Bøger af Andrew Scott

*Includes pictures *Includes ancient accounts *Includes online resources and a bibliography for further reading There are few mythological characters that require less of an introduction than Hercules. His "labours" are known and have been reimagined by cultures far beyond their Greek beginnings, and he continues to influence modern culture in more ways than any other ancient Greek hero. What is curious about Hercules's character is that, despite his fame even in the ancient world, there was no authoritative source for his biography. The Library of Myths, commonly though falsely attributed to Apollodorus, is frequently used to illustrate the key episodes of Hercules's life. Despite being written at some time during the 2nd century CE, the Library encapsulates much of the "conglomerate of popular tales" that has become Hercules's vulgate biography. Ultimately, though these tales are well known, their true beauty lies in the social and religious influence of their telling and the historical memories that remain, to this day, as shadows in their lines. The story of Jason and his crew of Argonauts is one of the best-known and most beloved myths of all time. Blockbuster movies have been made about it, and legendary explorer and historian Tim Severin even constructed a replica of the Argo in 1984 and succeeded in sailing it to Colchis (modern-day Georgia). In the ancient world too, this myth was told and retold time and again. The best source of the myth available to the modern reader (generally considered to be Apollonius Rhodius's Argonautica) comes from the Hellenistic Period (ca. 323-31 BCE), which is very late in terms of most sources available for Greek myth. This means that the story written at that time had already been exposed to centuries of influences and additions. However, mythology is not the study of a story's beginnings alone, and very often, it is the changes and adaptations that provide the story with its most fascinating characteristics. The vague geography of the Argo's story will become apparent, but it's also important, because there are numerous theories as to why the ancient writers may have charted the journey as they did. The Argo's journey was as revelatory to Jason as it was to the late ancient Greek readers/listeners, since it incorporated many of the mythical, political, and cultural themes that pervaded myths throughout the Mediterranean. These themes accumulated with every revision and retelling of the story until it became a central motif in the Greek mindset, with strands linking it to myth, peoples, and places. It is this story of multitudes that contains the most fascinating curios of Jason and the Argonauts. Hercules & Jason and the Argonauts: The Legendary Stories of Ancient Greece's Most Famous Heroes looks at the famous myths. Along with pictures depicting important people, places, and events, you will learn about Hercules and Jason and the Argonauts like never before.

*Includes pictures *Includes medieval accounts of Loki *Includes online resources and a bibliography for further reading Much of what is known of the Norse myths comes from the 10th century onwards. Until this time and, indeed, for centuries afterwards, Norse culture (particularly that of Iceland, where the myths were eventually transcribed) was an oral culture. In fact, in all Scandinavian countries well into the thirteenth century laws were memorized by officials known as "Lawspeakers" who recited them at the "Thing." The Thing was the legislative assembly in Scandinavia "held for judicial purposes." One of the most famous of these Lawspeakers was the Icelander Snorri Sturluson, a masterful writer who wrote the Prose Edda in the thirteenth century. There are other sources for the Norse myths, namely the later "Poetic Edda," a collection of poems and prose work, and other sagas but the Snorri's Prose Edda is the most complete work whose attribution is known to modern scholars. It is believed that Snorri, a Christian, recorded these pagan beliefs so as to preserve and explain the stylistic poetry of Iceland, particularly the popular descriptive devices known as kennings. A kenning is made up of a base word and a modifying word that is used to describe a separate object. For example, "Gold" had a great many kennings, one of which was "Sif's Hair." If, however, the memory of Loki cutting off Sif's hair and replacing it with gold were lost, then this kenning would make no sense to later readers. There are many of these allusions to the myths and it is thanks to them that the myths have survived. The Norse Myths also appear to follow a chronological narrative, which the historian John Lindow describes as having a "Mythical Past, Present and Future." Loki features in each of these literary "epochs" and it helps to understand the complexity of his character, as well as the belief system, to view the myths in this way. While not as well-known as Thor or Odin, Loki's name is immediately recognizable to many, and his history is as enigmatic as his characters. Fittingly, as historian Rudolph Simek put it, his "sources are just as varied as his interpretations." He first appears in þjóðólfr ór Hvíni´s 9th century poem Haustlöng, recorded in the Skáldskaparmál, but the etymology of his name has still not been solved. Rudolph Simek has made a tentative assertion that Loki was related to the Old Norse "luka" (meaning to "close") and has surmised that there could be a connection between this and his role in the "closing" of the world during the apocalyptic event Ragnarök. Whatever the original meaning of his name, the surviving image of Loki is multifaceted but mostly negative. "Father of the Gods" enemies' Loki has been interpreted as a fool, a trickster and a devil, the latter being connected with his being a harbinger for the Norse "end of days" and the subsequent revival of peace and godliness that had clear echoes in the Christian Apocalypse. There is no evidence of cult activity for Loki, and despite many attempts at defining one, there appears to be no obvious religious "function" to his character. Nevertheless, he permeates many of the key moments in Norse mythology - for good and bad - beginning and ending with his role as "father of monsters." Loki: The Origins and History of the Famous Norse Trickster God looks at the story and the legendary Norse deity. Along with pictures depicting important people, places, and events, you will learn about Loki like never before.

