http://web.ceu.hu/medstud/manual/MMM/frame4.html

Ode on a Grecian Urn-Dickinson

This Ode to Grecian war is one more step and talk about to die for your beleives. A new paradox arises in these lines because these immortal lovers are experiencing a living death. To overcome this paradox of merged life and death, the poem shifts to a new scene with a new perspective. The fourth stanza opens with the sacrifice of a virgin cow.

Who are these coming to the sacrifice?
To what green altar, O mysterious priest,
Lead'st thou that heifer lowing at the skies,
And all her silken flanks with garlands drest?
What little town by river or sea shore,
Or mountain-built with peaceful citadel,
Is emptied of this folk, this pious morn?
And, little town, thy streets for evermore
Will silent be; and not a soul to tell
Why thou art desolate, can e'er return.

The two contradictory responses found in the first and second scenes of "Ode on a Grecian Urn" are inadequate for completely describing art, because Keats believed that art should not provide history or ideals. Instead, both are replaced with a philosophical tone that dominates the meditation on art. The sensual aspects are replaced with an emphasis on the spiritual aspects, and the last scene describes a world contained unto itself and on an urn. The questions the narrator asks reveal a yearning to understand the scene, but the urn is too limited to allow such answers. This conclusion on art is both satisfying, in that it allows the audience to actually connect with the art. In the opening line, he refers to the urn as a "bride of quietness", which serves to contrast the urn with the structure of the ode, a type of poem originally intended to be sung. Another paradox arises when the narrator describes immortals on the side of an urn meant to carry the ashes of the dead
These two peoms talk about beaty Dickinson and Keats. But Keats talk about to die for your ideas.

http://lithub.com/ballad-of-the-black-and-blue-mind/
read literature

Comic used God of mythology.
Illiad, Neptun and gods like heroes and like Arthur are standing and take decitions.

1.The Battle Hymn of the Republic
http://specialneedsinmusic.com/folk_song_pages/battle_hymn.html
was written in 1901 by Mark Twain, as as a parody of American
imperialism, in the wake of the Philippine–American War. Although "The Battle Hymn of the Republic" is today considered the preeminent Northern war song, Union soldiers were more likely to bestow that honor upon "The Battle Cry of Freedom." Composed in haste in a single day in response to President Abraham Lincoln's July 1862 call for 300,000 volunteers to fill the shrinking ranks of the Union Army'.Composer-lyricist George F. Root recalled years later.While visiting the army camp, she heard a favorite marching song of the Union Army. The song was set to the melody from the parody song “John Brown’s Body.”  The John Brown in the song referred to a Scottish Sergeant in the 12th Massachusetts Regiment. The song's melody was made famous before the Civil War by a South Carolinian choirmaster. The song was originally titled “Say Brothers Will You Meet Us.”. Reverend James Freeman Clark challenged Julia Ward Howe into writing a poem with a more powerful message for the marching song. That same night Julia Ward Howe dreamed the first line and awoke with it on her mind in the middle of the night. She wrote the entire poem by candle light before dawn. She forced herself up from her sleep because she was fearful that if she did not immediately write the poem she would forget it.

Poems will leave

trees alive

You can be full of life trough memories

you can pass your every day life as you like

you can do your shopping so as to feel well.

But art is to go through the world that cannot be seen

art is to see poems that will leave.  

 my sketches in 3D dimesions

Map of Ancint Greece

The King of Asini

BY GEORGE SEFERIS

TRANSLATED BY EDMUND KEELEY AND PHILIP SHERRARD

’Ασíνην τε. . . — Iliad

All morning long we looked around the citadel

starting from the shaded side there where the sea

green and without lustre — breast of a slain peacock —

received us like time without an opening in it.

Veins of rock dropped down from high above,

twisted vines, naked, many-branched, coming alive

at the water’s touch, while the eye following them

struggled to escape the monotonous see-saw motion,

growing weaker and weaker.

On the sunny side a long empty beach

and the light striking diamonds on the huge walls.

No living thing, the wild doves gone

and the king of Asini, whom we’ve been trying to find for two years now,

unknown, forgotten by all, even by Homer,

only one word in the Iliad and that uncertain,

thrown here like the gold burial mask.

You touched it, remember its sound? Hollow in the light

like a dry jar in dug earth:

the same sound that our oars make in the sea.

The king of Asini a void under the mask

everywhere with us everywhere with us, under a name:

‘’Ασíνην τε. . .’Ασíνην τε. . .’

                                          and his children statues

and his desires the fluttering of birds, and the wind

in the gaps between his thoughts, and his ships

anchored in a vanished port:

under the mask a void.

Behind the large eyes the curved lips the curls

carved in relief on the gold cover of our existence

a dark spot that you see travelling like a fish

in the dawn calm of the sea:

a void everywhere with us.

And the bird, a wing broken,

that flew away last winter

— tabernacle of life —

and the young woman who left to play

with the dog-teeth of summer

and the soul that sought the lower world gibbering

and the country like a large plane-leaf swept along by the torrent of the sun

with the ancient monuments and the contemporary sorrow.

