Poseidon does very much love percy, he himself said that Percy was his favorite son. But the gods are very limited on how much they can interact with their children and how much they can help them. Poseidon was god of the sea, earthquakes, storms, and horses and is considered one of the most bad-tempered, moody and greedy Olympian gods.
He was known to be vengeful when insulted. Poseidon, like all Ancient Hellenic Gods, feared the wrath of Zeus. During one of his rage episodes, Zeus exiled from Olympus both Poseidon and Apollo.
Powers and abilities Like the other Olympian Gods, Poseidon possesses super-strength, super-speed, shapeshifting, immortality, and invulnerability. Poseidon can control the seas and all life that dwells within them.
Poseidon, being the king of the sea, was unable to be punished by Athena, so she punished Medusa instead, which was just because of a patriarchal and sexist writer and society. Poseidon hated her for this, and she hated him. Aquatic Transformation: A weapon of immense power with a connection to the sea, Poseidon can utilize his Trident to transform just about any object into a sea related object, or a powerful monster into a docile sea creature.
Athena became the patron goddess of the city of Athens after a competition with Poseidon, and he remained on the Acropolis in the form of his surrogate, Erechtheus…. For the fact Percy is only mortal and tire eventually even with the fleece.
For Montaigne. The novel is written in first person protagonist due to the fact that Tutuola wants a bond between the narrator and his audience. The use of the first-person protagonist in this novel is effective to the extent that it gives a sense of closeness to the characters. It is also easy for the audience to empathize with the narrator as it is being read. The details and the architectural features between both of these great Arts show ingenuity, symmetry, geometry and balance from two very diverse time periods.
The aspects of their values, religious beliefs, culture, and mythology play key roles in the beliefs of both timepieces of Art. The architectural medium is not only impressive, but it is captivating to the eye as well. Gods can be personified natural agents such as fire, sky, earth, water, and the like.
But more often they are beings that use specific areas of nature to effect their purposes, just as men operate machines to produce some end. Gods are often visualized as having human shape, feeling human emotions, and performing human acts, even if they are immortal and infinitely more powerful than men.
This renders the cosmos more intelligible than it would be if it were ruled by impersonal, capricious forces that were indifferent to man's welfare. Gods, even at their cruelest, are much preferable to stark chaos. And gods that look and act as human beings do make the world appear more bearable, because they sanctify human beauty and strength by giving them supernatural precedent.
In interpreting nature, myths use analogical reasoning, relating the unfamiliar to the familiar by means of likeness. Thus, things in heaven happen the same way they do here on earth. Why does the sun move across the sky? Because some deity is pushing it, riding it, or sailing it through the universe each day.
And just as beasts and men beget progeny by copulation, so the primordial elements of nature procreate on each other in most mythologies. Or to give another example, the ancient Greeks must have wondered why the constellations of Ursa Major and Ursa Minor never set below the horizon, whereas other groups of stars did. The mythological solution, related by Ovid in his tale of Callisto, is that they were outcasts. Hera hated those stars and ordered the sea never to let them sink, since they were once the living mistress and son of Hera's mate, Zeus.
This shows mythological reasoning and the projection of human feelings onto the natural world. A coordinate branch of myth deals with the art of getting the gods to effect human purposes.
This involves primitive religion with a technological overcast. The gods, having some human qualities, may respond to worship, ritual, supplication, and sacrifice. They are never obliged to help human beings, but they can if they so desire. Gods sometimes show partiality by rewarding a few mortals with good fortune.
But generally nature is incalculable. One can never tell where lightning will strike, storms sink ships, wars and plagues ravage, earthquakes wreck cities, or flood, drought, and hail ruin crops. Yet psychologically a man is never totally impotent if he has gods to whom he can appeal. Myths frequently deal with the tributes one should pay a god, the chief of which is piety. Yet there is an older, darker region of myth involving magic.
