The myth of Ixion

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As I can remember, and learning Greek Mythology by Al (he was my teacher in every stuff), Prometheus was the one who got the punishment by being hanged on the mountain Caucasus, because of bringing fire to human, and his liver being eaten by an eagle.

The ancient Greek myth of Titan Prometheus and his punishment for deceiving Zeus and protecting mankind is known to most members of the scientific community who study hepatic diseases!!, Mainly because Prometheus’ liver was the target of torture. However, the myth of Prometheus is known and cherished by many, because, according to one version, Prometheus created the first man. The ancient poet Hesiod (8th century BC)  records that Prometheus twice tricked the gods. First, he offered mortals the best meat from a slaughtered cow and gave the fat and bones to the gods. Then, when an infuriated Zeus punished man by taking fire, Prometheus stole it back for mankind. Accordingly, Zeus punished him in two ways. First, Prometheus was bound on the mountain Caucasus. More explicitly, for students of the liver, an eagle fed from his liver each day, but the liver regenerated overnight. Secondly, Zeus sent Pandora to the world where she released all hitherto unknown evils to humans.

And after I saw the name Ixion in this post down there, I have searched for it because I haven’t heard of his name: Ixion.
But there was another name which I never heard as well: Tityus. Who was the son of Elara; his father was Zeus. Zeus hid Elara from his wife, Hera, by placing her deep beneath the earth. Tityos grew so large that he split his mother’s womb, and he was carried to term by Gaia, the Earth. Once grown, Tityos attempted to rape Leto at the behest of Hera. He was slain by Leto’s protective children Artemis and Apollo. As punishment, he was stretched out in Tartarus and tortured by two vultures who fed on his liver, which grew back every night. This punishment is comparable to that of the Titan Prometheus.

While Prometheus is well recognised, less is known about another figure in legends who received the same punishment and whose myth could also be used by modern hepatologists as an ancient example of the phenomenon of liver regeneration. According to Greek mythology, Tityus (Τιτυóς or Τιτυ´ας in Greek), son of Zeus and Elara, was a gigantic chthonic being, living in Phocis and Euboea. When Elara became pregnant by Zeus, he hid her deep in the earth so that his wife Hera would not learn of this. There Elara gave birth to Tityus, who was nursed by Gaia (goddess of earth) and grew to enormous proportions. Tityus was so large that his body was said to cover nine acres. In another version of the myth, Tityus was gigantic even as a fetus and, because he ruptured his mother’s womb, he had to be carried to term by Gaia herself; most likely making her the first surrogate mother in human “myth-history”. When Tityus grew up he made the mistake of assaulting goddess Leto, mother of Apollo, the god of light, and of Artemis, Goddess of hunting. Specifically, when Leto was traveling from Panopeus in Phocis on her way to Delphi, Tityus attempted to rape her, possibly encouraged by Hera. Leto cried out to her children who immediately came to her rescue and tried to kill the giant with their arrows. Tityus, however, was immortal but could be punished by Zeus who had him bound in Hades, the ancient kingdom of the Dead, where two vultures were fed on his liver which, as in the Prometheus legend, regenerated perpetuating the torture eternally. More here

Ixion in Hades geworfen, 1876
(Ixion Thrown into Hades, 1876 )
Jules Elie Delaunay
http://MeisterDrucke

Now, as the punishments all belong to the human’s life, we can understand it well, but let’s learn thereabout a little more by Greek Mythology, what else. I would say!

Punishment of Ixion.
Fresco of the Fourth style. 60—79 CE.
Pompeii, Archaeological Park, House of the Vettii (VI. 15. 1. p)
(Pompei, Parco Archeologico, Casa dei Vettii (VI. 15. 1. p)).
http://ancientrome.ru/art/artworken/img.htm?id=1322

Ixion was the son of Ares, or Leonteus, or Antion and Perimele, or the notorious evildoer Phlegyas, whose name connotes “fiery”.Peirithoös was his son (or stepson, if Zeus were his father, as Zeus claims to Hera in Iliad 14). Wikipedia

