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Orphic Hymn 71 is addressed to Melinoe, and describes her as follows (in the translation by Apostolos Athanassakis and Benjamin M. Wolkow): I call upon Melinoë, saffron-cloaked nymph of the earth, whom revered Persephone bore by the mouth of the Kokytos river upon the sacred bed of Kronian Zeus.
Roman mosaic of Orpheus, the mythical poet to whom the Orphic Hymns were attributed, from Palermo, 2nd century AD [31]. The collection's attribution to the mythical poet Orpheus is found in its title, "Orpheus to Musaeus", [32] which sits above the proem in the surviving manuscripts of the collection; [33] this proem, an address to the legendary poet Musaeus of Athens (a kind of address found ...
Evidence from both the Orphic Hymns and the Orphic Gold Leaves demonstrate that Persephone was one of the most important deities worshiped in Orphism. [132] In the Orphic religion, gold leaves with verses intended to help the deceased enter into an optimal afterlife were often buried with the dead.
Orphic mosaics were found in many late-Roman villas. Orphism (more rarely Orphicism; Ancient Greek: Ὀρφικά, romanized: Orphiká) 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 Orphic Trilogy, a series of films by Jean Cocteau (1930–1959) Eurydice, a play by Jean Anouilh (1941) Orfeu da Conceição, a play by Vinicius de Moraes (1956) Orpheus Descending, a play by Tennessee Williams (1957) Black Orpheus, a film by Marcel Camus (1959) Evrydiki BA 2O37, a film directed by Nikos Nikolaidis (1975)
Persephone is the most uninhibited character in “Hadestown.” When they had the announcement for your casting, you said something about how, as a sober person, you appreciated the chance to ...
The Thesmophoria (Ancient Greek: Θεσμοφόρια) was an ancient Greek religious festival, held in honor of the goddess Demeter and her daughter Persephone.It was held annually, mostly around the time that seeds were sown in late autumn – though in some places it was associated with the harvest instead – and celebrated human and agricultural fertility.
Shelley tells the story almost entirely from Ceres's point of view; "her play elegiacally praises female creativity and fecundity as 'Leaf, and blade, and bud, and blossom.' " [2] Shelley writes active, rather than passive, roles for Proserpine and Ceres. For example, it is Ceres's anger, not her grief, that brings "winter's blight". [41]