Magic is also an attempt to influence the gods to fulfill human wishes. The Greeks pretty much expurgated or transmuted this element in their myths, but it has a fairly sizable place in the myths of primitive peoples and in the ancient Near Eastern and European mythologies.
Magic seeks to influence nature by imitation, by mimicking the results one wants. It depends upon analogical thought, whereby like produces like. The savage rite of human sacrifice was supposed to guarantee a plentiful harvest in neolithic societies, because the sprinkling of human blood on the ground would bring the necessary rain to the crops. In ancient cults throughout the Near East and Europe magic was associated with the worship of the triple-goddess, usually in agricultural communities presided over by a matriarchal queen.
The triple-goddess stood for the three phases of the moon — waxing, full, and waning; the three phases of nature — planting, harvest, and winter; and the three phases of womanhood — virgin, mature woman, and crone. In her earthly incarnation as queen she often took a male lover each year, and when his period was through he was ritually murdered.
Traces of this archaic religion can be found in Greek mythology, but the Greeks with their patriarchal worship of Zeus managed to suppress it fairly thoroughly. While men might use religious ritual or magic to induce the gods to grant their requests, it was extremely dangerous to antagonize a supernatural force. The gods were invariably ruthless in punishing acts of impiety or overweening pride. King Ixion, for attempting to ravish the goddess Hera, was struck dead by Zeus's thunderbolt, lashed to a turning wheel in hell, and bitten eternally by snakes.
In the Gilgamesh epic the mighty Enkidu contracted a fatal illness for insulting Ishtar, the Babylonian fertility goddess. Dozens of myths vividly portray the folly and dire results of neglecting or provoking the gods. This is equally a matter of morality and of influencing nature.
In addition to explaining natural phenomena as the work of gods and showing how men should relate to these powers, myths can explain other things, such as the source and meaning of some ritual. A sacred rite can be impressive in itself, satisfying man's need for comforting repetition in an all-too-unstable world. But myth adds a spiritual dimension to ritual and gives it supernatural sanction.
The story of Demeter and Persephone gave a transcendent significance to the Eleusinian rites. It is a form of creative expression of the generally pleasant elements of reality enmeshed with fantasy. As stories associated with more cultivated culture, this kind of mythology is rich with literary art, drama, painting, sculpture, and other creative outlets.
The characters in classical mythology are also often alluded in scientific terminologies in various fields such as astronomy, biology, and psychology.
Primitive mythology, as its name suggests, preceded the rise of classical mythology. Hence, primitive myths center more on the explanation of various phenomena such as calamities, seasons, and vegetation. Primitive mythology was primarily characterized by dark, disturbing, and morbid themes such as destruction, monsters, and death. The brothers eventually became stars and Huitzilopochtli also eventually killed his half-sister by tearing her heart out using a blue snake.
On the other hand, classical mythology revolved around more pleasant and sentimental elements such as gentle nymphs, valiant warriors, kind gods, and peaceful goddesses.
Though both kinds of myth may aim to entertain, classical mythology leans more towards pleasure-oriented ends as evidenced by stories which portray comedy. Primitive mythology is more solely associated with religious content as it has more narratives on creation and moral codes. Also, most primitive myths originated from spiritual leaders such as shamans or priests.
As for classical mythology, it is also associated with religious beliefs but its influence is more diverse as it is linked with literature, cosmology, entertainment, and the like. Also, its authors were not necessarily spiritual or religious leaders. As compared to primitive mythology, classical mythology views gods as more human-like who also feel certain kinds of emotions and engage in intimate relationships. Classical mythology is generally more relatable due to its more pleasant and cultivated nature as compared to primitive mythology.
As compared to primitive mythology, classical mythology is more closely linked with Greek and Roman culture as these civilizations feature human-like deities and more cultivated ways of behaving. Primitive mythology was more difficult to preserve as it was mainly transferred by word of mouth. On the contrary, classical mythology was easier to preserve as many of them were written and portrayed in various art works such as sculpture, paintings on vases and tombs, and other forms.
Cite APA 7 Brown, g.
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