[17], The story of Ulysses and Circe was retold as an episode in Georg Rollenhagen's German verse epic, Froschmeuseler (The Frogs and Mice, Magdeburg, 1595). a quiet place where Scylla, at midday, [60] Where the attempt by Pascoli's hero to recapture the past ended in failure, Kazantzakis' Odysseus, already realising the emptiness of his experiences, journeys into what he hopes will be a fuller future.

Literature – Homer – Odyssey; Landscape – coast; Mythology – classical – siren; Object Number. A portrait the Greek goddess, Circe, who was a powerful witch and sorceress.

Around her home prowl strangely docile lions and wolves.

Circe holds a mortar and pestle (or bowl and wand) in her hands.


Though this lady's past was ambiguous, she had connections with those in power and was used by the Government as a secret agent.

It is his second depiction, after Circe Offering the Cup to Ulysses (1891), of the Greek mythological character, Circe, this time while she is poisoning the water to turn Scylla, Circe's rival for Glaucus, "into a hideous monster". The German experimental musician Dieter Schnebel's Circe (1988) is a work for harp, the various sections of which are titled Signale (signals), Säuseln (whispers), Verlockungen (enticements), Pein (pain), Schläge (strokes) and Umgarnen (snare), which give some idea of their programmatic intent.

Undoubtedly you all have heard of Claude Monet, Auguste Renoir, Alfred Sisley or Edouard Manet. These include plays, epic poems, myths, and historical accounts. Towards the end of Hesiod's Theogony (c. 700 BCE), it is stated that Circe bore Odysseus three sons: Agrius (otherwise unknown); Latinus; and Telegonus, who ruled over the Tyrsenoi, that is the Etruscans. A nearly contemporary example was the 1907 photo of Mme Geneviève Vix as Circe in the light opera by Lucien Hillenacher at the Opéra-Comique in Paris.

[92] Her enticing expression and the turn of her head there is almost exactly that of Van Stuck's enchantress as she holds out the poisoned bowl.

Under her feet, Scylla's "barking shapes" already swirl in the bubbling depths below; the transformation is well underway. With this weapon he killed his father unknowingly. [113] Questioned in an interview about how this worked in terms of his composition, he explained that this meant disrupting the musical structure once it was established and that the singer's shift between voice tones, singing and non-communicative vocalisation equates to the movement from solitude to self-expression. [40], That central image is echoed by the blood-striped flower of T.S.Eliot's student poem "Circe's Palace" (1909) in the Harvard Advocate.

These developed from mere poses, with the audience guessing the names of the classical characters and scenes that she portrayed, into small, wordless charades. It was first performed at Frascati in 1667 to honour Cardinal Leopoldo de Medici and contained references to its surroundings. The Telegony, an epic now lost, relates the later history of the last of these.

Hercules arrives on the island of Circe with his servant Cercopo and has to be rescued by the latter when he too is changed into a pig. And Circe now contaminates this bay,

[24], The other Italian author was the esoteric philosopher Giordano Bruno, who wrote in Latin. There was also a tradition of private performances, with a variety of illustrated works to help with stage properties and costumes. Gift of William T. Evans. A monkey is crouching above her in the branches of a tree and a panther fraternizes with the kitten on her knee. While operas on the subject of Circe did not cease, they were overtaken for a while by the new musical concept of the symphonic poem which, whilst it does not use a sung text, similarly seeks a union of music and drama. reducing shadows to a narrow thread.

Initially, his main interest lied in sculpture, but after he became aware of his gift and talent in painting, he shifted his focal point. The translation of Kimon Friar, New York 1958, Hill, "Odysseus' Companions on Circe's Isle". The name was given by botanists in the late 16th century in the belief that this was the herb used by Circe to charm Odysseus' companions.

When some of the satellites of the latter, who went to investigate the island, turned Circe into pigs, Odysseus went alone to the house of the sorceress and. The 19th-century English poet Augusta Webster, much of whose writing explored the female condition, has a dramatic monologue in blank verse titled "Circe" in her volume Portraits (1870).

After appearing as just one of the characters that Odysseus encounters on his wandering, "Circe herself, in the twists and turns of her story through the centuries, has gone through far more metamorphoses than those she inflicted on Odysseus's companions. Scenes from the Odyssey are common on Greek pottery, the Circe episode among them. One of the earliest was Alessandro Stradella's La Circe, in a setting for three voices that bordered on the operatic. Lord de Tabley's "Circe" (1895) is a thing of decadent perversity likened to a tulip, A flaunting bloom, naked and undivine... / With freckled cheeks and splotch'd side serpentine, / A gipsy among flowers. [116] A recent reference is the harpsichordist Fernando De Luca's Sonata II for viola da gamba titled "Circe's Cave" (L'antro della maga Circe). It is dark. The crashing waves roar with a deafening thunder, and the foamy spray flies with a quickening speed. But in Matthew Arnold's dramatic poem "The Strayed Reveller" (1849),[32] in which Circe is one of the characters, the power of her potion is differently interpreted.

