The Muse Of Polyhymnia

After Phoebe nearly spent three-fourths of her Christmas money on carousel rides, the ride was about to close because of all this damn rain. I mean, it wasn’t like it was a tornado or anything but—. Anyways, when the ride was over, all the kids ran to their parents like they thought the rain was lava or something and it was going to melt them. Not old Phoebe though. Boy was she smooth. So smooth. She just walked on over to me and plopped right down beside me on the bench. It was as if Phoebe was as happy as I was, watching her all smiley and funny and stuff. It made me even happier; watching Phoebe was one thing, but her acting just like me, boy did that kill me. It really did.

This book report is an analysis of the Egyptian Love Poem [ My god, my Lotus…], from the book, The Norton Anthology of World Literature, Volume A. Egyptian Love Poems date back to 1300-1100 B.C.E., they were written on papyri, potsherd, and flakes of limestone. Papyri are a sheet-like material that was made out of pithy stems from a water plant. Which was used to write or paint on in the ancient Mediterranean world, potsherd is pieces of broken ceramic material. The lovers in Egyptian Love Poems are young and tend to be under parental supervision, half the poem is spoken by the girl and the other half by the boy. [ My god, my Lotus…] uses imagery to describe the desires of love and how different types of love function within modern societies. This poem displays different perspectives of love and the reality of how love is viewed in most civilizations. Readers will learn that love is not exclusive to men and women, and how different forms of love can lead them to overcoming life obstacles.

This expresses A.lesky’s opinion on Tyrtaeus’ poetry. Writing and literature through both ancient sources and evidence proves to

Pomeroy, S. B. (1995). Goddesses, whores, wives, and slaves: women in classical antiquity. New York: Schocken Books.

Music in Ancient Greece was well integrated in their society, it played a large role in various ceremonies from marriages to funerals, as well as entertainment like plays or epic poetry. Although it is believed that music was invented in Africa over 55,000 years ago, music really began and took shape in Ancient Greece. Even the word music came from the Greek word muses who were believed to be the daughters of Zeus and were the patron Goddesses of creativity. There are many references to music in ancient Greece, from drawings on pottery of people playing, as well as literary works that even describe how the instruments sounded. Speaking of instruments, in addition to the voice being used as one, there are several instruments that are known to have existed in Ancient Greece, a few different string instruments including a lyre, a kithara (which is believed to be the ancient equivalent of a guitar), and a barbitos, which is a taller version of a lyre. They also had several wind type instruments including and aulos, pan pipes, a hydraulis (which eventually led to the modern day organ), as well as a salpinx, which was an ancient type of trumpet with a bone mouthpiece that was the origin of the many brass instruments that we know of today. Finally, we also know of several percussion instruments that were used by the ancient Greeks, these include a tympanum, which was like a tambourine, a crotala, and a koudounia. Music was actually one of the main teachings, along with gymnastics

I find it very useful if I summarize some of the contents of his book, because the position of art is the main theme of this book, he clams that the art gets its growth from both the Apollonian and Dionysian, he also clams that we owe to the Art goddess the Apollo and Dionysus with our knowledge, that there is a dramatic conflict in the Greek world when it comes to the roots and objectives among Apollonian art and the art of Dionysian, Both the Apollonian and the Dionysian are important 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. Even though they are very opposed, but they are also intimately intertwined, They are taking a complete different directions at the same time they both go hand and hand together, they are somehow Retraction towards rectify more powerful roots which gives to their conflict a nature eternal paradox do not meet only when the term of art is

In the second stanza she makes it directly clear who she is by stating, “I sat on the throne/ Drinking nectar with Allah/I got hot and sent an ice age to Europe/To cool my thirst/My oldest daughter is Nefertiti/The tears from my birth pains/ Created the Nile/ I am a beautiful woman.” Here we see Giovanni establish that she is in fact a goddess and the mother of Nefertiti whom based on these lines means a beautiful woman and was historically known as a powerful Egyptian queen. The final line of this stanza, “I am a beautiful woman,” also reinforces her pride and confidence as a woman. Giovani also points out her ranking as equivalent to that of Allah since she “…sat on the throne/ Drinking nectar with Allah.”

