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Will be provided in class as a printout

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All the videos detailing Virgil's incredible work, The Aeneid, in one playlist :)

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THE AENEID By VIRGIL: A Beginner's Guide to the History That Links Ancient Rome to the Trojan War

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Useful short videos about the Aeneid especially Dido

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Share your videos with friends, family, and the world

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Free registration required- I am trying to locate the transcripts

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By Produced by Esther Eidinow and Simon Brown, published 8th September 2017

These podcasts and the accompanying scheme of work provide an introduction to some of the key rituals of Ancient Greek religion.

The podcasts are for advanced KS2, and KS3 students; Year 13 students (ancient languages) have also successfully used them for background, and they may be helpful in preparation for OCR A Level Classical Civilisation (H408/31) Greek Religion. The scheme of work is aimed at advanced KS2, and KS3 students.

The podcasts are narrated by Simon Brown and written by: Hugh Bowden (King's College, London), Felix Budelmann (University of Oxford), Esther Eidinow (University of Bristol), Olympia Panagiotidou (University of Thessaloniki), Robert Parker (University of Oxford), and Yulia Ustinova (Ben Gurion University, Israel).

The podcasts were produced by participants in the AHRC-funded research network 'Cognitive Approaches to Ancient Religious Experience'. Please contact Esther Eidinow (University of Bristol) for more information about the project or to give feedback about the podcasts and scheme of work.

An Introduction to Ancient Greek Religion

An Introduction to Greek Religion

Oracles

Sacrifice

Incubation

Ecstatic Cult

The Dionysia

About our Authors

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Podcast series & associated scheme of work: An Introduction to Ancient Greek Religion

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By Produced by Esther Eidinow and Simon Brown, published 8th September 2017 These podcasts and the accompanying scheme of work provide an introduction to some of the key rituals of Ancient Greek religion.

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Information about Augustus & the Aeneid - This one is about Augustus - try "Roman myth as poetry"  episodes for your Aeneid books too: https://podcasts.apple.com/us/podcast/the-roman-world/id685694250

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The rise of Augustus is often represented as a political and cultural revolution at Rome. Julius Caesar's heir claimed to be restoring the Republic after years of civil war, but in fact he inaugurated a dynastic system of one-man rule, which we call the Empire. This lecture explores these changes, as a backdrop to the literary and artistic developments of the years 27 BCE to 14 CE (the period now known as the 'Augustan era'), which we shall be looking at in depth over the next seven lectures. Copyright 2013 La Trobe University, all rights reserved. Contact for permissions.

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roman revolution: the augustan principate

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‎The Roman World: Roman Revolution: The Augustan Principate on Apple Podcasts

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The rise of Augustus is often represented as a political and cultural revolution at Rome. Julius Caesar's heir claimed to be restoring the Republic after years of civil war, but in fact he inaugurated a dynastic system of one-man rule, which we call the Empire. This lecture explores these changes, a...

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Examples given throughout study of the text & last page of scholar quotes (Susanna Braund)

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The central text in the canon of Latin literature is Virgil's Aeneid, an epic poem in twelve books composed more than two thousand years ago under the Roman emperor Augustus. The poem was an instant hit. It became a school text immediately and has remained central to studies of Roman culture to the present day. How can a poem created in such a remote literary and social environment speak so eloquently to subsequent ages? In this course we will discover what kind of poem this is and what kind of hero Aeneas is. Our studies will focus chiefly on the poem itself and on wider aspects of Roman culture.

Presented by the Stanford Continuing Studies Program.

The central text in the canon of Latin literature is Virgil's Aeneid, an epic poem in twelve books composed more than two thousand years ago under the Roman emperor Augustus. The poem was an instant hit. It became a school text immediately and has remained central to studies of Roman culture to the present day. How can a poem created in such a remote literary and social environment speak so eloquently to subsequent ages? In this course we will discover what kind of poem this is and what kind of hero Aeneas is. Our studies will focus chiefly on the poem itself and on wider aspects of Roman culture.

Presented by the Stanford Continuing Studies Program.

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The central text in the canon of Latin literature is Virgil's Aeneid, an epic poem in twelve books composed more than two thousand years ago under the Roman emperor Augustus. The poem was an instant hit. It became a school text immediately and has remained central to studies of Roman culture to the...

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In class essay themes mining later books for examples

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Useful short videos about the Aeneid especially Dido

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Share your videos with friends, family, and the world

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Greek Religion Dr Ellie Mackin on TikTok

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Greek Religion Dr Ellie Mackin on TikTok

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Athena on Acropolis frieze

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5.7K Likes, 49 Comments. TikTok video from Dr Ellie Mackin Roberts (@elliemackinroberts): "The most wholesome ancient depiction of #Athena. #greekgods #greekreligion #greekart #ancientgreece #Parthenon #learnontiktok". original sound.

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Greek Religion Dr Ellie Mackin on TikTok

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Greek Religion Dr Ellie Mackin on TikTok

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Athena on Acropolis frieze

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5.7K Likes, 49 Comments. TikTok video from Dr Ellie Mackin Roberts (@elliemackinroberts): "The most wholesome ancient depiction of #Athena. #greekgods #greekreligion #greekart #ancientgreece #Parthenon #learnontiktok". original sound.

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Greek Myth Comix playlist - mostly Homer

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Greek Myth Comix playlist - mostly Homer

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Explaining the Greek Myths and Literature

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Share your videos with friends, family, and the world

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You do not need to watch all - some are about ROMAN practices ie not needed

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OCR Classical Civilisation. Roman religion. Greek religion. Theatre. Classical festivals. Travel in the Classical world.

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Share your videos with friends, family, and the world

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How to tacklet the WOTHero comparative question

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How to Tackle the World of the Hero Comparative 10 Marker

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Sacrifice Amphora by the Nausicaa Painter

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Black Figure Panathenaic Amphora 333-332BC

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Attic Red Figure Kylix by the Kodros Painter

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Dr Michael Scott lecture - Greek Religion

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Dr Michael Scott lecture - Greek Religion

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Long lecture!

