemas.

►Mis nominados para el Premio Dardos son:

1.Chesterton Blog 2. Palabras Sosegadas 3. Alex Kiaw 4. Leire’s Room 5. Rey de Reyes 6. Jarafuel 7. Ser un Ser de Luz 8. Alpuymuz 9. Rotze Mardini 10. La Cosa Gris.

IV & V) Liebster Award & Versatile Blogger Award: Estos premios me fueron otorgados, nuevamente, desde el blog amigo A Solas con Caronte, espacio virtual que recomiendo para echar una vistazo primero y luego, definitivamente, atreverse a explorar.

I have received these two Awards from the blog  A Solas con Caronte (Alone with Charon). I recommend this blog to take a peak, firstly and then definitely, to dare to explore it. The blog is, of course in spanish, but… who is impeding you to use the translator, anyways?.

►Mis nominados para el Liebster Award son / My nominees for the Liebster Award are:

1. The Happy Quitter 2. Inesemj photography 3. A Suffolk Lane 4. El rincón de los Noctambulos 5. Ritual de las Palabras 6.El Beso en el Espejo 7. Words in the Light 8. Pambrittain 9. Talker Blogger 10. The Muscleheaded Blog

►Mis nominados para el Versatile Blogger Award son / My nominees for the Versatile Blogger Award are:

1. Cindy Knoke 2. Cindy Bruchman 3. Being Better 4. The Muscleheaded Blog 5. Jag 6. I lost my Lens Cap 7. Isaspi 8. Living with my Ancestors 9. Bluebutterfliesandme 10. Priorhouse

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►Amy Mac Donald: “Spark”:

(A song by this great scottish singer. Check out Lyrics here)

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Thank you very much for dropping by. Best wishes!, Aquileana :)

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►Art / Mythology: “The Loggia of Psyche” at The Villa Farnesina

(Frescoes Based on the Myth Of Eros and Psyche):

“The Loggia of Psyche” (Villa Farnesina, Rome. 16th Century).

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The Villa Farnesina is placed in the Trastevere area of Rome on the Via della Lungara along the river Tiber.

It was designed by Baldassare Perluzzi between 1508 and 1512 for the banker, Agostino Chigi who was in love with his mistress Francesca Ordeaschi to whom he finally married in 1519.

After Chigi, the villa was purchased by the Farnese family and connected by a bridge across the Tiber to the huge Palazzo Farnese on the opposite bank.

The walls related to the Loggia of Phsyche were frescoed by several noted artists, most importantly Raphael, but it’s the ceiling that illustrates Psyche and Eros’ story.  

Scholars suggest that the story cycle alludes to Chigi’s own life, and his recent marriage.

Although the preparatory drawings and the general conception of the stories are by Raffaello Sanzio da Urbino (also known as Raphael (1483/1520), the bulk of the painting was carried out by his pupils, notably Giovanni da Udine (who painted the rich plant festoons of the frame) with the collaboration of Giulio Romano, Raffaellino del Colle and Gianfrancesco Penni. 

Two frescoes on the ceiling depict incidents in the story of Eros and Psyche which took place in heaven.

Eros (Roman equivalent: Cupid) fell in love with Psyche and he abducted her.

Then, they had sexual relationships in total darkness because Eros had forbidden her to look at him.

As Aphrodite (Roman equivalent: Venus) was jealous of Psyche’s Beauty, she imprisoned his son, Eros, in her palace and forbade her to see him. At the end, Aphrodite accepted a deal, telling Psyche that she had to accomplish four tasks in order to see her beloved again.

After Psyche had undergone many difficult trials, Zeus made her immortal, and allowed her to marry Eros.

The Eros and Psyche myth corpus might be considered an  allegory for the ascent of the soul to immortality through love (especially love of beauty), based on Plato’s dialogue “Symposium” through Diotima’s “Ladder of Love”. 

By going through it, one will ascend from loving particular kinds of beauty to loving Beauty itself, from which all beautiful things derive their nature.

According to this analogy, Beauty is related to Love. Besides, Beauty itself is a Form or Idea, which  always exists, not coming into being or ceasing to be, nor increasing nor diminishing. Thus, Beauty will not appear in certain bodies in particular: it will appear in itself and by itself, independent of everything else. 

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►”Loggia di Psyche” (Sequential Gallery):

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“Venus and Cupid” by Raphael and collaborators (1517-18).

•In this fresco, Aphrodite (Roman equivalent: Venus) shows her son Eros (Roman equivalent Cupid) who is the young woman who was defying her own Beauty. According to the original version of the myth, Aphrodite, The Goddess of Beauty, asked Eros to poison men’ souls in order to kill off their desire for Psyche.

“Cupid and the Three Graces” by Raphael’s collaborator Giulio Romano (1517-18).

•Here we can The Three Graces on the clouds listening as young Eros relates the story of Psyche and his mother Aphrodite’s initial opposition – jealous of Psyche’s beauty – to mortal Psyche as his lover and eventual wife, as Apuleius originally tells in “The Golden Ass”.

The Three Graces were also known in Greek Mythology as Charites and they were goddesses related to charm, beauty, and creativity.

Venus (Aphrodite), Ceres (Demeter) and Juno (Hera) by Raphael with Giovanni da Udine’s collaboration. (1517-18).

•This detail from the vault of the Loggia shows Venus (Greek equivalent: Aphrodite, Goddess of Love and Beauty), Ceres,(Greek equivalent: Demeter, Goddess of the Harvest) and Juno (Greek equivalent: Hera, Zeus’ wife and sister and Goddess of Marriage and Childbirth ).

