...In the era of Homer, divine intervention was thought to be typical, and one of his foremost works, The Iliad, reflects this. Nearly all of the Greek gods are involved in the outcome of the Trojan War, which happens to be the background story of this epic poem. The gods are used by Homer to add twists on an otherwise standard plot of war. Evidently, the gods will be a powerful source of divine intervention and their actions certainly have significant outcomes on the Trojan War, and more importantly, the story of The Iliad. Zeus, very untypical of a Greek god in his lack of involvement in the Trojan War for selfish reasons, was portrayed as the father figure, being impartial and fair to both sides of the war. He remains this way to serve as a check for the other god's involvement in the war. Without the presence of fate controlling the inner circle of Olympus, it is likely that the activity of the Trojan War would have become chaotic, possibly even becoming a playground of war for the gods. The power of fate, above all of the other gods combined, is a power that not even divine intervention can prevent. This theme of fate and how it controls the god’s actions is quite befitting to the storyline of The Iliad. The Iliad, in essence, recounts the story of part of the tenth year of the Trojan War. It recounts of the anger of Achilles, the greatest warrior present at Troy, and of the background battle that is ensuing. The reoccurring theme in the Iliad is that no matter whom the character...
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...The Use of Divine Intervention in the Iliad The Iliad is filled with many great scenes and themes. We get to experience the heart of battle and the triumph of victory. Another important aspect of the poem is the fact that it was one of the first tales told that gave us personal insight into the gods and goddesses and what their personalities were like. All throughout the story, we have close encounters with these devious players who seem to passionately take part in the affairs of mortal men and women. Analyzing the use of the gods actions in this poem gives us keen insight into the mentality of the Greeks at that time and how they viewed their religion and their way of life. Through examination of the poem one can attempt to answer whether or not the gods made the really important decisions in the story. Particularly we will focus our attention on Zeus, the king of the gods, and his son Apollo. We will attempt to determine how much of their influence played an integral part in the story. Divine intervention was a major variable in the equation of Homer s Iliad. The gods picked whom they would favor for different reasons. Except Zeus: As the symbol of supreme authority and justice, he makes judgement calls as to the other gods involvement in the war, remains impartial, and doesn t seem to get caught up in picking favorites. Even when his own son, Sarpedon, was about to die, Zeus chose to let the outcome go unaltered. We find him granting supplications but we really do not...
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...Classic Cultures 1110 Q: Consider the role of the gods in the Iliad. Why are they given credit or blame for so much of what happens at Troy? Does Zeus have ultimate control over the fate of these mortals? To what extent do the mortal characters exercise free will in their choice of actions? Be sure to discuss at least three separate episodes from the text to support your argument. In Homer’s The Iliad, divine intervention is a recurrent theme in the epic. The epic portrays a world in which humans and Gods somewhat co-exist even though they are in very different worlds. We witness that heroes in The Iliad go through many troubles when “fate” and the Gods operate their lives. In Homer’s epic, the Gods intend to constantly change the lives of the people and manipulate events that take place on earth for their own self interest or any other reason. We see many recurrent patterns throughout the epic between the Gods, fate, and the heroes. For example, the Gods play a very important role in Troy. Certain gods are on each side of the war and they all have a reason, albeit petty, to help a side. Hera, the patron goddess of women, and Athena, goddess of war and wisdom, are opposed to the Trojans because a Trojan said that Aphrodite was more beautiful than them. Poseidon, the god of the sea, is also against the Trojans, because the king of Troy once enslaved him and made him build the city's walls and then refused to pay Poseidon. Although Apollo, god of poetry...
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...The story is set in the present day. In comparison with the Iliad, the theme of the importance of fate is displayed through the different coincidences throughout the story. The theme of fate is illustrated through the different meetings and interactions such as the meeting between Sarah and Nathan, the meeting of Professor Apolland and his son, Aaron, and finally the meeting of all the characters in interactions with Marta. When Sarah wakes up from the entire ordeal and has gained confidence in sitting for her midterm. In addition, the idea of divine blessing is addressed when Nathan and Sarah are rewarded for their assistance from Professor Apolland, when he gave them an extension on their midterm for their help with both Aaron and Marta....
