Orion

Diwar Wikipedia, an holloueziadur digor

Orion (Ὠρίων / Ôríon e gregach )a zo ur Ramz e mojennoù kozh Hellaz, un hemolc'her meur, lakaet e-touez ar stered.

Taolenn

[kemmañ] Ganedigezh

Hyria, a savas kêr Hyria, en Beotia, n'en doa ket bet darempred ebet gant plac'h ebet kammed, met ur pennhêr en doa c'hoant da gaout.

Un deiz e teuas Zeus, Hermes ha Poseidon d'ober ur gweled dezhañ en e balez. Evito e lazhas Hyriée bravañ ejen e vagad.

Diwezhatoc'h, kaset ar boued gante war-draoñ, e c'houlennas digante penaos ober evit kaout ur mab hep dimeziñ. Lavarout a reas Zeus degas kroc'hen an ejen a oa bet aberzhet dezho, ha goulenn digant ar roue troazhaén warnañ. ha Hyriée d'ober. Neuze ez eas an tri c'homper doue da zouarañ ar c'hoc'hen e liorzh ar palez, ha d'ar gêr d'an Olimp.

Nav miz war-lerc'h e teuas euf mois plus tard, à l'endroit où la peau avait été enterrée parut un garçon auquel Hyriée donna le nom d'Orion (de « ouria » : urine). Lorsqu'il eut atteint l'âge adulte, il était si grand qu'il pouvait marcher au fond de la mer tout en gardant la tête et les épaules hors de l'eau.


[kemmañ] Mojenn

Orion a gare Merope met Oenopion ne blije ket an dra-se dezhañ. Gwallet e voe Merope gant Orion. Evit kas an dorzh d'ar gêr e roas Oenopion gwin da Orion, ken e voe mezv. Neuze, gant ur gontell, e tennas e zaoulagad outañ hag e kasas anezhañ d'ar mor.

Hefaistos a gemeras trues ouzh an dall, hag a roas dezhañ Kedalion, ur c'hrennard, evel ambrouger. Gantañ e kerzhas war-du ar reter ma adkavas ar gweled bennozh d'an heol o sevel.

Graet en doa Orion e soñj da lazhañ Oenopion, met savet e oa bet ur c'hreñvlec'h dindan zouar dezhañ gant Hefaistos, gant-se n'halle ket kavout ar roue. Mont a res neuze da z-Delos, ma kavas ur serc'h all, Eos.



[kemmañ] Son premier amour et conséquences

C'est comme cela qu'il gagna l'île de Chios. Il fut accueilli à la cour d'Œnopion qui régnait sur Chios, et là Orion tomba amoureux de Mérope la fille du roi. Œnopion voulait se débarrasser de ce prétendant encombrant. Il décida donc de promettre la main de sa fille à Orion, à condition que celui-ci débarrassa Chios de tous les fauves qui s'attaquaient aux hommes et aux troupeaux ! Le roi était persuadé que celui-ci n'y parviendrait pas. Mais Orion était un excellent chasseur et n'eut aucun mal à remplir ladite condition . Lorsqu'il revint demander la main de Mérope, Œnopion renia ses promesses, l'amoureux se fâcha et saccagea le palais. Celui-ci fut ligoté tant bien que mal par l'armée lancée par le roi.

Pour le punir, Œnopion l'aveugla et l'abandonna sur le rivage. Orion marcha alors droit devant lui à travers la mer jusqu'à l'île de Lemnos et fut attiré par les forges d'Héphaistos qui accepta de lui prêter Cédalion, son assistant. Le géant guidé par l'enfant rentra dans la mer et marcha vers l'est face au soleil. Pendant sa marche, celui-ci retrouva miraculeusement la vue.

