Mother Nature  

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-One of the nine Ancient [[Greco-Roman goddess]]es of the [[art]]s. 
 +'''Mother Nature''' (sometimes known as '''Mother Earth''') is a common [[personification]] of [[nature]] that focuses on the life-giving and nurturing features of nature by embodying it in the form of the [[mother]]. Images of women representing mother earth, and mother nature, are timeless. In prehistoric times, [[goddess]]es were worshipped for their association with [[fertility]], [[fecundity]], and agricultural bounty. Priestesses held dominion over aspects of [[Inca Empire|Incan]], [[Algonquin]], [[Assyria]]n, [[Babylonia]]n, [[Slavic peoples|Slavonic]], [[Roman mythology|Roman]], [[Greek mythology|Greek]], [[Religion in India|Indian]], and [[Iroquoian languages|Iroquoian]] religions in the millennia prior to the inception of patriarchal religions.
-According to [[Hesiod]]'s ''[[Theogony]]'' (seventh century BC), they were daughters of [[Zeus]], the second generation king of the gods, and the offspring of [[Mnemosyne]], goddess of memory. For [[Alcman]] and [[Mimnermus]], they were even more [[Greek primordial gods|primordial]], springing from the early deities, [[Uranus (mythology)|Uranus]] and [[Gaia (mythology)|Gaia]]. Gaia is [[Mother goddess|Mother Earth]], an [[Mother Nature|early mother goddess]] who was worshipped at [[Delphi]] from prehistoric times, long before the site was rededicated to Apollo, possibly indicating a transfer to association with him after that time. [[Pausanias (geographer)|Pausanias]] records a tradition of two generations of Muses; the first being daughters of [[Uranus (mythology)|Uranus]] and [[Gaia (mythology)|Gaia]], the second of [[Zeus]] and [[Mnemosyne]]. Another, rarer genealogy is that they are daughters of [[Harmonia (Greek goddess)|Harmonia]] (the daughter of [[Aphrodite]] and [[Ares]]) which contradicts the myth in which they were dancing at the wedding of [[Harmonia (Greek goddess)|Harmonia]] and [[Cadmus]]. This later inconsistency is an example of how clues to the true dating, or chronology, of myths may be determined by the appearance of figures and concepts in Greek myths.+==Western tradition History==
-==Emblems of the Muses==+The word [[nature]] comes from the [[Latin]] word, ''natura'', meaning birth or character (see [[nature (innate)]]). In [[English language|English]] its first recorded use, in the sense of the entirety of the phenomena of the world, was very late in history in 1662; however ''natura'', and the personification of Mother Nature, was widely popular in the [[Middle Ages]] and can be traced to [[Ancient Greece]] in origin; though [[Earth]] or Eorthe in the Old English period may have been personified as a goddess. Likewise the Norse also had a goddess called [[Jord]] ''Earth''. The pre-[[Socrates|Socratic]] philosophers of Greece had invented nature when they abstracted the entirety of phenomena of the world into a single name and spoken of as a single object: ''physis''. Later Greek thinkers such as [[Aristotle]] were not as entirely inclusive, excluding the stars and moon, the "[[supernatural]]", from nature. Thus from this Aristotelian view—nature existing inside a larger framework and not inclusive of everything—nature became a personified deity, and it is from this we have the origins of a mythological goddess nature. Later medieval Christian thinkers did not see nature as inclusive of everything, but thought that she was created by [[God]], her place lay on earth, below the [[heaven]]s and [[moon]]. Nature lay somewhere in the middle, with agents above her ([[angel]]s) and below her ([[demons]] and [[hell]]). For the medieval mind she was only a personification, not a goddess. The modern concept of nature, all inclusive of all phenomenon, has returned to its original pre-Socratic roots, no longer a personification or [[deity]] except in a rhetorical sense, a bow to her illustrious traditions.
