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Ophelia (/ oʊ ˈ f iː l i ə /) is a character in William Shakespeare's drama Hamlet (1599–1601). She is a young noblewoman of Denmark, the daughter of Polonius, sister of Laertes and potential wife of Prince Hamlet.
Eurydice (/ j ʊəˈr ɪ d ɪ s iː /; Ancient Greek: Εὐρυδίκη 'wide justice', classical pronunciation: [eu̯.ry.dí.kɛː]) was a character in Greek mythology and the Auloniad wife of Orpheus, whom Orpheus tried to bring back from the dead with his enchanting music.
In Greek mythology, the legend of Orpheus and Eurydice (Greek: Ὀρφεύς, Εὐρυδίκη, romanized: Orpheus, Eurydikē) concerns the fateful love of Orpheus of Thrace for the beautiful Eurydice. Orpheus was the son of Oeagrus and the muse Calliope.
The poem was created as part of a friendly competition in which Shelley and fellow poet Horace Smith each created a poem on the subject of Egyptian pharaoh Ramesses II under the title of Ozymandias, the Greek name for the pharaoh. Shelley's poem explores the ravages of time and the oblivion to which the legacies of even the greatest are subject.
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.
Polynices offering Eriphyle the necklace of Harmonia; Attic red-figure oenochoe ca. 450–440 BC. Louvre museum. The Necklace of Harmonia, also called the Necklace of Eriphyle, was a fabled object in Greek mythology that, according to legend, brought great misfortune to all of its wearers or owners, who were primarily queens and princesses of the ill-fated House of Thebes.
In Greek mythology, Sisyphus or Sisyphos (/ ˈ s ɪ s ɪ f ə s /; Ancient Greek: Σίσυφος Sísyphos) was the founder and king of Ephyra (now known as Corinth). He reveals Zeus's abduction of Aegina to the river god Asopus, thereby incurring Zeus's wrath.
Müller described it as a description of "a landscape beyond death" that is "an overpainting of Euripides' Alcestis which quotes the Noh play Kumasaka, the Eleventh Canto of the Odyssey, and Hitchcock's The Birds." [14] The production also utilised a Japanese kyogen play whose themes parodied those of Alcestis, laser projections, a musical ...