Half Greek comedy, half Elizabethan masque, it is acted at the Grange by the novel's characters as a Christmas entertainment.

Waterhouse is an adept at blending feminine beauty and mystery. [114] Dominique Lemaitre's Circé for soprano and eight cellos (1998) is equally programmatic. This time, we do not see Circe committing an evil deed, but instead in one of her ordinary moments.

The two most common representations have Circe surrounded by the transformed sailors and Odysseus threatening the sorceress with his sword. [55] In addition, it has been argued that the fairy Titania in William Shakespeare's A Midsummer Night's Dream (1600) is an inversion of Circe. Western paintings established a visual iconography for the figure, but also went for inspiration to other stories concerning Circe that appear in Ovid's Metamorphoses.

In this the Honourable Edith Chaplin (1878–1959), Marchioness of Londonderry, and her three youngest daughters are pictured in a garden setting grouped about a large pet goat. Edward Fairfax's 1600 translation is available at the. / 'Tis vice alone that constitutes / Th'enchanting wand and magic bowl, The exterior form of Man they wear, / But are in fact both Wolf and Bear, / The transformation's in the Soul.[28].

Though only a head and shoulders sketch, its colouring and execution suggest the sitter's lively personality.

Aside from our main subject, we see two pigs, one behind the throne and one near her feet, who are her  recent victims.

Hans Dieter Schaal: Stage Architecture Stuttgart and London 2002, "Disbelieving in Witchcraft: Allori's Melancholic Circe in the Palazzo Salviati,", https://www.britannica.com/topic/Circe-Greek-mythology, "The Fables of La Fontaine, by Jean de La Fontaine : Book XII", "Alciato at Glasgow: Emblem: Cavendum à meretricibus", "Odysseus & Circe – Ancient Greek Vase Painting", "Homer (c. 750 BCE) – The Odyssey: Book X", "Odysseus and Circe, Athenian red figure lekythos, c. 470 BCE. Gerald Humel's song cycle Circe (1998) grew out of his work on his 1993 ballet with Thomas Höft.
It is based on four excerpts from Homer's Odyssey and emphasises a variety of vocal uses for the mezzo-soprano part. When the existence of witches came to be questioned, she was reinterpreted as a depressive suffering from delusions.

He was also referred to as Nino by many of his contemporaries, friends, and family. This is further underlined by his statement (in a letter) that the black panthers there are 'images of ruined passion' and by his anticipation at the end of the poem of passion's tide-strown shore / Where the disheveled seaweed hates the sea. The Venetian Gasparo Gozzi was another Italian who returned to Gelli for inspiration in the 14 prose Dialoghi dell'isola di Circe (Dialogues from Circe's Island) published as journalistic pieces between 1760 and 1764. [11], Three ancient plays about Circe have been lost: the work of the tragedian Aeschylus and of the 4th-century BCE comic dramatists Ephippus of Athens and Anaxilas. In the painting, the artist Spranger depicted the moment of Odysseus’ request to Circe to let him go with his comrades to his homeland.

But though the earth is shaken to its core, Love is not to be commanded in this way and the wintery fields come back to life. [78] Evidence of such performances during the following decades is provided by several portraits in character, of which one of the earliest was the pastel by Daniel Gardner (1750–1805) of "Miss Elliot as Circe". There is a Circe episode in John Harbison's Ulysses (Act 1, scene 2, 1983) in which the song of the enchantress is represented by ondes Martenot and tuned percussion. [4] Judith Yarnall also echoes the sentiment about the colors and mentions an "integrity of line" in the painting.

[5] One of her Homeric epithets is polypharmakos, "knowing many drugs or charms".[6]. [93] The posing of the actress and the cropping of the image so as to highlight her luxurious costume demonstrates its ambition to create an effect that goes beyond the merely theatrical. "Margarita Georgiadis as Circe" (1991) is a triptych, the central panel of which portrays an updated, naked femme fatale reclining in tropical vegetation next to a pig's head.[91].

Here he gives us “Circe …

Circe had two brothers and one sister.

Her father was Helios, the God of the Sun and the guardian of oaths.

She is ready to serve the enchanted wine to Odysseus without knowing that he just got help from Hermes along the way. One of the photographic series by Julia Margaret Cameron, a pupil of the painter George Frederic Watts, was of mythical characters, for whom she used the children of friends and servants as models.