[kemmañ] Rencontre avec Artémis et mort d'Orion

Image d'Orion représenté dans le ciel
Image d'Orion représenté dans le ciel

Il retourna à l'île de Chios pour se venger d'Oenopion, mais Artémis lui demanda d'oublier sa vengeance et lui proposa de chasser avec elle. Mais le frère d'Artémis, Apollon, qui avait quelques craintes pour sa sœur, envoya un monstrueux scorpion à sa poursuite. Orion tenta de le combattre mais il n'y parvint pas. Pour échapper au monstre, il s'enfonça dans la mer qui formait une barricade naturelle. Alors Apollon désigna le géant et dit à Artémis de le tuer, le faisant passer pour un méchant. Comme le chasseur était trop loin, Artémis ne put le reconnaître et lui lança donc une flèche. Elle alla à la nage récupérer le cadavre, mais lorsqu'elle s'aperçut que c'était Orion, elle plaça son image parmi les étoiles en compagnie de son chien, Sirius…

C'est pour cela que les constellations de Orion et du Grand Chien (qui compte l'étoile Sirius, l'astre le plus brillant du ciel en dehors des éléments du système solaire) sont proches l'une de l'autre, et que le Scorpion fut placé de l'autre côté sur la voûte céleste, le héros et le monstre se poursuivant sans cesse sans jamais se rattraper…

[kemmañ] Autre version de la mort d'Orion

Une autre version de la mort d'Orion existe : fort de ses talents exceptionnels de chasseur, Orion ne cessait de se vanter de ses prouesses. Cette arrogance déplut fortement à Héra qui, pour donner une leçon d'humilité à Orion, commanda à un scorpion de s'embusquer en attendant le passage du chasseur. Dissimulé par les feuillages, le scorpion patienta et le moment venu il piqua Orion qui mourut foudroyé par le venin de ce petit animal, lui qui avait terrassé les bêtes les plus féroces. Il fut transformé en constellation, mais Héra n'oublia pas de porter également au ciel le scorpion qui l'avait si loyalement servie pour que le combat continue. Mais Zeus intervint et fit en sorte qu'Orion et le Scorpion ne puissent jamais s'atteindre ; c'est pour cela que lorsqu'Orion se lève à l'horizon Est, le Scorpion se couche à l'horizon Ouest.

[kemmañ] Liens externes


An engraving of Orion from Johann Bayer's Uranometria, 1603 (US Naval Observatory Library)
An engraving of Orion from Johann Bayer's Uranometria, 1603 (US Naval Observatory Library)

In Greek mythology, Orion was traditionally a great huntsman, who was set amongst the stars as the constellation called Orion. He is also described as a great hunter in the Odyssey, when Odysseus meets him in the underworld. The bare bones of his story are told by the Hellenistic and Roman collectors of myths, but there is no record of an Orion, comparable to the Argonautica or Euripides' Medea for Jason. The remaining fragments of legend, recorded in different sources, and connected with different islands, have provided a fertile field for speculation about the prehistory of Greek myth.

The ancient sources vary in what they include; but the major incidents in the myth of Orion are his birth, somewhere in Boeotia; his visit to Chios, where he met Merope, and was blinded by her father Oenopion; his recovery of his sight, connected with Lemnos; his hunting with Artemis, on Crete; his death, killed by Artemis or by the giant scorpion which became Scorpio; and his elevation to the heavens.

[kemmañ] Legends

Orion is mentioned in the oldest surviving Greek literature. In the Iliad, Orion is mentioned as a constellation, and Sirius as his dog.[1] In the Odyssey, Ulysses sees him hunting in the Underworld, a great slayer of animals, with a bronze club; but he is also mentioned as a constellation, as the lover of the Goddess Dawn - slain by Artemis; and as the most handsome of the earthborn.[2] In the Works and Days of Hesiod, Orion is also a constellation, one of those by whose rising and setting with the sun the year is reckoned.[3]

A 1685 painting of Diana over Orion's corpse, before he is placed in the heavens.
A 1685 painting of Diana over Orion's corpse, before he is placed in the heavens.

The legend of Orion was first told in full in Hesiod's Astronomy. This no longer exists, but a Hellenistic writer on the constellations has given a fairly long summary.[4] According to this, Orion was the son of Poseidon and Euryale, daughter of Minos. He could walk on the waves, and came to Chios, where he got drunk and attacked Merope, daughter of Oenopion, who blinded him and drove him out. He then came to Lemnos, where Hephaestus told Cedalion, Hephaestus' servant, to guide him to the uttermost East, where Helios healed him; Orion carried Cedalion around on his shoulders. Orion then returned to punish Oenopion, but he hid away underground. Orion then went to Crete and hunted with Artemis and Leto; he threatened to kill every beast on Earth. Earth objected, and sent a giant scorpion to kill him instead. After his death, Zeus placed Orion (and the Scorpion) among the constellations.