*Includes pictures *Includes ancient descriptions of the goddess and myths *Includes online resources and a bibliography for further reading "However impious the apotheosis of sexuality may seem in the light of the Christian tradition, modern sensibility can nevertheless also appreciate how in the experience of love the loved one and indeed the whole world appears transfigured and joyously intensified, making all else seem insignificant, a tremendous power is revealed, a great duty." Attempting to cover all the forms the "Goddess of Love" encapsulates is no small affair. The roles she played in romance, marriage, procreation, and all of the other desires of humanity were myriad, but the aim of this book is to paint a slightly different, perhaps more esoteric version of Aphrodite from the usual image of her in mythology books. The fact is that Aphrodite, as an ancient Greek goddess, was not the anthropomorphic personage modern aficionados see painted on canvas and hewn out of stone. In addition to that, she was also so much more, which can be a difficult concept for the modern reader to discern. In fact, it was difficult for certain ancient readers to discern too; the 5th century BCE philosopher Plato expressed disgust at the idea that his gods would debase themselves in the adulterous, murderous, and mischievous ways they were said to have in their myths. However, it is important to remember that Plato represented a very small proportion of ancient Athenian society, and the rest of the populace didn't seem to have much of a problem including the "personal" anthropomorphic aspect of the gods into their more "elemental" and "essential" beings. As the scholar Leopold Schmidt put it, "For anyone born a Greek and thinking like a Greek, the idea of a clean antithesis between unity and plurality is put aside where the supernatural beings are concerned. He has no difficult in conceiving unity of action divorced from any unity of person." This is a very important point to remember when considering any of the ancient Greek gods, which can help the modern reader realize the depth of "character" that Aphrodite embodied for the ancient Greeks. Hers was more than the wooing gifts, more than the marriage bed, and more than the "propriety of women". She was an elemental force and not one to be underestimated. Aphrodite: The Origins and History of the Greek Goddess of Love looks at the story of the legendary deity and the various roles she played in Greek mythology. Along with pictures depicting important people, places, and events, you will learn about Aphrodite like never before.

*Includes pictures *Includes ancient descriptions of Apollo *Includes online resources and a bibliography for further reading "Foolish mortals and poor drudges are you, that you seek cares and hard toils and straits! Easily will I tell you a word and set it in your hearts. Though each one of you with knife in hand should slaughter sheep continually, yet would you always have abundant store, even all that the glorious tribes of men bring here for me. But guard you my temple and receive the tribes of men that gather to this place, and especially show mortal men my will, and do you keep righteousness in your heart." "Apollo's history is a confusing one," said the renowned poet and mythologist Robert Graves. This notion is also illustrated in the above quote from the 6th century BCE Homeric Hymn to Apollo, which gives the reader a brief glimpse into the confusion surrounding Apollo's multi-faceted nature. The quote comes from the end of an episode in which Apollo is traversing the known world, looking for a place to build a temple to himself. Once he lands upon a place of his liking, however, he realizes that he needs to populate it with priests who would 'guard' and care for its ceremonies. Rather than depend upon those 'glorious tribes' to supply his temple with sycophants, Apollo has no patience for chance, and flies down to a Cretan merchant ship, landing on it in the form of a timber-shaking dolphin. After terrifying the merchants, he tells them that their lives in the sea trade are over, and they are to be priests at his temple from then on. Cautioning the merchants to eschew piracy and 'keep righteousness' in their hearts, while simultaneously confronting and sequestering them captures the youthful god's capricious character quite well. Of course, the rest of the ancient Greek gods were certainly not above hypocrisy - the adultery of Zeus alone demonstrates that - but Apollo was a brash contrarian in the face of all divine order. Unlike many of the other Olympian gods, Apollo's nature changed dramatically at the closing of his adolescence. His twin sister Artemis, in direct comparison with Apollo, immediately leapt to her mother's aide as midwife to her brother after she was born. Artemis would continue to be a goddess of midwives, while Apollo's "role" would continue to evolve over centuries. Naturally, there are many approaches to Greek myth and many variant opinions and strategies for unearthing "truths" in the mythological canon. For the purpose of unveiling the origins, development, and contemporary views of Apollo, it is necessary to see his myths firstly as remnants of the movements and actions of ancient peoples. This "Memory of Myth" can provide the modern reader with an analogous view of the history of a place and of a character. Much of Greek mythology is politico-religious history, and exploring how the episodes in these myths tie in with episodes in the historical record can reveal certain fascinating aspects of an often frustratingly murky past. Ultimately, any 21st century study of a mythological being must gather together as many strands of learning as possible in order to formulate a useful hypothesis. In the case of Apollo, these strands are expansive, permeative, and international, and at first blush, they can seem very confusing indeed. An important thing to bear in mind when approaching Apollo is that his role in the ancient Greek pantheon was eclectic, even by contemporary standards, and the expansion of Greek culture to other parts of the Mediterranean only served to compound his identity even further. The story of Apollo is an excellent example of how stories and characters can change when they're beloved across centuries, and it is for this reason that reading about the god is so enjoyable.