In this spandrel the group of three goddesses is divided.

Venus has learned of the secret affair and, driven by wrath, is seeking support from her female friends. But they both show little sympathy for her wrath and laments.

“Venus on the Chariot Pulled by Doves” by Raphael and collaborators (1517-18).

•In this spandrel we can see Goddess Aphrodite (Roman equivalent: Venus), on a chariot and pulled by Doves. The chariot might be related with the allegory of ascendant Beauty, whilst the doves were specific attributes of the Goddess.

“Psyche Brings a Vessel up to Venus/Aphrodite” by Giulio Romano (1517-18).

“Venus and Psyche” by Raphael and collaborators (1517-18).

•This two frescoes are linked to the fourth task ordered to Psyche by Aphrodite.

As the narrative relates of her ordeals commanded by Aphrodite, Psyche is taken to Aphrodite carrying the vessel she thinks holds Persephone’s beauty but actually holds deadly “Sleep of the Innermost Darkness, the night of Styx”.

Psyche opens the box desiring to be beautiful for Eros and restored to him. In doing so, disobeying Aphrodite, she swoons toward death, needing to be revived by Eros.

Cupid and Jupiter (on the left). Psyche and Jupiter (on the right). By Raphael and collaborators (1517-18).

•In these frescoes we can see Zeus, the ruler of the Olympian gods (Roman equivalent: Jupiter) with Eros (Roman equivalent: Cupid) on the left and Psyche on the right.

The Father of Gods advises them. His attitude seems to be more wrathful towards Eros, as he is holding his chin while he is staring at him. By contrast, he looks at Psyche with an indulgent and affable gesture.

“Mercury” (Hermes) by Raphael and collaborators (1517-18).

“Mercury Brings Psyche up to Olympus” by Raphael and collaborators (1517-18).

•In these two frescoes we can see Hermes (Roman equivalent: Mercury) who was the messenger of the gods and guide of dead souls to the Underworld. Hermes was also well known for performing duties for Father of Gods.

As a matter of fact, Zeus appreciated Hermes’ wits highly and always asked for Hermes’ assistance throughout his decisions. 

In Apuleius’ Eros and Psyche story, Hermes even carries Psyche to heaven and the marriage banquet, just as seen in the first frescoe below.

“Wedding Banquet of Cupid and Psyche” by Raphael and collaborators (1517-18).

“The Council of Gods” by Raphael and collaborators (1517-18).

“Wedding Banquet of Cupid and Psyche” and “The Council of the Gods” (Detail). By Rapahel and collaborators (1517-18).

•The conclusion of the Psyche and Eros story takes place in two broad format paintings in the vault panel.

Raphael depicts the council of the gods in which Zeus (Roman equivalent: Jupiter) decides to accept Psyche and Hermes (Roman equivalent: Mercury) gives her the elixir of immortality.

Then the wedding is celebrated. The groupings of figures spread out in a lively way. The communal life of the gods is unfolded in a characterization of their all human, too human feelings.-

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►Paul Hindemith, “Amor und Psyche”, Villa Farnesina, Raphael:

[Note: The first fresco appearing in the video is not part of the ceiling frescoes composing "The Loggia of Psyche". Its name is "The Triumph of Galatea" and it was completed about 1514 by Raphael for the Villa Farnesina].

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►Links Post:

http://www.wga.hu/html_m/r/raphael/5roma/4a/

http://comminfo.rutgers.edu/~mjoseph/CP/ICP.html

http://www.bluffton.edu/~sullivanm/farnesina/farnesina.html

http://commons.wikimedia.org/wiki/Category:Loggia_of_Psyche_(Villa_Farnesina,_Rome)

http://comminfo.rutgers.edu/~mjoseph/CP/loggia.html

http://www.sparknotes.com/philosophy/symposium/section11.rhtml

http://www.electrummagazine.com/2012/06/the-villa-farnesina-jewel-of-renaissance-rome/

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►Greek Mythology: “Aphrodite, Hephaestus, Ares and her Other Lovers”:

“Mars and Venus Surprised by Vulcan” by Joachim Wtewael. (1601).

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Hephaestus (Roman equivalent: Vulcan), the smith and craftsman of the gods, was married to Aphrodite (Roman equivalent: Venus), the goddess of love and beauty.

It was not a good  marriage because Aphrodite was as an unfaithful wife.

But Hephaestus also cheated her, for example with Athena, the Greek goddess of reason, intelligent activity, arts and literature.

Aphrodite most notable lovers were the gods Ares (God of War. Roman equivalent: Mars), Dionysius, Greek God of Wine and Fertility,  Hermes, (Greek God of herds and herald of the gods. Roman equivalent: Mercury), Zeus (King of Gods. Roman equivalent: Jupiter), Nerites (A young Sea-God who was the very first love of Aphrodite). Poseidon (Greek God of the Sea. Roman equivalent: Neptune), and the mortal, Adonis, who was Myhrra’son.

Except for a few occasions when he was overwhelmed with jealousy or resentment, Hephaestus seemed to accept this arrangement.

Aphrodite had a long love affair with Ares (Roman equivalent), the god of war and strife. Eros, god of Love, would become their son.

Ares was the great Olympian God of War, Battlelust and Manly Courage.