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Prof Michael Scott - Greek Religion 1st July

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Series of videos about the sites

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The Panathenaia and the Panathenaic Way - The Acropolis and The Parthenon (1/6)

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short video recap

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Faculty of Arts & Social Sciences at The OU

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Festivals in the Ancient World: The Panathenaia

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Greek Religion Dr Ellie Mackin on TikTok

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Greek Religion Dr Ellie Mackin on TikTok

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Reciprocity

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@elliemackinroberts
Reciprocity in Ancient Greek religion #ancientgreece #greekhistory #greekreligion #ancientmedstudies #ancienthistory #greekgods #edutok
♬ original sound - Dr Ellie Mackin Roberts

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Greek Religion Dr Ellie Mackin on TikTok

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Greek Religion Dr Ellie Mackin on TikTok

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Responsibilities including archons

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@elliemackinroberts
Who’s responsible for Athenian religion? #athens #ancientgreece #greekhistory #greekreligion #athenianhistory #ancientmedstudies #learnontiktok
♬ original sound - Dr Ellie Mackin Roberts

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Greek Religion Dr Ellie Mackin on TikTok

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Greek Religion Dr Ellie Mackin on TikTok

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Priests / priestesses in Athens

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Priesthoods in ancient #athens  #ancientgreece #greekreligion #greekhistory #eleusis #ancientmedstudies #learnontiktok #edutok

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@elliemackinroberts
Priesthoods in ancient #athens #ancientgreece #greekreligion #greekhistory #eleusis #ancientmedstudies #learnontiktok #edutok
♬ original sound - Dr Ellie Mackin Roberts

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Greek Religion, Mythology, Hero Cults, Mystery Cults Notes

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Greek Religion, Mythology, Hero Cults, Mystery Cults Notes

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is SOOO boring

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BURRITO!

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"Graffiti" insults, memes etc under here!

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"Graffiti" insults, memes etc under here!

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How even his family feels about him

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Read p152-158 in text (from about 25 mins in the youtube here)

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Dr Michael Scott again - tell me if this link stops working!
Use middle section for revision of Salamis / Barbarian

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Slightly robotic voiceover

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The Parthenon | History | Acropolis of Athens | Greece | 4K

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NB some is in French - watch with subtitles!

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OLYMPIA AND THE OLYMPIC GAMES - DOCUMENTARY

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Themes

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LitCharts assigns a color and icon to each theme in The Aeneid, which you can use to track the themes throughout the work.

In the Aeneid, fate (or destiny) is an all-powerful force-what fate decrees will happen, must happen. It is Aeneas's fate to found a city in Italy, and so that he will do. Characters can, and do, have the free will to resist fate. But ultimately, such resistance is futile. Juno can delay Aeneas reaching Latium for a while, but not forever. Dido can get Aeneas to stay in Carthage for a while, but...

read analysis of Fate

The Gods and Divine Intervention

The gods actively intervene in the lives of the mortals, often using the characters like chess pieces to carry out their own power struggles. Juno hates the Trojans and does her best to stop Aeneas from fulfilling his destiny, even setting up the war that fills the second half of the poem. Venus tries to protect and help her son. Neptune just gets annoyed that some other god thinks he can mess with the ocean...

read analysis of The Gods and Divine Intervention

Pietas is a Latin word that can be translated as piety or devotion, and refers to someone's dutiful acceptance of the obligations placed on them by fate, by the will of the gods, and by the bonds of family and community. From the first lines of the poem, Virgil describes Aeneas as being remarkable for his piety, and "pious" is the most-used adjective to describe Aeneas throughout the poem. Aeneas always places these obligations above...

read analysis of Piety

Rome stands at the center of the poem. The city's founding, and the empire that will grow from it, is the endpoint of Aeneas's fate. Once Aeneas learns of Rome explicitly in Anchises's descriptions of it in the Underworld, the city comes to symbolize for him the pinnacle of his eventual achievement, spurring him on through all of his subsequent trials and tribulations. For Aeneas and his people, Rome also stands as an...

read analysis of Rome

War is everywhere in the Aeneid. The Trojan War begins Aeneas's journey by forcing him from Troy, and war concludes his journey on the fields of Italy. The characters constantly contend with the possibility of violence, giving gifts and forming alliances to try to avert it, or proving their bravery by rushing into it. And these wars are never purely tactical, fought just to gain land or power or wealth. Instead, the wars...

read analysis of War and Peace

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LitCharts assigns a color and icon to each theme in The Aeneid, which you can use to track the themes throughout the work. In the Aeneid, fate (or destiny) is an all-powerful force-what fate decrees will happen, must happen. It is Aeneas's fate to found a city in Italy, and so that he will do.

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Choose a book (only the ones we have read), then use Ctl+F to find terms e.g. Fate or names e.g. Achilles

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A complete English translation with hyper-linked index and illustrations courtesy of the Rijksmuseum

And such were the funeral rites of Hector,

tamer of horses.

Homer, 'The Iliad' Bk XXIV:776-804.

Book I: The Quarrel

Book II: The Catalogue of Ships

Book III: The Duel

Book IV: The Truce Broken

Book V: Diomedes Fights the Gods

Book VI: Hector and Andromache

Book VII: Ajax against Hector

Book VIII: The Trojans at the Wall

Book IX: Achilles is Unmoved

Book X: The Night Raid

Book XI: The Achaeans Routed

Book XII : Hector storms the Wall

Book XIII: The Fight at the Ships

Book XIV: Hera tricks Zeus

Book XV: The Greeks at Bay

Book XVI: The Death of Patroclus

Book XVII: The Fight for Patroclus' Body

Book XVIII: New Armour for Achilles

Book XIX: The Quarrel is Ended

Book XX: Achilles Leads the Army

Book XXI: The Fight at the River

Book XXII: The Death of Hector

Book XXIII: The Funeral Games for Patroclus

Book XXIV : Achilles and Priam

The Text is fully hyper-linked to the index and vice versa.

Each Book is arranged in paragraphs, with each paragraph headed by the corresponding line reference in the Greek text.

About This Work

The Iliad, a major founding work of European literature, is usually dated to around the 8th century BC, and attributed to Homer. It is an epic poem, written in Ancient Greek but assumed to be derived from earlier oral sources, and tells much of the story of the legendary Trojan War between mainland Greece and the city of Troy in Asia Minor. The cultural background to the poem indicates a Bronze Age setting around 400 to 500 years before the Homeric literary period itself. The poem itself centres on the figure of Achilles the Greek warrior, his quarrel with King Agamemnon the Greek leader, the death of Achilles' friend Patroclus, and Achilles' ultimate defeat of the Trojan warrior Hector. In the course of relating this core story, the main events of the whole war are covered. The quality of the writing, the thoughtful treatment of warfare, and the thematic interest of the material have made the Iliad the most influential early work of Western literature, certainly from the time of the Renaissance onwards. Modern archaeological investigation has substantiated Homer's account of Troy's location and importance, and many of the details of the Bronze Age culture he describes, giving some historical credibility to the original legends he utilised.

