Virginia Tech Cult of Poseidon at Sunmuin Greek and Roman Mythology Discussion

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In chapter 7 of Morford and Lenardon’s Classical Mythology we read a number of literary stories about Poseidon. What are some of the things we learned about the cult of Poseidon at Sunium? Cite with page numbers. 1 page double spaced. CHapter is attached

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Poseidon, Sea Deities, Group Divinities, and Monsters By the harbor there is a temple of Poseidon and a freestanding statue of stone. In addition to the many names that have been fashioned by the poets for Poseidon as an adornment for their for each particular lished verses, and those names which custom has the names of the that all men use are god estab community, Pelagaios, (God of the Sea), Asphaleios (God of Security), and of Horses). -PAUSANIAS, Description Hippios (God of Greece 7.21.7 POSEIDON, BEST KNOWVN AS the great god of waters in general and of the sea in particular, was no means the first or by only such divinity. As we have seen, Pontus (Sea) was produced by Ge in the initial stages of creation; and two of the Titans, Oceanus and Tethys, bore thousands of children, the Oceanids. In addition, Pontus mated with his mother, Ge, and begat (among other progeny, discussed later in this chapter) Nereus, the eldest of his children, who was gentle, wise, and true, an old man of the sea with the gift of prophecy. Nereus in turn united with Doris (an Oceanid) who bore him the Nereids; three of these mermaids should be Galatea, and Amphitrite. fifty daughters, singled out: Thetis, Peleus and Thetis We have already mentioned that Thetis was destined to bear a mightier than his father. Zeus learned this secret from Prometheus son avoided mating with Thetis; she married instead a mortal named and Peleus, who was hard pressed to catch his bride. For Thetis possessed 165 166 Chapter 7 PosEIDON, SEA LDEITIES, GROUP DIVINITIES, AND MONSTERS the power of changing shape and transformed herself into a variety of states (eg, a bird, a tree, a tigress) in rapid succession, but eventually she was forced to succumb. Peleus and Thetis celebrated their with marriage great ceremony (although she later left him), and their son Achilles did indeed become mightier than his father (see p. 481). Acis, Galatea, and the Cyclops Polyphemus Galatea, another Nereid, was loved by the Cyclops Polyphemus, a son of Poseidon. Ovid's account (Metamorphoses 13. 750-897) presents a touching rendition of their story, playing upon the incongruity of the passion of the monstrous and boorish giant for the delicate nymph. Repelled by his attentions, she loved Acis, handsome son of Faunus and a sea-nymph, Symaethis, daughter of the river-god, Symaethus, to in Sicily. Overcome by emotion, attempted mend his savage ways; he combed his hair with a rakePolyphemus and cut his beard with a scythe. Ovid's Galatea tells how the fierce Cyclops would sit on the cliff of a promon tory jutting out to the sea, where he would lay down his staff (a huge pine-trunk the size of a ship's mast) and take up his pipe of a hundred reeds. Hiding below in the arms of her beloved Acis, Galatea would listen to his song. First, he would extravagantly describe her magnificent beauty, then bitterly lament her adamant rejection of him, and continue with an offer of many rustic appeal concludes as follows (839-897): 4) Audio gifts. His tragicomic "Now Galatea, come, don't despise my gifts. Certainly I know whatI look like: just recently I saw myself in the reflection of a limpid pool, and I was pleased with the figure that I saw. Look at what a size l am! Jupiter in the sky doesn't have a body bigger than mine-you are always telling me that one or other named some Jove reigns up there. An abundance of hair over hangs my rugged features and, like a grove of trees, overshadows my shoulders; and don't think my body ugly because it bristles with the thickest and coarsest of hair. A tree without leaves is ugly; ugly is a horse, if a bushy mane doesn't cover its tawny neck; feathers cover birds, and their own wool is an adorn. ment for sheep; for a man a beard and shaggy hair are only fitting. So there is one eye in the middle of my forehead. What of it? Doesn't the great Sun see all these things here on earth from the sky? Yet the Sun has only a single 10 eye. (839-853) "Furthermore, my father Neptune rules over your waters, and he is the one father-in-law. Only have pity and listen to the prayers of my sup plication! I succumb to you alone. I am scornful of Jove, of his sky and his dev