In Greek art he was depicted as either a mature, bearded warrior dressed in battle arms, or a nude beardless youth with helm and spear. 

Some of the more famous myths featuring the god include his adulterous affair with Aphrodite whislt she was married to Hephaestus and the slaying of Adonis, his rival for the love of Aphrodite, in the guise of a boar.

Helius, the Sun God was able to see most things during the day, as he drove his sun chariot across the sky. It was one of those days that Helius witnessed Aphrodite taking her lover in her bed, while Hephaestus was absent. Helius easily recognised Ares.

So, he told everything to Hephaestus.

Hephaestus decided to take revenge on the lovers. Thus using his wit and his crafting skills he fashioned an unbreakable net and trapped the two lovers while they were in bed Hephaestus immediately walked back to his bedchamber with a host of other gods to witness the disgraced pair. Only the male Olympians appeared, while the goddesses stayed in Olympus

Poseidon tried to persuade Hephaestus to release the adulterous pair. At first, Hephaestus refused the request, because he wanted to extract the most out of his revenge, but at the end he released his wife and her love. Ares immediately fled to Thrace, while Aphrodite went to Paphos at the island of Cyprus.

According to the roman poet Ovid, Aphrodite made sure to punish the informer, the sun god Helius.

As Helius loved a nymph, named Clytie. Aphrodite made him  fall in love with another young woman, named Leucothoe, who was daughter of Orchamus (king of Persia).

Clytie became jealous of her rival, so she spread a rumour saying that she was seduced by a mortal lover. Leucothoe’s father, King Orchamus buried her alive. 

Thus, finally, Helius abandoned Clytie, and flew through the sky, driving his chariot  for nine days.

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Aphrodite and her Lovers (Source http://www.theoi.com)

Amphora. Details. On the Left: Ares casts a spear at a Gigante from his chariot, driven by the goddess Aphrodite, while Eros aims his bow. On the Right: Aphrodite with doves and her lover Ares. Period: Late Classic (400/350 BC).

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“Mars and Venus” by Sandro Botticelli (1483).

“Mars and Venus” by Sandro Botticelli (1483).

►Description: In the painting Venus watches Mars sleeps while two infant satyrs play carrying his armor as another rests under his arm. A fourth blows a small conch shell in his ear in an effort to wake him. Mars is sleeping the ‘little death’ which comes after making love, and not even a trumpet in his ear will wake him. The little satyrs have stolen his lance – a joke to show that he is now disarmed. The scene is set in a haunted forest, and the sense of perspective and horizon extremely tight and compact.  In the foreground, a swarm of wasps hovers around Mars’ head, possibly as a symbol that love is often accompanied by pain.

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►Aphrodite (Venus), her husband Hephaetus (Vulcan) and her lover Ares (Mars):

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►Aphrodite (Venus) and her other Lovers:

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►Links Post:

http://www.godandgoddess.com/the-goddess-aphrodite.html

http://smart-pustaka.blogspot.com.ar/2011/02/dewi-aphrodite.html 

http://www.theoi.com/Olympios/AphroditeLoves.html

http://www.timelessmyths.com/classical/lovers.html

 http://www.timelessmyths.com/classical/lovers.html

http://www.maicar.com/GML/Aphrodite.html

http://en.wikipedia.org/wiki/Mars_and_Venus_(Botticelli)

http://en.wikipedia.org/wiki/Hephaestus 

http://www.theoi.com/Olympios/HephaistosLoves.html 

http://www.greek-gods.org/olympian-gods/aphrodite.php

http://www.mythindex.com/greek-mythology/A/Ares.html

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►Greek Mythology: “Helios, the God Sun”:

“Helios on His Chariot” (Detail) by Hans Adam Weissenkircher (17th century).

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Helios was the Greek God Sun. He was also the guardian of oaths and the god of gift of sight. 

Around the time of Euripides, the sun of Helios became identified with Apollo. Helios was known by the names Sol and Phoebus in Roman mythology.

Helios was depicted as a handsome, and usually beardless, man clothed in purple robes and crowned with the shining aureole of the sun. His sun-chariot was drawn by four steeds, sometimes winged. 

As stated by Hesiod, Helios was the son of two Titans: Theia and Hyperion. In Hesiod’s “Theogony”, therefore, Helios was also the brother of Eos (the goddess of Dawn) and Selene (the goddess of the Moon). It is interesting to note that the Dawn goddess Eos began the procession of morning, followed closely by her brother Helios.

According to the original myth, Helios dwelt in a golden palace located in the River Okeanos at the eastern ends of the earth. From there he emerged each dawn driving a chariot drawn by four, fiery winged steeds and crowned with the aureole of the sun. When he reached the the land of the Hesperides  (Evenings) in the West he descended into a golden cup which carried him around the northern streams of Okeanos back to his rising place in the East.

Helios was first married to his sister, Selene. Quintus Smyrnaeus makes Helios and Selene the parents of the Horae, the four Goddesses of the seasons. 

but overall he had many wives, among them the Oceanid Perse; from their union, Helios became the father of king Aeetes, Circe and Pasiphae, the wife of Minos and mother of the Minotaur.

Clythie was also included among Helios’ lovers. 

Clymene (Phaeton’s mother) was probably also identified with Clytie. Both of their names mean “the famous one”, and Clymene’s title Merope (“with turning face”) aptly describes the behaviour of the flower.

Helios, having loved her, abandoned her for another nymph, called Leucothea. 