-{| class="wikitable" border="1" align="right" style="margin: 0 0 1em 1em"+
-|-+
-! Muse+
-! Domain+
-! Emblem+
-|-+
-| [[Calliope]]+
-| [[Epic poetry]]+
-| [[Wax tablet|Writing tablet]]+
-|-+
-| [[Clio]]+
-| [[History]]+
-| [[Scroll]]s+
-|-+
-| [[Erato]]+
-| [[Lyric poetry]]+
-| [[Cithara]] (an [[ancient Greek]] [[musical instrument]] in the [[lyre]] family)+
-|-+
-| [[Euterpe]]+
-| [[Music]]+
-| [[Aulos]] (an [[ancient Greek]] [[musical instrument]])+
-|-+
-| [[Melpomene]]+
-| [[Tragedy]]+
-| [[Theatre of ancient Greece#Masks|Tragic mask]]+
-|-+
-| [[Polyhymnia]]+
-| [[Choir|Choral poetry]]+
-| [[Veil]]+
-|-+
-| [[Terpsichore]]+
-| [[Dance]]+
-| [[Lyre]]+
-|-+
-| [[Thalia]]+
-| [[Comedy]]+
-| [[Theatre of ancient Greece#Masks|Comic mask]]+
-|-+
-| [[Urania]]+
-| [[Astronomy]]+
-| [[Globe]] and [[Compass (drafting)|compass]]+
-|-+
-|}+
-In [[Renaissance]] and [[Neoclassicism|Neoclassical]] art, the dissemination of [[emblem book]]s such as [[Cesare Ripa]]'s ''[[Iconologia]]'' (1593 and many further editions) helped standardize the depiction of Muses in sculptures or paintings, who could be distinguished by certain props, together with which they became [[emblem]]s readily identifiable by the viewer, enabling one immediately to recognize the art with which they had become bound. Calliope (epic poetry) carries a writing tablet; Clio (history) carries a scroll and books; Erato (lyrical poetry) is often seen with a lyre and a crown of roses; Euterpe (music) carries a flute, the ''[[aulos]]''; Melpomene (tragedy) is often seen with a tragic mask; Polyhymnia (sacred poetry) often is seen with a pensive expression; Terpsichore (dance) is often seen dancing and carrying a lyre; Thalia (comedy) often is seen with a comic mask; and Urania (astronomy) carries a pair of compasses and the celestial globe.+===Greek myth===
-===Function in society===+Specifically in [[Greek mythology]], the myth of [[Demeter]] and [[Persephone]] tells the story of a mother who discovers that her daughter has been abducted by [[Hades]], who drags Persephone into the [[underworld]] with him. Demeter, goddess of the harvest, whose name originally meant 'earth mother', wreaked revenge upon the earth by refusing to provide any crops, so that the "entire human race [would] have perished of cruel, biting hunger if [[Zeus]] had not been concerned" (Larousse 152). She would not permit the earth to bear fruit until she saw her daughter again, and so Hades was forced by Zeus to allow Persephone to live with her mother, but while Persephone had lived in the Underworld, she had been forced to eat seeds of the [[pomegranate]], the food of the dead. When [[Hermes]] came to take Persephone back to her mother Hades argued that she had tasted the fruit of the dead, therefore, must remain with him and be queen of the underworld. Zeus made a deal with Hades, for every seed that Persephone ate she would have to stay for a month in the Underworld with Hades; the other months she would remain with her mother. She had eaten six pomegranate seeds and had to spend six months with Hades - six months that represent fall and winter. However, the price humankind pays, according to the myth, is that when autumn winds arrive, and the earth hardens and becomes covered in snow and frost, Demeter is without her daughter, and allows no fecundity or growth; in contrast, the spring and summer months are those of rejoicing, flowers in bloom, and the beginning of months of warmth and fertility.
-Mexico]]+
-Greek ''mousa'' is a common noun as well as a type of goddess: it literally means "song" or "poem". In [[Pindar]], to "carry a ''mousa''" is "to sing a song". The word probably is derived from the Indo-European root ''men-'', which is also the source of Greek ''[[Mnemosyne]]'', and English "mind", "mental" and "memory" (or alternatively from ''mont-'', "mountain", due to their residence on Mount Helicon, which is less likely in meaning, but somewhat more likely to be associated linguistically).+
