VESTA Edition 1

THE BEST CLASSICAL MAGAZINE THERE IS

MAGAZINE VESTA

MIDDLE SCHOOL CLASSICS CLUB

Editor’s Note

VESTA-JUNEEDITION

WelcometothefirsteditionofVesta,the middleschoolClassic’smagazine(obviously waybetterthanAchilles’Reel��).

Wehaveanumberofwritersfromthemiddle school(whoareVERYkeen)andlotsof talentedartists!!!!!

ManythankstoMissBatty,LouiseandIrene formakingthispossible :)

Editor

Editor Maya

THE ROLE OF WOMEN IN ANCIENT GREECE AND ROME

By Anna

Unlike modern-day society, women had a very limited role to play in the ancient civilisations. In Ancient Greece, for example, women were expected to manage the household and raise children. They had limited rights and were usually not allowed to participate in public events and politics. In Sparta, however, women were trained in athletics and could inherit property, which was unusual in Ancient Greece. Unlike Sparta, women in Athens were not allowed to own or inherit property or participate in government. But, in some religious festivals and rituals, they were allowed to participate. In turn, this enabled women to feel part of a cultural and social community outside home. Women were usually married off at young ages to men who were selected by their fathers.

In Ancient Rome, the situation was still the same in terms of legal rights. Women were not allowed to vote or hold political office, and they were expected to prioritize their husband’s needs over their own. However, upper-class women would be encouraged to be involved in events, both social and cultural events. Some even became involved in poetry and art. They could also be educated in literature and music, unlike the lower-class women, who had to stick to domestic skills such as weaving and cooking. Women were also allowed to own businesses and own property (their finances were still managed by male relatives).

Overall, women in both Ancient Greece and Rome were generally excluded from public life and confined to the domestic sphere. However, Rome had more freedom in terms of control over properties and opportunities for women than Ancient Greece.

In Ancient Greece, the basic political unit was the city state or "polis " City-states were usually ruled by a single monarch or a democratic assembly of citizens, and each state had unique rules and forms of government. For example, Athens had a direct democracy in which adult male citizens could vote and participate in decisionmaking, while Sparta was ruled by a dual monarchy consisting of two kings with great power. Although Sparta also had a council of elders and other assemblies, these had limited influence compared to the kings. In contrast, Rome was a republic, which means it was governed by elected officials rather than a single ruler. The highest-ranking elected official was the consul, who served for one year and had significant power over both military and civil affairs. Two consuls were elected each year, and they were required to share power and act as a check on each other's authority. In addition to the consuls, Rome had other elected officials who played equally important roles, such as praetors and aediles. The praetors acted as judges and oversaw legal proceedings, whilst the aediles were in charge of public events and works.

One of the key features of the Roman republic was its system of checks and balances. This system was designed to prevent any one person or group from gaining too much power and potentially becoming a dictator. For example, the consuls were required to consult with other officials and institutions, such as the senate and the popular assembly, before making important decisions. This helped to ensure that decisions were made in the best interests of the people as a whole, rather than just benefiting the consuls or a small group of elites.

Overall, the political systems of Ancient Greece and Rome were quite different. While Greek city-states were often ruled by monarchs or democratic assemblies with limited power, the Roman republic was characterised by elected officials and a system of checks and balances designed to prevent the abuse of power. The legacy of these political systems has had a lasting impact on Western political thought and institutions. How do you think they impact us today?

A study of Aeneas

By Amber

-When typing with cognitive functions, this means Aeneas’s cognitive function stack is as follows:

Hero / Dominant: Fe (Extroverted Feeling)

Auxiliary: Si (Introverted Sensing)

Tertiary: Ne (Extroverted Intuition)

Inferior: Ti (Introverted Thinking)

- The ESFJ type is also known as ‘The Caregiver’, or ‘The Consul’

What does it mean to be an ESFJ?

-When typing trait-by-trait, this means Aeneas is an Extroverted, Sensing, Feeling, Judging person He has a preference for the outer world over the inner, tradition and facts over innovation and the abstract,emotions over objectivity, and planning ahead / being prepared over improvising

Aeneas as an ESFJ

By Amber

Fe:

-Aeneas’s dominant cognitive function is Fe, Extroverted Feeling. He cares for others throughout the Aeneid, and is the leader of his people Aeneas loves and protects his family, and tries to lead Creusa, Ascanius, and Anchises out of Troy and to safety He prioritises the needs of others, and sacrifices his own happiness for the greater good In Book II, he is devastated that he has lost Creusa, but perseveres on his journey, as he is a virtuous, faithful servant of the Gods and fate Similarly, in Book IV, he is passionately in love with Dido, but knows that he has a duty to found Rome, so despite his love for her, he deserts her and continues on his journey, not fulfilling his personal desires Aeneas is patriotic and makes decisions based on communal values and the needs of others, and also feels bound by family honour and social duty He consistently wants to make the decision that is right for everyone, and needs external validation Aeneas seeks to build strong, meaningful connections with others, and his romantic relationships are a core aspect of the epic

Si:

- Aeneas’s auxiliary, or parent function, is Si, Introverted Sensing Aeneas is responsible, and fulfils his societal duties and obligations with loyalty, honour, and discipline He makes an effort to gain a detailed understanding and knowledge of others to help them feel valued and listened to. Si is often associated with tradition, which complements Aeneas’s Fe, and is partially responsible for motivating him in his goal to found Rome, as he places an emphasis on the needs of his people and the community He continually needs reassurance, sees the importance of details in a situation, and often remembers moments from the past which are coloured by his subjective perception of reality, evoking pain, sadness, or pleasure in him Aeneas also displays strength of filial piety

Aeneas as an ESFJ pt 2

By Amber

Ne:

-Aeneas’s tertiary cognitive function is Ne, Extroverted Intuition.