*Includes pictures *Includes ancient descriptions of Nike *Includes online resources and a bibliography for further reading "To Nike (Victory), Fumigation from Manna. O powerful Nike, by men desired, with adverse breasts to dreadful fury fired, thee I invoke, whose might alone can quell contending rage and molestation fell. 'Tis thine in battle to confer the crown, the victor's prize, the mark of sweet renown; for thou rulest all things, Nike divine! And glorious strife, and joyful shouts are thine. Come, mighty goddess, and thy suppliant bless, with sparkling eyes, elated with success; may deeds illustrious thy protection claim, and find, led on by thee, immortal fame." - Orphic Hymn to Nike 33 It seems to be a normal, modern-day practice to reduce all the gods of the ancient pantheons to their most basic abstract concepts: Ares represents war; Demeter, agriculture; Aphrodite, love; and so on. In the process, these characters lose any personality with which they might have been imbued over millennia of stories. A part of most studies of these gods is usually reserved for the undoubtedly valuable etymology of a deity's name, but more often than not, this etymology reveals little more than the fact they had been associated with their abstract concepts since time immemorial. Still, most modern readers understand the ancient Greek deities had "personalities" more complex than the abstract concepts they represented. These "personalities" were elaborated upon to explain relationships between concepts, such as in the case of Ares's and Aphrodite's daughter Harmonia, who always followed in her father's destructive wake, explaining the brutal "cleansing" power of war within ancient Greece's complex political landscape. It is in this same line of thought that abstract characters, such as Harmonia and Nike (Victory), find their place in ancient Greek mythology, especially after the writings of Homer in the 8th century BCE. As renowned historian Walter Burkert put it, "as a result of this Homerization, the Archaic Greek personifications come to assume their distinctive character in that they mediate between the individual gods and the spheres of reality, they receive mythical and personal elements from the gods and in turn give the gods part in the conceptual order of things. The personifications appear first in poetry, move into the visual arts and finally find their way into the realm of cult." In the case of Nike, there is no ambiguity in the meaning of her name. "Nike" is used to refer to the abstract concept of victory in its many forms in the works of Homer, Sophocles, Plato, and Xenophon. Victories in wars and in athletic competitions are invariably Nike's most predominant manifestations in the historical record, and as such, her appearances in myth as a goddess whose actions took place within the society of the pantheon are numerous, though mostly silent. Yet it is how the ancients interacted with this goddess that is most fascinating. The sculpture and the songs, the bas-reliefs and coins, all pay homage to Nike the goddess more intimately than the mere use of her image as a placeholder for "a glorious memory." When viewed in the context of a conversation, the appearance of Nike in the historical and archaeological records give the modern reader a tantalizing view inside the psyche of the ancient Greeks. This is the gift from Nike's that continues to bear fruit. Nike: The Origins and History of the Greek Goddess of Victory looks at the story of the legendary deity and the various roles she played in Greek mythology. Along with pictures depicting important people, places, and events, you will learn about Nike like never before.

*Includes pictures *Includes ancient accounts of Poseidon *Includes online resources and a bibliography for further reading "I begin to sing about Poseidon, the great god, mover of the earth and fruitless sea, god of the deep who is also lord of Helicon and wide Aegae. A two-fold office the gods allotted you, O Shaker of the Earth, to be a tamer of horses and a savior of ships! Hail, Poseidon, Holder of the Earth, dark-haired lord! O blessed one, be kindly in heart and help those who voyage in ships!" = Homeric Hymn to Poseidon Poseidon is one of the most easily recognizable characters in all of ancient Greek mythology. His signature trident is iconic; one sight of it invariably floods the modern mind with images of aquatic chariots and daunting typhoons. But there is so much more to the character of Poseidon than maritime denizens and disasters, which shouldn't really come as a surprise. Poseidon was one of the most revered gods of the ancient Mediterranean for centuries - if not millennia - and that kind of reverence brings with it the layering of myths, rituals, and history like the strata of sediments on a river bed. The idea of a god like Poseidon being only the god of the sea is too minimalistic and too reductionist to come anywhere near the truth of how an ancient worshipper may have pictured him in her prayers. In Aristophanes's comedy The Birds, Poseidon is depicted as a haughty, stern character with little changeability or volatility. He is the typical "pillar" of the Pantheon of Olympian gods that Poseidon came to represent to later audiences. However, it is vital to remember that The Birds was performed nearly two centuries after the opening quote of this book, and the evolution of Poseidon's character is a stark one. A "Shaker of the Earth" and a "savior of ships" can hardly be expected to be mundane. Acclaimed historian Robert Parker put it best when he said, "Poseidon was a god of the old-fashioned, ambiguous type who had the power to quell storms because he also had power to raise them." Notice "old-fashioned" has nothing to do with "reliability" or "dependability". If anything, very early religion in ancient Greece was more fluid and volatile. Gods could be dismissed or assimilated by other gods and cults could "invade" territories and overthrow or adopt the local gods as facets of their own personalities. In Archaic Greece, the cult idol was often an amorphous block of wood called a Xoanon, which people would worship as an aniconic symbol of a numinous power with a name. This ambiguity of character granted Poseidon and the other gods the ability to gradually adopt the characteristics of their personalities and cults over time. Their personas evolved thanks to a series of catastrophic and logical events visible in both the literary and archaeological record and continued to do so until they became the calcified, easily understandable stock characters of modern-day mythology books. With just a cursory look into the evolution of his character, however, Poseidon becomes as mercurial and turbulent and fascinating as the sea itself. Poseidon: The Origins and History of the Greek God of the Sea looks at the story of the Sea God and the various roles he played in Greek mythology. Along with pictures depicting important people, places, and events, you will learn about Poseidon like never before.

