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    Marsyas could not do this, as he only knew how to use the flute and could not sing at the same time. Apollo was declared the winner because of this.

    According to some, Marsyas played his flute out of tune at one point and accepted his defeat. Out of shame, he assigned to himself the punishment of being skinned for a wine sack.

    Marsyas could not do this with his instrument the flute , and so Apollo hung him from a tree to flay him alive. Apollo flayed Marsyas alive in a cave near Celaenae in Phrygia for his hubris to challenge a god.

    He then nailed Marsyas' shaggy skin to a nearby pine-tree. Marsyas' blood turned into the river Marsyas. Apollo, as an act of repent and purification for killing Marsyas, tore the strings of his lyre and stayed away from music for a long time.

    Apollo also had a lyre -playing contest with Cinyras , who committed suicide when he lost. Love affairs ascribed to Apollo are a late development in Greek mythology.

    Daphne was a nymph , daughter of the river god Peneus , who had scorned Apollo. Following a spirited chase by Apollo, Daphne prays to her father Peneus for help and he changes her into the laurel tree, sacred to Apollo.

    Artemis Daphnaia, who had her temple among the Lacedemonians, at a place called Hypsoi [] in Antiquity, on the slopes of Mount Cnacadion near the Spartan frontier, [] had her own sacred laurel trees.

    Apollo is said to have been the lover of all nine Muses , and not being able to choose one of them, decided to remain unwed. Cyrene , was a Thessalian princess whom Apollo loved.

    In her honor, he built the city Cyrene and made her it's ruler. She was later granted longevity by Apollo who turned her into a nymph. The couple had two sons, Aristaeus , and Idmon.

    Evadne was princess or nymph of Arcadia and a lover of Apollo. She bore him a son, Iamos. During the time of the childbirth, Apollo sent Eileithyia , the goddess of childbirth to assist her.

    Rhoeo , a princess of the island of Naxos was loved by Apollo. Out of affection for her, Apollo turned her sisters into goddesses.

    On the island Delos she bore Apollo a son named Anius. She entrusted the child to Apollo, who raised and educated the child on his own.

    Hyrie or Thyrie was the mother of Cycnus. Apollo turned both the mother and son into swans when they jumped into a lake and tried to kill themselves.

    An oracle prophesied that Troy would not be defeated as long as Troilus reached the age of twenty alive.

    He was ambushed and killed by Achilleus , and Apollo avenged his death by killing Achilles. Marpessa was kidnapped by Idas but was loved by Apollo as well.

    Zeus made her choose between them, and she chose Idas on the grounds that Apollo, being immortal, would tire of her when she grew old.

    Bolina was admired by Apollo but she refused his advances and jumped into the sea. To avoid her death, Apollo turned her into a nymph and let her go.

    Castalia was a nymph whom Apollo loved. She fled from him and dove into the spring at Delphi, at the base of Mt.

    Parnassos , which was then named after her. Water from this spring was sacred; it was used to clean the Delphian temples and inspire the priestesses.

    In the last oracle is mentioned that the "water which could speak", has been lost for ever. Cassandra , was daughter of Hecuba and Priam, and Troilus' half-sister.

    Apollo fell in love with Cassandra and she promised to return it on a condition that Apollo gift to her the prophetic powers.

    Apollo granted her wish but she rejected him afterwards. Enraged, Apollo indeed gave her the ability to know the future, with a curse that she could only see the future tragedies and that no one would ever believe her.

    Coronis , was daughter of Phlegyas , King of the Lapiths. While pregnant with Asclepius , Coronis fell in love with Ischys , son of Elatus and slept with him.

    When Apollo found out about her infidelity through his prophetic powers, he sent his sister, Artemis, to kill Coronis.

    Apollo rescued the baby by cutting open Koronis' belly and gave it to the centaur Chiron to raise. He used his powers to conceal her pregnancy from her father.

    Later, when Creusa left Ion to die in the wild, Apollo asked Hermes to save the child and bring him to the oracle at Delphi , where he was raised by a priestess.