astating thunder; but I am afraid of you; your wrath is more deadly than his thunderbolt. (854-858) I give you as a "I should better endure this contempt of yours, it you would run away trom everybody: but why do you reject me and love Acis? Why do you prefer Acis to my embraces? Yet he may be allowed to himself and you as well-but | please don't want him to be pleasing to you! Just let me have the chance. He will know then that my strength is as huge as the size of my body. I'll tear out his living innards, and l'll scatter his dismembered limbs over the land and the waves 20 10:20 d 92% chegg.com/reade Q Poseidon and Amphitrite of your waters-in this way may he mingle in love with you! For I burn with a fery passion that, upon being rejected, flames up the more fiercely and I seem to carry Mt. Aetna, with all its volcanic force, buried in my breast. And you, Galatea, remain unmoved." (859-869) After such complaints made all in vain, he rose up (for I saw it all) and was unable to stand still, but wandered the woods and his familiar pastures, 30 like a bull full of fury when his cow has been taken away from him. Then the raging Cyclops saw me and Acis, who were startled by such an unexpected fright. He shouted, see you and I make this loving union or yours your last. That voice of his was as great as a furious Cyclops ought to have; Aetna trembled at his roar. But I was terrified and dove into the waters nearby. My Symaethian hero, Acis, had turned his back in flight and cried, "Bring help to me, Galatea, help, my parents, and take me, about to die, to your wateryy kingdom!" (870-881) The Cyclops, in hot pursuit, hurled a section torn out of the mountain. Al though onily a mere edge of that jagged mass struck Acis, it buried him com- 0 pletely; but it was through me that Acis appropriated to himself the watery power of his ancestry-the only solution allowed by the Fates. Red blood out the that and a time the red of the blood began to disappear and it became the color of a stream began to trickle from mass had buried him, in short made turbid by an early rain, and in a while the water cleared. Then the mass that had been thrown upon him split open and, through the cleft, a reed, green and slender, rose up and the hollow opening in the rock resounded with the leaping waves. Suddenly a wonderful thing happened-up to his waist in the midst of the waves there stood a youth, the sprouting horns on his brow wreathed with pliant reeds. Except that he was bigger and his whole face the bluish green of water, this was Acis indeed turned into a river-god. (882--897) Poseidon and Amphitrite The third Nereid, Amphitrite, is important mainly as the wife of Poseidon; like her sister Thetis, she proved a reluctant bride, but Poseidon finally was able to win her. As husband and wife, they play roles very much like those enacted by Zeus and Hera: Poseidon has a weakness for women, and Amphitrite, with good cause, is angry and vengeful. They had a son, Triton, a merman, human above the waist, fish-shaped below. He is often depicted blowing a conch shell, a veritable trumpeter of the sea; he can change shape at will. Tyro, daughter of Salmoneus, was loved by Poseidon, who disguised himself as the Thessalian river Enipeus (Homer, Odyssey 11. 245): In the form of Enipeus did the Earthshaker lie by her at the mouth of the eddying river. About them rose a crested wave, mountainous in size, which hid both god and mortal woman. The children born of this union were twins, Neleus and Pelias, notable leg endary figures with significant progeny: O 50 167 168 Chapter 7 PoSEIDON, SEA DEITIES, GrOUP DivINITIES, AND MONSTERS For a translation of the ac- counts about Proteus by Homer and Vergil, see www.oup.com/us/morford. Proteus The sea divinity Proteus, probably another of the older generation of gods, is often named as the attendant of Poseidon or even as his son. Like Nereus, he is an old man of the sea who can foretell the future; he can also change shape. It is easy to see how the identities of Nereus, Proteus, and Triton could be merged. Confusion among sea divinities and duplica tion of their characteristics are everywhere apparent. There are two classic accounts of Proand his powers: those of teus' nature Homer (Odyssey 4. 360-570) and Vergil (Georgics 4. 