*Includes pictures *Includes ancient accounts of the myth *Discusses historical theories behind the legend *Includes online resources and a bibliography for further reading "Theseus, the hero-slayer of the Minotaur, entered Crete from without, as the symbol and arm of the rising civilisation of the Greeks." - Joseph Campbell Countless civilizations have come and gone over the course of time, but interest in mythology is one of the great constants. People have approached myths from countless angles, some denigrating and self-righteous, others earnest and open-minded, but there is something mystical and universal in all myths that speaks to the reader across the years, regardless of what they know of historiography or "schools of thought." The truth is that all of these stories live in a murky, anachronistic history so entangled that trying to unravel it can mean everything or nothing at all. One of the reasons for this is the age of most myths, especially those from ancient times (the name Theseus can be traced back as far as 1450 BCE, for instance). Another is the sheer volume of possible versions there can be of a given myth. A lot of mythological stories span centuries, so it's likely that nothing like an "original version" of Theseus and the Minotaur will ever be known. In fact, even if the story could be traced all the way back, the "original" is likely to be so far removed from the beloved modern-day version that it would not be adopted as canon anyway. Nor, it has to be said, can a version of the story be isolated that would have been read at a specific point in time, such as the Classical Period, since a lot of the sources for stories like Theseus are either fragmentary or come even later. Moreover, an "original" is less important than the layers of meaning accumulated over the ages. To the modern reader, the sum of the parts can be more fruitful than the mode of conception. Regardless, as one of the most famous myths of all time, the story of Theseus has been at the heart of Greek mythology since he became Athens' "Culture Hero" at the beginning of the 5th century BCE, and variants on his story surface in countless ancient sources. The importance of the story to the Greeks themselves makes it worth looking at the story from a historical standpoint; many scholars believe the actions and events in myths have a basis in historical fact. On the other hand, Joseph Campbell's "monomyth" theory takes a different approach by suggesting all myths are part of a wider, mythological framework representing the psychological needs of the reader. Whether the approaches are "correct" has been and will continue to be debated in scholarly circles for the foreseeable future, but in many respects both sides of the debate can add value and understanding for modern readers. Even in the case of a story like Theseus that so many people are familiar with, studying the legend allows for different ways of interpreting it, and helps readers understand all the different variations of events within it. Theseus and the Minotaur: The History of One of Greek Mythology's Most Famous Legends looks at the myth of Theseus and the Minotaur, based on both Greek and Roman sources, from which both fascinating and key elements of the story emerge. Along with pictures depicting important people, places, and events, you will learn about the story like never before.

*Includes pictures *Includes ancient accounts of Delphi *Includes a bibliography and online resources for further reading "[T]he seat of the oracle is a cavern hollowed down in the depths...from which arises pneuma [breath, vapor, gas] that inspires a divine state of possession." - Strabo, Geography 9.3.5 The ancient Greeks used a number of forms of divination to determine the future and seek advice from the gods as to which actions they should take in any given situation. The most popular of these ways to consult the Gods was through a visit to an oracle-usually a person-at a fixed shrine. The oldest of these Greek sites was at Dodona in Epirus, and while it continued to be a major oracle for the Greek world through antiquity, it was quickly overtaken by the oracle at Delphi as the most consulted by kings, politicians, and ordinary Greeks alike. Whereas the oracle at Dodona was of Zeus, that at Delphi was of Apollo. Over the years, the Delphic Oracle-located, it was believed, at the omphalos, the belly button of the world-came to such a position of preeminence that almost every major decision taken by any Greek polei in the Classical period involved a consultation with the god Apollo to ascertain whether the proposed action would be sanctioned by the gods. The format of the question was normally that of seeking approval for a proposition already decided upon, rather than an attempt to illicit instruction per se. Colonization decisions, political changes, and matters of religion were all subject to final approval from Delphi, delivered by the Pythia, the oracle through which the god was thought to speak. At an individual level and for those who could afford it, decisions on such matters as marriage, children, and business ventures were made after the oracle had spoken. The oracle's influence on so many major events in the Archaic, Classical, and to a lesser extent, Hellenistic and Roman periods is without parallel in any other part of the world or time. For many years, academics struggled to identify why it was that this particular oracle-rather than the oldest or one dedicated to any of the major Olympians-came to play such a decisive role in the lives of Greeks in the ancient world. Delphi overlooks the Gulf of Corinth, and it is no wonder why the setting mesmerized contemporaries. The majestic, almost magical, aspect of the site, bordered by precipitous cliffs and craggy footpaths on a hillside that is dotted with deep, dark caves and lined by gargling streams of pure water, never fails to inspire a sense of awe and wonder in its visitors, even to this very day. Despite the oracle's fame and popularity, however, modern knowledge of Delphi remains limited in certain respects. Cultic history has become so intertwined with cultic myth that the lines separating one from another have been nearly lost. Modern scholars studying the oracle of Delphi have tried to pull the shroud of mythology away from historical facts to illuminate the realities of the Apolline cult, but the job has often proved trickier than imagined. If anything, the work of scholars has deepened the mysticism of Delphi rather than dispel it, in large measure due to documenting fascinating and mysterious stories about the oracle. Certain aspects of the Delphic cult will likely always be impossible to describe with any degree of accuracy or certainty, despite scholars' best attempts at imaginative reconstruction, because its foundation and function depended entirely upon religious belief in Apollo and his prophetic gift, which no amount of scholarship can fully explain. Delphi: The History of the Ancient Greek Sanctuary and Home to the World's Most Famous Oracle looks at the famous Greek site, and the oracle's role in history. Along with pictures depicting important people, places, and events, you will learn about Delphi like never before.

