“A myth is an image in terms of
which we try to make sense of the world.” - Alan Watts
The Charites (Gratiae) were according to Graecoroman mythology the Graces. They were three lovely sisters, Euphrosyne, Aglaia, and Thalia, the daughters of Zeus and Eurynome. They are represented as beautiful, slender maidens in the full bloom of youth, with hands and arms lovingly intertwined. They portray every gentle emotion of the heart, which vents itself in friendship and kindness, and were believed to preside over those qualities which constitute grace, modesty, unconscious beauty, gentleness, kindliness, innocent joy, purity of mind and body, and eternal youth.
They not only possessed the most perfect beauty themselves, but also conferred this gift upon others. All the enjoyments of life were enhanced by their presence, and were deemed incomplete without them; and wherever joy or pleasure, grace and gaiety reigned, there they were supposed to be present. Temples and altars were everywhere erected in their honour, and people of all ages and of every rank in life entreated their favour. Incense was burnt daily upon their altars, and at every banquet they were invoked, and a libation poured out to them, as they not only heightened all enjoyment, but also by their refining influence moderated the exciting effects of wine.
Music, eloquence, poetry, and art, though the direct work of the Muses, received at the hands of the Graces an additional touch of refinement and beauty; for which reason they are always regarded as the friends of the Muses, with whom they lived on Mount Olympus. Their special function was to act, in conjunction with the Seasons, as attendants upon Aphrodite, whom they adorned with wreaths of flowers, and she emerges from their hands like the Queen of Spring, perfumed with the odour of roses and violets, and all sweet-scented blossoms. The Graces are frequently seen in attendance on other divinities; thus they carry music for Apollo, myrtles for Aphrodite, &c., and frequently accompany the Muses, Eros, or Dionysus.
Closely allied to the Graces were the Horæ, or Seasons, who were also represented as three beautiful maidens, daughters of Zeus and Themis. Their names were Eunomia, Dice, and Irene. It may appear strange that these divinities, presiding over the seasons, should be but three in number, but this is quite in accordance with the notions of the ancient Greeks, who only recognised spring, summer, and autumn as seasons; nature being supposed to be wrapt in death or slumber, during that cheerless and unproductive portion of the year which we call winter.
In some parts of Greece there were but two Horæ, Thallo, goddess of the bloom, and Carpo, of the corn and fruit-bearing season. The Horæ are always regarded as friendly towards mankind, and totally devoid of guile or subtlety; they are represented as joyous, but gentle maidens, crowned with flowers, and holding each other by the hand in a round dance. When they are depicted separately as personifications of the different seasons, the Hora representing spring appears laden with flowers, that of summer bears a sheaf of corn, whilst the personification of autumn has her hands filled with clusters of grapes and other fruits.
They also appear in company with the Graces in the train of Aphrodite, and are seen with Apollo and the Muses. They are inseparably connected with all that is good and beautiful in nature, and as the regular alternation of the seasons, like all her other operations, demands the most perfect order and regularity, the Horæ, being the daughters of Themis, came to be regarded as the representatives of order, and the just administration of human affairs in civilised communities.
Each of these graceful maidens took upon herself a separate function: Eunomia presided more especially over state life, Dice guarded the interests of individuals, whilst Irene, the gayest and brightest of the three sisters, was the light-hearted companion of Dionysus. The Horæ were also the deities of the fast-fleeting hours, and thus presided over the smaller, as well as the larger divisions of time. In this capacity they assist every morning in yoking the celestial horses to the glorious chariot of the sun, which they again help to unyoke when he sinks to rest. In their original conception they were personifications of the clouds, and are described as opening and closing the gates of heaven, and causing fruits and flowers to spring forth, when they pour down upon them their refreshing and life-giving streams.
The illustration is Sandro Botticelli's "Primavera". The three Graces can seen on the left of painting, between Hermes and Aphrodite.