And the poet lingers, looking at the stones, and asks himself

does there really exist

among these ruined lines, edges, points, hollows and curves

does there really exist

here where one meets the path of rain, wind and ruin

does there exist the movement of the face, shape of the tenderness

of those who’ve waned so strangely in our lives,

those who remained the shadow of waves and thoughts with the sea’s boundlessness

or perhaps no, nothing is left but the weight

the nostalgia for the weight of a living existence

there where we now remain unsubstantial, bending

like the branches of a terrible willow tree heaped in unremitting despair

while the yellow current slowly carries down rushes uprooted in the mud

image of a form that the sentence to everlasting bitterness has turned to stone:

the poet a void.

Shieldbearer, the sun climbed warring,

and from the depths of the cave a startled bat

hit the light as an arrow hits a shield:

‘’Ασíνην τε. . .’Ασíνην τε. . .’. If only that could be the king of Asini

we’ve been searching for so carefully on this acropolis

sometimes touching with our fingers his touch upon the stones.

Across the sea
cross is standing
in different shapes
different colours

This is arktos from the archaiological museum of Vravrona

History and Myths

The area of ​​Vravrona was first inhabited around 3500 BC, in the Neolithic Age.

In Bronze Age that follows an important fortified citadel is built on the hilltop Chamolia, around 1200 BC, dating the Mycenaean cemetery at the foot of the same hill (east of the museum).

The Archaeological Museum of Vravrona was built in 1962 at the southeast foot of the hill, 200 meters. about the archaeological site, according to the plans of architect G.. Fotiadis.

The lobby of the Archaeological Museum presents the history of the excavations in the sanctuary of Artemis at Vravrona (1948-1963) and works on the restoration of the Lodge, the largest and best preserved building that came to light.

In room one timeless settlements are displayed, organized in the area of ​​Vravrona from the prehistoric period to the formation of the ancient municipality of Filaidon, religious center of which was a temple of Artemis. Settlements in Pousi-monk to Tower Vravrona, the seaside hill of Vravrona and the Mycenaean cemetery on the hill Lapoutsi give a complete picture of the prehistoric era of the end of the Neolithic Age to the Late Bronze Age (6 to 2 mm. P. Ch.). From the municipality of Filaidon exposed ancient from small archaic temple on the hill of Agios Dimitrios and the cemeteries of Kapsala and Karababa. In the same room presents the monuments of the sanctuary of Vravrona, dating to the 5th century. BC .: the Doric Temple of Artemis, the Gallery, the memorial of Iphigenia and the Holy House, which were built at the northern foot of the hill, where the excavator was in the mentioned sources "Kenirion Iphigenia", and also the square horizontal bridge and the post-Byzantine church of Saint George (15th c. AD). Also on display are finds from sites of the wider region, the basilica and the medieval Tower Vravrona and from neighboring temples of the ancient municipality of Alon Arafinidon (Tauropolos Artemis Temple and small sanctuary beach in Artemida / Loutsa).

In Room 2 developed the foundation of the temple of Artemis, the cult events in honor of the goddess and the properties with which Artemis in Vravrona displayed. Most important exhibits are: The marble "Relief of the Gods", which encapsulates iconographic myth of the founding of the sanctuary, votive reliefs of the 5th and 4th century BC with processions families prepared to make sacrifices, marble edges of the cult statues of Artemis, which according to the inscriptions brought real clothes and kratiriskoi, ceremonial vessels associated with the worship of Artemis.

Also on display are terracotta votive paintings, clay figurines and pottery depicting Artemis with various properties as Artemis-Hecate, as Tauropolos and Kynigetida and Patroness of Animals.

In Room 3 sets out the many statuettes young boys and girls ("bears"), ARKTOI and Artemis was the goddess protector of childbirth and children. Parents dedicate statues to please or to beg the goddess to protect their children, while the games (vertebrae fish, ankles, dice, miniature vases, dolls) were tributes to the goddess of children.

In hall 4 presents tributes-personal items of women to the goddess on the occasion of their marriage or the birth of their children: compasses, including stone and wood, dating from the 9th to the 4th century. BC and intended for keeping toilet articles and jewelery, Burners, mainly pycnometer and alabastra the 6th and 5th century BC, jewelry and bronze mirrors, with the characteristic inscribed mirror Ippylas.

Artemis then displayed as patron of handicrafts and weaving, the report of the marble votive relief with Artemis' nithousa "and other items associated with weaving as clay loom weights, spindle whorls and epinetron. With the status of Artemis as the protector of women, marriage and family life is related and associated vascular dedication to marriage, matrimonial boilers and loutrophoroi and also marble statuette of young women and men of the 4th century BC

Special place is its unique wooden votive offerings of the sanctuary of Vravrona, which include figurines, vases and furniture lining pieces. In the center of the room is dominated by large marble cylindrical altar of the late 4th century. BC depicting the reception of Dionysus virtualized god in the temple of Artemis Brauronia.