Let me introduce you to my second collection, "The Phoenix Has Risen". This is a collection of poems that have been picked and present to you the reader. The poems represent many topics and landscapes that you will enjoy.

*Includes pictures *Includes ancient myths and accounts of Ares and cults that worshiped him *Includes online resources and a bibliography for further reading Ares, the God of War and personification of all that is reactionary and violent, is remembered today as the hated, unshakeable, and infallible embodiment of the violence prevalent in war and society at large, but surviving evidence suggests that this may not have always been the case. To understand that, it's necessary to remember that Greek mythology has been filtered and tempered by centuries of editors and zealots and fickle word of mouth. The stories that arrive in the beloved mythology books of today were not necessarily those read and told by the ancients. This is true not only thanks to later mythographers' overeager shears, wielded in order to strip the ancient Greek myths of much of their "heathenism," but also because over 2,000 years later, modern society is not privy to much of the cultural strata from which these stories emerged. This book was written in the hope of presenting the modern reader with as much of the latter as possible, so as to provide a more accurate representation of Ares than is found in most modern collections of ancient Greek mythology. Being the "living" representation of the act that killed family members every year is more than enough to attract a certain degree of ignominy, but it is very likely that negative feelings towards Ares were not as pervasive among the ancient Greeks as one might believe today. An important thing to bear in mind when thinking about the stories of Ares is that the thin vein of myth that has come down today most often comes directly from Athenian sources, which were unfavorable towards Ares because they were generally unfavorable towards anything considered un-Athenian. The historian Thucydides, while discussing the Peloponnesian War, which was fought between Athens and Sparta at the end of the 5th century BCE, said that any "future scholar" would no doubt believe that the great city of Sparta was culturally insignificant in comparison with her enemy, Athens. It is well known today that Ares was worshipped by the warlike Spartans, but since they created very few grandiose works of architecture or literature (compared to those that came out of Athens), Sparta's views on Ares, and most other deities they worshipped, are paltry. Athenian culture, on the other hand, dominated the ancient world's art and culture, and its influence was felt strongly in the beloved myths and histories of the epoch. For better or worse, then, Athens left subsequent generations their marginalized corpus of ideas on ancient Greek religion, and this can be seen in the paltry occurrences of Ares in modern books on Greek mythology today. That said, being a worshipper of Ares didn't necessitate the bellicose nature of the Spartans, either. Although Athens left literary and archaeological evidence of their preferences for civic worship, many other poleis (Greek city-states) were loath to openly despise the god of war, despite his macabre associations. After all, war was a facet of yearly life, and Ares was one of the 12 gods of the highest Greek pantheon of deities who commanded worship according to a divine mandate. Ares's appearances in myths today (his affair with Aphrodite being a strong favourite) seem to be cursed by repeated banality. There's little of the "War God" in any of his stories other than the odd mention of how horrid he is. However, with a little effort, Ares and his influences can be found, even if only at the fringes of the stories, in the wider literary canon. One such example is the "Judgment of Paris," which refers to the Trojan warrior Paris's decision to award Aphrodite with the Golden Apple of the Hesperides (or the "Apple of Discord," as it came to be known).

*Includes pictures *Includes medieval accounts *Includes online resources and a bibliography for further reading Much of what is known of the Norse myths comes from the 10th century onwards. Until this time and, indeed, for centuries afterwards, Norse culture (particularly that of Iceland, where the myths were eventually transcribed) was an oral culture. In fact, in all Scandinavian countries well into the thirteenth century laws were memorized by officials known as "Lawspeakers" who recited them at the "Thing." The Thing was the legislative assembly in Scandinavia "held for judicial purposes." One of the most famous of these Lawspeakers was the Icelander Snorri Sturluson, a masterful writer who wrote the Prose Edda in the thirteenth century. There are other sources for the Norse myths, namely the later "Poetic Edda," a collection of poems and prose work, and other sagas but the Snorri's Prose Edda is the most complete work whose attribution is known to modern scholars. It is believed that Snorri, a Christian, recorded these pagan beliefs so as to preserve and explain the stylistic poetry of Iceland, particularly the popular descriptive devices known as kennings. A kenning is made up of a base word and a modifying word that is used to describe a separate object. For example, "Gold" had a great many kennings, one of which was "Sif's Hair." If, however, the memory of Loki cutting off Sif's hair and replacing it with gold were lost, then this kenning would make no sense to later readers. There are many of these allusions to the myths and it is thanks to them that the myths have survived. The Norse Myths also appear to follow a chronological narrative, which the historian John Lindow describes as having a "Mythical Past, Present and Future." Loki features in each of these literary "epochs" and it helps to understand the complexity of his character, as well as the belief system, to view the myths in this way. Baldr: The Origins and History of the Famous Norse God Whose Death Leads to Ragnarok looks at the story and the legendary Norse deity. Along with pictures depicting important people, places, and events, you will learn about Baldr like never before.