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...mortal affairs in two ways. First, they act as external forces upon the course of events, as when Apollo sends the plague upon the Achaean army. Second, they represent internal forces acting on individuals, as when Athena, the goddess of wisdom, prevents Achilles from abandoning all reason and persuades him to cut Agamemnon with words and insults rather than his sword. But while the gods serve a serious function in partially determining grave matters of peace and violence, life and death, they also serve one final function—that of comic relief. Their intrigues, double-dealings, and inane squabbles often appear humorously petty in comparison with the wholesale slaughter that pervades the mortal realm. The bickering between Zeus and Hera, for example, provides a much lighter parallel to...
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...during the dispute. Be sure to read Pope’s letter to Arabella Fermor in the notes for Canto 1. Some EPIC CONVENTIONS are as follows: 1. In medias res. In Medias Res is Latin for "it begins in the middle of things" and then has flashbacks to explain action leading up to that point.In THE ILIAD, for example, the story begins after the war between the combined forces of Greece and the forces of the walled city of Troy and their allies has been in progress for nearly ten years. 2. Invocation to a muse. The story begins with an invocation(prayer) to a god or gods. The poet, who in those days would have been reciting the epic to an audience, say, at a banquet, began by calling for a blessing--for a god or gods to attend this effort of his. They probably literally believed that the called upon god or muse came into them and, therefore, that it was not the poet who recited, but the god in the poet's body. Poet's, then, were considered very sacred, for they could call down a god and have the god in them, at least temporarily. We continue to have remnants of this belief, of course.We often think of poets or of any true artist as being different or touched by a special hand.In the case of the beginning of THE ILIAD, the poet says something like "Sing, goddess of epic poetry, the story of the anger of...
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...Gods Personify Us “We everlasting gods… Ah what chilling blows we suffer-thanks to our own conflicting wills-whenever we show there moral men some kindness’’ It is obvious that the gods and goddesses are very important in traditional Greek Culture. The whole cause of the Trojan War is based around the fact that even gods can feel emotions such as jealousy, anger and vengeance. The gods are used by Homer to add twists on an otherwise standard plot of war. During the epic, there are times when gods and goddesses alike influence the war by infuriating the soldiers in order to have them continue fighting. Other times, some gods or goddesses removed certain characters so as to avoid death. The gods do not maintain order among humans nor among themselves. They are at times completely selfish and the ones who mostly suffer the consequences of their selfish meddling are the mortals. The mortals pray to and make sacrifices to the gods, yet do not fully understand that their lives are in the hands of fate and fate alone. The gods’ actions are never a result of what is just or fair. They are not interested in the good of anyone, but only in their personal interests. In furthering their interests they use whatever mortals serve their purpose. The gods dabble in the life of man and routinely thwart any attempt for him to entirely forge his own future. The mortals in question are necessary only in so far as their use to the gods and when the gods will or desire is achieved; the...
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...examine the thematic importance of the decisions taken by a hero in accordance to or defiance of self control and pietas and the consequences they lead to. These expectations are clearly marked out for the reader who waits in anticipation to garner the fate of the hero. I will analyse the themes of self control and pietas or duty in the Odyssey and discuss their special significance in this epic. I will then briefly talk about the Hindu concept of duty or Dharma with reference to the Ramayana. I however do not intend to use the concept of monomyth coined by Joseph Campbell also referred to as the hero's journey(which is a basic pattern that its proponents argue is found in many narratives from around the world.) in comparing these epics. The example of the Ramayana will only serve my purpose of highlighting the theme of duty in mythologies across the world. Lastly, I will conclude with the importance of inspecting these themes because of their significance to the plotline. Georg Wissowa notes that pietas was meant by the Romans as "the conduct of the man who performed all his duties towards the deity and his fellow human beings fully and in every respect."Around the year 70 BC, Cicero defined pietas as the virtue "which admonishes us to do our duty to our country or our parents or other blood relations. 1 Essentially a Roman concept ,I will employ it in this paper in context to Greek...
