The Siege Of Carthage 149-146 BC. Sieges can be dramatic, tragic, far-reaching in their results, desperate, epochal. But quite rarely they are all of these at once. The battle of Carthage (149-146 BC) is one of these rare examples. In my previous two articles I have talked about the historical context and the course of the respective sieges.
Now I will change the focus of the story and talk mainly about the motivation of the opposing forces, because this peculiar siege is best remembered for its bitter fighting, huge casualties (according to Polybius only some 50 000 of the 500 000 inhabitants of the city survived the carnage) and the utter destruction of one of the greatest cities of Antiquity. Hundreds of thousands of pages have been dedicated to Roman history and for good reason – after all the late Roman civilization was the pinnacle of the ancient Mediterranean historical evolution and the cradle of birth for Christianity. Many people fall in the trap of historical hindsight – that is, they read history backwards. The Voynich Manuscript.
The Voynich Manuscript is a document that is notable for it's strange text, that to date hasn't been decyphered. Theories range from a secret language or code to an old sort of joke or hoax. Language English Collection opensource Reviewer:collytus - favoritefavoritefavoritefavorite - August 21, 2016 Subject: A couple of ideas I just noticed all the pots illustrated next to the pictures of the plants (pages 161 and 174). Does the book use different pots to illustrate the roots looking the same (notice the legs of the pots) or are they just random containers used to store those roots? So what they've illustrated there might have been real pots people used at the time and area of the writing (Near East etc.). Reviewer:Navyarao - - August 9, 2016 Subject: Illustrator and writer Hi dear fellas, I found something interesting while going through this manuscript.
While am going through each page and illustration of plants and human, kind of beings were done by some amateur painter. Riabets M.A. Huldra. The Huldra is a seductive forest creature found in Scandinavian folklore. (Her name derives from a root meaning "covered" or "secret".)[1][2] In Norwegian folklore, she is known as the skogsfru or skovfrue (meaning "Lady (read, counterpart of a Lord) of the forest"). She is known as the skogsrå (forest spirit) or Tallemaja (pine tree Mary) in Swedish folklore, and Ulda in Sámi folklore. Her name suggests that she is originally the same being as the völva Huld and the German Holda.[3] A male hulder is called a huldu, or, in Norway, a huldrekarl. [citation needed] Male huldes, called Huldrekarl, also appear in Norwegian folklore.
This being is closely related to other underground dwellers, usually called tusser. Like the female counterpart, the huldrkarl is a shapeshifter who often lures girls under a fair countenance. Grammatical Declension[edit] The word huldra is the definite form in Norwegian ("the hulder") – the indefinite form is ei hulder ("a hulder"). Features[edit] Folklore[edit] Dwarf (Germanic mythology) In Germanic mythology, a dwarf is a being that dwells in mountains and in the earth, and is variously associated with wisdom, smithing, mining, and crafting. Dwarfs are often also described as short and ugly, although some scholars have questioned whether this is a later development stemming from comical portrayals of the beings.[1] The modern English noun dwarf descends from the Old English dwarȝ. It has a variety of cognates in other Germanic languages, including Old Norse dvergr and Old High German twerg.
According to Vladimir Orel, the English noun and its cognates ultimately descend from Proto-Germanic *đwerȝaz.[2] Beyond the Proto-Germanic reconstruction, the etymology of the word dwarf is highly contested. Norse mythology, as recorded in the Poetic Edda (compiled in the 13th century from earlier traditional sources) and the Prose Edda (written by Snorri Sturluson in the 13th century) provide different mythical origins for the beings. Simonside Dwarfs Gilliver, Peter.
Harpy. In Roman mythology, a harpy (Greek: ἅρπυια, harpyia, pronounced [hárpuja]; Latin: harpeia) was one of the winged spirits best known for constantly stealing all food from Phineus. The literal meaning of the word seems to be "that which snatches" as it comes from the Greek word harpazein (ἁρπάζειν), which means "to snatch". A harpy was the mother of the horses of Achilles sired by the West Wind Zephyros.[1] Hesiod[2] calls them two "lovely-haired" creatures, and pottery art depicting the harpies featured beautiful women with wings.
Harpies as ugly winged bird-women, e.g. in Aeschylus' The Eumenides (line 50) are a late development. Mythology[edit] A medieval depiction of a harpy as a bird-woman In this form they were agents of punishment who abducted people and tortured them on their way to Tartarus. Aeneas encountered harpies on the Strophades as they repeatedly made off with the feast the Trojans were setting. Harpies in the infernal wood, from Inferno XIII, by Gustave Doré, 1861. Fenrir. Odin and Fenris (1909) by Dorothy Hardy In Norse mythology, Fenrir (Old Norse: "fen-dweller"),[1] Fenrisúlfr (Old Norse: "Fenris wolf"),[2] Hróðvitnir (Old Norse: "fame-wolf"),[3] or Vánagandr (Old Norse: "the monster of the river Ván")[4] is a monstrous wolf. Fenrir is attested in the Poetic Edda, compiled in the 13th century from earlier traditional sources, and the Prose Edda and Heimskringla, written in the 13th century by Snorri Sturluson.
In both the Poetic Edda and Prose Edda, Fenrir is the father of the wolves Sköll and Hati Hróðvitnisson, is a son of Loki, and is foretold to kill the god Odin during the events of Ragnarök, but will in turn be killed by Odin's son Víðarr. In the Prose Edda, additional information is given about Fenrir, including that, due to the gods' knowledge of prophecies foretelling great trouble from Fenrir and his rapid growth, the gods bound him, and as a result Fenrir bit off the right hand of the god Týr. Attestations[edit] Poetic Edda[edit]