Lepeophtheirus And Lernaea is a book written by Andrew Scott in 1901. The book is a scientific study of two types of parasitic crustaceans, namely Lepeophtheirus and Lernaea, that are commonly found on fish. The book provides a detailed description of the morphology, life cycle, and behavior of these parasites, along with their impact on the health and behavior of their host fish. The author also discusses the methods of controlling and preventing the spread of these parasites in aquaculture and fisheries. The book is a valuable resource for researchers, students, and professionals in the field of marine biology and aquaculture.This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions, that are true to their original work.

Prose poems based on selected entries of the blog 'Life's Science' (http: //lifesscience.blogspot.com

*Includes pictures *Includes medieval accounts *Includes online resources and a bibliography for further reading "Yet remains that one of the Æsir who is called Týr: he is most daring, and best in stoutness of heart, and he has much authority over victory in battle; it is good for men of valour to invoke him. It is a proverb, that he is Týr-valiant, who surpasses other men and does not waver. He is wise, so that it is also said, that he that is wisest is Týr-prudent. This is one token of his daring: when the Æsir enticed Fenris-Wolf to take upon him the fetter Gleipnir, the wolf did not believe them, that they would loose him, until they laid Týr's hand into his mouth as a pledge. But when the Æsir would not loose him, then he bit off the hand at the place now called 'the wolf's joint;' and Týr is one-handed, and is not called a reconciler of men." Much of what is known of the Norse myths comes from the 10th century onwards. Until this time and, indeed, for centuries afterwards, Norse culture (particularly that of Iceland, where the myths were eventually transcribed) was an oral culture. In fact, in all Scandinavian countries well into the thirteenth century laws were memorized by officials known as "Lawspeakers" who recited them at the "Thing." The Thing was the legislative assembly in Scandinavia "held for judicial purposes." One of the most famous of these Lawspeakers was the Icelander Snorri Sturluson, a masterful writer who wrote the Prose Edda in the thirteenth century. There are other sources for the Norse myths, namely the later "Poetic Edda," a collection of poems and prose work, and other sagas but the Snorri's Prose Edda is the most complete work whose attribution is known to modern scholars. The Prose Edda is a collection of Norse Myths split into three sections, the Gylfaginning (the Deluding of Gylfi), the Skáldskaparmál (the Language of Poetry) and the Háttatal (the Enumeration of Meters). The first has a frame story that entails a Swedish King, Gylfi, disguising himself as an old man, Gangleri, when he journeys to Asgard to meet the gods. When he arrives, he meets three men - "High One, Just-As-High, and Third" - who reveal to him stories of the world and the gods. The second section contains a warning for Christians not to believe in the Norse gods, specifically the two families, the Æsir and the Vanir, but also refutes the notion that they were demons, which was a common supposition among some Christians at the time. The Prose Edda begins in this line of thought with a euhemeristic prologue, which traces the history of the Norse Gods as human heroes of Troy, making Thor one of King Priam's sons. Timeless characters like Thor, Loki, and the All-Father Odin never fail to inspire new treatments of their stories, while many of the great characters from Norse myths wither, their secrets kept silent. Such secrets are inherent to the character of Týr. More closely aligned with the Greek Athena than Mars or Ares, Týr was once so highly regarded and devoutly worshiped that his name was synonymous with "godlike". "Týr-valiant" and "Týr-prudent" are but two of many such examples. Moreover, unlike most gods of war, Týr has much to offer modern historians in terms of religious practices, cultural unity, and the question of justice in northern Europe. Týr: The Origins and History of the Norse God of Law, War, and Justice looks at the stories about the legendary Norse deity. Along with pictures depicting important people, places, and events, you will learn about Týr like never before.

*Includes pictures *Includes ancient accounts *Includes online resources and a bibliography for further reading "Apollo's history is a confusing one," said the renowned poet and mythologist Robert Graves. This notion is also illustrated in the above quote from the 6th century BCE Homeric Hymn to Apollo, which gives the reader a brief glimpse into the confusion surrounding Apollo's multi-faceted nature. The quote comes from the end of an episode in which Apollo is traversing the known world, looking for a place to build a temple to himself. Once he lands upon a place of his liking, however, he realizes that he needs to populate it with priests who would 'guard' and care for its ceremonies. Rather than depend upon those 'glorious tribes' to supply his temple with sycophants, Apollo has no patience for chance, and flies down to a Cretan merchant ship, landing on it in the form of a timber-shaking dolphin. After terrifying the merchants, he tells them that their lives in the sea trade are over, and they are to be priests at his temple from then on. Cautioning the merchants to eschew piracy and 'keep righteousness' in their hearts, while simultaneously confronting and sequestering them captures the youthful god's capricious character quite well. Of course, the rest of the ancient Greek gods were certainly not above hypocrisy - the adultery of Zeus alone demonstrates that - but Apollo was a brash contrarian in the face of all divine order. Unlike many of the other Olympian gods, Apollo's nature changed dramatically at the closing of his adolescence. His twin sister Artemis, in direct comparison with Apollo, immediately leapt to her mother's aide as midwife to her brother after she was born. Artemis would continue to be a goddess of midwives, while Apollo's "role" would continue to evolve over centuries. Ultimately, any 21st century study of a mythological being must gather together as many strands of learning as possible in order to formulate a useful hypothesis. In the case of Apollo, these strands are expansive, permeative, and international, and at first blush, they can seem very confusing indeed. An important thing to bear in mind when approaching Apollo is that his role in the ancient Greek pantheon was eclectic, even by contemporary standards, and the expansion of Greek culture to other parts of the Mediterranean only served to compound his identity even further. The story of Apollo is an excellent example of how stories and characters can change when they're beloved across centuries, and it is for this reason that reading about the god is so enjoyable. Artemis had one of the most widespread cults in the Greek world, perhaps due to her connection to nature, which can be a ubiquitous antagonist or boon-giver. Her association with nature may also explain why she was one of the oldest deities in the Greek pantheon, although her appearance in the Mycenaean Linear B script (the earliest form of Greek that has been deciphered, dating to as early as 1450 BCE) is still contested. Etymology often gives modern readers a better idea of the earliest form of a deity, but Artemis's is confusing. Of course, that didn't stop many writers, both ancient and modern, from making attempts at it, either associating her with mythic qualities (such as "maidenhood" and "purity") and/or giving her non-Greek origins. The latter is as unsurprising as the former, since Artemis had a large following throughout Greece and across Asia Minor, where her most famous temple-one of the Seven Wonders of the World-resided. It was in the Near East that Artemis embraced some of the wilder and more formidable characteristics many of the later Greek mythographers only hinted at. To many modern readers, what is most surprising about Artemis is not her "foreignness," but that she was not the carefree maiden prancing through woods and glades to give succor to animals in need.