    Hyacinth or Hyacinthus was one of Apollo's male lovers. He was a Spartan prince, beautiful and athletic. The pair was practicing throwing the discus when a discus thrown by Apollo was blown off course by the jealous Zephyrus and struck Hyacinthus in the head, killing him instantly.

    Apollo is said to be filled with grief: The festival Hyacinthia was a national celebration of Sparta, which commemorated the death and rebirth of Hyacinthus.

    Another male lover was Cyparissus , a descendant of Heracles. Apollo gave him a tame deer as a companion but Cyparissus accidentally killed it with a javelin as it lay asleep in the undergrowth.

    Cyparissus asked Apollo to let his tears fall forever. Apollo granted the request by turning him into the Cypress named after him, which was said to be a sad tree because the sap forms droplets like tears on the trunk.

    In Aeschylus ' Oresteia trilogy, Clytemnestra kills her husband, King Agamemnon because he had sacrificed their daughter Iphigenia to proceed forward with the Trojan war, and Cassandra , a prophetess of Apollo.

    Apollo gives an order through the Oracle at Delphi that Agamemnon's son, Orestes , is to kill Clytemnestra and Aegisthus , her lover.

    Orestes and Pylades carry out the revenge, and consequently Orestes is pursued by the Erinyes or Furies female personifications of vengeance.

    Apollo and the Furies argue about whether the matricide was justified; Apollo holds that the bond of marriage is sacred and Orestes was avenging his father, whereas the Erinyes say that the bond of blood between mother and son is more meaningful than the bond of marriage.

    They invade his temple, and he drives them away. He says that the matter should be brought before Athena. Apollo promises to protect Orestes, as Orestes has become Apollo's supplicant.

    Apollo advocates Orestes at the trial, and ultimately Athena rules in favor of Apollo. The Roman worship of Apollo was adopted from the Greeks.

    On the occasion of a pestilence in the s BCE, Apollo's first temple at Rome was established in the Flaminian fields, replacing an older cult site there known as the "Apollinare".

    After the battle of Actium , which was fought near a sanctuary of Apollo, Augustus enlarged Apollo's temple, dedicated a portion of the spoils to him, and instituted quinquennial games in his honour.

    The chief Apollonian festival was the Pythian Games held every four years at Delphi and was one of the four great Panhellenic Games. Also of major importance was the Delia held every four years on Delos.

    Athenian annual festivals included the Boedromia , Metageitnia , [] Pyanepsia , and Thargelia. Spartan annual festivals were the Carneia and the Hyacinthia.

    Thebes every nine years held the Daphnephoria. Apollo's most common attributes were the bow and arrow. Other attributes of his included the kithara an advanced version of the common lyre , the plectrum and the sword.

    Another common emblem was the sacrificial tripod , representing his prophetic powers. The Pythian Games were held in Apollo's honor every four years at Delphi.

    The bay laurel plant was used in expiatory sacrifices and in making the crown of victory at these games. The palm tree was also sacred to Apollo because he had been born under one in Delos.

    Animals sacred to Apollo included wolves , dolphins, roe deer , swans , cicadas symbolizing music and song , hawks , ravens , crows , snakes referencing Apollo's function as the god of prophecy , mice and griffins , mythical eagle—lion hybrids of Eastern origin.

    As god of colonization, Apollo gave oracular guidance on colonies, especially during the height of colonization, — BCE. According to Greek tradition, he helped Cretan or Arcadian colonists found the city of Troy.

    However, this story may reflect a cultural influence which had the reverse direction: Hittite cuneiform texts mention a Minor Asian god called Appaliunas or Apalunas in connection with the city of Wilusa attested in Hittite inscriptions, which is now generally regarded as being identical with the Greek Ilion by most scholars.

    In this interpretation, Apollo's title of Lykegenes can simply be read as "born in Lycia", which effectively severs the god's supposed link with wolves possibly a folk etymology.

    In literary contexts, Apollo represents harmony, order, and reason—characteristics contrasted with those of Dionysus , god of wine, who represents ecstasy and disorder.

    The contrast between the roles of these gods is reflected in the adjectives Apollonian and Dionysian.