Now, as the punishments all belong to the human’s life, we can understand it well, but let’s learn thereabout a little more by Greek Mythology, what else. I would say! With, as always, a great thank, to http://SearchingTheMeaningOfLife

By SearchingTheMeaningOfLife

In Greek mythology, Ixion (Ixionas) was one of the Lapiths, king of Thessaly (probably based in Iolkos) and son of Flegias. His son was Peirithus. He married Zeus, daughter of Dionysus or Dionas, son of Aeolus, king of Phocis. He promised his father-in-law a valuable gift, but he broke his promise. In retaliation, Dionysus stole some of Ixion’s horses. The latter hid his anger and invited his father-in-law to a festive dinner in Larissa.

As soon as Dionysus arrived, Ixion killed him, pushing him into the fire. Ixion violated the sanctity law of hospitality for the Greeks with this horrible act, whose patron was Xenios Zeus. Neighbouring lords, offended, refused to offer him asylum or perform rituals that would allow him to be cleared of his guilt. Since then, Ixionas was outlawed, lived as waste and was avoided by everyone. By killing his father-in-law, he became the first person in Greek mythology to kill a relative. The punishment that followed was terrible.

Once, Ixionas, to escape from his persecutors, took refuge in a temple of Zeus. He took pity on Ixion for the situation and brought him to Olympus with him.

So! Ixionas, from one moment to the next, was among the 12 Gods of Olympus who received immortality by eating their divine food, ambrosia, and drinking nectar and lived among them. He soon began to desire Hera, the queen of the other gods and the protector of marriage. At first, Hera tried to repel him discreetly, but soon the aspirations of Ixion became apparent to the other Gods, even to Zeus. For this reason, he called to him a nymph of heaven, Nefeli, and gave her the form of Hera. So, Ixion, falling into this delusion, united with Nefeli and from this union, the first Centaur was born. However, outraged by the filth and disrespect shown to him by Ixion, Zeus inflicted a terrible eternal torment on him, since he too could not die after he had become immortal.

Ixionas was struck by lightning and expelled from Olympus. Jupiter ordered Mercury to tie Ixion to a wheel. Thus bound, Ixion wanders eternally in Tartarus.

The instrument of Ixion’s punishment, the wheel, is rarely described. According to the Commentator on the “Phoenicians” of Euripides (1185), the wheel consisted of flaming rays. Apollonius of Rhodes (3,62) states that Ixion was held in the wheel by bronze shackles, and according to Virgil (Agricultural 3, 38 and Myth. Vat. I 14, II 106) by snakes. Also again according to Virgil (Agricultural 4, 484), the wheel with Ixion was chased by two snakes. Concerning perhaps the first crime: as the punishment for harassing Hera, was the perpetual moving wheel.

source:  https://arxaia-ellinika.blogspot.com /

https://searchingthemeaningoflife.wordpress.com/2021/04/05/the-myth-of-ixion/

Rocketman, The Movie

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I watched this movie a couple of days ago. I had recorded it over a month ago on my recorder but didn’t have time to watch it, and I wondered why this one has not got to the top, like Bohemian Rhapsody?

They are both great made movies about two great musicians and geniuses. The Rocketman might look different. It is just because of two totally different individual persons. But they have the same goal: to create their genius arts and make their dreams come true. (And fight for being free in their ways.)

The answer to my question might be that the audience prefers a tragic death legend for its heroes. Elton John is still alive. Or it might because of Covidvirus and the lockdown of all cinemas. The Rocketman could not run on screen? Anyway, I found this movie a masterwork.

When I watched this movie, it reminded me of a time in my youth when I was relaxed, happy (hippie) and full of wishes. first, I’d like to tell you about those days:

I already got to know Elton John in the early 70s through his first album: Your Song. It was one of these cold winter nights in Tehran when Al and I were at a friend (Bijan) in his basement room. We were there often to talk about the arts and listen to music, and smoke a Joint. In that very night, he surprised us with a newcomer: Elton John. We’d listen to it and were elated. Bijan told us that this LP had got a lot of critical opinions and somehow negative. Some would say that it is too slow or even monotonous. Actually, in this LP is no song to dance to (only chick-to-chick!) I mean, the songs in this collection are soft and poetic with beautiful melodies. One of the best ever.

