A Privilege to Adore
As some of you may know, I have a tab on my blog that links you to my adorations (here you are). These adorations of mine are hymns and poems written for and about Dionysos during prayer, ritual, or communion with Him. Eventually, I want to write enough of them to fill a book of days, plus a few extra for holy days or festivals. That means that I’ll need approximately 380 adorations before I could consider preparing for publishing.
That is an awful lot of prayers, poems, and hymns and I look forward to the task! Though, it did occur to me to ask: are there particular elements, epithets, emotions, or anything that you would want to see written of with adoration and joy? Does a particular epithet of His maybe come from a single region of the ancient world, and has little information on it, but it inspires you? Or perhaps you want to read poetry about Dionysos as a father? As an avenger of the raped? As a queer, a lover, a warrior? Perhaps you experience a deep melancholy or exuberant joy, and want to see that refected in a hymn? Even if there is no deeper sentiment attached, perhaps you’re just curious or willing to help give me a bit of direction?
If so, feel free to contact me with your thoughts or suggestions either through the ask feature on tumblr, or via firstname.lastname@example.org (please include the word Adorations in your email subject line).
Please understand, I am not offering to provide poetry or hymns for you, this is a devotional act for Dionysos first and foremost.The work is for Him, and the pieces themselves will still be my creative property. That said, if I use one of your foci for a hymn or poem I will contact you and link you to the piece. You will have my permission to use it in your personal rites and worship, and I will petition Dionysos to bless you for giving me focus and inspiration in my worship.
This project will continue with or without suggestions, but I would like to thank you in advance for any help anyone might give. Thanks, folks!
do you ever just look at your hands and your hair and realize that you are utterly incredible. you exist. you exist. you’re alive. you are something undefinable by current science and you can breathe the world in and out without effort. your skin can heal itself when you get hurt. you can feel empathy. you can smile. you’re awe inspiring
you’ll never guess who’s back on tumblr
hoping to finish this entire piece soon.
Can we get rid of the word “mythology”? Or at least change the definition? Today a “myth” is a type of story that explains a phenomenon. This includes Roman and Greek Mythology, Norse Mythology, and stories about wood elves that jinx you if you don’t knock on wood whilst having high hopes.
To the Ancient Greeks and Romans, their “mythology” was their religion. Norse “mythology” is simply tales about their Gods and Goddesses. Christian mythology-wait. That’s right, there isn’t Christian mythology, because christianity is “real”.
It was real for the Pagans. It was real for the Romans, and for the Greeks.
For generations we have grown up idealizing these religions and ways of living as mythology, and unknowingly disregarding them as religions. We call them false on a daily basis, and because it is so engraved into our brains, we think nothing of it. But if someone were to dare to call Mary of Nazareth a myth, people would be enraged, and stay that way for quite some time.
From now on, I’m reserving “mythology” for stories about wood elves, and wive’s tales.
MYTHOLOGY MEME / (2/3) Locations
In Greek Mythology, The Garden of the Hesperides is Hera's orchard in the west, where either a single tree or a grove of immortality-giving golden apples grew. The apples were planted from the fruited branches that Gaia gave to Hera as a wedding gift when Hera accepted Zeus. The Hesperides were given the task of tending to the grove, but occasionally plucked from it themselves. Not trusting them, Hera also placed in the garden a never-sleeping, hundred-headeddragon named Ladon as an additional safeguard.
hey my old art is roaming around tumblr, neat.
Unlike Modern Greek and most other living Indo-European languages, Ancient Greek had a pitch accent. Whereas stressing the relevant syllable of a word makes that syllable louder, a pitch accent causes the syllable to be pronounced with a higher tone. In Ancient Greek, high-pitched syllables were pronounced a fifth higher than the other syllables in a word. Pitch accent systems are sort of a halfway point between languages that use stress and languages that use tones.
I mentioned before that Ancient Greek has three diacritics that indicate how the pitch should be pronounced. The marks are the acute, the grave, and the circumflex.
- The acute marks a rise in the pitch of the syllable it’s written on.
- It’s not certain exactly how the grave is supposed to function. It may either mark a lowering in pitch, or a steady, non-rising pitch.
- The circumflex marks a rising then falling pitch.
The GoodThe Accent Go?
I tried, but I couldn’t resist that Tegan & Sara reference. Anyway, any Greek word can only ever be accented on one (sometimes two, but more on that later) of its last three syllables. For convenience, these last three syllables have names. The last syllable is called the ultima, the next-to-last is called the penult, and the third-to-last syllable is called the antepenult. FYI, a two-syllable word will only have a penult and an ultima; a monosyllablic word only an ultima.
The acute accent can appear on any of these three syllables; the circumflex may only ever appear on either the penult or the ultima, and the grave only ever appears on the ultima. Further, acutes turn into graves when another word follows. If the acute on the ultima precedes some kind of pause — a comma, a colon, the end of the sentence — it stays acute.
Vowel quantity is also important here. While the acute and grave can fall on either long or short vowels or diphthongs, a circumflex can only fall on long vowels and diphthongs. Since a circumflex is composed of a rising and then a falling pitch, it needs a little more time to be pronounced. The long vowels and diphthongs provide it.
Ancient Greek has recessive and persistent accent patterns. The recessive accent appears on conjugated verbs, and the persistent accent appears on pretty much all the other parts of speech.
The recessive accent is the easier of the two to learn, because it will always try to stay on the antepenult.
The persistent accent can appear on any of the final three syllables in a noun, adjective, pronoun, etc. and has to be learned along with the word itself. For example, the words φιλόσοφος (“philosopher”), μεγάλα (“much” or “greatly”), andἀγαθός (“good,” “brave,” “strong,” “virtuous”).
Wherever the accent is located in the nominative singular form for nouns and the masculine nominative singular for adjectives is the accent’s resting place.
Accents Can Move and Change
Before I begin this section, it’s important to note that when the diphthongs -αι and -οι end a word, they are considered short. I don’t know why this is, but it is*. However, those diphthongs followed by a single consonant are considered long.
If a word’s accent rests on the antepenult, a long ultima shifts it to the penult, regardless of lexical class.
- The accent in the verb form ἤθελον (“I was wishing”) stays on the antepenult because the ultima -λον contains a short vowel.
- But the present tense form ἐθέλω (“I wish”) requires the accent to move one syllable to the right because the ultima ends in a long vowel.
- Similarly the noun and adjective φιλόσοφος keeps its accent on the antepenult in the nominative singular.
- But the dative plural form φιλοσόφοις shifts it to the right because the masculine dative plural form of an adjective like this makes the ultima long.
This rule only affects acute accents on the antepenult. An acute on the penult will not shift to the ultima regardless of the latter’s vocalic qualities. However, an acute on the penult may turn into a circumflex if the following condition is met:
- The penult contains a long vowel or diphthong and the ultima does not.
This happens a lot in the imperative mood. For example, verb forms like παῦε, σπεῦδε, and χαῖρε where one might expect *παύε, *σπεύδε, and *χαίρε. But it also occurs with adjectives like ἐκεῖνος. Nouns like δῶρον and κῆρυξ also feature it. Thanks to From Alpha to Omega, 4th ed. for the examples there. I could not think of a single one.
Thanks for getting this far! This is actually pretty confusing for most beginning Greek students, but hopefully I’ve explained how it works and it’s not as bad as when I first had to deal with it. I’m hoping to have the next post up by the weekend. It’ll probably be about verbs.
*The only case where this isn’t true is the optative mood, but that’s a rather advanced grammatical topic.
Today is International Women’s Day so embrace your goddess power and the loyal minions will worship and serve your divine selves