Posts Tagged by Dionysus
|March 29, 2018||By Gregory Nagy listed under By Gregory Nagy|
2018.03.29 | By Gregory Nagy
Was the Ariadne of myth a cult hero or a goddess? In this essay, which is a draft of a Foreword that I am preparing for an online book by Robert T. Teske about Ariadne, my ultimate answer has to be this: Ariadne was both a female cult hero and a goddess. When we examine what we know about the rituals as well as the myths concerning this complex figure of Ariadne, rooted in traditions that go back all the way to the glory days of the Minoan-Mycenaean civilization that flourished in the second millennium BCE, we find that the idea of her death is central to her very identity. The death of Ariadne, consistently caused by the goddess Artemis in the many myths that survive into the first millennium BCE, defines her as a cult hero whose hero cult is linked to the myths about such a death. As I argue in this essay, such an identity of Ariadne as a cult hero in the historical period of the first millennium BCE is prefigured by her earlier identity as a goddess in the prehistoric period of the second millennium BCE.
|February 1, 2018||By Gregory Nagy listed under By Gregory Nagy, Pausanias commentary, Pausanias reader|
2018.02.01 | By Gregory Nagy
I continue from where I left off in Classical Inquiries 2018.01.25. I focus here on another Athenian myth, as mentioned by Pausanias at 1.20.3, about the abandonment of Ariadne by her lover Theseus and about her seduction or—in terms of the mention made by Pausanias—her abduction by the god Dionysus. Pausanias at 1.20.3 mentions the myth as he sees it represented on a wall painting located inside the sacred precinct of the god Dionysus. According to the myth, Ariadne had slept with Theseus and is still asleep as Theseus quietly leaves her and sails off to Athens. Now Dionysus approaches from afar, preparing to seduce or abduct Ariadne. In the close-up from a modern painting of this myth, we see Ariadne asleep in the foreground, while Theseus is already sailing off in the background.
|September 22, 2016||By Marco Romani Mistretta listed under Plato commentary|
2016.09.22 | By Marco Romani Mistretta
The opening of the Iliad (I.01.12–42) is famously paraphrased in narrative form by Socrates in Plato’s Republic 3, 393d–394a. The paraphrase is meant to illustrate Plato’s distinction between purely ‘diegetic’ and ‘mimetic’ forms of poetic production.
|July 15, 2015||By Gregory Nagy listed under By Gregory Nagy, H24H|
In this posting for 2015.07.15, I concentrate on Poem 66 of Catullus, which is a remaking or even a “translation” of a poem of Callimachus known as the Lock of Berenice (Coma Berenices, Callimachus fragment 110 ed. Pfeiffer). These two poems are about an Egyptian queen who dedicated a lock of her hair to Aphrodite, goddess of love and sexuality.