Western literature week 5

Garden of Eden

The Garden of Eden or often Paradise is the biblical "garden of God", described most notably in the Book of Genesis chapters 2 and 3, and also in the Book of Ezekiel. The "garden of God", not called Eden, is mentioned in Genesis 13, and the "trees of the garden" are mentioned in Ezekiel 31. The Book of Zechariah and the Book of Psalms also refer to trees and water in relation to the temple without explicitly mentioning Eden.

Much like records of the great flood, creation story and confusion of languages, the story of Eden echoes the Mesopotamian myth of a king, as a primordial man, who is placed in a divine garden to guard the tree of life. In the Hebrew Bible, Adam and Eve are depicted as walking around the Garden of Eden naked due to their innocence. Eden and its rivers may signify the real Jerusalem, the Temple of Solomon, or the Promised Land. It may also represent the divine garden on Zion, and the mountain of God, which was also Jerusalem. The imagery of the Garden, with its serpent and cherubs, has been compared to the images of the Solomonic Temple with its copper serpent (the nehushtan) and guardian cherubs.

Clay ash dust Adam & Rib Eve

According to one of the various Genesis creation narratives, God initially created the first human, a man named Adam, from the dust of the ground, and breathed into his nostrils the breath of life; thereafter God created a woman named Eve from one of Adam's ribs.

Thy name is

"______, thy name is ______" is a snowclone used to indicate the completeness with which something or somebody (indicated by the second part) embodies a particular quality (indicated by the first part), usually a negative one.

Frailty, thy name is woman

This is a redirect from a title that is a complete, more complete or longer version of the name of a person, organization, legislative act, etc. It leads to the title in accordance with the naming conventions for common names and can help writing and searches. However, do not replace these redirected links with a piped link unless the page is updated for another reason.

Forbidden fruit

Forbidden fruit is a phrase that originates from Genesis concerning Adam and Eve in Genesis 2:16–17. In the narrative, Adam and Eve ate the fruit of good and evil in the Garden of Eden, which they had been commanded not to do by God. As a metaphor, the phrase typically refers to any indulgence or pleasure that is considered illegal or immoral.

Adam’s apple

The Adam's apple, or laryngeal prominence is a feature of the human neck, and is the lump or protrusion that is formed by the angle of the thyroid cartilage surrounding the larynx.

Original sin

Original sin, also called ancestral sin, is the Christian doctrine of humanity's state of sin resulting from the fall of man, stemming from Adam and Eve's rebellion in Eden, namely the sin of disobedience in consuming from the tree of knowledge of good and evil. This condition has been characterized in many ways, ranging from something as insignificant as a slight deficiency, or a tendency toward sin yet without collective guilt, referred to as a "sin nature", to something as drastic as total depravity or automatic guilt of all humans through collective guilt.

Epithet in Homer

A characteristic of Homer's style is the use of epithets, as in "rosy-fingered" dawn or "swift-footed" Achilles. Epithets are used because of the constraints of the dactylic hexameter (i.e., it is convenient to have a stockpile of metrically fitting phrases to add to a name) and because of the oral transmission of the poems; they are mnemonic aids to the singer and the audience alike.

Example:

Apollo

·       Phoebus, i.e. the Bright or Pure

·       with unshorn hair; i.e., ever-young

·       destroyer of mice

·       distant deadly Archer

·       rouser of armies

·       son of Zeus

·       god of the silver bow

·       son of sleek-haired Leto

Lyre

The lyre is a string instrument known for its use in Greek classical antiquity and later periods. The lyre is similar in appearance to a small harp but with distinct differences. The word comes via Latin from the Greek; the earliest reference to the word is the Mycenaean Greek ru-ra-ta-e, meaning "lyrists" and written in the Linear B script. The lyres of Ur, excavated in ancient Mesopotamia (modern Iraq), date to 2500 BCE. The earliest picture of a lyre with seven strings appears in the famous sarcophagus of Hagia Triada (a Minoan settlement in Crete). The sarcophagus was used during the Mycenaean occupation of Crete (1400 BCE). The recitations of the Ancient Greeks were accompanied by lyre playing.

Lyric poetry

Lyric poetry is a formal type of poetry which expresses personal emotions or feelings, typically spoken in the first person. The term derives from a form of Ancient Greek literature, the lyric, which was defined by its musical accompaniment, usually on a stringed instrument known as a lyre. The term owes its importance in literary theory to the division developed by Aristotle between three broad categories of poetry: lyrical, dramatic and epic.