    However, the Greeks thought of the two qualities as complementary: This contrast appears to be shown on the two sides of the Borghese Vase. Apollo is often associated with the Golden Mean.

    This is the Greek ideal of moderation and a virtue that opposes gluttony. Apollo is a common theme in Greek and Roman art and also in the art of the Renaissance.

    Greek art puts into Apollo the highest degree of power and beauty that can be imagined. The sculptors derived this from observations on human beings, but they also embodied in concrete form, issues beyond the reach of ordinary thought.

    The naked bodies of the statues are associated with the cult of the body that was essentially a religious activity. The muscular frames and limbs combined with slim waists indicate the Greek desire for health, and the physical capacity which was necessary in the hard Greek environment.

    The statues of Apollo embody beauty, balance and inspire awe before the beauty of the world. The evolution of the Greek sculpture can be observed in his depictions from the almost static formal Kouros type in early archaic period , to the representation of motion in a relative harmonious whole in late archaic period.

    In classical Greece the emphasis is not given to the illusive imaginative reality represented by the ideal forms, but to the analogies and the interaction of the members in the whole, a method created by Polykleitos.

    Finally Praxiteles seems to be released from any art and religious conformities, and his masterpieces are a mixture of naturalism with stylization.

    The evolution of the Greek art seems to go parallel with the Greek philosophical conceptions, which changed from the natural-philosophy of Thales to the metaphysical theory of Pythagoras.

    Thales searched for a simple material-form directly perceptible by the senses, behind the appearances of things, and his theory is also related to the older animism.

    This was paralleled in sculpture by the absolute representation of vigorous life, through unnaturally simplified forms. Pythagoras believed that behind the appearance of things, there was the permanent principle of mathematics, and that the forms were based on a transcendental mathematical relation.

    His ideas had a great influence on post-Archaic art. The Greek architects and sculptors were always trying to find the mathematical relation, that would lead to the esthetic perfection.

    In classical Greece, Anaxagoras asserted that a divine reason mind gave order to the seeds of the universe, and Plato extended the Greek belief of ideal forms to his metaphysical theory of forms ideai , "ideas".

    The forms on earth are imperfect duplicates of the intellectual celestial ideas. The artists in Plato's time moved away from his theories and art tends to be a mixture of naturalism with stylization.

    The Greek sculptors considered the senses more important, and the proportions were used to unite the sensible with the intellectual. Kouros male youth is the modern term given to those representations of standing male youths which first appear in the archaic period in Greece.

    This type served certain religious needs and was first proposed for what was previously thought to be depictions of Apollo.

    The formality of their stance seems to be related with the Egyptian precedent, but it was accepted for a good reason.

    The sculptors had a clear idea of what a young man is, and embodied the archaic smile of good manners, the firm and springy step, the balance of the body, dignity, and youthful happiness.

    When they tried to depict the most abiding qualities of men, it was because men had common roots with the unchanging gods.

    Apollo was the immortal god of ideal balance and order. His shrine in Delphi , that he shared in winter with Dionysius had the inscriptions: In the first large-scale depictions during the early archaic period — BC , the artists tried to draw one's attention to look into the interior of the face and the body which were not represented as lifeless masses, but as being full of life.

    The Greeks maintained, until late in their civilization, an almost animistic idea that the statues are in some sense alive. This embodies the belief that the image was somehow the god or man himself.

    The statue is the "thing in itself", and his slender face with the deep eyes express an intellectual eternity. According to the Greek tradition the Dipylon master was named Daedalus , and in his statues the limbs were freed from the body, giving the impression that the statues could move.

    It is considered that he created also the New York kouros , which is the oldest fully preserved statue of Kouros type, and seems to be the incarnation of the god himself.

    The animistic idea as the representation of the imaginative reality, is sanctified in the Homeric poems and in Greek myths, in stories of the god Hephaestus Phaistos and the mythic Daedalus the builder of the labyrinth that made images which moved of their own accord.

    This kind of art goes back to the Minoan period, when its main theme was the representation of motion in a specific moment.