It is slightly unstable, but often original, and it is one which Aeneas is not as confident in using At times in the Aeneid, Aeneas feels torn over what he ought to do, and is overwhelmed by all the possibilities he sees. He is made to feel doubtful about his decisions In Book IV, he does not know whether he should stay with Dido, or leave her to plough ahead with his mission However, Aeneas’s Ne allows him to be open to receiving and seeking help from others, and in Book I Dido welcomes him and his people to Carthage.

It also helps him to think creatively, and develop new, innovative solutions or tactics, and he makes several connections between disparate, unrelated concepts

Ti:

Aeneas’s inferior cognitive function is Ti, Introverted Thinking Aeneas is practical and logical in his thinking, and a good problem solver He deliberates on his decisions and carefully thinks about his next movements His approach in terms of battle tactics highlights his use of Ti, and is not primarily concerned with sharp efficiency. Instead, he takes the time to formulate his own tactics and ideas, through exhaustive critical analysis, and thinks about how to gradually conquer his opponents or do something unexpected His Introverted Thinking is still his Inferior function though, because arguably it is the one which he aspires to develop, and indulges in, and it takes the form of his needing others’ input to assure him that he is right In Book III, he consults other leaders of the people before making a decision on whether he ought to leave Thrace He relies on the guidance of the Gods and fate, and his logic is more subjective, as he analyses situations according to his own understanding

A GUIDE TO CLASSICAL READING :)

Made by Sofia

Harmony

A Short Story

By Ally

Winner of the Classics’ Week Middle School Creative Writing Competition

The waters of the Lethe flow in ribbons, washing over me so quickly I thought I imagined it, yet they cut so deep I can feel every part of my soul as it threads itself together again, clean and new. Flashbacks of everything and nothing blow through my mind: special days, tedious weeks, lucky months, long years Talking, throwing, catching Laughing, singing, dancing

Dancing That was how it started, wasn't it? A wooden horse positioned defiantly in front of our gates -a gift, a surrender, a victory, it was beautifully carved, a gleaming russet colour which crowds came to admire, and its chest swelled with pride, its eyes glinting with promises of safety after so many years of turmoil and terror. The streets were alive with screams of joy, giddy laughter, and songs whose harmonies reached every crevice of the city. It seemed that I linked arms with every person in Troy that night, as we opened the gates and danced without fear for the first time in years

In the hour that followed everything slowed, became blissfully hazy and unfocused. Exclamations of "Thank you, Harmonia, thank you Nike! Bring our men home, Lady Hestial" echoed

throughout the city as we searched for the faces of our army, more desperate now than before to be reunited with our loved ones. But somewhere in amongst the chaos, there was an uncertainty that lingered, a question that extinguished our burning joy within minuteswhy could we not find our warriors? Why could we not find our fathers, our husbands, our brothers and sons? Then, as if an answer from the Gods, came the shouts.

The Greeks were clever, we knew this. But clearly we had underestimated the levels of deception they could reach, unlike the brutish strength and combative skill they usually displayed. A masterful plans to smuggle themselves into the city in the form of an equine gift. "They're attacking!" someone cried, "men have already been lost!". And this was when everything -when I- fell apart

Panicked commands from neighbours and adults resounded in my ears while fulgurant, evil fire was blazing through the city. Men who seemed to be made of muscle were tearing through the streets with their weapons, their facial expressions almost inhuman as they ran and ran, shattering homes and hearts as they went. Realisation hurled itself at my chest and I threw myself into an alleyway, the nearest point of protection from the pandemonium unfolding around me I want my brother, I remember thinking I will be killed without his protection

I was not wrong.

Girls were not raised as fighters in Troy- I was weak, an easy target I cannot live without him, My love for my brother was unconditional, and no words could possibly explain just how much I wanted him alive, as well as needed him. Please, Gods, I prayed. Let him not be dead-let me find him in the midst of this tumultuous night. It was with this surge of desperation that I tumbled out of the alleyway and into the smoke.

A song stopped running Wait

The notes grew more certain now, an unforgiving but soulful tune which seemed to freeze the blood in my body. The words were indistinguishable, but still I shivered at the purity of this voice, and slowly, I sunk to the ground, eyes closed The blood soaked me, dying my clothes and skin a vivid red, but I found that I no longer cared, for now the only thing in my world was this shrill melody that bounced off the walls of the buildings, creating echoes inside the caves of my mind. Look up. I opened my eyes, and found no shock in the image in front of me.

It slithered into my lungs like a demon of madness, choking me on every level possible. The floor was no longer visible, covered in a mass of scarlet, and as I ran I kicked up dust and blood. It seemed an impossible task, finding my brother in this novel world of noise and disharmony, More than once was nearly trampled by rioters, if not noticed, in which case i would scramble away with newfound speed. Ragged breaths filled my chest: I was sure I was dying. When, suddenly, a string of strangled sounds crawled into my ears, the voice-for I assumed it was a voicecracking with disuse.

For poised regally on their thrones were the Gods themselves, terrifyingly beautiful as ever "Your brother has not been killed yet,” one of them spoke, in a voice like velvet. Pause. "This is not news to you", the source repeated This was the voice of the singer, I was sure, However, I could not tell which deity had spoken, for they remained petrifyingly still. I chose not to reply. "You are fragile, now, yes. But you can still live".

My thoughts were blank, and their words washed over me meaninglessly-surely I am dead already, I wondered. Why am I being asked to spell out a destiny already threaded by the Fates? Why should I stay on this world just to watch my people win wars that never truly end, and run from our losses? Is it my duty to the world to stay always as the useless girl, the dying girl? There is no peace, no harmony for me here.

"We need you to make a decision", the voice cut through my train of thought, and I could have sworn there was a hint of irritation betrayed in the tone, if the Gods were not so guarded and unreadable.