-The Muses, therefore, were both the embodiments and sponsors of performed metrical speech: ''mousike'', whence "music", was "the art of the Muses". In the archaic period, before the widespread availability of books (scrolls), this included nearly all of learning. The first Greek book on astronomy, by [[Thales]], was set in [[dactylic hexameter]], as were many works of [[pre-Socratic]] philosophy; both [[Plato]] and the [[Pythagoras|Pythagoreans]] explicitly included philosophy as a sub-species of ''mousike'' [[Herodotus]], whose primary medium of delivery was public recitation, named each one of the nine books of his ''Histories'' after a different Muse, [[Invocation|invoked]] at the outset.+In this Greek myth, Demeter, the earth mother, has the power to deny humankind fruits of the harvest. A mother so powerful and so vengeful is an ambivalent figure in myth and history. The metaphor of mother nature continues to permeate the imagination of painters and writers, whose perceptions shape their audiences' images of, and beliefs about, mother, nature and women in general..
-For poet and "law-giver" [[Solon]], the Muses were "the key to the good life"; since they brought both prosperity and friendship. Solon sought to perpetuate his political reforms by establishing recitations of his poetry—complete with invocations to his practical-minded Muses—by Athenian boys at festivals each year. It was believed that the muses would help inspire people to do their best.+== Indigenous peoples of the Americas ==
 +[[Algonquin]] legend says that "beneath the clouds lives the Earth-Mother from whom is derived the Water of Life, who at her bosom feeds plants, animals and human" (Larousse 428). (8) She is also known as [[Nokomis]], the [[Grandparent|Grandmother]].
-===Function in literature===+In [[Inca mythology]], ''Mama Pacha'' or ''[[Pachamama]]'' is a fertility goddess who presides over planting and harvesting. Pachamama is usually translated as "[[Mother Earth]]" but a more literal translation would be "Mother Universe" (in [[Aymara language|Aymara]] and [[Quechua language|Quechua]] mama = mother / pacha = world, space-time or the universe).
-The Muses typically are invoked at or near the beginning of an ancient epic poem or classical Greek hymn. They have served as aids to an author of prose, too, sometimes represented as ''the true speaker'', for whom an author is merely a mouthpiece. Originally, the invocation of the Muse was an indication that the speaker was working inside the poetic tradition, according to the established formulas. Seven classic examples are:+
-:[[Homer]], in Book I of ''[[Odyssey|The Odyssey]]'': +Pachamama and her husband, [[Inti]] are the most benevolent deities and are worshiped in parts of the Andean mountain ranges, also known as [[Tawantinsuyu]] (stretching from present day [[Ecuador]] to [[Chile]] and [[Argentina]]).
-::"Sing to me of the man, Muse, the man of twists and turns+
-::driven time and again off course, once he had plundered+
-::the hallowed heights of Troy." ([[Robert Fagles]] translation, 1996)+
-:[[Virgil]], in Book I of the ''[[Aeneid]]'':+==See also==
-::O Muse! the causes and the crimes relate;+*[[Jord]]
-::What goddess was provok'd, and whence her hate;+*[[Asherah]]
-::For what offense the Queen of Heav'n began+*[[Eingana]]
-::To persecute so brave, so just a man; [...]+*[[Gaia (mythology)|Gaia]]
-::([[John Dryden]] translation, 1697)+*[[Gaia hypothesis]]
- +*[[Pachamama]]
-:[[Catullus]], in Carmen I:+*[[Terra (mythology)|Terra]]
-::"And so, have them for yourself, whatever kind of book it is,+*[[Father Time]]
-::and whatever sort, oh patron Muse+*[[Father Sky]]
