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In ancient Greek religion, The Gaze of Orpheus is derived from the antiquarian Greek myth of Orpheus and Eurydice.In the story of Orpheus, the poet descends to the underworld to retrieve his wife, Eurydice from premature death, only on Hades’ and Persephone's condition that he does not look at her during the process.
Smith, William; Dictionary of Greek and Roman Biography and Mythology, London (1873). "Orpheus" West, Martin L., The Orphic Poems, 1983. There is a sub-thesis in this work that early Greek religion was heavily influenced by Central Asian shamanistic practices. One major point of contact was the ancient Crimean city of Olbia.
Orphic mosaics were found in many late-Roman villas. Orphism is the name given to a set of religious beliefs and practices [1] originating in the ancient Greek and Hellenistic world, [2] associated with literature ascribed to the mythical poet Orpheus, who descended into the Greek underworld and returned.
The following is a family tree of gods, goddesses, and other divine and semi-divine figures from Ancient Greek mythology and Ancient Greek religion. Chaos The Void
On the gods' advice, Orpheus traveled to the Underworld wherein his music softened the hearts of Hades and Persephone, who agreed to allow Eurydice to return with him to the living world on one condition: he should guide her out and not look back until they both had reached the upper world. As he was about to reach the living world, Orpheus ...
God of the seas, water, storms, hurricanes, earthquakes and horses. The middle son of Cronus and Rhea. Brother of Zeus and Hades. Married to the Nereid Amphitrite; although, as with many of the male Greek gods, he had many lovers. His symbols include the trident, horse, bull, and dolphin. Demeter: Ceres
Greek mythology has changed over time to accommodate the evolution of their culture, of which mythology, both overtly and in its unspoken assumptions, is an index of the changes. In Greek mythology's surviving literary forms, as found mostly at the end of the progressive changes, it is inherently political, as Gilbert Cuthbertson (1975) has argued.
Due to her vanity, Lethaea was turned into stone at Ida by the gods. Her lover Olenus wished to share in the blame, and so shared her fate. The story is used as a metaphor for how stunned Orpheus was after a failed attempt to bring back his wife from the underworld.