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Arachne (/ ə ˈ r æ k n iː /; from Ancient Greek: Ἀράχνη, romanized: Arákhnē, lit. 'spider', cognate with Latin araneus ) [ 1 ] is the protagonist of a tale in Greek mythology known primarily from the version told by the Roman poet Ovid (43 BCE–17 CE), which is the earliest extant source for the story. [ 2 ]
Phalanx (Ancient Greek: Φάλαγξ, romanized: Phálanx, lit. 'spider') is a minor Attic figure in Greek mythology who features in a lesser-known narrative of the myth of Arachne, the girl who enraged the goddess Athena by boasting of being a better weaver than her and was thus transformed into a spider by Athena.
Arachne ("spider") Spider: Athena: Arachne was a Lydian girl noted for her talent in weaving. When she bragged of being a better weaver than Athena herself, the goddess challenged her. In their contest, Arachne drew various instances of gods seducing mortal women, which enraged Athena, who then proceeded to beat Arachne.
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.
Bulfinch's Mythology is a collection of tales from myth and legend rewritten for a general readership by the American Latinist and banker Thomas Bulfinch, published after his death in 1867. The work was a successful popularization of Greek mythology for English-speaking readers.
The greek word for "spider" itself refers to Arachne, the female protagonist of an ancient tale of the Greek Mythology. Arachnology as a science ...
It is also known by the title The Fable of Arachne. Most scholars regard it as a late work by the artist, dating from 1657-58, but some argue that it was done c. 1644-48. [1] Velázquez scholar Jonathan Brown writes that Las Hilanderas and Las Meninas are arguably Velázquez's "two greatest paintings.... [T]hey are the largest, most complicated ...
A 1972 poem by James Merrill, titled "Syrinx", draws on several aspects on the mythological tale, with the poet himself identifying with the celebrated nymph, desiring to become not just a "reed" but a "thinking reed" (in contrast to a "thinking stone", as critic Helen Vendler has observed, noting the influence of a Wallace Stevens lyric, "Le ...