    The earliest examples of life-sized statues of Apollo, may be two figures from the Ionic sanctuary on the island of Delos.

    Such statues were found across the Greek speaking world, the preponderance of these were found at the sanctuaries of Apollo with more than one hundred from the sanctuary of Apollo Ptoios , Boeotia alone.

    Ranking from the very few bronzes survived to us is the masterpiece bronze Piraeus Apollo. It was found in Piraeus , the harbour of Athens.

    The statue originally held the bow in its left hand, and a cup of pouring libation in its right hand.

    It probably comes from north-eastern Peloponnesus. The emphasis is given in anatomy, and it is one of the first attempts to represent a kind of motion, and beauty relative to proportions, which appear mostly in post-Archaic art.

    The statue throws some light on an artistic centre which, with an independently developed harder, simpler and heavier style, restricts Ionian influence in Athens.

    Finally, this is the germ from which the art of Polykleitos was to grow two or three generations later. At the beginning of the Classical period , it was considered that beauty in visible things as in everything else, consisted of symmetry and proportions.

    The artists tried also to represent motion in a specific moment Myron , which may be considered as the reappearance of the dormant Minoan element.

    The Greek sculptors tried to clarify it by looking for mathematical proportions, just as they sought some reality behind appearances.

    Polykleitos in his Canon wrote that beauty consists in the proportion not of the elements materials , but of the parts, that is the interrelation of parts with one another and with the whole.

    It seems that he was influenced by the theories of Pythagoras. The type is represented by neo-Attic Imperial Roman copies of the late 1st or early 2nd century, modelled upon a supposed Greek bronze original made in the second quarter of the 5th century BCE, in a style similar to works of Polykleitos but more archaic.

    The Apollo held the cythara against his extended left arm, of which in the Louvre example, a fragment of one twisting scrolling horn upright remains against his biceps.

    Though the proportions were always important in Greek art, the appeal of the Greek sculptures eludes any explanation by proportion alone. The statues of Apollo were thought to incarnate his living presence, and these representations of illusive imaginative reality had deep roots in the Minoan period, and in the beliefs of the first Greek speaking people who entered the region during the bronze-age.

    Just as the Greeks saw the mountains, forests, sea and rivers as inhabited by concrete beings, so nature in all of its manifestations possesses clear form, and the form of a work of art.

    Spiritual life is incorporated in matter, when it is given artistic form. Just as in the arts the Greeks sought some reality behind appearances, so in mathematics they sought permanent principles which could be applied wherever the conditions were the same.

    Artists and sculptors tried to find this ideal order in relation with mathematics, but they believed that this ideal order revealed itself not so much to the dispassionate intellect, as to the whole sentient self.

    In the archaic pediments and friezes of the temples, the artists had a problem to fit a group of figures into an isosceles triangle with acute angles at the base.

    The Siphnian Treasury in Delphi was one of the first Greek buildings utilizing the solution to put the dominating form in the middle, and to complete the descending scale of height with other figures sitting or kneeling.

    The pediment shows the story of Heracles stealing Apollo's tripod that was strongly associated with his oracular inspiration.

    Their two figures hold the centre. In the pediment of the temple of Zeus in Olympia , the single figure of Apollo is dominating the scene.

    These representations rely on presenting scenes directly to the eye for their own visible sake. They care for the schematic arrangements of bodies in space, but only as parts in a larger whole.

    While each scene has its own character and completeness it must fit into the general sequence to which it belongs. In these archaic pediments the sculptors use empty intervals, to suggest a passage to and from a busy battlefield.

    The artists seem to have been dominated by geometrical pattern and order, and this was improved when classical art brought a greater freedom and economy.

    Apollo as a handsome beardless young man, is often depicted with a kithara as Apollo Citharoedus or bow in his hand, or reclining on a tree the Apollo Lykeios and Apollo Sauroctonos types.

    The Apollo Belvedere is a marble sculpture that was rediscovered in the late 15th century; for centuries it epitomized the ideals of Classical Antiquity for Europeans, from the Renaissance through the 19th century.

