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241. Towards a Science of Mythology: Velikovsky's Contribution [Aeon Journal $]
... 1981), pp. 56-58. 25. Iliad 4:73-79. While this passage has been subject to varying translations-- the above is W. Rouse's translation, The Iliad (New York, 1938), p. 49-- several distinguished scholars have pointed to a comet as the source of Homer's imagery. See the discussion in W. Gundel, "Kometen," RE, op cit., p. 1145. See also the discussion of this passage in B. Dietrich, "Divine Epiphanies in Homer," Numen 30:1 (July 1983), p. 56 who translates as follows: "Like a comet which the son of Kronos, crooked in counsel, sends in a shower of sparks as a shining portent to sailors and the widespread army of peoples." Velikovsky, op cit, p. 178, and I. Fuhr, "On Comets, Comet-like Luminous Apparitions and Meteors," Kronos VII:4 (Summer 1982), p. 54, likewise compared Athena's descent to a cometary apparition ...
242. Thoth Vol. V, No 11 Oct 15, 2001 [Thoth Website]
... images. "... to me this entire region resembles nothing so much as an area zapped by a powerful electric arc advancing unsteadily across the surface, occasionally splitting in two, and now and then-weakening, so that its traces narrow and even degrade into lines of disconnected craters....I can only wonder: Is it possible that Mars was bled of several million cubic kilometers of soil and rock in a single encounter with another planetary body? Might the Canyonlands of Mars have been created in an event perhaps hinted at by Homer when he wrote: "Athena [Venus) drove the spear straight into his [Ares' (Mars') belly where the kilt was girded: the point ran in and tore the flesh... [and Ares roared like a trumpet..." Juergens' explanation requires a dynamic recent history of the solar system, entirely different from the one we have been taught to believe. It highlights an electrical dimension to astrophysics which is nowhere to be found in their textbooks. So it is little wonder that ...
243. The Hebrew Patriarchs in Greek Tradition (Part I) [SIS C&C Workshop $]
... Niobe, daughter of Phoroneus, belongs to the time of Deucalion I, 300 years earlier. But note that the 9 days is reflected in the Deucalion deluge of Amenhotep (II's) time (Manetho), as was the tempest of the Shrine of El-Arish which also lasted for 9 days during the reign of Amenhotep II. One needs to place a strong question mark against the Biblical account of Lot. 24. Herodotus: The Histories, vol. II 25. CAH (1st edition), volume on Egypt 26. Homer: Prometheus Bound, vs.825-830; also Dionysus after Panergesis V 1073, 4, p. 32, and Virgil: Geographia Lib IV, V 293, p. 230, and Diodorus Siculus: Biblioteque Lib I, p. 16. For the Syrian tradition see Strabo xi, 3; Stephanus of Byzantium sub Argora and Suidas sub Isis; John Malala (ed Dindorff): Chronicles ii, p. 28 27. Graves claims the name Phoenicia is derived from Phoenix, the masculine form of Phoenissa- the 'the red ...
244. The Dresden Codex and Velikovsky's Catastrophe Dates [SIS C&C Review $]
... , and to refer to it as a fiery, angry god who had to be propitiated by human sacrifice to prevent total destruction of the world. The Maya continued these sacrifices for two thousand years, well into the period when Venus was a harmless morning and evening star. Velikovsky dates this great "Venus Catastrophe" at the middle of the second millennium BC. Later, toward the beginning of the first millennium BC, the closest approach of Mars became more and more a subject of concern and comment. In the Iliad, Homer describes a battle between the Greeks and the Trojans as being accompanied by a terrifying celestial battle between flaming planets, Mars and Venus. After this interaction Mars became more and more feared, identified as the God of War, and equalled or displaced Venus as dominant god to be propitiated by ceremonial sacrifices. Catastrophes of greater and greater intensity were associated with the periodic near approach of Mars. The number of days in the year was uncertain and the calendar unreliable. According to Velikovsky's chronology, derived after consideration of the records of ...
245. Letters [SIS C&C Workshop $]
... De Rerum Natura, of the exiguum clinamen (or tiny swerve) performed by atoms in their courses, which accounts for free will or randomness in a mechanical Universe? In the Agamemnon, the signal fire is described as a beard of flame, reminding one of Thor's red beard. He was a god of the thunderbolt, wore a belt of strength, had goats to draw his chariot through the sky, and wore a horned helmet. The Oresteia has many references to the net of doom in which Agamemnon was caught. Homer describes the net which trapped Ares and Aphrodite as being extremely fine and strong. Artemis, so similar to her brother Apollo, bore the epithet Dictynna (Greek diktys, a net). Apollo was devoutly worshipped by the Hyperboreans, which suggests the Aurora Borealis. There may be a link here with the trident, a lightning symbol. The Roman retiarius or net man had a trident to finish off his victim in the arena when he had him entangled. Altars, structures with horns, to which victims were brought ( ...