About the Author

The true authorship and dating of the Iliad and the other great poem attributed to Homer, the Odyssey, has been much disputed. The consistency of language and treatment lends itself to the view that a single author Homer created, or at least consolidated and edited, the literary material. This was the view of ancient Greek authorities, though they differ widely on the question of who Homer was, and at what period he lived. Many mythical elements gathered around the name Homer, until the image of a blind bard from the island of Chios gained prominence, despite there being no evidence of his blindness or his bardic wanderings, and despite many places claiming to have been his birthplace or residence. Equally there is no absolutely definitive text rather the currently accepted text is the result of the work of many editors over a long period of time, from at least the 3rd century BC to modern times. There is much fascinating and erudite scholarship concerning the Homeric ethos, involving literary, linguistic, cultural, archaeological, and other evidence, and debate is ongoing. However the issue of literary authorship in no way detracts from the power and integrity of the epic poems themselves.

Translated by A. S. Kline © Copyright 2009 All Rights Reserved

This work may be freely reproduced, stored, and transmitted, electronically or otherwise, for any non-commercial purpose.

Last Modified 28 August 2009

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A complete English translation with hyper-linked index and illustrations courtesy of the Rijksmuseum And such were the funeral rites of Hector, tamer of horses. Homer, 'The Iliad' Bk XXIV:776-804.

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Scroll down to the AENEID
Then choose a Book, e.g. Book 1 Ctl+F to find terms e.g. Fate or names e.g. Jupiter

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The Eclogues

The ten bucolic poems freely imitating Theocritus' Idylls, and creating a pastoral world of love and song.

The Georgics

The poetic treatise on farming in four books.

Book I: Agriculture

Book II: Arboriculture and Viniculture

Book III: Livestock Farming

Book IV: Bee-Keeping (Apiculture)

The Aeneid

The epic poem of Aeneas of Troy, and the origins of Rome.

Book I: The Trojans Reach Carthage

Book II: The Fall of Troy

Book III: The Trojans Sail for Italy

Book IV: The Tragedy of Dido

Book V: The Funeral Games

Book VI: The Visit to the Underworld

Book VII: War in Latium

Book VIII: The Site of Rome

Book IX: The Siege

Book X: The Relief and Battle

Book XI: Councils of War

Book XII: The Death of Turnus

About This Work

In the Aeneid, Virgil retells, and partially invents, the story of Aeneas, the son of Anchises and the goddess Venus-Aphrodite who, fleeing the ruins of Troy carrying his father on his shoulders, and bearing his household gods, journeyed to Italy. In doing so Virgil consciously creates the national epic of Rome, posits a semi-divine lineage for the Imperial house of Augustus Caesar, and provides an origin for the Roman people. Full of powerful and evocative passages, for example those describing Aeneas' desertion of Dido, Queen of Carthage, and those describing his visit to the Underworld, the Aeneid ensured Virgil's literary fame.

Aeneas embodies the Roman virtues of steadfastness, and loyalty, coupled with a sense of destiny, which Virgil reinforces with pseudo-prophetic elements implying that the founding of Rome was a fated consequence of the destruction of Troy. From a literary viewpoint, Aeneas provides continuity between the epics of Greece, where he appears as a character in the Iliad, and the epics of Rome where he is portrayed as an ancestor of Romulus, Rome's founder.

Virgil's work had a wide influence on later Roman epic and on European literature in general. Dante in particular employed Virgil as guide to his journey through the Inferno and Purgatory of the Divine Comedy, seeing him as a proponent of Empire, a master of the poetic tradition, and a prophet of the advent of Christianity.

About the Author

Virgil (Publius Vergilius Maro, also called Vergil) was born near Mantua, in Cisalpine Gaul, in 70BC. He is known for three major works of Latin literature, the Eclogues or pastoral poems, the Georgics a treatise on farming, and his epic the Aeneid. He benefited greatly from the enlightened patronage of Maecenas, an ally, friend and political advisor to the Emperor Augustus. Virgil dedicated the Georgics to Maecenas. According to tradition, Virgil visited Greece in order to revise the Aeneid which he wrote between 29 and 19BC. After meeting Augustus in Athens and deciding to return home, he caught a fever and, after crossing to Italy, died in Brundisium (Brindisi) in September of the latter year, his ashes reputedly being interred on the site of his villa near Naples, where a burial vault is shown today as Virgil's Tomb. The Aeneid was published in full after his death, on the orders of Augustus.

Translated by A. S. Kline © Copyright 2001, 2002 All Rights Reserved

This work may be freely reproduced, stored and transmitted, electronically or otherwise, for any non-commercial purpose. Conditions and Exceptions apply.

Last Modified 17th January 2008

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The ten bucolic poems freely imitating Theocritus' Idylls, and creating a pastoral world of love and song. The poetic treatise on farming in four books. Book I: Agriculture Book II: Arboriculture and Viniculture Book III: Livestock Farming Book IV: Bee-Keeping (Apiculture) The epic poem of Aeneas of Troy, and the origins of Rome.

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Fate in Iliad

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Get everything you need to know about Fate and Free Will in The Iliad. Analysis, related quotes, theme tracking.

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RC - Achilles / Aeneas (?and Hector / Aeneas)
RG - fate including Zeus / Jupiter

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The role of the gods Iliad Aeneid comparison

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If of interest

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Lets Visit the Oracle of Delphi - History Tour in AC: Odyssey Discovery Mode

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There was a real Pythia called Aristonike, and we know that she held the post in 480 BCE. She was just one of a huge number of (mainly unnamed) women who helped to make Delphi the most famous and important oracle in the ancient world. For over 1000 years it drew visitors who came to consult the Pythia on one day each month, and then only for the 9 months of the year that Apollo was believed to reside at Delphi. Visitors to the Pythia followed the Sacred Way up through the sanctuary to wait at the temple's entrance. At their turn, supplicants had to offer up the pelanos, the small sacrificial cake sold by Delphians. They then addressed the Pythia, who was seated on a tripod in the adyton, an enclosed area inside the temple. Under the inspiration of Apollo, she uttered a prophecy which was often ambiguous or unclear. It was then up to the individual to go and consider what Apollo's words might mean. To get a feel for what that process was like, you could explore Herodotus' account of how the Athenians consulted the Pythia when they were faced with the Persian invasion in 480 BCE.

The inspiration of the PythiaThere has been much speculation amongst scholars about what actually inspired the Pythia. The Greeks never recorded details about this, apparently assuming that the process was common knowledge and did not need any explanation. It was not until the Oracle had been operating for over 500 years that details were written down. Some accounts claim that she sat above a natural chasm in the rock and breathed in fumes rising from the earth. In the first century CE the ancient writer Plutarch mentions the pneuma (a breeze or breath) that filled the temple. Other Roman writers say that the Pythia chewed on laurel leaves, and gradually the story developed that she was in a kind of trance when she uttered her prophecies. Some recent geological surveys appear to have found possible evidence for this, but the exact process will never be known.