In the penultimate showcase of the hall 4 include panels, symposium vases (urns, craters, cups) and lamps, most of which were used to illuminate the sanctuary, while others were probably offered as votive offerings, such as large marble lamp 7th century . BC The final section of the room included 4 large number of female figurines women, edolia dedicated to the goddess from the 7th to the 4th century. BC Presents the most characteristic categories, from archaic to plank-shaped cute "Tanagra". Separate group are the anthropomorphic pottery (6th-4th century BC.).

In hall 5 is dedicated to the history of ancient cities and regions of Mesogaias: exposed funerary monuments and finds from Peania, antiquities prehistoric and historic times the area of Koropi and the ancient cities of Lamptron and Ois, representative exhibits from the excavations of the ancient Myrrinountos (today Merenda Markopoulos), the Post- cemetery Perati in Porto Rafti (1190 / 1185-1075 BC) and the geometric cemetery of Ag. Panteleimon Anavyssou.

History

The history of the sanctuary begins around the end of the 8th century. BC he highest radiation seen in the Classical period. At that time Artemis was worshiped under the name "Kourotrophos" ie goddess patroness of newborn children. Women etazan child will give birth and dedicated their clothes in recognition of protection when childbirth was good. Conversely, when women were dying in childbirth, their clothes were bid in Iphigenia, that because of the death and burial in this place, worshiped as a chthonic goddess (the Underworld).

The cult of Artemis Brauronia supported and encouraged great politicians who came from the area as Peisistratos, Miltiades and Cimon. The importance of this worship in the 5th century. seen from the temple was built on the Acropolis dedicated to Artemis Vravrona, who was "dependency" as we would say today, the large sanctuary of Vravrona.

The history of the sanctuary and worship Brauron captured the 3rd century. BC, when the area was abandoned of the river floods. The sanctity of the area but still in the memories of people, after 800 years later built a church, basilica, at the foot of the hill next to the road, about 500 meters before arriving at the sanctuary.

The buildings of the sanctuary

The main entrance was like today on the west side of the temple, on the road coming from Athens.

This building was built in 420 BC and remained unfinished, gives distinctive character to the sanctuary. The Gallery in shape (43x27 meters), creates a square inner courtyard. This building had nine rooms with positions eleven beds each, as well as seven marble tables.

In this gallery were found and most statues "bears" ARKTOI that little girls - servant of the shrine located in the museum, but their bases are left on the ground. It was obviously offerings families their children had grown up and left the sanctuary.

The inscription of the repairs of the sacred buildings mentioned a "Parthenon". Probably was the gallery itself that housed small virgins.

The temple was dedicated to Artemis saved only until the shelf, ie the flat part where the columns touched. Built at the highest point dominates the space, with dimensions 19x10 m. And Doric columns.The Persians destroyed the sanctuary structures in 480 BCE and took the cult statue back to Susa. The temple was reconstructed in the 420s BCE. Although the temple is poorly preserved, it can be reconstructed to have had four columns in the cella and an adyton at the rear of the cella.The Doric stoa wrapped around three sides of a central courtyard (20 by 27 m) and faced south toward the temple of Artemis.  A stone bridge is the only known example of a Classical period bridge in Greece. About 12m southeast of the Temple of Artemis a small shrine (Μικρον ιερον) of c. 5.5 by 8 m was built into the space between the face of the rock spur and a mass of fallen rock measuring 25 m in length. The c. 6 m wide space between the face of the rock spur and the fallen rock is densely packed with structural remains of uncertain function. This area has been associated with the propitiation of Iphigenia, perhaps in the form of a heroon.

Vravrona

As with every great sacred antiquity, there were ceremonies and various festivities each year and bigger every four years. The Vravrona, as they were called, included musical competitions, recitation of poems of Homer and various sporting events. In Large Vrafroneia the procession started from the sanctuary of the Acropolis and ended in the seaside sanctuary, while the annual celebrations were local.

The reliefs which have been found in the sanctuary and kept in the museum reveal two of the main religious events in honor of the goddess, sacrifice and burdock. The sacrifice was usually a bull, an animal related to the epithet of the goddess as Tauropolos.

The burdock

A peculiar process of worship of Diana the characteristic form is found in Vravrona and was called as the burdock, AKRTEIA. The name comes from the word Bear (Bear), which was the favorite animal of the goddess.

The Late, aetiological myth says that once stood in the sanctuary a tame bear that killed her two brothers, because a toy scratched and hurt their little sister. In commemoration of this event and to appease the goddess, young girls were staying at the sanctuary serving Artemis.

In fact, the burdock was a service in the sanctuary young girls 5-10 years, whose parents were giving the goddess before or during childbirth.

During the burdock, the girls lived in a mosque and large celebrations participated in religious dances around the altar, holding lit torches as show performances in the 6th and 5th century vessels. In this way the ancients believed that propitiate the goddess of bad behavior and ensure the fruitfulness of the earth and the eugenic women. The sanctuary also worshiped Leto, mother Artemis, Apollo and Dionysus.

https://www.blendspace.com/lessons/-G0YT_HekWe4WA

Little Prince