The Charites (Gratiae) were according to Graecoroman mythology the Graces. They were three lovely sisters, Euphrosyne, Aglaia, and Thalia, the daughters of Zeus and Eurynome. They are represented as beautiful, slender maidens in the full bloom of youth, with hands and arms lovingly intertwined. They portray every gentle emotion of the heart, which vents itself in friendship and kindness, and were believed to preside over those qualities which constitute grace, modesty, unconscious beauty, gentleness, kindliness, innocent joy, purity of mind and body, and eternal youth.
They not only possessed the most perfect beauty themselves, but also conferred this gift upon others. All the enjoyments of life were enhanced by their presence, and were deemed incomplete without them; and wherever joy or pleasure, grace and gaiety reigned, there they were supposed to be present. Temples and altars were everywhere erected in their honour, and people of all ages and of every rank in life entreated their favour. Incense was burnt daily upon their altars, and at every banquet they were invoked, and a libation poured out to them, as they not only heightened all enjoyment, but also by their refining influence moderated the exciting effects of wine.
Music, eloquence, poetry, and art, though the direct work of the Muses, received at the hands of the Graces an additional touch of refinement and beauty; for which reason they are always regarded as the friends of the Muses, with whom they lived on Mount Olympus. Their special function was to act, in conjunction with the Seasons, as attendants upon Aphrodite, whom they adorned with wreaths of flowers, and she emerges from their hands like the Queen of Spring, perfumed with the odour of roses and violets, and all sweet-scented blossoms. The Graces are frequently seen in attendance on other divinities; thus they carry music for Apollo, myrtles for Aphrodite, &c., and frequently accompany the Muses, Eros, or Dionysus.
Closely allied to the Graces were the Horæ, or Seasons, who were also represented as three beautiful maidens, daughters of Zeus and Themis. Their names were Eunomia, Dice, and Irene. It may appear strange that these divinities, presiding over the seasons, should be but three in number, but this is quite in accordance with the notions of the ancient Greeks, who only recognised spring, summer, and autumn as seasons; nature being supposed to be wrapt in death or slumber, during that cheerless and unproductive portion of the year which we call winter.
In some parts of Greece there were but two Horæ, Thallo, goddess of the bloom, and Carpo, of the corn and fruit-bearing season. The Horæ are always regarded as friendly towards mankind, and totally devoid of guile or subtlety; they are represented as joyous, but gentle maidens, crowned with flowers, and holding each other by the hand in a round dance. When they are depicted separately as personifications of the different seasons, the Hora representing spring appears laden with flowers, that of summer bears a sheaf of corn, whilst the personification of autumn has her hands filled with clusters of grapes and other fruits.
They also appear in company with the Graces in the train of Aphrodite, and are seen with Apollo and the Muses. They are inseparably connected with all that is good and beautiful in nature, and as the regular alternation of the seasons, like all her other operations, demands the most perfect order and regularity, the Horæ, being the daughters of Themis, came to be regarded as the representatives of order, and the just administration of human affairs in civilised communities.
Each of these graceful maidens took upon herself a separate function: Eunomia presided more especially over state life, Dice guarded the interests of individuals, whilst Irene, the gayest and brightest of the three sisters, was the light-hearted companion of Dionysus. The Horæ were also the deities of the fast-fleeting hours, and thus presided over the smaller, as well as the larger divisions of time. In this capacity they assist every morning in yoking the celestial horses to the glorious chariot of the sun, which they again help to unyoke when he sinks to rest. In their original conception they were personifications of the clouds, and are described as opening and closing the gates of heaven, and causing fruits and flowers to spring forth, when they pour down upon them their refreshing and life-giving streams.
The illustration is Sandro Botticelli's "Primavera". The three Graces can seen on the left of painting, between Hermes and Aphrodite.
Boticelli and the greek myths. What a blog with such different posts. Vielfältig! Herzlich Pippa
ReplyDeleteThe three beautiful daughters of Zeus look as if they have been hitting the Victoria Sponge cakes.
ReplyDeleteBoticelli is a great painter and his women are beautiful. I have heard of the three Graces but not the Horae. Wonder what happened to them. I bet the fiesty flirty one got turned into a reed that no one blows any good:)