The Site of DelphiThe fame of Delphi saw it develop into much more than just an Oracle. A host of structures sprang up around the temple: treasuries built by competing city-states, statues of heroes and trophies of war. There was a purpose-built sports facility: a theatre, stadium and a hippodrome. Every four years, Delphi hosted the Pythian games, second only in importance to the Olympics. These culminated in chariot races, especially popular because they allowed the richest Greeks to compete with one other. But it wasn't just individuals who wanted to use Delphi to brag of their greatness. Greek cities tried to outdo one another with lavish gifts and new buildings. The island of Chios dedicated a huge altar opposite the entrance to the Temple of Apollo, and on this they later inscribed their right to jump to the front of the queue (promanteia), visible to everyone waiting to visit the Pythia. Delphi became crowded with offerings as consultations continued for centuries. Only when the Roman emperor Theodosius outlawed paganism in the empire in the early 390s CE was the voice of the Pythia finally silenced. After years of neglect, the site was excavated in the 19th century, and is a major tourist centre today.

Reputation How did the Oracle survive so long? Critical to understanding this is to think about why the Greeks consulted oracles. The temple's two inscriptions ('Know yourself' and 'Nothing in excess)' give a clue as to the function of the Oracle. It was not really about revealing the future, but about challenging the visitor to think through an issue or re-examine a problem. One of the most famous stories connected to Delphi was the visit in 547 BC of Croesus, king of Lydia and the wealthiest man in the world. He asked the Oracle what would happen if he invaded Persia. The Pythia's answer to Croesus' ambassadors was: 'If you invade Persia, a great empire will fall.' Croesus took this to be approval of his aggressive intentions, but then found to his cost that the ambiguous prophecy actually referred to his own downfall. Thus the Pythia was not really telling fortunes, but offering guidance. As Heraclitus wrote: 'the Oracle neither conceals, nor reveals, but indicates.'

Watch this video for more details about Delphi.

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A day in the life of the Oracle of Delphi - Mark Robinson

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As the sun rises over Delphi in 500 BCE, Aristonike hurries to the temple of Apollo where a single oracle known as the Pythia communicates Apollo's will. Reserved only for women, this is the most important job in the city- and one that Aristonike will soon have to take on if city council officials decide she meets their standards.

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for discussion Monday 8 Nov

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for discussion Monday 8 Nov

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Delphi: The Bellybutton of the Ancient World

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Use guide notes (as below) - listen by Mon 11 October

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BBC Radio 4 - In Our Time, The Delphic Oracle

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Melvyn Bragg and his guests discuss the Delphic Oracle.

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Also see Dr Ellie Mackin on TikTok

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To Demeter

[1] I begin to sing of rich-haired Demeter, awful goddess -of her and her trim-ankled daughter whom Aidoneus rapt away, given to him by all-seeing Zeus the loud-thunderer.

Apart from Demeter, lady of the golden sword and glorious fruits, [5] she was playing with the deep-bosomed daughters of Oceanus and gathering flowers over a soft meadow, roses and crocuses and beautiful violets, irises also and hyacinths and the narcissus, which Earth made to grow at the will of Zeus and to please the Host of Many, to be a snare for the bloom-like girl - [10] a marvellous, radiant flower. It was a thing of awe whether for deathless gods or mortal men to see: from its root grew a hundred blooms and it smelled most sweetly, so that all wide heaven above and the whole earth and the sea's salt swell laughed for joy. [15] And the girl was amazed and reached out with both hands to take the lovely toy; but the wide-pathed earth yawned there in the plain of , and the lord, Host of Many, with his immortal horses sprang out upon her -the Son of Cronos, He who has many names.

He caught her up reluctant on his golden car and bare her away [20] lamenting. Then she cried out shrilly with her voice, calling upon her father, the Son of Cronos, who is most high and excellent. But no one, either of the deathless gods or of mortal men, heard her voice, nor yet the olive-trees bearing rich fruit: [25] only tender-hearted Hecate, bright-coiffed, the daughter of Persaeus, heard the girl from her cave, and the lord Helios, Hyperion's bright son, as she cried to her father, the Son of Cronos. But he was sitting aloof, apart from the gods, in his temple where many pray, and receiving sweet offerings from mortal men. So he, that son of Cronos, of many names, who is Ruler of Many and Host of Many, [30] was bearing her away by leave of Zeus on his immortal chariot -his own brother's child and all unwilling.

And so long as she, the goddess, yet beheld earth and starry heaven and the strong-flowing sea where fishes shoal, [35] and the rays of the sun, and still hoped to see her dear mother and the tribes of the eternal gods, so long hope calmed her great heart for all her trouble ... and the heights of the mountains and the depths of the sea rang with her immortal voice: and her queenly mother heard her.

[40] Bitter pain seized her heart, and she rent the covering upon her divine hair with her dear hands: her dark cloak she cast down from both her shoulders and sped, like a wild-bird, over the firm land and yielding sea, seeking her child. [45] But no one would tell her the truth, neither god nor mortal man; and of the birds of omen none came with true news for her. Then for nine days queenly Deo wandered over the earth with flaming torches in her hands, so grieved that she never tasted ambrosia and the sweet draught of nectar, [50] nor sprinkled her body with water. But when the tenth enlightening dawn had come, Hecate, with a torch in her hands, met her, and spoke to her and told her news:

"Queenly Demeter, bringer of seasons and giver of good gifts, [55] what god of heaven or what mortal man has rapt away Persephone and pierced with sorrow your dear heart? For I heard her voice, yet saw not with my eyes who it was. But I tell you truly and shortly all I know."

So, then, said Hecate. [60] And the daughter of rich-haired Rhea answered her not, but sped swiftly with her, holding flaming torches in her hands. So they came to Helios, who is watchman of both gods and men, and stood in front of his horses: and the bright goddess enquired of him: "Helios, do you at least regard me, goddess as I am, [65] if ever by word or deed of mine I have cheered your heart and spirit. Through the fruitless air I heard the thrilling cry of my daughter whom I bare, sweet scion of my body and lovely in form, as of one seized violently; though with my eyes I saw nothing. But you -for with your beams you look down [70] from the bright upper air over all the earth and sea -tell me truly of my dear child, if you have seen her anywhere, what god or mortal man has violently seized her against her will and mine, and so made off."

So said she. And the Son of Hyperion answered her: [75] "Queen Demeter, daughter of rich-haired Rhea, I will tell you the truth; for I greatly reverence and pity you in your grief for your trim-ankled daughter. None other of the deathless gods is to blame, but only cloud-gathering Zeus who gave her to Hades, her father's brother, to be called his buxom wife. [80] And Hades seized her and took her loudly crying in his chariot down to his realm of mist and gloom. Yet, goddess, cease your loud lament and keep not vain anger unrelentingly: Aidoneus, the Ruler of Many, is no unfitting husband among the deathless gods for your child, [85] being your own brother and born of the same stock: also, for honor, he has that third share which he received when division was made at the first, and is appointed lord of those among whom he dwells."

