Analysis Of Herod The Great ( Antipas And Philip )

Herodotus, consider as the father of history, was born in the ancient Halicarnassus, current Turkey, and lived between 485 and 425 BC, about 150 years previous to the creation of the Library of Alexandria. Moreover, due to Persian rule over greece, Herodotus fled to Samos resulting from his conflicts with the local government and will not return until 450 BC, when he participated part in the campaign to defeat Lygdamis, to once again leave the city after the completion of the campaign. Furthermore, Herodotus traveled to Athens at the time of its peak, allowed him to contemplate the great political and cultural boom of the city. During his stay in Athens, Herodotus met Pericles, and became friends with both Sophocles and Anaxagoras, focusing

In the source “The Martyrdom of Perpetua and Felicitas,” the narrative of a few early Christians who died for their beliefs is told. The two martyred women, named Perpetua and Felicitas, along with a few other followers of the religion were imprisoned because they identified themselves as Christians and refused to offer sacrifice to the Roman Emperor. The Christians were sentenced to death by beast for this. The source illustrate the problems Christians had in navigating the cultural realities of life in the Roman empire. This can be observed along with the struggles involved in class, family, and gender.

Who is the best example of a hero? Hercules. He is the mortal son of zeus. Hercules is the strongest hero of all time. Not only does he have incredible strength, but he is very caring of his family and mortals. Hercules is not just one of those basic, amatuer heros, he has so much experience since he had performed 12 labours. These are some of the reasons why Hercules is known as the greatest hero of all time.

A tragic hero is a character who makes an error of judgment or has a fatal flaw, which combined with fate, results into a tragedy. The tragic hero must fall from good luck and well being to misery and misfortune. The tragic hero causes a sense of pity through the tragic downfall that weakens the character. In Antigone by Sophocles, Antigone follows her own beliefs by giving her brother a proper burial, even if she has to break the law of King Creon. Because of her innocent actions, Antigone is punished unjustly and unfairly. Through her risky and unselfish actions, ability to follow her own beliefs, and perseverance Antigone is the tragic hero of this play.

Upon their return to Palestine after their release from exile, the Jews were struggling to “maintain their religious and social identity” (Wenham & Walton, 2011, p. 7) and found themselves in the midst of great military powers, first the Greeks, and then the Romans. Their influences on the Jews were remarkable. This essay will examine the Roman Empire in the 1st century AD by describing a typical Greco-Roman city, then discuss the various levels of Roman administrative structure, explain where local authority resided in the cities/villages of 1st-century Palestine, and finally support with Scripture the structure of authority within the Gospels and Acts.

Around 442 BC in the city of Athens, Greece, Sophocles wrote the greatly admired tragedy, Antigone. Antigone includes many themes such as Freedom, Protection of Personal Dignity, Obedience to Civil Law, Protection of Community/Nation, Loyalty/Obligation to Family, and Observance of Religious Law. Many of the Greek tragedies that have been written include a tragic hero that has his/her tragic flaw. In Antigone there are two main characters; Creon, the tyrant king of Thebes, and Antigone, the daughter of Oedipus and Jocasta. One of these main characters must be chosen to be the tragic hero in the story. Creon and Antigone are almost polar opposites when it comes to views of society, but their attitudes are almost identical.

By comparing the following primary sources, “The Martyrdom of Perpetua and Felicitas” and “The Rape of Lucretia,” historians can learn about the archetypes of Roman society. The former text, written in 202 or 203 CE, is a prison diary of a young martyr in Carthage. The protagonist, Perpetua, is arrested and sentenced to death because she refused to renounce her Christian faith. Despite having a newborn and hearing consistent outcry from her father to renounce her faith, Perpetua refused to absolve from Christianity. Prior to her execution, she and her comrades experience visions of entering Heaven and specifics of how their deaths would be bestowed upon them. These visions provided comfort to the prisoners because they legitimized the belief in God, as well as sanctioned the power of God to perform miracles. As God willed it, Perpetua, the “most valiant and blessed martyrs”, was ultimately executed in the arena. The latter text, written in 17 AD by Roman historian, Livy, is a story of propaganda about the rape of a honorable woman named Lucretia. Lucretia, Tarquinius Conlatinus’s wife, was the quintessential example of a Roman martyr. She was applauded for her modest, hospitable, and dutiful nature. Tragically, she was forcibly raped by the emperor’s son, Sextus Tarquinius. Consequently, Brutus, Tarquinius, and Lucretia’s father, did not object while witnessing Lucretia commit suicide in order to preserve her and her family’s