A second (and even shorter) full telling was in a Roman-era collection of myths, dependent largely on Pherecydes of Leros, which describes Orion as earthborn and of enormous stature (although it also mentions Poseidon and Euryale). It adds a first marriage to Side before Merope; Hera threw her into Hades for rivalling herself in beauty. It also has different death story: as in Homer, Eos, the Dawn, fell in love with Orion, and took him to Delos, but Artemis slew him.[5]

The margin of the Empress Eudocia's copy of the Iliad has a note summarizing a Hellenistic poet[6] who tells a different story of Orion's birth: The gods Zeus and Hermes and Poseidon came to visit a poor man called Hyrieus (from Thebes or Chios) who roasted a whole bull[7] for them; when they offered him a favor, asked for sons. They took the cattle-hide and ejaculated, or urinated, into it,[8] and buried it in the earth - thus explaining why Orion is Earthborn.[9]

A third, three paragraphs, is by a Latin writer on the constellations, Gaius Julius Hyginus.[10]This begins with the oxhide story of Orion's birth, which Hyginus ascribes to Callimachus and Aristomachus.[11] Hyginus has two versions, in one of them[12]he omits Poseidon; one modern critic suggests this is the original version.[13]

Hyginus also tells two stories of the death of Orion: Because of his "living joined in too great a friendship" with Oenopion[14] he boasted to Artemis and Leto that he could kill anything which came from Earth. Earth objected and created the Scorpion.[15] In another story, Apollo objected to Artemis's love for Orion, and (seeing Orion swimming with just his head visible) challenged his sister to shoot at that mark, and she hit and killed him.[16]

Hyginus also connects him with several constellations, not just Scorpio. Orion chased Pleione, mother of the Pleiades, for seven years, until Zeus intervened and raised the whole lot to the stars;[17] the story that he chases the Pleiades themselves goes back to the Works and Days. Canis Minor and Canis Major are his dogs; the first, being in front, is called Procyon; they chase Lepus, the hare; although Hyginus says some critics thought this too base a prey for the noble Orion, and have him pursuing Taurus instead.[18]

[kemmañ] Variants

There are, as often, numerous variants in other authors; most of these are incidental mentions in poems and scholiasts. Vergil, for instance, shows[19] Orion, as a giant, not walking on the Aegean, but wading through it.

There are several references to Hyrieus as the father of Orion, connecting him to various places in Boeotia, including Hyria; this may well be the original story (although not the first attested), since Hyrieus is presumably the eponym of Hyria. He is also called Oeneus, although he is not the Calydonian Oeneus.[20] Other ancient scholia say, like Hesiod, that Orion was the son of Poseidon and a daughter of Minos, but call the daughter Brylle or Hyeles.[21]

There are a number of variant forms of the story of Orion and Oenopion; one source has Merope the wife of Oenopion, not his daughter; another has Merope the daughter of Minos, not Oenopion.[22] The longest (a page in the Loeb) is from a collection of melodramatic plots drawn up by an Alexandrian poet for the Roman Cornelius Gallus to make into Latin verse.[23] This shows Orion slaying the wild beasts of Chios, and looting the other inhabitants to make a bride-price for Oenopion's daughter, whom this source calls Aëro or Leiro.[24] Oenopion doesn't want to marry her off to someone like Orion, and eventually Orion, in frustration, breaks into her bedchamber and rapes her; the text implies that Oenopion blinds him on the spot.

Latin sources add that Oenopion was the son of Dionysus, and Dionysus sent satyrs to send Orion into a deep sleep so he could be blinded; one tells the same story, but converts Oenopion into Minos of Crete. They add that an oracle told Orion that his sight could be restored by walking eastward, and he found his way by hearing the Cyclops' hammer; and placed a Cyclops as a guide on his shoulder. (They do not mention Cabeiri, or Lemnos; but this is presumably the story of Cedalion recast. Both Hephaestus and the Cyclopes were said to make thunderbolts, and they are combined in other sources.)[25]

Corinna sang of Orion conquering and naming all the land of the dawn.[26]

Lucian includes a picture with Orion in a rhetorical description of an ideal building, where he is simply walking into the rising sun close by Lemnos, with Cedalion on his shoulder. He recovers his sight there, with Hephaestus still watching in the background.[27]