So he spake, and called to his horses: and at his chiding they quickly whirled the swift chariot along, like long-winged birds.

[90] But grief yet more terrible and savage came into the heart of Demeter, and thereafter she was so angered with the dark-clouded Son of Cronos that she avoided the gathering of the gods and high , and went to the towns and rich fields of men, disfiguring her form a long while. And no one of men [95] or deep-bosomed women knew her when they saw her, until she came to the house of wise Celeus who then was lord of fragrant . Vexed in her dear heart, she sat near the wayside by the Maiden Well, from which the women of the place were used to draw water, [100] in a shady place over which grew an olive shrub. And she was like an ancient woman who is cut off from childbearing and the gifts of garland-loving Aphrodite, like the nurses of kings' children who deal justice, or like the house-keepers in their echoing halls. [105] There the daughters of Celeus, son of , saw her, as they were coming for easy-drawn water, to carry it in pitchers of bronze to their dear father's house: four were they and like goddesses in the flower of their girlhood, Callidice and Cleisidice and lovely Demo [110] and Callithoe+ who was the eldest of them all. They knew her not, -for the gods are not easily discerned by mortals -, but standing near by her spoke winged words:

"Old mother, whence and who are you of folk born long ago? Why are you gone away from the city and do not draw near the houses? [115] For there in the shady halls are women of just such age as you, and others younger; and they would welcome you both by word and by deed."

Thus they said. And she, that queen among goddesses answered them saying: "Hail, dear children, whosoever you are of woman-kind. [120] I will tell you my story; for it is not unseemly that I should tell you truly what you ask. Doso is my name, for my stately mother gave it me. And now I am come from over the sea's wide back, -not willingly; but against my liking, by force of strength, [125] pirates brought me thence. Afterwards they put in with their swift craft to Thoricus, and there the women landed on the shore in full throng and the men likewise, and they began to make ready a meal by the stern-cables of the ship. But my heart craved not pleasant food, [130] and I fled secretly across the dark country and escaped my masters, that they should not take me unpurchased across the sea, there to win a price for me. And so I wandered and am come here: and I know not at all what land this is or what people are in it. [135] But may all those who dwell on give you husbands and birth of children as parents desire, so you take pity on me, maidens, [137a] and show me this clearly that I may learn, dear children, to the house of what man and woman I may go, [140] to work for them cheerfully at such tasks as belong to a woman of my age. Well could I nurse a new born child, holding him in my arms, or keep house, or spread my masters' bed in a recess of the well-built chamber, or teach the women their work."

[145] So said the goddess. And straightway the unwed maiden Callidice, goodliest in form of the daughters of Celeus, answered her and said:

"Mother, what the gods send us, we mortals bear perforce, although we suffer; for they are much stronger than we. But now I will teach you clearly, [150] telling you the names of men who have great power and honor here and are chief among the people, guarding our city's coif of towers by their wisdom and true judgements: there is wise Triptolemus and Dioclus and Polyxeinus and blameless Eumolpus [155] and Dolichus and our own brave father. All these have wives who manage in the house, and no one of them, so soon as she had seen you, would dishonor you and turn you from the house, but they will welcome you; for indeed you are godlike. [160] But if you will, stay here; and we will go to our father's house and tell Metaneira, our deep-bosomed mother, all this matter fully, that she may bid you rather come to our home than search after the houses of others. She has an only son, [165] late-born, who is being nursed in our well-built house, a child of many prayers and welcome: if you could bring him up until he reached the full measure of youth, any one of womankind who should see you would straightway envy you, such gifts would our mother give for his upbringing."

So she spake: and the goddess bowed her head in assent. And they filled their shining vessels [170] with water and carried them off rejoicing. Quickly they came to their father's great house and straightway told their mother according as they had heard and seen. Then she bade them go with all speed and invite the stranger to come for a measureless hire. As hinds or heifers in spring time, [175] when sated with pasture, bound about a meadow, so they, holding up the folds of their lovely garments, darted down the hollow path, and their hair like a crocus flower streamed about their shoulders. And they found the good goddess near the wayside where they had left her before, [180] and led her to the house of their dear father. And she walked behind, distressed in her dear heart, with her head veiled and wearing a dark cloak which waved about the slender feet of the goddess.

Soon they came to the house of heaven-nurtured Celeus [185] and went through the portico to where their queenly mother sat by a pillar of the close-fitted roof, holding her son, a tender scion, in her bosom. And the girls ran to her. But the goddess walked to the threshold: and her head reached the roof and she filled the doorway with a heavenly radiance. [190] Then awe and reverence and pale fear took hold of Metaneira, and she rose up from her couch before Demeter, and bade her be seated. But Demeter, bringer of seasons and giver of perfect gifts, would not sit upon the bright couch, but stayed silent with lovely eyes cast down [195] until careful Iambe placed a jointed seat for her and threw over it a silvery fleece. Then she sat down and held her veil in her hands before her face. A long time she sat upon the stool without speaking because of her sorrow, and greeted no one by word or by sign, but rested, [200] never smiling, and tasting neither food nor drink, because she pined with longing for her deep-bosomed daughter, until careful Iambe -who pleased her moods in aftertime also -moved the holy lady with many a quip and jest to smile and laugh and cheer her heart. [205] Then Metaneira filled a cup with sweet wine and offered it to her; but she refused it, for she said it was not lawful for her to drink red wine, but bade them mix meal and water with soft mint and give her to drink. [210] And Metaneira mixed the draught and gave it to the goddess as she bade. So the great queen Deo received it to observe the sacrament ...

And of them all, well-girded Metaneira first began to speak: "Hail, lady! For I think you are not meanly but nobly born; truly dignity and [215] grace are conspicuous upon your eyes as in the eyes of kings that deal justice. Yet we mortals bear perforce what the gods send us, though we be grieved; for a yoke is set upon our necks. But now, since you are come here, you shall have what I can bestow: and nurse me this child whom the gods gave me in my old age and beyond my hope, [220] a son much prayed for. If you should bring him up until he reach the full measure of youth, any one of woman-kind that sees you will straightway envy you, so great reward would I give for his upbringing."

Then rich-haired Demeter answered her: [225] "And to you, also, lady, all hail, and may the gods give you good! Gladly will I take the boy to my breast, as you bid me, and will nurse him. Never, I ween, through any heedlessness of his nurse shall witchcraft hurt him nor yet the Undercutter: for I know a charm far stronger than the Woodcutter, [230] and I know an excellent safeguard against woeful witchcraft."