Common Sense, And The Rights Of Conscience, Vindicated, Against Spiritual Despotism (1845) is a book written by Andrew Scott. The book explores the concept of spiritual despotism, which refers to the abuse of power by religious leaders to control and manipulate their followers. Scott argues that this kind of tyranny is a violation of the fundamental human rights of freedom of thought and conscience. He also advocates for the importance of using reason and common sense to challenge and resist the oppressive practices of religious institutions. The book is a powerful critique of religious authoritarianism and a call for greater individual autonomy and freedom of belief.In A Series Of Papers From The Independent Whit, And Other Sources, Applicable To Present Religious And Political Discussions.This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions, that are true to their original work.

*Includes pictures *Includes ancient accounts and Scripture passages *Includes online resources and a bibliography for further reading "And Jesus suffered no man to follow Him, save Peter and James and John." - Mark 5:37 Apart from Jesus, there is no character more vividly presented in the gospels than Peter. To talk of Saint Peter is to talk about a man of action. There is a good reason why he is the apostle with the most mentions in the Gospels, and the most referred to in the New Testament (a total of 195 times). In comparison, John, the next most popular disciple, barely reaches 29 references. It is at decisive moments which require a categorical reaction where the leader of the Twelve shines; it is then that Peter -born as Simon Bar-Jonah- has no rival in the inner circle of disciples that followed Jesus of Nazareth. At the same time, during periods of uncertainty and inaction he hesitates, collapses, and shows his all-too human side. With all his virtues and shortcomings, he became Jesus's man of confidence, and over time, the leader of the nascent Church. Reconstructing the biography of Simon the Galilean requires throwing the nets over the waters of the many traditions of the leader of the Twelve, the man who is always present at the turning points of the story of Jesus. It has rightly been said that the Gospel of Mark (and thus the gospels of Matthew and Luke) is written from his point of view. It is he whom Jesus calls first when he is working on the seashore; it is Peter who proclaims with blind enthusiasm that his teacher is the Messiah, who confronts him about the consequences and meaning of that title, who cries bitterly for his cowardice, who enters the house of the high priest where the rabbi is held prisoner, and who, after the crucifixion, throws himself into the dark waters, before the sunrise, when he sees him again standing on the shore of the lake. Peter was already a married man with a permanent job in Capernaum when Jesus passed by and said, "Follow me and I will make you a fisher of men." Although the four canonical gospels tend to have disagreements, they all agree on one crucial aspect: Peter's preeminence. Peter was the spokesman and the chief apostle, the trustworthy disciple of the Lord and, ironically, the one who failed him again and again through his incomprehension, his hesitation, and impulsiveness. For example, he drew the sword to kill at a time of danger, when his teacher was clearly against violence. However, according to several independent sources, the risen Jesus went to appear to Peter first, as if to comfort him and confirm him on his commission to "feed the sheep." Considering all this, it is strange that few details about his later life are known. That Simon Bar-Jonah "Cephas," the man from Galilee, was a historical figure is a fact that no one - not even those who doubt the existence of Jesus - would put in doubt. The textual evidence is traced back to the years he lived in Jerusalem, and at least one contemporary person mentions an encounter with him. But the details are scarce. Ironically, most of the reliable information is in the writings of another Christian leader with whom he had disputes: Paul. Traditions and legends about the life of Saint Peter are many, not to mention several writings attributed to him. Some may contain historical memories, and others are parables, but it is not a legend that while he was alive, and even 2,000 years later, Peter has been the center of heated controversies. If indeed he was the leader of the apostles, then do his successors (the bishops of Rome) have preeminence over all of Christendom? To say that this question defined the history and the map of the Christian world for many centuries is an understatement. Saint Peter is, therefore, one of the most important people in history.

