Hermes & Hestia:

• Maurizio, Chapter 7
  • Key Names & Terms:
    • Hermes, Zeus, Maia, attributes (cap, wand, winged sandals, "slayer of Argus"), deity of (messengers, merchants, travelers, thieves, heralds, escorter of souls to Underworld), Hermes' hill, Herm
    • Hestia, virgin, hearth, Cronus, Rhea, Amphidromia (child's naming ritual)
    • Hymn 4: To Hermes, Maia, Zeus, Hermes, lyre (out of tortoise), cattle, Apollo, cave, sandals

From Adolescence to Adulthood:

• Maurizio, Chapter 8
  • Key Names & Terms:
    • Artemis, Zeus, Leto, attributes (bow, quiver, wild animals), deity of (wild animals, young girls, childbirth, hunting, dancing), Potnia Theron, Actaeon, Callisto, Hippolytus, Euripides, Artemis Orthia
    • Apollo, Zeus, Leto, attributes (beardless, long-haired, bow, quiver, lyre, laurel branch), deity of (oracles, prophecy, plague, healing, music, i.e. the lyre), Oresteia, Delphi, Pythian Games, Pythia, Daphne, laurel tree
    • Hymn 3: To Apollo, Apollo, Pytho, Cretan sailors, Delphi
    • Hymn 27: To Artemis, Artemis, attributes (hunting, bow), dancing, virgin, Delphi

Encountering Dionysus:

• Maurizio, Chapter 9
  • Key Names & Terms:
    • Dionysus, Zeus, Semele, attributes (wreath, grapes, vines, thyrsus, wine cup), deity of (fertility, wine), Anthesteria, Choes, Chytroi, Ariadne, symposium, satyrs, bacchae, City Dionysia, tragedy
    • Euripides, Bacchae, Dionysus, Pentheus, Agave, maenad, Chorus, thyrsus (or thyrsos) (=fennel rod), wig, long linen dress, Thebes, Mt. Cithaeron
    • Hymn 7: To Dionysus Dionysus, changing form, helmsman

7 great deeds of Ma-ui in Leonard & McClure:

• Key Names & Terms: Ma-ui, Hina-of-the-fire, tapa, Kuna Loa, the island, spear, tattoos, birds, ancestress, goblin-goddess=Hina-of-the-night

Reminder 1: The only acceptable answers for the fill-in-the-blank questions are the names/terms/etc listed above.

Reminder 2:Source material must be from:

• Hymn 4: To Hermes, (Maurizio's textbook)
• Hymn 3: To Apollo, (Maurizio's textbook)
• Euripides, Bacchae, translation at BacchicStage
• "The 7 Great Deeds of Ma-ui" (Leonard & McClure's textbook)

Possible Essay Questions:

Time Travel (background): The year is 2117 and time "travel" is now possible in the sense that individuals can "return" to the past where they can experience the past through the eyes of an individual from that time period (think of it as a type of "walk a mile in your shoes"). The professor for your Mythology class has arranged for a "field trip" where each class member can "return" to the "past" and experience life as a deity or a hero. Each class member must present an essay ranking the individuals based on preference since it isn't possible for everyone to "go back" as the same individual.

1. Prompt (liminality): In your introduction, rank the following (Hermes, Apollo, Pentheus, Dionysus, Ma-ui) based on whom you would choose to go back "as". The criterion is "which would give you the best opportunity to experience the most interesting degree of reflection/change (for you) related to Turner's concepts regarding liminality (Maurizio, pp 412–413)." In the main body give evidence for your top two choices and also why the 1st is 1st, the 2nd is 2nd. Make sure you give good examples from the actual myths which we have covered that relate to the ideas expressed on pp 412–413.
   Note well:
   • If you pick Pentheus and Dionysus, then you need to use examples from the entire play at BacchicStage
   • If you pick Apollo, then you must use good examples from Hymn 3: To Apollo (you may also use Hymn 4: To Hermes)


2. Prompt (honor/shame): In your introduction, rank the following (Hermes, Apollo, Pentheus, Dionysus, Ma-ui) based on whom you would choose to go back "as". The criterion is "acquiring honor/avoiding shame" — see pdf in Moodle for what honor is and how one gets it (and how one avoids shame). In the main body give evidence for your top two choices and also why the 1st is 1st, the 2nd is 2nd. Make sure you give good examples from the actual myths which we have covered that relate to the ideas expressed on pp 412–413.
   Note well:
   • If you pick Pentheus and Dionysus, then you need to use the entire play at BacchicStage
   • If you pick Apollo, then you must use good examples from Hymn 3: To Apollo (you may also use Hymn 4: To Hermes)