The next picture deals with the ancient story of Orion. He is blind, and on his shoulder carries Cedalion, who directs the sightless eyes towards the East. The rising Sun heals his infirmity; and there stands Hephaestus on Lemnos, watching the cure.[28]

Other mythographers have Orion healed by Aesculapius on Naxos, with no mention of Lemnos at all.[29]

Several sources tell different stories of how Artemis killed Orion, either with her arrows, or by producing the Scorpion. She is given various motives: that he boasted of his beast-killing, that he challenged her to a contest (with the discus), or that he assaulted either Artemis herself, or else the Hyperborean maiden Opis in her band of huntresses.[30]

Aratus's brief description, in his Astronomy, conflates the elements of the myth. According to Aratus, Orion attacks Artemis while hunting on Chios, and the Scorpion kills him there.[31]

Pausanias saw Orion's tomb at Tanagra; Hyria lay in the territory of Tanagra.[32]

Ancient poets differed greatly on who it was that Aesculapius brought back from the dead; for which Zeus killed him with a lightning bolt. The Argive epic poet Telesarchus is quoted in a scholion as saying that Aesculapius resurrected Orion.[33]

[kemmañ] Relationships

The mythographers connect Orion genealogically with other stories. Hyginus makes Hylas's mother Menodice, daughter of Orion.[34] Another mythographer, Liberalis, tells of Menippe and Metioche, daughters of Orion, who had themselves (literally) sacrificed for their country's good, and were transformed into comets.[35]

[kemmañ] Modern interpretations

The story of Side may well be another astronomical myth; Greek side means pomegranate, which bears fruit while Orion, the constellation, is in the night sky.[36]

Apollo, Vulcan and Mercury conceive Orion in an allegory of the three-fathered "philosophical child".  The artist stands at the left.
Apollo, Vulcan and Mercury conceive Orion in an allegory of the three-fathered "philosophical child". The artist stands at the left.

The Renaissance mythographer Natalis Comes interpreted the whole story of Orion as an allegory of the evolution of a storm-cloud: Begotten by air (Zeus), water (Poseidon), and the sun (Apollo), a stormcloud is diffused (Chios, which Comes derives from χέω, "pour out"), rises though the upper air (Aërope, as Comes spells Merope), chills (is blinded), and is turned into rain by the moon (Artemis). He also explains Orion walking on the sea: "Since the subtler part of the water which is rarefied rests on the surface, it is said that Orion learned from his father how to walk on water."[37]

Similarly, Orion's conception made him the "philosophical child", an allegory of philosophy springing from multiple sources, in Renaissance hermetic works, with some variation: Michael Maier gave the fathers as Apollo, Vulcan and Mercury,[38] and Antoine-Joseph Pernety gave them as Jupiter, Neptune and Mercury.[39]

The early nineteenth-century mythographer Karl Otfried Müller considered Orion the "only purely mythological figure in the heavens" and divided the myths into the original myths of the giant, and the figurative expressions of star lore after he was later identified with the constellation.[40]

Erwin Rohde saw Orion as an example of the Greeks erasing the line between the gods and mankind: If Orion was in the heavens, other mortals could hope to be.[41]

Karl Kerényi, in Gods of the Greeks, portrays Orion as a giant of Titanic vigor and criminality; born outside his mother like Tityos or Dionysus.[42] He lays great stress on the variant in which Merope was the wife of Oenopion, and sees it as the remnant of a lost form of the myth in which Merope was Orion's mother (converted by later generations to his stepmother, and then to the present forms); Orion's blinding is therefore parallel to that of Aegypius and Oedipus.

In Dionysus, Kerényi portrays Orion as a shamanic hunting hero, surviving from Minoan times (hence his association with Crete). Kerényi derives Hyrieus (and Hyria) from a Cretan dialect word hyron, which survives only in ancient dictionaries, meaning "beehive"; from this he makes Orion a representative of the old mead-drinking cultures, overcome by the wine-masters Oenopion and Oeneus. (The Greek for "wine" is oinos.) Fontenrose cites an assertion that Oenopion taught the Chians how to make wine before anybody else knew how.[43]

Joseph Fontenrose wrote Orion : the Myth of the Hunter and the Huntress to show Orion as the type specimen of a variety of grotesque hero, like Cúchulainn; stronger, larger, and more potent than ordinary men, and violent lover of the Divine Huntress. Other instances include Actaeon; Leucippus, son of Oenomaus; Cephalus; Teiresias; and Zeus himself, as the lover of Callisto. He also sees Eastern parallels, Aqhat, Attis, Dumuzi, Gilgamesh, Dushyanta, and Prajapati (as pursuer of Ushas).

