Tell me, Muse, of the cunning man who traveled far and wide after he had sacked the famed city of Troy
Cronus — In Greek mythology, Cronus, or Kronos, was the leader and youngest of the first generation of Titans, the divine descendants of Uranus, the sky, and Gaia, the earth.
He overthrew his father and ruled during the mythological Golden Age, until he was overthrown by his own son Zeus, Cronus was usually depicted with a harpe, scythe or a sickle, which was the instrument he used to castrate and depose Uranus, his father.
Cronus was also identified in antiquity with the Roman deity Saturn. In an ancient myth recorded by Hesiods Theogony, Cronus envied the power of his father, Gaia created a great stone sickle and gathered together Cronus and his brothers to persuade them to castrate Uranus.
Only Cronus was willing to do the deed, so Gaia gave him the sickle, when Uranus met with Gaia, Cronus attacked him with the sickle, castrating him and casting his testicles into the sea. From the blood spilled out from Uranus and fell upon the earth, the Gigantes, Erinyes. The testicles produced a white foam from which the goddess Aphrodite emerged, for this, Uranus threatened vengeance and called his sons Titenes for overstepping their boundaries and daring to commit such an act.
After dispatching Uranus, Cronus re-imprisoned the Hecatonchires, and the Cyclopes and he and his sister Rhea took the throne of the world as king and queen. The period in which Cronus ruled was called the Golden Age, as the people of the time had no need for laws or rules, everyone did the right thing, and immorality was absent.
Cronus learned from Gaia and Uranus that he was destined to be overcome by his own sons, just as he had overthrown his father. As a result, although he sired the gods Demeter, Hestia, Hera, Hades and Poseidon by Rhea, he devoured them all as soon as they were born to prevent the prophecy.
When the sixth child, Zeus, was born Rhea sought Gaia to devise a plan to them and to eventually get retribution on Cronus for his acts against his father.
Rhea secretly gave birth to Zeus in Crete, and handed Cronus a stone wrapped in swaddling clothes, also known as the Omphalos Stone, Rhea kept Zeus hidden in a cave on Mount Ida, Crete.
Still other versions of the say that Zeus was raised by his grandmother. In other versions of the tale, Metis gave Cronus an emetic to force him to disgorge the children, after freeing his siblings, Zeus released the Hecatonchires, and the Cyclopes who forged for him his thunderbolts, Poseidons trident and Hades helmet of darkness.
In a vast war called the Titanomachy, Zeus and his brothers and sisters, with the help of the Hecatonchires, and Cyclopes, overthrew Cronus and the other Titans. Afterwards, many of the Titans were confined in Tartarus, however, Atlas, Epimetheus, Helios, Gaia bore the monster Typhon to claim revenge for the imprisoned Titans.
Accounts of the fate of Cronus after the Titanomachy differ, in Homeric and other texts he is imprisoned with the other Titans in Tartarus 2. Anthropomorphism — Anthropomorphism is the attribution of human traits, emotions, and intentions to non-human entities and is considered to be an innate tendency of human psychology.
Personification is the attribution of human form and characteristics to abstract concepts such as nations, emotions and natural forces like seasons. Both have ancient roots as storytelling and artistic devices, and most cultures have traditional fables with anthropomorphized animals as characters, people have also routinely attributed human emotions and behavioural traits to wild as well as domestic animals.
It is not possible to say what these prehistoric artworks represent, in either case there is an element of anthropomorphism. This anthropomorphic art has been linked by archaeologist Steven Mithen with the emergence of more systematic hunting practices in the Upper Palaeolithic.
In religion and mythology, anthropomorphism refers to the perception of a divine being or beings in human form, ancient mythologies frequently represented the divine as deities with human forms and qualities.
They resemble human beings not only in appearance and personality, they exhibited many human behaviors that were used to explain phenomena, creation. The deities fell in love, married, had children, fought battles, wielded weapons and they feasted on special foods, and sometimes required sacrifices of food, beverage, and sacred objects to be made by human beings.
Some anthropomorphic deities represented specific concepts, such as love, war, fertility, beauty. Anthropomorphic deities exhibited human qualities such as beauty, wisdom, and power, and sometimes human weaknesses such as greed, hatred, jealousy, Greek deities such as Zeus and Apollo often were depicted in human form exhibiting both commendable and despicable human traits.
Anthropomorphism in this case is referred to as anthropotheism, from the perspective of adherents to religions in which humans were created in the form of the divine, the phenomenon may be considered theomorphism, or the giving of divine qualities to humans. Anthropomorphism has cropped up as a Christian heresy, particularly prominently with the Audians in third century Syria, but also in fourth century Egypt and tenth century Italy.
This often was based on an interpretation of Genesis 1,27, So God created man in His own image, in the image of God created He him. Some religions, scholars, and philosophers objected to anthropomorphic deities.3 outbursts of language, no reference point for the discourse. 5 each heading is an argument, not a definition.
7 any episode about love can be “endowed” with meaning, the difference occurs in the discourse, the soliloquy, the aside. Orpheus and Eurydice is one of the popular Greek myths.
The myth is about Orpheus' going to Hades to take his wife back from Pluto - the ruler of the underworld. He uses his fascinated music and charming voice to make Pluto and his wife Proserpine feel sympathy and persuade them to release Eurydice.
Musical Concerns: Essays in Philosophy of Music. Jerrold Levinson. Oxford University Press () Music and metin2sell.com Imaginary Museum of Musical Works: An Essay in the Philosophy of Music.
The Battle of Chronos and Orpheus: Essays in Applied Musical Semiology. From at least the third century onward, medieval musical theory knew the musica coelestis (heavenly music), and in the sixth century, Cassiodorus wrote, in truly Pythagorean style, that musica est disciplina quae de numeris loquitur-music speaks of numbers.
Dowling, Colette. The Cinderella Complex: Women’s Hidden Fear of Independence. New York: Summit Books, [Studies the debilitating effect of the myth on women who live in expectation of being saved by some prince who will come and lend meaning to their lives.
5 These principles may be applied with good effect to one of the earliest pieces of evidence They offer a mythological cosmogony in which Chronos, Zas are primary elements, the sperm of Chronos yields the generation of gods, and a divine marriage, a cosmic robe, a battle against a serpent, and a division of honors complete the.