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Listed 3 sub titles with search on: Mythology  for wider area of: "KYTHIRA Island GREECE" .

Mythology (3)

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The goddess of beauty and love (Il. 3.54, 19.282, 24.699, Od. 4.14 & 261, 20.74). She was a daughter of Zeus (Il. 5.348, 14.214, 20.105) by Dione (Il. 5.370) and was surnamed Cypris (Il. 5.330 & 422) and Cytherea (Od. 8.288, 18.192). She was also the wife of Hephaestus but not loyal to him as she had a love affair with Ares (Od. 8.267 etc.).

Aphrodite Lat. Venus). The Greek goddess of love. Her attributes combine, with Hellenic conceptions, a great many features of Eastern, especially Ph?nician, origin, which the Greeks must have grafted upon their native notions in very old times. This double nature appears immediately in the contradictory tales of her origin. To the oldest Greeks she was the daughter of Zeus and Dione (and is sometimes called by that name herself); yet from a very early time she appears as Aphrogenia, the “foam-born” (see Uranus), as Anadyomene, "she who rises" out of the sea, and steps ashore on Cyprus, which had been colonized by Phoenicians time out of mind; even as far back as Homer she is Cypris, the Cyprian. The same transmarine and Eastern origin of her worship is evidenced by the legend of the island of Cythera, on which she was supposed to have first landed from a sea-shell. Other names applied to her are Pelagia (from Pelagos), Anadyomene (as having risen from the water), Erycina (from Mount Eryx in Sicily), Paphia, and Cypris, besides those mentioned below.
    Again, the common conception of her as goddess of love limited her agency to the sphere of human life. But she was, at the same time, a power of nature, living and working in the three elements of air, earth, and water. As goddess of the shifting gale and changeful sky, she was Aphrodite Urania (Ourania), the "heavenly," and at many places in Greece and Asia her temples crowned the heights and headlands; for instance, the citadels of Thebes and Corinth, and Mount Eryx in Sicily. As goddess of storm and lightning, she was represented armed, as at Sparta and Cythera; and this, perhaps, explains why she was associated with Ares both in worship and in legend, and worshipped as a goddess of victory.
    The moral conception of Aphrodite Urania as goddess of the higher and purer love, especially wedded love and fruitfulness, as opposed to mere sensual lust, was but slowly developed in the course of ages.
    As goddess of the sea and maritime traffic, especially of calm seas and prosperous voyages, she was widely worshipped by sailors and fishermen at ports and on sea-coasts, often as the goddess of calm, while Poseidon was the god of disturbance. Next, as regards the life of the earth, she was the goddess of gardens and groves, of spring and its bounties, especially tender plants and flowers, as the rose and myrtle; hence, as the fruitful and bountiful, she was worshipped most of all at that season of the year in which her birth from the sea was celebrated at Paphos in Cyprus. But to this, her time of joyful action, was opposed a season of sorrow, when her creations wither and die--a sentiment expressed in her inconsolable grief for her beloved Adonis, the symbol of vegetation perishing in its prime, a myth derived by the Greeks from the Babylonian worship of Adon or Thammuz, and akin to those of Linus, Hyacinthus, and Narcissus. In the life of gods and men, she showed her power as the golden, sweetly smiling goddess of beauty and love, which she knew how to kindle or to keep away. She outshone all the