Robert Graves sees Oenopion as his perennial Year-King, at the stage where the king pretends to die at the end of his term and appoints a substitute, in this case Orion, who actually dies in his place. His blindness is iconotropy from a picture of Ulysses blinding the Cyclops, mixed with a purely Hellenic solar legend: the Sun-hero is captured and blinded by his enemies at dusk, but escapes and regains his sight at dawn, when all beasts flee him.

Graves sees the rest of the myth as a syncretism of diverse stories: Gilgamesh and the Scorpion-Men; Set becoming a scorpion to kill Horus; the story of Aqhat and Yatpan from Ras Shamra; and a conjectural story of how priestesses of Artemis Opis killed a visitor to their island of Ortygia. Orion's birth from the hide he compares to a West African rainmaking charm, and claims that the son of Poseidon should be a rainmaker.[44]

[kemmañ] Literary culture

Poussin's 1658 painting of the blind Orion.
Poussin's 1658 painting of the blind Orion.

The brief passages in Aratus and Vergil are mentioned above. Cicero translated Aratus in his youth; he made the Orion episode half again longer than it was in the Greek, adding the traditional Latin topos of madness to Aratus's text. Cicero's Aratea is one of the oldest Latin poems to come down to us as more than isolated lines; this episode may have established the technique of including epyllia in non-epic poems.[45]

Orion is used by Horace, who tells his death at the hands of Diana/Artemis,[46] and by Ovid, in his Fasti for May 11; also a single mention in his Art of Love, as a sufferer from unrequited love: "Pale Orion wandered in the forest for Side."[47]

References since antiquity are fairly rare; the ancient sources which tell more about Orion than his being a gigantic huntsman are both dry and obscure. Nicolas Poussin painted Paysage avec Orion aveugle cherchant le soleil (lit: "Landscape with blind Orion seeking the sun"), after Lucian's description of the picture of Orion recovering his sight, as well as Natalis Comes's interpretation.[48][49] John Keats's poem Endymion includes the line "Or blind Orion hungry for the morn", thought to be inspired by Poussin; William Hazlitt may have introduced Keats to the painting[50]—he later wrote an essay on the artwork quoting Keats. Richard Henry Horne, in the generation after Keats and Hazlitt, wrote the epic poem Orion in 1843, in three volumes. It went into at least ten editions; and was reprinted by the Scholartis Press in 1928.[51]

The twentieth-century poet René Char found the blind, lustful hunstman, both pursuer and pursued, a central symbol, as James Lawler has explained at some length.[52] Novelist Claude Simon likewise found Orion an apt symbol of the writer, as he explored in his Orion aveugle of 1970.

[kemmañ] Music

Johann Christian Bach wrote an opera "Orion, or Diana Reveng’d", first presented at the Haymarket Theatre in 1763. In this, Orion, sung by a castrato, is in love with Candiope, daughter of Oenopion, King of Arcadia; but his arrogance has offended Diana. Diana's oracle forbids him to marry Candiope, and foretells glory and death. He bids a touching farewell to Candiope, and marches off to destiny; Diana allows him victory and then kills him, offstage, with her arrow. There is another aria in which his mother (Retrea, Queen of Thebes) laments his death, but the end shows his elevation to the heavens.[53]

The 2002 opera Galileo Galilei includes an opera within an opera piece of Orion and Merope, with the sunlight which heals Orion's blindness being allegorical of modern science.[54] Philip Glass has also written a shorter work on Orion, as has Tōru Takemitsu,[55] Kaija Saariaho,[56] and John Casken;[57] David Bedford's works are about the constellation, since he is an amateur astronomer.[58]

[kemmañ] See also

  • Orion (constellation)

