Moirai

Abstract: JLor his depiction of Jupiter in the Metamor phoses, Ovid had two main epic models, the Homeric and the Virgilian, although in the case of Homer we have to dis tinguish further, between the anthropomorphic Zeus of the Iliad and the more fully moralized Zeus of the Odyssey. The Virgilian Jupiter, like Zeus in the Odyssey, takes seriously his responsibilities as father of gods and men and is identified, though somewhat elusively, with the ultimate order of things and the Fates (as he is also in the Iliad).1 Like the Iliadic Zeus, Virgil's Jupiter has his conflicts with Juno, to be sure, but only on the "higher" political and cosmic plane. He nev er descends to the domestic indignities of the Iliadic Zeus, and his demeanor is almost always stern. When he does smile, it is only in calm, knowing superiority, as when he paternally reassures his worried daughter, Venus, about Aeneas' future in the prophecy scene of Aeneid i.254-56.* This smile of con trol and superiority has an antecedent of sorts in the ironic smile of the Hesiodic Zeus as he lays his trap for Prometheus in the Works and Days (54-60; cf. also Theogony 550-61), but in Virgil is far more benign. At his first appearance in the Iliad Homer's Zeus is on the defensive, uneasy about the reproaches that Hera will make about his aid to Thetis (1.517-23). A few lines later, however, he produces a small earthquake on Olympus by nodding as sent to Thetis with a shake of "the ambrosial hair on his im mortal head" (Iliad 1.528-30):

Abstract: From the same series as Abrams' successful "Saints and Angels" comes "Myths", richly illustrated with representations of these celestial heralds from ancient murals and pottery to the paintings of Gustav Klimt and Odilon Redon. Architect Lucia Impelluso has drawn from a variety of sources, including the plays of Euripiedes and Aeschylus, the epics of Homer and Virgil, Aesop's fables, Ovid's "Metamorphoses", Petrarch's sonnets and the works of Pindar, Sophocles, Plutarch, Pliny the Elder and Bocaccio. Beginning with stories of Earth's creation and its early rulers, the Titans, Impelluso recounts the major episodes and figures of Greek and Roman mythology, with sections on the gods of the sky, the sea, the earth and the underworld; the Fates and the Muses; monsters; human heroes; and the "Iliad", the "Odyssey" and the "Aeneid".

Abstract: Silenus [sie-LEEN-uhs] was the oldest and merriest follower of Bacchus [BAK-uhs], the Wine God. One fine day he wandered off fromBacchus's band of revelers into a land called Phrygia, where roses grow. Drunk on wine and roses, the old man fell asleep near the palace of King Midas [MY-duhs], The country folk found him snoring away behind a rose bush. As a joke, they crowned him with a wreath of roses and led him to Mtdas's court. The King of Phrygia was a well-meaning, goodnatured man, though not too bright. He received Silenus kindly, entertained him lavishly, and gave him food and new clothes. Then he led him back to the jolly band of Bacchus, where he belonged, Bacchus was so pleased,to have merry Silenus back that he resolved to raakeMdas a gilt. \"You. have been so good to my old teacher and companion,\" he said. The gods don't forget. Askfor whatever you like, and you shall .have it.\" Midas, who wasn't much given to thought, didn't have to think twice or even once. He was already rich, but why not be richer? \"I wish,\" he said, \"that everything I touch might turn to gold.\" Bacchus looked at him strangely. \"You shall have your wish,\" he said, and he then went off to listen to Pan'SffHpes. ?Mid@s Petiffiiad to his palate full of delight. He touched a marble column as he passed, and it turned yellow, fctelpi^ed twigs and stones, , and they turned to gold. But he began to have doubts when he stroked his