goddesses in grace and loveliness; in her girdle she wore united all the magic charms that could bewitch the wisest man and subdue the very gods. Her retinue consisted of Eros (Cupid), the Hours, the Graces, Peitho (Persuasion), Pothos and Himeros (personifications of longing and yearning). By uniting the generations in the bond of love, she became a goddess of marriage and family life, and the consequent kinship of the whole community. As such she had formerly been worshipped at Athens under the name of Pandemos (=all the people's), as being a goddess of the whole country. By a regulation of Solon, the name acquired a very different sense, branding her as goddess of prostitution; and then it was that the new and higher meaning was imported into the word Urania.
    In later times, the worship of Aphrodite as the goddess of mere sensual love made rapid strides, and in particular districts assumed forms more and more immoral, in imitation of the services performed to love-goddesses in the East, especially at Corinth, where large bands of girls were consecrated as slaves to the service of the gods and the practice of prostitution. And later still, the worship of Astarte ("Star"), the Syrian Aphrodite, performed by eunuchs, spread all over Greece. See Aphrodisia; Meretrix.
    In the Greek myths Aphrodite appears occasionally as the wife of Hephaestus. Her love adventures with Ares are notorious. From these sprang Eros and Anteros, Harmonia, the wife of Cadmus, and Deimos and Phobos (Fear and Alarm), attendants on their father. By Anchises she was the mother of Aeneas. The chief seats of her worship were Paphos, Amathus, and Idalion (all in Cyprus), Cnidus in Dorian Asia Minor, Corinth, the island of Cythera, and Eryx in Sicily. As mother of Harmonia, she was a guardian deity of Thebes. Among plants, the myrtle, the rose, and the apple were specially sacred to her as goddess of love; among animals, the ram, he-goat, hare, dove, sparrow, and other creatures of amorous nature (the ram and dove being widely current symbols of great antiquity); as sea-goddess, the swan, mussel, and dolphin; as Urania, the tortoise.
    The various myths connected with the name of Aphrodite have inspired many exquisite poems in modern literature. In recent English verse reference may be made to the magnificent Chorus to Aphrodite in Swinburne's Atalanta in Calydon; Hake's Birth of Venus; Morris's Aphrodite in his Epic of Hades; and Rossetti's Ve- nus Verticordia and Venus Victrix.
    In ancient art, in which Aphrodite is one of the favourite subjects, she is represented in a higher or lower aspect, according as the artist's aim was to exhibit Urania or the popular goddess of love. In the earlier works of art she usually appears clothed, but in later ones more or less undraped--either as rising from the sea or leaving the bath, or (as in still later times) merely as an ideal of female beauty. In the course of time the divine element disappeared, and the presentation became more and more ordinary. While the older sculptures show the sturdier forms, the taste of later times leans more and more to softer, weaker outlines. Most renowned in ancient times [p. 97] were the statue at Cnidus by Praxiteles (a copy of which is now at Munich), and the painting of Aphrodite Anadyomene by Apelles. Of original statues preserved to us, the most famous are the Aphrodite of Melos (see illustration), now at Paris, and that of Capua at Naples, both of which bring out the loftier aspect of the goddess; and the Medicean Venus at Florence, the work of a late Attic sculptor, Cleomenes, in the delicate forms of face and body that pleased a younger age.