As a prostitute relative to the gender roles of the nineteenth century, Olympia should be reserved and conforming to what a man wants, but her gaze reveals she has equal power in this pointedly sexual, even lascivious, situation. Olympia’s strong, unrelenting gaze into the viewer’s eyes asserts a dominance in her place, challenging the authority of men of the time to be the judge of a woman’s place. Her deliberate stare removes the deceptions men had of women. Instead of the man judging and sizing her up, Olympia is now the evaluator of the man’s worth and importance. This new perception that critics gleaned from Olympia resulted in horrible reviews and refusals. Another critic, Victor de Jankovitz, criticized that, “the expression of Olympia’s face is that of a being prematurely aged and vicious; the body’s putrefying color recalls the horror of the morgue,” (Bernheimer 256). Manet painted Meurent in the style of a still life from his perception, but Bernheimer’s harsh review expresses the refutal from the male society of Manet’s Olympia. The terrible responses to his painting upset Manet. However, some recognized Olympia as a masterpiece. A female critic, Emile Zola, remarked that “when other artists correct nature by painting Venus they lie. Manet asked himself why he should lie. Why not tell the truth?” (qtd. in Chris Jenks). Responses as such paved

While Gian Lorenzo Bernini’s sculpture “Apollo and Daphne” depicts a Romanian story of forbidden love, Ron Mueck’s “Two Women” portray two elderly women hyper-realistically. By analysing the meaning behind the two sculptures, evidence is given that the two artists had different intentions for their work. The story “Apollo and Daphne” is from a roman poem named “Metamorphoses” by a man named Ovid. In the story, Apollo is hit by a magical arrow from a god of

A lucent crescent of the moon is seen on the top right hand corner of the painting where dramatic contours and fluidity of the brushworks are seen due to the Japonisme influences. Moreover, the eleven stars and the rolling hills are depicted moving to the momentum of the swirling sky.

In the myth of Pyramus and Thisbe, we find two lovers who stop at no means to express each other’s love. Yet through a series of unfortunate events the two lovers eventually took their lives out of the belief that the other had died. After re-evaluating the two lovers’ thought process through the entire tragedy we can see that all had occurred due to an act of rashness; both failing to access the situation clearly leading to their own downfalls. It was as if Shakespeare, in an effort to recreate the tragedy in modern scenery, had made two star-crossed lovers bound together by fate and later apart by fate almost exactly the same way as Pyramus and Thisbe. However in this tragedy, the rashness was not only shared between the lovers but mostly between Romeo and the Friar. It was through their actions that the events of this tragedy had sprouted.

The sculpture Apollo and Daphne, created by Gian Lorenzo Bernini, is based off a story from Book 1 of Ovid's Metamorphoses. It is a portrayal of when Daphne is turned into a tree when trying to escape Apollo after they were both shot with an arrow by Eros. The sculpture is a powerful visual of Daphne and Apollo’s emotions as Daphne was captured by him. To evaluate the photo further I will discuss the feeling of empathy the sculpture made me feel and two connections the sculpture has to Ovid’s story.

3) section of the room is directly opposite side of La Disputa. This placement alone, Raphael wanted to show that even though the culture of the two can be different, they have a myriad of similarities. In the ceiling above the Parnassus, the ceiling tondo (Fig 1, right) has lyre and the laurel wreath are the symbols of Poetry. The two tablets say “Inspired by the Spirit”. By tying this phrase with the image, Raphael created a link between learning about the liberal arts with Theology, because theses arts were created by the mind whose spirit follows God’s path. On the actual piece we have portraits of the most famous of people in the liberal arts works both from ancient and “modern” era (Gombrich, 96). In this fresco we have Ovid, Virgil, Ennius, Tibullus, Catullus, Propertius and Homer; along with Apollo with nine muses. Raphael was very clear as to how to solve his doorway dilemma. Because of its arched shaped, Raphael had decided to paint Mount Parnassus and Fountain of Helicon so that he could make the whole scene flow a lot

Mary Wroth alludes to mythology in her sonnet “In This Strange Labyrinth” to describe a woman’s confused struggle with love. The speaker of the poem is a woman stuck in a labyrinth, alluding to the original myth of Theseus and the Minotaur. The suggestion that love is not perfect and in fact painful was a revolutionary thing for a woman to write about in the Renaissance. Wroth uses the poem’s title and its relation to the myth, symbolism and poem structure to communicate her message about the tortures of love.

Gender inequality has been a controversial topic for numerous religions and cultures throughout history. Women were commonly regarded as the subservient gender, an idea that was no different in Ancient Greece. Throughout Greek mythology, women were considered inferior and troublesome symbols, while men were known for courage, leadership, and strength. While there is no argument of the flagrant sexism that is illustrated in Greek mythology, it can also be claimed that women were given a situated position of freedom, necessity, and power as well. Many popular Greek plays and myths contain several complexes and well described female characters. These goddesses themselves, partook the role of victim, heroine, and villain as it illustrated the diversity of characters in which women were portrayed and seen in both Ancient Greek society and mythology, allowing us to question “Were the women of Ancient Greek mythology equally represented as free and superior?” The creation of the Greek mythological universe, the creation of multi-gendered goddesses or deities, and the free and superior personalities accredited to women in Ancient Greek mythology to answer the question that women were fairly represented as powerful in Ancient Greek mythology.