-::let it last for more than one generation, eternally."+*[[Paganism]]
-::(Student translation, 2007)+{{GFDL}}
- +
-:[[Dante Alighieri]], in Canto II of [[The Divine Comedy#Inferno|The Inferno]]:+
-::O Muses, O high genius, aid me now!+
-::O memory that engraved the things I saw,+
-::Here shall your worth be manifest to all! +
-::(Anthony Esolen translation, 2002)+
- +
-:[[John Milton]], opening of Book 1 of ''[[Paradise Lost]]'':+
-::Of Man’s first disobedience, and the fruit +
-::Of that forbidden tree whose mortal taste +
-::Brought death into the World, and all our woe, +
-::With loss of Eden, till one greater Man +
-::Restore us, and regain the blissful Seat,+
-::Sing, Heavenly Muse, [...]+
- +
-:[[William Shakespeare]], Act 1, Prologue of ''[[Henry V (play)|Henry V]]'':+
-::Chorus: O for a Muse of fire, that would ascend+
-::The brightest heaven of invention,+
-::A kingdom for a stage, princes to act+
-::And monarchs to behold the swelling scene!+
- +
-:[[Geoffrey Chaucer]], in Book II of [[Troilus and Criseyde]]:+
-::O lady myn, that called art Cleo,+
-::Thow be my speed fro this forth, and my Muse,+
-::To ryme wel this book til I haue do;+
-::Me nedeth here noon othere art to vse.+
-::ffor-whi to euery louere I me excuse+
-::That of no sentement I this endite,+
-::But out of Latyn in my tonge it write.+
- +
-Modern invocations of the Muses have appeared in a variety of literary and adult video sources. The Muses are [[travesty|travestied]] in the 1980 feature film ''[[Xanadu (film)|Xanadu]]'' (and its 2007 [[Xanadu (musical)|Broadway musical adaptation]]), which place Terpsichore and Clio, respectively, in the leading role under the pseudonym 'Kira'. The Muses were also reduced to five in the 1997 Disney film Hercules, and narrated the story through gospel music. Those five were Clio, Thalia, Melpomene, Calliope, and Terpischore. In modern English usage, ''muse'' (non capitalized but deriving from the classical Muses) can refer in general to a person who inspires an artist, writer, or musician.+
- +
-===Cults of the Muses to modern museums===+
- +
-When [[Pythagoras]] arrived at [[Crotone|Croton]], his first advice to the Crotoniates was to build a shrine to the Muses at the center of the city, to promote civic harmony and learning.+
- +
-Local cults of the Muses often were associated with springs or fountains. They sometimes were called Aganippids because of their association with a fountain called [[Aganippe]]. Other fountains, [[Hippocrene]] and [[Pirene (fountain)|Pirene]], also were important locations ascribed to the Muses. The Muses also occasionally were referred to as "Corycides", or "Corycian [[nymph]]s" after a cave on [[Parnassos|Mount Parnassos]], called the [[Corycian Cave]].+
- +
-The Muses were venerated especially in [[Boeotia]], in the [[Valley of the Muses]] near [[Mount Helicon|Helicon]], and in [[Delphi]] and the [[Parnassus]], where Apollo became known as ''Mousagetes'' "Muse-leader" after the sites were rededicated to his cult.+
- +
-Often Muse-worship also was associated with the [[Greek hero cult|hero-cults]] of poets: the tombs of [[Archilochus]] on [[Thasos]] and [[Hesiod]] and [[Thamyris]] in [[Boeotia]], all played host to festivals, in which poetic recitations were accompanied by sacrifices to the Muses.+
- +
-The [[Library of Alexandria]] and its circle of scholars were formed around a ''mousaion'' ('''"[[museum]]"''' or shrine of the Muses) close to the tomb of [[Alexander the Great]].+
- +
-Many [[Age of Enlightenment|Enlightenment]] figures sought to re-establish a "Cult of the Muses" in the eighteenth century. A famous [[Freemasonry|Masonic]] lodge in pre-Revolutionary [[Paris, France|Paris]] was called [[Les Neuf Soeurs]] ("nine sisters", that is, the nine Muses), and it was attended by [[Voltaire]], [[Benjamin Franklin]], [[Georges Danton|Danton]], and other influential Enlightenment figures. One side-effect of this movement was the use of the word "museum" (originally, "cult place of the Muses") to refer to a place for the public display of knowledge.+