This text is from: Harry Thurston Peck, Harpers Dictionary of Classical Antiquities. Cited Oct 2002 from The Perseus Project URL below, which contains interesting hyperlinks

Aphrodite, one of the great Olympian divinities, was, according to the popular and poetical notions of the Greeks, the goddess of love and beauty. Some traditions stated that she had sprung from the foam (aphros) of the sea, which had gathered around the mutilated parts of Uranus, that had been thrown into the sea by Kronos after he had unmanned his father (Hesiod. Theog. 190). With the exception of the Homeric hymn on Aphrodite there is no trace of this legend in Homer, and according to him Aphrodite is the daughter of Zeus and Dione (Il. v. 370, &c., xx. 105.) Later traditions call her a daughter of Kronos and Euonyme, or of Uranus and Hemera. (Cic. De Nat. Deor. iii. 23; Natal. Com. iv. 13). According to Hesiod and the Homeric hymn on Aphrodite, the goddess after rising from the foam first approached the island of Cythera, and thence went to Cyprus, and as she was walking on the sea-coast flowers sprang up under her feet, and Eros and Himeros accompanied her to the assembly of the other great gods, all of whom were struck with admiration and love when she appeared, and her surpassing beauty made every one desire to have her for his wife. According to the cosmogonic views of the nature of Aphrodite, she was the personification of the generative powers of nature, and the mother of all living beings. A trace of this notion seems to be contained in the tradition that in the contest of Typhon with the gods, Aphrodite metamorphosed herself into a fish, which animal was considered to possess the greatest generative powers (Ov. Met. v. 318, &c.; comp. Hygin. Poet. Astr. 30). But according to the popular belief of the Greeks and their poetical descriptions, she was the goddess of love, who excited this passion in the hearts of gods and men, and by this power ruled over all the living creation (Hom. Hymn. in Ven.; Lucret. 15, &c.). Ancient mythology furnishes numerous instances in which Aphrodite punished those who neglected her worship or despised her power, as well as others in which she favoured and protected those who did homage to her and recognized her sway. Love and beauty are ideas essentially connected, and Aphrodite was therefore also the goddess of beauty and gracefulness. In these poiits she surpassed all other goddesses, and she received the prize of beauty from Paris; she had further the power of granting beauty and invincible charms to others. Youth is the herald, and Peitho, the Horae, and Charites, the attendants and companions of Aphrodite (Pind. New. viii. 1, &c.). Marriages are called by Zeus her work and the things about which she ought to busy herself (Hom. Il. v. 429; comp. Od. xx. 74; Pind. Pyth. ix. 16, &c.). As she herself had sprung from the sea, she is represented by later writers as having some influence upon the sea (Virg. Aen. viii. 800; Ov. Heroid. xv. 213; comp. Paus. ii. 34.11).
  During the Trojan war, Aphrodite, the mother of Aeneas, who had been deelared the most beautiful of all the goddesses by a Trojan prince, naturally sided with the Trojans. She saved Paris from his contest with Menelaus (Il. iii. 380), but when she endeavoured to rescue her darling Aeneas from the fight, she was pursued by Diomedes, who wounded her in her hand. In her fright she abandoned her son, and was carried by Iris in the chariot of Ares to Olympus, where she complained of her misfortune to her mother Dione, but was laughed at by Hera and Athena (Il. v. 311, &c.). She also protected the body of Hector, and anointed it with ambrosia (Il. xxiii. 185).
  According to the most common accounts of the ancients, Aphrodite was married to Hephaestus (Odyss. viii. 270), who, however, is said in the Iliad (viii. 383) to have married Charis. Her faithlessness to Hephaestus in her amour with Ares, and the manner in which she was caught by the ingenuity of her husband, are beautifully described in the Odyssey (viii. 266, &c.). By Ares she became the mother of Phobos, Deimos, Harmonia, and, according to later traditions, of Eros and Anteros also (Hesiod. Theog. 934, &c., Scut. Herc. 195; Hom. Il. xiii. 299, iv. 440; Schol. ad Apollon. Rhod. iii. 26; Cic. De Nat. Deor. iii. 23). But Ares was not the only god whom Aphrodite favoured; Dionysus, Hermes, and Poseidon likewise enjoyed her charms. By the first she was, according to some traditions, the mother of Priapus (Schol. ad Apollon. Rhod. i. 933) and Bacchus (Hesych. s. v. Bakchou Diones), by the second of Hermaphroditus (Ov. Met. iv. 289, &c.; Diod. iv. 6; Lucian, Dial. Deor. xv. 2), and by Poseidon she had two children, Rhodos and Herophilus (Schol. ad Pind. Pyth. viii. 24). As Aphrodite so often kindled in the hearts of the gods a love for mortals, Zeus at last resolved to make her pay for her wanton sport by inspiring her too with love for a mortal man. This was accomplished, and Aphrodite conceived an invincible passion for Anchises, by whom she became the mother of Aeneas and Lyrus. Respecting her connexions with other mortals see Adonis (in ancient Phoenece) and Butes (in ancient Lilybaeum).