[kemmañ] Notes

  1. Il.Σ 486-9, on the shield of Achilles, and Χ 29, respectively.
  2. λ 572-7 (as a hunter); ε 273-5, as a constellation (= Σ 487-9); ε 121-4; λ 572-7; λ 309-10
  3. ll. 598, 623
  4. Eratosthenes, Catasterismi; translation in Patrom:Gutenberg Whether these works are actually by Hesiod and Eratosthenes themselves is doubtful.
  5. The Bibliotheke 1.4.3-5. This book has come down to us with the name of Apollodorus; but this is almost certainly wrong. Pherecydes from Fontenrose, p.6
  6. Euphorion of Chalcis.
  7. The ancient sources for this story all phrase it so that this could be either a bull or a cow; translations vary, although "bull" may be more common. A bull would be an appropriate sacrifice to male gods.
  8. Both are represented by the same Greek participle, ourion, thus explaining Orion's name. The Latin translations by Hyginus are ambiguous.
  9. Euforion de Calcis; Fragmentos y Epigramas, ed. Luis Alberto de Cuenca. Madrid, 1976. pp.127-9.
  10. de Astronomia 2.34; a shorter recension in his Fabulae 195. Paragraphing according to Ghislane Viré's 1992 Teubner edition.
  11. Aristomachus of Soli wrote on bee-keeping. (OCD: "Bee-keeping".
  12. in the Astronomia; the Fabulae have Poseidon
  13. Fontenrose
  14. prope nimia conjunctum amicitia vixisse. Hyginus, Ast., loc. cit.
  15. Ibid. 2.26
  16. Ibid 2.34, quoting Istrus. Robert Graves adds that Apollo challenged Artemis to hit "that rascal Candaon"; this is for narrative smoothness. It's not in his source.
  17. 2.21
  18. Hyginus, Astr. 2.33, 35-6; which also present these as the dogs of Procris.
  19. Aeneis 10, 763-7
  20. Peck, p.200; giving Hyginus's etymology for Urion, but describing it as "fantastic". Oeneus from Kerenyi Gods, citing Servius's note to Aeneid 10.763; which actually reads Oenopion; but this may be corruption.
  21. Natale Conti’s Mythologiae, VIII, 13 translated and annotated by John Mulryan and Steven Brown; Arizona Center for Medieval and Renaissance Studies, 2006. Vol II, p. 752. n 98. ISBN 9780866983617
  22. Kerenyi, Gods of the Greeks. Frazer's notes to Apollodorus loc.cit. (Loeb)
  23. Parthenius, Love Romances XX; LCL, with Longus' Daphnis and Chloe. Unlike most of Parthenius' stories, no source is noted in the MS.
  24. Both are emendations of Parthenius's text, which is Haero; Aëro is from Gaselee's Loeb editon; Leiro "lily" Is from J. L. Lightfoot's 1999 edition of Parthenius, p.495, which records the several emendations suggested by other editors, which include Maero and Merope. "Leiro" is supported by a Hellenistic inscription from Chios, which mentions a Liro as a companion of Oenopion.
  25. Fontenrose p.9-10; citing Servius and the Vatican Mythographer. The comparison is Fontenrose's judgment
  26. Robert Weir Smyth, Greek Melic Poets, p. 68 and notes on 338-9. He doubts the interpretation, which comes down from antiquity, that this is Hyria, which Orion named Ouria after himself.
  27. Lucian, De domo 28; Poussin followed this description, and A. B. Cook interprets all the mentions of Orion being healed by the Sun in this sense. Zeus I, 290 n. 3 Fontenrose sees a combination of two stories: the lands of Dawn in the far east; and Hephaestus' smithy, the source of fire.
  28. Fowler, H. W. & Fowler F.G. translators (1905). "The Hall". In The Works of Lucian of Samosata, pp. 12–23. Clarendon press.
  29. Fontenrose, p. 26-7, n.9
  30. Apollodorus, loc. cit. and Frazer's notes. Artemis is called Opis in Callimachus Hymn 3.204f and elsewhere. Fontenrose p. 13.
  31. Aratus, Phaenomena I, 634-646. quoted in Kubiak, p. 14.
  32. Pausanias, 9.20.3; Robert Weir Smyth: Greek Melic Poets, Macmillan 1900; p. 339
  33. Pherecydes of Athens Testimonianze i frammenti ed. Paola Dolcetti 2004; frag. 160 = 35a Frag. Hist. Gr = 35 Fowler. She quotes the complete scholion (to Euripedes, Alcestis 1); the statement of Telesarchus may or may not be cited from Pherecydes.
  34. Graves, §143a, citing Hyginus, Fabulae 14.
  35. Antoninus Liberalis 25
  36. Frazer's notes to Apollodorus, citing a lexicon of 1884. Fontenrose is unconvinced.
  37. Gombrich.
  38. Maier, Michael (1617). Atalanta fugiens.
  39. Pernety (1737). Dictionaire Mytho-Hermetique.
  40. Karl Otfried Müller: (1844 translation by John Leitch). Introduction to a Scientific System of Mythology, pp. 133-134. Longman, Brown, Green, and Longmans.
  41. Psyche, tr. H.B.Hillis; New York, Harcourt, 1925, p.58.
  42. Kerényi believes the story of Hyrieus to be original, and that the pun on Orion was made for the myth, rather than the other way around.
  43. Fontenrose, p. 9, citing Theopompus. 264 GH.
  44. Graves §41, 1-5
  45. Kubiak, who quotes the passage. (33.418-35 Soubiran).
  46. Carmina 3.4.70.
  47. Fasti V 495-535, English version; Ars Amatoria, I 731. The mention in the Fasti is the story of Hyrieus and the three gods, but Ovid is bashful about the climax.
  48. Gombrich.
  49. "Nicolas Poussin: Blind Orion Searching for the Rising Sun (24.45.1)". In Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. (October 2006)
  50. John Keats, Endymion, II, 197. See also the editor's note in The Poems of John Keats, ed. Ernest de Sélincourt , Dodd, Mead and company, 1905, p.430.
  51. National Union Catalog, v.254, p134, citing the LC copy of the 10th edition of 1874.
  52. Review of Lawler, René Char: the Myth and the Poem. by Sarah N. Lawall in Contemporary Literature, Vol. 20, No. 4. (Autumn, 1979), pp. 529-531. JSTOR link
  53. Ernest Warburton, "Orione", Grove Music Online ed. L. Macy (Accessed July 16, 2007), <http://www.grovemusic.com>
  54. Strini, Tom (Jun. 29, 2002). "'Galileo' journeys to the stars". Milwaukee Journal Sentinel.
  55. A cello sonata developed into a cello concerto; the scores were Schott Music, 1984 and 1986 respectively. The concerto form was recorded by the BBC National Orchestra of Wales on Bis, along with "A Flock Descends into the Pentagonal Garden."
  56. BBC Proms (April 29, 2004). New Music. Press release.
  57. Orion over Farnes review. (April 4, 1992). Frankfurter Allgemeine Zeitung.
  58. Andrew Fraknoi, "The Music of the Spheres in Education: Using Astronomically Inspired Music" The Astronomy Education Review, Issue 1, Volume 5:139-153, 2006 PDF

