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Hyacinthus chose Apollo over the others. He visited all of Apollo's sacred lands with the god in a chariot drawn by swans. So fiercely was Apollo in love with Hyacinthus that he abandoned his sanctuary in Delphi to enjoy Hyacinthus' company by the river Eurotas. He taught Hyacinthus the use of the bow and the lyre, the art of prophecy, and ...
Male lovers of Apollo (1 C, 12 P) This page was last edited on 4 December 2022, at 13:01 (UTC). Text is available under the Creative Commons Attribution ...
Apollo has to adjust to a life of mortality and questing to regain his former powers and lifestyle. Following a meeting with two thugs in Manhattan, Apollo encounters a demigod called Meg McCaffrey, who claims him as her servant until he regains his godhood. Apollo is released by Meg after the revelation of her alliance with his enemy.
Apollo was another god with effeminate features. His cheeks and chin are said to be soft and tender. [71] [72] He was beardless and kept his hair long, giving him a feminine appearance. In one of his myths, he is mocked for draping himself in women's clothing, while his twin sister Artemis was made fun of for appearing manly and rough. [73]
Apollo, the god of the sun, art, music and poetry, is playing music along with his favorites in nature's lap. Ivanov said he wanted to portray “nudity instead of a life class”, in other words, to combine classical beauty with a lively romantic feeling.
The myth of Cyparissus, like that of Hyacinthus, has often been interpreted as reflecting the social custom of pederasty in ancient Greece, with the boy the beloved of Apollo. Pederastic myth represents the process of initiation into adult male life, [ 3 ] with a "death" and transfiguration for the eromenos.
This page was last edited on 23 September 2024, at 20:41 (UTC).; Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply.
Apollo et Hyacinthus, K. 38, is an opera in three acts written in 1767 by Wolfgang Amadeus Mozart, who was 11 years old at the time. It is Mozart's first true opera (when one considers that Die Schuldigkeit des ersten Gebots is simply a sacred drama).