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...From How to Read Literature Like a Professor Thomas C. Foster Notes by Marti Nelson 1. Every Trip is a Quest (except when it’s not): a. A quester b. A place to go c. A stated reason to go there d. Challenges and trials e. The real reason to go—always self-knowledge 2. Nice to Eat With You: Acts of Communion a. Whenever people eat or drink together, it’s communion b. Not usually religious c. An act of sharing and peace d. A failed meal carries negative connotations 3. Nice to Eat You: Acts of Vampires a. Literal Vampirism: Nasty old man, attractive but evil, violates a young woman, leaves his mark, takes her innocence b. Sexual implications—a trait of 19th century literature to address sex indirectly c. Symbolic Vampirism: selfishness, exploitation, refusal to respect the autonomy of other people, using people to get what we want, placing our desires, particularly ugly ones, above the needs of another. 4. If It’s Square, It’s a Sonnet 5. Now, Where Have I Seen Her Before? a. There is no such thing as a wholly original work of literature—stories grow out of other stories, poems out of other poems. b. There is only one story—of humanity and human nature, endlessly repeated c. “Intertexuality”—recognizing the connections between one story and another deepens our appreciation and experience, brings multiple layers of meaning to the text, which we may not be conscious of. The more consciously...
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...THE HANDY RELIGION AN SWE R BOOK JOHN RENARD Detroit The Handy Religion Answer Book™ C O P Y R I G H T © 2002 BY VI S I B LE I N K PRE SS® This publication is a creative work fully protected by all applicable copyright laws, as well as by misappropriation, trade secret, unfair competition, and other applicable laws. No part of this book may be reproduced in any form without permission in writing from the publisher, except by a reviewer who wishes to quote brief passages in connection with a review written for inclusion in a magazine or newspaper. All rights to this publication will be vigorously defended. Visible Ink Press® 43311 Joy Rd. #414 Canton, MI 48187-2075 Visible Ink Press and The Handy Religion Answer Book are trademarks of Visible Ink Press LLC. Most Visible Ink Press books are available at special quantity discounts when purchased in bulk by corporations, organizations, or groups. Customized printings, special imprints, messages, and excerpts can be produced to meet your needs. For more information, contact Special Markets Director, Visible Ink Press, at www.visibleink.com or (734) 667-3211. Art Director: Mary Claire Krzewinski Typesetting: Graphix Group Library of Congress Cataloging-in-Publication Data Renard, John, 1944The handy religion answer book / John Renard. p. cm. ISBN 1-57859-125-2 (pbk.) 1. Religions--Miscellanea. I. Title. BL80.2 .R46 2001 291--dc21 Printed in the United States of America All rights reserved ...
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...MARMA SHASTRA AYURVEDA BIOENERGETICS MARMA SHASTRA Ayurveda Bio-Energetics Written and Compiled by Michael James Hamilton, LAC Copyright © 2007; Michael James Hamilton, LAC 2nd Edition Copyright © 2011 All rights reserved. Reproduction of any kind without prior written permission of the compiler is prohibited. MARMASHASTRA ©2011 by Michael Hamilton, LAC. www.lotusspace.com ACKNOWLEDGEMENTS I give gratitude to Dr. Suhas Kshirsagar and Dr. Thomas Yarema for their teachings; to my mother for her guidance; my readers for the hope to expand this knowledge; the ultimate reality for always being there even when I do not always realize it. dew rise clouds fall rain wash pain all MAHALO i MARMASHASTRA ©2011 by Michael Hamilton, LAC. www.lotusspace.com This work presents the human bio-energy model (anthropocosm: cosmic human being) as profoundly observed in Ayurvedic medicine. According to ancient Vedic texts (and later through Tantric and Taoist traditions), the energetic, or subtle, body is the foundation of the food, or coarse body, and the bridge between the physical and causal realms. Therefore, the structure of the subtle energetic body provides an intended means for human spiritual development, or evolution (which enables humanity to fulfill its purpose as a conduit between heaven and earth, hence transforming into an entity more subtle, and original). The text’s primary purpose is to present oriental bio-energetic theory, and second, to bridge...
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...The Gospel ACCORDING TO FEMIGOD He who has ears, let him hear The author and publisher have provided this e-book to you without Digital Rights Management software (DRM) applied so that you can enjoy reading it on your personal devices. THE GOSPEL ACCORDING TO FEMIGOD Copyright © 2013 by Femigod Ltd. Published by Femigod Ltd. www.femigod.com Femigod® is a registered trademark of Femigod Ltd. ISBN: 9780992642600 For my darling sister, Pero. I love you dearly. No matter what you want, it’s yours. Beyond money and weapons. Contents Introduction ............................................................................................................................................... 1 Book One: Understanding Mainstream and Organised Religion.............................................................. 5 Christianity ............................................................................................................................................ 6 Islam ...................................................................................................................................................... 9 Hinduism.............................................................................................................................................. 12 Buddhism ........................................................................................................................................... 155 Chinese traditional religions ...........