Seven deadly sins

The seven deadly sins, also known as the capital vices or cardinal sins, is a grouping and classification of vices of Christian origin. Behaviors or habits are classified under this category if they directly give birth to other immoralities. According to the standard list, they are pride, greed, lust, envy, gluttony, wrath, and sloth, which are also contrary to the seven virtues. These sins are often thought to be abuses or excessive versions of one's natural faculties or passions (for example, gluttony abuses one's desire to eat).

The Face That Launch'd A Thousand Ships

Was this the face that launch'd a thousand ships,
And burnt the topless towers of Ilium?
Sweet Helen, make me immortal with a kiss.
Her lips suck forth my soul: see where it flies!
Come, Helen, come, give me my soul again.
Here will I dwell, for heaven is in these lips,
And all is dross that is not Helena.
I will be Paris, and for love of thee,
Instead of Troy, shall Wittenberg be sack'd;
And I will combat with weak Menelaus,
And wear thy colours on my plumed crest;
Yea, I will wound Achilles in the heel,
And then return to Helen for a kiss.
O, thou art fairer than the evening air
Clad in the beauty of a thousand stars;
Brighter art thou than flaming Jupiter
When he appear'd to hapless Semele;
More lovely than the monarch of the sky
In wanton Arethusa's azur'd arms;
And none but thou shalt be my paramour!

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Ares

Ares is the Greek god of war. He is one of the Twelve Olympians, and the son of Zeus and Hera. In Greek literature, he often represents the physical or violent and untamed aspect of war, in contrast to his sister the armored Athena, whose functions as a goddess of intelligence include military strategy and generalship.

Ares plays a relatively limited role in Greek mythology as represented in literary narratives, though his numerous love affairs and abundant offspring are often alluded to. When Ares does appear in myths, he typically faces humiliation. He is well known as the lover of Aphrodite, the goddess of love, who was married to Hephaestus, god of craftsmanship. The most famous story related to Ares and Aphrodite shows them exposed to ridicule through the wronged husband's clever device.

Alectryon

Alectryon  is the Ancient Greek word for "rooster". In Greek mythology, Alectryon was a youth, charged by Ares to stand guard outside his door while the god indulged in illicit love with Aphrodite. He fell asleep, and Helios, the sun, walked in on the couple. Ares turned Alectryon into a rooster, which never forgets to announce the arrival of the sun in the morning by crowing.

Both the words Alectryon and Halcyon might have been corrupted from Halaka, one of the old Persian appellations of the sun. In the 'Vendidad' it is said that the sacred bird Parodars, called by men kahrkatak, raises its voice at the dawn; and in the "Bundehasb", the sun is spoken of as Halaka, the cock, the enemy of darkness and evil, which flee before his crowing.

Hephaestus (Vulcan)

Hephaestus is the Greek god of blacksmiths, craftsmen, artisans, sculptors, metals, metallurgy, fire and volcanoes. Hephaestus' Roman equivalent is Vulcan. In Greek mythology, Hephaestus was the son of Zeus and Hera, the king and queen of the gods. In another version, he was Hera's parthenogenous child, rejected by his mother because of his deformity and thrown off of Mount Olympus and down to earth.

As a smithing god, Hephaestus made all the weapons of the gods in Olympus. He served as the blacksmith of the gods, and was worshipped in the manufacturing and industrial centers of Greece, particularly Athens. The cult of Hephaestus was based in Lemnos. Hephaestus' symbols are a smith's hammer, anvil, and a pair of tongs.

Femme fatale

A femme fatale is a stock character of a mysterious and seductive woman whose charms ensnare her lovers, often leading them into compromising, dangerous, and deadly situations. She is an archetype of literature and art. Her ability to entrance and hypnotise her victim with a spell was in the earliest stories seen as being literally supernatural; hence, the femme fatale today is still often described as having a power akin to an enchantress, seductress, vampire, witch, or demon, having power over men. In American early 20th century film, femme fatale characters were referred to as vamps, an allusion to their role as sexual vampires.

The phrase is French for "fatal woman". A femme fatale tries to achieve her hidden purpose by using feminine wiles such as beauty, charm, and sexual allure. In some situations, she uses lies or coercion rather than charm. She may also make use of some subduing weapon such as sleeping gas, a modern analog of magical powers in older tales. She may also be (or imply that she is) a victim, caught in a situation from which she cannot escape; The Lady from Shanghai (a 1947 film noir) is one such example.

One of the most common traits of the femme fatale include promiscuity and the "rejection of motherhood," seen as "one of her most threatening qualities since by denying his immortality and his posterity it leads to the ultimate destruction of the male." Femmes fatale are typically villainous, or at least morally ambiguous, and always associated with a sense of mystification and unease.