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Kretschmer asserted that νύση (nusē) is a Thracian word that has the same meaning as νύμφη (nýmphē), a word similar with νυός (nuos) (daughter in law, or bride, I-E *snusós, Sanskr. snusā). [28] He suggested that the male form is νῦσος (nūsos) and this would make Dionysus the "son of Zeus". [27]
Whose misadventured piteous overthrows Do with their death bury their parents' strife. The fearful passage of their death-mark'd love, And the continuance of their parents' rage, Which, but their children's end, nought could remove" Even if you somehow miss the first reference to death, you'd have to try very hard to miss the other 3.
Still from Universal's film Damon and Pythias (1914). In 1564, the material was made into a tragicomic play by the English poet Richard Edwardes (Damon and Pythias).; The best-known modern treatment of the legend is the German ballad Die Bürgschaft, [2] written in 1799 by Friedrich Schiller, based on the Gesta Romanorum version.
King Astyages commands Harpagus to take the infant Cyrus and slay him, tapestry by Jan Moy (1535-1550). Astyages's dream (France, 15th century) The account given by the ancient Greek historian Herodotus relates that Astyages had a dream in which his daughter, Mandane, gave birth to a son who would destroy his empire.
The Moirai, meaning "allotted portion" or "share", separated each sister into a different role in order to handle the fates of humans. The Fates were expected to appear within three days of a mortal's birth. [2] Clotho was the first of the three, known as "the spinner" because she wove the threads of human life while in the womb. [3]
This was the piteous tale they stopped to tell. [ 41 ] Francesca further reports that she and Paolo yielded to their love when reading the story of the adultery between Lancelot and Guinevere in the Old French romance Lancelot du Lac .
R. S. P. Beekes has suggested a pre-Greek origin and a connection with the root of the word sophos (σοφός, "wise"). [3] German mythographer Otto Gruppe thought that the name derived from sisys (σίσυς, "a goat's skin"), in reference to a rain-charm in which goats' skins were used.
Psychologists see pity arising in early childhood out of the infant's ability to identify with others. [3]Psychoanalysis sees a more convoluted route to (at least some forms of) adult pity by way of the sublimation of aggression—pity serving as a kind of magic gesture intended to show how leniently one should oneself be treated by one's own conscience.