Clythie was so angered by his treatment that she told Leucothea’s father, Orchamus, about the affair. Since Helios had defiled Leucothea, Orchamus had her put to death by burial alive in the sands.

Thus Clytie intended to win Helios back. She remained mourning Helios’ departure with neither food nor drink, for nine days on the rocks, staring at the sun, Helios. After nine days she was transformed into a heliotrope flower, the turnsole, which turns its head always to look longingly at Helios’ chariot of the sun. Modern traditions substitute the turnsole with a sunflower, which is said to turn in the direction of the sun.

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On the Left: “Clytie: Sorrow and Sunflowelite” by Frederic Leighton (1895). On the Right: “Clytie” by Evelyn De Morgan (1887).

“Clytie Transformed into a Sunflower” by Charles de Lafosse (17th century).

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By the Oceanid Clymene, Helios had a son Phaeton and maybe Augeas, and three daughters, Aegiale, Aegle, and Aetheria. These three daughters and two Helios had by Neaera, Lampetie and Phaethusa, were known as the Heliades.

Phaethon was, as we said, Helios’ and the sea-nymph Clymene’ s son. In one ocassion, he drove his father’s chariot and, as he rode it alternately too close to the earth, he set the earth on fire. To stop it, Zeus killed him with a bolt of lightning. 

Another wife of Helios was the Nymph Rhode (meaning “rose” in the Greek language).

Rhode gave her name to the famous Greek island of Rhodes and Helios was the island’s patron deity and the Rhodians worshipped Helios. As a matter of fact, one of the island’s main attractions, the Colossus of Rhodes, was built in his honor.

►The Colossus of Rhodes, statue built in Helios’ honor by Chares of Lindos:

The Colossus of Rhodes was a statue of the Greek titan-god of the sun Helios, erected in the city of Rhodes, on the Greek island of the same name, by Chares of Lindos.

Being considered one of the Seven Wonders of the Ancient World, It was constructed to celebrate Rhodes’ victory over the ruler of Cyprus, Antigonus I Monophthalmus.

The construction began in 292 BC and finished twelve years later, in 280 BC. The statue itself was over 30 meters tall.

Ancient accounts, which differ to some degree, describe the structure as being built with iron tie bars to which brass plates were fixed to form the skin. The interior of the structure, which stood on a 15-meter high white marble pedestal near the Mandraki harbor entrance, was filled with stone blocks as construction progressed.

The statue stood for 56 years until Rhodes was hit by the 226 BC Rhodes earthquake. By then, it fell over onto the land.

King Ptolomey III offered to pay for the reconstruction of the statue, but the Oracle of Delphi made the Rhodians afraid that they had offended Helios, and they declined to rebuild it.

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On the Left: Colossus. Illustration by Sidney Barclay in de Lassus’ Book “Voyage aux Sept merveilles du monde” (1880). On the Right: Unknown Artist’s misconception of the Colossus of Rhodes from the Grolier Society’s 1911 “Book of Knowledge”.

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►The Sun God Helios featuring Other Greek Myths:

•Helios in Persephone’ Myth:

Helios saw Hades abducting Persephone. Demeter didn’t think to ask him about her missing daughter, but wandered the earth morosely for months until her friend, the witchcraft goddess Hekate suggested that Helios might have been an eye witness.

•Helios’ role when Aphrodite and Ares were caught by Hephaestus:

Helios owed Hephaestus for the cup that carries him to his morning daily starting point, which the smithy god had made for him, so when he witnessed an event of importance to Hephaestus, he didn’t keep it to himself. He hurried to reveal the affair between Hephaestus’ wife Aphrodite and Ares.

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‘Apollo in His Chariot with the Hours” by John Singer Sargent (1922-25).

“Apollo in His Chariot with the Hours” (Details) by John Singer Sargent (1922-25).

“Phoebus Driving his chariot” by Karl Briullov (1821).

“Apollo in his Chariot” by Luca Giordano (1683).

“Apollo” by Giovanni Antonio Pellegrini (18th century).

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►Links Post:

http://www.theoi.com/Titan/Helios.html

http://www.fanpop.com/clubs/greek-mythology/articles/7768/title/god-sun-helios-apollo

http://www.mythography.com/myth/welcome-to-mythography/greek-gods/spirits-1/helios/

http://www.greek-gods.info/ancient-greek-gods/helios/

http://en.wikipedia.org/wiki/Clytie_(Oceanid)

http://www.theoi.com/Nymphe/NympheKlymene.html

http://en.wikipedia.org/wiki/Colossus_of_Rhodes

http://ancienthistory.about.com/od/hgodsandgoddesses/g/Helios.htm

http://jssgallery.org/paintings/mfa/Apollo_in_His_Chariot_with_the_Hours.htm

http://www.mythography.com/myth/welcome-to-mythography/greek-gods/spirits-1/helios/

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►Greek Mythology: “Phaeton, Helios’ Son”:

“Phaeton” by Gustave Moreau (1878).

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Phaeton (derived from the greek verb phaethô, “to shine: “the shining” or “radiant one”)  was the young son of Helios and Clymene

According to the roman poet, Ovid, Phaethon was the son of Helios, the god of the Sun, and Clymene, an Oceanid Nymph,who was also mother of the Seven Heliad Nymphs (Paethon’ sisters) .

It was not until Phaethon reached a certain age, however, that he learned that his father was indeed the Sun-god. When he realized who  his father was, Phaethon decided to meet Helios. He therefore went on a journey to the East, where he found his father’s grand palace.