No matter.

I had made up my mind

I closed my eyes for the second time, for the last time, and spoke not with words but the willpower of my thoughts.

Take me to Charon.

T H E B E S T

C L A S S I C A L

C R O S S W O R D !

Made by Huan-Li A N S W E R S O N

Across

1 Greek letter puts a spin amidst greeting which lacks heartwarming love (7)

3 Celebrity autographs which depend on your date of birth; the lion, for example (4,5)

7 Their voices will alert you to the presence of the police (6)

9. Is this letter edible? (2)

11. A portion of the enemy thinks it’s a leg- end (4)

14. The wisest of the first men, Leo will put an end to the backless god and his tailless feline (9)

16. Calliope, for example, may struggle to find words when in this place of history (6)

18. Pity angel from the land of the pyramids which has lost its lip (8)

21. Nearly saves the class of the birds? (4)

22. Some perhaps hear I’m nasty at first? The unknown, it will kill you (6)

23. 1 of 3 will carry water (8)

26. If you ever need to find your way around the world, he isn’t exactly a last resort! (5)

28. If doubled in France and returned, she’s the one with the cow’s head! (4)

29 Larks irritating the avenue? Maybe we’ll send them to the Underworld through here (4,7)

Down

2 Suppose I don’t know who this god is? Look to the water! (8)

4 Almost impractical king of Troy (5)

5 ‘The French ten!’ he said, but Caecilius knew it would come last (5)

6 ‘So, Siri, could you name me an Egyptian god?’ (6)

8 Regarding even that mouse, Moony might just have been killed by his own brother! (5)

10. Expert encountered that man for us to finish off this titan! (10)

12. Epic writer, the son of a mainly simple man, speaks of a cartoon character (5,7) 13. Gallic emperor ruled almost all of the USA (8)

15. A more modern letter, perhaps (2)

17. It’s clear he’s so strong he could fight a lion! (8)

19. We hear the river’s in the middle of nowhere (4)

20. The northern fruits of the Hesperides lose pizza in this city (6)

21. As every ninth evangelical and saintly hero knows, he might as well be made of bronze (6)

24. The character which is less than half a rhombus? (3)

25. The endless red planet may receive an electric shock in battle, to use its other name (4)

27. Half a troubled dinosaur makes a bear (4)

WHICH GREEK DEITY ARE YOU?

WHICHOFTHESEAREYOUR FAVOURITESUBJECTS?

a)PE,Geography,History

b)Sciences,Maths, Engineering

c)Drama,RSP,English

IF YOU WERE TRAPPED ON A DESERTED ISLAND AND COULD ONLY BRING ONE THING, WHAT WOULD IT BE?

a) A raft

b) Weapons

c) Sunscreen

IFYOUHADASUPERPOWER WHATWOULDITBE?

a) Unlimitedstrength

b) Foolproofmemory

c) Invisibility

WHAT COLOUR DO YOU MOST ASSOCIATE YOURSELF WITH?

a) Blue

b) Purple

c) Red

PICK AN ANIMAL:

a) Eagle

b) Horse

c) Snake

CHOOSEYOURPREFERENCEOFSTRANGE BIRTHS:

a)Thrownupbyyourdad

b)Comeoutofyourdad’sforehead (theGreeksreallylikedtakingaway women’spower,didn’tthey?)

c)Appearoutofseafoam

What weather do you prefer?

A) Lightning and thunderstorms

B) Sunshine mixed with clouds and rain (basically England in the early spring)

C) HOT REALLY REALLY HOT

NOW ADD UP YOUR SCORES!

Mostly Cs -The TROUBLEMAKERS (Aphrodite, Hermes and Ares)

If you received this answer, you might resemble Hermes, who’s a bit of a joker and likes to mess around – a prankster However, you’re also very creative and enjoy doing things that expand your imagination. On the other hand, maybe you identify with Aphrodite, who loves drama (in both a gossipy sense and likely a subject sense as well!) or Ares, which means you may enjoy debating (and a bit of war just to add that to the mix) and are incredibly loyal to your friends and people you care about.

MOSTLY As - THE BIG THREE (Zeus, poseidon and hades)

If you got this answer, you are brave and often like to be the leader in groups (and simultaneously the centre of attention, at least, if you resemble the Gods Zeus and Poseidon) However, if you consider yourself more introverted, and have the tendency to avoid all interaction humanly possible and clam up like a clinically moody oyster, you could be Hades!

MOSTLY Bs - THE FEMINISTS (ARTEMIS, ATHENA, HESTIA)

You, reader, should be very honoured with this answer. You are strong and determined, with big goals, and you know what you want However, if you feel like this is inaccurate, perhaps you identify more with Hestia, who although is quieter and more contained, truly cares about people and has a heart of gold, despite being one of the more forgotten deities.

By Ally

ITALICA: TRAVELLING TO CLASSICAL SIGHTS

By an anonymous traveller who enjoys Classics :)

Considering watching processions for hours in Seville is a rather boring activity, I naturally decided to visit the Roman ruins of Italica. Be warned, the following article you are about to read is a classics fan’s attempt to persuade you to visit Italica by providing you with a brief history and overview of my trip. Therefore, if you still haven’t planned your summer holiday or find yourself wandering the streets of Spain with nothing to do, then this is the article just for you.