When she had so spoken, she took the child in her fragrant bosom with her divine hands: and his mother was glad in her heart. So the goddess nursed in the palace Demophoon, wise Celeus' goodly son whom well-girded Metaneira bare. [235] And the child grew like some immortal being, not fed with food nor nourished at the breast: for by day [236a] rich-crowned Demeter would anoint him with ambrosia as if he were the offspring of a god and breathe sweetly upon him as she held him in her bosom. But at night she would hide him like a brand in the heart of the fire, [240] unknown to his dear parents. And it wrought great wonder in these that he grew beyond his age; for he was like the gods face to face. And she would have made him deathless and unageing, had not well-girded Metaneira in her heedlessness kept watch by night from her sweet-smelling chamber and [245] spied. But she wailed and smote her two hips, because she feared for her son and was greatly distraught in her heart; so she lamented and uttered winged words:

"Demophoon, my son, the strange woman buries you deep in fire and works grief and bitter sorrow for me."

[250] Thus she spoke, mourning. And the bright goddess, lovely-crowned Demeter, heard her, and was wroth with her. So with her divine hands she snatched from the fire the dear son whom Metaneira had born unhoped-for in the palace, and cast him from her to the ground; for she was terribly angry in her heart. [255] Forthwith she said to well-girded Metaneira:

"Witless are you mortals and dull to foresee your lot, whether of good or evil, that comes upon you. For now in your heedlessness you have wrought folly past healing; for -be witness the oath of the gods, the relentless water of Styx - [260] I would have made your dear son deathless and unaging all his days and would have bestowed on him everlasting honor, but now he can in no way escape death and the fates. Yet shall unfailing honor always rest upon him, because he lay upon my knees and slept in my arms. [265] But, as the years move round and when he is in his prime, the sons of the Eleusinians shall ever wage war and dread strife with one another continually. Lo! I am that Demeter who has share of honor and is the greatest help and cause of joy to the undying gods and mortal men. [270] But now, let all the people build me a great temple and an altar below it and beneath the city and its sheer wall upon a rising hillock above Callichorus. And I myself will teach my rites, that hereafter you may reverently perform them and so win the favour of my heart."

[275] When she had so said, the goddess changed her stature and her looks, thrusting old age away from her: beauty spread round about her and a lovely fragrance was wafted from her sweet-smelling robes, and from the divine body of the goddess a light shone afar, while golden tresses spread down over her shoulders, [280] so that the strong house was filled with brightness as with lightning. And so she went out from the palace.

And straightway Metaneira's knees were loosed and she remained speechless for a long while and did not remember to take up her late-born son from the ground. But his sisters heard his pitiful wailing and sprang down from their well-spread beds: [285] one of them took up the child in her arms and laid him in her bosom, while another revived the fire, and a third rushed with soft feet to bring their mother from her fragrant chamber. And they gathered about the struggling child and washed him, [290] embracing him lovingly; but he was not comforted, because nurses and handmaids much less skilful were holding him now.

All night long they sought to appease the glorious goddess, quaking with fear. But, as soon as dawn began to show, they told powerful Celeus all things without fail, [295] as the lovely-crowned goddess Demeter charged them. So Celeus called the countless people to an assembly and bade them make a goodly temple for rich-haired Demeter and an altar upon the rising hillock. And they obeyed him right speedily and harkened to his voice, [300] doing as he commanded. As for the child, he grew like an immortal being.

Now when they had finished building and had drawn back from their toil, they went every man to his house. But golden-haired Demeter sat there apart from all the blessed gods and stayed, wasting with yearning for her deep-bosomed daughter. [305] Then she caused a most dreadful and cruel year for mankind over the all-nourishing earth: the ground would not make the seed sprout, for rich-crowned Demeter kept it hid. In the fields the oxen drew many a curved plough in vain, and much white barley was cast upon the land without avail. [310] So she would have destroyed the whole race of man with cruel famine and have robbed them who dwell on of their glorious right of gifts and sacrifices, had not Zeus perceived and marked this in his heart. First he sent golden-winged Iris to call [315] rich-haired Demeter, lovely in form. So he commanded. And she obeyed the dark-clouded Son of Cronos, and sped with swift feet across the space between. She came to the stronghold of fragrant , and there finding dark-cloaked Demeter in her temple, [320] spake to her and uttered winged words:

"Demeter, father Zeus, whose wisdom is everlasting, calls you to come join the tribes of the eternal gods: come therefore, and let not the message I bring from Zeus pass unobeyed."

Thus said Iris imploring her. But Demeter's heart was not moved. [325] Then again the father sent forth all the blessed and eternal gods besides: and they came, one after the other, and kept calling her and offering many very beautiful gifts and whatever rights she might be pleased to choose among the deathless gods. Yet no one was able to persuade her mind and will, [330] so wroth was she in her heart; but she stubbornly rejected all their words: for she vowed that she would never set foot on fragrant nor let fruit spring out of the ground, until she beheld with her eyes her own fair-faced daughter.

Now when all-seeing Zeus the loud-thunderer heard this, [335] he sent the Slayer of Argus whose wand is of gold to Erebus, so that having won over Hades with soft words, he might lead forth chaste Persephone to the light from the misty gloom to join the gods, and that her mother might see her with her eyes and cease from her anger. [340] And Hermes obeyed, and leaving the house of , straightway sprang down with speed to the hidden places of the earth. And he found the lord Hades in his house seated upon a couch, and his shy mate with him, much reluctant, because she yearned for her mother. But she was afar off, [345] brooding on her fell design because of the deeds of the blessed gods. And the strong Slayer of Argus drew near and said:

"Dark-haired Hades, ruler over the departed, father Zeus bids me bring noble Persephone forth from Erebus unto the gods, [350] that her mother may see her with her eyes and cease from her dread anger with the immortals; for now she plans an awful deed, to destroy the weakly tribes of earth-born men by keeping seed hidden beneath the earth, and so she makes an end of the honors of the undying gods. For she keeps fearful anger and does not consort with the gods, [355] but sits aloof in her fragrant temple, dwelling in the rocky hold of ."

So he said. And Aidoneus, ruler over the dead, smiled grimly and obeyed the behest of Zeus the king. For he straightway urged wise Persephone, saying:

[360] "Go now, Persephone, to your dark-robed mother, go, and feel kindly in your heart towards me: be not so exceedingly cast down; for I shall be no unfitting husband for you among the deathless gods, that am own brother to father Zeus. And while you are here, [365] you shall rule all that lives and moves and shall have the greatest rights among the deathless gods: those who defraud you and do not appease your power with offerings, reverently performing rites and paying fit gifts, shall be punished for evermore."

[370] When he said this, wise Persephone was filled with joy and hastily sprang up for gladness. But he on his part secretly gave her sweet pomegranate seed to eat, taking care for himself that she might not remain continually with grave, dark-robed Demeter. Then Aidoneus the Ruler of Many openly got ready his deathless [375] horses beneath the golden chariot. And she mounted on the chariot, and the strong Slayer of Argus took reins and whip in his dear hands and drove forth from the hall, the horses speeding readily. [380] Swiftly they traversed their long course, and neither the sea nor river-waters nor grassy glens nor mountain-peaks checked the career of the immortal horses, but they clave the deep air above them as they went. And Hermes brought them to the place where rich-crowned Demeter was staying and checked them [385] before her fragrant temple.