One of the songs in this album had hit my heart. So intense that I recorded it completely in my brain. I could sing it from beginning into the end without any failure. And not only this, I could copy the voice of Elton one to one. Al meant that: if somebody would not see me singing, could think that it is him, Elton John!

Well, it might be exaggerated a little, but everywhere I had performed my show, all have confirmed that. Although I know I have not a beautiful voice. I have just two talents: I can keep the tone in tune and imitate the voice of the others. (Not only the voices but also I could imitate my lovely actors, like Charlie Chaplin, on the stage, though these all have gone with the wind!)

Anyway, this song called “Sixty Years On”, a beautiful song which, as I go through the second half of my sixties, still sounds in my ears.

“Sixty Years On”

Who’ll walk me down to church when I’m sixty years of age
When the ragged dog they gave me has been ten years in the grave
And senorita play guitar, play it just for you
My rosary has broken and my beads have all slipped through

You’ve hung up your great coat and you’ve laid down your gun
You know the war you fought in wasn’t too much fun
And the future you’re giving me holds nothing for a gun
I’ve no wish to be living sixty years on

Yes I’ll sit with you and talk let your eyes relive again
I know my vintage prayers would be very much the same
And Magdelena plays the organ, plays it just for you
Your choral lamp that burns so low when you are passing through

And the future you’re giving me holds nothing for a gun
I’ve no wish to be living sixty years on

And of course, let’s listen to the unforgettable main title song: “Your Song”.

“Your Song”
(“Elton John” Version)

It’s a little bit funny, this feeling inside
I’m not one of those who can easily hide
I don’t have much money, but boy if I did
I’d buy a big house where we both could live

If I was a sculptor, but then again, no
Or a man who makes potions in a traveling show
I know it’s not much, but it’s the best I can do
My gift is my song, and this one’s for you

And you can tell everybody this is your song
It may be quite simple, but now that it’s done
I hope you don’t mind, I hope you don’t mind that I put down in words
How wonderful life is while you’re in the world

I sat on the roof and kicked off the moss
Well, a few of the verses, well, they’ve got me quite cross
But the sun’s been quite kind while I wrote this song
It’s for people like you that keep it turned on

So excuse me forgetting, but these things I do
You see I’ve forgotten if they’re green or they’re blue
Anyway the thing is what I really mean
Yours are the sweetest eyes I’ve ever seen

And you can tell everybody this is your song
It may be quite simple, but now that it’s done
I hope you don’t mind, I hope you don’t mind that I put down in words
How wonderful life is while you’re in the world

I hope you don’t mind, I hope you don’t mind that I put down in words
How wonderful life is while you’re in the world

Now, back to what I wanted to introduce you: Rocketman, the movie. You might already have watched it, but I’d like to tell them who didn’t watch it yet; it is highly recommended.

Rocketman is a 2019 biographical musical film based on the life and music of British musician Elton John. Directed by Dexter Fletcher and written by Lee Hall, it stars Taron Egerton as John, with Jamie Bell as Bernie Taupin, Richard Madden as John Reid, and Bryce Dallas Howard as Sheila Eileen, John’s mother. via Wikipedia .

Taron Egerton does his job so well that when Elton John saw the movie, he was heartily very touched.

http://Pinterest

Elton John is a great musician, singer and pianist. You will surely enjoy it.

And at the end, one of my favourites. He, Elton John, has opened up on his friendship with Beatles icon John Lennon, describing their relationship as a “whirlwind romance”. The music legends met in the 70s and hit it off, becoming firm friends before John’s tragic death in 1980. That’s why he may here use a Grand White Piano, just as John Lennon had played his “Imagine”.