[kemmañ] References

  • Joseph Fontenrose Orion: The Myth of the Hunter and the Huntress Berkeley : University of California Press (1981) ISBN 0520096320
  • E. H. Gombrich: "The Subject of Poussin's Orion" The Burlington Magazine, Vol. 84, No. 491. (Feb., 1944), pp. 37-41. JSTOR link.
  • Robert Graves, The Greek Myths Penguin 1955; ISBN 0918825806 is the 1988 reprint by a different publisher.
  • Karl Kerényi, Gods of the Greeks, tr. Norman Cameron. Thames and Hudson 1951. ISBN 0500270481 is a reprint, by the same publisher.
  • Karl Kerényi, Dionysus: Archetypal Image of Indestructible Life Princeton University Press, 1976. ISBN 0691098638
  • David Kubiak: "The Orion Episode of Cicero's Aratea" The Classical Journal, Vol. 77, No. 1. (Oct. - Nov., 1981), pp. 12-22. JSTOR link.
  • Roger Pack, "A Romantic Narrative in Eunapius"; Transactions and Proceedings of the American Philological Association, Vol. 83. (1952), pp. 198-204. JSTOR link. A practicing classicist retells Orion in passing.

[kemmañ] External links

  • Theoi.com: Orion Excerpts from translations from Greek and Roman texts (often older ones, in the public domain, but not always), including the sources for many of the statements in this article. The only translation of Antoninus Liberalis into English is under copyright; most of the scholia (even Servius) have not been translated at all.