Italica is now the ruins of what was once a sizeable settlement of the Roman Empire near the nowmodern-day city of Seville, Spain

It is regarded as a significant area in Roman cultural history as it was the supposed birthplace of two emperors and had high military and political status This city was also the first permanent Roman settlement founded on the Iberian Peninsula From this prominent position, it played a major role in the Romanization of the Guadalquivir Valley Italica is also an excellent representation of an architecture that demonstrates the distinguishing characteristics of architecture during Hadrian's reign

A Brief History of Italica

The origins of Italica date back to the Second Punic War Italica was founded by wounded Roman soldiers who took refuge there after returning from the battle of Ilipa against the Carthaginians in 206 BC. This settlement gradually developed into a city with an important status recognised in Rome Three centuries after its founding, Italica became the home of two Roman emperors, Trajan and Hadrian These two emperors also happen to have succeeded each other in 98 AD and were also influential figures in the foundation of western culture Although there had been a previous settlement in the same area, the Roman culture was gradually integrated and persevered as the dominant culture

Italica flourished during the reign of the emperors Trajan, born in Italica, and Hadrian, whose family was from Italica It was also in the 2nd century, during Hadrian’s reign, that Italy acquired the status of a colony As a result of this, the city's name was changed to Colonia Aelia Augusta Italicensium Along with many other areas of the Empire, Italy was impacted by the crises in the third century, a period in which the Roman Empire nearly fell A mere century after this occurrence, the urban growth during Hadrian's reign was virtually abandoned

Italica essentially remained uninhabited throughout the Middle Ages Nevertheless, due to its extensive historical presence, it became a popular muse for many poets and artists Despite this, the site was severely looted until 1911, when a statute was put in place to control archaeological excavations, and 1912, when it became recognised as a national monument

My Visit

After a quick 15-minute drive from the city of Seville, we arrived at the site exited for the visit – me more excited than others It was there we met our very enthusiastic tour guide who had been studying Italica’s history for most of his life!

Following a quick introduction to the history of Italica, he first led us to the amphitheatre which was situated approximately 300 meters outside of the city itself

The work done since the 19th century has made it possible to identify a significant portion of the arrangement of this building, that was one of the largest in the Empire after the Italian amphitheatres of Rome (the Colosseum), Capua, and Pozzuoli

The first level of the sitting decks and a portion of the second remain intact, with the third row being somewhat more deteriorated In addition to this, the fossa bestiaria's (where animals, or beasts, were kept before entering the arena) immense size is still apparent in the arena The cage markings from the animals used in the performances may still be seen on the brick floor of the underground area that was covered

Later, it was mentioned by our tour guide, that an episode from season seven of the game of thrones was filmed there.

Later I learned this was all due to the structure of the amphitheatre and simply because everything inside was covered in shade

As we exited the amphitheatre, after a lengthy period off simply taking pictures, the tour guide took this moment to point out that Italica still had a working drainage and water supply system Still to this day do not understand what fascinated me so much about a what basically was a sewage system, but I’ll say it was probably one of my favourite things I had discovered about italica – Mr Pike can vouch for my absurd fascination as it has been a topic I have repeatedly brought up in class (Mr Pike if you are reading this I do apologise)

The entire city was built specifically using the natural topography of the land (the configuration of an area's natural and man-made physical elements) to install this sophisticated system. I feel that it is worth mentioning that this level of sophistication is typically seen in much larger cities, highlighting Italica’s importance in the Roman empire. A lot of water was channelled via a drainage system underneath the roads At some crossroads there were manholes, which could be accessed to carry out maintenance tasks. One of the many other elements to these systems was a big water tank that was built on a raised area inside the town, close to the northwest of the city, to allow water to reach the nearby buildings and the public fountains

situated at the intersection of certain streets But I'll stop talking about this system here otherwise I would not be able to restrain myself from continuing for another three paragraphs.

As our final destination on our tour was the main avenue, or Cardus Maximus, which has roughly five substantial homes belonging to wealthy families that have been excavated; some of these homes feature well-preserved, vibrant mosaic flooring that feature stunning designs of birds, Neptune, and planets My favourite amongst the ones we visited was the house of birds, which is the holder of the floor with the exquisite mosaics depicting birds This large house occupies an area around 1,700 square metres This area is divided in two main spaces: a public area where the clients and people close to the family had access, and another private area restricted to family members The public area was organized around a central courtyard called peristyle, because of the columned gallery which shapes it. The mosaic of the birds is in one of the rooms disposed around the peristyle.

In Conclusion

It was a lovely, enjoyable, and educational trip that I would highly suggest to anyone who is eager to learn (or merely a fan of Game of Thrones) The one thing I regret about the trip is that my family and I did not have time to see the full city, but overall, it was fantastic and the amphitheatre more than made up for it. This concludes, my hopefully convincing, attempt to encourage you readers to visit Italica

Anonymous Traveller <3

Sources: https://www andalucia com/cities/seville/italica htm , https://whc unesco org/en/tentativelists/6376/, information plaques on site and my tour guide

THE HUNT

GODDESS THE OF

Egyptian Mythology

I’m sure you’ll have heard of Greek Mythology. Most people can’t make it through primary school without having heard of or read Percy Jackson. You’llhaveheardofZeus,Hades,Poseidon,andHermes.

I’m sure you’ll have heard of Roman Mythology, too. Jupiter, Pluto, Neptune, and Mercury. You probably also know that the Romans were copycats and all of their myths and legends were almost directly copied from the Greek myths But did you know that the Greeks were also copycats? They stole anotherancientculture’smythologytoo,justdisguiseditbetter.