Sorry Seems to Be the Hardest Word

Elton John

Sorry seems to be the hardest word What I got to do to make you love me?
What I got to do to make you care?
What do I do when lightning strikes me?
And I wake to find that you’re not there?What I got to do to make you want me?
What I got to do to be heard?
What do I say when it’s all over babe?
Sorry seems to be the hardest wordIt’s sad, so sad
It’s a sad, sad situation
And it’s getting more and more absurd
It’s sad, so sad
Why can’t we talk it over?
Oh, it seems to me
That sorry seems to be the hardest wordWhat do I do to make you want me?
What I got to do to be heard?
What do I say when it’s all over?
Sorry seems to be the hardest wordIt’s sad, so sad
It’s a sad, sad situation
And it’s getting more and…

Source: Musixmatch

FIFTY+ YEARS LONELINESS VII,: “ESCAPE FROM FREEDOM, TO FREEDOM!” (2)

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The Time of Limbo!

I had stopped there where we came out of the building of the airport. To have a check please click here. I don’t know if you have ever had such of impression; belonging nowhere, yes, we were two nowhere man! We had a feeling we’d fallen into Limbo, no idea what would or ever could do. We had given away, and donated all we had, and got ready to leave Iran. Our books which were not a few; were spread among friends and family. Of course, we had actually no certain plan for the future. We knew that we would not back, at least for a long time. The first thought was to rescue our life, but now: what is next?

Al was a little more relaxed than me. He was more optimistic that it might get better, and he’d continue working as a writer, and he was about, may the regime would leave us alone to do our works. I understood him well. His style in Persian literature was extraordinary. It was a complete heritage from our father. What a pity he couldn’t do his genius works. But I wasn’t! I could still feel the pain in my ribs through an everyday getting beaten in the jail, but it was not important at all. I was more often in the society between people and knew this folk needed a long time to practice democracy. I knew that we are still free because of our father fame as a writer, (He has translated many Islamic histories from Arabic to Persian and wrote a lot of stories in his sophistical way).

When I got free from jail, one of the guards in the office took me by the side and told me that I was lucky to get free because the chairman there knew my father well and was a fan of him. But he advised me that there were not so many like this chairman. Therefore, it’s better I’d not appear here again! Yes, we had not to miss this little chance. Time ran fast, and we had to act faster.

We got a taxi and drove to our close friends, a couple whom I knew from the time when I was playing in the theatre. They were a nice pair and trustful friends. They were shocked, first when they saw we’re standing at the door. We had told them what happened and they tried to solace us. But I had to act immediately: first, to surprise my uncle and ask him to try to get us another exit permission.

Then, there was another problem, a big one; to get a new ticket to Germany. That couldn’t be so easy as I knew it. Because many peoples spiring to get out of Iran those days, and all needed a long time reservation to have a flight. Anyhow, I had to try it. After talking to my Uncle, I drove to the flight agency and told the woman behind the pane all the true story. She looked at me with her beautiful eyes, not in the way: what a crazy guy, but with a full understanding. “Here are two free sits for you, in about ten days, that is all I can do”, she said; and wished me good luck! I’ve felt somehow relieved and got back to our friends to tell Al and others about the happening.

I have also phoned my uncle to ask him about the permission. I knew he’d do his best, and he did it as well; he had found another connection which was a more reliable one this time, and he’d also suggested to me it might better to take my guitar with me.

That was an idea which I had once before our first try, to take my guitar, an old acoustic guitar, with me. Of course, for such an action, I needed permission too. In the rule of the Islamic Republic, the one who wants to take any musical instrument within any travel, he/she, had to prove the ability to play it! I passed the test and had a permit, but at that time, I renounced this idea because I was very nervous and didn’t want to be conspicuous. This time, my uncle thought that it might give me some gentle opinion by the transit police. A musician isn’t dangerous! I agreed and took my guitar with me. Anyway, we didn’t have any luggage with us, and it was not a bad idea, I could make some money in the earlier time in Germany.

Women’s day celebration in 87, I suppose. I sing Lennon’s Song: Woman.

I took my uncle’s suggestion by heart, I bought an old Guitar case from a friend and after making an appointment with the Travels Administration, I, accompanied by my cousin, (the oldes Son of my dear uncle), went there to get the new permits for our travel.

These ten days were an unforgettable time-lapse in my life. Al was cooler and enjoyed this as I was getting all things together. Our friends had helped us a lot to spend the time easier and finally, the time had come for the next try.