The first part of the book focuses on providing the reader with an overview of Palestine under Roman rule, a land filled with turmoil and false messianic figures. Aslan gives specific examples of failed self-proclaimed messiahs, such as Judas the Galilean and “the Samaritan”, who attempted to overthrow Roman rule but eventually were

Many people seem to be under the impression that the Aeneid is a celebration of Roman glory, led by the hero of fate Aeneas. I find these preconceived ideas hard to reconcile with my actual reading of the text. For starters, I have a hard time viewing Aeneas as a hero at all. Almost any other main characters in the epic, from Dido to Camilla to Turnus, have more heroic qualities than Aeneas. This is especially noteworthy because many of these characters are his enemies. In addition, Aeneas is presented as a man with no free will. He is not so much bound to duty as he is shielded by it. It offers a convenient way for hum to dodge crucial moral questions. Although this doesn’t necessarily make

Apuleius' Golden Ass, the only surviving novel of the Roman Empire, is a tale of a Greek nobleman devoting his life to the goddess Isis following his transformation to an ass and back. Although a work of fiction, the novel reveals a great deal about religion in Apuleius' society. This information, however, must be viewed with a critical eye. He incorporates stories from Greco-Roman mythology not to affirm their validity, but to reveal their commonness to society. Apuleius insults other religions that are not of the Pantheon with severe viciousness, while the general public may have been more open to them. In the end, he praises Isis and Osiris as the supreme gods while giving first hand account of their righteousness.

The protagonist of the Aeneid and known hero to many, Aeneas, was a man of many virtues. His courage and obedience towards the Roman gods are clearly shown all throughout the book, as well as his passion for justice. When he leaves his lover, Dido, at the bidding of the gods, he shows obedience even when it went against his own will. The time Aeneas travels into the underworld to find his deceased father, it shows great bravery. It is even seen by the example of the crew of Aeneas that he was an incredible person, judging by how loyal they were to him. But, even with all these wonderful attributes, Aeneas wasn’t the entirely heroic person we believe him to be.

With its insistence on exclusive monotheistic worship of the Christian God it won where paganism could only fail, in demanding solitary allegiance to its movement (pp. 201-204). In demanding such commitment, those won to Christianity were far more allied to its goals and purposes than adherents to pagan movements that were non-exclusive. Further, the possibility of publicly suffering for their faith offered Christians the hope of enormous communal esteem. For those already firmly committed, the benefits of esteem and other-worldly reward far out-weighed whatever cost in suffering martyrdom might bring. Paganism had nothing analogous to win such enthusiastic commitment. Whereas, Christianity promised life after death in heaven while in the Roman religion, only gods went to heaven; emperors were considered gods, everyone else went to the underworld.

When Christianity was introduced as a successor to Judaism, Roman Empire’s official religion was still Paganism. As a result Christianity was a mystery religion in Roman Empire before it became an official Religion. In this period we do not see any churches, and people used to gather in a secret place in order to pray. These places were like ordinary homes, but they changed inside, so it could be used for religion purposes. A really good example of it is Dura Europos house church. It has a simple architecture, as we can see they even broke the wall inside the house to make it bigger as to serve gatherings. After Constantine declared Christianity as an official religion, everything changed. In this essay I aim to discuss how Roman art became Christian Art. In other words, I will explain how Romans used their art and style as a formula to create art based on Christianity principals.

The idea of the hero in Greco-Roman culture was integrated into the idea of the saint (in the process of conversion and totalization) by way of Christianity's adoption of and ancestry in the Greco-Roman culture. As Professor Ambrosio indicates, "The need and the search for meaning is shared by all human beings" (Hero or Saint Saul of Tarsus). Thus, it is no surprise to find that a pagan Greco-Roman title is applicable to a Christian whose virtue is viewed as greater than that of ordinary men just as the hero is viewed as greater (in fame, bravery, strength) than ordinary men. The fact that two of early Christianity's most heroic figures (St. Paul and St. Augustine) were Roman makes this integration even less surprising. This paper will discuss the way in which the hero is integrated into the idea of the saint by comparing Saul of Tarsus with Augustine of Hippo two men who underwent a conversion and rose to "heroic" or "saintly" heights in terms of Christian virtue.

The first part of this paper will explore the mystery-religions, the reasons behind their popularity, and the Hellenistic world in which they grew that began with Alexander the Great. Next, their characteristics and connections first with Judaism and later with Christianity will be more deeply discussed. In the second part it will be shown that the mystery-religions helped to clear the pathway for the Christianization of the Greco-Roman world by men such as Paul the Apostle. Finally, the Emperor Constantine’s role in this story will be mentioned, during whose reign the mystery-religions declined and Christianity became the major religion of Europe and the near east. The paper will conclude with a brief speculation about the significance of