Phaeton begged his father to let him drive the chariot of the sun. 

Helios tried to talk him out of it by telling him that not even Zeus would dare to drive it, as the chariot was fiery hot and the horses breathed out flames.

But Phaeton insisted and at the end Helios reluctantly conceded to his son’s wishes.

When the day came, the fierce horses that drew the chariot felt that it was empty because of the lack of the sun-god’s weight, and went out of control, setting the earth aflame

Zeus quickly realized that this was a dangerous situation. So the ruler of the Greek gods threw a thunderbolt directly at Phaethon, hurling his flaming body into the waters of the river Eridanos.

His sisters, the Heliades, gathered on the banks, and in their mourning with transformed into amber-teared poplar trees.

After his death, Phaethon was placed amongst the stars as the constellation Auriga (“The Charioteer”).

Plato used a similar analogy to the one of Phaeton’s myth in his dialogue “Phaedrus”. There, Plato presents the Analogy of the Chariot to explain the tripartite nature of the human soul.

In Plato’s Phaedrus, the charioteer joins a procession of gods, led by Zeus, on this trip into the heavens and have to try to successfully pilot the chariot, controllin and balancing the black and white horse.

When the chariot plummets to earth, the horses lose their wings, and the soul becomes embodied in human flesh. The degree to which the soul falls, and the “rank” of the mortal being it must then be embodied in is based on the amount of Truth it beheld while in the heavens.

As stated by this analogy, the  rational part of the soul is represented by the charioteer. The spirited part (Thymos) is represented by the white horse while the black horse symbolizes the appetitive part of the soul.

Besides, Phaeton’s myth has similarities with Icarus’ myth, which tells the tragic story of  Dedalus’ son, a young man who is driven to prove himself by reaching the Sun with waxed wings, regardless of the consequences. 

As in Icarus’ myth, Phaeton´s moral is to “take the middle way” by warning against heedless pursuit of instant gratification (represented in both myths by the horses. And, strictly following Plato’s definition in the “Phaedrus”, by the black horse, which represents man’s appetites ). 

The implicit aristotelian idea in these myths is that virtue is “a kind of moderation as it aims at the mean or moderate amount” (Aristotle’s Golden Mean). In this last sense both myths highlight the greek idea of Sophrosyne, which etymologically means healthy-mindedness and from there moderation guided by knowledge and balance. 

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“The Fall of Phaeton” by Peter Paul Rubens (1605).

On the Right: “The Fall of Phaeton” by Peter Paul Rubens (1605). On the Left: “The Sun, or the Fall of Icarus” by Merry-Joseph Blondel (1819).

“Phaeton driving the sun-chariot” by Nicolas Bertin (1720).

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 ►Gallery: “Phaeton, Helios’ Son”:

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“The fall of Phaeton” : From the series “The Metamorphoses” (Ovid) by Hendrik Goltzius (1588).

“The Fall of Paethon” by Michelangelo (1533).

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►Michelangelo Buonarotti, “The Fall of Phaeton”, a drawing based on Phaeton’s Myth (Last drawing above):

Description: At the top of the sheet, Jupiter sits on his eagle and hurls a thunderbolt at Phaethon, son of Apollo, who plunges from a horse-drawn chariot. Phaethon had asked to drive the chariot of the sun, but he lost control and to save the earth Jupiter destroyed him. Underneath, his sisters, the weeping Heliades, are changed into poplar trees while another relation, Cycnus, has become a swan. The reclining male figure is the river god, Eridanus into whose river (the River Po in Italy) Phaethon fell.

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►Links Post:

http://www.theoi.com/Titan/Phaethon.html

http://www.theoi.com/Titan/AsterPhaethon.html

http://en.wikipedia.org/wiki/Phaethon

http://www.oxforddictionaries.com/definition/english/Phaethon

http://www.britishmuseum.org/explore/highlights/highlight_objects/pd/m/michelangelo,_fall_of_phaeton.aspx

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►Last but not Least: Three Awards: 

►Here are the Award Rules, which are the same for all the awards:

1) The nominee shall display the respective logo on her/his blog.

•Note: To get the logo just click on the one which corresponds among the ones appearing in the Gallery below.

This time I will nominate new followers and/or bloggers I have recently met or that I haven’ t nominated before.

2) The nominee shall nominate ten (10) bloggers she/he admires, by linking to their blogs and informing them about it.

►Aquí están las reglas comunes a todos los Premios:

1) Ubicar el logo del Premio que le corresponda en su blog.

2) Nominar a otros diez (10) bloggers, enlazando a sus respectivos blogs e informándolos de la nominación.

•Nota: Para obtener el logo, hacer click en la imagen que corresponda al mismo, de entre todas las que aparecen debajo.

En esta oportunidad nominaré a nuevos seguidores y/ a bloggers que conocí recientemente o que aún no he nominado.

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Premio Dardos.

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I) Black Blogger Award: I have received this award from Gorrión de Asfalto and Profecías Mayas del Fin del Mundo.Both Blogs worth checking out. The first blog features Cultural events, Poetry, Guests Posts, among the main categories. The second one has as its most important topics: Anthropology, Archeology and Mexico’s Ancient Civilizations Culture.

►My nominees for the Black Wolf Blogger Award are/Mis nominados para el Black Wolf Blogger Award son:

1.Ensayos y Poemas  2. Aquí no sobran las Palabras 3. Té, Chocolate, Café 4. Tintero y Pincel 5. Ser un Ser de Luz 6. Reescrituras 7. Ya Baki Entel Baki 8. Indahs 9. Toritto 10. Lens and Pens by Sally.