    The life-size so-called " Adonis " found in on the site of a villa suburbana near the Via Labicana in the Roman suburb of Centocelle is identified as an Apollo by modern scholars.

    In the late 2nd century CE floor mosaic from El Djem , Roman Thysdrus , he is identifiable as Apollo Helios by his effulgent halo , though now even a god's divine nakedness is concealed by his cloak, a mark of increasing conventions of modesty in the later Empire.

    Another haloed Apollo in mosaic, from Hadrumentum , is in the museum at Sousse. Apollo has often featured in postclassical art and literature.

    In , the Canadian band Rush released an album with songs "Apollo: In discussion of the arts, a distinction is sometimes made between the Apollonian and Dionysian impulses where the former is concerned with imposing intellectual order and the latter with chaotic creativity.

    Friedrich Nietzsche argued that a fusion of the two was most desirable. Carl Jung 's Apollo archetype represents what he saw as the disposition in people to over-intellectualise and maintain emotional distance.

    Charles Handy , in Gods of Management uses Greek gods as a metaphor to portray various types of organisational culture.

    Apollo represents a 'role' culture where order, reason, and bureaucracy prevail. From Wikipedia, the free encyclopedia.

    This article is about the Greek and Roman god. For the spaceflight program, see Apollo program. For other uses, see Apollo disambiguation.

    For other uses, see Phoebus disambiguation. God in Greek mythology. Apollo Belvedere , c. Mycenaean gods Decline of Hellenistic polytheism Julian restoration.

    Ancient Greek temple and Roman temple. Greek mythology portal Hellenismos portal. University of Texas Press. Beekes , Etymological Dictionary of Greek , Brill, , p.

    Internationale Archäologie in German. Arbeitsgemeinschaft, Symposium, Tagung, Kongress. Akten des Table Ronde in Mainz vom Database of Mycenaean at Oslo , University of Oslo.

    Dictionary of Deities and Demons in the Bible. Jane Ellen Harrison Nilsson, Vol I, p. Retrieved 30 July Martin Nilsson , Vol I, p.

    Troy and the Trojan War: Essays in Honor of Sara A. Amer School of Classical. Dictionary of Greek and Roman Biography and Mythology.

    At the Perseus Project. Ross, Pagan Celtic Britain , ; M. Thevonot, "Le cheval sacre dans la Gaule de l'Est", Revue archeologique de l'Est et du Centre-Est vol 2 , ; [], "Temoignages du culte de l'Apollon gaulois dans l'Helvetie romaine" , Revue celtique vol 51 , Le Gall, Alesia, archeologie et histoire Paris Die Geschicte der Giechischen Religion.

    Greek Religion , This art is related with Egypt: Nilsson Vol I, p. The British Museum Press. Which is sung to stop the plagues and the diseases.

    Chrestom from Photios Bibl. Die Geschicthe der Griechischen religion. In North-Europe they speak of the " Elf-shots ".

    In Sweden where the Lapps were called magicians, they speak of the "Lappen-shots". Martin Nilsson Vol I, p. The Walters Art Museum.

    Retrieved 21 June A study to the Social origins of Greek Religion. The gods of the Greeks , pp. A study of the social origins of the Greek religion.

    Hittite myth of Illuyankas. Also in the Bible: Kleinasiatische Forschung , pp. Martin Nilsson , Vol I, pp.

    Roman and Byzantine studies , pp. The secret of Creta Souvenir Press Ltd. Classical Athens and the Delphic oracle , pp. Apollo is the mouse-god Strabo In Rhodes Lindos they belong to Apollo and Dionysos who have destroyed the rats that were swallowing the grapes".

    The esthetic basis of Greek art. The Greek experience , p. New classical dictionary of biography, mythology, and geography.

    Retrieved 14 October The Temple of Epicurean Apollo. Neue Funde vom archaischen Apollontempel in Didyma. Bauforschungskolloquium in Berlin vom Archived from the original on 13 April Digital Loeb Classical Library.

    Retrieved 18 March See also Plutarch , Pythian Oracle , Continuity and Change in Roman Religion. Retrieved 23 July

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