Egyptian mythology is one of the oldest mythologies in the world - the AncientEgyptianswerethethirdoldestcivilisationintheworld,beatenonly by the Mesopotamian and Indus Valley civilisations. Egyptian mythology is deep and complex, and while it is less like the Greek myths in the fact that there are less stories - the Egyptians focused more on Lore instead - it is extremelysimilartotheGreeks’ifyoulookatthefewstoriestheydidhave

When you look at both Egyptian and Greek mythology, there are both similarities and differences Many of the Gods were quite similar, for example Hades and Osiris, though having different personalities and qualities, were both some of the most benevolent gods and both dearly lovedtheirwives-neitherofthemevertakingonmistresses However,some GodssuchasGaiaandGebwerequitedifferent-Gebwasfarmoregentle, whereas Gaia was far more powerful and malevolent Nut and Zeus were also extremely different, and in terms of Gods, this isn’t where the differences stop. However, the structure in the stories that both the Greeks andEgyptiansshareisverysimilar,asIwillbetalkingaboutinthisessay

By Kerensa

Egyptian Mythology

Let’s start with the setup of mythology. How it works. Greek mythology is made up of lots of interweaving stories, most of them centred around the Titans, Gods, or later heroes - demigod children of the Olympians. Or at least the Olympians were pretty much the only ones who had demigod children of any note Egyptian mythology, however, is very different. There are a few stories, like the Creation story, the story of the Demon Days, and the story of the gods born on the Demon Days. But there is more to it than that. There aren’t that many stories, more layers of interlaced gods, and places, and magic A bit like the layers of the Duat (1) - a hugely prominent part of Egyptian lore.

Suddenly, Chaos spawned two more Primordials. First Tartarus. The next, Gaia (2), Mother Earth Gaia gave birth to Ouranos (3), more commonly referred to as his Roman name, Uranus. They married, and gave birth to twelve children. These children were theTitans:Oceanus,Coeus,Crius,Hyperion,Iapetus,Kronos,Theia, Themis,Mnemosyne,Phoebe,Tethys,andRhea.

This is pretty much the end of the Greek Creation story, as anythingafterthatisthestoryofGaia,thenKronos(4).

In the Egyptian beginning, there was a very different form of Chaos Egyptian mythology is very heavily based on the idea of Chaos, known in Egyptian as Isfet, and Order, Ma’at. Ma’at and Isfet are like the good and evil in today’s society Good and evil weren’timportanttotheEgyptians,insteadtheyworshippedorder andfearedchaos(5)

By Kerensa

(1)TheDuatwasabitliketheEgyptianunderworld.Itwasmadeofmany,manylayers,the shallowestofwhichcouldblowmortalminds,literally,thedeepestofwhichcouldonlybe reachedbyGodswhohadbeenbanishedbyexecration,andwouldtakeeventhemost powerfulGodaeonstoreturnfrom.NotablelayersincludetheLandofDemonsandtheSea ofChaos.

(2)ThereisdisagreementaboutwhetherornotGaiawasaTitan,orwhetherherchildren withOuranoswerethefirsttoclaimTitanicstatus.Ifnot,shewasaPrimordial.Onethingall classicistsagreeaboutisthatsheismostcertainlynotagoddess,despitethatbeingwhat sheismostcommonlyreferredto.

(3)Thereweremany,manychildrentowhomGaiagavebirthbeforeOuranos,butitwould takealongtimetoexplainallofthem,andtheyareallveryconfusing.Ouranosistheonly onereallyimportanttothestory.

(4)Greekspellingsofthesenameschangeregularly,soitisnotunknowntofindKronos speltChronosorCronus,andGaiatobespeltGaea.

(5)TheGreeksalsohadavagueideaofthis-Eunomia-throughouttheirmyths,thoughit wasn’ttothesameextentastheEgyptiansanditwasn’tveryprominent.

Vesta ATTACK ON TITAN AND

By Anya

CLASSICAL REFERENCES

What is it?

Attack On Titan is an anime written and illustrated by Hajime Isayama. Based in Germany, it follows the story of a young boy, named Eren Yeager (jaeger/jëager), as he grows up and discovers many secrets of his family past

Throughout the series the show contains many references to Graeco-Roman and Norse mythology

The Greek king of titans, Kronos, mirrors the main protagonist of Attack on Titan, Eren Yeager. In Attack On Titan there are titans, humans and titan shifters, a select handful of people are titan shifters able to transform into a titan by feeling a certain level of pain

One of these such people is Eren Titans feed off humans as

their main source, meaning that Eren, when in his titan form, also eats humans. Kronos ate his children, Hera goddess of women and childbirth, Hestia goddess of the home and hearth, Poseidon god of water and earthquakes and hades god of the underworld and the dead This alone does not show how Eren is like Kronos over any other titan, however, Eren is also currently the attack on titan equivalent of the king of titans as he has become the founding titan.

In this alternate universe there were 9 original founding titans, the cart titan, beast titan, female titan, attack titan, armour titan, colossal titan, jaw titan, war hammer titan and the founding titan In this show, there will always be someone who holds all of these 9 titans, either separately or more than one per person, as they all hold certain powers you can gain one of these titans’ powers by eating the person who holds that titan in their titan form. The official most powerful

Vesta ATTACK ON TITAN AND

By Anya

CLASSICAL REFERENCES

titan is the founding titan, who is able to see all memories from past and future holders, and the attack titan, who is able to travel through time Eren is currently in possession of both of these, as well as the jaw titan, making him the most powerful titan also known as the king of titans, as Kronos is king of titans

Similarities can also be seen between norse giant Ymir and titan Ymir Nordic Ymir, also known as Aurgelmir, was a frost giant and the first being created when ice from melted and those few drops of water from Niflheim met with the heat of Muspelheim. Ymir is often seen as evil according to current morals, however the concept of good and evil is not very prominent in Norse mythology so he would likely not have been seen as a villain to the Vikings, however most

people nowadays would call his actions wrong Isayama’s Ymir was the first titan and the original founding titan, she became a titan by accident when she fell into a pool of liquid, there a spine like creature fused with her and she became this first titan. Ymir was not evil towards the beginning of her being a titan, however as she went on, she got too overwhelmed with her power and began turning evil Their similarities are them both being the first of their kind, AOT Ymir being the first titan and Norse mythology

