The Kore Goddess: A Mythology & Psychology

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Persephone as a vegetation goddess and her mother Demeter were the central figures of the Eleusinian Mysteries, which promised the initiated a happy afterlife. The origins of her cult are uncertain, but it was based on ancient agrarian cults of agricultural communities. In Athens, the mysteries celebrated in the month of Anthesterion were dedicated to her. The city of Epizephyrian Locris, in modern Calabria (southern Italy), was famous for its cult of Persephone, where she is a goddess of marriage and childbirth in this region. Thebes: purportedly granted to her by Zeus in return for a favor. [147] As well, the cults of Demeter and Kore in a feast named Thesmophoria but probably different. It was celebrated in the summer month Bukatios. [37] [148]

Delos: Cult of Demeter, Kore, and Zeus-Eubuleus. Probably a different feast with the name Thesmophoria, celebrated in a summer month (the same month in Thebes). Two big loaves of bread were offered to the two goddesses. Another feast was named Megalartia. [37] [148] The etymology of the word 'Persephone' is obscure. According to a recent hypothesis advanced by Rudolf Wachter, the first element in the name ( Perso- ( Περσο-) may well reflect a very rare term, attested in the Rig Veda (Sanskrit parṣa-), and the Avesta, meaning 'sheaf of corn' / 'ear [of grain]'. The second constituent, phatta, preserved in the form Persephatta ( Περσεφάττα), would in this view reflect Proto-Indo-European *-gʷn-t-ih, from the root *gʷʰen- "to strike / beat / kill". The combined sense would therefore be "she who beats the ears of corn", i.e., a "thresher of grain". [14] [15] Edmonds III, Radcliffe G. (2013). Redefining Ancient Orphism: A Study in Greek Religion. Cambridge University Press. ISBN 978-1-107-03821-9. Peplos Kore (530–520 BC, Athens) received her name from the type of clothing she is wearing. [13] It is strongly believed by historians that this kore is a goddess. However, it has been difficult to identify whether she is Athena or Artemis. [2]a b "Martin Nilsson, The Greek popular religion, The religion of Eleusis, pp 51–54". Sacred-texts.com. 8 November 2005. Archived from the original on 11 June 2017 . Retrieved 6 July 2012.

a b Karl Kerenyi (1967). Eleusis. Archetypal image of mother and daughter. Princeton University Press. p. 31f Bell, Robert E., Women of Classical Mythology: A Biographical Dictionary, ABC-CLIO 1991, ISBN 0-87436-581-3. Internet Archive. For most Greeks, the marriage of Persephone was a marriage with death, and could not serve as a role for human marriage; the Locrians, not fearing death, painted her destiny in a uniquely positive light. [129] While the return of Persephone to the world above was crucial in Panhellenic tradition, in southern Italy Persephone apparently accepted her new role as queen of the underworld, of which she held extreme power, and perhaps did not return above; [130] Virgil for example in Georgics writes that "Proserpina cares not to follow her mother", [131] – though note that references to Proserpina serve as a warning, since the soil is only fertile when she is above it. [132] Although her importance stems from her marriage to Hades, in Locri she seems to have the supreme power over the land of the dead, and Hades is not mentioned in the Pelinna tablets found in the area. [133] Many pinakes found in the cult are near Epizephyrian Locri depict the abduction of Persephone by Hades, and others show her enthroned next to her beardless, youthful husband, indicating that in Locri Persephone's abduction was taken as a model of transition from girlhood to marriage for young women; a terrifying change, but one that provides the bride with status and position in society. Those representations thus show both the terror of marriage and the triumph of the girl who transitions from bride to matron. [134]Walter Burkert believed that elements of the Persephone myth had origins in the Minoan religion. This belief system had unique characteristics, particularly the appearance of the goddess from above in the dance. Dance floors have been discovered in addition to "vaulted tombs", and it seems that the dance was ecstatic. Homer memorializes the dance floor which Daedalus built for Ariadne in the remote past. [106] A gold ring from a tomb in Isopata depicts four women dancing among flowers, the goddess floating above them. [107] An image plate from the first palace of Phaistos seems to depict the ascent of Persephone: a figure grows from the ground, with a dancing girl on each side and stylized flowers all around. [99] The depiction of the goddess is similar to later images of "Anodos of Pherephata". On the Dresden vase, Persephone is growing out of the ground, and she is surrounded by the animal-tailed agricultural gods Silenoi. [108]

a b c d e f g The color of life: polychromy in sculpture from antiquity to the present. Panzanelli, Roberta., Schmidt, Eike D., Lapatin, Kenneth D. S., J. Paul Getty Museum. Los Angeles: J. Paul Getty Museum. 2008. pp.173–186. ISBN 9780892369188. OCLC 174112811. {{ cite book}}: CS1 maint: others ( link) Very busty coffee maid with extras and a happy ending 1 year ago 20:58 xHamster maid cum in mouth saggy titsa b "In Greek mythology Nysa is a mythical mountain with unknown location, the birthplace of the god Dionysos." [97] The myth of her abduction, her sojourn in the underworld, and her temporary return to the surface represents her functions as the embodiment of spring and the personification of vegetation, especially grain crops, which disappear into the earth when sown, sprout from the earth in spring, and are harvested when fully grown. In Classical Greek art, Persephone is invariably portrayed robed, often carrying a sheaf of grain. She may appear as a mystical divinity with a sceptre and a little box, but she was mostly represented in the process of being carried off by Hades. near Sparta: Cult of Demeter and Kore, the Demeters ( Δαμάτερες, "Damaters"). According to Hesychius, the feast lasted three days (Thesmophoria). Homer; Murray, A.T. (1924) The Iliad with an English Translation by A.T. Murray, PhD in two volumes, Cambridge, MA., Harvard University Press; London, William Heinemann, Ltd.