386-528). In Homer, Menelaüs, on his way home from Troy, was unduly detained off the coast of Egypt; he consulted Proteus, the old man of the sea, with the help of Proteus' daughter Eidothea. Menelaüs explains: "We rushed upon him with a shout and threw our arms about him; but the old man did not forget his devious arts. First off he became a thickly maned lion, and then a serpent, a leopard, and a great boar. And he became liquid water and a tree with lofty branches. But we held on to him firmly with steadfast spirits." Finally, the devious Proteus grew weary and answered Menelaüs' questions about his return home. Neptune in His Chariot. Mosaic, mid-second century A.D., diameter 77 in. This is the central panel of a very large square mosaic of Nep tune and the Seasons, in which The Appearance and Character of Poseidon occupy the corners. Neptune (Poseidon) dominates the Poseidon is similar in appearance to his brother Zeus, a majestic, bearded figure, but he is generally more severe and rough, to illustrate his tempestuous nature; besides, he carries the trident, a three-pronged fork resembling a fisherman's spear. By his very nature, Poseidon is ferocious. He is called the central supporter of the earth but the earthshaker as well, and as a god of earthquakes female hgures representing each of the tour seasons panel, with four sea horses pulling his chariot: to the viewer's right in the background is a sea-nymph, and on the lett is a Triton. he exhibits his violence by the rending of the land and the surge of the sea. By a mere stroke of his trident, he may destroy and kill. Ovid provides a typical description in his version of the Flood (see p. 100), provid ing a vivid character theme was elaborated The by Poussin in his Triumph ization of Poseidon under his Roman name of Neptune. Poseidon's relentless anger against Odysseus for blinding Polyphemus provides a dominant theme of Neptune and Amphitrite in the Odyssey. The Homeric Hymn to Poseidon (22) attempts to appease his See image on p. 171). (Gilles Mermet/Art Resource, NT) anger. About Poseidon, a great god, I begin to sing, the shaker of the earth and of the barren sea, ruler of the deep and also over Mt. Helicon and the broad town of The Progeny of Pontus and Ge Aegae. A double honor, the gods have allotted to you, O Earthshaker-to be both a tamer of horses and a savior of ships. Hail, dark-haired Poseidon, who surrounds the earth and, O blessed god, be of kind heart and protect those who sail your waters. (1-7) The origins of Poseidon are much disputed. If his trident represents what ras once a thunderbolt, then he was in early times a god of the sky. More attrac ve is the theory that he was once a male spirit of fertility, a god of earth who ent up springs. This theory fits well with his association with horses and bulls ne either creates them or makes them appear) and explains the character of ome of his affairs. He mated with Demeter in the form of a stallion; he pursued er while she was searching for her daughter, and her ruse of changing into a nare to escape him was to no avail. Thus, we have the union of the male and emale powers of the fertility ot the earth" t nevertheless should be remem- ered that standard epic epithets of the sea are "barren" and "unharvested" as pposed to the fecundity of the land. The suggestion that Poseidon's horses are he mythical depiction of the whitecaps of the waves is not convincing, at least n terms of origins. The important story of the contest between Poseidon and Athena for control f Athens and its surrounding territory, Attica, is told in Chapter8 in connection vith the sculpture of the west pediment of the Parthenon. Scylla and Charybdis Poseidon made advances to Scylla, the daughter of Phorcys and Hecate. Amphi- rite became jealous and threw magic herbs into Scylla's bathing place. Thus, Scylla was transformed into a terrifying monster, encircled with a ring of dogs' heads. Ovid's different version of Scylla's transformation (Metamorphoses 13. 917-968; 14. 1-71) is more well known: Glaucus, a mortal who had been changed intoa sea-god, fell in love with Scylla; when he was rejected, he turned to the sorceress Circe for help. But Circe fell in love with him and, in her jealousy, poisoned the waters of Scylla's bathing place. Scylla's home was a cave in the Straits of Messina between Sicily and Italy. With her was Charybdis, the daughter of Poseidon and Ge, a formidable and voracious ally whom Zeus had cast into the sea by his thunderbolt; three times a day she drew in mountains of water and spewed them out again. Scylla and Charybdis have been rationalized into natural terrors faced by mariners when they sailed through the straits. Certainly, many of the tales about the gods of the waters are reminiscent of the yarns spun by fishermen, sailors, and the like, whose lives are involved with the sea and with travel. The Progeny of Pontus and Ge Pontus and Ge produced