Ymir being the overall first being They also were both evil, by current standards Another resemblance between them is, they were both murdered, the giant by Odin, Villi and Ve, Norse gods while the titan was killed by a man called Porto Galliard

In summary, I have discussed the similarities between GraecoRoman and Norse mythologies versus Attack On Titan We do not know whether Isayama meant these references or whether they were simply coincidences, however since there are lots, it seems intensional

GREY THE THREE SISTERS

By Lily

ANIMAL FARM Similarities between

And Greek Mythology

By : Sofia 9F

‘Animal Farm’, published in 1945 by George Orwell, is a political allegory that attacks the Russian Revolution and all quests for power, using satire to convey the capacity for ordinary individuals to believe in a revolution that has been betrayed. It is largely agreed that the characters of Major, Napoleon and Snowball respectively represent Lenin, Stalin and Trotsky. Greek Mythology, on the other hand, is vastly different in its origins, having been written for the scope of theorising the creation of the world in a time of limited scientific knowledge by various poets, including Hesoid, Ovid, Homer and Virgil.

Despite this, Greek Mythology shares common themes with ‘Animal Farm’, specifically with regards to what human nature should be defined as, with the Greek Gods being the representation of what humans would turn into if they were immortal and did not have to face the morality of their actions. In ‘Animal Farm’, Orwell explores this abuse of power using the context

of animals revolting in the face of oppression to establish their own egalitarian farm, which spans into corruption as the leaders appoint themselves more power. Though it should be noted that the reasons for ‘Animal Farm’ being written are disparate to the creation of Greek Mythology, it is significant that both are shadowed with the same cynicism regarding corruption within human beings, since the resemblance of the themes would suggest that Greek Mythology also served the Ancient Greeks, creators of democracy, as a means to further analyse the results of interactions between people.

‘Animal Farm’ evidently attacks the notion of communism, which is the idea of sharing and redistributing wealth so that all people in society have an equal amount of property, yet this concept, as well as the theme of meeting the needs of the overall population instead of those of the individual, are also present in Greek Mythology, within various different myths. Consequentially, though the premises for ‘Animal Farm’ and Greek Mythology are extremely different, through characterisation and the plots of each, some of the themes that

are presented in each include the dangers of extremism and of replacing it, as well as the dangers of not questioning authority and the harsh punishments that can occur as a consequence of disagreeing with authority. Through their different plots and writing styles, both ‘Animal Farm’ and various Greek Myths adequately force people to reflect upon their nature and what their purpose in life may be, elucidating the impression that both novel and belief system are intrinsically connected in their inherent themes.

In both Greek Mythology and ‘Animal Farm’, it is clear that the gods and the pigs are similar in terms of their desire for power, because they both started with a rather equal system, with the desire simply to start afresh, but they then ended placing themselves in dominion based on the way in which each was able to hold their power. To elaborate, after Mr Jones was chased away in ‘Animal Farm’, the pigs started by saying that all animals were equal, but the novel ended with the maxim ‘all animals are equal, but some animals are more equal than others’.

Similarly, in the creation myth, Zeus was immediately appointed as the King of the Gods after he freed his siblings from Kronos’ stomach and fought with them for freedom, despite the fact that Rhea deserves more credit for him succeeding in saving the gods. In fact, appointing Zeus as the King of the Gods came as a deficit to the rest of the gods due to Zeus’ inefficacy as a leader, as can be proven by multiple attempts to overthrow him and the fact that his sole role in Greek Mythology is to elicit Hera’s rage in each instance where he cheated on her. As a result of this, Zeus can be compared to Napoleon, since the latter solely gained power through orchestrating the removal of Snowball and through the fear that he evoked and instilled in the animals.

Moreover, in both Greek Mythology and ‘Animal Farm’ there is an idea of eradicating the past to construct a better future In ‘Animal Farm’, this utopia was based on the notion of all animals working to their capacity and receiving their due share of profits, with their flag proving important as a symbol of nationalism and pride. In fact, this sense of pride and hope is what led the animals to work so hard, despite the fact that they never reaped the benefits that they were promised from working for themselves. In Greek Mythology, on the other hand, the Olympian gods were not forced into any labour, but they exerted their influence over mortals to the point of Prometheus being harshly punished when he offered the gift of fire to mankind, since Zeus wanted the gods to be able to keep their superiority over mortals. In the same way that Greek Mythology discriminates between gods and mortals,

Animal Farm’ differenciates between the smarter animals, namely the pigs and the dogs, and the animals who were considered as less intelligent and were merely exploited as cheap labour Despite Major stating that ‘in fighting against Man, we must not come to resemble him’, the leadership of Napoleon resulted in the conditions of the animals becoming even worse than they were under Mr Jones, thus portraying that an inherent danger of replacing an extremist and totalitarian party is that the subsequent leaders might easily follow in their footsteps, despite their efforts. For this totalitarianism to reach such an extreme, it is made evident in both Greek Mythology and ‘Animal Farm’ that a certain isolation is necessary, so that outside states cannot introduce new notions and ideas to influence the citizens, which was performed in both through creating the illusion that everything on Olympus and Animal Farm was working perfectly.

In ‘Animal Farm’, this occurred in the instance in which the bins were filled with grain, to give the impression of an abundance of food when Mr Whymper came. In Greek Mythology, there are numerous instances in which this notion was implemented, including in the myths of Larunda and Echo, with both nymphs being punished because the gods wanted their own privacy respected and did not want anybody to be able to repeat the tale of what they had done, to increase their own dignity

Despite the fact that it is presented in vastly different ways, the theme of extremism and its dangers is one that is central to both ‘Animal Farm’ and Greek Mythology, with the pigs and the gods, respectively, creating a division to supress those that were considered less worthy and grant more rights upon themselves.