And when Demeter saw them, she rushed forth as does a Maenad down some thick-wooded mountain, while Persephone on the other side, when she saw her mother's sweet eyes, left the chariot and horses, and leaped down to run to her, and falling upon her neck, embraced her. [390] But while Demeter was still holding her dear child in her arms, her heart suddenly misgave her for some snare, so that she feared greatly and ceased fondling her daughter and asked of her at once: "My child, tell me, surely you have not tasted any food while you were below? Speak out and hide nothing, but let us both know. [395] For if you have not, you shall come back from loathly Hades and live with me and your father, the dark-clouded Son of Cronos and be honored by all the deathless gods; but if you have tasted food, you must go back again beneath the secret places of the earth, there to dwell a third part of the seasons every year: [400] yet for the two parts you shall be with me and the other deathless gods. But when the earth shall bloom with the fragrant flowers of spring in every kind, then from the realm of darkness and gloom thou shalt come up once more to be a wonder for gods and mortal men. [403a] And now tell me how he rapt you away to the realm of darkness and gloom, and by what trick did the strong Host of Many beguile you?"

[405] Then beautiful Persephone answered her thus: "Mother, I will tell you all without error. When luck-bringing Hermes came, swift messenger from my father the Son of Cronos and the other Sons of Heaven, bidding me come back from Erebus that you might see me with your eyes [410] and so cease from your anger and fearful wrath against the gods, I sprang up at once for joy; but he secretly put in my mouth sweet food, a pomegranate seed, and forced me to taste against my will. Also I will tell how he rapt me away by the deep plan [415] of my father the Son of Cronos and carried me off beneath the depths of the earth, and will relate the whole matter as you ask. All we were playing in a lovely meadow, Leucippe and Phaeno and Electra and Ianthe, also and Iache with Rhodea and Callirhoe [420] and Melobosis and Tyche and Ocyrhoe, fair as a flower, Chryseis, Ianeira, Acaste and Admete and and Pluto and charming Calypso; Styx too was there and Urania and lovely Galaxaura with Pallas who rouses battles and Artemis delighting in arrows: [425] we were playing and gathering sweet flowers in our hands, soft crocuses mingled with irises and hyacinths, and rose-blooms and lilies, marvellous to see, and the narcissus which the wide earth caused to grow yellow as a crocus. That I plucked in my joy; but the earth [430] parted beneath, and there the strong lord, the Host of Many, sprang forth and in his golden chariot he bore me away, all unwilling, beneath the earth: then I cried with a shrill cry. All this is true, sore though it grieves me to tell the tale."

So did they then, with hearts at one, [435] greatly cheer each the other's soul and spirit with many an embrace: their hearts had relief from their griefs while each took and gave back joyousness.

Then bright-coiffed Hecate came near to them, and often did she embrace the daughter of holy Demeter: [440] and from that time the lady Hecate was minister and companion to Persephone.

And all-seeing Zeus sent a messenger to them, rich-haired Rhea, to bring dark-cloaked Demeter to join the families of the gods: and he promised to give her what rights she should choose among the deathless gods [445] and agreed that her daughter should go down for the third part of the circling year to darkness and gloom, but for the two parts should live with her mother and the other deathless gods. Thus he commanded. And the goddess did not disobey the message of Zeus; swiftly she rushed down from the peaks of [450] and came to the plain of Rharus, rich, fertile corn-land once, but then in nowise fruitful, for it lay idle and utterly leafless, because the white grain was hidden by design of trim-ankled Demeter. But afterwards, [455] as spring-time waxed, it was soon to be waving with long ears of corn, and its rich furrows to be loaded with grain upon the ground, while others would already be bound in sheaves. There first she landed from the fruitless upper air: and glad were the goddesses to see each other and cheered in heart. Then bright-coiffed Rhea said to Demeter:

[460] "Come, my daughter; for far-seeing Zeus the loud-thunderer calls you to join the families of the gods, and has promised to give you what rights you please among the deathless gods, and has agreed that for a third part of the circling year your daughter shall go down to darkness and gloom, [465] but for the two parts shall be with you and the other deathless gods: so has he declared it shall be and has bowed his head in token. But come, my child, obey, and be not too angry unrelentingly with the dark-clouded Son of Cronos; but rather increase forthwith for men the fruit that gives them life."

[470] So spake Rhea. And rich-crowned Demeter did not refuse but straightway made fruit to spring up from the rich lands, so that the whole wide earth was laden with leaves and flowers. Then she went, and to the kings who deal justice, Triptolemus and Diocles, the horse-driver, [475] and to doughty Eumolpus and Celeus, leader of the people, she showed the conduct of her rites and taught them all her mysteries, to Triptolemus and Polyxeinus and Diocles also, -awful mysteries which no one may in any way transgress or pry into or utter, for deep awe of the gods checks the voice. [480] Happy is he among men upon earth who has seen these mysteries; but he who is uninitiate and who has no part in them, never has lot of like good things once he is dead, down in the darkness and gloom.

But when the bright goddess had taught them all, they went to to the gathering of the other gods. [485] And there they dwell beside Zeus who delights in thunder, awful and reverend goddesses. Right blessed is he among men on earth whom they freely love: soon they do send Plutus as guest to his great house, Plutus who gives wealth to mortal men.

[490] And now, queen of the land of sweet and sea-girt and rocky , lady, giver of good gifts, bringer of seasons, queen Deo, be gracious, you and your daughter all beauteous Persephone, and for my song grant me heart-cheering substance. [495] And now I will remember you and another song also.

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To Demeter [1] I begin to sing of rich-haired Demeter, awful goddess -of her and her trim-ankled daughter whom Aidoneus rapt away, given to him by all-seeing Zeus the loud-thunderer.

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Warwick Resources The Ninnion Tablet (Eleusinian Mysteries)

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Warwick Resources The Ninnion Tablet (Eleusinian Mysteries)

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Greek Religion Dr Ellie Mackin on TikTok

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Greek Religion Dr Ellie Mackin on TikTok

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Mystery cults

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Reply to @kellsbellsxmas Initiation cults. #greekhistory #ancientgreece #greekreligion #hellenicpagan
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Overview

Years Written

c. 30-19 BCE

Perspective and Narrator

As the narrator of The Aeneid, Virgil describes the thoughts and feelings of the characters in his story in the third person. Books 2 and 3 are narrated by Aeneas in the first person, telling the story of his travels from Troy.