legions of descendants. (Notice how elements of the fantastic and the grotesque appear again and again in the nature of the progeny associated with the sea and the deep) In addition to Nereus, Pontus and Ge had two more sons, Thaumas and Phorcys, and two daughters, Ceto and Eurybië. Thaumas mated with Electra 169 TURE aphaël and Poussin with Leonardo and Michelangelo a s one He was born in Urbino, and and Tuscany, especially in the city of iring his early career he worked in Umbriaand architect. In 1508, at the behest of painter orence. He was an accomplished he went to Rome and remained there until his death. One of the first (Raffaello Sanzio or Santi) stands aphaël the great masters of the High ltalian Renaissance. pe Julius IL, Galatea. if not the first work, that Raphael painted in Rome was the orks, The most important sources for the story of Galatea are the ldylls of the Greek et Theocritus (third century BC) and, of course, the Metammorphoses of the Roman et Ovid (43 B.C-ca. A.D. 17). In Ovid's version of the tale, the Trojan Aeneas is sail- 8 past Scylla and Charybdis. This encounter leads Ovid to recall that once Scylla been a beautiful, young woman pursued by many suitors. She would often visit d ab thelatest suitor she had rejected. During one of these visits, alatea contributes her ownstory at Scylla's urging Galatea had once been theobject alatea to gossip the love of the barbarous Cyelops, Polyphemus. He would often sing to her in attempt to woo her, but Galatea spurned his advances, she had eyes only for handsome youth named Acis. One day, Polyphemus caught them together and aried Acis under a mountain of stone. Galatea, however, had the power to trans form her beloved's which was blood, Seeping out from between the rocks, into a river, and so Acis became a river-god. (Interestingly, there exists a variant of the tale in which Poly- phemus' suit is suc cessful and he wins the hand of Galatea.) The classical was later tale used in a poem by the famed Italian scholar and poet Angelo Poliziano (1454-1494); his was one of the main literary in- version tluences for Raphaël's fresco. In Raphael's version of the neither nor Acis story, Polyphemus is present, though shortly after Raphael painted his Galatea, another artist, Myth and Culture 171 Sebastiano del Piombo, painted to the left of Raphaël's work, on another section of the wall, a fresco of the Cyclops entitled Polyphemus. This addition gives Galatea an object for her gaze. If considered alone, Galatea in Raphaël's fresco is neither gazing at anyone nor being gazed upon; she stands strangely isolated amidst the activity and amorous pursuits ot the other figures. Many have seen in her a symbol of love itself; it is worth noting that she rides on a shell, a symbol that is often associated with Aphrodite (Venus). This vision of the apotheosis of Galatea had a tremendous influence on later artists. The French painter Nicholas Poussin (1594-1665) was drawn to the past, es pecially the history and mythology of classical antiquity. Like Raphaël, he was attracted by Rome and spent all of his working life there; Raphaëä's work exerted a profound influence on his style and composition. This can certainly be appreciated in The Triunph of Neptune and Anphitrite, although the subject matter is different, the color palette darker, and the scene more emotional. Amphitrite occupies the same space as Galatea; she rides in a seashell chariot drawn by dolphins and is the central focus of the surrounding figures. Since both Galatea and Amphitrite were daughters of the sea god Nereus, this association makes perfect sense. Neptune Occupies the same place as the Cyclops Polyphemus in Piombo's fresco; he is the father of the Cyclops and, from the left side, is gazing adoringly at Amphitrite. Al though the cupids are multiplied and disposed in various ways at the top, they do correspond to Raphaëls cupids, particularly the one beneath Amphitrite's chariot. The two Triton figures and the amorous couples are also replicated on either side of Neptune's consort. In myth, the advances of Amphitrite, like Galatea, at least at first. Poussin's Neptune, reveals the end of the painting spurned story. CkerrLook The Triumph of Neptune and Amphitrite, by Nicolas Poussin (594-1665): oil on canvas, ca. 1637. 