As well as exploring the danger of totalitarianism and extremism, both Orwell and the epic poets of Greek Myths explore the peril within not questioning authority, as well as the harsh punishments that are met out to those who do. In 'Animal Farm’, these risks are elucidated most firmly in the instance in which Napoleon killed the animals who confessed to crimes, in Chapter 7. Particularly considering the unsubstanciated basis of these accusations, this scene mirrors the Moscow Trials and the Great Purge, between 1936 and 1938, which were a series of show trials ordered and planned by Stalin to torture and kill his political opponents. This similarity is important to the reader because, in proving how closely linked the novel is to historical occurrences, Orwell emphasises the necessity of questioning authority when the shifts within power are of a concerning nature. Other examples of this theme within the book include Clover’s subtle tone of resignation when Muriel read the ammended laws to her, considering that Clover ended up believing that her memory was simply mistaken, rather than confronting the pigs about the suspected variations within the seven maxims. This theme is presented in a substantially sexist light in Greek Mythology, with women such as Ariadne and Medea both trusting the traditionally heroic men who entered their stories, only to be then used and suffer as a consequence. Considering the typical subservience that was expected of many women in Greco-Roman civilisations, Ariadne was incapable of verifying that Theseus would in fact keep his promise and not abandon her, and Medea is often antagonised due to her dedication to Jason, for whom she rejected the comfort of Corinth and unsuspectingly led her brother to his death, due to it not being

customary to question his authority Still linked to sexist notions present within Greek Mythology, Lavinia is one of the sole women to survive until the end of ‘The Aeneid’, written by Virgil; despite being Aeneas’ last wife, she solely appeared on four different occasions, throughout the twelve books, indicating that her silence was such an important expectation for ideal Roman wives that it led to her survival, encouraging absolute subservience and deterring people, particularly women, from questioning authoritative figures. Furthermore, the associated link to harsh punishments is present within the myth of Pyrrha and Deucalion, the only two mortals that were spared when Zeus decided that the earth should be flooded to kill all humans, whom he considered to be deceitful and greedy. Since Zeus’ own tyranny was not being challenged, his response was massively disproportionate, though not a singular occasion for a god, as can be demonstrated by the wrath that Apollo showed Midas, in giving him the ears of a donkey after he supposedly misjudged a music competition between Pan and Apollo. Though not identical in context, this example bears a slight resemblance to the way in which Napoleon changed his opinion regarding the windmill, upon his own needs first being met, considering that he did not oppose the idea once Snowball was chased away. Particularly considering the drastic ending of ‘Animal Farm’, it is evident that the theme of questioning authority and abuse of power, by way of punishment, is a prominent issue that has spanned millenia, being equally relevant within ancient communities as it was during Orwell’s time.

Amidst the similarities that can be found between the themes of ‘Animal Farm’ and Greek Mythology, one of the key differences lies in the writing techniques and styles that are employed by the authors, with the depth of characters, their emotions and their backstories proving crucial in forming the efficacy of the bond that is created between the reader and the author. Though it must be considered that Greek Mythology consists of a series of myths that were compiled and told by various classical poets, sometimes with contrasting endings, the portrayal of the gods faces few changes, with them always being conveyed as human beings who were instilled with the belief of being invulnerable. Considering their eternal nature, the gods are the depiction of what many Ancient Greeks believed would become of them if they became immortal, with them therefore being the exploration of unruly emotions and the pursual of passions. In some ways, ‘Animal Farm’ approaches the description of some characters from such a general perspective, as is the case of the sheep, whose sole purpose was to continously repeat what they were taugh in such a way that change was normalised and enforced. Despite this, in both the novel and the belief system, there are particular characters that are developed in more depth. Within Greek Mythology, characters written by Virgil and Homer are the most developed, with the scenes taking place in the Underworld being emotive and appealing to the empathy of anyone who would have read or heard the stories.

Furthermore, the gods are also the representation of individual values and flaws, taken to the point of an eternal lifespan, as is the case with Ares. Being the god of war, Ares is both brutal and unnecessarily violent, yet he is also credited as being one of

the few gods who respected women, thus bringing his character a certain sense of balance, due to his mixed ideals Orwell implements similar stimulating techniques, providing numerous examples of characters that were developed deeply to be complementary to their political counter-part from the Russian Revolution. For example, Boxer, representing the Russian labourers and workers, is a crucial character due to his devotion and hard-work in the face of the challenges brought by socialism. His death is significant as it symbolises that the ultimate problem is with authority, since he died as a result of exertion and the totalitarian state, despite being an exemplary citizen. His death also mirrors the moment in which the reader would become fully aware of the death of the idealism that led to the establishment of Animal Farm, serving as a final warning against authoritarian figures such as Napoleon, representing Stalin. Orwell described the pig in numerous ways that made him similar to Stalin, considering his ideologies and some of the extreme consequences of his policies, including mass executions and mass famine. However, a further layer of the depth of his character regards his relationship with Snowball, representing Trotsky, considering the numerous disagreements between the two men and the forced removal of the latter. Similarly to their political counter-parts, Napoleon believed that the Five Year Plan would enabled socialism in the Soviet Union, whereas Snowball believed in the notion of a ‘permanent revolution’, which would consist of inciting neighbouring farms to also revolt against their owners. Overall, though some of the characters in Greek Mythology are naturally attributed with much depth,

customary to question his authority Still linked to sexist notions present within Greek Mythology, Lavinia is one of the sole women to survive until the end of ‘The Aeneid’, written by Virgil; despite being Aeneas’ last wife, she solely appeared on four different occasions, throughout the twelve books, indicating that her silence was such an important expectation for ideal Roman wives that it led to her survival, encouraging absolute subservience and deterring people, particularly women, from questioning authoritative figures. Furthermore, the associated link to harsh punishments is present within the myth of Pyrrha and Deucalion, the only two mortals that were spared when Zeus decided that the earth should be flooded to kill all humans, whom he considered to be deceitful and greedy. Since Zeus’ own tyranny was not being challenged, his response was massively disproportionate, though not a singular occasion for a god, as can be demonstrated by the wrath that Apollo showed Midas, in giving him the ears of a donkey after he supposedly misjudged a music competition between Pan and Apollo. Though not identical in context, this example bears a slight resemblance to the way in which Napoleon changed his opinion regarding the windmill, upon his own needs first being met, considering that he did not oppose the idea once Snowball was chased away. Particularly considering the drastic ending of ‘Animal Farm’, it is evident that the theme of questioning authority and abuse of power, by way of punishment, is a prominent issue that has spanned millenia, being equally relevant within ancient communities as it was during Orwell’s time.