II) The Versatile Blogger Award: Micheline Walker nominated me for this award. Her blog truly stands out and it includes posts related with Art, Middle Age Literature, symbolism in art and texts and their interpretation.

I was also nominated for this award from the poetry blog Condena, Mis Poemas. If you like spanish you’d better check out poems over there (You can also use the translator!). Last but not least, I also got this one from the blog called Ritual de las Palabras, with interesting contents that include mainly brief stories and Literature in general.

►My nominees for the Versatile Blogger Award are/Mis nominados para el Versatile Blogger Award son:

1. 21 Shades of Blue 2. Lady Sighs 3. Anna: Prostor 4. Feline Alchemy 5. ABC of Spirit Talk 6. Word Dreams 7. Valentina Expressions 8. Les Rêves d’ Eugenie 9. Ramo di Parole 10. Geiko Usume.

►My nominees for the Wonderful Team Member Readership Award are/Mis nominados para el Wonderful Team Member Readership Award son:

1. Micheline Walker  2. Gorrión de Asfalto 3. Profecías Mayas del Fin del Mundo 4.Condena, Mis Poemas 5. Sonu Duggal 6. Espace Perso de Georges 7. Family Life is More 8. Ruka de Colores 9. Le Bon Côté des Choses 10. Willowdot21

IV) Premio Dardos: He sido nominada para este Premio desde los blogs amigos en Castellano, Ser un Ser de Luz, Aquí no sobran las Palabras, Reescrituras, Tintero y Pincel y Té, Chocolate, Café. Todos estos son excelentes espacios, mayormente de Literatura, pero también de Arte, Meditación y cuestiones relacionadas con el Universo.

►Mis nominados para el Premio Dardos son:

1. Compartimos 2. De Partida 3. Postales del Futuro 4. Natan Vue 5. Corriendo en la Niebla 6. Clínica Creativa 7. Blog de Jack Moreno 8. Nascaranda 9. Debe de Haber 10. Personajes y Leyendas.

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Thanks a lot for dropping by. Best wishes to everyone, Aquileana :D

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►Greek Mythology: “Selene, Goddess of the Moon”:

►Poetry: “Selene Awakens”, by Christy Birmingham:

“Luna” by Evelyn De Morgan (1885).

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Selene is the Greek Goddess of the Moon. She is the daughter of the Titans Hyperion and Theia.

Besides, Selene is sister of the Sun-God Helios, and Eos, Goddess of the Dawn.

In classical times, Selene was often identified with Artemis, much as her brother, Helios, was identified with Apollo.

Just as Helios, from his identification with Apollo, is called Phoebus (“bright”), Selene, from her identification with Artemis, is also commonly referred to by the epithet Phoebe (feminine from the name is of Greek origin, it is likely connected to the word selas (σέλας), meaning “light”.

Both Selene and Artemis were also associated with Hecate, and all three were regarded as Lunar Goddesses, although only Selene was regarded as the personification of the moon itself. Her Roman equivalent is Luna.

Like her brother Helios, the Sun god, who drives his chariot across the sky each day, Selene is also said to drive across the heavens.

The moon chariot is often described as being silver^. And while the sun chariot has four horses, Selene’s usually has two, described as “snow-white” by Ovid, or was drawn by oxen or bulls.

Selene is commonly depicted with a crescent moon, often accompanied by stars; sometimes, instead of a crescent, a lunar disc is used. Often a crescent moon rests on her brow, or the cusps of a crescent moon protrude, horn-like, from her head, or from behind her head or shoulders. From the Hellenistic period onwards, she is sometimes pictured with a torch.

Several lovers are attributed to Selene in various myths, including her brother Helios, with whom she had four daughters, known as the Horae, the four Goddesses of the seasons. The Horae were Goddesses of time, seasons and natural cycles. They were originally the personifications of nature in its different seasonal aspects, but in later times they were regarded as goddesses of order in general and natural justice. 

Also Pan, the God of the wild, shepherds and flocks, was Selene’s lover. 

Even Zeus, the God of the sky and ruler of the Olympian gods, was her lover.  As a matter of fact, some sources report that the Nemean lion, which fell to the earth from the moon was the result of an affair of Zeus and Selene.

However, among all of them, the mortal Endymion was Selene’s most well known  lover.

Selene fell in love with the shepard, Endymion, and seduced him while he lie sleeping in a cave. Her seduction of Endymion resulted in the birth of fifty daughters, one of which was Naxos.

Their daughters represented the fifty lunar months of the Olympiad, or period of four years marking the beginning of the Olympic games in ancient Greece.

But Endymion was human, and so susceptible to aging and eventually death. Selene could not bear that fact. According to one of the most well known versions of the myth, she made certain that Endymion would remain eternally youthful by casting a spell that would cause him to sleep forever. In this way, Endymion would remain alive for always, sleeping eternally.

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►Gallery: “Selene and Endymion”:

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►A Poem By Christy Birmingham:

“Selene Awakens”: 

Drive.

Selene is moving fast,

Driving across the heavens in a

Lane of her own, behind the reins, in a

Moon chariot that lights up with her determination,

Pulled by two horses and a faith in Greek spirits larger than Earth.