  Aphrodite possessed a magic girdle which had the power of inspiring love and desire for those who wore it; hence it was borrowed by Hera when she wished to stimulate the love of Zeus (Hom. Il. xiv. 214, &c.). The arrow is also sometimes mentioned as one of her attributes (Plnd. Pyth. iv. 380; Theocrit. xi. 16). In the vegetable kingdom the myrtle, rose, apple, poppy, and others, were sacred to her (Ov. Fast. iv. 15. 143; Bion, Idyll. i. 64; Schol. ad Aristoph. Nub. 993; Paus. ii. 10.4; Phornut. 23). The animals sacred to her, which are often mentioned as drawing her chariot or serving as her messengers, are the spar row, the dove, the swan, the swallow, and a bird called iynx (Sappho, in Ven. 10; Athen. ix.; Horat. Carm. iv. 1. 10; Aelian, Hist. An. x. 34). As Aphrodite Urania the tortoise, the symbol of domestic modesty and chastity, and as Aphrodite Pandemos the ram was sacred to her. When she was represented as the victorious goddess, she had the attributes of Ares, a helmet, a shield, a sword : or a lance, and an image of Victory in one hand. The planet Venus and the spring-month of April were likewise sacred to her (Cie. de Nat. Deor. iii. 20; Ov. Fast. iv. 90). All the surnames and epithets given to Aphrodite are derived from places of her worship, from events connected with the legends about her, or have reference to her character and her influence upon man, or are descriptive of her extraordinary beauty and charms. All her surnames are explained in separate articles.
  The principal places of her worship in Greece were the islands of Cyprus and Cythera. At Cnidus in Caria she had three temples, one of which contained her renowned statue by Praxiteles. Mount Ida in Troas was an ancient place of her worship, and among the other places we may mention particularly the island of Cos, the towns of Abydos, Athens, Thespiae, Megara, Sparta, Sicyon, Corinth, and Eryx in Sieily. The sacrifices offered to her consisted mostly of incense and garlands of flowers (Virg. Aen. i. 416; Tacit. Hist. ii. 3), but in some places animals, such as pigs, goats, young cows, hares, and others, were sacrificed to her. In some places, as at Corinth, great numbers of females belonged to her, who prostituted themselves in her service, and bore the name of hierodouloi. (Dict.of Ant. s. v. Hetairai.) Respecting the festivals of Aphrodite see Dict. of Ant. s.v. Adonia, Anagogia, Aphrodisia, Katagogia.
  The worship of Aphrodite was undoubtedly of eastern origin, and probably introduced from Syria to the islands of Cyprus, Cythera, and others, from whence it spread all over Greece. It is said to have been brought into Syria from Assyria (Paus. i. 14.6). Aphrodite appears to have been originally identical with Astarte, called by the Hebrews Ashtoreth, and her connexion with Adonis clearly points to Syria. But with the exception of Corinth, where the worship of Aphrodite had eminently an Asiatic character, the whole worship of this goddess and all the ideas concerning her nature and character are so entirely Greek, that its introduction into Greece must be assigned to the very earliest periods. The elements were derived from the East, but the peculiar development of it belongs to Greece. Respecting the Roman goddess Venus and her identification with the Greek Aphrodite, see Venus.
  Aphrodite, the ideal of female graec and beauty, frequently engaged the talents and genius of the ancient artists. The most celebrated representations of her were those of Cos and Cnidus. Those which are still extant are divided by archaeologists into several classes, accordingly as the goddess is represented in a standing position and naked, as the Medicean Venus, or bathing, or half naked, or dressed in a tunic, or as the victorious goddess in arms, as she was represented in the temples of Cythera, Sparta, and Corinth (Paus. iii. 23.1, ii. 5.1, iii. 15.10).

This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Oct 2005 from The Perseus Project URL below, which contains interesting hyperlinks

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