246. Ninsianna And Ramesside Star Observations [SIS C&C Workshop $]
... heading in the general direction of Orion or Sirius, for instance, there could well have been general unease. If the celebration was associated with intercessionary prayers or sacrifices, however, it would more probably have been timed to coincide with the disappearance of Venus than with its re-appearance, or even with a date when re-appearance was sufficiently overdue to give cause for alarm (e.g. after 70 days of disappearance if the analogy with the behaviour of Sirius was recognised, as further discussed below). It is probably also worth noting that Homer, both in the ILIAD and the ODYSSEY, repeatedly associates organised games with funeral rites; the well known foundation of the Olympic Games, for instance, could well be related to the suspected demise of Orion, Sirius or Venus, maybe all of them. As the present writer is no authority on classical literature, it is hoped that these notes may stimulate others to turn up some parallels of this sort. If the time difference between the start of the Babylonian year and the start of the Egyptian year can be established ...
247. Letters [SIS C&C Workshop $]
... king of the Ionian islands; his name was Ulysus and the fame of his wisdom great.... U. brought exquisite treasures from the sack of Troy.... All these treasures he offered the Mother; but the Mother wanted none of it. When finally he saw she could not be gained he went to Walhallagra (the isle of Walcheren). There resided a viscountess whose name was Kate; but commonly she was called Kalip because her lower lip protruded like a masthead (Kalip is called Calypso by Homer). With her he stayed for years much to the vexation of all who knew." (5) The O.L.B. has numerous passages of this strength. Toponymy. The Flemish author Hubert Lampo wrote an essay (8) on Ch. J. de Grave's "République des Champs Élysées" in which, among other things, he points out that the connection between Ulysses and Vlissingen and between Circe and Zieriksee has been made already by the Flemish classical philologist Justus Lipsius in his Tacitus edition of 1574. Modern toponymy ...
248. 'Worlds in Collision' and the Prince of Denmark [SIS C&C Review $]
... narratives in dissimilar cultures. This must imply that the great artist provides much bottle but little wine. Indeed, the implication is inescapable that the greater the artist, the less the wine. He contributes his talent, his energy, his creativity, but the kernel of his work is the catastrophic prototype, reborn essentially intact in his new creation. In this way, the prototype perpetuates itself by being passed from the creative genes of one artist to another, from one age to another: literature may produce Shakespeare, Dante, Homer and Milton, but it may be our way of accommodating certain horrible racial memories in peaceful coexistence with the rational functioning of our daily lives. That is to say, from a certain point of view Shakespeare, Rembrandt and Mozart (for all art is involved) are responses to the pressure of achieving this goal, as a rainbow expresses a certain kind of tension between air, sun and water droplets. The rainbow does not come into existence for art's sake beautiful as it is, any more than Hamlet, The Night ...
249. Catastrophes: the Diluvial Evidence [SIS C&C Review $]
... the Earth, scorching the surface, until Zeus cast a thunderbolt and caused Phaeton to fall to his death. According to the philosopher, Plato (c. 429-347 BC), the basis of the Phaeton myth was one of a series of cosmic disturbances which caused periodic catastrophes on Earth [3. The origins of myth and legend are far from certain and may not be the same in every case. It remains possible that some stories may, to some extent, have a factual basis. Indeed, from locations described by Homer, archaeologists such as Heinrich Schliemann and Wilhelm Dörpfeld have found extensive evidence of pre-classical civilisations [4, 5. In most ancient traditions, catastrophes were associated with divine displeasure. In Genesis, as we have seen, God caused Noah's Flood because of the increasingly wicked behaviour of humankind. Similarly, in Greek mythology, Zeus regularly killed people with thunderbolts, as in the Phaeton myth, whilst Poseidon was inclined to cause great storms or floods when annoyed [2, 5. Such floods had undoubtedly occurred. By the time ...
250. Focus [SIS C&C Review $]
... that monotheism somehow suddenly sprang into existence by a kind of mutation in the history of religion, producing, Mr Maccoby said, "a completely new attitude towards the relationship between Man and God and the place of Man in the universe". In a polytheist universe, Man was a very insignificant creature, whereas with the development of monotheism he became much more important. The process by which this came about lay in the personalisation of the formerly relentless power of Fate. In a polytheist world Fate was the overall power: in Homer, for example, even the gods were powerless before Fate, and they became simply creatures more powerful than Man- a kind of aristocracy above the mortal aristocracy. With the development of monotheism, all but the One God were denied, and this God was identified with the guiding power of the universe. This put Man into a direct and personal relationship with the ultimate power, such that, by prayer and by his actions, he could even influence this power. At the same time, any worship of the old ...
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