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...Ancient Greece The Parthenon, a temple dedicated to Athena, located on the Acropolis in Athens, is one of the most representative symbols of the culture and sophistication of the ancient Greeks. Part of a series on the | Modern Greece.Septinsular Republic.War of Independence.First Hellenic Republic.Kingdom of Greece.National Schism.Second Hellenic Republic.4th of August Regime.Axis occupation (collaborationist regime).Civil War.Military Junta.Third Hellenic Republic | History by topic.Art.Constitution.Economy.Military.Names | History of Greece | | Neolithic Greece.Neolithic Greece | Greek Bronze Age.Helladic.Cycladic.Minoan.Mycenaean | Ancient Greece.Homeric Greece.Archaic Greece.Classical Greece.Hellenistic Greece.Roman Greece | Medieval Greece.Byzantine Greece.Frankish and Latin states.Ottoman Greece | | Ancient Greece was a civilization belonging to a period of Greek history that lasted from the Archaic period of the 8th to 6th centuries BCto the end ofantiquity (c. 600 AD). Immediately following this period was the beginning of the Early Middle Ages and the Byzantine era. Included in ancient Greece is the period ofClassical Greece, which flourished during the 5th to 4th centuries BC. Classical Greece began with the repelling of a Persian invasion by Athenian leadership. Because of conquests by Alexander the Great of Macedonia, Hellenistic civilization flourished fromCentral Asia to the western end of the Mediterranean Sea. Classical Greek culture...
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...Synonyms and Antonyms, by James Champlin Fernald 1 Synonyms and Antonyms, by James Champlin Fernald Project Gutenberg's English Synonyms and Antonyms, by James Champlin Fernald This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: English Synonyms and Antonyms With Notes on the Correct Use of Prepositions Author: James Champlin Fernald Release Date: May 21, 2009 [EBook #28900] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK ENGLISH SYNONYMS AND ANTONYMS *** Produced by Jan-Fabian Humann, Stephen Blundell and the Online Distributed Proofreading Team at http://www.pgdp.net English Synonyms and Antonyms A Practical and Invaluable Guide to Clear and Precise Diction for Writers, Speakers, Students, Business and Synonyms and Antonyms, by James Champlin Fernald Professional Men Connectives of English Speech "The work is likely to prove of great value to all writers."--Washington Evening Star. 2 "The book will receive high appreciation from thoughtful students who seek the most practical help."--Grand Rapids Herald. "It is written in a clear and pleasing style and so arranged that but a moment's time is needed to find any line of the hundreds of important though small words which this book discusses."--Chattanooga Times. "Its...
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...U MYTHOLOGY U GODS AND GODDESSES IN GREEK MYTHOLOGY Michelle M. Houle Copyright © 2001 by Michelle M. Houle All rights reserved. No part of this book may be reproduced by any means without the written permission of the publisher. Library of Congress Cataloging-in-Publication Data Houle, Michelle M. Gods and Goddesses in Greek Mythology / Michelle M. Houle. p. cm. — (Mythology) Includes bibliographical references and index. Summary: Discusses various Greek myths, including creation stories and tales of principal gods and goddesses. ISBN 0-7660-1408-8 1. Mythology, Greek—Juvenile literature. [1. Mythology, Greek.] I. Title. II. Mythology (Berkeley Heights, N.J.) BL782 .H68 2000 398.2’0938’01—dc21 00-028782 Printed in the United States of America 10 9 8 7 6 5 4 3 2 1 To Our Readers: All Internet Addresses in this book were active and appropriate when we went to press. Any comments or suggestions can be sent by e-mail to Comments@enslow.com or to the address on the back cover. Cover and illustrations by William Sauts Bock CONTENTS Chart of Major Gods and Goddesses . . . . . . . . . . . . . . . . . . . . Preface . . . . . . . . . . . . . . . . . . . . . . . . . . . Map . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 6 8 1 2 3 4 5 6 7 8 9 Creation . . . . . . . . . . . . . . . . . . . . . . . . . . 17 The War Between the Titans and the Olympians . . . . . . . . . . . . . . . . . 26 Prometheus and Earth’s First Inhabitants . . . . . . . . . . . ....
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