My cousin drove us to the airport, where we did not need check-in (no luggage!) and went directly to the gates. Those days were not such an advanced technique for body-checking like it is now. Therefore, every passenger one by one, had to pass through a small room for being examined by the transit police. We were still not sure, that with all papers and permits, if they’d allow me to keep my guitar. Therefore, we decided that I go first through the Gate, and if they reject my guitar, Al can give it back to my cousin. Oh yes, exciting and uncertain!

I have entered the room. There were two young men, just over twenty years old. I had to take off my jacket and empty my pockets. After that, one of them opened the guitar case, said; Wow! Do you play guitars? He took out the guitar and asked me to play a little! I took that from his hand and played some accords. He said to his colleague; look here, the good people going away from Iran, we are losing our artists, and turned to me saying; you will not come back, I know for sure! My heart was pumping crazily. I knew they were playing a dirty game, to make a fool of me that I might say something inappropriate. But I gathered my senses together and said what? Of course, I’d come back again. Why shouldn’t I? I would miss you guys!!

http://Freepik

Puh! They let me gather my things and get through. Now I had to wait for Al to pass through, and he was faster out than I expected, but with some pale face, I wonder why? He just said; Fu…! He then told me that our cousin was restlessly asking him; has Aladin got it through? At this moment there was police near them and asked them at once; what the hell have you got through? They were shocked, of course, Al continued; and told the police it’s all about a guitar, but he didn’t want to believe it and said that he’d come after us and find out what we had smuggled! That was really Fu…!

Anyway, we walked through the corridors, got upstairs into the aeroplane, and sat in our place, only hoping no more new troubles. I think that my heart, as well Al’s, had never beaten so fast as in these minutes. We didn’t speak a word until the pilot, with his wonderful voice, said hello to us all and wished us a good flight, and we took off.

That was a story of an Escape from so-called freedom into real freedom? (I had to add this question mark because I am a little desperate right now!) And I hope it wasn’t so boring for you. Thank you for your all supports. 🙏💖🤗🙏💖

An openwork plaque representing the god Hâpy

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Hâpy or Hapi, in ancient Egyptian religion, the personification of the annual inundation of the Nile River. He was the most important among numerous personifications of aspects of natural fertility, and his dominance increased during Egyptian history. He let the Nile river flood so the land was fertile and crops could grow. He was a popular god throughout ancient Egypt. He was worshipped more than the sun god Ra. Without Hapi ancient Egypt would have perished.

Here is a brilliant description by Marie Grillot ,of the enigmatic story of this divine openwork plaque. 🙏💖

Une plaque ajourée représentant le dieu Hâpy

via https://egyptophile.blogspot.com/

Openwork plaque representing the god Hâpy – bronze – XXVth – XXVIth dynasty
Exhibited at the Walters Art Museum in Baltimore (Maryland) – museum photo
Probable “ancient” origin: Memphis (Mit Rahineh)

This openwork plaque, in bronze, is 18 cm high, 10.2 cm wide and has a thickness of 0.7 cm. It represents Hâpy, the god of the flooding of the Nile.

He is standing in the conventional attitude, left leg slightly forward, bare feet resting on a mat of plaited rushes.

He wears a three-part wig that leaves the ear visible and is surmounted by a tuft of aquatic plants.

His eyes are stretched out. He wears a curled false beard, an ousekh collar, and humerus and wrist bracelets. He is naked: “except the strip of material which he always wears, tied under the belly and falling over the front” in three sections …

With his right arm, he supports a tray of woven rushes on which stand two elegant ewers with conical plugs, while, from his forearm, hang three open lotus stems and two in the bud.

They reach the level of the feathers and the solar disk, which surmount a cartridge that cannot “speak” since the names have been erased.

“Usual” representation of the god Nil Hâpy

The main features of this representation are characteristic of the iconography specific to the god Hâpy. As Isabelle Franco specifies in her “Dictionary of Egyptian Mythology”: “Personifying the flood and the benefits it brings, Hâpy is represented as a man of androgynous forms, only wearing the boatmen’s belt. His female breast is the sign of the fertility that it brings and its blue flesh expresses its links with the aquatic environment … Carrying an offering table loaded with various foods expresses the fertility that provides to men and gods “.