- +
-===The Muse-poet===+
-The British poet [[Robert Graves]] popularized the concept of the Muse-poet in modern times. His concept was based on pre-twelfth century traditions of the Celtic poets, the tradition of the medieval troubadours who celebrated the concept of [[courtly love]], and the [[romantic poets]].+
- +
-''"No Muse-poet grows conscious of the Muse except by experience of a woman in whom the Goddess is to some degree resident; just as no Apollonian poet can perform his proper function unless he lives under a monarchy or a quasi-monarchy. A Muse-poet falls in love, absolutely, and his true love is for him the embodiment of the Muse...''+
- +
-''But the real, perpetually obsessed Muse-poet distinguishes between the Goddess as manifest in the supreme power, glory, wisdom, and love of woman, and the individual woman whom the Goddess may make her instrument...''+
- +
-''The Goddess abides; and perhaps he will again have knowledge of her through his experience of another woman...'' ([[Robert Graves]], ''[[The White Goddess]]'', a historical grammar of poetic myth.)+
- +
-===The "tenth Muse"===+
- +
-The archaic poet [[Sappho]] of [[Lesbos]] was given the compliment of being called "the tenth Muse" by [[Plato]]. The phrase has become a somewhat conventional compliment paid to female poets since. In Callimachus' "Aetia", the poet refers to Queen [[Berenike]], wife of Ptolemy II, as a "Tenth Muse", dedicating both the 'Coma Berenikes' and the 'Victoria Berenikes' in Books III-IV. French critics have acclaimed a series of ''dixième Muses'' who were noted by [[William Rose Benet]] in ''The Reader's Encyclopedia'' (1948): Marie Lejars de Gournay (1566-1645), [[Antoinette Deshoulières]] (1633-1694), [[Madeleine de Scudéry]] (1607-1701), and [[Delphine Gay]] (1804-1855).+
- +
-[[Anne Bradstreet]], a [[Puritan]] poet of [[New England]], was honored with this title after the publication of her poems in [[London]] in 1650, in a volume titled by the publisher as ''The Tenth Muse Lately Sprung Up in America...''. This also was the first volume of [[American poetry]] ever published.+
- +
-[[Sor Juana Inés de la Cruz]], a Mexican poet, is well known in the Spanish literary world as the tenth Muse.+
- +
-[[Gabriele d'Annunzio]]'s 1920 Constitution for the [[Free State of Fiume]] was based around the nine Muses and invoked [[Energeia]] (energy) as "the tenth Muse". In 1924, [[Karol Irzykowski]] published a monograph on cinematography entitled "The Tenth Muse" ("Dziesiąta muza"). Analyzing [[silent film]], he pronounced his definition of cinema: "It is the visibility of man's interaction with reality".+
- +
-In ''The Tenth Muse: A historical study of the opera libretto'' [[Patrick J. Smith]] implicitly suggests that the libretto be considered as the tenth muse. The claim, if made explicit, is that the relation of word and music as constituted by the libretto is not only of significant import, but that the critical appreciation of that relation constitutes a crucial element in the understanding of opera. +
- +
-[[Shakespeare's sonnets|Shakespeare's Sonnet]] 38 invokes the Tenth Muse: +
- +
-<blockquote>"How can my Muse want subject to invent,<br>+
-While thou dost breathe, that pour'st into my verse <br>+
-Thine own sweet argument?"</blockquote>+
- +
-the poet asks, and in the opening of the [[sestet]] calls upon his muse:+
-<blockquote>"Be thou the tenth Muse, ten times more in worth <br>+
-Than those old nine which rhymers invocate."</blockquote>+
- +
-== Namesakes ==+
-* [[Famous contemporary muses]] +
-*''[[The Disquieting Muses]]'' (1916) by [[Giorgio de Chirico]]+
-*[[Sylvia Plath]]'s poem, ''The Disquieting Muses.''+
-**" Mother, mother, what ill-bred aunt" {{GFDL}}+