Watch for Selene overhead, with her head shining brightly, bearing

A crescent moon that reaches from her forehead to

Your heart, as you watch her in hopes that

She will know the secret to why the

Sun chooses to sleep at night,

While she awakens and

You yearn for

Dreams.

 ©2014 Christy Birmingham.-

★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★

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►About Christy Birmingham:

Christy is a canadian freelance writer, poet and author.

She is the author of the poetry collection “Pathways to Illumination” (2013), available  at Redmund Productions.

You can check out Christy Birmingham´s writer portfolio here. 

She also hosts two great blogs: Poetic Parfait and When Women Inspire. 

Feel free to connect with Christy at  Twitter too. 

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Christy Birmingham. Author, Poet, Freelance Writer.

Poetic Parfait: http://poeticparfait.com/ When Women Inspire: http://whenwomeninspire.com/

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“The Moon and the Stars”(series) by Alphonse Mucha (1902).

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►Links Post:

http://www.theoi.com/Titan/Selene.html 

http://www.maicar.com/GML/Selene.html 

http://en.wikipedia.org/wiki/Selene 

http://www.pantheon.org/articles/s/selene.html 

http://www.theoi.com/Ouranios/Horai.html

 http://www.muchafoundation.org/gallery/browse-works/object/245

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 ►Greek Mythology: “The Horae”:

“Apollo and the Hours” by Georg Friedrich Kersting (1822).

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The Horae were the goddesses of the seasons and the natural portions of time. 

They were originally the personifications of nature in its different seasonal aspects, but in later times they were regarded as goddesses of order in general and natural justice.

Pursuant to Homer, who neither mentions their parents nor their number, they are the Olympian divinities of the weather and the ministers of Zeus; and in this capacity they guard the doors of Olympus, and promote the fertility of the earth, by the various kinds of weather they send down. Thy were also the ones who discovered Aphrodite soon after her sea-foam birth and saved her.

The Horae are mentioned in two senses in Hesiod’s “Theogony” and the Homeric Hymns.

►First Triad: In one variant emphasizing their fruitful aspect, Thallo (Spring or new shoots), Auxo or Auxesia (Spring Growth, which equals to Summer), and Carpo (Autumn). 

These three Horae, (Thallo, Auxo and Carpo) were the daughters of Zeus and Themis. Thus they were also sisters of the Three Fates (or Moirai)

They were the goddesses of the three seasons the Greeks recognized: Spring (Thallo), Summer (Auxo) and Autumn (Carpo).

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Detail of an attic vase, depicting the Three Horae (Seasons). Period: Late Archaic (500 BC).

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As the Horae were conceived to promote the prosperity of every thing that grows, they appear also as the protectresses of youth.

Jane Ellen Harrison asserts the existence of female trinities, discusses the Horae as chronological symbols representing the phases of the Moon and goes on to equate the Horae with the Seasons, the Graces and the Fates and the three seasons of the ancient Greek year.

The Hora of Spring, Thallo, accompanied Persephone every year on her ascent from Hades’ Underworld to meet his mother Demeter. According to one of the Homeric Hymns, the attributes of spring-flowers, fragrance, and graceful freshness are accordingly transferred to the Horae; thus they adorned Aphrodite as she rose from the sea, made a garland of flowers for Pandora, and even inanimate things are described as deriving peculiar charms from the Horae. 

►Second Triad: In this variant, emphasising the “right order” aspect of the Horae. They were three Goddesses called Dike, Eunomia, and Eirene.

These three Horae were law-and-order goddesses that maintained the stability of society and were worshipped primarily in the cities of Athens, Argos and Olympia.

•Eunomia was the goddess of law and legislation. The same or a different goddess may have been a daughter of  Hermes and Aphrodite.

•Dike was he goddess of moral justice: she ruled over human justice, as her mother Themis ruled over divine justice. According to myths,  Zeus placed her on earth to keep mankind just, he quickly learned this was impossible and placed her next to him on Olympus, as the Greek constellation called The Maiden.

•Eirene was the personification of peace and wealth.

•Note regarding the number of Horae: The number of the Horae differs according to the sources, though the most ancient number seems to have been two (Thallo and Carpo). But afterwards their common number was three. 

Quintus Smyrnaeus makes Helios and Selene (the Sun and Moon) the parents of the Horae, goddesses of the seasons.

In this account of Helios’ myth, the Horae were the four handmaidens of Hera (Zeus’ wife). According to this version, their names were: Eiar (Spring), Theros (Summer), Phthinoporon (Autumn), and Cheimon (Winter).

Hyginus (Fab. 183) is in great confusion respecting the number and names of the Horae, as he mixes up the original names with surnames, and the designations of separate seasons or hours. In this manner he first makes out a list of ten Horae (Titanis, Auxo, Eunomia, Pherusa, Carpo, Dice, Euporia, Eirene, Orthosia, and Thallo), and a second of eleven (Auge, Anatole, Musia, Gymnasia, Nymphes, Mesembria, Sponde, Telete, Acme, Cypridos, Dysis). 

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►Villa Dar Buc Ammera (Rome): Mosaic depicting the Seasons:

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►In another different variant the Horae were not related with seasons but to the portions of time of the Day, twelve hours for the Ancient Greeks.

The ancient Greeks divided the hours of daylight into twelve portions, identified by the position of the sun in the sky. 

In this sense, the Twelve Horae were Goddesses of the hours of the day and perhaps also of the twelve months of the year.

These Horae oversaw the path of the Sun-God Helios as he travelled across the sky, dividing the day into its portions.