45 X 58 in. Amphitrite is at the center, accompanied by Nereids and Iritons as she rides over the sea in her shell drawn by tour dolphins. Neptune comes alongside his bride in a chariot drawn by tour sea-horses. Above, winged cupids (one with buttertiy's wings and one with a wedding and in torch) strew tlowers, to the left the background ride two cupids, above whom fly the swans of Venus. Pous sin exuberantly reinterprets a theme found in Roman foor mosaics and in Raphael's fresco Galatea (ca. i512) in the Villa Farnesina at Rome. (Philadelphia Museum of Art: The George W. Elkins Collec tion, 1932 Photo by Graydon Wood) 172 Chapter 7 PosEIDON, SEA DEITIES, GROUP DIVINITIES, AND MoNSTERS PONTUS M. GE Nereus Thaumas m. Electra Phorcys m. Ceto Eurybie . Doris 50 Nereids Figure 7.1. Iris Harpies Graeae Gorgons Ladon Descendants of the Sea (an Oceanid) to produce Iris and the Harpies. Iris is the goddess of the rainbow (her name means "rainbow"). She is also a messenger of the gods, sometimes the particular servant of Hera, with Hermes' offices then confined to Zeus. She is fleet-footed and winged, as are her sisters, the Harpies, but the Harpies are much more violent in nature. In early sources, they are conceived of as strong winds name are depicted in means "the ture and in art as birdlike creatures with the faces of women, often terrifying (their snatchers"), but later they litera anda pestilence. his Ceto produce two groups of children, the Graeae and the Gorgons. The Graeae (Aged Ones) are three sisters, personifications of old age; their hair was gray from birth, but in their general aspect they appeared Phorcys and sister swanlike and beautiful. They had, however, only one eye and one tooth, which theywere forced to share among themselves. The Graeae knew the way to their sisters, the Gorgons, who were also three in number (Stheno, Euryale, and Medusa) and whose hair writhed with serpents. They were of such terrifying aspect that those who looked upon them turned to stone. Gorgons are a favorite theme in Greek art, especially in the early period; they leer out most disconcertingy with a broad archaic smile, tongue pro- truding in the midst of a row of bristling teeth. Medusa is the most important MEDUSA M. POSEIDON Chrysaor m. Callirhoe Pegasus Geryon Echidna m. Orthus Theban Sphinx Figure 7.2. Nemean Lion Descendants of Medusa Echidna m. Typhon Cerberus Lernaean Hydra Chimaera Interpretative Summary 173 orgon; Poseidon was her lover. She presents the greatest challenge to he hero Perseus (see pp. 542-544), and when he beheaded her, she was pregnarnt; from her corpse sprang a winged horse, Pegasus, and son, Chrysaor (He of the Golden Sword). Phorcys and Ceto also bore a dragon named Ladon; he helped the ovely Hesperides (Daughters of Evening), who guarded a wondrous ree on which grew golden fruit, far away in the West, and passed their ime in beautiful singing.Heracles slew Ladon when he stole the apples of the Hesperides (seep. 565). Chrysaor mated with an Oceanid, Callirhoë, and produced the monsters Geryon and Echidna (half nymph and half snake). Echidna inited with Typhon and bore Orthus (the hound of Geryon), Cerberus (the hound of Hades), the Lernaean hydra, and the Chimaera. Echidna and Orthus produced the Theban Sphinx and he Nemean lion. These monsters will appear later in saga to be vercome by heroes; many of them are particularly associated vith the exploits of Heracles (see Chapter 22). Interpretative Summary The stories about waters of all sorts-rivers, lakes, the ocean, and he seas-and the deities associated with them are numerous and evealing They remind us of how important travel by sea was o the Greeks and Romans and how control of the seas, particu- arly the Mediterranean, was the key to power. The thalassocracy sea-power) of Minoan Crete makes this perfectly clear, as does the subsequent dominance of the Mycenaeans, the inheritors of Cretan contro. Subsequently, the naval empire of Periclean Athens, in the fifth century BC, confirms the vital importance of sea-power, and so does the mighty empire cquired by the Romans, for whom their Mediterranean "lake" was the entral focus. That there were two major periods in the initial creation of Greek mythology s made evident by the nature and extent of the travels of the seafarers, Theseus, ason, Odysseus, and the survivors of the Trojan War in Minoan-Mycenaean imes, with the contlation of geographical and historical events belonging to the nistorical age of colonization after 1100 B.C. From both periods evolved the tur- ulent and romantic tales about the various facets of waters and their deities and he sea monsters to be overcome by heroes. We have shown Poseidon, the major god of the sea, to be characterized by erocity and violence. He is "the earthshaker," a deity of storms and earthquakes. His powers are made evident by his association with bulls and horses. He is the ather of the monstrous Cyclops