The flooding of the Nile, which the wealth of the country’s land depended on and beyond the survival of the inhabitants, was scrutinized, with attention mixed with fear and hope. Thus, during Akhet, the season of the flood (from mid-July to mid-November), the waters had to reach the “ideal” height, generally fixed at seven cubits.

As Jean-Pierre Corteggiani explains so well: “The concern to know each year whether the ‘coming of Hâpy’ would be favourable explains why we have, since the 1st dynasty, measured and recorded the height of each flood … So that this is the case, we did not fail to make the necessary offerings and sacrifices, to recite the appropriate prayers, or to throw in the Nile female statuettes intended to arouse the rut of Hâpy … Hâpy is both the personification of the phenomenon of the flood, the water itself, and the god who controls the flow “.

Openwork plaque representing the god Hâpy – bronze – XXVth – XXVIth dynastyExhibited at the Walters Art Museum in Baltimore (Maryland) – museum photo Probable “ancient” origin: Memphis (Mit Rahineh)

This plaque, dated to the Third Intermediate Period (747-525 BC), was, as explained by “The Walters art museum” in Baltimore (Maryland) where it is exhibited (54.2135): “a decorative element which could have covered the door or the lower part of a wooden sanctuary “.

As for its provenance, it is indicated by Henry Walters. Though it was acquired, before 1931, by Joseph Brummer, an American art seller of Hungarian origin, but does not specify its “antique” origin.

When it was loaned to the Jacquemart-André Museum in Paris, as part of the 2012 exhibition “The twilight of the pharaohs”, Laurent Coulon was responsible for writing the presentation notice … It is rich in information …

Other examples of perforated plates published in
“Some vestiges of religious furniture attributable to the Osirian buildings of the divine Theban worshipers
The bronze plaques found in Memphis by Daninos “, Laurent Coulon, Egypt. Africa & Orient 56, 2009

“Like a large number of openwork plaques of this type preserved in museums around the world, this one is evidently the result of a find made by Albert Daninos, in 1900-1901, to the east of the palace of Apries de Mit Rahineh (Memphis). The excavator says that ‘all the bronzes were jumbled together, in a small space, in the middle of an uninteresting mud-brick construction, two meters deep.’ The lot also included openwork plaques, mirrors, aegis and counterweights of menat and hieroglyphics in bronze. Georges Daressy, who published the part which was transferred to the Egyptian Museum in Cairo, noted that the representations and inscriptions were related with the Theban cult and that the most recent cartouche was that of Amasis, who reigned at the end of Dynasty XXVI. He, therefore, assumed that the whole constituted part of the booty of the Persian soldiers who had sacked and looted Thebes during the reign of Cambyses, at the beginning of Persian domination, this lot having been subsequently ceded to a bronze craftsman from Memphis. This scenario is plausible but unverifiable. At the very least, there is no doubt about the Theban origin of the furniture “…

And he adds: “On these objects, the cartridges bearing royal names were carefully levelled, which for the XXV and XXVI dynasties, leaves open a wide range of possibilities as to the identity of the pharaoh victim of such damnation of memory. “

Marie Grillot

Sources:

The Nile God Hapy
https://art.thewalters.org/detail/26826/the-nile-god-hapy/

Dictionary of Egyptian Mythology, Isabelle Franco, 2013

Ancient Egypt and its gods, Jean-Pierre Corteggiani, 2007

The twilight of the pharaohs, Jacquemart-André Museum, Institut de France, 2012

Some remains of religious furniture attributable to the Osirian buildings of the divine Theban worshipers: the bronze plaques found in Memphis by Daninos, Laurent Coulon, Egypt. Africa & East 56, 2009, p. 53-64.

https://www.academia.edu/20270544/_Quelques_vestiges_de_mobilier_cultuel_attribuable_aux_édifices_osiriens_des_divines_adoratrices_thébaines_les_plaques_de_bronze_trouvées_à_Memphis_par_Daninos_Egypt_Afrique_56_O64_200