*Includes pictures*Includes Norse accounts*Includes online resources and a bibliography for further reading"Njördr in Nóatún begot afterward two children: the son was called Freyr, and the daughter Freyja; they were fair of face and mighty. Freyr is the most renowned of the Æsir; he rules over the rain and the shining of the sun, and therewithal the fruit of the earth; and it is good to call on him for fruitful seasons and peace." Much of what is known of the Norse myths comes from the 10th century onwards. Until this time and, indeed, for centuries afterwards, Norse culture (particularly that of Iceland, where the myths were eventually transcribed) was an oral culture. In fact, in all Scandinavian countries well into the thirteenth century laws were memorized by officials known as "Lawspeakers" who recited them at the "Thing." The Thing was the legislative assembly in Scandinavia "held for judicial purposes." The Prose Edda is a collection of Norse Myths split into three sections, the Gylfaginning (the Deluding of Gylfi), the Skáldskaparmál (the Language of Poetry) and the Háttatal (the Enumeration of Meters). The first has a frame story that entails a Swedish King, Gylfi, disguising himself as an old man, Gangleri, when he journeys to Asgard to meet the gods. When he arrives, he meets three men - "High One, Just-As-High, and Third" - who reveal to him stories of the world and the gods. The second section contains a warning for Christians not to believe in the Norse gods, specifically the two families, the Æsir and the Vanir, but also refutes the notion that they were demons, which was a common supposition among some Christians at the time. The Prose Edda begins in this line of thought with a euhemeristic prologue, which traces the history of the Norse Gods as human heroes of Troy, making Thor one of King Priam's sons. The Norse Myths also appear to follow a chronological narrative, which the historian John Lindow describes as having a "Mythical Past, Present and Future." Loki features in each of these literary "epochs" and it helps to understand the complexity of his character, as well as the belief system, to view the myths in this way.Freyr was son to sea-god Njördr and twin brother to love goddess Freyja, all of whom were part of the Vanir, a less warlike, divine family. As part of a hostage exchange between warring families, Njördr and Freyr were sent to live with the Æsir. As a member of the Vanir, his integration into the warlike family gave Freyr relatively little to do in surviving mythology. Many of the surviving stories involve Thor exercising his physical strength while Loki and Odin exercise their cunning. Freyr was not noted for either of these attributes, nor did he have a love of besting the Giants, the gods' eternal enemies. Freyr's role as a fertility god-a recurring theme in the Vanir-meant that his relatively rare appearences in the myths weighed heavily on the dominant, cult role he performed across Scandinavia from a surprisingly early time. That being said, there are few superfluous characters in Norse myth, and Freyr is present at two major moments of the gods' history: the union of the two families (although there are very few surviving texts describing this exact moment) and Ragnarök, the apocalyptic end.Freyr: The Origins and History of the Norse God of Love and Fertility looks at the stories about the legendary Norse deity. Along with pictures depicting important people, places, and events, you will learn about Freyr like never before.

*Includes pictures *Includes ancient accounts describing Atlantis and the search for it *Includes online resources and a bibliography for further reading "And the island of Atalantes, which was greater than Africa and Asia, as Plato says in the Timaeus, in one day and night was overwhelmed beneath the sea in consequence of an extraordinary earthquake and inundation and suddenly disappeared, becoming sea, not indeed navigable, but full of gulfs and eddies." - The 1st century CE philosopher Philo" The story of Atlantis has captured the minds and hearts of historians, scientists, artists, and writers for millennia, and yet, it never ceases to amaze people when told that the only literary evidence that exists comes from a single 4th century BCE author. The Athenian philosopher Plato, famous for his dialogues in which the Socratic Method was invented, was the first writer to mention the mysterious continent of Atlantis. In his works Timaeus and Critias, Plato outlines the beginning of the story of Atlantis, but the Critias, where the longer and more detailed account takes place, was never finished and, therefore, has become the mysterious germ for millennia of thought. Put simply, what Plato wrote of Atlantis has all the elements of a great Hollywood narrative, combined with the precision of a mapmaker. According to the story, the god of the sea Poseidon was allotted the island of Atlantis (larger than Libya and Asia, according to Plato), somewhere in the Pillars of Heracles. (This could be as far from Greece as Gibraltar). Poseidon's 10 sons, who were princes, ruled the beautiful island, which was fertile and rich in resources, providing everything a paradise needed. Still, Atlantis was not solely an uncultivated Garden of Eden. Fortifications, roads, palaces and constructions made this island a rich and well-constructed city. Plato seems to have had fun providing detailed descriptions of the city architecture, which were almost tailor-made to lure future explorers, but Renaissance writers Thomas More and Francis Bacon, who wrote their respective works Utopia (1516) and New Atlantis (1627), were more entranced by what follows in the dialogue. In a Phaedrus-like moral and mortal journey from heavens to earth, the inhabitants of Atlantis were able to participate in the divine spirit and obey the laws. However, when they fell short of divinity and descended from moral heaven, the human temper in them prevailed. Zeus decided to punish them; Atlantis now lies sunk by earthquakes, and has created a barrier of impassable mud which prevents those who are sailing out from here to the ocean beyond from proceeding further. Innumerable novels and films, from Journey to the Center of the Earth (1959) up to the recent version of Scratlantis in Ice Age: Continental Drift (2012), seek to bring back Plato's paradise to the surface. Atlantis: The History and Legacy of the Ancient World's Fabled Lost Island and Modern Searches for It looks at one of antiquity's most famous stories. Along with pictures depicting important people, places, and events, you will learn about Atlantis like never before.