Amidst the similarities that can be found between the themes of ‘Animal Farm’ and Greek Mythology, one of the key differences lies in the writing techniques and styles that are employed by the authors, with the depth of characters, their emotions and their backstories proving crucial in forming the efficacy of the bond that is created between the reader and the author. Though it must be considered that Greek Mythology consists of a series of myths that were compiled and told by various classical poets, sometimes with contrasting endings, the portrayal of the gods faces few changes, with them always being conveyed as human beings who were instilled with the belief of being invulnerable. Considering their eternal nature, the gods are the depiction of what many Ancient Greeks believed would become of them if they became immortal, with them therefore being the exploration of unruly emotions and the pursual of passions. In some ways, ‘Animal Farm’ approaches the description of some characters from such a general perspective, as is the case of the sheep, whose sole purpose was to continously repeat what they were taugh in such a way that change was normalised and enforced. Despite this, in both the novel and the belief system, there are particular characters that are developed in more depth. Within Greek Mythology, characters written by Virgil and Homer are the most developed, with the scenes taking place in the Underworld being emotive and appealing to the empathy of anyone who would have read or heard the stories.

Furthermore, the gods are also the representation of individual values and flaws, taken to the point of an eternal lifespan, as is the case with Ares. Being the god of war, Ares is both brutal and unnecessarily violent, yet he is also credited as being one of

the few gods who respected women, thus bringing his character a certain sense of balance, due to his mixed ideals Orwell implements similar stimulating techniques, providing numerous examples of characters that were developed deeply to be complementary to their political counter-part from the Russian Revolution. For example, Boxer, representing the Russian labourers and workers, is a crucial character due to his devotion and hard-work in the face of the challenges brought by socialism. His death is significant as it symbolises that the ultimate problem is with authority, since he died as a result of exertion and the totalitarian state, despite being an exemplary citizen. His death also mirrors the moment in which the reader would become fully aware of the death of the idealism that led to the establishment of Animal Farm, serving as a final warning against authoritarian figures such as Napoleon, representing Stalin. Orwell described the pig in numerous ways that made him similar to Stalin, considering his ideologies and some of the extreme consequences of his policies, including mass executions and mass famine. However, a further layer of the depth of his character regards his relationship with Snowball, representing Trotsky, considering the numerous disagreements between the two men and the forced removal of the latter. Similarly to their political counter-parts, Napoleon believed that the Five Year Plan would enabled socialism in the Soviet Union, whereas Snowball believed in the notion of a ‘permanent revolution’, which would consist of inciting neighbouring farms to also revolt against their owners. Overall, though some of the characters in Greek Mythology are naturally attributed with much depth,

Orwell’s characcters are developed in a way that is more apparent and requires less analysis, due to the clear differences delineated within each character. Considering once again the scopes for writing each one, ‘Animal Farm’ is an intricate story that maps the progression of the Russian Revolution in a remotely simplified manner, thus the characterisation of the animals is necessary to explain what happened, as well as to cement the perils of totalitarianism and not questioning authority. Meanwhile, the characters within Greek Mythology can be dissected to discover their singular motivations, but the intention is for the characters to be similar due to them all being represented in an exaggerated light, with the gods being stretched into the context of immortality.

Bearing in mind the significant differences in the premises presented for both ‘Animal Farm’ and Greek Mythology, it is evident that the themes of danger within totalitarianism and not questioning authority are vastly relevant to both. Nonetheless, comparing the motives for writing ‘Animal Farm’ to those of the creation of Greek Mythology, each was written to appeal to different audiences, with the former intended to make a political point, whereas the latter would have been viewed as entertainment and would have explained the way in which Greco-Roman citizens interpreted the world. These differences in origin being considered, it is evident that Orwell’s novel serves as a much more direct warning against the risk of extremism, through his satire, whereas it can be noticed that the deities in Greek Mythology were actually worshipped and revered for centuries. However, the key similarity, regarding to the plots that are present, is the way in which characters with access to power often end up obsessed by it, starting their stories as victims, before holding power over others and turning them into their personal prey Interestingly, though both ‘Animal Farm’ and Greek Mythology criticise some of the key failures of society, neither addresses potential solutions for its flaws, indicating the sheer conviction of human nature equating to something unsurmountable that can cause immeasurable pain. Within Orwell’s more political agenda, the reflection regarding communism and socialism is that they are a utiopia spawned from pain and injustice, whose values cannot be kept due to the appeal of leadership, despite intentions for rebellion having been initially pure. Greek Mythology also reflects on this notion of leaders becoming corrupt, considering the replacement of the Titans by the gods, yet it is a more subtle interpretation, considering the sacred attachment that many had to the Greek Gods. Due to the themes shared between Greek Mythology and ‘Animal Farm’, the definitions for human nature, far from being set, are left to the interpretation that people are attracted by power, yet the obvious satire and exaggeration in each leaves the sincerity and relevance of this statement to be questioned, particularly with regards to the differences between individuals.

Mythological creatures Chimera, Cerberus and