Tense

The Aeneid is mostly told in the past tense, although there is some present-tense and future-tense narration.

About the Title

Although Virgil wrote in Latin, he used the Greek form of Aeneas's name in his title as an homage to the Greek writer Homer, his literary predecessor.

Summary

This study guide and infographic for Virgil's The Aeneid offer summary and analysis on themes, symbols, and other literary devices found in the text. Explore Course Hero's library of literature materials, including documents and Q&A pairs.

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Bibliography

Webster, T. B. L. "A Rediscovered Caeretan Hydria." Journal of Hellenic Studies 48 (1928), p. 198, n. 22.

Plaoutine, N. "Le peintre des hydries dites de Caere," Revue archeologique 18, 2 (1941), pp. 18-19.

Plaoutine, N., "La Représentation de Thersite par le Peintre des Hydries dites de Caeré et les Sources Littéraires qui ont Inspiré cet Artiste." Revue des Études Grecques 55 (1942), p. 177.

Santangelo, Maria. "Les nouvelles hydries de Caere au Musee de la Villa Giulia," Monuments et memoires. Fondation E. Piot 44 (1950), p. 13; figs. 6 and 13.

Amandry, P. "Herakles et l'hydre de Lerne." Bulletin de la Faculte des Lettres de Strasbourg 30 (1952), p. 296, no. 25.

Callipolitis, V. "Les hydries de Caere: Essai de classification," L'Antiquite classique 24 (1955), pp. 384-411, no. 26.

Hemelrijk, J. M. De Caeretaanse Hydriae. Amsterdam: 1956, p. 112, no. 17.

Amamndry, P. "Plaques d'or de Delphes," Mitteilungen des Deutschen Archaeologischen Instituts, Athenische Abteilung 77 (1962), p. 65, n. 205, Beilage 13.1.

Brommer, Frank. Vasenlisten zur griechischen Heldensage. 3rd ed. (Marburg: N. G. Elwert Verlag, 1973), p. 82, no. 16.

Robertson, Martin. A History of Greek Art. London: 1975, p. 139; figs. 40d, 42a; p. 639, n. 142.

Hemelrijk, J. M., and Stella Lubsen-Admiraal. "Notes on Some Caeretan Hydriai," Bulletin Antieke Beschaving. Annual Papers on Classical Archaeology 52/53 (1977/1978), pp. 1-29, pp. 1-7, ill. figs. 1-26.

Amyx, Darrell A. "The Many Loves of Zeus (and their Consequences)," Archaeological News 8, no. 4 (1979), pp. 97-115, pp. 104, 114 n. 39, ill. figs. 12-13.

Christie's, London. Sale cat., July 2, 1982, lot 252.
"Acquisitions/1983." The J. Paul Getty Museum Journal 12 (1984), p. 250, no. 99.
Mattusch, C., "Field Notes," Archaeological News 13, 1/2 (1984), p. 34, ill. p. 34.

Hemelrijk, J. M. Caeretan Hydriae. (Mainz: P. von Zabern, 1984), p. 41, no. 23; figs. 61, 67, 71; p. 202, no. 5; p. 242, n. 1065; pls. 11, 17, 88-91, 132, 137 and 153.

Maffre, Jean-Jacques. "Le combat d'Heracles contre l'hydre de Lerne dans la collection de vases grecs du Louvre," La revue du Louvre 35/2 (1985), pp. 83-95, pp. 86-87; fig. 5.

Kurtz, D. C. Review of J. M. Hemelrijk's "Caeretan Hydriae" in Classical Review 35 (1985), p. 340.

The J. Paul Getty Museum Handbook of the Collections. 1st ed. (Malibu: J. Paul Getty Museum, 1986), p. 46.

Brommer, Frank. Heracles: The Twelve Labors of the Hero in Ancient Art and Literature. New Rochelle, NY: 1986, p. 14.

Drury, E., ed. Antiques: Traditional Techniques of the Master Craftsmen. London: 1986, p. 105.

Isler, H. P. Review of J. M. Hemelrijk's "Caeretan Hydriae" in Gnomon 59 (1987), p. 723.

Kokkorou-Alewras, G. "Herakles." In Lexicon Iconographicum Mythologiae Classicae V (1990), p. 37, no. 2016; pl. 56.

The J. Paul Getty Museum Handbook of the Collections. 3rd ed. (Malibu: J. Paul Getty Museum, 1991), p. 44.

Carpenter, Tom. H. Art and Myth in Ancient Greece. London: 1991, p. 121; fig. 180.

Walsh, John. "Collections and Exhibitions," J. Paul Getty Trust Report, 1991-1992, p. 13, ill.

Gantz, Timothy. Early Greek Myth: A Guide to Literary and Artistic Sources, Vol. 1 (Baltimore: The Johns Hopkins University Press), pp. 385.

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Boardman, John. Diffusion of Classical Art in Antiquity (Cambridge: 1994), pp. 240-41; fig. 7.11.

Sparkes, Brian A. The Red and the Black. Studies in Greek Pottery. London and New York: 1996, pp. 120-21; fig. V:5.

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Towne Markus, Elana. Masterpieces of the J. Paul Getty Museum: Antiquities. (Los Angeles: J. Paul Getty Museum, 1997), pp. 74-75.
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Greek Religion Dr Ellie Mackin on TikTok

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Greek Religion Dr Ellie Mackin on TikTok

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Epithets

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@elliemackinroberts
What are epithets? #ancienthistory #ancientgreece #greekgods #greekreligion #hellenicreligion #hellenicpagan
♬ original sound - Dr Ellie Mackin Roberts

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Greek Religion Dr Ellie Mackin on TikTok

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Greek Religion Dr Ellie Mackin on TikTok

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Dr Emma Aston - Videos 1 & 2
Anthropomorphism
Homer & Hesiod

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Share your videos with friends, family, and the world

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Anatomical Votive from the Island of Delos

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panathenaic amphora; prize/trophy | British Museum

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Pottery: Panathenaic amphora with lid. Designs in panels with accessories of buff and white; the latter faded. On the-neck, double honeysuckle.
(a) Athene standing to right between two Doric columns, with left foot advanced, spear in right hand, and shield on left arm; she has a high-crested helmet…

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Epic & people's relationship with the divine

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Epic & people's relationship with the divine

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Akala's Odyssey - watch by Thursday 30 Sept

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A very short video

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Aeneid - Introduction to Roman women- Renshaw

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Aeneid - Introduction to Roman women- Renshaw

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Read for comparison with Dido

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& Bartsch Intro

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Bartsch and Aeneid 1 Summaries_Questions

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Place the events in order
Gather great quotes

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NOT our text but a dramatisation
Interested? Let me know.
NB audio quality is poor for a few seconds and first line is in Latin - but then it's all OK!