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Mother Nature (sometimes known as Mother Earth) is a common personification of nature that focuses on the life-giving and nurturing features of nature by embodying it in the form of the mother. Images of women representing mother earth, and mother nature, are timeless. In prehistoric times, goddesses were worshipped for their association with fertility, fecundity, and agricultural bounty. Priestesses held dominion over aspects of Incan, Algonquin, Assyrian, Babylonian, Slavonic, Roman, Greek, Indian, and Iroquoian religions in the millennia prior to the inception of patriarchal religions.

Contents

Western tradition History

The word nature comes from the Latin word, natura, meaning birth or character (see nature (innate)). In English its first recorded use, in the sense of the entirety of the phenomena of the world, was very late in history in 1662; however natura, and the personification of Mother Nature, was widely popular in the Middle Ages and can be traced to Ancient Greece in origin; though Earth or Eorthe in the Old English period may have been personified as a goddess. Likewise the Norse also had a goddess called Jord Earth. The pre-Socratic philosophers of Greece had invented nature when they abstracted the entirety of phenomena of the world into a single name and spoken of as a single object: physis. Later Greek thinkers such as Aristotle were not as entirely inclusive, excluding the stars and moon, the "supernatural", from nature. Thus from this Aristotelian view—nature existing inside a larger framework and not inclusive of everything—nature became a personified deity, and it is from this we have the origins of a mythological goddess nature. Later medieval Christian thinkers did not see nature as inclusive of everything, but thought that she was created by God, her place lay on earth, below the heavens and moon. Nature lay somewhere in the middle, with agents above her (angels) and below her (demons and hell). For the medieval mind she was only a personification, not a goddess. The modern concept of nature, all inclusive of all phenomenon, has returned to its original pre-Socratic roots, no longer a personification or deity except in a rhetorical sense, a bow to her illustrious traditions.

Greek myth

Specifically in Greek mythology, the myth of Demeter and Persephone tells the story of a mother who discovers that her daughter has been abducted by Hades, who drags Persephone into the underworld with him. Demeter, goddess of the harvest, whose name originally meant 'earth mother', wreaked revenge upon the earth by refusing to provide any crops, so that the "entire human race [would] have perished of cruel, biting hunger if Zeus had not been concerned" (Larousse 152). She would not permit the earth to bear fruit until she saw her daughter again, and so Hades was forced by Zeus to allow Persephone to live with her mother, but while Persephone had lived in the Underworld, she had been forced to eat seeds of the pomegranate, the food of the dead. When Hermes came to take Persephone back to her mother Hades argued that she had tasted the fruit of the dead, therefore, must remain with him and be queen of the underworld. Zeus made a deal with Hades, for every seed that Persephone ate she would have to stay for a month in the Underworld with Hades; the other months she would remain with her mother. She had eaten six pomegranate seeds and had to spend six months with Hades - six months that represent fall and winter. However, the price humankind pays, according to the myth, is that when autumn winds arrive, and the earth hardens and becomes covered in snow and frost, Demeter is without her daughter, and allows no fecundity or growth; in contrast, the spring and summer months are those of rejoicing, flowers in bloom, and the beginning of months of warmth and fertility.

In this Greek myth, Demeter, the earth mother, has the power to deny humankind fruits of the harvest. A mother so powerful and so vengeful is an ambivalent figure in myth and history. The metaphor of mother nature continues to permeate the imagination of painters and writers, whose perceptions shape their audiences' images of, and beliefs about, mother, nature and women in general..

Indigenous peoples of the Americas

Algonquin legend says that "beneath the clouds lives the Earth-Mother from whom is derived the Water of Life, who at her bosom feeds plants, animals and human" (Larousse 428). (8) She is also known as Nokomis, the Grandmother.

In Inca mythology, Mama Pacha or Pachamama is a fertility goddess who presides over planting and harvesting. Pachamama is usually translated as "Mother Earth" but a more literal translation would be "Mother Universe" (in Aymara and Quechua mama = mother / pacha = world, space-time or the universe).

Pachamama and her husband, Inti are the most benevolent deities and are worshiped in parts of the Andean mountain ranges, also known as Tawantinsuyu (stretching from present day Ecuador to Chile and Argentina).

See also




Unless indicated otherwise, the text in this article is either based on Wikipedia article "Mother Nature" or another language Wikipedia page thereof used under the terms of the GNU Free Documentation License; or on research by Jahsonic and friends. See Art and Popular Culture's copyright notice.

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