Polyphemus, and his inexorable anger is a major heme of Homer's Odyssey. Poseidon lost to the goddess Athena in a contest for control of Athens, as we shall see in the next chapter. Yet the Athenians, great seafarersthemselves,continued to give him great honor, and linked him particu arly to their ancient king Erechtheus and his beautiful temple on the Acropolis. oseidon was also said to be the true father of Theseus, the great national hero of Athens, through the human figure of Aegeus, an Athenian king. who gives his name to the Aegean Sea. Neptune and Triton, by Gian Lorenzo Bernini (1598-1680); in. Neptune (Poseidon) is shown marble, 1619, height 71% striding forward angrily, sup ported by Triton blowing his conch. The scene is based on Ovid's description ot the Flood (see pp. 100-101 "Neptune struck the earth with his trident"). The statue stood above a pond in the gardens of the Roman villa of Cardinal Montalto, nephew of Pope Sixtus V. (V&A Images, London/Art Resource, NY) 174 Chapter 7 AND MONSTERS PosEIDON, SEA DEITIES, GROUP DIVINITIES, Tales about waters are often yarns spun by sailors, full of abounding imagi both the nation, exciting adventure, and wondrous embellishment, embracing beautiful and the grotesque. Witness the fantastic variety in the character and appearance of the prone to stormy progeny of the sea. violence and anger. toundly wise, appear as ageless as Poseidon is, like his domain, relentless and Yet gods such as Nereus and Proteus, pro- the impenetrable sea itself. Still other deities mirror the unpredictable beauty and fascinating lure of the mysterious deep: the lovely mermaids, who can change shape and mood at will; the beguiling Sirens with their bewitching, lethal song; and monstrous Scylla and Charybdis, who bring terror, destruction, and death. Select Bibliography Barringer, Judith M. Divine Escorts: Nereids in Archaic and Classical Art. Ann Arbor: University of Michigan Press, 1995. Pevnick, Seth D, curator and editor, Poseidon and the Sea: Myth, Cult, and Daily Lif. London: Tampa Museum of Art, 2014. Tataki, B. Sounion: The Temple of Poseidon. University Park: Museum of the University of Pennsylvania, 1985. Good illustrations of the famous temple of Poseidon at Sunium, at the tip of Attica. Primary Sources Sources in the Homeric Hymn 22 Ovid Chapter To Poseidon Metamorphoses 13.839-897 Additional Sources Apollodorus Pausanias Library 3.134-3.13.6: Peleus and Thetis Description of Greece 2.1.6-2.1.9: Poseidon's dispute with Helius; depictions of sea deities Theocritus ldylls 9 In which Theocritus tells a lovesick friend the song the cyclops sang to his beloved Galatea Notes Pelias became king of lolcus (see p. 608) while Neleus founded Pylos (in Messene), which was sacked by Heracles. Neleus and all his sons, save only Nestor, weree killed. Homer (liad 11. 682-704) says that Neleus survived into old age. 1yro later married her uncle Cretheus, the founder and king of lolcus, and by him she became the mother of Aeson, Pheres, and Amythaeon. Aeson was the father of and Jason, Pheres, founder of Pherae, was the father of Admetus, husband of Alcestis. In order to marry Alcestis, Admetus had to perform the task of harnessing a lion and a boar together to a chariot. For the recovery of Alcestis from the Underworld Heracles, see p. 266. 2. Poseidon Heliconius was worshiped by lonian Minor. It is uncertain whether the reference by Greeks, especially in the hymn at to Helicon Mycale (from in Asia which 10:21 S 91% chegg.com/reade Notes 175 Heliconius is derived) means Mt. Helicon (in Boeotia) or the town of Helice; Helice and Aegae were both on the Corinthian gulf. The result is the birth both of a daughter and of the wonderful horse Arion, which belonged to the Thcban Adrastus. Similarly, Poseidon united with Ge to produce Antaeus, a giant encountered by Heracles. 4. The horrifying Harpies are not unlike the beautiful Sirens, who lure human beings to destruction and death by the enticement of their song For additional resources related to this chapter, go to www.oup.com/us/mortord.
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Running Head: THE CULT OF POSEIDON AT SUNMUIN

Cult of Poseidon at Sunmuin
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THE CULT OF POSEIDON AT SUNMUIN
Cult of Poseidon at Sunmuin
Poseidon - god of the Sea, Earthquakes, and Horses.
Poseidon is notable from Pontus, representing the sea and the ancient Greek theology of
the waters. Poseidon was brother to Zeus, the sky god and principal divinity of earliest Greece,
and Hades...


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