The Twelve Horae were not always clearly distinguishable from the Horae of the Seasons, who were also described as overseeing the path of the sun.

Their names were:

•Auge, first light.

•Anatole, sunrise.

•Mousika, the morning hour of music and study.

•Gymnastika, the morning hour of gymnastics/exercise.

•Nymph, the morning hour of ablutions (bathing, washing).

•Mesembria, noon.

•Sponde, libations poured after lunch.

•Elete, prayer, the first of the afternoon work hours.

•Akte, eating and pleasure, the second of the afternoon work hours.

•Hesperis, evening.

•Dysis, sunset.

•Arktos, night sky, constellation.

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“Apollo and the Continents. Details of Frescoes in the Würzburg Residenz (1751-53)
by Giovanni Battista Tiepolo (1752-53 ). Description: Apollo (Helios) has left his palace and is floating slowly downward, accompanied by two of the Horae, while the rising sun shines out behind him. Sun rising over the Earth, symbolized by the surrounding Continents. The sun appears as a life-giving force which determines the course of the days, months and years.

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►Two Paintings by Sandro Botticelli (1444/1510), featuring the Seasons (Greek Horae):

1)”The Birth of Venus” by Sandro Botticelli (1486):

“The Birth of Venus” by Sandro Botticelli (1486).

“The Birth of Venus” by Sandro Botticelli (1486). Detail. On the Right: One of the Greek Horae waits for Aphrodite with a flower covered robe .

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Description: The wind gods Boreas and Zephyrus waft the Goddess of Love to shore. There, one of the Horae, probably Thallo, who represented Spring, waits to receive Aphrodite (Venus) as she spreads out a flower covered robe in readiness for the Love Goddess’ arrival.

The picture hung in the country villa of the Medici along with “Primavera” (see painting below), indicating that the work was commissioned by the Medici family.

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2) “Primavera”, by Sandro Botticelli (1482):

“Primavera” by Sandro Botticelli (1482).

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Description: This painting depicts a tale from the fifth book of Ovid’s “Metamorphoses” in which the wood nymph Chloris‘ charms attracted the first wind of Spring, Zephyr.

Zephyr pursued her and as she was ravished, flowers sprang from her mouth and she became transformed into Flora, goddess of flowers.

Aphrodite presides over the garden – an orange grove (a Medici symbol). She stands in front of the dark leaves of a myrtle, which was a sacred plant to her.  

According to Botticelli, the woman in the flowered dress is Primavera (a personification of Spring thus probably link to Thallo) whose companion is Flora.

The Three Graces accompanying her are being targeted by Eros (Cupid in Roman Mythology).

In Greek Mythology, the Three Graces represent beauty, joy and plenty.

They are usually shown holding hands, smiling at each other or dancing, forming a close-knit group.

Hermes, the Greek god of herds and herald of the gods, keeps the garden safe from threatening clouds. 

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“Primavera” by Sandro Botticelli (1482). Details. On the Left: Mercury (Hermes). On the Right: Chloris and Zephyrus.

“Primavera” by Sandro Botticelli (1482). Details. On The Left: Flora, the goddess of flowers. In the Middle: Venus (Aphrodite) standing in her arch. And according to Botticelli, The Goddess of Spring, which in Greek Mythology was one of the Horae: Thallo. On the Right: The Three Graces.

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►Links Post:

http://www.theoi.com/Titan/Horai.html 

http://www.theoi.com/Ouranios/Horai.html 

http://en.wikipedia.org/wiki/Horae 

http://www.greek-gods.info/ancient-greek-gods/horae/

http://en.wikipedia.org/wiki/Primavera_(Painting)

http://www.italian-renaissance-art.com/Birth-of-Venus.html

http://noellevignola.com/2014/11/02/horae/ (Thoughts on the Horae By Noelle)

http://toritto.wordpress.com/2014/03/04/channeling-botticelli-2/  (A poem By Toritto)

http://www.livius.org/vi-vr/villa/villa_dar_bur_ammera_seasons.html

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►Worth Reading:

“A Great Post on Malala Yousafzai at When Women Inspire“:

I want to thank Christy Birmingham for letting me be part of her very special tribute to Malala Yousafzai… A girl who is an example of resistance and overcoming, who fights against extremism and inequality and who has recently become the youngest ever recipient of the Nobel Peace Prize. 

Please make sure to check out the post here: Spotlight on Women’s Rights Activist Malala Yousafzai

Malala Speaks out loud. Read the post here: http://whenwomeninspire.com/2014/10/24/malala-yousafzai-womens-activist/

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►Last but not Least: Challenge Workplace Blog Hop:

I have been invited for this Blog Hop by Kevin from Kev’s Blog and by Inese from Inesemjphotography.

The main idea here is to spot the place where you usually blog. It aims to give other bloggers a general overview on your blogger workspace (just to satisfy their curious minds)… 

So, with that purpose, I took some photos and attached them below. 

Finally I’d like to invite the following five bloggers to join the challenge. Of course, as all the blog challenges, this one is not compulsory either… 

1) Verónica from “En Humor Arte” 2) Irina from “Irina’s Poetry Corner” 3) Dulcinea from “Hodgepodge4thesoul” 4) Angie From “Family Life is More” 5) Francis from “Qhapaq”.

The rules are basically to spot your personal blogging space through a few photos, to link back to the blogger who invited you and to invite a bunch of bloggers to join you. Enjoy it!, Aquileana :D

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